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music – Page 9 – Mitch's Muse
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arts jazz music performances releases world

Producer Rio Sakairi pays tribute to Japanese earthquake/tsunami victims with project

“Call me romantic, but I believe in the power of music and its ability to heal and uplift,” said Rio Sakairi, director of Programming at The Jazz Gallery, an internationally recognized breeding ground for young musical talent in New York City in a news release. It is this sentiment that inspired her into action, when a 9.0-magnitude earthquake struck off the coast of Japan on March 11, 2011. Marking one of the worst natural disasters on record, the earthquake spawned devastating tsunamis and a subsequent nuclear crisis. The insurmountable destruction claimed tens of thousands of lives, and the world watched in horror. For Sakairi, it was more than an unfathomable tragedy; it literally hit home.

Born and raised in Tsuchiura, Ibaraki – just two hundred miles from the severely ravaged Sendai area – Sakairi was inspired immediately into action. She called upon an esteemed roster of friends and colleagues within the thriving jazz scene, and they came together to create a gift to those who suffered such incredible loss. HOME – Gift of Music is an eight-song manifesto of hope from some of today’s most innovative musicians in jazz and beyond, including Gretchen Parlato, Doug Wamble, Becca Stevens, Alan Hampton, John Ellis and Claudia Acuña. Scheduled for release on September 11, 2012, on Sunnyside Records, the singer-songwriter leaning repertoire captures the huge emotive capacity of the artists, with an intimacy as personal as a love letter. The fullness of their hearts is evidenced by the immediacy with which they were able to unlock their overflowing expression of compassion, empathy and, ultimately, optimism.

Sakairi’s reputation as a concert producer has placed her among the most influential figures in the jazz field. Her creative ideas, understanding of new trends, track record of discovering and nurturing new talent, and impeccable artistic standards have captured the attention of such seasoned experts as George Wein. Now stepping out as a record producer, Sakairi demonstrates her musical sensibilities and convictions as a philanthropist.

The musical and social camaraderie that Sakairi has so uniquely fostered over the last twelve years at The Jazz Gallery undoubtedly came into play during the recording. The artists donated their time and talents, penning personal songs specifically for this project. All proceeds from HOME – Gift of Music will go to Habitat for Humanity Japan, where volunteers are working tirelessly to rebuild homes for those affected. Studio time, engineering, artwork, graphic design, distribution, marketing and PR services were also generously donated.

“All of the songs were written with very short notice and there was no rehearsal,” says Sakairi. “It’s pretty magical the way everything came together. It was all done in just one or two takes.”

Sakairi’s mentoring skills proved instrumental, pushing artists not only beyond the jazz realm, but for some, out of their comfort zones; most notably with the contribution of the multi-reedist John Ellis, who makes his debut as a vocalist on the pensively assuring title track.

“I just knew he could do it,” says Sakairi, who has commissioned Ellis three times for The Jazz Gallery’s notable commissioning program. “Every time I push him, he rises to the challenge, delivering results above and beyond my expectations. It turned out to be great, exactly as I thought it would.”

In the age of the five-minute attention span, and in a world with no shortage of catastrophes, Sakairi is working hard to remind everyone that, although the tragedy in Japan may not make the front page today, people are still hurting and the road to recovery is long and difficult. HOME – Gift of Music is a testament to the enduring spirit of the people of her native homeland, and to the ability of music to leave an ineradicable impact.

“Action is how we show that we love and we care,” says Sakairi. “Action is the only way to combat helplessness. I took on this task because this is my home.”

Categories
jazz music releases

Motherhood generates Elizabeth Shepherd’s release “Rewind”

“Rewind” is available September 25 on Linus Entertainment.

Montreal-based soul-jazz innovator Elizabeth Shepherd has been praised around the world for her song-writing chops, but on her fourth studio album, Rewind, the pianist and vocalist showcases her skills as an arranger and interpreter, breathing new life – and soul – into songs both familiar and forgotten.

A two-time JUNO nominee (Canada’s Grammy Award equivalent) and critical darling, Elizabeth Shepherd’s genre-bending, soulful jazz has helped her find her place as a mainstay on the international circuit, playing legendary venues like Tokyo’s Cotton Club, London’s Jazz Café and the Hollywood Bowl. Her debut album, Start to Move, continues to receive critical acclaim, and was voted the Top 3 Jazz Albums of the Year by the listeners of the Gilles Peterson Show on BBC Radio 1 in 2006.

As her first full-length album of standards, Rewind charts new and welcome territory for Shepherd, who pushes the boundaries of what is considered conventional jazz, all the while creating a sound completely her own.

Raised by ministers of the Salvation Army, an early exposure to the brass band sounds mixed with her love for classical and house music, funk and hip hop, lay the foundations for one soulful musician. Trained extensively in conservatories in Canada and France, Shepherd completed a degree in jazz piano from McGill University, Montreal. Initially entering the music program to pursue a career in music therapy she quickly discovered her extensive talent in songwriting and performing. She moved to Toronto in 2004 and worked as a server at a piano bar. Her serving job proved an asset to her musical career – once management realized Shepherd’s talent, she quickly became the restaurant’s key entertainer. Organically and innocently enough, the Elizabeth Shepherd Trio was formed with Scott Kemp on bass and Colin Kingsmore on drums. Within a year of trading her waitress uniform for a piano bench in 2006, Shepherd was appearing live on BBC Radio 1, playing sold-out shows at London’s Jazz Café and doing a weeklong residency at the venerable Cotton Club in Tokyo.

On her 2008 follow-up, Parkdale, which garnered another JUNO nomination, Shepherd continued to carve out her own niche within the jazz idiom, drawing praise from peers and critics. The ensuing tours saw her sharing the stage with greats like Branford Marsalis, Christian McBride and Victor Wooten. Shepherd’s 2010 release, Heavy Falls the Night, marked her debut as a producer and the record was hailed by jazz and pop critics alike as her best to date. Long-listed for Canada’s most prestigious music award, The Polaris Prize, the album builds a bridge between jazz and sophisticated pop music. Shepherd spent the better part of 14 months touring the record internationally, selling out legendary jazz clubs while climbing high on pop charts.

The vocalist didn’t consider recording an album of standards until she became pregnant with her daughter Sanna while on the last leg of her 14-month tour supporting Heavy Falls The Night. Faced with the realization that she would not be able to finish writing enough original new songs for an album before Sanna’s birth, Shepherd was compelled to get into the studio and record an album of songs that she had learned, loved and grown with over the years. She wanted desperately to connect with something that was always a constant in her life while she was in the midst of what is arguably the most significant life change a woman will ever have — motherhood. After the album was finished and Sanna entered her life, Shepherd realized that Rewind too, ironically, marked a great shift for her musically.

“Now that the album is done, I realize that while pregnancy is a time of unprecedented, extreme change, and motherhood an even deeper process of adaptation, the illusion of holding onto something fixed is just that – illusion – because we are never really standing still, and so this album is not that link that I was hoping for when initially faced with so much change – rather it is one more face of change, an act of discovering and embracing yet another aspect of my self, this time of my musical self,” said Shepherd in a news release.

So while Rewind was a record initially inspired by Shepherd’s desire to connect to something true and constant while undergoing and preparing for her life’s biggest upheaval yet, the album in fact was a transition too; a remarkable, inspired and ambitiously creative transition. Rewind is clearly an Elizabeth Shepherd release, not a release of standards sung by Elizabeth Shepherd.

As far as being a “jazz musician”, Shepherd does not count herself as one to be defined by a particular genre; her music comes straight from the soul, and is more than just what she does, but what she loves and who she is.

http://www.youtube.com/watch?v=TpkiF4Hftxc

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Darius Paulk Georgia gospel music new releases releases United States urban gospel

“Nobody Greater” songwriter Darius Paulk releases first digital CD

The last three years have been a whirlwind for Atlanta, Ga.-based, Dove and Stellar Award nominated songwriter, Darius Paulk. Singer Vashawn Mitchell recorded his tune “Nobody Greater” and watched it rise to No. 1 on Billboard’s Hot Gospel Songs chart and spend a solid year in the Top 10 in 2010-2011.

“Darius wrote a song that captured and changed the hearts of so many lives, and he’s only scratched the surface,” Mitchell says in a news release. “The world will soon experience more of his heart of worship.”
 
That experience is coming Aug. 14 when Paulk will release his first digital EP, “Lyrics & Melodies”, a five-song cyber album that will be available on iTunes and other online music stores. It may surprise some that Paulk is a singer, but he’s been doing it all of his life.


 “God has invested so much into me and I want to exhaust every area of gifting that he’s blessed me with and singing happens to be one of them,” he says. “I’ve always admired singer- songwriters such as Walter Hawkins, Thomas Whitfield, Twinkie Clark, Andre Crouch, and Donald Lawrence, so this is me living out the dream I’ve had since I was a child.”
 
Those influences are evident on songs such as the majestic ballad “He is God” that’s cut from the same cloth as the best songs by Crouch and Whitfield. Paulk’s tenor warmly fills the nooks and crannies of the tune rather than overpowering it, allowing the lyrics and melody to shine instead of having them overshadowed by vocals. “It’s a worship ballad that is dear to my heart,” he adds. “I wrote it a day after I got held up at gunpoint after the Stellar Awards last year. It kind of falls in line with the current trend.”
 
The up-tempo “This I Give” employs a charmingly sophisticated urban AC and smooth jazz vibe that makes it a refreshing vehicle to express the inspirational lyrics. Paulk, who wrote “Deeper” for Marvin Sapp’s current No. 1 CD “I Win”, is asked whether he feels pressure to deliver another massive hit like “Nobody Greater” and his response is definitive.


 “I never gauge my songs off of one another because they all come from different experiences and the true success for me is not how well it charts, but how well it provokes the listener to change for the better,” he adds. “’Nobody Greater’ was massive, but I didn’t write it with the thought this is gonna be a radio smash. I wrote it with the thought that everyone that hears this will know there’s not another power Greater than our God.” 

For more information on Darius Paulk, visit him online at www.dariuspaulk.co.

Categories
Bob Belden jazz music new releases New York RareNoiseRecords United States University of North Texas

Bob Belden unveils dark narrative of Manhattan on second Animation project “Transparent Heart”

Following on the heels of Animation’s 2010 RareNoiseRecords debut, Asiento, and 2011’s Agemo, saxophonist-composer-bandleader Bob Belden tells his own story on Transparent Heart. With his new Animation lineup consisting of young musicians hired from his alma mater, the University of North Texas (23-year-old keyboardist Roberto Verastegui, 24-year-old bassist Jacob Smith, 29-year-old trumpeter Pete Clagett and 20-year-old drummer Matt Young), Belden unveils a dark narrative as heard through the musical diary he has composed over 29 years of living in Manhattan. 
An imposing electronic noir masterwork, Transparent Heart travels from Belden’s initial awestruck impressions of New York City (“Terra Incognito”) to his feelings of foreboding (“Urbanoia”) and hope (“Cry in the Wind”) as a city dweller on Manhattan’s Upper West Side, to the pervasive angst of post-9/11 Manhattan (“Seven Towers,” “Provocatism”). He also addresses the mass exodus of artists from the city (“Vanishment”) and concludes his musical memoir with the clash of the social classes manifested in the Occupy Wall Street movement (“Occupy!”). Belden has concocted a powerful, provocative suite of music that is charged by the intensely driving, highly intuitive playing of his young energetic Animationband mates. 
“This record is not a jazz record, it’s about my life in Manhattan,” says the Grammy Award-winning composer-arranger-producer in a news release. “In essence, the music on Transparent Heart is a reflection of the lingering tension since 9/11. It’s an honest look at Manhattan through music.”
The concept for Transparent Heart has been in the making for more than 30 years. “I first visited Manhattan in 1979 when I was with Woody Herman’s band. I’ll never forget seeing the dark shadows, steam rising from the streets, crowds of strange people lingering in Times Square well past midnight, all the tall buildings and how they created a post-gothic canyon effect,” Belden said. “That’s ‘Terra Incognito,’ a term used by local residents to describe Central Park above 96th street. Darwinistic Urban Gentrification. The uncertain outcome of riding the subway late at night. Alphabet City. Bonfire of the Vanities. AIDS. Subway Gunman. Guardian Angels. Central Park jogger. Preppie murder. Sparks Steakhouse. That’s ‘Urbanoia.'”
“Cry in the Wind,” with Clagett’s muted trumpet carrying the melancholy theme reflects another Manhattan experience, “One night from inside my ground-floor studio apartment I heard the voice of a woman crying for help faintly mixed with the sound of the wind and rustling tree leaves. Bringing my phone outside, I saw this woman who had just been stabbed, and called 911. She reached up, grabbed my hand, and didn’t let go until the ambulance got there. I helped this woman live because I cared. This tune is about hearing the cries in the wind of extreme loneliness and helplessness that are heard all the time throughout the city.”
The darkly propulsive title track echoes the hard-hitting production that Bill Laswell brought to Herbie Hancock’s 1983 hit single “Rock It.” To listen to Transparent Heart is to think about Manhattan’s self-reflective nature exemplified by extreme conflicts between physical/corporatist and social/humanist structures and the perpetual sense of energy that is created and dissipated illogically in light and shadow. 
“Seven Towers” is Belden’s reaction to the terrorist attacks on the World Trade Center. As Belden reflects, “9/11 is a reaction to the power and influence that capital, centered in Manhattan and symbolically the World Trade Center, has on parts of the world, in the form of abject terrorism. I watched it happen from Chambers street in Lower Manhattan. This tune recreates my own autobiographical timeline of 9/11. It starts with the NORAD radio broadcast finding out a plane hit the North Tower; followed by the NYPD and NYFD responding. It’s very haunting. I believe that this moment has defined the course of history for Manhattan as well as the world at large. This album is offered in deep respect to those who lost their lives that morning of September 11, 2001, and to the families that have to live with this loss forever.”
“Provocatism” reflects the immediate aftermath of 9/11. “People fled the city as companies anticipated an economic downturn, laying off thousands upon thousands of workers. For years there were constant alerts, color-coded like a crayon book. Many small business, dependent on the World Trade Center complex, died after 9/11-replaced by the ubiquitous chain store, coffee shop, and branch-bank. The intense build up of the New York Police Department to the point of having one of the largest standing armies in the world, placing citizens under surveillance on the streets and in the subways-‘stop and frisk’ developed from this Quasi-military policing initiative.”
  
The musicians on Transparent Heart are the most talented of their generation, performing complex operatic improvisations, sounds, and textures. They are serious musicians deep into the subtle and not-so-subtle nature of this music. That they are virtually unknown to the jazz public is a blessing, as you will hear them tabula rasa, with no conditions on what to expect. From this point on you will expect greatness from each one of them.
For Belden, Transparent Heart is a musical tool to get people to think about social issues. “Music must be returned to its place as a social engineer; provoking thought amongst society. This record is not about tunes, solos, and arrangements, it’s a way of telling a story that has something to do with my life, OUR lives, and for anyone who has ever landed with excitement, wonder, fear, and hope on this tiny island off of the coast of the United States. It’s not being a musician, but rather a citizen.”  For more information on Animation, go to rarenoiserecords.com.

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Andre Lester Mobley gospel Illinois kingdom records music Obit Shekinah Glory Ministry United States

Shekinah Glory Ministry member Andre Mobley dies

Andre Lester Mobley
Photo Provided

Andre Lester Mobley, 46, a founding member of the platinum selling-ensemble, Shekinah Glory Ministry, passed away on Aug. 2 from blood clot complications. 

 “There are heavy hearts in Shekinah Glory Ministry and the Kingdom Records family today, “ says Kingdom Records President Joan Sullivan in a news release. “Another soldier gone.” This tragic death comes just weeks after another veteran member of the group, Pepe Epting, died in June. One longtime friend wrote on Facebook that Mobley was, “A man of a gentle, quiet and humble spirit.”
 
Mobley joined Valley Kingdom Ministries (the church home of Shekinah Glory Ministry and Kingdom Records) on April 5, 1992, when he played the organ during the 8 a.m. service. He played on three of Shekinah Glory Ministry’s hit recordings, including “Praise Is What I Do”, “Live” and “Jesus”. He did not play on the group’s forthcoming CD, “Surrender”, that was recorded live at Valley Kingdom in April and will be released nationally on Sept. 25. Mobley’s survivors include two children, Andrea and Avery.
 
Mobley’s viewing took place today at Callahan Funeral Home, 7030 S. Halsted, Chicago, IL. The funeral service takes place, Friday, Aug. 10, 2012, at Valley Kingdom Ministries International, 1102 East 154th St., South Holland, IL 60473. The wake begins at 10 a.m. with the homegoing service starting at 11 a.m. 


“I’m just a wonderful person who loves God and people,” Mobley once posted on his Facebook page. “If you don’t know me, I’m probably someone you would want to know.” 

For more information on Shekinah Glory Ministry, go to http://www.sgmsurrender.com.
 

Categories
Bobby Hutcherson jazz Kind of Blue Records music new releases New York New York City United States

NEA Jazz Master Bobby Hutcherson returns with “Somewhere in the Night”

New York City is the jazz capital of the world and Dizzy’s Club Coca-Cola in Jazz at Lincoln Center is one of the music’s greatest venues. On October 10, 2009, over the course of two sold-out sets, legendary vibraphonist Bobby Hutcherson recorded what would become Somewhere in the Night. The album, which is being released on Kind of Blue Records on Sept. 25, 2012, also features the Joey DeFrancesco Trio — guitarist Peter Bernstein and drummer Byron Landham as well as its organist namesake.
Of the organist, Hutcherson says in a news release, “One thing about Joey, he knows how to play. He doesn’t play at the same volume all the time. He can play very soft and then he can increase his volume a lot. Because of that, he’s very aware of what volume to play with the vibraphone. Even while he’s soloing, he plays at different volumes. It makes it really good, you know.” 

He continues, “Although he’s full of ideas, he never gets in the way because he sure is very good at tempo. And I don’t mean tempo as speed … I mean tempo as being able to understand what he’s playing at any speed, you know, the tempo of life. He paces his notes, so they don’t come out cluttered. He understands how to deliver a certain thing, and that’s an important thing to do.”
Somewhere in the Night manages to capture the live energy of a band in top form. The opening track “Teddy”, written for Hutcherson’s youngest son, sees the vibes master build a mammoth improvisation that builds in intensity and tempo, while “Little B’s Poem”, written for Hutcherson’s oldest son and the composer’s most famous work, is given new life nearly fifty years later by rephrasing the melody into a vamp that leads into a spectacular group improv.
Hutcherson pays tribute to his late mentor, Milt Jackson, on the legend’s “SKJ”, and displays his virtuosity on Duke Ellington’s “Take the Coltrane”. Coltrane’s “Wise One” was the title track of a previous Kind of Blue release by Hutcherson and is reinterpreted here thanks to DeFrancesco’s accompaniment. The organist leads with an improvisation before Bernstein and Hutcherson contribute their touching statements on the melody.
Hutcherson says of the title track of the album, “every time I play with Joey, we play that. I always love to hear Joey and listen to his bass line. Yeah, and that tempo, there’s a longing feeling in it.” Both Hutcherson and DeFrancesco showcase their ballad chops on Ned Washington and Victor Young’s “My Foolish Heart”. The vibraphonist says, “it’s good to think about the song, singing the lyric, because you know the instrument should be something of a voice. It should be an extension of it. The things that you listen to that really grab you right away are things that make you feel like it’s human.” 

Hutcherson, a California native and long time resident of Half Moon Bay, spent his formative years in New York, arriving there more than 50 years ago. Hutcherson has put his stamp on jazz both as a leader and as a sideman on classic records such as Eric Dolphy’s Out to Lunch and Jackie McLean’s One Step Beyond. Among the constant gigging and studio sessions, Hutcherson recorded two albums in the mid-sixties pairing vibes with the Hammond organ, a popular combination of the era. Grant Green’s Street of Dreams (1964) and Big John Patton’s Let ‘Em Roll (1965) went largely overlooked but saw Hutcherson’s melodious sound combine with the Hammond to produce a blanket of silky resonance. Forty years would pass before the vibraphonist reteamed with the B3 on Joey DeFrancesco’s Organic VibesSomewhere in the Night continues the relationship between the two musicians. 

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blues Detroit Florida Johnnie Bassett Mack Avenue Records Michigan music United States

Blues guitarist and vocalist Johnnie Bassett dies at age 76

Johnnie Bassett
Photo credit: Cybelle Codish


According to a news release, Johnnie Bassett, the celebrated Detroit blues guitarist and vocalist, died from complications of liver cancer on Saturday, Aug. 4 at Saint John Hospital in Grosse Pointe, Mich. He was 76 years old.
Gretchen Valade, owner of Mack Avenue Records, reflects, “Johnnie Bassett was a wonderful musician and a good friend. Whenever I walked into a room where he was playing, he would start singing ‘Georgia,’ my all time favorite. He was sympathetic and loyal to his friends, and had a good sense of humor. He was a heck of a blues singer who wasn’t appreciated as much as he should have been, and didn’t have as many gigs as he should have had, but he never complained about anything. Johnnie was one in a million, and I will miss him terribly.”
Mack Avenue Records president Denny Stilwell laments the passing of one of the last few truly impactful blues musicians. “This is of course a sad day for us. Johnnie was the second artist signed to our Sly Dog imprint and we will miss his gritty vocals, raw guitar sound and mostly his gentlemanly ways.”
In 1944, Bassett relocated with his family from his hometown in Marianna, Fla., to Detroit, where his legacy flourished as he held his own in the fast company of luminaries such as Ruth Brown, Big Joe Turner, Smokey Robinson, Dinah Washington, former neighbor John Lee Hooker, and a young guitar fledgling named Jimi Hendrix. Even as a young boy in Florida, Bassett was surrounded by music. His mother, sisters, and aunts took him to church and surrounded him with gospel spirituals, and he spent the summers at his grandmother’s fish fries where the likes of Tampa Red, Arthur “Big Boy” Crudup, Lonnie Johnson and others would play while people ate and danced. It was years before Bassett realized these people he was meeting as a young teenager were big names. 


While attending Northwestern High School, Bassett’s brother gave him his first guitar. After much practice, the young teenager went on to perform in talent shows, theaters, and nightclubs with pianist Joe Weaver, a close friend, as Joe Weaver & The Blue Notes. The group, which was performing in some of Detroit’s greatest nightclubs before they were old enough to drink, became the house band for Frolic Showbar in the mid-50s after just three weeks performing there. It was unlikely that Bassett knew at the time that this was what would lead him to performing with legendary vocalist Dinah Washington when she made it to the gig and her band didn’t. The band was eventually playing gigs with John Lee Hooker, Big Joe Turner, Ruth Brown, and Eddie Burns and a tenure as the house band for Detroit’s Fortune Records label. He also spent a bit of time with Chicago’s Chess Records and appeared on the first sessions for Smokey Robinson and the Miracles before Motown’s existence. 
In the mid-60s, after a six year run in the United States Army, Bassett decided to remain in Seattle, Washington. During his stay, he hosted a Sunday night jam session which was frequented by a prodigious young guitarist, Jimi Hendrix. Hendrix usually hung around to pick up licks and tricks, and also to develop an understanding of the tuning of Bassett’s guitar. He achieved his signature sound by using a style of tuning he referred to as Vestapol (open E flat), which he recently joked in an interview that no one under 70-years-old knows about. During this time, he was also backing John Lee Hooker, Little Willie John, and even backed Tina Turner on one occasion. It was the late 60’s when Bassett made his return to Detroit. 
It wasn’t until the early-90s that Bassett emerged as a leader and formed his own band, The Blues Insurgents, with encouragement from drummer RJ Spangler who rallied the guitarist after catching his set on a side-stage at the Montreux-Detroit Jazz Festival. During this time, Bassett recorded a series of albums starting withThe Heid/Bassett Blues Insurgents (with keyboardist Bill Heid and the late saxophonist Scott Petersen), I Gave My Life To The Blues (recorded in The Netherlands), Bassett Hound (also with Bill Heid), Cadillac Blues (nominated for five W.C. Handy Awards and included in DownBeat magazine’s best albums of the 90s) and Party My Blues Away, but his last label, Cannonball Records, went out of business. He kept working and eventually became a hometown legend and treasure, receiving a well deserved Lifetime Achievement Award from the Detroit Blues Society in 1994. He has also earned five Detroit Music Awards, as well as many other nominations. Jim Gallert, Detroit music historian, says, “Johnnie Bassett took the sounds of the Delta, the Basie band, and Funk, and made them into a personal dynamic style. He was a unique and special person.”
Years later, during a four-night residency at Dirty Dog Jazz Café in Grosse Pointe, Bassett found himself speaking with Valade during a break. When Valade asked if Bassett had a label and he said no, she replied with, “Well, you do now.” Bassett soon after signed a deal with Sly Dog Records, a Mack Avenue imprint, where he released 2009’s The Gentleman is Back. His most recent album, I Can Make That Happen, also released on Sly Dog, was released on June 19, 2012. Both albums were produced by his longtime sidemen, organist/pianist Chris Codish and saxophonist Keith Kaminski, and feature their Detroit bands The Brothers Groove and The Motor City Horns, respectively. Codish and Kaminski toured, recorded, and performed regularly with Bassett and helped to guide his career for almost 20 years.  
Bassett is survived by his wife Deborah, daughter Benita Litt, and his wife’s children, Lynn Tolbert, Courtney Campbell and Kenneth Pringle. Funeral arrangements and a memorial service are pending.

Categories
business california industry Los Angeles media music Saban Capital Group United States

Saban Capital Group launches new venture with music executive David Renzer

David Renzer

Veteran music publishing executive David Renzer has joined forces with Saban Capital Group in Los Angeles (SCG) as president of Music Ventures. The company will be investing substantial equity in the acquisition and exploitation of music publishing rights, taking advantage of the consolidation in the industry by offering song writers, artists and important catalogues a forward thinking boutique emphasizing film and television and synchronization opportunities. Saban is already in advanced discussions on a number of potential music rights acquisitions.
Saban has over 40 years of activity in the acquisition and growth of music and media copyrights. Included in the activities of the new music publishing venture will be music publishing rights created as part of Saban Brands television production activities including children’s television programming (“Power Rangers” and others).
Renzer was formerly chairman/chief executive officer of Universal Music Publishing Group, where over the past 15 years, he was responsible for overseeing the company’s more than 50 offices around the globe and had involvement in over 100 music publishing acquisitions including; Polygram, Rondor, Zomba, and one of the industry’s largest acquisitions, BMG Music Publishing. Signings to Universal under Renzer’s leadership included such names as Paul Simon, 50 Cent, Danny Elfman, the catalogues of Jimi Hendrix, Bee Gees, Mariah Carey, Eminem, Justin Bieber, Dave Grohl (Foo Fighters), as well as deals with Warner Bros Pictures/Warner Bros Television, Dreamworks, HBO and many others.
Renzer began his career at Zomba Music Publishing, where he rose to senior vice president and general manager. During his decade-long career there, Renzer helped Zomba achieve ASCAP’s R&B Publisher of the Year and Pop Publisher of the Year awards. While at MCA, the company was ASCAP Country Music Publisher of the Year.
Renzer’s civic and industry commitments have included sitting on the Boards of ASCAP, NMPA, the International Music Publishers Association, and the Foundation for Ethnic Understanding. He has also served as the Chairman of the Music and Entertainment Division of the City of Hope, and founded Songs of Hope, raising over $1,750,000 for the City of Hope Hospital. Renzer received his bachelor of arts degree from New York University.
 “The formation of our Music Venture enables us to utilize our extensive experience in music and media rights as well as leverage our increasing activity in the creation of broadcast properties,” said Haim Saban, Chairman and Chief Executive Officer of Saban Capital Group in a news release. “As the music industry continues its consolidation, we feel it is an opportune time to commit significant investment capital to music rights and we have great confidence that David, with his vast experience, will help us create an exciting new music publishing company together.”
Adam Chesnoff, president and chief operating officer of Saban Capital, says  “Media and music rights have long been at the core of investment activity at Saban Capital Group. By partnering with an experienced and talented executive such as David, we believe we can take an entrepreneurial and opportunistic approach to building a great music publishing company together.”
David Renzer comments: “I’m thrilled to partner with Haim Saban, Adam Chesnoff and the team at SCG in the launch of what I hope will be an exciting, forward thinking, creatively driven home for songwriters, their copyrights and important catalogues. Haim Saban has been one of the most successful entrepreneurs in media with a long activity in and love for music and I could not ask for a better partner.”

Saban Capital Group (“SCG”) is a leading private investment firm based in Los Angeles specializing in the media, entertainment, and communication industries.
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Band of Horses Jamey Johnson John Reilly. music performances Railroad Revival Tour United States Willie Nelson

Railroad Revival Tour tickets on sale, early bird tickets and bonus EP available for limited time

Railroad Revival Tour is proud to announce today that tickets are on sale for the 2012 American tour. For the second installment of the annual traveling music celebration, RRT has enlisted Willie Nelson & Family, Band of Horses, Jamey Johnson and John Reilly & Friends. Limited early bird discounted tickets are on sale now at www.railroadrevival.com and on the official sites of Willie Nelson, Band of Horses and Jamey Johnson.
Railroad Revival Tour is an experience that transcends typical music tours and glorifies the historical romance between music and trains under the setting of the great American landscape. This one-of-a-kind U.S. train tour travels town to town aboard 16 vintage 1940s railcars, setting up open air pop-up concert venues in parks and fields adjacent to the railroad tracks where they stop. 
While the tour reminds us of times past, the ticketing process is unequivocally modern. Counter to standard practice, tickets are sold without service fees and fans are rewarded for early purchase with lower prices. Every ticket purchased includes a commemorative laminated boarding pass with an instant download of a four-song tour EP featuring music from each of the tour’s artists. This EP includes “Knock Knock,” the new single from Band of Horses. Upgraded ticket packages are available offering collectables and benefits such as a limited edition poster from Nashville’s legendary Hatch Show Print and a private viewing area at the venues.
In addition, ticket holders will be admitted to the Railroad Revival General Store, where new and classic albums from tour artists are available in digital, CD and vinyl format at steep discounts. “Big Easy Express,” Emmet Malloy’s documentary of the 2011 Railroad Revival Tour, is also available for purchase at a very special price. Ticket, film, music and merchandise sales are powered by Topspin Media, with marketing services provided by Topspin Creative Services.
The Railroad Revival Tour has a variety of hotel and ticket packages available on the site for Duluth, Old Town Spring, Tempe, San Pedro and Oakland as well. For upcoming Railroad Revival Tour announcements and additional info including a historical timeline of railroads in America from the first locomotive to the Railroad Revival Tour, check out railroadrevivaltour.com.
Follow the tour on Facebook at www.facebook.com/railroadrevival and on Twitter @RailroadRevival.

Categories
jazz music Oklahoma Oklahoma Jazz Hall of Fame performances tulsa United States

This Weekend – Jim & Jeannine’s Gig List in Tulsa

Jim & Jeannine’s Gig List – For Live Jazz Lovers

Brought to you courtesy of the Oklahoma Jazz Hall of Fame

FRIDAY

Olivia Duhon with Frank Brown on guitar, Ron Adams on bass and Jimmy Karstein on drums – Ciao Primo Room, 3308 S. Peoria, Friday night, 9:00 to midnight.



SATURDAY


Angie Cockrell and Mark Bennett – Tropical Restaurant, 49th & Memorial, Saturday night, 7:00 to 10:00 p.m.

Mike Cameron with Adam Ledbetter on keys, Jordan Hehl on bass and JJemar Poteat on drums – Ciao Primo Room, 3308 S. Peoria, Saturday night, 9:00 to midnight


SUNDAY


Multi-instrumentalist and composer Ryan Tedder has made his name in Tulsa as a stellar sideman, playing with bands throughout the city. Now he is headlining his own show at the Jazz Depot, Tedder will rock the stage with all styles of contemporary jazz, including original compositions. He will b e joined by Steven Schrag on piano, Calvin Knowles on bass and Nicholas Foster on drums as well as Sarah Maud and Stephanie Oliver on vocals, Miles Ralston on vocals and guitar and Tim Shadley on bone – Oklahoma Jazz Hall of Fame, 111 E. 1st St. Upper Level, Sunday afternoon, 5:00 to 7:00 p.m., free covered parking


Nathan Wright – Smoke on Cherry Street, Sunday night, 6:30 to 9:30 p.m.

Cynthia Simmons – Ciao Primo Room, 3308 S. Peoria, Sunday night, 7:30 to 10:30 p.m. – Cover $10

TUESDAY

Jazz Depot Jam Session- Oklahoma Jazz Hall of Fame, Tuesday night, 5:30 to 8:00 p.m. Come play or come listen – FREE

Kings of Music, a 7 piece band that plays every Tuesday for ballroom dancing – Moose Lodge, 11106 E. 7th Street, Tuesday night, 7:30 to 9:45.


WEDNESDAY


Jazzwich – Lunch and Jazz with 7 Blue, Oklahoma Jazz Depot, Wednesday, 11:30 a.m. to 1:00 p.m.


Annie Ellicott with Mark Bruner and Shelby Eicher – Full Moon Cafe, Wednesday night, 7:00 to 9:00 p.m.


7 Blue – Hey Mambo, 114 N. Boston, Wednesday night, 7:30 p.m.


THURSDAY


Mike Cameron and Scott McQuade – Main Street Tavern, 200 S Main, Broken Arrow, Thursday night, 6:00 to 9:00 p.m.