Verdant, the debut recording of singer/songwriter and educator Ellie Martin, features 12 original compositions that showcase Martin’s wide-ranging talents as a vocalist and songwriter. Martin’s  multi-octave voice gracefully soars through a program of bebop, Latin grooves, ballads and swing accompanied by a nonet of talented and award-winning musicians.

Opening with the fast samba “Living For the Now” the song sets the mood for the arc of Martin’s life experiences as a woman, mother, and cancer survivor. She follows up with the ballad “As Times Goes By” in a duet with Mike Harrison. This song is simply beautiful. The tango “Dancers Serenade,” the jazz-fusion piece titled “Never Will I Worry,” precede the title track “Verdant” which is a ballad about renewal that was inspired by a trip to Spain. Martin sings the beautiful song in Spanish.

The 12 songs on Verdant capture the essence of Ellie Martin’s persona in musical form. The depth and breadth of her artistry and resonance is something you’ll enjoy for years to come. Check it out.

Fly With the Wind

Temple Jazz Sextet

Recorded March 23, 2022 at Temple Performing Arts Center in Philadelphia, PA, BCM+D Records has released Fly With The Wind featuring Terell Stafford on trumpet, Dick Oatts on alto saxophone, Bruce Barth on piano, Tim Warfield on tenor saxophone, Mike Boone on bass and Justin Faulkner on drums.  These stellar musicians who make up the jazz faculty of Temple University’s Boyer College of Music & Dance have come together to produce and perform compositions written by Jimmy Heath, McCoy Tyner, John Coltrane and Lee Morgan. Bruce Barth arranged all of the songs which represents the rich tradition of songs written by composers from the City of Philadelphia.

The album opens with Jimmy Heath’s swinger titled “All Members.” Propelled by the dynamic swing of Boone and Faulkner, Terell Stafford inflects his awesome solo that’s followed by tenor and alto saxophonics of Warfield and Oatts respectively. Barth’s nimble keyboard dance leads into a steely yet understated performance by Boone. Terell Stafford is out front on McCoy Tyner’s “Fly With the Wind.” His command of different fingering combinations and how he blows into the trumpet reveals his mastery of the difficulty of playing the trumpet. At more than 13 minutes, the entire sextet is excellent on this breathtaking centerpiece.  The sextet’s rendition of “Naima” is very sensitive, beautiful and lyrical, while the melody for “Yes I Can, No You Can’t” has been elaborated into three part harmony for the frontline, setting the groove-fueled pace for Faulkner’s explosive drumming.

Overall, the choice of songs and the sextet’s masterful performances of the new arrangements are what makes Fly With the Wind a must-have for your collection. Check it out.

On The Upside

Dwayne Pate

Dewayne Pate’s talents as a bassist, composer and bandleader are fully displayed on his latest release titled On The Upside. Pate produced the recording, wrote five original songs, assembled a coterie of revered musicians and spotlighted featured performances of guitarists Robben Ford and Chris Cain and drummers David Garibaldi and Dennis Chambers.

The set opens with “4 The 5 of It” which features the awesome performance of Norbert Stachel on soprano saxophone and Dennis Chambers’ powerful drumming chops. This song sets a great groove that is followed up by the funky vocals of Tony Lindsey striding forth on “Iceman” and Dewayne Pate’s bass logic and Chris Cain doing “that thang” he does on drums. “Ellen” is a lovely ballad featuring the enriched guitar solo played by Stef Burns. This song sets the temperature for Mike Olmos’ sensitive solo on trumpet/flugelhorn and beautifully confirms Pate’s ability as a writer of romantic songs.

These Precious Days

Mary Foster Conklin

Vocalist Mary Foster Conklin pays tribute to love and loss on her eclectic new release titled These Precious Days. Co-produced by Mary Foster Conklin and John DiMartino for Mock Turtle Music, the recording is centered on neo-cabaret “art songs” written by Jerry Leiber and Mike Stoller.  Di Martino arranged the songs that are performed by Conklin on vocals, Di Martino on piano, Sara Caswell on violin, Ed Howard on bass, Vince Cherico on drums, Guilherme Monteiro and Samuel Torres on percussion.

“Summertime” written by Leonard Cohen/Sharon Robinson opens the recording. Conklin’s distinctive contralto vocals invite you to explore her up-tempo musicality as she is beautifully comped by her band that features a brief but memorable solo by violinist Sara Caswell. “Some Cats Know” is a Lieber/Stoller tune that is sequenced prior to the Mann/Weil favorite “Just A Little Lovin.’” On this song, Conklin reveals her dynamic range and ability to deliver her vocal inimitability in harmony with her bandmates.

Overall, These Precious Days is a splendid performance of songs about love, loss and the power of the Now. Mary Foster Conklin gives it her all and surpasses the standards she set with her four previous releases. Check it out.

Symphony

Jean-Michel Pilc

Justin Time Records has released pianist Jean-Michel Pilc’s latest recording titled Symphony. The recording consists of 10 entirely improvised compositions in a solo setting. Pilc also co-produced the recording with Xose Miguelez and recorded it at OJM Studios in Portugal.

Pilc’s masterful technique and beauty of touch, is brimming with the kind of unpredictability that is central to his remarkable talent. His world of improvisation, where the unexpected is constant, reigns supreme on such songs as “Leaving,” “Discovery,” “Way To Go,” and “Waltz For Xose.”

Overall, Jean-Michel Pilc’s performance is dazzling and inventive, yet assessable even to anyone who is experiencing Pilc’s pianism for the first time. Check it out and keep in touch with Jean-Michel at http://jeanmichelpilc.com/tours.

Straight ahead jazz tenor saxophonist Sam Taylor invited trumpeter Terrell Stafford, pianist Jeb Patton, bassist Neal Miner and drummer Willie Jones III to Let Go on his latest recording for the Cellar LIVE label. Recorded at Van Gelder Studios in January 2022, the album features selections from the Great American Songbook including songs written by Barry Harris, Hank Jones, Benny Golson and Jule Styne.

The bebop anthem “Luminescence” opens the album. Taylor wrote the title track “Let Go” which is a swinging number that features the tandem playing of Taylor and Stafford at the head before Taylor segues into a memorable solo that is artfully comped by Patton. As the musicians surrender to the music, they bring the listener deep into Stafford’s solo that features his amazing chops before hearing Patton "do what he do" on his piano solo.

The melancholy “Angel Face” gets an update with Taylor’s nocturnal, moody saxophonics. The melody is very beautiful and Taylor brings his own sensitivity to the song that has long been associated with tenor saxophonist Coleman Hawkins. “Out of the Past” has Golson’s classic sound: melody, Taylor’s beautiful sax voice paired with the blues and deep swing. The set ends with the Jule Styne classic “Bye Bye Baby” which Taylor plays at a dazzling speed with Stafford matching the his speed before Willie Jones III adds his dynamic drumming prowess.

Overall, this masterful ensemble definitely communicates their virtuosity and enjoyment on Let Go. Check it out.

Drum virtuoso Rob Silverman performs with a coterie of master drummers on Drumology, Volume II. Released by Autumn Hill Records, the recording features drum greats from jazz, fusion, prog and rock including Billy Cobham, Mike Mangini and Todd Scherman, alongside his all-star band consisting of Michael Silverman, Jay Oliver, Dweezil Zappa, John Patitucci, among others.

Drumology Volume II expands the constantly evolving and very productive drummer/composer’s previously released album’s purview beyond the realm of jazz and fusion into progressive rock and it’s quite apparent with “Victory,” which kicks off the recording at full throttle. Silverman, Mangini, and bassist John Myung jam in odd time signatures and complex, propulsive rock beats. Silverman and company continue to deliver several more far-ranging feasts of originals with “Sea Spray” which has a very Mahavishnu-esque sound. “Avalanche” features Silverman, Casey Grillo and John Spinelli in a three drummer collision that is a classic interplay of masters doing work. Next Silverman and Kenny Aronoff provide the invigorating pulse for “Timber Falls” that conjures up images of evergreens and waterfalls via Eric Marienthal’s majestic melodies and Zappa’s sublime guitar solo. “Moving Mountains” rocks hard and soars with syncopated rhythms as Silverman on percussion and Glen Sobel’s powerful drumming elevate this song to new heights. Awesome track!  Each of these songs is a fully realized composition that takes you on a sonic trip, through changing moods and feelings, sights and sounds.

All the qualities that made Rob Silverman’s previous albums attractive — dynamic-yet-accessible compositions, great players and soloists, and just enough quirkiness to make it interesting and fun — are here again, in abundance. Rob Silverman is the rare drummer/composer who has been able to travel back and forth between jazz, fusion prog and rock, genres. This kind of versatility — and crossover — is quite exceptional for a percussionist. Check it out.

Dan Siegel returns on his twenty-second recording as a bandleader with Faraway Place. The veteran contemporary jazz pianist/keyboardist took the difficult challenge of remotely assembling a group during the COVID-19 pandemic and definitely delivered for his DSM label. The recording features Eric Marienthal, Lee Thornburg, Allen Hinds, Brian Bromberg, Abraham Laboriel, Dwayne “Smitty” Smith, Lenny Castro, and Rogerio Jardim. Additional musicians include Charlie Bisharat on violin, Jacob Braun on cello, Chris Bieth on English horn, Damian Montano on bassoon and a Hymn Choir consisting of Tom McCauley, Allen Hinds and Dan on “Some Time Ago.” Siegel not only sings but plays keyboards, accordion and piano, and composed all of the songs, arranged them and produced the recording.

Faraway Place is comprised of 11 originals that range from straight-up lyrical beauties to accordion-tinged grooves, to a baroque-like number with strings and horns. Remarkably, this is Siegel’s 22nd recording as a leader. “After writing the music in isolation, everything, with a few exceptions, was recorded separately by musicians in their home studios.” says Siegel. All of the tracks were demoed and developed rhythmically by drummers Vinnie Colaiuta and Steve Gadd at East West Studios in LA. Siegel also went into the studio to record piano, and rented an accordion for four tunes. He used contrast on the arrangements.

Faraway Place is something of a trilogy. “Old School,” starts out with a soulful Ramsey Lewis vibe twisted together with Lee Morgan’s “Sidewinder.”  Siegel now has a lyrical tune with his piano bathed in a horn wash. “Tried and True” pays homage to Siegel’s love for Steely Dan while the grooved “Curves Ahead” speeds with a backbeat dance-floor spin. “Looking Up” has an indelible melody that accentuates a degree of happiness in life. The title track started out as an improvisation that Siegel played into his recorder as he was walking. It opens on a reflective note then moves into a swing.

The second part of the album has a more straight-ahead jazz tone, similar to his past recordings. “These tunes started out ECM-like with more of a groove,” he says, then cites four songs: the organ-fueled “Tried and True,” the accordion-tinted “Something You Said,” the sweet “Bluebird” with Jardim taking a soaring flight of wordless vocals, and the end song, “Once Again,” that moves from relaxed percussion to playful piano runs.

The third tier of the trilogy features two songs that bring a unique vitality to Faraway Place. “Some Time Ago” is supported by Hinds’ strummed guitar and Siegel’s accordion flavors that fully opens with a hymn choir (Siegel, Hinds and Tom McCauley. On “Your Smile” Siegel wrote parts for strings (violin and cello) and horns (English horn and bassoon), and Jardim added in wordless vocals.

In honing her own creative voice as a singer and songwriter, Rebecca Angel has also discovered the ideal way to present it on her debut full-length recording. With the devotion of Jason Miles who served as producer/arranger/engineer/performer and a skillful group of musicians heard on her inspired recording titled Love Life Choices, Rebecca Angel hits the jackpot. 

Angel's versatile rhythm section features a coterie of well-known musicians including Reggie Washington on bass, percussionists Cyro Baptista and Bashiri Johnson, and Gene Lake on drums. Jason Miles achieves a beautiful blend with Angel’s instrument, serving the multifaceted songs with his fine touches on keyboards, Moog Synthesizer bass and drum programming all while displaying his high-level virtuosity. Angel’s highly colorful contingent of 22 musicians includes backing vocalists, guitarists, woodwinds, brass, that brings an added dimension and sparkling improvisatory flair.

Rebecca Angel’s vocals are breathy, intimate, passionate and tantalizing on such great songs as “For What It’s Worth,” “Just the Two of Us,” “Waiting In Vain,” and “Corcovado.” These songs are strongly identified with their composers and other artists who covered them but Rebecca’s interpretation is brand new and filled with inspiration from several disparate sources. One special cover of Bob Marley’s “Waiting In Vain” is truly nurtured and offered up with a superb reggae feeling. She contributed newly written lyrics to Erik Satie’s classical canon “Gymnopedie No. 1” that is now titled “Till Now.” The lyrics for the story heard on this classical gem are truly beautiful. Jason Miles’ brief solo is lovely and the harmonized backing vocals are simply mesmerizing.

Rebecca contributed two amazing songs to her debut recording. "Thoughts and Prayers" is a protest song regarding the controversial events of today while "Summer Song" is an electro remix of delightful positive vibes that are just in time for summer.

Love Life Choices is a sophisticated, richly textured recording that is afforded and delivered with the highest of production values thanks to her Grammy-winning producer/arranger/engineer Jason Miles. As a result Love Life Choices is a brilliant winner as Rebecca Angel’s debut full-length recording and should be in your record collection. Keep in touch with Rebecca Angel’s happenings at www.rebeccaangel.net. Buy Love Life Choices today.

Saxophonist Vincent Herring experienced the effects of the pandemic firsthand, contracting COVID-19 while suffering the same loss of performance opportunities befalling every musician during 2020. Despite These setbacks Herring fought back and delivered his latest album, Preaching to the Choir (available now via Smoke Sessions Records), for your listening pleasure. The program is a sermon of optimism and hope to the jazz faithful that features such notable accompanists as pianist Cyrus Chestnut, bassist Yasushi Nakamura, and drummer Johnathan Blake.

Preaching to the Choir opens with the relaxed stroll of “Dudli’s Dilemma,” the first of two original tunes on the album penned by Herring. He dedicated the great six minutes of “Dudli’s Dilemma” to the Swiss drummer Joris Dudli. Herring’s great alto saxophonics are front and center on the melody. His performance keeps you mesmerized in a deep listen before Cyrus Chestnut enters with a sprightly solo that samples “”Workin’” while illuminating his virtuosity. The gentle precision of Blake’s rhythmic work is the perfect foundation for this section.

Nakamura kicks off the well-worn standard “Old Devil Moon” by crossbreeding it with the famed bass line of Benny Golson’s classic “Killer Joe,” shifting the emphasis to the sly devilishness of the song.  Again, Herring’s chops are on point and signify his amazing talents. “Ojos de Rojo” was written by the legendary pianist Cedar Walton. Walton played in Herring’s band for more than two decades so this song is a fitting addition to the program. The saxophonist feels utterly at home as he unfurls an effortlessly eloquent solo, juggling equal parts intensity and lyricism. The quartet then wrings every ounce of emotion from Lionel Richie’s “Hello,” Blake’s ethereal brushwork embracing the heartfelt yearning of the leader’s keening alto.

For Duke Ellington’s immortal “In a Sentimental Mood,” Herring performs in a breathy, elegiac tone that crafts a haunting atmosphere that is superbly matched by the delicate sensitivities of his bandmates. But it’s the call and response head of the Herring’s original title track that takes you straight to a roof-raising church service. Herring is on fire during this amazing song that authenticates his songwriting talents.

Joe Henderson’s “Granted,” and Stevie Wonder’s “You Are the Sunshine of My Life,” closes the album and leaves the listener in a state of love and appreciation. Check out Preaching to the Choir today.

After a 25-year hiatus, the members of Lunar Octet are back with a potent collection of originals inspired by mambo, samba, funk, Afrobeat and jazz on Convergence. The title itself suggests a confluence of rhythms and styles, and that is precisely what this band of multi-directional musicians has been doing since meeting 36 years ago. That said, Lunar Octet has documented their collective growth while remaining committed to their original mission on Convergence, now available on Summit Records.

Most of the original band members, plus two new members — pianist Keaton Royer and second percussionist Olman Piedra — combine their skills on 14 sizzling tracks. The performing band includes: Brandon Cooper—trumpet, flugelhorn, vocal (track 14); Steve Hiltner–alto saxophone, Bb clarinet (track 12); Paul VornHagen—tenor saxophone, soprano saxophone, alto clarinet (track 4); Sam Clark–guitar; Keaton Royer–piano; Jeff Dalton—acoustic bass, electric bass, vocal (track 14); Jon Krosnick—drums; Aron Kaufman—congas, bongos, vocal (tracks 3, 14) and Olman Piedra—timbales, Latin percussion. After such a long hiatus from recording, Kaufman is thrilled about the release of the Lunar Octet’s Convergence. “It shows the longevity of our friendships and music all intertwined,” he said.

Convergence is a mix of brass-fueled samba, salsa, mambo and Afrobeat with a decidedly funky feel. Steve Hiltner wrote seven great songs, Kaufman wrote five fabulous songs, while Paul VornHagen (“Elephants”) and David Mason (“Olduvai Gorge”) contributed one song each. From the percolating salsa groove of the infectious opener, “Norm’s Nambo,” to the swinging big band flavored chart, “Toote Suite,” the Lunar Octet presents a compelling world view of sound. On “Oye” Kaufman’s vocals are front and center before he kicks the song into high gear after delivering a dynamic solo on congas/bongos. The rhythmically charged “Subway Tension,” the Brazilian music influenced “Mambossa,” and the entrancing Afrobeat numbers “Dancin’ in the Doghouse” and “Heart of Congatar,” prove Lunar Octet hasn’t lost their groove in the past 25 years.

Brandon Cooper’s flugelhorn offers a bold introduction to the churning “Samba Diabolico.” He is joined by altoist Steve Hiltner and tenorist Paul VornHagen who add their musical visions to this delightful samba.  The buoyantly swinging “Crusin’,” the tango “Until I Find Words” and the rollicking, Brazilian-flavored batucada “Samba Over Easy” make Convergence a veritable mélange of World music that keeps you pumped from the intro to the last note.

Overall, Convergence is a prime example of how Lunar Octet got their groove back. Check it out.

PLAYING IT FORWARD

ALEXANDER ZONJIC

Contemporary jazz flutist Alexander Zonjic is Playing It Forward on his excellent new recording for Hi-Falutin Music. Zonjic features a superstar line-up featuring Grammy-winning keyboardist/producer Jeff Lorber, the late Chuck Loeb playing one of his last performances, guitarists Paul Jackson, Jr. and Michael Thompson, drummer Gary Novak, horn arranger David Mann, keyboardist James Lloyd and Justin Lee Schultz. The recording consists of 11 tracks written by such noted songwriters as Jeff Lorber, Adele, Bob James and James Lloyd among others.

Alexander Zonjic is a superb flautist and works at a very high level with his supporting musicians. The set begins with Jeff Lorber’s “Jazz Café” which sets the tone for this high energy jazz, funk, fusion and soulful collection of songs. By the way, Lorber penned four of the songs including “Benita,” “Hipster,” and the title track “Playing It Forward” and Zonjic brings them to life with fresh grooves and arrangements. His inspired reading of “Nature Boy” is among the more beautiful songs on the recording as is his reading of Chuck Loeb’s “Musaic” a downtempo number that hangs a lush melody atop a Lorber groove as the backdrop fo his flute and Loeb’s electric guitar.

One fascinating track is Adele’s “Rolling In The Deep” which features the gospel choir Selected of God. You can be sure you’ll enjoy this one as the joyful finale to Playing It Forward. So check it out and then buy it here.

The Sounds Around the House

Jeff Ellwood

The holidays like so much of 2020 will be different this year. Instead of the flurry of parties and big gatherings, many of you will be celebrating on a more intimate scale. That’s where tenor saxophonist and educator Jeff Ellwood comes in. His debut CD called The Sounds Around the House couldn’t be more appropriate since being at home with a few family and close friends is the new normal. Jeff is joined by pianist and co-producer Alan Pasqua, bassist Darek Oles, reed master Bob Sheppard and drummer Joe LaBarbera on nine compositions. Except for the title track, “The Sounds Around the House” the rarely heard standard written by Alex Wilder and Johnny Mercer, all of the songs were written by Ellwood, his bandmates Alan Pasqua and Darek Oles, Dick Oates and Rick Margarita.

Among the more memorable songs you’ll hear is the title track which showcases Ellwood’s superb skills as a tenor saxophonist on a beautiful melody accompanied by pianist Alan Pasqua. Their intuitive performance lingers long after the song is over. The Sounds Around the House is the perfect companion to the beauty of being at home for the holidays.

“King Henry” is another gem on this recording. It features both of the reed masters and their musical excellence backed by accompanying pianism of Pasqua, bassist Oles and a splendid solo from drummer LaBarbera. Together they make this song one you’ll listen to again and again.

Pasqua’s contributed three songs: “Agrodolche” a jazz waltz with a 6/8 time signature; “Old School Blues,” which shifts back and forth between traditional major blues and minor blues; and “Barcelona” which opens as a ballad, but slowly reveals its bitonal melody, funky beat and quicker tempo. The excellent soloing in this song make it a keeper.

So listen up. Check it out at Jeff Ellwood online - Http://www.jeffellwood.net

New Life, the latest release from Peter Leitch’s 14-member New Life Orchestra, sounds like a recording by a big band. However, this excellent 2-disc CD also sounds like a small group with the freedom and looseness of combining written and improvised music with different sonic textures.

The set’s compositions were derived from 2 sets of music in a club or concert which took Leitch two years to compose, arrange and orchestrate. Leitch wrote all of the compositions with the exception of “Round Midnight,” which features Duane Eubanks and Phil Robson, “The Minister’s Son,” which features Jed Levy on tenor saxophone, and the slightly re-harmonized Rogers and Hart gem titled “Spring Is Here” which Leitch has given a Latin tinge. Peter Zak is featured, along with pertinent comments from Phil Robson on this memorable song. These new arrangements serve as superb vehicles for the improvisations from the highly creative soloists and the rhythm section. Leitch also arranged, produced and conducted and served as the musical director for New Life.

Many of your favorite musicians comprise the orchestra including alto saxophonist Steve Wilson, pianist Peter Zak, trumpeters Duane Eubanks and Bill Mobley and tenor saxophonist and flautist Jed Levy. They play highly personal compositions including “Mood For Max” which is dedicated to Dr. Maxim Kreditor, the oncologist who saved Peter’s life and features soloists Bill Mobley, Steve Wilson and Peter Zak. “Portrait of Sylvia” is about Peter’s lovely wife with solos by Duane Eubanks and the great British guitarist Phil Robson. Many of the remaining originals are nods to the various people, places and events Peter has experienced.

Overall, the performances on New Life, are splendid and are some you’re sure to enjoy. Congrats to Peter Leitch for sharing his amazing talents and the great songs on New Life. Buy the CD here.

Lisa Hilton wrote all nine of the ten songs on the recording and covers Joni Mitchell’s “Blue Boy” which was culled from Mitchell’s album titled Ladies of the Canyon. Each of Hilton’s compositions is designed around a particular theme. “Rush Hour Rhapsody” is a Latin tinged uptempo gem that depicts life in a higher gear that is complimented by J.D. Allen’s superior tenor saxophone solo and comping. The title track, “Chalkboard Destiny,” alludes to the premise that “Life is fluid- we can create and revise our future.” Lisa’s exemplary pianism again has a Latin flair that is upbeat and happy. Her band is in the pocket with great interplay and intuition. This is a lovely song and one you’ll enjoy playing again and again.

Amazon.com stated, “There’s also a hard-to-pin-down energy flowing between Allen’s explosive virtuoso displays, the dynamic details of Royston’s accents and the booming lines of Curtis’s bass alongside Hilton’s fluid piano, which is impressive in a beguiling way.” SOTJ definitely agrees.

Chalkboard Destiny has a running time of 53 minutes so kick back, sip on some of your cocktails and enjoy. This is among the best of Lisa Hilton’s repertoire of great music and you can be assured you’re in for a real treat. Keep in touch with Lisa Hilton at www.lisahiltonmusic.com.  

Legendary pianist/composer Chick Corea reunites with Christian McBride and Brian Blade for their second collection of live performances. Trilogy 2 (Concord Jazz) is the trio’s follow up to their 2014 Grammy Award-winning release titled Trilogy. The songs are mined from the trio’s recent world tour and features live versions of such Jazz standards as Irving Berlin’s “How Deep Is the Ocean,” Thelonious Monk’s “Crepuscule with Nellie,” Miles Davis’ “All Blues,” and Kenny Dorham’s “Lotus Blossom,”  modern classics, and several of Chick Corea’s most revered compositions. This live double-disc recording is the perfect companion for their previously released masterpiece and is filled with great energy, awesome soloing and in-the-moment improvisation.

“How Deep Is the Ocean” kicks off the program and for nearly 12 minutes the trio invites listeners to explore the mysterious depths Berlin suggests in his sonic storytelling. Corea’s “500 Miles High” is just as amazing since it takes listeners to a different level above this wonderful world – the heavens. Chick opens with a searching introduction before shifting into a sensuous samba rhythm. Two of Monk’s classics “Crepuscule With Nellie” and his leisurely “Work” also made the cut. The trio breaks from the tradition of playing this song as written with no improvisations but as masters will do, they stay true to Monk’s musical vision. However, the liveliness of “La Fiesta” is the main ingredient of Disc One. This lovely fusion of flamenco and jazz is played in an 6/8 pulse and also asserts Corea’s masterful pianism and compositional integrity on a level still unmatched by his contemporaries.

Disc Two features Miles Davis’ “All Blues” from his best-selling album, Kind of Blue. Chick and company play this song in a faster tempo – almost as an up-tempo burner. Chick plays an almighty solo and the melody of this great song lingers long after the trio’s amazing improvised solos are over. The audience showed their appreciation with a thunderous applause. Stevie Wonder’s “Pastime Paradise” made the cut as a result of a meeting between Chick and Stevie. This performance reveals the integrity of the songwriter and the interpreters since both creators require an understanding of each other’s mindset and musicality. “Now He Sings, Now He Sobs” “Serenity” and “Lotus Blossom” round out Disc Two and leave you with the certainty that these three virtuosi are truly among the greatest of the greats.

Spectrum celebrates the maturity and depth that have enriched Hiromi’s composing and playing over the course of her 30s. The nine compositions the prolific pianist/composer performs during what she calls “the sound of my 30s” reflect her musical growth and evolution since the release of Place To Be, (“ the sound of my 20s”) which was released as her solo piano debut on Telarc, a division of Concord Records.

The vibrant panorama of colors in Hiromi’s music are first revealed via “Kaleidoscope” a song Hiromi says describes how things change when you look at them from a different angle; they are constantly changing and never the same. The cyclical patterns of this song expand and transform at an up-tempo pace in a full range of hues that tumble together in a prismatic whirl. “Whiteout” is a graceful metaphor for new fallen snow Hiromi witnessed when the world became one color in one moment.  The title track is a tour de force that is a true indication of Hiromi’s virtuosity. She excites, enamors and leaves no doubts as to her abilities as an expert performer.

“Blackbird” and “Mr. C.C.” were both inspired by Hiromi’s unique adoration of The Beatles and her fascination with writing something for comedian Charlie Chaplin. To complete the recording, Hiromi evokes several shades of blue during Gershwin’s masterpiece “Rhapsody In Blue.” Here she shows how a single color is made up of many layers of colors as she samples John Coltrane’s “Blue Train” and The Who’s “Behind Blue Eyes.” Each of the colors in this song can be interpreted in many ways, like a kaleidoscope.

Overall, the songs on Spectrum reflect a brilliant array of musical genres and Hiromi’s talents as a solo pianist and composer. Check it out.

Sounds Good, Feels Good is Big Beat’s first full length project. The 19 piece big band that is co-led and co-founded by bassist Charlie Dougherty, saxophonist Phil Engsberg, trombonist Caleb Rumley and pianist Ryan Tomski, have added vocalist/songwriter Allison McKenzie to nine great songs, four of which she wrote. This set is energetic, upbeat and is imbued with elements of funk, pop, contemporary jazz and R&B all while hewing to the traditional big band spirit.

Covers of Stevie Wonder’s “Knocks Me Off My Feet,” and “I Want You Back” (which was made famous by The Jackson 5), are just two songs that get fresh big band interpretations. The instrumentalists reveal their individual virtuosity during solos – check out saxophonist Dane Alexander’s solo on “I Want You Back” – as they underline Allison McKenzie’s swinging vocals. The twist in terms of form and harmony make this version a real keeper.

Caleb Rumley not only shows off his memorable skills as a trombonist on his original funky blues titled “Just Too Much” but contributes his progressive arranging skills on 3 additional songs. Solos by Caleb on trombone, Chris Rogers on trumpet and Will Dougherty on piano show off some of the group’s improvisational prowess. Joe Spinelli’s adds some powerful drumming to the coda.

Keeping with the cover of contemporary pop songs, Big Beat does a great version of Jill Scott’s “It’s Love.” However the original by Phil Engsberg titled “A Penny For Your Thoughts” is his take on the “the Big Beat sound” since it is packed with funky riffs, as well as intricate and complex ensemble work from all of the band members.

Overall, Sounds Good, Feels Good, is an excellent debut by a new big band that is co-led by four talented and dedicated performer/arrangers. Check it out.

Veteran actor and singer/songwriter John Allee dives full fathoms into his lifelong passions for Shakespeare and Jazz on Bardfly. As a be-bop balladeer who spends much time drinking in Shakespeare, Allee’s recording is a super-literate and supremely swinging 13-track set in which he assumes the persona of Feste ”The Bardfly” Johnson while mining compelling verses from Shakespeare’s canon. From Othello to Henry IV, Allee adds music to some of the Bard’s lyrics and invited such notable musicians as pianist Mahesh Balasooriya, drummer Aaron McLendon, bassist Dominic Thiroux, saxophonist Javier Vergara and trumpeter Matt Von Roderick to expand his visions.

Produced by Allee, all songs were composed, arranged and adapted by John Allee and based on lyrics from the plays of William Shakespeare. Check it out.

There are BIG brass bands and then there are six-member brass bands. Lucky Chops is the latter because they are not your daddy’s kind of big brass band with hot New Orleans flavors and they haven’t reached the funk level of that fiery 8-member brass band called the Soul Rebels. The six simmering members of Lucky Chops are Josh Holcomb on trombone, Daro Behroozi on tenor saxophone, Charles Sams on percussion, Joshua Gawel on trumpet, and Raphael Buyo on sousaphone.  The founding members formed the group in 2006 while in high school in New York. Since then, they have continued their passion and desire to bring positive music that can heal and inspire others by playing originals and covers of some of your favorite pop and jazz tunes. Recent tours in support of their self-titled debut recording have been met with resounding critical acclaim and fan support. The new album, which was produced by Nic Hard of Snarky Puppy, is a collection of 11-tracks that features the band’s exceptional interplay, improvisations, and memorable brass sound that is punctuated with funky riffs from the sousaphone, bari and tenor saxes, trombone, trumpet and drums. If you’ve heard the Soul Rebels, then you’ve got a good idea of what Lucky Chops’ rising sound and configuration are similar to. Check them out. Stay in touch with their happenings at www.luckychops.com. 

Pianist Harold Mabern, guitarist Peter Bernstein, and bassist John Webber join the great drummer Jimmy Cobb on his latest release for Smoke Sessions titled This I Dig of You. The quartet swings through 10 tracks chosen from the wide array of songs in the Cobb’s Mob repertoire while focusing on ones that they’d never recorded before. Jimmy Cobb and company open with Hank Mobley’s up-tempo composition “This I Dig of You.” Peter Bernstein handles the melody while Cobb, Webber and Mabern seamlessly comp with vigor and rhythmic excellence before Mabern provides stellar highlights during his piano solo. Cobb trades time with Bernstein and Mabern before launching into a powerful solo that proves Cobb still has his mojo working.  

Bernstein’s “Blood Wolf Moon Blues” spotlights the 90-year old drummer’s inimitable feel underneath groovy solos by Mabern, Bernstein and Webber. Heartfelt ballad “My Old Flame” has a similarly storied place in Cobb’s repertoire — he recorded it with his old flame, Dinah Washington, while “Somewhere in the Night” updates the Teri Thornton (another Cobb collaborator) original to a fresher version of jazz at its most romantic and sophisticated.

Although all of the songs are performed to perfection, the songs Cobb recorded with John Coltrane are the most memorable. “Yesterdays,” which Cobb first recorded live with John Coltrane and Stan Getz in 1960 and “I’ll Wait And Pray” which Cobb recorded with Coltrane 60 years ago, remain timeless. Overall, This I Dig of You surpasses Cobb’s first Smoke Sessions album, 2014’s The Original Mob because of the masterful personnel and the band’s intuitive playing style. Check it out.

The Infinite Dream, Luis Munoz’s latest release on Pelin Music, is a bold declaration of musical maturity that features seven new tracks that attest to his virtuosity as a multi-instrumentalist, producer, songwriter, arranger and orchestrator. Joined by a coterie of musicians including Lois Mahalia on lead vocals, Jonathan Dane on trumpets and trombone, Brendan Statom on acoustic bass, Adam Asarnow on piano, Tom Etchart and Randy Tico on electric basses, Jimmy Calire on Hammond B# organ, and Daniel Zimmerman and David Hekhouse on electric and acoustic guitars, Munoz plays drums, Rhodes electric piano, synth, alto flutes, piano, Mellotron, as well as providing the drum programming.

These great songs feature the soulful vocals of Lois Mahalia who takes Munoz’s creative visions to an even higher level than he achieved with his previous recordings. Her finely tuned vocal skills immediately captivate you, dear listener, and invite you to continue listening to the relevancy, textures, phrasing and resonate emotional power she delivers. Jonathan Dane’s trumpeting is stellar throughout as is the musical interplay provided by Munoz’s ensemble of side musicians. Adam Asarnow plays a memorable solo on “Shame” as Munoz underlines with the rhythm logic.

Among the more memorable highlights, and there are many, is Luis Munoz’s impressive variety of styles, approaches and feelings. He delivers precise messages that resonate with a powerful sense of identity on such songs as the title track and “Irene.” His tasteful inventiveness and rhythmic nuance connects, reconnects and keeps you listening to every note.

Overall, The Infinite Dream reveals Luis Munoz at the top of his game and equally impresses listeners with his virtuosity as a collaborator, songwriter and instrumentalist. Check it out.

Temple University has commissioned a new work from GRAMMY® Award-winning Composer Vince Mendoza. Titled Constant Renaissance, this excellent three-movement piece is the result of Mendoza’s week-long residency at Temple University and the Kimmel Center for the Performing Arts with students at the Boyer College of Music and Dance. Mendoza conducted the 90-piece Temple University Studio Orchestra and recorded Constant Renaissance at the Temple Performing Arts Center. Produced by Robert T. Stroker and Terrell Stafford, the recording received its world premiere at the Kimmel Center for the Performing Arts in Philadelphia, PA on March 24, 2019. The recording was released on BCM+D Records on August 2, 2019.

The composer was inspired by Philadelphia’s history with jazz and its connection to innovation, reinvention and rebirth. He chose three jazz luminaries to inspire each movement — all who hailed from the City of Brotherly Love – Dizzy Gillespie, Billie Holiday and John Coltrane. However, Mendoza wrote the piece with trumpeter Terrell Stafford and alto-saxophonist Dick Oatts in mind, both of whom are on the jazz faculty at Temple University.

The first movement, “Bebop Elation,” through its rhythmic bounce and acrobatic melodic nature, evokes Gillespie’s impact on Philadelphia’s progressive music scene and integrated audiences in the early 1940’s. Trumpeter Terrell Stafford is excellent as a soloist during this movement.

The second movement, “Solace and Inspiration,” is dedicated to Billie Holiday, whose voice, according to Mendoza, “was a source of solace and inspiration." A Philadelphia native, Holiday often came back to Philly to perform during her short career, most often seen at the ornate Earle Theatre on Market Street. This movement feels transcendent and mysterious via Stafford’s lower registers and the soulful arrangements performed by the Temple University Studio Orchestra.

Saxophonist and composer John Coltrane inspired the third movement, “Love, a Beautiful Force,” which embraces the use of ostinato as a sense of meditation and nod to improvisation. According to Mendoza, “the ostinato motive of this movement is in constant variation from beginning to end. The conclusion of the piece morphs into a more contemporary treatment of the ostinato, in a constant ascension to the heavens in gratitude for the path Coltrane cleared for us.” Coltrane lived and worked in Philadelphia from 1943 to 1958.

Constant Renaissance is an excellent recording and one that should be in your jazz orchestra collection. Check it out.

While the songs Tierney Sutton sings on ScreenPlay may be new to you, they are considered among the great masterpieces of songs that premiered in some of your favorite films. That said, the Tierney Sutton Band reimagines 15 of these great songs on their latest release for BFM Jazz titled ScreenPlay.

For starters, the heart-wrenchingly melodic treatments Sutton gives to her arrangement of “Windmills of Your Mind” from The Thomas Crown Affair and her co-arrangement with Trey Henry of “Moon River/Calling You” from Breakfast at Tiffany’s/Bagdad Café are so beautiful that you immediately immerse yourself in her multi-octave vocals and intimate accompaniment of pianist Christian Jacob, bassists Kevin Axt and Trey Henry and drummer Ray Brinker. Her power of expert vocal imagination continues with an upbeat version of the title song from On A Clear Day (You Can See Forever) which also showcases an outstanding piano solo by Christian Jacob and a captivating call-and-response sequence with drummer Ray Brinker. Here, Sutton’s voice is exquisite, purely soprano and proves her to be an astonishingly agile and captivating singer.

Michel Legrand, Alan Bergman and Marilyn Bergman have contributed some of the most beautiful songs to film scores in the history of the genre and ScreenPlay definitely gives them their props. In addition to “The Windmills of Your Mind,” the Tierney Sutton Band plays “What Are You Doing The Rest of Your Life?” from The Happy Ending, and “How Do You Keep the Music Playing? from the film titled Best Friends. Guitarist Serge Merlaud and the great Alan Bergman himself join Tierney on “How Do You Keep the Music Playing? The Bergmans also wrote the ballads “Ev’ry Now and Then” mined from Mulholland Falls and “It Might Be You” culled from Tootsie with Dave Grusin. These songs are now sung with whispered transcendence that give you, dear listener a lot of pleasure.

There are many great highlights including “Arrow” the song Tierney Sutton and Christian Jacob wrote for the acclaimed Clint Eastwood directed film titled Sully, “The Sound of Silence” from The Graduate with its exemplary percussive beats at the intro, and the beautiful ballad “Hopeless Devoted to You” from Grease. However I am sure late Bert Lahr, who played the role of the Cowardly Lion in the Wizard of Oz, would enjoy hearing (if he could) his version of “If I Only Had A Brain” as an updated jazz version sung by the great Tierney Sutton. This finger-popping gem now has a mix of urban soul and two great bass solos – arco and pizzicato – by Kevin Axt and Trey Henry.

Overall, Tierney Sutton, an eight-time Grammy-nominated singer, and her band have you, dear listener under a culturally inclusive spell because of her diverse and creative interpretations, her exquisite vocals and the outstanding arrangements and accompaniments. Check it out and then keep up with Tierney Sutton Band’s happenings at www.tierneysutton.com.

Jazz pianist Senri Oe exceeds all expectations with his new recording called HMMM. Released via PND Records, the album has nine new songs and features him with acclaimed musicians - bassist Matt Clohesy and drummer Ari Hoenig. Senri wrote all of the songs which are both lively and introspective, beautifully structured and ever so listenable. Senri’s excellent pianism throughout this recording exudes his commitment to his art and powerful percussive trademark piano style.

Because HMMM is Senri’s most personal, intimate album to date, you, dear listener, will experience a heartfelt tribute dedicated to the memory of his father, who passed away right before the recording of the album.  The six trio tracks are interspersed with two interludes - “Freshening Up,” and “When Life Was A Pizza Party” as well as a postlude titled “A Fireplace.”  They showcase Senri’s spirited, often lighthearted piano style, as he interacts with the dynamics-filled grooves created by Hoenig and Clohesy.

“Orange Desert” is the first single released from the album. The first notes instantly engage you in its non-stop head-bopping and toe-tapping rhythmic grooves because of Senri’s percussive playing and interplay with Clohesy and Hoenig. Overall, the entire recording is one you’ll enjoy for years to come and puts Senri Oe in a class of new jazz pianists that are changing their profiles around the globe.

Give HMMM a deep listen and keep in touch with Senri Oe’s happenings at http://www.peaceneverdie.com

Inspiration comes in many forms and from the sound of Jesse Palter’s latest release for Artistry Music titled Paper Trail, her creative processes resulted in ten songs that verified her exceptional prowess as a songwriter and vocalist. These ten songs also reveal Ms. Palter’s versatility as a collaborator with such respected studio artists as bassists Tim Lefebvre and Alex Al, and drummers Matt Chamberlan and Aaron Sterling. Produced by keyboardist Doug Petty, Paper Trail represents what the songs mean to Jesse Palter on a personal level.

The recording opens with “Sever the Ties” which is a powerful, rhythmic break up song that showcases Palter’s vocals in a recognizable style as the music surges in a steady stream of rhythmic currents before vanishing into a slow fade. The speed and character of the music changes frequently, but the different songs are so skillfully dovetailed that her stories can be heard as a continuum. For example, the lyrics to “TMI (Wouldn’t You Like to Know)” merge into the theme of “Paper Trail.” As the recording proceeds, we hear Palter’s multi-octave vocals referring to that long-lost person in “Waitin.’” She ultimately arrives at the finish line telling this person “Goodbye My Friend.”

Overall, Paper Trail looked deep into Jesse Palter’s life experiences for inspiration and resulted in the creation of ten successful songs that focused specifically on a liberating turning point in her musical career. Check it out.

Vocalist Beata Pater offers an exquisite set on her latest recording titled Tet. Backed by an 18- piece ensemble, Beata sings a selection of jazz standards and original compositions by such contemporary composers Freddie Hubbard, Al Jarreau, Chick Corea and Neville Potter. Beata also produces and co-wrote the core arrangements for the recording with her pianist Hiromu Aoki. The string arrangements which were beautifully written by Alex Danson and the wind and brass arrangements were written by Aaron Lington.

Joined by several revered jazz and classical North Californian accompanists, Beata opens with an immaculate version of Freddie Hubbard’s “Little Sunflower” which highlights her beautiful soprano range on Al Jarreau’s lyrics, the lovely string arrangements and the gorgeous piano solo played by Hiromu Aoki. “Lazy Afternoon” is also beautifully sung and her Beata captivates you, dear listener, in a lower alto voice that flows alongside the lovely violin players and pianist’s solo. Chick Corea’s “Crystal Silence” is given a new interpretation that opens with exotic strings and now includes lyrics by Neville Potter. Beata’s excellent soprano makes this song a keeper.

Among the standards sequenced on the recording are upbeat versions of “Old Devil Moon” and “Invitation” as well as three songs written by Alan “Chip” White. Overall, Tet is simply a beautiful offering and features highly impressive singing by Beata Pater.

Sometimes, the backup singers leave the background and move, with an undeniable flourish, to center stage. That’s what happened for Catherine Russell, who had toured the world and appeared on more than 200 albums with such stars as Paul Simon, David Bowie and Michael Feinstein before launching her her 2006 debut album Cat, (World Village/Harmonia Mundi), which garnered rave reviews, and paved  the way for her 2008 sophomore release, Sentimental Streak. With numerous solo recordings, international awards, a 2012 GRAMMY Award win as the featured artist on the soundtrack of the HBO TV series Boardwalk Empire, and a 2016 GRAMMY Award nomination for Harlem On My Mind as Best Jazz Vocal Album now added to her list of accolades, Catherine Russell has entertained audiences on four continents with her powerful blues, rich tone, versatile voice, sass-and-brass personality and a repertoire that stretches from today back to the 1920s.

Catherine Russell’s seventh album, Alone Together, (Dot Time Records), was released on March 1, 2019 The recording features a selection of gems written by such composers as Nat King Cole, Irving Berlin and Arthur Schwartz & Howard Dietz along with other vital interpretations that burst with soul and humor. Joined by her ensemble of guitar virtuoso and musical director Matt Munisteri, pianist Mark Shane, bassist Tal Ronen and drummer Mark McLean, Catherine sings a program of obscure compositions that sparkle in acoustic swing. Among the more memorable songs are “He May be Your Dog But He’s Wearing My Collar,” the swinging “Errand Girl For Rhythm,” “How Deep Is The Ocean,” and “I Only Have Eyes For You.”

Additional musical accompaniment from trumpeter Jon-Erik Kellso, John Allred on trombone, Evan Arntzen on tenor saxophone, Dana Lyn on violin, Eddy Malave on viola and Marika Hughes heighten Russell’s stunning vocal approach which combines a pedigree of classic jazz & rhythm and blues. With these unique interpretations of the Great American Songbook Alone Together is sure to pave the way for Catherine Russell to join the ranks of the greatest interpreters and performers of American Popular Song.

The Secret Between the Shadow and the Soul

Branford Marsalis Quartet

The Branford Marsalis Quartet’s new OKeh Records album, The Secret Between the Shadow and the Soul, features five new originals written by the band members and two covers composed by Andrew Hill and Keith Jarrett. The celebrated ensemble opens new doors to their world of creativity and performs at a new peak, addressing a kaleidoscope of moods with both individual inspiration and group commitment. Branford Marsalis produced the recording, plays the soprano and tenor saxophones while band mates – pianist Joey Calderazzo, bassist Eric Revis and drummer Justin Faulkner hold down the rhythm and melodic logic.

The ensemble created the music after an initial get-acquainted week of gigs and studio work at the Ellis Marsalis Center in New Orleans in October 2017 and ultimately documented their seven latest additions to its already prodigious repertoire while at the Alexander Theatre at Monash University in Clayton, Australia. Eric Revis composed the surging “Dance of the Evil Toys” and equally dynamic “Nilaste,” while Calderazzo’s virtuosic keyboard chops are spotlighted in his compositions “Cianna” and “Conversation Among the Ruins.” In addition to the leader’s own “Life Filtering from the Water Flowers,” with one of his most deeply felt and keenly shaded tenor saxophone solos, there are two of the more challenging jazz jewels of the mid-seventies, Andrew Hill’s “Snake Hips Waltz” and Keith Jarrett’s “The Windup.”

With The Secret Between the Shadow and the Soul, the Branford Marsalis Quartet reaches deep into their incredibly satisfying creativity to give you, dear listener, a sophisticated and adventurous musical experience that is unpretentious, strong, and fresh with a rich multi-genre influence. Check it out.

The Secret Between the Shadow and the Soul

Branford Marsalis Quartet

The Branford Marsalis Quartet’s new OKeh Records album, The Secret Between the Shadow and the Soul, features five new originals written by the band members and two covers composed by Andrew Hill and Keith Jarrett. The celebrated ensemble opens new doors to their world of creativity and performs at a new peak, addressing a kaleidoscope of moods with both individual inspiration and group commitment. Branford Marsalis produced the recording, plays the soprano and tenor saxophones while band mates – pianist Joey Calderazzo, bassist Eric Revis and drummer Justin Faulkner hold down the rhythm and melodic logic.

The ensemble created the music after an initial get-acquainted week of gigs and studio work at the Ellis Marsalis Center in New Orleans in October 2017 and ultimately documented their seven latest additions to its already prodigious repertoire while at the Alexander Theatre at Monash University in Clayton, Australia. Eric Revis composed the surging “Dance of the Evil Toys” and equally dynamic “Nilaste,” while Calderazzo’s virtuosic keyboard chops are spotlighted in his compositions “Cianna” and “Conversation Among the Ruins.” In addition to the leader’s own “Life Filtering from the Water Flowers,” with one of his most deeply felt and keenly shaded tenor saxophone solos, there are two of the more challenging jazz jewels of the mid-seventies, Andrew Hill’s “Snake Hips Waltz” and Keith Jarrett’s “The Windup.”

With The Secret Between the Shadow and the Soul, the Branford Marsalis Quartet reaches deep into their incredibly satisfying creativity to give you, dear listener, a sophisticated and adventurous musical experience that is unpretentious, strong, and fresh with a rich multi-genre influence. Check it out.

For Bob Baldwin’s 25^thalbum as a leader, the pianist/keyboardist/composer chose to re-imagine compositions from The Beatles massive songbook. He jazzes up such songs as “Come Together,” “Yellow Submarine,” “And I Love Her,” “Michelle,” and several others with his trademark urban-jazz stylings all while inviting several respected jazz artists to join him. Euge Groove, CeCe Peniston, Ragan Whiteside, Lori Williams all contribute their amazing artistry to this excellent collection of songs. CeCe Peniston’s interprets “Fool On the Hill” in a soulful arrangement that you’ll not likely to forget any time soon. “Imagine” in all its beauty features the sweet soprano saxophonics of Euge Groove underling Baldwin’s sensitive piano stylings just before flutist Ragan Whiteside adds her graceful notes to the classic love ballad titled “Michelle.” Lori Williams sings an elegant version of “My Love” and subsequently does double duty on “Abbey Road” which she co-wrote and performs with Baldwin. Their duet is simply gorgeous.  Overall, Bob Baldwin Presents Abbey Road and The Beatles is a remarkable musical experience that showcases the impeccable songwriting of The Beatles and how Bob Baldwin has skillfully brought these 1960s classics forward for a new generation to embrace and adore. Check it out.s

Miles Davis & John Coltrane: The Final Tour: The Bootleg Series – Volume 6” was produced as a result of “Norman Granz’s JATP Presents Jazz Winners 1960”: which was a Jazz at the Philharmonic project produced by jazz impresario Norman Granz in partnership with different promoters in each country, starting in France, then Sweden, Denmark, West Germany, Switzerland, Austria, and Holland. The double disc set features concerts where Miles Davis’ performed for the first time overseas with his own ensemble – John Coltrane on tenor sax, Wynton Kelly on piano, Paula Chambers on bass and Jimmy Cobb on drums. It and was a career breakthrough for Miles in  Europe which elevated him to the level of international music star. It would be the last tour of Europe with Coltrane who went on to form his own ensemble upon returning to the USA.

The box set offers two sets from Paris’ L’Olympia, two sets at Stockholm’s Konserthuset and one from Copenhagen’s Tivolis Koncertsal. Colored by emotion, surprises and with each musician bringing their own identities, the music speaks for itself. Each night was more focused, musically consistent and balanced with well-chosen standards and tunes from Davis’ mega-hit Kind of Blue. Familiar standards – “Bye Bye Blackbird,” “On Green Dolphin Street,” “All of You,” were among the stylistic favorites, while “So What” and “All Blues” focused on personal lyricism. “Fran Dance” is beautiful and pays tribute to Davis’ wife who recently departed this Earth on November 17, 2018 in Los Angeles, CA.

The great innovators were all on point during these concerts and left a lasting legacy. A six minute interview by Carl-Erik Lindgren with John Coltrane wraps up Disc #4 and provides extra insight into Coltrane’s thoughts and creative processes. The box set was produced by Steve Berkowitz, Michael Cuscuna and Richard Seidel with executive producers Erin Davis, Cheryl Davis and Vince Wilburn, Jr. for Columbia/Legacy imprint and is the first legitimate issue of this material. Overall, with its original sounds, excellent liner notes, photos and excellent mastering, this box set is a must have for any serious Davis/Coltrane collection.

Tex Allen and the American Folklorical Poets obliterate walls between musical genres with an innovative production methodology that stretches spoken word poetry across soulful melodicism and contemporary jazz styles. The concept for the recording began in a proposal entitled
“America Folklorical” that was accepted by the Museum of Fine Arts Houston for a performance and eventually inspired this work by way of social settings and experiencing the spoken words of the poets, Chris Wise, Marie Brown, Billie Hill and Illy Ansa.

Tex Allen composed the music, plays piano and trumpet along with Dr. Robert Bacon on harmonica, John Harvey on percussion, and A.J. Moyer on contra bass. The album deals directly with social issues of the day, hard-won wisdom and that most ever-present of mysteries – love.  Rather than descend into identity politics, Allen and the poets relate their raw emotions on such titles as “Avocado,” “Hypocrits Delight” and “I Walk To Tell You Something.”

Dr. Robert Bacon contributes soulful and most importantly profound harmonica stylings on “Avocado” and “The Hypocrits Delight” culminating in an intimate, compelling performance that sends the listener into his contemplative but optimistic notes. Allen’s trumpet and piano virtuosity is brilliantly complimented by Harvey’s percussive instincts and Moyer’s bass logic on “I Walk To Tell You Something” making this arrangement somewhat romantic but just as important to ponder as the spoken words posed by this repertoire.

Overall, Tex Allen and the American Folklorical Poets offer a special gift to Allen’s fans and arrives just in time for the holidays, a time for family and friends to gather and celebrate the communal spirit of the season. This short set of three compositions expresses sentiments bristling with passion yet brimming with the collective spirit of jazz in an inspired performance between Tex Allen and his Folklorical Poets.

Stay in touch with Tex Allen and the American Folklorical Poets at www.texallen.com.

Laura Dickinson’s 17-piece big band holiday album Auld Lang Syne is not only vivacious and uplifting but re-authenticates her musical abilities as a Grammy-winning producer, singer and multi-instrumentalist. The recording features some of your favorite holiday carols in jazzed-up big band arrangements that you are sure to enjoy. Dickinson invited a 24 voice SAG-AFTRA choir to bring additional cheer to the recording and this supporting cast is pitch perfect. Among the featured performers are Steve Trapini who performs solos on bass trombone on “Everybody’s Waitin’ For The Man With The Bag,” trumpeter Kye Palmer performs on “Love You Didn’t Do Right By Me,” and Grammy-winning guitarist Andrew Synowiec on the title track “Auld Lang Syne” which he also co-arranged with Laura Dickinson.

The songs are mined from several holiday movie classics and other perennial hits and are arranged by the likes of Brent Fischer (“I’ve Got Love to Keep Me Warm”), Johnny Mandel (“Happy Holiday/The Holiday Season”) and Alan Steinberger (“Have Yourself A Merry Little Christmas”). The CD is produced by Laura Dickinson for Music & Mirror Records.

According to Ada Bird Wolfe, her debut recording titled Birdie is a map of the past five years of her explorations: classic swing, Chicago blues, R&B, French and Brazilian jazz, bebop, Monk, Mingus, Miles and Coltrane. So as you will hear, there’s something for every jazz lover in these rich compositions that feature vocalist Ada Bird Wolfe collaborating with Jamieson Trotter on piano, Scott Mayo on tenor sax, Jamelle Adisa on trumpet, Kleber Jorge, Hideaki Tokunaga, Nathanial LaPointe on guitars, Dan Lutz on bass and Mike Shapiro on drums.

Ms. Wolfe sings in Portuguese and French, covers such classics as Monk’s “Ask Me Now,” “Monk’s Dream” with ease and adds a different perspective to Miles Davis’ “Four” and “All Blues.”  Her vocals are fluid and have a lilting quality that draws the audience to her specifically as she sings. Songs such as the Billie Holiday’s classic “Lover Man,” the instrumental versions of Miles Davis’ “All Blues” and Monk’s “Round Midnight” are so associated with those artists that Wolfe’s up-tempo version of “Lover Man,” and her  her vocal versions of “All Blues” and “Round Midnight” may not capture a lot of admiration for her renditions, yet every listener listens from their point of view, so who knows!

Overall, Birdie may be right for a late night cocktail with friends and family and may inspire them to follow Ada Bird Wolfe’s career.

Fandango at the Wall: A Soundtrack for The United States, Mexico, and Beyond, features Arturo O’Farrill & the Afro Latin Jazz Orchestra with over 60 musicians journeying to the U.S.A./Mexico border to erase artificial divisions. Their musical goals are accomplished by the inclusion and collaborations among musicians from several nations, Jorge Francisco Castillo’s son jarocho musicians and such esteemed special guests as violinist Regina Carter, drummer/percussionist Antonio Sanchez and singer-actress Mandy Gonzalez. The Kabir Sehgal/Mindvine Production was recorded live at the Tijauna-San Diego border wall during the Fandango Fronterizo Festival and is available on Resilience Music Alliance recording label.

The project has three forms: the album, a book on the history of the troubled U.S.A.- Mexico relationship and the afterword by former U.N. Ambassador Andrew Young. A documentary focusing on the lives of the son jarocho musicians is currently in production.

The double disc set gifts listeners with 32 joyous tracks plus an introduction by Arturo O’Farrill. The collection contains music from several traditions and genres including Jazz, Classical, World, Hip-Hop, Broadway, and Son Jarocho. This surprising hybrid of approaches are not just a mélange of world musics, but virtuosic jazz and striking contemporary classical approaches.

For more information please visit http://fandangowall.com/.

EMANON

Jazz legend and 10-time GRAMMY winner Wayne Shorter is known for never resting on his laurels and now has released his long-awaited project Emanon, his first release since 2013’s Without A Net, which marked Shorter’s momentous return to Blue Note Records where he began his heralded recording career in Art Blakey’s Jazz Messengers in 1959.

Emanon is an extraordinary musical and visual experience that presents a triple disc set of original music by Shorter performed by The Wayne Shorter Quartet—featuring Shorter on soprano and tenor saxophone with Danilo Perez on piano, John Patitucci on bass, and Brian Blade on drums—with and without the 34-piece Orpheus Chamber Orchestra. The music is accompanied by a graphic novel penned by Shorter with Monica Sly and illustrated by Randy DuBurke. The title of this orchestral suite is also Shorter’s title character for the graphic novel: Emanon, or “no name” spelled backward. With Emanon, Wayne Shorter shares his artistic multiverse. Everyone will create his or her own experience with the novel and music—but be prepared for that experience to involve the unknown.

The project came to fruition in February 2013 upon the release of Without A Net when The Wayne Shorter Quartet performed four of Shorter’s compositions with the Orpheus Chamber Orchestra at Carnegie Hall in New York City. Shorter immediately brought the quartet and orchestra into the studio to record those same four pieces: “Pegasus,” “Prometheus Unbound,” “Lotus,” and “The Three Marias” all of which comprise Disc 1 of Emanon.

Disc 2 features extraordinary performances of The Wayne Shorter Quartet Live In London playing “The Three Marias,” and “Lost And Orbits Medley” while Disc 3 features the Wayne Shorter Quartet Live In London performing different versions of “Lotus,” ”She Moves Through The Fair,” ”Adventures Aboard The Golden Mean,” and “Prometheus Unbound.”

Emanon is a physical-only release that will be available in two versions; a Standard Edition that packages 3x CDs with the graphic novel, and a Deluxe Edition that packages 3x 180g vinyl LPs and 3x CDs with the graphic novel enclosed in a beautiful hardcover slipcase. Emanon is available to order today. Watch a preview video HERE.

Pianist/singer Betty Bryant sings 10 excellent songs on her 9^th recording as a leader. Accompanied by her longtime producer/bandmate Robert Kyle, Ms. Bryant offers several well-known jazz standards and several original compositions for your listening pleasure. Among the many great highlights is her blues-laden rendition of “Ain’t Nobody’s Business” the song made famous by Billie Holiday. “Cho Cho” an original samba co-written with Robert Kyle, reveals Bryant’s acumen as a composer who can use elements of Brazilian rhythms to satisfy her audiences. Irving Berlin’s “They Say It’s Wonderful” is another classic that Bryant brings forward for a new generation to enjoy. Overall, Project 88 says plenty about Betty Bryant as a singer/composer and it’s worth several listens. Check it out.

Composer, arranger, pianist Senri Oe has released a beautiful solo piano recording that should appeal to his legions of jazz fans around the globe. Boys & Girls features original songs written by Senri and previously released on his best-selling recordings. “Flowers,” and “Serene Sky” are brand new compositions written for Boys & Girls. Senri’s style is lyrical, poignant and expressive. Each song has the distinction of having his unique signature sound combined with a contemporary, universal appeal. The treatments are ever so beautiful and continually make the listener aware of his talents as composer, arranger and pianist. “Flowers,” “A Serene Sky,” “Rain,”  invite the listener into Senri’s refined respect for elements of nature while the title track and “10 People, 10 Colors” showcase his modern and classic technique at the piano and inspiration from people, colors and textures.

Overall, the collection of songs produced for Boys & Girls are a marvelous invitation to keep following Senri Oe’s musical concepts and his timeless mix of serene performances.

Vocalist, composer and Thelonious Monk institute grad Johnaye Kendrick’s new release on Johnygirl Records titled Flying features six originals penned by the vocalist and six covers of some of your favorite songs including one of the most intriguingly structured love songs – “Fallen” – the Lauren Wood gem made famous after it was sequenced in the motion picture “Pretty Woman.”

On Flying, Kendrick’s singing is nothing short of beautiful. Accompanied by the simple rhythms exuded by Dawn Clement on piano and keyboards, Chris Symer on bass and D’Vonne Lewis on drums, Johnaye’s soothing vocals as well as the highly emotional way she sings keeps you listening from start to finish. Her multi-range vocals are filled with elongated phrasings, inspired colors and textures that reveal her depth as a singer and composer and ability to connect with her listeners.

As you continue to listen to the recording, you realize that many of her original songs were inspired by personal aspects in Johnaye’s life. “Never You Mind” is her socially conscious message ripped straight from today’s news headlines, while her graceful tribute to her young twin toddlers “You Two” is at the heart of home life.

By contrast, she adds such vocal gymnastics as scatting, vocalese and her multi-octave range throughout “It Could Happen to You,” “The Very Thought of You” and “The Lonely One” to show her versatility as a contemporary jazz vocalist who can command your attention while breathing fresh riffs into these jazz evergreens.

Overall, Flying is a passionate offering with the potential for attracting more fans to Johnaye’s widening fan base. Check it out.

Meeting of Minds focuses on the integration of voices with the big band. This fresh sonic palette features subtle yet harmonic and rhythmic nuances in the arrangements that blend together to create an interesting 21^st century twist on Great American Songbook favorites. The improvised solos, superb ensemble playing, the four-part harmony within Mintzer’s intricate big band charts and textures makes Meeting of Minds a very special recording.

Produced by MCG Jazz, the recording brings together 21 musicians who have been a part of the MCG jazz family from the very beginning. “Autumn Leaves” opens the program and highlights lead vocalist Kim Nazarian’s and Lauren Kinhan’s exemplary vocals. Bob Sheppard and Phil Markowitz offer beautiful solos that underline the gorgeous melody of this song which is played in an uptempo swing style with four-part harmonizing vocals instead of as a ballad fronted by a soloist. Cole Porter’s “I Concentrate On You,” is a showcase for lead vocalist Peter Eldridge with exceptional soloing from baritone saxophonist Roger Rosenberg. Damon Meader, who delivered all of the vocal arrangements, steps into the spotlight on “You Go To My Head” as lead vocalist and also adds interesting vocal improvisations as Scott Wendholt lends his trumpet visions to this lovely song.

Bob Mintzer wrote all of the band arrangements as well as “Weird Blues” which is the only composition not presently included in the Great American Songbook. With all of the songs now in different time signatures, the special arrangements that produced for Meeting of Minds make this recording worth several listens and gives new meaning to how classic songs can become modern day hits. Check it out.

Hard driving, swinging, drummer/composer Chris Beck steps into the limelight with the release of his debut recording titled The Journey for A.W.M.C. Records. Produced by Michael Carvin and featuring Beck on vocals and drums, trumpeter Terell Stafford, Anthony Wonsey on piano, Stacy Dillard on tenor sax, and Eric Wheeler on bass, The Journey not only showcases Beck’s talents as a songwriter but features his exceptional drumming and interplay with his bandmates.  He calls this recording the “culmination of my life as a man, husband, father, musician and composer.” That’s a broad sweep and this recording justifies those feelings. With six original songs at the center of his debut, Beck illuminates many of his innermost thoughts and emotions on such songs as “Teona,” to his “fiery little angel” on “Waiting for Aiden,” “Tears In Heaven,” and “My Inner Circle.”

Opening with Wayne Shorter’s “Mahjong” Beck spotlights the song’s beautiful soaring and fierce melodic structure. The harmonic and rhythmic connection between Wheeler and Wonsey is impeccable and results in an amazing blend of improvised elements as well as written cadence. Although the colors and textures Beck infused in the ballad “Teona” are subtle, they ultimately reveal a refreshing and soulful homage to a dear family member. Eric Clapton’s “Tears In Heaven” And “Waiting for Aiden” are dedicated to Chris’ late son. Each song is gentle, intimate and reflective and played with reverence for Aiden.

Overall, The Journey is truly a wonderful album of music and should be in your jazz collection. Check it out.

As many of Mark Winkler’s fans know, he is a prolific songwriter as well as a celebrated interpreter of compositions from many musical genres. For The Company I Keep, Mark chose a wide array of artists to collaborate with and the results are among his finest work. Featured artists include such Grammy nominated artists as pianists John Beasley and David Benoit; Grammy award-winning vocalists Steve Tyrell and Cheryl Bentyne and Grammy award-winning bassist/arranger John Clayton. Mark wrote six original songs and covers compositions written by Prince, Donald Fagan, the Gershwins and Leonard Bernstein.

Produced by Barbara Brighton for Café Pacific Records, the 12-track gem opens with Mark and Jackie Ryan duet on Donald Fagen’s “Walk Between the Raindrops.” The synergy between the two singers is enhanced by the stellar accompaniment from Jamieson Trotter on piano and the tenor sax solo by Bob Sheppard. Cheryl Bentyne of Manhattan Transfer fame joins Mark on “Strollin’” and does a fantastic job harmonizing with him as well as bringing new life to this rarely heard Prince classic. Larry Koonse’s guitar playing highlights the melodic interaction of the pair and really brings out their stylings.

“Stolen Moments,” is an excellent duet with Claire Martin and features great horn charts as well as bass logic by John Clayton. John Beasley adds his musical vision on “The Sum,” as does Bob Sheppard with a great soprano sax solo.

Overall, The Company I Keep meets and exceeds the high standards Mark Winkler set on his previous recordings. It is surely a recording that deserves your attention and several deep listens.

Five-time Grammy Award nominee Christian Sands makes his Mack Avenue Records debut with Reach, a 10-track recording that features some of today’s most admired musicians. Produced by Al Pryor and Christian McBride, Reach is a fresh, impressive, straight ahead offering with 8 originals written and arranged by the pianist. Two covers – “Use Me,” and “Somewhere Out There” complete the program.

Opening with the dazzling piano trio composition inspired by Chick Corea, “Armando’s Song” is a rhythmic masterpiece that features a memorable melody, piano counterpoint and virtuosic performances by the core trio of Christian Sands, Marcus Baylor on drums, and Yasushi Nakamura on upright bass. This song has no style guards and is the epitome of the art and heart of improvisation. Sands’ solo would undoubtedly make Corea smile a while.

In addition to his core trio, the album also features Gilad Hekselman on guitar during “Reaching for the Sun” – a cool easy dance tune; “Use Me,” where he delivers an awesome solo ; and “Gangstatude”  with its gangsta/hip-hop flavored theme. Tenor saxophonist /bass clarinetist Marcus Strickland makes his worth known on such tunes as “Pointing West,” a blues-drenched piece that features great tandem playing and soloing; “Freefall,” another great song that features exemplary harmonizing and trading as well as Strickland’s tonal bass clarinet. Percussionist Cristian Rivera explodes on “Oyeme” a true tour de force and masterful display of percussive excellence.

Christian Sands has been and continues to be influenced by a wide array of musical experiences and as a result of performing with numerous bandleaders such as Christian McBride, Bobby Sanabria and others. In addition to holding both bachelor’s and master’s degrees from the Manhattan School of Music, Christian proves he is more than a sideman to some of today’s hottest jazz stars, but is also a highly skilled bandleader who can compose, arrange, inspire and perform at the highest levels. Check out Reach today. Click on the CD cover to buy Reach.

Drummer Will Calhoun of the rock group Living Colour pays tribute to a profound influence on his musical life with Celebrating Elvin Jones. The album features Christian McBride on bass, saxophonist Antoine Roney, pianist/keyboardist Carlos McKinney, and trumpeter Keyon Harrold. Also, the keyboardist Jan Hammer, a member of Elvin Jones’ trio joins the band for a reprise of “Destiny” and Doudou N’Diaye Rose joins with a group of drummer for “Doll of the Bride.”

The songs on the recording span Elvin Jones’ career but Calhoun has devised a distinctly individual approach. Among the songs included are “EJ Blues”, “Harmonique” and “Mahjong”. “Sarmastah” is Calhoun’s sole original song on the album and plays a 12-string guitar! Celebrating Elvin Jones is available on Motema Music.

The Grammy nominated multi-talented Bob Baldwin offers his fans and new listeners a double disc recording of 26 songs that he has titled The Brazilian-American Soundtrack. This urban-jazz and Brazilian rhythms exploration of Rio de Janierio and New York features 20 original songs written and performed by Baldwin during recording sessions in Rio, New York and Atlanta, GA over a period of three years! Collected in the two discs titled Movement 1 – Rio-Ipanema and Movement II – New York, we hear several guest artists help to bring Baldwin’s musical visions to life.

In the first movement, guest artists Café Da Silva, Ragan Whiteside, Torcuato Mariano and lead vocalist Gigi add their impeccable musical skills to Baldwin’s meticulously produced tracks titled “Ipanema Fusion,” “Teardrop,””Caipirinha,” and “Looking At Me,” and to several tracks by some of Brazil’s most revered songwriters Including Antonio Carlos Jobim’s “Corcovado,” Ivan Lins’ “Anjo De Mim,” “The Island,” and ”Love Dance, May I Have This Dance,” and Djavan’s “Eu Te Devoro.” Each song is performed to perfection and with such virtuosity that you will revel in Baldwin’s dexterity on the keyboards and be amazed and charmed by his vocals.

Overall, the second movement features two songs written especially for the late, great Maurice White of Earth Wind and Fire by Bob Baldwin as well as guest songwriters Alonzo Wright. Marion Meadows is featured on Baldwin’s “My Soul” playing a lovely saxophone solo. “Summer Madness,” featuring James “Crab” Robinson on vocals and John Lennon’s “Yesterday,” featuring Freddie V on saxophone deserve special mention.

Overall, Bob Baldwin’s magnum opus deserves recognition and certainly several deep listens since it represents the passion and virtuosity of his musical personalities. With 20 songs written especially for The Brazilian-American Soundtrack, you will understand  that certain state of mind Bob Baldwin has shared with his fans and new listeners on this great recording. Highly recommended. To buy this CD, please click on the CD cover.

Sky Begins

Daniel Meron

Sky Begins is Daniel Meron’s  second album which was recorded with his current band consisting of Maia Karo on vocals, Noam Wiesenberg on bass, Jimmy McBride on drums and himself on piano. Sky Begins featrues 8 of  Meron’s most recent original compositions which are produced by Meron and Ian Turner. While clearly in the realm of jazz, the music on the album is dynamic and lyrical, traveling through rich harmonies to magical places in time and imagination. The band grooves hard on funky and folkloric rhythms, while shifting between energetic improvisation and intimate interaction.

Vocalist Maia Karo is supreme as are the members of the ensemble. Meron’s own lyrical piano prowess is worth the price of the CD alone. Along with his activities as composer, arranger and bandleader, Daniel continues to perform as a sideman in multiple bands such as the Ayal Tsubery band, Rubycon, and Arnan Raz Quintet.

On Callas, tenor saxophonist Ivo Perelman and pianist Matthew Shipp collaborate on this spontaneous duo performance that depicts the improvised free jazz versions of characters portrayed by operatic diva Maria Callas. Each of the improvised arias from operas such as "La Boheme," "The Barber of Seville," "Norma," "Tosca," "Aida," "Turandot " and others, evoke the operatic sensibilities of Perelman’s brilliance as well as Shipp’s emotional resonance and musical clairvoyance.

The pair discover the various nuances of each aria and develop them further throughout their improvisations. There is a subtle new vocal sound to Perelman’s saxophonics as he matches Callas’ approach to the low, middle and high registers she so brilliantly sang. The inflections are there, the subtleties, but not the melodies. Shipp’s dark, insistent ostinato supports and propels Perelman’s flights on the opening track titled “Lucia” the heroine’s defiant character from Donizetti’s opera “Lucia di Lammermoor.” On “Magdelina” Perelman channels a plangent yearning as Shipp’s steady, implacable undercurrents reminisce the doomed love of the title character’s fate in “Andrea Chenier.”

On “Norma” his throaty low notes contrast his brilliant coloratura excursions while on “Mimi” he unveils a tender romantic splendor. Overall, this album is a brilliant emotional breakthrough that comes from a newly discovered understanding  and appreciation for some of opera’s greatest arias.  Perelman and Shipp’s own superb musicality and artistry deserve more than one listen. Callas is that great.

Cuentos is Guraudo’s second release on ZOHO Music and his sixth as a leader. With fleshed out trombone and trumpet sections and a percussionist in the mix, Giraudo’s new Big Band capably delivers 9 great compositions including the beautiful four -movement “Angela Suite.” Pedro Giraudo wrote and arranged all of the songs and plays electric and acoustic basses. Following his critically-acclaimed 2011 ZOHO release titled Cordoba, Giraudo has created another masterwork with his daring and immensely rewarding Cuentos. He treats his fans to ravishingly detailed expression of Argentine music forms and themes while standing solidly in the tradition of such North American masters as Duke Ellington, Thad Jones and Gil Evans.  

Outstanding musical talents B.J. Ward and Donn Trenner have reunited after 40 years to release their second recording titled Double Feature. The duo recorded this exemplary program improvisationally, capturing voice and piano together with no over-dubbing of vocals. The 12-songs are culled from the annals of film music and Broadway musicals. Rarely heard songs include the haunting and beautiful “Theme From Rosemary’s Baby,” “Drifting” from Auntie Mame  and “Do You Know Why?” from Love Thy Neighbor. Gordon Hunt produced the vocal/piano recording with Lee Lessack as Executive Producer.