Melissa Aldana - 12 Stars (March 4, 2022 Blue Note Records)

GRAMMY-nominated saxophonist and composer Melissa Aldana joins the Blue Note Records family with the release of 12 Stars, her debut album as a leader for the legendary label following her appearance on the acclaimed 2020 album by the collective ARTEMIS. The Brooklyn-based tenor player from Santiago, Chile has garnered international recognition for her visionary work as a band leader, as well as her deeply meditative interpretation of language and vocabulary. 12 Stars grapples with concepts of childrearing, familial forgiveness, acceptance, and self-love, and was inspired by her deep interest in tarot. The album was produced by guitarist Lage Lund, who also performs as part of a remarkable quintet with Sullivan Fortner on piano and Fender Rhodes, Kush Abadey on drums, and Pablo Menares on bass.

If the digital album is purchased, you will receive the full album via email on March 4th, 2022.

Standard digital downloads are delivered as MP3 44.1khz/24-bit audio files.

Please note, digital downloads are only available in the U.S. 

1. Falling

2. Intuition

3. Intro to Emilia

4. Emilia

5. The Bluest Eye

6. The Fool

7. Los Ojos de Chile

8. 12 Stars

Hi-Res Digital Disclaimer:

FLAC files do NOT work in iTunes/Apple Music players or on most portable music players without additional software. If you’re unfamiliar with FLAC files we suggest that you download the WAV files instead. More information on FLAC can be found here or here.

Melissa Aldana: Tenor Saxophone

Lage Lund: Guitars & Gizmos

Sullivan Fortner: Acoustic Piano; Rhodes 

Pablo Menares: Bass

Kush Abadey: Drums

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JAZZ NEWS: NAACP Image Award Nomination for The Baylor Project’s ‘Generations’

The Baylor Project’s Generations is Nominated for Outstanding Jazz Album – Vocal at the 53rd NAACP Image Awards

The 53rd Annual NAACP Image Awards will take place on February 26 at 8pm EST on BET

The news broke this past Tuesday, January 18. Jean and Marcus Baylor are nominated alongside Jazzmeia Horn, Ledisi, Freda Payne and Rubén Blades y Roberto Delgado & Orquesta. The 53rd Annual NAACP Image Awards will take place on February 26 at 8pm EST on BET.

On Tuesday, January 18, it was announced that the remarkable vocal-drumming duo The Baylor Project received an NAACP Image Awards nomination for Generations, their sophomore album release. Generations is nominated for the 53rd NAACP Image Award in the Outstanding Jazz Album – Vocal category. Released on June 18, 2021 on the eve of Juneteenth during Black Music Month, Generations celebrates the Black experience, its nuances and layers, and the universality of the human condition. This marks The Baylor Project’s first NAACP Image Award nomination. 

“We are ecstatic to have been nominated for an NAACP Image Award for our album, Generations!  It is truly an honor to stand with so many great artists in a space that was created to advance African-Americans in every area of life,” The Baylors shared. “The NAACP’s cultural, educational, social and political efforts changed the landscape of American life for black people and we are proud to be a part of its rich legacy.”

The Baylor Project features vocalist Jean Baylor and drummer Marcus Baylor, who present nine original compositions and two covers on Generations. The record, released in June, celebrates the Black experience, its nuances and layers, and the universality of the human condition. While the majority of Generations was recorded prior to 2020, the coronavirus pandemic kept the project from reaching completion until 2021. The record features an overabundance of first-call collaborators including special guests Kenny Garrett, Dianne Reeves, Jazzmeia Horn, Jamison Ross, and Sullivan Fortner.

Musically, Generations pulls from married musical partners Marcus’ and Jean’s varied backgrounds rooted in the church, and steeped in soul, jazz, gospel and blues. Storytelling has always been central to The Baylor Project’s creative output, and they have shown a particular adeptness at making their personal stories universally felt. They accomplish this and then some on Generations, which presents as a soulful sonic story quilt released via their own independent record label, Be A Light. 

Photos by Deneka Peniston

Announced in November 2021, Generations is also GRAMMY® nominated in the Best Jazz Vocal Album category at this year’s 64th GRAMMY® Awards taking place in Las Vegas on April 3, 2022. This marks The Baylor Project’s fourth GRAMMY® nomination, following a 2020 nod to the single “Sit On Down” in the Best Traditional R&B Performance category and two 2017 nominations from their debut recording, The Journey, in the Best Jazz Vocal Album category and Best Traditional R&B Performance for the single “Laugh And Move On.” A critical and commercial success, The Journey debuted at #1 on the iTunes Jazz Chart and #8 on the Billboard Jazz Chart upon release. Since its release in June, Generations collected parallel praise from top tier media outlets worldwide, including NPR, WBGO, Glide Magazine, a 4-star mark from Jazzwise and an 11-week run in the Top 5 of JazzWeek’s radio chart.

The Baylor Project is made up of two music industry veterans. Before forming The Baylor Project in 2013, Jean Baylor burst onto the scene in the mid-1990’s as part of the groundbreaking R&B duo Zhané. Marcus Baylor first rose to prominence in the early 2000’s as the drummer for the world-renowned, GRAMMY® Award winning fusion group The Yellowjackets. Both Marcus and Jean have performed and toured with various jazz legends, ranging from Kenny Garrett and John Scofield to Marcus Miller and Harold Mabern. 

Joining Jean and Marcus Baylor in the Outstanding Jazz Album Vocal category at the NAACP Awards is Dear Love by Jazzmeia Horn, Ledisi Sings Nina by Ledisi, Let There Be Love by Freda Payne and Salswing! by Rubén Blades y Roberto Delgado & Orquesta. The 53rd NAACP Image Awards will take place on Saturday, February 26th and air live on BET at 8pm. 

Voting is now open to the public in select categories to determine the winners of the 53rd NAACP IMAGE AWARDS by visiting www.naacpimageawards.net – Winners will be revealed during the 53rd NAACP Image Awards telecast. For all information and the latest news, please visit the official NAACP Image Awards website at www.naacpimageawards.net or on Facebook at naacpimageawards and Twitter @naacpimageaward (#NAACPImageAwards).

About NAACP:

Founded in 1909, the NAACP is the nation’s oldest and largest nonpartisan civil rights organization. Its members throughout the United States and the world are the premier advocates for civil rights in their communities. You can read more about the NAACP’s work and our six “Game Changer” issue areas at naacp.org.

About BET Networks:

BET Networks, a subsidiary of Viacom Inc. (NASDAQ: VIA, VIA.B), is the nation’s leading provider of quality entertainment, music, news, and public affairs television programming for the African-American audience. The primary BET channel reaches more than 90 million households and can be seen in the United States, Canada, the Caribbean, the United Kingdom, and sub-Saharan Africa. BET is the dominant AfricanAmerican consumer brand with a diverse group of business extensions: BET.com, a leading Internet destination for Black entertainment, music, culture and news; BET HER, a 24-hour entertainment network targeting the African-American Woman; BET Music Networks – BET Jams, BET Soul and BET Gospel; BET Home Entertainment; BET Live, BET’s growing festival business; BET Mobile, which provides ringtones, games and video content for wireless devices; and BET International, which operates BET around the globe.

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NEW RELEASE: The Baylor Project, 3X Grammy Nominated Duo, Presents New Album 'GENERATIONS' on June 18, 2021 via Be A Light

3X GRAMMY® Nominated Duo The Baylor Project to Release Second Full-Length Album Generations on June 18, 2021 via Be A Light

Be A Light proudly announces the release of Generations, the highly-anticipated new album by 3X GRAMMY® nominated duo The Baylor Project. Set for release during Black Music Month and on the eve of Juneteenth, June 18th, 2021, this soulful sonic story quilt celebrates the universality of the human condition, viewed through the lens of the Black experience. Married musical partners Marcus and Jean Baylor welcome listeners to their proverbial kitchen table, as they pass on stories of family and faith, and love and legacy over the course of nine original compositions, and two covers. Generations is available for pre-order now for digital download only on iTunes, and includes an instant download of the lead track “Strivin’” featuring special guest Kenny Garrett. 

Anchored by Jean’s crystal-clear vocals, and Marcus’ commanding mastery on the drums, Generations features an overabundance of first-call collaborators including special guests Kenny Garrett, Dianne Reeves, Jazzmeia Horn, Jamison Ross, and Sullivan Fortner, as well as a rock-solid band featuring pianists Shedrick Mitchell and Terry Brewer, bassists Dezron Douglas, Ben Williams, D.J. Ginyard, Richie Goods guitarists Rayfield “Ray Ray”Holloman and Marvin Sewell, saxophonists Keith Loftis and Korey Riker, trumpeters Freddie Hendrix and Christopher Michael Stevens, trombonists Mark Williams and Aaron “Goody” Goode, percussionists Pablo Batista and Aaron Draper and harpist Brandee Younger. A pristine string section augments three of the albums’ tracks, delivering lush string arrangements by Geoffrey Keezer and Darin Atwater.

Storytelling has always been central to the Baylor Project’s creative output, and they have shown a particular adeptness at making their personal stories universally felt. They accomplish this and then some on Generations, which shares poignant stories of the Black experience, influenced by their own unique perspective. In his liner notes for Generations, noted cultural critic Andre Kimo Stone Guess introduces the age-old traditions of quilt making in Black families, and how when these tri-layer textiles are passed down from one generation to the next, their stories go with it. Generations is just like this, he says, but instead of sewing squares, Marcus and Jean poured their heart and soul into a meaningful audio capsule that celebrates love, family, community and faith. 

The Baylor Project notably rose to prominence in 2017 when they released their debut album The Journey. A smashing international success, it debuted at #1 and #8 on the iTunes and Billboard Jazz charts respectively, garnered world-wide acclaim from top-tier media, and went on to receive two GRAMMY® nominations (for Best Jazz Vocal Album and Best Traditional R&B Performance for their song “Laugh And Move On”). “The Journey was an introduction to the Baylor Project and established that foundation of our sound,” explains Marcus. “Generations is an extension of that sound and goes way deeper into our story, life and culture.” 

While the majority of Generations was recorded prior to 2020, the coronavirus pandemic kept the project from reaching completion. However, the Baylors continued to work on new music. In April 2020, they released “Sit On Down”, a pandemic-era anthem that went on to snag them their third GRAMMY® nod. They also took this downtime to refocus, and to really re-familiarize themselves with who the Baylor Project really is. By the time Generations was a wrap, Marcus and Jean had created their most fully realized and extraordinary project to date. 

Musically, Generations pulls from Marcus and Jean’s varied backgrounds rooted in the church, and steeped in soul, jazz, gospel and blues. Album opener “Strivin’”, featuring special guest and Marcus’ former bandleader, saxophonist Kenny Garrett, is an invigorating boogaloo bounce that immediately sets the mood with it’s Aretha Franklin and Ray Charles leanings. The interlude that follows instantly transports listeners into the Baylor’s living room, as family members of all ages reminisce on love and life. This endearing introduction gives way to the shuffling high point “Happy To Be With You”, which emits an after-church, celebratory air.

Gears shift on the reflective reimagining of “Loves Makes Me Sing”, made famous by R&B songwriter and singer Michael Wykoff in 1980. On this contemporary update, Jean’s crystalline vocals find support in a lush string arrangement by Geoffrey Keezer. Wayne Shorter’s “Infant Eyes,” featuring original lyrics by Jean, comes next, followed by one of the album centerpieces. That would be “2020”, a prayer sang in the form of a blues that takes a page from the Negro Spitirual in spirit. The pulse of the beat leads into the heart of Jean’s wrenching cry, which draws parallels between the racial oppression of yesterday, with the all too prevalent injustices seen today.  That same pulsating beat culminates in a fiery drum solo by Marcus that encapsulates the song in its entirety.

A major highlight of Generations is the upbeat vocal summit in session on “We Swing (The Cypher)”. Jean is the intergenerational bridge between Dianne Reeves and Jazzmeia Horn, a couple of powerhouse jazz vocalists representing two different generations in this celebration of resilience and love. The lush “Becoming” takes inspiration from the majestic balladry of Shirley Horn, and lyrically nods to Michelle Obama’s inspiring biography “Becoming”. “[“Becoming”] really connects the story of Generations by highlighting our individual and collective process of growth through seasons of life,” says Jean. 

“Black Boy” is a somber and telling drama shaped by the age-old realities of racism in current society. Haunting and beautiful, this sweeping composition is also adorned by strings, this time arranged by Darin Atwater. This song asks questions nobody can answer – but yet, even in its heaviness, undeterred faith remains strong. The R&B/soul infused “Walk On By” comes next, followed by the Thelonious Monk-inspired “Do You Remember This?” This reminiscence of earlier times features Jean and Sullivan Fortner in angular vocal-piano interplay before easing into a hard-swinging common time break.

Generations comes full circle toward the end, as it brings listeners back to the Baylor Project’s Gospel roots with the help of the multifaceted Jamison Ross on vocals. Coming from a similar upbringing in the Black church like Marcus and Jean, Jamison, the grandson of a pastor, is the perfect vessel to convey a wise parting message that faith is the answer through the darkness. This is further reinforced with the last track “The Benediction”, which closes the album with an electrifying message of purpose delivered by their brother, Apostle Larry J. Baylor. 

On Generations, The Baylor Project has created a masterful musical exploration that is both timely and timeless. “We hope every listener enjoys this celebration and comes away with a renewed desire to honor those who came before us while positively impacting the next generation,” says The Baylors. 

1. Strivin’ (feat. Kenny Garrett) (5:15)

2. A Love Story (Interlude) (1:46)

3. Happy To Be With You (6:12)

4. Love Makes Me Sing (5:27)

5. Infant Eyes (5:49) 

6. 2020 (7:27)        

7. We Swing “The Cypher” (feat. Jazzmeia Horn & Dianne Reeves)  (5:38)

8. Becoming  (7:29)

9. Black Boy (8:53)

10. Walk On By  (6:18)

11. Do You Remember This? (feat. Sullivan Fortner) (6:32)

12. Only Believe (feat. Jamison Ross) (5:42)  

13. The Benediction (feat. Apostle Larry J. Baylor)  (1:57)

All songs written and arranged by The Baylors with the exception of “Infant Eyes” written by Wayne Shorter and “Love Makes Me Sing” written by Michael Wykoff.

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Dara Tucker - Dreams of Waking: Music For a Better World (2021 Green Hill Music)

Award-Winning Vocalist Dara Tucker Announces the Release of Her Transcendent New Album, Dreams of Waking: Music For a Better World via Green Hill Music

Green Hill Music is proud to announce the May 28th, 2021 release of Dreams of Waking: Music For a Better World, the new album by consummate vocalist, songwriter and bandleader Dara Tucker. With fresh, inspired arrangements of classic singer-songwriter and soul compositions of the protest era, Tucker’s powerful new release gives voice to the cry for social justice and change that has swept across the United States in the new decade. Songs from such legendary songwriters as Stevie Wonder, Donny Hathaway and Paul Simon are presented through a jazz lens with a compelling performance from the vocalist and her illustrious band of musicians. Dreams of Waking: Music for a Better World features Tucker alongside pianists Cyrus Chestnut and Sullivan Fortner, bassists Dezron Douglas and Vicente Archer, drummers Johnathan Blake and Joe Dyson along with saxophonist John Ellis and trumpeter Giveton Gelin.

“Dreams of Waking refers to the hope that our society will develop an awareness of the inequities that still exist,” Tucker said. “It’s the dream that we will become fully conscious and attuned to the hopes, dreams and needs of every human being.”

As a songwriter, Tucker is no stranger to composition as commentary as she teamed up in a similar spirit with blues & Americana artist Keb Mo’ to co-write the title track to his 2020 Grammy-winning album Oklahoma. Tucker’s sole original composition for her new album, “Do We Sleep?” issues a passionate call for cultural awakening that echoes the title of the album. “Many of my original songs are internal statements that help to chronicle my growth, experiences and evolution that I hope will inspire others,” Tucker said. “This time, I decided to focus on the external. Are we really awake? What are we doing to give attention to the cries of injustice and inequality, or are we complicit by silence, ignorance or lack of interest and awareness?”

Drawing from the 1960’s and 1970’s, an era that holds special significance to her musical journey, Tucker’s new album brings life to a collection of songs that reaffirm her belief in our shared humanity. The jazz waltz reimagining of James Taylor’s, “Secret O’ Life” and pianist Cyrus Chestnut’s arrangement of Donny Hathaway’s, “Someday We’ll All Be Free” allows Tucker to soar, sonically capturing the spirit of hope and reflection.

The Motown-meets-New Orleans buoyancy of Stevie Wonder’s, “You Haven’t Done Nothin,’” arranged by saxophonist John Ellis, blends party with protest, while Sullivan Fortner’s recast of Paul Simon’s, “Bridge Over Troubled Water” flows both turbulently and steadily with Tucker at the helm.

Dara Tucker is making her mark in the world of organic, heartfelt music by blending the melodic and lyrical richness of the central plains with the soulful strains of the African American experience. Her eclecticism is guided by the diversity of her narrative. Born in Tulsa, Oklahoma to a family of singers and ministers, Tucker and her siblings traveled across the US singing with their parents. From there, Tucker has experienced a diverse array of locales that she has called home including Interlaken, Switzerland; Nashville, and finally, New York City. Tucker has since toured nationally with her own bands and also with renowned hybrid guitarist Charlie Hunter.

Dreams of Waking: Music For a Better World is her latest in a compendium of innovative studio releases. The resulting 12-song project, recorded by GRAMMY-winning engineer Mike Marciano and produced by Greg Bryant, delves deeply into the national Zeitgeist with a clarion call to all agents of change to build a world that embraces the dignity and humanity of all people.

1. Secret O' Life (James Taylor) 4:02

2. You Haven't Done Nothin' (Stevie Wonder) 4:43

3. Someday We'll All Be Free (Donny Hathaway/Edward Howard) 4:00

4. Do We Sleep? (Dara Tucker) 4:13

5. Bridge Over Troubled Water (Paul Simon) 8:02

6. Make Someone Happy (Jule Styne/Adolph Green/Betty Comden) 5:48

7. What The World Needs Now (Burt Bacharach/ Hal David) 3:50

8. What's Going On? (Marvin Gaye/Renaldo Benson/Al Cleveland) 5:18

9. Love's In Need Of Love Today (Stevie Wonder) 4:12

10. You've Got A Friend (Carole King) 6:12

11. Wade In The Water (traditional arr. David M. Rodgers) 5:47

12. I Think It's Gonna Rain Today (Randy Newman) 4:02

Dara Tucker - vocals (all tracks) & arrangements (1, 6, 12)

Cyrus Chestnut - piano (1, 3, 6, 7, 9, 10, 11) & rhodes piano (3, 10) & arrangements (3, 6, 7, 9)

Sullivan Fortner - piano (2, 4, 5, 8, 12) & rhodes piano (2) & arrangements (5, 8, 12)

Dezron Douglas - bass (1, 3, 6, 7, 9, 10, 11)

Vicente Archer - bass (2, 4, 5, 8)

Johnathan Blake - drums (1, 3, 6, 7, 9, 10, 11)

Joe Dyson - drums (2, 4, 5, 8) & tambourine (2) 

Giveton Gelin - trumpet (2, 4, 5, 8)

John Ellis - tenor saxophone (2, 4, 8) & soprano saxophone (5) & arrangement (2) & horn arrangements (2, 4)

* "You've Got A Friend" & "Wade In The Water" arranged by David M. Rodgers

Recorded November 29th, November 30th & December 1, 2020 at Samurai Hotel Studios, Astoria, NY

Engineered & Mixed by Mike Marciano for Systems Two Recording

Mastered by Mike Haynes for ENSO Mastering

Produced by Greg Bryant for Watchman Music

A & R Direction by Greg Howard for Green Hill Productions

Cover and liner photography by Andreas Hofweber

Makeup: Tanya Alvarado

Album Design by: Chad Smith

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NEW RELEASE: Lauren Henderson's 'MUSA' - Due Out June 11th, 2021 via Brontosaurus Records

Award-winning singer, composer and bilingual lyricist Lauren Henderson honors her cultural and musical heritages with release of Musa, due out June 11th, 2021 via Brontosaurus Records

Acclaimed vocalist-composer and lyricist Lauren Henderson returns with her most  personal gesture to date. A multilingual rumination on themes of love and longing, Musa explores existing connections — and creates new relationships — among Henderson’s mingling lineages.  

Toward the beginning of the pandemic, the New York artist sought to record an album  braiding together traditions that influence her sound. “I wanted my next record to blend  jazz, flamenco and Afro-Latinx music” says Henderson, “kind of melding all that makes me me, culturally and musical identity-wise.”  

Due out on June 11th, 2021 via Henderson’s label Brontosaurus Records, Musa — her eighth release as a leader  — features eleven tracks of original compositions and vibrant interpretations of standard tunes, including “I Concentrate on You,” “Wild is the Wind” and Valerie Parks Brown’s, “Forget Me.” Layer by layer, the lattermost title — Musa’s first single release — reveals an undercurrent of intensity pervading Henderson’s expression. Through each satin-swaddled lyric, she intuits dynamic tension and release. Her unrelenting awareness serves every dimension of the music. “I love being a musician because we’re always learning and we’re always growing,” says Henderson, who assembled a deft and dextrous outfit to interpret Musa’s range of identity. “Some of these songs blend jazz, R&B and soul; others incorporate flamenco, so I had to ask, ‘Who would be perfect for this record?’” 

“This is jazz mastery” — DownBeat Magazine

Core personnel includes Sullivan Fortner on piano, Eric Wheeler on bass and Joe Dyson on drums. When Henderson felt ready to share her music, she went straight to Fortner, her longtime collaborator who has played on all her leader releases since 2011. “Sullivan is the first person I usually go to to share my original music,” she says, “just to get feedback from someone I trust, someone I know will give their honest opinion of what they think about the music.” Following a socially distant duo rehearsal, Henderson set the record dates.

Throughout the recording, Henderson engages a complexity of both musical and cultural identities, allowing them to influence the direction of the music in a head-on and  multidimensional way. The sound she sought for each track emerged as bold, textural and authentic. After laying down mixes at Flux Studios in Manhattan — under the direction of  studio engineer Daniel Sanint — Henderson sent tracks to extended ensemble members, trumpet player-composer Marquis Hill; electric guitarist Nick Tannura; stage, screen and studio performer Daniel J. Watts; Madrid-based flamenco guitarist Paco Soto; and legendary flamenco percussionist Sabu Porrina. “Paco is an amazing flamenco guitarist,” says Henderson, who met the Spanish artist when she spent a semester abroad in Spain. The two developed a friendship and creative partnership via Instagram, “Like a lot of other millennials [laughs].” 

“Somewhere between a comforting whisper and a cogent declaration” — The New York Times 

“As a composer, I really want to honor honesty and integrity,” says Henderson. “As a  vocalist, it’s my responsibility to deliver a story to the listener and share my interpretation of the story. I just try to be kind of simple with my compositions and let things breathe. It’s been such an honor — and a blessing — to work with the people I’ve been able to call because they add so much life and their own voice to the music.” 

Wheeler casts vivid shadows of tension and tenderness on “La Marejada” as Soto’s guitar radiates across Henderson’s melodies and interludes. Full of grace and syncopation, “Luz” features signature interplay between Henderson and Fortner buoyed by Dyson’s nuanced and reflexive touch. “Wild is the Wind” reveals the impact of intimacy — contemplative, purposeful and engaging a conflux of time feels. The album’s sole English-lyric original  “Leeward” presents a hymn to the enduring nature of love. Hill’s lustrous conversational melody and moments of self-talk call and response serve the mood’s surrender. Porrina joins the ensemble for the album’s title track, providing textural dimension and resonating authenticity.  

Composing for her own sound has taken Henderson on a journey of self-discovery. She found her shy disposition could become the focal point of her music — the most intimate aspect of her expression. “I’m not a belter,” says Henderson. “It’s more nuanced. While intensity is a powerful tool that we can use in a beautiful way and in a positive way, I can be more private at times, and I think I bring some of that to the stage. I’m so grateful for people who take the time to listen. I’m saying more with less and people have to listen to be able to receive it.” 

1. “I Concentrate On You” feat. Paco Soto, Sullivan Fortner, Eric Wheeler & Joe Dyson

2. “La Marejada” feat. Paco Soto, Sullivan Fortner, Eric Wheeler & Joe Dyson

3. “Forget Me” feat. Marquis Hill, Sullivan Fortner, Eric Wheeler & Joe Dyson

4. “Corazón, No Llores” feat. Nick Tannura, Sullivan Fortner, Eric Wheeler & Joe Dyson

5. “Wild Is The Wind” feat. Sullivan Fortner, Eric Wheeler & Joe Dyson

6. “Luz” feat. Sullivan Fortner, Eric Wheeler & Joe Dyson

7. “Leeward” feat. Marquis Hill, Sullivan Fortner, Eric Wheeler & Joe Dyson

8. “Ahora” feat. Sullivan Fortner, Eric Wheeler & Joe Dyson

9. “The Sweetest Sounds” feat. Paco Soto, Sullivan Fortner, Eric Wheeler & Joe Dyson

10. “Musa” feat. Paco Soto, Sullivan Fortner, Eric Wheeler, Joe Dyson & Sabú Porrina

11. BONUS TRACK: “Leeward (Love)” feat. Daniel J. Watts, Marquis Hill, Sullivan Fortner, Eric Wheeler & Joe Dyson

Lauren Henderson (voice)

Sullivan Fortner (piano)

Eric Wheeler (bass)

Joe Dyson (drums)

Daniel J. Watts (spoken word)

Marquis Hill (trumpet)

Paco Soto (guitar)

Arrangements: Lauren Henderson & Sullivan Fortner

Recorded at Flux Studios NYC (New York, NY Feb 11th & 12th of 2021)

Produced by Lauren Henderson

Brontosaurus Records

Recording and Mixing Engineer: Daniel Sanint

Mastering Engineer: Oscar Zambrano

Lauren Henderson Website

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Bruce Harris - Soundview (June 4 via Cellar Music Group)

Celebrated Trumpeter Bruce Harris Announces the Release of His Latest Quartet Album, Soundview, Out June 4, 2021 On Cellar Music Group

Cellar Music Group is thrilled to announce the release of Soundview, the latest studio album from trumpeter, composer and educator Bruce Harris and his A-list quartet of masterful musicians. Striking a personal note with Harris, as it speaks to his upbringing in the Bronx neighborhood of Soundview New York, this Jeremy Pelt-produced masterwork celebrates Harris’ ancestors and the architects of the Black American Songbook to which he is so fervently and passionately devoted. Joining Harris is Sullivan Fortner on piano, David Wong on bass, Aaron Kimmel on drums and rising star vocalist Samara Joy, who guests on two tracks. This release marks the first of several collaborative efforts between Cellar Music and Pelt; an initiative which is geared toward showcasing the voices of Black artists. Keeping in line with Soundview’s theme, a donation has been made on behalf of Bruce Harris to the Bronx Charter School of the Arts in conjunction with this release.

The bandleader remarks that “during the pandemic I looked further and got more into the history of Black people in America. It was a time to learn and reflect. In gratitude, I wanted to pay tribute to all of the African American creators of this music.” All but one of the nine tunes on Soundview were written by Black architects of this music, who all happened to live and thrive in Harris’ birthplace of NYC. A testament to the longevity and vivacity of the artform, Harris’ music harkens back to the spirit of his musical ancestors while remaining an innovative and captivating new work.

This iteration of the Bruce Harris Quartet sees its recording debut with Soundview, however, the deep personal connections within this outfit are made evident in the group’s stellar interplay. Harris first met fellow New Yorker David Wong in the late 1990s when the two players were in the same All City and All State jazz bands. From there, a fruitful collaboration took shape. Since, Wong has gone on to play with the likes of Roy Haynes and Jimmy Heath. Harris has worked extensively with drummer Aaron Kimmel for the past decade, who he dubs “one of the greats here in New York; a young master,” and one of his “top five” in the city. Soundview marks the first collaboration between Harris and pianist Sullivan Fortner whom Harris has long admired.

Harris reflects that his relationship with Soundview’s famed album producer Jeremy Pelt began many years ago when Harris was a college student. Pelt’s words of encouragement for Harris left an impact on him. “We’re all in the rat race here. There’s something for you – just get in,” he said. Over the years, Pelt has become a sort of big brother to Harris. 

Upon producing this message-driven release, Pelt remarks that “…contrary to opinion, Jazz has always reflected the times. Sadly again, we are bearing witness to the racial injustice in the United States, wherein Black people’s lives are constantly at risk, particularly by those sworn to protect its citizens. As harrowing as this is, there seems to be a dialog in which Black voices are finally being heard. The Cellar Music Group recognizes that Jazz is not only a music native to America, but that the progenitors of this music are the very lives that are being threatened daily.” Pelt is pleased to bring this conversation to the fore with Harris’ release. 

Soundview is full of several bright moments. As Harris began writing the title track, he visualized scenes of where he was from. “I almost feel like the chords tell the story of my upbringing; a little dark in the beginning, some conflict worked through in bridge, and a new height harmonically resolving in a beautiful major chord,” he says. It is no mistake that the rhythm of the piece is a mambo rhythm, which Harris dubbed ‘the underlying clave of the Bronx’. ”Although it was not a place filled with privilege and opportunity, Soundview was and is rich in artistic excellence and indomitable spirit.” The piece begins with an ostinato from Wong followed by some rhythmic vamping by the rhythmic section, stating the clave of the composition. This sets the stage for Harris to take it by storm with fiery, soulful melodic musings. The recording features masterful improvisations from Harris and Wong.

Another highlight, “Bird of Red and Gold”, features the gifted Samara Joy on vocals. A fellow Bronx native and former student of Harris’, Samara lends her rich dulcet tones to this composition written by jazz luminary and renowned educator Barry Harris. The bandleader notes that Barry Harris was instrumental in his own musical upbringing and that of pianist Sullivan Fortner’s, and Samara is a current student of his. The powerful musical connection between these players is informed by the fact that all of the players are subscribers to Barry Harris’s unique and powerful conceptions of jazz harmony. 

“Saucer Eyes” is a composition by the late jazz luminary Randy Weston who Harris fondly remembers spending a short time with while on tour in Oman. The track has become a live performance staple for Harris. In the spirit of lineage, Harris is thrilled to now see younger generations of musicians performing this Weston piece more frequently. The melody is delivered here with a gleeful energy. Harris and Fortner soar over the changes in their solos conjuring Weston’s immense spirit. 

With the release of Soundview, Bruce Harris has surely earned his reputation as one of the most important and emerging voices in jazz today. Soundview will be available everywhere on June 4, 2021. 

1. Soundview (Bruce Harris)

2. Satellite (G.Gryce / SECOND FLOOR MUSIC)

3. Maybe It’s Hazy (Bruce Harris)

4. If You Were Mine (J. Mercer, M Malneck / BOURNE CO.)

5. Hank’s Prank (H. Mobley /  EMI UNART CATALOG INC.)

6. You’re Lucky To Me (E. Blake, A. Razaf / SHAPIRO BERNSTEIN & CO INC./RAZAF MUSIC)

7. Ellington Suite (arr. Andy Farber)

8. Bird Of Red and Gold (Barry Harris)

9. Saucer Eyes (R. Weston / MAYFLOWER MUSIC CORP.)

BRUCE HARRIS trumpet

SULLIVAN FORTNER piano

DAVID WONG bass

AARON KIMMEL drums

SAMARA JOY voice

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Pierrick Pédron – Fifty-Fifty [1]: New York Sessions (2021)

It’s clear that French alto saxophonist Pierrick Pédron was inspired by Charlie Parker. After all, his first album, released in 2001 is entitled Cherokee. Now some eight albums later, we find Pédron in the company of some of New York’s finest, namely pianist Sullivan Fortner, bassist Larry Grenadier, and drummer Marcus Gilmore for the fully acoustic Fifty/Fifty: New York Sessions. The number “50” plays into a couple of contexts here. The leader just turned 50 years old and the notion of the 50/50 split indeed means that another album will be forthcoming in the Fall – the electric Fifty/Fifty Paris Sessions.

The double album concept is a product of Pédron’s collaboration with producer Daniel Yvinec, who has worked with eminent artists such as Suzanne Vega, Salif Keita, Andy Bey, Maceo Parker, Yael Naim, Paul Motian and Mark Turner. The album was recorded and engineered by the renowned James Farber, with the musicians playing live in one room in the studio.

Since his debut, Pédron has absorbed the styles of several prominent altoists. This writer hears some Kenny Garrett, but closer listening also reveals nods to Cannonball Adderley, Ornette Coleman, and even Maceo Parker. In the past two decades Pédron has “covered the waterfront” to use a jazz term, playing live or in the studio, acoustic or electric with Mulgrew Miller, Phil Woods, Roy Hargrove or Ambrose Akinmusire. Yet, at the root of it all, as one listens to these nine selections is that the seminal bebop of Bird infuses much of the material. Pédron is a highly lyrical player, equally adept with complex rhythm patterns as he is with emotive ballads. Being surrounded by some of best talent in jazz helps. Fortner is an in-demand young pianist, perhaps most famously associated with vocalist Cecile McLorin Salvant and a frequent sideman in many sessions. Bassist Larry Grenadier is a pillar of the Brad Mehldau trio and vital quarter member of the fusion group Hudson. Drummer Marcus Gilmore, of Fortner’s generation, is perpetuating the magnificent work of his grandfather, Roy Haynes.

The album begins with “Bullet T,” a frenetic piece that courses that fuses bebop and a bit of the Ornette Coleman style as Fortner delivers both syncopated and flowing lines and Gilmore skitters on his kit. Immediately, you’ll be struck by Pédron’s clean tone, fluency, and use of seemingly every note on his horn in flurries. The piece goes through several changes, slowed near the end only to be revived when the leader bursts forth with yet another patented cluster of notes. “Be Ready” is a bit more angular, leaving room for crisp statements from Fortner and Grenadier as Pédron soars freely. “Sakura,” a ballad, begins with spare notes from Fortner and hushed support from his rhythm mates before the leader enters, playing gorgeously. Ballads are generally acknowledged as Fortner’s (pardon the term) forte’ so this naturally works beautifully, with a lyrical bass solo and some especially emotive notes reached by the leader as the piece builds and ends on a sublime sustained note.

The brisk “Boom” is straight-ahead bebop while “Trevise” returns to the lush ballad mode that reveals some of Pédron’s most poignant playing on the album, so focused on every nuance in each note as Fortner’s piano shimmers and the trio creates a lush backdrop. “Unknown,” as the title implies, is a meandering, searching, unpredictable piece with each member improvising as Gilmore holds it together with his steady trap work. “Origami” is an edgy piece that features some inventive piano from Fortner as the leader expresses his story rather eloquently. “Mr. Takagi” is another oddly tempoed, hard bop-free jazz excursion while the closer “Mizue,” appropriately again represents the group’s exquisite balladry, ending on a gorgeous high note.

1. Bullet

2. Be Ready

3. Sakura

4. Boom

5. Trevise

6. Unknown 2

7. Origami

8. Mr Tagaki

9. Mizue

Pierrick Pédron (as)

Sullivan Fortner (p)

Larry Granadier (b)

Marcus Gilmore (ds)

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Cécile McLorin Salvant - The Window (MACK AVENUE RECORDS September 28, 2018)

Cécile McLorin Salvant Explores Mercurial Nature

of Love on Stunning Duo Album with

Critically Acclaimed Pianist Sullivan Fortner

The Window — Available September 28

via Mack Avenue Records

Cécile McLorin Salvant

The world first learned of the incredible vocal artistry of Cécile McLorin Salvant when she won the prestigious 2010 Thelonious Monk International Jazz Competition. In just under the span of a decade she has evolved into a multi-GRAMMY® Award-winner (with all three Mack Avenue Records releases receiving nominations, and the last two winning the Best Jazz Vocal Album category) and a prescient and fearless voice in music today.

Her newest release, The Window, an album of duets with the pianist Sullivan Fortner, explores and extends the tradition of the piano-vocal duo and its expressive possibilities. With just Fortner’s deft accompaniment to support McLorin Salvant, the two are free to improvise and rhapsodize, to play freely with time, harmony, melody, and phrasing.


Each new recording by McLorin Salvant reveals new aspects of her artistry. WomanChild and For One To Love established her style, her command, and interpretive range. Dreams and Daggers is a work that highlights her fresh and fearless approach to art that transcends the conventional—live and in the studio, with a trio and with a string quartet, standards and original compositions—held together by a vocal delivery that cuts against the grain, ever deepening, intensifying, and nuancing the lyrics.

Sullivan Fortner

Thematically, The Window is a meditative cycle of songs about the mercurial nature of love. The duo explores the theme across a wide repertory that includes Richard Rodgers and Stephen Sondheim, the inner-visionary Stevie Wonder, gems of French cabaret, and early Rhythm and Blues, alongside McLorin Salvant’s brilliant, original compositions. Just as a window frames a view—revealing as much as it hides, connecting as much as it separates—each song on the album offers a shifting and discerning perspective on love’s emotional complexity. McLorin Salvant sings of anticipation and joy, obsession and madness, torment and longing, tactics and coyness. The Window traverses love’s wide universe, from the pleasure of a lover’s touch with its feelings of human communion, to the invisible masks we wear to hide from others and from ourselves.

Her gifts as an artist are rooted in her intensive study of the history of American Music and her uncanny ability to curate its treasures for her audience. Her albums are explorations of the immense repository of experience and feeling that abound in popular song. She understands the special role of the musician to find and share the emotions and messages in music that speak to our past, present and future. “I am not interested in the idea of relevance,” she explains. “I am interested in the idea of presence. I want to communicate across time, through time, play with time.”

Onstage, her persona is often compared to that of an actress. But, as McLorin Salvant notes, “jazz would not be what it is without its theatrical origins, vaudeville, and minstrel shows.” Through her selection of repertory and brilliant interpretations, she “plays with time,” making the musical past speak to our contemporary world. Historically, her unflinching performance of songs from the minstrel tradition challenge us to think harder about race in America today. Her ironic, even sinister, rendition of songs explore the complex intertwining of sex, gender, and power. Her blues numbers are bawdy and vibrant, melancholic and forlorn, insistent and emancipatory.

She sings of the ecstasy and agony of love, of jubilation and dejection, of desire and being desired, of fearlessness and fragility. “I want to get as close to the center of the song as I can,” McLorin Salvant explains. “When I find something, beautiful and touching I try to get close to it and share that with the audience.” Immersed in the song and yet completely in control, McLorin Salvant brings her immense personality to the music—daring, witty, playful, honest, and mischievous. 

All of McLorin Salvant’s study, training, creativity, intelligence, and artistry come together in her voice on The Window. The sound of her voice covers the gamut from breathy to bold, deep and husky to high and resonant, limpid to bluesy, with a clarity and richness that is nearly unparalleled. When she first burst onto the jazz scene, many listeners were struck by her ability to recall the sound of Bessie Smith, Sarah Vaughan, or Betty Carter. Yet with each new album, McLorin Salvant’s voice has become more her own, more singular. While conjuring the spirits of the ancestors, her references are controlled, focused, and purposeful. Her remarkable vocal technique never overshadows her rich interpretations of songs both familiar and obscure.

Touched at every moment by Cécile McLorin Salvant’s brilliance, The Window is a dazzling new release from an artist who is surely, to quote Duke Ellington, “beyond category.

1 Visions

2 One Step Ahead

3 By Myself

4 The Sweetest Sounds

5 Ever Since the One I Love's Been Gone

6 À Clef

7 Obsession

8 Wild is Love

9 J’ai L’Cafard

10 Somewhere

11 The Gentleman is a Dope

12 Trouble is a Man

13 Were Thine That Special Face

14 I've Got Your Number

15 Tell Me Why

16 Everything I've Got Belongs to You

17 The Peacocks

www.cecilemclorinsalvant.com