Woody Witt Enjoys His 6th Week in the Top 5 on the CMJ Jazz Chart

Woody Witt Continues to Hold Strong for 6 Weeks on the
CMJ Jazz ChartThis Week Hitting the #5 Slot, and Peaking at #3 Overall

Written by: Bill Evans

Pots and Kettles marks the third release on Blue Bamboo Music of saxophonist/composer Woody Witt, but the overall eight CD as a leader. The main-goal of most jazz musicians is to tell a story with their music and take the listener on their own personal musical journey.

Woody accomplishes this and far more on Pots and Kettles. The CD starts out with the title track, “Pots and Kettles.” It is reminiscent of the writing of the late great Don Grolnick, with its very child like melody. Woody starts his solo slowly, building to an emotional crescendo that releases into an exciting piano solo by Gary Norian. To complete the rhythm section, there is Anthony Sapp, bass, Mark Simmons, drums, and Chris Cortez, guitar (on 3 tracks). They all have the sensitivity to really shine as individuals with their own personal styles. I, as the listener feel they can really communicate as one unit, playing off each other’s nuances and allowing the music to flow effortlessly.

“Listen Here,” is practically a Soul Jazz classic made popular by the late great saxophonist Eddie Harris and pianist Les Mccann from their “Live in Montreaux” session recorded in 1969. Here, Woody shows us his soulful side, while tipping his hat to Harris.

The rhythm section grooves and swings hard. Harris would have been proud. With gorgeous ballads like “Never Very Far” and “Just Because,” you hear some of the depth and beauty of this recording. The music is allowed to breathe and take on a spirit all its own.

Pots and Kettles is a refreshing work of music by musicians who are playing the art form at its highest level. While listening I am sometimes reminded of the old Blue Note jazz recordings of the early sixties, while at the same time, they writing and playing is very contemporary and modern.

Like a piece of art, I’m sure with each listen I will hear different things in the music. This music is ageless.

Jocelyn Medina Holds Strong for Her 3rd Week on the CMJ Jazz Chart

Vocalist and Composer Jocelyn Medina
Holds Strong for 3 Weeks on the CMJ Jazz Chart
Peaking at #15 So Far!

  Medina's new release We Are Water is a compelling vocal triumph, and listeners across the US and Canada are catching the  vibe.

LATEST RELEASE:

We are Water marks the introduction of Jocelyn Medina’s sophomore follow up, the release showcases Medina as a composer, vocalist and vocal instrumentalist. Her compositions are lyrically witty and Medina’s ability to connect intricate words effortlessly in a flowing manner is a cornerstone to compositions contained within We Are Water. Backed by an outstanding ensemble there is an instant recognition of international flavors and a harkening to improvisational inklings of Flora Purim, but certainly her own artist who stands firmly upon her strengths.

Each cut offers its own journey and storyline, “Cosmic” opens the proceedings with grooving rhythms reminiscent of the Return to Forever era. Medina shines with outstanding articulation of lyrical and harmonic ideas. Rodrigo Ursaia adds a modern textural sound of arpeggios during the solo, while fellow musicians work together to create an uplifting solo to lead to Medina’s entrance and the furtherance of this
wonderful original. “We Are Water” the title track is an introspective cut that builds into a journey of exploration of humanity. “April 4th” is a Hermeto Pascoal cut that showcases Medina as a vocal instrument. Her articulation of notes is on target and focused, the ensemble stretches out and further proves their prowess in a myriad of Latin rhythms. “My First Love Song” gives the listener and opportunity to absorb Medina in a ballad setting.

A halfway point features “Natural” and mid-tempo slow burn with a lyrical reminiscence of Carole King, a cut that could have a cross-over appeal for any listener. Medina’s message is positive and uplifting. “Time and Place” is an up-tempo Latin cut with a timeless sound. “Same Mistakes” has a world sound, featuring the dexterity of percussionist Bodek Janke. “Feel Free” is opened by the strength and beauty of bassist Aiden Carroll. Medina creates vocal jazz lines wrapped with well-crafted lyrics, her lines sound like a saxophone weaving its way through the melody, further highlighting her abilities as a solid jazz vocalist and composer. “Make Change” is a cut that is pure fun and immediately focuses on pianist Kristjan Randalu adroitness on the ivories.

Medina’s lyrics are a call for humanity to change and certainly a song of patriotic proportions. “Close to Home” is almost a biographical song, and Medina keeps the listener engaged with well-place feel changes. “Reason” is a wonderful closure to an outstanding journey of discovery; Medina reveals to the listener that differences and challenges are all a part of the beauty inside. We Are Water is much more than a musical excursion, Medina through well-penned songs gives the listener and opportunity for self-reflection. Each member of the ensemble contributes their own unique voice that beautifully conveys composer Jocelyn Medina’s true message and meaning. Not only is Medina a liberating composer of freedom, but a poet and wordsmith.



BIOGRAPHY:

The sounds and styles of New York vocalist/composer Jocelyn Medina cross cultures, creeds and continents. Her original music fuses elements of Brazil, Spain, Africa and India with jazz harmonies, funk grooves and adventurous improvisations delivered through compelling lyrics and a distinct sound. Whether
by means of an unexpected melodic turn, a hook that leaves you hopeful, or the rich resonance and dexterity of her voice, she seeks to touch on each listener’s individual experience with messages of universal truth and an inventive artistic approach.

Born into a family of singers, Jocelyn determined her identity as a musician at the tender age of five through choirs and piano lessons. She later pursued opera work at Stanford University, earned a Bachelors degree in Professional Music from Berklee College of Music, and a Masters in Vocal Jazz Performance from Manhattan School of Music.

Jocelyn gathered much of her eclectic mix of creative influences during the four years she spent living and performing abroad in Madrid, Spain. Before returning to the United States, she recorded her first full-length CD of original compositions, “The Journey Begun” with fellow expatriate musicians Dan Rochlis (guitar), and Bob Sands (tenor sax), as well as legendary Spanish harmonica player Antonio Serrano.

As a bandleader, she has toured with jazz ensembles at venues and festivals throughout the United States, Europe and South America, including Spain’s JAZZPARLA festival, Alte Feuermache in Mannheim, Germany, and the Goethe Institute in Salvador, Brazil. Her most recent U.S appearances have been at such NY venues as the Iridium Jazz Club, Cornelia Street Café, Cachaça, Zinc Bar, Sweet Rhythm and 55 Bar with her own group, at Lincoln Center with the Manhattan School of Music Jazz Orchestra, and at Carnegie Hall with Calpulli’s Music of Mexico.

Since moving to New York City in 2005, she has established herself as a unique and powerful voice in the local jazz scene. Currently based in Brooklyn, Jocelyn recently released her second CD of original music, We Are Water, featuring flutist Rodrigo Ursaia, guitarist Miles Okazaki, pianist Kristjan Randalu, bassist Aidan Carroll, and drummer Bodek Janke.

Mike Cottone Holds Strong For His 2nd Week on the CMJ Jazz Chart

Mike Cottone Holds Strong on the CMJ National
Top 40 Jazz Chart For His 2nd Week

Just Remember is a highly personal collection of songs that Cottone wanted to be a reflection of his journey thus far and to pay tribute to a pivotal figure in his decision to become a musician. Produced by Grammy-award-winning drummer Ulysses Owens (known for his work with Kurt Elling & Christian McBride) and Marc Iacona, co-producer of the Rochester International Jazz Festival, the project became a reality. 
In his own words Cottone explains the concept behind his inspiring offering. “Having made it this far in my career, the one message that has resonated with me from my high school days is to never forget where I came from. My high school band director, Daniel McMurray, made it very clear that being humble, modest, and keeping your ego in check make success a reality. I even remember where I was sitting when he shared this knowledge. Dan passed away just before Christmas of my senior year in high school, so my limited time with him proved to be priceless. Without him I probably wouldn’t have pursued a career as a musician. Shortly after his passing, I met Marc Iacona who continued to motivate and reinforce the importance of remembering those who helped me to get where I am. This album is a tribute to Dan and to everyone who has helped me to get to this point---hence the title, Just Remember.”

my demons and get some material on the page. The advice McMurray gave me in high school helped me break through this wall and focus my compositions. I centered my attention on my favorite records and Cottone further describes; “compared to the amount of time I spend playing, I don’t spend nearly as much time composing, so having this project in the back of my mind for the past couple years helped me face ended up with a collection of compositions that reflect these influences. 

Even though I had enough material to put the album together after this process, my producer, Ulysses Owens, urged me to write one more tune with my concept in mind. After a few long sessions at my piano, the title track, “Just Remember,” emerged. The best part of this whole process was putting together a dream band of my best musician friends, recording the tune with the ink fresh on the page and getting a solid title track. The spirit of the tune reflects how thankful I am to be doing what I’m doing!”

BIOGRAPHY:

Rochester-born musician Mike Cottone developed a love for music at a very young age. After being given a trumpet at the age of 10, it was clear where his love for music would be channeled. In high school, he began to explore the world of jazz thanks to his band director, Mr. Daniel McMurray. Mike was exposed to recordings of trumpet greats such as Louis Armstrong, Lee Morgan, Clifford Brown, Miles Davis, and Roy Hargrove. Thanks to McMurray’s guidance and inspiration, he began to develop his own soulful sound and passion for jazz. 

Mike attended The Eastman School of Music where he was awarded the prestigious Howard Hanson Scholarship and the Rochester International Jazz Festival Scholarship. Mike began his studies as a double degree student in Jazz Performance and Music Education. He honed his skills under the direction of trumpet teachers Clay Jenkins of the Clayton/Hamilton Orchestra and Douglas Prosser, Principal Trumpeter with the Rochester Philharmonic Orchestra.

While playing in Eastman’s New Jazz Ensemble and the Downbeat-award-winning Eastman Jazz Ensemble, Mike shared the stage with jazz giants such as Clark Terry, Slide Hampton, John Hollenbeck, Peter Erskine, Rufus Reid, and Marian McPartland. During his time between semesters at Eastman, Mike kept busy performing for Royal Caribbean Cruise Lines, the Commission Project, the Grand Hotel Orchestra on Mackinac Island, Michigan, and was a featured performer and clinician at the Rochester International Jazz Festival.

Mike completed his Masters degree at The Juilliard School where he studied with trumpet guru Chris Jaudes and jazz great Dr. Eddie Henderson. While at Juilliard, Mike also worked and performed with jazz masters such as Benny Golson, Terence Blanchard, Ron Blake, Ted Nash, Carl Allen, Ben Wolfe, Ray Drummond, and Joe Wilder. Mike led the Juilliard Jazz Ensemble on trips to Columbia, South America and Salt Lake City, Utah, and performed on the Queen Mary 2 as a guest artist.

Now a full-time resident in New York City, Mike performs weekly at the Bar Basque Restaurant and the Black Duck Restaurant. He has also performed with the Lincoln Center Jazz Orchestra at Rose Hall, and in various venues such as Smalls Jazz Club, Dizzy’s Club Coca-Cola, the Four Seasons Restaurant, the Living Room, Rockwood Music Hall, and with the Broadway Production of “HAIR.” Mike was recently a featured performer for the Blue Note’s Emerging Artist Series where he premiered many of his latest works for his debut album, Just Remember

Planet Z, featuring Susan Aquila Moves Up to #22 This Week

Planet Z, Featuring Susan Aquila

Moves Up the CMJ Jazz Chart  
Hitting the #22 Mark

A Fusion of Violin & Jazz/Rock Fusion
Gives This CD A Very Special Edge

Accomplished violinist Susan Aquila bridges the gap between Rock and Classical Music. Ms. Aquila has traveled extensively throughout the world performing in France, Germany, Spain, Russia, Korea and Japan. Susan has shared the stage with such musical giants as Billy Joel, Paul McCartney, Led Zeppelin, Metallica, Alicia Keys, Tony Bennett, John Mayer, K. D. Lang, Josh Groban, Whitney Houston, Kanye West, Susan Boyle and Brittney Spears.

As a classical violinist, she has performed solo and chamber music recitals at The White House for Presidents George Bush and Bill Clinton and at Weill and Merkin Halls in New York City.

Her Broadway credits include Wicked, The Lion King, and Annie Get Your Gun. Susan can also be heard on album recordings and movie soundtracks for Columbia Records, A&M Records, Sony Records and Silvercup Studios. She most recently performed an onstage role in the smash revue The Rock Tenor at the Wilma Theater in Philadelphia.

Since 2008, Susan has become one of the nation’s most visible performers on the Viper 6-string electric violin. She has made solo appearances on the instrument with, among others, The Concert Pops of Long Island, the Beloit Janesville Symphony, and in the renowned Off-Broadway show Spider Dance.

***

Composer, guitarist, and conductor Robert Tomaro holds a Masters Degree and a Ph.D. in Composition from New York University. He began his jazz career in Chicago studying guitar with Jack Cecchini before moving back to his native New York, where he was a featured musician on the New York studio and club scene, as well as performing in the orchestras of the original Broadway productions of numerous shows, including The Lion King, Evita, Les Miserables, Barnum, and Dancin’.

As the leader of the Rob Tomaro Quintet, he has performed in concert with many jazz luminaries, including Stephane Grapelli, Charles Mingus, and Bill Evans.

Dr. Tomaro is an internationally known symphonic conductor. He has appeared in concert and on recordings with The London Symphony Orchestra, The Silesian Philharmonic Orchestra of Poland, The Moravian Philharmonic of the Czech Republic, The Black Sea Philharmonic of Rumania, the Slovak Radio Orchestra, and many more. Domestically, he has conducted the Rockford Symphony Orchestra, the Powder River Symphony, the Fort Wayne Philharmonic and many others. He currently holds the position of Music Director and Conductor of the Beloit Janesville Symphony in Wisconsin.

Mace Hibbard enjoys his 9th week on the CMJ Jazz Chart

MACE HIBBARD ENJOYS HIS 9TH WEEK ON THE
CMJ JAZZ CHART

PEAKING AT #3 OVERALL

Grammy award winning saxophonist/composer/educator Mace Hibbard has quickly established himself as one of the most exciting and versatile saxophonists on the scene today. Remarkably void of cliché and licks, Hibbard is daring, yet precise, emerging as an important voice in the jazz saxophone heritage. Journalist John Barron succinctly commented, “Hibbard is an artist who uses his technical mastery,

compositional skills, and informed understanding of the jazz saxophone lineage, to create musical offerings that are truly unique.”

Born and raised in Waco, Texas, early music lessons included piano and voice until settling on the saxophone at age ten. Mace’s firm grasp of the history of jazz and its standard repertoire comes from the gigs he played throughout his teen years with his father (Dave Hibbard, a great trumpet player who was a staple in the Texas jazz scene for years). From there, he attended the University of Texas in Austin, where he earned a Bachelors degree in Musical Performance and a Masters degree in Jazz Studies. While in Austin, Mace developed as a composer and formed Odd Man Out, which released their self-titled debut on Viewpoint Records in 2000.

After 10 years of being one of the most sought after woodwind players in Austin, Mace relocated to Atlanta, Georgia in the summer of 2003 where he is continuing his reputation as a compelling and gifted soloist with the saxophone family, the flute, and the clarinet. In 2008, the Mace Hibbard Quintet was selected to play at the Atlanta Jazz Festival as the winner of the Future of Jazz Competition. In 2009, Mace was asked to perform in the Battle Royale celebration concert at the Savannah Music Festival where he was a featured soloist alongside such jazz luminaries as the Marcus Roberts Trio, The Clayton Brothers, Terrell Stafford, Scotty Barnhart, Jeff Clayton, Wycliffe Gordon and Andre Hayward.

Beginning in 2005, Hibbard began his association with The Derek Trucks Band and Soul Stew Revival with Derek Trucks and Susan Tedeschi. On select tours for the next five years, Mace was a featured soloist and horn arranger for the two bands. This union culminated in Hibbard winning a 2010 Grammy Award for his playing and horn arrangements on Already Free. He is also featured on the critically acclaimed live album, Roadsongs, released in 2010 by The Derek Trucks Band.

In 2007, Hibbard released his debut album as a leader, When Last We Met, featuring all original material and a lineup of Atlanta’s finest musicians. Released to  worldwide airplay, it amassed incredible reviews from countless critics. Canadian broadcaster Jacques Emond declared, “Mace Hibbard’s new CD grabbed me right from the git go. His writing is wonderful and his playing first class, one of the finest young alto players on the scene and he’s just as impressive on soprano and tenor. The rest of the group is also first class. This is already on my list of year’s best.”

With Atlanta, Georgia as his home base, Hibbard’s playing and compositions can be found on recordings by: Melvin Jones, Jennifer Holliday, Yonrico Scott, Ben Tucker, The Joe Gransden Big Band, Trey Wright, Bryant Thompson, and Marlon Patton. He is also a featured saxophonist/ composer on Atlanta Sax Allstars, which will be released in 2011 by Hotshoe Records and will feature four of Atlanta’s finest saxophonists.

In addition to his impressive performance career, his standing as an educator is equally notable. Hibbard has served on the faculty of Georgia State University since 2005, where he is an instructor of jazz saxophone and improvisation. He was also a professor of saxophone and jazz studies at Jacksonville State University from 2003- 2010. Hibbard has served as a clinician and soloist at many Universities in the United States and Canada, with notable engagements at: The University of Texas at Austin, Florida State University, Slippery Rock University, and The University of Lethbridge in Alberta, Canada.

LATEST RELEASE:
Grammy award winning saxophonist, arranger and composer Mace Hibbard, backed by his long time ensemble, is proud to release his latest endeavor, Time Gone By.

Time Gone By is a full throttle voyage firmly respectful of the traditions of jazz, but absolutely cognoscente of modern jazz idioms.

Time Gone By features pianist and composer Louis Heriveaux, bassist Marc Miller, drummer Justin Varnes, trumpeter Melvin Jones and of course the incomparable, Mace Hibbard on saxophone.

Time Gone By is the second contribution by the Mace Hibbard Quintet. His first album, When Last We Met, was released in 2007 to rave reviews and worldwide airplay. Founded in 2005 in Atlanta, having a established, working band is especially important to Hibbard. Says Hibbard, “I’ve always been influenced by the bands of Miles Davis, Cannonball Adderley and in the modern time, Branford Marsalis and Dave Holland, where the contributions of all of the musicians creates a strong ensemble. I feel that the chemistry and interplay that has developed over the years has really given this band a cohesive sound in how it interprets the music. All of the members of the band have great musical instincts and suggestions, and I want the band to be a platform where they feel their contributions have equal merit. On any given concert, you will hear compositions by all of the members of the band which I feel also adds to the band’s distinctive sound.”

It is this unwavering connection of musicality that makes Time Gone By a standout recording in 2011.

“Rude on Purpose” opens the set, with high octane verve; adventurous music that swings with all the muscularity and energy of pioneers like Cannonball Adderley, Monk, and Rollins, but pays tribute to that glorious past by daring to advance the science of collective improvisation into the future.

“December 18th” and “Remembrance of Things Past“ are intensely poignant ballads that feature elongated, melodic lines of beauty tastefully supported by Varnes and Miller and underpinned with tasteful harmonies and textures by Heriveaux. Both selections are breathtaking. “Indecision” is a slow burn that calls to minds the style and passion of McCoy Tyner and John Coltrane. The end of “Indecision” highlights the splendid interplay between Hibbard and Jones as they lead the ensemble to a fevered conclusion. “Hallowed Ground” is an extremely unique composition that combines the rhythmic complexity introduced by John Coltrane and Elvin Jones while incorporating modern compositional techniques. The unapologetic swing of Heriveaux’s composition, “Theme for Dos Lyn,” is reminiscent of the early Wynton Marsalis ensemble.

A well-traversed cut “Always on My Mind”, made famous by Willie Nelson, lends itself to the theme of time and remembrance throughout the disc, a befitting halfway release in this collection of well-conceived originals. “Slip and Slide” is eloquently named, fast paced and perpetually melodic inventions swirl this up-tempo cut to fervor, as each player more than steps up to the plate. A moody cut, “The Rain King,” is a wonderful counterpoint to relax the listener with a cerebral journey of textural colors and nuance. “La Danza Olvidada” offers a good dose of funky Latin rhythms (provided by Varnes) to spice up the track, and presents a wonderful canvas for Hibbard, Jones and Heriveaux to build upon.

Closing out the offering is the peaceful composition, “For the Memories We Share,” a track that releases the listener in a relaxed way, able to reflect upon the musical journey and relish in the passage of Time Gone By, a recording destined to make its mark in jazz.

Mindy Canter Debuts on the CMJ Top Jazz Adds Chart

Mindy Canter Debuts on the Top Jazz Adds Chart

Her First Week In Promotions with CMJ

BIOGRAPHY:

Music was always a destiny for Mindy Canter. At a young age, she learned to read music before she could read words. She began playing piano at the age of 4, and added the flute at the age of 9.

Although classically trained, Mindy’s earliest creative influences were blues and jazz, and later, soul, funk, roots, rock n roll….and anything else she could wrap her flute or keyboards around.

At age 19 Mindy performed with Albert King and over the years with, Michael Bloomfield, Boz Scaggs, Nick Gravenites, It’s A Beautiful Day, Dan Hicks, Ray Obiedo, Roberta Donnay, and Grammy winner Terrance Simien, among many others.

In 1977, Canter recorded a full length African Highlife record with Souleman E. Rowgie (world famous singer/songwriter from Sierra Leone, West Africa). Playing keyboards and flutes on all tracks.

Last year Canter released a single duet with Yo-Yo Ma, entitled Donna Nobis Pacem (Give Us Peace).

It is Canter’s desire to collaborate, perform and record with many top-notch performing artists in the coming future.

Canter’s ability to play many styles and articulate with genuine mastery is the cornerstone of her appeal. Her blend of blues, jazz, funk, and soul is rhythmically infectious and has been widely acclaimed. It is really a treat to experience such a passionate, soulful performer as she mixes musical genres with grace and ease. The listener can immediately hear the joy in her playing no matter the genre being presented. Jef Labes (Van Morrison) explains perfectly, “An original...one of

a kind.”

LATEST RELEASE:

Fluteus Maximus marks the release of flautist Mindy Canter’s third outing. A collection of groovin’ cuts with the main ingredients being musicality, technical prowess, and outstanding originals coupled with well-placed standards. Recorded in one session, with one take, the result is a spontaneous and enjoyable listen that is guaranteed to find a special place in your personal jazz collection.

A Canter original, “Slider” kicks off the session; a jazzed up Latin/world feel, flavored with percussion and Hammond B3 (also provided by Canter) and a solid rhythmic feel provided by bassist Paul Smith, guitarist Denny Geyer and drummer Roy Blumenfeld, make this cut an outstanding canvas for Canter to paint her beautiful musical flute strokes across. Canter gives the cut exactly the right touch with her soulful flute lines. Canter recounts the driving “literally” force behind this cut. “I wrote this driving home after a Latin jazz gig with some friends. I just started humming it....and out it came. We had never played this song and I showed my band how I wanted it to feel in the studio when we were setting up for the session. This was a warm up song and I’m glad the tape was rolling.”

“Watermelon Man,” taken at a slow pace, gives the listener a chance to savor each and every line and nuance the ensemble has to dish up on this classic Hancock tune. “Memphis Underground” has an authentic soul feel that Canter digs into with searing lines and quick stabs of passionate expression. Canter truly shows the listener why she is a top call flutist. Also providing the Hammond B3 with overdubs (same session); Canter offers well placed answer and call lines to the track. Canter explains, “We never played this song before....I established the feel, and off we went.”

“Do It Again,” a Steely Dan classic, is truly a befitting tribute and a well placed texture change in the offering. Canter skillfully unfolds the musical storyline with harmonically interesting lines that add depth for the listener. Guitarist Denny Geyer adds a funky 70’s sound that ties in the track perfectly. His tone is round and warm and adds to the overall beauty of the track.

“Karma,” another Canter original, really shows her ability as a composer. From the first notes, the listener is ingratiated by her endearing sound and well-crafted ideas as a composer. Canter recalls, “It was late afternoon and I was sitting on my couch practicing my flute; going through routine exercises, scales, patterns, etc while looking outside on a winter day. After awhile, I just started to just play whatever - when I started to feel tired, I realized that it was 4 hours later, the sun had gone down, and I was sitting in the dark playing this song.”

“Mercy, Mercy, Mercy” is an old school favorite of Canter’s and the band fell right into place immersing themselves in the history of the song and the true groove. A bluesy, “Hi Heel Sneakers” is a full romping cut that features Denny Geyer on vocals. His soulful and playful voice adds just the right spice to this just plain fun cut. A truly classic song “Funny How Time Slips Away” gets a new treatment with a groovin’ cool feel and again Geyer lends his organically pleasing voice to the festivities. Canter explains “We tend to pull songs out of a hat and try them on for size. We make them our own and really have fun playing off of each other.” This spirit is immediately evident on this song; the group exudes a welcoming energy and joy that immediately puts you in a great mood.

“Halleluyah” continues the soulful side of the journey in a relaxed setting that is like a long lost friend you finally see again. A hip and cool version of Johnny Cash’s classic, “16 Tons,” give this session a complete vibe of eclectic cool. “Over the Rainbow” is given a Caribbean feel. Blumenfeld plays drums with his fingertips and bassist Paul Smith and Canter create an interactive sound that truly makes this cut their own. A befitting closing with the classic Dale Evans tune “Happy Trails,” gives this jazz outing a completely enjoyable look at how to integrate all styles and genres into one cohesive message.

A truly fun, listenable and musically enjoyable journey through a collection of original and well-crafted classics, that all add up to a delightful offering by Canter, truly showing her abilities on flute to the maximus.

Vincent Lyn Enjoys his 6th week on the CMJ Ñ Alternative Chart

Vincent Lyn Enjoys His 6th Week on the
CMJ Ñ Alternative Chart

Peaking at #33 Overall So Far!

He was soon accepted to the prestigious Boston Conservatory of Music, and it was here where his piano mastery developed. He majored in piano performance and studied with Jacqueline Gourdin herself a student of the world renowned concert pianist Alfred Cortot of the Paris Conservatoire.

He expanded his musical horizons at the Manhattan School of Music where he explored jazz piano performance, arranging and composition. He has played in every group musical setting -- from full classical orchestra to pop, rhythm and blues, funk, fusion – but his first major dream came true came when he opened for Dizzy Gillespie at Yale University.

However, music wasn't Lyn’s only goal. Pursuing his love of acting, he wound up in South China, where he appeared in nineteen of the most successful films in the Golden Era of Hong Kong cinema. While co-starring alongside Jackie Chan in the international blockbuster Operation Condor, he also composed “Canto-pop” for Polygram Records – two of which hit the Asian charts’ top ten.

Returning to America, Lyn recorded his first jazz album, Wing Sing, which was released in 1999 under the BMG Asia label. More recently, Lyn played to an audience of 20,000 at the opening ceremonies for the first ever Martial Arts Olympics in St. Petersburg, Russia. Vincent has since been awarded by the Board of Directors of the Music Educators National Conference, and the Tri-M Music Honor Society, for furthering the cause of music and music education. His most notable inspirations are Oscar Peterson, Errol Garner, Herbie Hancock, Ramsey Lewis and Eliane Elias.

Ekendra Das enjoys his 18th week on the CMJ Ñ Alternative Chart

Ekendra Das Enjoys His 18th week on the CMJ Ñ Alternative Chart, Peaking at #14 Overall

Ekendra Das is a multi-percussionist and drummer whose relationship with the drum goes back to his childhood. He often jammed with the musicians that played at the Blue Cornet night club managed by his father in New York. Musicians like Miles Davis, John Coltrane, Max Roach, Art Blakey, Dizzy Gillespe and others. Ekendra’s uncle, a famous Katherine Dunham dancer, arranged for Ekendra’s first recording, singing and playing percussion on a Harry Belefonte recording. The spark was lit; music and the drum became a huge part of Ekendra’s life.

Ekendra went on to study drumming and music under various teachers from all styles. Ekendra worked the New York music scene after college, working with artists like Kashif, Living Color’s Vernon Reid, JazzMobile all stars, sax man Carlos Garnett, Pharaoh Saunders, Nat Aderly Jr., and a special performance with Dizzy Gillespe. Broadway shows and major dance companies also used his percussive skills. When Ekendra was offered a job working in Africa he took it as an opportunity for first hand drum and percussion study of Africa percussion. This also found him playing with African artists like Sonny Okoso, Kofi Ghanaba, Banda and Congolese artist Africa One. Ekendra decided to visit India on a vacation and fell in love with the music and returned several times to study both music and philosophy. Ekendra has played Indian percussion for artists both recording and live performances.

Ekendra began a refreshed music career after returning to the States, playing and recording with Fertile Ground, David Bach, Raheem Davaughn, Mary Ann Redmond, Imani, Tim Eyerman, Caje Mosaic, Bottomland, Amikaelya, Anthony David, The D.C. Mass Choir, Havana Select, Frank Macomb, Brian Culbertson, Marcus Johnson Project, Al Williams, Scott Ambush, Julie Dexter and others; including international artists Chucho Valdes, Susana Baca, Marixtrell, Armand Ntep, Rashik Priya, Los Munoquitos, Filipe Villamil and Emekeke.

One of the most inspiring moments was playing the Smithsonian Institute tribute to Celia Cruz with Havana Select. Ekendra has for the last eleven years been the percussionist for the soul/ jazz and world music, group Fertile Ground, recording and touring the world and sharing stages with everyone from BB King to the Black Eyed Peas. Ekendra continues to teach workshops and clinics as well as private instruction. Ekendra is also a member of PASIC and the Drum circle facilitators’guild.

World Radio 108 is a collection of musicians bought together by Ekendra Das who come from various musical and cultural backgrounds who are united by the common interest in inspired music, there are no formulas, or limitations, this is heart music, from ours to yours. WR108 marks the introduction of Ekendra as a producer and composer.

WR108 is about the message and the music, we hope that you find the moods and grooves in this recording help make your day better for years to come. Ethnomusicology its academic meaning, is the study of the music of various cultures, Ekendra Das is himself a study in various cultures having lived and been inspired by music and cultures from Africa to India, Europe South America and the Caribbean., Having played for over 25yrs in all musical Genres from Jazz to Hip Hop , Afro Cuban, to Indian
Bhajans, and for years has been the percussive power behind the group Fertile Ground.

Add to that mix the rich multicultural tapestry that is WR108. The results the kind of music that you want to listen to now and for years to come. We all have many moods so why can’t the music we listen to also have many moods, WR108 is a musical experience, a sound track to life.

Planet Z, featuring Susan Aquila is reviewed by LMNOP Magazine

by:  Don Seven

Planet Z Featuring Susan Aquila - Music by Rob Tomaro

Most folks probably aren't familiar with Susan Aquila's name...but they have undoubtedly heard her before. After all, this extraordinarily talented electric rock violinist has played with a wealth of well-known celebrities including Paul McCartney, Billy Joel, Elton John, Led Zeppelin, Metallica, and Britney Spears...and that's just the beginning. But on this album with her band Planet Z...Susan gets to really loosen up and let the music flow.

Music by Rob Tomaro features some really choice instrumentals. Some are slightly bluesy, some jazzy, and some tread into the harder rock arena. But no matter what style she's playing, Aquila always seems to be on top of her game.

Her playing is fluid and exacting...at times so blindingly fast that it's difficult to keep up. Seven meaty cuts here including "Bombay Express," "For Mehera," and "Horizon's Edge."

Andrea Wood Makes BOPNDICKS Top 10 List

BOPNDICKS

10 PICKS    AUGUST 2011 

Dick Crockett, “The Voice” 88.7FM 

Sacramento, CA

TOMMY SMITH     KARMA      Spartacus Records 

“Karma-for every event that occurs, there will follow another event whose existence is followed by the first.”  Isn't this the essential way of jazz, where an event is followed by a seemingly succession of events, (there's the key,) not to be followed in another time, the same again.Saxophonist Tommy Smith peers into the microcosm of world wide music, from 'llama llama' rhymes,  early Celtic, to mid eastern machinations and various pop “Karma”  upstarts, in very active  rock precocious way- in a steel mill in Pittsburgh- under miles of stone, where a hard rock sophistication  melds into a world music lava. Tom Smith band has a special vivacious  'llama -llama.'

PAT METHENY      WHAT'S IT ALL ABOUT   Nonesuch Records 

Pat Metheny, in as much of our pop psyche, as here with a stellar solo performance  “The Sound Of Silence, the way he curls around the theme. Metheny displays a series of Epiphany moments,”Cherish,” “Alfie,” “Rainy Days and Mondays,” “Slow Hot Wind” “And I Love Her.” “Pipeline” has flamenco figures, jumping about, in a surfer guitar milieu. So what would you say if this solo guitarist was at a

big shopping mall, or the hospital, or in a  hospice?   It'd probably be such a thrill, as Charlie Chan jamming with Miles Davis. What a way to remember classic songs in a final say! What a way to fade away.

TOM HARRELL    THE TIME  OF  THE  SUN    High Note Records

“The  three solar sounds which open this track are actual recordings are the actual harmonies produced by the magnetic field in the outer atmosphere of the sun.” whether truth or dare,  keep in mind “The Planets-Berlioz,” “The Planets Suite” and “Symphonie Fantastique.” How1ever, if you're a classical music traditionalist and a far out post modernist, then you'll dig it. The concept has holes, but stretch a little!  

The most centered tune is “Estuary,” combining pastoral conception in a hard bop conniption.  Note: Wayne Escoffery's solo, simple, yet unencumbered and smooth. Rounding out the rest of Tom Harrell's  band are pianist Danny Grissett,  bassist, Ugonna Okegwo and drummer Jonathon Blake, for this band of bop ville merry makers are in  no manner to be messed with on the planet hard bop-a-way, out there in post modern outer space.

COREA,  CLARKE  &  WHITE      FOREVER    Concord Records

This 2 CD set is slim as a multi-tasking smart phone. Able to fantastic multi- music gatherer, and fits right into your breast pocket, enhancing your stationary bike ride at the gym on a sunny afternoon, better than watching politics on cable tv, and don't forget your daily dose of Vitamin D- what a country! Actually this is a quite good retrospective of  the three musketeers of jazz fusion, Chick Corea, Stanley Clarke and drummer Lenny White's  special moments together over the years.  Disk One, recorded live at Yoshi's in 2009 and disk two, featuring Chick Corea's many other  fusion partners, electric violinist,  Jean Luc Ponty, vocalist,  Chaka Khan in “I Loves You Porgy” and guitarist Bill Connors, who offers exceptional performances on “Senor Mouse” and “Space Circus.”

ERIC HARLAND   VOYAGER Live By Night  Space Time Records / Sunnyside

Drummer Eric Harland, whose star is rising-a cross between Ginger Baker  and Elvin Jones in  this recording- for there's an obvious  contemporary quality- creating  a   kinetic atmosphere with this live Paris recording. For his compatriots are young, energetic, ready to rock, especially with the urgency from Eric Harland.  These are the  post moderns in jazz, capable of carrying the music forward at least two generations, Julian Lage, guitar, Taylor Eigsti, piano, Walter Smith III on tenor saxophone  and Harish  Ranghavan on bass. You sense surreal rock beauty in this recording.  Eric Harland and “Voyager Live At Night” is a jazz progenitor of things to come. What I enjoy is many of the tunes have no discernible

ending- an existential happening. Life as it goes. Another new French new wave. 

BEN WILLIAMS      STATE OF ART   Concord Jazz 

Bassist Ben Williams, recent winner of the Thelonius Monk competition, has something to say in this ever changing new world music. Ensconced with a blues/jazz perspective, one is capable to hear the bop nuance in “Moontrane” and  “Home.” Ben Williams is catchy, simple for now, however, the ground work is now laid in “State Of Art,” I read a negative on this CD, the rap version on, “The Lee Morgan Story,”where the rap did not exceed the myth. My only connection is seeing Lee Morgan with Art Blakey's Jazz Messengers at the Minor Key on Dexter Ave, near west side of Detroit in 1964. I was blown away by Lee Morgan blowing his horn on stage, then drinking coffee and smoking a cigarette, during the gig.

How blasphemous!  But friends, I must say that Wayne Shorter,. Bobbie Timmons, Jimmie Merritt was there too. Sometimes, we don't know whether we've witnessed history, or not. Decades later we tend to change our perspective. Was it an integral piece in the overall, unending musical magma, we call jazz?  

I still remember that night til this day!

BRIAN LYNCH & SPHERES OF INFLUENCE        CONCLAVE  vol. 2      Criss Cross Records

“The  Downside Of  Up speak,” reminds me of that Afro-Cuban Bronx groove of the Fort Apache band. Extraordinary trumpet player Brian Lynch makes it so, with his latest  CD, “Conclave Vol 2.”  

Brian Lynch's solo on Charles Tolliver's “Truth” indicates the classical trumpet the breath command of this man.  It's engaging, soft and lyrical with disciplined structural perfection. The more you delve, the more you appreciate Brian Lynch. The man has incredible chops for Afro-Cuban jazz. “Sphere Of Influence” consists of some fine young musicians with “Cubanisima,” pianist Manuel Valera, alto saxophonist, Yosvany Terry, Luques Curtis on bass, Justin Brown, drums and percussionist Pedro Martinez.  

Note: Don't let Brian Lynch's seamless, smooth playing, fool you. Don't think you can  do that.  Even if you're a half baked trumpet player and you think there's some Brian Lynch within, you can't play like  Brian Lynch!

MICHAEL BENEDICT & BOPITUDE     Planet Arts 

Post bop magic continues as drummer and leader Michael Benedict and Bopitude capture the firefly,  hard bop in a bottle. And what an enlightened  sight to behold, and to listen to, and reap the wild wind of the post modern.  Pianist Bruce Barth leads on Gary McFarland's “Circulation.”Good horn work with Chris Pasin, trumpet, Brian Patneaude, tenor saxophone and Mike Lawrence, bass. And with a horticulture of hard bop classics, “Cheese Cake,” “Alter Ego,” “Joy Spring,” “B For BB,” “Whistle Stop” and “Moanin,” in what many of us perceive to be a baroque period in modern jazz. “Michael Benedict and  Bopitude” capture the essence of that period, from the fifties through the sixties.- forerunner of today's post modern.

DIEGO BARBER       THE   CHOICE    Sunnyside Records

You must know that Diego Barber is an extraordinary young acoustic guitarist, born in Lanzorate, part of the Canary Islands on the coast of Spain.  You can surmise from his style , that jazz lends immaculately to his overall means of expression, a blend of  the ethnicity of Hispanic Flamenco and modern jazz. Barber begins the CD with a poignant romantic-essentially traditional – a quiet, soft, cafe romance, “To Annie.”  

Guitarist, Diego Barber's magenta is still rising-to regaled by international audiences. Remember Django Reinhardt? His impact. Diego Barber's work with saxophonists Mark Turner and Seamus Blake in this new CD, THE CHOICE will be regarded by futurists and many purists. For Diego!

THE H 2 BIG BAND       YOU'RE  IT !    Jazzed Media 

The charts remind me of the old days, of the pugilist, big band style of Ernie Wilkins and those grand old days with the Maynard Ferguson band and the Thad Jones/Mel Lewis bands You just can't hide the swagger especially with super lip on trumpet, Bobby Shew and a power house brass and rhythm section. I thought that “Joy Spring”was overkill with trumpet section climbing all over each other.But there's another side to this dating back to Chick Webb in the thirties, where whole saxophone sections used to game each other with blazing solos. The “take no prisoner” approach has to be the H-2, of which,  trumpet in charge,. Al Hood constitutes numero uno and el hefi, pianist Dave Hanson resides there too. The arrangements on “Singing In The Rain,”” Big Spender””Double Bubble” are muscular and remarkble. Sonny Rollins, “Oleo,” from “EMC's “Live At Birdland” was never done away with, was never done, like it was before.  

(PS: There's no reason, why one supercedes the other, except a Brad Mehldau cop of the others in a small group setting.  

ONES TO WATCH:

RON CARTER            ALL   BLUES    CTI/MASTERWORKS

Ron Carter is one of great bassists of our time. "All Blues” is a remastered recording on CTI Records by Creed Taylor, celebrating their 40th anniversary. Not only is the artist remembered for his contributions, but the label, as well. There's a prominent Detroit connection here with Sir Roland Hanna on piano and Joe Henderson, originally from Lima, Ohio, attended Wayne State University and  thrived within this hard bop environment-just prior to this recording. “Rufus” is a gas! Wonder if it reflects to Rufus Reid, prominent former graduate of Sacramento High School. 

ANDREA WOOD       DHYANA       andreawoodmusic.com  

Vocalist Andrea Wood has the energy and vocalization  to excel as a prominent jazz artist-as you'll perceive by listening to her debut recording, “Dhyana.” Graduate of Michigan State, tutored by bassist Rodney Whitaker, and with those credentials, this young lady will soar like a butterfly in her career as a teacher, and her emergent jazz singing is only a matter of time, cadence and the hipness of the good manners, as in Wayne Shorter's, ”Hold On to The Center,”and  her accompanying lyrics (The House Of Jade..) a remarkable discovery of a new jazz vocal-”Hold On To The Center-The House Of Jade. Andrea Wood responds to challenges that other aren't will to accept at this opening phase of careeras. Who would sing an Henri Salvador, “Syracuse, ” for heavens sakes Wood has the guts to do it on her debut CD.  This talented young lady is NOT willing to compromise her integrity at this stage of her career.   I think she feels comfortable with her incredible talent. Andrea Wood will forge her own path and all of Europe will love her. PS Betty Carter would love you, too!

JOSE RIZO'S             MONGORAMA     Saungu  Records 

If you're expecting to hear Mongo Santamaria's “Watermelon Man” and “Afro Blue,” forget about it!

Jose Rizo's  “Mongorama” is a tribute to the great Cuban conga player, Mongo Santamaria and his blues brand of Latin-Afro Cuban.  “Bacoso” features  Mongo's daughter, violinist Dayren Santamaria. The essential hard look at the repetitive nature of the music is what Afro Cuban is all about, a chance to practice your move on the dance floor, or tingle around your dance chair. Essential “Mongorama.”  Santamaria wrote “Las Guajiras” and “Guajira At the Blackhawk.”that are featured on “Mongorama.”  This CD is also full of Afro- Cuban  leaning top talent, Poncho Sanchez, Hubert Laws, Oscar Hernandez and other top flight musicians. “Bluchanga” is also a trip to paradise. It cultivates  Mongo mania. Then, Destani Wolf sings the lyric in Spanish/ English on “Bubba Boogaloo” “Get on the dance floor, give your feet a chance.” From my frustrated conga player point of view, give Jose Rizo's “Mongorama” a chance on your contrapuntal turn table. It's all the joy of moving your body. And don't multi - task, twitter your life away. Make love to the moment! 

MR  HO'S  ORCHESTROTICA  presents      THIRD RIVER  RANGOON 

Tiki Records This is Martin Denny, high  on tryptophan, meaning a host to this crazy cycle,  a relaxed take before top 40 programmers, when  TV began in the  early  fifties, where lively music became a Jetsons  pack. Yet, it was a Philip K Dick  paranoia of nonpareil - never trust anyone. The signature sound is flute and vibes -a kitsch form of hipness, a form, however,  right before FM and prior to stereophonic. A very strange period, but as much fun as “ The Steve Allen Show,” as extemporaneous humor ruled the day.  Now these  variety shows have become merchandising monstrosities. Or, it could be interpreted as a sound track, “Maika,”  to a Peter Gunn mystery where jazz crept into a Henry Mancini, Shorty Rogers mind set, prior to the black film exploitation sound tracks of the sixties. This is a stark period in between, the late forties-early fifties, when there were only 8 AM's per city, and early Sunday morning you could hear a jazz version of Tchaikovky's  “Arab Dance!” It's a rare breed.  Once again, the more you listen to “Third River Rangoon,” by Mr Ho's Orchestrotica, the more you sense the purity, right before or right after any transformational period, and the more you understand (the subjective, of course) fleeting nature of reality... Relax,. the music is fun! 

ERNESTINE ANDERSON  NIGHTLIFE  Live At Dizzy's Club Coca Cola  High Note Records

“Night Life” is a sophisticated R&B version of Urban Jazz , and who better than Ernestine Anderson to call the tunes, sing the songs, set the stage with a band of Houston Person, tenor saxophone, Lafeyette Harris, piano, Lonnie Plaxico, bass and Jerome Jennings, drums. Ernestine Anderson, born Houston Texas,  1928 recorded this classic in 2008, what a celebration  in her 80th year. And her voice is as big and powerful as ever! That's why she signifies and verifies,  when she sings these classics, “Nightlife,” Goin' To Chicago Blues,” “All Blues,” “Only Trust Your Heart” and “Never Make Your Move Too  Soon\.”  

All the tunes on Ernistine Anderson's “Night life” demand authenticity, and she delivers, big time.