Mack Avenue SuperBand’s Live From The Detroit Jazz Festival – 2013 documents a concert at the Motor City’s capacious Hart Plaza by an ensemble of leaders culled from Mack Avenue Records‘ extraordinary artist roster. It’s the second configuration of the group, which debuted at the 2012 Detroit Jazz Festival, mixing veteran stars with mid-career leaders and up-and-comers. The resulting album, Live From The Detroit Jazz Festival – 2012, received critical kudos for the fiery chemistry and soloistic derring-do contained therein.
Back for round two are trumpeter Sean Jones, guitarist Evan Perri, and the rhythm section of pianist Aaron Diehl, bassist (and music director) Rodney Whitaker and drummer Carl Allen, plus Gary Burton returns as a special guest. Joining the mix are veteran soul/jazz saxophone giant Kirk Whalum and the sensational vibraphonist-marimbist Warren Wolf. The results are scintillating-a program as cohesive and precise as a studio recording, but infused with energetic vibrations emanating from the several thousand hip, enthusiastic fans who attended the concert.
Whitaker attributes the simpatico in part to his process of following collective, inclusive principles in organizing the program. “I solicited everyone’s input,” he says in a news release. “With artists at this level, you don’t need to dictate every moment. Sometimes it’s more important to listen and facilitate. When you have a conversation with everyone about what music we’re playing and the direction we want to go, everybody buys in.”
Whitaker discerns several common denominators that promoted camaraderie. One is the role of gospel music in the musical development of Whalum, Jones, Wolf, Diehl, Allen and himself during formative years. “Everyone – not just those who grew up in church – tries to tell a story in the way they play, in the way they try to touch an audience and say something to them,” he says. “They put together their solos to get across a message that music is not just about notes, but has some greater meaning, whatever you may translate that to mean.”
That communicative quality permeates the proceedings. So does the high level of mutual respect of each member for the musical abilities of all the others.
“Everyone liked performing together,” Whitaker says. “You could feel it in the rehearsals. Everyone felt empowered. There was no hierarchy, no one playing the star. In 2012, the idea was more to have a showcase for everyone’s skill, and have people come on and off the bandstand. This year, Al and Denny wanted a more cohesive sound, and that’s how all the musicians felt, too.”
According to a recent news release, Mutations is Vijay Iyer’s first album as a leader for ECM Records, and a recording that will widen perceptions of the pianist-composer’s work. At its center is “Mutations I-X”, a composition scored for string quartet, pianist, and electronics. A major piece built out of cells and fragments, it veers through many atmospheres, from moment to moment propulsive, enveloping, lyrical, luminescent, and strangely beautiful. Through thematic interactivity, the interweaving of acoustic and electronic sound-textures, and some decisive improvisational interventions in notated music, Vijay Iyer has created a multi-faceted suite whose very subject is change. Iyer gives a positive value to the concept of ‘mutation’ in this music, and variously appears in it as an interpreter of notated elements, as an improviser, and as “a sort of laptop artist, mixing in noise and different sounds,” encouraging the transformative processes.
Mutations was recorded at New York’s Avatar Studio in September 2013, with Manfred Eicher as producer, and casts new light on Iyer’s creative range. In recent seasons Vijay’s personal approach to jazz and improvising has resonated with both press and the public, and multiple poll wins and awards including, most recently, a MacArthur Foundation fellowship, have raised his international profile. Yet important aspects of his work have remained undocumented on disc. Over the last 10 years, Iyer has written music for chamber ensembles of various formations, much of which “involves different approaches to improvisation as well as notation. I’m happy to have this chance to let it be heard alongside other work I have been doing that’s more in a jazz vein, or more connected to the jazz community.”
Following its re-activation in January 2013 with releases that included projects by Bill Frisell, Bob James & David Sanborn, Michel Camilo and John Medeski, SONY Masterworks‘ OKeh Records is proud to announce their next wave of signings. The artists, who are part of the label’s “The Sound of Next” campaign are: saxophonist Craig Handy, Tunisian oudist/vocalist Dhafer Youssef, guitarist Nir Felder, drummer Jeff Ballard, saxophonist James Brandon Lewis, African vocalist Somi, and trumpeter Theo Croker.
“Each label, and OKeh is no exception, needs a good balance of established artists and newcomers to reflect what is happening in the world of music today,” states Wulf Müller, who oversees A&R for OKeh Records and ideated the re-launch in a recent news release. “The second phase of the re-launch is to focus on great new artists with different backgrounds and different takes on what jazz can be, but they all have one thing in common – they are part of Global Expressions in Jazz.”
To showcase the label’s new talent in “The Sound of Next” campaign, OKeh will release a seven-track “The Sound of Next” sampler featuring one song from each of these artists.
“The first wave of OKeh presented well-known masters of the jazz arts: John Medeski, Bob James and David Sanborn, Michel Camilo, and Bill Frisell,” explains Chuck Mitchell, senior vice president at Sony Masterworks U.S. “Now comes ‘The Sound Of Next’ – fresh expressions by established voices: Craig Handy’s 2nd Line Smith and Jeff Ballard’s Trio. And new dimensions opened by new voices: Somi, James Brandon Lewis, Dhafer Youssef, Theo Croker, and Nir Felder. ‘The Sound Of Next’ is a divining rod, a no-risk device to discover great global expressions in jazz, a midst the daily noise. For OKeh, ‘The Sound of Next’ is also ‘The Sound of Now.'”
Lafiya Music artist Bobby Watson to release new album on in honor of 50th anniversary of March on Washington
As Watson reflects, Check Cashing Day serves as “a commentary on where we’ve been, where we are, and where we need to go as a people, as a country, and as a global community.” Instead of focusing on the iconic “I Have A Dream” aspect of Dr. King’s speech, Watson chose to concentrate on another very significant part: the reason why over 300,000 people, black and white, gathered in Washington, D.C., on Aug. 28, 1963. Dr. King spoke of coming to Washington to cash a 100-year-old check, a moral check that the founding fathers wrote into the Declaration of Independence, but to this day, the check keeps coming back marked ‘insufficient funds.’ “This, being the year of my 60th birthday, I sadly understand that Dr. King’s dream has not been fully realized and the struggle continues,” says Watson in a news release.
Introducing poet and spoken word artist Glenn North from Kansas City, Mo, Check Cashing Day is a concept recording with 15 tracks portrayed in the vein of musical theatre. “I asked Glenn to put some poetry, from his perspective, to several of my compositions, as well as one written by vocalist Pamela Baskin-Watson and two by bassist Curtis Lundy,” Watson says. “It was my desire with this project to produce poetry that would in some ways cleanse the soul,” North says. In addition, Watson’s release features trumpeter Hermon Mehari, pianist Richard Johnson, drummer Eric Kennedy, flutist Horace Washington, and trombonist Karita Carter.
With Watson’s commentary on the ongoing struggle of today’s racial inequalities spotlighted on compositions such as the title track “Check Cashing Day (For Ms. Trudy)” and “MLK on Jazz (Love Transforms),” he offers a recording that provokes positive conversation and continued movement towards Dr. King’s ‘dream,’ so that the ‘dream’ becomes a reality in today’s world. “The result is something more powerful and thought provoking than I could have imagined,” reflects Watson.
2013 promises to be a banner year for Watson, reuniting with his critically acclaimed Horizon quintet for their 30th anniversary as well as celebrating his own 60th birthday. Boasting a top-notch resume that ranges from his tenure as a member of Art Blakey’s JazzMessengers (eventually becoming musical director) to co-founding Horizon with drummer Victor Lewis as an acoustic quintet modeled after the Jazz Messengers, Watson plans to tour in 2014 with Horizon for their seminal anniversary. Watson will also tour with his “I Have a Dream” project in 2014 and is planning several release performances (to be announced).
OKeh announces a 12-city North American tour for Bill Frisell‘s Big Sur Quintet (Nov. 6, 2013, through Jan. 23, 2014). The tour is in support of his new album, Big Sur, and will feature violinist Jenny Scheinman, violist Eyvind Kang, cellist Hank Roberts and drummer Rudy Royston (who are all featured on the album as well).
Stellar Award nominated balladeer Earnest Pugh has returned to the top of the music chart with his new, highly anticipated The W.I.N. (Worship In Nassau) Experience. The CD debuts at No. 1 on next week’s Billboard Top Gospel Albums chart, and the radio single “More of You” climbs to #14 on Billboard’s Hot Gospel Songs chart.
“It’s impossible to articulate in words what I am feeling right now,” says Pugh in a news release. “Though it’s my sixth CD release, my heart leaps with joy and appreciation today just as it did 15 years ago when I released my very first CD. I am blown away by the response, love, and support of the W.I.N. Project. I cannot take all the credit. I have been blessed with an amazing team of people to create and push this project. There are so many people to thank such as my personal staff, radio promoter Damon Stewart, TKO Marketing, Central South Distribution, plus, all of the great guest artists and singers. They all put their hands to the plow and we never looked back.”
Recorded live in Nassau, Bahamas, in the Grand Ballroom of the Atlantis Hotel, the album commemorates Pugh’s 20-15 Celebration -20 years in ministry and 15 years in the music industry. The full-length concert boasted cameos by gospel icon Shirley Caesar, Bishop Rance Allen, LeJuene Thompson and the energetic choir, Vincent Tharpe & Kenosis. The companion DVD video will soon hit retail shelves as well. For more information, visit www.earnestpugh.com.
According to a recent news release, Mosaic Records is set to release The Complete Sun Ship Session which includes newly discovered and previously unissued alternate takes from one of the final studio sessions by the John Coltrane Quartet. The three LP set will be released August 6 and was also made available on a two-disc set through Verve Records on April 16.
Sun Ship, recorded Aug. 26, 1965, captures one of the last sessions by the Classic John Coltrane Quartet (Coltrane, pianist McCoy Tyner, bassist Jimmy Garrison and drummer Elvin Jones). It comes at the culmination of a year in which Coltrane arguably reached his creative peak, a year rich in such masterworks. The Sun Ship album, though, was not issued until 1971, one of several Coltrane albums issued by Impulse Records after his death. And Sun Ship was, like many jazz albums, the product of editing between takes, a process overseen by John’s widow Alice.
John Coltrane‘s Sun Ship session was recorded at the RCA Recording studio on 24th Street by engineer Bob Simpson who also did superb work with Sonny Rollins, Charles Mingus, Albert Ayler and others. The original three-track masters with the tenor sax on one track, the piano and bass on another and the drums on the third track were recently discovered, enabling the complete session to be released for the first time. Kevin Reeves remixed the entire session from the original three-track masters with great sonic results, improving greatly on the original LP mix. Mosaic has remastered them and pressed them on 180-gram vinyl at the renowned Record Technology Inc. plant in Camarillo, Calif.
This limited edition set is available exclusively from Mosaic Records.