GA Russell

Artist Title Time Pete Rodriguez I Like It Like That (Uproot Andy Remix) 03:55 Pete Rodriguez I Like It Like That (Album Version) 04:25 Pete Rodriguez “I Like It Like That” (Uproot Andy Remix) Originally Released In 1967, The Pete Rodriguez Masterpiece Includes Timeless Tropical Anthem “I Like It Like That” Released by Alegre Records in 1967, this was the fifth album by pianist and bandleader Pete Rodriguez. Marking the heyday of the Latin boogaloo movement in New York, the title track became the genre’s anthem and one of the most iconic dance hits in the history of Latin American music. “I Like It Like That” was sampled and served as the basis for the global mega-hit “I Like It,” released in 2018 by Cardi B with Bad Bunny and J Balvin. Today, Craft Latino releases a remix of “I Like It Like That” by DJ Uproot Andy, which updates the original’s timeless mystique through the use of contemporary beats to create a rump shakin’ dance floor burner. Fania also features Pete Rodriguez and other Latin boogaloo artists in a new playlist, Boogaloo – Fania Essentials.

Self-Titled Debut from ARTEMIS July 22, 2020 – Pre-Order + IG 1 “Goddess of the Hunt” August 7, 2020 – IG 2 “If It’s Magic” August 28, 2020 – IG 3 “Big Top” September 11, 2020 – Album Release + CD & Vinyl 12” 1. Artemis - Goddess Of The Hunt 07:24 2. Artemis - Frida 07:20 3. Artemis - The Fool On The Hill 06:12 4. Artemis - Big Top 05:01 5. Artemis - If Its Magic 03:27 6. Artemis - Nocturno 05:27 7. Artemis - Step Forward 06:25 8. Artemis - Cry Buttercup Cry 05:29 9. Artemis - The Sidewinder 05:05 ARTEMIS is a supergroup comprising seven of the most acclaimed musicians in modern jazz. Featuring pianist and musical director Renee Rosnes, tenor saxophonist Melissa Aldana, clarinetist Anat Cohen, trumpeter Ingrid Jensen, bassist Noriko Ueda, drummer Allison Miller, and featured vocalist Cécile McLorin Salvant, ARTEMIS conjures a powerful collective voice. The group is distinctive not only for bringing together seven singular artists, each renowned for their own remarkable solo career; but for its multi-generational and globe-spanning line-up, with members hailing from the US, Canada, France, Chile, Israel, and Japan. The band’s self-titled debut album is a superb nine-song set that features material composed and/or arranged by each of the band’s six instrumentalists. ARTEMIS unfurls with a dynamic flow, stunningly eclectic yet entirely cohesive. “On a sunny August afternoon in 2018, I was among the thousands of fans attending the Newport Jazz Festival who had their minds blown by ARTEMIS,” says Blue Note President Don Was. “Although each individual member of this supergroup is a bona fide jazz titan, these incredible musicians dwell in the rarefied air of bands whose whole is greater than the sum of its already sublime parts. Their musical conversation is sophisticated, soulful and powerful and their groove runs deep.” Tracklisting: 1. Goddess of the Hunt 2. Frida 3. The Fool On The Hill 4. Big Top 5. If It’s Magic 6. Nocturno 7. Step Forward 8. Cry Buttercup Cry 9. The Sidewinder UPCs: Standard Digital Album: 00602508937354 MFIT Digital Album: 00602508937361 HRA Digital Album: 00602508937378 CD: 00602508937385 Vinyl: 00602508937408 Proudly presented by Blue Note Records: Don Was, Rachel Jones, Cem Kurosman, Justin Seltzer, Melissa Cohen and Alex Anastasi.

Artist Title Time Antonio Adolfo Fe cega faca amolada (Blind Faith, Sharp Knife) 04:47 Antonio Adolfo Nada sera como antes (Nothing Will Be As It Was) 05:14 Antonio Adolfo Outubro (October) 05:38 Antonio Adolfo Cancao do Sal (Salt Song) 03:34 Antonio Adolfo Encontros e Despedidas (Encounters And Farewells) 05:29 Antonio Adolfo Tres Pontas 05:18 Anton Cais (Harbor) 06:13 Antonio Adolfo Caxanga 04:56 Antonio Adolfo Tristesse (Sadness) 06:34 Antonio Adolfo "BruMa: Celebrating Milton Nascimento" Impacting: June 22 2020 Format(s): Jazz ANTONIO ADOLFO is one of the premier pianists, composers, and arrangers to emerge from Brazil. A multi Latin Grammy and Grammy nominee, Adolfo is an internationally recognized Latin jazz star. A prolific recording artist, Adolfo is now releasing BruMa: Celebrating Milton Nascimento. After over 50 years of friendship and admiration, Antonio Adolfo has decided it was finally time to dedicate an album to Milton Nascimento. “His compositions broke traditional harmonic and rhythmic patterns, with his modalism and some natural rhythmic meters, all in a spontaneous, intuitive and natural way,” says Adolfo. Although Adolfo admires Nascimento’s beautiful melodies and interesting harmonies, he is an artist with his own vision and approach. He brings something new and different to each of these compositions. With his lush, soulful arrangements, Antonio Adolfo has taken Milton Nascimento’s music and made it truly his own. BruMa: Celebrating Milton Nascimento is more than an homage to the famous composer. It is a beautiful, artistic statement from a prolific and formidable composer/arranger and a renowned keyboardist in his own right. with ANTONIO ADOLFO piano JESSE SADOC trumpet and flugelhorn MARCELO MARTINS alto flute, tenor sax DANILO SINNA alto sax RAFAEL ROCHA trombone CLAUDIO SPIEWAK electric guitar (1,2,4,6), acoustic guitar (3,4,5,9), percussion (4) LULA GALVAO guitar (7,8) LEO AMUEDO guitar (9) JORGE HELDER double bass RAFAEL BARATA drums and percussion DADA COSTA percussion (1,2,6,7,8) ANDRE VASCONCELLOS double bass (2) Produced and Arranged by ANTONIO ADOLFO All songs by MILTON NASCIMENTO & partners BruMa: Celebrating Milton Nascimento 1. FE CEGA, FACA AMOLADA 4:47 (feh seh-gah fah-kah ah-moh-la-da) (Blind Faith, Sharp Knife) 2. NADA SERA COMO ANTES 5:14 (nah-dah sera como ahn-tiss) (Nothing Will Be As It Was) 3. OUTUBRO 5:38 (ou-too-bro) (October) 4. CANÇÃO DO SAL 3:34 (kahn-sohn doo sahl) (Salt Song) 5. ENCONTROS E DESPEDIDAS 5:29 (en-kohn-trous eh dess-peh-dee-dass) (Encounters and Farewells) 6. TRÊS PONTAS 5:18 (treys pontass) 7. CAIS 6:13 (kah-eez) (Harbor) 8. CAXANGA 4:46 (kah-shang-gah)a 9. TRISTESSE 6:32 (trees-teh-seh) (Sadness)

Artist Title Time John Lake The Bet 06:30 John Lake Nightwatch 05:48 John Lake Ladybird 07:20 John Lake Whelmed 04:50 John Lake Intro To Pearls (feat. Steven Feifke) 01:41 John Lake Pearls Of The Tartar 04:39 John Lake A Shade Of Jade 06:42 John Lake Seven Angels 07:06 John Lake Signal Changes 06:13 John Lake cloud_down 04:02 John Lake Everything I Love 03:46 John Lake "Seven Angels" Impacting: June 15 2020 Format(s): Jazz “Trumpeter John Lake presents a striking album introducing his multi-talents as composer, arranger and soloist. The outstanding program of unique originals and transformed classics showcases a dynamic band with first-rate soloists sharing a conceptual vision, giving a remarkably seasoned sound to this fresh new project." – Grammy-nominated trombonist, bandleader and arranger John Fedchock Featured on New Music Monday by Jazziz For Immediate Release — Seven Angels, due out June 26, 2020, is the sensational debut recording by New York trumpet player and composer John Lake. An up-and-coming instrumentalist known for his large-ensemble and session playing, Lake puts a bold foot forward with this independent release, a diverse mix of contemporary originals and modern arrangements of select jazz classics. Since moving to Brooklyn from the Midwest seven years ago, Lake has gained a reputation as a lead trumpeter of formidable prowess. But he always had plans to grow his own voice as a player/composer. “Seven Angels, to me, represents this idea that we each have a circle of ‘guardian angels’ guiding us in our life’s journey. They could be your artistic influences, your teachers, an encouraging family member, or even, in an abstract sense, some greater force watching out for you, providing opportunities or ideas when the time is right. I really believe there’s a right time and place for everything, and felt that this collection of compositions and musical relationships I’d developed needed to be shared.” “Each song has its own story as it relates to my time learning to play in New York City, being influenced not only by my midwestern roots, but also by the stunning array of musicians now surrounding me.” The title track evokes a calm assuredness, a “cautious optimism” as Lake puts it. “I wrote this around the time that I really felt that I was starting to have something to say…that I knew who I was as a composer and performer. It’s cooled out, it’s alternately dark and simmering, without being too rowdy. I love to work in subtlety.” Lake’s love of hard-bop is represented in part by “Pearls Of The Tartar,” an original composition dedicated to Horace Silver. “Horace died in 2014, right after I started playing in New York. I loved that he always featured the trumpet in his groups, and wrote beautifully unique tunes with such grooving simplicity. I tried to capture some of his trademark funkiness and fantastic, swinging part-writing.” Pianist Steven Feifke’s introduction sets a mysterious tone, quickly falling into a swirling tumult of crashing waves, before the band clears the air with a quirky, grooving affirmation of mambo swing. Of his tenor saxophonist foil, Lake says, “Paul Jones just has the most incredible, deep sense of sound and phrasing. It’s truly a joy to play melodies with somebody who listens like he does. I knew he would grab the counter-lines on this tune perfectly, putting his vibe on it so that it’s better than what was on the paper.” Lake also pays tribute to tenor saxophone icon Joe Henderson with his sextet arrangement of “A Shade Of Jade,” adding the blistering alto saxophone voice of Michael Thomas to the ensemble. “I had a few tunes that I wanted to do as a sextet, again, going back to my love of horn bands like Horace’s, and also Art Blakey, and Michael was the perfect addition. Joe Henderson’s compositions have always captivated me – he uses such luminous and colorful harmonies, and it was natural to feature the saxophonists on that tune. I had an Afro-Latin composition of my own, ‘Signal Changes,’ that really needed a third voice to make the melody sparkle.” Veteran drummer Jeff Davis commands the time with authority, while Marcos Varela’s buoyant bass tones support the off-set melody from the horns. Despite his nostalgia for hard-driving post-bop of the 1960s and ’70s, Lake is not interested in merely recreating the past. Perhaps the most engaging compositions on the recording are a quartet of modern originals, starting with the first track, “The Bet,” inspired by (and named after) the short story by Anton Chekhov. “I was sitting inside one day, just a couple weeks before the recording took place, and I knew the record needed something modern: a vaulting melody, lots of rhythmic agitation, complex shifting harmonies…but, it had to tell a story, to have an arc. I had been putting off writing this song, because I was intimidated by what it needed to be, and I felt sort of trapped in my apartment, self-sequestered, that I could not leave until I wrote this song. Then I thought of that Chekhov story, about self-imprisonment, and a melody started to crystallize for me. So, finally I sat at the piano, and in a couple hours I had the entire composition.” Other originals include the ethereal “Nightwatch,” the breakbeat-inspired “cloud_down,” and the prepared chaos of “Whelmed,” each of which the sidemen interpret with laudable grit and finesse. Of the sidemen, Lake says, “I’m so happy with the band on this album. They are such capable musicians, each of them, to navigate all these diverse styles of music. They’re not content to simply execute what I wrote. They push the compositions to a higher level, and also push me beyond what I thought was possible for my own playing. These are some of the most talented players of our generation here in New York, and I’m honored to have them on the album.” But Lake wasn’t always this optimistic about his future in jazz music. Before moving to New York in 2013, he struggled with being on what felt like the fringes of the jazz community. “Going to jazz school is a singular experience – even though I went to two of them! You’re learning the building blocks, but sometimes you feel cut off from putting them into practice. I received an excellent education, had some incredible teachers and relationships, and I wouldn’t exchange those for anything. But living in smaller cities like Cincinnati and Denver, and being in school all day, I did feel like I was missing out on the ‘jazz life’ of bigger-city musicians. Going to different gigs every other night, seeing the greats play all over town, doing tours; that sort of thing. And people told me ‘New York is too crowded; you’ll never get work.’ That couldn’t have been further from the truth.” Since moving to New York, Lake says he’s found a community of passionate artists who are not only deeply skilled as musicians, but who generously donate their time and energy for the common cause; a love of music. “I can put a session together tomorrow, with top-rate musicians who I maybe haven’t even met. Everybody just wants to play. The environment is so positive towards making music – it’s like living at a summer jazz camp, every single day. I’ve been so inspired by seeing people manifest their dreams here, I really feel that the time for me to stand up and introduce myself is now.” And if this ambitious release is any indication, he’ll have much more to say. John Lake on the web: Official Site: johnlakejazz.com Attachments Headshot 2 Headshot 1 Seven Ange..

Artist Title Time Melody Gardot From Paris With Love 04:49 Melody Gardot “From Paris With Love” DIGITAL SINGLE RELEASE 19 JUNE 2020 Melody’s call out to fans in May for a global, virtual campaign was answered by hundreds of fans across the world. The internationally acclaimed singer invited fans to take part in the chance to perform in place of a standard orchestra on her eagerly-awaited new single, entitled ‘From Paris With Love.’ The campaign received entries from over 400 musicians and 1000 submissions for the visual element of the campaign. The final selection sees string and woodwind players represented from over 15 different countries.

Bob Dylan: Rowdy and Rowdy Ways Rough and Rowdy Ways marks Dylan's first release of entirely new material since 2012's Tempest. The 10-track release features previously-released singles “Murder Most Foul,” “False Prophet,” and “I Contain Multitudes.” The release closes with the 17-minute long “Murder Most Foul,” a reflection on the assassination of John F. Kennedy. "It's a moody, reflective, meditative, befuddling, funny and awe-inspiring turn for the Nobel Prize winner." -- Scott Bauer, Associated Press. Format: Audio CD SKU: 73AQX UPC: 194397809824 Street Date: 06/19/20 OLDIES.com Price: $14.50 PURCHASE NOW Click HERE to Browse ALL CDs from Bob Dylan Bob Dylan: False Prophet BESTSELLERS on AUDIO CD from Bob Dylan Bob Dylan: His Classic Debut Album (Audio CD) Only $6.78 List Price: $11.98 You Save: $5.20 (43%) Purchase Now Bob Dylan: Greatest Hits (Audio CD) Only $9.98 Purchase Now Copyright © 2020 OLDIES.com, All rights reserved.

UNHEARD THELONIOUS MONK RECORDING OF A SURPRISE 1968 HIGH SCHOOL PERFORMANCE FINALLY SET FOR RELEASE PALO ALTO JULY 31, 2020 IMPULSE RECORDS Listen to the first single “Epistrophy” https://TheloniousMonk.lnk.to/EpistrophyVideoPR. June 19, 2020 (New York, NY) – In the fall of 1968, a sixteen-year old high school student named Danny Scher had a dream to invite legendary jazz pianist and composer Thelonious Monk and his all-star quartet to perform a concert at his local high school in Palo Alto, CA. In a series of twists and turns, against a backdrop of racial tension and political volatility, that concert happened and was recorded by the school’s janitor. Palo Alto is set for release on July 31, 2020 on legendary jazz label Impulse! Records – marking Thelonious Monk’s posthumous debut on John Coltrane’s label home. “That performance is the one of the best live recordings I’ve ever heard by Thelonious,” says T.S. Monk, son of the pianist/composer maestro, drummer and founder of the Thelonious Monk Institute. “I wasn’t even aware of my dad playing a high school gig, but he and the band were on it. When I first heard the tape, from the first measure, I knew my father was feeling really good.” The vibrant 47-minute album spotlights Monk’s steady touring band (tenor saxophonist Charlie Rouse, bassist Larry Gales, drummer Ben Riley) and features his touring repertoire, which were his finest compositions. 1968 was a tumultuous year in America, marked by the assassinations of Martin Luther King, Jr. and Robert F. Kennedy, unsettling revelations about the Vietnam War, and protests and unrest throughout the country. Palo Alto and the primarily African-American neighboring town of East Palo Alto were no different. This was the stage for young high school student Danny Scher, a jazzhead with an idealistic bent and knack for concert promotion (who later on became a well-known promoter who worked with legendary San Francisco rock promoter Bill Graham.) Scher says, “I always looked at music as a way to put issues on hold or up to a mirror, whether they be political or social. On October 27, 1968, there was a truce between Palo Alto and East Palo Alto. And that is what music does.” In 1968, Thelonious Monk was in many ways at the pinnacle of his career – his quartet was at its best musically, and he was still riding high in the public eye after he appeared on the cover of TIME Magazine a couple years prior. However, behind the scenes finances were rough and his health was in bad shape. When he got a call in the middle of his three-week run at the Jazz Workshop in San Francisco, he listened to the teen on the other end of the receiver. Perhaps he was moved by the young promoter’s gumption. On October 27, 1968, Thelonious Monk and his quartet – Charlie Rouse (tenor sax), Larry Gales (bass), and Ben Riley (drums) – climbed out of the Scher family van, walking past a rainy parking lot full of surprised Palo Alto and East Palo Alto residents, into Palo Alto High School’s auditorium and delivered a stellar, energetic and historic 47-minute set. Included in the mix is Monk’s lyrical love song “Ruby, My Dear” (Rouse boldly blowing the melody with Monk comping in his unique oblique way then taking the lead with a dazzling solo); the dynamic and spirited “Well, You Needn’t” taken for a 13-minute ride with solos by all members; the pianist’s captivating solo reading of “Don’t Blame Me” by Jimmy McHugh; an epic dance through “Blue Monk”; and a playful charge through “Epistrophy.” The show ends with a truncated encore of Monk slowly striding through the 1925 Tin Pan Alley hit tune by Rudy Vallee, “I Love You Sweetheart of All My Dreams” and after a standing ovation saying his goodbye because they had to leave to make their San Francisco date that evening. (Photo Credit: Lee Tanner) The concert was quite impressively recorded by Palo Alto High School’s janitor, and the tape sat in the attic of Scher’s family home for years. When he contacted T.S. Monk to release it, they chose legendary label Impulse! Records, the label home of John Coltrane, known as “the house that Trane built.” The relationship between Thelonious Monk and John Coltrane is well documented and historic, so it is particularly appropriate that almost forty years after his death, Monk finally makes his Impulse! debut with Palo Alto. Palo Alto is the first of multiple planned joint releases over the next five years from Impulse! Records in conjunction with the Monk estate’s Rhythm-A-Ning Entertainment led by T.S. Monk. Palo Alto – Thelonious Monk Ruby, My Dear Well, You Needn’t Don’t Blame Me Blue Monk Epistrophy I Love You Sweetheart of All My Dreams About Impulse! Records: For nearly sixty years, Impulse! Records has stood as a label of musical integrity and lasting cultural significance. Known as the “house that Trane built” in honor of its best-selling artist John Coltrane, the label produced music exciting in its experimental charge, and spiritual in its priority. Sonny Rollins, Quincy Jones, Max Roach, Ray Charles, Alice Coltrane, Keith Jarrett, Charles Mingus, Sun Ra, and Pharoah Sanders were but a few of the legendary musicians who helped define the label's sound and message. To this day, Impulse! continues to proudly wear its distinctive orange-and-black color scheme, and be home to the new vanguard of creative musicians including Shabaka Hutchings and his groups Sons of Kemet, Shabaka & the Ancestors, and the psychedelic jazz trio The Comet Is Coming. About Rhythm-A-Ning Entertainment: Rhythm-A-Ning Entertainment is the official company of the Thelonious Monk Estate, founded by Chairman T.S. Monk, Gale Monk, and president Douglas Holloway. RAN Ent is a multi-faceted company involved in music and film production, as well as product licensing. Please visit: thelonious-monk.lnk.to/home. Artist Title Time Thelonious Monk Epistrophy (Live At Palo Alto High School, Palo Alto, CA / 1968) 04:26

Ambrosie has announced a reduction of the league's football operations budget of about 20% for 2021. Apparently not many people were consulted before the decision was announced. https://3downnation.com/2020/06/15/cfl-imposes-football-operations-cap-reduction-for-2021-season/ ***** The union surveyed its members with these questions regarding their current preferences about playing a short season this year. https://3downnation.com/2020/06/16/the-cfl-players-association-covid-19-season-survey/ ***** Apparently the collective bargaining agreement will need to be amended for a short season. The union has filed a grievance, claiming that the league has been unwilling to bargain. https://3downnation.com/2020/06/16/cflpa-files-grievance-prepares-for-cba-negotiations-memo/ https://www.cbc.ca/sports/football/cfl/cfl-cflpa-no-contact-1.5614852 ***** Ambrosie and his league executive colleagues have each voluntarily taken a pay cut of at least 20%. https://3downnation.com/2020/06/18/cfls-executive-team-voluntarily-took-pay-cuts-of-at-least-20-per-cent-randy-ambrosie/ https://www.cbc.ca/sports/football/cfl/cfl-commissioner-ambrosie-statement-1.5617304 ***** This week's 40-minute game is November's Western Semi-Final. https://www.cfl.ca/2020/06/18/cfl-game-40-reminiscing-western-semi/ ***** Here is a review of the five seasons with the most kicks returned for touchdowns. The top two were '95 and '94, when there were more teams and therefore more games. https://www.cfl.ca/2020/06/16/breaking-year-return/

I saw the band in DC, I think at Constitution Hall, I think in early November of '71. (Can someone verify that date?) I would love to hear this.

TSN is airing a new weekly show Friday nights (started last Friday) called CFL 2020. No word yet on how Americans can see this. https://3downnation.com/2020/06/09/tsn-launches-new-weekly-show-cfl-2020/ https://www.cfl.ca/2020/06/09/tsn-announces-weekly-show-cfl2020-airing-fridays-tsn/ https://www.cfl.ca/2020/06/12/new-show-cfl2020-kicks-off-tonight-tsn/ ***** The Argos exceeded the salary cap last year, but the league will not fine them. I guess Ambrosie figured they had already suffered enough. https://3downnation.com/2020/06/10/argos-violated-5-2-million-cfl-salary-cap-in-2019/ https://3downnation.com/2020/06/13/monopoly-cfl-edition-league-does-not-pass-go-does-not-collect-argo-fines/ ***** And now Trevor Harris pulls a firetruck! https://3downnation.com/2020/06/12/trevor-harris-effortlessly-pulls-firetruck-in-shocking-training-video/ ***** Here are the latest 40-minute games of 2019. https://www.cfl.ca/2020/05/28/cfl-game-40-game-year/ https://www.cfl.ca/2020/06/04/cfl-game-40-welcome-winnipeg-zach-collaros/ https://www.cfl.ca/2020/06/11/cfl-game-40-trevor-harris-show/ ***** Manitoba is now issuing Bomber Grey Cup Champions license plates. https://www.cfl.ca/2020/06/01/bomber-fans-can-travel-championship-style/ ***** Here is a review of surprising late training camp cuts from the past five years. https://www.cfl.ca/2020/06/06/look-shocking-cut-day-moves/

Khari Jones revealed that he received death threats when he played for the Bombers 2000-2004. The issue was that his is an interracial marriage. https://3downnation.com/2020/06/02/while-playing-qb-in-winnipeg-khari-jones-had-death-threats-made-against-him/ ***** Sam Hurl has retired. https://3downnation.com/2020/06/03/riders-canadian-lb-sam-hurl-announces-retirement/ https://www.cfl.ca/2020/06/03/riders-lb-sam-hurl-announces-retirement/ ***** Sask lost C$200,000. last year. https://3downnation.com/2020/06/04/riders-post-over-200000-loss-for-2019-2020-fiscal-year/ ***** For the first time in decades, Chris Cuthbert will not be calling the league's televised games. He has moved on to GlobeMedia's Sportsnet, which has Hockey Night in Canada. https://3downnation.com/2020/06/05/cfl-play-by-play-man-chris-cuthbert-leaves-tsn-for-sportsnet/ https://3downnation.com/2020/06/05/choosing-between-tsn-and-sportsnet-contract-offers-was-tough-call-for-chris-cuthbert/ https://www.cfl.ca/2020/05/31/oleary-chris-cuthbert-top-10-calls-career-behind-mic/ ***** The universities have cancelled their team sports through the end of the year. https://3downnation.com/2020/06/08/atlantic-university-sport-suspends-competition-until-january-2021/ https://3downnation.com/2020/06/08/canada-west-cancels-2020-2021-first-term-team-competitions/ https://3downnation.com/2020/06/08/oua-cancels-sports-until-end-of-december-due-to-coronavirus-pandemic/ https://3downnation.com/2020/06/08/u-sports-cancels-2020-fall-championships-due-to-covid-19/ https://www.cfl.ca/2020/06/08/u-sports-cancels-2020-fall-championships-due-covid-19/ https://www.cfl.ca/2020/06/08/ferguson-celebrating-2020-u-sports-season/

An Elegant Last Testament From Legendary Saxophonist Jimmy Heath Verve Records Announces The Release Of Love Letter Available Worldwide On July 17 A Masterful Collection Of Ballads That Features Luminaries Gregory Porter, Cécile McLorin Salvant, And Wynton Marsalis First Single “Con Alma” Out Now Listen Here June 12, 2019 (New York, NY) Today Verve Records announces the release of Love Letter, a parting masterpiece and the first all-ballads album from magisterial tenor saxophonist-composer Jimmy Heath. The first single from the collection “Con Alma” is out now and you can listen to it here. Love Letter will be available worldwide on July 17 and is available by pre-order now. In addition to original material, Love Letter is the jazz ambassador’s beautiful take on seminal ballads, including songs written by Billie Holiday, Dizzy Gillespie, and Kenny Dorham. Recorded in New York during the 48 hours preceding Jimmy’s 93rd birthday, and two more a month later in Atlanta, Jimmy presided over a brilliant cast of colleagues and friends. Propelling the album forward is a multi-generational all-star unit, including NEA Jazz Master pianist Kenny Barron, poll-winning guitarist Russell Malone, soulful vibraphone veteran Monte Croft, New York first-call bassist David Wong, and all-world drummer Lewis Nash. Augmenting the group on separate tracks are 21st century vocal superstars Gregory Porter and Cécile McLorin Salvant, and trumpet icon Wynton Marsalis. The collection includes Heath’s elegant arrangements of three less traveled originals culled from his vast body of work. He distinctively interprets “Con Alma,” an essential jazz standard by Dizzy Gillespie, his lodestar from the moment they met in 1946. Joining him and Kenny Barron in erudite, tender dialogue on trumpeter Dorham’s “La Mesha” is Marsalis. On “Don’t Explain,” the Dorham gem and Arthur Herzog-Billie Holiday collaboration, Heath’s soulful, trenchant, urbane solo flights evoke his poetic spirit with old master concision and the authoritative chops of a musician half his age. A highlight in a program of highlights is Cécile McLorin Salvant’s poignant tour de force portrayal of unrequited love that is at the core of Billie Holiday’s lyric on the blue ballad “Left Alone,” composed by Mal Waldron. Another is Gregory Porter’s compelling, gentle reading of Gordon Parks’ underground classic “Don’t Misunderstand.” “Jimmy always wanted to know the lyrics of a song before playing it,” says Carol Friedman, who co-produced Love Letter with Grammy-winning producer Brian Bacchus. “That particular sensitivity no doubt contributes to the intimacy of his sound and is the reason he loved playing ballads — whether a tune had lyrics or not, he was singing with that horn. This is the record Jimmy never got to make. Asking him if he wanted to do an all-ballads album was preceded by decades of us talking about singers and love songs.” Two of Heath’s three originals on Love Letter gestate in orchestral charts — “Fashion or Passion” comes from a 2004 Jazz at Lincoln Center Orchestra commission, while “Inside Your Heart” — Heath’s only soprano saxophone vehicle on the date — is the second movement of The Endless Search, a suite Heath recorded in 2010 with the Seattle Repertory Jazz Orchestra. On the third original, it sounds as though Billy Strayhorn was on Heath’s mind when he wrote “Ballad from Upper Neighbors Suite,” which he’d previously addressed on a 1995 recording. A listener unfamiliar with the back story of Love Letter would not imagine that the main instrumental voice throughout the proceedings is a jockey-framed 93-year-old man surely aware of his impending mortality and facing it with pluck and equanimity. He brings the full breadth of his intellectual powers to this final salvo. As Gary Giddins notes: “The result is pure, primo Heath: polished, inventive, surprising, candid, beautiful.” Love Letter Tracklisting: Ballad from Upper Neighbors Suite Left Alone with Cécile McLorin Salvant Inside Your Head La Mesha with Wynton Marsalis Don’t Misunderstand with Gregory Porter Con Alma Fashion Or Passion Don’t Explain During his career, Heath performed on more than 100 albums and wrote more than 125 compositions, many of which have become jazz standards and have been recorded by artists that include Cannonball Adderley, Chet Baker, Miles Davis, James Moody, Milt Jackson, Ahmad Jamal, Ray Charles, Dizzy Gillespie, J. J. Johnson, and Dexter Gordon. One month before the masterful tenor saxophonist Jimmy Heath died on January 19, 2020 at 93, he put the finishing touches on the final album of his luminous 76-year career, Love Letter. Artist Title Time Jimmy Heath Con Alma 05:13

RIP. Septober Energy was a favorite of mine, too.

Pioneer SP-BS22-LR Andrew Jones Designed Bookshelf Loudspeakers (Pair) - $79.00 https://www.newegg.com/pioneer-sp-bs22-lr/p/N82E16882117424

Tuesday June 16th at 7pm EST, I'll perform a live-stream one-hour concert with Billy Mintz at the Soapbox Gallery in Brooklyn. We will each play some solo, and then we'll play duo. https://www.soapboxgallery.org/events/robertaandbilly After the concert, there will be a Q & A hosted by Tracey Yarad. Get Some Good Music and Help Two Great Causes Thirteenth Note records is continuing our donation campaign. Get some good music and help a great cause. If you purchase anything from the 13th Note Records web site in the month of May or June, we will donate the total proceeds to either Doctors Without Borders or the Jazz Foundation of America. We have CDs featuring great side musicians like Billy Mintz, Cameron Brown, Joe La Barbera, Tony Malaby, Steve Wilson, Karrin Allison and more. So please check out the site. We won't even subtract the shipping charges or taxes before sending in the money. We will donate those charges out of pocket. This offer applies to downloads as well as CDs. https://thirteenthnoterecords.com/ Please stay safe and healthy. Mr. Mintz is an underrated composer, and these performances convey a warmth that goes beyond the collegiality of most jazz.” –Martin Johnson, Wall Street Journal My first solo piano CD since 2015, my new recording features the music of my husband, composer and drummer Billy Mintz. Listen and Download! Here's a video we did back in 2011 that still makes me smile. I hope it brightens your day. Check out the Video EPK for Domestic Harmony Find me on social media and share jazz with your friends: ‌ ‌ Thirteenth Note Records | 751 Palisades Ave. #62, Teaneck, NJ 07666

Mark Ruffin Commemorates 40 Years In Radio Broadcasting SiriusXM "Real Jazz" Personality/Program Director Achieves a Landmark in His Storied Career As Disc Jockey, Music Programmer, & Interviewer Ruffin Celebrates Anniversary With the Publication of His Short Story Collection, "Bebop Fairy Tales," On September 1 June 10, 2020 Mark Ruffin, known coast-to-coast as the afternoon drivetime DJ for SiriusXM's Real Jazz channel, celebrates his 40th anniversary in jazz radio in on September 1, 2020. Ruffin, who is also the program director for Real Jazz, began his first professional job in the business -- at Chicago NPR affiliate WBEZ-FM -- on September 1, 1980. In the time since, he has amassed an odyssey's worth of jobs, accomplishments, relationships, and stories, both real and imagined. (Three of the latter will be published September 1, by his Rough In Creative Works imprint, in his debut story collection Bebop Fairy Tales: An Historical Fiction Trilogy on Jazz, Intolerance, and Baseball.) "I really have had a charmed life, man," says Ruffin, reflecting on his four decades in jazz and broadcasting. "I understood that the whole way, how fortunate I was -- but it's been amazing. I went 20 years at four jazz radio stations in one city! That's something that isn't even possible anymore -- but I did that." His career in broadcasting has brought him two local Emmys, Jazzweek's Duke Dubois Humanitarian Award, and the Jazz Journalists Association's Career Excellence in Broadcasting Award. Ruffin can say without exaggeration that he has spent his whole life steeped in jazz. One of his earliest memories is of a robbery at his parents' record store on the West Side of his hometown of Chicago, while a Miles Davis record played on the store's turntable. "[It was] 'If I Were a Bell' -- where he starts it by saying, 'I'll play it and tell you what it is later,'" Ruffin says. "At the end the needle would come back to the beginning. I was scared, but I also remember that every time that voice came back and said that, I was okay." It's only the first of the lifetime's worth of jazz stories and memories Ruffin has collected. Many more have come straight from the mouths of the musicians who he has interviewed over his four decades in radio: the interviews on which he's built his superlative reputation not only as a broadcaster and raconteur, but as an expert and historian of the music. What he didn't learn through his lived experience, personal and professional, he gained through his front-row seat to jazz history, soaking up the musicians' tales and lessons with the same ear for detail that he brings to programming the music. Mark Ruffin was born September 24, 1956 in Chicago, Illinois. His father, an electrician, set up a shop on Chicago's West Side that repaired TVs and radios on one side and sold records on the other. Ruffin's Records was also where Mark (and his five siblings) gained the technical and musical knowledge that would form the nucleus of his career in jazz radio. Ruffin's first experience in radio was at Southern Illinois University in Carbondale, where he worked on the staff of campus radio stations WSIU and WIDB. His knowledge of electronics allowed him to earn his then-required FCC license; his love of the music gave him something to do when he was operating those electronics. Over the next 25 years, Ruffin worked at WDCB-FM, where he started his career as an interviewer; WBEE-AM, where he brought the station ratings success for the first time in twenty years; and WNUA-FM, where he produced the nationally syndicated Ramsey Lewis Show. He then returned to WBEZ, before transitioning in the 2000s to a nationally syndicated show of his own (co-hosted with Neil Tesser), Listen Here. In 2006, Ruffin was hired by Harpo Productions -- Oprah Winfrey's shop -- as a producer on Winfrey's channel at what was then XM Satellite Radio. Rather than a gateway out of music radio, Oprah Radio proved to be a transition from jazz terrestrial radio to jazz satellite radio: By the fall of 2007 he had moved to New York to work at XM's Real Jazz, serving as program director even after the 2009 merger of XM and Sirius Satellite Radio and continuing until today. On another front, Ruffin in the 1990s began to pursue writing fiction -- specifically, screenwriting, eventually becoming a 2003 semifinalist in the Sundance Institute's screenplay competition. One of his early (unproduced) screenplays, a Jazz Age tale in which Fats Waller is kidnapped by Al Capone, suggested a unique, jazz-focused form of historical fiction. Ruffin reinvented himself as a writer of print stories, and from 2003 until 2020 worked at the collection that has now become Bebop Fairy Tales. "How can I explain it, other than that it's about how powerful jazz is in people's lives?" he says. "I suppose the real thread behind all three stories is, 'intolerance is stupid.'" Photography: Nick Carter Mark Ruffin: "Bebop Fairy Tales" Web Sites: markruffin.com, bebop.markruffin.com

June 10 1931 - Joao Gilberto 1922 - Judy Garland ???? - Howlin' Wolf

Dion: Blues with Friends Dion records with Paul Simon, Van Morrison, Bruce Springsteen and 14 other super stars on new studio album. The 14 original songs also include musical contributions from Jeff Beck, Rory Block, Joe Bonamassa, Samantha Fish, Billy Gibbons, John Hammond Jr., Sonny Landreth, Joe Menza, Patti Scialfa, Brian Setzer, Stevie Van Zandt, Jerry and Jimmy Vivino and Joe Louis Walker. Format: Audio CD SKU: 72YHKJ UPC: 804879610809 Street Date: 06/05/20 OLDIES.com Price: $15.40 Dion with Brian Setzer: Uptown Number 7 Dion with Billy Gibbons: Bam Bang Boom Dion with Patti Sciafla & Bruce Springsteen: Hymn to Him BESTSELLERS on AUDIO CD from Dion Dion: New Masters (Audio CD) Only $5.98 List Price: $16.97 You Save: $10.99 (65%) Purchase Now Dion: Deja Nu (Audio CD) Only $3.98 List Price: $4.98 You Save: $1.00 (20%) Purchase Now Copyright © 2020 OLDIES.com, All rights reserved.

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Yulia Musayelyan "Unsaid" Impacting: June 8 2020 Format(s): Jazz For Immediate Release: Flutist Yulia Musayelyan’s “Unsaid” tastefully combines global folk traditions with her own ingenuity to leave an irrevocable mark on modern jazz. NEW YORK CITY, N.Y. – Flutist and composer Yulia Musayelyan is truly a global citizen, and her music reflects this multiculturalism with a brilliance flowing from her respectful and masterful synthesis of international folk styles as she carries them forward into the fold of modern jazz. Unsaid documents a decade of learning, creating, and refining as Yulia and her music have grown to become a powerful voice that is far greater than the sum of their constituent parts. Ten years passed since Yulia previously stepped into a recording studio as a bandleader. Unsaid, thus, is not simply a collection of music but an auditory history of Yulia’s growth and development as a musician over the course of a decade. The genesis of Unsaid begins with an opportunity: the prestigious Berklee College of Music, where Yulia is on faculty, awarded her with a week-long residency at Guilford Sound, a studio in Guilford, Vermont. The unique nature of this week-long residency provided an environment in which to create that was truly organic, allowing Yulia and her band to focus solely on their art, undistracted by the constraints of time, day-jobs, and finances. It was in this atmosphere of freedom that Unsaid came to life, and with it, a record was born that contains not only music but a microcosm of a true artist’s decade. Unsaid, Yulia’s sophomore album and the album’s title track, draws on a duality of concept. The word “unsaid” refers to something that cannot be expressed through words, and thus another medium must be employed as a vehicle for the full weight of its emotional and intellectual content. Yulia describes it as “a fleeting feeling, an essence, though it remains verbally unsaid, is inevitably expressed through music”. On the other hand, it refers to something that cannot be removed or unsaid. “[The effect] remains,” Yulia says, “ and leaves a permanent mark.” It is this multiplicity of meaning that Yulia knowingly plays upon to reflect the ambiguous nature of music. Yulia’s goal with Unsaid is to communicate emotion through sound where words fail. Yulia’s compositions are eclectic in both style and influence. To attempt to categorize Yulia’s music is to water down the vision of her compositions and the concept of the album itself, for Yulia sees beauty in the nature of music as wordless meaning. “With instrumental music,” Yulia remarks, “the whole point is that it is a way of reflecting on the world without relying on words or concrete descriptions.” Yulia creates by drawing on the folk traditions of Argentina, Russia, and Armenia and seamlessly blending them with improvisation from various traditions, jazz harmonic concept, and a myriad of odd-meter time signatures stemming from both world traditions and her rich rhythmic imagination. The music contained on Unsaid, all composed or arranged by Yulia, was refined by years of performance at various clubs and venues as the musicians in Yulia’s band worked and performed alongside her to create what Yulia calls, “a true collaboration.” Moreover, the nature of the recording session allowed for multiple takes, experimentation, and in the case of the tune The Raven, which had never been previously performed, variations in arranging and orchestration done during the session. While The Raven leans heavily on Russian folk music and lore, other compositions on this album are influenced to varying degrees by different traditions and artists. Numbers, a working title given to a composition while Yulia brainstormed the best way to notate its rhythms, is an example of a tune whose influence stems more from individual artists. The flute, which trades solo phrases with the Fender Rhodes, pays tribute in its melody to the artistic concept of Kurt Rosenwinkel, while the asymmetrical seven and five pattern in the rhythm section resembles composer Guillermo Klein’s clave – a subconscious correlation that Yulia only noticed “after we performed it a few times.” Catch-22 and Landscapes are both compositions whose nature reflects the album’s idea of music conveying something that is left unsaid as words cannot do it justice. Catch-22, the opening track of the record, was originally titled in Russian; however, its Russian title “zakoldovannyj krug” loses some of its meaning and connotations when translated directly as “vicious circle or enchanted circle.” When asked to elaborate on the meaning of the original Russian, Yulia explains, “It highlights the cyclical nature of things, the same way that a broken record keeps turning and turning, and turning, without any malaise… a consistent cycle that will never be completed, only interrupted.” The vamp under the drums solo at the end of Catch-22 encapsulates this cyclical nature. Landscapes is inspired by the painting “Vladimirka Road” by 19th century Russian painter Isaac Levitan, famous for his mood landscape works. Landscapes uses soundscapes to recreate and convey the essence of the painting, which Yulia describes as “open space, fresh air, and somber sky with moody clouds.” She further adds that, “In many ways, the beautiful and peaceful setting of Guilford Sound was in complete harmony with the imagery in this composition.” When asked what she loves about the musicians on Unsaid, Yulia praises their flexibility, responsiveness, precision, and imagination. “Though rooted in my original compositions and arrangements, the group’s sound depends heavily on each musician’s unique contribution, especially in the intricate improvised sections.” She continues, “To me – improvised and interactive music is a very intimate endeavor… Listening is key: it enables us to create a collective feeling, an essence, in the moment.” Yulia Musayelyan’s Unsaid features pianist Maxim Lubarsky, bassist Fernando Huergo, and drummer Mark Walker. Unsaid is an album that is intentional yet purposefully ambiguous. It is an album that defies musical description yet unmistakably uses the vehicle of jazz to propel its vision. Unsaid speaks and leaves a listener wanting more while pondering the profound unapologetic nature of a music whose soundscapes resound with an eclectic yet global beauty. In Unsaid one finds not only a decade of Yulia’s life, but a decade whose echoes will leave a legacy. Unsaid releases on NextLevel, an imprint of Outside in Music on June 19, 2020. About Yulia Musayelyan: Yulia Musayelyan was born in Moscow, Russia and began learning music at age 4. Since then, she continued her studies, ultimately obtaining a BM in flute performance from the Manhattan School of Music, and an MA in Performance and Composition from New York University. She is currently a faculty member at Berklee College of Music. In addition to formal education, Yulia is also an experienced performer in Argentinean, Venezuelan, Colombian, and Brazilian folkloric styles and is a skilled improviser in all genres. Yulia has recorded as a sideman on over 30 records and is the recipient of multiple awards, including the 2001 National Foundation for the Advancement in the Arts Award. Yulia has performed in festivals and with artists of great acclaim in varying styles, including Marta Gomez, Marta Topferova, MOZIK, Manhattan Camerata, Brooklyn Orchestra, Lexington Symphony, TACTUS Contemporary Ensemble, and at the 2001 Montreux Jazz off-Festival, Buenos Aires and Córdoba International Jazz Festivals, Festival Iberoamericano de Teatro in Bogota, Colombia, Cosquin Folk Festival in Córdoba, and Mar de Musicas in Murcia, Spain, among others. She has toured Europe and South America with various musical projects. Yulia co-leads the Macayú Trio, recently launching their first record, “Landscapes.” She released her debut album as a bandleader in 2009 with Caminos, and in 2019 recorded the music for what is now Unsaid. NEXTLEVEL is an imprint of Outside in Music, dedicated to early career and first-time bandleaders seeking to make an impact on the music. OUTSIDE IN MUSIC is a record label and media company that exists to serve musicians. We are a community that strives to lift its artists above the noise of the 21st-century music industry and make music that expresses the sounds of today's wide-ranging jazz and creative music scene. www.outsideinmusic.com/nextlevel ##### Artist Title Time Yulia Musayelyan Catch-22 07:07 Yulia Musayelyan Finding Ana 05:39 Yulia Musayelyan Unsaid 05:46 Yulia Musayelyan Numbers 03:48 Yulia Musayelyan Khnki Tsar 06:23 Yulia Musayelyan Fevral' 04:58 Yulia Musayelyan New Age 04:38 Yulia Musayelyan Tamzara 05:50 Yulia Musayelyan Na Vulitse 07:10 Yulia Musayelyan Tango Trece 03:38 Yulia Musayelyan Na Gorushke, Na Gore 06:28 Yulia Musayelyan Landscapes 05:25 Yulia Musayelyan Chacarera del Descenso 06:22 Yulia Musayelyan The Raven 05:47 Attachments Yulia Musa.. Yulia Musa..

Artist Title Time Tom Ranier Blue Aria 07:12 Tom Ranier Circle 07:42 Tom Ranier This Way 05:11 Tom Ranier Yes Kloose 05:29 Tom Ranier Secret Heart 05:41 Tom Ranier Trio Vision 06:10 Tom Ranier Rhapsody 05:27 Tom Ranier Desafinado 06:21 Tom Ranier "This Way" Impacting June 8th, 2020 Format: Jazz Pianist, clarinetist, multi-woodwinds player, and composer TOM RANIER, one of Southern California’s finest improvisers, is releasing THIS WAY, his first recording as a leader in 14 years. Ranier is a highly sought-after studio musician, performing regularly at the Grammys, Oscars, Emmys, and Golden Globes. He has also recorded for artists such as Terry Gibbs, Joe Pass, Buddy DeFranco, Barbra Streisand, and Plácido Domingo, among many others. On THIS WAY, Ranier displays the remarkable range of his musical talents. He composed six of the eight tunes on the disc, and he plays the piano and synthesizer, as well as soprano, alto, tenor and baritone saxes. He is equally versatile on the Bb, bass, and contra-alto clarinets. Ranier’s music is so compelling because he is a storyteller with a strong visual sense. “You don’t need words to convey ideas or emotions. Like the visual arts, music tells stories through images,” says Ranier. THIS WAY has been a long time coming. As Ranier notes, “Every recording is a snapshot in time of where the artist is right at that moment. This album is the culmination of all my experiences and musical influences over the last 15 or so years.” Accompanied by some of the finest musicians in Southern California, all of whom are first-call studio musicians with extensive recording experience, the music on THIS WAY is rich and complex, yet eminently accessible and and thoroughly enjoyable. with TOM RANIER piano, synthesizers, soprano, alto, tenor, and baritone saxes, and bass, eb and contra alto clarinets TREY HENRY acoustic and electric bass RALPH HUMPHREY drums THOM ROTELLA guitar Arranged and Orchestrated by TOM RANIER except “Rhapsody” Orchestrated and Co-Produced by BRUCE HEALEY All songs by TOM RANIER except “Secret Heart” by Randy Brecker / Eliane Elias “Desafinado” by Antonio Carlos Jobim / Newton Mendoca THIS WAY 1. BLUE ARIA 7:12 2. CIRCLE 7:42 * 3. THIS WAY 5:11 * 4. YES KLOOSE 5:28 * 5. SECRET HEART 5:41 6. TRIO VISION 6:10 7. RHAPSODY 5:27 * 8. DESAFINADO 6:20 *Suggested Airplay TOM RANIER... THIS WAY I... THIS WAY-B... THIS WAY-F...

FALLOUT -- Mick Rossi and Johnnie Valentino - YouTube

Artist Title Time Daniel Herskedal Våkenatt 03:52 Daniel Herskedal Call For Winter 04:05 Daniel Herskedal Time Of Water 04:32 Daniel Herskedal The Hunting Golden Eagle 04:21 Daniel Herskedal Lynx Tracks 01:40 Daniel Herskedal Glacier Hiking 03:28 Daniel Herskedal Ice Crystals 04:10 Daniel Herskedal The Cliff Nest 02:57 Daniel Herskedal Arctic Fox Tracks 01:07 Daniel Herskedal Permafrost 04:02 Daniel Herskedal The Vernal Equinox 01:52 Daniel Herskedal By The Fire 02:49 Daniel Herskedal "Call For Winter" Impacting: June 26 2020 Format(s): Jazz, Non-Commercial, NPR DANIEL HERSKEDAL Call For Winter - 26th June 2020 Call For Winter is an album with a sonorous beauty and majestic flow. The album builds on the territory mapped in Mistral Noir, the opening track of Herskedal’s first album, Slow Eastbound Train, erecting layers of solo tuba and bass trumpet into an imposing edifice of sound. Call For Winter was performed by Herskedal during two weeks alone in deepest Norway; a cinematic journey through 12 original compositions manifesting that crystalline landscape and fusing the spirit of jazz with the compositional craft of classical music. Rarely do you hear a musician with such depth, emotive intensity and virtuosity shine whilst simultaneously pushing the boundaries of his instrument to the limit. Call for Winter is Daniel Herskedal’s seventh album as leader and 5th on Edition. Taking as a starting point the opening track of his 2015 album Slow Eastbound Train, The Mistral Noir, the new album is built on layers of tuba and bass trumpet, with each layer adding more emotion and conviction. The Mistral Noir picked up adoring fans, instantly developing an audience for its unique and cinematic vision. Call for Winter is the album that takes that inspiration and expands it into a full-spectrum experience. Daniel self-isolated for two weeks in the depths of Norway’s frozen highlands, writing and recording this masterful music - before he had to actually isolate in Corona outbreak. “Instead of going to a recording studio I rented a cottage and made my own studio. The cottage is located in Elgå in Norway, where the road stops (literally) in the most southern Sami area between Trondheim and Oslo, close to the Swedish border. I did that to get out of my daily routines, away from noise and city life. I was seeking loneliness - but also open beautiful landscapes in a place where more animals than human beings live and time runs slower. This combination gives plenty of possibilities to find depth, soul and beauty in the music. I stayed there alone for more than two weeks - skiing, composing and recording every night and day. A couple of those days I also joined the local Samis and helped with their reindeer herding (my girlfriend is a reindeer herder in the area).” Daniel Herskedal is the enigmatic master of sound and sonorous beauty. His music ebbs and flows with utter grace and poise, perfectly fusing the spirit of jazz with the compositional craft of classical music. Seldom do you hear a musician with such depth, emotive intensity and virtuosity shine whilst simultaneously pushing the boundaries of his instrument to the limit. The cinematic scope of his music is obvious in the way he conjures landscapes in his compositions (as is evident in his elemental trilogy of album Slow Eastbound Train, The Roc and Voyage) and has led to his work on soundtracks, including the gorgeous arrangement for tuba of San Francisco (Be Sure to Wear Flowers in Your Hair) for the multi-nominated, Brad Pitt produced, 2019 film The Last Black Man in San Francisco) - which had similar sound ideas to this album. Daniel’s also been Commissioned for and soloist with BBC Concert Orchestra, LJF 2016, the Royal Norwegian Navy Band, Oslo Jazz Festival 2018, the Russian Patrarchate choir of Moscow and he’s won the Norwegian Grammy with Marja Mortensson 2019. Possessed with a realfeel for melodic resonance, Daniel Herskedal is a hugely gifted and dynamic composer. His music breathes and is full of life. While his previous three albums have earned him huge praise and adoring fans, this new music expands on that work and develops it logically, performing entirely solo, layering tuba and bass trumpet in a mesmerising and sublimely beautiful way. The influence of multiple genres is evident in the songs, but it’s the sense of space, the quality of sound and the true brilliance of its simplicity that impresses most. Combined with the advanced technique and the sheer range of sounds he gets from these unwieldy brass instruments, it blows your mind! Attachments square Dan.. Daniel_Her.. Daniel_Her.. Daniel_Her.. EDN1157 Da..

“As Sonar continues to evolve, so too, does its overall concept and musical philosophy - an enigmatic vision that truly sounds like nothing else out there." John Kelman Tranceportation Volume 2 is the next destination in Sonar’s ongoing musical journey as the Swiss-based band celebrates 10 years of cutting-edge music-making. Once again the quartet formed in 2010 have joined forces with internationally-respected experimental guitarist, David Torn, to deliver an album brimming with a sound that's marked by bold, resonant creativity. The group’s polyrhythmic approach, utilising various elements of tension, release, space and dynamics rewrites the rules about what guitar-dominated music is capable of achieving. Sonar’s founder, guitarist Stephan Thelen, whose work has been performed by the Kronos Quartet, brings forward a further instalment of compositions that seamlessly blend a pointillistic, metrical complexity with deep subterranean grooves that engage both the heart and the mind of the listener. “Throughout my life, music has served as a means of transportation for me — something that can take one’s mind on a journey beyond the constraints of space and time and into beautiful, strange and unknown worlds,” Stephan Thelen LISTEN TO TRANCEPORTATION (VOLUME 2) Release Date: June 26th, 2020 David Torn electric guitar, live looping Stephan Thelen tritone guitar Bernhard Wagner tritone guitar Christian Kuntner tritone bass Manuel Pasquinelli drums, percussion 1 Triskaidekaphilia (9:45) 2 Tranceportation (12:42) 3 Slowburn (10:02) 4 Cloud Chamber (9:40) Produced by Sonar with David Torn. Recorded „live in the studio“ April 29 – May 3, 2019, at Mazzivesound Studio in Bellmund, Switzerland (www.mazzivesound.ch). Engineer: Chris Diggelmann Edited & Mixed by Stephan Thelen between May and July 2019. Mastered by Serge Christen at Mazzivesound. All compositions by Stephan Thelen with contributions by Bernhard Wagner, Christian Kuntner, Manuel Pasquinelli and David Torn. All tracks arranged by Sonar. Sonar’s guitar parts arranged by Stephan Thelen and Bernhard Wagner. Executive Producer for RareNoiseRecords: Giacomo Bruzzo David Torn appears courtesy of ECM Records. Thanks to Sara and Serge Christen, Alexander Vatagin and Markus Reuter. Thanks to Kanton Zürich Fachstelle Kultur for financial support. © + ℗ RareNoiseRecords 2020 Cat. No.: RNR114 (CD) / RNR114LP (VINYL) Read the full Press Release here LEAP OF FAITH 2020 gives you the opportunity to PRE-ORDER the whole 2020 RareNoiseRecords release schedule (11 releases + 2 X 10″ Vinyls) and enjoy free shipping on each one of the shipments coming your way during the year. Copyright © 2020 RareNoise Ltd, All rights reserved.