Third Barbados Jazz Excursion to feature Jeffrey Osborne, Peter White, Brian Simpson Althea Rene and host Elan Trotman

Soul-jazz saxophonist Elan Trotman has always taken great pride in his Barbadian roots. A few years ago, the Boston-based artist leapt at the opportunity to showcase the cozy Eastern Caribbean locale by creating and hosting a Columbus Day Weekend jazz festival on the island, inviting a handful of contemporary jazz chart-toppers to share the marquee. This October 7-10, the native son returns home for his third annual Barbados Jazz Excursion at the plush Crane Resort with perhaps the strongest talent lineup yet, a fresh itinerary of unique excursions and a golf tournament to benefit Trotman’s newly formed Never Lose Your Drive Foundation, which raises funds for a local music program that provides students with regular music instruction from local tutors and quarterly faculty visits from  the prestigious Berklee College of Music and other college professors. After all, it was the government of Barbados that awarded Trotman a scholarship to study at Berklee College of Music where he launched his own music career.

Joining Trotman at this year’s Barbados Jazz Excursion is four-time GRAMMY®-nominated R&B/pop vocalist Jeffrey Osborne, guitar-slinging hitman Peter White, award-winning keyboardist Brian Simpson and urban-jazz flutist Althea Rene. Local musicians will be featured during a Bajan All-Star Night performance and devout guests can celebrate Sunday at a gospel brunch.

“The Barbados Jazz Excursion is designed to be an island festival unlike any other with world-class talent, a wide range of land and sea excursions for our guests’ enjoyment and non-stop fun at the Crane Resort. Our excursions are purposely intended for people to discover Barbados through a local’s eyes. I’m especially excited about launching my new foundation, Never Lose Your Drive. The NLYD Celebrity Golf Tournament brings together music and sports celebrities on the links to raise funds in support of our local music program at the Never Lose Your Drive Community Center,” said Trotman, a popular performer on the contemporary jazz circuit known for incorporating Caribbean culture into his distinctive blend of R&B, jazz and gospel recordings that have earned him a consistent presence on the Billboard Top 10 singles chart. 

While live music occupies the primetime slot during the festival evenings, the daytime and post-concert timeframes are for discovering Barbados through exclusive excursions. Guests can dive deeply to glimpse the colorful life aquatic on the Atlantis Submarine Tour; take an Island Safari adventure; go underground to explore Harrison’s Cave where caverns and massive crystal formations will leave you marveling; rest, rejuvenate or recreate during a Beach Day at the Boatyard; sail away on a sunset catamaran cruise; hit The Gap to partake in the vibrant nightlife that includes fine dining, street vendors and multicultural exchanges; and play golf with Trotman, Osborne and other celebrities while basking in glorious sunshine under brilliant blue skies amidst breathtaking vistas and lush tropical landscapes. 

On October 10, former New York Knick John Starks, singer Javier Colon, actress/singer Suzzanne Douglas and other celebrities and sports figures are expected to attend the Golf With A Cause Celebrity Tournament at the Royal Westmoreland and the Never Lose Your Drive Foundation Reception & Silent Auction. The next day, a NLYD seminar and panel discussion will be held for student musicians and athletes.   

The Crane Resort, located less than three miles from Grantley Adams International Airport, is set on Crane Beach, which has been called one of the 10 best beaches in the world on “Lifestyles of the Rich & Famous,” named by the Travel Channel as one of the Top 25 sexiest beaches in the world and voted last year by USA Today readers as the “best Caribbean beach” for its stunning beauty and serenity.   

One For All Looks to Extend Legacy with Compositions From All Six Members on The Third Decade

At a time when jazz bandleaders from across the musical and generational spectrums regularly lament the difficulty of keeping a band together, it's all the more remarkable that a supergroup like One For All has stuck it out for twenty years. But the impeccably swinging sextet, made up of some of the most in-demand players in modern jazz, is not just celebrating past achievements but charging forward into the future. The title of their latest album, The Third Decade, sounds a confident note marking the dawn of the band's next chapter.

"We're very optimistic," says pianist David Hazeltine. "We're all serious musicians who are dedicated to preserving that swinging feeling, so this band will always be together."

One For All's 16th release is its first in five years and the first in its history to feature original compositions by all six members. The Third Decade, due out June 3 via Smoke Sessions Records, brings together once again tenor saxophonist Eric Alexander, trumpeter Jim Rotondi, trombonist Steve Davis, pianist David Hazeltine, bassist John Webber, and drummer Joe Farnsworth. As always, the fiery and soulful musicianship is only matched by the warmth and spirit that results from a lifetime of musical friendships.

That camaraderie is captured by the band's name, which was taken from the final studio album by Art Blakey's Jazz Messengers; which itself featured a title track penned by Davis. The band was thus founded with a sense of continuity with the past along with the focus on torch-passing renewal that Blakey always expounded.

As Alexander puts it, "It was always our goal to write and arrange music in such a way that we didn't sound like a cover band for Art Blakey or Horace Silver or any of the other classic sextets that have made such indelible marks on modern jazz music. I think we've done a good job of achieving that objective. One For All has brought out aspects of each of our musical personalities that we didn't know we had, or at least that we hadn't explored in a very in-depth way prior to the band's founding."

The release of The Third Decade on the Smoke Sessions label is also a significant homecoming for the sextet, which initially came together on the stage of Smoke's predecessor, Augie's. Smoke has remained an important hub for the band since, as well as being the site for the recording of its 2001 release Live at Smoke.

A single annunciatory snare blast from Farnsworth heralds the opening of The Third Decade with Davis' brisk "Easy," written during a one busy Hartford, Connecticut rush hour. The trombonist muses that the tune just might be "an instinctual therapy to counter life's hectic pace." In any case, it's hard to stress about much with Davis, Rotondi, Alexander and Hazeltine taking such buoyant, worry-relieving solos.

Davis also contributed his piece "Daylight," which had previously been recorded by his own quintet as well as trombonist Steve Turre's Bones of Art sextet. Its bright rhythms feel right at home with this band, though, with the horns and Hazeltine all finding joyous inspiration in Farnsworth's dancing cymbals.

Alexander's yearning "Ghost Ride" was originally written as the title theme for an independent short film. The piece's nocturnal melancholy is bolstered by the addition of French horn played by Alexander's neighbor, Dave Wakefield, whose beautiful sound drifts into the saxophonist's home (and ears) on a daily basis. On the other end of the spectrum is Alexander's tense, urgent "Frenzy," which bristles with a nervous energy that makes its title self-explanatory.

The muscular horn lines of Hazeltine's "Buddy's" celebrate both the friendships in the band as well as the composer's longtime mentor, pianist Buddy Montgomery. "Buddy was one of my heroes growing up and one of the best jazz piano players of all time," Hazeltine says. "I got a chance to know him personally from the time I was 14 until he passed away, so I tried to write something like Buddy would write." It was through his friendship with Montgomery that Hazeltine met drummer "Killer" Ray Appleton, who passed away last October and is the subject of the pianist's second piece, "K-Ray."

Rotondi offers two compositions on the album: "For Curtis," a simmering groove in honor of trombone great Curtis Fuller, and "Ruth," which he previously recorded on a quartet session with One For All's rhythm section, here in a warm, rich new arrangement. Webber's infectiously funky "Babataya" calls to mind the hearty soul-jazz of Lee Morgan, while Farnsworth's "Hey Stevie D" calls out his bandmate with a boisterously grooving, finger-snappin' stroll.

The sole standard on this outing is Hazeltine's arrangement of the Rodgers and Hart classic "It's Easy to Remember," an apt sentiment for the occasion. "Looking back over all the things we've done," Alexander sums up, "it's clear we've been together for a long time, made a lot of music, and have had a tremendous amount of experiences -- musical and otherwise -- together."

One For All · The Third Decade / Smoke Sessions Records · Release Date: June 3, 2016

Jamie Saft's New Zion Returns With Spellbinding Release Sunshine Seas Featuring Brazilian Percussionist Cyro Baptista

In recent years, Jamie Saft's signature musician-polymath touch has graced numerous recordings released by RareNoise, spanning a high dimensional manifold of genres, from the microtonal metal of Slobber Pup's Black Aces, Pole Axe and The Spanish Donkey's Raoul to the pure analog acoustic piano trio sounds of Saft/Swallow/Previte's The New Standard to the lysergic free rock of Plymouth, to recent collaborations with masters Roswell Rudd and Wadada Leo Smith.

With Sunshine Seas, the New Zion Trio's latest project (and RareNoise debut), Saft further builds on the success of New Zion's first two releases "Fight Against Babylon" and "CHALIWA" (Veal Records). Saft not only supplies all the piano and an assortment of vintage keyboards and synths, he also plays all the electric bass and guitar parts on this heavy Dub influenced recording. Brazilian percussionist Cyro Baptista, a longtimeolleague of Saft's, adds his signature percussive flavors and ebullient presence on such mesmerizing dub groove tracks as the opening "BrazilJah" and the beguiling "Chalice Pipe", which has Baptista on vocals and cuica and Saft comping in a gentle bossa nova vein on acoustic guitar. The darkly insinuating "Onda" features Baptista's massive ceramic drum work and has him singing in Portuguese about waves on the beach in a flow metaphor which deftly captures the feeling of this evocative track. The heavy dub track "Ranking" is a prime showcase for Cyro's mastery of the jaw harp (or Jew's harp).

"I've been extremely fortunate to know and work with Cyro Baptista for well over 20 years," says Saft. "We've played on countless John Zorn sessions and performed together all over the world. We are both core members of Zorn's bands Electric Masada and The Dreamers. I was fortunate to produce two of Cyro's fantastic albums, Beat The Donkey and Love the Donkey. He and I have toured together for decades and I consider him a close friend. I'm honored to work with and learn from a master like Cyro. As a musician, he brings a breadth of knowledge of not just Brazilian music but musics of the world. Cyro is also a brilliant improviser at the highest level. He brings a beautiful feeling of true positivity and light, qualities which are crucial to New Zion. He not only broadens our musical palate, he lifts us up to higher heights with his shining brilliance. A perfect addition to the New Zion sound."

Saft's wife Vanessa adds alluring vocals on the lovely title track Sunshine Seas. "Vanessa really captured the breezy, sunny tone and feeling of this tune with her lyrics and sound," says Saft. "I am thrilled to have her join us for this. In the past she has also contributed vocals to albums by John Zorn and Cyro Baptista, including a feature on 'Ama' from Beat the Donkey. Additionally, she has contributed consistently deep and insightful lyrics to many of my albums, including Breadcrumb Sins and Black Shabbis (both on Zorn's Tzadik label)."

Brad Jones anchors three tracks -- "Chalice Pipe," "Sunshine Seas" and "Lamb's Bread" -- with deep upright bass grooves. And drummer Craig Santiago supplies the all-important one-drop, Rockers, and Steppers grooves to fuel this potent session. Saft credits co-producer Christian Castagno with realizing the deep Dub mixes throughout Sunshine Seas. 

"Chris and I produced and made records together in the 1990s under the name Ohm Boy & Key Command (Chris being Ohm Boy and I being Key Command). Chris moved to the jungle in Colombia a number of years ago and this album sees our triumphant return to co-production. Chris was instrumental in teaching me dub and electronic music engineering techniques in the recording studio over so many marathon all-night sessions in the 90s in Brooklyn. Together we workshopped all manner of forward-thinking progressive styles of Reggae, Dub, hip-hop, electronic music, microtonal dance music and beyond. 

We developed a unique style of feeding off one and other's musical energies that propelled us to completing scores of records on the highest level. For this recording I prepared the tracks with all necessary musical elements and Chris deftly knocked the dubs right out the box."

Saft explains that his affinity for Jamaican music took hold decades ago. "Reggae and dub music have been an essential part of my musical direction since I was a youth. Growing up in the New York City area, we listened to Bob Marley, Peter Tosh, Stevie Wonder and Bunny Wailer. I later became obsessed with King Tubby's sound and his disciple Scientist. These were producers who used the recording studio and mixing console as a musical instrument.

The greatest dub producers and artists shape the sound of their work by using the audio gear as musical devices to shape the tone. Delays, reverbs, modulation devices, compression and saturation devices: these are all tools in the toolbox of the greatest dub artists. Additionally, I feel extremely fortunate to have worked with many true masters of Reggae music, including the living legends Bad Brains. Having the opportunity to learn with true masters like Darryl Jenifer and Dr. Know of Bad Brains has deeply informed how I think about and shape music every single day."

He adds that his interest in Jamaican music has informed his spiritual path. "Rastafari and the mystical paths of Reggae music are deeply connected with Kabbalah and the trance-like states of Jewish Mysticism. I also deeply believe that the greatest improvised music traverses those same mystical realms. I have always sought the spiritual through music. Reggae and dub look to the very same transcendent meditative states. I've put together New Zion as a vehicle through which we can all access these higher states of consciousness through the power of music. Reggae music and Dub are crucial to this path for me."

Recorded at Saft's Catskills studio Potterville International Sound, Sunshine Seas stands as a crowning achievement in the career of this multi-faceted musician-composer-producer.

TRACKS: 1. BrazilJah; 2. Chalice Pipe; 3. Mystics; 4. Sunshine Seas; 5. Growing Grow; 6. Onda; 7. Ranking; 8. Lamb's Bread; 9. Samba Jahmekya.

WorldService Project Delivers Punk-Jazz Manifesto On New CD For King & Country

Following in the tradition of such renegade composers as Frank Zappa, Charles Mingus, Igor Stravinsky and Harrison Bertwhistle, Dave Morecroft seeks a spot in the musical firmament that is decidedly left of center. And as keyboardist and principal composer for the edgy London-based avant-funk-jazz quintet WorldService Project, he is striking a blow upside the head of musical complacency. 

On For King & Country, the group's RareNoise debut and third release overall, the powerhouse aggregation cuts across stylistic boundaries with impunity and a decided 'punk-jazz' attitude. As Morecroft explains, "Punk-jazz for me is more a reflection of rebellion. Maybe it's jazz but it's played with an 'f-you' to the establishment/systems that dictate what jazz is supposed to mean or be." The album will be released on April 29th and will be available on CD, vinyl and digital download. He further describes the do-or-die presence that the band adopts onstage. "WorldService Project is a very intense, high-energy live show. We throw ourselves into it and hope to come out alive at the other end. And if you're not bleeding by the end of it, you haven't tried hard enough."

That killer instinct is conveyed from track to track on For King & Country (the title itself is a kind of ironic nod to the band's British ancestry). From the prog-rockish tumult of the opener "Flick the Beanstalk" to the moody closer "Requiem for a Worm," WorldService Project carries a pronounced crunch while injecting daring improvisations and myriad punk-jazz expressions into the mix. Joining Morecroft on this follow-up to 2012's Fire In A Pet Shop are tenor sax burner Tim Ower, trombonist Raphael Clarkson, bassist Arthur O'Hara and drummer Harry Pope. Says Morecroft of this audacious WSP outing, "I wanted For King & Country to be an epic listen, that from moment to moment it could rage intensely, pull at heartstrings, flip in double somersaults around the room or sardonically sneer at the establishment. It is an incredibly personal record for me (much more than any other) with true heartbreak, anger, loss, disillusionment, ecstasy and piss-taking a-plenty! But at its heart (I hope), purity of gesture, intensity and sincerity."

The slamming odd-metered piece "Fuming Duck," for instance, is indeed an epic listen. Underscored by O'Hara's fuzz bass lines melding with Clarkson's electric trombone for an uncommonly heavy bottom end, it hits as hard as King Crimson's "Red" while suggesting something far jazzier. Pope's monstrous drum solo over the band ostinato at the end of this raging piece is an adrenalized highlight. Likewise, "Murano Faro" slowly builds from something dreamy and distant to a throbbing crescendo with Clarkson's trombone wailing over the top in half-time. "Son of Haugesund" is a blast of intensity to match anything on Led Zeppelin III while the frantic, tempo-shifting "Go Down Ho'Ses" carries the zany energy of a ska band conducted by Frank Zappa. Ower's passionate sax solos on this unhinged number and on the dramatic "Chamonix" are both exceptional. And on "Mr. Giggles," at once humorous and scary, Morecroft unveils the cartoonish vocals of the title character (a sinister clown alter ego that he introduced on Fire In A Pet Shop) against a clamorous undercurrent. The closer, "Requiem For A Worm," opens on a restful, introspective note with Ower blowing breathy tones against a gentle backdrop. Midway through, the mood shifts as the piece gradually builds to a slamming, fuzz-laden crescendo of epic proportions.

TRACKS: 1. Flick The Beanstalk; 2. Fuming Duck; 3. Murano Faro; 4. Son Of Haugesund; 5. Go Down Ho'Ses; 6. Chamonix; 7. Mr Giggles; 8. Requiem For A Worm.

 

The Branford Marsalis Quartet With Special Guest Kurt Elling Team Up for "Upward Spiral"

It is no secret that the Branford Marsalis Quartet can be as freewheeling off the bandstand as in performance. Saxophonist Marsalis, and his Quartet made up of pianist Joey Calderazzo, bassist Eric Revis and drummer Justin Faulkner are each bold personalities with strong opinions, equally intense in both musical and verbal exchanges. "The band talks about all kinds of things, many of which are unprintable," Marsalis admits. "But we have serious musical debates as well."  One of these exchanges led to Upward Spiral, the new album from the Branford Marsalis Quartet with special guest Kurt Elling. The album will be released via Marsalis Music via OKeh Records on June 10, 2016.

"One topic we got into was picking the best singer to work with our band," Marsalis recalls. "My candidate was Kurt Elling, because he has the most flexible voice around, is always in tune and is a true jazz musician. When I met Kurt two years ago at a Thelonious Monk Institute competition, we had a conversation at the bar about doing a record together."

"I had bumped into Branford on the road a handful of times, and we always had significant conversations," Elling adds. "So when he mentioned making a record, I said 'any time!'"

What has emerged, after an intense week of performance and recording in New Orleans, is a collection that blends Songbook staples, jazz standards, and standards-to-be from a diverse array of composers.

The goal from the outset was to create a true partnership. "I usually reject the word `collaboration,'" Marsalis explains, "because it implies a third thing from that which each collaborator does well. I don't need a collaborator to do what I normally do, and Kurt doesn't, either.  But this time, none of us were going to do what we normally do. The goal here, even though he sings lyrics, was to highlight Kurt's voice as an instrument."

Elling was more than prepared for the challenge. "I love singing with a hard-hitting band," he confirms. "I didn't want Branford's band to feel that it had to hold back because a singer was there. To be welcomed into the Quartet's circle, which is all about new challenges and hard blowing, was very important to me. When I asked Branford what to bring about a week before the date, he said `Don't worry, you've got the thing.' So I brought `the thing.'" 

Choosing songs became a process in which all five musicians had input. "Everyone in the band is always listening to all kinds of music," Marsalis emphasizes, "so it's not as if we had to go out and do research on vocal records.

"For example, I had been listening to the Oscar Brown song `Long as You're Living' for two years before the date. The first time I heard Sting's `Practical Arrangement,' I called him and asked for a lead sheet, because I wanted to play that song with the quartet even before the idea of recording with Kurt came up. I also chose `Só Tinha de Ser Com Você,' a Jobim song that has not been done to death. I told everyone to study Elis Regina's version, because I wanted us to sound authentic rather than generic. Doing `Blue Gardenia' was my idea, while Eric originally suggested Chris Whitley's `From One Island' when we were talking about more recent songs.

Elling also brought ideas and songs to the partnership. He suggested "Doxy," the Sonny Rollins classic with lyrics that Mark Murphy introduced; "West Virginia Rose," with music and lyrics by pianist Fred Hersch; and "Momma Said," with the quartet responding spontaneously in the studio to the Calvin Forbes poem.

Two classic ballad performances complete the collection. "Kurt had wanted to do `Blue Velvet,' using Bobby Vinton's hit version as a starting point," Marsalis recalls. "I said that I'd write it out, but Kurt said, `No, I want us to sound like ghosts, with just enough technique to get the message across.'  He also wanted to do a voice/tenor duet, which I was originally against, but we tried `I'm a Fool to Want You' and he was right.  When you have a singer who can inhabit the emotional space, it works."

Every track on Upward Spiral confirms the beyond-category strengths of both the Quartet and Elling. "No one in the band had to make adjustments, because good musicians can play many styles of music," Marsalis notes. "We're fully engaged with one another when we're playing, so it was easy to engage with Kurt. The only adjustment was not to play long solos, but if making the music sound good means playing less, you play less."

Elling adds that "My thing is always about tailoring what I do to the vision and personality of the band, and Branford's quartet is a real working band, which is both an incredible luxury and incredibly important for the music. They provided everything on a silver platter."

For Marsalis, Upward Spiral is consistent with all of his previous music. "My philosophy of jazz is that it should be about strong melodies and a great beat, and every song here has a melody that you can hold in your mind, that you can sing. This is not jazz as a personal think tank, where people are only concerned with impressing everyone already inside of the tank with deconstruction and reharmonization. This is the kind of music that should expand our base to include people who would like jazz if it were friendlier. From the minute Kurt started performing with us, it was all good."

Branford Marsalis Quartet with Special Guest Kurt Elling · Upward Spiral / Marsalis Music via OKeh Records  ·  Release Date: June 10, 2016

São Paulo based 10-piece Nomade Orquestra's debut album recalls the mystical jazz musings of Herbie Hancock & Pharoah Sanders

São Paulo based 10-piece Nomade Orquestra's debut album drops 22nd April. Recalling the mystical jazz musings of Herbie Hancock and Pharoah Sanders while sounding like the Brazilian take on Taoism, Nomade Orquestra lead the way. Effortlessly weaving through the disparate sounds of Brazil’s diverse musical diaspora, the group describe themselves and their shared project as ‘the point where different musical expressions and strands meet and interact in a unique way.’ From funk and soul to Afrobeat, Ethio-grooves, dub and hip hop, their sound remains firmly anchored in the world of jazz while taking off to the cosmic stratosphere and incorporating electronic elements, alongside traditional Brazilian styles along the way. 

Nomade Orquestra came together in Sao Paolo in the year 2012, though they could just as easily have emerged fully formed into our world from a mystical land where spaced out jazz soundtracks daily life and the passing of time is rhythm and groove… such is their elusive, ethereal yet highly accomplished and deeply funky otherness. Nomade Orquestra’s self-titled debut album will be released on heavyweight vinyl LP alongside an extended thirteen track digital release on the 22nd April 2016.

The time is ripe for ten of the most talented and daring musicians working in Brazil today to deliver their fully formed debut. Effortlessly weaving through the disparate sounds of Brazil’s diverse musical diaspora, the group describe themselves and their shared project as ‘the point where different musical expressions and strands meet and interact in a unique way.’ From funk and soul to Afrobeat, Ethio-grooves, dub and hip hop, their sound remains firmly anchored in the world of jazz while taking off to the cosmic stratosphere and incorporating electronic elements, alongside traditional Brazilian styles along the way.

In line with the bands’ musical and spiritual influences, adopted from age old lineages of the global east, the album’s opening track ‘Samurai’ kicks off the psychedelic party with the strike of a gong. Dreamlike synths, Marcos Mauricio’s arresting piano and André Calixto’s beautifully expressive Tenor saxophone shed the first light on this enchanting incarnation of global roots music. ‘Sonhos de Tokyo’s hypnotic grooving bassline is complimented with psychedelic guitar riffs and ominous synth washes, building a sound both tranquil and unsettling. Bobby Mcferrin makes an appearance in spirit on ‘Bedum’, possibly the album’s most directly expressive track. ‘Morning Birds’, features the talents of Otis Trio’s Beto Montag, who brings his deft Marimba playing to the party for an Afrobeat-tinged beauty that further highlights the varied and deep roots of Nomade’s musical influences.

Album closer ‘Garuda’ finds Nomade Orchestra in a more contemplative, mood. Bringing together soaring Chinese flutes, Hawaiian style fuzz guitar, snake charming saxophone and some world class Oud playing from guest musician Luciano Sallun, the track is a spiritual wonder. It is a fitting conclusion to a highly sensory journey that recalls the mystical jazz musings of Herbie Hancock and Pharoah Sanders while sounding like the Brazilian take on Taoism. Making music like none other in Brazil, or indeed the world, Nomade Orquestra lead the way.

NEW MUSIC: ROY NATHANSON – NEARNESS AND YOU; WILLIAM PARKER / LOSA SOKOLOV / COOPER-MOORE – STAN’S HAT FLAPPING IN THE WIND; HARRIS EISENSTADT – OLD GROWN FOREST

ROY NATHANSON – NEARNESS AND YOU

The famous standard used for the title here might give some indication of the feel of the record – as it does feature some mellower, more laidback moments – but in true Roy Nathanson fashion, the initial performance of that song is followed by tracks titled "The Nearness Of Ewes", "The Nearness Of Youse", and "The Nearness Of Jews" – all improvised variations as playful as their names! In between, Roy also contributes some of his own song structures – which are extrapolated in duets between Nathanson and his musical partners on the record – a lineup that includes Arturo O'Farrill on piano, Marc Ribot on guitar, Curtis Fowlkes on trombone, Anthony Coleman on piano, Myra Melford on piano, and Lucy Hollier on trombone. Roy himself plays alto, soprano, baritone, and piano – and other titles include "Ludmilla's Lament", "What Shoes", "The Low Daze", and "A Surprisingly Pastoral Moment".  ~ Dusty Groove

WILLIAM PARKER / LOSA SOKOLOV / COOPER-MOORE – STAN’S HAT FLAPPING IN THE WIND

Really beautiful work from bassist William Parker – a set of tracks that are every bit as righteous as some of his other albums, but in a completely different way! The music here is from a musical production that Parker's been creating over the past two-decades – beautiful vocal tunes that are some of the most poetic he's ever penned – sung here by Lisa Sokolov, alongside piano from Cooper Moore – a stripped-down approach that really gets to the heart of the lyrics, but never with any sort of sleepy presentation, given the vibrancy of Sokolov's approach. One tune features an additional cello, but overall the album is just voice and piano – Parker just acts as composer and producer – and titles include "The Death Of Death", "Footnote To A Dream", "For Jeanne Lee", "Poem For June Jordan", "Invocation (for David S Ware)", "Angel's Tear", and "Soul In Heaven". ~ Dusty Groove

HARRIS EISENSTADT – OLD GROWN FOREST

Drummer Harris Eisenstadt's been giving us some wonderful records in recent years – and this well-conceived quartet session certainly continues that tradition! The group's perfectly matched here – a very friendly lineup that includes Tony Malaby on tenor, Jason Roebke on bass, and Jeb Bishop on trombone – players who both have a sense of structure and freedom at once – able to come together, spring apart, yet never lose sight of the others – nor make you feel like they're spending too much of their attention either – an almost organic energy that makes for incredible sounds throughout – and music that's as boldy modern and individual as anything that Harris has given us in the past. The music also has this toneful quality and sense of inner poetry that lives up to the evocative title – on tracks that include "Larch", "Pine", "Hemlock", "Big Basin", "Cedar", and "Fir". ~ Dusty Groove

NEW MUSIC: MAYER HAWTHORNE – MAN ABOUT YOU; ALEXANDER HAWKINS / EVAN PARKER – LEAPS IN LEICESTER; WALT WEISKOPF – THE WAY YOU SAY IT

MAYER HAWTHORNE – MAN ABOUT YOU

Mayer Hawthorne just keeps on rising and rising with each new record – to a level where he's not just sounding like those 70s influences that have always been a force in his music, but actually manages to fit right in alongside them with a seamless sound and completely confident vibe! The album's a near-perfect reworking of an older AOR vibe – as catchy as Hall & Oates at their best, as cooly compressed as Chris Rainbow working on his own, and a beautiful a mix jazzy grooving and soulful vocals as anything to come from the best LA studios in the 70s! Mayer's tunes are great – extremely catchy without being too commercial – and he's got this blue-eyed way of putting over his vocals without ever sounding too self-conscious – quite a rare quality in this era of so many retro-styled soul singers. Titles include "Book Of Broken Hearts", "Breakfast In Bed", "Fancy Clothes", "Love Like That", "Get You Back", and "The Valley". ~ Dusty Groove

ALEXANDER HAWKINS / EVAN PARKER – LEAPS IN LEICESTER

Some of the most beautiful work we've heard from Evan Parker in a long time – sublime duets on tenor with pianist Alexander Hawkins – on long, improvised tracks that build up with a really sort of special energy between the players! Parker's got a way of being every bit as sharp and experimental as ever, yet blows with a current of soul at times – quite a surprise, and a quality that seems to be unlocked by Hawkins' thoughtful work on piano – in a style that lays out blocks of tones from the keys, which provide a perfect foil for Evan to explore with a raspy reed style. We've loved Parker for year – but it's a really special record like this that makes us sit up and take notice all over again! Titles include "Jump Start", "Capriole", "The Shimmy", and "Gambade".  ~ Dusty Groove

WALT WEISKOPF – THE WAY YOU SAY IT

Tenor, vibes, and organ – a great combination here in the hands of leader Walt Weiskopf, who also wrote most of the tracks on the record! Walt's records have been some of our favorites on the Posi-Tone label in recent years – and here, he works with label heavyweights Behn Gillece on vibes and Brian Charette on Hammond – with drums from Steve Fidyk in a beautifully balanced quartet! Charette's got these long-flowing lines on the Hammond that are both melodically matched and periodically punctuated by Gillece on vibes – with sounds that can brew slowly together, or really take off – as Walt blows these nicely-edged solos throughout! Titles include "Dreamlining", "Separation", "Coffee & Scones", "Envisioned", "Invisible Sun", "Manny Boy", and "The Way You Say It".  ~ Dusty Groove

Spin Cycle, Co-Led by Drummer Scott Neumann & Saxophonist Tom Christensen, Releases Self-Titled Debut CD

Spin Cycle With its strong melodies, tight rhythms, intriguing textures, and sophisticated interplay, Spin Cycle has got everything covered. What makes the band special is how everything fits together -- or, by intention, doesn't. For listeners and band members alike, every tune is an adventure.

Spin Cycle is the new quartet co-led by drummer Scott Neumann and tenor saxophonist Tom Christensen -- and also featuring fellow veterans of the New York jazz scene Pete McCann on guitar and bassist Phil Palombi -- whose self-titled debut CD will be released by the leaders' Sound Footing Records on May 6.

Spin Cycle boasts six compositions by Christensen, a consummate multi-instrumentalist who mostly plays tenor saxophone here, and four by Neumann. Having performed in all kinds of settings including the Vanguard Jazz Orchestra, the Jazz Mandolin Project, the Gil Evans Project, Madeleine Peyroux's touring group, Broadway pit bands -- and Cheap Trick -- the co-leaders know how to dig deep, swing hard, and put a shine on a ballad.

After finishing a CD of his own in 2013 with Michael Blake and Mark Helias [the Neu3 Trio's Blessed], Neumann "got the thought of collaborating on an ongoing basis with musicians I liked and respected -- with friends who would get along sharing business responsibilities as well as creative ones.

"I naturally thought of Tom. In addition to playing together, and playing with many of the same musicians, we've spent a lot of time backpacking and hiking together. He had tunes, I had tunes. They went well together because we share a lot of the same musical influences."

Once they decided on the format of the band, getting McCann on board was the next step. Neumann has played with the Wisconsin native for more than 30 years, going back to their days at North Texas State (now the University of North Texas). And Christensen had played with the guitarist in Maria Schneider's big band. Palombi, a gifted bassist with whom Neumann had played in trumpeter Bill Mobley's big band during their four-year run at Smoke, was the final inspired piece to fall into place.

Spin Cycle is bookended by lighthearted tunes inspired by the composers' daughters. Neumann's "Rainbow Shoelaces" features a simple melody and funky B section. Christensen's "Hamsters, Hamsters" is a straight-ahead, uptempo minor blues.

The title track, written for this session by Christensen, shows off a deeper and more complex side of the band via its intricate and varied cycle of chord changes. Neumann's "Crystalline," which features McCann on nylon-string guitar, is distinguished by its lingering over-the-top melody. And then there's the punk rock-like composition, "Smart Aleck," with its bellicose guitar opening and other aggressive effects. "This lineup gives us a lot of room to try out different things," says the drummer.

Scott Neumann Born in 1962 in Bartlesville, Oklahoma, Scott Neumann started on the drums as a youngster and was exposed to what we now call classic rock by his older brother. Scott eventually found his way to the jazz-rock fusion of bands including Weather Report and Return to Forever.

Neumann went on to blossom in the esteemed music program at North Texas State and moved to New York in 1988. He's been a busy player on the New York scene ever since, playing with such luminaries as Kenny Barron and Ben Allison and accruing impressive credits as a vocal accompanist (for Ann Hampton Callaway, among others), Broadway musician (he made Swing! swing), and instructor (he directs the drum studies program at Lehigh University).

Tom ChristensenTom Christensen was born in 1961 in Ventura, California. Like Neumann, he was drawn to rock early on; he became interested in jazz-rock fusion and straight-ahead jazz while attending high school in the Napa Valley. Frequenting clubs in nearby San Francisco, he heard such legends as Sonny Stitt, Dexter Gordon, and Art Blakey and had the opportunity to take private lessons from tenor saxophone great Joe Henderson.

Christensen attended the Eastman School of Music in Rochester, New York, studying classical music as well as jazz on both undergraduate and graduate levels. Since moving to the New York City area in 1989, he has established himself as a go-to player in jazz and commercial settings. For eight years, he was a member of the Toshiko Akiyoshi Jazz Orchestra, appearing on five of their albums. He also has played on recordings by Joe Lovano, Don Sebesky, and the David Liebman Big Band. Christensen, who is on the faculty of the Fieldston School in New York, first recorded as a leader in 2000 (Gualala).

Spin Cycle will be performing a CD release show at Smalls in New York on Friday 5/6, as well as a mini-tour taking them to the Jazz Room in Waterloo, Ontario, 6/25; the Rex in Toronto. 6/26; and the Rochester (NY) Jazz Festival, 6/27.

"After playing with Scott for many years around New York," says Christensen, "I'm really excited about our new band Spin Cycle. We are both committed to the band and its musical vision. This is the first in what will be a long line of great recordings."

NEW MUSIC: DONALD EDWARDS – PRELUDE TO REAL LIFE; JACK ASHFORD – JUST PRODUCTIONS; KEEFE JACKSON / JASON ADASIEWICZ – ROWS AND ROWS

DONALD EDWARDS – PRELUDE TO REAL LIFE

A really different album from drummer Donald Edwards – one that adds in some Fender Rhodes from Nicholas Payton and a bit of vocals from Vivian Sessoms – all in this cosmic blend of jazz and soul that's not too different at times from some of Robert Glasper's recent work! Some tracks are still straight jazz – and are still pretty darn great – with strong lead tenor from Walter Smith III, and bold tones on guitar from David Gilmore – in a group that also includes bass from Luques Curtis. But the vocals are an especially nice surprise – sung in an angular, edgey way, with lyrics penned by Edwards on the tunes "Hop Scotch", "Way To Her", and "Thought For A Day". Trumpeter Antoine Drye joins the group on the track "Prelude To Real Life" – furthering the collaborative spirit of the record – and other titles include "Incantation", "Apple Street", "Beautiful Intuition", and "Queen & The Princess".  ~ Dusty Groove

JACK ASHFORD – JUST PRODUCTIONS

A huge legacy of Detroit soul – all from the masterful hands of onetime Motown maestro Jack Ashford and his Just Productions team! Ashford's had his hands in countless great records over the years – early work with Motown, key Detroit Pied Piper Productions material, and all these excellent cuts from later years – done by Jack in a mix of Northern Soul styles, and some even funkier modes for the 70s! Almost all these tracks only got released on tiny little labels, mostly as singles – and the set also includes a few never-heard tunes from the Ashford vaults – although overall, most of this music is still pretty darn obscure. Yet that never stops it from being great – as, similar to Detroit contemporary Dave Hamilton, Ashford was always working at a top level – and always found a way to bring his A-game to the table, even if he wasn't going for a hit. CD features 24 tracks in all – and titles include "Let's Do It Again" by Billy Sha-Rae, "Where Are You" by The Four Sonics, "Love You Baby" by Eddie Parker, "Sweet Baby" by Al Gardner, "Don't Take Your Love" by The Magnificents, "Deserted Garden" by Sandra Richardson, "Don't Worry" by The Smith Brothers, "Did She Do It To You" by Ray Gant, "Do The Choo Choo" by Jack Ashford & The Sound Of New Detroit, "After You Give Your All" by Softouch, and "I Need Your Love" by Lee Rogers.  ~ Dusty Groove

KEEFE JACKSON / JASON ADASIEWICZ – ROWS AND ROWS

Mindblowing sounds from two of the most creative musicians on the contemporary Chicago scene – coming together in a setting that really brings out the best of both of them! Keefe Jackson's a reedman who can blow with a strong sense of freedom, but never lose his way – and, like session partner Jason Adasiewicz, he often operates in a post-free mode that knows all the farther reaches of the sonic territory, but often sticks closest to the most meaningful, tonally expressive areas! That approach – heard here on tenor and bass clarinet – makes a wonderful combination with Jason's vibes, which we've raved about countless times – and which have never sounded better, here. Adasiewicz is easily one of the most important musicians on his instrument in decades – and a record like this just continues that reign in an amazing way. Titles include "Rows & Rows", "Cannon From The Nothing Suite", "Thunder Cooker", "Caballo Ballo", "Where's Mine", and "A Rose Heading".  ~ Dusty Groove

NEW MUSIC: NOUVELLE VAGUE – POP, MAMBO, CHA CHA, JAZZ & BOSSA NOVA WITH A FRENCH TOUCH; KAREN ANN – YOU’RE GONNA LOVE; DEEP STREET SOUL – COME ALIVE!

NOUVELLE VAGUE – POP, MAMBO, CHA CHA, JAZZ & BOSSA NOVA WITH A FRENCH TOUCH

A cool portrait of Paris in the late 50s/early 60s years of the new wave – served up here in a collection of music from soundtracks, jazz albums, and lots of French vocal treasures from the time! The grooves definitely run the gamut of styles promised in the title – with an especially strong focus on the way that Latin rhythms really came into the Parisian modes of music, and helped create fresh instrumental interplay that opened the doors to a new variety of vocal expression too! The set list is great – and mixes favorites from the films of Truffaut, Goddard, and others with even more obscure French records of the time – on titles that include "J'Aime Pas Le Rock", "L'Amour Et Le Jeu" by Michel Legrand, "Rendez Vous Au Lavandou" by Henri Salvador, "Nouvell Vague" by Ciarhd Anthony, "I Want To Be Kissed" by Charles Aznavour, "Viens A Juan Les Pins" by Bob Azzam, "Le Cinema" by Claude Nougaro, "Le Tourbillon" by Jeanne Moreau, "Chanson D'Angela" by Anna Karina, "Il Fait Gris Dans Mon Coeur" by Jacqueline Boyer, "Mon Truc En Plumes" by Zizi Jeanmarie, "Coucouch Panier" by Gillian Hills, and "Scrapple From The Apple" by Les Double Six. ~ Dusty Groove

KAREN ANN – YOU’RE GONNA LOVE

Wonderful work from Keren Ann – a French singer we first fell in love with on her albums done with producer Benjamin Biolay – working here with a different talent at the helm, but a sound that's equally sublime! Keren's also making a big step towards a global market here, too – continuing her trend of singing in English, which is the case throughout the album – which really helps get her captivating tunes and amazing sound to a larger market on this side of the Atlantic – all without losing the breathy charm of her previous French language vocals. The tunes have this moody vibe, almost in a hip early 70s singer/songwriter mode – and backing instrumentation that really follows suit. Titles include "Again & Again", "you Knew Me Then", "Bring Back", "The Separated Twin", "You Have It All To Lose", and "The River That Swallows All The Rivers".  ~ Dusty Groove

DEEP STREET SOUL – COME ALIVE!

Deep Street Soul are deeper than ever here – coming across with full-on, nonstop funky action – right from the very first drum breaks that start out the record! The set's got the group moving with incredible tightness – a razor-sharp instrumental core to beat the rest of the deep funk competition – topped on most cuts by vocals from May Johnson, who's easily one of the most unbridled singers we've heard working with a group like this! Some cuts have nicely noisy electric piano (Wurlitzer?) – which gives these guys a different core than some of the more Hammond-heavy groups – and the record also features guest vocals from Kylie Auldist and Joshua Taveres – but honestly, we like May's vocals the best! Titles include "Out Of The Gates", "Little Ray", "Done Me Wrong", "Big C", "Deux Freres", "The Hardest Part Is Knowing", "Love On Tap", and "Sweet Sugar Man". ~ Dusty Groove

Chris Botti, Andra Day, Herbie Hancock, Quincy Jones, and Diana Krall Join Keep Memory Alive's 20th Annual Power Of Love™ Gala Celebrating Tony Bennett's 90th Birthday, May 21

Keep Memory Alive's 20th annual Power of Love™ gala continues to grow as musical icons from all genres join the celebration of legendary performer and 18-time GRAMMY winner Tony Bennett's 90th birthday on Saturday, May 21, at the MGM Grand Garden Arena in Las Vegas.

In honor of Bennett's milestone birthday celebration, musical stars from an eclectic mix of genres will take the stage to perform some of the timeless hits Bennett has recorded in his 70-year career. Joining the line up are: contemporary jazz trumpeter and GRAMMY winner Chris Botti; actor, writer, producer and host of THE LATE LATE SHOW on CBS James Corden; American soul and R&B singer/songwriter and GRAMMY nominee Andra Day; 14-time GRAMMY winner and American musical icon Herbie Hancock; music legend and celebrated producer Quincy Jones; multi-platinum jazz star and 5-time GRAMMY winner Diana Krall; piano prodigy and budding pop sensation Dan Orlando; chart-topping country music artist Darius Rucker; and global superstar Steven Tyler.

"I came from a musical family, I grew up on songs like 'I left My Heart in San Francisco' and 'Shadow of your Smile.' To now be singing for him on his 90th birthday is something that is truly an honor," said Tyler. "Tony's voice is timeless and one that I hold very near and dear to my heart."

"I feel honored and privileged every time I get to step out on stage and perform with Tony Bennett, whose voice is as iconic and timeless as ever," Botti said.

"Tony Bennett is an iconic jazz legend," said Day. "It's an honor to perform for him on such a special birthday."

"A timeless talent that is ever-young, vibrant and gracious. Tony's life-force is strong and respectful of others. His actions musically and in his daily life are a testament to the value of inclusion. He's a great encouragement to the younger generation and continually lifts everyones spirits," said Hancock. "As a musician and a human being, Tony is a shining light. He's the best of the best."

One of the most celebrated entertainers in the world, Bennett has thrilled sold-out audiences worldwide for decades, selling ten million records in the last ten years alone. Known for timeless hits including "The Way You Look Tonight," and "It Don't Mean a Thing If You Ain't Got That Swing," the 20th annual Power of Love gala will bring together musical artists to pay tribute to his musical genius in a celebration of song and philanthropy.

The Power of Love gala, began in 1996 as an evening dedicated to fighting the ravages of Alzheimer's disease with the founding of Keep Memory Alive by Larry Ruvo in honor of his father, Lou.  Since that night it's blossomed into a celebration known for partnering with some of the most celebrated chefs and entertainers in the industry for an evening of philanthropy, while raising awareness and funds for Keep Memory Alive in support of the Cleveland Clinic Lou Ruvo Center for Brain Health. 

Previous Power of Love galas have celebrated the 70th birthday of boxing legend Muhammad Ali in 2012 and the 80th birthday celebration for Quincy Jones and Sir Michael Caine in 2013. Last year's gala hosted some of the biggest names in the entertainment industry including Celine Dion, Martina McBride, Robin Thicke and more as they honored Italian tenor Andrea Bocelli and his wife Veronica. Generating the bulk of Keep Memory Alive's revenue, the annual gala is imperative to the success of Keep Memory Alive and the Lou Ruvo Center for Brain Health in the mission to enhance treatments and research of brain diseases.

Saxophonist Chico Freeman Delivers New Album, Spoken Into Existence

After living and working in Europe for the last decade, innovative saxophonist Chico Freeman makes his long-awaited return to the United States in May. Marking this auspicious homecoming, the creative and trailblazing artist will celebrate with the domestic release of his tour-de-force album Spoken Into Existence (Jive Music, May 13, 2016). Freeman's stateside return offers more cause for celebration, as he introduces audiences to his new ensemble: The Chico Freeman Plus+tet featuring pianist Orrin Evans, bassist Kenny Davis, drummer Nasheet Waits and percussionist Reto Weber with performances at Dizzy's Club Coca Cola on May 19.

In the early 2000s, with dozens of recordings as a leader, Freeman moved from New York to Europe to start a new chapter of exploration by focusing on his own self-improvement and self-reflection. His thirst to immerse himself in his music, his curiosity to explore working with different musicians and living in different cultures while challenging himself to be better than he was, has all prepared Freeman for this new stateside chapter of his life.

With the U.S. release of his stunning album Spoken Into Existence, he is joined on the 13-piece program by his international quartet he's worked with regularly since 2013 (Italian pianist Antonio Faraò, Swiss bassist Heiri Känzig, and American drummer Michael Baker). Freeman serves notice that he is still a force to be reckoned with by addressing a cohort of rich melodies framed within a diverse array of styles (hip hop, funk, bebop, post-bop, the blues, melodies conjured from African and Asian scales) and renders them on tenor and soprano saxophones with keen intention, authoritative execution, and tonal control that transforms his metal instruments into analogue for the human voice.

For all of the technical authority on display throughout this recording, Freeman maintains that he operates by a deeply held conviction that "to express the truth of who you are at the moment you're playing" is of paramount value. "I was in Cuba with Dizzy Gillespie when he answered a journalist's question, 'What is Jazz?' with 'the search for truth.'" Freeman elaborates, "First comes expression, and when you find yourself in need of being able to express more, you develop the technique in order to accomplish that objective." For Freeman, Spoken Into Existence manifests in notes and tones the meaning of Michael Jordan's dictum, "You have to see it to be it" (or, as Freeman puts it, that "you can manifest what you want to achieve or materialize it if you can see it clearly") and the aphorism, "words are things."

While the album focuses primarily on Freeman's original works, two other composers' works receive fascinating treatments. The single standard on Spoken Into Existence is a rhythmically deconstructed "Seven Steps To Heaven," a line by pianist-vibraphonist Victor Feldman that Miles Davis immortalized. Freeman also addresses a less-traveled Stanley Turrentine number, "Soft Pedal Blues," from the 1962 Blue Note recording, That's Where It's At, which he heard when preparing for the date. "Although I played lots of slow blues in Chicago, I'd never recorded one," Freeman says. "Stanley's tone touched me, so I was inspired to record it."

"I've played standards, but contrary to my father, that's not the meat on my improvisational plate," Freeman states. "Standards were my dad's self-expression; they emerged from his life and environment. The standards I choose to play are ones that touch me, and they're usually written by jazz musicians with some exceptions. Most of my work is about presenting original material."

In addition, the original works featured show a wide array of Freeman's talents and amply highlight the breadth of his vision. Five of the compositions: "Dance of Light for Luani," "Nia's Quest," "N'tiana's Dream," "Lara's Lullaby," and "Erika's Reverie," are dedicated and written for each of his daughters; and the different rhythms and colors reflect their personalities.

Freeman has always encouraged the members of his various ensembles to compose with the continuum of creating new standards.  With that in mind, two of the compositions on Spoken Into Existence are written by pianist Antonio Faraò - the songs "Free Man," which he wrote for Freeman and "Black Inside." One of the standouts of the album is the beautiful "Niskayuna" penned by bassist Heiri Känzig, named for a little town in upstate New York. Freeman comments: "Wherever I go, people start dancing to this song, and that makes me very happy. As history shows, I can certainly play open and in the avant-garde tradition, but it is also very gratifying when people leave my shows humming and even dancing to my music."

The last composition of the recording, "Ballad for Hakima," is written for Freddie Waits' wife. It's a lovely last statement and dedication to this wonderful woman and her husband and his children Nasheet and his brother. When Nasheet started working with Freeman he had no idea that this was for his mom.

The penultimate piece, the anthemic, affirmative "The Crossing," signifies Freeman's impending return to New York, Freeman adds that the listener may wish to absorb the message of "The Crossing"--and perhaps the totality of Spoken Into Existence--in a broader sense. "It came to me as a feeling of crossing a body of water, crossing into other parts of your life, changing concepts," he says. "The bridge you cross to get from one place to another. The journey is a crossing, that is Spoken Into Existence."

Freeman has a history of collaborating with such diverse talents as--to name a short list--Wynton Marsalis, Bobby Hutcherson, John Hicks, Muhal Richard Abrams, Arthur Blythe, Kenny Barron, George Cables, Cecil McBee, Branford Marsalis, Billy Hart and Hilton Ruiz. Freeman's discography of more than 30 albums as a leader, also includes seven sessions with the Freeman-organized all-star collectives the Leaders and Roots, six co-led dates with his father Von Freeman and featured sideman appearances in bands led by iconic figures like McCoy Tyner, Jack DeJohnette, Sam Rivers, Don Pullen, and Elvin Jones.

Freeman internalized the ethos of presenting original materials as an active member of Chicago's Association For The Advancement of Creative Musicians, which he joined soon after deciding to switch his major at Northwestern University from mathematics to music. Between 1969 and 1975, he played frequently with AACM members Muhal Richard Abrams, Henry Threadgill, Steve McCall, Fred Anderson and Phil Cohran, and in various local blues, funk, fusion and R&B bands, including the horn section of Earth, Wind and Fire. While he was dubbed a "young lion" three decades ago for his participation on the 1982 recording with other stars-to-be Wynton Marsalis, Kevin Eubanks, Paquito D'Rivera, Bobby McFerrin and Anthony Davis, Freeman now merits being called a "master on his instrument."

  

Upcoming Chico Freeman Performances:

May 14 / South Jersey Jazz Festival / Sandi Point, NJ

May 19 / Dizzy's Club Coca Cola / New York, NY

May 20 - 21 / Green Mill / Chicago, IL

August 12 / Jimmy Mak's / Portland, OR

August 13 / San Jose Jazz Festival / San Jose, CA