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Young pianist Christian Sands is a talent to watch out for and this largely original set, bar two carefully selected adaptations of classic soul numbers, is co-produced by another Christian, namely bassist McBride, and drummer Al Foster.
New York based pianist Christian Sands at the ripe old age of 28 has already built a large discography both as a leader and sideman. His latest release “Reach” is his début release on Mack Avenue sees Sands “stretching into exciting progressive territory.“
It's punctilious and unpredictably powerful all at once. Believe it or not, you can have both ways. At least, that is, if you're Billy Childs. It's the perfect example of how to hook the ear from the start.
"If my feet were put to the fire to name the album that most impressed me this year it would have to be pianist/arranger/composer Billy Childs superb Rebirth. The album was a fountainhead of creativity played at the highest level."
Standout soloing by Billy Childs and Steve Wilson on the beautiful “Rebirth” is worth more than several listens. Overall, this project is another winner for Billy Childs and deserves to be in your record collection.
By now it’s evident that the pianist/arranger/composer Billy Childs can compose gorgeous music. Just listen some of his past repertoire.”Into the Light “ the 2006 Grammy winner for Best Instrumental Composition. “The Path Among the Trees,” a cinematically beautiful composition and the 2011 Grammy Award winner for Best Instrumental Composition.
Billy Childs, "Rebirth" (Mack Avenue) and Christian Sands, "Reach" (Mack Avenue). This is two generations of superb mainstream jazz pianists coming from the same stellar mainstream Detroit jazz label.
Planetary Prince presents all the essentials: a classically poised introduction, a writhing beat equally beholden to slick funk and prog-metal, serpentine electric bass lines, and lean, tight jazz-combo interaction.
Cameron Graves, the pianist for Kamasi Washington and a founding member of the West Coast Get Down collective, makes his own searing mark with an enrapturing and assured solo album.
From drums & bass through to trumpet, every instrument is performed with virtuosity & sounds crisper than a granny smith – this is electrifyingly, skin-pricklingly brilliant.
Graves has been playing music for over three decades, bringing a unique approach to the piano. His skill is matched by a fluid, imaginative style drawing from multiple genres. Graves' father, a singer/producer/keyboard player, initiated him into music at the age of four.
Cameron Graves is a master, laying intricate melodic lines over driving drums and cymbal chokes. “Satania Our Solar System,” the opener, is devilish.
"Thrilling technicality, earnest passion and an acute sense of style justify even the record’s over-the-top moments. Planetary Prince is an 80-minute explosion of musical ideas that reflects the musicians’ decades of prior collaboration.”
Last week, it was pianist Cameron Graves turn to front this band of one/band of many, for the drop of his stellar CD, “Planetary Prince” on Mack Avenue Records (disclaimer, more astronomical adjectives could follow).
His contrastingly romantic and ardent chord-work suggest what Rachmaninoff might have sounded like if he’d played in a contemporary fusion band.
Cameron Graves' debut release embodies a forward looking, jazz-grounded instrumental music. He leads us on a challenging and intoxicating musical journey of imagination.
If the sheer virtuosic piano work isn’t enough for you, the lineup backing Cameron Graves on Planetary Prince will more than make up for that. Besides the obvious talent of Kamasi Washington on tenor, there’s also Thundercat and Hadrien Faraud rocking the bass.
"It comes off somewhere between McCoy Tyner and The Time, Chopin and J Dilla — with an extra layer of mystic clashes between celestial princes of good and evil. It’s the score that Urantia always deserved.” - LA Weekly
Cameron Graves, ‘Planetary Prince’ - If you’re looking for another fix of the same stuff that “The Epic” delivered, the debut album from the pianist Cameron Graves is your answer.
His compositions drill down into grooves and then suddenly spring open, like the stunning “Satania” and the herky funk of “End of Corporatism.”
Pianist Cameron Graves was a standout, and his album “Planetary Prince”, featuring more of the Get Down, will be out in the coming weeks. Mosley’s parents also got a big shout before launching into “Abraham” (Mosley’s given first name), the record’s other single, with Graves’ “ring tone intro” setting off the piece.
No one alive does it better than Joey DeFrancesco, and he takes you to Sunday Morning Revivals here with a team of Jason Brown/dr, Troy Roberts/ts-ss and Dan Wilson.
With his signature Hammond B3 organ at the foundation of each arrangement, Joey DeFrancesco and his band The People stretch out across genres. Pulling from the tried and true spirituals of the church, the freedom songs of American folk, the abiding sorrow of the blues and the swing of straight ahead jazz.
The word “freedom” clearly resonates for Joey DeFrancesco, the Hammond B-3 organ kingpin and veteran hard-bop messenger.
Harold Lopez-Nussa hopes increased exchange between Cuban and American musicians can continue. "I have a lot of hope about this approach," he says. "It will be better for all of us." You can hear Harold Lopez-Nussa's training when he plays. The 33-year-old pianist is reluctant to admit the classical influence on his jazz playing, but he's quick to acknowledge that he, like many other great Cuban pianists, was classically trained.
"It’s both an indictment of the communist system’s failures in Cuba and a testament to its successes that the nation’s most consequential exports are doctors and pianists. The U.S. isn’t directly affected by the island’s medical missions, but the American jazz scene would sound very different without a steady flow of outrageous keyboard talent arriving from Cuba." Acclaimed Cuban pianist Harold López-Nussa brings his Afro-Cuban Latin jazz — and view of the world — to our studio.
Cuban pianist Harold Lopez-Nussa’s new, celebratory album, El Viaje (The Voyage) surges with such an abundance of inspiring exuberance, pyrotechnical brilliance, fiery passion, luminous lyricism, rhythmic propulsion and crackling keyboard clarity that you just can’t believe the phenomenal, 30-year-old virtuoso from Havana when he confesses that he was “terrified and a bit shaky” when taking his first giant steps from classical music to jazz.
Host Bonnie Johnson continues her "Sounds of Summer" series with pianist, composer, and arranger John Beasley about his new release MONK’estra, Volume 1 (Mack Avenue Records). The GRAMMY® and Emmy Award-nominated bandleader will take his 15-piece big band out on a European tour in anticipation of Thelonious Monk's imminent centennial in 2017.
“I like the word ‘playfulness,’ because I’ve been saying ‘humorous’ and playful is more accurate,” said Beasley, who was not yet a teenager when he got hooked on Monk.
Monk’estra, Volume Two is here, and it was well worth the wait. Digging deeper into the Monk catalogue, and allowing members of the band and select special guests to stretch out a but have made this is a delight.
It is one hundred years this October since Thelonius Monk was born in 1917 and to mark this commemoration of an iconic and highly creative and innovative musician, pianist, arranger and conductor John Beasley has produced the second part of an ongoing homage to the musician.
Los Angeles pianist John Beasley’s 15-piece MONK’estra, focusing on arrangements from two recent eponymous albums. Beasley seeks to infuse Monk’s music with contemporary cadences while evoking the challenges faced by the composer as a black man in a rigged environment.
From the Afro-Cuban re-imagining of “Epistrophy” to a lively rap version of “Brake’s Sake,” Thelonious Monk’s classic tunes were taken for a wild ride by pianist-bandleader John Beasley’s 15-piece MONK’estra big band at the opening night of the North Sea Jazz Festival.
"Beasley’s tribute extends the Monk legacy of profound originality, deep-seated passion for the turbulence of the times, and an openness to improvisation in whoever takes the band seat.”- Festival Peak
Grammy-nominated jazz musician John Beasley, who has collaborated with many famous artists such as Miles Davis, Sergio Mendes, Fourplay, Al Jearreau, Chaka Khan, Barbra Streisand and James Brown, was invited as the main guest of the festival and will lead five jazz sessions during the event.
There is so much hep stuff happening in these new big band arrangements of tunes by Thelonious Monk that I was transported to another realm, one where the car seems capable of driving itself.
John Beasley considered the late Walter Becker an essential mentor and a key figure in his own career. The Grammy-nominated keyboardist, composer and arranger started working with Becker in 1987.
John Beasley’s MONK’estra project is ambitious. It involves a 16-piece big band, plus numerous special guests: tenor saxophonist Kamasi Washington, singer Dianne Reeves, jazz violinist Regina Carter, trumpeter Dontae Winslow, among others.
Jazz pianist, composer, arranger and bandleader John Beasley began his career in the early 1980s, around the time jazz’s Young Men in Suits proclaimed that bebop was the one true way of life. They spoke solemnly about “keeping the flame,” “honoring the tradition” and other such homilies. Record companies, clubs and festivals got out their checkbooks and rewarded these young firebrands, many of whom would have been rated as just OK in the eras they sought to reconstitute.
MONK’estra, Vol. 1 was released on Mack Avenue last year, garnering two Grammy nominations and critical acclaim. In the wake of that release, Beasley took the band on tour, before returning to the studio to make MONK’estra, Vol. 2.
Thelonious Monk was born 100 years ago this October. The tributes and revisitations are about to start rolling in. Leading the pack is “John Beasley Presents MONK’estra, Volume 2...”
"Monk wrote with such originality and put his witty personality into his writing and playing. He was hip to an 11 year old." — John Beasley, Conductor & Arranger - Monk’estra
Keyboard Magazine's 2016 Top 10 Music Lists featuring Mack Avenue artists John Beasley and Yellowjackets. Our hope is that the releases below will lead you to artists you haven't heard (or remind you of some you may have missed or forgotten).
On Monk’estra Vol. 1 (Mack Avenue), L.A. keyboardist-composer-arranger John Beasley brings that same kind of boundless energy and fresh vision to the music of Thelonious Monk.
My best of Jazz List for 2016:
Another year has passed and many would say 2016 was a very tough year for music, especially with the loss of so many influential musicians this past year. The music has always been remarkably resilient and this year is no exception, with many fine new artists having fabulous debut albums
On this week’s Rhythm Planet show, I catch up with the multi-talented pianist/conductor/arranger John Beasley. Beasley and his big band, MONK’estra, have gained widespread renown and two Grammy nominations for their creative re-imagining of the music of Thelonious Sphere Monk in John Beasley Presents MONK’estra Vol. 1.
The Kind World podcast from WBUR is sure to make your day a little brighter. The podcast tells stories about people who have been affected in a positive way by others. John Beasley orchestrates a 15-piece big band of Los Angeles’s finest jazz musicians. MONK’estra, Vol. 1 is, as the man himself might say, a gas.
"Last year, Justo Almario played saxophone with pianist and composer John Beasley and his big band on the album “MONK’estra, Vol. 1,” which is currently nominated for a 2017 Grammy Award in the Best Large Jazz Ensemble Album category."
Most important, he hires the best band possible. “You have to hire people that have experience; you can’t hire people that are going to be prima donnas on the road,” John Beasley says. “So lesson number one in being an MD: Hire people you know who are totally professional and will have your back.”
John Beasley’s MONK’estra performed their empathetic, swinging and sometimes hiphop-tinged revisions of Thelonious Monk tunes at Dizzy’s Club Coca-Cola in Lincoln Centre on Thursday night, in front of a window with a view of Trump Tower. And, as Beasley reminded us, Monk himself had grown up literally only a stone’s throw away, on West 63rd Street.
"Short Stories" finds the 30-something trumpeter fashioning often sophisticated, elaborate versions of tunes culled from the worlds of pop, folk and jazz into distinctive, highly suggestive narrative arcs. The producer is famed pop music auteur Tommy LiPuma who, like the trumpeter, is a native of Cleveland.
Unlike most jazz recordings, Farinacci pinpoints feelings of pure ecstasy, wonder, and immaculate inception over love, spirituality, the despair of war with eerie accuracy, and immense empathy.
Dominick Farinacci (Wednesday and Thursday) Mr. Farinacci is a trumpeter with a soft gleam in his sound, though he brings true musicality to his crossover agenda.
A combat veteran and jazz artist team up to document a transition from war to civilian life through a new monthly series.
New Orleans native, drummer Herlin Riley, who spent 17 years with trumpeter Wynton Marsalis’ ensembles, is, simply, something special.
Herlin Riley is a powerfully authoritative and concisely proficient drummer from New Orleans, who earned his chops in both smaller groups and more prominently as the drummer with the Wynton Marsalis lead Jazz At Lincoln Centre Orchestra.
“Jazz music and the concept of jazz were never foreign to me because I grew up hearing it,” says the master drummer, who was raised by his grandparents Frank and Alice Lastie in New Orleans’ Lower Ninth Ward.
This is an album on which funk and soul bend toward jazz...It’s also an album of big-brotherly purpose, stocked with sharp players mostly still in their 20s: the trumpeter Bruce Harris, the saxophonist Godwin Louis, the pianist Emmet Cohen and the bassist Russell Hall. (Mr. Martínez and the guitarist Mark Whitfield are guests.)
In the tradition of another great jazz drummer/bandleader, Art Blakey, Herlin Riley takes his Afro-Cuban, jazz, and blues experiences and shakes them into a sound that is both new yet familiar. An entic- ing collection of modern New Orleans music; funky jazz for folks who enjoy their musical gumbo on the hot side.
...he remains a tonal traditionalist—an aspect reinforced on Arclight, the first recording to feature him exclusively playing a solid body electric guitar. Despite the overdriven twang of his Fender Telecaster, he continues to eschew unnecessary efx that would diminish the clarity of his crystalline cadences.
Julian Lage: "Arclight" (Mack Avenue): Fine jazz guitarists are hardly in short supply, but Lage stands out for the clarity of his thought, the sleekness of his sound and the range of his expression. Leading a trio with comparably agile work from drummer Kenny Wollesen and bassist Scott Colley, Lage mixes originals with historical repertoire.
Jazz is more international, more diverse and, in a lot of ways, more influential than it has been since its heyday.
Julian Lage’s Arclight, released in April, marked an invigorating new direction for the still-young guitarist. Joined by Scott Colley on bass and Kenny Wollesen on drums (the same pair Lage had seen as a child backing Jim Hall), Lage cranked out a spirited but tightly edited set of 11 tunes, ranging from covers of obscure 1930s gems to free-jazz originals
No chord seems beyond Lage, no cadence too oblique not to be used. Arclight shows Lage as a bright shining star in today’s jazz firmament. Well worth checking out.
If you are hearing aspects of Chet Atkins and Les Paul throughout the course of Arclight, that’s because Lage and his mind-blowing rhythm section of bassist Scott Colley and drummer Kenny Wollesen pay homage to the guys Chester and Lester were influenced by like Merle Travis and George Barnes, crafting a mood that is equally in step and out of time to brilliant effect.
Prodigal US guitarist Julian Lage has been almost exclusively associated with the acoustic version of his instrument since he burst onto the scene at the tender age of eight. And anyone who has heard his jaw-dropping virtuosity since would wonder if he had anything more to prove.
For local jazz buffs, this is the summer of Christian McBride. The 43-year-old bass virtuoso will perform with a pair of Grammy-winning trios over the next couple of months, leading his own at Scullers on June 3 and 4, then joining Chick Corea and drummer Brian Blade at Rockport Music (July 25 and 26), the Newport Jazz Festival (July 29 and 30), and Tanglewood (July 31).
"McBride is a busy, multifaceted artist who’s constantly juggling projects, and the release of Bringin’ It gives his big-band fans a reason to celebrate.” —DownBeat
In the mid ‘90s when he was a young, frisky jazz guy from Philadelphia who was taking New York by storm, bassist Christian Scott talked to me for an article in Strings magazine about some of his heroes. On the jazz bass tip, he singled out Ray Brown, who embraced the youngster’s talent, and Ron Carter, who was, let’s say, not as enthusiastic and even mean-spirited.
Christian McBride doesn’t need a big band to make a big impression, as he’s shown us countless times — on the bass, on the bandstand and in the booth. But when he finally did assemble a big band of his own, he saw results:The Good Feeling, on Mack Avenue, won the 2011 Grammy for Best Large Jazz Ensemble Album.
On January 5, 2017, the Jazz Connect Conference will present bassist, bandleader, educator, and advocate Christian McBride with the Bruce Lundvall Visionary Award. The Jazz Connect Conference created the Bruce Lundvall Visionary Award in 2014 in honor of the esteemed jazz record executive who was a champion and advocate for so many jazz artists over the last four decades.
A year before he died in 1977, the blind jazz genius Rahsaan Roland Kirk inspired an impromptu parade in Newark. One minute he was playing the downtown club Sparky J’s. The next he was leading his band, pied-piper-like, across the street to the Key Club, a different nightspot, while still making music on one of the three saxes he was known to play in unison and in harmony.
The annual jazz festival included a tribute to musician, producer, conductor, entertainment-company executive and humanitarian Quincy Jones, who grew up in Seattle, as well as the great performances the event is known for.
Christian McBride’s big band had just finished a bustling rendition of “The Shade of the Cedar Tree” on the main stage of the Newport Jazz Festival here on Saturday afternoon when the bandleader felt compelled to speak.
"He's that rare jazz bassist who's a genuine leader. The success of Bringin' It begs the question: What can't Christian McBride do?” —Stereophile
To see Ray’s legacy, you don’t have to look far. It lives on in the countless musicians he influenced, including the ones here with us tonight. And we’ve got Rickey Minor conducting the Christian McBride Big Band using some of Ray’s actual arrangements. And let me tell you, these guys can play anything, and they play it well.
Last Thursday night, at the ninth annual Inside the Jazz Note at Montclair State’s Alexander Kasser Hall, Christian McBride sat down with none other than jazz great Wynton Marsalis.
The Mack Avenue Super Band — an all-star group in the churchy, Horace Silver/Art Blakey mold, mounted by Mack Avenue Records as an annual attraction at the Detroit Jazz Festival — released the smokin’, soulful album “Live! From the Detroit Jazz Festival” last year.
...a show that wowed the audience with cordial excellence rather than an old-fashioned cutting contest.
... when you bring some of the artists of Mack Avenue Records together for a “Superband” performance under the guidance of Christian McBride. the odds for a supersession increase dramatically.
The SuperBand jam session at the Detroit Jazz Festival featuring artists from the Motor City’s jazz label Mack Avenue Records is a familiar and much anticipated event for anyone fortunate enough to attend, or who has the good fortune to get an audio recording of the proceedings.
Detroit record label Mack Avenue will release Live From The Detroit Jazz Festival–2014 by the Mack Avenue SuperBand on Sept. 18. Recorded live in Detroit’s Hart Plaza, the album—the third in a series—brings artists from the label’s diverse roster together for a rare collaboration.
The Gospel According To Jazz: Chapter IV - by Kirk Whalum on Rendezvous/Mackavenue closes the week at number one on the Billboard Jazz Chart.
KIRK WHALUM STILL LIVES IN THE CITY WHERE HE WAS BORN. HAVING TOURED AND MAKING FAME WITH WHITNEY HOUSTON DURING HER “I’LL ALWAYS LOVE YOU” DAYS, HE NOW LIVES THE LIFE OF MIXING SOULFUL JAZZ AND ‘JAZZING UP’ CHURCH SONGS.
Outside of Whalum’s magic on tenor and soprano sax (he even plays flute on the delicately fragrant “This is the Day”) and the fabulous piano work of John Stoddart is singer Shelea’s gorgeous and amazing interpretation of “Sometimes I Feel Like a Motherless Child.” It is the best moment of the DVD.
He's back with his 8th solo CD release, and if you've followed Steve Cole during his AMAZING career, then you'll want to get your hands on a copy of his latest release, "Turn It Up."
Rick Braun on his new album: "It's R&B and jazz mixed together, whereas with straight-ahead jazz there is more of a swing...
It was not the first time, Jonathan Butler performed in Nigeria. But last weekend’s performance was something out of the ordinary. The jazz fusion guitarist and Grammy nominee took the audience to another realm, performing hit songs after hit. It was a night of oldies and jazz music at its best.
Inspired by his love for music and the power it has to change lives, Grammy® Award-Nominated Rendezvous Music Recording Artist Jonathan Butler is teaming up with world famous guitar company D'Angelico Guitars to present their custom-made instruments to musicians of all ages committed to excellence in their craft.
Butler and company opened the set with blistering instrumental rhythms along with his energized vocalese style. The receptive house quickly got into the funky robust groove with jubilant head nodding. Butler performed a song co-written with imminent bassist Marcus Miller to celebrate late bassist (and retired NBA player) Wayman Tisdale. He talked about how early in his career when he met the band members of the Yellowjackets, a group that was a major influence for him.
Gaborone International Music and Culture week (GIMC) started in a loud roar on Saturday night when Jonathan Butler, Re Batswana Music Ensemble and Sereetsi & The Natives brought the house down with soulful jazz.
One on One interview with international recording artist Jonathan Butler
"Main Street Beat" was originally intended to be a funk record, but became more with R&B, contemporary jazz and pop nuances seeping into the mix. The grooves - many of which are infused with the soul power of a muscular sax section laid down in layers by Joyner.
Jackiem Joyner has spent a lot of time on airplanes the last few months, paving the way for the arrival of his sixth release, Main Street Beat, a steamrolling saxophone set he produced, now available from Artistry Music/Mack Avenue Records.
Jackiem Joyner is proof that life continues even amid all the other projects that human pride considers to be important work. Joyner is a musician – a saxophonist - by trade, so making music, performing in concerts and cutting albums is how Joyner feeds his family. That family grew between the release of Joyner last album, Evolve, and the upcoming debut of his new album Main Street Beat at the end of June.
"The grooves – many of which are infused with the soul power of a muscular sax section laid down in layers by Joyner – are undeniably danceable while his innate flair for crafting catchy hooks and buoyant melodies are prominent."
Jackiem Joyner approached crafting “Main Street Beat” with a three-pronged purpose. “I wanted to create something upbeat, fun to listen to and something to dance to. The release of “Main Street Beat,” Joyner’s sixth album, coincides with his tenth anniversary as a recording artist.
Smooth jazz saxman Jackiem Joyner is a man of many talents. As well as reaching stratospheric heights with his horn playing, his writing talent is also blasting off into a different orbit.
“My daughter really inspired me,” said Soul/Jazz saxophonist Jackiem Joyner about his new album “Main Street Beat” (June 30, 2017 release), which first single “Trinity” is named after his daughter. “It was my first time writing with her in the studio. She loves to sing to the TV.”
Three days before the release of its new album,Cohearence (Mack Avenue), the superstar quartet Yellowjackets unveiled some fresh material at Birdland in New York City on April 19.
Still together after 35+ years and various incarnations, the Yellowjackets still sound fresh and bright.
Warren Wolf, though raised in West Baltimore, doesn’t play his hometown all that often. As one of today’s most in-demand jazz musicians, you’re much more likely to find him gigging around the globe than tuning up in Timonium, or some such place. But he’s happy to be here tonight.
The Warren Wolf release Convergence has combined star power and individuality, and thus has all the attributes of a supergroup.
The paucity of jazz vibraphonists may be due in part to the complexity of mastering an instrument that's like a hybrid of drums, percussion and piano. Notwithstanding, one of the instrument's brightest stars is 36 year old Baltimore native Warren Wolf.
The legendary bass player, who basically invented jazz fusion, speaks about his lengthy career—from collaborating with Keith Richards to Paul McCartney to Miles Davis.
Mr. Jones, 36, was born and raised in northeast Ohio, and while he made his name in New York City — notably during his six years as...
Kevin Eubanks’ fourth release since the demise of The Tonight Show band is the work of an east coast musician with divided loyalties. Eubanks delivers a reminder that, despite the lengthy television detour, he remains a distinctive and creative guitarist.
In a particularly timely testimony, Eubanks, who was inducted onto the Philadelphia Music Alliance’s prestigious Walk of Fame in 2010, observes that the short walk across the stage before a nationally televised interview on a late-night talk show can be a borderline out-of-body experience, even for someone with years of experience appearing before the public.
Guitarist Kevin Eubanks is gifted with sublime talents on both electric and nylon acoustic guitar. He splits the album up divided between two bands, the first half with Orrin Evans/p-key, Dave Holland/b, Nicholas Payton/tp and Jeff “Tain” Watts/dr and the second half teaming Rene Camacho/b, MinoCinelu/perc, Bill Pierce/ts and Marvin “Smitty” Smith.
I must start off by telling you this, I am a BIG fan of Kenny Garrett. I mean-huge! So when Gary asked if I wanted to review his new CD “Do Your Dance!” well, I just about did my own dance and without hesitation, said YES and have held the CD hostage ever since.
Grammy-winning saxophonist Kenny Garrett came to Beijing for the first time in 2005 to write music after being drawn to the city by a book on erhu, the traditional Chinese instrument, which he had bought in Ireland earlier.
While the first volume focused on the sorrow of his loss, this one focuses on his memories of a child with a bright personality and a love of dance. There are 11 Greene-penned tunes in this program, and they all serve as postcards of a father’s love.
"They say after a trauma, there's three normal responses. You know, fight, flight or freeze," Nelba said. "And I think what Jimmy [Greene] did is he showed, and he is showing people that there's another way and that's create."
“unabashed childlike exuberance and playful mischief.” You can hear those qualities in Greene’s solo, and in the playing of guitarist Mike Moreno and keyboardist Renee Rosnes."
#8 Jimmy Greene, Flowers: Beautiful Life, Volume 2 (Mack Avenue) Tenor sax great Jimmy Greene continues to be a beacon of strength as he channels his grief of losing a child to gun violence into some of the most vibrant, lyrical jazz coming out of America today.