JAZZ CHILL

Thursday, February 07, 2019

New Release on Red Piano Records: Wild Man Conspiracy & Chris Cheek Live At The Bimhuis

Brooklyn-based Red Piano Records have announced the release of Live at the Bimhuis from Amsterdam based Indie jazz trio Wild Man Conspiracy and Brooklyn based tenor saxophonist Chris Cheek. This third album of Wild Man Conspiracy on Red Piano Records features the group with special guest Chris Cheek in an exciting live setting. The CD was recorded at the group's March 23, 2018 performance at the Bimhuis in Amsterdam, one of the most beautiful venues for jazz in the world. Wild Man Conspiracy and Chris Cheek play eight original compositions on this album.

St. Louis born Chris Cheek is one of the most sought after saxophonists in the jazz world today, having played in the groups of legendary artists such as Paul Motian, Charlie Haden, Steve Swallow and Bill Frisell. As a leader he has performed with the likes of Jorge Rossy, Brad Mehldau, and Kurt Rosenwinkel. His recordings have received rave reviews and been praised widely, becoming favorites among fellow musicians and listeners alike. He is also co-leader of the bands Rudder and The Bloomdaddies. Cheek's music encompasses a wide vista, firmly rooted in the jazz tradition with a foot towards the unknown. As Steve Swallow and Carla Bley put it, "On the one hand, he's the very embodiment of gentle, graceful lyricism. But he's unable to resist the urge to subvert. He's a master of the sucker punch; just when he's convinced you that things couldn't be sweeter, he'll play something that jolts you right back to real life, something as direct and succinct as an uppercut. Do not trust this man! Listen at your peril." His flexible, dynamic sound, along with his adaptability and inventiveness makes him a perfect fit for the sound of Wild Man Conspiracy.

THE TUNES

1. Strawberry Jam - Strawberry Jam was written for a friend who likes those tiny sweet fruits, and who also listens to Jazz and Pop music. Chris tried to find something that could be enjoyed at breakfast or while driving on the open highway. Perfect for a nice jam too.

2. The Other - This cinematic and storytelling piece is more like a suite dedicated to 'the other'. There's a lot of discussion about 'the other' nowadays, but isn't it so? The other, that's you!

3. Parcelas Desiguales - A contemplation about the fact that few people in the world have a lot - and a lot of people in the world have almost nothing. "Unequal parts" is about this human failure.

4. Volver - After a great tour with Wild Man Conspiracy in Catalunya, "we wanted to return to Spain as soon as possible." A tune full of desire and melancholy, with a glimpse of the stunning Spanish actress, Penelope Cruz.

5. Victor - This tune isn't about the Russian president, Victor Putin, because his name is Vladimir. No one knows who this guy Victor is and unfortunately, Guillermo isn't planning to divulge the secret of this mysterious man.

6. Blues Cruise - Writing Blues Cruise was Cheek's way of exploring the experience of being on the open seas and playing music on a ship. The symmetrical part of the tune originates from working with the reciprocal or mirror harmony and melody of the original idea. Cheek likes to think of it as hearing the same thing above and reflected below the horizon of the water's surface.

7. The Adventures of Evil Pancake and Friends - A critic once said: The aliens seem to have landed in the head of Celano whom thankfully used their influence for he has created a new science. This tune is proof of that once more. Dali meets Monk meets Celano.

8. No More Tango - It takes two to tango. This tune shows what happens when the other isn't around. After all, dancing the tango can't save a relationship.

Recorded March 23, 2018 live at the Bimhuis, Amsterdam by Philip ten Brink

Mixed: Dirk Hooglandt and Wild Man Conspiracy / Mastering: Q Point - Peter Brussee. Photography: Tjerk Laan / Artwork: Macarena Baggiani

Previously Unheard Music from the Revered, Adventurous Duo of Vocalist Jeanne Lee and Pianist Ran Blake

The Newest Sound You Never Heard collects nearly two hours of stunning recordings from 1966 and 1967, featuring daring explorations of compositions by Thelonious Monk, Ornette Coleman, The Beatles, Ray Charles, Charlie Parker, and others

In 1961, two musicians who'd met as Bard College classmates entered the studio to record their mutual debut album. Jeanne Lee and Ran Blake emerged with The Newest Sound Around, an iconic pairing of voice and piano that was simultaneously intimate and adventurous, stark yet boundless, intensely focused but warmly embracing. Lee and Blake would continue to tour together sporadically through the 1960s, but fans had to wait nearly three decades for a follow-up release, You Stepped Out of a Dream, in 1989. Their lifelong friendship and collaboration came to a close with Lee's death in 2000.

Miraculously, The Newest Sound You Never Heard now doubles the material available from this unparalleled duo. The double album was released January 25, 2019, just a few days before Lee would have celebrated her 80th birthday, via A-Side Records in conjunction with the Ran Blake Foundation and New England Conservatory, where Blake has taught for more than 50 years, and under the generous umbrella of VRT-Archive and their employees who were very kind in allowing this material to come out. The Newest Sound You Never Heard collects nearly two hours of previously unheard material recorded in Europe in 1966 and 1967.

These soul-stirring performances sound wholly unique, profoundly moving and thrillingly immediate despite having been captured more than half a century ago. Dominique Eade, another supremely gifted singer and NEC faculty member with whom Blake has enjoyed a fruitful collaboration, writes in her liner notes that, "Hearing these recordings after knowing their previous work so well creates a sensation similar to that of dreaming you have found an extra room in your house: It is at once familiar and otherworldly."

Recorded by the late Belgian composer, producer and Jazz Middelheim festival founder Elias Gistelinck, The Newest Sound You Never Heard was captured at the studios of Belgian radio and television station VRT (then BRT - Belgium Radio and Television) and at a live performance in Brussels. The tapes remained in the VRT archives for nearly 40 years until being rediscovered. Their existence was brought to Blake's attention Eli Kessler, at that time a student drummer at NEC who learned of them while in Brussels. From there, Blake and A-Side founder Aaron Hartley licensed the material for this breathtaking release.

The Newest Sound You Never Heard finds Lee and Blake venturing through a wide range of repertoire, from American Songbook standards to jazz classics by Duke Ellington and Charlie Parker, through more experimental fare by Ornette Coleman, Julian Priester and Abbey Lincoln to then-contemporary pop hits by The Beatles and Bob Dylan. Each piece becomes a thorough reimagining of the source material, often startling in its crystalline beauty and bold unpredictability. The musicians are unafraid to revel in fraught silences or veer off the expected pathways into unfamiliar territory.

"There is no one like Jeanne Lee in the world," declares Blake. "She was the most incredible human being: her sage wisdom, her charm, her wittiness, her humor, her feelings for humanity and her kindness to everybody in the world. She was such a vibrant personality and, of course, what a voice. I felt she'd be in my life till the very end."

Sadly that was not to be the case, but in her deeply-felt and probing duets with Blake, Lee left behind a rich and searching legacy. A fearless experimentalist with a wide-ranging tone, she collaborated with a host of innovative voices including Anthony Braxton, Archie Shepp, Mal Waldron, Marion Brown, John Cage and Gunter Hampel. She also contributed to Carla Bley's masterpiece, Elevator Over the Hill.

Lee and Blake met as freshmen at Bard in 1956. They bonded over their shared love for Billie Holiday and Thelonious Monk; Lee had grown up in the Bronx, next door to Monk's sister-in-law, Skippy. Like their revered debut, which opened with a version of "Blue Monk," The Newest Sound You Never Heard begins with a Monk composition - in this case, a mysterious and enchanting take on "Misterioso" with words taken from a poem by Gertrude Stein.

The album wends its way through a variety of moods, from the wistful "On Green Dolphin Street" to a rambunctious "A Hard Day's Night;" the playful tug-of-war of the nonsensical "Ja-Da" to an ominously urgent "Something's Coming;" the foreboding moan of Ornette Coleman's "Lonely Woman" to the stunningly aching rendition of "The Man I Love," constantly threatening to get lost in love's reverie.

"The sound just came to us," Blake says in regards to finding their distinctive take on each song. "I wanted to grow in her direction and she would listen to me. We worked on repertoire, phrasing, dark colors, modulation, themes, plots, characters - but the sound took care of itself."

Both Lee and Blake also take a few solo turns: Lee stuns with her sensuous a cappella version of "Billie's Blues," capturing the song's (and Billie Holiday's) complicated whirl of emotions, defiant yet desirous, steely and vulnerable. Blake essays a knotty exploration of Fats Waller's "Honeysuckle Rose," an alternately hushed and thunderous run through "God's Image," and a pair of originals - the cinematic "Smoke After Smoke" and the abstract "The Frog, the Fountain, and Aunt Jane."

That sound, writes pianist (and former NEC colleague) Danilo Pérez in his liner notes, takes listeners on "a journey full of beauty and unexpected turns. Their music is a playground for the ear and a trip to incredible places for all souls alike. They may play a song, or they may choose to play the philosophy of the song."

This welcome release is a treasure trove of unexpected delights and mesmerizing storytelling. Jeanne Lee and Ran Blake are both masters of interiorizing and excavating the emotions of a song, and The Newest Sound You Never Heard provides ample evidence of their evocative chemistry and heartfelt relationship. Blake's hope is that Lee "finds her place up there in the history, not just as a singer but as a fabulous musician and innovator." A place where he also belongs by her side, a fact of which these stellar recordings leave absolutely no doubt.

Ran Blake

In a career that now spans nearly six decades, pianist Ran Blake has created a unique niche in improvised music as an artist and educator. With a characteristic mix of spontaneous solos, modern classical tonalities, the great American blues and gospel traditions, and themes from classic Film Noir, Blake's singular sound has earned a dedicated following all over the world. His dual musical legacy includes more than 40 albums on some of the world's finest jazz labels, as well as more than 50 years as a groundbreaking educator at Boston's New England Conservatory.

ranblake.com

necmusic.edu

Ulysses Owens Jr. Explores the Songbooks of Three Female Icons of the Turbulent 1960s with Songs of Freedom

Owens Enlists Acclaimed Jazz Vocalists to Convey Reimagined Works of Nina Simone, Abbey Lincoln, and Joni Mitchell

In the most trying of times, it can be reassuring to listen back to the voices who’ve carried us through similar struggles. On his stirring new album Songs of Freedom, GRAMMY® Award-nominated drummer Ulysses Owens Jr. explores the songbooks of three female icons of the turbulent 1960s: Nina Simone, Abbey Lincoln, and Joni Mitchell. To convey the profound emotions of these powerful singer-songwriters, Owens has enlisted René Marie, Theo Bleckmann, and Alicia Olatuja, three of today’s most acclaimed jazz vocalists, along with rising star Joanna Majoko.

Songs of Freedom (available for streaming and physical pre-order now; album available March 15 via Resilience Music Alliance) was originally premiered in September 2016 as part of the Jazz at Lincoln Center celebration of “100 Years of Song.” The program culls inspiring songs from the three icons catalogues expressing the value of and struggle for freedom in America. The repertoire ranges from Mitchell’s soaring evocation of love’s complexity, “Both Sides Now,” to Simone’s acid takedown of the Civil Rights era South, “Mississippi Goddam,” to Lincoln’s rousing protest songs from Max Roach’s “Freedom Now Suite.”

Owens devised the idea for Songs of Freedom when he was approached by Jason Olaine, Jazz at Lincoln Center’s director of programming and touring, to take part in their century-spanning program, with the notion of taking on the period from the 1960s to the present day – a daunting proposition. “I realized that it would either end up a hodgepodge of random songs,” Owens says, “or I could find a defining moment that has influenced everything since.”

The core idea for Owens’ program came from the distressing headlines of the day. “At that time,” he recalls, “social media was blowing up every day with news of police brutality, videos of black men being killed by the cops. So, I thought back to the ‘60s, which seemed like a mirror image of today, and I asked, ‘Who were the figures that were on the front line then?’ I immediately thought about Nina and Abbey, and then I realized Joni would bring more of a love element to this fight.”

Owens quickly grasped that he’d need an equally diverse and versatile cast of modern-day vocalists to capture the full scope of these legendary artists’ visions. The first name that came to mind was Olatuja, a close collaborator who’d recently garnered acclaim for her solo with the Brooklyn Tabernacle Choir at President Barack Obama’s second inauguration. Her rendition of “Both Sides Now” vividly captures the sensation of floating dreamily amidst the clouds. She brings a heart-rending vulnerability to Bernard Ighner’s “Everything Must Change,” accompanied by David Rosenthal’s tender acoustic guitar, and a gospel-rooted soulfulness to Andy Stroud’s “Be My Husband,” both songs performed memorably by Simone.

Bleckmann hails from a more experimental end of the sonic spectrum, here employing his layered, wordless vocals to transcendent spiritual effect on “Balm in Gilead.” He offers a supple, nuanced reading of Mitchell’s “Borderline” and a sly take on Simone’s reggae-infused version of Randy Newman’s “Baltimore.” Owens describes Bleckmann as “a very adventurous singer pushing all these boundaries musically, but beneath all of that stuff is this beautiful voice and an incredible spirit.”

To complete the initial trio of singers, Owens wanted someone who could bring the gravitas of another generation as well as the rich experience of having lived through the period under examination. Marie provides that voice of wry wisdom and bold strength, whether on the raucous “Driva’ Man” from the “Freedom Now Suite” or on Simone’s infamously virulent “Mississippi Goddam.” As Owens says, “Rene lived through a lot of what we’re talking about in this program. We really needed that weightier spirit, that godmother figure who had a deeper connection to the history.”

Majoko brings her own rich palette to the invigorating “Freedom Day,” written by Max Roach and Oscar Brown Jr. Born to German and Zimbabwean parents and raised in Zimbabwe, South Africa and Canada, Majoko has worked with David Clayton-Thomas and Jane Bunnett, and been a frequent guest when Owens has presented Songs of Freedom live.

Owens’ stellar band gets its own turn in the spotlight on the closing piece, the classic spiritual “Oh Freedom.” Pianist Allyn Johnson is right at home with such material; the Washington D.C. native leads an ensemble called Divine Order dedicated to fusing jazz, gospel and classical music. Guitarist Rosenthal has long worked with Owens in Olatuja’s band, as well as performing with Dee Dee Bridgewater, Christian McBride, Bilal and others. Bassist Reuben Rogers, well known for his work with Charles Lloyd, Joshua Redman and Aaron Goldberg, is one of Owens’ closest compatriots. “I try not to do anything without Reuben Rogers,” the drummer says. “He’s my big brother and really anchors me musically.”

Owens’ virtuosity and imagination are fully on display in his brief interludes, in which he plays duet with the words of the great singers to whom he pays tribute on Songs of Freedom. On “Nina,” “Joni,” and “Abbey,” he paints vibrant percussive portraits of each of these icons through the rhythms of their own words, drawn from interviews and poetry.

While Songs of Freedom looks back more than 50 years, Ulysses Owens Jr. is most concerned with how it touches audiences today. “Art has the ability to help you bide the time and get through,” he says. “Nina, Abbey and Joni were doing that while living in even crazier times. Art lets us say, ‘Ok, I can’t change anything, but here’s some people expressing exactly what I feel and the kind of agreement and resolve I hope our nation can come to, so it gives me some solace and comfort – which then gives me the ability to get through the tribulation. My ultimate goal with Songs of Freedom is to unite people.”

About Ulysses Owens Jr.: Owens himself is one of the most sought-after drummers of his generation. From GRAMMY® Award-winning performances with Christian McBride’s acclaimed trio and Big Band to world tours with Kurt Elling and Joey Alexander, Owens’ artistic command of percussion has earned him positions in some of the most successful jazz ensembles of the 21st Century. Owens’ reverence for tradition distinctly manifests in his straight-away playing style, but it is the versatility of his talent— his unique ability to manipulate texture and create penetrating musical shapes— that attracts the attention of jazz’s heavy hitters. His performance catalog includes collaborations with Nicholas Payton, Wynton Marsalis, Monty Alexander, Dianne Schurr, Renee Fleming and Mulgrew Miller, just to name a few.

Ulysses Owens Jr. · Songs of Freedom

Resilience Music Alliance · Release Date: March 15, 2019

UlyssesOwensJazz.com

Jazz Saxophonist and Grammy Nominee Tia Fuller Featured in National Multimedia J.Jill Campaign

First-time Grammy nominee and jazz saxophonist Tia Fuller has formed an exciting new brand partnership with J.Jill, the national omnichannel retailer of women’s clothing, accessories and footwear. Showcasing the brand’s stylish line of jeans, the Rhythm In Blues campaign features notable women in music who embody the brand’s easy relaxed, inspired style. With her image appearing across J.Jill’s online shopping platform, catalog, media ads, billboards, and signage in more than 270 retail outlets, Fuller dazzles in her role as a fashion influencer for women of style.

The spotlight is well-deserved. A dynamic performer and engaging personality, Fuller keeps up a full schedule as a touring and studio musician, composer, and music educator. With her fifth album with her quartet, Diamond Cut, nominated for Best Jazz Instrumental Album at the 61st annual Grammy Awards, set for February 10 in Los Angeles, she could become only the second woman in history to win this category.

“The most important thing for me is to be able to give back what has been given to me and to essentially be a light for others, whether it be on stage playing my saxophone or standing in front of a classroom inspiring my students,” says Fuller in a video highlight from the campaign, wearing an easygoing ensemble featuring J.Jill’s Authentic Fit slim-leg jeans.

A native of Denver, Colorado, Fuller has been performing on public stages since she was a teen. With impeccable training – she graduated magna cum laude with a BA in Music from Spelman College and summa cum laude with an MA in Jazz Pedagogy and Performance from the University of Colorado at Boulder – she’s worked with a who’s who of jazz and popular music artists, including Esperanza Spalding, Dianne Reeves, Terri Lyne Carrington, and the late Nancy Wilson and Geri Allen.

Fuller was catapulted into the spotlight when she was handpicked by global superstar Beyoncé to tour as part of her all-female band in 2006. As a result, Fuller played – and danced – through two worldwide tours: the Beyoncé Experience and I Am Sasha Fierce. In addition, while performing on the Sasha Fierce trek, the band was also working on the I Am … Yours: An Intimate Performance at Wynn Las Vegas, a live telecast. She has been a featured performer with Beyoncé at venues around the world, on television, and on videos.

Currently, Fuller serves as a full-time Professor at Berklee College of Music in Boston, sharing the extensive practical knowledge and rigorous training techniques she has amassed during her career.

In addition to Fuller, J.Jill’s Rhythm In Blues campaign features jazz violinist Regina Carter, Grammy-winning mezzo soprano Kelley O’Connor, rock guitarist Gretchen Menn, concert violinist Anne Akiko Meyers, and others.

For more about Tia Fuller, go to www.tiafuller.com. For more about J.Jill’s Rhythm In Blues campaign, go to jjill.com.

Marvin Gaye's Never-Released 1972 Tamla/Motown Album, 'You're The Man,' Set For Global Release On March 29

Music Legend's Shelved Follow-Up to 'What's Going On' Makes 2LP Vinyl & Digital Debut Celebrating Marvin Gaye's 80th Birthday on April 2

In celebration of Marvin Gaye's 80th birthday on April 2, Motown/UMe will release his never-issued 1972 Tamla/Motown album, You're The Man, in 2LP gatefold vinyl and digital editions on March 29. You're The Man features all of Gaye's solo and non-soundtrack recordings from 1972, with most of the album's tracks making their vinyl release debuts.

In 1972, Marvin Gaye was on top: or so it seemed. "What's Going On," "Mercy Mercy Me (The Ecology)," and "Inner City Blues (Make Me Wanna Holler)," the three singles from his universally acclaimed album What's Going On, had each hit No. 1 on Billboard's Hot Soul Singles chart (since renamed Hot R&B/Hip-Hop Songs) and Top 10 Pop the year before. His new single, "You're The Man" – a percolating, sarcastic riff on political non-action issued as the U.S. presidential campaign was kicking off – reached No. 7 on Billboard's Hot Soul Singles chart. He saw Motown schedule a You're The Man album (catalog number Tamla 316). But when the lead single didn't cross over Pop, stalling at No. 50, Marvin retreated. Ambivalent about recording, stubborn about moving to Los Angeles with Berry Gordy and Motown, Marvin by his actions proclaimed no more new Marvin Gaye music.

Or so it seemed.

In this singular and transitional year for the late music legend, Gaye recorded more than an album's worth of music in Detroit and L.A. He produced himself, creating a suite of aching ballads; he worked with songwriters-becoming-producers Willie Hutch, then known mainly for the Jackson 5 smash "I'll Be There," but soon to be lauded for his film scores to The Mack and Foxy Brown; and with Pam Sawyer and Gloria Jones, whose "Piece of Clay" for Marvin decades later became a smash in the 1995 film Phenomenon. He cut two sought-after tracks with Freddie Perren and Fonce Mizell, half of the hit-making machine behind the Jackson 5; he got together with Hal Davis, who was preparing a Marvin Gaye-Diana Ross album, to cut another topical gem, "The World Is Rated X." And Marvin funnelled his anger over the Vietnam War, and his brother's experiences there, into a sequel of sorts to "What's Going On," the poetic holiday ballad, "I Want To Come Home For Christmas." He even re-cut "You're The Man" as an eerie funk jam, perhaps for the LP as a bookend to the single.

None of these tracks or any other on the LP, except the single, were issued at the time.

Three tracks from the album are newly mixed by SaLaAM ReMi, the songwriter and producer long associated with Nas, the Fugees, and Amy Winehouse: "My Last Chance," "Symphony," and "I'd Give My Life For You." Also included is the rare, long LP version of Gaye's cancelled 1972 Christmas single, plus an unreleased vault mix of its instrumental B-side. Over the years, songs from You're The Man have been included on several CD releases but 15 of the album's 17 tracks have not been released on vinyl until now.

You're The Man's 2LP vinyl edition includes new liner notes by Marvin Gaye biographer David Ritz. In his essay, Ritz delves into Gaye's deeply personal internal conflict as a source of creative vigor and emotional burden as he experienced What's Going On's massive success and all that came with it. "Now I could do what I wanted," Gaye told Ritz in an interview that first appeared in Divided Soul: The Life of Marvin Gaye. "For most people that would be a blessing. But for me the thought was heavy. They said I'd reached the top, and that scared me because Mother used to say, 'First ripe, first rotten.' When you're at the top there's nowhere to go but down. No, I needed to keep going up – raising my consciousness – or I'd fall back on my behind. When would the war stop? That's what I wanted to know – the war inside my soul."

Despite his inner turmoil, that same year Gaye recorded a duets album with Diana Ross, and he accepted an offer to write what became his landmark Trouble Man film score. A year later, he released Let's Get It On, the biggest hit of his career.

In addition to You're The Man, Motown/UMe will release a new expanded edition of Marvin Gaye's 1965 album, A Tribute To The Great Nat King Cole, digitally on March 15. Honoring what would have been Cole's 100th birthday, the album's original mono mix makes its digital debut with the new edition, which also adds more than a dozen bonus tracks, including six alternate takes from the studio sessions.

Marvin Gaye: You're The Man [2LP vinyl]

Side 1

Produced by Marvin Gaye (1), Hal Davis (2), Gloria Jones and Pamela Sawyer (3), Freddie Perren and Fonce Mizell (4)

1. You're The Man 5:45

2. The World Is Rated X 3:50

3. Piece of Clay 5:10

4. Where Are We Going? 3:53

Side 2

Produced by Willie Hutch

1. I'm Gonna Give You Respect 2:55

2. Try It, You'll Like It 3:55

3. You Are That Special One 3:35

4. We Can Make It Baby 3:20

Side 3

Produced by Marvin Gaye except *Freddie Perren and Fonce Mizell

Mixes for tracks 1-3, by SaLaAM ReMi, and track 5, by Art Stewart, are previously unreleased.

1. My Last Chance 3:40

2. Symphony 2:52

3. I'd Give My Life For You 3:31

4. Woman of the World* 3:30

5. Christmas In the City (instrumental) 3:48

Side 4

Produced by Marvin Gaye

1. You're The Man Version 2 4:40

2. I Want to Come Home For Christmas 4:48

3. I'm Going Home (Move) 4:38

4. Checking Out (Double Clutch) 4:50

Thursday, January 31, 2019

TEDESCHI TRUCKS BAND HONOR LOSS AND CELEBRATE LIFE ON NEW ALBUM SIGNS

Tedeschi Trucks Band, the unstoppable GRAMMY-winning 12-piece musical juggernaut led by husband and wife Derek Trucks and Susan Tedeschi, have announced their new album ‘Signs,’ out February 15th, 2019 on Fantasy Records. Featuring 11 new original songs, the album expands on the group’s omnivorous musical appetites, while facing down troubled times with credence and conviction. The group’s world-class musicianship is on full display in the genre-defying collection that runs the gamut from uplifting soulful anthems to bittersweet ballads and driving rock and roll.

To accompany the announcement, Tedeschi Trucks Band have released a new song “Hard Case,” which showcases Derek’s peerless guitar work and Susan’s stunning, soulful vocals. NPR Music called the song, NPR Music called the song “an upbeat, shuffling instant classic,” saying, “honesty and authenticity...informs every second of ‘Signs.’”

‘Signs’ was a true band effort, with each of the supremely talented twelve members playing a major role. As with its predecessors, the album was recorded in Tedeschi and Trucks' backyard studio Swamp Raga, with additional contributions from trusted TTB brethren Warren Haynes, Oliver Wood, Doyle Bramhall II, and Marc Quiñones. Trucks shared production and engineering duties with Jim Scott (The Rolling Stones, Tom Petty) and Swamp Raga studio engineer Bobby Tis, and the band recorded live to two-inch analogue tape for the first time, using their original Neve console combined with a 70's Studer tape machine.

A sense of loss and frustration colors portions of ‘Signs.’ A number of tragedies hit home during the writing and recording of the album, as the group said goodbye to family members and friends including Derek’s uncle and Allman Brothers alumnus Butch Trucks, founding Brother Gregg Allman, and mentors Leon Russell and Col. Bruce Hampton. Political polarization, intolerance, and threats to an environment they see as increasingly under siege are also dealt with openly and honestly on the album.

“This is the first record we’ve made where, when I listen to it, it puts me in a specific place,” explains Derek. “It puts me in a zone and hits some raw nerves.”

Still, ‘Signs’ also beckons with the optimism and hope that has become a signature part of TTB’s message in the studio and on stage. “We are very lucky to do what we do, and we take responsibility for creating something positive to counter all the negativity,” asserts Susan. “We all have to deal with tragic circumstances at times. As a musician, I feel it’s my job to go out there, kick ass the best I can and offer inspiration.”

Tedeschi Trucks Band will celebrate the album’s release with a performance at The Brooklyn Academy of Music on February 20th. The special one-night performance follows a string of multi-night residencies at the Chicago Theater, Nashville's Ryman Auditorium, the Saenger Theater in New Orleans and the Warner Theatre in Washington, D.C. – and marks the band’s first return to New York after their sold-out, six-night residency at the Beacon Theatre in October, which has become a highly-anticipated fall tradition for the band. Tedeschi Trucks Band will continue to tour through 2019, including a spring run of shows in Europe, a return to the west coast, and their 5th annual Wheels of Soul tour this summer featuring special guests Blackberry Smoke and Shovels and Rope.

‘SIGNS’ TRACK LIST:

1.Signs (High Times)

2.I’m Gonna Be There

3.When Will I Begin

4.Walk Through This Life

5.Strengthen What Remains

6.Still Your Mind

7.Hard Case

8.Shame

9.All The World

10.They Don’t Shine

New Music Releases: Roy Ayers – Silver Vibrations; Brian Ellis – Deep Clues; Scone Cash Players - Blast Furnace!

Roy Ayers – Silver Vibrations

BBE Music continues its long and fertile partnership with vibraphone legend and godfather of neo-soul, Roy Ayers, with the first ever reissue of his 1983 album Silver Vibrations. Originally released in the UK only on Uno Melodic Records, ‘Silver Vibrations’ shares some of its musical DNA with ‘Lots Of Love’, Ayers’ US album from the same year. However, ‘Silver Vibrations’ contains four unique cuts all of its own, plus extended takes of three songs, including the definitive version of iconic song ‘Chicago’. The rarity of the original pressing has led to eye-watering second-hand prices for this truly brilliant LP. ‘Silver Vibrations’ was perhaps the last album to retain the sound of Ayers’ organic ‘classic’ period of the latter ’70s and manages to stand up well under its current re-evaluation. “Chicago”, the unedited version of which is exclusive to this L.P., received considerable airplay in its time and has barely faded from earshot ever since; its woozy, mysterious vibe and cosmic ruminations from Roy in the second half have certainly endured. The strutting, funky “Good, Good Music” echoes Ayers at his pre-’80s, up- tempo disco peak, sporting a grittier edge and an old-school party atmosphere. Title track “Silver Vibrations” was only ever released in the U.K., both on this album and as a single, backed with “Fast Money”. Both “Lots Of Love” and “Keep On Movin'” hark back to previous times and are a pleasant listen without being at all taxing. “Smiling With Our Eyes” is mid- tempo, lilting and jazzy, with a vocal vaguely reminiscent of Stevie Wonder in places. The wistful “D.C. City”, a close companion of Ubiquity’s original recording of “The Third Eye” is, in many ways, quintessentially Roy Ayers. Pressed on heavyweight vinyl with original artwork and new sleeve notes written by Sean P., BBE Music is delighted to share this special album with a new generation of fans.

Brian Ellis – Deep Clues

A soulful solo set from Brian Ellis – a keyboardist we know from more jazz-based projects in recent years, but who really soars out here in a warmly sunny mode! Brian handles everything on the album himself – working like some LA maestro from the 70s in a multi-track studio – and while his keyboards are still at the core of the album, there's also lots of vocals – sung in a style that's soul-based, but also with this unusual sort of lightness – so that Brian's words glow nicely alongside his keys! A few of these cuts almost feel like lost 70s demos for the soulful side of the AOR scene – and titles include "Night Drive", "My Favorite Song", "Brand New Love", "Here I Am", "Bulletproof", "Deep Clues", and "Never Had Nothin". ~ Dusty Groove

Scone Cash Players - Blast Furnace!

Smoldering Hammond funk from Scone City Players – led by organ player Adam Scone and featuring members of The Dap-Kings, Menahan Street Band and an all-around Daptone Records and Dunham Sound Studio all star roster – bringing a combination a grit and soulful grooves! Scone is a native of Youngstown, Ohio and the album and song titles are references to steel town grit, struggle and resilience. The gritty soul of his timeless jazz funk instrumentals suits it! The Hammond drives the sound all the way, backed by veteran funk players whose skills are finely-honed to say the least, including Homer Steinweiss and Eric Kalb on drums, Thomas Brenneck on guitar, Kevin Bujo Jones on percussion, Ian Hendrickson-Smith on sax & flute and Freddie Hendrix & Marcus Parsley on trumpets. Includes "1% Crown", "Bliss Machine", "The Slitter", "Heavy Gauge", "Necking", "Blast Furnace", Jet Cool", "Grinding Wheel". Call & Receive No Call Back" and "Structural Failure". ~ Dusty Groove

Tuesday, January 29, 2019

The Right Stuff Band New CD Release “Orlando Fandango”

Featured recently The Jazz Network Worldwide: The Right Stuff Band New CD Release “Orlando Fandango” and launches new website.

The Right Stuff plays a wide variety of classic and modern jazz along with upbeat blues, latin, funk, pop and originals on their new CD “Orlando Fandango” complimented by a brand new website.

Leader, Ron Cangro is a seasoned professional drummer/percussionist who has formed and led multiple groups, recorded several original albums, performed studio work for many independent producers and artists. Ron performed at the Montreux Jazz Festival, Hampton Bays Jazz Festival, Charlotte Jazz Festival, New Smyrna Jazz Festival and the Winter Park Art Festival. He also played for 6 years at Walt Disney World as a drummer in numerous groups, which included backing up President George H.W. Bush, Sandi Patty and Nell Carter. This new endeavor of formulating The Right Stuff Band and recording its debut CD “Orlando Fandango” has been a labor of love. His Orlando-based bandmates all have had an illustrious career of there own before becoming a mainstay in The Right Stuff Band.

"The release of this album is a dream come true. I am so very excited and proud of what we have been able to accomplish and thrilled to have done it with some of the most talented musicians I’ve ever been able to work with, they are truly my friends and family as well” says leader Ron Cangro.

Other musicians include bassist, Gerald Stockton who was introduced to the world of music at a very young age. His production skills include an extensive use of “live” orchestration as well including brass, woodwinds and strings. He recently released “My Gentle Breeze” featuring many of America’s finest Jazz artists including Dan Jordan, Pat Coil and Dan Haerle. Gerald participated in a series of Jazz lectures at the Tshwane University of Technology in Pretoria, South Africa accompanied by such academic luminaries as Dan Haerle, Scott Wilson, Corey Christiansen, Thomas Taylor and Bob Sinicrope. Today the Gerald lives in Orlando and plays with the house band at Disney’s Grand Floridian.

Suzy Park comes from a musical family, her father John Park played saxophone with Stan Kenton and was a well known jazz educator/clinician. She performed with the Voices of Liberty at Epcot and later performed with The Girlfriends (a girls trio) for 9 years. This lead her down a path to recording with Yanni, Gloria Gaynor and salsa artist Tito Nieves. She has been a featured singer with The Tommy Dorsey Orchestra and shared the stage with Michael McDonald and opened for David Sanborn at the Hampton Jazz Festival.

Doug Spoonamore performs at the Main Street Saxophone Quartet at Walt Disney World. He also moonlights doing high-end corporate engagements. Credits include recording albums along side Stanley Clarke and Larry Carlton and the opportunity to play with The Temptations, The O’Jays and other groups from the Motown era bringing a special flavor to The Right Stuff Band.

Jarvis Brown on piano, who had the opportunity share the stage with the likes of Wynton Marsalis, Count Basie Orchestra, Marcus Roberts and other jazz greats. Having performed on worldwide festival states such as the Montreux Jazz Festival and North Sea Jazz festival both in Switzerland and has settled in Orlando, FL to concentrate on producing and film scoring.

“As a former Orlando resident, I’m very familiar with the high level of musical talent that town has to offer. Thus it was no surprise that this record grooved me, moved me, and made me smile! Anchored by the rock-solid groove of the mighty Ron Cangro, (someone I’m blessed enough to not only be friends with, but worked with regularly during my O-town years) these cats bring the groove hot sauce, and if you like David Sanborn, Spyro-Gyra, Scott Henderson & Tribal Tech, and the Yellowjackets, you will LOVE this record!! ~Tim Akers, Nashville, TN

“The moment I heard The Right Stuff Band I knew they needed to join our NOT JUST JAZZ Movement. Their vibe is very contemporary, embroidered with other flavors of genres and yet staying true to their musical cores...Jazz”, says Jaijai Jackson of The Jazz Network Worldwide Social Network.

The band is currently doing radio promotion and available for worldwide bookings from all professional areas of presentation ie. festivals, corporate events, private events, fundraisers, community branding, and various Orlando-area venues.

To learn more and to purchase go to their new website at www.therightstuffjazz.com. For booking information, contact Eric Cohen of EC Music Agency at ec@ecmusicagency.com.

Visit THE JAZZ NETWORK WORLDWIDE "A GREAT PLACE TO HANG" at: http://www.thejazznetworkworldwide.com/?xg_source=msg_mes_network

Singer, songwriter, and actress JUSTINE SKYE shares a brand new single entitled “Build” featuring buzzing R&B newcomer Arin Ray

Singer, songwriter, and actress JUSTINE SKYE shares a brand new single entitled “Build” featuring buzzing R&B newcomer Arin Ray.The track represents a direct, dynamic, and definitive evolution for the songstress. Its minimalist approach highlights the attitude, spirit, and power of her voice. Tapping into throwback R&B grit punctuated by sparse guitar and a simmering groove, the song exudes confidence and self-assurance. “Build” is very close to Justine’s heart. “How many times have you sat there and wished you could build a person who is ideal for you—or what you think is ideal in your head,” asks Justine Skye. “At the conclusion of the song, I realize you can’t build the perfect person, because there is no perfect person. What you have to do is make sure you’re perfect for yourself. Since I can’t build a man, I’m going to work on who I am. That’s the moral of every relationship. I need to focus on what’s going on with Justine Skye before I can help someone else change whatever demons are going on with them. I have to fix me.”

Since her arrival in 2014, Justine Skye dropped a pair of EPs—Emotionally Unavailable [2015] and 8 Ounces [2016]—followed by her 2018 full-length debut, ULTRAVIOLET. Powered by fan favorites a la “U Don’t Know” and “Back For More,” she garnered widespread praise from Vogue, Marie Claire, Cosmopolitan, and Complex, to name a few. A sought-after presence, she led high-profile campaigns for Puma and Samsung, landed on the prestigious “30 under 30” list by Forbes, and starred in the acclaimed Green Dolphin. In addition to attracting the adoration of fans everywhere from Europe and Africa to the Caribbean, she also delivered a show-stopping tribute to Janet Jackson at the 2018 BMI Awards.

DAYNA STEPHENS Proudly Announces His Debut At The Village Vanguard as a Leader, February 19-24

Saxophonist, composer, and bandleader Dayna Stephens proudly announces his debut as a leader at the legendary Village Vanguard, this February 19-24. Stephens will be appearing with the amazing quartet of Aaron Parks, Ben Street and Gregory Hutchinson.

The band will we be playing tunes that span a wide range of time, from Stephens' first recording The Timeless Now, music from Gratitude, to new compositions that have yet to be recorded, especially for this week at The Village Vanguard.

This wonderful, much-coveted engagement at The Vanguard comes on the heels of Stephens' eighth album as a leader, Gratitude (released on April 7, 2017), a gift from Stephens to the world, and to himself; simply an album of beautiful music played by a group of master musicians, led by one of the scene's leading artists, that can be enjoyed by the connoisseur or the casual listener. And, on a deeper level, an expression of gratitude from the saxophonist, for the warmth, love, peace and strong connections he has shared with friends, family and fellow musicians, as he climbed his way back to health after fighting FSG, a rare kidney disease.

The Village Vanguard as a Leader, February 19-24

Sets @ 8:30 & 10:30 PM

Dayna Stephens (saxophones, EWI)

Aaron Parks (piano)

Ben Street (bass)

Gregory Hutchinson (drums)

www.daynastephens.net

2019 Saint Lucia Jazz Festival Produced in Collaboration with Jazz at Lincoln Center Announces Stellar Lineup

The Saint Lucia Jazz Festival and Jazz at Lincoln Center today launches their first joint festival. The 2019 Saint Lucia Jazz Festival Produced in Collaboration with Jazz at Lincoln Center will see the renowned premier jazz festival in the Caribbean feature the finest names in modern jazz.

The week-long festival from May 5-12 2019 will include world renowned artists who have performed through Jazz at Lincoln Center as well as throughout Saint Lucia Jazz Festival's 27-year history.

Jazz at Lincoln Center has programmed a stellar lineup. Christian McBride, Ledisi, Etienne Charles, Russell Hall, and Patrick Bartley will serve as artists-in-residence in Saint Lucia during the week-long festival. Artists Gregory Porter, Dianne Reeves, Catherine Russell, Somi, The Baylor Project, Veronica Swift, members of the New Orleans Jazz Orchestra, and a host of musicians and collaborators from the Caribbean will perform throughout the week.

In addition to world-class performances, the 2019 Saint Lucia Jazz Festival will feature "Artists In Education" initiatives including master classes, professional development, and live performance collaborations with Saint Lucia School of Music students and local jazz artists.

"This collaboration between Saint Lucia and renowned Jazz at Lincoln Center reflects Saint Lucia's exceptional reputation for consistently producing a world-class festival. The 2019 Saint Lucia Jazz Festival Produced in Collaboration with Jazz at Lincoln Center marks another monumental chapter in our small island's history. We are excited to begin this partnership which will bring together some of the world's best jazz artists in the world's most beautiful destination," remarked Minister for Tourism, Hon. Dominic Fedee.

"We are proud to support the re-establishment of the Saint Lucia Jazz Festival as the premier jazz festival in the Caribbean," said Wynton Marsalis, Managing and Artistic Director, Jazz at Lincoln Center. "This collaboration reflects our shared commitment to presenting music at the highest level of artistic integrity and quality, while also offering festival-goers a profoundly good time. Jazz has a unique power to bring people of all ages together and lift up communities."

Saint Lucia has been hosting a vibrant jazz festival annually since 1992. For more than 27 years, the festival has attracted visitors from around the world for events and concerts celebrating multiple forms of international, Saint Lucian and Caribbean jazz music. For more information, go to http://www.stlucia.org.

With a rich history of annual music events for 27 years, the Saint Lucia Jazz Festival offers jazz events that attract visitors from across the globe. With week-long events at indoor and outdoor venues, the event celebrates international, Saint Lucian and Caribbean jazz. One of the Windward Islands of the West Indies' Lesser Antilles, Saint Lucia is nestled halfway down the Eastern Caribbean archipelago. Saint Lucia is known for its natural beauty and diverse attractions, including the signature Piton Mountains - a UNESCO World Heritage. Learn more at http://www.stlucia.org.

The mission of Jazz at Lincoln Center is to entertain, enrich and expand a global community for Jazz through performance, education and advocacy. With the world-renowned Jazz at Lincoln Center Orchestra and guest artists spanning genres and generations, Jazz at Lincoln Center produces thousands of performance, education, and broadcast events each season in its home in New York City (Frederick P. Rose Hall, "The House of Swing") and around the world, for people of all ages. Jazz at Lincoln Center is led by Chairman Robert J. Appel, Managing and Artistic Director Wynton Marsalis, and Executive Director Greg Scholl. Please visit us at jazz.org; follow us on Twitter @jazzdotorg and Facebook; watch our free, global webcasts at www.new.livestream.com/jazz; and enjoy concerts, education programs, behind-the-scenes footage, programs and more at www.youtube.com/jazzatlincolncenter.

Betty Carter's The Music Never Stops - Never Before Released Live Recording of Betty Carter Performance at Jazz at Lincoln Center in 1992

Blue Engine Records announces the release of some of the earliest material ever recorded by Jazz at Lincoln Center–jazz trailblazer and vocalist Betty Carter’s The Music Never Stops. This live performance at New York’s Aaron Davis Hall was recorded in 1992, six years before Carter’s untimely passing and during the early days of Jazz at Lincoln Center. The Music Never Stops marks Carter’s first posthumous album as well as the artist’s first release composed entirely of previously unheard material in 22 years (the last being “I’m Yours, You’re Mine” in 1997). The first single from The Music Never Stops, “Tight! / Mr. Gentleman,” is available for streaming and download on all mass-market digital platforms on Friday, February 1. Betty Carter’s The Music Never Stops will be released, 27 years to the date of the historic performance, on March 29, 2019 and is available for preorder on Amazon today.

The long-running debate over what defines a jazz singer simply dissolves when Betty Carter’s name comes up. She transcended the entire category and took her place in the music pantheon as one of jazz’s most profound and game-changing innovators. Her impact was pervasive: not only did she influence a wide range of artists with her music, but the “University of Betty Carter” stands alongside Art Blakey’s Jazz Messengers as one of the jazz world’s elite finishing schools, training many of today’s most acclaimed jazz artists.

Carter challenged herself throughout her entire career, but the concert captured on The Music Never Stops represents perhaps the pinnacle of her musical ambitions. Harnessing a full jazz orchestra, a string section, and three distinct piano trios, Carter delivered a stunning tour-de-force performance that until now only lived in the memories of the enthralled and highly responsive audience members who were fortunate enough to have been there.

The orchestra Carter enlisted include such stalwarts as Robin Eubanks, Art Baron, Jerry Dodgion, Alex Foster, and Lew Soloff. Pianists John Hicks, Geri Allen, and Cyrus Chestnut; bassists Lisle Atkinson and Ariel Roland; and drummers Kenny Washington, Greg Hutchinson, and Clarence Penn filled out the three swinging rhythm sections. Many of the participants were Carter’s former students, and all of the rhythm section players were members of her various trios.

Betty Carter’s magnificent performance was a massive and ambitious undertaking. The Music Never Stops proved to be an apt title, as over the course of two hours it never did. She darted back and forth between the different ensembles, transitioning seamlessly and effortlessly between burning bebop and deeply felt ballads, wearing out the musicians with her stamina. The album highlights the legendary Carter’s many talents: mesmerizing balladry, exhilarating swing, impeccable lyricism, stunning improvisation, and her unparalleled ability to build both a narrative and a mood by spontaneously weaving jazz standards and her own genius material together. For example, a 16-minute medley of what Carter calls “question songs”—“Why Him?,” “Where or When,” and “What’s New?”—takes three seemingly disparate standards and crafts a seamless, epic narrative of love found, lost, and (maybe) found again. Carter’s originals like “30 Years” and “Make Him Believe” offer up inventive and unsparing treatments of modern love, challenging gender norms and constructing narrative tapestries in a way that’s still visionary today.

THE MUSIC NEVER STOPS TRACK LISTING:

1. “Ms. B.C.”

Written by Pamela Watson

Arranged by Bobby Watson

Personnel: The Big Band*

Soloists: Alex Foster (tenor saxophone), Kamau Adilifu (trumpet)

2. “Make It Last”

Written by Dick Haymes

Arranged by Melba Liston

Personnel: Betty Carter (vocals), The Big Band*, The Strings**

3. “30 Years”

Written by Betty Carter