Innovative Third Stream Pianists Claire Ritter and Ran Blake Celebrate Thelonious Monk's 100th Birthday on First Duo Outing

The mere fact that two such innovative and inventive pianists as Claire Ritter and Ran Blake weave their singular voices together so beautifully would suffice to make this stellar recording a very special occasion. But the stunning performance captured on Eclipse Orange (from Zoning Recordings), recorded live at Queens University in Ritter's native North Carolina, celebrates a number of other landmarks, all of which flow into the music's transcendent tapestry.

First and foremost, the October 2017 concert honored the 100th birthday of fellow North Carolina native Thelonious Monk, a key influence for both Blake and Ritter. It also coincided with the 50th anniversary of the North Carolina Arts Council, making the performance a living testimony to the important work being done by the organization in supporting the state's vibrant arts and culture scene. Eclipse Orange was sponsored by a Charlotte Arts & Science Council artist grant funded via the state arts council. Informally, but crucially, the evening marks the latest flowering of the three- decade collaboration between the two pianists, one that has evolved from mentorship to collaboration. If that weren't enough, add in homages to trailblazing female painters, the influence of the legendary Mary Lou Williams, and the thrill of newly-forged partnerships, as represented by the appearance of Australian-born saxophonist Kent O'Doherty.

"This performance was a very special, once in a lifetime opportunity, to say the least," Ritter says. "It was a unique opportunity to not only record my first two-piano performance album, but to do it with my mentor and at Queens University, where I received my Bachelor of Arts degree in classical piano. To be able to share all of that with my own students and a hometown audience really brought everything full circle."

The two pianists actually met in 1981, when Ritter arrived in Boston to study at New England Conservatory, where Blake has now taught for more than 50 years. Ritter later joined him on the faculty of the Department of Contemporary Improvisation (formerly the Third Stream Department founded by Gunther Schuller), where she taught a contemporary songwriting class in the 1990s. But Ritter dates their collaboration as peers to 1988, when Blake was a guest on her debut album In Between. "Ran is a great motivator and stimulator of the imagination," Ritter says. "His genius lies in his harmonic structures, in recomposing any kind of piece in any kind of idiom. He stimulated the composer in me, bringing out a lot of color, unpredictability and ways of thinking about melodic phrasing in more interesting ways by encouraging me to listen to a very wide range of different types of music."

Blake begins the concert by navigating his own circuitous path through three of his former student's compositions. All three of Ritter's eloquent pieces are title tracks from her catalogue, beginning with the present album: "Eclipse Orange" flows into "Waltzing the Splendor," then ends with the aforementioned "In Between," thus spanning her 30-year recording career in just over four minutes.

Ritter joins Blake for the first Thelonious Monk composition on the program, "Blue Monk" (later followed by "I Mean You" with Kent O'Doherty). The iconic pianist is also the inspiration behind pieces by both composers: Ritter dedicates her tunes "Blue Grits," "Cool Digs," "HighTop Sneakers" and "Integrity" to Monk, while Blake's "Short Life of Barbara Monk" pays tribute to the jazz legend's late daughter. Mary Lou Williams, another former teacher, receives a nod in Ritter's newly composed Monk-like "Backbone."

Monk's spirit hovers over the entirety of the proceedings, however, and not just due to the occasion of his centenary. "Ran and I have certainly both been very influenced by Monk," Ritter explains. "His love of space has been incorporated into my compositional language. I also love his unique phrasing and his angular, unusual intervals. To me, his work is the most original of any jazz composer."

The dramatic theme of Ritter's title track returns for a full duo outing. "Eclipse Orange" was originally composed following the solar eclipse of 2014, while this two-piano version was created in the wake of the summer 2017 eclipse. Nature is a strong source of inspiration for Ritter, as on "Emerald & the Breeze," which reflects on the Makah Indian Reservation of Cape Flattery on the far Northwest point of the Washington coast.

Several of Ritter's works draw inspiration from other women's interpretation of beauty through visual art: her new piece "Karma Waltz" was inspired by Maria Helena Vieira da Silva's painting "La Scala - The Eyes," while "Waltzing the Splendor" interprets Georgia O'Keefe's "Orange and Red Streak." Blake's solo "Improvisation of Selma" carries that theme into a spontaneous reaction to Barbara Pennington's "Selma," a painting in the collection of Charlotte's Mint Museum.

"I think of paintings as windows to the soul," Ritter says. "The artistic vision of these masters is definitely an inspiration, leading us to embrace the moment of creativity on a higher level through sound and color and combining the two."

Melbourne-born saxophonist Kent O'Doherty during his recent visit to Charlotte in 2017, reached out to Ritter as one of the local jazz community's leading lights. Their lively duo jaunts through Ritter's "Blue Grits", "HighTop Sneakers", and "Cool Digs" reveal an instant spark for this newly-minted collaboration. Blake also brings his unparalleled artistry to the transformation of several standards, including "Summertime" (a propos for this excursion into the south), Hubert Powell's "There's Been a Change," and a medley of Brazilian favorites by Antonio Carlos Jobim and Ary Barroso. Ritter rejoins him for the classic "Over the Rainbow" before closing the evening with her own Monk-inspired "Integrity."

Whether exploring the paths forged by foundational jazz composers, her own mentors or gifted artists in other media, Ritter recognizes and is galvanized by a kindred spirit. "In the work of all of these masters, I find an equivalent independent artistic vision, which symbolizes unique personal experiences and transforms them into many abstract forms of expression." The same is undoubtedly true of Ritter and Blake, two artists of the piano who transform their inspirations in myriad dazzling forms throughout Eclipse Orange.

The music of Charlotte, North Carolina-based composer/pianist/educator Claire Ritter is regarded among "the most successful Third Stream synthesis of jazz & classical musics" by author Ed Hazell. Ritter is the author of over 200 compositions which have been performed at festivals, concert halls, and museums in the US, Canada, Europe, and Asia. Her discography includes 12 CD/DVD recordings on her own Zoning Recordings imprint. In 2017, Ritter was the recipient of an artist grant awarded by the North Carolina Arts & Science Council, her fourth. She has also received a NC Arts Council Jazz Composer Fellowship. Beginning with the great Mary Lou Williams at Duke University in the 1970s, Ritter has studied, worked, performed andrecorded with some of the music's most revered artists including over a decade with MacArthur "genius" grant recipient Ran Blake at New England Conservatory in Boston.

claireritter.com

NEW MUSIC RELEASES: George Benson – Walking To New Orleans; King Curtis - Soul Of King Curtis; Johnny Mathis – The Heart Of A Woman / Feelings

George Benson – Walking To New Orleans

Guitar legend George Benson pays tribute to the music of New Orleans – and also hearkens back to his earliest years in R&B, before he rose to jazz fame in the 60s! George sings as much as he plays guitar here – working in a tight combo that's heavy on soul styles – and most tunes are remakes of Nola classics, mixed with some other Chuck Berry songs, done in a more contemporary mode. The set's a fair bit grittier than most of Benson's recent recordings, and also has a tight horn section too – on titles that include "You Can't Catch Me", "Ain't That A Shame", "Blue Monday", "How You've Changed", "Walking To New Orleans", "I Hear You Knocking", and "Havana Moon".  ~ Dusty Groove

King Curtis - Soul Of King Curtis

Searing sax instrumentals from the great King Curtis – plus a lot more too – as this package not only brings together the King's records as a leader for Enjoy Records, but also digs up lots of performances as a sideman for that famous Harlem record label too! The grooves here are raw and ready, nice and tight, and done with a nitty gritty style that might have been funk if the cuts were recorded a few years later – but which definitely had a bit influence on countless soul instrumental modes to come, both in the rhythms and in King's wicked lead work on saxophone! The package features some of the best instrumental singles that Curtis cut for Enjoy Records, from his Soul Twist album and other singles – and CD2 also features material that Curtis cut for Enjoy as a soloist on records for other artists! CD1 features 18 tracks that include "Soul Twist", "Twisting Time", "The Monkey Shout", "Hot Potato", "Midnight Blue", "Beatnick Hoedown", "King Neptune's Guitar", "Wobble Twist", "What'd I Say (parts 1 & 2)", and "Big Dipper". CD2 features tracks that include "Our Love Will Never End" by The Avons, "I'm Gonna Catch You" by Curtis Carrington, "Madisonville USA (parts 1 & 2)" by The Strolls, "Chicken Scratch" by The Commandos, "I'll Be There" by Melvin Daniels, "Juicy Fruit" by Rudy Greene, "Fine Little Girl" by The Arcades, "Woman Woman Woman" by Sparks Of Rhythm, and "Korea Korea" by Bob Kent. ~Dusty Groove

Johnny Mathis – The Heart Of A Woman / Feelings

During the 1974 holiday season, Johnny Mathis could be heard at cosmetics counters nationwide. His song “The Heart of a Woman” was the theme for Helena Rubinstein’s Courant perfume and the title track of his latest LP. Now, The Heart of a Woman is finally coming to standalone CD in a deluxe, double-disc expanded edition from Real Gone Music and Second Disc Records, paired with 1975’s Feelings. The Heart of a Woman was more than a perfume tie-in, however. Johnny teamed with Motown’s legendary producer Johnny Bristol and arranger Paul Rise—plus session players like Dennis Coffey and Ray Parker, Jr.—for a set filled with Bristol originals which would inspire subsequent recordings from artists such as Boz Scaggs and Tom Jones. In addition to the title tune by Broadway’s Charles Strouse and Lee Adams (Bye Bye Birdie), the album also features a sensual cover of the Roberta Flack chart-topper “Feel Like Makin’ Love” and perhaps surprisingly, Johnny’s rendition of “Wendy” from the blaxploitation film Three the Hard Way! Feelings, produced by Jack Gold, notably introduced Mathis’ evocative version of Albert Hammond and Hal David’s “99 Miles from L.A.,” a song which the vocalist still performs in concert today. It also boasts David and Henry Mancini’s “The Greatest Gift” from The Return of the Pink Panther, and smooth interpretations of the standout ballad “What Did for Love” from A Chorus Line, Melissa Manchester’s enchanting “Midnight Blue,” and Neil Sedaka’s “Solitaire.” Nine fascinating period bonus tracks are included on this 2-CD set including two tracks produced by composer Roger Nichols and a rare session reuniting Johnny with producer-songwriter Jerry Fuller. Joe Marchese’s new liner notes draw on interviews with Mathis and Fuller, and Mike Piacentini has remastered at Sony’s Battery Studios. This set of amorous favorites from The Voice of Romance promises to go straight to the Heart.

PHILIP BAILEY (EARTH, WIND & FIRE) RELEASES NEW SOLO ALBUM "LOVE WILL FIND A WAY"

Philip Bailey, the brilliant falsetto voice behind Earth, Wind & Fire, is an American music legend. The 8-time Grammy Award winning recording artist, songwriter and producer has influenced music artists and a popular culture over the past five decades. Growing up in Denver, Colorado Bailey listened to R&B, gospel, rock and pop alongside what he refers to as real jazz: Miles, Coltrane, Art Blakey, immortal jazz singers like Sarah Vaughan, Nancy Wilson and Dinah Washington.

Love Will Find a Way, Bailey’s newest solo album on Verve Records (June 21) is a continuation of his musical exploration and another step in his solo career. The album features trusted friends like bassist Christian McBride, iconic jazz pianist Chick Corea and drum legend Steve Gadd. Bailey also tapped several of the brightest contemporary lights in jazz, R&B, pop and more as collaborators: keyboardist Robert Glasper, saxophonist Kamasi Washington, rapper, musician and producer will.i.am, trumpeter Christian Scott aTunde Adjuah, singer-songwriter Bilal, singer-saxophonist Casey Benjamin, guitarist Lionel Loueke, drummer Kendrick Scott and bassist Derrick Hodge, among others.

Bailey says the album, “There was a flow to the project that was reminiscent of back in the day, when we used to do those records with the Fire and we had what I call our A-team. This record is opening up real vivid possibilities of where I’m going from here. I see a runway that will allow me to build on this vision.”

On Love Will Find a Way, Bailey proves that the atmosphere and ideas that made Earth Wind & Fire possible—a respect for genuine musicianship, a conviction that all music matters—are alive and well in 2019.

“It was a mutual admiration society—for real,” says Bailey, 67 At the same time, Bailey was struck by the sheer newness he heard around him: “Artists like Robert and Kamasi and Christian, they embrace the nuances of jazz and its historical value, but they’ve really infused the game with new possibilities. And I’ve been the recipient of infusion.”

Above and beyond its genre-bending, cross-generational musical synthesis, Love Will Find a Way also addresses these troubled and divisive times. In Bailey’s poignant interpretations of songs like Curtis Mayfield’s “Billy Jack” and “We’re a Winner” and the Abbey Lincoln/Max Roach-associated “Long as You’re Living,” he addresses pertinent themes of social justice and self-empowerment. At its core, rather than becoming mired in politics, Bailey’s message is one of optimism for all humanity. “That’s in keeping with my philosophy and Earth Wind & Fire’s philosophy,” he says. “It was something that is a continual thread of what we’ve done over our almost 50-year career. So that’s just staying true to who I am.”

Love Will Find a Way came together over a two-year period, and was initiated after Bailey started becoming aware of this forward-looking, all-embracing jazz generation. “I’d heard Rob Glasper was giving jazz a facelift,” Bailey says, and after attending the keyboardist’s live show, he was sold. Not only was the music hot and progressive, but the crowd was hip, diverse, youthful and passionate. Bailey quickly brought Glasper on board to play on and produce some tracks, and he became invaluable to the singer in recruiting musicians and other decisions. But Bailey also continued with his own research. At Jazz Fest in New Orleans, he made a point of catching Kamasi Washington’s set and had a small-world moment. “Lo and behold, he introduced his father, [the woodwinds player Rickey Washington]. Me and Rickey had known each other for years!” Bailey recalls, chuckling. “We went to the same church! Kamasi went to bible school with my kids.” A who’s who of musicians, producers and arrangers became involved over time, including keyboardist-arranger Herman Jackson, vocal producer Harvey Mason Jr., jazz-piano stalwart Kenny Barron, drummer Teddy Campbell and Bailey’s wife, vocalist Valerie Bailey, to name just a few.

The album kicks off with a West African-tinged take on Mayfield’s “Billy Jack,” a perfect opportunity for Bailey to pay homage to perhaps his greatest falsetto influence. Bailey and Corea look back to the heyday of jazz fusion with a sweetly grooving rendition of the Return to Forever classic “You’re Everything.” Bilal provides gorgeous vocal backing for Bailey on Mayfield’s “We’re a Winner,” before Christian Scott aTunde Adjuah, on plangent trumpet, and will.i.am, laying down a tribal beat on drums, highlight the mostly instrumental “Stairway to the Stars.” On “Brooklyn Blues,” Bailey uses his Kalimba to create a meditative ambiance atop simmering 21st-century jazz rhythms. Talking Heads’ “Once in a Lifetime” is reinvented here as an atmospheric slow jam, with spoken word by Bailey. “Just to Keep You Satisfied” is a beautifully reverent tribute to Bailey’s idol Marvin Gaye. Kamasi Washington’s robust tenor saxophone is an impeccable match for the ’70s-tinted spiritual vibe of “Sacred Sounds.” On the title track, Pharoah Sanders’ “Love Will Find a Way,” Bailey’s falsetto finds a sublime complement in Casey Benjamin’s saxophone and Vocoder. And he looks to famed bassist and collaborator Christian McBride to properly funk up “Long As Your Living.”

McBride says of Bailey and the Earth, Wind & Fire legacy, “I can’t think of any other group that did such a masterful job at combining all these different elements of jazz, the avant-garde, African music, Brazilian music, funk and rock.”

Bailey, Verdine White and Ralph Johnson continue to carry the torch for the group’s late founder, Maurice White, at packed halls and amphitheaters around the world. The group thrives today as Recording Academy Lifetime Achievement Award winners, Rock and Roll Hall of Fame inductees and one of the best-selling bands in the history of recorded music.

Away from Earth Wind & Fire, Bailey has also found tremendous success. His 1984 duet with Phil Collins, “Easy Lover,” became a worldwide No. 1 smash, and he’s recorded acclaimed albums in gospel and jazz. In the latter genre, Bailey released Dreams in 1999 and Soul on Jazz in 2002, in addition to collaborations with Stanley Turrentine, Dianne Reeves, Fourplay, George Duke and Stanley Clarke, Nancy Wilson and others. Still, nothing has compared to Love Will Find a Way. 

New Music Releases: Airto – Natural Feelings; Dave Douglas – Devotion; Johnny Mathis – Killing Me Softly With Her Song / When Will I See You Again

Airto – Natural Feelings 

First vinyl reissue in over 45 years for a long-lost, pivotal jazz fusion record! This album, originally released in 1970 on the thinly-distributed Skye label, marks Airto's debut as a bandleader and captures the percussionist right at the time he recorded Bitches Brew with Miles Davis, and right before he joined Weather Report for their first album. Indeed, the line-up on this album reflects the fact that Airto had one foot in the NYC jazz scene and one foot in his native Brazil, as bassist Ron Carter joins Airto's countrymen Sivuca and Hermeto Pascoal, along with Airto's wife Flora Purim. The music's a fascinating blend of jazz-funk-fusion and Brazilian tropes, here presented on 180-gram black vinyl, housed inside the original wild, Hieronymus Bosch album art. Limited to 500 copies

Dave Douglas – Devotion

A pretty dynamic little album from trumpeter Dave Douglas – but maybe one that comes as no surprise, given that the trio features piano from Uri Caine and drums from Andrew Cyrille! In a stretch where Dave's given us some great albums with higher concepts and different ideas, this one comes in like a bullet to really get things back to basics – reminding us that in the right sort of setting, Douglas can be an incredibly powerful, incredibly free-voiced musician – especially when driven on by forces as great as Caine's piano and the drums and percussion of Cyrille! Uri is pretty wonderful, too – and again, the set's a great reminder of what he can do when he's set loose, and maybe in a less structured setting – or maybe it's just the always-amazing work of Cyrille that's got both of the other musicians really upping their game. Titles include "D'Andrea", "Francis Of Anthony", "Prefontaine", "Rose & Thorn", "We Pray", "Devotion", "False Allegiances", "Pacific", and "Curly".  ~ Dusty Groove

Johnny Mathis – Killing Me Softly With Her Song  / When Will I See You Again 

As Johnny Mathis plays to packed houses across the country on his acclaimed The Voice of Romance Tour, Real Gone Music and Second Disc Records continue their series of deluxe reissues from the superstar artist with a new two-for-one CD debuting two albums on standalone CD. 1973’s Killing Me Softly with Her Song and 1975’s When Will I See You Again both spotlight Mathis’ silky interpretations of the day’s greatest hits. Killing Me Softly with Her Song was his final full-length album collaboration with songwriter-producer Jerry Fuller (Gary Puckett and The Union Gap, The Knickerbockers) and premiered Fuller’s “Show and Tell,” a top 40 AC hit for Johnny which singer Al Wilson subsequently took to the top of the U.S. Pop chart. It also boasts classic songs from Thom Bell, Kenny Gamble, and Linda Creed (The Stylistics’ “Break Up to Make Up”), Don McLean (“And I Love You So”), Stevie Wonder (“You Are the Sunshine of My Life”), David Gates (“Aubrey”), and Joe Raposo (Carpenters’ “Sing”) – adding up to one of Johnny’s most eclectic long-players. 1975’s When Will I See You Again took its title from Gamble and Leon Huff’s hit for Philadelphia’s Three Degrees, and featured another tribute to the Philly sound with Bell and Creed’s beautiful “You’re as Right as Rain.” Johnny brought Mathis magic to the Barry Manilow smash “Mandy,” Neil Sedaka’s buoyant “Laughter in the Rain,” Marvin Hamlisch’s Oscar-winning “The Way We Were,” The Sherman Brothers’ “The Things I Might Have Been,” and three tracks from the pen of Paul Williams. This two-for-one disc boasts liner notes by The Second Disc’s Joe Marchese with fresh quotes from Johnny Mathis and Jerry Fuller. Mike Piacentini has remastered at Sony’s Battery Studios. It all adds up to a release that’s right as rain.

New Music Releases: Martin Freeman & Eddie Piller Present Soul On The Corner; Noah Preminger – After Life; Cleopatra Jones Soundtrack

Martin Freeman & Eddie Piller Present Soul On The Corner (Various Artists)  

Two dapper British gents on the cover, but the album's filled with classic American soul – really great cuts from back in the day, served up in an array of well-chosen tracks that really go past the obvious! Both Martin Freeman and Eddie Piller (of Acid Jazz fame) put the set together – but the real stars here are the classic singers and groups who make the music so great – and who together represent a much hipper, more sophisticated version of classic soul than the usual hits or oldies collection! A number of cuts here are quite rare, and others are a mix of unusual songs by bigger names – mixed with just a few tracks from leftfield to keep things interesting. Titles include "Just To Be With You" by Bobby Dukes, "Finally Made It Home" by Arnold Blair, "You & I" by Goodie, "How Could You Break My Heart" by Bobby Womack, "Lucky To Be Loved By You" by Willie Hutch, "Now That I Have You" by Tommy McGee, "Thirty One" by Laville, "Oooh Baby" by Pamoja, "I'm Goin Left" by Syreeta, "Shoes" by Brook Benton, "I Like The Things About Me That I Once Despised" by Wayne Davis, "Lucky" by Lewis Taylor, "Fan The Fire" by Earth Wind & Fire, "Daylight" by Georgie Fame, "A Raggedy Ride" by Barbara Acklin, and "Hit & Run Love" by Tommie Young. ~ Dusty Groove

Noah Preminger – After Life

An album of subtle majesty from tenorist Noah Preminger – done with a sound that builds and flows wonderfully – partly from the guitar work of Max Light, who may well be the lynchpin of the quintet! The switch of guitar for piano gives the whole thing a different vibe – as Light's playing has this strong sense of glow – which resonates between the bass of Kim Cass and drums of Rudy Royston, to illuminate the strong trumpet of Jason Palmer next to Preminger's tenor – both players with a measured sense of blowing that comes of beautifully in the album's original compositions by Noah. Titles include "World Of Twelve Faces", "World Of Growth", "Senseless World", "Hovering World", "World Of Hunger", and "Island World". ~ Dusty Groove

Cleopatra Jones Soundtrack (Various Artists) (1973)

One of the great Blaxploitationfilm scores of the ‘70s, finally back on vinyl where it belongs! This 1973 feature introduced one of the great characters in the whole genre, starring the indomitable, six-foot-two Tamara Dobson as Cleopatra Jones, a taller, hipper, and blacker James Bond. In this film, she thwarts a lesbian L.A. drug lord as played by Shelley Winters, all accompanied by the musical efforts of what is pretty much a ‘70s soul/jazz/funk dream team. On vocals, you had the leading male and female lights of the Spring label, the great Joe Simon (performing the hit title theme) and Millie Jackson . And on the instrumental side, jazz trombone giant J. J. Johnson (in collaboration with the underrated Carl Brandt of Mod Squad score fame). The result: a prime example of the symphonic funk that became the siren song for Blaxploitation soundtracks throughout the ‘70s. For its first domestic vinyl reissue, we’ve pressed up just 700 copies in red and blue starburst vinyl, with original artwork intact...oh so tasty!

CRAFT RECORDINGS COMMEMORATES 70 YEARS OF PRESTIGE RECORDS WITH NEW TITLES, DELUXE REISSUES AND EXCLUSIVE DIGITAL CONTENT

2019 marks the 70thanniversaryof Prestige Records, one of the most revered jazz labels in the world. Throughout the ’50s and ’60s, Prestige was at the forefront of modern jazz, releasing sessions from some of the most influential names in music, including Miles Davis, John Coltrane, Thelonious Monk, Stan Getz, and Sonny Rollins. To honor the history of this pioneering label and its exceptional output, Craft Recordingswill release a variety of content throughout the year, including deluxe box sets and vinyl reissues, as well as video content and curated playlists.

Kicking off the campaign is a new box set, Coltrane ’58: The Prestige Recordings(5-CD & digital formats available now, and 8-LP out on April 26th), which chronicles the saxophonist’s breakout year. Featuring all 37 tracks Coltrane recorded as a leader or co-leader for Prestige in those twelve months, Coltrane ’58captures the artist in creative high gear—developing the signature improvisational style that journalist Ira Gitler famously dubbed “sheets of sound.” The newly remastered release includes extensive liner notes from GRAMMY® Award-winning music historian Ashley Kahn, plus images of rare ephemera and historical photographs of the saxophonist and his collaborators.

A newly curated playlist, Prestige 70: Jazz Classics, has also just launched.Currently streaming on Spotify, Apple Music, Pandora, and YouTube (click here to listen), the playlist features a handpicked selection of 70 classic tracks from the label. With titles from the likes of Kenny Burrell, Rusty Bryant, Red Garland, and Coleman Hawkins, as well as iconic takes from John Coltrane, Miles Davis, Sonny Rollins, and Thelonious Monk, the collection showcases not only the timeless appeal of Prestige’s music, but also the importance of its catalog to the development of modern music.

  

Throughout 2019, Craft will take a deeper look at the label’s history and incredible roster of talent through special video content and additional playlists. Contests, as well as additional releases, will be announced later in the year.

  

April also marks Jazz Appreciation Month, whose 2019 theme is “Jazz Beyond Borders.” Many artists under Prestige could not be more fitting to this subject. John Coltrane, a self-declared humanist, not only gained fame around the world with his music (his well-documented 1966 Japanese tour proves just how far-reaching his influence was) but also strove to break boundaries at home, during the height of the civil rights movement. Sonny Rollins, too, crossed a variety of borders. A strong follower of Eastern philosophies, Rollins tackled issues of racial inequality head-on, yet peacefully, through his recordings. Musically, Rollins has not only performed with some of the biggest names in his own genre, but he also crossed over into pop and rock territory, performing with artists like the Rolling Stones, and bringing a variety of musical influences into his own compositions. Both artists, along with countless others on the label’s roster, continue to garner new generations of fans around the world.

Founded in 1949 by producer Bob Weinstock, Prestige was on the cutting-edge of jazz, helping to usher in the eras of bop, hard-bop and soul jazz in the ’50s, while later branching out into free jazz and fusion through the ’60s. Over the next two decades, Prestige would develop the careers of some of the biggest names in jazz, and release hundreds of albums, many of which were recorded in the Hackensack, NJ studio of renowned engineer Rudy Van Gelder. Notable titles include Miles, Cookin’, Relaxin’, Workin’ and Steamin’from the Miles Davis Quintet, Etta Jones’ Don’t Go to Strangers, the Modern Jazz Quartet’s Django, Eric Dolphy’s Out There,and Sonny Rollins’ career-defining 1956 LP, Saxophone Colossus (as well as Tenor Madness, whose title track was recently inducted into the GRAMMY® Hall of Fame and is the only known duet recording by Rollins and John Coltrane). Soul jazz classics such as Charles Kynard’s Afro-Disiac, Gene Ammons’ Boss Tenorand Charles Earland’s Black Talk! round out the latter decade of the label under Weinstock.

In the early ’70s, Prestige was sold to Fantasy Records (home to the likes of Creedence Clearwater Revival and Vince Guaraldi), which itself became part of the Concord music family in 2004. The imprint still holds a vibrant presence today with carefully curated reissues from the catalog label at Concord, Craft Recordings. "Some of the most influential artists and significant recordings in the history of jazz are on the Prestige label," says Sig Sigworth, President of Craft Recordings. "It's a tremendous honor for Craft Recordings to be the stewards of that timeless musical legacy."

New Music Releases: Nicole Willis & Banda Palomita - My Soul Sensation; Re:Funk – Borderline; Eric Boss - Bad Luck

Nicole Willis & Banda Palomita - My Soul Sensation

From the concept to the band line-up, from writing the music and lyrics to recording, editing and mixing, US singer-songwriter Nicole Willis was involved in all aspects at play in the making of her new album My Soul Sensation, a luscious collection of disco-tinged soul, jazz-funk, boogie & electro with new backing band Banda Palomita. Though fans of Miss Willis' work with The Soul Investigators may be surprised by the direction My Soul Sensation takes in terms of sonic landscapes, those who are familiar with Nicole's collaborations with Jimi Tenor, Bosq or Mr. Comicstore will see this album as a natural extension. From the reggae-flavored midtempo vibes of opener "Save It", the cosmic disco-jazz rhythms of "Free", or the afro-boogie sultriness of the titletrack with Jimi Tenor on sax, My Soul Sensation sees Banda Palomita spin a tight groove over which Nicole Willis flexes her vocal muscles with ease, clearly comfortable with the creative control and freedom her current position affords her.

Re:Funk – Borderline

After three intense years spent honoring the godfather of soul and playing on prestigious stages such as Montreaux Jazz Festival, Locarno Film Festival & Jazz Ascona, Lugano's finest funk & soul outfit Re:Funk launch "BorderLine", their debut album composed entirely of original compositions. "BorderLine" is the result of the band's stylistic and compositional exploration of its influences: from the soul and classic R&B of the 60s to the energetic T.O.P-style funk of the 70s (with a 6-element brass section). The result is a warm and scratchy sound that becomes the band's distinctive trait as it pervades all 10 tracks of the album. The full-length is further enriched by the presence of famed sax player Pee Wee Ellis in instrumental "Hot'n Sweat" and the powerful and harmonious voice of Swiss soul singer Ira May in the duet "Let Her Lead". "BorderLine" is a journey into the vast and wonderful world of soul through the eyes and ears of this Swiss-Italian powerhouse, literally born on the southern border of the Alps. This album is the synthesis of the various heads that make up the core of the band and you can be sure it is just a taste of what's to come!

Eric Boss - Bad Luck

DJ, producer, singer-songwriter, one-half of world-touring soul duo Myron & E (Stones Throw), founder of boogie outfit The Pendletons (Bastard Jazz), part of electro-funk duo Lucid Paradise, and an endless string of collabos means Eric Boss knows his way around a good song. With his previous two solo singles (2016's soul ballad "The Turning Point" and uptempo groover "Closer To The Spirit" from 2017) having sold out in record time, this multi-faceted artist is now ready to give the world a taste of his upcoming new album with first single "Bad Luck", a head-nodding funk-soul number led by crunchy drums and a badass bass line over which Eric's cool delivery flows smooth and silky. The track is out in anticipation of his solo debut "A Modern Love", an effervescent collection of raw funk, sweet soul, west coast vibes and classic hip hop dropping on May 10th on LP & Digital via Légère Recordings / Mocambo Records / Fat Beats.

New Music Releases: Mavis Staples – We Get By; Mavis Pan – Set For Love; Nicole Banks Long - Fly

Mavis Staples – We Get By

Mavis Staples returns with a brand-new studio album produced and written by Ben Harper. Backed by Mavis’ critically acclaimed live band, We Get By features 10 songs of longing, strength, and spirituality, presented with simplicity, grit and sublime beauty. Highlights include the buoyant, “Anytime,” the cathartic “Change,” the title track, an uplifting duet with Ben Harper, plus “Brothers And Sisters,” “ Heavy On My Mind,” “Sometime,” “Never Needed Anyone,” “Stronger,” “Chance On Me.” “Hard To Leave,” and “One More Change.”

Mavis Pan – Set For Love

Set For Love is the new album from accomplished Asian-American pianist and composer Mavis Pan. Equally proficient in both jazz and classical music, Pan has performed her works across the United States, Europe, the Middle East, and Asia and has received numerous accolades including Brooklyn College Conservatory’s Morton Feldman and Miriam Gideon composer awards and was a finalist in the YPMP/CACA piano competition. Set For Love was produced by Grammy Award-winning drummer and producer Ulysses Owens, Jr. and showcases a collective of exceptional musicians that accompany Pan in various settings. The album explores love in many contexts including head-over-heels love, love in trouble, love anticipated, and love remembered, and completes a cycle of jazz styles including ballad, blues, bolero, bossa-nova, samba, swing, tango, and waltz, all on the timeless theme of love.

Nicole Banks Long - Fly

Southern bred multi-talented vocal interpreter and songwriter Nicole Banks Long brings a fascinating background – including musical theater performer and contributor to Rod McGaha’s jazz fusion album THE SERVANT - to her a fresh, sultry emergence in Smooth Jazz with the release of her debut album FLY. Balancing honest emotion to her balance of hushed intimacy and deeply soul dramatic flair, the singer finds her unique voice as an artist while cleverly re-imagining classics and lesser known tunes by the likes of Al Jarreau, Roberta Flack, Shirley Horn, Phoebe Snow, Nancy Wilson and others. A sly and insightful storyteller, Banks Long also shares a powerful sense of social consciousness on her two standout originals. ~ www.smoothjazz.com

Grammy-Winning Saxophonist David Sánchez Shares New Track "Morning Mist"

Grammy-Winning Saxophonist David Sánchez has shared a new track "Morning Mist" from his forthcoming album. The track is currently streaming via WBGO who calls it a "thrilling overture", and describes it as "Beginning with an unaccompanied tenor line that sets the groove, it’s a composition built on folkloric polyrhythm but suffused with silvery modern harmonies."

Listen: David Sánchez - "Morning Mist"

https://youtu.be/z-W1qoaUfws 

David Sánchez will release his new album Carib on Ropeadope / Christian Scott's Stretch Music imprint on June 7th, and will mark the release of the album with four performances at Jazz Standard in New York, June 6th, 7th, 8th & 9th. Scott writes of Sánchez' latest work:

"Carib finds David at the height of his powers. Its no question whether he is one of the preeminent saxophonists of the last few decades, that's a given. He's as killer as anyone who has ever touched the horn. This document, however, speaks to me as a testament to the prowess of his compositional voice, to his mastery of the interplay and relationships found in creative improvised music's vernacular and rhythmic spaces."

Two pieces songs from Carib, "Canto" and "Fernando's Theme", are featured in the soundtrack of the film Windows on The World by Robert Mailer Anderson. The film includes performances by Ryan Guzman and Edward James Olmos, and was released in March 2019.

Featuring original compositions inspired by melodies and rhythms coming from the Afro Puerto Rican and Haitian tradition, Carib both reflects Sánchez's musical heritage as well as his commitment to humanitarian and economic justice efforts in the region. "I believe some of the greatest contributions to contemporary music and culture have come from the African diaspora throughout the Americas," writes Sánchez. "Unfortunately, there seems to be too little awareness of their influence, especially the vital stories told by the music. So, I wanted to approach this album as a means to pay tribute to all Afro descendent communities who have helped define my music and the culture’s broad ranging beauty and idiosyncrasies.

Sánchez also seeks to honor family who played a pivotal role in his life and artistic development. "This album is in memory of my Father, Dimas and especially, my late wife Karla," he writes. "After a great deal of research and listening to Haitian music, Karla encouraged and helped me take a trip to Haiti. It was an incredible and intense experience, seeing the everyday people's struggles"

Sánchez's unique musical sensibility can be traced to his home, Puerto Rico, where he began playing percussion and drums at age 8. He migrated to tenor saxophone a few years later. While a scholar at the prestigious La Escuela Libre de Música in San Juan, he took up the flute, clarinet as well as soprano saxophone with teachers Angel Marrero and Leslie López. The Bomba and Plena rhythms of his homeland, along with Cuban, Caribbean and Brazilian traditions, were among the biggest influence on Sanchez's early taste in music. But soon jazz masters such as Sonny Rollins, Dexter Gordon and John Coltrane would command his ear and his imagination. Charlie Parker, Lester Young, Wayne Shorter and Joe Henderson all have been also major influences.

David Sánchez is also "Maestro Sánchez" to students at the Conservatorio de Música de Puerto Rico. After a decade of teaching, he has proven to be a compelling presence with students and is in demand for workshops and master classes in Puerto Rico and beyond. In 2017 he helped form a new program at the San Francisco Conservatory of Music, The RJAM (Roots, Jazz, and American Music).

In addition to his collaboration with the Conservatory of Puerto Rico and The Conservatory of San Francisco, Sánchez has taught master classes in Brazil, at the Peabody Conservatory, Manhattan School of Music, Indiana University's School of Music, Stanford University, University of Memphis, Emory University Berklee Global Institute and completed a year-long residency at Georgia State University.

Ola Onabulé's "It's The Peace That Deafens" features a largely acoustic set, uniting Jazz, Soul and world influences

Ola Onabulé's album; "It's The Peace That Deafens" marks a departure from his previous two releases featuring a largely acoustic set, uniting Jazz, Soul and world influences. The Album contains 12 evocative songs about identity, reconciliation and nostalgia. Words, melodies and rhythms that walk a delicate tightrope of paradoxes, born of a childhood and adulthood immersed in two disparate cultures, on two different continents and at two different times.  "It's The Peace That Deafens" is as much a work of exploration as it is a declaration. 

Ola states; "Hands-on, self-sufficiency has always been my mantra for survival in the music game. I always felt like the creative parts of song writing, producing and recording were merely different stages of a single process".

"It's The Peace That Deafens by singer-songwriter Ola Onabulé transports us back to his Nigerian roots ... the album is as rich as his African heritage. The sublime and subtle title ballad expresses in a few words the sensation of what happens when you are not true to yourself, if you do not speak out against injustice: "Gentle words, shrewd and false from lips that betray way deep... beaten down, deadened pulse...where defeat lives...." This is a dilemma explored by African novelists such as Chinua Achebe too, the clash and tug of war between old ways and new. But it is an African pulse (and to some extent a Bossa Nova and bluesy lilt) that drives this full-of-life album with melodies that soar and stay with you for a long time. They are powered by a beautiful clear voice that is both intimate and tender yet stadium-filling. It is a unique voice." - Mary James, The London Jazz News

"Ola Onabule, who packs more musical ideas into one song than many artists manage over an entire album, has issued an upbeat set of songs with a world infusion of music layered into jazz. ‘It's The Peace That Deafens' is a harmonious treat. These wonderful melodies and thrilling beats are infused with thoughtful lyrics, touching on the subject of belonging and identity, hope and love. One of Ola's greatest gifts is his vocal range. More often he sings in a deep, expressive baritone. This distinctive tone rises and falls, twists and turns as the rhythms of the music alter. With this expressive range, and one interconnected to the music, Stevie Wonder or Nat King Cole are probably his only vocal peers" - Royal Albert Hall Shows, Digital Journal 2015

"Ola Onabule's debut in Umbria Jazz, was not diminutive in any way. A warm voice and scenic elegance, Onabule was the star performer of the Arena, speaking to the audience, explaining the songs and joking. A full connection of humour which was appreciated by the audience, as in the case of the parody of his long African name. Powerful and overwhelming rhythms , that have been fully incorporated the musical roots of the Londoner with Nigerian origins: He moved effortlessly from Yoruba Afrobeat music to jazz, to arrive at the warm sounds of the soul". - Umbria Jazz Festival 2016, Piacere Magazine

"But the surprise of the evening was the debut of Ola Onabule, who opened the concert evening. The British Nigerian's style incorporates influences from Yoruba Afrobeat, jazz, and soul with lyrics that speak of an Africa with a thousand problems, but also with the boundless resources. In short, Onabule is a wonderful discovery!" - Umbria Jazz Festival 2016, Soundcontest

'The evening at the Arena hosted another debut for the Perugian event; Ola Onabule British singer-songwriter of Nigerian origin has deservedly achieved international fame thanks to its colorful soul-jazz which is full of rhythm and African influences, a set full of charm and melody' - Umbra Jazz 2016, La Notizia Quoti

'Nigerian British Vocalist Ola Onabulé impressed mightily with his set on the Arena Stage'. - Willard Jenkins, Downbeat Magazine July 2016

"Onabulé explores jazz inclinations, world influences, and personal insights, presented in a sophisticated ambience. Blessed with a voice that spans three octaves, he utilizes his vocal skills in an instrumental manner, offering unique nuances, syncopation, and modulations. This record is a substantial convergence of introspection, dedication, and talent, showcasing a consummate performer at the crest of his craft." - James Nadal, All About Jazz 2016

"It's The Peace That Deafens - It's very much the singer's album. He has a high tenor, rich and warm right up to a particularly sweet high range (especially on the title track) with sometimes a touch of Michael McDonald's husky nuance (try Love Again or Orunmila). He also has a gorgeous sense of "funk-swing" for want of a better term (In Your Shoes). His song-writing is strong and varied in mood, sometimes incorporating tricky timing with aplomb (Orunmila), and the lyrics are intelligent and carefully expressed. Particularly outstanding is 'The Girl That She Was', a beautifully twisting and turning tune that Onabule navigates with easy style. Overall there is a graceful dignity about this music that fills the chest and raises the head." - Peter Bacon, The Jazz Breakfast

"A superb blend of raw rhythms from his African background, among other sources, and super- sophisticated,highly developed jazz-soul singing and songwriting" - Rob Adams, Glasgow Herald

'On Thursday 24th November 2016 - A special performance that ranked amongst the very best and leaves me bereft of sufficient superlatives to convey just how good Ola Onabule and his fellow musicians are. It's not as if I haven't seen Ola before, but in his nigh 2 year absence from Britain performing in substantial foreign venues, (aside from appearances at Royal Albert Hall at end of 2015 alongside Diana Krall), he has clearly honed his art to mesmerising levels. The quality and tone of his voice cannot be overstated as he delivered his unique blend of Jazz, Soul and world. There's a soulful richness that oozes from Ola that draws you in and enraptures you with every note. Ola performed material mainly from his latest album, "It's The Peace That Deafens" in which Ola has explored his world influences and those beautiful syncopated soulfulrhythms are infused with a blend of Latin or African flavours, which yield a sound that defies the stereotypical genre pigeon holing. All I can tell you is that it sounds fantastic. What enhances Ola's songs even further is the quality of the writing. Each song has an intelligent poetic strength and relevance, whether it reflects on the harsh realities of injustice, inner city strife or a heart wrenching love song'. - David Llewellyn, Jazz in Europe (Dec, 2016)

'It is apparent in how Ola infuses the elements embedded from the very beginning in the traditional use of the shout, the humming, the cries and the moans vocalists used as an essential part of their expression. Based on that, from my point of view Ola's vocal work is a pure historical representation of that tradition brought into a 21st century setting to today's audience many of whom have no idea of the history or of what went on before but are touched by that energy, the intensity and meaningful stories built into his songs and performances. Therefore, it might seem somewhat remarkable that a totally self contained artist such as Ola Onabulé comes along in this era and even more importantly in the jazz idiom. It is clear with his self assured approach as a consummate entertainer he invokes all that is contemporary at his disposal with his performances not limited to being just accompanied by a small group but also includes the power of the big band'. - Alfie Wade, Couleurs Jazz 2016

Herford, Germany - "Ola Onabulé is one of the great soul, jazz and blues singer songwriters of our time. In front of a sold out house, Onabulé gave a performance from a cross-section from his previous albums." - Sina Wollgramm, Neue Westfälische

Umbria Jazz Festival 2016 - "Ola Onabule il "Magnifico" - British-Nigerian artist Ola Onabule made his debut at Umbria Jazz. Although we are, again, in the macro category of performers, Onabule has a charisma and vocal elegance that makes it really a novelty in the world of male voices in jazz. We are not in front of a virtuoso circus of vocal cords, but a voice that can do what he wants and chooses time after time what to do! The mastery of of interpretation makes the difference between a tightrope walker singer and a great performer. At times in the concert last night I seemed to be listening to Al Jarreau at the beginning, Moreover, Onabule writes the lyrics and the music. ... Onabule also has the habit of dressing elegantly, without exception, to every concert. Unlikely, indeed impossible, to see him performing in jeans or without at least a tailored waistcoat. Even last night at the Arena Santa Giuliana, Onabule wore a perfect 3 piece suit the colour of sugar paper. Ola Onabule loves to talk with the audience and each piece he explained with humor and jokes with his audience who enjoyed participating, such as the parody of his long African name. The pieces presented in Perugia are part of his new album It's The Peace That Deafens, but Onabule does not give up singing some of his classic songs like Great Expectations . The difference between the new material and the old workhorses, is in the greater desire of the artist's ballads. An intimate and passionate work where the voice is the soul's megaphone for feelings, whatever they are. A beautiful concert, musically rewarding." - Carlo Vantaggioli, Tuttoggi (Jul 10, 2016)

 

Little Steven And The Interstellar Jazz Renegades' Score For Netflix's First Original Series "Lilyhammer" To Be Released For First Time On July 12 In Two Volumes Via Wicked Cool/UMe

For his starring role in Netflix's groundbreaking first original series, "Lilyhammer," actor/musician Steven Van Zandt explored uncharted waters as a New York mobster who flees to Norway under the witness protection program. In addition to acting in, co-writing and co-producing the acclaimed show, the Rock and Roll Hall of Famer also scored the music for most of the three seasons, where just like his character, the musician best known as Little Steven of Bruce Springsteen's E Street Band and an accomplished solo artist who helped pioneer the rock-meets-soul sound, also delved into some terrain foreign to him: the worlds of New York jazz and Norwegian folk music. For the first time, the music from the show, which ended in 2014, has been collected together and will be released as two separate albums – Lilyhammer The Score - Volume 1: Jazz and Volume 2: Folk, Rock, Rio, Bits And Pieces – on CD, digital and 180-gram black vinyl on July 12 via Wicked Cool/UMe. Starting today, "My Kind Of Town, Van Zandt's spin on the Frank Sinatra standard featured on Volume 1, and his Tito Puente-inspired mambo tune "Mojito" on Volume 2, are available for streaming and immediate download with the corresponding preorder. A video of "My Kind Of Town" featuring Van Zandt's performance of the song on the show mixed with memorable scenes from across the series is available to watch and share here:  https://UMe.lnk.to/MyKindOfTownVideoPR

The music of "Lilyhammer" was arranged and produced by Van Zandt and recorded at his Renegade Studios in New York and at various studios in Norway while in the midst of filming. It was recorded, mixed and co-produced by Geoff Sanoff and mastered by Bob Ludwig at Gateway Mastering.

When Van Zandt was tasked with coming up with the music to soundtrack "Lilyhammer," the veteran musician, songwriter and producer who had pretty much done it all in the worlds of songwriting, including dozens of albums, hundreds of songs, tracks for movies, a Broadway musical, as well as music supervision and musical direction, had never scored a television show and was up to the challenge. Knowing he wanted to create something that combined New York jazz to represent his character Frank "The Fixer" Tagliano with the Norwegian folk music of his exotic new environs, he turned to friend and fellow E Street Band member Max Weinberg for some advice on who could help him put a band together that could flawlessly execute these two disparate genres. On Weinberg's recommendation, he enlisted GRAMMY® Award-winning pianist, arranger and orchestrator, Lee Musiker, known for his wealth of experience working with premiere artists in the jazz, classical, Broadway, and pop genres, such as Mel Tormé, Kristin Chenoweth, Wynton Marsalis, Buddy Rich and Tony Bennett, to help bring his vision to life. Together they assembled the Interstellar Jazz Renegades, a loose collective of some of NYC's finest musicians, led by Musiker and orchestrators Stan Harrison, Raul Agraz and Adam Hochstatter.

Volume 1: Jazz collects together 13 of the best jazz compositions from the show and features a mix of jazz standards, instrumental score and original songs. Van Zandt provides vocals and channels the crooners of yore on the jazz classics, "All Of Me," "Ring-a-Ding Ding!" and the aforementioned "My Kind Of Town." Typically, the music created for TV is short musical cues but Van Zandt took a different approach. "I figured I've got some of the most talented musicians in New York City so why waste them on 15 second cues," Van Zandt explains. "We decided to have some fun. I'd meet Lee about an hour before the session and give him the top line melodies, basic chord changes and structure and talk about the overall mood of the piece. I wanted to try something different and get the musicians creative input and let these guys who were used to always reading their parts express themselves for a change. We would basically arrange it on the spot. I'd suggest a harmony, Lee would suggest an idea and the musicians would begin to orchestrate themselves. It was wild and extremely fruitful. After the success of the first session I knew we had a legitimate jazz album in addition to an incredible score."

Opening with the moody, evocative "Lilyhammer Nocturne (Theme from Lilyhammer)," allowing listeners to hear the full song that the theme song was developed from, the tunes range from the sensual ("The Night Before", "I'm A Fool To Want You") and swinging ("My Kind Of Town," "Rumble Island, "The Thief,") to the mysterious ("Sorceress") and melancholy ("Gloomy Sunday"). An accomplished set of songs that harkens back to the greats like Henry Mancini, Stan Getz and Nelson Riddle, the cinematic music transports you to a dark, smoky jazz club somewhere in 1950's New York or in this case, Norway in the late 2000s. The strength of the music, expertly performed by these veteran musicians, both stands on its own as a cohesive jazz album and as a soundtrack for fans who want to relive the great jazz music of the show. 

Volume 2: Folk, Rock, Rio, Bits And Pieces is a wildly eclectic affair that gathers together 36 tracks from the show, ranging from short music cues to full songs spanning across a dizzying array of genres. Opening with the broadcast version of the theme song "Lilyhammer Nocturne," the song begins as a swinging jazz tune and then deftly segues into Norwegian folk music illustrating the collision of two cultures. Van Zandt fully embraced the Nordic country and integrated traditional Norwegian folk instruments into his musical arsenal to create an authentic sound for the show which was filmed in Lillehammer, Norway and watched by nearly one fifth of its population. Highlights of the folk songs include "Revelation," "Lillehammer Mourning" and "Baptism." On "Toboggan Negotiation," Van Zandt, who played guitar on all but one track on the collection, injects a hard-strummed acoustic guitar into an otherwise traditional sounding folk song, creating a unique hybrid.

The pieces span the globe and musical history, ranging from the Ennio Morricone-esque "African Dawn," to the Eastern sounds of "Tandoori Epiphany" and "Dance of the Persian Serpent," to the symphonic rock of "Painted Angels," to the bluesy "Espresso Martini," to the surf rock of "Killer Surf" and the Latin jazz and mambo of "Stevie Colada and "Mojito." On "Out Of The Darkness," Van Zandt revisits his 1983 song and transforms it from a stadium rock anthem into a bittersweet instrumental with a Norwegian flavor while "Favella" conjures up images of Brazil's Rio de Janeiro. Overall it showcases both the breadth of the extraordinary and ambitious music that Van Zandt created for the show and his immense talent as a songwriter, arranger, musician and musical chameleon. 

"I'm really proud of 'Lilyhammer' and the music I created for it," says Van Zandt. "This was especially rewarding because it gave me the chance to finally do a score completely. This was a full commitment, I loved doing it and experimenting with sound and putting it to pictures and seeing what effect it has. It was a lot of fun, I'd love to do more of it."

Lilyhammer The Score: Volume 1 and 2 come on the heels of Little Steven's highly acclaimed just-released new album Summer of Sorcery, his first album of original material in 20 years. Created with his 14-piece band the Disciples of Soul, the album's 12 songs capture the energy, excitement and electricity of summer, and is an exuberant mix of rock n' soul. Hailed by Rolling Stone as "the most eclectic record he's ever made… it largely dispenses with protest songs and revels in the rock, soul and R&B of his Sixties youth," the album was called "a nostalgic New Jersey starburst of sex and soul," by Uncut while American Songwriter enthused, "Steven, his musical director Marc Ribler and veteran mixers/masterers Bob Clearmountain and Bob Ludwig, pull out all the stops to make this sonic smorgasbord explode out of the speakers with passion and clout. Few artists have the financial means or artistic vision to pull off a thunderous production like this which is impressive in its scope and sheer booming audio audacity."

Having played two rapturous record release shows in Los Angeles and New Jersey, Little Steven and the Disciples of Soul are currently bringing the songs of Summer of Sorcery to life on tour in the UK and Europe. The band will kick off the first leg of their North American tour at the end of June and then head back to Europe in August for more shows. They will return to the US in September for a tour that will culminate at New York City's Beacon Theatre on November 6. As always, teachers are welcome to all shows for free. Each show will be proceeded with a teacher's development workshop demonstrating how to incorporate Van Zandt's TeachRock music education curriculum into the classroom. For more information, visit teachrock.org

LILYHAMMER: THE SCORE TRACK LISTINGS

VOLUME 1: JAZZ

1.Lilyhammer Nocturne (Theme from Lilyhammer)

2.My Kind Of Town (vocal)

3.The Night Before

4.Rumble Island

5.Sorceress

6.I'm a Fool to Want You

7.All Of Me (vocal)

8.Blue Midnight

9.The Thief

10.City Lights

11.Gloomy Day

12.Ring-A-Ding Ding! (vocal)

13.The Morning After

VOLUME 2: FOLK, ROCK, RIO, BITS AND PIECES

1.Lilyhammer Nocturne (Theme from Lilyhammer – Broadcast Version)

2.Revelation

3.African Dawn

4.Lillehammer Mourning

5.Baptism

6.Toboggan Negotiation

7.Curiosity

8.Sunset

9. Sunrise

10.Gregorian Papyperm

11.Elegy for Sally Boy

12.Grampa Lento's Song

13.Tandoori Epiphany

14.Out of the Darkness

15.Wolf Hunt

16.Dance of the Persian Serpent

17.The Minstrel Boy (vocal)

18.Painted Angels

19.Espresso Martini

20.Stevie Colada

21.Mojito

22.Sex Ghost

23.Wired

24.Bliss

25.Jobim Paranoia

26.Out of the Clouds

27.Sylfast is Dead

28.Alex and Johnny

29.Lonely Girl

30.Killer Surf

31.Favella

32.Tommy's Run

33.Bond of Brothers

34.Sigrid Kills

35.Ibsen Interrupted

36.Massage Tattoo

LITTLE STEVEN AND THE DISCIPLES OF SOUL 

SUMMER OF SORCERY WORLD TOUR 2019

MAY

24 - London, UK - O2 Forum Kentish Town

26 - Derbyshire, UK - Bearded Theory Festival *

28 - Berlin, Germany - Huxley's

30 - Jelling, Denmark - Jelling Muiskfestival *

JUNE

1 - Stockholm, Sweden - Cirkus

3 - Oslo, Norway - Rockefeller

5 - Hamburg, Germany - Fabrik

7 - Brussels, Belgium - Ancienne Belgique (AB)

9 - Emmen, The Netherlands - Hello Festival *

11 - Zurich, Switzerland - Kaufleuten

13 - Milan, Italy - Alcatraz

15 - Bilbao, Spain - Music Legends Festival *

17 - Barcelona, Spain - Sala Apolo

20 - Kragujevac, Serbia - Arsenal Festival *

23 - Paris, France - La Cigalle

SUMMER OF SORCERY TOUR - NORTH AMERICA 2019

JUNE

29 - Syracuse, NY - New York State Blues Fest *

JULY

2 - London, ON - London Music Hall

4 - Ottawa, ON - Ottawa Bluesfest *

6 - Quebec City, QC - Festival d'été de Québec *

8 – Montreal, QC – L'Olympia

10 - Toronto, ON - Phoenix Theatre

12 - Buffalo, NY - Town Ballroom

14 - Clifton Park, NY - Upstate Concert Hall

16 - New Haven, CT - College Street Music Hall

18 - Huntington, NY - The Paramount

20 - Glenside, PA - Keswick Theatre

22 – Middletown, NY – Orange County Fair

24 - Richmond, VA - The National

26 - Easton, PA - State Theatre Center For The Arts

28 - Annapolis, MD - Outlaw Jam *

SUMMER OF SORCERY TOUR - EUROPE 2019

AUGUST

3 - Notodden, Norway - Notodden Blues Festival *

5 - Copenhagen, Denmark - Amager Bio

7 - Warsaw, Poland - Stodola

9 - Erfurt, Germany - Gewerkschaftshaus

11 - Hanau, Germany - Amphitheater

13 - Nuremberg, Germany - Serenadenhof

17 - Luxembourg, Luxembourg

21 - Manchester, UK - O2 Ritz

23 - Dublin, Ireland - Vicar Street

25 - Oxford, UK - O2 Academy

27 - Newcastle, UK - O2 Academy

29 - Cardiff, UK - Tramshed

SEPTEMBER

2 - Vienna, Austria - Arena Wien

SUMMER OF SORCERY TOUR - NORTH AMERICA 2019

SEPTEMBER

5-8 - Las Vegas, NV - Big Blues Bender @ Hard Rock Hotel and Casino *

9 - Ventura, CA - The Majestic Ventura Theater

11 - Berkeley, CA - The UC Theatre

13-14 - San Diego, CA - Kaaboo Del Mar *

15 - Tucson, AZ - The Rialto Theatre

17 - Englewood, CO - The Gothic Theatre

19 – Kansas City, MO - Knuckleheads

22 - Louisville, KY - Bourbon & Beyond *

29 – Austin, TX @ Emo's Austin

OCTOBER

1 – New Orleans, LA – House of Blues

3 – Birmingham, AL – Iron City

5 – Memphis, TN –Soundstage at Graceland

7 – Atlanta, GA – Center Stage Theater

13 – Detroit, MI – St. Andrew's Hall

15 – Grand Rapids, MI – 20 Monroe Live

17 – Burnsville, MN – Ames Center

19 – Milwaukee, WI – Pabst Theater

21 – Winnipeg, MB @ Burton Cummings Theatre for the Performing Arts

23 – Chicago, IL – House Of Blues

26 – Cleveland, OH – Masonic Auditorium

28 – Des Moines, IA – Hoyt Sherman Place

30 – Columbus, OH – Newport Music Hall

NOVEMBER

2 – Medford, MA – Chevalier Theatre

4 – Warrendale, PA – Jergel's Rhythm Grille

6 – New York, NY – Beacon Theatre

* FESTIVAL APPEARANCE