$20 advance / $25 day of show
Wednesday, March 7, 2018
David Hazeltine will appear @ Zinc Bar in April
$20 advance / $25 day of show
The Maguire Twins release U.S. debut album, "Seeking Higher Ground," March 30
The Maguire Twins' mastery of their craft as jazz instrumentalists and composers is in sparkling evidence throughout their U.S. debut recording, "Seeking Higher Ground," which will be released by Three Tree Records on March 30. Drummer Carl Seitaro Maguire and bassist Alan Shutaro Maguire, who'll turn 22 on March 19, take their place in the lineage of jazz brothers that includes such illustrious last names as Heath, Farmer, Montgomery, Mangione, Brecker, and Marsalis.
Produced by Donald Brown, the CD finds the twins living up to its title by more than holding their own in the heady company of saxophonist Gregory Tardy, trumpeter Bill Mobley, and pianist Aaron Goldberg. The Maguires contribute two originals each to the program, which includes songs by their bandmates and producer. And without sacrificing cohesiveness, the songs are stylistically diverse.
Tardy's "Theodicy" is a timely commentary on misguided religion. He plays tenor with his usual Coltrane-like intensity and, says Carl, "I try to somewhat embody Elvin Jones, who is one of my heroes." Brown's tricky "The Early Bird Gets the Short End of the Stick" boasts sudden time shifts and dramatic swoops that both twins laughingly said they were greatly relieved to have handled after numerous attempts.
Carl's "Machi no Michi" (translation: "The Road of the Town") is an elegant tribute to his Japanese origins, as reflected in the Japanese scale in the bassline and the traditional taiko drum feel in the composer's playing. "I love the taiko drum's huge sound and the commanding way it is played," says Carl, who tunes his snares tightly to highlight the melody.
Goldberg's composition, "Shed," was the first modern jazz tune the Maguires learned to play, having heard the pianist play it as both sideman and leader. "It has been one of our favorites for the longest time," says Carl. "Just watching Aaron count off his tunes helped me internalize time, made my time stronger," says Alan.
They learned to improvise listening to musicians at jazz clubs. "The music just took us over," says Carl. "When I heard a bassist, I would tell Alan about it. When he heard a drummer, he would make suggestions to me based on what he saw and heard. We helped each other out.
Maguire Twins "We were open to criticism from each other as well as ideas," he adds. "Friends don't want to be too harsh, but we can criticize each other as much as we want."
Saxophonist Kirk Whalum, then artist in residence at Stax, had much to do with their development as did Donald Brown, whom they met when he came to scout students as a faculty member at the University of Tennessee-Knoxville. They went on to study there with him, Gregory Tardy, and bassist Jon Hamar, who composed one of the new album's heartfelt ballads, "Clarity."
"It all goes back to Donald," says Alan. "He has kept us motivated. He's always giving us something new to work on, new CDs to check out, keeps us listening to all kinds of music and encourages us to get as many lessons from as many people as we can."
When the Maguire family made its annual visit to Japan to visit the twins' maternal grandmother in the inland town of Kitaakita City, the boys performed in various spots, building a following among local musicians as well as fans. Requests for CDs led them to record, at 18, "The Sound of Music," a demo-style album released in 2014.
With each tour of Japan and Hong Kong, where they began performing on an annual basis in 2013, their Asian following has grown. So has the talent pool they draw from over there. The twins have performed with artists such as guitarist Yosuke Onuma, trombonist Shigeharu Mukai, pianist Yuichi Inoue, and saxophonist Yosuke Sato in Japan as well as pianist Ted Lo in Hong Kong.
"Now when we go back to Japan," says Carl, "where jazz has been really important to a lot of people for a long time, we do so as individuals who really appreciate this music. It's been quite an awakening for us, and it keeps getting more fun."
Photography: Jamie Harmon
Duduka Da Fonseca, Helio Alves & Maucha Adnet @ Dizzy's Club Coca Cola this week, March 8-11
(Helio Alves & Duduka Da Fonseca)
Thursday-Sunday, March 8 - 11 - Sets at 7:30 and 9:30 pm
Dizzy's Club Coca Cola - Frederick P. Rose Hall @ Jazz at Lincoln Center (Broadway at 60th Street, 5th Floor)
Reservations: 212-258-9595 or -9795.
Online reservations: www.jalc.org
WITH: BILLY DREWES - REEDS & FLUTE, ROMERO LUBAMBO - GUITARS, HANS GLAWISCHNIG - BASS, MAUCHA ADNET - VOCALS. HELIO ALVES - PIANO, DUDUKA DA FONSECA - DRUMS
“Duduka is a fantastic drummer, he has worked with me and I love the way he plays.”
Antonio Carlos Jobim, Rio de Janeiro, Spring 94
"Duduka Da Fonseca is one of the very few drummers, or perhaps the only drummer, who has found his own unique voice by combining the two traditions. His command of Brazilian and American rhythms and his ability to integrate them so seamlessly is truly innovative.
With music in mind, Sincerely,"
Billy Hart
“Da Fonseca divulgues a keen awareness of where Brazilian Jazz has been and where it’s headed”
Todd Jenkins, DownBeat Magazine
"[Alves has] subtlety, musicianship and extraordinary improvisational facility..." "...outstanding capabilities as a melodic improviser..."
Robert L. Doerschuk, DownBeat Magazine
"Alves plays with a gravity and a stylistic flair that's truly impressive."
Phillip Van Vleck, Billboard Magazine
"Alves executes his feats with unhurried grace, even at very fast tempos. There is an aptitude that, if not exclusive of Brazil, has reached its highest expression there: the communication of a subtle energy embodying a life- affirming message that life is transitory."
Thomas Conrad, Jazz Times Magazine
- Dan Bilawsky, All About Jazz
“Maucha and I have travelled the world with the Banda Nova since 1984. She is a marvelous singer. Her voice is deep, rich, mysterious. It makes me long for the Brazilian forest. Maucha is intelligent and comes from a very musical family. She is a good girl, wonderful woman, a great artist”
Kiss from your fan,
Antonio Carlos Jobim
Tuesday, March 6, 2018
Jazz Lines announces the release of "Gaslight" from Duke Pearson's "Sweet Honey Bee"
"Gaslight" is another swinging, melodic, memorable Pearson tune. Jazz Lines has added it to the rest of the charts they have published from this great record in a specially-priced five chart set at nearly 25% off of retail. Look for more Duke Pearson charts to be released soon: "Wahoo," "E.S.P.," "Empathy," and small group versions of "Amanda" and "Bedouin."
Working closely for nearly a decade with Duke's son Anthony, Jazz Lines now publish over two dozen of his fantastic charts, both from his original source materials and from Jazz Lines Publications' transcribing staff, all with Anthony's full and very generous cooperation.
Click here to order:
http://www.ejazzlines.com/?q=duke%20pearson%20%20small%20group&sort=title
Friday, March 2, 2018
"Zoot Fest" with David Libeman, Bill Goodwin and other jazz masters honoring Zoot Sims
Cecilia S. Cohen Recital Hall,
Fine and Performing Arts Building, East Stroudsburg University
Featuring:
7 pm - A Tribute to Al and Zoot: David Liebman, Dave Leonhardt, Paul Rostock, Bill Goodwin
8 pm - Music from the Benny Carter recording: "Further Definitions" featuring Nelson Hill, Neil Wetzel, Dave Demsey, Craig Yaremko, Jay Rattman
Admission: $30 General / $10 Student
Deer Head Inn Jam Session starting at 9 p.m. – No charge
Contact Information:
Matt Vashlishan
200 Prospect Street
East Stroudsburg, PA 18301- 2999
Phone: 570-422-3828
alcohncollection@esu.edu
A relaxed evening of music, mirth and remembrance to benefit the Al Cohn Memorial Jazz Collection at ESU
Tix and infos:
http://www.esufoundation.org/s/125/index_foundation.aspx?sid=125&gid=1&pgid=1851&cid=3640&ecid=3640
Thursday, March 1, 2018
Book of the Month - "This is Hip: The Life of Mark Murphy"
With publication coinciding with Mark Murphy's birthday on March 14, Equinox is proud to announce "This is Hip: The Life of Mark Murphy" by jazz singer and journalist Peter Jones.
When my much missed friend Mark Murphy died in October 2015, the world lost one of the greatest jazz singers in history. Murphy was the last of his kind, a hipster of the Kerouac generation, who rejected the straight life of prosperity and numb consumerism. With a catalog of more than 40 albums under his own name (for such labels as Decca, Riverside, Milestone, Muse, Verve and HighNote), Mark Murphy was a consummate improviser, who never sang a song the same way twice.
He could have enjoyed a successful mainstream career in the vein of Andy Williams, Johnny Matthis or Jack Jones. But his ambition was greater – to be a jazz artist, to rebel against the commercial music industry and to carry the jazz vocal flame wherever it led him. Among the sidemen on his albums were Bill Evans, Art Farmer, Larry Coryell, David Matthews, Michael Brecker, Randy Brecker, David Sanborn, Bill Mays, Frank Morgan, Claudio Roditi, Vince Lateano, Mark Egan, Gerry Niewood, Gene Bertoncini, Tom Harrell, Jim Hall, Wynton Kelly, Urbie Green, Al Cohn, Clark Terry, Till Bronner, Nan Schwartz and the brazilian fusion trio Azymuth.
Murphy was a master of scat and vocalese, of songwriting and the spoken word. He expanded the jazz singing repertoire, adding his own lyrics to instrumentals like John Coltrane’s "Naima," Freddie Hubbard’s "Red Clay," and Oliver Nelson’s "Stolen Moments." Unrivaled as an interpreter of ballads, he was able to express longing and regret to a degree lacking in any other jazz singer.
For years he roamed the world, playing thousands of gigs. Rediscovered in the Eighties by a new audience of jazz dancers, and again in the 21st century by a digital generation who invited him to guest on their recordings, he remains a crucial though unjustly neglected figure in vocal jazz.
I had the honor to be his friend for over three decades. Mark used to stay in my house in Rio de Janeiro when he toured Brazil in the 80s, sometimes taking his touring band with him. And everytime I visited California, he took me to have dinner in his huge apartment in San Francisco, where he lived till moving to NY in the mid-90s.
"This Is Hip" is more than a biography: it also explores Murphy’s innovative approaches both to singing and to the teaching of singers. Based on numerous interviews with those who knew him best, the book delves into a performing and recording career that spanned 60 years and earned him five Grammy nominations.
Peter Jones is a jazz singer and journalist based in London. During the making of his first album, One Way Ticket to Palookaville, he developed a serious interest in the work of Mark Murphy, which has continued ever since. He reviews concerts and CDs and conducts interviews for London Jazz News. His second album Utopia was released in 2016 and his third Under the Setting Sun in 2017.
(Arnaldo DeSouteiro and Mark Murphy @ Arnaldo's house)
Fusion CD of the Month - "Mark Egan & Arjun Bruggeman: Dreaming Spirits"
Mark Egan & rjun Bruggeman: "Dreaming Spirits" (Wavetone WT8654)
Rating: ***** (musical performance & sonic quality)
Produced & Arranged by Mark Egan
Recorded January & March 2017 @ Electric Fields Studio (New Canaan, CT) by Mark Egan
Mixed by Jeremy Gillespie & Mark Egan
Mastered by Fred Kevorkian @ Kevorkian Mastering, Inc. (New York, NY)
Cover Photo: Simon Skafar
Liner Photo: Ana Ban
Graphic Design: Kevin Gaor
Featuring: Mark Egan (5 and 8 string Pedulla basses, effects), Arjun Bruggeman (tabla, frame drum, shakers, drum kit, tone drum), Shane Theriot (acoustic & electric guitars)
"Dreaming Spirits" is a world jazz project led by Grammy Award winning bassist Mark Egan and tabla player/percussionist Arjun Bruggeman, with guitarist Shane Theriot as a very special guest. This audiophile recording features 14 original instrumental compositions for a total of 70 plus minutes exploring multi-dimensional ambient grooves and masterful improvisations from some of the most influential contemporary improvising musicians.
Arjun and Mark were inspired to this project since meeting in 2008 while playing with Krishna Das. Guitar wizard Shane Theriot completed the chemistry for the trio. Fans of John McLaughlins's Shakti will feel at home with this dynamic recording, as well as listeners of jazz, fusion, blues, rock , yoga and Kirtan music. Mark Egan (Pat Metheney, Sting, Roger Daltrey, Joan Osborne, Krishna Das, Marc Cohn, Arcadia, Sophie B. Hawkins, Pat Martino, Larry Coryell, Gil Evans) and Arjun Bruggeman (Jason Mraz, Belinda Carlisle, Jon Anderson, Trevor Hall, Bobert Bly, Michael Franti, Hu Dost, Snatam, Shyamdas, Krishna Das) have conceived one of the most intriguing albums of the year!
Classical CD of the Month - "Carlos Franzetti & Allison Brewster Franzetti: Buenos Aires Noir"
Carlos Franzetti and Allison Brewster Franzetti with City of Prague Philharmonic Orchestra: "Buenos Aires Noir" (Amapola Records AR 9817) 2018
Rating: ***** (music performance & sonic quality)
Release Date: February 1st, 2018
Produced by James Fitzpatrick
Recording Engineer: Jan Holzner @ Smecky Music Studio (Prague, Czech Republic) on September 15, 2016
Mixed & Mastered by Gareth Williams
Composed & Conducted by Carlos Franzetti
Piano: Allison Brewster Franzetti
City of Prague Philharmonic Orchestra
Orchestra Contractor: Tadlow Music Ltd.
Concertmaster: Lucie Svehlova
Assistant to Conductor: Stania Vomackova
A sublime three-movement symphonic poem for piano and orchestra. Franzetti reaches his peak as a classical composer, a master in the same level of Brouwer, Scriabin, Delius and Ogerman, while his wife Allison displays her virtuosistic talents as one of the world's greatest pianists.
"This work is based on my earlier tango ballet Dante Porteño," says Carlos, "and takes place during the last three nights of Carnaval in the Buenos Aires of the 1970's as the dirty war between the urban guerrillas and military juntas reached its fiercest point."
Vocal Jazz CD of the Month - "Lou Lanza: Scenes From An Italian - The Billy Joel Project"
Lou Lanza: "Scenes From An Italian - The Billy Joel Project"
Rating: ***** (musical performance & sonic quality)
Produced by Tony Gairo
Engineered by Jim McGee @ SpectraSound Studios
Featuring: Lou Lanza (vocals), Tony Gairo (saxophones, clarinet, flute), Paul Sottile (piano), Matt Parrish (bass), Matt Scarano (drums), Mike Lorenz (guitar)
In the style of his landmark album "Opening Doors," Lou deranged these classic & obscure Billy Joel songs into a straight ahead jazz yet still accessible style. You’ll hear influences of Sinatra, Bennett, Baker, Murphy, Jarreau, & of course Billy Joel.
Instrumental Jazz CD of the Month - "Carlos Ezequiel: Circular"
Carlos Ezequiel: "Circular" (Tratore)
Rating:
***** (musical performance)
**** (sonic quality)
Produced by Carlos Ezequiel for Engrenagens Prod. Artísticas
Recorded by Carlos KK Akamine @ Estúdio Cachuera (São Paulo, SP, Brazil) on August 18 & September 09, 2014
Assistant Engineer: Helio Pisca
Mixed by Carlos Ezequiel @ Luca Studios (Maceió, Alagoas, Brazil)
Mastered by Dave Darlington @ Bass Hit Studios (New York, NY) in May 2017
Cover Photo: Carlos Ezequiel
Liner Photos: Victor Kobayashi
Graphics: Luciano Murino
Arranged by Carlos Ezequiel & Gustavo Bugni
Featuring: Carlos Ezequiel (drums), David Binney (alto sax), Lage Lund (guitar), Gustavo Bugni (acoustic piano), Gui Duvignau (acoustic bass)
Bio:
São Paulo-based drummer, composer, arranger and producer Carlos Ezequiel works with Brazilian music and jazz since 1992. Born in Alagoas, in the northeast of Brazil, Carlos performed there actively in the early 90's. In 1996 he won a scholarship to study at Berklee College of Music, in Boston, where he got his Bachelor's degree in 1999. In 2014, he got his Master's degree from Universidade Federal da Bahia, presenting a research on Polyrhythms and Odd-Meters applied to Brazilian Rhythms.
His first CD, “Images” (with guitarist Lupa Santiago), was nominated for the Latin Grammy 2002 as “Best Latin Jazz Album”. With group Sinequanon, Carlos recorded four albums: “Sinequanon” (2004), “Telescópio” (2006), “Horizonte Artificial” (2008) and “Ao Vivo no Jazz nos Fundos” (2017). Carlos also plays with renowned Brazilian bassist Sizão Machado, and in the new group of legendary artist Airto Moreira.
As a performer, Carlos has played in Europe, Asia, South America, U.S.A., and all over Brazil. He's been a featured player at the Hong Kong Jazz Festival, Copenhagen Jazz Festival, Montreux Jazz Festival, Atina Jazz Festival (Italy), Schelde Jazz Festival (Holland), Festival de Jazz de La Plata (Argentina), Cascavel Jazz Festival (Brazil), among many others. He was a member of Finnish sax player Pekka Pylkkanen`s Global Unit group, Irish bassist Ronan Guilfoyle`s group, and the Thomas Walbum & Thomas Maintz Brazilian Quintet in Denmark.
In 2001, Carlos was nominated for the Visa Music Award in Brazil as Best Instrumentalist. He has been a sideman for such jazz artists as Lage Lund, Kurt Rosenwinkel, David Binney, David Liebman, besides many Brazilian jazz artists like Fernando Correa, Nelson Faria, Marcelo Coelho, and Daniel D'Alcântara.
As a producer, Carlos worked on “A Saga da Travessia” (Letieres Leite & Orkestra Rumpilezz), which won 3 awards at the Premio da Musica Brasileira 2017, including Best Album. He also produced Airto Moreira's new album, “Aluê” (2017), on which he also played drums.
Carlos is a faculty member at Faculdade Souza Lima in São Paulo, and is the author of “Melodic Interpretation for the Drumset”, “Baiao and Northeastern Rhythms”, and “Brazilian Music in Odd-Meters”, all released worldwide by Advance Music.
Wednesday, February 28, 2018
Lou Caputo's Not So Big Band live in NY, March 6
Lou Caputo, a native of Williamsburg, Brooklyn, has been a professional musician for over thirty years. He has done almost every kind of job that a musician can be asked to do. A superb reedman (saxophones, clarinets and flutes), he has performed in show bands with the likes of Lou Rawls, Frankie Valli, Shirley Basey, Jack Jones, Bobby Short, Frankie Avalon, and a host of others. As well as the many of the famous Motown acts like the Temptations and the Four Tops. Aside from this he has performed along side of Salsa legends like Candido, Bobby Sanabria and Lou Perez.
However, playing jazz is really closest to Lou's heart. He has had the opportunity to perform with people like trumpeter Richard Williams, pianists Duke Jordon and Jaki Byard, drummers Walter Perkins and Mousey Alexander (in his short-lived big band), vocalist Joe "BeBop" Carroll and Dakota Staton, bassist Chris White (including a Carnegie Hall appearance). He has spent time in the Glen Miller band under the direction of Clem DeRosa as well as the Harry James Big Band. He has had the good fortune to record with jazz legend Dr. Billy Taylor on guitarist Ray Rivera's album Night Wind.
Lou has had the pleasure of performing in the Richie Cole Octet. Another high point is playing Birdland with the Ellington Band under the direction of Paul Ellington and Jack Jeffers. Through the years Lou has appeared in many of the area's leading jazz clubs as both a leader and side man. He also played for former President Bill Clinton on the occasion of Clinton's 50th birthday.
Admission is 15.00, 10.00 for students.
Tickets will be sold at the door, or call 212-222-5159 for reservations and information.
For more about the NYSAJE and other acts at "Jazz Tuesdays", check out www.jazzbeat.com
Jazz Tuesdays in the John Birks Gillespie Auditorium
The New York Baha'i Center
53 East 11th Street (between University Place & Broadway)
Two shows: 8:00 and 9:30 p.m.
Jazz Tuesdays is funded in part from the Wilbur, Dorothy, and France Rose Davis Family Fund; the Hunt Family Fund; the DeChristopher Family Trust; and Dr. Margie Baker, Jazz Vocalist and Educator.
PERFORMERS
Lou Caputo (Alto, Soprano & Baritone Saxophones, Clarinet, Flute and Alto Flute)
Geoffry Burke & Virginia Mayhew (Saxophone)
John Eckert & Dave Smith (Trumpet)
Jason Ingram (Trombone)
Dale Turk (Tuba)
Bill Crow (Bass)
Joel Perry (Guitar)
Don Stein (Piano)
Mike Campenni & Rudy Petschauer (Drums)
Warren Smith (Vibraphone)
Eddie Montalvo & Leopoldo Fleming (Percussion)
Monday, February 26, 2018
Tomorrow: Laurie Antonioli in concert with guest Theo Bleckmann @ California Jazz Conservatory
Laurie Antonioli In Concert - Friday, March 2nd, 8pm
California Jazz Conservatory (2040 Addison Street, Berkeley, CA)
One of the world's greatest jazz vocalists in the contemporary scene, Laurie Antonioli will be joined by Matt Clark, Dan Feiszli, Jason Lewis, Sheldon Brown, Dave MacNab and very special guest CJC Artist-in-Residence Theo Bleckmann!
(Theo Bleckmann)
"Singer Antonioli is a rare talent, too rarely seen beyond the Bay Area." - Don Heckman, The International Review of Music
Spanish Harlem Orchestra celebrates 15 years with "Anniversary," out in April
The release show will be Le Poisson Rouge in NYC on April 4.
Other dates include:
May 25-26 at Yoshi's Oakland, CA
June 21-24 at Dimitrious Jazz Alley, Seattle, WA
June 25 at Vancouver International Jazz Festival
June 26 at Victoria International Jazz Festival
On "Anniversary," the powerhouse 13-piece all-star salsa big band demonstrates why they are the "the leading light of the salsa reconstruction movement" (Newsday) by doing what they do best: hard-hitting, no-holds-barred New York salsa that is both contemporary and reverent to its rich musical history.
Since their inception 15 years ago, Spanish Harlem Orchestra (SHO), under the direction of pianist, composer and arranger Oscar Hernández, has earned its reputation as the true voice of the barrio with intricate arrangements and pulsating rhythms that are steeped in the authentic salsa tradition. Their high-energy performances have delighted audiences across the globe from Asia to Australia, from Latin America to Europe.
Grounded in the past, but with a focused eye on the future, Spanish Harlem Orchestra continues to play an integral role in ensuring salsa dura ("hard salsa") is not just alive, but a thriving musical force. "Over the course of 15 years, the consistent thread in each of our records has been the hardcore rhythm, sophisticated arrangements and a lot of care toward producing quality music with high integrity for our genre," says Hernández.
Each member of Spanish Harlem Orchestra has a significant connection to the authentic salsa tradition. It begins with Hernández, who has long been considered one of the most prominent musicians on the Latin, salsa and Latin-jazz music scene. Hernández's musical legacy can be traced back to the 1970's, a time in which he performed with a who's who of salsa legends including Tito Puente, Machito, Celia Cruz, Ray Barretto, Rubén Blades, Conjunto Libre, and Willie Colon. Later, Hernández went on to become the Musical Director for Paul Simon as well as the orchestrator and arranger for Gloria Estefan.
While SHO's previous album featured jazz greats Chick Corea and Joe Lovano, Anniversary allows the band to speak for themselves over the course of 13 lively tracks. Standout moments include the album opener "Esa Nena", which swings to no end while highlighting SHO's signature sophisticated arrangements, and Hernández's "Goza El Ritmo", which will instantly bring listeners to their feet.
Other noteworthy flashes include three modern arrangements of salsa classics: the bolero "La Media Vuelta" is reworked in a salsa style featuring 3-part harmonies and a simmering brass section, while "Y Deja" (Ruben Blades/Willie Colon) and "Guaracha Y Bembe" (Joe Cuba/Cheo Feliciano) are given contemporary updates with a fresh flair. On all their recordings, SHO includes some Latin Jazz. This time jazz trumpet legend Randy Brecker is a featured guest on Hernández's original song "Somos Uno".
Produced by Hernández and co-produced by SHO trombonist and 2018 GRAMMY® Nominee Doug Beavers, "Anniversary" builds on the dynamic legacy built by their previous five releases, which have garnered four GRAMMY® nominations and two wins (in 2004 for sophomore album "Across 110th Street" and again in 2010 for "Viva La Tradicion"). Considered "virtuosic journeymen who are one of New York's great musical resources" (The New York Times), SHO has expanded greatly from their home turf of Harlem to some of the world's premiere stages including the Sydney Opera House, the Playboy Jazz Festival, Carnegie Hall, and many others.
To celebrate the release of Anniversary, Spanish Harlem Orchestra will be performing on Wednesday, April 4th, at Le Poisson Rouge located at 158 Bleeker Street in New York City. More information, including booking, can be found at www.spanishharlemorchestra.com.
Rob Clearfield's "Wherever You're Starting From" coming out today!
On the Chicago native's second solo piano endeavor, Clearfield explores his fascination for a compositional approach to improvisation, which is highlighted through the albums distinct and dynamic sonic landscape. "My hope is that some of the music sounds through-composed, some sounds like simple songs, and all of it sounds spontaneous."
Clearfield's compositions have been strongly influenced by his friend and colleague Makaya McCraven, the great Chicago-based drummer whose 2015 double LP "In The Moment" (International Anthem) is comprised of excerpts from live improvised performances. While touring together, Clearfield and Makaya had an in-depth discussion about an intriguing and innovative new approach to composing; improvising complete pieces by focusing more on individual moments.
"If a beginning or ending is slow to arrive, but a fully-formed spontaneous idea is captured in the middle, it's a success!"
This new idea gave way to a renewed sense of freedom, both in the studio and during the editing process by allowing Clearfield to develop a strong ear for the elements of a piece that worked, and to then utilise, edit and produce them to a high standard, regardless of the other parts that didn't make the cut. As a result, two tracks off the album begin with a fade-in, and one ends with a fade-out, highlighting short pieces which were originally inside larger pieces. The prologue and epilogue of the album were also chosen with this unique improvisational production approach at the forefront. Clearfield introduces and closes "Wherever You're Starting From" with two takes of the same song.
Clearfield's progressive and virtuosic compositional skill is rooted in both classical and jazz influences. Since the release of his debut album A Thousand Words in 2009, the established composer spent a considerable amount of time studying the canon of classical piano music, particularly the romantics (Brahms, Chopin, Rachmoninoff) and the impressionists (Ravel, Debussy).
"Their influence, particularly in regards to the textural palette of the piano, is at the forefront of the sound of this record."
This 12-track opus includes two freshly interpreted tracks by two of Clearfield's musical heroes: Johannes Brahms and John Coltrane. The inclusion of their music in this project represents the varied musical traditions Clearfield has spent his life studying: classical and jazz, composition and improvisation, solo piano and group playing, European music and Black-American music. While the Brahms piece is played in a straightforward manner, sans improvisation, Coltrane's "Giant Steps" is only faintly recognizable at first; the melody doesn't enter for several minutes, and the rhythm is stripped away almost completely.
Called "...one of [Chicago's] most enjoyably unpredictable players" by Neil Tesser, Clearfield has taken part in a number of highly creative and genre-bending releases since his emergence on the scene over a decade ago. They including several releases with Matt Ulery (including 2016's Festival, with Ulery's Loom/Large, 2014's In The Ivory, and 2006's Music Box Ballerina, to name just a few), as well as with Dan Bruce (2017's Earthshine), Adam Larson (last year's Second City), and Jon Deitemyer (2016's Tall Tales), among others. Clearfield's previous releases include Islands (2016) on ears&eyes Records, The Long And Short of It (2013), a collaborative EP with Bethany Hamilton The Beauty That We Live In (2010) and his debut A Thousand Words (2009).
With each of his musical endeavours, Clearfield has always strived to be as expressive and as personal as possible. However, Wherever You're Starting From represents a new level of vulnerability and exposure, that until now, Clearfield had not yet experienced with any past venture.
"Ultimately, I came to view this work as an autobiography of sorts. My trio and quintet records are like works of fiction, creating new worlds and characters in my own image. This, on the other hand, is more of a documentary. What you're hearing is who I am, nothing more and nothing less."
In anticipation of the February release, Clearfield is delighted to announce a mid-west Spring tour.
Saturday, February 24, 2018
Anna Mjöll live in NY, March 3!
For tickets go to: https://54below.com/events/anna-mjoll/
Charles Carlini Presents "Dangerous Rhythms" with T.J. English & Bobby Sanabria
Featuring Bobby Sanabria & Sexteto Ibiano @ Zinc Bar, NYC
April 5m 7pm & 8:30pm
Tickets: $20 advance / $25 day of show
Fernando Garcia CD release show for "Guasábara Puerto Rico" on March 10, NY
Puerto Rican drummer, composer, and bandleader plans to release his third album this year. It showcases his talents as a drummer and composer, as well as his ability to unite an amazing group of energetic musicians from the New York City Latin-Jazz scene. It also features the Grammy-nominated and MacArthur Fellow Miguel Zenón.
"Puerto Rico native García organically blends folkloric Bomba rhythms and Latin jazz in a myriad of satisfying ways. His simpático crew of youngbloods push the envelope on García's third album as a leader and debut for ZOHO music." - Bill Milkowski, Jazz Times
The concert will be 9 pm at Teatro Latea: 107 Suffolk St, New York, NY 10002
Cover: $15
Blues guitar legend Chris Cain live in Pasadena, tonight!
Come see Chris Cain tonight, Saturday, Feb 24, 2018 at Big Mama's Rib Shack in Pasadena.
The show starts at 8 pm. Show up any time after 7 pm for tickets at the door, or get tickets in advance at www.pasadenablues.com
The long-anticipated return of Chris Cain this weekend means one thing. All three shows will may SELL OUT in advance. They expect a mob scene at each show!
"THE RETURN OF BLUES GUITAR GREAT!"
*** CHRIS CAIN ***
PASADENA, LONG BEACH & TARZANA
NEXT SATURDAY, SUNDAY & MONDAY
FEB. 24, 25 & 26, 2018
TICKETS NOW ON SALE
FOR ALL SHOWS @
WWW.PASADENABLUES.COM
R.I.P.: Glauton Campello (1960-2018)
died on February 23, 2018 in Rio de Janeiro, RJ, Brazil)
Brazilian pianist, composer and arranger who worked with Marcio Montarroyos, Jorge Pescara, Marcelo Salazar, Djavan, João Bosco, Ed Motta, Ithamara Koorax, Gabriel O Pensador, Torcuato Mariano etc.
Thursday, February 22, 2018
Dexter Payne's release concert of "Jazz For All"
930 Lincoln Street
Denver, CO, 80203
7:00 PM
$10.00 - $15.00
DEXTER PAYNE QUINTET
Dexter Payne - clarinet
Bill Kopper - guitar
Dave Willey - accordian
Victor Mestas - piano
Raoul Rossiter - drums & percussion
Brazilian music is enjoying well deserved popularity. Everyone loves infectious rhythm and melodic joie de vivre, especially with the addition of jazz solos. DPQ adds another layer - it's the conversation. Spontaneously interactive, contrapuntal give and take is a traditional element of Brazilian music, and that's what this group lives for.
Dexter Payne Quintet returns on the heels of a studio date for their 2017 Pathways to Jazz funded CD. The group's first recording, Pra Voce, won a 4 star review in DownBeat Magazine, where Payne was previously honored by inclusion in the DB Readers Poll.
Brazilian choro jazz from a well traveled student of the genre and an all-star line up:
Payne on clarinet, Dave Willey (Hamster Theatre, Thinking Plague) on accordion, Bill Kopper (UCD faculty, Guinga, Brad Goode) on 7 & 6 string guitars, Victor Mestas (CU faculty, Conjunto Colores, Latin Grammy winner) on piano, Raoul Rossiter (Ginga, Hamster Theatre) on drums and percussion.
If you have heard the Quintet on KUVO or in their short set at Five Points Jazz Festival, you'll want more. Join the party Thursday night for a great musical conversation.
- "Pra Você is a delight from start to finish. The sound of Payne's group... is light and unique.... quite joyful..." – Scott Yanow DownBeat October '14 ★★★★ (4 stars)
- "It's like a fever when you start listening to this album — the way summer gets in the brain." -Erika Frederickson (Missoula Independent) 3/27/14
- "The best of the best was the Dexter Payne Sextet. Their Brazilian jazz blew me away." - Letter to the editor Longmont Times-Call
Ranked on clarinet in Downbeat Magazine Readers Polls and International Blues Challenge winner, Payne finds musical love in many genres. A 2 1/2 yr musical odyssey through Latin America, including most of a year in Brazil, was formative for Payne's love of Brazilian music - playing with sambistas Noite Illustrada and Noca da Portela, recording with samba icon Beth Carvalho, and the beginning of a 10yr collaboration with the late maestro, composer and multi-instrumentalist Gaudencio Thiago de Mello. Add in years playing music of Africa, Turkey, Greece, Morocco, plus his recent trip to Choro Jazz Fest and music camp in Ceara, and music festival in Florianopolis and you have the voice of Dexter's clarinet.
BILL KOPPER – 6 & 7 STRING GUITARS
Self taught in classical, blues, jazz and Brazilian guitar, he is the first call for studio work. Notable addition to University of Colorado faculty, his dynamic and harmonic sense is hard to match.
RAOUL ROSSITER – DRUMS & PERCUSSION
Veteran of Hamster Theatre, Ligeia Mare, the heartbeat of Guinga, Raoul sets the standard for rhythmic complexity and balance.
DAVE WILLEY – ACCORDION
Phenomenal improvisor and composer, Willey founded Hamster Theatre (Cuneiform Records) and writes most of their material, tours in Europe with Thinking Plague, records and produces
an eclectic range of other artists including Three Mice. Most recent release is his highly acclaimed new recording of Ligeia Mare with Ron Miles: "Amplifier."
VICTOR MESTAS – PIANO
Highly respected in his native Caracas, Victor has extensive recording credits there. Renowned in Venezuela where he played on a Latin Grammy recording, his musicianship is an inspiration to all. Fast becoming known in the front range for virtuosity and joyous musicality.
Spin Cycle further refines its adventuresome sound on "Assorted Colors," set for April 6 release
On their sophomore release, the piano-less quartet delivers more of the "bright melodic lines, deep-seated grooves, catchy rhythmic devices and sophisticated harmony" cited by Enright, who praised them for "improvisations run wild, as soloists embrace aggressive and daring ideas from the realms of modal jazz, free-jazz, second-line and soul, not to mention good old-fashioned swing."
Founded in 2014 and co-led by drummer Scott Neumann and saxophonist Tom Christensen, who have known and played with each other in various settings for well over 25 years, Spin Cycle is rounded out by guitarist Pete McCann and bassist Phil Palombi. The four musicians are mainstays of the New York jazz scene.
The title "Assorted Colors" alludes in part to the broad and eclectic stylistic palettes Christensen and Neumann each draw upon while crafting the compositions that define Spin Cycle's musical direction. (Christensen contributed six tunes to the session, Neumann five.) "One of our aims was to develop the songs not by adding sections but by building on the form itself via solos or concepts," Neumann says. "We wrote things that got to the heart of the matter, but also were vehicles that allowed us to stretch," Christensen adds.
Spin Cycle's decision to use a guitar rather than a piano in the band enables the creation of unusual blends of airy textures that are a trademark of the band's tonal tapestries. "Guitar chords are more sparse than piano chords, they're more open sounding," says Christensen.
Among the Christensen tunes on "Assorted Colors" are the arresting minor-key "Possum Dark," in his words a "swaggering bad ass blues" named after the enforcer in the post-apocalyptic novella Ginny Sweethips' Flying Circus, and the stripped-down, minimalism-streaked "Two Pan Man," on which he lets it rip on tenor while guitarist McCann, according to the composer, "sounds almost like a second wind player."
Neumann's compositions include the sharp-angled, Monk-inspired "Break Tune," whose infectious swing and sense of fun provide a spirited introduction to the album. Neumann, who spent a week in Cuba in 2017 studying with Cuban drummers, also composed "To the Puente," an intriguing blend of the son montuno and modern mambo accents à la Chick Corea. "Affirmation" has a cool, rolling vibe recalling some of Pat Metheny's classic recordings.
Tom Christensen studied classical music and jazz at both undergraduate and graduate levels at the Eastman School of Music in Rochester, NY, and moved to New York in 1989. For eight years, he was a member of the Toshiko Akiyoshi Jazz Orchestra, appearing on five of their albums. He also has played on such notable recordings as Joe Lovano's "Celebrating Sinatra," Rufus Reid's "Quiet Pride," and the David Liebman Big Band's "Tribute to Wayne Shorter." His 2000 debut, "Gualala," and 2002 effort, "Paths," team him with multi-reedist Charles Pillow. His other recordings include "Americana" (2003) and "Kailash" (2007), on which he joins the Kailash Trio.
Scott Neumann attended North Texas State and, before moving to New York in 1988, played with the Woody Herman Orchestra for a year. On his 2006 album, "Osage County," he led a quartet including pianist David Berkman and saxophonist Sam Newsome; he recorded "Blessed" in 2014 as part of the Neu3 Trio, with Michael Blake and Mark Helias. A busy player on the New York scene who has collaborated with such luminaries as Kenny Barron and Ben Allison, Neumann has also accrued impressive credits as a vocal accompanist, a Broadway musician, and educator (he directs the drum studies program at Lehigh University).
Spin Cycle will be performing a CD release show at Smalls, NYC, on Friday 4/13. They've also scheduled several appearances in Ohio, including a concert and master class at Youngstown State (Bliss Hall), in Youngstown, 1-4pm on 4/5; concert at Andrews House, Delaware, OH 4/6; concert with Denison University Jazz Band, Granville, 8pm on 4/7; and the Bop Stop in Cleveland, 4/7.
Photography by Dennis Connors
CD graphic design by Fanny Chiari-Gotschall
Web Site: spincyclemusic.org
R.I.P.: Didier Lockwood (1956-2018)
died 18 February 2018 in Paris, France)
http://didierlockwood.fr/biographie/
Drummer Jonathan Barber announces the release of his debut album "Vision Ahead"
Release show May 10, 2018 at Rockwood Music Hall, NYC
Featuring Taber Gable (piano), Andrew Renfroe (guitar), Godwin Louis (saxophone) Matt Dwonszyk (bass), Denise Renee (vocals) & Sasha Foster (vocals)
Hartford, Connecticut-native Jonathan Barber is proud to announce his arrival with the Friday, May 11th release of his highly-anticipated debut album "Vision Ahead." Featuring pianist Taber Gable, guitarist Andrew Renfroe, saxophonist Godwin Louis, bassist Matt Dwonszyk, and vocalists Denise Renee and Sasha Foster (collectively and eponymously known as the album title), "Vision Ahead" is Barber's product of six years spent cultivating a distinct and immaculately tailored sound with like minded musicians who, together, now present themselves as an undeniable, sonically-solid unit. "Vision Ahead" serves as a showcase of the fresh prospects that can be envisioned and the greatness that can be achieved when one is forced to face unanticipated, desolating life-challenges.
Upon hearing the devastating and unexpected news of his one and only brother's death in November 2016, Barber struggled to comprehend life, and the purpose of his own, individual fore-planned and foreseen envisage slipped out of his understanding.
"I became confused with the direction that life was taking me and numb to the new norm that instantly presented itself to me; for it was that stand still moment the words "Vision Ahead" became the theme of my next chapter in life."
Sonically, "Vision Ahead" not only paints a picture of fresh perspective but one of perseverance. Aside achieving goals through adversity, it is a creation of polished craft and art that strives to breakthrough in a music industry that lacks the attention of an intellectual artist.
"My music not only helped me through my grieving process, but sparked a fresh musical style in hopes of carrying on the spirit of this American art form; jazz."
The rhythm of the title track's intro played by Andrew Renfroe lays perfectly with the syllables of the name "Vision Ahead" (spelling out the word "Vision" and saying the word "Ahead"). As the title track lifts into solos, the band provides an open section for Renfroe to let his fiery lines ring in the air. Towards the end of Renfroe's solo he gives a call and response cue for Godwin Louis to step up to the plate and swing over the classic chord changes of Benny Golson's "Stablemates". Once Louis is finished telling his story he cues the band to go to the bridge of "Vision Ahead" which is looped for Taber Gable's solo. Lastly, the solo section ends with Barber soloing over the intro creating a pulsating vamp. Keeping the "Vision Ahead" theme Barber sets a whirlwind of rhythms on top of this syncopated vamp. Collectively these musicians demonstrate how to take the language played by Jazz Masters and interprets it into an original composition.
Originally written by pianist Eldar Djangirov, the seventh track off the album, "Airport" lifts off into the sky from the start. While flying to Europe on a music tour Jonathan Barber was listening to this song played by Djangirov and his trio, and inspired by the melody played in the high register on the piano, Barber began to set lyrics to this classic gem. The lyrics have a double meaning. In one sense they shine light on the function of an airplane; flying all over the world, transporting people to various destinations and living its purpose in the sky. The second message behind the lyrics is one of encouragement, to chase dreams. "Airport" is well executed, presenting a song that expresses vision and freedom.
"Believing in the Reunion" was the last composition that Jonathan Barber brought to the band. Its initial propose was designed to be the final statement to another composition. At the time it just seemed like a blueprint. Close to the end of day one in the studio, Barber wanted to record this sketched track, just to have it on file. Still unsure of the total outcome, a plan was made at that very moment. After hearing the completion of this composition in the mixing process, Jonathan knew that this song had to be a song by itself. For 1 minute and 40 seconds these musicians challenge the concept of time; There's no time signature to this composition. This closing track is played off of the present moment. Barber began to reflect about the afterlife and what reuniting with loved ones who have passed away might sound like. Would it be confined into 4/4, 3/4 or 7/8 time? Or would it sound like this composition - no time just motion.
"Collectively we capture the deep emotion and the intention that encompasses the compositions of these songs."
This tightly-knit ensemble has successfully created an album of hope and positivity. Whether itʼs graduating from The Jackie Mclean Institute of Jazz or being natives in the State of Connecticut, the seeds that were planted in one of the smallest states in the U.S. are still growing.
MORE ABOUT JONATHAN BARBER
Jonathan Barber was first introduced to the drums by his father and began nurturing his passion and talents at his family church. During his senior year of high school, Barber became a member of the Artists Collective in Hartford, CT founded by Jackie and Dollie McLean. There he studied with master artist, Renee Mclean, who introduced him to jazz and its African roots and rhythms; it was at that point Jonathan knew he wanted to be a musician. He furthered his studies at the University of Hartford, Hartt School of Music, Jackie McLean Institute of Jazz, where he graduated Cum Laude, receiving a B.A. in Music Performance (Jazz Studies).
Wasting no time Jonathan became an ondemand drummer in the Hartford, CT jazz scene and also began building his career in the New York jazz scene. Jonathan has had the opportunity to perform with many artists such as Jimmy Greene, Erykah Badu, Wallace Roney, Jeremy Pelt, Rene Mclean, J.D. Allen, Kenny Barron, John Patitucci, Terrace Martin, Charnett Moffett, Stanley Jordan, Harold Mabern, Steve Davis, Larry Willis, Abraham Burton, Stefon Harris, Marcus Strickland and many more. Currently, Jonathan Barber continues to tour nationally and internationally and is now stepping out as a bandleader introducing his new band "Vision Ahead".
In May 2017 Jonathan debuted in his own international tour, traveling all over Japan. In January 2018 Jonathan was named best "Up & Coming" drummer in the Modern Drummer Readers Poll. Jonathan endorses Canopus Drums, Istanbul Agop Cymbals, Evans Drumheads, Promark Drumsticks and Sunhouse Percussion.
"I recognize my God given gift. Maximizing this gift to its full potential is the best thing you can do for yourself. Operating in this gift is how you give back to the world."
Friday, February 16, 2018
Fred Rogers is celebrated by Keri Johnsrud & Kevin Bales on a new album out soon
Featuring Billy Thornton (Bass) & Marlon Patton (Drums)
Due Out March 20, Fred Rogers' Birthday!
Chicago-based vocalist Keri Johnsrud and GRAMMY nominated pianist Kevin Bales have come together once again for the March 20th release of "Beyond the Neighborhood: The Music of Fred Rogers." With the help of an esteemed rhythm section featuring Billy Thornton on bass and Marlon Patton on drums, Johnsrud and Bales have succeeded in reimagining and rearranging the music that has been heard by numerous generations on the beloved children's television program Mister Rogers Neighborhood.
The songs, which up until now were specifically tailored for a child's ear, are now presented as reinvented gems that are wise and wistful, simple but not simplistic, and even, in some cases, a bit sultry. In this collection, Mister Rogers' songs not only relate to adults; they seem to have been written for adults in the first place.
Fred McFeely Rogers - the cardigan-wearing, sneaker-shod, quintessentially gentle Presbyterian minister known as Mister Rogers on the awards-winning children's TV show that aired for nearly 35 years - also wrote the songs he sang on his program. He wrote a lot of songs, and he wrote them well. As a kid, you might not have noticed the craftsmanship of these songs, but as an adult, you can't miss it. These songs left their mark on three generations of children who made Mister Rogers' Neighborhood part of their after-school routine.
This project began over two years ago when Johnsrud and Bales discovered that they had a deep mutual love and admiration for Fred Rogers, while having a conversation about children's programs they used to watch growing up. It was obvious to them that music played an integral part in the programming of Mister Rogers' Neighborhood and were amazed at how that music remains relevant today. Most songs written for youngsters try to impart messages about love and family, friendship and sharing, belief in one's self-confidence but respect for others - messages that too many adults seem to have forgotten.
"We wanted to take these songs, which we grew up with as kids, and make them relatable - more accessible - to adults as well. We discovered that a lot of Fred Rogers' music cannot translate across the generations; those songs very much catered to children. We took the songs that could be heard as adults, the songs that he implanted in our brains when we were children and that are still poignant to us now," Johnsrud explains.
What a lot of people don't know is that Fred Rogers composed all of the music heard on his programs (The Children's Corner, The MisteRogers Show, Mister Rogers' Neighborhood). In fact, Kevin's first introduction to jazz was listening to the music performed live by pianist and musical director Johnny Costa and his trio on Mister Rogers' Neighborhood. With that said, Keri and Kevin wanted to compile a list of songs that may be familiar to some and unfamiliar to others to showcase the depth of Fred's songwriting talent. The pair also wanted to arrange these tunes in a way that could appeal to all generations, so that families could listen to this music together. The beauty of these compositions lies in the simple messages found in each of his songs (those of self-worth, acceptance, and kindness) and can apply to all, whether young or old.
When Fred Rogers sang "Just For Once" it expressed the desire of two kids to explore friendship on their own, minus the meddling ministrations of parents and adults. Now, against the exotic rhythm that jazz musicians know as "the 'Poinciana' beat," Johnsrud's smoldering interpretation transforms it into a song that channels the simmering ambitions of new lovers.
Several of Rogers' compositions make the transition from friendship to chaste romance. He wrote the lovely "When The Day Turns Into Night" as a comforter, girding tots against the separation anxiety that many feel at bedtime, when the lights go out and parents leave the room; here it has the heartfelt yearning of a Cole Porter meditation on separated lovers. The hard-swinging opener, "It's You I Like," carried a basic childhood message about accepting people for who they are, rather than how they look; Johnsrud and Bales turn it into a peppy, even flirty thing, suggesting the warmth and wonder of an emergent romance. And "I Like To Be Told" comes across as a love song conveying unabashed honesty and vulnerability - even though it began life as a child's plea for respectful truth from elders.
Johnsrud credits the quality of Rogers' writing for smoothing the way on this album. "He's certainly very underrated as a composer," she says, adding that the success of these "translations" from kidspeak to adulthood owes to that. "Look And Listen" could have come from pretty much any Frank Loesser musical of the 1950s; Bales instills a New Orleans beat and then adds a terrific solo to boot. On "Find A Star," Johnsrud's graceful ease with the lyric reveals a song that would instantly improve the quality of almost any modern Broadway show. (Marlon Patton's Latin-tinged rhythm and a standout bass solo from Billy Thornton, certainly help.)
"It will be interesting to see which adults are attracted to this, and it's just refreshing to have his work out there - especially in the current climate. We'd like to introduce his music to a younger audience as well, but largely through parents listening with their children, because these messages can appeal to all generations. We hope, in some small way, to carry on the legacy of Fred Rogers through this recording. Thank you for taking the time to support this endeavor and may it be a beautiful day in your neighborhood."
MORE ABOUT KERI JOHNSRUD
A highly appealing jazz singer with a quietly expressive voice and a deep understanding of the lyrics that she interprets, Keri Johnsrud has been an important part of the Chicago jazz scene for the past 15 years. With headlining appearances at Chicago's top venues including the historic Green Mill Cocktail Lounge and Jazz Showcase, Keri has built a strong reputation and following among peers and fans, alike. While having a solid regional presence, she continues to perform across the country (including regular appearances in Atlanta and New York City) and has enjoyed singing in Iowa before a hometown audience of fans and friends.
In addition to finding success with her own group, Johnsrud also lends her voice to the critically acclaimed jazz ensemble Shawn Maxwell's Alliance. Singing since she was seven years old and born and raised in Iowa alongside professional vocalists, Keri's plans for the future are as direct and as logical as her music; "I plan to keep singing, writing, teaching and performing as much as possible and want to take the music wherever it needs to go."
MORE ABOUT KEVIN BALES
By some measures, Kevin Bales was a latecomer to jazz, already 17 when he encountered the sounds and structures and became captivated by the freedom and corresponding challenges of the music. But if late to the party, he wasted no time in immersing himself in the celebration, declaring total commitment to what would be his life's work and backing his announcement by resigning his job and designated career in computer programming. Kevin could commit to jazz with a reasonable degree of expectation. He was already an accomplished pianist, with classical chops refined since the age of 10. So accomplished he was invited to audition for the Atlanta Symphony Orchestra, at age 16.
Kevin's initial career move was to the University of North Florida and a budding if little-known jazz program. There he met and performed with, and went on to record and tour with, a number of monumental artists, including Wynton Marsalis, Louie Bellson, Eddie Daniels, James Moody, Ben Tucker, Ira Sullivan, Sam Rivers, and Nat Adderley. He counts among his mentors bassist Ben Tucker, multi-instrumentalist Ira Sullivan, guitar legends Nathen Page and Jack Petersen, and the fiercely individual saxophonist Bunky Green.
His meeting with Bunky Green led to five years of tours. His encounter with guitarist Nathen Page blossomed into 15 years of spot tours and four albums. And his work with trumpeter extraordinaire Marcus Printup has become a lifetime association that has included recordings on Blue Note/Capital records. Ten years touring and recording with vocal iconoclast Rene Marie culminated in a Grammy Nominated album. Few artists have the patience for teaching - as are few teachers accomplished players. But Kevin has amassed a reputation for his prowess in both professions. While still a senior at North Florida he was drafted into a full teaching load, and continued to be an integral part of the school's jazz program for upwards of a decade.
Today, Kevin manages his own jazz program, overseeing an ambitious schedule of jazz students. Kevin has accumulated a long list of awards and a reputation as one of the finest jazz pianists performing anywhere. In 1994, less than a decade into jazz, he won the American Pianist Association's Jazz Piano Competition. In addition to nearly every important jazz venue in the South, he has performed in some of the most acclaimed clubs and festivals in America and around the world: the JVC Jazz Festival in New York, The Bakery in Los Angeles, The Kennedy Center and Lincoln Center jazz series, the Toronto and Edinburgh jazz festivals, and the Moscow Center for the Performing Arts.
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