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It seems jazz vocalist Veronica Swift has been in the music business all of her life, and for good reason: There is the well documented fact that she is the daughter of jazz pianist Hod O'Brien and singer Stephanie Nakasian, and she debuted on record at nine years old with Veronica's House of Jazz (SNOB, 2004). Since that time, Swift has recorded in a variety of settings, including on the uniformly excellent The Birdland Big Band Live (CD Baby, 2018), before producing her full-bore Mack Avenue debut with Confessions (2019), recorded with the trios of pianists Emmet Cohen and Benny Green. With Confessions, Swift gained both commercial traction and critical purchase, all by the deceptively tender age of 25-years old. The singer returns with the socially serious and finely crafted This Bitter Earth.
Confessions was curated with great care, deftly avoiding the heart of the Great American Songbook in favor of its rich marrow. Featured were forward thinking performances of Johnny Hodges' "A Little Taste" and Dory and Andre Previn's "You're Gonna Hear From Me." Equal care was invested in programming This Bitter Earth but that care took on a darker more disquieting hew. This recording has been compared to other suite-similar song cycles like Marvin Gaye's What's Going On and Kate Bush's Hounds of Love. Social justice and its absence is on Swift's mind and she confronts it with a collection of songs assembled with devastating ingenuity. Swift addresses sexism directly on a rollicking "How Lovely to Be a Woman," while stripping off the scab, revealing the proud flesh of domestic abuse on the Crystal's "He Hit Me (And It Felt Like a Kiss)," in a performance that is bracing and difficult (damn near impossible) to hear. The singer takes on racism with the perfectly chosen "You've Got to Be Carefully Taught" from South Pacific, belting it out with a sardonic smile and sarcastic wit.
Swift is supported by her frequent collaborators pianist Emmet Cohen, guitarist Armand Hirsch, flautist Aaron J Johnson, bassist Yasushi Nakamura, and drummer Bryan Carter. This group is more than up to the challenge of performing with the most original and commanding voice to emerge early in this century in any musical genre. What Cassandra Wilson was to the 1990s, Veronica Swift is to the 2020s. Her singing is infectious: "Getting To Know You," "Everybody Has The Right To Be Wrong," and "Prisoner Of Love" all reveal different facets of Swift's commanding talent, while never getting close to the end of it. It is a gift that Swift is as young as she is, and likewise talented, because this ensures that there is more, and better, music to come.
Original Article: All About Jazz
Batten down the sub-woofer, hold on to your trousers … here comes thrash jazz – 11 songs in a tumultuous 33 minutes. Thrash jazz? That’s what Cameron Graves, keyboardist with LA saxophone star Kamasi Washington, terms these high-speed, high-velocity forays. Imagine Metallica having a crack at cosmic Return To Forever.
Graves and Washington, friends from high school, honed their craft in the West Coast Get Down collective. And just as the saxophonist’s music pays its dues to jazz past, these brief blasts are propelled by drum fusillades from Mike Mitchell that echo Billy Cobham and Lenny White in their fusion pomp. The space-themed artwork and song titles (Sons of Creation, Super Universes) also nod to Chick Corea’s electric RTF.
Graves, however, feels little need to emulate that group’s dreamier interludes. As guitarist Chris Cook unleashes crunchy riffs and drums and bass motor away, Graves’s piano sits atop the inferno delivering themes that would often sound breezily easygoing in calmer company. Rarely has the acoustic piano had such roaring accomplices. After some florid piano arpeggios opening track four, the title tune, the group does briefly simmer down; it’s one of two tracks to which Washington adds trenchant and bluesy tenor. However, there’s still a mood of heroic drama – you can imagine a video shot atop a mountain with plenty of breeze ruffling everyone’s hair. Then it’s back to guitar riffage with just a pause for Fairytales, a romantic piano solo, reflecting Graves’s classical influences, that puzzingly fades just as the drama is building.
Next comes Master Spirits, which is short, sharp and angry, before Mansion Worlds, which is short, sharp and angrier still. Graves sings on the closer, Eternal Paradise, sounding a good deal more composed than any man has a right to be after living through this whirlwind.
It will be interesting to see, on that happy day when gig-going resumes, who goes to shows. Will it be jazz types going to have their teeth rattled or the metal brigade? Whichever, if you’re into headbanging in ferocious time signatures, Seven might just make your month.
Original Article: London Jazz News
It’s my guess that, at the moment little Emmet was born, his designated guardian angel was a clumsy klutz who slipped and accidentally showered the entire contents of his gift cupboard all over the bassinet. As a result, not only was baby Emmet fitted with a matched set of epic ears, ten obediently flexible fingers, faultless time and commanding swing, but also an appreciation of the past and abiding respect for the achievements of elders. And even a sympathetic bassist and drummer in attendance, close by his elbow.
I’m sticking to my guess because pianist Emmet Cohen‘s Future Stride is an unusual album by an unusual musician who disregards fashion’s strict dictates by embracing the total potential of jazz piano, technically and stylistically. Refreshingly, he dishes out well-earned dues to the glittering legacies of James P., Willie ‘The Lion’, Tatum, Hines, Wilson, Nat Cole, Buckner, Bud, Erroll, Monk, Garland, Herbie, Jarret and loads of other worthy pianists I’d unfortunately overlooked.
To support my hunch, listen to the opening track, Symphonic Wraps. While composers Stevens and Abrams are forgotten, the titanic musical encounter in 1928 between Louis Armstrong and Earl Hines on this very tune is indelibly marked on many memories. To celebrate the glorious event, Cohen’s trio produces a knuckle-busting tribute to Pops and Fatha with echoes of ragtime and wild times.
Then expect an abrupt disconnect between the 1920s and 2020. Tracks (2) Reflection At Dusk and (3) Toast To Lo are both composed by Cohen and augmented by guests Melissa Aldana on tenor Marquis Hill on trumpet. Reflection is drenched sidewalks, mean streets and bleak shadows, a readymade soundtrack for a downbeat TV series. The faster Toast (four-wheel drift car-chase material?) has Ms Aldana exercising supple tenor calisthenics preceding a high-energy burst of keyboard action from the leader.
Future Stride, the bluesy title track, is a V8 ride down jazz piano avenue, kicking off with stride, shifting to four-on-the-floor, a flurry of eight-to-the-bar boogie and a few blissful bars of locked hands channelling the under-appreciated Milt Buckner, before reprising the theme.
Block chords re-emerge on track 5 when Cohen, in the manner of Ms Shirley Horn, squeezes the last bitter-sweet drop of lyricism from Jimmy van Heusen’s and Sammy Cahn’s ballad Second Time Around. All at a tempo so slow it would make the average glacier seem impatient.
Although it’s seldom heard today, Dardanella (on YouTube below) was everywhere in the 1920’s (Tom Lord’s discography lists 172 separate jazz recordings). Cohen resurrects the antique smash hit to examine it from different perspectives and piano styles. You Already Know, another Cohen original, unleashes the extended group licensing the guest horns to express their comments on current modish licks and patterns.
In 1939, Duke Ellington hired Jimmy Blanton, a prodigiously talented bass player who helped to change the direction of jazz music before dying unbearably young. In 1940, Ellington and Blanton delighted fans with their ground-breaking duet, Pitter Panther Patter. Undeterred by reviving a classic and inviting comparisons with an influential predecessor, Russell Hall does well (pluckily?), accompanied by Cohen’s Duke-inflected stride.
After some luscious chords, the trio takes Richard Rogers and Lorenz Hart’s My Heart Stood Still at a canter, resolving into dissonances that would warm the lingering spirit of Thelonious Sphere. Finally, on Little Angel (dedicated to Cohen’s benevolent guardian klutz?), Marquis Hill multi-tracks melancholy trumpet duets with himself.
Recording engineer Todd Whitelock was responsible for the pristine sound quality throughout.
Original Article: London Jazz News
My brother and I ended off 2020 in his living room with a bottle of overpriced whisky (read: contraband under prohibitionist lockdown law) and a jazz concert we’d saved for this very occasion: Live from Emmet’s Place Vol. 37 — Jazzmeia Horn.
Led by multi award-winning American jazz pianist Emmet Cohen and his namesake ensemble, The Emmet Cohen Trio (featuring bassist Russell Hall and drummer Kyle Poole) and with special guest artist, Grammy-nominated jazz vocalist, Jazzmeia Horn, it was a phenomenal experience.
Since the beginning of lockdown, Cohen has been hosting live stream concerts from his living room in Harlem, New York, every Monday night, featuring some of the most incredible musical talents on the NYC jazz scene — his contemporaries, his friends, his family — just like the private jazz house parties they used to throw on the sly, back in the 1920s.
A cool century later, keeping the jazz tradition alive and as fresh as ever, and greeting me from the very living room I’d grown so familiar with over lockdown, Emmet Cohen smiles when I tell him not only about how I ended my 2020, but that he’s just helped me tick off my first New Year’s Resolution: to meet Emmet Cohen. “Thank you so much, that means a lot to me,” he responds, his off-camera persona exactly the same as during his live-streams.
Cohen tells me about the good and bad of his lockdown, the time he’s had to reflect and think, and the questions he was able to ask himself: “What do I want from the world? What do I have to offer the world? What do I see for myself, you know? What do I see for others?”
And, having spent the last eight years on the Harlem music scene, he’s most grateful for his musical family. “That’s another thing that makes the music special, these people are family, Russell Hall and Kyle pool are my family, and we’re here together in this thing, and what do we know how to do? We play jazz, we play improvisational music, we play music from our heart to connect with people. Let’s offer some for the world.”
He explains that “spiritual supply and demand” was the driving force behind starting Live From Emmet’s Place and laughs as he recalls filming the first episode on his iPhone over Wi-Fi, “It’s horrendous, but it’s the spirit of what it was, we put on some nice clothes, we got wine, and we talked to the people, and we were just being ourselves.”
And it worked. It’s one of the most-watched live streams on the Internet. “[Now] we have a sound man, we have a video man, and then I’m there running the stream, bringing different people in to have a communion, you know, and kind of almost programme it like it’s a festival or a jazz club,” he says proudly and appreciatively.
A recognized prodigy, Cohen has been playing piano since the age of three, learning the Suzuki method, which teaches learning by ear before putting the theory behind it, “something that really lends itself to jazz as an aural tradition,” he reasons. I wonder if there was a specific moment that he realised he had something special. “I think there’s a moment that you realise that adults are impressed, and that does something to you psychologically where you’re like, ‘Okay, I understand now, people like me for my playing’,” he explains.
As a teenager, Cohen attended the Manhattan School of Music pre-college, where he studied classical piano through middle and high-school. But, growing up in New Jersey, his musical and cultural education extended much further than the classroom. “My father was always taking me to see all kinds of things, Broadway shows, classical music, Opera, and we lived right outside of New York City so there are a lot of opportunities to be immersed in the culture, so that was a beautiful foray into all different kinds of arts and culture and everything like that,” he elaborates of his influence by exposure and osmosis.
Cohen recalls attending a show by the great Jamaican jazz pianist, Monty Alexander. “I heard that sound, and I was like, ‘Damn, I like the way that feels,’” he explains, “I fell in love with the feeling, and I heard Charlie Parker and I heard John Coltrane and I liked that language and I tried to assimilate it into my own brain, tried to understand it, and then I fell in love with the sound of swing… and it took a very long time, years and years, before I got to a point where I would feel comfortable with the music.”
Cohen’s incredibly colourful musical life comes full circle on his latest album, Future Stride, his debut release under Mack Avenue Records. “We want to make their voices (Louis Armstrong, Art Tatum, Willie “The Lion” Smith, Fats Waller, Duke Ellington, Miles Davis, Thelonius Monk, Dizzy Gillespie) heard in this time, through our lens, through our way, and not be afraid of what anyone thinks, either, you know, just do it, and try things, and mess up, and it’s okay, and it’s supposed to be beautiful in that way,” shares Cohen of the approach to the album.
Featuring bassist Russell Hall, drummer Kyle Poole, trumpeter Marquis Hill and saxophonist Melissa Aldana, Emmet Cohen breathes fresh life into a beautiful century-old tradition, revisiting the earliest forms of jazz through a modern lens.
“Well you know Russell and Kyle bring that influence into it, bringing hip hop energy into a Louis Armstrong track (opener “Symphonic Raps”), and I see music and creative improvisation and stuff, it’s much like cooking. You know when you get into the kitchen, you’re not trying to invent new ingredients, humanity has been around long enough to be like, ‘these are the spices we got, this is the palette we got, you know you’re not gonna come up with something better than cayenne pepper,” he laughs, describing the process.
Emmett’s 10-track masterpiece is a curation of jazz classics and original compositions that have the foresight and creativity to express the future of jazz, all the while paying respect to those who created the music with an homage that screams, “Long live the Roaring ‘20s!”
Original Article: Texx and the City
As proven onstage as well as on such percolating, locomotive recordings as 2018's self released Dirty In Detroit, Masters Legacy Series Vol 1 with Jimmy Cobb (Cellar Live, 2016), 2018's Masters Legacy Series Vol 2 with Ron Carter (Cellar Live), and his regular Monday Night Quarantine Jams on Facebook, pianist Emmet Cohen makes his music with an unabashed, heart-on-you-sleeve exuberance and love for the future as past and vice versa. So it should come as no surprise to anyone that Future Stride, his Mack Avenue Records debut, is both a wildly entertaining modern affair and history lesson all rolled into one madcap, immediate whole. In other words, a great way to kick 2020 out on its horrid, hind end and welcome 2021 with broad, open arms.
"Symphony Raps" resurrected from a late 1920s Louis Armstrong recording with the Carroll Dickerson Orchestra, comes driving out straight at you with all the street muster and merriment Cohen and his stalwart rhythm mates drummer Kyle Poole and bassist Russell Hall can stir up. It's a fun and frantic three minutes akin to watching a highlight loop of Keystone Cops misadventures. Next up, fellow jazz young 'uns trumpeter Marquis Hill and saxophonist Melissa Aldana illuminate the shimmering Cohen original "Reflections at Dusk" and from any vantage point you can feel a good day shading slowly to twilight.
From that dramatic turn of mood to the all-out groove swing of "Toast to Lo," dedicated to drummer Lawrence Leathers who was murdered in the Bronx in June 2019. Only 37, Leathers was a cherished friend to all in the quintet and they play their hearts out. A pure example of emphatic ensemble play, solos by Cohen, Hill and, especially Aldana, who burrows deep into her tone to express her sadness and fond recollections, will resonate with you for a good long while. The Cohen/Poole title tune hips, hops, skips and gathers some of the greatest—Fats Waller, Art Tatum, Teddy Wilson, James Johnson—all into one room and has a grand time upending, as well paying homage to, the whole vaunted tradition. Even a warhorse like "Dardanella" becomes vibrantly now in this trio's elastic hands.
With the rushing whoosh of New York at its power center, Cohen's "You Already Know" fully unleashes the quintet's fluency and agility as everyone takes their turn flying close to the sun and landing back safely in the their comrades midst. With a vivacious, downtown 'tude ease that predicates many repeated listenings, Cohen and a fleet fingered Hall take on Duke Ellington's "Pitter Panther Patter" itself a showcase for Ellington's once upstart, now legendary bassist Jimmy Blanton. Cohen, charismatic and poised as ever, closes out the highly charged Future Stride with the melodically endearing ballad "Little Angel," a testament to Hill's genuinely hushed lyricism. A sure 2021 best of.
Original Article: All About Jazz
Emmet Cohen, “Future Stride” (Mack Avenue Records)
Stride provides a starting point on jazz pianist Emmet Cohen’s new album. The opening cut, “Symphonic Raps,” is a New Orleans ragtime tune recorded by Louis Armstrong nearly a century ago, and Cohen plays it as though his piano is rolling downhill, accelerating until he leaves the rhythm section behind.
That momentum sends Cohen on an exploration of other jazz stylings, with stride as an antecedent and recurring reference point. Common threads on “Future Stride” include swinging, often unpredictable rhythms, inventive interplay and wit.
Emmet Cohen, “Future Stride” (Mack Avenue Records)
Stride provides a starting point on jazz pianist Emmet Cohen’s new album. The opening cut, “Symphonic Raps,” is a New Orleans ragtime tune recorded by Louis Armstrong nearly a century ago, and Cohen plays it as though his piano is rolling downhill, accelerating until he leaves the rhythm section behind.
That momentum sends Cohen on an exploration of other jazz stylings, with stride as an antecedent and recurring reference point. Common threads on “Future Stride” include swinging, often unpredictable rhythms, inventive interplay and wit.
Take, for example, the title cut. Written by Cohen and drummer Kyle Poole, it’s a joyful swirl with shifting tempos, including a cowboy saunter and a three-way conversation that also includes bassist Russell Hall.
The beat is also big on another Cohen original, “You Already Know.” It’s bebop given extra propulsion by trumpeter Marquis Hill and saxophonist Melissa Aldana, who both sit in on several cuts.
Hill overdubs a second trumpet for call and response on the prayerful, lyrical closer “Little Angel.” The final chord leaves the tune unresolved, suggesting more to come. As the album title might suggest, “Future Stride” ends with Cohen looking ahead.
Original Article: Associated Press
Emmet Cohen, “Toast to Lo”
Future Stride, the forthcoming album by pianist Emmet Cohen, comes by its title honestly. It’s not just about a refurbishment of the stride piano tradition — though Cohen makes sure to demonstrate that idea. It’s also about striding forward with total assurance, knowing that each step will find traction. Cohen has the right disposition for this message, and he has surrounded himself with the right partners: bassist Russell Hall and drummer Kyle Poole, as well as a front line consisting of saxophonist Melissa Aldana and trumpeter Marquis Hill.
“Toast to Lo” features brilliant playing all around, especially by Aldana. As the title makes clear, it’s a tribute to Lawrence “Lo” Leathers, who died in 2019. “We miss him very dearly,” Cohen says in a statement. “He became like the mayor anywhere he went; he knew everyone. He reminded me of a jazz musician from the past. Russell and I played our first gig ever in Paris with him, and we watched as he even became the jazz mayor of Paris. We saw him cultivate his outlook on the world, which was one of power, beauty, and equality.”
Future Stride will be released on Mack Avenue Records on Friday.
Original Article: WBGO
When Veronica Swift, 27, slips into the comfortably sublime chorus of “The Man I Love” up close and personal, that’s when I fell in love — with her and her new album, This Bitter Earth, out March 19, 2021 on Mack Avenue Records.
If you were born in this Millennium, and you didn’t know better, you wouldn’t know a goddamned thing about the reversal of melodic fortunes of this blessed Gershwin tune, the pop song of its day, circa 1920s. The “Lady, Be Good” musical reject finally appeared in a 1927 government satire, “Strike Up the Band,” was later popularized by Billie Holiday, and embraced by countless young women. Maybe even your mom, when celebrating her golden wedding anniversary by the piano.
As soon as Swift wraps her loving vocals around this one, she’s reeled you in, hook, line, and sinker.
The singer (Confessions) can turn a beguiling phrase from the ancients into an ageless pastime, intimate and new. She can also hit every high and low note on the register, with authority and a depth of aplomb.
“Someday, he’ll come along, the man I love,” oozes romance, if sung correctly.
Throughout her second Mack Avenue record, Swift sings every jazz pastime correctly, personally, and with a clear abandon — snug beside entertainment, escapism, and a little social commentary, completely, utterly embedded in the music and lyrics.
Without excess. Or agenda.
She dares to sing about a woman who views physical abuse as love (Gerry Goffin/Carole King’s “He Hit Me [And It Felt Like A Kiss]”), the casual horror of generational racism (“You’ve Got To Be Carefully Taught”), and the ironic sexism of our times, still (“How Lovely To Be A Woman”), borrowing liberally from musical pop culture.
She does so by simply giving the lyrics room to breathe, rather than giving a heavy-handed, guilt-riding lecture.
The child of jazz singer Stephanie Nakasian and jazz pianist Hod O’Brien could never have done this without that voice. She has performed at a very young age and with very talented, known musicians. In 2015, she won second place in the Thelonious Monk International Vocal Competition.
She also gives the all-important band plenty of room to breathe and groove, and they take full advantage, spreading soft and sharp straight-ahead jazz, casual scatting (“You’re The Dangerous Type”) and scales, throughout. The band includes pianist Emmet Cohen, holding down the fort and grounding the proceedings, bassist Yasushi Nakamura, ebullient on his own, take-charge drummer Bryan Carter, silky guitarist Armand Hirsch, and saxophonist/flutist Aaron Johnson.
Usually, singers hog the spotlight, call accompanying musicians “her band,” “her guys,” like she owns them, like they’re an extension of her raging ego etc., etc. Not here. Here, it’s democracy on display, with the vocalist playing an equal role in presenting the whole story, each part informing the whole.
In “You’re The Dangerous Type,” she’s front and center making the lyrics her bitch, scatting up a storm, but she’s also augmenting a smoking jazz section of horns, piano, and bass, illuminating the score.
She doesn’t have to work through notes and pitch, and basic shit like that, freeing her to interpret and convey her own style — lush, sassy, ethereal, and at times, moody, Bjork-like steam-punk, dying to bust loose, knocking down every fucking fourth wall in existence.
On the opening track of Clyde Otis’ 1960 R&B gem, “This Bitter Earth,” you think she’s going all the way into Billie Ellish, break-apart territory, all abstract avant-garde, and yeah, she does the goth-cool thing well, barely stifling that amazing rafter voice melting into trembly-taut strings.
But then she does “Getting To Know You” from “The King & I” proud, matching the Broadway belters, note for note, curvaceously impeccable until you’re quite convinced she could take the stage at any moment. And nobody would be the wiser. She’s at ease in the musical world, easily introducing the lyrical banter of our grandparents into real world problems.
Swift dances around and around the melody, brightening, splurging, beautifying every part that makes this tune what it is.
For the harder covers, Swift avoids the hard sell. Instead, she lets the lyrics in the updated modern jazz do most of the talking, standing on their own for what they really are…no pussyfooting around, no more glam innuendo or Ann-Margret shimmying about, distracting you from the bare, true blue meaning.
Swift and the band leave “How Lovely To Be A Woman” alone, musically. Full of big band glitz and glam. Originally from the 1960 musical “Bye Bye Birdie,” the Charles Strouse/Lee Adams song used to be sung with a wink, a smile, and a hip flounce. In Swift’s cover, Cohen comps all over the place, letting the pearly whites drip like pearls dangling over ivory bodices, in a bluesy-jazz ramp-up — a velvety backdrop for the singer to infuse more nuance in the winks, until it becomes fairly obvious fairy quick.
She raises the bar, pausing in places for full effect, slowing down the rhythm toward the end, as if to say, “How about that?”
“As I’m coming into the world, having more of a feeling of who I am and being more confident in that, I realize now how this song had a lot more ambiguity and cynicism involved,” Swift explains. “I tried to make an arrangement that maintained the childlike feel I had while listening to it but still insert some of that sarcasm in it. The song also allows me to present more of my humorous side.”
Swift said she had a hard time dealing with the Crystals’ 1962 R&B hit, “He Hit Me (And It Felt Like A Kiss),” a terrible sign of the times. It’s also very hard to get through as a listener, especially if you’ve survived abuse.
They wisely cushion the blow with a gentle guitar serenade, as Swift works her way through the slow realization of what she — and maybe others before her — were singing. The juxtaposition of guitar and vocals makes that realization even more horrific, and impactful.
“This song just makes your stomach curdle. It’s uncomfortable to sing; it’s uncomfortable to listen. But the original version by the Crystals is so the opposite; it’s so indicative of the 1960s victim woman who stays with the man who physically assaults her,” Swift says. “I’ve never heard a version of this song that had gone the other way in terms of making it a somber piece. I wanted to give listeners another option in listening to this song. So, I stripped away all the other instruments and chord progressions and just made it me and guitar. I arranged it to sound almost singer-songwriterly.”
In the Latin bent of “Everybody Has The Right To Be Wrong,” the 1965, dunce-liking tune made famous by Frank Sinatra (My Kind Of Broadway) aptly applies to what we’re experiencing currently with the political disconnect. She and the band samba-sashay-shuffle through the Sammy Cahn/Jimmy Van Heusen song with a smile, a start-and-stop rhythm, and a rolling percussive solo that is the absolute bomb.
Something tells me “Prisoner of Love” isn’t easy to sing. For anyone. So many highs and lows and impossible reaches in Russ Columbo/Clarence Gaskill/Leo Robin’s (deceptively) simple, little nothing of a 1931 tune, one Perry Como, The Ink Spots, and James Brown covered. Swift breezes through every one with an intense knowing, making this forgettable, tortuous song something special — her very own. Like those stars from our golden age: Ella Fitzgerald, Billie Holiday, Judy Garland.
Veronica Swift took a few years to make this 13-track jazz covers album, as she tends to do, sitting with the material a while, and finishing most of it in 2019.
Just in time, I’d say.
“I want this album to have two separate approaches,” she continues. “I wanted to start with women’s place in society now and how it’s changing. During the second half, I wanted to address other ailments in the world, whether it’s racism or fake news. But I don’t take any political stances. I’m very clear with my audience that as an artist I address certain issues as an outsider looking in.”
Artist quotes from a DL Media press release.
Article: Festival Peak
The guitarist and singer speaks frankly about his new single “Our Voices Matter,” his lifelong encounters with racism, and his hopes for a new era in the U.S.
Since his rise as a teenage recording artist in South Africa, guitarist and singer/songwriter Jonathan Butler has gained a high international profile with music that crosses boundaries between pop, R&B, smooth jazz, and gospel. His new single, “Our Voices Matter,” is a call for unity against racial injustice in the aftermath of the 2020 presidential election. It features Butler with a top-flight list of peers including Rick Braun, Candy Dulfer, Dave Koz, Marcus Miller, Maysa, Will Kennedy, Jeffrey Osborne, Arlington Jones, Ruslan Sirota, Antonio Sol, and Ramon Yslas. We spoke with Butler from his home in Los Angeles, where he’s lived for over 25 years, about the song and the deep personal history behind it.
Q: Can you tell me how you came to write “Our Voices Matter”?
A: The song came to me in the aftermath of George Floyd’s murder, his public lynching. It was something that took me back to South Africa and it really shook me. To top it off was seeing my grandkids and my children in downtown L.A. with their Black Lives Matter [signs]. We usually have “Talk Tuesdays” at my house, and I told my kids, “You know, you really ignited something inside of me.” Things I have lived through my whole life, in South Africa, I’m here because I ran away from that. And for me to see this again in 2020 was enough.
I started talking with my good friend Dave Koz, and I started hearing myself say that musicians, the people I’ve been associated with in the “smooth jazz” world or whatever, it’s amazing to me that I have not heard more of them speak on this subject. Bob James was one of the first guys I saw on Facebook, I had to call him to thank him, because he named all these Black musicians who helped him during his career. A lot of white guys use Black musicians every day but are afraid to say Black Lives Matter, because it might hurt them with their base.
Q: What are your hopes for the song? Could it spark some change, even if just in your area of the industry?
A: For me at 59, it’s about evergreen timeless messages and continuing to speak out and rally the musicians I know, to keep bringing it to their consciousness. I play golf literally every day with these musicians and I’m amazed when this comes up. Because they haven’t personally experienced a white guy threatening them or throwing them on the ground, they say, “Hey man, you’re the one who can speak on this because you’ve lived it.” And I say, “But you live in it! You’ve been living in it for 400 years and you’re telling me I know it and you don’t know it?”
So I spoke to Dave Koz about how everyone’s got the livestream shows, it’s desperate times, nobody’s making money, and I said maybe this is a time to sow seeds that needed sowing all along. We can’t take our fans for granted, we can’t just do virtual shows and take money from people, let’s share something important. I think we must stand for something more than just the music that we’re trying to put out.
I hope this song will live as I perform it around the world. I hope that message becomes important to our conversations. And it’s just about starting a conversation. I know that white guys don’t know what to say, what to do, and I’m just saying, “Hey man, join me.” Let’s have this conversation and put it out there to the masses so they can hear that the music community cares about what’s happening. With this song I feel like I’ve followed through with this conversation and it’s brought a lot of my friends in the industry closer, to a point where we’re in one accord about what we all see and know to be wrong with this country and around the world.
Q: When and how did the recording come together?
A: It came together in 48 hours. I sent tracks to Will Kennedy—“Hey man, can you play drums?” His drums were in L.A. but he said, “I’ll put some pots and pans together.” I called Marcus [Miller], I called everybody. Candy [Dulfer] was in Amsterdam, I said I just need a solo. I asked Jeffrey Osborne to sing a bridge and chorus at the end. I didn’t want to put people on the spot, but I needed to get it done. It was a few days before the election, but I thought, I’m not just writing a song for the sake of the election. I want to send a clear message to the music community. I went online and said this is the real me, I haven’t suppressed it. We’re out there to make people happy, but we’re living under an administration that is purely racist. This guy is a racist, and somehow it seems to be okay?
Q: Were you consciously thinking about the tradition of protest music and how you fit in?
A: Yes, I’m inspired by people who use their voice to say something to all of these fans. Bruce Springsteen does it. There are people out there saying it. Herbie Hancock. I was talking to [bassist] Nathan East and he said, “Man, this is crazy, Herbie said vote for Biden/Harris and some people were saying, ‘We used to love your music but we won’t support you anymore.’” So be it! Stevie Wonder sold millions of records being what I call a real activist and artist. I stand on the shoulders of Stevie, Curtis Mayfield, the great artists who wrote about the times they were living in. Burt Bacharach, “What the World Needs Now.” “Fragile” [by Sting]. “Lean on Me” [by Bill Withers]. The list goes on. I stand on their shoulders and I do have a responsibility. We can no longer be silent—to me it means you agree with what this guy has said and done in the last five years.
Q: You said that events in America triggered memories of South Africa. Has the increased racism in the U.S. directly affected you in a similar way?
A: Oh yes, just two weeks ago at Whole Foods, this white couple got into my personal space and told me I was a racist for wearing a T-shirt that said, “Racism is a public health issue.”
Q: What happened then? Did it escalate?
A: I don’t mean to put Whole Foods on the spot. But I was so pissed. This couple rushed me, they came into my space and said, “What do you know about the greatest country in the world, what do you know about freedom?” So after that I’m fuming, sitting at the juice bar, and I can’t let it go. I go back and look for them, I find them, and I ask them if my shirt is disturbing them. That’s when they called me a racist and said go back to fucking Africa. Every filthy name I could call this woman and her husband, I did. I ended up not buying my groceries. And it was Taco Tuesday! [Laughs] I took the cart and pushed it aside and left. Had I stayed, it might have turned into something more. I said to myself, screw Taco Tuesday, I’m going home, I’m gonna take this tequila and just chill [laughs].
Q: Can you say more about growing up in South Africa and what you experienced there?
A: At first I was trying to be polite to this couple, because Black people have always been polite in South Africa, it’s the first thing you learn because of the authoritarianism and brutality of the police. Things that are gut-wrenchingly painful to remember, it just all comes back. I grew up where Black people had to buy their food through a hole in the wall, while whites went through the wide front door gates.
I have so many stories. There’s a famous guy in South Africa, Jewish guy, David Kramer, he’s a poet. His writings make fun of the Afrikaans establishment, and he had an all-Jewish band. They needed a guitarist. During the height of apartheid and the [freedom] movement, I got the gig. I had to think it through—I knew I’d be ostracized for this. But I took the gig. They’re buddies of mine, it was like the South African version of the Blues Brothers, with one Black guy in the band. So when the curtain opened, the whites were going to see a Black guy. I remember after one show I was sitting at the bar, which I was not allowed to do, and these white guys came up to me and called me kaffir [racist South African slang for Black]. They said, “Kaffir, if you’re still here in 10 minutes you’re dead.”
I used to be part of movements in South Africa when I was younger. I wrote songs the government would ban. I was fortunate before COVID to go back every year around my birthday and take 40 people with me. I’d show them the country, the beautiful and the bad side, take them into the prison cell where Mandela was for 27 years. I think about people like Mandela, Stephen Biko, Walter Sisulu, Thabo Mbeki, people who have showed us how you can come through adversity and call yourself the Rainbow Nation. I wrote a song called “Rainbow Nation” as well.
Q: What songs got banned?
A: I wrote a song when Mandela was released from prison, in fact I wrote a whole album called Deliverance, it had Michael and Randy Brecker, Don Alias, Omar Hakim. There was a song called “Welcome Home,” and I also wrote the album Heal Our Land, the title track was on the radio and had a video with images from the Sharpeville and Soweto riots, the police killing the youth as they were coming out of high school. The government banned the song and the video, and I vowed not to play in South Africa unless I played for the whole of South Africa, not just for Black South Africa, which was my experience growing up.
Q: You found success there at a very young age, yes?
A: Yeah, 1974 was my first release of a song called “Please Stay” by Burt Bacharach, produced by Mutt Lange, who worked with everyone from Def Leppard to Shania Twain. I was young and met all these session musicians, I met Trevor Rabin from Yes. I was signed to a little indie label now called Jive Records, which was pretty advanced in terms of its vision, they signed Black artists, all kinds of artists from different communities. I was probably too young to know what this meant but I became the first Black artist that white radio stations were playing, maybe because it was Bacharach and maybe I reminded them of Donny Osmond or something. I had an incredible following in South Africa. But one time this kid said to me, “You still better look out, no matter what.” I kind of brushed it off, but no matter how famous I was, I still had to go back to the shack that I grew up in. Not much changed.
I made many more records. It was an important time in South Africa, things were brewing, the ANC leaders were thrown in jail, Biko was in jail, police were raiding homes on the weekend, we were living in a police state and music was one of those things that was vibrant at the time. Some of the greatest South African jazz musicians, I was fortunate to grow up in front of them and learn from them about social injustice in South Africa. It was through those guys that I learned about Dr. King and the great American civil rights leaders.
Now when I go back home, the country’s proud of me and my history—I’m a kid who grew up poor, my family are normal poor folks and I love going home to see them. Being in the U.S. and maintaining a level of success means a lot to me because it means a lot to my family and my country, to represent them in the best way I know how.
Q: You left South Africa for London. When and why?
A: I left during the uprising, but during my early success as a pop artist in South Africa I became a young drug addict. I started hanging out with jazz guys and drugs were rampant. I became an addict and lost a lot, went from playing for 20,000 people to four or five people at a club. Trying to play like John McLaughlin, Philip Catherine.
Then I got signed to a Black label and wrote a song called “7th Avenue,” which is where I came from. Dollar Brand [Abdullah Ibrahim] was famous for his song “Mannenberg,” Miriam Makeba was famous for “Pata Pata,” and here comes this kid who was once a pop artist who’s now playing jazz. And I wrote “7th Avenue” and it blew up in South Africa. I got a telegram—back in those days it was a telegram—from the same people who signed me as a kid. They had moved to London, they started Jive UK and gave me an opportunity to come out there and write songs. I flew over in the early ’80s and I stayed, had kids there, became a citizen and stayed a long time. Recorded my first double album, I opened for Whitney Houston, did several albums with Jive.
When [Jive] moved to New York I was not prepared to move with them. I stayed in London about 12 years, then I moved to New York but lived up in Chappaqua [in the suburbs]. I fired my manager, had no label, then I got invited to do a record for Urban Knights with Ramsey Lewis, Maurice and Verdine White and all these guys. So I flew out to L.A., did the record, and I think God spoke to me in that moment and said, “You’re not going back to London. You need to move to L.A.” Everything kind of lined up.
[Before I moved] I was staying for the weekend with Ralph Simon, the VP of Jive, who had a beautiful home in Brentwood. He knew me when I was seven years old. Ralph’s family taught me how to speak English. I would go into the office and try to read a newspaper in front of Ralph. I was very close to him and his family. When I left L.A. for the airport, Ralph’s sister called and said, “I heard you were thinking about looking at houses.” She told me to turn around, showed me a house in Studio City, and that was it. It was crazy. So I have a British passport, a South African passport, and American permanent residence. I’m married to a beautiful lady from St. Louis, she’s a musician as well, she plays violin, and we’re constantly going back and forth about what’s happening in the world.
Q: How are you feeling about that right now, after this election?
A: I was sitting at Rick Braun’s house having some drinks and watching the elections, and Rick was so despondent and discouraged—“Oh man, this f’ing guy’s going to win.” And I was saying, “Calm the hell down, this thing is not over.” The righteous, the good will prevail here. You gotta believe it. I’m super-energized to know that this experiment, the American experiment, it’s got flaws but man, it does know how to bounce back. That’s why people come here. I became a British citizen but I always felt that America was home, where I belong. And in some ways, God uses the foolish things of the world to confound the wise. If this man was an ass in the White House, I think we’ve learned a lot about each other because of it.
Original Article: JazzTimes
Thirty-nine years in and still dropping cracking grooves and catchy melodies, Yellowjackets return with their 25th album, which finds the quartet revisiting original material from its past discography.
If you’re like me, you’ve jumped on or off Yellowjackets’ train at various times in their career. Who could resist their eponymous 1981 debut, a blast of fresh L.A. jazz-funk? I personally dove deep during their ’86-’87 period and the burners Shades and Four Corners. Regardless of year, though, they’ve retained an instantly recognizable sound: knotty drum grooves, brain-glued melodies, clever harmonies, and extended, rip-roaring solos.
Performed by the current YJ lineup of tenor saxophonist/EWI player Bob Mintzer, keyboardist Russell Ferrante, drummer Will Kennedy, and electric bassist Dane Alderson, Jackets XL also features the WDR Big Band, which supercharges the entire event. Handily, Mintzer happens to be that band’s principal conductor, which is evident in the arrangements (seven of the 10 by Mintzer) and performances, which crackle and pop with power.
The Americana-tinged “Even Song” (Run for Your Life, 1994) shows the band’s easy way with an eighth-note groove, and the WDR horn lines are pure Mintzer magic. “Downtown” (Live Wires, 1992) skips and soars courtesy of Kennedy’s kinetic beat, blasted forward by a unison synth/brass melody; the groove changes to up-tempo swing, the darting arrangement like changing trains in Tokyo at rush hour, propelled further by a blistering Alderson bass solo. “Coherence” (Cohearence, 2016) finds composer Ferrante in minimalist mode, framing the composition in an arrangement that owes some of its color and shape to composer/arranger Maria Schneider.
A winner for Yellowjackets’ faithful base, Jackets XL may garner the band further accolades; it will surely gain them new fans.
Original Article: JazzTimes
You can remember him from the Bratislava Jazz Days 2011 festival, where he performed as a 29-year-old super talent! His name is Harold López-Nussa, he is 37 years old (read the exclusive interview here) and he was born into a musical family in Havana. For the first twenty years he devoted himself exclusively to classical music, but his life changed when he won the piano competition of the Montreaux Jazz Festival in 2005. Latin Jazz quickly became his passion! Two years ago he released his latest album, Un Día Cualquiera (Mack Avenue, 2018), which was a mixture of compositions by classical Cuban composers and original compositions by Harold Lopez-Nuss in a beautiful performance by the trio. This time, however, Harold comes in the form of the latest album called Te Lo Dije, which automatically takes you out onto the streets of Havana, where during an evening stroll you will hear music straight from people's homes, sometimes breaking into parties and paladars or a nightclub. Harold López-Nussa, who lives in Havana, captures all these mentioned moments as a combination of jazz and Cuban pop music! The album features Harold's brother and Ruy drummer Adrián López-Nussa, double bass player Julio César González and trumpeter Mayquel González. The album also features some special guests such as African-Cuban superstar Cimafunk, French accordionist Vincent Peirani, famous Cuban reggaeton singer Randy Malcom and singer Kelvis Ochoa and others.
Translated from Slovak
Original Article: SK JAZZ
Jazz Renaissance man John Beasley joins Tim to talk about his multifaceted career and life in jazz music. He’s a jazz pianist, a composer, an arranger, a music director and a producer. And chances are you’ve heard some of his work through film, TV or commercials. In this episode, John talks about his a one-of-a-kind music lineage and how he balances his many music loves.
John Beasley was born in Louisiana, the birthplace of jazz music. So, you’d think that if he chose a life in music that might be his focus, but it is so much more than that.
John comes from a long line of musicians. His father was a bassoonist, pianist and composer. John’s mother was a brass instrumentalist, a band conductor and an orchestrator. His grandfather was a trombonist.
Needless to say, John grew up around music and musicians. He learned how to play the trumpet, the oboe, the drums, the saxophone and the flute – all mainly because his mother needed wind instrumentalists for her bands.
When John was 17 years old, Julliard, the legendary music school in New York City, offered John a scholarship for oboe at the young age of 17. He turned it down.
Instead, he decided to start playing in clubs, even before he reached the legal drinking age. Not long after, he’d embark on his first world tour with Sergio Mendes, the Brazilian artist. He then spent eight years with another jazz icon, Freddie Hubbard.
Meanwhile, he had his own band called Audio Mind. And that’s just the beginning.
Today, John Beasley is a musical Renaissance Man. He’s a performer, a creator, a producer and his work spans forums from live venues to major film and television productions.
Read Article: Sharing Opinion
The Yellowjackets are an anomaly in contemporary jazz. They actually began their career playing accessible fusion, then evolved toward pop-friendly smooth jazz. Over the decades, lineup changes engendered a widening musical philosophy that embraced post-bop, global polyrhythms, and expansive arrangements. They've become one of the most innovative electro-acoustic jazz ensembles. Keyboardist/composer Russell Ferrante, the group's sole founding member, was joined by drummer Will Kennedy in 1987 and saxophonist/EWI player/arranger/composer Bob Mintzer in 1990. Bassist Dane Alderson made his debut on 2016's Cohearance. Jackets XL is a collection of imaginatively rearranged crowd and catalog favorites. Mintzer enlisted the famed WDR Big Band from Koln, Germany as collaborators (he has been their principal conductor since 2016). Seven of the ten tunes here, creating a seamless interaction between ensembles.
The material is drawn mainly from the '80s and '90s, though there are a couple of 21st century selections included. "Downtown," from 1988's Politics, was originally recorded as a fusion jam drenched in Weather Report's influence. This version, arranged by Vince Mendoza, has a faster tempo with knotty hard bop cadences, brighter harmonic colors from the woodwinds and reeds, and skittering double-timed snare, popping brass, and a roiling bass solo. Ferrante's "Dewey" was recorded as a tribute to Miles Davis in 1992. A muted trumpet guided the lyric in a lithe, silky funk tune comprised of vamps. This version is darker and deeper, as the brass section claims the lone trumpet's role; it's appended by lush keyboard vamps and drop-beat snare. Mintzer's EWI offers a snaky, welcoming solo atop expansive brass and reed harmonics, syncopated rhythms, and gritty funk keyboards. "Mile High," from 1987's Four Corners, was a pop tune that borrowed from the arrangements and production used on Tears for Fears' multi-platinum "Everybody Wants to Rule the World." Here, the original tune's vamp remains, but everything else has been altered. Mintzer's tenor-articulated melody is adorned by piano, woody rim shots, and layered brass and reeds, all guided by a pulsing, hypnotic bassline. The new version of 1993's "Even Song" by Mintzer weds slippery R&B to horn arrangements reminiscent of Tower of Power. "One Day," an unreleased jam from 2018, offers the most creative use of Mintzer's EWI in a post-bop setting, and is righteously juxtaposed with Ferrante's groove-oriented electric piano playing. In 1981, "Imperial Strut" was a guitar-based funky fusion number; here it's been liberated from Ferrante's wedding stride piano to post-bop, with fingerpopping horn cadences, twisting synth and EWI interludes, and a rolling funk bassline. Closer "Revelation" swings with gospel horns and pumping acoustic piano. The influence of the Jazz Crusaders' early arrangement style on Mintzer's gloriously kinetic chart cannot be overstated. Jackets XL offers not only a seamless, sophisticated, kaleidoscopic jazz collaboration, and it also reveals Yellowjackets' musical evolution through taste, variety, imagination, and genuine surprise. They welcome listeners into their party as participants, not merely as observers. Enjoy.
Harold López-Nussa has been successfully making records that blur the lines between straight-ahead jazz, Latin Jazz and Cuban folk music for years now. His latest release on Mack Avenue, Te Lo Dije (the title roughly translates to "I Told You" pushes those boundries even further.
López-Nussa once again has his favorite musicians working with him: Julio César González (Bass), his brother Ruy Adrían López-Nussa (Drums, Percussion) and Mayquel González (Trumpet). WIth a handful of guests to fill out the sound where needed, most notably accordanist Vincent Peirani, the band moves from traditional forms of Cuban music to sounds from France ("Windmills of Your Mind") and even Reggaeton ("JazzTón").
Harold is is his usual flashy self, able to lay down a lightning run, but able to use his touch to bring across the emotion at the core of his native sounds. This is López-Nussa's third album since signing with Mack Avenue in 2016. I first became aware of his talent when he wrote for, and played on, the 90 Miles project recorded in Cuba by David Sanchez, Stefon Harris and Christian Scott (now Christian Scott aTunde Adjuah) in 2010.
On Podcast 769 we get to talk with Harold about life in Cuba during the pandemic, the making of Te Lo Dije, and why he tries to make new and different music on each album. Musical selections include "Windmills of Your Mind," "Jazzton," and from 90 Miles, his composition "E'cha."
Read Article: Straight No Chaser
Pianist Christian Sands came out of the gate with his proverbial wheels screeching. A prodigy who cut his first record at the age of 12, he flashed impressive chops both as a sideman in Christian McBride’s Inside Straight Trio an on his previous three albums as a leader for Mack Avenue. On Be Water, as the Zen-like title might suggest, Sands has learned to relax and let his inherent romanticism come to the fore. That quality is apparent from the outset on “Intro,” an atmospheric prelude to this very ambitious project, and on the restful ballad “Still.” Other tunes like “Sonar” and the lovely waltz-time string quartet piece, “Be Water II,” show a newfound maturity in Sands’ game, revealing a more patient and poetic side. This is not to suggest that Sands keeps his abundance of chops totally in check here. His remarkable facility is showcased on the turbulent burner “Steam,” paced by bassist Yasushi Nakamura’s deep groove and featuring muscular bashing from drummer Clarence Penn, and also on the propulsive “Drive,” with an electrifying guitar solo from Marvin Sewell. An added treat is Sands’ soulful reading of Steve Winwood’s “Can’t Find My Way Home.”
Read Article: The Absolute Sound
GRAMMY® Award-winning group Yellowjackets’ upcoming Jackets XL celebrates their 40th anniversary of collaboration while joining forces with Germany’s iconic WDR Big Band and re-imagining some of the quartet’s classic tunes.
The newest Yellowjackets single, “Even Song,” was originally recorded for 1993’s Run for Your Life arranged by Vince Mendoza. Here the track has been reimagined and revamped in concert with the WDR Big Band. “Even Song” will be released as a single on October 16th, and will be featured on the upcoming album to be released by Mack Avenue Records on November 6th.
Jackets XL is the groups’ 25th album and fourth for Mack Avenue Records. The quartet is comprised of keyboardist Russell Ferrante, drummer Will Kennedy, electric bassist Dane Alderson and tenor saxophonist/EWI player Bob Mintzer who also acts as the WDR Big Band principal conductor. Mintzer, a Yellowjackets veteran of 30 years and longstanding educator at USC’s acclaimed Thornton School of Music has enjoyed a 25 year association with the WDR Big Band collaborating with a wide array of artists including: Mike Manieri, Jazzmeia Horn, Knower, Dave Stryker, Kurt Elling, and Chaka Kahn.
Read Article: JazzEd Magazine
Live Q&A with Joey DeFrancesco Hosted by Alonzo Bodden
Dan Wilson - DTC Organ Trio Live at AVClub (9/29/20)
Emmet Cohen - Live From Emmet's Place Vol.26 Ft. Godwin Louis
Warren Wolf Reincarnation CD Release Livestream
For his latest album, Cuban jazz pianist Harold López-Nussa pays tribute to popular music of the island.
“Te Lo Dije!” [I told you so!] Harold López-Nussa seems to brag from the CD cover of his new record. Te Lo Dije is the ninth LP from the Cuban pianist who tours regularly in France.
The previous (and terrific) Un Dia Cualquiera was recorded in the United States. From the first moment here, it’s obvious that we’ve returned to Havana. “Bocadito de Helado!” is the call of the ice cream man, the intoxicating recording that plays everywhere throughout the capital. These are the kinds of street noises that Alfonso Peña, one of the best sound engineers in his country, weaves into “Habana Sin Sábanas.” For this overture, which can be translated as “Havana Without Makeup,” Harold López-Nussa introduces his new quartet instead of the trio that we are used to.
A new formula for an eclectic album. Beside Harold’s brother, the impressive drummer Ruy Adrián, we have the trumpeter Mayquel González and the electric bass of Julio César González. Julio César brings the combo away from traditional music, while Mayquel steers it toward jazz. These musicians know each other well from playing together in the López-Nussa Family, which also stars Harold’s father Ruy, and Ernán, his renowned uncle, drummer and pianist.
My daughters were the judges!
Via video conference, the medium of the moment, I interview the musician back in a just-shut-down Havana. I start by giving him my reactions. “You can hear your daughters’ voices in Te Lo Dije. There’s something childlike about this album, isn’t there?” “We had a lot of fun,” the pianist confirms. “We wanted to have fun, create refreshing music, let our innocence express itself. It was my daughters who were the judges!” he adds with a laugh. Paola and Lila, self-appointed in-house jury of the new star of Cuba’s Got Talent.
If there’s one song that will make children dance, it’s “El Baile Del Buey Cansao,” a perfect illustration (as is “Chirrín Chirrán” or “Llegue Llegue”) of the unbelievable creativity of Los Van Van of Juan Formell, in its early years. Harold opens up the boundaries, giving his musicians new space for freedom. Brought in to add his voice to this standard of popular music, the funk singer Cimafunk once again does wonders by bringing a new modern sensibility.
The end of the 70s. High collared shirts, moustaches and sideburns, the quartet remakes “Buey Cansao” from the black and white “Para Bailar,” a Sunday talent show very popular in Cuba then. Cimafunk takes to it like a fish to water. Directed by Nelson Ponse, Raupa and Mola, a brilliant trio of graphic designers and videographers, the video is absolutely irresistible. Incidentally, Rebeca Martínez, the dancer who appears at the end of the video, also danced in the original version for “Para Bailar.”
Los Van Van, Michel Legrand and an insolent reggaeton are the markers of a record that takes sweeping looks at popular culture.
Faithfully, Harold López-Nussa invokes the memories of those who inspired him, including his grandfather.
Open the door to the family’s home, and you are inside “El Altelier.” The rehearsal studio was the longtime art studio of Leonel López-Nussa, graphic designer, painter, critic, and journalist whose works adorn the walls, a space for inspiration where Harold kept his student’s piano in a small room where he composed a tribute to his grandfather, who disappeared when Harold was barely 20 years old.
Harold’s admiration for Michel Legrand comes from his French grandmother, who was Leonel’s wife. For “The Windmills of Your Mind,” he welcomes Vincent Peirani, with whom he collaborated in Marseille in 2019 for the project “Around the World.” A small part for the accordionist, whose elegance is reminiscent of the harmonica player Grégoire Maret, and with whom Harold played at the 2018 North Sea Jazz Festival.
The pianist pays tribute to the innovators of GESI, a famous musical experimentation group in the 1970s, which saw Silvio Rodríguez and Pablo Milanés pass through its ranks. Harold takes up one of Leo Brouwer‘s most beautiful ballads: “Un Día de Noviembre.” He offers a remarkable rereading of it, and substituting the trumpet and the piano for the maestro’s guitar, infuses it with majesty and solemnity.
Earlier, in a mambo named for his youngest daughter, Harold found inspiration from Emiliano Salvador‘s touch. The pianist, who died early in 1992, has inspired an entire generation of musicians.
"Lila’s Mambo,” the mozambique “Te Lo Dije,” what delightful timepieces! The record distills styles… “Timbeando,” a Rhodes-inspired timba, “Jocosa Guajira,” an electric guajira led by an equally electric Kelvis Ochoa, or even “Van Van Meets New Orleans Minds,” a songo that turns into a makuta before jumping into the Mississippi.
And then there is “JazzTón,” a reggaeton. Dismay. “But which fly bit you?” I ask. Harold bursts out laughing. “It’s true reggaeton is not well loved. With Randy Malcom [from the world famous duo Gente De Zona], we wanted to play with the groove. He is an excellent musician. He was a percussionist in La Charanga Habanera. A hell of a challenge!” Rather successful, we will admit.
“We just did very simple things,” the pianist concludes modestly. I look at him with a frown, since I find so many of the works to be well chiseled. “Very simple things, really?”
When jazz meets popular Cuban music, typically for Harold Lopéz-Nussa, with his versatility and ingenuity, nothing comes out simple.
Following his ambitious homage to leaders of the 1960s Civil Rights Movement, The Movement Revisited: A Musical Portrait of Four, Christian McBride returns to his hard-swinging big band with 2020's For Jimmy, Wes, and Oliver. Where The Movement found him drawing inspiration from icons like Rev. Dr. Martin Luther King, Jr. and Rosa Parks, For Jimmy, Wes, and Oliver finds the bassist drawing equal motivation from the work of jazz icons like organist Jimmy Smith, guitarist Wes Montgomery, and saxophonist/arranger Oliver Nelson. As with his past big-band albums, he is joined by a cadre of top New York jazz luminaries, including saxophonists Steve Wilson and Ron Blake, trumpeters Freddie Hendrix and Brandon Lee, trombonist Steve Davis, pianist Xavier Davis, drummer Quincy Phillips, and others. Also on board are longtime McBride associates guitarist Mark Whitfield and organist Joey DeFrancesco, who help summon the urbane soulfulness of their forebears Smith and Montgomery. At the core of the album are a handful of songs culled from the classic 1966 albums Jimmy & Wes: The Dynamic Duo and The Further Adventures of Jimmy and Wes, both of which featured Smith and Montgomery with big-band arrangements by Nelson. Here, McBride kicks things off with a brassy arrangement of "Night Train" inspired by the 1966 version but anchored by his own wickedly bluesy take on the song's classic bass groove. Equally engaging are the band's renditions of Montgomery's moody, minor-key "Road Song" and their buoyant version of Miles Davis' "Milestones," the latter of which features Nelson's original arrangement. As on the 1966 albums, here McBride pairs down to a quartet with Whitfield, DeFrancesco, and drummer Phillips for a handful of equally engaging standards, including an urbane reading of Freddie Hubbard's "Up Jumped Spring," and a dusky take on the Billy Eckstein ballad "I Want to Talk to You." There are also two originals in McBride and Whitfield's "Medgar Evers' Blues" and McBride and DeFrancesco's "Pie Blues." For Jimmy, Wes, and Oliver is an ebullient album that evokes the earthy, artful spirit of the trio who inspired it.
Read Article: All Music
Inspired by their leader, bassist Christian McBride, the musicians in this big band always sound like they are having the times of their lives.
Christian McBride, For Jimmy, Wes and Oliver (Mack Avenue)
In the late 90’s, I was assigned by Verve Records the pleasant job of writing the notes to reissues of classic albums by the king of the Hammond organ, Jimmy Smith: Blue Bash! was one, another was The Dynamic Duo, co-led by another prince of the music, guitarist Wes Montgomery, who gives one of his sunniest performances.(I also chose the selections as well as wrote the notes for Verve’s The Finest Hour of Jimmy Smith.) Generally, one talks to the musicians before writing these little essays. I tried. I called Smith so many times that I became friends with his wife. He was unwilling to talk, even when Mrs. Smith said, “Oh, Jimmy, do it for Mike.” The one thing he said to me that I remember — and that is printable — is the bleak “What’s in it for me?” What would he get out of a reissue of his music? Not much in terms of cash and he didn’t want his reissues to be competing with his latest recordings. I had a backup plan for my essay on Blue Bash! I called co-leader guitarist Kenny Burrell, whose son got back to me with the discouraging news that Kenny, one of my musical heroes, wouldn’t be available for a conversation “this year.”
Still, those reissues garnered whole new generation of Smith and Montgomery fans. They included bassist Christian McBride and his high school classmate, also featured on this new disc, the supremely talented organist Joey DeFrancesco. They listened to those records together so it was probably inevitable that McBride, who for the past few years has been leading one of the slickest, happiest big bands in recent jazz, would revisit the Montgomery-Smith collaborations, especially those that were arranged by Oliver Nelson. Nelson was the top of his game in the mid-’60s when he arranged six sessions for the equally extroverted Smith. His bright, sweetly swinging arrangements were not only appealing in themselves — they set up Smith’s solos brilliantly. (Listen to Smith’s sublime entrance on “Walk on the Wild Side.”) Nelson and Smith loved popular pieces: “Ol’ Man River,” “Blueberry Hill,” “Down by the Riverside,” and Gus Cannon’s “Walk Right In.”
I think of McBride and his big band in an equally cheery light. Inspired by their leader, they always sound like they are having the times of their lives. Four cuts on this new session are by a quartet with McBride, guitarist Mark Whitfield, organist Joey DeFrancesco, and drummer Quincy Philips. The other six are big band numbers, mostly recreating the Oliver Nelson originals. (His arrangements of “Night Train” and “Down by the Riverside” were first heard on Jimmy Smith and Wes Montgomery, “Milestones” on Further Adventures.) The McBride disc begins with Night Train, the segment from Duke Ellington’s “Happy-Go-Lucky Local” saxophonist Jimmy Forrest isolated, re-named, and made a hit. “Night Train” is taken at a brisker tempo than Nelson’s original arrangement. It’s a jaunty, conversational piece that unfolds over McBride’s bass line, whose introductory melody is stated brashly by the reeds with brass punctuation. The playing is clean, and also exuberant. Cleverly, the arrangement leads to the first solo is by guitarist Mark Whitfield, who is unintimidated by Wes Montgomery’s performance. He plays some notes the other guitarist wouldn’t have dreamed of, but fits right in with the riffing brass behind him. DeFrancesco takes over, with a succession of wildly — and widely — ranging lines. He includes a Jimmy Smith trademark, an extended trill. (I heard Smith play a whole chorus that way.)
Montgomery’s “Road Song” was one of his most popular recordings. It was also controversial, or as controversial as any piece by this low-key guitar genius could be. The Don Sebesky arrangement of Road Song included incursions made by synthesized strings. Critics complained that this meant that Montgomery wasn’t improvising as boldly or at length. Fans loved it. It was the top selling jazz album of its day. In McBride’s hip arrangement, there are, of course, no strings; instead, we are given the rich tones of his warmly, precisely recorded band. It’s a fine feature for Whitfield, who recaptures much of Montgomery’s spirit. For hard core jazz fans, Nelson recorded Miles Davis’ “Milestones.” McBride’s slightly faster version of the tune generates the most adventurous Whitfield solo. The collection includes two well-chosen ballads, “The Very Thought of You” and “I Want to Talk About You,” the latter a favorite of John Coltrane’s. The quartet also plays Freddie Hubbard’s delightful “Up Jumped Spring.”
For Jimmy, Wes and Olive ends with a Whitfield piece, “Medgar Evers Blues,” and with “Pie Blues,” a composition McBride and DeFrancesco cooked up while they were both going to Philadelphia’s High School for Creative and Performing Arts. It must have been quite a school.
Read Article: The Arts Fuse
Grammy-winning bassist, composer, and all-round jazz impresario Christian McBride has already released one stunning album this year with his major opus paying tribute to Civil Rights leaders on The Movement Revisited: A Musical Portrait of Four Icons, reviewed on these pages. Now McBride brings us another poignant effort, featuring his Grammy-winning big band ((CMBB’s third release) and quartets comprised of his lifelong friend and stellar organist Joey DeFrancesco and frequent collaborator guitarist Mark Whitfield. Regular CMBB drummer Quincy Phillips anchors both the big band and quartets which alternate on renditions of songs inspired by the 1966 recordings of organist Jimmy Smith and guitarist Wes Montgomery at Rudy Van Gelder’s famed studio in Englewood Cliffs, New Jersey. Over the course of three days, the two jazz icons recorded the material for two now-classic albums: The Dynamic Duo (1966) and Further Adventures of Jimmy and Wes (1968), backed by a big band featuring arrangements by the great Oliver Nelson. As you can imagine McBride and company swing like crazy on this one, inspired by their forbears.
Native Philly sons McBride and DeFrancesco have worn out the grooves on those recordings, even going back to their high school days throughout a friendship and collaboration that has lasted nearly 40 years. “Joey is, without question, my oldest friend in music,” McBride says. “We met in middle school playing in the Settlement Music School Jazz Ensemble in Philadelphia. We’ve recorded a few things here and there over the years, but we’ve never recorded an entire album together until now. It seemed logical to salute the two albums that we listened to quite a bit as kids.”
The 17-piece Christian McBride Big Band has become one of the most consistently strongest large ensembles on the modern jazz scene since its 2011 Mack Avenue debut, The Good Feeling. Both that album and its successor, 2017’s Bringin’ It, garnered GRAMMY® Awards in the Best Large Jazz Ensemble category. The CMBB features a host of elite musicians mixing renowned veterans with rising stars, most of them bandleaders in their own right: trumpeters Frank Greene, Freddie Hendrix, Brandon Lee, Nabate Isles, and Anthony Hervey; trombonists Michael Dease, Steve Davis, James Burton and Douglas Purviance; and saxophonists Steve Wilson, Todd Bashore, Ron Blake, Dan Pratt and Carl Maraghi.
Two singles have already been released. “Don Is” is a quartet piece, written by DeFrancesco for bassist and Blue Note chief Don Was. The second is the CMBB rendered, Whitfield composed “Medgar Evers Blues,” which originally appeared on his own 1990 debut, The Marksman. In keeping with the theme of McBride’s previous work, the cause of the original Civil Rights crusaders, unfortunately, rings as true today as during those times of almost six decades ago. Whitfield says, “That which pains me the most is that nearly 60 years after Medgar Evers was assassinated for his efforts to further the cause of civil rights in America, we’re still fighting against the same injustices that have plagued our communities since our emancipation. So much about our world, our society, has changed but as a nation we have yet to evolve beyond the indignities paid to our fellow citizens in the name of racism and oppression. Perhaps, remembering the loss of one of our country’s greatest advocates for civil rights and equal treatment for all Americans will help us finally begin to make significant and long lasting improvements to the system that we trust to serve our great nation and to our very human nature which must continue to evolve as we struggle to eradicate racism from our very existence.”
Beyond those two originals, the ensemble reprises four originals from Jimmy, Wes, and Oliver, mixing them with their own compositions and standards that reflect the ebullient, mostly joyous swinging vibe. That celebratory tone is set with the rollicking classic “Night Train.” The familiar groove was part of The Dynamic Duo, but it’s been a constant in the books of many a bandleader who’s been influential to McBride and DeFrancesco, including Duke Ellington and James Brown. Montgomery’s “Road Song” from Further Adventures, and has both Whitfield and DeFrancesco fronting the big band in an extended workout that captures their dynamic chemistry. “Milestones” is taken from the same album, and again allows the band to nod to another giant: Miles Davis, who famously recruited DeFrancesco straight out of high school. Sandwiched between those two is the first quartet piece, Freddie Hubbard’s “Up Jumped Spring” which finds DeFrancesco and Whitfield playing soulfully and fluently. McBride takes his lyrical, romping solo and Phillips keeps the insistent beat.
The quartet proves that they can tackle a ballad sensitively too with Whitfield and DeFrancesco pouring out emotively on “The Very Thought of You” which precedes the CMBB’s rousing take on the gospel chestnut “Down by the Riverside,” also now a single, which was the opening track on The Dynamic Duo. This is a tune that offers itself to many interpretations and as such, never becomes tiring. Here, the CMBB takes it at a frenzied rhythm, revving up beyond the pace of the original. In keeping with the pattern, we next shift to a quartet and another ballad, “I Want to Talk About You,” made famous by Billy Eckstine and John Coltrane, among many others. Again, the quartet reveals unmatched sophistication as all four members make their statements.
The closer is a co-write between McBride and DeFrancesco, a soulful, full-of-filthy blues riffing “Pie Blues,” built on a groove that they devised while still in high school together at Philadelphia’s High School for Creative And Performing Arts (CAPA), alongside classmates like Kurt Rosenwinkel and members of Boyz II Men and The Roots. “There’s not really a melody, just a groove,” McBride explains. “As for the word ‘Pie,’ we’re not sure where that came from. We were just being silly. I know we sure ate a lot of pie back then!” There’s some outstanding down in the gutter sounds from the trombonists and bari sax throughout with some laughter from the band as the disc closes.
In the tradition of the three jazz icons, this is a date full of swinging soulful grooves. It represents yet another outstanding big band offering in a year where there are many superb entries, making Grammy voting an unenviable challenge in this category, to say the least.
Read Article: Glide Magazine
John Beasley has arranged the brass brighter and brasher, the low horns to be more growly and his tasty keyboard parts to be artfully highlighted on his third far-reaching album with MONK’estra. Extending marvelously synchronized section motifs—those indelibly quirky Monk phrases—into swelling backdrops that balance freely impassioned soloists, Beasley as a pianist and composer, too, draws out even more melodic, harmonic and rhythmic implications in music by Monk, Bird and Duke.
The intricate recasting of “Donna Lee” contains several thrills, but the motifs throughout are colored vividly, etched with fine yet robust lines and graceful in their surprising twists. The large ensemble’s performance seems flawless and the small group Beasley’s assembled for a few tracks with longtime colleagues such as bassist John Patitucci, drummer Vinnie Colaiuta and soulful harmonica player Grégoire Maret is bonded in camaraderie. Among the virtues of Beasley’s charts is that they never outstay their welcome; instead, they leave us wanting more. And with the abundance of details to absorb here, that’s really saying something. Beasley has a brilliant musical mind and warm yet exploratory touch, and his originals fit sweetly amid the time-honored repertoire. Jazz history is beautifully served here by Beasley leading his orchestra to embody his own unique vision.
Read Article: Downbeat
Havana-based pianist and composer Harold López-Nussa captures the joyous, dancing, vibrant music of today’s Cuba with an exhilarating marriage of jazz and Cuban pop music, defiantly standing up to the doubters who failed to share his radical vision. To understand the title, many didn’t think he could pull off such a marriage on this, his ninth album and third for Mack Avenue. Much like its near equivalent in English, “I told you so,” the Spanish phrase “Te lo dije” can be deployed as a boast or a put-down – often both at once. López-Nussa throws down that gauntlet on Te Lo Dije, featuring the pianist’s core quartet of drummer Ruy Adrián López-Nussa, bassist Julio César González and trumpeter Mayquel González, bolstered by a number of special guests including Afro-Cuban funk superstar Cimafunk; French accordionist Vincent Peirani; famed Cuban reggaeton vocalist Randy Malcom; and vocalist Kelvis Ochoa.
High profile guests who are contemporary charting stars in Cuba bolster Lopez-Nussa’s signature combustible blend of Afro-Cuban and modern jazz: the Songo of the iconic band Los Van, the Mozambique of Pello el Afrokan, the reggaeton that has swept Latin America and the world since the late 90s. Roughly translated as “Havana exposed,” opener “Habana Sin Sábanas” conveys the bustle of Havana’s city life. You can hear López-Nussa singing repeatedly “This is my Mozambique,” on the title track, confidently expressing that whatever the style, the voice is his own. The style was invented by the legendary percussionist Pello El Afrokan in the 1960s, but the song, like the album as a whole – lives vividly in the current moment. “The Windmills of Your Mind” acknowledges López-Nussa’s French ancestry with an homage to composer Michel Legrand, who died in 2019. Renowned French accordion virtuoso Vincent Peirani adds his own Gallic flavor to the mix.
López-Nussa’s penned “Lila’s Mambo” is dedicated to the pianist’s youngest daughter, inspired by her alternately sweet and devilish nature. “El Buey Cansao” is a song by Los Van, an enormously popular band in Cuba over the last 50 years. For his version, the pianist invited one of the biggest contemporary stars on the island, Cimafunk, to sing. The band and its Songo style also inspired López-Nussa’s own closing “Van meets New Orleans,” a self-explanatory piece that seeks to unite his hometown with its sister city in the States, whose ties with Cuba are integral to the development of jazz.
Both “Timbeando” and “Sobre el Atelier” are reimagined López-Nussa compositions, both previously recorded solo for his 2007 solo recital Sobre el Atelier. The title track from that album is a bolero dedicated to his grandfather, whose studio was beneath the family’s home. “Timbeando,” delivered on Fender Rhodes, was inspired by Chick Corea’s Elektrik Band and was the piece López-Nussa played to win the Montreux Jazz Festival Solo Piano Competition in 2005. One of modern Cuba’s leading composers, Leo Brouwer, wrote the gorgeous ballad “Un dia de Noviembre, showing that the pianist can play in a sensitive, restrained style (he is classically trained after all) as opposed to his infectious rhythmic approach on most of the material. Trumpeter Gonzalez plays beautifully too. Handclap rhythms begin “Jocosa Guajira,” with vocals by Kelvis Ochoa, a complex contemporary version of a guajira with intricate, interwoven rhythms. Even the hand clapping rhythm is tricky.
“JazzTón” is the album’s most daring hybrid, melding jazz with the controversial reggaeton genre, often dismissed by “serious” musicians in Cuba. Randy Malcom of the immensely popular Gente de Zona brings an authentic spirit, while the core quartet is bolstered by trombone, percussion and additional keyboards that add to the party atmosphere.
Most folks with pulse can’t sit still when listening to Cuban music, which at its core, is designed for dancing. There’s plenty of joyous, body shaking moments here as well but Lopez-Nussa also reminds us of his astute classical and symphonic background on three of the selections, creating nice changes of pace, almost as interludes to the rhythmic, spirited pieces. It all makes for a riveting listen. Oh, and yes…plenty danceable moments.
Read Article: Glide Magazine
In a recent interview with Bob Mintzer in the Winter 2020 edition of the Jazz In Europe magazine, Bob Mintzer spoke at length about the Yellowjackets collaboration with Germany’s WDR Big Band. In November this year, the band will release the album documenting the collaboration titled Jackets XL. This album is the fourth album on Mack Avenue and marks the bands 25th release. The project combines the shapeshifting quartet with the renowned big band, re-imagining well-known band originals with dynamic new arrangements that feature twists and turns, textures and colours, moving harmonies and bold solos.
“This band has never been one to rest on its laurels,” says tenor saxophonist/EWI player Bob Mintzer, a Yellowjacket since 1990 and the WDR Big Band principal conductor since 2016. “The Yellowjackets are very adept at reinventing. The four of us are the most adaptable musicians I’ve ever worked with. Any setting, any style, we know we can do it. As for the WDR, they’re one of the best large jazz ensembles in the world. I knew the two groups would make for a nice marriage.” The band also comprises founder, keyboardist Russell Ferrante, drummer Will Kennedy and electric bassist Dane Alderson in his third recording for the group.
Ferrante welcomed the project given that he had been involved in playing Mintzer’s arrangements in different settings over the years. “But this was going to be different,” he says. “Since we were already in the orbit of big bands, Bob suggested that we pick tunes that were fan favourites through the years and make them fresh to keep the listeners interested. Bob rearranged ‘Mile High’ [Four Corners, 1987], which we had stopped playing in recent years. Bob changed it up and took it to different places. Another is ‘Revelation’ [Shades, 1986], which we always played as an encore. Bob went to the basics, bringing back the gospel roots, and arranged it for how we sound today.”
“’Mile High’ was one of the songs from the 80s,” Mintzer adds. “It had a pop feel back then. But the new arrangement fits with the sound of the Yellowjackets today. It’s like brand new music. We just took the ensemble and put a big band on top.”
While Mintzer rearranged seven of the ten tunes (he says it’s almost like watching your children grow up), also in the mix were two arrangements by Vince Mendoza who had a long history with the WDR Big Band and today serves as its composer in residence. Both the lyrical gem “Even Song” with its rock charge [Run for Your Life, 1993] and the swing-with-gusto “Downtown” [Live Wires (Live at the Roxy), 1991] feature his arrangements. Ferrante wrote a new arrangement for his song “Coherence” from the band’s 2016 Coherence album. “I wanted to give it a more orchestral feel beyond just the big band sound,” he says. “I wanted to include different instrumentation like a muted trumpet, French horn, trombones. I had been inspired by Maria Schneider’s music. I bought a package from the website of her tune ’Hang Gliding.’ I studied the score, watched a video of her band performing it. As a result, I made ‘Coherence’ rounder, writing other lines and counter melodies.”
In addition to the oldies, two new Ferrante songs were added into the mix, including the upbeat “One Day,” a scamper featuring Mintzer on EWI. It was originally written for 2018’s studio album Raising Our Voice but didn’t make the final sequence. Then there’s “Tokyo Tale” that Mintzer comments on: “Russ wrote this in his systematic way. He composed it, developed it, wrote it down and sent me a small band arrangement done for his USC students.”
The challenge, Ferrante says, was relinquishing the total freedom of the quartet setting. “As a band you can change parts and make things different. But with the big band, you have tight arrangements. There’s no freelancing. Even when you’re playing the notes that you know so well, the big band arrangements mean that you have to read the music and be really focused. Otherwise, things can stick out.”
With its pockets of halcyon, buoyance, mystery, tumult, groove and whimsy, Jackets XL plays out as a multifaceted documentation of how far the band has come. “It was like putting a new set of clothes on,” Mintzer says. “This represents how the Yellowjackets play now.”
Read Article: Jazz In Europe
Billy Childs has more than an armful of diverse talents. As a composer he has received five GRAMMY® Awards and 16 nominations, many for composition and arrangement. Presently in continual demand for symphonic and chamber commissions, he has also innovated a collection of compositions for jazz instrumentation and strings that is unique in the American music lexicon: a genre he refers to as jazz/chamber music. His second Mack Avenue release, Acceptance, though is not about that but rather as leader of a small combo playing piano for his jazz compositions. His small ensemble, of course, has large stars – saxophonist Steve Wilson, bassist Hans Glawischnig, and drummer Eric Harland.
Childs’ numerous awards and most recently Rebirth, Childs’ 2017 album on Mack Avenue which won a GRAMMY® Award for Best Jazz Instrumental Album), have set a high bar. Accordingly, Childs augments this stellar quartet with esteemed guests: Elena Pinderhughes on flute; vocalists Alicia Olatuja, Aubrey Johnson and Sara Gazarek; and percussionists Rogerio Boccato and Munyungo Jackson. Most of these guests, especially Pinderhughes (Christian Scott Atunde Adjuah, Kandace Springs, Herbie Hancock) figure prominently in the Brazilian opener, “Dori,” a samba, utilizing Baião and Partido Alto rhythms. Childs opens with a Brazilian tune because he’s always connected with that music from early in his life. His parents had records by Antônio Carlos Jobim and Stan Getz, João Gilberto, and Sérgio Mendes and Brasil ’66. It is on these recordings that Childs first heard the songs of Brazilian composer Dori Caymmi, with whom he later became close friends.
The rich liner notes point to numerous instances like this because Childs grew up in Los Angeles during the ’60s and ‘70s when Los Angeles’ culture which was rife with musical diversity. (Many would arguably say it remains so today, certainly for Black culture). The title track is rendered solely by the quartet with Wilson’s soprano in the lead for a song about healing, having the maturity to accept loss. This closing statement in the liner description is striking – “That is why the main melody, which is first stated in C minor by the piano, is reprised in C major by the soprano saxophone at the end of Steve’s solo – to symbolize the healing aspect of acceptance.
”Leimert Park” has Childs playing electrically on Rhodes and keyboards to deliver some funk that speaks to the vibrant club scene in that area of L.A. in the ‘90s. Childs composed the tune with The Headhunters, bassist Paul Jackson and drummer Mike Clark, the innovative and groundbreaking rhythm section on Herbie Hancock’s “Thrust” in the early 70s. It also features Munyungo Jackson adding a great conga pattern that gives the tune an African and urban sound.
“Do You Know My Name?”—a meditation on human trafficking—is a Childs song with lyrics that serves as a centerpiece of sorts for the album. As to the subject matter, Childs was commissioned by two leaders at Michigan State University to deal with the harrowing subject that he knew little about before plowing forward with research. His poem has this opening verse – “Do you know my name?/Have you seen a trace/of the despair/that’s hiding there/behind the mask on my face?” Quite obviously, the mask is not a Covid-19 reference. Alicia Olatuja brilliantly achieves Childs’ objective of illustrating the human anguish caused by this horrific practice. She communicates the silent anguish and pathos of this fictional character. Childs first heard the Gershwin ballad “It Never Entered My Mind” from his close friend, the late Mulgrew Miller, who was playing it, at the time, in a small Glendale club called Clancy’s Crab Shack. Here Childs renders it just with bassist Glawischnig as a respectful ode to his friend.
Childs reprises two legacy pieces, one inspired by a Langston Hughes poem “Quiet Girl,” which Childs recorded on his first album, Take For Example This, the kind of piece that was the genesis for his chamber music concept heard on his first four Windham Hill Jazz albums that are now out of print. Wilson’s soprano (not playing quietly) and Childs’ flowing piano lines are lyrically exceptional on this one. The second, “Twilight is Upon Us,” is quite different with vocalist Aubrey Johnson joining the quartet. The piece has many influences, from Egberto Gismonti to the Mahavishnu Orchestra, but the most profound influence was the Pat Metheny Group, specifically Lyle Mays. Childs heard the Pat Metheny Group in 1989 and was stunned at the well-conceived pieces and the tremendous improvisation. Childs set out to explore that connection with the audience which Metheny and Lyle Mays had that night, developing pieces which explored longer forms, with more layered counterpoint and sonic environments. This is one of the first that he wrote. He relates, “… Years later, I was playing at the Jazz Standard in New York, and Aubrey Johnson, who is the featured vocalist on this track, introduced herself as a singer who appreciates my music. Turns out, she’s also Lyle’s niece, so the history of ’Twilight is Upon Us’ comes full circle.”
The closing “Oceana,” is a study in group improvisation that forms a composition. Wilson begins with whale sounds and the group follows to paint a visual image of the sea. As Wilson’s solo evolves, one can picture a group of whales or dolphins in “conversation”, as Childs comps and counters, the rhythm section kicks in for a highly imaginative ride before the group takes in down, exiting quietly but emphatically to an album of gorgeous, well-conceived, highly melodic and beautifully rendered material. Surely Childs’ compositional skills shine but his piano playing is every bit the equal, spurred on by this terrific cast of players.
Read Article: Glide Magazine
Billy Childs, Acceptance (Mack Avenue)
Keyboardist Billy Childs won a Grammy for his 2018 album Rebirth, and he’s returned with the same band on this release: saxophonist Steve Wilson, bassist Hans Glawischnig, and drummer Eric Harland, accompanied on some tracks by vocalists Alicia Olatuja, Aubrey Johnson, and Sara Gazarek. Flutist Elena Pinderhughes, who’s worked with Christian Scott, is on one track, and percussionists Rogerio Boccato and Munyungo Jackson show up here and there, too. Most of the album is acoustic, except for “Leimert Park,” the track spotlighted here. On that one, Childs switches to Fender Rhodes and synths, and Glawischnig picks up the electric bass. It’s named for the area of Los Angeles that holds the World Stage, an arts center and performance space where Kamasi Washington and Thundercat got their start as teenagers. Childs originally recorded it with Paul Jackson and Mike Clark of the Headhunters, and that’s clearly audible — it’s a strutting, funky retro fusion tune with a head-nodding groove, layers of keyboard, and some sharp soprano sax work from Wilson.
Stream “Leimert Park”
Read Article: Stereogum
Brian Bromberg dishes on his album 'Bromberg Plays Hendrix' and plays an exclusive playthrough of "Purple Haze"
To mark the 50th Anniversary of Jimi Hendix’s passing, Brian Bromberg is re-releasing his 2008 tour-de-force tribute to the iconic guitarist, Bromberg Plays Hendrix, on Sept. 18, 2020. Bromberg, who played nine different basses in tandem with drum great Vinnie Colaiuta on the album, reports that the updated version contains a new mix and a bonus track from the original sessions, entitled “Jimi.” Album pre-sale begins Friday, August 14th. We asked Brian, who provided Bass Magazine with an exclusive play-along video of “Purple Haze” [below] about both versions.
What was your original reason and for making Bromberg Plays Hendrix?
That’s an unusual story, as I had never thought about doing a Jimi Hendrix project. Many years back I was having lunch with a record company executive friend of mine, Jon Diamond, and out of the clear blue he said, “You should do a Jimi Hendrix record.” I looked at him like he was crazy, thinking to myself, I’m a jazz bass player who has toured with legends like Stan Getz and Horace Silver; why and how would I possibly do a Hendrix album? He was a revolutionary artist and guitarist; it wouldn’t be a typical project for a bass player to do. So, I just changed the subject and completely forgot about our conversation. Two years later I was talking with another record company executive friend of mine, Susumu Morikawa from King Records in Japan, and out of the clear blue he suggested that I do a Jimi Hendrix CD. At that point I remembered my conversation with Jon in New York City and I was kind of blown away. Here were two different record company guys thousands of miles apart, and two years apart, saying exactly the same thing about me doing a Hendrix project. Obviously they both were hearing and feeling something in me that led them to believe I should pursue this. At that point I had to stop and consider their recommendation, and look inside myself to find what they saw in me. It’s was pretty amazing, upon reflection. After that insane, mind-f**k moment, I dug deep into Jimi’s music and put my own spin on it!
Perhaps the most interesting part of the album is it comes from a bass perspective, how did you decide how much other bass to include besides the lead piccolo bass and the support bass?
Anyone who knows my catalog knows that even though the bass is usually the prominent voice on my records, the music always comes first—that is, the songs, the arrangements, and the production, sound, and mix. That said, I love the challenge of relying on my basses to make the music; using them as a vehicle to sing and share my feelings and humanity, versus just playing as many notes as I possibly can. In the case of this record, because it’s just me and Vinnie Colaiuta, I had to rely on my basses to provide the grooves, chords, melodies, and rhythm and lead guitar parts. More specifically, the CD had to be about Jimi Hendrix’s brilliant music, not his guitar playing, as I don’t play guitar. I never learned any of his licks; it’s all about the songs and my interpretation of them, for which I chose a more rock/metal setting. I used walls of overdriven piccolo bass, like guitar players do on a metal record. It made the tracks huge and it gave them a ton of energy.
Ultimately, the most challenging aspect for me was to try and play Jimi’s music on an electric bass and have it have soul and feeling. Technically, his music translates to the bass very well. However, a metal string on a metal fret doesn’t come close to the heartfelt delivery of Jimi’s singing voice. When I first started playing through his songs and heard his vocal melodies on my electric bass, they didn’t sound that great, for the most part. So I tried fretless bass, which sounds more like a human voice than a fretted bass and has a ton more personality. And as it turned out, the fretless bass saved the record, as it made a huge difference in the melodies I used it on.
What are the challenges of playing lead guitar on piccolo bass?
As with most of my piccolo basses, my Kiesel/Carvin B24 that played a starring role on the record is tuned an octave and a fourth higher than a standard bass: A-D-G-C. The C string is a half-step higher than the B string on a guitar. With 24 frets, it puts the instrument in the range of a guitar, just a few notes shy of the high notes on a typical Strat or Les Paul. I play it through guitar amps and guitar effects pedals, and I use Pro tools guitar plug-ins; there’s nothing in my signal chain that has anything to do with bass. So I can emulate a guitar sound and approach in a musically convincing way. It will never sound exactly like a guitar for a few reasons: I don’t use a pick, so I don’t have the sharp, hard-edged attack guitar players get. And even though my top string is an .11 gauge, with the 34-inch string length I can’t bend the strings as far as guitar players can without breaking them or going out of tune. Likewise, I’ve had whammy bars on my basses in the past, but it pulls the bass out of tune, so I’ve had to do without them. Maybe there are better locking gears, nuts, and bridges available for bass whammy bars, I haven’t investigated. A whammy sure would be fun to have. Having said all that, I love playing lead guitar on a piccolo bass because it has it’s own voice and vibe, and it’s still played like a bass.
Why are you reissuing the record and what are the enhancements and bonus features?
I wanted to reissue it for two basic reasons that were very personal to me, in no order of importance: The first is that the album release date, September 18, 2020, is the 50th Anniversary of Jimi’s untimely passing, and maybe the record will add some more societal awareness of Jimi and his music. He truly was an icon and a groundbreaker culturally; to me a larger-than-life figure as a guitar player, artist, and soul on this planet. The second reason is that I’m the kind of person for whom “good enough” is never good enough, and I knew there was room for improvement here. I’ve grown a lot as a producer and recording artist since I originally recorded the CD almost 10 years ago. Plus, we have much better recording, mixing, and mastering equipment now, so from a technical side I knew I could make the CD sound a lot better, which to me it deserves. It also gave me the ability to release a bonus, never-before-heard original song that I call, simply, “Jimi.” The name says it all! That track is absolutely intense and powerful, and Vinnie is just insane on it! He’s a freak of nature and it was so much fun having him on the album!
What basses and gear did you use on the record?
There were quite a few: My Kiesel/Carvin B25 5-string fretted and fretless electric basses, B24 4-string fretted and fretless electric basses, B24 4-string fretted electric piccolo bass, and B24 4-string fretted electric tenor bass; my 300-year-old Italian upright acoustic bass, on “The Wind Cries Mary”; my steel-string acoustic piccolo bass, on “The Wind Cries Mary,” “All Along the Watchtower,” and “Hey Joe”; and my BSX electric upright bass on “Hey Joe.” All the different basses made it possible for me to do the album essentially by myself—along with Vinnie’s amazing playing. I’m very proud of this record for many reasons, but the main reason is that it breathes, has peaks and valleys, and does not in any way sound like just a bass player and a drummer. It’s a project honoring a giant, and I am humbled to offer my take on Jimi’s music.
Read Article: Bass Magazine
Classic-rock songs often turn into cultural signposts for no clear reason — what does this 1969 Blind Faith epic really mean, anyway, with its obtuse lyrics and addictive, endless vamping? The pianist Christian Sands and his trio make the song matter again. Yasushi Nakamura's exploratory bass line opens the way for Sands's touch on the keyboard, at first light, then increasingly driven by Clarence Penn's kicking drum. In their hands, the song is about questing itself: its loneliness and excitement, the determination it requires, the way the final destination ultimately doesn't matter. Music is the best place to find yourself, getting lost. — Ann Powers
Read Article: NPR
Barely out of his 20s, Christian Sands is an extraordinarily complete musician. It isn’t just the quality of his playing, although he has the most deft and sensitive touch at the keys; or his compositions, although they are remarkably accomplished for one so young. And it isn’t even his rapid ascent through the ranks of contemporary jazz, which has seen him sharing stages with everyone from Christian McBride to Wynton Marsalis.
No, it’s the fact that he has developed ideas about music from fields as diverse as film and martial arts. Take this new album – his eighth as leader (he recorded his first at the age of 11). “Be water” is no random phrase but a concept that informs Sands’s whole outlook on music and life in general. While studying martial arts, he was struck by a suggestion of Bruce Lee’s – that in order to be an effective fighter, you must be like water, adapting yourself to the shape of whatever vessel you find yourself in.
The analogy with the shape-shifting world of jazz improvisation is pretty obvious. Sands’s style is free-flowing, and even the titles of the tunes on this new album are saturated with the idea of water in all its forms. Accompanied by his long-time bassist Yasushi Nakamura and more recently acquired drummer Clarence Penn, the melodies pour out of every tune. The Keith Jarrett-like Sonar (the way we can communicate under water) features splashy cymbals and bass patterns that follow the piano as closely as a pilot fish follows a shark. One of my own favourite tracks is Crash, in which Sands disguises himself as George Shearing, with a gorgeous swing tune that features a locked-hands refrain.
All the compositions on Be Water are Sands’s own apart from a straightforward rendition of the old Steve Winwood tune Can’t Find My Way Home. The sunny, optimistic Drive features Marcus Strickland switching mid-tune between bass clarinet and tenor saxophone, and – a revelation to me – guitarist Marvin Sewell, who unleashes a blistering solo that sounds uncannily like Elliott Randall on some old Steely Dan LP. Sands has dubbed Sewell “the greatest guitarist you’ve never heard of”, and on this evidence, that’s a pretty accurate description.
The most beautiful tune is Still (as in “Still waters run deep”), an out-of-time meditation that feels like gliding along in a punt on a summer’s afternoon. This impression is aided by subtle sound effects of trickling water and oars creaking in their rowlocks. Here, Sewell delicately brushes the strings of an acoustic guitar in chalk-and-cheese contrast to his work on Drive, as Sands invokes Claude Debussy on the piano.
Elsewhere he is joined for a couple of tracks by Sean Jones (trumpet) and Steve Davis (trombone), and on the stately Be Water II by a string quartet. This tune does a left turn halfway through, as the quartet wanders off into some curious harmonic exploration which the piano ignores, sailing on with its rather formal melody. By rights it should be a film theme. But that’s another story for some other time.
Read Article: London Jazz News
Billy Childs is known for the elegance of his designs; he’s a composer, arranger and producer with a feeling for the dignity of form. But of course, Childs is also a terrific pianist and keyboardist, and sometimes it’s all too easy to let that part of his identity slip to the side. Not so on a new album, Acceptance, which Mack Avenue will release on Aug. 28.
The album finds Childs at the helm of a stellar quartet with saxophonist Steve Wilson, bassist Hans Glawischnig and drummer Eric Harland. On “Leimert Park” — a tribute to the Los Angeles neighborhood home to the World Stage — rhythm serves as a guiding spirit. (It should be no surprise to learn that Childs developed this groove with Paul Jackson, Jr. and Mike Clark, alumni of Herbie Hancock’s Headhunters.) Stick around for a smart Fender Rhodes solo and some phenomenal drum fills over a vamp in fractured meter.
Read Article: WBGO
Empty your mind,” Bruce Lee said famously (by way of his friend, screenwriter Stirling Silliphant). “Be formless, shapeless, like water. You put water into a cup, it becomes the cup. You put water into a bottle, it becomes the bottle … Now water can flow, or it can crash. Be water, my friend.”
Christian Sands, using those words to introduce “Be Water I,” laces the metaphor throughout. I can’t read Sands’ mind, and the quote serves as deliberate mental conditioning, but armed with Lee for philosophy the pianist/composer spends the album mixing, blending, crashing, and flowing both through and around his sidemen and everybody’s ideas. “Be Water I” itself gives us a quiet but forceful stream, underpinned by Yasushi Nakamura on bass and Clarence Penn on drums; but the “I” sets up “Be Water II,” which has the elegance of a Viennese waltz, complete with string quartet (arranged by Miho Hazama).
The title of “Sonar” alludes to peering forward through liquid. Here Sands pushes ahead often, leaving Nakamura to fill in the gaps and Penn to stand off slightly to one side as if dryly amused by the other two. “Drive” opens in several trickles, Sands testing himself alongside guitarist Marvin Sewell’s obstinate staccato, while saxophonist Marcus Strickland is careful to stay modest and soft enough that you lean in to grab what he’s proffering.
“A good martial artist does not become tense, but ready,” Lee expounded in Enter the Dragon (written by Michael Allin). “Not thinking, yet not dreaming. Ready for whatever may come. And when there is an opportunity, I do not hit … It hits all by itself.” Take the fighting advice and transfer it to the yearning for collective consciousness: Sands expands, contracts, finds form in exploration, finds validation.
Read Article: JazzTimes
Christian Sands, Be Water (Mack Avenue)
Pianist Christian Sands’ latest album was originally supposed to come out in May, but then jazz caught the ’rona and a bunch of records were delayed. Anyway, it’s out now and it’s really good. The core band features bassist Yasushi Nakamura and drummer Clarence Penn, with guests — trumpeter Sean Jones, trombonist Steve Davis, saxophonist Marcus Strickland, and guitarist Marvin Sewell — showing up here and there. This track, a version of Blind Faith’s “Can’t Find My Way Home” begins with almost detuned bass thumps, but when Sands strikes the keys, he’s playing in an almost New Orleans rock/R&B style, reminding me of Leon Russell and/or Dr. John. Nakamura’s solo is forceful, like he’s trying to yank his fingers loose of the strings, accompanied by subtle shaken percussion before the piano comes pumping back in. This is a heavy, committed performance from everyone involved, transforming this song into something transcendent.
Read Article: Stereogum
Christian Sands, “Be Water” (Mack Avenue)
The metaphor suggested by the title of Christian Sands’ new album is apt.
The jazz pianist says he was trying to be freer and more flexible on “Be Water,” and it shows. The set’s 10 cuts explore a wide range of moods and instrumental combinations, with Sands’ trio at the core.
Much of the material is built on the same pattern of tension and release found in a body of water. That begins with the opening “Intro,” which settles on the tonic chord after nearly four minutes of shimmering undulation.
The reflective “Still,” featuring Marvin Sewell on acoustic guitar, rides a mere ripple of rhythm. On “Be Water II,” a string quartet plays against the lapping beat established by Sands’ piano. Marcus Strickland’s woodwind work makes “Drive” swing as it crests with a cascading electric guitar solo by Sewell.
Sands rarely cuts loose at the piano — his objective isn’t to be splashy — but he takes an active role as the producer, overdubbing extra keyboards and including sound effects and brief recitations by martial artist Bruce Lee. “Water can flow, or it can crash,” Lee says. Forgive the flood of puns, but “Be Water” flows freely.
Read Article: Associated Press
Pianist Christian Sands is fascinated with the element of water – vital to life, surrounding us in so many ways, calm and beautiful and by turns turbulent and devastating. This is his inspiration for his third full-length album on Mack Avenue, Be Water, from the tranquil to the powerful, malleable and unpredictable. The album takes its title from the philosophy of martial arts master and movie star Bruce Lee. Lee appears on both halves of Sands’ title track offering this advice, “Empty your mind. Be formless, shapeless, like water. If you put water in the cup, it becomes the cup; if you put water into a bottle, it becomes the bottle…Water can flow, or it can crash. Be water, my friend.” (And, perhaps coincidentally there is a forthcoming movie of the same name but this Is not its soundtrack.)
The evocative recording finds Sands with his core trio of longtime bassist Yasushi Nakamura and drummer Clarence Penn, with an elite cadre of front line players including guitarist Marvin Sewell, (several electric and acoustic guitars),Marcus Strickland (tenor sax, bass clarinet), Sean Jones (trumpet) and Steve Davis (trombone). On one piece the ensemble is also supplemented by a string quartet featuring Sara Caswell, Tomoko Akaboshi, Benni von Gutzeit and Eleanor Norton. Sands plays acoustic piano on every track, layering in keyboards and voice on the opener, Fender Rhodes on four, and Hammond B-3 on “Drive.”
This is a highly conceptual work, rich in visual imagery if one were to close one’s eyes and imagine the context of water in the song. The opener builds gradually, with the glacial pace and implacable momentum of a rising tide. The simple sounds of lapping waves flow into a dawning melody on arco bass, slowly but forcefully surging to a gripping crescendo as more instrumentalists join in. The piece was modeled on the impactful openings of another of Sands’ major influences, filmmaker Quentin Tarantino. The rollicking “Sonar” takes the concept of navigating via sound as a metaphor for the way in which we relate to our surroundings. Lee’s words usher in the chorale-like “Be Water I,” with its interwoven horn lines over Penn’s shifting tempos. This is the first piece where we hear all three horns, one of only two. Its companion piece, “Be Water II,” is an elegant, majestic dance between the trio and the string quartet, arranged by Sands’ Manhattan School of Music classmate Miho Hazama.
Propelled by Penn’s driving rhythm, “Crash” depicts the impact of waves on the shore, or the collisions among people. It has a nice flowing, repetitive rhythm that builds to a climax with a resounding chord that does great justice to the word ‘crash’. The funky, syncopated “Drive” peers within, imagining personal ambition with the unstoppable force of the ocean, driven by emphatic bass and drums and summoning ferocious solos from Strickland on tenor and Sewell’s jaw-dropping entrance and subsequent solo on his custom slide while Sands dances all over the piano. This piece is explosive! a world apart from Sands’ “Intro” and some of the quieter pieces that follow.
The amorphous “Steam” by its very nature proves to be elusive; abstract and improvisational and highlighting the superb drumming of Penn and bass playing of Nakamura as they respond to Sands’ thrust or engage in their own two-way dialogue. The choice of the lone cover, Steve Winwood’s “Can’t Find My Way Home,” is an interesting one, apparently derived from water’s ability to travel ridiculous distances or begin in the clouds only to fall to earth. This is another trio piece with Nakamura’s prominent Arco bass, Sands’ scintillating piano and Penn’s driving beats. The gospel-tinged take builds to a fast, exuberant tempo midpiece before receding quietly like (dare we say ‘water’). The unlikely pairing of Sewell’s expressive guitar and Sands’ evanescent touch evokes a tranquil lake, reflecting a clear blue sky and gliding birds on “Still.” The fanfare-like “Outro” playfully reverses the “Intro,” ending the album on a cinematically celebratory note, as if a rushing waterfall in spring, as all three horns rejoin the trio, along with Sewell.
Sands delivers a stunning piece of music, with so many passages of sheer beauty countered by captivating moments of unyielding power. It’s a true testament to his imagination and talent. You may never think of water the same way again.
Read Article: Glide Magazine
It’s been a pleasure to watch pianist Christian Sands grow as a composer, musician and bandleader. By the time he was ready to graduate from Manhattan School of Music, he had released three trio albums and been nominated for a Latin Grammy as part of the School’s Afro-Cuban Jazz Orchestra, led by Bobby Sanabria. Tabbed by Christian McBride to be part of his quintet Insight Straight, Sands quickly became known as one of finest young pianists of his generation.
Be Water is his fourth release on the Mack Avenue label, and it finds him to mature as an artist. His compositions show him willing to take chances, and the band he has assembled for the sessions is top notch. Anchored by long-time collaborator Yasushi Nakamura (bass) and drummer Clarence Penn, he continues to bring in ace players like guitarist Marvin Sewell, saxophonist Marcus Strickland, trumpeter Sean Jones and trombonist Steve Davis. On one piece, the ensemble is supplemented by a string quartet featuring Sara Caswell, Tomoko Akaboshi, Benni von Gutzeit and Eleanor Norton.
Sands is more than just a top jazz musician – he is a jazz fan. Out conversation is peppered with his enthusiasm for his musicians, and for others he he has had a chance to work with, including drummer Ulysses Owens, Jr. and singer Gregory Porter. Further, he has spent much of the past few years helping preserve the legacy of pianist Erroll Garner, both by performing Garner’s works with his High-Wire Trio (with bassist Luques Curtis, and drummer Terreon Gully) and serving as Creative Ambassador for the Erroll Garner Jazz Project at the University of Pittsburgh.
Podcast 750 is my conversation with Christian Sands, as we talk about his many projects, including the making of Be Water. Musical selections from the album include one of two songs entitled “Be Water”, plus “Still”, a tune featuring Marvin Sewell, and a cover of the Blind Faith classic “Can’t Find My Way Home.” From Nat King Cole & Me, his recording with Gregory Porter, comes “Pick Yourself Up.”
Article and Podcast: Straight No Chaser
It’s been said that everyone should own at least one Erroll Garner recording and for most people that will be his magnum opus `Concert by the Sea`. After that, adding any one of his remaining albums would be sufficient to bottle his magic except for completists who are compelled to hang on every note. If you are one of those then it’s your birthday because Mack Avenue are in the process of re-issuing twelve of his later albums and the first of these to come my way is his final studio album, recorded four years before his untimely death at the age of 55.
So much has been written about Garner over the years, so much praise heaped on him that all analyses of his style have become clichéd and all superlatives exhausted but perhaps his most perceptive critic was the writer who rather irreverently described him as `a brilliant deceiver`. The American jazz columnist Whitney Balliett, writing in the 1960’s, felt that though Garner’s brilliance remained undiminished throughout his career his style remained essentially the same with his later work “toppling over into self-parody” and that he approached each melody as though it was a “hat-rack” on which to drape familiar mannerisms. Garner’s admirers would never agree to such an assessment but there can be no doubt that his playing was formulaic notwithstanding the energy and ingenuity he invested in each performance. But, as his most enthusiastic adherents might say, “What a formula!”
All the familiar features of his style are on display here from the teasing opening cadenzas which miraculously segue into chugging versions of songbook favourites, the hair-raising dynamics and nerve tingling tremolos, the layers of neo-baroque improvisation overlaid with expressive vocalisations: a sound so rich and monumental that bass and percussion is almost rendered redundant.
Apart from being Erroll’s studio swansong this session is significant that the playlist includes four self-penned originals apart from the usual a slew of standards. Of these a gospel inflected tune, `One Good Turn` utilises organ cadences and tambourine to enhanced atmospheric effect whilst elsewhere the combined percussive forces of the estimable Grady Tate, the hugely dependable, Bob Cranshaw and the propulsive Jose Mangual add an extra dimension of forward momentum to the ever driving mix.
The set opens with Bacharach and David’s `Close to You`, a lachrymose pop hit, which is redeemed with a beneficial shot of rhythmical testosterone, and closes with a bouncy original that wasn’t included in the original album – the sleeve notes of which can be accessed by visitingwww.errollgarner.com/ORS. In between there are tunes by Kern, Gershwin and other Tin Pan Alley notables, making for a nicely balanced, well recorded session that also stands as testimony to the talents of its original producer and civil rights pioneer, the late Martha Glaser.
Read Article: Jazz News
Originally a part of Duke Ellington’s Black, Brown And Beige, the composition “Come Sunday” has taken on a life of its own during the past several decades. And bandleader John Beasley has included the tune on his upcoming album, MONK’estra Plays John Beasley, set for release Aug. 21 on Mack Avenue.
The tune, which features classical baritone Jubilant Sykes, is undergirded by a passionate wash of color, making use of a lyric that’s as salient today as when it was written in 1942.
“I wrote the arrangement of ‘Come Sunday’ shortly after re-reading To Kill a Mockingbird, and it was sort of like scoring that movie for me,” Beasley said. “We’re still struggling with the same issues of justice as in that book, and I hope this arrangement tells a musical story of hope; the hope that African Americans put in their music, and the hope that they share for the future of this country to strive for equality.”
The version here, Beasley said, leans on the idea that Gospel music has reached generations of jazz players, including Ellington and John Coltrane. Whatever the lens, Beasley’s arrangement, replete with a burning saxophone feature toward the final third of the piece, summons the spirit, exaltation and perseverance present in Duke’s original. DB
Read Article: DownBeat
Christian McBride’s list of roles and achievements is nearly endless.
The bassist, composer, arranger and bandleader is a six-time Grammy winner who has recorded 16 albums of his own while appearing on more than 300 recordings as a sideman. He’s also an educator and broadcaster, and he currently serves as the artistic director of the Newport Jazz Festival.
For a long time, McBride has been a voice for social justice. His most recent album, The Movement Revisited, represents his personal dedication to justice with sonic representations of four key figures of the civil rights movement: Dr. Martin Luther King Jr., Malcolm X, Rosa Parks and Muhammad Ali.
McBride joined us for a conversation about what’s going on in the world right now — in particular, the George Floyd protests demanding racial justice across the U.S. and beyond — and about the details of his latest musical projects.
You just celebrated your 48th birthday this past weekend. Happy belated birthday.
I’m guessing it’s one you won’t soon forget.
It was definitely a day of mixed emotions. My mom still lives in Philadelphia, and Sunday evening was when the riots really went up a notch. I spent my whole birthday worried about my mom and all my friends down in Philly.
You’ve been in this for a long time. I understand you were part of a town hall in the Bill Clinton era. So, it’s been almost 25 years, four administrations. I’m wondering if you feel that there’s anything different about what’s happening right now.
I’ve now remembered at least seven or eight major riots and incidents where there’s been some example — and, in many cases, documented examples — of a Black person being killed by the police. Very well-known incidents with Michael Brown, Philando Castile, all the way back to Rodney King, who was not murdered but almost beaten to death, and caught on camera. After all of those incidents, there was always some uproar. The cycle always happens. There’s the outrage, then there’s a riot, and then there’s a healing process. You get everybody from politicians to your everyday citizens saying, “We’ve got to do a better job. We’re going to do a better job. We all need to come together.” And then at some point, everyone goes back to hugging and kissing and we go back to what we had always been doing. However, this really does seem a lot different, and I think it had to do with not just brother [George] Floyd being killed, but that coupled with the Amy Cooper video in Central Park. I think those two things happening back to back… Now, the outrage is genuinely across the board.
You are seeing things in all 50 states. It’s usually particular cities that take the lead. But it really does seem like it’s everywhere. Even here in Toronto, we had a huge demonstration. It’s global, beyond the United States.
I did an interview this morning with a Swedish radio station, and they have protests going on over there.
Are you hopeful?
I think you have to be. If you’re not hopeful, you’re going to live a life of manic depression and pain and anger. You don’t want to live like that. You always have to hope and be the best you can be … At this point, I am so uninterested in what people have to say. I want them to do. I don’t really need to know your outrage. Show me your outrage by changing your behaviour if you need to change it. That’s really all I care about.
George Wein, the longtime head of the Newport Jazz Festival, put out a beautiful statement a couple days ago. Talk to me a bit about that man and what he said.
He’ll be 95 on his next birthday in October. Here’s a man who was in an interracial marriage, travelling through the Jim Crow south when it wasn’t legal. Often you would see a Black man with a white woman; in this case it was a white man with a Black woman. He has seen and experienced discrimination, hatred and racism in his own life. [With] him trying to start a jazz festival in places like New Orleans, which is like the cradle of American musical culture … all the way up to Newport, which is a blue-chip, rich, almost all-white town, George Wein has seen and done it all. That’s one of the beautiful things about music: Notes are sound waves, and those don’t have a colour. A B-flat is just a B-flat. You could have your own little biases on the person who’s playing that B-flat, but the note itself has no colour. That’s why jazz is so beautiful. You have to have empathy when you’re improvising with another group of musicians. So, whatever biases you may have, they go away once you start making music. You have to listen, you have to pay attention, you have to react, you have to respect what that person’s playing. If you choose not to, it’s not going to sound good and no one’s ever going to want to play with you. That’s the beauty of specifically playing jazz. You have to be empathetic.
Amid everything else, how have you and your family been managing over these last few months? Have you found some joy in it all?
We found a lot of joy in this. We obviously don’t like the reason why we’ve had to stay at home — this deadly pandemic that still isn’t over — but we’ve been taking this time to really work on ourselves. My wife Melissa Walker, she’s been moving everything from Jazz House Kids online, like everyone is doing now. The whole world is one big Zoom chat, day after day. We’re planning our annual gala, which is of course going to be virtual. Same thing with the Newport Jazz Festival — we’re planning something. But we’ve actually enjoyed our time at home. It’s nice to not have to rush to an airport for the first time in my life.
On your social media, you’re doing “the week ahead,” and when I watch it, it sounds like that apartment is going 24/7. You’ve got so many things on your plate. It hasn’t slowed you down that much.
I think anyone could probably make a video like that. We’re all hustling and working hard trying to regroup our lives and put it online. I just happen to be officially involved with a couple of different organizations, and I have to get the word out. We’re all hustling, trying to make it happen.
You just released The Movement Revisited in February, but you also have something new coming as well, a big-band recording called For Jimmy, Wes and Oliver. Tell me a little bit about that. Of all the people on which to put a spotlight, why did these three become the ones you targeted?
Because of Joey DeFrancesco. He’s my oldest friend in music. We’ve known each other since middle school. And for as close as we were growing up as kids, we never really made a full album before. Couple of tracks here and there, but never have we sunk our teeth into a real, serious, full-scale project. So, we played together on the Jazz Cruise a couple years ago, and we just sat down and said hey man, let’s stop messing around. Let’s really do this. And it just seemed natural to salute those two great records that Jimmy Smith and Wes Montgomery did together with Oliver Nelson’s big band. Joey is the heir to Jimmy Smith’s throne — I don’t think there’s any argument about that. He’s our greatest living organ player. And I wish I could be as good as Oliver Nelson with the pen. So we thought, who could play the Wes Montgomery role? And again, Mark Woodfield is another of our oldest friends. It just seemed to be the right thing to do. We didn’t exactly do all of the songs from the Jimmy and Wes recordings — just a few, and then I wrote some new arrangements and a couple of originals. It’s a salute, but we’re not exclusively playing music from their albums.
Is there anything else in the pipeline?
Not of my own, but there are two releases coming out. The reunion of the original Joshua Redman Quartet with myself, Brad Mehldau and Brian Blade, that’s coming out on Nonesuch. And then in January, the next release on my imprint, Brother Mister Productions, is Dan Wilson’s new project, and I produced it.
Read Article: JAZZ.FM91
Here’s an exclusive premiere of a song performed by pianist Christian Sands for his upcoming album Be Water. Bassist Yasushi Nakamura and drummer Clarence Penn join Sands for this trio performance of “Can’t Find My Way Home,” a Stevie Winwood composition that Winwood recorded with Blind Faith in 1969. Haunting and heartfelt, the song was the highlight of that album, and this interpretation, which plays the melody straight, reminds us what a beautiful melody that is.
Be Water comes out on July 17 on the Mack Avenue label. Guest artists include Marcus Strickland, Sean Jones, Yasushi Nakamura, Clarence Penn, Marvin Sewell, and Steve Davis. Christian Sands’ resume includes his tenure with Christian McBride’s Inside Straight and the Christian McBride Trio—both high-profile gigs with some of the finest players in jazz. This trio performance helps illustrate why Christian Sands is a core member of those groups.
Read Article: The Absolute Sound
There’s a back story to these 12 reissues of pianist Erroll Garner’s recordings, listed here in the approximate order of their release. The first in the series, Dreamstreet, was recorded over two consecutive nights in December 1959, four years after Garner’s historic (and almost hysterically) popular Columbia recording, Concert by the Sea. It took two years for Dreamstreet to be issued and, when it was, the disc appeared on Garner’s own Octave Records. What happened? Garner had decided to take up struggle “for control of his own catalog,” He was contending with Columbia Records, the giant in the field — the corporation whose recordings had made him a star. It was an admirably daring move on Garner’s part, but self-determination was an integral part of his makeup.
The notes to Dreamstreet were written by his longtime manager Martha Glaser. They suggest (indirectly) what Garner had gone through and the reasons why the battle had been worth it. We are told that Garner won by NOT walking into a studio: “After a history-making hiatus from recording, Garner is here, playing, with the greatest freedom of his noteworthy recording career. These sides embody some of the most spirited, inventive, and moving Garner performances ever recorded. Garner had unprecedented freedom in recording these works, a circumstance for which he, as a prolific improviser, has long striven. Time was no factor: there was room to experiment stretch out, and just ‘blow’ — with complete surety that no material would be released without his personal approval.” On the first of two nights of recording, he and his mates, Eddie Calhoun on bass and Kelly Martin on drums, played from 10 p.m. to 6:30 the next morning. Garner missed the studio. And, for once, time was no factor.
Legends grew up around the obviously feisty Garner: he was 5 foot two and was said to perform on a stack of telephone books. (A paper tower that isn’t visible in any of the photos I have seen of him.) The pianist couldn’t read music, or at least he said he couldn’t, which was not necessarily a desirable failing in the bebop era. But the fact that he ‘played from his head’ helped endear him to the crowds that attended his concerts. Fans also loved how he accompanied his improvisations with grunting vocals. He interacted with listeners in other distinctively winning ways. When I bought his album Closeup in Swing in 1961 what initially stood out were his elaborate musical introductions. He would start out confidently and proceed at length, but it often was not at all clear what tune he was going to play. When, after a long excursion, he finally hit the familiar melody, whether it was “Just One of Those Things” or “Sweet Lorraine,” the audience would laugh and clap delightedly. It was as if he was playing peek-a-boo with a child — an amusingly mischievous relationship was established.
He was undeniably exuberant as a pianist, given to stomping chords, roiling tremolos, and sudden drops in volume. He liked to play melodies in a hush. His left hand would chomp out a steady four four rhythm that always sounded a little rushed — as if it were late for a train. Meanwhile, he would be inventing melodies, interrupting them with thumps and grandiose gestures, double time passages in octaves, or icy single note lines. He marked the end of choruses with huge crescendos, which were inevitably followed by a drop to a pianissimo. His style was all about big contrasts. He begins “St Louis Blues” (on Closeup in Swing) with a stabbing series of chords that could have been made by a pile driver. Then he states the first section of W.C. Handy’s celebrated piece in Latin style. Then he reverts to a still more aggressive four/four, at the point in the song when a singer is telling us she hates to see the evening sun go down.
Of course, his repertoire included his own compositions — he was the composer of “Misty” — but mostly he played a succession of well known standards and show tunes, such as the medley from Oklahoma on Dreamstreet. He famously recorded a West Coast session with Charlie Parker, but he tended to bypass the bop or hard bop repertoire: it would be hard to sound less like Bud Powell than Garner does. Still, later on, in his own way, he latched onto a few jazz hits, including Herbie Hancock’s “Watermelon Man” and Jobim’s “The Girl From Ipanema” (both on Up in Erroll’s Room). Overall, though, his repertoire could also have been played by Louis Armstrong, or by a swing musician such as Lester Young: many songs found here were played by both. (An exception is Blood, Sweat and Tears’ “Spinning Wheel,” found on Feeling is Believing.)
Garner was born in Pittsburgh in 1921. He passed away from heart trouble in 1977. He was a twin, but the serious musical competition in his family of six kids was big brother Linton, a pianist who in 1946 started recording with the famous Billy Eckstine Orchestra. By then, the mostly self-taught Erroll, after a mini-career as what Charles Dickens would have called an infant prodigy, had moved to New York City. The first recordings that have survived were made in the home of Timmie Rosencrantz. They were once available on Classics as Erroll Garner 1944 and 1944, Volume Two. (Other early recordings are on the Complete Savoy Masters.) His trio was a hit soon after he arrived in Manhattan. He got around. In 1945 he recorded with bands led by Slam Stewart, Georgie Auld (featuring Dizzy Gillespie) and, most impressively, saxophonist Don Byas. He moved to California and recorded with the progressive band of Boyd Raeburn, with a newly reconstituted trio and, on February 17, 1947, performed with the Charlie Parker band that made “Cool Blues” and that supported the booming singer Earl Coleman on “This is Always.” By 1950, he was signed by Columbia Records: they re-recorded his “Misty” with an orchestra conducted by Mitch Miller. With Columbia, he made a number of successful recordings, including Paris Impressions.
Nonetheless, by the ’60s, he was on his own, as he desired to be. I doubt that he ever looked back. (I am not sure I’d be able to distinguish his Columbia style from the way he was playing for his own label, but it must have felt different for him.) What Octave has done is take 12 Garner LPs, re-master them expertly, and added some previously unreleased cuts. Now Playing, One World Concert, Dreamstreet, and Campus Concert are trio recordings: on Gemini the trio is augmented by José Mangual on congas. To me, the trio setting seems most natural to Garner — though his rhythm section has to spend a lot of time discreetly waiting for him to get to the tunes. A New Kind of Love gives us Garner playing (mostly) the score for the film of the same name. The movie stars Paul Newman and Joanne Woodward, and the session features Garner with an orchestra conducted by Leith Stevens. Veteran arranger Pete Rugolo did some of the arrangements, as in Garner’s version of “Mimi.” Interestingly, and perhaps because he is driven by a large group, Garner sounds less eccentric here, less distinctive then he does on his trio sets. Yet this is a fine collection of tunes, five composed by Garner. The idea was to showcase the pianist’s compositions, but my favorite cut is the delightfully gentle swing of the title track, “You Brought a New Kind of Love to Me,” introduced to the jazz world in 1930 by Ethel Waters. The tune never disappeared, with later recordings coming from Bing Crosby, Frank Sinatra, and Peggy Lee. Garner’s instrumental version is in that league.
Garner is back to his grunting self on That’s My Kick, in front of a band that includes a rhythm guitar, multiple percussionists, and the veteran bassist Milt Hinton. I rather like Garner’s witty composition, “Nervous Waltz.” The first notes we hear on Up in Erroll’s Room are by the bassist, who sets up the groundwork for “Watermelon Man.” Here, Garner is joined by a brass choir. In one introduction the pianist seems to be making a mambo out of “I Got Rhythm.” That is followed by “True Blues,” which is striking because it points out how few blues Garner recorded. Feeling is Believing puts a great bassist, George Duvivier, in a supporting role, and offers an expanded rhythm section. They play an uptempo “Strangers in the Night” and, with unusual daintiness, Garner’s “Mood Island.” The album Magician contains another notable blues, “It Gets Better Every Time,” along with an occasional use of Norman Gold’s organ. Finally, there’s a collection of American classics, Gershwin and Kern, tunes recorded at various times in the ’60s and first collected and issued in 1976.
Thanks to Octave and Mack Avenue, a significant section of Garner’s storied career is back, sounding better than ever before. It’s hard to sum up his appeal. Garner is mannered; his style barely budged once it was set in the ’50s. Yet the pianist is always having a ball and that exhilaration is infectious. Listeners know that he plays the best tunes, and he does so, as one of his titles suggests, with mucho gusto.
Read Article: Arts Fuse
Feeling Is Believing
BEST-known for his best-selling and swinging 1955 live record Concert By The Sea, US jazz pianist Erroll Garner was a legend in his own lifetime, though arguably he never quite received the critical acclaim he deserved.
A 1970 album of reinterpretations of popular songs, Feeling Is Believing is one of 12 Garner albums being restored and rereleased and it will hopefully raise the profile of the self-taught maestro a little. The song choices, such as The Look Of Love and The Supremes’ You Turned Me Around, very much feel like an attempt to stay relevant.
But what could have been embarrassing turns out to be a wonderful showcase of Garner’s distinctive talent, with his playing inventive, lively and accessible. The Beatles’ Yesterday is transformed into a bluesy stomp, while he blasts through Stevie Wonder’s For Once In My Life.
A joyous set.
Read Article: The Morning Star
Pianist Harold López-Nussa’s forthcoming album Te Lo Dije, due out August 28 on Mack Avenue Records, takes its name for the Spanish equivalent of the English phrase “I told you so.” It’s a fitting title, because if you haven’t started paying attention to this Cuban keyboard sensation yet, you better start soon. He’s already released two phenomenal albums on the Mack Avenue label — Un Dia Cualquiera and El Viaje — and with his latest, he is poised to position himself among the top ranks of modern jazz pianists. So if you blink and next thing you know he’s a superstar, well … te lo dije.
Musically, Te Lo Dije is all about bridging the gap between jazz and Cuban pop music, an audacious project, but one that his working ensemble — with drummer Ruy Adrián López-Nussa, bassist Julio César González and trumpeter Mayquel González — rose to the challenge to accept. “When I first told the guys that I wanted to mix reggaeton with jazz they looked at me like, ‘Are you crazy or what?’” López-Nussa saidin a press statement. “They have nothing in common. The same with Mozambigue or Songo. But I told them it would work.”
And work it does. Songo, Mozambigue, Son Montuno — from a panoply of styles López-Nussa is able to fashion a completely new and totally original musical aesthetic. Even contemporary reggaeton finds a place in his patchwork of sounds, with all of it enlivened by the fleet-fingered jazz style that has become his signature. Te Lo Dije also benefits from the inclusion of a number of special guests, including Afro-Cuban funk superstar Cimafunk; singer Randy Malcom of famed Cuban reggaeton band Gente de Zona; and vocalist Kelvis Ochoa, another longtime collaborator.
Award-winning French accordionist Vincent Peirani appears on the group’s version of “Windmills of Your Mind,” which has its video premiere here. The tune is a nod to López- Nussa’s French ancestry, and for his fondness of the composer Michel Legrand, who composed the score for the 1968 film The Thomas Crown Affair.
López-Nussa’s arrangement preserves the swirling sense of mystery and longing at the song’s core, but injects it with a healthy dose of groove courtesy of a propulsive piano ostinato, a searing solo by Pierani and some white-hot cajon work from Ruy Adrian López-Nussa. Stick around until the end of the video for the funky, chopped-up breakdown, in which the group pivots hard and fast toward a new groove. It’s a bracing and pleasant surprise, as if the tune’s energy suddenly explodes out of its original container.
Read Article: Jazziz
Trumpeter Jeremy Pelt and sax man Walter Smith III wander in and out of this set, anchored by the leader’s piano and Rhodes, Ivan Taylor’s bass, and drummer/producer Bill Wysaske, who discovered Han when she was 14 at the Los Angeles County High School for the Arts. Drummer and pianist have worked together ever since then, although Wysaske, much to his credit, doesn’t try to horn in on or thump over the others—though he does contribute the original tunes that Han doesn’t. Indeed, the overall theme of this record (Han’s third, and second on Mack Avenue) reads as respect. Nobody stomps, nobody shouts, and nobody gets in anybody else’s way. The acolyte manifests respect to the master second by second, and the master gives a short, but not curt, nod: Stoke the groove and solve problems.
Han’s got the discipline to edit herself too: The second track, Wysaske’s “Nova,” doesn’t explode like a supernova but burns low like a star making a dignified exit. On the Rhodes, she dials her left hand down to a pilot light, accentuating the plaintive pinging from her right fingers. Smith and Pelt, when they turn up, spend a pleasing percentage of their time riffing off each other: one throwing out a figure, the other sailing deftly through the spaces left by the first. I’m reminded of Eric Dolphy’s exchanges with, say, Freddie Hubbard, but with more breathing room between standpoints, and wider intervals between notes. Relax, everybody seems to say. Relax, but focus. Stay with the beat, stay disciplined, and we’ll make it all the way home.
Read Article: Jazz Times
Another link to the freedom struggle of the 1960s can be found in a new single by bassist Christian McBride, “Medgar Evers Blues.” For those who may not know, Evers was a civil rights activist and war veteran who died in 1963 at the hands of a white supremacist in Mississippi. (Friday was the anniversary of his death.)
The song was composed by guitarist Mark Whitfield, who introduced it on his 1990 debut album, The Marksman. Whitfield is featured on the melody in this new version, the second single from a forthcoming album by the Christian McBride Big Band. Both McBride and Whitfield were part of a wave of so-called Young Lions in the early 1990s — and so too was organist Joey DeFrancesco, who joins them in the rhythm section along with drummer Quincy Phillips.
For Jimmy, Wes and Oliver will be released on Mack Avenue Records on Sept. 25; preorder here.
Read Article: WBGO
Just as it did during the civil rights movement and the Vietnam War protests, music is playing an important political and inspirational role in the Black Lives Matter movement and the worldwide protests in support of it. As of this writing, the two-day old, 65 song “Black Lives Matter” playlist on Spotify already numbers almost one million followers, and features artists from four generations, including James Brown, Billie Holiday, Sam Cooke, Nina Simone, Bob Marley, Gil Scott-Heron, N.W.A., Public Enemy, Kendrick Lamar, Esperanza Spalding, Nipsey Hussle, Ludacris, and Killer Mike. The list’s diversity of musical styles shares the common theme of exposing and fighting the systemic racism that for too long as been a centerpiece of America’s story.
In light of this, a jazz recording that has caught my ear is Christian McBride’s The Movement Revisited: A Musical Portrait of Four Icons, an hour-long suite of recreated oral history and McBride’s original, interpretive music. (The album was recorded in 2013 but released by Mack Avenue Records for the first time earlier this year).
The top bass player of his generation, McBride’s suite is comprised of notable quotations by four of the civil rights era’s most important leaders – Rosa Parks, Malcolm X, Muhammad Ali, and Martin Luther King – interspersed with compelling, often powerful music performed by an impressive array of revered jazz musicians and the gospel choir Voices of the Flame. The result is political, of course, but it is also a poetic, theatrical, spiritual, and spirited reminder of how far we have come, and how far we have to go.
It remains to be seen if this album will ever be viewed as a cultural force in the way those on the Spotify list are, although given the extent of this era’s protests it is entirely possible. Regardless, McBride has done important work here, and at the very least it is a meaningful addition to any “Black Lives Matter” playlist.
Read Article: Jerry Jazz Musician
It’s rather rare for serious jazz musicians to market themselves the way pianist/composer Connie Han does on her second album, Iron Starlet. If one were to view the press photos, let alone those in the CD, one might think they promote a dominatrix. No matter: most of you are listening digitally these days anyway. Han’s music is attention-getting regardless. She drew raves with her 2018 debut Crime Zone, and now the 23-year-old pianist/ composer returns with a fierce set of tunes that pays respect to her forbearers like the late McCoy Tyner and Hank Jones to the Young Lion period artists spearheaded by the Marsalis brothers, Kenny Kirkland and Jeff “Tain” Watts, among others. Han expresses it this way, “The intention of this music is to continue a legacy of tough, primal, raw but still intellectually engaging straight-ahead jazz. I am an aspiring star in this music, but I am not a naïve, uncertain girl that people wrongly associate with that term.” So, that’s the gist of the album title, an iron-clad star who easily repels sniping, stereotypical quips. She’s not fooling around.
The toughness she references is rooted in the rhythm section, anchored by Han, bassist Ivan Taylor and drummer/producer Bill Wysaske, who also composed three selections. Han wrote five and two are covers. Veteran saxophonist Walter Smith III returns from the debut and is joined on the front line by trumpeter Jeremy Pelt to provide a mix of grit and sophistication – that fine line that Han insists on treading, fueled by the piano-drum partnership with Wysaske that has been in place for years and keeps evolving.
The title track opens as Wysacke’s percussive barrage paves the way for Pelt’s Freddie Hubbard-like trumpet entrance, segueing to Han’s relentless solo, propelled by a dialogue with the drummer. “Nova,” a live set staple, has Han on the Rhodes for an intricate, constantly shifting tune. As an aside, some of these titles like “Mr. Dominator,” “Boy Toy,” and “Dark Chambers” do seem to play into those alluring cover photos but we’ll let that ride and return to the music. The former is a nod to the Jones brothers, Hank and Thad. The swinging “Boy Toy” is a Wysaske composition and ‘Dark Chambers” is an aggressive tune recalling the groove of Kirkland’s “Chambers of Tain” from Wynton Marsalis’ Black Codes (From the Underground), a seminal album for this band and its music.
Han’s percussive piano style on “For the O.G.” is a direct nod to the late McCoy Tyner. “I don’t think anyone else did as much for the modern jazz piano as McCoy Tyner did,” Han says. “He really pushed the instrument forward as a percussive and interactive instrument, especially in tandem with the drums. Plenty of other piano players in the history were known for playing a lot of piano, but when McCoy Tyner plays, he’s able to be aggressive and full while also inspiring the rhythm section and provoking the drummer to react. I did my best to showcase my admiration in this tune.”
They take Joe Chambers’ “Hello to the Wind,” with Han again on Rhodes, to exploratory heights, injecting snippets of show tunes and themes from the Simpsons composer Alf Clausen. The standard “Detour Ahead” reveals her more delicate expressive side. “Captain’s Tune” carries a gentle sway as does the jazz waltz “The Forsaken,” showcasing Han’s nimbleness on the keys, supported by Taylor’s cushioning bass and Wysacke’s brush finesse.
“This band can go from the blues to the esoteric,” she says. “But we always strive to bring out the darkness, grit and depth in this music as much as possible. Those are the elements that we’re inspired by and the values that we hold quite dear.” Make no mistake. Han and band have the requisite chops and then some. This is straight-ahead jazz, inspired by tradition.
Read Article: Elmore Magazine
Connie Han says her music is “tough, primal, raw but still intellectually engaging.” She’s not kidding. An exquisite pianist in the McCoy Tyner mold, she also plays the hell of the Fender Rhodes keyboard. The follow-up to the outrageous potential of her 2018 Crime Zone debut, Iron Starlet (Mack Avenue Music Group) is what she is. A new voice for a not only a new generation, but for the generations who lived through the fusion and bebop revolutions, she’s also a bandleader of a dream quintet with bassist Ivan Taylor, drummer/producer Bill Wysaske, sax man Walter Smith III and trumpeter Jeremy Pelt (the new Freddie Hubbard!). Highlights include the 1948 jazz standard “Detour Ahead,” Han’s jazz waltz “The Forsaken” and a roots-reverent cover of “Chambers Of Tain” off Black Codes From The Underground, the Wynton Marsalis album that fueled the ‘80s New Traditionalist movement.
Read Article: Goldmine
Fame is a fickle and frequently finite condition for artists of any idiom. Pianist Erroll Garner experienced his fair share of notoriety over a thirty-year career, peaking with the release of Concert by the Sea on Columbia in 1955 and what would become a million made in record sales. Rooted in swing, his popular, but personalized keyboard style was flexible enough to embrace the advent of bebop and the primacy of pop. Feeling is Believing comes from the latter end of that spectrum and finds Garner trying to retain relevancy by embracing a selection of au courant songs alongside original compositions. Cobbled together from six recording sessions, the album is also evidence of Garner searching for the right combinations of players for the circumstances. What the album cedes in a constancy of personnel, it recoups in variety of sound.
Garner’s piano is a fixed ingredient, but the rhythm section chairs are revolving, involving George Duvivier and Gerald Jemmott on bass, and Jimmie Smith, Joe Cocuzzo, and Charlie Persip on drums. Conguero Jose Mangual lends skins and percolating textures that further date the project to its 1969 origins. Garner’s “For Once in My Life” kicks the set off with a jaunty collision of block chords that sounds more like Jaki Byard than its composer before locking in a Mangual-accented rolling groove anchored on Duvivier’s unflappable strolling bass line. Lennon and McCartney’s “Yesterday” arrives as the first of the pop song retoolings, equal parts cascading two handed dexterity and cocktail cool, with Garner adding unintelligible mutterings atop his deft keystroke musings.
“You Turned Me Around” is both the longest and elaborate of the originals. An uncredited guitarist strums chords in concert with Jemmott’s bulbous electric bass fills and Smith’s barely-there drum accents. Mangual’s palms percolate, and the combinative results gel into a robust groove for Garner to glide up and down the keyboard around. “Mood Island” brings in some lightly Latin-spiced exotica while a boogaloo-stamped cover of Blood, Sweat & Tears’ “Spinning Wheel” and the old amorous staple “Strangers in the Night” are similarly suited to the feeling of a relaxed cigarette-scented club recital. Co-curated by the Octave and Mack Avenue labels, the Garner reissue program is now up to a dozen releases. Each is worth revisiting and offers proof that even when rock and pop had made major label outings by his peers less common, he was still sustaining enviable degree of productivity.
Read Article: Dusted Magazine
Broadening its efforts to aid musicians following the collapse of the live music business in the wake of the international pandemic, the Jazz Foundation of America has assembled a consortium of record labels, online music outlets, and charitable foundations to provide donations for its COVID-19 Musicians’ Emergency Fund.
Blue Note Records, Concord Jazz, Mack Avenue Records, the Verve Label Group, and Warner Music Group along with Amazon Music and Apple Music, have contributed to the 31-year-old non-profit organization’s COVID-19 Musicians’ Emergency Fund, which has raised more than $1 million since its inauguration in March.
The JFA brought its fundraising efforts to the public nationwide with “#TheNewGig COVID-19 Musicians’ Emergency Fund Concert,” an online benefit this month featuring performances by Elvis Costello, Sheryl Crow, Robert Cray, Donald Fagen, Herbie Hancock, Patti Smith, Dee Dee Bridgewater, Stanley Jordan, Ivan Neville, Kim Wilson, Angelique Kidjo, Milton Nascimento, and other notable artists.
JFA Executive Director Joe Petrucelli says of the consortium initiative, “We deeply appreciate the commitment of these companies to channel their resources to support vulnerable artists through the Jazz Foundation’s relief program at such a critical time.”
Denny Stilwell, President of Mack Avenue Records spearheaded the effort, convening biweekly meetings of industry executives starting at the beginning of April to address the urgent needs facing musicians. Stilwell says, “These are unprecedented circumstances that call for extraordinary actions and creative solutions. It’s heartening to see jazz industry leaders come together like this to support our creative community. It's important to us all, and we want to make a difference.”
According to Blue Note President Don Was, “We are proud to have contributed to the COVID-19 Musicians’ Emergency Fund and will continue to bolster jazz musicians through this time of upheaval and a future of uncertainty for live performances. These musicians are so deserving of our support, and there’s lots more to come.”
Petrucelli notes that donations to the COVID-19 Musicians’ Emergency Fund have not been limited to corporate contributors. “Supporters to date include institutions like the Herb Alpert Foundation, the Howard Gilman Foundation, and other major donors and arts philanthropists addressing profound need in the jazz ecosystem; plus thousands of individual fans from around the world showing their compassion for musicians through grassroots donations to #TheNewGig.”
While the JFA has been best known in the past for charity events like its celebrated “A Great Night in Harlem” concerts at the Apollo Theatre in New York (which was postponed this year) and its intimate shows at Herb Alpert’s venue Vibrato in Los Angeles, the organization may have attained its most visible success on a national level with the three-hour online benefit, hosted by Relix, which was helmed by Grammy and Emmy Award winner and “Great Night” artistic director, Steve Jordan.
“#TheNewGig concert felt like a triumph artistically and emotionally, and it was a great success as a fundraiser, helping us reach a significant milestone for the COVID-19 Musicians’ Emergency Fund,” says Petrucelli.
“However, an immense amount of work remains to be done, and the tremendous response we have received to date only scratches the surface when you consider the thousands of musicians and families in economic free fall across the country who are now in need of emergency financial support for basic necessities like groceries and utility payments.”
Next up, plans call for an album benefiting the COVID-19 Musicians’ Emergency Fund that will feature music supplied by the JFA’s consortium partners and other industry sources. Details will be announced in the near future.
Petrucelli concludes, “The Jazz Foundation has been a resource for musicians in crisis since 1989. We are dedicated to these artists for the long haul and honored to be joined by our generous consortium partners on the road ahead.”
For more information on The Jazz Foundation of America, please visit: jazzfoundation.org
The reliably dazzling pianist Erroll Garner was best known for composing the melody of the Johnny Mathis hit “Misty” and bringing jazz to the masses with his album Concert by the Sea, which was a Top 20 entry on the pop charts in 1958. He was also a pioneer in the defense of artists’ rights, battling Columbia Records for control of his music and launching his own Octave Records label in the ‘60s.
Magician is the 11th in the reissue series of a dozen Octave albums that began last year, and it’s a total delight. Seemingly fluent in any style, Garner ranges from originals like the gorgeous “Nightwind” and the gospel-flecked “One Good Turn” to gems such as “Someone to Watch Over Me” and the Carpenters smash “(They Long to Be) Close to You,” transforming the saccharine Bacharach-David tune into a rowdy expression of joy. If Garner sometimes seems too extravagant in his approach, possessed by the urge to play too many notes, his obvious exuberance renders any reservations moot. Just listen to his romping take on “I Only Have Eyes for You” and try not to smile. It can’t be done.
Read Article: The Big Takeover
The apparent go-to Cuban jazz pianist at present, Harold López Nussa has appeared on all kinds of projects, ranging from the Gilles Peterson-organised Havana Cultura to the El Comité release reviewed here early last year. His latest track, “Jazzton”, is a super-charged shot of Latin jazz infused with reggaeton rhythms, and is arguably the stand-out track from the pianist’s forthcoming Te Lo Dije album. It features the voice of Randy Malcom of the award-winning Cuban duo, Gente de Zona, in combination with some crackling brass, serious timbales and a fine solo from López Nussa himself.
Here’s López-Nussa to give his take on the track:
“I really love the idea that music is just one big thing. Good music is so impactful that it doesn’t matter what style or genre you choose to express yourself in. That’s why I wanted to mix reggaeton with jazz. Reggaeton is the most controversial style of music in Cuba, and at the same time, the most popular style for the last decade. I had the great opportunity to make this song with one of the most important reggaeton artists in Cuba: Randy Malcom, a great friend of mine. We have known each other for a long time, and even though we perform different kinds of music, we share the same passion and respect for all music. At the onset, I thought mixing these two styles would be a big challenge, but we embraced the risk and I love the result.”
“Jazzton” will be released as a single on May 29th, and will feature on Harold López-Nussa’s upcoming album Te Lo Dije, to be released by Mack Avenue Records on August 29th.
Read Article: Sounds and Colours
This is the second album I’ve heard by pianist/composer Connie Han, and although her album covers look like something from a graphic novel, the music is vintage Blue Note bopping grooves. She teams up with trumpeter Jeremy Pelt and tenor saxist Walter Smith III for a hard hitting front line along with bassist Ivan Taylor and drummer Bill Wysaske. Pelt has fire in his brass as he sears through the torrid “Iron Starlet” with Han keeping right up with the hairpin turns, while she switches to keyboards for a hip and soulful “Nova” with the trumpeter. Smith III is warm and smoky on the CTI-ish “Hello To The Wind” and gallops like a stallion with Pelt on the avalanche of “Dark Chambers”. The trio format is tighter than Han’s leather skirt as they go through tricky and sharp tuns on “Boy Toy” and get classy on the pretty “Captain’s Song”. Han’s fingers slink on a bluesy “Mr. Dominator” and sashay to Wysaske’s brushes on the delicate “The Forsaken” with some dark moods bowed by Taylor during “Detour Ahead”. I missed her last time around in LA; I’m not going to make the same mistake twice. She might dress like a Bond girl, but she plays like Hancock!
Read Article: Jazz Weekly
A small opus which rises from within, "Intro," unassuming title and all, begins Be Water, a true wealth of music which pianist Christian Sands has designed to flow not only like the awe-inspiring, fear-inducing title element, but like mercy, freely and without boundary.
And so it does. For next is "Sonar," a romping festival of feisty performances from Sands and his core trio of bassist Yasushi Nakamura and drummer Clarence Penn which is meant to assure each other and listeners alike that they're setting out for points as much known as unknown on all cylinders. They're cutting no corners. They'll call upon the masters one moment, (Art Blakey effortlessly and thankfully comes to mind) or they'll push their collective sense of new bop to the margins.
For a little perspective, Facing Dragons (Mack Avenue Records, 2018) was hailed uniformly, by friend and foe alike, to be a wide-ranging master class. Be Water, Sands' fourth release for Mack Avenue Records, goes beyond that, positing new horizons with new promises and new voices brought to the fore. That said, the next voice you hear is Bruce Lee, (yes that Bruce Lee) Buddha-like urging "Be formless, shapeless like water" and thus "Be Water I" takes the shape of expectation driven by Penn's boundless sense of time, Sands' ever more expressive Rhodes, and the entwined front line featuring tenor saxophonist Sean Jones and trombonist Steve Davis.
"Drive" at first takes the shape of edgy 70's jazz/rock as guitarist Marvin Sewell tickles, Sands probes, and Penn holds the tension, before Strickland unapologetically elbows in, only to have all combine for one of those rousing anthems powered to completion by Sewell's stinging, surging solo. Speaking of rock, Steve Winwood's haunting, 1969 Blind Faith classic "Can't Find My Way" goes full gospel with Nakamura at the helm, as Sands unleashes his exuberance for Winwood's mournful melody and Penn crashes away. "Steam" finds the trio at their abstract best. And yes, though for some it might cut a little too close to what was once called new age, Sands' innate and intimate sense of melodic spaciousness holds both him and Sewell in its elegant grasp on the shimmering impressionism of "Still."
Though he really made his debut as leader at thirteen on Footprints (Stanza, 2002), Sands' growth has been exponential, and on full public display since leaving puberty. Be Water is his latest giant step forward, encompassing not only our shared experience and imagination but our humanity too, and that is a triumph no matter what age you are or find yourself in.
Read Article: All About Jazz
One of music’s most gentle souls both musically and spiritually is saxist Jimmy Greene, who’s had a Job’s amount of trials in his life. This latest album with an all star cast of Aaron Goldberg/key, Stefon Harris/vibes, Lage Lund/g, Reuben Rogers/b and Kendrick Scott/dr has the pilgrim using the nadir’s of his life struggles as an opportunity for looking heavenward.
On soprano, he gives a sweet soulful line to “So In Love” while playing a variety of reeds and woodwinds on the ethereal “April 4th with a floating support by Scott and Harris. “Steadfast” is a hopeful prayer while he cries on tenor on a personal aria in trio format with Rogers and Scott on “Good Morning Heartache”. You can feel his personal pleas hear an don his romantic “I Wanna Dance With Somebody (Who Loves Me)” while he gets optimistic on the post bop title track. Rogers sounds like he’s wrestling with The Lord as he pleads on the warm “Simple Prayer” as Green sends messages on high waiting for an answer. The music is so intimate that you almost feel you are interrupting someone’s personal prayer closet.
Read Article: Jazz Weekly
Mack Avenue Music Group and Octave Music are proud to announce a partnership with Vinyl Me, Please on Erroll Garner’s Magician as their May Classics Record of the Month. The record is also featured as the 11th release of the critically acclaimed year-long 12-album Octave Remastered Series featuring newly restored and expanded editions of classical Garner albums from the 1960s and ‘70s. Vinyl Me, Please’s package includes 180g black audiophile vinyl and an exclusive listening notes booklet by Ted Gioia.
The selections Garner committed to tape in the fall of 1973 for Magician include what may be some of his best original compositions, alongside a series of timeless contemporary takes on American Songbook classics. Though it would turn out to be the final studio album of his life, it makes clear that Garner was continuing to innovate on his distinctly individualistic style, and surely would have for decades to come.
Additionally, Vinyl Me, Please is hosting a giveaway for a free lossless download of a previously unreleased bonus track, "Grill on the Hill." The song was written and recorded during Garner’s October 1973 sessions for Magician. It was discovered and given its title by pianist Geri Allen in 2015. The newly Plangent processed version appears for the first time on the digital release of Magician as part of the 2020 Octave Remastered Series.
The Octave Remastered Series spans 12 releases with a newly discovered unreleased bonus track on each album: Dreamstreet, Closeup in Swing, One World Concert, A New Kind of Love, A Night at the Movies, Campus Concert, That’s My Kick, Up in Erroll’s Room, Feeling Is Believing, Gemini, Magician, and Gershwin & Kern.
Magician, along with the rest of the series, were transferred and restored using the Plangent playback system. Employing a wideband tape head, preamp and DSP package to capture and track the original recorder’s ultrasonic bias remnant, the Plangent Process removes the wow and flutter and FM/IM distortion from the recorded audio. This returns the listener to the original session experience, bringing to life Garner’s incomparable performances of his own compositions as well as classic works from the jazz cannon. You can read more about the process in an exclusive interview with Octave Remastered Series senior producer Peter Lockhart on Vinyl Me, Please.
Read Article: Analog Plant
"I truly believe that the only way that music can continue on is if you have people like myself and others that are open to teaching and sharing the knowledge that we have." —Warren Wolf
Warren Wolf is a Baltimore-born vibraphonist and a member of the SFJAZZ Collective. Reincarnation (2020), his fourth album as leader on Mack Avenue Records, sees Wolf dive into an entirely different side of his musical personality. We got together via ZOOM to talk about his musical influences, how he's staying creative during the COVID pandemic and his new album.
All About Jazz: Were you born and raised in Baltimore?
Warren Wolf: Yes, Baltimore is home! I grew up in a really rough part of Baltimore and in order to keep me straight and away from trouble my after-school activities consisted of practicing music. I'd come home from school, watch television for a while but as soon as 5:30pm came around I automatically knew it was time to go down in the basement to practice. I would typically practice from 5:30pm until 7pm, five days a week. I would spend 30 minutes practicing each instrument, so 30 minutes on the vibraphone or marimba, 30 minutes on the piano or on keyboard studies and the other 30 minutes on drums. This continued even when I was taking lessons at Peabody Conservatory where I studied with Leo LePage who was a member of the Baltimore City Orchestra for I believe 25-30 years. I was also taking lessons at Peabody Preparatory on Saturday mornings. I had six days of formal music education along with the basic music education that I got at school but I was honestly learning more at home. I did this from the age of three up until I was 17 years old and this included summers. In summertimes my rehearsals actually doubled. My father is a Vietnam veteran so he was pretty strict.
After high school I moved to Boston to attend Berklee College of Music. I attended Berklee from September of 1997 until May 2001. When I finished, I stayed in Boston for another three years moving back to Baltimore in 2004.
AAJ:If you had to introduce yourself through music by five albums that you are not a part of which five albums would they be?
WW: Miles Smiles by Miles Davis, Gold Experience by Prince -he has a song titled "Eye Hate You" on there and I love that song! Sweet Love by Anita Baker, D'Angelo's Voodoo album, Snoop Dog's Doggystyle album and if I could sneak in one more it would be 2Pac's All Eyes On Me. I named these particular records because I feel like every single track on these albums are just masterpieces.
AAJ: How did you develop your love for music and what were you listening to growing up in your formative years?
WW: The majority of what I listened to growing up is soul music, hardcore hip-hop, jazz music and Motown so all of that music had an impact on me. My parents grew up in the whole Motown era so of course I heard that in the house a lot. I also have two older sisters and they always played a lot stuff like New Edition, so I had combination of old and new school blending together to help form my personal taste in music.
My father was played a lot of Stanley Turrentine, Anita Baker, Yellowjackets, Spyro Gyra and all of those type of groups. I was definitely getting a mixture of influences. Once I actually started developing my own choice of music I was listening to a lot of early Run DMC and LL Cool J.
When the 90's came around I started taking music a little more seriously. In the mid 90's, I was still in Baltimore but if you went off of the music I listened to and the way that I dressed there's no way you could have told me that I wasn't from the west coast (laughs)! In high school, I used to wear plaid shirts with heavily creased jeans... yeah, I had he whole Death Row Music look! And actually when you go back and revisit the music from that era you hear a lot of George Clinton samples so I was getting an introduction to P-Funk music and didn't even realize it.
Around this time my father realized how serious I was getting about playing my own music so he got me into listening to a bunch of classical composers like Bach, Beethoven, Shostakovich, Vivaldi, Stravinsky. He got me into jazz at the same time so we started checking out Milt Jackson, Charlie Parker and artists like that. I definitely had a lot of different styles of music in my ears that just stuck with me.
AAJ: I know that you play a lot of different instruments but how did the vibraphone become your instrument of choice?
WW: My dad was a history teacher in the Baltimore City schools. He taught United States and World history. On the side he had his own band (Wolf Pac). They played a lot of the same music that my father used to listen to around the house. They did gigs at a lot of the clubs and jazz spots right here in Baltimore and in Washington DC. My father was always a fan of hand percussions and as soon as he learned he was having a son he knew he wanted to get me into music. My dad was a big fan of Roy Ayers and Bobby Hutcherson so he decided to buy a vibraphone sometime in the late 70's; I was born in November of 1979 and all these things combined and pretty much put me on my path to playing the vibraphone. My father and his band used to rehearse at our house on the weekends and I would come down and listen to what they were playing and pretty much just soaked everything in.
AAJ: I saw on your instagram account (@warrenwolf1) that you recently picked up a rain stick and a didgeridoo, how are you coming along with those?
WW: It's been fun so far! With the didgeridoo I honestly just thought that you blew into it and it would make some noise. After watching some videos on them on YouTube I realized that there's a lot of different things that you can do with them. The whole purpose of me getting these instruments was to help me deal with the times that we are in now with the whole COVID -19 pandemic. I want to try to stay creative and make some different types of music and having different percussion effects can easily help me with that.
AAJ: What are some of the things that you are doing to stay busy during COVID-19?
WW: The hard thing for me right now with the whole social distancing thing is actually trying to stay creative. I have plenty of friends right here in the Baltimore area who actually want to play but we are all taking the safe precautions of not going to each other's homes so right now I'm just practicing by doing a bunch of backing tracks on YouTube whether it's jazz, hip hop or r&b but it's just not the same as actually playing live.
I'm also an educator and I'm currently employed at the Peabody Conservatory which is a part of John Hopkins University and I work at the San Francisco Conservatory of Music as well and with that I'm currently teaching 30-minute weekly lessons for a lot of the students. I also have people that reach out to me online and on social media so I've been offering lessons that way as well. I have one regular student that lives in Germany and we meet up online for lessons every Saturday and we've been doing this for about a month now. I try to average at least two or three lessons per day. I love sharing my passion and knowledge of music so anyone out there that may be interested in lessons can reach out to me at: warren wolf.com. I truly believe that the only way that music can continue on is if you have people like myself and others that are open to teaching and sharing the knowledge that we have. I have had plenty of good teachers in my life and I'd be doing them a disservice if I let all of their knowledge end with me.
AAJ: Have you thought about what you want to do as soon as this pandemic is over?
WW: I just want to travel somewhere. I'm usually never home for more than two weeks at a time even if I'm just away for a day or two. It's kind of weird for me to be at home for this long of a period of time but at the same time it's also pretty cool because it gives me time to be at home and spend time with my family. It's nice to be at home and actually spend time with the kids and they're not asking "where's daddy?."
I'm also eager to just hangout at one of the jazz clubs around town. That's something that I do quite often even if I'm not sitting in on a set. I like to just go and see who's playing and what type of music people are vibing out to and just congregate with people. I miss doing that and just experiencing live music in person. I know right now everybody is live streaming and putting on shows from their living rooms and that's cool and all but it's just not the same as actually being there in person to experience it and soak it all in.
AAJ: You obviously have a love and appreciation for music but when did you realize that it was something that you could do professionally?
WW: Actually I realized that when I was in middle school. I knew I was good at music but I never really thought about it seriously until our middle school band put on an assembly. One of the tunes we played was "Louie, Louie" and I remember when I played my keyboard solo the whole class just stood up and gave me this loud ovation and it felt really good. That made me want to take things a lot more seriously so that's when I really began to focus in a lot more on my music. At this time I was 11 or 12 years old and from that point on I knew there was no turning back.
AAJ: You write and compose a lot of your own music, what is that creative process like for you?
WW: I've always been a composer that writes for other people. It can be about a particular situation, it can be about something that's funny. For example I have a tune that I recorded with Christian McBride titled "Gang,Gang" and people always ask "what is that?." The song was composed for my wife. She is a retired classical ballerina dancer. Well one day we we're watching Eddie Murphy's Coming to America and there's a scene right before Prince Hakim (Eddie Murphy's character) get's married and everybody is happy and dancing and my wife said, "look at all of that gang, gang dancing." It was a lot of tribal and African style of dancing and my wife mentioned that they don't do that type of dancing in the classical world. I decided to take the feel of the tribal music from the movie and blend it with a classical style of music that my wife was more accustomed to dancing to. So that's a good example on how I like to write songs for people.
One of my students recently asked me if I have been composing lately and I have. Actually one of the songs that I'm working on is an 8 bar vamp, at least for now, and many different rhythms can fit over it. The purpose behind that is to show exactly what this pandemic is doing to the music industry as a whole. Not just to jazz music but to country, hip-hop, pop music and the whole industry. So with these 8 chords I can create all different types of moods and feelings and it can be related to all music. I love to write music like this but it has to be for a purpose.
AAJ: So with that being said there's a song on your new album Reincarnation titled "The Struggle"; what was your inspiration for that song?
WW: My family was going through a lot of pain and heartbreak when I composed that song but at the same time we were able to rise above it. My ex-wife—mother of three of my five kids—was involved in a very horrific accident. It was a very windy day in Massachusetts and while she was sitting in her car a huge massive tree fell right on top of her and she almost died. She lost feelings in a lot of parts of her body but miraculously after about 9 months of rehab she is healthy and back to normal.
In addition to that I lost three relatives to gun violence right here in Baltimore and my family members and I all came together and were able to rise above the pain and sorrow of losing them. I had another family member that was a leader of a gang that almost lost his life to gun violence, he survived being shot 15 times, and has since been able to turn his life around and is now an activist in the Baltimore area. He too has been able to rise above life's challenges. Lastly, another family member of mines lost his life in a car accident. He left behind a beautiful daughter that struggled dealing with his passing but she's been able to find the courage and strength to rise above it. So "The Struggle" is about hope and dealing with life's challenges.
AAJ: That's pretty powerful and gives the song new meaning for me. You also have a song on the album titled "Living the Good Life"; tell us a little about that.
WW: Dope song! I can say that because I wrote it, [laughs]. But it's basically talking a little about how I dealt with my divorce. I had some dark moments during that whole experience but when I came out on the other side of it I met my current wife and had my two babies so I'm at a great place now and I am definitely living the good life!
AAJ: My favorite song on the Reincarnation album is "The Heat of the Night."
WW: Thank you! A lot of people like this song. My inspiration for it came from D'Angelo's "Untitled -How Does it Feel" from his Voodoo album. When you listen to the lyrics of "The Heat of the Night" it's basically about a woman that misses her man so she goes to his house in the heat of the night and things just kind of take off from there.
AAJ: Your approach to this album was a little different from all of your previous albums. How do you think it's being received so far?
WW: I think it's been received pretty well. I think for those that sit and listen to it with an open mind love it. I have read a few comments online where people haven't really made it pass the first track. It's pretty much a smooth, laid back song and it's just a straight groove and some people don't know how to take it because they are so used to me going straight jazz and playing all these different notes. That's fine and it is a part of who I am but it's not my only style. I don't want to showcase just one style of music for the rest of my life, I don't want to be pigeon-holed. The folks that have listened to the whole album realize that this is still very much a jazz record just without the swing feel.
I've been kind of hinting at going in this direction for a long time now. On my previous album Convergence [Mack Avenue Records, 2016] I did Stevie Wonder's "Knocks Me Off My Feet." Mind you I changed it up a bit but I've always been hinting at going in this direction, and it was going to come at some point and I may even continue on with it. The jazz playing is going to always be there, that's always going to be a part of who I am.
AAJ: Can you tell us about your involvement with the SFJAZZ (San Francisco) Collective?
WW: This will be my sixth or seventh year with the group and our new season is scheduled to start this October. This past year I had the pleasure of being the musical director of SFJAZZ. Last year we highlighted the 50th anniversary of two iconic records in Miles Davis's In a Silent Way and Sly and the Family Stones's Stand albums. These two records came out within two months of each other back in 1969 so we decided to take those albums and mix them up a bit.
One thing that really excites me about this year's band is that the music we're playing is totally different from anything that we've played in the past. We are playing a lot of funk and we also added a dope vocalist in Martin Luther McCoy and the amazing guitarist Adam Rogers so the band is awesome! Obed Calvaire, Etienne Charles, Edward Simon, Matt Brewer, David Sanchez and I fill out the rest of the collective. Each year we take a particular composer and pick eight of their hottest tunes and rearrange them and then we also add eight original songs giving us a total of sixteen pieces of music. It's a great band to be a part of and I love that we actually get to rehearse. With this group we get together and rehearse five days a week for about eight hours a day so we actually have time to fine tune things and build chemistry, we all love each other and look at each other as brothers and sister.
Photo Credit: Warren Wolf website
Read article at: All About Jazz
Many of our readers, instead of the concert, club gig or festival ticket they planned to buy have re-channelled this money and provided a much-needed form of financial support by directly buying albums from musicians. We are thrilled and encouraged to see the jazz community step up reinforcing our Lockdown motto: "You can quarantine people but you can't quarantine music."
We’re proud to support a similar campaign this weekend by our good friends at Mack Avenue Records. In fact, the Mack Avenue Music Group is gearing up for what they hope will be their most robust and important web event to date – one that directly supports the outstanding artists on the label who make the music we all love.
Launching with International Jazz Day on Thursday, 30 April and extending through Sunday, 3 May, Mack Avenue is launching the allONE initiative: a webstore event where one hundred percent of all sales from mackavenue.com will go directly to the artists on the label.
Mack Avenue Music Group has always strongly valued taking a humanist approach while working with respect to the music, artists and communities. “These past several weeks I have been reminded of the amazing and resilient jazz and music community that we’re a part of as we confront unexpected realities,” says Mack Avenue President, Denny Stilwell. “I am grateful for it and moved by it daily. It calls to mind how we really are one, connected through the love of music. I hope you will visit the site and support our event and find something for you, a friend, or family member to enjoy. Thank you in advance for championing the artists, their music.”
During our allONE event, you can support the amazing artists on the Mack Avenue roster. For 4 days, Thursday, April 30 – Sunday, May 3, 100% of the sales from mackavenue.com will go directly to Mack Avenue artists. So, play your part in these tough times! Stand with the artists, because we are all ONE!
And please help spread the word using the hashtag’s. #mackavenue #allONE
Read article at: Jazz In Europe
To our customers and marketing partners:
I hope this note finds you healthy and able to keep your spirits up in these trying times. For music fans like you and me, revisiting our favorite albums, songs and artists reminds us of music's role as a primary comforter or source of inspiration when the world seems to tilt off its axis.
By now you have probably read many letters from businesses of all shapes and sizes addressing the coronavirus. The impact on Mack Avenue was felt immediately and even greater hardship is being laid at the feet of those independent music creators that craft so much of the music that stirs us in one way or another.
Mack Avenue responded quickly with a donation that kicked off the Jazz Foundation of America's COVID-19 Musicians’ Emergency Fund and now we are gearing up for what we hope will be our most robust and important web event to date –– one that directly supports the artists who make the music that we enjoy so much.
From April 30th to May 3rd, we are hosting allONE, a 4-day event at mackavenue.com with 100% of the sales distributed directly to Mack Avenue artists. This isn't a sale in the traditional sense, where discounts are offered. These unique circumstances call for a slightly different approach. All products –– CDs, LPs, merchandise and special bundles –– will be offered at full price and we are committed to distributing the funds within 14 days after the event, so artists benefit fully and immediately.
These past several weeks I have been reminded of the amazing and resilient jazz and music community that we're a part of, as we confront unexpected realities. I am grateful for it and moved by it daily. It calls to mind how we really are one, connected through the love of music. I hope you will visit the site and support our event and find something for you, a friend, or family member to enjoy. Thank you in advance for championing the artists, their music and for choosing to do business with us.
We will be offering new bundles and exclusive products such as master classes from our artists during the event, check back on April 30th for more details.
Jimmy Greene, “While Looking Up” (Mack Avenue)
Change is a constant on jazz saxman Jimmy Greene’s new album, “While Looking Up.” The 68-minute set flies by because of the way he varies the performing cast and mood.
Greene’s daughter was a Sandy Hook shooting victim, and the album title refers to the direction he looks for peace and strength. He conveys plenty of both with playing that’s by turns lyrical, soulful, spirited and spiritual.
Greene performs three covers, and they’re all excellent. A quintet including guitarist Lage Lund gives Cole Porter’s “So In Love” a childlike innocence. “Good Morning Heartache” has a stark, bluesy throb played by a trio. Whitney Houston’s “I Wanna Dance With Somebody (Who Loves Me)” becomes an unlikely highlight, with Greene taking the lyrics to heart and flipping the song’s familiar mood with a mournful interpretation.
There are lighter moments. Keyboardist Aaron Goldberg injects bits of wit by quoting “Summertime,” “Carmen” and “Swinging on a Star,” while Stefon Harris joins in on marimba to help a sextet find delightful syncopation in “Always There.”
On the closing “Simple Prayer,” Greene’s tenor leads a swaggering, righteous quartet that soars at the end, looking upward.
Read the review: AP News
Eleven studio albums into his career, Raul Midón has fashioned a singular approach; his voice and guitar are instantly identifiable. But more important, his music comes with a guarantee—put on a tune, any tune, and the warmth of it will embrace you, no questions asked. When Midón, in the jaunty, lyrical, samba-esque opening track, declares, “I Love the Afternoon” (which features a background vocal by Manhattan Transfer’s Janis Siegel), there isn’t a hidden agenda—what he means is that he loves the afternoon, and his words explain why; if you’ve not considered it recently, then he’ll have you realizing soon enough that you do too. That isn’t to suggest that there’s a lightweight quality to the songs on The Mirror (or any of Midón’s previous efforts), only that the feel-good qualities he exudes are natural and real. “Deep Dry Ocean”—which features and was co-written by the superb pianist Gerald Clayton—is spare and bucolic, lilting rhapsodically, the verses framed by a tidily executed Midón acoustic guitar solo that manages, in under a minute, to exude the soul of his playing. A pair of spoken-word tracks add another dimension—“If I Could See,” yes, is the work of a blind man, but its sentiments are universal. And “One Day Without War” is another vibe entirely, but maybe not—it’s a musing on an ideal state that this planet may or may not ever experience. Without a hint of stridency, Midón wonders if that can ever be and maybe, just for a minute or two, he’ll make you wonder too.
Read the review: Relix
The esteemed bassist Christian McBride was born just after the close of the Civil Rights Movement, so he remembers learning about its heroes by flipping through the copies of his grandmother’s copies of Ebony and Jet magazines from the 1950s and ’60s. For many years he has worked on “The Movement Revisited,” a musical suite celebrating four figures from those pages who inspired him as a child: Dr. Martin Luther King Jr., Malcolm X, Rosa Parks and Muhammad Ali. The suite, finally released as an album Friday, mixes hard-nosed small-group playing, soaring big-band orchestration, spoken readings from figures like Sonia Sanchez and Wendell Pierce, and choral singing. On “Sister Rosa,” the piece dedicated to Parks, a big band and a choir both savor the deep, mid-tempo swing feel, leaning on McBride’s bass for support as the voices unite in a long, weary drawl, quoting Parks: “I’m tired.” RUSSONELLO
Read the full piece from: The New York Times
It’s not at all unusual for artists to engage in creative or financial differences with their record labels, but only a few end up in court. Last year, Kanye West sued his label, Universal, and publisher, EMI, claiming that his deals amounted to “servitude” (the EMI suit was settled in September), echoing Prince’s famous battle with Warner Bros. 25 years before, in which the artist painted the word “slave” on his face to protest his contract with Warner Bros. before parting ways with the label in 1996. Brad Paisley sued Sony Music over a royalty dispute in 2014, Trent Reznor engaged in a bitter legal battle with his first label, TVT; the list goes on.
However, you have to dial back to 1960 to find the major precedent: when star jazz pianist Erroll Garner sued Columbia Records for breaking his contract — and won after a nearly three-year battle in a New York Supreme Court decision.
It was a landmark case that has been largely forgotten. “The Erroll Garner story is an important one,” says UCLA history professor and author Robin D.G. Kelley. “The context is the ‘50s at the height of Garner’s power. He was winning DownBeat polls and other international prizes. He was at the top of his game, and his manager, Martha Glaser (pictured above, right, with Garner), had worked out a contract with Columbia with an unprecedented clause giving Erroll the right to approve the release of any of his recorded music.”
Best known for composing the classic “Misty,” Garner had been a goldmine to Columbia thanks to his 1955 album “Concert by the Sea,” recorded live with his trio at Carmel-by-the-Sea in California. It was a hit album of his characteristic swinging, eccentric, polyrhythmic singular style that had sold a million copies by 1958. Glaser had signed the artist to a five-year deal with Columbia in 1956 and was in the midst of renegotiating it when in 1960, the label began to release songs from Garner’s prodigious backlog of studio recordings without his consent. Legendary jazz A&R executive George Avakian had championed Garner at Columbia, but he was replaced R by pop producer Mitch Miller, the mentor of singer Johnny Mathis (who’d incidentally scored a big hit with “Misty” in 1959). Somewhere in the mix, Columbia overlooked Garner’s right of release approval.
Legendary talent scout and producer John Hammond (who discovered Billie Holiday, Bob Dylan, Aretha Franklin, and Bruce Springsteen, among others) had just returned to Columbia after a hiatus. Garner reached out to him via a telegraph. He wrote in 1960: “I must demand that you immediately withdraw ‘Swinging Solos’ record album which your Columbia Records subsidiary released … this took place despite my written notice to your record people … the material was not approved and was unworthy of public sale. As a matter of ethics I am amazed that release took place precisely at the time my manager was meeting with [you] at [your] request and while [you] were assuring her that the album would not be released.
“Is it you feel you can sandbag me because I am a Negro artist?,” Garner continued. “Must demand that sale and distribution of album stop immediately and that it be recalled from press, radio people and record dealers who have previously received it … because it not only violates my artistic integrity but that of every artist on your label.”
Garner and Glaser sued Columbia, the label hit back with a countersuit in federal court, which meant the pianist had to pony up $40,000 for a cash bond; friends helped him to fund it. In a statement at the time, Garner wrote: “I paid the cash bond because I felt, and I feel, that not only my rights are at issue in this case, but the rights of my fellow members of the record and music industry are involved, and it became deeply urgent to sustain the injunction. I truly hope that the future for all recording artists might hold greater security for creative property as a result of this action.”
During the course of the lengthy litigation of lawsuit and counter lawsuits, Columbia released two more of Garner’s sessions (“The One and Only Erroll Garner” and “The Provocative Erroll Garner,” a title that in itself was provocative, given the situation). The pianist was forced to sit out two and a half years of recording at the height of his career. Some speculate that the absence is a major reason why he’s not as lionized today as contemporaries like Dave Brubeck.
Kelley points out another factor in the dispute, which started in 1958, when the Saturday Evening Post wrote a negative portrayal of Garner, a self-taught master improviser who couldn’t read music. “They portrayed him as a happy, naïve guy,” Kelley says. “They said he was out of touch with reality. When asked about Bach, the writer said Erroll thought it was some kind of beer. They said he was illiterate and set Garner up as someone who had nothing to do with money and didn’t care. The mainstream press saw him as an idiot savant.” In contrast, Kelley says that the black press, where his battle was a headline story, heralded him as a sober, articulate, intelligent David-who-beat-Goliath. I feel this can be seen as a civil rights case as well as a precedent for artists.”
When Garner won his landmark case of making a groundbreaking statement on an artist’s freedom, he received a cash settlement, his masters were returned and Columbia agreed to recall and destroy the records it had released without his approval, although many of those albums ended up for sale on the black market (it’s possible that distributors, rather than Columbia, were responsible for illegally selling the albums).
The money funded the launching of Garner’s own independent label with Glaser. With Glaser producing, Garner recorded 12 albums in 18 years for Octave Records. Those albums were distributed by different companies through the course of the label’s existence.
“That was also a remarkable feat,” says Peter Lockhart Senior Producer of the Erroll Garner Jazz Project and a vice president of Octave Music. . “As far as we know, that was the birth of an artist doing his own licensing deal.”
Kelley agrees. “What Erroll did was set a precedent for artists,” he says. “They could have the rights to their own material.”
In her 1981 correspondence with Hammond, four years after Garner’s death, Glaser contended that the lawsuit was about much more than finances. The exec replied, “I often wonder how an artist with Mr. Garner‘s legal problems vis a vis with CBS, given his artistic and sales importance at the time, would be treated today by lawyers and executives for the company. Erroll was possibly the first Black artist — or artist of any color — to stand up to a major record company (at a time when Black artists had difficulty even in getting good lawyers)….The public knew little of what was happening (unlike today when any squabble between an artist and a company is headline news) because Mr. Garner’s attorney insisted on no publicity for the three years of litigation and Garner’s recording career was on ice.”
For his part, Hammond wrote in the correspondence, “Erroll was a wonderful artist. The greatest mistake he ever made was in leaving CBS for purely financial reasons. I did my best to patch things up.”
While Garner’s Octave output didn’t have Columbia’s marketing muscle, it did give him the freedom to record new music, including live shows. This year the Octave Remastered Series, issued by Mack Avenue Records, was launched with the rerelease of all 12 Octave Garner albums, with restored master takes and newly discovered unreleased songs. “You can hear how Erroll plays with a freedom on these albums,” says Lockhart, the senior producer of the series. “For ‘Dreamstreet,’ his first album on Octave, he was discussing repertoire with Martha. While Erroll played an ‘Oklahoma!’ medley at his concerts, he had never recorded it. He wasn’t sure, but Martha said, ‘You can do whatever you want now.’ So Erroll jumped at the chance and recorded [‘Oklahoma!’ songs] ‘Oh, What a Beautiful Morning, ‘People Will Say We’re in Love’ and ‘Surrey With the Fringe on Top.’ He didn’t have to ask a label for permission.”
The Octave Remastered Series began in late September with four Garner albums and will continue with reissues monthly through June of next year.
“There is so much to discover about Erroll,” says pianist Christian Sands, the estate’s creative ambassador, whose goal is to reimagine Garner’s music in his band for audiences into the foreseeable future. “He was at the forefront of so many things. In his music, he was a pioneer in crossing genres from classical to jazz to pop to Latin jazz. And he broke barriers socially. Here was a black artist with a Jewish manager at a time in the heat of an environment of racism. And Martha was on the front lines of the civil rights movement. And the two of them were great at dealing with contracts. They pushed back. If things weren’t right, they said, ‘Okay, we’ll walk.’ They knew how to call their bluff.”
Read the full piece from: Variety
TERRY GROSS, HOST:
This is FRESH AIR. The late jazz pianist Erroll Garner is the subject of a new series of CD reissues of albums he recorded for various labels between 1959 and 1973. Jazz critic Kevin Whitehead has a review of his pick from the series so far.
(SOUNDBITE OF ERROLL GARNER'S I FOUND A MILLION DOLLAR BABY IN A FIVE AND TEN CENT STORE")
KEVIN WHITEHEAD, BYLINE: Erroll Garner, 1964, giving a big Hollywood buildup to "I Found A Million Dollar Baby (At The Five And Ten Cent Store)" (ph) - a song from 1931. It's from his album "A Night At The Movies," my favorite so far from the ongoing Octave Remastered Series of Garner albums. They're being issued one a month through next June. As an album concept, songs from the movies is about as loose as it gets. This one's even looser because some songs, like that last one, actually come from Broadway. A few selections are older than talking pictures, like 1913's "You Made Me Love You," a vehicle for Al Jolson, who did it slower than Erroll Garner does.
(SOUNDBITE OF ERROLL GARNER'S "YOU MADE ME LOVE YOU")
WHITEHEAD: Erroll Garner is among the most charming and chipper jazz pianists. He's got that relentlessly bouncy beat, he gets a big, brassy sound from piano, and he has a way of circling back to the tune during an improvisation. Those qualities in his old-timey repertoire here can make Garner sound like a throwback to 1920s novelty ragtimers, but he was a modernist as well. The German song "Just A Gigolo" was a favorite of Thelonious Monk. Erroll Garner puts his own spin on it, tinkering with its timing his way.
(SOUNDBITE OF ERROLL GARNER'S "JUST A GIGOLO")
WHITEHEAD: The Garner trio's buoyant beat was a three-way effort with Eddie Calhoun's bass, Kelly Martin's drums and Erroll's left hand all in sync. But Garner's roaming right hand was the trio's free agent. His improvised line would step across that firm beat and slip into the cracks between accents. That line hovers over the rhythm the way his variations hover over a melody. This is "Stella By Starlight."
(SOUNDBITE OF ERROLL GARNER'S "STELLA BY STARLIGHT")
WHITEHEAD: I'm leery of discussions about how music makes you feel because the same performance may evoke a wide range of reactions from different listeners, but it's hard to miss the joy that radiates from Erroll Garner's piano as he spins out new and old melodies and cracks his little musical jokes. He's as listener-friendly as jazz gets. He improvises with wit, style and grace, and he swings like mad. That joy he radiated is still contagious. You could catch it even now.
(SOUNDBITE OF ERROLL GARNER'S "IT'S ONLY A PAPER MOON")
GROSS: Kevin Whitehead writes for Point of Departure and The Audio Beat. He reviewed "Night At The Movies," one in a series of reissues of recordings by pianist Erroll Garner. Tomorrow on FRESH AIR I'll talk with Marielle Heller about directing "A Beautiful Day In The Neighborhood," the new film starring Tom Hanks as Fred Rogers based on the friendship that developed between Rogers and a cynical journalist assigned to profile him. I hope you'll join us.
FRESH AIR'S executive producer is Danny Miller. Our interviews and reviews are produced and edited by Amy Salit, Phyllis Myers, Sam Briger, Lauren Krenzel, Heidi Saman, Mooj Zadie, Seth Kelley and Joel Wolfram. I'm Terry Gross.
(SOUNDBITE OF ERROLL GARNER'S "IT'S ONLY A PAPER MOON")
Read the full piece from: NPR Fresh Air
A really cool set of reissues came out this month, too, from a pianist who’s revered in certain circles but whose legacy isn’t what it should be. Erroll Garner was a hugely successful pianist and composer of the standard “Misty”; his 1955 album Concert By The Sea was massive at the time, and was reissued as a three-CD set in 2015. But he died in 1977, and doesn’t have the posthumous profile of Thelonious Monk, Bud Powell, Art Tatum, or other well-known pianists of the bop era. He couldn’t read music, but he had a prodigious memory for it; there was a story of him attending a classical concert and returning home to his apartment to play much of what he’d heard from memory. He appeared on The Tonight Show many times, and was reportedly Johnny Carson’s favorite jazz musician.
Garner’s style was extremely florid and romantic, swirling jazz, classical, and old-timey music into a style that encompassed the entire keyboard and almost made backing musicians redundant. In the early 1960s, he formed his own label, Octave, and the first four (of twelve) albums released on that imprint are being reissued by Mack Avenue: 1961’s Dreamstreet and Closeup In Swing, 1962’s One World Concert, and 1963’s A New Kind Of Love. The first three are performed with his trio of bassist Eddie Calhoun and drummer Kelly Martin, while the fourth is a movie soundtrack featuring Garner and a 35-piece orchestra. One World Concert, recorded at the World’s Fair in Seattle, is particularly explosive; check out this version of “Movin’ Blues”:
Read the full piece from: Stereogum
Pianist Erroll Garner’s legacy may well forever rest on a cloud of mist. His best-known composition, “Misty,” has become by some reports the second most-recorded jazz standard in history (Duke Ellington’s “Satin Doll” and Thelonious Monk’s “Round Midnight” are its only competition). Singer Johnny Mathis made the tune famous in 1959 with a modish new arrangement, and a decade later, director and noted jazz fan Clint Eastwood would employ the song in its original form as the eerie musical underpinning of his film Play Misty For Me. Today, it is one of the most recognizable jazz tunes in the canon.
But “Misty” was hardly Garner’s only career milestone. In 1947, shortly after leaving his native Pittsburgh for New York, he appeared on early recordings by Charlie Parker. And his 1955 live album, Concert By The Sea, became the first jazz recording to register more than $1 million in sales. He was a virtuosic and talented performer with a lively following of fans and passionate admirers, and his style has been praised, emulated and adored by countless musicians — Geri Allen and Dick Hyman were particularly keen enthusiasts.
And yet for all his impact and influence — and for all the longevity that “Misty” has achieved — Garner’s name isn’t lionized to the same extent as other best-selling jazz pianists, such as Dave Brubeck or Herbie Hancock. That could be because his catalog had for years been tangled up in litigation. In 1960, Garner sued Columbia Records for releasing albums without his permission. The case went all the way to the Supreme Court of New York. Garner won, marking the first time a label had to pull an album from circulation due to a violation of an artist’s rights. In the wake of these events, Garner would go on to form his own label, Octave Music, but one unfortunate reprecussion was that classic albums he made during the height of his career have for years sat dormant, never to be reissued after initial release.
Recently, however, Garner’s legacy has moved gallantly back into the spotlight courtesy of the combined efforts of Mack Avenue Records and Octave Music. Together, these parties have announced the Octave Remastered Series, a bold musical initiative that plans to unveil 12 newly restored and expanded editions of classic Erroll Garner albums over the course of a year.
Erroll With Producer/conductor Leith Stevens tracking A New Kind Of Love (Photo: Courtesy Mack Avenue Records) The first four titles in the new series – Dreamstreet, Closeup in Swing, One World Concert, and A New Kind of Love – will be released simultaneously on streaming services and in physical CD format on Sept. 27. The subsequent rollout will feature one album per month – A Night at the Movies, Campus Concert, That’s My Kick, Up in Erroll’s Room, Feeling is Believing, Gemini, Magician, and Gershwin & Kern – leading up to Garner’s Centennial year celebration, which begins in June 2020 and concludes on this 100th birthday in June 2021. The exciting new venture follows a trio of earlier releases from Octave Music — The Complete Concert By the Sea from 2015, Ready Take One from 2016 and Nightconcert from 2018 — that have marked a promising resurgence for the deserving piano master.
Today, we are proud to take part in the expansion of Garner’s legacy by premiering a track from the Octave Remastered Series. Yet again, it arrives on a cloud of mist. “Paris Mist (Waltz and Swing Version),” from the forthcoming reissue of A New Kind of Love, can be streamed via the player below.
The song was originally written as part of a score Garner composed for a film of the same name. Full of sweeping pianism, vital string accompaniment and driving swing, it’s the perfect showcase for Garner’s vivid compositional mind and improvisational savvy. “George Wein called Garner ‘Orch,’ because he was an orchestra all by himself,” explained series co-producer Peter Lockhart in a phone interview. “But to hear him with an actual full orchestra behind him is just amazing. The strings are playing his written material, and he’s improvising on top of it, and he sounds incredible.”
The piece is actually one of three versions of the song to appear on the album. The first, written with a bossa nova feel, was derived from the original score, as was the above version, featuring Garner’s trio of bassist Kieth Mitchell and Albert Stoller shifting between waltz and swing time. The third version features just Garner and his trio, and is included in the new release as a bonus track. All 12 reissues in the series will feature one such previously unissued bonus track, most of which are Garner originals derived from the Garner archives.
But it isn’t the only fresh material audiences will be hearing on the reissued albums. “A lot of Garner records that came out over the years have been edited or shortened in some way, whether for time or artistic decisions,” said co-producer Steve Rosenthal. “That means a lot of Garner’s musical and spoken introductions have been taken out, and most of them are incredibly unusual, much more ‘out’ than people typically associate with Garner. Part of what we’re trying to do is recreate what he played and what he felt during the making of these recordings.”
Erroll With Guitarist Barney Kessel tracking A New Kind Of Love Acoustically, Garner has rarely sounded better. That’s because all of the audio for the Octave Remastered Series was transferred using the Plangent Process, a playback system for analog tape that cures issues of wow (low-cycle speed variation), flutter and other inaccuracies that normally carry over from vintage masters. The result is a stunning audio product that sounds refreshingly crisp without losing its sense of authenticity or vintage charm. “It was really important to untangle his discography and try to represent these records in the way that he meant for them to be listened to, with the album art that he wanted and the track order that he wanted,” said Lockhart.
In addition to the monthly releases, Mack Avenue and Octave Music will also be producing a podcast series dedicated to Garner and hosted by jazz scholar Robin D.G. Kelley. Details are forthcoming, but announced guests include pianists Jason Moran, Eric Reed and Chick Corea.
It’s all in hopes that by reintroducing the world to Garner’s music, people will be able to see his genius through the mist. After all, said Rosenthal, Garner’s true artistry, was his ability to lift people up with his music even as he astounded them with his technical skill.
“Garner’s playing was joyful,” said Rosenthal. “It was a celebration of life. It’s deeply felt and expertly executed. People feel that joy when they listen to him. It’s an extraordinary thing to be able to express, and he could do that in a way that no one else could.”
To pre-order a copy of A New Kind of Love, use this link: https://orcd.co/anewkindoflove
For more information about Erroll Garner or Octave Music, visit errollgarner.com.
Read the full piece from: Jazziz
The Century 21 Exposition, better remembered as the 1962 Seattle World’s Fair, left an indelible mark on the skyline of that city: the iconic Space Needle was created for the event, along with the Seattle Center and its elevated monorail.
There were also major musical performances: a whole mess of them, by the Seattle Symphony Orchestra (conducted in one concert by Igor Stravinsky); by folksingers like Theodore Bikel and Josh White; and by jazz artists including Ella Fitzgerald, Count Basie and Nat King Cole. Also among that last cohort was pianist Erroll Garner, a star attraction at the height of his powers.
Garner’s performance would yield One World Concert, his first live album since the world-beating Concert By the Sea. (On the cover of One World Concert, a subhead declares: Recorded in Actual Performance at Seattle World’s Fair.) This was the third release on Octave Records, which Garner had established with his manager, Martha Glaser. Originally distributed by Philips, it has never had a fully dedicated reissue.
That’s about to change, thanks to the Octave Remastered Series. A joint initiative of Mack Avenue Records and the Erroll Garner Jazz Project, it’s a batch of reissues spanning Garner’s total output on Octave: 12 albums from the 1960s and ‘70s. The first four — along with One World Concert, they include Dreamstreet, Closeup in Swing and A New Kind of Love — land on Sept. 27.
Here is a track from the refurbished One World Concert: “Movin’ Blues,” whose title tells you almost everything you need to know.
Note that I said “almost.” It must be said that Garner is working alongside his usual terrific rhythm team, bassist Eddie Calhoun and drummer Kelly Martin. Listen for how he shifts from his rumbling introduction to the song’s main theme, which includes an answering chime voiced like a train whistle. (A nod to Duke Ellington’s locomotive onomatopoeia, perhaps.)
Then there’s the improved sound quality, which is really this series’ raison d’être. Like The Complete Concert By the Sea, released in 2015, and Nightconcert, which arrived last year (and for which I wrote liner notes), the albums in the Octave Remastered Series were transferred and restored using the Plangent Processes Playback System. This method removes wow and flutter effects in analog tape transfers, which is a more technical way of saying it dramatically cleans up the sound.
Each album in the Octave Remastered Series will also feature one previously unissued track, the majority being new Garner originals. “It’s truly shocking, and one of the greatest joys of this work, to find these fully realized tunes just sitting there on tape,” says Peter Lockhart, who with Rosenthal has produced the reissue series, in a press release. The bonus find on One World Concert is a trio version of “Other Voices,” the balladic title track from a 1957 orchestral album.
Following the Sept. 27 batch release, the Octave Remastered Series will issue one album each month leading up to the start of Garner’s centennial year, next June. These next six albums are: A Night at the Movies, Campus Concert, That’s My Kick, Up in Erroll’s Room, Feeling is Believing, Gemini, Magician, and Gershwin & Kern.
In addition to this rollout, the Octave Remastered Series plans to release a limited podcast, with an episode devoted to each album. Titled Erroll Garner — Uncovered, and produced by our own Alex Ariff, it will be hosted by noted jazz scholar Robin D.G. Kelley. (The One World Concert episode will feature a conversation with pianist Jason Moran.) More information about the podcast is forthcoming.
For more information about Erroll Garner or Octave Music, visit errollgarner.com.
Read the full piece from: WBGO
The new album by self-assured 25-year-old jazz singer Veronica Swift begins with an auspicious announcement of sorts: “I may be unknown, but wait till I’ve flown,” she confides over a delicate, insinuating piano introduction. “You’re gonna hear from me.”
With those lyrics, courtesy of a 1965 song by André and Dory Previn famously sung by Barbra Streisand, Frank Sinatra and Nancy Wilson, Swift stakes her claim as one of the most irresistibly talented jazz vocalists of her generation.
Although it’s her major label debut, Confessions (Mack Avenue) is not her first. That came in 2004 when she was a precocious child. Produced by her father, the late jazz pianist Hod O’Brien, that early effort featured backup vocals from her mother, noted jazz singer and vocal instructor Stephanie Nakasian, and Richie Cole on saxophones.
Listening to the 9-year-old Veronica sing bebop standards like “Twisted” and “Donna Lee” is a mildly unsettling experience. She isn’t in the least intimidated by the material, and she scats with abandon. Yet, while she remains firmly in tune, she couldn’t, at 9, sing with precision the complicated bebop lines in her head. But what’s in her head is incredible.
Back then, when Swift was just a talented kid, she accompanied her parents on the road, sometimes taking a nap backstage in the bass case. Today, Swift is headlining at jazz festivals around the world, including Monterey, Montreal and, this past summer, Umbria, Italy, and Marciac, France. In December, she performed with Wynton Marsalis and the Jazz at Lincoln Center Orchestra on their annual holiday tour and has appeared as a featured performer with trumpeter Chris Botti.
The new album, two years in the making, is a carefully curated collection of standards. An artist who clearly relishes jazz tradition, Swift manages to find the contemporary in American classics, bringing a combination of passion, humor and just a touch of millennial insouciance to her readings of lyrics that might be 50 or 70 years old. Accompanied alternately by two immaculate, powerhouse piano trios—led by Benny Green and Emmet Cohen playing Swift’s own arrangements—she takes on repertoire from composers like the Previns, Dave Frishberg, Mel Tormé, Dietz & Schwartz, and longtime family friend Bob Dorough. There is one original: “I Hope She Makes You Happy,” a composition that sounds like a vintage tune, perfectly suited to the collection. “She is an amazing creative spirit,” Nakasian said recently in a phone interview from Rhode Island, during a break from her own summer tour. “I’m proud all the time.”
Nakasian, who first gained fame in the mid-1980s touring and singing with vocalese legend Jon Hendricks, said she and O’Brien were protective parents, never pushing Veronica onstage. But one night, when the couple was performing at New York’s Jazz Standard, they allowed their daughter to sing a number with them. “And afterwards she said, ‘Mommy, I’m sorry!’” Nakasian recalled. “I said, ‘What do you mean?’ She said, ‘I got more applause than you did.’”
Then there was the time when Nakasian and a 12-year-old Swift went to see bebop singer Annie Ross (the Ross of Lambert, Hendricks & Ross) perform in New York, and the youngster sat in on a number. Afterward, Ross said to her, “My goodness, Veronica, that was amazing ... but don’t come back too often!”
Fast forward to 2019: an evening in late June, and Swift is singing at Birdland, where she used to hold a residency on Saturday nights, way back when she was 23. Now a seasoned pro, on this night she’s a special guest of the Django Festival All Stars, the virtuosic exponents of Django Reinhardt and Le Jazz Hot, with whom she has appeared off and on for two years. “Two years is a long time when you’re 25,” she told the packed house.
On her first number, Hoagy Carmichael’s “Stardust,” she displayed exquisite control and nuanced phrasing, wringing fresh pathos out of the familiar lyric, and commanded the stage in a way that’s highly unusual for someone her age. A scat conversation with the group’s accordionist, Ludovic Beier, followed, Swift imitating the timbre of a muted trombone with gusto and imagination. Many of her best qualities were represented during the performance: her remarkable gift for scat singing, her vulnerable emotionality and commitment to the lyric, her mastery of her vocal instrument, her pure tone (which often calls to mind Ella Fitzgerald) and her flirtation with time (influenced by her admiration for Anita O’Day).
A few hours before the Birdland show, Swift arrived at Elephant & Castle, a brunch spot in Greenwich Village. She’d just come from an on-air WBGO interview with Michael Bourne for his “Singers Unlimited” program. It wasn’t her first time on the show, either. Years ago, the radio host interviewed her parents, then asked the young prodigy a few questions; she was 10. What did she have to say? “You think I remember?” she joked. “Probably something like, [assuming a little girl’s voice] ‘Hi, I’m 10. I like jazz.’”
Swift adopted her stage name, with her parents’ permission, before her childhood debut album. “My dad was adopted,” she explained. “His biological father’s name was Swift. I wanted to establish my own name.” Even then she had a sense she would be an artist with her own identity.
She doesn’t remember a time when she didn’t listen to jazz. “That was all I was exposed to. Before I was even born, in utero, Mom was doing concerts. I was always hearing bebop ... it’s like when you hear your language growing up. There’s a language and vocabulary to the music. I’ve been hearing it before I even could speak.
“When I was 4 or 5 years old, I was obsessed with Stravinsky and Bach. The Rite Of Spring was—is—my favorite piece of music. It evokes every emotion I’ve ever felt in one sitting. I was singing Bach lines before I was in grade school. I didn’t think I was anything special. I just liked to sing stuff that kids my age didn’t listen to. So, I knew I was different.”
Her current path has not been without a few twists and turns. Before coming in second at the Thelonious Monk International Jazz Vocals Competition in 2015 (Jazzmeia Horn won that year), she had been thinking about doing something completely different.
“When people ask what I do, yeah, I’m a jazz singer, but I’m really a storyteller,” she said. Her mother remembers her as a child telling stories from the back seat during long drives, “for 20 minutes at a clip. It was an early sign of her abilities as a storyteller.”
In 2013–’14, while studying at the Frost School of Music at the University of Miami, Swift said she went through a rough patch emotionally; she cited the loss of her childhood home in a fire and difficulty adjusting to the demands of college as contributing factors. She dealt with it by taking a semester off to explore goth-rock as both composer and performer, writing an alt-rock opera called Vera Icon about a nun with a dark side. “I did rock ’n’ roll stuff for two years,” she said, “and I felt free and at peace with myself onstage from singing rock ’n’ roll.”
In all, she said, she has written three musicals and three screenplays. “I couldn’t be the artist I am today without having sung the rock stuff. I think it gives me that edge. It helped me find my own voice.”
She first met pianist Cohen, 29, when she attended a concert he played at the Frost School (the pianist is also an alumnus). When she got to New York, it was Cohen who took her under his wing and introduced her to the jazz scene, including players like bassist Russell Hall, drummers Kyle Poole, Evan Sherman and Bryan Carter, and singer-trumpeter Benny Benack III, who gigged regularly at Smalls, Dizzy’s and Smoke. He also introduced her to several living jazz masters with whom he’d played, including Jimmy and Tootie Heath, Jimmy Cobb, Houston Person and Ron Carter.
Cohen, winner of the American Pianists Association’s 2019 Cole Porter Fellowship award, said, “We had instant chemistry. She hadn’t felt that from a peer up until that point, and neither had I from any singer I’ve known. She can access the emotion of a song more directly than any other singer I’ve ever worked with, feeling the sadness of a lyric and relating it to her life. I’ve seen tears well up in her eyes when she sings.”
Swift and Cohen’s compatibility is based, in part, on a shared interest in vintage songs, he said. “Whether it’s the repertoire of Jelly Roll Morton, Fats Waller or Thelonious Monk, I like putting a modern twist on them, and so does she.” One example from the new album cited by Cohen: a minor but clever update to Frishberg’s immortal lyric to “I’m Hip,” revising “I’m gettin’ my kicks/ Watchin’ arty French flicks with my shades on” to “I’m gettin’ my kicks/ Yes, I’m watching Netflix with my shades on.”
Confessions, as the title implies, has an aura of autobiography to it, even if the lyrics might not directly correspond to events in Swift’s own life. “My parents taught me never to sing about something I hadn’t experienced,” she said.
“She simply won’t sing a song that doesn’t have meaning for her,” Nakasian said. “It’s very personal with her. What you see on stage is who she is. I learn from her, seeing her go for the jugular all the time. I like who she is. She’s loving. She could she get a tougher skin, but she’ll get that as she goes on.”
Although her mother never gave her formal voice lessons, both parents gave her hard-won wisdom about programming and managing a music career. Swift said this included “being grateful for what you have, and—maybe the most important thing—how to manage my time. My mom and I both tend to say yes to too many things. You have to make priorities constantly.”
The way she brings drama to her songs is something she shares with another leading jazz vocalist, Cécile McLorin Salvant. “The drama part is important to her,” Nakasian said. “Jon Hendricks said to me, ‘In real art, there is no competition.’ She and Cécile are both theatrical, although very different. There used to be a distinct line between cabaret and jazz. It’s more blurry now. Now, it’s not unhip to be theatrical.”
Having learned so many songs from her parents gives Swift yet another advantage. A good example is her choice of “A Little Taste,” the second cut on Confessions. The song is a classic instrumental by Johnny Hodges to which Frishberg wrote a wry, witty lyric about indulging in adult beverages. It’s rarely been covered.
“That song was her choice,” said Green, whose trio accompanied her on the tune. “She comes up with this really hip repertoire, obscure songs with a brilliant lyric or an intriguing melody. She owns that now, doesn’t she?”
Swift had the opportunity to perform the song for Frishberg, now 86, at Portland’s PDX Jazz Festival, along with “I’m Hip” (written with the late Dorough). “He said he was touched,” Swift said. The memory overwhelms Swift with emotion.
Losing her father at a young age has clearly had an impact on Swift. Hod O’Brien, a bebop pianist who played with Chet Baker, Donald Byrd and Art Farmer, died of cancer on Nov. 20, 2016, at the age of 80, when Swift was 22. “I was born when he was 58. I always had the oldest father of any of my friends. So, I was aware of his mortality,” she reflected.
“He wasn’t much of a talker. But I learned from him when to talk and when not to talk. And when he did talk, everyone listened. He had a spiritual presence.” She takes some comfort knowing that, before his passing, “he saw me arrive,” she said. “I feel lucky that we had a complete relationship. That’s all we can hope for. There’s no perfect ending or closure. That’s a fallacy. But a complete relationship—that’s a beautiful thing.”
In the past few years, Green, 56, has become a special kind of a mentor to her. “Playing with him is like playing with a long-lost older brother,” she said.
“All the older cats love her,” Green said. “It’s important for Veronica to feel that connection with older musicians. For me, working with her has been an inspiration. I’m very particular. I mostly work as a leader these days. So, for me to work with someone younger, and for them to lead my trio, is a bit of a stretch. Ultimately, it’s not about how old the person is or how well known they are. It’s about, ‘Are we on the same page musically?’ It’s really a gas to play with someone who’s so right-now and old-school at the same time.”
Or, as Cohen put it, “She’s the total package. Once I asked [drummer] Tootie Heath if he missed the New York jazz scene. He said, ‘Nah—I am jazz.’ When I meet someone like Veronica, that’s what I feel—she is jazz.” DB
Read the full piece from: Downbeat
New Orleans brass ensemble The Soul Rebels are gearing up to release a brand new full-length album, titled Poetry In Motion, on October 25. To aid in its promotional efforts, the group is premiering a second new single and its accompanying music video, directed by Leff at Vincent Lou Films.
“It's about having a dream and bringing it to life,” trumpet player Marcus Hubbard says of “Real Life.” “A lot of times people have dreams and don't believe they can really happen. This is telling you to believe in your dreams and go after them. Don't worry about outside influences or what people are saying.
"It's also about going through real life circumstances,” Hubbard adds, “and having to make decisions to keep pushing forward and fighting for what you believe in in life. In life we are faced with hard times, challenges and moments that test our strength. The song is about dealing with hardship and coming out strong on the other side. It's a reflective song.”
Utilizing the strongest elements of funk, soul and hip-hop, The Soul Rebels have crafted a truly memorable modern offering that’s full of old-school spirit and charm. Its explosive rap verses only add to its effect as one of the best songs of 2019.
You can view The Soul Rebels’ video for “Real Life” below.
The Soul Rebels have several live performances lined up into 2020. You can view the group’s dates on their website.
Read the full piece from: Forbes
A born be-bopper, it's literally impossible not to love the energy that 25 year old Veronica Swift brings to her game. Soulfully infused with an infectious passion for jazz past and future, she is building a grand foundation for a long and colorful career, guaranteeing plenty of great performances and listenings along the way.
So it is certain that it is no accident that she opens her raucous and ballsy Mack Avenue Records debut Confessions with Andre and Dorie Previn's "You're Gonna Hear From Me." "Move over sun 'n give me some sky," she declares with a gleeful defiance, kicking off a joyride that doesn't roll often: demanding and commanding your undivided attention for her talent's sake, not for her fashions, her passions, or her Twitter feed.
Daughter of celebrated jazz vocalist Stephanie Nakasian and late be-bop pianist Hod O'Brien, Swift comes by it all most naturally and the music fits her like a second skin. Handling all twelve expressive arrangements with a youthful, carry-you-away zest, each performance becomes its own highlight reel. Johnny Hodges's "A Little Taste," is fashioned as a playful seduction. From the Thoroughly Modern Millie songbook comes "Forget About the Boy," an exuberant pop/rhumba plaything played with Broadway precision by the equally formidable Emmet Cohen: pianist superb Emmet Cohen, bassist Russell Hall, and drummer Kyle Poole. Cohen and company empower eight of the twelve tracks, while the other four keynotes, including the sumptuous "Interlude," Swift's own cool, sparkling angsty throwback "I Hope She Makes You Happy" and the intense late-night medley of Arthur Schwartz and Howard Dietz's "Confession" and Jessie Mae Robinson's "The Other Woman," are brought to lively, vigorous life by the dynamic shadings of pianist Benny Green and his compatriots, drummer Carl Allen and bassist David Wong, while Swift sings with a heartbreaking blues melancholy beyond her years, a skill she channels as easily as she breathes, exemplified again on the coupling of Mel Torme's "Stranger In Town" and Victor Schertzinger's Billie Holiday gem "I Don't Wanna Cry No More."
The street crackling hipness of "I'm Hip" and the saucy assurance of "No Regrets" only proves further Swift brings it all to fore, conjuring Ella Fitzgerald with her easy scatting, Sarah Vaughn with her natural timing, Anita O'Day for attitude and humor, and Ethel Waters for the sheer force of her personality. It's all here waiting for you to be heard in Confessions.
ps: Veronica Swift's ascendancy consist of: It's Great To be Alive! (Snob, 2007), Birdland Big Band (Birdland Records, 2017), Then and Now Benny Green (Sunnyside, 2018) and her debut Veronica's House of Jazz (Snob, 2004).
Track Listing You’re Gonna Hear From Me; A Little Taste; Interlude; Forget About The Boy; A Stranger in Town; I Don’t Wanna Cry Anymore; I Hope She Makes You Happy; Confession/The Other Woman; Gipsy In My Soul; No, Not Much; I’m Hip: No Regrets.
Personnel Veronica Swift: vocals; Emmet Cohen Trio: Emmet Cohen, piano; Russell Hall, bass; Kyle Poole, drums (1, 2, 4-6, 9-12); Benny Green Trio: Benny Green: piano; David Wong: bass; Carl Allen: drums (3, 7-8).
Read the full piece from: All About Jazz
At 25 years old, Veronica Swift possesses the cool confidence of a seasoned performer. Elegant onstage, the up-and-coming vocalist can slide seamlessly from a difficult syncopated rhythm to a wistful love song to a fresh arrangement of an old standard.
Swift’s jazz bona fides were evident from the start. Born in Charlottesville, Va., to renowned pianist Hod O’Brien and acclaimed singer Stephanie Nakasian—both jazz artists—she first appeared at New York’s Jazz Standard with her parents. She recorded two CDs as a child: one at age nine with saxophonist Richie Cole, her father’s rhythm section, and her mother, and one at age 13 with saxophonist Harry Allen. Swift’s first appearance at Jazz at Lincoln Center was at age 11, when she performed at the “Women in Jazz” series at Dizzy’s Club Coca-Cola.
Veronica Swift and Emmet Cohen perform “I’m Hip” on WBGO’s Singers Unlimited
Singing in her high-school choir taught Swift about blending and voice-leading, while playing trumpet in the jazz band taught her about improvisation.
“I noticed that I could actually sing this stuff better than I could play it on trumpet,” she told JazzTimes, “so why don’t I just scat?”
Soon after, Veronica Swift was earning accolades. In the fall of 2015, she won second place at the Thelonious Monk Jazz Competition. In 2016 she was asked to perform a concert of her own at the Tribeca Performing Arts Center in New York City, and she was a guest artist with Michael Feinstein at Jazz at Lincoln Center with the Tedd Firth Big Band, Marilyn Maye, and Freda Payne.
In the summer of 2016 she headlined at the Telluride Jazz Festival, her 10th appearance there but her first as a headliner. She had first appeared there at age 10 with Dave Adams’ Young Razzcals Jazz Project and Richie Cole; later she sang a duet with the featured artist, Paquito D’Rivera. In April 2017 she was booked for a residency at Birdland Jazz Club in New York City. On into 2018, Veronica began touring with her trio, featuring pianist Emmet Cohen, as well as the Benny Green Trio, Wynton Marsalis and the Jazz at Lincoln Center Orchestra, and Chris Botti, appearing at Jazz Showcase, the Monterey and Montreal Jazz Festivals, two runs at Jazz at Lincoln Center Shanghai, China, and Marians Jazz Showroom in Bern, Switzerland.
Her 2015 album Lonely Woman features some of the hottest young jazz players on the scene, including Cohen, Benny Benack III, Daryl Johns, Matt Wigler, and Scott Lowrie. Her debut album for Mack Avenue Records, Confessions, is due out on August 30, 2019.
In addition to performing the Great American Songbook and bebop and vocalese classics, Veronica is also a passionate devotee of ’20s and ’30s music and has sung with Vince Giordano, Terry Waldo, and Drew Nugent.
But her musical tastes aren’t limited to jazz alone. Swift cites Marilyn Manson, Freddie Mercury of Queen, Michael Jackson, and Lady Gaga as some of her biggest influences. She may even cover a couple of Queen songs on her next album.
Read the full piece from: JAZZTIMES
Child prodigies—defined as a person under the age of ten who produces meaningful output at an adult level—come along in one out of 10 million or so births. Jazz singer Veronica Swift qualifies. At nine she recorded her debut album, Veronica’s House of Jazz, and also began touring with her parents, pianist Hod O’Brien and jazz singer Stephanie Nakasian. Her second album, It’s Great to Be Alive, was released four years later. In between, at 11, there was an appearance in the Women in Jazz series at Dizzy’s Club. Early video shows a youngster with poise, advanced skill and a vocal tone already rich and warm.
Swift has just turned 25 and has already had a full and important career to which other performers would aspire. Confession, her latest album and Mack Avenue debut is due out at the end of August, with pianists Benny Green and Emmet Cohen’s trios. Yet, growing up in Charlottesville, Virginia, she says she had a very “normal” school experience, despite knowing that hers was not an average childhood. “It wasn’t until high school that the other students really got what I did,” she says, “but I never had a problem connecting with other people my age.”
In the 2015 Thelonious Monk Competition she was the second place winner and earned a Bachelor’s degree in jazz voice in 2016 from the Frost School of Music at the University of Miami. That same year, her father died after a battle with cancer; to deal with the anger she felt she wrote a gothic-rock opera, Vera Icon, about a homicidal nun. Intensely self-aware, she muses that, in art, nothing ever fulfills its purpose or reaches its full potential. “So it’s just the beginning for Vera Icon,” she says. “Writing it was the greatest joy of my life—very much how it must be to be pregnant.” One of her goals is to bring Vera Icon to the New York stage in an Off Broadway production.
Swift’s drive was no more evident than in a recent performance at Birdland, where she has found a New York home. Club owner Gianni Valenti was quick to spot her talent and sign her to his AB Artists career management company. During the set in the newly opened Birdland Theater, Swift was in a contemplative mode, having just experienced the loss of a friend. She is aware that great songs can come from unhappiness— anger, sadness, dejection, grief—as well as the interpretation of them. Her therapy is the music, in putting those dark feelings into her work. She honored in song her father, “Uncle” Bob Dorough with “Nothing Like You (Has Ever Been Seen Before)” and Jon Hendricks with a vocalese rendition of Mercer Ellington-Ted Person’s “Things Ain’t What They Used to Be”. It became obvious that Swift, with her natural presence and beliefs about the dark side of life, knows how to harness the wind.
She uses the word “edge” to describe a certain angst or energy from underneath that flows through each and every song, adding intensity and yearning to it. “For me edge is mostly these negative, but powerful, energies that one experiences and are being channeled through these songs with the power of love,” she says. “If that aspect isn’t represented in these songs,” she affirms, “then you’re not seeing a true person on stage in front of you.”
Swift’s repertoire is extensive, changes with each performance and includes numbers from the ‘20s-30s, plus Swing Era standards and other classics of the songbook. She’s also at home with the bebop canon and much more. Her personal listening and tastes have been wide-ranging; she cites such disparate influences on her work as Anita O’Day and Marilyn Manson to opera. All of these elements inform her performances in specific ways, serving their own purposes. She explains: “Jazz allows me to feel warm, safe and grounded. Rock and metal and opera give me strength and empowerment. Electronic music makes me feel as if I’m high or in a trance-like state.”
With an uncanny ability to deliver flawless vocalese, she says she well understands that this vocal style is not for everyone, especially since the words fly by so quickly. She discloses that for her, the very attraction to it is the words. “When written well, vocalese is an ingenious way to tell a story through more complex narrative and deeper emotional concepts,” she explains. “The fact you have more melodic lines to put words to gives you the opportunity to tell the stories of these songs in a completely new light. You’re writing a musical in a sense, creating characters and such.” Swift adds that vocalese also allows her to solo in an instrumental form, often mirroring and mimicking instrumental lines, particularly horns.
In the few years since graduating from college, Swift has enjoyed a full-time career as an artist, leading her own bands and starring with the likes of Wynton Marsalis and the Jazz at Lincoln Center Orchestra, Chris Botti, Michael Feinstein, Clint Homes, Nicolas King, Benny Green and many more.
A little surprisingly though, she admits there’s more satisfaction for her in acting. “I am most happy performing when I am in a stage or film production,” she reveals. When she can be someone else, deal with props and work with other actors, then that story becomes a gateway to another universe. “When I can enter someone else’s world and tell their story, that’s when I’m at peace and most satisfied with my work,” she says.
As to the future of jazz in the hands of her generation, Swift cites Cécile McLorin Salvant, Cyrille Aimée and Jazzmeia Horn as jazz singers who bring fresh sounds yet also honor tradition. She admires their ability to maintain their own integrity and passions. Swift considers herself, as well as these artists and those like them, as voices who will preserve the art form but add to it as well.
“We just have to keep creating and staying true to our roots in this music,” she concludes. “As long as we do that we will be able to communicate and reach those across borders of all kinds.”
Read the full piece from: New York City Jazz Record
For those not in the know, known for consistently cranking out chart-topping singles that deploy big vibrant pop hooks, contemporary jazz saxophonist Steve Cole is actually much more than that; for he is also a professor/adviser of music business at the University of St. Thomas.
The Chicago native exploded onto the scene in 1998 with the album Stay Awhile that was produced by fellow Chicagoan Brian Culbertson. The disc scored two #1 hits and earned Cole the Oasis Smooth Jazz Award for best new artist shortly before his sophomore set, Between Us, was released in 2000.
His catchy singles made him an instant radio favorite and he cranked them out with regularity on subsequent albums NY LA (2003), Spin (2005), True (2006), Moonlight (2011), Pulse (2013), and then Turn It Up in 2016.
It’s during the times when we’re confronted with life’s hardest struggles that we learn to appreciate the humanity around us. On his latest album, Gratitude, Cole offers thanks for the people who’ve helped see him through some of his tough times – the loved ones, the musicians and collaborators who rallied around, and the often-nameless professionals whose job is to help and to heal.
Releasing on July 26th, 2019 via Artistry Music / Mack Avenue Records, Gratitude arrives on the heels of a health scare in Cole’s family.
The successful battle left the saxophonist feeling rejuvenated, with a renewed sense of hope and faith in his fellow humans.
"Going through something like this," Cole says of the recent health scare, "and seeing all these marvelous people who care so much about others has really imbued my music with optimism and gratitude."
Ergo, that depth of feeling shines through on the album’s ten tracks, which joyously spotlight Cole’s gift for infectious grooves, soulful melodies, and vibrant pop hooks.
1. 'Good News Day'
2. 'Neo Sol'
5. 'Starting Over'
6. 'Love Ballad'
8. 'Can't Get Enough'
9. 'Let's Go!'
The first track from his brand new ninth album is the upbeat, addictively funky and definitely the only track you would need playing in your open top car on a summer drive 'Good News Day' and that's backed by both the gentle jazz lite flow of 'Neo Sol' and the quieter title track ballad 'Gratitude.'
The beat gets turned back up on the finger-snappin' beauty 'Soho' which is backed seamlessly by both the gently distorted slap bass and guitar of 'Stating Over' and the truly lush, and aptly titled 'Love Ballad.'
Bringing back the funk for 'Five6oh83' that's followed by one of my own personal favorites here, the windswept hipsway of 'Can't Get Enough.'
The album then rounds out in some style with Cole showcasing his immense sax talents on the fun 'Let's Go!' with the laid back ease of 'Toronto' bringing this quite stunning new album to a close.
Read the full piece from: Exclusive Magazine
It’s during the times when we’re confronted with life’s hardest struggles that we learn to appreciate the humanity around us. On his latest album, Gratitude, saxophonist Steve Cole offers thanks for the people who’ve helped see him through some of his tough times – the loved ones, the musicians and collaborators who rallied around, and the often-nameless professionals whose job is to help and to heal.
Gratitude, due out July 26 via Mack Avenue Music Group’s Artistry Music, arrives on the heels of a health scare in Cole’s family. Their successful battle left the saxophonist feeling rejuvenated, with a renewed sense of hope and faith in his fellow humans. That depth of feeling shines through on the album’s ten tracks, which joyously spotlight Cole’s gift for infectious grooves, soulful melodies, and vibrant pop hooks.
Co-produced with longtime collaborator and fellow saxophonist David Mann, Gratitude in no way reinvents the trademark sound that has seen Cole consistently top the contemporary jazz charts, both solo and with the much-loved sax trio The Sax Pack, over the last two decades. But it does find an artist with a love of life and an overflowing passion for self-expression, the formula for an invigorating and moving set of music.
“Having a close family member go through something like this,” Cole says of the recent health scare, “and seeing all these marvelous people who care so much about others has really imbued my music with optimism and gratitude.”
The ensemble on Gratitude includes his regular rhythm section, bassist Lamar Jones and drummer Khari Parker, along with guitarist Bernd Schoenhart, organist Ricky Peterson and horn players Trevor Neumann and Dan Levine. As he has been since Cole’s second album, David Mann was a crucial partner: producing, playing multiple instruments, and even providing the album’s heartfelt title track.
“It’s a beautiful song, and perfect for me as an artist,” Cole says. “I feel like Dave knew the record needed that — and that I needed it.”
Another reason for appreciation came via one of Cole’s Sax Pack partners when Marcus Anderson delivered the funky “Can’t Get Enough.” As Cole marvels, “He just laid it at my feet, completely finished. Marcus said, ‘I was thinking of you,’ and he gave me this awesome song. It was an incredible gift from one of my saxophone brothers.”
Having created one of his strongest albums to date, Cole hopes that the music of Gratitude returns some of the healing energy and positive emotion that he received from so many people back into the wider world. He’s seen it happen firsthand: “Writing music is a dream, and it always blows me away when someone tells me a story about how my music has affected them in a profound way,” he says. “Joy is baked into this record, and hopefully it means as much to the listeners as it does to me.”
Read the full piece from: TheUrbanMusicScene
As New Orleans natives, The Soul Rebels naturally know how to have a good time. With the brass band heading for the release of their Poetry in Motion album this fall, the eight-piece ensemble teams with a couple of fellow Big Easy residents in Denisia and bounce pioneer Big Freedia for the sun-drenched "Good Time" visual.
The clip, which premieres with Billboard on Thursday (Aug. 8), finds some of The Soul Rebels enjoying a game of dominoes over a few cold drinks at a summer barbecue. There's even a giant inflatable water slide to occupy the kids that Denisia sings in front of while bubbles float across the screen. Big Freedia spices up her guest appearance before the visual comes to a close, as the scene switches to the 41-year-old captaining a ship at sea.
"Our new album reflects The Soul Rebels sound and style, and challenges and expands upon the perception of a New Orleans brass band," trumpeter Julian Gosin says of what influenced the band's sonic direction. "We are breaking the stylistic and artistic boundaries of what it means to be a brass group from New Orleans."
Poetry in Motion is due out Oct. 25 and will feature Tarriona “Tank” Ball, Big Freedia, Robert Glasper, Branford Marsalis, Matisyahu, PJ Morton, and Trombone Shorty.
Watch the "Good Time" video below.
Read the full piece from: Billboard
Julian Lage is a tremendously talented acoustic guitarist and by all accounts a polite, mild mannered kind of guy. Though this might not be the whole story. The cover picture of his album is of twenty used matches, which is thought to refer to his worries of becoming burnt-out after being hailed as a child prodigy then burdened with the lofty expectations of his admirers.
Lage was an accomplished blues guitarist when featured in the Oscar-nominated film documentary Jules at Eight. A year later, at nine, he was invited on stage to trade licks with Carlos Santana. Then, into his teens, he performed with, in turn, virtuoso banjo player Bela Fleck, bluegrass flat and finger picking ace Doc Watson and jazz vibraphonist Gary Burton. Now in his 30s, he no longer feels the need for such demonstrations of virtuosity.
Lage, based in New York, told Rolling Stone magazine: "I remember very vividly being a kid and people saying, 'You're so good for being such a young age.' I'd say, 'Thank you,' but I'd be thinking, I want to be good for any age. That was always my goal."
He kicks off with the melancholy "In Heaven," by Peter Scott Ivers, a harmonica player, songwriter and television personality murdered in 1983 at the age of 37. Ivers' killer has never been brought to justice. There's some microphone distortion on this track early on, but it doesn't get in the way that much and the rest of the album is fine.
Next up is a dazzlingly fast treatment of the title track of Ornette Coleman's 1959 album, "Tomorrow Is The Question." Then Lage stays with jazz for Keith Jarrett's "The Windup," a second Jarrett number, "Encore (A)" and a lesser known piece by Jimmy Giuffre, "Trudgin'"
But what he does best is to revisit and transform melancholy old pop numbers. His arrangement of the title track, an Everly Brothers' hit from 1965, is quite stunning and his playing of it makes you forget the number's lachrymose country origins.
Better still is the old Tommy Dorsey hit, "I'm Getting Sentimental Over You." On this, Lage abandons any consideration of what might or might not be expected of him and takes it along nice and slowly, exploring the beautiful old melody to the full.
He quietly exits with another sensitive treatment of a pop weepy, Roy Orbison's "Crying," from 1962.
Read the full piece from: All About Jazz
The first track on the latest recording from Joey DeFrancesco is what you might expect from the organ expert and swinging veteran. "Inner Being" is a graceful, upbeat tune that layers DeFrancesco's organ colors with both Sammy Figueroa's percussion and the organic drumming of veteran Billy Hart. The passages of the composition in which the organ plays in melodic sync with the soprano saxophone of Troy Roberts (the native of Perth, Australia who has made New York his home in recent years) are lovely, launching an engaging set of solos. If the whole album were like this, well, it would be a beautiful slice of what DeFrancesco has been offering listeners for many years: Hammond B3 playing for a new century. Tasty. Lovely.
But In the Key of the Universe offers something more. On three tracks, DeFrancesco features the legendary Pharoah Sanders, the tenor saxophone giant whose work with John Coltrane and solo career from the '60s through the '80s made a huge mark on the music. In the last 20 years, Sanders seemed to vanish from the scene, even as some of his original ideas have been revived in various forms, becoming more relevant than ever.
DeFrancesco says that "this is something I've wanted to do for a long time," ever since Sanders sat in with him on a gig in Vienna in 2004, playing "Body and Soul" and a blues. "He was unbelievable. At that time I was just finishing up a record with Jimmy Smith called Legacy. I thought it would be great to have Pharoah, but scheduling didn't allow it."
The result is a recording that brings Sanders' voice back into circulation in a thrilling way and opens up DeFrancesco's music to a newer avenues as well.
"My music has naturally been growing in a more spiritual direction over the last decade," says DeFrancesco. "So this was a natural."
The thirst to revisit Sanders's work of the '70s and '80s is hardly confined to DeFrancesco. The Epic by Kamasi Washington (Brainfeeder, 2015) is possibly the most talked about jazz recording of the last five years, and it's unimaginable without Sanders as a role—and sonic -- model. DeFrancesco's take on Sander's legacy is less transformative, but it brings the leader's music into a different place while giving Sanders a chance to reintroduce himself.
Sanders appears on three tracks on In the Key of the Universe. DeFrancesco positions them at the center of the order, and they deserve to be its core. Sanders doesn't outplay Roberts on the saxophone but he brings a gravity to each of these tracks that places them on a different plane. Sanders also brings his famous tune, "The Creator Has a Master Plan" to the album.
"I've seen Pharoah many times over the years," DeFrancesco recalls, "and I have all his records. But when you're in the studio with him and he puts his horn together ... As soon as he plays his first note, it puts you in a zone. He starts explaining how to play 'The Creator Has a Master Plan'—that intro. He comes in just as strong as in 1969, and to hear that in front of you, it's a spiritual experience."
The version here is shorter than Sanders's original, but it still has grandeur. The 1969 version from Karma (Impulse!) is more than 30 minutes long. It's arrayed with percussion and flute, coming in as a great rumble of life, the tenor saxophone both gruff and tender, the tremolo of piano sounding like drums, the drums sounding like a deep form of melody. The groove of the original has a simplicity, sounding almost childlike, shot through with wonder while still cluttered with a tribal communion.
DeFrancesco doesn't try to mimic that, exactly, but he has the great Billy Hart on drums with Figueroa adding texture and his own piano filling the space more fully. The tempo is a bit faster, with Sanders entering earlier and the band getting into a pulsing groove that, frankly, out-swings the original. DeFrancesco's organ becomes a beautiful voice that matches Sanders, both when he plays and when he sings the song's famous lyric ("The creator has a master plan / Peace and happiness for every man"), a smooth, fluid thing.
The organ, after all, is a church instrument, a spiritual voice even as it's been associated with the greasy blues. To DeFrancesco, they can be one and the same. "It's all blues. When you listen to 'The Creator Has a Master Plan'—that's a total blues line. But it's a freer concept of that. John Lee Hooker has real spiritual depth too. There's a misconception that the blues is about struggling, but it's about everything. It's a feeling, but it's not about being 'blue'."
There's a graceful sway of keyboards beneath all of the performance, a set of polyrhythms among the different voices that resemble the various voices in Hart's drum kit, bouncing, kissing against each other, forming the chain of pulses that are the life of the song. It's only a third the length of the original but still, at 11-minutes, it stretches out—not with long solos but with several episodes of collective feeling. It grabs you and holds you.
"Musically, you have to get past chord changes and time," DeFrancesco explains. "I love when you get really open and allow the time to let the feeling develop. You feel a whole other closeness when you approach the music this way."
Sanders plays in cooperation with DeFrancesco's muted trumpet on "And So It Is", a languorous theme that bobs with a gentle Latin feeling above a rhythm section that also layers organ and Fender Rhodes. Sanders takes the first solo, rambling in excellent tone over the changes, with his hard-edged sound rounded off quite a bit. DeFrancesco plays a busier solo on Rhodes, with the tines of the electric piano being matched, tonally, by Figueroa's bell-like hand percussion. The best part of the tune, though, comes after the melody is reprised. Sanders solos again, this time in impressionistic conversation with Joey's B3. The two voices really belong together.
The title track, "In the Key of the Universe" is the most conventional of the three Sanders tracks, with its swinging bass line (played by Roberts, actually) over a modified blues structure. All the players seem loosest here, with DeFrancesco taking a smoking solo. But there's something that each player gets from the other: a sense of being prodded, pushed, inspired. "I never knew I was going to go this way—it just happened naturally," DeFrancesco says. "Coltrane had the foresight to hire Pharoah and other free players. Trane was smart to sponge off of that. A lot of people don't want to do that or don't know if they want to do that."
Reaching for Communion It can be hard to say what it is, exactly, about this music that gives it a sense of spirituality. But DeFrancesco suggests it has something to do with spontaneity. "Staying fresh and always being on the cutting edge—Pharoah has always been there. That never goes away. You can stay in one bag and play standards forever, and even within that approach there are ways to stay fresh because you're improvising.
"There are different definitions of freedom. Spiritual music is a good term. It's about being in the moment and being aware of yourself. It's all one big thing. it's endless. There are so many sounds but there are only twelve notes. But it's in how you approach them—the feeling and the time feeling. Is there anything new?"
Some of the tracks with Roberts on saxophone and without Sanders also reflect the sense of the spiritual. "A Path Through the Noise" may be the best example. It's a ballad and there's something powerfully intimate in that format, particularly with the Hammond organ purring beneath every note, a beautiful, shivering thing. The way the colors of the organ shade the tenor sax melody seem spiritual in the way that light coming across a mountain range at dawn suggests things bigger than our normal concerns. It's not a catechism but a feeling.
"You have to have the right feeling. When the spiritual aspect is there, it's really happening," says DeFrancesco. "As you grow older, it opens you up more spiritually. Being aware of more things is important. It's not even about religion. It's about being in touch, in key with the universe. This makes me understand guys like Pharoah more. It's about other cultures, not just bebop scales, though that was spiritual too."
"Vibrations in Blue" gets at that intercultural element to spirituality. The tune simulates a sitar drone at the start and finish, using bent tones and unusual timbres. The instruments move across a non-Western scale until the groove kicks in, slow at first and then slipping into a swinging tempo at an odd time signature.
The other element of spirituality that DeFrancesco hears in this project is that of communion, bringing together the musicians who can lift his music up to a higher level. "Miles Davis is a perfect example of how you move your art along by having different musicians, the right musicians. As great as Miles was as a trumpeter, his great gift was putting musicians together. The musicians that surrounded him influenced him. That's how you're true to yourself—by taking these different things that you like that you're hearing and bring those people in." DeFrancesco played briefly in Davis's band in 1988 when he was only 17. "We remained very close. It was so cool to have that relationship, and he was so kind to me."
Bringing in Billy Hart for In the Key of the Universe qualifies as critical communion, of course. "He was on the original [of "The Creator Has a Master Plan"] and now, 50 years later, he's approaching it a different way, influenced by all the music he hears," said DeFrancesco. "He's seventy-eight-years-old and has the energy of an eighteen-year-old. He works three hundred fifty days a year. There are a lot of great players today, but when I have something in mind, I like to go directly to the source, and I'll always do that. When the guys are still walking the earth, you have to learn from these people."
Spanning Time It's clear at the same time that DeFrancesco draws a stream of power from younger bandmates too. The leader and Roberts are twinned and deeply simpatico on "Away and Blissed", which flies out of the gate in swinging four-four, DeFrancesco soloing on both B3 and electric piano. "It Swung Wide Open" is also up-tempo, with tight unison playing between Roberts' tenor and DeFrancesco's organ—a real old school driver with the players trading eights like sparring partners. "This is what keeps the music evolving," says DeFrancesco, "different influences. Troy started playing later, when he was thirteen, in Australia. He's a genius. Within three years, he was playing with the top people over there. His father is a big music fan, and he had access to all the great records. His favorites were Time Out [The Dave Brubeck Quartet, Columbia, 1959] and Kind of Blue [Miles Davis, Columbia, 1959]. He's one of those."
In the Key of the Universe doesn't feel like a pivot point for DeFrancesco, despite these influences, senior and junior. His music is a steady thing, so deeply powered by a tradition larger than any one moment—the jazz legacy of both his native city, Philadelphia, and his main instrument, the Hammond B3 organ. But there is an evolution. He keeps reaching backward in order to reach forward.
The past inspires the future, makes it possible. The spiritual legacy of Pharoah Sanders, of course, lives on in Sanders himself, whose playing is still pure and clear. And new players climb aboard too. In the Key of the Universe doesn't sound like an attempt to remake the moment quite the way Kamasi Washington's The Epic did, but it also feels more aware of its debt to something powerful.
"I know what I'm doing, what my approach is. There's room for everybody in creative music," DeFrancesco says.
Read the full piece from: Pop Matters
At a very young age Julian Lage performed with renowned guitarists and received recognition from, among others, Carlos Santana and Pat Metheny. He was taken under the wing of Jim Hall, one of the most influential masters of the jazz guitar. Nowadays Julian Lage is seen as a leading guitarist himself, with a unique sound. Last year he was awarded the title ‘Rising Star Jazz Artist’ in the famous Downbeat Critics Poll.
Member of the jury Bartho van Straaten of Paradox: “Julian Lage is a guitarist who has it all. A phenomenal technique, a beautiful tone and he plays the most beautiful compositions on various guitars with great ease. Despite his young age (31), he has already made the tradition his own and translated it into a unique sound of his own.” Other members of the jury were Carlo Pagnotta (Umbria Jazz, Italy), Martyna Markowska (Katowice JazzArt Festival, Poland), Mijke Loeven (Bimhuis, NL) and Spike Wilner (Smalls, US). They nominated 22 musicians, after which international jazz critics and programmers cast their votes.
Previous winners of the award, named after the founder of North Sea Jazz, include Kaja Draksler (2018), Donny McCaslin (2017), Cécile McLorin Salvant (2016), and Tigran Hamasyan (2015).
Julian Lage will receive his prize at the festival where he will perform with John Zorn presents Bagatelles Marathon on Friday 12 July, and in duo with Ben Wendel and Kris Davis on Saturday.
Read the full piece from: North Sea Jazz Festival
DAVE DAVIES, HOST:
This is FRESH AIR. New Orleans drummer Herlin Riley has played in some high-profile settings with pianist Ellis Marsalis and Ahmad Jamal, trumpeter Wynton Marsalis and New York's Lincoln Center Jazz Orchestra. Herlin Riley is also a bandleader who makes his own records. Jazz critic Kevin Whitehead really likes his latest.
(SOUNDBITE OF HERLIN RILEY'S "RUSH HOUR")
KEVIN WHITEHEAD, BYLINE: Drummer Herlin Riley's quintet with Bruce Harris on trumpet. It's from the album "Perpetual Optimism." Riley's side folk are native or transplanted New Yorkers, but the leader lives in his hometown New Orleans. That city's musical culture stamps the band's interplay, rhythmic buoyancy and high spirits. In New Orleans music, drums and drumbeats reflect and represent centuries of African American folkways and culture. That's a legacy Herlin Riley takes seriously. He honors the elders.
(SOUNDBITE OF SONG, "TWELVE'S IT")
HERLIN RILEY: (Rapping) Music is the thing that can heal your soul - black or white, rich or poor, young or old. It came to me at an early age, with me all my life as I turned each page. I got a lot of knowledge from folks who taught me. We need to pass it on to people we teach. A great musician who taught a whole lot of fellas - he wrote this tune. His name is Ellis Marsalis, Ellis Marsalis, great Ellis Marsalis, the Ellis Marsalis. The dad of Branford, Wynton, Delfeayo and Jason Marsalis, Ellis Marsalis.
WHITEHEAD: On his album "Perpetual Optimism," Herlin Riley does a couple things drummer-leaders like to do, such as playing drum solos within the band instead of all by himself or playing in odd time signatures. Riley plays Willie Dixon's Chicago rave-up "Wang Dang Doodle" in 5/4 meter, which adds an extra beat to every bar for extra swagger. It's Riley's only other vocal on the album. Check out those slinky horns behind him.
(SOUNDBITE OF SONG, "WANG DANG DOODLE")
RILEY: (Singing) Tell automatic Slim. Tell razor-toting Jim. Tell butcher knife-toting Annie. Tell fast-talking Fanny. We going to pitch a ball down to that old union hall. We're going to rump and trump 'til midnight. We're going to fuss and fight 'til daylight. We're going to pitch a wang dang doodle all night long.
WHITEHEAD: Herlin Riley wrote most of the music for his new album. The standout composition "Be There When I Get There," with its rhythmic and interlocking phrases for trumpet and alto saxophone, sounds like drum music orchestrated. The parts fit together like different components of a drum set. Russell Hall is on bass.
(SOUNDBITE OF HERLIN RILEY'S "BE THERE WHEN I GET THERE")
WHITEHEAD: The members of Herlin Riley's quintet are close listeners, working together in subtle ways to feed the band's percussive texture. There's a good example on their airy reading of the standard "You Don't Know What Love Is." Behind Godwin Lewis' alto solo, new star pianist Emmet Cohen chimes in with high notes behind Riley's heavy beats. That adds a little extra ping to the snare drum sound.
(SOUNDBITE OF HERLIN RILEY'S "YOU DON'T KNOW WHAT LOVE IS")
WHITEHEAD: We don't have time to skim all the highlights of Herlin Riley's "Perpetual Optimism." The music is solidly in the suave and swinging modern style, but Riley's New Orleans-infused jazz has its own distinct character. The leader's upbeat nature and attention to detail shine through.
(SOUNDBITE OF HERLIN RILEY'S "PERPETUAL OPTIMISM")
DAVIES: Kevin Whitehead writes for Point of Departure and The Audio Beat. He reviewed "Perpetual Optimism" by drummer Herlin Riley's quartet. Tomorrow on FRESH AIR...
(SOUNDBITE OF ARCHIVED RECORDING)
GLENDA JACKSON: Now we have divided in three our kingdom.
DAVIES: Glenda Jackson's now starring as King Lear on Broadway. Terry Gross talks with the 82-year-old two-time Oscar winner about her life and career. Jackson took 23 years off from acting to spend two decades as a member of the British Parliament. I hope you'll join us.
FRESH AIR's executive producer is Danny Miller. Our technical director and engineer is Audrey Bentham. Our associate producer for digital media is Molly Seavey-Nesper. Therese Madden directed the show. Terry Gross returns tomorrow. I'm Dave Davies.
(SOUNDBITE OF HERLIN RILEY'S "PERPETUAL OPTIMISM")
Read the full piece from: NPR
New Orleans-based drummer Herlin Riley may be best known for his 10-year stint with Wynton Marsalis, during which he often held down a traditional groove with immaculate timing and a raw, sometimes rowdy pulse. A master then and now, Riley has only gotten better, if that’s possible.
“Snap Crackle” may be Roy Haynes’ nickname, but Riley steals some of Haynes’ thunder on Perpetual Optimism, playing with immense fire, wit, and snap crackle-worthy dynamics. Despite his NOLA background, the compositions and performances on here can’t be pigeonholed: this is simply wonderful music, jazz of the highest order. Featuring an equally striking group of Emmet Cohen on piano, Russell Hall on bass, Godwin Louis on alto saxophone, and Bruce Harris on trumpet, Riley’s band rages on 12 tracks of high-flying improvisation.
Perpetual Optimism begins with fiery energy. Opener “Rush Hour” bounces kinetically over a second-line pulse with the accent on the backside eighth-note of each bar—Riley driving the pocket, the band handclapping the offbeats. “Be There When I Get There” raises the tempo and the pulse with Riley’s driving, four-to-the-bar rim clicks and the frontline’s blazing ensemble figures. “You Don’t Know What Love Is” provides a relaxing break, and the title track reignites the fire. Following his previous recordings Watch What You’re Doing, Cream of the Crescent, and New Direction, Riley’s PerpetualOptimism is infectious, engaging, and irresistible.
Read the full piece from: JazzTimes
When Herlin Riley came to Britain with Wynton Marsalis’s band some years ago, his serene smile behind the drums radiated what Ira Gershwin might have called his sunny disposish. This album does the same. It has the kind of good-natured ease that could seem casual if it weren’t so brilliantly done. The tunes are lucid, the rhythms catchy, and the bright ideas keep on coming. Riley’s band are the young quintet who made their debut album, New Direction, in 2016.
The basic sound is quite distinctive, particularly the blend of trumpet (Bruce Harris) and alto saxophone (Godwin Louis), each with his own felicitous solo style. Five of the 10 pieces are Riley compositions, and the title track sums up the attractions of the whole set. You can tell by the clipped phrasing that this is the work of a drummer, and there are some tricky little turns to keep us on our toes, but it’s so rhythmically elegant – as befits a New Orleans-born percussionist. Other numbers range from the sparsely voiced, almost abstract Touched to a joyously unbuttoned excursion into the old Willie Dixon favourite Wang Dang Doodle.
Read the full piece from: The Guardian
Cyrille Aimée, whose initial experience with singing Sondheim came only six years ago during a series of City Center performances in New York, has taken a fresh look at this music, setting it in new and exciting arrangements. The results have been captured on her new album, “Move On: A Sondheim Adventure” (Mack Avenue 1144). The opening track, “When I Get Famous”, is an a cappella set-piece featuring Cyrille and a digital looping machine—a far cry from anything heard in a Sondheim musical! A joyous New Orleans groove propels the optimistic “Take Me to the World”, in which Cyrille finds room for an extended scat solo. The verse of “Love, I Hear” has a recognizable touch of Sondheim’s style, but the style soon changes to a loose-limbed jazz waltz featuring Cyrille’s bubbly vocals, Mathias Levy’s elegant violin, Assaf Gleizner’s cushiony Rhodes and Jérémy Bruyère’s dancing bass. The same rhythm section (with Thomas Enhco subbing for Gleizner on acoustic piano) transforms “Loving You” into a smooth-swinging jazz feel. The borderline neurotic lyrics of “Marry Me a Little” are tempered by Diego Figueiredo’s acoustic guitar and an elegant string quartet. As she does on all of these tracks, Cyrille’s exquisite diction and her persuasive delivery retain the original messages intended by the composer (nowhere better than on the title track) and it is to Sondheim’s credit that his words and music can retain its power, even in the most radical transformations, including the burning samba treatment of “Being Alive”, the double-tempo Gypsy jazz arrangement of “So Many People” or the electronics-infused setting of “I Remember”. Cyrille’s mixed meter rendition of “Not While I’m Around” may lack the fierce intensity of the version from “Sweeney Todd”, but we still believe that she will protect her lover from all adversaries. I am particularly impressed with the bass/vocal duet on “They Ask Me Why I Believe in You” and the gospel arrangement of “No One is Alone” (featuring Bruyère and guitarist Ralph Lavital, respectively), and I wonder if Sondheim—who claims to know little about jazz—was surprised at the new settings. When he first heard Cyrille sing one of his songs at City Center, Sondheim admitted that he broke into tears. He attended Cyrille’s performance of this music at the Manhattan jazz club Birdland earlier this year, and the photos show him to be very pleased. Perhaps Cyrille’s example will inspire other performers to examine Sondheim’s work as songs, not as mere Broadway specialties.
Article shared from Jazz History Online
Jim Macnie for Downbeat Magazine – Pop-centric music sites make room for reviews of ancient Impulse! reissues, Kamasi Washington reignites the concept of soul-groove expressionism as both prayer book and political manifesto, and writers measure the breadth, value and impact of “cosmic” improv in pieces that dot the internet. The fire music that certain maestros conjured during the late ’60s is enjoying a heyday, and its trickle-down is having a bit more reach than even its most ardent supporters might have imagined.
A couple years ago, I wouldn’t have bet that a Pharoah Sanders and Joey DeFrancesco collab was in the cards, but In The Key Of The Universe, finds the 47-year-old organ virtuoso and 78-year-old reed magician celebrating “The Creator Has A Master Plan,” the half-century-old song of praise that was the centerpiece of Sanders’ earthshaking album Karma.
Though there’s plenty of bounce and swing in play throughout the 10-track program, DeFrancesco’s self-professed embrace of spiritual jazz employs the kind of contemplative aura that gave so many of yesteryear’s exploratory efforts their personality. Functionally, it can come from the use of dreamy long tones and pensive phrasings. At several points here, a simmering heat, rather than a roiling squall, shapes the record’s temperament. A bit less predictable than previous groove-fueled DeFrancesco discs, In The Key Of The Universe is marked by a strain of passion that prioritizes grace. Even the emotions that Sanders reveals during “And So It Is” are refined, their gravitas bolstered by a fierce rendering of lines, not a tempest of multiphonics. With veteran drummer Billy Hart – who was part of the original “Creator” recording in 1969 – contouring the action, there’s an exquisite flow to the entire program.
To some degree, this aesthetic shift could be spotted in the cool fervor of “Life Every Voice And Sing” and “A Change Is Gonna Come” from DeFrancesco’s 2017 album, Project Freedom. That’s where the thoughtful impact of Troy Roberts came into play. The saxophonist has a key role here, as well, bringing eloquence to his nuanced solos on “Vibrations In Blue” and “A Path Through The Noise,” and tastefully echoing Trane when bolstering the music’s searching quality. There’s a sobriety to his work, identifiable even on the boppish ditty “It Swung Wide Open,” where DeFrancesco returns to the kind of barn-burning romp that earned him his rep.
When Sanders and Roberts’ horn blow side by side on the title track (which sounds like it could be pinched from McCoy Tyner’s songbook), the air gets thick. And the bookend solos of the elder’s pithy excursion, and the keyboardist’s curt stroll, are a sweet intergenerational trade reminding listeners that improv can be a place where various roads converge, and everyone benefits from the exchange.
Read the full piece from: Downbeat
Joey DeFrancesco has stretched himself regularly throughout the course of thirty-plus albums. Just since Project Freedom(Mack Avenue, 2017) he's collaborated very productively for two albums with the Irish soulman Van Morrison—You're Driving Me Crazy (Sony Legacy, 2018) and The Prophet Speaks(Caroline, 2018). And, on In The Key of the Universe, the organist/trumpeter reaffirms his connection with jazz history through fruitful work with estimable musicians including saxophonist Pharoah Sanders and drummer Billy Hart.
DeFrancesco himself sounds effortless as he applies a light touch in play on "Inner Being," but that approach extends to the collective, incorporating the solid rhythmic presence of percussionist Sammy Figueroa. "Vibrations in Blue" is suitably atmospheric, but the ensemble swings nonetheless: on this record, metaphysics are no less important than the earthy side of life. Accordingly, the droning of sitar for the intro and outro of that latter cut resides right next to the high-stepping excursion that is "Awake and Blissed; " as with its surrounding tracks, the musicians are so fully engaged the visceral impact of this music equals the cerebral.
"It Swung Wide Open" continues at a similarly fast pace before DeFrancesco and company, including Troy Roberts, the saxophonist for his own band, embark upon deeply spiritual excursions at the heart of this album. For the title song and "The Creator Has A Master Plan"—on the original thirty-two plus minutes of which Hart accompanied Sanders—the instrumental excursions are curtailed somewhat), but the playing time most certainly does not belie the depth of passion.
A comparably novel effect arises from DeFrancesco's trumpet playing on yet another aptly-named title here, "A Path Through the Noise," where his horn lines dances around the subtle beats of Figueroa. Likewise, Roberts cements the emotive power of his own playing when he appears so prominently in sequence, on the ever-so-lush "And So It Is" and "Soul Perspective," hardly residing in the shadow of his iconic counterpart, he simultaneously broadens the scope of In The Key of the Universe, deepens its accessible quality and reaffirms this record's continuity with Joey DeFrancesco's body of work at large.
Track Listing: Inner Being; Vibrations In Blue; Awake And Blissed; It Swung Wide Open; In The Key Of The Universe; The Creator Has A Master Plan; And So It Is; Soul Perspective; A Path Through The Noise; Easier To Be.
Personnel: Joey DeFrancesco: organ, trumpet; Pharoah Sanders: tenor saxophone, vocal; Troy Roberts: soprano, alto and tenor saxophone, bass; Sammy Figueroa: percussion; Billy Hart: drums.
Article shared from All That Jazz
Valdes’ Jazz Batá was considered a departure into the avant garde when he made it in 1972. That trio recording was a preview of advances to come from the great Cuban pianist and composer. Nearly half a century later, the followup finds him as adventurous as ever, heading a quartet that concentrates on mastery of the batá tradition of West Africa, long a major component of Cuban music. In their rhythmic power and harmonic acuity, Valdes’ piano solos throughout are riveting, none moreso than his work on “Ochún,” a Haitian merengue that recalls Chucho’s father Bebo because of the elder Valdéz’s close association with Haiti.
Violinist Regina Carter’s empathy with “Ochún’s” blues-drenched harmonies takes shape in the first of her two striking guest appearances on the album. She is sensuous, flowing and forceful in “100 Años de Bebo,” described as “a danzón-mambo” that Chucho heard his father play when he was a child. This new album, packed with performances that can serve as guides to rhythms that abound in Cuban music, closes with a Valdés unaccompanied piano performance of “The Clown,” dedicated to Maurice Ravel. In it, he reflects Ravel’s impressionism and something of the French impressionist’s whimsy.
You may wish to make note of the names of Valdés’s young Cuban bandmates—bassist Yelsy Heredia, percussionist Yaroldy Abreu Robles and batáist-vocalist Dreiser Durruthy Bombalé. They are all superb. If they record again with Valdés, it will be something to look forward to.
Article published on Arts Journal
For her first few albums, optimistic sounding vocalist Cyrille Aimee’ has been part of a bohemian gypsy swing team with a wholistic sound. She has recently had a good terms departure with her longtime friends and bandmates, testing new worlds and sounds on this new album. It was a wise and courageous choice, exemplified by this strong collection of interpretations of the Stephen Sondheim songbook.
She mixes and matches musicians, with the most core team of Assaf Gleizner/p, Jeremy Bruyere/b, and Yoan Serra/dr giving a rich and sophisticated feel to the material. But she shows that she’s in for doing something different on the opening salvo “When I Get Famous” as she multi-tracks the swinging a capella piece. There are some cozy trio tracks such as “Not While I’m Around” and “ Loving You” which has her both sensuous and girl-next-door. She then shows her moxie and confidence in a series of duets; “Take Me Two the World” with Serra is a deft delight while her duet with Bruyere on “They Ask Why I Believe In You” is both flexible and bohemian and the duet with nylon guitarist Diego Figueredo is soft and delicate.
Some works with strings create an almost soundtrack feel during “Marry Me A Little” and “Being Alive” with a bit of experimentation taking place with some effects and sax work by Warren Walker making “I Remember” a nourish contemplation. Aimee’ steps out here, and she is sure footed.
Read the full piece from: Jazz Weekly
Kenny Garrett is a Grammy award winning saxophonist originally from Detroit Michigan who started his career at the young age of 18 years old as a touring member of Duke Ellington band. He has had a legendary career which included being a member of the Miles Davis band for over five years, a Grammy-winning record and numerous with Chic Corea in 2010 and numerous recordings with many household names in the jazz world! His impressive solo career and numerous Down Beat readers poll awards have cemented his legacy as one of the greats!
Darrel Craig Harris: Hi Kenny how are you doing today? You’re in New Jersey correct?
Kenny Garrett: Great, Yes that’s correct!
DCH: Even though you’re on the East coast now, I understand that you grew up in Detroit in the ’60s and early ’70s, what was that like for you growing up in the home of Motown records with all of that music coming out of there? Did it have an influence on you musically?
KG: Well, I would definitely say that I enjoyed listening to the music of Motown, but you know I was listening to everything! I met people, actual jazz musicians who were playing with Motown, and a year before I went to my high school (McKenzie High in Detroit) James Jamerson jr. ( Motown bassist) was actually in the band there and graduated from McKenzie before I came there the next semester! So a lot of those guys and their fathers that were there I definitely met.
DCH: The interesting back story with Motown records, was that Barry Gordy rounded up a bunch of great jazz musicians from that had been playing in the various clubs in Detroit that could read music and recruited them to play in Motown records studio house band.
KG: Well yes, and I think that’s what made the Motown music so powerful because they were jazz musicians! If you think about Stevie Wonder, to me Stevie is a jazz musician. We don’t say that he’s a jazz musician, but if you listen to his music and his chord progressions you can hear that he studied with a lot of those Motown guys meaning he hung around and was influenced by them not really formally studied you know. A lot of that music if you listen to it, it was on such a high level!
I mean I was listening to Junior Walker not too long, the tune was called “These Eyes” I was like this guy is playing the same melody but the production was a mother! I was like wow man, so you start understanding that man these guys were about writing songs and there was a lot of musicians so they had more information to draw from.
So guys like Stevie Wonder, the people that I’ve known that have been around or played with say that he’s often playing Giant Steps for his soundcheck’s.
DCH: Let’s jump to you getting your first big break as a young 18-year-old musician going on the road with the Duke Ellington Orchestra conducted at that time by Mercer Ellington, what was that experience like coming just out of high school?
KG: Well, it was really a learning experience, you know coming right out of high school. Of course, I knew about the Ellington band, but to actually play the music and learn about guys like Johnny Hodges who I have so much respect for and who had a beautiful sound. In Duke’s band there were so many different personalities that he could use as tools for his writing, but I think the main for me is that I was able to sit under two of Johnny Hodges protégés, one was Norris Turner and the other was Harold Minerve and those guys really taught me so much. They were both playing like Johnny Hodge, but with different approaches to it.
Harold Minerve I actually had the longest opportunity with, because he was playing he was playing lead alto (sax) when I joined the band, so it was just a great time and Like I said I was learning to blend with 18 other musicians, not just the sax section but with the entire band you know! Cause I had played with big bands in Detroit, but that was on a professional level!
DCH: I would imagine, that many of the musicians in that band had been there for several years at that point?
KG: Well, there was Chuck Connors who had been there for a while, there was Dick Love, Harold Minerve had played with Duke, but the special thing for me was that I got a chance to play with Cootie Williams who had come out of retirement and I really learned a lot from him because I sat right across from him on the bus you know, so it was a great experience for me for my three and a half years with the Ellington band.
Well you know that was a big band, so on the road, we had to room with people and there was a guy by the name of John Waldo sr. who use to tell me stories all the time, one was that he use to teach Wynton (Marsalis) and this is before Wynton showed up on the scene, so he would talk about Wynton and also his brother Brandford all the time because he had taught both of them. So I learned a lot from him also just by sharing a room with him, he knew a lot about classical music and he was always playing classical music and I would try to play the classical tunes along with him so I really learned a lot! It was such a blessing to have that as my first experience coming out as a young player.
DCH: That’s really the great thing about being on the road at such a young age with these really experienced older guys, you’re learning both about music but also about life which is such a valuable thing.
KG: Yes, and you know growing up I had some great teachers back in Detroit like Marcus Belgrave (trumpet) who was a Pillar of the community who taught people like Geri Allen, Bob Hurst, Rodney Whitaker so all these people came through him, and then there was my high school band director who was Bill Wiggins I mean he taught me so much and he allowed me to go to his shows to see how he would sight read the music and just show me different things. So there was a lot of great musicians in Detroit! There was just so much great music that came from there and so many different styles.
DCH: After Ellington band what was your next move?
KG: So, after the Ellington band I move to New York and I was playing with different big bands like Lionel Hampton, Frank Foster big band, played with the Ellington band still subbing you know, really whatever I could do at the time just to survive.
DCH: What was your transition into becoming a bandleader, and heading up your own projects?
KG: Well you know that came years later, I mean I was writing and working in New York and I had a lot of great experiences I mean the first one after the Ellington band was working with Dannie Richmond doing the music of Charles Mingus, and I had met Freddie Hubbard through Marcus Belgrave and that was great! Freddie was still playing at his apex, he was still playing on a high level and I mean for me to hear that and stand next to him every night I really had to get my stuff together you know!
Also, I knew about Woody Shaw because my roommates in New York played with Woody so I had a chance to hear that music every time they were playing in New York, even just from tapes and things so I was hearing that music all the time. Then eventually on my first solo CD “Introducing Kenny Garrett” (1984 Criss Cross label), I was able to call Woody Shaw to play on my first CD, so I really learned a lot!
DCH: Something that I really noticed listening to your music over the years on your various albums is that you really seem to draw from a lot of different influences musically, obviously straight-ahead jazz is there but also many other things in that mix, is that something that’s always been there for you?
KG: Actually my high school band director Bill Wiggins used to always say the C7, which is a chord that is the same all around the world as you know because you’re also a musician. You know, my mom use to listen to Motown my stepfather was listening to people like Joe Henderson, Stanley Turrentine, Maceo Parker so I was really listening to all kinds of different music growing up so my thing was just never like you had to just play one style it was all just music!
If you think about jazz historically, it was music that appealed generally to a select group of people who liked and listened to jazz but now that it’s in schools its had much more exposure but it’s still like that in a way. I always say as a musician I want people to hear my music and be exposed to people, obviously not reaching as many people as someone like Beyoncé but of course, we would like for people to know who we are!
So for me, I like to do music that I like and in turn, you hope that people like that cause I listen to a lot of different genres. I mean I listen to every kind of music possible because I’m drawn to finding the spiritual stream in the music you know it might come from Gospel or whatever but I’m looking for that stream! I just love music and to be a good melody is a good melody, so that’s just how I live you know.
Studio photo’s by Jimmy Katz | Live photo’s by Carl Hyde.
Article shared from Jazz in Europe
Often, the term prodigy is applied with minimal context. In the case of jazz pianist Christian Sands, it is appropriate. He has studied piano since the age of four and began composing at five years old. By ten, he was performing. After years of formal music education, he became a protege of Dr. Billy Taylor. Like his mentor, Sands is devoted to playing and music education. His initial break came when he sat in with Christian McBride’s big band (Inside Straight) at the Village Vanguard. He became a member of McBride’s celebrated trio and played on the Grammy-nominated 2013 release, Out Here. Additionally he has worked with Oscar Peterson, Gary Burton, Geri Allen, Randy Brecker, Terrance Blanchard, Dianne Reeves, Russell Malone and Patti Austin to name a few. His debut on Mack Records, Reach and Reach Further established Sands as an upcoming important recording talent.
Not yet thirty, Sands is poised to ascend to a new level and his latest Mack Avenue release, Facing Dragons may be the vehicle to get him there. The double vinyl (also available on CD) consists of eight originals and one cover, transformed by a unique musical vision. Side A opens with a piano-based number, “Rebel Music”. It is propelled by a left hand groove that displays bop resonance. Backed by bass and drums, there are a variety of styles, surrounding hard bop. There is a Latin-infused transition with great percussion. Sands’ playing is complex. His solos are sophisticated with articulate timing and phrasing. The jam moves to a swing mode with percolating bass and fierce drumming. Sands exerts command with gritty technique, shaded with open spaces. It is multi-faceted and always compelling. “Fight For Freedom’ is reminiscent of hard bop larger ensembles. Sands lays down a nasty groove and is joined by the muscular tandem of Keyon Harrold (trumpet) and Marcus Strickland (saxophone). Both sax and trumpet get to solo. The arrangement stretches out and returns to a cooler jazz shade. Sands’ piano solo is riveting with powerful notation balanced with lyricism. He also maneuvers adroitly under the horn/sax unison lead that concludes in a wild free jazz finish.
There is unrelenting energy to Sands and his music. Side B contains the sole cover, The Beatles momentous hit “Yesterday”. Sands reinvents the whimsical ballad, adopting a bluesy vamp with a pulsating funk vibe. He distills the melodic essence and translates the song into a soul jazz opus, replete with punctuated tempo and gospel flourish. After a solo by bassist Yasushi Nakamura, Sands explodes on a virtuosic solo that features dazzling speed and improvisational agility. The underlying melody invariably returns and the slower, melancholic ending exudes melancholy. Sands embraces the essence of Venezuelan polyrhythms on “Sangueo Soul”. With an underpinning of intense drumming, Sands matches the ferocity on piano. He injects a lighter jauntiness intermingling with the percussion. His extended solo incorporates gospel, funk, soul, and Latin-infused jazz. The prominent chording and sparkling notation render the listener breathless. Side C takes on a genre-bending twist. “Sunday Morning” begins as advertised, soothing gospel piano with B3 accents. Everything gets a Memphis “kick” as a groove-laden guitar joins in against a double bass fill. Then out of nowhere there is a delightful reggae transition that morphs into tight funk. There is never a singular type of interpretation. The jagged electric guitar adds a rock element. Sands’ piano has an aspirational quality.
Various jazz structures and arrangements are intermingled throughout Facing Dragons. “Frankenstein” is more ensemble focused. His opening (not quite 3/4 time) piano pays homage to greats like Herbie Hancock or Chick Corea. But the swing transitions with double saxophone and trumpet solos are pure 60’s traditional jazz. His piano lines are erudite with carefully executed flourishes. Each side of this album explores different musical constructs (vinyl sequencing). Side D exudes a softer aesthetic. “Her Song” is a quartet with the guitar (Caio Afiune) exuding a gossamer radiance with echo and reverb. There is delicate cymbal work, and Sands deep, hypnotic solo is evocative ending with a nimble sustain. His version of jazz balladry is unique. “Samba De Vela” is subtle Brazilian cadence, but has a playful jaunty break. The back and forth between low-keyed and medium tempo is appealing and contemporary. The finale “Rhodes Meditation” is nothing short of stunning. The meditative flowing reverie is reflected in the glowing tonality that infuses spirituality. It is unusual to hear a solo Fender Rhodes track.
Facing Dragons is compelling jazz. Regardless of instrumental size and combination, the mic placement and overall mix result in a full, rich sound. It has resounding power and creates a musical tapestry.
Original article posted in Audiophile Audition
One night last week, father (Paul) and son (Alex) Gemignani dropped in on Stephen Sondheim at his town house in Turtle Bay. He bought the building in 1960. “I call it the house that ‘Gypsy’ built,” Sondheim said. The musical Gemignanis go back almost that far with the composer. Paul began as a drummer on “Follies” in 1970, and has conducted nine Sondheim shows, including the original “Merrily We Roll Along,” in 1981. Alex grew up to sing John Hinckley in “Assassins,” at the Roundabout, in 2004—“Dad conducted”—and orchestrated and arranged the current version of “Merrily,” which opened at the Laura Pels Theatre last month. Time goes by. Paul is now eighty-one; Alex is thirty-nine. And everything keeps shrinking. Paul had twenty-one musicians in his orchestra; Alex has eight. Paul had a chorus in his show; Alex does not. Sondheim, who will be eighty-nine next week, loves them both. “It’s like a this-size firecracker versus a that-size firecracker, but it’s a firecracker,” Sondheim said. He wore a black T-shirt with the word “Golem” on it, fruit of a visit to Prague.
“Merrily” is full of brilliant songs: “Old Friends,” “Not a Day Goes By,” the title song. But critics always savage the story about three young artists and the disillusionment that awaits them. Alex’s version received something of a drubbing this past week, too. Sondheim didn’t care. “They panned it back then,” he said. “And they ain’t going to admit that it’s any good now.” Alex assured him that morale among the actors was good, adding, “The audiences have been strong.” Sondheim offered his own proof of this. His internist wanted tickets and couldn’t get them without help. “He better take good care of me,” Sondheim said. “I got him six seats for ‘Hamilton’ when it was hot stuff!”
Sondheim turned to Paul. “And how is everything at ‘Kiss Me’ ”—he paused—“ ‘Kate’ ?” Paul is conducting the current revival at Studio 54. “It’s the same as it was twenty years ago,” he joked. (He also conducted the show in 1999.) The three agreed that the Cole Porter musical was brilliant—except, Sondheim objected, for one line in the song “Where Is the Life That Late I Led.” “ ‘It’s lucky I missed her gangster sister from Chicago,’ ” he recited, with disapproval. “Oh, c’mon, Cole. That’s a joke that belongs to George Jessel.”
Sondheim’s collaborator, George Furth, based the book of “Merrily” on a play by George S. Kaufman and Moss Hart. “Kaufman was somebody you didn’t want to cross,” Sondheim said. He told a story. He’d once sent a draft of his adaptation of Kaufman’s “Beggar on Horseback” to the playwright. It was his first musical. “I put the script in a binder and mailed it to him,” he recalled. “And back it came with a letter saying, ‘I’m terribly sorry, but I cannot give you permission to produce this as your show.’ ” Beat. “And he kept the binder!”
Attempts were made to explain the long-standing Gemignani-Sondheim collaboration. “When Paul gets in front of an orchestra,” Sondheim said, “Paul does something I’ve never seen a conductor do, which is he fucks the orchestra and the result is”—he made a sputtering sound—“remarkable.” He added, “In a sense, it’s what Lenny did.” Alex talked about growing up “wearing out the recordings” of the Sondheim shows his father had conducted. But there was no pressure on him, he said, to follow in Paul’s footsteps. “My dad,” he said, “when I was, like, ‘I think I’m going to be an actor,’ was, like, ‘Sigh. O.K.’ ”
“That’s his reaction to everything!” Sondheim put in.
Paul laughed. “I don’t want it to sound sentimental, but we’re three people who can’t live without music, and I think one of the reasons that we’re all sitting here is because that sensibility is so strong, and no matter what disagreements or differences of opinion, whatever—”
Sondheim: “Which are rare.”
Paul: “Which are very rare.”
No more. Paul checked his watch. The curtain for “Kiss Me, Kate” was in an hour. Alex had to get home to his four-year-old daughter. Sondheim was left alone on the stage set of his parlor. He ran his fingers through his long white hair. Then he remembered: Cyrille Aimée, a French jazz singer, was devoting a night to his songs at Birdland, on Forty-fourth Street. “The fun is allowing people to reinterpret,” he said. The next day, he reported back: “She’s terrific, and I’m not even a jazz aficionado.” ♦
This article appears in the print edition of the March 18, 2019, issue, with the headline “Side by Side by Side.”
Read the full article from The New Yorker
Here is what magically happens when you cross spiritual soul-jazz with bluesy soul-jazz.
For his latest album, Joey DeFrancesco chose to name it In the Key of the Universe, which is a very Pharoah Sanders type of title. Perhaps that’s because the iconic saxophonist himself is on this record: the de facto heir to the legacy of Jimmy Smith features the de facto heir to late-period John Coltrane mysticism.
Sanders — like Ornette Coleman in his latter years — is enjoying long-overdue appreciation for the artistic peaks he climbed in the 60s and 70s even as he has all but ceased to record any new music for a long while. The Creator Has a Master Plan from 2003 is the last official studio record under his own name (though it was a recycling of his old tunes), and sideman recording gigs since then are few and far between. So any new appearance of the old master is good news.
The even better news is that Sanders inspires Joey DeFrancesco to raise his game further. And his combo is already star-studded: you have Billy Hart on drums, Sammy Figueroa on percussion and another ace sax player — Troy Roberts — to complete a roster of players brimming with quality.
The title song is where Sanders is first heard, but Roberts stays put, treating us to a double tenor sax attack. Sanders solos first, showing no worn edges from his pointed articulation, and DeFrancesco afterwards does his quicksilver thing. Then there’s a cover of Sanders’ signature song, the majestic epic “The Creator Has A Master Plan.” Pared down to a ‘mere’ eleven minutes, the creator of “Creator” is as mystical as ever on his tenor horn, and instead of Leon Thomas’ unforgettable chant, it’s Sanders himself singing those uplifting lines. But the song’s original drummer — who happens to be Hart — is present, and Roberts moves over to acoustic bass. DeFrancesco of course is on organ but also piano to maintain that vintage vibe.
A well-done remake of that iconic song is hard to beat, but “And So It Is” does its best, with DeFrancesco playing muted trumpet on this soul ballad to harmonize and trade solos with the old master. Ironically, it’s here where just a little of the ol’ abrasive side of Sanders comes out, as the B3 maestro comps on a comfy electric piano.
Sanders may only appear on three of these ten cuts but his influence is felt on some of the other tracks as well. “Inner Being” is an uplifting melody made more so by Roberts’s joyful soprano sax. A tabla ushers in “Vibrations in Blue” and reappears throughout, though the song quickly settles into a blues groove and leading to one of DeFranscesco’s technically astounding B3 solos.
Other tracks are pure Joey DeFrancesco. “Awake and Blissed” and “It Swung Wide Open” are hot bop numbers, pared down to the DeFrancesco/Roberts/Hart trio with the former including a surprise turn by the leader on electric piano and both featuring the supple tenor sax of Roberts. The soprano and tenor saxes that grace the sensuous “Soul Perspective” are both Roberts’, but the highlight comes at the end when his bigger sax exchanges remarks with DeFrancesco’s Hammond. Roberts employs both horns for the introspective ballad “A Path Through The Noise,” but this time is joined by DeFrancesco on trumpet.
Can both transcendental and earthly jazz coexist on the same record? With In the Key of the Universe Joey DeFrancesco answers with an emphatic “yes.”
In the Key of the Universe goes on sale March 1, 2019 through Mack Avenue Records.
Read the full piece from: Something Else! Reviews
Grammy-nominated guitarist Julian Lage, only 31, has already developed a reputation as one of the world’s best. On Love Hurts Lage does his freewheeling interpretations of pieces written by a range of artists and songwriters in different genres, reflecting his never-ending musical appetite. Lage recording and self-produced the album at Wilco’s studio in Chicago’s Irving Park. This marks his third Mack Avenue LP recorded with a trio, and his first to feature bassist Jorge Roeder and drummer Dave King (The Bad Plus).
The New York-based Lage has already built a strong resume as a sideman (Gary Burton and John Zorn), duo partner (with Nels Cline, Chris Eldridge and Fred Hersch, among others), and as soloist and bandleader. This is his third album in a trio format but the first with this rhythm section. “For me, this recording completes a trilogy of approaches to the trio,” says Lage. “They’re all similar but illuminate different fascinations.”
The ten tunes covered span artists from Roy Orbison (“Crying”) to Ornette Coleman (“Tomorrow Is the Question”) to Peter Ivers (“in Heaven”) to Keith Jarett and Jimmy Giuffre ((“Trudgin’”). The title track, of course, was made famous by the Everly Brothers and later by Gram Parsons. There’s even one from the Great American Songbook ((“I’m Getting Sentimental Over You”). All considered Lage courses through pre-bebop, free jazz, country swing, and rock n’ roll. “The covers on this record are like when you move into a new apartment, the last thing you do is hang your pictures on the wall,” Lage says. “Those pictures define your aesthetic in a way. So the tunes we chose kind of define the aesthetic I love but hadn’t put on a record yet.”
The focus tracks belong to Keith Jarrett. Lage does “Encore (A)” and an epic version of “The Windup.” Using Jarrett as a centerpiece, Lage’s goal was to draw connections between Jarrett’s music and al the tributaries that go away or lead to it. Then he wanted to mix it with early rock n’ roll, which at the time was also new, refreshing and effusive. Essentially, he was looking at it in terms of couplets, casually saying we’re doing “Love Hurts” and “The Windup” in the same breath, building the narrative in that way.
The sessions were inspired by a series of live date where Lage and bassist Jorge Roeder were joined by drummer Dave King. The three continued to talk throughout 2018, building a gigantic list of tunes they may want to play. When the got to The Loft (Wilco’s studio), Lage even put down his trademark Telecaster and played one of Jeff Tweedy’s vintage Gretch Duo Jets. The album was done in mostly first takes, taking only a day and a half to complete.
Although with his inspired interpretations and arrangements, Lage offers two originals, “In Circles” and “Lullaby”. He sees them as interstitial vignettes, meant to glue the rest of this American music together, as he aimed to build a fluid continuum from improvised music to actual songs. Throughout Lage’s sense of melody and his improvisational flair are on display, but one of the most striking aspects of the recording is his pristine guitar tone and the fluidity of his playing. His improvisational technique is free but purposeful too. He ever loses sight of where he’s headed, linking these different eras of American music rather magically and seamlessly.
Lage says, “I’ve been so lucky to be a part of a lot of music making that’s kind of different from one another, whether it’s with acoustic guitar or what I do with Nels Cline or John Zorn or Charles Lloyd, and now with my band. I want to not distill but maybe focus those efforts, so you could hear one song by us and say, wow, there’s all these things going on. It’s living in harmony with itself. That’s the dream.”
This is another strong addition to Lage’s catalog and as he says, completes a trilogy of trio works. If you haven’t yet heard Lage, this is as good an introduction to one of today’s best guitarists as any.
Read the full piece from: Glide Magazine
Duologue is a reminder that one of the surest ways to get to the music of West Africa is to stop in Cuba first.
Pianist Alfredo Rodríguez and percussionist/vocalist Pedrito Martinez have each established a foothold in a Cuban music scene that has its roots in West Africa. They combine their impressive musical talents on an album that demonstrates how flexible those traditions can be when matched with visionary musicians and a seemingly boundless innovative spirit.
Setting Martinez's inspired vocals against a patchwork of beats — including a bit of jazzy funk, as well as Afro-Cuban santería references — Duologue reminds us that the piano is considered a percussion instrument. The mind-melding between the two is sublime, with melodic rhythmic patterns performed on piano as well as a variety of beat-makers big and small.
Cuban music fans will recognize references to the country's classic songs in Martinez's improvisations, but the most obvious nod toward musical history isn't Cuban. Their take on "Thriller" makes the hips move a different way than when Michael Jackson did it, thanks to the deep Afro-Cuban rumba groove they insert in the middle. Their collective forward-thinking is as much a pleasure to experience as their homage to their roots in the Cuban son of "El Punto Cubano."
Alfredo Rodríguez is a product of Cuba's legendary music education system, which emphasizes the rigors of classical training and turns its nose up at the music played in nightclubs, street parties and barrios. But he did what so many others have done: leave the practice rooms of the academies, then head straight for dance bands that move bodies and spirits. Jazz became a passion, and it wasn't long before he was playing festivals around the world; that's how he caught the ear and attention of the legendary Quincy Jones, who produced this album.
Pedrito Martinez brings to mind Chano Pozo, a legendary percussionist, composer and entertainer who was one of the first Cuban percussionists to come to the U.S. in the mid-'40s. Like Pozo, Martinez isn't waiting for the world to catch up to his vision of combining mind-blowing drumming skills, an engaging singing voice and the knowledge of what it takes to engage and hold an audience's attention. His million-watt smile, charisma and penchant for cool sneakers are winning new fans at every appearance in clubs and jazz festivals around the world. Hearing him perform on a duo record — getting a sense of his and Rodríguez's shared essence — gives Duologue a sense of intimacy and warmth. Each is on his own musical trajectory, but for at least one album, it's a joy to hear their visions combine.
Read the full piece from: NPR Music
A melancholy yet exuberant reflection on a love left behind, “Paper Trail,” the title track to Jesse Palter’s debut EP, is the perfect metaphor for the journey the multi-talented singer-songwriter has been on these past few years. As serendipity would have it, just as she was transitioning from being an accomplished jazz singer, Aristry Music, a division of Mack Avenue Records, was looking to expand from its jazz foundations into other genres. She is now the label’s first signed developing singer-songwriter.
After moving from her native Detroit to Los Angeles, Palter raised $30,000 in 10 days via Kickstarter to record an album. Just as an interested indie label was about to sign her, it changed ownership and all signings were put to a halt. On one of those “feeling down on my luck days,” she had a small but jarring accident pulling into her garage––which sparked a sudden urge to take action. She had the number of Mack Avenue’s A&R rep Al Pryor stored in her phone and decided to call; the label had shown passing interest in her years earlier when she was a rising jazz singer in Detroit.
Though she quickly hung up, Pryor immediately called back and she filled him in on the last several years of her life, the Kickstarter album and her goals. She sent him her latest music and her pop-oriented song “Hold My Hand” immediately captured the interest of Pryor and label President Denny Stilwell. “The label saw themselves going in the singer-songwriter direction and they asked if I could deliver an album of songs in line with that genre,” she says.
They offered no guarantee of signing, but Palter was encouraged that she had their ears. “Around that time,” she says, “I got a lucky break when a few friends connected me with my manager David Passick, who also encouraged me to focus on being a singer-songwriter and write honest music. I put my nose to the grindstone and the songs started pouring out of me. I was self-funding the demos at first, but when that got too costly, I started asking for favors, doing trades and exchanging publishing credit––honestly, whatever I needed to do to get them recorded. Once we felt we had honed in on a direction and had enough songs, David went back to Artistry and they were so blown away by the music, the deal was offered not too long after.”
Date Signed: Dec. 8, 2016
Label: Mack Avenue Records/Artistry Music
Type of Music: Pop
Management: David Passick Entertainment
Legal: Charley Londono
Publicity: Karen Sundell, [email protected]
A&R: Denny Stilwell
Read the full piece from: Music Connection
Not every singer knows how to connect with a full orchestra and, certainly, not every orchestra is equipped to accompany a non-classical vocalist. But Raul Midón and the 50-pluspiece Dutch Metropole Orkest have it down. The orchestra, founded in 1945 and conducted on this latest collaborative effort by Vince Mendoza, has been working with vocalists for years. Their command of pop and jazz comes naturally; it’s not slumming to them. Midón, although accustomed to working within much smaller settings, is more than capable of matching the grandeur of the Orkest, but also acutely aware of when not to flaunt the bigness at his disposal. He understands dynamics and allows a song to dictate what it needs. If You Really Want is Midón’s Grammy-nominated 10th album, following the also nominated Bad Ass and Blind, and is a bold statement on his part. Often, as on the opening “Ride on a Rainbow,” it’s the restraint and the subtle accents that give a song its strength: Midón’s voice, guitar and, on this track, banjo, are never overwhelmed. “God’s Dream,” the ballad that follows, finds the singer enveloped, but never swallowed, by the swells and swirls of the orchestral arrangement. The crescendos come and go, sometimes arriving with great flourish, at other moments disappearing into the fabric. In “Sunshine (I Can Fly),” Midón takes a ride on the percussion underlying his words, while on “Everyone Deserves a Second Chance,” he’s content to luxuriate in the romance of the strings. Throughout, there’s that voice— passionate and confident—with Midón giving each word his full attention so you know he means it.
Read the full piece from: Relix Magazine
NEW YORK (AP) — Saxophonist Tia Fuller was crying in bed. And praising God.
She’d just received the news that she was nominated for her first-ever Grammy Award — but it’s not just any nomination: Her inclusion in the best jazz instrumental album category is a historic moment for women because they have rarely been nominated for the coveted award throughout the Grammys’ 61-year history.
And if Fuller wins, she becomes just the second women to take home the prize.
“I feel really blessed. Anytime I think extensively about being in the category and (anything) Grammy-wise, I start tearing up,” said Fuller, this time smiling ear-to-ear with light tears of joy in her eyes. “It’s really a dream come true. I’m realizing that dreams can become reality and everything is tangible.”
Her nominated album, “Diamond Cut,” is a smooth and striking collection that has brought the skilled performer, who once played with Ray Charles during her college years and toured with Beyonce, to the next level. The album, her fifth, was produced by another woman making critical waves in jazz, Terri Lyne Carrington. The drummer, who came to national prominence decades ago in “The Arsenio Hall Show” band, became the first female to win best jazz instrumental album at the 2014 Grammys.
Carrington describes the win as bittersweet because of the “many great female instrumentalists that weren’t nominated ever, so that was really disheartening.”
“It just shows that there’s a lot of work to do when it comes to gender equity in jazz and the music industry in general,” she added.
It’s one of the reasons Carrington, a three-time Grammy winner, is excited for Fuller’s success and has been a mentor to the artist.
“I feel like this record is showing her growth and her evolution,” Carrington said. “If nothing else, I believe that she’s really motivated to keep pushing herself and keep evolving into all that she can be.”
“Diamond Cut” is Fuller’s first album in six years. She’s been busy as a professor at the prestigious Berklee College of Music since 2013, and that decision to move to Boston to fulfill a lifetime dream came at a crossroads: In the same 24-hour period that Fuller was offered the teaching position, Beyonce asked Fuller to perform again with the band.
“That was the year I think they were doing the Super Bowl and she was going back out on tour,” recalled Fuller, who performed with Beyonce from 2006 to 2010.
“While I was on tour with her something came over me and spoke, ’You have to move in faith and not fear. Don’t be afraid of what may not happen, or get attached to the artificial result of, ‘I’m playing with Beyonce,’” she said. “So the reason why that I ended up not going back is because I realized that it was time for me to move on.”
Fuller’s decision was very Beyonce-like: “She’s always pressing forward. Always growing. Always evolving. ...I sat back and I just watched how she would never take ‘no’ for an answer. She would always find a ‘yes.’ And that’s something that now, I’ve incorporated into me being a leader, a band leader, a businesswoman, a professor at Berklee, all of that.”
The 42-year-old, who was born and raised in Aurora, Colorado, has followed in the footsteps of her parents, who are also musicians and educators. Fuller first started playing the piano at three, then moved on to the flute. But once her grandfather handed her a saxophone, she was hooked.
“I was in the upper level of my parent’s house, like the loft. I just remember how it reverberated throughout the house. I was like, ‘Oh this is way better than flute, I can be loud.’”
Fuller has making noise ever since, and doesn’t plan on slowing down. She wants to be a voice for women in jazz, especially instrumentalists, who don’t get as much as credit as the men.
“I’m representative of all of these women out here that are grinding. Terri (Lyne Carrington) served as that for me prior to me even knowing who she was. Seeing her on Arsenio Hall’s show, and then of course hearing her name on the scene, watching her on different TV shows. That was an unspoken, internal narrative that spoke to me, ‘She’s doing it, you can do it,’” she said. “For me, I don’t think it’s necessarily a historical thing, but hopefully I’m a beacon of light for not only other women, but men, too. And also changing this inadvertent narrative, the male, patriarchal perspective in the jazz world, actually in the musical world. (Women) have always had just as much influence over the music.”
Her career — and success — has not come without challenges: “I’ve dealt with sexism, inadvertent sexism, sometimes racism — sometimes a combination of both.”
She recalls coming to New York in the early 2000s to build buzz as a performer, going from jazz club to jazz club to share her music and sound with listeners. “There was a long line of people, of course I’m the only woman up there, so I go onstage and I’m about to play and somebody just cuts me off and starts playing. That was like my first year. That was the first and last time that happened.”
She’s also faced people assuming she’s dating a successful musician to justify her seat at the table, or “even club owners trying to hit on you, not taking you as serious.”
But Fuller has preserved, and she’s using her role as a teacher to help change the narrative in jazz, and in music.
“I was directing a band full of young men. I’m like, ‘What is your job and what is your role in this whole thing?’ You can’t just sit back passively,” she said. “Accountability to me is key for not only women to hold men accountable, but for men to hold their brothers accountable.”
In 2017, along with Carrington and 12 other female artists, Fuller developed We Have Voice, a collective that has created a code of conduct that performing arts venues, jazz festivals, schools and others have adopted. The goal, she said, is “to bring the level of consciousness up.”
“I think slowly but surely we’re doing the work and there is some shift happening,” she said. “I especially see it with my students and the younger generation. That’s something that’s near and dear to my heart. I’m seeing the pain, psychological, physical, emotional pain that it’s caused with women and sometimes men, too.”
And in between the teaching and playing — she’s also busy dress shopping for her big day at the Grammys, taking place Feb. 10 in Los Angeles.
“I actually reached out to one of Beyonce’s stylists and he responded, so he’s going to help and connect me with some of his designers,” she said. “I’m trying to find a healthy mix between making a statement and me being me.”
Read the full piece from: Associated Press
McLorin Salvant's powerful voice takes center state on her new album, a duo with pianist Sullivan Fortner. Jazz critic Kevin Whitehead says the music on The Window is riveting.
TERRY GROSS, HOST: This is FRESH AIR. I'm Terry Gross. Jazz singer Cecile McLorin Salvant has a new album, and we're going to hear my interview with her. I love her voice and her repertoire, which ranges from jazz standards to forgotten old songs, show tunes and originals. Salvant was described in The New York Times as the finest jazz singer to emerge in the last decade. She won best vocalist in the NPR Music Jazz Critics Poll last year, as well as in 2013 and 2015. Her new album is called "The Window." We're going to start with our jazz critic Kevin Whitehead's review of the album. Kevin says this one has the smallest cast of musicians of any album she's made, but her voice is as big as ever.
(SOUNDBITE OF SONG, "I'VE GOT YOUR NUMBER") CECILE MCLORIN SALVANT: (Singing) Well, my sweet chickadee, I've got hot news for you. I've got your number. I know you inside out. You ain't no Eagle Scout. You're all at sea. Oh, yes, you brag a lot, wave your own flag a lot. But you're unsure a lot. You're a lot like me. And I've got your number.
KEVIN WHITEHEAD, BYLINE: Cecile McLorin Salvant has a wide vocal range and pleasing tambour, clear enunciation, charm, good taste, quiet wit, a sense of the dramatic, a knack for finding obscure tunes - a lot of virtues for one singer. Her new album, "The Window," a duo with pianist Sullivan Fortner, leaves her voice more exposed than ever. It presents this jazz singer in the role of superlative cabaret singer, one of those supper club chanteuses who sing familiar standards and seek out overlooked material like jazzy tunes by pop or soul singers or songs from forgotten musicals.
(SOUNDBITE OF SONG, "TELL ME WHY")
MCLORIN SALVANT: (Singing) Tell me why you make me feel this way. Could you be the one I dreamed I'd love someday? Tell me why we ever came to kiss. In my dreams, it never happened quite like this.
WHITEHEAD: I love the way she quacks the word like there, not taking herself too seriously. "Tell Me Why" from 1947 by Saul Chaplin, Betty Comden and Adolph Green from a show that didn't make it to Broadway. Cecile McLorin Salvant can treat a tune with kid gloves, make you hear it's beauty. But she's no stranger to blues' feeling.
(SOUNDBITE OF SONG, "EVER SINCE THE ONE I LOVE'S BEEN GONE (LIVE)")
MCLORIN SALVANT: (Singing) So what can I say? I've got it bad, and he's gone to stay. I'm gone. I'm like a king without his throne ever since the one I love's been gone.
WHITEHEAD: Sullivan Fortner is an exemplary accompanist. Backing a star singer takes strength of character. No matter how great a pianist he is - and Fortner gets his moments to shine - this setting is not about him. On song after song, he makes creative choices that never try to steal the spotlight. As usual, the bilingual McLorin Salvant sings a bit in French, including a chanson from 1930, "J'ai L'Cafard," which roughly translates as I've got the blues, and literally, I have the cockroach. Here, Sullivan Fortner plays droll theater-style organ. (SOUNDBITE OF SONG, "J'AI L'CAFARD")
MCLORIN SALVANT: (Singing in French).
WHITEHEAD: Where some jazz singers treat a song as a launching pad, an excuse to get going, Cecile McLorin Salvant drills down into the song itself, getting it to the story or philosophy of the words. She's so good at that, a couple of breezy lyrics here seem like easy pickings. Anyone can sound smart singing Larry Hart's "Everything I've Got" or Oscar Hammerstein's "The Gentleman Is A Dope." Her offbeat selections aren't always whimsical. The album starts with Stevie Wonder's song "Visions."
(SOUNDBITE OF SONG, "VISIONS")
MCLORIN SALVANT: (Singing) I'm not one who make-believes. I know that leaves are green. They only turn to brown when autumn comes around. I know just what I see. Today's not yesterday. And all things have an ending.
WHITEHEAD: With her laser-like focus, Cecile McLorin Salvant can get pretty intense at times. And there are moments when she pushes her amazing voice a little too far, not least on a few pieces recorded live at The Village Vanguard. On "The Peacocks," saxophonist Melissa Aldana sits in, and there's one raucous episode where she and the singers slide out of sync. In a way, those glimpses of the road to excess make McLorin Salvant's music more riveting. As a character in a movie once said, that quality of personal danger is what makes a star a star. The risks involved make her successes all the sweeter.
GROSS: Kevin Whitehead writes for Point of Departure and is the author of "Why Jazz?" Cecile McLorin Salvant's new album is called "The Window." We're going to hear my interview with her. She was exposed to a lot of different music growing up in Miami, with a father who's from Haiti and a French mother who was born in Tunisia and lived in several African and Latin American countries. We spoke in 2015 after the release of her album, "For One To Love." Her recordings have always had some surprising choices, like this one, "Stepsister's Lament," from the Rodgers and Hammerstein musical, "Cinderella."
(SOUNDBITE OF SONG, "STEPSISTER'S LAMENT")
MCLORIN SALVANT: (Singing) Why should a fella want a girl like her, a frail and fluffy beauty? Why can't a fella ever once prefer a solid girl like me? She's a frothy little bubble with a flimsy kind of air, and with very little trouble, I could pull out all her hair. Oh, oh, why would a fella want a girl like her, a girl who's so unusual? Why can't a fella ever once prefer a usual girl like me? Her cheeks are a pretty shade of pink, but not any pinker than a rose's. Her skin may be delicate and soft, but not any softer than a doe's is. Her neck is no longer than a swan's. She's only as dainty as a daisy. She's only as graceful as a bird, so why is the fella going crazy? Oh, why would a fella want a girl like her?
Read the full piece from: NPR
This year, veteran Bay Area band Tower Power has been promoting its 25th studio album, Soul Side of Town, with an expansive tour that's also commemorating the horn-driven outfit's 50th anniversary.
Tower of Power co-founder and tenor saxophonist Emilio Castillo tells ABC Radio that with the anniversary in mind, the group put its best effort into making a quality album, inspired by something one of the band's old managers told him.
"He said, 'This isn't the time to just throw 12 songs together and put it out. You gotta make the best record of your career,'" Castillo recalls.
Emilio explains that the group set out to achieve this by using "the Michael Jackson method, where you record way more than you need and pick the best 12." With help from producer Joe Vannelli, Tower of Power wound up with 28 finished tracks, 14 of which appear on Soul Side of Town.
"I'm very proud of it," Castillo says of Soul Side of Town. "It is a very diverse record. It's a radio-friendly record. It's creative. We pushed the bar musically, production-wise, engineering-wise, lyrically...[on] every level."
Released in June, Soul Side of Town debuted at #1 on Billboard's Jazz Albums chart. Meanwhile, the band has been chosen to receive the Lifetime Achievement Award from the online soul-music resource SoulTracks, which will present the honor to the band as part of its Readers' Choice Awards on December 10.
Tower of Power's final series of 2018 tour dates is mapped from a show tonight in Madison, Wisconsin, through a New Year's Eve performance in Las Vegas. The band's 2019 U.S. itinerary is set to begin with a March 8-9 stand in Brooklyn, New York. Here are all of Tower of Power's confirmed stateside shows:
11/15 -- Madison, WI, Capitol Theater
11/16 -- Fort Wayne, IN, The Clyde Theatre
11/17 -- Findlay, OH, Marathon Center for the Performing Arts - Donnell Theater
11/29 -- Honolulu, HI, Blue Note
11/30 -- Honolulu, HI, Blue Note
12/1 -- Honolulu, HI, Blue Note
12/2 -- Honolulu, HI, Blue Note
12/8 -- Robinsonville, MS, Horseshoe Casino's Bluesville
12/14 -- Monterey, CA, Golden State Theatre
12/15 -- Napa, CA, The Uptown Theatre Napa
12/27 -- Lincoln, CA, Thunder Valley Casino Resort
12/28 -- Lincoln, CA, Thunder Valley Casino Resort
12/29 -- Santa Clarita, CA, The Canyon
12/31 -- Las Vegas, NV, South Point Casino Ballroom
3/8/19 -- Brooklyn, NY, Brooklyn Bowl
3/9 -- Brooklyn, NY, Brooklyn Bowl
3/12 -- Hopewell, VA, The Beacon Theatre
3/15 -- Nashville, TN, City Winery
3/16 -- Nashville, TN, City Winery
4/6 -- Naperville, IL, Pfeiffer Hall
4/18 -- Irvine, CA, Irvine Barclay Theatre
4/19 -- Pasadena, CA, The Rose
Read the full piece from: ABC News Radio
In the wake of Tuesday’s midterm elections, Jonathan Butler is remembering when black South Africans gained the right to vote in 1994.
The Grammy-nominated singer was born in Cape Town, South Africa, and for him, it was a dream come true when Nelson Mandela was elected the first black president of South Africa in the ’94 elections. Butler remembers it was the youth of South Africa that led the revolution.
“That movement and to be able to vote in South Africa for a new South Africa, for a free South Africa...you go to South Africa today and you see a black and a white kid and a mixed-race kid. They are friends," Butler tells ABC Radio.
Butler, now a U.S. citizen, says voting develops pride, and a better future for the youth of a country.
“That’s what we voted for in South Africa,” he says. “That’s why today there’s a sense of pride when you walk down a street in Jova, Capetown. There’s a sense of belonging and not displacement."
"I think that is something that’s so important, and voting in South Africa meant that we always remembered our story, from Robben Island, [where Mandela was imprisoned] -- for every political leader that was put in prison. And we have the power in our hands to vote and to change the country.”
Butler now lives in Los Angeles, but he returns regularly to his home country.
Read the full piece from: ABC News Radio
On a cool evening in late September, Cécile McLorin Salvant wafted onto the stage of the Metropolitan Museum of Art’s Grace Rainey Rogers Auditorium as if in a trance. Dressed in a billowy white gown that she had designed herself, she stood wordlessly for an uncomfortable moment, gazing out at the audience with inscrutable eyes, and began to sing. “There’s a woman lived in the woods on the outskirts of town,” she intoned, in a line reminiscent of Bob Dylan’s timeless folk song “Ballad of Hollis Brown.” “Her skin was chocolate brown,” Salvant went on, as though she were summoning a ghost. “Upon her head she wore a crown of bones, human bones.”
The 29-year-old singer was performing to a sold-out crowd at the premiere of her exquisite 90-minute song cycle, Ogresse, arranged and conducted by the bandleader Darcy James Argue, who had assembled an unconventional mini-orchestra including banjo, marimba, melodica, oboe, tuba, and string quartet. The show, which had no intermission, is a dark fairy tale with pockets of absurd humor. It tells the tragic story of a grotesque woman with a taste for human flesh who, in an act of ill-advised vengeance, ends up eating her lover in what amounts to a kind of perverse murder-suicide.
Salvant wrote the grim story, which flits between several narrative voices, and as she made her way through the set, which contained elements of baroque music, bluegrass, and French jazz, among other influences, it became clear that Ogresse was a daring, and genre-defying, departure from anything she had done before.
At the same time, it was completely in line with Salvant’s singular artistic vision, a grand synthesis of all her creative interests to date: jazz (of course), musical theater, mythology, visual art (Salvant wrote and illustrated the accompanying songbook in pen), cooking (there are recipes for human flesh interspersed amusingly throughout), fashion, acting, race, sexuality. “This was at the deepest core of who she was,” said pianist Aaron Diehl, who has played with Salvant on several of her records. “I think that she was very, very nervous.”
“We joked that we were conspiring to alienate her entire fan base with this project,” said Argue, who worked closely with Salvant to fine-tune the piece.
Salvant needn’t have worried—she received a standing ovation at the Met—but the project did represent something of a risk for an artist who, over the past eight years or so, has established herself as a master interpreter of the vocal jazz tradition, with laser-sharp intonation, perfect diction, and a sonorous voice that recalls, most of all, Sarah Vaughan. Her uncanny capacity to embody old songs and imbue them with new meaning—in particular those a modern audience might typically cringe at, such as “Wives and Lovers” and “You Bring Out the Savage in Me”—earned Salvant two Grammys in the Jazz Vocal Album category, the most recent of which was awarded for her 2017 album Dreams and Daggers.
This year’s followup, The Window, Salvant’s fourth release for Mack Avenue, came out the same day she premiered Ogresse. It’s a collection of quiet yet buoyant duo recordings with the ace pianist Sullivan Fortner, including recherché love songs by Stevie Wonder, Richard Rodgers, and Stephen Sondheim. The 71-minute album, featuring in-studio cuts alongside live recordings from the Village Vanguard, is deeply affecting, almost eerie in its intimacy. It’s a beautiful record, but in a manner somewhat akin to Jeanne Lee and Ran Blake’s outsider-ish 1962 duo album The Newest Sound Around. In other words, it isn’t trying to put you at ease.
Taken together, Ogresse and The Window strongly suggest that Salvant is the kind of performer who does it her way. At this point in her still relatively new career, she’s earned the rare opportunity to write her own ticket, and make outré gestures that defy expectation. Refreshingly, she isn’t chasing any commercial ideal of what a jazz singer should be—and in fact, it isn’t even apparent that she wants her audience to regard her as a jazz singer in the first place.
“My perception is that she cares deeply about that tradition and that it’s an ideal vector for her expression, something she has mastered,” said pianist Dan Tepfer, who will perform French chansons with Salvant at the Fisher Center at Bard College in Annandale-on-Hudson, N.Y., on Dec. 22. “But the key for her is she’s not using it in order to be a jazz singer—she’s using it in order to express ideas about the world we live in today.”
Diehl put it a little more succinctly. For Salvant, he explained, “jazz is just like a drop of water in a big sea.”
Salvant has always had omnivorous tastes that hinted at the path she might take. She grew up in a French-speaking household in Pinecrest, a suburban neighborhood outside Miami, the daughter of Haitian and French-Guadeloupean parents. Early on, she was intrigued by the singing she saw on TV. At one point, around the age of six or seven, she got it in her head that it might be fun to do voice-overs for Disney movies—she liked Pocahontas in particular—a sophisticated thought for a child, who might not be expected to separate a cartoon character from the voice behind it. That this interested her is “ironic” now, she said, given her approach.
“The last thing that I want is to sound like a Disney version of jazz, which is something that I felt like I heard a lot in jazz today, this kind of flawless, clean sound that, quite frankly, annoys me,” Salvant told me candidly in an interview one misty afternoon at a coffee shop near her apartment in the Boerum Hill section of Brooklyn. “Like, I miss the grit. So it’s funny that, before, I wanted that, and afterwards, I was kind of pushing back against it, and now I’m sort of finding a way to bridge those two.”
In high school, Salvant would often pass the time doodling in the margins of her exams, a preoccupation she now puts to more productive use by illustrating the covers of her albums, which, as a result, come off as complete artistic statements. “Sometimes teachers would get mad, because I would draw some pretty obscene things,” she recalled. “I remember particularly drawing a devil creature breastfeeding a child, and the teacher being like, ‘What are you trying to do?’”
Salvant studied at the Darius Milhaud Conservatory in Aix-en-Provence, focusing at first on classical voice performance. “The baroque voice teacher that I had really, really made it a point for me to get the diction completely right for every song that I sang,” she said, “for me to get the text completely right, understand it, before even having the privilege of singing it.”
Those lessons stayed with her when she switched her energy to jazz after another teacher, the French tenor saxophonist Jean-François Bonnel, realized her potential. Any time she gets a text, Salvant treats it as if it were a monologue rather than a song, in much the same way an actor reads a script. “I’m like, ‘Oh, this is a story, these are words, this is my opportunity to actually infuse meaning into these words,’” she mused.
Bessie Smith’s oeuvre was an especially potent source of inspiration for Salvant as she dug into the history of jazz and early 20th-century American music. “The repertoire is so varied,” she said with a scholarly sense of awe. “She sings songs about suicide, she sings songs about being in prison, she sings about flooding, about food, about sex. It’s a much broader spectrum of material than you get almost from anyone else in American popular song, I would venture to say.”
With Bonnel at her side, Salvant recorded her first album, Cécile & the Jean-François Bonnel Paris Quintet, a somewhat dutiful yet profoundly mature assemblage of standards establishing her command of the American songbook, in 2010. Performing English-language songs in France presented an extra challenge for the young chanteuse. “I couldn’t just rely on people understanding what the song meant,” she said.
Consequently, Salvant went out of her way to tell the story contained in each song through the sound of her voice and through facial expressions, a technique that carries through to her stage appearances today.
Serious jazz listeners first became aware of Salvant the same year she released her debut album, when she won the Thelonious Monk Institute’s International Jazz Competition in Washington, D.C. Al Pryor, Mack Avenue’s A&R chief at the time (soon to become Salvant’s producer), was in the audience. He recalled being blown away in particular by her rendition of Bessie Smith’s “Take It Right Back,” an anthem of rugged female empowerment. “She had an extraordinary voice and range and an ability to inhabit the song, and the meaning of the song, that I thought was preternaturally beyond what I figured her actual age was,” Pryor enthused. “She’s kind of like an old soul living in a young woman.”
A broader spectrum of listeners would get the same impression, three years later, from Salvant’s sophomore release, WomanChild, the album that put her on the map, featuring a judiciously curated assortment of songs like “I Didn’t Know What Time It Was,” “What a Little Moonlight Can Do,” “John Henry,” and “Nobody,” by the vaudeville-era entertainer Bert Williams, who performed in blackface. The title track, which Salvant wrote herself, was a throwback to Abbey Lincoln, telling the abstract story of a naïve woman doomed by fate: “Woman child falters/Clumsy on her feet/Wonderin’ where she’ll go/When her time has come/Good she’ll never know/Until she comes undone.”
The lyrics have something in common with Ogresse, which features a similarly ill-fated woman whose innocence ultimately does her in. It’s a story, Salvant told me, that she often likes to tell of herself, though she isn’t entirely sure why. “We need to do a whole therapy session on that one,” she joked.
Whatever the reason, for Salvant, Ogresse represents a logical extension of that story. “There’s the whole idea of the strong woman, the beautiful woman, this ‘Oh, I woke up like this, I’m amazing’ thing, ‘I am powerful, I am woman, dah dah dah, I’m not flawed, I am perfect as I am,’ you know—that type of presence, which I think is very exciting and interesting,” she explained. “But I also like the idea of a deeply flawed, troubled, grotesque, ugly female. I think that idea, and what that entails, and what that means, and the consequences of that, excite me a lot. And so I wanted to work with that idea in whatever way I could think of.”
Salvant wrote Ogresse while on tour, over the course of a year. Originally, she approached Argue, whose large-scale jazz orchestrations she admired, to arrange some songs she had composed for an album. But as they collaborated, the project switched directions and became a kind of multimedia work to be performed on stage. “Cécile plays her cards pretty close to the vest,” Argue said, “so I didn’t know this was the sort of thing she would be interested in.” After she had tweaked the piece, Salvant sent Argue a demo in which she sang the entire thing through while accompanying herself on piano. “I was amazed at how naturally she took to this and how she had really threaded melodic ideas and recurring motives,” Argue told me. “There was a real cohesiveness to it, and a real maturity.”
As Salvant prepares to leave her twenties, it’s clear that her talent as a performer could take her in several directions, and she has told friends and acquaintances that she yearns to try her hand at acting, which is something she gets close to in Ogresse. “It’s the great frustration of my life,” she said, only half-seriously. “I realized a couple of years ago how much I actually did want to be an actress and how music is almost like a means to an end.”
I asked her which roles appealed to her, and she immediately mentioned Yentl, the title character in Barbra Streisand’s 1983 romantic musical about a Jewish woman in pre-Holocaust Poland who poses as a man so she can study the Talmud in a yeshiva. “I love those kinds of movies,” she said. “I love when there are layers. You’re an actor playing in a role and the person that you’re playing is also playing a role of something else. That makes me insane. I love that, especially when it’s gender stuff.”
But Salvant believes it’s too late to break into acting because she’s never taken a class—and both film and theater, she said, seem forbidding, given her path so far (though one gets the sense that she’s a little too modest in her self-assessment). Thus, listeners can likely expect that in the future, as Salvant grows into herself and sheds her influences, she will continue to write songs and excavate the past for new material, confounding expectations of what a jazz vocalist can be. “Early on, I heard a lot of her influences,” said pianist Fred Hersch, who has played with Salvant. “But now people are starting to hear her as her.”
On an evening in mid-October, Salvant performed with Fortner in an intimate, off-the-cuff set at Steinway Hall in midtown Manhattan that doubled as a record release party for The Window, which is sure to garner Salvant another Grammy nomination, if not a win. “What are we gonna play?” she said, appearing before the audience in a gold dress and black lace gloves she had made herself, casually holding a glass of white wine in one hand and a microphone in the other.
Salvant and Fortner, who have an easy, lighthearted rapport on stage, cracked jokes with one another in between songs, but when they began a tune, the mood in the room became deadly serious, and Salvant became a different person, as though each lyric were her own lived experience. Taking requests from the crowd, they ran through a number of songs that have become identifiable with her, including Rodgers’ “The Sweetest Sounds,” Bernstein and Sondheim’s “Somewhere,” and “Fog,” a ballad she wrote.
Many of the people in attendance had seen Salvant play before, and probably more than once, but it was clear from their rapturous reaction at the set’s conclusion that she had shown them a side of herself they’d never witnessed before. “She’s still a mystery to me,” Fortner told me in a phone interview a day before the show. “Even now, there are nights when I’m surprised at what she does and what she can do.”
Read the full piece from: Jazz Times
A lot has changed since Macy Gray won her first Grammy. But some things never will.
She's still obsessed with Goldfish and strongly believes they're the superior snack. Before every show, she still makes her crew take fireball shots, so they can be on the "same level." And she's still chipping at her gambling debt from frequent visits to Las Vegas.
The ugly side of being famous doesn't really reveal itself until it's too late. After over 20 years in the business, she's got some wisdom on how other artists figure out how to play the game.
Read the full piece from: Vice News
As the lead singer of L.T.D. in the second half of the Seventies and then a solo act with more than a dozen R&B hits, Jeffrey Osborne has enjoyed his fair share of commercial glory.
But pop music tends to reward youth, so like many older singers — Osborne is now 70 — the former L.T.D. frontman has trouble keeping his new music in the public consciousness. “People come up to us and say, ‘You know, you haven’t had a record in years,'” Osborne explains. “I’m like, ‘Dude, I’ve got a record out now.’ That happens to all of us. It’s just that we don’t get any airplay now. The airplay we get is ‘Jamming Oldies.'”
This year, however, Osborne managed to transcend Jamming Oldies: For a time, his single “Worth It All” was reaching around two million listeners a week thanks to the support of the radio format known as Urban Adult Contemporary or Adult R&B.
And Osborne is not the only singer in his age group enjoying moderate success in this space, which caters primarily to black listeners between the ages of 25 and 54. Adult R&B has also been playing “Fine,” a stepping-ready single by Lenny Williams, a 73-year-old veteran of Tower of Power, “You and Me Together, Forever,” a romantic ballad from L.J. Reynolds, the 66-year-old singer who once led the vocal group the Dramatics, and “Love Like Yours and Mine,” a comeback single from the 67-year-old Peabo Bryson.
“The one common denominator is that even if you had a big song 20, 30 years ago, until you have that next hit, that song that is radio friendly and accepted by radio and the public, that is when you are welcomed back,” says Jesus Garber, a longtime radio promotions veteran who campaigned on behalf of Osborne’s new single. “But as far as the artist is concerned, they never went away.”
Osborne’s last major hit was “Only Human,” a big-old-we-all-make-mistakes ballad that reached Number Three on the Hot R&B/Hip-Hop Songs chart in 1991. But for the last decade plus, the singer has not been releasing new songs. “I’ve had a couple of albums where I covered some R&B songs and then I covered some jazz, but this is the first time I’ve done some original material in 13 years,” he says.
R&B has changed a lot just during that period, and it’s wildly different than it was when “Only Human” was on the charts. “You don’t see many songs that have a bridge and a hook today,” Osborne points out. “Everything’s written off the verse and they just change the vocal melody [during the chorus] — musically it doesn’t go anywhere. When I was recording, things were dry. Today, everything is just wet, full of echo.”
Garber came up with a plan to help Osborne fit into the “wet” modern world. “I knew the radio people in America that their batting average is very high, so I asked them to put an ear to [the new album],” Garber says. The high-powered focus group narrowed the choice of single down to “Worth It All,” but, “they said it needed to be remixed and updated so that it would be the sound of 2018.”
Osborne’s team enlisted Gregg Pagani — who co-wrote massive Urban AC hits like Charlie Wilson’s “There Goes My Baby” and Johnny Gill’s “This One’s For Me and You” — to tweak the original. The primary change is in the drums: The album version of “Worth It All” is beat-less, but Pagani’s version ticks and rattles like everything on the radio.
This had exactly the intended effect: “Worth It All” rose to Number 12 on the chart. “Radio people basically make an opinion in the first ten seconds,” Garber says. “If you come to them and say, ‘remember that song that I played for you six months ago? I just did a remix,’ the problem is they’ve already formulated an opinion. And, if that opinion was not favorable, it’s still hard to get over that first impression.”
Read the full piece from: Rolling Stone