According to a news release, Blossomshave collaborated with fellow UK chart-toppersChase & Statusfor a brand new track titled “This Moment,” out worldwide.
Following their much-lauded performances atCoachellaand a main support run withTwo Door Cinema Clublast month,Blossomswill be returning to North American shores in June with a handful of headlining tour dates plus appearances at Governor’s Ball in New York CityandBonnaroo Music and Arts Festival in Manchester,Tennessee. They will return in August forLollapalooza in Chicago. For a full list of tour dates, see below. For tickets, go towww.blossomsband.co.uk
The British five-piece, hailed as the year’s “biggest guitar-pop shooting stars” and “modernist rock heroes” by theNMEand whose debut album recently wentGOLDin their homeland, have also announced they will be performing at this year’sGlastonbury Festivalon thePyramid Stage, as well as supporting The Stones Roses, opening for them at the legendary Wembley Stadium in London this June.
Be sure to catch the band live at any of the following dates and listen to their critically acclaimed debut full-length on iTunes, Apple Music, Spotify, Amazon today.
Red Planet with Bill Carrothers, available in stores on April 14, features 10 tracks, dancing between the trio’s typically electrified romps and folk-tinged ballads, while Carrothers’ impressionistic piano weaves through the nooks and crannies of the music, spinning an elegant web of lyricism and texture. In some ways, it acts as a homecoming of sorts for Carrothers, a Twin Cities native who has long since left for New York before moving to the upper peninsula of Michigan and a busy touring schedule in Europe.
Album release shows are scheduled for the Dunsmore Room in Minneapolis on April 18 and 19, with a European tour planned for the fall of 2017.
The young jazz veteran trumpeter Sean Jones believes passionately in championing the creative arc of artists who are committed to their life journey. “I think the progression of the art form [jazz] comes with people being allowed to be themselves in their rawest form with no compromise,” he said in a recent news release. “My body of work is going to show a progression of who Sean Jones is in the most honest form.”
While he spoke these words a few years ago, they serve as a vivid manifesto for his new Mack Avenue Records album, Live from Jazz at the Bistro, his eighth for the label and arguably the most dynamic, playful and loose-limbed excursion of his career. Indeed, the 38-year-old Jones brings to the sessions a stalwart poise, the fire of ecstasy and a whimsy in motion.
“In a nutshell, I’ve been wanting to do a live album for a while,” he says. “I wanted to capture the band’s energy live and record what it’s like to go to one of my gigs. Granted, recording in a studio creates a polished sound where the music is all tied up. But this album, it’s real raw.”
Recorded at the St. Louis club Jazz at the Bistro, the seven-song album, produced by Al Pryor, features Jones presenting two versions of his band, as quartet and quintet, as they “hover on the bandstand between sobriety and intoxication,” he says. The longstanding quartet, comprising pianist Orrin Evans, bassist Luques Curtis and drummer Obed Calvaire has been together for 11 years.
“Having a band this long is really rare in jazz these days,” Jones says. “It’s really hard to do, but we have managed to keep playing together. When we play, it’s become like a conversation, like second nature.” The exception here is bringing in drummer Mark Whitfield Jr. on four tunes as a replacement for Calvaire, due to a scheduling conflict. On the four quintet tracks, Jones showcases another old friend and collaborator, alto and soprano saxophonist Brian Hogans.
Live from Jazz at the Bistro represents one more triumph in a career that has been impressive in its expanse of accomplishments. A gospel-bred drummer who switched to trumpet when he was ten after hearing Miles Davis’ Kind of Blue and Amandla, Jones found his jazz epiphany basking in John Coltrane’s A Love Supreme, which summed up the youngster’s desire to explore the spirituality of the music. He received his master’s at Rutgers University, and then quickly began his ascent into the upper echelons of the jazz world.
He served for six years as the first-chair trumpeter for the Jazz at Lincoln Center Orchestra, toured Europe with Herbie Hancock, Marcus Miller, and Wayne Shorter with a Miles Davis project, and is now in his fifth year as a member of the SFJAZZ Collective. Heavily involved in education, Jones has taught at Duquesne University, Oberlin Conservatory of Music, and is now chair of the brass department at Berklee College of Music.
Since his 18-year tenure as guitarist and music director of TV’s “The Tonight Show” band ended in 2010, Philadelphia-born guitarist, composer Kevin Eubanks has been on a creative roll. On East West Time Line, Eubanks explores the chemistry he maintains with musicians on both coasts. And once again, his distinctive fingerstyle approach to the instrument is in the service of tunes that run the stylist gamut from urgent swingers to introspective ballads to Latin-tinged numbers and some get-down Philly funk. The Mack Avenue Records project is set for release on April 7.
Joining Eubanks on this stellar outing are longtime collaborator and former Berklee College of Music schoolmate, drummer Marvin “Smitty” Smith, who fuels the West Coast outfit alongside seasoned session bassist Rene Camacho, percussionist Mino Cinelu and saxophonist Bill Pierce. Smith’s East Coast counterpart on this bi-coastal session is the irrepressibly swinging Jeff “Tain” Watts, a force of nature on the kit who combines with bassist Dave Holland, Philadelphia-based pianist Orrin Evans and New York trumpeter Nicholas Payton for a potent lineup. Together these great musicians bring out the best in Eubanks’ six-string prowess and ignite his searching instincts throughout the sessions in Los Angeles and New York.
“Of course, we all came up through New York,” says the Philly guitarist who broke in with Art Blakey & The Jazz Messengers during the early ’80s in a recent news release. “But we also got the benefits of seeing the East Coast down and dirty and Hollywood down and dirty, too. We combined both vibes on this recording-the kind of Latin vibe of Los Angeles and the straight-up swinging vibe of New York.”
Overall, Eubanks seems exceedingly pleased with the copacetic nature of his first bi-coastal recording. “I think because I’m so familiar with all the musicians and we played together over the years in different settings, on different tours, that it helped the music quite a bit. There’s something that goes with friendship, knowing everybody’s journey to a large extent, that really enhances the communication between the players on a session. It’s that thing where everybody’s pulling for each other to do well and trying to make each other sound better, and you keep your ego out of it. We all have egos, we’re human beings and everything, but through the love of the music and wanting the best, good things happen. It’s really such a wonderful kind of democracy that you don’t see in other things. I think jazz music is the most perfect example of democracy in action.”
Scripted by bestselling novelist Daisy Goodwin (The Fortune Hunter), Victoria airs in seven magnificent parts, fit for a queen, on MASTERPIECE, Jan. 15 on PBS.
Jenna Coleman (Doctor Who) stars as the young Queen Victoria at the outset of her epic reign, which set the stage for an entire era that would be named in her honor. The stellar cast also includes Rufus Sewell (The Man in the High Castle) as Lord Melbourne, the British prime minister who was Victoria’s father figure and intimate friend, and Tom Hughes (Dancing on the Edge) as the handsome, brilliant and awkward Prince Albert, who stole Victoria’s heart after a rocky start.
In Victoria, writer Daisy Goodwin imaginatively depicts what it was like for an ill-educated, emotionally deprived teenager to wake up one morning and find that she is the most powerful woman in the world. Victoria charts how the new ruler rose to the challenge and weathered a series of crises — some of her own making — without ever losing her youthful charm and innate sense of justice, which made her popular with her subjects.
Victoria is a coproduction of Mammoth Screen and MASTERPIECE. It is created, written and executive produced by Goodwin. The director is Tom Vaughn (He Knew He Was Right). The directors are Sandra Goldbacher and Olly Blackburn. The producer is Paul Frift (Restless). The executive producers are Dan McCulloch and Damien Timmer for Mammoth Screen and Rebecca Eaton for MASTERPIECE, presented by WGBH Boston. It is distributed internationally by ITV Studios Global Entertainment.
Pianist/composer Emily Bear, 15,has achieved the kinds of accolades and triumphs that take many artists a lifetime to accomplish. She’s performed at the most prestigious venues across the country and around the world, received numerous awards and honors, composed for film and television, made six appearances on The Ellen DeGeneres Show, garnered 30 million views on YouTube, played at the White House, Carnegie Hall and Lincoln Center, been mentored by the legendary Quincy Jones – and that’s only a partial list.
Now, with the release of Into the Blue, Bear brings us new original jazz compositions performed with her trio. The album comprises five of her original compositions plus a warm, graceful take on “My Favorite Things” that hints at the immortal John Coltrane version before veering off into dazzling variations. Exuding Bear’s own exuberant passion for music, Into the Blueis both accessible and appealing for listeners of any age.
Bear follows the chart topping success of her first album, Diversity–produced by her long time mentor, Quincy Jones–with this inspiring collection of new melodies. Her agility on the piano is matched by her skill in creating stylistic compositions – catchy, intelligent, and sophisticated.
Bear has composed and arranged for orchestra, written for film and commercials. And while she continues to expand her musical palette, jazz holds a special place in her heart. “What I love so much about jazz is that you have a lot more freedom than in classical music,” Bear says. “Jazz has a groove that doesn’t show up in any other kind of music and I enjoy using all my musical influences to create a unique sound, familiar yet new.”
Soul Train Award nominated and Stellar Gospel Music Award winning recording artist Charles Jenkins’ “Holiday Praise” yuletide musical program will air at 8 p.m. Eastern time on Sunday, Dec. 25 and a repeat broadcast at 9 a.m. on Bounce TV. Check your local TV listings for this program.
The hour-long holiday celebration was filmed at the historic Fellowship Chicago church, featuring an all-star musical lineup. The exhilarating concert features performances by Mary Mary’s Erica Campbell singing “Come Let Us Adore Him” and Grammy Award nominated singer Brian Courtney Wilson reinventing Donny Hathaway’s classic “This Christmas.” Deitrick Haddon delivers a passionate take on Nat King Cole’s “The Christmas Song.” Jonathan McReynolds does a resplendent acoustic cover of “Mary Don’t You Weep” while gospel legend Dorinda Clark Cole sings “Away in a Manger” to a circle of children. The show also features appearances by Tasha Page Lockhart, Isaac Carree, Donishia Ballard, and Dexter Walker & Zion Movement.
Jenkins, who is the pastor of the 8,000-member Fellowship Chicago, initially appeared on the national stage when the world-renowned song “Awesome” topped Billboard Magazine’s Hot Gospel Songs chart for 22 weeks in 2012. The unforgettable “War” spent five weeks at No. 1 on Billboard’s Gospel Airplay chart and was cited by the magazine as the most played gospel song of 2015. Jenkins currently has a Top 10 hit with “Winning,” and his tune “Christmas Music” just made its Hot Gospel Songs chart debut at No. 21.
Discogs, the world’s largest physical database, has recently announced the partnership with the premier vinyl-centric event in the world, Crate Diggers. The acquisition further solidifies Discogs as a leader in the vinyl community. By leveraging Crate Diggers footprint in the vinyl events space, Discogs seeks to bring their community from behind their screens to in the flesh in ten different cities across the globe in 2017.
“We’re often asked if we support record stores and selling offline. The answer has always been yes,” said Chad Dahlstrom, Discogs chief operating officer in a news release. “Through our site vinylhub and now Crate Diggers we can continue to support the sales, and trading of albums live. All of us love to dig records, and we want Crate Diggers to be one of those events diggers can look forward to year after year.”
Originally started three years ago in Portland, Ore., Crate Diggers has quickly expanded to include Los Angeles and Miami, Fla. This year saw the first international Crate Diggers held in Berlin. The event is always free, and the format is simple: Record Fair by day that gives way to a DJ After Party at night. Theo Parrish, Doc Martin, Dam Funk, Rick Wilhite and more have graced the turntables bridging the gap between old school record collectors and new vinyl enthusiasts.
“The vinyl record resurgence shows people are tired of renting their music and are looking for a tangible way to connect with their music if nothing else. Crate Diggers gives music lovers the world over the opportunity to connect in that same way in person, ” said Ronald Rich Jr., Discogs, director of marketing.
Discogs is the user-built database of music; with a catalog of more than 6.5 million recordings and 4 million artists, Discogs is the largest physical music database in the world. In addition, Discogs connects buyers and sellers across the globe. With more than 10 million items available and thousands of sellers, this is the premier spot for new releases to hard to find gems. Download the Discogs App for iOS (HERE) and Android (HERE). More on Discogs at crash-avenue.com/current-roster-2/discogs.
Critically acclaimed pianist and composer Kris Davis has released her newest album, Duopoly, on Pyroclastic Records. The album consists of 16 tracks with eight different highly regarded improvisers. Each musician performs two pieces alongside Davis, one composed and the other completely improvised. For Duopoly, Davis chose to work with musicians whom she had never worked with in a recording studio. They are: guitarists Bill Frisell and Julian Lage, pianists Craig Taborn and Angelica Sanchez, drummers Billy Drummond and Marcus Gilmore, and reed players Tim Berne and Don Byron.
The CD comes with a DVD of live performances of each piece performed by Davis and collaborator. Davis explains in a news release, “We also chose to make a visual record, which we hoped would be as live and uncompromising as the music. Shot by Mimi Chakarova with one fixed camera and one handheld, the goal was for this film to have a kind of 1:1 or indexical relationship to the music itself.”
Davis continues her celebratory Duopoly tour tonight at Kennedy Center Millennium Stage in Washington DC, with pianist, and album collaborator, Craig Taborn. The tour will continue through mid-October.
Since his emergence onto the scene in 1989, composer/soprano saxophonist Rob Reddy has established himself as an adventurous and original leader in the contemporary jazz realm. Prolific, eclectic and versatile, Reddy is recognized by musicians, critics, and funding institutions. With his new recording Citizen Quintet, Reddy adds another powerful milestone to his reputation. Citizen Quintet is his eighth album where Reddy is again fully within his own territory and in the company of a superb group of musicians — trumpeter John Carlson, guitarist Brandon Ross, double bassist Dom Richards and drummer Pheeroan akLaff — all regular collaborators of his for more than 20 years.
With Citizen Quintet, Reddy has purposefully diminished the emphasis upon the compositional form on behalf of a looser and more open approach to the creative substance, allowing the musicians’ longtime familiarity to breathe more freely. As a result, Reddy says “this session had a real joy & ease to it.” Indeed, the sense of joyful turbulence and free-reined expressiveness that is so fundamental to the music of the Art Ensemble of Chicago, Sun Ra and Albert Ayler is vividly displayed throughout this album.
But this is no free improv or loose-knit blowing album by any means. There is a rich and complex structure and overall sense of purpose and shape always in full bloom. Reddy states in a recent news release, “Within the confines of five instrumental voices I attempted to break the ensemble down … solos, duos, trios, entire ensemble improvisations … I continue to explore the idea of juxtaposing the composed melodic material and the improvised music with one another.” They emerge from the compositional structures and sometimes the process is reversed — and often combined. Written and improvised lines are sometimes blurred, sometimes intersected and sometimes indistinguishable within the pure musicality and extraordinary musicianship of the members of the ensemble.