Charles Jenkins celebrates Christmas on Bounce TV’s “Holiday Praise”

Charles Jenkins

Soul Train Award nominated and Stellar Gospel Music Award winning recording artist Charles Jenkins’ “Holiday Praise” yuletide musical program will air at 8 p.m. Eastern time on Sunday, Dec. 25 and a repeat broadcast at 9 a.m. on Bounce TV. Check your local TV listings for this program.

The hour-long holiday celebration was filmed at the historic Fellowship Chicago church, featuring an all-star musical lineup. The exhilarating concert features performances by Mary Mary’s Erica Campbell singing “Come Let Us Adore Him” and Grammy Award nominated singer Brian Courtney Wilson reinventing Donny Hathaway’s classic “This Christmas.” Deitrick Haddon delivers a passionate take on Nat King Cole’s “The Christmas Song.” Jonathan McReynolds does a resplendent acoustic cover of “Mary Don’t You Weep” while gospel legend Dorinda Clark Cole sings “Away in a Manger” to a circle of children. The show also features appearances by Tasha Page Lockhart, Isaac Carree, Donishia Ballard, and Dexter Walker & Zion Movement.

Jenkins, who is the pastor of the 8,000-member Fellowship Chicago, initially appeared on the national stage when the world-renowned song “Awesome” topped Billboard Magazine’s Hot Gospel Songs chart for 22 weeks in 2012.  The unforgettable “War” spent five weeks at No. 1 on Billboard’s Gospel Airplay chart and was cited by the magazine as the most played gospel song of 2015. Jenkins currently has a Top 10 hit with “Winning,” and his tune “Christmas Music” just made its Hot Gospel Songs chart debut at No. 21.

Discogs announce partnership with Crate Diggers

Discogs, the world’s largest physical database, has recently announced the partnership with the premier vinyl-centric event in the world, Crate Diggers. The acquisition further solidifies Discogs as a leader in the vinyl community. By leveraging Crate Diggers footprint in the vinyl events space, Discogs seeks to bring their community from behind their screens to in the flesh in ten different cities across the globe in 2017.
“We’re often asked if we support record stores and selling offline. The answer has always been yes,” said Chad Dahlstrom, Discogs chief operating officer in a news release. “Through our site vinylhub and now Crate Diggers we can continue to support the sales, and trading of albums live. All of us love to dig records, and we want Crate Diggers to be one of those events diggers can look forward to year after year.”
Originally started three years ago in Portland, Ore., Crate Diggers has quickly expanded to include Los Angeles and Miami, Fla. This year saw the first international Crate Diggers held in Berlin. The event is always free, and the format is simple: Record Fair by day that gives way to a DJ After Party at night. Theo Parrish, Doc Martin, Dam Funk, Rick Wilhite and more have graced the turntables bridging the gap between old school record collectors and new vinyl enthusiasts.
“The vinyl record resurgence shows people are tired of renting their music and are looking for a tangible way to connect with their music if nothing else. Crate Diggers gives music lovers the world over the opportunity to connect in that same way in person, ” said Ronald Rich Jr., Discogs, director of marketing.
Discogs is the user-built database of music; with a catalog of more than 6.5 million recordings and 4 million artists, Discogs is the largest physical music database in the world. In addition, Discogs connects buyers and sellers across the globe. With more than 10 million items available and thousands of sellers, this is the premier spot for new releases to hard to find gems. Download the Discogs App for iOS (HERE) and Android (HERE). More on Discogs at crash-avenue.com/current-roster-2/discogs.

‘Duopoly’ chronicles pianist’s sessions with improvisers

davisCritically acclaimed pianist and composer Kris Davis has released her newest album, Duopoly, on Pyroclastic Records.  The album consists of 16 tracks with eight different highly regarded improvisers.  Each musician performs two pieces alongside Davis, one composed and the other completely improvised.  For Duopoly, Davis chose to work with musicians whom she had never worked with in a recording studio.  They are: guitarists Bill Frisell and Julian Lage, pianists Craig Taborn and Angelica Sanchez, drummers Billy Drummond and Marcus Gilmore, and reed players Tim Berne and Don Byron.

The CD comes with a DVD of live performances of each piece performed by Davis and collaborator.  Davis explains in a news release, “We also chose to make a visual record, which we hoped would be as live and uncompromising as the music.  Shot by Mimi Chakarova with one fixed camera and one handheld, the goal was for this film to have a kind of 1:1 or indexical relationship to the music itself.”

Davis continues her celebratory Duopoly tour tonight at Kennedy Center Millennium Stage in Washington DC, with pianist, and album collaborator, Craig Taborn.  The tour will continue through mid-October.

Rob Reddy blurs the lines between improvisation and complex structure

reddySince his emergence onto the scene in 1989, composer/soprano saxophonist Rob Reddy has established himself as an adventurous and original leader in the contemporary jazz realm. Prolific, eclectic and versatile, Reddy is recognized by musicians, critics, and funding institutions. With his new recording Citizen Quintet, Reddy adds another powerful milestone to his reputation. Citizen Quintet is his eighth album where Reddy is again fully within his own territory and in the company of a superb group of musicians — trumpeter John Carlson, guitarist Brandon Ross, double bassist Dom Richards and drummer Pheeroan akLaff — all regular collaborators of his for more than 20 years.
With Citizen Quintet, Reddy has purposefully diminished the emphasis upon the compositional form on behalf of a looser and more open approach to the creative substance, allowing the musicians’ longtime familiarity to breathe more freely. As a result, Reddy says “this session had a real joy & ease to it.” Indeed, the sense of joyful turbulence and free-reined expressiveness that is so fundamental to the music of the Art Ensemble of Chicago, Sun Ra and Albert Ayler is vividly displayed throughout this album.
But this is no free improv or loose-knit blowing album by any means. There is a rich and complex structure and overall sense of purpose and shape always in full bloom. Reddy states in a recent news release, “Within the confines of five instrumental voices I attempted to break the ensemble down … solos, duos, trios, entire ensemble improvisations … I continue to explore the idea of juxtaposing the composed melodic material and the improvised music with one another.” They emerge from the compositional structures and sometimes the process is reversed — and often combined. Written and improvised lines are sometimes blurred, sometimes intersected and sometimes indistinguishable within the pure musicality and extraordinary musicianship of the members of the ensemble.

Rance Allen Group returns with 25th project on Oct. 28

allenThe Rance Allen Group will release its 25th album and third live project “Live From San Francisco Bay” (Tyscot Records) on October 28. The group pioneered the fusion of R&B-styled rhythms with spiritual and message music themes in the 1970s. It’s a winning style that has won them fans as varied as American Idol’s Randy Jackson and ’80s rockers Huey Lewis & the News. The 11-song set “Live from San Francisco Bay” was recorded live at the Richmond Memorial Auditorium.

“The theme really is to be encouraged in a very kind of depressed time,” says Rance Allen, who sees parallels between today’s social climate and that of when his group was formed during the Civil Rights and Vietnam eras.  “It’s a time of unusual stress with all of the killings going on, the political mess that’s going on and there’s just so many people who have just moved away from trusting God and believing in Jesus Christ. Our job of encouraging and uplifting will never be done. We’ll have to keep working on this until the Lord comes to take us home.”

The project features new songs such as the first radio single “All Day Long,” the ballad “My Delight” (led by Steve Allen), the quartet-styled stomper ‘Hold On” and the soulful tune “Vessel” (led by Paul Porter).

The group also brings back B-sides from past albums and gives them new arrangements such as the old school soul of “Like a Good Neighbor” and the funk of  “I’m Not Givin’ Up Givin’ Out Givin’ Givin’ In” that is lead by Tom Allen. The group provides some dance-floor rhythms with songs such as “Got Me Dancin’,” “Can’t Give Up (The Groove)” and “Victory Dance.” The collection is rounded out with fan favorites such as the group’s signature songs  “Miracle Worker” and “Something About the Name of Jesus.”

The Rance Allen Group was formed in 1965 in Monroe, Mich., as a self-contained band. In 1972, they signed to Stax Records’ Gospel Truth subsidiary, where they recorded a series of gritty gospel songs that won them main-stage tours with R&B headliners such as Isaac Hayes and Barry White. The group has been recording ever since and was honored with the BMI Trailblazer Award in 2008.

Drummer Nate Smith chronicles personal experiences on debut album

smithNate Smith‘s visceral, instinctive, and deep-rooted style of drumming has already established him as a key piece in reinvigorating the international jazz scene, and now his rising career reaches a new benchmark with the release of his bandleader debut, KINFOLK: Postcards from Everywhere (Feb. 3, 2017 via Ropeadope Records). Much like his diverse and ample resume (which includes esteemed leading lights such as Dave Holland, Chris Potter, Ravi Coltrane, José James, Somi, and Patricia Barber, among others), this album sees Smith fusing his original modern jazz compositions with R&B, pop, and hip-hop.
This leader debut shows Smith at the helm of a core ensemble consisting of pianist and keyboardist Kris Bowers, guitarist Jeremy Most, alto and soprano saxophonist Jaleel Shaw, electric bassist Fima Ephron, and singer/lyricist Amma Whatt, with Michael Mayo on backing vocals. The lineup expands on several cuts with the inclusion of several illustrious guests: saxophonist Chris Potter, bassist Dave Holland, guitarists Lionel Loueke and Adam Rogers, and vocalist Gretchen Parlato.
KINFOLK is about the musical family that I’ve put together,” Smith said in a recent news release. “All core members of the band have very unique and specific points of view.”
He reinforces the idea of family by composing tunes that touch upon his childhood: such is the case with the jovial “Morning and Allison,” whose title partly invokes Allison Drive, the street on which Smith grew up. The song stars Whatt serenading idyllic recollections of a child enjoying a bright, fun-filled Sunday morning.
Smith recorded his parents – Lettie and Theodore Smith – talking about their respective parents on the mesmerizing interludes “Mom” and “Dad.” On the former, Smith’s mother tells how her father migrated from Virginia to Detroit and was drafted into U.S. Army, then later returned to Virginia where he bought the family a house. The latter provides a vehicle for Theodore to recall how his own father tirelessly worked at Navy shipyard in Norfolk, Virginia during the Jim Crow era without getting proper financial compensation or promotion until decades later.
“I think of these stories as snapshots that ultimately gave shape to the Black American experience into which I was born, which ultimately informs this music,” Smith said. He stressed the significance of having his father on the disc: Theodore Smith passed away in March 2015.
“He never got a chance to hear the music or the band,” Smith said.
Because Smith didn’t come strictly from the formal matriculation of music studies as so many of his jazz contemporaries did, he lovingly describes his approach to drumming as “unrefined,” which in turns helps him distinguish his voice. He did, however, earned his bachelor’s degree in 1997 in media arts and design from James Madison University. While he was still in college, the legendary singer Betty Carter recruited him for her world-acclaimed Jazz Ahead program.
Smith said that the visual arts discipline he studied in college definitely seeps into his compositions.
“I love great movies and images. I’ve always had a deep interest in composing for film,” he said. “For this project, there is something very cinematic about the way that I conceived this record. That’s why it was so important for me to cast the right characters in terms of musicians. They bring to life the themes of family, nostalgia and identity that define this music.”
Ultimately, Smith likens the songs on KINFOLK to film vignettes sequenced together to tell a greater story about the unfolding journey of a working artist. This music represents snapshots from that voyage – these songs are the postcards from everywhere along the winding road.

Songstress Kenia reunites with former bandmates on new project

Photo Credit: Layne Anderson

Photo Credit: Layne Anderson

For many jazz fans in the 1980s and ’90s, Kenia’s singing was the gateway to contemporary Brazilian jazz and pop. She stood out from her compatriots because of her intimate, smooth vocals-subtle yet soulful-and her finesse with both American standards and Brazilian material. On We Go (to be released in August) will entice a new generation of listeners, as it showcases Kenia at the top of her form with a seductive, polished vocal phrasing. The intriguing repertoire includes songs co-written by Kenia and the Brazilian songwriting legends Ivan Lins and Antonio Adolfo.

The singer, born Kenia Acioly, grew up in Rio de Janeiro and moved to the U.S. in 1980. She made her recording debut as the featured vocalist on trumpeter Claudio Roditi’s Red on Red, produced by the legendary Creed Taylor, the producer of “Desafinado” and “The Girl from Ipanema.” Kenia established herself as one of the most popular Brazilian vocalists in the U.S. with her MCA solo debut Initial Thrill (1987) and Distant Horizon (1988), both of which gained substantial radio airplay, and were followed by well-received albums with Denon. On these releases, Kenia sang in English and Portuguese and freely mixed composers like Harold Arlen and Stevie Wonder, Djavan and Toninho Horta.

On We Go boasts standards by big names (Gershwin, Lennon and McCartney), works by lesser known contemporary composers (Romero Lubambo, Luis Simas and others) and songs written for Kenia by Adolfo and Lins.

Paul Socolow plays bass and Mark Soskin handles keyboards on the new album, with Sandro Albert on guitar, Lucas Ashby on percussion and Adriano Santos on drums. Guitarist Romero Lubambo and harmonicist Hendrik Meurkens make notable guest appearances.

The album came about, recalls Kenia in a recent news release, when she “reconnected with Socolow and Soskin, who were the original members of my very first band, Pau-Brazil, and played on her first two albums. When we met again after nearly two decades, it just felt so right that I couldn’t resist the urge to do another project with them.”

For more information on Kenia, go to KeniaLive.com.

 

Vocalist Allan Harris releases new project “Black Bar Jukebox”

allanharrisThe Brooklyn-born, Harlem-based vocalist/guitarist/bandleader/composer Allan Harris has reigned supreme as one of the most accomplished and exceptional singers of his generation. Aptly described by the Miami Herald as an artist blessed with, “the warmth of Tony Bennett, the bite and rhythmic sense of Sinatra, and the sly elegance of Nat ‘King’ Cole.”
Evidence of Harris’ multifaceted talent can be heard on his 10 recordings as a leader; his far-flung and critically-acclaimed concerts around the world, from Jazz at Lincoln Center in New York, and Washington DC’s Kennedy Center, to the 2012 London Olympics, and a number of prestigious bookings in Europe, The Middle East and Asia, and his numerous awards, which include the New York Nightlife Award for “Outstanding Jazz Vocalist” – which he won three times – the Backstage Bistro Award for “Ongoing Achievement in Jazz,” and the Harlem Speaks “Jazz Museum of Harlem Award.”
Harris’ new album, Black Bar Jukebox, produced by Grammy Award-winning producer Brian Bacchus (Norah Jones, Gregory Porter), is his most compelling and comprehensive recording to date.
“Believe me, what Brian brought to the table was wonderful,” Harris says in a news release, “not only because of his music, but also because of the vision, and the way he hears things. I’m enamored with the sound I got.” Inspired by the jazz, R&B, soul, country and Latin sounds that emanated from jukeboxes in African-American barbershops, clubs, bars, and restaurants, from the mid to late twentieth century, the album — which features Harris’ accomplished band of three years: drummer Jake Goldbas, bassist Leon Boykins, and pianist/keyboardist Pascal Le Boeuf; with special guests, percussionist Samuel Torres and guitarist Yotam Silberstein — also marks his moving and momentous return to his jazz-centered, Harlem roots, where he heard all those aforementioned styles, genres and grooves in the Golden Age of the seventies.
“Growing up, I heard the sound of Duke Ellington, Louis Armstrong, Benny Goodman, and Nat King Cole,” Harris says, “I was always cognizant of jazz.”
In this soulful setting, Harris would meet many jazz and R&B stars who worked at the Apollo and came by the restaurant to eat and hang out. Another aunt, Theodosia Ingram, won the Apollo Theater’s Amateur Night Competition and performed at a number of Manhattan clubs, including The Lenox Lounge under her stage name, “Phoebe.” It was through her, that Harris would meet and be mentored by a seminal jazz figure, Clarence Williams. “We used to go to his record store, and he’d come into our house on Lincoln Avenue,” explains Harris. “At the time I was a child … I just thought that was just a part of my life. And later, I understood the gravity of the depth of his history. Yes: Clarence Williams opened up a lot of doors for me, to really get me into this genre calledjazz.” It was Williams who brought Louis Armstrong to the Harris home, and babysat the future crooner, who was frightened by Satchmo’s gravelly, “frog like voice.”
Black Bar Jukebox, a diverse and dynamic disc, showcases Allan Harris at the zenith of his all-encompassing artistry. “I’m a storyteller through the genre of jazz,” concludes Harris.

New project by violinist Diane Monroe and vibraphonist Tony Miceli available on Aug. 19

miceliTwo of Philadelphia’s most revered jazz artists unite for an intimate, exploratory duo session on Alone Together, due out August 19. Violinist Diane Monroe and vibraphonist Tony Miceli have a decade relationship that is evident throughout their debut collaboration. The album’s thirteen tracks encompass the wide range of the pair’s mutual interests, from jazz to classical, standards to spirituals, originals to classics, and even an unexpected TV theme song.
“I’ve always been fascinated by how two instruments can play together and make a complete picture,” says Miceli in a news release. “A duo is very personal. It’s about as personal as you can get. It’s just the two of you, and every note one plays is going to effect the other.”
“It’s all about blending,” Monroe adds, “finding a sound that works individually as well as collectively.”
Both Monroe and Miceli have long histories of forging rich collaborations in Philadelphia and beyond. Monroe has bridged the jazz and classical traditions for most of her career. She studied at Oberlin Conservatory, Philadelphia Musical Academy, Michigan State University, and the Curtis Institute of Music. She toured for more than a decade with the Max Roach Double Quartet and the Uptown String Quartet and performed extensively as a member of the String Trio of New York, all ensembles which fused classical virtuosity with jazz improvisation. Over the course of her career she’s played with such renowned artists as Percy Heath, Steve Wilson, Dave Grusin, Joe Lovano, Reggie Workman, Wycliffe Gordon, and Uri Caine, and is currently a member of saxophonist/composer Bobby Zankel’s Warriors of the Wonderful Sound big band.
Miceli has been a force on the Philly jazz scene since 1980 while touring the world and mentoring young players as an educator. In 1990 he co-founded the group Monkadelphia, dedicated to playing the music of Thelonious Monk. He is also a member of the PhilOrch Jazz Ensemble, a quartet featuring members of the Philadelphia Orchestra. He has worked with countless jazz luminaries as both a leader and a sideman, including David Liebman, Jimmy Bruno, Ken Peplowski, John Blake, John Swana, Joe Magnarelli, Steve Slagle, Larry McKenna, and many others.
During 2009, the two developed a sound together, and by 2010 began a series of live webcasts from Miceli’s basement. These virtual concerts not only placed the pressure of a live situation on the duo’s shoulders, but allowed them to gradually accrue a loyal fan base. “I always felt like we had an audience with the webcasts,” Monroe recalls. “I have a very active imagination, so as soon as I get on stage I get scared, no matter where it is. I play differently, hence that’s where the growth comes in.”
“Over that year, I learned so much about music,” Miceli continues. “We really stuck together through thick and thin and finally felt like we could cover all the bases of the music.”
The diverse material the duo selected for Alone Together reflects the breadth of their experiences. “We wanted to find interesting, different kinds of tunes that would cross over a little bit,” explains Miceli.

SuperBand returns with Mack Avenue Records release available Sept. 2

superbandMack 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.”