Rebekah Victoria - Songs of the Decades

Jazz vocalist Rebekah Victoria mines 20th century songs for 21st century sounds and meaning on Songs of the Decades, her new recording

Victoria collaborates with acclaimed trombonist, composer-arranger and bandleader Wayne Wallace and an assemblage of two-dozen musicians (including guest vocalist Kenny Washington) for a panorama of songs from each decade of the 20th century

As a jazz singer, Rebekah Victoria's performance repertoire tends to come overwhelmingly from the era of the Great American Songbook: the 1920s, '30s and '40s. As she was preparing to record her second album, however, Victoria was inspired to widen her musical perspective in terms of both time periods and popular styles. Songs of the Decades, her investigation of the music from each decade of the twentieth century, was released through Patois Records.

If the album is retrospective, though, it is the furthest thing from nostalgic. "I wanted to make these songs different- I wanted them to sound very new and fresh," says Victoria, who is based in the San Francisco Bay Area. "The idea was to make them as much fun to listen to now as they were in their day, when they were big hits. For the people that really know these songs, they'll get a kick out of the differences."

She also had another, more serious priority for assembling Songs of the Decades. "There's a theme running through the songs," she says. "In one way or another, most of them connect to the #MeToo movement that's happening today. I wanted the album to speak to that." In other words, Victoria combed through the music of the past and found that it was not only still fun, but still relevant.

Wayne Wallace, the Grammy-nominated trombonist, composer-arranger, and bandleader who is also the head of Patois Records, acted as Victoria's partner for the album. He co-produced it, wrote all of its arrangements-often incorporating elements of Latin jazz, his specialty-and assembled its superlative cast of 24 musicians, including improvising vocalist Kenny Washington, Wallace's bandmates from his own various projects, and a string quintet that features members of the San Francisco Symphony.

"I was so happy with how it all turned out," Victoria says. "Wayne's arrangements really captured the freshness I wanted, and the musicians he chose were just fantastic. It was a great experience overall."

Songs of the Decades does not present its selections in chronological order; Victoria and Wallace sought to create a flow that would emphasize the variety of the material and the versatility of the singer. That said, the album opens with its oldest tune. "Some of These Days," written in 1910, has a cavalier quality that Victoria injects with sultriness. But its solo section also suggests a subtle, sobering edge, a warning of the consequences of disrespect.

The consequences of disrespect are front-and-center of "These Boots Are Made for Walking," and there's no subtlety about it. The album's '60s episode gets a down-and-dirty treatment, with earthy Hammond organ and guitar (courtesy of Frank Martin and Rick Vandivier, respectively) and soulful horn charts that drive home Victoria's taunting vocal.

"After You've Gone" is perhaps the recording's most recognizable jazz standard, and the musicians tackle it as such. The 1918 Layton-Creamer classic here becomes a breezy swinger and affirmation of the singer's self-worth, augmented by Mary Fettig's jaunty clarinet solo and Victoria's supremely confident phrasing and time feel.

Though it's probably best known through Joni Mitchell's version two decades later, "Twisted" began life in 1952 as an Annie Ross vocalese riff on a Wardell Gray blues solo. Its (title-appropriate) twists and turns give Wallace a place to put his finest and most elaborate Latin-jazz flourishes, including a double-barreled solo chorus from the trombonist. (Wallace and Kenny Washington also provide the spoken-word responses to Victoria's sung lines.)

There's also a trace of a Latin accent on "The Song Is You," written by Jerome Kern and Oscar Hammerstein II for a 1932 musical. More than that, however, it takes on a bebop sensibility in Victoria and Wallace's hands. The singer drops a delivery with echoes of Ella Fitzgerald or Sarah Vaughan, with solos by Fettig (now on alto sax) and pianist Joe Gilman that are steeped in delectable modern jazz language.

Victoria singles out "Un-Break My Heart" as a particularly challenging tune for the purposes of this album. It's not because of any technical hurdles, but because the 1996 Toni Braxton hit (written by Diane Warren) is Songs of the Decades' most recent selection, and therefore its most familiar. "That's a pop song that everyone knows," she says. "Finding a way to refresh that one was difficult, but that's part of the fun of this album." Ultimately, the song receives a subtle reharmonization and bossa nova beat, with a guitar solo from Vandivier that's also inspired by Brazilian music-and a sly interpolation of Neil Young's "Only Love Can Break Your Heart."

"Whispering" was an iconic hit song of the 1920s. But here it gets thoroughly lifted out of that time with a sexy mambo setting, a vocalese verse from Victoria (decidedly divergent from the album's feminist theme), and an expansive scat solo from Kenny Washington-not to mention a modulation (also in vocalese) to "Groovin' High," Dizzy Gillespie's revolutionary bebop contrafact of the tune.

A gentle Afro-Caribbean percussion treatment greets Carole King's "It's Too Late," representing the 1970s. While it's drummer Colin Douglas and percussionist Michael Spiro who shape the performance, they're assisted by beautiful solos from Vandivier and pianist Murray Low, as well as a delivery from Victoria that takes Billie Holiday-like liberties with its contours.

Like "Whispering," Sy Oliver and Sid Garris's "Opus One" (from 1943) declines to engage with Victoria's theme of women's independence and empowerment. "This one's just for fun," she says. True to her word, it concerns itself with timeless, danceable swing, heightening the effect by becoming a cleverly plotted medley with Charlie Shavers's 1938 jazz standard "Undecided."

Songs of the Decades closes with its 1980s installment: "I Hope I Never," a tune by the New Zealand new wave band Split Enz (the only non-American song on the album). Here Wallace deploys the string quintet, which adds piquant emotional release (and a surprising solo from violinist Eugene Chuklov) to Victoria's remarkably restrained soprano.

Rebekah Victoria grew up in her family-owned nightclub in Los Altos, California, singing with her father's Greek band. While she chose to get her college degree in business, she also took formal singing lessons and theater classes, learning both classical and Broadway singing techniques. She took a job as a real estate broker but supplemented her income with musical theater and even jobs as a singing waitress.

After raising her daughter to adulthood, Victoria began to engage her after-hours singing career more seriously. Deciding that her heart-and vocal range-really belonged to jazz, she formed a band called Jazzkwest and began performing regularly in clubs and other venues in the San Francisco Bay Area, attracting a following that eventually enabled her to record her debut album, #OldFashionedTwitterTwit, in 2016. While the retirement of her key collaborator in Jazzkwest presented a challenge, Victoria soon had a tete-a-tete with San Francisco jazz maven Sheryl Lynn Thomas-who connected her with Wayne Wallace, beginning the two-year task of creating Songs of the Decades.

"It's been a really great process," Victoria says. "I hope it continues on to the next one."

Lafayette Gilchrist's album Dark Matter

Pianist Lafayette Gilchrist Brings Together a Universe of Sound on Dark Matter,

His Second Solo Album

On his second solo recording, Dark Matter, Baltimore-based pianist Lafayette Gilchrist muses on the elusive and mysterious matter that ties the universe together. It's not hard to imagine why the subject might hold such fascination for Gilchrist, whose work thrives on making surprising connections between styles and influences, boldly veering from piledriver funk to piquant stride, vigorous swing to hip-hop swagger, contemplative abstraction to deep-bottom grooves drawn from the boisterous go-go scene in nearby Washington D.C.

Released on July 19, 2019 via Creative Differences/Lafayette Gilchrist Music, Dark Matter was recorded live in front of a rapt, intimate crowd at the University of Baltimore's Wright Theater by acclaimed hip-hop producer Wendel Patrick (also known as classical and jazz pianist Kevin Gift). Over the course of the set's eleven original tunes, Gilchrist cycles through a wide range of moods and ideas, from deeply personal meditations to socially conscious outcries. Like dark matter itself, the connective tissue is sensed more than seen, tied together by the pianist's singular voice and restless imagination.

"Dark matter is the thing that keeps everything from drifting apart," says Gilchrist, whose intellectual curiosity seems as far-reaching and unquenchable as his musical tastes. "Dark matter permeates everything. It's difficult to get one's head around, but the aspect of it that fascinated me was it being this invisible force that holds the universe together. That came to mind because the tunes on the album are so different one from the other that I felt the title suggested a binding of a kind - a desire for the listener to hear it all as one sound."

That fusion of inspirations is something that Gilchrist has done throughout his career. Perhaps it was the fact that he'd grown up listening to music long before he ever touched an instrument. It wasn't until the summer before college, when he wandered into an empty recital hall and sat down at the keys on a whim, that he ever touched a piano. "It sounds like a fairy tale," he recalls, "but it's the truth: I wandered into the recital hall and saw this 9-foot Steinway grand piano on the stage. Nobody was around and it wasn't locked up, so I stepped on the sustain pedal and started playing sounds. When I came off the pedal the sounds disappeared, and that's how it started."

Much has been made of the hip-hop influences in Gilchrist's music, especially in the broad-shouldered swing of his horn-heavy ensemble New Volcanoes, but the references are far from intentional. Again calling to mind the pervasiveness of dark matter, the music's sound was simply something he absorbed during his formative years in Baltimore. More crucial to his characteristic approach is the vibrant sound of go-go, the distinctive blend of funk, R&B, jazz and old school hip-hop that is unique to Baltimore-D.C. area stages, though Gilchrist didn't realize how uncommon that experience was until he'd left home.

"I never remember having a conversation with anybody about go-go being our hometown music," he says. "That music was so omnipresent in our upbringing, that I almost took it for granted. It was always just, 'Did you check out Trouble Funk or Rare Essence or Little Benny and the Masters at the Coliseum or the Kaywood?' It didn't occur to me until later that we were one of the last places in the country where you'd dance to popular contemporary music played by live instruments."

While he didn't realize it at the time, jazz crept into Gilchrist's consciousness via the go-go scene, albeit combined with go-go's distinctive rhythmic feel. Chuck Brown, one of the genre's founding fathers, would reimagine jazz standards like "Harlem Nocturne" or "It Don't Mean a Thing" with the muscular go-go beat. "That go-go thing was so ingrained in me that when I heard the original Earl Bostic version of 'Harlem Nocturne,' it discombobulated me. I came to understand it later, but that internal pocket never left me. It informed me before I learned music and it still informs me."

It's there from the outset of Dark Matter, whose opening tune, "For the Go-Go," pays explicit homage to the music. But it's also there underlying the tender nostalgia of "Child's Play," a wistful remembrance of growing up surrounded by towering adults and nothing but time on your hands to have fun and most likely get into some sort of trouble. The pianist's sense of wonder at the universe is evident in the title track, which gleefully plays on evolving variations of its main theme. Scientific curiosity also lies at the heart of "Old Whale Bones," a vivid pastoral inspired by archaeological digs.

While most of the pieces on Dark Matter are newly composed for the date, "Spontaneous Combustion" reprises an older tune that remains unfortunately, stubbornly relevant. It ponders the small incidents that can set off social change, bearing echoes of protest music past. "The thing that always fascinates me about history is that you never know what will set it off," Gilchrist says. "The issue may be big, but the spark for an uprising, a revolt, or a revolution could be something small and petty." Hope for just such an instigating incident rings out in "Blues for Our Marches to End," which was written following the 2014 protests in Ferguson, Missouri in reaction to the police shooting of Michael Brown.

Between the two comes "And You Know This," a song that merges the ska sound of bands like The Skatalites with the funky New Orleans blues of piano men like Professor Longhair and Allen Toussaint. Gilchrist fell in love with the Crescent City's musical soul during a fundraiser at the legendary Tipitina's produced by The Wire writer David Simon, an outspoken Baltimorean who has used Gilchrist's music in his shows, including Treme and The Deuce. Another life-changing experience came via Gilchrist's mother, a now-retired employee of the Federal Aviation Administration. Through her, he had the opportunity to perform for veteran members of the Tuskegee Airmen, the heroic African-American WWII fighter pilots. The profound experience inspired Gilchrist to compose "Black Flight."

Turning from the vast outward to the deep inward, "The Love Bind" spins a tale of heartbreak that feels soaked in tears but also a caustic humor. That same sardonic wit runs through "Happy Birthday Sucker," a sly, self-deprecatory celebration written after a brief plunge into self-pity. "Greetings" ironically closes the album with an elliptical send-off.

2018 Baker Artist Award winner Lafayette Gilchrist leads the genre-defying ensembles the New Volcanoes and the Sonic Trip Masters All Stars. Along with bassist Michael Formanek and drummer Eric Kennedy, he's a member of the adventurous collective trio Inside Out. In 2017, Gilchrist was named a  Local Legend by Baltimore Magazine, while Baltimore City Paper named Lafayette Gilchrist and the New Volcanoes as "Best Band." While steadily leading his Baltimore-based ensembles with a progressive stream of new music, Gilchrist toured with David Murray in his octet and quartets for 13 years. He has performed with such notable artists as Cassandra Wilson, Macy Gray, Oliver Lake, Andrew Cyrille, Orrin Evans, Paul Dunmall, Hamid Drake, William Parker, and many more. His compositions have graced the soundtracks of David Simon's acclaimed series The Wire, The Deuce, and Treme.

lafayettegilchristmusic.com

Pianist Ahmad Jamal Releases Ballades

Legendary Pianist Ahmad Jamal Releases Gorgeous, Ruminative Solo Album Alongside a Stunning Showcase for his Protégé, Azerbaijani Pianist Shahin Novrasli

  

At the age of 89, Ahmad Jamal is one of the most iconic names in jazz, renowned the world over for the peerless elegance and profound expression of his playing. It may be hard to imagine his stellar seven-decade career ever being replicated, though Jamal himself has done his part to nurture and encourage a new generation of artists. His latest protégé is the incredibly gifted Azerbaijani pianist Shahin Novrasli, whose dazzling music promises to carry forth the torch long maintained by Jamal’s genius.

On September 13, 2019, Jazz Village [PIAS] will proudly release two new albums that represent the inheritance passed on from masters like Ahmad Jamal to rising stars like Shahin Novrasli (shah-heen no-vrah-slee). The stunning Ballades is a rare solo outing for Jamal, an intimate set of career-spanning interpretations supplemented by three dialogues with longtime bassist James Cammack. At the same time, Novrasli’s From Baku to New York City traces the younger pianist’s remarkable journey from the former Soviet republic to the jazz mecca he now calls home, pairing, Novrasli with Jamal’s trio mates, Cammack and drummer Herlin Riley.

“I have known and listened to all the great pianists, known and unknown,” Jamal says. “Shahin is no exception to the rules governing great players. In my opinion, he will be making an indelible impression on the music world with his touch, technique, and composition skills… He joins the list of extraordinary pianists that I have admired and followed over the many years of being a part of the music world.”

For his part, Novrasli sings the praises of his mentor, and credits him as lending his impeccable taste to every aspect of From Baku to New York City. “Mr. Jamal suggested a number of things for me to listen to and absorb, he listened to my pieces and suggested sounds and interpretations. He was personally present at the recordings. He was the heart and the life of the outcome, the mastermind behind it all.”

Novrasli recalls the experience of hearing Jamal play unaccompanied in his own house, sitting down at the piano for an impromptu rendition of the classic “It Could Happen To You.” As the younger pianist recalls, “I [realized] how something simple you have heard a million times over can sound so different and alive when you hear it from the hands of a legend.”

With Ballades, listeners across the globe can now share in that breathtaking experience as Jamal essays seven compositions alone at the keyboard. The album opens with the title track from the pianist’s 2017 album Marseille, a love letter to the spectacular city in southern France. Jamal is joined by the understated but emotionally resonant bass accompaniment of Cammack, who he praises as “part of the historic and elite group of bassists I have had the good fortune of performing with for decades. [James] is an extension of my left hand and his hearing is quite amazing.”

  

The present moment is captured in “Because I Love You,” an achingly gorgeous piece composed at the very moment of its recording, a testament to Jamal’s continued ability to spontaneously conjure enduring melodies.

The album also reaches back into Jamal’s past, most notably for a new version of “Poinciana,” the tune most indelibly linked to his name. As he did on the beloved trio version from 1958’s At the Pershing: But Not For Me, Jamal reimagines the timeless song once again, unfolding delicate layers of sublime lyricism. His meditation on “I Should Care” is playfully tender, while the original “Land of Dreams” is a gossamer lullaby with the shifts in mood of a nocturnal fantasia. Not a word needs to be sung in order for Jamal to express the wistful yearning of the standard “What’s New?”

Cammack makes his return to dance a graceful duet with Jamal on the Jimmy Dorsey hit “So Rare,” before Jamal resumes the spotlight for an artful rumination on the oft-recorded “Whispering.” The bassist makes his final appearance on a medley pairing the Rodgers and Hart classic “Spring Is Here” with Bill Evans’ “Your Story.” Jamal ends the album with a shimmering take on Johnny Mandel and Johnny Mercer’s “Emily.”

Jamal’s eclectic but unerring taste for material also graces Novrasli’s album. From the opening take on Joni Mitchell’s “Both Sides Now” through the Michael Jackson ballad “She’s Out of My Life” and a blistering race through Dizzy Gillespie’s raucous “Salt Peanuts,” each piece showcases another facet of the Azerbaijani pianist’s prolific talent. Novrasli’s own compositions prove an ideal complement to these wide-ranging classics.

Novrasli selected the material in partnership with Jamal, leading to a fleet, thrillingly swinging take on Thelonious Monk’s perennial “52nd Street Theme” and the heartrending ballad “Night Song,” written for Sammy Davis Jr. as part of the Broadway musical “Golden Boy.” Victor Young’s “Stella by Starlight” is another proving ground for jazz pianists, here rendered with a jaunty electricity.

Though no life can be entirely captured in nine songs, the title From Baku to New York City nonetheless suggests a kind of musical autobiography for Novrasli. As he explains, “This particular album is my most cherished work to date, and the journey of these particular themes and compositions coming together reflects my journey as a jazz musician and artist so far. This is not just my best work to date; these songs capture my favorite flavors of Azerbaijan along with my first impressions of New York's night life and the inspiration I’ve always felt from American jazz. All of those influences traveled with me to my beloved Paris, where this album was born and recorded.”

Two of Novrasli’s originals harken back to his roots: the intricate “Memories,” which he performs solo, and the elegiac “Cry of Bulchura,” are variations on themes by Azerbaijani composers Uzeir Hajibayov (known as the father of Azerbaijani classical music and opera) and Vagif Mustafazadeh (a pianist who fused jazz with the Azerbaijani folk music mugham). The up-tempo “Shahin’s Day” captures the pianist’s elation at his life in jazz.

  

Ahmad Jamal · Ballades

Shahin Novrasli · From Baku to New York City

Jazz Village [PIAS] · Release Date: September 13, 2019

Mark Winkler’s “I’m With You: Mark Winkler Sings Bobby Troup”

A popular and prolific songwriter, recording artist and globally renowned performer, Mark Winkler has developed an enduring affinity for the great Bobby Troup. While perhaps best known for his spirited standard “Route 66,” the legendary singer, pianist, tunesmith and master lyricist left behind a deep and wild treasure trove of quirky/playful and heartfelt/melancholy songs from which Winkler has gotten his kicks since releasing Mark Winkler Sings Bobby Troup in 2003. 

Having recently discovered new overlooked gems in the Troup canon, the singer pays homage to his kindred spirit once again on his latest album I’M WITH YOU. The 12-track collection is a unique gathering of freshly re-imagined Troup songs. This project came about when Troup’s two daughters, Ronne and Cynnie, and Ronne’s husband Bob Bayles, gifted Winkler with a box of Troup’s personal sheet music and eight CDs of Troup tunes. 

“It’s as easy as pie for me to sing Bobby Troup songs,” Winkler says. “Once I choose the tunes I want to create new arrangements for, I approach the songs very easily. I feel like I understand him. We’ve got things in common. He swings and I love to swing. He’s funny, clever and whimsical, yet could also write and sing the blues. As a songwriter, I am always aspiring to achieve that same range of emotions.” Longtime Winkler fans will feel the familiar coolness with his vibrant takes on these gems.

David Benoit And Friends

It would be hard to write the book on Contemporary Jazz without a few chapters on David Benoit. The multi-Grammy nominated and chart-topping piano wizard has enjoyed more than a four-decade career taking chances and following his own intuition. “I look at the big picture and try not to get caught up in the minor details,” reveals the pianist. 

Unbound by categories and rules, the trailblazer has built an enviable career drawing inspiration from his vast influences which have included jazz, comics, film, Broadway and symphonies, to cite a few. David Benoit’s free-spirited approach has allowed him to collaborate with such diverse artists as The Rippingtons, Faith Hill, David Sanborn and CeCe Winans. Few artists can say they have performed solo piano for “Peanuts” television movies and specials for over two decades but Benoit has. 

He also lent his chops in 2015 to the long awaited 3-D animated adaptation of the beloved Charles M. Schulz comic strip.  On August 23, 2019, Shanachie Entertainment will release David Benoit’s 36th recording as a leader and his first solo effort for the label. David Benoit And Friends is an exhilarating escapade of shifting moods, uplifting anthems, virtuosic playing and synergetic interplay that magnifies Benoit’s depth and vision as an artist. From original compositions and tributes to guitar maestro Kenny Burrell and NY Times Best Seller crime novelist Dean Koontz to covers by Irving Berlin, Coldplay and Portugal The Man, Benoit is nothing short of inspiring. “It comes from a very unconventional background on music,” shares the Los Angeles based pianist. “My influences were all over the place from Leonard Bernstein to The Doors.” 

David Benoit And Friends is produced by drummer Bud Harner who has produced and worked with everyone from George Benson and Barry Manilow, to Jeff Lorber to Keiko Matsui, Lindsey Webster and Lalah Hathaway. David Benoit fell in love with jazz Benoit also currently hosts a morning radio show on KKJZ 88.1 FM in Long Beach, CA. In 2018, Benoit was given an honorary doctor’s degree in music from Five Towns College in New York.

IT’S SUCH A GOOD FEELING: THE BEST OF MISTER ROGERS

Also due from Omnivore on October 4: Johnny Costa Plays Mister Rogers’ Neighborhood Jazz

It’s Such a Good Feeling: The Best of Mister Rogers, a collection of 23 songs by Fred Rogers — beloved host of the landmark children’s television series Mister Rogers’ Neighborhood — will be released by Omnivore Recordings on October 4, 2019. The album, which is backed by long-time collaborator and pianist Johnny Costa, Carl McViker on bass, and percussionist Bobby Rawsthorne, features classics like “Won’t You Be My Neighbor?,” “You Are Special,” and the title track, plus five previously unissued tracks, including the show’s original closer, “Tomorrow.”

The CD packaging contains photos, an introductory note from Academy Award®- and GRAMMY®-winning director Morgan Neville, and an essay by Robert Bianco, long-time TV writer for the Pittsburgh Post-Gazette and former USA Today TV critic.

Produced at WQED-TV in Pittsburgh and premiering on national public television more than five decades ago, Mister Rogers’ Neighborhood has long been a part of the lives of countless kids and adults who experienced and learned from Fred Rogers’ timeless wisdom. While the series’ staying power never lapsed, Neville’s acclaimed 2018 documentary Won’t You Be My Neighbor reawakened the public’s love for Mister Rogers, and introduced a new generation to him. With the upcoming November release of A Beautiful Day in the Neighborhood (starring Tom Hanks as Rogers), the cherished host and his Neighborhood will once again be front and center in the hearts, minds, and ears of everyone.

Rogers found his perfect accompanist in Costa. The performances, flourishes, and embellishments that Costa and the band made during the show (all performed live) not only enhanced the experience, but also taught viewers about jazz.

In 1986, Rogers, Costa, McViker, and Rawsthorne teamed for the last record from Mister Rogers’ Neighborhood Records: Johnny Costa Plays Mister Rogers’ Neighborhood Jazz. The band takes an instrumental journey through 13 of Rogers’ songs, retaining their original compositional intent, while breathing new life into them. The release has been out of print for decades, fetching top dollar from collectors. It returns for the first time on CD and Digital.

Director Neville contributes an introduction in the packaging, while Musoscribe’s Bill Kopp traces Costa’s history and work on the program in an informative essay.

Track listings:

It’s Such a Good Feeling: The Best of Mister Rogers

1. Today Is A Very Special Day*

2. Won’t You Be My Neighbor?

3. I Think I’m Going To Like Today*

4. Look And Listen

5. Be Brave, Be Strong

6. Then Your Heart Is Full Of Love

7. Pretending

8. You Can Never Go Down The Drain 9. I Like To Take My Time

10. Sometimes People Are Good

11. You Are Special

12. I’m Looking For A Friend*

13. Some Things I Don’t Understand

14. The Clown In Me

15. It’s The Style To

16. Wear A Smile

17. I’m Taking Care Of You

18. It’s You I Like

19. Once Upon Each Lovely Day* Wishes Don’t Make

20. Things Come True

21. You’re Growing

22. Tree Tree Tree

23. It’s Such A Good Feeling Tomorrow*

* Previously Unissued

Johnny Costa Plays Mister Rogers’ Neighborhood Jazz

1. Won’t You Be My Neighbor?

2. You Are Special

3. It’s You I Like

4. Sometimes People Are Good/Children Can Medley

5. What Do You Do?

6. I Like To Take My Time

7. Everybody’s Fancy

8. Please Don’t Think It’s Funny

9. Something To Do While We’re Waiting

10. Many Ways To Say I Love You

11. Then Your Heart Is Full Of Love

12. Did You Know?

13. It’s Such A Good Feeling

Mister Rogers trailer: https://youtu.be/_yusJ1GF-FI

Pasquale Grasso -- Solo Ballads Vol. 1 Melds Bebop and Classical Technique

Sony Masterworks has announced the  release the second installment of guitar virtuoso Pasquale Grasso's digital EP series: Solo Ballads Vol. 1. The latest offering displays Grasso channeling the easygoing gait of stride piano on a collection of ballads close to his heart.

Grasso’s new digital only EP series – which began with Solo Standards Vol. 1 on June 28 – showcases him in the solo guitar format, where his intensive studies of both the masters of bebop and classical guitar technique meld into a signature mastery that is, remarkably, at once unprecedented and evocative. The approach of the releases echoes the changing landscape in the industry, allowing a prolific recording artist to release a multitude of material over the course of an extended period of time.

"Although there are significant drawbacks to the music industry's shift toward streaming, there are also great opportunities,” says producer, manager and Sony Masterworks A&R Consultant Matt Pierson. “When an artist’s creative impulses are very active, it’s possible to record and release material in a more progressive way, feeding listeners music on a much more consistent basis. In the case of Pasquale, since he’s such a brilliant solo player with so much repertoire already under his fingers, we cut 50 extraordinary tracks. Since I find his playing to be very addictive, my hope is that when people get hip to him, they’ll also get hooked, and we can deliver a flow of a variety of material over the course of a year."

But whom does it evoke? After a surface listen, Joe Pass and his essential Virtuoso LPs might come to mind. Now listen again. The sparkling, immaculately balanced tone; the tasteful tinges of stride and boogie-woogie rhythm; the stunning single-note lines that connect his equally striking use of chordal harmony—for Grasso, great solo arranging equals Art Tatum.

Many serious guitar heads have been hip to Grasso for a while now and are aware of his jaw-dropping online performance videos, his beautiful custom instrument – built in France by Trenier Guitars – and his early career triumphs. In 2015, he won the Wes Montgomery International Jazz Guitar Competition in New York City, taking home a $5,000 prize and performing with guitar legend Pat Martino’s organ trio. Last year at D.C.’s Kennedy Center, as part of the NEA Jazz Masters Tribute Concert, Grasso participated in a special performance to honor Pat Metheny, alongside his guitar-wunderkind peers Camila Meza, Gilad Hekselman, Dan Wilson, and Nir Felder.

His Sony Masterworks EPs showcase his sweeping abilities in the most intimate possible setting. Here you can experience his lifetime of listening and of challenging himself to transcend a bar set by Art Tatum so many decades ago. Solo Monk – the next release in the EP series – will be available on October 11, the day after Monk’s 102nd birthday. Additional EPs are slated for future release, including Pasquale exploring the works of Duke Ellington, Bud Powell and Charlie Parker. 

It was the kind of endorsement most rising guitarists can only dream of, and then some. In his interview for Vintage Guitar magazine’s February 2016 cover story, Pat Metheny was asked to name some younger musicians who’d impressed him. “The best guitar player I’ve heard in maybe my entire life is floating around now, Pasquale Grasso,” said the jazz-guitar icon and NEA Jazz Master. “This guy is doing something so amazingly musical and so difficult.

“Mostly what I hear now are guitar players who sound a little bit like me mixed with a little bit of [John Scofield] and a little bit of [Bill Frisell],” he continued. “What’s interesting about Pasquale is that he doesn’t sound anything like that at all. In a way, it is a little bit of a throwback, because his model—which is an incredible model to have—is Bud Powell. He has somehow captured the essence of that language from piano onto guitar in a way that almost nobody has ever addressed. He’s the most significant new guy I’ve heard in many, many years.”

As he’s done with many rising jazz stars, Metheny later invited Grasso over to his New York home to jam and share some wisdom. He’s since become a generous presence in Grasso’s life, and his assessment of Grasso’s playing is—no surprise—spot-on.



Born in Italy and now based in New York City, the 30-year-old guitarist has developed an astounding technique and concept informed not by jazz guitarists so much as by bebop pioneers like Powell, Charlie Parker and Dizzy Gillespie and the classical-guitar tradition.

These days, Grasso teaches and maintains a packed gig schedule around New York, including frequent solo performances at the popular Greenwich Village haunt Mezzrow, where a regular Monday-night gig allowed him to develop his solo-arranging skillset. Not that Grasso thinks his work is done. “All [of the musicians I love are] inspiration for me to get new ideas and form my style, because it’s still growing,” Pasquale says. “And it’s gonna be growing until the day I die.”

SOUL SINGER KELLY HAFNER EMBARKS ON US TOUR IN SUPPORT OF NEW ALBUM 'IF ITS LOVE'

Austin based R&B soul singer and songwriter Kelly Hafner is set to embark on aUS tour this August! She is touring in support of her new album If It's Love. Her show-stopping voice and unmistakably improvisational style keep listeners hooked from start to finish.  Echoing the traditions of her soul forebears like Etta James, Lauryn Hill, Marvin Gaye, and Amy Winehouse, If It's Love tests the boundaries of neo-soul in a refreshing way.

The new album takes a dive into a soulful journey that highlights the depth ofHafner’s voice. The 10 track album keeps you listening for more as Hafner’s voice takes you on a journey with songs like vintage vocal-driven title track and lead single “If it’s Love.” She comments, “It’s about having faith in trusting your gut, your intuition when it comes to the person you’re meant to be with, and the path to take in life. It’s half about falling in love and about going through life authentically and without doubt. No matter how hard it is to honestly reflect on where we’re at in the moment.” Hafner’s lyrics “Birds fly high, time moves slow, somehow they always know where to go” highlight this sentiment.

In the end, Hafner’s view of her own music is what gives it true soul.  She explains, “This release is for anyone who finds peace or happiness from listening to the songs, to express truth rather than perfection, to be an understanding force for people who need it, when they need it. There’s something special about communicating with people through sound, before even meeting them. That I think is magic.”

Upcoming Shows:

AUG 17 - Austin, TX - Stubbs BBQ

AUG 23 - Austin, TX - The Sahara Lounge

AUG 30 - Tulsa, OK - Whittier Bar

AUG 31 - Pittsburg, KS - TJ Lelands

SEP 03 - Denver, CO - Lion's Lair

SEP 05 - Laramie, WY - Coal Creek Coffee Company Uptown

SEP 07 - Salt Lake City, UT - Hotel RL Salt Lake City

SEP 09 - Forest Knolls, CA - Papermill Creek Saloon

SEP 10 - SF, CA - Simple Pleasures Cafe

SEP 11 - Palm Desert, CA - Desert Fox Bar

SEP 12 - Paso Robles, CA - The Pour House

SEP 14 - Tucson, AZ - Saguaro Corners Restaurant & Bar

SEP 15 - Bisbee, AZ - The Quarry

Christine Correa & Ran Blake: Jazz at the Kitano Hotel - NYC August 16 & 17, 2019

Christine Correa and Ran Blake return to Jazz at Kitano for another wonderful pair of evenings hosted by jazz manager and enthusiast Gino Moratti. Correa and Blake are very excited to share material from their up and coming release, When Soft Rain Falls a dedication to Billie Holiday, and revisiting some material from their latest album, Streaming, plus new music 

    

Friday August 16th and Saturday August 17th 2019 -Two sets each night at 8 & 10:00 PM / Jazz at Kitano Hotel / 66 Park Ave 

New York, NY 10016  

Lady in Satin was Billie Holiday's penultimate recording released in 1959, the year of her death. Although the repertoire is derived from the Great American Songbook, Lady in Satin is unlike any of Holiday's previous recordings as she specifically chose to be accompanied by the lush orchestral arrangements of Ray Ellis and personally hand picked each song based on its lyrics. 

Brooklyn-based Red Piano Records is proud to announce the release of When Soft Rain Falls . . . featuring pianist Ran Blake and vocalist Christine Correa paying tribute to the great Billie Holiday, 60-some years after the release of her Lady in Satin recording. 

In contrast to the grand orchestral arrangements of the original album, Correa and Blake interpret the music in a intimate duo settng. Holiday holds a special place in the hearts and souls of these artists; a place where her music, her sound and her aesthetic resonates deeply. On When Soft Rain Falls  . . ., Correa is able to capture the raw emotion, drama and the intimacy that is associated with Holiday; the way she bends and slurs her notes, her rhythmic phrasing and the liberty she takes in interpreting these songs. All the songs from Lady In Satin are re-imagined, and in addition to the twelve songs from the Holiday album, Correa and Blake include "The Day Lady Died," a Blake composition that has the great Frank O'Hara poem superimposed over it, as well as solo piano versions of "Big Stuff," "Practice Makes Perfect," and a solo voice version of "Please Don't Talk About Me When I'm Gone". 

Ran Blake has created a unique niche as an artist in improvised music. He has incorporated and synthesized several divergent styles and influences into a single innovative and cohesive style of his own, ranking him among the geniuses of the genre. On When Soft Rain Falls . . ., their sixth release together over a 40-year friendship, Blake and Correa reach new heights in terms of artistry, vision and expressiveness.

   

More on Ran Blake and Christine Correa:

In a career that now spans five 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 him a dedicated following around the world. In the tradition of two of his idols, Ellington and Monk, Blake has incorporated and synthesized several otherwise divergent styles and influences into a single innovative and cohesive style of his own, ranking him among the geniuses of the genre. Ran Blake is a recipient of the MacArthur "Genius" grant. He was the founder and long-time chairperson of the Third Stream Department (currently called Contemporary Improvisation Department) at the New England Conservatory in Boston, MA.

Christine Correa, originally from Bombay, India, has been involved in a variety of improvisational contexts and is currently on the faculty of The Louis Armstrong Jazz Performance Program at Columbia University in New York City.  She has been widely recognized as a leading interpreter of the works of a range of modern American and European poets as set to music by some of today's most innovative jazz composers, such as Frank Carlberg, Nicholas Urie, Sam Sadigursky and Steve Grover, among others. Correa has also recorded and/or performed with artists such as Steve Lacy and John LaPorta and appeared at numerous festivals, concert halls and clubs in the US, Europe, the Middle East, Africa, South America and India.  Correa is a long-time resident of Brooklyn, NY.

CRAFT LATINO TO UNVEIL THE FIRST BATCH OF CLASSIC FANIA VINYL REISSUES

CELIA CRUZ & TITO PUENTE’S ALMA CON ALMA, WILLIE COLÓN’S THE HUSTLER, FANIA ALL STARS’ LIVE AT YANKEE STADIUM AND CELIA CRUZ & JOHNNY PACHECO’S CELIA & JOHNNY

In 1964, a young musician from the Dominican Republic by the name of Johnny Pacheco teamed up with ambitious Italian-American lawyer Jerry Masucci for the creation of a record label in New York. Named Fania, the brand-new company captured the sheer excitement of Afro-Caribbean music as it was just beginning to incorporate elements of soul, R&B and jazz into a vibrant sonic stew known as salsa.

Fania grew in sales and scope at a rapid pace, documenting the New York Salsa Explosion of the ’70s and establishing itself as the Latin equivalent of Motown. Its catalogue of masterpieces from the ’60s, ’70s and ’80s remains one of the most prodigious bodies of work in all of Latin music.

  

On October 25th, Craft Latino, the Latin arm of Craft Recordings, will unveil the first batch of vinyl reissues to be released since the Fania catalogue was acquired by Concord in 2018. Cut from the original analog masters by Kevin Gray at Cohearent Audio, these four LPs offer an exciting and intriguing sample of Fania’s salsa magic.  There’s Alma Con Alma — an electrifying collaboration between Cuban powerhouse Celia Cruz and timbales king Tito Puente. Released in 1968, The Hustler is the second album by visionary producer Willie Colón and his partner in crime, Puerto Rican singer Héctor Lavoe. The Fania All Stars’ double-LP set Live At Yankee Stadium captures the label’s own mega-orchestra recorded in concert at the height of its powers — an album that was inducted into the National Recording Registry in 2003. Lastly, Celia & Johnny, the Queen of Salsa’s 1974 artistic tour de force, in collaboration with Fania co-founder and flautist Johnny Pacheco, is a salsa masterpiece that will be available exclusively through Vinyl Me, Please Classics as the October Record of the Month!

Strategically designed as an ideal introduction to the Fania aesthetic, and timed to coincide with Hispanic Heritage Month, the releases also illustrate the label’s breadth.  From salsified Cuban standards and funky boogaloos to raucous jam sessions and trombone-heavy dancefloor scorchers, this initial collection paints a vivid picture of Afro-Caribbean music as a genre marked by wide stylistic variety.

During the late ’60s, Fania thrived on contrasts. On the one hand, it championed the albums recorded by the prolific Johnny Pacheco, honoring the Cuban roots of tropical music with elegant charanga instrumentations and a certain innocence of spirit. At the same time, it was also the label of choice for young musicians of Nuyorican and Puerto Rican origin who wanted to disrupt the cultural status quo with the rebellious energy of fresh sounds.

Trombonist, singer/songwriter and producer Willie Colón was one such artist, and his 1968 LP The Hustler still breathes with unpredictability, raw arrangements and the kind of visceral approach to Afro-Cuban beats that would come to define the essence of ’70s salsa. In retrospect, The Hustler sounds remarkably self-assured for a sophomore effort, particularly thanks to the timeless vocalizing of Héctor Lavoe, the closest to a rock star that salsa has ever known. On tracks such as “Que Lío” and “Eso Se Baila Así,” Lavoe’s soulful singing brims with humor and personality, while the piano licks by the late Markolino Dimond are, just by themselves, worth the price of admission. This reissue is pressed on 180-gram vinyl with the original artwork faithfully replicated on a classic tip-on record jacket.

Released in 1970, Alma Con Alma is a relatively obscure LP — one of a handful of masterpieces that Tito Puente and Celia Cruz recorded together between the late ’60s and the early ’70s. In later decades, both artists would remember these releases as some of the best work of their careers, lamenting the fact that poor promotion at the time caused these excellent albums to go virtually unnoticed. But the inspiration is certainly there, as demonstrated by the exotic strains of “Sahara” — with a solemn Celia chanting about the desert — and the exuberant energy of “Salsa de Tomate,” where Puente’s brass section and syncopated percussion are placed at the service of Celia’s powerhouse vocals. Pressed on 180-gram vinyl, Alma Con Alma also features faithfully replicated artwork printed on a tip-on jacket.

Whereas Alma Con Alma could find redemption as a newly discovered masterpiece, the Fania All Stars’ Live At Yankee Stadium is widely known as a testament of the salsa concert experience. It is difficult to imagine the Anglo equivalent of this band — picture John Lennon, Bob Dylan, Joni Mitchell and Elton John performing together as part of a touring group, and you’re beginning to get a feel for the star power involved in the Fania All Stars. But in this particular orchestra, even the instrumentalists — keyboardist Larry Harlow, bongosero Roberto Roena, conguero Ray Barretto — were bandleaders and legends in their own right.

By the time the Fania All Stars performed at Yankee Stadium in 1973, the salsa explosion had already become a mainstream phenomenon. Here we get a snapshot of a genre at its ultimate peak, and the performances are appropriately epic, from Celia Cruz’s 12-minute long “Bemba Colorá” to Héctor Lavoe’s moving “Mi Gente” — a Johnny Pacheco composition — and the warmth in Ismael Miranda’s delivery throughout the jazzy “Qué Rico Suena Mi Tambor.” Live At Yankee Stadium Volumes 1 & 2 are released here as a 2-LP set for the first time!

If one had to pick a single Celia Cruz LP for the proverbial desert island, 1974’s Celia & Johnny would be the obvious choice. In a way, it crystallizes Johnny Pacheco’s entire career as an impossible dream that comes true: a musician who grows up idolizing Cuba’s La Sonora Matancera, then ends up recording a best-selling album of modernized classics with the orchestra’s former star singer. Cruz always collaborated with superlative producers and musical directors, but there was something about her partnership with Pacheco that brought her best qualities to the forefront. She sounds positively blissful on “Químbara” — an essential salsa nugget to this day — then travels to Peru for an earthy take on “Toro Mata,” before showcasing endless amounts of tenderness on the velvety bolero “Vieja Luna.”

On October 25th, Vinyl Me, Please will be releasing exclusive 180-gram collectible color variants of these Fania titles. The Hustler in custard yellow vinyl, Alma Con Alma in olive green vinyl, and Live At Yankee Stadium in fire red vinyl.  

More LP reissues will follow soon, continuing an ongoing exploration and reevaluation of the Fania treasure trove.

~ ERNESTO LECHNER

 

Prince Estate Announces Next Wave of Titles in Definitive Prince Reissue Project

The Prince Estate in Partnership with Legacy Recordings Announces Next Wave of Titles in Definitive Prince Reissue Project Coming Friday, September 13

Long out-of-print as physical products, Chaos and Disorder and Emancipation, two pivotal Prince albums from 1996, will be available on disc for the first time in two decades, while new vinyl pressings of Chaos and Disorder (1LP) and Emancipation (6LP) mark both titles’ first appearance in the classic format. Each of the three vinyl titles will be pressed on highly collectible, limited edition purple vinyl.

The VERSACE Experience (PRELUDE 2 GOLD) was originally a limited edition promotional-only cassette of previously unreleased material given to attendees of the Versace runway at Paris Fashion Week in July 1995. A first glimpse of Prince’s upcoming The Gold Experience, the cassette featured remixed versions of future favorites “P. Control,” “Gold” and “Eye Hate U” as well as rare unreleased music by The New Power Generation, The NPG Orchestra, and Prince’s jazz-fusion project Madhouse. Many tracks–not available in the same form elsewhere–were remixed or edited specifically to make The VERSACE Experience (PRELUDE 2 GOLD) its own seamless sonic universe and an extremely rare, highly sought-after Prince collectible. A reproduction of The VERSACE Experience (PRELUDE 2 GOLD) cassette was released–in another limited edition–for Record Store Day 2019. The VERSACE Experience (PRELUDE 2 GOLD) is now widely available for the first time on digital, CD, and vinyl formats.

As part of the pre-order for The VERSACE Experience (PRELUDE 2 GOLD), the Prince Estate has made Prince’s Club Mix of “Pussy Control” (which became “P. Control” on The Gold Experience) available on all DSPs for the first time now. Listen to “Pussy Control (Club Mix)”: https://Prince.lnk.to/pussy

1996 was a pivotal year for the artist, who (in addition to Girl 6, the soundtrack album for Spike Lee’s film) released Chaos and Disorder (his final album of new material for Warner Bros.) and Emancipation, a triple disc three-hour musical extravaganza celebrating Prince’s full psychic, spiritual, emotional and creative liberation.

Released in July 1996, Chaos and Disorder is a taut 39 minutes of dexterous guitar and simple but addictive pop melodies. “Someone told me that Van Halen did their first record in a week,” Prince told the Los Angeles Times of the album’s quick creation. “That’s what we were going for–spontaneity, seeing how fast and hard we could thrash it out.” Chaos and Disorder proved Prince’s enduring connecting to his global audience of listeners. Even without promotion, the album reached #14 in the U.K. and #26 on the U.S. Billboard 200 charts while the album’s only single, “Dinner With Delores,” hit the Top 40 charts in the U.K. (the only country where it was released). The current release marks the reissue of the long out-of-print CD and the first time Chaos and Disorder has been available on vinyl.

First released in November 1996 (just four months after Chaos and Disorder), Emancipation is as expansive and ambitious as anything Prince has ever recorded. A triple album–each 12 song disc showcasing exactly one hour of music–Emancipation found Prince celebrating life, love and music on his own terms. “This is my most important record,” he told the Minneapolis Star Tribune at the time. “I’m free, and my music is free.” The album represents the incredible variety of his influences and moods. Romance and family are key themes (“Somebody’s Somebody,” “The Holy River,” “The Love We Make”). Prince reflects on technology (“My Computer”) and sex (“In This Bed Eye Scream”), and offers new, upbeat grooves (“Face Down,” “Jam Of The Year”) as well as four unique covers (Bonnie Raitt’s “I Can’t Make You Love Me,” the Philly soul classics “Betcha By Golly Wow” and “La, La, La Means I Love U,” Joan Osborne’s then-current rock hit “One Of Us”). Available for the first time on vinyl, Emancipation will include 6LPs–each with printed jackets and printed interior sleeves.

Emancipation was celebrated with a concert at Paisley Park on November 12, 1996, that was broadcast simultaneously on MTV, VH1, and BET. A press release issued by NPG Records after the event called the concert “a liberating performance.” The album debuted at #11 on the Billboard 200 charts and sold over 500,000 copies, making it the fourth-best-selling triple album of all time in the U.S. Prince supported Emancipation with the wildly successful six-month-long Jam of the Year Tour.

  

The Prince Estate passionately presents Prince’s life and work, and cultivates opportunities to further his legacy. As the singular, authoritative source on all things Prince, The Prince Estate inspires and educates fans, celebrates Prince in his totality, and stewards Prince’s legacy into the future.

Official Website: princeestate.com

EARPRINT Presents EASY LISTENING

DownBeat Magazine gave the band's eponymous debut album four stars in their January 2017 issue, with the esteemed Bob Protzman declaring, "Ah, freedom-the opportunity do something your way, and then enjoy the bonus of sharing your venture with anyone interested . . . full of surprises . . . If they stay together and keep working hard, there's no telling how good Earprint will become." Well, the band has stayed together, and two plus years down the road they have evolved and grown. They have expanded their field of vision and broadened their aesthetic comprised of what liner note writer Jacob Shulman calls, "The rough energy of Nirvana meets the transcendent progressivism of Mark Turner; psychedelic tinges of Jimi Hendrix recolor the counterpoint of Thelonious Monk."

Earprint is a quartet of improvising musicians-trumpeter Tree Palmedo, saxophonist Kevin Sun, bassist Simón Willson, and drummer Dor Herskovits-who see modern jazz as an invitation to unleash their creativity, their modern-day influences, and their vision of what a jazz quartet can sound like, which is loosely tethered to the blues but shares the same root system. Actually, the blues is an important "river" for Earprint, with the streams of both rock and jazz (two major descendants of the blues) playing roles in their sound: "Hot meets cold; sweet, sour, salty, and bitter coexist. Blues is music where opposites join, where contradictions relax and paradoxes thrive, and such is the nature of Earprint," says Shulman.

  

Each member of Earprint has a rich, clarion sound on his respective instrument, and the band doesn't hesitate to show their brilliant collective fingerprint. As Richard Kamins noted in Step Tempest, "Earprint has vitality, a youthfulness that is refreshing; they also understand what creative music can do, where it can go when you take chances (like jazz players have been doing since the days of Buddy Bolden)." Jon Garelick added in Arts Fuse that Earprint is delivering, " . . . post-Ornette post-bop that manages to be both knotty and transparent, fractured but also lyrical and swinging, rambunctious and balanced." 

Part of the appeal of Earprint is the strength of the compositions on Easy Listening, all of which are built on compelling, interlocking layers. Throughout the album, Palmedo and Sun make it clear that they have spent many, many hours dissecting and digesting the masters of their respective instruments, along with the wonderfully free world of piano-less ensembles led by the likes of Gerry Mulligan/Chet Baker, Sonny Rollins (A Night at The Village Vanguard), and the previously mentioned Ornette Coleman (beginning with Tomorrow Is The Question). In the rhythm section, bassist Willson hums along in a self-confident groove that forms the bedrock for the bands' flights, freeing up drummer Herskovits to offer textures of propulsion, swing, funk, rock, and humor. These two support, and they surprise, improvising with subtlety but without inhibition. All four musicians possess startling versatility with almost no clichéd stylistic leanings; one gets the sense they could play anything at any time and make it all sound like it was meant to be.

Shulman sums it up well:

"The excellence of its individual members aside, Earprint is notably a quartet of its time. Instead of just the usual variety of jazz styles, we are treated to a mix of rainy grunge, abstractness, harmonic constructions, and earnest anthems. These artists grew up in an era where it was easy to consume great volumes of music, and it shows. By the climax of the album, the title track, we have experienced a massive web of musical connections, ranging from satisfyingly natural to delightfully non-obvious... Easy Listening rewards the curious listener and takes them on a journey that is both vast and quick. This is the magic of smart, creative jazz."

More on Earprint:

Kevin Sun is a saxophonist living in New York City. His trio, established in 2016 and comprising bassist Walter Stinson and drummer Matt Honor, is documented on one album and performs regularly around the city. Sun plays in a number of co-led ensembles, including Earprint and Mute, which have released albums on Endectomorph Music and Fresh Sound New Talent. His creative work to date has attracted attention from leading critical publications, including The New York Times, The Village Voice, DownBeat, The NYC Jazz Record, Audiophile Audition, PopMatters, and Stereogum, among others. Sun is in-demand as a sideperson on the New York jazz and improvised music scenes, and he has performed with a variety of small ensembles and larger ensembles, most notably the John Hollenbeck Large Ensemble and Brian Krock's Big Heart Machine. He has also performed extensively across China and serves as Artistic Director of the Blue Note Beijing Jazz Orchestra, where he performs bimonthly.

Simón Willson is a Chilean-born, Brooklyn-based bassist and composer. As an eclectic and in demand sideman, he has toured with a host of different artists in Europe, the US, Canada, and South America. He has worked with a number of relevant jazz figures, such as Ethan Iverson, Rodney Green, Dave Douglas, Michael Blake, Steve Cardenas, Jim Black, Tim Miller, Jason Palmer, George Garzone, Frank Carlberg, among many others. In addition to his sideman work, he co-leads the bands Great on Paper, Family Plan, and Earprint. The latter won the "best debut album" category of the NPR Music Jazz Critics Poll in 2016. He can be heard on over twenty-five records for labels such as Tzadik, Steeplechase, Newvelle. He recently recorded an album as a member of Dave Douglas' Sextet and alongside GRAMMY award-winning guitar player Bill Frisell for pianist Elan Mehler's album TJ & the Revenge.

Tree Palmedo is a trumpeter, composer, and songwriter based in Brooklyn, NY. His work spans the worlds of jazz, free music, pop, and indie rock, and he has recorded and performed with the likes of Cuban jazz virtuoso Yosvany Terry, DIY Italian pop orchestra Tredici Bacci, singer-songwriter Ben Zaidi, underground legend JG Thirlwell, and acclaimed indie rock band The World Is A Beautiful Place and I Am No Longer Afraid To Die. After growing up in the cultural hotbed of Portland, OR, Tree graduated cum laude from Harvard and completed a Master's degree in Jazz Studies at the New England Conservatory. In Boston, he studied trumpet and improvisation with artists such as John McNeil, Vijay Iyer, and Jason Moran. In addition to Earprint, he currently plays regularly in the Brooklyn bands Tredici Bacci, Drinking Bird, and Peaceful Faces, and can often be found playing with many other improvisers, songwriters, and bands.

Dor Herskovits is an Israeli drummer and composer based in Boston. As a sought after sideman, he plays in various jazz and experimental groups on the Boston-New York line. He has also toured around the US, Canada, Europe and China. Herskovits has recorded many albums as a sideman, featured on labels such as Newvelle and Endectomorph music, alongside musicians such Grammy award-winning guitarist Bill Frisell, Michael Blake and Jason Palmer. He has also performed with George Garzone, Jon Cowherd, Steve Cardenas, Elan Mehler, TJ and the revenge, Bert Seager's Tet-rap-tych, Max Ridley's Basement Philharmonic, Daniel Rotem and Xiongguan Zhang. As co-leader of Earprint, he received critical acclaim from publications such as Downbeat magazine, NPR's critics' poll and many more. In 2018, he established the Dor Herskovits Quintet, featuring saxophonist Hery Paz, guitarist Caio Afiune, pianist Isaac Wilson and bassist Max Ridley. Their debut album Flying Elephants will be released in September 2019.

 

BILLBOARD CHARTING REGGAE MUSICIAN LANDON MCNAMARA EMBARKS ON US TOUR

Reggae artist sensation Landon McNamara is set to embark on a US tour this August! From California to Florida, all the way to New York, Landon is touring in support of his latest album release Still Kickin’. A dubby and relaxing album full of soulful vocals and honest lyrics, the new album is sure to leave listeners feeling irie.

Landon’s music is inspired by reggae, alternative and acoustic music. His debut album titled “A Dollar Short & A Minute Late” impressively reached #1 on the iTunes and Billboard Reggae Album charts. And now with his sophomore album Still Kickin’ out now, Landon McNamara will serenade audiences with his new tunes and fan favorites including “Stony Haze” and “Loss for Words”. Landon says,“Much Mahalos to everyone out there who has supported my career! Without your guys’ support I would not be where I am today.” Keep on the lookout for him to come to a city near you!

  

Tour Dates:

AUG 28 – Jupiter, FL – Guanabanas

AUG 29 – Jacksonville, FL – 1904 Music Hall

AUG 30 – Orlando, FL – The Social

AUG 31 – Brooklyn, NY – Knitting Factory Brooklyn

SEP 01 – Asbury Park, NJ – Asbury Lanes

SEP 02 – Amagansett, NY – The Stephen Talkhouse