GA Russell

Wives are people who think that it's against the law to not answer the phone when it rings.

It's all showing up fine for me, except that some album covers did not paste. I don't know why. Is there a problem with the fact that a second post is automatically united with the previous post? That's out of my hands. As always, the mods are welcome to delete if there is a problem. I post these press releases as a contribution to the board. If people cannot read the posts, it's hardly a contribution, is it?

EMERGING ARTIST MELANIE CHARLES RETURNS WITH NEW ALBUM Y’ALL DON’T (REALLY) CARE ABOUT BLACK WOMEN OCTOBER 22 PROJECT CONTAINS REIMAGINED WORKS BY BILLIE HOLIDAY, ELLA FITZGERALD, SARAH VAUGHAN AND MORE LEAD TRACK “WOMAN OF THE GHETTO” DEBUTS WITH VIDEO SIGNS MAJOR LABEL DEAL WITH VERVE August 13, 2021—Y’all Don’t (Really) Care About Black Women, the new album from emerging artist Melanie Charles, is set for release on October 22 via Verve. The forthcoming release—Charles’ first major label release—is a love letter to the unheralded labor of Black women, containing reimagined works by Billie Holiday, Ella Fitzgerald, Sarah Vaughan, Abbey Lincoln, Dinah Washington and more. Fans can pre-order Y’all Don’t (Really) Care About Black Women HERE. In celebration of the forthcoming record, Charles is debuting her rendition of Marlena Shaw’s “Woman Of The Ghetto” alongside an accompanying music video directed by AnAk and starring her mother, Maryse Jean-Baptiste, and an intergenerational cast of dynamic Black women from her community. Watch the video HERE. “I chose ‘Woman Of The Ghetto’ because it’s lyrically relevant,” Charles notes. “And while we were in lockdown, a conversation that we were having was about how kids who were poor children who did not have access to computers or internet were struggling to sustain their education in the midst of lockdown. I also wanted to highlight how you can come from the ghetto or from the hood, but present more than just the stereotype of the ghetto. Marlena Shaw was such a classy, refined, educated, well-spoken Black woman, speaking about the hood. And I think when we discuss the hood it’s sort of like a caricature of us. But actually, we’re so dynamic—we’re multifaceted. Where we’re from doesn’t define how we move in the world.” Charles originally began developing the project in 2019 when she was approached by Verve to create a remix album using their back catalog. Her initial approach was to find songs that spoke to her with the intention of breathing new energy into them. She was immediately drawn to the voices of Billie Holiday and Sarah Vaughn, enabling her to reminisce about the tunes and voices that made her fall in love with jazz. By the time she was ready to start recording, the pandemic hit and Americans were in the throes of a racial reckoning sparked by the deaths of George Floyd, Breonna Taylor and countless others. Taylor’s death, in particular, had an impact on Charles’ creative process. “I was rudely reminded that Black women are and always have been undervalued, uncared for, unprotected and neglected. It was at that point that I decided to focus on songs written and or sung by the Black women who paved the way for me,” recounts Charles. The resulting work comes together in Y’all Don’t (Really) Care About Black Women, featuring renditions of songs originally recorded by Vaughan, Ella Fitzgerald, Abbey Lincoln, Dinah Washington and more. “Melanie Charles is a true renaissance artist, who is equally talented as a producer, singer, engineer, composer and performer,” says Jamie Krents, EVP of Verve/Impulse!. We’re always looking for new ways to expose the Verve catalog to a wider audience with respect and integrity, and we felt completely confident giving Melanie unprecedented access to bring her unique artistry to the table to reimagine some of the jewels from our vault. She spent hours in our library, carefully choosing songs that resonated for her, and we’re thrilled with the result.” On Y’all Don’t (Really) Care About Black Women, Charles leaves listeners with a powerful statement on what solidarity with Black women can look like. It includes not only care and attention to the everyday struggles that animate Black women’s lives, but also to the beauty and joy as well. At its core, the record is a call for a more intersectional vision of the world in which Black women can live more freely and express their full humanity. ABOUT MELANIE CHARLES Melanie Charles is a Brooklyn-born singer, songwriter, bandleader, producer, actress and flautist of Haitian descent, with a creative fluidity spanning jazz, soul, experimental and roots music. Charles was raised by a Haitian mother in Brooklyn where the sound waves in their home was filled with artists like Johnny Hodges, Frank Sinatra, Chaka Khan, Anita Baker, John Coltrane and Nat King Cole. As a teen, she attended the famed LaGuardia High School for the Performing Arts where she studied flute and vocals. Eventually, she landed at the School of Jazz and Contemporary Music at The New School where she met artists like singer, songwriter and record producer Jesse Boykins III and alto saxophonist Lakecia Benjamin. Charles’ genre-bending style has been embraced by a wide range of artists including Wynton Marsalis, SZA, Mach-Hommy, Gorillaz and The Roots. Throughout her career she has remained committed to making music that pushes listeners to consider new possibilities, both sonically and politically. “Make Jazz Trill Again,” a project that she launched in 2016, demonstrates her allegiance to everyday people, especially the youth and is focused on taking jazz from the museum to the streets. Earlier this year, Charles’ Tiny Desk (Home) Concert debuted on NPR Music, who proclaimed, “Melanie Charles takes us on a journey that embodies the soul of jazz: exploration.” MELANIE CHARLES Y’ALL DON’T (REALLY) CARE ABOUT BLACK WOMEN 1. God Bless The Child 2. Perdido (Reimagined) 3. Detour Ahead (Reimagined) 4. All Africa (The Beat) 5. The Music is the Magic 6. Pay Black Woman (Interlude) 7. Woman Of The Ghetto (Reimagined) 8. Jazz (Ain’t Nothing But Soul) [Reimagined] 9. Go Away Little Boy 10. What A Difference (Reimagined) 11. Beginning to See the Light (Reimagined) MELANIECHARLES.COM Artist Title Time Melanie Charles Woman Of The Ghetto (Reimagined) 04:58

José James My Favorite Things Impacting September 23rd, 2021 Format(s): Jazz “Sounds like the result of the black-pop continuum, jazz and soul and hip-hop and R&B, slow-cooked for more than 50 years.” —The New York Times “Catch up with Jose James now because he's a rarity - an artist evolving at warp speed.” —NPR Music “James skirts categories with ease, fitting in with current R&B innovators like Frank Ocean or Miguel.. he holistically heals the rift between radio-friendly songcraft and virtuoso flair.” —NPR Music “Is José James a jazz singer or a soul singer? Old school or new school? A guardian of tradition or a seeker of thrills? Yes, yes and yes.” —LA Times Like his idols John Coltrane, Miles Davis and Marvin Gaye, José James is a master of reinvention. Over the past 13 years as a singer, producer and label owner, he's proven himself capable of covering wide swaths of musical terrain. He’s done it all while keeping his voice in the center, a smoky baritone the likes of Gil Scott-Heron and Terry Callier that cuts through the lush instrumentals beneath it. The approach has led to a vast discography with various entry points across labels Blue Note, Verve/Impulse, Brownswood and now his own Rainbow Blonde Records. Today he releases single "My Favorite Things" - both a nod to the Coltrane classic and an homage to his former boss the iconoclastic pianist McCoy Tyner - featuring Grammy nominated saxophonist Marcus Strickland. Produced by José James and Brian Bender, the session was both recorded and mixed directly to 2" tape to capture the warmth and LCR (left-center-right) sound akin to classic albums such as "Kind of Blue," "Blues and the Abstract Truth" and "John Coltrane and Johnny Hartman." Mastering duties were handled by veteran engineer Frank Arkwright at Abbey Road Studios. Accompanied by Grammy Award-winner Ben Williams (bass), Grammy nominated artists Aaron Parks (piano) and Marcus Strickland (saxophone) and rising-star Jharis Yokely (drums) “My Favorite Things” is a world-class musical tribute from one of the greatest living voices in jazz. Further Information Produced by José James & Brian Bender Recorded by Ariel Shafir at Dreamland Studios Mixed by Brian Bender at Motherbrain West Mastered by Frank Arkwright at Abbey Road Studios Press Photos José James... 1. Melanie Charles, Sarah Vaughan - Detour Ahead (Reimagined) 03:54 EMERGING ARTIST MELANIE CHARLES’ RENDITION OF SARAH VAUGHAN’S “DETOUR AHEAD” PREMIERES ON FLOOD MAGAZINE NEW ALBUM Y’ALL DON’T (REALLY) CARE ABOUT BLACK WOMEN OUT OCTOBER 22 VIA VERVE PROJECT CONTAINS REIMAGINED WORKS BY BILLIE HOLIDAY, ELLA FITZGERALD, DINAH WASHINGTON AND MORE “Detour Ahead” appears on Charles’ first major label release, Y’all Don’t (Really) Care About Black Women, out on October 22 via Verve. The forthcoming release is a love letter to the unheralded labor of Black women, containing reimagined works by Vaughan, Billie Holiday, Ella Fitzgerald, Abbey Lincoln, Dinah Washington and more. jazz. By the time she was ready to start recording, the pandemic hit and Americans were in the throes of a racial reckoning sparked by the deaths of George Floyd, Breonna Taylor and countless others. Taylor’s death, in particular, had an impact on Charles’ creative process. “I was rudely reminded that Black women are and always have been undervalued, uncared for, unprotected and neglected. It was at that point that I decided to focus on songs written and or sung by the Black women who paved the way for me,” recounts Charles. The resulting work comes together in Y’all Don’t (Really) Care About Black Women, featuring renditions of songs originally recorded by Vaughan, Ella Fitzgerald, Abbey Lincoln, Dinah Washington and more. “Melanie Charles is a true renaissance artist, who is equally talented as a producer, singer, engineer, composer and performer,” says Jamie Krents, EVP of Verve/Impulse!. We’re always looking for new ways to expose the Verve catalog to a wider audience with respect and integrity, and we felt completely confident giving Melanie unprecedented access to bring her unique artistry to the table to reimagine some of the jewels from our vault. She spent hours in our library, carefully choosing songs that resonated for her, and we’re thrilled with the result.” On Y’all Don’t (Really) Care About Black Women, Charles leaves listeners with a powerful statement on what solidarity with Black women can look like. It includes not only care and attention to the everyday struggles that animate Black women’s lives, but also to the beauty and joy as well. At its core, the record is a call for a more intersectional vision of the world in which Black women can live more freely and express their full humanity. Melanie Charles is a Brooklyn-born singer, songwriter, bandleader, producer, actress and flautist of Haitian descent, with a creative fluidity spanning jazz, soul, experimental and roots music. Charles was raised by a Haitian mother in Brooklyn where the sound waves in their home was filled with artists like Johnny Hodges, Frank Sinatra, Chaka Khan, Anita Baker, John Coltrane and Nat King Cole. As a teen, she attended the famed LaGuardia High School for the Performing Arts where she studied flute and vocals. Eventually, she landed at the School of Jazz and Contemporary Music at The New School where she met artists like singer, songwriter and record producer Jesse Boykins III and alto saxophonist Lakecia Benjamin. Charles’ genre-bending style has been embraced by a wide range of artists including Wynton Marsalis, SZA, Mach-Hommy, Gorillaz and The Roots. Throughout her career she has remained committed to making music that pushes listeners to consider new possibilities, both sonically and politically. “Make Jazz Trill Again,” a project that she launched in 2016, demonstrates her allegiance to everyday people, especially the youth and is focused on taking jazz from the museum to the streets. Earlier this year, Charles’ Tiny Desk (Home) Concert debuted on NPR Music, who proclaimed, “Melanie Charles takes us on a journey that embodies the soul of jazz: exploration.” For additional information on Y’all Don’t (Really) Care About Black Women, see Melanie Charles’ bio/artist notes HERE. MELANIE CHARLES Y’ALL DON’T (REALLY) CARE ABOUT BLACK WOMEN 1. God Bless The Child 2. Perdido (Reimagined) 3. Detour Ahead (Reimagined) 4. All Africa (The Beat) 5. The Music is the Magic 6. Pay Black Woman (Interlude) 7. Woman Of The Ghetto (Reimagined) 8. Jazz (Ain’t Nothing But Soul) [Reimagined] 9. Go Away Little Boy 10. What A Difference (Reimagined) 11. Beginning to See the Light (Reimagined) MELANIECHARLES.COM

JULIUS RODRIGUEZ, MULTI-TALENTED PIANIST/DRUMMER/PRODUCER, ANNOUNCES MAJOR LABEL DEBUT ALBUM LET SOUND TELL ALL SET FOR RELEASE JUNE 10 ON VERVE RECORDS RODRIGUEZ BLAZES HIS OWN SONIC PATH ON DEBUT ALBUM AFTER DROPPING OUT OF JUILLIARD TO TOUR WITH A$AP ROCKY, CAUTIOUS CLAY AND MORE Artist Title Time Julius Rodriguez Gift Of The Moon 02:59 RODRIGUEZ WEAVES JAZZ AND PSYCHEDELIA ON NEW SINGLE “GIFT OF THE MOON” WATCH OFFICIAL VISUALIZER PREMIERED TODAY WITH THE FADER “a cosmic jazz saga that starts with a mesmeric two-chord cadence and expands into something colossal yet sleek and reserved” The Fader March 18, 2022 – Julius Rodriguez, multi-talented pianist/drummer/producer, today announces the release of his debut album Let Sound Tell All set for release June 10 via Verve Records. Stunning jazz elders and pop and indie peers alike with his technical wizardry, Yoda-like understanding of complex melody, and George Martin-inspired production feats, Rodriguez commands attention for his reverence for sound - however anyone decides to classify it. An exclusive translucent LP as well as standard versions of the LP/CD will be available at the Verve Records Center Stage store. Today, he releases his first single “Gift Of The Moon,” a psychedelic number layered with trumpet and high-level production that nods to Roy Hargrove and Sgt. Pepper’s Lonely Hearts Club Band. Watch the Official Visualizer for the “Gift Of The Moon” here Pre-order Let Sound Tell All here Photo Credit: Avery J. Savage On his debut album Let Sound Tell All, 23 year old musician Julius Rodriguez stirs a cauldron of gospel, jazz, classical, R&B, hip-hop, experimentation, production and sheer technical wizardry to create a stunning debut that commands attention. As an 11 year old kid, Rodriguez honed his jazz chops at Smalls Jazz Club, wowing audiences with his rendition of his favorite Ellington tune “Take the A Train.” Fast forward to 2018 when he dropped out of Juilliard, shimmying off the rigid curriculum to tour with A$AP Rocky. Now, in 2022, Rodriguez is on the cusp of a stellar release that weaves his life and influences - from Monk, Coltrane, Solange, James Blake, Sampha and more. This music is as much at home in Smalls Jazz Club as it is at Gov Ball. “Gift Of The Moon” was one of the album’s earliest recorded songs. Rodriguez calls it “the first song I wrote that wasn’t a traditional jazz song, since there’s no solo section.” He struggled for years trying to figure out what to do with it, until in 2019 he asked trumpeter Giveton Gelin to solo over the existing recording. Rodriguez couldn’t pick any of Gelin’s three takes, “so I used all of them at the same time, and it turned into what it is now,” a trick he picked up from George Martin and his youthful idolization of The Beatles’ studio hacks - as well as from Roy Hargrove’s recordings where the late trumpeter would overdub tracks. The addition of Julius’ synth parts and a wordless vocal from Onyx compadre Nick Hakim created a stunning instrumental miniature. Let Sound Tell All is a complex combination of live improvisation weaved with high-level production. A song may start out in a well-oiled, Coltrane classic quartet energy and fed through distortion pedals to culminate in an exhilarating trippy meltdown of sheer sonic genius. Call him Gen-Z jazz, but when you hear Julius Rodriguez play “the music,” as he calls it, it’s a modern Sound, as fluent in history as it is aware of its contemporary context. His music dares to imagine a future of new standards and musical trailblazing. This vanguard was raised in an atmosphere where pop and hip-hop and dance influenced their approaches to melody and harmony and rhythm, so of course it is part of their improvisational DNA. And that’s what Julius Rodriguez’s Sound tells to whoever will choose to listen. S.G. Goodman Returns with New Album Teeth Marks Release on June 3 via Verve Forecast 1. S.G. Goodman - Teeth Marks 03:37 2. S.G. Goodman - All My Love Is Coming Back To Me 03:29 3. S.G. Goodman - Heart Swell 04:09 4. S.G. Goodman - When You Say It 04:16 5. S.G. Goodman - If You Were Someone I Loved 04:13 6. S.G. Goodman - You Were Someone I Loved 03:34 7. S.G. Goodman - Work Until I Die 06:32 8. S.G. Goodman - The Heart of It 03:15 9. S.G. Goodman - Dead Soldiers 03:54 10. S.G. Goodman - Patron Saint Of The Dollar Store 03:31 11. S.G. Goodman - Keeper Of The Time 05:28 “Goodman tackles challenges directly, a head-on approach that's admirable and ultimately what makes her storytelling so compelling.” NPR Music “Her voice as soulful as her themes can be challenging” SPIN “Refreshingly out of step with these divisive times” New Yorker “An intriguing, original new voice” Associated Press Kentucky Rock N’ Roll truth teller S.G. Goodman today announced the release of her forthcoming sophomore album Teeth Marks. Released June 3 via Verve Forecast, it is steeped in her caustic wit and social commentary, specifically exploring the various and often painful indelible marks that love can leave behind. Mining garage rock, Appalachian folk and post-punk influence, the album finds Goodman’s stirring vocals draped in a sonic patchwork of southern indie rock. Goodman explained, “This is a song about the phantom limb of love: a condition in which a lover's mind is deluded and we make the mistake of taking a step forward, only to fall face first into the reality of another's heart. A reality we are unwilling to accept – a land of false promise we find ourselves not equipped to walk in.” EMERGING ARTIST MELANIE CHARLES’ NEW ALBUM Y’ALL DON’T (REALLY) CARE ABOUT BLACK WOMEN OUT NOW ON VERVE PROJECT CONTAINS REIMAGINED WORKS BY BILLIE HOLIDAY, ELLA FITZGERALD, SARAH VAUGHAN, DINAH WASHINGTON AND MORE 1. Melanie Charles - God Bless The Child 04:34 2. Melanie Charles, Dinah Washington - Perdido (Reimagined) 02:20 3. Melanie Charles, Sarah Vaughan - Detour Ahead (Reimagined) 03:54 4. Melanie Charles - All Africa (The Beat) 02:03 5. Melanie Charles - The Music Is The Magic 01:14 6. Melanie Charles - Pay Black Women Interlude 02:02 7. Melanie Charles, Marlena Shaw - Woman Of The Ghetto (Reimagined) 04:57 8. Melanie Charles, Betty Carter - Jazz (Ain't Nothing But Soul) (Reimagined) 03:06 9. Melanie Charles - Go Away Little Boy 02:49 10. Melanie Charles, Dinah Washington - What A Difference (Reimagined) 02:23 11. Melanie Charles, Ella Fitzgerald - Beginning to See The Light (Reimagined) 02:44 November 12, 2021—Y’all Don’t (Really) Care About Black Women, the new album from emerging artist Melanie Charles, is out now on Verve, marking her first major label release. The project is a love letter to the unheralded labor of Black women, containing reimagined works by Sarah Vaughan, Billie Holiday, Ella Fitzgerald, Abbey Lincoln, Dinah Washington and more. The new music continues to receive critical praise: Charles originally began developing the project in 2019 when she was approached by Verve to create a remix album using their back catalog. Her initial approach was to find songs that spoke to her with the intention of breathing new energy into them. She was immediately drawn to the voices of Billie Holiday and Sarah Vaughn, enabling her to reminisce about the tunes and voices that made her fall in love with jazz. By the time she was ready to start recording, the pandemic hit and Americans were in the throes of a racial reckoning sparked by the deaths of George Floyd, Breonna Taylor and countless others. Taylor’s death had an impact on Charles’ creative process. On Y’all Don’t (Really) Care About Black Women, Charles leaves listeners with a powerful statement on what solidarity with Black women can look like. It includes not only care and attention to the everyday struggles that animate Black women’s lives, but also to the beauty and joy as well. At its core, the record is a call for a more intersectional vision of the world in which Black women can live more freely and express their full humanity. Melanie Charles is a Brooklyn-born singer, songwriter, bandleader, producer, actress and flautist of Haitian descent, with a creative fluidity spanning jazz, soul, experimental and roots music. Charles was raised by a Haitian mother in Brooklyn where the sound waves in their home was filled with artists like Johnny Hodges, Frank Sinatra, Chaka Khan, Anita Baker, John Coltrane and Nat King Cole. As a teen, she attended the famed LaGuardia High School for the Performing Arts where she studied flute and vocals. Eventually, she landed at the School of Jazz and Contemporary Music at The New School where she met artists like singer, songwriter and record producer Jesse Boykins III and alto saxophonist Lakecia Benjamin. Charles’ genre-bending style has been embraced by a wide range of artists including Wynton Marsalis, SZA, Mach-Hommy, Gorillaz and The Roots. Throughout her career she has remained committed to making music that pushes listeners to consider new possibilities, both sonically and politically. “Make Jazz Trill Again,” a project that she launched in 2016, demonstrates her allegiance to everyday people, especially the youth and is focused on taking jazz from the museum to the streets. Earlier this year, Charles’ Tiny Desk (Home) Concert debuted on NPR Music, who proclaimed, “Melanie Charles takes us on a journey that embodies the soul of jazz: exploration.” MELANIE CHARLES Y’ALL DON’T (REALLY) CARE ABOUT BLACK WOMEN 1. God Bless The Child 2. Perdido (Reimagined) 3. Detour Ahead (Reimagined) 4. All Africa (The Beat) 5. The Music is the Magic 6. Pay Black Woman (Interlude) 7. Woman Of The Ghetto (Reimagined) 8. Jazz (Ain’t Nothing But Soul) [Reimagined] 9. Go Away Little Boy 10. What A Difference (Reimagined) 11. Beginning to See the Light (Reimagined) MELANIECHARLES.COM EMERGING ARTIST MELANIE CHARLES’ RENDITION OF BETTY CARTER’S “JAZZ (AIN’T NOTHING BUT SOUL)” SINGLE OUT NOW NEW ALBUM Y’ALL DON’T (REALLY) CARE ABOUT BLACK WOMEN OUT NOVEMBER 12 VIA VERVE PROJECT CONTAINS REIMAGINED WORKS BY BILLIE HOLIDAY, ELLA FITZGERALD, DINAH WASHINGTON AND MORE photo credit: Meredith Traux “Melanie Charles takes us on a journey that embodies the soul of jazz: exploration.” October 20, 2021—Today, emerging artist Melanie Charles unveils her rendition of Betty Carter’s “Jazz (Ain’t Nothing But Soul),” a reminder of the lively spirit that lies at the heart of jazz music. As Charles puts it, “There’s a spectrum of what [jazz] sounds like, and what that looks like, which is really beautiful.” Watch the visualizer here. “‘Jazz (Ain’t Nothing But Soul)’ embodies my mission of ‘Making Jazz Trill Again.’ Written by Queens born Norman Mapp and sung by the iconic Betty Carter, it reminds us that despite the virtuosity Black American Music requires, it is quite simply for and by the PEOPLE,” notes Charles. “It’s speaking and walking in your truth. It is not the uptight museum music that has become popular amongst our jazz elite of today but a space to be free and unapologetically Black.” The track appears on Charles’ first major label project, Y’all Don’t (Really) Care About Black Women, which is now set for release on November 12 via Verve. The forthcoming release is a love letter to the unheralded labor of Black women, containing reimagined works by Sarah Vaughan, Billie Holiday, Ella Fitzgerald, Abbey Lincoln, Dinah Washington and more. Most recently, Charles debuted her renditions of Sarah Vaughan’s “Detour Ahead” and Marlena Shaw’s “Woman Of The Ghetto” to critical praise; FLOOD Magazine proclaims, “Charles’ reimagination of Sarah Vaughan’s ‘Detour Ahead’ is an ode to resilience,” while Billboard declares, “Breathing new life into a 1960’s anthem for empowerment, Melanie Charles delivers a charged performance of Marlena Shaw’s ‘Woman of The Ghetto.’” Charles originally began developing the project in 2019 when she was approached by Verve to create a remix album using their back catalog. Her initial approach was to find songs that spoke to her with the intention of breathing new energy into them. She was immediately drawn to the voices of Billie Holiday and Sarah Vaughn, enabling her to reminisce about the tunes and voices that made her fall in love with jazz. By the time she was ready to start recording, the pandemic hit and Americans were in the throes of a racial reckoning sparked by the deaths of George Floyd, Breonna Taylor and countless others. Taylor’s death had an impact on Charles’ creative process. “I was rudely reminded that Black women are and always have been undervalued, uncared for, unprotected and neglected. It was at that point that I decided to focus on songs written and or sung by the Black women who paved the way for me,” recounts Charles. The resulting work comes together in Y’all Don’t (Really) Care About Black Women, featuring renditions of songs originally recorded by Vaughan, Ella Fitzgerald, Abbey Lincoln, Dinah Washington and more. On Y’all Don’t (Really) Care About Black Women, Charles leaves listeners with a powerful statement on what solidarity with Black women can look like. It includes not only care and attention to the everyday struggles that animate Black women’s lives, but also to the beauty and joy as well. At its core, the record is a call for a more intersectional vision of the world in which Black women can live more freely and express their full humanity. Melanie Charles is a Brooklyn-born singer, songwriter, bandleader, producer, actress and flautist of Haitian descent, with a creative fluidity spanning jazz, soul, experimental and roots music. Charles was raised by a Haitian mother in Brooklyn where the sound waves in their home was filled with artists like Johnny Hodges, Frank Sinatra, Chaka Khan, Anita Baker, John Coltrane and Nat King Cole. As a teen, she attended the famed LaGuardia High School for the Performing Arts where she studied flute and vocals. Eventually, she landed at the School of Jazz and Contemporary Music at The New School where she met artists like singer, songwriter and record producer Jesse Boykins III and alto saxophonist Lakecia Benjamin. Charles’ genre-bending style has been embraced by a wide range of artists including Wynton Marsalis, SZA, Mach-Hommy, Gorillaz and The Roots. Throughout her career she has remained committed to making music that pushes listeners to consider new possibilities, both sonically and politically. “Make Jazz Trill Again,” a project that she launched in 2016, demonstrates her allegiance to everyday people, especially the youth and is focused on taking jazz from the museum to the streets. Earlier this year, Charles’ Tiny Desk (Home) Concert debuted on NPR Music, who proclaimed, “Melanie Charles takes us on a journey that embodies the soul of jazz: exploration.” MELANIE CHARLES Y’ALL DON’T (REALLY) CARE ABOUT BLACK WOMEN 1. God Bless The Child 2. Perdido (Reimagined) 3. Detour Ahead (Reimagined) 4. All Africa (The Beat) 5. The Music is the Magic 6. Pay Black Woman (Interlude) 7. Woman Of The Ghetto (Reimagined) 8. Jazz (Ain’t Nothing But Soul) [Reimagined] 9. Go Away Little Boy 10. What A Difference (Reimagined) 11. Beginning to See the Light (Reimagined) MELANIECHARLES.COM EMERGING ARTIST MELANIE CHARLES’ RENDITION OF BETTY CARTER’S “JAZZ (AIN’T NOTHING BUT SOUL)” DEBUTS TODAY NEW ALBUM Y’ALL DON’T (REALLY) CARE ABOUT BLACK WOMEN OUT NOVEMBER 12 VIA VERVE PROJECT CONTAINS REIMAGINED WORKS BY BILLIE HOLIDAY, ELLA FITZGERALD, DINAH WASHINGTON AND MORE 1. Melanie Charles, Betty Carter - Jazz (Ain't Nothing But Soul) 03:06 “Melanie Charles takes us on a journey that embodies the soul of jazz: exploration.” October 20, 2021—Today, emerging artist Melanie Charles unveils her rendition of Betty Carter’s “Jazz (Ain’t Nothing But Soul),” a reminder of the lively spirit that lies at the heart of jazz music. As Charles puts it, “There’s a spectrum of what [jazz] sounds like, and what that looks like, which is really beautiful.” “‘Jazz (Ain’t Nothing But Soul)’ embodies my mission of ‘Making Jazz Trill Again.’ Written by Queens born Norman Mapp and sung by the iconic Betty Carter, it reminds us that despite the virtuosity Black American Music requires, it is quite simply for and by the PEOPLE,” notes Charles. “It’s speaking and walking in your truth. It is not the uptight museum music that has become popular amongst our jazz elite of today but a space to be free and unapologetically Black.” The track appears on Charles’ first major label project, Y’all Don’t (Really) Care About Black Women, which is now set for release on November 12 via Verve. The forthcoming release is a love letter to the unheralded labor of Black women, containing reimagined works by Sarah Vaughan, Billie Holiday, Ella Fitzgerald, Abbey Lincoln, Dinah Washington and more. Most recently, Charles debuted her renditions of Sarah Vaughan’s “Detour Ahead” and Marlena Shaw’s “Woman Of The Ghetto” to critical praise; FLOOD Magazine proclaims, “Charles’ reimagination of Sarah Vaughan’s ‘Detour Ahead’ is an ode to resilience,” while Billboard declares, “Breathing new life into a 1960’s anthem for empowerment, Melanie Charles delivers a charged performance of Marlena Shaw’s ‘Woman of The Ghetto.’” Charles originally began developing the project in 2019 when she was approached by Verve to create a remix album using their back catalog. Her initial approach was to find songs that spoke to her with the intention of breathing new energy into them. She was immediately drawn to the voices of Billie Holiday and Sarah Vaughn, enabling her to reminisce about the tunes and voices that made her fall in love with jazz. By the time she was ready to start recording, the pandemic hit and Americans were in the throes of a racial reckoning sparked by the deaths of George Floyd, Breonna Taylor and countless others. Taylor’s death had an impact on Charles’ creative process. “I was rudely reminded that Black women are and always have been undervalued, uncared for, unprotected and neglected. It was at that point that I decided to focus on songs written and or sung by the Black women who paved the way for me,” recounts Charles. The resulting work comes together in Y’all Don’t (Really) Care About Black Women, featuring renditions of songs originally recorded by Vaughan, Ella Fitzgerald, Abbey Lincoln, Dinah Washington and more. On Y’all Don’t (Really) Care About Black Women, Charles leaves listeners with a powerful statement on what solidarity with Black women can look like. It includes not only care and attention to the everyday struggles that animate Black women’s lives, but also to the beauty and joy as well. At its core, the record is a call for a more intersectional vision of the world in which Black women can live more freely and express their full humanity. Melanie Charles is a Brooklyn-born singer, songwriter, bandleader, producer, actress and flautist of Haitian descent, with a creative fluidity spanning jazz, soul, experimental and roots music. Charles was raised by a Haitian mother in Brooklyn where the sound waves in their home was filled with artists like Johnny Hodges, Frank Sinatra, Chaka Khan, Anita Baker, John Coltrane and Nat King Cole. As a teen, she attended the famed LaGuardia High School for the Performing Arts where she studied flute and vocals. Eventually, she landed at the School of Jazz and Contemporary Music at The New School where she met artists like singer, songwriter and record producer Jesse Boykins III and alto saxophonist Lakecia Benjamin. Charles’ genre-bending style has been embraced by a wide range of artists including Wynton Marsalis, SZA, Mach-Hommy, Gorillaz and The Roots. Throughout her career she has remained committed to making music that pushes listeners to consider new possibilities, both sonically and politically. “Make Jazz Trill Again,” a project that she launched in 2016, demonstrates her allegiance to everyday people, especially the youth and is focused on taking jazz from the museum to the streets. Earlier this year, Charles’ Tiny Desk (Home) Concert debuted on NPR Music, who proclaimed, “Melanie Charles takes us on a journey that embodies the soul of jazz: exploration.” For additional information on Y’all Don’t (Really) Care About Black Women, see Melanie Charles’ bio/artist notes HERE. MELANIE CHARLES Y’ALL DON’T (REALLY) CARE ABOUT BLACK WOMEN 1. God Bless The Child 2. Perdido (Reimagined) 3. Detour Ahead (Reimagined) 4. All Africa (The Beat) 5. The Music is the Magic 6. Pay Black Woman (Interlude) 7. Woman Of The Ghetto (Reimagined) 8. Jazz (Ain’t Nothing But Soul) [Reimagined] 9. Go Away Little Boy 10. What A Difference (Reimagined) 11. Beginning to See the Light (Reimagined) MELANIECHARLES.COM The Wonderful World of Louis Armstrong All Stars Set to Release A Gift to Pops: “Black and Blue” feat. Common Available Now Famed Rapper Addresses Racial Consciousness and Prejudice Over R&B-Flavored Groove: “My school of thought is Black openness/ to define and redefine what the culture is.” Co-Produced by Wycliffe Gordon, Nicholas Payton and Jackie Harris with Liner Notes from George Wein Album Available October 15 via Verve Records Check Out the Exclusive Premiere of “The Peanut Vendor” feat. Wynton Marsalis on WBGO While New Orleans native Louis Armstrong passed away in 1971 at the age of 69, today his legacy as the kingpin of jazz continues to grow. The most significant example of this is the ensemble The Wonderful World of Louis Armstrong All Stars, comprised largely of top-of-the-line Crescent City musicians paying tribute to him with the brilliant album A Gift to Pops. The inventive re-envisioning of music associated with the trumpeter/vocalist during his five-decade career features new arrangements and new performances of stalwart tunes ranging from the “The Peanut Vendor” (recorded by him in 1930) to “What a Wonderful World” (recorded in 1968 and the most successful tune of his career). Special guests include Wynton Marsalis and Common. Nicholas Payton—who arranged seven of the songs, plays emotive and thrilling trumpet with engaging solos throughout—takes the lead vocals on his modern arrangement of Fats Waller’s “Black and Blue” (available now), a tune about racial consciousness and prejudice that starts out wild and frantic before the bass and drums take it into an R&B-flavored groove. In the midst of the tune, Common delivers his rap poetry on the theme that includes lines such as, “Went through black and blue for the bright day,” and “My school of thought is black openness/To define and redefine what the culture is.” Co-producer Wycliffe Gordon comments: “Common added a different spin to the tune. It seemed like things we had talked about as a country had changed, but they didn’t, which is why this is important.” Harris adds: “We’re hoping Common will draw young people into Louis Armstrong. We’re out to make changes.” “We decided to make a recording that captures the essence of Pops,” says Gordon, who is well-versed in the music but is the only member of the band not born in New Orleans. “We wanted to perform the music the way he might have played it if he were still alive. We all had ideas for how to pull this off, by including songs influenced by gospel, the blues, the traditional brass band sounds, popular music and rap.” In the liner notes, impresario George Wein wrote: “With this recording, this music of Louis Armstrong demonstrates how he created the language of jazz and influenced all the music that followed—from swing to bebop and even to rap, as demonstrated by Common. But there’s one thing for sure: This band and record demonstrate that there was nothing common about Louis Armstrong.” The project emanated in 2018 by the Louis Armstrong Educational Foundation through the recommendation of Jackie Harris, executive director of LAEF, to celebrate the 50th anniversary of the New York organization founded in 1969 by Louis and his wife Lucille “to give back to the world some of the goodness he received.” Harris says the recording was a team effort started by the Foundation and the wonderful musicians who appear on this recording. “We wanted to make this recording of the major 20th century artist who instructs and intersects with artists of the 21st century,” says Harris. “All the musicians we asked to participate, even Wynton and Common, were honored to be a part of this. We allowed all the musicians to put their own signatures on the songs.” Harris notes that the 50th anniversary is a tad late, but other factors interceded, including the difficulty of recording during the pandemic and some artists living in different cities around the country and contributing in different studios. About the Louis Armstrong Educational Foundation: Founded by Louis and Lucille Armstrong in 1969, the Louis Armstrong Educational Foundation funds organizations that support jazz musicians, educators, and students. Mr. Armstrong, iconic trumpeter and singer, is the foundation of jazz and of American musical virtuosity in the 20th Century. His earliest recordings taught musicians how to improvise and sing jazz, blues, the American Popular Song and all styles of American vernacular music. His discoveries gave listeners around the world a new way to experience music, and his way of “being natural” in public created another understanding of what it meant to be human. Pops, his nickname which was also the name he called everyone, was a man of the people and all walks of life were given a seat of welcome at his and Lucille’s table. In addition to his legendary artistry, he established this foundation to ensure that future generations would be taught to play and appreciate the art of jazz. From 1943 to the end of his life, Mr. Armstrong was a resident of Corona, Queens, where he enjoyed traveling across the New York boroughs performing and listening to music. The Wonderful World of Louis Armstrong All Stars · A Gift to Pops Verve Records · Release Date: October 15, 2021

I hear voices in my head. I don't worry about it because that's where my ears are.

For Christmas I got a vacuum cleaner. I was drunk when I assembled it. Now it's an indoor leaf blower.

The travesty is that he was let out after a week.

They say that women love a man in uniform. It's true. The uniform sends the message that he has a job.

Monoprice DC Power Pigtail Female Plug - 49 cents ($3.86/89% off) https://www.amazon.com/dp/B004OCCARQ

Remember Slinky? Minutes of fun. Unfortunately, I grew up living in a one-story house. (I gave my four-year-old nephew a Slinky for Christmas!)

Sage advice: I always find money in pay phones. If I bring a screwdriver. (There's an oldie!)

Who was the wag who said, "The Les Baxter the better"?

I saw Broadcast News. His character was very dislikeable. He was so good, I disliked him ever since! RIP.

Tough as Nails: The Complete Cases of Donahue: from the Pages of Black Mask by Frederick Nebel https://www.amazon.com/Tough-Nails-Complete-Cases-Donahue/dp/1618270087/

There was a box set (I think released in the late '90s) of those early Byrds albums called The Byrds. I read that Hillman insisted that he be allowed to record over all the bass parts because he was unhappy that he was not allowed to be on them originally. When I read that, it was my understanding that he recorded over a lot of tracks, not just Mr. Tambourine Man.

I think men who have a pierced ear are better prepared for marriage. They have experienced pain, and have bought jewelry.

They were famously not allowed to play on their first album. Were they allowed to play on the others?

1. Sweet Sucker 2. Only Trust Your Heart 3. Easy Walker 4. The Way We Were 5. Lester Leaps In 6. Since I Fell For You 7. Sunny 8. Jean-Jaures Shuffle New from Houston Person HOUSTON PERSON LIVE IN PARIS HighNote Records HCD 7338 Houston Person is the real deal. With a lifetime of experience Houston continues to grace concert stages with his expressive style which stubbornly defies categorization. One moment he is letting loose with some hard-driving swing and the next he is caressing your ears with his mellifluous, baritonal utterances on a beautiful ballad. “I just play good music,” explains Houston. “I look for a great melody and great lyrics.” Houston's preoccupation with the art of melody is on full display in this superb concert captured during his appearance at the Festival Jazz a la Villette in 2019. This is Houston's first live recording in some time and it is quite an unforgettable experience, with the legendary man taking great care in putting just the right set list together for his audience, covering a wide variety of styles drawn from his remarkable career. Having recorded his first album as a leader in 1966 titled Underground Soul, coincidentally also an organ-tenor quartet, Houston Person has been a standard-bearer of so-called “soul jazz,” but that is a misnomer in his case. The truth is Houston plays soulful jazz rather than “soul jazz”; music that communicates with the listener and touches the heart. How appropriate it is then, that this live recording originates from Paris, also known as the “City of Love.” Like our stuff? Let’s hear from you. Record Company Contact Barney Fields • HighNote Records, Inc. jazzdepo@ix.netcom.com • (212) 873-2020 • www.jazzdepot.com 7338 Houst... 7338 Houst... Artist Title Time David Kikoski B Flat Tune 06:02 David Kikoski E 06:45 David Kikoski Fugue from “The Endless Enigma” 02:31 David Kikoski Strength For Change 09:32 David Kikoski Quartet #1 09:31 David Kikoski Satellite 06:33 David Kikoski Sure Thing 07:38 David Kikoski Winnie's Garden 08:39 David Kikoski Strength For Change - Edited for Radio (Radio Edit) 06:35 David Kikoski Quartet #1 - Edited for Radio (Radio Edit) 05:54 David Kikoski Sure Thing - Edited for Radio (Radio Edit) 05:34 David Kikoski Winnie's Garden - Edited for Radio (Radio Edit) 06:07 New from David Kikoski DAVID KIKOSKI - Sure Thing - with Boris Kozlov HighNote Records HCD 7336 David Kikoski, piano Boris Kozlov, bass The dynamic duo of pianist David Kikoski and bassist Boris Kozlov is a triumph of musicality and virtuosity. There's some kind of magic happening between the two kindred spirits that goes beyond the notes. The musical connection between the two goes back more than 20 years. They have continued to play together regularly over the years in groups like the Mingus Big Band, in Kikoski's own trio and the all-star post-bop cooperative Opus 5. You can feel their sense of telepathy throughout Sure Thing and it is readily apparent on Kikoski's original compositions like “B Flat Tune,” “E” and “Strength for Change,” on the swinging version of John Coltrane's “Satellite” and the duo's faithful reading of keyboardist Keith Emerson's classically influenced “Fugue” from “The Endless Enigma”. Their playful, relaxed chemistry permeates all eight tunes here and makes Sure Thing a true work of collaborative genius. Like our stuff? Let’s hear from you. Record Company Contact Barney Fields • HighNote Records, Inc. jazzdepo@ix.netcom.com • (212) 873-2020 • www.jazzdepot.com Artist Title Time Jeremy Pelt Griot Intro (words by Jeremy Pelt) 02:59 Jeremy Pelt Griot Words by Paul West (spoken) 00:59 Jeremy Pelt Griot Carry Christ Wherever You Are 06:55 Jeremy Pelt Griot Words by Larry Willis (spoken) 00:51 Jeremy Pelt Griot Underdog 04:35 Jeremy Pelt Griot Words by JD Allen (spoken) 01:03 Jeremy Pelt Griot Don't Dog The Source 06:55 Jeremy Pelt Griot Words by Bertha Hope (spoken) 00:58 Jeremy Pelt Griot A Seat At The Table (words by Bertha Hope) 03:00 Jeremy Pelt Griot Words by Harold Mabern (spoken - explicit content) 00:38 Jeremy Pelt Griot Solidarity 05:42 Jeremy Pelt Griot Words by Rene Marie (spoken - explicit content) 01:25 Jeremy Pelt Griot A Beautiful (f*cking) Lie 04:58 Jeremy Pelt Griot In Spite Of… (words by Warren Smith - explicit content) 01:18 Jeremy Pelt Griot Words by Ambrose Akinmusire 01:10 Jeremy Pelt Griot Relevance 04:44 New from Jeremy Pelt JEREMY PELT - Griot: This is Important! HighNote Records HCD 7341 Jeremy Pelt, trumpet Chien Chien Lu – vibraphone • Victor Gould – piano, nord keyboard Vicente Archer – bass • Allan Mednard – drums • Ismel Wignall – percussion • Brandee Younger – harp (track 13 only) It is only natural that Jeremy Pelt's voracious curiosity would lead him to investigate the West African Griot tradition where stories, reminiscences and accomplishments from times past are handed down as oral histories. Researchers such as Art Taylor, William Russell and Alan Lomax have preserved interviews with older jazzmen but for his Griot odyssey, Pelt turns to his own peer group to record their thoughts on creating jazz, playing jazz and experiencing the life of a jazz musician of color in our own time. Each brief interview is followed by a composition by Pelt which perfectly captures the sentiments and emotions of its spoken-word prelude. To help him bring his vision to life, Pelt has assembled a hand-picked group of colleagues, featuring vibraphonist Chien Chien Lu, pianist Victor Gould, bassist Vicente Archer, harpist Brandee Younger and others. The tunes themselves run the gamut from the remarkable mixing of the sacred and the secular in “Carry Christ Wherever You Are,” to the Monk-like gallumphing opening unison in “Don't Dog the Source,” and the urgent, “Underdog.” As Pelt himself says, “I want people to understand that this is for everybody,” that the project was undertaken to perhaps help them “understand that whatever they might be going through, their perspectives might run parallel to those of people who are generations apart from them. Maybe, to a certain extent, these younger people will find themselves in these stories.” Debuts This Week at Number 33 plus Increased Airplay on the JazzWeek Chart Like our stuff? Let’s hear from you. Record Company Contact Barney Fields • HighNote Records, Inc. jazzdepo@ix.netcom.com • (212) 873-2020 • www.jazzdepot.com Artist Title Time Black Art Jazz Collective Ascension 05:37 Black Art Jazz Collective Mr. Willis 04:16 Black Art Jazz Collective Involuntary Servitude 06:46 Black Art Jazz Collective Twin Towers 06:28 Black Art Jazz Collective No Words Needed 01:54 Black Art Jazz Collective Tulsa 06:32 Black Art Jazz Collective Iron Man 06:31 Black Art Jazz Collective For the Kids 05:34 Black Art Jazz Collective Birdie's Bounce 04:28 New from Black Art Jazz Collective Black Art Jazz Collective - Ascension • HighNote Records HCD 7329 Wayne Escoffery, tenor sax • Jeremy Pelt, trumpet • James Burton III, trombone Victor Gould, piano • Rashaan Carter, bass • Mark Whitfield Jr., drums The Black Art Jazz Collective was founded in 2012 by Wayne Escoffery and Jeremy Pelt with the aim of honoring and preserving the art of some of the progenitors of jazz who inspired them, hired them and mentored them first hand. And while the band does pay homage to the greats of the past they also continue the evolving tradition of jazz with a body of work that remains firmly entrenched in the modernism of today. From the angular melody of Escoffery's “Involuntary Servitude,” to the ingratiating groove of Pelt's “For the Kids,” the ensemble extends the range and potential established by their illustrious predecessors with innovative original compositions, solos that run the gamut from thoughtful to virtuosic and a shared sense of purpose that is unique on today's jazz landscape. Like our stuff? Let’s hear from you. Record Company Contact Barney Fields • HighNote Records, Inc. jazzdepo@ix.netcom.com • (212) 873-2020 • www.jazzdepot.com Attachments 7329 BAJC .. BAJC - dig..

Artist Title Time Richard Baratta Luck Be a Lady 04:12 Richard Baratta Everybody's Talkin' 04:33 Richard Baratta Alfie 06:37 Richard Baratta Chopsticks 05:24 Richard Baratta Theme from “The Godfather” 07:02 Richard Baratta Seasons of Love 05:36 Richard Baratta Come Together 05:38 Richard Baratta If I Only Had a Brain 07:18 Richard Baratta Peter Gunn 05:09 Richard Baratta Maria 03:57 Richard Baratta The Sound of Music 06:29 Richard Baratta Let The River Run 05:17 New from Savant Records RICHARD BARATTA - Music in Film: The Reel Deal Savant Records SCD 2186 Richard Baratta, leader, drums & percussion VINCENT HERRING - saxophones & flute • BILL O’CONNELL - piano PAUL BOLLENBACK - guitar (2, 5-7,11 & 12) • MICHAEL GOETZ - bass PAUL ROSSMAN - percussion (except 3, 8 & 9) • CARROLL SCOTT - vocal (6) Music in Film: The Reel Deal marks film producer and drummer Richard Baratta’s triumphant return to jazz after a 30+ year diversion, during which time Baratta became a celebrated film producer of Hollywood hits such as The Irishman, Joker and The Wolf of Wall Street. This album represents the coalescence of Baratta’s two seemingly disparate worlds, a celebration of cinema through the lens of jazz. While this album is Baratta’s proper debut studio recording, Baratta was born into a musical household in Poughkeepsie, NY, studied with jazz great Jack DeJohnette and cut his teeth with gigs in the Catskills before landing in Manhattan in the mid ‘70s. In NYC he forged associations with musicians like John Stubblefield, Vernon Reid and Hal Galper, embracing the lifestyle of a gigging jazz musician. However, the desire for career stability led to Baratta leaving the jazz scene for his first forays into the film industry. Baratta went from being a location scout for Desperately Seeking Susan to executive producer on 2019’s immensely popular and critically acclaimed Joker, being involved with more than 50 top films in-between, including Donnie Brasco, five Spiderman movies, Indiana Jones & the Kingdom of the Crystal Skull, and The Taking of Pelham 1 2 3. A gig at the famed Kaufman Astoria Studios in Queens, NY, rekindled Baratta's interest in performing and before he knew it he had a working band – the band heard here – and plenty of dates on the calendar. Featuring alto saxophone phenom Vincent Herring, guitarist Paul Bollenback and pianist / arranger Bill O'Connell the band burns, boils and cooks over a low flame on 12 tunes from classic soundtracks composed by Nino Rota, Burt Bacharach, Henry Mancini and others. Baratta says, “Being away as long as I've been away, and then to be in the fold with some of these amazing musicians I've been playing with, I'm like a kid in a candy store right now.” After hearing his Savant debut album, you'll probably develop a sweet tooth of your own for his music. Like our stuff? Let’s hear from you. Record Company Contact Barney Fields • Savant Records, Inc. jazzdepo@ix.netcom.com • (212) 873-2020 • www.jazzdepot.com 2186 Barat... 2186 Richa... Artist Title Time Alan Broadbent Trio 01. Wonder Why 03:52 Alan Broadbent Tio 02. I Hear You 05:32 Alan Broadbent Trio 03. Lennie's Pennies 03:05 Alan Broadbent Trio 04. Struttin' With Some Barbecue 03:19 Alan Broadbent Trio 05. Late Lament 05:58 Alan Broadbent Trio 06. Relaxin' at Camarillo 04:44 Alan Broadbent Trio 07. One Morning In May 06:18 Alan Broadbent Trio 08. I Love You 03:19 Alan Broadbent Trio 09. Lady Bird 03:24 Alan Broadbent Trio 10. Like Sonny 05:19 Alan Broadbent Trio 11. The Hymn 03:48 Alan Broadbent Trio 12. Moonstones 06:58 New from Alan Broadbent Alan Broadbent Trio - Trio in Motion Savant Records SCD 2188 Alan Broadbent, piano • Harvie S, bass • Billy Mintz, drums The Alan Broadbent Trio’s previous Savant release, “New York Notes” (SCD 2166), received rave reviews in the international press. The Guardian (UK) wrote, “The bubbling stream of notes is both unpredictable and inevitable, and following its twists and turns is a joy.” Couleurs Jazz (France) proclaimed, “Behold! A precious gem of a jazz recording.” “Trio in Motion” finds Broadbent, Mintz and Harvie S reunited in the pianist’s New York apartment-studio recording music that is spontaneous, surprising, possessing a sly humor and emotionally involving. Broadbent received his first Grammy award for When I Fall in Love (1997) and the second in 2000 for his arrangements for Shirley Horn’s Lonely Town, conducted by Leonard Bernstein. He collaborated with Natalie Cole (Unforgettable) and with the likes of Herbie Hancock, Sonny Rollins, Diana Krall and Paul McCartney. The setlist is a group of both familiar and seldom-heard works by Paul Desmond, Tadd Dameron, Lennie Tristano, Lil Hardin (Mrs. Louis) Armstrong and Broadbent himself. Each tune is imbued with a warm intimacy and the refreshing, slightly piquant glow of intensity which warms both the listener’s heart and mind. Like our stuff? Let’s hear from you. Record Company Contact Barney Fields • Savant Records, Inc. jazzdepo@ix.netcom.com • (212) 873-2020 • www.jazzdepot.com Artist Title Time JD Allen You’re My Thrill 09:33 JD Allen The G Thing 06:41 JD Allen Die Dreaming 05:58 JD Allen Red Label 06:30 JD Allen Toys 04:15 JD Allen I Should Care 05:09 JD Allen Elegua (the trickster) 07:00 New from JD Allen JD Allen - Toys / Die Dreaming • Savant Records SCD 2184 JD Allen, tenor sax • Ian Kenselaar, bass • Nic Cacioppo, drums AIRPLAY STARTS NOW – Suggested Radio Tracks Track 2 - The G Thing • Track 3 - Die Dreaming Track 4 - Red Label • Track 7 - Elegua (the trickster) TOYS / DIE DREAMING in The Wall Street Journal & The New York Times “Mr. Allen introduced his current trio, with Messrs. Kenselaar and Cacioppo, on 2019’s “Barracoon.” It provides an even more responsive vehicle for his thoughtfully calibrated expressions, accentuating his slow-burning intensity and his urgent yet always logical phrases. His occasional flurries of improvisation arrive like a smart boxer’s punches — with proper setup, impeccably timed for maximum impact.” - Larry Blumenfeld, The Wall Street Journal “On “Toys / Die Dreaming,” Allen’s latest album, his still-newish trio shows how much it has grown together since last year’s “Barracoon.” There’s a sense of historical unity in the saxophone playing of J.D. Allen: The elegance of Coleman Hawkins and the spiraling power of John Coltrane come together. The ludic energy of, say, Rahsaan Roland Kirk and the spry focus of Michael Brecker, too.” - Giovanni Russonello, The New York Times Like our stuff? Let’s hear from you. Record Company Contact Barney Fields • Savant Records, Inc. jazzdepo@ix.netcom.com • (212) 873-2020 • www.jazzdepot.com Attachments 2184 JD Al.. 2184 JD Al.. Artist Title Time Ray Mantilla Moondance 06:12 Ray Mantilla Dat Dere 05:22 Ray Mantilla Hit the Road Jack 05:25 Ray Mantilla Mia 07:30 Ray Mantilla Philly Mambo 05:31 Ray Mantilla Cumbia Jazz Fusion Experimental 05:48 Ray Mantilla Yuyo 04:37 Ray Mantilla Preciosa 05:48 Ray Mantilla Rebirth Bata Rumba Experimental 04:06 Ray Mantilla Rebirth 06:31 Ray Mantilla on Savant Records Ray Mantilla - Rebirth • Savant Records SCD 2181 Ray Mantilla - leader & percussion Ivan Renta – soprano & tenor saxophones • Jorge Castro – baritone saxophone & flute Guido Gonzalez – trumpet & flugelhorn • Edy Martinez – piano & Fender Rhodes Mike Freeman – vibes • Reuben Rodriguez – bass • Diego Lopez – drums Ray Mantilla was one of the true conga giants during the 1950s, 60s and 70s recording hundreds of album sessions and pioneering the use of unique combinations of latin percussion instruments. Among his most famous collaborations were with Charles Mingus, Herbie Mann and Max Roach. In 1977, Mantilla was selected by the great jazz ambassador Dizzy Gillespie to accompany him to Cuba as the first US band to visit the island since the travel embargo of 1962. Their joint concerts with Cuba's indigenous bands made musical and political history. For Rebirth, Mantilla surrounded himself with his long-time colleagues Edy Martinez, Ivan Renta, Guido Gonzalez, Diego Lopez and others, once again proving that the music he made came from his heart as well as from his lifetime of experience. Ray Mantilla was very insistent on titling this recording Rebirth. After a long illness the irrepressible Ray Mantilla passed away a few short months after completing the sessions for this CD. The music contained here is a fitting tribute to the man and the musician beloved by so many. Like our stuff? Let’s hear from you. Record Company Contact Barney Fields • Savant Records, Inc. jazzdepo@ix.netcom.com • (212) 873-2020 • www.jazzdepot.com Attachments RayMantill.. 2181 Ray M..

I just did my taxes, and I'm getting back $150,000. And people say you can't do your own taxes.

TTK, I love all five of The Byrds' first five albums. Did you take into consideration the recording dates? I wonder how the set would look if given the Mosaic chronological treatment.

"Other elements of the deal include: postseason expansion to 12 teams; advertisements on player jerseys and helmets; a designated hitter in the National League; implementation of a draft lottery; and a 45-day window for MLB to make rule changes -- among them a pitch clock, larger bases and a ban on shifts in the 2023 season." https://www.upi.com/Sports_News/MLB/2022/03/10/MLB-team-owners-players-agree-labor-deal-clear-path-for-162-game-season-baseball/5841646945788/

Artist Title Time JD Allen Three Little Words 02:56 JD Allen Wildwood Flower 04:40 JD Allen Maude 02:05 JD Allen O.T.R 02:59 JD Allen Retrograde 02:42 JD Allen Gem and Eye 02:44 JD Allen Mother 02:01 JD Allen Queen City 03:52 JD Allen Vernetta 02:30 JD Allen Kristian with a K 03:56 JD Allen Nyla's Sky 02:48 JD Allen Just a Gigolo 03:18 JD Allen These Foolish Things 03:41 New from JD Allen JD Allen - Queen City • Savant Records SCD 2194 JD Allen, solo tenor saxophone Like our stuff? Let’s hear from you. Record Company Contact Barney Fields • Savant Records, Inc. jazzdepo@ix.netcom.com • (212) 873-2020 • www.jazzdepot.com 2194 JD Al... 2194 JD Al...

Episode 23 https://artpepper.bandcamp.com/track/straight-life-episode-twenty-three-2 ***** Episode 24 https://artpepper.bandcamp.com/track/straight-life-audiocast-episode-24 ***** Vanguard Max (13:53) https://artpepper.bandcamp.com/track/march-freebie-vanguard-max