GA Russell

Artist Title Time Mick Rossi & Johnnie Valentino 01 SPORES 04:54 Mick Rossi & Johnnie Valentino 02 BEES ARE WALKING 06:04 Mick Rossi & Johnnie Valentino 03 HAZMAT WILL TRAVEL 03:55 Mick Rossi & Johnnie Valentino 04 Conversions With Kit 03:50 Mick Rossi & Johnnie Valentino 05 NACHO JONES 05:03 Mick Rossi & Johnnie Valentino 06 SEQUESTERED 04:17 Mick Rossi & Johnnie Valentino 07 SCRUPULOSITY 04:19 Mick Rossi & Johnnie Valentino 08 ERASER FOOT 04:18 Mick Rossi & Johnnie Valentino 09 QUARANTINI 03:35 Mick Rossi & Johnnie Valentino 10 WHAT NEXT 04:21 Mick Rossi & Johnnie Valentino "FALLOUT" Impacting: May 1 2020 Format(s): College, Jazz, Non-Commercial, NPR MICK ROSSI (keyboards, percussion, composer) Rossi’s career has long been defined by the inability to comfortably define him or his work. Performing diverse and progressive work rooted in the New York Downtown scene, he has performed in every major concert hall and arena in the world, including New York City’s MoMA, The Stone, the Knitting Factory, Carnegie Hall, Sydney Opera House, and as faculty member at The New School. He is a longtime member of the Philip Glass Ensemble as well as pianist and percussionist in Paul Simon’s band. He has appeared on eleven recordings with Philip Glass and eight with Paul Simon. Rossi has also conducted for Mr. Glass, including Book of Longing with Leonard Cohen and Dracula with the Kronos Quartet. He has worked with Dave Douglas, Renée Fleming, Eric Friedlander, Steve Reich, Carly Simon, Wadada Leo Smith, Sting, Foday Suso and Robert Wilson, among others. His newest recordings Live At Barbés, Drive, 160, and Cut The Red Wire are available. Johnnie Valentino is an American composer /guitarist and sound designer originally from Philadelphia who now lives in Los Angeles. He is known for his forward leaning approach to guitar that is as unique as it is colorful. His compositions are filled with soulful blends of driving grooves, gritty Americana, surging beats and sophisticated jazz harmonies. He has work on films such as Dirty Dancing, Entrapment, Wonder Boys, In Too Deep & Hurricane… plus, hundreds of children’s tv shows & commercials for Fox Family, Disney, Mattel, NBC, ABC, CBS etc… while still keeping a vigorous recording career with 10 solo recordings & dozens of sideman recordings including R&B hits: Eugene Wilde - Gotta Get You Home Tonight & Foxy Brown- Gotta Get You Home …He has collaborated & worked with Pat Martino, Alex Acuna, Alan Pasqua, Kermit Driscoll, Billy Drewes, Mick Rossi, Vinny Golia, Bob Sheppard, Wadada Leo Smith, Michael Pedicin, Erik Friedlander, Mike Sarin, Bennie Maupin, Gerry Hemingway, Oscar Brashear, Luis Conte, Alphonso Johnson, Russ Johnson, and Clayton Cameron. CONTACT: Johnnie Valentino johnnie@johnnievalentino.com Mick Rossi mick@mickrossi.com Attachments Mick_PaulS.. Jazz Baker.. FALLOUT - .. Back Cover

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Marcin Wasilewski Trio Recruits Tenor Saxophonist Joe Lovano for Arctic Riff, Available June 26 via ECM Listen Now to "Vashkar" from Arctic Riff The first-time creative teaming of Poland’s Marcin Wasilewski Trio and US tenorist Joe Lovano brings forth special music of concentrated, deep feeling, in which lyricism and strength seem ideally balanced. The alliance plays tunes by Wasilewski and by Lovano, as well as Carla Bley’s classic “Vashkar,” plus collective improvisations with strong input from all four players. Produced by Manfred Eicher, Arctic Riff was recorded at Studios La Buissonne in the south of France in August 2019. The album opens with Wasilewski’s rubato ballad “Glimmer of Hope” which, the composer explains, is “based mainly on one motive moving through some tonalities. I was very curious to hear how it would sound with Joe’s tone.” The piano gently prepares for the saxophone’s entry, and Lovano’s very first phrase – underpinned by Michal Miskiewicz’s soulful brushwork – establishes the sensitive atmosphere of intense listening that characterizes the session. Carla Bley’s “Vashkar” follows, a tune interpreted in many different ways over the last half-century. Wasilewski, who first heard it on the album Footloose by the Paul Bley Trio with Steve Swallow and Pete LaRoca, finds new possibilities inside the world that Carla Bley's theme opens up: “I really like Carla’s compositions, and I wanted to play 'Vashkar'’s beautiful melody with Joe.” Lovano bears down authoritatively on that melody before the Polish trio unravel some of its implications. The tenorist had performed Carla Bley’s music as a member of her band in 1983 and, in 1986, with Charlie Haden’s Liberation Music Orchestra, but the present recording marks a first encounter as player with “Vashkar.” “Cadenza” is the first, and at nine minutes the longest, of the collective pieces shaped in the moment on Arctic Riff. “On each of our recordings we’ve tried to explore musical areas that we haven’t documented before. There was no preconceived plan at all for the improvised pieces, but just as we were concluding a musical statement together on ‘Cadenza,’ I had the feeling that it might be good to take it a little further. In that second, I heard Manfred saying through the headphones, ‘Marcin, please continue.’ That was a special moment, and helped to make the whole thing, spontaneously, a better piece of art.” Wasilewski’s elegant ballad “Fading Sorrow” finds ways to keep the music fresh inside the song format. Slawomir Kurkiewicz’s bass feature here, soloing against Wasilewski's subtle chording and discreet drums, is a highlight. Kurkiewicz is also to the fore in the free piece “Arco” which, as its title implies, takes off from his bowed bass entry. “Free improvisation is a very rewarding experience based on mutual trust and openness,” says Kurkiewicz. “As a working trio we’ve played freely many times and It was so touching to see Joe jumping right in there with such directness and clarity. It is great to hear his voice in such a context.” Lovano’s strengths as a player include his enthusiastic capacity to embrace all the things that jazz has been, including its traditional, modern and experimental expressions. Lovano's sly, jaunty tenor sets up “Stray Cat Walk,” soon joined on its nocturnal prowl by Kurkiewicz's bass and Miskiewicz’s drums. Miskiewicz: “The beauty of Joe’s melodies and his amazing rhythmical flow encourage you as a musician to be more creative and spontaneous.” “L’amour fou” is a piece Wasilewski wrote to showcase Lovano’s skills in a fast tempo context; the working title was “Crazy for Lovo.” The tune’s author has a bright sparkling solo here, too, after which Lovano takes flight, buoyed by the spirited rhythm section, and Miskiewicz also has a brief, adroit solo. “A Glimpse” is a kaleidoscopic free miniature of shifting focus, highly alert throughout. Miskiewicz: “From my point of view it's necessary to be deeply concentrated on each single note, and to predict somehow what may happen in the next second, few seconds or sometimes imagine the whole sequence.” A second version of “Vashkar” grants more of the solo space to Lovano. Lovano: “’Vashkar’ is a beautiful, expressive piece of music. Each of the two versions has its own feeling, structure and exploration. I’m glad Manfred decided to include both takes. Carla’s music is inspired and inspiring – and I would say the same for the music we created on Arctic Riff.” Lovano wrote “On the Other Side” for the session, “as a contrast to Marcin’s compositions.” It’s a swinging free flowing piece with a specific sequence of events to be followed: “The drums set up the theme which is a question-and-answer exchange between the tenor and drums and the piano trio. A piano and drums duo follows, then adding bass into a trio moment without piano. Piano then re-enters, leading to the final theme with embellishments. The outcome was just what I was hoping for. “ And, finally, there is Wasilewski's “Old Hat,” a moving ballad in classic jazz style, with tender solos from both Wasilewski and Lovano, its title referencing both the nostalgic flair of the piece and Joe’s penchant for vintage headgear. * * * The Wasilewski Trio’s members have been playing together since high school days in Koszalin, Poland; the present line-up was established in 1993. Marcin Wasilewski, Slawomir Kurkiewicz and Michal Miskiewicz first recorded for ECM as members of Tomasz Stanko’s quartet on the album Soul of Things in 2001, soon followed by Suspended Night and Lontano. Previous ECM albums in trio format are Trio (2004), January (2007), Faithful(2011), and Live (recorded 2016, released in 2018). For Spark of Life (2014), the trio was joined by Swedish saxophonist Joakim Milder. Wasilewski, Kurkiewicz and Miskiewicz also appear on Norwegian guitarist Jacob Young’s album Forever Young (2013). Joe Lovano made his ECM debut in 1981 with Paul Motian’s Psalm. Further recordings with the Motian/Lovano/Frisell are It Should have Happened A Long Time Ago, I Have The Room Above Her, and Time And Time Again. Lovano has also recorded for ECM with John Abercrombie (Open Land, Within A Song), Marc Johnson (Shades of Jade, Swept Away), and Steve Kuhn (Mostly Coltrane). 2019 saw the release of two critically-acclaimed recordings with Lovano – Trio Tapestry, introducing Joe’s trio with Marilyn Crispell and Carmen Castaldi, and Roma, a live album with Enrico Rava, Giovanni Guidi, Dezron Douglas and Gerald Cleaver. Marcin Wasilewski Trio feat. Joe Lovano · Arctic Riff ECM · Release Date: June 26, 2020 For more information on Marcin Wasilewski, please visit: MarcinWasilewskiTrio.com | Facebook ‌ ‌ ‌ # # #

RIP Lee Konitz! This was one of my first jazz albums. I still think of it fondly.

Brian Andres Debuts New Trio Latino Project On "Mayan Suite," Set for May 15 Release by Bacalao Records Bay Area Drummer Recalibrates Approach to Latin Jazz Tradition with Five Covers, Five Original Compositions By Pianist Christian Tumalan & Bassist Aaron Germain April 15, 2020 Drummer Brian Andres unleashes an electrifying new project with the May 15 release of Mayan Suite, the inaugural recording of his Trio Latino, on Bacalao Records. Though it finds Andres stepping back from his longtime leadership of the eight-piece Afro-Cuban Jazz Cartel, the new trio (featuring pianist Christian Tumalan and bassist Aaron Germain) shows itself to be every bit as musically rich as the larger ensemble. What's more, the album's striking originals and zesty interpretations find the band equaling that richness with audacity. Indeed, Andres created the trio in the hope of finding just such an emboldened style. With fewer voices, he says, "There's much more space to explore, for creative expression, and with that freedom there's greater responsibilities for all three of us." In fact, Tumalan and Germain fulfill both their freedom and their responsibility in supplying all of Mayan Suite's original compositions. The pianist brings three -- including the title track, a five-part series of hard-grooving miniatures that packs fully realized statements as well as satisfying improvisations into a remarkable seven-and-a-half-minute journey. Yet Tumalan shows no less ambition in the adrenaline rush of "Viento Solar" or the wistful tenderness of "Si Tu Vez." Germain, meanwhile, presents dazzling, dancing Latin syncopation on "Escucha" and a light-stepping aura of mystery on "Higashi Nakano." L. to r.: Aaron Germain, Brian Andres, Christian Tumalan. That is not, however, to understate the merit of the musicians' playing. Andres, Tumalan, and Germain balance their considerable chops with invention and eloquence, whether on the thrilling originals or the fiery renditions of Chick Corea's "Got a Match?" and the standard "On Green Dolphin Street." It's not happenstance that all three are rhythm players: Trio Latino's prowess on Mayan Suite, collectively and as soloists, comes in the service of irresistibly kinetic grooves drawn from the Afro-Latin jazz canon. "Whether it's bomba or mambo, whether there's a hand drummer or not, those rhythms are represented," Andres says. "Aaron and Christian are steeped in those traditions. One of the things about this trio, I wanted us individually to have a voice of our own." Of that, Mayan Suite leaves no doubt. Brian Andres was born Nov. 7, 1968 in Cincinnati, Ohio to musical parents: His father played woodwinds, his mother piano and vocals. The younger Andres naturally followed their example, taking up the drums at the age of nine. He continued through high school and into the College-Conservatory of Music before beginning his most intensive education, playing the blues with Cincinnati Slim and the Headhunters. It was the first of many gigs, in many styles. Yet it was while hearing someone else's band -- a salsa band -- that Andres's life was changed. The neck- and shoulder-twisting polyrhythms took him over completely; he immediately formed his own Latin jazz outfit and began consuming the grooves wherever and whenever he could. He was particularly drawn to the concentration of musicians in the San Francisco Bay Area, one of whom, Paul van Wageningen, was so friendly and inspiring that Andres soon made the move to Northern California himself. It was there that Andres found his groove, so to speak. He jelled with Latin musicians of all stripes, found work in multiple projects, and fronted his own Afro-Latin Jazz Cartel -- with whom he recorded his first album, Drummers Speak, in 2007. He has continued at the head of the octet for over a decade: they have received critical acclaim, recorded two more albums (San Francisco, 2013; This Could Be That, 2016), and worked with the cream of the crop of Latin jazz talent in the Bay Area. The Cartel's rhythm section -- the nerve center of the band -- comprises Andres's Trio Latino. The smaller ensemble has taken on a life of its own, one which Andres has now documented with the recording of Mayan Suite. "Covid-19 and the resulting Shelter in Place order has made life very difficult for everyone," says Andres. "Many musicians, myself included, feel a profound sadness during this time, because we are deprived of our most cherished activity -- performing for an audience. Thankfully we can still connect with our instrument alone, in study and practice, which keeps the spirits up, but there is no substitute for performing. Because of this, Trio Latino is looking to do a live online performance sometime soon. We are working out the details now to be able to provide the best presentation possible." Photography: Ben Torres (trio), Javier Cabanillas (Andres) Brian Andres Trio Latino: Viento Solar Web Site: brianandres.com

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Jean-Louis Matinier accordion Kevin Seddiki guitar                                       Accordionist Jean-Louis Matinier has long been a creative presence on ECM recordings, heard on albums of Anouar Brahem, Louis Sclavis and François Couturier, as well as in duo with Marco Ambrosini. Now comes the first documentation of a new endeavour, with guitarist Kevin Seddiki, whose far-reaching musical imagination matches Matinier’s own. Sedikki, who makes his ECM debut here, studied classical guitar with Pablo Márquez and has also worked with many improvisers across the idioms, from jazz to transcultural projects. The range of music addressed on Rivages runs from the traditional “Greensleeves” to Gabriel Fauré’s “Les Berceaux” to compositions and improvisations by both of the protagonists. [ PREORDER ] Avishai Cohen trumpet, effects, synthesizer Uzi Ramirez guitar Yonatan Albalak guitar, bass Aviv Cohen drums Ziv Ravitz drums, live sampling “We’re all coming from jazz, but some of us left it earlier”, Avishai says, summing up the stylistic reach of his cohorts. “Everyone’s bringing in their backgrounds, and that becomes part of the sound of the band.” Textures from electronica, ambient music and psychedelia are part of the blend, so too grooves and beats from rock, pop, trip-hop and more. A wide-open approach is also integral to the Vicious vision. [ BUY ] Wolfgang Muthspiel guitar Scott Colley double bass Brian Blade drums                                            Wolfgang Muthspiel, whom The New Yorker has called “a shining light” among today’s jazz guitarists, returns to the trio format with Angular Blues, the Austrian’s fourth ECM album as a leader, following two acclaimed quintet releases and his trio debut. Like Driftwood – the 2014 trio disc that JazzTimes dubbed “cinematic” and “haunting” – Angular Blues finds Muthspiel paired with longtime collaborator Brian Blade on drums; but instead of Larry Grenadier on bass, it’s Scott Colley, whose especially earthy sound helps give this trio its own dynamic. Muthspiel alternates between acoustic and electric guitar and, along with his characteristically melodic originals – including such highlights as the bucolic “Hüttengriffe” and pensive “Camino” – he essays the first standards of his ECM tenure (“Everything I Love” and “I’ll Remember April”), as well as his first-ever bebop rhythm-changes tune on record (“Ride”). Angular Blues also features a single guitar-only track, “Solo Kanon in 5/4,” with Muthspiel’s electronic delay imbuing the baroque-like rounds with a hypnotic glow. [ BUY ] Carla Bley piano Andy Sheppard tenor & soprano saxophones Steve Swallow bass                                                “Musical mastery of a rare order” is how The Telegraph recently described the unique, collective sound of Carla Bley’s long-standing trio. This striking album of three suites of new music begins with a stoical blues, at first melancholic then hopeful. The second piece is full of plenty of Bley’s dark wit, and the third explores the notion of call-and-response. Throughout, Carla’s distinctive piano is beautifully framed by Swallow’s eloquent, elegant bass guitar and Sheppard’s yearning saxes. [ BUY ] Oded Tzur tenor saxophone Nitai Hershkovits piano Petros Klampanis double bass Johnathan Blake drums                                                This is the ECM debut of New York based, Tel Aviv born saxophonist Oded Tzur, a strikingly original player and musical storyteller. His graceful and fluid tenor sax sound has been influenced by studies with bansuri master Hariprasad Chaurasia, and the concept of raga is subtly embedded in his elegant compositions, played with verve and imagination by his outstanding Israeli-Greek-American jazz group. [ BUY ] © *2020 ECM Records US, A Division of Verve Music Group. All rights reserved.

Attachments trio-portr.. becoming-v.. becoming-c.. AH-press-0.. Release-do..

John Scofield Makes ECM Debut with Longtime Friend and Mentor Steve Swallow on Swallow Tales, Available June 5 via ECM Listen Now to "Hullo Bolinas" Guitarist John Scofield celebrates the music of his friend and mentor Steve Swallow in an outgoing and spirited recording, made in an afternoon in New York City in March 2019 – “old school” style as Scofield says, acknowledging that more than forty years of preparation led up to it. Scofield was a 20-year-old student at Berklee when he first met and played with bassist Swallow, and they have continued ever since, in many different contexts. “I love these songs,” says Scofield of the selection of Swallow compositions explored here – a broad range including tunes that have become standards, as well as some lesser-known works. The rapport between Scofield and Swallow is evident in every moment. Scofield: “Sometimes when we play it’s like one big guitar, the bass part and my part together.” Behind the drum kit, Bill Stewart is alert to all the implications of the interaction. “What Bill does is more than ‘playing the drums,’” Scofield says. “He’s a melodic voice in the music, playing counterpoint, and comping, while also swinging really hard.” The guitarist himself plays with fire and invention throughout: “These two giants bring out the best in me.” Swallow’s compositions, Scofield notes, “make perfect vehicles for improvisation. The changes are always interesting – but not too interesting! They’re grounded in reality with cadences that make sense. They’re never just intellectual exercises, and they’re so melodic. They’re all songs, rather than ‘pieces.’ They could all be sung.” Swallow Tales opens with “She Was Young,” a tune introduced on Steve Swallow’s ECM album Home in 1979, where it was indeed sung, by Sheila Jordan. A number of the tunes addressed here – including “Falling Grace,” “Portsmouth Figurations,” and “Eiderdown” – belonged to the 1960s repertoire of Gary Burton’s groups. Scofield, who had admired them from the outset, studied them with Burton and the composer in the early 1970s, by which point Swallow had made the transition from double bass to bass guitar, creating a new voice for himself on the electric instrument. When Scofield launched his own recording career, Swallow was in his trio (with Adam Nussbaum on drums). Touring widely the guitarist and the bassist fine-tuned their musical understanding, a process continued in many other configurations over the years. Scofield appeared on Steve’s XtraWatt album Swallow in 1991, for instance, and Swallow is on numerous Scofield recordings – including the recent Country For Old Men, which also featured Bill Stewart. A close associate since the early 1990s, drummer Stewart had played in Scofield's quartet with Joe Lovano, and gone on to join the guitarist in many journeys over varied musical terrain. John Scofield has recorded for jazz labels including Impulse, Blue Note, Verve, Emarcy and Gramavision. ECM appearances to date have been infrequent but distinguished; they include two albums with Marc Johnson’s Bass Desires group – Bass Desires (recorded 1985) and Second Sight (1987) – in which the guitarist shared frontline duties with Bill Frisell. On Shades of Jade (2004), a third Marc Johnson album, Scofield is heard alongside frequent colleague Joe Lovano. The live double album Saudades (recorded in 2004), meanwhile, features Scofield as a member of Trio Beyond, alongside Jack DeJohnette and Larry Goldings, reassessing the songbook of Tony Williams’ Lifetime. Swallow Tales is the first of his ECM recordings to feature the guitarist as bandleader. John Scofield on Swallow Tales: track-by-track She Was Young One of Swallow's most beautiful tunes, originally set to a Robert Creeley poem. There’s a great long coda, where we really stretch. Falling Grace Probably Steve's most famous tune and the form exemplifies Swallow’s preference for circular. Bill plays more straight eighths and Steve gives a great example of "broken time" bass playing that really cooks. Portsmouth Figurations I first heard this on Gary Burton’s classic Duster album when I was in high school. We free it up here on the guitar solo and go to some interesting places. Awful Coffee Swallow originally wrote this as an up-tempo tune but I slowed it down for this performance and Steve likes it. Eiderdown Swallow’s first composition! It’s been recorded often and it’s one of my favorite tunes to stretch out on. I think this version is particularly gritty and includes a great drum solo. Hullo Bolinas Steve wrote this lovely, tricky waltz when he left NYC to live in Northern California as a young man. One of Steve’s prettiest songs. Away A beautiful ballad that has a very short form and includes a written intro that is only played once. Very unusual. In F Here Steve borrowed the harmony from Cole Porter and wrote a head that features drum breaks. Bill, as usual, leaps to the occasion and kicks butt. Radio The harmony on this one is ridiculously hard to solo on but I’ve known it for 40 plus years so no excuses. This is another example of Steve’s “broken time” bass playing and Stewart sounds like he’s having fun breaking it up with him. Watch the Teaser for "Hullo Bolinas" John Scofield · Swallow Tales ECM · Release Date: June 5, 2020 For more information on John Scofield, please visit: JohnScofield.com | Facebook | Instagram For the Preferred Artist ‌ ‌ ‌ # # #

Hank Steinbrenner has died. RIP.

The XFL shut down late last week, and laid off everyone from top to bottom. Today they declared bankruptcy. Theoretically, someone can now come forward and buy it. https://www.espn.com/xfl/story/_/id/29022883/xfl-suspends-operations-league-finished-know-know https://3downnation.com/2020/04/10/xfl-suspends-operations-lays-off-all-employees/ https://3downnation.com/2020/04/13/the-xfl-files-for-bankruptcy-and-is-actually-for-sale/ https://www.tsn.ca/xfl2-we-hardly-knew-you-1.1465779 ***** Lirim Hajrullahu has signed with the LA Rams. https://3downnation.com/2020/04/13/canadian-kicker-lirim-hajrullahu-signs-with-los-angeles-rams/ https://www.tsn.ca/report-los-angeles-rams-sign-former-hamilton-tiger-cats-k-lirim-hajrullahu-1.1465715 ***** Ambrosie declared that the season will not begin before July. https://3downnation.com/2020/04/07/commissioner-randy-ambrosie-2020-cfl-season-wont-start-before-the-beginning-of-july-due-to-covid-19/ ***** I don't understand what he has on his mind, but Ambrosie says that some of the ballparks would not be operational in the December weather. https://3downnation.com/2020/04/11/some-cfl-stadiums-couldnt-function-in-december-randy-ambrosie/ ***** Armanti Edwards has signed with Edmonton. https://3downnation.com/2020/04/10/eskimos-sign-former-argos-receiver-armanti-edwards/ https://www.cfl.ca/2020/04/10/eskimos-sign-veteran-wr-armanti-edwards/ https://www.tsn.ca/edmonton-eskimos-sign-former-toronto-argonauts-wr-armanti-edwards-1.1465123 ***** And now for your little ones, you can download a Canadian league coloring book! https://www.cfl.ca/2020/04/08/cfl-introduces-colouring-book/ ***** The Quebec government is proposing the cancellation of all public events before Aug. 31. https://www.tsn.ca/quebec-calls-for-cancellation-of-all-sports-festivals-and-cultural-events-until-aug-31-1.1465148

RIP Clint!

Thanks!

Sounds good. Any of the Boston Blackie TV shows?

...and in 2020!

Artist Title Time Yosmel Montejo La Caliente 05:15 Yosmel Montejo Point Of View 06:15 Yosmel Montejo From Where 04:17 Yosmel Montejo Como Duele. 04:59 Yosmel Montejo Why Am I Here 09:18 Yosmel Montejo Dance On Blue 05:06 Yosmel Montejo Como Suena 04:43 Yosmel Montejo From I'll Tell You 04:52 Yosmel Montejo Octubre Por Tango 04:15 Yosmel Montejo Soy Yo 04:50 Yosmel Montejo "Red Suitcase" Impacting: April 7 2020 Format(s): Jazz FOCUS TRACK "LA CALIENTE" “I think it’s a very new, fresh, modern approach to our music.” -Poncho Sanchez Since his musical journey began in Cuba, Yosmel Montejo has been cultivating his skills, versatility, and unique musical approach since the age of 9. He made his mark as a bassist with Cuban headliners such as La Barriada, Haila Maria Mompie, and Afro Jazz artist Orlando Valles “Maraca.” Yosmel since then has performed globally in various genres of music with well-known artists including Colin Hay (Men At Work), Stanley Jordan, Kamasi Washington, Poncho Sanchez, Oscar De Leon, Luis Enrique, Nestor Torres, Oscar Hernandez, Danilo Perez, and Andres Levin. Yosmel's vast experience and technique has allowed him to compose and arrange his blend of Latin, Jazz, Funk, Rock, and Flamenco. This is notable not just in his sound but also in his work as a detail-oriented writer and producer for other artists. Known for his incredible work as a bassist, Yosmel created “The Red Suitcase” to share his writing and production talent as well. “The Red Suitcase” represents Yosmel’s journey as a musician, a journey that tells the story of a musician that is not confined to one genre or era but instead providing a rich fusion of genres and Cuban music. Both in recording and performing, Yosmel is most notably known for his mastery, passion, and a keen sense of musical style. With over 30 musicians from different backgrounds each bringing their own flavor and expertise, the album has something to offer to a wide range of audiences. These musicians are also artists that Yosmel personally wanted to introduce to the world. “There is a young generation of musicians that have a voice that needs to be heard. By featuring them, I also get to introduce Jazz and Cuban music in a new way,” says Yosmel. Keeping himself fresh and current, Yosmel is determined to share his love for music and stay true to his Cuban roots. Attachments COMO DUELE La Calient..

Artist Title Time Jerry Bergonzi 1 - It Might as Well Be Spring 07:37 Jerry Bergonzi 2 - Countdown 06:07 Jerry Bergonzi 3 - How About You? 05:37 Jerry Bergonzi 4 - Tectonic Plates 05:23 Jerry Bergonzi 5 - Nearly Blue 08:18 Jerry Bergonzi 6 - On Green Dolphin Street 04:51 Jerry Bergonzi 7 - We'll Be Together Again 04:49 Jerry Bergonzi 8 - While You Were Out 06:03 Jerry Bergonzi 9 - Nice Work If You Can Get It 08:19 Jerry Bergonzi 10 - Laura 07:26 New from Jerry Bergonzi Jerry Bergonzi - Nearly Blue Savant Records SCD 2180 A fount of harmonic ingenuity, melodic integrity, and rhythmic authority, Jerry Bergonzi has long been a standard-bearer of sorts for the jazz community. A prolific composer prone to taking deep dives that put serious theory into profound practice, his discography is filled with smart and imaginative originals that twist and turn in unexpected fashion. But a passion for standard gems of yesteryear, the lingua franca of jazz, also fires his creative impulses and figures into his work. In fact, the tried-and-true classics serve as a source of limitless potential for his horn. This follow-up to his Spotlight on Standards session once again features Bergonzi's slightly off-center take on the tenor-organ-drums trio format while the songs on this set list function as both reminders about Bergonzi's eminence in the jazz world and love letters from the man to the music. "I just adore the melodies of these tunes. I love standards. People always tell me, 'Man, you've got to make more records like this,'" Bergonzi says, "and I'm happy to oblige. I'm just delighted that Savant is totally behind me and this 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 Attachments booklet SCD 2180 J..

The Intimacy of Jazz in a time of Distance Please, Gather & Listen Falkner Evans - Marbles New York pianist Falkner Evans presents an intriguing & spirited set of original tunes just when his city needs music the most. His writing for the 3 Horn frontline balances the flexibility of a small group with the harmonic richness of a big band. Falkner displays an elegant & dynamic touch on the piano with alluring harmonies and melodic mysteries to explore. Each of his solos speaks eloquently in the language of a musical storyteller. The Band: Falkner Evans - Piano Michael Blake - Tenor, Flugelhorn Ted Nash - Alto Sax, Clarinet, Flute Ron Horton - Trumpet, Flugelhorn Belden Bullock - Bass Matt Wilson - Drums Steve Nelson - Vibes 1. Pina - 6:01 2. Civilization - 6:07 3. Sing Along - 6:30 4. Global News - 4:01 5. Hidden Gem - 5:16 6. This From That - 5:22 7. Mbegu 8. Marbles 9. Dear West Village 10. Things Ain't What They Used To Be All compositions by Falkner Evans except "Things Ain't What They Used To Be"

Preservation Hall Jazz Band "Keep Your Head Up [feat. Pell]" Impacting: April 28 2020 Preservation Hall Jazz Band’s “Keep Your Head Up,” is a spirited tune and a standout from their acclaimed A Tuba To Cuba documentary and soundtrack. The song was released in the spring of last year, with Cuban singer Eme Alfonso on the album version and in the official video. Later that summer, an update with rapper Pell was released for Penguin’s Original Tracks series and was performed on the streets of the artists’ hometown of New Orleans. Watch the video for "Keep Your Head Up [feat. Pell]" below: Last month as a Stay At Home order was declared in Louisiana, Preservation Hall Jazz Band’s Ben Jaffe began performing ‘Keep Your Head Up” every evening from his New Orleans home (and filming it on Instagram Live) encouraging his fellow citizens to participate by opening windows, hanging on their porches, in their backyards, and decks to make musical sounds and rhythms with pots, pans, instruments, and their voices. A daily, uplifting, 5-minute break from everything, bringing people together by connecting families with their neighbors, community through sound, and through music. Jaffe says of Pell’s contribution to “Keep Your Head Up,” “We couldn’t be more grateful to have a dear friend as talented and kind as Pell lend his spirit and voice to our song.” Pell offers this, "This song is more important than ever in reminding us to enjoy every day, despite how much uncertainty and adversity this global tragedy has brought upon us. Stay safe, inside, and keep your head up high. Love." Late last week, the Preservation Hall Foundation launched the Legacy Emergency Relief Fund. The fund provides grants to the Hall’s Musical Collective to help with vital living expenses resulting from loss of work due to the Coronavirus. Jaffe, who is also Preservation Hall Foundation’s creative director, had this to say, “The doors at Preservation Hall are closed for the foreseeable future and our 60-member Musical Collective is facing great uncertainty. We’re focusing all of our attention towards caring for our musicians in helping them weather the crisis.” The Musical Collective performs over 1,500 concerts at Preservation Hall, serves over 30,000 students through numerous education and community engagement activities and performs globally at major music festivals, theatres and performing arts centers throughout the year. None of what Preservation Hall does is possible without its Musical Collective and community. To learn more or to donate, please visit the Preservation Hall Foundation website: https://www.preshallfoundation.org/legacy-program-emergency-fund. WEBSITES: Artist Title Time Preservation Hall Jazz Band Keep Your Head Up [feat. Pell] 03:05

I had the Cannonball/Mendes shown at the top when I was a senior in high school, and loved it. I think I would still love it, except that I became tired of it because I played it so much.

Uh oh. The doctors now think the re-infection rate is much higher than they had believed. https://www.zerohedge.com/geopolitical/coronavirus-cases-pass-14-million-scientists-discover-reinfection-risk-patients-much (NB: This website allows real jerks to post comments.)

A man with suspected Chinese virus is lying in a hospital bed with a face mask on, waiting to be seen. A beautiful young trainee nurse comes to give the man a bed bath. The man asks, “Are my testicles black?" The nurse replies, “I'm here to give you a bed bath." The man asks again slightly more agitated this time, “Ok, but can you look to see if my testicles are black?” The nurse replies, “Sir, I'm only supposed to give you a bed bath - upper body and feet" The man, rather breathless by now, manages to ask one more time, “Please, are my testicles black?” The nurse looks at the man in sympathy, and not wanting the mans heart rate to increase or cause any more undue stress, she lifts up the man's gown, takes the man's member in one hand and his testicles in the other, leans in to inspect and says, “No, your testicles are not black.” The man sits up in his bed, removes his face mask, and says to the nurse... “Listen to me carefully. ARE MY TEST RESULTS BACK?”

Analyses Sask https://3downnation.com/2020/03/28/cfl-contract-lengths-saskatchewan-roughriders/ Winnipeg https://3downnation.com/2020/04/05/cfl-contract-lengths-winnipeg-blue-bombers/ https://www.cfl.ca/2020/03/29/upon-review-winnipeg-blue-bombers/ ***** But...Regardless of the contracts analyzed in the posts above, could everyone become a free agent if there is no 2020 season? https://3downnation.com/2020/04/06/all-cfl-players-could-become-free-agents-if-season-suspended/ ***** The league has postponed indefinitely the start of training camps. https://www.cbc.ca/sports/football/cfl/cfl-postpones-training-camps-covid19-1.5514697 https://3downnation.com/2020/03/30/cfl-training-camps-postponed-indefinitely/ ***** Reports say that Calgary and Ottawa are reducing their people's pay. https://3downnation.com/2020/03/30/cfl-training-camps-postponed-indefinitely/ https://3downnation.com/2020/04/05/redblacks-rollback-salaries-of-all-employees-report/ https://www.tsn.ca/ottawa-redblacks-to-roll-back-employees-salaries-by-20-1.1463383 ***** Reports say Montreal and Edmonton are laying some of their people off. https://3downnation.com/2020/03/31/alouettes-temporarily-laying-off-certain-administrative-employees-amid-covid-19-pandemic/ https://3downnation.com/2020/04/04/eskimos-layoff-front-office-football-operations-staff-amid-covid-19-pandemic/ https://www.tsn.ca/edmonton-eskimos-make-staff-lay-offs-amid-covid-19-1.1463213 ***** All public events in Toronto and Calgary have been cancelled until June 30. https://outlook.live.com/mail/0/search/id/AQQkADAwATE2MjgxLTg2OGYtNGQ3Yy0wMAItMDAKABAAtS6EYlPUSUCCUwpn5VUnPg%3D%3D https://3downnation.com/2020/04/03/calgary-mayor-naheed-nenshi-cancels-events-in-the-city-until-june-30-includes-stampeders-games/ ***** Here is an early prospect ranking. https://3downnation.com/2020/04/01/top-25-3downnation-2020-cfl-draft-prospect-rankings/ ***** Tim Petros has died at 58. RIP. https://www.cfl.ca/2020/03/30/cfl-stampeders-mourn-death-tim-petros/

RIP Al Kaline! He always appeared to me to be a real gentleman.

Gerald Beckett "MOOD" Impacting: March 16 2020 Format(s): Jazz Artist Title Time Gerald Beckett Down Low 06:16 Gerald Beckett Spirit Song 06:23 Gerald Beckett Doom 05:24 Gerald Beckett Club Raven 06:50 Gerald Beckett Waterfalls 06:37 Gerald Beckett Shacktown 04:16 Gerald Beckett Minor Funk 05:12 Gerald Beckett Ode To Ray Wood 07:56 Gerald Beckett John Neely-Beautiful People 05:32 I was struck immediately by the beauty of your tone. I thought of Hubert and Kent Jordan. - Tom Schnabel, KCRW's Rhythm Planet. This new Gerald Beckett is killin'! - Dr. Brad Stone, The Creative Source, SoulandJazz ============================= Gerald Beckett’s latest release is not only showcasing finely played covers but also features four original compositions that reflect some of his life experiences. An ensemble cast of San Francisco’s finest musicians accompanies Beckett as together they explore hard post bop and other compositions that will get the listeners’ feet tapping. Down Low- Gerald Beckett Composing this song brought to mind the many “juke joints” once owned by relatives and family friends. In my youth, these were meeting places for old and young. This is where I got to hear live music played by some very fine local musicians, who inspired me to want to play. Spirit Song – Kenny Barron This is another of many great songs written by Kenny B. and recorded by him in 1999 on an album with the same title. With its driving bass line and syncopated melody, it will surely make you want to groove along. Doom – Ron Carter Doom was written by Ron C. but when it was first recorded in 1965 with Miles, on his ESP LP, the title was changed to Mood, maybe because Miles added his own melody over the original composition. On Ron’s second album as a leader, Uptown Conversation, in 1969 produced by Herbie Mann, he recorded it as Doom. This jazz waltz has a very simple but haunting melody. The title of my CD is a reflection of the songs two names. John Neely-Beautiful People – Harold Mabern This hard swinging song, recorded in 1970 on Mabern’s album Greasy Kid Stuff, in my opinion should be a jazz standard. I didn’t discover it until 1991, one day while driving. It is a song I wanted to record years ago and now I’ve finally gotten the chance. Club Raven – Gerald Beckett The Raven, a nightclub from bygone days, in my hometown of Beaumont, TX, was part of the “Chitlin Circuit” in the 50’s. Greats such as, B.B. King, Bobby “Blue” Bland, Muddy Waters, and many others performed there regularly. The now famous blues guitarist Johnny Winter, from Beaumont, used to sit in with B.B. King when he was young. My father, in his early 20’s, worked there part- time at night. Club Raven is a tribute to what must have been a great scene for music. Waterfalls – Wynton Marsalis A young Wynton, in January of 1982, performed this song live with Art Blakey at the famed Keystone Korner in San Francisco. Though originally written for trumpet, alto and tenor sax, I recorded with alto flute, C flute, and tenor. This song, written in 12/8, has a Latin feel with interesting harmonies and counter melody lines. The solos go from Latin to a fast double time swing feel. A very well thought-out song making it yet another of the many great ones written by Wynton. Shacktown – Gerald Beckett When I attended University of North Texas this was the name of a predominately African American neighborhood. To make a long story short, back in 1923 the city passed the “City Beautiful Movement” initiative which forced black inhabitants to move out of their neighborhood, called Quakertown, to an area near the city’s sewer disposal system so that people wouldn’t have to drive through Quakertown to get to the new and expanding Texas Women’s University. The city desire to turn this area into parks and land for college use, resulted in mass displacement. This song reflects my memory of Shacktown during my time at UNT. Minor Funk – Cyrus Chestnut This 14 bar fast swing song, which appears on the great pianist Cyrus Chestnut’s album Soul Food in 2001, gives the band a chance to stretch out at break neck speed. It also features the talented drummer Greg German. Ode to Ray Wood – Gerald Beckett Raywood, TX is named after a person named Raymond Wood. For me Raywood, located 35 miles from my home of Beaumont, TX, is a place where we frequently visited most of my mother’s relatives. Located off Hwy 90 at JCT FM 160 on a road about half a mile long as you crossed the railroad tracks, were homes of aunts, uncles, and cousins. After dark, with no street lights, all you could see were stars and all you could hear the deafening sounds of frogs, crickets, and the occasional trains going by. This song is dedicated to that memory.