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Ron Steen September 2018 Schedule 

Sundays –
Augustana Jazz Quartet featuring Marilyn Keller, George Mitchell, Kevin Deitz & Ron Steen performing the Jazz Service at Augustana Lutheran Church  2714 N.E. 14th Ave. 6:00 PM to 7:30 PM. No cover charge and all ages. For more information call 503-288-6174.
http://www.augustana.org/

Sundays –
Clyde’s Prime Rib 5474 N.E. Sandy Blvd. 8:30 PM to 11:30 PM. No cover charge & free parking available in lot. For more information call 503-281-9200.
http://www.clydesprimerib.com/

Ron Steen Jam with:

• 2nd: George Mitchell & Dennis Caiazza
• 9th: Steve Christofferson & Dennis Caiazza
• 16th: Bryn Roberts & Phil Baker
• 23rd: Bill Beach & Phil Baker
• 30th: Gaea Schell & Kevin Deitz

Mondays –
“The 1905” 830 N. Shaver St. off Mississippi Ave. 8:00 PM to 11:00 PM. No cover charge. $10.00 suggested minimum and all ages until 10:00 pm. For more information call 503-460-3333.
http://www.the1905.org/

Ron Steen Monday Night Jam with:

• 3rd: “Labor Day Jam” with Ray Hardiman & Perry Thoorsell
• 10th: Greg Goebel & Ed Bennett
• 17th: Tom Grant & Dave Captein
• 24th: George Colligan &  Dave Captein

Wednesdays –
Wilf’s Restaurant & Bar 800 N.W. 6th Ave. by Union Station 7:00 PM to 10:00 PM. $10.00 cover charge 100% goes to musicians and a minimum food and beverage of $18.00 per person. All ages and free parking available in lot. For more information call 503-223-0070. Tickets available through Ticket Tomato.
http://www.wilfsrestaurant.com/home
https://www.tickettomato.com/

Ron Steen Vocal Jazz Showcase with:

• 5th: “First Wednesday with Tom Grant” featuring Maddy Piazza & Ed Bennett
• 12th: COOLEY (aka David Cooley), Vince Frates & Dennis Caiazza
• 19th: Jan Koenig, Vince Frates & Dennis Caiazza
• 26th: Barney Stein, Todd Marston & Ed Bennett

September 1st (Saturday) –
“Loosewig Jazz House Party” featuring The Janis Mann Quartet with George Colligan, Dave Captein & Ron Steen located at 5332 SE Morrison St. 7:30 PM to 10:30 PM. $20.00 suggested adult donation, $10.00 for children. No one turned away for lack of funds. All ages. For more information call Ben Fajen at 503-410-1458.
https://www.loosewig.com/#events

September 4th (Tuesday) –
Graham Covington Trio featuring Dennis Caiazza & Ron Steen at Arrivederci 17023 S.E. McLoughlin Blvd. Milwaukie OR 97267 7:00 PM to 10:00 PM. $5.00 cover charge and all ages until 9:30. For more information call 503-659-1143.
http://www.arrivederciwine.com

September 7th (Friday) –
Rebecca Hardiman Band featuring Ray Hardiman & Ron Steen at Langdon’s Grill  24377 N.E. Airport Rd. Aurora, OR 97002 6:00 PM to 8:30 PM. No cover charge, all ages & free parking available in lot. For more information call 503-678-1101.
http://www.langdonfarms.com/jazz-at-the-grill

September 8th (Saturday) –
“Jim Jennings House Concert” featuring Tom Grant, Dave Captein & Ron Steen located at 610 SW Colony Drive Portland OR 97219 5:00 PM to 6:30 PM. $20.00 suggested adult donation and all ages. For more information call Jim Jennings at at 847-707-8569..

September 14th (Friday) –
George Colligan Trio featuring Phil Baker & Ron Steen at The Living Room Theaters  341 SW 10th Ave. 8:00 PM to 11:00 PM. No cover charge and all ages. For more information call 971-222-2010.
http://pdx.livingroomtheaters.com/live_music.cfm

September 21st (Friday) –
Graham Covington Trio featuring Dennis Caiazza & Ron Steen at Wilf’s Restaurant & Bar  800 N.W. 6th Ave. by Union Station 7:00 PM to 11:00 PM. $10.00 cover charge 100% goes to musicians and a minimum food and beverage of $18.00 per person. All ages and free parking available in lot. For more information call 503-223-0070. Tickets available through Ticket Tomato.
http://www.wilfsrestaurant.com/hom
https://www.tickettomato.com/ 

September 22nd (Saturday) –
Ron Steen Trio featuring Rebecca Hardiman & Ray Hardiman at The Bluehour  250 NW 13th Ave. Portland OR 97209 9:00 PM to 11:00 PM. No cover charge. For more information call 503-226-3394.
http://www.bluehouronline.com/

September 28th (Friday) –
Rebecca Hardiman Band featuring Ray Hardiman & Ron Steen at Langdon’s Grill  24377 N.E. Airport Rd. Aurora, OR 97002 6:00 PM to 8:30 PM. No cover charge, all ages & free parking available in lot. For more information call 503-678-1101.
http://www.langdonfarms.com/jazz-at-the-grill

October 1st (Monday) –
Ron Steen Monday Night Jam at “The 1905” 830 N. Shaver St. off Mississippi Ave. 8:00 PM to 11:00 PM. No cover charge. $10.00 suggested minimum and all ages until 10:00 pm. For more information call 503-460-3333.
http://www.the1905.org/

October 2nd (Tuesday) –
Graham Covington Trio featuring Dennis Caiazza & Ron Steen at Arrivederci 17023 S.E. McLoughlin Blvd. Milwaukie OR 97267 7:00 PM to 10:00 PM. $5.00 cover charge and all ages until 9:30. For more information call 503-659-1143.
http://www.arrivederciwine.com

October 3rd (Wednesday) –
Ron Steen “First Wednesday Vocal Jazz Showcase” featuring Tom Grant at Wilf’s Restaurant & Bar 800 N.W. 6th Ave. by Union Station 7:00 PM to 10:00 PM. $10.00 cover charge 100% goes to musicians and a minimum food and beverage of $18.00 per person. All ages and free parking available in lot. For more information call 503-223-0070. Tickets available through Ticket Tomato.
http://www.wilfsrestaurant.com/hom
https://www.tickettomato.com/ 

October 5th (Friday) –
Rebecca Hardiman Band featuring Ray Hardiman & Ron Steen at Langdon’s Grill  24377 N.E. Airport Rd. Aurora, OR 97002 6:00 PM to 8:30 PM. No cover charge, all ages & free parking available in lot. For more information call 503-678-1101.
http://www.langdonfarms.com/jazz-at-the-grill

October 7th (Sunday) –
Augustana Jazz Quartet featuring Marilyn Keller, George Mitchell, Kevin Deitz & Ron Steen performing the Jazz Service at Augustana Lutheran Church  2714 N.E. 14th Ave. 6:00 PM to 7:30 PM. No cover charge and all ages. For more information call 503-288-6174.
http://www.augustana.org/

October 7th (Sunday) –
Ron Steen Jam at Clyde’s Prime Rib 5474 N.E. Sandy Blvd. 8:30 PM to 11:30 PM. No cover charge and free parking available in lot. For more information call 503-281-9200.
http://www.clydesprimerib.com

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August 31, 2018 To: Listings/Critics/Features From: Jazz Promo Services www.jazzpromoservices.com Judith Lorick featuring The Eric Reed Trio “The Second Time Around” CD Release Show Thursday, October 18, 2018 Smoke Jazz & Supper Club 2751 Broadway, NY Showtimes: 7pm, 9pm & 10:30pm Tickets: $15 Tickets & Info Judith Lorick (v) Eric Reed (p) Dave Baron (b) McClenty Hunter (d) New CD

 

“Gifted with an extraordinary voice, Judith Lorick combines charm, elegance and refinement” – “Les Nuits du Jazz” Cannes (France) JUDITH LORICK is a vocalist we should have heard from long before now. In an era of exaggeration and pyrotechnics, Judith’s voice is a soothing reminder of what it means to have quality of tone and sophistication, all captured on her latest project, The Second Time Around, an array of popular pieces, warmly and refreshingly treated by Judith and her collaborator, multi-faceted pianist Eric Reed. Supplementing accompaniment is a diverse collection of talent including Jeremy Pelt on trumpet, McClenty Hunter on drums, Kiyoshi Kitagawa on bass, and a recent arrival to the music scene, tenor saxophonist Chris Lewis. The Second Time Around celebrates several life events for Judith, most notably the reunion with her long lost love, Artie. To tell the story, Reed encouraged her to select songs that were intrinsic to it; not surprisingly, the most appropriate and moving songs turned out to be ballads. “Eric was in tune to the fact that singing ballads is something that I’m passionate about, and that this passion would resonate with others,” Judith recalls. This heartwarming and poignant tale is rendered through the lyrics of tireless classics like “I’ll Be Seeing You”, the title track “The Second Time Around” and rarer gems like “Why Did I Choose You”and “I’m Gonna Laugh You Right Out of My Life”. Judith explains her ease with the repertoire, stating, “Interpreting ballads comes naturally to me because they resonate in my soul, and that’s where I sing from, where I live. As long as I can feel it, as long as I can react spontaneously in my interpretation and phrasing, I can relate honestly to people.”More than anything, pure and unfettered honesty pours out of this project. Judith’s passion is not just limited to ballads, but to music in general. “My mother ‘gave me voice’. She constantly had music on in our home, so by the time I was a teenager, and began to sing jazz, I already knew three hundred songs!”she exclaims. This carefully selected program of songs is rooted in Judith’s natural proclivity towards education:“When I perform, I tend to do songs that people might not know because I feel part of my job is to make people aware of great songs that are rarely interpreted.” In the midst of music, family, and a very successful business career, Judith has found and lost love, finding it againfour decades later; she has lived every lyric sung. A native of Philadelphia (as is her collaborator Reed), Judith has traversed the globe not only as performer, but as resident, having spent extensive time in southern California, and almost thirty years in the south of France, where she first met Eric at an after-hours jam session in 1995, where “The magic was immediate,”she remembers. “When you breathe together like that, from the first note, well, it was a musical experience one never forgets.”  When Judith returned to the U.S. in 2014, they reconnected after one of Eric’s performancesand not long after, their collaboration ensued – the secondtime around. “Judith and I were diligent about every aspect of this project, which was a treat for me,”says Reed. “Her trust was paramount in doing this.”Their due diligence paid off in the assemblage of a masterful and sympathetic quintet, an unusual choice for a vocal recording. Judith explains, “I love what Jeremy Pelt and Chris Lewis add to the overall sound. Sometimes, we were just going for sounds and colors versus full-on solos. Eric and I were interested in scoring a storyline versus simply recording songs.”Illuminating further about her collaborator and co-producer, “Eric is amazing – talented, creative, meticulous, and sensitive. He’s not merely an accompanist here, it’s as if we’re singing together.” Although the songs are familiar, the story of The Second Time Around, is a unique and moving saga about which Judith summarizes,“I’m glad I came home. It was time.” Judith Lorick The Second Time Around (JLJ International LLC JLJ2014) Street Date: September 28, 2018 Vocals: Judith Lorick, Piano: Eric Reed,Trumpet: Jeremy Pelt,  Drums: McClenty Hunter,  Bass: Kiyoshi Kitagawa, Tenor Saxophone: Chris Lewiswww.judithlorick.com Media Contact Jim Eigo Jazz Promo Services E Mail: jim@jazzpromoservices.com www.jazzpromoservices.com “Specializing in Media Campaigns for the music community, artists, labels, venues and events.”Radio Contact Shaunna Machosky  Jazzzdog Promotions  412.600.5329  jazzzdog@me.com

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Posi-Tone Records        #ListenToMoreJazz  #LiveJazzIsFun   View this email in your browser

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New music release: Art Hirahara “Sunward Bound” BUY NOW! Pianist Art Hirahara turns his attention above and within and blasts off “Sunward Bound” for his fourth leader album for Posi-Tone. Reaching steadily towards new realms of expression, Hirahara perseveres steadily along on his musical journey of unfoldment. “Sunward Bound” displays a clear sense of creative continuity that can be traced back on his previous albums from his joyous first steps along the “Noble Path” through his trials and tribulations of “Libations And Meditations” and into his deep explorations of the distant pathways in the “Central Line.” Once again Hirahara succeeds in creating a bold impassioned statement that also features significant and meaningful contributions from his trusted collaborators tenor saxophonist Donny McCaslin, bassist Linda May Han Oh, and drummer Rudy Royston. The program of original compositions are lyrical and clearly suggestive of a modern jazz sensibility, but the focus of the music always remains straight forward with some hard swinging highlights. With an amazing combination of talents, brilliant performances, and an evocative program of new original compositions, “Sunward Bound” is sure to bring bright moments of intense delight to serious listeners and jazz fans everywhere. 1. Ruse For Blues Shoes 3:35 2. Brooklyn Express 6:12 3. Akatombo 2:52 (Kosaku Yamada) 4. Sunward Bound 5:43 5. Unbound 5:16 6. Points Of View 6:22 7. Ringo Oiwake 5:55 (Masao Yoneyama) 8. Beyond Right And Wrong 6:08 9. Up Turn Out 4:59 10. Suspended 5:45 11. Inverted Fountain 2:19 (David Ake) all songs composed by Art Hirahara except as noted Art Hirahara – piano Linda May Han Oh – bass Rudy Royston – drums Donny McCaslin – tenor saxophone produced by Marc Free links to “Sunward Bound” music: the latest releases from Posi-Tone Records:

BUY NOW! BUY NOW! BUY NOW! BUY NOW! BUY NOW! BUY NOW!

—————————————– Check our Gig Calendar for upcoming shows by Posi-Tone artist in your area. —————————————– We now have Posi-Tone hats for sale on our website. —————————————– Thanks for reading our newsletter! Here’s a secret link to our next release and the chance to buy the CD right now, before it’s official release date. Enjoy our artists?  Posting positive online reviews or comments at iTunes, Amazon, SoundCloud and Pinterest are some of the best ways to help artists continue to make music. Thanks!

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Your favorite Nerds of Norcal, progressive rock band 41POINT9 have released their newest video for the soon to be released album “Mr. Astute Trousers.” Following closely on the heels of the success of their first two videos this time out the band adopts a heavier sound and more serious topic. The video is for a song called “The Marine” and was based on the true story of a U.S. Marine Corps soldier killed in Afghanistan. When his body was returned to his wife (who was pregnant with their first child) she requested to “sleep one last time by her husband’s side” in the funeral home. At her request, the Marine Honor Guard fixed her a makeshift bed beside the coffin and as the last Marine was leaving the chapel, he looked back to see her quietly crying. He turned around and went back to her and asked her if she would like him to stay for a while. She said she would like that. The Marine stepped back up on the dais beside the coffin and stood at attention. When the young mother woke the next morning, that Marine was still there….still standing at attention. Still watching over her, her unborn child and her deceased loved one.

This is a true story that won a Pulitzer Prize for best photo essay in a Colorado Newspaper. You can read that story and see the pictures that inspired this song here: http://digitaljournalist.org/issue0604/finalsalute_thumbs.html

41POINT9 wishes to pay tribute to the honor and traditions of the Marine Corps and to the sacrifice embodied by all who serve. It is for this reason all proceeds from this video will be donated to The Semper Fi Fund, an A+ rated charity that provides immediate financial assistance and lifetime support to post 9/11 combat wounded, critically ill and catastrophically injured members of the U.S. Armed Forces and their families.

Watch the premiere 41POINT9’s “The Marine” video at PowerofProg.com here: 
https://powerofprog.com/41point9-premiere-new-video-the-marine-as-tribute-to-us-marine-corps-from-the-upcoming-album-mr-astute-trousers/

In support of the band’s forthcoming album release on October 19, 2018 titled  “Mr. Astute Trousers,” 41POINT9 is preparing to tour later in the year if all goes well.

For more information:
www.41POINT9.com
www.TheHighlanderCo.com
https://www.facebook.com/41POINT9/

Press inquiries: Glass Onyon PR, PH: 828-350-8158, glassonyonpr@gmail.com

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Thousand Miles, distributed by Six Degrees Records is set for release on October 5, 2018. Joe’s Pub Record Release Party on October 5th! View this email in your browser

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PRESS RELEASE: Bassist, Alexander Claffy Puts a Modern Spin on Timeless Classics with a Generations-Spanning Album, “Standards: What Are You Doing the Rest of Your Life?” Due out November 2, 2018 via SMK Jazz, Claffy’s first straight-ahead jazz release features key influences and mentors Kurt Rosenwinkel, Dave Kikoski and Joel Frahm along with an ensemble of rising star peers. “This CD… is anything but standard.” – Ron Carter

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August 30, 2018 To: Listings/Critics/Features From: Jazz Promo Services www.jazzpromoservices.com Lucia Jackson CD Release Show “You And The Night And The Music” @ Zinc Bar 82 W 3rd St New York, NY 10012 212-477-ZINC (9462) www.zincbar.comMonday, September 10th 7pm Featuring Lucia Jackson-Vocals, Ron Jackson-7 String Electric Arch Top Guitar-7 String Acoustic Classical Nylon String Guitar- Steel 7 String Guitar, Yago Vazquez-Piano, Matt Clohesy, Double Bass, Corey Rawls-Drums. Special Guests Daniel Garcia, Flamenco Classical Guitar, Samuel Torres-Cajón/Congas/Percussion, Javier Sanchez-Bandoneón, Frederika Krier-Violin

 

www.luciajackson.com/music

You And The Night And The Music is the debut of Lucia Jackson, a promising young jazz singer who displays a fetching voice on a set of standards along with a few surprises.   With her father, jazz guitar great Ron Jackson, contributing arrangements and leading an impressive rhythm section joined by guests, Lucia Jackson creates fresh variations of timeless material. Lucia Jackson has had busy careers as both a dancer and a model. However her love of singing, her obvious talents as a vocalist, the encouragement of her father, and very favorable receptions at many venues in the New York area have led her to release her debut recording. Her many fans raised $15,000 through Indiegogo for the project. With the vocal coaching of the world renowned bassist-vocalist Nicki Parrott and an inspired repertoire, Lucia is heard at her very best throughout the program.For the memorable effort, Lucia Jackson is joined by her father Ron Jackson on guitars, pianist Yago Vazquez, bassist Matt Clohesy and drummer Corey Rawls, with guest appearances by Daniel Garcia on flamenco guitar, violinist Frederika Krier, Javier Sanchez on bandoneon and percussionist Samuel Torres playing cajon and congas. The music on You And The Night And The Music features new twists on classics from the Great American Songbook, many of which are arranged in tango, bossa-nova or bolero styles by Ron Jackson, who is also the set’s producer. The song choices, which include not only vintage tunes that have special meanings for the singer such as “Beautiful Love,” “Sophisticated Lady” and “Never Let Me Go,” but Julia Michael’s recent “Issues,” the Beatles’ “And I Love Him,” and Ms. Jackson’s original “Feel The Love,” give the set both variety and consistent high quality. While the supporting cast is strong and Ron Jackson’s solos are colorful and tasteful, the main focus is on the young singer, who comes through in winning fashion. Some of the highlights on You And The Night And The Music include: “Just One Of Those Things”:  – The 1930s standard is taken uptempo, includes some superior and straightforward jazz singing, and has a hot guitar-drums tradeoff. “And I Love Him”; – The Beatles classic is transformed into a vocal-guitar duet and sung with great tenderness. “I’m A Fool To Want You”: – Lucia Jackson’s interpretation is full of quiet longing, accentuated by Frederika Krier’s passionate violin. “Feel The Love”: – An original by the singer and Daniel Garcia, this piece gives her an opportunity to sing over a funky rhythm that, with Garcia’s acoustic guitar, also has the feel of flamenco. “No Regrets” and “When You’re Smiling”: – The pair of joyful swingers are each given exhilarating treatments with Ms. Jackson also scatting quite effectively on the latter. You And The Night And The Music is a significant recording debut for it introduces Lucia Jackson as a subtle and lightly swinging jazz singer, one with a very attractive and often-fetching voice who displays a quiet intensity and a real feeling for the lyrics that she interprets. Lucia Jackson, who was born in New York, grew up in Madrid, Spain where she started singing when she was ten. She studied voice and piano at the prestigious Escuela de Musica Creativa when she was 13 and also ballet and flamenco at the Professional Dance Conservatory. Returning to New York when she was 18, she has since danced with the Alvin Ailey American Dance Theatre as a guest student, at the Jacobs Pillow Dance Festival and, as a member of FJK Dance, toured China for two months. As a jazz singer, she has performed with many groups including the Bud Maltin Orchestra, Marty Schwartz, and the Art Lillard Big Band. At age 26, Lucia Jackson is set to make a major splash in the jazz and music worlds with the release of You And The Night And The Music from the Roni Music label.  Her large fan base, which through the Indiegogo crowdfunding campaign made the recording possible, will be pleased.

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Vivian Lee New CD “Let’s Talk About Love” + Upcoming Live Appearances

Upcoming Live Appearances Saturday August 25 – Shine Cafe – Vivian Lee Quartet, 1400 E St, 8-11pm, $10 + 1drink minimum Saturday September 29 – Scarlett Productions presents Jazz at the Buddhist Church 1401 Riverside Blvd, Sacramento – The Blues and the Abstract Truth – Rick Shaw Septet with guests Vivian Lee Quartet, 6-9pm, $25 general admission. $10 students w/ID (night of) Saturday October 20 – Red Tie Arts and the McHenry Museum – Vivian Lee Quartet – details TBA Monday December 3 – Sacramento Jazz Coop presents – Vivian Lee Quartet Holiday Concert – Masonic Temple, 1123 J St, Sacramento 7-9, $25    Backed by an empathetic rhythm section, the vocalist shines on an amalgam of haunting ballads and swinging standards. Vivian Lee  “Let’s Talk About Love”  (Tara Records TR80554-5) Street Date: August 30, 2018   Vivian Lee-vocals, Brenden Lowe – piano,  Joe Gilman – piano (Track #3,)  Buca Necak – bass,  Jeff Clayton – alto sax (Track #6),,  Jeff Minnieweather – drums http://www.vivianleejazz.com UPC/EAN Code:192914319597   Vivian Lee is a musical raconteur. An evocative vocal instrument and impressive technique are certainly part of her package, but the jazz singers we prize are musical storytellers. On “Let’s Talk About Love,” Vivian Lee spins eleven memorable tales. Ms. Lee and her musical collaborators, including pianists Brenden Lowe and Joe Gilman, bassist Buca Necak, and drummer Jeff Minnieweather, offer the type of cohesive, group interplay that only comes from playing together on a consistent basis. When that happens, it’s as if the musicians are breathing in sync. Accordingly, the rhythm section provides the perfect magic carpet for Ms. Lee’s musical peregrinations. She has been recognized as one of the premiere jazz artists in Sacramento and this recording shows why audiences so appreciate her talent. As always, Vivian focuses on standards from the great American songbook. Here, the program is love, plain and simple. Keeping with the many aspects of love theme, but off the standards tracks, she includes notable exceptions: “Bein’ Green,” from Sesame Street and Bill Evans’ jazz classic, Waltz for Debby. Ms Lee certainly knows the meaning of swing, and it’s out front on the Bachrach/David’s “Wives and Lovers.” The track is driven by the swinging, perfectly in sync interconnection of the musicians. On “Before We Fall in Love,” music by John Clayton (the bassist), lyrics by Alan and Marilyn Bergman, a more, gentle swing emerges as Vivian urges us not to rush into the one thing we all seek. On “Some Other Time,” a luscious ballad, music by Leonard Bernstein, lyrics by Betty Comden and Adolph Green she laments not having enough hours in the day to spend with the one she loves. On “Secret Love” she reveals her love is a secret no more her vocal is joyful, celebratory and tangible. Jazz listeners prize Ella Fitzgerald’s rendition of “You Turned the Tables on Me,” and it’s her phrasing that we love. Once again, Vivian’s phrasing and the way she articulates the notes comes from that deep well of emotional reserve. Clayton brother Jeff guests on Johnny Mandel’s memorable ballad, “Emily,” with lyrics by Johnny Mercer. George Gershwin’s “The Man I Love,” another medium tempo swinger, finds Vivian looking for love, wondering what could be. The pace quickens with “Out of Nowhere,” which also showcases pianist Brenden Lowe’s up-tempo chops. “Didn’t We” provides a platform for Ms. Lee’s musical meditation. She returns to a more joyful perspective on Bill Evans’ “Waltz for Debby,” with lyrics by Gene Lees, true jazz classic. “Bein’ Green,” from Sesame Street, is wrapped in poignancy. But it also strikes a blow for being unique, which ain’t easy, whether you’re a frog, or just an ordinary guy. The musical artistry of Vivian Lee is far from ordinary. On “Let’s Talk About Love,” we learn she’s truly a singer’s singer, with her own unique emotional approach to love and how to express it.

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Eclectus Records P.O. Box 532137 Grand Prairie, TX  75053Retro Jazz Singer Laura Ainsworth Announces National TV Debut, Multiple Award Nominations

For Immediate Release: Dallas, TX (August 29, 2018) – It’s been one year since Dallas-based lounge/jazz singer Laura Ainsworth (www.lauraainsworth.com) released her critically-acclaimed third album, New Vintage. It turned out to be a roller coaster year that took a disheartening plunge before climbing towards new heights with her upcoming national cable TV debut and multiple award nominations.   Ainsworth said, “I’m thrilled to announce that on September 8th, I will be on the award-winning TBN talk/variety show Huckabee, on the same show with 12-time Grammy winner, Cece Winans.”  That show will be repeated September 9th, then posted for streaming at TBN.com.  Immediately afterward, she heads to Dollywood for the Josie Music Awards, where she is nominated in five categories.  November will find her in North Carolina, where she has five nominations in the Artists Music Guild Heritage Awards, an indie artists’ event founded by Emmy-winning artist/composer David L. Cook and hosted this year by Thelma Houston.  She is also in negotiations to release her entire catalog in Japan.     It’s an exciting upswing after hearing damage threatened to derail her momentum. Last August, New Vintage and a best-of vinyl LP, Top Shelf, were released to critical raves.  New Vintage, the culmination of her distinctive mix of midcentury lounge jazz with modern twists and her silky, sultry, three-octave voice, won her several awards and a “Best of the Best of 2017” honor from the worldwide lounge podcast, Cocktail Nation; a spot on Jazzweek’s Most-Added Chart, her first feature in Downbeat magazine and a solo debut at New York’s famed Metropolitan Room.    But it was during that dream-come-true show that she realized she would have to do something about her hearing.  Ainsworth says, “As thrilled as I was to perform there, the show left me exhausted, and not in a good way!  The sound in my head was so distorted, trying to hear myself and the band was like swimming through molasses.”     Her problem will be sadly familiar to fans of ‘80s rock icon Huey Lewis, who had to cancel a tour due to the same inner ear condition, Meniere’s Disease.  In Ainsworth’s case, violent vertigo attacks had forced her to curtail live shows and concentrate on recording.  The silver lining was that her albums (including her debut, Keep It To Yourself, and follow-up, Necessary Evil) won her fans worldwide.  But treatment that stopped the vertigo cost her the hearing in her left ear.  For a time, she was able to sing live with a monitor on her right side, but the distortion kept worsening.   With bookers clamoring to sign her, technology finally came to the rescue.  After much testing, she was recently fitted with a cutting-edge, invisible hearing system that blocks the distortion.  For her, it’s a true miracle of science that’s enabled her to return to the stage, as TBN viewers will soon discover.   As for what the future holds, Ainsworth says, “I hope to keep bringing this sophisticated music into the 21st century and introducing younger listeners to standards and great, long-forgotten tunes. And I’m writing more new songs that I hope people will mistake for forgotten gems from 1952.”  (One of her originals from New Vintage, “The Man I Love Is Gone,” written with veteran jazzman George Gagliardi, scored both Josie and AMG Awards nominations.)      “I’m also thrilled finally to be able to say this: please visit my website (www.lauraainsworth.com) for my recordings, and to book me to sing for you live!” # # # Contact info:   Interviews and inquiries:  Pat Reeder, Eclectus Records. Email: webmaster@lauraainsworth.com; Text: 972-333-1399. National press campaign: Jim Eigo, Jazz Promo Services, 845-986-1677, jim@jazzpromoservices.com Radio service:  Kate Smith, 814-482-0010, katesmithpromotions.kate@gmail.com

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Kurt Elling Blindfold Test at the 2018 North Sea Jazz Festival By Dan OuelletteThe following live Blindfold Test with Kurt Elling was a separately staged event that took place in front of a North Sea audience on July 13, 2018.

Vince Bell  “Where The Wind Sleeps” (Ojo, Mulatta, 2018) Bell, vocals, spoken word; Renaud-Gabriel, bass clarinet; David Mansfield, banjo. That’s cool. I feel like I should know his voice from somewhere. Is he the writer? It’s got a great sound, and he’s killing it. But I don’t have any idea. But you can tell he’s the guy who wrote it because all the feeling is there. That’s what you want. If you’re going to tell a story on a recording, it has to have a vibe. It needs the vibe more than anything else. With Ivan Lins, all that vibe was taken out. It was just too perfect and clean and crispy. This guy delivers that emotional content along with the intellectual content of the story he’s telling. It sounds great. I love the bass clarinet. That’s always a good move. You don’t hear a lot of banjo these days, so that’s an interesting moment. Maybe this is more of a folk recording of some kind, but the bass clarinet puts it into any category. [after] Vince Bell? Don’t know him, but he sounds good. I like his voice, and he knows the sound he wants. He’s obviously listened to the great storytellers because he’s getting the emotional content across. I’d rather have him do voiceovers for car commercials than all the guys you hear today. http://downbeat.com/news/detail/kurt-elling-blindfold-test-at-2018-north-sea-jazz-festival

About Vince Bell’s album, T Bone Burnett writes: “Ojo is shamanism.” Bell’s songs have been performed and recorded by such diverse talents as Little Feat, Lyle Lovett and Nanci Griffith, and both a ballet and musical have been set to his work. Along with five critically acclaimed CDs and a live performance DVD, he is the author of an autobiography, One Man’s Music: The Life and Times of Texas Songwriter Vince Bell and one-man performance piece, One Man’s Music: A Monologue with Song. “Vince is a poet,” said the well-loved late Townes Van Zandt. Vince Bell has been a stalwart of the Texas singer-songwriter scene since he emerged in Houston in the early 1970s. A rising star, until a devastating car accident in 1982 which resulted in a serious brain injury and a 10 year-recovery. “His determined rehabilitation and subsequent comeback is a personal journey that ends triumphant in the here and now,” from Joe Nick Patoski, author of Willie Nelson: An Epic Life. http://www.vincebell.com

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Lisa Dodd nominated as CCMA Bass Player of the year … again

Read the full story HERE

In 2012, I very proudly became the first and only female to win the CCMA award for Bass Player of the Year, repeating that honor in 2015 and again in 2018.

My most recent project has been singing with Vinyl Hampdin, a rocked out, incredibly funky, jaw dropping, epic ear candy, thriller of a band and the most talented group of jazz and pop musicians that has ever existed.  We just dropped our first video onto the world wide web, please check out our Facebook page and give us a listen, a like, a follow, a share!  https://www.facebook.com/vinylhampdin

NEW CD

Watch Vinyl Hampdin Perform
Stevie Wonder’s Superstition

Rocked Out Seriously Funky Jaw Dropping Ear Candy! is the subtitle/explanation tothe name of the spectacular group Vinyl Hampdinwhose debut album Red(Armored Records) provides undeniable testimony to every word of that heavily promising description. Founded by the remarkable trombonist/composer-arranger Steve Wiest, the band is a powerhouse of highly acclaimed award-winning musicians whose wide range of credentials covers a full swath from Maynard Ferguson and Carmen McRae to DJ Logic and the current aggregation of the legendary super-group Chicago. That last credit is quite appropriate as Steve’s concept behind this group is “What would Chicago, Blood Sweat &Tears and Tower of Power sound like if they started out today?” This remarkable recording provides an excellent answer, especially if you roll the lean and mean funkiness of Fred Wesley’s and Maceo Parker’s JBs into the mix. Steve also applies the unfailing Charles Mingus recipe of… if you want a band that sounds big; bring in musicians with big sounds. And every member of Vinyl Hampdin– from horns to rhythm to the explosive vocal dynamo Lisa Dodd – owns a very big voice, making this 4-horn, 4-rhythm ensemble thunder like a big band. Joining Steve and Lisa in the group are Art Bouton on baritone sax and flute; Ray Herrmann on tenor sax and flute; trumpeter Frank David Greene; guitarist Ryan Davidson; Eric Gunnison on keyboards; and Gerald Stockton and Stockton Helbing on bass and drums respectively.  The musicianship is virtuosic, with Lisa’s sensational vocals as the nucleus – and always fully in place as part of the ensemble sound. Both the horn tandem and rhythm section play with a synergy of purpose that locks them together not only as individual components of the music, but also in symbiotic fashion to create a unified sound that can deliver the bounty with seismic intensity or subtle gentility, even with just a quarter-rest for the transition. The solos – exceptional, but short and no-nonsense – abstain from virtuosity for its own sake, but are there as part of the overall context to enhance the unified sound. The outstanding repertoire of 11 songs – all flawlessly arranged by Steve – is comprised of six covers and five Wiest originals (two with lyrics by Dodd). The covers remain faithful enough to the source material of these highly popular songs, but the stunningly original arrangements certainly qualify them as re-imaginations. One possible exception to this is the opening track’s adherence to Stevie Wonder’s brilliant horn and synthesizer lines on Superstition,as even a writer as enormously talented as Wiest knows there’s no purpose in messing with perfection. But his superb arrangement using the baritone sax as the main engine of the horns, along with infectious syncopation, exciting call-and-response and Gunnison’s terrific piano solo make it totally fresh. Bookending this as the closing track is a more liberal interpretation, with rolling horns providing extra jetpower for the rhythm section-driven exploration of Bill Withers’ classic Use Me; filled with sparkling syncopation, tantalizing suspensions, a rip-roaring wah-wah guitar solo and a smoking Afro-Cuban flavored climax. Back into the big-sound root source is Rare Earth’s I Just Want to Celebrate, with its multi-layered horns, vibrant vocal and Steve delivering a pair of energetically hollerin’ trombone solos. Transforming the source material into larger sound is at the core of the remaining three covers. Bonnie Raitt’s The Road’s My Middle Nameretains its country blues roots with Lisa’s blues-drenched, soulful vocal but with punchy horns replacing the harmonica obbligato of the original and a delightful two-step danced by vocal and guitar. The Statler Brothers’ Flowers on the Wall, with dueling and suspended horn lines and a starkly syncopated rhythm section with a growling bottom pushing the vocal produce a palpable sense of the ominous throughout. Linda and Paul McCartney’s captivating Wings ballad My Lovereceives a straightforward, lovely take with the rich horn arrangement providing a lustrous canvas for Lisa’s winsome vocal. Wiest’s five originals are all perfectly complementary to the hit tunes contained on this delightful album, with Lisa offering the compelling lyrics for two of them. Pay for Itfollows its N’Orleans funeral march-like opening with an unfettered kick-ass soul-fest. Deliciously suspended horns with wailing trombone and trumpet usher in a gutty Herrmann tenor solo and riveting call-and-response between horns and vocal, spiraling into a closing tornado. Billionswith powerful, sobering lyrics is a dramatic, narrative-driven piece with staccato horns that swells to a vivid climax, downshifts into a slow boil of horns and syncopated rhythm, then soars to a second staggering climax – truly a song for our challenging times. Steve also wrote the intriguing lyrics for the remaining three songs, which further demonstrate Wiest’s impressive range as a composer. Gottaluvitis a hard-rocking kicker built on the sound of the title, stoked by Afro-beat style, chicken-scratch guitar. With horn/voice unison chant on the title refrain, it also features a round-robin of blazing horn solos. On Diamonds,richly lustrous horns drape, cushion and prod Lisa’s passionate vocal, setting the scene for sprawling guitar interwoven with swirling horns and closing on a group vocal chant. Essentially a four-movement suite, One Song’s opening fanfare morphs into a gentle vamp that evokes the intro to Stairway to Heaven and flows into an anthem-ish ballad buoyed by sumptuous horns and dramatic drums. Then a sinuous build to a crescendo with wailing guitar, ultimately closing out amid densely textured horns. Blending its heavy focus upon hard-blowing, high-gear, take-no-prisoners explosiveness with subtle and entrancing imagination, Vinyl Hampdin’s Redis a marvelous debut and a portent of great things to come. For more information, visit  https://www.vinylhampdin.com/

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On Leap of Faith: “Alien yet familiar, bizarre yet completely fascinating. Expanding, contracting, erupting, settling down, always as one force…” – Bruce Lee Gallanter, DMG

There’s a great lineup of shows coming for the rest of 2018 by the various ensembles…

In this Newsletter:

1. Cosmological Horizons a smash hit!
2. Fall Calendar
3. 2019 releases
4. Cosmological Horizons Liner notes

1. Cosmological Horizons is a smash hit!

The Leap of Faith Orchestra performed the 5^th Frame Notation Score by PEK on 7/14 at Killian Hall, MIT.   See the full liner notes in Section 4 of the newsletter.  25 players gathered in Killian Hall, a wonderful large room with plenty of room for the ensemble and all our gear, high ceilings, a great grand piano, and great acoustic treatments.  I have just received the CDs, my nicest package yet – a digipak release with a 24 page booklet…  This spectacular performance of the most sophisticated score yet was extremely well recorded by the EC Designated Engineer Joel Simchez.

Bandcamp:

https://leapoffaith1.bandcamp.com/album/cosmological-horizons

YouTube:

Cosmological Horizons: https://youtu.be/WAKPbZw8McQ

Boundaries: https://youtu.be/oJDp8Xm4dXc

Evil Clown album pages:

http://www.evilclown.rocks/lofo-cosmological-horizons.html

http://www.evilclown.rocks/lofo-scored-performances.html

1. Fall Calendar

Ensembles listed at the end of the section.

I now post the Calendar at two locations:

On the Evil Clown webpage:

http://www.evilclown.rocks/performances-upcoming.html

On the Evil Clown FaceBook Page:

https://www.facebook.com/GiantEvilClown/

Leap of Faith Orchestra & Sub-Units – Retrocausal Strategies

September 1 – 8 pm – $10

Third Life Studio

33 Union Sq, Somerville, MA

Five times a year, a smallish Leap of Faith Orchestra (LOFO) heads over to Third Life Studios in Somerville for an evening of large ensemble improvisation. For the first half of the show, we do four short 15 minute improvisations by different quartet sub-groupings of the orchestra. Then we do a 50 minute improvisation with everyone.

https://www.facebook.com/events/362761860928414/

Leap of Faith – Irreducibility

September 15 – 8 pm – $10

Outpost 186

186 1/2 Hampshire St, Inman Square, Cambridge (rear)

Leap of Faith is the core trio of the LOFO comprised of PEK on clarinets, saxophones, clarinets & flutes, Glynis Lomon on cello, aquasonic & voice, and Yuri Zbitnov on drums & percussion dating back to the early 90s. For this set, we are joined by the stellar Eric Zinman and Sydney Smart from Glynis’ other band, New Language Collaborative.

https://www.facebook.com/events/1827272427350112/

String Theory – Thickness of the Present

October 20 – 8 pm – $10

Outpost 186

186 1/2 Hampshire St, Inman Square, Cambridge (rear)

String Theory is the extended string section of the LOFO along with the horns of PEK.  This set should be great with two basses, two cellos & guitar for the strings!

https://www.facebook.com/events/290355151769772/

Leap of Faith Orchestra & Sub Units – Cloud Taxonomies

November 3 – 8 pm – $10

Third Life Studio

33 Union Sq, Somerville, MA

Five times a year, a smallish Leap of Faith Orchestra (10 to 15 players) heads over to Third Life Studios in Somerville for an evening of large ensemble improvisation. For the first half of the show, we do four short 15 minute improvisations by different quartet sub-groupings of the orchestra. Then we do a 50 minute improvisation with everyone.

https://www.facebook.com/events/438618789978832/

Ensembles TBD

2018 Evil Clown Outpost 186 Residency

3rd Saturday of the Month

Outpost 186, Cambridge MA

11/17, 12/15

Ensembles:

Leap of Faith Orchestra & Sub-Units – Retrocausal Strategies

PEK – clarinets, saxophones & Double Reeds

Glynis Lomon – cello, aquasonic, voice

Yuri Zbitnov – drums, percussion

Dan O’Brien – saxophones, clarinets, flute

Bob Moores – trumpet

Duane Reed – baritone horn, bass trombone

Grant Beale – guitar

Federico Balducci – guitar

SIlvain Castellano – bass

Steve Niemitz – drums, percussion

Leap of Faith – Irreducibility

PEK – clarinets, saxophones, double reeds

Glynis Lomon – cello, aquasonic, voice

Yuri Zbitnov – drums, percussion

Eric Zinman – piano

Syd Smart – electronic percussion

String Theory – Thickness of the Present

PEK – clarinets, saxophones, double reeds

Glynis Lomon – cello, aquasonic, voice

Grant Beale – guitar

Łukasz Pavlikovsky – cello

Adrienne Schoenfeld -bass

Silvain Castellano – bass

Leap of Faith Orchestra & Sub Units – Cloud Taxonomies

PEK – clarinets, saxophones & Double Reeds

Glynis Lomon – cello, aquasonic, voice

Yuri Zbitnov – drums, percussion

Bob Moores – trumpet

Eric Dahlman – trumpet

Dan O’Brien – saxophones, clarinets, flutes

Duane Reed – baritone horn, bass trombone

Eric Woods – analog synth

Reverend Grant Beale – guitar

Federicco Balducci – guitar

Emilio Gonzalez – piano

SIlvain Castellano – bass

Adrienne Schoenfeld – bass

1. 2018 Releases

For the full list of 2018 releases see the 2018 Performances and Sessions page on the Evil Clown site…

http://www.evilclown.rocks/performances—sessions-2018.html

Here are links to the Summer Releases – newest at the top…

Turbulence – Flow Across Scales

     8/18/18, Outpost 186, Cambridge MA

Bandcamp for streaming, downloads and CD Orders:

https://turbulence2.bandcamp.com/album/flow-across-scales

YouTube:

https://youtu.be/R38K8X3ZJJg

Evil Clown Album Page:

http://www.evilclown.rocks/t-flow-across-scales.html

PEK – bamboo soprano, tenor & bass saxophones, clarinet & contraalto clarinet, English horn. tarota, contrabassoon, alto flute, sheng, wind siren

Dan O’Brien – alto & tenor saxophones, clarinet & bass clarinet, flute, piccolo

Zack Bartolomei – alto & soprano saxophones, clarinet, flute, piano – Jim Warshauer – curved soprano & alto saxophones, whistles

Eric Dahlman – trumpet & pocket trumpet, flugelhorn, game calls, recorder, overtone voice

Bob Moores – trumpet, shofar, voice

Yuri Zbitnov – drums, Tibetan bowls, gong

Metal Chaos Ensemble – Syncretic Discipline

     8/2/18, Evil Clown Headquarters, Waltham MA

Bandcamp for streaming, downloads and CD Orders:

https://metalchaosensemble.bandcamp.com/album/syncretic-discipline

YouTube:

https://youtu.be/3mNnMrZ8qMg

Evil Clown Album Page:

http://www.evilclown.rocks/mce-syncretic-discipline.html

PEK – alto, tenor & bass saxophones, clarinet & contraalto clarinet, tarota, moog, electric cello, (D)ronin, gongs, brontosaurus Bell
Bob Moores – trumpet, guitar, balafon, log drums, electric cello
Federico Balducci – guitar
Eric Woods – analog synthesis, wood, metal
Albey onBass – electric bass
Yuri Zbitnov – drums, crotales, metal wood, (D)ronin, gongs, brontosaurus Bell
Joel Simches – live to two track mix, signal processing

PEK Solo – Non-Local Causality

     7/29/18, Evil Clown Headquarters, Waltham MA

Bandcamp for streaming, downloads and CD Orders:

https://peksolo.bandcamp.com/album/non-local-causality

Evil Clown Album Page:

http://www.evilclown.rocks/pek-solo—non-local-causality.html

PEK – Contraalto Clarinet, Replicator Analog Delay, Moog Moogerfooger

Leap of Faith – Categories of Being and their Relations

     7/21/18, Outpost 186, Cambridge MA

Bandcamp for streaming, downloads and CD Orders:

https://leapoffaith1.bandcamp.com/album/categories-of-being-and-their-relations

YouTube:

https://youtu.be/3psFyNwMnTQ

Evil Clown Album Page:

http://www.evilclown.rocks/lof-categories-of-being.html

PEK – clarinet & contraalto clarinet, sopranino, bamboo soprano, alto, tenor & bass saxophones, contrabassoon, English horn, tarota, sheng, melodica, tromboon, alto flute, aquasonic, Chineses gong, Tibetan bells & bowls, hand chimes, metal, wood, voice, +

Glynis Lomon – cello, aquasonic, hand chimes, voice, +

Leap of Faith Orchestra – Cosmological Horizons

     7/14/18, Killian Hall, MIT – Cambridge MA

Bandcamp for streaming, downloads and CD Orders:

https://leapoffaith1.bandcamp.com/album/cosmological-horizons

YouTube:

Cosmological Horizons: https://youtu.be/WAKPbZw8McQ

Boundaries: https://youtu.be/oJDp8Xm4dXc

Evil Clown Album Page:

http://www.evilclown.rocks/lofo-cosmological-horizons.html

See below for ensemble and liner notes

Leap of Faith and Sub-Units – Inferences

     7/7/18, Third Life Studios, Somerville MA

Bandcamp for streaming, downloads and CD Orders:

https://leapoffaith1.bandcamp.com/album/inferences-double-album

YouTube:

Sub-Unit 1. Derivations

https://youtu.be/SmDbsaIfrr0

Sub-Unit 2. Predicates

https://youtu.be/WxCv-qfU3kU

Sub-Unit 3. Fuzzy Logic

https://youtu.be/eo2xpeLUlEI

Orchestra 4. Inferences AKA Tweedy Probably Flies

https://youtu.be/0KNuD_e6KWI

Evil Clown Album Page:

http://www.evilclown.rocks/lofo-inferences.html

PEK (1-4) – clarinet & Contraalto clarinet, sopranino, bamboo soprano, alto, tenor & bass saxophones, contrabassoon, English horn, tarota, sheng, Goat Horn, Wood Flute, tromboon, Vevuzela, Melodica, Aquasonic, metal, Wood, slide whistles, wind siren, game calls, voice
Glynis Lomon (1-4) – cello, aquasonic, voice, hand chimes
Yuri Zbitnov (1-4) – drums, wood, metal, hand chimes aquasonic, Vevuzela, voice
Bob Moores (1,4) – trumpet, hand chimes, Vevuzela, metal, crank siren, voice
Duane Reed (1,4) – baritone horn, bass trombone, Vevuzela, hand chimes
Reverend Grant Beale (3,4) – guitar
Chris Florio (3,4) – guitar Synth
Albey onBass (2-4) – fretless electric bass, hand chimes, metal
Emilio Gonzalez (2,4) – piano, hand chimes

Leap of Faith – Topological Constructions

     6/21/18, Evil Clown Headquarters, Waltham MA

Bandcamp for streaming, downloads and CD Orders:

https://leapoffaith1.bandcamp.com/album/topological-constructions

YouTube:

https://youtu.be/FmdEj0BWoAo

Evil Clown Album Page:

http://www.evilclown.rocks/lof-topological-constructions.html

PEK – clarinet & Contraalto clarinet, sopranino, bamboo soprano, alto, tenor & bass saxophones, contrabasson, English horn, tarota, sheng, log drums, balafon, aquasonic, [d]Ronin, wood, metal, brontosaurus bell, orchestral chimes, voice
Glynis Lomon – cello, aquasonic, voice
Mimi Rabson – violin, metal, wood, aquasonic
Elinor Speirs – violin
Yuri Zbitnov – drums, talking drum, wood, metal, brontosaurus bell, [d]Ronin, daxophone, aquasonic, orchestral chimes

Leap of Faith – Proof Theory

     6/16/18, Outpost 186, Cambridge MA

A great quintet Leap of Faith show featuring special guests Jim Warshauer and Eric Dahlman

Bandcamp for streaming, downloads and CD Orders:

https://leapoffaith1.bandcamp.com/album/proof-theory

YouTube:

https://youtu.be/JsC09jBV4g0

Evil Clown Album Page:

http://www.evilclown.rocks/lof-proof-theory.html

PEK – clarinet & Contraalto clarinet, sopranino, bamboo soprano, tenor & bass saxophones, contrabassoon, English horn, tarota, sheng, tromboon, hose-o-phone, goat horn, wood flute, crank siren, slide whistle, aquasonic, game calls, wood, metal

Glynis Lomon – cello, aquasonic, voice

Yuri Zbitnov – drums, wood, metal, hand chimes

Jim Warshauer – soprano & baritone saxophones, reed trumpet, shenai, hand chimes

Eric Dahlman – trumpet, overtone voice, recorder, slide whistle, game calls, metal

Metal Chaos Ensemble – Cryptomorphism

     6/2/18, Evil Clown Headquarters, Waltham MA

Bandcamp for streaming, downloads and CD Orders:

https://metalchaosensemble.bandcamp.com/album/cryptomorphisms

YouTube:

https://www.youtube.com/watch?v=1pY0k4sgQIY&feature=youtu.be

Evil Clown Album Page:

http://www.evilclown.rocks/mce-cryptomorphisms.html

PEK – clarinet & bass clarinet, bamboo soprano, alto, tenor & bass saxophones, tromboon, sheng, electric cello, moog, ms-20, [d]ronin, daxophone, crotales, cymbells, orchestral chimes, wood, metal, voice, Ableton mix*
Bob Moores – space trumpet, guitar
Eric Woods – analog synth, balafon, wood, metal
Reverend Grant Beale – guitar, laptop
Yuri Zbitnov – drums, log drums, balafon, [d]ronin, crotales, cymbells, orchestral chimes, metal, wood, voice
Joel Simches – real time signal processing and live to 2-track mix
*samples taken from the Evil Clown Archives or recorded at ECH

Turbulence – Buoyancy

     5/23/18, Evil Clown Headquarters, Waltham MA

Bandcamp for streaming, downloads and CD Orders:

https://turbulence2.bandcamp.com/album/buoyancy

YouTube:

https://youtu.be/kx-4R4Lxg7g

Evil Clown Album Page:

http://www.evilclown.rocks/t-buoyancy.html

PEK – sopranino, alto, tenor & bass saxophones, clarinet & contraalto clarinet, contrabassoon, tromboon, alto flute sheng, melodica, harmonium, orchestral chimes, hand chimes, cymbells, kazoo, metal, wood

Dan O’Brien – alto, tenor & baritone saxophones, clarinet, flute, crotales, cymbells, hand chimes, metal, wood

Zack Bartolomei – alto & soprano saxophones, clarinet, log drums, balafon, glockenspeil, crotales, orchestral chimes, hand chimes, metal, wood, crank siren, voice

String Theory – Forms of Matter

     5/19/18, Outpost 186, Cambridge MA

Bandcamp for streaming, downloads and CD Orders:

https://stringtheory6.bandcamp.com/album/forms-of-matter

YouTube:

https://youtu.be/vhLkgcoK4bo

Evil Clown Album Page:

http://www.evilclown.rocks/st-forms-of-matter.html

PEK – clarinet and contraalto clarinet, sopranino, alto , tenor & bass saxophones, dulzaina, tarota, contrabassoon, aquasonic, guanzi, hand chimes, melodica, sheng, slide whistles, metal, wood, crank siren, wood flute, game call, kazoo, voice ​

Glynis Lomon – cello, aquasonic, voice, hand chimes

​​Matt Schutchfield – violin, cello, electronics, aquasonic, wood, metal, voice

Lucasz Pavlikovsky – cello, violin, aquasonic

Silvain Castellano – bass, aquasonic

Reverend Grant Beale – guitar

1. Cosmological Horizons Liner Notes…

1. Cosmological Horizons 01:17:20

2, Boundaries (Download Bonus Track)20:55

Evil Clown 9185:
Killian Hall, MIT – Cambridge MA
7/14/2018

PEK (1,2) – clarinets, saxophones, double reeds, sheng, harmonium +
Glynis Lomon (1,2) – cello, aquasonic, voice +
Yuri Zbitnov (1,2) – drums, lead gong, brontosaurus bell, percussion +
Mimi Rabson (1,2) – violin +
Elinor Speirs (1,2) – violin +
Jane Wang (1) – cello +
Silvain Castellano (1) – double bass +
Zachary Lavine (1) – double bass +
Albey onBass (1) – fretless electric bass +
Jim Warshauer (1,2) – clarinets, saxophones +
Charlie Kohlhase (1) – saxophones +
Zack Bartolomei (1) – clarinets, saxophones +
Eric Dahlman (1) – trumpet, overtone voice +
Forbes Graham (1) – trumpet +
Bob Moores (1) – trumpet +
Duane Reed (1) – baritone horn, bass trombone +
Dave Harris (1) – trombone, tuba +
Eric Woods (1) – analog synth, mandolin +
Reverend Grant Beale (1) – guitar, electronics +
Chris Florio (1) – guitar synth +
Eric Zinman (1) – piano +
Syd Smart (1,2) – electronic drums, gong, percussion +
Eric Rosenthal (1,2) – drums, gong, percussion +
Steve Niemitz (1,2) – gong, percussion +

Joel Simches – audio engineer

(+) wood, metal, aquasonic, slide whistle, rachet, flex-a-tone, vuvuzela, melodica etc.

—————–Liner Notes by PEK
Twice a year Evil Clown presents the Full Leap of Faith Orchestra in its largest configuration performing a Frame Notation Score by PEK which guides the improvisation… Cosmological Horizons is being presented in a wonderful room at MIT called Killian Hall. Killian Hall is a wonderful room with high ceilings, a great grand piano and a nice live sound. Leap of Faith used this room as a recording studio for a weekend in 1997 to record Leap of Faith – Linear Combinations & Transformations and as a concert venue in 2001 for the Leap of Faith vs the Fringe Concert. Although it being a great room, it is hard to book since it is generally in use during the MIT school year.
.
So far we have performed 4 of my Frame Notation scores since 2015: The Expanding Universe, Supernovae, Possible Universes and SuperClusters. I am giving all of my Frame Notation compositions for the LOFO astronomical titles – It seems fitting with the scale of these events and fits well with my usual Leap of Faith / Evil Clown titles which largely draw on Scientific and Mathematical ideas. These very special full orchestra events occur only once or twice a year. For each performance I prepare a score specifically for that event which is simultaneously a Density and Sonority map prescribing the improvised development of the work.
.
These scores are very special compositions intended to solve a very tricky problem of composition for large improvisation ensembles: How do you rehearse complex works for large ensembles when all of the participants are extremely busy? Answer: Compose works that do not need to be rehearsed. The scores use a device call Frame Notation where written English descriptions of the overall sonority desired and simple graphic symbols are given durations on a timeline for each player indicating when and how to play and when not to play. The directions are put in little boxes called frames which are simple enough to be immediately understood by the performers. The players track the elapsed time on a very large sports clock. There is no melodic, harmonic or rhythmic information specified.
.
This system allows me to compose detailed Events without having to notate pitches or rhythms which would require significant rehearsal to accurately achieve. Skilled improvisers, like the ones I have recruited, can easily follow these instructions to create a highly structured improvisation without the need for specific rehearsal even when the ensemble is quite large as it is here. This allows enormous freedom and decision making for each performer and means that we do not have to rehearse these pieces prior to performance. We rely on all of the work of the overall Evil Clown project to tighten the ensembles’ improvisation across its many cross sections while the score provides directions on timing, sonority and transformation.
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Each of the scores has continued to utilize the compositional symbols and devices of the previous scores while adding something new to my notational system. Some examples are large texture blocks with much of the ensemble playing auxiliary instruments (like wood or metal texture), using the decay from large gongs as structural divisions of the work to pivot into a new sonority, group action frames assigned to named groups in the ensemble, and changing the scale of the score so each page covers less time on the timeline and therefore can express more detailed events. The events have therefore become shorter on each score, thereby significantly increasing the rate of transformation.
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For SuperClusters, I realized that there is no reason why the musicians cannot pay attention to the second position of the sports clock when tracking the time. It is just as easy to trigger an event at 2:17 as it is on a nice round number like 2:30. The difficulty is in clearly expressing the directions with the notation. The solution is to change the scale of the score to one minute width per page – the parts will have two systems on each page with the lower system repeated at the top of the next page to assist with page turns. I have used this scale for the opening and conclusion sections of SuperClusters, and used the 3 minutes per page with 2 minute overlap scale from Possible Universes for the balance of the work (the first two scores used a scale of 5 minutes per page with 2 minute overlap).
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For Cosmological Horizons I used the one minute width for 5 sections of the work and developed several new notational devices to specify rapidly transforming sonority. I also added about 20 new group action frames to give many more gestural shapes for the Action Groups to perform. In general, as we have performed these compositions it has become clear that the frame notation is very effective and the ensemble is perfectly capable of executing even very short durations on the timeline. As such, each time I have increased the rate of and the number of transformations in the score. The audience will experience a steady flow of distinct sonorities over the duration of the performance.
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All of the other contemporaneous Evil Clown performances and recordings by all of the ensembles – Leap of Faith, String Theory, Mekaniks, Metal Chaos Ensemble and the Sub-Units – are preparation for these full Leap of Faith Orchestra performances. The performances by these smaller ensembles stand by themselves as improvisation performances as well as getting us ready to improvise in a full orchestra setting. Please look for our regular concerts at Outpost 186 and Third Life Studios. Sign up for the mailing list at the Merch Table or send me email at Sparkles@GiantEvilClown.com!!
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– PEK, 6/30/2018

Bandcamp:

https://leapoffaith1.bandcamp.com/album/cosmological-horizons

YouTube:

Cosmological Horizons: https://youtu.be/WAKPbZw8McQ

Boundaries: https://youtu.be/oJDp8Xm4dXc

Evil Clown album pages:

http://www.evilclown.rocks/lofo-cosmological-horizons.html

http://www.evilclown.rocks/lofo-scored-performances.html

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Contact: Rick Scott 310.306.0375

rick@greatscottpr.com

“Redemption” arrives for urban-jazz saxophonist Sam Rucker

The “True Love” video premieres at SoulTracks; an instore performance to celebrate Friday’s album release is set for Saturday.

WILLIAMSBURG (24 August 2018): The freedom of jazz, the swagger of hip hop, the faith of gospel and heart-on-your-sleeve soul inspire saxophonist Sam Rucker’s “Redemption,” his third album that drops Friday from Favor Productions. An engaging mix of triumphant light and somber vibes, the release day is bitter sweet for Rucker who endured the untimely deaths of two of the record’s guitarists, including his nephew (Justin Taylor), three days apart during the recording process. As a spiritually-rooted man, he soldiers on knowing that the disc is being well received and will be feted during an instore performance on Saturday in Virginia Beach.

Rucker previewed “Redemption” at radio with the first single, “True Love,” lensing a video for the downtempo groove rendered by an almighty tenor sax that premiered on the SoulTracks site. His resonant messages on the collection of original songs that he wrote and produced stir reflection, uplift, and proffer hope and perseverance.

“Redemption” is the next step in Rucker’s evolution from hip hop producer to urban-jazz artist. The album’s “Overcomer” is an intimate cut on which his soprano sax is buttressed by the dual guitar combo of Taylor and John Calisto. Written to comfort and encourage others to overcome rough circumstances, it provided him solace when both men passed. Rucker’s music acknowledges and confronts pain and tumult head on, seeing such challenges as Divine will, never allowing difficulties to overshadow his appreciation for compassion, forgiveness and his many blessings.

On Saturday at 12:30pm, Rucker will appear at the Virginia Beach landmark record store Birdland Music where he will perform a short set of music from “Redemption” and sign CDs.

Below is a sampling of the initial album reviews:

“Rucker has a unique musical recipe that is not just heard, but felt. This former hip-hop producer has developed a sound that is leaving a unique fingerprint on modern jazz…Reflective of its title and the individual themes driving its soulful, engaging tracks, Sam Rucker’s emotionally compelling third album Redemption is powered by a deep spiritual vision of true soul survival…An album chock full of bright melodies and tight grooves.” – Exclusive Magazine

“Interspersed with a deep spiritual vision of the survival of the soul…listen to this album and experience your salvation!” – Keys & Chords

“There’s lots here to sink your teeth into as this is music that touches the heart as well as the ears.” – Midwest Record

“A tight ten-track collection that he produces writes or co-writes throughout and which promises to be one of the urban jazz events of 2018…the first single to be serviced to radio is ‘True Love’; a sensually steamy mid-tempo tune where Rucker’s fat tenor sax sound combines with sultry nylon guitar from John Calisto to really pack a punch.” – Smooth Jazz Therapy

“The suave saxman offers his third album Redemption with his own form of greased lightning and charm…This album is chock full of c-jazz goodness and laced with the faith and spirituality that Rucker has kept near and dear to his heart and very being. Grab this one and let its pure satisfaction wash over you.” – The Smooth Jazz Ride

“Excellent third album by a saxophonist that is already counted among our favorite musicians.” – No Solo Smooth Jazz

“We’re particularly digging the first single from the new album. ‘True Love’ is a breezy midtempo song that features a choral chant that embodies the true message: ‘Take one look, and you will see, what true love has done for me, take one look and you will see, what true love has done in me.’” – SoulTracks

For more information, please visit https://www.samrucker.com.

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Peace, love, hope & joy,

Rick Scott

Great Scott P.R.oductions

Marina del Rey, CA USA

310.306.0375

www.greatscottpr.com

(JM2)

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August 24, 2018 To: Listings/Critics/Features From: Jazz Promo Services www.jazzpromoservices.com Jared Gold “Reemergence” CD Release ShowJared Gold – organ Dave Stryker – guitar Joel Frahm – sax Billy Hart – drumsFriday & Saturday August 24-25 10:30pm-1am Smalls 83 W 10th St New York, NY 10014 www.smallslive.com

 

What The Press Is Saying About Jared Gold’s “Reemergence” DownBeat Magazine Editor’s PickBobby Reed Most jazz fans have encountered the unfortunate scenario of being thrilled by the names on an album cover but then being disappointed by the music. That is definitely not the case with the new leader project from Jared Gold, which showcases the versatile organist and his all-star band: guitarist Dave Stryker, drummer Billy Hart and trumpeter Jeremy Pelt. Stryker, who also produced the album, has a 14-year history with Gold, and his simpatico rapport with the organist spices up the proceedings, as each musician frequently adds clever coloration when the other is unleashing a sturdy solo. Hart—whose subtle brushwork is just as mesmerizing as his powerful stick-work in this program—demonstrates the mastery that has made him a legend. Pelt, who adds potent brass to three tracks, elevates this disc: Without him, these sessions might have yielded a memorable trio disc, but with him on board, the result is one of the strongest straightahead discs of the year thus far.This band certainly can burn, as evidenced by the title track (which was penned by the leader), but a poignant reading of The Beatles’ “She’s Leaving Home” reflects Gold’s ability to tug at the listener’s heartstrings with a melancholy mood. Gold has curated a wonderful, eclectic program that features two Gershwin tunes (“It Ain’t Necessarily So,” “How Long Has This Been Going On”), Ornette Coleman’s “Blues Connotation,” Stevie Wonder’s “Lookin’ For Another Pure Love” (from 1972’s Talking Book) and “One For John A,” a swinging, original tribute to the late guitar icon John Abercrombie, with whom the organist worked for years. Gold and Stryker can ignite fireworks at will, but on this rendition of “It Ain’t Necessarily So,” both musicians coax a vocal timbre out of their respective axes. Nicely done, gentlemen….one of the year’s strongest titles to date and upon repeated listening  gets so much more enjoyable. – CJ Shearn Jazz ViewsJeff Know-Audiophile Audition …this is a CD that will be loved by Hammond fans, and highlights Gold’s talents as both a creative organist as well as arranger. His talents have matured and hopefully we’ll see more exploratory efforts from Jared well into the future.Dick Metcalf  contemporaryfusionreviews.com Jared Gold hoppin’ Hammond B3 jazz Jared Gold – REEMERGENCE:  Without doubt, Jared is one of THE best Hammond B3 jazz players .Dee Dee McNeil LA Jazz Musical Memoirs Billy Hart, on drums, fuels the first and title tune, “Reemergence” composed by the featured artist, Jared Gold. Gold is a fresh, jazz -organ, recording artist making waves on the East Coast. This is his eighth recording, and he’s surrounded himself with a group of excellent musicians to support his musical concepts. Dave Stryker is not only a proficient guitarist, but a record producer with his own label, a composer and a very busy New York musician. Drummer, Billy Hart, is legendary and was once the drummer of choice with the great Jimmy Smith. Trumpeter, Jeremy Pelt, is a refreshing addition to the organ trio. The first thing that stands out about Jared Gold is his ability to take familiar songs like Stevie Wonder’s “Lookin’ For Another Pure Love’ or the Lennon/McCartney standard, “She’s Leaving Home” and turn them into harmonically fresh works of art. Gold’s creativity with harmonics is formidable. Gold started out as a piano player, but quickly found his expressive niche on the organ. He was born in Englewood, New Jersey February 27, 1980 and has worked extensively with Oliver Lake and John Abercrombie. This ninth album as a leader solidifies his unique approach to his instrument and his excursions into arrangements that are unique, like the title tune that roots itself in an unusual fourteen-bar blues pattern. On the tune, “Sweet Sweet Spirit” he takes us to church. Songs like “Ornette Coleman’s Blues Connotations” show the listener that he can groove with the best of them and also gives Hart an opportunity to break free and exuberantly solo on the drums. Jared Gold comes into sight and prominence once more, just like the title of this CD proclaims.Jonathan Widran JWVIBE Recently voted the Top Rising Star on organ in an annual Downbeat poll, NYC based B-3 visionary Jared Gold fashions a dynamic through line to the generation of jazz organ that inhabits his muse by including, on his Strikezone debut Reemergence, legendary drummer Billy Hart, who got his start in the 60s with Jimmy Smith.Ensembling again with guitarist Dave Stryker (who also produced), and adding trumpeter Jeremy Pelt to the fold, Gold creates an explosive melodic and rhythmic master class on the organ’s wide-ranging possibilities. He re-imagines Stevie Wonder, The Beatles, Gershwin, an Ornette Coleman blues classic and a renowned church song – but saves his most imaginative expressions for his easy swinging tribute to John Abercrombie (who he played with for a few years) and Stryker’s adventurous closer “Nomad.” Jared Gold “Reemergence” (Strikezone Records 8817) Street Date: May 4, 2018 Jared Gold – Hammond B3 organ, Dave Stryker-guitar, Billy Hart – drums, Jeremy Pelt – trumpet, flugelhorn https://www.jaredgoldb3.com https://store.cdbaby.com/cd/jaredgold

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Egan’s Ballard Jam House Hours. NOTE: Closing times are approximate. We start a slow shutdown after the last show of the evening ends. It’s also a good idea to check our schedule – we won’t be open if we don’t have any shows booked for the evening. www.ballardjamhouse.com

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Barça | Beers Cocktails | Seattle 29 beers on tap, hand crafted artisan cocktails, live music, and fast service in a superb atmosphere. www.barcaseattlelounge.com

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