NEW RELEASE: Tenor Saxophonist Asaf Yuria's EXORCISMS is out November 5, 2021 via Jojo Records

Israeli tenor saxophonist Asaf Yuria presents his sophomore album ‘Exorcisms’, due out November 5, 2021 via Jojo Records

Jojo Records is pleased to announce the November 5, 2021 release of Exorcisms, a new album from exciting Israeli saxophonist Asaf Yuria. Yuria draws seamlessly from the proud jazz combo tradition of Art Blakey and Lee Morgan on a sophomore effort ripe with inventive horn arrangements and captivating solo work. Here he assembles a cast of New York’s finest including trumpeter Josh Evans and trombonist Jonathan Voltzok who join Yuria on frontline duties. Pianist Jeremy Manasia, bassist Ben Meigners and the fiery contributions of drummer Jason Brown provide lithe accompaniment from the backline.

Born in Tel Aviv, Israel in 1985, Yuria was raised on the recordings of John Coltrane, Charlie Parker and countless others. By high school, he’d advanced to play alongside some of the top musicians in the capital’s close-knit jazz scene. However, the bright lights of New York City were always an aspiration for the young Yuria. He eventually moved to the US to follow his dreams, spending thirteen successful years playing in jazz clubs, jam sessions and music festivals around the world. 

Yuria soon enrolled at the New School for Jazz and Contemporary Music in the late 2000’s where he came under the influence of close mentor Billy Harper, as well as George Cables, Reggie Workman, Billy Hart and Charles Tolliver. Over the past five years, Yuria has been a key part of countryman and world-renowned bassist Omer Atival’s quintet. In 2018, Yuria released his debut album, Papa Wawa. Nowadays, Yuria finds himself back in Tel Aviv.

“I’m looking for those unexplainable moments,” Yuria says of Exorcisms, which expands the personnel of his previous release from five to a chunky six-piece. On the album’s mysterious title, Yuria offers an explanation to dispel the definition found on the album notes [def: to free from or rid of evil spirits or other harmful elements by works of spell and magical formulas]: “I’m looking for that mysterious condition in which the listeners and the musicians are immersed in the present moment.” Yuria’s musical outlook deals with the abstract possibilities of music, allowing a clear route to a personal connection with listeners: “When people are present in the moment, then the music can really touch them.”

The album features a set of compositions dreamed up after his successful debut, tailored specifically to this band. “My priority is for each player to be able to use his voice most comfortably and as beautifully as possible, and to try to create the most compelling compositions I can. I work as intuitively as possible – it’s the idea of finding your individual voice through the study of the tradition,” he muses.

Exorcisms begins with “The Bell Ringers”, a busy straight-ahead swinger where lines gather momentum until they just about take off. It’s dedicated to his bandmates – the lineup has changed very little since the groups’ inception – as Yuria explains the strong relationships he found. “We all have different bells inside of us,” he explains – bells that ring when something clicks. “My bandmates ring that bell for me!” “Lotus Moon” is a chance for Yuria to take us on a groovier journey, flitting between Latin 8s and high-energy swing. “Wise Eyes” (for Yuria’s mother) is lushly scored but with a grit at its core; title track “Exorcisms” compliments and concludes the opener – another heavy swinger, featuring a rip-roaring solo from the constantly inventive Manasia. 

“Out of the Mist” emerges from the second having, where Yuria reveals a tender sensibility. “Bright Night Light Flight” really rocks, as Brown leads the track away from the brightness and towards something altogether more emotive. “Mindful Breath” is reminiscent of the Art Blakey Messengers’ charts of old, opening with chattering horn lines deep in conversation. Solos fly around the band, but the key to the track is mindfulness – “learning to breathe mindfully is good for the music, and also for life,” says Yuria.

“The expression of study has to come out through the prism of my life experience and ideas,” he reflects. Yuria is bold with his goals, which shine through his highly intuitive charts steeped in detailed knowledge of great masters of the past.

1 The Bell Ringers

2 Lotus Moon

3 Wise Eyes

4 Exorcisms

5 Out From The Mist

6 Bright Night, Light Flight

7 Mindful Breath

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Brandon Goldberg - In Good Time (feat. Ralph Peterson)

Celebrated Young Pianist and Bandleader Brandon Goldberg Announces

His Compelling Sophomore Release In Good Time, Featuring An All-Star 

Quintet Including Late Jazz Luminary Ralph Peterson

Pianist, composer and bandleader Brandon Goldberg is thrilled to announce the release of his second album, In Good Time. A follow-up to 2019’s critically-acclaimed LET’S PLAY!, Goldberg approaches In Good Time with a refined, seasoned sensibility and is joined by a top-shelf quintet through five original compositions and five smartly arranged jazz standards. Showcasing Goldberg’s pianistic prowess and stunning compositional facility, the album features the 15 year old instrumentalist in a powerhouse trio with late drum giant Ralph Peterson and heralded bassist Luques Curtis, filled out by a supple horn section made up of saxophonist Stacy Dillard and trumpeter Josh Evans. Trumpeter Antoine Drye makes an appearance on the album’s closing track for a duo performance with the bandleader. In Good Time will be available on all platforms on September 17, 2021. 

Three years ago, when pianist Brandon Goldberg was 12, he turned heads with his accomplished debut project LET’S PLAY!, a compelling trio recital with upper-echelon jazz veterans Ben Wolfe on bass and Donald Edwards on drums on which he functioned as a musical peer in an equilateral triangle. Now, fully in command of his materials, Goldberg spotlights considerable instrumental faculty while presenting a program that gives each member ample space to express individualism while also fulfilling collective imperatives. The pieces convey a broad range of emotional and timbral flavors through Goldberg’s sophisticated refraction of a long timeline of improvisatory dialects and compositional strategies culled from a century of Jazz, Black American Music, and American Songbook expression. 

“I really love Brandon,” says jazz saxophonist Donald Harrison. “He will be one of our most important musicians and he has always been a gentleman. It makes me happy to see him grow up before my very eyes. He is a family member to me.” 

Goldberg displays an impeccable synergy with the incomparable rhythm section made up of Luques Curtis and drum legend Ralph Peterson. Here, the late drummer exudes a characteristic energy, soulfulness, and focus which is reciprocated and amplified by Goldberg. Devastatingly, the master drummer and educator would pass three months after the completion of the album, after his fierce six-year battle with cancer. “Ralph was pure intensity,” Goldberg said in May after In Good Time was fully sequenced and mastered. “If you reached a point where you got comfortable, he’d play something completely unexpected to put you on edge.” Aside from the notes and tones, Goldberg added, Peterson “had something to do with everything in this project.” Their relationship began in 2018 at the Litchfield Jazz Festival when pianist Orrin Evans – a Goldberg advocate since teaching him two years earlier at Litchfield Jazz Camp – introduced them. “Ralph gave me his card and said, ‘Dial it, don’t file it,’” Goldberg continued, “Once we got serious and I started writing, we talked about once a week,” Goldberg recalled. “But even before, any time I needed help with music… he said he wanted to tell me what not to do, but not what I should be doing, because he never wanted to get in the way of what I wanted. That’s how he was, and he said that’s how Art Blakey was with him.”

Peterson’s signature raspy voice begins the record in a voicemail that he sent the young bandleader prior to the album’s conception, setting the stage with a heartfelt reminder of the late drummer’s tenacity and dedication to the legacy of jazz. The voicemail fades and the listener hears Goldberg’s unwavering voice count the group off, echoing the urgency of Peterson’s voicemail, Goldberg is ready to get down-to-business and the bright-tempoed swing of Goldberg’s original composition “Authority” reflects just that. This sprightly ensemble-piece harkens back to the hard-bop sensibilities of the Jazz Messengers and includes masterful solos from Goldberg, Dillard and Evans. Goldberg demonstrates his gift for melodic invention on his originals “Circles” and “Time”. The former, titled for its repeating theme, features Dillard’s lyric, soaring soprano saxophone atop Peterson’s undulating, authoritative brushstrokes. The latter begins as a ballad, poignantly stated by Evans. Curtis’ lyric meditation follows, then Evans uncorks an improvisation that resolves on the head, whereupon the tempo transitions to medium-bright (Peterson percolates again on brushes) for another inspired Dillard declamation.

Luques Curtis, Josh Evans, Ralph Peterson, Brandon Goldberg, Stacy Dillard by John Abbott

Goldberg’s interpretations of classic jazz compositions demonstrate the young players ability to tip-the-hat to the composer of the piece while also bringing something new to the table. “Monk’s Dream” captures the idiosyncrasy of the composition while Goldberg also explores its harmonic richness with adept vertical playing that outlines the changes tastefully and tells a cohesive story. The piece also features an iconic, fiery solo from Peterson, bringing the tune back to its head. Goldberg further channels the sonic palette of late ’60s Miles on “Stella By Starlight,” which he addresses on Fender Rhodes, dressing up the old chestnut with fresh melodic variations and a 6/8 feel. A stately duo of Sondheim’s “Send In The Clowns” with gold-toned trumpeter Antoine Drye acts as the pianist’s encore. Goldberg leaves the audience on a tender note, providing a nuanced grace to the conclusion of an album which will surely cement Goldberg’s stature as a preeminent fixture in the scope of jazz.

JazzTimes writer Ken Franckling notes “He understands the basics and nuances of making jazz – and swings like mad in the great company of his trio mates.”

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Luke Carlos O'Reilly - I Too Sing America: A Black Man's Diary (2021 Imani Records)

 

My intention with this album is to convey the pain, the hurt and heartache that one goes through as a black man or woman living in America today. We are all too familiar with news stories of black individuals that have been verbally, emotionally and physically abused by the police. This physical abuse too often leads to an unwarranted death. The tragedy continues when those who are responsible are left unpunished, leaving families and communities without justice. My hope is that this music reminds us all that black lives really do matter.

Luke Carlos O'Reilly

1. Black Lives Matter 04:06

2. Amerikka 06:24

3. Brotherman (In Blue) 03:55

4. Letter to the Mothers 04:43

5. Good Trouble 04:12

6. Justice Delayed is Justice Denied 02:57

7. Loss of Innocence 04:55

8. Stop n Frisk 05:06

9. Can't Breathe (A Fight Song) 06:51

10. Say Her Name 03:27

11. Justice Delayed is Justice Denied (Interlude) 01:13

12. Runnin 05:29

13. Raise Them Up 03:20

Luke Carlos O'Reilly – Piano/Rhodes/Organ

Nimrod Elab Speaks – Acoustic Bass

Anwar Marshall – Drums

Chris McBride – Alto Saxophone/Tamborine (1,3,5,8,10,12,13)

Caleb Wheeler Curtis – Alto Saxophone (2,6,7,9,11)

Stacy Dillard – Soprano Sax (4)

Lee Hogans – Trumpet/Flugelhorn (1,3,5,8,10,12,13)

Josh Evans – Trumpet (2,6,7,9,11)

Corey Wallace – Trombone (1,5,12,13)

David Gibson – Trombone (6,7,9,11)

Shenel Johns – Lyrics/Vocals (6)

Irv Washington – Additional Keys (6)

Khemist – Lyrics (6)

Orrin Evans – Executive Producer

Katsuhiko Naito – Recording Engineer

Matthew Evans – Production Assistant

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Benito Gonzalez - Sing to the World (May 14th, 2021 via Rainy Days Records)

Emerging Piano Talent Benito Gonzalez

Releases his Fifth Recording of Originals:

the Inspired, Moving, Dancing Sing to the World 

on St. Petersburg, Russia-based Rainy Days Records

With propulsive pulse and Afro-Latin percussive drive, Benito Gonzalez places rhythm at the core of his exhilarating new album, Sing to the World, set for a May 14 release. All of the ten songs on his fifth album, and first released on the St. Petersburg, Russia label Rainy Days Records, combine to create a sense of wonder and enchantment as Gonzalez takes a stellar step into the future of his jazz journey. He’s assembled an impressive team of collaborators, including Christian McBride, Essiet Okon Essiet, Jeff “Tain” Watts, and Nicholas Payton as well as rising stars Russian drummer Sasha Mashin, trumpeter Josh Evans and saxophonist Makar Kashitsyn.

Sing to The World is a musical exploration into the concept of freedom that recognizes the dignity of us all as individuals. Music is the most powerful tool we have to make a change in the world, uniting as one outside of cultural or religious differences. We are living in a world where all are searching for freedom because its inherently valuable role in human progress. Sing to the World is about this universal search for freedom, about being present, being aware, and trying to allow the moment to come to us.

The title track of Sing to the World, with its harmonic invention and pianistic power, is influenced by two McCoy Tyner tunes, “Fly with the Wind” and “Song of the New World.” “McCoy played with so much energy and with such a depth of harmony. If you hear that kind of harmony, you can push the music to its limit. It’s open to infinity. That’s my concept for the whole album—play with openness and trust. That’s what I want to give to the world,” says Gonzalez.

As for enlisting jazz powerhouses in the new album, Gonzalez says McBride and Watts embrace the rhythmic core. “They hear the way I perceive the music. They understand where I’m coming from and execute brilliantly. I like strong beats rooted in Africa which is where my father’s ancestors came from. I like it when people dance to this music. Tain and Christian come from the same place. You can hear the dance beats when they play,” says Gonzalez. “The African sensibility and relationship with the drums has usually permeated the best of jazz and American music. Benito embraces that language as part of his commitment to the spiritual, healing part of the music. As a drummer, it’s really fun to play with and bounce off of, in order to get to a vibration that’s vital and always in style.” explains Watts.

As for bringing Payton on board, Gonzalez says, “Nicholas is the best trumpet player today, and I thought he would be a great addition for my album giving his direction in the music,” says Gonzalez.

Highlights on Sing to the World include Gonzalez’s dazzle of keys on “Sounds of Freedom” which he says is inspired by “the troubling situations in our world today. People are looking for freedom in places like my home Venezuela, in Russia, the U.S. People are searching, fighting for freedom,” says Gonzalez.

Others include “Views of the Blues,” an energized outing inspired by Coltrane’s open-sound sensibility of playing the blues, and the moving, lyrical “Offering,” featuring a terrific McBride solo. “When I was seven years old in Venezuela, I played the organ at church. I was playing beautiful melodies. This song is based on that. It’s not a hymn but a reminder of the hymns I played as a kid. It’s a story. It’s my interpretation of that period in my life,” says Gonzalez.

In addition to his slow-to-upbeat originals, Gonzalez adds to the set list two compositions that have never been recorded by their composers: Roy Hargrove’s soulful “Father”and Jeff “Tain” Watt’s beauty “412.” Benito singles out ”Father” as one of his favorite songs on the album. “It’s about my personal relationship to Roy. In 2006, we attended jam sessions every Thursday night. He sat down at the piano one night and taught me the changes to this song. We played it often, but he never recorded it” he says.

As for the Tain tune, Gonzalez learned it when the two were both teaching summer jazz camp at the New Jersey Performing Arts Center (NJPAC ). “Having known Benito for years, it’s been a pleasure to witness both his growth, and his love and respect for the music in notes and spirit. His seriousness and focus were apparent years ago in the young man I’d chat with during trips; always friendly and seeking, never pushy. I’m proud to see him today as a bright light and leader in the music” says Watts. “I was messing around on the piano one day, and Tain gave me the chart. I’ve always loved this ballad. He’s played it on occasion but never recorded it,” says Gonzalez about “412.”

What’s impressive about Gonzalez is that he’s not willing to sit still for too long. He’s already got future projects in mind. Recently named a Steinway & Sons artist in 2020, emerging piano talent Benito Gonzalez continues to reveals himself as an inspired and versatile artist on his fifth album, Sing to the World.

1. Sounds of Freedom

2. Views of the Blues

3. Father

4. Offering

5. Visionary

6. Smile

7. Sing to the World

8. 412

9. Flatbush Avenue

10. Colors

Benito Gonzalez — piano

Nicholas Payton — trumpet (1,3,6,8)

Christian McBride — bass (2-10)

Sasha Mashin — drums (1,3,6,7,9,10)

Jeff “Tain” Watts — drums (2,4,5,8)

Essiet Okon Essiet — bass (1)

Josh Evans — trumpet (9)

Musical producer — Benito Gonzalez

Co-produced by Sasha Mashin

Executive producer — Eugene Petrushanskiy

Recorded at Big Orange Sheep Brooklyn, NY

Recording Engineer — Chris Benham

Assistant Engineer — Kevin Thomas

Additional recording at Cinelab Studio, Moscow

Recording Engineer — Igor Bardashev

Mixed and Mastered by Mike Marciano of Systems Two

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Shamie Royston - Beautiful Liar (SUNNYSIDE RECORDS June 15, 2018)

Our light shines brightest in the darkness and things in life don’t always turn out the way that we have planned. It is with these maxims in mind that the brilliant pianist and composer Shamie Royston presents her new recording, Beautiful Liar. Her second release is a testament to perseverance and the proposition that learning from mistakes will help in the pursuit of goals and subsequent triumphs. 

Though the path might not have always been an easy one, Royston’s light is luminous and her music has served her in establishing herself as a leading voice in the jazz world. Originally from Denver, Colorado, Royston has been an integral part of the New York jazz scene as a performer and educator. Her contributions as a pianist can be heard alongside celebrated leaders like Tia Fuller, Ralph Peterson, Sean Jones and Terri Lyne Carrington. 

On Beautiful Liar, the core sound is that of the piano trio, embellished by one or two horns for different sonic possibilities. Drummer Rudy Royston provides a strong rhythmic foundation and centric fire when paired up with bassist Yasushi Nakamura, whose strong bass presence is essential to the leader’s compositions. 

Royston expands the ensemble on a number of pieces, exploring possibilities of a quartet and of a quintet. The melodic approach of saxophonist Jaleel Shaw serves as a perfect voice for Royston’s compositions. Royston also adds trumpet player Josh Evans, who ignites a sound of juxtaposing harmonies into Beautiful Liar. This recording focuses on the piano trio as a lead voice, while the horns’ roles are reminiscent of background singers and soloists, for a few of the compositions. 

The pieces present on Beautiful Liar are all original compositions, except the great “A Lovely Day,” which was made famous by Bill Withers. Furthermore, every original composition represents trials and tribulations of life, reflecting Royston’s life journey and personal development. 

The program begins with the ruminative “Sunday Nostalgia,” one of Royston’s oldest tunes but one that sets a scene with a sense of peace. The effervescent “Push” is about pushing through adversity and the emotions of that struggle. The title track, “Beautiful Liar,” relates to objects, images, ideas or people not being as good for us as we think they are. Initially, there is a simple, moving melody that soon becomes disrupted with a vigorous rhythm. The lilting “Precious Lullaby” is a beautiful theme written in ¾ and is a tribute to Royston’s two children, for whom she would invent lullabies at bedtime when they were younger. 

The fantastically swinging “Dissimulate” is about concealing one’s true character, which is illustrated by the melody being played by one voice and then recreated by a second voice, the interweaving lines of sax and trumpet only coming together at the end, moving from chaos to a united resolution. She chose to add Bill Withers’ “Lovely Day” because it represents times of happiness and hope. This particular arrangement features the horns as background singers. “Circulo Vicioso” represents a sequence of reciprocal cause and effect in which two or more elements intensify and aggravate one another, leading to a worsening of a situation. The song is musically constructed around a circular melodic pattern intertwined with Afro-Cuban rhythms. 

A personal favorite, “Uplifted Heart,” comes from a poignant melody Royston created that gives a feeling of happiness and peacefulness in the world. “A Tangled Web We Weave” describes a complex or difficult situation that one creates out of deceit. The piece begins with the trio before adding Shaw’s soprano sax. Both piano and sax melodies intertwine as the music continues to grow. The recording concludes with a solo piano take of “Precious Lullaby,” a moment of reflection and calm. 

Beautiful Liar is a luminous portrayal of the full spectrum of life’s possibilities. Shamie Royston explores the full breadth of her experience and inspiration from the good, the bad and the obscure, to create a lovely recording. In essence, her message is that the key to life’s fulfillment is showering oneself with passion, positivity and promise.

1. Sunday Nostalgia

2. Push

3. Beautiful Liar

4. Precious Lullaby

5. Dissimulate

6. Lovely Day

7. Circulo Viscioso

8. Uplifted Heart

9. A Tangled Web We Weave

10. Precious Lullaby (Outro)

Jaleel Shaw - alto, soprano saxophone

Josh Evans - trumpet

Shamie Royston - piano

Yasushi Nakamura - bass

Rudy Royston - drums

Saul Rubin - Zeb's House (2017)

ZEB’S was a fantastic vortex for great music in New York City.  From 2009 – 2015 founder Saul Rubin developed a multi use studio – performance space.  A community of great musicians performed, recorded and celebrated  there.

This recording is a compilation of some of the last recordings done there with some of the most important  musicians in jazz.

1. The Android (feat. Josh Evans, Frank Lacy, Stacy Dillard, Lummie Span, Ryan Berg & Brandon Lewis) 6:00

2. Oh God Show Me the Way (feat. Josh Evans, Frank Lacy, Stacy Dillard, Lummie Span & Brandon Lewis) 6:19

3. The Gypsy (feat. Roy Hargrove) 4:34

4. Mean Old Joe / Darkness (feat. Josh Evans, Frank Lacy, Stacy Dillard, Lummie Span, Ryan Berg & Brandon Lewis) 8:14

5. Who (feat. Josh Evans, Frank Lacy, Stacy Dillard & Brandon Lewis) 7:39

6. Cobi Narita (feat. Ned Goold, Ameen Saleem & Victor Lewis) 5:57

7. All or Nothing at All (feat. Neal Caine & Charles Goold) 8:49

8. Autumn in New York 3:56

9. Halal Falafel 3:59

Josh Evans – Trumpet

Stacy Dillard – Tenor

Lummie Span – Alto

Frank Lacy  – Trombone

Roy Hargrove – Flugelhorn

Victor Lewis – Drums

Ryan Berg – Bass

Brandon Lewis – Drums

Ned Goold – Tenor

Charles Goold – Drums

Ameen Saleem – Bass

Neal Caine – Bass