Jackiem Joyner has traveled all over the world with his signature saxophone sound, yet he returns home—figuratively—on his fourth release, Church Boy. Reaching back to his roots and reigniting his faith, Joyner brings together his beloved jazz and his foundational gospel music.
The album is a transparent and honest testament of Joyner’s faith. After graduating from high school, Joyner moved from upstate New York to Virginia and found himself with no money, no job and homeless. For almost six months Joyner lived from shelter to shelter, sometimes staying with a friend, until his life turned around.
“I found myself praying a lot because these were very difficult times,” says Joyner in a news release. “I learned that if I didn’t experience those hard times, I believe my character would have been different.”
With his masterful talent of instrumental jazz, Joyner tells a story without words. Church Boy offers familiar covers as well as songs penned, produced and arranged by Joyner, and features guest artists Kirk Whalum and Jonathan Butler. The fusion of the two distinct genres of jazz and gospel flow seamlessly as the popular saxophonist endearingly nicknamed ‘Lil Man Soul’ makes clear his connection to Gospel music.
With the simultaneous release of three new albums, available Nov. 13, the relentlessly visionary saxophonist Ivo Perelman extends a remarkable period of artistic growth and “intense creative frenzy” that has consumed him since 2010. This whirlwind of activity has resulted in the release of 10 albums in less than three years, with another three already recorded and due in 2013-each impressively different from the rest, and each a prime example of spontaneous composition at its peak.
As with all of his documented music from the current decade, the new albums: Living Jelly, The Gift, and The Clairvoyant–involve collaborators who boast a long history and deep experience with the saxophonist’s utterly open-ended approach to improvised music. Perelman writes nothing down before entering the studio; once there, he avoids setting preconditions or even sharing an introductory theme for the performances that ensue. The music literally springs out of thin air, then pours down with the power and beauty of a rainforest thunderstorm.
“There are yet to be revealed layers of creativity in this man’s music,” writesJoe Morrisin his liner notes to Living Jelly. “This recording displays a rhythmic layer that is quite strong and still personal-there are many manifestations of rhythm going on at once.”
Morris should know, since he’s right in the middle of it. Living Jelly revisits the personnel of the 2012 album Family Ties, but changes its instrumentation: Gerald Cleaver again plays drums, but Morris – who played bass on the earlier album – here plays guitar.
The difference is dramatic, as Morris himself explains in a news release, “The format without bass is one of my favorites. This platform leaves a space that never really gets filled; the placement of musical ideas around it defines its existence, like a vapor might outline a phantom. This setting, with these musicians, gives me the chance to play many roles at once. The grooves add an opportunity for me to use the sort of articulation that I worked to develop on guitar for decades.”
For his part, Perelman has an equally high regard for Morris’s work on guitar, having played the instrument himself before moving to the saxophone. “Joe has an uncanny ability to be an accompanist while making statements so logical and self-sufficient, I wouldn’t even have to be there,” he says. “This happens with other instruments, but not often with the guitar: the way it is constructed, if you look at the neck, it is very visual, very geometric; it lends itself to repetition and playing patterns. But Joe is very different. He’s not playing the guitar; he’s playing music on the guitar. If he played a trombone, it would be the same.”
Morris and drummer Cleaver both belong to Perelman’s current quartet. The remaining member of that band, pianist Matthew Shipp, figures prominently on the saxist’s other new albums, which follow a methodology he has used on several previous projects.
Over the last year or so, Perelman has investigated the inner dynamics of his quartet by exploding it into new configurations, forming trios that omit one of the rhythm-section player, for instance: sax-piano-drums or sax-bass-piano. On The Clairvoyant and The Gift, Perelman applies this technique to Shipp’s own trio, which comprises bassist Michael Bisio and drummer Whit Dickey. “We recorded these albums close to each other in time,” Perelman says, “and the difference is interesting. The trio with drums is a more visceral, rhythm-oriented ensemble; when you remove the drums and replace with the bass, it’s more of a trio de camera (chamber trio).”
Of the bassless trio heard on The Clairvoyant, Shipp writes in his liner notes: “This is my personal favorite equation to deal with Mr. Perelman in. Performing without a bass forces us to dig deep for coherence, thus developing ensemble shape-I love playing in quartet settings with Ivo, but playing without bass absolutely does not allow the music to ever fall into any prescribed roles of sax with a rhythm section.”
“Clairvoyance” may indeed explain what takes place between Perelman and Shipp, after a professional relationship spanning nearly two decades. “Ivo can latch onto a fragment of something I do, melodically or rhythmically, and a couple of decisions seem to be intuitively made by us very early and very quickly when improvising,” Shipp writes. “Whit, Ivo, and myself have an implicit trust to give ourselves over to the collective unconscious, the three of us knowing that the music will naturally shape itself.”
Describing his long history with Perelman, Shipp adds: “The music we make together is like taking a journey through an enchanted forest – there will be some pretty wild vegetation, and along the way, some never-before-seen trees saturating the air with fresh fragrance, not to mention some hybrid species that are new to the listeners. But they’ll become one with the music and chart their own course through this wild organic forest.”
The Gift, as Perelman says, has a quieter but no less compelling focus, as the saxist and pianist circle the rhythms implied by the bass (which, with the absence of drums, loom large despite remaining understated). The title reflects a counter-intuitive realization that speaks to the artist’s need for solitude before sharing his creativity with society. “The most precious thing to give is one’s loneliness,” Perelman explains. “I’ve lived two-thirds of my life in a self-imposed exile in a foreign country, the U.S., and I’ve learned how to deal with cultural isolation, and to make something meaningful and creative out of that.
“I feel my music mirrors that experience. My recordings are my loneliness; I spend countless hours alone, practicing and studying music. The music is my gift. But it comes from my loneliness.”
Lately, Perelman’s study has included a deeply focused immersion in music from the 16th and 17th centuries, and specifically, music written for the natural trumpet-the instrument used before the invention of valves. The natural trumpet required players to create all the notes just from varying the air pressure applied to the horn; the valves on a modern instrument reduce this effort considerably. “Someone once said that trumpet players should never start with valves,” Perelman points out. “When they start with a valved instrument, they think that the notes come from the valves. When you learn on natural horns, playing with ‘buttons’ is a walk in the park.”
Perelman has begun to apply the techniques of natural-trumpet playing to the saxophone, in order to gain even more command of the squeaky-high altissimo range-this despite his already unsurpassed mastery of the highest register. He has gone so far as to commission the construction of saxophones without any keys at all, training himself to play full scales using air pressure alone-something unheard of in the history of reed-instrument praxis.
Perelman began this line of research in the course of preparing the current crop of new albums; while the preliminary results peek through here, he doesn’t expect the impact to be fully evident for another year or two. “I always like challenges, and now I have the greatest one in my life,” he exults. “It’s a fundamental change in attitude.”
Born in 1961 in São Paulo, Brazil, Perelman excelled at classical guitar before finally gravitating to the tenor saxophone. In 1981 he entered Berklee College of Music in Boston, where he focused on the mainstream masters of the tenor sax to the exclusion of such pioneering avant-gardists as Albert Ayler, Peter Brötzmann, and John Coltrane-all of whom would later be cited as precedents for Perelman’s own work. He left Berklee in 1983 and moved to Los Angeles, where he soon discovered his penchant for post-structure improvisation. “I would go berserk, just playing my own thing,” he explains now. Emboldened by this approach, he began to research the free-jazz saxists who had come before him, and in the early 90s he moved to the more inviting artistic milieu of New York, where he lives to this day.
The Begonias – Main Street Tavern, 200 S Main, Broken Arrow, Thursday night, 6:00 to 9:00 p.m.
October 26
FRIDAY
Myron Oliver’s Friday Night Free Thank You Concert: Following the huge success of his highly anticipated performance on July 22nd, saxophonist Myron Oliver is back by popular demand to do it all over again bigger and better. With a jaw-dropping performance of soul, blues, and jazz, Myron is taking the Tulsa community by storm. This show will feature a Who’s Who All-Star lineup of Oklahoma’s greatest musicians and vocalists including such artists as Rockwell Ryan Ripperger from the band Stephen Speaks, Eric Himan, Booker Gillespie, Cynthia Simmons, Cody Clinton, and Hall of Famers Leon Rollerson and Rudy Scott, along with his awesome band FuZed to name a few. If you like classic-modern soul, flavorful jazz, RnB, and dancing, you’re gonna love this next show!-Oklahoma Jazz Hall of Fame, 111 E. 1st St. Upper Level, Friday night, 8 p.m., . $2 covered parking across the street. Enter from Main Street and drive to 3rd level. Don’t miss this free Thank You Concert.
October 28
SUNDAY
Vocalist Janet Rutland presents “What’ll I Do” – a celebration of the life and music of Irving Berlin. Bring a young friend. Special student prices. It’s a wonderful opportunity to learn about this brilliant composer’s contribution to our Great American Songbook as well as his fascinating life. Entertaining and educational! It’s your last chance to catch this marvelous cast – Kathleen Kennedy, Kara Staiger, Barry Hensley, Terry Baxter and Scott McQuade-Oklahoma Jazz Hall of Fame, 111 E. 1st St. Upper Level, Sunday afternoon, 5:00 to 7:00 p.m., free covered parking
Susan Herndon – Bodean’s, Sunday night, 6:00 to 9:00 p.m.
Pam Van Dyke Crosby with Frank Brown and Bill Crosby – Smoke on Cherry Street, Sunday night, 6:30 to 9:30 p.m.
Shelby Eicher and Mark Bruner – Full Moon Cafe, Sunday night, 6:30 to 8:30 p.m.
October 27
SATURDAYRIEAN
Angie Cockrell and Mark Bennett, The Tropical Restaurant, 49th & Memorial, Saturday night, 7:00 to 10:00 p.m.
October 31
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 to 10:00 p.m.
Mike Cameron – Cellar Dweller, 417 W 7th St, Wednesday night, 9:30 to 11:30 p.m.
October 30
TUESDAY
Jazz Depot Jam Session – Oklahoma Jazz Hall of Fame, Upper Level. Tuesday night, 5:30 to 8:00 p.m. Featured artist at 7 o’clock is guitarist Mark Cook. 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 p.m.
The 2013 U.S. Bank Portland Jazz Festival, presented by Alaska Airlines, will be Friday, Feb. 15 through Sunday, Feb. 24 at venues throughout Portland, Ore. The 10th anniversary celebration will include a heady mix of world and West Coast premieres and For Portland Only performances with a series of concerts featuring an imposing array of internationally recognized and local musicians playing a wide-range of jazz styles. Education and outreach, as always, amplify the festival’s recognition of Black History Month through a series of community-wide initiatives.
This year’s headliners are NEA Jazz Master Jack DeJohnette in a For Portland Only special quartet configuration featuring Ravi Coltrane, Matt Garrison and George Colligan; The Jazz Message Celebrating Art Blakey in a world premiere featuring Javon Jackson, Bobby Watson, Eddie Henderson, Curtis Fuller, George Cables, Buster Williams and Lewis Nash; The west coast premiere of ACS featuring Geri Allen, Terri Lyne Carrington and Esperanza Spalding; Afro Cuban All-Stars and Alfredo Rodríguez; Steve Kuhn Trio featuring special guest Devin Phillips;Kurt Rosenwinkel Quartet; Kenny Garrett Quartet; Patricia Barber Quartet; Sexmob Plays Fellini; Portland Jazz Master Nancy King with Steve Christofferson and Glen Moore; Barry Harris Trio; Matt Wilson’s Arts & Crafts; Gerald Wilson leading two Portland ensembles; Scott Hamilton Quartet; Art Abrams Swing Machine Big Band In Tribute to Stan Kenton featuring Rebecca Kilgore; The Blue Cranes; and more.
“This year’s vast programming of 17 ticketed shows reflects the eclecticism that is uniquely Portland,” said Don Lucoff, States Managing Director, in a news release. “In our 10th anniversary, we welcome back festival favorites Portland Jazz Master Nancy King, Esperanza Spalding, Patricia Barber, Afro Cuban All Stars, Scott Hamilton, and Rebecca Kilgore. A rare PDX appearance by NEA Jazz Master Jack DeJohnette and The Jazz Message celebration of Steel City icon Art Blakey enhance a robust roster, a drum feast for the ages, as we host the top drummers in jazz throughout the festival: Lewis Nash, Joey Baron, Terri Lyne Carrington, Justin Faulkner and Matt Wilson in the City of Roses.”
Other festival highlights include: Berlin-based Kurt Rosenwinkel playing Portland for the first time,Gerald Wilson’s first PDX appearance since 1949 when he last played lead trumpet in the Count Basie band at McElroy’s Ballroom, the PDX debut by Cuban pianist Alfredo Rodríguez, Art Abrams premiering his 20 strong aggregation in tribute to Stan Kenton, featuring Rebecca Kilgoreand a long overdue PDX appearance by 83-year-old NEA Jazz Master Barry Harris.
Community outreach programming including the Student Stage is set to take place at Portland State University on February 16 and 17, “The Incredible Journey of Jazz” school program, Jazz Conversations and more to be announced soon. For more information, go to www.pdxjazz.com, like PDX Jazz on Facebook or follow on Twitter.
Today, critically acclaimed singer-songwriter ABIAH premieres his new music video for “September” exclusively on The Revivalist. Showcasing the lead single on his new release, Life as a Ballad (available on Madoh Music, distributed via Purpose Music Group/eOne), the video was shot at Dead Horse Bay in New York and directed by Scott Gordon Bleicher. The debut comes less than two weeks before major performances for ABIAH in the Northeast supporting the project: opening for The Robert Glasper Experiment at The Birchmere in Alexandria, Va., on Oct. 11 and an album release performance at Le Poisson Rouge in New York City on Oct. 15.
Ever since the untimely departure of Luther Vandross, the American pop scene has been absent of a Black American male balladeer possessed of chops beyond belief, staunch lyricism and emotional maturity. ABIAH (pronounced Ah-bee-yah) more than adequately answers the call of that absence with an album and a presence that is sensuous, soulful, honest, grown-up and quite passionate about restoring vocal excellence to the contemporary airwaves.
Who is ABIAH? These are the bare facts: he is a seasoned balladeer possessed of a five-and a half octave range; an established vocal coach and former Universal Republic recording artist; and he is of Ghanaian, Cuban, Native American descent, though raised in Rochester, NY.
While that background remains a part of his roots and identity, 2012 marks a musical, professional and personal evolution for the singer-songwriter. Previously known as “Jeremiah” in the music world (full name Jeremiah Abiah, the latter of which means ‘God is my father’), Abiah sets forth his highly anticipated sophomore album, Life as a Ballad, reflective of a long journey towards his intensely personal sound and overall musical growth – consisting of nine self-penned originals.
“There was a moment when I thought I had lost my voice. “I was experiencing growing pains which were hard to decipher at first, but eventually they helped me to trust my heart, sound and aesthetic again. I thought I would never record again. I even toyed with the idea but the music perpetually tugged at me. Changing my stage name was the impetus of a new beginning,” says ABIAH in a news release. “This is how Life as a Ballad was born as I dealt with the idea of finding beauty in the dark, that glimmer of light when all hope seemed lost.”
A move to New York City in the early 2000s saw ABIAH “hitting the pavement hard” and eventually playing Central Park SummerStage and the world renowned Blue Note on a regular basis; though a turning point came when ABIAH started gaining the attention of major labels. As is frequently the case for ambitious but not yet quite industry-savvy young artists, ABIAH’s fledgling recordings fell through the cracks. An entire album, brought to the verge of a major label deal, got shelved because the song the major label executives favored most was the only one not produced by a very major and deservedly much lauded producer.
“I’m not opposed to major labels. I just believe an artist needs to keep his finger on the pulse of everything. It’s hard to be artist and business, but it is necessary,” says ABIAH. “Initially I was angry and came out pointing fingers, but the healthier aspect became, what did or didn’t I do? Taking that responsibility has given me power and greater perspective.”
While plotting his next round of moves, creatively and professionally (following his major label departure) ABIAH got practically handed an unexpected cottage industry, when he became an in-demand vocal coach, even featured on MTV’s program, MADE. Initial inquiries from singer-friends impressed by his sound and range has blossomed into a side-business that finds him coaching up-and-comers prepping for demos and showcases, solid pros hankering to rise up to that proverbial next level, and musical game show contestants hoping to impress celebrity judges with noticeably increased prowess.
This recording is the result of ABIAH’s steady and patient march over a decade in New York, finding the perfect songs and session mates to support his vision. Like any astute young artist in pursuit of a unique bespoke career path, ABIAH wisely sought out collaborators who were of highly skilled and veteran pedigrees, and of course, simpatico. Notable among those collaborators are very well regarded young pianist Robert Glasper, who is ABIAH’s cousin who he met in earlier days while they cut their musical teeth in the New York’s music landscape. Marvin Sewell, the album’s stellar guitarist, has been a frequent flyer in Cassandra Wilson’s ensemble since the late 1990s as well as Jack DeJohnette.
Ultimately, Life as a Ballad designates ABIAH as a contender for that sizable niche slice of today’s market known as Adult Contemporary – the same slice where equally well-honed, melodious and crafty modern male vocalists like Michael Bublé, Jason Mraz, Sting, Seal and occasionally even Robin Thicke are seen to reside.
According to a recent news release, Chicago-based ensemble Shekinah Glory Ministry (SGM) continues to dominate and set the standard for urban praise and worship music. Their new and fifth CD, “Surrender” (Kingdom Records), has debuted at No. 8 on Billboard’s Top Gospel Albums chart. The whimsical, uplifting radio single, “Champion,” led by Danielle Nightingale Cargo’s warm soprano, is expected to debut on Nielsen BDS’ New & Active chart listing next week. In a short time span, this song has pulled in 600,000 weekly listeners in the U.S.
Kingdom Records is a leader in African-American praise and worship music with hits such as Shekinah Glory Ministry’s 2001 breakthrough smash, “Praise Is What I Do.” The million-selling SGM is not a choir. Instead, it’s a dynamic ensemble of psalmists, minstrels, and banner bearers who perform “under the anointing of the Holy Spirit.” Their Hebrew name means “the glorified presence of God.” Their CDs “Praise Is What I Do” (No. 5 peak Top Gospel Albums) and Shekinah Glory Ministry “Live” (No. 3 peak Top Gospel Albums – 103 weeks on the chart) were both certified gold in 2005 and 2008 respectively. They also have three gold or platinum DVDs to their credit and their 2010 CD, “Refreshed By Fire,” debuted at No. 1 on Billboard’s Top Gospel Albums chart. For more information, go to www.kingdomrecordsinc.com.
Renowned world musician Waldemar Bastos‘ sixth studio album, Classics of My Soul, was released in the U.S. on Sept. 11. The record, which was produced by Derek Nakamato and features players such as percussionist Luis Conte, guitarist Mitchell Long and pianist Keiko Matsui among others in support of Bastos’ acoustic guitar and singing, was released in his native Angola in 2010. Recorded in Los Angeles and London, Classics of My Soul now returns to the shores where it was crafted.
“The new album has a different sound,” says Bastos in a news release. “I believe that we are in a moment of Peace in Angola, the first steps of democracy, and this of course fulfills your spirit with joy. It also reflects itself in the music and the music is the reflection of my state of mind. All these ingredients made the album more profound and cheerful.”
Nakamato, who Bastos met while working on the U2 Tribute album, In the Name of Love – Africa Celebrates U2, said, “After many conversations with Waldemar, we decided the foundation of this record would be his voice and unique acoustic guitar playing. After we recorded all of the basic tracks and lead vocals, my role as producer was simply to listen to what the music needed. It was important to Waldemar that this project would take place without a record company or any person that would have influence on the music or its direction. My commitment to him was that this was to be ‘his record.’ With his distinguished career and numerous recordings, I clearly sensed that there was something more he wished to achieve with this project.
Waldemar remarked to me that these songs presented on Classics of My Soul are very special and close to his heart, even more important treasures to the people of Angola. This album was to celebrate their spirit and not his ego. I remember an instance where he sang a vocal that astounded us in the room and upon listening to it on playback, Waldemar looked at me and said, ‘No, the performance is too much about me and the song IS NOT about me. Let me do it again.’ With a very subtle shift the emotion of the song reflected the lyric and not the dramatic performances of ‘singer.’ His intent always was very clear.”
Among the host of musicians chosen to take part in the album, Bastos and Nakamato also went to London where, with the help of conductor Nick Ingman, they recorded the London Symphony Orchestra for four of the album’s tracks. Bastos says, “my music is defined by my own life experiences, praise for Angolan identity, and a call for universal brotherhood. It is gratifying for me to hear critics say, as it recently happened in the USA, that my music is universal. That it is not a regional music, but instead for people everywhere.”
Waldemar Bastos was born near the border with Zaire in N’Banza Congo, a little town which was the first capital city of the ancient kingdom of Angola. He started singing at a very early age. Bastos describes his musical childhood as such, “When I was a child, my mother soon realized I had a very special musical gift. I used to spend my days singing and whistling, and my mother noticed that as something out of the ordinary… and she gave me all her support. One day, my father arrived home and found me playing his concertina. I felt bad for having been caught touching, without permission, an instrument which was almost sacred for him. But he was pleasantly surprised, I think he was even satisfied, to hear me playing popular radio songs. In the following Christmas he gave an accordion as a gift.” From there, Bastos would dedicate himself wholeheartedly to music, traveling around Angola and playing everything from pop and rock to waltzes and tangos.
In the meantime, Angola won its independence and followed the long socialist road. Feeling burdened by the repressing role of the government in the arts, Bastos defected to Portugal in 1982 and later to Berlin and from thereto Brazil, where he became acquainted with some well-known musicians, such as Chico Buarque, João do Vale, Elba Ramalho, Djavan and Clara Nunes who had been in Angola in the late ’70s. Bastos’ career bloomed during his time away from his homeland. His debut, Estamos Juntos, was released by EMI-Odeon while the musician lived and worked in Brazil, with the acclaimed sophomore release, Angola Minha Namorada, following in 1990 when Bastos had returned to Portugal.
All the while the musician continued to be in the Angolan spotlight. In 1990, he gave a memorable concert to an audience of 200,000 in Luanda’s Kinaxixe Square and returned two years later on the heels of his third album, Pitanga Madura. Bastos says, “given the fact that an effervescent historical moment was taking place, if, on the one hand, these circumstances brought me joy, on the other hand, I felt great apprehension because of the way I was being claimed by both sides. The situation became, again, dangerous for me, and I understood it was not the right moment to stay in Angola.”
While travelling through Lisbon, David Byrne, the mastermind of Luaka Bop record label, and ex-leader of the Talking Heads, bought, by chance, a record of the Angolan singer in a downtown Lisbon shop. Soon after that, Bastos would be featured on the album Afropea – Telling Stories to the Sea, an anthology of Lusophone artists issued by Luaka Bop. Afterwards there was Pretaluz/Blacklight, recorded in New York City, produced by Arto Lindsay, and issued by Luaka Bop. The New York Times described it as “one of the best World music records of the decade” and was included in Tom Moon’s book 1000 Recordings to Hear Before You Die. In the aftermath of Pretaluz/Blacklight, Bastos won the “Award for the Emerging Artist of the Year (1999)”.
In 1998, Bastos was discovered by the European audience and media after his successful tours in Europe as the opening act at the UNESCO Festival “Don’t forget Africa” in June 2000 in the Canary Islands. Later in the year, he was invited by Mr. Ruichi Sakamoto to take part in the Zero Landmine project in cooperation with international artists like Arto Lindsay, Brian Eno, David Sylvian, Jacques Morelenbaum. Other accomplishments include three of his compositions being featured in the Hollywood movie, The Sweepers. He has also received several invitations by Monacan royalty Prince Ernst August von Hanover and Princess Caroline von Hanover in the course of which he also gave a private concert for Rainier III. In 2003 the Angolan war ended after 30 years and Bastos was invited to celebrate this very special day in a remarkable performance in the national stadium in Luanda.
“The message of the new album is the congregation of beauty, love, fraternity and to unite the people through music,” says Bastos. “For me the music has the function of breaking barriers and helping to create a better world, that is what I believe.”
How do you bring attention to the compositional genius of a jazz artist, who, though internationally beloved by colleagues as one of the greatest baritone saxophonists to ever live, has been marginalized by history books and ignored as a composer? That, in sum, presents the quixotic challenge taken on by Gary Carner with his digital box set, JOY ROAD: The Complete Works of Pepper Adams (Volumes 1-5), available now from Motéma Music, and his exhaustively researched book, Pepper Adams’ Joy Road: An Annotated Discography, out simultaneously from Scarecrow Press.
In connection with these two grand undertakings, Motéma will also release two physical CDs: a stand-alone version of Volume 5, I Carry Your Heart: Alexis Cole Sings Pepper Adams, singled out because it documents the first-ever versions of Adams’ music to be paired with lyrics; and the JOY ROAD SAMPLER, a CD of highlights from the digital box set that shall be made available in stores and online.
Via Carner’s new literary and musical JOY ROAD offerings, the world will get a fresh and unbridled take on this musical giant. Pepper Adams (1930-1986) “was loved by everyone in the industry,” says Carner, a noted jazz historian, as well as the owner of the gourmet wine brokerage, Sommelier Direct, LLC in a news release. “The fact that he allowed me into his confidence back in the 1980’s,” says Carner, “opened my entire life, my entire world into the jazz community.” After meeting in 1984, the two became close friends, with Carner doing extensive interviews to help Adams write his autobiography. Sadly, in 1986, Adams was cut down in his prime by cancer. In the wake of his loss, Carner’s literary intentions were forced to take a turn, resulting in the annotated discography eventually released by Scarecrow this August, as well as a full-length biography that is still in the works.
“Days before Adams died,” Carner explains, “pianist Tommy Flanagan, Pepper’s closest friend, was by his bedside. He later told me that Pepper weakly motioned toward my unfinished manuscript on thenightstand, as if to say ‘please make sure my legacy gets out there.’ When I heard that story,” Carner continues, “I knew I had to finish this work. The guy was an absolute genius as a musician, as a stylist, and as a composer… incredible! I needed to let the world know about those three things, especially the compositions.”
Now, 28 years after meeting Adams, Carner’s labor of love is complete. But what about the amazing Pepper compositions that Carner discovered along the way, mostly on out-of-print discs? The only way to introduce the world to all 43 tunes as a collection would be to produce contemporary recordings of the Adams songbook — a passionate undertaking, to say the least.
Carner chose to highlight the versatility of Adams’ compositions by placing the music in different settings. He engaged Chicago pianist Jeremy Kahn to record Volume 1 in a trio format. Next, Carner tapped the fine Atlanta-based pianist Kevin Bales to assemble a quartet for Volume 2 with guitarist Barry Greene featured. New York based baritone sax man, Frank Basile, presides over a sextet for Volume 3; and for Volume 4, Carner brought Kahn back with his trio and special guest, Gary Smulyan, who is Adams’ chief acolyte and was just voted Baritone Saxophonist of the Year for 2012 by the Jazz Journalists Association.
With Volumes 1-4, the 43-composition oeuvre was complete, but Carner had one more mission to fulfill. He had heard of Pepper’s unfulfilled wish to have lyrics set to his seven ballads. So, for the vital fifth volume, Carner engaged poet Barry Wallenstein (one of his literary mentors) to pen original lyrics. Award-winning vocalist and one of five finalists in this year’s Sarah Vaughan International Vocal Competition, Alexis Cole (also a Motéma artist), performs on this session, arranged and led by Jeremy Kahn, with both Eric Alexanderand Pat LaBarbera featured on tenor saxes.
The fifth volume completes Carner’s massive tribute on a highly original note. Resetting Adams’ seven ballads in different tempos and styles, and pairing them with Wallenstein’s richly literary lyrics, serves as an especially fitting tribute to the creative, witty, well-read jazz legend who had named many of his compositions after famous literary works, such as “Lovers of Their Time”. The songs also add seven luscious new additions to the vocal jazz canon.
Carner’s historically detailed liner notes provide important career facts about the barigiant, who played with virtually every major jazz legend. There are also amusing anecdotes about the genesis of each song in the collection. The JOY ROAD SAMPLER includes an abridged version of the notes from the Complete Works set.
To launch his new book and music offerings, Carner has collaborated with Motéma to co-opt his regularly scheduled Sommelier Direct fall wine sales route, and turn it into a 30-city JOY ROAD release tour, in which he will preside over book and CD signings; emcee live music performances of Pepper’s music; do radio publicity stops; and give college lectures… with wine tastings all along the way!
Live music highlights on the tour include: Jeremy Kahn performing Pepper Adams at The Chicago Jazz Festival (Sept. 2); the star-studded PEPPER ADAMS JOY ROAD CELEBRATION NYC (Sept. 24 -30); an Adams’ birthday celebration led by Pat LaBarbera in Toronto (10/6), and a Pepper Adams week in Los Angeles featuring Gary Smulyan, Dale Fielder, and Eric Reed.
The New York City week is the most lavish. It kicks off with special big-band charts which will honor Pepper Adams, performed by the Grammy-winning Vanguard Jazz Orchestra (in which Adams once held the baritone chair); there is an Alexis Cole CD release at Smoke (Sept. 26); a spectacular performance dubbed “The Three Baris” at Ginny’s Supper Club in Harlem (Sept. 29) – The Three Baris are: Frank Basile, Ronnie Cuber, and Gary Smulyan. They will be backed by famed Pepper Adams’ collaborators, George Mraz (bass), Don Friedman (piano) and Kenny Washington (drums). And, to top off the Pepper feast, Birdland Jazz Club will present new Bevan Manson string quartet arrangements of Adams’ ballads; a tribute to Pepper by world renowned composer David Amram; and on that double-billed evening, a special feature with Arturo O’Farrill and Lew Tabackin.
Erin Barra is undeniably “An artist with intangible star quality,” as The Washington Post recently put it. Combining elements of pop, electronica, rock and blue-eyed soul into a sophisticated original blend that is all her own, Barra has mastered the art of defying genre limitations, resulting in a sonic cocktail with essences of Alicia Keys, Nelly Furtado, Daft Punk and Esthero.
Barra stands out as a rare tech-savvy female artist in the male dominated digital audio game. She jokingly says that her abilities as a multi-instrumentalist, songwriter and vocalist combined with her digital production skills make her a “semi-unicorn.” Her live show backs this up, as she deftly plays keys with her right hand, synth bass lines with her left, runs a software program and sings, while making it all look easy.
Even growing up in Salt Lake City, Utah, Barra’s eclectic musical tendencies were already evident as she hungered over her parents’ dusty record collection ranging from James Taylor and Simon & Garfunkel to Led Zeppelin and The Doors while studying classical piano and absorbing her father’s audiophile nature. Inspired by her father’s creation of audio solutions for mixing engineers and inheriting his demand for high end audio standards, Barra began exploring the boundaries of music and technology as a student at Berklee College of Music. While there, she quickly established herself as a force to be reckoned with, winning a songwriting competition which earned her a collaboration with George Massenburg, Elliot Schiener and Kathy Mattea. She then went on to co-write with John Oates (Hall & Oates), who calls Barra “an ‘old soul’ musician with a very modern songwriting sensibility.”
That sensibility and raw talent continued to evolve as Barra relocated to New York City and refined her live performances through a monthly residency at The Bitter End. Looking for a way to consolidate her shows, Barra began experimenting with the performance software Ableton in tandem with a host of synthesizers and midi-control devices. “I’m bringing the studio to the stage,” Barra explains, “I’m taking these different ideas and components of a DJ set, sampling, and live performance, and putting them together.” Her recently released sophomore album, Illusions, exemplifies the diversity that is Erin Barra while never losing her essential lyrical depth and tightly crafted soundscapes.
Constantly wanting to explore new directions for her creativity and love of technology, Barra is now releasing Illusions Remixed, which is – as the title suggests – an EP of selections from Illusions, remixed. The first offering is “Magician,” which turns the tune from a soulful mid tempo ballad to a epically grooving jam, complete with a rap verse by Queens based MC Kon Boogie, and samples ranging from Carl Orff to Timbaland running under Barra’s sultry vocals.
Barra’s love of Ableton is clearly mutual, as the technology company has partnered with her to present a competition for fans and fellow technology buffs to remix the first single from Illusions, “Good Man.” In addition to a plethora of prizes valued at over $1,000, one winner will see their remix released alongside “Satisfied,” remixed by Barra and the final song on the Illusions Remixed EP.
In the spirit of continuing the cycle: Ableton, ProAudioStar and I have teamed up for a remix contest running the entire month of September. You’ll be given the stems to ‘Good Man’, the single off my last album, Illusions.
Then it’s up to YOU to “put your thing down, flip it and reverse it”.
Three finalists will be chosen and voted on by the community and one winner will have their remix released along side several other remixes from the same album. Also included in the prize pack will be a $500 gift certificate to ProAudioStar, and an amazing pair of studio in ear monitors from Bowers & Wilkins.
Over the last half dozen years, Earnest Pugh has established himself as Gospel Music’s Leading Man with soul stirring, #1 radio smashes such as “Rain on Us” and “I Need Your Glory” that also hit the Adult R&B Airplay charts. Now, he’s joining the ranks of Johnny Mathis, Mahalia Jackson and Nat “King” Cole by creating a holiday album, “Christmas with Earnest Pugh & Friends” (EPM Music Group/$15.98 MSRP), due in stores on Oct. 16 that is sure to become an annual yuletide listening treat.
The 14-track set marks Pugh’s first time sitting in the producer’s chair and he shares the mic with some of his best and most talented friends in the music biz. The initial radio single, “Ring Dem Bells”, a rousing mid-tempo ballad features impassioned backing vocals by Charles Butler & Trinity. A soulful “Silent Night” features the smooth tenor of Quadrius Salters. Baritone Keith Williams joins Pugh on “Holy 2 U” while powerhouse soprano Chrystal Rucker does a majestic rendition of “Do You Hear What I Hear?” with a simple piano arrangement. Lisa Knowles of the Brown Sisters and Pugh trade adlibs on a churchy rendition of “O Come All Ye Faithful.” Vincent Tharpe & Kenois create a warm and cozy groove on “Go Tell It” while newcomer Martha Buries brings a jazzy vibe to Ann McCrary’s “Remember Not 2 Forget”. Veteran vocalist Nikki Ross sits us down on the front pew of a Sunday morning church service to deliver a dramatic version of “Walk in the Light”.
Christmas music has always been a staple In Pugh’s home.
“With very little money and 12 kids – music was all we had when I was growing up,” he says in a news release. “Our household was filled with love, music and good food during the holidays. This CD is near and dear to my heart because it was one of the final requests that my mother made just prior to passing away on New Year’s Eve 2006, that I make a Christmas CD. The concept of the CD catches me interacting with some kids during a choir rehearsal to prepare them to go caroling throughout the neighborhood.”
There are plans in the works for a 10-city Christmas with Earnest Pugh Tour that would also feature EPM Music Group artists such as Vincent Tharpe and Kenosis, Chrystal Rucker and Keith Williams. For more info on EPM and its various projects, go to www.epmmusicgroup.com.
Jackiem Joyner has traveled all over the world with his signature saxophone sound, yet he returns home—figuratively—on his fourth release, Church Boy. Reaching back to his roots and reigniting his faith, Joyner brings together his beloved jazz and his foundational gospel music.
“Days before Adams died,” Carner explains, “pianist Tommy Flanagan, Pepper’s closest friend, was by his bedside. He later told me that Pepper weakly motioned toward my unfinished manuscript on thenightstand, as if to say ‘please make sure my legacy gets out there.’ When I heard that story,” Carner continues, “I knew I had to finish this work. The guy was an absolute genius as a musician, as a stylist, and as a composer… incredible! I needed to let the world know about those three things, especially the compositions.”
To launch his new book and music offerings, Carner has collaborated with Motéma to co-opt his regularly scheduled Sommelier Direct fall wine sales route, and turn it into a 30-city JOY ROAD release tour, in which he will preside over book and CD signings; emcee live music performances of Pepper’s music; do radio publicity stops; and give college lectures… with wine tastings all along the way!
