Monday, March 2, 2015

R.I.P.: Orrin Keepnews

R.I.P.: Orrin Keepnews

So sad to know about the passing of my friend Orrin Keepnews yesterday. He would turn 92 today. I had the honor to produce reissues of many albums he produced, as well as to include Orrin's tracks in some of my compilations. All true jazz lovers know that he is one of the most important producers in the jazz history (IMHO, he, Norman Granz and Creed Taylor).

We all owe a great debt to Orrin for what he did at his Riverside label in the early 60s, by signing people like Wes Montgomery, Bill Evans, and Cannonball Adderley, and producing their first solo albums. He later sold Riverside to Fantasy Records, but founded a new label, Milestone, in 1966, signing people like Jim Hall and Lee Konitz. 

Once again, due to financial problems, he had to sold his trademark; and once again Fantasy got it (in '72). But they kept Orrin in creative control of Milestone, and soon it became one of the best jazz labes of the 70s, even signing the revolutionary Brazilian jazz vocalist Flora Purim in late '73 and producing the best six albums of her life (this photo below is from the "Open Your Eyes You Can Fly" sessions and shows Orrin sandwiched by Flora and Hermeto Pascoal, with George Duke and Airto on the back). 
(from left to right: Ndugu, Alphonso Johnson, Flora, Airto, Orrin, Duke, Hermeto; pic by Bruce Talamon, NOT used on the album)

He also signed Sonny Rollins, McCoy Tyner, Gary Bartz, OPA, Raul de Souza, Joe Henderson and many others. When Ron Carter left CTI, Orrin also got him, and formed the Milestone Jazzstars (with Ron, Tyner, Rollins and drummer Al Foster). In 1980, Orrin left Milestone, and created Landmark Records in 1985, which was distributed by...Fantasy! Among the main releases, were albums by Bobby Hutcherson, Kronos Quartet and the late Mulgrew Miller, to whom I was introduced by Orrin, back in 1987. Till some years ago, he continued to supervise (for Concord, who now owns the whole Fantasy catalog) many reissues of his albums. Respect & Love, Forever!

Thursday, February 26, 2015

Amanda Castro live @ Steamers, this Friday


Steamers Jazz Club and Cafe
138 W. Commonwealth Ave
Fullerton, CA 92832
Ph: 714-871-8800

Amanda Castro is a young jazz singer specializing in well known and lesser known songs of the 1920's and 1930's, adding her own unique mix of Latin rhythms,  New Orleans soul, and genuine blues feeling. She started studying voice at the age of 15 and has been singing professionally for the last two years, appearing in some of Southern California's most well known jazz clubs, including Angel's, Nola's, The Hip Kitty, and now Steamers. In addition, Amanda has also appeared as a feature performer at community music festivals and other entertainment events. Audiences at an Amanda Castro performance have said, "It's not just a band! It's a show!" And a show it is!

Combining high energy musical performance with witty audience rapport and exciting band arrangements, Amanda makes the stage come alive with her own renditions of down and dirty New Orleans blues, sultry Latin songs and straight ahead swinging standards. Consisting of professional jazz musicians with performance experience at international jazz festivals, film, television, Disneyland, and high profile celebrity gigs, the highly versatile band is equally adept at grooving on a Latin samba as much as treating the audience to a taste of authentic New Orleans.  Fans of the Amanda Castro show keep returning for the exciting mixture of great jazz styles offered up by this up and coming singer. Amanda and the band invite you to come experience a fun and entertaining jazz show!

Sunday, February 22, 2015

Anna Mjöll with the Pat Senatore Trio back @ Herb Alpert's Vibrato Grill & Jazz, Feb 27

This next Friday, February 27 at 9pm, Icelandic Jazz Princess and one of my favorite singers, Anna Mjoll, returns to Herb Alpert's Vibrato Grill and Jazz (2930 N Beverly Glen Circle, Los Angeles).

As usual, she will be backed by the fantastic Pat Senatore Trio: Tom Ranier, piano; Dan Schnelle, drums; and Pat Senatore on bass, one of my idols since the Tijuana Brass days.
Not to be missed!

Also this Wednesday, Yuko Ito @ Kitano!

NY-based Japanese vocalist Yuko Ito will be appearing @ NY's Kitano this Wenesday, Feb 25, backed by a stellar trio of Brazilian musicians: Cidinho Teixeira (aka Cidinho "Chiko's Bar") on piano, Gustavo Amarante on bass, and Mauricio Zottarelli on drums.

She celebrates her new CD release, "O Cantador," titled after the famous Dori Caymmi-Nelson Motta introduced by Nana Caymmi (with a great arrangement by Lindolfo Gaya) fifty years ago, in 1966. The album, already available at cdbaby, also includes tunes by Djavan, Marcos Valle, and Milton Nascimento.

Jay Leonhart Concert Window Feb. 25, Live from West End Avenue#2

Jay Leonhart is one of my favorite bassists (as showcased in albums by Gerry Mulligan, Don Sebesky, Joe Beck, Mel Tormé, Louie Bellson, Morgana King, Gerry Niweood, James Taylor, Bette Midler, Eddie Higgins, Lee Konitz, Queen Latifah, the list goes on and on), an excellent singer/songwriter and one of the best "jazz entertainers" of all time. I love his solo albums, specially the "Salamander Pie" CD, recorded in 1983 for Tom Jung's memorable DMP label, and was fortunate to attend several of his apperances at the Blue Note NY brunch. As a composer, he belongs to the same galaxy of Dave Frishberg, something that means a lot! Not to mention that he is the father of the great jazz chanteuse Carolyn Leonhart.

Well... Jay will be doing the second concert of his Concert Window series on Wednesday, February 25 at 7:30 PM. He will perform his own songs, including some new works you have not heard.

Jay Leonhart is constantly writing poems and songs about what he sees, what he thinks he saw, or what he knows he didn't see. No matter. These songs will be full of imagination from this heralded jazz songwriter. And his bass playing is worth the price of the ticket, which can be free if you so choose!

Tune in and chat with Jay as the show progresses and watch him try to answer chats and remember his lyrics at the same time. It's fun and very musical. Don't miss it!

Wednesday Feb. 25 at 7:30 PM--Jay Leonhart Live from West End Avenue. Just go here:

R.I.P.: Clark Terry

R.I.P.: Clark Terry
(born on December 14, 1920 in St. Louis, Missouri, USA;
died on February 21, 2015 in St. Louis, Missouri, USA)

"Every musician in the world who ever met Clark Terry is a better musician & person because of it. He now belongs to the ages." - Christian McBride

Services for Clark Terry will be held at the Abyssinian Baptist Church on Saturday, February 28th at 10:00 a.m., led by Dr. Calvin Butts. Clark will be laid to rest at the Woodlawn Cemetery following the service. Funeral services entrusted to P.K. Miller Mortuary, Pine Bluff, Arkansas and George H. Weldon Funeral Home, New York City.

In lieu of flowers, the family is asking that donations be made to the Jazz Foundation of America which has helped over the years to make sure that Clark's needs were met. Please note on donations that they be made "In Honor of Clark Terry" to help them continue this work.

Randy Brecker: "This is going to be a tough day. Just heard about Clark Terry's passing. In 1965 I won a trumpet prize at the Notre Dame Jazz festival and the award was handed to me by Clark Terry a judge at the Fest. A year or so later after moving to NYC a phone rang in my apt, I picked up, and a voice on the other end said: "Hello Randy this is Clark Terry. Would you like to join my Big Band?" Thus began a life in Music... 
CT was an amazing instrumentalist just the best...his agility,tonguing,technical command of the instrument was second to none, and no one could play the blues like CT. No wonder he was idolized by Miles Davis. But beyond the music, CT's humanity was also second to none. He was LOVE personified. He mentored countless young musicians and shared his LOVE of life with everyone he came in contact with. It was real. He was the real of a kind. I'm proud to have known him and will miss him more that I can say. My heart goes out to his wife Gwen who took such great care of him for all these difficult years...LOVE wins!"
Doug Neal: "Rest in peace, Mr. Mumbles! You broke all that new ground in jazz education! You even put a little baby Miles on the right track. And you will be missed!"
My favorite Clark Terry concert ever documented on video. Originally released on vinyl as Pablo All-Stars Jam, but reissued on DVD as "Norman Granz' Jazz In Montreux Presents Clark Terry Sxetet '77." Remastered in Dolby Digital 5.1, it really features an all-star team: Oscar Peterson, Ronnie Scott, Joe Pass, Milt Jackson, Niels Pedersen & Bobby Durham. The "band highlight" is the dazzling up-tempo version of Luiz Bonfa's bossa nova classic "Samba de Orfeu" (from the "Black Orpheus" soundtrack), but Clark Terry steals the show on his solo number, a haunting take on "God Bless The Child," performed on the flugelhorn.

Thursday, February 19, 2015

Previously unreleased live recordings by João Gilberto and Stan Getz coming out next month

George Klabin's California-based Resonance Records will be releasing "Selections from Getz/Gilberto '76" on March 20 in Europe, and on April 18 in the USA to coincide with the Record Store Day. It will be available only as 10-inch audiophile vinyl LP, but the full album will come out on CD and 2-LP sets probably in time to celebrate Joao Gilberto's 84th birthday (June 10).

Stan Getz and João Gilberto reunite in 1976 with these previously unreleased recordings from a four-night engagement at San Francisco's Keystone Korner, "Selections from Getz/Gilberto '76." This Limited Edition 10" record commemorates performances that are one of the few times this duo collaborated in the 1970's, after their multiple Grammy award-winning 'Getz/Gilberto" released by Verve in 1964, and soon after their second studio reunion on "The Best Of Two Worlds" in 1976.

Resonance acquired the tapes from jazz impresario Todd Barkan, owner of the now-defunct (but very famous in the 70s) Keystone Korner jazz club in SF. They cleared rights with the Stan Getz Estate and the other musicians including Joao Gilberto. As the title suggests, this is a sneak peak of the upcoming full length "Getz/Gilberto '76" due for release (CD & 2-LP sets) in June.

Puerto Rican abstract expressionist painter, Olga Albizu (1924-2005), graces the cover with her artwork "Equilibrium Verde"; Creed Taylor loved her work and selected Albizu's paintings for other Verve releases in the early 60s by people like Bill Evans ("Trio 64"), Bob Brookmeyer ("Gloomy Mondays And Other Bright Moments"), and the seminal Getz' albums "Jazz Samba" (with Charlie Byrd) and "Getz/Gilberto."

This collector's LP (with a limited pressing of 3,000 units) is pressed on translucent green-colored 140 gram vinyl at 33 1/3 RPM by Erika Records. The tracklist includes Dorival Caymmi's "Doralice" (recorded by João & Getz in 1963 for the historical "Getz/Gilberto"), and three songs covered by them on "The Best of Two Worlds" for CBS: "É Preciso Perdoar (Alcyvando Luz/Carlos Coqueijo Costa), "Eu Vim da Bahia" (Gilberto Gil), and "Retrato Em Branco E Preto" (Antonio Carlos Jobim/Chico Buarque), the latter also included by Gilberto on another masterpiece, the "Amoroso" album for Warner in 1977.

Backing João Gilberto (acoustic guitar & vocals) and Stan Getz (tenor sax) are Joanne Brackeen on piano, Clint Houston on acoustic bass, and Billy Hart on drums. [Hart and Houston also performed on "The Best Of Two Worlds".] Prior to his work as president and founder of the Resonance label, George Klabin was the owner and chief engineer of the Sound Ideas Studio in NY, where great jazzmen and Brazilian artists -- such as Thiago de Mello ("Amazon"), Eumir Deodato ("Os Catedráticos 73"), João Donato ("Donato/Deodato) and Flora Purim ("Everyday Everynight") -- recorded many nice albums during the 70s.

Apex at Avalon Hollywood, this Wednesday

Join us on Feb 25 for ‪#‎Apex‬ at ‪#‎AvalonHollywood‬! 1000+ of Socal's Collegiate Party people all under one roof! 9pm-3am! 3 stages , 6 fully stocked bars & new state of the art sound ! ‪#‎January‬ & ‪#‎February‬ birthdays in free! Arrive early!
Discount tickets -->
21+ Free Tickets :

Tuesday, February 17, 2015

Sing for Record Labels, Enter by February 28

Your Record Label "Showcase", "Meet & Greet" with music representatives and new recording equipment are among the many services being offered to the best singer in the Vocalist Contest.

Upload a song or video demonstrating your singing ability directly from the website and compete today.
Your Record Label Showcase
Here is your opportunity to be seen and heard by music industry insiders. The top singer will attend a "Meet & Greet" before the showcase. This is a great way to gain exposure with music business insiders who matter. A sound system is provided. Just bring your voice!

The top singer will travel to Nashville for five days and four nights the same weekend of the National Association of Music Merchants event. Receive the newest music gear including a digital audio mixer, wireless and studio microphones and customized CD duplication along with full insert printing on 10,000 CDs.

The contest is open to singers of all ages and from any country. Both English and non-English submissions are accepted. Choose from eight different vocal genres.

Sing a "cover song" (one originally recorded by another artist) or a song that you have written yourself. Submissions can be "vocal only" or contain backing music.

D-Tox Sunday After Hours w/ DJ Contessa

3040 Sunset Blvd
Featuring DJs Contessa & Shanto, with special guest Darin Westcott.
That's the real "Good Morning, LA!"

R.I.P.: Lesley Gore

(born Lesley Sue Goldstein on May 2, 1946 in New York, NY;
died on February 16, 2015 in New York, NY)

Quincy Jones: "I am heartbroken at the news today of the passing of Lesley Gore. I discovered Lesley, almost on a dare, in 1963 when she was 16 years old and I was Vice President of Mercury Records and we would go on to make 16 hit songs together including 'It's My Party,' 'Judy's Turn to Cry,' 'You Don't Own Me,' and 'Sunshine, Lollipops, and Rainbows.' Lesley was an incredibly soulful singer/songwriter even at that young and that was why the world embraced her songs the way it did. It is important to remember that at one point, the only group that surpassed her in the pop charts was The Beatles. It was a privelege to have been a part of Lesley's life personally and professionally from those early days until now, and although I will miss her deeply, her essence will remain with us always through her music."

Wednesday, February 11, 2015

Poncho Sanchez live @ Steamers, Feb 15

SUNDAY, FEB 15, 7P-11P ALL AGES- $25
CALL 714-871-8800 FOR TIX

Steamers Jazz Club and Cafe
138 W. Commonwealth Ave
Fullerton, CA 92832

Although born in Laredo, Texas, in 1951 to a large Mexican-American family, Sanchez grew up in a suburb of L.A., where he was raised on an unusual cross section of sounds that included straightahead jazz, Latin jazz and American soul. By his teen years, his musical consciousness had been solidified by the likes of John Coltrane, Miles Davis, Cal Tjader, Mongo Santamaria, Wilson Pickett and James Brown. Along the way, he taught himself to play guitar, flute, drums and timbales, but eventually settled on the congas. t colors and brightest lights to emerge from either side of the border. At any given show, on any given record, fragments of Latin jazz, swing, bebop, salsa and other infectious grooves collide and churn in a fiery swirl, with results that are no less than dazzling.

At 24, after working his way around the local club scene for several years, he landed a permanent spot in Cal Tjader's band in 1975. "I learned a great deal from Cal," says Sanchez, "but it wasn't as though he sat me down and taught me lessons like a schoolteacher. Mostly it was just a matter of being around such a great guy. It was the way he conducted himself, the way he talked to people, the way he presented himself onstage. He was very elegant, very dignified, and when he played, he played beautifully. The touch that he had on the vibes - nobody has that sound. To me, he was - and is, and always will be - the world's greatest vibe player." Now, Poncho Sanchez became a legend himself, and a perennial winner in the Percussion category of the DownBeat Polls.

Clark Terry needs our prayers

It is with a heavy heart we share that our beloved Clark Terry is now in hospice care. Gwen and the health care team are making sure that Clark is as comfortable as possible. During this time the family is asking for your prayers. We will provide more information as it becomes available.
Btw, the documentary film "Keep On Keepin' On" is now available on VOD. Check with your local carrier, pop some popcorn and grab someone you care about to watch the film!
Also screening on February 18th at the great Al Maysles Documentary Center…/oscar-buzz-presents-keep-on-keepin-on/

Gina Saputo back @ Steamers, this Friday

Gina Saputo -- one of our favorite singers, and certainly one of the best jazz acts in California -- will be back @ Steamers this next Friday, February 13.

CALL 714-871-8800 RSVP-only $8

Tuesday, February 10, 2015

Tonight in NYC: Justin Kauflin CD Release Party

TUESDAY FEB 10 | JAZZ STANDARD | 116 East 27th Street New York, NY 10016 | 7:30 pm & 10:00 pm

The Justin Kauflin Quartet with Billy Williams, Chris Smith and Matt Stevens will be in NYC at the Jazz Standard, performing songs from the newly-released CD "Dedication."  

It debuted at #6 on CMJ and #10 on Billboard's traditional jazz charts, and is currently #4 on the JazzWeek Radio Chart!

If you're in the area, please join us tonight!
For tickets to the 7:30 show, please call Jazz Standard at 212-576-2232 
or visit Ticket Web for the 10:00 pm show


Looking forward to the East Coast hang, so come on through!

See the Dedication video

Read more about Dedication at

Sunday, February 8, 2015

"Love & Lust" featuring Vikki Paradox
LA's Hottest Thing To Do On Valentine's Day!
"Love & Lust" - Featuring my lovely friend Vikki Paradox.
Couples, singles & everything in between make your Valentines Day plans now...

Larry Coryell + Strings Attached On Tour

From Blues Alley to Blue Note, don't miss Larry Coryell's 2015 Tour with the Strings Attached masters: Jack Wilkins, Vic Juris, Jimmy Bruno and Joe Cohn!

Valentine's Bash @ Penthouse Nightclub

A Very Special Valentine's Day Dance with Amanda Carr

Thursday, February 5, 2015

Music Supe Needs Solo Piano & Jazz for Hit Show + More Genres Needed

This is a really sweet batch of opportunities, many of which are Non-Exclusive, Direct-to-Supervisor Placements where you get all the money and keep all of your publishing and master ownership. Got Solo Piano or Jazz? You're going to love these! Keep reading so you don't miss any of these deadlines offered by TAXI:
PUBLIC DOMAIN and/or ORIGINAL, SOLO CLASSICAL PIANO INSTRUMENTALS are needed by an A-List Hollywood Music Supervisor for NON-Exclusive placements in a HIT TV Series. She needs classy, Down-to-Mid-Tempo Instrumentals in the general stylistic wheelhouse of Franz Liszt, Chopin, Mozart, etc., etc., etc. Please listen to the references to get a sense of the elegant sound she needs:
"Liebestraum" by Franz Liszt:
"Nocturne Opus 9 No. 2 in E Flat Major" by Chopin:
"Piano Sonata No 11 in A Major" by Mozart:
Quoting the source: "We have many high-society scenes in this show that need source music. Solo piano needs to sound authentic. Anything that sounds fake won't work. Since it's source, be sure you don't send me anything that's overly busy, as it's only needed to set the mood."
Please submit well-performed piano pieces (Original Compositions or Public Domain) that would add the right vibe to a scene that might take place at a black tie affair or snooty, high society cocktail party. Your submissions should sound like they're being performed by a real human playing a real piano. They're not looking for virtuosity so much as they're looking for music that nicely blends into the background to set the mood and location. Material that sounds stiff, synthetic, or MIDI won't work for this pitch. All pieces should be between 2 to 5 minutes in length. No faded endings. Broadcast Quality is needed (great sounding home recordings are fine).
The estimated license fee is $500, depending on the ultimate placement. This is a Non-Exclusive, Direct-to-Music Supervisor pitch, so you'll keep 100% of the sync fee. Plus, you'll also keep 100% of your Publishing, 100% of your Writer's Share (if you submit an original composition), retain your Master ownership, and receive any applicable performance royalties for this placement. You must own or control 100% of the Master and Copyright (if you submit an original piece) to pitch for this opportunity. If you submit a cover of a Public Domain piece, you need to own or control the Master Recording. All Instrumentals will be screened on a Yes/No basis by a person hand-picked by the Music Supervisor. No full critiques.Please submit 1-3 Instrumentals no later than 11am (PST), on Thursday, February 12th, 2015. TAXI #U150212CP
ORIGINAL 1930's to 1940's sounding JAZZ SONGS with Male or Female Vocals are needed by a Music Supervisor for a Non-Exclusive Placement in an Independent Film. Give them Down-to-Mid-Tempo Songs in the general stylistic ballpark of legends like Billie Holiday, Louis Armstrong, Ella Fitzgerald, etc., etc., etc. Please review the referenced songs to get you in the old-timey vibe they need:
"The Very Thought Of You" by Billie Holiday:
"What A Wonderful World" by Louis Armstrong:
"Walkin' By The River" by Ella Fitzgerald:
Quoting the source: "This will be background source during a Thanksgiving dinner scene. We'd ideally like the song to have a female vocal, but we're open to male as well.
Songs need to sound as authentic to the era as possible. Although it's source music and the lyrics won't be a huge focus, general themes about life, love, home, and family will work best."
TAXI Tip: You might make your song more appealing by rolling off some top and bottom end of your recording to make it sound more "telephonic" and authentic to the era. We DO NOT recommend adding those old-timey clicks and scratches. Let the audio post mixer add those if the Supervisor or film's Producer wants them. You'd also be smart to have a full fidelity version ready to go in case they prefer that. You do not need to submit that at this time. If all you have is a full fidelity version, go ahead and submit that. If they love the song more than everything else, the post mixer can do some EQ magic.
Submit really cool Jazz songs that sound like they would have been written and performed in that golden era. Authentic-sounding instrumentation, well-performed vocals, and an overall vibe that sounds like it was plucked straight out of a time capsule will put a smile on this Supervisor's face. As mentioned in the quote: Lyric themes about life, love, home, and family will work best for this pitch. Universal lyrics still apply, so please avoid specific names, places, dates, times, and brands. Do not copy or rip off the referenced artists or songs in any way, shape, or form. Use them only as a general guide for tempo, texture, and tone.
The estimated license fee is $500 - $1,000, depending on the ultimate placement. This is a Non-Exclusive, Direct-to-Music Supervisor pitch, so you'll keep 100% of the sync fee and any applicable performance royalties. Plus you'll also keep 100% of your Publishing and Master ownership. You must own or control 100% of the Master and Copyright to pitch for this opportunity. All Songs will be screened on a Yes/No basis. No full critiques. Please submit 1-3 Songs no later than Sunday, February 8th, 2015 by 2pm (PST). TAXI #U150208JZ
ORIGINAL JAZZ INSTRUMENTALS are needed for a Non-Exclusive Placement by the Music Supervisor of an extremely successful TV show. The Track will be used as background source music during a dinner scene in an upscale restaurant. He's on the hunt for mellow, smooth, sophisticated sounding Jazz Instrumentals that can be heard on some of the tracks on Miles Davis' Kind of Blue album. Note: The tracks with busy, upfront solos are NOT what the Supervisor needs. 
"Blue in Green" by Miles Davis:
"How Deep is the Ocean" by Bill Evans Trio:
"You Don't Know What Love Is" by John Coltrane Quartet:
Quoting the Source: "I'm looking for some light cocktail music to play as background source during a dinner scene. This would be more straightforward, serious dinnertime Jazz. None of the lead instruments should be too intrusive or out front. Any examples from Miles Davis' Kind of Blue album would work great as a reference!"
Give him instrumentals that you wouldn't mind hearing during a classy Valentine's Day date with your significant other. Mellow Instrumentals with a small ensemble sound and sparse instrumentation should work best for this pitch. This will be background source music and needs to help create the atmosphere of the scene, so anything that gets too loud, busy, harsh, and/or frenetic probably won't work well.
This is a Direct-to-Music Supervisor placement, so you'll keep 100% of your Master and Publishing/Copyright ownership, plus you'll also keep 100% of the sync fee. The estimated sync fee for this placement is $1,000. You must own or control 100% of the Master to pitch for this opportunity. Broadcast Quality is needed (great sounding home recordings are fine). All Submissions will be screened on a Yes/No basis by a Music Coordinator working directly on the show. No full critiques. Please submit 1-3 Instrumentals no later than Friday, February 6th, 2015, by 4pm (PST). TAXI #U150206JZ

HEARTFELT, ACOUSTIC-BASED SINGER/SONGWRITER SONGS with Male Vocals are needed by a Major Record Label for a promising International artist that has the Industry buzzing. Submit well-crafted Down-to-Mid-Tempo Songs that would immediately appeal to fans of artists like Ray LaMontagne, Brett Dennen, Amos Lee, etc., etc., etc. Quoting the source: "They want songs that feature prominent acoustic elements, with melodies that show off a heartfelt and honest vocal. Lyric themes can vary as long as they are current, personal, and creative." Give them intimate songs with great lyrics, coupled with a deeply moving and unforgettable melody. Hooks that draw the attention of the audience into a well-crafted story will work best. Stripped-down demos are okay for this pitch. Your recording quality (even for stripped-down demos) needs to be clean, clear, well balanced, and good enough to represent your song well. Please submit one to three Songs online or per CD, include lyrics. All submissions will be screened and critiqued by a TAXI screener handpicked by the Label and must be received no later than Friday, February 6, 2015. TAXI #S150206SS

A legendary 1962 concert by João Gilberto & Antonio Carlos Jobim will be released next month

After many unofficial issues (each one with a different cover!), a true collectors' item among Brazilian music connoisseurs, "Um Encontro No Au Bon Gourmet," will be commercially released for the first time next month, on March 3rd, by the Doxy label. Initially, it will be available only on a 140 gram audiophile clear vinyl (ACV) LP, in a limited and numbered issue. Tomorrow it becomes available for pre-order on

Recorded live (on August 2, 1962) during an engagement at the Au Bon Gourmet nightclub in Rio de Janeiro, the concert reunites bossa nova legends Joao Gilberto (vocals & acoustic guitar), Antonio Carlos Jobim (piano), Vinicius de Moraes (vocals), Milton Banana (drums), Octavio Bailly (acoustic bass) and the stunning group Os Cariocas (by then consisting of Severino Filho, Badeco, Quartera and Luiz Roberto).

That concert introduced a "new" song, "Garota de Ipanema" ("The Girl From Ipanema"), performed with a seldom-heard intro. The following year, Gilberto, Jobim and Banana -- plus Stan Getz and Astrud Gilberto -- would record the internationally famous version included on the million-selling and multi-Grammy winning album "Getz/Gilberto."

Among the other tunes performed on that concert are two more later selected for "Getz/Gilberto": "Só Danço Samba" (known here in the U.S. as "Jazz 'n' Samba") and "Corcovado" ("Quiet Nights of Quiet Stars"), both composed by Jobim. The tracklist also includes "Samba de Uma Nota Só" ("One Note Samba"), "Insensatez" ("How Insensitive"), "O Amor Em Paz" (Once I Loved") -- all written by Jobim -- plus Baden Powell's "Samba da Benção" and Dorival Caymmi's "Samba da Minha Terra."

The original concert was directed by Aloysio de Oliveira, and this LP issue includes liner notes by the California-based Brazilian music historian Daniella Thompson.

Shannon Lee Blass with Bill Strout's Big Band 2000 live @ Steamers, next Monday, Feb 9

It's the second-Monday-of-the-month again, so Shannon will be back onstage with Bill Strout's Big Band 2000 on Monday, February 9. Catch either set (8pm or 9:30pm) or both if you can.
The cover-charge is just $2 per person; me plus 17 cool jazz cats = great value for great live music.
Call 714-871-8800 to RSVP. Hope to see you there!

News from Jazzinstitut Darmstadt

                                              (Eberhard Weber)

29 January 2015
Carol Sudhalter / Nils Landgren

Nancy Ruhling talks to the saxophonist Carol Sudhalter about her musical family, about her decision to become a musician even though her parents had other plans for her, about the sad realities in today's music business and yet the fun to be part of it all ( Huffington Post). --- Jürgen Overkott talks to the Swedish trombonist Nils Landgren about the public image of Sweden, about the beginning of his career as a studio musician for the pop band Abba, about his red trombone and about his engagement for social projects in Africa ( Der Westen).

30 January 2015
Avishai Cohen / Afro-Semitic Experience

Knut Henkel talks to Avishai Cohen , or rather, he talks to both Avishai Cohens, the bassist as well as the trumpeter ( Jüdische Allgemeine). Bassman Cohen tells him that the Israeli jazz scene got livelier when musicians like Anat Fort and him returned from America. Trumpetman Cohen, we learn, sounds more like a New Yorker than an Israeli musician, yet insists that, of course, there are influences from Israel in his music as well. --- Gregory Robinson talks to the bassist David Chevan about the concept behind the band Afro-Semitic Experience, which tries to take a different take on the Jewish musical tradition and in their new album has approached the music of John Coltrane ( The Jewish Week). The Afro-Semitic Experience, says Chevan, came from the idea "that a musical dialogue is a good place to start an intellectual dialogue as well".

31 January 2015
Sarah McKenzie / Kenny G

Jon Garelick talks to the pianist and singer Sarah McKenzie about what she learned while studying at Berklee College, about her initiation to jazz in her native Australia, about the influence of Oscar Peterson's style, and about the importance of believability in jazz singing ( The Boston Globe). --- Jason Lipshutz reports that the smooth jazz saxophonist Kenny G might be "partially responsible" for the idea of the Starbucks Frappuccino, a company he had invested in early in its existence ( Billboard).

1 February 2015
Stan Getz / Maria Joao

John Schreiber reports about a law suit by Samantha Cesena who was engaged to the saxophonist Stan Getz when he died to remove the trustee of the trust established on her behalf because she has not been paid her monthly payments since July 2013 ( My News LA). --- Karin Schütze talks to the Portuguese singer Maria Joao about a new project with the Upper Austrian Jazz Orchestra, about the difference between Austria and Portugal, about not being a Fado singer, about the hardships of the music business, about her initiation to jazz and about finding balance in Aikido ( Nachrichten AT).

2 February 2015
Kenny Barron / Eberhard Weber

Calvin Wilson talks to the pianist Kenny Barron about having played more duets recently, especially with the vibraphonist Stefon Harris, and about being willing to take more chances as he grows older "and just see what happens" ( St. Louis Post-Dispatch). --- The celebration of Eberhard Weber in Stuttgart last week was recorded by German TV and broadcast online - a heartfelt and wonderful tribute featuring Gary Burton, Pat Metheny, Jan Garbarek, the SWR Big Band and speeches, especially one by the trumpeter Manfred Schoof and a more than adequate response by Weber himself who even though he can't play anymore after a stroke, sat on stage for the whole concert ( SWR). Hans Hielscher hears Eberhard Weber's latest CD and reads his new autobiography ( Spiegel Online).

3 February 2015
Branford Marsalis / Jasper Høiby

Amy Wilder talks to the saxophonist Branford Marsalis about his recent solo album, about the importance of studying recordings, about the power of melody, about listening to music without expectation of a musical reward in the end, about musical curiosity and the universality of music, about other career aspirations in his youth (lawyer, politician, football player) and about the surprise of his family when he decided to become a musician ( Columbia Tribune). --- Cormac Larkin talks to the Danish bassist Jasper Høiby about his trio Phronesis, about it having been compared to the Esbjörn Svensson Trio, about their concerts in the dark, and about the concept of Phronesis not being that of a traditional piano trio ( The Irish Times).

4 February 2015
... what else ...

Peter Hum talks to the drummer Matt Wilson about how music and the music world helped him to deal with the loss of his wife ( Ottawa Citizen). --- Mark Prigg reports about the Georgia Tech researcher Mason Bretan who has programmed a "robot jazz band" to accompany human musicians ( Daily Mail). --- Sarah Foster talks to the young trombonist Austin Seybert ( The Daily Illini). --- Suzanne Hogan talks to the drummer Zack Albetta ( KCUR). --- Ullrich Riedler reports about jazz in 1950s Kassel, Germany ( HNA). --- Joshua Pichard looks at John Coltrane's recording of "A Love Supreme" ( Nooga); Jack Garner ( Democrat and Chronicle ) and Michael Gold ( Newsweek) remember "A Love Supreme" as well. --- Martin Fichter-Wöß talks to the Austrian singer Lia Pale ( Tiroler Tageszeitung). --- Ted Gioia recalls his first encounter with Keith Jarrett's "Köln Concert" and asks why the album still sounds as fresh today as it did 40 years ago ( The Daily Beast). --- Lothar Martin reports about the decision of Czech clarinetist Pavel Smetáček to retire from music ( Radio Praha). --- Ron Hart writes about the 1990s alliance between Blue Note recordings and hiphop ( The Wondering Sound). --- Michael Elkin talks to the British pianist and singer Jamie Cullum ( The Intelligencer). --- Louis Reitz talks to the German guitarist Alfred Hertrich ( Oberpfalznetz). --- Ben Ratliff attends a concert at the Metropolitan Museum in New York, during which musicians connect in different ways with the exhibited works of art ( New York Times). --- Peter Englot reports about the open job position as director of the Institute of Jazz Studies at Rutgers University in Newark, New Jersey, a search for someone who "needs to be part impresario and part scholar, someone who will immediately be seen as a major collaborator, advocate and cheerleader for jazz's bright future" ( Rutgers Today).


We learned of the passing of the pianist Howard Macdonald at the age of 86 ( Newton Patch), the trumpeter Clifford Bean at the age of 85 ( Chicago Sun-Times), the former singer and composer Rose Marie McCoy at the age of 92 ( New York Times), the singer Kamal Scott at the age of 74, as well as the photographer Will McBride at the age of 84 ( Berliner Zeitung).

Last Week at the Jazzinstitut

Our next JazzTalk concert on Friday, 6 February, will feature two exceptional vocalists, accompanied by the Martin Sasse Trio: the Cologne-based singer Alexander Gelhausen as well as the scat legend Willi Johanns . 81-year-old Johanns is one of the few authentic bebop singers in Germany ( YouTube). Gelhausen, who is a tad younger, scats as well but also uses a repertoire from the blues and the Great American Song Book.

Before the concert we will open a new exhibition called "Something Completely Different. Plakate!", in which the Jazzinstitut's visual art curator Doris Schröder has chosen exceptional examples of poster art advertising jazz ( Jazzplakate!). Ahead of the event, Thomas Wolff reports about the preparations for the exhibition ( Darmstädter Echo).

Our local newspaper has a column these days in which Darmstadt citizens comment on pictures from the Radenko Milak exhibition at Darmstadt's Kunsthalle museum. For one of the pictures Wolfram Knauer remembered the Challenger accident on 28 January 1986, and recalled the astronaut Ron McNair who died in the crash, only the second African American in space who had his saxophone with him as he had planned to perform a live feed from space to a Jean-Michel Jarre concert. ( Darmstädter Echo).

Over the weekend, Arndt Weidler met with colleagues from the Union Deutscher Jazzmusiker and the IG Jazz Berlin to prepare a study about living and working conditions of jazz musicians in Germany.

More progress in our preparations for the 14th Darmstadt Jazzforum. We are still collecting suggestions for this international conference which will focus on "Gender and Identity in Jazz", at which we will not just talk about women in jazz, though, but also about the image jazz has developed over the years, both within the jazz world and to outsiders, how they were shaped and how they change. Our call for papers is online until the end of the month; we invite suggestions for papers, lectures or other programmatic suggestions on the topic. Please refer to our website for the scope of the conference ( call for papers, Darmstädter Jazzforum).

We read ... Christina Maria Bauer's book "Livejazz in München" as well as Dean Alger's "The Original Guitar Hero and the Power of Music. The Legendary Lonnie Johnson, Music and Civil Rights". The review of these and other books can be found on the book review page of our website .

Tonight, Katie Thiroux's CD release show @ Kitano, NY

The debut album by a promising jazz bassist/vocalist, "Introducing Katie Thiroux," which features guitarist Graham Dechter, tenor saxophonist Roger Neumann and drummer Matt Witek, was officially released a couple of days ago, on February 3rd. 

Please come join Katie as she celebrates the release in New York tonight, February 5th, at the Kitano! The album was produced by Jeff Hamilton. 

Two Sets at 8pm & 10pm
Tickets: call 212-885-7119 for Reservations

Instrumental Jazz CD of the Month - "Mark Wade Trio: Event Horizon"

Instrumental Jazz CD of the Month
Mark Wade Trio: "Event Horizon" (MW) 2015
Release Date: February 17, 2015

Rating: **** (musical performance & audio quality)
Produced by Mark Wade Music
Recorded @ System Two Recording Studio (Brooklyn, NY) in June 2014
Mixed & Mastered by Frank Fagnano

Bassist Mark Wade takes the art of the trio to brilliant new heights with his debut recording Event Horizon, to be released February 17, 2015 by his Mark Wade Music imprint. Working with trio-mates Tim Harrison, piano, and Scott Neumann, drums, Wade shines as an instrumentalist, composer, and bandleader.

"I always loved listening to great piano trios," the Queens, New York-based bassist says. "With no horn players or other musicians, there is so much space for expression, but with that comes the responsibility to have something to say. You can't hide behind a lot of other musicians. Everybody has to really stand out. I wanted to challenge myself and put myself in a situation where I had to be an excellent soloist."

Writing for the piano trio was a challenge Wade embraced. "How can you orchestrate and arrange three instruments to sound big and full?" he asks. "If you've got 12 or 20 people, you have a lot more colors at your disposal as a writer. With three people, it forces you to think about what is really essential to get across a musical idea."

Wade's compositions range from the opening waltz, "Jump for Joy," and the peaceful ballad "Cold Spring" to the aggressive, edgy "Twist in the Wind" and the Afro-Cuban-flavored "Tossed." The ballad "Apogee" has no time, while "Singsong" has no melody ("It's a motif that keeps coming back, holding the song together"). The only non-original on the disc, Harold Arlen's "If I Only Had a Brain," is notable for its use of swinging 5/4 and its re-harmonization and modulations.

The title Event Horizon, says the self-described "science enthusiast," refers to "where you go from not being in a black hole to falling in. In a broader concept, it's the edge at which something happens. This album for me is kind of the edge of something happening because I'm launching my solo career. I see it as an adventure, a stepping-off point."
Mark Wade
Wade first worked in a trio setting with Tim Harrison and Scott Neumann while the bassist was an artist-in-residence at the historic Flushing (NY) Town Hall in 2013 and '14. The three connected so well that Wade began composing for the new trio. "Their musicality," he says, "influenced the writing choices I made."

"Tim really excels," says Wade of the Nottingham, England-born Harrison, "not just as a soloist but also as an ensemble player and an accompanist. He's very sensitive, he listens, and he's really conscious about getting the music right and sounding good."

"Scott is a unique voice on the drum set," Wade says of Neumann, who was born in Bartlesville, Oklahoma, and whose extensive credits include work with Woody Herman, David Liebman, and Kenny Barron. "There's a never-ending supply of ideas for everybody to play off of."

Mark Wade Mark Wade was born in Livonia, Michigan (Dec. 29, 1974) and raised there and in Long Valley and Morristown, New Jersey, where he taught himself to play electric bass at age 14. At New York University, he studied with Mike Richmond, who encouraged him to also take up acoustic bass for jazz gigs. Wade considers Richmond a major influence, along with Ray Brown, Paul Chambers, and Scott LaFaro.

Since graduating NYU, Wade has busied himself in a variety of musical contexts, from jazz to classical. His jazz credits include playing in the string section for the Jimmy Heath Big Band's performances of Ernie Wilkins's Four Black Immortals, appearing with vocalist Stacey Kent on The Today Show, playing with Bill Warfield's New York Jazz Repertory Orchestra, and recording with vocalist Elli Fordyce. And Wade has played with numerous classical ensembles, including the Key West Symphony with which he backed guitarist Sharon Isbin and violinist Robert McDuffie, both of them Grammy winners.

Wade also directs New Music Horizons, an organization he founded in 2014 to perform and promote the works of emerging jazz and classical composers. "There are a lot of challenges composers face in getting their music accepted," he says. "Top venues often don't want to program artists who don't already have a large following. Reaching new audiences is difficult when you aren't playing at top venues. It's a tough cycle to break. I started New Music Horizons to give composers a chance to showcase their work at established arts venues to attract new audiences to their music. I think this kind of support is critical to the long-term success of new music."

The Mark Wade Trio will be performing at two CD release shows in support of Event Horizon: 3/5 Somethin' Jazz Club, 212 E. 52nd Street, NYC, 7:00-8:45pm; and 4/15 St. Peter's Church Midday Jazz Series, 619 Lexington Ave. at 54th Street, NYC, 1:00-2:00pm.

Photography: Jesse Winter

Vinyl Reissue of the Month - "Art Farmer/Jim Hall: Big Blues" (45pm, 2-LP audiophile issue)

Vinyl Reissue of the Month 
Art Farmer & Jim Hall: "Big Blues" (CTI/ORGM) 1978/2015 
[45rpm-edition, 2-LP set, numbered and limited issue] 

Produced by Creed Taylor
Engineered by David Palmer @ Electric Lady Studios (New York, NY), assisted by Joel Cohn
Arranged by David Matthews
Photos: White Gate
Album Design (Artwork): Sibbi Chalawick
Liner Notes: Ira Gitler

Originally released as a single LP (catalog number CTI 7083), this gorgeous album now re-appears as a 2-LP set (cat. # ORGM 2018) due to a wise decision of the guys from ORGM (Original Recordings Group Music), in association with Speakers Corner Records, two companies that have been constantly reissuing important titles from Creed Taylor's CTI label. The official release date in Europe is February 28, 2015.

Recorded during only 2 sessions (February 2 & 3, 1978) and released one year later, "Big Blues" remains one of my favorite sessions ever done by Farmer, Hall, Taylor and all the musicians involved. Kudos also to David Matthews, CTI's chief arranger at that time, that decided to use a sparse instrumentation consisting only of flugel, guitar, vibes, bass and drums. No keyboards, no strings or brass sections. no overdubs. Just the phenomenal "basic" group, with the co-leaders sharing the solo spots with vibist Mike Mainieri, who flyes over the horizon. All in top form.

That was the only session ever done for CTI by Michael Moore (who had already played with Gerry Mulligan and Bill Evans, and develops a long association with Gene Bertoncini), whose blessed tone of his acoustic bass is captured in a wondeful way. Furthermore, he instantly "clicked" with drummer Steve Gadd, infallible as always. Their interaction was simply perfect, and I can't believe they never met again. Hip, hip, very hip!

The repertoire includes four long tracks: Hall's exquisite title track "Big Blues," Thad Jones' lovely ballad "A Child Is Born," Benny Golson's jazz classic "Whisper Not," and a superb adaptation of Maurice Ravel's "Pavane For A Dead Princess" prepared by David Matthews, somehow similar to what Don Sebesky had done three years earlier with Joaquin Rodrigo's "Concierto de Aranjuez" for another Jim Hall masterpiece, "Concierto." Btw, both tracks inspired me and Rodrigo Lima when conceiving our adaptation of Brahms' "Symphony #3" for Lima's "Saga" CD, which, not coincidentally, features Mike Mainieri.

Two tracks per side in the original "Big Blues" LP. Now, one track in each of the four sides, with the glorious recording by David Palmer @ Electric Lady now sounding even more pristine thanks to Bernie Grundman's remastering, and the audiophile pressing at Pallas (in Germany). It's a numbered and limited issue of 1,500 copies destined for audiophiles. If you love CTI and/or any of the musicians involved, you can't miss it.

"Big Blues" - Art Farmer (flh); Mike Mainieri (vib); Jim Hall (g); Mike Moore (b); Steve Gadd (dr)

"Big Blues" wurde bei den Electric Lady Studios im Februar 1978 aufgenommen und 1979 beim CTI-Label veröffentlicht; es ist eines der ersten Male seit der Mitte der Sechzigerjahre, dass sich Flügelhornist Art Farmer und Gitarrist Jim Hall für eine Session von perfekter Zusammenarbeit und Harmonie wieder zusammengetan hatten. Dieses einzigartige Quintettprojekt wird vervollständigt durch Mike Mainieri (Vibraphon), Michael Moore (Bass) und Steve Gadd (Schlagzeug) – die Ergebnisse sind gleichermaßen entspannt wie lyrisch.

Die ergiebige, aus vier Stücken bestehende LP beginnt mit einer strukturierten Aufnahme von Benny Golsons "Whisper Not", schafft spielend "A Child Is Born" von Thad Jones, ehe sie Jim Halls eigenes Cool/Bop Titelstück "Big Blues" durchläuft und mit einer erstklassigen Jazzadaptation von Maurice Ravels klassischem Standardstück "Pavane For A Dead Princess (Pavane pour une infante défunte)" abschließt.
ORG Music hat die klassische Aufnahme einer audiophilen Behandlung unterzogen mit dieser 45rpm-Wiederauflage, von den originalen analogen Bändern bei Bernie Grundman Mastering neu gemastert und gepresst auf 180g Vinyl bei Pallas in Deutschland. Jede der 1500 Kopien dieser limitierten Edition sind fortlaufend nummeriert.

Saturday, January 31, 2015

"Fundamental Sessions" in LA, Feb 4th

Featuring DJs Joseph Dakota, Crimson Twins, Mark Anthony and Will Mancia
Opening set by Drea Stone
This next Wednesday, February 4, from 9pm to 2am @ The Office Lounge (2412 North Broadway, Los Angeles, CA)

"New" CDs by Stan Getz, João Gilberto, Wes Montgomery and Larry Young coming out soon

The LA-based Resonance Records, founded by jazz impresario and recording engineer George Klabin, is preparing the release of two albums (of previously unreleased material) in partnership with the Stan Getz estate. "Moments In Time," a deluxe packaged 1CD/2LP set recorded live during an engagement (from May 11 to 16, 1976) at the famed San Francisco venue Keystone Korner (headed by producer Todd Barkan in the 70s), captures Stan leading a quartet with pianist Joanne Brackeen, bassist Clint Houston, and drummer Billy Hart. Resonance's plans are to release this recording on the same day they will issue "Getz/Gilberto '76," also recorded at the Keystone Korner, with the same band backing Getz and Brazilian bossa nova legend Joao Gilberto.

The illustration of the cover of "Moments In Time" was created by one of the most talented and important illustrators today, Mr. Takao Fujioka. "I first met Takao while in Osaka, Japan last August and was immediately taken by his work. I commissioned him to create this cover and am really happy with the results," says Steve Getz, Stan's beloved son who once toured my native Brazil playing percussion on his father's band (actually this same band heard on the album). Takao-san is also the publisher of the Osaka based jazz magazine, 'Way Out West'. The Jazz Gallery in NYC recently did an exhibition of his work. You can also check out more at Takao's website:

Next April 18, to celebrate the Record Store Day, Resonance will be releasing a special issue titled "Selections from Getz/Gilberto '76," available only as a 10-inch vinyl LP. That same day the label will issue a set by guitar wiz Wes Montgomery with pianist Eddie Higgins Trio ("One Night In Indy," cut on January 18, 1959) and another one by master organist Larry Young ("Selections From In Paris: The ORTF Recordings," recorded in 1964 and 1965. Famous for his sessions with Tony Williams and Miles Davis, the late (and much missed) Young will have his full album released probably only by the end of 2015.
The tapes of the January 18,1959 Indianapolis jazz club performance that unites Wes Montgomery & The Eddie Higgins Trio formerly belonged to the late-great Indiana photo journalist, Duncan Schiedt, who passed away in 2014. Members of the Indianapolis Jazz Club that Scheidt co-ran recorded this performance. The trio consists of Higgins on piano, an unidentified bassist (!) and Walter Perkins (who was Ahmad Jamal's trio before Vernell Fournier) on drums.

As Producer Zev Feldman notes, "In 2013, Duncan contacted me about tapes he had of Wes playing with Higgins at a jazz club society that he and a bunch of his friends ran in Indy. The senior members of the club continually passed down this found tape to younger members of the club; Duncan was the last living member, and he passed these tapes onto me. Duncan hoped that these tapes would be released one day in partnership with the family, which is exactly what we've done," with the blessing of Higgins' widow, Meredith D'Ambrosio, whom Feldman found via Sunnyside Records president, François Zalacain.

Feldman adds, "Duncan & I became friends while working on the Echoes of Indiana Avenue project. I'm grateful to Duncan for his lasting friendship and for sharing this with the world to hear. It is nothing short of amazing that after decades of no new Montgomery music, Resonance has brought to light new documents that will help Wes's legacy live on: the upcoming May 2015 release of "In the Beginning" and, thanks to Duncan, One Night In Indy."

This Limited Edition 12" LP (pressing of 2500) will be presented on 180 gram vinyl at 33 1/3 rpm by Erika Records and includes over 40 minutes of music. The six tracks: "Give Me the Simple Life," "Prelude to A Kiss," "Stompin' at the Savoy," "Ruby My Dear," "Li'l Darlin'" and "You'd Be So Nice to Come Home To." With a cityscape view of Indianapolis suggesting a night to be remembered, Burton Yount artistically designed the cover, based on a pic (from the mid 50s) of the Indiana Historical Society.
Another important discovery -- from the National Audiovisual Institute (INA) in France which includes the Office of Radio and Television (ORTF) archives -- "Selections from Larry Young In Paris - The ORTF Recordings," features never-before-released 1964-1965 live & studio recordings from American jazz organist & pianist Larry Young.

This project came about in 2012 when Resonance began to inquire what was in the ORTF archives (now a part of INA, the National Audiovisual Institute). Feldman discovered that these Larry Young recordings had been sitting in their vault for nearly 50 years since the mid '60's. This project tells the story of Larry Young as an American jazz artist living in Paris. Featured artists include Woody Shaw on trumpet, Nathan Davis on saxophones and Billy Brooks on drums plus numerous French artists (Nathan Davis Quartet recordings are included in this release).

This Limited Edition 10" record is pressed on 140 gram vinyl at 33 1/3 RPM by Erika Records (pressing of 1,500). The tracks are "Beyond All Limits," "Luny Tune," "Frame of Thought" and "Larry's Blues." The cover is artistically designed by Burton Yount using a previously unpublished photograph by Francis Wolff/Mosaic Images. In 2015/2016, listeners can look forward to a 2-CD and 3-LP full length edition.
Some past Resonance titles include the critically acclaimed "John Coltrane Offering: Live at Temple University," Charles Lloyd's "Manhattan Stories," Wes Montgomery's "Echoes of Indiana Avenue" and Bill Evans' "Live at Art D'Lugoff's Top of the Gate." Located in Beverly Hills, CA, Resonance Records is a division of the Rising Jazz Stars Foundation, a California 501(c)(3) non-profit corporation created to "discover the next jazz stars." Resonance artists include Richard Galliano, Polly Gibbons, Tamir Hendelman, Christian Howes, Claudio Roditi and Donald Vega, among others.

Monday, January 26, 2015

Arnaldo DeSouteiro Bio / JSR (Jazz Station Records) - Address & Contact Info

            (Arnaldo DeSouteiro during a recording session in 2014)

"People are going to talk about you, especially when they envy you and the life you live. Let them. You affected their lives, they didn't affect yours... you will eventually lose someone you love & love someone you never thought you'd find..."
Arnaldo DeSouteiro - Short Bio

Music Producer (with over 380 albums to his credit according to the All Music Guide), Voting Member of NARAS-GRAMMY and Jazz Journalists Association (NY), Member of LAJS (Los Angeles Jazz Society), Musical Philosopher, Journalist, Jazz & Brazilian Music Historian, Publicist, Public Relations, Composer (having written successful jazz & pop songs, some dance hits like "O Passarinho" for the Italian TV reality show "La Pupa e Il Secchione", and "Samba da Copa" for the "2006 World Cup" in Germany, plus many other soundtracks for movies, soap operas & TV series in the USA -- PBS, BET, Universal Cable etc --, Europe and Asia), Lyricist (he wrote lyrics to Dave Brubeck's "Broadway Bossa Nova" at the invitation of Brubeck himself, among other songs), Arranger, Percussionist, Keyboardist, Programmer, Educator (conducting clinics and panel sessions worldwide as the first Brazilian member of IAJE-International Association of Jazz Educators during its existence). He has also acted as consultant for several companies and jazz festivals all over the world.

Founder and CEO of JSR (Jazz Station Records), a Division of Jazz Station Marketing & Consulting - LA, Calif. Most recently, founded LaCalifUSA Pictures and JSR Casting in 2007 for movie & TV productions featuring music & fashion.

Produced the acclaimed CD compilation series "A Trip To Brazil," "CTI Acid Jazz Grooves," "Brazilian Horizons," "Focus on Bossa Nova," "Focus on Brazilian Music Grooves", "Bossa Nova Singers," "Bossa Nova Guitar","Jazz Rock" etc.

Produced special compilations for Quincy Jones ("Summer in the City - The Soul Jazz Grooves of Quincy Jones"), Chick Corea ("Electric Chick") and Deodato ("Do It Again - The Fantastic Jazz-Funk of Eumir Deodato"), all released by Verve/Universal. His latest CD for Verve is "Bossa Nova USA," released last May, featuring Dave Brubeck's title track performed by Quincy Jones.

Supervised and/or Directed TV specials featuring João Gilberto, Antonio Carlos Jobim, Dizzy Gillespie, Chuck Mangione, Flora Purim & Airto Moreira, Miles Davis, Dom Um Romão, Eliane Elias, Diana Krall, Eumir Deodato, Bjork et al. Worked with producers Creed Taylor, Yoichi Nakao, Susumu Morikawa, Matthias Kunnecke, and photographers Pete Turner, Victor Skrebneski, Robert Mappelthorpe, Duane Michals.

Mr. DeSouteiro has also worked in his native Brazil for TUPI-FM radio station (as musical programmer-DJ as well as hosting his own show, "Jazz Espetacular"), Manchete TV network (anchoring & supervising the "Terça Especial" series for which he interviewed such jazz giants as Dizzy Gillespie, Tony Bennett, Chuck Mangione, Airto Moreira, Flora Purim etc), Globo TV network (screenplay, coordination and mix for the TV special "João Gilberto & Antonio Carlos Jobim - O Grande Encontro" in 1992, the last time these 2 geniuses performed together, plus the texts and screenplay for the "Minuto da Bossa" series), and as the jazz columnist for the "Tribuna da Imprensa" (Press Tribune) daily newspaper during 29 years (from 1979 to 2008). Before moving to the USA, he also worked as Brazilian correspondent of "Keyboard" magazine (from 1985 to 1994), as a free-lancer to Billboard, Cuadernos de Jazz, Swing Journal and International Music Magazine, and as entertainment-in-flight programmer for several airline companies like Varig Brazilian Airlines (from 1983 to 1998).

Produced over 380 albums and sessions featuring: Luiz Bonfa, João Gilberto, Dom Um Romão, Ithamara Koorax, Thiago de Mello, Dexter Payne, João Donato, Palmyra & Levita, Mario Castro-Neves, Jorge Pescara, Paula Faour, Fabio Fonseca, Claudio Roditi, Rodrigo Lima, Hermeto Pascoal, Don Sebesky, Sammy Figueroa, Anna Ly, Carlos Barbosa-Lima, Pascoal Meirelles, Yana Purim, Pingarilho, Nelson Angelo, Marcelo Salazar, Ron Carter, Antonio Carlos Jobim, Steve Swallow, Herbie Hancock, Hugo Fattoruso, Larry Coryell, Sadao Watanabe, Jurgen Friedrich, Eloir de Moraes, Gazzara, Deodato, Jadir de Castro, Azymuth, Marcio Montarroyos, Sivuca, Laudir de Oliveira, Marcos Valle, Jay Berliner, George Young, David Matthews, Lew Soloff, Alphonso Johnson, Gene Bertoncini, John McLaughlin, Claus Ogerman, Raul de Souza, Gonzalo Rubalcaba and many others.

Produced and supervised CD reissues of albums by Ron Carter, Hank Crawford, Johnny Hammond, Sergio Mendes, Hubert Laws, Grant Green, Idris Muhammad, Joe Beck, Esther Phillips, Lonnie Smith, David Matthews & Whirlwind, Phil Upchurch, Tennyson Stephens, Miucha, Flora Purim, Carlos Lyra, Tamba Trio, Ivan Lins, Raul de Souza, Trio 3-D and many others. As annotator, he wrote liner notes and press releases for albums by Toots Thielemans, Hank Crawford, Stan Getz, Ella Fitzgerald, Pat Metheny, Eliane Elias, Carlos Barbosa-Lima, Jeff Linsky and dozens of others for labels like RCA, CTI, Kudu, Milestone, Fantasy, Verve, Columbia, Irma, Alfa, JVC, Caju, Sonet, Paddle Wheel, JHO, Mercury, Imagem etc.

Mr. DeSouteiro also had the honor to be associated with some of the world's greatest photographers like Pete Turner (who did the cover photo for Jorge Pescara's CD "Grooves in the Temple," released on his own JSR label and featured on Turner's new book "The Color of Jazz"), Victor Skrebneski (the CD reissue of "Upchurch/Tennyson"), Bruce Weber (Esther Phillips' "For All We Know"), Robert Mappelthorpe ("Brazilian Horizons"), Alen MacWeeney, William Cadge, and Duane Michals (many of the CTI CDs) and so on. He has appeared in several movies and TV series such as the Award Winning documentary movie "Beyond Ipanema," for which he was interviewed alongside Creed Taylor, Lalo Schifrin, Wayne Shorter, Gene Lees and Norman Gimbel.
Jazz Station Marketing & Consulting, JSR Casting, LaCalifUSA Pictures
CEO & Founder: Arnaldo DeSouteiro
9930 Liebe Dr.
Los Angeles, CA 90210
JSR - NY Address:
Arnaldo DeSouteiro
PO Box 1338
Radio City Station
New York, NY 10003
Jazz Station Records (JSR), a division of Jazz Station Enterprises
CEO & Founder · Los Angeles ·
Arnaldo DeSouteiro
Jazz Station Records - LA
1545 Wilshire Blvd.
Los Angeles, CA 90017
PO Box 1338
Radio City Station

(PLEASE, DO NOT SEND UNSOLICITED MATERIAL; any unsolicited CD or promo packets will be returned. If you wish to submit material, please contact us through comments on this post or through Facebook. Thx!)

People are going to talk about you, especially when they envy you and the life you live. Let them. You affected their lives, they didn't affect yours... you will eventually lose someone you love & love someone you never thought you'd find...
Arnaldo DeSouteiro – Biografia ultra-resumida 

Produtor de discos, com cerca de 380 álbuns em sua discografia (incluindo novos CDs, reedições, coletâneas, trilhas sonoras, projetos especiais), conforme consta no All Music Guide, principal e mais acessado website sobre música no mundo. Jornalista e publicitário (formado em Comunicação pela PUC-RJ), tendo escrito para os jornais Tribuna da Imprensa (de 1979 até sua extinção em 2009, com 3.200 artigos publicados), Última Hora, O Globo e O Estado do Paraná, revistas Billboard, Keyboard (USA), Cuadernos de Jazz (Espanha), Swing Journal (Japão), Revista do CD (Brasil) etc. 

Roteirista de shows (João Gilberto, Diana Krall, Ithamara Koorax, Marcos Valle, Eumir Deodato, Bjork etc) e de especiais de TV para as emissoras Globo (Antonio Carlos Jobim & João Gilberto) e Manchete (Dizzy Gillespie, Tony Bennett, Chuck Mangione, Airto Moreira & Flora Purim etc) no Brasil, BET e PBS nos EUA, NHK no Japão (Diana Krall, João Gilberto, CTI All Stars, Dave Brubeck etc).

Nascido no Rio de Janeiro (Brasil) em 1963, radicado em Los Angeles (EUA) desde 1999. Estudou piano clássico e harmonia com sua mãe, a pianista e maestrina Delza Agricola. É membro da Associação Brasileira de Imprensa (ABI) desde 1979, membro catedrático titular efetivo da Academia Internacional de Música desde 1985, membro votante do Grammy-Naras (National Academy of Recording Arts & Sciences) desde 2006, membro votante da Los Angeles Jazz Society (único brasileiro) desde 2007, e também único brasileiro que é membro votante da Jazz Journalists Association (sediada em Nova Iorque) desde 2002. Atua como consultor e parecerista para diversas empresas, centros culturais e festivais de música no Brasil e no exterior.

Também foi membro honorário e primeiro membro brasileiro da Associação Internacional de Educadores de Jazz (IAJE – International Association of Jazz Educators) durante 12 anos, até sua extinção em 2008, tendo realizado palestras e "panel sessions" nas convenções anuais realizadas nos EUA. Fundador e Presidente da gravadora JSR (Jazz Station Records), sediada em Los Angeles – EUA desde 2001, uma divisão da Jazz Station Marketing & Consulting. Dirige também a LaCalifUSA Pictures, empresa de cinema que produz conteúdo e trilhas sonoras (composição, produção, seleção) para filmes e séries de TV. 

Produziu discos e sessões de gravação com artistas como Luiz Bonfá, João Gilberto, Dom Um Romão, João Donato, Palmyra & Levita, Mario Castro-Neves, Claudio Roditi, Gaudencio Thiago de Mello, Dexter Payne, Rodrigo Lima, Don Sebesky, Hubert Laws, Fabio Fonseca, Marcos Ozzellin, Herbie Hancock, Jorge Pescara, Paula Faour, Anna Ly, Pascoal Meirelles, Yana Purim, Carlos Pingarilho, Nelson Angelo, Marcelo Salazar, Ithamara Koorax, Ron Carter, Antonio Carlos Jobim, Steve Swallow, Herbie Hancock, Hugo Fattoruso, Larry Coryell, Sadao Watanabe, Jurgen Friedrich, Gazzara, Eumir Deodato, Azymuth, Marcio Montarroyos, Sivuca, Laudir de Oliveira, Marcos Valle, David Matthews, Gene Bertoncini, John McLaughlin, Raul de Souza, Hermeto Pascoal, Gonzalo Rubalcaba e muitos outros. 

Como compositor e letrista, tem parcerias com Dave Brubeck (“Broadway Bossa Nova”), Francesco Gazzara (“O Passarinho”), Mamoru Morishita (“Hotaru”) e Fabio Fonseca (“Samba da Copa”, executado na cerimônia de abertura da Copa do Mundo de 2006). 
Produziu reedições de discos de Sergio Mendes, Flora Purim, Tamba Trio, Ivan Lins, Carlos Lyra, Miucha, Antonio Carlos Jobim, Ron Carter, Idris Muhammad, Hank Crawford, Lonnie Smith, Johnny Hammond, Luiz Bonfá, Phil Upchurch, Tennyson Stephens, Eumir Deodato, Grant Green, Mario Castro-Neves, João Donato, Claus Ogerman, David Matthews, Esther Phillips, Joe Beck, Eric Gale e muitos outros.

Produziu as séries “A Trip To Brazil” (cujo Volume 1 chegou ao primeiro-lugar na parada de world-music na Europa em 1998, superando “Buena Vista Social Club”), “Brazilian Horizons”, “CTI: Acid Jazz Grooves”, “Jazz Club”, e retrospectivas - lançadas mundialmente entre 2006 e 2010 pelo selo Verve – das carreiras de Quincy Jones (“Summer In The City: The Soul-Jazz Groves of Quincy Jones”), Eumir Deodato (“Do It Again: The Fantastic Jazz Funk of Eumir Deodato”) e Chick Corea (“Electric Chick”).

Desde 1981, tem realizado, como free lancer, produção musical para diversas gravadoras, como RCA/BMG, Sony, Verve/PolyGram/Universal, CTI, King, Paddle Wheel, Pausa, Milestone/Fantasy, Warner/WEA, Motor Music, JVC/Victor, Sanyo, Movieplay, Imagem, Eldorado, CID, Alfa, RGE, Mr. Bongo, Terra Música, Blue Moon, Bomba, Cedar Tree, Treasure Trove, Irma, Vivid Sound, Motéma, e Huks Music, no Brasil, Europa, Estados Unidos, Japão e Coréia. 

Entre 1982 e 1984, atuou como assessor cultural do Serviço de Comunicação Social da Petrobras. Em 1983, criou, produziu e apresentou o programa "Jazz espetacular", transmitido pela Rádio Tupi FM. Em 1984, assumiu a responsabilidade da programação de bordo (musical e audiovisual) transmitida nos vôos internacionais da Varig, função que exerceu durante 14 anos. Também nesse período (1985 a 1987), participou da comissão de seleção do Free Jazz Festival. 

Escreveu textos de contracapa para discos de diversos artistas, como Toots Thielemans, Ella Fitzgerald, Eliane Elias, Antonio Carlos Jobim, Jeff Kinsky, Paulo Bellinati e Carlos Barbosa Lima, entre outros. Assinou textos para divulgação ("press releases") de artistas como João Gilberto, Stan Getz, Oscar Peterson, Pat Metheny, Bill Evans, Jimmy Smith, Elvin Jones, Stanley Turrentine e Tony Bennett.

Atuou como entrevistador em depoimentos prestados para o Museu da Imagem e do Som (Rio de Janeiro e São Paulo) por João Donato, Stellinha Egg, Maestro Gaya, Eumir Deodato, Airto Moreira, Flora Purim e Carlos Barbosa Lima. Em 2001, recebeu o prêmio de International Man of The Year, concedido pelo International Biographical Centre, de Londres. Foi o primeiro brasileiro a receber essa premiação, oferecida anteriormente a apenas quatro outros produtores: Arif Mardin, Tommy LiPuma, Quincy Jones e Phil Ramone. Ainda nesse ano, a JSR (Jazz Station Records), de sua propriedade, foi considerada uma das cinco melhores gravadoras de jazz do mundo, em relação publicada na edição de dezembro da revista especializada norte-americana "Down Beat", premiação que se repetiu por quatro anos (7º lugar em 2003, 9º lugar em 2004, 5º lugar em 2005 e 6º lugar em 2006).

Endereço para correspondência:
Jazz Station Marketing & Consulting, JSR Casting, LaCalifUSA Pictures
CEO & Founder: Arnaldo DeSouteiro
9930 Liebe Dr.
Los Angeles, CA 90210
JSR - NY Address:
Arnaldo DeSouteiro
PO Box 1338
Radio City Station
New York, NY 10003
Jazz Station Records (JSR), a division of Jazz Station Enterprises
CEO & Founder · Los Angeles ·
Arnaldo DeSouteiro
Jazz Station Records - LA
1545 Wilshire Blvd.
Los Angeles, CA 90017
PO Box 1338
Radio City Station