GA Russell

Sachal Vasandani "Shadow Train" Impacting: January 28 2020 Format(s): Jazz Shadow Train’s curated collection of choice themes and songwriters, including the revolutionary musician Abbey Lincoln’s “Throw it Away,” highlight this: Sachal's performance is equal parts virility and empathy. Shadow Train is a showcase of phenomenal musicianship. Never stifled by tradition, the ensemble focuses its collective energy to highlight these themes with an open spirit, and weave romance and respect throughout the record, seducing and enlightening listeners at the same time. Downbeat "a wondrous demonstration of Vasandani’s punctilious manner of interpretive work" (4 stars) JazzTimes "Key to the project’s sublimity is all-star accompaniment from pianist Taylor Eigsti, bassist Reuben Rogers, drummer Eric Harland, saxophonist Dayna Stephens, and guitarist Nir Felder." WRTI "elevates Sachal to king-like status.” With close to 1.5 Million streams on Spotify, consider adding the fan-favorite “Unforgettable” for your Valentine’s Day playlists and more. Featured prominently on Amazon and other leading digital platforms. Artist Title Time Sachal Vasandani Day In, Day Out 04:22 Sachal Vasandani When I Grow Too Old 04:56 Sachal Vasandani That's All 04:12 Sachal Vasandani I Concentrate on You 04:19 Sachal Vasandani I Love Paris 05:11 Sachal Vasandani Throw It Away 04:26 Sachal Vasandani For All We Know 06:06 Sachal Vasandani To Love Somebody 05:17 Sachal Vasandani Unforgettable 02:56 Sachal Vasandani Very Early 07:04

Attachments Cover Art .. Tracks & C.. One Sheet ..

Attachments ONE SHEET .. Cover Art .. CD400_Insi.. CD400_Out_..

Conjure Karl Berger – piano/vibraphone Jason Kao Hwang – violin/viola Reviews Read full reviews at jasonkaohwang.com Contact: jkhwang@icloud.com Google Translate: ... the two created these fragile and delicate moments, rich in musicality and feeling, one on violin and viola, the other on piano and to the vibraphone. They are engaging atmospheres in which the accent moves on pathos, communication, beyond the desecrating or angry moments of the free with which the two in the past have had to do. Among the most beautiful moments Below Zero, with the pizzicato on Hwang's violin that meets the vibraphone, is a very special atmosphere that the two manage to create in improvisation. Overall it is an incision without moments of emptiness, which involves the listener from beginning to end, of two musicians in a state of grace who had something real to say to each other and made it public. - Vittori LoConte, musiczoom.it I believe you too will discover some rare and very meaningful sounds here, spontaneous dual compositions of a remarkably high level of attainment. Kudos to Maestros Berger and Hwang! Grego Appelgate Edwards, gapplegatemusicreivew.blogspot.com Google Translate: ... the two created these fragile and delicate moments, rich in musicality and feeling, one on violin and viola, the other on piano and to the vibraphone. They are engaging atmospheres in which the accent moves on pathos, communication, beyond the desecrating or angry moments of the free with which the two in the past have had to do. Among the most beautiful moments Below Zero, with the pizzicato on Hwang's violin that meets the vibraphone, is a very special atmosphere that the two manage to create in improvisation. Overall it is an incision without moments of emptiness, which involves the listener from beginning to end, of two musicians in a state of grace who had something real to say to each other and made it public. - Vittori LoConte, musiczoom.it If it’s philosophical music, it’s far from dull music. There’s life, laughter, landscape and an affirmative lightness that is hard to resist. – Brian Morton, Jazz Journal Subtle, beautiful, haunting, masterful and delicately commanding, the duo of pianist and vibraphonist Karl Berger and Jason Kao Hwang on violin and viola recorded these 8 dialogs in Berger's Woodstock studio, their familiarity from Hwang's participation in Berger's Creative Music Orchestra summoning lyrical and sensitive music, finding profundity in restraint. - Squidco Conjure by Karl Berger and Jason Kao Hwang stands as a masterful combination of both jazz and classical styling which makes for an incredible listening experience. - Vincent Teneriello, kuci.org Known as two of the best current improvisers, Hwang and Berger illustrate a stunning chemistry on this unpredictable and exciting record. -takeeffectreviews.com This other meeting, between Berger and Hwang, shows two musicians who interact without dilute their identities, celebrating free music and giving carte blanche to the deepest human emotions. (google translation) - Antonio Branco, Jazz.pt It’s a beguiling album from beginning to end; the music is strong and unsentimental, but at the same time gentle and deeply empathetic. It’s quite magical. – Ed Hazell,Point of Departure It’s a beguiling album from beginning to end; the music is strong and unsentimental, but at the same time gentle and deeply empathetic. It’s quite magical. – Ed Hazell,Point of Departure Wonderfully spontaneous unpredictable creativity Karl Berger-Jason Kao Hwang – CONJURE: The magic is with these two on their all-original wonderfully spontaneous and unpredictable recording (to be released 1 October, 2019)… Karl’s piano/vibes and Jason’s violin/viola will summon spirits from your inner depths and take you on a journey like you’ve never been on before. - Rotcod Zzaj, Contemporary Fusion Reviews Conjure..features eight improvised pieces that show their constantly openness to the moment... The opener, “Prophecy”, confirms that their voices make sense together. Berger launches the journey with a low-toned piano pedal, angular musings, and some caustic chordal movements. For its part, Hwang’s melodic narrative is as dramatic as it should be, and we can almost sense the tears suggested by his violin cries. - Felipe Freitas, Jazz Trails Listening to Hwang coax amazing sounds by plucking his strings on “Vanishing Roots” or Berger’s unpredictable piano chords and vibraphone notes may be unlike anything you’ve heard from a duo. - Jim Hines, makingascene.org Together, these two talented instrumentalists color outside the lines with an audacity and freedom that startles the senses. - Dee Dee McNeil, jazz journalist, musicalmemoris.wordpress.com While there is solid justification for the genre police to tag this music as free jazz or pure improvisation, that act of classification would ultimately be a waste of time...This duo typically thrives on uncertainty while exploring a variety of textural subtleties. - by Dan Bilawsky, Jazz Times ***** Liltingly lyrical, the duo’s compositions continue to impress, as does their impeccable musicality... Not only are the performances excellent, but also the messages within them are profound... Multi awarded and critically acclaimed, this recorded experience further substantiates the importance of these two exceptional musicians. Highly recommended. Grady Harp, amazon.com These are two practiced masters at free improvisation. I am confident that many listeners will find them as intriguing and accomplished as I do. - Michael Ullman, artsfuse.org A meeting of the minds of two experimental cats owning cv's you can't argue with tune it up for a date that sounds more like contemporary classical than it does experimental jazz improv. With the kind of simpatico that comes from a relationship of long standing, those that want to hear sounds from some corner of the cosmos will enjoy what these two can come up with all on their own. - Chris Spector, midwestrecord.com The two artists seem perfectly at ease with each others directional inclinations and they add some unexpected twists and turns to the path that they spontaneously create, leading the music in a direction that is unpredictable to both the listener or the musicians... My favorites are "Silhouettes" that features Berger on a hollow, hauntingly echoing vibraphone line that sets the theme of being caught in a phantasmagorical loop, as Kwang plays his piercing violin like a captured entity, mesmerized by the repeating sounds. Caught like a silhouette entranced by Berger's drone. There is a desperation and lack of resolution to this music that is just captivating and at the same time eerily spooky. - Ralph A.Miriello notesonjazz.blogspot.com

Look what I found! I have just spent the evening watching the 1962 Houston-Dallas AFL Championship Game. I watched that game 57+ years ago, and I can tell you that tonight I didn't miss instant replay at all.

Klipsch Synergy Black Label F-300 Floorstanding Speaker with Dual 8" Woofers, Pair - $299.00 ($799.00 off) https://www.adorama.com/kpf300b2.html

Arizona's GM has called Chris Streveler "a legend in the CFL." Uh oh. The guy was the Bombers' second-string quarterback for two years. I predict bad things to result from this case of over-selling. https://3downnation.com/2020/02/16/arizona-cardinals-gm-steve-keim-quarterback-chris-streveler-is-a-legend-in-the-cfl/ ***** Four guys are running to replace Jeff Keeping as the union's president. Keeping is stepping down. The candidates are Solomon Elimimian, Keon Raymond, Agustin Berrenechea and Peter Dyakowski. https://3downnation.com/2020/02/21/cfl-players-association-president-jeff-keeping-will-not-seek-another-term/ https://www.tsn.ca/jeff-keeping-won-t-seek-re-election-as-cfl-players-association-president-1.1446547 https://3downnation.com/2020/02/22/american-canadian-candidates-running-to-be-the-new-cfl-players-association-president/ ***** Team analyses Hamilton https://3downnation.com/2020/02/23/ticats-create-cfl-superteam/ Ottawa https://3downnation.com/2020/02/23/redblacks-confident-schemes-can-trump-talent-especially-for-receivers-and-pass-rushers/

Armanti Edwards has signed with the XFL. https://3downnation.com/2020/02/19/cfl-receiver-armanti-edwards-signs-with-the-xfl/ ***** Free Agent analyses league-wide https://www.cfl.ca/2020/02/21/landrys-5-takeaways-free-agency/ BC https://3downnation.com/2020/02/19/analyzing-and-grading-the-b-c-lions-free-agent-moves/ https://www.cfl.ca/2020/02/17/upon-review-bc-lions/ Calgary https://www.cfl.ca/2020/02/20/upon-review-calgary-stampeders/ Toronto https://www.cfl.ca/2020/02/22/oleary-cancon-make-interesting-argos-lineups/

Willie Nelson's New Studio Album First Rose of Spring Coming Friday, April 24 via Legacy Recordings Title Track Available for Download Now + Music Video Launching Today "Ride Me Back Home" Wins Best Country Solo Performance at 62nd Grammy Awards First Rose of Spring - Willie Nelson's 70th solo studio album and 14th on Legacy Recordings - will be released days before the singer’s 87th birthday on April 29. The album is Willie’s first new release since winning the 2020 Best Country Solo Performance Grammy Award - Willie's 10th overall, not including his Grammy Legend and Lifetime Achievement Awards - for "Ride Me Back Home," the title track from his 2019 release. Featuring 11 new studio performances and original artwork created by his son, Micah, First Rose of Spring finds Willie working again with longtime friend and producer Buddy Cannon. An intimate journey through life and love as seen through Willie's unique perspective, First Rose of Spring finds the artist deep in every moment, sharing profound insights and experiences through songs he's written and songs he loves to sing. Among the younger songwriters celebrated on the album are the composing team of Randy Houser, Allen Shamblin & Mark Beeson, who collaborated on the beautiful title track. See Willie On The Road Again: Feb 21 - Orlando, FL; Dr Philips Ctr @ Walt Disney Theater Mar 4 - Houston, TX; Rodeo Houston Mar 13 - Norman, OK; Riverwind Casino Mar 14 - Arlington, TX; Globe Life Field w/Chris Stapleton, Jamey Johnson and Yola Mar 15 - Tulsa, OK; Paradise Cover @ River Spirit Casino Apr 17 - New Braunfels, TX; Whitewater Amphitheater Apr 18 - New Braunfels, TX; Whitewater Amphitheater Apr 20 - Memphis, TN; Orpheum Theatre Apr 22 - Birmingham, AL; BJCC Concert Hall Apr 23 - Wilkesboro, NC; Merlefest Apr 25 - Lexington, KY; Kroger Field w/Chris Stapleton, Jamey Johnson and Yola Apr 26 - New Buffalo, MI; Four Wind Casino/Silver Creek Event Ctr Apr 28 - Nashville, IN; Brown County Music Ctr Apr 29 - Milwaukee, WI; Riverside Theater Aug 5 - Bethlehem, PA; Wind Creek Steel Stage Aug 11 - Buffalo Chip, SD; Sturgis

Swift Technique "Landlord featuring Lady Alma" Impacting: February 20 2020 Format(s): Jazz, Non-Commercial, NPR "Known and loved as a party rocking funk band, Swift Technique tries on several new sounds for size on Martian Farm, mixing groove-oriented soul, slamming hard rock energy, and pure pop into their stylistic melting pot for their most winning set of songs to date." - John Vettese, WXPN 88.5 FM ____________________________________________________________________ SWIFT TECHNIQUE PRESENTS LANDLORD FEATURING PHILLY ICON, LADY ALMA In Swift Technique’s new single release, LANDLORD, the Philly Funk & Soul collective explores a narrative familiar to many of us – that of being down, out and dodging grown folk responsibilities. Written from the perspective of someone desperately seeking anonymity and release, LANDLORD, features the soulful vocal talents of Philadelphia’s own LADY ALMA. Alma lays down the story with a coolness and relatability only she can portray. From “cooking in the dark” to “dancing my troubles away”, Lady Alma sings out a story that is familiar and fun, despite its underlying plea for freedom. Having steadily toured, performed and recorded all over the United States since forming in 2007, Swift Technique, after releasing a couple of EP's and a few strong singles, has finally released their debut full-length album, the mysteriously titled MARTIAN FARM. The album represents a milestone for the band, which has undergone a continual evolution in its live performances, songwriting abilities and communal approach to music. The release of LANDLORD has also been paired with a brand new animated music video. Created in collaboration with cartoon legend, Erik Horvitz of Smokey Toons (Aqua Teen Hunger Force, Mike Gordon), the band will release animated shorts throughout 2020. The original music video, along with subsequent episodes, can be viewed here:http://bit.ly/37kqDGq _______________________________ www.SwiftTechnique.com Attachments Martian Fa.. Episode 2 .. Swift Tech..

Pat Metheny "From This Place" Impacting: February 21 2020 Format(s): Jazz Artist Title Time Pat Metheny America Undefined 13:22 Pat Metheny Wide And Far 08:27 Pat Metheny You Are 06:13 Pat Metheny Same River 06:43 Pat Metheny Pathmaker 08:20 Pat Metheny The Past In Us 06:24 Pat Metheny Everything Explained 06:52 Pat Metheny From This Place 04:40 Pat Metheny Sixty-Six 09:39 Pat Metheny Love May Take A While 05:57 A NOTE FROM PAT METHENY ABOUT FROM THIS PLACE From This Place is one of the records I have been waiting to make my whole life. It is a kind of musical culmination, reflecting a wide range of expressions that have interested me over the years, scaled across a large canvas, presented in a way that offers the kind of opportunities for communication that can only be earned with a group of musicians who have spent hundreds of nights together on the bandstand. Add to that the challenge of all new music and the spontaneous response it generated, channel it all through the prism of large scale orchestration and unexpectedly, From This Place becomes something that advances many of my central aspirations as a musician. Over the several years that preceded this project, I took the core quartet at the heart of this recording around the world, presenting an evening of music focused entirely on earlier compositions. Until then, virtually every tour I had ever done was centered on the new music of whatever record was current at that time, with a few pieces from previous eras sprinkled in along the way. By that time, I was several hundred compositions in and had never really stopped to take a look back. The idea of gathering together a unique group of extremely talented players, each with their own relationship to my general area of work was appealing to me, particularly the idea of identifying and presenting the tunes that could be malleable enough in their hands to re-visit as a launching pad for our collective skills and interests as improvisers. With my longtime collaborator on drums, the brilliant Antonio Sanchez, the exciting new pianist Gwilym Simcock joined by Linda May Han Oh, one of the most important new musicians on the New York scene in recent years, I had a formidable group of musicians. They were all prepared in every way to address that older music in ways that I knew would be exciting and interesting. What was supposed to be a relatively short tour kept getting extended by popular demand, eventually turning into several years’ worth of performances across the globe—while becoming one of the most fun and satisfying groups I have ever had on the bandstand with me. Parallel to and in the midst of all of this, I also made several extensive duet tours with one of my major heroes in life, bassist Ron Carter. In addition to the thrill of being on the bandstand with Mr. Carter night after night, the rigors of touring also gave us plenty of travel time together. During those many hours spent in cars and planes around the world, I was able to ask Ron all the dozens of questions that I, as one of his biggest fans, ever wanted to ask him. Near the top of my list was this one; during his later years in the Miles Davis Quintet, arguably the most influential band of the last half of the twentieth century, while making classic records like Nefertiti, E.S.P. and so many others, why did their live concerts of that era continue mostly to be the standards that formed most of the sets the band had been playing live in previous years? (All Blues, Joshua, Autumn Leaves, etc.) Why those tunes, rather than the new music they were recording? Mr. Carter explained to me that Miles had a philosophy that he applied to that particular line-up. He wanted that band to develop a code through playing that familiar music night after night together that could then later be applied to the creation of a new way of playing together in the studio. A common language that would combine the familiarity that the players had with each other through playing those older tunes with the freshness of what new compositions might offer in the studio, creating the best of both worlds. A light bulb went off over my head. I had wanted to record this new band but had made so many guitar/piano/bass/drums quartet records along the way that I found myself searching for a setting to look at what I might do with this group that could be different. So, why not write a bunch of new music to be presented fresh for the first time in the studio to this band I knew so well? No rehearsals. Let’s just go in with a pile of music I would compose just for this crew—an entirely different book from what we had been playing live—and see what happens. The Miles quintet approach. With that goal in mind, over a relatively short period, I wrote sixteen new pieces, set a date for recording, and made sure we had enough studio time to dive into whatever this material might offer. Shortly before the sessions, there were a few pieces that I understood could benefit by gathering some arranging input from Gwilym and Linda to take advantage of their particular gifts within the context of what I imagined those pieces might be suggesting. And I knew from experience that whatever I gave Antonio would be reinvented on the spot by way of his unsurpassed musicality. (In addition to being one of the greatest drummers of his generation, he also has the unique ability to make things happen in a recording studio that puts him in the elite group of players who can genuinely see the studio itself as an extension of their instrument.) As we launched into the first day of recording, I had another light bulb moment. As we were playing, I started hearing things in my head that were not there on the page—yet. I understood quickly that these pieces were demanding orchestration, expansion, and color. Somehow while composing, I had the sense that the nature of what I was working on for these upcoming sessions contained a broader view of something, but I wasn’t able to identify it until we actually started recording. Right away, I started altering the music to allow for that, to make room for this other layer I was imagining, encouraging everyone to leave spaces for other yet-undefined details to emerge. What began as a distant vision suddenly blossomed into a central aspect of what makes this record unlike any other that I have done. As much as folks might describe the sonic language of the avant-garde movement of the sixties as falling into an identifiable generic sound, I have always regarded the general expansion of creativity of that era in a more ecumenical way. The stylistic changes that occurred then in our community included not only the obvious examples of individual players utilizing extended techniques on their instruments in new ways, or new types of ensembles, but also the wildly new approaches that technology, particular recording technology, offered. Multi-track recording allowed for entirely new kinds of music to be made. It is unlikely that the recordings of the CTI label of that time would likely never be thought of as “avant-garde” by garden variety jazz critics of that (or probably any other) era. But from my seat as a young fan, the idea of an excellent and experienced arranger like Don Sebesky taking the improvised material of great musicians like Herbie Hancock and Ron Carter and weaving their lines and voicings into subsequent orchestration was not only a new kind of arranging; it resulted in a different kind of sound and music. It was a way of presenting music that represented the impulses of the players and the improvisers at hand through orchestration in an entirely new way. I loved those records. This will not be the first recording of mine where that equation—record first, orchestrate later—has come up. But it is by far the most extensive one, and I would offer the most organic. From the first notes we recorded, this was the destination I had in mind. To assist in the next stage, I brought in two of my favorite musicians and two of the most distinguished and advanced arrangers on the scene today; the magnificent Alan Broadbent and the endlessly inventive Gil Goldstein. Having worked with both of them before, I knew them both to be exactly the right fit for what this music was asking for. I split up the tracks between the two of them based on what material I thought they would each be most inspired by and gave each of them a few directions as to when what and where I was hearing things. In short order, they both produced brilliant charts that enhanced and colored what I had composed while referencing the performances themselves on the tracks they were assigned. (Saving at least one tune and parts of a few others for myself, too.) It was thrilling to get their takes on this music and to marvel at the angles and dimensions they both were able to uncover. Somehow a reference to film scoring and American movie music in general was sitting there just under the surface all along the way. While it is certainly possible to go to eastern Europe to record orchestral music (as is often the case these days for budgetary reasons), I felt that the essence of this music was so American in nature that if it were in any way possible, it needed to be done here in the States—and in Los Angeles in particular. There is a certain quality of rhythmic intensity as well as general excellence produced by the best film scoring studio musicians out there that I have never heard anywhere else. Thanks to the efforts of the excellent conductor Joel McNeely and his associates, a scenario where we were able to not only get the best players in L.A. to perform under Joel’s exemplary leadership but also to record it all in one of the best sound stages unfolded. We were able to achieve precisely the sound that I was hoping we might be able to get to. With the orchestral parts recorded, it was clear to me that a few key guests were required to finish. Luis Conte is renowned as the best studio percussionist in the world by artists across the stylistic spectrum for a reason—everything he does fits in a way that you can’t imagine how the track might have sounded without him. Gregoire Maret had been a part of one of my earlier bands early in his career and has gone on to become the most sought-after harmonica player in music today. They both made fantastic contributions. On November 8, 2016, our country shamefully revealed a side of itself to the world that had mostly been hidden from view in its recent history. I wrote the piece “From This Place” in the early morning hours the next day as the results of the election became sadly evident. There was only one musician who I could imagine singing it, and that was Meshell Ndegeocello, one of the great artists of our time. With words by her partner Alison Riley, they captured exactly the feeling of that tragic moment while reaffirming the hope of better days ahead. That said, as I approach fifty years of recording and performing, while looking back on all the music I have been involved in, I am hard-pressed to immediately recall in retrospect the political climate of the time that most of it was made in. And if I can, the memories of those particulars seem almost inconsequential to the music itself. The currency that I have been given the privilege to trade in over these years put its primary value on the timeless and transcendent nature of what makes music music. Music continually reveals itself to be ultimately and somewhat oddly impervious to the ups and downs of the transient details that may even have played a part in its birth. Music retains its nature and spirit even as the culture that forms it fades away, much like the dirt that creates the pressure around a diamond is long forgotten as the diamond shines on. I hope this record might stand as a testament to my ongoing aspiration to honor those values. —Pat Metheny

US TOUR DATES INCLUDING TREEFORT MUSIC FESTIVAL, BIG EARS FESTIVAL, NYC'S BOWERY BALLROOM, LA'S LODGE ROOM Friday, February 21 (New York, NY) - Ahead of their album release on March 13, Shabaka & The Ancestors release their second single “The Coming of the Strange Ones” with an accompanying hypnotic visualizer. Listen to the single here and watch the visualizer here. “The Coming of the Strange Ones” is one of the few instrumental tracks on the record, with a pacing groove reminiscent of Shabaka Hutchings’ soca-driven outfit Sons Of Kemet. Shabaka & the Ancestors stretches out the space for Mthunzi Mvubu to wail on the alto sax, weaving in harmony and rhythm with Shabaka’s tenor sax. Shabaka wrote poems for each song on this record, and for this song he writes: The Coming of the strange ones They who had seen war and the darkness They who visioned the future Speaking in tongues Dancing in praise “Shabaka And the Ancestors [...] is Hutchings’ most overt attempt to express the spiritual concerns of improvisational music of the African Diaspora — specifically, SA’s rich traditional of gospel melody, community outspokenness, and jazz power — in the context of today’s world.” - AFROPUNK We Are Sent Here By History is a record mixing African and Afro-Caribbean traditions. Recorded in Cape Town and Johannesburg, South Africa over two years, the LP explores the function of the griot in West African culture. The griot holds the town’s stories and is the living archive of local history. Meanwhile, in Afro-Caribbean culture, the calypsonian is a different sort of griot: They weave socially conscious lyrics within upbeat party songs, reaching more people due to the music’s festive nature. In turn, We Are Sent Here By History is a jazz-centered trip equally suited for open-air festivals and nightclubs. “This album is an attempt to further this griot tradition within a transatlantic modern-day context,” Shabaka writes in the band’s manifesto. Watch the video for Shabaka & the Ancestors first single “Go My Heart, Go To Heaven,” directed by Akinola Davies, Jr. South African performing artist/vocalist Siyabonga wrote the album’s lyrics based on how the instrumentals made him feel; Shabaka formed a narrative and wrote poems based on lines from his lyrics. The poems are meant to be a gateway for listeners to develop their own narrative, or to think deeper about the themes presented to them by the album. The lyrics and poems are accessible here “Ideally, everyone has a different experience according to how they respond to the poetry,” Shabaka says. “In times like these, where we’re seeing the collapse of a lot of institutions that we thought would continue for a very long time, we need to start rethinking what it means to be alive, what it means to support, what the idea of progress means.” Lineup Shabaka Hutchings - Tenor Sax and clarinet Mthunzi Mvubu - Alto Sax Siyabonga Mthembu - Vocals Ariel Zamonsky – Double bass Gontse Makhene - Percussion Tumi Mogorosi – Drums Nduduzo Makhathini (Fender Rhodes), Thandi Ntuli (piano),Mandla Mlangeni (trumpet) on select tracks Tracklist They Who Must Die You’ve Been Called Go My Heart, Go To Heaven Behold, The Deceiver Run, The Darkness Will Pass The Coming Of The Strange Ones Beasts Too Spoke of Suffering We Will Work (On Redefining Manhood) ‘Til The Freedom Comes Home Finally, The Man Cried Teach me How To Be Vulnerable U.S. TOUR DATES 03/25 – Treefort Music Festival – Boise, ID 03/26 Treefort Music Festival – Boise, ID 03/27 – The Momentary – Bentonville, AR 03/28 – Big Ears Festival – Knoxville, TN 03/30 – Bowery Ballroom – New York, NY 04/02 – Fine Line – Minneapolis, MN 04/03 – Mission Creek Festival – Iowa City, IA 04/04 – Constellation Room – Chicago, IL 04/05 – Constellation Room – Chicago, IL 06/15 – Lodge Room (Jazz is Dead) – Los Angeles, CA 06/18 – Neumos – Seattle, WA 06/19 – Star Theatre – Portland, OR 06/21 – DC Jazz Festival – Washington, DC ____________________________________________________________________________________ Artist Title Time Shabaka And The Ancestors The Coming Of The Strange Ones 06:28

Sy Sperling has died at 78. RIP. As you will recall, he was not only the president, he was also a client. https://www.usatoday.com/story/news/2020/02/20/founder-hair-club-men-dies-78/4824915002/

SJ Green will play for Marc Trestman in the XFL. https://3downnation.com/2020/02/18/tampa-bay-vipers-head-coach-marc-trestman-acquires-receiver-s-j-green-in-xfl-trade/ https://www.tsn.ca/marc-trestman-s-tampa-bay-vipers-acquire-wr-s-j-green-1.1444977 ***** Calgary analysis https://3downnation.com/2020/02/18/stampeders-shocker-john-hufnagel-signs-five-players-on-first-day-of-cfl-free-agency/ ***** John Hodge revisits the 2016 draft. https://3downnation.com/2020/02/18/grading-analyzing-re-selecting-the-2016-cfl-draft/

Eric Alexander "Eric Alexander with Strings" Format(s): Jazz Artist Title Time Eric Alexander Gently 06:34 Eric Alexander Dreamsville 05:09 Eric Alexander Some Other Time 05:35 Eric Alexander Lonely Woman 06:59 Eric Alexander Slow, Hot Wind 06:20 Eric Alexander The Thrill is Gone 05:53 Eric Alexander joins the ranks of of the most famous saxophonists in jazz with his newest recording ERIC ALEXANDER WITH STRINGS HighNote Records HCD 7330 Eric Alexander, tenor saxophone • David Hazeltine, piano John Webber, bass • Joe Farnsworth, drums Featuring an orchestra with a complement of 13 strings with flute and French horn Orchestral arrangements & conducting by Dave Rivello ERIC ALEXANDER WITH STRINGS now #2 on the latest JazzWeek Radio Chart Suggested Radio Tracks Track 1 - Gently Track 3 - Some Other Time Track 4 - Lonely Woman Track 5 - Slow, Hot Wind Eric Alexander's prowess on the tenor saxophone, his unimpeachable virtuosity and technical skill, is obvious to anyone who has paid attention to his fluent and stirring work over the past three decades. His reputation as a hard blowing jazz gladiator has stood him well with fellow musicians and loyal listeners. Admired and enjoyed for his exceptional powers, Alexander is a model of mainstream jazz expertise. However, on his latest HighNote recording Eric, backed by three of his favorite colleagues and the lush sounds of a string orchestra, brings his lyrical side to the fore. “I wanted to get straight into the beauty of a song, always putting the melody first,” Alexander states about his expressed intentions for the album. “Improvisations are the icing on the cake.” With the fruition of this dream project Alexander has again succeeded in proving that his long obvious gifts as a player are equaled by his respect for the gift of song. Record Company Info: HighNote / Savant Records, Inc. • jazzdepo@ix.netcom.com • (212) 873-2020 www.jazzdepot.com Attachments 7330 Email.. 7330 Eric .. HCD7334_Er..

Artist Title Time Lafayette Harris Jr. He’s My Guy 03:26 Lafayette Harris Jr. I Love You, Yes I Do 04:11 Lafayette Harris Jr. Blues for Barry Harris 05:03 Lafayette Harris Jr. Don’t Let the Sun Catch You Crying 04:20 Lafayette Harris Jr. Ev’ry Time We Say Goodbye 04:55 Lafayette Harris Jr. Things Ain’t What They Used to Be 03:29 Lafayette Harris Jr. Love Me in a Special Way 05:33 Lafayette Harris Jr. Bloomdido 03:34 Lafayette Harris Jr. You Can't Lose with the Blues 06:43 Lafayette Harris Jr. Wonder Why 05:16 Lafayette Harris Jr. Please Send Me Someone to Love 05:32 Lafayette Harris Jr. the Juicy Blues 05:05 Pianist Lafayette Harris Jr. presents his latest recording LAFAYETTE HARRIS JR. - You Can’t Lose with the Blues Savant Records SCD 2178 Lafayette Harris Jr., piano Peter Washington, bass • Lewis Nash, drums YOU CAN’T LOSE WITH THE BLUES now #8 on the latest JazzWeek Radio Chart Suggested Radio Tracks Track 2 - I Love You, Yes I Do Track 8 - Bloomdido Track 11 - Please Send Me Someone to Love Track 12 - The Juicy Blues Baltimorean pianist LAFAYETTE HARRIS JR. is known for an energetic sense of rhythmic vitality, a tasty, full bodied musical approach to the keyboard, and a sensibility drenched in the blues. A staple at the Lenox Lounge in Harlem for a number of years as well as a member of various aggregations led by Max Roach, Harris’ new recording reflects this experience as well as a myriad of influences, from boogie-woogie legend Sammy Price to Kenny Barron and Barry Harris, all of whom encouraged Lafayette as an up-and-coming player. Bassist Peter Washington brings a forceful sense of rhythm and lyrically rounded solos to the date, and drummer Lewis Nash keeps the rhythms swinging strongly and as steady as a Swiss watch. A thoughtful setlist and sterling sound from the Van Gelder Studio makes this a self-recommending album. Record Company Info: HighNote / Savant Records, Inc. • jazzdepo@ix.netcom.com • (212) 873-2020 www.jazzdepot.com Attachments LafayetteH.. 2178 Email.. Savant SCD..

Artist Title Time Jen Allen Blanket Statement 05:50 Jen Allen Sifting Grace 07:29 Jen Allen Begin Again 07:22 Jen Allen Easy Peasey 04:53 Jen Allen Climbing Ivy 05:40 Jen Allen Prickly Pear 05:43 Jen Allen Kurinji 05:26 Jen Allen "Sifting Grace" Impacting: February 18 2020 Format(s): Jazz FOR IMMEDIATE RELEASE Jen Allen in Downbeat! NEW YORK CITY, N.Y. - Pianist and composer Jen Allen releases Sifting Grace, a stirring and thoughtful musical representation of the grace that exists amongst challenge and change (NL 2007). Sifting Grace shines with Jen’s mindful and melodically driven compositions, which radiate with her own authentic style and voice. Jen Allen is a musician who never shies away from honest self-revelation. Her compositional output reads like an intimate diary of life experiences and relationships, offered with subtle and surprising narrative power. Jen's patient and searching writing style has elicited numerous commissions, residencies, and accolades. In addition to performing and writing, Jen is currently a Visiting Assistant Professor at Trinity College in Hartford and Visiting Faculty at Bennington College. True to her deeply intimate and authentic compositional style, Sifting Grace was born out of Jen’s own life experiences and process. While profoundly personal, the album speaks to the universal narrative of sifting through the myriad of pressures, desires, griefs and distractions in life, in order to return to one’s most deeply rooted core values. Recalling the catalyzing inspiration for the album, Jen recalls, “After my mom's passing, it really put me in the emotional space to rethink some of the life choices I had made up to that time. I started to focus on things that were true and real and letting go of preconceived ideas I had held onto without questioning. I felt like I was sifting for grace in each situation of my life.” Each composition reflects points in one’s experiences when they are provoked to explore their truth. “Begin Again” inspired after her mother’s passing, speaks to the feeling of starting life over after losing a mother’s unconditional love and learning to cultivate one’s own inner love for yourself. “Kurinji” is inspired by the natural miracle of a particular flower that blooms only once every 12 years, transforming the hills of South India into a stunning purple masterpiece; a living poem of patience and a picture of wisdom only obtained over time. Two additional tunes on the record, Climbing Ivy and Prickly Pear, are pieces that are derived from the pure joy and unique beauty of nature. As plants are nurtured by soil and all require their own individual care to grow, so are humans, all one of a kind yet dependent on one another to thrive. All of these pieces drive home the universal truth of the interconnectedness we all share in our experience on earth. As Jen explains, “Music is the perfect way to deal with life experiences that are hard to put into words. It's like meditation, it's able to reach the often inaccessible places of the mind and soul.” The personnel consists of Jen Allen’s husband, Kris Allen on saxophones; Marty Jaffe on Bass; and Kush Abadey on Drums. Speaking to the album’s essence, Jen says, “This is me. This is where I am at now. It isn't trying to be something other than that. I was aiming for beauty, the unknown, and just trying to be a part of the mystery that connects us all.” Sifting Grace leaves us with a riveting musical testimonial of our interconnectedness as humans, as we all live through the struggles and triumphs of returning to our truest selves. SIFTING GRACE RELEASES ON NEXTLEVEL ON FEBRUARY 21, 2020. About Jen Allen: Jen Allen is a pianist, composer, author and educator. She frequently performs in New York, the Northeast US and in venues throughout the world, as the leader of her own groups or as a member of other creative music ensembles. Notable appearances include Dizzy’s Club, Winnipeg Jazz Festival, Cambridge Festival of the Arts, Greater Hartford Monday Night Jazz Series and Wexford Performing Arts Centre (Ireland). Jen has performed with many notable artists, including Don Braden, Jimmy Greene, Kendrick Oliver, Sarah Caswell, Camille Thurman, Freddie Hendrix, Nat Reeves, Kris Allen, Ike Sturm and Antoinette Montague. In 2011, Jen was chosen as one of only eight pianists from around the world to participate in the Mary Lou Williams Women in Jazz Workshop at the Kennedy Center in Washington, D.C, presenting a trio concert and working with Toshiko Akiyoshi, Lynne Arriale and Sherrie Maricle. An active recording artist, Jen is featured on many albums including her debut, Pieces of Myself, and Raise Up by the collaboratively led Trio 149 as well as many albums as a sideman. Jen composes music for big bands, studio orchestras, string quartet and other smaller ensembles. She has been commissioned to compose music for several universities and grade schools. She was a member of the prestigious BMI Jazz Composers Workshop in New York City, a colloquium of the foremost up-and-coming writers of large ensemble jazz music today. In November of 2018 Jen was a composer-in-residence for St. Peter’s Church (NYC) Jazz Lauds and received a commission from Spark and Echo for her piece “Kurinji”. Starting in 2018 Jen has curated and produced a concert series in West Hartford, CT called “Bring It Home” that features musicians from all over the world, including Brazil, Romania and Italy in the company of local Connecticut musicians and visual artists. Jen has received degrees in performance and composition from The Hartt School and UMASS Amherst. She is currently a Visiting Assistant Professor at Trinity College in Hartford and Visiting Faculty at Bennington College.Her first jazz piano method book was published through Alfred's Publishing entitled Sitting In: Jazz Piano (co-authored with Noah Baerman). The book was the recipient of Music Inc.Magazine's Editor's Choice Award 2015. 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 ####### Attachments Jen Allen .. Jen Allen .. Jen Allen ..

Artist Title Time Paul Jones Trio 3 08:29 Paul Jones MR 4 05:52 Paul Jones Glacier Lake 07:19 Paul Jones Let's Get Tropical 08:24 Paul Jones Mental Self Defensive Fitness 03:29 Paul Jones MR 2 08:33 Paul Jones Straight Talk 04:55 Paul Jones Stablemates 05:25 Paul Jones "Let's Get Tropical" Impacting: February 18 2020 Format(s): Jazz FOR IMMEDIATE RELEASE NEW YORK CITY, N.Y. - Following in the footsteps of some of the most classic albums in jazz, NY-based tenor saxophonist Paul Jones has assembled a “dream-team” of his favorite musicians to bring to life this latest set of compositions. The new release features Paul Jones on saxophone, Phil Markowitz on piano, Linda Oh on bass, and Clarence Penn on drums. With no music in mind, and a record date on the books, the gregarious Jones set out to create the framework for what would become “Let’s Get Tropical” (OiM2013). According to Jones: "Phil, Linda, and Clarence were easily working at the highest level I've experienced. But beyond their extreme skill and professionalism, I was inspired by the joy they brought to making music that day!" The process for Let’s Get Tropical unfolded much like the sessions in the hey-day of jazz. Get the studio, book a great band, and then create and document that musical moment. Unlike 2017’s Clean where Jones sequestered himself at the Banff Creative Arts Center in Alberta, Canada to meticulously craft highly compositional pieces; the music here was born out of the inspiration of bringing together these great artists. "Much of the music for this record, like my previous records is based on my personal experiences and creating music for the people I'll be recording with. I try to create ideas that let the players shine while taking listeners on a journey” Jones recalls. Paul’s compositions on this album range from archival pieces to his personal algorithmic compositional process. The tunes MR 4 and MR 2 were inspired by the music of Maurice Ravel and is part of a future four-movement work he is putting together for jazz quartet. MR 4 draws from the final movement of Ravel’s String Quartet. MR 2, appearing later in the album, was inspired by the second movement of Ravel’s Gaspard de la nuit. One of the beautiful things about the versions of MR 2 on Let’s Get Tropical was that it was recorded in just one take. The piece embodies the convergence of jazz and classical music history with modern improvising masters. Mental Self Defensive Fitness directly draws from the political themes addressed in Public Enemy’s Fight The Power, Jones shedding light on the relevance of this message, still as relevant today as it was in 1989. Let’s Get Tropical draws the listener in with a lighthearted exterior while masterfully delivering the highest NY caliber musicianship and innovative compositions. Let's Get Tropical brings levity, depth, and enjoyment to today's musical world. Sometimes it's ok to contemplate life's complexities, at the beach. LET’S GET TROPICAL RELEASES ON OUTSIDE IN MUSIC ON FEBRUARY 21, 2020. About Paul Jones: Saxophonist and composer Paul Jones is, at heart, a storyteller. Whether drawing inspiration from classic works of literature or the confessional rhymes of hip hop; the spontaneous inventions of his jazz forebears or the intricate architecture of contemporary classical music; or simply connecting with his own life experiences – Jones’ music invariably takes the listener on a compelling narrative journey. It’s precisely those qualities that led DownBeat to call Jones “a composer who has brilliant things to say and a captivating way of saying them.” The magazine has awarded both of Jones’ albums four-star ratings, calling his latest, Clean (Outside in Music), “an inspired work of art with an organic flow that belies its heady origins.” That blend of challenging complexity and riveting accessibility is key to Jones’ music, which is guided by a favorite maxim of the iconic Charles Mingus: “Anyone can make the simple complicated. Creativity is making the complicated simple.” Since arriving in New York City, Jones has become a key member of a cohort of young innovators on the modern jazz scene playing regularly at hotspots like the Bar Next Door and Cornelia Street Café. The loose coterie includes Matt Davis’ Aerial Photograph, Nicholas Biello’s Vagabond Soul with Clarence Penn, Leon Boykins and Jonathan Parker. He also regularly collaborates and has recorded with the Uptown Partydown, Brett Ferguson, Tory Hanna, The Jack Moves, Adam Lasher, and St. Lucia. 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 ####### Attachments Paul Jones.. Paul Jones..

Larry, I remember when Al Worthington said that Bill Veeck used to do it with the Sox.

What is the reason this sign stealing is considered so much more serious than the age-old custom of having a guy inside the scoreboard with a pair of binocs?

The free agent signings slowed down following Tuesday's splurge. Here are analyses of last week's moves. league-wide https://www.cfl.ca/2020/02/16/looking-winners-losers-open-free-agency/ https://www.cfl.ca/2020/02/11/sudden-impact-team-team-look-free-agency-3/ https://www.cfl.ca/thewaggle#198 https://www.cfl.ca/2020/02/14/ferguson-comprehensive-look-fa20/ http://rodpedersen.com/cfl-free-agency-recap/ https://www.tsn.ca/cfl/video/which-teams-impressed-who-still-has-work-to-do-after-day-1-of-cfl-free-agency~1897687 http://rodpedersen.com/cfl-free-agency-update/ http://rodpedersen.com/day-2-free-agency-recap-plenty-of-stars-unsigned/ Ottawa https://3downnation.com/2020/02/17/all-that-was-old-is-new-again-breaking-down-the-redblacks-free-agent-moves/ Toronto https://3downnation.com/2020/02/17/making-sense-of-torontos-almost-brand-new-roster/ Hamilton https://3downnation.com/2020/02/17/ticats-stay-wynn-ing-in-free-agency-10-other-thoughts/ https://3downnation.com/2020/02/14/podskee-wee-wee-168-its-a-good-day-to-be-a-ticats-fan/ Sask https://3downnation.com/2020/02/15/riders-gm-jeremy-oday-true-to-his-word-in-free-agency/ https://pifflespodcast.com/blog/riders-offense-a-look-ahead-after-2-days-of-fa https://pifflespodcast.com/blog/riders-defense-a-look-ahead-after-day-1-of-fa Calgary https://www.cfl.ca/2020/02/14/fa20-dickensons-stampeders-more-active-than-usual/ ***** The Argos and Als exchanged kickers - Crapigna for Bede. https://www.tsn.ca/toronto-argonauts-trade-k-tyler-crapigna-to-montreal-alouettes-for-k-p-boris-bede-1.1442302 ***** Derek Dennis has signed with the XFL. https://3downnation.com/2020/02/17/former-cfl-most-outstanding-lineman-derek-dennis-signs-xfl-contract/

Artist Title Time Alexis Cole For Now For Always 04:14 Alexis Cole Home Is Where the Heart Is 02:41 Alexis Cole If I Never Knew You 04:00 Alexis Cole La La Lu 03:50 Alexis Cole Let Me Be Good to You 04:47 Alexis Cole Love 05:17 Alexis Cole Once Upon a Dream 03:03 Alexis Cole Remember When 05:35 Alexis Cole So This is Love 04:30 Alexis Cole Someday My Prince Will Come 05:04 Alexis Cole The Second Star to the Right 05:37 Alexis Cole When You Wish Upon a Star 04:38 Alexis Cole "Someday My Prince Will Come" Impacting: September 17 2019 Format(s): Jazz On Tour Now! Visit www.alexiscole.com for details: Feb 7-8 Frankie’s, Vancouver Feb 13-15 Cotton Club, Tokyo Feb 17 Birdland Theater, NYC Feb 29 St. Petersburg Jazz Festival, FL March 3, Blue Bamboo, Orlando, FL March 7-8 Bordentown, NJ March 13-14 Jazz Forum, Tarrytown, NY This US Reissue of jazz vocalist Alexis Cole's first Venus Records Japan release features an all star band of Fred Hersch-p, Matt Wilson-d, Steve LaSpina-b, Don Braden-sax and Gregoire Maret-harmonica. You've never heard Disney sound like this before. Entertainer Michael Feinstein said "You managed to create a Disney CD without making me cringe once at the song selections, and your interpretations are fresh as can be. Such impeccable control and style. (And I enjoyed reading the back story about how it came together so quickly)" Christopher Loudon wrote in Jazz Times "Cole and her esteemed playmates dig much deeper into the Disney treasure chest than any of their predecessors. Yes, the familiar title track is included, as is When You Wish Upon a Star. But much of the playlist demonstrates tremendous ingenuity...gorgeously interpreted by Cole with equal parts tenderness and wide-eyed expectation."

Artist Title Time Casey Abrams Smooth 04:37 Casey Abrams What A Wonderful World 04:22 Casey Abrams I Don't Need No Doctor 04:07 Casey Abrams In The Wee Small Hours of the Morning 04:18 Casey Abrams "Uncovered" Impacting: February 14 2020 Format(s): Jazz Uncovered Available 2.21.20 Jazz bassist and vocalist Casey Abrams is a modern musical chameleon, seamlessly blending traditional Jazz musicianship with contemporary Pop sensibilities and uniquely distinct voice. Largely known for his time spent on American Idol and with Postmodern Jukebox, Abrams has also released several successful solo projects, including 2019's Jazz and 2018's Put a Spell On You which peaked at #2 and #5 respectively on the Billboard Jazz Albums charts. So productive were the recording sessions for these albums that not all of the material could fit on the albums. Not to simply be left on the cutting room floor, these songs are now being made available on Uncovered, the new EP from Casey Abrams, available February 21st, 2020. Abrams will also be going on tour to promote the new project. You owe it to yourself to experience the frenetic musical force that is Casey Abrams.

ESSENTIAL LATE-ERA NINA SIMONE ALBUM, FODDER ON MY WINGS, TO MAKE LONG OVERDUE REAPPEARANCE ON LP AND CD PLUS WIDE DIGITAL RELEASE FOR THE FIRST TIME IN STANDARD AND HI-RES AUDIO “I SING JUST TO KNOW THAT I’M ALIVE” RELEASED DIGITALLY TODAY AVAILABLE APRIL 3 VIA VERVE/UMe Los Angeles – February 7, 2020 – Recorded in 1982, not long after she moved to Paris, Fodder On My Wings was one of Nina Simone’s favorite albums yet has remained one of her most obscure. Originally recorded for a small French label and only sporadically available since its initial release, Fodder On My Wings will be reissued in a variety of formats including CD and LP, as well as widely available digitally for the first time, in both standard and hi-res audio, on April 3 via Verve/UMe. The original album will be expanded with three bonus tracks from the recording sessions from a rare French reissue released in 1988. The effervescent opening track “I Sing Just To Know That I’m Alive,” a song that Simone often performed live in her later years, is available now to stream and as an instant grat download with digital preorder. A lyric video is also available now: https://verve.lnk.to/ISJTKTIA A lesser-known but important part of Simone’s musical history, Fodder On My Wings contains deeply personal songs, including the aforementioned, “I Sing Just To Know That I'm Alive” and “I Was Just A Stupid Dog To Them,” as well a searing lyrical improvisation about the death of her father on “Alone Again (Naturally).” At the time she recorded the album, Simone was living in France and extremely lonely; her mental illness was worsening and her family life was fractured. It’s out of this despair that one of the many album standouts, the near title track “Fodder In Her Wings,” was birthed. As Pitchfork wrote in their list of 33 of Simone’s most iconic songs, the composition “captured with startling intimacy the pain of this period, and she returned to it frequently through the next decade, cutting another studio version three years later (the synth-heavy take on Nina’s Back!) and including it on several live albums, including an awe-inspiring performance on 1987’s Let It Be Me,” continuing, “Simone’s vocal makes a song of weariness and defeat carry an air of defiance, a wise word from someone who survived to tell the tale.” Over the years, the album has been reevaluated and has received its due as a significant work in Simone’s prolific catalog. In a 2005 review of the album, Jazz Times hailed the record and especially her emotional performance on “Alone Again (Naturally),” writing: “At the core of the album is a rare, powerful example of Simone with all masks stripped away: Her personal pain explodes to the surface as she reworks Gilbert O’Sullivan’s “Alone Again (Naturally)” into a diatribe about her dying father that bravely progresses from venomously embittered to cautiously conciliatory.” Recorded at a time when Simone was feeling rejuvenated by her surroundings and by the African musicians she met in her newly adopted France, Fodder On My Wings is an essential Simone album that is making a long-overdue reappearance and can now be heard however you prefer to listen to music. FODDER ON MY WINGS TRACK LISTINGS VINYL SIDE A 1. I Sing Just To Know That I'm Alive 2. Fodder In Her Wings 3. Vous êtes seuls, mais je désire être avec vous 4. Il y a un baume à Gilhead 5. Liberian Calypso 6. Alone Again (Naturally) SIDE B 1. I Was Just A Stupid Dog To Them 2. Color Is A Beautiful Thing 3. Le peuple en Suisse 4. Heaven Belongs To You 5. Thandewye 6. Stop 7. They Took My Hand CD/DIGITAL 1. I Sing Just To Know That I'm Alive 2. Fodder In Her Wings 3. Vous êtes seuls, mais je désire être avec vous 4 Il y a un baume à Gilhead 5. Liberian Calypso 6. Alone Again (Naturally) 7. I Was Just A Stupid Dog To Them 8. Color Is A Beautiful Thing 9. Le Peuple en Suisse 10. Heaven Belongs To You 11. Thandewye 12. Stop 13. They Took My Hand ____________________________________________________________________________________ Artist Title Time Nina Simone I Sing Just To Know That I'm Alive (NEW) 02:24

Andy Bianco "NYC Stories" Impacting: February 7 2020 Format(s): Jazz For Immediate Release "Andy Bianco is an amazing guitarist. He has great ideas, a fantastic sound and boundless imagination and fire!" - Peter Bernstein NEW YORK, NY: Guitarist Andy Bianco releases NYC Stories, a riveting chronicle of the trials, tribulations and moments of joy along the path of life (NL 2009). NYC Stories enchants the listener with a documentation of art reflecting human experience, offering a message of striving against adversity while evoking curiosity and self-exploration. NYC Stories offers the most wide-ranging documentation of Bianco’s artistry to date, showcasing where he has been and illuminating the path ahead. Bianco’s approach on NYC Stories fuses many of the influential elements of his past three recordings including modern post-bop-isms, fusion sensibilities and avant-garde exploration. According to Bianco “The double entendre of the word “stories” in the album speaks to both to the stories of life in the city, but also to the consecutive levels of a building or structure that ascend higher into the sky. Thus a metaphor for the overarching album theme of striving higher in the face of adversity. This is an album about striving and ascension.” Bianco is a New York City based jazz artist, composer and educator. He has performed at many renowned venues such as ABC Television's Good Morning America, Billboard Live Osaka/Tokyo, the Howard Theater, Blues Alley, the Long Beach Jazz Festival, the Blue Note. He is also the guitarist for the Grammy-winning R&B artist Elle Varner, with whom he has toured Japan for Billboard Live. Among his accolades, he was a finalist in the 2012 and 2015 USA Songwriting Competitions and his music has been licensed for use in Hollywood film and prime time network television. His two prior releases as a leader have received domestic and international critical acclaim from Elsewhere New Zealand, Bop-N-Jazz, The New York City Jazz Record, to name a few. The spirited, “For Those Who Battle Demons” is an intimate musical narrative of the inner turmoil that people often face in life. The piece is inspired by Bianco’s personal relationships with individuals who suffer from addiction, mental health issues, crisis of meaning and also those who have succumbed to these struggles. The song is composed in three sections depicting the first encounter with the demon, the epic battle one may face and the devastating aftermath of the combat. Bianco writes "This is a song I wrote for those who battle demons; For those who battle demons, this song is for you." With its playful vibe and collective improv section evoking the spirited dialogue of the drum circles in NYC's parks, Bianco’s “Two Ducks Crossing” is a celebratory tune of gratitude for shared music-making and the beauty of nature in the moment, amid the hustle of life in the city. Bianco recalls, "The idea for Two Ducks Crossing expresses an appreciation for nature and the beauty of Prospect Park - ’Brooklyn's Back Yard’ as it is referred to. The incident of two ducks crossing a path I was jogging along impressed me as a quite whimsical and zen-like occurrence. A celebration of the wonder and simplicity of the natural world. This was something that I found to be very uplifting.” Bianco is joined by Wayne Escoffery & Glenn White on Tenor Sax, George Burton on Piano, Paul Wells, Allan Mednard & Wayne Smith Jr. on drums & Nathan Peck on double bass/percussion. NYC Stories releases on NextLevel on February 7, 2020. Andy Bianco Bio: New York City based jazz artist/composer/educator/advocate Andy Bianco has performed with Angie Stone, Deborah Cox, Kandace Springs, Ray Chew, Elle Varner, Bob Moses, George Burton & many others at such renowned venues as ABC Television's Good Morning America, Billboard Live Osaka/Tokyo, The Howard Theater, Blues Alley, The 2013 Long Beach Jazz Festival, The 2014/2015/2019 Essence Festivals in New Orleans, The 2014 BET Awards, The 2017 Richmond Jazz Festival, Sculler’s Jazz Club, Cafe Wha, SOB's, Joe's Pub, The Bitter End, The Blue Note & he's also the guitarist for the Grammy winning RnB artist Elle Varner, with whom he's completed a tour of Japan for Billboard Live. He was a finalist in the 2012 & 2015 USA Songwriting Competitions & his 2 official jazz album releases as a leader have received domestic & international critical acclaim from Elsewhere New Zealand, Bop-N-Jazz, The New York City Jazz Record & other publications. Andy has performed his original jazz compositions as a bandleader & with other groups at such NYC jazz hot spots as Smoke Jazz Club, Minton’s Playhouse, Cornelia St. Cafe, The 55 Bar & The Zinc Bar-In addition his music has been licensed for use in Hollywood film & prime time network television. He has completed a 6 month tour of New Zealand & Japan as the guitarist with the critically acclaimed stage production entitled, "Empire" & is also a private instructor with New York Jazz Workshop & a teaching artist with Wingspan Arts & Midori & Friends in NYC. Andy is also an advocate for music & education & has created the Phillip Bianco Memorial Music Scholarship which annually awards a substantial monetary sum to young adult music students through the Keynotes Foundation Scholarship Competition in Pittsburgh. 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 Andy Bianco For Those Who Battle Demons 09:47 Andy Bianco Mag Lev Ride 09:01 Andy Bianco Bottom Dollar 06:52 Andy Bianco Politricks 06:36 Andy Bianco Two Ducks Crossing 07:13 Andy Bianco Ballad For Malllards 02:31 Andy Bianco Get to the Chopper 09:47 Andy Bianco The Pigeon Whisperer 06:16 Andy Bianco TSK 03:54 Andy Bianco Wild Geese 01:25 Andy Bianco Drone Battery Slow 05:57 Attachments Andy Bianc.. Andy Bianc.. Andy Bianc..