CUONG VU 4TET PERFORMS THE MUSIC OF MICHAEL GIBBS ON BALLET With Guitar Great Bill Frisell

On the heels of his acclaimed 2016 recording, Cuong Vu Trio Meets Pat Metheny (Nonesuch Records), and his 2014 collaboration with electro-acoustic pianist-composer and Director of the School of Music at the University of Washington Richard Karpen on Ellington-Strayhorn tribute That The Days Go By And Never Come Again (RareNoiseRecords), trumpeter-composer Cuong Vu joins forces with guest guitarist Bill Frisell on Ballet, a tribute to renowned composer-arranger Michael Gibbs.

With regular Vu 4Tet bassist Luke Bergman and drummer Ted Poor, the four exchange ideas in the moment in a collective fashion on the expansive opening track, "Ballet," which gradually morphs into a kind of quirky, dissonant blues waltz featuring brilliant solos from Vu and Frisell. The ethereal ballad "Feelings and Things" showcases Frisell's more sensitive and spacious side while Vu turns in a remarkably lyrical solo here. "Blue Comedy," a tune recorded by the Gary Burton Quartet (with Larry Coryell, Steve Swallow and Bob Moses) on 1968's In Concert, kicks off with a drum salvo from Poor before Frisell and Vu join together on some tight unisons through the intricate head. As the piece progresses, it picks up a kind of shuffle-swing momentum which Frisell solos over with his signature fractured phrasing and surprising detours. Vu and Poor engage in some spirited exchanges near the end of this jaunty number. The most dramatic piece on the album, "And on the Third Day," which originally appeared on Gibbs' 1970 self-titled debut album, evolves gradually from a peaceful opening drone to a turbulent crescendo featuring powerful. soaring solos from both Vu and Frisell, the latter power chording with impunity and kicking on his fuzz box and backwards pedal for maximum effect.

"This recording came about as Bill's wish to bring Mike Gibbs out to the University of Washington to do some of his arrangements of Bill's music for orchestra," says Vu. "Mike is indeed an iconic hero to Bill and it all came about from Bill's desire to bring him to the UW.  I asked the boss, Director of the School of Music, Richard Karpen, and he gave us the green light because he wanted to honor Bill. We did two nights with the first night being the orchestra night and the second being the big band night (both student ensembles). The quartet of Bill, Ted Poor, Luke Bergman and myself was a featured part of those (both the orchestra and the big band) performances. In addition to that, the quartet (sans orchestra/big band), played Mike's music as the second set each night. This recording is from the second night."

Regarding this exhilarating Vu 4Tet project, Vu says, "This was a very collective/equal opportunity effort, so we just played and dealt with the cards collectively as they were dealt. I think it just comes down to the collection of players and our individual aesthetics coming together and trying to find a common goal/language." They succeed in triumphant fashion on Ballet, the second collaboration between Cuong Vu and Bill Frisell (their first was Vu's 2005 ArtistShare album Mostly Residual).

TRACKS

1. Ballet

2. Feelings And Things

3. Blue Comedy

4. And On The Third Day

5. Sweet Rain

Saxophonist Jason Rigby releases new trio recording ONE featuring Cameron Brown & Gerald Cleaver

Saxophonist Jason Rigby's new album, ONE, is the long-awaited release of his Detroit-Cleveland Trio. Rigby's first two recordings employed larger ensembles as he worked to find his own artistic balance as composer, bandleader, and improviser. This new album is more intimate, putting improvisation first, both from the leader and from the group collectively. The focus of ONE is the connection between three players of different generations, who meet to form a unity of like-minded artists, bending the boundaries between inside and outside. Most of the pieces are Rigby originals.

"I've been composing for this band in a way that gives each player enough compositional material to grab on to, but not too much to stifle open-ended improvisation. Ultimately this recording is about freewheeling improvisation and the unique connection that we have formed over the past 6 years performing together as a trio."

That unique sound has its roots in development for more than a decade. Cameron Brown has been with Rigby in various formats since 2005, and Gerald Cleaver first played with the saxophonist in 2001. "I initially played with Gerald on bassist Eivind Opsvik's debut release, and then did some European touring with him shortly after with bassist Thomas Morgan. I've been a fan of Cameron's since hearing him play with Idris Muhammed in Joe Lovano's trio, and on record with the George Adams/Don Pullen Quartet. I knew that putting Cameron and Gerald together would be an extremely exciting concoction."

In addition to the dazzling alchemic pairing of Brown and Cleaver, Rigby's formation of this trio was an homage to the band members' Midwest roots - Brown and Cleaver from Detroit and Rigby from Cleveland.  Both cities have fostered a lengthy list of jazz luminaries, with the Midwest long being a fertile cradle for musical talent.

The result is an ensemble that deeply grooves, has a strong predilection for free improvisation, and is visionary while respecting the lineage of the music. The trio's cohesiveness is enhanced by the musicians' abilities to effortlessly dance between inside and out playing - no doubt evidence of three experienced players sharing similar artistic ideas.

"'ONE" refers to the musical unity the three of us have with each other," Rigby explains. "There is a deep trust we share with one another, allowing for greater risk-taking. The music is always first, so I know whatever happens, we all have each other's back. Playing with these guys is always an adventure - I never really know what's going to happen, which is exciting."

The album opens with "Dive Bar," a fiery tenor saxophone and drums duet. "I love drummers, and I've been fortunate to play with some really great ones over the past several years." Rigby refers to his work in various situations with the likes of Mark Guiliana, Brian Blade, Tom Rainey, Billy Hart, Rudy Royston, Mark Ferber, and R.J. Miller, to name a few. The title "Dive Bar" refers to the now too-few classic New York City musical haunts, such as the original Five Spot, where bands played night after night. "The great bands that played together nightly formed a deep cohesion, such as with the Miles Davis Quintets." Rigby says. "Cameron, Gerald and I have played together a lot over the years in various formats, which has resulted in a strong bond, and I feel we have developed a unique sound as a group. 'Dive Bar' is a very simple 2-part theme, built to spark the bulk of the performance of uncharted improvisation."

The second track, "Dorian Gray," is inspired by the Oscar Wilde work. "It's is built on 2 opposing themes - the first being an odd-meter ostinato that evolves and shifts into the second, a settled yet slightly askew bass ostinato with a contrasting melody on top." This track showcases the trio's unity with the timing between drum and bass groove, complicated rhythms, and angular melody lining up perfectly.

The third track is a departure from Rigby's original compositions, Rodgers & Hart's "You Are Too Beautiful." "This tune that was a big inspiration for me - mainly from the recordings of John Coltrane & Johnny Hartman, and a live Sonny Rollins performance from the late 1950's," explains Rigby. "I read that Dewey Redman expressed frustration with listeners pigeon-holing his playing, as he stated that he loved to play free as much as he loved to play an old standard ballad. The love for both is something I share with Mr. Redman." Cameron Brown's bass solo stretches the time with such patience and musical intent, in a way that wonderfully illuminates his highly melodic style.

Track four, "Newtoon," is a composition by one of Rigby's favorite drummers, George Schuller. The melody is a flowing line that moves through several tonalities in rubato style. The players slip seamlessly into group improvising, while maintaining a consistent thread of connection to the original melody. "I love the idea of playing a tune in a way where the lines between composed material and improvisation become blurred," explains Rigby. "George is such a melodic player on the drums, which is expressed in his composing. I love the way Cameron and Gerald play this piece as if they wrote it."

The Herbie Hancock composition "Speak Like A Child" is track five, and features Rigby's cascading soprano saxophone. "This is another of my favorite compositions, which we pare down into the trio. The absence of a harmonic instrument allows us to stretch into more freedom and space, which I feel has become a defining aspect of this band."

The sixth track is a Rigby original, "Live By The Sword," a free-flowing melodic unison between tenor and bass. Cleaver's swirling playing is particularly atmospheric here. After wisps of melody and space, the performance builds to an intense final statement.

Rigby chose to record a solo version Gershwin's "Embraceable You" for track seven, another of his favorite standards. He begins with an introspective theme that develops into the tune, yet he never fully plays the original melody. The quietest track on the recording, Rigby weaves his improvised lines around the essence of the composition with patience and thoughtful melodic development.

The final track, "Dewey," is part of a suite of music that Rigby composed a few years ago dedicated to saxophonist Dewey Redman and pianist Paul Bley. Beginning with a call-and-response of rhythmic hits and flurrying melodies, the band plunges red-hot into group improvising. Rigby plays with ferocious intensity while Brown and Cleaver stoke the fire. A powerful ending to a varied collection of pieces, this track reveals this band's capacity for primal screaming emotion.

"ONE" is the first of a series of recordings that Rigby plans to release over the next couple of years, showcasing this band of unique unity and vision. They celebrate the CD release on April 29th at The Jazz Gallery in New York City. For more information and tickets, visit jazzgallery.nyc.

Increasingly considered one of the most creative and unique saxophonists of his generation, Jason Rigby has developed a unique voice as a compelling improviser, as well as a composer. An in-demand sideman, Rigby currently tours and records with Mark Guilliana's Jazz Quartet and Beat Music, and has performed with a wide variety of musicians including Chris Morrissey, Kris Davis, Russ Lossing, Owen Howard, Kermit Driscoll, Dan Wall, Mike Baggetta, Eivind Opsvik, Mike Holober, Jeff Davis, Alan Ferber, David Binney, and Aretha Franklin.

http://www.jason-rigby.com

Earth, Wind & Fire, Dr. Lonnie Smith. Michael McDonald, Tower of Power and More to Perform at the JAS June Experience

Earth Wind & Fire

Jazz Aspen Snowmass has announced the remainder of their summer season including line-ups for both the JAS June Experience and the JAS Café Summer Series.

Taking place once again at the Benedict Music Tent and JAS Café in Aspen, CO the JAS June Experience will kick-off on Thursday, June 22 at JAS Café Upstairs at the Aspen Art Museum, featuring the internationally acclaimed Japanese piano sensation Hiromi in duets with Colombian harpist Edmar Castaneda presented by Prada. On Friday, June 23 JAS hosts a double bill featuring five-time Grammy® winner Michael McDonald plus the funky New Orleans based pianist and Late Show with Stephen Colbert bandleader, Jon Batiste and Stay Human. 

On Saturday, June 24, Earth, Wind & Fire will bring their blend of funk, soul, gospel, blues, jazz, rock and dance music to the Benedict stage for the first time, followed by another double bill on Sunday, June 25 including the timeless sounds of the legendary R&B powerhouse horn driven Tower of Power plus former Rolling Stones backup singer (and JAS Café winter hit) Lisa Fischer and Grand Baton. All five headlining Artists at JAS June are making their JAS June performance debuts at Benedict. 

Prior to the Friday through Sunday concerts, JAS will once again provide a Free Lawn Party on the grounds featuring two stages with live music, food, drinks and more. "The Free Lawn Party has become a staple for the community," says Jim Horowitz, JAS President, "with free, vibrant music and a colorful array of booths, the scene has become an integral part of the JAS June Experience."

  

The final show at Benedict Music Tent, a collaboration between JAS and the Aspen Music Festival & School will take place on Saturday, July 1. Billed Ella @ 100: Direct from the Apollo, the show celebrates the 100th Anniversary of the birth of the beloved American jazz and pop singer Ella Fitzgerald. Performers will include the Count Basie Orchestra, alongside three generations of vocalists including Patti Austin (Grammy® nominated for her 2002 album, For Ella), Lizz Wright (JAS performances in 2007 & 2015) and Andra Day (breakout singer of the hit song "Rise" and recently featured on the live Grammy® Awards 2017). Additionally, comedian David Alan Grier, will act as a Co-Master of Ceremonies as attendees take a trip through Ella's life in song after hit song and classic video imagery.

Tickets for the June Experience went on-sale Tuesday, February 21. For the June 23-25 shows tickets can be purchased at jazzaspensnowmass.org, 866-JAS-TIXX (527-8499) or at the Belly Up Box Office in Aspen. Tickets for the July 1st performance are available now through the AMFS box office, aspenmusicfestival.com or 970-925-9042. Patron (VIP) 3-day passes (June 23-25) are available now at jasstore.org

JAS Aspen's summer season starts with a special JAS Café performance upstairs at the Aspen Art Museum on June 22, Hiromi Duet: featuring Edmar Castaneda presented by Prada. This combo of Japanese pianist Hiromi and Columbian born jazz harpist Castaneda, both brilliant and inventive, should make for an exciting start to a packed summer of music. From there the Café continues with 11 more artists performing in three venues: Upstairs at the Aspen Art Museum (AAM) and Downstairs at both the Cooking School of Aspen (CSA) and The Little Nell (TLN).

June 29-30: Jamison Ross - Gifted drummer, composer & bandleader who plays and sings from his drum-set with a smooth tenor equally at home in soul, blues, R&B or jazz. Born into a musical family and steeped in church music, Jamison is a first rate entertainer as well, who knows how to connect with his audience. Winner of the 2012 Thelonious Monk Institute of Jazz Drum Competition. (TLN). 

July 7-8: Dr. Lonnie Smith - Evolution - 2017 NEA Jazz Master and Hammond B-3 organ living legend celebrates his 75th birthday with the jazz, funk and groove sounds of the "Evolution" band, his newest group, recorded on Blue Note Records in 2016. Doc has recorded 70+ lifetime albums recorded with the giants of jazz, blues & R&B! (CSA)

July 14: Butler Bernstein & the Hot 9 - Horn driven celebration led by virtuoso New Orleans bred pianist-vocalist Henry Butler and retro-trumpeter Steve Bernstein and their rollicking high energy small big band that takes early New Orleans jazz on an amazing trip with both dazzling virtuosity and humor. (AAM)

July 15: Clint Holmes & the H2 Big Band: From Sinatra to Ray Charles - Longtime Vegas mainstay vocalist Clint Holmes, backed by a 15-piece Big Band, in a bluesy, brassy celebration of the great American songbook from Sinatra to Ray Charles.  (AAM)

Tower of Power

July 29-30: Ella & Louis: Together Again feat. Byron Stripling & Carmen Bradford - Re-creation of one of the top selling jazz/pop albums in history which brought together Ella Fitzgerald and the legendary trumpeter/vocalist Louis Armstrong. (CSA)

Aug. 10: Cyrille Aimée - Playful and inventive French jazz vocalist, now Brooklyn based, celebrates her roots with her new French band of gypsy musicians. "Astonishingly creative, brilliant, and fresh ...honors tradition without being shackled to the past..." Wall Street Journal (AAM)

Aug. 11: Cubanismo - 11-piece Cuban band taking listeners through the classic repertoire of the greatest Cuban rhythms: salsa, son, guajira (the blues) and more, all drenched in jazz sensibility while celebrating the danceable rhythms which has made the Cuban big band sound beloved worldwide. (AAM)

Aug. 12: Take 6 - Ten-time Grammy® Award winners return to the JAS Café to dazzle audiences with their rhythmic wizardry, pioneered using the voice as a virtual band of instruments while drawing material from a wide range of American musical genres. (AAM)

Aug. 18: Eliane Elias: 100 Years of Samba - Multiple Grammy® Award winning Brazilian pianist and vocalist and her band celebrate the intoxicating high energy Brazilian rhythm "samba," along with Brazilian jazz and bossa nova. Eliane won the 2016 Grammy® for Best Latin Jazz performance. (AAM)

Aug. 19: Nnenna Freelon - Singer, composer, producer, arranger and budding actress, known for her "exquisite musicality," - LA Times, and "impeccably tuned voice and percolating funk based backing band." - Daily Variety. (AAM)

Aug. 20: Jacob Collier -19-year old British pianist/vocalist and multi-instrumentalist who exploded internationally behind the 2016 release In My Room, on which Collier recorded, played and sang every voice and instrument on the recording.  Now signed to the influential Quincy Jones Music, Collier is an astonishing talent who is dropping jaws around the globe and coast to coast. (AAM)

"From multiple Grammy® winners to legendary icons, across genres from traditional jazz vocals to sizzling rhythms from across the globe, from barrelhouse New Orleans sounds to eye and ear opening collaborations, this may be the strongest and most diverse line-up of world class artists in a single JAS Café season to date," says Horowitz.

Michael McDonald

JAS Café Summer Series tickets are on sale now. Individual show tickets will be available along with a summer series pass that includes $50 off the five shows of your choice. Dinner options will also be available for all early shows at both the Aspen Art Museum and the Cooking School of Aspen. Tickets are sold at jazzaspensnowmass.org or 970.920.4996.

On July 21 JAS will hold their summer benefit at the Belly Up in Aspen, raising funds for music education and programming. Guests will enjoy music from The Family Stone, celebrating 50 years of funk and the music Sly and the Family Stone. Tickets for the benefit will go on-sale at a later date.

Rounding out the summer, the 2017 Labor Day Experience line-up announced earlier this year includes Maroon 5, Keith Urban, Daryl Hall and John Oates, The Roots, Nathaniel Rateliff & The Night Sweats, Lake Street Dive and St. Paul & The Broken Bones. Tickets for these shows are available now.

Saxophonist Chad Lefkowitz-Brown Pushes Vigorously Onward with his Sophomore Release, featuring Randy Brecker

At just 27 years old, Chad Lefkowitz-Brown can already look back on a career of impressive accomplishments: he's become widely recognized among his peers as one of the most virtuosic saxophonists of his generation, toured the world with pop superstar Taylor Swift, played with jazz greats from Dave Brubeck to Clarence Penn, is a member of Arturo O'Farrill's multi-Grammy winning Afro-Latin Jazz Orchestra, received numerous DownBeat Student Music Awards, and become the youngest faculty member at San Francisco Conservatory of Music, where he'll help mold a new generation of jazz musicians alongside innovators like Robin Eubanks, Matt Wilson, David Sanchez and Julian Lage.

But despite having accrued enough laurels for an artist several decades his elder to rest on, Lefkowitz-Brown has firmly set his sights in one direction: Onward. With his new album of that title, out May 12, the saxophonist takes another leap forward with a set of original compositions and jazz standards that spotlight his ferocious chops and boundless musicality. He leads a quartet of longtime collaborators and friends - pianist Steven Feifke, bassist Raviv Markovitz, and drummer Jimmy Macbride, all of whom have been exploring music together at least since their high school days - and is joined on two tracks by legendary trumpeter Randy Brecker, who lends his imprimatur to a rising star whose expressive voice bears comparison with Randy's late brother, the iconic saxophonist Michael Brecker.

In addition to looking onward in terms of the music that he plays, Lefkowitz-Brown has shown a savvy ability to cultivate a younger fanbase through his outreach on social media. With more than 40,000 followers across platforms like Instagram, Facebook and YouTube, Lefkowitz-Brown has found a way to connect with the elusive millennial audience. In that aspect of his career he's learned a few tricks from his sometime boss Taylor Swift - albeit on a much smaller scale.

"A mom-and-pop coffee shop still has to take cues from Starbucks," the saxophonist shrugs. "I think that applies to jazz musicians as well. There's only so much that I can take from the pop world into the jazz world, but it's been exciting for me to see through social media that there are a lot of young kids out there who are passionate about jazz and want to hear people playing and improvising at a really high level."

Though still poised at the nascent stages of a promising career, Onward reveals the fruits of what has already been a wealth of rich and diverse experience. Lefkowitz-Brown earned his earliest performing credits on stages in his native Elmira, New York, where he played alongside then-septuagenarian drummer George Reed, a jazz veteran who'd accompanied legends like Marian McPartland and Teddy Wilson.

"Growing up playing with George really shaped my development as a musician," Lefkowitz-Brown says. "No matter how interested I became in modern concepts, he would always pull me back and remind me of how deep the tradition of jazz is."

Lefkowitz-Brown continued his education at the Brubeck Institute, where he was able to play regularly with the program's namesake, jazz giant Dave Brubeck.  He's since performed on the stages of renowned jazz venues and on more high-profile gigs including concerts at Carnegie Hall, Madison Square Garden, and the Super Bowl, often alongside Swift. "Experiencing first-hand the process of performing pop music to stadiums full of adoring fans made me value the importance of connecting with people through performance, even when playing more creative music," he says.

That wide-ranging approach, ability to communicate with listeners and familiarity with the music's history is evident in Lefkowitz-Brown's playing as well as that of his bandmates throughout Onward. Having worked and evolved together since their teenage years, Lefkowitz-Brown says, has resulted in a shared perspective on their own place in that spectrum. "We all play a lot of different music, anything from free jazz to fusion," he says. "But we all seem to settle into a home base with each other. Our favorite type of jazz aligns and I feel good that this music is representative of what we love to play."

The album kicks off with the leader's forceful title track, a blistering introduction to Lefkowitz-Brown's muscular approach to the horn. The mid-tempo "Franklin Street" is a nostalgic look back at his childhood home, while "Deviation" is a tribute to Brubeck and his singular path through the music. The simmering "Impetuous" hoists the description as a positive mantle, while "Blues for Randy" turns up the funk for a romp with Brecker.

Stevie Wonder's familiar "Isn't She Lovely" shows off Lefkowitz-Brown's gift for melodic elaboration, while he faces down Coltrane's "Giant Steps," a trial by fire for every tenorman, with fearless bravado, propelled by Macbride's driving rhythms. He turns to breathy tenderness for "The Nearness of You," and closes the album with a brisk jaunt through Cole Porter's "All of You," transforming the standard into a blisteringly swinging workout.

www.chadlefkowitz-brown.com

Guitarist Alex Goodman Opens a New Chapter Featuring a Stellar Band of Next-Generation Jazz Voices on Second Act

After five years in New York City, Alex Goodman has not only established himself as a rising star and significant voice in the jazz mecca, but has gathered together a gifted group of peers, each of whom are quickly forging a path forward for the music's next generation. The guitarist/composer began his career in his native Toronto, becoming an integral part of the scene in the Canadian city and receiving a wealth of accolades across the country. The CBC News hailed him as having "taken the jazz world by storm [and] attained a level of fame and success in the insular jazz community that few other Canadian guitarists can match." In 2014 he received international recognition winning both first prize and the Public's Choice Award at the Montreux Jazz Festival International Guitar Competition in Switzerland.

Goodman's last release, Border Crossing, documented his initial reactions to his move to NYC and his acclimation to a new setting. With his fifth album, Second Act, Goodman looks poised to make a similar impact in his adopted home, revealing a vision shaped by the Big Apple's thriving modern jazz scene and by the dedicated and accomplished group of musicians with which he has surrounded himself.

As the title implies, Second Act (out June 23rd via Lyte records) signals a new beginning as much as the closing of a particular period, and the album's eleven striking compositions more than live up to that promise. A stunning departure from the chamber-jazz style of Border Crossing, the music on Second Act balances inventive composition and thrilling improvisation, with pieces that boast exhilarating, fluidly angular melodies and intricate architecture but which spark electrifying spontaneity from Goodman and his deft quintet.

"Second Act is my first CD comprised of a New York City based band that was assembled around the member's similar artistic vision," Goodman says. "All the music was written while I've been living here, and it all relates to the things that happen in the life of a musician living in New York City."

Given the agility of the playing and the depth of communication throughout the album, Second Act features a band that has obviously spent a good deal of time getting to know each other's sonic personalities. Goodman is joined by four peers who have also come to the city from a variety of disparate places and experiences: saxophonist Matt Marantz (Texas), pianist Eden Ladin (born in NYC but raised in Israel), bassist Rick Rosato (Montreal) and drummer Jimmy Macbride (Connecticut). They've each formed relationships with such envelope-pushing artists as Avishai Cohen, Will Vinson, Lage Lund, Nir Felder, Terence Blanchard and Jonathan Batiste, while working together in a variety of settings, spurring each other onward into exciting new territory.

"Everybody in the band is on the same wavelength both musically and personally," Goodman says. "I think we all share the same creative mindset, where everybody has a very firm foundation in the tradition of jazz but is also very creative and adventurous. Each one of them brings some of their own personality and identity to their playing, which I really value, but they're also very well rounded musicians who can do a lot of different things."

To enhance the music's already wide-ranging palette, Goodman added layers of human voice to the pieces after the initial studio sessions, writing new parts for the wordless vocals that interweave with not only his originally written material, but also the band's in-the-moment interpretations. He enlisted a talented pair of fellow Canadians to sing the parts: Felicity Williams, a longtime collaborator who also appears in a similar role on Border Crossing, and Alex Samaras, a key contributor to the Canadian jazz and new music scenes. Goodman often layers the two vocalists' contributions, offering him the option of employing sinuous lines or lush, swelling choruses as desired.

Rosato's knotty bass initiates "Questions," the album's brisk opening track, highlighted by the sauntering swing of Ladin's piano solo. "The First Break" is fueled by Macbride's intense, mechanistic rhythms and the composer's serrated guitar, while the infectious "Departure" gradually accumulates from a tenuous solo intro passed off from Goodman to Ladin, which finally unfurl into the piece's memorable melody. The leader's ringing, resonant solo playing provides an extended overture for the exultant "Losing Cool," a showcase for Goodman's alluring vocal writing.

"Empty" erupts from the outset with an overdriven rock urgency, contrasted by the mysterious, ethereal hush of "Heightened," before that piece gives way to sheer, joyous swing. Marantz wends a boldly eloquent solo through the bustling "Sharon," while Goodman's fleet fretwork and Ladin's burbling Rhodes intermingle rapturously on "Welcome To New York." "Apprehension" adds soaring vocals to an already lyrical melodic cascade before "Acrobat" closes the album on a wistful, free-floating note.

The bliss and brusqueness that Goodman balances throughout Second Act are an apt portrait of life in the jazz metropolis, reflecting what the composer calls "a tension that exists in living and being a musician in New York City. It's difficult and crazy and sometimes out of control, but at the same time there's something fulfilling and exuberant about it. It's so inspiring to see the level at which everything is happening all around you. Just to be a part of that has been really powerful and life affirming."

Alex Goodman has been hailed as "a definite musical voice" (Guitar International), "a jazz phenomenon the world over" (Birmingham Times), "genius" (La Presse) and "among the best in jazz today" (Improvijazzation). The Toronto native released his leader debut, Roots, in 2007 and his 2013 album Bridges was nominated for a JUNO, Canada's highest musical honor, as Contemporary Jazz Album of the Year.

Since moving to New York in 2012, Goodman has recorded with artists including John Patitucci, Dick Oatts, Kevin Hays and Rich Perry and performed with a variety of notable jazz musicians including Charles Lloyd, Eric Harland, Ari Hoenig, Jane Monheit, Ben Wolfe, John Ellis and John Riley. He was awarded a 2013 ASCAP Herb Alpert Jazz Composer Award, has written a book of solo guitar etudes and has composed extensively for jazz groups, chamber groups, orchestras, big bands, and string quartets. Along with performing at top New York City jazz clubs such as Smalls, the Appel Room at Lincoln Center, Mezzrow, 55 Bar, Smoke, National Sawdust and Cornelia Street Cafe, Goodman has toured the world, playing prestigious international venues such as the Kennedy Center in Washington D.C., Massey Hall in Toronto and Club Unterfahrt in Munich. He's also performed on the stages of prestigious international jazz festivals including Winter Jazz Fest in New York, the Montreal Jazz Festival and the Montreux Jazz Festival. He is a graduate of the Master's Program in Jazz Performance at the Manhattan School of Music.

www.alexgoodmanmusic.com

Gerald Cannon Plays in a Remarkable Variety of Combinations on his Long-Awaited Sophomore Release

14 years after releasing his self-titled debut as a leader, bassist Gerald Cannon makes his long-overdue return with Combinations. Due out July 14 on Cannon's own Woodneck Records, the album makes up for lost time by mixing and matching a range of styles, moods and collaborators from across the spectrum of Cannon's far-reaching career.

In Cannon's virtuosic hands, Combinations carries a multitude of meanings. There's the obvious fact, first of all, that no two tracks on the album feature the same line-up of musicians, juggling ten of the bassist's closest collaborators in a variety of combinations. Then there's the diversity of sounds represented by the compositions (almost half of which were penned by Cannon himself): everything from simmering post-bop to boisterous funk, frantic modern jazz to elegant ballads, gospel to bossa nova. Then, as legendary bassist and Cannon's mentor Ron Carter points out in his liner notes, there's the many hats that Cannon wears, making him a combination of bassist, composer, arranger and producer.

"Not only did I want to do a record with a combination of my favorite musicians," Cannon explains, "but I wanted to do a record with a combination of different styles."

Cannon assembled the perfect line-up of musicians with which to realize that goal. The pool of artists from which he drew for the session includes saxophonists Gary Bartz, Sherman Irby and Steve Slagle, trumpeters Jeremy Pelt and Duane Eubanks, pianists Kenny Barron and Rick Germanson, guitarist Russell Malone and drummers Willie Jones III (who also co-produced the album) and Will Calhoun. Together with Cannon they combine and recombine in quintet, quartet, trio, duo and - in the bassist's memorable, heartfelt closing rendition of "Darn That Dream" - solo configurations.

"Everybody on this record is an honest musician," Cannon says. "They play their personalities."

The same could be said for Cannon, who has played with an impressive list of legendary musicians since arriving in New York City from his native Wisconsin more than thirty years ago. That encyclopedic lists includes his longtime tenure in the Roy Hargrove Group and the McCoy Tyner Trio, along with stints with Art Blakey's Jazz Messengers, the Cedar Walton Trio, and bands led by Elvin Jones, Dexter Gordon, Jimmy Smith, Joe Lovano, Monty Alexander and Stanley Turrentine, as well as playing with a host of legendary Cuban musicians.

Combinations comes out of the gate robustly swinging, with a tune by another early mentor, Slide Hampton. "Every Man is a King," which Cannon learned from a version by one of his bass heroes, Sam Jones, features a bold quintet with Gary Bartz and Jeremy Pelt out front, anchored by Cannon and his regular trio of Rick Germanson and Willie Jones III. That trio gets to shine on the classic ballad "How My Heart Sings," revealing fragility reminiscent of the classic Bill Evans Trio. Cannon's own ballad "A Thought" is highlighted by the sensitive touch of Kenny Barron, which sounds gorgeous in conversation with Sherman Irby's lithe alto.

Steve Slagle makes the most of his sole appearance with an unaccompanied intro to Duke Ellington's "Prelude to a Kiss," which is immediately contrasted by the frantic rhythms of Cannon's ode to his usually-packed home subway station, "Columbus Circle Stop." Cannon fell in love with authentic bossa nova while touring Brazil, and offers his own version in dedication to his late mother, "Amanda's Bossa." Sam Jones' influence returns with his composition "One for Amos," a feature for Cannon's thick, woody tone, while Bartz is the subject of the tribute "Gary's Tune." Also featuring Living Colour drummer Will Calhoun, with whom Cannon plays in a band honoring his former boss Elvin Jones, the tune is built on a soulful groove that Cannon wrote while reminiscing about his teenage years playing R&B in his parents' basement.

"Gary is a good friend and big brother," Cannon says. "The melody that I wrote for that tune had to do with a lot of things I hear him play with McCoy Tyner. Gary's a groovy cat, so soulful and complex at the same time. He's the consummate musician, and I like the fact that he's very true to his feelings about life and the world."

Growing up in the church, Cannon says that it was a rare Sunday that he wasn't either playing or hearing "How Great Thou Art." He recorded this captivating duo version with Russell Malone in honor of his later father, who led his own gospel group during Cannon's childhood. The title tune returns to a blistering quintet format, this time pairing Duane Eubanks with Bartz on the frontline.

That's a lot of combinations, but Cannon can add one more to his resumé: he is renowned as both a jazz bassist and a visual artist. Though he's long kept the two pursuits separate, not wanting to be thought of as a musician who dabbles in painting on the side, he's recently allowed his dual passions to cross paths more often. One of his colorful abstracts graces the inner sleeve of Combinations (alongside one by his gifted son, Gerald Cannon II), and he's begun to recognize how much influence each of the arts has on the other.

"Painting is like a bass solo," he says. "You start at one spot but you don't really know where it's going to end up. All you know is, on a canvas or on a chart, you've got four corners to finish it and at some point you've got to say who you are or what your emotions are at that particular time."

NEW RELEASES:TONY ALLEN – A TRIBUTE TO ART BLAKELY; BAHAMA SOUL CLUB – THE HAVANA REMIXES; GEMMA & THE TRAVELLERS - TOO MANY RULES & GAMES

TONY ALLEN – A TRIBUTE TO ART BLAKELY          

                

On Tony Allen's new EP, A Tribute to Art Blakey, the legendary Nigerian drummer and Afrobeat pioneer best known for his work with Fela Kuti pays tribute to his longstanding idol, the American jazz drummer and Blue Note legend Art Blakey. The 4-track EP features a fiery 7-piece band interpreting Jazz Messengers classics through an Afrobeat prism. The lead track "Moanin'" is available now to stream or download ahead of the EP's May 19 release.

BAHAMA SOUL CLUB – THE HAVANA REMIXES

Hot on the heels of their critically praised album "Havana '58" and with fans worldwide clamoring for more, Bahama Soul Club has now called upon a brilliant range of producers, DJs and artists to put their own personal spin on Bahama's latest release. "The Havana Remixes" is a bright collection of Latin, House, Jazz, Funk, Soul & Disco with a thoroughly modern take on Dancefloor Jazz. Opener "Muévelo Papi" is a stirring 60s Boogaloo-hip-twist by Club Des Belugas, while Smoove turns “No Words” into a fusion of Jazz-house and Breakbeat. Opolopo pulls "Dizzy's Bounce" deeeep into jazzy House while Maestro&Vezzola and Zouzoulectric vs. Gardener Of Delight both having a diverse view on "Tropicana Flight". Suonho jams a more modern Soul-Disco-Funk on "No Words" and amps up the funk quotient on "Muévelo Papi" with a touch of Jazz and a Latin Twist. Rounding off the release is a Nu-skool Brazilika-brukbeat from Positive Flow and some solid Latin funky breaks from

GEMMA & THE TRAVELLERS - TOO MANY RULES & GAMES

Debut album by Gemma and the Travellers gives a nod to early deep soul, r&b, northern soul and 60s funk but with a refreshing twist thanks to the band’s unique talent for songwriting. Contrary to the Motown model where the singer is rarely the songwriter, Gemma M. writes all of her songs with the help of guitarist/producer Robert P. The titletrack to Gemma & The Travellers’ debut album “Too Many Rules & Games” is a song about a woman who has had enough of a world run by men looking only for their own personal glory and fame. Love is the answer to the problems of this world! “Where I Lived Before” is another highlight: “I am looking back at the years of my upbringing living in the south of Italy, a juxtaposition of poverty, injustice and hardship with all the beauty of the land and warmth of the people; it was hard to be a teenager there as my mum would not let me go out, which amplified the rebel in me”, Gemma explains. Recorded live at Lemoncake Studios in northern Brittany, producer Robert P. strived for an authentic and original soul sound with a certain crunchiness and analogue distortion, like that of an old vinyl from the 60s, but without falling under the overused ‘retro’ banner. 

Frank Sinatra 'Baby Blue Eyes… May The First Voice You Hear Be Mine' New 20-Song Collection

Frank Sinatra always saluted his audience with a toast: "May You Live To Be A Hundred And The Last Voice You Hear Be Mine."  Envisioned as a child's first musical library to be shared with the generations before, Tina Sinatra has curated a special compilation of Sinatra recordings for children and parents alike. On May 12, Universal Music Group will release Frank Sinatra: Baby Blue Eyes… May The First Voice You Hear Be Mine.

After combing the songs from Sinatra's Reprise, Capitol and Sony catalogs, Tina carefully chose 20 songs for 'Baby Blue Eyes' that express a father's love, compassion and dreams for children around the world. Featuring a baby photo of Sinatra on its cover, the collection will be available for download purchase or streaming across all major digital music providers worldwide, and at Sinatra.com's Sinatra 100 shop.      

Frank Sinatra always saluted his audience with a toast: “May You Live To Be A Hundred And The Last Voice You Hear Be Mine.” Envisioned as a child’s first musical library to be shared with the generations before, Tina Sinatra has curated a special compilation of Sinatra recordings for children and parents alike. On May 12, Universal Music Group will release Frank Sinatra: 'Baby Blue Eyes… May The First Voice You Hear Be Mine.'

Frank Sinatra always saluted his audience with a toast: “May You Live To Be A Hundred And The Last Voice You Hear Be Mine.” Envisioned as a child’s first musical library to be shared with the generations before, Tina Sinatra has curated a special compilation of Sinatra recordings for children and parents alike. On May 12, Universal Music Group will release Frank Sinatra: 'Baby Blue Eyes… May The First Voice You Hear Be Mine.'

"Dad is perhaps best remembered as a saloon singer. He often referred to himself as such," says Tina Sinatra. "But, first, he was a Father and that emotional connection to the child in all us is ever-present in this collection of songs that I have chosen as a concert to each new generation."

Frank Sinatra:  Baby Blue Eyes… May The First Voice You Hear Be Mine [digital album]

1.Yes Sir, That's My Baby

2.Ain't She Sweet

3.It's A Wonderful World

4.Isn't She Lovely

5.I've Got My Love To Keep Me Warm

6.Pocketful Of Miracles

7.I Believe

8.It's Only A Paper Moon

9.High Hopes

10.Jeepers Creepers

11.Pennies From Heaven

12.How Cute Can You Be?

13.A Baby Just Like You

14.Bein' Green

15.Hush-A-Bye-Island

16.Fairy Tale

17.Young At Heart

18.Dream

19.Put Your Dreams Away

20.Cradle Song (Brahms Lullaby)

LYDELL WILLIAMS KEEPS THE RAW, HEARTFELT NEO-SOUL FLOWING ON HIS EPIC 17-TRACK SET ‘THE SOUND OF MY MELODIES’

The Multi-Talented Indie Singer, Songwriter and Producer’s 2008 Breakthrough EP ‘The Sound’ Led To Success On The Jazz/R&B Festival Circuit and Opening Slots For

Superstars Miguel, Dave Hollister, Eric Roberson, Dwele And Liv Warfield, Among Others

Continuing to fulfill his mission to get back to the roots of R&B and Neo-soul with substance, raw emotions and the no holds barred baring of his deep life experiences, multi-talented singer, songwriter and producer Lydell Williams is set to drop The Sound of My Melodies. It’s an epic 17-track collection that lays the last four years of his heart on the line in a whirlwind of sensual melodic vibes, dope harmonies, lush balladry and dance floor grooves.

In an ambitious marketing move that aims to take the Arkansas bred, Richmond, Virginia based independent artist’s career to the next level, he will be releasing a total of eight singles from the album over a period of months. These include “Groove Your Body,” “Love Drug,” “Soul Tie,” “Don’t Go Looking for Love,” “Heartbeat,” “Get To Know You,” “The Morning After” and “Rain.”

The highly anticipated follow-up to his popular, critically acclaimed previous releases, his 2008 debut EP The Sound and the 2013 mixtape album A Peace of My Soul, Vol. 1, The Sound of My Melodies reflects Williams’ commitment to create a legacy and sound of his own. In his view, the only way to stir up the hearts and souls of people around the world is to give them the straight story of the past few years of his life. The back cover of the album shows the skylines of Little Rock and Richmond as a way to convey his geographical relocation during the time of writing and recording.

“The last four years of pain in particular brought me peace of mind, and taught me to balance,” he says. “Going through all that brought me to a place of hope and love. It brought me to a place where I felt free to write and sing. It brought me The Sound of my Melodies. For the last four years, I’ve been weaving and bobbing through life, going in and out of challenging circumstances, growing and dying, sometimes at the same time.

“I can honestly say now that I wasn’t ready to emerge with this kind of project till now,” Williams adds. “My story in this season hadn’t been completed yet. I still had to be broken and betrayed so I could write about those experiences. I still had yet to have my heart really broken so I could express these emotions. A lot of these songs are based on love, life and romance. Real life experiences and relationships with people that I extended myself and gave love to who didn’t see the purpose in loving me back the same way.  I sing about  the value of genuine commitment, perfect chemistry and the true meaning of connection in songs like ‘Soul Tie.’”

Williams has been on a creative and career roll since The Soundcaught the attention of the industry. He has performed up and down the East Coast at many prominent venues and festivals, from The Howard Theatre and Constitution Hall in Washington DC to the Hippodrome Theatre in Richmond, the Richmond Jazz Festival and Hampton Jazz Festival. Over the years, he has also opened for pop/R&B superstars Miguel, Dave Hollister, Eric Roberson, Dwele, Liv Warfield and Raheem DeVaughn.

Beyond the details of my production, arrangements and vocals, I really worked hard on the dynamics on The Sound of My Melodies,” Williams says. “I love that every song is unique in vibe and lyrical content and that each conveys a different emotion. I’m grateful for the opportunity to convey the sound I’ve put together and touch more lives as I share the album and the singles with the world. Grinding is what keeps the hunger for success growing in my spirit.”

The New York Standards Quartet To Release Sleight of Hand The Much Anticipated Follow Up To Power of 10

It's now approaching twelve years since the New York Standards Quartet (NYSQ) came into being, its core personnel taking time out from their multifarious individual projects to revel in the shared brief of refashioning familiar and lesser- known jazz standards. Their new release Sleight of Hand builds on their catalog of five previous albums (most recently, The New Straight Ahead and Power of 10, on Whirlwind) as saxophonist Tim Armacost, pianist David Berkman and drummer Gene Jackson welcome double bassist Daiki Yasukagawa back into the fold.

Describing the NYSQ's beginnings, David Berkman recalls: "We were at the period where we'd all done a lot of original recordings of our own music, as composers and leaders; and then, through a series of circumstances, we came together as a quartet with the particular mission of taking on standards, but arranging them to create a feeling that was similar to the original albums we recorded. It soon became apparent that audiences really got into the idea and the fun of seeing how we would expand the harmonic, tonal and rhythmic aspects into a more modern frame while always referencing the music's origins." This carries into the thematic approach for Sleight of Hand. Tim Armacost explains further, "the album title refers to the four of us, conjuring transformations of standards and enjoying the magic of creating something new out of that repertoire; really exploring the group's alchemy and chemistry, achieved through twelve years of touring and recording together." 

This is a band that regularly plays and performs together, so there's a common bond, which brings out the best in the arrangements they conjure. Recorded at the end of an international tour - in the beautiful, mountainous location of Lake Yamanaka, close to Mount Fuji (the quartet enjoys a special affinity with Japan) - Sleight of Hand's eight numbers reflect the band's spontaneous, transformational approach, with the title track (based on Gershwin's 'But Not For Me') irresistibly playful.

Mal Waldron's 'Soul Eyes' and Thelonious Monk's 'Ask Me Now' swing with respective vibrancy and jauntiness, while the metrical changes and perky rhythms of 'This I Dig of You' pick up on Hank Mobley's classic Blue Note album origins; and the various key modulations in 'Lover Man' are a world away from Billie Holiday's lingering vocal lines as Armacost's spritely soprano responds swiftly to Jackson's syncopated drum accents.

1940s song 'Detour Ahead' - perhaps mostly familiar in composer Herb Ellis's guitar setting - translates into a luscious tenor and piano-led ballad, sensitively buoyed by Yasukagawa's bass shaping; Jules Styne/Sammy Cahn favorite 'I Fall In Love Too Easily' is treated to sparkling, percussion-led animation; and Armacost's rich tenor lyricism in Duke Ellington's 'In a Sentimental Mood' is ravishingly restrained.

David Berkman relates that the NYSQ's journey continues to energize them: "Going into the recording studio is still as challenging as it is enjoyable, though I guess we feel like we don't need to prove anything anymore! And though we like to pull out obscure tunes, it's also important to include touchstones for our listeners, as everyone relates to them emotionally - there's still a lot of awareness there. These are such great melodies, you can do almost anything with them - and, as always with improvisation, that sense of 'What's happening today?' remains exciting. It's all about a moment." 

NYSQ SLEIGHT OF HAND TOUR DATES:

12th annual tour of Japan in support of Sleight of Hand:

July 13 - RAG, Kyoto

July 14-Azul, Osake

July 15-JB-5, Kobe

July 16-Cafe Soho, Okayama

July 19-So Nice, Takamatsu

July 20-Bird, Hiroshima

July 21-Jazz Society, Iwakuni

July 22-Seagaia Jazz Festival, Miyazaki

July 23-Doji House, Suzuka

July 28-Body and Soul, Tokyo

July 29-NHK Radio Broadcast, Tokyo

July 30-Yumeya, Gunma

August 1-Lifetime, Shizuoka

GRAMMY-NOMINATED SOUL/JAZZ DIVA MAYSA SHINES ON LOVE IS A BATTLEFIELD

Grammy-nominated vocalist Maysa has remained one of the most instantly identifiable voices in R&B and Jazz over the past 25 years by staying true to her musical vision. "I look for soul in a song," explains Maysa, who launched her musical career as a member of Stevie's Wonderlove and who has been a long-time vocalist with the explosive UK Jazz/Funk sensation Incognito. The Baltimore native adds, "I sing mostly positive, uplifting and loving music and lyrics. I am an artist who enjoys being close to the people who support my music. It's about the connection to people and helping someone circumvent the craziness of our world." 

On May 26, 2017, Maysa will release her 13th recording as a leader and ninth for Shanachie Entertainment, Love Is A Battlefield. Maysa joins forces with producers Chris "Big Dog" Davis, The Heavyweights and Jason Miles and re-imagines a handful of R&B gems like  BabyFace's Top 10 Tevin Campbell hit, "Can We Talk," The Isley Brothers' 1970s slow jam "Footsteps In the Dark," Natalie Cole's 1975 #1 hit single "Inseparable" and Luther Vandross' timeless "Because It's Really Love." Maysa also delivers surprises like the album's title track and Pat Benatar's Gold-selling 80s cult classic and Justin Bieber's hit single featuring Big Sean "As Long As You Love Me."

Maysa shares about the CD's first single, "The reason why I chose 'Love Is A Battlefield' is that it has a lot to do with the way the world is today and all of the things we are going through as a people.  As humans, we are surrounded by people who are not choosing love first. People are choosing money over love and compassion. To me, 'Love Is A Battlefield' is just that, a battle to allow love to reign over everything."

Virtuoso Violinist Regina Carter Digs Deep Into the Ella Fitzgerald Catalogue on Ella: Accentuate the Positive

A hundred years after her birth, the ever-eloquent Ella Fitzgerald continues to teach us lessons. Regina Carter has chosen this moment to celebrate the First Lady of Song's infectious and inclusive artistry with unabashed joy. "Accentuate the Positive, I thought was the perfect title considering the mood of the country and the world right now," Ms. Carter says. "We need some positive vibes."

On Ella: Accentuate the Positive, out now from OKeh/Sony Music Masterworks, the virtuoso violinist reveals the many faces of Fitzgerald that have influenced Carter's own remarkable path in music. Apart from the title track of Accentuate the Positive, Carter resists the allure of the songstress' most recognizable hits. Carter has mined tunes from deep within Ella's bountiful catalogue, and brought them to the surface with a distinct freshness. The reward is rich for the listener.

"One of the many things that I adore about Ella is that she just loved music and didn't box herself in," Carter explains. "She recorded everything, not just the American Songbook -- doo-wop, Stevie Wonder and Beatles songs, even some country western music. The fact that she experimented with so many different styles made me feel that, with this record, I would pay respect to her by taking the music and doing something else with it. I feel that she would smile in agreement."

To realize her vision of the album, which transforms the songs through a lens of classic 1950s-'60s soul and blues, Carter calls on an impressive roster of musicians and arrangers. The violinist is accompanied by her longtime rhythm section of bassist Chris Lightcap and drummer Alvester Garnett, and is joined by pianist Xavier Davis and guitarist Marvin Sewell. Both Lightcap and Sewell serve double-duty as arrangers.

This talented group is supplemented by in-demand bassist Ben Williams, producer and hitmaker Ray Angry, renowned vocalist Charenee Wade and pianist Mike Wofford, Fitzgerald's own former accompanist and musical director. Two tracks feature vocals by Carter's fellow Detroiters, actress and singer Miche Braden; and longtime friend and vocalist extraordinaire Carla Cook, who first introduced Carter to jazz violin while the two were classmates at Cass Technical School.

"When people arrange tunes, their voices become part of the recording as well," Carter says. "I wanted to have many voices and many stylistic approaches on this record."

Adoration of Ella Fitzgerald is a theme that is woven throughout the violinist's career. Many songs previously have found their way onto Carter's recordings. For instance, "Oh, Lady Be Good," shows up on 1999's Rhythms of the Heart while "A-Tisket, A-Tasket" appears on the 2006 release, I'll Be Seeing You: A Sentimental Journey, the moving tribute to Carter's late mother. Central to Carter's choice of songs for the album was the ability to spark a connection between the audience and the material, similar to the connection she felt upon hearing Ella for the first time. On the heels of Braden's spirited, gospel-tinged performance on the opening "Ac-cen-tchu-ate the Positive" comes Williams airily funky arrangement of "Crying in the Chapel." Best known as a hit for '50s R&B group, The Orioles, and recorded by everyone from Elvis Presley to Bob Marley, the song was the B-side to Ella's 1953 single "When the Hands of the Clock Pray at Midnight." Lightcap's bluesy take on "I'll Never Be Free" follows, while Davis' sultry Rhodes sets the tone for the slinky groove of Sewell's arrangement of "All My Life."

Wofford's setting of the standard "Dedicated To You" pares the band down to a violin/piano/bass trio, allowing Carter's touching lyricism to shine. Angry gives "Reach for Tomorrow" a shimmering ballad treatment, while Wade's gutsy R&B take on "Undecided" shines the spotlight on Cook's powerhouse, no-nonsense vocal. Carter pairs off with Sewell for an intimate duo rendition of "Judy," the song that jump-started Fitzgerald's career on the stage of the Apollo Theater. Finally, Sewell's gutbucket slide guitar fuels the rootsy version of "I'll Chase the Blues Away" to bring the album to a close.

A student of the violin from age four, Detroit native Carter first focused on listening to classical music. But a vast wealth of influences crept into her ears via her music-loving family. Her older brothers brought home Motown and other soul records, an influence certainly felt on Accentuate the Positive. From her parents' record collection she would pull titles at random -- one day jazz albums, the next, movie soundtracks. It was through that treasure trove that she first heard Ella and instantly was hooked.

"Something about her voice made me feel like I had a personal connection," Carter recalls. "When she sang, I felt really warm and safe, almost a maternal connection. It just felt like love." For Carter, the enchantment continued into adulthood. She grew to realize how much technique and virtuosity were involved in producing a sound so remarkably warm and inviting. "As an adult, I realized what an instrument she (Ella) had," Carter continues. "She had an incredible voice and I gained a lot of respect for her along with the love I had always felt. For years, I would get up and put on an Ella track first thing in the morning. That was the way I needed to start off my day."

Accentuate the Positive is the end result of Carter's daily communion with and lifelong devotion to the music of Ella Fitzgerald. In her heartfelt and deeply personal interpretations of these songs we can hear the same degree of warmth, feeling and elegance that imbued the legendary singer's work as filtered through Carter's singular voice. And that's nothing but positive.

  

Ella: Accentuate the Positive Tracklisting:

1. Ac-Cent-Tchu-Ate the Positive

2. Crying in the Chapel

3. I'll Never be Free 

4. All My Life 

5. Dedicated to You        

6. Reach for Tomorrow   

7. Undecided

8. Judy  

9. I'll Chase the Blues Away

Adam Rogers' DICE Conjures Electrifying Debut with Eponymous Album Featuring Fima Ephron and Nate Smith

Modern jazz virtuosity combusts with a raw, eclectic mixture of rock, funk, blues, country and R&B in a volatile combination that uniquely reflects our time while evoking the gritty street sounds of a bygone New York on the self-titled debut release by Adam Rogers' DICE. The explosive power trio brings together Rogers, one of the most acclaimed and inventive guitarists in modern jazz, with a pair of longtime collaborators: bassist Fima Ephron and drummer Nate Smith.

Together, these three adventurous artists have created a uniquely electrifying sound that merges danger-skirting experimentalism with blistering, genre-defying tunes and spontaneous grooves as tightly coiled as a rattlesnake about to strike. It's a singular concoction, one that could only come from a musician with Rogers' distinctive background and gift for uniting six-string wizardry with gut-churning propulsion.

Due out June 16 on Rogers' own ADRAJ RECORDS imprint, DICE marks the first release on the guitarist's new label as well as the debut of a trio that has been honing its visceral sound for the better part of a decade. The members have shared histories that date even further back, however; all three have been key members of Chris Potter's Underground, while Rogers and Ephron have co-led the uncategorizable group Lost Tribe since the early 1990s.

"The music that we play in this band is so infused by Fima and Nate's incredible capacity to really groove their asses off, regardless of how complex the music can become." Rogers says. "They have a phenomenal hook-up, both in terms of their natural talents and their ability to objectively conceptualize music."

Those qualities are key to the risk-taking approach of DICE, which uses the written material as the leaping-off point for powerfully infectious music created entirely in the moment. It's composition as a roll of the dice.

Rogers' formative years were spent on the streets of New York City at a time when a staggering range of music poured out of every house you passed by. He was surrounded by music in his own home, where both his parents were Broadway performers who raised him against a steady backdrop of show tunes, jazz standards, popular song and opera. He came of age captivated by everything from The Beatles to James Brown, The Temptations to Led Zeppelin, Parliament Funkadelic to Jimi Hendrix. He discovered jazz through fusion pioneers like Herbie Hancock's Head Hunters and Weather Report before tracing the music back to its source, finding inspiration in the music of Charlie Parker, Miles Davis and John Coltrane.

"In New York in those days," Rogers recalls, "radios were always playing everywhere, right out on the street. I was profoundly affected by that; the music I heard cast a spell on me when I was young. There was so much instrumental musicianship evident in all of that era's popular music, which, combined with what I heard at home, ultimately created the musical groundwork for me to start to appreciate jazz."

Some of Rogers' own earliest musical experiences were found on those same streets, as the young guitarist and his fellow musicians -- including Ephron -- would drag their axes and amps to a pre-Disneyfied Times Square to play for passersby. "We had gasoline generators and had certain places that we knew we could play where the cops wouldn't stop us, and we played between two and three sets a day, five or six days a week. It was a wild and beautiful and crazy environment, and we would play music that was exciting, fast and loud so that we'd get the crowds enthusiastic."

The music of DICE harkens back to those days, both in its excitement and in the techniques that Rogers and his fellow musicians honed to improvise and sustain chunks of groove in order to adjust to the unpredictable audiences. The same method can be heard throughout the trio's album, from the taut, crunchy chords that open the album with the nasty skronk-funk of "Dice" through the grungy, steamroller heaviness of closer "Seven."

"Chronics" begins with a deceptively simple blues-rock twang before taking a psychedelic twist at the end with the Beatles-inspired post-production addition of Mellotron and Clarinet overdubs -- an attempt, Rogers explains, to "put a little Schubert into the funk." Rogers embellishes many of the tunes on the album with lush layers of sound: samples, synths, clarinets, organ, Fender Rhodes, percussion and other elements that nod to the more sophisticated elements that sit side-by-side with the live vitality and expert musicianship of many of his influences.

The percussive guitar strumming at the heart of the funky "Sea Miner" and "Elephant" has a direct antecedent in the revered fretwork of Jimi Hendrix, while the deep-rooted Delta blues style of "The Mystic" is a direct tribute to the legendary Mississippi Fred McDowell. The dreamlike collage of "The Interlude" is just that, an entr'acte built on the foundation of a freely improvised groove. It's followed by the searing, syncopated thrash of "Flava," which is suddenly interrupted by a stunning, abstract piece of musique concrete borrowed from music for a theater piece Rogers scored.

Taken at a blissful lope, DICE's version of the Patsy Cline classic "Crazy" -- written by Willie Nelson -- luxuriates in the lyrical, warm sound of the Fender Telecaster. Rogers was inspired to interpret the song by Tele masters like Jimmy Bryant, James Burton and Roy Buchanan, putting his own unique, warped accent on the tradition over Smith's whispering brushwork and Ephron's swaggering bass. The brashly playful "L the Bruce" pays homage to iconic comedian Lenny Bruce in its irreverence and dark, edgy sense of humor.

On DICE, Rogers, Ephron and Smith tap the vein of a cityscape to find a vital source of visceral musical invention. It's rock, it's funk, it's blues, it's country, it's throat-throttling jazz as only these three innovative artists can create it.

DICE marks an exhilarating new direction for Rogers, best known as a versatile and innovative jazz guitarist who has toured and recorded with a diverse array of artists including Michael Brecker, Cassandra Wilson, Norah Jones, Joe Jackson, Walter Becker, Paul Simon, Regina Carter, John Zorn, Randy Brecker, Ivan Lins, Marcus Miller, The Mingus Orchestra, Chris Potter, The Gil Evans Orchestra, John Pattitucci and Ravi Coltrane, among others. He has previously released five albums as a leader in trio, quartet and quintet formats and appeared on over 200 albums.