Blu-ray of the Month - "Santana: Hymns for Peace"

Blu-ray of the Month
Santana: "Hymns For Peace" (Eagle Vision/ST2)

DVD of the Month - "Brecker Brothers: Live in Tokyo"

DVD of the Month
Brecker Brothers: "Live in Tokyo" (JazzDoor) 1995/2010

Filmed live @ U-Port Hall, Tokyo, Japan, on March 14, 1995
Featuring: Michael Brecker, Randy Brecker, Dean Brown, George Whitty, James Genus & Rodney Holmes
Includes electrifying performances of "Slang," "Spherical," "Harpoon," the fantastic "Song for Barry" (their tribute to the late & hugely underrated trombonist Barry Rogers) and, of course, the jazz-rock anthem "Some Shunk Funk."
Broadcasted by the Japanese TV, in the "Wowow" series, this video also includes short interviews with Michael & Randy, included between the five musical numbers.

CD Reissue of the Month - "Hubert Laws: Morning Star"

CD Reissue of the Month
Hubert Laws: "Morning Star" (CTI/Sony Masterworks) 1972/2010

Since 1985, when King Records began to release the first CTI CDs in Japan, and since 1987, when Sony Music (then CBS) started to do the same in the USA -- and I had been invited by both companies to contribute to such reissue series as a supervisor, reissue producer, tape researcher or liner notes writer -- I've always pointed out that Hubert Laws' fourth album for CTI, "Morning Star," should be a top choice for the then-new compact disc format.

Oddly, although most of my several other suggestions were accepted, the big bosses always ignored my requests for ressurrecting the Grammy-nominated "Morning Star," despite the fact that it had been one of Hubert Laws' most appreciated albums during the CTI period, which, not coincidentally, also represented Laws' creative heyday.

For me, the strangest fact is that "Morning Star" has never been reissued on CD not even in Japan. Throughout the years, I was even able to convince King Records, Japan's CTI distributor, to reissue albums even by artists they didn't "like", such as Urbie Green, Randy Weston, Yusef Lateef and Gabor Szabo. However, "Morning Star" never made the final lists. Something that also happened to Lateef's "In A Temple Garden," Stanley Turrentine's "The Sugar Man" and many of Joe Farrell's killer sets ("Penny Arcade," Upon This Rock" and "Canned Funk.")

They also refused to reissue George Benson's "Pacific Fire" on CD, alleging that they didn't have the rights for any of the CTI albums originally released after 1982. But, they allowed me to include tracks from "Pacific Fire" on such best-selling compilations as "CTI Acid Jazz Grooves" and "Best of Benson".
[Not to mention that, back in 1990, at the time of the "Rhythmstick" release (ie, the third CTI ressurrection under the aegis of Creed Taylor's himself), during a lunch we had in October 1990 at the Gotham Restaurant in New York (at 12th Street, between University Place and 5th Avenue, near the CTI office at University Place) I suggested Creed to start a reissue program with the "old" CTI masters he hadn't lost to Sony, still owning their rights. Albums like Jim Hall's "Studio Trieste," Urszula Dudziak's "High Horse," Claudio Roditi's "Red on Red" and Les McCann/Houston Person's "Road Warriors," among others. Creed's short answer: "I'm not interested in reissuing any old material"... Some time later, though, he did all that mess on Hall's "Youkali" spending a lot of money with studio fees and paying triple scale to musicians like Dave Weckl to overdub tracks from "Studio Trieste" and "Gershwin Carmichael Cats." But that's another story.]

Five of Hubert's eight albums recorded for CTI in the '70s were reissued on CD in the USA, under the supervision of producer Didier Deutsch, who had worked as publicity director for the label during the '70s: "Crying Song" (originally released as CTI 1002 in 1969, reissued with a different cover in 1970 as CTI 6000), "Afro-Classic" (CTI 6006), "The Rite of Spring" (CTI 6012), "In The Beginning" (CTXC 3+3, a massive 2-LP set also released as single albums under the titles "Then There Was Light Vol. 1" as CTI 6065, and "Then There Was Light Vol. 2" as CTI 6066), plus "The San Francisco Concert" (CTI 7071), on which Didier did a great job, adding many previously unreleased tracks and recreating the concert on its entirety. Didier also produced the compilation "The Best of Hubert Laws," released on the Epic label in 1990, on which he included two tracks from "Morning Star": the title song and "Amazing Grace."

In Japan, except for "Morning Star" (CTI 6022), all other Hubert Laws' albums for CTI eventually became available on CD: "Carnegie Hall" (CTI 6025), "The Chicago Theme" (CTI 6058) and Laws' 1982 collaboration with Jim Hall & Chet Baker, "Studio Trieste" (CTI 9007).

Besides his solo efforts, Laws' presence as sideman in more than 50 CTI/Kudu albums and as one of the key members of the several CTI All-Stars groups formed between 1971 and 1975, turned the best jazz flutist ever into one of the quintessential CTI artists alongside Ron Carter and George Benson. Curiously, after their last studio session in 1982, Laws and Creed Taylor resumed their collaboration 27 years later, when the producer assembled a new CTI All-Star Band that toured Europe in the Summer of 2009. Although the too much announced DVD filmed at the Montreux Jazz Festival has not yet been released (i'ts scheduled for release in Japan next Novmber 3rd), two other concerts -- filmed at the San Javier Festival (Spain) in July 2009 and at the Burghausen Fest (Germany) in March 2010 -- are already available on the web as bootleg DVDs.

All this talk happens to announce that, on October 05, under the new catalog number Masterworks 8869776833, "Morning Star" will be seeing the light of the day on CD for the first time ever. Anywhere in the world! For this reason, despite the high level of all other albums selected for this new CTI reissue program created by Sony, "Morning Star" stands out as the indispensable star of this series.

Recorded from September to November, 1972, at Van Gelder Studios, "Morning Star" (graced by an unmistakable Pete Turner photo) reached the Billboard charts as #2 among the "Jazz Albums" and #148 in the Pop list of the "Billboard Top 200." The third Hubert Laws CTI LP arranged by the great Don Sebesky, finds the maestro employing a larger instrumentation than the chamber-jazz combos heard on their previous collaborations "Afro-Classic" and "The Rite of Spring."

After the basic tracks were cut with Bob James (Fender Rhodes), Ron Carter (acoustic bass) and Billy Cobham (drums), Creed Taylor invited Ralph MacDonald and John Tropea to add unobstrusive percussion and guitar touches. Even so, most of Tropea's work on the album was later deleted by Creed during the mix sessions at Van Gelder Studio, like he also did with Jay Berliner's work on Milt Jackson's "Sunflower" album...

[Btw, in the mid-80s, when CBS reissued "Sunflower" on CD for the first time, the reissue producer Didier Deutsch provided a full new mix, extending some tracks and restoring Berliner's playing in the opening track, "For Someone I Love," allowing us to savor that beautiful acoustic guitar sound throughout the entire track, since Creed had originally used it (on the LP version) only during the intro of the song. So, it would be funny to listen, someday, to Tropea's playing on "Morning Star" if a remixed version comes out in the future.]

Then, Sebesky overdubbed vibes (Dave Friedman playing only the written parts), strings and brass, assembling veteran studio masters as multi-reedmen Romeo Penque & Phil Bodner, trumpeters Marvin Stamm & Alan Rubin, trombonist Garnett Brown, harpist Gloria Agostini, and strings concertmaster Harry Lookofsky, my favorite violin player ever. At Laws' request, background vocals (by his sisters Eloise Laws & Debra Laws, plus Tasha Thomas & Lani Groves) were also added on two tracks, anticipating the pop vocal direction he would follow on later albums for Columbia such as "Say It With Silence" and "Land of Passion."

My personal favorite moment on the entire album is the superb title track, composed by the underrated pianist Rodgers Grant, who had previously recorded for CTI, alongside Laws, on Benson's 1969 "Tell It Like It Is," returning to Van Gelder Studio in 1974 for Laws' "In The Beginning" sessions, which included another Grant masterpiece, "Reconciliation."

There's also a sumptuous arrangement of "Where Is The Love?" with Laws using (by overdub) two flutes to play the intro/refrain. Curiously, the song composer, Ralph MacDonald (who co-wrote this theme with bassist William "Bill" Salter for Roberta Flack), doesn't performs on this track. Actually, he is heard only on "No More," playing congas as well as a variety of hand-percussion instruments.

Sebesky's scores are the hip of the hip, reaching an unbelievable combination of sophistication and naturality. The passage he wrote for Ron Carter's bass during a specific section of "Amazing Grace" (played by Laws without the rhythm section, backed only by Gloria Agostini's harp, strings, and during a few precious moments by Ron's bass) is another highlight.

This CD reissue, produced by Richard Seidel and remastered by Mark Wilder from the original 2-track analog mix tapes, comes in a beautiful mini-LP gatefold sleeve, faithfully reproducing the original cover concept created by my friends Bob Ciano (album design) and Pete Turner (cover pic) with an extra help of the liner photo by the late Japanese master K. Abe.

There's a sad note, though. The Sony team forgot to give credit to the composers & publishing companies. If the customer doesn't owns a copy of the original vinyl LP - on which the composers were credited on the label -, he will never know who wrote what. Some older buyers may recall that Ralph MacDonald wrote "Where Is The Love?", but how many will ever know that a genius named Rodgers Grant composed "Morning Star"??? A big copyright problem. But, unfortunately, an already usual thing for an younger generation of music fans, the Ipod guys that download anything without caring about anything.

To celebrate such event, I've asked my dear friend Douglas Payne, CTI's top connoisseur in the world, to provide some insightful comments about “Morning Star.” His brilliant text follows:

Morning Star is a lovely and too-little known orchestral jazz classic that got lost in the shuffle of flautist Hubert Laws’s prodigious CTI output. Recorded between September and November 1972 and issued early in 1973 between Laws’s well-known The Rite of Spring (CTI, 1971) and the lesser-known performance feature Carnegie Hall (CTI, 1973), Morning Song is among the flautist’s most assured albums.

There is a perfectly sublime amalgamation of sound present here, as Laws is beautifully partnered on various flutes with Bob James on electric piano, Ron Carter on acoustic bass and Billy Cobham on drums. Laws and company are then set against some of Don Sebesky’s loveliest orchestral flourishes, as ever as complimentary and as much a part of the conception of the performance as any of the soloists.

Unlike almost every Hubert Laws record that came before it, Morning Star, which was nominated for a Grammy Award in 1973 (as was Freddie Hubbard’s Don Sebesky-arranged “In A Mist”), also ranks among the leader’s most consistent and consistently engaging programs. As before, Laws explores a mix of jazz, the classics, pop, funk and spirituals. But here the fusion works so considerably that each track doesn’t feel like a jump in genre.

Laws traverses jazz and the classics with the title track, written by the flautist’s piano partner in the Mongo Santamaria band, Rodgers Grant, and his own “What Do You Think of This World Now,” featuring sister Debra on vocals. The latter features such a prominent and unusual orchestration from Don Sebesky (similar to what he did in his “Bird And Bela in B Flat” several years later) that a co-composer credit would seem much in order here.

We’re on more familiar ground with the very solemn and meaningful reading of the traditional “Amazing Grace,” which was significant enough to factor on two CTI LP compilations back in the day, Fire Into Music and The Power, The Glory and The Music, and Ralph MacDonald and William Salter’s “Where Is The Love,” the huge 1972 hit from the Roberta Flack & Donny Hathaway album, which features many players, including Laws, present on this album and also includes the “Come Ye Disconsolate” that Laws would cover on his 1975 album In The Beginning.

Laws also revisits two of his earlier compositions, “Let Her Go,” originally heard on his second album, Flute By-Laws (Atlantic, 1966) and the chilled-out funk of “No More,” originally voiced by Melba Moore on the 1968 Atlantic album Laws Cause, which also featured Ron Carter’s distinctive bass.

This leads to the remarkably exquisite sound that engineer Rudy Van Gelder captured on Morning Song. By the time of this recording, Van Gelder had mastered an utterly unique sound for CTI that was very different to the truly unique Blue Note, Prestige and Verve sounds the legendary engineer had crafted in years past. The sonority and balance are so gorgeously perfect here that it’s hard to imagine what a lesser engineer might have done with this quartet, two percussionists, seven horn players, 13 string players and (on two cuts) three vocalists. It might even be fair to say that Morning Star is the best sounding album CTI ever made.

Needless to say, Hubert Laws is inspired to play at the very peak of his abilities throughout Morning Song and there’s little doubt that any track off this record could be recognized very much as his own in any blindfold test. In addition to some of Bob James’s loosest and loveliest accompaniment and soloing throughout, the lyrical and like-minded Ron Carter is an asset to Laws’s singular performance, guiding with a subtlety that almost feels as if it is the bassist leading the charge.

"Morning Star" can be ordered from DustyGroove through this link below:
http://www.dustygroove.com/item.php?id=p3bwtzr9vb&ref=browse.php&refQ=kwfilter%3DHubert%2BLaws%26amp%3Bincl_oos%3D1%26amp%3Bincl_cs%3D1%26amp%3Bx%3D15%26amp%3By%3D10

And that's what they say about the CD:
One of the most sublime Hubert Laws albums for CTI – a set that features his incredibly soulful flute work floating over these beautiful large arrangements by Don Sebesky – all ticked by some sweet electric piano from Bob James! The sound is perfect – that balance of soul and sophistication that really made CTI a groundbreaking label at this point – and which made it a perfect place for a hip artist like Hubert to really hit his stride! And in fact, Laws may not have ever hit this height again – as even though later albums are all still pretty great, and plenty soulful, this set's got an extra something special that we never tire of hearing! Titles include "No More", "Morning Star", "Let Her Go", and "What Do You Think Of This World Now?" (Limited time – comes with a full bonus CTI sampler CD too!)

Box Set of the Month - "CTI Records: The Cool Revolution"

Box Set of the Month
"CTI Records: The Cool Revolution" (CTI/Sony Masterworks) 2010

The 4-CD box set "CTI Records: The Cool Revolution - A 40th Anniversary Collection," digitally remastered using the original two-track LP masters, includes 39 tracks on 4 themed CDs ("Staright Up," "Deep Grooves/Big Hits," "The Brazilian Connection," "Cool and Classic") and an illustrated 20-page LP-sized booklet with rare photos and liner notes. Featuring the label’s legendary roster of jazz stars, the four discs offer an overview of the golden decade (1970-80) in which CTI’s signature sound and style were born, with each disc highlighting an aspect of CTI’s personality.

It's very difficult to write a "review" about this box compiled by Richard Seidel (with Alex Miller & Cathleen Murphy as executive producers, and Laura Kszan as project director), 'cause people have been commenting about these tracks thousands of times. And, certainly, CTI devotees like Doug Payne, will post insightful & detailed reviews. So, I'll just make some personal comments.

CD1, "Straight Up," focuses on straight-ahead cuts. Things like the famous bluesy opener, Stanley Turrentine's "Sugar" (one of CTI's signature tracks or anthems or whatever you wanna call it, now revived by the CTI All-Star Band in the upcoming CD/DVD "Live at Montreux 2009"), Chet Baker's rendition of "Autumn Leaves" (in counterpoint with Paul Desmond's dry-martini alto sax) in a rare CTI mainstream-jazz moment, and the hard-bop of Freddie Hubbard's "The Intrepid Fox" and John Coltrane's "Moment's Notice" as performed by brothers Hubert & Ronnie Laws. Don't ask me why there are two takes of Miles Davis' "So What" played by Ron Carter (from his "Spanish Blue" album) and George Benson (from "Beyond The Blue Horizon," of course with Ron on bass). Btw, Ron is heard in all 9 tracks of this CD1, another proof that he was the most important sideman during CTI's heyday from 1970 to 1975.

Billy Cobham (then a key member of John McLaughlin's Mahavishnu Orchestra) shines specially on the Stanley Turrentine/Milt Jackson funkyfied reading of Lee Morgan's bop gem "Speedball" as well as on Randy Weston's bop-waltz "Ifrane," the superb & long-forgotten big-band opening track (featuring an amazing "duel" between Freddie Hubbard and Grover Washington, Jr. in a brilliant Don Sebesky arrangement) from one of CTI's best & most-underrated superb albums, "Blue Moses," for now reissued on CD only in Japan. Randy's sole session for CTI had been ignored in all compilations previously released for the USA market by CBS/Sony/Epic. And both Freddie & Grover are also featured on "Free As A Bird," from Sebesky's masterpiece "Giant Box," with the low-profile maestro playing both accordion & Fender Rhodes, although Bob James does the acoustic piano solo.

Titled "Deep Grooves/Big Hits," CD2 starts appropriately with Hubbard's "Red Clay" (the first CTI crossover-jazz hit), continues with some tracks originally from CTI's main subsidiary Kudu label -- Johnny Hammond's "It's Too Late," Esther Phillips' "Home Is Where The Hatred Is," -- and goes ahead with the amazing charts that Sebesky provided for the jazzy renditions of pop/rock tunes originally supplied by Jefferson Airplane (the title track from Benson's "White Rabbit") and James Taylor ("Fire and Rain," as covered by Hubert Laws).

Then, suddenly comes Esther Phillips' disco-grooved "What a Difference A Day Makes" (CTI's biggest hit ever on the dance-music territory, thanks to Joe Beck's arrangement), Deodato's "Zarathustra/2001" (CTI's mega pop hit in '73) and, sandwiched between them, the Joe Farrell/John McLaughlin exquisite collaboration on "Follow Your Heart," a great track that doesn't has a "deep groove" and neither was a "big hit." The same "problem" with Hank Crawford's "We Got A Good Thing Going," the title track from an album that had been terribly remixed by Larry Keyes for a CD release in 1987. Grover's funky-hit "Mister Magic" (a track now owned by Universal since Motown, now part of UMG, got the control of Grover's albums for Kudu after a law suit against CTI in '76), ends the disc.

Some people really don't know that track sequencing is an art. Period.

Anyway, now we are listening to CD3, "The Brazilian Connection." Oops, they probably meant "The Brazilian Tinge," I guess. Because, alongside Brazilian songs performed by Jobim ("Stone Flower" and an alternate take of "Brazil" that doesn't sounds better than the official take), Astrud Gilberto (Edu Lobo's "Ponteio," with Toots Thielemans guesting on harmonica and Sivuca on acoustic guitar, both propelled by drummer Joao Palma's dexterity, with another Brazilian giant, Dom Um Romão on percussion), Stanley Turrentine (Milton Nascimento's "Salt Song" arranged by Deodato with Airto on drums & congas), Paul Desmond (Jobim's "Wave," a track added to the CD reissue of "Pure Desmond" but not included in the original LP), Deodato's own "Carly & Carole" (his homage to Carly Simon & Carole King) and Airto's acid-jazz classic "Tombo in 7/4," well, besides all these Brazilian songs, appear some cuts that have just some light Brazilian or Latin influences.

Such is the case of Hubbard's tunes "First Light" and "Sunflower" (the latter recorded on a session led by Milt Jackson), as well as Airto's performance of Chick Corea's fusion groundbreaking hymn "Return To Forever," with the original group members - Chick, Stanley Clarke, Flora Purim, Joe Farrell and Airto - augmented by a brass section (3 trumpets & 3 trombones) arranged by Sebesky. Clare Fischer's "Pensativa" was originally conceived as a bossa nova, but there's no bossa beat or hint (or heat) either on John Murtaugh's score for flute & strings (no rhythmic section) used by Hubert Laws on "Wild Flower" and later reprised on "The San Francisco Concert," added as a bonus track on its CD reissue produced by Didier Deutsch. It would have been much better if two pieces by Villa-Lobos -- Brazil's most important classical composer ever -- could have been chosen: "Aria from Bachianas Brasileiras #5" (recorded on Jackie & Roy's "Time & Love") and "Little Train" (sung by Airto on Benson's "White Rabbit").

CD4 puts together a selection titled "Cool and Classic." Certainly, the opening track, "My Funny Valentine," performed by Chet Baker & Gerry Mulligan on their 1974 "Carnegie Hall Concert," contains the essence of cool-jazz. Another Chet vocal take, "What'll I Do," in a lush string arrangement by Sebesky, fits well too. Kenny Burrell's "A Child Is Born," featuring Richard Wyands on piano and George Ricci on cello? OK. Ron Carter's "All Blues," despite a sound problem in the left channel, before Joe Henderson's appearance, sounds cool and classy.

Don Sebesky's haunting score to Joni Mitchell's ballad "Song To A Seagull" is hip, very very hip. The essence of natural elegance and sophistication also showed on his adaptations of Faure's "Pavane" (Hubert Laws) and Rodrigo's "Adagio from Concierto de Aranjuez" (Jim Hall's landmark 19-minute performance with Chet Baker, Paul Desmond and Roland Hanna providing great solos). Classic pieces in all senses indeed. But Bob James' radio hit "Westchester Lady" (a track licensed by James himself, who controls all his solo albums for CTI after winning a law suit against the label in '77) and Benson's "Take Five" (with a splendid Kenny Barron solo on Fender Rhodes) would fit better on that "Deep Grooves/Big Hits" disc. Do I need to explain why?

Last but not least: in spite of the great musical content and the fantastic work of Roxanne Slimak in preparing the elegant art direction & graphic design for the LP-sized booklet, there are countless mistakes and omissions in the credits of the musicians listed in each track. Among them:
- my favorite "acoustic jazz guitarist" ever, Gene Bertoncini, is omitted on Hubert Laws' "Fire and Rain," a track on which he plays a pivotal role in Don Sebesky's score;
- keyboardist David Horowitz is credited as playing "synthesizer" on Randy Weston's "Ifrane," but there's no synth (and no other keyboard besides Weston's own Fender Rhodes) on that superb track; Horowitz played Moog synthesizer in only one track from Weston's "Blue Moses" LP, but that wasn't "Ifrane";
- three backing vocalists are listed on Stanley Turrentine's "Salt Song," although there were no vocals at all on that track (they sang only on another song, "I Told Jesus," from that album)...my dear late friend Richard Tee is also credited as playing "organ" on the same "Salt Song," but he didn't took part of the track and there was no organ on Deodato's arrangement;
- Jay Berliner is listed as guitarist on Milt Jackson's "Sunflower," but there's no guitar on that track, only on "For Someone I Love," which wasn't compiled here;
- and, still speaking of guitarists, Earl Klugh is credited on the title track from George Benson's "White Rabbit" album, but he only recorded in another tune, "El Mar";
Well, the list of mistakes goes on and on, and even photographers like Duane Michals (responsible for that famous Deodato shot used on page 10 of the booklet, the same one originally included in the liner cover of "Prelude") and Alen MacWeeney are not mentioned. Sad.
The box set is already available at DustyGroove through the link below:
http://www.dustygroove.com/item.php?id=dcr6tzgcfx

That's what they say:
A well-titled little set – as the collection is as cool as the sound of CTI Records back in the 70s! The unique package features an LP-sized cover – just like one of the CTI gatefold albums from back in the day – which contains 4 different CDs, each with a slightly different take on the sound of the legendary label! CD 1 is titled Straight Up – and features amazing 70s jazz from Hubert Laws, Ron Carter, George Benson, Randy Weston, Freddie Hubbard, and others. CD 2 is titled Deep Grooves/Big Hits – and features some killer numbers by Esther Phillips, Johnny Hammond, Freddie Hubbard, Deodato, Joe Farrell, and Hank Crawford. Next is CD 3, The Brazilian Connection – a beautiful demonstration of Creed Taylor's love of sounds from Rio and beyond – filled with great work from Airto, Paul Desmond, Antonio Carlos Jobim, Stanley Turrentine, Milt Jackson, and Deodato. Last up is Cool & Classic – the 4th CD, with CTI-remade work by older players such as Gerry Mulligan, Chet Baker, Kenny Burrell, and Jim Hall – all a perfect fit for the label's new sound of the 70s! The package also features an LP-sized booklet – filled with notes and rare images! © 2010, Dusty Groove America, Inc.

CD Compilation of the Month - "Selections from CTI Records: The Cool Revolution"

CD Compilation of the Month
"Selections from CTI Records: The Cool Revolution" (CTI/Sony Masterworks) 2010

Original sessions produced by Creed Taylor & engineered by Rudy Van Gelder
Tracklist:
1. Stanley Turrentine: "Sugar"
2. Chet Baker: "Autumn Leaves"
3. Randy Weston: "Ifrane"
4. Freddie Hubbard: "Red Clay"
5. George Benson: "White Rabbit"
6. Hubert Laws: "Fire and Rain"
7. Antonio Carlos Jobim: "Stone Flower"
8. Astrud Gilberto & Stanley Turrentine: "Ponteio"
9. Eumir Deodato: "Carly & Carole"
10. Don Sebesky: "Song To A Seagull"
11. Hubert Laws: "Pavane"
12. Chet Baker: "What'll I Do"

Vocal CD of the Month - "Sony Holland: Sanssouci"

Vocal CD of the Month
Sony Holland: "Sanssouci" (Van Ness) 2010

Featuring: Sony Holland (vocals), Jerry Holland (guitars), Robbie Kondor (keyboards), David Hughes (bass), Kendall Kay (percussion) & Wolf Sebastian (cello)
Recording Engineer: Mark Vincent
Additional Engineering by Gary Griffin & Nolan Shaheed
Mixing Engineer: Brendan Harkin
Mastering Engineer: Erik Wolf
Graphic Design: Chris & Terry Dudley
Photo: Anthony Popolo

This enchanting CD, by LA-based singer Sony Holland, offers delightful moments that combine elegance, delicacy, sensitivity & musical joy, in reverence to music's subtler values. The lovely intertwining of lines, tempos and motifs abounds throughout the beautifully & inventively arranged 13 track-program, a perfect blend of standards (from the opener "My Foolish Heart" to the finale with the best vocal version of "My Romance" since Carly Simon's recording with Eddie Gomez & Steve Gadd 20 years ago) and originals by Sony's hitmaker (and multi-talented) husband Jerry Holland -- my personal favorite being "Little Tune," that sounds sooooo pretty!

Also noteworthy are Sony's renditions of Rufus Wainweight's title track "Sanssouci" and Carla Bruni's "Those Dancing Days Are Gone," composed (for her second album, "No Promises", from 2008) after a 1929 poem by William Butler Yeats. Not to mention Joseph Kosma's 1945 standard "Les Feuilles Mortes," sung firstly in French (with the original Jacques Prévert lyrics) and soon after with the English lyrics added by Johnny Mercer in 1947. The mixing of Sony Holland's soulful vocals with the sparse/ingenious instrumentation is pure pleasure.

(Sony @ Gary Griffin studio)

Sony Holland talks about the recording of "Sanssouci"
********
"I had been overdue for a new release and wanted to do something different from the traditional jazz trio, piano based recordings I've made in the past. Since I have been gigging frequently as a duo with Jerry, my guitarist/composer/husband (not necessarily in that order), we decided to do a CD that would convey the essence of what those performances have been. The two of us brainstormed on which songs to include. We even did a little "test" recording in our bathroom, the quietest room in our apartment. We picked 13 of my favorite songs that have enough variety but still fit on the same disc. I could easily fill another disc, so leaving some songs out is the toughest part...

We were ready to book Nolan Shaheed's home studio. In addition to being an excellent engineer Nolan has played trumpet with the likes of Stevie Wonder and The Count Basie Big Band. He also happens to be one of the best long distance runners in the world in his age group. Jerry started by recording his guitar tracks using a metronome to help him keep a perfect groove. Since we had also been playing some private parties in Los Angeles with our friend, cellist Sebastian Wolf, it was a natural idea to add his magical touch to a few tracks. Sebastian raced into the studio to play two songs, just before leaving on a month long trip to Europe. His playing is wonderful and adds greatly to the CD.
(Nolan Shaheed, Sebastian Wolf & Sony)

Next we called our friend Gary Griffin who has a home studio set up in a shed behind his house. I am very comfortable singing there even though there is no booth between the vocalist and engineer. Gary is a skilled engineer and also a keyboardist. He's worked with the Beach Boys and other legendary bands. His "shed" has pictures of him with Chuck Berry, James Brown, Brian Wilson and many other stars. We had to pause occasionally for low flying planes, noisy garbage trucks and the neighbors talkative chocolate labs, but I was able to get the vocals done in a couple of short sessions.

We took the tracks home to listen to what we had wrought. On several songs we had inadvertently left the metronome on. The funny thing is that the beat added so much to the feel that we thought, why not actually add a little conga? It wouldn't be too costly and the sound would still be warm and intimate. So we called Kendall Kay. Kendall had played live with me at Catalina's and Spazio, and I knew he was a sensitive musician who would work comfortably in the guitar/vocal setting. At this point we moved to Mark Vincent's studio in Toluca Lake. Kendall brought in a car full of assorted instruments... djembe, conga, shaker, udu, tambourine, snare, rain-stick, etc... He added his rhythms to all 13 songs within a few hours and it all sounded so good!
(Kendall Kay)

About that time Jerry found out that Robbie Kondor was in town playing with the James Taylor / Carol King tour. They were in the midst of a three night run at the Hollywood Bowl. Though Jerry and Robbie hadn't seen each other in 20 years they were old friends from their time in a band together in NYC. So he asked Robbie to add piano to a few tracks before the tour packed up and headed out again. To our surprise Robbie agreed. He dashed in (straight from the Hollywood Bowl) and played on eight of the CDs thirteen tracks.
(Robbie Kondor)

By this point we had developed a really good relationship with engineer Mark Vincent. Mark's dad is Don Vincent, who has been the musical director and band leader for Wayne Newton since the Reagan administration. Mark has grown up around music and is a terrific engineer and a really nice guy too. We all agreed that now the tracks had a great beat and some colorful piano, and what they really needed was a bass to pull it all together. So Mark turned us on to David Hughes. David tours with David Benoit and he has also released several CDs of his own music. He is originally from Sweden but has become a sought after studio musician in Los Angeles. David brought 3 basses; an upright, a Fender Precision and a five string fretless. We really enjoyed the day he came in and played on 12 of the 13 tracks. He would listen down to a track once, pick his bass of choice, and record a terrific part in one or two passes.
(Sony & David Hughes)

The whole project had undergone quite a transformation and Jerry knew his original guitar tracks would have to be replaced. So he re-recorded them, this time playing along with the percussion, bass, piano and vocals instead of just the monotonous metronome. And that's how the project evolved from a sparse guitar/vocal recording to a full combo of percussion, piano, bass, guitar and cello. The remarkable thing is that it sounds like a terrific band performing together live. And you can tell that everyone is having a great time!
(Jerry Holland)
About the songs:

I’m pleased to present my new CD, SANSSOUCI. It is a very personal project for me with softer and darker overtones, especially on songs like "Les Feuilles Mortes" (with the haunting cello) and "When I Find You." Though it was put together on an artists budget I’m proud of the result and I trust it will bring you lots of listening pleasure. I hope you will find the songs interesting in their variety yet cohesive as a group.

The title track is a wonderful song written by Rufus Wainwright. SANSSOUCI refers to a summer palace built by King Frederick of Prussia in 1745. Both the song and the palace bring to mind a certain glorious despair, a sense of grandness and loss at the same time...I certainly have an understanding of those dual emotions.

Here is a quick rundown of the songs. Since I opted for very minimal packaging there wasn't room to print most of this info on the jacket.

My Foolish Heart (V. Young, N. Washington)
This track is my tribute to Astrud Gilberto, whose voice popularized the bossa nova worldwide through songs such as "Girl From Ipanema," "Corcovado" and many others.

Curiosity (J. Holland)
This lovely melody is one of the first songs that Jerry wrote for me and is also influenced by Astrud's music. I confess that he stole the line, "Don't you want to kiss me," straight from my lips. I just blurted it out one evening when he was trying to play it cool.

Those Dancing Days Are Gone (C. Bruni, W.B. Yeats)
"I carry the sun in a golden cup, the moon in a silver bag." That line from W.B. Yeats poem grabbed me right away, and the catchy music by Carla Bruni is really sweet. We gave it a reggae feel.

Sanssouci (R. Wainwright)
The title track was written by the one and only Rufus Wainwright. Sanssouci was the summer palace of Frederick the Great, located in Potsdam. Jerry's hypnotic guitar and Wolf Sebastian's cello combine for some charming interplay.

What A Difference A Day Made (S. Adams, M. Grever)
No one tops Dinah Washington's original version. The foot pedal for the keyboard was broken the day Robbie Kondor came in to record, but he laid down a fluffy pillow of an organ track anyway!

Little Tune (J. Holland, A.R. Scott)
I love this little tune! Jerry co-wrote it with his friend Alan Roy Scott. They were co-writers years ago when they were young rockers in NYC. Alan moved to L.A. in the 90's and got a gig writing for TAMLA, the publishing division of MOTOWN. When we first moved to SoCal the two of them got together (for the first time in 20 years) and wrote this song in one short session. I hope they don't wait another 20 to write another.

When I Find You (J. Holland)
This is one of my favorite songs of Jerry's. In addition to Kendal's djembe I love the bells he added. He also played udu and tambourine on this one.

Les Feuilles Mortes (J. Prevert, J. Kosma, J. Mercer)
This lovely arrangement features a touch of flamenco guitar, castanets and a beautiful cello solo by my dear friend, Wolf Sebastian.

My Foolish Heart (V. Young, N. Washington)
This track is my tribute to Astrud Gilberto, whose voice popularized the bossa nova worldwide through songs such as "Girl From Ipanema," "Corcovado" and many others.

You Don't Know What Love Is (G. de Paul, D. Raye)
You don't know the true value of something until you've lost it...Amen! There have been many versions of this, including the classic by Billie Holiday.

You're Always With Somebody New (J. Holland)
This coy tune was inspired by a friend of ours who always shows up with a new girl in his arms...a 'bad boy' indeed!

Too Many Beautiful Girls (J. Holland)
Everyone asks what a "Kangol crown" refers to in this lyric so here's the explanation: 'Kangol' is the brand of beret I often wear, like the one in the picture below. I have a white beret too!

The First Time Ever I Saw Your Face (E. MacColl)
This has been a fan favorite at my concerts for several years. According to Wiki, the songwriter, Ewan MacColl, was an absolute folk purist. For example, he did not approve of English people singing Scottish folk songs or vice versa and reputedly hated almost all the recordings of this song, including Flack's. Hmmm...

My Romance (R. Rodgers, L. Hart)
We chose to wrap things up the same way we started, with a simple version of a beautiful song. Sweet dreams!

Instrumental CD of the Month - "John Scofield & Vince Mendoza: 54"

Instrumental CD of the Month
John Scofield, Vince Mendoza & Metropole Orkest: "54" (ScoBiz/Universal)

Seven of Scofield's challenging compositions -- plus two Vince Mendonza's originals -- adapted and re-arranged for an orchestral context. Mendoza, artistic director of the Metropole Orchestra, scored most of the tracks (including the massive opener, "Carlos," John's tribute to Santana), except "Imaginary Time" (orchestrated by Florian Ross) and "Out of the City" (by Jim McNeely).
Among the main soloists are Paul van der Feen (alto sax), Ruud Breuls (trumpet), Bart van Lier (trombone), Marc Scholten (alto sax), Leo Janssen (tenor sax), Hans Vroomans (piano & Hammond organ) and Martijn Vink (drums). Also noteworhy is the work of bassist Aram Kersbergen.

CD-Single of the Month - "Eumir Deodato & Al Jarreau: Double Face"

CD-Single of the Month
Eumir Deodato feat. Al Jarreau: "Double Face" (Expansion) 2010

Tracklist:
1. Double Face (Radio Mix)
2. Double Face (Album Mix)
3. I Want You More (Album Mix)

"The Crossing," Eumir Deodato's new solo project is scheduled for CD release in Europe on November 26, distributed by Expansion (UK) and Soul Trade. This new project was produced by the Italian group Novecento, and recorded, mixed & mastered at their Nicolosi Studio in Milan.

One of the special guests is the brilliant singer Al Jarreau, featured on the first video & the first single, "Double Face," an up-tempo urban/dance song for which the virtuoso vocalist wrote the lyrics. Jarreau also appears on the lush "I Want You More," on which the talented Dora Nicolosi (member of Novecento) takes the lead vocals, while Deodato performs a fantastic Rhodes solo. Btw, it's great to have the Brazilian genius back on a real Fender Rhodes, 'cause no one ever played Rhodes like him. And nobody will.

"Cadence" - October/November/December 2010

"DownBeat" - October 2010

COVER
Ray Charles -- DownBeat honors the life and jazz legacy of Ray Charles, whose 80th anniversary this year has served as an occasion for reissues of his classic recordings, an upcoming television biopic and even a Broadway musical. DB takes a fresh look at Brother Ray's big band work and the jazz musicians who helped him put the soul into swing.

FEATURES
John Clayton -- A family man who frequently performs with his sax-playing brother Jeff and piano-playing son Gerald, Clayton holds an undisputed position in the upper echelons of bass expression as an ensemble player and soloist. His experience as a composer, arranger and bandleader-not to mention his dedication to education-have earned him deep respect in jazz and classical music circles. (Suprisingly, not a single word about Diana Krall, his main employer in the past 10 years, with whom he toured the world many times, recorded several CDs and appeared on 2 DVDs...I know that Clayton already left her group, but the fact that her name is not even mentioned in this story sounds very strange to me...)

Tim Berne -- Alto and baritone saxophonist Tim Berne is a driven New York bandleader and improviser who thrives on change. He perpetually seeks out fellow players who can bring a fresh chemistry to his ever-evolving ensembles.

Josh Berman -- For more than 10 years, cornetist Berman has been an essential contributor to Chicago's active improvised music scene. His work involves not only performing in a variety of highly collaborative formats, but also developing opportunities and forums for presenting improvised music.

Billy Childs -- A feeling of Impressionism pervades the pianist's latest recording project, a collection of classically infused compositions rich in atmospheric timbres and sensations.

JAZZ EDUCATION GUIDE: Where To Study Jazz 2011 --
A comprehensive resource of school listings designed to help students preparing to enter college and graduate school take the proper steps in pursuing their formal jazz studies. Includes:
· Rufus Reid Blindfold test at the JEN Conference
· Future of Jazz discussion with Stefon Harris, Gerald Clayton, Don Braden, DJ Trentino
· Glimpse at Oberlin's new jazz facility an honor the late chazz chair, Wendell Logan.
· Peek into the influental jazz education organizations of Thelonious Monk Institute of Jazz and the Brubeck Institute.
· Tips on finding the right college jazz program and advice for choosing (or changing) majors.

PLAYERS
Michael 'Spike' Wilner (piano)
Matt Bauder (saxophone)
Pete Robbins (saxophone)
Gregory Porter (voice)

BLINDFOLD TEST -- Anat Cohen

THE BEAT
· Ramsey Lewis celebrates his 75th birthday
· Tenor saxophonist Fred Anderson remembered.
· Icons Among Us DVD documents current jazz scene
· European Scene
· Caught: Parma Jazz Festival in Italy; Montreal Jazz Festival; North Sea Jazz Festival

WOODSHED
· Master Class: Trumpeter Carl Fischer on how to not get stereotyped
· Transcription: Jon Irabagon's alto saxophone solo on "January Dream" from the Observer

REVIEWS - Hot Box
· Bruce Barth & Steve Wilson, Home (We Always Swing)
· Wynton Marsalis & Richard Galliano, From Billie Holiday To Edith Piaf: Live In Marciac (Wynton Marsalis Enterprises/The Orchard)
· Bill Frisell, Beautiful Dreams (Savoy Jazz)
· Herbie Hancock, The Imagine Project (Hancock Records) this album received four different ratings -- **, ***, ***1/2, **** -- from the DB critics.

CD Reviews
· Sinatra-Jobim, The Complete Reprise Recordings (Concord)
· Stefano Battaglia & Michele Rabbia, Pastorale (ECM)
· James Moody, 4B (IPO)
· Eden Brent, Ain't Got No Troubles (Yellow Dog)
· Marco Benevento, Between The Needles & Nightfall (Royal Potato Family)
· Geri Allen, Flying Toward The Sound and Geri Allen & Timeline-Live (Motema)
· Gabor Szabo, Jazz Raga (Impulse!/Light In The Attic Records)
· Steve Smith/George Brooks/Prasanna, Raga Bop Trio (Abstract Logix)
· Liam Sillery, Phenomenology (OA2)
· Stanley Clarke, The Stanley Clarke Band (HeadsUp)
· Hilary Kole, You Are There (Justin Time)
· Bobby Previte, Pan Atlantic (Auand)
· Pinetop Perkins/Willie "Big Eyes" Smith, Joined At The Hip (Telarc)
· Ernie Watts, Four Plus Four (Flying Dolphin)
· Larry Coryell, The Virtuoso Guitar Of Larry Coryell (HighNote)
· George Duke, Deja Vu (Heads Up)
· Stacey Kent, Raconte-Moi (EMI-Blue Note)
· Charnett Moffett, Treasure (Motema)
· Axis Trio, Anthem (Accretions)
· Rich Corpolongo Trio, Get Happy (Delmark)
· Pat Mallinger, Dragon Fish (Chicago Sessions)
· Stan Kenton Alumni Band, Have Band Will Travel (Summit)
· Stan Kenton, This Is An Orchestra (Tantara)
· Margret, Com Você (Sunnyside)
· Frederico Britos, Voyage (Sunnyside)
· Guillermo Klein, Domador de Huellas (Sunnyside)
· Aaron Germain, Before You Go (self)

Jazz
· John Zorn/George Lewis/Bill Frisell, More News For Lulu (Hatology)
· Marc Copland Trio, Haunted Heart (Hatology)
· Dave Douglas Tiny Bell, Constellations (Hatology)
· Anthony Braxton, Koln 1978 (Hatology)
· Manuel Mengis, Dulcet Crush (Hatology)
· Loren Connors/Jim O'Rourke, Are You Going To Stop...In Berlin? (Hatology)

Blues
· Dave Weld & Imperial Flames, Burnin' Love (Delmark)
· Mia Vermillion, Alone Together with the Blues (VMS)
· Hot Tuna, Live at New Orleans House (Collector's Choice)
· Various Artists, I'm Going Where the Water Drinks Like Wine: Rarities 1923-29 (Sub Rosa)
· Various Artists, This is the Blues (Eagle)
· John Jackson, Rappahannock Blues (Smithsonian)
· Tim Woods, The Blues Sessions (Earwig)

Beyond
· Tom Jobim, Brazil's Ambassador Of Song [3-DVD set] (Jobim Music/DGR)

Historical
· Dave Brubeck Quartet, Jazz at Oberlin (Concord)
· Art Pepper Meets the Rhythm Section (Concord)
· Sonny Rollins, Way Out West (Concord)
· Thelonious Monk with John Coltrane (Concord)
· Joe Pass, Virtuoso (Concord)

Book Review
· Jimmy Heath, I Walked With The Giants (Temple University Press)

Anna Mjoll live @ Vibrato, Oct 1st

Come hang with all the other cool sunshine people of California for a Groovin' Jazz Night with ANNA MJÖLL @ Herb Alpert's VIBRATO! This Friday, October 1st, at 9pm. Then you'll understand why we at Jazz Station have voted her one of the Top 5 singers in the current jazz scene.

ALMOST SOLD OUT - AGAIN!!!
Anna Mjoll and the Pat Senatore Trio, led by the great bassist who is Vibrato's artistic director.
2930 Beverly Glen Circle
Bel Air, CA, 90077

NO COVER! But call 310.474.9400 for Reservations.
http://www.vibratogrilljazz.com/index.php
(Anna with the Pat Senatore Trio;
from left to right - Josh Nelson, Pat Senatore, Anna Mjöll & Bob Leatherbarrow)

Quincy Jones Presents The Alfredo Rodriguez Trio Live in LA

JAZZ BAKERY “MOVABLE FEAST” & QUINCY JONES PRODUCTIONS PRESENT THE ALFREDO RODRIGUEZ TRIO
THURSDAY, SEPT. 30th ONE SHOW 8:30 PM
MUSICIANS INSTITUTE CONCERT HALL
1655 N. MCCADDEN PLACE,
HOLLYWOOD, CA 90028

The Alfredo Rodriguez Trio, fresh off recent European and Asian tours will make their first appearance in Los Angeles (as a trio) this Thursday as part of Ruth Price's Jazz Bakery "Movable Feast."

Alfredo just finished a tour that included stops at the Montreux Jazz Festival in Switzerland, The North Sea Jazz Festival in Holland, The Umbria Jazz Festival in Italy, the Warsaw Open Air Festival in Poland, The Duc De Lombards Festival in France, The Opening Ceremonies of the Shanghai Film Festival in China, The Mundo Latino Festival in Brazil, The Opening Ceremony of the Shanghai Tourism Festival in China, and many, many others. This will be the trio's first ever performance in Los Angeles, and Alfredo's first performance since his performance at the Rose Bowl with the Pasadena Symphony. Do not miss this rare chance to see Alfredo live in LA.

For more info, visit www.alfredomusic.com
To buy tickets, visit www.brownpapertickets.com/event/125893

"He is very special and I do not say that easily because been I have been surrounded by the best musicians in the world my entire life and he is one of the best.” - Quincy Jones in La Opinion

"Young Cuban pianist Alfredo Rodriguez sounds the way Monk might have sounded if he had been born in Chick Corea’s body and raised on a diet of Bach, Chopin and Stravinsky in a Havana conservatory." - San Jose Mercury News

"[Alfredo's] playing, proficient and soulful, projects a spirited, youthful charm." - The New York Times

"He is very special and I do not say that easily because been I have been surrounded by the best musicians in the world my entire life and he is one of the best.” - Quincy Jones in La Opinion

Gina Saputo back @ Steamers, October 1st!

One of our favorite vocalists in the contemporary jazz scene, Gina Saputo will be appearing @ Steamers this Friday night, October 1st. She will be backed by Matt Politano, Nick Schaadt and Evan Stone, with special guests Larry Salzman and Emily Michels.

Gina usually writes the setlist by hand about an hour before the show, but it will probably include such songs as "I’ve never been in love before," "Cheek to cheek," "Call me," "Until I met you," "Fool on the hill," "They can’t take that away from me," "Bye bye blackbird," "Chega de saudade," "My man’s blues," "Exactly like you" and "'Round midnight."

Gina Saputo is a vocalist, entertainer, clinician and arranger who has already established herself as one of the rising young stars on the scene. From there, Gina attended USC’s prestigious Thornton School of Music. Gina was among seven musicians chosen by Herbie Hancock, Terence Blanchard, and Wayne Shorter to study at the Thelonius Monk Institute. During her time with the institute, she performed for the State Department in Washington, D.C., and toured Vietnam with Hancock, Shorter and Nnenna Freelon.

Her first CD, “Gina Saputo,” which featured pianist Gerald Clayton, was recorded with vocal sessions produced by Grammy award nominated vocalist Tierney Sutton, who said, “Gina has the talent as well as the passion to stretch and think outside the box.” After two successful tours of Japan, her CD has climbed to #3 on the prestigious Swing Journal charts, and has received rave reviews. She was a guest professor at Gwangju University in South Korea, and toured Japan a second time with Grammy nominated pianist Bill Cunliffe. 2009 was a great year for Gina. She appeared at the Skywards Dubai International Jazz Festival. She won First Place at the Big Stage Vocal Competition, and was the vocalist for the Orange County Music Awards winning band for Best Jazz in Orange County. She recently recorded two ringtones which will be default rings on upcoming Samsung phones, and headlined Club Nokia at LA Live!

Steamers Jazz Club and Cafe
138 W. Commonwealth Ave
Fullerton, CA 92832
714-871-8800
jazz@steamersjazz.com
www.steamersjazz.com

UPCOMING AT STEAMERS:
OCT 2- THE FRANCISCO AGUABELLA LATIN JAZZ BAND
OCT 3-STEAMERS' NEW JAZZ JAM W/ EVAN STONE
OCT 4-THE HAL WILLIS BIG BAND
OCT 5- THE RON KOBAYASHI TRIO W DEBI EBERT
OCT 6-VOCALIST ELAINE MILES
OCT 7-THE RON ESCHETE TRIO
OCT 8-MELENA AND HER LATIN JAZZ BAND FEATURING RAMON BANDA
OCT 9-LOUIE CRUZ BELTRAN AND HIS LATIN JAZZ BAND
OCT 10-STEAMERS' NEW JAZZ JAM W/ EVAN STONE
OCT 11- BILL STROUT'S BIG BAND 2000

DJ Tatiana Fontes in NY, tomo nite!

Melodic Wednesdays @ ECCO Hollywood tonite

Fedde le Grand & Mr. V's "Back n Forth" perform live at Melodic tonite!

This Week Mr. V takes center stage along w/ opening set by The EC Twins!
You might be familiar w/ Mr. V from his smash hit "Back n Forth" he collaborated with Fedde le Grand on
He will be performing it live on the mic tonight!!

http://www.facebook.com/l/6bffdfauTcwjPiGDGsZyj_Qdnlg;www.youtube.com/watch?v=5R6Ox1MjuLA

Discounted entry before midnight by mentioning "Pete G's List" @ the door!
Hit up Pete G for birthday bookings or table specials!!

+ PLAYHOUSE Mondays ECCO Wednesdays MY HOUSE Fridays VANGUARD Fridays MUSIC BOX Saturdays (finale this weekend!)

To RSVP Please
1.) E-Mail Pete@SuperstarsVIP.com
2.) Text 323.394.3917 (Pete G)
3.) Sign Up Online @ http://www.facebook.com/l/6bffd4vUZ5ClS8TkKdmERZd2DcQ;www.SuperstarsVIP.com/

Toph-e & The Pussycats live @ Covet Lounge, NY, Sept. 30

Toph-e & The Pussycats debut at Covet, midtown Manhattan's newest live music hotspot, on Thursday, September 30. Show times are at 8pm and 10pm. No cover. For reservations or more information, call (212) 223-2829 or visit www.covetlounge.com

Don't let this band's name fool you: Toph-E & The Pussycats are a group of veteran jazz musicians whose combined resumes include television gigs, Grammy awards, and musician credits from James Brown to Miles Davis. Led by drummer Chris Parker, the group also features bassist Will Lee, pianist Clifford Carter, saxophonist David Mann, and percussionist Ralph MacDonald.

The New York-based group, which was formed in 2000, performs compositions with a heady mix of jazz, R&B and rock music, basing them around a musical philosophy dubbed "R&B-bop."
Drummer Chris Parker, pictured above, has been a member of The Brecker Brothers, Stuff, Joe Cool, and NBC's Saturday Night Live. He has toured with Bob Dylan, Bette Midler, Joe Cocker, Paul Simon and the legendary Stuff band. He has recorded with Donald Fagen, Ashford and Simpson, Eumir Deodato, Aretha Franklin, Natalie Cole, James Brown, Salt ‘n' Pepa, Miles Davis and Cher.

Will Lee, on bass and vocals, hails from The Late Show with David Letterman on CBS, and The Fab Faux. He has performed and appeared on numerous recordings with Frank Sinatra, Bette Midler, Barbara Streisand, Mick Jagger, Steely Dan, Esther Phillips, Joe Beck, Deodato, Don Sebesky, Bob James, Kimiko Itoh, The Brecker Brothers, Richard Tee, David Matthews, Patti Austin and James Brown, to name a few.

Ralph MacDonald, percussionist and Grammy winning songwriter, started with Harry Belafonte when he was only 16 years old and went on to have Grammy winning hit records of his songs recorded by Bill Withers & Grover Washington Jr. ("Just the Two of Us"), Donny Hathaway and Roberta Flack ("Where is the Love?") plus Roberta's "No Tears In The End" and "When You Smile"), and Grover Washington, Tony Bennett and Esther Phillips, who covered "Mister Magic." He released several solo album and has performed on countless recordings with such artists as George Benson, Gabor Szabo, Bob James, Aretha Franklin, Luiz Bonfá, Esther Phillips, Hubert Laws, Ron Carter, Toots Thielemans, Blood Sweat & Tears, David "Fathead" Newman, Joe Farrell, Tom Scott, and Jimmy Buffett.

Cliff Carter, on piano and keyboards, has been the pianist with Patti Scialfa, recorded and toured with James Taylor, Bryan Ferry, Idris Muhammad, David Matthews, Hank Crawford, Esther Phillips, Betty Buckley, Melissa Errico and Brethren Crazed Man and the Wildlife Ensemble.

David Mann, tenor and soprano saxophones, has released solo albums, most recently, "Touch," on N-Coded Music, as well as producing many other artists, like Wayman Tisdale, Nelson Rangell and Rachel Z. His recording credits are extensive, including Tower of Power, James Taylor, Paul Simon, Queen Latifah, Madonna, Bob James and Sting.

R.I.P.: Buddy Collette

Buddy Collette, Jazz Musician and Bandleader, Dies at 89
by Dennis Hevesi
New York Times, September 28, 2010

Buddy Collette, a jazz saxophonist, flutist, clarinetist and bandleader who blended his usually soothing, often pungent sounds with those of many jazz greats and who was a leader in the struggle to break racial barriers in the music industry, died on Sept. 19 in Los Angeles. He was 89.

The cause was a respiratory ailment, his daughter Cheryl Collette-White told The Los Angeles Times.

Although Mr. Collette never attained the fame of many jazz stars, he played beside them, from his days as a teenager in the 1930s until a stroke ended his career in 1998.

According to Ted Gioia's "History of Jazz" (Oxford University, 1997), one of Mr. Collette's closest colleagues, the bassist Charles Mingus, went so far "as to claim that his friend Buddy Collette could play as well as Bird" -- a reference to the nickname of the renowned saxophonist Charlie Parker.

Besides Mr. Mingus and Mr. Parker, Mr. Collette performed with Duke Ellington, Count Basie, Thelonious Monk, Stan Kenton, Sarah Vaughan, Ella Fitzgerald, Frank Sinatra, Nat King Cole, Nelson Riddle and Louie Bellson.

He came to national attention in 1955 as a member of the drummer Chico Hamilton's quintet. But he had already made his mark, moving from small jazz groups to big bands and from film studio work to television.

In the estimation of The New Grove Dictionary of Jazz (Macmillan, 2002), Mr. Collette brought a "virile approach" to the saxophone. And, as a flutist, it said, "Collette's fluent playing helped shape a style of chamber jazz that utilized a soft instrumentation, but was nonetheless improvisational, swinging, and in its own way, hot."

William Marcel Collette was born on Aug. 6, 1921, in the Watts district of Los Angeles. His father, Willie, was, a pianist; his mother, Goldie Marie, was a singer. In addition to his daughter Cheryl, Mr. Collette is survived by two other daughters, Veda and Crystal; a son, Zan; eight grandchildren; and nine great-grandchildren.

As a child Mr. Collette went to a Louis Armstrong concert with his parents and soon turned from piano lessons to the saxophone -- and jazz. When he was 12, he formed his first band. Among the youngsters in the group was Mr. Mingus, whom Buddy convinced to switch from cello to bass.

After serving in the Navy in World War II, during which he led a dance band, Mr. Collette became a well-known name among the swing and be-bop players in the night spots dotting Central Avenue in Los Angeles. In 1949, he broke a color barrier by being chosen as the only African-American in the band for the Groucho Marx show "You Bet Your Life."

Along with the pianist Benny Carter and the arranger Marl Young, Mr. Collette became a leader in the struggle to eliminate segregation in the American Federation of Musicians. On April 1, 1953, the black and white locals of the union in Los Angeles merged.

"I knew that was something that had to be done," Mr. Collette told The Los Angeles Times in 2000. "I had been in the service, where our band was integrated. My high school had been fully integrated. I really didn't know anything about racism, but I knew it wasn't right. Musicians should be judged on how they play, not the color of their skin."
********
From his official website:
http://www.buddycollette.com/biography.html

When it comes to unsung jazz heroes, Buddy Collette's talents on tenor saxophone, flute, and clarinet are as close to unmatched as it gets. A gifted composer of classical music in addition to his jazz pedigree, Collette continues to fly almost defiantly under the radar of greater renown.

William Marcel Collette was born on August 6, 1921 in the Watts district of Los Angeles. Along with saxophonist Dexter Gordon bassist Charles Mingus, and drummer Chico Hamilton, he helped keep bebop alive in the city's historic Central Avenue neighborhood. Buddy also played an important role with the development of the cool jazz movement. After attending a concert by the legendary trumpeter Louis Armstrong with his parents, a young Collette was taken by the idea of a career in jazz. Satchmo's achievements and lifestyle presented an appealing alternative to the menial and often degrading jobs open to African Americans during the Depression.

In 1933, at the age of 12, Collette formed his first jazz ensemble. The group contained, of all people, a talented teenager named Charles Mingus, who Buddy convinced to switch from cello to bass. Mingus was already an extraordinary talent, but his infamous temper was also firmly in place. In the years that followed, Collette was instrumental in helping Mingus forge better relationships with various musicians and producers. Buddy's gentle, friendly demeanor was the perfect counterpoint to the ornery bassist; they became lifelong friends.

Remembering the action on and off Central Avenue, Collette speaks fondly of the lengthy jam sessions from that district during the 1930s and '40s. During those years the area around Central Avenue was filled with the sounds of swing, and, after World War II, bebop. Collette enlisted in the military during World War II. When he returned to Los Angles, he quickly became one of the city's first bebop players.

In 1949, Collette recorded "It's April" in the backroom studios of Dolphin's of Hollywood. Although "It's April" and other tunes recorded at Dolpin's were receiving radio airplay and selling well, studio owner John Dolphin seldom paid the musicians. This money conflict eventually led to the stabbing and killing of Dolphin by one of his musicians. Buddy left Dolphin behind and overcame tough racial barriers in the industry by becoming the first African American to perform in a television studio band, appearing on Groucho Marx's television show, You Bet Your Life.

Fortunately, Collette was not content on being the only black musician in the television studio orchestra. He eventually became a political and cultural activist in the battle against segregation in the music industry, and the burgeoning influence of McCarthyism. He also helped organize a concert and rally protesting government repression of the legendary African American singer, actor, and political activist Paul Robeson. Collette's artistic and social activism continued when he led a grassroots campaign to desegregate the Los Angeles musician's union. Gerald Wilson, Frank Sinatra, Nat "King" Cole, and saxophonist Benny Carter were some of Collette's early supporters.

None of these activities got in the way of Collette's music making. In 1955, he became a founding member of drummer Chico Hamilton's legendary quintet. The unusual quintet also featured pianist and cellist Fred Katz, whom Collette calls "the first jazz cello player." A year later, Collette recorded Man of Many Parts, his first album as a bandleader. The album not only demonstrated Collette's mastery on saxophone but also his compositional talents.

In the late 1950s, the careers of Collette and his West Coast contemporaries were taking off. But while most of them like Mingus, Hamilton and saxophonists Eric Dolphy and Charles Lloyd moved to New York for more lucrative gigs, Collette stayed in Los Angeles. Although Collette didn't become a household name like his friends, he did become a noteworthy educator in the 1960s. His students included such wonderful woodwind players as James Newton, Frank Morgan, Sonny Criss, Eric Dolphy, and Charles Lloyd.

In 1996, the Library of Congress commissioned Collette to write and perform a special big band concert to highlight his long career. For the concert Buddy brought together some of his old musical mates from Los Angeles including Jackie Kelson, Britt Woodman, and Chico Hamilton.

Today, Collette is receiving more recognition than ever. Although he no longer performs due to a stroke in 1998, the gleaming beauty, immense talent, and gentle spirit of Collette remain intact and highly influential.

Nelson Angelo live in NY, Sept 29

Brazilian genius Nelson Angelo does an ultra-rare NY apperance @ Zinc Bar (82 West 3rd St) this next Wednesday, September 29. Don't miss this event!

CD of the Week - "Pat Metheny & Anna Maria Jopek: Upojenie"

CD of the Week
Pat Metheny & Anna Maria Jopek: "Upojenie" (Nonesuch)

Asian issue with bonus tracks, additional booklet and new liner notes
Distributed by Vitamin Entertainment Co. Ltd., a division of Warner Music Korea
Produced by Marcin Kydrynski & Pat Metheny
Co-produced by Anna Maria Jopek & Pawel Bzim Zarecki
Sequenced by Matt Pierson

Featuring: Anna Maria Jopel (vocals & Fender Rhodes), Pat Metheny (acoustic, electric, baritone & soprano guitars, guitar synthesizer, 42-string Pikasso guitar, keyboards), Leszek Mozdzer (piano), Pawel Bzim Zarecki (keyboards, programming & loops), Darek Oleszkiewicz (acoustic bass), Marcin Popsieszalski (electric bass, loops & programming), Cezary Konrad (drums), Mino Cinelu (percussion), Henryk Miskiewicz (soprano sax), Bernard Maseli (vibes) et al.

For more pics and details regarding the album content, as well as about the previous issues released in Poland and in the USA, please check:
http://jazzstation-oblogdearnaldodesouteiros.blogspot.com/2008/09/pat-metheny-anna-maria-jopek-upojenie.html

R.I.P.: Eddie Fisher

Eddie Fisher Dies at 82; Crooner Was Known for His High-Profile Marriages
by Dennis McLellan
Los Angeles Times, September 25, 2010

As Eddie Fisher once put it, by the time he was 33, "I had been married to America's sweetheart and America's femme fatale, and both marriages had ended in scandal.

"I'd been one of the most popular singers in America and had given up my career for love. I had fathered two children and adopted two children and rarely saw any of them. I was addicted to methamphetamines and I couldn't sleep at night without a huge dose of Librium."

And looking back over a tumultuous life that included his years with Debbie Reynolds and Elizabeth Taylor, he wrote in his 1999 memoir, "Been There, Done That," that he had learned one important lesson: "There were no rules for me. I could get away with anything so long as that sound came out of my throat."

Fisher, who died Wednesday at 82 at his home in Berkeley from complications of hip surgery, traveled one of the rockier roads in show business, one marked by well-documented personal and professional peaks and valleys.

But there was no denying the impact of "that sound" that came out of the darkly handsome young Philadelphia native's throat during his 1950s heyday.

"He had the biggest voice I ever heard," singer Andy Williams told The Times on Friday. "I used to do numbers with him and Bobby Darin on my show. He used to blast the hell out of us. His voice was so big, round and full."

Beginning with his first hit, "Thinking of You," in 1950, Fisher became one of America's most popular recording artists, a singer whose looks and voice made bobby-soxers swoon and spurred the creation of fan club chapters around the world.

During much of the '50s, Fisher had a long string of Top 10 -- and No. 1 -- hits, including "Any Time," "Tell Me Why," "I'm Walking Behind You," "I Need You Now" and "Oh! My Pa-Pa."

He also headlined nightclubs, made TV guest appearances and starred in his own popular 15-minute TV music show, "Coke Time With Eddie Fisher," from 1953 to '57. That was followed by "The Eddie Fisher Show," an hour-long music-variety program that aired from 1957 to '59.

But in the end, Fisher told the Miami Herald in 1999, "it isn't the music that people remember most about me. It's the women."

His 1955 marriage to Reynolds, Hollywood's girl next door, was greeted with headlines such as "America's Sweethearts Tie Knot." The marriage produced two children, Carrie and Todd.

But Fisher outraged fans when he left Reynolds for Taylor after Taylor's husband and Fisher's best friend, film producer Michael Todd, was killed in a plane crash in 1958. Fisher and Taylor were married the next year.

But then Taylor fell in love with Richard Burton during the filming of "Cleopatra," which generated another round of international headlines and caused Fisher to check into a New York City hospital with a reported nervous breakdown in 1962 after returning from Rome, where his wife was making the movie. The Fisher-Taylor divorce became final in 1964.

"This was an era when the movie magazines were going full force, and the coverage" of Fisher's romantic entanglements "saturated popular culture to the max, for years on end," recalled film reviewer Kevin Thomas, a former Times staff writer.

Fisher, Thomas said, "was the real loser in all of this. He got heaps of scorn for deserting Debbie. In the magazines, she was the sweet girl next door who had been cast aside for the legendary temptress."

Fisher's 1967 marriage to actress and singer Connie Stevens, with whom he had two daughters, Joely and Trisha Leigh, ended in divorce in 1969. He was married to Terry Richard, a former beauty queen, from 1975 to '76.

Fisher's fifth wife, Betty Lin, a Chinese-born businesswoman whom he married in 1993, died in 2001.

Although Fisher co-starred with Reynolds in the 1956 comedy "Bundle of Joy" and co-starred with Taylor in "BUtterfield 8," the 1960 drama for which Taylor won an Oscar, he never developed his own film career.

With the impact of rock 'n' roll, Fisher's record sales began to decline in the late '50s.

"It is very hard to overestimate his popularity in the 1950s," Thomas said. "He was on TV all the time. He really was big, and then the whole rock 'n' roll revolution came along. His music was going out of style, and he would have had a tough time anyway, and then there was all this coverage of his personal business."

Fisher was "underestimated for his natural talent and beautiful voice," said Michael Feinstein, a singer known for interpreting American standards.

"He was saddled with substandard material that he was forced to record by his record company," Feinstein told The Times. "Had he been given the opportunity to sing more enduring music, to record more enduring standards, as did Frank Sinatra, perhaps he would be better acknowledged today."

"He was blessed with an extraordinarily beautiful, rich and resonant tenor voice that was quite thrilling," Feinstein said. "He also had a fundamental problem with rhythm, and that sometimes got in the way of his ability to interpret a song."

In a 1991 interview with the Chicago Tribune, Fisher said of rock 'n' roll: "I did not think that would have any effect on me. I thought I was above and beyond all that. I thought I had created this niche and nothing could take it away."

The son of Russian-born Jewish immigrants and one of seven children, Fisher was born in Philadelphia on Aug. 10, 1928.

Encouraged by his grandmother to sing Jewish folk songs when he was 2 or 3, Fisher was singing duets in Hebrew with the cantor at their synagogue by the time he was 7 or 8.

By the time he was 15, he was a local radio star singing six days a week on three different shows. His picture appeared in advertisements on the fronts of trolley cars and, he later wrote, "the newspapers reported that by the time the trolley reached the end of the line, my picture was covered with lipstick."

Fisher, who dropped out of high school in his senior year, sang with the bands of Buddy Morrow and Charlie Ventura when he was 18. He began achieving national recognition on entertainer Eddie Cantor's radio show in 1949.

Fisher's burgeoning career was interrupted by Army service from 1951 to '53 while he was assigned to the Army Band entertaining troops in Asia and Europe. Even then, he was deluged with fan mail.

Fisher attempted numerous comebacks over the years.

Catching up with the singer during his engagement at the Westside Room in 1972, Times writer Mary Murphy noted that Fisher offered a running biographical commentary between singing his old hits:

"It went something like this, to the sound of snickering: 'Bad luck is better than no luck at all.' 'I work alone -- finally.'... 'I don't sing professionally anymore. It's a sideline. I'm really a marriage counselor.'"

Everybody, Murphy wrote, "was in on the put-down. They all knew Eddie's secrets and elbowed each other to prove it."

Fisher expanded on his "secrets" in "Been Here, Done That" and his 1981 book "Eddie: My Life, My Loves," in which he claimed to have stopped abusing drugs. He later recanted.

"I wrote that book under the influence," he told the Chicago Tribune in 1991. "Cocaine. That's what happens with drugs. You lie. You lie a lot."

He credited future wife Lin with persuading him to seek help, which he received at the Betty Ford Clinic. At the time of the interview, he had been clean for 18 months.

"That's the longest I've been sober since I got out of the Army in 1953," he said. "Really, I'm lucky to be alive and lucky to have a fresh outlook on life."

In a statement from the Fisher family announcing his death, the family said that "the world lost a true American icon.

"He was loved and will be missed by his four children: Carrie, Todd, Joely and Tricia Leigh as well as his six grandchildren. He was an extraordinary talent and a true mensch."

Times staff writers Valerie J. Nelson and Elaine Woo contributed to this report.
************
A Star Eclipsed by His Personal Life
by Dan DeLuca and Michael D. Schaffer
Philadelphia Inquirer, September 25, 2010

Before Fabian, Bobby Rydell, and Frankie Avalon -- and "American Bandstand" -- turned this city into the teen-idol capital of the world, another bushy-haired, baby-faced singer from Philadelphia made 1950s teenyboppers swoon: Eddie Fisher.

Fisher, 82, who died in Berkeley, Calif., on Wednesday of complications from surgery after breaking a hip this month, was a South Philly grocer's son whose voice carried him to a stardom that his tumultuous personal life would eclipse.

More than his musical triumphs, Fisher these days is better known for his string of movie-star marriages -- to Debbie Reynolds, Elizabeth Taylor, and Connie Stevens -- and for being the father of the actress and writer Carrie Fisher.

But in the pre-rock early 1950s, Fisher was a constant hitmaker.

Fisher, known as "Sonny" to his family, began his musical career as a child, singing on WFIL-AM and skipping school to practice his music. He attended Simon Gratz and South Philadelphia High Schools, but did not graduate. After comedian Eddie Cantor discovered him at the Grossinger's resort in the Catskills and legendary Philadelphia record executive Manie Sacks took him to RCA Victor, Fisher racked up a string of successes.

A crooner with a sweet, soaring tenor, he scored 17 Top 10 hits between 1950 and 1956, including "Tell Me Why," "Any Time," and "Oh! My Pa-Pa."

By the time he was 24, RCA had sold more than seven million Fisher records and Fisher had become an international star.

"He was a real ballad singer, in the same genre as Vic Damone and Tony Bennett," recalled Ed Hurst, who along with his partner, Joe Grady, hosted the top-rated "The 950 Club" on WPEN-AM from 1949 to 1956. Fisher was a frequent guest.

"Occasionally, the critics would say he would sing off-key," said Hurst, 84, who still hosts the twice-weekly "Steel Pier Radio Show" on WIBG-AM (1020) in Atlantic City, but there was no denying Fisher's enormous popularity. He had two network TV shows of his own: "Coke Time with Eddie Fisher," on NBC from 1953 to 1957, and
"The Eddie Fisher Show," also on NBC, from 1957 to 1959.

"He had just as much fame as Fabian, Bobby Rydell, all those guys, but he came before them. He had a pretty voice, and he made some nice records," Hurst said Friday. "The teenagers, the bobby-soxers loved him. He was their cup of tea. Everybody wanted to mother him. He always had that boyish grin, and the hair. He was cute."

Cute enough to win the hearts -- for a time, anyway -- of glamorous women. Fisher was wed five times.

"He married all those lovely ladies," Hurst said. "Liz Taylor, Debbie Reynolds, Connie Stevens. I thought it was pretty good for a South Philly boy."

Fisher married his first wife, Reynolds, in 1955, and they had two children, one of them Carrie. But he fell in love with Taylor, the wife of his friend Mike Todd, the movie producer, after Todd died in a 1958 plane crash. The following year, he divorced Reynolds and married Taylor, who would dump him five years later in favor of Richard Burton.

After that, he married Stevens, with whom he had two daughters. Fisher later married beauty queen Terry Richard, followed by businesswoman Betty Lin.

Fame came "extraordinarily fast" to Fisher, recalled Peggy King, a singer who was Reynolds' best friend when both were MGM contract singers in the early 1950s. "Pretty Perky Peggy King" sang on George Gobel's show, which was filmed across the hall from Fisher's show.

"I don't think that Eddie ever accepted what happened to him," said King, who moved to Philadelphia in 1962 after stepping aside from show business to raise a family. "He wanted to be in the business, but didn't want it to take up too much of his time."

Fisher was complicated. He was "easy to get along with," she said Friday, but "I was wildly annoyed with his behavior toward Debbie."

"I believe Eddie wanted to be loved, which explains the [five] wives," said King. "I got lucky" in her own marriage.

Fisher did little to make anyone love him with his two memoirs, "Eddie: My Life, My Loves" (1983) and "Been There, Done That" (1999). He proved to be a memoirist with no gallantry who blamed his problems on others.

"By the time I was thirty-three years old, I'd been married to America's sweetheart and America's femme fatale and both marriages had ended in scandal," he wrote in "Been There." "...I was addicted to methamphetamines and I couldn't sleep at night without a huge dose of Librium. And from all this I had learned one very important lesson: There were no rules for me. I could get away with anything so long as that sound came out of my throat."

What came out of that throat was no real help to him when he tried to turn himself into a movie star.

His musical talent did not translate well to the screen. He appeared with his wife du jour in two films and they overshadowed him both times -- Reynolds in "Bundle of Joy" (1956) and Taylor in "Butterfield 8" (1960).

For all his history of domestic discord, others remembered him fondly.

Atlantic City radio host and writer Seymore "Pinky" Kravitz, 83, recalled Fisher, who appeared at the Steel Pier and in local nightspots, as "very friendly, with a smile on his face that people loved. It didn't change over the years, although he became bigger.... He was a very likable person. He never had a sneer."

To Paula Kartman, 80, Fisher was a teenage pal back in South Philly when she was Paula Fromowitz. "He was great," she recalled. "He had a beautiful smile."

Kartman met Fisher through his sister, Janet.

She, Janet, Eddie, and Joey Forman, the late South Philly comedian, spent a lot of time together. Later, Kartman would have a few dates with Fisher. "He was a skinny kid, a good-looking kid," she recalled, but there was nothing romantic, just friends going out.

Fisher already had a singing career under way. He sang on the radio and, Kartman remembered, at an assembly at Thomas Junior High School.

"He was just a nice Jewish boy with a great voice," she said.

CD of the Week: "E.J. Antonio - Rituals in the Marrow: Recipe for a Jam Session"

CD of the Week
E.J. Antonio: "Rituals in the marrow: Recipe for a jam session" (BlueZygo Records) 2010

Rating: ***** (five stars)
Featuring:
E.J. Antonio - poet, vocals
Christian McBride - acoustic bass
Michael T.A. Thompson - percussion/sound rhythium
Christopher Dean Sullivan - acoustic bass
Joe Giardullo - sax, flute, shaker-shells
Mark Taylor - French horn and mellophone
Eddie Allen - trumpet
Saco Yasuma - bamboo sax
Tyehimba Jess - harmonica

"She (Antonio) steps into this milieu with a confidence that is astonishing. Her art exemplifies a mature, highly-developed approach to an art that is as risky as it is rewarding when done well. What makes Antonio stand out is her ability to bring her voice as close to complex song as possible while retaining the speech-like aura of the poems. This is no small feat. Very few can pull it off. And while most practitioners of this art are conventional in their musical tastes, Antonio favors wide-ranging musicians who know both traditional and "free jazz" approaches. It's a choice that raises the stakes for the artists involved, just as it enhances the pleasures of listening to this collaboration," poet/author/teacher Geoffrey Jacques wrote in the liner notes.

Poet E.J. Antonio, a 2009 fellow in Poetry from the New York Foundation for the Arts and a recipient of fellowships from the Hurston/Wright Foundation and the Cave Canem Foundation, envisioned her astounding debut CD, "Rituals in the marrow: Recipe for a jam session," as an "in-the-moment jam session." This one-of-a-kind recording is a unique blend of spoken words that dance with the sonic diversity of instruments as they wind their way through the genres of jazz, blues, gospel, r&b, and Afro-Latin rhythms. "I often go to live jazz performances," spoke Antonio, "and write down the images that come to me from listening to the music and watching the musicians' physical reactions to the music. These genres of music and this gift of words have influenced me my entire life. My bones have absorbed these sounds, move to these sounds, and rest in these sounds." Blues, jazz, r&b and pop music were staples of Antonio's life growing up in Spanish Harlem. So was her fascination for words and gospel influences that were a direct result of watching her grandmother Lucille, a Pastor of Gospel Temple Church of Christ, work on and preach her sermons.

The musicians on this project were chosen because of their creative improvisational skills and extraordinary ability to "listen" to each other. Antonio's concept was to keep an element of surprise and risk, so all the tracks, recorded at (Tony) Bennett Studios, in New Jersey, are live collaborations with no rehearsals. On the first track, renowned jazz artist Christian McBride along with Christopher Dean Sullivan (acoustic bass), Saco Yasuma (bamboo sax), and Joe Giardullo (reeds) resonate together to form the tension egg of sound necessary to make the birthing of the poem "foreign monkey" possible. Trumpet player Eddie Allen becomes the foil in "bluesman/truth be told," while Tyehimba Jess on harmonica is the "in-your-face" gospel sound bolstering the voice in "Pullman porter."

"Sound rhythium" musician Michael T.A. Thompson (drums) and Joe Giardullo (flute) are complimented by Sullivan who uses his acoustic bass as a percussion instrument bringing home the Afro-Latin sound in the danceable "ballad mambo." Track number eight was inspired by the music of June Kuramoto and the sounds of the koto instrument. The bamboo sax of Saco Yasuma with the French horn treatment by Mark Taylor add the perfect touch of serenity and introspective to "koto suite." Every track, with words that drip like honey from Antonio's mouth, is clearly live improvisation at its best.

"I use my work to bring attention to the commonalities we share as human beings, and to shed a light on the idea that there needs to be a place for a different kind of spoken word; that the collaboration of music and poetry is still a viable art form. Some call this jazzoetry, others call it pojazz, and others call it poemusic or spoken word. Whatever the title, it is clearly not just jazz or poetry, but something that resonates in the heart, something that causes a person to slow down and listen."
E.J. Antonio's Debut Poetry & Jazz Improvisational CD
"Rituals in the marrow: Recipe for a jam session"
CD Release Celebration this Saturday, Sept 25, 3pm
Cave Canem Foundation, Inc.
20 Jay Street, Suite 310A
Brooklyn New York 11201
718-858-0000
Free Admission!

ABOUT E.J. Antonio:
As a child growing up in Harlem, NY, poet E.J. Antonio's love for words encouraged her ambitions to be a storyteller and a jazz singer. Her maternal grandmother, Lucille Markum, was the Pastor of Gospel Temple Church of Christ, a small Harlem church off of 130th street and Lenox Avenue that remains there today. She believes her fascination for words and gospel influences were a result of watching her grandmother work on her sermons late into the night and listening to her preach those sermons. The music that surrounded her as a youth was a result of growing up in Spanish Harlem where she could hear afro-Latin and afro-Cuban music coming from La Marqueta on 116th street and Park Avenue, the neighborhood bodegas, and the record stores. "Blues, jazz, r&b and pop music were staples played in my home and in Central Harlem where my grandmother lived," commented Antonio. "Chores were done listening to Lou Rawls, Aretha Franklin, Nancy Wilson, Smokey Robinson and the Miracles, the Temptations, the Shirelles, Patti LaBelle and the Blue Bells, Gladys Knight and the Pips, and many others."

E.J. was known in her family as the writer, the visual artist, and the one interested in attending dance and theater productions. Although she only started writing poetry 12 years ago to help relieve stress, this Mount Vernon, NY resident has embraced all aspects of it with fervor. She has participated in several poetry workshops over the last ten years and studied with many well respected poets: Deborah Landau, Matthew Rohrer, Stephen Dobyns, Cheryl Clarke; Erica Hunt, Patricia Spears Jones, Patricia Smith, Cheryl Boyce Taylor, Louis Reyes Rivera, Thomas Sayers Ellis, Quincy Troupe, Carl Phillips, Ed Roberson, Cornelius Eady, Claudia Rankine, Toi Derricotte, A. Van Jordan, Tyehimba Jess, and Colleen McElroy.

Antonio attributes her inspiration from poets Lucille Clifton and Sekou Sundiata along with jazz music idols Nancy Wilson, Sarah Vaughn and Billie Holiday. "I gravitate toward the work of Lucille Clifton and Sekou Sundiata because it is accessible. I can read it (or in Sekou's case, listen to it) and not feel like the poet was trying to leave the reader out. Billie Holiday and Sarah Vaughn's voices have always held my attention but after hearing a recording of Nancy Wilson, that I used to listen to as a child, I realized that some of the phrasing I use when reading my poetry I got from all those years of listening to her sing. "

A 2009 fellow in Poetry from the New York Foundation for the Arts and a recipient of fellowships from the Hurston/Wright Foundation and the Cave Canem Foundation, Antonio continues to write, perform and record her original works. She has appeared as a featured reader at several venues in the NY tri-state area, such as Cornelia Street Café, the Bronx Council on the Arts First Wednesday reading series, the Calypso Muse Reading Series, the Hudson Valley Writers Center, the Harvard Club, WBAI's broadcast Perspectives, the National Jazz Museum in Harlem, the Bahai Center, Hunter Mountain Arts Festival, the Bowery Poetry Club, the Port Chester Art Fest 2008, 2009 and 2010, the Home Base Project, the York Arts Center, the Latimer House Museum, and the Howl Festival.

Her work appears online at www.thedrunkenboat.com, poetz.com, and roguescholars.com, and has been published in various Journals and magazines; including, African Voices Literary Magazine, Amistad Literary Journal, Terra Incognita, Black Renaissance/Renaissance Noire, Mobius: The Poetry Magazine, The Mom Egg Literary Journal, One Word/Many Voices: A Bi-Lingual Poetry Anthology, and Torch. Her work is forthcoming in The Encyclopedia Project. The Premier Poets Chapbook Series published her first chapbook, Every Child Knows, in the Fall of 2007, and she is one of the featured poets on the CD, Beauty Keeps Laying It's Sharp Knife Against Me: Brant Lyon and Friends.

E.J. is also a founding committee member and a volunteer poet for the Poetry Caravan, which brings readings and workshops to Westchester County nursing homes, shelters and rehabilitation facilities. She was a panelist for the 2007 Association of Writers' Programs Conference, where she discussed her work with the Poetry Caravan. She has lectured at the Jazz Museum in Harlem on the collaboration of Jazz and poetry. "I use my work to bring attention to the commonalities we share as human beings, and to shed a light on the idea that there needs to be a place for a different kind of spoken word; that the collaboration of music and poetry is still a viable art form. Some call this jazzoetry, others call it pojazz, and others call it poemusic or spoken word. Whatever the title, it is clearly not just jazz or poetry, but something that resonates in the heart, something that causes a person to slow down and listen."

For more information go to: www.EJAntonioBluez.net