Craig Taborn | Shadow Plays | Available October 8 via ECM

Pianist and Composer Craig

Taborn Returns After a Ten Year Hiatus

with His Release Shadow Plays

Available October 8 via ECM

Ten years have passed since Craig Taborn’s Avenging Angel album was released, bringing strikingly fresh ideas to the solo piano idiom. “It reflects Mr Taborn’s galactically-broad interests,” said the New York Times, “along with his multifaceted technique,” while the Guardian saluted Craig’s “world of whispered, wide-spaced figures, ringing overtones, evaporating echoes and glowering contrapuntal cascades”.

 

In the interim Taborn has appeared in ECM contexts large and small. We’ve heard him in his trio with Thomas Morgan and Gerald Cleaver on Chants and in his Daylight Ghosts quartet with Chris Speed, Chris Lightcap and Dave King. He’s played piano duets with Vijay Iyer on The Transitory Poems, performed Ches Smith’s music on The Bell, contributed to Roscoe Mitchell’s AACM tribute Bells for the South Side, and to Chris Potter’s music for ensemble and strings on Imaginary Cities. Alongside all of these activities, the solo music has continued to gather strength.

 

Over the last decade Taborn has refined and developed his approach, attaining new high ground with Shadow Plays. For Craig the recording is “part of the same continuum as Avenging Angel. Where that was a studio recording, this one is live, but that process of spontaneous composition goes onward.” The new album is a stunning live recital from the Mozart-Saal of the Wiener Konzerthaus, where the programme was headlined Avenging Angel II. In this fully improvised concert, Craig explores sounds and silences, swirling colours, densities and forms, creating new music with both poetic imagination and an iron grip on his material. His control of his craft as he unerringly creates narratives and structures from the hint of a revealed pattern, following where intuition and experience lead him, is extraordinary.

 

“When you improvise,” Taborn told writer Adam Shatz, in a New York Times interview, “you’re observing and creating at the same time. To make the next move, you have to get really close to what’s going on.”

 

“Free improvisation” can mean many things. For Taborn, in this context, this is not a matter of automatic writing or stream-of-consciousness self-expression but of keeping in focus both the larger frame of the concert and the concise statements shaped from the moment-to-moment detail of the music. “A lot of my interests revolve around trying to extend the boundaries you can create in…” Craig Taborn has noted. “Rather than simply free-flowing as I travel from Point A to Point B, I am really trying to construct and to organize the material as it emerges, in real time. And what is created in this way feels different to music using pre-composed elements.”

 

Taborn is a great improviser in any context, and highly regarded for his capacity to get to the heart of the music, whatever the setting. In the solo work connections to ‘jazz’ are not always self-evident, but in the flux of the piece retrospectively called “Conspiracy of Things”, allusions to the history of the music from stride piano onwards seems to flash past at lightning speed. In all pieces, ideas are explored, at multiple levels. Emotions too – tenderness and fierceness co-exist in pieces thoughtfully titled “Discordia Concors” and “Concordia Discors,” concepts that reflect the notion of unity through diversity. “I name the pieces,” Taborn said in a recent interview with Bomb magazine, “after they are finished and in consideration of their programmatic position – in a way the titling is the final stage of composition. And I intend the titles as invitations to extend the musical experience into other areas.” The inclusiveness of his work – subtly informed by music and art of many traditions – invites new associations and open responses.

Born in Detroit in 1970, Craig Taborn studied at the University of Michigan. He first came to wider attention in the groups of saxophonist James Carter. His first ECM appearance was with Roscoe Mitchell’s Note Factory on the album Nine To Get Ready (recorded 1997).

 

Currently on the road in Europe with cellist Tomeka Reid and drummer Ches Smith, Craig Taborn undertakes a solo piano tour in February 2022 with dates including Tampere, Finland (February 1), Live Lab, Helsinki (February 2), Nasjonal Jazzscene Victoria, Oslo (February 3), Musikförening, Vanersborg, Sweden (February 4), Halmstad, Sweden (February 5), Fasching, Stockholm (February 6), Sendesaal, Bremen (February 7), Domicil, Dortmund (February 10), Birdland, Neuburg (February 11), Son d’hiver Festival, Paris (February 12) and Bimhuis, Amsterdam (February 13). More details at www.ecmrecords.com

 

Craig Taborn’s Shadow Plays, produced by Manfred Eicher, was recorded live at the Wiener Konzerthaus on March 2, 2020.

1 BIRD TEMPLARS (Craig Taborn) 17:02

2 DISCORDIA CONCORS (Craig Taborn) 08:57

3 CONSPIRACY OF THINGS (Craig Taborn) 05:50

4 CONCORDIA DISCORS (Craig Taborn) 11:59

5 A CODE WITH SPELLS (Craig Taborn) 08:09

6 SHADOW PLAY (Craig Taborn) 18:37

7 NOW IN HOPE (Craig Taborn) 05:47

Craig Taborn Piano

PREORDER

CONCERTS

November 07 Craig Taborn Plages Magnétiques Brest France

November 11 Craig Taborn EnjoyJazz Festival, dasHaus Ludwigshafen Germany

November 12 Craig Taborn Jazz d'Or Strasbourg France

November 13 Craig Taborn Flagey Brussels Belgium

November 15 Craig Taborn De Singer Rejkevorsel Belgium

November 16 Craig Taborn Institut Francais Berlin Germany

February 03 Craig Taborn Nasjonal Jazzscene Victoria Oslo Norway

February 04 Craig Taborn Vänersborgs Musikförening Vänersborg Sweden

February 05 Craig Taborn Halmstad Sweden

February 06 Craig Taborn Fasching Stockholm Sweden

February 07 Craig Taborn Sendesaal Bremen Germany

February 10 Craig Taborn Domicil Dortmund Germany

February 11 Craig Taborn Birdland Neuburg Germany

February 12 Craig Taborn Son d Hiver Paris France

February 13 Craig Taborn Bimhuis Amsterdam Netherlands

April 22 Craig Taborn Kaleidophon Ulrichberg Austria

Itai Kriss & Telavana - SUPERMOON (October 8, 2021)

Itai Kriss & Telavana present an offering to humanity and the universe

with new release Supermoon, due out on October 8, 2021

New York Based flutist and composer Itai Kriss is thrilled to announce the October 8, 2021 release of his third album Supermoon with his multicultural ensemble Telavana. A prolific bandleader with a well-earned reputation as an ingenious composer, Kriss is known for his natural skill of combining a broad range of musical styles in an uncontrived fashion – notably that of Middle Eastern and Caribbean sensibilities.  In 2018, Itai Kriss and Telavana released their eponymous sophomore album which was praised for meeting the musical minds of these two spheres in an original and cohesive way. On Supermoon, Kriss continues this tradition of amalgamation with a dynamic program inspired by astrology and heavy philosophical questions. 

“The signs of the Zodiac also represent a connection between us humans here on Earth and the stars; up above and far beyond our reach, ever present, ancient and mysterious. The planets and stars have been there since before we existed and most of them will still be there after we’re gone,” Kriss muses in the liner notes. Each track on Supermoon is named for a Zodiac sign, and sonically reflects each sign’s attributes.

Itai Kriss and Telavana is made up of the formidable trumpeter and flugelhornist Wayne Tucker, powerhouse pianist César Orozco (who also appears on Fender Rhodes), in-demand bassist Tamir Shmerling, the inventive Dan Aran on drums and Marcos López, a fast rising star on percussion. Heavyweight percussionist Keisel Jiménez makes a guest appearance, as do creative vocal forces Malaya Sol and J. Hoard. The brilliant Shai Maestro is featured on keyboards and synths on multiple tracks. 

Photo of Itai Kriss by Justin W. King

Listening to Supermoon is a progressive experience, with each of the tracks taking on a distinctive life of their own as they go on. Selections such as “Gemini” begin with a gentle introduction before slowly transforming into a driving African 12/8 vamp. Horns repeat the refrain, punctuating the groove, and plunge Kriss into one of his most evocative solos on the record. Another highlight, “Virgo” begins as a slow and pensive reflection, before evolving into an exuberant, high-energy celebration featuring the always soulful vocalist J. Hoard. 

Other tracks surprise because of their eclecticism. “Crustacean Vacation”, a crowd pleaser and fan favorite from live performances, is a dancing head bop with clear techno influences while “Taurus” is a rousing Timba featuring the prolific Cuban percussionist Keisel Jiménez, who spins verses as the lead vocalist. The ensemble shines on the brisk “Capricorn”, which features tight horns on the jagged rhythms with acute precision, supported by a rock-solid rhythm section. 

It is no surprise that the fusion of all these musical styles comes off naturally, seeing that Kriss and the core members of this ensemble have been regular fixtures on the dynamic Latin scene in New York City. “I am so grateful to be able to create music with such incredible musicians, hailing from Puerto Rico, Israel, Cuba & New York,” reflects Kriss. “This album is about all of us, our planet, our universe and the most powerful and potent force which helps us make sense of it.”

The concept of Supermoon is one that attempts to grapple with the questions of our existence in the vast universe. “As we track the movements of the celestial bodies across the sky we are inspired to think of things that are bigger than ourselves and  contemplate our lives and problems in the context of eternity and infinity,” Kriss muses. As the album draws to a close with the Middle Eastern-tinged “Pisces” one is inclined to feel they’ve reached the end of a momentous and exhilarating voyage. 

1. The Cusp

2. Aries

3. Taurus

4. Gemini

5. Crustacean Vacation

6. Leo

7. Virgo

8. Libra

9. El Alacrán

10. Sagittarius

11. Capricorn

12. Aquarius

13. Pisces

Itai Kriss – flute

Wayne Tucker – trumpet and flugelhorn

César Orozco – piano & fender rhodes

Tamir Shmerling – bass

Marcos López – percussion

Dan Aran – drums

Special Guests:

Keisel Jimenez - vocals (on #3 Taurus)

Jonathan Hoard – vocals (on #7 Virgo)

Shai Maestro - keyboards and synths (on all tracks except #9 & #13)

Malaya Sol - backing vocals (on #3 Taurus)

All compositions by Itai Kriss

Recorded on February 1& 2 2020 at Big Orange Sheep Studios (NYC) by Michael Perez - Cizneros

Mixed and Mastered by Dave Darlington

Album Art by Carolina Arevalo

PREORDER

Trumpeter Skyler Floe's Debut Album ABSTRACTION due out October 8th, 2021 via Next Level

Trumpeter Skyler Floe Announces Captivating Debut Album Abstraction,

out October 8th via Next Level

Next Level, an imprint of Outside in Music, is thrilled to announce the October 8, 2021 release of Abstraction, the debut album by rising star trumpeter Skyler Floe. On this nine-track collection of compelling original compositions, the New York-based musician showcases his voice as both a composer and soloist. Floe’s debut release is both a nod to the music of today and a showcase of the artist’s well-versed vocabulary in the history of jazz, calling upon his roots as a native of the greater Seattle area as well as a former resident of Indianapolis. Joining Floe are four of the top musicians on the Indianapolis jazz scene including tenor saxophonist Sean Imboden, pianist Steve Allee, bassist Nick Tucker, drummer Chris Parker and special guests saxophonist Greg Ward and vocalist Samantha Louise. 

Born and raised in Lynnwood, Washington, a suburb north of Seattle, Skyler Floe first began playing music as a child. After picking up the trumpet for the first time at age 10, Floe went on to play in the highly-decorated Mountlake Terrace High School jazz band, and as a senior, participated in the Essentially Ellington Jazz Festival, where Wynton Marsalis awarded him the Outstanding Trumpet Soloist Award. He went on to attend Central Washington University, and during this time started to develop a reputation as a star trumpeter in both the jazz and classical realms. After finishing his studies at CWU, Floe spent two years studying at the Institute of Jazz in Graz, Austria under the tutelage of Jim Rotondi. While in Graz, Floe performed and recorded with musicians from all over the world in Austria’s lively jazz scene. He eventually formed his own group with some of these musicians named The Chordless Quartet. Following his time abroad, Floe went on to complete his MM in Jazz Studies at Indiana University, where he is currently an associate instructor at Indiana University’s Jacobs School of Music. In 2019, Floe was one of five trumpet players selected to compete in the prestigious Carmine Caruso International Jazz Trumpet Competition. Floe now resides in New York City. 

The music featured on Abstraction reflects several pivotal moments from Floe’s life – particularly from the past ten years, and notably those that had an impact on how he hears and interprets music. “An abstract is a removal of unnecessary details until only the most important points remain. This album is the result of taking my musical journey through that process. Boiling down my adult life into the moments that forever changed how I hear music,” Floe shared. While the inspiration ranges from a ten year period, the majority of the music on Abstraction was written recently, with the oldest composition dating back only to 2017. “When revisiting some of my older compositions, I realized that what they had been missing all along were arrangements that adequately told the stories that inspired their conception in the first place. Ultimately, that was the focus of this album; to have the composition, arrangement, and performance of each tune be in sync with the story behind it.”

“The album kicks off with “Terrace”, a lyrical homage to the town Floe grew up in, Mountlake Terrace, the place where he remembers falling in love with jazz. “I listened to the albums of trumpet greats Roy Hargrove, Wynton Marsalis, and Maurice Brown non-stop and loved any tune with an odd-meter and groove that made you move. I used to look back at my musical tastes from that time and scoff at how ‘unrefined’ they were. But this composition acts as a revitalized appreciation for the jazz albums that started it all for me. Whether they are timeless or not, they are timeless to me,” reflects Floe. 

The wryly titled “Opinionated (is Putting it Lightly)” is the trumpeter’s oldest composition on the album, written during his time in Graz. During this period, Floe was obsessively consuming the chordless quartet albums of Ornette Coleman and Miles Davis’ second quintet bootlegs, and was enamored by these musicians’ ability to be unapologetically themselves. “These albums helped me realize that if I wanted to make my unique mark on this music, I also had to be comfortable with who I am even when others didn’t dig it,” he reflects. “Opinionated” follows a narrative throughout it’s 7+ minutes: the opening head represents Floe as he is, “opinionated to a fault”, and the trumpet solo that follows represents self-reflection. The new material on the final head-out represents that he has found acceptance. 

Tones shift on the title track, which features the stunning vocals of Samantha Louise, and her original lyrics. Intended at first to be a short lullaby, “Abstraction” evolved into one of the album’s most complex arrangements. Another highlight alongside the gloss of Louise’s voice is bassist Nick Tucker’s impressive solo.

The centerpiece of Abstraction is a three-part suite comprising three dynamic movements: I. A Short Climb in Bare Feet, II. Reason’s Last Pitch, and III. The Plunge. “There have been a few times in my life when I’ve reached a point of no return; where I needed to just jump in and see where the current takes me. Sometimes after making a decision like that, I can’t help but wonder what my life would have been like had I gone down road A instead of B,” reflects Floe. This trio of pieces describes the “self-inflicted turmoil” the artist often endures before making an important decision. 

Photos of Skyler Floe by Anna Powell Denton

Next up is “Odd Chicago”, an homage to the Windy City and its thriving jazz scene. When in Indiana, Floe would often travel to Chicago to check out its music and consequently found himself thrown into unfamiliar musical situations.” These experiences are mirrored on “Odd Chicago”, which is filled with uneven phrase lengths and unconventional harmonic rhythms and forms.

Scorcher “For Real” is an ode to the incomparable Woody Shaw. One of Floe’s favorite trumpeters, the young musician has always found solace when revisiting Shaw’s vast catalogue. This burning blues features fiery solos by the horns, as well as a rapturous drum solo from Chris Parker. Abstraction closes with “The Top Floor”, a musical showcase of the top-notch musicians featured on the record. Very little direction was provided by Floe when this track was recorded, allowing each musician to bring their own musical personalities to the table. “I knew I could trust each of them to follow their ears first and foremost and the end result was something truly original and free of preconceived notions.” 

With the release of Abstraction, Skyler Floe establishes himself as a fresh and innovative new voice on the contemporary jazz scene. This project releases via Next Level and will be available on all platforms on October 8, 2021. 

1 Terrace (5:11)

2 Opinionated (is Putting it Lightly) (7:24)

3 Abstraction (feat. Samantha Louise) (8:04)

4 I. A Short Climb In Bare Feet (3:04)

5 II. Reason’s Last Pitch (5:34)

6 III. The Plunge (3:16)

7 Odd Chicago 6:51

8 For Real (3:44)

9 The Top Floor (10:23)

PREORDER

Charged Particles | "Live at the Baked Potato!" (October 8, 2021 Summit Records)

Charged Particles Pay Tribute

to the Late Tenor Sax Great Michael Brecker

on Live at the Baked Potato!

October 8 Summit Records Release

to Coincide with Biography Ode to a Tenor Titan

by Acclaimed Author Bill Milkowski

On their latest collaboration, Bay Area jazz trio Charged Particles joins forces with powerhouse Bay Area saxophonist Tod Dickow in a heartfelt tribute to iconic tenor saxophonist Michael Brecker. Set for October 8 on Summit Records, the album will be released concurrently with Brecker’s biography, Ode to a Tenor Titan by acclaimed author, Bill Milkowski.

Staggering in its authenticity and collective desire by the participants to get it right, Live at the Baked Potato! is a fitting testament to the late tenor titan’s greatness. No less an authority than Randy Brecker has given his stamp of approval: “Everyone’s at the top of their Mike game here. I found myself pinching my arm to remind myself that Mike is sadly no longer with us,” Randy said.

In tackling Michael Brecker’s imposing oeuvre, the band reveals the genius of his compositional prowess, a side of the multi-faceted musician that was often overshadowed by his legendary chops. Yet there is no attempt here to recreate Michael Brecker’s awesome technique — no transcriptions of his heroic solos, no slavish adherence to every nuance of his classic recordings. Instead, the Bay Area group successfully captures the essence of Michael’s spirit in their faithful renditions of his tunes spanning three decades, rendered with their own signature sound and approach.

The success of the group’s mission to honor Michael is due in no small part to the contributions of veteran San Francisco tenor saxophonist Tod Dickow, whose sheer force and fluent execution of some typically unconventional Breckerian lines seem to lift the entire band throughout this March 17, 2019, performance at the intimate Baked Potato in Los Angeles’ quaint Studio City neighborhood. “I certainly listened to enough of Mike’s music that it’s going to come out in my playing,” said Dickow, who delivers with passionate intensity on classic Brecker tunes like the hard-charging “Peep” (from Brecker’s third Impulse! album, 1990’s Now You See It…(Now You Don’t), “Arc of the Pendulum” (from 1999’s Time Is Of the Essence) and a chops-busting “The Mean Time” (from Michael’s 2007 swan song, Pilgrimage). “But it’s not really like I’ve ever outright tried to imitate him. I just know that some of the devices that he used have become a part of my playing. He’s a model of perfection, and I’ve always looked at his playing as something to strive for,” added Dickow.

The core trio of drummer and founder Jon Krosnick, pianist Murray Low, and bassist Aaron Germain began working together around the Bay Area in 2011. After doing nearly a thousand gigs together as a trio, Krosnick floated the idea of adding a tenor saxophonist in order to do a full-fledged Michael Brecker tribute. “I’m always looking for new projects - something to change things up for us and our listeners, to keep our performances interesting,” said Krosnick. Keyboardist Low knew exactly who to recruit to stand in front of the band for this adventure: “There’s only one guy: Tod,” he said. “Tod has had a passion for getting it right and capturing the Brecker sound. In rehearsals, he guided us through ‘the Michael vision’ – he’s absorbed so much from his listening over the years. It’s really helped us with authenticity,” said Low.

While Dickow’s muscular tenor prowess is a formidable presence throughout Live at the Baked Potato!, kudos must also be given to inventive keyboardist Low, whose nimble segueing from piano to organ to sampled sounds and assorted synths during the set (courtesy of some complicated splits on his keyboard allowing him to cover multiple parts at once) helped capture the richness of the original studio recordings by Brecker’s various bands. Germain’s seamless doubling from electric to upright bass provided the band with much-needed versatility to cover this wide swath of Brecker music. And special commendation goes to Charged Particles drummer Krosnick, who has been the driving force behind this band for nearly 30 years ago. “Mike’s music has been the soundtrack of my life,” he said. “This album is my way of saying thanks to him for so much happiness and inspiration over the years,” says Krosnick.

For more information on Charged Particles, please visit:

ChargedParticles.com | Facebook | Instagram | Twitter

Summit Records Website

GRAMMY-Nominated Vocalist Somi's ZENZILE: THE REIMAGINATION OF MIRIAM MAKEBA is due out October 8, 2021 via Salon Africana

Grammy-Nominated, Internationally Acclaimed Vocalist Somi To

Release Zenzile: The Reimagination Of Miriam Makeba on October 8, 2021

New Album Honors Groundbreaking South African Singer, Songwriter,

And Civil Rights Activist Miriam Makeba

Special Guests Include Angelique Kidjo, Gregory Porter, Ladysmith Black

Mambazo, Seun Kuti and more

Musical Theater Production Dreaming Zenzile, Based on Makeba’s Life –

Written by and Starring Somi to Premiere in September

On October 8, 2021, Grammy-nominated vocalist and songwriter Somi will release her new album, Zenzile: The Reimagination Of Miriam Makeba,  a celebration of the late Makeba’s invaluable musical contributions and messages of social justice. The album, which will be released on the artist’s Salon Africana label, features Somi’s renditions of some of Makeba’s best known songs—both Makeba’s own compositions and covers.

Watch the powerful music video for the lead single, “Pata Pata”, HERE.

Also, check out Somi’s fresh take on “Milele”, the second single featuring Seun Kuti and Thandiswa Mazwai, HERE. 

Regarded as one of Africa’s first international superstars, Makeba (whose given name is ‘Zenzile’) elevated the spirit of a continent, including her native South Africa. Her courage, however, was met with three decades of political exile from her homeland followed by blacklisting in the United States after her marriage to civil rights activist Stokely Carmichael. Somi’s lifelong love of Makeba’s music and personal strength led to a record that she hopes will inspire a rediscovery of Makeba’s life and work. Somi adds, “This album is my attempt to honor the unapologetic voice of an African woman who inevitably made room for my own journey and countless other African artists. In short, I owe her. We all do.” 

In recognition of Makeba’s resonance throughout Africa and the diaspora, Somi invited a number of special guests to perform on the record. From South Africa, Grammy-winning male vocal group Ladysmith Black Mambazo, singer-songwriter Msaki, vocalist and activist Thandiswa Mazwai, and jazz pianist-composer Nduduzo Makhathini join Somi for the tribute. Guests also include Grammy-winning American jazz singer Gregory Porter, Nigerian singer-musician Seun Kuti (Fela Kuti’s youngest son), and Grammy-winning singer-songwriter and activist, Angelique Kidjo.

To further celebrate the work of Makeba, Somi wrote and will star in Dreaming Zenzile, an original musical theater production based on the life of Makeba under the direction of Obie-award winner Lileanna Blain-Cruz. On September 10, this electrifying portrait of Makeba will kick off the ‘21-’22 theater season at The Repertory Theatre of St. Louis (The Rep). The rolling world premiere production will journey on to the McCarter Theatre Center in Princeton, to ArtsEmerson in Boston, to an Off-Broadway run in New York City co-produced by the Apollo Theater, National Black Theatre and New York Theatre Workshop, all in partnership with Octopus Theatricals. The soul-stirring production includes a live jazz band playing original music and reinterpretations of Makeba’s remarkable catalog while telling the story of her extraordinary life journey.

In addition to Somi’s upcoming album and theater production, 2021 brought the artist her first Grammy nomination. Holy Room: Live at the Alte Oper, recorded with the Frankfurt Radio Big Band, was nominated for Best Jazz Vocal Album. The album also won an NAACP Image Award for Outstanding Jazz Vocal Album. 

Recently, Spotify announced its partnership with Somi as the latest African singer to join its EQUAL Music Program. The EQUAL Music Program is a global initiative that Spotify has created to cultivate gender equality in music and support female creators under one brand. In celebration of the partnership and new music, Somi was featured on a billboard in Times Square.

Photos of Somi by Chris Schwagga

In addition, Somi was recently featured in “The Arts Interrupted,” an episode of PBS Great Performances that examined artistic challenges and potential for growth during the Covid shutdown.

Zenzile: The Reimagination of Miriam Makeba Tracklist

1 Umhome

2 House of the Rising Sun

3 Milele feat. Seun Kuti & Thandiswa Mazwai

4 Hapo Zamani 

5 Love Tastes Like Strawberries feat. Gregory Porter

6 Khuluma feat. Msaki

7 Pata Pata 

8 A Piece of Ground

9 Kwedini

10 Lakutshon’ilanga

11 Olili

12 Mbombela

13 Jike’lemaweni feat. Angelique Kidjo

14 Nonqonqo feat. Ladysmith Black Mambazo

15 Malaika

16 Ring Bell, Ring Bell

17 Mabhongo feat. Nduduzo Makhathini

PREORDER

Lena Bloch & Feathery - Rose of Lifta (October 8, 2021 on Fresh Sound New Talent)

Out October 8, 2021 on Fresh Sound New Talent, recording features Bloch, pianist Russ Lossing, bassist Cameron Brown and drummer Billy Mintz in gorgeous original music 

“Most impressive quartet – or rather, four equals perfectly attuned to each other. ‘Collective’ is the key word here, for this is truly musical togetherness, creating a sound all its own.” – Dan Morgenstern

“The stunning thing about every performance here is the delicate blend of composed music and spontaneous invention." – Donald Elfman, New York City Jazz Record

“..unwaveringly cohesive...bone-deep gorgeousness...complex, compelling and beautiful, sounds of the highest quality and inspiration laid down by a premier jazz quartet." –  Dan McClenaghan, All About Jazz .”

“I am from there. I am from here. / I am not there and I am not here.” So wrote Palestinian poet Mahmoud Darwish, a guiding inspiration for Russian-born saxophonist Lena Bloch and her quartet Feathery as they release their stunning new album of original music, Rose of Lifta.

Due out October 8, 2021 via Fresh Sound New Talent, Rose of Lifta digs deep into the yearning, soulful, complex sounds and the themes of exile, loss, and home encapsulated by Darwish, and emerges with seven shimmering original tracks. Bloch’s personal story is also closely related to yearning for home, as it traverses Russia, Israel, Holland, Germany, graduate studies, a few years of work, and finally immigration to the United States. Her experience informs the music and gives it a deeply personal angle.

With a remarkably cohesive band featuring pianist Russ Lossing, bassist Cameron Brown, and drummer Billy Mintz, Bloch’s second Feathery recording, a follow up to the acclaimed 2017 Heart Knows, demonstrates once again her three-tier excellence as a saxophonist, composer, and a bandleader whose approach nurtures listening, trust, and musical freedom. “We prefer to not have any particular arrangements of our compositions,” she says. “Jazz doesn’t have to be risk free – on the contrary, I think risk is a great factor! Because we cultivate this feeling, given the professionalism and experience of my fellow ensemble members, risk and challenge only facilitate the result. The less safe we all feel, the better it is for the music.”

With a tone simultaneously delicate, nuanced, and emotionally powerful, Bloch leads her quartet in four Bloch originals and three Lossing originals. As Brian Morton writes in the liner notes, “[Bloch’s] beautiful record is conditioned by and dedicated to the experience of exile. I cheerfully admit that it made me cry – I am no longer young, and have no shame over this – but not because of any political stance or any anecdotal content, but quite simply because her music, and that of Lossing, is so damned beautiful.” 

“Promise of Return,” the opening track by Bloch, begins with Brown’s single bass line, joined by piano, drums, and saxophone melding into cascading, conversant, recurring motifs. A resonant, wistful saxophone solo starts the second track, “Mad Mirror,” another Bloch’s original. Lossing’s searching, emotional piano and compositional acumen are highlighted on “New Home” and “Old Home,” as well as the final track, “Wintry Mix.” Two more pieces by Bloch round out the recording, the  title track “Rose of Lifta,” and “Mahmoud Darwish,” Bloch’s sonic ode to the poet whose art and work inspired the album.

While the tunes on Rose of Lifta arise from dark themes, the music is transcendent. “This isn’t a plangent song of sorrow, but an affirmation of life,” writes Morton. “It is music about life. I hear it as a continuous suite of dances and narratives, the voice of someone telling her and their story, arrestingly and thoughtfully. You cannot ask for more in music.”

Founded in 2014, Feathery Quartet draws its inspiration from diverse musical traditions: jazz, Middle Eastern, Eastern European, 20th and 21st century classical music. It performs original compositions written by Lena Bloch and Russ Lossing. Based on collective improvising, Feathery's musical approach consists of blurring the lines between composition and spontaneous invention, and between written and improvised sections. 

The ensemble's name refers to lightness, flexibility, readiness to drift in the new directions - like a feather in the wind. DownBeat says of Feathery, “rippling energy and sublimely weightless interplay.”

After years of live performances at venues including Cornelia Street Cafe Jazz At Kitano, Puffin Cultural Forum, Baha’i Center NYC, University of Massachusetts Amherst, Maureen’s Jazz Cellar, Live At The Falcon, the quartet released “Heart Knows” on Fresh Sound Records in 2017, receiving high praise in American and international publications including All About Jazz, New York City Jazz Record, DownBeat Magazine, France Musique and Chamber Music Magazine, to name a few. The album was also recognized by international outlets as a top jazz release, and in the NPR Jazz Critics Poll’s Top 100. 

Lena Bloch is a Russian-born saxophonist, composer and bandleader, based in New York since 2008. She has been leading her own chamber groups, performing original music since 1990, in Israel, Europe and the United States, including Red Sea Jazz Festival (Israel), Leverkusener Jazz Tage and Ingolstaedter Jazz Tage (Germany), Jazz Lent Maribor (Slovenia), Voronezh Jazz Festival (Russia), Washington Women in Jazz Festival, Vermont Jazz Center Festival, and Temple of the Arts Festival (United States). As a saxophonist she worked with Embryo, Steve Reid, Mala Waldron, Roberta Piket, Sumi Tonooka, Vishnu Wood, Harvey Diamond, Sebastien Ammann and many other American and European bandleaders.

Promise Of Return

Mad Mirror

New Home

Climbing Rose Of Lifta

Old Home

Mahmoud Darwish

Wintry Mix

FEATHERY

Lena Bloch (saxophone, composition)

Russ Lossing (piano, composition)

Cameron Brown (bass)

Billy Mintz (drums, percussion)

Recorded July 12, 2019 at Skyline Studios 

Recording engineer mixing and mastering - Paul Wickliffe 

Fresh Sound New Talent – Catalog #621

Levi Dover Sextet - Imaginary Structures (Friday, October 8th 2021 on Three Pines Records)

It is only through the lens of the imagination that we construct the world around us and give it meaning. The real is without intention or significance, appearing as a collage of seemingly unrelated elements. But as we weave together our perceptions, we create an an inner world populated by emotions, stories, dreams, remembered pasts and projected futures. These are the Imaginary Structures in which we live.

Imaginary Structures is the debut album from Montreal based composer and double bassist Levi Dover. This singular recording consists of eight original compositions for sextet, brought to life by an ensemble of musicians with an individualistic and contemporary approach. The album as a whole establishes a stylized vision of improvised music, fusing jazz with elements of progressive rock and 20th century classical music, brought together in a post-bop setting.

The music is set against the backdrop of an impressionistic landscape which at times recalls the influence of composers such as Wayne Shorter, Miles Davis, Bobby Hutcherson, and Andrew Hill. The improvisations are tightly woven into the structure of the pieces, giving the musicians the freedom to explore the universe that the compositions reveal. Throughout the album, a dreamy atmosphere and contemplative mood is balanced against a tight rhythmic undercurrent that propels the music forward, creating a narrative that unfolds gradually over the course of these eight pieces, exposing different facets of the composer’s imagination.

1. First Impression 4:14

2. In Hindsight 6:02

3. L’Appel du Vide 4:26

4. MK 6:51

5. Galapagos 7:24

6. How the Light Gets In 5:27

7. The Fox and The Cat 5:46

8. Imaginary Structures 6:14

Lex French - Trumpet

Erik Hove - Alto Saxophone

Olivier Salazar - Vibraphone

Andrew Boudreau - Piano

Levi Dover - Double Bass, Compositions

Kyle Hutchins - Drums

Imaginary Structures will be released worldwide on Friday, October 8th 2021 on Three Pines Records.

Three Pines Records

Miryam Solomon - Romance EP (October 8, 2021 Albert's Favourites)

All voices are unique, but some really stand apart. Whether it be the tone or a person’s phrasing and delivery, sometimes a voice catches you and gets under your skin. Miryam Solomon is one of those people.

A London-based artist, by way of Sweden and Eritrea, her work is underpinned by her love for rhythms, vocal interplay and storytelling, and has been championed by the likes of Jamie Cullum and Moses Boyd.

Romance, her debut EP for the South London label Albert’s Favourites, is at its heart a sonic exploration of storytelling, painting vivid and evocative worlds that are beautiful, playful and intriguing.

Unexpected turns and sounds, interlocking rhythms and voice, weave together a journey through different moods and colours that set the scene for stories to unfold.

There’s a magic and honesty in its simplicity, in working with the dignity of each element, as exemplified by Ben Marc’s production. Repeating rhythms and phrases take on new meaning with each listen, always guided by Solomon’s voice and its offer of intimacy and intricacy.

In her own words:

“Romance is an ode to the small things that have stayed with me.

A few years ago I was listening to a conversation about sampling, and the beauty of hearing something in a track that resonates with you. An idea that you hold with respect and wonder, yet makes you think of new possibilities.

I wanted to hold on to that feeling and piece together these seemingly modest ideas, references, dreams and stories that become portals to how I make sense of the world”.

Miryam has received regular radio play through her recent collaboration with Huw Marc Bennett on his much-loved debut album Tresilian Bay. Plays from Cerys Matthews, Tom Ravenscroft, Gilles Peterson and Stuart Maconie count amongst much international support.

With a talent for unexpected rhythms and vocal lines that demand repeated listening, her beguiling solo work is sure to win many more fans. 

1. Pushing The Tide

2. Romance

3. Fiction On The Web

4. To Say All With Very Little

Ben Marc: Production, cello, guitar, bass, percussion

Miryam Solomon: Voice, percussion

Alina Bzhezhinska: Harp

Mastered by Frank Merritt at Carvery Cuts

Artwork Iman Mahdy

Supported by the MOBO Help Musicians Fund

PREORDER

Kurt Elling - SuperBlue (October 8, 2021 Edition Records)

After scoring his second GRAMMY Award (and 14th nomination) in March 2021, the protean vocalist Kurt Elling hangs an unexpected left turn with SuperBlue for Edition Records. It’s a torrent of roisterous funk, indelible beats and all-too-current lyrics that boasts the talents of producer-guitarist Charlie Hunter and two stars of the hip-hop generation: drummer Corey Fonville and bassist-keyboardist DJ Harrison (both of the genre-hopping band Butcher Brown). Elling has always been a master of grooves, ranging from bebop to pure pop and progressive jazz to neo-soul, but he’s never filled an album with grooves quite like these.

Thanks to newly sprung melody and lyrics from Elling, along with Hunter & co.’s fresh grooves, SuperBlue features all-new songs, innovative takes on compositions from jazz lions Wayne Shorter and Freddie Hubbard, and a raw and stripped-down treatment of “The Seed,” a still-dynamic, decades-old riff on immortality written by Cody Chestnutt. There is even a slamming new version of a Tom Waits tune.

Elling has never made an album like this – and he’s never made any album in the way that SuperBlue took shape. To this day, he has yet to meet the members of Butcher Brown in person: with travel confined by the COVID-19 pandemic, their collaboration happened across a distance of roughly 1,000 miles, with Hunter acting as go-between. In their Virginia studio, Fonville and Harrison met with Hunter to hammer out an assortment of grooves and colors; at his home in Chicago, Elling took the rhythm tracks and determined whether they called for new melodic narratives or were better suited to existing compositions. Once the groundwork was complete, Elling and Hunter got together at a converted horse barn in Urbana, Illinois, where they recorded the vocal and solo guitar tracks and mixed it all down.

For all that, Fonville considers this “one of the most organic sessions” he’s ever done, with a surprising lack of hassle or fuss. “The seeds were planted a while ago,” Elling says, “and then the pandemic got [Charlie and me] both stuck at home. The time inside was the hothouse for something new to grow. Finally, the seeds busted open and grew into this crazy, weird COVID flower.”

The writing process gave Elling the chance to return to several of his now-familiar passions, such as the Beat Generation, current politics and the interpolation of contemplative poetry into already transcendent ballads. But even these touchstones buzz with the fresh energy of contemporary jazz-funk fusion.

Speaking about Fonville and Harrison, Elling is grateful. “For those gifted young cats to give me the trust, and to vibe with me and be so enthusiastic about this project, is a great compliment. It’s enlivening and even rejuvenating in the truest sense of the word. I haven’t been paying as much attention to the groove-oriented stuff that younger cats have been developing, except in a cursory fashion – not because I don’t like it, but because I’ve been focused for so long on learning from cats like Prez and Wayne and Dexter Gordon. I feel like Joe Square-Britches coming into this stuff.”

That’s far from how the Butcher Brown musicians see Elling, widely acclaimed as the pre-eminent male vocalist in jazz. “I’ve loved Kurt’s music since high school,” says the 30-year-old Fonville, who co-produced the album. “I mean, he’s a legend at this point. I obviously knew him more as a straight-ahead vocalist, but I felt like he would feel at home with us – partly because our music is so rooted in the blues and Kurt already has a lot of blues in his music. And I was super happy at the fact that he trusted us enough to really steer things in this direction.”

Elling also placed his trust in the production expertise of Charlie Hunter to bridge the worlds of Elling and Butcher Brown; in fact, with his unassailable cred in both the jazz and groove camps, Hunter is perhaps the only musician who could have done so. “Between the records he’s made with cats like D’Angelo and John Mayer and A Tribe Called Quest, Charlie is a made guy in that world, just as he has the respect of jazz people” says Elling, who first met Hunter when both were signed to Blue Note Records in the late 1990s. They struck up an immediate rapport, leading to Elling’s guest appearance on Hunter’s album Songs From the Analog Playground; more recently, during the pandemic shutdown, they worked on some highly funkified videos for the weekly webcast Elling hosted during 2020.

As Hunter explains, “We both really thought that making those vids was a lot of fun, and when Kurt decided he wanted to make a whole record like that, he asked me to produce it. We shot some ideas back and forth and then I brought up Butcher Brown, because these guys have a great community and a great collective sound.” Hunter initially had no plans to bring his guitars to the sessions, but Elling insisted that he play on the date as well as produce. Hunter gladly gave in. “It was great working with Corey and DJ,” he says now – especially because the project didn’t call for any long guitar solos. “I’m much happier when I’m just grooving and laying in the cut, you know?”

On SuperBlue, those grooves are generous and bountiful and the mix is phat and vibrant, creating springboards for some of the most vivid tracks of Elling’s career. The new rhythmic playground shows off Elling’s still-broadening vocal prowess. The arrangements extend the singer’s already remarkable range and expand his role as a gifted storyteller, adept at both hipster humor and soul-shattering pathos.

For the former, go directly to “Can’t Make It With Your Brain,” a hilarious spear to the heart of conspiracy disinformation, wrapped in a dance-club scenario. For the latter, there’s his reprise of the Carla Bley composition “Endless Lawns,” which previously appeared on his album The Questions, and which carries a breathtaking Elling lyric, highlighted by a Judith Minty poem that clarifies the song’s ethereal beauty.

Elling’s serpentine lyrics combine with the psychedelic production to make Super Blue, Freddie Hubbard’s late-70s fusion gem, the latest addition to his portrait gallery of jazz classics. On ”Sassy,” the band freshens the dance rhythms that the Manhattan Transfer used in their 1991 tribute to Sarah Vaughan. Then Elling switches gears on “Where to Find It,” transforming Wayne Shorter’s rapturous “Aung San Suu Kyi” into a Buddhist meditation, with the assistance of Charles Twichell’s haunting poem “Animal Languages.”

Among the originals, Elling honors the centennial of Jack Kerouac – with asides to David Amram and Mose Allison – on Dharma Bums, an affectionate view of On the Road that crashes headlong into Circus, a prose poem from the Beats’ direct descendant Tom Waits. Waits recorded this offbeat narrative against a spooky big-top dirge; Elling intones it against a slam-dance funk groove that recasts the piece from a 50s pulp-noir paperback cover to a neon panel by Ed Paschke. And “Manic Panic Epiphanic” lifts the spirit with a message of hope – falsetto harmonies from the Bee Gees book – at a time when the world needs it most.

The universal accolades for Elling don’t always mention his relentless, career-long, search for new vistas. He’s recorded an album of global love songs (Passion World) and transformed the Christmas tradition (The Beautiful Day); he’s written lyrics to jazz classics, staked out 1960s-70s rock-n-roll (on 1619 Broadway), and entered into a galvanic partnership, on disc and on tour, with Branford Marsalis’s quartet. He earned his first GRAMMY for updating the historic collaboration between John Coltrane and Johnny Hartman (Dedicated to You), and his most recent statuette for Secrets Make the Best Stories, his Latin-inspired project with modern piano giant Danilo Perez.

With SuperBlue, Elling continues on this path of bold collaboration – within the confines of worldwide lockdown – to map out a strikingly new direction, on a project guaranteed to gain new listeners and stretch the ears of his devoted admirers. 

1. SuperBlue

2. Sassy

3. Manic Panic Epiphanic

4. Where To Find It

5. Can't Make it With Your Brain

6. The Seed

7. Dharma Bums

8. Circus

9. Endless Lawns

10. This Is How We Do

Kurt Elling: Voice

Charlie Hunter: Hybrid Guitar

DJ Harrison: Keyboards

Corey Fonville: Drums, Percussion

Produced by Charlie Hunter and Kurt Elling

Co-Produced by DJ Harrison and Corey Fonville

Executive Producers Bryan Farina & Dave Stapleton

Instrumental Tracking by DJ Harrison at Jellowstone RVA. 10/19/20-10/21/20 & 11/22/20-11/24/20

Vocal Tracking by Anthony Gravino at High Cross Sound 2/1/21-2/13/21

Mixed by Anthony Gravino

Mastered by Dave McNair Mastering

PREORDER

Sean Conly -The Buzz (October 8, 2021 577 Records)

Exploring the iconic trio format, Sean Conly (Bass), Francisco Mela (Drums) and Leo Genovese (Piano) mix composition and improvised music into a shared language. Inspired by both contemporary and traditional musical arrangements, the musicians’ distinct inclinations blend together in playful form, delivered in an easy dialogue between the members of the trio. The Buzz’s 10 tracks are gentle and warm, displaying the comfort that the artists have with each other, and lending the album a similarly inviting aura throughout. This marks Sean Conly’s debut on 577 Records, the second album on the label for Leo Genovese (following Trio Sin Tiempo: Ritmos De Agua) and will be Francisco Mela’s third album on 577 Records, following MPT Trio (2021) and Music Frees Our Souls, Vol. 1 (2021). The Buzz will be available as a LP, CD and digitally on October 8, 2021.

1. The Jake Leg video

2. Good Idea 

3. In The Stretch

4. Euterpe

5. From C to Sea

6. The Buzz

7. Sweetie Pie

8. Flower (bonus track) 

9. Shades

10. Send In The Clowns 03:06

Sean Conly: Bass

Leo Genovese: Piano

Francisco Mela: Drums

Recorded on October 7, 2020 by Chris Sulit at Trading Eights Studio, Paramus, New Jersey

Mixed and mastered by Eivind Opsvik

Cover photo by Reuben Radding

Inner photos by Peter Gannushkin

Graphic design by Sergio Vezzali

PREORDER

Lucid Lucia - Lucid Lucia (October 8, 2021 Sdban Records)

Founded by saxophonist Vincent Brijs, BRZZVLL have been a household name in Antwerp and the Belgian jazz scene since 2008 but after a fifteen-year period, the sextet has decided to embark on a new chapter in their story with a name change and new line-up. Enter Lucid Lucia, named after Brijs’ eldest daughter and also the name of a track which first appeared on BRZZVLL’s 2016 album ‘First Let's Dance’. It also symbolizes a brighter, clearer sound.

On the 8th October, Lucid Lucia are set to release their self-titled debut EP. Searching to unwrap the bundle of complexity, contradictions and mystery that is a human life, across six tracks of jazz and space funk-infused grooves, Lucid Lucia look to the sound of Herbie’s ‘Head Hunters’ and Miles’ acid funk of the mid-70s for inspiration.

Continuing with an instrumental core, Lucid Lucia is a mind-expanding celebration centered on freedom and rhythm. Free-spirited saxes, futuristic-sounding keys, monstrous bass lines and shifting drum beats fuse, resulting in an uplifting and joyous celebration of jazz, funk and groove.

1.NStuck In The Well

2. New Era

3. Diggin'

4. Maya Dofo

5. Birth Sin

6. Vijver

PREORDER

Susan Krebs with Mixed Remotions - Daybreak

VOCALIST SUSAN KREBS WITH MIXED REMOTIONS

RELEASES HER 8TH ALBUM, DAYBREAK

Vocalist SUSAN KREBS usually collaborates and records with a small number of close musical compatriots in intimate settings. On her previous album, Trio Work (2018), she recorded with just a guitarist and bassist, and on the two albums before that, Spring (2017) and Simple Gifts (2015), she recorded with her small jazz chamber band music that grew from salons she hosted at her home. But with the exigencies created by the COVID-19 pandemic, Krebs was compelled to apply a completely different recording method for DAYBREAK, her 8th CD.

Rather than sitting in a circle with three or four musicians and allowing arrangements to evolve collaboratively, as she has done for her other recordings and live shows, DAYBREAK was mostly created remotely, with each musician working from their home studio, hence the band name, MIXED REMOTIONS.

The impetus for this album grew out of the pandemic. Living alone and cut off from friends, she was longing for connection. She especially missed being in the creative zone and working with her pals. She felt a deep need to make music. Creating a recording project remotely was a slow process. She began working on this album in September 2020 and completed it in June of 2021. Although the album was created mostly through the wonders of remote recording, it has a remarkable sense of immediacy and intimacy.

It all began when Krebs’ friend, DOUG WALTER, called her to see how she was doing. She was recovering from medical treatments not related to COVID-19, and to help in her healing, he offered to arrange any tune of her choosing. Walter is a woodwinds player and pianist who has performed and/or recorded with jazz greats such as Dizzy Gillespie, Stan Getz, Phil Woods, Chuck Mangione, and Gerry Mulligan. A music director and arranger of Broadway shows, he also orchestrates and composes for television, videos, and theatrical films. Krebs chose Blossom Dearie’s “Inside a Silent Tear.” She sang the tune for Walter over the phone to give him the feel of her concept, and he delivered a complete arrangement just a few days later.

Feeling inspired by Walter’s lush writing, returning her to her musical life, Krebs booked a band of dear pals to make a complete album. She first brought on board RICH EAMES, the versatile pianist, composer, arranger, and Krebs’ closest musical collaborator. He has been on most of Krebs’ albums. Also joining the band are woodwinds player ROB LOCKART, a busy sideman who has played with the Woody Herman Orchestra, Tom Harrell Big Band, Doc Severinsen Big Band, and Kurt Elling, among others; master percussionist SCOTT BREADMAN has performed with such musicians as José Feliciano, Lindsey Buckingham, and The Rippingtons; drummer and vibes player JERRY KALAF has played with Eddie Harris, Gary Burton, and Gary Foster, to name a few, and his performances and compositions can be heard on literally hundreds of soundtracks; guitarist and educator RINER SCIVALLY has performed with Alan Broadbent, Larance Marable, Stacey Rowles, and Putter Smith; and bassist DOMENIC GENOVA is one of the top studio musicians in Los Angeles, playing in many musical genres. DOUG WALTER makes his first appearance on one of Krebs’ recording projects, playing multiple woodwinds on his two arrangements.

Unlike her other recordings, where each musician contributed to the arrangement of every song, Krebs assigned the arranging duties to three of the musicians: Walter, Eames, and Kalaf. Krebs says, “Making this album was so different for me than anything I’ve done before. Not only was I unaccustomed to working mostly remotely, but it clearly wasn’t practical for the band to work together on each arrangement. So, I thought it would be interesting to commission arrangements from three of my closest collaborators, revealing their different voices and musical sensibilities. I chose the songs for this album from a folder of sheet music collected over the years -- songs which especially resonated with me. It was fun assigning those songs to the arranger I thought would capture it best. I’ve worked for so long with these wonderful artists that they understand my approach and aesthetic intuitively.”

DAYBREAK is Krebs’ most straight-ahead project to date. She opens the album with “Can’t Get Out of This Mood,” about which Krebs says, “This seemed like a good opener, because it reflects exactly how I felt.” Arranged by Kalaf, the song is a swinger featuring solos by Eames and Lockart. The title tune, “Daybreak,” which was also arranged by Kalaf, is a rarely performed song originally recorded in 1942 by Frank Sinatra with The Tommy Dorsey Orchestra. Written in 1926 by Ferde Grofé from his Mississippi Suite, with lyrics written subsequently by Harold Adamson, Kalaf’s resonant vibes move the piece into the 21st century.

Krebs heard “How Little We Know,” the Hoagy Carmichael and Johnny Mercer chestnut, as a flirtatious waltz. The song features a lush, romantic arrangement by Walter with a swinging guitar solo by Scivally. With its many layers of sound, Walter’s arrangement of Blossom Dearie’s “Inside a Silent Tear” is sumptuous and engaging. Walter plays all the woodwinds on this track, while Krebs mines the song for its poignant essence.

“Who Knows Where the Time Goes,” Sandy Denny’s 1960s pop tune about the fleeting nature of life and the wonder of time itself is treated to Eames’ open and fluid arrangement which perfectly captures the song’s bittersweet lyrics. Dave Frishberg’s “Listen Here” appealed to Krebs because of its instructive message about listening to the wisdom of one’s inner voice. Arranged by Eames, Krebs dedicates the song to NEA Jazz Master Sheila Jordan, her teacher, friend, and inspiration.

The last song on the album is “Stardust,” by Hoagy Carmichael and Mitchell Parish. Krebs says, “I was looking for a closing track while going through Hoagy’s book of tunes when I mentioned to Jerry Kalaf that I had a renewed appreciation of the song, and I understood why so many singers have recorded it. We immediately shared ideas, and soon he had created an arrangement with heavenly vibes and a groove. What a pleasure to sing this American classic!”

Krebs’intriguing, expressive voice, the gorgeous arrangements, and superb musicianship are the magic sauce that create the warmth and affective qualities of DAYBREAK Focusing on this project gave Krebs relief from her isolation and returned her to a sense of well being. Making music together was a balm for everyone involved.

1. CAN’T GET OUT OF THIS MOOD 4:39

2. DAYBREAK 5:36

3. HOW LITTLE WE KNOW 5:59

4. INSIDE A SILENT TEAR 5:11

5. WHO KNOWS WHERE THE TIME GOES? 6:57

6. LISTEN HERE 5:14

7. STARDUST 4:51

woodwinds Tr (3 & 4)

Produced by SUSAN KREBS, RICH EAMES and JERRY KALAF

1. CAN’T GET OUT OF THIS MOOD 4:39

2. DAYBREAK 5:36

3. HOW LITTLE WE KNOW 5:59

4. INSIDE A SILENT TEAR 5:11

5. WHO KNOWS WHERE THE TIME GOES? 6:57

6. LISTEN HERE 5:14

7. STARDUST 4:51

SUSAN KREBS vocals

RICH EAMES piano

JERRY KALAF drums & vibes

DOMENIC GENOVA bass

SCOTT BREADMAN percussion

RINER SCIVALLY guitar

ROB LOCKART woodwinds (1,2,5,6,7)

DOUG WALTER woodwinds (3, 4)

Arranged by JERRY KALAF (1, 2, 7), DOUG WALTER (3, 4) and RICH EAMES (5, 6)

Produced by SUSAN KREBS, RICH EAMES and JERRY KALAF

PREORDER