"CORCOVADO" ("QUIET NIGHTS") Alexandra Jackson featuring Miles Davis enters the charts!

The third single is receiving airplay on radio stations across the U.S.

Alexandra Jackson's "Corcovado" ("Quiet Nights") featuring Miles Davis, with Antonio Carlos Jobim & Ivan Lins -- from the "Alexandra Jackson: Legacy & Alchemy" album -- enters the charts playing on over 100 stations and channels:

Smooth Jazz Network Top 100 Chart: #54

SmoothJazz.com Chart: #38

SmoothJazz.com Indie Chart: #28

Billboard Smooth Jazz Chart: #1 Most Increased Plays (Last Week)

“Quiet Nights” was the JAZZIZ “song of the day," and the “Corcovado” version is featured in the JAZZIZ Magazine Fall Edition, its September and October online editions, and its Fall JOD sampler.

JAZZIZ Magazine - Bossa Hit “Quiet Nights” Relives Its Past Courtesy of Vocalist Alexandra Jackson

ABOUT THE ALBUM:  “ALEXANDRA JACKSON: LEGACY & ALCHEMY”

In 2018 we celebrate the 60th anniversary of Bossa Nova; in 2017 we celebrated the 100th anniversary of Samba; and the 2016 Rio de Janeiro Olympics was a "once-in-a-lifetime opportunity" for Brazil music and its synergy with American Jazz to be reintroduced to the world on the largest stage ever.  Legacy and Alchemy saw this as the moment in time to honor the great Brazilian music legacy.

The instant classic double CD also features the late Al Jarreau, Oscar Castro-Neves, Rod Temperton and Dona Ivone Lara, as well as Larry Dunn, Al McKay, Carlinhos Brown, Banda Black Rio, Hubert Laws, Siedah Garrett, Paulo Jobim, Daniel Jobim, Teo Lima, Armando Marcal, Paulo Calasans, Arthur Maia, Darryl Jones, Charles Floyd, and other Brazilian and American greats contributing to the historic album.

THE ALBUM SUCCESS

• 10 songs from album playing on the radio in 8 formats

• 4 songs from album playing on over 100+ Smooth Jazz stations (including "All One" featuring Al Jarreau, with Larry Williams & Oscar Castro-Neves charting #17 Billboard + Top 30 on 5 other charts, and "Brazilica" featuring Darryl Jones, Larry Dunn, Teo Lima, Armando Marcal & Maestro Charles Floyd with The Bossa Nova Noites Orquestra)

• "Stage" featuring Larry Dunn and Al McKay playing on UAC radio

• 5 songs from album playing on Sirius XM satellite radio on 5 programs (including "A Felicidade" featuring Paulo Jobim and Daniel Jobim)

• 9 songs from album playing / have played on over 50 stations in World Music / AAA / College formats

• Album playing on streaming channels: The Brazilian Hour / Global Village / Sounds of Brazil / AccuRadio

With CNN International recognizing Alexandra Jackson in the vanguard of re-launching Brazil music as contemporary music in the world, the project is off to a great start.  Indeed, music from Ms. Jackson’s album is enjoying worldwide acceptance — playing in U.S., Brazil, Japan, Canada, Mexico, and across Europe, where the album debuted at #20 on World Music Charts Europe.

More info here

FOR YOUR GRAMMY CONSIDERATION: Ken Wiley - CUERNO EXOTICA

Ken Wiley

CUERNO EXOTICA

-FOR YOUR GRAMMY CONSIDERATION-

Best Latin Jazz Album

Best Arrangement, Instrumental or A Cappella

Best Recording Package

Best Engineered Album, Non-Classical

In his career, Ken Wiley has shown that, in the right hands, the French horn (which is usually heard backing other instruments) can be quite effective as a solo instrument in a wide variety of settings, from bebop to crossover, free explorations to World Music. Cuerno Exotica, a set of atmospheric originals and transformations of three standards, features Wiley’s French horn as the lead voice.

Wiley shares the spotlight with acoustic guitarist Mark Leggett and Dan Higgins who is mostly heard on flute. They are joined by a subtle and quiet rhythm section that includes the supportive and tasteful bassist Rene Camacho, drummer Bernie Dresel, and both Luis Conte and Kevin Ricard on Latin percussion plus the background riffing and harmonies of the Bolero Horns.

The music is relaxing, moving, and full of beautiful moments. A Latin-tinged version of Ravel’s famous “Bolero” is given fresh life. Cal Tjader’s “Black Orchid” has a light catchy rhythm that inspires excellent French horn and flute solos while McCoy Tyner’s modal piece “Sama Layuca” adapts well to this setting and has a spot for Higgins on tenor.

The other five selections are Ken Wiley originals with two of the songs being co-written by Leggett. Ranging from the easy-listening “Carilo” and the relaxed yet bluesy “Cubano Blue” to the mysterious melody of “Gato Magico,” the music casts a spell on listeners, drawing them into the subtle improvising, hypnotic rhythms, and quietly passionate themes. “Cuerno Exotica” and “El Gorrion” set moods that are both soothing and stimulating. This is music that is inviting and rewards close listening.

While the French horn has been heard as a solo instrument in jazz ever since Julius Watkins’ emergence in the mid-1950s, the number of great French horn soloists through the years can be counted on just two hands. Ken Wiley, who graduated from the Manhattan School of Music, has been one of the top studio musicians in Los Angeles for some time. In addition to performing on the soundtracks of television productions and movies, he has worked with Charlie Haden’s Liberation Music Orchestra, tenor-saxophonist Charlie Rouse, guitarists Grant Geissman and Mike Miller, and bassists John Patitucci and Jimmy Johnson among others. Wiley has also led several albums of his own including Visage, Highbridge Park (which blended his French horn with Afro-Cuban and South American rhythms), jamming a set of standards on Jazz Horn Redux, and most recently the soulful Urban Horn Project. 

Ken Wiley does not believe in repeating himself or staying in one musical genre for long. Cuerno Exotica is unlike any of his previous recordings. The memorable performances are quite haunting yet instantly likable, uncategorizable as anything but beautiful music.

>br>

ALBERTO PIBIRI Upcoming Appearances + New CD "Jazz Legacy"

Upcoming Appearances

Nov 15,16,17,18 : Suncoast Jazz Festival with Professor Cunningham and his old School

Alberto Pibiri - Jazz Legacy (New CD)

More info here

Chris Pasin "Ornettiquette" CD Release Shows 11/10 The Sanctuary for Independent Media 12/2 The Falcon

Chris Pasin

Ornettiquette 

CD Release Shows

Friday, November 10th 7:30pm

Sanctuary for Independent Media 

3361 6th Avenue North

Troy, NY 12181

(518) 272-2390

www.mediasanctuary.org

Sunday, December 2nd 8pm 

The Falcon

1348 US-9W

Marlboro, NY 12542

(845) 236-7970

www.liveatthefalcon.com

Chris Pasin trumpet

Karl Berger vibraphone, piano

Ingrid Sertso vocals

Harvey Sorgen drums

Michael Bisio bass

Adam Siegel alto saxophone

Chris Pasin - Ornettiquette (PLANET ARTS 2018)

Jazz trumpeter Chris Pasin releases Ornettiquette, a musical joyride of an album inspired by free jazz pioneers Ornette Coleman and Don Cherry

For his 4th CD as leader, jazz trumpeter Chris Pasin leads his vibrant band Ornettiquette in saluting NEA Jazz Master and Pulitzer Prize winner Ornette Coleman and his long-time collaborator Don Cherry

“Imagine standing on a beach with the tide tugging the sand away under your feet while still feeling grounded in sea

and sand and ski—absolutely thrilling.”

– Michael Hochanadel, Jukebox, The Daily Gazette

Ornettiquette, his adventurous band of inspired musicians, take a joyous look at the music of saxophonist/composer/innovator Ornette Coleman and his long-time sonic partner trumpeter Don Cherry. 

This is the fourth release as a leader for New York-native Pasin, a longtime practitioner of jazz from straight-ahead to avant-garde. "I became acquainted with the music of Ornette Coleman, Don Cherry, and Albert Ayler as a teenager, and played along with their records,” Pasin recalls. “A little later I transcribed ‘Ghosts,’ and started playing it with people, but it was not until recently that the idea of a band playing the music inspired by these heroes occurred to me, thus engendering Ornettiquette.”

Highlights among Ornettiquette’s eight compositions include:

“Ghosts” salutes its composer, Albert Ayler, with steady confidence, from the ethereal vocal/vibes/drums opening, through compelling trumpet/sax interplay, to a tender ending.

A chill-inducing rendition of “Lonely Woman,” among Coleman’s most renowned compositions, featuring an ominous bowed bass undercurrent, introspective vocal, and gripping trumpet solo.

Ornettiquette’s upbeat and jaunty take on the lilting melody of “Tomorrow Is the Question.” Check out the fine saxophone solo and propulsive drumming.

Chris Pasin, a long-time resident of New York’s upper Hudson Valley, earned a dual degree in classical and jazz trumpet performance at New England Conservatory. He has proved his bona fides in both forums, playing with the likes of Gunther Schuller, Toshiko Akiyoshi, George Russell, Jimmy Giuffre, Jaki Byard, Buddy Rich and a host of others. Chris has an affinity for collaborating with singers, working with legends including Frank Sinatra, Mel Torme, Nancy Wilson, Sarah Vaughan and Tony Bennett. 

This album marks the second collaboration between Pasin and producer Patricia Dalton Fennell on Planet Arts records. The first—2017’s successful holiday album Baby It’s Cold Outside—earned critical acclaim as well as a meteoric rise to the top 50 on the charts.

When Pasin sought musicians to accompany him on his adventures into Ornette Coleman/Don Cherry territory, he didn’t have to look far. Fellow Hudson Valley dwellers Karl Berger (piano/vibes) and Ingrid Sertso (vocals) had both played with Coleman and Cherry. With encouragement from the two icons, Berger and Sertso cofounded the Creative Music Studio in Woodstock in the early 1970s. The pair have played and collaborated with innovators including Don Ellis, Carla Bley, Sam Rivers, Pharoah Sanders, Dave Holland, Eric Dolphy, Steve Lacy, Ed Blackwell, Bob Moses, Pauline Oliveros, Nana Vasconcelos, Olatunji, and others.
Also joining Pasin on Ornettiquetteare:

Alto saxophonist Adam Siegel, who has fronted his own bands over the past decade as well as become an in-demand sideman. Recognized for his intense and original approach, the graduate of Philadelphia’s University of the Arts has played with everyone from Dick Oatts to Pete Seeger.

Bassist Michael Bisio has appeared on dozens of albums as leader, coleader or sideman with the likes of Matthew Shipp, Charles Gayle, Connie Crothers, Whit Dickey, Ivo Perelman, Barbara Donald, Newman Taylor Baker, Sonny Simmons and Sabir Mateen. The winner of multiple awards and grants, Bisio is also a widely respected composer and educator.

Drummer Harvey Sorgen has conducted workshops internationally and performed with Ahmad Jamal, Dave Douglas, Zakir Hussain, Wadada Leo Smith, Roswell Rudd, Levon Helm, Bill Frisell, Carlos Santana, Greg Allman, Jack DeJohnette, and more. 

With its invigorating and heartfelt sound, Ornettiquette is certain to delight jazz fans in the know, as well as be a great introduction to the music for the so-far uninitiated.

Chris Pasin trumpet

Karl Berger vibraphone, piano

Ingrid Sertso vocals

Harvey Sorgen drums

Michael Bisio bass

Adam Siegel alto saxophone

OCDC

Jayne

Ghosts

Tomorrow Is The Questions

Just For You

When Will The Blues Leave

Lonely Woman

PTU

chrispasin.com

One O’Clock Lab Band (Lab 2018) - The Rhythm of the Road (2018)

The UNT program began in the late 40s, when big bands dominated the musical landscape, and has long included a different rehearsal group for nearly every hour of the day. It is in this musically supercharged environment that talented young musicians have experienced preparing new work, collaborations with guest artists and frequent performances. Daily music nurturing at such a high professional standard has produced memorable bands over the years and this edition of the One O’Clock Lab Band is undoubtedly one of the school’s finest. Leader Alan Baylock, known for his own groups and arrangements, is co-producer and director here and he has assembled a particularly well-conceived set bristling with depth and conviction. The foundation of a great big band is the drummer and the lead trumpeter. John Sturino, whose arranging chops are also on display here, demonstrates a high level of expertise in the art of swing, as well as the sensitivity he brings to ballads. Lead trumpeter Nick Owsik knows phrasing and style, and possesses the necessary power to generate excitement when needed.

The opener, Mr. Sturino’s arrangement of Victor Lewis’ “Hey, It’s Me You’re Talkin’ To,” is a rousing invitation to join the party, showcasing each section of the band individually, as well as the group itself. 

The excitement continues on the title track “The Rhythm of the Road,” multi-instrumentalist Brandon Moore’s composition and arrangement, featuring a relentlessly swinging shuffle groove and challenging chord changes expertly navigated by soloists Brian Woodbury on trombone, lead alto Kyle Bellaire, and drummer Sturino. Moore also arranged Chris Potter’s pensive “Train,” which features him on tenor, Daniel Pinilla on guitar, and vocalist Marion Powers, who is elegantly woven into the ensemble tapestry. 

“Blues for Kazu,” composed and arranged by Brandon Moore, was written for trumpeter Kazunori Tanaka, a native of Tokyo. Mr. Tanaka is an old musical soul whose heart lies deeply in the blues, his plunger work recalling Cootie Williams. Jazz is played all over the planet these days and this edition of the group includes musicians from the US, Canada, Colombia, Cuba, Japan and Taiwan, proving once again that our homegrown art form has a message that resonates globally.

The band also includes vocalist Marion Powers, whose silky take on “A Flower is a Lovesome Thing” is a tasteful contrast to the group’s more hard-driving, brilliantly crafted arrangements.

 Professor Rich DeRosa, who comes from a family of jazz educators, contributed his composition “Birds of a Feather…,” and in addition to his teaching chops, Mr. DeRosa’s flair for robust composing and his world-class arranging acumen have few peers. Pianist Paul Lees really shines here, pulling the rhythm out of the big band, taking us to new musical ground.

Alan Baylock’s demanding “Without a Doubt” is a marvel, with a “take no prisoners” absolutely cooking alto solo from Sam Cousineau. “Bachianas Brasileiras No. 5,” a Heitor Villa-Lobos composition arranged by lead trombonist Brian Woodbury, is a fascinating blend of musical styles which showcases trombonist DJ Rice. 

The set closes with Brandon Moore’s arrangement of John Coltrane’s moody “After the Rain.” In a 10/8 time signature, it’s an introspective way to close the recording that broadens the set’s expressive range. 

Featuring noteworthy, perfectly executed arrangements and soloists who play far beyond their years, Lab 2018 | The Rhythm of the Road demands repeated listening. Although skeptics have long believed big band jazz is no longer relevant, this recording offers proof that the big bands are alive, well and flourishing.

www.jazz.unt.edu     www.theoneoclock.com

Airing Today: Portrait of Bobby Sanabria Latino USA

Portrait Of: Bobby Sanabria 

Listen Here

Growing up as a Nuyorican kid in the Bronx, Bobby Sanabria first watched "West Side Story" in the movie theaters, on the 10th anniversary of the film's release. "I was mesmerized," said the Latin Jazz drummer and composer. Last year, "West Side Story" celebrated its 60th anniversary and to honor this milestone, Sanabria re-envisioned what Latino New York City actually sounds like. The result was his album, "West Side Story Reimagined." Maria Hinojosa talks to the drummer and composer about what the iconic musical means to him and how he paid tribute to its legacy.

New CD

More info...

Mike Freeman ZonaVibe “Venetian Blinds” CD Release Show @ LaFonda Thursday Oct 11th 8pm

Mike Freeman ZonaVibe

“Venetian Blinds”

CD Release Show

Thursday Oct 11th 8pm 

LaFonda

169 E 106th St.

New York, NY 10029

 (212) 410-7292

www.fondaboricua.com

Featuring

Mike Freeman - Vibraphone

Coro Guido Gonzalez - Trumpet

Coro Ian Stewart - Bass

Roberto Quintero - Congas, Guiro, Shakere 

Joel Mateo - Drums, Campana

Mike Freeman ZonaVibe 

“Venetian Blinds” 

(VOF 2018-7)

Mike Freeman - Vibraphone, Coro

Guido Gonzalez - Trumpet, Coro

Ian Stewart - Bass

Roberto Quintero - Congas, Guiro, Shakere

Joel Mateo - Drums, Campana

Mike Freeman has been hailed as “masterful,”a “superb” vibes player, and “wildly talented.” Following Blue Tjade, his tribute to Cal Tjader, Venetian Blinds is a tip of the hat to Tito Puente and Bobby Hutcherson.

When Tito Puente rolled in his vibes during the early days of the Palladium, people would say, “Here comes Tito with those venetian blinds!”— referring to the strung-together bars of the instrument. Four of the tracks on this recording were written for Tito Puente: “Those Venetian Blinds,” “Mambo Kings,” “Night Crawlers,” and “Qué Tal Tío” (What’s Up Uncle). Another three go out to the late vibraphonist and Jazz Master Bobby Hutcherson: “Clutch the Hutch,” “Bobby Land,” and “House of Vibes.”

Mike Freeman ZonaVibe brings together a mix of original Latinjazz characterized by spirited soulful swing. Venetian Blinds is the latest in a line of clave-infused recordings Mike has produced over the past 18 years.

The all-new lineup for this outing features stalwarts of the New York Latin music scene: trumpeter Guido Gonzalez and conga master Roberto Quintero, along with up-and-coming players Ian Stewart on bass and Joel Mateo on drums.

Mike Freeman’s recordings have appeared on numerous radio charts (jazz, contemporary, World) and syndicated radio programs (WOR radio network, Jazz After Hours, David Sanborn, Music Choice, United Airlines), with international airplay throughout Canada, Europe, the Caribbean, South America, and Australia. His recordings have been both Grammy and Latin Grammy entries and have received outstanding reviews. Mike is also known by fans and audiences for his work and recordings with several acclaimed Latin groups including Ray Mantilla; Lucho Cueto’s all-star salsa group Black Sugar; and Son Boricua with Jose Mangual Jr. and the late Jimmy Sabater (one of the architects of Boogaloo).

High-talent masterful vibraphone jazz Mike Freeman ZonaVibe – VENETIAN BLINDS:  “Old soul” Latin jazz fans (like me) can’t help but remember the hip sounds of players like Tito Puente and Bobby Hutcherson… this is vibraphonist Mike’s high-talent tribute to those stalwarts… as you listen to them on his August, 2018 release, you’ll realize why I found his playing so attractive… the 4:47 “Bobby Land” has a lilting groove that will transport any “true” jazz lover straight to Nirvana… just LOVE Mike’s vibe on this tune.

Mike’s work is highly complimented by trumpeter Guido Gonzalez; conga master Roberto Quintero, along with up-and-coming players Ian Stewart on bass and Joel Mateo on drums… all you need to do is scope out the 5:15 opener, “House Of Vibes“, to become a dedicated fan of this great group of players… one thing you’ll notice right away is how “together” they are… no players “stepping” on each other & every note is full of the kind of jazz energy most groups can only aspire towards; this is one of my favorite vibe-based tunes (yet) in 2018!

If you’re looking for music you can dance to, you’re gonna’ fall in love with “Fancy Free” right away… this song definitely has the soul you’ve been seeking… it gets a slot on my iPhone player, too… perfect cruising music… Ian’s bass solo lines on this one are just stellar!

It is the longest cut on the album that won my vote for personal favorite… “What’s Up With This Moon” clocks in at 6:11, and has some wonderful trumpet from Guido, along with all the other jazz masters.

I give Mike and his fellow players a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.98 for this mighty mellow jazz excursion.

www.jazzvibe.com

Vinyl Hampdin Red: The 61st Grammy Awards

For Your Considerartion 

The 61st Grammy Awards

Listen Here

BEST ALTERNATIVE MUSIC ALBUM

Vinyl Hampdin RED

BEST ROCK PERFORMANCE

Vinyl Hampdin "Pay For It"

Music by Steve Wiest

Lyrics by Steve Wiest and Lisa Dodd

SONG OF THE YEAR

Vinyl Hampdin "Billions"

Music by Steve Wiest

Lyrics by Steve Wiest and Lisa Dodd

BEST IMPROVISED JAZZ SOLO

Ray Herrmann, "Pay For It"

Vinyl Hampdin RED

BEST ARRANGEMENT WITH VOCALS

Vinyl Hampdin "Use Me"

Composed by Bill Withers

Arranged by Steve Wiest

BEST ENGINEERED ALBUM (NON-CLASSICAL)

Vinyl Hampdin RED

Phil Bulla, Engineer (recording, mixing, mastering)

Rocked Out Seriously Funky Jaw Dropping Ear Candy! is the subtitle/explanation tothe name of the spectacular group Vinyl Hampdin whose debut album Red (Armored Records) provides undeniable testimony to every word of that heavily promising description. Founded by the remarkable trombonist/composer-arranger Steve Wiest, the band is a powerhouse of highly acclaimed award-winning musicians whose wide range of credentials covers a full swath from Maynard Ferguson and Carmen McRae to DJ Logic and the current aggregation of the legendary super-group Chicago.

That last credit is quite appropriate as Steve’s concept behind this group is “What would Chicago, Blood Sweat &Tears and Tower of Power sound like if they started out today?” This remarkable recording provides an excellent answer, especially if you roll the lean and mean funkiness of Fred Wesley’s and Maceo Parker’s JBs into the mix. Steve also applies the unfailing Charles Mingus recipe of… if you want a band that sounds big; bring in musicians with big sounds. And every member of Vinyl Hampdin– from horns to rhythm to the explosive vocal dynamo Lisa Dodd – owns a very big voice, making this 4-horn, 4-rhythm ensemble thunder like a big band.

Joining Steve and Lisa in the group are Art Bouton on baritone sax and flute; Ray Herrmann on tenor sax and flute; trumpeter Frank David Greene; guitarist Ryan Davidson; Eric Gunnison on keyboards; and Gerald Stockton and Stockton Helbing on bass and drums respectively.  The musicianship is virtuosic, with Lisa’s sensational vocals as the nucleus – and always fully in place as part of the ensemble sound. Both the horn tandem and rhythm section play with a synergy of purpose that locks them together not only as individual components of the music, but also in symbiotic fashion to create a unified sound that can deliver the bounty with seismic intensity or subtle gentility, even with just a quarter-rest for the transition. The solos – exceptional, but short and no-nonsense – abstain from virtuosity for its own sake, but are there as part of the overall context to enhance the unified sound.

The outstanding repertoire of 11 songs – all flawlessly arranged by Steve – is comprised of six covers and five Wiest originals (two with lyrics by Dodd). The covers remain faithful enough to the source material of these highly popular songs, but the stunningly original arrangements certainly qualify them as re-imaginations. One possible exception to this is the opening track’s adherence to Stevie Wonder’s brilliant horn and synthesizer lines on Superstition,as even a writer as enormously talented as Wiest knows there’s no purpose in messing with perfection. But his superb arrangement using the baritone sax as the main engine of the horns, along with infectious syncopation, exciting call-and-response and Gunnison’s terrific piano solo make it totally fresh.

Bookending this as the closing track is a more liberal interpretation, with rolling horns providing extra jetpower for the rhythm section-driven exploration of Bill Withers’ classic Use Me; filled with sparkling syncopation, tantalizing suspensions, a rip-roaring wah-wah guitar solo and a smoking Afro-Cuban flavored climax. Back into the big-sound root source is Rare Earth’s I Just Want to Celebrate, with its multi-layered horns, vibrant vocal and Steve delivering a pair of energetically hollerin’ trombone solos. 

Transforming the source material into larger sound is at the core of the remaining three covers. Bonnie Raitt’s The Road’s My Middle Nameretains its country blues roots with Lisa’s blues-drenched, soulful vocal but with punchy horns replacing the harmonica obbligato of the original and a delightful two-step danced by vocal and guitar. The Statler Brothers’ Flowers on the Wall, with dueling and suspended horn lines and a starkly syncopated rhythm section with a growling bottom pushing the vocal produce a palpable sense of the ominous throughout. Linda and Paul McCartney’s captivating Wings ballad My Lovereceives a straightforward, lovely take with the rich horn arrangement providing a lustrous canvas for Lisa’s winsome vocal.

Wiest’s five originals are all perfectly complementary to the hit tunes contained on this delightful album, with Lisa offering the compelling lyrics for two of them. Pay for Itfollows its N’Orleans funeral march-like opening with an unfettered kick-ass soul-fest. Deliciously suspended horns with wailing trombone and trumpet usher in a gutty Herrmann tenor solo and riveting call-and-response between horns and vocal, spiraling into a closing tornado. Billionswith powerful, sobering lyrics is a dramatic, narrative-driven piece with staccato horns that swells to a vivid climax, downshifts into a slow boil of horns and syncopated rhythm, then soars to a second staggering climax – truly a song for our challenging times. 

Steve also wrote the intriguing lyrics for the remaining three songs, which further demonstrate Wiest’s impressive range as a composer. Gottaluvitis a hard-rocking kicker built on the sound of the title, stoked by Afro-beat style, chicken-scratch guitar. With horn/voice unison chant on the title refrain, it also features a round-robin of blazing horn solos. On Diamonds,richly lustrous horns drape, cushion and prod Lisa’s passionate vocal, setting the scene for sprawling guitar interwoven with swirling horns and closing on a group vocal chant. Essentially a four-movement suite, One Song’s opening fanfare morphs into a gentle vamp that evokes the intro to Stairway to Heaven and flows into an anthem-ish ballad buoyed by sumptuous horns and dramatic drums. Then a sinuous build to a crescendo with wailing guitar, ultimately closing out amid densely textured horns.

Blending its heavy focus upon hard-blowing, high-gear, take-no-prisoners explosiveness with subtle and entrancing imagination, Vinyl Hampdin’s Redis a marvelous debut and a portent of great things to come.

For more information, visit

Rachel Caswell "We’re All in The Dance" CD Release Jazz at ...

Release shows for We're All in the Dance!

Exciting reviews are coming in and the new record, We're All in the Dance, is making its way up the JazzWeek charts! Produced by Dave Stryker, it features Dave on guitar, Sara Caswell on violin, Fabian Almazan on piano and rhodes, Linda May Han Oh on bass, and Johnathan Blake on drums. I'm thrilled to share this music with you and hope you will consider ordering or downloading a copy to enjoy at home.

Rachel's flawless tone, creative phrasing and interest in exploring many different genres make her a vocalist with unlimited potential. She excels in finding uncharted paths into well-known songs and has considerable chops as a scat singer.

- Ken Dryden, Hot House Jazz Magazine (Sept. 2018)

In support of the new album, I have several release events scheduled and I'm fortunate to have Sara joining me. Come check us out!

THURSDAY, OCTOBER 11, 2018

Rachel Caswell CD Release

Jazz Fables Series at Bear's Place

1316 E 3rd St

Bloomington, IN 

Sets at 5:30pm & 7pm

$9

Rachel Caswell, vocals

Sara Caswell, violin

Dave Stryker, guitar

Hannah Marks, bass

Michael W. Davis, drums

SATURDAY, OCTOBER 13, 2018

Rachel Caswell CD Release

The Jazz Kitchen

5377 N College Ave

Indianapolis, IN

7:30pm

$15

Rachel Caswell, vocals

Sara Caswell, violin

TBA, guitar

Hannah Marks, bass

Michael W. Davis, drums

Check out my full itinerary for other events including Indy Jazz Fest Block Party 2018, the Big Band Dance Series at the Indiana Roof Ballroom, and a tribute to the classic Nancy Wilson/Cannonball Adderley album with the Ball State Univ. Jazz Ensemble.

I hope to see everyone soon!

VIEW ALL SHOWS

rachelcaswell.com

More info...