GA Russell

Straight No Chaser https://artpepper.bandcamp.com/track/free-straight-no-chaser-t-monk

Good to hear, John! I would like to receive it by Easter (that's in two weeks), but I'm not in a hurry. With that order I also purchased the box of Georgie Fame's complete 1967 recordings, and it arrived very promptly.

Has anyone received his copy from Import CDs yet?

Dr. John - The Atco Albums Collection (7 albums) - $25.20 + $3.99 https://www.amazon.com/Atco-Albums-Collection-DR-JOHN/dp/B0745GH5YQ

Denon AVR-S740H Receiver, 7.2 Channel 4K Ultra HD for Unmatched Realism, 3D Video, Dolby Surround Sound (Atmos, DTS/Virtual), Stream Music with Alexa Control, HEOS Wireless Speaker Expansion Built In - $349.00 prime https://www.amazon.com/Denon-AVR-S740H-Receiver-Unmatched-Expansion/dp/B07CG51WYX

Not a parody. Not a gag. A straight-up recording of an old favorite.

Jim, I have listened to Just a Gigolo, and it's perfectly good easy listening. I have found the EP at Amazon for $16.98!!! https://www.amazon.com/Some-Times-Nick-Papadakis/dp/B074R58TFR/

Dickey Betts - Live at Rockpalast 1978 & 2008 (3-CD + 2-DVD) - $21.75 https://www.oldies.com/product-view/62289R.html ***** Maceo Parker - Life on Planet Groove: Revisited (2-CD + DVD) - $16.73 https://www.oldies.com/product-view/62219R.html $16.49 https://www.amazon.com/Life-Planet-Groove-Revisited-Dvd/dp/B077Y87DSV/ ***** The June Christy/Stan Kenton Collection 1945-55 (2-CD) - $14.22 https://www.oldies.com/product-view/62088R.html ***** Jeannie C. Riley - Harper Valley P.T.A.: The Plantation Recordings 1968-70 (2-CD, 58 songs) - $9.90 https://www.oldies.com/product-view/13638P.html ***** If you find better prices, please post the links!

Nick Papadakis "Just A Gigolo" Impacting: March 26 2019 Format(s): Jazz, Smooth Jazz Added by KKJZ-Los Angeles KKJZ DJ Bubba Jackson- "you need to listen to this, its different, its unique and Nick has something you're not going to find anywhere else, listen to that voice"! NICK PAPADAKIS “Success is in the attempt." Those are the wise words given to rising jazz vocalist Nick Papadakis by his acting coach Richard Lepore while Nick was tirelessly pursuing his dream of a career in entertainment. Years later Nick has released his debut as a solo artist with an EP entitled Some Times. This EP has been long awaited in Nick’s long career in entertainment. Some Times is a 5-track collection of jazz standards with an updated sound and feeling. Nick’s love for music began early on. At age of 6, Nick knew he wanted to become a jazz singer when his parents bought a stereo and his father told him to listen to a Frank Sinatra album. After listening to it front to back, Nick knew his destined career path. “He was just so damn cool,” Nick says about the legendary Sinatra. In addition to being inspired by Sinatra, Nick also was also inspired by the great vocal range of Sam Cooke and the smooth seductive originality of Smokey Robinson. Nick took singing lessons, and voice acting instruction, taking voice-over jobs for commercials, documentaries, television and radio, podcasts, industrial video and more. In addition, he formed a band and performed around L.A. where he developed his dapper stage presence. "I had to work harder and longer hours than ever before. My story and the sacrifices I made to work to achieve my dream, which is, to earn the privilege to sing for a live audience and make a genuine connection with the people. For me, it is an all or nothing life decision achievement. And none of it has come easily." Nick finally linked up with celebrated veteran hit producer Mark Paladino. Mark was impressed with Nick's artistic development, moreover Mark became infected (his own words) with Nick's passion and commitment to do this project. He genuinely perceived Nick's do or die commitment and Mark came to believe that Nick could and would deliver. Here are but a few of Mark's professional credits: He was lead singer and song writer for the popular L.A. based power pop group The Makers. Mark worked with Paul Fishkin to help produce Billie Idol, Bernie Taupin, Stevie Nicks, Montell Jordan, Tupac Shakur to name just a few. Mark's work with Stevie Nicks earned the record label a platinum record as well as many other gold records made possible by Mark's work. Nick and Mark began working together. This is where the magic happened; it was during this time that Nick found his signature voice as a solo artist and developed his unique sound. “I think it was an expression that had always been there but was chained up. Essentially, it was the real me coming out,” he says. This is evident on Nick’s new EP Some Times, where for instance, he covers Nancy Wilson's single “Rain Sometimes,” but his version borrows from the style of Matt Monro’s 1967 version (via the quicker tempo). Nick’s version, though, features a smooth jazz piano, giving it an overall, undeniable air of “cool.” The next song is “Just A Gigolo” which is paired in a medley with another old standard “I Ain’t Got Nobody,” much like the version done by Louis Prima in 1956. Track three on the EP is the oft-covered jazz classic “Summertime” made popular by the likes of Billie Holiday, Ella Fitzgerald, and Willie Nelson. Nick’s version, however, has its own soulful swing, complete with a twangy guitar, lush horns, and an organ solo that starts off lazy and soft then intensifies, surely leaving you to press play over and over. The fourth tune is a cover his inspiration, Frank Sinatra’s “At Long Last Love.” However, unlike the original (written by Cole Porter), Nick’s version features swingin’ saxophone and piano solos between his verses of a swooning, one of a kind vocal that builds to a crescendo, all which makes for a rousing vocal and instrumental rendition. And last but not least, Nick cover’s “Mack The Knife,” a song made popular by Bobby Darin in 1961. Originally, the song was like a solemn funeral dirge from an early 20th-century stage play called The Threepenny Opera, but Nick’s version applies a hip jazz approach compared to the previous versions. All recorded with live instrumentation, Some Times is authentically jazz and authentically genuine. Nick Talks "No matter what the result of this effort will be, I am grateful for passion which drove me do this project - which nearly did me in. I know that Richard Lepore's statement is true, "success is in the attempt". I was young at that time and I struggled with the meaning of this message, until my life experience made this message self evident: If there is no attempt, there can be no failure or setbacks (and I have had many). Failures and setbacks are necessary to learn how to become and remain successful. This album is the best work I have ever done and it began with an attempt." - Nick Papadakis

Keyboardist-Composer Marcos Silva Unveils First Recording in 30 Years On "Brasil From Head to Toe," Set for May 3 Release by Goose Egg Productions Silva's Long-Awaited Third Album Features a Quartet With Saxophonist Gary Meek, Bassist Scott Thompson, & Drummer Mauricio Zottarelli Plus Special Guests CD Release Show at California Jazz Conservatory, Berkeley, Saturday, April 6 April 4, 2019 Keyboardist and composer Marcos Silva returns to the recording spotlight after 30 years with Brasil From Head to Toe, set for a May 3 release on his Goose Egg Productions imprint. The third album from the Brazilian-born, Bay Area-based musician and educator features an extensive cast of musicians, anchored by a core quartet with saxophonist Gary Meek, bassist Scott Thompson, and drummer Mauricio Zottarelli. It also includes 10 original compositions of invigorating Brazilian jazz fusion by the master himself. Silva spent the three decades since recording his first two albums, 1987's Here We Go and 1989's White & Black, touring and recording with the likes of Flora Purim and Airto (for whom he also served a 24-year stint as music director), Paquito D'Rivera, and Jon Lucien, as well as keeping busy on the Bay Area's ascendant Brazilian jazz scene and teaching for more than two decades in the Brazilian Music department at Berkeley's California Jazz Conservatory (formerly The Jazzschool). With Brasil From Head to Toe, he summarizes everything he's done and learned in that long and accomplished career. "It's a chance to learn where I'm coming from," Silva says. "This is who I am. All of my DNA is in there." Not just Silva's DNA, but also his incomparable experiences as a musician living in Brazil and the United States and traveling the world. Tracks like "In 7 & 2," "Hathor," and "Dry Land" (among others) recall the electrified Brazilian fusion Silva played with Purim and Airto. "Dos Pés À Cabeça" gives traditional samba music a charge of slippery but bruising funk; "Escape" inclines toward progressive jazz (with the support of vibraphonist Dillon Vado); "Prediction" and "Spring" are slow samba-infused ballad offerings -- the last featuring a lush arrangement for 12-piece string ensemble. "I don't think I wrote anything in here," Silva says of these pieces. "I'm the vehicle that translates the musical messages sent from above. I'm on the outside listening." Silva's sumptuous but exacting compositions -- which have been recorded by such artists as Purim, Romero Lubambo, Bud Shank, and Herbie Mann -- call for interpretation by the highest caliber of musicians, and Silva's bandmates are more than up to the task. Zottarelli, a New York (by way of São Paulo)-based drummer and percussionist, is highly sought after in the jazz, Latin, and Brazilian music communities. Meek, who lives in Monterey, is a fellow longtime veteran of Flora Purim and Airto's working band (of whom Silva says, "after Michael Brecker, Gary is the saxophonist"). East Bay bassist Thompson is a protégé and colleague of Silva's at CJC's Brazilian Music department, and the son of woodwinds player Mary Fettig, with whom Silva worked on his first two albums. Marcos Silva was born September 8, 1954 in Rio de Janeiro. He studied classical guitar, bass, and drums at the city's Museum of Image and Sound, becoming a mainstay on the music scene but ambitious to make his way into jazz. To that end, he arrived in New York City in March 1980, soon meeting famed vocalist Flora Purim and her percussionist husband Airto Moreira. The connection redirected Silva's career, including his place of residence. He soon followed his new employers to their home base of Santa Barbara, California, relocating again three years later to the San Francisco Bay Area. He continued working with Purim and Airto, as well as joining guitarist Ricardo Peixoto's Voz do Samba and later collaborating with Claudio Amaral's Viva Brasil, and working with Brazil's elite composers such as guitarist Toninho Horta and Dori Caymmi. In 1987 he made his debut album, Here We Go, following it two years later with White & Black. In the ensuing years, Silva became an active partner in the Bay Area jazz scene, helping to fuel a surge in its Brazilian jazz contingent and giving a boost to vocalists like Claudio Gomez, Claudia Villela, and Sandy Cressman. In the late 1990s he joined the faculty at The Jazzschool (now the California Jazz Conservatory) in Berkeley, helping to establish the new institution's Brazilian Music department. He has remained there ever since as department head while also continuing to compose and perform actively. Marcos Silva will perform with his quartet at the California Jazz Conservatory, Hardymon Hall, 2087 Addison Street, Berkeley, on Saturday 4/6 at 8:00pm (tickets here). Photography: Diogo Sabre Web Site: marcossilva.com

Onkyo TX-8020 2 channel Stereo Receiver - $129.99 https://www.amazon.com/Onkyo-TX-8020-channel-Stereo-Receiver/dp/B00EE18O7W

Fred Stamps has retired as an Eskimo. https://3downnation.com/2019/04/02/former-star-receiver-fred-stamps-retires-as-an-eskimo/ https://www.cfl.ca/2019/04/02/fred-stamps-signs-one-day-contract-retire-eskimo/ ***** The AAF made the end of their season official this afternoon. http://www.nfl.com/news/story/0ap3000001025120/article/aaf-suspending-operations-canceling-end-of-season https://www.cbssports.com/aaf/news/as-aaf-suspends-operations-lets-take-a-look-at-10-players-whove-earned-an-nfl-shot/ https://www.theguardian.com/sport/2019/apr/02/alliance-of-american-football-suspends-operations-after-just-eight-games

The AAF is apparently suspending operations. https://www.msn.com/en-us/sports/nfl/aaf-to-suspend-operations-report-says/ar-BBVwKdD?ocid=spartandhp https://www.msn.com/en-us/sports/nfl/football-world-reacts-to-reports-of-the-aaf-suspending-league-operations/ar-BBVxTMw?ocid=spartandhp https://www.msn.com/en-us/sports/nfl/johnny-manziel-offers-surprisingly-sensible-advice-for-fellow-aaf-players/ar-BBVxRJN?ocid=spartandhp https://3downnation.com/2019/04/02/aaf-suspending-football-operations-reports/ https://3downnation.com/2019/04/02/aaf-players-who-could-be-on-their-way-back-to-the-cfl/ https://3downnation.com/2019/04/02/johnny-manziel-takes-shot-at-alouettes-money-situation/

Jim, there already is one Basie Roulette OAS. I have it, and I would spring for more. https://www.amazon.com/Original-Album-Count-Basie/dp/B00JH53O98/

I would go for OAS boxes of the Mosaic boxes, such as the Basie live and the Maynard Ferguson.

Speaking of Marc Trestman, it looks like he has hired Jerry Glanville, too. https://3downnation.com/2019/04/01/former-ticats-defensive-coordinator-jerry-glanville-to-be-hired-in-xfl/ ***** Lirim Hajrullahu has decided to rejoin the Ticats. https://3downnation.com/2019/04/01/ticats-bring-kicker-lirim-hajrullahu-back/ https://www.cfl.ca/2019/04/01/lirim-hajrullahu-re-signs-ticats/

Jaime Elizondo has quit the Redblacks, apparently to join Marc Trestman with the XFL's Tampa team. The Redblacks are unhappy about that. https://3downnation.com/2019/04/01/redblacks-offensive-coordinator-jamie-elizondo-quits-plans-to-take-xfl-job/ https://3downnation.com/2019/04/01/redblacks-fire-off-surly-press-release-following-elizondo-departure/ https://www.cfl.ca/2019/04/01/jaime-elizondo-leaves-redblacks-pursue-opportunities/ https://www.cfl.ca/2019/04/01/oleary-redblacks-campbell-scrambling-elizondo-departure/

The 14 Jazz Orchestra "The Future Ain't What It Used To Be" Impacting: April 1 2019 Format(s): Jazz Artist Title Time The 14 Jazz Orchestra 16 Tons (Give or Take) 04:46 The 14 Jazz Orchestra Armando's Rhumba 04:31 The 14 Jazz Orchestra Blue Miles 04:41 The 14 Jazz Orchestra Dance Cadaverous 06:45 The 14 Jazz Orchestra Firewater 04:36 The 14 Jazz Orchestra I'll Be Seeing You 05:17 The 14 Jazz Orchestra Pandamandium 06:10 The 14 Jazz Orchestra Rice Pudding 04:44 The 14 Jazz Orchestra Ruth 05:28 The 14 Jazz Orchestra Seventh Sign 07:11 The 14 Jazz Orchestra Triste 05:41

ECM Sokratis Sinopoulos Quartet Metamodal Sokratis Sinopoulos: lyra Yann Keerim: piano Dimitris Tsekouras: double bass Dimitris Emmanouil: drums Release date: April 5, 2018 ECM 2631 B0029699-02 CD: 6025 770 2553 2 Four years after the critically lauded album Eight Winds, the Athens-based Sokratis Sinopoulos Quartet returns with the aptly-named Metamodal. A unique band, the quartet subtly sifts a vast pool of influence, its music informed by the players’ experience of folk forms, Byzantine and classical music, and many modes of improvising, including jazz. The combination of Sinopoulos’ lyra, with its yearning, ancient tones, and the sensitive, modern piano of Yann Keerim is particularly beguiling, and the group as a whole has made giant steps since its debut. Metamodal, featuring new pieces by Sokratis and a concluding group improvisation, was recorded at Sierra Studios in Athens, and produced by Manfred Eicher. Of the quartet and its progress, Sokratis says: “We are four people who continue to meet and exchange music and thoughts, braver now in experimenting with new concepts, and with the interaction between us. For me the quartet is the ideal group for exploring compositional ideas and new forms, and I really like the fact that we are able to keep the spark and the fire burning like it’s the first time we meet every time we play.” The album begins with Sokratis playing his aching “Lament”, outlining troubled beauty against poignant chords in the piano from Keerim. The lyra at once embodies the qualities that Charles Lloyd has spoken of: “When Sokratis Sinopoulos plays, I can see all the history vibrating with the ancient sounds of the strings.” The history of the lyra reaches back to the Byzantine era. “I’m very conscious of it,” says Sokratis, “and glad to play an instrument with such a long tradition. Of course, the history can also be a weight, a responsibility to carry. Especially where I live in Greece there are expectations of how the lyra should sound in traditional contexts, in folk music. I respect the history but seek to use it as a base from which to move forward, hoping to mirror the past and the future in my writing and improvising.” The most forward-looking pieces on the present recording may be the three “Metamodal” pieces here, subtitled “Liquid”, “Illusions” and “Dimensions”. Sinopoulos: “From the compositional point of view these pieces are the core of the album to me. Starting from the modal system I know best, the medieval approach, I tried to create new dimensions and systems and bring them into what we understand as modality here in the Eastern Mediterranean region. In other words, creating new modes and developing them melodically, using the knowledge that we have of all the idioms we admire, including of course jazz, as well as contemporary composition. Sometimes the pieces were developed until I arrived at the point where the music became quite abstract, which I liked in this case.” The album title has open-ended significance for Sinopoulos. Metamodal could be interpreted as “post-modal” but Sokratis reminds us that the Greek root meta also translates as among, between, behind and in the midst of and carries the idea of changed and altered as well. “I’m interested in all the meanings that can be implied by Metamodal.” Most of Metamodal was recorded, Sokratis notes, in a single day. On the second day, experiments were broached: “Manfred Eicher suggested we might record an improvised piece. At this point we had the whole album in our ears, so I asked the musicians to use material from ‘Metamodal II’, as well as material from the rest of the album as a basis for new music.” The result was “Mnemosyne”, the concluding piece on the album: “This improvisation is like a memory, or an echo, of the whole recording session.” *** Born in Athens in 1974, Sokratis Sinopoulos studied Byzantine music and classical guitar as a child, and began playing the lyra in 1988, under the instruction of Ross Daly; within a year he was a member of his mentor’s group, Labyrinthos. He has since recorded and performed with numerous Greek artists and musicians from all over the world. At ECM Sokratis has appeared on five albums with composer Eleni Karaindrou: Trojan Women, The Weeping Meadow, Elegy of the Uprooting, Medea and the recently-released Tous des Oiseaux. It was after playing with Charles Lloyd (refer to the ECM album Athens Concert) that Sokratis Sinopoulos decided to take the step of leading his own group. “I have been influenced by so many musicians of many styles, since I was 15 years old but the experience with Charles, with his great talent for creating a story on stage every night through improvisation, sometimes free improvisation, was crucial for me, and gave me new confidence.” In addition to his playing activities, Sinopoulos has been involved in research and production for the Domnia Samiou Greek Folk Music Association, has worked with the Centre for Asia Minor Studies on diverse projects, and lectured in the Department of Music Science and Art at the Macedonia University of Thessaloniki. Yann Keerim began playing piano at the age of four and received his diploma in classical music at the age of 16. His compositions have been incorporated in numerous films and theatre productions. As pianist he has performed with jazz and ‘world music’ artists including Ara Dinkjian, Manos Achinotopoulos, and Haig Yazdjian. Dimitris Tsekouras (born 1985 in Athens) comes from a musical family. He played piano, violin, guitar and drums before settling on the bass, which he studied at the Conservatory of Athens. Dimitris Emmanouil graduated from the Music High School of Pallini, specialized in Greektraditional percussion and Latin percussion. He won the Greek Young Artist Award in 1997 and since then has worked with many groups of traditional Greek music and dance companies. Sokratis Sinopoulos on his fellow musicians: “All three of them – Yann and the two Dimitris – have, like me, strong roots and knowledge and appreciation of the historic music of the region, the modal music not just of Greece but the whole Eastern Mediterranean and have performed a lot of it. Dimitris Emmanouil, for instance, spent every summer on the island of Ikaria in the East Aegean, playing bendir and darbouka in celebrations that would often last for days. Dimitris Tsekouras has played a lot of Greek folk music, as well as music of Italy. Yann Keerim has played with Syrian musicians, Armenian musicians and more. The very first time I heard him, he was playing with an Armenian oud player. “All of this is very important, because we have a shared common knowledge of traditional music, and a shared feeling for its rhythms, and it forms the basis of our communication, even if that is not immediately apparent to a jazz listener. At the same time, each of the musicians is a creative individual, bringing his own ideas into music that is becoming more open-ended all the time. This keeps the collaboration interesting, because each concert can be a different experience.”

The Complete Steptoe & Son (Region 2) - $21.09 + $4.10 https://www.amazon.com/Complete-Steptoe-Son-repackaged-DVD/dp/B005O05HTU/

I received a DVD last Christmas of a movie from my high school years called Deadlier Than the Male. I haven't watched it yet, but look who I see sang the theme for it.

Artist Title Time Steve Haines and the Third Floor Orchestra Here Are Our Hearts 01:06 Steve Haines and the Third Floor Orchestra No More 06:17 Steve Haines and the Third Floor Orchestra Come All You Fair and Tender Ladies 05:13 Steve Haines and the Third Floor Orchestra You 05:40 Steve Haines and the Third Floor Orchestra Harvest Moon 05:25 Steve Haines and the Third Floor Orchestra Mazurka Op. 17 No. 4 06:28 Steve Haines and the Third Floor Orchestra Patio Lanterns 04:31 Steve Haines and the Third Floor Orchestra What I've Seen 05:34 Steve Haines and the Third Floor Orchestra Hallelujah 07:01 Steve Haines and the Third Floor Orchestra Canyon Dust 05:09 Steve Haines and the Third Floor Orchestra If You Could Read My Mind 06:02 Steve Haines (with Joey Calderazzo, Becca Stevens, Chad Eby) "Steve Haines and the Third Floor Orchestra" Impacting: March 29 2019 Format(s): Jazz Steve Haines and the Third Floor Orchestra Join Becca Stevens for New Release on Justin Time Records, Out March 29th Justin Time Records is proud to announce the March 29th release of bassist, composer and arranger Steve Haines’ upcoming album Steve Haines and the Third Floor Orchestra. The album features Becca Stevens on vocals, Chad Eby on soprano saxophone, Joey Calderazzo on piano and a full orchestra providing a beautiful sonic backdrop over which Eby’s sax floats and Stevens’ voice soars. Drawing on influences from the jazz, classical and celtic traditions, this album of stunning original compositions and reimagined popular songs transcends genres, and has something to offer for a very wide array of listeners. On Steve Haines and the Third Floor Orchestra, the artist chose to interpret the work of multiple composers from his homeland of Canada with pieces from Neil Young, Gordon Lightfoot, Leonard Cohen and Kim Mitchell gracing the album. Listeners will undoubtedly enjoy Haines’ arrangements of popular songs such as “Harvest Moon,” “Hallelujah,” and “Patio Lanterns.” These arrangements celebrate the original melodic and lyrical structures of the pieces with explorations in harmony and instrumentation which aim to augment the power of these classic songs. This release offers listeners the rare opportunity to hear vocalist Becca Stevens’ rich voice accompanied by a full orchestra, which harkens back to the early days of jazz, when such accompaniment was commonplace. The world renowned vocalist describes her voice and approach on this album as “wider,” stating that she has to “soar over the area that she had to cover sonically.” Haines has been acquainted with Stevens for over decade; they first met at a gig in New York City, where she gave him a copy of her debut Tea By Sea, which “totally knocked [him] out.” Stevens wrote two songs for this release including the wistful waltz “No More,” and the driving, bright-tempoed “Canyon Dust.” The inspiration for Steve Haines and the Third Floor Orchestra came after Haines had finished writing a string quartet arrangement for Stevens. Writing for the album began in the summer of 2016, and the album’s recording process was completed in February 2018. Haines’ foray into orchestral writing also paired with his passion for writing lyrics, a recent discovery for the artist. “In my midlife, I discovered lyrics, and there a couple of songs on here of mine.” Haines exclaimed, “I am late to writing and even paying attention to lyrics but i’m very glad for them at this stage of my life.” In “What I’ve Seen,” Haines writes about the devastating effects of Post Traumatic Stress Disorder in returning veterans. Moved by the loss of many young men and women in the military to suicide, Haines penned the lyrics to this piece. He states ““What I’ve Seen” started out as a story about a mother speaking to her lost husband, and his response from the grave.” Stevens delivers Haines’ forlorn lyrics, and tells the heartbreaking story with sincerity and grace. The piece ends with a short, powerful improvisational segment from Eby, his soprano saxophone wailing over the tender string harmonies, reminiscent of a wife’s cries of longing over a lost love. “You,” another composition with lyrics by Haines, tells a largely autobiographical tale of a deepening serendipitous love in the life of the author. The composer states that the piece started with the solo guitar refrain that is heard at the beginning of the song, and unfolded into the sublime lyrically-driven track that can be heard on the album. Haines explains “The concept is that the "You" that one loves can be more than one person: it could be a spouse, a son or daughter, a mother or a best friend, or God.” The ethereal verses of this song with vocals accompanied by classical guitar leave room for the piece to grow dynamically into the wonderful, amorous clave-driven choruses that truly bring this song to life. This track features a fantastic solo by stellar pianist Joey Calderazzo. Steve Haines and the Third Floor Orchestra will be available on March 29th, and an album release show is planned 8:00 pm, April 26th at UNCG Auditorium in Greensboro.

ECM A new video has just been released - see here: https://www.youtube.com/watch?v=Qn70s2nlEOA&feature=youtu.be Dominic Miller - Absinthe release date March 1, 2019 Dominic Miller: guitar; Santiago Arias: bandoneon; Mike Lindup: keyboards; Nicholas Fiszman: bass; Manu Katché: drums With Absinthe, his second release for ECM, guitarist Dominic Miller has created an album colored by a distinct atmosphere. "The first thing that came to me before I wrote any tunes was the title," he says. "Living in the South of France, I am fascinated by Impressionism. Sharp light and witchy mistrals combined with strong alcohol and intense hangovers must have driven some of these artists toward insanity. Skies that are green, faces blue, perspective distorted." While Miller's ECM debut, Silent Light, emphasized intimacy in solo and duo settings, Absinthe finds the guitarist fronting a quintet that brings his ever-lyrical compositions to textured life. Miller, switching between nylon- and steel-string acoustic guitars, has a key harmonic-melodic foil in the bandoneon of Santiago Arias. The vivid presence at the drum kit is Manu Katché, an ECM veteran and for years a colleague with Miller in the band of Sting (whom the guitarist has accompanied now for three decades). Mike Lindup's keyboard tones add a ghostly air to such highlights as the title track, while bassist Nicholas Fiszman roots the sound. As for Miller, JazzTimes described him as a guitarist who "milks every note, thriving on the pauses between them and whispery effects of fingers sliding across strings," while Stereophile agreed, declaring that "his ability to express emotion through a guitar is amazing to hear."

Artist Title Time Joshua Redman Quartet Circle of Life 06:55 Joshua Redman Quartet I'll Go Mine 07:14 Joshua Redman Quartet Come What May 06:47 Joshua Redman Quartet How We Do 03:33 Joshua Redman Quartet DGAF 04:49 Joshua Redman Quartet Stagger Bear 06:04 Joshua Redman Quartet Vast 07:49 Joshua Redman Quartet Come What May IMPACTING NOW 7 time Grammy nominee including Jazz Album of the Year at this year's Grammy Awards for last year's album Still Dreaming “Mr. Redman’s place is secure as one of the most effusive and engaging tenor saxophonists in straight-ahead jazz. He appears here with three longtime compatriots— he pianist Aaron Goldberg, the bassist Reuben Rogers and the drummer Gregory Hutchinson — all well attuned to his language of elastic tenacity.”—New York Times Nonesuch Records releases the Joshua Redman Quartet’s Come What May today. This is the first recording in almost two decades for this group of musicians: the recently Grammy–nominated saxophonist and his longtime friends and colleagues pianist Aaron Goldberg, bassist Reuben Rogers, and drummer Gregory Hutchinson. Previous releases were Beyond (2000) and Passage of Time (2001). The Quartet, which has toured internationally over the last several years, recorded seven Redman tunes for Come What May. The Guardian has called Redman “one of the 21st century’s finest jazz improvisers,” and the Boston Globe said of the group’s recent Newport Jazz Festival performance, “There was tenor Joshua Redman with his quartet, showing how to build excitement and get the crowd screaming without pressing or compromising his art.” The Joshua Redman Quartet tours internationally throughout this winter, spring, and summer (US tour dates below). Redman recently said of Goldberg, Rogers, and Hutchinson, in Denver’s Westword newspaper, “They’re some of my favorite musicians in the world. We’ve played so much over the years and have been together on the road so much, on and off the bandstand, there’s just that sort of camaraderie and friendship and genuine love for and understanding of each other that, for me, [is] the ideal situation for making music. When you have that level of trust and empathy, both musically and personally, it allows you to be truly relaxed and free; and those are really good pre-conditions for magic to potentially happen. 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; and the 2018 Grammy–nominated Still Dreaming—an album inspired by his father Dewey Redman’s 1976–1987 band, Old and New Dreams. Redman currently tours with his trio with Rogers and Hutchinson; his quartet; Still Dreaming, with Ron Miles, Scott Colley and Brian Blade; 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. Joshua Redman Quartet, Come What May 1. Circle Of Life 2. I’ll Go Mine 3. Come What May 4. How We Do 5. DGAF 6. Stagger Bear 7. Vast Joshua Redman US Tour MARCH 29 Swyer Theatre Albany, New York Joshua Redman Quartet featuring Aaron Goldberg, Reuben Rogers & Gregory Hutchinson MARCH 30 Iron Horse Music Hall Northampton, Massachusetts Joshua Redman Quartet featuring Aaron Goldberg, Reuben Rogers & Gregory Hutchinson MARCH 31 Sanders Theatre Cambridge, Massachusetts Joshua Redman Quartet at Sanders Theatre APRIL 2 Blue Note New York, New York Joshua Redman Quartet at Blue Note APRIL 3–7 Blue Note New York, New York Joshua Redman Quartet at Blue Note APRIL 11 Folly Theater Kansas City, MO Joshua Redman Quartet APRIL 13 Hopkins Center Hopkins, MN Joshua Redman Quartet www.joshuaredman.com