Lisa Hilton and her trio, manifest a memorable experience on life is beautiful, their third recording of the pandemic era, and the acclaimed pianist, composer, and producer’s twenty-fifth album as a leader in the US. On it, Hilton indulges her love of the piano with ten original tracks and the cover gem, Ernie’s Blues, (written by Ernie Wilkins). Backed by her ever-excellent band mates: Rudy Royston on drums and Luques Curtis on bass, Hilton’s elegantly swinging piano and engaging compositions encompass a range from traditional tracks, Latin, blues and retro seamlessly. Royston continually hits the marks on his kit, and Curtis shows off plenty of style over this splendid repertoire of compositions.
The album begins with an impressive bass solo from Curtis on the classic Ernie’s Blues. The tune’s complex chords and loose bluesy passages allow accomplished soloing from Hilton as well. Retro Road Trip highlights Royston’s rhythm skills and has a bit of a Prokofiev energy amid mid-century grooves. Inspired by classic American Standards, Hilton includes two romantic compositions here: So This Is Love and Nightingales and Fairy Tales - both evoking nostalgic charms and reminiscent of some of Bill Evans work in his sixties period. Too Hot dips into modal ideas creating its own melodic atmosphere. Hilton includes two Latin flavored compositions: Stepping Into Paradise as well as Santa Monica Samba, that show the versatility of the trio in mingling different Latin styles together effortlessly. Seduction is a solo piano piece that Hilton has recorded before, (some other tracks have also been recorded on past albums), with a new extended version here, showcasing Hilton’s love for the blues. Temporary Lullaby, written for Hilton’s daughter, is a melodic standout. In her liner notes, it mentions that More Than Another Day nods to Miles Davis, Antonio Carlos Jobim and Cole Porter.
Besides his work with Hilton, Royston has collaborated with an ever-expanding list of iconic jazz musicians such as Ron Miles, Bill Frisell, Rudresh Mahanthappa, and Tia Fuller. Curtis, an equally sought-after collaborator, has worked with Eddie Palmieri, Orrin Evans, Christian Scott, Sean Jones, and many more. About planning a recording session this far into the pandemic years, Hilton notes: “I think all musicians right now are hungry to play, so it feels really good when we have the opportunity to get together all day in the studio when we record. Despite the masks and other challenges, musicians need to create music. It sounds simplistic, but that's how we thrive.” Hilton has continued to compose, perform and produce an album a year in a trio, quartet, quintet or solo piano setting, and is a familiar name at the top of charts like Jazz Week, ZMR, and #1 Amazon New Releases. Hiltons albums also regularly appear on some “Best Of” lists” at All About Jazz or other sites, and popular music collections like Apple’s Pure Jazz Playlist.
Lisa Hilton’s new album, life is beautiful, is available everywhere April 1, 2022.
Lisa Hilton | life is beautiful
Release Date: April 1, 2022
For more information on Lisa Hilton, please visit:
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.”
As America and other countries re-emerge from the limitations of 2020, Lisa Hilton and her trio with Rudy Royston and Luques Curtis, enthusiastically embrace the moment with a vibrant new jazz offering titled Transparent Sky, that will inspire, uplift and motivate us all. Rich with glorious harmonies and unique compositions, Hilton’s swinging band radiates a sun bleached aura to listeners. Throughout the album Hilton, Royston and Curtis develop a surprisingly wide range of rhythmic ideas from a variety of genres, masterfully blending classic traditions with new approaches and upbeat style.
The recording jumps in with the Latin tinged "Santa Monica Samba," quickly following with the equally energetic "Random Journey" on this collection of nine originals, plus one cover. “What developed this year was a LOT of movement and richer chords and harmonies – which makes sense when you consider how static last year was. As musicians we need to challenge and also entertain ourselves, so I think that’s why I subconsciously wrote in so many rhythm changes and multiple harmonic directions,” says Hilton. "Living In Limbo," "Chromatic Chronicles," "Fall Upon a Miracle" and "Infinite Tango," highlight the multiple creative rhythms of Hilton’s compositions and showcase ample opportunities for Curtis’s agile bass, and the delightful details of Royston’s drums.
Hilton has a way with ballads, and "Nightingales & Fairy Tales" is no exception. With its slight nod to Bill Evans in the sixties, this has the making of a jazz classic for a twenty - first century audience. In the same vein, a cover of "God Bless The Child," co-written by Billie Holiday and Arthur Herzog Jr, is a charmer, and like all the tracks here, is skillfully and originally presented without being forced. “For a long time I’ve been trying to record cover songs by women who were composers, because there is very little attention paid to them in jazz. I think it’s important to give women recognition for their range of talents, and by promoting them, maybe we will see less discrimination in music”, Hilton muses.
Photo by Leigh Shane
Slowing towards the album’s end, "Extraordinary Everyday Things" is a calm and expressive soundscape, but with a surprise twist, Hilton finishes up with the title track, "Transparent Sky" as a sonorous piano solo. “The melody is beautiful and has a bit of swing, but the harmonic ideas are quite chromatic and dissonant with overlapping/lingering sonorities between bar lines.” She says. “This piece needs to be played sensitively or it will sound harsh, but that is like our lives today - we are living in sensitive times and need to be aware of how we connect and communicate. The solo piano clearly delivers those delicate harmonies along with the emotions. It’s about accepting our world as it is, whatever may be happening at that moment. Tomorrow will bring what it will, but there is still beauty to be found if we look for it, amid the dissonance of our times.” Hilton explains.
Lisa Hilton’s new album, Transparent Sky, is available everywhere September 3rd, 2021
For more information on Lisa Hilton, please visit:
Onyx Productions Announces the Release of Raise Up Off Me,
Ralph Peterson Jr.’s Final Recording
Featuring Zaccai and Luques Curtis
+ special guests Jazzmeia Horn and Eguie Castrillo
Releasing May 21, 2021
on all digital platforms, and as compact disc + double vinyl LP
On May 21, 2021, Onyx Productions will release Raise Up Off Me, the final full-length album from master drummer, bandleader and composer Ralph Peterson Jr. To be released one day after what would have been Peterson’s 59th birthday, Raise Up Off Me is a powerful closing statement by the jazz giant that was carefully and meticulously prepared before his passing earlier this month. Peterson’s long-time bandmates and collaborators Zaccai and Luques Curtis are featured here on piano and bass respectively, along with special guests Jazzmeia Horn and percussionist Eguie Castrillo. Raise Up OffMe will be available on all digital platforms, as a compact disc and a special edition double vinyl LP. A virtual listening event will take place around release week- details will be announced shortly.
Raise Up Off Me is Peterson’s 26th recording as a leader, and the 28th for his Onyx Productions Music Label. A self-described statement on society, this musical log pulled from issues that were important to Peterson: drug addiction and recovery; the importance of and the complexities of mental health; social issues and Black Lives Matter; and overall, the delicate impermanence of the physical life. On the title, Peterson says in a written statement: “In this era where we still feel the foot on our necks, the pepper spray and mace that burns our eyes and face, the bullets and the batons, I find it necessary to remind you that Black Lives Matter… and for my life to matter, you have to raise up off me.” The resulting work is a stirring opus made up of five Peterson-penned originals, and other compositions by Zaccai Curtis, Bud Powell, James Williams, Patrice Rushen and John Hicks. Jazzmeia Horn contributes a bonus track on the digital and LP version.
Raise Up Off Me was recorded entirely at Peterson’s own Onyx Recording studio in North Dartmouth, Massachusetts with engineer Dean David Albak on December 7, 8, and 9, 2020. The project finds Peterson at home with the Curtis Brothers, to whom he was a mentor and musical father. “It was always one of the greatest honors to play with Ralph. We loved him dearly and he always took the time to show us how much he loved us. This music is the pinnacle of what we've been striving for as a group. We are extensions of Ralph and his musical visions,” says Zaccai. Luques Curtis adds: "Ralph put a tremendous amount of love and thought into this recording knowing very much that it could be his last. He put his heart into this recording. I remember clearly how much fun he had planning it and his excitement throughout the recording process. I will always be grateful for the time I spent talking and learning from him on how to be a true Messenger of Music." The Curtis Brothers released Triangular III with Peterson in 2016 (Truth Revolution Records), and they appeared on various recordings with Peterson in his later years. Notably, Zaccai is featured on Peterson’s 2020 masterwork Onward & Upward.
Ralph Peterson passed away on March 1, 2021 after a six year battle with cancer. Peterson’s close confidant and musical brother Orrin Evans reflects on this crucial posthumous recording in his moving liner notes, which are excerpted below. A track listing follows.
If you knew Ralph Peterson, you knew whenever he titled a song or album, it directly correlated to something going on in his life. Art (1994, Blue Note) was Ralph’s tribute to his mentor, Art Blakey, who had just passed. Reclamation Project (1995, Evidence) was his way of telling us he was reclaiming his life and career. "The Trials of Trust and Treachery" off of Subliminal Seduction (2002, Criss Cross) was his homage to the difficulty but importance of long-term relationships. While Raise Up Off Me can easily be associated with 2020, the Black Lives Matter Movement, and the pandemic, the message I hear is Ralph's fight to LIVE! Raise Up Off Me immediately makes me think of my 7:00 AM daily Facebook check. The first post to pop up would be Ralph running on a treadmill, walking, practicing martial arts, or just plain old inspiring through words. From the moment he was diagnosed with cancer in 2015 he fought! “Raise Up Off Me - I GOT SOME SHIT TO DO... and he did it!”
With the outstanding Curtis Brothers on the team, we are taken on a journey through Ralph's musical and personal legacy. In 1985, Ralph recorded "Blue Hughes" with Out Of The Blue - a band of "young lions" including Ralph on drums and Kenny Garrett, Ralph Bowen, Robert Hurst, and Michael Mossman, to name a few. Thirty-five years later, he brings it back with a fresh new arrangement made perfect for the Curtis Brothers and special guest Eguie Castrillo. "Tears I Cannot Hide" from Subliminal Seduction gets an entirely different treatment with the addition of Jazzmeia Horn's heartfelt vocals and original lyrics. The lyric "I am free, no more misery" speaks to my heart every time. Sprinkled within the record, you'll hear Ralph taking the opportunity to pay homage to his mentors and elders. Compositions by Patrice Rushen, Bud Powell, John Hicks, and the great Walter Davis Jr., whom Ralph recorded with on Scorpio's Rising, are all given new life.
Anyone who has experienced Ralph Peterson's playing is aware of his deep feeling, "Respect for Truth," and the remarkable clarity he communicates them. Also evident to the listener and bandmates is his dedication to uplifting everyone on the bandstand. When I last saw Ralph, he looked at a few of us sitting there and said, "I'm glad I played the way I played my entire life because I always gave my all and have no regrets". As he was known to say while in the studio when asked to do a second or third take, "I meant what I played ... did you?"
Years ago, I composed a tune in jest of Ralph. Ralph was confident, secure in his skin, and occasionally braggadocious. I didn't always understand or appreciate where he was coming from, but I enjoyed his "Volition". The tune was titled "Professor Farworthy," a nickname a fellow musician came up with for Ralph. "Ralph is far more worthy in his head than the rest of the world thinks," said the fellow musician. For 20 years, I privately laughed at the song but never told Ralph it was about him. A few years ago, while in a soundcheck, Ralph said, "let's play ‘Farworthy’". I was so paranoid because I had no idea he knew about the song. I looked over at him, and he laughed that loud laugh and said, "If I can be Farworthy, then you will be Savoir-fair!" Even in jest, Ralph found a way to compliment and "learn me" (Ralph's saying). Savoir Faire was his way of saying I was everywhere but needed to focus on where I wanted to be musically and otherwise. At that moment, I realized Ralph did think he was worthy and Far More Worthy for that matter. Far More Worthy than the constraints of a record label, venue, jazz periodical, and any higher learning institution. But not only was he Far More Worthy, but we all were also. All of his students, bandmates, friends, family, and colleagues were better because we knew Ralph Peterson Jr. "Raise Up Off Me" I got shit to do, and SO DO YOU!”
With Love and Respect,
Orrin Evans
88 Keys Productions/Imani Records
1. Raise Up Off Me (Ralph Peterson) 08:02
2. The Right To live (Ralph Peterson) 07:25
3. Four Play (James Williams) 04:31
4. I Want To Be There For You (Zaccai Curtis) 08:21
Buffalo New York native John Hasselback III is quickly establishing himself as a lyrical trumpet soloist and composer in New York City’s vibrant jazz scene. Hasselback’s colorful sound is thoroughly informed by the lineage of jazz trumpet tradition, combining the sounds of yesterday with the sounds of tomorrow.
This music was written while living in Hartford, Connecticut and New York City. It reflects my experiences, surroundings and inspirations. I hope the listener finds their own sense of meaning and joy from the music.
1. B.F.G. 03:42
2. Blood Orange 05:21
3. Robert's Run 06:59
4. Scarborough Street 05:26
5. Rene's Way 06:36 6. Third Time's the Charm 03:43
7. Body and Soul 05:41
8. Eclipse 04:42
9. Kingsbridge 05:11
All compositions by John Hasselback III | John Hasselback III Music (ASCAP) except Body and Soul by Johnny Green | Warner Bros. (renewed)
John Hasselback III - Trumpet
Wayne Escoffery - Saxophone
Steve Davis - Trombone
Jonathan Barber - Drums
Luques Curtis - Bass
Taber Gable - Piano
Recorded at GHR October 10th & 11th, 2020
Andrew Oedel - Recording Engineer
Ethan Weissman - Mixing Engineer
Carl Bespolka - Additional Mixing and Mastering Engineer
John Hasselback III - Producer
Jack Nosavage - Production Assistant
Zack Rubin - Cover Photo
This project is funded in part by the Pathways To Jazz grant, a donor advised fund of the Boulder County Arts Alliance.
This recording would not have been possible without the support and tremendous positive energy from everyone involved. Thank you Orrin, you’re a lighthouse. The area you have illuminated helps us all enjoy the music, the process, and life. Thank you to Josh, Chet, Luques, Mark and Julius for having fun and bringing life and vitality to the music. Thank you to Sarah, my great friend and collaborator, for joining us. Collaboration is music. To Ben Rubin, for being involved all the way through the recording; from conversations, producing, and mixing, thank you for making it sound great. And last, but certainly not least, thank you to Marta Sánchez for her love, her support, and for inspiring me to reach past my goals.
Caleb Wheeler Curtis
1. La Tortuga 03:08
2. Day 3 04:55
3. Torrential 04:00
4. The Importance of Abstraction 04:37
5. Ain't No Storm 04:38
6. The Others 05:50
7. Failure is an Option 03:48
8. A Cautionary Tale in Two Parts 02:34
9. That Which Cannot Be Replaced 05:27
10. Dystopia 02:38 video
11. Portrait 06:19
All songs and lyrics by Caleb Wheeler Curtis (BMI)
Caleb Wheeler Curtis – alto saxophone
Josh Lawrence – trumpet
Chet Doxas – tenor saxophone
Luques Curtis – double bass
Mark Whitfield Jr. – drums
With:
Julius Rodriguez – piano (1, 6, 11)
Sarah Elizabeth Charles – voice (4, 5)
Orrin Evans – piano (4)
Produced by Orrin Evans and Ben Rubin
Mixed by Ben Rubin at the House of Cha Cha, Brooklyn, NY
Mastered by Katsuhiko Naito
Recorded by Katsuhiko Naito with assistance from Teng Chen and Ben Rubin at Samurai Hotel, Astoria, NY on March 18, 2019
“Joined by Richie Barshay on drumset and Reinaldo De Jesus on percussion, they navi- gate bebop, boogaloo, urban, bolero, bomba and rumba grooves on repertoire spanning Bud Powell (“Hallucinations”), Dizzy Gillespie (“Bebop”), Horace Silver (“Quicksilver”), Wayne Shorter (“Yes And No”), Charlie Palmieri (“Start e World”) and Mongo Santamaria (“Afro Blue”) as well as r&b and Tin Pan Alley material. Luques’ syncopation, time feel and note choices refract the essence of such Atomic Era jazz heroes as Paul Chambers, Oscar Pettiford and Wilbur Ware through a tumbao lens informed by González, Bobby Rodriguez and Cachao. ‘I think our ability to combine those different sounds into our own thing—blessed by the elders, you could say—is unique,’ Curtis said.
He referred to the aspiration- al message of the ‘Truth Revolution’ imprimatur: ‘It means being a free mind, doing something musically or spiritually positive. That’s our goal.’”
Excerpt from the article, “Pursuing Positivity” by Ted Panken, Downbeat Magazine, 2016.
01. Afro Blue (Mongo Santamaria)
02. Hallucinations (Bud Powell)
03. Bebop (Dizzy Gillespie)
04. Betcha By Golly Wow (Linda Creed/ Thom Bell)
05. Yes or No (Wayne Shorter)
06. Syzygy (Zaccai Curtis)
07. Start The World I Want To Get On (Charlie Palmieri)
08. All of You (Cole Porter)
09. Hi-Heel Sneakers (Tommy Tucker)
10. What’s Going On (Marvin Gaye/ Al Cleveland/ Renaldo Benson)
11. Cheer Up Charlie (Anthony Newley/ Leslie Bricusse)
