Mindy Canter is reviewed by Ejazz News

by:  Geannine Reid
Mindy Canter, Fluteus Maximus
Mindela Music, 2011


Steeped in the jazz traditions, but raised in the belly of the blues, female flautist Mindy Canter releases her latest endeavor keenly entitled Fluteus Maximus. Canter melds a mixture of original, well known, and obscure jazz choices that actually work well as a calling card for any listener looking to enjoy jazz with a bit of bluesy overtone.

All the cuts are melodic and easy to tap your foot too and Canter’s originals “Slider” and “Karma” truly standout as fine compositions, melding into the program and holding up strong along with the standards.

Danny Geyer lends vocals to the blues classics “High Heel Sneakers,” “Funny How Time Slips Away,” “Halleluyah,” and “16 Tons,” giving the session a different twist with the leader not being the vocalist on this outing. Geyer’s voice is gritty and organic, which further lends itself to this One Session – One Take underpinning.

Each player lends their own authenticity to the proceedings. Cuts like “Watermelon Man,” Memphis Underground” and “Do It Again,” have a 70’s funky feel and is truthfully feel good jazz, nothing in your face, nothing over the top or pushing the envelope to chaos, just a good old fashioned romp in the listenable and enjoyable lane.

The journey ends with “Happy Trails,” which further proves the point, that this group of musicians and Fluteus Maximus in general, was conceived to bring joy and to take along with you on the long car drive, or the wind down at the end of the day or to ease you into the day with a smile and happy heart. Canter truly got the memo that music is supposed to bring joy to others. In a world where anger, aggression and scandal are a part of our daily news, turn you dial over to the Canter channel and soak in the good vibes of Flueteus Maximus.

Lisa Maxwell is reviewed by Jazzscene

by:  George Fendel

Happy, Lisa Maxwell, vocals.
If you get to the point where you can gig with pianist Keith Ingham, you're in heady company. That's what Maxwell has accomplished. Ingham, you see, has accompanied such gifted singers as Maxine Sullivan and Susnnah McCorkle, so he knows all the subtleties of his craft. 


Maxwell has a rather soft, slightly Blossom Dearie-ish voice and seems to convey the meaning of a lyric in a very honest and direct fashion. Certainly it doesn't do any harm to Maxwell's effort when she gives us a selection of both honored evergreens ("I'll Take Romance," "It Might as Well Be Spring," "Someone To Watch Over Me," "Blue Moon" and "Skylark"). Along with these, Maxwell mixes in a few lesser known goodies including "You Can't Lose A Broken Heart" and others. 


Maxwell doesn't force a note, nearly letting the music somehow "sing itself." And that's a pretty good trick.

Mindy Canter is reviewed by Jazzscene

by:  George Fendel

Fluteus Maximus, Mindy Canter, flute, keyboards, Hammond B3, vocals.
This is a soulful quartet featuring the flute of Canter. While it would be safe to say there are more vigorous flute fans than yours truly, these folks do what they do with panache. 


The rest of the quartet consists of Denny Geyer, guitar and vocals; Paul Smith, bass; and Roy Blumenfeld, drums. They all hit a nice little groove on well chosen hits such as "Watermelon Man," "Memphis Underground," "Mercy, Mercy, Mercy," "High Heel Sneakers," "Funny How Time Slips Away" and "Hallelujah I Love Her So." 


Some vocals here and there add a little spice. Anyway, just when you think this funky, understated groove is well in place, the quartet surprises us with three tunes many miles from this style. How about "Sixteen Tons" (remember Tennessee Ernie Ford?), "Over The Rainbow" and (I'm not kidding) "Happy Trails." As unlikely as it may sound, it works nicely. These guys are not in the game to spin your head with funky pyrotechnics. They simply play tunes for the sheer fun of playing them. And there's nothing wrong with that.

Kate Reid is reviewed by Jazzscene

by:  George Fendel

The Love I'm In, Kate Reid, vocals and piano.
I can't quite figure out just what the subtleties might be that drive me to rally around the cause of singers who accompany themselves. Kate Reid plays a fine, swinging piano, and sings like, well, a jazz singer should sing! This is her second CD, and it's every bit as good as her first, "Sentimental Mood." 


If you lean in the direction of a sultry low voice along the lines of Julie London or Shirley Horn, you're going to love Reid — although she sounds only like Kate Reid. And wow, does she choose great standard tunes! Consider such winning items as "Just Squeeze Me," "The Lamp Is Low," "So In Love," "Nice And Easy," "I'm Through With Love," "I Love You Porgy" and "Nobody Else But Me," among others. Reid also gets to the heart of more recent ballads like "Where Do You Start" and "Close Enough For Love," both highlights. And don't miss her jazzy take on "Something Good" from The Sound of Music. 


Her accompaniment is provided primarily by her piano trio with guests Ernie Watts on tenor sax and Steve Reid on trumpet. Reid's the real deal: a thoroughly gifted jazz singer who respects lyrics and interprets them as well as anyone singing today.
Self-Produced, 2011, times not indicated.

Audrey Silver is reviewed by Celebrity Cafe

Celebrity Cafe
by: Stephanie Trottier

Audrey Silver, a stunning New York City jazz artist, released a fantastic album brimming with some of the most unforgettable jazz songs. Her album, Dream Awhile, released in 2009, puts a new modern spin on jazz classics.

As beautiful as the instrumentals are, if Silver’s voice has not captivated you, you better check your volume. The way Audrey enunciates the words and how they form in her vocals is enough to make the songs better--not that there was much room for improvement. Taking on songs by Frank Sinatra, “In the Wee Small Hours,” Silver is conquering some songs that seem insurmountable to other artists.

Silver’s voice has a very rich depth to it. It is truly a pity that she is playing in bars and hotels and even at a senior center this Saturday although I’m sure the elderly will absolutely love her voice. Hopefully she will make her big break soon.

Truly, jazz is not my preferred genre, but it may be now.

The accompanying artists and musicians on the album are Joseph Barbato, on piano, Joe Fitzgerald, on bass, Chris Bergson, on guitar, and Anthony Pinciotti and Todd Isler, both on drums. The album includes my favorite song, “The Song is Ended,” as well as “In the Wee Small Hours,” “Falling in love with love,” “Too Marvelous for Words,” “I Will Wait for You,” “So Many Stars,” “Exactly Like You,” “That’s All,” “I Can’t Give You Anything But Love,” “Day Dream,” and “I Could Write a Book.”

David Leonhardt is reviewed by Celebrity Cafe

Celebrity Cafe
by: Stephanie Trottier

The David Leonhardt Jazz Group has been gaining notoriety in New York for the pianist’s swift hands and the way he draws the music out of the instrument.

The music is calming but upbeat at the same time.  David Leonhardt is not new to the music business. For 25 years, Leonhardt has recorded music, done festivals, and performed in night clubs and on stages, as well as around the world.

John Samorian is reviewed by Celebrity Cafe

Celebrity Cafe
by:  Stephanie Trottier

If you don’t know him, John Samorian has been a musician for 29 years and has a bachelor’s degree in jazz. It really shows in his album, Out on a Limb, released in 2010.

His voice is perfect for jazz. He has the perfect control and it brings the right amount of energy to every song on his album. With songs like “The Alphabet of Alcohol” (one of my personal favorites) you can’t help adding the album to whatever mp3 player, or iPod you have one.

Samorian is planning on an album titled The Alphabet of Alcohol, which will contain all original songs. I’m particularly going to look for this album. Most jazz artists seem to be remaking the classics or creating their own modern renditions, but I give more respect to an artist like Samorian who is creating his own soon-to-be jazz classics. One day, Mr. Samorian, artists will be covering your great songs; unfortunately, they’ll never come close to the original.

The songs are just full of energy, which is what everyone looks for. This album will keep anyone entertained, whether a jazz enthusiast or not.

Planet Z is reviewed by Jazz Times

by:  Wilbert Sostre

The sounds of the electric guitar and the Viper 6 string electric violin dominates the music of Planet Z new release featuring violinist Susan Aquila.

Most of the music here can be classified as instrumental hard rock, reminiscent of 80's rock musicians like Joe Satriani and Steve Vai, especially on tracks like "Cajun Queen".

The electric guitar and violin exchange aggressive intense solos on "Bombay Express", and "Apellation Sproing". On "For Mehera" and "Horizon's Edge" Aquila and the band slow down the tempo with two wonderful ballads, proving she can play slow and clean.

Jocelyn Medina is reviewed by Jazz Times

by:  Wilbert Sostre

CD Review: Jocelyn Medina - We Are Water

Funk, samba, smooth jazz, all that and more can be found in Jocelyn Medina album We Are Water. Medina is a Singer/composer with a Bachelors at Berklee College Music and a Masters in Vocal Jazz performance from Manhattan School of Music. She also Lived in Madrid, Spain so that explains the international flavor on her music.

All compositions are by Jocelyn Medina except "April 4th."

"We are Water" a piece with a touch of samba  and "Cosmic" is a slow funk with sharp saxophone improvisations.

Medina beautiful voice, at times is similar in style and phrasing to singer Basia, and may be fully appreciated in the jazz ballads "My First Love" and "Natural".

On "Time and Place", also with samba influences, and "Same Mistakes" the similarities with Basia are more evident. "Feel free" is a Bluesy jazz ballad and for sure one of the high-lights of the album.

Benji Kaplan is reviewed by Jazz Times

by:  Wilbert Sostre

CD Review: Benji Kaplan - Meditacoes no Violao

A guitar player with impeccable technique and fluency Benji Kaplan studied at the New school for Jazz and Contemporary Music in New York. His 2011 release Meditacoes no Violao (guitar meditations) is a collection of poetic and refined compositions, played with a perfect balance of intellect and emotion.

Some pieces are more introspective like "Tormento", "Meditacoes no Violao" "Escuridao no Ceu" (Darkness in the sky) and "In Memory of Luke", a ballad dedicated to a friend that committed suicide. On "Quando o Sol Raiar" (When the sun shines) Benji shows his clean good technique in a happy, upbeat tempo composition.

The brazilian influence is obvious in Benji's music. In "Choro in Fado" Benji beautifully fused two music styles choro from Brasil and the Fado from Portugal.

"Choro in E Major", "Choro pra Garoto" and "Baiao for Gershwin", an obvious reference to composer George Gershwin has a more distinct brazilian feel. Baiao is a music rhythm from the north of Brasil.

Completing Benji's musical offering, "Truffaut", a homage to french film maker Francois Truffaut. "Valsa Lullabye", a piece that definetly feels like a lullaby, and "Baiao de Leemore" dedicated to his girlfriend.

Sylvia Bennett is reviewed by Jazz Times

Sylvia Bennett taps into the hispanic listener
by: Geannine Reid

Sonrie bridges the gap between jazz and latin jazzGrammy award winning vocalist Sylvia Bennett releases Sonrie, a jazz standards release with a new twist, well a Latin tinged one at least. In an era where a high percentage of jazz vocalists focus on the technique and articulation of the notes, it is refreshing to hear a master of song stylings put her spin on classic jazz standards completely sung in Spanish. So what about the authenticity you ask? Italian born, Bennett an always striving for perfection and reaching new heights (no wonder Lionel Hampton hired her permanently) artist procured a language coach (Juan Angelogianopulos) to make sure her journey would be flawless, and I must say that it is. Bennett shines; she lures the listener in with her luxurious voice and golden pipes, then sets the mood and delivers just the right atmosphere – no matter the language – for the listener.

There is something about performers who began their careers long ago that have the something special, that individual way of phrasing that so many vocalists of today have lost in the translation. Bennett knows how to deliver a storyline within her lyric delivery even when in a foreign tongue.

Mirada De Amor (The Look of Love), a breezy rendition perfect for a romantic evening, background music for a very important cocktail gathering with friends (especially suited for the upcoming holiday) or a quiet moment at the end of the day when you need to let down the stress of the day. A well covered acorn in the jazz genre “Besame Mucho” is given a mid-tempo treatment with Spanish guitar and all the sensual bells and whistles that Spanish delights offer.

The playful “Quien Sera” is augmented with, bassist Ranses Colon, pianist Mike Levine who create a solid locking sound for Hal Batt to build upon. Batt holds many roles as producer, guitarist, at times bass and percussion including all programming of Vienna Strings.

Overall, Bennett and Batt continuing a longtime working relationship of collaboration have again put together a wonderful blend of adult standards, but this time with a delightful twist. Spanish is becoming such a vital part of the fabric with the American culture. Bennett truly offers a release that melds two cultures together with the authenticity of Spanish rhythms and language coupled with the traditions of timeless jazz classics, this is truly and lasting statement that bridges the gap and creates a beautiful tribute to both cultures. Gran trabajo Sylvia Bennett!!

Mike Cottone is reviewed by the Ottawa Citizen

by:  Peter Hum

Just Remember (self-released)
Mike Cottone

Just Remember, the accessible and upbeat debut CD from Mike Cottone, puts the Rochester, N.Y.-raised trumpeter’s more modern side forward but concludes with music that more explicitly reaffirms his deep connection to jazz standards and bebop language.

The disc’s opener and title track is a gospel-pop tinged creation for quintet, a splashy, funky introduction to the 26-year-old hornman who has a Master’s degree from the Juilliard School and some equally young bandmates.
They include tenor saxophonist Jeremy Viner, pianist and fellow Juilliard student Kris Bowers, who won this year’s Thelonious Monk International Jazz Competition, bassist and fellow Juilliard grad Paul Sikivie and drummer Jared Schonig. (On four of the disc’s 10 tracks, spelling off Schonig is the up-and-coming drummer, Ulysses Owens Jr., who plays with Christian McBride and Kurt Elling and produced Cottone’s CD.)

Everyone including Cottone is a sturdy, flowing player with a strong sound and firm grasp of the fundamentals. For organic and personal invention, the winner might be Viner, who performed smartly on alto saxophonist Curtis Macdonald’s Community Immunity, a very different kind of jazz CD that I reviewed here.

Following Just Remember is Selah, by Bowers. It’s a big, dramatic, minor-key tune that reminds me of the music that Terence Blanchard’s most recent groups play. It’s followed by a 3/4 tune, Old Blue, that expresses its positive vibe in two ways, through the body of tune, which feels very songful and traditional, and the vamping follow-up section that’s more poppy and modern in terms of groove and harmony. The tune finishes with drummer Owens strutting his stuff before a Blanchard-like jubilant proclamation by Cottone.

Slow Down is a smooth, gospel-pop original, and the Blanchardesque Gyroscope will set hips swaying and heads bobbing with its funky, Afro-Cuban-New Orleans groove.

The disc’s B side, such as it is, embraces swinging – Sloppin’ a riffing, swaggering blues and I’m Sure, a bluesy, medium-tempo contrafact built on Charlie Parker’s Confirmation. The disc concludes with three covers: Dear John, Freddie Hubbard’s melody built on Giant Steps changes, and two polished ballads, When Sunny Gets Blue and Stardust.

With his direct and poised renditions of those timeless melodies that haunt our reveries, Cottone gives the impression that his main man isn’t Blanchard after all — it’s Wynton Marsalis or Clifford Brown.

Mike Cottone is reviewed by LMNOP Magazine

by:  Don Seven

Slick and classy light jazz stuff. Trumpet / flugelhorn player Mike Cottone currently performs regularly at the Bar Basque Restaurant and the Black Duck Restaurant in New York City. This guy has had a lot of schooling in jazz and has made plenty of cool connections along the way.

Produced by Ulysses Owens and Marc Iacono, this solo album has all the trademarks you would expect from a top notch jazz album. The rhythms are tight and focused and there's plenty of cool spontaneity that keeps things sounding fresh and alive. The title of the album refers to the folks who have influenced Cottone during the course of his adventures in music.

This stuff makes for great background music or food for thought, depending on your needs and mood. Ten nifty cuts here including "Just Remember," "Gyroscope," "I'm Sure," and "Stardust."

Kayla Taylor is reviewed by LMNOP Magazine

by:  Don Seven

Really smooth and beautiful music that's picture perfect for dining, dancing, or romancing. Atlanta's Kayla Taylor has been described as "Bette Midler meets Diana Krall"...which should give you a good idea of what she sounds like. The wonderfully warm guitar sounds provided by Steve Moore are a perfect match for Kayla's smooth vocals.

When artists try to recreate sounds from the past they often fail because they are merely aping others. But while You'd Be Surprised spins like a blast from the past, Taylor, Moore, and their bandmates always manage to inject their songs with their own unique spirit. The result...some sparkling and provocative renditions of classic tunes that sound as fresh as the day they were written. Eleven classy tracks here including "Good Morning Heartache," "You'd Be Surprised," "Treat Me Rough," and "Blues Stay Away From Me."

Kate Reid Debuts on the CMJ Top Jazz Adds Chart at #2

Kate Reid Debuts on the CMJ Top Jazz Adds Chart

Her First Week in Promotions

With Her New CD - The Love I'm In

Kate Reid has been described as a well seasoned swinger that understands the music inside and out. She is “known and loved by hipsters and insiders around the world for her impeccable sense of phrasing and unique sound”. Kate creates a very intimate musical experience with her quartet and puts a fresh spin on the great American songbook. As a vocalist and pianist, she blends her unique sound and sense of phrasing into a style all her own. She has established herself amongst the finest musicians in Los Angeles and is considered by her peers, vocalists and instrumentalists alike, as “one of the best jazz vocalists in L.A”. She has worked alongside and with the Duke Ellington Orchestra, Ira Sullivan, Ron Eschete, Ernie Watts and Roy McCurdy. Kate also chairs the music department and coordinates the jazz program at Cypress College in Cypress, CA.

Kate is a working jazz singer and pianist appearing regularly with her quartet at jazz venues all over the Los Angeles area including Steamers Café and Jazz Club, Charlie O’s, The Jazz Bakery, The Lighthouse, Sangria, and Betty Hoover’s Jazz at the A Frame. She is in demand by audiences for her swing style and delivery of great jazz standard lyrics. Her 2008 release, “Sentimental Mood”, includes tunes from the American songbook and features saxophonist Ernie Watts and guitarist Ron Eschete. Kate’s next CD, released September 21, 2011, features pianist Otmaro Ruiz and again tenor saxophonist Ernie Watts.

Kate spent her summers, 1998-2005, performing in Tokyo, Japan. She has worked with many noted artists including Joe Williams, Maynard Ferguson, Rosemary Clooney, Mercer Ellington, Della Reese, Don Shelton, Paul Anka, Liza Minelli, and Tito Puente to name a few.

Kate is a working session singer in L.A. and has extensive experience in group singing and recording. Her film credits include “Land of the Lost” (2009) and “Tooth Fairy” (2010). Other recent recording work includes the soundtracks for the 2011 Cirque de Soleil show “Iris” with music by Danny Elfman and “World of Warcraft” video games, demos for Hal Leonard Publishing, commercial spots and backing vocals for artists including X Japan and Josh Groban. She has recorded many broadway and musical theater style shows for Royal Caribbean and Costa Cruise Lines. She also lent her voice to the Orange Bowl half time and parade shows in the mid 90s and was selected as one of four back-up vocalists for the recorded and nationally televised Summit of the Americas broadcast produced by Quincy Jones in 1996.

Dr. Kate Reid is on the music faculty as head of the jazz program and chairs the music department at Cypress College in Cypress, California. She teaches the jazz vocal ensembles, jazz improvisation, music theory and coordinates the applied music program at the College. She conducted college vocal jazz ensemble at Carnegie Hall in New York City in April 2004. Kate holds a B.M. in Jazz Studies from Western Michigan University (1992), a M.M. (1996) and a D.M.A. (2002) in Jazz Performance from the University of Miami.

Carol Morgan Holds Strong for 3 weeks on CMJ & Debuts on Jazzweek

Carol Morgan Continues to Hold Strong for Her
3rd Week on the CMJ Jazz Chart

And Debuts on the
Jazzweek Chartbound Chart for her 1st Week

LATEST RELEASE:

The opening track I Love You begins with a familiar melody, and one gets the impression that we might be about to hear a lovely, but perhaps safe reading of the Cole Porter chestnut. Gradually though, the group finds fresh, modern territory. Things percolate and morph into something new, yet never lose sight of the composer’s intent.

This is certainly one of the group’s strengths. April in Paris pulls off the same sort of magic trick. With one foot in the past and another in the future, they can rock back and forth, dancing between the ages. This is no easy thing to do, but they make it seem so.

Lonely Woman sounds as if the mournful American jazz horns are attending a native, African funeral. The bass and drums create an ethnic groove, but the horns remain ethereal. The effect is haunting.

Booker’s Waltz swings hard, as it was meant to. Joel Frahm’s Glyph is an enigmatic odd meter vehicle. Tightly played ensemble passages give way to Carol’s rubato solo. She brings everyone back in, by quoting the melody in time. Really impressive ensemble work!

I love the melodic interplay between Morgan and Frahm on Where Are You? They trade off playing melody and embellishment on the heads and solos. The result illustrates beautifully, why this group doesn't need a piano or guitar. Frahm tips his hat to Ben Webster here and there.

Martin Wind’s Last Waltz is a solemn and very personal tribute, and a beautiful end to this wonderfully engaging set.

The day of this recording, Carol purchased a pair of sunglasses with blue tinted lenses. As she was en route to the studio on that beautiful spring day, the world took on a new look. The warm, sunny, vibrant colors were all shaded in a lovely and surprising way. She kept remarking about it, and one by one, the musicians all tried on the blue glasses. At some point, while listening to a playback, Carol remarked, “Blue Glass Music.”

Just another example of why Carol Morgan is one of my heroes. That emotional availability, that “in the moment” mentality is exactly what makes her such a unique voice in jazz, and of course, exactly what we all should be striving for. It keeps me coming back again and again.

BIOGRAPHY:
Carol Morgan is a jazz trumpeter, composer, and author who resides in NYC. Originally from Texas, she is a Juilliard graduate who has worked with many remarkable teachers including Chris Gekker, Mark Gould, Ingrid Jensen, and Dennis Dotson.

Carol’s discography includes four CD’s as a leader. The Carol Morgan Trio CD, Opening, featuring Harvie S and Rich DeRosa was signed by Blue Bamboo Music and released in early 2010. Her follow-up and current release for the Blue Bamboo Music label is a quartet album featuring Joel Frahm, Martin Wind and Matt Wilson, called Blue Glass Music. Other session work includes solo outings, Classic Morgana and Passing Time with the Carol Morgan Quintet, as well as filling side-person roles on releases by DIVA Jazz Orchestra, Hawk-Richard Jazz Orchestra, The Manhattan Chamber Orchestra, NPR’s The Engines of Our Ingenuity, Thomas Helton, Henry Darragh and Calvin Owens. As a composer, she has been commissioned by DiverseWorks, the Michele Brangwen Dance Ensemble, the Arch-diocese of Houston/Galveston and St. Thomas Presbyterian Church, Houston. In 2008, Carol authored

what is now a highlyregarded method for jazz improvisation--a textbook entitled The Practicing Improviser.

Currently, Carol leads her own trio, Carol Morgan’s Case Study--featuring Helen Sung and Mike Moreno, Morganix (an organ trio with Akiko Tsuruga), The Carol Morgan Quartet featuring Joel Frahm, and is a member of the New York-based DIVA Jazz Orchestra. Recent performing venues include Dizzy’s Club Coca-Cola (Jazz at Lincoln Center, NYC), Small’s Jazz Club (NYC), The 55 Bar (NYC), Blues Alley (DC), the Playboy Jazz Festival (The Hollywood Bowl, LA), The Lionel Hampton Jazz Club (Paris), The Elephant Room (Austin), The Deer Head Inn (Delaware Gap, PA) and World Cafe’ Live (Philadelphia). Carol’s goal as an artist and teacher is to help people enjoy music more.

Jackson Garret Debuts on the CmJ Top Jazz Adds Chart

Jackson Garrett is back and he hits the #5 Slot for the
Top Jazz Adds Chart

His First Week In Promotions

With His New CD, Let Sleeping Dogs Lie

Born in Biddeford, Maine, composer Christopher Gore was raised in Montreal and New England before moving west and finding his home in Southern California. He began composing music at the age of seventeen, and actively performs those very compositions to this day.


In Montreal, he founded the “Upstairs Jazz Club” in 1985, where he began to appreciate the “American Songbook.” It was during this time he developed his musical aptitude and direction from the talented musicians he hired nightly.

In California, Gore met Pat Rizzo, local saxophonist whose credits include long stints with Sly and The Family Stone, War, and Frank Sinatra. Rizzo is also a versatile vocalist and composer. Shortly after

meeting Rizzo, Gore met the late Walter Earl Brown (Earl), composer of the hit Elvis song “If I Can Dream,” Grammy and Emmy award winner, and music arranger and writer for dozens of hit variety shows including The Sonny and Cher Comedy Hour, The Dinah Shore Show, and countless others.

With Rizzo and Brown, Jackson Garrett was formed by Gore, and the band began a long-standing relationship in the recording studio which has produced four CDs to date, “Please Call Me, Sanjaya!” (2008), “Cool and Easy” (2009), “Speechless” (2010), and “Let Sleeping Dogs Lie”(2011).

As of this writing, Jackson Garrett, as a band, loosely consists of Christopher Gore(vocals, keys), Marty Steele(keys, horn arrangements), Jeff Stover(bass), Steve Neilen(drums and percussion), John Pagels(guitar), Pat Rizzo(sax), Steve Madaio(trumpet), John Leys(trombone), Kristi King(vocals), Diva Denise Carter(vocals), and Steve Feldman(vocals, sound engineering).

On the local scene, Jackson Garrett performs as a 10-piece band for charity events and special concerts, and sometimes in a smaller ensemble at nightclubs.

The latest CD, Let Sleeping Dogs Lie, includes collaborations with Grammy-winner Gary Bias (saxophonist for Earth, Wind and Fire, and co-composer of the Anitas Baker hit “Sweet Love”) and internationally renowned singer and composer Slim Man, who penned the hit “Faith In Us” in 1996.

Sylvia Bennett Enjoys her 4th week on the Latin CMJ N Alternative Charts

Bennett Enjoys Her 4th Week on the
CMJ N Alternative Top 100 Chart

Peaking at #31 So Far

“Man, the lady can sing! Her magic gets to the ears and the hearts of the audience.”
- Lionel Hampton

Sylvia Bennett sings of love and romance with a warm and smooth vocal delivery that leaves you longing for more. Her passion for keeping the Great American Songbook alive has resulted in a repertoire of music that shows her love for the timeless standards.

The Italian born and American raised Bennett is a singer’s singer, having sung on TV, in Community Theater, club dates, conventions and even the inaugurations of presidents Ronald Reagan and George Bush. Walking in the footsteps of her idols such as Barbra Streisand, Ella Fitzgerald, Barry Manilow and Bette Midler, Sylvia has opened for artists as diverse as Bob Hope, Phyllis Diller, Jackie Mason, Dizzy Gillespie, Barry Gibb and David Brenner.

Her big break came in the 1980’s, when legendary vibraphonist and National Arts Award Winner, Lionel Hampton took Sylvia under his wing and made her the first female singer to record with him in thirty years. She recounts, “Lionel validated me as a performer and inspired me to be the best singer I can be. He made me realize that the audience was the most important thing and that all I needed to do was to sing from the heart and be honest.”

Sylvia worked with Hampton for ten years, touring and recording two albums together. The first, Sentimental Journey, was nominated for a Grammy Award in 1987. The second project, There Will Never Be Another You, was a CD/DVD tribute to “Hamp” from Sylvia, and she furthered the honor to her mentor with the show, “The Lady and the Legend,” premiering in Miami in 2007.

Since that time, Sylvia has gone on to record four more CDs: Songs From the Heart, It’s Christmas Time, Smile and Sonríe. Her latest CD, Sonríe, was inspired by her passion for Latin music and culture, Sonríe realizes one of Sylvia Bennett’s most cherished dreams: a Spanish-language recording of timeless classics. It is an irresistible Latin seduction, a tropical concoction as intoxicating as a first kiss.

In addition to her recordings, Sylvia loves to perform in front of a live audience. She has created a unique blend of different shows covering everything from Broadway to pop and from swing to international singing in English, Spanish, and French. Her goal of making people happy motivates her to continue bringing music and joy to the world.

LATEST RELEASE:
Inspired by her passion for Latin music and culture, Sonríe realizes one of Sylvia Bennett’s most cherished dreams: a Spanish-language delivery of timeless classics. Lose yourself in the Grammy-nominated artist’s sultry voice – a voice first discovered by jazz legend, Lionel Hampton, and lauded by U.S. Presidents and critics alike. Sonríe is an irresistible Latin seduction, a tropical concoction as intoxicating as a first kiss.

Spanish Description: Inspirada por su pasión para la música y cultura Latina, Sonríe es la realización de un sueño de la artista Sylvia Bennett , una colección de canciones clásicas en Español. Piérdase en la voz sensual de esta artista – una voz descubierta por el legendario Lionel Hampton, reconocida en los Grammys, y elogiada por tanto Presidentes como críticos. Sonríe es una seducción Latina, una deliciosa mezcla tropical tan intoxicante como un primer beso.

Alex Brown Continues to Enjoy Charting on Multiple Latin Jazz Charts

Alex Brown Continues to Enjoy Charting on Multiple Charts

#4 peaking on the Jazzweek World Chart (7 weeks)
#7 peaking on the CMJ N Alternative (7 weeks)

#7 CMJ Jazz Chart ( 5 weeks)

#42 Jazzweek Jazz (3 weeks)

EMOTION. SPACE. VISION. GROOVE….

The understated virtuosity of pianist Alex Brown is a clear indication that reports of jazz music’s demise are greatly exaggerated. Fast emerging at the forefront of a new generation of artists, Brown is mightily armed with the technique of jazz tradition, reinvested with fresh curiosity and vision for what jazz is, and can be.

Featured in Keyboard Magazine, Alex Brown’s reputation continues expanding via his notable performances with everyone from innovative saxophonist Miguel Zenon to the legendary Wynton Marsalis and the Lincoln Center Jazz Orchestra. “A really fine record that leaves you wanting more,” said DownBeat magazine of Pianist, Alex Brown’s debut CD (Sunnyside), further emphasizing “…and Brown can play!” That is something jazz audiences throughout the world have been discovering since 2007, when he joined the group of the renowned Paquito D’Rivera, sharing in the ensemble’s 2010 Grammy nomination as a part of D’Rivera’s album, Jazz-Clazz.

In addition to touring with D’Rivera, Alex Brown performs regularly as the leader of his own jazz ensemble. “There are those who only play what audiences like,” says Alex. “Then there are those who only play what they want. I’m drawn to music that has complexity but that anyone can enjoy.” Classical, rhythm & blues, hip-hop, Afro-Caribbean and Brazilian styles all co-mingle – naturally and infectiously – in Brown’s music, reflecting his unique path, and the continued evolution of the genre.

It was D’Rivera’s bassist, Oscar Stagnaro, who was among the first to recognize Alex Brown’s special gifts, and began to gig with the young student around Boston. Stagnaro also hipped Brown to the depth and breadth of Latin-American rhythms. “He really expanded my conception of Latin music beyond ‘Afro-Cuban’,” says Brown. “Uruguay, Peru, Venezuela, Puerto Rico… each has their own rich, complex rhythmic traditions. And a lot of those rhythms don’t incorporate piano, so it becomes a slightly different thing, when you translate it into jazz.” During an impromptu 2007 performance at Washington DC’s Bossa Lounge as part of the DC Jazz Fest, Stagnaro invited Brown’s soon-to-be mentor, Paquito D’Rivera, to hear him for the first time. “He stayed for the first half of the gig, and then gave me his card,” says Brown. “Then… Nothing.” Thinking he’d blown it, Brown received a call from the jazz icon about a month later. “You sounded pretty good,” said Paquito, “even on that plastic piano!” And so began his professional career.

Now in Alex Brown’s rear-view mirror are appearances at some of the worlds top jazz venues, including Jazz at Lincoln Center’s Rose Theater, Dizzy’s Club Coca-Cola, Birdland and the Blue Note in New York (and Tokyo), Blues Alley in Washington DC, and Mexico City’s Palacio de Bellas Artes. His festival appearances include the Heineken Jazz Festival, Israel’s Red Sea Jazz Festival, the Panama Jazz Festival, and the Curacao Jazz Festival. In addition, he teaches and has led master classes at such institutions as the University of Panama.

In 2009, Brown graduated with a Bachelor of Music from New England Conservatory where he studied with Danilo Perez and Charlie Banacos, among others. His collection of notable awards began well before graduation, however, starting with ASCAP Foundation Young Jazz Composer Awards in 2003 and 2004. In 2007, Alex was a winner as a pianist in the Jazz Soloist category of Downbeat Magazine’s Student Music Awards (his first of five honors from the storied jazz chronicle). In 2009, the group LaTimbistica, which he was a part of while at NEC, won for best college group. Also an accomplished classical musician, Alex has recorded and performed with the group Imani Winds as well as with the clarinetist Sabine Meyer, and has performed with major orchestras in the United States, Mexico, Chile, and Spain.

Looking ahead, Alex Brown’s horizon is one devoid of hard and fast barriers – musical or otherwise. “The internet is changing things and opening things up so quickly,” says Brown. “You don’t have to wait for the record to come out. As soon as something happens, it’s out there.” Having recently completed his first commission for full concert orchestra (of a salsa hit, no less), Brown plans on doing more large-scale arranging and composing.

As for the rest of what’s next, Alex Brown knows precisely where he’s going but, as with most artists, he prefers to let his music tell the story. “I have a lot of trouble coming up with a title,” says Brown. “That’s one of the reasons I write music. I get these feelings that I can’t put into words.” Clear and inviting, Alex Brown’s music gives eloquent voice to a singular talent on the move.

Pamela HInes Enjoys Her 6th Week on the CMJ Jazz Chart

Pamela Hines Enjoys Her 6th Week on the CMJ Jazz Chart

Peaking at #10 So Far

Her Latest Release is a Vocal Jazz CD, Featuring

Jazz Vocalist April Hall

Jazz pianist/ composer Pamela Hines is continuing her solid march into piano jazz history with her new release, Lucky’s Boy, she teams up with bluesy and soulful April Hall, bassist, John Lockwood and drummer, Les Harris, Jr. for nine brand new jazz vocal tunes that are sure to become a part of the contemporary American Songbook.

From the first tune, “Dreamerman,” it’s clear this CD is a high energy project with lyrics that paint a noticeably empathetic experience for the listener. The title tune, “Lucky’s Boy,” is an incredibly tender tune that transcends from a well-crafted composition to a befitting cut celebrating the maternal love between mother and son.

“Porter Please” offers the listener a Cole Porter inspired post-bop listen with harmonic complexities and swinging perceptiveness. While “Spectrum” is a modern jazz journey with quick runs, complex time signatures and rhythmic intensities, Hines lyrics are cerebral, yet accessible.

Pamela Hines has been a prolific and consistent presence in the world of jazz. Her creative stamina has established her as an artist who presents to her audiences an innovative newness, individuality and freshness that have made her piano style and originals identifiable. She has received critical acclaim for edgy instrumental compositions that contribute to the contemporary jazz genre and vocal jazz originals that are more at home in the American Songbook.

Hines last release, Moon Germs, with John Lockwood (b), Bob Gullotti (d), Greg Dudzienski (ts) and Darren Barrett (t) is a riveting and eclectic mix of driving tempos and romps into free jazz explorations. Moon Germs was on national jazz charts for 8 weeks, and reached #2 on CMJ national jazz charts and #26 on the Jazzweek charts. Ed Love of WDET (Detroit) lists Moon Germs as one of the top albums of 2010.

In the October, 2010, issue of Jazz Times, Wilbert Sostre wrote, “Hines’ great technique and intuitive playing shows from the first track.... Hines is also a great composer. Moon Germs continues to do well on a global level. As of July, 2011, it is still on some top-ten radio charts in the United States, and received regular recurrent airplay.

In March, 2010, she contributed piano and original compositions for, Spectrum, with Trio Tutta. Also on the project were original tunes by bassist Tal Shalom-Kobi and drums by Miki Matsuki. Special guests

on the CD were Ririka Masuda (as) and Tina Jacas (fl).

Her 2009 release, This Heart of Mine, was a solo project with liner notes by jazz critic and author Scott Yanow. This gave the listener and chance to hear Hines in a stripped down setting to enjoy every nuance of Hines abilities and sensibilities.

Susan Frances says in the November, 2009, issue of Jazz Times, “... Hines exhibits an intuitive nature when it comes to punctuating her notes and making distinctive accents that intensify the mood of her music... her ability to mold expressive vignettes and bridge her vamps and counterpoints into... jazz forms. Her notations depict her emotions even as she covers compositions written by Cole Porter and Duke Ellington. At times, her sequences are embroiling, and at other moments they exhibit serenity along the ruminations. Hines’ playing creates an imaginary world, as she looms cascading falls and melodic swells in the piano keys producing settings which are conducive for deep contemplation and transition into unbridled fun around the corner. She travels through a gamut of musical ideas that honor the giants in jazz while infusing harmonious style changes in American standards.”

Hines 2008 release, New Christmas, an album of original holiday tunes, featured vocalists April Hall, Monica Hatch and Patrice Williamson, with Dave Landoni on bass and Miki Matsuki on drums still enjoys regular airplay on jazz radio stations during the holidays. Jazz Review says, “In a world crowded with holiday music, pianist and composer Pamela Hines gives us something new. Make that, nine new original songs for the Christmas season. It’s a nice change from the usual rehashing of “Silver Bells” or “Silent Night.” Instead of those usual Christmas standards, Hines has assembled three of Boston’s top jazz vocalists, April Hall, Monica Hatch and Patrice Williamson, to interpret a set of her own holiday compositions. They take turns singing on seven of the tracks backed by Hines on piano, Dave Landoni on bass and Miki Matsuki on drums. New Christmas also features two instrumentals.

Hines 2007 release, Return, featured John Lockwood on bass, Bob Gullotti on drums and a special guest appearance by Jerry Bergonzi. The CD went to #13 on the Jazzweek national jazz charts, and garnered passionate critical acclaim. The trio’s pensive version of “I Will” on Drop 2 (2006, Lockwood, Gullotti) was included in a compilation series by ESC Records of Germany. Step Inside Love includes Beatles tunes by many of today’s jazz artists.

Her trio was the “Pick-of-the Week” in the Boston Globe in 2005 and a Globe Jazz-Pick in 2006. Hines’ interesting compositions and harmonies earned her a guest appearance on the Peabody Award winning show, Piano Jazz with Marian McPartland on National Public Radio in 2000.

9-45 (Brownstone), her debut CD, was released in 1998 to critical acclaim.

Pamela Trainor Hines grew up in Acton, Massachusetts and received her MM from New England Conservatory in 1998 with honors. She also has degrees from Boston University (on a full scholarship for basketball) and Old Dominion University. Hines married fusion bassist David Hines in 1995 and their family resides in the metro-west Boston area.

Reviews of her work can be found in Jazz Times Magazine, Jazz Improv Magazine, Elmore Magazine, Boston Herald and numerous jazz sites including All About Jazz, Jazzreview and beyond.

Freddy V debuts on the CMJ Jazz Chart

Contemporary Jazz Artist Freddy V debuts on the
CMJ Jazz Chart at #30

 

A powerhouse tone, exceptional technique and a belief in ‘playing from the heart,’ are the cornerstone of what makes Freddy V a saxophonist who demands your attention.

For over a decade, Freddy has been the saxophonist and horn arranger with the legendary Average White Band (AWB). The majority of the year finds him performing with AWB on television and radio, and at festivals and clubs all over the globe. He is featured on the AWB CDs: Face To Face, Living in Colour, AWB: Greatest and Latest, Soul & the City; Live at BB Kings, Times Squared; Live From NY, Vol 2 and the concert DVD, Tonight: The Average White Band. His compositions have been recorded by Grover Washington Jr., AWB, Bob Baldwin and Marion Meadows.

In addition to his work with AWB, Freddy took over the saxophone duties with vocalist Michael McDonald for the 2004 Rock & Soul Revue Tour. It was through this association that McDonald asked Fred to play on his Motown II CD, in 2005. Freddy has also performed with Hall & Oates, Will Downing, The Four Tops, Bob Baldwin, Chaka Khan, Blood Sweat & Tears, The Temptations, Matt ”Guitar” Murphy, and The Spinners.

While on tour with AWB, Fred got an overwhelming amount of requests from fans to produce his own release as a leader. Upon returning home from touring, Fred answered that call by beginning work on a solo effort with long-time friend, multi-instrumentalist and producer, Mo Pleasure. Three years later, the result is Easier Than It Looks, Freddy V’s debut leader album. The collection of 12 tracks, heavily steeped in the traditions of classic jazz/funk and soul, features performances from fellow AWB bandmates, including a brand new song from AWB founding member, Alan Gorrie, as well as a fresh re-working of the AWB classic “Let’s Go Round Again,” showcasing the voice of Klyde Jones.

Easier Than It Looks may have been a long time in the making, but it is a debut record that truly reflects Fred’s long-standing pedigree as a heavyweight player at the top of his game. It auspiciously nods to the traditions of those ‘back in the day’ players that have influenced, and continue to influence, Fred’s sound. The album shifts effortlessly through the gears, encompassing rootsy blues, powerful jazz/funk, shimmering melodic soul and beyond. Every note is carved from marble that brings a lasting impression, alongside the undoubted sophistication of production values; it still retains that essential never-to-be-beaten feel of a great ensemble, playing great tunes, with great joy and affection, in a suitably atmospheric club venue. “I’m really proud of the album,” concludes Fred. “I made a record that I would want to hear and it’s a snapshot of what I’ve been inspired by. It’s my way of passing it on.”

The CD has Freddy V joined by a crew of musicians whose resumes include: Prince, Tower of Power, andEarth, Wind & Fire, and features a collaboration with renowned jazz producer/performer, Bob Baldwin, on an instrumental version of the Mint Condition gem, “What Kind Of Man Would I Be.” The end result is a memorable collection of superlative compositions guaranteed to satisfy the listener for years to come. A must have for any collection.

Carol Morgan is reviewed by All About Jazz

all.about.jazz
by:  C. Michael Bailey

Trumpeter Carol Morgan's Blue Bamboo debut, Opening (2010) was received uniformly, with accolades from all quarters. The Texas-native cum Manhattan-ite exploded out of Julliard following the tutelage of trumpeter Ingrid Jensen, and seemed to be everywhere at once. Morgan has been a constant in the DIVA Jazz Orchestra (with Sharel Cassity), and fronting her quintet, Carol Morgan's Case Study, featuring pianist Helen Sung and guitarist Mike Moreno, and her organ trio, Morgana' Organic Trio, featuring Akiko Tsuruga.

Morgan departs little from her approach on Opening with Blue Glass Music. She is a traditionalist with extremely sharp chops who likes to approach older jazz forms as a clean slate. Morgan possesses a unique and acute prism through which she peers backward to bring the music forward. Here, she adds tenor saxophonist Joel Frahm to her piano-less trio format (saxophonist Woody Witt was featured on Opening) for the long haul and the two prove to share splendid simpatico.

The disc opens with the standards "I Love You" and "April in Paris," both given spare, dry treatments, warm and spontaneous like the best of the 1950s Blue Note blowing sessions, with Frahm spot on in his angular solo entries and outros. This mode continues with a breezy reading of tenor saxophonist Booker Little's "Booker's Waltz," and is a backward look at the Gerry Mulligan Quartet at The Haig, with Morgan playing Chet Baker, but with much denser and more informed gravity.

Alto saxophonist Ornette Coleman's "Lonely Woman" is the disc's high point, carefully orchestrated to capture both the free and swinging elements of the composition—a Dolby-normalized update of this masterpiece. Frahm's own "Glyph" gives a nod to Dave Brubeck in his "Blue Rhondo a la Turk" mode, without the 4/4 transitions, providing a modern and craggy interlude to the recital.

A rainmaker, with Blue Glass Music, Morgan clearly stands to continue broadening her influence in jazz, both as a musician and a producer.

Track Listing: I Love You; April In Paris; Lonely Woman; Booker's Waltz; Glyph; Where Are You; Last Waltz.

Personnel: Carol Morgan: trumpet; Joel Frahm: tenor saxophone; Martin Wind: bass; Matt Wilson: drums and percussion.

Record Label: Blue Bamboo Music
Style: Straightahead/Mainstream

Chic Bang Theory is coming Atlanta GA - SAVE THE DATE!

SAVE THE DATE

ChicBangTheory, formally known as Calico Panache, is an all female band that has been chosen to perform on October 29, 2011 in Atlanta, GA for the Southern Showdown broadcasted by Comcast.

The band has also been chosen to participate on BET’s “106 & Park: Wild-Out Wednesday” competition on November 2, 2011. To give a brief description of the band, we began our journey in Jackson, MS. We render musical entertainment to a wide variety of people and places, ranging from public and private businesses to high school and college campuses.

We are asking if you would help us by providing funds in the form of a grant or by donating goods and services. We are confident in our ability to win and represent MS well, but the challenge is funding ourselves to commute to Atlanta and New York. If you are able to make any type of contribution, we will greatly appreciate your financial support. No amount is too big or small. We could possibly perform at an event for the chapter or personal events in return.

For more information, please contact our manager, Delshon Harris, at (601)383-2452. We will also assure advertisement of your contributions.

This is the direct link to donate via paypal:

https://www.paypal.com/us/cgi-bin/webscr?cmd=_flow&SESSION=x16_2i9OXTbXFLqte6TNiUzi8WE_0IVpQpxrZ7hNrDTZ9_TjJhP8YyjKVu8&dispatch=5885d80a13c0db1f8e263663d3faee8dd049a0174d7b2337c94a2120c957a268

Woody Witt is reviewed by Jazz Times

by:  Wilbert Sostre

CD Review: Woody Witt - Pots and Kettles

Twenty five recordings as a sideman, Saxophonist, composer, jazz educator a Doctorate in Musical Arts at the University of Houston, a Professor at Houston Community College adds up to a quite impressive resume for this Omaha, Nebraska native.

The first thing that catches your ear about Woody Witt’s sound is the mix of the old and new, of the tradition with fresh ideas creating a unique refreshing style.

Pots and Kettles is his 8th album as a leader.  And the title track "Pots and Kettles" starts the album with catchy melodies and the expressive tone of Witt’s sax. Gary Norian adds some powerful, flawless piano improvisations on this one.

The album also includes excellent interpretations of two Eddie Harris compositions, the soulful "Listen Here" and the blues jazz "Crying Blues".

"Slink" has a more swinging classic feel and is one of five compositions by pianist Gary Norian included in the album. Witt plays the soprano sax on this one.

Witt's nice tone on the soprano sax shines on "Heart First" a beautiful ballad also composed by Norian.On Woody Witt’s original "The Loop," the group goes into the Bebop tradition, demonstrating their mastery of all idioms of jazz. The album closes with two ballads Witt’s "Just Because" and Norian’s "Never Very Far" and the smooth fusion jazz "Loose Change".

Tracks: Pots and Kettles, Listen Here, Slink, Heart First, The Loop, Crying Blues, Just Because, The Deprivator, Loose Change, Never Say Far

Musicians: Woody Witt - tenor and soprano sax, Gary Norian - piano, Mark Simmons - drums, Anthony Sapp - bass, Chris Cortez - guitar (2,6,9)