GA Russell

Artist Title Time Mark Winkler Hungry Man (Halloween Version) 03:13 Mark Winkler "Hungry Man (Halloween Version)" HALLOWEEN JAZZ SINGLE Do you want something that swings a little bit more than “Monster Mash” or “Thriller” for your radio show? Well, then Mark Winkler’s playful re-write on Bobby Troup’s “Hungry Man (Halloween Version)” is for you. Full of Ghouls, Wolfmen, Jazz and all sorts of mayhem- and it swings. “Killer Track” - Boris “Theolonius” Karloff/ Jazzick “It’alive and not just some re-hash” - Frankie Stein/Monster Times "Puts Hair on your chest - Four Howls” - Harry D. Wolfman/Downbeat

The three Harvest Soft Machine albums have been remastered and sold as a box for 17.49 GBP. https://www.amazon.co.uk/gp/product/B07SHHB5QJ/ref=pe_4061001_415209931_em_1p_0_lm $24.22. https://www.amazon.com/Harvest-Albums-1975-1978-Remastered-Boxset/dp/B07SHHB5QJ/ Does anyone have this? There does not appear to be any bonus tracks. I think the price is steep. Tell me you disagree.

Well OK, since the days of Clark Griffith!

Artist Title Time Lawrence Clark Mr Ali 03:08 Lawrence Clark Blew 05:01 Lawrence Clark Judgement Day 08:06 Lawrence Clark Freedom 04:33 Lawrence Clark Time Traveler 06:18 Lawrence Clark Anit 08:55 Lawrence Clark Inner Visions 10:27 Lawrence Clark Nibiru 06:39 Lawrence Clark Mr Ali - 2 03:09 Lawrence Clark "Inner Visions" Impacting: October 10 2019 Format(s): Jazz A longtime member of the late Rashied Ali's former group, Lawrence Clark has played alongside numerous renowned jazz artists including Norman Simmons, Winard Harper, Orrin Evans, Tyshawn Sorey, Eric McPherson, David Weiss, Billy Hart, Anthony Wonsey, Gene Jackson, Reggie Workman, Dwayne Burno, and Billy Drummond, among others. He has self-released one prior album as a leader and actively composes and performs with his group within the Tri-State area and beyond. Clark's latest release, Inner Visions, available through the Dutch label JazzTribes, showcases several of his compositions and features Jeremy Pelt and Duane Eubanks: trumpet; David Bryant: piano and Rhodes; Darrell Green: drums; and Joris Teepe: double bass.

Andreas Hellkvist "Becoming" Impacting: November 1 2019 Format(s): Jazz A fresh take on the sound and style of the jazz organ trio format, offering music that is both groovy and uplifting, heartfelt and deep. Swedish Hammond phenomenon Andreas Hellkvist has earned a reputation as a Hammond organ player always in the moment, performing his music with an outstanding technique (especially with his left foot) and relentless groove. At live concerts and internet videos, the audience is simply amazed by the expressiveness, virtuosity and playfulness that flows into the music. He has reached far outside Sweden and is enlisted as B3 artist at Hammond Organ USA. The roots and inspiration of his music are quite obvious, but it's also clear that he has developed a style of his own, both in terms of composition and playing. His 2019 release Becoming is no exception. An obvious continuation of the path that he is on, exploring the sound, style and potential of the organ trio format and the Hammond B3. It comprises seven of his own songs, all recorded with his trio, featuring Samuel Hällkvist on guitar and Daniel Olsson on drums. Together they manage to capture the diversity of the repertoire in a way that feels natural and consistent, yet exciting and fresh. Samuel Hällkvist is a jazz guitarist who has never been afraid of following his own path. A jazz musician with the integrity and confidence to dare to challange norms and traditions, though also not afraid of sticking to them if the music demands it. His sounds and playing significantly shapes the sound of the trio. An artist in his own right, with many exciting productions of his own in his catalogue. Daniel Olsson is a versatile drummer comfortable in most musical contexts. Besides being Andreas' favorite drummer, he is heard in many other contexts. With a great deal of spontaneity and a solid groove he completes the trio in the best possible way. From the liner notes by Pete Fallico: "One gets the impression that Andreas is a devoted musician who knows how and where the organ best conveys its message. His connection to his guitarist and drummer is on a metaphysical level and it allows this music to transcend the page and float, effortlessly, within space. There is sanctity in its delivery and purity in its presence." All photos by Palli Kristmundsson For more information about Andreas, the trio, upcoming tours and releases, visit andreashellkvist.com. Artist Title Time Andreas Hellkvist Let's get together 07:34 Andreas Hellkvist Phases 06:51 Andreas Hellkvist Just Flowin' 05:52 Andreas Hellkvist Snowflakes 07:14 Andreas Hellkvist Fall 07:05 Andreas Hellkvist Tritlar 07:54 Andreas Hellkvist Jesus 06:29

Artist Title Time Alex Cuba Yo No Sé 02:30 Alex Cuba Cantando De Alegría 03:36 Alex Cuba Ciudad Hembra (La Habana) 03:32 Alex Cuba Voz De Corazones 04:20 Alex Cuba Dividido 03:35 Alex Cuba Esta Situacíon 03:29 Alex Cuba De Los Dos 04:01 Alex Cuba Solo Mía 04:16 Alex Cuba Las Mujeres 03:30 Alex Cuba Y Si Mañana 03:38 Alex Cuba No Son Manera 03:44 Alex Cuba Hoy Como Ayer 04:32 Alex Cuba "Sublime" Impacting: September 20 2019 Format(s): AAA, Jazz, Latin, Non-Commercial, NPR The three time Grammy nominee, 4 time Latin Grammy winner a twice winner of the Canadian Juno Award, Alex Cuba returns with the minimalist, self produced recording of original songs born of an optimism much needed to the modern world. An entrainment over entertinment; conecting listeners to the interplay of melody, rythm and voice. Recorded in Canada, Sublime is graced by duets with artists in Mexico City’s roots music scene, both superstar Leonel García (one half of the duo Sin Bandera) and up-and-comers Silvana Estrada and Alex Ferreira. These songs came out of spontaneous collaboration as part of a writing trip organized by publisher Universal Music. “It is a wonderful thing to share,” Alex muses. “When you do it with the right people who think and feel alike, it’s an empowering thing to do. It’s like you expand your musical universe.” Alex often focuses on his own sound and songwriting, but he still relishes collaborating with other artists. Duets with Ron Sexsmith and Nelly Furtado were instrumental in his career, after all. This time around, Alex pairs his voice with three of Cuba’s brightest lights: Pablo Milanés, a founder of the Nueva Trova sound; Omara Portuondo, the vocalist of the legendary Buena Vista Social Club; and singer-songwriter Kelvis Ochoa singing on a track dedicated to Havana in its 500 year. “This album has the most important duets of my career,” Alex says. “Pablo shaped my generation in Cuba. I listened to his music almost every day of my life, so recording “Hoy Como Ayer” is a dream come true”. Six singles were released in advance of the album - one per month since February 2019, each with a lyric video or broadcast quality video. New content will be released throughout promotional period supporting live dates as follows Live Dates: Nov. 1 – Smithers, BC Nov. 2 – Prince George, BC Nov. 4 – Salt Spring Island, BC Nov. 6 – Vancouver, BC Nov. 7 – Kelowna, BC Nov. 8 – Penticton, BC Nov. 9 – Rossland, BC Nov. 13 – Canmore, AB Nov. 14 – red Deer, AB Nov. 15 – Calgary, AB Nov.1 6 – Edmonton, AB Nov. 17 – Jasper, AB Nov 19 – Saskatoon, SK Nov 22 – Winnipeg, MB Nov 23 – Regina, SK Jan, 16 – Montreal, QC Jan 17 – Ottawa, ON Jan 18 – Peterborough, ON Jan – 20 – Hamilton, ON Jan 21 – Toronto, ON Jan 23 – London, ON Jan 24 – Ridgeway, ON March 27 – Burlington, VT March 28 – Boston, MA March 29 – New Jersey, NY March 31 – Philadelphia, PA April 2 – Washington, DC April 3 – New York, NY

N I C O L A S B E A R D E : I Remember You: The Music of Nat King Cole DAN BILAWSKY - ALL ABOUT JAZZ "From the opening title track over to the Eric Alexander-graced “That Sunday, That Summer and “Funny (Not Much) everything is fine and mellow. Completely avoiding kitschy Cole and seriously upbeat avenues, these tracks cement Bearde's place as an inheritor of Cole's cool...he soothes and seduces. Bearde is a soulful sensation". C. MICHAEL BAILEY - ONE HUNDRED WORDS "San Francisco-centered Bearde sports a sensual baritone voice well suited for his new project, devoted to the centenary of Nat King Cole’s birth. The singer kills on the ballads. “I Remember You” and “Sweet Lorraine” are master classes to the method. He is equally capable on the upbeat “Thou Swell” and “Straighten Up and Fly Right,” Eric Alexander providing his tart tenor on the former, while bassist Alex Boneham rules the latter. Josh Nelson and Peter Horvath split piano duties, achieving a solid simpatico well seasoned". DICK METCALF - CONTEMPORARY FUSION "Silky smooth jazz vocals...superb tribute to 'the King' ALIX COHEN - CABARET SCENES “Bearde's voice is savory and warm, with occasional sand ...easy going, sympathetic and thoughtful, and his jazz inflection is respectful of the melodies. He breathes lyrics.” BILL BUCKLEY - SOULand JAZZand FUNK - (United Kingdom) "It's Bearde's elegant baritone....his warm and caramel-infused vocals that offer fresh perspectives without losing any of the inherent romance and heartbreak of the Cole versions" I REMEMBER YOU: The Music of Nat King Cole is Nicolas Bearde’s newest CD and the 6th release on the Right Groove Records label. Produced and arranged by Josh Nelson (long-time pianist for the late Natalie Cole), this release celebrates Nat’s 100th birthday. Though the ten songs on this project are associated with Cole, Nelson’s fresh arrangements and Beardes’ rich, warm voice and supple phrasing offer new takes on these timeless songs. Being a big fan of tenor saxophonist Eric Alexander’s phrasing and tone, Bearde brought him out from New York as his special guest for this project. Alexander is featured on That Sunday, That Summer, Funny (Not Much), and Thou Swell. Bearde is a master storyteller. There is a certain elegance to Bearde’s singing that makes the songs on I REMEMBER YOU: The Music of Nat King Cole , with their updated, hip arrangements, as fresh and evocative as when they were originally performed. WWW.NICOLASBEARDE.COM

I think this is Washington's first World Series since the days of Walter Johnson. Am I right?

Four Simple Notes ft Kathy Sanborn "Checking Out" Impacting: October 22 2019 Format(s): Jazz Checking Out Four Simple Notes ft Kathy Sanborn Written by Michael Peloso & Ekat Pereyra “Have faith & no fear! Fear stops us from believing in our dreams. I strongly feel that in life, if you truly BELIEVE that things will happen, if you put yourself out there, then something magical will indeed happen & sometimes we’re not meant to understand why things happen or don’t happen. -Michael Peloso Four Simple Notes is very excited to announce the release of their new single “Checking Out”! Featuring the wonderful Kathy Sanborn on lead vocals & produced by Matthew Shell, “Checking Out” is a smoothing, heartfelt mainstream jazz /pop song single the touches on the loss of a relationship that once seemed so strong. Michael Peloso, the lyricist/songwriter behind Four Simple Notes is a New Jersey-based lyricist/songwriter who writes undeniably touching, honest songs with a sense of simplicity that are uniquely all his own. Michael collaborated with Natalie Jean. “Please Don’t”, a Josie Award nominated R&B track was released in 2016, & is a featured single on Natalie’s Unafraid album. The duo released “Alive” on June 30, 2017. They also worked together on the single “Lost & Found” which was released on April 8, 2019. He was also the lyricist & co-writer of ‘The Letting Go”, which was released on February 14, 2018, a duet between Natalie Jean & Levi Moore. The song has garnered numerous nominations & awards. Most recently, it won Best Country Music Video in the 2019 World Music & Independent Film Festival, 2019 Viewers Choice in the California Music Video Awards, a Semi-Finalist in the 2018 UK Songwriting Contest for Music Video & Song, Best Folk/Americana Song of The Year at the 2018 Josie Music Awards, Silver Medals in the 2018 Global Music Awards for Music Video & Song, Best Country Song & Best Country Music Video in the 2018 Clouzine International Music Awards. The music video has won over 23 awards. The music video has been viewed over 38,000 times. Michael is also the co-writer of “Echoes of Angels” by Christina Gaudet. The song is currently under consideration for “Record & Song of the Year”, “Best Rock Song” & “Best Rock Performance” for the 62nd Grammy ballot. Kathy Sanborn is an American award-winning jazz vocalist, composer, & recording artist. Known for her velvet voice, Sanborn takes jazz music into the modern era with her sultry, contemporary sound. In September 2017, Sanborn won a Clouzine International Music Award (Best Jazz Song) for her original composition, "Falling," from her latest album release, “Recollecting You”. Sanborn has been compared to 1950s cool jazz singers Anita O'Day, Chris Connor, & June Christy due to her smooth vocals & clear diction. Her vocal tone has been compared to the 1970s singer-songwriter Laura Nyro for its depth & timbre. JazzTimes on Sanborn's work: "Romance is always in the air as far as Kathy Sanborn is concerned, & her songs are reflections of those emotions which take flight when overpowered by love." [1] Spain's NoSoloSmoothJazz.com says: "Kathy Sanborn is one of the most original vocalists in the American musical l&scape." [2] With the release of Peaceful Sounds, Eric Cohen of New York radio station WAER proclaimed that Sanborn's voice "truly is a gift from the heavens." Sanborn & Shell teamed up earlier this year for the critically received “Three Days of the Condor”. “Checking Out” is set for official release on October 22, 2019. To learn more about Four Simple Notes (Michael Peloso) & Kathy Sanborn, you can go to their individual websites, wwwfoursimplenotesmusic.com & www.kathysanborn.com . To learn more about Four Simple Notes (Michael Peloso) and Kathy Sanborn, you can go to their individual websites, wwwfoursimplenotesmusic.com & www.kathysanborn.com . Watch the lyric video here:

Dana, each week I assume you click on every Riders link! ***** Week 18 Plays of the Week https://www.cfl.ca/2019/10/14/nick-marshall-grabs-5th-spot-in-timber-mart-plays-of-the-week/ ***** Week 18 recap https://www.cfl.ca/2019/10/14/landrys-5-takeaways-week-18-3/ ***** 10/14 QB index https://www.cfl.ca/2019/10/14/rockstar-qb-index-back-mop-form/ ***** Week 18 QB accuracy https://www.cfl.ca/2019/10/15/accuracy-grades-target-week-18/ ***** Strength of schedule rankings. Dana, the Riders by far have the easiest western schedule. https://www.cfl.ca/2019/10/15/strength-schedule-stamps-bombers-face-off-crucial-back-back/ ***** Shaquille Richardson has signed with the Argos. https://3downnation.com/2019/10/15/argonauts-sign-former-stampeder-db-shaquille-richardson/ https://www.cfl.ca/2019/10/15/argos-sign-shaquille-richardson-practice-roster/ ***** Brandon Bridge has signed with the Lions. https://3downnation.com/2019/10/14/b-c-lions-agree-to-terms-with-canadian-qb-brandon-bridge/ https://www.cfl.ca/2019/10/14/lions-sign-qb-brandon-bridge/ ***** With his wrist broken, Mike Reilly is gone for the year. https://www.cbc.ca/sports/football/cfl/mike-reilly-cfl-wrist-surgery-1.5321622 https://3downnation.com/2019/10/15/lions-qb-mike-reilly-undergoes-surgery-on-fractured-wrist-expected-to-make-full-recovery/ ***** Edmonton analysis https://3downnation.com/2019/10/13/reilly-finally-koed-and-other-thoughts-on-the-esks-sweeping-the-lions/ ***** Justin Dunk agrees with me that not having games on Thanksgiving (which was yesterday) is a bad idea. I wonder who didn't want to host the games. https://3downnation.com/2019/10/14/no-canadian-football-on-thanksgiving-monday-makes-the-cfl-turkeys/ ***** Calgary analysis https://3downnation.com/2019/10/14/ballantine-score-suggests-stamps-squeaked-out-win-against-saskatchewan-i-disagree/ ***** Winnipeg analysis https://3downnation.com/2019/10/14/blue-bomber-talk-bombers-win-in-snow-could-coach-oshea-go/ ***** Hamilton analysis https://3downnation.com/2019/10/15/podskee-wee-wee-157-home-is-where-the-east-final-will-be-held/ ***** power rankings https://www.cfl.ca/2019/10/15/nissan-titan-power-rankings-pursuit-home-field/ http://pifflespodcast.com/blog/safimods-2019-power-rankings-week-18-edition https://firstdownsportspodcast.com/2019/10/14/cfl-power-rankings-after-week-18-2/ https://thegruelingtruth.com/football/tgt-cfl-power-rankings-week-19/ ***** USports Week 8 recap https://www.cfl.ca/2019/10/14/u-sports-recap-got-weird-week-8/ ***** Friday I posted a tweet, and when I checked in Saturday, I saw that it was liked by...Adam Bighill!

Sunset Blvd Records is Proud to Present BEN SIDRAN BEN THERE, DONE THAT: BEN SIDRAN LIVE AROUND THE WORLD (1975-2015) 27 Tracks of Previously Unissued Live Performances from Pianist, Vocalist, Composer and Producer Ben Sidran Spanning 40 Years and 6 Countries Includes an Extensive 24-page Book with Essays by NPR’s Becca Pulliam and Co-producers Zev Feldman and Ben Sidran, plus Sirius XM’s Mark Ruffin Interviews Sidran, with Reflections by Janis Siegel (Manhattan Transfer) and Georgie Fame (Van Morrison) Jazz Weekly – One of the last living jazz beatniks, Ben Sidran is richly anthologized on this wonderful 3 disc set that includes “live” music from 1975 up to 2015. Sort of like a musical Mort Sahl, Sidran is the ultimate insider, delivering wry stories … (he) comes off as that cool uncle you see for the holidays; you love sitting next to him and hear things that your parents roll their eyes over, while trying to have you sit a bit away from at the dinner table. Lots of fun! All About Jazz – a 3-CD retrospective of Sidran performing in a variety of formats that only a Renaissance Man like himself could achieve… His writing style mimics his singing, conversational: once folksy, next erudite. He never shows off because he never has to. His bibliography and discography speak for themselves. … That he is still living is our grace. Some gifts just keep on giving... Audiophile -- One cool cat… That’s Ben Sidran. His compositions are infectious and swinging, in a manner combining the soulfulness of a Horace Silver, and the cool sensibility of Mose Allison. His lyrics are firmly with beat poets, and his musical arrangements, heavy with a shuffle beat, have an easy-going languorous vibe, like sipping a cool drink on a hot and muggy day, kicking back, being content and satisfied, yet pontificating on the ways of the world. Jazz and Soul – (the set) functions like a sonic time machine that transports the listener back to different junctures in Sidran's storied career, ultimately painting a vivid portrait of an artist evolving over the years… everything he puts his hand - or mind - to, he masters completely and with apparent ease… Limited Edition Deluxe 3-CD Set Los Angeles, January 2019 — Sunset Blvd Records is proud to announce the release of Ben There, Done That: Ben Sidran Live Around the World (1975-2015), a staggering 3-disc set of previously unissued electrifying live recordings handpicked by Ben Sidran and recorded in New York, Paris, Madrid, Milan, Osaka, Tokyo, Minneapolis, Madison and London between 1975-2015. The same year Ben Sidran wrote the pop classic “Space Cowboy” with Steve Miller (1969) he earned a PhD in American Studies from Sussex University in England; the following year, his first solo album (Feel Your Groove) was released on Capitol Records – featuring pop icons Boz Scaggs, Peter Frampton and Charlie Watts and jazz legends Blue Mitchell and Willie Ruff – and his dissertation was published as Black Talk, a sociological study of black music in America. No wonder the Chicago Sun Times referred to Sidran as “a Renaissance man cast adrift in the modern world” and, several decades later, the Times of London was moved to crown him “The first existential jazz rapper.” Sidran’s long career – four decades of highlights captured in Ben There, Done That – is the stuff that legends are made of. There are many great musicians represented throughout the 3-disc set, including saxophonists David “Fathead” Newman and Phil Woods, but no one shines brighter than Bob Malach. In the liner notes Ben recalls, “In 1978, I needed a tenor player for a tour of Japan, and I called my friend Michael Brecker who was busy but recommended ‘this young guy from Philly...’ Bob Malach.” Malach became Ben’s first-call sax player and they have worked together often over the decades, “hundreds of gigs, thousands of miles,” recalls Ben. “Bob’s an unsung hero of the music,” Ben says, “an inspiration, a singular voice, a force of nature.” In the package notes, Grammy-winning vocalist, arranger and founding member of The Manhattan Transfer, Janis Siegel says about her friend Sidran, “Ben has always been a modern troubadour to me . . . someone who speaks out in his own witty musical way about injustices, inequalities and the ironies of being human. He is a fount of knowledge about music, a wonderful and thought-provoking writer and a hipster to the bone.” This deluxe 3CD package clearly documents her sentiments in the clearest most hip, swinging way. DISC ONE 1. Birk’s Works (3:16) — Minneapolis, KTCZ Radio Broadcast (September 19, 1975) 2. The Groove Is Gonna Get You (10:39) — Sunset, Paris (November 11, 2015) 3. The Funkasaurus (8:41) — Tokyo, Cotton Club (May 21, 2009) 4. That’s Life I Guess (4:11) — Milan, Blue Note (December 1, 2003) 5. You Can’t Judge a Book (4:32) — Milan, Blue Note (December 1, 2003) 6. The House of Blue Lights (8:12) — Madison, Jazz @ Five (July 29, 2001) 7. Dying Anyway (5:20) — Paris, Sunside (November 7, 2000) 8. On the Road Again (5:28) — Paris, Sunset (May 11, 2007) 9. Revenge of the Funky Duck (5:30) — Minneapolis Radio Broadcast (September 19, 1975) DISC TWO 1. Ballin’ on the Reservation (3:02) — Madrid Area Reservada (November 24, 2000) 2. Blue Minor (6:24) — Milan, Blue Note (December 1, 2003) 3. Hard Times feat. David “Fathead” Newman (6:02) — New York, Jazz Standard (May 4, 2008) 4. Minority feat. Phil Woods (6:38) — New York, Jazz Standard (October 7, 2007) 5. New York State of Mind (10:11) — London, Pizza Express (December 2, 2001) 6. Let’s Make a Deal / Absent Soul (17:33) — Paris, Sunside (November 7, 2000) 7. Piano Players (7:29) — Paris, Sunside (November 7, 2000) DISC THREE 1. Song for a Sucker Like You (4:41) — New York, Governor’s Island (June 30, 1991) 2. On the Sunny Side of the Street (6:27) — London, Pizza Express (December 2, 2001) 3. Mitsubishi Boy (5:13) — Osaka, Blue Note (April 18,1991) 4. Straighten Up and Fly Right (5:28) — New York, Governor’s Island (June 30, 1991) 5. Lip Service (4:41) — Osaka, Blue Note (April 18,1991) 6. Walking with the Blues (8:30) — Osaka, Blue Note (April 18,1991) 7. Just a Dream (4:37) — Tokyo, Cotton Club (May 21, 2009) 8. Language of the Blues (4:23) — Osaka, Blue Note (April 18, 1991) 9. Too Hot to Touch (4:02) — Tokyo, Quatro (April 19,1991) 10. My Little Sherry (4:35) — Tokyo, Cotton Club (May 21, 2009) 11. Life’s a Lesson (2:49) — Tokyo. Blue Note (November 7,1991) # # #

Jason Kao Hwang "Conjure" Impacting: September 24 2019 Format(s): Jazz Artist Title Time Jason Kao Hwang Prophecy 04:24 Jason Kao Hwang Silhouettes 07:01 Jason Kao Hwang Beyond Reach 07:04 Jason Kao Hwang Vanishing Roots 06:09 Jason Kao Hwang Faith 05:59 Jason Kao Hwang Below Zero 03:52 Jason Kao Hwang Water Finds Water 13:07 Jason Kao Hwang Arise 06:09 I want to thank the moment and circumstance in time that got us together for this music. – Karl Berger Karl Berger (composer/piano/vibraphone) is a six-time winner of the DownBeat Critics Poll as a jazz soloist. He is also the recipient of numerous composition awards, including commissions by the NEA, NYSCA, the Rockefeller Foundation, and many European radio and television stations. He has recorded and performed internationally with Don Cherry, Lee Konitz, John McLaughlin, Gunther Schuller, the Mingus Epitaph Orchestra, Dave Brubeck, Ingrid Sertso, Dave Holland, Ed Blackwell, Ray Anderson, Carlos Ward, Pharoah Sanders, James Blood Ulmer, Hozan Yamamoto, and many others. Founder and director of the Creative Music Foundation, Inc., and creative leader of the Creative Music Studio, Karl’s recordings and arrangements appear on many labels, including Atlantic, Axiom, Black Saint, Blue Note, Capitol, CBS, Columbia, and Double Moon. ------ It was a crisp, sunny March afternoon when I drove up to Woodstock to record with Karl in his home studio, which is named after his wife, Ingrid Sertso, a great vocalist. Having played in Karl’s Creative Music Orchestra, we were familiar with each other and understood that our music of that day would be spontaneous and unpredictable, as life is. Without written score or any predeterminations we opened ourselves to each other into the unified mystery and light conjured within each of these journeys for which I am grateful. – Jason Kao Hwang The music of Jason Kao Hwang (composer/violin/viola) explores the vibrations and language of his existence through compositions of transformative journeys. He currently leads the octet Burning Bridge, quintet Sing House, and the Critical Response and Human Rites trios. In 2019, 2013 and 2012 the El Intruso Jazz Critics Poll voted him Violinist of the Year. The 2012 DownBeat Critics’ Poll voted Mr. Hwang as Rising Star for Violin. As composer, Mr. Hwang has received support from Chamber Music America, US Artists International, and the NEA. As violinist, he has worked with Tomeka Reid, William Parker, Pauline Oliveros, Anthony Braxton, Butch Morris, Oliver Lake, Henry Threadgill, Reggie Workman, Ivo Perlman, Patrick Brennan, and many others.

Artist Title Time Harry Connick, Jr. Just One Of Those Things 03:13 Harry Connick, Jr. Mind If I Make Love To You 03:07 Multi-Grammy and Emmy Award Winning Artist Harry Connick, Jr. Returns With True Love: A Celebration Of Cole Porter Available October 25, 2019 from Verve Label Group After 30 million albums sold worldwide, 13 No. 1 jazz albums in the United States, and a music, film, television and Broadway career spanning three decades, Harry Connick, Jr. returns with a sensational new record, True Love: A Celebration Of Cole Porter. Comprised exclusively of Cole Porter compositions, True Love highlights Connick’s talents as pianist, singer, arranger, orchestrator and conductor, as he breathes new life into popular songs from The Great American Songbook including “Anything Goes”, “You Do Something To Me” and the first single “Just One of Those Things.” “Just One of Those Things” music video: https://youtu.be/0ZkpwJ07sxA

Artist Title Time RICKY PARRELL The Commute 01:17 RICKY PARRELL Work 05:54 RICKY PARRELL Man Like You 06:04 RICKY PARRELL Home 08:07 RICKY PARRELL Interlude I-66 02:05 RICKY PARRELL Mom And Dad's 03:17 RICKY PARRELL My Bike Lock (intro) 00:25 RICKY PARRELL My Bike Lock 06:07 RICKY PARRELL "Keys To My Life" Impacting: October 7 2019 Format(s): Jazz FEATURING RANDY BRECKER & SNARKY PUPPY'S JUSTIN STANTON Ricky Parrell Saxophonist and Composer Ricky grew up in a household full of music. His father (Rick Parrell) spent 34 years in The United States Army Band “Pershing’s Own” (Washington D.C.) and served as their principal saxophonist. His mother, a clarinetist and sister a trumpet player. After receiving many accolades in high-school as a saxophonist, as well as recording with a number of local groups, the only way forward for Parrell was music. A graduate from George Mason University, he earned a Bachelor of Music Education. He went on to receive a Master of Music degree in saxophone performance from the University of North Texas. His former teachers include his father, Rick Parrell Sr., Dale Underwood, Jim Carroll, Ed Fraedrich, Marty Nau, Eric Marienthal and Eric Nestler. In 2012 Parrell won a highly competitive audition with the premier band of The United States Air Force, Washington D.C., and has been active duty with the band ever since. Parrell also continues to be an active performer and educator in the D.C. metro area. He serves as an adjunct faculty member at Northern Virginia Community College where he teaches and specializes in both the jazz and classical idioms. His comfort in all performing styles led him to become a Vandoren Artist and Clinician and has appeared at such notable venues as The Morton H. Meyerson Symphony Center (Dallas), The Eisemann Center (Dallas), The John F. Kennedy Center (Washington D.C) and Wolf Trap Center for the Performing Arts (Vienna, Virginia). He continues to be seen all over the country performing and giving masterclasses at Colleges and Universities. His debut album KEYS TO MY LIFE is a culmination of years of study, practice and lessons learned along the bumpy road of life as a husband, parent, service member and musician. OFFICIAL ALBUM TEASER! MY BIKE LOCK - TEASER! ============================================= KEYS TO MY LIFE It is a rare occasion that one can pinpoint a day and event that opened your world to a new perspective. That date was March 6, 2018 and the thing that opened me up to writing an album was an interview with writer Cheryl Strayed on the Outside Podcast: Dispatches, Cheryl Strayed’s Wild Creativity. Prior to listening to this podcast it had always been a dream to write my own album but I never knew where to begin. I needed to, in her words, “surrender to my own mediocrity and write like a mother f@<%er.” In doing this I would find humility. In Humility is Strength I found that the pedestal of greatness was preventing me from doing what I really wanted to do. I had never written any original music because I never thought it would be as good as anything produced by my musical idols. The looming cloud of greatness (or failure to achieve greatness) was preventing me from even trying. I needed a starting point. In the podcast interview Cheryl Strayed suggested a writing prompt that she often uses. Write about myself and my experiences via a physical object. She said, and I’m paraphrasing... “If I made you take out your key chain and then write the story of every key, you will have written something very interesting and something very telling about your life." I found this concept to be a powerful source of story and emotion. I adapted it to fit a musician’s perspective. I chose four keys on my keychain and decided to write four songs, each about a respective key and what that key represented. The four keys I chose were: WORK, MOM AND DAD’S, HOME, and MY BIKE LOCK. From this launch pad a flow of creativity came pouring out of me like I have never felt before. All the years of studying music, performing, playing, and practicing coalesced into ideas and forms. Every key represented feelings and emotions that expressed themselves in various musical styles....ranging from a jazz waltz, reggae, funk, bebop and beyond. These are... KEYS TO MY LIFE ================================= US Air Force BAND Tour of Florida Oct. 16 - Daytona Beach Oct. 17 & 18 - Lake Buena Vista Oct. 19 - Boca Raton Oct. 20 - Palm Beach Springs Oct. 21 - Miami Beach Oct. 22 - Davie Oct. 23 & 24 - Punta Gorda Oct. 25 - Lakeland Oct. 26 - Tampa Oct. 27 - Spring Hill

Artist Title Time Jelena Jovović Witch Hunt 08:44 Jelena Jovović Paladin 04:11 Jelena Jovović The Countless Stars 06:19 Jelena Jovović Heartbeat 05:13 Jelena Jovović Bubu's Song. 04:56 Jelena Jovović Sweet Music 05:43 Jelena Jovović Little Freddie Steps 04:28 Jelena Jovović Time Is Here 04:23 Jelena Jovović Mad In Heaven 05:02 Jelena Jovović Pools 04:44 Jelena Jovović "Heartbeat" Impacting: September 24 2019 Format(s): Jazz ''....I haven't heard something so beautiful in at least 10 years. The music is fresh, the arrangements are great, the musicians are at their peak. Special to me are the vocal arrangements as well as Jelena's vocals.Definitely the best recording of the year...'' - Flora Purim '' Well, all I can say is - Jelena's album Heartbeat is HIP ! The singing, scatting, playing, compositions, lyrics, and charts are great and so inventive! Really up to date too! Congrats on the album! Enjoyed the more 'intimate' songs/tracks too. Loved it!!! ’’- Randy Brecker Heartbeat introduces the talented Jelena Jovović to a wider audience and is an important step in the career of this up-and-coming jazz singer. On Heartbeat, Jelena’s warm and flexible voice is teamed with a core group comprised of keyboardist Vasil Hadzimanov, bassist Milan Nikolic, drummer Vladimir Kostadinovic, tenor saxophonist Rastko Obradovic and, on three numbers, trumpeter Strahinja Banovic. Also featured are vibraphonist Milos Branisavljevic and guitarist Branko Trijic. WATCH THE EPK HERE: www.jelenajovovic.co.uk

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Artist Title Time Rebekah Victoria Some Of These Days 05:17 Rebekah Victoria Whispering-Groovin' High 04:36 Rebekah Victoria After You've Gone 04:45 Rebekah Victoria Twisted 06:15 Rebekah Victoria Unbreak My Heart 05:57 Rebekah Victoria These Boots Are Made For Walkin' 05:40 Rebekah Victoria It's Too Late 04:40 Rebekah Victoria The Song Is You 05:32 Rebekah Victoria Opus One-Undecided 03:57 Rebekah Victoria I Hope I Never 05:56 Rebekah Victoria Biography Jazz vocalist Rebekah Victoria mines 20th century songs for 21st century sounds and meaning on Songs of the Decades, her new recording Victoria collaborates with acclaimed trombonist, composer-arranger and bandleader Wayne Wallace and an assemblage of two-dozen musicians (including guest vocalist Kenny Washington) for a panorama of songs from each decade of the 20th century “[Rebekah Victoria] has a large soprano range and her diction is right on.” – Herb Young, IAJRC Journal “You can tell she has a complete understanding of every word she sings.” – Dan Singer, Singer’s Singer As a jazz singer, Rebekah Victoria’s performance repertoire tends to come overwhelmingly from the era of the Great American Songbook: the 1920s, ‘30s and ‘40s. As she was preparing to record her second album, however, Victoria was inspired to widen her musical perspective in terms of both time periods and popular styles. Songs of the Decades, her investigation of the music from each decade of the twentieth century, will be released June 21, 2019 through Patois Records. If the album is retrospective, though, it is the furthest thing from nostalgic. “I wanted to make these songs different— I wanted them to sound very new and fresh,” says Victoria, who is based in the San Francisco Bay Area. “The idea was to make them as much fun to listen to now as they were in their day, when they were big hits. For the people that really know these songs, they’ll get a kick out of the differences.” She also had another, more serious priority for assembling Songs of the Decades. “There’s a theme running through the songs,” she says. “In one way or another, most of them connect to the #MeToo movement that’s happening today. I wanted the album to speak to that.” In other words, Victoria combed through the music of the past and found that it was not only still fun, but still relevant. Wayne Wallace, the Grammy-nominated trombonist, composer-arranger, and bandleader who is also the head of Patois Records, acted as Victoria’s partner for the album. He co-produced it, wrote all of its arrangements—often incorporating elements of Latin jazz, his specialty—and assembled its superlative cast of 24 musicians, including improvising vocalist Kenny Washington, Wallace’s bandmates from his own various projects, and a string quintet that features members of the San Francisco Symphony. “I was so happy with how it all turned out,” Victoria says. “Wayne’s arrangements really captured the freshness I wanted, and the musicians he chose were just fantastic. It was a great experience overall.” Songs of the Decades does not present its selections in chronological order; Victoria and Wallace sought to create a flow that would emphasize the variety of the material and the versatility of the singer. That said, the album opens with its oldest tune. “Some of These Days,” written in 1910, has a cavalier quality that Victoria injects with sultriness. But its solo section also suggests a subtle, sobering edge, a warning of the consequences of disrespect. The consequences of disrespect are front-and-center of “These Boots Are Made for Walking,” and there’s no subtlety about it. The album’s ‘60s episode gets a down-and-dirty treatment, with earthy Hammond organ and guitar (courtesy of Frank Martin and Rick Vandivier, respectively) and soulful horn charts that drive home Victoria’s taunting vocal. “After You’ve Gone” is perhaps the recording’s most recognizable jazz standard, and the musicians tackle it as such. The 1918 Layton-Creamer classic here becomes a breezy swinger and affirmation of the singer’s self-worth, augmented by Mary Fettig’s jaunty clarinet solo and Victoria’s supremely confident phrasing and time feel. Though it’s probably best known through Joni Mitchell’s version two decades later, “Twisted” began life in 1952 as an Annie Ross vocalese riff on a Wardell Gray blues solo. Its (title-appropriate) twists and turns give Wallace a place to put his finest and most elaborate Latin-jazz flourishes, including a double-barreled solo chorus from the trombonist. (Wallace and Kenny Washington also provide the spoken-word responses to Victoria’s sung lines.) There’s also a trace of a Latin accent on “The Song Is You,” written by Jerome Kern and Oscar Hammerstein II for a 1932 musical. More than that, however, it takes on a bebop sensibility in Victoria and Wallace’s hands. The singer drops a delivery with echoes of Ella Fitzgerald or Sarah Vaughan, with solos by Fettig (now on alto sax) and pianist Joe Gilman that are steeped in delectable modern jazz language. Victoria singles out “Unbreak My Heart” as a particularly challenging tune for the purposes of this album. It’s not because of any technical hurdles, but because the 1996 Toni Braxton hit (written by Diane Warren) is Songs of the Decades’ most recent selection, and therefore its most familiar. “That’s a pop song that everyone knows,” she says. “Finding a way to refresh that one was difficult, but that’s part of the fun of this album.” Ultimately, the song receives a subtle reharmonization and bossa nova beat, with a guitar solo from Vandivier that’s also inspired by Brazilian music—and a sly interpolation of Neil Young’s “Only Love Can Break Your Heart.” “Whispering” was an iconic hit song of the 1920s. But here it gets thoroughly lifted out of that time with a sexy mambo setting, a vocalese verse from Victoria (decidedly divergent from the album’s feminist theme), and an expansive scat solo from Kenny Washington—not to mention a modulation (also in vocalese) to “Groovin’ High,” Dizzy Gillespie’s revolutionary bebop contrafact of the tune. A gentle Afro-Caribbean percussion treatment greets Carole King’s “It’s Too Late,” representing the 1970s. While it’s drummer Colin Douglas and percussionist Michael Spiro who shape the performance, they’re assisted by beautiful solos from Vandivier and pianist Murray Low, as well as a delivery from Victoria that takes Billie Holiday-like liberties with its contours. Like “Whispering,” Sy Oliver and Sid Garris’s “Opus One” (from 1943) declines to engage with Victoria’s theme of women’s independence and empowerment. “This one’s just for fun,” she says. True to her word, it concerns itself with timeless, danceable swing, heightening the effect by becoming a cleverly plotted medley with Charlie Shavers’s 1938 jazz standard “Undecided.” Songs of the Decades closes with its 1980s installment: “I Hope I Never,” a tune by the New Zealand new wave band Split Enz (the only non-American song on the album). Here Wallace deploys the string quintet, which adds piquant emotional release (and a surprising solo from violinist Eugene Chuklov) to Victoria’s remarkably restrained soprano. About Rebekah Victoria Rebekah Victoria grew up in her family-owned nightclub in Los Altos, California, singing with her father’s Greek band. While she chose to get her college degree in business, she also took formal singing lessons and theater classes, learning both classical and Broadway singing techniques. She took a job as a real estate broker but supplemented her income with musical theater and even jobs as a singing waitress. After raising her daughter to adulthood, Victoria began to engage her after-hours singing career more seriously. Deciding that her heart—and vocal range—really belonged to jazz, she formed a band called Jazzkwest and began performing regularly in clubs and other venues in the San Francisco Bay Area, attracting a following that eventually enabled her to record her debut album, #OldFashionedTwitterTwit, in 2016. While the retirement of her key collaborator in Jazzkwest presented a challenge, Victoria soon had a tete-a-tete with San Francisco jazz maven Sheryl Lynn Thomas—who connected her with Wayne Wallace, beginning the two-year task of creating Songs of the Decades. “It’s been a really great process,” Victoria says. “I hope it continues on to the next one.” ------------- JAZZKWEST Songs of the Decades Liner Notes: Tin Pan Alley is the name given to the group of New York city music publishers and composers who became the dominant force in American popular song in the late 19th century. The narratives of those songs spoke to heartbreak, love and hope. These tunesmiths composed bittersweet memorable refrains, poetic turns of a phrase and unforgettable melodies that resonated with life experiences still felt today. The ascent of Tin Pan Alley was amplified by the rapid movement of life in the 20th century. It arose from the collective experiences of immigrants and former slaves in the United States. Coinciding with the advent of technological advances (player pianos, radio, Victrola record players, turntables, jukeboxes) the music spread internationally.. As the style gained prominence it became a worldwide phenomenon. The composers of the Great American Songbook have graced us with compositions that are endearing and whose messages still delight, enchant and endure worldwide. The beauty of any popular song is that it can be re-imagined and easily fit into different styles while retaining its vitality. We can now see the merging of the blues, gospel and ragtime with the music of vaudeville and Broadway theatre. The melding continued with jazz, bluegrass and jump bands. Rhythm and blues begat soul and funk which in turn influenced an entire generation of English rock bands, singer/songwriters and Motown to modern pop. Songs of the Decades chronicles a portion of the centurial evolution of the music, it's composers and the iconic artists who entertained and inspired from the Interbellum generation to the present day. The greatest honor for any songwriter is to have their songs recorded by a diverse group of artists. The songs we have chosen have been covered by a wide range of eclectic artists such as Frank Sinatra, Louis Armstrong, Bing Crosby, Miley Cyrus, Sophie Tucker, Cab Calloway, Weezer, Bobby Darin, Nina Simone, Ella Fitzgerald, Miles Davis, Chet Atkins, Joni Mitchell and Issac Hayes to name a few of the many. Songs of the Decades explores and celebrates this music that is emblematic and evokes the spirit of the 20th century.

Artist Title Time Wayne Wallace Latin Jazz Quintet Vamanos Pa'l Monte 06:59 Wayne Wallace Latin Jazz Quintet Take Five 05:41 Wayne Wallace Latin Jazz Quintet All The Things You Are 06:21 Wayne Wallace Latin Jazz Quintet So What-Softly, As In A Morning Sunrise 07:57 Wayne Wallace Latin Jazz Quintet The Rhythm Of Invention 08:45 Wayne Wallace Latin Jazz Quintet In A Mist 04:58 Wayne Wallace Latin Jazz Quintet El Arroyo 05:27 Wayne Wallace Latin Jazz Quintet Se Me Cayó El Veinte 06:04 Wayne Wallace Latin Jazz Quintet Atardecer Matanceco (Evening In Matanzas) 05:21 Wayne Wallace Latin Jazz Quintet Mi Descarga 04:37 On his previous album, the critically adored Canto América, Wayne Wallace broke with his own tradition to co-lead a chamber orchestra featuring horns, winds, a double string quartet, and an array of vocalists. On The Rhythm of Invention Wallace set an equally ambitious goal: to combine these added resources with his Latin Jazz Quintet, whose albums have garnered three of Wallace’s four previous GRAMMY nominations. “I wanted to come up with a way of coherently mixing the quintet with the brass and strings from Canto,” explains the esteemed trombonist, innovative arranger, and notable educator. That desire now finds voice in a dazzling set of new compositions and classic jazz standards (and even one impressive mashup) on which Wallace uses the expanded sonic palette of an orchestra to highlight the strengths of his core conjunto. Undergirding it all is an effortlessly instructive survey of Latin rhythms, from the familiar to the arcane, that reflect Wallace’s lifelong study of these sounds. “I wanted to retain the energy of Canto without repeating it,” he explains. To do so, he chose to redirect the music’s focus onto the quintet, while retaining the almost tangible richness of brass chorales and the elegance of string ensemble writing; peppering the proceedings are solos from such luminaries as Mary Fettig (flute) and Melecio Magdaluyo (baritone saxophone). Wallace also features rapper and spoken-word artist Akida Thomas on the title track, where he contributes a spontaneously composed ode to this music – and to the spirit of all music – that also utilizes an interview with Wallace’s colleague and mentor, the late Dr. David Baker. To tie all this together, Wallace came up with a three-layered approach, built upon the foundational expertise of his longtime musical co-conspirator, percussion master Michael Spiro. “The concept was to have Michael play four congas” – the usual conga setup has three at most – “and to have him play as melodically as possible.” As a result, “A good way to hear the record is to listen all the way through and focus on Michael, and then to drummer Colin Douglas’s cymbal work – and then put it together. It’s like a history of Latin music.” From there, Wallace created a second layer by highlighting the other members of the Latin Jazz Quintet’s rhythm section, pianist Murray Low and bassist David Belove, and leaving space for his own forceful yet lyrical trombone solos. Only then did he add the composed material; the vital frosting to this multi-tiered concoction, it draws its flavors from the previous ingredients. As its title suggests, the album doesn’t lack for inventiveness. One case in point is Wallace’s arrangement of the durable Paul Desmond composition “Take Five,” which famously contains five beats in each measure (instead of the usual four). After some research, Wallace realized that no one had previously recorded this song with a clave rhythm, the heartbeat of Latin music – despite the fact that the clave itself comprises five notes (within four beats). The finished product marries these two views of musical time; add in a Santeria-derived coro section sung by the quintet, and you have a memorable new take on a 60-year-old jazz hit. Another example comes on “So Softly,” in which the ancient pop standard “Softly as in a Morning Sunrise” – from the 1928 operetta The New Moon – slides seamlessly into Miles Davis’s “So What,” written three decades later. The idea to combine them arose from one of the Latin Jazz Quintet’s earliest experiments, in which the band presented these two songs as a medley; but, says Wallace, “After time I pleasantly found that the two melodies worked conversationally without detracting from each other. This inspired the idea of re-imagining them as a mashup” – an idea that, he points out, “stretches back to the beginnings of recorded music.” Less complex (but no less inventive) are several homages, including Wallace’s slightly shrouded cover of “Vamanos Pa'l Monte” one of Eddie Palmieri’s biggest hits. Although this version mimics the blend of trombone and flute that characterized Palmieri’s famous band La Perfecta, “The melody is really an extrapolation of what Eddie wrote,” says Wallace. (But anyone who knows the original will recognize it as the framework of this arrangement.) Meanwhile, the completely unexpected inclusion of “In a Mist” – an impressionistic piano composition by the legendary early-jazz cornetist Bix Beiderbecke – represents a sort of personal triumph for Wallace. “It took me eight years to figure out how to arrange it, because it’s just so idiosyncratic and challenging,” he admits. “The original piece was a kind of collision between ragtime and danzon rhythm; I tried to combine the danzon with clave to get a Cuban feel. And I thought that a string quartet was applicable because it would bring out the sonorities in a modern way” – not to mention hinting at the classical roots of Beiderbecke’s small masterpiece. The album highlight is the title track, which brings together funk, bata, and traditional Cuban rhythms and encompasses three generations of musical wisdom. On one end is Dr. David Baker, “the father of jazz education,” with whom Wallace worked closely as a professor at Indiana University before Baker’s death in 2016, and whose resonant voice is heard, midway through the track, discussing the essence of jazz rhythm. On the other end is Wallace’s son-in-law, Akida Thomas, channeling the music to speak of The pulse gyrating through the system . . . Boom-clacks all rolled into one, stay connected through the soul of the drum. “There’s this crazy counterpoint between the strings and the horns,” Wallace says; “it’s some of the most texturally adventurous writing I’ve done. Akida just listened to the track and started writing.” The invention took on a rhythm of its own. But The Rhythm of Invention refers to something altogether different from the riot of Afro-Latin beats and layered percussion that characterize the album. For Wallace, the rhythm of invention is the pace that allows him to be open to creativity: the tempo “that allows a space for the muse to be available to me,” as he puts it. It is the rhythm of a gentle river, slowed but not stilled: the “flow” that banishes mere busy-ness in favor of reflection and, yes, invention. “That’s when I get the best ideas,” he says; in fact, the “Take Five” arrangement “literally came to me when I was pulling weeds out of my garden.” When you slow the rhythm enough, you can better see the speed of thought. About Wayne Wallace: In a career that spans four decades, San Francisco native Wayne Wallace has collaborated with artists ranging from Count Basie to Stevie Wonder, Sonny Rollins to Carlos Santana, Tito Puente to Lena Horne and Aretha Franklin, lending his talents as sideman, composer, arranger, and producer. His debut album as a leader, 2000’s Three In One (Spirit Nectar), showcased his writing skills and his encyclopedic knowledge of Afro-Cuban rhythms, which he developed in the close-knit Bay Area jazz community – most notably in his role as music director of John Santos’s Machete Ensemble, where he spent 20 years as music director. Wallace’s outsized role in Bay Area jazz includes his creation of Patois Records, with a catalog that includes not only his own albums but also recordings by vocalists Kat Parra and Alexa Weber Morales as well as two highly regarded anthologies of Bay-Area salsa and Latin jazz. A gifted educator, Wallace now spends the academic year as professor of jazz trombone and practice in jazz studies at the Jacobs School of Music at Indiana University, having previous taught at San Jose State University and Stanford University.

Bump for new Wayne Wallace release.

Artist Title Time The Peter Hand Big Band 01 - Yarbird Suite 05:37 The Peter Hand Big Band 02 - Island of the Heart 07:24 The Peter Hand Big Band 03 - If You Could See Me Now 07:02 The Peter Hand Big Band 04 - Berkshire Blues 06:55 The Peter Hand Big Band 05 - Calypsiana 06:08 The Peter Hand Big Band 06 - Hand Painted Dream 05:51 The Peter Hand Big Band 07 - Brazilian Emerald 07:11 The Peter Hand Big Band 08 - Once Upon a Time 08:09 The Peter Hand Big Band 09 - Mr. P.C. / Cousin Mary 05:20 The Peter Hand Big Band’s Newest Recording with an All-Star Ensemble featuring Camille Thurman THE PETER HAND BIG BAND - HAND PAINTED DREAM Savant Records SCD 2175 Peter Hand, guitar, arranger & conductor Jay Brandford • Bruce Williams • Don Braden • Ralph Lalama • Kenny Berger Kevin Bryan • Eddie Allen • Valery Ponomarev • John Bailey John Mosca • Sam Burtis • James Burton III James Weidman • Harvie S • Steve Johns Camille Thurman • The Secret String Quartet The deftly titled Hand Painted Dream is the culmination of guitarist / arranger / leader Peter Hand's work with some of the best musicians anywhere and whose collective efforts have produced an extraordinary testament to the best in modern big band music. With the supremely talented Camille Thurman contributing a track each on saxophone and vocals, the ensemble can easily be considered an “all-star” group, with a number of established band leaders and jazz headliners. The resulting band is at once bold & beautiful, swinging & suave while consistently playing the imaginative arrangements with extraordinarily nuanced musicianship

Lynn Cardona "Ophelia" Impacting: October 1 2019 Format(s): Jazz Lynn Cardona is a contemporary jazz and soul artist living in Los Angeles, where she pens unguarded songs about love: the unrequited, the returned and ecstatic, the slow burn of longing and lust. It’s Cardona’s voice—girlish, dreamily viscous, and reminiscent of Blossom Dearie—that first draws you in. But you soon find yourself saturated in Cardona’s world, one where nostalgia and desire fill the space like rising floodwaters. Much of this is due to the poetry that patters through Cardona’s lyrics, tugging you deeper and deeper out to sea. For example, in her new EP, Ophelia, Cardona sings in the titular song, “I’ve said this all before but now I swear it, please dare it, don’t you know how far I’d go for love….” Cardona wrote the song in a single night during which she found herself wanting to end her life after the dissolution of her relationship with a long-time lover. Despite the heaviness of the subject matter, “Ophelia” has a light-hearted feel, conveying the haunting juxtaposition between what’s felt and what’s shown on the outside. Ophelia is backed by the silky piano of composer Josh Nelson, who is best known as the pianist and music director for the late Natalie Cole. Cardona waited a full year to record Ophelia until Nelson was able to come on board because she knew he would bring something enchanting to her work. She then enlisted some of Los Angeles’ first call jazz musicians to round out the band. Michael Hunter, Nozomi Yamaguchi, Dave Robaire, and Dan Schnelle on flugelhorn, guitar, bass, and drums respectively. Before her musical career, Cardona grew up in Cleveland, Ohio, and later moved to Memphis, Tennessee. She cut her teeth performing in the southern city, where she learned from Memphis’ incredible musicians and artists. Eventually, she made her way to Los Angeles. Flowing through Cardona’s music are emotions so vulnerable that at times they come across as childlike. As Cardona puts it, “I want my music to convey the nuances of the experiences I’ve had, because it helps listeners feel that they can relate to me on the deepest level. And, in turn, that means my listeners will feel seen, too.” Almost 10 years after the song Ophelia was written, this album is finally being released into the world. Thank you to Joe for beling my muse so many moons ago. Thank you to my mother, Lisa and my sister, Michelle for teaching me about motherhood and womanhood. Through thick and thin, we have endured and will contine to do so. Thank you to Josh Nelson, Nazomi Yamaguchi, Dan Schnelle, Dave Robaire, and Dori Amarillo for breathing new life into this music. I'm so proud to call it mine. - Lynn Cardona

Artist Title Time Rachael & Vilray Without A Thought For My Heart 02:27 Rachael & Vilray Do Friends Fall In Love 02:55 Rachael & Vilray Alone At Last 03:16 Rachael & Vilray Treat Me Better 02:41 Rachael & Vilray Nosotros 03:14 Rachael & Vilray At Your Mother's House 03:20 Rachael & Vilray I Can't Go To Sleep 02:37 Rachael & Vilray I Love The Way You’re Breaking My Heart 03:19 Rachael & Vilray The Laundromat Swing 02:14 Rachael & Vilray Go On Shining 03:44 Rachael & Vilray Let's Make Love On This Plane 02:29 Rachael & Vilray There's No True Love 03:42 Rachael & Vilray "Rachael & Vilray" Impacting: October 4 2019 Format(s): Jazz “It’s a special kind of magic when two voices meet and immediately sound like they’ve never been apart. The voices of acoustic duo Rachael & Vilray are magical enough on their own, but when they blend in song the results are utterly sublime.” —Chronogram Nonesuch Records releases Rachael & Vilray—the debut album by Lake Street Dive singer-songwriter Rachael Price and composer, singer, and guitarist Vilray—on October 4, 2019. The twelve-song set features ten originals by Vilray, along with two covers from the era that inspired him: Cuban composer Pedro Junco Jr.’s 1943 “Nosotros” and Milton Drake/Louis Atler’s “I Love the Way You’re Breaking My Heart,” first popularized by Peggy Lee (track list below). Rachael & Vilray tour the US this fall, with stops in Chicago, Seattle, and Brooklyn (schedule below). Price and Vilray, who began performing together in 2015, recorded the album with Lake Street Dive pianist Akie Bermiss, a rhythm section, and a small complement of horns, plus a guest performance from pianist Jon Batiste on “Go On Shining.” Dan Knobler, who had worked with Lake Street Dive on the Free Yourself Up album, produced. The duo first met in 2003 as students at the New England Conservatory of Music. Vilray formed a couple of bands with Price’s soon-to-be bandmates in Lake Street Dive, Mike Calabrese and Mike “McDuck” Olson. Even then, Price recalls, he had a nimble mind and quick wit when it came to lyrics: “They would do random clicks on Wikipedia and when they found something interesting, they would write a song about it—say, the cold-blooded rat of Somalia. Vilray was able to take any subject and write excellent poetry about it, funny rhymes, and he would sing the songs. I thought he was so good—he could just apply himself to anything.” But at school, says Price, “I didn’t know that Vilray and I shared a love of this particular time period of jazz. It was all I liked to listen to before I got there and everyone at school was listening to more avant garde, free stuff that I had yet to be exposed to. So I hid my love of traditional jazz music. I didn’t know then that he played it perfectly.” It was more than a decade later that Price and Vilray began to collaborate. She had been on the road much of each year with Lake Street Dive and he had been developing his own solo act, just voice and guitar. Though Vilray had kept up with his composing after graduating from the conservatory, he had fallen out of performing and playing his guitar. But when he broke a finger at his day job he realized what had been lacking in his creative life: “That slapped me awake and made me realize I only had so long on planet Earth with ten fingers. A friend ran into me on the street when I was in the cast and said to me, ‘You seem really bummed.’ I talked to him a little bit about not playing guitar. He said, ‘I’m going to book you for a show a month or two after you are out of the cast so start thinking about the music now. Once you are out of the cast, you can reclaim that part of your life.’ So I played a couple of shows at this series he was running at Bar Below Rye in Williamsburg, and Rachael came to one of them.” Price remembers that night vividly: “It was a very moving show. There was dead silence while Vilray was playing. It really tugged at my heart because I missed singing this style of music. I had never really even performed it, even though I was a jazz singer. My repertoire was from a bit later. But I was obsessed with the big band singers of the thirties and forties. I asked Vilray if he would let me do that gig with him, and then he gave me one of his songs to learn. No one knew it wasn’t a standard. That got the ball rolling for him on the writing. He started sending me songs constantly. We quickly went from peppering in his songs with obscure ones from the thirties and forties to all Vilray songs.” Rachael & Vilray US Tour Dates Friday, November 1 Chicago, IL Old Town School of Folk Saturday, November 2 Madison, WI Majestic Theater Sunday, November 3 Minneapolis, MN The Cedar Thursday, November 7 Portland, ME Port City Music Hall Friday, November 8 Somerville, MA Somerville Theatre Saturday, November 9 Turners Falls MA Shea Theater Sunday, November 10 Fairfield, CT StageOne Thursday, December 5 Seattle, WA The Nordstrom Recital Hall at Benaroya Hall Friday, December 6 Portland, OR Mississippi Studios Saturday, December 7 San Francisco, CA SF Jazz Center Sunday, December 8 Los Angeles, CA The Sanctuary at Pico Union Thursday, December 12 Washington, DC Sixth and I Friday, December 13 Philadelphia, PA Kimmel Center Saturday, December 14 Woodstock, NY Levon Helm Studios Sunday, December 15 Brooklyn, NY The Bell House Rachael & Vilray 1. Without A Thought For My Heart 2. Do Friends Fall In Love? 3. Alone At Last 4. Treat Me Better 5. Nosotros 6. At Your Mother’s House 7. I Can’t Go To Sleep 8. I Love The Way You’re Breaking My Heart 9. The Laundromat Swing 10. Go On Shining 11. Let’s Make Love On This Plane 12. There’s No True Love Produced by Dan Knobler

Artist Title Time Joshua Redman & Brooklyn Rider Flash (with Scott Colley & Satoshi Takeishi) 04:45 Joshua Redman & Brooklyn Rider Between Dog and Wolf (with Scott Colley & Satoshi Takeishi) 06:43 Joshua Redman & Brooklyn Rider Sun on Sand (with Scott Colley & Satoshi Takeishi) 06:01 Joshua Redman & Brooklyn Rider Dark White (with Scott Colley & Satoshi Takeishi) 03:15 Joshua Redman & Brooklyn Rider Soft Focus (with Scott Colley & Satoshi Takeishi) 05:22 Joshua Redman & Brooklyn Rider Through Mist (with Scott Colley & Satoshi Takeishi) 06:30 Joshua Redman & Brooklyn Rider Starbursts and Haloes (with Scott Colley & Satoshi Takeishi) 05:27 Joshua Redman & Brooklyn Rider Between Dog and Wolf: Reprise (with Scott Colley & Satoshi Takeishi) 02:20 Joshua Redman & Brooklyn Rider "Sun on Sand" Impacting: October 4 2019 Format(s): Jazz Nonesuch releases Joshua Redman and Brooklyn Rider’s Sun on Sand on October 4, 2019. The album comprises eight compositions from a suite by composer Patrick Zimmerli. Each piece in the suite, which premiered at London’s Wigmore Hall in 2014, represents a different expression of light. Redman previously worked with Zimmerli when the latter created orchestral arrangements of Redman’s compositions for the 2013 Nonesuch album Walking Shadows. Originally from New York, composer and saxophonist Patrick Zimmerli lives and works between his hometown and Paris. His music is at the crossroads of classical music and contemporary jazz. He collaborates with many international musicians, including Brad Mehldau, Brian Blade, Luciana Souza, Ethan Iverson, The Knights, and the Escher String Quartet. His music has been performed at Carnegie Hall and Town Hall in New York, Wigmore Hall in London, Salle Pleyel in Paris, Konzerthaus Großer Saal in Vienna, Sala São Paolo, and SFJAZZ in San Francisco. His previous work on Nonesuch includes Redman’s Walking Shadows and Brad Mehldau and Kevin Hays’ Modern Music (2011). Joshua Redman’s first album on Nonesuch was the Grammy-nominated Momentum (2005). His other releases on the label include Back East, Compass, and Trios Live, all of which explore the trio format; MoodSwing (1994, re-issued); Walking Shadows (2013), his first recording to include an orchestral ensemble; The Bad Plus Joshua Redman (2015), a collaboration with the acclaimed trio; Nearness (2016), a duo album with longtime friend and collaborator Brad Mehldau; the 2018 Grammy–nominated Still Dreaming—an album inspired by his father Dewey Redman’s 1976–1987 band, Old and New Dreams; and Come What May with the Joshua Redman Quartet, featuring pianist Aaron Goldberg, bassist Reuben Rogers, and drummer Gregory Hutchinson. Redman currently tours with his trio with Rogers and Hutchinson; his quartet; Still Dreaming, with Ron Miles, Scott Colley and Brian Blade (David King on recent tours); and occasionally with the collaborative group James Farm, with Aaron Parks, Matt Penman, and Eric Harland. James Farm has two releases on Nonesuch: their 2011 self-titled album and 2014’s City Folk. Hailed as “the future of chamber music” (Strings), Brooklyn Rider offers eclectic repertoire in performances that attract fans and draw critical acclaim from classical, world, and rock writers. A deeply collaborative and generative ensemble, Brooklyn Rider recently released The Butterfly with Irish fiddler Martin Hayes and Dreamers with Mexican jazz vocalist Magos Herrera. This past season, Brooklyn Rider debuted their Healing Modes project, which presents Beethoven’s Opus 132 string quartet alongside five new commissions by Reena Esmail, Gabriela Lena Frank, Matana Roberts, Caroline Shaw, and Du Yun. Other recent recording projects include The Fiction Issue with music by Gabriel Kahane, so many things with Swedish mezzo-soprano Anne Sofie von Otter, A Walking Fire and The Brooklyn Rider Almanac, The Impostor with banjo legend Béla Fleck, Silent City with Iranian kamancheh player Kayhan Kalhor, and the much-praised Brooklyn Rider Plays Philip Glass. The ensemble’s violinist Johnny Gandelsman launched In A Circle Records in 2008 with the release of Brooklyn Rider’s debut recording Passport, followed by Dominant Curve in 2010, Seven Steps in 2012, and Spontaneous Symbols in 2017. JOSHUA REDMAN & BROOKLYN RIDER Sun on Sand composed and arranged by PATRICK ZIMMERLI 1.FLASH 2. BETWEEN DOG AND WOLF 3. SUN ON SAND 4. DARK WHITE 5. SOFT FOCUS 6. THROUGH MIST 7. STARBURSTS AND HALOES 8. BETWEEN DOG AND WOLF REPRISE JOSHUA REDMAN, tenor saxophone SCOTT COLLEY, bass SATOSHI TAKEISHI, drums Brooklyn Rider COLIN JACOBSEN, violin JOHNNY GANDELSMAN, violin NICHOLAS CORDS, viola ERIC JACOBSEN, cello Produced by Patrick Zimmerli All songs composed by Patrick Zimmerli, published by Peripeteia Music (BMI) The music on this recording comes from “Aspects of Darkness and Light,” a suite for tenor saxophone, string quartet, bass, and percussion, which was commissioned by the Seattle Commissioning Club and premiered at Wigmore Hall, London, on April 24, 2014.

Number 13 on the JazzWeek Chart - In the top 20 for 3 weeks!

"I'm With You: Mark Winkler sings Bobby Troup" was just picked "Critics Choice" One of the Top Ten CDs of 2019 Jazz Times Review Mark Winkler wanted another bite of the apple, and Bobby Troup’s zesty book of rhythm patter, swooning ballads, and novelty numbers provides plenty of creative nourishment. His second album devoted to the songs of the jazz-steeped pianist, songwriter, singer, and actor, I’m With You offers a welcome reminder of Troup’s sturdy book...each song on I’m With You gets a thoughtful arrangement that brings out its particular character. A prolific Los Angeles songwriter and singer with rhythmically assured phrasing and a warm, affable tone, Winkler effectively highlights the strengths of his fellow tunesmith. He also makes excellent use of an enviable cast of L.A. players On the Jazzweek Top 50 for four weeks!