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Congresswoman Sheila Jackson Lee Launches Jazz Initiatives
Michigan U.S. Representative John Conyers’ controversy-mired resignation in December had major implications for the jazz community. Conyers had long been jazz’s best friend and… More »

Q&A with Eric Harland: ‘Everything’s Accessible’

It’s been said that clothes make the man. In the case of in-demand drummer and bandleader Eric Harland, sartorial choices also reflect the gig. 

Backstage at the SFJAZZ Center,…

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Iverson Plays Final Show with Bad Plus

New Year’s Eve was an end for many things; and so it was for The Bad Plus.

 

After 17 years, pianist Ethan Iverson was set to leave the celebrated trio, and the Dec. 31…

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3 Final Bars: Obituaries on Roswell Rudd, Keely Smith, Kevin Mahogany
The jazz world recently bid farewell to trombonist Roswell Rudd, singer Keely Smith and vocalist/educator Kevin Mahogany, three artists who made significant contributions to the… More »

Michael Feinstein Conducts Kravis Pops Orchestra

Michael Feinstein Conducts Kravis Pops Orchestra January 31, 2018 - Featuring Catherine Russell in An Evening of Cole Porter

Wednesday, January 31, 2018 ~ 8pm

Michael Feinstein Conducts 

The Kravis Center Pops Orchestra - An Evening of Cole Porter

Featuring Nick Ziobro and Catherine RussellSam Kriger, Associate Conductor

Multiple Grammy Award nominee and master showman Michael Feinstein returns for the fourth season of this captivating three-concert series. Creator of the Great American Songbook Foundation, which seeks to educate and inspire by celebrating the most influential popular songs and jazz standards from the early 20th century, Mr. Feinstein is the undisputed ambassador of the most memorable music of our time.

Nick Ziobro: a dynamic voice in the world of classic American standards –was the national winner of the 2012 Michael Feinstein Great American Songbook Vocal Competition. He spent a year serving as the Great American Songbook Youth Ambassador and touring with his mentor, world renowned performer Michael Feinstein.

Catherine Russell: A graduate of American Academy of Dramatic Arts, Catherine has toured the world, performing and recording with David Bowie, Steely Dan, Cyndi Lauper, Jackson Browne, Michael Feinstein, Levon Helm, Paul Simon, Rosanne Cash, Carrie Smith, Toshi Reagon, Wynton Marsalis, Dr. John, Joan Osborne, Vince Giordano, and many others, appearing on over 200 albums.

Sam Kriger: As Musical Director for such legendary artists as Michael Feinstein, Mickey Rooney, Anna Maria Alberghetti, Shirley Jones, Kay Starr and Lynda Carter, Sam Kriger combines pure technical versatility with a real grace of soul. "No one ever hires me just once," jokes Sam.

International Touring Smooth Jazz Artist Adam Hawley

International Touring Smooth Jazz Artist Adam Hawley at Charlie's Sushi in Downtown Clearwater January 10, 2018

Wednesday, January 10, 2018

8pm Show

ADAM HAWLEY W/ The Ron Reinhardt Group

 Adam Hawley, currently a resident of Los Angeles, started his music career in the Portland Metro Area of Oregon before moving to Southern California in 2002. He has performed and/or recorded in a myriad of settings with such artists as Lalah Hathaway, Ruben Studdard, Jennifer Lopez, The Backstreet Boys, Natalie Cole, Sheila E, Peabo Bryson, Terry Lewis, Larry Graham, Jordin Sparks, Fantasia, Eric Benet, Rahsaan Patterson, Mario, Monica, The Manhattan Transfer, Marc Anthony, Flo Rida, Lil’ Wayne, Wisin Y Yandel, Pit Bull, Phil Perry, Jessy J, Kenny Latimore, Michael McDonald, Tiara Thomas, Montell Jordon, Sally Richardson-Whitfield, Brian Culbertson, Richard Elliott, Euge Groove, Gerald Albright, Kirk Whalum, Take 6, Ray Parker Jr., Nick Collione, Gregg Karukas, Michael Lington, Jonathan Fritzen, Selina Albright, Eric Darius, Jeff Lorber, Jimmy Haslip, Phillipe Saisse, Peter White, Althea Rene, Elan Trotman, Rick Braun, Brian Simpson, Mindi Abair, Keiko Matsui, Peter White, War, John Hendrix, The New York Voices, Marc Antoine, Regina Carter, Chick Corea, Pat Metheny, The Escovedo Project, Onitsha, Barbara Lewis, Styles P, Regina King, and toured with Spirit Productions "Solid Gold Motown" show throughout the world.

Adam also teaches as Musician's Institute, College of Contemporary Music. In 2010, Adam completed a Doctorate of Musical Arts in Studio/Jazz guitar from the University of Southern California. Before this, he graduated in 2008 with a Master’s and in 2006 with a Bachelor’s from USC. At USC he was able to work with such prominent teachers as Bruce Foreman, Carl Verheyen, Anthony Wilson, Richard Smith, Pat Kelley, Steve Trovato, David Oakes, Adam Del Monte, Nick Stoubis, and Frank Potenza. During his tenure as a graduate student at USC he taught for 5 years in the non-major program instructing pop-rock guitar courses and private students. He holds endorsements with Gibson, Martin, PRS, Taylor, Carvin, Voodoo Labs, Duesenberg, Suhr, Nash, Benedetto, Divided By 13, Orange, Xotic, XTS, and Reunion Blues.

Akua Dixon At Central Brooklyn Jazz Festival

It's not as if there were ever clear paths for cello players beyond the European classical tradition, but Akua Dixon made one for herself. The New York City native found work in the pit band of the Apollo Theater, the multi-racial Symphony of the New World, and the bands of many jazz musicians — including drummer Max Roach's Double Quartet. As she developed her jazz chops, she also started her own string quartet, featured prominently on her new self-titled album. Akua Dixon also features her crafty arranging for strings over jazz standards and Afro-Latin grooves.

Jazz Night In America visits Sistas' Place in Bedford-Stuyvesant, Brooklyn — a year-round venue which also helps to present an annual month-long grassroots festival in the heavily African-American neighborhood — to take in Akua Dixon's performance at the Central Brooklyn Jazz Festival. In addition to the string ensemble featured on her latest album, Dixon is also joined by her two children: vocalist Andromeda Turre and drummer Orion Turre.

read more at: https://www.npr.org/event/music/401349210/akua-dixon-at-central-brooklyn-jazz-festival

New Faces start the year off right with “Straight Forward”

Ralph A. Miriello, Contributor
01/01/2018 05:30 pm ET

The independent label Posi Tone Records has the mantra “…to provide the highest quality recordings of the most relevant musicians on today’s jazz scene.” Co-owners producer Marc Free and engineer Nick O’Toole have been doing just that since 1994.  It seems 2018 will be no different. Free assembled his New Faces group from musician members of the Posi Tone stable of artists and produced a very satisfying new album aptly titled Straight Forward which will be released on January 12, 2018.

It’s a group of like-minded, young musicians who, based on this successful outing, have a long future together if they want it.  The group includes Josh Lawrence’s trumpet, Roxy Coss’ saxophone, the gossamer touch of vibraphonist Behn Gillece and the young pianist Theo Hill with the rhythm section of Peter Brendler on bass and Vinnie Sperrazza on drums.

The group offers a tight, well executed set of music; compositions  that were culled partially from the Posi-Tone archives, but also includes two original compositions by trumpeter Lawrence and three by vibraphonist Gillece. There is one Herbie Hancock composition, “King Cobra,” that is particularly representative of the 50’s and 60’s Blue Note era, a recording model that Posi-Tone has clearly fashioned their own musical aspirations after.


The set starts out with a Jon Davis swinger titled “Happy Juice.”  Right away you perceive a chorus of instruments-trumpet, piano, saxophone and vibes-that have acquired the ability to meld their individual voices into a complimentary, unified sound that delights the ears. Trumpeter Lawrence has a clear easy flow to his playing. Coss’s saxophone tone is mellow and lustrous.Pianist Hill is rock steady throughout, but it is Gillece’s tubular vibe sound that subtly dominates here, driving the tune forward as the rhythm section of Brendler and Sperrazza provide the rhythmic base.

read more at: https://www.huffingtonpost.com/entry/new-faces-start-the-year-off-right-with-straight-forward_us_5a4ab5b3e4b0d86c803c78e7

The Month in Live Jazz: 5 Standout Shows

By GIOVANNI RUSSONELLO
DEC. 31, 2017

The true way to experience improvised music is live. More than in most other art forms, jazz’s big discoveries and developments have historically happened onstage: The music’s creation depends on an engaged, participating audience. With that in mind, we’re starting this column, recapping the most outstanding live jazz performances I’ve seen over the past month. I’m hoping that it will offer some clues as to where jazz is headed these days — and maybe even encourage you to go out and hear it for yourself.

Wandering Lines

BORDERLANDS TRIO The Jazz Gallery, Dec. 8

Think of Borderlands Trio as an all-star team of should-be jazz luminaries. The group looks and feels like a standard jazz trio, but the air it breathes is a little different. That much is apparent on “Asteroidea,” its engrossing debut album of free improvisations, released in October. Stephan Crump, the bassist, is the collective’s de facto leader, though the pianist Kris Davis and the drummer Eric McPherson play equally important roles.

On the first evening of a two-night run at the Jazz Gallery, they played a series of long immersions, guided by Mr. McPherson’s steadily locomotive drumming and the oozing agility of Mr. Crump’s bass. At one point, Mr. McPherson, using brushes, carried the trio into a big, circular groove — something evoking passage and duration. Mr. Crump found his way into a minor pattern that climbed high before falling hard on the root note; Ms. Davis played the role of disrupter, hammering one broken-glass chord in double and triple and quadruple hits. The whole thing had the illusion of a pattern or a stream, but it resisted symmetry: If they were tracing some borderline, it was running through wild and uncharted terrain.

A Bassist Steps Forward, Coyly

HARISH RAGHAVAN The Owl, Dec. 10

Halfway through his set on a blustery Sunday night at this Brooklyn bar-cum-performance parlor, the bassist Harish Raghavan paused to identify his band mates — but not the compositions he’d just played. “Most of these songs don’t have names,” he told the small, packed room. Then, with a wry smile, he added that he wasn’t really looking for suggestions. If anyone had a particularly great idea, he said, “Find me on Facebook.” Then he explained the joke: He doesn’t use social media.


To those in the know, Mr. Raghavan is one of the most exciting young bassists in jazz, but he’s also one of the most private. That made his performance at the Owl all the more intriguing. He played six original compositions with a sturdy, quicksilver quintet: Immanuel Wilkins on alto saxophone, Joel Ross on vibraphone, Taylor Eigsti on piano and Jeremy Dutton on drums. The tunes mostly pivoted on cycles of major harmony and intertwined polyrhythms, in which everyone played a part. The low-key M.V.P. was Mr. Ross, a slight player in his early 20s whose vibraphone was sometimes like a spray of confetti, erupting in brilliant bursts; elsewhere he took solos that had the slightest tug of swing, leaning against the locked-in syncopation of the rhythm section.

read more at: https://www.nytimes.com/2017/12/31/arts/music/live-jazz-harish-raghavan-thomas-morgan-john-zorn.html

Jazz On The Green at Six Bends

Jazz On The Green at Six Bends in Ft. Myers Set for March 10, 2018

Saturday March 10, 2018 ~ 5-9pm

Top Rocker Field

at

Six Bends Harley Davidson

9510 Thunder Road, Ft. Myers, FL 33913

Jazz on the Green will be held at Six Bends on Saturday, March 10, 2018 from 5-9 p.m. and offer three notable music ensembles to raise money for Make A Wish Southern Florida!

Presented by Cushman & Wakefield Commercial Property Southwest Florida, Jazz on the Green at Six Bends brings more than music. Guests may enjoy gourmet food, drinks, giveaways and dancing on the lawn for this all-white-attire event. The fundraising goal for this concert is to enable one wish each to be granted through Make A Wish Southern Florida to two local children with critical illnesses.

While the crowd sways to the jazz dressed in their brightest whites, Jaguar Land Rover Fort Myers will display more than a dozen all-white vehicles lining Six Bends’ Thunder Plaza. Every ticket purchaser will automatically be entered to win one of two one-week rentals of either a Jaguar or Land Rover.

World-renowned saxophonist Jeff Rupert with his quintet will be the evening’s headline act. Brandon Robertson's quartet and Fort Myers High School's Jazz Band are also on the line up.

Guests can enjoy heavy hors d'oeuvres from Artichoke & Company, Gather, Metro Diner and Sweet Melissa’s Café. Local craft beers from Rollin' Taps and domestic beers from Budweiser will be available.

Ghost Train Orchestra

With conductor/arranger/trumpeter Brian Carpenter, violinist Mazz Swift, alto saxophonist Andy Laster, clarinetist Dennis Lichtman, alto and tenor saxophonist Ben Kono, trombonist Curtis Hasselbring, tuba player Ron Caswell, bassist Michael Bates, guitarist Avi Bortnick, and drummer Rob Garcia

“The arrangements are inventive, and the solos come fast and furious.” – JazzTimes

“Sassy, funny, and sometimes quite beautiful... an outstanding piece of work” – All About Jazz

Brooklyn’s own “little big band,” the Ghost Train Orchestra, recently brought the house down in a single set during the Hot Jazz Festival at Dizzy’s. They’re back tonight to celebrate their brand new record, Book of Rhapsodies Vol. II. It’s a characteristically adventurous album featuring unpredictable, modernistic re-imaginings of some strange, beautiful, and almost-forgotten musical gems from late-1930s New York. Decades before Gunther Schuller coined the term “Third Stream,” New York was the epicenter of a new movement of composers whose work existed outside the margins of “jazz” or “classical” music. Under Brian Carpenter’s inspired leadership, the Ghost Train Orchestra takes this evocative material and transforms it into a fun, widely accessible, and highly entertaining chamber jazz experience.

from Barbara Dennerlein

Culture documentation: 50th. SWR NEWJazz Meeting

The SWR NEWJazz Meeting is an artistic research station since 1966 in terms of improvised music. Completely different musicians, who have never played together before, prepare at SWR a corporate programme in a process lasting several days, that they perform afterwards in concerts in the SWR transmission area. Andreas Ammer shows in his filmic collage "All the Jazz - 50th. SWR NEWJazz Meeting" in 50 multifaceted chapters the story of jazz that is also the story of the SWR NEWJazz Meetings. Pioneer musicians like Manfred Schoof, Clara Bley, Barbara Dennerlein, Jasper van't Hof and Eberhard Weber remember their appearances - and reflect what has happened in jazz within five decades. Intimate insight into rehearsals from then and now and rare recordings from the SWR archive are shown. 

Broadcast will be on Sunday, January 14, 9.15 AM (CET) on occasion of the culture matinee on SWR TV. The film is after it's broadcast available in the SWR mediathek: www.swrmediathek.de

https://www.presseportal.de/pm/7169/3807240

German organ construction craft and organ music now UNESCO Cultural Heritage

In December, German organ construction craft and organ music have been awarded UNESCO Cultural Heritage. The admission as immaterial World Heritage is very important for German organ art, says organ expert Karl-Heinz Göttert from Cologne, because the organ is threatened with a musical niche existence: "Hard times for the organ". Conny Crumbach from WDR Radio interviewed the expert on occasion of the award.

German organ construction craft and organ music are UNESCO Cultural Heritage since today. How important is this award for organ art?

The award is very important. The times for the organ are hard in the current concert and music business. In other fields classical music is being much more recognized - not to speak about Rock, Pop, Jazz. The organ is actually threatened with a musical niche existence. Any support is helpful.

Which traditions have organ construction and organ music in Germany - is it mostly clerical influenced?

Yes. The organ, as we know it today, has been developed in the Late Middle Ages and raised in the context of churches. For a simple reason: the church looked for an instrument as addition and companion to the singing. An orchestra would have been much too unhandy and also too expensive. And the organ is an one man orchestra. This was very practical and pushed the organ very much.

The skills of innovation and development in a tradition are two important things for the acknowledgement as cultural heritage. Where do you see the ability of the organ to develop?

I am a bit reserved regarding this. The organ has passed a long time of tremendous development. There were several high times in the past, e.g. in the Baroque or the Romanticism and is nowadays a more or less perfected instrument. Presently, developments are made in terms of electronics - I'm not sure if this is so healthy for the organ, because it leads somewhat away from the original music.

But isn't the music the main innovation field for the organ?

Sure, you can play everything on the organ. There are very good musicians like Barbara Dennerlein, who plays great jazz music on the organ, or Wayne Marshall, whose play is being influenced by jazz rhythms. There is also pop music on the organ. But for me the organ is also a classical instrument. You may ask Lang Lang or other similar musicians, if they would like to deviate from their classical repertoire. They would tell you that they won't do so - and that there is an audience that wants to hear these classical traditions. 

https://www1.wdr.de/kultur/orgel-weltkulturerbe-interview-100.html