Tuesday, April 21, 2015

Quincy Jones Presents Jacob Collier w/ Louis Cole & Sam Wilkes this Friday in CA

WARNING: A night of irresponsible harmonic distances and unnervingly funky groove scenarios
Friday, April 24th @ 8:00pm
The Edye Broad Stage
1310 11th St. Santa Monica, California 90401

"I have never in my life seen a talent like this. One of my favorite young artists on the planet-absolutely mind-blowing" - Quincy Jones

"Undoubtedly the music world's next genius" - Georgia Mancio, ReVoice Festival

"Nothing short of genius" - Silas Armstrong, International Ronnie Scott's Radio Show

"Your music is legend, Jacob...I want to be like you when I grow up" - Peter Erskine

"Wow, Jacob. Your stuff is amazing" - Herbie Hancock
As part of the Quincy Jones Presents Series, the legendary producer invites you to enjoy a night of insane talent and unbelievable music making.

UK's protean talent, harmony-groove-meister and multitrack arranging internet hero, Jacob Collier is joined by legendary drummer Louis Cole (of the band KNOWER), and masterful bassist Sam Wilkes (of Rozzi Crane).

Jacob Collier is recognized as one of the world's most unique and gifted young musicians. Based in London, UK, Jacob combines elements of musics such as Jazz, A cappella, Groove, Folk, Trip-hop, Classical, Brazilian, Gospel, Soul and Improvisation, which culminate to create his distinctive and revolutionary sound. Since sharing some of these sounds with the world, Jacob's online social channels have garnered over 60K international subscribers and over 3.5 million video views. With viral hits such as his rendition of the Stevie Wonder classic, "Don't You Worry 'Bout A Thing," Jacob has gained luminary fans among the highest realms of the world's music community, including Quincy Jones, Herbie Hancock, Pat Metheny, Chick Corea, Steve Vai, Take 6, to name a few. Jacob is currently tending to an album, and designing and building a groundbreaking live solo performance vehicle, with which he will soon be touring Earth.

Louis Cole is one half of cult electronic funk-pop duo, Knower. A drummer and music creator from Los Angeles, Louis' mission is to create deep feelings through music. He has a lot of music on the internet under his own name as well as his band, KNOWER. His music consists of Insanely Heavy Funk, deep ballads, and other kinds of music in between. Some people describe his style as "Tron Melt" which is an up-and-coming sound from Los Angeles in 2015.

Sam Wilkes is a bassist, producer, musical director, and synthesizer enthusiast. After graduating from USC's Popular Music Performance Program, Sam stayed in Los Angeles where he creates and produces music with many different artists. Principally, he is one half of the indie rock duo pratley and is the musical director for pop-soul artist Rozzi Crane. Sam has performed in many different venues from the Troubadour to Madison Square Garden. He is also an avid record collector who frequently DJ's and studies liner notes. Sam will be releasing a lot of music on the Internet in 2015.

Monday, April 20, 2015

Ira Sullivan Pays Tribute to Red Rodney in NY

Legendary multi-instrumentalist Ira Sullivan makes a rare appearance this week (April 22-23) at New York's Zinc Bar (82 West 3rd Street) to celebrate the life of the late jazz trumpet great Red Rodney.

Sullivan, who turns 84 in May, was a longtime colleague of Red's since the early 50s and co-led the Red Rodney/Ira Sullivan Quintet during the 80s recording a handful of critically acclaimed records while touring extensively throughout the US and abroad.

Beside Sullivan, the tribute will feature some of New York's finest musicians including trumpeter John Bailey, pianist Dave Kikoski, bassist Ed Howard and drummer Anthony Pinciotti. Showtimes on Wednesday, April 22 are at 8 pm & 10 pm and on Thursday, April 23 at 9 pm and 11 pm. For reservations, please call (212) 477-9462 or visit Zinc Bar.

A splendid jazz improviser who performed with the swing groups of Jimmy Dorsey, Gene Krupa, Woody Herman, and Benny Goodman before joining (1949-51) Charlie Parker's bebop quintet, Red Rodney, recognized by his flaming red hair, was also the first white bebop trumpeter. His innovative playing style was marked by his brilliant technique and purity of tone.

After a long absence from the stage, Rodney made a triumphant comeback in the early 70s returning to his former glory as a skilled balladeer and later reconnecting with his erstwhile bandmate Ira Sullivan. Their collaboration led to a fruitful and much-heralded association during the 80s releasing five albums one of which garnered a 1982 Grammy nomination.

In 1988, Rodney served as a consultant on director Clint Eastwood's film "Bird" on the life of Charlie Parker and he also performed on its soundtrack. Rodney continued recording and touring into the early 90s with various bands and was inducted into the Down Beat Hall of Fame in 1990.

On May 27, 1994, Red Rodney died of lung cancer. His death marked the end of an era as he was one of the last living links to Charlie Parker and bebop.

Saturday, April 18, 2015

"New Vocal Repertoire For Performance" - Ellen Johnson's workshop @ Calfornia Jazz Conservatory, tomorrow afternoon

This Sunday, April 19 @ California Jazz Conservatory, from 12pm to 3pm, for all of you who are interested in discovering some new songs: Ellen Johnson's workshop "New Vocal Repertoire For Performance!" 
Register early for the discount at: https://cjc.edu/workshops/?eid=8491

Friday, April 17, 2015

Tomorrow is the Record Store Day! Celebrate with in-store performances @ Other Music in NYC

Other Music: 15 E. 4th St. New York, NY

This Saturday, April 18, is Record Store Day, the annual celebration of independent record shops, vinyl, and passionate record collectors. It's a huge day for Other Music, and all the other great stores we love. They will be open from 10am-8pm with a huge stock of exclusive RSD titles on hand (no, we can't tell you what and how many, but there is a full listing of all the official releases here: http://jazzstation-oblogdearnaldodesouteiros.blogspot.com.br/2015/01/list-of-releases-for-record-store-day.html

There will be some fun giveaways, including a pair of amazing special edition Dogfish Head Crosley portable turntables from our buddies (and official RSD beer sponsor) Dogfish Head Craft Brewery. To enter for your chance to win one of these record players, Tweet or Instagram something RSD-related while you're at Other Music on Saturday, be it the limited releases that you're picking up, or anything else that catches your attention at the store, and then tag your post with #RSD15, @dogfishbeer, and @othermusic (Twitter) or @other_music (Instagram).

And Other Music will be hosting three very special in-store performances throughout the day, from three incredible artists whose boundary-pushing visions remind us why we care so much about indie music in the first place:

75 Dollar Bill @ Noon
Featuring Che Chen and Rick Brown, 75 Dollar Bill takes the repetitive and trance-like desert blues of Moorish guitar music, and then blast and refract it through a distinctly American lens, combining the minimalism of Henry Flynt with the endless, loping riffs you hear in John Lee Hooker, Bo Diddley, or Junior Kimbrough. The duo's Wooden Bag LP is out now on Other Music Recording Co.

Matana Roberts @ 3 p.m.
No one today makes music like alto saxophonist and composer Matana Roberts. Her records are not only rich and immensely enjoyable, they are powerful reminders that there are still musicians with uncompromising vision and ambition. The excellent River Run Thee, Matana's third chapter in her ongoing 12-part Coin Coin series, was released earlier this year on Constellation.

Laraaji @ 5 p.m.
There's been a serious resurgence in the interest of new age music these past few years, in which we were most excited to re-discover a true pioneer, Laraaji. The Brian Eno-associated All Saints label recently began reissuing many of his highly sought-after records, not to mention the essential Celestial Music career retrospective. Inspired by Eastern mysticism, Laraaji explores ideas of "cosmic oneness" on his electronically modified zither, creating gorgeous and transcendent music while adding a sense of gritty experimentation to an otherwise dream-like musical palette.

"Selections from Getz/Gilberto '76" out tomorrow!

As we had anticipated here in January, George Klabin's California-based Resonance Records will be releasing "Selections from Getz/Gilberto '76" tomorrow, April 18, to celebrate 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). The LP has been eagerly awaited by Getz's and Gilberto's fans since we first posted about it four months ago, and the stores expect even better sales than another impressive Gilberto album, "Um Encontro No Au Bon Gourmet," released by the Italian label Doxy (specialized in Public Domain recordings) as announced here last February.

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.

Tomorrow, Resonance will also release 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. For more details, please check: 

未発表発掘レーベルとしてすっかりジャズ・ファンにおなじみとなったResonance Recordsが、今度は、なんと、スタン・ゲッツとジョアン・ジルベルトの76年のライブを送り出します!

言わずもがなの永遠不滅の名コラボ、音楽史上の超大名盤『ゲッツ・ジルベルト』が録音されたのは63年のことで、それから12年あまり。本作にはサンフランシスコの名門クラブ、キーストン・コーナーで行われたライブが収録されています。Resonanceは、スタン・ゲッツ・エステイトはもちろん、ジョアン・ジルベルトを含め参加メンバーの許諾をえて、権利をクリア。このたび、リリースの運びとなりました。70年代において、このコンビの演奏が聴ける作品は、とても少なく貴重でもちろん未発表音源。曲はどれもおなじみながら、この時代らしく、75年にリリースされた『Best of Two World』の収録曲から3曲、そして『ゲッツ/ジルベルト』の収録曲から一曲。このコンビならではの美しい音楽の果実を堪能できます。サウダージ溢れる哀愁のジョアンのヴォーカルと温かみに溢れるゲッツのサックス、また瑞々しく鮮やかなブラジル音楽の響きは、極上です。ジャケット・アートは、『ゲッツ/ジルベルト』『ジャズ・サンバ』等々を手掛けたペインター、Olga Albuizuというのもとてもうれしいところ。盤面もResonanceお得意のカラー・ヴァイナルです。CDおよび2LPとしてのフル・ヴァージョンは2015年または、2016年を予定。そちらの発売も待たれますが、こちらは生粋のコレクターズ・アイテム。ブラジル音楽、ジャズファンはもちろん、アートとしてもうれしいリリース。必携です。

"Gotcha Rhythm Right Here" with The John Tropea Band in NY, this Saturday

If you are in the NY area, don't miss The John Tropea Band tomorrow, April 18, live @ Pete's Saloon (8 W. Main Streer, Elmsford, NY). For reservations, please call (914) 592-9849.

One of my guitar heroes since I heard him on Eumir Deodato's epic version of "Zarathustra" 42 years ago -- followed by a string of great sessions as a leader for Marlin as well by countless sidemen dates with the likes of Lalo Schifrin, Ray Barretto, Hubert Laws and, of course, Deodato --, Tropea now celebrates the release of his 11th solo album, "Gotcha Rhythm Right Here."

The ace guitarist will be joined on stage by Chris Palmaro (Hammond B3 organ), Zev Katz (electric bass), Lee Finkelstein (drums), Tommy McDonnell (percussion), Don Harris (trumpet), Larry Farrell (trombone) & Bill Harris (tenor sax).

All these musicians took part of the "Gotcha Rhythm" sessions, that also include performances by such guest stars as Leon Pendarvis, Steve Gadd, Neil Jason, Will Lee, Randy Brecker and my late friend Lew Soloff. Funk-jazz fusion at its best.

Melena & Her Afro-Cuban Jazz Band @ Steamers

Featuring: Oscar Hernandez, Eddie Resto, Anderson Quintero, Serafin Aguillar & & Javier Vergara

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

Melena Francis Valdes is a world-class percussionist and educator of Afro/Cuban Music History and Percussion. She has toured, performed and recorded with legendary artists such as Barry White, Stevie Wonder, Macy Gray, Julio Iglesias, Chucho Valdes & Irakere, Chayanne, John Tesh, Eva Ayllone, Peru Negro, Giovanni Hidalgo, Ray De La Paz, Mario Ortiz Jr., Chino Nunez and many more. Melena teaches all levels of percussion, and has experience with special needs students as well. 

She has conducted Master Classes nationally and internationally such as: Montreal Drum Festival, Puerto Rico Music Conservatory, Percussion Gallery (Ponce, P.R.), Los Angeles Music Academy, Brownsville University, Remo Drum Center, Braille Institute, Boys and Girls Club, and more. She has specialized her studies in the Afro-Cuban tradition, and has taught her students the importance of the history and knowledge of Afro-Cuban drumming. Melena performs with her Afro-Cuban Jazz and Salsa band worldwide and is one of the most accomplished female percussionists in the Latin Music Industry. Enjoy!

Wednesday, April 15, 2015

Alan Chan Jazz Orchestra live @ The Lighthouse Cafe, this Sunday, April 19

Enjoy "Jazz Brunch" at the Lighthouse Cafe (30 Pier Ave., Hermosa Beach) with a showcase of music by highly-acclaimed composer Alan Chan this next Sunday, April 19. His 17-piece big band “is bringing a set of sounds that haven’t been heard before in an L.A. big band” (Rick Baptist) and “with utterly unique tonal personality.”(Kirk Silsbee). ACJO's debut "Shrimp Tale" album was named one of the best CDs in 2014 by the Jazz Critique Magazine in Japan, and was elected "Best Big Band CD of the Month" by Arnaldo DeSouteiro's Jazz Station blog.

Cover $10 at the door; from 11am to 2:30pm
http://alanchanjazzorchestr.com/ • http://thelighthousecafe.net/

The Orchestra:
WOODWINDS: Kevin Garren, Alex Budman, Jimmy Emerzian, Vincent Trombetta Jr., Ken Fisher
TRUMPETS: Rob Schaer, Jon Bradley, James Blackwell, Michael Stever
TROMBONES: Alan Kaplan, Alex Iles, Ryan Dragon, Steve Hughes
RHYTHM: Jamey Tate - drums, David Hughes - bass, Andrew Synowiec - guitar, Andy Langham - keys

Grammys on the Hill: Take Action

On Monday, The Recording Academy was in New York to help announce new bipartisan legislation called the Fair Play Fair Pay Act. We were joined by Reps. Jerry Nadler (D-N.Y.) and Marsha Blackburn (R-Tenn.) and dozens of artists, musicians, producers, and songwriters. This important bill would finally establish performance rights for artists on AM/FM radio, and provide that all radio services - satellite, Internet, cable and terrestrial - pay artists fair value for their work.

Monday was a great moment for the music community, but to see this bill passed into law we need a movement. So yesterday in Washington, D.C., hundreds of your fellow Academy members walked the halls of Congress to take the message of fair pay for all music creators directly to their representatives during our annual GRAMMYs on the Hill Advocacy Day.

Now it's your turn: use our online advocacy tools so that your representatives can hear from you. It only takes a few minutes to make your voice heard for music creators. Our theme this year is Music Creators United, and united we can make a difference.

"Remembering Joe Sample" tomorrow night!

Tomorrow, April 16, in Charlotte, NC, we remember the music of Joe Sample featuring Joe's son, Nick Sample on bass, Wilton Felder (original Crusader) on saxophone, Alex Bugnon on piano and Raymond Weber on drums. 

Maria Schneider: a new album with her Orchestra and a bonus track with Toots Thielemans

Just a heads up that composer Maria Schneider's long-awaited first album with her Jazz Orchestra in 8 years, "The Thompson Fields," will be available through ArtistShare on June 2nd. The Maria Schneider Orchestra will celebrate the CD release at Birdland in NYC June 2 - 6.

In the meantime, Maria is releasing two bonus tracks for her ArtistShare fans. The first, features a recording made in September 2014 of Toots Thielemans performing alongside Ivan Lins and Maria's band on her arrangement of Ivan Lins' bossa-ballad "Lembra de Mim."  Maria originally wrote this arrangement when she toured with Toots, Ivan and the Danish Radio Orchestra ten years ago.  The download of this new recording will be made available to all ArtistShare "Thompson Fields" Participants on April 29, Toots Thielemans' 93rd birthday!

"I've wanted to record Toots with my band for many years, so I was  overjoyed that he felt enthusiasm to do this," says Maria. "He had announced his retirement, but I was hopeful he would to grace us with a solo. As soon as he agreed to do it, I jumped a plane to Belgium to record him in his home.  He plays with such elegance and charm.  Nothing in this world touches the heart like Toots.  It will be fun to give Toots this little gift on his birthday. "

The second bonus download will be made available to ArtistShare fans the following week.  It's a new rendition of Maria's "Dance You Monster To My Soft Song," first recorded in 1992 on her debut Evanescence recording.  "This features Dave Pietro on alto, and Mike Rodriguez and Greg Gisbert on trumpet.  Over the years we've developed new ways of approaching old music, so it was really fun to re-record this one." says Maria. "The solos on this cut, as well as on the entire new recording, illuminate an astounding level of interaction on the part of these players that I imagine could have only come through years of playing together."
Anyone who purchases the new album automatically receives access to these downloads. With "The Thompson Fields," composer, arranger and bandleader Maria Schneider celebrates a long-awaited reunion with her vaunted jazz orchestra, a homecoming nearly a decade in the making. Featuring eight new original works by the leader, "The Thompson Fields" makes brilliant use of Schneider's 18-piece jazz orchestra, a long-standing ensemble that spotlights such first rank players as Donny McCaslin, Rich Perry, Frank Kimbrough and Lage Lund.

The performances reveal an ever-deepening relationship between Schneider and her musicians, many of whom she has worked with over a quarter of a century.  The album follows a momentous year that found Schneider's recent album "Winter Morning Walks" garnering three wins in the classical category of the 2014 Grammy Awards, making her one of the rare musicians to win Grammys in both the jazz and classical categories (the late Brazilian guitar virtuoso Laurindo Almeida and the then-young lion Wynton Marsalis were the first ones).

Schneider has long been known for her autobiographical music, and with "The Thompson Fields," she goes further, sharing a deep relationship to southwest Minnesota, her childhood home. Although the music reflects her love of native landscape, birds, and prairie, Schneider delves not just into her own roots, but also into what "home" means in broader terms.

The album opens with "Walking by Flashlight," a poignant expression of an early morning walk as depicted by poet, Ted Kooser in Winter Morning Walks.  "I think this may be the only time that alto clarinet was ever featured on a big band album," Schneider claims.  "Alto clarinet has long been relegated to use almost exclusively in wind ensembles, but Scott Robinson elevates this instrument to a place of very tender expression.  I can actually hear Kooser's poetry in Scott's expression of the melody."  Now reorchestrated as an instrumental work, this song was also featured in Scheider's Grammy-winning song cycle, "Winter Morning Walks."

Schneider's most recent work,"The Monarch and the Milkweed," features Marshall Gilkes on trombone and Greg Gisbert on flugelhorn.  Inspired by the beauty and abounding life found in Minnesota native prairie, this piece is specifically dedicated to the monarch. "This butterfly is one example of a creature we love and are inspired by, but that depends upon certain dwindling aspects in the environment - in this case, the milkweed - without which the monarch will go extinct.  Four generations of monarchs and over 3,000 miles of flight from Mexico complete its life cycle, with milkweed as the only plant it can eat.  The piece is inspired by these incomprehensible, complex cycles and interrelationships in nature, reflecting on how they largely depend upon attraction and beauty, and ultimately now how they depend on our appreciation and valuation of beauty," Schneider explains.

The title, "Arbiters of Evolution," refers to the remarkable mating rituals  and performances of the birds-of-paradise species native to New Guinea.  Schneider sets up each solo section for McCaslin and Robinson to conjure up their own highly evolved and spectacular performances. This work was inspired by Maria's love of birds and the environment and her involvement with the Cornell Lab of Ornithology.

The title piece, "The Thompson Fields," was inspired by a beautiful multi-generation farm near Schneider's home in Windom, Minnesota.  Pianist Frank Kimbrough improvises bitonally in a unique harmonic environment that creates an evocative depiction of the view from the Thompson silo overlooking bean fields billowing in the wind.  "From the vantage point of the silo, I felt the wind carrying all the intersecting stories of my youth, along with the stories of a whole community," Schneider says.  "I felt a convergence of past and present generations and tried to put that magic into this music."

"Home" also speaks vividly of the open landscape that is home for Schneider.  She dedicated the piece - first premiered at The Newport Jazz Festival - to George Wein, one of the most influential forces in the discovery and development of jazz musicians.  "Even though this music is highly personal to me, the concept of home is universal.  Wherever we are first rooted, or whatever place gives us our sense of 'home,' not only nourishes our life, but nourishes those with whom we share it.  George's home, the Newport Jazz Festival, has been a home for jazz for musicians and audiences for decades.  Jazz has been well nurtured within George's loving home, and he most certainly helped to nourish my development, and the development of countless others." This work features the universally admired voice of Rich Perry on tenor sax.

"Nimbus" evokes the drama of the Midwestern sky and weather.  Schneider elaborates, "One can see the Midwest prairie landscape as unspectacular, but we certainly dole out high drama when it comes to weather.  For instance, seeing a ominous roll cloud looming on the horizon simultaneously instills one with awe and an instinctual fear. Given this imagery, it is fitting that saxophonist Steve Wilson be featured on this piece because he can play with such intensity, bringing a captivating power and presence to his solos through his rock solid sense of groove, his surging sound, and his unexpected but thoroughly satisfying lines."

"A Potter's Song" is dedicated to Laurie Frink, who has played with Schneider's band on every recording. Frink's death in 2013 was a great loss to the music community.  A fellow Midwesterner, Frink was not only highly regarded as a trumpet player, having played with Gerry Mulligan, Benny Goodman, Mel Lewis and many others, she was also among the world's most in demand trumpet and brass teachers.  But the title of this work came from Maria's additional admiration for Laurie's skillful ceramic work.  Gary Versace's accordion, which has been a mainstay in Maria's orchestra since she first wrote for him on "Concert In the Garden," creates beautiful and lyrical lines over Schneider's winding, ever-evolving harmonies, and highlights the influence of Brazilian music on Schneider's compositions.

"Lembrança" is a dedication to the universally loved Brazilian musician, Paulo Moura, who gave Schneider the once-in-a-lifetime experience of hearing his old samba school rehearse in the Rio de Janeiro neighborhood of his youth.  The work includes layers of powerful Brazilian percussion played by Rogerio Boccato alongside drummer Clarence Penn. Featuring an exuberant trombone solo by Ryan Keberle, as well as a lyrical and tender bass solo by Jay Anderson, the piece conjures up the experience of standing in a dark street in the crevasses of Rio, hearing the power of a samba school rehearsing in the night.

"Watching Paulo proudly standing there, looking thoroughly at home and grounded in that powerful experience on a very ordinary street in Rio, was something I fully understood," Schneider says.  "I feel the same way when I climb atop a silo in Windom and view the landscape that is home to me.  I can't help but feel tremendous emotion and gratitude, looking back in time, remembering all the forces that shaped my life and so many lives that I know."

Schneider's deeply personal statement carries into the visual realm with this beautiful package. The stunning photographs by Briene Lermitte were all taken on and near the Thompson farm this past August. Uniting with Cheri Dorr's elegant design, the album's graphic elements allow Schneider to share another level of personal connection with those who listen to her music.

Schneider continues to involve her fans in her music on an even broader level.  Four of these eight works were commissioned directly by individuals through ArtistShare. Schneider has used the new means of production since her first ArtistShare album release in 2003. "The relationship I have with these people is deeply meaningful to me," Schneider states. " They make it possible for me to create and record music, and I've come to know many of them quite well. I cannot overstate how deeply important they are to my life. I could no longer do this without them."

Over a decade ago, the ground-breaking company ArtistShare broke the mold when it demonstrated, through Schneider's successful example, how music could be funded and released. ArtistShare crowd-funded before "crowd-funding" was a word, and Schneider's first ArtistShare album, "Concert In the Garden," not only won the first Gramy with Internet-only sales, but heralded the crowd-funding era. Over the following thirteen years, Schneider has developed a growing concern for intellectually property rights. This brought her to engage with lawmakers, the Library of Congress, and others to protect the rights of music creators. These efforts have included testifying before the Congressional subcommittee on intellectual property in April of 2014, and speaking out against Spotify and streaming on CNN. Schneider is often quoted in national articles on music creators' rights and the perils of current streaming services.

Milton DeLugg's obituary - The NY Times


Milton Delugg, 96, Dies; Accordionist, Composer and ‘Tonight Show’ Bandleader
By Jim Roberts for The New York Times

(Wayne Howell, left; Jerry Lester, second from left; Milton Delugg, right; and the actress Dagmar on "Broadway Open House" in the early 1950s. Credit Everett Collection)

Milton Delugg, who accompanied Al Jolson on the accordion, co-wrote the Nat King Cole hit “Orange Colored Sky,” conducted the band for Johnny Carson’s “The Tonight Show” and was musical director of the Macy’s Thanksgiving Day Parade for three decades, died on April 6 at his home in Los Angeles. He was 96.

The cause was heart failure, his son Michael said.

Mr. Delugg dutifully took piano lessons as a child, but his eclectic musical career was kindled when he was a young teenager and his father noticed a store-window advertisement offering an accordion and six free lessons for $68.

Young Milton played jazz accordion gigs, trying to break into the business, but he also enrolled in an accounting course at Los Angeles Junior College in case his music career did not work out. He dropped out when he was hired by the staff orchestra at Paramount studios.

It was the first of what he described as a series of lucky breaks in a career that spanned eight decades and collaborations with, among others, Frank Loesser, the songwriter; Abe Burrows, the director and humorist; Paul Winchell, the ventriloquist; and Chuck Barris, the producer of game shows including “The Gong Show,” the farcical “talent” contest for which Mr. Delugg was the bandleader.

Mr. Delugg was born in Los Angeles on Dec. 2, 1918, to Samuel Delugg, a meat wholesaler, and the former Mollie Seltzer, a homemaker. He married Anna Mae Renfer, with whom he had two sons, Michael and Stephen, who survive him.

In 1939, Mr. Delugg joined Matty Malneck’s orchestra, which performed on Broadway that year in the Jerome Kern-Oscar Hammerstein II musical “Very Warm for May.” The show bombed. “There has seldom been a book that fought entertainment as successfully as the story of this musical play,” Brooks Atkinson wrote in The New York Times.

After enlisting in the Army Air Corps radio production unit during World War II, Mr. Delugg directed the music for radio shows in New York. He was among Jolson’s last accompanists before the singer’s death in 1950. That same year he became the bandleader for “Broadway Open House,” a precursor to “The Tonight Show” hosted by the comedian Jerry Lester. It was perhaps the first late-night show on network television.

“Nothing else was on at 11 o’clock,” Mr. Delugg recalled in a 2008 interview with the Archive of American Television. “You had to listen to ‘Broadway Open House.’ ”

“Orange Colored Sky,” which he wrote with Willie Stein, was played on the show and later recorded by Nat King Cole. It was one of the first songs to become a hit because of television.

In 1966, he returned to late-night television as musical director of “The Tonight Show Starring Johnny Carson.” He was there for more than a year, between the much longer tenures of Skitch Henderson and Doc Severinsen.

Through the relationships he developed at NBC, he was hired as the network’s music director for its broadcasts of the Macy’s Thanksgiving Day Parade, a role he played through 2013.

Continue reading the main storyContinue reading the main storyContinue reading the main story
Mr. Delugg was a prolific composer. His “Roller Coaster” became the closing theme for the quiz show “What’s My Line?” He also wrote “Hooray for Santy Claus,” the theme for “Santa Claus Conquers the Martians,” a 1964 oddity that is on many lists of the all-time worst films.

His polka “Hoop Dee Doo” was heard often on “The Gong Show,” on which judges put losing contestants (and audiences) out of their misery in midperformance by striking a large gong. The group he led on that show was known as the Band With a Thug (rhymes with Delugg), and he also appeared as a comic foil.

In the television archives interview, Mr. Delugg recalled that he was given a speaking role on “Broadway Open House” after the episode on which he introduced the buxom actress and model Dagmar. As Mr. Delugg recounted the story:

“I brought Dagmar on the show because Jerry Lester had picked her, and I said, ‘What’s she supposed to do?’  And he said, ‘She’s the girl singer with the band.’ So I introduced her that night.  I said: ‘Jerry, this is Dagmar.  She’s the chick with the band.’  He said, ‘How does she sound?’ And I said, ‘Who cares?’ I guess it was my first laugh. After that, I had lines to do.”

“We never did find out if she could sing,” he said.

Saturday, April 11, 2015

The Friends of Alec Wilder Present The 30th Annual Concert Sunday, April 19th

Emma-Jane Thommen @ Sayers Club, April 14

Emma-Jane Thommen will be singing alongside these talented beauties Mina and Flavia Watson @ Sayers Club (1645 Wilcox Ave.,Los Angeles), followed by DJ Bobby French ...well that's a lot of talent in one room! See you there!

Shannon Lee Blas & Bill Strout's Big Band 2000 live @ Steamers, next Monday, April 13

Monday, April 13, 8pm-11pm  $2 ALL AGES

It's the second-Monday-of-the-month again so the lovely Shannon will be back onstage with the 17-piece Bill Strout's Big Band 2000 @ Steamers Jazz Club (138 W. Commonwealth Ave., Fullerton, CA)
Catch either set (8pm or 9:30pm) or both if you can. The cover-charge is just $2 per person
Call 714-871-8800 to RSVP. Hope to see you

Don't miss Big Band 2000, on hand to present sounds drawn from the popular music of the 40's through the 90's. Check out this band's classic repertoire from the big band books of the likes of Count Basie, Stan Kenton, Tommy Dorsey, Glenn Miller, plus arrangements from such great jazz writers as Sammy Nestico, Bob Florence and Bill Holman.

Shannon grew up in San Diego where she began her music and theatre studies. She holds an AA in Music for Vocal Performance and finished her BA in Drama, with Honors in Acting, at UC Irvine. Her music and dramatic training make her a dynamic performer and musical "storyteller." For over twenty years she has sung jazz & popular music with multiple bands and ensembles and has performed music from all over the world.

She has shared the stage with the likes of Tom Kubis and Louie Bellson and performs regularly as the featured vocalist with Bill Strout's Big Band 2000. In 2011, Shannon completed an MBA/MFA in Theatre Management. She is now Patron Services Manager at Soka Performing Arts Center in Aliso Viejo, California while continuing to sing.

Other Music Pop-Up Shop @ JetBlue Terminal 5 @ JFK Airport, NYC, April 14

In celebration of indie music, vinyl culture, and upcoming Record Store Day, JetBlue has invited Other Music to host a vinyl pop-up shop at their home base, Terminal 5 at JFK Airport. On Tuesday, April 14, from 9am-6pm, Other Music will be bringing a ton of great vinyl and specialty items, setting up a cool vinyl listening lounge, and, as part of JetBlue's ongoing Live from T5 series, hosting some special live performances from Elle King at noon, Kevin Devine at 3pm, and Caveman at 5pm.

The pop-up and concerts will be post-security, in the atrium of JetBlue's Terminal 5, so if you happen to be flying in or out of JFK on the 14th, you are in for a special treat -- please stop by to say hi, hear some great live music, and pick up a couple of LPs!

R.I.P.: Milton DeLugg

(born on December 2, 1918 in Los Angeles, California, USA;
died on April 6, 2015 in Los Angeles, California, USA)

So sad to hear about the passing of composer, arranger, band-leader and accordionist Milton DeLugg on April 6, at age 96.

Although famous as the musical director for "The Tonight Show" and many other "jobs" during a prolific career, DeLugg only recorded his first accordion album in 1967, produced by Jim Foglesong for RCA Victor. Surprisingly, "Accordion My Way - Olé!" was a Brazilian-oriented project done not in a big-band mood, but with a tight jazz combo that includes Eumir Deodato (recommended to him by Luiz Bonfá) on organ -- actually, the ensemble recalls Deodato's Os Catedráticos group --, bassist Giulio Ruggiero, drummer Bobby Rosengarden, percussionists Phil Kraus (on vibes) and Johnny Pacheco (bongos, tambourine etc), and guitarists Bucky Pizzarelli & Al Casamenti.

The repertoire includes several Brazilian tunes; three of them composed by Luiz Bonfa for the Deodato-arranged soundtrack of the "Gentle Rain" movie -- "O Ganso," "Taking Judy Home" and its main theme "The Gentle Rain." DeLugg also recorded some bossa-nova gems "Summer Samba" (Marcos Valle/Paulo Sergio Valle), "Chora Tua Tristeza" (Oscar Castro-Neves/Luvercy Fiorini), "Amanhã" (Walter Santos/Tereza Souza), "Você e Eu" (Carlos Lyra/Vinicius de Moraes), plus bossa-oriented themes composed by himself ("Sometime Samba"), guitarist John Pisano ("So What's New?") and French maestro Michel Legrand ("Watch What Happens.")

"I'm flipped on Brazilian music," DeLugg told Harold Stern in the liner notes. "I think it's different, exciting and the best source of pop music today. It may well become an important major trend in music."
Both "Accordion My Way-Olé!" and "Presening Milton DeLugg And The Tonight Show Band" LPs deserve to be reissued on CD. Rest In Peace, Milton.

Movable Feast - Spring / Summer Calendar

The Jazz Bakery Performance Space - a nonprofit organization

Saturday, April 25, 2015 - 8:00pm
General: $30 one show no intermission.


VENUE: Broad Stage, The Edye Second Space
1310 11th St., Santa Monica, CA 90401

The Moss Theater is a beautiful performance space. Acoustic design by Yasuhisa Toyota (Disney Concert Hall).KJAZZ 88.1 - official media sponsor.

Saturday, May 9, 2015 - 8:30pm
General: $40 one show no intermission.

VENUE: Moss Theater (at The Herb Alpert Educational Village)
3131 Olympic Blvd. Santa Monica, CA 90404

The Moss Theater is a beautiful performance space. Acoustic design by Yasuhisa Toyota (Disney Concert Hall).KJAZZ 88.1 - official media sponsor.

Monday, May 11, 2015 - 8:30pm
General: $35 Students: $25
one show no intermission.


631 West 2nd Street, Los Angeles, CA 90012

REDCAT is located in the Disney Hall complex. Parking in Disney Hall.
KJAZZ 88.1 - official media sponsor.

Saturday, May 16, 2015 - 8:00pm
General: $30 Students: $25
one show no intermission.

VENUE: Moss Theater (at The Herb Alpert Educational Village)
3131 Olympic Blvd. Santa Monica, CA 90404

The Moss Theater is a beautiful performance space. Acoustic design by Yasuhisa Toyota (Disney Concert Hall).KJAZZ 88.1 - official media sponsor.

Thursday, June 11, 2015 - 8:00pm
General: $25 one show no intermission.


VENUE: Kirk Douglas Theatre
9820 Washington Blvd, Culver City, CA 90232

The Kirk Douglas Theatre is the Jewel of the Culver City Theater District. Free Covered Parking at Culver City City Hall, enter on Duquesne Ave. KJAZZ 88.1 - official media sponsor.

Friday, June 12, 2015 - 8:00pm
General: $30 Students: $25
one show no intermission.

VENUE: Musicians Institute
1655 N. McCadden Place Hollywood, CA 90028

The Musicians Institute concert center is an incredible experience! with state of the art sound & huge video screens flanking the stage, creating an intimate view of artists in-the-moment! KJAZZ 88.1 - official media sponsor.

Thursday, June 18, 2015 - 8:00pm
General: $40 one show now intermission.

Marc Johnson -bass
Rafael Barata -drums/perc

VENUE: Moss Theater (at The Herb Alpert Educational Village)
3131 Olympic Blvd. Santa Monica, CA 90404

The Moss Theater is a beautiful performance space. Acoustic design by Yasuhisa Toyota (Disney Concert Hall).KJAZZ 88.1 - official media sponsor.

Sunday, June 28, 2015 - 8:00pm
General: $35 Students: $25
one show no intermission.

VENUE: Moss Theater (at The Herb Alpert Educational Village)
3131 Olympic Blvd. Santa Monica, CA 90404

The Moss Theater is a beautiful performance space. Acoustic design by Yasuhisa Toyota (Disney Concert Hall).KJAZZ 88.1 - official media sponsor.

Jazz Bakery Jukebox: Artist's Choice Series
Visit the international sensation! Listen to the all time favorite jazz recordings as picked by the artists who appear in the Jazz Bakery Movable Feast.

Ralph Sharon's obituary - Los Angeles Times

Ralph Sharon dies at 91; pianist brought Tony Bennett his signature song
Ralph Sharon
Ralph Sharon sits at the piano at his home in Boulder, Colo., in 2003 beneath a portrait of himself painted by Tony Bennett. (Carmel Zucker / Boulder Daily Camera)

By ELAINE WOO for The LA Times

Ralph Sharon, a British-born jazz pianist who accompanied Tony Bennett on and off for more than 40 years and brought the singer his signature song, "I Left My Heart in San Francisco," died March 31 in Boulder, Colo. He was 91.

His death from natural causes was confirmed by his son, Bo.

Sharon was one of England's finest jazz pianists before moving in the early 1950s to the United States, where he would work with such jazz and pop headliners as Count Basie, Duke Ellington, Mel Torme and Rosemary Clooney. A bandleader, composer and arranger, he also recorded two dozen albums with Kenny Clarke, Charles Mingus, Milt Hinton, Jo Jones and other noted artists.

His most enduring association, however, was the one he forged in 1957 with Bennett.

Sharon did not think he and the singer would make a good musical match. He was steeped in jazz, while Bennett was known for his renditions of popular songs like "Blue Velvet," Stranger in Paradise" and "Cold, Cold Heart."

The pianist later admitted he didn't even know who Bennett was, but that didn't matter at the audition.

"The first guy who showed up was OK, but the second guy, Ralph Sharon, just had to hit a few notes for me to know he was the piano player for me," Bennett wrote in "The Good Life," his 2010 autobiography. "Hooking up with Ralph was one of the best career moves I've ever made."

Sharon was, according to Bennett, the "perfect accompanist," but he also played a broader role in shaping Bennett's sound: He urged the crooner to move beyond pop standards into jazz.

"He kept saying, 'If you keep singing these kind of sweet saccharine songs like "Blue Velvet," sooner or later the ax is going to drop on you and you're going to stop selling,' " Bennett once told National Public Radio, "

The result was the 1957 album, "The Beat of My Heart." Arranged and conducted by Sharon, it included Art Blakey, Jones, Chico Hamilton, Herbie Mann, Nat Adderly and other jazz masters. It changed Bennett's career, leading to collaborations with Count Basie and Ellington and a critically praised show at Carnegie Hall with sax player Al Cohn, guitarist Kenny Burrell, percussionist Candido and the Ralph Sharon Trio.

Bennett "loved jazz, loved to listen to it," Sharon told the Chicago Tribune in 1992. "So, if I may say so, I was like the missing ingredient for him. I could bring out the jazz element that already was there in the background."

In 1961 Bennett cut an album with Sharon on piano as the only accompaniment. Called "Tony Sings for Two," it was, Bennett said, "one of my finest records ever."

During this period Sharon discovered the song that Bennett would make famous around the world.

Songwriters George Cory Jr. and Douglass Cross had run into the pianist in New York and handed him some of their compositions, hoping the tunes would find their way into Bennett's repertoire. Sharon threw them in a drawer and forgot about them.

Two years later, in 1961, he was packing for a tour with Bennett and found "I Left My Heart in San Francisco" on the top of the stack of Cory and Cross songs he had stuffed in his shirt drawer. As luck would have it, the foggy "city by the Bay" was one of the stops on the tour, so Sharon tucked the song into his suitcase.

After a show in Hot Springs, Ark., Sharon went to the piano in the hotel bar and played it for Bennett. "I thought it was a great song," the singer later wrote.

When Bennett sang it at the Venetian Room in San Francisco's Fairmont Hotel, the crowd loved it. So did the rest of the country after he released the recording in early 1962. It won Bennett his first two Grammys.

Sharon was born in London on Sept. 17, 1923. His earliest musical training came from his American-born mother, an organist who played the accompaniment in silent movie theaters.

When he grew older, Sharon began listening to American jazz recordings and realized he had found his musical home.

He made his professional debut in 1946 as a pianist for British bandleader Ted Heath. By the late 1940s he was leading his own sextet, which included percussionist Victor Feldman, and made several recordings.

In 1953, he moved to New York, where he roomed with clarinetist Tony Scott. Within a few years he released "Around the World in Jazz," which featured a number of notable artists, including bassist Mingus, drummer Clarke and guitarist Joe Puma.

Over the next decades he would collaborate with some of the biggest names in American popular music, including Torme, Clooney and Robert Goulet, with whom he made a number of albums in the 1970s.

After parting with Goulet in 1979, he joined up with Bennett again and helped steer the singer's comeback, leading Bennett to his first Grammy in three decades with the 1992 album "Perfectly Frank."

In 2002 he retired as Bennett's musical director and, after 40 years in Sherman Oaks, moved to Colorado. He was still performing in clubs and hotel lounges until a few months ago.

Sharon is survived by his wife of 41 years, Linda Noone Sharon; their son, Bo; and two grandchildren.

Sunday, April 5, 2015

Emly Elbert & Leni Stern live in LA next Friday!

Friday, April 10, 8pm @ Room 5 Music (143 N La Brea Ave, Los Angeles), a rare solo appearance of Leni Stern in Los Angeles, on a bill with the incredible Emily Elbert... they'll collaborate, too! Hope to see you there!


Anne Sajdera live @ The Sound Room, April 11

This next Saturday, April 11, at 8pm, don't miss Bay-Area composer & pianist Anne Sajdera live @ The Sound Room (2147 Broadway, Oakland).

The Anne Sajdera Sextet explores the textures and colors of contemporary American and Brazilian jazz. Sajdera's arrangements of compositions by Herbie Hancock, Stefon Harris, Duke Ellington, Egberto Gismonti, Chico Pinheiro (as well as originals) take listeners on a thoroughly emotional, rhythmic and dynamic journey.

Erik Jekabson, trumpet
Harvey Wainapel, sax
Anne Sajdera, piano
Gary Brown, bass
Deszon Claiborne, drums
John Santos, percussion

Tickets: $20
Anne Sajdera, long an invaluable part of the Bay Area Brazilian music scene, made a much-anticipated debut three years ago with "Azul," which highlighted her exquisite touch and rhythmic acuity. Sajdera co-produced the CD with Ray Obiedo and utilized her dynamic trio (Gary Brown, Paul van Wageningen) plus percussionists Airto Moreira and Michael Spiro. In addition to Sajdera’s sophisticated originals, repertoire includes compositions by Egberto Gismonti, Ivan Lins, and Wayne Shorter.

As a pianist, composer, bandleader and accompanist, Anne Sajdera is a creative force whose music encompasses an unusually far-flung array of traditions. With musical roots spanning the globe, she melds American and Brazilian jazz to her training in European and Hindustani classical music, creating an utterly personal sound that’s melodically verdant, harmonically sophisticated and rhythmically compelling. Unbound by any one musical passion, she draws inspiration from centuries old practices in which artisans sought to understand and experience the interior and exterior world through the act of creating art.

“At the heart of what I do is European classical music,” says Sajdera, a longtime San Francisco resident. “Around my house I’m always listening to Rachmaninoff, Stravinsky, Ravel and Bartók in particular. Harmonically it just captivates me and it always will. It’s an easy jump from that to Brazilian music, especially Ravel, and jazz is a real outgrowth from those extended harmonies. I’m using the same elements in my music but from a different angle.”

A graduate of the San Francisco Conservatory of Music, Sajdera started performing around the Bay Area scene in the late 1980s while earning a bachelor's degree in composition. Currently she leads a trio, a sextet, and a 10-piece chamber jazz ensemble featuring some of the most esteemed improvisers on the West Coast, including trumpeter Erik Jekabson, reed expert Harvey Wainapel, and saxophonist/flutist Mary Fettig. With strings, brass and reeds, the ensemble provides Sajdera with a vehicle for her most ambitious writing, from Brazilian-inflected originals to her arrangements of pieces by Herbie Hancock and Stefon Harris.

She also performs regularly around the Bay Area with guitarist Terrence Brewer, Sandy Cressman, a singer known for an expansive repertoire of Brazilian songs, and Alexa Weber Morales, who earned a Grammy Award in 2014 for her work the Pacific Mambo Orchestra. Given her history it’s not surprising that Sajdera is best known for her work in Brazilian settings. She spent more than a decade performing in and leading Bay Area Brazilian ensembles such as Phil Thompson’s Rio Thing, Dandara & Pandeiros do Brasil, and the California Music Award-winning Tropicalia combo Bat Makumba.

For Sajdera, there’s no particular mystery about her affinity for Brazilian music. With endlessly enthralling rhythms, a treasure trove of melodies and jazz-informed harmonies, it’s got everything she requires. And above all, the music makes her want to dance. “Dancing was a big feature of growing up,” Sajdera says. “As soon as I heard the music I started taking samba dance classes and percussion classes with Michael Spiro. Harmonically Brazilian music is so beautiful and complex. I think the whole attitude makes sense to my personality.”

Her debut album, 2012’s "Azul," is also a reflection of her deep and abiding passion for Brazilian music. Sajdera released the CD on her Bijuri label, and co-produced the session with veteran guitarist Ray Obiedo. Rather than simply exploring a program of beloved bossa novas, she mixes her ravishing original pieces with classic tunes by Brazilian masters Ivan Lins, Egberto Gismonti, and Chico Pinheiro. With a top-shelf cast of Bay Area players, the album features special guest percussionists Airto and Michael Spiro. As the Wall Street Journal’s Marc Myers described the project on his popular JazzWax blog, Azul is “a jazz samba album that shows the creative breadth and beauty of a San Francisco charmer.”

Born in Virginia to a military family, Sajdera grew up in San Diego. While the Southern California city isn’t usually associated with Brazil, she absorbed a Carioca’s deep love of the ocean and sun-drenched landscape. Piano lessons as a child led her to form a tight circle of musical friends who often gathered to play together. When she started performing in her late teens Sajdera held down the drum chair in a pop combo, but her primary creative outlet was writing for the band. Moving to the Bay Area in 1985, she enrolled at the San Francisco Conservatory of Music as a performance major and graduated as a composition major.

Focusing on 20th century repertoire, she performed regularly with the Conservatory Orchestra, which gave her exceptional opportunities like playing Stravinsky's Symphony in 3 Movements, and the overture for Nixon In China conducted by the opera’s composer John Adams. Her incipient investigation of jazz got a jumpstart when she began a relationship with an accomplished jazz guitarist, with whom she was soon playing casuals. A conservatory class at the Jazzschool with Marcos Silva sparked her enduring passion for Brazilian music.

Before long she was gigging around the Bay Area with her own band Pelo Mar, which honed a sophisticated repertoire of tunes by Hermeto Pascoal, Airto, Toninho Horta and Eliane Elias while performing at notable venues like the Make Out Room and the lamented Café do Brasil. An original member of Bat Makumba, she has performed many times in San Francisco’s huge Mission District Carnaval celebration.

Her interest in classical Hindustani music also surfaces in her playing through her knowledge of ragas. She spent several months in India, and has continued to cultivate this facet of her musical vision. As an educator she maintains an active private piano studio in San Francisco and Oakland and is an artist in residence at Nueva School in Hillsborough.

Amanda Castro back @ Steamers, April 9

Next Thursday, April 9, 11pm
Amanda Castro live @ Steamers (138 W. Commonwealth Ave., Fullerton, CA)
$2-ALL AGES-! CALL 714-871-8800 RSVP

A note from Amanda: "We are back at Steamers! Come on by for some great music and fun! We will have Edmund Velasco on reeds, Blake white on bass, Bill Borjan on drums, Patrick Aranda on piano and yours truly on the mic! Hope to see you all!" I'll be there.

Leala Cyr @ WhyNot Jazz Room, NYC, April 7

Wednesday, April 1, 2015

"Women" Night @ The Sayers Club in Hollywood

Tuesday, April 7! Featuring: Emma-Jane (pictured below), Mina, Gréta & Mikalah Gordon.
The Sayers Club (1645 Wilcox Ave., Hollywood, CA)

A compilation of Idris Muhammad's Kudu albums to be released next month

The title is the same of Idris Muhammad's fourth and final album for CTI/Kudu, "Boogie To The Top." But it's not the eagerly awaited reissue of that jazz-funk-disco gem. Instead, a compilation to be released on May 11 by Cherry Red's subsidiary label Él Records, including tunes from all of Idris' albums recorded under Creed Taylor's supervision from 1974 to 1978.

During that period, Idris recorded four dates as a leader for Kudu, This colletion starts with two tracks from the 1974 masterpiece "Power Of Soul," produced by Creed Taylor, engineered by Rudy Van Gelder and arranged by Bob James: the laidback danceflor hit "Loran's Dance" (released on CD for the first time in a groundbreaking compilation produced by Arnaldo DeSouteiro in 1997, "CTI Acid Jazz Grooves") and Jimi Hendrix's title song, "Power Of Soul," featuring great performances by Joe Beck, Gary King, Randy Brecker, Ralph MacDonald and Grover Washington, Jr. Grover's "Loran’s Dance" was sampled by both The Beastie Boys ("For All The Girl’s") and Fatboy Slim ("The Weekend Starts Here".)

Three songs were picked from the "House of the Rising Sun" album, also produced by Taylor, but arranged by former James Brown's musical director, David Matthews: the title track, an adaptation of Chopin's "Prelude in E Minor Op. 28 No. 4," and a surprising disco version of Ary Barroso's "Bahia" (Na Baixa do Sapateiro), a tune covered by many jazz stars from John Coltrane to Lalo Schifrin. Among the musicians on those 1976 sessions were Roland Hanna, Leon Pendarvis, Don Grolnick, Fred Wesley and Eric Gale.

At the time of the 1977 sessions for the "Turn This Mutha Out" album, David Matthews successfuly handled both the production and arrangements. He also wrote all the tunes for the project, which included "Crab Apple," "Turn This Mutha Out" and the much-sampled dancefloor classic "Could Heaven Ever Be Like This" (with lyrics by Tony Sarafino), the three tracks selected for this compilation. Hiram Bullock, Randy Brecker, Michael Brecker, Rubens Bassini, Gloria Agostini, Wilbur Bascomb and Jeremy Steig are listed as sidemen.

Idris' last album for Kudu came in 1978, once again entirely directed by Matthews: "Boogie To The Top." Two tracks were culled from it: the raw & wild funk "Stick It In Your Face" and the title track. Cliff Carter, Nicky Marrero, Will Lee, Sammy Figueroa, Ronnie Cuber, Gloria Agostini, Hugh McCracken and Horam Bullock were also on board.

This collection includes, as bonus tracks, the 7” single versions of "Boogie To The Top," "Could Heaven Ever Be Like This" (sampled by Jamiroquai on "Alright," amongst others) and "Turn This Mutha Out." Charles Waring, a collaborator for Mojo and Record Collector magazines, signs the liner notes.

Fabiano do Nascimento & Airto Moreira live @ Blue Whale Jazz, April 4

Fabiano do Nascimento's album "Dança dos Tempos" is out everywhere and the LA-based Brazilian guitarist will celebrate the release at a nice venue in Downtown Los Angeles - the Blue Whale, a live jazz bar located in the heart of Little Tokyo here in Los Angeles.
Very special guest: the one and only Airto Moreira, who took part of the album.

Fabiano do Nascimento - 7-string guitar
Sam Gendel - Soprano Saxophone
Ricardo Tiki Pasillas - Drums
Airto Moreira - Percussion

Guest DJ Carlos Niño (Spaceways radio) set before the show and in between sets!

Saturday, April 4th, 2015 @ the Blue Whale Jazz
123 Astronaut E S Onizuka St. Suite 301
Los Angeles, CA
Ph: (213) 538-8038

9pm 1st set / 10:15pm 2nd set
$15 cover

Blu-Spec CD of the Month - "Freddie Hubbard: First Light"

Blu-Spec CD of the Month
Freddie Hubbard: "Red Clay" (CTI KICJ 2332)

Rating: *****
Produced by Creed Taylor
Engineered by Rudy Van Gelder
Featuring: Herbie Hancock (Fender Rhodes & Hammond organ), Ron Carter (electric bass), Lenny White (drums) & Joe Henderson (tenor sax & flute)
Recorded January 27, 28 & 29, 1970, at Van Gelder Studios (Englewood Cliffs, New Jersey)
Cover photo by Price Givens
Album design by Tony Lane

A jazz classic. Period.
Besides the title track, which became a contemporary jazz standard, includes three other great compositions by Hubbard: "Delphia" (dedicated to his mother, with Herbie moving to organ and Henderson playing flute), "Suite Sioux" and the explosive hard-bop "The Intrepid Fox."

Box Set of the Month - "Joe Farrell: Original Album Classics"

Box Set of the Month
Joe Farrell: "Original Album Classics" (CTI) 2015

Release Date: March 20, 2015
A CTI powerhouse – five full albums from reedman Joe Farrell, each packaged in a tiny LP-styled sleeve! All sessions produced by Creed Taylor and recorded & mixed at Van Gelder Studio (Englewood Cliffs, New Jersey, USA) by the legendary engineer Rudy Van Gelder. The cover pics are by genius photographer Pete Turner, with great artwork by Bob Ciano, CTI's art director from 1970 to 1975, the heyday of the label.

First up is "Joe Farrell Quartet," his CTI solo debut from 1970, a stellar session that's easily one of the early high points for the legendary Creed Taylor's label. Farrell bursts forth as one heck of a soulful cat -- working on these great modal grooves that slide out wonderfully and really have a sense of flow -- a style that's different than Joe's later material, but equally powerful. Part of the strength of the record comes from the lineup, a key quintet of like-mined up-and-comers that includes Chick Corea on keyboards, John McLaughlin on guitar, Dave Holland on bass, and Jack DeJohnette on drums – players who were also members of Miles Davis' band at that time and that definitely know the farther reaches of jazz, yet hang just on the inside here with Joe, providing some amazing accompaniment for his lines on soprano, tenor, and flute. Titles include the bossa-nova "Molten Glass." the etheral "Song Of The Wind" (Farrell plays the melody on oboe and improvises on the flute in this duet with Chick Corea), the avant-garde jazz rock "Motion," and John McLaughlin's "Follow Your Heart."

Next is "Outback" (1971) – a drawn-out quintet side, with Chick Corea on Fender Rhodes electric piano, Buster Williams on bass, Elvin Jones on drums, and Airto on percussion. Farrell was playing with Jones at the time, and the album's got some of their strong choppy reed/percussion interplay – but with a sharpness and focus that you don't always hear on Elvin's records. The four tracks are all long and include "Outback" (Joe uses multiple flutes), the jazz waltz "Sound Down" (played on soprano sax), Corea's "Bleeding Orchid" (Airto is heard on castanets) and "November 68th" (with a long drum solo by Elvin). The follow-up album was "Moon Germs" (1972), recorded with Herbie Hancock, Stanley Clarke and Jack DeJohnette, but oddly not included on this "Complete" box set.

"Penny Arcade" (1973) has grooves so sharp you could cut your trousers on them! Farrell's angular reed style is in perfect form here, grooving with a small group that includes Herbie Hancock on both acoustic ("Geo Blue") & electric pianos (on all other tracks), Joe Beck on guitar, Herb Bushler on electric bass (acoustic only on "Geo Blue"), Steve Gadd on drums, and Don Alias on congas & cowbell in one track only, "Cloud Cream" – a combo that's got a harder, tighter feel than most CTI groups and a key reason why Joe's records of this time are so legendary. The album features a fantastic version of Stevie Wonder's "Too High" – one that breaks all over the beginning with these riffs by Farrell, then grooves into a CTI electric funk mode for about 13 minutes. Other tracks include "Hurricane Jane," "Geo Blue," "Penny Arcade" and the delightful "Cloud Cream," with Farrell on piccolo.

"Upon This Rock" (1974) is even stronger and wilder, and there's a lean, edgey groove to the set that's totally great – a lot more bite than usual for CTI, thanks to these wonderfully angular lines from Joe on tenor, soprano sax, and flute, backed up with some wicked guitar work from Joe Beck, who really matches Farrell's energy – in a core quartet with Herb Bushler on bass and Jim Madison on drums. "I Won't Be Back," one cut saved by Creed from the previous album, features the group that played on the "Penny Arcade" sessions: Hancock on Fender Rhodes, Bushler on bass, Gadd on drums, and Don Alias on congas. The album includes the much-sampled and massively break-heavy title cut "Upon This Rock", plus "Seven Seas" and "Weathervane".

Last up is "Canned Funk" (1975), a record that's as fresh and freaky as the classic Pete Turner image on the cover. The riffing rhythms get going right from the start – some amazing lines from a rhythm combo that includes Joe Beck on guitar, Herb Bushler on bass, Jim Madison on drums, and the mighty Ray Mantilla on percussion – adding in these extra changes and fills that really get the tunes moving wonderfully – providing a perfect platform for Joe Farrell's wonderful work on tenor, soprano, baritone, and flute. The sax lines are as angular as the rhythms – tight, choppy, and completely funky – no wonder the record's a CTI classic that folks have dug for years. Four wild and long tracks: "Canned Funk," "Animal," "Suite Martinique" and "Spoken Silence."