Female Jazz Guitarist LaVerne Christie Passes Away

We are deeply saddened by the loss of a dear client and musician friend LaVerne Christie. We had the privilege of wor

king with LaVerne as her radio promoter and publicity agency. Her immense talent and beauty as a person shined through the minute you heard her music. Her gifts and talents will live on through video and recordings, the blessing she bestowed upon us in her short time here will always be treasured. It was an esteemed pleasure to know and work with LaVerne.

LAVERNE CHRISTIE LaVerne Christie, 64, passed away Sept. 24, 2010, peacefully in her sleep at her residence. She was born May 9, 1946, in Buffalo, N.Y., to Wilmer and Laverne Owens. She met Colin Christie in Buffalo, and they wed Sept. 3, 1966. Music was always a major part of her life, as she was a professional guitarist for the last 25 years. Most recently, she led the LaVerne Christie Jazz Trio, playing at local clubs, restaurants and corporate events. She is survived by her husband, Colin; daughters, Roxanne (Albert) Ornelas and Shelley Christie; and mother, Laverne Owens. There will be a visitation 2-5 p.m. Wednesday, Sept. 29, with service following, both at Palm Mortuary, 7400 W. Cheyenne Ave. To hear LaVerne's music, please visit her website at www.lavernechristie.com

The LaVerne Christie Trio is a Las Vegas guitar-upright bass-drums group that plays jazz standards, tunes from Great American Songbook composers like Cole Porter, George Gershwin, Rodgers & Hart and Duke Ellington, and also the sounds of Brazil.

Guitarist LaVerne Christie has a background in classical guitar and has played everything from solo to combo to vocal a

ccompanist to big band in Minneapolis/St. Paul and the San Francisco Bay Area before moving to Las Vegas. She studied with classical master Jeffrey Van and jazz notables Mimi Fox and Randy Vincent. She received an advanced degree from the University of Minnesota and attended the Jazz School in Berkeley.

Drummer Mike Candito's vast array of accomplishments in fine arts, music, stage, radio, TV and film include stints with Stanley Turrentine, George Benson and Roberta Flack. Mike tours with 60s & 70s pop/rock icon Gary Puckett (Union Gap).

Bassist/cellist Mark Ruben has extensive credits in local musical theater including Guys and Dolls, Fiddler On the Roof, Joseph and the Amazing Technicolor Dreamcoat and West Side Story. Mark is a relative newcomer to jazz but easily adapts to the unexpected.

The trio's CD, East of the Sun, West of the Moon, has enjoyed critical acclaim in national jazz publications and heavy airplay across the U.S. and Canada and is played locally on KUNV 91.5 FM. The title track was chosen for inclusion on the station's compilation CD and the group was invited to perform on TV for their Red Hot Jam celebration.

The group has a loyal local following from their long-standing weekly restaurant gigs. Other performances have included those at the Bellagio, the Venetian, the Foundation Room of the House of Blues (Mandalay Bay), the Stirling Club, the Bootlegger Bistro, the Marriott Hotel (Rampart Casino), the South Point Casino, Ovation at Green Valley Ranch, the Siena Golf Club, the Silverstone Country Club, Embassy Suites, the District and the Henderson ArtFest. The trio has given concerts at the Henderson Amphitheater and at the Reed Whipple Cultural Center in Las Vegas.

Click here for: The LaVerne Christie Trio - Online EPK

Michael C. Lewis is reviewed by O's Place Jazz Magazine

Review By: D. Oscar Groomes

Michael C. Lewis - Reflection 3/3
O's Notes: Michael pops onto the smooth jazz scene with his trumpet melodies flowing gently through the breeze. He uses the mute at times to add a different character to his tone. We also find Lewis spewing soft vocals on "I Dedicate My Heart" and "In the Night Time", a 1970s throwback tune. There I also a cover of "We've only Just Begun". This is 'quiet storm' music that bodes well in the background and will fond it's way onto many late night radio shows. Our favorite track: the soothing "Night Fall".

Glenious Inner Planet is reviewed by All About Jazz

Review By: C. Michael Bailey

Track review of "Blue Rondo a la Raad"

Personnel: Joel Fulgrum: drums; Christ Cortez: guitar; Ted Wenglinski: keyboards; Glen Ackerman: bass; Woody Witt: saxophones.

This is not yourt parent's Dave Brubeck. For that matter, if you put Brubeck in the Telepod from the 1958 film The Fly, with the spirit of Shawn Lane, and teleported them into the future, that might come closest to describing this "Blue Rondo a la Raad." Brubeck is replaced by Chris Cortez's precisely reverberated electric guitar. Paul Desmond morphs into Woody Witt, and the festivities are started by bandleader Glen Ackerman, who is the product of a gamma-ray irradiated Eugene Wright. Joe Morello? He is played by Joel Fulgrum on this episode of Gilligan's Bikini Atoll.

Cortez and Witt dance during the head arrangement, before Cortez rips out the wires for a full-bore Shawn Lane extravaganza. This is as far from 1959 and Brubeck's classic Time Out (Columbia) as one can get. But the spirit of jazz remains. Witt's roaming alto solo skates across the cosmic funk poured out by Ackerman and Cortez. Ackerman's solo is cogent and melodic, reminiscent of Shawn Lane's partner in crime Jonas Hellborg. An excellent tribute to an original, 50 years on.

Matt Garrison continues to chart at Jazzweek for 7 weeks so far!!

Matt Garrison has been continuing to win over listeners at Jazzweek now charting for 7 weeks in a row - peaking at #13 and this week coming in at #14!! Go Matt Go!

Hear in Matt's words some background on the recording and his concept for choosing the personnel.

The musicians, overall, were selected specifically for the music that was chosen. The rhythm section was chosen based on each musicians flexibility and ease of adaptability. Luques Curtis, playing bass, has one of the best beats that I've played with. He is very creative and plays for the moment without sacrificing his role as the base of the music. His brother Zaccai plays piano. I marvel at the wide range of colors he is able to pull from his instrument. Zaccai's sense of drive and swing is a perfect match to the bebop tune and the more modern swing songs. Rodney Green, to my ears, has a complete grasp of the tradition of jazz and uses it as a springboard for his interpretation of modern jazz. His cymbal beat is unrelenting and strong and his accompaniment is interactive without ever intruding on the soloists ideas. Mark Whitfield plays on two tunes, "A Thoughtful Attempt", and "A Clear Path". Mark is another flexible musician who is able to conform to any groove. He plays nylon string guitar

on the bossa nova and electric on the funk tune.

The horn section was very easy to pick for me. Bruce Harris plays trumpet and flugelhorn. He is one of my longest collaborators and our phrasing and tone blend beautifully together. His improvising skills never cease to amaze me. With every solo, he always surprises me and plays new and different material with each chorus. He is firmly rooted in the jazz tradition but doesn't ever lean too hard on it. Mike Dease is the trombone player in the group. He is another musician with exceptional talent and creativity. The clarity of sound the Mike gets from

his horn matches entirely with my sound and Bruce's. Together, the horns create a uniform sound that doesn't sound like three individuals but one tone. Claudio Roditi is the special guest in the horn section. What better musician to get to play on a Brazilian tune than a trumpet player

from Brazil. Claudio's tone lends itself to the complex delicate harmony of "A Thoughtful Attempt" and his knowledge of the bossa nova groove allow him the float in and out of the beat.

The overall idea and concept of this album is melody. This is what I always set out to say when writing and performing original material. I want to share all of these melodies with people and hope that they hold on to them and sing them to themselves long after they listen to the album.

The best songs that I always find myself humming or whistling have one thing in common, and that is strong and rememberable melody. I have taken all the influences in my musical life and put them together to create this album.

Reggie Pittman & Loren Daniels Quartet is reviewed by Yahoo

Review By: Susan Frances

An assembly of swing and bebop etudes grace Point A To Point A from pianist Loren Daniels and trumpeter Reggie Pittman with reflections of classic jazz idioms sewn into contemporary musings. The duo begin with the hard-bop romper "On The B. T." framed in bluesy overtones, and journey into the frilly ruffles of "Clarion Call" carriaging a springy swing chassis. The smooth rhapsodic caresses of bassist Bill Moring coasts with gliding strides ambling alongside the pensive piano knolls and the lacy texture of Pittman's spiraling trumpet.

"Ornithology" has a funky gait that concludes with a soaring drum solo by Tim Horner which shifts into "Shaw Is Woody," a tribute to trumpeter Woody Shaw and showcases Pittman and Daniels' penchant for fluid harmonic forms. The duo keeps their tracks mobile with impromptu phrases creating mutations that fit into each like sprigs of thistle along a mountainside. Their harmonic forms move naturally particularly in "Waterwind" as Daniels and Pittman loop around each other.

The correspondence between Pittman and Daniels has a freestyle tendency in tunes like "Reflection" and the title track where they are playing off each other's input, while in "Prose And Consequence," the threesome of Pittman, Daniels and Moring are each given a period to shine with liberating improvisations. The final track "It's All Thelonious" has a tooting bop vibe which pays homage to pianist Thelonious Monk as Daniels sings the lyrics that he penned for the track, "Steps on a couple of keys and then he shuffles over sideways / It's all Thelonious."

Loren Daniels and Reggie Pittman put together arrangements that do right by bebop standards showing an inclination for fluid chord transitions and melodic progressions with a strong slant to assert their autonomy. The duo ad lib plentiful throughout their communications and exchanges, but never lose course of the themes that they brand into their tracks.

Personnel: Loren Daniels - piano and vocals on "It's All Thelonious", Reggie Pittman - trumpet/flugelhorn, Bill Moring - bass, Tim Horner - drums

Pecolia Fitts is reviewed by Midwest Record Recap

Volume 33/Number 329
September 27, 2010
MIDWEST RECORD
CHRIS SPECTOR, Editor and Publisher
Copyright 2010 Midwest Record

PECOLIA FITTS
PECOLIA FITTS/Lots of Little Goodies: Fitts has scaled some serious heights on her own and you have to wonder where she could go if someone got behind her. A hard hitting soul lady with a lot on the ball on this DIY release, a little money in the kitty would give her the breathing room to make a killer set that hits all the bases. Knowledgeable in old skool soul, she’s got a lot on the ball and deserves some attention. It’s getting harder for the real indy to stand out but Fitts is well on her way.

Michael William Gilbert is reviewed by Midwest Record Recap

Volume 33/Number 329
September 27, 2010
MIDWEST RECORD
CHRIS SPECTOR, Editor and Publisher
Copyright 2010 Midwest Record

GIBEX
MICHAEL WILLIAM GILBERT/I Can See From Here: If you think you’re picking up a Zappa vibe right away, Gilbert is a devotee of Varese. And he digs world beat. And he lived in Belgium. And if you never heard of him, when you put this record on, it’s about as far away from what you think the two old guys on the inside liner would give you. A toned down version of Miles’ electro elephant funk, you can’t put your finger exactly on what this is but it certainly is hypnotic. Linear in a non-linear way, this is way more than a collection of beeps and bips and earth beat sounds, it’s simply the craziest thing a musical malcontent could turn his mainstream friends onto without alienating them. Feeling adventurous? By all means, check it out.

Roger Cairns is reviewed by All About Jazz for Let's...

all.about.jazz

Review By: C. Michael Bailey

On the heels of his recently released The Dream of Olwen (Self Produced, 2010), it is worth considering Roger Cairns' previous recording, Let's..., which was a nice evolution from his first American release, A Scot in LA (Self Produced, 2006).

Roger Cairns is a student of The Great American Songbook. Rather than wearing out "My Funny Valentine" or "My Foolish Heart," he often chooses the lesser-known of the canon, and delves deeply into the pop realm. He has the chops to do so and his greatest offering is a light, friendly voice, full of sincere humor and glee in singing. Cairns oeuvre comprises balladic love songs, though he can rip a perfectly acceptable blues when he wants to ("Stormy Monday"). "Let's Fall in Love," "They Say It's Wonderful, and "Moonlight Becomes You" all are Cairns' bread and butter.

Cairns' name commands such talent as guitarist Larry Koonse and drummer Roy McCurdy to join him, as well as his musical soul mate, pianist Gary Fukushima. Cairns attracts musicians with his same gentle approach to performance. No one is burning things up showing off technique and style. Talent and humility are in abundance, and the combination makes for an enjoyable vocal outing, one that presents its material as originally intended. The quest to understand The Great American Songbook during its creation must start somewhere and it is here.

But Cairns also has a wicked sense of humor that he exposes on the playful "Bye, Bye (Peter Gunn Theme)" and "Gravy Waltz,," both a credit to his looking far and wide for an impressive repertoire. He closes with John Sebastian's "Daydream," tipping a hat to his rich Scottish sense of humor. The song begins straight, but in an off-key Thelonious Monk fashion that rapidly devolves into a dissonant and dysfunctional counterpoint one would expect of J.S. Bach after going on a weekend bender. Roger Cairns is a vocalist deserving much wider recognition.

Mia Vermillion is reviewed by Luna Kafe

Mia Vermillion feat. Orville Johnson
Alone Together With The Blues
Vermillion Music Studio
Review By: Anna Maria Stjärnel

Mia Vermillion is an experienced blues singer and she knows how to use her voice on this CD. She's well helped by Orville Johnson on guitar and dobro.

"In the Dark" is a sultry, truly moving experience well sung by the gifted Vermillion. "Love's Lost and Found" is one of her own songs, and it's eloquent and lets her voice shine while Johnson acquits himself well on guitar. "I'm Going To Copyright Your Kisses" gets a reading worthy of a young Bonnie Raitt. Vermillion's vocals are utterly gorgeous and moving here. The closing "Two Cigarettes In The Dark" is lovingly delivered, Vermillion's sweet vocals snuggling up to Johnson's guitar nicely. She's not reinventing the wheel, but this is a fine blues record.

Jennifer Zarine is reviewed by Luna Kafe

Review By: Anna Maria Stjärnell
Jennifer Zarine
Fresh Made Cuppa Tea
independent / self-released

Jennifer Zarine is a skillful jazz vocalist who comes up trumps on this vivacious record. She presents her song choices with verve and flair.

"The Way You Do the Things You Do" gets a soulful yet poppy take that brings out the best in her sultry voice. "Have a Cuppa Tea" is a fresh take on a Ray Davies song that seems to highlight the record's mischievous sense of fun. "Paint it Black" is an unlikely but satisfying slow burning take on the proto-Goth Stones classic. It's very nicely done and the saxophone bits are tastefully done. Zarine's own song "Sleep" is a sweet and moving lullaby that she handles with her usual finesse. It's a nice album in all.

Dual Rhythm Big Band is reviewed by Jazz Times

09/25/10 • Albums • By Wilbert Sostre
CD Review: Dual Rhythm Big Band
Featured Artist: Dual Rhythm
CD Title: Big Band
Year: 2010
Record Label: Independent
Style: Various Jazz Styles

Musicians: Ernest Bland (percussion), Paul Rosenberg (piano), John Lee (guitar), Dan Hall (bass), Lawrence Dean (drums), Perry Contichio (sax)

Review: Dual Rhythm's goal is to sound like a quartet in a duo setting. Well, mission accomplished. These guys definitly sound bigger, more like a Big Band, even though they are just two, Ernest "Ebongo" Bland on percussions and Paul Rosenberg on piano. That big sound hits you from the first track, "Shoreline."

Dual Rhythm cited influences by Gillespie, Jerry Gonzalez and Tito Puente, there is no doubt all this and more may be heard on the fusion of latin, jazz and R&B sounds. Gillespie's influence is present for sure in the track "Sligo Bop."

Ernest provides the vocals on the "Beatles Medley," the bluesy sounds of I don't know what love is, and the soul style of Mariposa and These arms of mine.

The organ like sound and guitar solo combined with the percussion gives the track "Absence of Excess" a 70's rock feeling, similar to Santana. "Summer End" starts like a ballad and then changes into infectious latin/cuban rhythms.

Paul and Ernest chose two jazz classics to close an album of mostly originals, Ellington's "African Flower" and a Medley of Shorter "Night Dreamer" and Mongo Santamaria "Afro Blue". The album includes some guest artists, John Lee on guitar, Dan Hall on bass, Lawrence Dean on drums and Perry Contichio on sax.

Tracks: Shoreline, Sun Medley (Beatles Medley), Absence of Excess, I don't know what love is, Mariposa, Summer's end, Alice dances the Bossa Nova, Desire, Sligo Bop, These arms of mine, African Flower, Night Dreamer/Afro Blue

Artist's Website: http://www.myspace.com/dualrhythm

Leslie Lewis is reviewed by Jazzreview

09/25/10 • Albums • By Wilbert Sostre

CD Review: Leslie Lewis - Keeper of the Flame
Featured Artist: Leslie Lewis

CD Title: Keeper of the Fame

Year: 2010
Record Label: Surf Cove Jazz
Style: Jazz Vocals
Musicians: Leslie Lewis (vocals), Gerard Hagen (piano), Domenis Genova (bass), Jerry Kalaf (drums, percussions)

Review:
Leslie Lewis is all a good jazz singer should be. Her beautiful tone and classy phrasing on tracks like “Day by Day”, “You Don't Know What Love Is” and “Speak Low” evokes the sound of the classic jazz singers like Ella Fitzgerald and Sarah Vaughan.

On the title track “Keeper of the Flame” Leslie’s soulful voice plays beautifully with the melodies and tempo changes with Jerry Kalaf adding a powerful drum solo. And her silky, smooth vocals on the jazzy version of Ivan Lins “The Island” hits you full of emotion.

The Brazilian influence can be heard all through this album, especially on the tracks “Day by Day”, the jazzy arrangements of Antonio Carlos Jobim “A Felicidade”, “Chega de Saudade” and the sublime version of “Fotografia.” On these tracks at times one may hear echoes of the Ella Fitzgerald sings Jobim album, both in tone and phrasing.

As a puertorican I always enjoy listening to Juan Tizol “Caravan”, one of the most recorded jazz classics. Leslie vocals are just perfect on one of the best version I have heard recently, with interesting rhythmic and harmonic choices.

Leslie Lewis vocals are complimented perfectly by her husband, Gerard Hagen (trio), and special guest Gary Foster on sax.

Tracks: Keeper of the Flame, The Island, Spring is here, Day by day, A Felicidade, You don't know what love is, Fotografia, Chega de Saudade (No more blues), Speak Low, Caravan

Alex Levin is reviewed by All About Jazz

all.about.jazz

Reviewed By: C. Michael Bailey

Track review of "I Remember You"

Personnel: Alex Levin: piano; Michael Bates: bass; Brian Floody: drums. Style: Straightahead/Mainstream Free MP3 Download(s) Last Train to Brooklyn The Alex Levin Trio New York Portraits Emma's Ennui Alex Levin Trio A Reason for Being Alone

Artists do not evolve in a vacuum. Collectively, they assimilate all they have learned and heard into a new creative paradigm that they call their own. A durable respect for the past characterizes the trio art of pianist Alex Levin. Listening to his collection New York Portraits, the spirits of pianists long gone are present in that fecund humus existing between the notes of Levin's treatments of original and standard compositions alike.

Levin's treatment of Johnny Mercer's "I Remember You" is likewise populated by this spirit. The Vince Guaraldi opening gives way to a Red Garland block chord interior. Bates solos and Levin enters solo sideways like Errol Garner, quoting Thelonious Monk's "Rhythm-n-ing." Drummer Brian Floody provides a pronounced Philly Joe Jones rim-shot beat that recalls those great Garland trios with Jones and Paul Chambers. Levin does this all without slipping into mere imitation. He commands all of these styles and make them his own.

Michael Willliam Gilbert is reviewed by This is Books Music

REVIEW: Michael William Gilbert’s “I Can See From Here”

REVIEWED BY: JOHN BOOK
Entering the music of Michael William Gilbert is like entering an all new world that somehow seems familiar to you, even if you don’t know why. I Can See From Here (Gibex) is an album of 14 songs exploring the universe through laid back electronic vibes, moving in and out of jazz, new wave, and IDM. You hear sounds that sound like church bells but could be nothing more than a guitar doing its thing, or vocals entering the echo chamber to create something mystical and almost spiritual, or at least that’s what it sounds like in tracks like “Eyeless In Gaza”, “Over The Next Rise”, and “Amerikan Dream”.

Most of this album comes off like well prepared meditations, an audio message for those who wish to escape the harsh world of today and enter it again from a different perspective. Michael William Gilbert plays all of the instruments on here, so you hear his full vision from start to finish. There are some very intense moments on this album, as if he was speaking to someone specific or speaking with the assistance of someone no longer here, it’s eerie to hear and feel. Here what I hear by picking this up.

Chris Graham is reviewed by Gapplegate

GAPPLEGATE MUSIC REVIEW

Good Vibes On Chris Graham's "After-Birth of the Cool"

Review By: Grego Applegate Edwards
Thursday, September 23, 2010

If you've dug the alternately dreamy and pointed tonal excursions of Gary Burton's vibraphone artistry, Chris Graham is an important exponent and extension of the style, and so you will find yourself on familiar yet somehow regenerated ground if you listen to his recent After-Birth of the Cool (Chris Graham Jazz).

It's Mr. Graham and his trio (Alex Austin, acoustic bass; Oliver Hunt, drums) holding forth for around 30 minutes of good sounds. The bass and drums give solid and sensitive support while Chris Graham shows his tasteful, subtly swinging multi-malleted harmonic-melodic abilities, which are considerable.

Most of these seem to be originals and they are appealing. But I especially like the version of Ralph Towner's "Icarus," a Winter's Consort signature song that here is given a lyrical vibes trio treatment.

It's all good, if short.

Chris Graham is a vibraphonist of distinction. The CD is a delight.

Annie Kozuch is reviewed by All About Jazz

By: C. Michael Bailey

Purchase CD

Personnel: Annie Kozuch: vocals; Frank Ponzio: piano; Saadi Zain: bass; Vito Lesczak: drums; Samuel Torres: percussion; Richard padron: guitar; Cecilia Tenconi: flute and saxophone; Jose Gallegos: electric piano.

Trilingual Annie Kozuch was raised in Mexico City and took to show business early. A subject of screen as well as song, it is a surprise that Here With You is her first disc. She sings in all her languages (English, Spanish, Portuguese) on this recording, with the Portuguese song, Jobim's "Chega De Saudade" ("No More Blues") being the pick of the bunch. "Chega De Saudade" is considered, by many, to be the first Bossa Nova composition, having been recorded by Joao Gilberto in 1958.

Guitarist Richard Padron and flautist Cecilia Tenconi make this a fully Bossa Nova experience. Breezy and sexy, Jobim's music could have only come from Southern Hemispheric climes, and Kozuch knows how to tap into the humidity. The gentle, swaying rhythm established by the band enables Kozuch to draw from the song all of the longing held in the lyrics,"Que ela regresse, porque eu não posso Mais sofrer" (..."let him come back; I can suffer no more").

Leslie Lewis is reviewed by Cashbox Magazine

Jazz Reviewed 9/14/10
Leslie Lewis
Keeper Of The Flame
Reviewed By: Christopher Llewellyn Adams

The musical starmakers at Surf Cove Jazz are putting out a warning: Make way for the next big thing! Leslie Lewis has a hot one on her hands with "Keeper Of The Flame." A bona fide sure thing for jazz radio success, the album is packed with tracks destined for cooler iPods nationwide.

Working with The Gerald Hagen Trio, Lewis' voice is the foundation for a collection of songs meant to whisk the worries of the world away. It will have been a while since music seemed to be just what you were hoping for, and that's where I was at with "Keeper."

Of the tracks to select from, "Day by Day" stand out for me. If I were choosing a first single, this one would top the list. Perfect for a beachfront sunset. Let Leslie Lewis make your night tonight with the songs from "Keeper Of The Flame." Leave the hard calls for another time.

Robert Branch continues to stay on the CMJ Jazz Charts

Fusion master Robert Branch is kicking ... and taking names as he continues to chart for the third week in a row. Peaking at #28 and landing this week at #40.

Described by All about Jazz as “striking a chord that parlays notions of classic prog-guitar heroes Joe Satriani, Greg Howe and Allan Holdsworth“, Robert Branch is a guitarist/ pianist/ composer base

d out of Minneapolis specializing in all-original, instrumental jazz fusion.

Known as a veteran sideman, Branch is emphatically asserting himself as an up-and-coming solo artist to take stock in. His intense emotional sensibility combined with his serpentine improvisational skills bridges the divide between the introspective passion of jazz and

the extroverted firepower of Rock ‘&’ Roll. Born in Fort Worth Texas in November 1978, Branch grew up around music from a very early age.

His musical skills were nurtured from the age of 9 when Branch was given a guitar for Christmas. He became obsessed with the greats like Coltrane, Metheny, Montgomery, Miles, Adderly, Frisell, Stravinsky and countless others.

He began transcribing entire solos note for note, some of them being 4 to 6 minutes long. Infatuated with composing, Branch wrote his first composition at the age of 11 and began to emulate his idols by writing in their respective styles. He also received instruction from graduates of the University Of North Texas Jazz Program which inculcated and inspired a strong advanced foundation in guitar.

Once Branch decided where he wanted to go to college, he enrolled himself in the music program at the University of Southern California. While in Los Angeles, Branch started to get a reputation for being an intense and fiery player. He got to share the stage with acts such as Particle, G Love & Special Sauce, Ozomatli, Mike Keneally, Sugar Ray, The Samples and Wayne Horwitz as well as headlining the House of Blues and playing famous Los Angeles clubs such as the Whiskey, The Derby, The Key Club and the Hard Rock Café. Upon Branch’s departure from Los Angeles he became the head of the guitar program at Western New Mexico University.

Alex Levin debuts on the CMJ Jazz Chart at #28

Winning new hearts across the US and Canada, Alex Levin and his trio debut today on the CMJ Jazz Chart at #28.

Originally from Philadelphia, Alex Levin has performed in Philad

elphia and New York as a leader and a sideman for almost two decades. After studying at The New School with teacher Gary Dial, he transferred and graduated from Brown University in 1998 with a degree in English Literature. From 1998-2001 he lived in Berlin, Germany, where he started his first quartet, The Living Room.

The popular band played at numerous clubs and festivals throughout Germany, and gained notoriety for unique interpret

ations of pop songs by the likes of Bjork and Tom Waits.

Alex has played with multiple vocalists and instrumentalists since returning to

New York in 2001. He has appeared at countless upscale venues throughout

the city. On occasion, you can also find Alex and his trio performing at smaller

jazz clubs in the village and Brooklyn. He has composed numerous pieces, and

has arranged music for top vocalists, including the brilliant Paulette McWilliams.

Alex released his first CD of trio music, Night and Distance, in April of 2005.

His first run of his CDs sold out within eight months of its release.

In October, 2006, he released his second CD, A Reason for Being Alone featuring his own

compositions and an expanded lineup of musicians, including saxophonists Stacy Dillard and Max Hacker, and cellist William Martina. His composition "Your Call" was heard in the 2005 film "Parkstories.” In addition, "New Schooled" has been licensed by MTV, and "Emma's Ennui" from the same CD has been downloaded 8540 times at All About Jazz.com. Levin’s jazz writing has been published in The Saint Ann’s Review. In the summer of 2006, Alex was invited to play as part of the Jazz Composer's Forum in Asheville, North Carolina, where he presented a special concert of original music.

In 2008, Alex’s trio was invited to be the artist in residence at Middlebury

College’s Bread Loaf School of English. Since then, he has been playing weekly

gigs at Manhattan Youth Downtown Community Center in Tribecca, where he and his trio perform all-ages shows every Friday evening to a loyal audience ranging in age from 1-80. Originally the band was hired for a month-long residency at the Community Center, but that contract was extended and continues to this day. Always eager to pass along the jazz tradition, Alex invites students under 16 to sit in with the band for a song or two.

Besides his gigs at the Community Center, Alex performs regular gigs as a sideman with vocalist

Chris Staffel at Bistro Citron on the Upper West Side, and at Abigail's in Brooklyn as an accompanist to saxophonist Tina Richarson.

His latest release, New York Portraits already released in Japan and scheduled for an American release in October of 2010, has maintained a top 5 slot in sales with a recent ascent to the #1 spot, quickly selling out each week since shipping to Asia.

Henry Darragh continues to chart at CMJ this week at #23

Henry Darragh continues to chart at CMJ for a total of 4 weeks and counting, peaking at #9 so far and this week coming in at #23.

Henry Darragh is a talented multi-instrumentalist and composer currently working in Houston Texas while doing graduate studies at Moores School of Music. In addition to being a first-rate tr

ombonist, Darragh can also play jazz piano, sing, compose, arrange, lead, educate, and inspire. To hear his debut CD, Tell Her For Me one might think of him as an up and coming jazz songwriter who swings and croons vocals, but that would only be the latest chapter in his story.

Born and raised in Pasadena Texas, Darragh was surrounded by music from a young age, and felt he might eventually become a classical trombonist. But jazz was always lurking in the background. Fortunately he had instructors as early as 7th grade who were into jazz, and turned him onto classic recordings, and although he loved it then, jazz remained a kind of secret language until college. According to Darragh, "my family always had a piano in the house, which I used to teach myself bad habits."

This love of music was a feeling which continued through undergraduate studies at San Jacinto College where he studied music theory with percussionist/composer Ray Dillard, and later private lessons "not so much to learn percussion as to just hang out with Ray," a talented musician well versed in many genres including jazz, who now teaches at the Royal Conservatory of Music in Toronto (Canada). Later at the University of Houston Darragh played with the U of H jazz ensemble, providing opportunities to play piano with guest clinician

s such as Lou Soloff, Randy Brecker, and David Sanchez, as well as with Houston based artists such as Woody Witt, Joel Fulgham, David Craig, Erin Wright, Kelly Dean and others.

Darragh was then accepted into Musical Theater Lab, then based at the U of H, where he worked with the Tony Award Winner Stuart Ostrow (Madame Butterfly, 1776, Pippin), and cites this experience working with both directors and writers as something that has really pushed him as a songwriter. At this time, he is continuing with graduate studies at Moores School of Music in Houston. In the fall, Darragh will begin his doctoral composition

degree at U of H with trombonist/composer/arranger Thomas Hultén.

Darragh has worked professionally with artists such as Los Skarnales, TJ Funk, the Steve Lippia Big Band, Adela Dalto, DJ Sun's Solar Grooves, and Joe B's Rebel Crew, and is now appearing as a solo artist on piano and vocals either by himself, as a duet or with a small group, while staying very busy as a session artist, and on-call jazz performer.

Annie Kozuch hits the CMJ Jazz Chart at #19

Annie Kozuch [pronounced Ko’ zuk] was raised in Mexico

City, Mexico. After seeing her first professional show at the

age of six, she knew she wanted to perform. She sat in on

her siblings’ guitar lessons and although she was too young

to hold the guitar, she learned to sing all the boleros and

mariachis. Encouraged by her parents to “do what makes

you happy” she furthered her passion for acting and singing

by training at the Royal Academy of Dramatic Arts

(R.A.D.A.), London, and graduated from Mills College, CA,

with a B.A. in Dramatic Arts. After a few years in San

Francisco, she moved to New York City.

Ms. Kozuch enjoys a successful broad-based career. Whether in plays, in film or on TV, Ms. Kozuch brings emotional depth and sharp delivery to every role she takes. Reviewers have called her soprano voice "pure" and effortless" and have pointed out that "she acts every tune

as well as she sings them." She has been called a "smart, smart blond" for her ability to find the wit and insight in lyrics.

Her singing repertoire has landed her acclaimed Broadway

Pops performances, including Kennedy Center for the

Performing Arts, Tokyo City Symphony Orchestra, New

Haven Symphony Orchestra, and Natchez Opera Festival –

An Evening of Jazz. In her new release, Here With You, she

teamed up with jazz pianist Frank Ponzio and producer Jose

Gallegos who bridged her love of the American Songbook with their Jazz and Latin backgrounds. “I found myself going back to all these wonderful jazz standards, boleros and bossa nova. The music and lyrics are authentic and timeless.”

Glenious Inner Planet #12 on the CMJ Jazz Chart

Written By: Mark Piszczek

Ground Control to Major Glen!

The Glenious Inner Planet, the newest CD by bassist/composer Glen Ackerman is an imaginative romp through inner and outer space. Part Bitches Brew, part Forbidden Planet, this post fusion space epic concept album features some terrifi c compositions and an impressive lineup of some of Houston’s fi nest musicians. Ackerman’s fi rst release on Blue Bamboo Music

showcases his sizable talents as both a composer and a bassist.

Much of the music on this album is challenging, sometimes edgy and bold, but it never loses it’s lyrical underpinning or descends into total chaos. Ackerman also isn’t afraid to show a sophisticated sense of humor in some of his arrangements.

From the 1950’s sci-fi , theremin sounds and space age electronics to the quirky song titles, this project isn’t afriad to have some fun and as a result, neither will the listener.

Ackerman is accompanied on his intergalactic musical excursion by saxophonist, Woody Witt, drummers,

Joel Fulgham and J.D. Guzman, keyboardist, Ted Wenglinski, and guitarists, Chris Cortez and Paul Chester.

To his credit, Ackerman shows a high degree of taste and maturity on this project. In spite of all his virtuosity, he never allows ego to trump musicality and his superb playing always serves the greater musical good.

Glenious Inner Planet is reviewed by The Borderland (Musicwatch Column)

Review By: John M. Peters

The Glennious Inner Planet (Blue Bamboo Music BBM016)

Here we have a jazz album which is having fun with the genre and its stylings. The Glennious Inner Planet is a jazz-funk-fusion workout with some sci-fi overtones - influences of Miles Davis, Weather Report, Sun Ra, French prog rock guitarist Jean Pascal Boffo and French prog band BAG are obvious to me, but I'm sure other listeners will find more.

It is a lively album, opening with the rambunctious "Blue Rondo a la Raad", a variation on Dave Brubeck's "Blue Rondo a la Turk". While some of the music on the album is experimental and avant-garde it isn't too way out, there is always a jet propellant rhythm moving things on.

The Glennious Inner Planet consists of five plus musicians led by bassist Glen Ackerman, the rest are: Joel Fulgum and JD Guzman - drums on various tracks, Paul Chester and Chris Cortez - guitar on various tracks, Ted Wenglinski - keyboards, and Woody Witt - clarinet and saxes.

A small group but making enough noise to sound like a dozen. Some of the track titles have an evocative charm all their own: There Is A Drop Of Roppongi On My Shorts, The Thing And The Thing That Makes The Thing The Thing, The Angel Of The Odd, Poato Wagon, 4 Is A Feeling and many more.

Sometimes you get little mind movies happening in your head when listening to music and with this album I was flashing on some of those old 50s Loony Toons cartoons where the drawing style was all angular and minimalistic. Music can do the weirdest s*** to your head! If you like exploring adventuresome music then The Glennious Inner Planet may well be the album you are seeking.

For more information about this artist, album and availability visit:
www.bluebamboomusic.com

Annie Kozuch is reviewed by The Boderland (Musicwatch Column)

Reviewed By: John M. Peters

Annie Kozuch - Here With You

This the début album of actress and singer Annie Kozuch, has produced one of the best jazz and Latin primers I have ever heard. Here With You is so assured and full of confidence and the selection of songs so well done that this is one of the best listening experiences I've had in a long time. It also goes without saying that she has one of the most pleasing soprano voices I have heard in a long time. Furthermore it impresses that she switches so ably between the English, Spanish and Portuguese languages throughout the album. As you would expect the musicianship of those supporting her on this album is exemplary and they are: Frank Ponzio - piano, Saadi Zain - bass, Vito Lesczak - drums, Samuel Torres - percussion, Richard Padron - guitar, Cecilia Tenconi - flute/sax, and Jose Gallegos - electric piano.

The eleven tracks on the CD range from the Brazilian 'Tropicalia' of Antonio Carlos Jobim to the Broadway songbook of Irving Berlin. The full set of titles are: Chega De Saudade, I Love Being Here With You, How Deep Is The Ocean, Corcovado/Quiet Nights, You've Changed, I'm Through With Love, Nosotros, Carinhoso, You're Getting To Be A Habit With Me, Who Can I Turn To and Somos Novios.

Here With You is simply one of those albums that exudes quality throughout and you can't help wonder where such a vocalist has been. This album deserves to be played strongly on the radio and picked up by one of the major record labels. Highly Recommended.

For more information about this artist, album and availability visit:
www.anniekozuch.com

Henry Darragh is reviewed by The Borderland (Musicwatch Column)

Review By: John M. Peters

Henry Darragh - Tell Her For Me

This is the début album of multi-instrumentalist Henry Darragh [he plays piano, trombone and sings on the album]. Mr Darragh hails from Texas but eschews the Texan blues and jazz sound for something a bit more sophisticated.

In contemporary terms if you like British jazz pianist and singer Jamie Cullum then you should enjoy this album, but I found that Mr Darragh's voice has more in common with the lost wistfulness of the late Chet Baker and that of rock guitarist Nils Lofgren.

There are eleven tracks, six of them written by Mr Darragh, and he is supported by some very good musicians indeed - they are Seth Paynter on tenor sax, Carol Morgan on trumpet, Erin Wright on guitar and bass, Glenn Ackerman on bass, and Chuck Payne on drums.

The album opens with "Hey There", a fey, laid-back slice of romantic pop. The same goes for "Everything Happens To Me" and "Once In A While", and then the band start blowing out a bit on "Early". This is quite a promising pop-jazz album, light enough for easy listening but also muscular enough on some of the tracks to lay down its jazz credentials.

I was very impressed with both Mr Darragh's music and his vocals - it is melodic and tuneful, and conveys emotions very well. I think that Tell Her For Me is a very fine album for a début and I hope it sells well so that a second one will follow very soon.

For more information about this artist, album and availability visit:
www.henrydarragh.com

Robert Branch is reviewed by The Borderland (Musicwatch Column)

Reviewed By: John M. Peters

Robert Branch - Courage To Be

I don't seem to receive many rock albums for review so this new album by guitarist Robert Branch is most welcome. This is the real stuff, the classic rock trio format, and if you are a fan of Jeff Beck, Joe Satriani and Hendrix [naturally] you are going to love this. Ten tracks of scorching electric axe wielding, full frontal jazz-fusion-prog-rock pyrotechnics. The rest of the trio are David Gonzalez on bass and Tim Zhorne on drums - both of whom keep up with their leader admirably.

I said searing guitar work and that is correct for most of the tracks, but a listen to the track "Letting Go" and its gentler vibe and you soon realize that Mr Branch can do delicate and melodic along with the full throttle music. The ten tracks are: Courage To be, North of Center, Letting Go, Rhythm Schism, Exodus of Discipline, The Veil Within, Ne'er Do Well, Backyard Hallucination, Delirium, Lullaby For D.

I assume there are no overdubs or multi-layered tracks, if so then Mr Branch's fingers are distinctly magical [and bloody nimble!]. This is a first class showcase for this guitarist and his band and I can see the guitar magazines going wild for this album when they review it. So get in there first and check out any sample tracks on the website and buy the album ASAP.

For more information about this artist, album and availability visit:
www.robertbranchmusic.com

Matt Garrison is reviewed by The Borderland (Musicwatch Column)

Review By: John M. Peters

Matt Garrison - Familiar Places (D Clef Records DCR152)

A début for a former sideman now bandleader, saxophonist Matt Garrison has recorded an album of mostly his compositions showcasing his style with both tenor and baritone sax. Familiar Places sounds more in the west coast cool jazz style, like that of the late Shorty Rodgers to my ears, with a dash of Miles here and there. It is quite a fluid style and his band of ten musicians [too many to list here] are equally adept, offering close support and some hot solos across the nine tracks. I will mention trombonist Michael Dease, who played on, produced the album and contributed a track as well. With such a large band involved the instrumental colors are strong and rich and the music almost swings in a way that Count Basie or Duke Ellington would recognize.

The tracks are: Try Another Day, A Thoughtful Attempt, Convergence, You Know I Love You, You'll Know When I See Her, Familiar Places, Left Behind, With You - No Me (To Dizzy) and A Clear Path.

Mr Garrison knows how to write a good tune and space enough for his band to shine, which is both a good and generous thing to do. I also appreciated the way the musicians actually play, rather than honk skywards, throughout the album. I could see Familiar Places appealing to the non-jazz listener as it is inherently a mellow album and doesn't scream into your face like some recent jazz albums I have reviewed. Strongly recommended.

For more information about this artist, album and availability visit:
www.dclefrecords.com

Alex Levin is reviewed by Bruce Von Stiers

A New York Jazz Portrait

Reviewed By: Bruce Von Stiers

I’ve had the privilege of reviewing an album from Alex Levin called A Reason For Being Alone. His piano is some of the best soft and easy jazz music that I’ve heard.

Alex has a new album out with the group that plays with him. Alex calls this group The Alex Levin Trio. The title of this new album is New York Portraits.

Besides Alex on piano, there is Michael Bates on bass and Brian Floody on drums.

My Heart Stood Still is the first song. This Rogers / Hart tune is very nicely done.

I enjoyed Tony Newly’s acting but I enjoyed the music he wrote even more. The song he co-wrote with Leslie Bricusse, Who Can I Turn To (When Nobody Needs Me) is on this album. Alex gives a great piano performance on the song.

Soft, with understated bass is an original composition from Alex called Last Train To Brooklyn.

Then there a delightful rendition of Irving Berlin’s Cheek to Cheek.

And the trio does a nice job with the Johnny Mercer tune, I Remember You.

Among the Great American Songbook alum are the Gershwin brothers. The trio tackles a couple of their tunes on this album. I Loves You Porgy and Isn’t It A Pity? are extremely well done.

Terrific piano and bass can be heard in the Jimmy Van Huesen song Like Someone In Love.

A toe-tapping piano beat can be found in the other Alex original composition, Blues for Charley.

Alex, Michael and Brian end the album with a sad, endearing song called Body and Soul.

The Alex Levin Trio is one of those groups that I could listen to all night. Soft and easy jazz music is what New York Portraits is all about. This one is definitely a keeper.

You can pick up a copy of New York Portraits from CD Baby or iTunes.

To learn more about The Alex Levin Trio and this great album visit www.alexlevinjazz.com.