THE JAZZ CHILL CORNER SAX ICON AND LEGEND DAVE LIEBMAN JOINS MACHINE MASS ON NEW RELEASE "INTI" |  |
- SAX ICON AND LEGEND DAVE LIEBMAN JOINS MACHINE MASS ON NEW RELEASE "INTI"
- DEAN RUDLAND PRESENTS LET'S BOOGALOO VOL 6 - EXPLOSIVE DEEP FUNK, NORTHERN SOUL AND DANCEFLOOR JAZZ EN EL BARRIO
- DANNY FOX TRIO - WIDE EYED
- MATT SLOCUM - BLACK ELK'S DREAM - FEATURING WALTER SMITH III, DAYNA STEPENS, GERALD CLAYTON, MASSIMO BIOLCATI
- NEW RELEASES: ED ROBINSON - ON COVERS; JEREMY PELT - FACE FORWARD, JEREMY; GREG WITT - JAZZ BLUES
- SONY MUSIC/OKEH RECORDS SIGNS SERGIO MENDES; NEW ALBUM COMING MAY 2014
- GUITARIST BLAKE AARON DELIVERS COOL ELECTRIC JAZZ WITH A RETRO '70s DISCO GROOVE ON "GROOVE-O-MATIC"
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Posted: 21 Feb 2014 01:59 PM PST
Machine Mass feat. Dave Liebman pairs the legendary saxophonist (Miles Davis, Elvin Jones...) with longtime collaborator drummer Tony Bianco (Elton Dean, Paul Dunmall, Evan Parker, douBt) and guitarist Michel Delville (The Wrong Object, douBt, Comicoperando). Graced by Dave Liebman's extraordinary phrasing and improvising skills, "INTI" combines free improvisation with tight rhythmic structures, post-Bitches Brew time signatures with ambient episodes, spreading across different musical and spiritual realities, both playfully and intensely. The band ventures into the fiery electro-jazz territories explored by Bianco and Delville's recent Machine Mass Trio, which also showcased both musicians' capacity to listen closely and improvise over unpredictable chord, rhythm and time changes while handling live electronics and computer loops.
Recorded live in the studio with no overdubs (in just one afternoon, no less!), this monumental session bears witness to three seasoned musicians in top form – producing music that is fresh, challenging, profound and moving. Rules are acknowledged and rules are discarded, and the resulting sonic bouillabaisse,Inti, signals some truly exciting new directions for progressive jazz.
"This is truly a unique musical environment that I recorded with these two wonderful musicians. Shall I use the word 'post' everything? There's some 'On The Corner' here, some punk rock, some techno stuff, etc., etc. The resulting bouillabaisse is extraordinary and novel ... challenging music and definitely cutting edge." - Dave Liebman
"...this disc is a throwback to the mid-seventies before the term 'fusion' was used and abused. Hence, this is jazz-rock at its best. Refreshing and exciting! Another gem from Moonjune treasure chest." - Bruce Lee Gallanter, DownTown Music Gallery
Musicians:
"Dave Liebman is one of the most creative jazz saxophonists on the planet" (John Fordham, The Guardian, London) "...the most breathtaking sweep of emotions that might be heard on soprano saxophone for some time to come." (All About Jazz)
"Michel Delville's fantastic guitar leads build (once again) to the far corners of the universe" (Dick Metcalf, Rotcod Zzaj) "... quite stunning whether soloing or filling out the spaces between" (Duncan Heining, Jazzwise Magazine, UK)
"Tony Bianco allies grace and power, propelling both sessions with unflinching stamina" (Francois Couture, All Music Guide)
TRACKS:
1. Inti (7:27)
2. Centipede (4:41)
3. Lloyd (6:24)
4. In a Silent Way (6:29)
5. A Sight (6:37)
6. Utoma (6:09)
7. The Secret Place (4:33)
8. Elisabeth (12:46)
9. Voice (4:53)
PERSONNEL:
MICHEL DELVILLE guitar, Roland GR09, electronics
TONY BIANCO drums, loops, percussion
DAVE LIEBMAN soprano & tenor saxophone, wooden flute
with SABA TEWELDE vocals (on Track 7)
PRODUCTION: Recorded at Red Rock Recording Studios, Saylorsburg, PA (USA), October 10, 2012.
Produced by Machine Mass./ Executive Producer: Leonardo Pavkovic. / Liner notes: John Kelman
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Posted: 21 Feb 2014 11:03 AM PST
After 4 years in the making finally a new chapter of RK's premier collection Let's BOOGALOO sees the light. This time legendary compiler Dean Rudland, who is responsible of dozens of wicked compilations on BGP, Kent and Blue Note, digs deep into - mythical NYC latin boogaloo producer - Bobby Marin's catalogue to bring you an explosive collection of (northern) soul, deep funk and latin jazz tunes from Spanish Harlem aka El Barrio. Bobby Marin has been one of the main contributors and a leading figure behind the latin Boogaloo movement in the mid 60s in New York producing and working close together with stars such us Joe Cuba, Eddie Palmieri, Machito, Riccardo Marrero, not to mention his own combo the legendary Latin Blues Band, recently sampled by DJ Premier as the hook to Christina Aguilera's 'Ain't No Other Man'. "
As Rudland reckons "Bobby is part of a crowd that have sometimes been overlooked because they weren't central to the Fania Records story, but the music they produced told a truer story of what was going on on the streets of New York than the internationalist world view that was propagated by that label's owner Jerry Massuci" So expect to find here the real stuff,an all killers no fillers selection of rare and impossible to find latin boogaloo singles from Bobby's vaults, including some previously unreleased tracks taken directly from master tapes such us Richie's Theme byRichie & the PS 54 Schooly. A bright sampler of the golden age of the one of the most Infectious music genre ever recorded. Compilation comes with extensive liner notes by Mr.Rudland, for instance did you know that's Bobby's older brother Richie is the responsible for producing Manny Corchado's boogaloo stormer Pow Wow? ... essential collection, play it loud!
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Posted: 21 Feb 2014 10:59 AM PST
Hot Cup Records announces the April 8, 2014 release of Wide Eyed, the sophomore album by the NYC-based Danny Fox Trio. Since their critically acclaimed 2011 debut, The One Constant (Songlines), the group has continued to push the boundaries of the classic piano trio format. Wide Eyed ups the ante in the band's quest to create uniquely personal, genre-defying original music. Falling somewhere between jazz and chamber music, the album's eleven pieces are replete with sonic surprises: quirky rhythms, jaunty yet catchy melodies, haunting harmonies, and out-of-the-box arrangements that showcase the capabilities of each member of the group, all while maintaining tuneful melodies.
Formed in 2008, the Danny Fox Trio, featuring pianist Danny Fox, bassist Chris van Voorst van Beest, and drummer Max Goldman, is a true working band. Whether holed up in a Queens basement rehearsing or touring around the country crammed into a sedan, the trio has spent countless hours developing a rapport that's immediately palpable in their music. This chemistry not only contributes to the precision of their performances, but allows each member to feel confident enough to take musical risks. This contrast between cohesive, cogent ensemble execution and the excitement of spontaneous improvisation adds an energy that is sorely lacking in much of today's music, regardless of genre.
Though rooted in jazz, the three versatile musicians are also active in chamber music, bluegrass, afrobeat, electro, and New Orleans funk, thereby giving the band a sound that is all-encompassing yet strikingly individual. Drawing on influences as varied as Ellington, Bartok, The Meters, and Bernard Herrmann, the music can switch gears at any moment yet remains cohesive thanks to strong motivic development and rigorous arrangements that challenge the traditional roles of the piano trio instruments. Having committed these intricate and challenging compositions to memory and performed them scores of times, the influence and esthetic of rock bands is readily appreciated.
The trio explores a wide range of novel techniques to eschew standard forms and roles. The piano, typically both the lead melodic and harmonic voice, rarely performs these two roles simultaneously. Instead, Fox opts for textures that feature the abilities of his band mates and explore the more extreme ranges of the piano. In addition to fulfilling the traditional role as rhythmic anchor, bassist Chris van Voorst van Beest provides melodies, counterpoint, and coloristic arco effects adeptly. Drummer Max Goldman employs traditional drumbeats effectively, but often opts for a more orchestral approach, mimicking symphonic playing. The compositions themselves feature extensive melodic and motivic development, sometimes hovering around a theme that is only a few notes long, and sometimes building phrases over time to great emotional heights.
The eleven pieces on Wide Eyed navigate through a vast array of grooves, harmonies, time signatures, tempo shifts, free improvisations, and dynamics while always remaining grounded in the thematic material, giving the music a seamlessness and cohesion such that it is both challenging and highly listenable.
The album opens with the insistent bass groove of Sterling, which the trio unfolds in unexpected ways: from the slippery, danceable odd meter rhythm of the opening melody to the introspective rubato bass melody and jagged drum punctuations that follow. The song exemplifies the motivic style of composition as the opening six-note theme is modified through new harmonies, tempi, and instrumentation to spin out sections of varied moods. This theme is sometimes front and center and other times lurking, as when the left hand of the piano plays a fast version of it under dense minor chords. Bonkers, written by Fox while going mad from practicing music for a circus, is a meeting of Prokofiev-like melody, African rhythm, and free improvisation.
All Tolled, an epic piece spun out of a pencil accidentally tapping a rhythm on a desk, shows the trio's range from ferocious bombast to tender lullaby and spotlights the group's creative use of their instruments, as in the introduction where the piano plays on the extreme high and low registers as a background for the bass melody. Throughout, Goldman displays his well-rounded approach to the drum kit, sometimes laying down specific beats and other times mimicking orchestral percussion. The bluegrass-inspired Drone shows the trio's playful side and the influence of Fox's second instrument: banjo.
The subdued title track Wide Eyed opens with a moody cinematic simmer before piano/bass counterpoint explores rich harmonic dissonances. Confederates is a sinister march with ecstatic jolts, followed by Short Al in Brooklyn, a deceivingly tricky rhythmic proposition disguised as a light-hearted swinger, written for a famous NYC sports talk radio caller. Patriot Daze and Punches show Fox's heavy classical influence, using both hands to equal effect, and the trio's adept use of dynamics. Funhouse Memory filters funk through a funhouse mirror with off-kilter rhythms and spooky chords. The wildly-phrased canon seems to come out of nowhere but derives simply from the first theme stated in the piece. The album closes with the chamber-like Tumble Quiet, written against the backdrop of a faint clothes dryer in a quiet house, which floats from ethereal chords toward thumping tribal grooves before reaching a plaintive calm. The bass moves seamlessly between contrapuntal melodies and earthy bassline ostinatos.
Wide Eyed is about inhabiting a state of wonder and surprise about the world around us. It's about searching for possibility and embracing new ideas all while taking inspiration from what you've already taken in.
Pianist Danny Fox was born in New York City where he became immersed in the jazz scene from an early age. In high school, Danny was selected as a Presidential Scholar in the Arts and went on to attend Harvard University during which time he became active in the Boston music scene. Upon moving back to New York, Danny began intensive classical studies with concert pianist John Kamitsuka. He formed the Danny Fox Trio in 2008 as a vehicle for his original compositions and since then the working group has performed steadily around NYC and the US, releasing the critically acclaimed debut The One Constant (Songlines) in 2011. Called a "pianist of diverse accomplishment" (NY Times), Danny has established himself as a versatile musician active in a wide variety of settings from chamber groups and pit orchestras to big bands, dance troupes, and choirs. He performs with bassist Kermit Driscoll and multireedist Sam Sadigursky, and recently co-founded a New Orleans repertory band with drummer Dan Rieser. Fox is also in the vanguard of the burgeoning Queens creative music scene, performing frequently in concerts and festivals organized by the Queens Jazz Overground.
Born in Pownal, Maine, bassist Chris van Voorst van Beest has been an in-demand presence on the New York music scene since moving to Brooklyn in 2005. He has performed with such noted jazz artists as Kurt Rosenwinkel, Joe Lovano, Chris Potter, and Rudy Linka, with whom he recently toured the Czech Republic. Versatile in a variety of musical settings, he performs and records with numerous rock, afrobeat, and folk/bluegrass projects, as well as Off-Broadway productions, including the acclaimed interactive theatre show "Sleep No More." Chris is also involved in the burgeoning NYC contemporary classical scene, through which he has worked with artists such as Gabriel Kahane and Rob Moose. In addition to his busy schedule as a bassist, Chris is active as a composer: He recently completed his Master's degree in Composition from City College, where he studied with Pulitzer-Prize winning composer David Del Tredici, and is developing a diverse repertoire of compositions for chamber ensembles of various sizes and instrumentation. In 2009 Chris was awarded a grant to compose the original score for the children's book "The Lamplighter," featuring narration by noted folk artist Sam Amidon.
Born in Rochester, NY, drummer Max Goldman was fortunate to study under local greats Jeff Lewis, Steve Curry and Rich Thompson. He moved to New York City in 2001, attending NYU and the New School, where he studied with Tony Moreno, Gerald Cleaver and Kenny Washington. Since graduating in 2006, Max has been an active musician based in Brooklyn's fertile creative scene. He spends much of his time touring Europe, South America, the US, and Canada with a diverse lineup of artists. In addition to the Danny Fox Trio, Max has performed and recorded with Becca Stevens, Tim Berne, The Elan Mehler Group, Old Time Musketry, Midnight Magic, Nomi Ruiz, and Eleanor Friedberger. He has been called "a seriously propulsive force" by the Chicago Reader, and his drumming has been described as "beautifully melodic, even pianistic" by the New York Jazz Review.
John Schaefer of WNYC's New Sounds says the Danny Fox Trio is "changing the sound and expectation of a jazz piano trio." And Peter Margasak writes in the Chicago Reader: "The group certainly doesn't operate like a typical jazz piano trioĊ Fox's original compositions are episodic, rigorously arranged, and generally eschew the usual song forms employed in mainstream jazz."
Funhouse Memory: https://soundcloud.com/bk-music-pr/funhouse-memory-danny-fox-trio
Watch their video here: http://www.youtube.com/watch?v=Ya5q8O5bhrk&feature=youtu.be
CD Release Tour:
o Wed. April 30 - Cliff Bell's, Detroit, MI
o Thurs. May 1 - Merriman's Playhouse, South Bend, IN
o Fri. May 2 - Constellation, Chicago, IL
o Sat. May 3 - Jazz Estate, Milwaukee, WI
o Sun. May 4, House Concert - Music on a Mission, Lorain, OH
o Wed. May 7th -Boxer's, Huntingdon, PA
o Fri. May 9- Subculture, NYC
o Sun. May 18th- Bop Shop, Rochester, NY
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Posted: 21 Feb 2014 10:50 AM PST
Black Elk's Dream, drummer/composer Matt Slocum's most adventurous and visceral recording to date, features eleven new original works as well as Pat Metheny's "Is This America?". Inspired by the visionary Native American leader Black Elk and the book Black Elk Speaks, Slocum composed and arranged the project for an innovative cast of longtime friends and creative associates including saxophonists Walter Smith III & Dayna Stephens, pianist Gerald Clayton and bassist Massimo Biolcati. On this outing, his third as a leader, Slocum and the ensemble expand significantly upon the artistic promise and chemistry displayed on their acclaimed recordings After the Storm (2011) and Portraits (2010).
Black Elk's Dream highlights a distinctive passion for flowing mixed meters, lyrical melodies and unconventional harmonic and improvisational structures. A somewhat unique aspect of Slocum's approach to composition is the way he tailors each piece specifically to the unique voices and strengths of the artists for whom he is writing. He is the recipient of composition grants and commissions from the American Music Center, the Puffin Foundation, New Music USA and Meet the Composer, and his ensembles have recently been featured at many of the premier festivals and venues throughout North America and Europe. JazzTimes describes Slocum as "a thoughtful composer who sets up his team like a savvy point guard running an offense." His writing draws inspiration from a wide range of sources, both within and outside of the jazz idiom. On this project one can hear the influence of Wayne Shorter, Dave Holland, Paul Motian, Billy Strayhorn and Maurice Ravel, yet Slocum's musical language remains largely non-derivative.
A major component of the recording is reflecting the duality of the intense spiritual beauty of Black Elk's great vision and the darkly challenging struggles the Oglala Lakota faced in their efforts to bring the vision to physical reality. After opening in the relative future with "Pine Ridge" and "Ghost Dance", Black Elk's Dream traces the evolution of that vision from its inception. Slocum creates a thematically connected body of work throughout the album, enhancing the arc and flow by revisiting and developing variations on the title track through the piano interludes "A Dream Revisited" and "End of A Dream".
Slocum noted, "It's become increasingly important to me to have a storyline, whether real or imagined, on which to base compositions. I think the directness and imaginative beauty of John Neihardt's Black Elk Speaks opened some new possibilities to explore in terms of mood and color as well as harmonic and rhythmic frameworks. It took about two years to get the music to a point where it was ready to be recorded, but the struggle was beneficial in the sense that it encouraged me to keep building. While writing I started to hear elements of both Walter and Dayna's playing in the music. Even though I generally prefer consistent personnel throughout a recording, in this situation I feel that having both of them enhances the mood and flow of the music."
The record begins with a haunting view from above through a lyrical reflection on "Pine Ridge". The quartet's compelling chemistry and organic approach are immediately evident as they navigate through rubato passages mixed with hazily implied time. Slocum notes, "This was the first tune and first take of the sessions. I like the sense of elasticity and the spontaneity that Walter, Gerald and Massimo bring to this track."
"Ghost Dance" juxtaposes a floating saxophone melody with a trance-like groove filled with flowing mixed meters and anticipations. The track builds throughout Smith's evocative improvisation to the driving, explosive piano trio interaction during Clayton's and Slocum's inventive solos. The drummer/composer explains, "normally I write melodies first, but in this case I started by experimenting with grooves for a bass line. I don't really think of songs in terms of bar lines or beats per measure until I need to write them out. Then I'll record myself playing the song and listen back to transcribe what the meters and rhythms are."
"Yerazel", an Armenian word that means "to dream", highlights Dayna Stephens's warm, dark sound in the lower register of the saxophone as well as the trio's musical depth and sensitivity. "In this piece the element of dreaming is meant in a more passive sense, whereas the title track uses the word dream synonymously with vision. I tried to create a floating, somewhat mysterious, mood of innocence and beauty to reflect the period of Black Elk's youth after he had received his great vision, but before he fully understood its meaning and significance," explained Slocum.
"Prelude" and "Black Elk's Dream", both part of the same composition, form the main theme of the recording. Slocum ventures into more extended and through-composed territory with this work, balancing and reintroducing multiple themes throughout the richly textured musical landscape.
Smith and Slocum's masterful duo dialogue at the beginning of "A Blues" is a highlight of the album. "Given B.B. King's description of the blues as "an expression of anger against shame and humiliation", and given all of the broken promises and inhumane treatment that the Oglala Lakota endured courtesy of our government, I felt that the inclusion of a blues in this project was merited. Plus it would be borderline criminal to be in the studio with Walter and not record a blues," said Slocum.
"Is This America?"- "This is one of my all-time favorite Pat Metheny compositions. It's my understanding that he wrote it in response to Hurricane Katrina, but the mood, intentions and sentiment also seem very appropriate for this project. The song is genius in its simplicity and lyrical beauty. I kept all of the original harmony and made just a few minor changes to the arrangement," explained Slocum.
The interlude "A Dream Revisited" showcases Gerald Clayton's refined touch on a variation based on the closing section of the title track.
"Black Hills", the only quintet track on the recording, features Stephens and Smith improvising beautifully together as they build gradually from a meditative dialogue to a powerfully evocative peak. Slocum describes "Black Hills" as "the emotional climax and turning point of the recording", noting that, "this piece could be considered a musical response to the massacre at Wounded Knee."
He characterizes the tune "Days of Peace" (and its placement in the track order) as "intended to create the illusion of a daydream- a mood of playfulness and warmth through a flashback to a brighter time before everything became seemingly lost and broken. "A Disappearing Path" and "End of a Dream" are meant to reflect some of the sadness and resignation in the closing lines of Black Elk Speaks while also paying tribute to the beauty of the lost dream."
Hailed as "one of America's pre-eminent young jazz drummers" (OC Weekly), Matt Slocum has also earned a reputation as a distinctive, inventive and lyrical composer. Slocum is the recent recipient of composition grants and commissions from the American Music Center, New Music USA, the Puffin Foundation and Meet the Composer. His ensembles have been featured throughout North America and Europe at venues such as Jazz at Lincoln Center, Yoshi's, the Blue Note, Earshot Jazz Festival, Saratoga Jazz Festival, Twin Cities Jazz Festival and the Soka International Jazz Festival among others. Frequently referred to as a "musical" drummer, Slocum possesses a uniquely personal voice on the instrument and is a propulsive, melodic and dynamic accompanist and soloist. He has performed and/or recorded with artists such as Seamus Blake, Alan Broadbent, Steve Cardenas, Gerald Clayton, Taylor Eigsti, Aaron Goldberg, Jon Irabagon, Larry Koonse, Wynton Marsalis, Lage Lund, Linda Oh, Alan Pasqua, Jerome Sabbagh, Jaleel Shaw, Walter Smith III, Anthony Wilson, Sam Yahel and the Dallas Symphony Orchestra.
Born in St. Paul, Minnesota and raised in western Wisconsin, Slocum began musical studies on piano before switching to percussion at age 11. While in high school he was introduced to jazz through recordings featuring Max Roach and Philly Joe Jones. He received a full scholarship to attend the University of Southern California where he studied with Peter Erskine. After graduating in 2004, Slocum spent three years in California before making the move to New York in fall 2007. His debut recording Portraits was released in January 2010. The New York City Jazz Record raved, "With this excellent premiere, Slocum steps out of the box as the full package," while All Music Guide wrote, "This auspicious debut should put Matt Slocum's name firmly on the jazz map." After the Storm, a more introspective trio recording, was released in October 2011 and received high marks from DownBeat Magazine, JazzTimes, The Los Angeles Times and Jazzwise among others. After the Storm was one of 15 recordings by American composers to receive a New Music USA recording grant in 2011.
Upcoming Tour Dates
April 3- Dazzle Jazz, Denver, CO
April 4- Dizzy's, San Diego, CA
April 5- The Jazzschool, Berkeley, CA
April 6- JB's Jazz, Sacramento, CA
April 7- Soho, Santa Barbara, CA
April 8- CAP Theater, Los Angeles, CA
April 9 & 10- Landmark Center, St. Paul, MN
April 24- The Kitano, New York, NY
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Posted: 21 Feb 2014 06:59 AM PST
ED ROBINSON - ON COVERS
In his sixth album titled "On Covers," Ed Robinson shows his talent and creative abilities in covering some of the most legendary hits from the past two decades. This musical endeavor has taken Ed Robinson on a nostalgic journey through time that brings the listener with him. In this album, Ed Robinson has taken hits from the genres of Rock and Roll, R&B, Country as well as many others, and put his own Reggae vibe into all of the rhythms and lyrics. As an added feature, this album included a remixed and remastered version of his 1992 award winning cover tune, 'Knockin on Heaven's Door.' "On Covers," has been released on the Push Broom Gang Productions label and distributed by Zojak World Wide, this album brings together a superstar team of new and classic talent, along with Chris Fischer of Critical1 Studios whose mixing and mastering expertise created the incredible reggae we crave. Together with E2recordings, musicians Adam Tese`, Lou Lomangino, and David Nesdall collaborate with Ed Robinson to create an authentic blend of Rock and Roll, R & B, and Country with Reggae Music. Critics are saying this is one of the best.
JEREMY PELT - FACE FORWARD, JEREMY
Beginning with 2005's Identity, trumpeter Jeremy Pelt began exploring '70s and '80s funk and fusion sounds inspired by the works of such luminaries as Herbie Hancock and Miles Davis. He continued these funk and electronic explorations on such albums as 2007's Shock Value: Live at Smoke and 2013's Water and Earth. While Pelt has also split his time playing and recording more straight-ahead post-bop albums, his 2014 album, Face Forward, Jeremy, combines the best of his acoustic recordings with the electronic-jazz hybrid sound of Water and Earth. Here, Pelt is joined by his longtime ensemble featuring pianist/keyboardist David Bryant, saxophonist Roxy Coss, bassist Chris Smith, and drummer Dana Hawkins. Also featured are vocalists Fabiana Masili and Milton Suggs, along with Rhodes keyboardist Frank LoCrasto and a handful of string players. This is a languid, atmospheric album that touches upon impressionistic, modal post-bop, soulful contemporary R&B, and groove-oriented '70s-style fusion. Tracks like "Princess Charlie" hang on a wordless vocal melody from Masili (mirrored by Pelt and Coss) that leads into adventurous improvisations from Pelt, Coss, and Bryant. "Rastros," once again showcasing Masili, is an Asian and Brazilian-inflected ballad punctuated by delicate harp lines, with Pelt on a beautiful, muted solo. Elsewhere, cuts like "Stars Are Free" sound like something along the lines of '70s Miles Davis, and "The Secret Code" features a frenetic jungle/drum'n'bass-influenced intro from Hawkins. Ultimately, Pelt's Face Forward, Jeremy is a high-minded, well-crafted mix of cutting-edge acoustic and electric jazz that gently turns your ears toward the future of jazz, while never asking you to let go of the music's past. ~ Matt Collar Liner Note Author / cduniverse
GREG WITT - JAZZ BLUES
Greg Witt's first album, "Smooth Jazz Rock" was released in 2008 debuting his sound of clean jazz 'riffs' with a rock influence. A native of Midland, Texas, guitarist Greg Witt first surfaced as a member of the Odessa College Big Band in Odessa, Texas in the mid-1990's. "When I performed with the Big Band, I learned to land on my feet and perform jazz charts on the spot." Greg has also performed on stage with Smooth Jazz Saxophone artist Tom Braxton. "Tom and I traded 'riffs'. It was fun!" His style on his album "Jazz Blues" reflects the 'old' and the 'new', the 'Jazz' and the 'Blues'. "Although my style echoes the jazz standards from the past, it always melds styles of modern 'rock' & 'blues'. On tracks like "A Street" and "Just Groovin", you can hear his 'rock' influence. Tunes like "Jazz Blues" , "Diamond Lil", and "Cookin!" really capture the swing sound of the big band era. "You can also hear my Texas swingin' blues style on those tracts. Stevie Ray Vaughan was a huge influence of mine". The tract "Blue Valentine" is an up-tempo ballad with Beatles like changes and a style not unlike George Benson. Jazz, Blues, old or new, Greg Witt's CD "Jazz Blues" is a hit! ~ cduniverse
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Posted: 21 Feb 2014 06:37 AM PST
The internationally successful producer, composer, keyboardist and vocalist, Sergio Mendes, has signed with the Sony Music Masterworks imprint OKeh Records.
The new recording featuring eclectic and upbeat Brazilian rhythms will feature guest vocalists John Legend, Janelle Monae among others. The album will be available in May in advance of the 2014 World Cup.
One of the most successful Brazilian artists of all time, Mendes has recorded more than 35 albums and has won 3 Grammy® Awards.
In 2012, Mendes received his first Oscar nomination in the music category for "Real In Rio" from the animated, 3-D feature film Rio. In addition to being the executive music producer for the blockbuster film, he also contributed five songs to the movie. Sergio Mendes will again provide the music for the upcoming animated feature sequel Rio 2 coming in April. Sony Classical will release the score for the film composed by John Powell on April 7th.
"Sergio is a music legend and we are proud at OKeh that he chose the label for the next chapter in his astonishing career," said Wulf Muller, who oversees A&R for OKeh Records.
Bogdan Roscic, President of Sony Music Masterworks, said: "2014 will be an exciting year for Brazil and Brazilian music - and Sergio Mendes' new album will be one of the records of the year. Everybody at Sony Music Masterworks looks forward to working with this true icon to deliver another outstanding contribution to one of the greatest catalogs in the business."
Sony Music Masterworks comprises the Masterworks, Sony Classical, OKeh, Portrait, Masterworks Broadway and Flying Buddha imprints.
@sergiomendes
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GUITARIST BLAKE AARON DELIVERS COOL ELECTRIC JAZZ WITH A RETRO '70s DISCO GROOVE ON "GROOVE-O-MATIC"
Posted: 21 Feb 2014 06:31 AM PST
Guitarist Blake Aaron is still tucked away in the recording studio tinkering on his forthcoming fifth album, "Soul Stories," yet he's already topped the charts with a single from the session. Aaron's cool electric jazz guitar dances to a retro '70s disco groove aided by big vibrant horn blasts on "Groove-O-Matic," which has spent the last nine weeks at No. 1 on the Groove Jazz Music chart and entered the Billboard Smooth Jazz Songs Top 5.
"Groove-O-Matic" is the second single to hit the charts from the album slated for release this summer on Innervision Records. Jazz crooner Spencer Day was featured on "You're The One For Me," which reigned in the Top 10 for 20 weeks. The first album Aaron has produced on his own, "Soul Stories" is a collection of soulful jazz, funk and Latin grooves and includes an appearance by urban jazz saxophone star Najee.
"'Soul Stories' is literally the musical story of my soul. It's been a long-time coming and spans the journey of my marriage and the birth of my two children. It's my first CD that is entirely self-produced, my biggest radio and commercial success to date and has been nicknamed our 'Third Child.' I'm very proud of the record and look forward to performing it live," said Aaron, who will perform tracks from the disc with his band and special guests this Saturday night at Spaghettini in Seal Beach, Calif.
Aaron headlines the San Antonio Summer Arts Jazz Festival on June 1 and is presently lining up summer dates in support of "Soul Sessions."
Hailed by the Los Angeles Times as "a genius on the guitar," Aaron pours passion and precision into his fretwork. Emerging from the studio where he was an in-demand session player and stepping out of the shadows after being a long-time sideman, Aaron launched his solo career with 2001's "With Every Touch" containing appearances by contemporary jazz stalwarts Eric Marienthal and David Benoit. Singles from the debut album as well as from subsequent releases – "Bringin' It Back," "Desire" and "A Romantic Christmas" – have always been favorably received at radio and charted well nationally. Since 2008, Aaron has hosted the internationally syndicated "The Blake Aaron Radio Show" that he describes as an "artist to artist show" on which he jams live on the weekly program with guests that have included Anita Baker, Kenny Loggins, Brian Culbertson, Boney James, Peter White, Rick Braun, Mindi Abair, Earl Klugh, Lee Ritenour, Nathan East, Paul Jackson Jr., Jackiem Joyner and Jessy J. His resume includes playing on and composing music and theme songs for films and popular television series such as "MAD TV," "The Ben Stiller Show," "Super Dave Osborne" and "The Jamie Kennedy Experiment." Additional information is available at
"Soul Stories" contains the following songs:
"Groove-O-Matic"
"Encantadora"
"You're The One For Me"
"Wes Side Story"
"You're My Miracle"
"Sara Smile"
"Europa"
"Soul Stories"
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