Announcing the Debut Album from Samara Joy (July 9, 2021 Whirlwind Recordings)

Samara Joy is a singing star in the ascendancy. The young vocalist attracted attention in 2019 after winning the Sarah Vaughan International Jazz Vocal Competition. Now, the 21-year-old announces her self-titled debut release, which puts her spin on jazz standards from the Great American Songbook. Produced by Grammy-nominated veteran Matt Pierson, she’s joined by jazz guitar virtuoso Pasquale Grasso and his trio (Ari Roland and Kenny Washington) for a release that furthers Joy’s reputation as one of America’s most promising young jazz vocalists.

Joy grew up in the Bronx around a supportive musical family. Music was a pervasive presence, due to the inspiration of her paternal grandparents, Elder Goldwire and Ruth McLendon, who led the Philadelphia-based gospel group, The Savettes. “My mother and father gave me the opportunity to hear music on an interesting spectrum, from Luther Vandross and Chaka Khan through to George Duke and Stevie Wonder. Actually, I hadn't heard of Sarah Vaughan until college. My friends were all into jazz and started sharing their favourite recordings with me. The turning point was when I heard Sarah's version of “Lover Man” – I was hooked.”

It’s with singers like Vaughan and Ella Fitzgerald that early comparisons have been made, and close study of such vocalists formed the basis of the album. “The inspiration comes from absorbing as much of their style as possible. It's a glimpse of what I've learned so far, and a way for me to pay homage to those who have come before, while lending my own perspective to these songs.”

Samara Joy presents the vocalist backed by the trio of Pasquale Grasso, a budding star from the world of solo guitar. “It's great working with him because I know he brings his best, which pushes me to bring my A-game – nothing less.” Completing the line-up are prolific bassist Ari Roland and legendary drummer Kenny Washington, offering a subtly swinging backdrop to proceedings.

Joy’s interpretations balance the breezy-fresh feel of a relative newcomer with a reverence for a tradition she is now undoubtably part of. “But Beautiful”, “Let's Dream in the Moonlight” and “Jim” pay homage to Billie Holiday's original versions, and she acknowledges the great Nat King Cole with versions of “It Only Happens Once” and “The Trouble with Me is You”. “Stardust” is another nod to Cole, showcasing a talent for storytelling well beyond her years. As she says, “There's nothing like hearing someone who understands sing it to you.” Moods range from the happy-go-lucky simplicity of “Everything Happens to Me” to the longing of “Lover Man”.

Winning the Vaughan award was transformational for Joy. “I was suddenly on the jazz radar. It’s still bizarre to think of how fast things have progressed.” Since then, Joy has dug deep to discover her jazz roots, without losing sight of the innate simplicity that makes her sound shine. Her first album announces the arrival of a young artist destined for greatness.

1. Stardust

2. Everything Happens To Me

3. If You Never Fall In Love With Me

4. Let's Dream In The Moonlight

5. It Only Happens Once

6. Jim

7. The Trouble With Me Is You

8. If You'd Stay The Way I Dream About You

9. Lover Man (Oh Where Can You Be)

10. Only A Moment Ago

11. Moonglow

12. But Beautiful

Samara Joy - vocals

Pasquale Grasso - guitar

Ari Roland - double bass

Kenny Washington - drums

Recorded at Oktaven Audio, Mt. Vernon, NY

(October 20-21, 2020)

Recording Engineer - Ryan Streber

Assistant engineer - Charles Mueller

Mixed and Mastered by Christopher Allen

Produced by Matt Pierson

Photography - Shervin Lainez

Graphic Design - Monika Jakubowska

Liner Notes - Will Friedwald

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Ray Gallon - Make Your Move (May 2021 Cellar Live)

Pianist Ray Gallon’s debut recording, Make Your Move, certified, approved and endorsed by the legendary Ron Carter, who contributed the liner notes, comes to us after more than three decades of Gallon plying his trade on stages and in studios around the world with the crème-de-la-creme of jazz. The NYC native (born in 1958), and longtime professor (currently a full-time faculty member of the BFA Jazz Program at The City College of New York), finally leaps into the fray as a bandleader with a stellar debut, featuring his favorite trio of first-call drummer Kenny Washington (the “Jazz Maniac”) and the much sought-after mainstay on the scene, bassist David Wong (Roy Haynes, The Heath Brothers, Clark Terry, Illinois Jacquet, Benny Green, Eric Reed, Wynton Marsalis, and many others). The exemplary trio is comprised of artists all born and raised in New York City!

Ray Gallon’s impressive CV does not indicate an artist “of the tradition,” or “from the tradition”, but rather an artist who embodies the tradition, one who is a modern-day, current, active jazz artist of the highest order. It includes appearances and recordings with the likes of Ron Carter, Lionel Hampton, Art Farmer, T.S. Monk, Dizzy Gillespie, Milt Jackson, Harry “Sweets” Edison, Wycliffe Gordon, Les Paul, Benny Golson, Frank Wess, Lew Tabackin George Adams, and The Mingus Big Band. Gallon has also been called upon to accompany many vocal greats (often indicative of a pianist’s elevated musicianship), including Jon Hendricks, Sheila Jordan, Grady Tate, Nnenna Freelon, Gloria Lynne, Dakota Staton, Joe Williams, Chaka Khan, Jane Monheit and others.

So, the looming question is, why now? What took Gallon so long to unleash his debut? “I needed to feel ready - that I had something special to offer, with a personal identity and a refined concept in terms of my playing, repertoire, and overall trio conception, all while being steeped in the classic tradition of swing and blues. What struck me most when I was coming up, spending countless nights at the Village Vanguard, Sweet Basil, and Bradley’s, seeing/hearing Hank Jones, Tommy Flanagan, Cedar Walton, Kenny Barron, Ahmad Jamal, Bill Evans, Jimmy Rowles, Steve Kuhn (and many other masters), was how they each sounded uniquely original while remaining grounded in the tradition. These values were also instilled in me by my teachers, John Lewis, Jaki Byard and Hank Jones – who all stressed the importance of ‘finding your own voice’,” explains Gallon.

Also, simply put, Gallon has been busy working, fully engaged for the first fifteen years of his career as a valued sideman in studios and stages around the globe. This was followed by a period of forced retreat from the scene while he faced, battled, and recovered from colon cancer, while, at the same time, caring for his parents, both of whom were slowly succumbing to long term terminal illnesses. For the past 10 years, he’s finally had the chance to work steadily as a leader, doing countless gigs in local clubs, and having the opportunity to develop and fine-tune his personal, and trio, conception.

“With Make Your Move, everything came together just at the right time. I knew I wanted my first album to be in a trio setting, and I always had it in the back of my mind to do an album with David and Kenny, two dear friends who happen to make for a dream-team of a rhythm section. I’ve been playing regularly with David now for well over a decade - aside from being such a wonderful, special player (both as an accompanist and a soloist) with a great sound, he knows my music inside & out. I continually have to remind him that it’s bad etiquette to play better solos than the bandleader! It was very special for me to be able to do my first album with Kenny. Though I had not previously played in a trio setting with him, Kenny played a huge role in my early musical development, dating way back to when we first met as teenagers just out of high school. I had recently discovered (and become obsessed with) jazz and was working in the jazz aisle at J&R Records where Kenny was a regular customer; we’d hang for hours talking music, as he schooled me on who was who and what was what - even at that young age, Kenny already possessed an encyclopedic knowledge of jazz recordings! One of the key reasons for Kenny’s preeminence as a drummer is his remarkable arrangement-oriented concept; his ability to bring every detail to light. This is exactly what he did with my music, even though he was playing it all for the first time,” says Gallon.

Some of the music on Make Your Move has been in Gallon’s book for a while, evolving and growing over the years in the process of Gallon honing in on the finer details, and bringing them to their full realization. While other compositions came out fully formed and ready to go!:

Kitty Paws – While playing for one of Sheila Jordan’s vocal workshops at City College, on a break, “I started fooling around with the chords of a standard song one of the singers had just performed, ‘The Song Has Ended but the Memory Lingers On,’ and out popped this playful melody that seemed to have the vibe of a tap-dancing feline,” says Gallon.

Out of Whack – An off-kilter Gallon composition that has alternating time feels and sections of uneven lengths (4+8+4+7 bars).

Craw Daddy – Gallon sees this composition as, “a modern take on an old-time blues; something that sounds both new and old at the same time. The title just seemed to capture this feeling.” “Craw Daddy” was previously recorded by T.S. Monk on his album Higher Ground (featuring Ray Gallon).

Harm’s Way – Aptly titled for the challenging up-tempo of the piece, and also because Gallon based the composition on the harmonic minor scale.

Back to the Wall – A play on words from a fond memory in Gallon’s life. He explained, “Academy Records, near Union Square, had this wall of super discounted CDs – I was hooked, regularly going ‘back to the wall’ to load up on gems of jazz and classical you could find amongst the flotsam and jetsam”. As for the composition, Gallon says, “While my tunes are generally melody-driven, they tend to include written-out bass figures and rhythmic hits that are structural parts of the compositional fabric – this reflects my love of Horace Silver and the way his compositions often include fully integrated rhythm section parts.”

I Don’t Stand a Ghost of a Chance – “I love playing standard songs, particularly those I feel I can offer a personalized interpretation of. This arrangement includes moving bass figures and rhythmic hits within the context of a slow, spacious ballad. I originally conceived of this as a slow bossa, but, over the years, it evolved into what you hear on the record,” states Gallon.

That’s the Question – An early composition of Gallon’s, based on “Getting Sentimental Over You,” with some variation to the song’s chord progression. It’s a nod to bebop and a lot of fun for Gallon and Co. to play on gigs as a set opener or closer. It was first recorded by the Harper Brothers on their album You Can Hide Inside the Music. There is also a vocal version entitled, "I'm Running Late," with lyrics by Angela Verbrugge, on her album, The Night We Couldn't Say Good Night.

Hank’s A Lot – “Of all the great pianists I got the see play live, no one influenced me more than Hank Jones. I used to follow him around from gig to gig as if I were the president of his fan club. I especially loved when he played at Knickerbocker, where I could lean on the railing behind the piano for hours, looking over his shoulders, watching his hands, trying to “cop” as much as I could. One of the highlights of my student years was receiving an NEA grant to study with Mr. Jones privately. When I wrote this tune, it reminded me so much of him, it seemed only fitting to offer it as a dedication (and a huge “’Hank you”) to one of my true musical heroes,” says Gallon.

Yesterdays – Ahmad Jamal, upon hearing Gallon’s rendition of this Jerome Kern classic, enthusiastically responded to this tip-of-the-hat to Art Tatum. “While I in no way intended to emulate Tatum directly (I couldn’t if I tried!), I was inspired to utilize a few of his devices – the way he transitions from rubato into a spirited tempo through an ostinato bass line, his remarkably dissonant voicings, and that little riff he plays to signal the end of each chorus. Mr. Jamal recognized these references right away and, so far, he’s the only one who’s noticed!,” says Gallon.

Plus One – A contrafact based on Fat’s Waller’s “Honeysuckle Rose,” this original is filled with breaks and rhythmic hits, and offers the familiar chord progression with a bit of a twist.

Make Your Move – Of the title track, Gallon says, “I’m particularly proud of how this piece balances a sunny, accessible melody with a harmonic structure and phrasing full of twists and turns. Whenever I see drummer Quincy Davis, he always requests this one. Nothing means more to me than the support of fellow musicians I respect and admire”. 

1. Kitty Paws 05:08

2. Out Of Whack 05:28

3. Craw Daddy 06:07

4. Harm's Way 04:56

5. Back To The Wall 05:22

6. I Don't Stand A Ghost Of A Chance 05:21

7. That's The Question 05:31

8. Hanks A Lot 04:36

9. Yesterdays 04:59

10. Plus One 04:05

11. Make Your Move 06:17

Ray Gallon – piano

David Wong – bass

Kenny Washington - drums

All compositions by Ray Gallon unless noted

Executive Producer: Cory Weeds

Produced by Ray Gallon

Recorded at Acoustic Reocrding, Brooklyn New York,

Engineered and mixed by Michael Brorby

Mastered by Dave Darlington

Photography by Anna Yatskevich

Design and layout by John Sellards

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Benny Green - Then and Now (SUNNYSIDE RECORDS November 2, 2018)

Throughout his career as one of the world’s premier living Jazz musicians, legendary bebopper Benny Green has established himself as a powerhouse pianist and bandleader, boasting concert appearances and recording credits with giants of the industry over the past 35 years. But prior to his forthcoming record Then And Now (his 20th album as leader), Green has never featured either vocals or flute on any of his albums. Painting with rich aural colors and textures, Green boldly steps into new musical space for Then And Now, featuring both vocal sensation Veronica Swift and flautist Anne Drummond. 

Jazz sensibility comes naturally to Green, the NYC-born son of a jazz saxophonist and a Berkeley, California native. At a young age Green’s ear became fine-tuned to the art form, and he soon found himself invited to perform alongside Jazz icons like Betty Carter, Freddie Hubbard and Ray Brown. Art Blakey found Green’s swinging musicality to be the right ingredient and invited Green to join the ranks of his elite Jazz Messengers – this relationship would prove deeply influential to Green, who has since dedicated his career to straight-ahead hard bop. 

Although featured in a wide variety of performance arenas, Green is in his element and shines as the leader of the Benny Green Trio. With drumming master Kenny Washington and revered bassist David Wong completing the piano trio, Green commands the stage, delighting international audiences in his 38th year as a bandleader. It was only natural that this trio would become the springboard for Green’s recent new musical adventures.

A recording session led by prodigy vocalist Veronica Swift made such an impact on Green that he expanded his own generally instrumental traditions and began collaborating with both Swift and his trio. Green’s authoritative skill at the keyboard and hard-swinging ensemble were the perfect sonic landscape for Swift’s masterful musicianship and organic approach to scat singing, with Swift proving her voice was the perfect soloing instrument to complement Green’s stylistic swing. 

Swift, like Green, grew up in a musical family – her father a world-renowned bebop jazz pianist Hod O’Brien, along with her mother, vocalist Stephanie Nakasian, had made Swift’s young life rich with Jazz tradition. Swift and Green were a well-matched pair, each dedicated to bebop and swinging Jazz styles. When Swift began performing together with the Benny Green Trio, they discovered a dynamic element of interactive group synergy and interplay. They regularly perform together still, celebrating the musical vision they share. 

With Then And Now, Green explores yet more new ideas and soundscapes, delving into the rich sounds of a Rhodes electric piano on a few tracks. The vintage Rhodes, with Green at the helm, becomes a new and darker sonic foundation for Swift’s voice. Flautist extraordinaire Anne Drummond joins Green on the new record as well, after having previously performed some of Green’s own original music on her recording Revolving. 

Green’s compositions for Then And Now exemplify the album’s title: this record is musically distinct from any of his previous records. Longtime fans of Green’s will immediately recognize his unparalleled mastery and swing, but will also hear him stretching out comfortably in these new colors. The juxtaposition of Green’s familiar trio format and the new voices and textures on Then And Now create a heartfelt program, anchored in the swinging tradition that’s always been so central to Green’s heart. The new album is definitively, authentically Benny Green – but it conveys a side of Benny Green you haven’t heard before. 

Then And Now begins with Green’s salute to revered soul singer, pianist, composer Donny Hathaway which quotes both the singer’s “Valdez in The Country” and his duet with Roberta Flack, “The Closer I Get to You; Green’s “Donny Hath A Way” is a hard-grooving tune featuring flute, percussion and Green on Rhodes. 

Swift joins Green on Dexter Gordon’s “For Regulars Only,” a childhood favorite of hers, and performs her own stunning vocal transcription of Freddie Hubbard and Dexter Gordon’s original trumpet and tenor saxophone parts. For Cedar Walton’s “Latin America,” Green explores the duality of the keyboard itself, playfully balancing the Rhodes and acoustic piano as two characters: the Latin character and the gringo character, respectively. 

Swift’s touching lyrics about life lessons, set to Green’s “Naturally,” feature Swift exploring her own sonic comfort zone, with her voice eventually layered over itself in delicious triple texture. Driven by Washington and Wong, Green and the trio lay down a hard-hitting arrangement of Hank Jones’s “Minor Contention”, followed by a meditative dedication to California wildlife, Green’s calming “Enchanted Forest” as chamber trio of flute, piano and bass. 

Washington plays a classic Art Blakey-style 4-bar introduction out front on Horace Silver’s “Split Kick,” for which Swift rejoins the trio, covering the original trumpet and alto saxophone parts as played by Clifford Brown and Lou Donaldson with her voice. Green pays tribute to Duke Pearson, one of his favorite composers, with “Say You’re Mine”, and along with Swift recalls his mentor Walter Davis, Jr. with “Humphrey”, first recorded by Green in 1991 on his album Testifyin’. Swift’s vocals follow the trio’s opening chorus on “Something I Dreamed Last Night,” harkening Anita O’Day’s classic ballad style. 

But the crowning moments of the album are the “then” and the “now.” With “Hipsippy Blues” Green calls to mind his greatest musical influence, Art Blakey, and the time they’d spent playing together: a mindful musical glace back to “then.” Then Green turns to the “now”, celebrating the 25th anniversary of the release his own composition “Wiggin” (first recorded in 1993 on Green’s That’s Right. Green stands firmly in the present, surrounded by fascinating musical colors, textures, collaborators, and ideas. 

With the release of Then and Now, listeners get a rare glimpse of Benny Green, a giant of Jazz in his own right, both then and now.

Anne Drummond - flute & alto flute

Benny Green - piano & electric piano

David Wong - bass

Josh Jones - percussion

Kenny Washington - drums

1. Donny Hath A Way

2. For Regulars Only

3. Latin America

4. Naturally

5. Minor Contention

6. Enchanted Forest

7. Split Kick

8. Say You're Mine

9. Humphrey

10. Hipsippy Blues

11. Something I Dreamed Last Night

12. Wiggin'

David K. Mathews - The Fantasy Vocal Sessions, Vol. 1 Standards (2018)

The Fantasy Vocal Sessions, Vol. 1 is Mathews' collection of standards from the great American songbook performed in a typical small group jazz setting - a concept that sprouted from his long tenure as pianist/organist for the legendary Queen of Rhythm & Blues, Etta James. The original idea was to capture James in the studio with a stripped-down rhythm section. But due to her decline in health, they were never able to record the sessions. Fast forward nearly a decade and seed of that concept has come to fruition featuring multiple vocalists that Mathews has collaborated with over the years, including rock legend Steve Miller, Maria Muldaur of “Midnight At The Oasis” fame, long-time Santana vocalist Tony Lindsay, Amikaeyla, jazz vocal phenom Kenny Washington, and a host of others.

Saxophonist Wayne de Silva is featured on many tracks, and the rhythm section is anchored by veteran east coast drummer Akira Tana, bassist Peter Barshay, and beloved S.F. Bay Area guitarists Jim Nichols and Carl Lockett.

1 I Want to Talk About You (by David K. Mathews featuring Nicolas Bearde) 5:15

2 Alfie (by David K. Mathews featuring Amikaeyla) 5:33

3 Blue Skies (by David K. Mathews featuring Steve Miller) 5:23

4 Oh Papa (by David K. Mathews featuring Maria Muldaur) 5:39

5 Ruby (by David K. Mathews featuring Glenn Walters) 6:20

6 Smile (by David K. Mathews featuring Nicolas Bearde) 4:30

7 When Sunny Gets Blue (by David K. Mathews featuring Tony Lindsay) 8:08

8 Lover Man (by David K. Mathews featuring Maria Muldaur) 7:46

9 Lush Life (by David K. Mathews featuring Kenny Washington) 5:29

10 The More I See You (by David K. Mathews featuring Frank Jackson) 3:38

11 We'll Be Together Again (by David K. Mathews featuring Reni Simon) 6:59

12 Skylark (by David K. Mathews featuring Glenn Walters) 5:57

13 In the Wee Small Hours of the Morning (by David K. Mathews featuring John Laslo) 3:41

Clovis Nicolas - Freedom Suite Ensuite (feat. Kenny Washington) SUNNYSIDE RECORDS January 19, 2018

The concept of freedom in music relates to many things. Bassist/composer Clovis Nicolas didn’t eschew formal jazz harmony and rhythm in the search for freedom but found a measure of added purpose and space for his bass playing in a chord-less band format without piano or guitar. Freedom Suite Ensuite is a recording of Nicolas’s efforts in this formation and a tribute to the musician who exemplifies playing free within a form, saxophone great Sonny Rollins.

Nicolas has been an important voice in the New York music scene since his arrival from Paris in the early 2000s. Having already established himself as a first-call bassist in Europe, he quickly garnered attention with many of the music’s most noted players, including Peter Bernstein, Jane Monheit, Frank Wess, Joe Magnarelli, Behn Gillece, and Samora Pinderhughes. 

The concept behind Freedom Suite Ensuite came from a succession of regular gigs that Nicolas participated in with a two saxophone, chord-less quartet. He began to find a new identity for his bass within this assemblage, including an increased influence on the music’s direction, expanded range of expression and an added focus on soloing. There were also many examples of similar ensembles whose recordings began to inspire his conception more and more, including John Coltrane and Don Cherry’s Avant Garde, Ron Carter’s Etudes and Ben Wolfe’s 13 Sketches. 

The sound identities of these ensembles were definitely in Nicolas’ s head as he chose who he would record with. Drummer Kenny Washington was a faculty member at Juilliard while Nicolas attended; Washington had a tremendous impact on Nicolas when the two played together. Nicolas’s appreciation for Washington’s breadth and taste were echoed by the master drummer, who recommended the bassist to many. Tenor saxophonist Grant Stewart has been playing with Nicolas since the bassist’s arrival in New York and proves to be an excellent foil and soloist, who is incredibly articulate within the changes. The trumpet duty is split between the introspective Brandon Lee, a supportive bandmate and focused soloist, and the fiery Bruce Harris, a soulful player suited for the recording’s blues and standard tunes.

Nicolas wanted to achieve a few things with the recording. He wanted to attempt a new version of Sonny Rollins’ s incredible “Freedom Suite,” a piece that has been done almost exclusively by saxophone. Here he wanted to add the trumpet to freshen up the piece in a respectful way. The “Suite” would be followed by the “Ensuite,” or in French, “afterwards,” the following program of original compositions and standards. 

The ensemble’s sound is established quickly on the easy-going “The 5:30 PM Dive Bar Rendezvous,” with its title and form emulating the quirkiness of Thad Jones, with a perfect ambiance for happy hour, featuring Harris on trumpet. Rollins’ s “Freedom Suite” is broken down into three parts, which provide different approaches to reorganization of the piece, separated by two “Interludes” without solos. The slightly angular blues of “Grant S” was written for the saxophonist by Nicolas and is a great soloing vehicle with some subtle changes in the harmonic form. The off kilter “Nichols and Nicolas” is inspired by Herbie Nichols’ s idiosyncratic style, the melody springing to Nicolas in an hour while the changes took nearly a month within an unusual AABC form. 

The bouncy “You or Me?” is a contrafact of the Irving Berlin standard “The Best Thing for You (Would Be Me),” while Nicolas’s “Dark and Stormy” is a noir inspired waltz, the composer imagining Montmartre in the rain. A dynamic take on Kay Swift’s “Fine and Dandy” injects energy into the program with some brilliant solos from Stewart, Harris and Washington. The bassist’s “Speak a Gentle Word” (the title is taken from Oscar Wilde’s “Ballad of Reading Gaol”) traverses three sections with separate tonal identities with lyrical solos from Stewart and Lee. The program concludes with Nicolas’ s beautifully played solo rendition of Richard Rodgers’s “Little Girl Blue.” 

Progress in jazz music has come through both addition and subtraction. While Clovis Nicolas retained the elements of formal jazz harmony, his experiments with removing piano and guitar from his ensembles enabled a different side of his playing to emerge. Freedom Suite Ensuite encapsulates all of the elements of Nicolas’s fascination with this system, from inspiration, to composition and to presentation.

1. The 5:30 PM Dive Bar Rendezvous

2. Freedom Suite Part I

3. Interlude

4. Freedom Suite Part II

5. Interlude

6. Freedom Suite Part III

7. Grant S

8. Nichols and Nicolas

9. You or Me? 04:29

10. Dark and Stormy

11. Fine and Dandy

12. Speak a Gentle Word

13. Little Girl Blue

Clovis Nicolas - bass

Brandon Lee - trumpet (except 1 & 11)

Bruce Harris - trumpet (on 1 & 11)

Grant Stewart - tenor saxophone

Kenny Washington - drums

NYC CD Release Gig @ Minton's on Feb. 8th!

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Peter and Will Anderson - Blues for Joe (GUT STRING RECORDS 2017)

This album of music is dedicated to our longtime friend and private teacher for six years,  saxophonist Joe Temperley.  Joe’s youthful spirit, blunt humor, and strong Scottish accent filled  up the room wherever hewas.  His sound and finesse on the baritone saxophone was unparalleled,  whether he was roaring through Ellington's “Cottontail” or singing sweetly on “Single Petal of a Rose.”  It’s no surprise that Joe was recruited by some of the greatest orchestras in jazz,  including Buddy Rich, Woody Herman, Duke Ellington, and the Jazz at Lincoln Center Orchestra.  

"Double trouble!  It always makes my soul smile when I see siblings playing music together. Creating music is such a magical experience, and being able to do it with members of your family makes it even more special.  I also think Peter and Will have the telepathy thing going on because they've got such a cohesive sound.  When I listen to this album “Blues for Joe,” all I have to do is close my eyes and I feel as though I am transported right back to my days with Bird, Coltrane, and Cannonball!  It doesn't get any better than that.  These cats are definitely the future!

Peter and Will, my beloved brothers, big-time props for your awards.  You two deserve every drop.  I was very happy to hook up with both of you on my trip.  You are two beautiful 360 degrees human beings;my favorite kind.  You will take jazz into the future!"  -Quincy Jones, June 2017

Blues for Joe (Peter Anderson)

The Royal Standard (Peter Anderson)

Exceptional Elegance (Will Anderson)

Lush Life (Billy Strayhorn)

Relaxed Beauty (Will Anderson)

Minor Joe (Peter Anderson)

Vitality (Peter Anderson)

Body and Soul (Johnny Green)

The Truth Will Prevail (Will Anderson)

Few and Far Between (Will Anderson)

Peter Anderson (tenor sax) 

Will Anderson (alto sax) 

Peter Bernstein (guitar) 

Pat Bianchi (B-3 Organ) 

Kenny Washington (drums)

Recorded July 31st, 2016 in NYC

Peter & Will Anderson - Clarinet Summit (SteepleChase Records 2017)

Young Anderson Brothers (Peter and Will are identical twins) both on clarinet here band together with two veteran clarinetists Ken Peplowski with rich background in big band jazz and multiple Grammy Award winner Paquito D’Rivera to perform live to a jubilant audience.

“They are sparkling virtuosos and their clever, tidy arrangements for various combinations of clarinet, alto and tenor saxophone are smart and refreshing…. everything they play sounds fresh, creative and in the moment.” (Paul de Barros – Soundposts)

01. How About You? 6:37

02. When You Wish Upon a Star 6:08

03. Very Saxy 6:43

04. Prelude to a Kiss 2:14

05. I'll Never Be the Same 2:06

06. Cry Me a River 2:42

07. Make Someone Happy 5:33

08. How Insensitive 4:23

09. Groovin' High 6:12

10. Creole Love Call 8:41

11. A Night in Tunisia

Will Anderson clarinet

Peter Anderson clarinet

Paquito D'Rivera clarinet

Ken Peplowski clarinet

Tardo Hammer piano

David Wong bass

Kenny Washington drums

Lee Konitz - Frescalalto (IMPULSE! 2017)

At 89, Lee Konitz has nothing left to prove, but the legendary saxophonist, who began his long recording career on Miles Davis’ Birth of the Cool back in 1949, proves here nonetheless that he remains one of the most original and truly improvisatory talents in jazz.

Konitz has always sounded like a man searching for the least obvious path through a standard, and here – with long-standing associates pianist Kenny Barron, bassist Peter Washington and drummer Kenny Washington – on a set of hoary old chestnuts including Stella by Starlight, Darn that Dream and Out of Nowhere, he steadfastly avoids cliché once more.

Frescalalto is the sound of a venerable musical mind – one of the last living links with jazz’s classic period – still sharp, still searching, still capable of the sound of surprise. impulse-label.com

1. Stella By Starlight 9:35

2. Thingin 6:25

3. Darn That Dream 5:17

4. Kary's Trance 4:57

5. Out Of Nowhere 7:26

6. Gundula 3:25

7. Invitation 9:19

8. Cherokee 3:57

Alto Saxophone, Vocals – Lee Konitz

Piano – Kenny Barron

Double Bass – Peter Washington

Drums, Producer – Kenny Washington

Recorded on November 30 & December 1st 2015 at Avatar Studios, NY

Mastered at Battery Studios, NY

Kenny Washington - Moanin (Live at Jazzhus Montmartre) 2016 STORYVILLE RECORDS

New live recording from the legendary Jazzhus Montmartre in the heart of Copenhagen. This time with Kenny Washington on vocals and a trio of Jacob Christoffersen on piano, Jesper Bodilsen on bass and Zoltan Csorsz on drums.

The recordings on this release are chosen from three terrific evenings at Montmartre in October 2015, during Kenny’s second visit to Copenhagen. “Those of us who attended the concerts witnessed the great affection that developed between Kenny and the audience; the public simply wouldn’t let him leave the stage,” writes Christian Brorsen, music director at Jazzhus Montmartre.  A smiling Jacob Christoffersen distributed warmth from behind the piano, and bassist Jesper Bodilsen and Zoltan Csorsz easily join the magnificent musical union.

Kenny Washington is an authentic virtuoso who exposes new facets of himself every time he performs. The quintet extracts new warmth from classics such as “Do You Know What It Means to Miss Orleans” an excel  on the title track “Moanin’”. Kenny’s talent puts him among the world’s best jazz vocalists—at the very top of the list!

01. Moanin (Live)

02. What Is This Thing Called Love (Live)

03. It Got It Bad And That Aint Good (Live)

04. Sitting On The Dock Of The Bay (Live)

05. Do You Know What It Means To Miss New Orleans (Live)

Kenny Washington - vocals

Jacob Christoffersen - piano

Jesper Bodilsen - bass

Zoltan Csörsz - drums