CHANTE MOORE

Chante Moore

JAZZ and SOUL VOCALIST Chante Moore TO appear in Charlotte, friday november 13th

Charlotte NC, – November 4, 2015 – Grammy nominated vocalist Chante Moore will perform all of your favorite songs in the intimate surroundings of the McGlohon Theater at Spirit Square on Friday, November 23th at 8pm. Opening the show will be Kyle Jason and The Martini Swing, performing a unique blend of Jazz, Soul, and Swing!

Since arriving on the R&B music scene over 15 years ago via her sensual debut single “Love’s Taken Over,” Chante Moore has flourished into an accomplished female favorite. Billboard singles like “It’s Alright,” “This Time” and the top two smash “Chante’s Got a Man” helped put her name on a short list of artists known for consistency. After recording two duet projects with fellow R&B vocalist Kenny Lattimore (who was her husband for six years) and achieving regard in the gospel world, the Grammy nominated vocalist returned to the solo spotlight with her new CD, Love the Woman, on Peak Records. Chante Moore’s vocal range and power are showcased on inspirational songs like “Jesus I Want You”  as well as the Jazz tinged “Wey U” from the Waiting to Exhale Soundtrack.

With a vocal range spanning over four octaves, Moore can do it all – sing to smokey lows, belt with passion and power, and soar to the top of her voice with incredible ease. Inspired by the great Minnie Riperton, she stands as one of the few singers who can truly say that they have mastered the whistle register.

…. Trini Trent

The concert is part of the Jazz N Soul Music Showcase which spotlights organizations dedicated to working in the community. The featured organization is I and I United, “Enhancing our quality of life through our own community; Community keeping families together!

Jamaican roots color Darren Barrett’s “Trumpet Vibes”‏

Darren Barrett

Jamaican roots color Darren Barrett’s “Trumpet Vibes”

Hard bop jazz meets reggae on the award-winning artist’s seventh album, due November 20.

BOSTON (13 October 2015): Trumpeter Darren Barrett proudly wears his Jamaican ancestry on his musical sleeve as well as on the album sleeve of “Trumpet Vibes,” his seventh album that will be released November 20 on the dB Studios label. Decorated in the distinctive green, yellow and black colors of the Jamaican flag, the award-winning Canadian musician, composer and producer mines the native sounds of  his parents’ homeland for the first time on the eight-tracker constructed of hard bop jazz amidst laidback reggae rhythms and frenetic ska grooves. Throughout the session that highlights Barrett’s academic technical proficiency and heartfelt interpretive trumpet work, animate vibraphone plays the role of trusty sidekick with noted vibist Warren Wolf on the record’s opener and closer.

Barrett not only honors his family’s lineage on “Trumpet Vibes,” but he opens the proceedings with a salute to one of his early mentors, Donald Byrd, with a bouncy take of Byrd’s “Fly Little Bird,” that flaps mightily, evolving into a hard-swinging tilt midflight. Barrett wrote four compositions for the album and applies the jazz-meets-reggae ethos to a few modern classics. An original tune, “Chiapas” serves up somber autumnal hues from Barrett’s horn over a brisk ska track provided by the dynamic rhythm section composed of brothers Alexander and Anthony Toth on upright bass and drums respectively. The stately pop gem “To Sir, With Love” gets an invigorating and spritely makeover, riding the crest of a rocking wave of Caribbean culture. Vibraphonist Simon Moullier, who plays on the entire album, charismatically shares the spotlight with Barrett’s moody horn on the regal reggae jam “Song For A Princess.” The cadence is elevated on “Phantom,” a particularly rambunctious monster stalking the outer perimeter of experimental jazz, free-form fusion and rowdy rock. Both “Everything I Own” and Stevie Wonder’s “My Cherie Amour” get the full-scale reggae treatment with the former being a fun and celebratory romp while the latter benefits from some good old rock & roll grit. Closing with a knockout punch, brilliant musicianship electrifies “The Club Up The Street,” which bops, swings and soars mightily, allowing Barrett and Wolf the time and space to mix it up in a go-for-broke improvisational trumpet and vibraphone free-for-all.

“This album means so much to me personally because it mixes the music from my Jamaican heritage, which is part of my heart, and jazz, which is part of my soul, into one. ‘Trumpet Vibes’ brings together the best of these two musical worlds that share a common ancestral genesis in Africa. I’ve spent the past two years totally immersed in the creation of this project – writing, producing, playing and recording – and I’m excited for people to finally hear it,” said Barrett, who was labeled “a force to be reckoned with” by the Boston Globe.

Barrett, a Toronto, Ontario native who has been anchored in Boston, Massachusetts ever since attending the famed Berklee College of Music where he presently serves as an associate professor in the ensemble department, won the prestigious Thelonious Monk International Jazz Competition in 1997. Two years later, he issued his debut recording as a band leader, the aptly titled “First One Up.” Often mentioned in the same breath as Wynton Marsalis and Terence Blanchard perhaps comes from having studied under the same professor, William Fielder. Barrett soloed on Esperanza Spaulding’s double Grammy winner “Radio Music Society” and has recorded or performed internationally with jazz royalty such as Roy Hargrove, Elvin Jones, Wayne Shorter and Herbie Hancock. The trumpeter is a jazz purveyor who leads a handful of combos that provide a variety of outlets for his wanderings and full creative expression in the genre. Still enjoying a remarkably prolific period that brought to fruition two releases last year – “Energy In Motion: The Music of the Bee Gees” and “Direct 2014: Darren Barrett and the dB Quintet” – he’s already at work crafting his next unpredictable endeavor, jazz interpretations of Amy Winehouse’s songbook, which is slated to arrive in the spring. On Sunday (October 18), Barrett leads his dB Quintet into New York City for a show at The Iridium.

The songs contained on “Trumpet Vibes” are:

“Fly Little Bird”

“Chiapas”

“To Sir, With Love”

“Song For A Princess”

“Phantom”

“Everything I Own”

“My Cherie Amour”

“The Club Up The Street”

For more information, please visit www.DarrenBarrett.com.

Oct 2: KEIKO MATSUI “Live In Tokyo” CD/DVD | US Tour Oct 9 – Nov 15‏

Keiko live

KEIKO MATSUI To Release “LIVE IN TOKYO” CD/DVD on October 2 Via Shanachie Entertainment
Concert Showcases SOUL QUEST, Her Most Recent Critically Acclaimed Studio Album
 
Special Guests Include Guitarist Chuck Loeb and Saxophonists Kirk Whalum & Tom Braxton
 
U.S. Tour Oct 9 – Nov 15 Covers Boston, Washington DC, Cleveland & Seattle

Los Angeles, CA: On October 2, Shanachie Entertainment will release “Live In Tokyo,” the definitive concert experience from contemporary jazz icon Keiko Matsui. Recorded during a sold-out stop on her 2014 Soul Quest World Tour, the CD/DVD release showcases her stunning live show like never before.

Captured in a state-of-the-art theater in the TV Asahi EX Tower building in the vibrant nightlife district of Roppongi in Minato, Tokyo, the extraordinary 74-minute journey showcases the prowess of a truly transcendent artist at her peak powers. Deftly leading the bristling affair, Matsui hypnotically gallops through electrifying extended excursions of “Dream Seeker,” “Black Lion,” and “Stingo,” all from her critically-acclaimed album Soul Quest.
Joining the improvisational mastery is long-time collaborator Chuck Loeb who adds soaring guitar on “Caricias” and “Proof” while saxophonist Kirk Whalum reprises his guest appearance on “Affirmation,” from Matsui’s album The Road… Elsewhere, Keiko delights the crowd with fan favorites “Forever, Forever,” “Safari” and “Bridge Over The Stars” before Loeb & Whalum re-join the ensemble for a show-stopping encore of “Antartica: A Call to Action” and “A Night with Cha Cha,” both cornerstones of Soul Quest.
The companion DVD chronicles the action in high definition, as this historic night unfolds before a rapturous audience. Extras on the 3-hour, 16-minute DVD include behind-the-scenes footage at the conclusion of the concert, a bonus performance of “Midnight Stone” (Adapted w/ “En Aranjuez Con Tu Amor”) and a 13-minute alternate live version of “Caricias”.
With over 1.2 million units sold in the U.S. over her 25-year recording career, Keiko Matsui is one of the most recognized artists in contemporary jazz. Her elegant piano melodies and spell-binding grooves have universal appeal, cementing her legacy as one of the preeminent entertainers in the world. To celebrate Tokyo, Keiko will embark on a U.S. Tour from October 9 to November 15, with select shows from Boston to Seattle.
TOUR DATES

Oct 09 – Boston, MA @ Scullers

Oct 10 – Boston, MA @ Scullers
Oct 16 – Akron, OH @ The Tangier
Oct 17 – Alexandria, VA @ The Birchmere
Oct 18 – Annapolis, MD @ Rams Head On Stage
Oct 24 – Nov 1 – Eastern Caribbean; Capital Jazz Cruise
Nov 12 – Seattle, WA @ Dimitriou’s Jazz Alley
Nov 13 – Seattle, WA @ Dimitriou’s Jazz Alley
Nov 14 – Seattle, WA @ Dimitriou’s Jazz Alley
Nov 15 – Seattle, WA @ Dimitriou’s Jazz Alley
Feb 21-28 – Eastern Caribbean; Dave Koz & Friends at Sea

KEIKO MATSUI
LIVE IN TOKYO

CD
1. Dream Seeker
2. Black Lion
3. Forever Forever
4. Caricias (ft. Chuck Loeb)
5. Proof (ft. Chuck Loeb)
6. Affirmation (ft. Kirk Whalum)
7. Soul Quest
8. Safari
9. Stingo
10. Bridge Over The Stars
11. Antarctica: A Call to Action (ft. Kirk Whalum & Chuck Loeb)
12. A Night with Cha Cha (ft. Kirk Whalum & Chuck Loeb)
13. Deep Blue

DVD
1. Dream Seeker
2. Black Lion
3. Forever Forever
4. Caricias (ft. Chuck Loeb)
5. Proof (ft. Chuck Loeb)
6. Affirmation (ft. Kirk Whalum)
7. Soul Quest
8. Safari
9. Stingo
10. Bridge Over The Stars
11. Antarctica: A Call to Action (ft. Kirk Whalum & Chuck Loeb)
12. A Night with Cha Cha (ft. Kirk Whalum & Chuck Loeb)
DVD EXTRAS
1. Before the Doors… (11:12)
2. The Memories 9:01)
3. Midnight Stone Adapted w/ En Aranjuez Con Tu Amor (6:32)
4. Caricias (13:39)
Total DVD Running Time: 3 hr 16 min
YouTube: https://youtu.be/h6gzkkjK9rA (A Night with Cha Cha ft. Kirk Whalum, Tom Braxton & Chuck Loeb) [Live Video]

Global guitarist Jesse Cook conjures the sounds of modern day Constantinople for the U.S. market‏

Jesse Cook

Global guitarist Jesse Cook conjures the sounds of modern day Constantinople for the U.S. market

 

World music artist focuses on American audiences with the official launch of his “One World”

album and concert tour while his PBS special continues to power stations’ pledge drives.

New York City, New York (27 August 2015): Constantinople, the ancient melting pot mecca intersecting Europe, India, Middle East and Africa, serves as the inspiration for the adventurous sonic explorations of “One World,” the ninth studio album from world music guitarist Jesse Cook. Joining primal instrumentation from all over the globe with rhythmic loops, textured audioscapes and technological experimentation, Cook’s eOne Music release, which debuted at No. 1 on the jazz and world music charts in the Canadian’s homeland, will receive it’s official U.S. release on October 2 tied to the launch of the first leg of the American “One World” concert tour, scheduled to play 18 cities this fall beginning October 7 in Tucson, Arizona. Riding off to radio stations early next month is the exotic call-and-response frolic “Taxi Brazil.”

Juno Award winner and 11-time nominee Cook composed and produced “One World,” an aural journey showcasing the Paris-born, Toronto-reared artist’s cultured cornucopia of rumba, flamenco, jazz, gypsy, pop and classical guitar parlance, rife with runs and riffs demonstrating dazzlingly dexterity. Strumming and plucking mystic melodies, evocative harmonies and contemplative meditations, Cook places his guitar on “One World” amidst carefully-crafted instrumental beds that just may be the most experimental of his career. He incorporated more modern technology to create interesting beats and inventive sounds, placing them side by side with traditional instruments that have been around for centuries.

“One could imagine musicians from all over the world meeting in a marketplace in Constantinople and the mad, beautiful music that would have ensued. What would that have sounded like?” Cook pondered. “I didn’t want my crossroads to be limited to only traditional instruments; I wanted music from different time periods represented as well. Now you have ancient instruments like the Armenian duduk or the Arabic oud (the ancestor to the guitar), meeting record scratching, industrial textures, sample and loop technology. That is the world I wanted my guitar to venture through. I’ve always been interested in music technology, but on this record I gave it a wider scope.”

Cook is not afraid to admit that some of the brazen alchemy came at the curious hands of his seven-year-old son’s exuberant button pushing.

“He was often hanging around the studio while I was working. Like most kids his age, he was constantly asking if he could play on the computer. And like most parents, I would say no, fearing that he might blow up all my expensive recording equipment. But kids are persistent and I finally relented, leaving him to experiment. Later, when I came back, I was amazed by what he’d found. There were all sorts of loops happening, time stretching, texture and sample libraries I’ve never seen before. At that point, I did what any good father would do: I shooed him out of the chair and grabbed my guitar.”

Cook will support “One World” in the States with multiple concert treks, the first of which takes place this autumn followed by a second swing early next year and a third leg slated for spring 2016. His popularity as a captivating performer has multiplied exponentially in recent years bolstered by a couple of PBS concert specials, including “Jesse Cook: Live at the Bathurst Theatre,” which is currently airing on television stations across the nation as part of pledge drives.

“One World” contains the following songs:

“Shake”

“Taxi Brazil”

“Once”

“Bombay Slam”

“To Your Shore”

“Three Days”

“Tommy and Me”

“When Night Falls”

“Steampunk Rickshaw”

“Beneath Your Skin”

“Breathe”

Cook’s 2015 “One World” U.S. Fall Tour itinerary is as follows:

October 7            Tucson, Arizona                                                The Fox Theatre

October 8            Scottsdale, Arizona                         Scottsdale Center For The Arts

October 9            San Diego, California                       Humphrey’s Concerts By The Bay

October 10          Temecula, California                       Thornton Winery

October 11          Avalon, California                             Catalina Island JazzTrax Festival

October 13          Albuquerque, New Mexico         Kimo Theater

October 15          Dallas, Texas                                      The Kessler Theater

October 16          Austin, Texas                                     Paramount Theatre

October 17          Houston, Texas                                 Cullen Performance Hall

October 20          Kansas City, Missouri                      Folly Theater

October 22          Skokie, Illinois                                    North Shore Performing Arts Center

October 23          Burnsville, Minnesota                    Ames Center

October 24          Milwaukee, Wisconsin                   South Milwaukee Performing Arts Center

October 25          Columbus, Ohio                                                Lincoln Theatre

October 26          Royal Oak, Michigan                       Royal Oak Music Theatre

October 27          Kalamazoo, Michigan                     Kalamazoo State Theatre

October 29          New York, New York                      New York Society For Ethical Culture

October 30          Glenside, Pennsylvania                 Keswick Theatre

For more information, please visit www.JesseCook.com.

An entrepreneurial “Harp” full of soul‏

maria antionette

 

An entrepreneurial “Harp” full of soul

Urban-jazz harpist Mariea Antoinette will release a special edition of her Billboard Top 5 album “Straight from the Harp” on September 25 in conjunction with receiving a Phenomenal Women in Entrepreneurship Award from the National Council of Negro Women.

San Diego, California (6 August 2015): To infiltrate the upper echelon of the Billboard album charts with an ancient instrument while cross-pollinating musical genres certainly has taken the imaginative vision and inspired creativity of a trailblazing entrepreneur. On September 26, urban-jazz harpist Mariea Antoinette will receive a Phenomenal Women in Entrepreneurship Award from the National Council of Negro Women, the 49th annual community event in San Diego, California at which she will perform. Tied to the honor, an enhanced version of her sophomore album, “Straight from the Harp: Special Edition,” will be released September 25 by MAH Productions featuring two bonus tracks and an entirely new cover. One of the new cuts, “Walk the Walk,” a uniquely sprawling hybrid of ethereal harp harmonies and impassioned soloing, EDM-hip hop beats, gauzy rock guitar and dramatic violin underscoring from Karen Briggs, will be serviced to radio as a single ahead of the bolstered collection’s issuance.

The Allan Phillips-produced disc that peaked in the Billboard smooth jazz albums Top 5, “Straight from the Harp,” connects with a balanced set list of soul-infused originals and R&B classics. Showcasing Antoinette’s gorgeous, graceful and sensual harp theatrics amidst downhome funk grooves, ebullient pop harmonies and spacious jazz improvisations, the record was purposely crafted to fulfill the artist’s mission to smash limiting preconceptions, banish borders and offer adventurous new possibilities for her celestial stringed instrument.

“The concept of ‘Straight from the Harp’ is to show people that the harp is not a quiet, dreamy, boring instrument, but that it can be funky like you’ve never heard it before. I wanted to take it to a new dimension, and I knew that (producer) Allan (Phillips) would bring an exciting palette of rhythmic possibilities to the table,” said Antoinette. “The CD has launched an exciting new phase in my career, but I’ve had this in my spirit a long time. I loved playing beautiful classical music, but my heart was telling me I’ve also got to do something different. I wanted to play the music that I grew up with. I wanted to make the harp a funky and sexy instrument. For those who have yet to discover ‘Straight from the Harp,’ I hope new listeners will open their ears and their minds to the ‘Special Edition.’”

Tapping Phillips, an Emmy-winning, two-time Grammy-nominated multi-instrumentalist from Venezuela with an adventurous flair for surrounding lush melodies and percussive rhythms with textured world music trappings, was a deliberate choice for Antoinette. He penned four cuts for the genre-blurring session, including a pair of tunes with emerging saxophonist Reggie Codrington, while Antoinette composed a couple of stunning instrumental interludes.

The San Diego-based Antoinette (yes, Mariea Antoinette is the name that appears on her birth certificate) debuted with “Sexy Paradise” (2003) produced by fellow San Diegan Carl Evans Jr. of the jazz fusion outfit Fattburger. Her striking appearance and artfully elegant sound and technique has led to high-profile gigs around the world such as performing for President Barak Obama and First Lady Michelle Obama, backing Ne-Yo at the BET Awards and playing Grammy soirees for Vanity Fair magazine and Mary J. Blige and Jamie Foxx. Antoinette and Briggs have been collaborating since 2007 in the all-female ensemble Jazz in Pink. Their organic synchronicity forged through years of live shows at premier jazz festivals is clearly in evidence on “Walk the Walk.”

Songs contained on “Straight from the Harp: Special Edition” are:

“Fly Away”

“Rock Wit’cha”

“Special Treasure”

“Give Me Your Love”

“A Single Dance”

“Spend Some Time (With You)”

“Boogie Nights”

“Journey”

“I’m Gonna Love You (Just A Little More Baby)”

“Waiting In Vain”

“Human”

“Straight from the Harp”

“Walk the Walk”

For more information, please visit www.MarieaAntoinette.com.

Groove therapy: contemporary jazz singer Carol Duboc keeps her diary open on “Colored Glasses”‏

Carol Duboc

Groove therapy: contemporary jazz singer Carol Duboc keeps her diary open on “Colored Glasses”

Her seventh album, due September 18, is bolstered by collaborator Jeff Lorber’s R&B rhythms.

Los Angeles, California (30 July 2015): On Carol Duboc’s deeply personal 2013 release, “Smile,” the contemporary jazz singer-songwriter opened up in a way that she had never done so before, revealing the pain and heartache involved with dissolving her marriage while being the mother of a young daughter. She described writing the album with producer and jazz keyboards legend Jeff Lorber as therapeutic. Her therapy continues on “Colored Glasses,” a Gold Note Music ten-track disc written and produced by Duboc and Lorber set for release on September 18 and launched that evening with a Hollywood concert date that will be streamed online.

Two years on, Duboc’s new material details her struggles with cutting the ties of the relationship, one tinged by her partner’s delusional view of the world. Writing lyrics and melodies to rhythm tracks sent to her by Lorber, Duboc addresses the realities and realizations of moving forward with honesty and candor, even if she felt her ex was hiding the truth behind “colored glasses,” thus spawning the album’s title. But she acknowledges her own role as well.

“Some people refuse to see the world as it really is or life as it is, and to be honest, I was so caught up in the hypnotic love that I didn’t see things as they really are either,” admitted Duboc, who titled the first single “Hypnotic.” “I think this album is going to surprise people. It’s about letting go completely and moving on emotionally. And it may be the funkiest solo record I’ve ever made.”

Lorber’s R&B rhythms are lively throughout the soulful, sophisticated session of jazzy adult pop tunes. A marquee supporting cast brings high-caliber musicianship to the taut grooves with stellar performances by Jimmy Haslip (electric bass), Brian Bromberg (acoustic bass), Vinnie Colaiuta (drums), guitarists Paul Jackson, Jr. and Michael Thompson, Hubert Laws (flute), Eric Marienthal (sax), Lenny Castro (percussion) and multi-instrumentalist Lorber on keyboards, piano, bass and guitar. Dave Mann punches up several cuts with crisp horns and vivid horn arrangements that add vibrancy, lushness and depth.

“Hypnotic” will be serviced to radio next month coinciding with the release of a video lensed on Venice Beach for the album’s “Wavelength,” a danceable guitar and horn-driven song about intuitive communication between partners. To mark the album’s release and celebrate coming through the other side of the relationship, Duboc will perform at the famed jazz joint the Baked Potato on the release date (Sept. 18), which will be streamed live on her website (www.CarolDuboc.com). Lorber, Haslip and Thompson are among the musicians from the album’s lineup already confirmed to be backing the singer that night.

A native of Kansas City, Missouri, Duboc has been living in Los Angeles ever since she attended USC Thornton’s School of Music. Prior to launching her solo recording career in 2001with the critically-acclaimed “With All That I Am,” Duboc wrote hits on gold and platinum-selling albums, including records by Patti LaBelle, Chante Moore, Tom Jones, Stephanie Mills, Jade, Fine Yong Cannibals, Maurice White and the late George Duke. Possessing multimedia appeal, the photogenic blond had a supporting role on the silver screen in “Be Cool” alongside John Travolta, Uma Thurman and Danny DeVito.

The songs on “Colored Glasses” are:

“Hypnotic”

“Every Shade of Blue”

“Celestial Skies”

“Wavelength”

“Breathing”

“Trajectory”

“Spinning”

“Colored Glasses”

“Walking in My Sleep”

“Code Red”

Additional information is available at www.carolduboc.com.

Jazz crooner’s big voice almost silenced permanently‏

S. Davis

Jazz crooner’s big voice almost silenced permanently 

Romantic ending for “What Happened To Romance” singer Steven Davis after suffering a severe vocal cord bleed

Los Angeles, California (14 July 2015): Hard to fathom how close the jazz world came to losing the grand, velvety voice of crooner Steven Davis, who is presently garnering airplay and accolades from around the world on the heels of his first big band offering, “What Happened To Romance.” A severe vocal bleed silenced him completely for seven months and doctors did not know if the Nashville-based singer-songwriter would ever be able to sing again. It took over a year for him to fully heal, rebounding remarkably to record three original albums in less than one year.

Awakened in the middle of the night in early November 2013 by a profound coughing spell lasting several hours, Davis aspirated into his lungs and mistakenly thought that he was experiencing a bronchial problem. Instead of rushing to the ER, he waited nine days before seeking medical care.

“The doctors didn’t know if I would ever really sing again as I waited too long for treatment and the bleed was severe and very serious,” recalled Davis, who was treated by world-renowned voice specialist Dr. Robert Ossoff, executive medical director of the Vanderbilt Voice Center in Nashville. “The worst concern with this sort of bleed is scar tissue in the wake of healing. I was put on a very aggressive treatment immediately with massive doses of steroids for many weeks. During the course of the next seven months, I was put on absolute mandatory vocal silence multiple times with some periods lasting a month. No talking and no whispering period. This sort of silence draws you inward. It’s a very Zen experience actually. The emotional layers take on an almost spiritual quality.”

It was happenstance that the injury occurred after Davis had taken a prolong break from singing and had just begun testing his voice in the studio in preparation for recording for the first time in many years.

“There was great irony in that I had finally come home to singing after such a long hiatus, facing my fears in stepping up to the mic for the first time in years, only to be silenced by the bleed,” Davis said.

Shortly after the extended recovery period was complete and Davis was cleared to resume singing, he met Josh Charles and Alissa Moreno, the songwriting and production team known as The 88s. Work commenced almost immediately on “What Happened To Romance,” a swinging big band session recorded in New York City with accompaniment by The After Midnight Orchestra comprised of veterans of the Count Basie and Duke Ellington bands. Primarily encompassing new compositions authored by Davis and The 88s that are in the spirit of the Great American Songbook, radio programmers, reviewers and enamored fans are warmly embracing Davis’s retro sound, fresh material and charming tales of romantic ardor that could become modern standards.

Davis and The 88s spent the spring in Los Angeles recording and are wrapping up a big band Christmas album highlighting original selections plus one chestnut, “Have Yourself A Merry Little Christmas,” a stocking stuffer that will be released in time for the holiday season. Also in the can, but being held for release in 2016 is a more intimate Davis recording date in which the mellifluous baritone is backed by a jazz trio. After nearly losing the only thing he’s known since he was five years-old, he is passionately inspired, which is part of the fire behind the prolific period.

“On the wings of my recovery, I began writing and recording with a renewed perspective and a fresh approach to making music. There is more joy, more satisfaction, more pleasure and more fun in making music now – more than I ever could have imagined,” said Davis, whose bewitching celebration of love, “Perfectly Perfect” from “What Happened To Romance,” serves as the splendid soundtrack to an international television spot for Centralway Numbrs, a Germany-based mobile banking application. “The crisis served as a personal awakening and re-embrace of a gift that often times can be easily taken for granted in the most subtle of ways. Now I treasure the gift, I respect the gift and I honor the gift – more than I have in my entire career. I’m so lucky, so grateful for my reprieve from the edge of silence.”

For more information about Davis, please visit www.StevenDavisMusic.com.

Crash inspires saxophonist Kenyon Carter to up his “Game”‏

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A pivotal album inspired by a pivotal, life-changing experience, “Game On” is the apropos title of Kenyon Carter’s (www.KenyonCarter.com) forthcoming album, a ten-song set of originals that the saxophonist wrote and produced in this “Go for it!” moment in his career. Due August 14, his third disc knocks it out of the park with an MVP assist from guitar great Chuck Loeb (Fourplay), a contemporary jazz heavyweight who trades ferocious licks with Carter’s spirited tenor horn. There’s a sense of urgency to the cut that can be directly attributed to an incident in Carter’s not too distant past that informs everything the Atlanta-based artist does in life and career.

Carter’s arm was mangled in a car crash resulting in severe radial nerve damage. Doctors didn’t know if the appendage would ever function normally again thus putting the musician’s career choice in peril. Undeterred, Carter utilized a specially-designed therapy glove, spending countless hours daily for eight months trying to relearn how to play sax. Since he couldn’t perform at the time, he taught others to play and in time, with hard work, full use of the arm returned. Realizing how close he was to losing his dream, Carter recommitted himself towards achieving his career goals in music.   

Earlier albums introduced Carter to the masses, charted and collected national airplay. The third album seemed like a milestone thus Carter focused on elevating his game feeling like the time to breakthrough in a big way is now. Hitting full stride artistically, he ably demonstrates his proficiency as a player on tenor, soprano and baritone sax while constructing layers of rhythmic grooves that buttress sweet melodies and lush harmonies. Whether serenely serenading, dexterously exploring the outer limits on a meandering run or uncorking fiery wails as if his life depended upon it, Carter’s saxplay serves in the best interest of the ensnaring melodies and gripping rhythms without overstepping or over dramatizing.    

While the record was being recorded, Carter issued a single to radio to stir up an appetite for the full session. The head-bopping funkster “Jammin’ On Jupiter” was one of the most added singles on the Billboard chart in its debut week. The title track opens the proceedings and is the second single heading to radio ahead of the album’s street date. Starting coyly, a knowing glance breaks into the charming “Just A Smile.” The heart-tugging “Going Home” is warmly moving and beautiful amidst a stripped down acoustic setting. “Sea Of Abaco” floats upon a soothing soprano sax wave of tranquility. The album was recorded using Carter’s well-rehearsed live band, who challenge with complex time changes and a brisk vacillating pace on “Moving Forward,” a number that the soprano-yielding Carter describes as navigating “a bridge between straight-ahead and contemporary jazz.” Cool jazz illuminates “Wine On Eight,” a seductive happy hour social invitation while the mellow vibes continue on “Lights Down Low.” Intimacy pervades the poignant “In This Moment” before Carter & Company close the album with the rousing “Here We Go,” concluding with some of the saxman’s most feverish play on the recording.                          

Masterfully “Cool”: An album unlike any other by Bob James and Nathan East‏

bob james and nathan east

Masterfully “Cool”: An album unlike any other by

Bob James and Nathan East

“The New Cool,” an expansive acoustic offering centered on scholarly jazz piano and bass duets, will be released September 18, a first from the GRAMMY®-honored artists and long-time collaborators. 

 

Nashville, Tennessee (7 July 2015): Albums just aren’t made like the way “The New Cool” was made. Yamaha Entertainment Group label president Chris Gero put legendary keyboardist Bob James and master bassist Nathan East in the recording studio, equipped them with state-of-the-art Yamaha gear and gave them free reign to create. Recorded entirely in Nashville, the long-time collaborators emerged with an unexpected and audacious collection of original compositions plus a few handpicked classics, an acoustic jazz outing that will make you forget everything you thought you knew about these GRAMMY®-recognized artists best known as contemporary jazz luminaries. The disc produced by Gero, James and East will be released September 18.

“The New Cool” unfolds much in the way the meticulously-crafted project was conceived. The germ begins organically with a couple of intimate James and East duets. Pastoral piano wanderings explore the outer perimeter of straight-ahead jazz where they peruse, mirror and engage with meandering bass lines. In fact, more than half of the record’s compositions written by James and/or East are sparsely-produced, probing piano and bass sojourns. As the seed sprouts, dramatic orchestral accoutrements added by the Nashville Recording Orchestra illuminate the piano, keyboard and bass explorations, contributing hues that are warmly rustic and autumnal or whimsically vibrant. James challenges with deftly inventive arrangements on complex pieces like “All Will Be Revealed” while East counts off supple rhythms that are astutely measured and metered. Fluid melodies and harmonies ranging from subtle, serene and meditative to lush, exquisite and cascading blossom throughout, whether emoted by a dexterous piano, keyboard or bass or East’s celestial vocalese. An imaginatively-arranged version of Willie Nelson’s “Crazy” bops and swings in sublimely surprising style before the ultimate surprise is revealed: a serendipitous vocal from Vince Gill. The proceedings flourish in a gust of breezy Brazilian jazz when percussionist Rafael Padilla and drummer Scott Williamson appear on “Canto Y La Danza” and climax in a crashing crescendo on the explosive and intricately orchestrated “Turbulence.”

“‘The New Cool’ project carries with it a special level of excitement for me as Bob and I have been courting the idea of this duo adventure for many years,” said East, who released his self-titled, GRAMMY® nominated solo debut album last year via Yamaha Entertainment Group on the heels of playing on Daft Punk’s 2014 GRAMMY®-winning Record of the Year “Get Lucky.” “I’ve always loved the sound of the piano and bass together, and have enjoyed duo recordings by the greats: Bill Evans & Eddie Gomez and Keith Jarrett & Charlie Haden. ‘The New Cool’ is our celebration of more than 25 years of friendship and musical camaraderie. This collaboration was embraced by Yamaha Entertainment Group and producer Chris Gero, who took it yet to another level.”

“The more I played with Nathan over the course of many live performances and spanning more than 25 years, the more in sync we were whether or not we had the anchor of the drums,” said James, a two-time GRAMMY® winner considered one of the founding fathers of smooth/contemporary jazz and whose extensive catalogue is frequently sampled on hip hop tracks. “Something special happens when we only have each other’s notes to play off of, when the music is totally exposed.”

Although busy with touring and recording individually as well as together, including as half of the contemporary jazz supergroup Fourplay, James and East are committed and energized by “The New Cool,” which will be supported comprehensively in traditional and non-traditional ways harnessing the full power of Yamaha Entertainment Group. Nearly a dozen video vignettes that take viewers into the recording studio during the making of the album will soon begin to trickle out through the official website (www.TheNewCoolAlbum.com) as well as on the artists’ social media platforms and a full-scale documentary film will unspool in the fall shortly after the album’s street date. A grand-scale concert date is in the initial planning stages, which is expected to be streamed live and captured for television broadcast.

The songs that make-up “The New Cool” album are:

“The New Cool”

“Oliver’s Bag”

“All Will Be Revealed”

“Midnight Magic/Love Me As Though There Were No Tomorrow”

“Crazy” (featuring Vince Gill)

“How Deep Is The Ocean”

“Canto Y La Danza”

“Waltz For Judy”

“Seattle Sunrise”

“Ghost Of A Chance”

“Turbulence”

“House Of Blue” (U.S. bonus track)

For more information, please visit www.TheNewCoolAlbum.com.

Swept up in the magic of a classic “Romance”‏

Steven Davis

Swept up in the magic of a classic “Romance”

 

Jazz crooner Steven Davis releases his first big band album, “What Happened To Romance,”

a swinging retro original patterned after the Great American Songbook.

Los Angeles, California (24 June 2015): The promise and thrill of romance brought a Los Angeles crowd and industry types out en masse last Friday night (June 19), packing trendy Molly Malone’s Irish Pub for a set by jazz crooner Steven Davis during which he previewed songs from “What Happened To Romance,” the vocalist’s first big band foray that was released Tuesday (June 23) by First Second Records. Dashing in a dapper black suit and crisp white shirt, Davis plied his charismatically classic voice to the refreshingly original songs of love that he wrote with the album’s producers The 88sJosh Charles and Alissa Moreno. Opening his smitten heart, he shared the timeless tales of romantic ardor that serve as muse on the charming 14-track album while backed by the swinging grooves etched by a tight acoustic jazz ensemble.

“What Happened To Romance” was recorded in New York City where Davis’s “chairman of the board” voice was buttressed by The After Midnight Orchestra, comprised of original members of the Count Basie and Duke Ellington bands, under the direction of Andy Farber, who also deftly served as arranger. The big band setting suits Davis snuggly like his custom-tailored attire. Jazz radio stations across the nation were serviced the album for airplay and early reviews have unanimously embraced the recording.

The summer swoon stirred by “What Happened To Romance” bodes to enchant hearts straight through the holiday season as the regal new disc marks only the beginning of a remarkably prolific period for Davis and The 88s, who met and began collaborating last fall in Nashville. This spring, the velvety vocalist and creative team have been ensconced in famed Los Angeles recording studios East West crafting a big band Christmas collection of original material along with one evergreen, “Have Yourself A Merry Little Christmas.” Also in the vault is an outing in which Davis is placed in the more intimate confines of a jazz trio. Look for the holiday album to be released in time to gift lovers this year while the trio session will be unwrapped next year.

Below are snippets from some of the album reviews:

“The swinging 14 tracker is an affirmation that romance is always in vogue and sonically the set has its roots in the era of the Great American Songbook…. though of the 14 songs, only two are actually from that era…Such is the quality of the original songs that there’s no visible (should that be audible?) hiatus between them and those venerable chestnuts.” – Soul and Jazz and Funk

The album is a throwback to the jazz and swing ‘American Standard’ sound of the ’40s and focuses on sharp melodies and meaningful lyrics.” – East Valley Tribune

“He sounds Rat Pack hip on ‘Love Comes Right On Time’ and has an excellent sense of timing on the Latin ‘Perfectly Perfect.’ Whether he’s shooting for Vegas, Hollywood or Branson, he’s gonna please the crowd.” – Jazz Weekly

“All at once insist comparisons in a class with Frank Sinatra, Tony Bennett, Dean Martin and Rosemary Clooney. Steven has a voice suitable for this genre. The songs he and Josh Charles and Alissa Moreno wrote therefore really fit into the list of the repertoire of the aforementioned masters.” – Keys & Chords

“It’s a nice comfy fit throughout, especially since Davis doesn’t try to make you think he’s Sinatra. All that’s missing here is the sound of martini glasses clinking.” – Midwest Record

“They bring back the grand sound of the big band era…taking me back to the Bing Crosby, Dean Martin, and Frank Sinatra sound” – The Pulse of Entertainment/EUR Web

 

For additional information, please visit www.StevenDavisMusic.com.