The 41st Annual Jazz Station Awards / The Best Jazz of 2019

41ª Edição do Prêmio Jazz Station! Os melhores do jazz em 2019!

The complete results of the 41st Jazz Station Awards

Os resultados da 41ª edição do Prêmio Jazz Station

These are the complete results of the 41st Annual Jazz Station Awards conducted by jazz journalist, record producer, historian & jazz educator Arnaldo DeSouteiro. Mr. DeSouteiro is a voting member of NARAS-Grammy, as well as of the Jazz Journalists Association and the Los Angeles Jazz Society. He has produced over 830 sessions, according to the All Music Guide website. For more details and a small bio, please check
https://jazzstation-oblogdearnaldodesouteiros.blogspot.com/2019/03/arnaldo-desouteiro-2019-bio.html

Ron Carter, Marc Copland, Chick Corea, Randy Brecker, Ada Rovatti, Dave Liebman, Steve Gadd, Al Di Meola and The New York Voices are among the top artists of the year.

Only albums recorded or released in 2019 were eligible.
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O Prêmio Jazz Station - criado em 1979 pelo jornalista, historiador e produtor brasileiro Arnaldo DeSouteiro - chega ao 41º ano, contemplando os artistas que mais se dedicaram no panorama jazzístico internacional em todo o mundo. Membro votante do Grammy, da Jazz Journalists Association e da Los Angeles Jazz Society, entre outras instituições, DeSouteiro já produziu mais de 830 sessões de gravação, segundo contabilizado pelo site All Music Guide.

Além de dono da gravadora JSR e da empresa Jazz Station Marketing & Consultoria, Arnaldo DeSouteiro traz no curriculo trabalhos para selos como Verve, Milestone, Sony e CTI, além de roteiros para shows e especiais de TV de João Gilberto, Antonio Carlos Jobim, Luiz Bonfá, Dizzy Gillespie, Tony Bennett, Chuck Mangione, Bjork, Eumir Deodato, Diana Krall, João Donato, Doris Monteiro e Wanda Sá, sendo também convidado frequentemente para atuar como parecerista em empresas privadas, instituições governamentais e festivais de jazz nos EUA, Brasil, Europa e Ásia, além de professor convidado em universidades.

Ron Carter, Marc Copland, Chick Corea, Randy Brecker, Ada Rovatti, Dave Liebman, Steve Gadd, Al Di Meola e o grupo New York Voices estão entre os artistas que brilharam em 2019.

Atendendo aos pedidos dos leitores, que desde 1979 acompanham essa votação, incluímos – após os nomes de todos os colocados em cada categoria – os títulos dos trabalhos pelo quais os artistas foram avaliados.

Para variar, foram necessárias várias semanas para a preparação de todas estas listas, reouvindo os discos, checando fichas técnicas e, às vezes, reavaliando opiniões. Tudo isso com o objetivo de fornecer o mais fiel possível retrato do cenário jazzístico em 2019, a partir de bases reais de análise.

O que significa, por exemplo, que artistas que não lançaram novos trabalhos este ano, seja como líderes ou sidemen, tornaram-se, por mais geniais que sejam, automaticamente inelegíveis. Tal critério explica a ausência de feras como Herbie Hancock e Gene Bertoncini que, apesar de terem realizado muitos shows, não lançaram novos trabalhos em 2018.

Vários discos premiados em 2019, com atraso, pelas revistas especializadas, não aparecem na nossa lista por uma simples razão: constaram da relação de 2018.

Aí estão os resultados completos:

Acoustic Piano: 1. Marc Copland (“Gary – Piano Solo” – Illusions Music); 2. Ahmad Jamal (“Ballades” – JazzBook/Jazz Villge); 3. Keith Jarrett (“Munich 2016” – ECM); 4. Chick Corea (“Trilogy 2” – Concord); 5. Geoffrey Keezer (“Legacy Alive Volume 6 At The Side Door” w/ Ralph Peterson – Onyx); 6. David Kikoski (“Phoenix Rising” – HighNote); 7. Alan Pasqua (“3 Nights In LA” w/ George Garzone); 8. Fred Hersch (“Begin Again” – Palmetto); 9. Jacky Terrason (“53” – Blue Note); 10. Hakan Rydin (“Melodies…” – AdOpen); 11. Enrico Pieranunzi (“Wine And Waltzes” – Cam Jazz); 12. Ai Kuwabara ("Live at Blue Note Tokyo" - Verve)

Electric Piano: 1. Vasil Hadzimanov (“Lines in Sand” – MoonJune); 2. Kevin Hays (“Across The Sea” w/ Chiara Izzi – Jando Music); 3. Chick Corea (“Antidote” – Concord); 4. Bruno Cardozo (“Pra Te Fazer Sonhar” w/ Thiago Espirito Santo – self-produced); 5. Enrique Haneine (“Right Around The Corner” w/ John Minnock – JM); 6. Luzius Schuller (“The Faraway Nearby” w/ Tomas Sauter – Catwalk); 7. Christian Sands (“Facing Dragons” – Mack Avenue)

Organ: 1. Ricky Peterson (“Drop Shot” w/ Bob Mintzer & WDR Big Band Cologne - Leopold); 2. Joey DeFrancesco (“In The Key of the Universe” – Mack Avenue); 3. Brian Charette (“Groovin’ With Big G” – SteepleChase); 4. Gerard Gibbs (“Live From Newport Jazz” w/ James Carter – Blue Note)

Keyboards: 1. Chick Corea (“Antidote” – Concord); 2. Lelo Nazario (“Projeto MI 2” - Utopia); 3. Jim Beard (“Sacred Bond” w/ Randy Brecker & Ada Rovatti – Piloo); 4. Chris Walters (“On The Corner Live! The Music of Miles Davis" – Ear Up Records); 5. Phil Magallanes (“Elegant Gyspy & More Live” w/ Al Di Meola – ear Music); 6. Marcos Silva (“Brasil From Head to Toe” – Goose Egg); 7. Peter Berglund (“Numbers” – AdOpen); 8. Dominique Vantomme (“Tales from the Dreaming City” w/ Mark Wingfield – MoonJune); 9. Nina Ott (“Bring All Your Ships Home” w/ Autentico); 10. Bruno Cardozo (“Pra Te Fazer Sonhar” w/ Thiago Espirito Santo – self-produced); 11. Santiago Bosch (“Mr. Steiner / The EVI Sessins” w/ Darren Barrett – dB Studios)

Acoustic Bass: 1. Ron Carter (“Remember Love” w/ Houston Person – HighNote); 2. Michael Formanek (“Time Like This” – Intakt); 3. Larry Grenadier (“The Gleaners” - ECM); 4. Christian McBride (“New Jawn” – Mack Avenue); 5. Charnett Moffett (“Bright New Day” – Motema); 6. Leon Lee Dorsey ("MonkTime" w/ DSC - JazzAvenue1); 7. Jay Anderson ("Ronnie's Trio" w/ Ronnie Cuber - SteepleChase); 8. Tony Marino (“Someday” w/ Skip & Dan Wilkins Quartet – Deer Head)

Electric Bass: 1. Will Lee (“Live At Blue Note Tokyo” w/ Ai Kuwabara – Verve); 2. Victor Wooten (“On The Corner Live! The Music of Miles Davis" – Ear Up Records); 3. Thiago Espírito Santo (“Pra Te Fazer Sonhar” – self-produced); 4. Alexander Claffy (“Sacred Bond” w/ Randy Brecker & Ada Rovatti – Piloo); 5. Scott Thompson (“Brasil From Head to Toe” w/ Marcos Silva – Goose Egg); 6. Gary Brown (“Mirror” w/ Katerina Brown – KB); 7. Miroslav Tovirac (“Lines in Sand” w/ Vasil Hadzimanov Band – MoonJune); 8. Ulf Radelius (“Numbers” – AdOpen); 9. Yaron Stavi (“Tales from the Dreaming City” – MoonJune)

Drums: 1. Steve Gadd (“Live At Blue Note Tokyo” w/ Ai Kuwabara – Verve); 2. Ralph Peterson (“Legacy Alive Volume 6 At The Side Door" – Onyx); 3. Bill Goodwin (“Someday” w/ Skip & Dan Wilkins Quartet – Deer Head); 4. Jerome Jennings (“Solidarity” – Iola Records); 5. Mauricio Zottarelli (“Brasil From Head to Toe” w/ Marcos Silva – Goose Egg); 6. Cuca Teixeira (“Pra Te Fazer Sonhar” w/ Thiago Espirito Santo – self-produced); 7. Billy Hart (“In The Key of the Universe” w/ Joey DeFrancesco – Mack Avenue); 8. Wolfgang Haffner (“Rocks” w/ Randy Brecker & NDR Big Band – Piloo); 9. Asaf Sirkis (“Tales from the Dreaming City” w/ Mark Wingfield – MoonJune); 10. Rodney Holmes (“Sacred Bond” w/ Randy Brecker & Ada Rovatti – Piloo); 11. Mike Clark (“Monk Time” w/ DSC – JazzAvenue 1); 12. Adam Nussbaum ("Ronnie's Trio" w/ Ronnie Cuber - SteepleChase)

Percussion: 1. Sammy Figueroa (“In The Key of the Universe” w/Joey DeFrancesco – Mack Avenue); 2.  Luisito Quintero (“Antidote” w/ Chick Corea & The Spanish Heart Band – Concord); 3. Gumbi Ortiz (“Elegant Gypsy & More Live” w/ Al DiMeola – ear Music); 4. Marilyn Mazur (“Shamania” – RareNoise); 5. Café da Silva (“Sacred Bond” w/ Randy Brecker & Ada Rovatti - Piloo); 6. Mino Cinelu (“Storyteller” w/ Biréli Lagrène – Naïve); 7. Bojan Ivkovic (“Lines in Sand” w/ Vasil Hadzimanov Band – MoonJune); 8. Cyro Baptista (“Dreamer” w/ Shunzo  Ohno – Pulsebeats); 9. Marcio Doctor (“Rocks” w/ Randy Brecker & NDR Big Band – Piloo); 10. Poncho Sanchez (“Trane’s Delight” – Concord Picante)

Vibes/Marimba: 1. David Friedman (“Thursday” – Malletmuse); 2. Erik Charlston (“Hermeto: Voice and Wind” – Sunnyside); 3. Mike Freeman (“Venetian Blinds” – VOF); 4. Stefon Harris (“Sonic Creed” – Motema)

Miscellaneous:  1. Darren Barrett – EVI (“Mr. Steiner / The EVI Sessions" – dB Studios); 2. Evan Garr – electric violin (“Elegant Gypsy & More” w/ Al Di Meola – ear Music); 3. Rino Adamo – electric violin (“Convergenze” w/ Boris Savoldelli – Onyx Jazz Club); 4. Ray Spiegel – tabla (“Dreamer” w/ Shunzo Ohno – Pulsebeats); 5. Fadhel Boubaker - oud (“It Just Happens” w/ Beyond Borders Band – Hout)

Acoustic Guitar: 1. Al Di Meola (“Opus” – ear Music); 2. Biréli Lagrène (“Storyteller” – Naïve); 3. Jay Berliner (“Three Chords & The Truth” w/ Van Morrison – Exile); 4. Diego Figueiredo (“Amizade” w/ Ken Peplowski – Arbors); 5. Nir Felder (“Across The Sea” w/ Kevin Hays & Chiara Izzi – Jando Music)

Electric Guitar: 1. Al Di Meola (“Elegant Gypsy & More – Live" – ear Music); 2. Vic Juris (“Groovin’ with Big G” w/ Brian Charette – SteepleChase); 3. Mark Wingfield (“Tales from the Dreaming City” – MoonJune); 4. BG Sahlin (“Numbers” – AdOpen); 5. Greg Skaff (“MonkTime” w/ DSC – Jazz Avenue 1)

Flute: 1. Nicole Mitchell (“Maroon Cloud” – For Pratically Everyone Records); 2. Jane Bunnett (“On Firm Ground/Tierra Firme” – Linus); 3. Jamie Baum ("Sheroes" w/ Monika Herzig - Whaling City Sound); 4. Jorge Pardo ("Antidote" w/ Chick Corea & The Spanish Heart Band - Concord)

Clarinet: 1. Ken Peplowski ("Amizade" w/ Diego Figueiredo - Arbors); 2. Michael Heitzlers (“Ode Hashem” – Neuklang); 3. Don Byron (“Random Dances And Atonalities” w/ Aruan Ortiz – Intakt); 4. Anat Cohen (“Live in Healdsburg” – Anzic) 

Trumpet: 1. Randy Brecker (“Rocks” w/ NDR Big Band – Piloo Records); 2. Shunzo Ohno (“Dreamer” – Pulsebeat Records); 3. Brian Lynch (“Legacy Alive Volume 6 At The Side Door” w/ Ralph Peterson & The Messenger Legacy – Onyx); 4. Enrico Rava (“Roma” w/ Joe Lovano – ECM); 5. Ralph Alessi (“Imaginary Friends” – ECM); 6. Tom Harrell (“Infinity” – HighNote); 7. Susana Santos Silva (“Child of Illusion” – Clean Feed)

Flugelhorn: 1. Franco Ambrosetti (“The Nearness Of You” – Unit);  2. Randy Brecker (“Rocks” w/ NDR Big Band - Piloo) ; 3. Claudio Roditi (“Crossing Paths” w/ Samuel Martinelli – Prestige Music); 4. Tom Harrell (“Infinity” – HighNote)

Trombone: 1. John Fedchock (“Reminiscence” – Summit); 2. Karin Hammar (“Circles” – Prophone/Naxos); 3. Clifton Anderson (“The Dream Is You” w/ Vanessa Rubin – Nibur); 4. Samuel Blaser (“Early In The Mornin’” – Outnote); 5. Steve Davis ("Antidote" w/ Chick Corea & The Spanish Heart Band - Concord)

Soprano Sax: 1. Dave Liebman (“On The Corner Live! The Music of Miles Davis" – Ear Up Records); 2. Ada Rovatti (“Sacred Bond” – Piloo);  3. Gary Meek (“Brasil From Head to Toe” w/ Marcos Silva – Goose Egg)

Alto Sax: 1. David Sanborn (“Rocks” w/ Randy Brecker – Piloo); 2. Bobby Watson (“Legacy Alive Volume 6 At The Side Door” w/ Ralph Peterson & The Messenger Legacy – Onyx); 3. Jim Snidero (“Waves of Calm” – Savant); 4. Lee Konitz (“Decade” w/ Dan Tepfer – Verve); 5. Caroline Davis (“Alula” – New Amsterdam); 6. David Binney (“Zinc City” w/ Manuel Engel – Metonic); 7. Remy Le Bouef (“Light As A Word” – Outside In Music); 8. Kuba Wiecek (“Multitasking” – Muza/Warner)

Tenor Sax: 1. Ada Rovatti (“Sacred Bond” – Piloo); 2. Houston Person (“Remember Love” w/ Ron Carter – HighNote); 3. Eric Alexander (“Phoenix Rising” w/ David Kikoski – HighNote); 4. Jeff Coffin (“On The Corner Live! The Music of Miles Davis – Ear Up Records); 5. Dan Wilkins (“Someday” w/ Skip & Dan Wilkins Quartet – Deer Head); 6. George Garzone (“3 Nights In LA” – Fuzzy Music); 7. Bill Pierce (“Legacy Alive Volume 6 At The Side Door” w/ Ralph Peterson – Onyx); 8. Joe Lovano (“Roma” w/ Enrico Rava – ECM); 9. George Coleman (“Groovin’ with Big G” w/ Brian Charette – SteepleChase); 10. Joshua Redman (“Come What May” – Nonesuch); 11. Mark Turner (“Temporary Kings” w/ Eithan Iverson – ECM); 12. Donny McCaslin (“Blow” – Motema); 

Baritone Sax: 1. Ronnie Cuber (Ronnie’s Trio” – SteepleChase); 2. Alex Harding (“The Dream Is You” w/ Vanessa Rubin – Nibur); 3. Andrew Duncan (“LAB 2019” w/ One O’Clock Lab Band – UNT); 4. James Carter (“Live From Newport Jazz” – Blue Note)

Male Singer: 1. Boris Savoldelli (“Convergenze” w/ Rino Adamo – Onyx Jazz Club); 2. Gregory Porter (“One Night Only – Live At Royal Albert Hall” - Universal); 3. John Minnock (“Right Around The Corner” – JM)

Female Singer: 1. Vanessa Rubin (“The Dream Is You – Sings Tadd Dameron” – Nibur Records); 2. Laurie Antonioli (“The Constant Passage of Time” – Origin); 3. Chiara Izzi (“Across The Sea” w/ Kevin Hays – Jando Music); 4. La Tanya Hall (“Say Yes” – Blue Canoe); 5. Fleurine (“Brazilian Dream” – Pure Imagination); 6. Carolyn Fitzhugh (“Living in Peace” – CF); 7. Claudia Vilella (“Encantada Live” - Taina Music); 8. Sivan Arbel ("Change of Light" - Sivan); 9. Jazzmeia Horn (“Love & Liberation” – Concord); 10. Katerina Brown ("Mirror" - KB)

Vocal Group: 1. New York Voices (“Reminicing in Tempo” – Origin)

Instrumental Group: 1. Chick Corea & The Spanish Heart Band (“Antidote” – Concord); 2. Vasil Hadzimanov Band (“Lines In Sand” – MoonJune); 3. Skip & Dan Wilkins Quartet (“Someday” – Deer Head); 4. Ralph Peterson & The Messenger Legacy (“Legacy Alive Volume 6 At The Side Door” – Onyx); 5. Autentico (“Bring All Your Ships Home” - self-release)

Big Band/Jazz Orchestra: 1. NDR Big Band – The Hamburg Radio Jazz Orchestra (“Rocks” w/ Randy Brecker – Piloo); 2. Brian Lynch (“The Omni-American Book Club” – Hollistic MusicWorks); 3. UMO Jazz Orchestra (“Together” w/ Randy Brecker & Mats Holmquist – Mama Records); 4. WDR (“Drop Shot” w/ Ricky Peterson – Leopold); 5. Terraza Big Band ("One Day Wonder" - Outside in Music); 6. New Orleans Jazz Orchestra (“Songs – The Music of Allen Toussaint” – Storyville); 7. Marcus Shelby Orchestra ("Transitions" - MSO); 8. One O’ Clock Lab Band: “LAB 2019” (UNT); 9. Bobby Sanabria Multiverse Big Band (“West Side Story Reimagined” – Jazzheads)

Composer: 1. Ada Rovatti (“Sacred Bond – Brecker Plays Rovatti” w/ Randy Brecker – Piloo); 2. Randy Brecker (“Rocks” – Piloo); 3. Shunzo Ohno (“Dreamer” – Pulsebats); 4. Mats Holmquist (“Together” w/ Randy Brecker & UMO Jazz Orchestra – Mama Records); 5. Brian Lynch (“The Omni-American Book Club” – Hollistic MusicWorks); 6. Yelena Eckemoff ("Nocturnal Animals" - L&H); 7. Vasil Hadzimanov (“Lines in Sand” – MoonJune); 8. Fred Hersch (“Begin Again” – Palmetto)

Arranger: 1. Jörg Achim Keller (“Rocks” w/ Randy Brecker & NDR Big Band – Piloo); 2. Mats Holmquist (“Together” w/ Randy Brecker & UMO Jazz Orchestra – Mama Records); 3. Bob Mintzer (“Drop Shot” w/ Ricky Peterson & WDR Big Band – Leopold); 4. Vince Mendonza (“Begin Again” w/ Fred Hersch & WDR Big Band – Palmetto)

Artist of the Year: 1. Randy Brecker; 2. Chick Corea; 3. Dave Liebman; 4. Ralph Peterson; 5. Ron Carter

Engineer: 1. Paul Wickliffe (“Someday” w/ Skip & Dan Wilkins Quartet – Dear Head); 2. Sven Hohlwage (“Rocks” w/ Randy Brecker & NDR Big Band – Piloo); 3. Joe Marciano/Marx Ross (“The Dream Is You” w/ Vanessa Rubin – Nibur);  4. Phil Bulla/Alan Baylock (“LAB 2019” w/ One O’Clock Lab Band – UNT); 5. Aaron Nevezie/Cynthia Daniels (“Sacred Bond” w/ Randy Brecker & Ada Rovatti – Piloo)

Top Instrumental Jazz Albums

Randy Brecker & NDR Big Band: “Rocks” (Piloo)

David Liebman, Jeff Coffin, Victor Wooten, Chester Thompson, Chris Walters, James DaSilva (“On The Corner Live! The Music of Miles Davis – Ear Up Records)

Marc Copland: “Gary – Piano Solo” (Illusions Music)

Randy Brecker & Ada Rovatti: “Sacred Bond – Brecker Plays Rovatti” (Piloo)

Shunzo Ohno: “Dreamer” (Pulsebats)

Franco Ambrosetti: “The Nearness Of You” (Unit)

Ralph Peterson & The Messenger Legacy: “Legacy Alice Volume 6 At The Sidedoor” (Onyx)

Jerome Jennings: “Solidarity” (Iola Records)

Vasil Hadzimanov Band: “Lines In Sand” (MoonJune)

Chick Corea & The Spanish Heart Band: “Antidote” (Concord)
Randy Brecker & Matt Holmquist with UMO Jazz Orchestra: "Together" (Mama Records)

Thiago Espirito Santo: “Pra Te Fazer Sonhar” (self-produced)

One O’Clock Lab Band: “LaB 2019” (UNT)

Skip & Dan Wilkins Quartet: Someday (Deer Head Records)

Hakan Rydin: “Melodies…” (AdOpen)

Darren Barrett: “Mr. Steiner – The EVI Sessions” (dB Studios)

Mark Wingfield: “Tales from the Dreaming City” (MoonJune)

New Orleans Jazz Orchestra: “Songs – The Music of Allen Toussaint” (Storyville)

Top Vocal Jazz Albums

Vanessa Rubin: “The Dream Is You – Sings Tadd Dameron” (Nibur Records)

New York Voices: “Reminiscing in Tempo” (Origin)
Boris Savoldelli & Rino Adamo: "Convergenze" (Onyx Jazz Club)

Sheila Jordan Quartet: “Lucky To Be Me” (Abeat)

Laurie Antonioli: “The Constant Passage of Time” (Origin)

Chiara Izzi & Kevin Hays: “Across The Sea” (Jando Music)

Claudia Villela: “Encantanda Live” (Taina Music)

Lauren Desberg: “Out For Delivery” (LD)

John Minnock: “Right Around The Corner” (JM)

Katerina Brown: “Mirror” (KB)

Fleurine: “Brazilian Dream” (Pure Imagination)

La Tanya Hall: “Say Yes” (Blue Canoe)

Carolyn Fitzhugh: “Living in Peace” (CF)
Sivan Arbel: "Change of Light" (Sivan)

Top Historical Albums/Special Projects/Reissues

João Gilberto: "Live in Tokyo" (Promax, Blu-ray)

Don Sebesky: "Giant Box" (CTI/Vocalion, SACD)

Betty Carter: “The Music Never Stops” (Blue Engine)

Miles Davis: "Rubberband" (Warner)

Tamba 4: "California Soul" (A&M-CTI/Elemental Music, vinyl)

John Coltrane: “Blue World” (Impulse!)

Bill Evans: “Evans In England” (Resonance)

Wes Montgomery: “Back On Indiana Avenue” (Resonance)

Michel Petrucciani, Gary Peacock & Roy Haynes: “One Night in Karlsruhe” (Jazzhaus)

Bill Evans: “Another Time” (Resonance, SACD)

Zé Eduardo Nazario: “Poema da Gota Serena” (Lugar Alto, vinyl)

Woody Shaw: “Tokyo ‘81” (Elemental Music)

Dexter Gordon Quartet: “Tokyo 1975” (Elemental Music)

Tommy LiPuma: “Works” (Warner)

Andy Bey: “Shades of Bey” (12^th Street/Ko Ko Music, vinyl)

Nat King Cole: “Hittin’ The Ramp – The Early Years” (Resonance)

Stan Getz: “Getz At The Gate, 1961” (Verve)

Dorothy Ashby & Frank Wess: “In A Minor Groove” (New Jazz/Real Gone, vinyl)
Stanley Turrentine: "Cherry/Don't Mess With Mr.T/The Sugar Man" (CTI/BGO)
Airto Moreira: "Free/Identity/Promises Of The Sun" (CTI-Arista/BGO)

Don Rendell/Ian Carr Quintet: “The Complete Lansdowne Recordings, 1965-1969” (Jazzman) 

R.I.P.: Marcelo Salazar (1953-2019)

R.I.P.: Marcelo Salazar, aged 66.
(born December 31, 1953 in Rio de Janeiro, RJ;
died on December 31, 2019 in Lima Duarte, Minas Gerais)

Great Brazilian percussionist, a visionary composer, lyricist and producer. Worked with Oliver Lake, Ian O'Brien, Ithamara Koorax, Al DiMeola, Arthur Verocai, Carlos Pingarilho, Luiz Bonfá, Sivuca, Francis Hime, Ney Matogrosso, Danilo Caymmi, Sebastião Tapajós, Chet Baker, Tom Noble, Bossa Cuca Nova, the funk group Odyssey, and the legendary German fusion band Passport, among many others.

Member of Marcos Resende & Index, having recorded a cult album with them for the MPBC series on the Philips label ("Festa Para Um Novo Rei"), back in 1978. Lived in Denmark for some years during the '80s, working on a duo project with Jorge Degas. Together they released a couple of acclaimed albums: "União" and "Muxima."

Wrote the hit "With You" for the UK-based act Smoke City in 1998. Later co-wrote (with Roberto Menescal) a song titled "Smoke In The City," featuring singer Ithamara Koorax, which became a hit in Europe and Asia in 2003, remixed by several DJs. Another hit song written by Salazar, "Caminho do Gol," was featured on a compilation I produced for Verve German in 2006, "A Trip To Brazil Vol. 5: Copa do Mundo 2006."

Recorded as a leader for the Visom and JSR labels. A great human being and a dear friend with whom I had the honor to work on several projects by Dom Um Romão, Ithamara Koorax, Pingarilho, the all-star date Street Angels etc.

His last album, "Tropical Lounge Project," came out on Arnaldo DeSouteiro's JSR (Jazz Station Records) label, and he invited me to do special effects on a tune ("Batukiloko") that eventually was included on such compilations as "Paule Ka Loves Brasil", produced by DJ Dudu Dub. Salazar also released the DVD "Future Percussion," a fantastic percussion sample library anthology.

Marcelo Salazar passed away yesterday, December 31st, 2019, the day he was born in 1953... My condolences to his son Denis and all his family.

Louis Armstrong's "Live in Germany" to be released next week on vinyl format!

At long last, after a bit of a delay, Louis Armstrong "Live in Germany" will finally be released next Friday, December 13th, on vinyl format. 

A CD version, with the alternate title "Live in Europe," includes Satchmo's live dates in Paris- due out on vinyl next year.

Part of Dot Time’s Legacy Series, and the fourth Armstrong release on the label, "Live in Germany" features the audio from a Titania Palast-Berlin recording of Louis and his All Stars which was initially broadcasted on RIAS (Radio in the American Sector). Armstrong’s band in 1952, featured Trummy Young on trombone, Bob McCracken on clarinet and vocals, Marty Napoleon on piano, Arvell Shaw on bass, Cozy Cole on drums and Velma Middleton on vocals.

Armstrong made his first tour of England in 1932 and then lived in Europe between July 1933 and January 1935. This 1948 performance as the headliner of the Nice International Jazz Festival marked the consummate trumpet player’s return to Europe. British trumpeter Humphrey Lyttelton caught Armstrong’s performance and vividly recalled how he found himself “quaking at the ferocity with which he directed the band. If Sid Catlett’s drums started to intrude too heavily upon a solo, Louis would turn to him and hiss at him like a snake. And more than once Earl Hines’s exuberance was curbed by a sharp ‘Cut it boy!’”

Armstrong’s performance in Nice was momentous to say the least, 1948’s Nice International Jazz Festival was the world’s very first jazz festival on which Newport Jazz Festival and Monterey were both inspired. Armstrong’s performance introduced his music, and jazz music in general, to a much wider audience, one of Armstrong’s first acts as the jazz ambassador to the world.

The 1948 concert at the Nice Opera House sees a flawless performance from Louis and the All Stars.  A showcase of the virtuosity of the ensemble, the unmistakable sound of Earl Hines on piano adorned with the Teagarden’s masterful trombone performance, is a treat to audiences. However, Armstrong demonstrates that he’s the leader on each track, whether shooting for the fences with some fierce improvising on “Panama”, scatting like a demon on “Them There Eyes” or making a serious statement on “Black and Blue.”

Louis and the band started the evening with a groundshakingly ebullient version of Kid Ory’s “Muskrat Ramble”, ending with a pleased Armstrong exclaiming “Yeah!” In his trademark grumble.  The spellbound audience roars with applause as the band transitions into the endearing call-and-response of Hoagy Carmichael’s “Rocking Chair”.  Next, the band features Barney Bigard demonstrating his facility on the clarinet over Benny Goodman’s standard “Rose Room”.  The band ends the iconic piece with an extended glissando from Bigard’s clarinet, this dazzling high note, held for nearly 20 seconds, leading to the songs closing downbeat, arouses an unparalleled excitement from the audience.

Armstrong’s voice is truly energetic and refined on these recordings.  Ironically, Promoter Ernie Anderson remembered Armstrong’s manager Joe Glaser telling him before a trip to Europe, “Whatever you do, don’t sing. These are all foreigners. Remember, they don’t understand English.” Armstrong “nodded gravely” but according to Anderson, “It should be noted that Louis completely ignored Joe Glaser’s instruction not to sing. He opened every concert singing Fats Waller’s paean to the racial mood in America, ‘Black and Blue.’ It was always marvellously received.”  We, as listeners, can only be grateful that Glaser’s request fell upon deaf ears.

The 1952 recordings in Berlin saw a slew of personnel changes.  Armstrong’s longtime collaborator Arvell shaw reprised his role on the upright bass while Cozy Cole replaced the ailing Catlett in 1949.  Bigard was replaced by Texas-born clarinetist Bob McCracken. Pianist Marty Napoleon and trombonist Trummy Young brought a new, exciting energy to the outfit.  The recording includes a comic duet with Middleton on “Can Anyone Explain,” a slow, throwback instrumental treatment of “Tin Roof Blues” and one of his biggest Decca hits of the period, “A Kiss to Build a Dream On.”

Reminiscing to Edward R. Murrow in 1955, Armstrong said, “We played in Germany one concert, the first time we went there, and the people was sitting there with those lorgnettes when they first come in. And when we got down to ‘The Bucket’s Got a Hole in It,’ they put  them down and [starts clapping and stomping his foot], ‘Yeah, Daddy!’”  This new-found treasure goes far to capture the ebullient nature of Satchmo’s performances in Europe that seems to surpass even the vitality of the artist’s home-country performances.  Says the maestro himself, “That's why the people in Europe, they get the benefit of this music that America sleeps on…”.

Recently, Dot Time Records reached an agreement with the Louis Armstrong Educational Foundation to release four albums of previously unreleased music from the Louis Armstrong collection. These recordings include Armstrong’s Standard Oil Sessions, Armstrong’s 1950’s club date performances, his 1964 Sparks, Las Vegas concert and finally Armstrong in Europe. Legacy series recordings are released on CD, Vinyl and Digital Platforms.

During his lifetime, Louis Armstrong amassed a huge collection of recordings.  From live concerts to studio and broadcast recordings, the range is extensive. The majority of these recordings along with other Armstrong artifacts are held in the Louis Armstrong Collection at Queens College in New York.  The Louis Armstrong Legacy Series will bring a selection of these recordings from Louis’ personal collection to the public for the first time ever.

Series producer Jerry Roche states, “Producing this music will mean people can connect again with the greatness of Louis Armstrong.”

Previous Dot Time Legacy Series Armstrong Releases include:
Volume 1 – The Standard Oil Sessions
A 55 minute recording was recorded in San Francisco, California on January 20, 1950 by the Standard Oil Company for their radio show, “Musical Map of America.” The recording was episode 19, “Musical Story of New Orleans,” and featured Armstrong, Jack Teagarden and Earl Hines. For reasons not known, the broadcast was never made and Armstrong was given the acetate discs of the sessions.

Volume 2 – 1950’s Club Performances
This release includes live club recordings from Storyville, Blue Note and a selection of European shows. Musicians include Jack Teagarden, Earl Hines and Cozy Cole among others. Louis Armstrong recorded multiple radio broadcasts of his nightclub appearances and in many cases the acetate recordings were given personally to Louis Armstrong after broadcast.

Volume 3 – 1964 Sparks, Nevada Concert
A rare live concert recording by the All Stars from Sparks, Nevada recorded in June of 1964 (right after “Hello, Dolly!” became a number one single) featuring Russell “Big Chief” Moore, Joe Darensbourg, Billy Kyle, Arvell Shaw, Danny Barcelona and Jewel Brown. This concert was professionally recorded and given to Louis Armstrong, who dubbed it to two separate reels.

Each of the four releases in the "Legacy Series” are available in a limited edition collector's version featuring exclusive packaging and a 20-page booklet written by Ricky Riccardi - Director of Research Collections for the Louis Armstrong House Museum and author of best selling book “What A Wonderful World.” This booklet also contains rare photo material held in the Louis Armstrong Archive.

Known as the “21st century’s foremost expert on Louis Armstrong”, Riccardi is immersed in all things Armstrong. He runs the website, “The Wonderful World of Louis Armstrong,” and has given lectures on Armstrong at venues around the world. With a Master’s degree in Jazz History and Research from Rutgers University, he has taught a “Music of Louis Armstrong” graduate course at Queens College and a six-week “Swing University” course on Louis Armstrong at Jazz at Lincoln Center.

Fusion CD of the Month - "Darren Barrett: Mr. Steiner"

Fusion CD of the Month
Darren Barrett: "Mr. Steiner" (dB Studios) 2009
Rating: *****

Trumpeter, composer and multi-instrumentalist Darren Barrett is proud to announce the release of his new album "Mr. Steiner" on his label dB Studios. On this nine-track collection of originals, Barrett delves into the world of synthesis guru Nyle Steiner, credited for the invention of the EVI (Electronic Valve Instrument) as well as the EWI (Electronic Wind Instrument), made popular by saxophonist Michael Brecker.

Created in the 70s, the EVI presents trumpeters with a truly innovative and inventive new sound palette to draw from in performance, composition and production. Here, on "Mr. Steiner," Darren Barrett delivers the true and full potential of the EVI by teaming the instrument with complementary melodies and augmentative orchestration. Barrett exudes, “the EVI for the trumpeter is just another instrument one can add to their arsenal just like the Flugelhorn or mutes…not only fun to play, it opens up your mind to new things.”

Celebrating the marriage of electronic instrumentation and jazz sensibilities, "Mr. Steiner" marks Barrett’s reunion with saxophone legend Kenny Garrett, with whom the trumpeter recorded his first studio album "First One Up," produced by Donald Byrd. Acclaimed guitarist Kurt Rosenwinkel is featured on one track on "Mr. Steiner" (his third consecutive appearance for dB studios), and special guest saxophonist Noah Preminger displays his unique forward thinking approach to music here as well.

The EVI is a midi wind controller – a wind instrument that is capable of controlling any midi synthesizer, with breath control being an important component for expression. Similar to a trumpet, octaves are achieved through the octave roller with the left hand while notes are played with the right hand based on conventional trumpet fingerings. To achieve sound, no trumpet buzzing is needed as one simply applies air into the mouthpiece sensor to control volume and brightness.

Although not a widely-known instrument, listeners may recall hearing the sound of the EVI – played by Mr. Steiner – in several movies including Apocalypse Now, Star Trek, Witness and many more. The EVI can be played as a monophonic (1 note) or polyphonic (2 or more notes) instrument.  As a polyphonic instrument it is capable of playing intervals, triads and chords – an example of which can be heard on “Mr. Steiner”, “Nu Vibrations” and “EVI Theme #1”.

Having dedicated a year to the composition of this music, Barrett was thrilled to have this project brought to fruition with the help of such a talented, esteemed line-up including three highly celebrated voices in contemporary music as special guests: Kenny Garrett (“His voice and vision is extraordinary”), Kurt Rosenwinkel (“I’m always excited to hear how he will interpret my music with his powerful and inventive voice”) and Noah Preminger (“I love the way he constructs vocabulary. It’s very unique to me and it was a pleasure to have him on this recording”).

In addition to this stellar company, the recording features two distinctive rhythm sections – the first features Santiago Bosch on keyboards, Daniel Ashkenazy on bass,  Mathéo Techer on drums, Jeffrey Lockhart on guitar and Judy Barrett on percussion.  The second rhythm section consists of Gonn Shani on bass and Roni Kaspi on drums.  The recording also features two up-and-coming guitarists,  Roy Ben Bashat and François Chanvallon.  Chad Selph makes an appearance on organ to add some magic to the composition “dB Plus KG”.

The bandleader was honored to have Mark Steiner – nephew of Nyle Steiner – serve as technical consultant throughout the production stages of this project, helping with EVI issues and programming. Mr. Steiner is among the first recordings to showcase the NuEVI, a new version of the EVI currently being produced by Johan Berglund of Berglund Instruments in Sweden. This new instrument was used on a portion of the project and is an excellent addition to Nyle’s legacy. Matthew Traum of Patchman Music, referred to by the bandleader as “one of our leaders in the wind controller community”, contributed sounds to this recording as well.

On his 11th release as a leader, Darren Barrett continues to solidify his position as one of the foremost innovators and forward thinkers in the contemporary jazz realm. The foundation for this electronic exploration was laid on "The Opener" in 2017 (“Jazz’s future may very well sound like this,” said Downbeat Magazine), which infused soundscapes and samples in modern jazz setting, and built upon on "Time For Romance: But Beautiful" (2018), a ballads record awash in brilliant sound design. Now with "Mr. Steiner," Barrett once again showcases the tremendous possibilities for invention when undeniable talent meets ingenuity.

Randy Brecker and Brian Lynch earn nominations in the 62nd GRAMMY® Awards

Two of the world's most important musicians (that "happen" to be two of my favorite trumpet players in the cirrent jazz scene), Randy Brecker and Brian Lynch, received GRAMMY nominations today!

For Brian Lynch, his two 2020 GRAMMY® nominations bring the artist to a total of six nominations throughout his fruitful career.  In addition, Lynch won a GRAMMY® for his 2006 release Simpático. 

2019’s The Omni-American Book Club: My Journey Through Literature in Music, released on Hollistic MusicWorks on August 29th, 2019, is an expansive album of music for large ensemble (“big band”) composed and arranged by Lynch and featuring his work as soloist alongside an all star cast of special guests including Regina Carter, Donald Harrison, NEA Jazz Master Dave Liebman, GRAMMY® Award winner Dafnis Prieto, Orlando “Maraca” Valle, and Jim Snidero.

Throughout the album, Lynch connects his lifelong passion for reading and the books that have shaped his life with his original music. The books that have shaped Lynch’s consciousness, and thus his music, have been myriad, and his dedications for the music of The Omni-American Book Club reflect both the diversity and the focus of his reading interests.

Lynch’s “Crucible For Crisis”, an Afro-Caribbean jazz infusion featuring drummer/Grammy laureate Dafnis Prieto and virtuoso flautist Orlando “Maraca” Valle, is nominated for Best Instrumental Composition.

Jazz icon Randy Brecker receives his 19th GRAMMY® nomination on the Best Improvised Jazz Solo category, for the composition “Sozinho” off of his recent release Rocks by Randy Brecker & NDR Big Band.

Brecker has won 6 GRAMMY® awards over the course of his illustrious career. Brecker’s latest release Rocks features the Hamburg Jazz Orchestra with guests David Sanborn, Ada Rovatti and Wolfgang Haffner.

Rocks came to fruition after 2 successful tours finding Randy Brecker fronting the NDR BigBand, (The Hamburg Radio Jazz Orchestra), with arranger Jörg Achim Keller conducting his arrangements of Randy Brecker compositions from different periods of Randy's career.

Original Brecker Brothers Band frontline member, alto saxophonist David Sanborn was brought in, along with Ada Rovatti on tenor and soprano saxophones, and world famous drummer Wolfgang Haffner. The end results are wonderfully organic big band arrangements which don't alter the conception of the original ideas behind Randy Brecker's compositions, but add to it in a most refreshing way. Along with the other incredible soloists who are regular members of the NDR BigBand, this CD is one that will stand the test of time.

Wallace Roney kicks off an European tour

This Saturday (Nov 9), world-renowned trumpeter Wallace Roney will kick off his extensive European tour in Burghausen, Germany with an 8pm performance at Mautner Castle. Joined along the way by saxophonists Emilio Modeste and Gary Bartz, pianist Oscar Williams II, bassists Paul Cuffari and Curtis Lundy and drummers Eric Allen and Malick Koly, Roney is set to embark upon a busy itinerary which will see him in Germany, Spain, France and Romania - all dates are listed in the press release below!

This tour follows the summer release of his latest album Blue Dawn - Blue Nights (HighNote Records). On his twenty-second recording as a leader, the Philadelphia-born trumpeter and bandleader is thrilled to be leading his band with the next generation jazz innovators: saxophonist Emilio Modeste, pianist Oscar Williams II, bassist Paul Cuffari, and his fifteen year old nephew, drummer Kojo Odu Roney. On Blue Dawn - Blue Nights, Roney is the icon to these up-and-comers and he augments this band by enlisting Philly guitarist Quintin Zoto and legendary drummer Lenny White.

"Wallace Roney's eighth album for the HighNote label, 2019's Blue Dawn-Blue Nights, finds the trumpeter collaborating with a cadre of young lions and balancing dusky after-hours warmth and propulsive post-bop modalism."
- Matt Collar, All Music (⭐⭐⭐⭐)

If any of Wallace's upcoming performances are near you, please let me know - we'd be happy to arrange a guest pass! We'd also love to know of any coverage plans you may have.
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World-renowned Trumpeter Wallace Roney Kicks Off International Fall/Winter Tour
Following the summer release of his latest album Blue Dawn – Blue Nights

Following the HighNote Records release of his twenty-second recording as a leader, Blue Dawn-Blue Nights, internationally-revered trumpeter Wallace Roney is excited to embark upon an extensive fall/winter tour which will see him perform in eight cities across Europe! Enlisting a line-up which combines contemporary jazz trailblazers with some of the genre’s elite, Roney will be joined throughout this tour by saxophonists Emilio Modeste and Gary Bartz, pianist Oscar Williams II, bassists Paul Cuffari and Curtis Lundy and drummers Eric Allen and Malick Koly. The group will appear in Germany, Spain, France and Romania.

The Wallace Roney Quintet will set their European string of dates into motion by taking to the Jazzkeller stage at Mautner Castle, Burghausen, Germany on Saturday, November 9th. Set: 8pm-10pm. Tickets/more info can be found here. Jazzforum Bayreuth will host Roney’s second German show of the tour on Sunday November 10th. The trumpeter will perform at Becher Hall as part of the annual Jazz November Festival, taking to the stage at 7:30pm. For this performance, Roney will be joined by Emilio Modeste on saxophone, Oscar Williams II on piano, Curtis Lundy on bass and Eric Allen on drums. Tickets/more info. 

On Tuesday, November 12th, the band will make their way to Spain for the first of two appearances across the country. Madrid’s Sala Clamores Jazz Club will welcome Roney for an 8:30pm performance. For this show, the trumpeter will be joined by Emilio Modeste on saxophone, Oscar Williams on piano, Paul Cuffari on bass and Malick Koly on drums – tickets/more info. On Wednesday, November 13th, this same line-up will play a 9pm performance at Teatro Lopez de Ayala, Badajoz. Tickets/more info can be found here.

On Friday November 15th, Roney will kick off his four-night stay in France, with an 8pm performance at Opéra de Limoges, located at 48 Rue Jean Jaures, 87000 Limoges. Tickets/more info. Roney will be joined by Emilio Modeste, Oscar Williams, Curtis Lundy and Eric Allen. Chateaubriand Theater, Saint-Malo, France – in association with La Fabrique à Concert – will proudly host Roney on Saturday, November 16th at 9pm. Tickets/more info. The band will finish their stay in France with two nights of performances in the country’s capital city. On November 22nd & 23rd, Roney will play Sunset/Sunside, located at 60 Rue des Lombards, 75001 Paris. While the Friday night will see the quintet play one set at 9:30pm, Saturday will feature sets at 7:00pm and 9:30pm. For these two performances, Malick Koly will take Eric Allen’s place behind the kit. Tickets and more info can be found here. Wallace Roney will close this extensive European tour with a November 24th appearance at Sala Radio, located at Strada General H. M. Berthelot 60-64, Bucharest, Romania, as part of Jazz Up! Festival.  For this performance, Roney will be joined by Gary Bartz on saxophone, Oscar Williams on piano, Curtis Lundy on bass and Eric Allen on drums.

2020 will see Roney perform at The Velvet Note, Atlanta, GA; Blues Alley, DC; University of Wisconsin, Stevens Point, WI; South Jazz Cafe, Philadelphia, PA; Yoshi’s, Oakland, CA & Jazz Alley, Seattle, WA – more on these dates soon!       

On Blue Dawn – Blue Nights, the Philadelphia-born musician is thrilled to be leading his band with the next generation jazz innovators. With exceptional sterling sound by engineer Maureen Sickler at the board of Rudy Van Gelder’s legendary New Jersey studio, the leader’s bold and bravura trumpet tones, are as vivid and vibrant as ever, with a resonance as riveting as it is radiant, buoyed by the dancing and dynamic drumming of Kojo and White, Cuffari’s bone-deep bass lines, Williams’ poetic and profound pianism, Zoto’s lean guitar lines and Modeste speaking no evil on sax.

On this eight-track collection, Roney made a conscious decision not to include any of his own compositions. Reflecting upon the track selection for the album, the bandleader wanted to “give the guys a forum to write and make a statement. I’ve always done that. They come up with something, and I might say, ‘let’s go here, or do this here.’ And by showing them certain things, it extends their knowledge of what can be done musically. And that’s what I do!” Indeed, Wallace Roney proves that being true always make the best leaders.
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Wallace Roney has been a significant force on the scene ever since he emerged at Ali’s Alley at the age of sixteen with Philly Joe Jones. Roney has been featured on some impressive work with McCoy Tyner, Dizzy Gillespie, Elvin Jones, Chick Corea, and Ornette Coleman. Roney has secured a place in jazz history as a member of VSOP. As a member of Tony Williams Quintet, Wallace took on the responsibility of infusing the band with his fire and innovativeness and won the attention of his idol, Miles Davis. His long-standing association with the jazz icon culminated in the recording of the Grammy award-winning, Quincy Jones-conducted, Miles and Quincy Live at Montreux.

“I was fortunate to have learned from Miles Davis, Tony Williams, Art Blakey and Dizzy [Gillespie],” Roney says. “Horace Silver was another important person in my life who rarely gets the credit he is due and there was Woody Shaw, Herbie Hancock and Wayne Shorter and Clark Terry.”

Derived from liner notes by Eugene Holley, Jr. (DownBeat, Publishers Weekly, Hot House, Chamber Music)
Management Contact: Vernon Hammond: The Management Ark: vernon@managementark.com

Sat. Nov. 9th
Burghausen, Germany
Jazzkeller, Mautner Castle
8:00pm

Sun. Nov. 10th
Bayreuth, Germany
Becher Hall, Jazz November Festival
7:30pm

Tues. Nov. 12th
Madrid, Spain
Sala Clamores Jazz Club
8:30pm

Wed. Nov. 13th
Badajoz, Spain
Teatro Lopez de Ayala
9:00pm

Fri. Nov. 15th
Limoges, France
Opéra de Limoges
8:00pm

Sat. Nov. 16th
Saint-Malo, France
Chateaubriand Theater
9:00pm

Fri. & Sat. Nov 22nd & 23rd
Paris, France
Sunset/Sunside
9:30pm; 7:00pm & 9:30pm

Sun. Nov. 24th
Bucarest, Romania
Sala Radio -
Jazz Up! Festival

Big Band CD of the Month - "One O'Clock Lab Band: Lab 2019"

Big Band CD of the Month
One O'Clock Lab Band: "Lab 2019" (UNT)
Rating: ***** (musical performance & sonic quality)

The University of North Texas's renowned One O'Clock Lab Band maintains its uncanny aptitude for both timeliness and timelessness with the November 22 release of Lab 2019 (North Texas Jazz). The latest installment in an annual series that has continued since 1967, the album features six original student compositions, five of them by members of the 20-piece student ensemble, as well as two standards with new student-penned arrangements.

In addition, it offers new work by two of UNT's jazz faculty members and prolific Lab Band contributors: Grammy-nominated composer Rich DeRosa, the school's Director of Jazz Composition and Arranging, and Alan Baylock, the acclaimed big band veteran (Airmen of Note, Alan Baylock Jazz Orchestra) and director of the One O'Clock Lab Band.

This 53rd recorded iteration of the Lab Band (named for its long-entrenched rehearsal time) finds the institution in danger of losing neither inspiration, nor its long-held place in the elite of collegiate jazz ensembles. "We want everyone to know that the great UNT tradition going back many years is still alive and well," says Baylock in marking his third year of directorship.

Baylock (pictured above) is also an alumnus of UNT, earning his master's in jazz studies in 1995. Alan BaylockThough he was not an official member of the One O'Clock Lab Band during his time at the university, he wrote 15 charts that were featured in the band's performances and on its recordings. He adds to that legacy with "Confluence," a startling and highly experimental piece that features solos by tenor saxophonist Addison Jordan and trumpeter Chris Van Leeuwen as well as musique concrète work by guitarist Ethan Ditthardt.

DeRosa is a legendary figure among jazz composers and has written a new piece for the One O'Clock Lab Band each year since his arrival at UNT in 2010. "Al-Go-Rhythm" ranks among his most thrillingly ingenious: subtitled "A 21st Century Take on a Gershwin Tune," it's an abstraction of "I Got Rhythm," recognizable by its chord changes and increasingly sneaky use of melodic motifs from the original. Jazz lovers will also identify it with the relentless swing that for DeRosa is as essential an ingredient as Gershwin's notes.

Ultimately, however, the One O'Clock Lab Band is an endeavor by, of, and for its student members, and their work on Lab 2019 rivals that of their elders for excitement and accomplishment. The complexity of trombonist DJ Rice's "Aggro" (which interlaces the harmonies of "Cherokee" and "Giant Steps") is exceeded only by the fun of listening to it; Rice also takes a solo of majesty and pathos on his sectionmate Nathan Davis's luxurious arrangement of the standard "I Can't Get Started." Student composer-arranger John Sturino, a former band member, shines with his sweetly hopeful tune "Frauenfeld" and boisterous setting of Styne & Cahn's standard "The Things We Did Last Summer" that features vocalist Marion Powers. Meanwhile, lead saxophonist Kyle Myers contributes three originals, cresting with the breezy, bluesy, meter-shifting swinger "Third Time's the Charm."

The One O'Clock Lab Band is the premier performing ensemble of the University of North Texas jazz studies program. It began in 1927 as the Aces of Collegeland, an extracurricular dance orchestra at what was then North Texas State Teachers College. It gained academic accreditation (as the Laboratory Dance Band) in 1946-47, when UNT established the world's first collegiate jazz studies program. One O'Clock Lab BandWhen innovative educator Leon Breeden took leadership of the program in 1959, he recast the ensemble as a forum for the serious study of jazz, renaming it for its daily rehearsal time.

With Breeden as its director, the band performed at venues ranging from Birdland to the White House; toured worldwide; and in 1967 began recording its annual albums at the request of legendary Voice of America broadcaster Willis Conover. Eight years later, the One O'Clock Lab Band became the first college band to be nominated for a Grammy Award. (It has been nominated seven times in all.)

Pianist and composer Neil Slater succeeded Breeden in 1981, compounding the ensemble's success over his 27-year run. Slater was then followed by Maynard Ferguson/Doc Severinsen Band alum Steve Wiest; Stan Kenton veteran Jay Saunders; and Alan Baylock, who became director of the One O'Clock Lab Band in 2016, after a highly lauded 20-year tenure as chief arranger for the U.S. Air Force's Airmen of Note jazz ensemble and leader of the Alan Baylock Jazz Orchestra.

Alumni of the UNT One O'Clock Lab Band include Billy Harper, Bob Belden, Jim Snidero, and Ari Hoenig.

Gary Smulyan is guest artist for the One O'Clock Lab Band's 59th Annual Fall Concert/Lab 2019 CD Release Event, to be held at Winspear Performance Hall, Murchison Performing Arts Center, Denton, TX, on Tuesday 11/26 at 7:30pm. (Tickets: https://thempac.music.unt.edu/) Craig Marshall, longtime manager and producer for the band, notes that "This is a time when our fans really look forward to hearing the current band live and purchasing the latest recording in person."

The One O'Clock Lab Band will also be performing at Rose Theater, Jazz at Lincoln Center, on Saturday and Sunday, January 18-19, 2020, having been invited to participate in the first Rudin Jazz Championship for collegiate jazz bands. Ten college bands will spend two days participating in workshops, a combo showcase in the Appel Room, and a friendly competition of big bands.
 
Web Sites: jazz.unt.edu | theoneoclock.com

Fusion CD of the Month - "Brecker Plays Rovatti / Sacred Bond"

Fusion CD of the Month
Randy Brecker & Ada Rovatti: "Brecker Plays Rovatti - Sacred Bond" (Piloo Records PR011) 2019
Rating: ***** (musical performance & sound quality)

Produced by Ada Rovatti & Randy Brecker
Executive Producer: Joachim Becker
Recorded @ Bunker Studios (Brooklyn, NY) by Aaron Nevezie
Mixed & Mastered @ MonkMusic Studios (East Hampton, NY) by Cynthia Daniels
Photos & Cover Design: Ada Rovatti

All compositions & arrangements by Ada Rovatti
Featuring: Randy Brecker (trumpet, flugelhorn), Ada Rovatti (tenor sax, soprano sax, vocals), David Kikoski (piano, Fender Rhodes), Alexander Claffy (bass, electric Bass), Rodney Holmes (drums)
Special Guests: Jim Beard (Hammond Organ, synths), Café Da Silva (percussion), Adam Rogers (guitar), Stella Brecker (vocals)

Here's a saying that ‘the family that plays together, stays together.' That old adage is put into effect on Brecker Plays Rovatti: Sacred Bond, which not only features the husband and wife team of Grammy Award-winning trumpeter and fusion pioneer Randy Brecker and saxophonist-composer Ada Rovatti but also includes their 10-year-old daughter Stella in a vocal cameo appearance on one track. Backed by a versatile core group of pianist David Kikoski, bassist Alex Claffy and drummer Rodney Holmes, with guest appearances by keyboardist Jim Beard, guitarist Adam Rogers and Brazilian percussionist Café, the married couple forges an easy chemistry together on the 10 tracks here, all composed by Rovatti.

A stellar showcase for Rovatti's wide-ranging musical tastes, as well as Brecker's inimitable trumpet prowess, Brecker Plays Rovatti: Sacred Bond shows her remarkable growth as a composer since her 2003 debut as a leader, Under the Hat. "She's very serious about it and she's reached another level in the writing department with this record," said Brecker of his wife, who also released Airbop in 2006, Green Factor in 2009 and Disguise in 2014. "Aside from the fact that I'm her husband, it's so nice to hear these tunes. It all fits together well and it's really enjoyable to listen to. And believe me, they're not easy at all to play over. Ada had to kind of show me some tricks to get through some of these tunes."

In the liner notes, Brecker proudly states about his sax-playing wife: "I've watched her development as both a player and arranger/composer with fascination. Besides music, she's the greatest wife and mother in the world, a master Italian chef with 160 cookbooks, a master seamstress and designer, interior decorator, photographer, master crafts person, website designer, record-cover designer, record company owner and head of our household. Just ask any of our daughter Stella's friends where'd they like to be, other than their own homes, and they'll say: sitting on our living room floor doing craftwork that Ada designed for them...a true Renaissance woman."

Regarding the title of their latest collaboration (they also appear together on Brecker's 2003 album 34th & Lex, 2013's The Brecker Brothers Band Reunion and 2019's Rocks with the NDR Big Band-The Hamburg Jazz Orchestra), Brecker explained that it addresses the unconditional love that exists between mother and daughter over time. "They're as tight as can be," he said of Ada and Stella. "All three of us are. And it was just nice that they're both singing in octaves on the title track, which is pretty cool." Added Rovatti, "It's a sacred bond among the three of us."

Brecker and Rovatti met in 1996 when the trumpeter was guesting with a big band in Italy in which she was playing alto saxophone. As he recalled in his liner notes to Brecker Plays Rovatti: Sacred Bond: "After exchanging numbers (I slyly gave her my card, but she asked for it!) and many letters (pre-email!), we started seeing each other long distance, then she moved to NYC after spending a year in Paris, eventually working with the great French singer Anne Ducros. We started seeing each other more and more, and were married in December 2001."

While Rovatti has made a strong impression with her bold tenor sax playing in past outings, she admits to feeling somewhat overwhelmed by having to fill the shoes of the late tenor titan Michael Brecker on the frontline, alongside Randy, in The Brecker Brothers Reunion Band. "I've been in a funny spot, as you can imagine," she said. "Being married to Randy and having such an amazing brother in the family as Mike, and me playing the same instrument as Mike, I always felt like the weakest link. Because Randy and Mike...they're playing is just on a different kind of level."

Nevertheless, she acquits herself with equal parts conviction and grace on both tenor and soprano saxes on the 10 eclectic tracks that comprise Brecker Plays Rovatti: Sacred Bond. And her accomplished, fully-realized compositions speak for themselves. "I'm trying to spend as much time as I can every day to put some ideas down on the keyboard," said Ada. "But there are days when I'm concentrating more on composition and others where I concentrate more on practicing my instrument. It's a good balance, I think."

The collection kicks off with the upbeat "Sacred Bond," which has mother and daughter doubling wordless vocals on the melodic head alongside trumpet and tenor sax, Kikoski's electric piano comping, Claffy's funky baselines and Holmes' insistent backbeat. Rovatti solos first, demonstrating her deeply impactful tone, easy rhythmic assuredness and remarkable facility as she builds to double-timed flurries and a magnificent crescendo. Brecker follows with a typically bright, bristling and eminently melodic trumpet solo - the kind he has been documenting on record for 50 years, beginning with his own debut as a leader, 1969's Score - before mother and daughter return to sing the melodious refrain together.

Rovatti's affinity for Brazilian music is represented by two tracks here. First is the undulating samba "Helping Hands," which features a lovely Brecker flugelhorn solo, a buoyant tenor solo from Rovatti and an outstanding upright bass solo from Claffy. Second is the easy-grooving "Other Side of the Coin," featuring potent solos from husband and wife along with a melodic electric bass solo from Claffy and some playful cucia accents from Café. "Being Italian (she was born in the small town of Pavia in Northern Italy, just 35 km south of Milan), my native language has the same kind of laid back feel, rolling phrases and words that kind come in a wave as Portuguese. And I think there's also a kind of similarity there between Brazilian music and Italian music. It's funny because I don't listen too so much Brazilian jazz but somehow it just kind of grows on me. And, of course, Randy's way of playing on a Brazilian beat is really awesome. He's deeply connected to that sensibility."

Switching gears, Rovatti pays tribute to the late Queen of Soul, Aretha Franklin, on the aptly-titled "Reverence" (which is the ultimate form of "R-E-S-P-E-C-T"). Guitarist Adam Rogers brings some stinging six-sting work to the proceedings while Jim Beard underscores with churchy organ work as Randy and Ada negotiate the changes of this soulful, gospel-tinged number with Brecker Brothers-like tightness and swagger. Said Ada of her connection on the frontline with her husband, "Your sound and your way of phrasing just kind of blends with the person that you play with the most, and for me it's Randy. And I think that's also why when Randy decided to put together The Brecker Brothers Band Reunion that he felt comfortable asking me to do it with him. Clearly, nobody can take Mike's spot. But he was looking for somebody who had their own voice and also had the same kind of connection with him. And I hope that I bring something special to the band, that kind of deep connection that Randy had with Mike."

Adds the composer about her heartfelt tribute to Aretha: "I remember when I picked up the saxophone at the end of high school and soon after did a gig with a singer who was trying to sing Aretha's hit song, ‘Think.' And then, 20-plus years later, I had the chance to play with Aretha Franklin herself at the Kennedy Center in Washington D.C. Just to be on that stage - one of the most prestigious stages in the United States - with the real Aretha, it was really the highlight of my life. And it made me think back to when I was in a small town in Italy, picking up an instrument and playing with this local singer and fantasizing about maybe one day playing with the real Queen of Soul. So in that moment that I was on stage with Aretha, I was kind of patting myself on the shoulder and saying to myself, "OK, you did it!"

Holmes' gentle brushwork sets a serene tone for the opening to "Baggage," an older tune of Rovatti's that she wrote for a composition competition that she won in Italy a few years ago. Trumpet and tenor wrap around each other in a warm embrace on the melodic head and as the piece picks up steam, Ada digs deep, delivering her most commanding and heightened solo of the set (even dropping in a brief quote from John Coltrane's A Love Supreme along the way). Brecker follows with an adventurous solo of his own and Kikoski channels his inner McCoy Tyner in bringing his own brand of heat to this expansive number.

While Queen of Soul Aretha Franklin is saluted by Ada on this outing, another personage of royalty is saluted on "The Queen of Bibelot." It is none other than Rovatti herself. Acknowledging the dictionary definition of ‘bibelot' as ‘a small decorative ornament or trinket,' she confessed to collecting an inordinate number such baubles. "I'm definitely the Queen of that," she laughed. "I love to go to a thrift store and find an odd object. In fact, I'm looking at one right now. It's a wood zebra doing a squat, which I think it's hilarious. So I have many little teensy objects that to many people don't mean anything. But to me, I can tell you about each one - how I got it, where I got it, why I got it. And that's just like the way I am also in music. I treasure things and value stuff that maybe other people overlook, but I find the beauty in it." The lone bop flavored number of the set, "The Queen of Bibelot" is driven by Holmes' unrelenting swing factor and features killer solos from Kikoski, Rovatti and Brecker.

The cleverly-titled "Britches Blue" hints at Miles Davis' electronic phase in the wake of his 1970 landmark recording, Bitches Brew. The two-keyboard attack of Beard and Kikoski on this quintessentially ‘70s number recalls the spiky interaction between Keith Jarrett and Chick Corea in Miles' touring Bitches Brew band. Kikoski and Beard turn in show-stopping solos here while Randy and Ada follow with some rapid-fire exchanges on the electric modal vamp before Rogers enters with one of his signature flowing legato guitar solos. Holmes and Café add a percussive exclamation point on the solo section before the whole band takes it out in a kind of tight-fitting group counterpoint.

Rovatti switches to soprano sax on "Brainwashed," an upbeat number that carries some heavy connotations. "That tune is regarding the political situation in this country today," said the composer. "In my youth I was never interested too much in politics but now being a U.S. citizen and a mother and seeing what this president is doing, I have become very conscious of the current political situation. You cannot not be shocked, outraged and affected by what's going on. It really was a wake-up call for me to be more active and not just observe what's going on but try to stand up against it." Listen closely and you may hear the seeds of Harold Arlen's "If I Only Had a Brain" (from The Wizard of Oz) woven into the fabric of Rovatti's buoyant melody here.

"Mirror," Ada's reflection on aging, is imbued with some of the most scintillating exchanges between husband and wife on the record. Rovatti doubles the engaging melodic line with wordless vocals and Holmes offers a smoking drum solo midway through. Says the composer of the inspiration behind the tune's title, "It's about looking at yourself in the mirror and just seeing the start of the aging process and thinking about the wisdom that you've gained. So it was kind of an introspective thing of ‘OK, here I am - not that young anymore, not that old yet, but kind of getting there." As for her vocal contributions here, she says, "I consider myself a shower singer...not even a shower singer. But I think it brings a nice texture to the tune."

The haunting minor key closer, "Quietly Me," is an entrancing 6/8 number that features trumpet and tenor sax blending beautifully at the outset and engaging in a kind of shadow play by the tune's end. "Randy has the melody and I kind of play it back to him," says Ada, explaining their telepathic hookup here. "We kind of answer to each other with a delayed kind of phrasing, one following the other in a kind of counterpoint, talking to each other."

That same kind of indelible chemistry can be heard throughout Brecker Plays Rovatti: Sacred Bond, a stunning showcase for both husband and wife.

Yamaha clinician, Randy Brecker continues to influence musicians from around the world.

TRACKS
1. Sacred Bond [7:19]
2. Helping Hands [8:37]
3. Reverence [8:34]
4. The Baggage [10:30]
5. The Queen Of Bibelot [5:19]
6. Britches Blue [8:30]
7. Brainwashed [5:24]
8. Mirror [5:41]
9. The Other Side Of The Coin [7:02]
10. Quietly Me [6:48]
All compositions by Ada Rovatti (SIAE)
www.piloorecords.com // www.randybrecker.com // www.adarovatti.com

CD AND MULTIPLE DIGITAL FORMATS AVAILABLE IN STORES AND ONLINE ON OCTOBER 25, 2019 AND THROUGH WWW.PILOORECORDS.COM.
RELEASED IN EUROPE AND JAPAN VIA JAZZLINE RECORDS.

Vocal Jazz CD of the Month - "La Tanya Hall: Say Yes"

Vocal Jazz CD of the Month
La Tanya Hall: Say Yes (Blue Canoe) 2019
Rating: **** 

Next Friday, renowned vocalist La Tanya Hall will be releasing her new album "Say Yes", on November 8th, via Blue Canoe Records.  This is Hall's first full length album in a decade.

La Tanya and Andy Milne's Unison Trio will be performing at:
Birdland Theater, New York (11/14)
The Side Door, Old Lyme CT (11/15)
Maureens, Nyack , NY (11/16)
The Cooperage, Honesdale, PA (11/17)
The Union, Kalmazoo, MI (12/19)
Bop Stop, Cleveland, OH (12/20)
Blue Llama, Ann Arbor, MI (21/21)

You can also catch La Tanya in duo with Andy Milne on WBGO's Singer's Unlimited this weekend.

Though her gorgeous, emotionally intuitive vocals take center stage, the expansive collection is, at heart, a collaborative effort with Unison, a newly formed NYC trio led by Hall’s husband Andy Milne on piano, featuring bassist John Hebert, and drummer Clarence Penn. "Say Yes" was produced and arranged by Milne, a distinct and respected voice at the heart of NYC’s creative jazz scene for over 20 years.

While "Say Yes" is technically a follow-up to La Tanya’s 2009 recording, "It’s About Time," she sees the new album as the first project that is a true reflection of her artistic spirit. Fans wondering why it took her so many years to return to the studio can look to her busy schedule touring these past seven years with Steely Dan – and her 10-year career as an instructor, passing along her experience and expertise to the next generation of singers as Associate Professor of Jazz Voice at Oberlin Conservatory and at The New School in NYC.

Over the years, La Tanya’s versatility in a multitude of genres has made her a first-call vocalist for some of music’s most celebrated artists, including Diana Ross, Bobby McFerrin, Harry Belafonte, Michael McDonald, Burt Bacharach, Quincy Jones, Aretha Franklin, Rob Thomas, Patti Labelle, Michael Feinstein and Steve Tyrell. Developing her solo artistry, she has performed in recent years at some of New York’s most renowned venues, including Jazz at Lincoln Center, Birdland, Symphony Space, Iridium, and Feinstein’s/54 Below. In addition, she has appeared as a soloist with the American Composer’s Orchestra, the Colorado Symphony, the Jefferson Symphony and the St. Louis Symphony.

“I have been busy singing with everybody else,” La Tanya says, “and even though my first album received critical acclaim, it featured arrangements that I couldn’t fully immerse myself in vocally and as an artist. So, with Say Yes, I was eager to present material that would support and showcase my disposition and broad range of musical tastes. Working so closely with my husband afforded me a trusting, collaborative dynamic that allowed me to sing as fully and as freely as I could.”

Besides her exquisite vocal tone and Milne’s elegant arrangements and piano work, the most remarkable aspect of "Say Yes" is La Tanya’s unique choices of material – a set list that truly reflects her deep musical curiosity, spanning generations and many genres. She reaches outside the jazz realm with re-imaginings of folk-rocker Jonatha Brookes’ “Because I Told You So” (which the singer calls “the most personal song on the album to me”) and the controversial choice of Joni Mitchell’s “The Fiddle and the Drum” – a Vietnam era tune whose poetry resonates perfectly in response to today’s intense socio-political climate, but doesn't fits musically with the sophisticated mood of the album.

A better idea that La Tanya develops with this recording is the decision to re-interpret classic jazz pieces that originated as instrumentals before lyrics were added later. These include the album opener, “All You Need To Say,” which first appeared as the instrumental “Never Say Yes” on Cannonball Adderley’s 1961 album with Nancy Wilson, and here features special guest trumpeter Michael Leonhart; Benny Golson’s “Whisper Not,” whose lyrics were added later by jazz historian Leonard Feather; “Pannonica,” Thelonious Monk’s tribute to elusive “patron saint of jazz” Pannonica de Koenigswarter, with lyrics added later by my much missed friend Jon Hendricks; another Monk-Hendricks classic, “Well You Needn’t”; and Clare Fischer’s “Pensativa,” whose lyrics were later penned by Norma Winstone.

In addition, La Tanya reaches back to 1944 and revamps Cole Porter’s classic, “Ev’ry Time We Say Goodbye,” incorporating a Pablo Neruda poem which adds new life to the already powerful lyrics, to 1942 for a fresh, bourbon-soaked spin on Fats Waller’s “Jitterbug Waltz,” and to 1916 for the Raymond Hubbell/John Golden tune “Poor Butterfly,” – the latter of which is a part of La Tanya’s Sarah Vaughan tribute show. There's also a thrilling voice/bass duet on Sigmund Romberg/Oscar Hammerstein's 1928 pearl "Softly, As In A Morning Sunrise." One of the best vocal jazz releases of the year.