GA Russell

Prayers of thanksgiving sent, Brad!

Would any Canadian league fans like some free beer? (This offer is not available to fans of the Edmonton Eskimos or soccer.) Purchase 6, 12, or 24-pack of Stella Artois by 2/29/20. Go to website, upload copy of receipt or UPC, and proof of age. Complete name, address, etc. form, and submit by 3/14/20. Receive rebate up to $30. https://www.freakyfreddies.com/drink.html?spush=Z2FydXNzZWxsMjAwMUBob3RtYWlsLmNvbQ== https://www.mybeerrebate.com/#/home ***** PS - https://www.stellaartois.com/LeapDayFund

ECM Jean-Louis Matinier and Kevin Seddiki - Rivages release Date:  April 17, 2020 Jean-Louis Matinier: accordion; Kevin Seddiki: guitar Accordionist Jean-Louis Matinier has long been a creative presence on ECM recordings, heard with the groups of Anouar Brahem (on Le pas du chat noir and Le voyage de Sahar), Louis Sclavis (Dans la nuit) and François Couturier (Nostalghia, Tarkovsky Quartet), as well as in duo with Marco Ambrosini (Inventio). Now comes a new endeavor, with guitarist Kevin Seddiki whose far-reaching musical imagination matches Matinier's own. Seddiki, who makes his ECM debut here, has a background in classical music, studying at the Strasbourg Conservatory with Pablo Márquez. He has also worked with many improvisers across the idioms from jazz to flamenco to transcultural projects. The range of music addressed on Rivages runs from Gabriel Fauré's "Les Berceaux" to Jacques Brel's "Amsterdam" via compositions by both of the protagonists.

In 1961, our next door neighbor buried a bomb shelter in his backyard, and gave us the guided tour. I wonder if its air filters would work against COVID-19.

Thanks, Dave! What I found most informative in the article was that although foods may be safe well after the date listed, the first thing to go is the taste. In this case, the taste is the only reason for my interest. So out they go!

March 2nd Celebrating women's History Month with the Lady Got Chops Women in Jazz Festival Roberta Piket Group Virginia Mayhew tenor sax Kim Clarke bass Lucianna Padmore drums at Bar LunÀtico 486 Halsey St. Brooklyn, NY "Domestic Harmony is a strikingly sensitive tribute from one brilliant artist to another." -Donald Elfman, NYC Jazz Record My first solo piano CD since 2015, my new recording features the music of my husband, composer and drummer Billy Mintz. _________________________ Friday, February 28th Victor Jones' SPIGAME Big Band The Zinc Bar Manhatan One set at 8:30pm The DUOS CONTINUE! Virginia Mayhew / Roberta Piket Duo Thursday Feb. 27 and Friday March 6th The Club Room Soho Grand Hotel 310 W Broadway, New York, NY 6:30pm - 9pm No cover Also Coming in March: Hill Greene "In and Out Trio" in Brooklyn 3/11 Cheryl Pyle, Claire De Brunner and Roberta Piket in Manhattan 3/20 Aegis: Michael Eaton, Cheryl Pyle, Judi Silvano, Roberta Piket, Joe Hertenstein in Brooklyn 3/30 Check out the Video EPK for Domestic Harmony and PLEASE Share It! Find me on social media and share jazz with your friends: ‌ ‌

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My prayers go out, Jeff!

Even if everything is perfectly safe, my doubt about it would prevent me from enjoying the food!

OK, you've convinced me!

I was clearing out some storage today, and I stumbled across ten-year old cans of gourmet chowder and other such soups that I had forgotten about. The cans all appeared to be in good condition (some with a small bit of rust). No apparent botulism-related expansion. Would it be silly/dangerous to try one? How long are cans of food good for? Ten years is a long time, but I have seen advertisements for freeze-dried campfire food that promise a 25-year shelf life, so I don't know. What do you think?

Edition Records "Label Sampler (January - April 2020)" Format(s): Jazz Artist Title Time Elliot Galvin 'As Above" from Live in Paris, At Fondation Louis Vuitton 09:26 Elliot Galvin "Time And Everything" from Live in Paris, At Fondation Louis Vuitton 07:46 Pablo Held "Ascent" from Ascent 06:59 Pablo Held "Forest Spirits" from Ascent 06:51 Jim Hart & Ivo Neame "Transference" from Multiverse 06:38 Jim Hart & Ivo Neame "Moksha" from Multiverse 06:34 Jasper Høiby "Interconnectedness" from Planet B 04:57 Jasper Høiby "We Didn't Earn The Sun" from Planet B 04:00 Tineke Postma "Freya" from Freya 05:29 Tineke Postma "Parallax" from Freya 05:39 Kurt Elling "A Certain Continuum" from Secrets Are The Best Stories 05:06 Kurt Elling "Esperanto" from Secrets Are The Best Stories 05:01 Rob Luft "Berlin" from Life Is The Dancer 04:00 Rob Luft "Life Is The Dancer" from Life Is The Dancer 07:34 Elliot Galvin - Live in Paris, At Fondation Louis Vuitton - released 24th January 2020 Recorded live in concert at Fondation Louis Vuitton, Paris in April 2018, this album distills Elliot’s vision into its purest form, demonstrating once again that he is one of the most exciting contemporary pianists alive today, and able to travel effortlessly across a broad spectrum of acoustic and electronic musical settings. Pablo Held - Ascent - released 7th February 2020 Pablo Held’s new album, Ascent, his second for Edition Records, is a collaboration between his long-running trio (with bassist, Robert Landfermann and drummer, Jonas Burgwinkel) and the great Brazilian guitarist Nelson Veras. Regarded as one of the most talented and adventurous pianists and improvisors in Europe, Pablo Held is building a formidable reputation, not only as a pianist of outstanding ability but also for his considerable musicality, energy and risk-taking. Ascent is highly anticipated new album, following their 10th album Investigations, praised internationally for its remarkable quality, deep communication and lyrical elegance, prompting All About Jazz to describe the group as “a world-class trio of exceptional talent”. The new album is a deeply satisfying fusion of the powerful and expressive music associated with Pablo Held’s trio and the fluid invention of Nelson Veras’s guitar stylings. Ivo Neame & Jim Hart - Multiverse - released 21st February 2020 Multiverse is the debut album from two of Europe’s leading Jazz instrumentalists and most original composers. Marking a significant step up for the duo in its long history, both Ivo Neame and Jim Hart employ their vast experience of playing together for over 15 years in many different guises that sees their duo take a huge leap forward. Produced by Matt Calvert, Multiverse is multifaceted, full of colour and vibrancy and an esteemed reflection of two long term collaborators in their prime. Jasper Høiby - Planet B - released 6th March 2020 Jasper Høiby releases his new solo project and album in March 2020 with a monumental ambition, vision and message and kick starts the release of an arc of four albums over the next five years. Each album focuses on four global topics of vital importance - Humanity, Climate Change, Artificial Intelligence and Monetary Reform. Planet B, the project title and title of the first album, is a mix of deep, evocative, thought-provoking voice samples, loops, held together with the open, majestic interplay of three deeply intuitive and creative musicians - Jasper Høiby, saxophonist Josh Arcoleo & drummer Marc Michel. Tineke Postma - Freya - released 20th March 2020 Freya is the seventh album from Dutch saxophonist Tineke Postma. Her first since 2014, Freya is a come-back album as a leader. Following an acclaimed international career, including work with legends Herbie Hancock and Wayne Shorter, Tineke’s Freya represents a fresh start with a new label, reinvigorated energy and an exciting band that is collectively inspired by the experiences she has gathered throughout her career. Together with trumpeter Ralph Alessi, bassist Matt Brewer, drummer Dan Weiss and featuring pianist Kris Davis, Tineke makes music that is adventurous, empowering and full of risk-taking. Kurt Elling - Secrets Are The Best Stories - released 3rd April 2020 Secrets Are The Best Stories is the new album from acclaimed vocalist and Grammy-winning artist Kurt Elling featuring renowned pianist Danilo Pérez. Released on the British label, Edition Records, this vibrant and adventurous new album not only marks a vital new collaboration between two of the greats in the music but is an album that confirms Kurt Elling as the male vocalist of his generation - one who has the presence, the message and the artistic vision to stand out from the rest. Rob Luft - Life Is The Dancer - released 17th April 2020 British guitarist Rob Luft returns with Life Is The Dancer, his second album following his acclaimed debut Riser (2017). With the same line-up, Life Is The Dancer confirms all the praise and promise of an artist of the moment and commands attention for its brilliance and originality. Rob Luft is a superstar in the making - a virtuoso, a band-leader, a composer of vibrant, original music and a captivating communicator. Life Is The Dancer is an eagerly awaited and anticipated release from a future star.

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

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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/