Kurt Elling - SuperBlue (October 8, 2021 Edition Records)

After scoring his second GRAMMY Award (and 14th nomination) in March 2021, the protean vocalist Kurt Elling hangs an unexpected left turn with SuperBlue for Edition Records. It’s a torrent of roisterous funk, indelible beats and all-too-current lyrics that boasts the talents of producer-guitarist Charlie Hunter and two stars of the hip-hop generation: drummer Corey Fonville and bassist-keyboardist DJ Harrison (both of the genre-hopping band Butcher Brown). Elling has always been a master of grooves, ranging from bebop to pure pop and progressive jazz to neo-soul, but he’s never filled an album with grooves quite like these.

Thanks to newly sprung melody and lyrics from Elling, along with Hunter & co.’s fresh grooves, SuperBlue features all-new songs, innovative takes on compositions from jazz lions Wayne Shorter and Freddie Hubbard, and a raw and stripped-down treatment of “The Seed,” a still-dynamic, decades-old riff on immortality written by Cody Chestnutt. There is even a slamming new version of a Tom Waits tune.

Elling has never made an album like this – and he’s never made any album in the way that SuperBlue took shape. To this day, he has yet to meet the members of Butcher Brown in person: with travel confined by the COVID-19 pandemic, their collaboration happened across a distance of roughly 1,000 miles, with Hunter acting as go-between. In their Virginia studio, Fonville and Harrison met with Hunter to hammer out an assortment of grooves and colors; at his home in Chicago, Elling took the rhythm tracks and determined whether they called for new melodic narratives or were better suited to existing compositions. Once the groundwork was complete, Elling and Hunter got together at a converted horse barn in Urbana, Illinois, where they recorded the vocal and solo guitar tracks and mixed it all down.

For all that, Fonville considers this “one of the most organic sessions” he’s ever done, with a surprising lack of hassle or fuss. “The seeds were planted a while ago,” Elling says, “and then the pandemic got [Charlie and me] both stuck at home. The time inside was the hothouse for something new to grow. Finally, the seeds busted open and grew into this crazy, weird COVID flower.”

The writing process gave Elling the chance to return to several of his now-familiar passions, such as the Beat Generation, current politics and the interpolation of contemplative poetry into already transcendent ballads. But even these touchstones buzz with the fresh energy of contemporary jazz-funk fusion.

Speaking about Fonville and Harrison, Elling is grateful. “For those gifted young cats to give me the trust, and to vibe with me and be so enthusiastic about this project, is a great compliment. It’s enlivening and even rejuvenating in the truest sense of the word. I haven’t been paying as much attention to the groove-oriented stuff that younger cats have been developing, except in a cursory fashion – not because I don’t like it, but because I’ve been focused for so long on learning from cats like Prez and Wayne and Dexter Gordon. I feel like Joe Square-Britches coming into this stuff.”

That’s far from how the Butcher Brown musicians see Elling, widely acclaimed as the pre-eminent male vocalist in jazz. “I’ve loved Kurt’s music since high school,” says the 30-year-old Fonville, who co-produced the album. “I mean, he’s a legend at this point. I obviously knew him more as a straight-ahead vocalist, but I felt like he would feel at home with us – partly because our music is so rooted in the blues and Kurt already has a lot of blues in his music. And I was super happy at the fact that he trusted us enough to really steer things in this direction.”

Elling also placed his trust in the production expertise of Charlie Hunter to bridge the worlds of Elling and Butcher Brown; in fact, with his unassailable cred in both the jazz and groove camps, Hunter is perhaps the only musician who could have done so. “Between the records he’s made with cats like D’Angelo and John Mayer and A Tribe Called Quest, Charlie is a made guy in that world, just as he has the respect of jazz people” says Elling, who first met Hunter when both were signed to Blue Note Records in the late 1990s. They struck up an immediate rapport, leading to Elling’s guest appearance on Hunter’s album Songs From the Analog Playground; more recently, during the pandemic shutdown, they worked on some highly funkified videos for the weekly webcast Elling hosted during 2020.

As Hunter explains, “We both really thought that making those vids was a lot of fun, and when Kurt decided he wanted to make a whole record like that, he asked me to produce it. We shot some ideas back and forth and then I brought up Butcher Brown, because these guys have a great community and a great collective sound.” Hunter initially had no plans to bring his guitars to the sessions, but Elling insisted that he play on the date as well as produce. Hunter gladly gave in. “It was great working with Corey and DJ,” he says now – especially because the project didn’t call for any long guitar solos. “I’m much happier when I’m just grooving and laying in the cut, you know?”

On SuperBlue, those grooves are generous and bountiful and the mix is phat and vibrant, creating springboards for some of the most vivid tracks of Elling’s career. The new rhythmic playground shows off Elling’s still-broadening vocal prowess. The arrangements extend the singer’s already remarkable range and expand his role as a gifted storyteller, adept at both hipster humor and soul-shattering pathos.

For the former, go directly to “Can’t Make It With Your Brain,” a hilarious spear to the heart of conspiracy disinformation, wrapped in a dance-club scenario. For the latter, there’s his reprise of the Carla Bley composition “Endless Lawns,” which previously appeared on his album The Questions, and which carries a breathtaking Elling lyric, highlighted by a Judith Minty poem that clarifies the song’s ethereal beauty.

Elling’s serpentine lyrics combine with the psychedelic production to make Super Blue, Freddie Hubbard’s late-70s fusion gem, the latest addition to his portrait gallery of jazz classics. On ”Sassy,” the band freshens the dance rhythms that the Manhattan Transfer used in their 1991 tribute to Sarah Vaughan. Then Elling switches gears on “Where to Find It,” transforming Wayne Shorter’s rapturous “Aung San Suu Kyi” into a Buddhist meditation, with the assistance of Charles Twichell’s haunting poem “Animal Languages.”

Among the originals, Elling honors the centennial of Jack Kerouac – with asides to David Amram and Mose Allison – on Dharma Bums, an affectionate view of On the Road that crashes headlong into Circus, a prose poem from the Beats’ direct descendant Tom Waits. Waits recorded this offbeat narrative against a spooky big-top dirge; Elling intones it against a slam-dance funk groove that recasts the piece from a 50s pulp-noir paperback cover to a neon panel by Ed Paschke. And “Manic Panic Epiphanic” lifts the spirit with a message of hope – falsetto harmonies from the Bee Gees book – at a time when the world needs it most.

The universal accolades for Elling don’t always mention his relentless, career-long, search for new vistas. He’s recorded an album of global love songs (Passion World) and transformed the Christmas tradition (The Beautiful Day); he’s written lyrics to jazz classics, staked out 1960s-70s rock-n-roll (on 1619 Broadway), and entered into a galvanic partnership, on disc and on tour, with Branford Marsalis’s quartet. He earned his first GRAMMY for updating the historic collaboration between John Coltrane and Johnny Hartman (Dedicated to You), and his most recent statuette for Secrets Make the Best Stories, his Latin-inspired project with modern piano giant Danilo Perez.

With SuperBlue, Elling continues on this path of bold collaboration – within the confines of worldwide lockdown – to map out a strikingly new direction, on a project guaranteed to gain new listeners and stretch the ears of his devoted admirers. 

1. SuperBlue

2. Sassy

3. Manic Panic Epiphanic

4. Where To Find It

5. Can't Make it With Your Brain

6. The Seed

7. Dharma Bums

8. Circus

9. Endless Lawns

10. This Is How We Do

Kurt Elling: Voice

Charlie Hunter: Hybrid Guitar

DJ Harrison: Keyboards

Corey Fonville: Drums, Percussion

Produced by Charlie Hunter and Kurt Elling

Co-Produced by DJ Harrison and Corey Fonville

Executive Producers Bryan Farina & Dave Stapleton

Instrumental Tracking by DJ Harrison at Jellowstone RVA. 10/19/20-10/21/20 & 11/22/20-11/24/20

Vocal Tracking by Anthony Gravino at High Cross Sound 2/1/21-2/13/21

Mixed by Anthony Gravino

Mastered by Dave McNair Mastering

PREORDER

Sean Conly -The Buzz (October 8, 2021 577 Records)

Exploring the iconic trio format, Sean Conly (Bass), Francisco Mela (Drums) and Leo Genovese (Piano) mix composition and improvised music into a shared language. Inspired by both contemporary and traditional musical arrangements, the musicians’ distinct inclinations blend together in playful form, delivered in an easy dialogue between the members of the trio. The Buzz’s 10 tracks are gentle and warm, displaying the comfort that the artists have with each other, and lending the album a similarly inviting aura throughout. This marks Sean Conly’s debut on 577 Records, the second album on the label for Leo Genovese (following Trio Sin Tiempo: Ritmos De Agua) and will be Francisco Mela’s third album on 577 Records, following MPT Trio (2021) and Music Frees Our Souls, Vol. 1 (2021). The Buzz will be available as a LP, CD and digitally on October 8, 2021.

1. The Jake Leg video

2. Good Idea 

3. In The Stretch

4. Euterpe

5. From C to Sea

6. The Buzz

7. Sweetie Pie

8. Flower (bonus track) 

9. Shades

10. Send In The Clowns 03:06

Sean Conly: Bass

Leo Genovese: Piano

Francisco Mela: Drums

Recorded on October 7, 2020 by Chris Sulit at Trading Eights Studio, Paramus, New Jersey

Mixed and mastered by Eivind Opsvik

Cover photo by Reuben Radding

Inner photos by Peter Gannushkin

Graphic design by Sergio Vezzali

PREORDER

Lucid Lucia - Lucid Lucia (October 8, 2021 Sdban Records)

Founded by saxophonist Vincent Brijs, BRZZVLL have been a household name in Antwerp and the Belgian jazz scene since 2008 but after a fifteen-year period, the sextet has decided to embark on a new chapter in their story with a name change and new line-up. Enter Lucid Lucia, named after Brijs’ eldest daughter and also the name of a track which first appeared on BRZZVLL’s 2016 album ‘First Let's Dance’. It also symbolizes a brighter, clearer sound.

On the 8th October, Lucid Lucia are set to release their self-titled debut EP. Searching to unwrap the bundle of complexity, contradictions and mystery that is a human life, across six tracks of jazz and space funk-infused grooves, Lucid Lucia look to the sound of Herbie’s ‘Head Hunters’ and Miles’ acid funk of the mid-70s for inspiration.

Continuing with an instrumental core, Lucid Lucia is a mind-expanding celebration centered on freedom and rhythm. Free-spirited saxes, futuristic-sounding keys, monstrous bass lines and shifting drum beats fuse, resulting in an uplifting and joyous celebration of jazz, funk and groove.

1.NStuck In The Well

2. New Era

3. Diggin'

4. Maya Dofo

5. Birth Sin

6. Vijver

PREORDER

Susan Krebs with Mixed Remotions - Daybreak

VOCALIST SUSAN KREBS WITH MIXED REMOTIONS

RELEASES HER 8TH ALBUM, DAYBREAK

Vocalist SUSAN KREBS usually collaborates and records with a small number of close musical compatriots in intimate settings. On her previous album, Trio Work (2018), she recorded with just a guitarist and bassist, and on the two albums before that, Spring (2017) and Simple Gifts (2015), she recorded with her small jazz chamber band music that grew from salons she hosted at her home. But with the exigencies created by the COVID-19 pandemic, Krebs was compelled to apply a completely different recording method for DAYBREAK, her 8th CD.

Rather than sitting in a circle with three or four musicians and allowing arrangements to evolve collaboratively, as she has done for her other recordings and live shows, DAYBREAK was mostly created remotely, with each musician working from their home studio, hence the band name, MIXED REMOTIONS.

The impetus for this album grew out of the pandemic. Living alone and cut off from friends, she was longing for connection. She especially missed being in the creative zone and working with her pals. She felt a deep need to make music. Creating a recording project remotely was a slow process. She began working on this album in September 2020 and completed it in June of 2021. Although the album was created mostly through the wonders of remote recording, it has a remarkable sense of immediacy and intimacy.

It all began when Krebs’ friend, DOUG WALTER, called her to see how she was doing. She was recovering from medical treatments not related to COVID-19, and to help in her healing, he offered to arrange any tune of her choosing. Walter is a woodwinds player and pianist who has performed and/or recorded with jazz greats such as Dizzy Gillespie, Stan Getz, Phil Woods, Chuck Mangione, and Gerry Mulligan. A music director and arranger of Broadway shows, he also orchestrates and composes for television, videos, and theatrical films. Krebs chose Blossom Dearie’s “Inside a Silent Tear.” She sang the tune for Walter over the phone to give him the feel of her concept, and he delivered a complete arrangement just a few days later.

Feeling inspired by Walter’s lush writing, returning her to her musical life, Krebs booked a band of dear pals to make a complete album. She first brought on board RICH EAMES, the versatile pianist, composer, arranger, and Krebs’ closest musical collaborator. He has been on most of Krebs’ albums. Also joining the band are woodwinds player ROB LOCKART, a busy sideman who has played with the Woody Herman Orchestra, Tom Harrell Big Band, Doc Severinsen Big Band, and Kurt Elling, among others; master percussionist SCOTT BREADMAN has performed with such musicians as José Feliciano, Lindsey Buckingham, and The Rippingtons; drummer and vibes player JERRY KALAF has played with Eddie Harris, Gary Burton, and Gary Foster, to name a few, and his performances and compositions can be heard on literally hundreds of soundtracks; guitarist and educator RINER SCIVALLY has performed with Alan Broadbent, Larance Marable, Stacey Rowles, and Putter Smith; and bassist DOMENIC GENOVA is one of the top studio musicians in Los Angeles, playing in many musical genres. DOUG WALTER makes his first appearance on one of Krebs’ recording projects, playing multiple woodwinds on his two arrangements.

Unlike her other recordings, where each musician contributed to the arrangement of every song, Krebs assigned the arranging duties to three of the musicians: Walter, Eames, and Kalaf. Krebs says, “Making this album was so different for me than anything I’ve done before. Not only was I unaccustomed to working mostly remotely, but it clearly wasn’t practical for the band to work together on each arrangement. So, I thought it would be interesting to commission arrangements from three of my closest collaborators, revealing their different voices and musical sensibilities. I chose the songs for this album from a folder of sheet music collected over the years -- songs which especially resonated with me. It was fun assigning those songs to the arranger I thought would capture it best. I’ve worked for so long with these wonderful artists that they understand my approach and aesthetic intuitively.”

DAYBREAK is Krebs’ most straight-ahead project to date. She opens the album with “Can’t Get Out of This Mood,” about which Krebs says, “This seemed like a good opener, because it reflects exactly how I felt.” Arranged by Kalaf, the song is a swinger featuring solos by Eames and Lockart. The title tune, “Daybreak,” which was also arranged by Kalaf, is a rarely performed song originally recorded in 1942 by Frank Sinatra with The Tommy Dorsey Orchestra. Written in 1926 by Ferde Grofé from his Mississippi Suite, with lyrics written subsequently by Harold Adamson, Kalaf’s resonant vibes move the piece into the 21st century.

Krebs heard “How Little We Know,” the Hoagy Carmichael and Johnny Mercer chestnut, as a flirtatious waltz. The song features a lush, romantic arrangement by Walter with a swinging guitar solo by Scivally. With its many layers of sound, Walter’s arrangement of Blossom Dearie’s “Inside a Silent Tear” is sumptuous and engaging. Walter plays all the woodwinds on this track, while Krebs mines the song for its poignant essence.

“Who Knows Where the Time Goes,” Sandy Denny’s 1960s pop tune about the fleeting nature of life and the wonder of time itself is treated to Eames’ open and fluid arrangement which perfectly captures the song’s bittersweet lyrics. Dave Frishberg’s “Listen Here” appealed to Krebs because of its instructive message about listening to the wisdom of one’s inner voice. Arranged by Eames, Krebs dedicates the song to NEA Jazz Master Sheila Jordan, her teacher, friend, and inspiration.

The last song on the album is “Stardust,” by Hoagy Carmichael and Mitchell Parish. Krebs says, “I was looking for a closing track while going through Hoagy’s book of tunes when I mentioned to Jerry Kalaf that I had a renewed appreciation of the song, and I understood why so many singers have recorded it. We immediately shared ideas, and soon he had created an arrangement with heavenly vibes and a groove. What a pleasure to sing this American classic!”

Krebs’intriguing, expressive voice, the gorgeous arrangements, and superb musicianship are the magic sauce that create the warmth and affective qualities of DAYBREAK Focusing on this project gave Krebs relief from her isolation and returned her to a sense of well being. Making music together was a balm for everyone involved.

1. CAN’T GET OUT OF THIS MOOD 4:39

2. DAYBREAK 5:36

3. HOW LITTLE WE KNOW 5:59

4. INSIDE A SILENT TEAR 5:11

5. WHO KNOWS WHERE THE TIME GOES? 6:57

6. LISTEN HERE 5:14

7. STARDUST 4:51

woodwinds Tr (3 & 4)

Produced by SUSAN KREBS, RICH EAMES and JERRY KALAF

1. CAN’T GET OUT OF THIS MOOD 4:39

2. DAYBREAK 5:36

3. HOW LITTLE WE KNOW 5:59

4. INSIDE A SILENT TEAR 5:11

5. WHO KNOWS WHERE THE TIME GOES? 6:57

6. LISTEN HERE 5:14

7. STARDUST 4:51

SUSAN KREBS vocals

RICH EAMES piano

JERRY KALAF drums & vibes

DOMENIC GENOVA bass

SCOTT BREADMAN percussion

RINER SCIVALLY guitar

ROB LOCKART woodwinds (1,2,5,6,7)

DOUG WALTER woodwinds (3, 4)

Arranged by JERRY KALAF (1, 2, 7), DOUG WALTER (3, 4) and RICH EAMES (5, 6)

Produced by SUSAN KREBS, RICH EAMES and JERRY KALAF

PREORDER

Takatsuki Trio Quartett with Tobias Delius and Axel Dörner - Berliner Quartette (October 16, 2021 577 Records)

As the world tentatively emerged from the pandemic in the summer of 2020, under the strict impositions of COVID regulations, Berlin-based Takatsuki Trio Quartett celebrated by organizing a monthly concert series at Kühlspot Social Club in Berlin. The Takatsuki Trio Quartett is comprised of three core members, Rieko Okuda (Piano, Voice), Antti Virtaranta (Bass) and Joshua Weitzel (Guitar, Shamisen) but they exclusively play as a larger ensemble, inviting other musicians to lend energy to their improvisational dynamic. Playing under the name, the “Berliner Quartette,” this album documents their performances with two influential figures in the German improvised music community.

The first track, an experimental 30-minute collaboration with Axel Dörner (Trumpet) makes space for Dorner’s bold command of his instrument alongside the track’s other avant-garde components. It gives way to the second track featuring Tobias Delius (Tenor Saxophone, Clarinet), an upbeat reprise with warm swingtime melodies and competing tensions. These short experimental projects precede a larger collaboration between the Takatsuki Trio Quartett and Silke Eberhard, available on 577 Records on November 5. Berliner Quartette will be released in CD and digital editions on October 16, 2021.

1. With Axel Dörner

2. With Tobias Delius

Tobias Delius – Tenor Saxophone, Clarinet

Axel Dörner - Trumpet

Rieko Okuda – Piano, Voice

Antti Virtaranta – Double Bass

Joshua Weitzel – Guitar, Shamisen

Recorded on June 25 (track 2) and September 24 (track 1), 2020 by Antti Virtaranta at Kühlspot Social Club, Berlin

Mixed and mastered by Antti Virtaranta

All music by Tobias Delius (BUMA/STEMRA), Axel Dörner (GEMA), Rieko Okuda (GEMA), Antti Virtaranta, Joshua Weitzel (GEMA)

Artwork by Christoph Kühl

Album design by Mark Smith

Orbit577 is part of 577 Records

Brooklyn, New York

PREORDER

The Kevin Brady Electric Quartet - Plan B (October 8, 2021 Ubuntu Music)

Ubuntu Music is delighted to announce the release of The Kevin Brady Electric Quartets upcoming worldwide album release entitled PLAN B on the 8th of October.

The Kevin Brady Electric Quartet has a clear aim of creating and producing new contemporary jazz and the impact of this has been immediate. Their performances have been critically acclaimed for their dynamism and musicality. Touring regularly, they have consolidated their worldwide reputation as a compelling live act. As quoted by The Telegraph UK, “This group display an enviable poise and togetherness”, winning the appreciation of discerning jazz audiences in the USA, Europe, UK, China. Their music embraces imaginative creativity and contributes to the evolution of exciting and engaging improvised music.

Plan B is the latest studio album by acclaimed drummer and composer, Kevin Brady. It features the stellar musical talents of U.S. saxophonist Seamus Blake, Bill Carrothers on Fender Rhodes, and bassist Dave Redmond. Brady’s ambition was to record an album that consisted of new, original compositions that explore improvisation in an electric quartet format. While tipping their collective hat to the music of the 1970s Miles Davis Group, along with the groove and funk based music of Herbie Hancock, many of the musical themes deal with the impact of what is happening in the world as we know it now. The music is hypnotically insistent, all with a lasting story of experience and optimism. 

1. Airbourne 06:25

2. Plan B 05:39

3. Short 'n' Sweet 08:55

4. Spindle Top 05:19

5. Suicide Squeeze 05:42

6. Quiet Beach 08:22

7. Out of the Blue 06:21

8. Wanderlust 09:02

Recorded & Mixed by Hally Music & Kevin Brady at Arthouse Studios, Naas, Co.Kildare,Ireland February 2020.

Assistant Engineer Fionn Shelley.

Mastered by Thomas Schmidt at Schmidt-Thon Studios,Munich,Germany.

Photography by Daragh Mc'Donagh www.daraghmcdonagh.com Art Direction and Design by Dseny www.dseny.es

Produced by Kevin Brady

Executive Producer Martin Hummel

Tracks 2,4,5,6,7 Composed by Kevin Brady

Tracks 1,3,8 by Bill Carrothers

Kevin Brady Endorses Zildjian Cymbals, Vic Firth Sticks & Evans Drumheads.

PREORDER

Satoko Fujii / Alister Spence - Any News (October 1, 2021)

Any News is an album of piano duets recorded over the internet between Kobe, Japan and Sydney, Australia during the Covid-19 pandemic. Satoko and Alister began to collaborate on this project early in 2020 and develop ideas for co-written piano duet pieces, meeting occasionally on the internet to rehearse and explore. This album is the result of three recording sessions in September 2021. It is the second duo release by Fujii and Spence, following on from their piano and fender rhodes album intelsat (2018, ASM007).

‘this is the sound of genuine discovery, founded upon decades of experience but unfettered by habit.’

Bill Meyer, Dusted Magazine (review of intelsat)

1. Dice Piece 2 04:29

2. Across the Equator 09:32

3. improvisation 1 05:46

4. The First Day of Autumn 11:07

5. Puzzle Piece 06:04

6. Dice Piece 3 05:03

7. Ping Pong 03:37

8. Improvisation 2 11:07

9. Dice Piece 1 03:57

Satoko Fujii – piano

Alister Spence – piano

PREORDER

Kuzu - All Your Ghosts in One Corner (October 2021 Catalytic-Sound)

"But their ability to construct musical tension in an almost agonizing way reaches a new peak on All Your Ghosts In One Corner. Drawing on these musicians’ love for a range of weighty musical expression from doom metal to the deeply-rooted spirituality of saxophonist Pharoah Sanders, this record perfectly captures the depth of the abyss into which we faced. And yet this record isn’t about fear. Redemption is found in the life-affirming energy of these performances, which reflect a will to survive in the band’s committed focus and tenacity. These are spontaneous rituals performed to brace an entire community for the upcoming storm." - Aerophonic Records

1. One Fell Swoop 06:21

2. Scythe Part 1 05:27

3. Scythe Part 2 18:09

4. Scythe Part 3 15:27

5. Year Of The Rat 10:02

Dave Rempis – alto/tenor/bari saxophone

Tashi Dorji – guitar

Tyler Damon – drums

Track 1 & 5 recorded March 13th, 2020 at The Sugar Maple, Milwaukee

Track 2, 3, 4 recorded March 12th, 2020 at Elastic Arts, Chicago

Recorded/mixed/mastered by Dave Zuchowski

Design by Make Amazing

Produced by Dave Rempis

PREORDER

Brad Linde with Wendy Eisenberg / Erika Dohi / Luke Stewart / Allison Miller - Into Thin Air (October 2021)

 Brad Linde is a saxophonist, bandleader, and presenter in the Washington DC metro area.

In 2010, he founded and began co-directing the Bohemian Caverns Jazz Orchestra - a 17-piece big band in residence at the historic club.

He was a participant in the Banff International Jazz and Creative Music Workshop 2013 and he studied with Barry Harris and Lee Konitz, among others.

1. 23D 05:46

2. PoE 05:16

3. Roots 09:22

4. Urge 03:38

5. Into Thin Air 06:19

6. Springtime In Chicago 06:03

7. Uso Mo Honto Mo 05:19

8. My No. 1 07:50

9. Warm Valley 07:25

Brad Linde - alto and C melody saxophone

Wendy Eisenberg - electric guitar and voice

Erika Dohi - piano, prepared piano, Rhodes, Wurlitzer, Yamaha DX7, JU-06

Luke Stewart - bass

Allison Miller - drum set and percussion

Recorded March 6, 2021 at Tonal Park in Takoma Park, MD as part of the GDS Jazz and Creative Music Festival

Engineered, mixed, and mastered by Charlie Pilzer

Artwork and design by Matt Rippetoe at Sideman Creative, LLC.

Cover painting by Mira Hecht

Produced by Brad Linde

PREORDER

Samo Salamon / Cene Resnik / Bojan Krhlanko - Timelessness (October 11, 2021)

Slovenian jazz guitarist and composer, recording artist for Clean Feed Records, Not Two Records, Fresh Sound New Talent, who has recorded 30 CDs with players such as Howard Levy, Paul McCandless, John Hollenbeck, Mark Turner, Michel Godard, Drew Gress, Tony Malaby, Mark Helias, Tom Rainey, Tim Berne, Donny McCaslin, Dave Binney, Josh Roseman, Gerald Cleaver, John Hebert, Julian Arguelles, etc. 

1. Calm 04:04

2. The Applauding Wind 02:56

3. Let You Stay 03:56

4. Open 04:24

5. Tiny Paws 04:06

6. Without Face 04:46

7. Each Moment Is a Place 06:42

8. Away Mad 05:20

9. Blurp 04:02

10. We, Humans 05:04

11. Timelessness 06:54

12. Close 03:16

Cene Resnik – tenor sax

Samo Salamon – electric guitar

Bojan Krhlanko – drums

All tunes by Samo Salamon, except 10 by Cene Resnik and 4 and 12 by Samo Salamon, Cene Resnik and Bojan Krhlanko

Recorded in April 2021. Mixed and mastered by Samo Šalamon.

PREORDER

JBird - B​.​99 Suite (October 2021)

My precious Jazz suite entitled "B.99" is an ode to the time and place of when and where life as a jazz student kicked off. I grew up in the East Bay which had cities like Richmond, El Cerrito, Berkeley, and Oakland. Berkeley had a lot of young & gifted musicians in jazz, and most of them were in the high school jazz ensemble. That was my first exposure to musicians near MY age, just shredding their instruments was ahead of their time. Soon I will elaborate more with some fun stories. For now, please enjoy and let us know what you think. Your support and reception is much appreciated!

1. Part I: Heartfelt Intent 02:21

2. Part II: The Shattuck Effect 02:58

3. Part III: Double Duty [I Wish There Was More Time] 03:06

4. Part IV: No Regret 03:43

Mixed, engineered, composed and performed entirely by Joel Cowell, Jr aka JBird

PREORDER

Red Square (Jon Seagroatt, Ian Staples, Roger Telford) - Paramusic (October 2021)

This album is the first and only complete re-release of Red Square’s legendary ‘Paramusic’ in over forty five years*.

‘Paramusic’ was originally a self-released (because no record company at the time would touch us with a barge-pole), self-recorded cassette album, sold only at Red Square gigs between 1975 & ‘76. This complete re-release has been newly edited and mastered by me, from digital transfers of the original stereo reel to reel master tapes. The original order of tracks has been preserved, as have many of the original album’s audio idiosyncrasies.

For example, towards the end of track 10, you can hear a friend of the band who was keeping an eye on the tape recorder shouting ‘stop, stop!’ as the tape reel began to run out. On track 8 the sound of me unknowingly treading on the microphone stand, and a door opening and closing as family enter and leave the room, add a nice ‘field-recording’ ambience to proceeding.

There are many others - including Roger casting aspersions on the band’s personal grooming regime, and a guest appearance on vocals by Ian’s dog - which I’ve left in you to discover along the way. Some of the original tracks had bizarre fade-ins, others ended abruptly. There is amp-hum aplenty, and the occasional scribble of tape hiss. I’ve preserved all such infelicities in this release. They add a nice element of period charm.

The recording technology we had at our disposal in 1975, and our mastery of it, was pretty rudimentary. There was Ian’s Akai 4000 sound-on-sound reel to reel tape recorder, two mismatched microphones, and one microphone stand, so one of the mikes had to be propped up on a fireplace or on a pile of books on a chair.

Unsurprisingly, the stereo imaging of some of the recordings is pleasingly non-textbook. I’ve slightly re-balanced some of these, but sought to broadly retain the feel of the originals.

Part of the determinedly DIY Red Square aesthetic at the time was a reaction to the then-current vogue for interminable, lavishly-expensive, over-produced concept albums. Red Square music was totally improvised and in, and of, the moment, (and so took as long to record as the length of each track took to play), and any shortcomings in our recording techniques added a layer of extra audio interest that was as welcome to us as an expensive new keyboard was to Yes.

Whatever happened in the room went to tape. Oddities of the recording process were retained. Capturing interesting music did not (and still doesn’t) depend on the length of the equipment list in a studio or on the cost of the drums, guitars or saxophones.

The tracks on Paramusic mark the transition from Ian and myself working as an experimental multi-tracking duo (1972-74), influenced by the Art Ensemble of Chicago, Terry Riley and dada, (tracks 4, 7 & 8), to our development as a more focused free-music power trio following the addition of Roger’s free-jazz drumming (1974 onwards).

*Four of the eleven tracks [1, 3, 6 & 10) were included on the 2008 album ‘Thirty Three’, a compilation of Red Square recordings released by FMR Records. 

1. Paramusic 1 09:55

2. Paramusic 2 02:31

3. Paramusic 3 04:03

4. Paramusic 4 06:01

5. Paramusic 5 02:36

6. Paramusic 6 05:55

7. Paramusic 7 01:32

8. Paramusic 8 07:22

9. Paramusic 9 05:32

10. Paramusic 10 09:03

11. Paramusic 11 00:40

Jon Seagroatt - soprano sax, bass clarinet, percussion, toys, bells & whistles

Ian Staples - guitar, violin, piano, toys, bells & whistles

Roger Telford - drums

PREORDER

Søren Bebe - Music for Ballet Class: Songs from the 1940's (October 5, 2021)

A leading pianist on the European jazz and contemporary music scene, Copenhagen-based Søren Bebe is most often compared to fellow Scandinavians, Tord Gustavsen and the late Esbjörn Svensson.

Søren’s busy touring schedule has included most of Europe, as well as the US, China, Korea, Japan, Indonesia, Brazil and Morocco.

1. Come Sunday (Warm up) 02:51

2. But Beautiful (Plié) 03:16

3. Lover Man (Tendu) 01:49

4. Paper Doll (Tendu) 01:36

5. Don't Get Around Much Anymore (Tendu) 02:07

6. I'm Beginning to See the Light (Jeté) 00:54

7. Groovin' High (Jeté) 00:46

8. Take Five (Jeté in 5/4) 01:12

9. In a Sentimental Mood (Rond de jambe à terre) 02:08

10. Nature Boy (Fondu) 02:34

11. Tuxedo Junction (Frappé) 00:48

12. Four Brothers (Frappé) 00:51

13. God Bless the Child (Rond de jambe en l'air with port de bras) 03:42

14. Brazil / Aquarela do Brasil (Petit battement) 01:09

15. I Love You For Sentimental Reasons (Adagio) 03:18

16. Take the "A" Train (Grand battement) 01:09

17. We'll Meet Again (Tendu) 04:05

18. When You Wish Upon a Star (Adagio) 03:17

19. People Will Say We're in Love (Pirouettes - waltz) 03:20

20. Bésame Mucho (Pirouettes - tango) 03:13

21. How High the Moon (Small jumps in 2/4) 01:17

22. How High the Moon (Small jumps in 6/8) 01:13

23. You're Nobody till Somebody Loves You (Small jumps) 02:23

24. Donna Lee (Allegro) 01:34

25. You Are My Sunshine (Allegro) 02:03

26. I Could Write a Book (Allegro) 01:23

27. No Moon / Young Love (Allegro) 01:38

28. You'll Never Walk Alone (Grand allegro) 02:51

29. Amor (Coda) 02:14

30. As Time Goes By (Reverence) 02:17

PREORDER

Saturday, October 9: Lena Bloch & Feathery celebrate new album with live and live streamed concert

Saxophonist Lena Bloch and her quartet Feathery celebrate Rose of Lifta, their stunning new album of original music, with release concerts in Brooklyn

• Saturday, October 9 at Soapbox Gallery - Live and live-streamed 

• Wednesday, November 10 at Scholes Street Studio - Live

With a remarkably cohesive band featuring pianist Russ Lossing, bassist Cameron Brown, and drummer Billy Mintz, Rose of Lifta (out October 8, 2021 via Fresh Sound New Talent), a follow up to the acclaimed 2017 Heart Knows, demonstrates once again her three-tier excellence as a saxophonist, composer, and a bandleader whose approach nurtures listening, trust, and musical freedom.

4.5 stars “…a group that crafts a spacious, wide-open sound full of spontaneous beauty and unpredictability...The music has a delicacy of four-way articulation underlain by an on-the-sleeve emotional, longing-for-home honesty in creation of a distinctive quartet sound for which comparisons cannot be found. Fresh and beautiful stuff.”

– Dan McClenaghan, All About Jazz

On Saturday, October 9, Bloch's quartet will perform at Soapbox Gallery, 636 Dean St., Brooklyn. Admission to the 8 p.m. concert, which will also be streamed, is pay what you can. Information HERE

They also perform on Wednesday, November 10 at Scholes Street Studio, 374 Lorimer St., Brooklyn. Admission at the door for the 7:30 p.m. concert is $15. Information HERE

Miki Yamanaka (w/ Mark Turner, Orlando le Fleming) to release 'Stairway to the Stars' on October 1 via Outside in Music

Celebrated Pianist, Composer and Bandleader Miki Yamanaka Announces the Release of Her Upcoming Trio Record, Stairway to the Stars, Featuring Saxophonist Mark Turner and Bassist Orlando le Fleming, Out October 1st on Outside In Music

Outside In Music is pleased to announce the October 1st release of Stairway to the Stars, an intimate, pared-down glance into renowned pianist Miki Yamanaka’s musical ethos. A follow-up to 2020’s Human Dust Suite, Stairway to the Stars was recorded on August 12, 2020. Initially slated to be recorded live in front of an audience at Mezzrow Jazz Club during one of Yamanaka’s monthly weekend performances, 2020 had other plans for this esteemed pianist as the city shut down amidst a global health crisis. Recorded at home, Stairway to the Stars captures a fiercely immersive trio session featuring Miki Yamanaka on piano alongside consummate bassist Orlando le Fleming and acclaimed saxophonist Mark Turner.

2020 was no ordinary year, and this is no ordinary album – Stairway to the Stars features a drumless configuration of piano, saxophone and bass and yet does not sacrifice one iota of stellar rhythmic invention. Yamanaka brings a nuanced intensity to the eight tunes presented on this album, especially her two original pieces, “Oatmeal” and “Wonder”. Stairway to the Stars is released while the pianist, composer and bandleader is fresh off the heels from her second studio release Human Dust Suite, which was hailed by master organist Larry Goldings as “a wonderful example of the breadth of Miki’s musical vision” and “a seasoned follow-up to her widely recognized debut Miki” by Mike Jurkovic of All About Jazz.

Yamanaka’s fervent, muscular performance is only augmented by her esteemed houseguests Orlando le Fleming and Mark Turner, both of whom are prolific bandleaders and sidemen with a who’s who of jazz luminaries. Yamanaka notes “I was always a huge fan of Mark, and had never gotten to play with him before COVID. He is busy usually, as a leader and a sideman. I was too excited when both of them showed up to my apartment!”

Yamanaka’s stellar original compositions shine on Stairway to the Stars, her tune “Oatmeal” makes its recording debut, this soulful piece highlights the cohesiveness of this small ensemble of New York staples. Turner’s sax soars over Yamanaka’s bluesy harmonic refrains as le Fleming’s thoughtful bass lines provide the track with a tight-knit swing and buoyancy. Yamanaka demonstrates her stunning facility at melodic invention over the tune’s jaunty changes.

Miki Yamanaka by Rudy Royston

The ensemble lends its instrumental agility and refinement to a diverse array of jazz classics including old chestnuts such as “My Melancholy Baby” and “Tea For Two”; as well as  bebop hits such as Charlie Parker’s 1947 composition “Cheryl”, and Steve Swallow’s lush composition “Eiderdown”. Each composition activates new territory for the seemingly boundless outfit to explore, leaving the listener with a comprehensive album that acts as a masterclass in interplay and dynamics.

Yamanaka notes “I will never take it for granted to be able to be with my favorite people making music, drinking nice wine, eating nice food together, ever again. It made me realize how important that is in my life.” Stairway to the Stars seemingly captures the excited, joyous energy of a confluence of fine musicians and friends gathering together to do what they do best.

The Kobe, Japan native, who has lived in New York City since 2012. A student of Jason Lindner, Jeb Patton, Fred Hersch, Sam Yahel, and Larry Goldings, in 2015 she was one of three pianists selected to participate in “Betty Carter’s Jazz Ahead”, an intensive composition residency at the Kennedy Center. She earned her Master of Music degree from Queens College. Miki has appeared in concert with many notable musicians including Steve Nelson, Seamus Blake, Jerry Dodgion, Victor Lewis, Rich Perry, Antonio Hart, and Peter Bernstein. She holds residencies at Smalls and Mezzrow Jazz Clubs in New York City and has had multiple week-long engagements at Dizzy’s Club Coca Cola since 2016. She is the current pianist in the Philip Harper Quintet, the Roxy Coss Quintet, and the Antonio Hart Group. Miki recorded an EP, “Songs Without Lyrics” in 2012, which featured Lawrence “Lo” Leathers, Tivon Pennicott, and Spencer Murphy, she released her aforementioned debut album, “Miki” with Steve Nelson, Orlando le Fleming, and Bill Stewart in 2018 and “Human Dust Suite” in 2020 alongside alto saxophonist Anthony Orji, bassist Orlando le Fleming, and drummer Jochen Rueckert.

1. Cheryl

2. My Melancholy Baby

3. Eiderdown

4. Ask Me Now

5. Wonder

6. Oatmeal

7. Stairway to the Stars

8. Tea For Two

Outside in Music Website

Guitarist Juanma Trujillo’s New Album ÍMPETU is due out October 1, 2021 via Falcon Gumba

Guitarist and Composer Juanma Trujillo Presents Ímpetu, New Album Out October 1, 2021 via Falcon Gumba

Falcon Gumba Records is thrilled to announce the release of Ímpetu, the latest album from Venezuelan-born, New York-based guitarist and composer Juanma Trujillo. To be released on October 1st 2021, Ímpetu represents an important period of the prolific bandleader’s career. Motivated by the passing of both of his grandfathers, Trujillo takes the listener through a mesmerizing suite of original music on this spell-binding release which features saxophonist Hery Paz, pianist Santiago Leibson and drummer Robin Baytas. 

What does music sound like when it remembers and imagines, or when it grieves and consoles? Throughout Ímpetu, Juanma Trujillo meditates on these questions with uncommon delicacy and grace, inviting the listener into an intimate and at times melancholic space. The recent losses of his maternal and paternal grandfathers, Rogerio and Rubito, led him to honor their memories. As two men who did not share the burdens of their experiences openly, they left only the traces of their struggles behind, which Juanma transforms here into a program of serious but unsentimental music.

“Both of my grandfathers were born in Venezuela in the late 1920s which was a period of profound transformation in the country,” explains Trujillo. “For people who grew up in rural areas, like my grandfathers, moving to the capital (Caracas) in pursuit of a better life must really have felt like moving to a different planet. I wanted to write music that would convey that journey and how in some ways mirrors my own journey in life.” The title, Ímpetu, which translates to impetus, was inspired by the strength shown by these two important figures. 

For this sophomore release, Trujillo employs the talents of three close peers who play his compositions with effortless grace. Featured on saxophone, bass clarinet and flute is Cuban musician Hery Paz, who is a frequent collaborator of Trujillo’s. Notably, Paz and Trujillo are two-thirds of the MPT trio along with Francisco Mela; their debut album Volume 1 was released on 577 Records earlier this year to wide-spread critical acclaim. “I admire Hery’s capacity to inject lyricism into any musical context. He does it in a very beautiful way in which he never sounds corny”, Trujillo muses. Paz generates a wild intensity playing tenor saxophone on standout tunes “2rs” and “Rosario” while creating thrilling moments as a flutist on “Adaure” and the lyrical duet “Llanto”.

“Occasionally heavy, but with a calculated deftness, the Venezuelan player is equal parts Sonny Sharrock and David Pajo in his daring guitar lines…The guitarist’s playing is totally novel and utterly batshit, yet effortless in its majesty”

– Cal Cashin, The Quietus 

The Argentinian pianist Santiago Leibson brings an acute approach to the music, adding full orchestral density in the contemplative “La Unión” as well as adding rich textures with the Wurlitzer in “2rs” and “Nieto”. Trujillo notes “As a guitarist, it’s often tricky to play with pianists, but with Santiago, I always feel total comfort and ease in playing how I would normally play while he finds amazing ways to support me that won’t diminish his own role in the music”. 

There’s a broad duality in the playing of drummer Robin Baytas, who brings a vigorous intensity to the compositions “2rs” and “Rosario” while almost disappearing into the music as a colorist on “Adaure”. “My music can go to a lot of different places with someone like Robin playing drums,” says Trujillo. “You can entrust him with anything you would want a drummer to do like playing great time or shaping the music dynamically but he can also do so much more. He’s a musician with an expansive mind.”

Photos of Juanma Trujillo by Kenneth Jimenez

Throughout, Trujillo plays with deep restraint both on acoustic and electric. “Both of my grandfathers loved the acoustic guitar, all the while I was growing up making louder music playing electric, so I wanted the tunes “Adaure” and “La union”, which are the names of the towns they grew up in, to be played acoustic as a reference to that preference.” Conversely, the compositions that take inspiration from Trujillo’s perspective are played on electric. These musical choices act as a narrative device – they, and grandson are represented as characters in the music. 

Within the liner notes, noted saxophonist and composer Kevin Sun writes that “Juanma cherishes that which lingers over the merely captivating or shocking, knowing that, in music as in life, it is more meaningful to affect and to coalesce than to stimulate or to fracture. Ímpetu is a testament to these durable values and to the memories of his grandfathers, and we commune with these artists as we receive this musical tribute, its humility, and its beauty.”

The final track “Llanto” showcases a delicate duet with Trujillo on acoustic guitar and Paz on flute, its reflective mood brings the entire trajectory of the suite to an end on a subdued note. “I’ve always been attracted to unconventional arcs in recordings, the idea is to present the entire document as a cohesive whole, to serve the story I’m trying to tell”. Indeed, Ímpetu features a potent narrative component that’s almost cinematic in scope, while at the same time showcasing the work of a seasoned ensemble that can address myriad aesthetics without losing its identity. 

“…Trujillo’s evocative versatility gives this set a calm center even when the music gets stormy”

– Jerome Wilson, All About Jazz

1. Nieto (Intro) – 3:54

2. Adaure – 7:14

3. 2RS – 5:55

4. La Unión – 9:51

5. Rosario – 7:38

6. Llanto (Outro) – 2:57

Juanma Trujillo - Guitar

Hery Paz - Saxophone, Bass Clarinet & Flute

Santiago Leibson - Piano & Wurlitzer

Robin Baytas - Drums & Percussion

All music composed by Juanma Trujillo (Adaure Publishing, BMI)

Recorded by Chris Gilroy at Douglass Recording

Assistant Engineer - Amogh Agarwal

Mixed by Juanma Trujillo

Mastered by Eivind Opsvik at Greenwood Underground

Artwork and Design by Flóres Soláno

Videography by Kenneth Jimenez

PREORDER

Pablo Held - Embracing You (October 1, 2021)

Pablo Held - Embracing You (October 1, 2021)

Pablo Held’s self-released 13th album, 'Embracing You', which launches his label Hopalit Records, is unique in the 34-year-old pianist-composer’s corpus, following twelve dates with his internationally acclaimed trio. For the first time, Held – who “loves reacting to people, playing off their ideas and developing things together” – presents his lyric, penetrating, meditative vision of the solo space via interpretations of eight originals and three reimagined gems from the canons of Thelonious Monk, Wayne Shorter, and John Taylor on piano, mellotron, synths and celesta. This no-safety-net dive into his consciousness constitutes a transparent reflection of Held’s aesthetic and emotional growth in response to the COVID-19 pandemic.

excerpt from the liner notes by Chris Weisman:

"Though this is the work of one person alone, it is an inclusive wonder of many voices. May Pablo grace us again, in the future, with another such outing. This is my jam."

1. Memorabilia

2. Ruby, My Dear

3. Song Noir

4. Chronic Romantic

5. Embracing You

6. Serenade

7. Face On The Barroom Floor

8. Bowl Song

9. Private Eye Blue

10. Adagio For Nobler Toners

11. Elsa's Idea

Pablo Held plays piano, celesta, mellotron & synthesizers

all compositions by Pablo Held, except "Ruby, My Dear" (Thelonious Monk), "Face On The Barroom Floor" (Wayne Shorter) & "Bowl Song" (John Taylor)

produced by Pablo Held

co-produced by Jason Seizer

radio producer Odilo Clausnitzer

project coordinator Till Kammertöns

mixed by Rob Griffin

mastered by Christoph Stickel

design by Till Kammertöns

photos by Nadine Heller Menzel

liner notes by Chris Weisman

Recording sessions:

June 22nd – 24th 2020 at DLF Kammermusiksaal, Köln

engineers: Oliver Bergner, Eva Pöpplein & Christoph Schumacher

October 24th & November 6th 2020 at Studio Lutz, Köln

engineer: Oliver Lutz

February 8th 2021 at Riverside Studios, Köln

engineer: Oliver Bergner

Hopalit Records

Pre-order

Joe Farnsworth | "City of Sounds" | Available October 1 via Smoke Sessions Records

Drummer Joe Farnsworth Celebrates the Fortitude of

New York City’s Jazz Community with

Second Release for Smoke Sessions Records

Due Out October 1, City of Sounds Features

Kenny Barron and Peter Washington

Prior to the events of 2020, it may have been easy to take New York City’s thriving and diverse music scene for granted. But when clubs went dark and an unsettling silence descended on the metropolis, it served as a stark reminder of just how vitally important it is to keep the music alive. Drummer Joe Farnsworth determined to do just that, and remained a stalwart jazz warrior throughout the pandemic. His celebratory new album, City of Sounds, is both a testament to his efforts and a heartfelt tribute to the musical melting pot he’s called home for more than three decades.

Due out October 1 via Smoke Sessions Records, City of Sounds was captured onstage at Smoke Jazz & Supper Club with a superb trio featuring legendary pianist Kenny Barron and bass titan Peter Washington. The three are reunited from Farnsworth’s Smoke Sessions debut, Time To Swing, which also included Wynton Marsalis in the line-up. Here Farnsworth sticks to the core trio, a format in which he’s thrived throughout his storied career – including collaborations with McCoy Tyner, Cedar Walton, Harold Mabern, Hank Jones, David Hazeltine and ELEW, among many others.

“I've learned so much from this city,” Farnsworth declares. “Then the city got rocked, so I wanted to try to give back. One of the ways I could do that was by staying here and playing whenever and however I could to keep the sounds alive.”

The performance represented by City of Sounds is just one example of that effort. A thrilling live concert from Farnsworth’s birthday week in February 2021, it bears the traces of the strange period we’re just now emerging from, with musicians in masks and separated by plastic barriers, playing to an empty club for an audience of virtual listeners streaming the music live at home.

Not that any of those inconveniences are reflected in the music. The trio plays with as much vigor, wit and muscularity as if the place was packed throughout a rollicking set that spans the stylistic spectrum. That’s one of – if not the main – reasons that Farnsworth remains so dedicated to his adopted hometown, and one that he was proud to see survive the travails of a turbulent period.

“I went on a Black Lives Matter march from Inwood through Harlem that ended up at a park on the West Side Highway,” he recalls. “As we marched, people were flying the flags of the Dominican Republic, and Puerto Rico, and you’d hear salsa music playing from their windows. Then you went through Harlem and heard funk and soul and rap music. Everyone was cheering for the same thing, but there were all these different sounds. You can't get that anywhere else in the world.”

If that trek can be summed up in a single tune, it’s here in Barron’s “Bud-like,” a tribute to bebop pioneer Bud Powell that also bears a slight Latin tinge. Farnsworth continues the Latin feel with his sultry original “Ojos Cariñosos.” Translated as “brown eyes,” the tune is dedicated to a Dominican friend and was inspired by his collaborations with percussionist/bandleader Bobby Sanabria and lessons learned from Miguel “Mike” Amadeo, the Puerto Rican-born songwriter and proprietor of Casa Amadeo, the city’s longest-running Latin music store.

The set gets off to a brisk and swinging start with Barron’s “New York Attitude.” The song was originally recorded on the pianist’s 1996 album of the same name, but it’s an apt kick-off to an exhilarating evening dedicated to the toughness and tenacity of the jazz mecca’s steadfast musical community.

“We're at Smoke and there's no one there, there're baffles between us, and we have masks on – Kenny Barron, who is royalty and could easily have decided just to stay home and not deal with this, is across the stage with a double mask on. But he's out there. That’s the fortitude of the New York musician. You have to have it to be here because you get smacked around by so many different things, but you just keep showing up.”

The flip side of that attitude is the tenderness and grace that Barron brings to a classic standard like “The Surrey with the Fringe on Top,” buoyed by Washington’s fleet basslines and the airy touch of Farnsworth’s nimble brushwork. “Moonlight in Vermont” is taken at an achingly slow pace, inspired by an encounter that Farnsworth shared with vocalist Betty Carter while playing at the now-defunct Greenwich Village club Sweet Basil in Benny Golson’s band. Album closer “Softly, as in a Morning Sunrise,” meanwhile, takes on an uncharacteristic brightness that represents the dawn after the darkness.

“Kenny suggested that tune,” Farnsworth says. “Everybody was so worried about the future at that point. We were constantly talking about taking things day by day. That's all you heard during the pandemic, but it’s something you should hear every day. So ‘Softly’ is a reminder that today is a new day.”

Farnsworth’s “City of Sounds” is a woozy blues that hints at an after hours jam session, while the blistering “No Fills” recounts a formative lesson taught to him by saxophonist George Coleman. “After the set George asked me, ‘Do you want some butter with them rolls?’ I was playing too much. He wanted me to be more like Billy Higgins. If you listen to Hank Mobley’s Straight No Filter, they do a tune called ‘Soft Impressions’ where McCoy Tyner is on fire but Billy never plays a fill. It's just straight through the top like George was talking about. For me, that's really the bible of no fills.”

The continuity of tradition represented by the album is also captured in its cover photo, which was taken in Weehawken, New Jersey at the same spot where saxophonist Benny Golson is depicted on the cover of 1959’s New York Scene. Golson was one of Farnsworth’s earliest employers, and the site is not far from the homes of Thelonious Monk and Barry Harris, which Farnsworth says affected the very atmosphere of the place.

“People ask all the time if it's still relevant to come to New York anymore,” Farnsworth concludes. “Without a doubt, if you were to spend a year here, you would be a better musician. Why? Charlie Parker's not here, but you still feel him. Monk's not here, but you still feel him. Their presence flows through the streets. It flows through the people. It’s the ultimate power source.”

"City of Sounds" was produced by Paul Stache and Damon Smith,

recorded live at Smoke Jazz & Supper Club, NYC from February 19-21, 2021

and mastered to ½” analog tape using a Studer mastering deck.

Joe Farnsworth · City of Sounds

Smoke Sessions Records · Release Date: October 1, 2021

For more information on other Smoke Sessions Records releases, please visit:

SmokeSessionsRecords.com | Facebook | Instagram

The Bowie Project - Strange Changes (October 1, 2021)

Since 2014, The Bowie Project has captured jazz and Bowie fans alike with its dynamic and vibrant instrumental interpretations of the compositions of one of popular culture’s most iconic figures. Pianist, composer and broadcaster Adam Rudegeair (PBS 106.7fm Black Wax) deconstructs and re-imagines selections from David Bowie’s five-decade back catalogue – from deep cuts to hits. With humble beginnings as an acoustic jazz quartet, the sound and line-up of The Bowie Project continues to evolve with each album and performance.

Strange Changes is the fourth release from The Bowie Project and is infused with the flavours of New Orleans brass bands, as well as Headhunters era Herbie Hancock.

1. Lady Grinning Soul

2. Oh! You Pretty Things

3. The Man Who Sold the World

4. Let's Dance

5. Ashes 2 Ashes

6. Fame

7. Fashion

8. 'Tis a Pity She Was a Whore

Adam Rudegeair – piano, keyboards

Thom Mitchell – drums

Monty Shnier – acoustic and electric bass

Kumar Shome – electric guitar

Adam Donaldson – percussion

Luke Carbon – baritone sax, bass clarinet

Phil Hayter - tenor and alto sax

Eamon McNelis – trumpet

Jay Scarlett – sousaphone and trombone

Recording Engineer – Jem Savage

Studio Assistant – Hannah Reaney

Additional overdubs recorded by Myles Mumford, Adam Donaldson, Adam Rudegeair

Behind the scenes photography – Tina Behrsin, Lara Wentworth, and Adam Rudegeair

Artwork by Lara Wentworth

Mixed by Myles Mumford

Mastered by Bisho Abdelsayed - Radiate Productions

Recorded in November/December 2020 at:

Box Hill Institute, Rolling Stock Recording Rooms, Funk Noir HQ, and the Lockup.

Produced and arranged by Adam Rudegeair

All compositions by David Bowie except Fame (Bowie/Lennon)

PREORDER