Zzaj Happenings!!!


Hi!

I’m very excited to be working with composer, baritone saxophonist and low woodwind master Brian Landrus on his stunning new orchestra album Generations available July 28, 2017 via ArtistShare.  Monumental in creative ambition, imaginative scope, and artistic achievement, Generations features the 25-piece all-star Brian Landrus Orchestra featuring some of the most inventive musicians in modern music.

Stream “Jeru Concerto”

Watch the ArtistShare video about the project

Musicians include: Jamie Baum, Tom Christensen, Darryl Harper, Michael Rabinowitz, Alden Banta and Landrus himself on woodwinds; Debbie Schmidt, Ralph Alessi, Igmar Thomas, Alan Ferber and Marcus Rojas on brass; harpist Brandee Younger and a string section featuring Sara Caswell, Mark Feldman, Joyce Hammann, Meg Okura, Lois Martin, Nora Krohn, Jody Redhage and Maria Jeffers; vibraphonist Joe Locke; drummers Billy Hart and Justin Brown; and bassists Jay Anderson and Lonnie Plaxico. The Orchestra is conducted by bandleader JC Sanford. Landrus co-produced the album with fellow composers Robert Livingston Aldridge and Frank Carlberg.
We’ll have review copies in mid-May.  Just let me know if you’d like a physical copy, full download or need more information.  A press release is below.
All the best,
Ann
©

Composer and Baritone Saxophonist Brian Landrus Reveals a Thrilling, Ground-Breaking New Vision for the Jazz Orchestra on Generations, out July 28 via ArtistShare

The 25-piece Brian Landrus Orchestra makes a stunning debut with sweeping compositions inspired by generations of composers, genres and family

“This is really like nothing I’ve ever heard before.  It’s going to be amazing and I can’t wait to hear the final product!” – Joe Locke

“To be part of Brian’s vision is enlightening.  It causes me optimism.” — Billy Hart

CD Release Concert Friday and Saturday July 28 & 29 at Cornelia Street Café, NYC

Monumental in creative ambition, imaginative scope, and artistic achievement – not to mention sheer scale – Generations is the breathtaking debut of the Brian Landrus Orchestra, a 25-piece all-star ensemble stocked with a stunning array of the most inventive musicians in modern music. These adventurous virtuosos have congregated to realize the extraordinary, sweeping music of composer, baritone saxophonist and low woodwind master Brian Landrus, whose work combines a lifetime’s worth of wide-ranging listening and playing into an arrestingly bold, radiant and singular vision.

Far from a standard big band project and unlike any orchestral jazz ensemble that’s come before it, the Brian Landrus Orchestra incorporates inspiration from classical music, hip-hop, soul, funk, jazz, reggae and world music – with “inspiration” being the key word. In Landrus’ inventive hands these diverse genres are deconstructed and absorbed, emerging in startling and unrecognizable ways to conjure a dramatic and thrilling sonic landscape.

The title Generations carries multiple meanings for Landrus – including influences that span centuries from Bach to Ellington to Motown to Led Zeppelin to J Dilla; the family members that inspired Landrus and his music, from his father to his children; and the generations of musicians who’ve come together to breathe life into these deeply personal compositions. The drum chair alone features a four-decade difference in age, from the legendary Billy Hart to rising star drummer Justin Brown.

The awe-inspiring ensemble also features Jamie Baum, Tom Christensen, Darryl Harper, Michael Rabinowitz, Alden Banta and Landrus himself on woodwinds; Debbie Schmidt, Ralph Alessi, Igmar Thomas, Alan Ferber and Marcus Rojas on brass; harpist Brandee Younger and a string section featuring Sara Caswell, Mark Feldman, Joyce Hammann, Meg Okura, Lois Martin, Nora Krohn, Jody Redhage and Maria Jeffers; vibraphonist Joe Locke; and bassists Jay Anderson and Lonnie Plaxico. The Orchestra is conducted by bandleader JC Sanford, who has also held the baton for the John Hollenbeck Large Ensemble and the Alice Coltrane Orchestra. Landrus co-produced the album with fellow composers Robert Livingston Aldridge and Frank Carlberg.

Landrus comes to the project with a wealth of experience both as a leader and as a performer with some of the world’s most distinctive artists from a variety of genres: he’s toured the world in superstar Esperanza Spalding’s band and played in Ryan Truesdell’s prize-winning Gil Evans Project as well as working with the likes of Bob Brookmeyer, Rufus Reid, Danilo Perez, Frank Kimbrough, Gary Smulyan, Maria Schneider, The Temptations, The Four Tops, Martha Reeves, George Garzone, Bob Moses, Louis Nash, Nicholas Urie, Jerry Bergonzi, Ayn Inserto, Alan Ferber, Uri Caine and Ralph Alessi, among others.

Generations is the culmination of a long-held dream for Landrus, whose previous releases – both with his Quartet and the aptly-named Kaleidoscope – were vibrant but necessarily scaled-down interpretations of the saxophonist’s formidable ambitions. “I’ve had these colors in my head for as far back as I can remember,” he says. “I would always have to strip down what I was hearing into its raw form to use what I had available to me.”

A full-scale orchestra project began to seem more within reach once Landrus, who holds two master’s degrees (in jazz composition and jazz saxophone) from New England Conservatory, entered a PhD program in classical composition at Rutgers University. Studying the scores of the world’s greatest composers, he was compelled to allow his vision free rein, leading to the multi-hued, densely inventive music of Generations. Of course, such a mammoth undertaking is easier to fantasize than to achieve, but a combination of passion, risk-taking and determination allowed Landrus to bring the orchestra to fruition.

Landrus’ compositions incorporate his encyclopedic influences in ground-breaking, original fashion. The merger of hip-hop and jazz for instance, has become a common one; but you’ll hear no easily identifiable grooves or beats in Landrus’ music. Instead, the composer spent years transcribing dozens of hip-hop tracks, with an especial concentration on the work of pioneering producer J Dilla, and then parceled those rhythms into the strings. The result is an unconventional but invitingly complex weave of sounds and textures that converge in deft, surprising forms.

“Growing up listening to Motown and hip-hop and everything else that I loved and played with, those influences were going to creep in regardless of what I did,” Landrus says. “I just had to try to put them together as well as I could and try to imagine how it could all work. It’s a puzzle to get it to fit together properly, but it gives the music a different color that I’ve never heard before, familiar but new.”

The centerpiece of the album, and its launching-off point, is the “Jeru Concerto,” a four-movement feature for the composer’s baritone named for and inspired by his son Jeru – the namesake of bari master Gerry “Jeru” Mulligan and not yet born when Landrus began writing the piece. Propelled by the throaty churn of the orchestra’s low voices, the first movement envelops Landrus’ sinuous lines in lushly wafting strings and buoyant percussion; a solo turn for the leader initiates the gentle second movement, while the third mingles tension and tenderness, perhaps an illustration of the nervous anticipation that ushers any newborn into the world. The final movement, penned after Jeru’s birth, explodes with an infectious joy unable to contain a father’s pride.

Landrus’ family is also at the core of several other pieces. His daughter lends her name to “Ruby,” who recognized her inquisitive spirit in the music as he was writing it. The haunting “Every Time I Dream” depicts a love that proved elusive for years until finally becoming embodied. Landrus pays tribute to his father with “The Warrior,” which depicts not a ferocious fighter but a man of gentle strength and stoic perseverance.

“Orchids” began as a dream, an atmosphere evocatively suggested by the combination of Brandee Younger’s harp and Joe Locke’s vibes. The love story gradually builds to an ecstatic crescendo, but ends on an ambiguous note – like many dreams and, sadly, many romances. “Arrow in the Night,” its title taken from a Buddhist saying regarding evil people who lurk in the shadows, came to Landrus fully formed, its mesmerizing, slow surges like broad, intense brush strokes. “Human Nature” evolves from the solitary to the communal, maintaining a spiritual urgency throughout as the unsung title lyrics are passed from instrument to instrument. The rhythmic intricacy of “Arise” was inspired by a dance collaboration and imbibes elements from Electronic Dance Music (EDM) and Latin jazz, though as always in transformative ways.

Our mailing address is:

Braithwaite & Katz

248 South Great Rd.

Lincoln, Ma 01773

 

 

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Hello!
We’ll soon have copies of bassist/composer Gerald Cannon‘s extraordinary second release Combinations, out July 14 on Woodneck Records and plan to mail you a download in a few weeks.
Featured on the album are saxophonists Gary Bartz, Sherman Irby and Steve Slagle, trumpeters Jeremy Pelt and Duane Eubanks, pianists Kenny Barron and Rick Germanson, guitarist Russell Malone and drummers Willie Jones III (who also co-produced the album) and Will Calhoun
In addition to working with his own band, Cannon serves as musical director/bassist for McCoy Tyner’s Trio.
He performed for seven years as a member of Roy Hargrove’s band before earning the bass chair in drummer Elvin Jones’ group with whom he played until Elvin’s passing in 2004. Since then, Gerald has worked with a wide range musicians: Wynton and Branford Marsalis, Pat Martino, Louis Hayes and The Cannonball Legacy, Ernestine Anderson, Carmen Lundy, Abbey Lincoln, Gary Bartz, Joe Lovano, Cyrus Chestnut, Larry Willis, Dr. Eddie Henderson, Steve Turre, Eric Reed, the Dexter Gordon Legacy Ensemble and many others.
Watch the EPK for Combinations here.
Stream the title track here
If you need to hear the full download before early June, just let me know.
All the best,
Ann Braithwaite
781-259-9600
Gerald Cannon Plays in a Remarkable Variety of Combinations on his
Long-Awaited Sophomore Release
The veteran bassist returns as a leader for the first time in more than a decade, mixing with Gary Bartz, Kenny Barron, Jeremy Pelt, Russell Malone and more

“It has been wonderful working with Gerald, I’m sure he will remain a force in the jazz world for years to come.” – McCoy Tyner“Gerald is dedicated to perfection in expressing his art. I have the greatest admiration and respect for him because every time I hear him, I hear something new.” – Buster Williams

14 years after releasing his self-titled debut as a leader, bassist Gerald Cannon makes his long-overdue return with Combinations. Due out July 14 on Cannon’s own Woodneck Records, the album makes up for lost time by mixing and matching a range of styles, moods and collaborators from across the spectrum of Cannon’s far-reaching career.

In Cannon’s virtuosic hands, Combinations carries a multitude of meanings. There’s the obvious fact, first of all, that no two tracks on the album feature the same line-up of musicians, juggling ten of the bassist’s closest collaborators in a variety of combinations. Then there’s the diversity of sounds represented by the compositions (almost half of which were penned by Cannon himself): everything from simmering post-bop to boisterous funk, frantic modern jazz to elegant ballads, gospel to bossa nova. Then, as legendary bassist and Cannon’s mentor Ron Carter points out in his liner notes, there’s the many hats that Cannon wears, making him a combination of bassist, composer, arranger and producer.

“Not only did I want to do a record with a combination of my favorite musicians,” Cannon explains, “but I wanted to do a record with a combination of different styles.”

Cannon assembled the perfect line-up of musicians with which to realize that goal. The pool of artists from which he drew for the session includes saxophonists Gary Bartz, Sherman Irby and Steve Slagle, trumpeters Jeremy Pelt and Duane Eubanks, pianists Kenny Barron and Rick Germanson, guitarist Russell Malone and drummers Willie Jones III (who also co-produced the album) and Will Calhoun. Together with Cannon they combine and recombine in quintet, quartet, trio, duo and – in the bassist’s memorable, heartfelt closing rendition of “Darn That Dream” – solo configurations.
 
“Everybody on this record is an honest musician,” Cannon says. “They play their personalities.”

The same could be said for Cannon, who has played with an impressive list of legendary musicians since arriving in New York City from his native Wisconsin more than thirty years ago. That encyclopedic lists includes his longtime tenure in the Roy Hargrove Group and the McCoy Tyner Trio, along with stints with Art Blakey’s Jazz Messengers, the Cedar Walton Trio, and bands led by Elvin Jones, Dexter Gordon, Jimmy Smith, Joe Lovano, Monty Alexander and Stanley Turrentine, as well as playing with a host of legendary Cuban musicians.
Combinations comes out of the gate robustly swinging, with a tune by another early mentor, Slide Hampton. “Every Man is a King,” which Cannon learned from a version by one of his bass heroes, Sam Jones, features a bold quintet with Gary Bartz and Jeremy Pelt out front, anchored by Cannon and his regular trio of Rick Germanson and Willie Jones III. That trio gets to shine on the classic ballad “How My Heart Sings,” revealing fragility reminiscent of the classic Bill Evans Trio. Cannon’s own ballad “A Thought” is highlighted by the sensitive touch of Kenny Barron, which sounds gorgeous in conversation with Sherman Irby’s lithe alto.Steve Slagle makes the most of his sole appearance with an unaccompanied intro to Duke Ellington’s “Prelude to a Kiss,” which is immediately contrasted by the frantic rhythms of Cannon’s ode to his usually-packed home subway station, “Columbus Circle Stop.” Cannon fell in love with authentic bossa nova while touring Brazil, and offers his own version in dedication to his late mother, “Amanda’s Bossa.” Sam Jones’ influence returns with his composition “One for Amos,” a feature for Cannon’s thick, woody tone, while Bartz is the subject of the tribute “Gary’s Tune.” Also featuring Living Colour drummer Will Calhoun, with whom Cannon plays in a band honoring his former boss Elvin Jones, the tune is built on a soulful groove that Cannon wrote while reminiscing about his teenage years playing R&B in his parents’ basement.

“Gary is a good friend and big brother,” Cannon says. “The melody that I wrote for that tune had to do with a lot of things I hear him play with McCoy Tyner. Gary’s a groovy cat, so soulful and complex at the same time. He’s the consummate musician, and I like the fact that he’s very true to his feelings about life and the world.”

Growing up in the church, Cannon says that it was a rare Sunday that he wasn’t either playing or hearing “How Great Thou Art.” He recorded this captivating duo version with Russell Malone in honor of his later father, who led his own gospel group during Cannon’s childhood. The title tune returns to a blistering quintet format, this time pairing Duane Eubanks with Bartz on the frontline.

That’s a lot of combinations, but Cannon can add one more to his resumé: he is renowned as both a jazz bassist and a visual artist. Though he’s long kept the two pursuits separate, not wanting to be thought of as a musician who dabbles in painting on the side, he’s recently allowed his dual passions to cross paths more often. One of his colorful abstracts graces the inner sleeve of Combinations (alongside one by his gifted son, Gerald Cannon II), and he’s begun to recognize how much influence each of the arts has on the other.

“Painting is like a bass solo,” he says. “You start at one spot but you don’t really know where it’s going to end up. All you know is, on a canvas or on a chart, you’ve got four corners to finish it and at some point you’ve got to say who you are or what your emotions are at that particular time.”

www.cannonmusicnart.com

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Friday, April 28, 9pm
Jason Kao Hwang/SING HOUSE
CD RELEASE CONCERT CELEBRATION!
Soup & Sound House Concert
292 Lefferts Ave., Bklyn
(bet. Nostrand and Rogers; 2/5 train to Sterling)
$20 Suggested Donation7:30 Doors open and soup is on (get it while it lasts!)
8pm Andrew Drury/Hank Roberts Duo
9pm Sing House
L to R:  Ken Filiano (string bass), Andrew Drury (drum set), Jason Kao Hwang (composer/violin/viola), Chris Forbes (piano),
Steve Swell (trombone); photo by Reuben Radding

Listen to a free stream of one track, Dream Walk and purchase the CD 

National Press Campaign:  Jim Eigo,  jim@jazzpromoservices.com
National Radio Campaign:  Kate Smith, katesmithpromotions.kate@gmail.com
For Concerts:  Jason Kao Hwang, jkhwang@icloud.com

May 18, Thursday, 8pm
Manchester College 

GreatPath,Manchester, CT
Jason Kao Hwang/Human Rites
Jason Kao Hwang – composer/vioilin/viola
Andrew Drury – drum set
Ken Filiano – string bass

May 26, Friday
HowlandCultural Center
477 Main St. in Beacon,NY; (845) 831-4988
Jason Kao Hwang Trio
with Michael T.A Thompson(drum set) and Anders Nilsson(guitar)

Wednesday, May 31, 8:30pm
VISION FESTIVAL 22 

Jason Kao Hwang/BURNING BRIDGE
NYC Premiere of Blood
Jason Kao Hwang (composer/violin), Taylor Ho Bynum (cornet), Joseph Daley (tuba), Andrew Drury (drum set), Ken Filiano (string bass), Sun Li (pipa). Steve Swell (trombone), Wang Guowei (erhu)

Judson Memorial Church
55 Washington Square South, NYC

Check the evening schedule
6pm Vision Youth Orchestra
7pm  Whit Dickey/Matt Maneri/Matthew Ship
8pm  K.J Holmes/Jeremy Carlstedt
8:30pm  Burning Bridge
9:40pm  Tracie Morris/Marvin Sewell
10pm Charles Gayle Trio

Check out the entire Vision Festival


Photo by Scott Friedlander

Copyright © 2017 Jazz Promo Services, All rights reserved.
PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!National Press Campaign:  Jim Eigo, jim@jazzpromoservices.comNational Radio Campaign:  Kate Smith, katesmithpromotions.kate@gmail.com

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April 27, 2017

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

Free Radicals:
20th Anniversary Concert
3 song pre-release EP

Free Radicals will be releasing a 3 song EP featuring music from the
upcoming (Sept. 2017) CD
“Outside the Comfort Zone”
Live AppearanceFriday, April 28th
Eastdown Warehouse
850 Mckee St
Houston, TX 77002
713-280-6778
Facebook

Artist: Free Radicals
Title: Outside The Comfort Zone
Catalog Number: RWE017
Artist Website: freerads.com
Release Date: SEPT 15, 2017
UPC Code: 654483001728

Musicians & Songwriters:

Pete Sullivan: bari sax
Jason Jackson: alto sax
Aaron Varnell: tenor sax
Tom VandenBoom: trombone
Matt Serice: trumpet & keys
Nick Cooper: drums & perc.
Al Bear: guitar

Jacob Breier: bass
Nick Gonzalez: sousaphone 

 

In 1998, Free Radicals’ firrst CD “The Rising Tide Sinks All” warned against the next Iraq War four years before it started. A decade later, Pakistan’s leading English newspaper, Dawn, called the CD “a premonition waiting to become true.” In 2012, Free Radicals’ fourth CD “The Freedom Fence” warned against border walls four years before Trump made them a cornerstone of his campaign for president.
Now on its 20th year, Free Radicals presents a new CD “Outside the Comfort Zone,” that warns against a white supremacist apartheid society in which consumers are oblivious to human rights abuses going on right outside the window.
Free Radicals is a horn-driven instrumental dance band with a commitment to peace and justice, and is the 13 time winner for “Best Jazz” in the Houston Press Music Awards. Equally comfortable performing in clubs, street protests, punk rock house-parties, art openings, weddings, funerals, and breakdance competitions, Free Radicals prides itself in adaption and supporting members of targeted communities for whom “apartheid” is not merely a metaphor.
On the new recording, Free Radicals welcomes many guests including Harry Sheppard & Damon Choice, two elder vibraphonists who played with Benny Goodman and Sun Ra Arkestra respectively, along with a dozen other long time collaborators.
“The horn-heavy, continually evolving collective Free Radicals produces a wildly eclectic fusion that has as many influences as there are items in the Houston, Texas, pawnshop in which they honed their sound during all-night jam sessions.” – The New Yorker

 

www.freerads.com

Media Contact
Jim Eigo Jazz Promo Services
Ph: 845-986-1677 / jim@jazzpromoservices.com
www.jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”
This E Mail is being sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
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Jim Nolet Live Featuring Arturo O’Farrill at ShapeShifter Lab Tuesday, June 6th 8:15pm and 9:30pm

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April 26, 2017

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

Jim Nolet Live
Featuring Arturo O’Farrill

Appearing Live@
ShapeShifter Lab
Tuesday, June 6th
8:15pm and 9:30pm
$10
Tickets & Info
Jim Nolet: Viola and Perc
Arturo O’Farrill: PianoNolet will be performing music from his upcoming CD “Arco Mundo”,
to be released this fall

ShapeShifter Lab
18 Whitwell Place Brooklyn, NY 11215

(Between 1st and Carroll Str, off 4th Ave- Park Slope)
646-820-9452
R-train (Union Street Station), Atlantic/Pacific Barclay Center Stop)
Parking is available on the same street. Nearest parking garage is on
2nd Street (cross street: 4th Ave); Street parking available on the streets 

About Jim Nolet

NY based Jazz violinist and composer Jim Nolet began classical studies at the age of seven, just six years later turning to improvisational performance. His professional debut soon followed, and he later attended the Julliard School as well as Cornish Institute of the Arts, at the latter studying privately under bass virtuoso Gary Peacock. Cutting his teeth on the Manhattan club circuit, Nolet played with the likes of  the Jazz Passengers, Cecil Taylor, Don Cherry and Hilton Ruiz before recording his acclaimed 1994 debut With You with saxophonist David Murray and bassist Brad Jones. Syzygy followed five years laterArco Voz was released in fall 2000.

www.arcomundo.com
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.comHAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.CHECK OUT OUR NEW YOUTUBE VIDEO
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April 26, 2017

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

 

Laura Dubin Trio
CD Release Concert
Live at the Xerox Rochester International Jazz Festival
Sunday, April 30th

Set Times: 7:30-8:30 pm (one set only)
Club Bonafide
212 East 52nd Street
New York NY, 10022
(between 2nd Ave and 3rd Ave, closer to 3rd Ave)
(646) 918-6189
$10, plus 2 drink minimum for table service
Tickets & InfoFeaturing
Laura Dubin (piano)
Mike Forfia (bass)
Antonio Guerrero (drums)

Imagine how fulfilling it must be for a musician to grow up under the influence of your hometown’s major jazz festival, travel around the world in quest of musical development, and then return to your hometown to perform at that same festival. Then, take it a step further and imagine delivering a triumphant performance that brings down the house. Well that’s exactly what happened for the remarkable pianist Laura Dubin, fully evidenced with her extraordinary new album, Laura Dubin Trio Live at the Xerox Rochester International Jazz Festival.

In the company of her life and musical partner, brilliant drummer Antonio H. Guerrero, and the outstanding bassist Kieran Hanlon, Laura’s trio embodies the essence of synergy and unity of purpose that is essential for jazz and all creative music at its highest level. Each piece is thoroughly conceived and structured to provide a fully conceptual canvas to paint the pictures of adventurous exploration and spontaneity that are at the heart of Laura’s music.

Laura’s consummate skills as a pianist are deeply steeped in the entire tradition of jazz piano, giving her a total command of the vernacular. Combining this with her mastery of the western classical piano tradition, her stunning musicianship is on full display throughout. It’s never in any showy or ostentatious manner, but rather in her being able to deftly apply her flawless technique in the perfect manner to tell the compelling stories she depicts through her artistry.

Guerrero and Hanlon are the ideal partners – not sidemen, but rather collaborators. Guerrero anticipates every nuance of Laura’s playing, dancing a pas de deux with her at all times, while Hanlon provides the thrust and body that buoys the music while also setting it free. Their interplay is marvelous and their solo segments are fully conceived within the musical structure – Guerrero’s often powered by Laura’s support, and Hanlon’s always lyrical and fluid, with his arco playing cello-like in its alluring texture.

The repertoire is truly enchanting – calling upon so much of what has been so influential upon Laura from both the jazz and classical side, not only in terms of the specific pieces, but also connected with those who have been so essential to the development of her own musical vision. The 21 tracks include 27 separate compositions, including ten Dubin originals – all imaginative and beautifully crafted– and a rich assortment of classics from the repertoires of jazz, the Great American Songbook and European classical composers.

Two timeless classical works – Mozart’s Sonata No. 11 “Rondo alla Turca” and Beethoven’s Sonata No. 8 “Pathetique” – are vividly re-imagined; the Beethoven interwoven with a variety of Songbook themes, and the Mozart an excursion into boogie-woogie, stride, barrelhouse, bebop and swing.

Three more classical works are contained within five medleys, each integrated together seamlessly into a unified whole. A punchy take on Ravel’s Prelude from Le Tombeau de Couperin melds with a Latin-tinged excursion on Rodgers & Hammerstein’s My Favorite Things; an evolved version of Chopin’s Minute Waltz is birthed from a captivating musing on Ellington’s gorgeous Prelude to a Kiss; and a beautifully poignant rendition of Debussy’s Reflets dans l’eau blends with the equally exquisite Gershwin masterpiece Our Love Is Here to Stay.

The other two medleys reflect upon another element that is present throughout the album – homage to some of Laura’s deepest inspirations. Three of her favorite Chick Corea pieces – No Mystery/Now He Sings, Now He Sobs/Spain – are combined for a sumptuous feast; and Bill Evans is offered her personal heartfelt tribute with her own composition Waltz for Bill, morphing into an upbeat take on Cole Porter’s It’s De-Lovely.

The spirit of homage continues with a solo jaunt on Fats Waller’s Handful of Keys incorporating stride, barrelhouse, waltz and touches of Erroll Garner and Bach; and three originals – Kelly Green, a sojourn in bouncy blues quite appropriate to its subject Wynton Kelly; Invention for Nina, evoking the spirit of Bach for his great admirer, the glorious Ms. Simone; and a tribute to Laura’s primary influence, Oscar Peterson, in the confident easy swing of Ode to O.P.

Oscar’s influence is also on display in the up-tempo album opener, Steve Allen’s This Could Be the Start of Something Big; Gershwin on tap again for I Got Rhythm with a modern and modal twist; and blazing the proper mode for Michel Camilo’s Latin burner On Fire; while Donald Brown’s New York has the vehement in-your face quality of its namesake in both composition and performance.

Six more of Laura’s originals comprise the remainder of this terrific album, including the up-tempo smoker Green Arrow; the grooving romp Something’s Cookin’ ; the appropriately rumbling and tumultuous Thunderstorm with Laura in McCoy Tyner-ish intensity; and Doc Z, based on the chords of Sonny Rollins Doxy with Laura in the blues mode of Oscar, with a nice touch of Red Garland in tow. Reprised from Laura’s acclaimed debut album Introducing the Laura Dubin Trio (as is Ode to O.P.) are Anxiety, driven by infectious bass ostinatos and the rollicking album closer Barcelona, alternating between scorching and swinging with Laura in that Spanish chord drive in the manner of McCoy on Coltrane’s spectacular Olé.

A splendid expedition from start to finish, this radiant music is marked by another element that is so important – a sense of sheer joyousness in the spirited essence of making music.

For more information, visit www.lauradubin.com

 

 

Press Contact

Jim Eigo Jazz Promo Services
Ph: 845-986-1677 / jim@jazzpromoservices.com
www.jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”
AVAILABLE FROM:

www.lauradubin.com

Amazon; iTunes; All retail & E-tail outlets 

 

 

 

This E Mail is being sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.comHAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.CHECK OUT OUR NEW YOUTUBE VIDEO

 

 

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April 25, 2017

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

New Single From
Cristina Morrison
“Just One of Those Things”
Cristina Morrison
“Just One of Those Things”

New arrangement by Misha Piatigorsky
(CD Single Jazzheads Records JH1221)
Street Date: May 5, 2017
More than “Just One of Those Things”: Vibrant new CD single release from vocalist Cristina Morrison is super-fun, super-fresh and super-funky.Singer-songwriter/actor and producer, Cristina Morrison may wear a lot of hats in her busy career, but they all fit her beautifully. Excellent proof can be found in just one listen to her new single, “Just One of Those Things.” Cristina lends her lively voice and appealing phrasing to a standard penned by the great Cole Porter, and brings this familiar tune into new era with her engaging energy and unique point of view.Cristina points out that the song has a totally up to date message. “What the tune talks about could happen to anyone, any day, so we should be able to be light-hearted about life, receive things as they come, and just flow with it. As the song says, it was just one of those things.”
Cristina’s interpretation of the standard is a study in delightful contrasts: sophisticated and earthy, sexy and cool. With its supple rhythm and amazing tenor sax solo by Joel Frahm, “Just One of Those Things” is rooted in the jazz tradition, but right at home in the 21st century.
The vocalist is quick to share the credit with her long-time colleague, pianist, producer and arranger Misha Piatigorsky: “Misha and I have a vibe going on: We have the same vision, same taste, same style. His arrangement is so funky with such good rhythm, it was a natural fit for me.”Cristina Morrison is a New York-based American-Ecuadorian with a couple of full-length CDs, I Love and Baronesa, to her credit. She has extensive international touring experience, sharing stages with the likes of Arturo Sandoval and Dee Dee Bridgewater. Cristina has garnered recognition and rave reviews for her music and acting, including two nominations for the Independent Music Awards, the USA Songwriting Competition, and and Independent Theatre Artists Award (ATI). Her film Nobody’s Watching premieres at the Tribeca Film Festival this month; another of her films, Translucid,  was shown at the Havana Film Festival in New York earlier this spring. The multi-talented Morrison has been a TEDx Galapagos speaker and part of the sales of her records support an educational program through the arts, Arteducarte, in the public schools on Isabela Island, Galapagos.

Media Contact

Jim Eigo Jazz Promo Services
Ph: 845-986-1677 / jim@jazzpromoservices.com
www.jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
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Hello!
The Festival International de Jazz de Montréal has just announced the full line-up of over 150 indoor, ticketed concerts for its 38th edition, June 28 – July 8, 2017.
If you’ve never been, consider coming this year for 11 days and nights in a musical and cultural paradise.  I’ve been going every year for more than 20 years and it’s a highlight of my summer.
Tickets go on sale this Friday (April 28) at noon.
The full schedule of concerts is below.  Please let me know if you’d like to do a preview or need more information.
You can download photos and press kits at:

ftp://ftp.montrealjazzfest.com/

Username: fijmcommclient   I   Password: jazzfest

Thanks so much!
Ann Braithwaite
Download photos and press kits at
ftp://ftp.montrealjazzfest.com/Username: fijmcommclient   I   Password: jazzfest
Our mailing address is:

Braithwaite & Katz

248 South Great Rd.

Lincoln, Ma 01773

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Apr.
25-29

Empirical’s Pop-Up
Jazz Lounge is in Birmingham This Week!

Tuesday – Saturday

April 25-29, 2017

 

Award-winning UK jazz ensemble Empirical announce the return of their popular ‘Pop-up Jazz Lounge’ project.2017, which marks Empirical’s 10th anniversary, will see the band take up temporary residence at Pop-up Lounges in Birmingham, London and Liverpool.

In February 2016, the UK jazz super group took over a retail unit in the centre of Old Street London Underground station and transformed it into a relaxed and inviting jazz lounge. Over a whirlwind six days of playing 24 live sets for unsuspecting commuters, the band recorded over 2,800 visitors to their lounge, the majority of whom hadn’t ever experienced live jazz before. Having road-tested this radical approach of taking their music directly to people during their daily routines, the musical risk-takers now hope to connect with new audiences across the UK. (To see a video from the 2016 London Pop-Up, scroll down!)

From 25th to 29th April 2017, Empirical will make Birmingham their temporary home. Taking over a retail unit in the Great Western Arcade, located at the heart of Birmingham’s Coleman Business district, the band hopes to attract workers, shoppers and commuters using nearby Snow Hill station.Birmingham residents and visitors will be invited to pop into the lounge for daily lunchtime and evening commuter sets, with evening performances scheduled for Thursday, Friday and Saturday. Early birds will also be able to catch an 8am mid-week session. All gigs will be free of charge.

“It was great to see so many new people at our pop-up lounge at Old Street and to see them really engage with the music – it showed that there is an audience for jazz out there, and we can reach them!” comments Tom Farmer, Double Bass. “So we’re really excited to be able to take our pop-up lounge to Birmingham this April and hope that we’ll get the same enthusiastic reaction from people there.”

To give younger audiences a chance to experience live jazz, Empirical will visit Birmingham schools and host educational workshops demonstrating the principles of jazz improvisation to local youth music ensembles.The Pop-up Jazz Lounge project is made possible by funding support from Arts Council England, the Jerwood Charitable Foundation, the Worshipful Company of Musicians and is presented in partnership with Birmingham’s Town Hall Symphony Hall Jazzlines programme.

In June 2017, the Pop-up Lounge will return to Old Street Underground station in London, before appearing in Liverpool in September.

A video of the 2016 London Pop-up is below:

In February 2016, Empirical created a week-long Pop-Up Jazz Lounge in the concourse of London Underground’s Old Street Station. This ground breaking performance series was the first of its kind and connected both Empirical’s music and jazz music in general with new audiences.

Great Western Arcade, Birmingham

For more information on Empirical:

 

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Empirical’s 2016 Album, CONNECTION,
on Cuneiform Records

 

MOBO Award-Winning British Jazz Quartet – EMPIRICAL – Delivers a Potent Dispatch from the Post-Bop Frontier with CONNECTION, a Program of Smart and Searing Originals

 

While Empirical’s moniker implies cool detachment and disinterested observation, the quartet has become one of Europe’s top jazz ensembles by creating a bracing sound rife with roiling emotion. The band builds on the extroverted improvisational ethos of the 1960s New Thing, embracing oblique harmonies, translucent textures and jagged, quick shifting rhythms. Featuring Nathaniel Facey (alto saxophone), Shaney Forbes (drums), Lewis Wright (vibraphone) and Tom Farmer (bass), Connection is the fifth Empirical album. The band’s first release on the American label Cuneiform, it captures the ensemble at its most pure and potent.

“Each of our previous albums was an experiment, where we included various guests from a string quartet to a pianist to bass clarinet,” Farmer says. “This time we went into a great sounding studio with just the four of us. It’s an accurate representation of what we’re doing now, what our gigs sound like. This is our expression.”

Following the release of its eponymous debut album in 2007, which was produced by British saxophone star Courtney Pine and released on his Destin-E label, Empirical quickly established itself as a creatively-charged crew unafraid to explore jazz’s wild and wooly left field. They threw down the gauntlet with their acclaimed second album, 2009’s Out ‘n’ In (Naim). Produced by rising British saxophonist Jason Yarde, the project offers a highly personal salute to Eric Dolphy that won the band Best Jazz Act in the 2010 MOBO Awards (MOBO stands for Music Of Black Origin).

In many ways Connection is a similarly bold statement, a program of original music that unfolds with the kind of intuitive narrative momentum generated by a great set. Opening with Farmer’s concise stop-and-start “Initiate the Initiations,” the album kicks off like a carnival parade driven by Forbes’ deft trap work. Farmer contributes half of the album’s 10 tracks, and his pieces often key on particular emotional states. “Anxiety Society” pits Facey discursive alto against Wright’s calm and cool vibes. By the end of the piece, they are both caught in a labyrinth, searching for a way out. He explores a different kind of disorientation on “Maze,” a piece that sways too and fro in various directions before breaking apart at the end as the center cannot hold.

Facey offers several surprises on “Stay the Course,” the album’s longest track. With three distinct sections, it opens with a brooding theme, moves to an introverted swagger, and resolves with a long skittering vibes solo that’s unlike anything else on the album. Wright contributes some of the album’s most divergent tracks, from the seductive tranquility of “Lethe” to the angular “Mind Over Mayhem,” an abstract, intricately constructed sojourn tips the balance from order to disorder. In a fascinating pairing, Wright’s “It’s Out of Your Hands” follows, closing the album on a soft, insinuating ostinato. It’s another moment of probing contemplation on a musical journey marked by unanticipated swerves and cutting drama.

If Empirical sounds uncommonly grounded in jazz’s experimental tradition, it’s probably because the quartet came together in an environment that treats jazz as a search rather than a destination. The musicians came together while involved in the scene around the acclaimed program Tomorrow’s Warriors, which was founded by prolific Jamaican-born bassist and arranger Gary Crosby (the nephew of guitar legend Ernest Ranglin and a founding member of the hugely influential mid-80s band Jazz Warriors).

With its West African-tinged compositions and conventional hard-bop instrumentation of trumpet, sax, piano, bass and drums, Empirical’s 2007 debut album hinted at the band’s potential. But it wasn’t until the horn players and pianist dropped out, Farmer took over the bass chair, and vibraphonist Lewis Wright joined the following year that the quartet’s distinctive sound came sharply into focus. While developing arrangements for a tribute to Eric Dolphy, Empirical delved into his classic 1964 Blue Note album Out To Lunch! featuring vibraphonist Bobby Hutcherson. The concert was a huge success, but more importantly, the musicians bonded with a sense of purpose driven by devotion to jazz’s defiant ethos.

“We were working really well, taking it really seriously,” Farmer says. “I’d never met guys who took it so seriously. The process of studying together is really what brought us together, and we just carried on doing it.”

The band’s interactive group approach in built on Farmer and Forbes highly kinetic rhythm section tandem, while Facey possesses an instantly recognizable alto tone. But in many ways Wright’s vibes define the group’s sound. From the moment he joined the band, he catalyzed a new way of writing and arranging material. “We all loved the transparency,” Farmer says. “You can hear exactly what everyone’s playing. Lewis is quite a unique player. He gets this warmth on an instrument that can sound quite harsh and metallic. I love having all this room on the bottom, without having to think about a pianist’s left hand.”

After the 2011 release of the band’s third album Elements of Truth (Naim), Empirical won the inaugural Golubovich Jazz Scholars fellowship at Trinity Laban Conservatoire of Music and Dance. The residency at the prestigious conservatory led to the band’s collaboration with the all-women string ensemble Benyounes Quartet, who were featured on Empirical’s 2013 double album Tabula Rasa (Naim). The ambitious, often spiritually-tinged project featured some of the band’s most beautiful and complex writing.

Released by Cuneiform in February 2016, it’s no surprise that Connection finds the quartet getting back to basics. Recorded after a week-long run at Foyles Bookshop London, the album captures the raw energy, brash ideas, and volatile group sound that Empirical has built upon the vast territory opened by jazz’s mid-1960s explorers. “That particular period isn’t just a musical inspiration,” Farmer says. “That constant search for meaning in the early avant garde was really powerful. A lot of those ideas are relevant today and they’re essential to our band.”

 

For more information on Cuneiform Records:

PRESS CONTACT:
For press or radio interviews, album inquiries or other information:
Cuneiform Records Publicity & Promotion
Joyce: joyce@cuneiformrecords.com (Director of Publicity & Promotion)
tel. 301-589-8894
P.O. Box 8427
Silver Spring, MD 20907-842
[Washington, D.C.]

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Contact: Rick Scott 310.306.0375

greatscottproductions@earthlink.net

 

 

Plugged In: Saxophonist Elan Trotman adds EDM beats to his Caribbean-jazz fusion

 

The “Electro Sax” album is released as the tropical “Island Gal’” prepares to charm radio.

 

BOSTON (24 April 2017): Saxophonist Elan Trotman is unwavering in his committed to wave the flag high for Caribbean music, but after releasing six soul-jazz albums and more than ten chart-topping singles that made him a permanent fixture on radio playlists, the Barbados native is “shaking it up” by going electronic on “Electro Sax,” his seventh outing which was released last Friday (April 21) by Island Muzik Productions.

 

Seeking a “hip radio sound that will reach beyond the masses,” Trotman assembled a creative team of up-and-coming producers – Spardakis, P-Nut, Dr. O and Da Troof – who he met at Boston’s esteemed Berklee College of Music and tasked them with putting a fresh, modern twist on the eleven new tracks that he wrote for the collection. With electronic elements evident in the production of Trotman’s tenor and soprano sax and the adventurous EDM sonicscapes, the result is an energizing, dance-happy mix of impromptu jazz sax licks, kinetic dance beats and festive Caribbean rhythms. Adding nuances to the audacious alchemy are guitarists Wayne Jones, Freddie Fox and JJ Sansavarino, and steel pan player Kareem Thompson. The first single set to seduce radio is the reggae-infused “Island Gal’,” which spotlights Trotman on soprano sax on the cut he describes as having “a sexy vibe to it.” Prince fans will appreciate the balladic tribute “Purple Emotion” that closes the set. The session’s lone cover is a tropical, dance hall take of Walk The Moon’s infectious pop smash “Shut Up and Dance.”

 

“’Electro Sax’ is a true representation of where I am at in my career. It’s modern sounding with prominent hints of the island. It’s also about branching out, reaching out by making good music for the masses. It’ll definitely ruffle feathers, but that is part of being an artist – pushing boundaries and perhaps establishing new ones,” said Trotman. “The ‘tropicality’ elements are part of who I am and I’m sticking with it. It’ll always be part of my sound and I believe in it. It is part of my brand and it’s authentic to my (Barbadian) roots.”

 

Trotman showcases and shares the culture of his homeland at his annual Barbados Jazz Excursion, slated to take place on the Caribbean island for the fourth time in October over Columbus Day Weekend (October 6-9, 2017). The saxman performs and hosts the music festival and golf tournament that benefits his nonprofit Never Lose Your Drive Foundation and the Head Start Music Program in Barbados. Slated to perform this year are R&B and contemporary jazz mainstays Will Downing, Norman Brown, Marion Meadows, Brian Simpson, Jeanette Harris and Julian Vaughn as well as the Queen of Soca, Alison Hinds.

 

Earning a full scholarship at Berklee College of Music from the government of Barbados, Trotman has lived in Boston ever since. Named the Jazz Artist of the Year on multiple occasions by the New England Urban Music Awards and the Barbados Music Awards, he debuted as a solo artist in 2009 with “This Time Around.” Subsequent albums featured collaborations with Grammy winners Kirk Whalum, Terri Lyne Carrington and Paul Brown as well as Downing, Peter White, Jeff Lorber, Cindy Bradley, Tony Terry and Simpson. Trotman has also guested on Billboard No. 1 hits by Meadows, Simpson, Vaughn, Greg Manning and Cal Harris. He’s a popular draw on the festival and club circuit. For more information, please visit www.ElanTrotman.com.

 

The songs on “Electro Sax” are:

 

“Happy Place”

“Electro Sax”

“Barbados Breeze”

“Island Gal’”

“Chill Cat”

“Shut Up and Dance”

“Up In The Clouds”

“orutrA”

“No Need For Trippin’”

“120 BPM”

“Move!”

“Purple Emotion”

 

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Please let me know if you want to be removed from our press release distribution list.

 

Peace, love, hope & joy,

 

 

Rick Scott

Great Scott P.R.oductions

310.306.0375

www.greatscottpr.com

 

 

 

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April 24, 2017

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

 

Flute And Vocal Maven
Ragan Whiteside
Has Some Treble Up Her SleeveContemporary jazz’s most promising artist
is set to release her fourth studio album. 
(Atlanta, GA 4/20/2017) – Ragan Whiteside, the flautist-singer who catches the ear like few in the world of contemporary jazz can, is getting ready to make waves this May 12th with her fourth studio album, Treblemaker.
A favorite of well-known stages such as Capital Jazz, Whiteside’s sound brings to mind the stylings of Najee and Dave Valentin. The preceding album, Quantum Drive, has received major airplay and acclaim by such publications as Jazz In M.E.E., and was described as “an enchanting and vibrant album” by Hans-Bernt Hulsman of smooth-jazz.de. As its successor, Treblemaker promises a further expanse of Whiteside’s variety and style. Frank McComb, Kim Waters, Marion Meadows, and Tom Browne make their appearances on the album to lend their touch to a well-seasoned musical mix.
Whiteside is not one to shy away from shaking up expectations. In contemporary jazz, where there is always a thirst for fresh material, she steps up and delivers, both in studio recording and on live stage.“Her tenacity makes her a force to be reckoned with. Mark my words!” said Bob Baldwin of her once, and this tenacity is obvious at every show and in every track. “We need new music!” the fans say, and Ragan Whiteside is always up to deliver exactly what they ask for.
Still a New Yorker at her core and in her every note, Ragan Whiteside brings no shortage of sound to shake up some perceptions of what a flute – and a jazz artist – can do.TREBLEMAKER1. Intro (00:43)
2. Corey’s Bop (04:08)
3. Early Arrival (ft. Kim Waters) (04:15) 4. By the Moonlight (04:00)
5. The Sun Came Up (04:25)
6. Let’s Do This (ft. Tom Browne) (04:40)7. I Never Told You (04:56)
8. Flute Funk (ft. Frank McComb) (05:31)
9. Love Song (ft. Marion Meadows) (04:51)
10. Mystic Vibration (05:11)
11. See You at the Get Down (ft. Bob Baldwin and PR Experience) (04:46)ABOUT RAGAN WHITESIDESongwriter, flutist, vocalist, and all-around musical adventurer Ragan Whiteside is back in the studio. For those who know her, this should be a signal to rub hands together in anticipation, and for jazz lovers who have not yet met her, it’s more than ample invitation to see what she can do.A musical prodigy since the age of five, Ragan found her way to the flute after the piano, the violin, and a turn with the drum set. She attended the Cleveland Institute of Music and the prestigious Harid Conservatory, where her sound was honed with the tried-and-true classical training, graduating with a Bachelor of Music Performance degree.
After school ended, Ragan found herself in New York and immersed herself in the world of jazz, funk, and R&B, going on to collaborate with contemporary heavyweights such as Patrice Rushen, Bob Baldwin, Chieli Minucci, and Frank McComb. Since her debut with Class Axe, Ragan honed her arranging and songwriting skills alongside Bob Baldwin and acclaimed producer/arranger Dennis Johnson, and focused on the deeper inner workings of producing and releasing music. Her third studio album, Quantum Drive, much like her sophomore album, Evolve, is a showcase of her wide variety of talents, from her sleek and immediately recognizable singing voice to the on-point arrangements and composition. The albums flow along a variety of musical styles, the sounds never parking themselves too long in one genre or another, but blending all in various proportions, so that no aficionado of one genre or another is left wanting.
ABOUT RANDIS MUSICRandis Music is a record company founded in 2007 by contemporary jazz flutist/vocalist Ragan Whiteside and producer/engineer Dennis Johnson. While creating and producing music on their own in a dramatically changed digital music world, Whiteside and Johnson felt a need to combine their musical prowess along with their professional business savvy to create a unique sound and approach to get their brand of music heard. Constantly pushing the musical envelope and thinking way beyond the norm, Randis Music continues to break from the norm while gaining the respect of even the most critical listening audience.

 

 

 

www.raganwhiteside.com

 

Contact:
Dennis Johnson
Randis Music
(212) 561-0253

info@randismusic.com 

 

 

This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com/HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.CHECK OUT OUR NEW YOUTUBE VIDEO HERE

 

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April 24, 2017

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

 

Gil Evans Birthday Celebrations!

 

Friday May 19th catch the Gil Evans Orchestra directed by Miles Evans at the Cutting Room in NYC.
Tickets & Info
May 25th-28th catch the Grammy Award Winning Gil Evans Project directed by Ryan Truesdell at the Jazz Standard in NYC.

 

Tickets & Info
Happy Birthday Gil!

The Gil Evans Orchestra
Kenwood Dennard Drums
Mino Cinelu Percussion
Mark Egan Bass
Pete Levin Keys
Gil Goldstein Keys
Miles Evans Trumpet
Shunzo Ohno Trumpet
Alex Sipiagin Trumpet
David Bargeron Trombone
David Taylor Bass Trombone
John Clark French Horn
Rob Scheps Alto Sax
Alex Foster Tenor Sax
Alden Banta Bari Sax
Plus Special Guests!

 

 

 

 

 

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.comHAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.CHECK OUT OUR NEW YOUTUBE VIDEO

 

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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2017 All rights reserved.

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Warwick, Ny 10990
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April 7, 2017

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

 

Jack Kleinsinger’s Highlights In Jazz
New York’s Longest Running Jazz Concert Series
Now In Its 45th YearConcludes its 2017 Season
with The Joe Bushkin Centennial Concert
Featuring Wycliffe Gordon,  Harry Allen,
Eric Comstock, Ted Rosenthal, Spike Wilner, Nicki Parrott, Steve Johns and John Colliani,
Under The Musical Direction Of Bob Merrill
Plus As In All Highlights In Jazz Concerts A Surprise GuestThursday, May 4, 2017Joe Bushkin & Bob Merrill(photos courtesy of Bob Merrill)All Shows At
Tribeca Performing Arts Center

Borough of Manhattan Community College 
199 Chambers Street, New York, NY 10007

Box Office 212-220-1460
www.tribecapac.org
Jack Kleinsinger’s Highlights In Jazz, New York’s longest running jazz concert series, concludes its record breaking 45th season at 8:00 PM on Thursday, May 4, 2017 at the Tribeca Performing Arts Center at the Borough of Manhattan Community College, 199 Chambers Street, New York City, with The Joe Bushkin Centennial concert, celebrating the rich musical legacy of the legendary pianist/composer with an all-star revue featuring Wycliffe Gordon, Harry Allen, Eric Comstock, John Colliani, Nicki Parrott, Ted Rosenthal, Steve Johns and Spike Wilner, under the musical direction of Bob Merrill, plus, as in all Highlights In Jazz shows, a surprise special guest.

In a year that celebrates the centennials of jazz icons Dizzy Gillespie, Ella Fitzgerald and Thelonious Monk, Joe Bushkin, sadly, has remained largely overlooked. Bushkin, whose role as pianist with a host of great players, including Louis Armstrong, Bunny Berigan, Tommy Dorsey, Benny Goodman, Bobby Hackett, Lionel Hampton and Lester Young, as well as his role as accompanist to vocalists, Bing Crosby, Ella Fitzgerald, Billie Holiday, Frank Sinatra and Lee Wiley, brought him much acclaim in his day and a secure place in music history.  But Bushkin’s legacy also includes a voluminous songbook of original compositions that remain as fresh today as when they were first recorded years ago.

Musical director for this centennial celebration, trumpeter/vocalist Bob Merrill, the late Bushkin’s former musical collaborator (and son-in-law) notes, “Joe was indeed a great pianist, but he was also a great songwriter.  Our mission is to make that case and breathe new life into these classics.” Merrill’s forthcoming album, Tell Me Your Troubles: Songs by Joe Bushkin, Vol. 1 features his new arrangements of a dozen Bushkin classics, including favorites, such as “Oh, Look at Me Now,” “There’ll Be a Hot Time in the Town of Berlin,” “Wise to Myself,” “ Girl Wanted,” “Lovely Weather,” “Goin’ Back to Storyville”  and the album’s title track.  Merrill proudly declares, “Now we get to perform them, live, all in one concert, with many of the great players that played them on the album, and also with Joe back in the day.”

Featured artists for this historic concert will include trombonist/vocalist Wycliffe Gordon, saxophonist Harry Allen, bassist/vocalist Nicki Parrott, drummer Steve Johns and pianist/vocalist Eric Comstock, as well three more pianists steeped in the Bushkin legacy, John Colliani, Ted Rosenthal and Spike Wilner, and of course, as in all Highlights in Jazz concerts, there will be a surprise special guest. Merrill declares, “It will be a special night celebrating Joe Bushkin’s gifts as a songwriter on the occasion of this centennial birthday tribute.”

Highlights In Jazz will return in 2018 for its 46th season.

 

 

All Shows At

BMCC TRIBECA Performing Arts Center 
Borough of Manhattan Community College
199 Chambers Street, New York, NY 10007
http://tribecapac.org

By car take FDR Drive south to end, through underpass onto West Street, 
north to Chambers.
By Subway take 1, 2, 3, 9, A, C, E, J or M train to Chambers or N, R to City Hall stop. Walk west on Chambers.
Box Office 212-220-1460
Ticket Prices
$50.00
$45.00 (student rate with valid ID)
or by mail order.
$180.00 for all four concerts

Tickets can be purchased in advance at the box office.
You are now able to use your credit card at the Tribeca PAC Box Office located on 199 Chambers Street, or by calling (212) 220-1460 and now online at Tickets.Tribecapac.org

Please send a check made payable to: Highlights In Jazz

Please mail orders to:
Highlights In Jazz
7 Peter Cooper Road, Apt. 11E  New York NY 10010
(Please enclose a self-addressed, stamped envelope)

http://www.highlightsinjazz.org

Highlights in Jazz Media Contact
Jim Eigo
Jazz Promo Services
272 State Route 94 South #1
Warwick, NY 10990-3363
Ph: 845-986-1677 / Fax: 845-986-1699
Cell / text: 917-755-8960
Skype: jazzpromo
jim@jazzpromoservices.com
www.jazzpromoservices.com

 

 

 

This E Mail Is Being Sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.com/HAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.CHECK OUT OUR NEW YOUTUBE VIDEO HERE

 

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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

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Warwick, Ny 10990
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April 7, 2017

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

 

Free Radicals
“Outside the Comfort Zone”
New CD & Live AppearanceNew CDLive AppearanceFriday, April 28th
Eastdown Warehouse
850 Mckee St
Houston, TX 77002
713-280-6778
Facebook
Artist: Free Radicals
Title: Outside The Comfort Zone
Catalog Number: RWE017
Artist Website: freerads.com
Release Date: SEPT 15, 2017
UPC Code: 654483001728

Musicians & Songwriters:

 

Pete Sullivan: bari sax
Jason Jackson: alto sax
Aaron Varnell: tenor sax
Tom VandenBoom: trombone
Matt Serice: trumpet & keys
Nick Cooper: drums & perc.
Al Bear: guitar
Jacob Breier: bass
Nick Gonzalez: sousaphone 

 

In 1998, Free Radicals’ firrst CD “The Rising Tide Sinks All” warned against the next Iraq War four years before it started. A decade later, Pakistan’s leading English newspaper, Dawn, called the CD “a premonition waiting to become true.” In 2012, Free Radicals’ fourth CD “The Freedom Fence” warned against border walls four years before Trump made them a cornerstone of his campaign for president.
Now on its 20th year, Free Radicals presents a new CD “Outside the Comfort Zone,” that warns against a white supremacist apartheid society in which consumers are oblivious to human rights abuses going on right outside the window.
Free Radicals is a horn-driven instrumental dance band with a commitment to peace and justice, and is the 13 time winner for “Best Jazz” in the Houston Press Music Awards. Equally comfortable performing in clubs, street protests, punk rock house-parties, art open- ings, weddings, funerals, and breakdance competitions, Free Radicals prides itself in adaption and supporting members of targeted com- munities for whom “apartheid” is not merely a metaphor.
On the new recording, Free Radicals welcomes many guests including Harry Sheppard & Damon Choice, two elder vibraphonists who played with Benny Goodman and Sun Ra Arkestra respectively, along with a dozen other long time collaborators.
“The horn-heavy, continually evolving collective Free Radicals produces a wildly eclectic fusion that has as many in uences as there are items in the Houston, Texas, pawnshop in which they honed their sound during all-night jam sessions.” – The New Yorker

 

www.freerads.com

 

 

 

 

Media Contact
Jim Eigo Jazz Promo Services
Ph: 845-986-1677 /
jim@jazzpromoservices.com
www.jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

 

This E Mail is being sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.comHAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.CHECK OUT OUR NEW YOUTUBE VIDEO

 

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Warwick, Ny 10990
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April 6, 2017

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

 

Ronny Whyte
New CD
“Shades of Whyte”
Upcoming Live Appearances
Birdland NYC 5/18 6pm
Midday Jazz @ Saint Peter’s June 21st 1pm
Artist: RONNY WHYTE
Title: SHADES OF WHYTE

Label: Audiophile ACD-353
Artist Website: http://ronnywhyte.com
Release Date: MAY 5, 2017
UPC Code: 762247235323Track Listing1. THE SONG IS YOU Kern (m) Hammerstein (l) 3:37 *
2. ISN’T THAT THE THING TO DO? Dearie (m) Saltzberg (l) 3:36 #3. IT’S TIME FOR LOVE Whyte (m) Levy (l) 3:01 #
4. NINA NEVER KNEW Alter (m) Drake (l) 3:30 *
5. I LOVE THE WAY YOU DANCE Whyte (m) Grant (l) 3:47 *
6. LINGER AWHILE Whyte (m) Schore (l) 3:23 #
7. LOVE ME TOMORROW Duke (m) LaTouche (l) 2:53 *
8. I’LL CLOSE MY EYES Reid (m) Kaye (l) 2:35 #
9. I’LL TELL YOU WHAT Whyte (m & l) 3:36 *10. BLAME IT ON THE MOVIES Whyte (m & l) 3:16 #
11. SOME OF MY BEST FRIENDS ARE THE BLUES Byron & Harris (m & l) 5:05 #
12. A LITTLE SAMBA Lamont ( m & l) & SO DANCO SAMBA Jobim (m) Vinicius De Moraes (l) 3:00 #
13. FOR HEAVEN’S SAKE Bretton, Edwards & Meyer (m & l) 3:48 #14. I’M OLD FASHIONED Kern (m) Johnny Mercer (l) 3:40
15. TOO LATE NOW Lane (m) Lerner (l) 4:06 *
16. DANCING IN THE DARK Schwartz (m) Dietz (l) 3:21 #Musicians:
Ronny Whyte – piano, Vocals & Arrangements – All tracks, Boots Maleson – Bass – All Tracks, Sean Harksness – Guitar – All Tracks except #14 #– Lou Caputo – Tenor & Flute, Mauricio De Souza – Drums, * – Alex Nguyen- – Trumpet, David Silliman – Drums (& track #14)
Recorded at: Teaneck Sound Studio, New Jersey December 12 & 13, 2016 ngineer, Mixing and Mastering: Dave KowalskiProduced by: Ronny Whyte
Ronny Whyte is of that rare breed: a seasoned performer, comfortable in the concert hall, dinner club, jazz room or cabaret. He doesn’t simply play and sing notes: he understands the lyrics and he tells the story. You believe him when he displays shades of Whyte in this aptly titled CD and exclaims “The Song is You”and “I Love the Way You Dance”. There’s heartfelt sincerity in his requests to “Linger Awhile” and “Love Me Tomorrow”, he no doubt means it in “I’ll Tell You What”. An imaginative arrangement of that ‘50s tale of a young girl’s awakening may strike a nostalgic note in “Nina Never Knew”.
This collection is also seasoned with “A Little Samba” and a trio of songs with a Bossa Nova beat. Some vintage Jerome Kern, Blossom Dearie, Vernon Duke, Lerner & Lane and Schwartz & Dietz round out the program with style and heart. I am delighted to add this bouquet tomy collection.  —Elliott Ames WVOX- AM 1460, WVOX.com

 

 

 

 

Media Contact
Jim Eigo Jazz Promo Services
Ph: 845-986-1677 /
jim@jazzpromoservices.com
www.jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”
NATIONAL RADIO CAMPAIGN:
MICHAEL J. HURZON THE TRACKING STATION
Ph: 954.463.3518 /
trackst@comcast.net
AVAILABLE FROM: http://www.jazzology.com/audiophile_records.php

 

This E Mail is being sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.comHAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.CHECK OUT OUR NEW YOUTUBE VIDEO

 

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PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2017 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, New York 10990
Add us to your address book

 

Virus-free. www.avg.com

 

 

 

————————————————————————————————————————————————————————————————-

 

 

April 6, 2017

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

 

Ronny Whyte
New CD
“Shades of Whyte”
Upcoming Live Appearances
Birdland NYC 5/18 6pm
Midday Jazz @ Saint Peter’s June 21st 1pm
Artist: RONNY WHYTE
Title: SHADES OF WHYTE

Label: Audiophile ACD-353
Artist Website: http://ronnywhyte.com
Release Date: MAY 5, 2017
UPC Code: 762247235323Track Listing1. THE SONG IS YOU Kern (m) Hammerstein (l) 3:37 *
2. ISN’T THAT THE THING TO DO? Dearie (m) Saltzberg (l) 3:36 #3. IT’S TIME FOR LOVE Whyte (m) Levy (l) 3:01 #
4. NINA NEVER KNEW Alter (m) Drake (l) 3:30 *
5. I LOVE THE WAY YOU DANCE Whyte (m) Grant (l) 3:47 *
6. LINGER AWHILE Whyte (m) Schore (l) 3:23 #
7. LOVE ME TOMORROW Duke (m) LaTouche (l) 2:53 *
8. I’LL CLOSE MY EYES Reid (m) Kaye (l) 2:35 #
9. I’LL TELL YOU WHAT Whyte (m & l) 3:36 *10. BLAME IT ON THE MOVIES Whyte (m & l) 3:16 #
11. SOME OF MY BEST FRIENDS ARE THE BLUES Byron & Harris (m & l) 5:05 #
12. A LITTLE SAMBA Lamont ( m & l) & SO DANCO SAMBA Jobim (m) Vinicius De Moraes (l) 3:00 #
13. FOR HEAVEN’S SAKE Bretton, Edwards & Meyer (m & l) 3:48 #14. I’M OLD FASHIONED Kern (m) Johnny Mercer (l) 3:40
15. TOO LATE NOW Lane (m) Lerner (l) 4:06 *
16. DANCING IN THE DARK Schwartz (m) Dietz (l) 3:21 #Musicians:
Ronny Whyte – piano, Vocals & Arrangements – All tracks, Boots Maleson – Bass – All Tracks, Sean Harksness – Guitar – All Tracks except #14 #– Lou Caputo – Tenor & Flute, Mauricio De Souza – Drums, * – Alex Nguyen- – Trumpet, David Silliman – Drums (& track #14)
Recorded at: Teaneck Sound Studio, New Jersey December 12 & 13, 2016 ngineer, Mixing and Mastering: Dave KowalskiProduced by: Ronny Whyte
Ronny Whyte is of that rare breed: a seasoned performer, comfortable in the concert hall, dinner club, jazz room or cabaret. He doesn’t simply play and sing notes: he understands the lyrics and he tells the story. You believe him when he displays shades of Whyte in this aptly titled CD and exclaims “The Song is You”and “I Love the Way You Dance”. There’s heartfelt sincerity in his requests to “Linger Awhile” and “Love Me Tomorrow”, he no doubt means it in “I’ll Tell You What”. An imaginative arrangement of that ‘50s tale of a young girl’s awakening may strike a nostalgic note in “Nina Never Knew”.
This collection is also seasoned with “A Little Samba” and a trio of songs with a Bossa Nova beat. Some vintage Jerome Kern, Blossom Dearie, Vernon Duke, Lerner & Lane and Schwartz & Dietz round out the program with style and heart. I am delighted to add this bouquet tomy collection.  —Elliott Ames WVOX- AM 1460, WVOX.com

 

 

 

 

Media Contact
Jim Eigo Jazz Promo Services
Ph: 845-986-1677 /
jim@jazzpromoservices.com
www.jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”
NATIONAL RADIO CAMPAIGN:
MICHAEL J. HURZON THE TRACKING STATION
Ph: 954.463.3518 /
trackst@comcast.net
AVAILABLE FROM: http://www.jazzology.com/audiophile_records.php

 

This E Mail is being sent by:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.comHAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.CHECK OUT OUR NEW YOUTUBE VIDEO

 

Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2017 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, New York 10990
Add us to your address book

 

Virus-free. www.avg.com

 

 

 

————————————————————————————————————————————————————————————————————————

 

Good afternoon!

 

I’m so pleased to announced that celebrated guitarist Rotem Sivan will be releasing his fourth album as a leader, and the second with his trio, entitled “Antidote” on July 11, 2017. View the EPK here.

 

Check out the press release below and let me know if we can arrange some coverage ahead of the July 11th release. Promo copies will be going out shortly.

 

All the best,

Lydia

 

 

Turning Pain Into Music and Love, Guitarist Rotem Sivan Paints With New Hues in Jazz


“Antidote”

Due Out July 11, 2017

The Rotem Sivan Trio featuring Haggai Cohen Milo & Colin Stranahan

“Rotem Sivan has carved a place for himself in the New York jazz scene through his daring improvisation, astute band leading and technical ability but above all his lyricism and musicality. Antidote is a smartly crafted combination of all these qualities in a beautiful package. The album never gets boring as the trio keeps moving throughout a wide variety of moods and soundscapes with musicality always being the prevalent force. Rotem has been one of the guitar players to watch for sometime now. This album establishes him as a force on the scene.”

– Antonio Sanchez

“Rotem Sivan is one of the most creative and adventurous guitarists on the scene today. He has a great imagination and the technical abilities to communicate what is inside that imagination. More importantly, he has the courage and confidence to follow his musical ideas and impulses through to create something that is all his own.” – Peter Bernstein

“When a statement is achieved with such precision, what’s captured attains an importance that shall last. Antidote is a special recording, and it shall fulfill many guitar aficionados without question.” Pat Martino

 

“Rotem has remarkable facility and the trio creates a beautiful vibe with some unexpected turns on Antidote.” Ari Hoenig

“The gifted guitarist combines energy, ideas and undeniable chops..A remarkable talent and a welcome new voice on the scene.”

– Bill Milkowski (DownBeat)

 

Israeli jazz master guitarist, Rotem Sivan, has announced the July 11th release of his fourth and highly-anticipated album, “Antidote”. This is the sophomore album released by Sivan’s trio, on which, alongside musical titans, Haggai Cohen Milo on bass and Colin Stranahan on drums, Rotem Sivan “emerges as a guitarist of great imagination and ferocious brilliance” (Raul Da Gama). With Jazz Times Magazine regarding Sivan as a guitarist who, through his style and sound, brings a fresh flair and “a remarkable sophistication to jazz, which transcends audiences” from around the globe, “Antidote” is sure to provide its listeners with an innovative musical experience where meaning and class ooze from each note.

 

“Rotem Sivan’s playing has a rare class to it, one where each note has meaning, each note has a depth of soul, with each note revealing a different part of the performer’s character; laid bare and open right in front of us.”

Mike Gates (UK Vibe)

 

Originally from Israel, Rotem Sivan has created a strong presence worldwide (and at an alarming rate at that!) evidenced by his ever-growing social media presence of over 12k fans on Facebook, 28k followers on Instagram and 5k followers on Twitter. Not only has he established himself as a respected and prestigious jazz musician in the New York jazz circle, he has successfully toured across Europe and South America, with his talented and tightly-knit trio.

 

On “Antidote”, this ensemble skillfully and purposely decided to use separation during the recording process; a technique that they had not used on their previous, debut album. As Rotem himself explains, this allowed him as a guitarist “to mix in a range of elements from other music genres”, which when one listens to this recording can immediately detect that this was a core feature of the album. Many also regard this album as having a huge and significant connection between particular elements of the music and Sivan’s personal emotions; and they are certainly not wrong to think so! As Rotem explains:

 

“The music for this album is a product of the shock and heartbreak I experienced when my girlfriend of more than seven years unexpectedly ended our relationship. These are some of the songs I wrote over the years as I coped and learned how to love again, and they represent different points on my journey.”

 

With knowing the heartfelt story behind the writing process of this album, it is hard to avoid noticing the expressive relationship between emotion and music, so strongly existent throughout the record.  Each track has its own distinct musical character, empathetic to the specific emotion that Rotem presents on said track. For example, “Somewhere Over The Rainbow”, with silky vocals by Gracie Terzian, may be the jazziest rendition of this standard you will ever hear, whereas the title track off the album has a certain sense of anguish attached to its performance. Then, in contrast to both of those tracks, “Reconstruction” is an instrumental odyssey with a dramatically abrupt, question mark ending. The trio provides a delicate jazz lullaby-esque cover of Bob Dylan’s “Make You Feel My Love” and “For Emotional Use Only”—perhaps the most tangibly personal track on the album, is melancholy, meditative, and utterly transfixing.

 

This continuous connection between emotion and sound gilds the record with a beautiful, artistic depth. However, even without factoring in the album’s deep personal significance to the artist, “Antidote” is an intensely rewarding listening experience from beginning to end. The classic jazz foundation is present throughout this genre-straddling album and that’s it. That’s the significant musical facet of this record; although jazz is at the core, each track veers boldly from one genre to the next, and Sivan’s brilliantly idiosyncratic and simply spellbinding guitar work provides the unifying force which easily carries the listener from song to song.

 

“With eleven songs, including an especially wistful version of‘ Over The Rainbow’ , Rotem Sivan gives us a recital of astonishing strength, poetry and, for one so young, musical maturity.” – Raul Da Gama

 

MORE ABOUT ROTEM SIVAN

Rotem Sivan completed his studies in both classical composition and jazz with honors in Tel Aviv & NYC. Sivan tours with his trio most of the year playing in world-renowned festivals and clubs in France, Italy, Spain, Germany, Austria, Belgium, Poland, UK, Slovenia, Mexico, Chile, Costa Rica, Puerto Rico, Israel, USA, and Canada, among others, and has given workshops around the world in top universities and schools. Rotem has developed a strong online presence with over 28k followers on Instagram alone. Upon graduation Sivan moved to NYC to pursue his passion for jazz. While making his first steps in the local scene he was also studying at The New School for Jazz & Contemporary Music. Since his relocation, Sivan has performed with many prominent musicians, including Peter Bernstein, Ari Hoenig, Ben Street and Ferenc Nemeth. Sivan can be seen regularly at the city’s top venues such as Smalls, Birdland, The Jazz Gallery, The Bar Next Door and The Blue Note. He has performed at many international festivals such as Polanco Jazz Festival, Chutzpah Jazz Festival, Marseille Jazz Festival, Venice Jazz Festival, Fara Jazz Festival, Exposure Festival, Montreux Jazz Festival, Utopia Music Festival, Bern Jazz Festival and Sonora Jazz Festival to name a few. In 2013 he released his debut album “Enchanted Sun” on SteepleChase Records, followed by his second album “For Emotional Use Only” on Fresh Sound New Talent Records. Jazz critics and magazines around the world praised both albums, receiving 4.5 stars from Downbeat Magazine. Sivan released his third album “A New Dance” in 2015 with bassist Haggai Cohen-Milo and drummer Colin Stranahan, which was again met with critical acclaim.

 

 

Lydia Liebman

Founder, President

c: (570) 730 – 5297

www.lydialiebman.com

 

 

 

 

Virus-free. www.avg.com

 

 

 

———————————————————————————————————————————————————————————————————-

To read this email on the web, click here:
http://cuneiformrecords.com/emails/NEW_RELEASES-OUT_NOW_March_2017.html
Joyce, Director of Publicity & Promotion
Cuneiform Records
joyce@cuneiformrecords.com / 301.589.8894

 

OUT NOW
WORLDWIDE
CUNEIFORM RECORDS’
WINTER 2017 RELEASES
:THE MICROSCOPIC SEPTET
BEEN UP SO LONG IT LOOKS LIKE DOWN TO ME:
THE MICROS PLAY THE BLUES
record release concerts:
Smalls’ Jazz Club (NYC 4/2/17) & The Falcon (Beacon, NY 4/6/17).

THE ED PALERMO BIG BAND
THE GREAT UN-AMERICAN SONGBOOK: VOLUMES I & II
record release concerts:
The Falcon (4/1/17) & The Iridium (NYC 4/10/17)

CHICAGO / LONDON UNDERGROUND
A NIGHT WALKING THROUGH MIRRORS

THINKING PLAGUE
HOPING AGAINST HOPECuneiform’s Winter 2017 releases are now OUT WORLDWIDE and available for PROMO REQUEST. They include 3 jazz titles by The Microscopic Septet, The Ed Palermo Big Band, and Chicago / London Underground; and a rock album by Thinking Plague. Digital promos were emailed to Press & Radio several weeks ago (check your email folders for “Music Submissions”), and both Digital and CD Promos remain available on request. We invite you to explore these albums AND to attend upcoming Record Release Concerts by these bands; The Microscopic Septet and The Ed Palermo Big Band will perform at several NY venues in early April 2017.Our new albums by two long-standing and widely beloved NYC-based ensembles – The Microscopic Septet and The Ed Palermo Big Band – should appeal to popular audiences and jazz afficionados alike. A wide embrace is welcome antidote to polarized times. In Been Up So Long It Looks Like Down to Me, The Micros Play the Blues AND jazz, brewing both home-grown musics into an uplifting, surrealistically swinging and distinctly American potion: Great American Music from a city and country that remain Great.To celebrate this release of Been Up So Long It Looks Like Down to Me: The Micros Play the Blues, the Micros (co-led by co-composers Joel Forrester and Australia-based Phillip Johnston) will reunite in April 2017 for record release gigs at Smalls’ Jazz Club (NYC 4/2/17) and The Falcon (Beacon, NY 4/6/17). Johnston now lives in Australia, and these NY Micros concerts are extremely special events.In the double-disc release, The Great Un-American Songbook: Volumes I & II, the distinctly American Ed Palermo Big Band smiles broadly and takes a determined Anglophile stance. Palermo selected his favorite tunes from across several decades and styles of British pop and rock and playfully re-arranged them for his 18 piece jazz big band. EPBB will present a series of highly entertaining concerts in the greater NY area throughout the Spring and Summer months, beginning in April at The Falcon (4/1/17) and The Iridium (NYC 4/10/17).Fans of experimental jazz and improv will welcome our release by Rob Mazurek’s new Chicago/London Underground, an Anglo-American augmentation of his longstanding Chicago Underground Duo with Chad Taylor, featuring British improvisors Alexander Hawkins and John Edwards. Called A Night Walking Through Mirrors, the album transcends genre, national and sonic borders; Mazurek’s visionary 21st century trans-global music serves as antidote and antithesis to a dystopian future clad in medieval walls.Last but not least, our Winter (February) 2017 releases included Thinking Plague, a Denver-based post-rock group led by composer Mike Johnson. Their music – sometimes described as avant progessive or Rock in Opposition – fuses rock and classical influences, instrumentation and vocals.  Hoping Against Hope provides us with an example of how to survive 2017’s Strange New World, making poetry amidst poison: “The Great Leap Backward” laments a “rising tide of ignorance” and a time “When commerce swallows culture”.Mike Johnson of Thinking Plague is featured on the March 2017 cover of New Music Box, New Music USA‘s multimedia publication dedicated to American composers and improvisors. To listen to Frank Oteri’s fascinating interview with Johnson and hear samples of Thinking Plague’s music over the years, click here.

We invite you to listen to our Winter 2017 releases, and we hope that you’ll enjoy and spread the word about them. We also strongly recommend that you see these awesome bands live, in concert. With multiple Micros and Ed Palermo Big Band concerts during the first two weeks of April, New Yorkers will have an audible feast.Best regards
Joyce
Director of Publicity & Promotion, Cuneiform Records
————————–

CUNEIFORM’S NEW RELEASES:
WINTER 2017

PROMO COPIES are NOW AVAILABLE for REQUEST.

Chicago / London Underground
A Night Walking Through Mirrors
Genre: Jazz / Experimental / Improv
Release Date: 2/24/2017
“Boss Redux” [excerpt]
stream: @SoundCloud / @Bandcamp / @YouTube

[more info below]
The Microscopic Septet
Been Up So Long It Looks Like Down to Me: The Micros Play the Blues
Genre: Jazz
Release Date: 2/10/2017
“Don’t Mind If I Do”
stream: @SoundCloud / @Bandcamp / @YouTube[more info below]
The Ed Palermo Big Band
The Great Un-American Songbook: Volumes I & II
Genre: Jazz / Big Band
Release Date: 2/24/2017
“The Low Spark of High Heeled Boys (Traffic)”
stream: @SoundCloud / @Bandcamp / @YouTube

[more info below]
Thinking Plague
Hoping Against Hope

Genre: Rock / Avant-Progressive / Art-Rock / Post-Rock / Post-Classical
Release Date: 2/10/2017
“The Echoes of Their Cries”
stream: @SoundCloud / @Bandcamp / @YouTube

[more info below]

 

The following albums can still be requested for airplay/review; these include:

CUNEIFORM’S FALL 2016 RELEASES

Richard Pinhas & Barry Cleveland
[ft. Michael Manring & Celso Alberti]Mu
Genre: Avant-Progressive / Art Rock / Experimental / Fourth World / Psychedelic
Richard Pinhas / Tatsuya Yoshida / Masami Akita [Merzbow]
Process and Reality
Genre: Rock /  Electronic / Experimental / Noise
São Paulo Underground
Cantos Invisíveis
Genre: Jazz / Tropicalia / Electronic / World / Psychedelic / Post-Jazz
Wadada Leo Smith
America’s National Parks
Genre: Jazz / Creative

[Click Here] to see our “Promo Request Procedures” or scroll down.

—–

CUNEIFORM’S NEW RELEASES
WINTER 2017

Celebrating 20 Years as Sonic and Spiritual Brothers,
Chicago Underground Duo-mates Rob Mazurek & Chad Taylor
Team with London Improvisers Alexander Hawkins & John Edwards
for the Exploratory, Boundlessly Inventive and Genre-Shattering
A Night Walking Through Mirrors

Chicago / London Underground
A Night Walking Through Mirrors

STREAM/SHARE: “Boss Redux” [excerpt]
stream: @SoundCloud / @Bandcamp / @YouTube

Cat. #: Rune 428, Format: CD / Digital Download
Genre: Jazz / Experimental / Creative Music
Release Date: February 24, 2017

PRESS RELEASE [DOWNLOAD as a PDF]
At a time when the world is mired in divisiveness, a time of wall-building and fear-mongering, of Brexit and Trump, it takes visionaries to build bridges rather than tear them down. “This is protest music,” insists Rob Mazurek. “It always has been. That’s why it’s called ‘Underground’ – it’s not just called that for fun. We really believe in it. The world has become so homogenized and leans so far towards the right, and this music expresses complete freedom and lack of borders. Our music is all about the obliteration of any kind of oppression, the tearing down of any kind of wall – freedom and equality, both sonically and spiritually.”

For the last two decades the Chicago Underground Duo Rob Mazurek on cornet and electronics and Chad Taylor on percussion, electronics and mbira – have created music meant to open minds and explore alien territory.

Now, on A Night Walking Through Mirrors, they’ve created a new Transatlantic partnership in the form of Chicago / London Underground, inviting a pair of renowned British improvisers – pianist Alexander Hawkins and bassist John Edwards – into the creative fold. The result is an expansive sonic adventure where every unexpected note and alchemical reaction runs counter to the limited imaginations ruling social media name-calling and clannish provincialism.

A Night Walking Through Mirrors, released on Cuneiform Records, documents the first meeting of these four artists, recorded live at London’s Café Oto in April 2016, during a two-night run that marked the Chicago Underground Duo’s first performances in the city in a decade. To celebrate the occasion, Mazurek and Taylor invited two London-based artists with whom they’d never collaborated but they deeply admired to perform with the duo.

“We love their playing and thought they’d be a nice complement to what we do,” Mazurek explains. When it comes to the rare occasions when he and Taylor do bring other musicians into the fold, he continues, “The only criteria is people who are completely open to anything, no matter how outlandish or crazy the idea is. They just have to be 100 percent into the moment and what we’re doing.”

The London contingent of the Chicago / London Underground certainly fits those requirements. Alexander Hawkins is a pianist, organist, composer and bandleader whose highly distinctive soundworld is forged through the search to reconcile his love of free improvisation with his profound fascination with composition and structure. He’s recorded or performed with a vast array of contemporary leaders of all generations, including the likes of Evan Parker, John Surman, Mulatu Astatke, Wadada Leo Smith, Anthony Braxton, Han Bennink, Taylor Ho Bynum and Matana Roberts, and frequently performs in the bands of legendary South African drummer Louis Moholo-Moholo.

John Edwards is a true virtuoso whose staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role, whether playing solo or with others. Perpetually in demand, he has played with Evan Parker, Sunny Murray, Derek Bailey, Joe McPhee, Lol Coxhill, Peter Brötzmann, Mulatu Astatke and many others.

“Alexander Hawkins is a very dynamic player,” Mazurek says. “His harmonic and melodic sense as well as his phrasing and his approach to playing, whether songs or free playing, are very interesting and wide-ranging. John Edwards plays the most amount of bass I’ve ever heard anybody play. He plays a lot but nothing is wasted; it all means so much. They could go anywhere, so it was just a matter of being in the moment and letting the instincts roll. It was powerful, elegant, noisy, melodic, rhythmic, free – it had all the elements that usually come up when you think about making a complete and interesting set.”

Hawkins and Edwards are newcomers to one of Mazurek’s longest-running musical partnerships. The duo of Mazurek and Taylor stretches back more than 20 years to their work together in various iterations of the Chicago Underground Collective, founded by Mazurek and guitarist Jeff Parker at the famed Chicago nightclub, the Green Mill. Since spinning off from the collective in 1996, the Chicago Underground Duo has released seven remarkably creative recordings and expanded to form Trio and Quartet incarnations with the likes of Parker and bassists Noel Kupersmith and Jason Ajemian.

“We’re sonic and spiritual brothers,” Mazurek says of his profound partnership with Taylor. “It’s a special relationship, one of those cosmic things where it just works. It’s amazing that we’ve kept it going this long and hopefully we’ll continue for another 20 years.”

The critically acclaimed drummer and percussionist for the Chicago Underground ensembles, Chad Taylor has been featured in Modern Drummer magazine, performed at major rock and jazz festivals worldwide, and played with a wide range of artists on both the Chicago and New York rock and jazz scenes. He has a BA from the New School of Jazz, where he studied with Joe Chambers, Yoron Israel, Pheeroan Aklaff and Lewis Nash, and a MA from Rutgers. Chad has performed on over 50 recordings and has worked with such artists as Roscoe Mitchell, Tortoise, Jim O’Rourke, Charles Gayle, Derek Bailey, Jeff Parker, Marc Ribot, Mary Halvorson, Malachi Favors, Henry Grimes, and Cooper-Moore.

Composer, improviser and multi-media artist Rob Mazurek has drawn inspiration from a multitude of audio and visual styles and sources over the past three decades. Augmenting his cornet playing with computer programming, electronics and an assortment of keyboards, Mazurek’s broad electro-acoustic palette defies simple categorization. His visionary work is garnering ever-increasing critical acclaim and public attention; in recent years, he appeared on the cover of The Wire magazine and was voted MUSICIAN OF THE YEAR by Italy’s top jazz magazine, Musica Jazz. When not touring the world with various groups, Mazurek now lives in Marfa, TX, after having relocated back to Chicago following an extended stay in São Paulo, Brazil. In addition to Chicago Underground Duo and new Chicago / London Underground, he leads, collaborates with and composes for a wide variety of ongoing ensembles, among them Pharoah & The Underground (featuring Pharoah Sanders) and Black Cube SP. His three-piece São Paulo Underground transplants the collaborative and boundary-bursting Underground model onto a Chicago/Brazil axis, combining Brazilian influences from samba to maracatu with the interstellar jazz consciousness of the Sun Ra Arkestra and Mazurek’s own large ensemble, Exploding Star Orchestra.

It’s hard enough to categorize all that transpires within the confines of a single Underground piece, let alone trying to delineate a single unifying thread that binds the various iterations together. What does distinguish all of the ensembles’ work, including this latest Chicago / London variation, is their fearlessness, a willingness, even eagerness, to venture into the unknown and find the spark of the new.

“Anything is possible,” Mazurek states simply. “Whatever direction in which things go, no matter how outlandish – or the opposite of that, no matter how much it makes sense – we trust each other, and that trust is integral to why this group works in all its different formats.”

That trust, despite the novelty of never having played together before, is evident from the opening moments of this recording. “A Night Spent Walking Through Mirrors” begins with abrupt smears of sound from Mazurek’s cornet, which conjure sparse replies from Taylor’s mbira and Hawkins’ piano. Over the course of the next 20 minutes, the interplay builds in chaotic intensity until the ground seems to fall away and leave the listener adrift in a gauzy haze. Jittery explosions burst in, from which emerges Mazurek’s voice intoning a sort of primal chant.

Voice has become increasingly important to Mazurek’s work in recent years, and recurs throughout A Night Walking Through Mirrors, as when he urgently pleads the mantra-like title phrase of “Something Must Happen,” making literal the desperate crises underlying the album’s political urgency. “Voice is about breaking down barriers, breaking down walls, breaking down inhibition,” Mazurek says. “I want to use it more and more for my own possibilities.”

“Something Must Happen” is notable for its perpetual, agitated tumult, with aggressive electronic bursts engulfing Hawkins’ frenetic piano, which finally relents in the closing minutes to dissipate in a shimmering curtain of sound.

“Boss Redux” is a reimagining of a piece from the 2014 Chicago Underground Duo release Locus, beginning with the original’s infectious electronic groove and breakbeat rhythms before smashing those elements apart and refracting them into an abstracted landscape. Edwards’ creaking strings and resonant, percussive tones seem to guide the listener through a dense, mysterious jungle of startling voices, only to come out – in what may be the album’s most unexpected moment – in an intimate interpolation of the jazz standard “It Might As Well Be Spring.”

Finally, “Mysteries of Emanating Light” grows from a bold Taylor improvisation, first spawning a knotty turn from Edwards in which he almost seems to be wrestling his strings into gnarled, craggy shapes, until Mazurek and Taylor engage in a captivating mbira/cornet duo. Mazurek’s voice returns, this time echoing and distorting as Edwards and Hawkins parry the ricocheting sounds. It all ends in dissolving calm, an ambiguous but thoughtful moment of leave-taking.

The album’s title, A Night Walking Through Mirrors, is an evocative fit for this exploratory set, capturing the sense of alluring disorientation, of sympathetic worlds upon worlds echoing into infinity. “It really felt like we would be playing and somebody would take a left turn and we’d be in another dimension,” Mazurek recalls. “Another person would take a right turn and we’d be in yet another dimension, but everybody was right there. It really did feel like a night spent walking through mirrors in that respect.”

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ITUNESAMAZONBANDCAMPWAYSIDE MUSIC

ARTIST WEB SITES //
www.robmazurek.comwww.cuneiformrecords.com

HIGH-RES PROMO PHOTOS //
photo credits: Guido Gazilli (Rob Mazurek), Peter Gannushkin (Chad Taylor), Dawid Laskowski (John Edwards), and Edu Hawkins Music Photographer (Alexander Hawkins)

// ROB MAZUREK – TOUR DATES: 2017 //

April 3-5 USA Experimental Sound Studio
5925 No. Ravenswood
Chicago, IL 60660During the first week of April ESS is pleased to present the multidisciplinary practice of ROB MAZUREK with the Chicago premiere of two solo installations—one in ESS’s Audible Gallery, the other in the Lincoln Park Conservatory Fern Room—as well as in a series of concerts. Curated by LOU MALLOZZI. [Learn more]

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Putting the Blues in the News:
The Microscopic Septet takes the Blues
Uptown, Downtown, and All Around on
Been Up So Long It Looks Like Down to Me:
The Micros Play the Blues

The Microscopic Septet
Been Up So Long It Looks Like Down to Me:
The Micros Play the Blues

STREAM/SHARE: “Don’t Mind If I Do”
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Cat. #: Rune 425, Format: CD / Digital Download
Genre: Jazz
Release Date: February 10, 2017

PRESS RELEASE [DOWNLOAD as a PDF]
What happens when you put the blues under a microscope? When the lens is wielded by the incisive deconstructivists of the Microscopic Septet, the musical odyssey traverses territory that’s disarmingly strange, pleasingly familiar and consistently revelatory. It takes an unusual band to make news out of the blues, and the Micros deliver a gripping investigation of the form on Been Up So Long It Looks Like Down to Me: The Micros Play the Blues.

The new album continues the Micros’ brilliant resurgence, storming back into action in 2006 after a 14-year hiatus to reissue its old and release new recordings on Cuneiform Records. Since then, the radically old-school new-context combo has continued to evolve, extending its reputation as one of New York’s most ardently inventive ensembles of the 1980s to being recognized as one of the 21st Century’s most accomplished, informed, and iconoclastic jazz groups. Throughout, they maintained their distinctive modus operandi: exploring and unraveling jazz’s myriad strains, the Micros re-weave a century of jazz into modern tunes of equal popular and critical appeal. Since 2006, they’ve collaborated with known cartoonists and/or illustrators for their album art, including Art Spiegelman, New Yorker cover artist Barry Blitt, Australian graphic artists Antonia Pesenti and Keith Lobue. The Micros Play the Blues builds on the band’s longstanding love of that most basic and profound musical form, bringing the same reverently irreverent and insistently playful approach to the blues that has marked the Micros’ music from the beginning.  This album’s cover art is by Kaz, best known for his comic Underworld and his writing for SpongeBob SquarePants.

“We’ve always loved the blues,” says soprano saxophonist/composer Phillip Johnston, who co-founded the Micros with pianist/composer Joel Forrester. “We’ve recorded blues on every record we’ve made. I don’t think there’s anything more sophisticated than the blues. Our only fear was that the tunes would sound too much alike, and we made a conscious effort to cast a wide net. Every tune sounds different.”

Along with the co-founders, the seven-piece ensemble features largely the same cast of improvisers with which it emerged from Manhattan’s wild and wooly Downtown scene in 1980. Drummer Richard Dworkin, baritone saxophonist David Sewelson, bassist David Hofstra, and altoist Don Davis (who replaced John Zorn in 1981) have all been along for almost the entire Microscopic sojourn, while Mike Hashim came on board for the 2006 reboot, taking over the tenor sax chair from Paul Shapiro (the only Micros spot that’s seen real turnover).

As on previous projects, Johnston and Forrester provide the lion’s share of tunes and arrangements, and they both dig deep into their voluminous catalogs for interesting material. The album opens with Johnston’s late-night cinematic joy ride “Cat Toys,” a piece inspired by Hammond B-3-driven soul jazz and originally written for the credit sequence of a short film about a San Fernando Valley-dwelling space alien with a taste for felines (seriously).

Johnston’s cascading 14-bar “Blues Cubistico” features some brawny baritone sax work by Dave Sewelson, while his cheerful soprano sax intro on “Don’t Mind If I Do” sounds like a rent party picking up steam around 11 pm on a Saturday night. Johnston repurposed “When It’s Getting Dark” from his rock band The Public Servants (which featured guitarist Bill Horvitz, vocalist Shelley Hirsch, and several Micros), and the tune retains its predatory rock ‘n’ rhythm vibe.

“12 Angry Birds” delivers a triumphant verdict on the enduring power of Ellingtonian cadences, as the piece sounds like a forgotten number from the 1927 session on Victor, complete with a deliciously squally soprano sax solo. Long time Micros fans will be delighted to hear tunes that have been in the repertoire for decades but never recorded, like “I’ve Got a Right to Cry.” While not actually a blues, the piece was a 1950 hit for the great Los Angeles R&B band Joe Liggins and the Honeydrippers.

“That’s a tune we did from the very beginning,” Johnston says. “We’ve always played tunes by other people, but didn’t record a lot of them. We have a number of vocal tunes, and we never recorded any of those and I love Dave’s singing on this. ‘I’ve Got a Right to Cry’ isn’t a blues, but it fit in so well with the rest of the album.”

Forrester contributes about half of the album’s tunes, including the sensually slow drag “Dark Blue,” a feature for bassist David Hofstra (who’s walking figure guides the band even when he sits out). The pianist offers a propulsive jazz march with “Migraine Blues,” and designs a deliciously woozy and off-kilter jaunt with “Simple-Minded Blues.” In another utterly surprisingly but entirely sensible move, Forrester turns the carol “Silent Night” into a convincing blues that captures the angst too many people feel as the holidays approach. In fact, Forrester staked a claim to the song at a Christmas party where he “took it into my head to derange Silent Night, which has always struck me as close to the blues,” he says. “During the improvisation the chords were really stripped down. I wanted people to take a more primal approach.”

Whatever the music’s origin or vintage, the Micros put their indelible stamp on each piece, with loose and limber arrangements combining stellar craftsmanship and extroverted improvisation. The blues provide another avenue for the band to explore jazz history while forging a sound quite unlike any other ensemble.

Simultaneously embracing the past and the future makes perfect sense when you consider the fraught time and place that gave birth to the Microscopic Septet. In the early 1980s the New York jazz scene was bitterly divided. Irony-laced Downtown players explored new territory drawing on free jazz, rock, funk and later, Balkan influences. At the same time, other young players, following in the footsteps of trumpeter Wynton Marsalis, defined mainstream jazz by looking backwards to 1950s hard bop and 1960s post bop. Rejecting allegiance to any particular camp or faction, the Micros forged their own path with an ethos succinctly summed up by Johnston: “Break all the rules and respect all the saints.”

Embracing jazz’s populist legacy, the Micros brought Uptown jazz back Downtown, where they made a compelling case that swing could look forward as well as backward. The band adopted a name that playfully alluded to its orchestral palette. As Johnston explained at the time, “The instrumentation is enough to give us a big range of colors and work compositionally in a more expansive way.” But the name also described their compositions, which often distilled the essence of an era within an artfully executed voicing. “Through its command of idiomatic detail,” opined The New York Times, “the group summons the sound of an Ellington orchestra, or the feel of a 50’s rhythm-and-blues band, with a few well-chosen phrases and sonorities.”

The band was built upon the felicitous partnership of Johnston and Forrester, who met in the early 70s and bonded over shared musical aesthetics, humor, and similarly skewed worldviews. Eager to break away from the jazz straightjacket of head-solo-head formats, they honed extended, lapidary jazz compositions that segued gracefully between different themes in a single piece, hearkening forward to forms employed by Sun Ra, Duke Ellington and Jelly Roll Morton. The music drew on the entire history of jazz, as well as polkas, tangos, antic cartoon themes, klezmer, and new wave rock. No matter how eclectic their influences, the Micros always hewed to the band’s prime directive. “It’s gotta swing, whether its Latin or R&B or straight-ahead blowing,” Johnston says. “That’s the foundation of what we do.”

Prolific composers, Forrester and Johnston had created a songbook of nearly 200 tunes by the time the band called it a day in 1992. During the Micros’ first incarnation they only got around to recording 34 pieces on four albums, which were all released on small labels to an impressive array of critical acclaim. The band’s 1983 debut LP, Take the Z Train, came out on Press Records and featured cover art by San Francisco artist Bill Paradise. “It is as if the entire history of improvisatory music is on parade,” Cadence exclaimed. A live album, Let’s Flip!, followed in 1985, recorded in Rotterdam and released by Dutch label Osmosis Records, which also released 1986’s Off Beat Glory. Stash put out Beauty Based on Science in 1988 with liner notes by “New York School” poet, Ron Padgett, cover art by painter Bob Tuska, and cartoons by Collin Kellogg.

In keeping with the band’s perverse ways, they were reaching a vast new audience when they disbanded. Forrester’s theme song for the long-running NPR show Fresh Air with Terry Gross, which continues to be heard by millions of public radio listeners every day, was introduced in 1990. Cuneiform’s decision to reissue the band’s albums on two double albums in 2006, Seven Men in Neckties and Surrealistic Swing, introduced the band to a generation of jazz fans who came of age in the ensuing years. Featuring striking CD artwork by Pulitzer Prize-winning New York cartoonist Art Spiegelman, (creator of the graphic novel Maus), the History of the Micros albums contain all the music from the four original albums and 11 previously unreleased tracks.

The reception was so positive that the band reunited for a European tour, which led to the Micros returning to the studio for 2008’s Lobster Leaps In, an acclaimed Cuneiform album featuring beloved tunes and overlooked gems from the band’s original book. They followed up two years later with the masterful Monk album Friday the Thirteenth: The Micros Play Monk, illustrated with Barry Blitt’s artwork, and made another major leap back into the future with 2014’s acclaimed Manhattan Moonrise, an album that shows the Micros are still a cutting-edge ensemble forging boldly into old territory. “Neither Phillip nor I want to settle into any definite harmonic groove,” Forrester says “Coming up with an array of the blues is just a means taking the Micros into the next century.”

PRESS RELEASE // DOWNLOAD (PDF)

PROMOTIONAL TRACK //
If you’d like to share music from this release with your readers/listeners, please feel free to use the following track:
“Don’t Mind If I Do” stream: @SoundCloud / @Bandcamp / @YouTube

PURCHASE LINKS
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ITUNESAMAZONBANDCAMPWAYSIDE MUSIC

ARTIST WEB SITES //
www.microscopicseptet.comwww.facebook.com/MicroscopicSeptetwww.cuneiformrecords.com

HIGH-RES PROMO PHOTOS // band photo credit: Greg Cristman
// THE MICROSCOPIC SEPTET – TOUR DATES: 2017 //

April 2 USA Small’s Jazz Club
183 West 10th St
NYC, NY 10014
Album Release Party!
April 6 USA The Falcon
1348 Route 9W
Marlboro, NY 12542
Album Release Party!

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The Ed Palermo Big Band is Making America Un-Great Again with a Brilliant Blast of Anglophilia, transforming British Rock Treasures into Wildly Inventive Jazz Vehicles on the Double Album:
The Great Un-American Songbook Volumes I & II

From the Beatles, Rolling Stones and Jeff Beck to King Crimson, Traffic, and Jethro Tull, Palermo’s 18-piece ensemble Storms the British Invasion and Plants the American Flag (upside down)

The Ed Palermo Big Band
The Great Un-American Songbook: Volumes I & II

STREAM/SHARE: “The Low Spark of High Heeled Boys (Traffic)”
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Cat. #: Rune 435/436, Format: 2xCD / Digital Download
Genre: Jazz / Big Band Jazz
Release Date: February 24, 2017

 

PRESS RELEASE [DOWNLOAD as a PDF]

Crazy times call for outrageous music, and few jazz ensembles are better prepared to meet the surreality of this reality-TV-era than the antic and epically creative Ed Palermo Big Band. The New Jersey saxophonist, composer and arranger is best known for his celebrated performances interpreting the ingenious compositions of Frank Zappa, an extensive body of work documented on previous Cuneiform albums such as 2006’s Take Your Clothes Off When You Dance and 2009’s Eddy Loves Frank.

His fifth project for the label, The Great Un-American Songbook Volumes 1 & 2 is a love letter to the rockers who ruled the AM and FM airwaves in the 1960s via successive waves of the British Invasion. Featuring largely the same stellar cast of players as last year’s gloriously eclectic One Child Left Behind, the 18-piece EPBB lovingly reinvents songs famous and obscure, leaving them readily recognizable and utterly transformed. The first installments in what he hopes to be an ongoing project (he is currently working on an Un-American Songbook, Volume 3), these two volumes give a whole new meaning to Swinging London.

Volume 1 kicks off with guitarist/vocalist Bruce McDaniel belting Lennon and McCartney’s “Good Morning, Good Morning” (Palermo obsessives will notice that the track opens with a bleating goat, which is rumored to be the same creature heard at the end of One Child Left Behind…how’s that for continuity?) The Beatles provide the widest thread running through the project, including an instrumental version of “Eleanor Rigby” that’s a tour de force by violinist Katie Jacoby (who also tears up King Crimson’s prog rock masterpiece “Larks’ Tongue in Aspic, Part 2”).

Palermo deploys his surging horns on an ecstatically sanguinary romp through Blodwyn Pig’s “Send Your Son to Die,” and delivers another blast of brass on the extended arrangement of Nicky Hopkins“Edward, The Mad Shirt Grinder,” a piece introduced on Quicksilver Messenger Service’s album Shady Grove. A pedant might quibble that a recording by a San Francisco band doesn’t belong in The Great Un-American Songbook, but was there a more British Brit than Hopkins, the era’s definitive session keyboardist? Anyway, the picaresque piece provides the players with a consistently inspiring vehicle for improvising, including Ben Kono’s torrid tenor, John Bailey’s thoughtful and beautifully calibrated trumpet, and another arresting violin solo by Jacoby.

More than any other EPBB release, The Great Un-American Songbook is like rummaging around Palermo’s record collection and playing tracks at random after imbibing an espresso-laced bottle of absinth. He’s the first to admit that the album is a highly personal and nostalgia-induced undertaking. “Almost everything I do lately is reliving my past,” Palermo says. “With the craft and skill I’ve developed being an arranger for all these years, I can now take those songs that I grew up with and loved, and reinterpret them. I picked my favorite songs, songs that I’m going to want to hear and play a lot. There’s really no other way to explain my selection process.”

Volume 2 opens with another rule-breaking wild card, as Palermo mashes up the Berkeley punk band Green Day’s bitter indictment “American Idiot” with the point-counterpoint exchange of the West Side Story anthem “America.” In his completely unnecessary defense, Palermo points out that he’s inspired by the version of “America” that Keith Emerson recorded with his pre-ELP band The Nice, rather than the Broadway cast album or film soundtrack. Jethro Tull’s “Beggar’s Farm” features an appropriately charged Ben Kono flute solo, while also unleashing Bruce McDaniel’s vocals, which register just the right tone of reverent irreverence (or is that irreverent reverence?). There are far too many highlights to mention them all, but Napoleon Murphy Brock’s vocals on The Crazy World of Arthur Brown’s “Fire” sounds like a lost Zappa outtake (Zappologists will catch numerous Zappa quotes and references laced throughout the project).

Speaking of irreverence, Palermo populates the Songbook with a vivid cast of characters providing some running commentary, including his fey executive producer, Edvard Loog Wanker III, Pete Best, and Ringo Starr’s long-lost cousin, Mick Starkey, who ends the album with a brief blast of Beatlemania on “I Want to Be Your Man” and “Good Night.” But don’t miss the hilariously majestic hidden track featuring the cranky but always-game crooner Mike James (last heard pondering the meaning of it all on One Child’s “Is That All There Is?”). By the end of the long and winding road through Palermo’s musical backpages there’s no doubt that his nostalgia is our delight, as vintage rock songs make for state-of-the-art jazz.

“Anything can be grist for the mill,” Palermo says. “Once I start an arrangement I get so into it. I’m going to put my spin on it.”

In many ways, Palermo’s career is a case study in getting the last laugh. Born in Ocean City, New Jersey on June 14, 1954, he grew up in the cultural orbit of Philadelphia, which was about an hour drive away. He started playing clarinet in elementary school, and soon turned to the alto saxophone. He also took up the guitar, and credits his teenage obsession with Zappa to opening his ears to post-bop harmonies and improvisation.

Palermo caught the jazz bug while attending DePaul University, and took to the alto sax with renewed diligence inspired by Phil Woods, Cannonball Adderley, and Edgar Winter (the subject of an upcoming EPBB project). Before he graduated he was leading his own band and making a good living as a studio player recording commercial jingles. But like so many jazz musicians he answered New York’s siren call, moving to Manhattan in 1977. After a year of playing jam sessions and scuffling, Palermo landed a coveted gig with Tito Puente, a four-year stint that immersed him in Afro-Cuban music.

An encounter with trumpeter Woody Shaw’s septet at the Village Vanguard in the late 1970s stoked his interest in writing and arranging for multiple horns, and by the end of the decade he had launched a nine-piece rehearsal band with five horns. Between Don Sebesky’s well-regarded book The Contemporary Arranger and advice from Dave Lalama and Tim Ouimette “I got a lot of my questions answered and I’ll love them forever,” Palermo says. “Then the real education was trial and error. I lived in a little apartment with no TV or furniture. All I had was a card table, and once a week I’d rehearse my nonet, then listen to the cassette of the rehearsal and make all the changes.”

Palermo made his recording debut in 1982, an impressive session featuring heavyweights such as David Sanborn, Edgar Winter and Randy Brecker. As a consummate studio cat and sideman, he toured and recorded with an array of stars, including Aretha Franklin, Eddie Palmieri, Celia Cruz, Lena Horne, Tony Bennett, Mel Tormé, Lou Rawls, Melba Moore, The Spinners, and many others. As an arranger, he’s written charts for the Tonight Show Band, Maurice Hines, Eddy Fischer, and Melissa Walker. Employed frequently by bass star Christian McBride for a disparate array of projects, Palermo has written arrangements for a James Brown concert at the Hollywood Bowl, a Frank Sinatra tribute featuring Kurt Elling, Seth McFarland, John Pizzarelli, and a 20-minute medley of Wayne Shorter tunes for the New Jersey Ballet.

Palermo had been leading his big band for more than a decade before the Zappa concept started coming together. Inspired by electric guitar master Mike Keneally, who performed with Zappa on some of his final concerts before his death in 1993, Palermo decided to arrange a program of 12 Zappa tunes. When the time came to debut the material at one of the band’s regular gigs at the Bitter End in early 1994, a sold-out crowd greeted the band. “The Internet was just becoming powerful, and word really got around,” Palermo says. “We were used to playing for small audiences, and the place was packed. There were people who had driven down from Canada, and up from West Virginia who didn’t have a clue who I was, but they wanted to hear Zappa’s music. It was an amazing night.”

The Ed Palermo Big Band earned international attention with its 1997 debut The Ed Palermo Big Band Plays Frank Zappa on Astor Place Records. With Palermo’s brilliant arrangements and soloists such as Bob Mintzer, Chris PotterDave Samuels, Mike Stern, and Mike Keneally, the album made an undisputable case for the Zappa jazz concept. His first album of Zappa tunes on Cuneiform Records, called Take Your Clothes Off When You Dance, came out in 2006, followed in 2009 by Eddy Loves Frank. But while Palermo has written more than 300 Zappa charts, he’s anything but a one-trick pony. Recent releases like 2014’s Oh No! Not Jazz!! and 2016’s One Child Left Behind, both on Cuneiform, featured a bountiful selection of his original compositions and material by composers not named Frank Zappa.

Nothing demonstrates the ensemble’s ongoing vitality better than the stellar cast of players, with longtime collaborators such as violinist Katie Jacoby, baritone saxophonist Barbara Cifelli, drummer Ray Marchica, and keyboardist Ted Kooshian. Many of these top-shelf musicians have been in the band for more than a decade, and they bring wide ranging experience, expert musicianship and emotional intensity to Palermo’s music. From the first note, well, after the goat, the band manifests greatness in a truly Un-American cause.

PRESS RELEASE // DOWNLOAD (PDF)

PROMOTIONAL TRACK //
If you’d like to share music from this release with your readers/listeners, please feel free to use the following track:
“The Low Spark of High Heeled Boys (Traffic)”: @SoundCloud / @Bandcamp / @YouTube

PURCHASE LINKS
//
ITUNESAMAZONBANDCAMPWAYSIDE MUSIC

ARTIST WEB SITES //
www.palermobigband.comwww.cuneiformrecords.com

HIGH-RES PROMO PHOTOS // band photo credit: Chris Dukker

// THE ED PALERMO BIG BAND – TOUR DATES: 2017 //

March 23 USA Charity Concert
322 West 48th St – NYC, NY
To Benefit Musician’s Emergency Relief Fund
April 1 USA The Falcon
1348 Route 9W
Marlboro, NY 12542
[the music of The Beatles!]
April 10 USA The Iridium
1650 Broadway
NYC, NY
May 8 USA The Iridium
1650 Broadway
NYC, NY
June 3 USA The Falcon
1348 Route 9W
Marlboro, NY 12542
June 19 USA The Iridium
1650 Broadway
NYC, NY
August 19 USA The Falcon
1348 Route 9W
Marlboro, NY 12542
August 21 USA The Iridium
1650 Broadway
NYC, NY
October 28 USA The Falcon
1348 Route 9W
Marlboro, NY 12542
December 23 USA The Falcon
1348 Route 9W
Marlboro, NY 12542

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In Hoping Against Hope, Avant /Art-Rock Band THINKING PLAGUE’s Latest Release, Compositional Savant Mike Johnson Creates
an Extraordinary and Beautiful Polyphonic Response to the
Dark Times We Live In

Thinking Plague
Hoping Against Hope

STREAM/SHARE: “The Echoes of Their Cries”
stream: @SoundCloud / @Bandcamp / @YouTube

Cat. #: Rune 421, Format: CD / Digital Download
Genre: Rock / Avant-Progressive / Art-Rock / Post-Rock / Post-Classical
Release Date: February 10, 2017

 

PRESS RELEASE [DOWNLOAD as a PDF]
Clouds scud across a storm-wracked sky, sometimes exposing shards of blue, but most often, darker greys lurk behind. Hoping Against Hope is a darkly beautiful and complex album that offers hope against hope, against the hope that things will somehow work out for the best, or that someone will somehow fix it all for us. In a time when hope seems both scarcer and more necessary than ever, Thinking Plague don’t offer the fleeting consolation of a fairy tale, but the enduring and tangible value of an unvarnished and courageous artistic response. By creating art, something of beauty, while amidst winds of despair, Thinking Plague has evolved its own means to survive grim times and marked out a path for us. Recorded music, however good, can’t mend a broken world, but a record as brilliant as Hoping Against Hope offers us artistic refuge, an imaginative space where we can restore body, mind and soul and form our own personal response to a world in crisis.

Thinking Plague is a storied band, whose thirty-five year history has seen it cleave consistently to the extreme limits of what is possible to do within rock music. Much of the music it released has owed more to traditions external to rock, such as folk, chamber music, and particularly, the avant-garde tradition of twentieth-century classical music. Its thread has always been twisted into a thicker yarn, variously labeled with terms such as ‘art rock’, ‘avant-rock’, ‘avant-progressive’ and also ‘Rock in Opposition’(RIO), a term associated with European outfits such as Henry Cow, Art Bears, Art Zoyd and Present who fused elements and instruments from rock and 20th century classical music with compositional rigour and DIY aesthetics. Thinking Plague are often cited as the leading light of the American arm of the ‘Rock In Opposition’ movement, closely aligned with the fellow Denver, Colorado ensemble, Hamster Theatre, with which they share personnel. Genre-defying and, above all, unique, Thinking Plague’s music can be described equally as post-rock and/or post-classical.

Founded in 1982 by Mike Johnson and the legendary Bob Drake, they have been a continuous presence in the underground since then, although many years have elapsed between recordings, and only Johnson remains from the original line-up. Their third album, 1989’s In This Life, was released on Chris Cutler’s London-based ReR label and widely distributed, and the band enjoyed global attention in avant-rock circles. By 1990 Drake was working as a recording engineer in Los Angeles, and singer Susanne Lewis was in New York City, pursuing her own musical vision. It was nearly ten years before their critically acclaimed fourth album, In Extremis (1998), was released with a new line-up, inaugurating Thinking Plague’s ongoing relationship with Cuneiform Records.  Cuneiform released a further two studio albums –A History of Madness (2003) and Decline and Fall (2012)- and a compilation of their early studio recordings, called Early Plague Years (2000), and in 2015 reissued In This Life.

Leader and writer Johnson is influenced by harmonically adventurous twentieth-century classical music, as can be heard in the ambiguous tonality of the music, and the rigour of his dense, complex compositions. Johnson, like most rock musicians, is self-taught, but very knowledgeable, and his fusion of rock, folk and classical music is as seamless as it is compelling. The electric guitar, whose hard-edged, mordant timbres cut deeper and more savagely than anything available to the classical arranger, doesn’t dominate the band’s sound, but takes its place as one voice among many, while the drum kit is exploited with subtlety.

The arrangements we hear on Hoping Against Hope, as on Decline and Fall (the previous album), are those we will hear live. Even when singer Elaine di Falco’s accordion is written and recorded in multiple voices, the parts are realizable by a single instrument. Conversely, Johnson and Bill Pohl’s tightly scored twin guitars are panned out wide enough for the listener tobalance the pursuit of an individual voice against the ensemble texture, which is the creative focus, a carefully crafted polyphony served by each
instrumental voice. There is a familiar vocabulary in play, a harmonic palette and a phraseology that has evolved considerably over the band’s lifespan without extreme points of rupture, despite major changes and sometimes long gaps between releases; this is clearly the same band that we heard in the 1980s, but Johnson is writing from a creative position that is fruitfully removed from that he occupied even four years ago.

Completing the core line-up for this album are long-term members Mark Harris (reeds) and Dave Willey (bass), as well as more recent recruit Robin Chestnut (drums). Pohl’s addition brings a second electric guitar to the texture for the first time, enabling more sinuous scoring, rather than making the sound more ‘rock’. Although other musicians contribute parts, there’s a strong sense of continuity, revealing a well-drilled ensemble performing a coherent body of work. As demanding as this music may be, it is made to sound easy, and more importantly, beautiful.

Dark times globally made it hard to produce an optimistic album, but this record is still a constructive critique, rather than a lament or a turning away. With its mention of externalities, ‘Commuting to Murder’ highlights the ideological congruity of militarism and capitalist economics, while ‘A Dirge for the Unwitting’ notes, and declines to condemn, the disaffection that impels some towards the death-drive of religious fundamentalism. ‘The Echoes of Their Cries’ and ‘The Great Leap Backwards’ seem overwhelmed by the horrors of military intervention and ‘post-truth’ culture (respectively), to the extent that they eschew image or allusion; but ‘Hoping Against Hope’ asserts the endurance of the critical observer, however isolated or disheartened, and vests its faith in the persistence of a marginalized wisdom.

In support of such lyrical texts, and in their own right, Johnson’s compositions are committed to emotional truth in all its complexity, rather than dictating to the listener what they should feel about the topics of the songs. And although this is not a ‘feel-good’ album, its hopeful inclination is reflected in a less abstract approach than on previous records. There are extended sections in regular meters, and periods of stable tonality offer the listener a continuity to grasp that is perhaps analogous to the experience of the narrator in ‘Hoping Against Hope’.

Despite the complexity of its music, Thinking Plague is an astoundingly impressive live band. It has played worldwide at avant-garde and progressive music festivals, and toured in the US and Europe. The complex arrangements featured on this album are written for live performance, where the passionate commitment and instrumental precision that the works demand can be witnessed in their full fury. Most recently, Thinking Plague toured Texas, performing in Dallas’ Kessler Theater, Austin’s Salvage Vanguard, and other cities, and played numerous shows in Colorado, at Boulder’s Dairy Center for the Performing Arts and other venues. They’ve performed at such international festivals as Rock in Opposition and Les Tritonales in France, Gouveia Art Rock Festival in Portugal, and Nearfest, Cuneifest, ProgDay, Seattle’s Seaprog, and The Olympia Experimental Music Festival in the USA The demanding, rehearsal intensive nature of their material makes their recordings infrequent, and opportunities to hear this important band scarce: performances are often made to capacity crowds as a result. Thinking Plague is looking forward to touring the US East Coast in 2017, and performing at festivals in the US and abroad.

Sometimes a work of art enables us to articulate our thoughts and feelings in times of upheaval and chaos. In an era when the world has seemingly come off its hinges, an album like Hoping Against Hope offers listeners the consolation that they are not alone. But more than that, this intellectually complex work offers tools to help us make sense, affectively at least, of the whole sorry mess. Knowledge, as the philosopher Michel Foucault said, is not for understanding: knowledge is for cutting. And in Hoping Against Hope, Thinking Plague supplies its listeners with a finely honed scalpel.

PRESS RELEASE // DOWNLOAD (PDF)

PROMOTIONAL TRACK //
If you’d like to share music from this release with your readers/listeners, please feel free to use the following track:
“The Echoes of Their Cries”: @SoundCloud / @Bandcamp / @YouTube

PURCHASE LINKS
//
ITUNESAMAZONBANDCAMPWAYSIDE MUSIC

ARTIST WEB SITES //
www.thinkingplague.orgwww.cuneiformrecords.com
Thinking Plague @ Facebook

HIGH-RES PROMO PHOTOS // band photo credit: Sal DeVincenzo
[GO BACK TO NEW RELEASE LIST]

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PROMO REQUEST PROCEDURES
GENERAL PROCEDURES
If you wish to receive promo copies of any of these releases for potential press review or airplay, please ask us:PRESS WORLD-WIDE joyce@cuneiformrecords.com
WORLD RADIO (Joyce & Javier):  joyce@cuneiformrecords.com – radio@cuneiformrecords.com
NORTH AMERICAN RADIO (Javier)radio@cuneiformrecords.comNEW PROCEDURES for 2017:  We now press special CDs specifically for promotional use. The new promo CDs contain the same music as our commercial CDs and are printed with all track titles, but feature different packaging. Each promo CD will be mailed with printed material featuring all art work and liner notes that appears on the commercial CD versions in addition to the press release and bio material. Anyone requesting CDs will receive the new promo CDs unless they have specific needs for a commercial copy.(1) DIGITAL PROMOS AND PROMO CDS
Physical CDs and Digital promos are available for all new releases released on CD.Please let us know if you PREFER DIGITAL PROMOS. If you request a digital promo, you’ll receive an invitation in your email box, telling you that you’re selected to receive a digital CD. It will direct you to a digital promo site created for you personally to access downloadable files, press releases, as well as art work.Some of you who were sent DIGITAL PROMOS of past releases did not access them. Please contact us if you want us to re-activate your digital copies. (We can also re-activate digital promos of any recent releases, on your request.)Some of you may instead PREFER PHYSICAL CDS. Please note that we WILL CONTINUE to mail out physical CDs to a number of our contacts.We will take your preferences – digital vs physical – into account when shipping out promos, although we may not always be able to honor your requests.(2) REQUESTING MULTIPLE PROMO CDS
Please list your requests in order of PRIORITY, because we may not be able to give away as many promos as you request.Please understand that we have a limited number of promos, and that we can only give promos to a very limited number of blogs/webzines. Please also note that, at this point in time, we do not send physical promos (digital is fine though) to internet-only radio stations (of which there are thousands) unless they also operate a webzine etc.(3) URGENT REQUESTS
If you have an imminent DEADLINE and need promo CDs ASAP/IMMEDIATELY, please write *URGENT re New Releases* or *IMPORTANT: name-of-artist* in the subject line of your email.If you have an URGENT request for a Deadline within the USA, please be sure to ask us to ship your package First Class or Priority. Otherwise, our Mail Room will automatically ship it 4th Class.

Any emails marked URGENT will be opened the same day by myself or my assistant Javier. Due to the volume of email received, not all email is opened daily.

PLEASE DO NOT use the word *URGENT* if you have a ROUTINE promo request.

(4) ROUTINE REQUESTS
If you do not have an *URGENT* request, please be patient to receive promos of our new releases. After you email us, we log your request into our database. We are gradually implementing a new system, in which we can semi-automatically mail out promos in the order of need/urgency/publication date/ etc.

BUT until that system is implemented, we usually do not ship out your promo request until sometime after your request, when we do a mass promo shipment to your country or region. Promo mailings are done after reviewing more than 3,000 contacts worldwide, and often must be interrupted due to other “promo emergencies”.

(5) PURCHASING CDS THROUGH WAYSIDE MUSIC
If you have routine promo requests but do not want to have to wait to receive free promo CDs from us/the promo dept., please realize that you can purchase CDs through Wayside Music, who will ship them to you FAST. To access Wayside Music: http://www.waysidemusic.com/

(6) SPECIAL-SITUATION OVERSEAS PROMO MAILINGS: PAID POSTAGE for FREE PHYSICAL CDS
Because of high postage costs, we have been unable for some time to send physical CDs to many OVERSEAS WEBZINES, to some COUNTRIES/REGIONS that require us to use REGISTERED MAIL for security purposes, and to some COUNTRIES/REGIONS where postage is expensive and where we do not have formal DISTRIBUTION.

For those who have not received physical CDs from us for such reasons, we are happy to announce a new PAID POSTAGE / PROMO CDS mailing procedure in collaboration with WAYSIDE MUSIC. Under this plan, you request free promos of Cuneiform releases from us; we give you a link to pay Wayside Music for the postage (credit card or Paypal); and we ship the promo CDs to you. Please contact us to find out if you’re eligible for this offer.

(7) RADIO OUTSIDE THE USA (CANADA & WORLDWIDE)
Please let us know if your radio station or show can accept DIGITAL PROMOS.

If your station/show only accepts/prefers PHYSICAL CDs, please let us know.
It is helpful if you let us know how widely broadcast your show is; if your show is syndicated; and if playlists are published online and if they include album title and label name (ie more than song title).

If your station/show can assist with postage costs for physical CD requests, please let us know. We can enroll you in our Paid Postage/ Promo CDs system in collaboration with Wayside Music.

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PROCEDURES FOR USA & CANADIAN PROMO:
Our new USA distributor is  RED DISTRIBUTION
.

USA & CANADIAN PROMOTION:
PRESS requests for all releases should go through me/Joyce. Send requests to joyce@cuneiformrecord.com

JAVIER continues to handle ALL RADIO requests for USA, Canada and Mexico. (radio@cuneiformrecords.com)

(If/when applicable, we will forward your requests to outside promoters working with our artists.)

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PROCEDURES FOR INTERNATIONAL PRESS & RADIO :
Press/Radio in most countries should contact me directly for promos. There are some exceptions; please look below to see if there are special procedures for your country.

CANADA:
CUNEIFORM is now handling ALL radio and press promotion in CANADA.

ITALY:
CUNEIFORM is now handling ALL press and radio promotion for Italy. [Our Italian distributor is GOODFELLAS.]

GERMANY, AUSTRIA & SWITZERLAND:
ON-GOING PROCEDURES:  CUNEIFORM is now handling all radio and press promotion in Germany, Austria & Switzerland. [Our new German distributor is BROKEN SILENCE.]

FRANCE:
(1) Everyone from France who wants promos MUST FIRST ask BRUNO MEILLIER @ ORKHESTRA (our distributor in France) for promos. Bruno’s email is: contact@okhestra.fr

(2) If Bruno canNOT supply you with promos (he has a limited # to work with), tell me that he cannot and I will send them to you – but please ALWAYS ask Bruno FIRST. [If you don’t tell me that you need a CD, then I  assume that you received it from Bruno OR that you are NOT INTERESTED  in that CD.)

(3) Regardless of whom you receive promos from, please continue to inform me of press, radio play etc; thank you!!! We enjoy hearing from you and appreciate feedback. In addition, we keep comprehensive promotion archives for all of our artists and need to have copies of all reviews and other press.

BELGIUM:
(1) Many of our Belgian contacts receive their promos from PIERRE @ MANDAI, our distributor for the BeNeLux. Pierre’s email is promo@mandai.be

(2) If you do not receive promos from Pierre, TELL ME that you need copies of a CD and I will send it to you. [If you don’t tell me that you need a CD, then I  assume that you received it from Pierre OR that you are NOT INTERESTED  in that CD.)

(3) Regardless of who you get your promos from, please stay in touch with us. We enjoy hearing from you and appreciate feedback on our releases etc. In addition, we keep comprehensive promotion archives for all of our artists and need to have copies of all reviews and other press.

********

DISTRIBUTORS: For a list of all of Cuneiform’s current distributors, please see: http://www.cuneiformrecords.com/distributors.html

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Cuneiform Records Publicity & Promotion Team

Joycejoyce@cuneiformrecords.com (director, press & foreign radio)
Javierjavier@cuneiformrecords.com (North American & foreign radio; digital)

tel. 301-589-8894
P.O. Box 8427
Silver Spring, MD 20907-842
[Washington, D.C.]

visit us online:
www.cuneiformrecords.com/
www.twitter.com/cuneiformrecord
www.facebook.com/cuneiformrecords
www.soundcloud.com/cuneiformrecords
www.youtube.com/user/CuneiformRecords

 

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FOR IMMEDIATE RELEASE:

Paul Dietrich Quintet
Focus

(ears&eyes Records / ee:17-o62)

CD/Digital Release date: May 19th 2017
Pre-orders start: April 14th 2017

Private, Press-Only Stream: SoundCloud

Unique BandCamp download code: elkv-c8kz
Visit: earsandeyesrecords.bandcamp.com/yum

Direct Download 320 kbps DropBox

Also visit the Press-Only Folder for more.

Genres: jazz, modern, original

 

 

Quick Pitch Points:

  • Release celebrations with live performances:
    • Wednesday, May 17th, Hungry Brain, Chicago (with Rob Clearfield Trio)
    • Friday, July 7th, Arts + Literature Laboratory, Madison WI
    • Friday, July 28, Thrasher Opera House, Green Lake WI
  • Features Katie Ernst on wordless vocals on four of the tracks.
  • Second album as band
  • Vibe: space between introspective simplicity and organized chaos

Personnel:

  • Paul Dietrich – trumpet/compositions (Madison & Neophonic Jazz Orchestras, Ben Ferris)
  • Dustin Laurenzi – tenor sax (Bon Iver, Twin Talk, Natural Language, Marquis Hill Blacktet)
  • Paul Bedal – piano (Marquis Hill, Matt Ulery)
  • Tim Ipsen – acoustic & electric bass (Outset)
  • Andrew Green – drums (Twin Talk)
  • special guest: Katie Ernst – voice (Twin Talk, Jason Moran, James Falzone, Little Words)

Tracks (quick listens):

  1. Prologue  1:45
  2. The Quick Turn  6:20
  3. A View  8:04
  4. Settle  7:52
  5. If You Think of Something  7:14
  6. Puddles  4:57
  7. Rush  8:06
  8. So.  6:49
  9. Look  6:55
  10. So On  1:36

 

Story: Trumpeter/Composer, Paul Dietrich embarks on second album with 10 new boundary-expanding compositions

With the release of his band’s second album, Focus, trumpeter and composer Paul Dietrich further hones his distinctive style. This genre-blurring album features Dietrich’s characteristic lush harmonies and subtle melodies, gliding over a fresh, rhythmically adventurous framework. For Dietrich, the essence of Focus exists in a liminal space between introspective simplicity and organized chaos.

This duality can be partially explained by looking at Dietrich’s early musical influences. The product of a musical family, Paul grew up in a household where hearing different kinds of music was an integral part of daily life. “I grew up hearing a lot of jazz and classical music from my parents, while my older brother listened mainly to progressive rock and metal.” Upon Paul’s immersion in the jazz world, he found himself drawn to music that incorporated aspects from a wide array of styles. “A lot of the music I love walks the line between jazz, classical music, and prog rock, music that kind of challenges the boundaries of what we’re used to classifying as genre.”

Particularly influential to Dietrich’s boundary-expanding efforts is the Armenian pianist Tigran Hamasyan. “His music, for me, walks that fine line where it’s intellectually stimulating but it’s also really listenable. It grooves so hard, but in fascinating ways.” We can hear this in Dietrich’s music on a track such as “The Quick Turn,” which builds an engrossing groove over an odd-metered rhythmic ostinato.

The inclusion of vocalist Katie Ernst for several of Focus’s tracks (including “The Quick Turn”) reveals another way that Hamasyan’s influence can be seen. “I’d never used a singer in any of my music before, but I love the blend and depth of sound that wordless vocals can add to a melody.” Ernst can also be heard on “Prologue,” “Look,” and “Rush,” a repetitive, hypnotic track that evokes minimalists such as Steve Reich.

“Rush,” along with the contemplative “Settle,” sit apart from the other tracks in one way – they were originally written for big band. “I try to keep my big band writing and my small group writing separate. They’re different beasts, with different strengths and weaknesses. But I liked playing those two so much that I wanted to see if I could adapt them.” The result is two cinematic pieces that seem to fill more space than a five piece band should be able to fill.

Indeed, much of this album conjures up imagery, no surprise coming from Dietrich, an avid movie buff. “I’ve seen the power that a soundtrack can have over a movie. A good soundtrack can completely set the tone of a film, and it can really have total control over how a viewer will interpret it.” This album tries to capture that power, but leaves the interpreting up to listener. The song titles are intentionally vague. “I want the listener to feel something, but I don’t want to dictate what that something might be. I know what these songs mean to me, but I want them to mean something else to the listener.”

Focus features incredible performances by the members of the Chicago-based quintet, a group that has been performing with the same lineup since 2012. The ensemble emanates a cohesiveness that can only exist after that much time together, sounding totally comfortable within the sometimes complex idiom of Dietrich’s compositions. The group features two natives of Kenosha, Wisconsin, bassist Tim Ipsen and saxophonist Dustin Laurenzi, and pianist Paul Bedal is the only member of the group originally from Chicagoland. Dietrich goes back furthest with drummer Andrew Green, originally from Washington D.C. The two were classmates starting in 2006 at Lawrence University in Appleton, Wisconsin.

What results is incredibly fresh and exhilarating set of compositions that when absorbed individually or on a whole captivate and invigorate the listener while simultaneously offering something comfortable.

 

Credits:

  • Recorded and mixed by Vijay Tellis-Nayak at Transient Sound Chicago IL USA
  • Mastered by Brian Schwab in Chicago IL USA
  • Produced by Paul Dietrich
  • Album design by Paul Dietrich & Jamie Breiwick
  • Cover photo by Lisiane Detaille
  • Paul Dietrich is endorsed by Edwards Instrument Company

Links:

ears&eyes Records: www.earsandeyesrecords.com, earsandeyesrecords.bandcamp.com, twitter.com/earseyesRecords, soundcloud.com/earseyesrecords, facebook.com/earsandeyesrecords, instagram.com/earsandeyesrecords, youtube channel

Label / Press Contact:
Matthew Golombisky – matthewgolombisky@gmail.com, +54 (911) 5828-9811

Booking Contact: Paul Dietrich – paul.r.dietrich@gmail.com, +1 (920) 229-7711

 

Previous Press:

  • “…this superbly imaginative and cohesive recording, Dietrich proves himself an apt bandleader, an exceptional composer and a superlative performer…Dietrich’s fiery trumpet and Laurenzi’s gritty tenor participate in an ardent and inventive duel that thrills and stimulates.” 4 stars – Hrayr Attarian, AllAboutJazz.com
  • “…uniquely introspective.” – JazzinMadison.org
  • “…implies wisdom, experience and emotion that couldn’t possibly be contained in a 20-something’s wheelhouse.” – Lindsay Gerric, OnMilwaukee.com

Individual Bios:

PAUL DIETRICH is a Midwest-based trumpet player, composer and educator striving to make music that synthesizes the sounds of classic and modern jazz, Western classical music, folk, progressive rock and other diverse genres.

The Chicago-based Paul Dietrich Quintet was formed in 2012 as a vehicle for its leader’s small group writing and maintains an active performance schedule in Chicago and throughout the Midwest. The group’s debut album, We Always Get There, was released in 2014, and prompted allaboutjazz.com to state in a four-star review that with “this superbly imaginative and cohesive recording, Dietrich proves himself an apt bandleader, an exceptional composer and a superlative performer.” JazzinMadison.org praised the album as “uniquely introspective” and OnMilwaukee.com stated that it “implies wisdom, experience and emotion that couldn’t possibly be contained in a 20-something’s wheelhouse.” The Quintet’s lineup, unchanged since its inception, includes some of the best young talent in the Chicago area: saxophonist Dustin Laurenzi, pianist Paul Bedal, bassist Tim Ipsen and drummer Andrew Green. The Paul Dietrich Quintet’s second album, Focus, will be released in May 2017 on Chicago’s ears&eyes record label.

Lately, Paul has gained notoriety as a composer. Having started writing for big band regularly while a graduate student in 2012, Dietrich has completed commissions for Lawrence University’s Jazz Weekend, Ripon College, Madison College and the Edgar Knecht Trio (Germany), Ripon High School, James Madison Memorial High School and Berlin High School, and his big band pieces have been performed throughout the United States. He leads the Paul Dietrich Jazz Ensemble, a Madison-based professional group dedicated to the performance of modern big band music, including his own. In 2017, Paul was commissioned by the Wisconsin Union Theater to write an extended work in honor of the Isthmus Jazz Festival’s 30th Anniversary. This piece will be premiered at the festival in June 2017 by the UW Jazz Orchestra. Also in 2017, Paul was the recipient of the Greater Madison Jazz Consortium’s Artistic Development Grant, for which he will write a suite of new music inspired by the sights and sounds of his home state. This music will be debuted by the Paul Dietrich Jazz Ensemble in November 2017.

Paul holds a Bachelor’s degree in trumpet and jazz studies from Lawrence University (2010) and a Master’s degree in Jazz Studies from DePaul University (2012). While at DePaul, Dietrich wrote several pieces that were performed by the DePaul University Jazz Ensemble, including an arrangement of Phil Woods’ “Pairing Off,” which was recorded on the Jazzed Media release Right to Swing (2013) and featured Woods and the composer. Of this recording, allaboutjazz.com called it “the sizzler of the disc, with a pronounced performance by the trumpeter.”

Paul is currently a resident of Madison, Wisconsin where he is an active member of the music scene. In addition to his own groups, he plays with the Darren Sterud Orchestra, the Madison Jazz Orchestra, the Neophonic Jazz Orchestra, the Ben Ferris Octet, and the Ben Ferris Quintet, whose 2016 album Home featured two of Paul’s compositions. Paul is also active as an educator. In addition to a private studio, Paul is also the coordinator of the jazz program at Prairie Music & Arts, and directs the Madison East High School Jazz Orchestra.

Chicago saxophonist DUSTIN LAURENZI has developed a distinctly personal approach to improvisation and composition that has garnered the attention of the city’s creative music community. Recognized for his “offbeat approach to articulating harmonies and constructing melodies” (NextBop), Dustin’s music is inspired and informed by jazz, folk, improvised music, and contemporary classical music. His wide range of influences and inventive improvisational sensibilities have made him a sought-after musician in many circles of Chicago’s rich music scene.

Dustin has been a leader/co-leader of his own projects, Twin Talk, Snaarj, and Natural Language, and a member of the Marquis Hill Blacktet, the Quentin Coaxum Quintet, and Katie Ernst’s Little Words, among others. He has released several albums featuring his original compositions, including Twin Talk’s eponymous release, praised by Chicago Jazz Magazine as “a cohesive and original album that brims with a vibrant fluidity and a poetic sense.” In addition to performing and recording with Chicago jazz-centric projects, Dustin has spent the much of the last year on the road with Grammy award-winning artist Bon Iver and appears on the band’s 2016 release 22, A Million.

Dustin earned a Bachelor of Music in Jazz Studies and a Performer’s Certificate from Indiana University’s Jacobs School of Music in 2011. He has performed or recorded with Jeff Parker, Matt Ulery, Russ Johnson, Jeff Hirshfield, Corey Christiansen, Lil BUB’s Big Show, the Dave Lisik Jazz Orchestra featuring Tim Hagans, and has recently been featured at the Chicago Jazz Festival, the Hyde Park Jazz Festival, and the Kennedy Center. Dustin’s debut album as a leader, Natural Language, will be released in September 2016 on ears&eyes Records.

PAUL BEDAL is a pianist and composer based in Chicago, Il. He has composed music in a variety of genres and mediums ranging from orchestral to electronic music. Paul is both a Ears and Eyes and Cam Jazz recording artist recently releasing his debut album as a leader “Chatter” which received positive marks from both the NYC Jazz Record magazine and Wondering Sound catalogue. Paul stays busy performing in the Chicago area and composing for film and various freelance projects.

KATIE ERNST has been described by the Chicago Tribune as “a versatile young bassist who plays in far-flung bands and sings with uncommon delicacy and authenticity.” Her recent compositions are inspired by the poetry of American writer Dorothy Parker. Her complete Dorothy Parker project Little Words was released in 2015, and is currently available on BandCamp.

“A great bassist, composer, and lyricist, she has an uncanny ability to mix traditions… following her voice is like reading a great novel.” – Jason Moran, Artistic Director for Jazz at the Kennedy Center

As both a bassist and vocalist, Katie has performed at the Chicago Jazz Festival, the Kennedy Center for the Performing Arts, the Hyde Park Jazz Festival, and Xerox Rochester International Jazz Festival, among others.  The Chicago Reader identified her as “one of the brightest lights on Chicago’s jazz scene, and she isn’t close to hitting her creative ceiling.”

In 2013 and 2014, Katie was one of 24 young artist-composers selected for the Betty Carter Jazz Ahead Program, an international jazz residency program at the Kennedy Center under the direction of pianist and MacArthur Fellow Jason Moran.  In May 2014, she performed at the Chicago Symphony Center as part of Jason Moran’s Looks of a Lot premiere, which also featured Nasheet Waits, Tarus Mateen, Ken Vandermark, Theaster Gates, and Kenwood Academy Jazz Band.

Katie is an active bandleader and side-woman in Chicago. She recently established a duo project with clarinetist James Falzone called ‘Wayfaring.’  The duo was featured at the 2016 Hyde Park Jazz Festival, and their debut album I Move, You Move will be released on the Allos Documents label in 2017. Katie composes and performs with the band TWIN TALK, alongside co-leaders Dustin Laurenzi (saxophone) and Andrew Green (drums). Twin Talk’s self-titled sophomore album is out now on ears&eyes Records. The band’s first album ‘Sightline’ was released in November 2013 to critical acclaim, and the group was featured at the 2014 Chicago Jazz Festival.

Katie holds a Bachelor of Music in Jazz Studies & Contemporary Media and a Bachelor of Musical Arts from the Eastman School of Music in Rochester, NY. She coordinates the Jazz Links Student Council program for high school musicians at the Jazz Institute of Chicago, serves as Jazz Ensemble Director and Lecturer of Jazz Bass at Wheaton College in Wheaton, IL and teaches at the Jazz I Summer Session at Birch Creek Music Performance Center in Egg Harbor, WI.

A versatile drummer and percussionist, ANDREW GREEN is a highly sought-after sideman in many of Chicago’s creative music projects. Originally from Washington, DC, Andrew moved to the Midwest to study Music Performance at Lawrence University in Appleton, WI. In addition to performing with Twin Talk, Andrew also performs with Paul Dietrich, Abigail Riccards, Jamie Breiwick’s Spirits Quartet, Katie Ernst’s Little Words, Brazilian samba group Bloco Maximo, and the orchestral folk group Jonas Friddle & the Majority which was the grand-prize winner of the 2012 John Lennon Songwriting Award.

Bassist TIM IPSEN grew up in Kenosha, WI. He received a Bachelor of Arts degree in Instrumental Performance/Jazz Studies from Columbia College of Chicago. He has collaborated on performances with such artists and groups as Von Freeman, Chicago Jazz Ensemble, Cedar Walton, Terrence Blanchard, Chicago Human Rhythm Project, and Billy Childs. He performs with the Paul Dietrich Quintet and the Jamie Breiwick Spirits Quartet.

 

Previous Discography:

Paul Dietrich Quintet
We Always Get There
Blujazz Records

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For Immediate Release

 

New Age Legend Will Ackerman’s Returning: Pieces for Guitar 1970-2004 To Be Released For The First Time on 180g Vinyl!

 

Universally recognized as the preeminent pioneer in the new age music movement and the founder of Windham Hill Records.

 

Camarillo, CA – Will Ackerman’s 2005 Grammy award winning recording, Returning: Pieces for Guitar 1970-2004 is being released for the first time on 180g vinyl by Marshall Blonstein’s Audio Fidelity. In 2004, after years of growth and introspection, Ackerman re-recorded an album of his best-known songs. A greatest hits collection of all new performances. Will’s goal was to take a series of 11 favorite songs and record them for posterity in a way that reflects the emotional nuances, precision, and maturing beauty they’ve picked up along the road.

 

Will spoke at the time of the recording about why he wanted to make the album. “Today I’m recording in my own Imaginary Road Studios in Windham County, Vermont on utterly state of the art digital equipment. It all brings me closer to what I hear as I sit alone and play; touching the sound as it literally moves through my body as well as my ears. I guess I am trying to find a sound that lets you hear what I hear.”

 

He includes the graceful and lushly melodic “The Bricklayer’s Beautiful Daughter,” the sweet and melancholy “Anne’s Song” (inspired by working with fellow genre legends Alex de Grassi and Michael Hedges), and two peaceful early gems from 1970, “Pictures” and “Barbara’s Song.” Some were written as celebrations (“Unconditional”), others as elegies (“The Impending Death of the Virgin Spirit”), but all are intricate snapshots of a vastly influential musical life that keeps inventive to this day.

 

Side 1

Bricklayer’s Beautiful Daughter

Anne’s Song

The Impending Death of the Virgin Spirit

Pictures

Hawk Circle

Side 2

Barbara’s Song

Unconditional

Visiting

Processional

In a Region of Clouds

Last Day at the Beach

 

Produced by Will Ackerman

Mastered by Kevin Gray at Cohearent Audio

 

For more information: www.audiofidelty.net

 

 

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

 

 

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Halfway through his fifth decade as a multi-hyphenate entertainer who has released albums and singles that topped the pop charts, performed as an accomplished showman in long-running Las Vegas and Broadway productions, played sidekick to Joan Rivers’ on her late night television show, won an Emmy for his own talk-variety show, and served as a special correspondent on “Entertainment Tonight,” Clint Holmes (www.ClintHolmes.com) gets back to his roots as a jazz singer on his newly-released album, “Rendezvous.” It’s an intimate, personal collection that showcases the silky smooth crooner collaborating with a luminous jazz ensemble that boasts Dee Dee Bridgewater, Jane Monheit, Ledisi, Joey DeFrancesco, Dave Koz, Patti Austin and The Count Basie Orchestra on the set produced by eight-time Grammy winner Gregg Field.

 

Holmes was introduced to jazz by his father at the Colored Musicians Club of Buffalo at age twelve, an autobiographical, coming-of-age moment recalled on the straight-ahead jazz tune “At The Rendezvous” for which Holmes penned the lyrics. DeFrancesco adds a bluesy Hammond B3 organ to the finger-popping track about falling in love with jazz for the first time. Holmes’ father was an African-American jazz singer and his white British mother was a classically-trained opera singer. Both influences are in evidence throughout the 11-song album that offers a versatile mix of stripped-down modern pop “standards” (“Stop This Train,” “All Of Me,” “Say Something”), timeless songs from the Great American Songbook (“I Loves You Porgy”/”There’s A Boat That’s Leavin’ Soon For New York,” “Every Time We Say Goodbye”), an exotic Latin cut with lyrics by Holmes (“The Perfect Trance”) and theatrical classics (“Maria,” “My Way”). As a whole, the record displays sparsely-produced etchings that allow Holmes to connect and communicate in a cozy setting, often with just a stark piano, acoustic guitar, soprano sax or string section accompaniment. It’s an entertaining listen poignantly rendered by a captivating singer-songwriter who knows how to take listeners on a journey.

 

Holmes was in New York City last month to preview the album on stage at the Blue Note at a pair of dates with Bridgewater and The Count Basie Orchestra. On Monday, April 17, he returns to the Big Apple with his own band for an album release concert celebration at Birdland (7pm). Have you listened to “Rendezvous” and considered Holmes for a feature, interview, performance, album review or an appropriate roundup piece? Please let me know if you need anything on our end. Thanks for your open ears.

 

 

Peace, love, hope & joy,

 

 

Rick Scott

Great Scott P.R.oductions

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Heart Dance Records welcomes German composer and pianist Christoph Pagel, and Colorado-based composer and pianist Matthew Schildt, and Phoenix-based ANAAMALY to our family!

All three artists releases can be purchased on the Heart Dance Records website, Amazon, etc. Look for Christoph’s new release Stadstille coming this spring.

NEWS

Artist and vocalist Amy Faithe will be performing at the 2016 Zone Music Reporter Awards Show in NOLA on May 13th at Roussell Hall at Loyola University. The performance is open to the public and tickets can be purchased in advance for the show through ZMR.

TICKETS

Her new album Peaceful Warrior will be released this spring.

Artist Art Patience has recently been interviewed by John Diliberto from Echoes. Follow Heart Dance Records on Facebook to stay updated on when that interview will be aired. Art’s album The Recognition has received much airplay on the Echoes show over the last several months, and placed #7 for Jan and #8 for Feb on the Zone Music Reporter Top 100 Chart.

 

UPCOMING RELEASES

Amy Faithe – Peaceful Warrior

Lynn Tredeau – Shifting Sands

Christoph Pagel – Stadstille

Terry Lee Nichols follow up to the award-winning album At Peace Beneath the Shade of My Father’s Tree

Sherry Finzer – several projects are in the works with Australian low flute specialist Peter Sheridan, Phoenix flamenco guitarist Chris B. Jàcome, Majestica with Cass Anawaty and more!

2016 AWARDS

Zone Music Reporter 

Best Acoustic Album: Trialogue – Sherry Finzer, Darin Mahoney, Will Clipman

Best Neo-Classical Album: Terry Lee Nichols – At Peace Beneath the Shade of My Father’s Tree

Best Relaxation/Meditation Album: Whispers from Silence – Tom Moore and Sherry Finzer

One World Music

Best Acoustic Album: David W. Donner – Eterna

Best Ambient Album: Michelle Qureshi – Scattering Stars

Best New Age Album: Whispers from Silence – Tom Moore & Sherry Finzer

Best Piano w/Instrumentation: Terry Lee Nichols – At Peace Beneath the Shade of My Father’s Tree

Best Solo Piano Album: Lynn Tredeau – A New Dream

Album of the Year: Lynn Tredeau – A New Dream

People’s Choice Award: Michelle Qureshi – Scattering Stars

Available on Heart Dance RecordsiTunesAmazon, CD BabyBandcamp and more. Follow Christmas from the Heart for performance and artist updates on Facebook.

 

 

PERFORMANCES

 TRIALOGUE

Friday, April 7th, 2017

Desert Botanical Gardens

Trialogue – Music in the Gardens Series – 7-9pm

Galvin Parkway
Phoenix, AZ 85001Price: Members $25, General Public $30

TICKETS

FACEBOOK EVENT

 

Wednesday, April 12th, 2017

Green Valley Community Center for the Performing Arts

Trialogue – 7-9pm

1250 W Continental Rd
Green Valley, AZ 85622Price: $20

Purchase advanced seating TICKETS

Friday, April 14th, 2017

Musical Instrument Museum (MIM)

Trialogue and William Eaton Ensemble – 7:30 pm

4725 E Mayo Blvd
Scottsdale, AZ 85050
USAPrice: $25.50–$31.50

Trialogue and the William Eaton Ensemble take the stage at the MIM!

TICKETS

MICHELLE QURESHI

  • Thursday 13 April 2017
  • Saxony Hospital
    Fishers, IN, US
  • Friday 14 April 2017
  • Hopwood Cellars Winery
    Zionsville, IN, US
  • Sunday 16 April 2017
  • Heartland Unitarian Universalist Church
    Indianapolis, IN, US
  • Thursday 27 April 2017
  • Saxony Hospital
    Fishers, IN, US
  • Saturday 29 April 2017
  • House Concert
    Carmel, IN, US

LYNN TREDEAU 

Saturday, April 29, 2017

Valley View Concert Series w/Michele McLaughlin

Salt Lake City

TICKETS

  • SHOSHANA MICHEL
  • Dan Chadburn and Shoshana Michel in Concert
  • Sunday, April 23rd 3pm
  • Falls Church, VA
  • for reservations email danchadburnmusic@gmail.com

It really helps our artists if you create a Pandora station and give them a thumbs up when their music plays!

 

Pandora Station Links:

Sherry Finzer   Finzer Mahoney Duo    Terry Lee Nichols   Trialogue

Michelle Qureshi    David W. Donner   Scott Cossu

Majestica    Lynn Tredeau

Listen to Heart Dance Records Artists on Spotify

 

 

Recent Releases on Heart Dance Records

 www.heartdancerecords.com

info@heartdancerecords.com

 

 

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For Immediate Release

 

Experimental Guitarist Rex Shepherd Releases Three Albums Digitally!

 

Described as Robin Trower meets Miles Davis!

 

Guitarist Rex Shepherd has released three albums digitally: “Ohio”, “Sonority” and “Duets”. Combining elements of jazz improvisation and harmony with an approach to guitar playing heavily influenced by diverse players such as Jim Hall, Robin Trower, Fred Frith, and sitar virtuoso Ravi Shankar, Rex Shepherd has forged a niche for himself with original music that typically lies somewhere just outside the usual genre labels but is still music that is approachable.

 

Says Rex, “This new music was recorded in my personal studio, much of it with other musicians in duets, and at various times throughout the last few years. The past several years have delivered to me a greater understanding of the fleeting nature of this lifetime, so I decided to release much of what I had accumulated, in part to satisfy my own need to communicate musically with the world outside of my little sphere of existence, but also I wanted to honor the musicians who played this music with me. It is these musical and personal relationships that are at the heart of creating music, whether composed or improvised, and for the people who listen to it I hope it also creates a connection between us. Much peace and music to all people, everywhere.”

 

Having been described as “Robin Trower meets Miles Davis”, Shepherd’s music spans from full on instrumental jazz rock tunes to traditional jazz compositions with a good dose of free improvisation and sound experimentation using “prepared” and effected guitar sounds and instruments such as the “oceanharp” and the Theremin.

 

Shepherd’s band, sometimes going under the name No End of Now, employs a revolving cast of the most creative players he can find who are willing to take part in a project that is often arranged while playing and with no limitations on the players’ expression of the music. The compositions are also a blend of influences, from Wayne Shorter to John Cage, and most often are directly inspired by people, literature and other art forms, and experiences that hold significant meaning in Shepherd’s life.

 

Says Rex, “I feel really lucky to get to play with some great musicians and always look forward to meeting new people to create sounds with…it’s amazing how the same music can sound so different with the personalities of other players in any given moment. Playing with a group is a very fluid thing when everyone is listening, then responding…it becomes intuitive and ethereal, the closest thing to telecommunication I’ve ever experienced. When I play solo it’s similar in a way, in that I am responding to inner voices and emotional impulses in a meditative sort of way. I’m not a technical player, I rarely practice technique unless I discover a particular thing I want to use to express my ideas. With whatever technique I have, I hope that I can bring out the best of my musical ideas. One of my main influences, Jim Hall, is a master lyricist and I could only hope for a fraction of the melody under that guy’s fingers. I play what I want to play and I don’t want to copy anyone, but I do a pretty good impression of myself most of the time.”

 

The releases:

 

 

Ohio

With the exception of “Desire”, a ballad Rex wrote several years ago, the music on this recording is all improvised. The songs consist of duet recordings captured in his studio after he had returned home to Ohio for a short time. “The musicians joining me on this recording are not only thoughtful and skillful players but are also beautiful people, and I am grateful to them for their music and their friendship during my stay on the ‘North Coast’”.

https://rexshepherd.bandcamp.com/album/ohio

 

 

Sonority

This recent recording features a set of improvised tunes that were arrived at after John and Rex conducted their usual pre-roll discussions about the state of current affairs in the U.S. “Being fortunate enough to have two voices with which to speak out against what I see as injustice, inequality, and hatred, I felt that releasing this music, even if not listened to by many, would at least add to the spirit and energy of the peaceful movement for change taking place currently.”

https://rexshepherd.bandcamp.com/album/sonority

 

 

Duets

Except for the improvisations “Etude #2” and “April 9th”, this release features compositions by Rex that have existed anywhere from 15 years, in the case of “In the Shade”, to just two days before being recorded like “Happy Little Trees”. “The takes are imperfect. The music is presented here with minimal changes in the mixes so that it will accurately depict our journey feeling our way through it. I preferred to keep the imperfections so that these takes more closely resemble the music that one might hear if John and I were playing the tunes live, where boundaries are pushed and the music flows moment by moment. When challenged with making music I am buoyed by a quote from my musical hero, the great Jim Hall, ‘The instrument keeps me humble. Sometimes I pick it up and it seems to say: No, you can’t play today. I keep at it anyway, though.’ Much peace and music to all people, everywhere.”

https://rexshepherd.bandcamp.com/album/duets

 

For more information:

Website: https://rexshep.com/

Facebook: https://www.facebook.com/musicpagerexshepherd/

 

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

 

 

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Eric Tingstad February 2017 Newsletter
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I would like to start by expressing my gratitude and saying thank you to all the venues and patrons that supported the Tingstad Rumbel holiday shows. It is very much appreciated. And a shout out to miss Nancy! We had a great season and this year’s holiday schedule is already getting pretty booked up.

The snowstorm we just had here toppled both our heirloom apple tree and silver maple. The apple tree has been on the property years before we moved here. I counted 51 rings. The silver maple I got about 30 years ago as a tiny sapling in the mail from the Arbor Day Foundation for joining up. It took four of us about 4 hours to clean it all up.

I think that growing, learning and working in the yard is how I have become a better songwriter, musician and artist. Music is about listening, communication,
expressing emotion and your story. Learning to project from our heart as well as our hands, helps us find our own guitar or writing voice.

I have two workshops coming up in the near future where I will be sharing my thoughts, experiences and lessons learned in the garden of music.

 

Songwriters in Seattle has asked me to do a session that will be held 2-4pm on Feb 25th at the Phinney Neighborhood Center in Seattle.

Clear and applied fundamental elements of songwriting are imperative to improving our songs. So, in this workshop we will look at the basics of the songwriting craft along with real world street smart current music business approaches. Everything from effective song structure to working in co-writes, expressing strong imagery to thinking about your message.

You can sign up here

 

I was out at the ranch in Hurricane Mills, TN a couple days after the elections for song writing. We set up our studio in the back room of the country store. Emotions were running pretty high for all the writers around Nashville that week. Here is a lyric video for “I Know a Man” that I co-wrote with Tayla Lynn and Mark Narmore.

 

In May, I will be a part of the La Connor Guitar Festival with a concert and workshop. They are both on Saturday May 13th.

We will dig into both the right-hand and left-hand approaches and exercises that have worked for me.

There will be a discussion of philosophical thoughts about writing, recording and performing music. Also tips about how to practice and ideas about recording yourself and how to distill that for improvement.

We will also explore how to bring discipline, inspiration and most importantly passion to your music.

 

Looks like the Obama’s have been expanding their T-shirt collection 🙂

 

Purchase Mississippi CD via Paypal
Purchase Mississippi via iTunes

 

Concerts
April 8th Eureka Opera House, NV
July 15th Lick Observatory, CA
Be sure and stalk me on Facebook . All the restraining orders have been lifted:)

 

 

 

Copyright © 2017 Cheshire Studios, All rights reserved.
You are receiving this email because you an important industry contact for Eric TingstadOur mailing address is:Cheshire StudiosPO Box 684Issaquah, WA 98027
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Shows in the Phoenix and Tucson areas

 

 TRIALOGUE

DESERT BOTANICAL GARDENS

MUSIC IN THE GARDENS SERIES

Friday, April 7th

Ullman Terrace

1201 N. Galvin Parkway, Phoenix, AZ 85008

480-941-1225

Doors Open 5:30pm

Concert 7-9pm

TICKETS

 

TRIALOGUE

GREEN VALLEY COMMUNITY CENTER FOR THE PERFORMING ARTS

Wednesday, April 12th

7-9pm

1550 W Continental Rd. Green Valley, AZ 85622

TICKETS $20 

 

 TRIALOGUE AT THE MIM!

with the William Eaton Ensemble

Friday, April 14th 7pm

4725 E. Mayo Blvd.

Phoenix, AZ 85050

480-478-6000

TICKETS

 

 

 

Did you know that you can listen to my music on Pandora and Spotify? Please consider creating a Sherry Finzer Pandora station or adding my music to your current Pandora stations, and following me on Spotify!!

 

Create a Sherry Finzer station on Pandora!

PANDORA       SPOTIFY

The Heart Dance Records catalog can be viewed at Heart Dance Records and Bandcamp. All albums can also be purchased on Amazon, iTunes and CD Baby!!

I am a US distributor for Guo flutes. If you are interested in testing out or purchasing any of these flutes please contact me. www.gflute.com

 

           iTunes  CDBaby   Bandcamp  Amazon  Youtube  Pandora  Spotify       

               www.sherryfinzer.com www.heartdancerecords.com

 

 

 

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April 14, 2017

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

 

Chet Baker Set – Live at the Moonlight &
Hank Mobley in HollandAvailable Now From
The website is currently being built

In the meantime please email me at tommysjazz@gmail.com to be added to my exclusive Jazz mailing list. I offer hundreds of new cds & vinyl per month at super low prices only available to those on my mailing list.

Here are two of my latest exclusive offers below. In stock and available on April 14th.
If you are interested in them all you have to do is send me an email tommysjazz@gmail.com to reserve your copy and I will send you an invoice when they arrive. Payment can be made via paypal or check.

Chet Baker Trio – Live from the Moonlight (2017 reissue from the Chet Baker Estate) Originally on Philology Records, this set has been re-issued under the estate label and the error on the Davis track has been corrected.
$22.00 Each set (Not the discounted mailing list price) Join the list, get a discount.
$3.00 shipping to the USA/$10.00 everywhere elseChet Baker Trio
Chet Baker (trumpet, vocals) Michel Graillier (piano) Massimo Moriconi (bass) Moonlight Club, Macerata, Italy, November 24, 1985.1. Polka Dots And Moonbeams
2. Night Bird
3. Estate
4. Polka Dots And Moonbeams (Rehearsal)
5. Arbor Way (Third Set)
6. Dee’s Dilemma
7. How Deep Is The Ocean
8. My Foolish Heart
9. My Funny Valentine
10. Broken Wing (Third Set)
11. Shifting Down (Third Set)Hank Mobley – In Holland /To One So Sweet Stay That Way
$14.00 Each  (already discounted price – only 30 ordered)
$3.00 shipping to the USA/$10.00 everywhere elseOne more surprise from DJA, a complete never-before-heard performances by Hank Mobley, backed by Dutch players in three different sets taped live at the Bellevue theater in Amsterdam, at VARA studio in Hilversum and at the JazzClub B14 in Rotterdam. Mobley is accompanied by the brilliant pianist Pim Jacobs and drummer wizard Han Bennink in its only known collaboration to date.PERSONNEL:HANK MOBLEY, tenor sax
PIM JACOBS, piano
WIM OVERGAAUW, guitar
RUUD JACOBS, bass
HAN BENNINK, drumsHOBBY ORKEST:
Rob Agerbeek, piano
Hans Van Rossen, bass
Cees See, drumsTRACKS [1-3] Theather Bellevue, Amsterdam, March 20, 1968
TRACKS [4-5] VARA Studio, Hilversum, March 28, 1968
TRACKS [6-10] Jazzclub B14, Rotterdam, March 29, 1968TRACKS:01. Summertime
02. Sonny’s Tune
03. Airegin
04. I Didn’t Know What Time Is Was
05. Twenty-Four and More
06. Blues By Five
07. Like Someone in Love
08. Vierd Blues
09. Three Way Split
10. Autumn LeavesTOTAL TIME: 72:27 min

 

 

 

 

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Thanks for signing up at one of our great online Jazz outlets, You’ll receive the latest information on our rare and collectible releases and have first access.Our mailing address is:
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Hello!
Just an early heads up that the great drummer/composer Matt Wilson pays tribute to Carl Sandburg on his long-awaited new recording Honey and Salt, coming August 25 on Palmetto Records.Coinciding with the 50th anniversary of the poet’s death, the album features readings by Jack Black, Christian McBride, John Scofield, Carla Bley, Bill Frisell, Joe Lovano and Rufus Reid, with music by Wilson and longtime collaborators guitarist/vocalist Dawn Thomson, cornetist Ron Miles, multi-reedist Jeff Lederer, and bassist Martin Wind.Stream “Bringers”Stream “Paper 2”We’ll soon have advance CDRs of this project and CDs will come later.Just let me know if you’d like a CDR, a CD when it’s available or a download.  A press release is below.Thanks so much!
Ann781-259-9600

 

© John Abbott

 

Drummer/Composer Matt Wilson Pays Tribute to “Poet of the People” Carl Sandburg on his Long-Awaited New Recording Honey and Salt

Coinciding with the 50th anniversary of the poet’s death, the album features readings by Jack Black, Christian McBride, John Scofield, Carla Bley, Bill Frisell, Joe Lovano and Rufus Reid, with music by Wilson and longtime collaborators

“Matt Wilson has never failed to bring an element of surprise and unabashed joy to the bandstand.” – Bill Milkowski, JazzTimes

“Wilson’s recordings as a leader are characterized by an adventurous, eclectic spirit, as well as musical humor.” — Mark Sullivan, All About Jazz

Available August 25, 2017 on Palmetto Records
When Carl Sandburg died in 1967, President Lyndon B. Johnson hailed the famed poet as “more than the voice of America, more than the poet of its strength and genius. He was America.” Fifty years after Sandburg’s passing, drummer/composer Matt Wilson’s Honey and Salt pays tribute to the “poet of the people,” who won three Pulitzer Prizes, wrote the definitive biography of Abraham Lincoln, advocated for civil rights and traveled the country collecting traditional folk songs.

Sharing both Sandburg’s Midwestern roots and his gift and passion for communicating lofty art to a broad and diverse audience, Wilson has been a lifelong admirer of the poet’s work and has been setting his words to music for more than 15 years. The long-awaited release of Honey and Salt (out August 25 on Palmetto Records) coincides with the 50th anniversary of Sandburg’s death in July 1967 and looks ahead to January 2018, when the 140th anniversary of his birth will be celebrated.

“Sandburg was a Renaissance man and a poet of the people,” Wilson says. “I feel sometimes that of all the celebrated American poets, he doesn’t really get his due. Hopefully we can help his work get more recognition in some small way.”

To recite Sandburg’s poems, Wilson enlisted a stellar list of jazz greats whose spoken voices are as expressive and eloquent as their better-known instrumental voices, including Christian McBride, John Scofield, Bill Frisell, Carla Bley, Joe Lovano and Rufus Reid, along with actor/comedian/ musician Jack Black – an honorary member of the jazz family through his marriage to Charlie Haden’s daughter Tanya. Wilson sets these recitations in an eclectic variety of settings for the ensemble that he’s formed expressly to pay homage to Sandburg: guitarist/vocalist Dawn Thomson, cornetist Ron Miles, multi-reedist Jeff Lederer, and bassist Martin Wind, along with Wilson’s familiarly jubilant and spirited drumming.

Sandburg was born in Galesburg, Illinois, on January 6, 1878; in 1964, Wilson was born one town over, in Knoxville. That proximity meant that the drummer became acquainted with the poet’s name and iconic silhouette almost from birth; there was a junior college nearby named for Sandburg, as well as a shopping mall. At home, the Wilson family read and discussed Sandburg’s poetry and listened to recordings of his readings.

Later, finding himself in the frantic metropolitan surroundings of New York City, Wilson found nostalgic solace in Sandburg’s transporting verses. But he also found, in Sandburg’s free verse, a parallel to his own adventurous musical proclivities. “As you get older you start to appreciate your regional connections a lot more,” Wilson says. “But I was always fascinated because it didn’t rhyme. That aligned with my tastes in music at that time, when I was exploring all different kinds of music.”

Sandburg’s influence has emerged sporadically throughout Wilson’s career. His leader debut, As Wave Follows Wave, was named for a Sandburg poem that is reprised here; his 2003 album Humidity included a setting of Sandburg’s “Wall Shadows;” and An Attitude for Gratitude, the 2012 release by Wilson’s Arts and Crafts quartet, features the Sandburg-inspired “Bubbles.” The Honey and Salt project began life in 2002 with the help of a Chamber Music America New Works Grant and has since toured the world while Wilson has continued to delve into Sandburg’s volumes for new additions to the band’s repertoire.

Honey and Salt is loosely divided into three chapters and an epilogue: the first, urban-leaning poems; the second, more rural themes and ideas; the third examining the collision and overlap of the two; and the epilogue serving as a meditative leave-taking. Lee Morgan-esque horn lines over a gut-rumbling blues bassline open “Soup,” Sandburg’s more-timely-than-ever musing about a celebrity caught in the ordinary act of slurping soup from a spoon. Christian McBride’s gregarious baritone intones “Anywhere and Everywhere People,” with a series of horn motifs for the poem’s key repeated words. Wilson himself recites the contemplative “As Wave Follows Wave,” ultimately joined by a host of collaborators, friends and family members. “Night Stuff” unfolds against a slow, twilit landscape, while John Scofield recites “We Must Be Polite” in a hilarious deadpan against Wilson’s New Orleans shuffle. Sandburg’s own voice can be heard in duet with Wilson’s drums on his most revered poem, “Fog.” Chapter one closes with the raucous march of “Choose.”

Lederer reads “Prairie Barn” (which references a barn owned by a relative by marriage of Wilson’s) against Thomson’s American-tinged guitar and clattering wind chimes to open chapter two. “Offering and Rebuff” becomes a country love song, while “Stars, Songs, Faces” takes on an Ornette-inspired harmolodic tone. “Bringers” closes the chapter with a taste of down-home gospel. Chapter three opens with Black reading “Snatch of Sliphorn Jazz” in a cantankerous rasp while Lederer and Wilson duet – a happy accident occasioned by a power outage at the studio. Bill Frisell’s soft-spoken voice on “Paper 1” contrasts with Joe Lovano’s hep-cat enthusiasm on its companion piece. The two are separated by Rufus Reid’s throaty purr on Wilson’s Beat-era throwback take on “Trafficker,” and the chapter ends with the lyrical “I Sang.”

Bley reads “To Know Silence Perfectly,” for which Wilson made silence the vehicle for improvisation; in an approach that John Cage would have appreciated, the tune’s theme is the same every time, while the length of silences vary based on the performers’ whims. Finally, “Daybreak” ends the album on a celebratory note.

As always, Wilson revels in a wide variety of moods and styles throughout Honey and Salt, which takes its name from a 1963 collection of Sandburg’s poetry. The title captures the delectable combination of sweetness and spice that characterizes the poet’s – and Wilson’s – work. “That’s my favorite volume of his poetry and I love the title,” Wilson says. “It has some collision, some rub. Music isn’t all flowers and candy; it has to have some edge to it.”

 

 

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April 18, 2017

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

 

Jeannie Tanner
New CD
“Words & Music”
+ Upcoming Live Appearances
Upcoming Live Appearances
Saturday, May 13th – “The Peggy Lee Legacy” 8pm @ Davenport’s – Jeannie Tanner special guest trumpeter with Jenifer French Dravillas and all-star cast: Daryl Nitz, Johnny Rodgers, Ann McGregor, Joe Policastro & Chuck Christiansen.

http://davenportspianobar.com/

 

Friday, June 9th – Jeannie Tanner featured vocalist & trumpeter, performing her original songs @ Reggies Chicago – Chicago Women in the Blues Festival / Showtime: 7pm

http://www.reggieslive.com/show/chicago-women-in-the-blues-festival-2017/

 

 

Saturday, June 10th – Jeannie Tanner Quartet @ the Ottawa 2 Rivers Wine/Jazz Fest – 5:30pm Set, performing songs from new album, WORDS & MUSIC / Copies of the 2-set CD will be available for purchase / http://ottawa2riverswinefest.com/

 

Friday & Saturday, Aug. 11th & 12th – Andy’s Jazz Club in Chicago

Jeannie Tanner’s WORDS & MUSIC / CD Release Celebration
(feat. various Chicago artists)
http://www.andysjazzclub.com/
WORDS & MUSIC is a new album released by singer-songwriter, trumpeter and composer Jeannie Tanner featuring the voices of 12 of Chicago’s finest singers. The music reflects an eclectic mix of genres reminiscent of the Great American Songbook and N’awlins-style jazz; with soulful ballads, the sounds of Latin rhythms and retro 1960’s Rat Pack swing.  These 2 nights at Andy’s will feature musicians and vocalists from the new album: Dan Murphy (co-producer/pianist/Fri), Lisa McQueen (piano/composer/Sat), Cory Biggerstaff (bass), Darren Scorza (drums), Neal Alger (guitar/Fri) and Tim Fitzgerald (guitar/Sat)

 

8/11 vocalists: Elaine Dame, Paul Marinaro, Tammy McCann & Typhanie Monique

8/12 vocalists: Alyssa Allgood, Andy Pratt, Abigail Riccards & Michele Thomas, with special guest appearances (TBA).

Copies of the new 2-set cd will be available for purchase.

 

“Chicago does not lack for engaging jazz trumpeters, vocalists, pianists, bandleaders, songwriters and arrangers — but how many can do it all? Jeannie Tanner happens to be one… If you’ve ever been fortunate enough to hear her pick up a horn, or sing a ballad or unveil an original song, you know that she practically exudes music.”

Howard Reich, Chicago Tribune

 

“With a dozen Chicago vocalists and a raft of compositions — many written with those particular vocalists in mind — Jeannie Tanner’s double-disc constitutes a love letter to the city’s jazz singers. And hearing their performances, the feeling is clearly mutual.”

Neil Tesser, The Jazz Network

 

“It (WORDS & MUSIC) needs a ground swell to make it a national treasure and focus some love back on Chicago jazz… Killer stuff that’s must hearing for anyone looking for something new and different that doesn’t stray from tradition. Well done throughout.”  

Chris Spector, Editor and Publisher/Midwest Record

 

“Words & Music offers a bounty of melodic jazz blends, from bossa nova to swing. Each track is a singalong tune, making the recording appealing to a wide audience and crossing over many sectors of jazz… It takes audiences back to a time when blues & jazz singers ruled the nightlife of cabarets and jazz clubs far and wide…”  Susan Frances, Blogcritics

 

For more info, visit: http://jeannietanner.com/ 

 

Jeannie Tanner Live at City Winery

https://youtu.be/Y5l2jFMhyog

 

 

Press Contact

Jim Eigo Jazz Promo Services
Ph: 845-986-1677 / jim@jazzpromoservices.com
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Throughout her recording career that boasts global hits ever since she emerged from the United Kingdom in the late 1980s, singer-songwriter Julia Fordham (www.JuliaFordham.com) has never strayed far from her affinity for jazz. On her newly released “The Language of Love,” she immerses herself in a lush sea of acoustic jazz to fully explore her passion for the genre on the 12-track collection produced and arranged by her longtime collaborator Grant Mitchell. Plying her uniquely tonal voice that skillfully bends notes into moody, melodic hues and turns balletic phrases with grace and elegance, Fordham teamed with Mitchell to reimagine a songbook of modern pop, rock and R&B classics as swinging, finger-popping jazz numbers, sultry bossa novas, and stark, resonant voice and piano sketches.

 

Fordham’s goal with “The Language of Love” was to put a fresh twist on some of her favorite songs while establishing a candlelit mood for romance and seduction. She uses the occasion to introduce a pair of new tunes – the soulful and steamy “Like You Used To Do” and the Latin-tinged “The Morning After (The Night With You)” – that she wrote with Mitchell and reconstruct the atmospheric hit single that introduced her to the world, “Happy Ever After,” into a percussive world music foray. Fordham and Mitchell treat source material from the likes of Blondie (“Call Me”), Eurythmics (“Who’s That Girl”), The Beatles (“Eleanor Rigby”), Sting (“Fragile”), Janis Ian (“At Seventeen”), Stevie Wonder (“Sir Duke”) and Gilbert O’Sullivan (“Alone Again”) as if they were culled from the Great American Songbook. The one gem that did come from that storied era of standards, “Moon River” glows at a slowed cadence allowing a poised Fordham to shine on the breathtaking beauty.

 

In the coming months, Fordham will perform music from the album at concert dates in London, Los Angeles and New York City in support of the record. Have you listened to “The Language of Love” CD we sent you and considered Fordham for a feature, interview or an album review? Please let me know if you need anything on our end. Thanks for your open ears.

 

 

Peace, love, hope & joy,

 

 

Rick Scott

Great Scott P.R.oductions

310.306.0375

www.greatscottpr.com

www.twitter.com/greatscottpr

www.facebook.com/rick.scott

https://plus.google.com/+RickScottGSP

 

 

 

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April 20, 2017

To: Listings/Critics/Features
From: Jazz Promo Services
Contact: Jim Eigo jim@jazzpromoservices.com
www.jazzpromoservices.com

 

Tamir Hendelman Trio East Coast Tour

Tamir Hendelman (Piano)
Marco Panascia (Bass)
Ulysses Owens (Drums)

NEW YORK:
Mezzrow – A Greenwich Village Listening Room & Lounge
163 West 10th Street (Basement)
New York, New York 10014
(646)476-4346
Sunday, May 7th
8:00pm to 10:30pmDoors at 7:30pm
Sets at 8pm and 9:30pmFor ReservationsMARYLAND:
Bethesda Blues and Jazz
7719 Wisconsin Avenue
Bethesda, MD 20814
(240)330-4500
Wednesday, May 10th
8:00pm to 9:30pmDoors at 6pm
Show at 8pmFor ReservationsBethesdaBluesJazz.com
Tamir Hendelman is a phenomenon—blistering technique, quick wit as an improviser, and profoundly refined pianism. Born in Tel Aviv, Tamir began studying piano at age 6. Almost four decades later, Tamir commands the high ground as composer, arranger, educator and performer.Tamir famously drives the piano seats of the Jeff Hamilton Trio and the Clayton-Hamilton Jazz Orchestra. He serves on UCLA’s jazz faculty. And he has burnished his career as the go-to arranger and accompanist for singers—Natalie Cole, Roberta Gambarini, Jackie Ryan and Barbra Streisand among them.

As composer and leader, Tamir guides his own trio and has produced 2 acclaimed albums.One is reminded of the likes of Oscar Peterson, Chick Corea, and Keith Jarrett: an inventive genius coupled with a dynamism that lifts an audience to its feet by the show’s conclusion.

Glenn Rifkin. ArtsfuseWhat increasingly distinguishes Hendelman is his gift for imaginative arranging. For one thing, he will compose an introduction that makes it difficult to predict what follows, but seems perfectly suited—even organic—once the tune begins.

Dr. Judith Schlesinger, All About Jazz

 

 

 

Watch Live at Spazio’s with Lewis Nash (drums) and Marco Panascia (bass). Tamir Hendelman’s latest album “Destinations” is available here now.

www.tamirhendelman.com

 

 

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.comHAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.CHECK OUT OUR NEW YOUTUBE VIDEO

 

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Copyright (C) 2017 All rights reserved.

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April 20, 2017

To: Listings/Critics/Features
From: Jazz Promo Services
Contact: Jim Eigo jim@jazzpromoservices.com
www.jazzpromoservices.com

 

Tamir Hendelman Trio East Coast Tour

Tamir Hendelman (Piano)
Marco Panascia (Bass)
Ulysses Owens (Drums)

NEW YORK:
Mezzrow – A Greenwich Village Listening Room & Lounge
163 West 10th Street (Basement)
New York, New York 10014
(646)476-4346
Sunday, May 7th
8:00pm to 10:30pmDoors at 7:30pm
Sets at 8pm and 9:30pmFor ReservationsMARYLAND:
Bethesda Blues and Jazz
7719 Wisconsin Avenue
Bethesda, MD 20814
(240)330-4500
Wednesday, May 10th
8:00pm to 9:30pmDoors at 6pm
Show at 8pmFor ReservationsBethesdaBluesJazz.com
Tamir Hendelman is a phenomenon—blistering technique, quick wit as an improviser, and profoundly refined pianism. Born in Tel Aviv, Tamir began studying piano at age 6. Almost four decades later, Tamir commands the high ground as composer, arranger, educator and performer.Tamir famously drives the piano seats of the Jeff Hamilton Trio and the Clayton-Hamilton Jazz Orchestra. He serves on UCLA’s jazz faculty. And he has burnished his career as the go-to arranger and accompanist for singers—Natalie Cole, Roberta Gambarini, Jackie Ryan and Barbra Streisand among them.

As composer and leader, Tamir guides his own trio and has produced 2 acclaimed albums.One is reminded of the likes of Oscar Peterson, Chick Corea, and Keith Jarrett: an inventive genius coupled with a dynamism that lifts an audience to its feet by the show’s conclusion.

Glenn Rifkin. ArtsfuseWhat increasingly distinguishes Hendelman is his gift for imaginative arranging. For one thing, he will compose an introduction that makes it difficult to predict what follows, but seems perfectly suited—even organic—once the tune begins.

Dr. Judith Schlesinger, All About Jazz

 

 

 

Watch Live at Spazio’s with Lewis Nash (drums) and Marco Panascia (bass). Tamir Hendelman’s latest album “Destinations” is available here now.

www.tamirhendelman.com

 

 

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.comHAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.CHECK OUT OUR NEW YOUTUBE VIDEO

 

Unsubscribe | Update your profile | Forward to a friend

PLEASE NOTE: IF YOU DO NOT WISH TO BE ON THIS MAILING LIST PLEASE RESPOND WITH ‘REMOVE’ IN THE SUBJECT LINE. IF YOU ARE RECEIVING DUPLICATE EMAILS OUR APOLOGIES, JAZZ PROMO SERVICES ANNOUNCEMENT LIST IS GROWING LARGER EVERY DAY…..PLEASE LET US KNOW AND WE WILL FIX IT IMMEDIATELY!

Copyright (C) 2017 All rights reserved.

Jazz Promo Services

269 State Route 94 South

Warwick, Ny 10990
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Virus-free. www.avg.com

 

 

 

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April 20, 2017

To: Listings/Critics/Features
From: Jazz Promo Services
www.jazzpromoservices.com

 

2017 JJA Jazz Awards Nominations Announced
The Jazz Journalists Association, a non-profit professional organization of writers, photographers, broadcasters, videographers and new media practitioners, today announced nominees for its 21st annual JJA Jazz Awards. Voting members of the JJA address a ballot of almost 200 finalists in 41 categories of excellence in music and music-related media. Jazz Awards winners will be announced online on Monday, May 15, and will receive their engraved statuettes throughout the summer at their performances across the U.S. All nominations can be viewed at www.JJAJazzAwards.org.

Henry Threadgill, winner of the 2016 Pulitzer Prize in Music, acquired the most nominations on the ballot as Jazz Musician of the Year, Composer of the Year, Arranger of the Year, Record of the Year (for Old Locks and Irregular Verbs from Pi Recordings), Multi-Reeds Player of the Year and Flutist of the Year. Threadgill won the 2016 Jazz Award for Lifetime Achievement in Jazz.

Saxophonist and bandleader Charles Lloyd and pianist and trio leader Fred Hersch tied for second-most nominations. Lloyd is cited for Lifetime Achievement in Jazz, Jazz Musician of the Year, Mid-Sized Ensemble of the Year (Charles Lloyd and the Marvels) and Tenor Saxophonist of the Year. Hersch is cited for Musician of the Year, Record of the Year (Sunday Night at the Vanguard from Palmetto), Pianist of the Year and Duo-Trio of the Year.

Other nominees for Lifetime Achievement in Jazz are Muhal Richard Abrams, pianist and co-founder of the AACM (Association for the Advancement of Creative Musicians), tenor saxophonist and composer Benny Golson, pianist Ahmad Jamal and pianist McCoy Tyner. Other nominees for Record of the Year are A Cosmic Rhythm With Each Stroke (ECM Records), by Vijay Iyer and Wadada Leo Smith, who are nominated for Duo or Trio of the Year; Madera Latino – A Latin Jazz Perspective on the Music of Woody Shaw (Hollistic MusicWorks), by Brian Lynch, nominated as Trumpeter of the Year, and Time/Life (Songs for the Whales and Other Beings (Impulse!) by Charlie Haden Liberation Music Orchestra (arranged by Carla Bley, nominated as Arranger of the Year).

This year the Up and Coming Musician of the Year category has only three nominees: pianist Joey Alexander, drummer Jerome Jennings, and trumpeter Adam O’Farrill. O’Farrill’s father Arturo is a nominee for Arranger of the Year and Large Ensemble (his Afro Latin Jazz Orchestra).

The JJA Jazz Awards are the only national honors for media creators and platforms featuring the music. Lifetime Achievement in Jazz Journalism finalists are Ben Ratliff, formerly of the New York Times, and an author; Will Friedwald, author and contributor to the Wall Street Journal among other publications; Ted Gioia, author, blogger and freelancer writer; Kevin Whitehead, author, freelance writer and critic on Fresh Air, and John Szwed, author, anthropologist and scholar, formerly at Yale and Columbia universities.

JJA members, Awards winners and nominees, and their supporters will gather to celebrate the 21st JJA Jazz Awards at a ticketed event in New York City in early June, details to be announced.
www.jjajazzawards.org

 

 

 

 

 

 

Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices.comHAVE A JAZZ EVENT, NEW CD OR IMPORTANT ANNOUNCEMENT FOR THE JAZZ COMMUNITY YOU WANT TO PROMOTE? CONTACT JAZZ PROMO SERVICES FOR PRICE QUOTE.CHECK OUT OUR NEW YOUTUBE VIDEO

 

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Copyright (C) 2017 All rights reserved.

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Warwick, Ny 10990
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Dear Jazz Journalists,

 

Spring brings a host of innovative new releases from Mouthpiece Music! We’re thrilled to be working with a roster of creative musicians who are keeping the music alive.

If you’d like Soundcloud links or press releases for any of the new offerings below, please let me know.

As always, thank you for helping to expose these artists and their work to a wide jazz audience.

 

Music always,

Holly Cooper

 

 

What’s Happening

 

 

Vocalist & lyricist Ron Boustead’s 

interview with Susan Stamberg

about Unlikely Valentine airs tomorrow, April 22nd on NPR Weekend Edition!

 

Check your local listings for airtime

 

 

 

 

 

 

 

Boustead is a versatile artist who is adept at presenting a wide range of styles. Accompanied by a Who’s Who of the finest musicians in Southern California, Unlikely Valentine has echoes of bebop and cool, but is firmly rooted in modern jazz.

 

Boustead dives into the tunes with an uncanny reflection of singer Mark Murphy… Versatility and flexibility seem to be watchwords that fit Boustead exceedingly well.

— Pierre Giroux, Audiophile Audition

 

 

Mark Winkler

The Company I Keep

 

The Company I Keep is a project filled with heart. With a career that spans over 30 years, Winkler has worked with some of the finest jazz musicians on the planet, and the singers and accompanists who join him on this project are nothing short of stellar. Featuring duets with Steve Tyrell, Claire Martin, Sara Gazarek, and Jackie Ryan!

 

“Winkler closes the deal on being the new Dave Frishberg and comes through with a classic—quite a cherry on top of an already illustrious career.   Hot stuff throughout.” — Chris Spector, Midwest Record

 

 

Cathy Segal-Garcia

In2uition

 

On In2uition, Segal-Garcia shows the versatility and command of the music that only a highly experienced jazz musician can manifest. A truly collaborative effort, In2uition is the latest musical snapshot of an artist who never settles for yesterday’s tropes. Featuring duets with 10 of L.A.’s top pianists, including John Beasley, Otmaro Ruiz and Josh Nelson!

 

“Cathy sings with eloquent charm and deep understanding of the lyrics; indeed, on some songs she brings to the surface qualities not always uncovered by other singers… there are many profound and moving moments to cherish. A wholly admirable set that will be admired by many.”  — Bruce Crowther, Jazz Mostly

 

 

Virginia Schenck (aka VA)
Aminata Moseka
An Abbey Lincoln Tribute

 

On Aminata Moseka: An Abbey Lincoln Tribute, Virginia Schenck pays tribute to a jazz legend. Abbey Lincoln’s raw emotional power and immediacy resonate deeply for Schenck, the versatile and adventurous Atlanta-based vocalist.

 

Rather than merely emulating Lincoln, Schenck draws inspiration from Lincoln’s unfiltered emotional energy, political involvement, and mystical predilections, while transforming the songs into deeply personal statements that arise from Schenck’s own worldview.

 

“Fascinating singer… a stellar performance from Virginia!”

— Dick Metcalf, Improvijazzation Nation

 

 

Beata Pater 

Fire Dance

 

In her relentless pursuit of innovative brilliance, extraordinary vocalist Beata Pater has one consistent rule. “True artistry demands that we always challenge ourselves, never look for an easy route, work hard and thoroughly enjoy the process. There is no other way for me.”

 

A key element of the concept was the marvelous use of vocal overdubs. As many as 16 tracks on some pieces, with the vocal parts ranging from bass to soprano – all sung by Beata, and in old-school style. No technological shortcuts, no gimmicks… just plain old-fashioned vocal virtuosity – and not for its own sake, but woven intrinsically into the musical context of her sumptuous vision.

 

“Excitingly new… Beata Pater does not utter a word throughout the 11 songs on Fire Dance, opting instead to sing wordless vocals. It’s a bold, daring choice-and it pays off.” — Bob Protzman, Downbeat Magazine (4 Stars!)

 

 

Sidney Jacobs

First Man

 

A soulful new voice in jazz! Jacobs is a singer with a rich, resonant tone and a songwriter and arranger, whose music has a funky jazz feel with more than a hint of gospel, soul, and R&B.

 

“The gospel, folk and soul strains that emanate from this man’s oh-so-warm and expressive voice and arrangements … are just too damn good to ignore.” 

— Mike Greenblatt, Aquarian Weekly

 

 

 

Coming Soon!

 

Tina Raymond

Left Right Left

 

Left Right Left is an auspicious debut and political statement from this talented drummer, arranger, and bandleader. Raymond’s blending of the traditional jazz vocabulary with African polyrhythms and classical percussion techniques create a rich, complex foundation that lay the groundwork for jazz masters, pianist Art Lande and bass player Putter Smith, to explore their own own creativity. The result is an evocative, thoughtful, and emotive project.

 

Downbeat Editor’s Pick (coming in May!)

 

 

 

Mari Nobre

LIVE AND ALIVE, from Gershwin to Jobim … A Musical Journey

 

LIVE AND ALIVE is both a musical and cultural

journey as well as a testament to the power of love and music. With her sensual voice, unique stylings, and multi-lingual talents, Mari has been called a torch singer of the highest order. Accompanied by a group of top-notch musicians, LIVE AND ALIVE, from Gershwin to Jobim … A Musical Journey is an excellent showcase for an exciting new talent on the jazz scene.

 

 

STAY CONNECTED:

 

mouthpiecemusic.com

 

 

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Mark Christian Miller – Story Time for Adults

 

Los Angeles based jazz vocalist Mark Christian Miller returns to Egan’s Ballard Jam House June 10th to perform material from his upcoming recording project “Story Time for Adults” featuring composers as diverse as Warren Zevon and Cole Porter. With pianist Randy Halberstadt, Michael Glyn on bass and Greg Williamson on drums, Miller will also debut new arrangements by Jamison Trotter.

 

Miller’s 2015 release Crazy Moon was named one of the top 15 records of the year by Jazz History Online and spent four months on the national charts. Noted biographer James Gavin calls Miller’s singing “breezy, rhythmically nimble, honest, and full of heart.”  

 

 

 

 

Date & Time: June 10, 2017, 9 p.m.

Location: Egan’s Ballard Jam House, 1707 NW Market St., Seattle

 

Reservations at reservations@ballardjamhouse.com & (206)789-1621 $10. www.ballardjamhouse.com

 

 

 

 

 

 

 

 

 

 

 

www.markchristianmiller.com

 

Contact not for publication: 

Contact: Diane Duthweiler, (206) 375-0012, dduthweiler@comcast.net

 

 

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Newvelle Records is excited to be sharing the first record of their Second Season with members now.  Irmãos de Fé featuring John Patitucci, Yotam Silberstein and Rogério Boccato is a truly beautiful and unique recording of all Brazillian music.

 

John talking about how the album came together, his long history with the music of Brazil and a bit on blasting Trane on his record player as a teenager in Brooklyn!

 

Rogério Boccato, John Patitucci and Yotam Silberstein                           © Jordan Kleinman

 

What if it’s about the song?
There is a paradox in the regional specificity of these songs and their overwhelming universal truth. Music that speaks not just across languages but through a deeper medium. These songs are not conveyances for improvisational flights of fancy. John, Yotam and Rogerio bring their considerable gifts and unique voices to express the song, and the song alone, and perhaps that is the higher calling. – excerpted from the liner notes by Elan Mehler

 

Check out an advance write up from Nate Chinen at WBGO here

 

 

 

The second release of Season Two features Lionel Loueke and Kevin Hays showing some super-human telepathy on an album of all original material.  Check out a sample on the In The Studio page.
Our third release of Season Two is a band led by Jon Cowherd, featuring Brian Blade, Tony Scherr and Steve Cardenas.  Check out a sample on the In The Studio page.

 

Season Two:

  • John Patitucci Trio Featuring Yotam Silberstein and Rogerio Boccato
  • Kevin Hays and Lionel Loueke Duo
  • Jon Cowherd Quartet featuring Steve Cardenas, Tony Scherr and Brian Blade 
  •  Chris Tordini Trio featuring Becca Stevens and Greg Ruggerio 
  •  Aruán Ortiz revisiting the music of the great Cuban classical composers
  •  Rufus Reid Trio with Steve Allee and Duduka Da Fonseca and featuring the Sirius Quartet 

All of Newvelle’s covert and interior photographs for Season Two come from the French Collective Tendance Floue.
Newvelle’s Recording Engineer on all six records is the multi-Grammy winning Marc Urselli.
Mastering engineer is by Alex Deturk.
Jim Hoppin and Sarah Enid Hagey shot video at these sessions.
All video editing is by the award-winning Ben Chace.
Jordan Kleinman shoots all studio photos.
The web team is run by Aymeric Auberger.
Social Media management by Jessye Mehler.
Newvelle is run by:  Elan Mehler and Jean-Christophe Morisseau.

 

 

John Patitucci © Jordan Kleinman

 

 

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