Playful Pop/Electronica Songs needed by A-List Music Supervisor

Below is a special opportunity that we wanted to give you a heads up about. Just got the word about this project today, and they need the music by MONDAY, APRIL 16TH, AT 10AM. You can find this listing under the Pop (Film & TV) genre in the Submit Music section of your TAXImusic.com hosting site.

UPBEAT, FLIRTY, PLAYFUL POP/ELECTRONICA SONGS and INSTRUMENTALS needed by an A-LIST MUSIC SUPERVISOR on a HUGE cable network! They're working on a reality show that focuses on Mature, Interesting Women of Means (that means Money $$). Think of women in their late 30's / early 40's dating and having fun! Music should be SOPHISTICATED, HIP, and SLEEK! They're NOT looking for Rock or anything too girly or young sounding!

To get you in the ballpark, check out:
"Bulletproof" by La Roux
"Call Me Maybe" by Carly Rae Jepsen
"Stronger" by Kelly Clarkson
"Playgirl" by Ladytron
"Sweet Dreams" by Eurythmics

Be SURE to listen to the referenced artists before submitting your music, and as always, DO NOT rip them off in any way, shape or form! Keep submissions POSITIVE, NOT dark or moody. Retro touches are okay (in the spirit of Eurythmics "Sweet Dreams"...because that song is such a classic) but keep the PRODUCTION CONTEMPORARY. Broadcast Quality is needed (excellent home recordings are fine.) This means keep the lyrics CLEAN and TV appropriate - NO EXPLETIVES! All songs MUST be well produced, preferably with finessed samples and customized loops. Male or Female vocals are both okay.

You must own 100% of your Composition and Master Recording. NO samples of other artists' work can be incorporated into your song. Please include lyrics! There may or may not be upfront sync money on these placements, but the winning songs will be used non-exclusively. You will keep 50% of the publishing and 100% of the writer's share on any placements. These placements have good back-end potential -- especially if the show is a hit -- as these types of shows often air repeatedly in many different countries! ALL SUBMISSIONS WILL BE SCREENED ON A YES/NO BASIS by people HAND-PICKED by the network. No full critiques from TAXI. Submissions must be received no later than MONDAY, APRIL 16TH, AT 10AM. TAXI #Y120416PE

TAXI, 5010 N. Parkway Calabasas, Suite 200, Calabasas, CA 91302, USA

Single of the Week - "Dizzy Gillespie/Astrud Gilberto"

12" Vinyl Single of the Week
"The Best of Perception & Today Records" (BBE) 2012

Side A
Dizzy Gillespie: "Matrix"
Side B
Astrud Gilberto: "Take It Easy My Brother Charlie"

Subtitled "The Best of Perception & Today Records," this split reissue release from BBE mines Dizzy Gillespie's much-ignored '70s funk output with the splendid "Matrix" (known to hip-hop fans as the base of The Beatnuts' "World Famous") sounding as fresh as ever here alongside Astrud Gilberto's bossa nova cover of Jorge Ben's classic "Take It Easy My Brother Charlie," a from the 1972 "Astrud Gilberto Now" album arranged by Deodato and featuring Mike Longo, Ron Carter, Billy Cobham, Airto Moreira, Al Gaffa et al.

Quincy Jones Presents Alfredo Rodriguez live in CA @ The Broad Stage, April 14

Please join us this next Saturday, April 14, at the Broad Theatre in Santa Monica for a special evening with Alfredo Rodriguez to celebrate the launch of his debut CD. For more information and to buy tickets, visit thebroadstage.com/Alfredo-Rodriguez

Win tickets to Pulp @ Radio City Music Hall

This next Tuesday, the recently reunited Pulp, featuring all of the band's original members, will be playing two nights in New York at Radio City Music Hall! With the group performing songs from all periods of their career, this is a show not to be missed. We've got a pair of passes to give away to the Tuesday, April 10 show, (Pulp's first North American concert since 1998!) with Chromatics opening. All you have to do to enter is email tickets@othermusic.com

TUESDAY, APRIL 10
RADIO CITY MUSIC HALL
1260 6th Ave (Avenue of the Americas)
NYC, NY

Pre-sale for Newport Jazz Festival

Friday, August 3, 2012
International Tennis Hall of Fame at the Newport Casino • 6pm doors/8pm concert
Bourbon St. comes to Bellevue Ave.
Dr. John & The Lower 911 • Preservation Hall Jazz Band
plus special guests!

On Tuesday, April 10, Newport Jazz Festival® fans can get first crack at the best seats by using promo code NEWJAZZ to purchase tickets before they go on sale to the general public.
Pre-sale starts Tuesday, April 10, at 10:00am & ends Wednesday, April 11, at 10:00am
Tickets go on-sale to the general public on Wednesday, April 11, at 10am.

Newport Jazz Festival® kicks off with an evening concert at the International Tennis Hall of Fame at the Newport Casino on August 3, followed by two full days of music at Fort Adams State Park on August 4 & 5.
⇒ For complete line up, visit www.newportjazzfest.net

FESTIVAL OPENING NIGHT COCKTAIL PARTY
A Newport Summer Tradition!
Friday, August 3, 2012 @ 6:30pm - 7:45pm
International Tennis Hall of Fame
This exclusive party welcomes a limited number of attendees, features great music, food and drink, and is the perfect kick-off to the concert.
Tennis Hall of Fame Members - $40 / Non-Members - $50
Pricing includes open bar and hors d’oeuvres
Call now to order your cocktail party tickets (401) 324-4072
**************
NEWPORT FESTIVALS FOUNDATION GALA
Saturday, August 4, 2012 following the festival
Marble House, Newport, RI

Last year’s inaugural gala was one of the high points in the summer social event calendar in Newport and this year’s gala will not disappoint. After the festival on Saturday, August 4, Dianne Reeves, Jason Moran, Anat Cohen, Bill Frisell, Lewis Nash, Lionel Loueke, Steve Wilson, Rudresh Mahanthappa, Peter Martin & Ingrid Jensen will join guests at the magnificent Marble House on Bellevue Avenue for an intimate evening of music and fine dining.

Proceeds from the gala will establish an endowment fund to guarantee the continuation of the Newport Jazz and Newport Folk Festivals into the future. Purchasers of a gala ticket will also receive a general admission ticket to the Newport Jazz Festival on Saturday and Sunday at Fort Adams State Park.

Buffet Rule

"Dear Arnaldo DeSouteiro --

Warren Buffett, a billionaire, pays a lower tax rate than his secretary.

Think that's unfair? So does Warren Buffett.

Right now, millionaires and billionaires have nearly the lowest tax rates they've had in 50 years, while everyone else picks up the tab.

So President Obama is asking Congress to pass a commonsense bill, known as the Buffett Rule, to fix the tax code and make sure that millionaires and billionaires pay at least the same share of their income in taxes as middle-class families.

The Buffett Rule would reduce the deficit while helping to pay for investments in education, clean energy, jobs, and other programs that will help our economy grow.

If you think that's fair, then speak up for it before Congress votes next week -- stand with President Obama in asking the richest Americans to pay their fair share.

Many Republicans are dead-set against this commonsense step, so the unfortunate reality is that next week's vote may not go our way.

But tax fairness is one of the defining issues in this election, and supporting this policy is one of the touchstones of this campaign.

Not only does Mitt Romney oppose the Buffett Rule, but he wants to protect special breaks and loopholes that help wealthy Americans like himself avoid paying their fair share -- and he wants to shower them with even more tax breaks paid for by middle-class families and seniors.

If that's not the kind of country you want to see for the next four years, do something about it now.

Join President Obama in urging Congress to pass the Buffett Rule:
http://my.barackobama.com/Pass-the-Buffett-Rule

Thanks -- and stay tuned.

Jim Messina
Campaign Manager - Obama for America"

P.S. -- You are currently registered in California's 30th Congressional District. After adding your name, check out our new Buffett Rule website to see exactly what it does, who's behind it, and how you can help. Take a look, then pass it on.

Scot Albertson & Keith Ingham @ Tomi Jazz, NYC, April 14 - Two sets

NYT - The Maestro's Mojo

Demystifying the movements of conductors, with the help of seven top practitioners, including Alan Gilbert, music director of the New York Philharmonic.

http://www.nytimes.com/2012/04/08/arts/music/breaking-conductors-down-by-gesture-and-body-part.html?nl=todaysheadlines&emc=tha28_20120407

Smooth Jazz, Easy Listening Listing Reminder

Just a reminder about the unique and awesome opportunity for all you Smooth Jazz and Easy Listening creators in Listing #Y120409JZ. The person on the receiving end has already asked us TWICE if we've found anything great.

We've got a really good feeling about this listing, and want to make sure that the right people don't overlook it. Don't say we didn't remind you! The deadline is Monday, April 9th at 11 AM (PDT), 2012.

Here's the listing again:

A-List Music Supervisor needs ORIGINAL Smooth Jazz and Easy Listening Songs for an upcoming project with a huge national retail chain that wants to appeal to an ADULT audience. Watch the Weather Channel to get a great idea of the type of music they'll need, and know that your submissions will have to be competitive with artists on the level of George Benson, Chris Standring, Acoustic Alchemy, Boney James, Chuck Mangione, Najee, Mindy Abair, Astrud Gilberto, Melody Gardot, and Antonio Carlos Jobim, etc. to be considered competitive for this. Instrumentals are preferred, but songs with vocals that the supervisor calls "un-intrusive" will also be considered. ORIGINAL SONGS ONLY (no covers, please!).

The songs chosen will ultimately go on a compilation that the Music Supervisor will use to pitch the mega-retailer on the idea of using Indie artists for this project. If the retailer is impressed and decides to go with Indie artists, this could potentially open up an ongoing stream of requests for a lot more music from our members! Your songs will need to have great melodies, great arrangements, strong production values, and appeal to a wide cross section of the ADULT, EASY LISTENING AUDIENCE. You must own or control 100% of the Master and Copyright to pitch for this listing. Samples of other artists' work CANNOT be incorporated into your songs. At this time, the supervisor does not know if the songs would ultimately be licensed, or if the retailer will choose to become the publisher.

In either case, this has GREAT potential to create a terrific outlet for a LOT of our members! Broadcast Quality is needed (excellent home recordings are fine.) Vocal and instrumental performances MUST be top-notch! Please include lyrics if applicable, and keep them PG rated for mass consumption. All submissions will be screened on a YES/NO BASIS by a person Hand-Picked by the Music Supervisor. ALL submissions must be received no later than 11AM PDT, Monday, APRIL 9th, 2012. TAXI #Y120409JZ

Ticket give-away to Alabama Shakes

The buzz behind Alabama Shakes has reached a fever pitch, and rightfully so. Fronted by the incredible singing of Brittany Howard, this Athens, AL group's bluesy Muscle Shoals-influenced rock belies their young age, and the band's forthcoming album, Boys & Girls, is very well one of the most anticipated debuts of the year. The record hits stores on Tuesday, April 10th, and that night Alabama Shakes have just announced a "secret show" performing at The Studio in the basement of Webster Hall. Other Music has two pairs of tickets up for grabs, and to enter, email enter@othermusic.com. They'll notify the two winners on Friday.

TUESDAY, APRIL 10
THE STUDIO AT WEBSTER HALL
125 E. 11th St. NYC

Announcing the 55th Annual Monterey Jazz Festival, September 21-23, 2012

(Melody Gardot)

Tickets go on sale today for the 55th Annual Monterey Jazz Festival, September 21–23 at the Monterey Fairgrounds. Arena Package Tickets are on sale now at montereyjazzfestival.org or by calling 888.248.6499. The Festival features 500 artists, 90 performances on 8 stages and more, for 30 hours of live music over 2 days and 3 nights, accompanied by an array of international cuisine, shopping, arts exhibits, educational events, seminars and conversations with iconic and emerging jazz artists on the oak-studded 20-acres of the Monterey County Fairgrounds.

2012’s Grammy Award-winning lineup includes Arena headliners Tony Bennett, Esperanza Spalding, Pat Metheny Unity Band, Trombone Shorty & Orleans Avenue, Bill Frisell, Melody Gardot, Robert Randolph & the Family Band, Jack DeJohnette, Eddie Palmieri Salsa Orchestra, Gordon Goodwin’s Big Phat Band, Monterey Jazz Festival’s 55th Anniversary Celebration with Dee Dee Bridgewater, Christian McBride, Ambrose Akinmusire, Chris Potter, Benny Green, and Lewis Nash.

A full list of this year's highlights and performers can be seen by visiting http://www.montereyjazzfestival.org/2012/presskit

The award-winning trumpeter, Ambrose Akinmusire, will serve as the Festival’s Artist-In-Residence, and will perform with his own Quintet with the Monterey Jazz Festival’s 55th Anniversary Celebration Band; and as a soloist with the Festival’s all-star student band, the Next Generation Jazz Orchestra, of which he was a two-year member. The NEA Jazz Master and Grammy-winning legendary drummer, Jack DeJohnette, returns as the Festival’s 2012 Showcase Artist, and will perform four times throughout the weekend on the Grounds with his own band, in the Arena with his Special Trio (with Pat Metheny and Christian McBride); and in duo with Bill Frisell, the Festival’s 2012 Commission Artist. Bill Frisell will perform three times--with Mr. DeJohnette; with his group Beautiful Dreamers, and will debut his newly-commissioned piece with Beautiful Dreamers and his 858 Quartet.

2012 TICKET INFORMATION AND MORE
Full Weekend Arena Packages are available starting at $225 and offer a reserved seat to each of 5 concerts on the Arena/Jimmy Lyons Stage (renewable annually), access to 7 Grounds Stages and all Festival activities. Full Weekend Grounds Tickets start at $125 and Daily Grounds Tickets as low as $40 include access to 7 Grounds stages and activities, plus simulcasts of all Arena concerts in the Jazz Theater. Single Day Arena Tickets include a reserved seat (non-renewable) for the Arena shows on the day you select, and are $66 for Friday, and $132 for Saturday or Sunday. Single Day Arena Tickets go on sale June 28, 2012.

Also returning for 2012 is the Festival’s 7th Annual Family Day, Front Box Auction, Premier Access Pass, Family Discount Package, Youth Tickets, Local’s Package for Monterey County residents, and RV Parking on the Fairgrounds. Contact the Ticket Office at 888.248.6499 or e-mail ticketoffice@montereyjazzfestival.org to request additional information.

The 2012 Jazz Legends Gala will take place at the Hyatt Regency Monterey on Thursday, September 20. This exclusive event honors the contributions and lasting legacies of jazz pioneers, and this year, will honor 2012 NEA Jazz Master and legendary drummer, Jack DeJohnette. Proceeds from the Gala benefit Monterey Jazz Festival Jazz Education Programs. Contact 831.373.3366 or e-mail development@montereyjazzfestival.org for more information.

For a complete event details including the full list of performers at the 2012 Monterey Jazz Festival, please visit montereyjazzfestival.org. Artists and schedule subject to change.

Obama 2012

"Dear Mr. Arnaldo DeSouteiro:

You are currently registered and living in California's 30th Congressional District.

One year ago today was the official launch of the Obama 2012 campaign.

On April 4th, 2011, President Obama sent you a message, copied below, to kick this thing off, and about five staffers and I came to work in an empty office in Chicago with nothing but a desire to build this campaign the right way, with you at the heart of it.

Today, I've got some news that I wanted you to hear first: More grassroots supporters pitched in during the first fundraising quarter of 2012 than in any before.

We're still crunching the numbers before our official report to the FEC later this month, but as of Saturday at midnight, more than 1.8 million people had stepped up to own a piece of this campaign.

Saturday in particular was the single biggest day of grassroots support yet -- more than 118,000 contributions in 24 hours alone leading up to the deadline. That's more than any single day in the history of this campaign.

At the very same time, we were out registering thousands of new voters, recruiting volunteers in every state, and reaching out to independent voters to talk about the President's accomplishments.

Thank you. Not just for your support this quarter -- thank you for committing to what this campaign stands for, like the idea that we ought to rebuild an economy where hard work pays, responsibility is rewarded and everyone plays by the same rules.

Thank you for standing behind the President as he brings the war in Afghanistan to a responsible end. Thank you for supporting an energy policy for the 21st Century to boost our economy and save our planet, and for committing to protect women's health from those who would turn back the clock.

We've put something together to remind all of us about the spirit of how we got here. Check it out and make a commitment to volunteer and help win this thing in November.

Today's an important day in this race for another reason: Mitt Romney won three more primaries last night, and an increasing number of folks in the Republican Party establishment are calling for the GOP nominating process to come to an end. (No surprise there: It's been a disaster for their party and may well be producing a candidate that will be the most unpopular nominee in presidential campaign history.)

A number of states still haven't voted, and the race on their side won't be over officially for several weeks or even months. But the reality is that we're very close to the start of what's effectively a general election.

That means we've all got to refocus the way we've been thinking about this race right now -- and dig in and work even harder to help re-elect Barack Obama.

Every phone call you make, every conversation you have, every dollar you give, translates into an organization that will get voters to the polls on November 6th, 2012. So if you've been waiting to step up your support, now's the time to jump in.

Take a look at what we've put together and then decide if you're ready to volunteer:
http://my.barackobama.com/One-Year-Ago

Seven months to go.

Jim Messina
Campaign Manager - Obama for America"

P.S. -- We've put together a video for today that I think you'll love -- it should get you pretty fired up.

-----------------Original Message-----------------
From: Barack Obama
Subject: 2012

Friend --

Today, we are filing papers to launch our 2012 campaign.

We're doing this now because the politics we believe in does not start with expensive TV ads or extravaganzas, but with you -- with people organizing block-by-block, talking to neighbors, co-workers, and friends. And that kind of campaign takes time to build.

So even though I'm focused on the job you elected me to do, and the race may not reach full speed for a year or more, the work of laying the foundation for our campaign must start today.

We've always known that lasting change wouldn't come quickly or easily. It never does. But as my administration and folks across the country fight to protect the progress we've made -- and make more -- we also need to begin mobilizing for 2012, long before the time comes for me to begin campaigning in earnest.

As we take this step, I'd like to share a video that features some folks like you who are helping to lead the way on this journey. Please take a moment to watch.

In the coming days, supporters like you will begin forging a new organization that we'll build together in cities and towns across the country. And I'll need you to help shape our plan as we create a campaign that's farther reaching, more focused, and more innovative than anything we've built before.

We'll start by doing something unprecedented: coordinating millions of one-on-one conversations between supporters across every single state, reconnecting old friends, inspiring new ones to join the cause, and readying ourselves for next year's fight.

This will be my final campaign, at least as a candidate. But the cause of making a lasting difference for our families, our communities, and our country has never been about one person. And it will succeed only if we work together.

There will be much more to come as the race unfolds. Today, simply let us know you're in to help us begin, and then spread the word:

http://my.barackobama.com/2012

Thank you,

Barack

Anna Mjöll live @ Vibrato, tonight

R.I.P.: Sonny Igoe

Sonny Igoe, Drummer for Big Band Greats, Dies at 88
Jay Levin for Bergen Record
April 3, 2012

Sonny Igoe of Emerson, a Big Band drummer and a prolific teacher, died Wednesday. He was 88. he cause was a heart attack, according to his son Tommy Igoe, also a professional drummer.

Owen Charles Igoe -- "Sonny" from the get-go -- won a regional Gene Krupa drumming competition while a student at Ridgewood High School. Krupa, the Chicago-born jazz great, became his mentor.

After his Marine service in World War II, Mr. Igoe toured with orchestras led by Tommy Reed, Les Elgart, Ina Ray Hutton and, most notably, Benny Goodman and Woody Herman.

The 1960s found him ensconced in the NBC Television Orchestra and then the CBS Television Orchestra, where his credits included "The Ed Sullivan Show" and "The Jackie Gleason Show."

He and his friend Dick Meldonian, a saxophonist from Haworth, formed Dick Meldonian and Sonny Igoe and Their Big Swing Jazz Band in the early 1980s. The band rehearsed at Emerson Junior-Senior High School, performed regionally and recorded a pair of albums.

Mr. Igoe's professional hallmark was lack of ego, his son said.

"He was an amazing team player," Tommy Igoe said. "He was content with being the engine of the band. He made the musicians around him sound better."

Mr. Igoe taught the drums from a New York studio and then from his Emerson home. "For 30 years he saw more than 40 students a week," his son said. "He worked with anyone serious about studying. He saw aspiring professionals and a lot of hard-core enthusiasts and hobbyists."

Mr. Igoe continued seeing students even after a small stroke six years ago caused him to give up performing.

Meldonian, 82, saw his old friend and band mate a week before his death. "We ran into each other at the ShopRite," the saxophonist said. "We compared our illnesses and showed each other our hands. We talked about some of our friends who've died. My God, I feel so bad."

Mr. Igoe is survived by his son, of Mill Valley, Calif.; his daughters, Jan Igoe of Little River, S.C., and Joan Igoe of Maui, Hawaii, and six grandchildren.

His wife of 59 years, Claire -- a former chorus girl -- died in 2010.A memorial service will be at 7 p.m. Thursday at Becker Funeral Home in Westwood.

DVD of the Month - "Chick Corea Quartet: That Old Feeling - Live in LA"

DVD of the Month
Chick Corea: "That Old Feeling" (JazzDoor) 2012

Originally filmed for LaserDisc release only in Japan back on February 5, 1995 @ Corea's Mad Hatter Studios in Los Angeles, it now reappers on DVD format for the very first time, issued by the German label JazzDoor. This intriguing 66-minute session includes two standards -- "'Round Midnight" and a superb rendition of the title track -- and five Corea's originals: "New Life," "The Wish," "Terrain," "Day Danse" and (my favorite) "New Waltse".

Chick leads a quartet with the late tenor sax master Bob Berg (also prominently featured here on the soprano sax much more than in any other occasion I can remember), John Patitucci on acoustic bass, and Gary Novak on drums. There's also a string quartet a la Bartok conducted by Corea on "'Round Midnight" and "Day Danse": Ralph Morrison & Tamara Hatwan (violins), Victoria Miskolczy (viola) and Armen Ksajikian (cello). An excellent West Alden Production, directed by Mick Thompson and engineered by Bernie Kirsh, with Corea's usual seal of quality.

CD Box Set of the Month - "Madonna: The Complete Studio Albums"

CD Box Set of the Month
Madonna: "The Complete Studio Albums" (Rhino) 2012

Limited edition clamshell 11-CD box set including all Madonna's studio albums for Warner between 1983 and 2008. In other words, an essential part in the history of pop music. Madge may be well past her musical best these days - though her army of dedicated fans would naturally disagree - but it shouldn't be forgotten that she's produced some of the standout pop moments of the last three decades. This 11-disc retrospective, released in Europe last March 22, revisits that long and fruitful career, charting her rise from rebellious New York club babe to elder stateswoman of pop via fashion icon, film star and gas-pumping sex pest. Each of her 11 albums issued between '83 and '08 is here in remastered & expanded form and packaged on mini-LP sleeves, alongside a smattering of bonus cuts, extended mixes and forgotten B-sides from the first 25 years of her career.

As the world's biggest selling female artist of all time, Madonna Louise Ciccone Ritchie is not just the Queen Of Pop but one of the most influential artists on modern music. Since her debut album, released in 1983, she has worked tirelessly to reinvent herself and her music through three extremely successful decades and has built a huge and dedicated fan base worldwide. Although not including the soundtracks neither many significant singles or songs from greatest hits compilations, this is a brilliantly compact set (conceived by the Warner UK guys) and a perfect way to own Madonna's amazing catalogue at a very reasonable price.

The discs:
1. "Madonna" released July 27, 1983, 5 x Platinum, 10,000,000
2. "Like a Virgin" Nov. 12, 1984, Diamond, 21,000,000
3. "True Blue" June 30, 1986, 7 x Platinum, 25,000,000
4. "Like a Prayer" March 21, 1989, 4 x Platinum, 15,000,000
5. "Erotica" Oct. 20, 1992, 2 x Platinum, 5,000,000
6. "Bedtime Stories" Oct. 25, 1994, 3 x Platinum, 6,000,000
7. "Ray of Light" March 3, 1998, 4 X Platinum, 16,000,000
8. "Music" Sept. 19, 2000, 3 x Platinum, 11,000,000
9. "American Life" April 22, 2003, Platinum, 4,000,000
10. "Confessions on a Dance Floor" Nov. 15, 2005, Platinum, 10,000,000
11. "Hard Candy" April 29, 2008, Gold, 4,000,000

Instrumental CD of the Month - "Marc Copland: Some More Love Songs"

Instrumental CD of the Month
Marc Copland: "Some More Love Songs" (Pirouet) 2012

Rating: ***** (music performance & sonic quality)

Produced, Recorded (October 12 & 13, 2010) & Mixed (December 8, 2011) by Jason Seizer
Mastered by Christoph Stickel
Artwork by Konstantin Kern
Featuring: Marc Copland (acoustic piano), Drew Gress (acoustic bass) & Jochen Rueckert (drums)

With their subtle magic, these seven tracks on "Some More Love Songs" seem to stop the march of time. Their interpretive magic is not in-your-face emotional; rather, it is emotion that gives space to all of the music's beauty and contradictions. Love songs cannot be any more apropos and genuine than this. And the beautiful and painful power of love can scarcely be depicted more serenely and at the same time intensively as has Copland's trio.

Copland transforms Joni Mitchell's "I Don't Know Where I Stand" (the opening track, previously recorded by the pianist on his 2009 solo effort "Alone," which includes the best jazz takes on Joni Mitchell's tunes ever) in a haunting poem, and performs at least three miracles by offering the most creative renditions in decades of such overdone standards as Richard Rodgers' "My Funny Valentine" (at a much faster tempo than usual), Cole Porter's "I've Got You Under My Skin" (the ultimate highlight) and Victor Young's "When I Fall in Love" (a double miracle, since Copland removes all the saccharine found in 99% of the versions of this song, but preserves all its romanticism). The album also includes a magnificent take on Victor Schertzinger's "I Remember You" (covered by Diana Krall & Claus Ogerman on "The Look of Love"), an unexpected version of Ron Carter's VSOP classic "Eighty One" and Copland's own gem "Rainbow's End."

As I wrote before many times: Marc Copland is one of the best pianists in jazz history, an underrated artist who's in the same creative level of Keith Jarrett and Ahmad Jamal (the only pianists that have been also able to release so many successive wondrous albums in the last decades), all with particular and peculiar musical styles. Not to mention that he is the greatest jazz piano poet since Bill Evans. That said, I can only add that "Some More Love Songs" already deserves to be placed among the best jazz releases in 2012. And Copland has a good chance to be considered the best jazz pianist of the year, like happened in 2003 (for "Marc Copland And..." released by the Swiss label hatOlogy featuring Gress, Rueckert, John Abercrombie and Michael Brecker), 2005 ( "Some Love Songs"), 2006 ("New York Trio Recordings Vol. 1: Modinha"), 2007 ("New York Trio Recordings Vol. 2: Voices") and 2009 ("Alone"), as well as many times before during the 90s.

Born in Philadelphia in 1948, Marc Copland began his professional career in the 60s as an alto saxophonist and, in the early 80s, as an electric keyboardist under the name Marc Cohen. Since the late 80s he has more and more made a name as a pianist with a totally unique aesthetic, recording an impressive body of work. Solo sessions, trio recordings, stunning collaborations with John Abercrombie, Randy Brecker, Greg Osby, Bill Carrothers, Kenny Wheeler, Tim Hagans, Jason Seizer, Gary Peacock. His enigmatically suspended harmonies create textural nuances which have become an unmistakeable trademark.

Copland's expressiveness and "introverted eloquence" is beyond words, he transforms everything he touches. All his sessions for the Munich-based Pirouet label in the 2000s -- an impressive body of work which includes "Alone," Marc's solo adventure, the extraordinary "New York Trio Recordings" series of three CDs with different sidemen, the 2008 release "Another Place" (a quartet session with John Abercrombie, Drew Gress & Billy Hart) and the "Insight" duo with Gary Peacock -- are superlative documents of Copland's unique tonal language and expressiveness in a variety of contexts. On "Some More Love Songs," Marc's ultra-amazing performances are highlighted by the impeccable piano sound captured by engineer/producer Jason Seizer, Pirouet's head, who should receive a medal just for having signed this low-profile genius.

Vocal CD of the Month - "Malia: Black Orchid"

Vocal CD of the Month
Malia: "Black Orchid" (EmArcy) 2012

Produced by Malia
Artistic Director: Daniel Yvinec
Recorded & Mixed by Jean-Paul Gonnod
Mastered by Gotz-Michael Rieth
Featuring: Malia (vocals), Alexandre Saada (piano, organ, vibes, kalimba), Jean-Daniel Botta (bass, guitar), Laurent Sériès (drums, percussion) & Daniel Yvinec (acoustic bass on "If You Go Away" and vibes on "Four Women")

"Nina Simone is one of those people in my life that keeps on giving to me through the music she made," writes singer Malia in her liner notes to the CD booklet of this inspired tribute to N.S. "I have wanted to do this album for a long time but the timing was never right. Now I felt that I had the maturity and the confidence to interpret these great songs and back them up with my life's experiences and put them on a record. I felt compelled to give something back. I wanted to say thank you to Nina. I want to give the people who listen to this album little of what she gave me. She gave a deeper and more honest appreciation of humanity and myself."

The repertoire includes "Baltimore" (the title track of a memorable album that Nina recorded in Brussels for the CTI label), "My Baby Just Cares For Me," "I Loves You Porgy," "I Put A Spell On You," Dimitri Tiomkin-Ned Washington's gorgeous ballad "Wild Is The Wind" (previously rescued by Shirley Horn on her masterpiece Verve album "Here's To Life") and Simone's own "Four Women," among others.

"DownBeat" - April 2012

COVER
Robert Glasper -- On his forthcoming album "Black Radio," the pianist leads his group the Robert Glasper Experiment through a program that draws upon jazz, hip-hop, r&b, neo-soul and rock. Special guests include Erykah Badu, Bilal, Lupe Fiasco, Lalah Hathaway, Mos Def, Musiq Soulchild and Meshell Ndegeocello.

FEATURES
Wes Montgomery -- The late guitar legend's first full album of previously unheard music in over 25 years.

Wadada Leo Smith -- 70th birthday celebration for the innovative trumpeter and composer.

Orbert Davis -- The award-winning trumpeter leads a 55-piece jazz-symphonic orchestra.

Special Section: Brass School -- Master Class by trombonist Wayne Wallace, a Wynton Marsalis trumpet solo transcribed, and more in our annual brass-themed issue.

Special Section: NAMM Report -- The authoritative account of the jazz people, products and trends from the 2012 NAMM Show.

PLAYERS
Rez Abbasi (guitar)
Daniel Rosenthal (trumpet)
Fabian Almazan (piano)
New West Guitar Group (guitar group)

BLINDFOLD TEST -- David Hazeltine

THE BEAT
* Q&A with Christian McBride
* Record label profile: Ninewinds Records
* News Story: Jazz Musician Pensions
* Soul Rebels Profile
* European Scene
* Caught: Jazz Cruise; New York Winter Jazz Festival; Chucho Valdes and the Afro-Cuban Messengers at Carnegie Hall

WOODSHED
* Master Class: by Wayne Wallace
* Pro Session: by Kirk Garrison
* Transcription: Wynton Marsalis trumpet solo

TOOLSHED
* Josh Landress trumpet
* daCarbo AG carbon fiber trumpet

JAZZ ON CAMPUS
* Blue Note Celebration at Harvard University

REVIEWS - Hot Box
Chano Dominguez, Flamenco Sketches (Blue Note)
Vijay Iyer Trio, Accelerando (ACT)
Matt Wilson's Arts & Crafts, An Attitude For Gratitude (Palmetto)
Tim Berne, Snake Oil (ECM)

Reviews
Jack DeJohnette, Sound Travels (eOne)
Charlie Haden/Hank Jones, Come Sunday (Decca)
Chick Corea/Eddie Gomez/Paul Motian, Further Explorations (Concord)
Wadada Leo Smith's Mbira, Dark Lady Of The Sonnets (Tum)
Jenny Scheinman, Mischief & Mayhem (self release)
Otis Taylor, Contraband (Telarc)
Michael Pedicin, Ballads (self release)
Matthew Shipp, Elastic Aspects (Thirsty Ear)
Gregory Porter, Be Good (Motéma)
Hans Glawischnig, Jahira (Sunnyside)
Kirk Whalum, Romance Language (Rendezvous)
Harold O'Neal, Marvelous Fantasy (Smalls)
Michael Musillami Trio +4, Mettle (Playscape)
Toronzo Cannon, Leaving Home (Delmark)
Marty Ehrlich's Rites Quartet, Frog Leg Logic (Clean Feed)
Harry Allen, Rhythm On The River (Challenge); combined review with Gerry Beaudoin, The Return (Francesca)
Amy Cervini, Digging Me, Digging You (Anzic)
Chicago Trio [Ernest Dawkins/Harrison Bankhead/Hamid Drake], Velvet Songs (RogueArt)
Pat Mallinger Quartet, Home On Richmond (self release)
Gianluigi Trovesi/Gianni Coscia, Frere Jacques Round About Offenbach (ECM)
FAB Trio, History Of Jazz In Reverse (Tum)
Antonio Adolfo, Chora Baião (AAM Music)
Rob Garcia 4, The Drop And The Ocean (BJU)
Luis Conte, En Casa De Luis (BFM)
Lorraine Feather, Tales Of The Unusual (Jazzed Media)
The Wee Trio, Ashes To Ashes (Bionic)
Jimmy Owens, The Monk Project (IPO)
Noah Kaplan Quartet, Descendants (hatOLOGY)

Jazz:
Gary Smulyan, Smul's Paradise (Capri)
The Landrus Kaleidoscope, Capsule (Blueland)
The J.B.'s & Fred Wesley, The Lost Album (Hip-O Select)
Wycliffe Gordon, Hello Pops! (A Tribute To Louis Armstrong) (self release)
Jeff Kimmel Quartet, Charm Offensive (Ormolu Music)

Blues:
Howlin' Wolf: Smokestack Lightning, The Complete Chess Masters (Hip-O Select)
Otis Spann/David Maxwell, Conversations In Blue (Circumstantial)
Samba Toure, Crocodile Blues (Riverboat)
Dave Keller, Where I'm Coming From...(Tastee-Tone)
Paul Marx, Blood & Treasure (Radiation)
Mark Nomad, Torch Tones (Blue Star)
Barrence Whitfield, Savage Kings (Munster)
Little Joe Ayers, Backatchya (Devil Down)

Beyond:
CTI Reissues (issued by Sony Masterworks) including:
Esther Phillips, Performance
Johnny Hammond, Wild Horses Rock Steady
Lonnie Smith, Mama Wailer
Hank Crawford, Don't You Worry 'Bout A Thing

Historical:
Various Artists, Opika Pende (Dust-To-Digital)
Various Artists, Bambara Mystic Soul: The Raw Sound Of Burkina Faso, 1974-1979 (Analog Africa)
The Lijadu Sisters, Danger (Knitting Factory)

Books:
Susan Whitall, Fever: Little Willie John, A Fast Life, Mysterious Death And The Birth of Soul (Titan)

A Saturday for Obama

"Dear Arnaldo DeSouteiro --

Sorry to bug you on a Saturday. But you are registered and living in California's 30th Congressional District.

The FEC wouldn't let us push back their big March 31st deadline. (I tried.)

Just hours to go -- please chip in $3 or more:
https://donate.barackobama.com/Today

Thanks,
Rufus Gifford
National Finance Director - Obama for America"

Contributions or gifts to Obama for America are not tax deductible.

NY Ad Agency Needs Song for Big $ TV Commercial...

Below is a special opportunity that we wanted to give you a heads up about. Just got the word about this project today, and they need the music by 9:30AM PDT, Monday, April 2, 2012. You can find this listing under the Rap/Hip Hop (Film & TV) genre in the Submit Music section of your TAXImusic.com hosting site.

Top NY Ad Agency needs a COOL, EPIC, PARTY ANTHEM for a National TV Commercial. Quoting the folks in New York, "The vibe for this is LINKIN PARK, KID ROCK, KEVIN RUDOLPH/LIL WAYNE, JAY-Z/RICK RUBIN... ROCK meets HIP HOP. Lyric theme: HAVING A GOOD TIME, NIGHTLIFE, PARTY, FEEL GOOD..."

As always, do NOT copy or rip off the referenced artists or songs in any way, shape, or form! Your SONG should sound COOL, CONTEMPORARY, SEXY and STYLISH. It needs to have a real PULSE and DRIVE the visual images on screen. Imagine the most EPIC NIGHT of your life -- what's the soundtrack for THAT?! You must own or control 100% of the Master and Composition rights to submit for this listing. NO SAMPLES of other songs or artists can be incorporated into your song. Broadcast Quality is needed (excellent home recordings are fine.)

ESTIMATED fee for this license is $50,000-$75,000. This is DIRECT-to-the-AGENCY, so you'll KEEP 100% of the fee. Broadcast Quality is needed (excellent home recordings are fine). Please have an Instrumental and a capella track available because if you are chosen, the Ad Agency will need them FAST. You should NOT submit them at this time. If you ARE chosen, the Ad Agency will contact you DIRECTLY. Please submit one to three songs online. All submissions will be screened on a YES/NO BASIS by a person Hand-Picked by the agency rep. NO FULL CRITIQUES FROM TAXI. Submissions must be received no later than 9:30AM PDT, Monday, April 2, 2012. TAXI #Y120402RA

TAXI, 5010 N. Parkway Calabasas, Suite 200, Calabasas, CA 91302, USA

Gina Saputo: an evening of excessive music loving @ Steamers, tomorrow nite

Tomorrow night, March 30, come share an evening of excessive music loving!
Gina Saputo live @ Steamers Jazz Club Cafe
138 West Commonwealth Ave in Fullerton, CA

Featuring: Gina Saputo (vocals), Matt Politano (piano), Eric Sittner (bass), Ramon Banda (drums) & Tony Guerrero (trumpet)
Come hang out with us, call (714) 871-8800 for your RSVP!

PRESS
"One of our favorite vocalists in the contemporary jazz scene, LA-based young diva Gina Saputo...she likes to sing in Portuguese, scatting and phrasing in a very creative way, sometimes sounds like the missing link between Carmen, Basia (check his own groovy "Explain," on which she also emulates Billie), Flora and Tierney. Not to be missed." - Arnaldo DeSouteiro, Jazz Station

"Gina Saputo. In a crowded field of young female jazz singers, Saputo’s soaring vocals and rhythmic lift suggest that she’s ready to step up from the pack." - Don Heckman, LA Times & The International Review of Music

R.I.P.: Earl Scruggs

Earl Scruggs, Bluegrass Pioneer, Dies at 88
Mr. Scruggs was a banjo player whose hard-driving picking style influenced a generation of players and helped shape the sound of 20th-century country music.

http://www.nytimes.com/2012/03/29/arts/music/earl-scruggs-bluegrass-banjo-player-dies-at-88.html?nl=todaysheadlines&emc=tha28_20120329

Pop Song Needed for Independent Film

Below is a special opportunity that we wanted to give you a heads up about. Just got the word about this project today, and need the music by 5 PM (PDT) Monday, April 2nd, 2012. You can find this listing under the Pop (Film & TV) genre in the Submit Music section of your TAXImusic.com hosting site.

Successful Hollywood Film & TV Music Production Company needs a FUN, UPTEMPO POP song a la MICHAEL FRANTI & SPEARHEAD & GIFT OF GAB - What I Got -http://www.youtube.com/watch?v=cGcy_x1MIgs for placement in an Indie Documentary Film. Your song should have a similar VIBE, TEMPO and FEEL. It's a FEEL-GOOD, SUMMERY, BRIGHT and TOE-TAPPINGLY RHYTHMIC song. It's LIVELY and yet feels sort of LAID-BACK at the same time. The song must be at least 2 minutes long. Lyric themes should be PG-Rated and UNIVERSAL. As always, do NOT copy or rip off the referenced artist in any way, shape or form! Use it only as a guide for general texture, energy, and vibe. Broadcast quality is needed (excellent home recordings are fine.)

The ESTIMATED PAYMENT for this placement is a Festival License fee of $250-$500 with the possibility of more depending upon the success of the film. Quoting the listing company, "William Morris is representing the film and expects to be able to sell it into a limited theatrical release, and then to an HBO or Showtime type network. Once it gets sold, there could be additional license money available." You must own or control 100% of your composition and master recording. NO SAMPLES of other artists work allowed. You will keep all your publishing and writer's share - NO publisher splits on this. Please submit one to three songs online, and include lyrics. All submissions will be screened on a Yes/No basis by TAXI and must be received no later than 5 PM (PDT) Monday, April 2nd, 2012. TAXI # Y120402PO

Ella's Grace Glows in the Jazz Museum

Commissioned works by KC artists join artifacts in a tribute to the First Lady of Song.
by Heather Lustfeldt for The Kansas City Star
March 28, 2012

The joyous elegance of Ella Fitzgerald fills the air of the American Jazz Museum's Changing Gallery in a remarkable tribute exhibit to her life and career in jazz.

"Ella: First Lady of Song" comprises film, objects and artifacts drawn from the museum's collections and the collection of Gary and Anita Maltbia. It also features commissioned artwork by 10 Kansas City artists and sculptor Howard Lazar, from San Francisco.

"I wanted people to walk in and be introduced to Ella Fitzgerald," said Sonie Joi Ruffin, artist and visiting curator at the museum.

Visitors immediately experience Fitzgerald's dynamic performances through archival film footage on a large flat-screen monitor of the classic tunes "Summertime," "Lush Life," "Don't Get Around Much Anymore" and "Lady Be Good," accompanied by Duke Ellington and his orchestra.

Ruffin collaborated with Zachary Hoskins, the museum's first John H. Baker Jazz film fellow, to present this footage from television performances in the late 1960s. On the walls, salon-style vignettes combine with art, framed album covers, objects, awards and photographs to offer a historical and pictorial journey of Fitzgerald's life as a prolific artist and performer.

While providing this structure, Ruffin emphasized her improvisational, collaborative approach to organizing and installing the exhibit, a method reflecting the spirit of jazz.

"Improvisation is a planned act," she said. "I wanted to maintain that sense of improvisation in planning the show."

Fitzgerald made her singing debut at 17 in 1934 at the Apollo Theater in Harlem. Clifford Doyle harks back to that time with an impressionistic oil painting depicting the Apollo's marquee illuminated by bright lights reflecting on the shiny, busy street.

Other works evoking Fitzgerald include a large, intricate wall sculpture of steel and white porcelain by Reilly Hoffman and Kelly Dickens' depiction of the concave interior of a floral hat, an impressive, unconventional reference to Fitzgerald's iconic style.

"Iconography," an acrylic on panel by Myles Cheadle, depicts a black keyhole on a white background filled with meandering text and symbols -- insulin (a reference to her diabetes), a jewel, a microphone, her name, birth and death dates, and a shiny gold crown.

An ethereal black-and-white portrait in oil wash by Michael Brantley is among ranging interpretations of her image and persona.

A buoyant acrylic on canvas by Robert Quackenbush depicts Fitzgerald singing in a pink, feathered hat, her name aside in gold print above a green, structured ground. The piece pops, installed with grommets upon a central orange wall.

Also striking, albeit very different, is Lazar's gleaming, larger-than-life ceramic bust of Fitzgerald in an emerald green dress and Brantley's monumental, evocative oil on canvas, "First Lady," a monochromatic, dreamily realistic vision of Fitzgerald deep in song.

Joseph Smith's five portraits on paper, including a watercolor, "Ella at the Gem," of an older Fitzgerald in front of the Gem marquee and an emotive three-quarter profile watercolor, "Queen of Scat," with the lyrics for "A-Tisket, A-Tasket," are quiet and reflective within vignettes.

NedRa Bonds, who contributed two intimate, framed quilts, incorporates screen prints of Fitzgerald and song lyrics, including a verse from "A-Tisket, A-Tasket" in one quilt with a basket-patterned, beaded brown band and a green and white floral outer edge.

Everyone has a different take: Clifford Doyle's glamorous acrylic-on-canvas of Fitzgerald, based on an iconic photograph from the early '50s, contrasts with Cheadle's funky mixed-media portrait in dazzling blues and reds; Michelle Beasley's acrylic-on-panel depicting four full-length, multicolored portraits of Fitzgerald as a blossoming icon looks to Andy Warhol's multiples.

Pivotal photographs include a 1947 image by William Gottlieb of Fitzgerald and Dizzy Gillespie, and a Herman Leonard image of Fitzgerald performing in New York for an audience including Duke Ellington and Benny Goodman.

Female camaraderie emanates from photographs of Fitzgerald and Billie Holiday at New York City's Bop City Club in 1947, and a radiant Fitzgerald and Marilyn Monroe at Mocambo Nightclub in Hollywood in 1955.

Fitzgerald credited Monroe for persuading owner Charlie Morrison to book her at the club, making her the first African-American to perform at Mocambo. Her move to Verve Records in 1956 and the subsequent release of "Ella Fitzgerald Sings the Cole Porter Songbook" -- the first of eight multi-album songbooks with Verve produced by Norman Granz -- launched her into the mainstream.
__________

"Ella: First Lady of Song" continues in the Changing Gallery at the American Jazz Museum, 1616 E. 18th St., through June 1. Hours are 9 a.m.-6 p.m. Tuesday-Saturday and noon-6 p.m. Sunday. Admission to the exhibit is free. For more information, 816-474-8463 or http://americanjazzmuseum.com

R.I.P.: Lou Colombo

Lou Colombo; Trumpeter Dazzled Stars of the Jazz World
by Kathleen McKenna for The Boston Globe
March 28, 2012

Lou Colombo had been chiseling, hammering, and reworking an old trumpet mouthpiece until March 3, when he finally got it just right.

"My dad was always searching for the perfect mouthpiece," said his son David of Sandwich. "Over the years, he'd probably been to every music store in the country."

Mr. Colombo was not scheduled to play that Saturday night at the Roadhouse Cafe, which his family owns, in Fort Myers, Fla., but the musicians on the bill urged him to sit in. He agreed and even ironed a new shirt for the occasion. "He was so excited," his son said.

A consummate entertainer, Mr. Colombo was known for his ability to play the trumpet with just one hand, and his set that night was his best ever, according to the musicians who shared the stage. They invited him to play another set, but he decided to go home to his wife.

Mr. Colombo died in a car accident as he pulled out of the Roadhouse Cafe parking lot at about 9:30 p.m. March 3. He was 84 and had divided his time between his home in South Yarmouth and Florida.

"He was in the best shape of his life," his son said. "He went out on a high note, doing what he loved right up until the end. It was like God said, 'You're at the top. You got the sound you always wanted. Now we're going to take you.'"

Louis Bernard Colombo was born in Brockton. Though he kept close ties to his hometown and the jazz scene there, he spent most of his life on Cape Cod, where he was a force in the music community, playing steady gigs to capacity crowds.

Among the luminaries who watched him perform were Tony Bennett and Dizzy Gillespie. During his career, he played alongside the likes of Rosemary Clooney and Mel Torme.

In later years, Mr. Colombo played winter gigs in Florida.

As a child, he was a standout baseball player who never struck out during four years on the varsity team at Brockton High School. His friends included Rocky Marciano, the future heavyweight boxing champion, who lived two doors down and married one of Mr. Colombo's cousins.

In 1944, Mr. Colombo joined the Army and played trumpet for a military band during World War II.

Upon returning to Brockton, he was drafted by the Brooklyn Dodgers. Playing for farm teams, his batting average hovered around.300. When he traveled to games in the South, Mr. Colombo corralled fellow athletes to sneak out past curfew and visit jazz clubs.

Even while playing baseball, his son said, Mr. Colombo kept his trumpet close. As television stations began airing games and team owners scrambled to fill the stands with fans, Mr. Colombo was often called on to play his trumpet before games or during breaks in the action, dressed in his baseball uniform and often backed by a full band at home plate.

"He was very popular," his son said. "The crowds loved him."

When an ankle injury ended his baseball career, he returned home and threw his energies into music.

After touring for a few years with Benny Goodman, Artie Shaw, and others, he met Noel Tremblay of North Attleborough when she went with a friend to hear him play. They married in 1951 and settled in South Yarmouth.

From then on, he played mainly regional gigs, often with Dick Johnson on sax and Dave McKenna on piano. One of Mr. Colombo's most admired albums was 1990's "I Remember Bobby," a tribute to his friend, musician Bobby Hackett.

Reviewing the album in 1991, People magazine noted that "in the '50s Lou Colombo was a minor-league baseball player with a.300 batting average. Not bad, but he bats 1,000 here. If his propulsive renditions of 'It All Depends on You' and 'Three Little Words' fail to wrest listeners from their seats, their next stop ought to be the doctor; something is seriously amiss with their vital signs."

In 1988, trumpeter and bandleader Dizzy Gillespie, who died in 1993, was speaking with WGBH-FM. "This guy's amazing," he said of Mr. Colombo. "I've been preaching his name ever since that night I first heard him down on Cape Cod."

Mr. Colombo, Gillespie said, "starts playing and the notes keep going, but the chord keeps changing all the time.... I went one night to hear him play. Boy, he asked me to play with him and I said 'No, you got it, brother. I'm not going to jump into that hot water.'"

Saxophonist Ted Casher of Bridgewater, who played with Mr. Colombo for years, called him "the most superb and most natural musician I ever ran into."

Mr. Colombo passed a love for music to his children, several of whom operate restaurants where their father performed as a regular. His daughter Lori is a jazz singer.

"Every time my dad entered the room, people would respond," she said. "He was such a showman and had a way of getting the crowd excited, first with his amazing comedic wit, and then when he picked up the trumpet."

His son recalled that when Tony Bennett visited Hyannis 20 or so years ago, the singer watched Mr. Colombo after performing nearby.

"He tapped me on the shoulder and said, 'That's the best trumpet player I ever heard in my life,'" Mr. Colombo's son said. "And I said, 'Yeah, Tony, me, too."

A few years ago, Bennett invited Mr. Colombo to join him onstage at the Bank of America Pavilion in Boston.

Bennett told JazzTimes magazine: "Lou Colombo was a magnificent musician and was known as Dizzy Gillespie's favorite trumpet player. Lou was a wonderful human being and his sudden passing is a tragedy and a great loss to his family and all who have known him and worked with him over the years."

In addition to his wife, son, and daughter, Mr. Colombo leaves three other daughters, Lynda of Delray Beach, Fla., Lou Anne of Brewster, and Sherri Colombo Neeley of Fort Myers; another son, Thomas of Sandwich; a brother, Vincent of Brockton; a sister, Jeannette Small of Bridgewater; nine grandchildren; and two great-grandchildren.

His family will hold a New Orleans-style funeral procession on June 17, Father's Day. It will begin at 2 p.m. in Hyannis at Colombo's, a restaurant David owns, and end with a memorial service at the Cape Cod Melody Tent.

Lori will host a free tribute concert July 11 at Wequassett Inn in Chatham and perform along with many of her father's friends. Students will be featured, as well, which is fitting, she said, since Mr. Colombo was a strong advocate for young musicians.

"My father told me over and over: 'Play the melody,'" she said. "He believed that people needed to hear the melody, that it helped rekindle something inside them so they could connect with the song on a much deeper level. That's what Dad was about."

Diana Krall's ticket pre-sale alert for Turlock

Ticket Pre-Sale & VIP Offer Alert for Diana Krall's upcoming performance, on August 21, 2012 @ the Turlock Community Theatre in Turlock, CA

Pre-Sale tickets for this show will be available Monday, April 2 at 12pm local time:
http://dianakrall.artistarena.com
username: diana
password: krall

A Pre-Sale VIP offer will be available for this concert, including:
- One Premium Reserved Seat Ticket
- One Limited Edition Signed Diana Krall Poster
- One Exclusive Diana Krall T-Shirt
- One Diana Krall Cork Screw
- One Commemorative VIP Laminate

SESC in the NY Times

Brazil's Unique Culture Group Stays Busy Sharing the Wealth
Brazil's most active culture organization, SESC, finances not just arts programs but also books, CDs, courses, recreation and health clinics, and it is raising the country's global profile.

http://www.nytimes.com/2012/03/27/arts/brazils-leading-arts-financing-group-shares-the-wealth.html?nl=todaysheadlines&emc=tha28_20120327

Compilation of the Week - "Selectro"

Compilation of the Week (2-CD set)
"Selectro Rezidents - Andy Kleeko/B2B/Shaun Lever" (Selectro) 2012

Jazz Songs Needed for Indie Film with Major Studio Distribution

Below is a special opportunity that we wanted to give you a heads up about. Just got the word about this project today, and TAXI needs the music by NOON (PDT) on Thursday, March 29, 2012. You can find this listing under the Jazz (Film & TV) genre in the Submit Music section of your TAXImusic.com hosting site.

SMOKEY, SULTRY, DARK JAZZ SONGS with VOCALS in the style of Billie Holiday, needed by the Music Supervisor for a horror film with supernatural overtones based in/around a hidden mansion! Songs submitted ABSOLUTELY MUST fit with a Billie Holiday type sound. THINK: HAUNTING, SUBTLE, SOMBER, RAINY-DAY type tracks with smooth vocals that can provide the perfect eerie quality to specific scenes. Vocals, lyrics, and production MUST all be as authentic and believable as possible!

NO profanity, NO current lingo, NO lyrics that are too literal. This is a non-exclusive license and the opportunity for songs to be considered for use in the trailer for the film. We recently ran this as Dispatch #D120314JZ, and the music supervisor would like to hear more material. If you submitted to the Dispatch listing, please send in new songs this time around. As always, vocal and instrumental performances MUST be top-notch. Excellent performances are absolutely necessary. You must own 100% of your master recording and publishing. Broadcast quality needed (excellent home recordings are fine.) Please submit one to three songs online or per CD, include lyrics. All submissions will be screened on a YES/NO BASIS - NO CRITIQUES FROM TAXI - and must be received no later than NOON (PDT) on Thursday, March 29, 2012. TAXI #Y120329JZ.

TAXI, 5010 N. Parkway Calabasas, Suite 200, Calabasas, CA 91302, USA

Amy Winehouse's "Rehab Part 3" comes out today on 12" picture disc

12" Single of the Week
Amy Winehouse: "Rehab Part 3" (PICT 109 - France) 2012

Side A
1. "Rehab" (original extended mix)
2. "Rehab" (Demo extended version)
3. "Rehab" (Desert Eagle disc vocal)
Side B
1. "Rehab" (Hot Chip remix)
2. "Rehab" (Festival London 2007)
3. "Rehab" (Napster Live)

George Benson interviewed by Howard Reich

George Benson Swings Guitar Back to Jazz Standards
Howard Reich for The Chicago Tribune
March 22, 2012

Few living jazz musicians have enjoyed the broad acclaim of George Benson, and fewer still are likely to in the future. The implosion of the record industry and the marginalization of jazz in our popular culture -- notwithstanding the recent crossover success of bassist-vocalist Esperanza Spalding and pianist-bandleader Robert Glasper -- have made Benson's career quite the anomaly.

So as he sees his 70th birthday not far in the offing -- he reaches that milestone next March -- Benson can look back with some satisfaction at having emerged at the right time, and with the right gifts.

"I can't complain, because I came along just before that happened," says Benson, referring to the ravages of the record business in the digital age.

"I sold millions of records and I saved my pennies and we did well. I think they eventually will figure out how to turn it into a money machine again," adds Benson, who plays the Chicago Theatre on Friday night on a bill with Boney James.

"They made some terrible mistakes. They didn't jump on (the Internet) fast enough, and now people get records for free and people are losing fortunes every day.

"But like everything else, it will find its place. Nothing we can do about that."

Except for one thing: keep recording and performing, which is what Benson has been doing quite artfully, most recently with the album "Guitar Man" (Concord Jazz). In emphasizing Benson's fluidity as instrumentalist, while also featuring him on select vocal tracks, "Guitar Man" gently evokes the earlier, pre-pop-star chapters of Benson's career. Moreover, its emphasis on classic repertoire reminds listeners that Benson remains a jazz musician at heart.

That Benson opens the recording with "Tenderly" (also the title track to his 1989 collection of standards) and moves on to "My One and Only Love," "It's Only a Paper Moon" and John Coltrane's "Naima" underscores his interest in core repertoire. His idiosyncratic version of "I Want to Hold Your Hand" and a solo account of "Danny Boy" similarly point to an artist looking warmly upon a distant past.

"I definitely felt connected to the older roots" in making "Guitar Man" and touring with that music, says Benson.

"Especially when I did 'Paper Moon.' I was going to do it as a vocal. Forget it, man. You're not going to top Nat 'King' Cole's version.

"So I said, 'You know what?' It still feels like the '40s without a vocal, why not just do it (on guitar) alone.

"And... it still feels old-fashioned. All that stuff from that era has a quality on it that does not exist today. There are some great artists (today), don't get me wrong. But not the percentage of years ago."

Certainly the golden era of Nat "King" Cole -- whom Benson considers his "favorite artist" -- has long since passed. Yet perhaps no one working today captures Cole's unique synthesis of instrumental virtuosity and disarming vocals as eloquently as Benson. To him, the aesthetic values he shares with Cole run deep.

"Because I started off as a singer first, I heard Nat 'King' Cole as a young man," remembers Benson, who began singing in clubs as a boy and recording before he was a teenager.

"He had everything: sophistication, great tonality, diction that I hadn't heard from a lot of other (contemporary) singers, except maybe Billy Eckstine," adds Benson, though the list surely includes Johnny Hartman, Cab Calloway, Joe Williams and others.

"When Nat started playing piano, that brought it all together. You can hear the musicianship. That made everything he did sound fresh."

As for Benson, he acknowledges what "Guitar Man" clearly illustrates: that his jazz work has sweetened over the years (and we needn't digress into his most egregiously commercial outings of the early and mid-1980s). Benson believes that he has become a stronger vocalist-guitarist, even if he probably has lost a couple of notes at the uppermost reaches of his voice.

"I still can perform just about every song in the same key as before," says Benson.

"My sound has developed. It's a little more mellow than it was before, but more than that, it seems to go (well) with my ideas now.... It doesn't seem to make a difference what (style) I play. It all comes from different genres: jazz, pop, R&B. But it seems like it's the same guy telling the story."

Still, after all these decades, the guitar indisputably stands at the heart of everything Benson does, and he still tries to gain control of it every day of his life, an ultimately futile task, he says.

"The guitar is the most challenging instrument," observes Benson. "I imagine all the instruments are challenging. But just when you think you've mastered (the guitar), here's somebody who plays something that never occurred to you.

"That's what keeps the guitar alive in my life. It's the foremost instrument in my life."

And jazz is the better for it.

People will be watching

"Dear Mr. Arnaldo DeSouteiro --

You are currently registered and living in California's 30th Congressional District. The end of this week is the most important fundraising deadline of the campaign so far.

Here's why: As the other side starts to settle on an opponent for us, people will be watching what we do like never before. They'll want to see just how we measure up, and just how ready we are.

That opponent will have a war chest of millions of dollars from mostly high-dollar donors. We'll have this grassroots campaign of millions of people giving whatever they can afford.

I'm placing my bet on us -- now I want to know where you're placing yours. Please give $3 or more, before the deadline:
https://donate.barackobama.com/March-Deadline

Thanks,

Jim Messina
Campaign Manager - Obama for America"

Contributions or gifts to Obama for America are not tax deductible.

Steve Lawrence on "Awake"

Legendary singer Steve Lawrence, of the Steve & Eydie (Gormé) fame, will be doing a special guest appearance on a new NBC Hit Drama, "Awake," starring Jason Issacs (of Harry Potter Fame.)
Thursday, April 5th at 10pm/9c
Be sure to watch. He’s great!

Mark Murphy interviewed by Roseanna Vitro

Mark Murphy: Repertoire and Relaxation
Roseanna Vitro interviews the legendary jazz singer and improviser
www.JazzTimes.com - March 23, 2012

Mark Murphy turns 80 years young this year. He is famous for his soaring instrument and his distinctive vocal improvisations, with melody and lyrics. He was a recipient of DownBeat's readers' jazz poll for Best Male Vocalist in 1996, 1997, 2000, and 2001. Notably Mark has received six Grammy nominations for Best Vocal Jazz Performance. Among his best known nominated recordings are "Stolen Moments" (Muse Records), "September Ballads" (Milestone Records) and "Song for the Geese" (RCA Records). Mark's original lyrics to Oliver Nelson's "Stolen Moments" and Freddie Hubbard's standard "Red Clay" live on through vocal jazz programs all over the world today. From "Meet Mark Murphy" (1956) to the 2010 recording "Never Let Me Go," Murphy continues to attract audiences and fans around the world.

Roseanna Vitro: As a young man, what music first inspired you?

Mark Murphy: Art Tatum. I would go to my grandmother and uncle's house for Sunday dinners. All of my family were part of a local choir. My grandfather, Milton Cross, always listened to the Metropolitan Opera on Sunday afternoons. But when I was thirteen, what really caught my ear was Art Tatum's "Humoresque." I was always singing and fortunately I inherited my dad's glorious voice. Mom was a flapper and she knew rhythm and jazz. Dad knew oratorio church music.

RV: How early in your career did you start performing?

MM: As a young man, I didn't know anything about baseball or anything else but singing. I didn't have a voice teacher but as early as middle school, I was given all the solos to perform. To learn my parts, I just listened and copied. I was also influenced by my older brother who played the bass and my younger sister who was a first soprano. Early on, we listened to Benny Goodman records. I fell in love with Peggy Lee's sound, Sarah Vaughan, Ella, Arthur Prysock, Billy Eckstine and Nat Cole was my favorite. I listened to the radio constantly after I found a jazz station.

RV: Were you a disciplined student?

MM: To a point I was, because I was always singing and listening to the music. I have undisciplined ways. I don't just sit down and work. Sometimes I hear an idea in the morning and write it down and I never sing solos or phrases the same way, I'm not rigid. I remember hearing that Nat Cole practiced two hours a day. My practice evolved sitting in on piano with my brother's six piece band. When they rehearsed, I'd sit in and play piano and sing just playing the chords. My aunt played a little piano and she showed me the basics on "Lullaby of Rhythm." Later on, I took the bus from Fulton to Syracuse, NY to attend college I studied in drama school for four years and really dug Jack Kerouac. Kerouac's writing was very rhythmic, very jazz-like. His prose is divine.

RV: Your ballad singing is renowned. What is your focus when singing a ballad?

MM: I send out a beam of attention, like radar. I learned this from Peggy Lee. I used to watch her on Steve Allen's show. Peggy would sit there very still; she never took her eyes off the camera. You'd feel as though she was singing just to you. I see inside the song I'm singing as though I'm watching in a movie, always drawing the picture with my words and sounds. This is art.

RV: Do you have advice for today's young singers who are following in your path?

MM: Yes. Disciplined listening, studying the history and where the music is heading now a days. Go on an exploration of who's doing what and how they're doing it. See if it's something you can do. When I taught at the University of Music and Dramatic Arts in Graz, Austria, first I taught voice technique. But when the students learned good voice technique and would try to be creative and improvise, they'd forget their technique. You have to keep your technique and you have to always be creative, always exploring. A few of my students got it, like Tessa Souter and a girl from Belgrade that I first heard in Cape Town. It can take almost ten years to "originalize" your delivery. There's no particular method when improvising with lyrics, except to bend and caress the story and melodic ideas in your head as your singing, like painting a picture with your voice. Naturally, it depends on the tempo and the mood of the song. First chorus, tell the story in your own way and in the second chorus, continue to stretch and be spontaneous. I'm motivated by harmonics, like Jimmy Rowles and Peggy Lee. They played for years together. Your accompanist has a lot to do with how you sing, so experiment and choose your partner wisely.

RV: Drummers are very important. What do you like when choosing a drummer for your groups?

MM: First, I must have someone who knows how to play brushes. A musician with a wide rhythmic skill set complete with a bunch of mallets and the ability to make it sound like a big band if you want or a whisper. He has to connect with the bassist and invent a pulse for the pianist to float on. Then, I can float on top of this layer and communicate. I love percussive sounds. That's what your lips are for. [With] the tongue inside the mouth, there are around fifty articulations possible. This came to me bit by bit experimenting through the years. For a while, I couldn't find the right group of musicians in New York that booted me up. So I worked with a group from Cincinnati, Ohio, featuring Frank Vincent on piano for about ten years.

In closing I would like to say how important it can be for an artist's development to work with the same group consistently. I developed a repertoire and relaxation with my Cincy group. My singing evolved with a feeling of intense relaxation, always using my diaphragm and breathing specifically through my nose. This focuses the air stream as accurate as a hit with drum stick. Dave Lambert, one of my favorites, had that kind of control. He could read music or just blow long solos breathing through his nose with absolute accuracy.
**********
Mark Murphy will be honored on May 21st at the Blue Note Jazz Club in New York City in a show called "Celebrating Mark Murphy: A Life in Song," featuring a short film of Mark's life and a host of singers honoring Mark, including Sheila Jordan, Annie Ross, Steve Ross, Tom Lellis, Tessa Souter, Dena DeRose, myself and more. Mark is still singing great and teaching with every concert. For bookings, please contact Jean-Pierre Leduc at (514) 247-0706.

Win tickets to Jean Rollin's "Fascination"

This week's Update we've listened a new compilation featuring soundtrack music to French filmmaker Jean Rollin's psycho-sexual thrillers. New York residents will also get a chance to see a screening of one of his masterpieces, 1979's "Fascination," which is playing in Brooklyn at Williamsburg's Nitehawk Cinema on Friday, March 30 and Saturday, March 31, with Morricone Youth providing live music and soundscape for the film!

Other Music has two pairs of passes for the Saturday night screening (12:20 a.m.) and you can enter to win a pair by emailing giveaway@othermusic.com. They'll notify the two winners on Friday morning.

SATURDAY, MARCH 31
NITEHAWK CINEMA
136 Metropolitan Ave
Williamsburg, BKLN

Clark Terry Fundraising Event in NY, April 23 @ Saint Peter's Church

CLARK TERRY FUNDRAISING EVENT
MONDAY, APRIL 23, 2012, 7 PM
SAINT PETER’S CHURCH
619 Lexington Ave, New York, NY
“E” train to Lexington Avenue or “6” to 51st Street
Ph: (212) 935-2200
www.saintpeters.org/events
www.clarkterry.com

Gwen Terry, The Duke Ellington Society, International Women in Jazz, Jazz Foundation of America and Saint Peter’s Church – Jazz Ministry are partnering to produce a fundraiser for Clark Terry on Monday, April 23 at 7 PM at Saint Peter’s Church, 619 Lexington Avenue at 54th Street, New York City.

Over 30 musicians will perform for their colleague, Clark Terry, to raise funds to help defray Clark’s medical expenses. Clark Terry plans to appear at the event via Skype.

Suggested donation is $25 at the door.

Checks should be written to Jazz Foundation of America with “Clark Terry account” in the memo line.

Donations can also be sent to Jazz Foundation of America, 322 W. 48th Street, New York, NY 10036. (212) 245-3999. www.jazzfoundation.org

Clark Terry’s career in jazz spans more than seventy years. He is a world-class trumpeter, flugelhornist, educator, composer, writer, trumpet/flugelhorn designer, teacher and NEA Jazz Master. He has performed for eight U.S. Presidents, and was a Jazz Ambassador for State Department tours in the Middle East and Africa. More than fifty jazz festivals have featured him at sea and on land in all seven continents. Many have been named in his honor.

He is one of the most recorded musicians in the history of jazz, with more than nine-hundred recordings. Clark’s discography reads like a “Who’s Who in Jazz,” with personnel that include greats such as Quincy Jones, Ella Fitzgerald, Oscar Peterson, Dizzy Gillespie, Dinah Washington, Ben Webster, Aretha Franklin, and the list goes on.

Among his numerous recordings, he has been featured with the Duke Ellington Orchestra, Count Basie Orchestra, Dutch Metropole Orchestra, Chicago Jazz Orchestra, Woody Herman Orchestra, Herbie Mann Orchestra, Donald Byrd Orchestra, quartets, quintets, sextets, octets, and two big bands – Clark Terry’s Big Bad Band and Clark Terry’s Young Titans of Jazz.

His Grammy and NARAS Awards include: 2010 Grammy Lifetime Achievement Award, NARAS President’s Merit Award, three Grammy nominations, and two Grammy certificates.

He broke the color barrier by accepting an offer in 1960 from the National Broadcasting Company to become its first African American staff musician. He was with NBC for twelve years as one of the spotlighted musicians in the Tonight Show band. During that time, he scored a smash hit as a singer with his irrepressible “Mumbles.”

Clark has received dozens of other Hall and Wall of Fame Awards, NEA Jazz Master Award in 1991, keys to cities, lifetime achievement awards (four were presented to him in 2010), trophies, plaques and other prestigious awards. The French and Austrian Governments presented him with their esteemed Arts and Letters Awards, and he was knighted in Germany.

His long-awaited book – Clark: The Autobiography of Clark Terry– is available now, published by University of California Press.

For a complete biography on Clark Terry, visit his website at www.clarkterry.com

Donations:
Jazz Foundation of America with “Clark Terry account” in the memo line.
322 W. 48th Street, New York, NY 10036. (212) 245-3999.
www.jazzfoundation.org

For More Info Contact:
Lynne Mueller
Ph: (917) 207-4953

Katie Thiroux live @ Steamers, March 28

Next Wednesday, jazz bassist/vocalist Katie Thiroux will be performing standards and her original songs @ Steamers, with The Evan Stone Trio: Evan Stone (drums), Matt Politano (piano) & Dave Goldberg (sax).

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

Long Beach-based Katie Thiroux, born February 3, 1988, and raised in Los Angeles, California, is a bassist and vocalist of outstanding talent and determination. In early 2009, Thiroux joined Terri Lyne Carrington at the Munster Jazz Festival. Shortly after the performance in Germany, they formed a trio with my late dear friend Dr. Billy Taylor for a special performance in Boston, Massachusetts.

While in her last semester at Berklee College of Music, to which she was awarded the Presidential Scholarship, Miss Thiroux received an invitation to join the faculty at the University de San Francisco in Quito, Ecuador for one year. In late August 2009, Thiroux began teaching over 30 bass and vocal students. Between working on her pedagogical techniques, composing new material and adapting to the fascinating culture in Ecuador, Thiroux performs with her own trio and other notable artists across the world. Being on the road and performing internationally galvanizes her to collect influences for her art.

Most recently, Katie and her trio performed at the 2010 Rochester International Jazz Festival. Other notable performances include club venues such as Catalina's, Regattabar, The Kitano, The Lighthouse, and festivals such as The Monterey Jazz Festival (Berklee Monterey Quartet), Beantown Jazz Festival, San Miguel Allende International Jazz Festival (Mexico), Quito International Jazz Festival (Ecuador), Punta del Este International Jazz Festival (Uruguay), Newport Beach Jazz Festival and the Sweet & Hot Jazz Festival. Katie's impressive vocals and brilliant instrumental arrangements make her a rising force in today's LA jazz scene.

Diana Krall Opens "2012 Summer Nights Tour" at DPAC with Spellbinding Performance

http://www.thetimesnews.com/articles/opens-53760-performance-diana.html(Grammy award-winning musician Diana Krall performed to a sold-out audience at the Durham Performing Arts Center on Thursday night.)
Diana Krall Opens Tour at DPAC with Spellbinding Performance
by Keren Rivas for Times-News, March 24, 2012
Burlington (North Carolina)

Grammy-winning jazz diva Diana Krall captivated a sold-out audience at the Durham Performing Arts Center during an intimate performance Thursday night.

The performance was the first stop on the Canadian artist's 40-city 2012 Summer Nights tour.

Wearing her signature black dress, Krall opened the night with an upbeat rendition of "I Just Found Out About Love," which served as a playful introduction and set the tone for the entire performance.

Her sultry voice held listeners under a spell as she drew them up-close with songs such as Sergio Mendez's "So Nice," from her bossa-nova inspired album, "Quiet Nights," "I'll String Along with You" and "Love Scenes," which she dedicated to her family, 5-year-old twin boys and husband Elvis Costello.

Krall's jazz pianism took center stage throughout the night, enhanced only by the outstanding accompaniment provided by guitarist Anthony Wilson, bassist Robert Hurst and drummer Karriem Riggins. Their up-beat jazz performance, particularly during tunes like "Jockey Full of Bourbon," "How Deep Is the Ocean?" and "The Frim Fram Sauce" kept the audience tapping their feet and bursting into cheers and applause, always wanting more.

Krall seemed more at ease during her in-between-song chats, which despite being random anecdotes about growing up in Canada and life as a mother that seemed to be more notes to herself than anything else, provided a chance for the audience to laugh and relax and connect with her in a more intimate way.

"You've taken the position of a bartender, even though you are the ones who've paid the ticket," she said jokingly during one such chat. "That's okay. We're all in the same living room."

In her more intimate moments, when Krall played the piano by herself while the band took a break, she surprised the audience with a deliciously soulful performance of Cole Porter's "Don't Fence Me In."

Before returning to the stage for an encore that included "Walk on By" and "I'm Walking," Krall closed the night with Irving Berlin's "Cheek to Cheek," which she somehow managed to turn into a playful medley that included contemporary tunes like "Low Rider" and "Come Together," with the audience singing along.