CRAFT RECORDINGS TO RELEASE DELUXE EDITION PACKAGE CELEBRATING THE 60TH ANNIVERSARY OF SONNY ROLLINS’ ICONIC ALBUM, WAY OUT WEST

On February 16, Craft Recordings will release a deluxe edition of one of the most iconic and enduring records in jazz. Celebrating the 60th anniversary of the recording session in 2017 and the 60th anniversary of the first stereo release of the album in 2018, Way Out West, alongside Saxophone Colossus, cements Sonny Rollins’ status as one of the top tenor saxophonists of all-time. This meticulously compiled package pays appropriate tribute to the importance of the landmark recording with an audiophile-quality pressing of the original album and a second LP of bonus material featuring rare and previously unreleased tracks from the legendary 3 A.M. session with bassist Ray Brown and drummer Shelly Manne. Both records are pressed at Quality Record Pressings (QRP) on 180-gram vinyl from lacquers cut by George Horn at Fantasy Studios. GRAMMY® Award-winning writer Neil Tesser contributes liner notes, which include excerpts from a recent interview he conducted with Rollins especially for this release. Rare photos by famed jazz photographer William Claxton round out the collection, which comes housed in a handsome, hinged box.  More info below on the album and Rollins.

Way Out West (Deluxe Edition) will also be available at streaming outlets, mastered for iTunes, and in Hi-Res digital (96/24 and 192/24) on street date. Pre-order Way Out West (Deluxe Edition) on Amazon.

Track Listing:

Disc One - Original Way Out West Album

Side A

A1. I’m an Old Cowhand

A2. Solitude

A3. Come, Gone

Side B

B1. Wagon Wheels

B2. There Is No Greater Love

B3. Way Out West

Disc Two - Bonus Tracks from the Way Out West Recording Session

Side A

A1. Monologue: You Gotta Dig the Lyrics (previously unreleased)

A2. I’m An Old Cowhand (alternate version)

A3. Dialogue: Titling “Come, Gone” (previously unreleased)

A4. Come, Gone (alternate version)

Side B

B1. There Is No Greater Love (alternate version, previously unreleased)

B2. Way Out West (take 1, previously unreleased)

B3. Way Out West (alternate version)

Over his long and distinguished career, Sonny Rollins has made many dozens of albums. Among those recorded during the ’50s -- Prestige's Saxophone Colossus, Blue Note's A Night at the Village Vanguard, Riverside's The Sound of Sonny and especially Way Out West, originally recorded for the Contemporary label -- qualify as all-time Rollins classics. The session for Way Out West, Rollins' first-ever in California, was called for at 3 a.m. to accommodate personnel's busy schedules and included bassist Ray Brown and drummer Shelly Manne. Sonny, who could never be accused of overstatement, announced after four hours of recording, “I’m hot now.” What transpired on the date was nothing less than magic, with Brown and Manne effortlessly supporting Rollins and pushing him to new peaks on “I'm an Old Cowhand,” "Way out West,” “There Is No Greater Love” and “Come, Gone,” the latter a cookin’ take on the timeless ballad “After You’ve Gone.”  This deluxe edition celebrates this landmark album in Rollins’ career with a full second LP of rare and previously unreleased bonus material, deluxe packaging, new liner notes by Grammy®-winning writer Neil Tesser and rare photos by famed jazz photographer William Claxton.

Theodore Walter Rollins was born on September 7, 1930 in New York City. He grew up in Harlem not far from the Savoy Ballroom, the Apollo Theatre and the doorstep of his idol, Coleman Hawkins. After early discovery of Fats Waller and Louis Armstrong, he started out on alto saxophone, inspired by Louis Jordan. At the age of thirteen, he switched to tenor and fell under the spell of the musical revolution that surrounded him, Bebop. He began to follow Charlie Parker, and soon came under the wing of Thelonious Monk, who became his musical mentor and guru. Sonny quickly separated himself from the pack, working and recording with Babs Gonzales, J.J. Johnson, Bud Powell and Miles Davis before he turned twenty. “Of course, these people are there to be called on because I think I represent them in a way,” Rollins said recently of his peers and mentors. “They’re not here now so I feel like I’m sort of representing all of them, all of the guys. Remember, I’m one of the last guys left, as I’m constantly being told, so I feel a holy obligation sometimes to evoke these people.”

Rollins throughout his long and decorated career released a series of landmark recordings, several of which would change the shape of jazz: “Valse Hot” introduced the practice, now common, of playing bop in 3/4 meter; “St. Thomas” initiated his explorations of calypso patterns; and “Blue 7” was hailed by Gunther Schuller as demonstrating a new manner of “thematic improvisation,” in which the soloist develops motifs extracted from his theme. Way Out West (1957), Rollins’ first album using a trio of saxophone, double bass and drums, offered a solution to his longstanding difficulties with incompatible pianists. During the years 1956 to 1958, Rollins was widely regarded as the most talented and innovative tenor saxophonist in jazz.

He has since gone on to win numerous awards, including his first performance GRAMMY for This Is What I Do (2000), and his second for 2004’s Without a Song (The 9/11 Concert), in the Best Jazz Instrumental Solo category (for “Why Was I Born”). In addition, Sonny received a Lifetime Achievement Award from the National Academy of Recording Arts and Sciences in 2004. His continued advocacy for jazz music has earned him recognition of the highest order throughout his exemplary career, including induction into the Academy of Achievement (2006), the Austrian Cross of Honor for Science and Art, First Class (2009), membership in the American Academy of Arts and Sciences (2010), the Edward MacDowell Medal (2010) and the Medal of Arts (2011), which was bestowed upon him by President Barack Obama in a White House ceremony. Rollins accepted the award, the nation’s highest honor for artistic excellence, “on behalf of the gods of our music.”

On December 3, 2011, Sonny Rollins received Kennedy Center honors, alongside actress Meryl Streep, singer Barbara Cook, singer/songwriter Neil Diamond and cellist Yo-Yo Ma. Rollins said of the honor, “I am deeply appreciative of this great honor. In honoring me, the Kennedy Center honors jazz, America’s classical music. For that, I am very grateful.”

NEW RELEASES: RECORD KICKS – FUNK SIDES; RODNEY GREEN QUARTET FEAT. WARREN WOLF – LIVE AT JAZZHUS MONTMARTRE COPENHAGEN; EDDY SENAY – HOT THANG

RECORD KICKS – FUNK SIDES (VARIOUS ARTISTS)

Record Kicks proudly present "Funk Sides", the new compilation featuring 14 deep funk cuts taken from the label's vaults, out today in every digital store. Under its motto "The explosive sound from Today's scene", Milan-based independent label Record Kicks, together with similar outfits like Daptone, Jazzman, Freestyle or Timmion Records, has been pitching the so-called "Deep Funk" scene for 14 years. After the previous installment "Soul Sides" here's "Funk Sides" another irresistibly infectious compilation made of 14 heavy funk pearls from the Record Kicks vaults. Featuring tracks from Marta Ren & The Groovelvets, The Liberators, Hannah Williams & The Affirmations, Dojo Cuts, Martha High & Osaka Monaurail, Calibro 35 and many more. Play it loud!

RODNEY GREEN QUARTET FEAT. WARREN WOLF – LIVE AT JAZZHUS MONTMARTRE COPENHAGEN

The name of vibist Warren Wolf is emblazoned proudly across the front cover here – and for good reason, too – as the musician really steals the show in performance by a quartet led by drummer Rodney Green! The set's live, and maybe a bit looser than some of Warren's recent records – with long tracks that really showcase that boldly chromatic style he brings to his work on vibes, and which make him maybe our favorite contemporary talent on the instrument. And the group's also got strong work from Jacob Christoffersen on piano and David Wong on bass – rounding out the sound nicely, and given the whole thing maybe a bit more force and color than some of the more staid vibes/piano settings. Titles include "Bud Powell", "Emily", "Budo", "Just One Of Those Things", "Well You Needn't", and "Humpty Dumpty". ~ Dusty Groove

EDDY SENAY – HOT THANG

A heck of a great little guitar funk album – one of two rare sides cut by the amazing Eddy Senay! The record's all-instrumental – and Eddie's fuzzed-out guitar takes center stage over tripped-out arrangements that recall the best psychedelic funk of the early 70s – bubbling along with just enough drums, bass, and keyboards to make for a chunky bottom groove – while Senay wails over the top on guitar! The record reminds us of similar guitar funk albums from the time – including the work of Dennis Coffey, Eddie Fisher, or Donald Austin – but the groove's even more laidback and trippy, with a few nice breakway moments from the rhythm section. Tracks include "Jubo", "Hot Thang", "Message of Love", and great covers of "Ain't No Sunshine" and Donny Hathaway's "Zambezi". (Limited colored vinyl pressing). ~ Dusty Groove

NEW RELEASES: TARDO HAMMER & PETER WASHINGTON – LIVE AT MEZZROW; JOHN MCCOWEN – SOLO CONTRA; STANLEY TURRENTINE – THE LOOK OF LOVE

TARDO HAMMER & PETER WASHINGTON – LIVE AT MEZZROW 

A set recorded live at the Mezzrow Jazz Club in New York, but one that's definitely in keeping with the other titles in the Smalls Live series – even if the setting is different! Pianist Tardo Hammer and bassist Peter Washington get wonderful space to stretch out here – taking familiar tunes on long, live readings – with sublime interplay between the bass and piano, and some wonderfully creative solos throughout! The format is simple, but there's magic throughout – and the whole setting is a great reminder of that special sort of spirit that comes from well-matched creative talents in jazz. Titles include "Bean & The Boys", "Milestones", "It Could Happen To You", "Star Eyes", "Isn't It A Pity", "Hackensack", and "These Foolish Things". ~ Dusty Groove

JOHN MCCOWEN – SOLO CONTRA

The "contra" here is a contrabass clarinet, not a stringed contrabass – yet John McCowen manages to play his instrument in a way that greatly resembles the larger wooden source of acoustic sound! The tones are very deep, and very slow-rising – used by McCowen in this wonderful way that makes us aware of textures we never would have expected from the instrument – none of the clearer reed elements you might normally hear, and instead these deep, rumbling elements that are as powerful as they are minimal! CD features three long tracks – "Fur Korv", "Chopper HD", and "Berths 1 to 3". ~ Dusty Groove

STANLEY TURRENTINE – THE LOOK OF LOVE

Stanley Turrentine's a hell of a soloist in a large ensemble setting – and there's possibly no better place to hear that talent at work than on this classic 60s date for Blue Note! The format's a bit different than other Turrentine records of the time – no small group romping, nor larger band soul jazz – and instead this laidback and classy mode that's handled with a heck of a lot of soul by arrangers Thad Jones and Duke Pearson – with this sophisticated vibe that almost points the way towards some of Stan's ballad work of the 70s. Strings are balanced nicely with jazz inflections from players who include Hank Jones, Roland Hanna, and Duke Pearson on piano – plus Kenny Burrell on guitar, Benny Powell on trombone, and both Snooky Young and Jimmy Nottingham on flugelhorn. Titles include "The Look Of Love", "Emily", "I'm Always Drunk In San Francisco", "MacArthur Park", "Blues For Stan", "This Guy's In Love With You", and "Here There & Everywhere". (SHM-CD pressing!)  ~ Dusty Groove

NEW RELEASES: SPIKE WILNER & THE SMALLS LIVE ALL STARS – A SET OF ORIGINALS; IAN HENDRICKSON SMITH – LIVE AT SMALLS VOL. 3; NICK HEMPTON – LIVE AT SMALLS

SPIKE WILNER & THE SMALLS LIVE ALL STARS – A SET OF ORIGINALS

We've always loved Spike Wilner as a pianist, but this set's also a great reminder that he's a hell of a composer too – as all the tracks, save one, are originals by Wilner – and played by a strong quintet of all-stars from the Smalls club that he manages himself! The album's a brilliant testament to the kind of open, expressive, yet still-swinging jazz that Wilner's helped foster strongly over the past decade or so – and the group shines from work by Ryan Kisor on trumpet, Joel Frahm on tenor, Tyler Mitchell on bass, and Anthony Pinciotti on drums – musicians who definitely have a warm spirit that ties them together strongly. Some of these songs are really wonderful – tunes that are already tremendous, before the solos – which make them shine even more. Titles include "Iceberg Slim","Upasaka", "Trick Baby", "10th Street Rag", "La Tendresse", "Sasquatch", and "Stitch In Time". ~ Dusty Groove

IAN HENDRICKSON SMITH – LIVE AT SMALLS VOL. 3

The third Smalls Live appearance by saxophonist Ian Hendrickson Smith – and maybe the best so far! Ian's a player that you might know from his work in The Dap-Tones and Roots – but he's also a hell of a jazz musician, too – and does a fantastic job here in a quintet that features Ryan Kisor on trumpet, Spike Wilner on piano, Adam Cote on bass, and Lawrence Leathers on drums! The notes are a bit spare, but it sounds like Ian's playing alto on many tracks – blowing in this crisp, soulful style that takes us back to Lou Donaldson's early 60s years on Blue Note – but with a more open, extended vibe – thanks to the beautiful Smalls Live presentation! Kisor and Wilner are both great, too – musicians who really seem to hit their best strides in a concert setting – and titles include a great reading of "Book's Bossa" – plus "This Love Of Mine", "For All We Know", "I'm A Fool To Want You", and "Willow Weep For Me". ~ Dusty Groove

NICK HEMPTON – LIVE AT SMALLS

A fantastic setting for the tenor talents of Nick Hempton – a set that was supposedly recorded on a day when he'd set fire to his compositions, and lost his piano player – leaving the remaining trio to perform here out of a set of familiar changes and loosely-structured grooves! The result is wonderful – with Nick's crispy horn right out front, with support from George Delancy on bass and Dan Aran on drums – all making great use of the long-spun format of the Smalls Live sessions, which seem to be a perfect setting for such a recording! Hempton's grabbing our ears here like never before – with a rawness to his tone, while still swinging strongly – and in best live improvisation tradition, the changes from the familiar tunes are really transformed – which makes the whole record way more than you'd expect from the titles. Tracks include "Droppin A Franklin", "Poor Butterfly", "Not The Sort Of Jazz That Stewart Lee Likes", "Whistlin Blues", "Blues To You Rudy", and "When I Grow Too Old To Dream". ~ Dusty Groove

Jazz-funk group Under The Lake resurfaces with “Jazz, Groove & Attitude”

Like the name of one of their seminal influences, The Crusaders, Under The Lake has crusaded in the name of rhythm and groove, making jazz-funk records that don’t fit neatly into any box. Powered by the dual-horn attack of tenor saxophonist David Evans and trombonist John Moak, and armed with eleven original new songs composed and produced by keyboardist Jayson Tipp, the Portland, Oregon-based group will release their fourth album, “Jazz, Groove & Attitude,” on February 23. The Mind In Overdrive label release that will be serviced and promoted on multiple jazz radio formats after the holidays coincides with the 25th anniversary of the band’s debut disc, “Dive In.”

Relying on live instrumentation consisting of warm and earthy horn harmonies, danceable rhythm guitar riffs, rubbery bass lines and sturdy drum beats, Under The Lake sounds like a throwback to the vintage soul-jazz bands that pioneered the growth of contemporary jazz in the ‘70s and ‘80s. Although the group’s previous three platters garnered generous radio spins and chart action throughout the world in addition to receiving the plaudits of critics – from JazzTimes, Jazziz and the New York Daily News in the U.S. to major media outlets in France, Germany and Canada – Under The Lake didn’t veer from their path in order to tailor their records for commercial purposes. The tunes on “Jazz, Groove & Attitude” average nearly six minutes in length. The music has a lively energy and soulful edges as melodies and grooves develop and flow freely and spontaneously with ample time to simmer before erupting into a boil. The focus track at radio will be “George Is His Name,” a cut inspired by the late George Duke. Another song of note is “LJT,” which was written in honor of Team USA’s Lee Evans, John Carlos and Tommie Smith who are remembered for turning their 1968 Olympics medal ceremony into a fist-raised protest. 

Tipp said, “As a kid growing up in the ‘70s, the music that I enjoyed most tended to have a little more interesting chord changes and extended musical passages. When I began my recording career and formed Under The Lake in the early ‘90s, smooth jazz was at its height and we never fit neatly into that or any other format. After a couple of lengthy breaks as our lives went in divergent directions, I reformed the band with a plan to record again. I reflected on what music I really wanted to play and it just seemed natural to gravitate back to what had influenced me early on. Over the last several years, I had gotten a lot deeper into The Crusaders and Joe Sample’s catalog. As the band and material came together, having a tenor (sax) and trombone leading the melodies seemed to bring it all together.”

The rebooted Under The Lake lineup consists of Tipp, Moak (Ella Fitzgerald, Dave Brubeck, Randy Brecker, Diane Schuur, Branford Marsalis), Evans (Pete Fountain, B.B. King, Nicholas Payton, Gladys Knight, Four Tops, Temptations), drummer Brian Foxworth, bassist Kenny Franklin, guitarist  Evan Mustard, alto saxophonist Nat Caranto and special guest Joe Powers on harmonica.

After 1993’s “Dive In,” Under The Lake followed up two years later with “Up For Air,” took a decade-long “life” pause and regrouped to issue “People Together” in 2007. The unit has performed at top West Coast festivals and venues, sharing the marquee with contemporary jazz forces Sample, Billy Cobham, Stanley Jordan and Keiko Matsui. To pave the way for “Jazz, Groove & Attitude,” Under The Lake will play First Taste Oregon in Salem on January 27 and headline a tribute to The Crusaders at the PDX Jazz Festival in Portland on the album’s street date.    

Reflecting fondly on the occasion of Under The Lake’s silver anniversary while enthusiastic about what’s ahead, Tipp said, “Even after all these years, I still run into folks that remember the band or shows we’d done years ago. The music from the first few albums still gets played on various outlets. I think ‘Jazz, Groove & Attitude’ is the best collection of material I’ve assembled with some really talented musicians. I hope that people enjoy it, that it starts the ball rolling so we can build on the momentum, creating new opportunities for us to perform in front of more audiences in more places.”

                   

“Jazz, Groove & Attitude” contains the following songs:

“Breaking Through”

“Good Things”

“November 30th”

“George Is His Name”

“Father’s Day”

“Second Time Around”

“LJT”

“Full Of Life”

“I Just Can’t Wait”

“Rise And Shine”

“September Groove”

www.UnderTheLake.com

NEW RELEASES: BEST OF FAR OUT 2017; CHAIRMEN OF THE BOARD FEATURING KEN KNOX – WORDS LEFT UNSAID; SUGARAY WAYFORD – THE WORLD THAT WE LIVE IN

BEST OF FAR OUT 2017 (VARIOUS ARTISTS)

In the label’s 23rd year, release number 200 arrived in the form of a ridiculously ahead of its time long lost album from 1976 by the musical god Hermeto Pascoal. Mystical Brazilian psych-folk from the Quartin catalogue was unearthed in the form of Piri’s Voces Querem Mate? Sabrina Malheiros made a very welcome return with her first studio album in four years and it was well worth the wait. São Paulo’s can-do-no-wrong 10-piece Nomade Orquestra did no wrong with their earth-traversing second album EntreMundos. And the dancier side of things saw scorching heat from some ultras of underground music including Ron Trent, Dego and Ig Culture as well as newer names on top of their game like Max Graef, Glenn Astro and Contours, who each did Ivan Conti Mamao proud reworking a groove from the Azymuth drummer’s forthcoming solo album. Here’s a selection of some of our Far Out highlights of the year. Includes: Hermeto Pascoal - Danca Do Paje; Azymuth - Fenix (Ron Trent Remix); Nomade Orquestra - Jardins de Zaira; Piri - Reza Brava; Philippe Baden Powell – Chica; Sabrina Malheiros - Salve O Mar; Arthur Verocai - Bis (feat. Azymuth); Ivan Conti - Azul (Max Graef Remix); Sabrina Malheiros - Clareia (2000Black Remix); Far Out Monster Disco Orchestra - Vendetta (Al Kent Dub Mix); Dokta Venom - I Owe U Something; and Ivan Conti - Mamao's Brake (IG Culture Remix).

CHAIRMEN OF THE BOARD FEATURING KEN KNOX – WORDS LEFT UNSAID

Wonderful contemporary work from the legendary Chairmen Of The Board – not exactly the same version of the group that climbed the charts at the start of the 70s, but one that definitely gets their spirit completely right! The album's a recent recording, but it features plenty of vintage talent on board – including the Philly songwriting team of the Steals Brothers, and Detroit soul legend McKinley Jackson on production work – handling things with an approach that really reminds us of the kind of group soul albums they cut back in the day! Ken Knox is the lead here, with a very different style than that of General Johnson – and in a way, the album's maybe thought of best as a criss-cross between classic Philly group and Detroit modes, rather than just another Chairmen Of The Board set. Titles include "Each Morning I Wake Up", "Words Left Unsaid", "No One Else", "I'm Ready Willing & Able", "Get Your Lovin", "All I Need Is You Tonight", and "Get Your Lovin (DJ mix)". ~ Dusty Groove

SUGARAY WAYFORD – THE WORLD THAT WE LIVE IN

Sugaray Rayford looks like a vintage soul singer on the cover, and he sounds like one too – here on an album that may well be the first time he really found his groove! Previous Rayford efforts have been a bit more blues-based, but the approach here goes strongly for a deep funk style – using a tight backing combo, and sometimes a trio of female backup singers – all to bring Sugaray's strong vocals into the territory of older southern soul! The instrumentation's never too overdone – and respectfully always leaves the tremendous vocals in the lead – on titles that include "Home Again", "Don't Regret A Mile", "Take Me Back", "Keep Moving", "What Do We Own", "The World That We Live In", "Troubles", and "Ain't Got No Business To Die". ~ Dusty Groove

"Moving Day," Second CD by Bassist/Composer Mark Wade

Mark Wade Trio Moving Day On their 2015 debut, Event Horizon, bassist and composer Mark Wade and his trio displayed an uncanny empathy and earned a warm reception from press, radio, and fans. Moving Day, his sophomore recording which will be released February 2 by his label Mark Wade Music, showcases the evolution of the trio's tight, seemingly telepathic interplay.

"We've had a chance to develop a sound and identity and an understanding of one another as an ensemble. We had some of that with the first CD," he explains, citing his bandmates Tim Harrison, on piano, and drummer Scott Neumann. "But this CD, three years later, shows that we've really formed some strong chemistry together. By the time we got to the recording session, we had been playing some of these tunes live in front of audiences a number of times."

Wade started writing music for Moving Day a few months after the release of Event Horizon, and the new album includes seven harmonically and rhythmically challenging originals as well as inventive arrangements of the standards "Autumn Leaves" and "A Night in Tunisia" (reinterpreted as "Another Night in Tunisia"). With the exception of "In the Fading Rays of Sunlight," the gentle waltz that closes Moving Day, all of the selections utilize frequent meter changes.

The meter shifts are not immediately obvious, however, due to the way Wade, Harrison, and Neumann keep their performances flowing so perfectly. "There aren't many tunes that don't have at least one or two meter changes," Wade explains. "It wasn't my intention to do that. It was just kind of the way the music worked out." 

Mark Wade was born on December 29, 1974, outside Detroit in Livonia, MI. He taught himself to play bass guitar at 14 in Long Valley, NJ. During his senior year in high school in Morristown, NJ, he joined the Royal Nonesuch, a rock quartet for which he began writing original songs.

He attended New York University, studying with renowned bassist Mike Richmond, who encouraged him to take up acoustic bass for jazz and to hone his arco technique and sight-reading abilities in order to better play European classical music. He received a B.A. in music with a concentration in jazz in 1997. Wade considers Richmond, whose extensive resume includes work with Stan Getz, Jack DeJohnette, Lee Konitz, and Mingus Dynasty, a major influence, along with Ray Brown, Paul Chambers, Scott LaFaro, Michael Moore, and Red Mitchell.

Over the past 20 years, Wade has balanced his musical schedule between jazz, classical, and commercial gigs. His jazz credits include playing in the string section for the Jimmy Heath Big Band's performances of Ernie Wilkins's Four Black Immortals; backing singer Stacey Kent on The Today Show; playing with trumpeter Bill Warfield's New York Jazz Repertory Orchestra; and recording with singer Elli Fordyce. Wade has performed with numerous classical ensembles, including the Key West Symphony backing guitarist Sharon Isbin and violinist Robert McDuffie, both of them Grammy winners. He is presently principal bassist of the Bronx Opera Company.

Bill Warfield, who directs the jazz program at Lehigh University (where Scott Neumann and Tim Harrison also teach), invited Wade to join the faculty in February 2017. The bassist commutes one day a week from his home in Queens to the university in Bethlehem, PA, to give private lessons on both acoustic and electric basses.

The Mark Wade Trio's gigs at Club Bonafide in Manhattan, Flushing Town Hall in Queens, and other venues have greatly increased since the release of Event Horizon, and Wade's own raised profile resulted in his landing a spot in the 2016 DownBeat Readers' Poll as one of the year's Top 10 bassists. The ensemble had its first appearance in Europe in late 2017, including a performance at the Sunside Sunset Club in Paris. Interest in the trio's music was sparked in Europe when the Edition 46 label in Berlin reissued Event Horizon a year after Wade released it himself in the U.S.

Wade does not take for granted the rapport he, Harrison, and Neumann have established, which is evident in their ability to flawlessly navigate consistently challenging original compositions and arrangements in a flowing, unforced manner. "I'm really lucky that I have guys to work with to put this together," Wade says. "I'm only one-third of the sound. It takes all three of us to make it happen, and they do a really great job with it. We've been able to develop a certain kind of language together that helps bring out something deeper than just your average run-of-the-mill trio that you might throw together at a session."

The Mark Wade Trio will be performing CD release shows at the Airtrain Jazz Festival, Jamaica, NY, on 2/15, and Club Bonafide in NYC, 3/3.   

NEW RELEASES: OMAR SOSA & NDR BIGBAND - ES:SENSUAL; DAVE VALENTIN - LAND OF THE THIRD EYE; LUXURY SOUL 2018

OMAR SOSA & NDR BIGBAND - ES:SENSUAL

Es:sensual presents a continuation of pianist-composer Omar Sosa’s collaboration with Hamburg’s NDR Bigband (North German Radio—Norddeutscher Rundfunk) and acclaimed Brazilian cellist-composer-arranger Jaques Morelenbaum, whose inaugural effort can be heard on the Omar Sosa-NDR Bigband CD Ceremony (Otá, 2010). Recorded at NDR’s Hamburg studios under the direction of Sosa and Morelenbaum, Es:sensual features the latter’s vivid arrangements of selections from Omar’s CDs Free Roots (1997), Mulatos (2004), Promise (2007), Across the Divide (2009), and Ilé (2014). Rooted in Afro-Cuban spiritual and percussive traditions and intimately versed in a range of contemporary world musics, Omar’s finely textured compositions present Morelenbaum with the foundation to summon forth an expansive palette of sounds, inspiring the NDR Bidband’s brilliant soloists, maximizing the ensemble’s sonic potential, and providing ample latitude for Sosa’s own luminous keyboard improvisations. ~ Michael Stone

DAVE VALENTIN - LAND OF THE THIRD EYE

A fantastic funky album from flute man Dave Valentin – done right after his time on the New York Latin underground, including some work with Ricardo Marrerro – and in that lean, sharp sound of the early years of the GRP label! The vibe here is more CTI than the smoother later sound of the imprint – and the arrangements have plenty of space for Dave's flute to soar out in Bobbi Humphrey-like solos – amidst larger charts from Dave Grusin, Dennis Ball, and Valentin himself. Grusin also plays a fair bit of keyboards on the record, Marcus Miller plays bass, and one track features sweet guest vocals from Luther Vandross and Patti Austin. Titles include "Open Your Eyes", "Fantasy", "Astro March", "Land Of The Third Eye", and "Sidra's Dream". CD features a bonus 7" mix of "Sidra's Dream". (Hybrid Super Audio CD pressing – works on standard CD players!)  ~ Dusty Groove

LUXURY SOUL 2018 (VARIOUS ARTISTS)

Expansion begins each year with one of the label’s most anticipated collections, “Luxury Soul”. The success of the series comes down to the quality of tracks sourced from independent soul music artists, often unsigned or with recordings previously unissued or on limited release elsewhere. This year’s set includes music by Linda Clifford, Shirley Jones with The Jones Girls and Cool Million feat. Keni Burke, artists from the 70s/80s appearing at the UK’s Luxury Soul Weekender in January. Also for the first time on CD is music by Tristan, Chris Jasper, Myles Sanko, Robb Scott, Marcus Anderson and The Wanda featuring Chaka Khan, Tristan feat. Heston, Marcus Anderson feat. Anthony Saunders, Will Wheaton & Bridgette Bryant, Soulutions, Lina, Gordon Chambers, Kim Tibbs, Jay King, Kenya, Marcia Mitchell, Dimitris & Sulene, Sir Piers feat. Frank McComb, Brian Power, Mather & Kingdon, The BritFunk Association, Andre Espeut Quintet, Crack Of Dawn, Cool Million feat. Gregers, Bobbi Humphrey, Kazu Matsui Project, Sophia Ripley, Robb Scott feat. Sylvia Mason, Adika Pongo feat. Christopher Williams, The Groove Association, Kashif, Tracy Hamlin, Watergates, Leon Ware, and Lonnie Hill.

BIGYUKI (Talib Kweli, Matisyahu & A Tribe Called Quest Collaborator) Announces Debut Album Reaching For Chiron

Torn between the ferocity of the equine and the civility of man, Chiron was considered to be the noblest of the centaurs. His front legs were not of a horse but of a man. He trotted about mythological worlds as a refined anomaly, forged with the best traits of both beasts. For keyboardist and songwriter BIGYUKI we are all on the verge of that transformation with our digital devices amplifying and polishing our intellects. His debut album Reaching For Chiron is a perfect synthesis of heart and technology, heavy beats and buoyant melodies.

"We don't memorize phone numbers anymore. We don't memorize maps. It's like a part of the brain now," says BIGYUKI. "There is an ongoing discussion about AI creating a god or summoning a devil. I kind of feel like in the near future there is no way a human will develop themselves without help from AI. It's a unity between human and machine."

BIGYUKI is naturally the perfect embodiment of that modern man. Raised in Japan, he moved to Boston to attend the Berklee College of Music. Up until that point a majority of his keyboard experience had been with the classical masters. "Playing classical music I learned how to depart from this realm. Me becomes not me. That's when I learned that. I love Chopin. I could really relate as my young self. He has beautiful melodies. I loved it. I think that part is still in me. Whatever music I play, it's always there."

Not long after arriving in Massachusetts, BIGYUKI began to see the changes, expanding and acquiring the knowledge that would create his powerhouse sound. An encounter with the much sought-after drummer Charles Haynes at Wally's Cafe landed BIGYUKI a church gig in the Boston suburb of Dorchester, one of the most diverse neighborhoods in the state. "People seemed to like my enthusiasm, attitude and maybe my playing. I didn't know any songs but I have an ear that doesn't suck. I can figure it out." And he did. He played that gig for six years, lasting far longer at the church than at the college. "That really kind of gave me a sense that maybe where you are from and what your background is doesn't really matter."

A move to New York helped to solidify BIGYUKI's transformation. He worked regularly with hip-hop artists like Talib Kweli and Matisyahu and made numerous contributions to the long-awaited return from A Tribe Called Quest. All of these elements -- Chopin, jazz, gospel, hip-hop -- reside between the keys on BIGYUKI's debut, trampling anyone who stands in the way.

  

The album opens by tuning into an intergalactic transmission with the ethereal "Pom Pom," a malleable swim through space dust that is engulfed in a storm of synths, Randy Runyon's panic attack-inducing guitar and drummer Justin Tyson's driving hi-hat. Despite its intensity, "'Pom Pom was one of the simpler ones," BIGYUKI explains.

He gets an assist from Taylor McFerrin on two tracks. "Eclipse" features vocalist Chris Turner in a swoony mood, crooning poet J. Ivy's impassioned lyrics over drummer Louis Cato's thundering presence. Drummer Marcus Gilmore sprinkles the funk on "Missing Ones," a chill-out crawl that blinks breathlessly from the atmosphere.

"Coming up with the bass lines and the changes was the easy part. Harmonies and melodies are very simple but then coming up with a form? Figuring out how to make the four-minute piece interesting enough so that you don't stop in the middle of it? That's the hard part." "Belong" and "In A Spiral" both showcase BIGYUKI's more sensitive side.

"Belong" features some of BIGYUKI's most delicate work on the album. Amid the clipped rhythms programmed by Reuben Cainer, BIGYUKI channels an inner calm that becomes even more stripped down on "In A Spiral," a virtual cabaret performance amidst the unrelenting futurism found throughout the album.

"I wanted to come up with something that was straight fire. That was the idea. Let's make something that hits people hard." There isn't any mystery to "Burnt N Turnt." BIGYUKI is aiming straight for the club floor with help from producer Bae Bro. The two mix samples and synthesizers for a menacing spin. "Boom," the duo's second collaboration further along the record, is equally indebted to the heavy jam, vocal samples twisted into place by dense drum programming.

"It was after one of those taping sessions for Stephen Colbert's late show. I was part of the house band for two months. I started jamming over my piano figure with Louis Cato and I recorded it on my phone." That sample made its way into the final recording of "NuNu." Drummer Lenny "The Ox" Reece lays down a skittering track that melds seamlessly with a distant vocal sample manipulation. There is a latin-ish vibe simmering beneath the surface throughout. "Reuben Cainer sprinkled a little bit of his flavor to it and the rest is blood and tears."

BIGYUKI first worked with Bilal years ago. The soul singer is the main guest on "Soft Places" making the tune decidedly his own. "You know that it's Bilal as soon as you hear his tone. He gives musicians such a freedom to stretch. He makes the music his playground." With help from co-producer and sound designer Stu Brooks, BIGYUKI presents a post-apocalyptic love song that veers through time to create a soundscape that ears can easily tumble into.

"Simple Like You" puts hip-hop in the center of BIGYUKI's universe. Javier Starks brings a swagger to the album that is refreshing and unexpected. A staccato riff keeps everyone on their toes while Celia Hatton's top melody on viola packs a hard-left turn with a symphonic break.

The album closes with "2060 Chiron," another floating collaboration with Cainer. An industrial pulse surrounds the futuristic song that is also incredibly indebted to the science fiction soundtracks of the 1980s. And as quickly as it arrives it goes, taking with it the future of BIGYUKI, the shape-shifting keyboardist, part man, part beast, all soul.

BIGYUKI · Reaching for Chiron

Likely Records · Release Date: February 2, 2018

Urban-jazz maestro Eric Valentine will launch his “Velvet Groove” featuring a bouquet of contemporary jazz luminaries

When he isn’t anchoring the beats as a first-call drummer for a virtual who’s who list of contemporary jazz stars, Eric “Mr. Chocolate” Valentine has been locked away in his Chocolate Cave studios near Los Angeles conceiving and crafting “Velvet Groove,” the first of what he envisions to be a movement of urban and jazz “music you can feel.” With the title track enriched by hypnotic trumpet forays from Rick Braun and sultry sax embellishments by Richard Elliot already in the Billboard Top 20, Matcha Entertainment will issue the album produced by Valentine on Valentine’s Day 2018.           

                   

Stepping out from behind his drum kit, Valentine thrives plying his skills as a songwriter and multi-instrumentalist on “Velvet Groove,” playing keyboards, synths, bass, vocals, percussion and drums on the disc comprised of ten full songs - nine of which he penned or co-penned – along with three reprises. The star power illuminating the high-level session of deft rhythms and grooves include Grammy winner Kirk Whalum, multiple Grammy nominee Gerald Albright and chart-toppers Elliot, Braun, Adam Hawley, Elan Trotman, Brian Simpson and Greg Manning. Pianist Wayne Linsey, jazz fusion guitarist Alex Machacek, and percussionists Lenny Castro, Munyungo Jackson and Ramon Islas are among those who texturize the lush tracks.

A vital element to Valentine’s vibrant melodies and “sing-able” harmonies, and an important contributor to what he calls “my Velvet Groove community” is R&B vocalist B. Valentine (formerly known as Baskerville Jones), Eric’s wife, who can be heard cooing soulfully throughout the album and sings lead on “Back in the Day.” Her upcoming solo release is one of several projects currently under construction by the Velvet Groove collective that they aim to release in 2018.

“Through the Velvet Groove platform, I’m really striving to push the idea of community. We’re trying to get all the musicians recording at the same time, vibing off of one another. People have become so socially compartmentalized these days that they don’t know how to communicate anymore. The positivity and good vibes we’re creating within the Velvet Groove community can be heard and felt in the music. It’s about giving back and being helpful. We’re trying to live the example we want people to embrace. We want our music to make people feel love, joy and happiness, using our musical gifts to inspire and uplift people to a better place, and to choose kindness rather than conflict,” said the hopeful Valentine.

A Washington, DC native who released his debut album, “Eric Valentine’s Jazz Impressions,” in 2003, the longtime Los Angeles-area resident has toured and recorded globally with smooth/contemporary jazz stalwarts Braun, Elliot, Peter White, Euge Groove and the Dave Koz Cruise as well as rock guitar giants Joe Satriani, Steve Lukather and Steve Vai on the G3 World Tour. An artist who had a significant impact on Valentine was late bassist Wayman Tisdale for whom Valentine wrote “‘Tis So Sweet” for “Velvet Groove.”

“The sounds and grooves on Wayman’s early recordings made me study and practice to his music, not knowing that I would go on to perform shows on a couple of tours with him. His melodies are always sing-able and his grooves are strong. He’s definitely still one of my musical influences.”

“Velvet Groove’s” lone reboot is a fresh take on Stevie Wonder’s “Joy Inside My Tears,” which includes members of Wonder’s horn section on the track. “I always thought it was one of Stevie’s underappreciated songs that never really got its due. We came up with a fresh arrangement for it, giving it a celebratory feel. To me, it’s a song about anyone you hold in high regard, someone who stood in the gap for you and really had your back through a difficult time.”    

Eric Valentine & Velvet Groove’s “Velvet Groove” contains the following songs:

“Back to the Groove”

“E. Love (Everlasting Love)”

“Velvet Groove”

“Back in the Day”

“Mr. Z”

“That Guy”

“Velvet Groove Reprise”

“Mi Sol”

“‘Tis So Sweet (for Wayman Tisdale)”

“Joy Inside My Tears”

“Sixth Sense”

“Joy Inside My Tears (Reprise)”

"Reflections (Back in the Day Reprise)”

NEW RELEASES: LOUIS CATO - STARTING NOW; OLLI AHVENLAHTI - THINKING WHISTLING; LISA B. - I GET A KICK: COLE PORTER REIMAGINED

LOUIS CATO - STARTING NOW

Nice work from Louis Cato – a singer with a style that warmly crackles along with his grooves – partly in a soul-based mode, but with more of the depth of the singer/songwriter world – as Louis is clearly an artist who doesn't care which genre he appeals to the most! That's not to say that Cato is very way-out, just very personal – in a wonderfully special head space that comes through both in the way he phrases his lyrics, and puts together the instrumental core of the tunes – which often have his own guitar alongside shifting percussion, bass, and other elements – almost all of which are handled by the singer himself. Titles include "In My Reach", "Back & Forth", "Starting Now", "Light", "Someone Else", "SE Interlude", "Anymore", and "Look Within".  ~ Dusty Groove

OLLI AHVENLAHTI - THINKING WHISTLING

A long-overdue comeback from pianist Olli Ahvenlahti – the musician who made so many wonderful records on the Finnish scene in the 70s, and whose sound here shows that he hasn't dimmed his talents at all over the years! Olli plays piano throughout, in a quartet that features Jussi Kannaste on tenor, Antti Lotjonen on bass, and Jaska Lukkarinen on drums – a group that's maybe a bit more down to earth than his 70s ensembles, but who still have an incredible sense of soul! All tunes are originals by Olli, and they do a great of of mixing angular rhythms with a forward-flowing sense of lyricism – a sound that would already be strong enough if it was Ahvenlahti with a trio, but which gets even greater with the addition of tenor. Titles include "Black Forest Air", "Thinking Whistling", "Minor Minor", "Say It Again", "Miles Away", "Little White", and "A Piano Song". (Includes download with bonus tracks!) ~ Dusty Groove.

LISA B. - I GET A KICK: COLE PORTER REIMAGINED

Lisa B. (Lisa Bernstein) is a jazz singer and songwriter as well as a widely published poet and spoken word performer. On "I Get A Kick: Cole Porter Reimagined", her newest CD and sixth as a leader, she applies her vocal gifts and poetic prowess to fresh interpretations of ten tunes by Cole Porter, one of the finest of the lyricists and composers (unconventionally, he was both) who created the Great American Songbook. According to Lisa B, “My five previous CDs were largely original music, and it was time to tackle the works of another songwriter. I was always drawn to Cole Porter’s writing, and I’ve been singing his tunes in my live performances for years. In his lyrics and his shifting, major-to-minor harmonies, you can hear a dual nature. He was an outsider and a high society partygoer, a gay man in a closeted era, a breezy wit perfectly crafting up-to-the-minute, amusing lyrics who could pivot to expressing powerful longing and sadness. I guess I’m attracted to these tensions – his suffering soul, and his charm.” Lisa B chose to record ten songs Porter composed for stage and screen between 1929 and 1954. Although many jazz singers have sung and recorded Porter’s tunes, Lisa B set out to present them in adventurous ways while still hewing to the essences of the lyrics and music. I Get A Kick: Cole Porter Reimagined is stylistically diverse, offering a new arrangement of each song spanning bebop, beguine, bossa, ballads, sultry funk, and more. As for the lyrics, each tune includes almost all of Cole Porter’s words, from the introductory verses to the choruses to the once-censored parts. Plus, Lisa B adds her original improvised vocalese on two tracks and spoken word segments on three others.

LEVIN BROTHERS new (live) album SPECIAL DELIVERY

The Levin Brothers' 2014 self-titled debut release was a long overdue first album by two brothers who've been recording individually for ... well, a lot of years! It was a return home to the music they first shared as kids, the 'cool jazz' of the 1950's. After decades of making dozens of solo albums and hundreds as sidemen for other artists, 'Levin Brothers' was the first duo project they started together from the scratch. It was a labor of love to compose melody-based pieces in that '50s style, and perform them with the chemistry of musicians who play like ...like brothers! For the album and the live band, Pete and Tony recruited two friends, saxophonist Erik Lawrence and drummer Jeff "Siege" Siegel. In the studio and live they wear suits and ties, part of immersing themselves in the genre.

In preparation for the original release, the Levins contacted a prominent Jazz manager to help them navigate today's market. Tony recalls, "When the manager saw the album cover, he said, 'this screams jazz!', we looked at each other and thought, 'great!', but the manager said, 'no, no, that's terrible! that's the worst thing you can do! Nowadays you have NOT to look like a jazz group.' We were shocked! That's a bizarre concept for the music industry, but it's funny to us. We're thinking, "if it screams jazz, no problem!' We're proud of that, still are!

The Levin Brothers band first hit the road in 2015. Their second tour, in 2017, kicked off with three weeks in South America, then back home to the USA: Massachusetts, Connecticut, Pennsylvania, upstate New York, finishing up in New York City. When they returned from South America, the band was "hot". So they arranged to have three of their live gigs recorded. This album is the result, eleven of their favorite pieces recorded at three of their shows. Special thanks go to engineer Robert Frazza, and to Leonardo Pavkovic of MoonJune Music who makes these live gigs possible.

Recorded live by Robert Frazza during the North-American leg of Levin Brothers Tour 2017: March 30, Natick, MA (Natick Center For The Arts); March 31, Schenectady NY (The Van Dyck Lounge); April 1, Rochester, NY (Lovin' Cup).

Since graduating from the Eastman School of Music, Tony Levin has become bass and Chapman Stick voice for Peter Gabriel and King Crimson. he has played on notable recordings for John Lennon, Pink Floyd, Lou Reed, Alice Cooper, Carly Simon, and many others, as ell jazz artists Buddy Rich, Gary Burton and Chuck Mangione. He currently records and tours with Stick Men, King Crimson and Peter Gabriel.

After graduating from the Juilliard School, Pete Levin became a synthesizer specialist in the New York City recording studio scene. Over the years, he has graced hundreds of jazz and pop recordings and performances with many artists, including Gil Evans, Jimmy Giuffre, David Sanborn, Annie Lennox, Charles Mingus, Jaco Pastorius, Lenny White and Paul Simon. he has released nine solo albums.

Erik Lawrence is a longtime member of Levon helm's Midnight Ramble Band. His innovative band Hipmotism features Sex Mob's slide trumpeter Steven Bernstein. Equally proficient on flute and saxophone, Erik's career as a sideman has included work with Buddy Miles, Chico Hamilton, Joan Osborne, Little Feat and The Spin Doctors..

A veteran of the New York Jazz scene, Jeff 'Siege' Siegel has worked with a virtual who's-who of jazz artists. A member of Sir Roland Hanna's Trio from 1994-1999, Jeff has performed and recorded with Jazz legends including Ron Carter, Kenny Burrell, Lee Shaw, Jack DeJohnette, Benny Golson, Frank Foster, Helen Merrill and Mose Allison.

  

Catch The Levin Brothers band live in 2018:

Tuesday January 2 - Kennett Square, PA (Kennett Flash)

Wednesday January 3 - Vienna, VA (Jammin' Java)

Thusday January 4 - Annapolis, MD (Ramshead)

Friday January 5 - New Hope, PA (Havana)

Saturday January 6 - Montclair, NJ (Trumpets)**

Sunday January 7 - Woodstock, NY (The Colony)

Thursday January 18 - Tokyo, Japan (Blues Alley)

Friday January 19 - Yokohama, Japan (Motion Blue)

Saturday January 20 - Nagoya, Japan (Star Eyes)

Monday January 22 - Osaka, Japan (Banana Hall)

** NEW DATE. There is no New York City gig anymore at The iridium.

Danny Fox Trio releases third album The Great Nostalgist

Hot Cup Records announces the January 19, 2018 release of The Great Nostalgist, the third album by the NYC- based Danny Fox Trio.  Since its critically acclaimed 2011 debut The One Constant (Songlines) and 2014 follow-up Wide Eyed (Hot Cup), the group has continued to push the boundaries of the classic piano trio format.  The Great Nostalgist, recorded to tape in the living room of a 100-year old house in the Catskills, captures the band's uniquely personal, genre-defying original music in a warm, intimate setting with no headphones, isolation booths, or overdubs. Falling somewhere between jazz and chamber music, the album's ten pieces are replete with sonic surprises: quirky rhythms, jaunty yet catchy melodies, haunting harmonies, and out-of-the-box arrangements that spotlight the capabilities of each member of the group, all while maintaining tuneful melodies.  The modern yet tradition-embracing music filters themes of nostalgia, early influences, and old haunts through the lens of the present.

Formed in 2008, the Danny Fox Trio, featuring pianist Danny Fox, bassist Chris van Voorst van Beest, and drummer Max Goldman, is a true working band. Whether holed up in a Brooklyn basement rehearsing or touring around the country crammed into a sedan, the trio has spent countless hours developing a rapport that's immediately palpable in their music.

Though rooted in jazz, the three versatile musicians are also active in chamber music, bluegrass, electro, and New Orleans rhythm and blues, thereby giving the band a sound that is all-encompassing yet strikingly individual. Having committed these intricate and challenging compositions to memory and performed them scores of times, the influence and aesthetic of rock bands is readily appreciated.

The trio explores a wide range of novel techniques to eschew standard forms and roles.  The piano, typically both the lead melodic and harmonic voice, rarely performs these two roles simultaneously. Instead, Fox opts for textures that feature the abilities of his bandmates and explore the more extreme ranges of the piano. In addition to fulfilling the traditional role as rhythmic anchor, bassist van Voorst van Beest provides melodies, counterpoint, and coloristic arco effects adeptly. Goldman employs traditional drumbeats effectively, but often opts for a more orchestral approach, mimicking symphonic playing.

The ten pieces on The Great Nostalgist navigate through a vast array of grooves, harmonies, time signatures, tempo shifts, free improvisations, and dynamics while always remaining grounded in the thematic material, giving the music a seamlessness and cohesion that make it both challenging and highly listenable.

The album opens with the rolling piano figures, moody bass melody, and haunting cymbal howls of "Adult Joe," an homage to old friends and kiddie nicknames.  The first six bass notes plucked by van Voorst van Beest provide the theme that spins out into the various sections of the piece.  "Theme for Gloomy Bear," written for a giant pink stuffed

animal with claws, alternates between wistful ballad and pulsating trancelike grooves.  In the earliest version of the piece, Goldman conceived the shaker figure using a mint tin which burst open and left stray mints lurking in Fox's living room to this day.

"Jewish Cowboy (the Real Josh Geller)" summons Fox's love for minor-key country tunes, tapping into one of his earliest influences: the bluegrass of artists such as Doc Watson that his parents would play on car trips.  The ominous bass chords of the middle section evoke a dusty mountain range before the spirited hootenanny-like group improvisation closes the song.  The first of two ice cream themed titles, "Cookie Puss Prize," named for the Carvel mascot Fox won in a fifth grade ice cream eating competition, begins with a swirling contrapuntal duet between the piano and bass before the drums sneak in with a bouncy polyrhythmic Afro-Cuban groove.  "Truant" was composed in short bursts in the practice rooms of Harvard University amidst repeatedly being kicked out by a dour front desk attendant. The piece scrambles frantically with tumbling piano/bass melodies giving way to momentary respites of calm. The lone solo piano piece of the album, "Caterpillar Serenade" could be the underscoring for a movie trailer and flashes back to an early family home movie where Fox's brother sings him a happy first birthday on a caterpillar-shaped accordion.  "Preamble" begins with two short improvised piano and bass sections, each set against an off-kilter ostinato.  A similar figure resurfaces where the drums improvise over the squirrely, record-skipping rhythm.  Named for an impossibly neon green ice cream treat from the 80s, "Fat Frog" is a nostalgic, old-timey piece with an intro that conjures a theater curtain rising up.  The hopeful opening notes are quickly hijacked into darker terrain as the melody careens along a windy, breakneck path.  "Emotional Baggage Carousel," conceived at JFK Airport Terminal 4, explores themes of sentimentality and longing alongside a Rocky-like optimism (for receiving your luggage?).  Purely by coincidence, The Great Nostalgist closes in the same manner as the group's second album Wide Eyed: with a song inspired by laundry.  "Old Wash World," an imagining of an earlier, simpler time at Fox's local laundromat New Wash World, builds a boisterous yet sinister dance party on a simple piano riff mined from a long-ignored voice memo.

The Great Nostalgist is also a reunion of pianist Fox with recording/mixing engineer Tyler Wood, who recorded the first music Fox ever wrote while the two were at Harvard University in 2002. 

Pianist Danny Fox was born in New York City where he became immersed in the jazz scene from an early age. In high school, Danny was selected as a Presidential Scholar in the Arts and went on to attend Harvard University during which time he became active in the Boston music scene. He formed the Danny Fox Trio in 2008 as a vehicle for his original compositions and since then the working group has performed steadily around NYC and the US, releasing the critically acclaimed albums "The One Constant" (Songlines) and "Wide Eyed" (Hot Cup).  Called a "pianist of diverse accomplishment" (NY Times), Danny has established himself as a versatile musician active in a wide variety of settings, co-founding the New Orleans rock and roll group Tubby, playing around the fertile Brooklyn roots and bluegrass scene, performing on Broadway, and collaborating with the cutting edge video artist Meghan Allynn Johnson.  He has performed with artists as diverse as Bruce Springsteen, Cassandra Wilson, Michael Blake, and Kermit Driscoll.

Born in Pownal, Maine, bassist Chris van Voorst van Beest has been an in-demand presence on the New York music scene since moving to Brooklyn in 2005.  Chris received his bachelor's degree at the University of New Hampshire and a Master's degree in composition at City College of New York, where he studied with Pulitzer-Prize winning composer David Del Tredici. Known for his big sound, lyrical bass lines, and versatility in different musical settings including jazz, rock, contemporary classical, and bluegrass, Chris performs regularly around New York City with a wide variety of jazz, chamber, and new music groups.  He tours frequently to Europe, having performed extensively in the Czech Republic, Spain, Turkey and Italy.  An emerging composer, Chris is the founder of the chamber music project Hear + Now which features his original compositions for ensembles of various sizes. His most recent work Het Glazen Herenhuis, a sonnet for piano, cello and clarinet, was premiered in Brooklyn in July of 2017. Chris was a nominee for the 2016 Charles Ives Arts and Letters award.  In 2009 Chris was awarded a grant to compose the original score for the children's book "The Lamplighter," featuring narration by noted folk artist Sam Amidon.

Born in Rochester, NY, drummer Max Goldman was fortunate to study under local greats Jeff Lewis, Steve Curry and Rich Thompson. He moved to New York City in 2001, attending NYU and the New School, where he studied with Tony Moreno, Gerald Cleaver and Kenny Washington. Since graduating in 2006, Max has been active in Brooklyn's fertile creative scene. He spends much of his time touring Europe, South America, the US, and Canada with a diverse lineup of artists. In addition to the Danny Fox Trio, Max has performed and recorded with Becca Stevens, Tim Berne, The Elan Mehler Group, Old Time Musketry, Midnight Magic, Nomi Ruiz, and Eleanor Friedberger. He has been called "a seriously propulsive force" by the Chicago Reader and his drumming has been described as "beautifully melodic, even pianistic" by the New York Jazz Review.

http://www.dannyfoxmusic.com/

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