Frank Kimbrough - Monk's Dreams: The Complete Compositions of Thelonious Sphere Monk (SUNNYSIDE RECORDS 2018)

The genius of pianist and composer Thelonious Monk is unassailable. Since his death in 1982, he has become recognized as one of the greatest composers of jazz – and of the wider world of music. The year 2017 was the centennial of Monk’s birth, and brought scores of tributes, including a well-received stay of pianist Frank Kimbrough’s quartet at the Jazz Standard club in New York City. 

Like many jazz pianists, Kimbrough found Monk’s music a revelation when he first heard it. From the outset of his career, Kimbrough has returned time and again to Monk’s compositions. After nearly four decades of study, reflection, and performance, Kimbrough has established a relationship with these pieces and found a way to express himself through the prism of Monk. 

When the Standard approached Kimbrough to put together a quartet to play Monk’s music, he picked the brilliant rhythm section of bassist Rufus Reid and drummer Billy Drummond. His choice for lead horn voice was the multi-instrumentalist Scott Robinson, with whom he has played for many years and in many combinations, most notably with the Maria Schneider Orchestra. 

After the first set of the October 17th, 2017 performance at the Standard Kimbrough’s friend Mait Jones urged that the group record Monk’s entire oeuvre, a feat that Kimbrough had never considered. A jazz fan and co-presenter of his own Princeton series JazzNights Jones began a lifelong appreciation of Monk when he heard the master live at the Five Spot in New York City in 1957. 

Over the next few days, Jones doubled down on his intent to make the project reach fruition, bringing in his friend and fellow jazz head, Dr. Dorothy Lieberman, to help co-produce the effort. 

The musicians began the intensive work such a project demands. Finally, in April of 2018 Kimbrough led a trio and then the quartet at Jazz at the Kitano, polishing 30 new tunes on the way to the full Monk catalog of 70 pieces. 

For the recording, Matt Balitsaris provided his renowned Maggie’s Farm studios and an optimistic plan of recording a disc’s worth of material each day for six days. The musicians recorded each day from 11 to 5 or 6 in two three-day intervals broken up by a three-day respite. Miraculously this ambitious plan succeeded, with most tunes needing only one or two takes. Robinson picked his axe of choice on the spot, from the standard (tenor sax and trumpet) to the exotic (bass saxophone, echo cornet, bass clarinet, and contrabass sarrusophone). The resultant tracks are fresh, varied, and inspired. 

Highlights of the group’s takes on these classic pieces include Robinson’s juggling of trumpet and tenor sax on “Thelonious” and the ensemble’s free-wheeling energy on “Skippy.” “Locomotive” is the picture of peaceful beauty, whereas “Jackie-ing” is all jumps and starts. Reid and Robinson play beautifully on “Reflections” and a lovely solo performance of “Crepuscule with Nellie” showcases Kimbrough’s command of the piano and Monk’s language. 

The recordings form a fantastically diverse collection. On the six-CD set, titled Monk's Dreams: The Complete Compositions of Thelonious Sphere Monk, Monk’s compositions are played in various configurations, most by the quartet, but others in smaller combinations, even solo piano. The package also includes beautifully penned liner notes from Nate Chinen (New York Times, WBGO and NPR) along with notes from members of the ensemble and the producers of the album. 

Frank Kimbrough - piano 

Scott Robinson - tenor and bass saxophones, trumpet, echo cornet, bass clarinet, contrabass sarrusophone 

Rufus Reid - bass 

Billy Drummond - drums

1. Thelonious 04:51

2. Light Blue 06:15

3. Played Twice 04:41

4. Ba-lue Bolivar Ba-lues-are 05:00

5. Ask Me Now 05:31

6. Humph 04:36

7. Bright Mississippi 05:50

8. Reflections 05:02

9. Bemsha Swing 04:41

10. Teo 06:02

11. Blue Sphere 04:22

12. Crepescule with Nellie 02:28

13. Think of One 04:28

14. 52nd Street Theme 02:24

15. Eronel 05:23

16. Bluehawk 05:30

17. Little Rootie Tootie 06:07

18. Two Timer 03:17

19. Ruby, My Dear 04:39

20. Boo Boo's Birthday 05:11

21. San Francisco Holiday 05:12

22. Functional 04:24

23. I Mean You 05:05

24. Shuffle Boil 05:42

25. Monk's Dream 05:53

26. Evidence 05:31

27. Misterioso 03:54

28. Four In One 06:00

29. Brake's Sake 05:22

30. Pannonica 04:17

31. Bye Ya 04:28

32. North of the Sunset 02:45

33. Introspection 03:59

34. Wee See 04:49

35. In Walked Bud 04:10

36. Nutty 06:45

37. Trinkle Tinkle 04:35

38. Blues Five Spot 05:09

39. 'Round Midnight 05:23

40. Jackie-ing 02:40

41. Well You Needn't 05:40

42. Sixteen 04:03

43. Locomotive 04:37

44. Gallop's Gallop 04:13

45. Children's Song 04:47

46. Blue Monk 06:44

47. Friday the 13th 05:18

48. Criss Cross 04:17

49. Raise Four 03:35

50. Let's Call This 05:07

51. Who Knows 03:56

52. A Merrier Christmas 03:40

53. Stuffy Turkey 05:19

54. Monk's Point 03:27

55. Work 03:23

56. Brilliant Corners 06:44

57. Off Minor 03:46

58. Hackensack 05:27

59. Oska T 03:18

60. Let's Cool One 05:57

61. Hornin' In 04:24

62. Coming On The Hudson 03:46

63. Straight No Chaser 04:46

64. Monk's Mood 05:09

65. Green Chimneys 03:28

66. Rhythm-A-Ning 05:36

67. Ugly Beauty 04:32

68. Skippy 03:41

69. Something In Blue 04:43

70. Epistrophy 04:25

More info...

Harriet Tubman - The Terror End of Beauty (SUNNYSIDE RECORDS 2018)

The runner dashes toward the cliff’s edge, his hang glider’s wings rattling above. He has reached the crest and, before he can think to stop, he is falling. For those few seconds before the wind mercifully sweeps him away, he is in a freefall, in a state of exhilaration, heightened awareness and, perhaps, terror. Yet, he has committed himself and had to push through the fear in order to soar. 

The members of Harriet Tubman find this an apt analogy for their musical approach. For over two decades, guitarist Brandon Ross, bassist Melvin Gibbs and drummer JT Lewis have thrown themselves into making music that is sans genre, infective and overpowering. Their years of experience playing alongside and driving many of the improvised music, jazz and rock’s most celebrated ensembles have prepared them to run this gauntlet, The Terror End of Beauty. 

The world of progressive and improvised music has lost a number of luminaries over the past few years. The passing of Ornette Coleman, Cecil Taylor and Ronald Shannon Jackson, among others, has left their heirs to grab the reins of the avant-garde. Harriet Tubman is ready to take the lead in this regard and show the world at large where the music is going. The band lives in the musical space between improvisation and composed music, giving all they have on every performance. Harriet Tubman also continues the legacy of being activists in their music, as can be read quite clearly in tone and title. 

As their illustrious predecessors have done, Harriet Tubman approaches their music making without preconceived notions of what it needs to be. It is only music that is necessary to make and, to make it, the band must commit fully to its creation. Harriet Tubman has taken this approach to live performance, bowling over musicians and fans alike, and, up to this point, in the recording studio, having released live performances, whether in concert or through-performed in the studio. 

The Terror End of Beauty finds Harriet Tubman utilizing the studio mastery of legendary producer/engineer Scotty Hard to expand and amplify their sound. Hard essentially becomes a fourth member of the ensemble as his musical insight, collaborative approach and technical expertise shape the sound of the new recording. So in essence, The Terror End of Beauty finds the trio modulating their core approach by augmenting their sound in the studio, taking their latent sound and coming up with something completely different. 

The recording begins with Gibbs’s “Farther Unknown,” a follow up to his “Wadmalaw Island” from Power Tools’ s Strange Meeting that continues his evocation of his Gullah/Geechee heritage.. It is based on the ancestral African-American multi-rhythm called “ patting juba,” with Gibbs splitting the two overlapping time signatures embedded in it between an intricate “phrase rhythm” melody played by Ross and the foundational three event Gullah/Geechee rhythm played by himself while the simpatico Lewis plays the multi-rhythmic “weave” that is the heart of the “juba” pattern. The loping “3000 Worlds” reinvents an earlier Harriet Tubman song but with its melody played as a retrograde inversion by Ross over a dub bass and strong backbeat with Hard adding mysterious loops and effects. 

The ghost of blues legend Willie Dixon presides over “The Green Book Blues,” an intrepid, trucking song that echoes the changing landscapes of African American migration, from the quasi-Mandinka groove of the first section of the song, to the Afrofuturist blues of the second, which kicks in after a dub drop. The title refers to The Negro Motorist's Green Book, which informed black auto travelers of locations that would and would not be accepting of their presence. A murky commentary on the gentrification/colonization axis, “Unseen Advance of the Aquifarian” is an intense example of the trio’s ability to create a moving piece while jamming. Emanating from another dark jam, “Prototaxite” is named for a towering, prehistoric fungus and tackles the idea of “doom music” coming from the black musical experience, or rather a very slow and loud extension of the blues. 

“Drumtion” is an incredibly played feature for Lewis, which highlights his singular approach to the drumset, focusing on the musicality of his playing and his attention to a melodic approach. Having recently created a unique, looped arrangement to play with Cassandra Wilson, Ross brought in his evocative cover of Bob Marley’s “Redemption Song,” which emphasizes the emotional force of the tune while harkening to the deeply holistic spirit of Alice Coltrane’s ashram chanting. The funky “Five Points” is another very slow and loud extension of the blues, a minimalist construction which grows out of three separate grooves, one in 4/4, one in 5/4 and the third in 6/4, into another magical, rhythmic dub-infused creation. 

Gibbs brought in the haunting “The Terror End of Beauty,” a fresh and laid back tribute to friend, mentor and guitar legend Sonny Sharrock that finds brute force in an elegiac soul music form. The final composition by the band evokes Gibbs’s tour and pilgrimage to the city of Tuljapur in India and its Bhavani temple, “Tuljapur Handprint” is a mediation on the “reality” of life always being present even in the most hallowed of places, in this case a dusty town that shows a priest’s blessing with a handprint on the worshipper’s dirty clothing. 

The music of Harriet Tubman encapsulates the essence of Great Black Music, from blues to soul to jazz and rock to the rhythms, modes and composition strategies at the heart of Electronic Dance Music. The band’s singular blend can be heard in its most crystallized form on their new The Terror End of Beauty, which finds Harriet Tubman focusing their sound with the help of producer Scotty Hard in both a heavy and open-handed fashion. 

Brandon Ross - guitar

Melvin Gibbs - bass

JT Lewis - drums

Scotty Hard - engineer

1. Farthur Unknown 05:50

2. 3000 Worlds 04:31

3. The Green Book Blues 05:01

4. Unseen Advance of the Aquifarian 05:41

5. Prototaxite 03:01

6. Drumtion 02:29

7. Redemption Song 06:17

8. Five Points 03:01

9. The Terror End of Beauty 06:32

10. Tuljapur Handprint 03:04

Limited Edition Vinyl available

Giants of Jazz Honor the Great *CLAUDIO RODITI* This Weekend @ SOPAC :: Saturday, December 1 @ 8pm

Giants of Jazz Honoring Claudio Roditi

Saturday, December 1, 2018 @ 8pm

South Orange Performing Arts Center

Dizzy Gillespie All-Star Big Band

Paquito D’Rivera

Cyrus Chestnut

Antonio Hart

Trio Da Paz

Roberta Gambarini

Maucha Adnet 

Roseanna Vitro

Romero Lubambo

Nilson Mata

Daduka Da Fonseca

Cafe

Diego Urcola

TS Monk

Dave Stryker

Freddie Hendrix

Mark Gross

Jeb Patton

Abelita Mateus

Tommy Campbell

Evan Sherman

Vince Ector

Roger Squitero

Jason Jackson

Bruce Harris

Frank Basile

Andres Boiarsky

Mike Lee

John Dukic

Steve Davis

Russell Hall

Frank Greene

Douglas Purviance

Saturday, December 1 at 8PM

Tickets: $50-$60 

BUY TICKETS | MEMBERS BUY TICKETS 

Box Office: (973) 313-2787

The annual Giants of Jazz concert will celebrate its 21st year by honoring the great Brazilian trumpet master Claudio Roditi. The Dizzy Gillespie All-Star Big Band, Paquito D`Rivera, Roberta Gambarini, Antonio Hart and more will perform in his honor on the night the Jazz stars come out to shine.

During Claudio’s long and distinguished career he played and recorded with an encyclopedia of 20th century Jazz greats including Dizzy Gillespie, McCoy Tyner, Paquito D`Rivera, Herbie Mann, James Moody, Jimmy Heath, Horace Silver, Joe Henderson, the Dizzy Gillespie All-Star Big Band, and Tito Puente to name a few.

Join us as world-famous Jazz musicians take the stage to honor Claudio Roditi, musician extraordinaire, at this year’s Giants of Jazz.

Born in 1946 in Rio de Janeiro, Brazil, Claudio Roditi began his musical studies when he was just six years old. By the time he was twelve, he had already become a serious Jazz listener. In 1966, he was named a finalist at the International Jazz Competition in Vienna, Austria. It was in Vienna where Claudio met Art Farmer, who was one of his idols, and the friendship inspired the younger trumpeter to follow a career in Jazz.

A determined Claudio then relocated to Boston in 1970 to study at Berklee College of Music. Arriving in New York in 1976, Claudio performed and/or recorded with Charlie Rouse, Herbie Mann, Paquito D’Rivera, Joe Henderson, Horace Silver, Tito Puente, and McCoy Tyner, among others. Beginning in 1989, Claudio traveled for five years as a member of Dizzy Gillespie’s United Nation Orchestra. Then, he lead his own bands and is a featured performer with several groups: Trio da Paz and Friends as well as the Dizzy Gillespie All-Star Big Band, led by John Lee, the outstanding bassist who played with Dizzy for the last ten years of his life.

Claudio has twenty-four critically acclaimed albums to his credit as well as two Grammy Award nominations for BRAZILLIANCE x 4 in the 2009 Best Latin Jazz Album category and for SYMPHONIC BOSSA NOVA in the 1995 Best Solo Performance category.

Claudio’s extensive performing, composing and recording experience, combined with his innate love of music and working with musicians, gives him a special gift to transmit his knowledge and experience in his teaching career. Whether teaching at colleges, summer Jazz residencies, or in private master classes, Claudio brings his enthusiasm for the trumpet, Jazz and Brazilian music directly into the classroom and concert hall.

A lifelong passion for the trumpet gives Claudio Roditi an open spirit for music.  This fuels an ongoing search for personal expression and musical perfection. As Neil Tesser of the Chicago Reader wrote, “. . . I can think of only a handful of modern trumpeters who combine brain and soul, technique and wisdom in a way that matches Roditi’s.”

9º Festival Porta-Jazz

Festival Porta-Jazz :: Epicentro local de um movimento internacional

Chris Cheek, Ohad Talmor, Thomas Morgan, Jeff Williams, JZ Replacement, Eliot Zigmund e Frederico Heliodoro são alguns dos músicos de renome que se juntam, este ano, ao Festival Porta-Jazz naquela que é a edição mais internacional de sempre.

De 1 a 9 de Dezembro, o Porto recebe a 9ª edição do festival cuja programação conta com cerca de 30 concertos, entre estreias e parcerias artísticas inéditas, mas também um encontro de escolas, oficinas e jam sessions. Ponto de encontro de um movimento internacional, o Festival Porta-Jazz assume-se como promotor de intercâmbios inéditos entre músicos de Jazz e são muitas as parcerias inéditas: o saxofonista Ohad Talmor junta-se ao supergrupo de 12 músicos da Porta-Jazz, CORETO; o contrabaixista Thomas Morgan alia-se a Marcos Cavaleiro, André Fernandes e João Guimarães; o saxofonista Chris Cheek toca com o quarteto MAP, liderado por Paulo Gomes; o baterista Jeff Williams com Demian Cabaud, Ariel Bringuez e Angela Cervantes em “Astah”, e com o quarteto de Gonçalo Marques composto por Jacob Sacks e Masa Kamaguchi; e Eliot Zigmund (baterista que gravou com Bill Evans) com Manel Fortià e Carlos Azevedo.

Mas há mais. O Festival Porta-Jazz fez uma encomenda ao saxofonista José Soares, que se vai apresentar com dois dos mais importantes músicos da cena de Amesterdão, Joris Roelofs e Harmen Fraanje. A trompetista Susana Santos Silva regressa a casa para um concerto único e exclusivo na Igreja  de Cedofeita, com Torbjörn Zetterberg e Hampus Lindwall, que vai tocar no órgão de tubos construído por Th. Kuhn.

O baterista Mário Costa apresenta o seu álbum "Oxy Patina", onde demonstra excelência enquanto instrumentista e compositor. O saxofonista José Pedro Coelho recupera o álbum "Passarola Voadora"; o baterista Alexandre Coelho apresenta em quarteto "Idiosyncrasies"; e o colectivo pLoo o novo disco, "Pele de Papel"; discos editados este ano com o Carimbo Porta-Jazz.

Resultado da parceria com o Guimarães Jazz, o espectáculo Cotovelo, do guitarrista e compositor Nuno Trocado, que nasce da junção da sua música com o texto de Jorge Louraço interpretado por Catarina Lacerda, será apresentado nesta edição.

E há ainda que celebrar duas parcerias com outros movimentos homólogos: a associação Suíça AMR que abre o festival com o grupo Shu-Shaz Quintet; e o festival austríaco Bezau-Beatz que, para além de trazer ao Porto os grupos Intensivstation e Hang Em High, irá juntar músicos da Porta-Jazz e do movimento Austríaco num concerto espontâneo e inédito.

Ao longo de nove dias, a cidade está de portas abertas e envolvida no sucesso do Festival Porta-Jazz. O Teatro Rivoli,  a Casa da Música, a FEUP (Faculdade de Engenharia da Univ. do Porto), o Passos Manuel, a ESMAE (Escola Superior de música, Artes e Espectáculo), o Hot Five, a Casa de Ló, a Sala Porta-Jazz e a Igreja de Cedofeita vão receber mais de uma centena de músicos e dezenas de estudantes de música, portugueses e estrangeiros.

Encontros organizados mas também improvisados, como é o caso das sessões do Clubedo onde diariamente, após os concertos nos auditórios, o público é convidado a viver o ambiente dos clubes que programam habitualmente Jazz na cidade. Aqui poderão assistir a concertos exclusivos, trios informais de jazz e jam sessions abertas à comunidade de músicos que do encontro no palco fazem soar a criatividade e a dinâmica do jazz do Porto.

Os bilhetes para os concertos custam 5€ por sessão (única ou dupla), excepto na FEUP, ESMAE e na Igreja de Cedofeita cujo acesso é gratuito. Como é habitual, os Membros da Porta-Jazz têm entrada livre em todos os espectáculos do festival. 

Recorde-se que o Festival Porta-Jazz acontece anualmente desde 2010 e cumpre um papel importante na vida cultural da cidade, tendo-se tornado uma referência incontornável para o jazz em Portugal.

A Associação Porta-Jazz afirma-se, a cada ano, como a maior plataforma de incentivo à criação e divulgação de jazz em Portugal. Resultado do trabalho desenvolvido pela associação e pelo seu braço editorial, o Carimbo Porta-Jazz, este festival é uma oportunidade para ouvir, ver e viver o pulsar de uma comunidade altamente criativa e que muito tem contribuído para a dinâmica cultural de Portugal.

PROGRAMAÇÃO

1 Dezembro
19:00 Sala Porta-Jazz: Frederico Heliodoro Quarteto (BR,PT)
22:00 Sala Porta-Jazz: Shu Shaz Quintet (CH, RU, IT)
23:00 Casa de Ló: Clubedo JZ Replacement (UK, RU)

2 Dezembro
21:30 Casa da Música: Demian Cabaud "Astah" (AR, SP, CU, US)
22:30 Casa da Música: Mario Costa "Oxy Patina" (PT, FR)
23:30 Hot Five: Clubedo Pedro Neves/ João Paulo Rosado/Miguel Sampaio

3 Dezembro
21:30 Igreja de Cedofeita: Santos Silva / Zetterberg / Lindwall (PT, SE)
22:30 Casa de Ló: Clubedo Miguel Meirinhos / Yudit Almeida / João Cardita

4 Dezembro
22:00 ESMAE: Ploo "Pele de Papel" (PT)
23:00 ESMAE Clubedo ESMAE Jam session

5 Dezembro
21:30 FEUP: Quarteto de Gonçalo Marques feat. Jacob Sacks, Masa Kamagushi, Jeff Williams (PT, US, JP)
23:00 Casa de Ló: Clubedo Eurico Costa / Demian Cabaud /José Marrucho

6 Dezembro
22:00 Passos Manuel: Cotovelo (Guimaraes Jazz / Porta-Jazz #4) (PT, UK)
23:00 Hot Five: Clubedo Eliot Zigmund / Manel Fortià / Carlos Azevedo (US, SP, PT)

7 Dezembro
21:30 Rivoli (grande auditório): José Soares convida Joris Roelofs e Harmen Fraanje (PT, NL)
22:30 Rivoli (grande auditório): MAP feat. Chris Cheek (PT, US)
23:30 Casa de Ló: Clubedo Ricardo Moreira / Nuno campos / Ricardo Coelho

8 Dezembro
18:00 Rivoli (pequeno auditório): José Pedro Coelho "Passarola Voadora" (PT, SP, AR)
19:00 Rivoli (pequeno auditório):Hang em High (PL, CH, AT)
21:30 Rivoli (grande auditório): Marcos Cavaleiro feat. Thomas Morgan (PT, US)
22:30 Rivoli (grande auditório): Ohad Talmor + CORETO (US, PT)
23:30 Rivoli (café): Clubedo ESMAE Jazz Ensemble

9 Dezembro
18:00 Sala Porta-Jazz: Intensivstation (DE, CH, AT)
19:00 Sala Porta-Jazz: Alexandre Coelho "Idiosyncrasies" (PT)
22:00 Sala Porta-Jazz: Porta-Jazz / Bezau-Beatz Reunion (PT, AT)
23:00 Hot Five: Clubedo Paulo Gomes / João Paulo Rosado / Filipe Monteiro

OFICINAS e ENCONTRO DE ESCOLAS ao longo da semana.

Clubedo: concerto + jam session

Patrick Shiroishi - The Sparrow's Tongue (2018)

Very excited to announce that my 6th solo record, The Sparrow's Tongue will be released next month via Fort Evil Fruit!!  It will feature poetry by my grandfather and recited by my mother.  Recording of the record was completed a little under a year ago and mastered by Alan Jones.  

In other news Danketsu 9 released a recording of our first show on Never Anything Records.  I'm very proud of what we did during our first meeting and hoping we will continue playing and releasing together.  Also, a vinyl release of the Simple Affections record will be out in the coming days via Recital.  Finally, an improv that was done during Jasmin Blanco's art instillation with Zachary Paul, Jason Adams & Derek Gaines was released via The Tapeworm.

- Patrick Shiroishi

Patrick Shiroishi: alto saxophone, field recordings, snare drum, soprano & tenor saxophones

Uzuko Shiroishi: voice

Seiji Inoue: tankas

1. the footsteps of crows 02:00

2. grasshopper tactics 10:22

3. the crocodile's dilemma 07:48

4. be a lion, i will still be water 11:11

5. when the dog got his cat eyes 02:31

Recorded live at 2575 Mission, Los Angeles, California on the 23rd of November, 2017

Mixed by Patrick Shiroishi

Mastered by Alan Jones

Artwork by Michael Hentz

Danketsu 9 - Thahraas (2018)

Amandeep Brar - accordion

Ang Wilson - flute

Jason Adams - cello

Kelly Coats - flute

Ken Moore - double bass

Mallory Soto - voice

Noah Guevara - guitar

Patrick Shiroishi - tenor saxophone

Pauline Lay - violin

1. nepravda 23:59

Recorded live at Ham and Eggs on the 12th of March, 2018

Fujioka / Shiroishi / Casanova - Kage Cometa (2018)

Paco Casanova: keys

Dylan Fujioka: drums

Patrick Shiroishi: alto & soprano saxophones

1. Kage Cometa 38:24

'Kage Cometa' was performed live at The Museum of Contemporary Art Los Angeles on the 16th of March, 2017.

Noah Guevara & Patrick Shiroishi - Euphoria within Chönyi (2018)

Noah Guevara: guitar 

Patrick Shiroishi: alto & soprano saxophones

1. Euphoria within Chönyi 21:55

Recorded live at 106 Studio, Los Angeles on the 25th of March, 2018

Recorded by Richard McLaughlin

Released via KMAN 92.5 tapes

Mary Crowell's Patreon: Year Two (2018)

Mary Crowell is a singer/songwriter and piano teacher who loves mythology and playing Dungeons & Dragons.


She may be seen at science fiction and filk conventions performing and accompanying concerts on piano and occasionally clarinet.
Scattering Seeds on the Pomegranate Tour is her third solo album and is a mythic musical journey!

1. Mama's Dice Lament (Patreon 2016) 04:32

2. My Baby's No Bourbon on the Rocks (Patreon 2016) 03:04

3. Cat People and Dog People (Patreon 2016) 04:21

4. Magnus Retail (GAFilk 2002) 04:47

5. Demon Blues (GAFilk 2002) 04:55

6. Ravens (Live at GAFilk 2002) 03:23

7. Good Man Go Bad (GAFilk 2002) 05:24

8. Bad Man Go Good (GAFilk 2002) 04:12

9. When I Grow Up (GAFilk 2002) 03:42

10. Captain of the Guard (GAFilk 2002) 06:04

11. The Sun Beats Down 03:48

12. When You're Going to Solla Sollew 02:52

13. Sister Jane's Rambler (Patreon 2016) 04:38

14. Keep Your Christmas Out of October (Patreon 2016) 04:19

15. Dancing in my Kitchen (Patreon 2016) 02:24

16. Deathstar Chris (Patreon 2017) 03:35

17. You Wouldn't Like Me When I'm Hungry (Patreon 2017) 03:26

18. November Meditations in Tennessee (Patreon 2017) 03:26

19. The Tiniest Bit of the Powder (Patreon 2017) 05:20

20. Princess Rhonda Green (Patreon 2017) 05:05

21. Mr. Spock's Neighborhood (for DragonCon TV) 01:10

This album is a collection of music Mary Crowell shared with her patrons on Patreon during the time period May 2016 to 2017. There are songs, instrumentals, improvisations, and live concerts. 

Most of these were recorded by Mary Crowell in her home studio on Logic Pro 9 or X. One Concert (GAFilk 2002) was recorded live by either Robert Schoenbourne or John Brewer.

Joe Locke - Subtle Disguise (2018)

“For me, this album is the fruition of a long journey of self-discovery as an artist, where I no longer see the different aspects of my musical personality as separate or at odds with one another. I have discovered my own lingua franca, connecting the seemingly disparate styles I enjoy playing,” 

– Joe Locke

THE BAND 

Joe Locke – vibes

Jim Ridl – piano, fender rhodes, synths

Lorin Cohen – acoustic and electric basses

Samvel Sarkisyan – drums and cymbals

SPECIAL GUESTS

Raul Midón – voice, guitar

Adam Rogers – guitar

David Binney – alto sax

Alina Engibaryan – voice

1. Red Cloud 07:38

2. Who Killed Davey Moore? 06:24

3. Subtle Disguise 09:16

4. Make Me Feel Like It's Raining 09:07

5. Rogues Of America 09:21

6. Motherless Children 08:08

7. Safe And Sound (At The Edge Of The Milky Way) 07:32

8. Blondie Roundabout 07:16

9. A Little More Each Day 03:51