Jazz fusion guitarist Tyler Reese rediscovers his creative muse on “Reminiscence,” arriving November 4

tyler-reese

“Moving On”: Jazz fusion guitarist Tyler Reese

rediscovers his creative muse on “Reminiscence,” arriving November 4.    

NASHVILLE (12 October 2016): Guitarist Tyler Reese found that being a busy Nashville session player all week and touring in a country band every weekend left little time to explore his own musical creativity. The 23-year-old, once summoned to Paisley Park to play for Prince and who studied at the feet of jazz guitar legend Pat Metheny, re-immersed himself in the music that first sparked his passion and imagination: jazz fusion. Carving time to revisit his roots resulted in the varied guitar-driven, jazz odyssey titled “Reminiscence,” featuring ten of his original compositions. The platter, produced by Jeff Silverman (Rick Springfield, Hiroshima, The Allman Brothers Band, Tim Weisberg) and Reese, will be released on November 4 and is prefaced at radio by the spirit-lifting, sweetly melodic acoustic guitar sojourn “Moving On.”

Reese composed “Reminiscence” to be an ambitious and intrepid expedition through vast jazz terrain. Most tracks slash through thickets of electric guitar-powered fusion, horn-highlighted funk and sprawling progressive rock. Others present delicate bouquets of acoustic guitar expressions, fragrant stems of gypsy jazz and new age meditations. Whether gracefully strumming gentle harmonies or dexterously plucking frenetic runs at dazzling speed with turn-on-the-dime precision, Reese’s fretwork primarily serves his engaging compositions, enabling his fingers to communicate evocatively and emote vividly.

“The seed of my inspiration for ‘Reminiscence’ came from needing a creative change and a musical recharge – something fresh and new – so I delved into writing and found myself back at my jazz roots and renewed my love of fusion. It has rekindled my musical soul. I hadn’t realized that I had so many ideas floating around in my head. The writing and production process was fun and inspiring, but challenging and liberating at the same time. The body of work is truly no holds barred, which is exactly what I was going for,” said Reese, a Fredericksburg, Virginia native who will return to the area to perform on November 20 at the Riverside Center and November 23 at The Tin Pan in Richmond. “I was never too much into songwriting, but after moving to Nashville and spending the past few years playing so many gigs, traveling extensively and going through certain life experiences, I was inspired to write. ‘Reminiscence’ encompasses all those experiences and places I’ve gotten to see, all of which are reflected in the writing.”

Reese studied classical piano for 14 years beginning at age three and started studying jazz guitar when he turned twelve. He cranked out his first album at age 15, “Risus21,” an energetic, moody and heavy progressive rock foray. Two years later, his “Because I Can” disc put a contemporary funk, rock and blues spin on a collection of straight-ahead jazz standards. He recorded a duets project two years ago with longtime Prince backup singer Elisa Fiorillo-Dease titled “Life in 20,” which is how he came to the attention of the late purple icon. Impressed, Prince flew the guitarist to Minneapolis for a jam session and carefully studied the young prodigy’s technique. Reese attended a master’s guitar clinic taught by Metheny and calls the 20-time Grammy winner a mentor. During his sophomore year as a jazz performance guitar major at Berklee College of Music, Reese released a rock single, “Simply To Choose,” his first collaboration with Silverman, who recruited the rock band Boston’s Kimberely Dahme to sing on the track. Feeling he learned all he could in the classroom, Reese left college early eager to launch his professional career.

Released on the Tyler Reese Music label, the “Reminiscence” album contains the following songs:

“Moving On”

“Breaking Point”

“Out Of Orbit”

“Reflections”

“Astrotermination”

“2Funk”

“Escapade”

“Reminiscence”

“Headed Out”

“Emancipation”

Bonus Track: “Moving On” Radio Edit

For more information, please visit www.TylerReeseMusic.com

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.

Guitarist Joe Lindsay

Joe Lindsay is a soulful songwriter whose smooth sounds are evident every time you hear him play. Whether on his debut CD “I Wanna Groove”, or on stage with artists such as Stephanie Mills, or Brian Simpson. His music speaks to your emotions, and will always make you feel good. I sat down with Joe and had a conversation about his career.

PBN Joe, tell me when music became your calling.

JOE During my early teenage years when I was inspired by my next door neighbor who would sit outside on his porch and play the bass really loud, Bootsy style. He even had the Bootsy glasses. The funny part of the story is that I actually wanted to play bass guitar, but my parent’s bought the wrong one for Christmas. So it’s their fault I play guitar today.

PBN Did you play in High School?

JOE Yes, I started off playing the saxophone and was first chair every year. In 10th grade I switched to tuba. I switched to tuba because I like to play around a lot. So during band camp, the tuba’s would spot the 50 yard line, and didn’t have to do too much. It also leads back to the whole bass thing. I like being part of the low end.

PBN You attended Berklee College of Music in Boston. While there, what were some of the most valuable lessons you learned about music and about yourself?

JOE To be honest, it was a very excellent school. They give you so much information that it doesn’t really click until after you leave. I learned about theory and the music business. Learning is a lifelong journey. I was there with Lalah Hathaway, Delfayo Marsalis, and Roy Hargrove. So it was great being surrounded by music all the time.

PBN What drives you to continuously evolve?

JOE The love of music and keeping up with what’s going on.

PBN What would you say you like the most between songwriting, performing, recording, collaborating, and managing your own career?

JOE Songwriting of course because of the creative part of it. Performing because you want people to feel what you’re doing. If they’re grooving, you’re grooving.

PBN Who are some of the legends in the industry that have inspired you?

JOE On the songwritng side, Curtis Mayfield, and Miles Davis who’s my all time favorite. On the guitar side, my all time favorite guitar player is Hiram Bullock. I love his style and his diversity. He plays and has fun at the same time.

PBN You write your own original music, you co-write, and you collaborate live.
Do you enjoy one of those more so than the others?

JOE I can’t say I like one more than the other. They all tie in together.

PBN When collaborating and co-writing, you’ve worked across different genres of music and artists.

PBN Do you know who you want to collaborate with when you’re writing?

JOE I know who’s sound I want, and I know who can give me that sound, so I call them up.

PBN Who are some of those artists?

JOE Kenneth Leonard, Rischard Jenkins, John Dillard, Marcus Anderson, Adrian Crutchfield, and Calvin Richardson

PBN You are known as a soulful artist, and you create music that is heartfelt and feels good.
How do you connect the soul and the heart together to create the music?

JOE It’s all feeling. Play from the heart and hope the people you’re playing for feel it. I come from the whole blues background. I love that stuff.

PBN When recording your CD “I wanna Groove”, did you draw from personal experiences?

JOE Maybe some. It’s kinda different when you’re doing instrumental music with no lyrics. But the ballads like track 7 “Your Eyes”, that’s for the ladies. That’s a good mood changing song in a good way.

PBN I’m looking forward to interviewing the many talented artists from North Carolina. Having said that, you are the first one, but on your CD you collaborated with some of the other’s.

PBN How was it collaborating with your fellow friends and musicians?

JOE It’s fun to work with your peers on one another’s projects.

PBN Finally, tell me what it feels like to have your debut album be as successful and well received as it has been.

JOE It feels great. It means a lot of my hard work is paying off. It’s doing what I need it to do. I’m planning on doing another smooth jazz CD. First, I have to continue performing and introducing “I WANNA GROOVE.”

PBN How can fans keep up with what you’re doing and where you will be performing?

JOE Joelindsaymusic.com

Joe Lindsay "I WANNA GROOVE"
Joe Lindsay “I WANNA GROOVE”
Joe Lindsay
Joe Lindsay