Category: United States

Hot Club of Detroit expands its horizons with “Junction,” available Aug. 14

Post author By mitchmuse
Post date June 7, 2012

Hot Club of Detroit. Photo credit: Anna Webber

Following up It’s About That Time, Night Town and the eponymous 2006 debut Hot Club of Detroit – Hot Club of Detroit expands its sonic and compositional horizons with Junction. Retaining its original lineup of reeds, two guitars, accordion, upright bass and no drums, this is the band’s fourth release for Mack Avenue Records. There are personnel changes, however, and for the first time, the Hot Club of Detroit is joined (on three tracks) by a vocalist: French musician Cyrille Aimée, a native of Django Reinhardt’s hometown and third-place winner of the 2010 Thelonious Monk International Vocal Competition.

Junction’s sound is at once vintage and boldly new, rooted in the legacy of Django Reinhardt but also the sensibilities of Ornette Coleman, Pat Metheny, John Zorn and even the rock band Phish. Far from a traditional gypsy jazz ensemble, Hot Club of Detroit (HCOD) proves itself a versatile modern jazz group, with a unique acoustic-electric sound that surges past expectations and genre boundaries.

“A lot of bands that model themselves after the Hot Club of France are now working with drummers, or percussion of some sort,” says HCOD rhythm guitarist Paul Brady in a news release. “We never have. And by doing that it forces us to think creatively about what we can do without it. How can we approach odd meter, how can we approach certain grooves? Regardless of what a drummer can add, that absence to me is interesting and different.”

Unfortunately, Junction comes at a difficult time. HCOD bassist Andrew Kratzat and his fiancée were both seriously injured in an auto accident in July 2011, and are currently on a long road to recovery.

“This album is a dedication to both of them,” declares Brady. “It’s been tough for us, musically but also emotionally,” adds HCOD accordionist Julien Labro. “Andrew is like a brother, a family member. But we’re still hopeful, and one day I’m sure he’ll be back to playing.”

Honoring Kratzat’s example, bassist Shawn Conley brings stellar musicianship to Junction. Another new face is saxophonist Jon Irabagon, winner of the 2008 Thelonious Monk International Saxophone Competition and member of the acclaimed punk-jazz quartet Mostly Other People Do the Killing. Andrew Bishop, also on reeds, makes appearances on three tracks, increasing the band’s power and timbral variation. (Family obligations required Carl Cafagna, the group’s original saxophonist, to step aside.)

Different sounds coming together, band members collaborating from different cities: all of this makes Junction the perfect album title. “It’s a nice mix of pop-oriented material and also rather avant-garde stuff,” Brady concludes. “I remember an interview with Marc Ribot, my favorite guitarist in the world, talking about how avant-garde and pop have a lot of crossover, and even some of the musicians are the same people, like Marc himself. It made total sense to me, and it came into my mind while preparing this record.”

Perri concurs: “We’ve always believed that if Django Reinhardt were alive today, he wouldn’t play the same way he always did. In his short lifespan, you can see how much evolution and vision he had. To pay tribute to him is to continue pursuing our own ideas.”

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BLAC Inc. director to receive Creative Women of Oklahoma Award

Post author By mitchmuse
Post date June 6, 2012

Anita Arnold

Anita G. Arnold, executive director of Black Liberated Arts Center (BLAC) Inc. in Oklahoma City, OK, has been chosen to receive the Creative Women of Oklahoma Award at noon on Saturday, June 9 by Delta Kappa Gamma of the International Society for Key Women Educators.

Arnold learned in a letter that she would receive the Gamma State award as the author of “Oklahoma City Music: Deep Deuce and Beyond.” The award is given in recognition of Oklahoma women who excel through an expression of creativity that encourages, inspires and reaches children. According to the letter, “the extraordinary story of the place and people of Deep Deuce is exemplary of these qualities.

Delta Kappa Gamma Society of International Society for Key Women Educators is a professional honorary society of 150,000 women from 14 different countries. It is a membership by invitation only society. Among their several purposes are 1) To unite women educators of the world in a genuine spiritual fellowship and 2) To honor women who have given or who evidence a potential for distinctive service in any field of education.

Arnold, who is in the field of arts education, said she is thrilled to have been recognized by the international organization for the work that she has done.

“It is reflective of the great music history, traditions and African Americans in Oklahoma City. It is wonderful to know that others in our state and across the world think so highly of this history,” she said in a news release. “I am just an instrument to bring that awareness to Oklahoma. It is an honor, indeed, and an humbling experience to find myself in this place at this time.”

The affair will be held at Yukon High School. Arnold will do a book signing of “Oklahoma City Music: Deep Deuce and Beyond” at the event. She is an author of three other books.

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Habakkuk Music and BlackGospelPromo.com kick off Black Music Month with compilation CD

Post author By mitchmuse
Post date June 6, 2012

For a decade now, Veda Brown’s BlackGospelPromo.com’s online media marketing has served as one of the most effective methods to reach the black gospel consumer. It reaches nearly 200,000 people daily and advertises everything from Tyler Perry movies to gospel superstar Kirk Franklin’s CDs. For a few years now, Brown has had the desire to create a compilation CD of gospel songs to market via her firm, and now the time has finally come just in time for Black Music Month.

“I’ve been wanting to do this for years,” says Brown, who is based in Philadelphia, Penn., in a news release. “So many of my friends in the industry have stepped up and allowed us to use their songs for this project, and I’m grateful. Indie labels and artists have become a major force in music so we’ve selected some of the best indie tracks to create a must-have CD compilation. “

Habakkuk Music has signed on to release not just one installment but also a series of compilation CDs with BlackGospelPromo.com. The first CD is entitled, “Got Gospel? The Best Indie Tracks, Yesterday, Today & Forever.” The project hits stores on Tuesday, June 5, 2012, and features this exciting mix of recent hits and future classics:

1. God is Great – Ricky Dillard and New G
2. Lord, You’re Mighty – Youthful Praise featuring J.J. Hairston
3. I Want To Say Thank You – Lisa Page Brooks
4. Window – Canton Jones
5. No Looking Back – Damita
6. I Give Myself Away – William McDowell
7. You That I Trust – The Rance Allen Group
8. The More I Seek You – Gail Holmes
9. Big -Valencia Lacy & Unquenchable Worshippers
10. Send Your Rain – Clint Brown featuring Marvin Winans
11. Alright – Gerald Scott
12. Mario Winans’ “Overcomer” Remix – Vickie Winans
13. Be Like You – Cheneta Jones
14. The Best Time of My Life – Bryan Wilson

To learn more about Habakkuk, visit www.habakkukmusic.com for more information.

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Free jazz saxophonist Ivo Perelman releases two albums on June 12 on Leo Records

Post author By mitchmuse
Post date June 5, 2012

Ivo Perelman. Photo credit: Peter Gannushkin

Deep into a period of startling creative output, tenor saxophonist Ivo Perelman now releases not one but two recordings – both of which underscore his mastery of free improvisation and his command of his instrument’s hidden resources; and each of which embroiders a thread from his voluminous past catalog.

On The Passion According to G.H., Perelman has recorded with the Sirius Quartet; this remarkable string ensemble comprises top-drawer classical musicians who also have the rare ability to improvise at the level demanded by Perelman’s concept. In so doing, Perelman recapitulates his previous foray into string-quartet music (The Alexander Suite from 1998), but brings the potential of this collaboration to new heights of development. Despite the fact that sizable passages sound pre-composed, with the string quartet seeming to frame or echo the saxophone solos, the album is entirely improvised by all five musicians. As veteran jazz writer Neil Tesser says in the liner notes, “. . . Perhaps the most remarkable aspect of this album is this: not one note of it was written in advance.”

The uncannily cohesive nature of the music would seem to belie that claim, but, as Perelman explains, “Sometimes, I would start playing; or I would say to them, ‘OK, you start’; or we would start together – or we would say, ‘Well, the tape’s rolling, we should play.’ Not all musicians are born for this; some are born to interpret Mozart, and that’s a wonderful gift, too. But these are highly skilled conservatory musicians who are also mad improvisers.”

Meanwhile, the simultaneous release of Perelman’s trio album The Foreign Legion spins arich tapestry from another, more recent thread. On it, Perelman continues the invigorating and illuminating project in which he partners with various combinations drawn from his acclaimed working quartet (pianist Matthew Shipp, bassist Joe Morris, and drummer Gerald Cleaver). Like the previous Family Ties, this new album features two-thirds of that band’s rhythm section – but not the same two-thirds. Cleaver remains on drums, but for The Foreign Legion, with pianist Matthew Shipp taking his place in the trio.

The result is a wildly different sound and substance from the previous disc. As Perelman has explained, “I was so pleasantly surprised [with the quartet] … I decided I want to explore my relationship with each member of the band. I realized that I was dealing with a quartet; but I was also dealing with a trio, and a duo, and another duo – it would become a different band each time one player would drop out for a while. Each occupies such a deep space that when he’s missing, it opens everything up so much.”

Born in 1961 in São Paulo, Brazil, Perelman was a classical guitar prodigy who orbited a series of other instruments before finally gravitating to the tenor saxophone. His initial influences – cool jazz saxophonists Stan Getz and Paul Desmond – could hardly have presaged the galvanic, iconoclastic improvisations that have become Perelman’s stock-in-trade. But those early influences helped shape the romantic warrior at the heart of his most heated musical adventures.

In 1981, Perelman 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 as far from Boston as possible – to Los Angeles, where he studied with mainstream vibraphonist Charlie Shoemake, at whose monthly jam sessions Perelman discovered his penchant for post-structure improvisation. “I would go berserk, just playing my own thing,” he explains now.

Emboldened by this approach, Perelman began to research the free-jazz saxists who had come before him. In the early 90s – shortly after recording the first of the nearly 40 albums now under his name – he moved to New York, a far more inviting environment for free-jazz experimentation, where he lives to this day.

Critics have lauded Perelman’s no-holds-barred saxophone style, calling him “one of the great colorists of the tenor sax” (Ed Hazell in the Boston Globe); “tremendously lyrical” (Gary Giddins); and “a leather-lunged monster with an expressive rasp, who can rage and spit in violence, yet still leave you feeling heartbroken” (The Wire). The Passion According to G.H. and The Foreign Legion bring to 18 the total of albums Perelman has recorded for the Leo label.

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Mitch’s Product Review: Post Honey Bunches of Oats cereal

Post author By mitchmuse
Post date June 1, 2012

The box of Post Honey Bunches of Oats was there, sitting in the pantry for me to try one morning as I mulled breakfast options before work. I was in a hurry, so cooking was out of the option. Cereal it was – Post Honey Bunches of Oats, that is. It was my first time sampling it, so I was intrigued by the 10 grams of Whole Grain and 9 essential vitamins and minerals named by Post. It was certainly tasty, as I had the Honey Roasted flavor, which contained only 6 grams of sugar. My husband certainly liked the Whole Grain factor.

I must say I was sufficiently satisfied, and after eating, I was soon out of the door to enjoy the rest of my day. For more information, check out the Honey Bunches of Oats on Facebook at www.facebook.com/HoneyBunchesofOats. There you can get a $1 off coupon and interact with other breakfast lovers there. Ciao!

Editor’s Note: Post provided a free sample of their Honey Bunches of Oats – Honey Roasted for this post. However, all of the opinions expressed here are my own, and participation was voluntary.

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The Cookers celebrate fifth anniversary with third release “Believe,” available on June 12

Post author By mitchmuse
Post date May 24, 2012

The Cookers. Photo credit: Vincent Soyez

In an interview, drum great Billy Hart summed up his attitude toward The Cookers succinctly but emphatically: “Believe in us,” he insisted (tacking an expletive onto the end that served to press the point home). Over the course of two albums, The Cookers have given jazz audiences plenty of reason to believe, and their Motéma Music debut, bearing the simple but eloquent title Believe, finds the all-star septet continuing to keep the faith in swinging fashion – their third release, celebrating their fifth anniversary as a working ensemble.

The credentials of these seven musicians are beyond reproach, but simply gathering a group of legends and throwing them into a recording studio isn’t necessarily a recipe for success, points out David Weiss, the band’s founder, chief organizer, and trumpeter.

“A lot of basketball teams throughout the years have signed a group of all-stars and assumed they would win it all because they had assembled the best group of players imaginable and in the end lost because they never really considered that the group would not gel and could not play together,” Weiss points out by way of illustration. “You can’t just put a bunch of names together and expect it to be great. These guys just turned out to be the perfect combination.”

It’s impossible to foresee how any ensemble will gel until the first notes are played, of course, but The Cookers had an inherent advantage in the fact that these legendary jazzmen had all proven themselves integral components in great bands of the past. Harper was a member of groups led by Lee Morgan and Max Roach and served a two-year stint with Art Blakey’s Jazz Messengers; trumpeter Eddie Henderson and drummer Billy Hart were both part of Herbie Hancock’s electric Mwandishi ensemble; pianist George Cables played alongside Dexter Gordon and Art Pepper; and bassist Cecil McBee anchored Charles Lloyd’s famed 1960s quartet with Keith Jarrett and Jack DeJohnette.

“This is a band,” Weiss says, emphasizing the fact that the unit has cohered into something that transcends its all-star status. “But it’s a band of guys who have been in a lot of the most important bands in the history of this music. They know what it’s like to be in a band and what makes bands great.”

The line-up is completed by Weiss and altoist Craig Handy, players from a later generation who nevertheless follow in their bandmates’ fiery footsteps. The name comes from the Freddie Hubbard’s classic two-volume album Night of the Cookers, classics featuring Lee Morgan, Harold Mabern, James Spaulding, Pete LaRoca, Big Black, and Larry Ridley. These Cookers approach their material in the same sense of adventurous exploration as Hubbard and his ensemble did, generating brilliant music out of seemingly basic elements.

Like their previous two critically acclaimed releases, Cast The First Stone (Plus Loin, 2011) and Warriors (Jazz Legacy Productions, 2010), Believe consists almost entirely of music written by the band members themselves, culled by Weiss from throughout their storied careers.

“Once you get these guys together and really see what they can do,” Weiss says, “you see that they’re not truly being recognized. They have direct ties to all the music that everybody, even younger people, came to this music listening to. They were part of what made jazz what it is and the classic records that attract most people to jazz, the greatest era of this music. Let’s not forget where this thing came from and why it was so good: it’s exciting music played with compassion and conviction and intensity. That’s what these guys are doing.”

It’s that urge, to recognize and celebrate these tremendous artists while they continue to create at the height of their powers, that inspired the band to distill Hart’s directive down to that one single word: Believe.

“It’s a simple word for a philosophy,” Weiss says. “Just believe in something. Care about something. And since you have this record in your hand, believe in this.”

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BLAC Inc. director Anita Arnold receives Charlie Christian Tribute in Texas

Post author By mitchmuse
Post date May 22, 2012

Anita Arnold, right, receives framed Tribute to Charlie Christian.

During an evening of celebration and tribute to Charlie Christian in Bonham, Texas, Anita Arnold, executive director of Black Liberated Arts Center (BLAC), Inc. of Oklahoma City, OK, was presented a framed Tribute to Charlie Christian made from the wood of the house where the jazz legend was born.

The tribute contained the words to the song “Rose Room” that launched Christian’s career with Benny Goodman and, ultimately, led to his iconic stature in the music world. A picture of Charlie Christian and his birthplace are, also, included in the tribute that sold for $1,000 in an auction and was donated by the owner of the piece.

The evening was filled with Charlie Christian music played by the James Deering Quartet of Grayson College. The talented guitarist, Seve Mexia, featured in the quartet played music that he transcribed from music played from Charlie Christian CDs as a final test from his jazz music professor at the college. Arnold narrated the concert with little-known information about Charlie Christian throughout the evening. The evening concluded with a book signing by Arnold, author of the book, “Oklahoma City Music: Deep Deuce and Beyond.”

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P. Diddy protege Brian H. and Jamia Alesia collaborate on ‘Truly Everlasting’ soundtrack

Post author By mitchmuse
Post date May 17, 2012

With the smooth vocal style of Tank or Tyrese, Brian H. (aka Brian Harris), became a TV sensation as J-Rome after his stint on P. Diddy’s reality TV show, “Making the Band 4.” Now, he’s aiming to make rhythmic noise all over again. He has teamed up with rising star, Jamia Alesia, to record the sultry movie soundtrack, “Truly Everlasting” (Emtro/$13.99). It’s the companion CD to the film that has just been released on DVD.

The Jacksonville, Fla., singers sang two duets, “One Love” and “I Think I Love You.” Alesia did three solo tracks. The mid-tempo, “He’s So Fine,” is reminiscent of SWV back in the `90s. Her warm alto shines on the groove “The One” and she shows her sass on the track, “Changed.” Brian H. rounds the collection out with five tracks: the computerized “Beautiful Girl” and the aching jam, “Truly Everlasting.” There’s also a cozy acoustic version of the latter, as well as, the catchy love songs “Take It Slow” and “Imagine.”

Brenda Jackson, known as the Diva of Romance, is the best-selling African-American romance novelist of all time. She began reading romance novels to distress herself from her hectic job as an insurance executive and wondered why there weren’t more romance novels revolving around black people and started to write her own. She’s written 80 romance novels that have sold over 3 million copies and made her the top in her field. She’s now taken one of her most popular books and bankrolled the independent film, “Truly Everlasting” that is based on her best-selling 1998 book of the same name.

In the story, a man named Trask and woman named Felecia who have hated each other since childhood are drawn together when Felecia’s son wishes for a father to spend Christmas with since his biological father is dead. When Trask hears of Austin’s unique request from one of Felecia’s relatives, he volunteers to be Austin’s dad for the holidays. Against her better judgment, Felecia relents and allows Trask to act as Austin’s father. Forced to be around each other for the child’s sake, the adults fall in love and the story takes on a unique twist that includes a protracted custody battle for Austin.

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Pianist Aaron Diehl debuts project on July 31 on Mack Avenue Records

Post author By mitchmuse
Post date May 16, 2012

In fashion circles, the adjective “bespoke” denotes custom-made suits and shirts and signifies the person who designs and constructs them. On The Bespoke Man’s Narrative, his brilliant Mack Avenue Records debut, pianist Aaron Diehl extrapolates this notion to matters of musical invention.

“The idea for the metaphor was that the composition and concept were specifically for these musicians,” Diehl says in a news release, referring to his working quartet of 30-ish all-stars – vibraphonist (and Mack Avenue artist) Warren Wolf, bassist David Wong and drummer Rodney Green – that interprets the five originals and five arrangements comprising the program. “There’s a sequence, an arc, a beginning, middle and end. Each piece has something to do with my musical development.”

The project gestated in April of 2011 in Indianapolis after Diehl, 26, earned first place in the rigorous Cole Porter Fellowship in Jazz Competition of the American Pianists Association. The award garnered him $50,000 in career support and an opportunity to record with Mack Avenue Records.

“I thought it would be wise to use the opportunity to document this ensemble,” Diehl states. “I decided to compose and arrange music in line with our own sound and conception, while using the strategies of bandleaders like John Lewis and Duke Ellington, who developed their music in line with the abilities of their personnel.”

Diehl is singularly positioned within his generation to apply these lessons to a contemporary context. An alumnus of Todd Stoll’s Columbus (Ohio) Youth Jazz Orchestra, which specializes in performing a broad timeline of Ellington’s music, he spent the last six months of his sophomore year at Juilliard – he was 19 at the time – helping pianist John Lewis’ widow, Mirjana, to organize her late husband’s archive of manuscripts, scores, reel-to-reel tapes and recordings. Already intimate with the stride piano canon from his teens, Diehl applied the quality time with Lewis’ Bach-to-blues oeuvre towards finding a conceptual space in which to coalesce his varied interests.

This quartet initially took shape in 2008 – then with drummer Quincy Davis – when Diehl was asked to play a concert of Lewis’ music. By an April 2010 performance of this repertoire at Dizzy’s Club Coca-Cola, Rodney Green had assumed the drum chair.

“Warren is a virtuoso,” Diehl says of his fellow Mack Avenue artist. “There couldn’t be anyone more appropriate to play the part of Milt Jackson. David is a fluid, precise player with a lot of finesse and a strong bow, who comes straight out of the bebop-based approaches of Percy Heath and Paul Chambers. Mrs. Lewis said that John would have loved him.

Photo Credit: John Abbott

“I hadn’t realized it, but Rodney listened a lot to Connie Kay, and told me that one reason he wanted to be part of this project was to get more inside Connie’s approach.”

In preparing this program of creative refraction of the aforementioned oeuvres, Diehl focused on nurturing an ensemble sound. “Rather than feature just my piano playing, I like to involve everybody in the process,” he says. “Sharing the wealth allows for more musical possibilities.”

For all his collective orientation, Diehl commands attention at the piano. Addressing a Fazioli F-228 grand piano, he showcases a nuanced touch, a comfort zone with tempos ranging from rubato to brisk, encyclopedic harmonic knowledge, an abiding sense of blues expression and a will – when necessary – to swing. He’s assimilated vocabulary across the timeline, finding fresh, idiomatic ways to mix-and-match ideas drawn from a diverse cohort including, among others, Lewis, Ellington, Ahmad Jamal, Marcus Roberts and Kenny Kirkland. As he puts it, “My overall goal is trying to figure out how to connect all the language to make an interesting and engaging performance, and also develop my own voice. Why limit yourself to just playing something here and something there? It’s all gold.”

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Drummer/percussionist Carmen Intorre debuts first project ‘For the Soul’ on May 22

Post author By mitchmuse
Post date May 13, 2012

Drummer/percussionist Carmen Intorre is pairing up with producer Bob Belden on his debut album For The Soul (Random Act Records); the organ-based session covers a wide range of musical stylings from Stevie Wonder and Steely Dan to Chick Corea and Weather Report. Intorre is joined byJohn Hart on guitar, Jon Irabagon on alto and tenor sax, and Pat Bianchi and Joey DeFrancesco- two of the world’s most formidable jazz organists. The album swings within the tradition while expanding upon the vocabulary and boundaries of the idiom.

Currently, Intorre performs with legendary jazz guitarist Pat Martino, touring extensively throughout the world with the guitarist’s organ trio. He is always eager to uncover the latest information about music and drumming and to share that information with others.

“This is my job. I have to give back what I was given a chance to do,” Intorre said in a news release. “Music is an opportunity for me to give upmy soul, while in the process connecting with the audiences’ souls as well. I want the musicians on the bandstand and the members in the audience to feel uplifted after a performance, to feel great about themselves through the experience that they encountered. That is what For The Soul is all about.”

Born in Buffalo, NY, Carmen Intorre developed an early interest in music and began playing drums at age five. A graduate of The Institute for Jazz Studies at the Juilliard School, he has performed and recorded with numerous musicians such as George Benson, Larry Coryell, Wynton Marsalis, Monty Alexander, George Coleman, Eric Alexander, George Cables, Benny Golson, Richie Cole, Joe Locke, Lew Tabackin, Bobby Watson, Ira Sullivan, Bobby Watson, and many others.

A 2011 Grammy nominee for his performance on the critically acclaimed album by Joey DeFrancesco entitled Never Can Say Goodbye: The Music of Michael Jackson, Intorre also had the pleasure of performing alongside DeFrancesco and Dr. Lonnie Smith on the PBS show Legends of Jazz, hosted by Ramsey Lewis.

“Carmen is one of my favorite drummers; he has a very wide groove and strong beat, and most of all he swings his ass off! I love him!” says DeFrancesco.

Perhaps one word best describes Carmen Intorre and his music: Joy. Reminiscent of Billy Higgins, Intorre brings a palpable swing and drive to virtually all the tracks, making this a palatable musical feast “for the soul.”