Kari-On Productions Blog

Ryan Davidson is reviewed by Gapplegate Guitar and Bass Blog

2012-02-14T09:27:00.001-05:00

Gapplegate Guitar and Bass Blog
by: Grego Applegate Edwards

Ryan Davidson Trio, Compelling Plectral Eclectics-Electrics from A Worthy Practitioner

Ryan Davidson shows on his latest release, a self-titled trio offering [Ryan Davidson Trio (self-released)], that he can take an often fairly hard-edged electric sound, a solid trio with Ryan Hagler (bass) and Ryan Jacobi (drums), and a varied mix of standards and originals and go someplace interesting.

There are moments when you feel the sound influences of Scofield-Frisell-Abercrombie-Lucas, true. But he puts together a well-heeled and expressively controlled performance throughout. He's creative, he carefully crafts a meld of sound and substance, and he builds solos that maintain interest with a very musical sense. There are jazz-rockers, spacey ballads, and swinging scorchers. He is well rounded in technique and can do some multi-finger picking when called for, chord subtly, get good lines off and rock out convincingly and creatively. And he gets sounds that are on the verge of Davidsonian ownership.

Here's a guitarist to savor. May he continue to grow, gig, record and live the musical life!

Patrick Battstone & Richard Poole are reviewed by Improvijazzation Nation

2012-02-14T09:22:00.002-05:00

IMPROVIJAZZATION NATION
by: Rotcod Zzaj

I’m not (even a little bit) sure what “Scottish Heather” looks like, but after listening to this opening track, I surely know what it SOUNDS like! Richard’s vibes meld perfectly with Pat’s piano on all 14 pleasureful tracks, especially on pieces like “Undertow” – one of my favorites – Jaws on steroids, you might say. This isn’t music for casual listeners, though… you must allow yourself to become totally absorbed in the musical conversations they are conducting for your ears, or you will miss the intent.

If you want your jazz “sculpted” from too familiar patterns, you’ll have to move on to another venue. I found “Magical Morning” to be my favorite piece, clearly the type of adventure I’d like to wake to on each new day. I give these gents my MOST HIGHLY RECOMMENDED for listeners who are adventuresome and won’t tolerate “ordinary”. “EQ” (energy quotient) rating is 4.97.

Jocelyn Medina is reviewed by Oliver di Place

2012-02-14T00:20:00.000-05:00

OLIVER Di PLACE
by: Darius Rips

Jocelyn Medina: Same Mistakes

[purchase]

The foundation of Jocelyn Medina’s album We Are Water is a strain of jazz that began in the 1960s, and flourished in the 70s and into the 80s.

For lack of a better term, there was a “cosmic consciousness” that some artists would embrace, that would eventually lead to new age music.

On the way there, there would be some overdone self-indulgent jazz albums as well. Medina goes back to the roots of this. Musically, she strips down the style, and arranges it for a mostly acoustic small jazz combo that really cooks. In her lyrics, Medina talks about her relationship with the forces of nature, but she does so in a (pardon the expression), completely natural way. Her soprano floats along with the band, but she also has enough grit in her voice to make this real. And that’s the key. Medina believes in this material, so she doesn’t have the need to oversell it. More than anything, what comes through is her joy. The listener can not help but feel it as well.

Introducing Katie Guthorn

2012-02-13T21:15:00.000-05:00

INTRODUCING KATIE GUTHORN

GOING FOR ADDS ON CMJ ISSUE #1235

Katie Guthorn bio by Ben Fong-Torres, music writer, and one of the original Rolling Stone journalists
Katie Guthorn is not known as a jazz singer, to which I say: Why not? She’s one of the gifted ones; one of those singers who can do anything. Here, she puts her spin on some of the most familiar songs of all time, and makes them sound refreshed and new. Conversely, she takes more contemporary compositions, by Joni Mitchell, Ben Folds, R.E.M. and Stevie Wonder, and makes them sound like they’ve been around for ages; old and comfy.

Somehow I’m not surprised. In recent months, I’ve enjoyed catching her casual band, the Soul Delights, doing Motown and other R&B and pop classics at a coffee shop in San Francisco. There, she’s a “girl singer,” along with Kathy Kennedy, singing and swaying, doing solos or ooh-ing behind boy singer Charlie Owen. Katie and Kathy are perfectly at ease, doing girl-group steps and moves…in a neighborhood coffee shop.
In less recent years, I caught her starring in a campy but affecting holiday musical, “A Karen Carpenter Christmas.” Katie not only portrayed Karen; she embodied her – mind, spirit and voice.

But Katie, who’s also swayed and sung behind some other stellar voices – Bonnie Raitt, Ronnie Spector, Martha Reeves – deserves to be up front. Now, with strong support from Tim Haggerty, a seasoned keyboard and bass player, and an excellent ensemble, she is.

It may be surprising to some that she’s made a jazz album. As it turns out, she’s rooted in jazz. Her father, Peter, used to hit the Village with his Columbia University classmate, Ralph J. Gleason. Her uncle, Fred Cole, got the bug even earlier. At age twelve or so, he’d take the train to the Apollo to catch jazz concerts and, years later, would befriend some of the musicians he saw. One of them, the great guitarist Eddie Condor, wound up having, as his doctor, one Peter Guthorn. All in the family.

Beyond family connections, Katie recalls tackling jazz tunes when she was a kid, in singing classes, and hearing what have become known as American standards around her house, and at neighbors’ homes. Later on, she worked at a radio station that played all big band music.

As steeped as she is in older music, Katie’s always kept up with current sounds. As a singing teacher, she has to know the music her students want to do. The evidence here is that she knows a lot.

It’s not just the range of songs (“Basically, this is a group of songs I like,” she says), from Billy Strayhorn and Duke Ellington to Paul Williams (with “Rainbow Connection,” of all things) and R.E.M. (with the title song). Katie is an actor. She conjures an innocent (“The Luckiest”), a disappointed lover (“You Don’t Know Me”), an assertive, feisty woman (“Call Me,” “Overjoyed”). And in “Rainbow Connection,” you hear hints of the voice and tone she employed to get audiences thinking they were hearing Karen Carpenter.

We are hearing Katie Guthorn, upfront, giving us a dozen reasons to smile.

Jacob Deaton is reivewed by The Jazz Word

2012-02-13T19:38:00.000-05:00

THE JAZZ WORD
by: Jazz Barron

Atlanta guitarist Jacob Deaton assembles an energetic quintet for a convincing run through six original compositions on his debut release Tribulation. Deaton solos with a straight-ahead, swinging edge, at once alluring and laid-back. His single-note lines and chordal runs on "Hoexter's Hex" stand out as a disc highlight.

Alto saxophonist Akeem Marable and pianist Nick Rosen are impressive on the up-tempo title track and drummer Justin Chesarek, who exhibits a wide dynamic range, creates a quiet intensity on the waltz "Major Differences." Bassist Craig Shaw provides rock solid accompaniment, driving home "Eclipse," Deaton's take on Miles Davis' "Solar."
All in all, an impressive release of high energy jazz from these dedicated Atlanta cats.

Katie Guthorn is reviewed by Critical Jazz

2012-02-12T10:46:00.000-05:00

CRITICAL JAZZ
by: Brent Black

Katie Guthorn is like the vocal jazz version of the little black dress. While this may be a tad cliche to open a review the fact is jazz can be sexy and fun at the same time.

Guthorn's latest, Why Not Smile? is a delightful collection that runs from the iconic to the eclectic with tunes from Billy Strayhorn to R.E.M and Stevie Wonder but with warm organic jazz sensibilities. Coffee shop jazz? No, not really despite having performed at a coffee shop in San Francisco. Instead we find a singer with the talent to transform into a musical chameleon as Guthorn has the unique ability to shift presentation to fit the wonderful song selection on Why Not Smile? Think eclectic standards with a delightful mix of retro-pop done with first rate jazz sensibilities.

There is an intriguing personal side to this slightly conceptual release. Guthorn's first husband passed away from brain cancer and she later married his Buddhist hospice worker Terry Haggerty. Those that follow music as voraciously as I do and the San Francisco scene in particular will know Haggerty as the original guitarist for the Sons of Champlin. Both Terry and his brother Tim work on this release along with Tim's son Aaron Haggerty who plays drums and gets the photo credit for the cover shot!

"Prelude To A Kiss" is a slightly more contemporary take on the Ellington classic. Breathing new life into a standard without disrespecting the original or yourself is a daunting task yet Guthorn makes the transition effortlessly. As comfortable as a favorite pair of jeans, Guthorn and Haggerty pair up to deliver the goods with their own tasteful flair. The Joni Mitchell tune "Black Crow" makes a nice transition to the jazz idiom and Guthorn makes this tune her own with a subtle swing and syncopated groove that is only broken with a well placed lyrical tenor saxophone solo from Armen Boyd. Covering a Stevie Wonder tune for any singer can either push a release over the top or straight over the edge. "Overjoyed" gets a nice shot of adrenaline with a tasteful Latin vibe to again allow Guthorn to put her own individual stamp on a tune and make it work.

Katie Guthorn hits all her musical marks and hits them spot on. The musicians that surround Guthorn are first rate and make a solid contribution to this winning release.

Why Not Smile? is far more than a nice set of passable covers. Why Not Smile? is a winner because it clearly demonstrates the difference between a lounge singer and a vocal story stellar with the ability to infuse believable jazz sensibilities into virtually any tune she happens to dig!

Tracks: Call Me; The Luckiest; Prelude To A Kiss; Black Crow; Lush Life; Where Or When; Do You Know What It Means To Miss New Orleans?; Rainbow Connection; You Don't Know Me; I Got It Bad; Overjoyed; Why Not Smile?/Smile.

http://www.katieg.org/

Personnel: Katie Guthorn: vocals; Tim Haggerty: producer/arranger, bass, keyboards; Terry Haggerty: guitar; Aaron Haggerty: drums; Armen Boyd; tenor saxophone.

Gene Ess is reviewed by Critical Jazz

2012-02-12T10:37:00.000-05:00

CRITICAL JAZZ
by: Brent Black

Technically proficient and artistically gifted, Gene Ess revisits jazz standards and the very ess-ence of swing that remains timeless for generations.

Ess has played with such luminaries Ravi Coltrane, Harvie S, Dave Liebman and Slide Hampton. While concentrating on his own original compositions in his last three releases, sometimes an artist just needs to go home for a bit. Vocalist Nicki Parrott's understated yet subtle sense of melody and swing are the perfect compliment to the lyrical magic of Ess and his infectious harmonic development within a tune.

A Thousand Summers is a release that focuses on love and the human condition. While a more wistful release, the six string pyrotechnics of Ess are artfully displayed while shifting dynamics and harmonic tension create an almost mysterious ambient feel to the release. "So In Love" develops a syncopated swing while maintaining an understated melodic melancholy only to be broken with the sonic exploratory of James Weidman on piano. "East Of The Sun" continues an understated elegance that seems to permeate this recording with an intoxicating swing that seems as methodical yet as well defined as the flow of an Ess solo. "All Or Nothing At All" is arranged to showcase he finesse of drummer Gene Jackson who anchors an impeccable rhythm section with bassist Thomon Kneeland and pianist Weidman. Ess could have held auditions for six months and may not have found a vocalist more suited for this release than Nicki Parrott. A innate gift of melodic interpretation, swing and understated cool, Nicki Parrott is the musical hot fudge to the modern jazz ice cream that is Gene Ess. Simply put...she makes a good thing even better.

With a musical relationship going back well over a decade with drummer Gene Jackson, chemistry is a given. A Thousand Summers is a deceptively complex release that is incredibly accessible. Each subsequent spin of this disc reveals yet another subtle nuance perhaps previously missed. Gene Ess may well be one of the better guitarists to have flown under the radar for far too long. Musical frames of reference to his playing would be inherently unfair. Pat Metheny, John Scofield, Pat Martino...My recommendation is to get to know Gene Ess.

Warm, organic and deceptively understated, A Thousand Summers shines a direct spotlight on the future of modern jazz guitar.

Tracks: Didn't Know What Time It Was; One Day I'll Fly Away; So In Love; The Old Country; Charade; East Of The Sun; Looking Back; All Or Nothing At All; Goodbye; I Will Wait For You.

Personnel: Gene Ess: guitar, arrangements; James Weidman: piano; Thomson Kneeland: bass, arrangements; Gene Jackson: drums; Nicki Parrott: vocals.

http://www.jazzgenemusic.com/

The Elements of Jazz Video

2012-02-11T00:17:00.000-05:00

The New Elements of Jazz Video

by: Jeff Williams of Kari-On Productions, LLC

What Does Gene Ess, Nicki Parrott, Thomson Kneeland and James Weidman Have in Common?

2012-02-10T19:48:00.000-05:00

KICK YOUR VALENTINES OFF WITH

A THOUSAND SUMMERS

GOING FOR ADDS MONDAY FEBRUARY 13, 2012

with Jazzweek, CMJ & Earshot

Featuring

Gene Ess - Guitar, Arranger

James Weidman - Piano

Thomson Kneeland - Bass, Arranger

Gene Jackson - Drums

Nicki Parrott - Vocals

The new album A Thousand Summers from guitarist Gene Ess is a collection of timeless beautiful songs from the jazz canon. Having concentrated on original compositions and instrumental music in his last 3 albums, this new album gives a peak into Gene’s roots of coming up with the jazz standards.

The music is arranged carefully in such a way as not to destroy the essence of the songs but still allow the musicianship of the ensemble to cut through. In another words, the musical integrity was not compromised in order to present popular jazz material. In order to accomplish this musical goal, bassist Thomson Kneeland was recruited to arrange half of the material to add another musical perspective to the presentation. If you listen carefully, it is uncanny how Gene and Thomson’s sense of music is very much on the same page and yet each brings a different shade of color to the music.

Much of the songs on this album are about love and the accompanying yearning, joy, and pain it can give to all of us. Music being a universal language is perfect to express the human feelings of love which is certainly understood by all humankind of every creed, race, and religion. Matter of fact, love transcends any artificial border that we may put amongst ourselves and is one of the true gifts of being human and makes life on earth perhaps even bearable. To love is to be human and the music on this album is full of musicians who truly love playing this music for the listening audience.

Nicki Parrott is the featured vocalist on this album. Nicki is a renowned vocalist and bassist and have worked in the late Les Paul’s trio here in NYC. The trio now continues as the “Tribute to Les Paul Trio” and plays ever Monday at the famed Iridium Jazz Club. Nicki brings her superior sense of melody and has a great ear for this music. Her singing is succinct, vulnerable, and understated yet undeniably beautiful and true. She’s the perfect messenger for the melody and lyrics for these arrangements of the songs and for Gene Ess.

The band led by Gene Ess includes: Gene Jackson on drums, James Weidman on piano, and Thomson Kneeland on the bass. Gene Ess and Gene Jackson have worked together since 1995 and share a great camaraderie musically. Gene Jackson seems to know exactly where Gene Ess wants to go on the solos in an effortless manner. James Weidman contributes musical comping throughout and acts as the harmonic glue for the music. Thomson Kneeland keeps the music swinging throughout with his virtuosic bass playing and his solos are very deep. With a team of musicians of this high level and empathy, Gene Ess plays some of his most musical solos to date. All of his solos are very lyrical and adds positively to the music and gets into the organic aspect of the music.

Cindy McLeod of Jazz Review says: “Gene Ess has firmly cemented his place as a major jazz artist of the new millennium. His post-bop work is delivered with adventurous spirit and intense ethos, offering a powerful, unique voice to the idiom. A guitarist of virtuosic proportions, Ess plays fluid chromatic lines that float and weave through the harmony. His performance is simply stated, yet reveals stunning technical fluency, the signature of all true greats. There’s a delicious sense of tension/release with his performance riding over the rhythm section, Ess is a master of the art of creating dynamic interplay. Supple, sanguine, and superb are the three words that kept popping into my head as I listened, this recording knocked my socks off and will be in my CD player on a regular basis for many years to come.”

Kate Reid is reviewed by Jazzscene

2012-02-09T19:00:00.000-05:00

JAZZSCENE
by; Kyle O'Brien

The Love I’m In, Kate Reid.
The sprawling suburban mass of greater Los Angeles would seem to be no place for jazz, but there is much musical talent in the area. Reid is a talented L.A. area vocalist and pianist who chairs the music department at Cypress College; she’s also a session musician. Her easygoing vocals leave the listener relaxed and comfortable, and the sultry nature of her swinging delivery makes for an intimate experience.

The fact that she has plenty of L.A. heavy hitters backing her -- including Ernie Watts, Steve Reid, Chris Conner and Steve Barnes -- makes this melodic album of classic love songs a vocal jazz album worth knowing.

Pamela Hines is reviewed by Jazzscene

2012-02-09T18:56:00.000-05:00

JAZZSCENE
by: Kyle O'Brien

Lucky’s Boy, Pamela Hines Trio with April Hall. Massachusetts resident Hines has considerable talents as a pianist and composer, you’ll immediately wonder if you’ve heard these catchy melodies before. As sung by vocalist April Hall, they are highly accessible and hummable, but upon hearing tunes such as the opener, “Dreamerman,” you’ll wonder if it’s a cover tune. That’s a testament to good melody writing, “Porter Please” is a clear nod to its inspiration, Cole Porter. You’ll find an enjoyable disc of piano jazz played well, with lovely vocals by Hall.

Ryan Davidson is reviewed by Jazzscene

2012-02-09T18:50:00.000-05:00

JAZZSCENE
by: Kyle O'Brien

Ryan Davidson Trio. Guitarist Davidson has made a country-infused jazz trio album. While jazz has stirred new genres into the mix, country has been left mostly at the edges. But with groups like this and Bryan & the Haggards, the line between country and jazz has blurred. Beginning with a twangy 5/4 version of “Ghost Riders in the Sky,” it’s an interesting ride. There are elements of fusion, rock and avant-garde classical here too. Davidson, along with drummer Ryan Jacobi and bassist Ryan Hagler, create a varied sound that is richer than you’d think three players could produce.

Davidson plays with ease, especially on the more swinging tunes, such as his own “Captain Positive,” but he can turn a quick phrase and add some gritty chord punches, as on the wandering “Out of Nowhere.” His very introspective version of “‘Round Midnight” employs bends, cascading lines and a great use of space. Davidson has a nice touch on the fretboard, and knows how to utilize silence as well as western themes.

Bill Barner is reviewed by Jazzreview

2012-02-09T18:36:00.000-05:00

by: Eric Prinzing

Ten Tunes is a loose and playful recording. The band hints at a multitude of styles; they touch on rock, country and funk, as well as Middle Eastern and Latin music, all within a jazz context. Despite the group's eclectic influences, Ten Songs works well as a cohesive whole. This can be attributed to two reasons. First, the group assembled here—leader Bill Barner on clarinet, Stan Smith on guitar, Roger Hines on bass and Danny Aguiar on drums—establish in the pocket grooves on each track, so that each song has an easy rhythmic appeal. Secondly, though the context of the songs may change, Bill Barner always writes around simple, singable melodies.

Ten Tunes can be divided into two sections. The first half is devoted to efficient songs that follow a more traditional jazz format. Highlights of this approach include "Opening Gambit," which begins with an emphatic rock backbeat and twangy, country influenced electric guitar, and "Charm Offensive," which fuses a memorable head with a samba feel. The latter half of the album contains the group's more lengthy, explorative songs, with a focus on ambiance and improvisation. "Connecting Dots" features a psychedelic, droning introduction and an excellent solo from Barner. The gem of the whole set may be the final song, "Palmas." An excellent modal improvisation by Stan Smith opens the song, which develops into a passionate, flamenco influenced piece with inspired soloing.

There is nothing too heavy here, but this is an enjoyable recording nonetheless. It is certainly worth a spin for those interested world-influenced jazz.

Josh Levinson Debuts at #3 on the CMJ Jazz Chart

2012-02-09T09:06:00.000-05:00

Josh Levinson His Second Week in Promotions

Debuts at #3 on the CMJ Jazz Chart

Proving Chauncey Street is
Making a Lasting Impression

Josh Levinson was born and raised in the Bensonhurst section of Brooklyn. At an early age he studied piano with his mother and later at High School he studied trumpet at John Dewey High School. After graduation, he attended college, and Levinson studied with John Castellano at Sounds of Joy (now the Drummers’ Collective), which was an important piece in the fabric of his musical learning.

Levinson’s first gigs were with the soul/funk band The Whole Damn Family led by Kevin Williams. He then went on tour with Mickey Murray and the Magic Machine, a funk band out of New York City. Levinson also played with local meringue bands and developed his jazz licks at the University of the Streets in the East Village, playing with musicians like “C” Sharpe and Tommy Turrentine. He played in an ensemble led by Ron Carter at City College, where he also got the chance to perform with guest artists Gil Evans and Freddie Hubbard.

In the late 80s and early 90s, Levinson’s led jazz groups at small New York clubs, including The Angry Squire, A Hundred Eighty Degrees, and Pat’s. Musicians who have played his tunes include Jorge Sylvester, Jeb Patton, Mike Holober, Uri Caine, Rob Bargad, Alex McCabe, Shingo Okudeira, Yoichi Kobayashi, Yosuke Inoue, and Mike Fahie, Mark Turner, and many others.

For the past fifteen years Levinson has been teaching music to middle school students in the South Bronx. He continues to practice and write the music that he fell in love with and still considers the greatest music in the world and is inspiring the next generation of future musicians.

Levinson’s deep love of jazz is represented in his compositions. Josh Levinson’s goal is to write, arrange, and play tunes that welcome, engage and draw the listener in. He has successfully achieved this concept with his first CD, Elevations, and continues this premise with his second and most current CD, Chauncey Street, that offers the listener 11 original compositions that feature danceable grooves and memorable melodies that are addictive and inviting.
Listeners will notice the way inventive melodies and harmonies emerge from a personal sound that has its roots in the history of jazz, particularly the post-bop straight-ahead drive exemplified by Freddie Hubbard, Wayne Shorter, and Horace Silver. Levinson’s goal is always to swing like the Art Blakey band and inspiration for him. He saw them many times in New York City, where he has spent all of his life living and playing.

Joanna Weinberg Enjoys Her 4th Week in a Row on the CMJ Jazz Chart

2012-02-09T08:57:00.000-05:00

Joanna Weinberg Enjoys Her
4th Week in a Row on the
CMJ Jazz Chart

Peaking at #12 Overall

Joanna was born in London and studied acting at the University of Cape Town in South Africa. She had a stellar career in film and theatre in South Africa, nominated for 11 AA Vita and Old Mutual awards for acting, comedy and cabaret and made world headlines when she played Desdemona in the first ‘non-racial’ production of Othello in that country, directed by Janet Suzman for the Market Theatre and filmed for Channel 4 in the U.K.

Joanna’s one- woman–show Sinksongs was discovered by film producer Andrena Finlay of Wildheart Productions and the show has gone on to become the musical feature film Goddess, directed by Mark Lamprell and produced by The Film Company in association with Screen Australia. Joanna is the co-writer of the screenplay as well as the principal songwriter for the movie. Goddess, starring Ronan Keating and Laura Michelle Kelly is due for release by Village Roadshow in Australia and internationally in 2012

Joanna moved to Sydney, Australia in 1997 where she re-focused her career towards songwriting and musical theatre writing. Joanna’s new stage musical Every Single Saturday for which she wrote the music, book and lyrics, went on tour in 2010, supported by a grant from the Australia Council for new musicals, and is now opening the Glen Street subscription season in 2012, produced by Les Currie and with an all-star Australian cast.

In 2008 she wrote, performed and recorded the one woman show 12 Shoes, pictured, which played extensively in Sydney and her new album, The Piano Diaries, which accompanies her show of the same name, was released in Sydney on the 6th November, 2011, and is available on itunes and cdbaby .com in November 2011.
Over her career Joanna has written 3 musicals and 9 one-woman shows, all of which have been performed on the professional theatre circuit in Australia and South Africa.

Bill Barner Enjoys His 4th Week on the CMJ Jazz Chart

2012-02-09T08:43:00.000-05:00

Bill Barner Enjoys His 4th Week in a row on the CMJ Jazz Chart

Peaking at #10 Overall

I was born in the Mississippi Delta in the middle of the 20th century. My father, who bought me the clarinet that I still play today and taught me to play it, was a clarinet and alto sax player on an aircraft carrier during World War II. After playing clarinet in elementary, junior high, and high schools in Miami and Northern California, as well as playing in the All Miami Youth Wind Ensemble and the Sacramento Youth Symphony, I attended the University of California at Davis, where I played clarinet in the university orchestra and alto sax in the jazz band.

While at Davis I played avant-garde music with John Cage and with a free jazz group called Touch Acoustra. Summers I played alto sax with Latino bands in the San Francisco Bay Area. I studied clarinet at California State University, East Bay after earning my B.S. at UC Davis. After college I played a variety of music in Columbus, Ohio. It was in Columbus where I met guitarist Stan Smith and bassist Roger Hines who play on Ten Tunes. We were members of Sanctuary, the award-winning jazz group that played nightclubs, radio, and TV, as well as appearing in concert with Michael Franks. In Sanctuary I played soprano and tenor sax and contributed compositions. While based in Columbus I attended a clarinet master class conducted by Eddie Daniels and I went to the Creative Music Studio in Woodstock, NY where I attended workshops led by jazz greats Lee Konitz, Dave Holland, Anthony Braxton, and Karl Berger.

Next, I moved to Albuquerque, New Mexico where I played clarinet and tenor sax in the Duke City Jazz Band. For the last 25 year I’ve lived in Northern Virginia near Washington, D.C. and played clarinet and sax all over the Mid-Atlantic region. I played soprano and tenor sax in Extremities, a jazz fusion group that played original music and appeared with Mike Stern and with Mark Isham at the well known Bayou club in Washington. Extremities played nightclubs and music festivals in the Washington, DC area and gave a concert at the Terrace Theater in the Kennedy Center.

Currently I play all over Washington, Northern Virginia and Maryland with two jazz combos: Night and Day and Some Like It Hot, and I play the lead tenor sax part in the Difficult Run Jazz Band, a 17-piece big band that has performed at Blues Alley in Washington and elsewhere. In addition I can be heard on two recordings by Tobin Mueller, A Bit of Light and Rain Bather--the JazzChicago.net number one album of the year in 2009. Finally, I’ve created music for two modern dance companies. I played Indian raga music on the tenor sax for two performance of the Tehreema Mitha Dance Company and I composed and recorded original music for the Kathy Harty Gray Dance Theatre. Through the years, I’ve looked for opportunities to improvise in any setting I could--dixieland, bluegrass, klezmer, free jazz--and I’ve searched for musical influences from all over the world. While writing the ten tunes on this new CD, I was particularly thinking of music from Brazil, the Middle East, Africa, and Spain.

Ryan Davidson Enjoys His 10th Week on the CMJ Jazz Chart

2012-02-09T08:34:00.001-05:00

Ryan Davidson Enjoys His 10th Week on the
CMJ Jazz Chart

Peaking at #4 Overall for 10 Weeks

Ryan Davidson is an Edmonton guitarist who holds a Master of Music in Jazz Studies from the University of North Texas. In the final year of his degree, Ryan became the guitarist of the 6 time, Grammy nominated, One O’clock Lab band. With the One O’clock, he shared the stage with Jazz legends Dave Brubeck, James Carter, Eddie Gomez and George Garzone. Recently, Ryan recorded “LAB 09” with the “One O’clock” for which the group received 2 Grammy Nominations.

ers), Michelle Wright, Family Brown, Jason Blaine, Shane Yellowbird, Gord Bamford, Duane Steele, Corb Lund, Deric Ruttan, Farmer’s Daughter, Tracy Millar, Patricia Conroy, Adam Gregory, Jamie Warren, Joel Feeney, J.R. Voture, Dean Tuftin and many others. His guitar playing can be heard on top 10 Canadian country radio stations across North America, as well as numerous music videos on CMT.

Axel's Axiom Enjoy's their 10th Week on the CMJ Jazz Chart

2012-02-09T08:24:00.000-05:00

Axel's Axiom Enjoys Their 10th Week on the
CMJ Jazz Chart

Peaking at #3 Overall for 10 weeks

In 2007, Axel moved to New York City, and has since busied himself with teaching piano, composing, and performing at local venues (including, e.g., the Iridium jazz club in the fall of 2010). He also kept playing at venues in Boston (e.g. for the band Soul Alley’s CD release concert at the House of Blues Foundation Room, in 2010), as well as the Kennedy Center for the Performing Arts in Washington, DC, in 2008. In 2009, he recorded his second album as a leader with his new group, Axel’s Axiom, featuring Marko Djordjevic on drums, Evan Gregor on bass, Aki Nishiguchi on tenor sax, Alex Terrier on alto sax, and Casper Gyldensøe on guitar. The album is entitled Uncommon Sense and features 10 original pieces.

Born in Cologne, Germany, Axel Schwintzer started to play the piano at the age of 10. He studied mostly classical music at first, and later switched primarily to Jazz and improvised music.

After completing a master’s program at the University of Bonn, Germany, where he majored in Political Science and English Linguistics, Axel received a scholarship to study at Boston’s Berklee College of Music, from which he graduated summa cum laude in 2004. In his studies, he concentrated on performance and composition in various styles.

After graduating from Berklee, Axel lived in Boston for two and a half years, playing throughout New England with various bands.

Among others, Axel has studied piano and music with Russell Ferrante, Charlie Banacos, Richie Beirach, Laszlo Gardony, Ed Tomassi, Hal Crook, Frank Carlberg, Alain Mallet, Alexei Tsiganov, Bruce Katz, Dave Limina, and Matthias Klimsch. Compositionally, Axel likes to blend Jazz with elements of other styles – mostly Pop, Funk, Brazilian, and World music. His main compositional influence is the band Yellowjackets.

Notable public performance venues include: Iridium Jazz Club (NYC), John F. Kennedy Center for the Performing Arts (DC), Embassy of the Federal Republic of Germany (DC), The Luxembourg House (NYC), Goethe-Institut (Boston), Bunker Hill College (Boston), Miles’ Café (NYC), Buona Sera (NY), Felt’s Club (Boston), Union Blues (Worcester, MA), Boom (NYC), Pane E Vino (NYC), and many others.

Jacob Deaton Hits the #1 slot on the CMJ Top Jazz Adds Chart

2012-02-09T08:13:00.000-05:00

Jacob Deaton Hits the #1 Slot for the
Top Jazz Adds Chart

His First Week in Promotions

Jacob Deaton has been playing clubs and restaurants all over Atlanta and the Southeast, dazzling audiences with his fretboard acrobatics and making a name for himself amongst Atlanta jazz elite.

When Deaton joined The Justin Chesarek Quintet (Justin Chesarek, drums; Craig Shaw Bass; Akeem Marable, alto saxophone; Nick Rosen, keys) two years ago, he began writing tunes for their regular Wednesday night gig at Atlanta’s hallowed jazz club, Churchill Grounds, and has cultivating his tunes ever since. Deaton walked into the studio with his original band mates and laid down six inspired tracks that will keep you humming for days. It’s not just straight-ahead, swing, or bop. It’s an original ATL Jazz revival played by five smokin’ musicians.
The album’s title track is intense, building tension from the first note and releasing when Marable steps up to the mic and unleashes a boat load of energy. “Eclipse takes the listener on an easy ride, with a lively, bouncing melody. The rest of the album progresses naturally and is assembled well, making it easy to just hit play and listen, without skipping from track to track.
“I named the album Tribulation because every one of the tunes provided a challenge, whether it was improvisational or compositional,” Deaton says. Deaton calls this album a “gateway record,” because as he wrote it, he was able to clearly see the direction his music is taking him. The result is a jivin’ album that you’ll find yourself humming along to and marveling at the high level of improvisation.
Deaton is a graduate of Atlanta Institute of Music and studied under pianist Randy Hoexter and guitarist Trey Wright and Corey Christiansen. Aside from his solo work, his band, The Indie Revenge, has been lighting up stages all over town and was recently named “Top 5 Bands to Watch” by Creative Loafing.

Susan Krebs hits the Top Jazz Adds Chart

2012-02-09T08:02:00.000-05:00

Susan Krebs Hits the Top Jazz Adds Chart Her
First Week in Promotions

Taking the #2 slot on the Top Jazz Adds Chart at CMJ
Stage, screen and TV actor and vocalist, Susan Krebs, decided a few years ago to devote herself fully to singing, and the jazz world is a better place for it. Krebs’ voice is rich and pure with an enticingly dusky patina. Blessedly free of affectation, she rivals Karrin Allyson and Diana Krall in her ability to climb inside a lyric and make it seem as if she’s lived there her entire life...

~Christopher Louden/JAZZ TIMES

Born and raised in Baltimore, Susan grew up in a home filled with the sounds of Bach, Beethoven, Gilbert & Sullivan, Broadway Musicals and the blues of Bessie, Billie and Ella. Graduating from Hollins University, Susan went on to New York City – studying acting with Uta Hagen, appearing in Off-Broadway plays and musicals, TV commercials and performing with the improvisational theater company, War Babies. She then relocated to Los Angeles, making it her new home – delighted that she could garden and hike – and that there were greater work opportunities. Over the years, she has appeared in dozens of TV shows (Shameless and Mad Men, most recently), Films (Million Dollar Baby, 28 Days), Animation, Radio & TV Commercials, and Theater, including her own solo musical revue, LUNAR I; the all-women’s improvisational company, the Wims; and the contemporary opera, A String of Pearls, both in L.A. and at Carnegie Hall’s Weill Theater.

Throughout Susan’s career as an actor and improviser, she was also performing as a jazz vocalist, and studied with the great jazz singers, Sue Raney and Sheila Jordan. Then, seeking clarity and artistic direction during a four month “middle years” retreat in Jackson Hole, Wyoming, Susan’s sense of herself as a “jazz gardener” came into being - which she explains is “about the art of becoming - whether working with plants or music or with oneself - to dig down, to cultivate, to encourage growth, to thrive and flourish, and eventually to let go and begin the cycle anew.”

She returned to L.A. with the intent of devoting herself fully to the art of jazz singing in order to tell her tale through song.

Following the 1999 release of her debut album, Jazz Gardener, came What Am I Here For? in 2002. Both projects were created with her group of superb L.A. based musicians, including her longtime drummer/producer, Jerry Kalaf, and the saxophonist extraordinaire, Gary Foster. Susan performs regularly throughout Southern California, including such venues as: L.A. County Museum of Art, Jazz Bakery, Vitello’s and Cafe 322. She also hosts and performs regularly with the Susan Krebs Band in her jazz salon, ThemeScene.

Susan Krebs has nothing but fondness for our feathered friends—and expresses her joyous affection magnificently throughout this fascinating concept project [JAZZ AVIARY]... irresistible offerings from a formidable jazz artist...
~Jonathan Widran/AMG

Susan’s ongoing project is the critically acclaimed multi-media concert JAZZ AVIARY – a celebration of Birds and the universal music we share - conceived and performed by Susan in collaboration with the Soaring Sextet, with Musical Direction by Rich Eames. Susan explains her longtime fascination with birds: “I remember as a kid, lying stretched out in a hammock between two grand sycamores, watching the birds, listening to the birds - digging the birds! With JAZZ AVIARY, I want to express the wonder and awe that birds arouse as well as raise awareness for their beauty and preservation.”

Jacob Deaton is reviewed by This is Books Music

2012-02-07T20:27:00.000-05:00

THIS IS BOOKS MUSIC
by John Book

If I received more jazz albums like the one I have here, my world would be so much better.

Jacob Deaton is an Atlanta, Georgia-based jazz guitarist that looks suspiciously laid back on his cover, but that slight smug smirk on his face seems to hint at saying “but wait until you hear me”. Tribulation (self-released) is an album that may sound reserved at first, but as soon as I popped the music on, I knew there was some kind of energy in the studio they were doing this. His band here consists of Justin Chesarek on drums, Craig Shaw on bass, Nick Rosen on piano, and Akeem Marable on alto sax. The way the album begins (with the title track), it almost feels like it could be a Marable or Rosen session, as they dominate without being too forceful. Knowing Deaton is the actual leader of these sessions, I had to concentrate on him and expect that he was going to let it rip and show off his playing. He does, and he’s wicked without being too show off-y, if that makes any sense. In other words, it’s controlled, he knows how to play and get into all of the corners and pockets, but get out of there to allow the music and song to breathe and continue on its source.

In songs like “Major Differences”, “Sketches Of Trane” (definitely pay attention to this one), and “Eclipse”, what I hear are a group of musicians who work together brilliantly, and found myself wishing each of them had recording sessions so I could hear not only each individual album, but the fact that I would be hearing more from these five gentlemen. The roominess heard in the production of this album will bring to mind some of the best jazz albums of the early to mid-1960′s that were recorded in Englewood Cliffs, New Jersey, and when Deaton plays, while one can compare his work and the surroundings to different eras, I feel it is timeless.

(To hear the title track from Tribulation, head to Jacob Deaton’s home page, and it will play immediately, so adjust your speakers or headphones before it blasts. The intro and beginning melody sounds like a cross between John Coltrane‘s rendition of “My Favorite Things” and parts of the melody to Seals & Croft‘s “Summer Breeze”, but when the song hits the sax solo, it’s an all new adventure.)

Kayla Taylor is reviewed by Jersey Jazz

2012-02-06T11:29:00.000-05:00

JERSEY JAZZ
by: Joseph Lang

KAYLA TAYLOR JAZZ is vocalist Kayla Taylor and guitarist Steve Moore. On You’d Be Surprised (SMarty Kat Records), they are joined by bassist Justin Owen-Head, percussionist Michael Dana and saxophonist Will Scruggs. Taylor and Moore have been working together in various settings for 18 years, and they have developed the kind of empathy that evolves in a long-term musical relationship. His lines nicely support her vocalizing.

Taylor has an appealing voice with a slight duskiness that adds a sensual edge to her singing. She pays attention to the words she sings, and makes each lyric believable. Ten of the eleven selections are standards, with the closer being a gutsy “Blues Stay Away From Me.” Particularly notable are her takes on “You’d Be Surprised,” “Treat Me Rough,” a mostly neglected Gershwin gem, and “Devil May Care.” While most of the program consists of familiar tunes, Taylor puts her own stamp on them, providing a refreshing variation on the same old same old that so many singers offer with this kind of material. The arrangements enhance her effectiveness. The Atlanta-based Taylor/Moore duo should find their way up to the Big Apple for some gigs. They have the talent. Now they need the exposure. (http://www.kaylataylorjazz.com/)

Jose Garcia is reviewed by Jersey Jazz

2012-02-06T11:13:00.000-05:00

Jersey Jazz
by: Joseph Lang

At the beginning of his musical career, Mexican born JOSÉ GARCIA was a guitarist who focused on Spanish and Flamenco style playing. About a dozen years ago, he was a member of a Spanish guitar duo that decided to add a vocalist to the mix. When finding the right person became difficult, Garcia took it upon himself to develop as a singer. He applied his newly developed talent to the Latin repertoire that was his natural musical home. A few years ago, Garcia branched out into the world of jazz and pop standards, and he found a new avenue for his musical expression.

Songs for a Lifetime – Live (José Garcia Music ) is his first recording in this vein, and he hits the ball out of the park. His robust vocalizing has hints of Buddy Greco and Frank D’Rone, two fine stylists. Like D’Rone, he plays along on guitar, and is joined for the album by Carlos Rodgarman on piano, Mike Paganini on bass and Pablo Correa on drums. The set was recorded at the New York Club in Palm Desert. Garcia has a strong, pleasant baritone voice, and nice feel for phrasing. When he opens with “I Get a Kick Out of You,” you will get a kick out of him. After eight more fine selections, he gets to the closer, “This Could Be the Start of Something Big,” and I have a feeling that this could be a prophetic title for an exciting new addition to the world of jazz/pop singers. (www.josegarciamusic.com)

Jose Garcia is reviewed by All About Jazz

2012-02-06T10:57:00.002-05:00

by: Edward Blanco

A truly impressive recording by a jazz singer from a most unlikely place Songs For a Lifetime, Live is the debut by Jose Garcia, from Tecate, Mexico. A self-taught guitarist who grew up exposed to a variety of music including jazz, Garcia was invariably drawn to singers of music from The Great American Songbook. Concentrating on guitar and specializing in Spanish and Flamenco music, he has become a much in-demand professional musician in the Los Angeles area.
Songs For a Lifetime, Live is, in effect , the culmination of an event from a past performance. A request to sing some jazz standards became a career-altering experience that revealed Garcia's husky and powerful vocal style, as his major appeal led to a newfound reputation as a modern-day crooner. Recorded Live at the New York Club on Del Webb Boulevard in Palm Desert, CA, the album captures Garcia singing songs from the American Songbook featuring pianist Carlos Rodgarman, bassist Mike Paganini and drummer Pablo Correa.

Sounding a bit like the great Mel Tormé, Garcia begins to weave his magic with Cole Porter's "I Get a Kick Out of You," follows with a humbling treatment of "The Shadow of You Smile" and returns to another Porter classic with a delicious rendition the immortal "Night and Day." The one and only Tony Bennett would be proud of the way Garcia respects his "I Left My Heart in San Francisco," sung with real emotion and a lot of heart. Rodgarman—who is terrific throughout—delivers another fine piano solo on this one.

Garcia strums beautiful acoustic guitasr chords on two internationally-renowned Latin classics—"Besame Mucho" and Alvaro Carrillo's Mexican standard "Sabor a Mi." He goes it alone with a solo performance of Charles Trenet's "I Wish You Love," before getting back with the trio on a rousing rendition of "All of Me." The haunting "You Go To my Head" and lively "This Could Be the Start of Something Big" round out the set list as the singer concludes the evening in the same sizzling fashion with which he started.

There are not too many male singers in jazz today that can claim the mantle of "crooner," but Garcia is clearly one of them. A gifted singer with remarkable skills on the guitar, Garcia clearly possesses the firm foundation to establish a name for himself, and his auspicious debut, Songs For a Lifetime, Live, is convincing proof.

Track Listing: I Get a Kick Out of You; The Shadow of Your Smile; Night and Day; I Left My Heart in San Francisco; Besame Mucho; I Wish You Love; All of Me; You Go To My Head; Sabor a Mi; This Could Be The Start of Something Big.
Personnel: Jose Garcia: vocals, acoustic guitar; Carlos Rodgarman: piano; Mike Paganini: bass; Pablo Correa: drums.

Record Label: Self Produced

Susan Krebs Band is reviewed by Critical Jazz

2012-02-05T13:00:00.000-05:00

CRITICAL JAZZ
by: Brent Black

Refreshing...A wonderfully eclectic release with an N.P.R vibe and a warm rich sound that works hand in glove with her vocals. A somewhat personal release which reflects upon some favorites of Krebs and the current social-political climate we live in today. Normally when an artist begins mixing social commentary with their music and especially jazz then my attention span and tolerance level are equivalent to the interest I have in an Obama press conference. The release works because it does not push a message but instead shines the spotlight on the music which Krebs delivers with a refreshing honesty and clearly shows her comfort zone as an artist.

Working with long time collaborators Rich Eames and Jerry Kalaf has a subtle chemistry that brings the music and vocals together in a nice working band setting. The joy of making music is nice. The joy of making good music is Susan Krebs. Everything Must Change opens with a spot on version of the Freddie/Hubbard/Abbey Lincoln tune "Up Jumped Spring." The Cole Porter classic "What Is This Thing Called Love" along with the Billy Strayhorn tune "A Flower Is A Lovesome Thing" showcase Krebs unique ability to reinvent a timeless standard without disrespecting the original or herself and this is the true sign of an artist. An intimate all most live studio sound seems to permeate this recording giving new meaning to the often tired critical term "organic."

Having shifted a career away from stage, screen and television it would appear Krebs has made the correct career decision with pursuing singing as her vocation of choice. In her press release Krebs describes her musical odyssey as "the art of becoming" and given the 24/7 learning curve that is life she seems to be an artist blessed with a clear focus and understanding of how to best develop her talents. Krebs closes the release with her feel good single "Are Ya Havin' Any Fun?" which she describes as her feel good single for challenging times. As a jazz vocalist Susan Krebs offers a nice vacation from the trials and tribulation of everyday life and Everything Must Change is well worth the trip!

Tracks: Up Jumped Spring; What Is This Thing Called Love?; A Flower Is A Lovesome Thing; Everything Must Change; Lost In The Stars; Wheelers & Dealers; Our Love Rolls On; Are Ya Havin' Any Fun?

Personnel: Susan Krebs: vocals; Rich Eames: piano; Ryan McGillicuddy: bass; Jerry Kalaf: drums; Chuck Manning: tenor/soprano saxophone.

Guests: Scott Breadman: percussion (8); Steve Huffsteter: trumpet (8); Riner Scivally: guitar (8).
http://www.susankrebsmusic.com/

Jacob Deaton is reviewed by Critical Jazz

2012-02-05T12:55:00.000-05:00

CRITICAL JAZZ
by: Brent Black
There are a million unknown guitarists spread throughout this country...Jacob Deaton just happens to be one of the good ones.

Playing musical prospector searching for that gold nugget can be a daunting task, Deaton makes it easy. Tribulation is a stellar debut release for this Indiana native and Atlanta resident and proves you don't necessarily have to go to New York to make a name for yourself.

Musical frames of reference are inherently unfair but are a necessary evil when it comes to a debut release. The obvious question is usually, "Who does he sound like?" Flashes of a Pat Martino influence pop up throughout Tribulation but the best answer is that he sounds like Jacob Deaton. A more post bop / straight ahead sound with a fresh energy and infectious groove finds Deaton as more than technically proficient but artistically gifted. Deaton is a jazz triple threat showing off his prolific and prodigious talents as instrumentalist, composer and arranger. The scary aspect of Tribulation is that the other members of the quintet are as equally gifted. A true working band feel that is noticeably absent in today's solo artist driven market.
Opening with the syncopated title track has guitarist Deaton and alto saxophonist Akeem Marable turning up the flame on a blistering number of intense lyricism and backed by a smoking rhythm section including Nick Rosen on piano, Craig Shaw on bass and Justin Chesarek on drums. "Major Differences" displays a wonderful gift of organic control, nothing forced and the tune develops as an intimate musical conversation between friends. "Sharp Edges" playfully shifts meter and with it a harmonic development that allows the members ample opportunity to simply take the more visceral approach and run with it. "Sketches of Trane" pushes the improvisation envelope and Deaton again flexes his six string muscle along with inspired playing from pianist Nick Rosen. Drummer Chesarek simply owns the pocket and paired with the lyrical styling of bassist Shaw make this quintet a fully functioning unit of immense swing.

The single note articulated attack of Jacob Deaton is most impressive. Original and challenging compositions find Deaton as a fresh voice on the modern jazz guitar scene. Tribulation is as solid a release of original work as you will hear. A former editor would often caution me on telling the reader what to expect, a shared perspective on a rising star is simply commentary on the blatantly obvious. Jacob Deaton does more than play the notes, he makes the music.

Jacob Deaton is the real deal!
A - 5 Star debut!

My only critical remark - Too short!

Find out more for yourself at: http://www.jacoballendeaton.com/

Tracks: Tribulation; Eclipse; Hoexter's Hex; Major Differences; Sharp Edges; Sketches of Trane.

Personnel: Jacob Deaton: guitar; Akeem Marable: alto saxophone; Nick Rosen: piano; Craig Shaw: bass; Justin Chesarek: drums.

Special thanks to Kari at Kari-On Productions for bringing this release to my attention!

Axel's Axiom Continues to Hold Strong for 9 Weeks Straight

2012-02-02T15:22:00.000-05:00

Axel's Axiom Continues its Reign on the CMJ Jazz Chart

This Week Hitting the #9 Slot

Peaking at #3 Overall

Born in Cologne, Germany, Axel Schwintzer started to play the piano at the age of 10. He studied mostly classical music at first, and later switched primarily to Jazz and improvised music.

After completing a master’s program at the University of Bonn, Germany, where he majored in Political Science and English Linguistics, Axel received a scholarship to study at Boston’s Berklee College of Music, from which he graduated summa cum laude in 2004. In his studies, he concentrated on performance and composition in various styles.

After graduating from Berklee, Axel lived in Boston for two and a half years, playing throughout New England with various bands.

Among others, Axel has studied piano and music with Russell Ferrante, Charlie Banacos, Richie Beirach, Laszlo Gardony, Ed Tomassi, Hal Crook, Frank Carlberg, Alain Mallet, Alexei Tsiganov, Bruce Katz, Dave Limina, and Matthias Klimsch. Compositionally, Axel likes to blend Jazz with elements of other styles – mostly Pop, Funk, Brazilian, and World music. His main compositional influence is the band Yellowjackets.

Notable public performance venues include: Iridium Jazz Club (NYC), John F. Kennedy Center for the Performing Arts (DC), Embassy of the Federal Republic of Germany (DC), The Luxembourg House (NYC), Goethe-Institut (Boston), Bunker Hill College (Boston), Miles’ Café (NYC), Buona Sera (NY), Felt’s Club (Boston), Union Blues (Worcester, MA), Boom (NYC), Pane E Vino (NYC), and many others.

Bill Barner Skyrockets to #10 on the CMJ Jazz Chart

2012-02-02T14:40:00.000-05:00

Bill Barner Skyrockets into the Top 10 This Week

His Third Week in Promotions

While at Davis I played avant-garde music with John Cage and with a free jazz group called Touch Acoustra. Summers I played alto sax with Latino bands in the San Francisco Bay Area. I studied clarinet at California State University, East Bay after earning my B.S. at UC Davis. After college I played a variety of music in Columbus, Ohio. It was in Columbus where I met guitarist Stan Smith and bassist Roger Hines who play on Ten Tunes. We were members of Sanctuary, the award-winning jazz group that played nightclubs, radio, and TV, as well as appearing in concert with Michael Franks. In Sanctuary I played soprano and tenor sax and contributed compositions. While based in Columbus I attended a clarinet master class conducted by Eddie Daniels and I went to the Creative Music Studio in Woodstock, NY where I attended workshops led by jazz greats Lee Konitz, Dave Holland, Anthony Braxton, and Karl Berger.

Next, I moved to Albuquerque, New Mexico where I played clarinet and tenor sax in the Duke City Jazz Band. For the last 25 year I’ve lived in Northern Virginia near Washington, D.C. and played clarinet and sax all over the Mid-Atlantic region. I played soprano and tenor sax in Extremities, a jazz fusion group that played original music and appeared with Mike Stern and with Mark Isham at the well known Bayou club in Washington. Extremities played nightclubs and music festivals in the Washington, DC area and gave a concert at the Terrace Theater in the Kennedy Center.

Joanna Weinberg Flies Up the CMJ Jazz Chart to #12 This Week

2012-02-02T14:34:00.000-05:00

Vocalist and Composer, Joanna Weinberg

Hits the CMJ Jazz Chart Her 3rd Week in a Row

Hitting the #12 Slot

Joanna moved to Sydney, Australia in 1997 where she re-focused her career towards songwriting and musical theatre writing. Joanna’s new stage musical Every Single Saturday for which she wrote the music, book and lyrics, went on tour in 2010, supported by a grant from the Australia Council for new musicals, and is now opening the Glen Street subscription season in 2012, produced by Les Currie and with an all-star Australian cast.

Over her career Joanna has written 3 musicals and 9 one-woman shows, all of which have been performed on the professional theatre circuit in Australia and South Africa.

Ryan Davidson Cements His Place on the CMJ Jazz Chart for his 9th Week in a Row

2012-02-02T14:28:00.000-05:00

Ryan Davidson Cements His Place on the CMJ Jazz Chart

For His 9th Week in a Row

Peaking at #4 Overall

In the Country music world, he has performed with many renowned country artists. He was fortunate to have shared the stage and/or recorded with great musicians like: Dave Alexander (Asleep at the Wheel), Carolyn Dawn Johnson, Steve Fox, Brad Johner, Chris Cummings, Jason McCoy (currently of the Road Hammers), Michelle Wright, Family Brown, Jason Blaine, Shane Yellowbird, Gord Bamford, Duane Steele, Corb Lund, Deric Ruttan, Farmer’s Daughter, Tracy Millar, Patricia Conroy, Adam Gregory, Jamie Warren, Joel Feeney, J.R. Voture, Dean Tuftin and many others. His guitar playing can be heard on top 10 Canadian country radio stations across North America, as well as numerous music videos on CMT.

Josh Levinson Hits the Top Jazz Adds at CMJ

2012-02-02T14:21:00.000-05:00

Josh Levinson Hits the Top Jazz Adds Chart

Landing on the #1 Slot, His First Official Week in Promotions

In the late 80s and early 90s, Levinson’s led jazz groups at small New York clubs, including The Angry Squire, A Hundred Eighty Degrees, and Pat’s. Musicians who have played his tunes include Jorge Sylvester, Jeb Patton, Mike Holober, Uri Caine, Rob Bargad, Alex McCabe, Shingo Okudeira, Yoichi Kobayashi, Yosuke Inoue, and Mike Fahie, Mark Turner, and many others.

For the past fifteen years Levinson has been teaching music to middle school students in the South Bronx. He continues to practice and write the music that he fell in love with and still considers the greatest music in the world and is inspiring the next generation of future musicians.

Listeners will notice the way inventive melodies and harmonies emerge from a personal sound that has its roots in the history of jazz, particularly the post-bop straight-ahead drive exemplified by Freddie Hubbard, Wayne Shorter, and Horace Silver. Levinson’s goal is always to swing like the Art Blakey band and inspiration for him. He saw them many times in New York City, where he has spent all of his life living and playing.

Jose Garcia Hits the Top Jazz Adds Chart at CMJ

2012-02-02T14:17:00.000-05:00

Jose Garcia Lands on the Top Jazz Adds Chart

His Second Week in a Row for Week 2 in Promotions

Onward and Upward

A multi-faceted crooner and guitarist, José García’s upcoming debut album Songs For a Lifetime - Live, swings, sways and romances the listener with classic songs from the American Songbook, flavored with Latin classics.

When a vocalist comes along with an extraordinary passion for his craft, that passion can be felt in the emotion of his performance. José García is the epitome of this type of vocalist. Whether singing swinging standards or ballads, in English or in Spanish, José connects with his audience and holds them close as they indulge in his lavish voice.

From a very early age growing up in Tecate, Mexico, José was exposed to a variety of great musical influences that helped shape the vocalist he has become today. At the tender age of 6, José began his musical journey by teaching himself to play guitar. Over the years, he devoted countless hours to perfecting his craft. He also found himself drawn to the music of the great jazz crooners, even though his peers couldn’t relate.

As an adult, guitar remained José’s primary instrument. He became an in-demand professional musician in Los Angeles, focusing on Spanish and Flamenco styles.

In late 1999, José’s Spanish guitar duet decided to add a vocalist. Finding the right voice proved to be difficult, so José decided to develop his own vocal skills and serve as the temporary vocalist. José’s vocal quality, range and unique signature sound quickly blossomed, allowing him to cover a variety of Latin styles ranging from Flamenco to Boleros and Bossa Nova. His temporary vocal assignment became permanent, and he added vocals to his professional repertoire.

Just a few years ago, José was asked to sing jazz standards as a guest artist. Being a longtime fan of crooners, José jumped at the opportunity. His performance that night was exceptional, and the crowd’s enthusiastic response to his vocals caused him to redirect his career.

José’s upcoming album, Songs for a Lifetime - Live, captures his respect for the classics and showcases his vocal diversity. Backed by an accomplished rhythm section, this live recording captures his spirited interpretations of timeless standards. There’s something for everyone in this recording, from upbeat swing to sentimental ballads. José even picks up a guitar and serenades the audience with his take on some ultra-romantic Spanish ballads.

With Songs for a Lifetime - Live, José García is poised to establish himself as one of today’s most gifted singers.

David Leonhardt is reviewed by Audiophile Audition

2012-02-01T08:37:00.000-05:00

AUDIOPHILE AUDITION
by: Pierre Giroux

The David Leonhardt Group Plays Cole Porter – Big Bang Records BBR 9584, 57:05 ***:

(David Leonhardt – piano; Larry McKenna – saxophone; Matthew Parrish – bass; Paul Wells – drums; Nancy Reed – vocals)

William McBrien in his biography of Cole Porter quotes Walter Clemons on Cole Porter: ”The complexity of Porter’s best work sets him somewhat apart from the other great songwriters of the first half of the century…a Porter song is a luxury item, expensively made and extravagantly rhymed.” It is not surprising then, that almost every jazz and pop artist has recorded at least one Porter tune and others, such as Ella Fitzgerald and Oscar Peterson, devoted entire albums to all of Porter’s songs.
The two songs which offer the most interest are those which bracket the song list, namely “Love for Sale” and “Get Out Of Town”, both of which are done by the trio of Leonhardt, Parrish and Wells. In the case of the former, the tune features some interesting time signatures, and then there is the straight-ahead version of the latter song. Leonhardt’s playing in both cases is exemplary as he covers the keyboard with devilish fashion and flair.

Joining the trio for five instrumental selections is saxophonist Larry McKenna who hails from Philadelphia. Although his playing is agreeable, “I Concentrate On You” is nicely delivered. While the arrangements and production values provided by David Leonhardt are first rate.
Track List: Love For Sale; Every Time We Say Goodbye; Just One Of Those Things; Night And Day; In The Still Of The Night; You’d Be So Nice To Come Home To; I’ve Got You Under My Skin; I Concentrate On You; It’s All Right With Me; I Love You; All Of You; Get Out Of Town.

Josh Levinson is reviewed by Critical Jazz

2012-01-30T22:26:00.000-05:00

CRITICAL JAZZ

by: Brent Black

Long story short, if you dig Latin jazz and hard bop then Chauncey Street is guaranteed to make your musical back leg shake.

Levinson is a first call trumpet player born in Brooklyn and currently teaching music to middle school students in the South Bronx. A hard groove with an infectious old school grasp of melody, the Josh Levinson Sextet serves up 11 original tunes that take one back to the classic Blue Note recordings of Freddie Hubbard. While danceable melodies and solid harmonic development permeate this recording there is an amazing lyrical drive where everyone gets the chance to display their prodigious talent.
"Chauncey Street" is the title track and where Levinson would hook up with the J train for rehearsals back in the 1990's. The hard charging swing of "Chauncey Street" reflects the atmosphere of a neighborhood brimming with vitality and uncertainty. "F' It" is another somewhat personal tune. Much like the title, Levinson goes for it and nails it cold! The chameleon like makeup of this number reflects Levinson's background from funk to a more straight ahead vibe. Offering up a diverse menu of musical flavors we have the Latin jazz number "Wired." The groove laid down on "Wired" is contagious with an incredibly tight head and a smoking solo from trombonist Noah Bless. "My Blues" was written for bassist Avishai Cohen and is one of the real highlights of this release with Kenny Shanker on tenor and a beat you feel with your feet. Peter Brendler on bass and drummer Brian Fishler anchor a stellar rhythm section along with pianist Jeb Patton. "My Blues" pushes the envelope on meter but never loses the straight ahead swing that is the back bone of this tune. "180 Degrees" is another smoker from Levinson this time with Mike Eckroth on piano and the collective ensemble shines yet again.

Chauncey Street is hard charging post bop knocked out of the park by some of New York's finest. A well thought out ebb and flow of this release does include a few slower tunes. "Rain" is a beautiful ballad that has some deceptive twists and turns reminiscent of some Tom Harrell compositions. Eleven rock solid originals, six of the best musicians in New York and a swing that goes right to your very soul. Levinson's keen sense of melody and harmonic progression keep this ensemble on an incredibly entertaining and accessible level that others simply can not match.

A virtually flawless release with the Josh Levinson Sextet on point at all times!

5 Stars!

Preview the release for yourself:

http://www.cdbaby.com/cd/joshlevinsonsextet
Tracks: Chauncey Street; F' It; Wired; Without Struggle; Rain; Heat; 10,9,8,7...; Avishai; My Blues; For Freddie; 180 Degrees.

Personnel: Josh Levinson: trumpet, flugelhorn; Brian Fishler: drums; Jeb Patton: piano; Mike Eckroth: piano (11); Peter Brendler: bass; Kenny Shanker: tenor and soprano saxophone; Noah Bless: trombone.

Josh Levinson is reviewed by This is Books Music

2012-01-30T18:06:00.000-05:00

THIS IS BOOKS MUSIC
by: John Book

REVIEW: Josh Levinson Sextet’s “Chauncey Street”

Upon the first ten seconds of hearing the title track of Chauncey Street (self-released), you know you’re going to be up for a rip-roaring time. The Josh Levinson Sextet play their music as if they were meant to do so, and while I know a lot of people tend to take that saying without care, it is true for Levinson and the rest of the guys. The title track may bring people to the streets of New Orleans, while “Wired” may take listeners to Miami or perhaps in Americas more South. “Heat” gets funky and shows a bit of what Levinton left (and had taken with him) after The Whle Damn Family, and I feel that’s what makes this album works: it sounds like family, where everything gels like saliva on a cackalack. The tribute to Avishai Cohen in “Avishai” is beautiful and may hopefully bring people to the namesake who may have never approached his music before.

The musicians here (Levinson on trumpet and flugelhorn, plus Brian Fishler on drums, Peter Brendler on bass, Kenny Shanker on tenor and soprano saxophones, Noah Bluess on trombone, Jeb Patton on piano, along with pianist Mike Eckroth who sits in on “180 Degrees”) are just superb, and with this album recorded and engineered by Peter Karl at his Brooklyn studio and the final recording mastered by Fred Kevorkian, you’re hearing album that honors its influences but also hopes to become an influence for all who choose to hear this. Highly recommended.

Jose Garcia is reviewed by Critical Jazz

2012-01-29T10:44:00.000-05:00

Critical Jazz
by: Brent Black

Jose Garcia Songs For A Lifetime Live 2012

Would it surprise you to know that Frank Sinatra did not consider himself a crooner nor was he exactly thrilled with the label itself? Jose Garcia fell into the roll of vocalist while seeking a singer for his Spanish guitar duet. Ultimately "if you want something done right do it yourself" came into play as Garcia began developing his vocal chops and now takes a gigantic musical roll of the dice with a live debut recording. Pay the winner! Songs For A Lifetime Live is a joyous celebration of the Great American Songbook not to mention a few well chosen Latin classics. Crooning gone global!

When this release reached my desk there was a cocked eyebrow on my part when the innocuous tag of crooner caught my eye and with an iconic set list it was clear Garcia not to mention his band had to be on point. There is a joyous swing to this release that is bordering on infectious. Garcia and the band work seamlessly and on equal musical footing avoiding all the self indulgent pitfalls most singers would hit immediately.

A great arrangement of the Cole Porter classic "I Get A Kick Out Of You" features pianist Carlos Rodgarman and an incredibly tight rhythm section with the ability to make this tune pop thanks to bassist Mike Paganini and drummer Pable Correa. Garcia's guitar talents are brought center stage with a beautiful and expressive opening to "Besame Mucho." The name of the game is swing and "All of Me" is a tune you hear with your feet! An ironically appropriate closer "This Could Be The Start of Something Big" is syncopated swing kicked up a notch. Garcia's vocals are perhaps best described as a delightful mix of Mel Torme and Tony Bennett but Garcia is far from a good vocalist doing some passable covers. Jose Garcia is an artist with passion and clearly displays the gift of connection with an audience.

Jose Garcia has that cool tone to his vocals, the innate ability to swing and impeccable phrasing. Crooner is still a label that does not seem to adequately fit Garcia as he clearly proves his ability as an incredibly well rounded artist. Songs For A Lifetime Live is a rock solid and highly entertaining release and considering this is a debut then Garcia scores extra bonus points! Some people assume based on the word critic that a review has to revolve around the criticisms found on a release. Look under every rock and check every nook and cranny as you will come up empty!

Songs For A Lifetime Live is a solid winner!
http://www.josegarciamusic.com/

To sample the release please use the cd baby link provided: http://www.cdbaby.com/cd/josegarcia12

Tracks: I Get A Kick Out of You; The Shadow of Your Smile; Night and Day; I Left My Heart In San Francisco; Besame Mucho; I Wish You Love; All of Me; You Go To My Head; Sabor a mi; This Could Be The Start of Something Big.

Personnel: Jose Garcia: vocals & guitar; Carlos Rodgarman: piano; Mike Paganini: bass; Pablo Correa: drums.

artsHub interviews Joanna Weinberg

2012-01-28T10:50:00.000-05:00

artsHub

Joanna Weinberg, The Piano Diaries
artsHub interviews

Writer and composer Joanna Weinberg (12 Shoes, The Unbearable Lightness of Fleeing, Piano Diaries and the soon to be released musical film Goddess) has created four football parents with four very different agendas.

The new Australian musical Every Single Saturday will play a limited season at Sydney’s Theatre Royal in March this year following its premiere season at Glen Street Theatre.

Every Single Saturday is a hilarious and moving musical about four parents whose only common ground is the football field where their kids play on Saturdays. Featuring more than sixteen original songs, dynamic dancing, plenty of laughs and a few tears, this heart-warming and romantic new Australian musical comedy celebrates the pain and the passion of being a parent on the sidelines. The show has come a long way from a ten-minute piece three years ago, and the smaller production at NIDA in 2010.

What did you want to be when you grew up?
A fire engine driver.

When did you know you would work in the arts?
About 10 years old. After I was over the fire engine thing. I wrote plays for the neighbours’ kids to star in.

How would you describe your work to a complete stranger?
I write contemporary musicals.

How hard is it to be authentic in the arts nowadays?
I think it has always been hard unless you have a private sponsor who loves whatever you do. I always try and remember that someone has paid to see my work and someone has paid to put it on. I saw an ‘authentic’ artist at the Sydney Festival and the whole audience was bored stiff. He had forgotten that someone had taken a risk on him and that it was his duty to deliver a certain level of skill.

Is there a mission to your work?
The drama in the ordinary interests me. The conflict in all people.

What's your background - are there studies that prepare you for this?
I did a three year acting diploma and started performing my own songs and sketches quite early , but I never trained as a writer. I studied piano and singing on and off in various genres for years with private teachers and I still do.

What's the first thing career related you usually do each day?
At the moment I check the rehearsal report to see if the director wants any changes to the script or lyrics.

Can you describe an "average" working day for you?
Yoga, coffee, check websites and press around various projects, make sure everything is bubbling along, then write till lunchtime. Music in the afternoon, compose and record stuff in my garage studio for whatever I’m doing, then I do domestic stuff and see my kids. If I have a concert then I prepare for that.

What else do you do to pay the bills?
Teach singing , voice and songwriting, to kids and adults.Sometimes in schools and for holiday workshops.

What's the one thing - piece of equipment, toy, security blanket, – you can't work without?
A pen.

What gets you fired up?
Bullying.

Who in the industry most inspires you?
Kids inspire me. They have the best ideas and they are so free.

What in the industry do you despair about?
Talented people not going into the arts because they are afraid of starving. How could we let this happen?????.

What is the best thing about your job?
Hearing brilliant singers sing my songs.

What’s the worst?
No worst currently, I love my job.

What are the top three skills you need in this industry?
Choosing a great team, being able to accept feedback, keeping your vision when all looks hopeless.

What advice would you give anyone looking to break into the field?
Get your work out there and see how audiences react, get it off the page.

How do you know when you missed the mark?
People shift in their seats.

Which of the below phrases best suits your career development to date and why?

a. "The road to success is always under construction. "
b. "Opportunity dances with those who are already on the dance floor."
c. "Success is best measured by how far you've come with the talents you've been given. "
d. "No one can cheat you out of ultimate success but yourself."

When do you know you’ve made it?
When you have at least three decades of quality work behind you . Anyone can be famous in their twenties, but to still be working in the arts in your fifties really means you have what it takes.

Joanna Weinberg, back by popular demand!!

2012-01-28T10:38:00.000-05:00

Joanna Weinberg in “The Piano Diaries” at Camelot, Marrickville

Joanna Weinberg playing piano

by StreetCorner Staff
08/02/2011

Actress and singer-songwriter Joanna Weinberg brings an ‘encore’ performance of The Piano Diaries to Camelot in Sydney’s inner west on Sunday 13 March.

The story of Joanna’s life written on the piano, instead of in a diary. It played to a sell-out house at the Bondi Pavilion in August last year before its Camelot debut in December. Now it returns - by popular demand - to the funkiest music venue in Sydney.

The Piano Diaries are an intensely personal account of a life drenched in music and art, love and disappointment, escape, migration, joy, despair… and an indomitable belief in the power of music!

Joanna Weinberg’s previous shows include Sinksongs, The Unbearable Lightness of Fleeing and Twelve Shoes as well as the hit musical Every Single Saturday.

The Piano Diaries featuring Joanna Weinberg with Kate Adams cello, Blair Greenberg percussion and special guests Vocalicious.

Directed by Marko Mustac

Sunday 13 March from 7.30 (doors open 6.30pm)

CAMELOT 19 Marrickville Rd, Marrickville (corner of Railway Pde – easy parking available)

Directly opposite Sydenham Train Station - a short 2 min stroll away!

Reasonably priced food and drink available at the venue which is fully licensed

Tickets are $25 & $20 concession.

Kids are $15 (accompanied by an adult)

Bookings www.trybooking.com or 0410 520 321

Bill Barner is reviewed by All About Jazz

2012-01-28T08:27:00.004-05:00

By HRAYR ATTARIAN

Variety is the theme of Bill Barner's plainly titled Ten Tunes. Although currently employed by a big band and small swing combos, Barner's career as reed man has spanned different genres, from free jazz and Indian raga and to bluegrass and klezmer, and the disc reflects that versatility, with the leader focusing exclusively on clarinet.

Opening with the Chicago-style, blues-rock "Opening Gambit" Stan Smith's blistering guitar work contrasts with the unique and mellow Barner, while the soulful "Wide Stance Dance" is marked by Smith's loosely swinging urban sounds and Barner's acerbic tone. Perhaps Barner's most complex improvisations are on the bop-ish and up-tempo "Squeeky Rico," where his train of thought seamlessly passes on to Smith before a repetition of the theme brings the tune to a close.

Musical traditions from other parts of the world make up a large portion of the record. The classically influenced "Barbaro" is reminiscent of art house European film soundtracks, with its nostalgic dialogue between Barner and Smith, with Roger Hines' melancholic bass work adding another emotional dimension to the piece. Hines also brings an earthy quality to the otherwise ethereal clarinet-led and Brazilian -sounding, "Charm Offensive," while his arco solo on the Middle Eastern-tinged "Connecting Dots" enhances the mysterious mood that the modal improvisations create. Here again, Smith and Barner weave a musical fairytale that could have come right out of The Arabian Nights.

Flamenco flourishes characterize "Palmas," where Smith mixes jazz sensibilities with traditional Spanish sounds and Barner plays an intensely romantic melody over the rhythm section's passionate groove.

Danny Aguiar's rollicking drum work is the understated driving force behind the quartet and his virtuosity shines through on the angular and somewhat fusion-like four-way conversation of "War of the Words," the atmospheric "Flying Monkeys" and the whimsically short "Toddler's Dance."

This enjoyable and always interesting session highlights the versatility of the clarinet—and also the high level musicianship of Barner and his band mates—but also breaks it free from the narrow niche to which the instrument, unfortunately, is often relegated to in modern music.

Track Listing: Opening Gambit; Flying Monkeys; Charm Offensive; Wide Stance Dance; Barbaro; Squeaky Rico; Connecting Dots; Toddler Dance; A War of Words; Palmas.

Personnel: Bill Barner: clarinet; Stan Smith: guitar; Roger Hines: bass; Danny Aguiar: drums.

Record Label: Self Produced

Patrick Battstone & Richard Poole are reviewed by This is Books Music

2012-01-26T22:16:00.000-05:00

This is Books Music
by: John Book

With a somewhat ho-hum album cover, I wasn’t sure what I would get when I played this. Opening the jewel case, one sees Patt Battstone (piano) and Richard Poole(vibraphone( playing at what seems like an intimate live performance, but even that wasn’t enough to provide any hints. Never judge a book by its cover, even if the book provides little to nothing. I had to go in.

Mystic Nights (self-released) could have been nothing more than a simple piano and vibraphone album, perhaps sounding cool and reserved, at least that’s what I expected when I saw their photo. But this studio album is anything but reserved. The opening track, “Scottish Heather”, has them coming into the scope, slowly playing and welcoming you to their instruments and their world, almost like the unveiling of a gallery. It’s not free form, but there’s no solid rhythm that defines this. “Summer Sunset” suggests relaxation, but some of the tones they create together are more about the heat and the blur of the bright sun than anything that brings calm. “Newsreel” may bring to mind the old ways of taking in the news, and maybe it’s a not-so-subtle way to describe the musicians themselves, looking at our modern, non-stop blitzkreig way of taking in the news of the day. “When Creatures Reigned” kind of sounds like what one might dream up in our youth as a way to describe the fears we used to read in books, but now it sounds playful, and if there was a way to go back to those days, we all would.

Some of the songs are straightforward, while others are a bit more adventurous, especially when Battstone goes into the piano and plucks the strings with his hands. Poole will then play on top of that but sometimes play them solely as a percussion instrument, with no sense of keys or melodies. If the music on Mystic Nights are meant to represent something, I’d like to know what it is, but music is there for the imagination to play with. Personally, I want to play within them again.

Joanna Weinberg is reviewed by Yahoo!

2012-01-26T21:55:00.000-05:00

by: Susan Frances

Joanna Weinberg
The Piano Diaries
Kissing Point Records

Cabaret singer-songwriter Joanna Weinberg performs jazz and pop standards on her new release The Piano Diaries produced by her keyboardist Rafael a Nazario. Each song resonates like a narrative taken from Weinberg's life story, or someone whom she identifies with as she brings out the genuineness in the lyrics. The melodic cuts crystallize into nighttime jazz embers as Nazario silhouettes her vocals with complementing keys buffered by Kate Adams' cello, Mark Ginsburg's flute and saxophones, Martin Hadders' guitar, Jonathan Zwartz's bass, and Simon Fishburn's drums. The Piano Diaries is one of those albums that never loses its quality to put people at ease.

Best known for her work in Australian theatre, Weinberg parlays her prowess as a stage performer into being an adult contemporary bard on The Piano Diaries. Her crooning on "Freckled Angels" displays her eligibility to be a contemporary of Frank Sinatra. And similarly to Sinatra's ability to turn songs into his signature tune, Weinberg does the same with "Freckled Angels." She tailors each song as though they were made for her, proportioning the vocal melodies to her preferences like the inclines and lifts along "The Artists Are Leaving." Her brings out the romantic lure of the story "Benjamin and Penelope" and turns somber in the tale of "The Winds of Fear.." The nuances which she imprints along "Mama Buy Your Baby A Piano" display signature markings expressly her own, and the vocal extensions she makes across "The Piano at the Cabaret" reels listeners in, enticing them to go along with her on the flight.

Joanna Weinberg is one stage performer who can transition into the realm of mainstream and commercial pop. Her album The Piano Diaries attests to her quality as an emotive vocalist. She makes every lyric penetrate listeners mind, and every song have meaning even if listeners don't believe in freckled angels or wish to play the piano. Weinberg convinces them otherwise.

Musicians: Joanna Weinberg - vocals, Rafael a Nazario - piano, keyboards, arranger, and producer, Kate Adams - cello, Mark Ginsburg - flute, soprano and tenor saxophones, Martin Hadders - guitar, Jonathan Zwartz - bass, Simon Fishburn - drums, Blair Greensberg - African drums

Tracklisting: Freckled Angels, Innocence, Daughters of the Empire, The Artists Are Leaving, Benjamin and Penelope, The Winds of Fear, Wide Open Eyes, Beautiful Old Man, Witness, Mama Buy Your Baby A Piano, Trophy Wife, The Piano at the Cabaret

Bill Barner is reviewed by Yahoo!

2012-01-26T21:53:00.000-05:00

by: Susan Frances

Bill Barner, Ten Tunes
Self-Released

Cheery and relaxing, clarinet player Bill Barner traverses through a myriad of melodic patterns including soul, funk, blues, bebop, fusion, and free style jazz on his new CD, Ten Tunes. Fusing European and American elements, Barner's combos are melodically-bound ribbed in tendrils of improvisation. He endeavors to show that the clarinet is a versatile instrument able to enrich melodic textures and adapt to a wide scope of genres.

The gradual elevations made along "Flying Monkeys" have a bebop aura, shifting into the Latin flavored hooks etched across "Charm Offensive" ferried on a chassis of dance beats. The soul/funk overtones of "Opening Gambit" and "Wide Stance Dance" change the landscape of the album moving into a clubroom vibe, whereas the gentle curls of "Barbaro" have a pensive gait. The buoyant grooves of "Squeaky Rico" are fringed in bebop-oriented ruffles rendered by Barner's clarinet transitioning into a middle eastern accent in "Connecting Dots" assisted by the jiggling beats of the percussions. "Toddler Dance" is poised with a humorous tint procured by the twisting lines of Barner's clarinet, while bolstering sophisticated lines along "A War of Words." The elastic guitar strings ruminating across "Palmas" are helmed by the improvisational glides and lifts of Stan Smith supported by bassist Roger Hines and drummer Danny Aguiar.

Born in Mississippi and raised in Northern California, Bill Barner has performed in jazz bands and orchestras, all influences shown in his compositions. Relocating to Northern Virginia, Barner veered towards the experimental side of jazz combos and has enjoyed a long run in such outfits as Some Like It Hot, Night and Day, and Difficult Run Jazz Band which all perform regularly in the Washington, D.C./Northern Virginia/Maryland metro area. Melodically pruned and judiciously interspersed with improvisational input, Ten Tunes contemporizes bebop incisions and makes them relatable to a current generation of jazz fans.

Musicians: Bill Barner - clarinet, Stan Smith - guitar, Roger Hines - bass, and Danny Aguiar - drums

Tracklisting: Opening Gambit, Flying Monkeys, Charm Offensive, Wide Stance Dance, Barbaro, Squeaky Rico, Connecting Dots, Toddler Dance, A War Of Words, Palmas

Richard Poole and Pat Battstone are reviewed by Yahoo!

2012-01-26T21:49:00.000-05:00

by: Susan Frances

Richard Poole and Pat Battstone
Mystic Nights

Dreamy ambiences, sparkling tones, and balmy riffs coagulate in the compositions by pianist Patrick Battstone and vibraphonist Richard Poole on their new CD, Mystic Nights. Otherworldly numbers like "Gin and Tonic" and "Undertow" resonate like glittering wind chimes while the fluid embers of "Something Lurking" are embalmed in dulcet wisps. The avant garde-slant in the trickling keys along "Newsreel" ripple with an organic agility, and the balmy banter of the vibes and piano keys ringing along "When Creatures Reigned" convey a placid mood.

"The Miller's Tale" has a melodic piano riff inlaid by gaggling chimes reminiscent of cow bells, whereas the hypnotic glaze of the vibes in "Magical Morning" produces a dreamy ethos. The buoyancy of "Reflections" is held together by the sprinting vibes, which shift to a cooling graze in "Cross Current." Their track "Life Stories" is keeled by a slow tempo, contrasting echoey raptures of "Mystic Nights." The music gels smoothly vacillating between melodic brushed strokes and avant garde pivots.

An interesting tidbit about Patrick Battstone is he works as a rocket scientist at Draper Labs in Cambridge. His work with otherworldly elements is deeply embedded in the tones he creates on the piano mixed with the scintillating shimmers of Poole's vibraphones. Together, their music is innovative and broadens the parameters of the avant garde into uncharted realms.

Musicians: Richard Poole - percussions and vibraphones and Pat Battstone - piano

Tracklisting: Scottish Heather, Summer Sunset, Gin And Tonic, Something Lurking, Newsreel, Undertow, When Creative Reigned, The Miller's Tale, Magical Morning, Life Stories, Reflections, Cross Current, Mystic Nights

Bill Barner is reviewed by Roots Music Report

2012-01-26T16:46:00.000-05:00

Buoyant music with a powerful groove

author: Joe Ross

Jazz music allows for the exploration of many avenues of creativity. Clarinetist Bill Barner wrote these ten tunes while thinking of music from various continents. Accompanied by Stan Smith (guitar), Roger Hines (bass), and Danny Aguiar (drums), the Virginia-based musician is blessed with a smooth touch that moves effortlessly from one emotional note to the next. Smith’s virtuosic guitar-playing also has some great lines … as lyrical, fluid, and tricky as they need to be. Bill Barner is also an accomplished saxophonist, and I was a bit surprised that he didn’t lay down a few tracks with that instrument too. Barner currently plays with two jazz combos (Night and Day; Some Like It Hot), as well as lead tenor sax in the 17-piece Difficult Run Jazz Band.

Together, the quartet on this album creates buoyant music with a powerful groove with influences from around the world. Listening closely for those twists and turns, one has to appreciate the musical mojo in “Charm Offensive” with its Brazilian beat. Or the unique flair of a peppy “Squeaky Rico.” When you hear the funky “Wide Stance Dance,” you wanna shout let’s boogie! Inspired by clarinet players of Turkey, the Balkans, and the Middle East, “Connecting Dots” uses an enchanting improvisational prelude and interesting scale for its presentation. As in “Barbaro,” bassist Hines is also given the opportunity for some inventive exploration in that piece. I understand that he’s toured the world with Ray Charles and Diane Schuur. The album’s closer, “Palmas” evokes the excitement of Spanish flamenco and has a slightly annoying clap track that fortunately lasts only about a minute during Smith’s guitar solo. The album has moments of dazzling brilliance, and the musicians’ imaginative improvisations and interpretive variations are quite impressive. (Joe Ross, Roots Music Report)

Patrick Battstone and Richard Poole are reviewed by Roots Music Report

2012-01-26T16:34:00.000-05:00

Otherworldly soundscape of sensitive splendor, beautiful colors, & delicate text

author: Joe Ross

I hear wind chimes … feel a cool breeze … observe a vivid desert sunset … experience a glorious sunrise … see reflections on a glimmering lake’s surface. The delicate and expressive “chamber jazz” of Pat Battstone (piano) and Richard Poole (vibraphone) will have you conjuring up many images of your own. As the two experienced musicians from Boston genially converse in an improvisational style, there are many musical moods created. Their second album release in less than a year, Battstone and Poole now feel that they have solidified their musical direction with additional maturity and an element of playfulness. They state, “Mystery and suspense, call and response, have become more refined and our musical Voice has emerged.” I find their articulate expressions to be quite dreamlike and perfect for easy-listening or meditative contemplation.

Both jazz musicians display an affinity for the avant-garde, and they’re carving personalized identities as an amalgamation of their personal influences. For pianist Pat Battstone, we hear a personality that seems to incorporate styles of Marilyn Crispell, Keith Jarrett, Bobo Stenson, Charlie Banacos and Bill Evans. As far as vibraphonists go, I hear elements of Teddy Charles and Gary Burton (whose “Dreams So Real” album might have been inspirational). Originally from Ohio, Battstone attended the Berklee College of Music in 1973. He’s done a great deal of solo and ensemble work, as well as teaching, producing and recording. Battstone doesn’t just play the piano’s keys. He may pluck the strings to produce overtones, or he may employ hammers directly to the strings. At present, he also works as a rocket scientist at Draper Labs in Cambridge, Ma.

Richard Poole also has a long resume with many years as a professional musician. He holds a Bachelor's Degree in Music Composition from Florida International University. Performance, production, a piano business and teaching have been his main focus over the years. He’s helped many develop their own voice in music. Now, the two of them together are continuing to cultivate their own musical manifestations. Their kaleidoscope of magical sound is best described as an otherworldly soundscape of sensitive splendor, beautiful colors, and delicate textures. (Joe Ross, Roots Music Report)

Axel's Axiom holds strong for its 8th week in a row

2012-01-26T15:15:00.000-05:00

Axel's Axiom Holds Strong for It's 8th Week in a Row

on the National Jazz Chart CMJ

This week coming in at #4 and Peaking at #3 Overall

Born in Cologne, Germany, Axel Schwintzer started to play the piano at the age of 10. He studied mostly classical music at first, and later switched primarily to Jazz and improvised music.

After graduating from Berklee, Axel lived in Boston for two and a half years, playing throughout New England with various bands.

Ryan Davidson Holds Strong for 8 weeks on the CMJ Jazz Chart

2012-01-26T15:04:00.000-05:00

Ryan Davidson Continues to Hold Strong for His 8th Week in a Row on the National Jazz Chart CMJ

Hitting the #17 Slot This Week

Peaking at #4 Overall

Bill Barner Climbs Up the Chart and Hits the #18 Slot

2012-01-26T14:56:00.000-05:00

Bill Barner Climbs Up the National Jazz Chart CMJ

Hitting the #18 Slot His Third Week in Promotions

Joanna Weinberg moves up to #20 on the CMJ Jazz Chart

2012-01-26T14:52:00.000-05:00

Joanna Weinberg Moves Up to the

#20 Slot on the National Jazz Radio Chart CMJ

Her 3rd Week in Promotions

Over her career Joanna has written 3 musicals and 9 one-woman shows, all of which have been performed on the professional theatre circuit in Australia and South Africa.

José García Hits the #1 Slot on the Top Jazz Adds Chart for CMJ #1232

2012-01-26T14:42:00.000-05:00

José García’s Songs for a Lifetime - Live Striked a Chord with the CMJ Top Jazz Adds Chart this week

His first week in Promotions

He hits the #1 Slot on the Top Jazz Adds Chart

As an adult, guitar remained José’s primary instrument. He became an in-demand professional musician in Los Angeles, focusing on Spanish and Flamenco styles.

José’s album, Songs for a Lifetime - Live, captures his respect for the classics and showcases his vocal diversity. Backed by an accomplished rhythm section, this live recording captures his spirited interpretations of timeless standards. There’s something for everyone in this recording, from upbeat swing to sentimental ballads. José even picks up a guitar and serenades the audience with his take on some ultra-romantic Spanish ballads.

With Songs for a Lifetime - Live, José García is poised to establish himself as one of today’s most gifted singers.

Josh Levinson hits the Top Jazz Adds Chart even before his campaign begins

2012-01-26T14:24:00.000-05:00

Introducing Josh Levinson

We are Going for Adds Starting Monday

January 30, 2012

at CMJ & Jazzweek

Josh is already coming out of the gate with vim

taking the #5 Top Jazz Adds Slot at CMJ

Even before his campaign begins

Alex Brown is interviewed by The Baltimore Sun

2012-01-26T11:33:00.001-05:00

Pianist Alex Brown returns to Wilde Lake where he had 'such a positive experience'

Home grown jazz

Jazz pianist Alex Brown (Submitted photo / January 25, 2012)

By Cathy Carter

With all due respect to novelist Thomas Wolfe, it turns out you can go home again. Just ask Grammy nominated jazz pianist Alex Brown.

"I get back quite a bit," says the Columbia native by phone from his home in New York City. The musician has performed at some of the world's top jazz venues, but on Saturday, Jan. 28, he returns to the familiar stage of the Jim Rouse Theatre for the 8th annual Jazz @ The Lake concert.

The show benefits the highly regarded band program of his alma mater, Wilde Lake High School. Money raised will buy uniforms, help repair instruments and provide for transportation to concerts.

"It was such a positive experience," the 2005 Wilde Lake High alum says of his years spent playing in the school's award-winning band program. "There's so much evidence that having music and arts programs in schools make such a big difference in education," Brown says. "Even beyond the music, these kinds of programs teach you a lot of great skills, like how to work together with others."

The pianist will be joined on stage by fellow Wilde Lake High School alumni Eric Doob ,on drums, and bassist brother Zach Brown, currently a student at the Berklee College of Music, in Boston. Noted jazz singer Sachal Vasandani will front the ensemble and the Wilde Lake Jazz Band, led by longtime band director Lewis Dutrow, also will perform.

"I was really fortunate to have him as a teacher and was super inspired by his enthusiasm and energy," says Brown of his former mentor. "He does a really great job with the program."

The professional admiration is mutual.

"What Alex and Zach brought to the program by their skills, dedication and musicality was more than you could ever ask for," Dutrow says of his former students. "I still remember the first time I met them and heard them play when they were at Harper's Choice Middle School. Even back then their talent was way beyond anybody of that age. My whole goal was just not to mess them up," he adds with a laugh by phone from his office at Wilde Lake High School.

The Brown brothers have performed at every Jazz @ The Lake concert since its inception and for good reason. The event was the brainchild of their mother, Columbia resident Jill Lapides.

Rather than typical fundraisers like car washes and candy sales, the band booster thought a concert would generate income for the high school band program and bring top-notch entertainment to Howard County. The first show was such a resounding success that it has become an annual event.

"It really gives the community an opportunity to see incredible world-class musicians right in their own backyard," Dutrow says. Past performers have included such jazz greats as Grammy award winners Dave Samuels, Wycliffe Gordon andPaquito D'Rivera.

Alex Brown, 24, has played piano in D'Rivera's band for several years and shared in the group's 2010 Grammy nomination for D'Rivera's CD, "Jazz-Clazz." In 2011, the young musician released his debut CD, "Paquito D'Rivera presents Alex Brown - Pianist."

A longtime fan of Latin rhythms, Brown was excited to have the opportunity to explore the musical genre as a Wilde Lake High School student.

"When I was a freshman I remember hearing the percussion ensemble playing this piece, like a Brazilian samba. That was really cool," he recalls. "They had all the correct instruments and everything, which was pretty awesome for a high school."

After graduation, Brown headed to Boston where he received a Bachelor of Music degree from the New England Conservatory. It was there that he met Paquito D'Rivera's bassist, Oscar Stagnato.

"He really expanded my concept of Latin music," Brown notes. Soon, D'Rivera came to see the young pianist play, and Brown's professional career began with an invitation to join the Latin jazz master's band. The group recently recorded music for a ballet commissioned by the Jose Limon Dance Company and will be performing with the Manhattan based troupe later this year.

When he's not on the road with the band leader, Brown plays with his own ensemble. "I've been writing a lot of new music," he says.

Occasionally the pianist also will play with musician friends, including jazz singer Sachal Vasandani. The musicians met at a jazz festival in Washington state a few years ago and soon became fast friends.

"Sachal asked me to play a few gigs with him when his own pianist couldn't make some shows," says Brown. "He's getting a lot of attention now, which is really great."

The 8th annual Jazz @ The Lake concert is Saturday, Jan. 28, at 7:30 p.m. at the Jim Rouse Theatre, Wilde Lake High School, Columbia. Tickets are $20 and available online at InstantSeats.com or at the door. For more information, call 410-997-2070.

Joanna Weinberg, The Piano Diaries is reviewed by All About Jazz

2012-01-26T07:31:00.003-05:00

by: C. Michael Bailey

Joanna Weinberg's The Piano Diaries is not exactly jazz, but it is also not exactly not jazz. Intended for the small stage—appropriate, given her work in several musicals and one-woman shows—the singer/composer's music lives in that overlap between cabaret and jazz. Relocating from South Africa to Sydney, Australia in 1997, the London-born Weinberg is a true cosmopolitan, despite still sounding curiously homespun. All of this makes for an interesting and heady mix of musical and lyrical creativity.

The Piano Diaries' music and instrumentation take a backseat to Weinberg's clever and intelligent lyrics by necessity, but the music remains appropriate. Rafael Nazario's Beatle-esque piano runs over the bouncy melody of "Benjamin and Penelop," while saxophonist Mark Ginsburg's soprano suggests a cross between Fiddler on the Roof with Blade Runner on the Eastern European-flavored "Winds of Fear." Weinberg's accompanists are just assertive enough to give these songs a hooked edge ready to implant themselves into an internal iPod for days after hearing.

But again, it is Weinberg's lyrics that are queen here, ruling the funny bone benevolently. Consistently infusing her lyrics with whimsy and fun, there's the goofy/sexy stance of "Innocence":

So come to me darling
with your pale wounded feet
we'll get out of the spotlights
and we'll make love in the middle of George Street.

Weinberg creates a similar plight on "Benjamin and Penelope":

Benjamin and Penelope
played in the nude
and covered the music with food
and got in the mood.

She weaves pure poetry in "Witness" with:

You walk a mile, in broken shoes
to meet a man, who has forgotten
the pavement cracks, the weeds begin
and I am there to tend your garden.

That is smacking good writing, whatever the meaning.

Weinberg's music will not be mistaken for Kurt Weill or Bertoldt Brecht, and Weinberg is neither Marlene Dietrich nor Ute Lemper. She is more effervescent and bright than these dower Germans, whose charm emanated from the black comedy of Wiemar Berlin song houses. Weinberg's is more the cabaret of the 21st Century: fairly well-scrubbed and simple—honesty with humor.

Track Listing: Freckled Angels; Innocence; Daughters of the Empire; The Artists are Leaving; Benjamin and Penelope; The Winds of Fear; Wide Open Eyes; Beautiful Old Man; Witness; Mama Buy Your Baby a Piano; Trophy Wife; The Piano at the Cabaret.

Personnel: Joanna Weinberg: vocals; Rafael Nazario: keyboards; Kate Adams: cello; Mark Ginsburg: soprano and tenor saxophones, flute; Martijn Hadders: guitar; Jonathan Zwartz: bass; Simon Fishburn: drums; Blair Greenberg: percussion.

Joanna Weinberg is reviewed by Jazz Music

2012-01-25T20:46:00.001-05:00

JAZZ MUSIC
by: CJ Bond

CD Review: Joanna Weinberg - "The Piano Diaries"

Year: 2012
Style: Vocal
Label: MASTERTOUCH Roll

Musicians: Joanna Weinberg - vocals; Rafael A. Nazario - piano, keyboards; Kate Adams - cello; Mark Ginsburg - tenor/soprano saxophones, flute; Martijn Hadders - guitar; Jonathan Zwartz - bass; Simon Fishburn - drums; Blair Greenberg - African drums.

Actress/singer/songwriter
Joanna Weinberg

CD Review: Joanna Weinberg - "The Piano Diaries" glows with the emotional character of a bright smile. This songwriter/vocalist/actress paints a kaleidoscope of rich imagery in her songs that transcends genres with perfect pitch and flawless intonation. She possesses the rare ability to interpret and personalize her own lyrics through a full range of emotions, imbuing her songs with the experiential conviction of a Joni Mitchell; effortlessly cohering Maria Muldaur's whimsical innocence and the limpid vocal clarity of Judy Collins with an averment that attaches convincing, memorable familiarity to the lyric.

Weinberg and her exceptional band of musicians romp through a 12-song sojourn marked by sweet innocence, sensual irreverence, stinging social commentary, coming-of-age love and the winds of fear; dancing and swaying to a background of jazz/rock/folk/latin/funk rhythms. "Nothing is as sweet as moonlight on your skin and living for now" (Freckled Angels); "Now that we've lost our innocence/we've nothing left to lose" (Innocence); "He wore his hat at an angle/ kept his old hand light on my spine/he spun me left and he spun me right/his rhythm made me shine/his gums were cracked and toothless/he was too shy to look up at me/...but me ain't spoka no spanish and I aint got a shoe on my feet/but I no wanted it to stop, that Cuban dance with me/'cause he was beautiful, beautiful, beautiful, beautiful, beautiful, beautiful old man" (Beautiful Old Man): a wealth of images that make this a CD to return to over and over again.

Weinberg's breadth of talent extends itself (Benjamin And Penelope) and leaps forward with breezy, appealing Lennon/McCartney lyrical panache enhanced by her sparkling, precise piano playing. But it the verve in Weinberg's personality that comes through in her voice and gives her a freshness and flair that permeates the date. The band's accompanying attitude is complimentary; its dynamic range does not overwhelm Weinberg's voice, leaving her vocal nuances and elocution intact and distinct. Mark Ginsburg saxophone playing is especially sensitive and augmentable through Weinberg's lilting (Daughters of the Empire; The Winds of Fear) and the funky, infectious latin groove, perfectly arranged for Blair Greenberg's African drums (Beautiful Old Man), without sacrificing form, tone or rhythm.

Weinberg is devastatingly effective with pensive, introspective lyrics (Innocence; Witness; Wide Open Eyes) during which she is treated to ineffable harmony and near-perfect tonal balance from Rafael Nazario's piano and Kate Adams' cello. She also proves that she is comfortable and convincing working with her rhythm section of guitarist Martijn Hadders, pianist Rafael Nazario, bassist Jonathan Zwartz and drummer Simon Fishburn to paint a very compelling portrait of a (Trophy Wife), "living in trophy town."

Joanna Weinberg and the band select the genre-hopping (The Piano At The Cabaret) to end this outstanding CD with a swinging post-bop feel, punctuated with cool Manhattan Transfer harmonies and an impressive revival of her stellar career in acting, comedy and cabaret which she studied at the University of Cape Town in South Africa. She's got that unmistakable"thang" in her voice that makes you see Van Morrison's "Brown Eyed Girl" while you slow down your flatbed Ford to take a second look at this awesome redhead.

Track Listing: Freckled Angels; Innocence; Daughters of the Empire; The Artists are Leaving; Benjamin and Penelope; The Winds of Fear; Wide Open Eyes; Beautiful Old Man; Witness; Mama Buy Your Baby a Piano; Trophy Wife; The Piano at the Cabaret.

Recorded by Reyne House and Michelle Barry at Alberta Studio, Sydney, Australia
Mixed and Mastered by Kathy Naunton at DB Mastering

Arranged and produced by Rafael A. Nazario http://www.rafnazario.com/

All songs written and composed by Joanna Weinberg http://www.thepianodiaries.com/

Patrick Battstone and Richard Poole are reviewed by The Jazz Word

2012-01-25T19:45:00.000-05:00

The Jazz Word
by: John Barron

Pianist Pat Battstone and vibraphonist Richard Poole are two veteran jazz musicians from the Boston area having too much fun to be ignored. Their improvised duets flow freely from tonal, rhythmic-based excursions to dense, darkened clusters. The emphatic rapport evident throughout their latest disc, Mystic Nights, makes it difficult for a listener to turn away.

These thirteen short stories work well as a comprehensive suite, yet stand well enough alone as individual bursts of creativity, each with a defining mood. The hurriedness of "Newsreel" and "When Creatures Reigned," bouncy nature of "Gin and Tonic" and meditative trance of "Magical Morning" are a few noticeable examples. The stark title track, named for the Mystic River, which is adjacent to the duo's recording studio, closes the disc with an unsettled intensity, perhaps signaling more to come.

Patrick Battstone & Richard Poole are reviewed by All About Jazz

2012-01-25T13:15:00.000-05:00

By HRAYR ATTARIAN

Published: January 25, 2012

Pianist Pat Battstone and vibraphonist Richard Poole's Mystic Nights follows a small but illustrious tradition duo recordings including Gary Burton and Chick Corea's Crystal Silence (ECM, 1972) and Visions (Steeplechase, 1979), from Sun Ra and Walt Dickerson.

Also a pianist, Poole shows significant musical sympathy with Battstone who, having studied with Burton, also has a deep understanding of his colleague's instrument. This camaraderie is heard best on "Reflections," with each instrument reflecting—but not mimicking—the other with crystalline flowing notes, like a brook flowing into a pond. On the contemplative "Scottish Heather," piano and vibes echo each other like chimes in the wind of the melody creating a nocturnal mood.

A Zen-like atmosphere permeates some of the tunes, like the cinematic "Life Stories" and almost oriental-sounding "Gin and Tonic," with its rapid piano scales precisely punctuated by Poole's resonant mallets.

Battstone exhibits some classical avant-garde leanings, strumming the innards of his piano on the atonal "Newsreel" and delivering a Debussy-esque solo on the melancholic "Magical Morning." Hints of the blues appear on the spirited and free-flowing dialogue that characterizes "When Creatures Reigned," with Battstone's Cecil Taylor-informed energy and percussive approach.

Elsewhere, bop-like flairs and Latin touches mark the otherwise free-flowing improvisations of "Cross Currents," where Poole's muted colors and Battstone's brighter palette complement each other perfectly as they fade into silence. This stimulating disc closes with the title track, Poole's mallets vibrating harmoniously with Battstone's harp-like picking of the piano strings, as it evolves into an angular yet mellifluous song that ends with ominous bangs and silent pauses.

This unique set of 13 improvised pieces creates an intensely meditative and mystical ambience filled with satisfyingly thought-provoking ideas. Mystic Nights can be enjoyed casually, but requires a careful and intent listening to be fully appreciated.

Track Listing: Scottish Heather; Summer Sunset; Gin and Tonic; Something Lurking; Newsreel; Undertow; When Creatures Reigned; The Miller's Tale; Magical Morning; Life Stories; Reflections; Cross Current; Mystic Nights.

Personnel: Patrick Battstone: piano; Richard Poole: vibes.

Record Label: Self Produced
Style: Free Improv/Avant-Garde

Ryan Davidson is interviewed by Jazzreview

2012-01-22T15:26:00.000-05:00

RYAN DAVIDSON - IN CONVERSATION
by: Susan Frances

Canadian guitarist Ryan Davidson knew what his mission in life was going to be since grade school. What he has been searching for is the means to make it happen. As he recalls, "I believe I started playing when I was six, and began lessons at eight. Truthfully, I don't have any memories of not playing the guitar. All I can remember is that it was all I ever wanted to do."

Born in Edmonton, Canada, Davidson acquired a Master of Music in Jazz Studies from the Universityof North Texaswhere he also taught guitar from 2008 to 2009. He continued his role as music educator in 2010 when holding a music clinic at Canada's Saint Francis Xavier in Nova Scotia. Davidson's foray into the music industry began as a studio musician for such notable recording artists as Carolyn Dawn Johnson, Asleep at the Wheel's Dave Alexander, Chris Cummings and Jason Blaine to name but a few.

Davidson discusses how his experience as a studio musician prepared him to record his debut album in collaboration with his trio, bassist Ryan Hagler and drummer Ryan Jacobi. "I had done a fair amount of studio work in the country music market and also a handful of jazz recordings" he explains. "Some of that experience prepared me for the technical aspect of this recording, for example time management and equipment etc. However, because this was my first album of my own music, nothing prepared me for the pressure I felt when we got to the studio. Hagler, Jacobi and engineer Jim Meyer made the experience much more relaxed and were patient with me and my stress."

The album is named after the trio and Davidson expands on how he first met his band-mates. "I first heard Ryan Hagler play with the One O'clock Lab Band. He is an extraordinary bassist and musician. Later, when I was a member of the One O'clock, it was obvious to me that I had to find any excuse to play with him that I could. I knew I had to use him on this record."

He adds, "In my first month at University of NorthTexas, I had to play in front of the guitar department. I asked some people who the best drummer around was and Ryan Jacobi's name came up. He is a great drummer and musician. It wasn't until a few years later that we were able to reconnect on this project. He was perfect for it. Both Hagler and Jacobi are dedicated to excellence in music and are good friends."

Davidson looks back to when he began toying with the idea of making a solo album. "I had been thinking of recording an album for some time. The reason for not recording before now was that I felt I was not playing at a level worth noting permanently on a recording. Then I realized that it was more important to leave something behind in this world, than to leave it, wishing I had."

The opening track on the album is 'Ghost Riders in the Sky' and as he recounts "I had always wanted to play this song from a young age. While I was participating in a western swing clinic, in Lawton, Oklahoma with Dave Alexander, I had mulled over the idea of doing a re-harmonized version of the song in 5/4. Dave has played with Asleep at the Wheel, George Strait, Toby Keith and LeAnn Rimes. I woke up in the middle of the night in my hotel room and wrote the entire thing out on tiny, yellow sticky notes. At 2-00 AM they were all I had. I then stuck them on the night stand in the right order and put it all in the computer the next day. The trio began playing it at shows shortly after."

Another of the album's cover tunes is 'Im Wunderschonen Monat Mai' and, as he recollects "there were a few factors why he I chose this number. I grew up playing classical guitar and have always loved romantic period music. I had the privilege of studying and playing with bassist Lynn Seaton for four months. It consisted of jazz only arrangements of classical pieces. This piece was one of those that we played. Most importantly, I met my girlfriend Zandrie in May and I wrote this arrangement for her. The title is translated roughly, 'In The Wonderful Month Of May.' I play it often. In the future there may be an album of only romantic period pieces but when and if this happens remains a mystery."

Two outstanding, original pieces on the album are 'Out of Nowhere' and 'Texas Oracle' which are a blend of country, jazz and, in the case of the latter, pure rock. Davidson starts by describing the making of 'Texas Oracle' which rings like an anthem. "I had written this piece for my teacher Fred Hamilton. He always had a subtle and interesting way of pushing me to become better. I think he told me what I needed to hear, not what I wanted to hear. He is a good friend and mentor. Although I am not a rock and roll guitarist by any stretch of the imagination, I love the genre and wanted to write something to show my respect for it. The outro is 'Out of Nowhere', a jazz standard that is also on the record in a different arrangement. The truth is, on the second day of recording, we had some technical issues. Ryan Hagler and Ryan Jacobi had to make an impromptu, music store run. I had the studio time to myself and wanted to make the most of it. I recorded the hidden track 'Out of Nowhere' and 'Round Midnight' while some gear was being fixed."

He reveals, "The song choices were a collaborative effort. Our live shows probably consisted of about three times the amount of material than was used on the record. The song choices seemed obvious to all three of us."

The trio has double duty on the recording, first as the musicians and second as the producers. Davidson expands, "I knew it would be difficult to fill both of these roles pretty early on. To make it easier, all three of us decided to fulfill the role of producer. We used the 'veto' method. That is, if two out of three of us had a good take and one person didn't, we kept it. Also, the 'energy' of each take was considered. We all agreed that the best takes were the ones that sounded organic and on edge, instead of contrived and safe. Of the thirteen hours of music we recorded, only forty minutes or so made the CD. Most of the best music was in the first couple of takes."

He speculates, "The trio will hopefully record for years to come. I have enough material to record a new record in 2012 with touring to follow."

The Ryan Davidson Trio is on its way to widening the scope of country music by adding elements of jazz. They have been paving their own way which has been a challenge but is a challenge that they have accepted wholeheartedly. While still maintaining time-honored traditions of country music, they exercise their freedom to improvise. In doing so they are planting the seed for fertile new ground that is sure to attract those who follow.

Bill Barner is reviewed by Something Else Reviews

2012-01-21T20:47:00.000-05:00

by: S. Victor Aaron

Longtime reedman Bill Barner has played it all in his career: Dixieland, free jazz, bop, Latino music, fusion jazz, and on and on. But for his new album Ten Tunes, Barner decided to largely ignore genres and infuse the foreign flavors of the Middle East, Spain, and Brazil, liberally adding rock rhythms alongside swinging ones.

He’s ably assisted by longtime cohorts Stan Smith (guitar) and Roger Hines (acoustic bass), as well as Brazilian drummer Danny Aguiar. Barner himself sticks entirely with his original instrument, the clarinet, and is an economical, affective and melody-minded player on this disc, allowing his crack guitarist Smith to soar on his solos, and Hines does as well (who shines on tunes like “Charm Offensive” and “Barbaro”). But what I enjoy most about

Ten Tunes is Barner’s willingness to take his clarinet to music other clarinet players might not dare go. Songs like “Flying Monkeys,” (Youtube below) “Charm Offensive,” “and “Squeaky Rico” are such a seamless assimilation of styles, it’s often hard to spot the influences. The music, all composed by Barner, is fresh and contemporary without anyone but Smith plugging in, a testament to Barner being so in tune with so many styles of music that he doesn’t need to take any shortcuts.

Barner released Ten Tunes on his own this past January 10. Visit Bill Barner’s website.

Ryan Davidson Hits the #8 Slot on the Canadian Jazz Chart !Earshot

2012-01-19T20:58:00.000-05:00

Ryan Davidson Appears for the Second Time on
the Canadian Jazz Chart

Earshot, Landing on the #8 Slot and Peaking at #6 Overall

Among being chosen to endorse Fender guitars, Ryan’s other accolades include being selected as a teaching fellow at University of North Texas. He was responsible for directing the “8 O’clock Lab Band” and teaching private lessons to undergrad students. During his undergrad degree at Saint Francis Xavier, Ryan received the medal for “highest grades on the Dean’s list”. During this time, Ryan was enrolled in three years of classes in a two year period. Also, IAJE published an article on improvisational theory written by Ryan during his time at St. Francis Xavier.

In the Country music world, he has performed with many renowned country artists. He was fortunate to have shared the stage and/or recorded with great musicians like: Dave Alexander (Asleep at the Wheel), Carolyn Dawn Johnson, Steve Fox, Brad Johner, Chris Cummings, Jason McCoy (currently of the Road Hammers), Michelle Wright, Family Brown, Jason Blaine, Shane Yellowbird, Gord Bamford, Duane Steele, Corb Lund, Deric Ruttan, Farmer’s Daughter, Tracy Millar, Patricia Conroy, Adam Gregory, Jamie Warren, Joel Feeney, J.R. Voture, Dean Tuftin and many others. His guitar playing can be heard on top 10 Canadian country radio stations across North America, as well as numerous music videos on CMT.

Axel's Axiom Moves Up the Chart to #3 This Week

2012-01-19T15:12:00.000-05:00

Axel's Axiom Moves Up the Chart This Week to #3

On the CMJ Top 40 Jazz Chart

Making this his 7th week on the Chart

Born in Cologne, Germany, Axel Schwintzer started to play the piano at the age of 10. He studied mostly classical music at first, and later switched primarily to Jazz and improvised music.

After graduating from Berklee, Axel lived in Boston for two and a half years, playing throughout New England with various bands.

Ryan Davidson Holds Strong for 7 weeks on the CMJ Jazz Chart

2012-01-19T14:10:00.000-05:00

Ryan Davidson Continues to Hold Strong on the

CMJ Jazz Chart for 7 weeks

Peaking at #4 Overall

Bill Barner Debuts at #21 His 2nd Week in Promotions

2012-01-19T13:59:00.000-05:00

Bill Barner Debuts on the CMJ Jazz Top 40 Chart

His Second Week in Promotions

Taking the #1 Top Adds Chart Week, 1 & The #21 Slot Week 2

Ten Tunes Makes a Solid Splash

I was born in the Mississippi Delta in the middle of the 20th century. My father, who bought me the clarinet that I still play today and taught me to play it, was a clarinet and alto sax player on an aircraft carrier during World War II. After playing clarinet in elementary, junior high, and high schools in Miami and Northern California, as well as playing in the All Miami Youth Wind Ensemble and the Sacramento Youth Symphony, I attended the University of California at Davis, where I played clarinet in the university orchestra and alto sax in the jazz band.

While at Davis I played avant-garde music with John Cage and with a free jazz group called Touch Acoustra. Summers I played alto sax with Latino bands in the San Francisco Bay Area.   I studied clarinet at California State University, East Bay after earning my B.S. at UC Davis. After college I played a variety of music in Columbus, Ohio. It was in Columbus where I met guitarist Stan Smith and bassist Roger Hines who play on Ten Tunes. We were members of Sanctuary, the award-winning jazz group that played nightclubs, radio, and TV, as well as appearing in concert with Michael Franks. In Sanctuary I played soprano and tenor sax and contributed compositions. While based in Columbus I attended a clarinet master class conducted by Eddie Daniels and I went to the Creative Music Studio in Woodstock, NY where I attended workshops led by jazz greats Lee Konitz, Dave Holland, Anthony Braxton, and Karl Berger.

Next, I moved to Albuquerque, New Mexico where I played clarinet and tenor sax in the Duke City Jazz Band. For the last 25 year I’ve lived in Northern Virginia near Washington, D.C. and played clarinet and sax all over the Mid-Atlantic region. I played soprano and tenor sax in Extremities, a jazz fusion group that played original music and appeared with Mike Stern and with Mark Isham at the well known Bayou club in Washington. Extremities played nightclubs and music festivals in the Washington, DC area and gave a concert at the Terrace Theater in the Kennedy Center.

Carol Morgan Continues to Make Her Mark on CMJ for 12 Straight Weeks

2012-01-19T13:56:00.000-05:00

Carol Morgan Continues to Chart for

12 weeks on the CMJ Jazz Chart

Peaking at #3 Overall

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 highly regarded 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 Garrett Takes the #26 This Week on the CMJ Jazz Chart

2012-01-19T13:50:00.000-05:00

Jackson Garrett (band name) takes the

#26 Slot for a second week

on the CMJ Jazz Chart with Let Sleeping Dogs Lie

Christopher Gore

composer, arranger, producer, vocalist

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 Anita Baker hit “Sweet Love”) and internationally renowned singer and composer Slim Man, who penned the hit “Faith In Us” in 1996.

Kate Reid Lands on the CMJ Jazz Chart for her 8th Week

2012-01-19T13:42:00.000-05:00

Kate Reid lands on the CMJ Top 40 Jazz Chart

for her 8th week!!

Peaking at #3 Overall

Kate Reid

Jazz Vocals and Piano

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.

Joanna Weinberg debuts on the CMJ Jazz Chart her 2nd week in promotions

2012-01-19T13:35:00.000-05:00

Joanna Weinberg debuts on the CMJ Top 40 Jazz Chart

Her Second Week in Radio Promotions

Week 1, Top Adds Chart, Week 2, #38

In 2008 she wrote, performed and recorded the one woman show 12 Shoes, pictured, which played extensively in Sydney and her new album, The Piano Diaries, which accompanies her show of the same name, was released in Sydney on the 6th November, 2011, and is available on itunes and cdbaby .com in November 2011.

Over her career Joanna has written 3 musicals and 9 one-woman shows, all of which have been performed on the professional theatre circuit in Australia and South Africa.

Benji Kaplan is reviewed by Skope Magazine

2012-01-18T15:13:00.000-05:00

by: Eric Saeger

Benji Kaplan, Meditacoes no Violao (Circo Mistico Productions)
New York-bred Brazil-o-phile Kaplan provides a sort of life-travelogue here, soloing nonchalantly throughout the entire album on his nylon-stringed unplugged guitar. It’s so relaxed and unhurried that it can come off as improv, and reading some of the blurbage here I believe that’s the case with some of it. No matter, of course, if you’re lazing in a hammock trying to visualize your last time on an uncrowded beach or whatever; this record’s perfect for that, asking nothing of its listenership other than to put its brains on screensaver. Slow purposeful strumming ending in speedy fractal flourishes is the core formula, little deviation to be found aside from the bouncy up-and-down Baiao rhythm in “Baiao For Gershwin,” the title of which hints at what Kaplan would like to be thought of, a sort of oldschool-jazz-meister with advanced knowledge of world music, but it’s perhaps best viewed as an exotic form of baroque.
Grade: A [Release date 8/2/2011]

Axel's Axiom is reviewed by All About Jazz

2012-01-18T09:16:00.001-05:00

EDWARD BLANCO,

Published: January 18, 2012

Since graduating from Boston's Berklee College of Music in 2004, German-born pianist Axel Schwintzer has kept busy teaching, playing throughout New England, performing at the prestigious Kennedy Center for the Performing Arts in Washington, DC, and playing various venues in the New York City area since relocating there in 2007. Axel's Axiom may not be familiar to most jazz audiences, but is Schwintzer's second group, with Uncommon Sense representing the sextet's recording debut.

With the Grammy Award-winning Yellowjackets—clearly one of today's premier jazz groups—serving as his main compositional influence, Schwintzer crafts challenging and innovative music as varied as material from Yellowjackets' earlier discs. Uncommon Sense features a selection of swinging, up-tempo tunes, as well as a few casual ballads on a ten-piece canvas of stylistically varied original compositions that meld pop and funk-influence grooves with samba elements. "Pretty Ugly" even incorporates a feisty blues shuffle from guitaristCasper Gyldensoe, after a particularly strong introduction from drummer Marko Djordjevic, adding blues to the set's varied mix of genres.

The similar in texture, "Leaps & Bounds" and "Vorfreude" open the album with decidedly swinging jazzy themes, with tenor saxophonist Alex Terrier and alto saxophonist Aki Nishiguchi guiding the music along, accompanied by the pianist's own stellar solos. The funky rhythms of "No Brainer" keep the music lively, with firm performances from Gyldensoe and Schwintzer leading the way.

The lighter side of the album is contained on the reflective ballads of "Caveat" and "Airborne." The title of the warmly melancholic "Tout Compte Fait" may be taken from Simone De Beauvoir's famous 1972 autobiography but, regardless, it does inspire a beautiful piano solo and delicate bass lines from Evan Gregor.

Schwintzer asserts himself quite well with some of his best work on "Wishing Well," penned for and dedicated to his father, starting softly but developing into one of the bright highlights of the disc. Much like its title, the group finishes with the up-tempo fast-paced burner "Fast Track," closing Uncommon Sense with a bang and not a whimper, and successfully fashioning a profound musical statement that's hard to ignore.

Track Listing: Leaps & Bounds; Vorfreude; Pretty Ugly; Second Guess; Caveat; No Brainer; Airborne; Wishing Well; Tout Compte Fait; Fast Track.

Personnel: Axel Schwintzer: piano; Casper Gyldensoe: guitar; Marko Djordjevic: drums; Evan Gregor: acoustic and electric basses; Alex Terrier: alto saxophone; Aki Nishiguchi: tenor saxophone.

Record Label: Armored Records | Style: Straightahead/Mainstream

Introducing Jose Garcia - Songs For A Lifetime - Live

2012-01-16T20:28:00.000-05:00

JOSE GARCIA, SONGS FOR A LIFETIME - LIVE

We are going for adds for CMJ Jazz issue #1232

Closing Tuesday January 24, 2012

A multi-faceted crooner and guitarist, José García’s upcoming debut album Songs For a Lifetime - Live, swings, sways and romances the listener with classic songs from the American Songbook, flavored with Latin classics.

When a vocalist comes along with an extraordinary passion for his craft, that passion can be felt in the emotion of his performance. José García is the epitome of this type of vocalist. Whether singing swinging standards or ballads, in English or in Spanish, José connects with his audience and holds them close as they indulge in his lavish voice.

From a very early age growing up in Tecate, Mexico, José was exposed to a variety of great musical influences that helped shape the vocalist he has become today. At the tender age of 6, José began his musical journey by teaching himself to play guitar. Over the years, he devoted countless hours to perfecting his craft. He also found himself drawn to the music of the great jazz crooners, even though his peers couldn’t relate.

As an adult, guitar remained José’s primary instrument. He became an in-demand professional musician in Los Angeles, focusing on Spanish and Flamenco styles.

In late 1999, José’s Spanish guitar duet decided to add a vocalist. Finding the right voice proved to be difficult, so José decided to develop his own vocal skills and serve as the temporary vocalist. José’s vocal quality, range and unique signature sound quickly blossomed, allowing him to cover a variety of Latin styles ranging from Flamenco to Boleros and Bossa Nova. His temporary vocal assignment became permanent, and he added vocals to his professional repertoire.

Just a few years ago, José was asked to sing jazz standards as a guest artist. Being a longtime fan of crooners, José jumped at the opportunity. His performance that night was exceptional, and the crowd’s enthusiastic response to his vocals caused him to redirect his career.

José’s upcoming album, Songs for a Lifetime - Live, captures his respect for the classics and showcases his vocal diversity. Backed by an accomplished rhythm section, this live recording captures his spirited interpretations of timeless standards. There’s something for everyone in this recording, from upbeat swing to sentimental ballads. José even picks up a guitar and serenades the audience with his take on some ultra-romantic Spanish ballads.

With Songs for a Lifetime - Live, José García is poised to establish himself as one of today’s most gifted singers.

Songs For a Lifetime - Live is a triumphant debut release, and José García firmly makes his entrée into the jazz crooner arena with panache and presence. García has a masculine voice like a weathered horn, focused and warm and instantly endearing. The energy of the ensemble and their clear chemistry shines through instantly. You can almost see the smile on García’s face and can certainly hear the joy as he delivers each lyric with conviction and confidence.
An expedition filled with predominately American Songbook classics, García’s debut release is well-conceived and offers the listener a timeless journey through the golden era, with some of the most famous melodies conveyed through José García’s versatile vocal abilities. Cuts such as; “I Get a Kick Out of You,” “Night and Day,” “All of Me,” and “This Could Be the Start of Something Big” give the listener a chance to hear García with toe-tapping fun, and swing in full tilt. While cuts such as; “The Shadow of Your Smile,” “I Left My Heart in San Francisco,” “I Wish You Love” and “You Go To My Head” offer the listener a chance to hear an introspective and tender side of García. Harkening back to his roots, García offers the listener an authentic taste of Latin with “Besame Mucho” and “Sabor a Mi,” which is dripping with emotion and conviction.

García’s playing and singing are stellar and he transports the listener to the core and beauty of both American and Latin music. Joined by an international cavalcade of musicians from the World music scene, the result is a strong introduction to a refreshing new artist on the horizon that is destined to leave his mark on the jazz crooner genre.