Mario Pavone / Dialect Trio +1 - Blue Vertical (June 18, 2021 on Out Of Your Head Records)

FOR IMMEDIATE RELEASE

Mario Pavone / Dialect Trio + 1 - Blue Vertical (OOYH 010)

To be released June 18, 2021 on Out Of Your Head Records

"Mario Pavone’s jazz can possibly be heard two different ways: the rhythmic and harmonic grids of bebop and all that descends from it, and the cathartic tracing-in-air of free jazz." --Ben Ratliff, New York Times

Mario Pavone / Dialect Trio + 1 - Blue Vertical (OOYH 010): Blue Vertical is to be the final recording by the legendary bassist and composer Mario Pavone, who passed on May 15 2021. Though in the final stages of a 17-year battle with cancer, Pavone pushed throughout the past seven weeks to make sure this music would be a part of his recorded legacy. On March 25 and 26 2021 he gathered his Dialect Trio with Matt Mitchell and Tyshawn Sorey (an active group since 2014), and the addition of his longtime collaborator Dave Ballou on trumpet, to record the music that has become Blue Vertical. Blue Vertical is releasing simultaneously with the album Isabella (Clean Feed), both of which are dedicated to Mario's granddaughter, Isabella Pavone, a 23-year-old mother of four who died tragically in June 2020.

In the wonderful interview Mario Pavone Makes His Final Statement with journalist Kevin Whitehead, which was featured recently in Downbeat Magazine, Mario Pavone said:

“I’m just happy to get these two releases done. It took every bit of energy, and the music is what got me through. I’ve had a great life and I’m so appreciative of all the players who jumped in and generously contributed, from the heart. I’m grateful, happy, satisfied with my life, ready to move to this next cycle.”

The recording shows his partners in the Dialect Trio (Mitchell and Sorey) to be in their typical telepathic form, following Pavone into every nook and cranny of these compositions. Dave Ballou on trumpet (who also arranged all of this music for Pavone) adds another very welcome dimension to the overall sound. The way the trumpet melodies align with Mitchell’s right hand is stunning, and Ballou is clearly an equal member of a quartet and not the fourth wheel in a trio. The band plays with a sensitivity that is appropriate for the moment, but the recording is also joyous and celebratory. Mario Pavone has released 34 albums over the course of an almost 60-year career. Blue Vertical is the testament of a life truly well-lived, and a beautiful final gift from an absolute master of this music. 

Martin Johnson wrote a heartfelt and enlightening appreciation of Mario Pavone for NPR, which is well worth a read for additional background info. You can find the article HERE

A full bio, additional info, and media spanning Mario's entire careeer are available at mariopavone.com

1. Twardzik

2. OKWA

3. Blue Poles

4. Isabella

5. Philosophy Series

6. Blue Vertical

7. Good Treble

8. Legacy Stories

9. Face Music

Mario Pavone - bass, compositions

Dave Ballou - trumpet, arrangements

Matt Mitchell - piano

Tyshawn Sorey - drums

This album is dedicated to Isabella Pavone (November 12,1996 - June 10, 2020)

All compositions by Mario Pavone (Pavo Publishing ) / BMI, and produced by Mario Pavone.

All arrangements by Dave Ballou.

Recorded on March 25 and 26, 2021 by Dave Stollar at Samurai Hotel Studio, Astoria, Queens, NYC.

Mixed by Ed Tetreault. Mastered by Michael MacDonald at AlgoRhythms Mastering.

Artwork and design by TJ Huff (huffart.com). Cover photo by Maurice D. Robertson.

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Scatman Crothers - Groovin' with...Scatman (June 18, 2021 Panda Digital)

Benjamin Sherman ‘Scatman’ Crothers (1910-1986) was a

true star of the stage, film, and television. He first started

performing in clubs as a singer and drummer in his teens, and

wound up performing on Chicago’s speak-easy circuit in the

latter part of the ‘Roaring 20’s.’ In 1931, Crothers found himself

hosting his own radio show on WFMK in Dayton, Ohio, where

he became well known for scatting over instrumental tracks on

the air. Billing himself as ‘Scat Man’, he formed his own trio, Scat

Man and His Cats, and toured the South extensively. In 1934,

he performed at the world famous Cotton Club for the first

time, and in 1935 he made his first appearance on film in a

short called Symphony In Black featuring Duke Ellington and

Billie Holiday. He would go on to act in 45 more motion

pictures, including The Shining, One Flew Over The Cuckoo’s Nest,

Bronco Billy, Aristocats, The Shootist, Silver Streak, The Lady Sings

The Blues, Scavenger Hunt, and Transformers: The Movie.

In 1943, Scatman moved to Hollywood, California, and in 1948

became one of the first African Americans to land a recurring

role on a network TV show: Paramount’s Dixie Showboat. Over

the next three decades, Scatman appeared in hundreds of TV

programs. Crothers was honoured with a star on the

Hollywood Blvd. Walk of Fame, located in front of the famed

Egyptian Theater.

In 1975, after thirty years of recording for labels like RCA,

Capitol, Decca, and Motown, Crothers met record producer/

composer Andrew A. Melzer. Together, they recorded a

collection of songs that are finally being released today by

Panda Digital. Groovin’ with…Scatman captures Crothers in

his element alongside studio veterans and jazz legends like

Ray Brown and Victor Feldman. This colourful and

entertaining album includes beautiful pop standards like You’re

Pretty, a couple of comedic dance numbers, and a pair of

tributes to characters he played: Louie is Your Garbage Man

(NBC’s Chico and the Man) and Stanley Does It All (Stanley

Kubrick’s The Shining.)

Groovin with… Scatman will be released June 18, 2021 by Panda Digital.

1. Going Strong (Leonard/Martin/Melzer) 2:56

2. Scatman’s 1:40

3. Still Going Strong 2:02

4. You’re Pretty (Michael Dees) 3:58

5. Louie Is Your Garbage Man (Crothers/Melzer) 2:48

6. Scoot On Over To Scat’s (Melzer) 4:24

7. Stanley (Does It All) 2:41

8. Going Strong Theme (Melzer) 1:15

All songs composed by Scatman Crothers unless otherwise noted

Scatman Crothers - Vocals

Tracks 1, 2, 3, 8:

Bass - Ray Brown; Guitar - Arthur Adams;

Piano/B3: Mike Melvoin; Guitar - Al Ciner; Drums - Earl Palmer;

BG Vocals - Dianne Brooks, Clydie King; Grace Cosgrove;

Featuring The Tonight Show Horn Section:

Reeds - Tommy Newson, Bill Green; Trumpets - Snooky Young,

Oscar Brashear, John Audino, Jimmy Zito;

Trombones - Chauncey Welsh, Ernie Tack

Tracks 4-6:

Bass - Dennis Belfield; Guitar - Al Ciner;

Drums - Ralph Humphrey;

Piano, Vibraphone & Percussion - Victor Feldman;

Background Vocals - Sherlie Mae Matthews

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Miguel Muziq - An Angel's Healing (June 18, 2021)

June 18th 2021 marks the release of An Angel’s Healing, the brand new album from Michael Panteli, affectionately known by his artist moniker, Miguel Muziq. An Angel’s Healing is a unique body of work that covers a notably diverse spectrum of styles. Miguel’s roots as an expert Latin guitarist co-exist alongside a clear understanding of modern jazz, bound together with a range of influences from his Mediterranean-Cypriot upbringing. When combined with the emotive nuances of Miguel’s songwriting and the dexterous ability and flair that he displays as a player, the result is a genuine force to be reckoned with.

An Angel’s Healing features the highly sought after contemporary US jazz trumpeter Keyon Harrold and his accomplished brother Emanuel Harrold on drums, as well as other members of leading jazz vocalist Gregory Porter’s band, including saxophonist Tivon Pennicott, and bassist Jahmal Nichols. Afro-Cuban horn player Yelfris Valdes lends his expertise to various tracks, as do accomplished trumpeters Jay Phelps and Jackson Mathod. Brazilian percussionist Jansen Santana makes some exemplary appearances on other tracks too.

Ultimately a collective of excellent players who hail from the U.S.A, Cuba, Brazil, Peru, Chile, Spain, Romania, Jamaica, the U.K and Canada all make their own special contributions to the album. This ‘dream team’ of musicians greatly enhance proceedings and each in their own way compliment Miguel’s individual talent, as well as providing a glowing endorsement of his calibre as a guitar player, songwriter and producer.

The compositions on 'An Angel’s Healing' evolved from a complex process of loss and reconciliation, after Miguel and his partner experienced the trauma of losing an unborn child. His coping mechanism in the aftermath, was to create music. It was a journey of self-discovery, guided by their 'Angel Star'. He would then seek inspiration from some of the very musicians that would end up contributing to the album.

There are many examples of important moments in the development of An Angel’s Healing that occur simultaneously to key milestones in Miguel and his family’s lives – an example of this is the song "Kumharas", a tribute to the special venue in Ibiza where Miguel saw Paco Fernandez perform. Eight months later, the return to this space marked the discovery that Miguel’s wife was in fact pregnant again. Emotional occurrences such as this became synonymous with the creative process of the album, which is evident within the music and ultimately this is one of the things that makes it special.

Miguel plans to release some singles from the album ahead of its release, beginning in April with a track entitled ‘Frith Street’, in a nod to the bohemian nature of Soho and its iconic jazz club Ronnie Scott’s, which features Keyon Harrold on trumpet and Emanuel Harrold on drums. Both musicians feature again on "To Angel Star, Love Papa", this time joined by Tivon Pennicott and Jahmal Nichols, in what is quintessentially a musical letter to 'Angel Star'.

Miguel has enhanced the experience of the album as a whole by also commissioning fine artists being draw and paint their own personal interpretations of the music. This collection of art has been called 'The Art Of Muziq'.

With this and a set of imaginative and engaging music videos in the pipeline, An Angel’s Healing is set to be an important release this year. 

1. Mi Corazón (Intro)

2. Latin Village (feat Emanuel Harrold and Yelfris Valdés)

3. Frith Street (feat Keyon Harrold and Emanuel Harrold)

4. Plaza De Miguel

5. To The Apollo (Interlude) (feat Jay Phelps, Emanuel Harrold and Jahmal Nichols)

6. Jazz Dream (feat Jackson Mathod and Yelfris Valdés)

7. To Angel Star, Love Papa (feat Keyon Harrold, Tivon Pennicott, Jahmal Nichold and Emanuel Harrold)

8. Havana To Cyprus (feat Yelfris Valdés)

9. Salsa Numero Uno (feat Jansen Santana)

10. El Carnaval (feat Mario Yañez)

11. Una Cancion Para Palma (Interlude) (feat Eikel Venegas)

12. Kumharas

13. Tired Eyes (feat Keyon Harrold and Emanuel Harrold)

14. Life Goes On

Miguel Muziq appears courtesy of Viva La Música Records

Guitars, Synth Bass, Synths, Additional Percussion: Miguel Muziq

Sax: Tivon Pennicott

Trumpets: Keyon Harrold, Yelfris Valdés, Jay Phelps, Jackson Mathod, Eikel Venegas, Andy Hornsby, Christopher Sharp.

Trombone: Pablo Martin

Drums: Emanuel Harrold, Stefan Brown, Aaron Lawrence

Percussion: Jansen Santana, Mario Yañez

Bass: Jahmal Nichols, AJ Brinkman

Violins: Naomi Wilmhurst, Sabina Virtosu

Cello: Susie Blankfield

All tracks produced by Miguel Muziq

All editing by Miguel Muziq

Mixed by Miguel Muziq at Angel Star Studios

Mastered by Shane McEnhill

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Shan - Shan (June 18, 2021)

Les musiciens de Shan improvisent en se projetant dans un imaginaire commun de la montagne. La musique fait écho à l’entièreté des forces élémentaires qui l’habitent, s’y entrechoquent, s’y accordent, ainsi qu’à la relation entre les humains et ces forces.

La musique de Shan ne se répète jamais. Elle est vivante, se métamorphose au gré de l’espace commun qui se crée à chacune des improvisations du trio. Cet espace s’étend à chacune de leurs retrouvailles et laisse toujours la parole à ce qui doit se dire dans l’instant. À l'intérieur de cette musique, il n'y a pas de leader à proprement parler, mais une conversation triangulaire, dans laquelle chacun fait résonner son instrument en s'abandonnant à l'énergie tellurique et sonore qui circule.

Toutes ces facettes se retrouvent au sein de leur premier album, enregistré à l'occasion d'un concert au Studio Alys, à Manteyer dans les Hautes Alpes. Les énergies naturelles de la montagne s’y retrouvent et se croisent avec les vibrations des instruments de chacun.

La musique de Shan est illustrée par Ursula Caruel. Diplômée de l’École Supérieure des Arts Appliqués et Textiles de Roubaix, passionnée de botanique, l’observation du végétal et de la croissance du vivant sont au coeur de son processus créatif. Elle met en résonnance cette passion avec l’imaginaire des musiciens de Shan, ancré dans l’univers de la montagne et des forces qui s’y trouvent.

Avec la volonté de prolonger la collaboration qui a mené à l’illustration de leur album, les musiciens de Shan et Ursula Caruel ont eu l’idée de créer des vinyles aux pochettes uniques. Au sein d’une série limitée à 50 exemplaires, chacun des vinyles est un objet artistique qui raconte une nouvelle histoire, en s’appuyant sur l’illustration originale. Numérotées et signées, ces pochettes « rehaussées » sont des oeuvres uniques sur un support original, à la croisée des champs artistiques.

1. Traces et Empreintes du Jour

2. Le Chant de la Pluie

3. Lumières de l’Eau

4. Plongée vers les Roches Sombres

5. Ce que voit l’Aigle

6. Vagues Animales

7. La Neige devient Torrent

Pascal Charrier : guitare folk

Julien Pontvianne : saxophone ténor, clarinette

Ariel Tessier : batterie

Enregistrement : novembre 2019, Studio Alys, Manteyer (05)

Mixage : Pascal Perrot et Pascal Charrier, Studio Alys

Mastering : Nicolas Baillard, Studio La Buissonne, Pernes-Les-Fontaines (84)

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Jazz Aspen Snowmass' 30th Anniversary | June 18 – September 7, 2021

JAS 30th Anniversary Summer Updates

June 18 – September 7, 2021

Jazz Aspen Snowmass’ 30th anniversary unfolds against a backdrop of growing optimism about what the summer of 2021 will look like for live music performances.  

JAS plans to present its full summer season of small venue concerts, focused on safe and distanced in-person “live” performances starting the weekend of June 18-20 (Food & Wine time historically), followed immediately by the June JAS Experience June 24-27 and the JAS Café summer season of July/August performances. 

“We are closely monitoring the evolving health guidelines and protocols emerging in our industry both nationally and internationally,” stated JAS President & CEO Jim Horowitz. “We are confident that we will be able to safely manage the crowds at all our smaller venues hosting JAS June and summer JAS Café performances. We expect thrills, tears and frequent enthusiastic applause after the long forced silence of live music during COVID-19’s rampage.”

With many national large outdoor festivals being re-scheduled from 2020 to mid-summer & early fall 2021 (including three major US festivals in addition to JAS over Labor Day weekend led by Bonnaroo which went on sale April 1st), JAS is optimistic its annual season closing festival over Labor Day weekend will take place based on Pitkin County Health guidelines at the time. JAS plans to announce its final line-up of Artists for the event in June.  

Also this summer, JAS’ flagship all-scholarship JAS Academy in collaboration with Frost School of Music at the University of Miami will expand from two to four weeks, adding a “Small Combo” Sessions segment from July 11–25 to complement its “Big Band” Sessions July 26–August 7, led under the direction of GRAMMY® Award-winning bassist, Christian McBride.

Summer Highlights:

The June Experience will include a total of eight performance venues. General admission passes include shows at The Little Nell, Here House at Local Coffee, Belly Up, and the Wheeler Opera House. Patron/VIP pass holders will enjoy music at The Velvet Buck at the St. Regis, rooftop at the Aspen Art Museum, and at the Durant St. Patron Tent located at the ice rink. Additional single ticket performances will take place at the Hotel Jerome for the first time since 1991. 

The majority of the June Experience line-up includes artists who were originally scheduled to perform in June 2020. The summer JAS Café series also hosts many favorite JAS artists originally scheduled to perform in 2020.

“Our over-riding theme for 2021 is celebrating our musical roots. Hence, the artistic program is filled with Artists who have a long history with the family of JAS, having performed numerous times to great audience acclaim through the years, while also sprinkling the program with numerous artist debuts. At the same time, JAS shines a particular light in its June & JAS Café season on the Roots of American popular music …. Gospel, Blues & Early Jazz which emerged after the Civil War and laid the foundation for the explosion of American popular music and recording in the 20th Century,” said Horowitz.

Among the highlights of the June Experience: 

Featured as part of the Patron/VIP program: dazzling 8-time GRAMMY® Award-winning a cappella vocal sextet Take 6 (Durant St. Patron Tent, June 25); the explosive sounds fusing jazz with reggae rhythms of Monty Alexander’s Harlem-Kingston Express (AAM, June 25); multiple GRAMMY® winning jazz vocalist Dee Dee Bridgewater (Velvet Buck, June 25); and the swinging & sultry NYC jazz vocalist Carolyn Leonhart (Velvet Buck, June 27).

Included in both the Patron/VIP and general admission programs: Denver’s beloved funk outfit The Motet (Belly Up, June 25/Durant St. Patron Tent, June 26); the classic '70s sound (featuring all original arrangements sanctioned by the Estate) of The Family Stone (Durant St. Patron Tent, June 25, Belly Up, June 26); high energy swinging trad-jazz dripping with humor & theatre from the wildly popular Sammy Miller & the Congregation (Belly Up, June 26; Durant St. Patron Tent Sunday Brunch Shows, June 27); and the legendary, multi-winning W.C. Handy Blues award winning vocalist, Ms. Bettye Lavette, in her JAS debut (Wheeler Opera House, June 25, Velvet Buck, June 26); and from New Orleans Tuba Skinny, a wildly inventive former street band who meld early trad jazz with Dixieland, drums, folk and more ( AAM, June 24 & Wheeler Opera House, June 27).

Additional highlights for general admission pass holders include: brilliant solo guitar and mouth percussion from Brazilian Badi Assad (Here House, June 25-26); stunning flamenco guitar from Juanito Pascual (Here House, June 27); and a soul-stirring pair of deeply soulful and funky Hammond B-3 Organ Quartets Delvon Lamarr and Jamison Ross (The Little Nell, June 25-27) each bringing their smokin’ B-3 Trio’s plus special guests on guitar.  

At the Hotel Jerome Ballroom on Friday, June 25 and Saturday, June 26 a blistering New Orleans Revue featuring Dumpstaphunk with bassist George Porter, Jr. and the legendary pianist/vocalist Jon Cleary will be available on a single ticket basis, not included in the Experience passes. Ticket options include an early dinner show, featuring a 3-course New Orleans inspired dinner provided by the Hotel Jerome and a late show music only option.

Among the highlights of the JAS Café Series: 

A special weekend opening the summer season will be announced soon taking place over the former Food & Wine Classic dates (June 18-19); urbane jazz vocalist & saxophonist Curtis Stigers (July 9); legendary jazz-fusion pioneers The Yellowjackets who performed at the Benedict Music Tent on the opening weekend of Jazz Aspen June 1991 (July 10); jazz pianist and Frost School of Music Dean Shelly Berg & Friends (July 23); Caribbean Carnivale sounds of jazz trumpeter Etienne Charles & Creole Soul (July 24); JAS Academy Artistic Director and multi-Grammy winning bassist Christian McBride & Tip City (Aug. 5); the premier male jazz vocalist of his generation, Kurt Elling, in his long overdue JAS Café debut (Aug. 6); the return of a favorite JAS vocalist, Catherine Russell, in a Blues focused program paying tribute to early blues pioneers like Bessie Smith (Aug. 13); and another JAS debut, the wildly creative fusion of jazz, African rhythms & bluegrass sounds of Pascal Bokar’s Afro Blue Grazz Band (Aug. 15). Additional JAS Café shows will be announced at a later date.   

TICKETS FOR SUMMER EVENTS

The JAS June Experience will operate under the guidelines of event gatherings as directed by Pitkin County Health. All venues are projected to operate at much lower capacities than in 2019, with a maximum of 50–100 persons allowed to attend each performance. A limited number of three-day general admission passes will be available for sale at 9am MST on Friday, April 23 at axs.com/jasaspen. At this time all Patron/VIP passes are sold-out based on 2020 purchasers choosing to move their tickets to 2021 following last years event postponement.

If capacities and/or distancing requirements change to allow more attendees by early summer, additional seats will be opened for purchase. “Surprise” events yet to be revealed will be announced at a later date in multiple venues.

The JAS Café series, with shows taking place on the rooftop of the Aspen Art Museum and at the Velvet Buck in the St. Regis, will go on-sale this Friday at 9am as well. Tickets can be purchased at axs.com/jasaspen or 970-920-4996. Each night at the Café will feature two performances at 7pm and 9:15pm. 

On June 21, 1991, the three-day “Jazz Aspen” festival was born in Aspen, marked by an opening night Gala at the Hotel Jerome; a New Orleans Brass Band parade circling the Hyman & Cooper pedestrian malls, and, two nights of concerts at the Benedict Music Tent, each featuring three stellar Artists. Thirty years later, JAS plans to celebrate their history and roots, while helping to be a major part of this summer’s highly anticipated re-opening of Aspen.

For more information on JAS summer plans and more, please visit jazzaspensnowmass.org.

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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Jes Berge - Space Jazz Monstrosity (June 17, 2021)

Jes Berge’s

SPACE JAZZ MONSTROSITY

A free flowing guitar driven jazz experiment that wanders through genres and motifs

About Jes

- Originally from Indianapolis, he

resides in Los Angeles and works in

the film industry.

- He is better known (well, not much)

for his electronic music released as

‘Avant Grade’.

- He played in bands when he was

younger and recorded some guitar

tracks over the years, but had

mostly quit playing the guitar until

the pandemic hit.

Track Background Quote

“The pandemic reinvigorated my former passion for guitar. I started off attempting to master Frank Zappa’s ‘Twenty Small Cigars’. Then I revisited a twenty year old Arnie Berle jazz guitar book and learned some Wes Montgomery before I became distracted with the octave driven Space Jazz Monstrosity. I had no intention of doing a jazz song with live instruments, but all the training I was doing led me toward creating this track. I wanted to make something with a free structure, where the only general rule was that the music must continue moving on to somewhere new.”

A Constantly Evolving Production

The track began as a solo guitar work, but constantly evolved. After the addition of drums, Berge let the project get out of hand. He sourced more instrumentation from various internet session musicians. Berge was selective about what was used in this version, but so much material was recorded that he plans on making an alternate version without guitar. “I envision this track as a mother to other projects. I’ve considered sampling the track for an electronic/downtempo release, or reaching out to some of my favorite electronic musicians to see if they’ll take a stab at it. I would also love to split it up to use as cues for a psycho-noir film.”

An International Effort

The project was an international effort. Featuring Brazilian jazz drummer Igor Willcox and a short vocal section by Erika Boschi of Italy. The rest of the players are up and comers from all over America - Vibraphonist Morgan Walbridge, William Porter on Saxophone, Scott Hearn on Trombone, and bass by Quincy Njemanze. It was a project born from the pandemic.

1. Space Jazz Monstrosity 07:51

Guitar / Composition - Jes Berge

Drums - Igor Willcox

Bass - Quincy Njemanze

Vibraphone - Morgan Walbridge

Saxophone - William Porter

Trombone - Scott Hearn

Vocals - Erika Boschi

Mixed by Jeremy Leung

Mastered by Nick Stetina

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bandcamp    spotify

Fugu Quintet - Interweavement (2021)

There are several theories of the Origin of the Universe. According to one of them, our world is just a simulation created by an advanced civilization. Our creators have a strong rational mind, but a creative mind does not work so well, so humanity was invented to be creative. The creators look at us through the glass.

 

In all countries and eras with cultural stagnation, major cataclysms invariably began, bringing desolation and death. Modern humanity lives in the paradigm of endless cultural self-copying, not trying to create something new, walking the beaten path. Creative channels became filled with identical content, and we already feel the wrath of the creators.

 

This album is our attempt to demonstrate that human creativity has not been exhausted yet, our attempt to postpone the next great cataclysm which will be generated by the cultural asphyxia of our society. But that is not for sure . . .

1. Firefly 5:07

2. No One Had Come 7:39

3. Worry 6:20

4. Duck Of War 4:58

5. Where Flamingos Fly 5:42

6. Krakatoa 6:30

Music by: Fugu Quintet (1, 2, 3, 4, 6); Elthea Peale, Harold Courlander, John Benson Brooks (5)

Arrangements by: Fugu Quintet (1, 2, 3, 4, 6); Original arrangement by: Gil Evans, re-arranged by Fugu Quintet (5) 

Musicians:

Ilya Kondrashkov - Tenor sax, Alto sax

Konstantin Ivanov - Guitar, Synths

Aleksandr Kichev - Bass, Ocean drum (5)

Aleksei Shchekochikhin - Keys, Synths

Igor Borodin - Drums (1, 2, 3, 4, 5)

Artemiy Fakhrutdinov - Drums (6)

Aleksandra Gagarinova - Percussion (3, 5, 6)

Vladimir Bastin - Trumpet (2, 3, 5, 6), Flugelhorn (3), Mikrokosm - Drone Synths (2)

Konstantin Khazanovich - Key intro (1)

Ivan Rukinov - Violin (6)

Olga Vasilevskaya - Violin (6)

Irina Molchanova - Violin (6)

Sofia Larina - Viola (6)

Aleksandra Agapova - Viola (6)

Aleksei Makin - Cello (6)

Artemiy Iliashevich - Cello (6)

Recording:

Gorokhovaya 19 Studio

Sound Engineers:

Denis Dulitsky

Arseny Markhotin

Aleksandr Yakovlev

Strings recording:

Red Wave Studio

Sound Engineers:

Danila Danilov, Vladimir Luzhbinin

Guitar re-amping:

Mmmesss Studio

Sound Engineers:

Anton Vo

Petr Kupriyanov

Mixed by:

Aleksei Shchekochikhin and Fugu Quintet

Mastered by:

Nick Powell (London, UK)

Design:

Anel Ray

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Jeremy Baum - Hunk O' Funk (2021)

Hunk O' Funk - Jack McDuff

Arranged by Jeremy Baum

Co-Produced by Manuel Quintana & Jeremy Baum

Hammond Organ/Clavinet: Jeremy Baum

Guitar: Chris Vitarello

Flute: Jay Collins

Bass: Andy Stack

Drums: Manuel Quintana

Percussion: Carlos Valdez

Trumpet: Chris Pasin

Trombone: Jeanne Geiger

Mixed by Manuel Quintana

at Beet Recording Studio, Catskill, NY.

Mastered by Danny Blume

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Dave Rempis with Tomeka Reid, Joshua Abrams, Tim Daisy and Tyler Damon - The COVID Tapes (June 2021 Catalytic Sound)

At the onset of the COVID pandemic in the US in winter 2020, I was on tour. First in Europe for 10 days with Michael Zerang’s Blue Lights, ending with a performance with Michael and Elisabeth Harnik at the ArtActs Festival in Austria on March 6th. I then flew straight to Asheville, NC to start a tour with Kuzu on March 8th. In St. Louis on March 11th, the severity of what we were facing was becoming clear. We finished our last dates in Chicago, Milwaukee, and Madison, and two days later the country was in lockdown.

As an improviser, it felt like my job to figure out some way forward artistically. So I did what I often do when “working” in this abstract art form feels too absurd; I put my head down and kept plowing ahead. And it worked for awhile. An early invitation to do an online solo performance on March 25th as part of the Quarantine Concerts organized by ESS in Chicago showed one potential way forward. Although online performances sure aren’t ideal in a music that’s based on live in-person interaction, they were at least something. I’d already been delving seriously into my solo playing since 2017 when I did a long solo tour and produced my first solo record, Lattice, so why not try to build on that further?

After another invite to do an online performance at Fulton St. Collective in early May, I really dove in. I launched a concept whereby I’d release a new digital album on Aerophonic Records each week, culled from the many recordings I had on hand of various working bands and one-off projects spanning roughly twenty years. Each new album would be accompanied by an online record launch performance on Wednesday nights, and all the proceeds from sales would be split evenly between the artists on each one, hopefully generating a small amount of revenue for some of my collaborators. Between the first week of May and the last week of August, I produced 15 of those digital albums. The broadcasts were done through Twitch using just an iPhone, all from my closet-sized practice space at Unity Lutheran Church in the Edgewater neighborhood of Chicago. These concerts gave me the chance to work on new pieces each week, ranging from total improvisations, to tongue-in-cheek pop hits, to jazz standards. It also allowed me to talk somewhat extensively about my experiences in the music over the last 25 years, tying those into the music I’d chosen.

These solo selections make up about half the material on this two-cd set. Knox, by Joe McPhee, leads it off, because Joe is one of the most inspiring humans I’ve met through the music or otherwise. His early spring 2020 solo performances on the Quarantine Concerts made me think, “if Joe can do this, so can I!” We even traded some notes on technology and approach.

Other pieces were ones that I’d loved for years and finally took the time to really work on. I had included “B My Dear” by Dudu Pukwana in a solo concert I did at the Hungry Brain in January 2020, performing all ballads. A number of those pieces would continue to have life through these solo broadcasts, including ”Isfahan” by Billy Strayhorn and Duke Ellington. That piece is dedicated to my partner Victor Wasserman, who likes to play the Far East Suite around the house on Saturday mornings when I’m cooking brunch.

“The Song Is You” was chosen as a tribute to Joe Segal, owner of the Jazz Showcase in Chicago, whose career as an impresario began in the 1940’s. He passed away a few days before the online stream when this was recorded, in August. I’d always loved this tune since hearing Charlie Parker’s version when I was 12 or 13. Nate Wooley did a fantastic version inspired by Lee Konitz on another early Quarantine Concert. Konitz’s 39-minute version on his 1976 album Lone-Lee is mind-melting.

“Just A Gigolo” was chosen since it seemed to sum up my new life begging online. Talking with musician friends it became clear how dejected we all felt as mid-career or veteran artists at having to hold out our hats to try to restore some portion of the meager living most musicians make in “normal” times.

Finally, “On Green Dolphin St” was done as a tribute to Von Freeman. One of the first times I saw Von play in the 90’s, he opened with it, cut the band out after the head, and did a 10-minute unaccompanied solo before bringing them back for the outhead. My young mind was blown away by his singular sound and approach. Years later when I tried to get Von to do a solo set on the Umbrella Music Festival, he demurred, saying that wasn’t really his thing. I still beg to differ!

The group pieces presented here all came from live outdoor performances in the summer and fall of 2020. I don’t usually like playing outdoors. There’s no natural reverb, so it generally sounds bad. I’m also always afraid that an old lady is going to hit me over the head with her umbrella for playing such unruly music. But when an invite came from Adrienne Pierluissi at the Sugar Maple in Milwaukee to play a Sunday afternoon concert on their outdoor patio to a generously distanced audience, how could I say no? Tim Daisy and I were able to do three of these events between July and September.

Soon after, the Hyde Park Jazz Festival (for which I also work as a producer…) invited Joshua Abrams to present an outdoor concert as part of their “Postcards” Series. He convened our trio with Tomeka Reid for this on August 14th, and we scouted out a location at a park two blocks from my house in the Uptown neighborhood of Chicago. Seeing how well it worked, I continued this Friday evening series for the next two months. I mostly worked with Tyler Damon as a duo, sometimes adding Joshua on bass, and once adding Bill Harris for a double drum lineup. Matt Butchko, who I would refer to as a “superfan” of the music, generously came to each concert with the same portable mobile setup that he uses regularly at venues, with two small bud microphones positioned on top of his baseball hat. He managed to get good-sounding recordings, even outdoors. A huge debt of gratitude goes out to him for being there right up front for these and so many other concerts.

One of the interesting benefits of playing outside is evident on these recordings: all of the great background noises that play into the improvisations. Check out the overwhelming swells of sound from the chorus of cicadas, the punctuation of passing cars on Lake Shore Drive, and the cardinal calls at the end of the trio with Abrams and Reid for example. Or the truck beeping as it backs up at the end of the duo with Tim Daisy. Or the barking dog that passes through during the trio with Abrams and Damon. Those events all became a part of the music, and they’re presented here without any effort to filter them out, to give a better sense of what the experience of these concerts was actually like.

By late fall 2020, I felt burnt out from putting out so many records in what ended up being quite a busy year. I decided to take some space to further my artistic practice in other ways. With warm weather gone, case counts climbing, and venues slowing down even their online programming because of it, there weren’t too many options left for performances anyways. Going back to my practice space for more solo events felt somewhat played out after doing fifteen of them. As we move now into spring 2021, the future still remains uncertain. But with some luck, I hope to be involved in redefining what “normal” can be sometime soon. It’s clear that things can’t, won’t, and shouldn’t be the same as they were.

by Dave Rempis

1. Knox by Joe McPhee 06:46

2. Toron - Rempis/Daisy 17:18

3. B My Dear by Dudu Pukwana 03:40

4. Skin And Bones - Rempis/Abrams/Damon 22:58

5. The Song Is You by Jerome Kern 06:37

6. Just A Gigolo by Leonello Casuci 03:28

7. In The Wild - Rempis/Reid/Abrams 19:34

8. On Green Dolphin St by Bronislaw Kaper 06:52

9. Glitch - Rempis/Damon 17:29

10. Isfahan by Ellington/Strayhorn 04:19

Dave Rempis Solo (saxophones) and in duos and trios with :

Tomeka Reid – cello

Joshua Abrams – bass

Tim Daisy – drums

Tyler Damon - drums

All music recorded between May and September 2020 during the COVID era.

Solo tracks recorded by Dave Rempis at Unity Lutheran Church, Chicago

Rempis/Daisy Duo recorded by Dave Zuchowski at the Sugar Maple, Milwaukee

Rempis/Reid/Abrams, Rempis/Abrams/Damon, and Rempis/Damon recorded by Matt Butchko at Margate Park, Chicago

Mixed and mastered by Dave Zuchowski

Design by Johnathan Crawford

Produced by Dave Rempis

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Halym Kim's Bijul - My Illusion of Korea (June 2021 Barefoot Records)

With the project “Bijul” Halym Kim presents a new band that plays original compositions which are influenced by traditional Korean music. The Korean influences are coming from different types of the traditional music such as shamanistic, folkloristic and percussive music and they are transmitted into a context of experimental and improvised music. All pieces are composed by Halym Kim and express his interpretation and perception of a “foreign” culture. The compositions also display his thoughts about the political situation in South Korea, the Korean philosophy and their current society.

1. Shamanistic Ritual 06:00

2. Where do you really come from? 09:12

3. Humbling Old Man 05:21

4. Our Illusion of Korea 07:12

Nana Pi - tenor saxophone

Eloi Calame - bass clarinet

Erik Kimestad - trumpet

Grzegorz Tarwid - piano

Halym Kim - drums

Recorded and mixed by Storm D’Angelo

Mastered by Michal Kupicz

All compositions by Halym Kim

Artwork by Young Seok Kim

Released with support from Koda Kultur

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Willie Jones III - Fallen Heroes (2021 WJ3 Records)

Through Fallen Heroes, Jones celebrates his personal history with his musical heroes and the impact of each. “This new album is inspired by and dedicated to these soldiers of the music,” said Jones. “My father played with Ndugu, who became one of my earliest influences as a drummer, and I had the great fortune to work with Jimmy, Larry, and Roy, right up to the end of their lives.”

To document this celebration of music and spirit, Jones convened long-time colleagues who shared the stage with many of these masters alongside Jones throughout the years: trumpeter Jeremy Pelt, saxophonists Justin Robinson and Sherman Irby, trombonist Steve Davis, pianist George Cables, bassist Gerald Cannon, vocalist Renee Neufville; as well as emerging pianist Isaiah J. Thompson.

Collectively, the personnel on Fallen Heroes represents the continuum of jazz, and dedication to uphold the legacies of several acclaimed icons .

1. Something For Ndugu 03:58

2. Fallen Hero 03:39

3. C.T.A 04:42

4. Trust 03:56

5. Truthful Blues 06:19

6. Annika's Lullaby 08:36

7. To Wisdom The Prize 06:06

8. I've Just Seen Her 07:01

9. Jackin' For Change 05:20

Willie Jones III - Drums

Gerald Cannon - Bass

George Cables - Piano

Renee Neufville - Vocals

Steve Davis - Trombone

Isaiah J. Thompson - Piano

Justin Robinson - Saxophone

Sherman Irby - Saxophone

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John McLaughlin - Liberation Time (July 16, 2021 Abstract Logix)

John McLaughlin announces new studio album

Spanning innumerable ensembles, hundreds of compositions, and thousands of performances, John McLaughlin’s wide-ranging musical journey is guided by an unflagging quest for transcendence — a tireless grasp for spiritual ecstasy that renders traditional, earthly boundaries irrelevant. For more than five decades, McLaughlin has deployed his peerless guitar technique, compositional gifts, and imagination in service of a deeply personal higher calling, forging a vast legacy unmatched in improvised music.

Thankfully, his journey is nowhere near complete — especially now when we need him most.

As the world reels from the social, emotional, and spiritual toll of the ongoing viral-induced global lockdown, McLaughlin reflects on both the perils and potential of this challenging moment with “Liberation Time” — his newest album, available July 16th on Abstract Logix/Mediastarz. In the fall of 2020, as the reality of pandemic limitations set in, McLaughlin commenced work on “Liberation Time” as a “direct response” (his words) to the mandated restrictions imposed by the spread of Covid-19. Characterized by both joy and reflection, “Liberation Time” finds McLaughlin harnessing his frustrations and redirecting that energy. “The result,” he explains in a candid liner note, “was an explosion of music in my mind.”

Unusual for McLaughlin’s recent projects, “Liberation Time” is not the work of one fixed ensemble. With physical proximity no longer a prerequisite, McLaughlin drew upon decades of experience as a bandleader to select musicians best suited to each composition. “That is a choice that can only be made correctly if you know how the musicians play,” he explains. “Not just how well they play technically, but how they play intuitively. Only then can you make the right decisions.”

Creating compelling, dynamic performances from contributors isolated around the globe required McLaughlin to draw from his years of experience as a producer, recording artist, and bandleader to set up parameters that would spark inspiration. “I have a certain experience playing drums, piano, and bass,” he says, “so it’s not difficult for me to create a session that not only gives the structure melodically, rhythmically and harmonically — along with the atmosphere of the piece. I set this up and send it to the musicians, giving very broad outlines of the piece, and ask them to be themselves in their improvisations and in the way they accompany the themes. Several pieces came back to me transformed, and I would then re-record my part in response.”

“As the Spirit Sings” introduces the album by contrasting churning rhythmic tension (stoked by drummer Vinnie Colaiuta and bassist Sam Burgess) with McLaughlin’s soaring guitar figures — all underpinned by Gary Husband’s subtle, expansive piano. While each musician recorded his part in their respective locales, the responsiveness of the performers is undimmed by distance.

Knotty post-bop figures form the basis of “Right Here, Right Now, Right On,” one of the most jazz-inflected performances McLaughlin has laid down in some time, featuring Nicolas Viccaro (drums), Jerome Regard (bass), Julian Siegel (tenor saxophone), and Oz Ezzeldin (piano). While his muse has led him down many stylistic avenues over the course of his career, McLaughlin is quick to cite his roots in jazz as a foundational element of his approach to this day. “We are all jazz musicians,” he says of himself and his cohorts on “Liberation Time”, “and there is much love between jazz musicians. All the musicians I invited to perform with me know that there will not only be collective playing, but they will have the possibility to express their individuality spontaneously. This is the great characteristic of jazz.”

When speaking of camaraderie, it is impossible to ignore the profound brotherhood that exists between the members of 4th Dimension — McLaughlin’s current ensemble, which includes Husband along with Etienne Mbappe (bass) and Ranjit Barot (drums). They are featured on the soul “Lockdown Blues,” a playful refraction examination of blues tropes first released last summer to benefit the Jazz Foundation of America.

While much of Liberation Blues revels in the sort of spontaneous interplay that has been denied by Covid restrictions, some of the album’s most touching moments feature McLaughlin alone at the piano — an instrument he has not recorded on since his 1973 collaboration with Carlos Santana, “Love Devotion Surrender”. Although brief, McLaughlin’s two piano features, “Mila Repa” and “Shade of Blue,” are by no means incomplete. “In my mind, the two pieces I play the piano on are like two short musical poems,” he says. “I’m very fond of the Haiku form of poetry — which is ‘distilled’ poetry — and this is how I see these two pieces. There are few notes and much space, as in the kind of poetry I enjoy. I include them to bring a particular feeling into the listener’s mind.”

With vaccination campaigns now in full effect and a more promising tomorrow coming into view, Liberation Time’s title track can be felt as visceral anticipation — a rousing glimpse into an unbound future rich with possibilities. With Sam Burgess’s bass holding the center, the cut culminates in a thrilling conversation between McLaughlin and longtime bandmate Gary Husband, who is heard on both piano and drums. Eventually bass and piano drop out, unleashing a riveting guitar/drum dialogue made even more astonishing by the fact that neither of the performers were able to make eye contact with one another.

“Liberation Time” is a product of its times, and yet it looks both forwards and backwards — at once drawing upon memories of better days gone and yet reaching for a new dawn. If the rhythmic innovations and intricacies of such past McLaughlin projects as Mahavishnu Orchestra and Shakti have demonstrated anything, it is that John McLaughlin seems time itself as pliable and open to interpretation. And if time is no barrier to his creative impulses, why should distance be? Looking back at the transcontinental sessions that resulted in “Liberation Time”, McLaughlin concludes, “The wonderful thing about music is that you put the headphones on, and you are all in the same room.”

1. As the Spirit Sings 5:22

2. Singing Our Secrets 5:13

3. Lockdown Blues 7:19

4. Mila Repa 2:29

5. Right Here, Right Now, Right On 7:26

6. Shade of Blue 1:33

7. Liberation Time 7:57

John McLaughlin (Guitar / Piano)

Gary Husband (Drums and Piano)

Ranjit Barot (Drums / Konokol)

Vinnie Colaiuta (Drums)

Etienne MBappe (Bass)

Roger Rossignol (Piano)

Jean Michel ‘Kiki’ Aublette (Drums / Bass)

Nicholas Viccaro (Drums)

Julian Siegel (Tenor Sax)

Sam Burgess (Bass)

Jerome Regard (Bass)

Oz Ezzeldin (Piano)

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