birdmonk

Mark Ruffin who programs the Sirius / XM Jazz Channel would have gotten the CD from both me and Terri Hinte - can take a while for a CD to get in the system but once it's in, it's in for a while too - up to people who subscribe to let us when "airplay" has kicked in though since that's hard to pin down...Mitchell

Dana's CD also debuted today (it's official release date) @ #49 on the JazzWeek Top-50 Chart where it was the most added CD and had the 2nd highest increase in airplay for the week of 09-15 November.

The other members of Dana's band are pretty well known - maybe more than Dana outside Chicago - but this CD is going to change that...Here's what Chicago Tribune columnist Howard Reich had to say about "Into The Light" in today's (11/17) paper. Powerhouse Debut - Chicago Drummer Dana Hall Releases 'Into The Light' By Howard Reich Arts critic It isn't often that a recording debut stands as one of the strongest CDs of the year, but that's unmistakably the case with Chicago drummer Dana Hall's newly released "Into the Light" (Origin Records). Hall, who also teaches at the University of Illinois at Urbana-Champaign, has appeared prolifically on CDs of other artists, but he makes his boldest statement to date in his recording bow as bandleader. Fronting an all-star quintet, the drummer provides every bit of the hard-driving rhythm and atmospheric color that listeners have come to expect from him. But there's much more here, as well, including ingenious original compositions and an uncommonly compelling ensemble sound. Not that it's easy to misfire when you're joined by trumpeter Terell Stafford, reedist Tim Warfield Jr., keyboardist Bruce Barth and bassist Rodney Whitaker, each an accomplished soloist in his own right. But while Hall has led this band in strong live performances at the Green Mill, those sets have not achieved quite the degree of technical control, tonal polish and expressive intensity that radiates from virtually every track of "Into the Light." The intellectual weight and rhythmic swagger of Hall's original tunes explain a great deal of the appeal of this disc. Anyone who can pen a melodic hook as memorable as "Conversion Song" and a composition as lyrically inspired and harmonically distinctive as "Orchids" clearly knows what he's doing. If Hall and colleagues convey explosive energy and vividly synthesized sonic effects in the title track, they prove equally capable of light-and-lithe phrase making in Hall's "The Path to Love." Each tune shows Hall's fingerprints, yet no two sound alike. Moreover, one has to be impressed by how fervently these musicians play for Hall. There are no throwaway solos here, no casual vamping while one instrumentalist or another takes a solo. Instead, these artists make the most of every phrase, meanwhile producing a tautly conceived ensemble sound. In all, "Into the Light" represents an important artistic leap for Hall, who has set a high standard for himself for future releases. Dana Hall leads a quartet at 9 p.m. Nov. 24 at Andy's Jazz Club, 11 E. Hubbard St.; $10; 312-642-6805.

Monday, August 10, 2009 SANTA BARBARA INDEPENDENT Jazz Here Now? By Josef Woodard Bobby Broom: Bobby Broom Plays for Monk (Origin). An engaging and cliché-dodging “mainstream” jazz guitarist, Broom lately has been bursting forth more under his own name, after years in Sonny’s sidelight. On Plays for Monk, Broom expertly addresses the dearth of thinking guitarists bringing lively voices to the classic, quirky Monk songbook.

August 10, 2009 CHICAGO TRIBUNE ENTERTAINMENT Guitarist Broom gives Monk a tune-up By Howard Reich - Arts critic Thelonious Monk seems to bring out the best in Bobby Broom. For though jazz listeners know Broom for the buoyant, blues-based sensibility of his guitar work, he attains a new degree of fervor in the music of Monk. Certainly he did over the weekend at the Green Mill Jazz Club, where he celebrated the release of his latest CD, "Bobby Broom Plays for Monk" (Origin Records). Even more than on the recording, the Chicago guitarist addressed Monk with relentless intensity, leading the same explosive trio that's on the CD. .....By all indications, Broom is approaching a new plateau in his art. It will be fascinating to hear what more it yields.

http://www.artsjournal.com/rifftides/2009/...kaly_broom.html

Everyone is entitled to their opinion(s) Tom and as they say "de gustibus..." (i.e. there's no accounting for taste) but clearly you are in the minority regarding Bobby Broom's CD -- and the fact that it is has been in the top-10 on the JazzWeek Top-50 chart for a month including 2 weeks at #5, is being played on 150 stations in North America and featured on XM, MusicChoice and several times as interlude music on NPR's "Morning Edition" clearly "Plays For Monk" is resonating with A LOT OF PEOPLE. When I comment about things I do so from my life experience which is why I refrain from criticizing the playing of musicians since I can't play it better -- this goes for other areas besides music (for example would not DREAM of telling you how to pour concrete, buy building supplies, etc. :-). By the way it is Motian not MOTION. Have a nice day!

Telluride Jazz Celebration Set For June 5-7 In Colorado’s Majestic San Juan Mountains Bill Frisell Special Guest at 3-Day Event Also Featuring Donald Harrison, Christian Scott, Rebirth Brass Band, Lizz Wright, Jimmy Herring, Benevento/Russo Duo, Ozomatli, Karl Denson’s Tiny Universe (Telluride, CO - April 13, 2009) Since 1977 Telluride’s spectacular location high in the majestic San Juan Mountains in Southwestern Colorado has been the site of an annual cultural event produced by the Telluride Society for Jazz combining the finest of nature and art that ranks among the world’s most memorable music festivals. The intimate format and abundant opportunities to enjoy spectacular alpine recreational activities complement the superb music presented at the Telluride Jazz Celebration (TJC) – scheduled this year for June 5-7, 2009 -- that is also presented by Raynier Institute & Foundation, Mountain Village Owners Association and US Bank of Telluride. Combining performances on outdoor stages during the day with theater and club shows at night, the TJC offers the best of both worlds and with its new dates in June, it has become even more festive blending beautifully with the Telluride Balloon Rally. Featured Artists (All artists and programs are subject to change): Bill Frisell Trio - “Guest of Honor” - featuring Eyvind Kang & Rudy Royston Grammy® winner Frisell combines the finesse of jazz, the thunder of rock, the vast openness of country, and the experimental mind-set in his playing. After studying with Jim Hall in the early 70’s, Frisell helped redefine the function of the guitar in contemporary music. Today, this Colorado native’s genre-defying music can only be called classic Americana, and his humor is ever present in his art. Off stage, his modesty shines through his gentle personality to reveal the reflective soul who is never content to rest on his laurels. www.billfrisell.com Ozomatli - From L.A. to the World In their thirteen years together as a band and winners of two Grammys®, celebrated Los Angeles based Ozomatli has gone from being hometown heroes to being named U.S. State Department Cultural Ambassadors. Their music-- a notorious urban-Latino-and-beyond collision of hip hop and salsa, dancehall and cumbia, samba and funk, merengue and comparsa, East LA R&B and New Orleans second line, Jamaican ragga and Indian raga will take you around the world. www.ozomatli.com Karl Denson’s Tiny Universe A highly energized fun funk machine led by former Lenny Kravitz sax-man Karl Denson, the Tiny Universe brings a dynamic sound that defies categorization. The band members, Denson on vocals, tenor sax, alto sax and flute, guitarist Brian Jordan, bassist Ron Johnson, keyboard player David Veith, trumpet player Chris Littlefield and drummer John Staten, have earned a reputation as kings of the unstoppable all-night show. www.karldenson.com Jimmy Herring Jimmy is one of the most acclaimed guitarists of his generation. Plying his skills in contexts ranging from classically song-driven rock to technically demanding jazz-fusion, Herring's playing combines a restless, jazz-inspired improvisational zeal with the immediacy and intensity of his rock'n'roll roots. Between stints with the Allman Brothers, Widespread Panic, the Dead, Phil Lesh and Friends, Jimmy Herring is finally flying solo with his own amazing band. www.jimmyherring.net Lizz Wright Her first two Verve releases, "Salt” and "Dreaming Wide Awake", reached the top of Billboard’s Contemporary Jazz Chart, establishing her as one of the jazz world's most celebrated rising stars, both an accomplished songwriter and a versatile, deeply expressive singer. The New York Times' Stephen Holden says she "stirs jazz, gospel and rhythm and blues into a reflective, flowing style that elongates songs into prayerful meditations." www.lizzwright.net Donald Harrison CBS Sunday Morning is calling New Orleans native and alto Saxophonist Donald Harrison, one of the most important musicians of the new millennium. He is the originator of the Nouveau Swing style merges acoustic swing with modern R&B, second-line, hip-hop, and reggae rhythms. His smooth jazz recording, "The Power of Cool," went to the top of Billboard Magazine's Smooth Jazz and R&B charts and is considered a classic. Don't miss this acclaimed quintet! www.donaldharrison.com Rebirth Brass Band Rebirth Brass Band is an institution. Formed in 1983, the band has long since graduated from the streets of New Orleans to theaters and festivals all over the world. With its latest release – “Rebirth For Life” – the band has delivered its best studio album in years. The invigorating music that sounds so spontaneous is the combination of a spirit and a complete immersion in the New Orleans street tradition. Jam Base. www.myspace.com/rebirthbrassband Christian Scott This trumpeter is one of the brightest jazz stars to emerge in the last few years. At 22, he has both the tone and the conviction beyond his years. A New Orleans native, Scott's Quartet represents the next generation of Crescent City horn blowers whose lineage started with the legendary King Oliver and Louis Armstrong. www.christianscott.com Ken Walker Sextet This renowned Denver bassist has one of the swing-ingest sextets to come out of the Rocky Mountain region. “New York and New Orleans have been the Meccas of jazz…and a…barometer for great jazz performances. However, what is completely unusual is for an entire group to reflect this kind of greatness. Kenny Walker’s Sextet is such a group.” Benny Golson. With Peter Summer on tenor, Al Hood on trumpet, Dave Corbus on guitar, Jeff Jenkins on piano and Paul Romaine on drums. Benevento/Russo Duo The Benevento/Russo Duo formed in 2002 when Russo was offered a Thursday night residency at New York City’s Knitting Factory. Telluride Jazz 2003 was their first gig outside their NYC home! Since then they have toured and recorded with Trey Anastasio and Mike Gordon from Phish, Beck producer Joey Waronker, David Bowie drummer Matt Chamberlain and many more. www.beneventorussoduo.com ON THE ONE 2007 San Diego Music Award Winners for Best Jazz Album, ON THE ONE walk alongside live acts such as Karl Denson Trio and the Greyboy All-Stars when it comes to export music from America's finest city. The name ON THE ONE comes from both Prince and James Brown. Both singers have been known to say, “ON THE ONE” meaning “everyone in the band drop in on the first beat…on the ONE.” www.myspace.com/ontheone Mariachi Vasquez Music is the lifeblood that runs through the veins of la familia Vasquez. Returning to Telluride for the third time, this wonderful Mariachi ensemble represents several generations of musicians. Energetic, entertaining and colorful, Mariachi Vasquez is delightful to hear and stunning to see. Come and connect culturally! http://www.mariachivasquez.com Telluride Student All-Star Jazz Ensemble This program is for the serious student and is directed by renowned jazz educator and performer Bob Montgomery. A national talent search is conducted for students age 13 and up via audition tapes. Students selected receive scholarships to this special week-long program culminating with a main stage performance at the festival. Audition information available on the web site. Young Razzcals Jazz Project The Young Razzcal’s Jazz Project made its first appearance at the Jazz Celebration on the Stage in 1995. The kids were nine to twelve years old. They’ll make their seventh appearance this June. The Razzcals are eleven to sixteen. They’ve evolved into a group of prodigy jazz players. Jazz educator and musician, Dave Adams, directs them. www.YoungRazzcalsJazzProject.com (All artists and programs are subject to change) Tickets on sale now at www.telluridejazz.org or call 970-728-7009 For Ticket, Lodging & Travel Services visit our Official Central Reservation Sponsor at: www.telluride.com Single Day Pass – Friday only: $39 Single Day Pass for either Saturday or Sunday: $50 Three-day Park Passes: $125 Weekend All-Access Pass: $165 The All-Access Pass provides entry to Town Park Stage and participating night venues, on a first-come first-serve basis after first priority Patrons, Sponsors and Artists are seated. Patron Pass: $625 First Priority entry to all participating Night Venues and events, special stage-side seating at Town Park, and food & beverage catering at Town Park in the Patron Pavilion. In addition, Patrons are invited to Friday’s opening and Sunday’s closing parties and special sponsored events throughout the weekend. Sponsored By: No Wasted Notes; Raynier Institute & Foundation; Telluride Mountain Village Owners Assoc.; U.S. Bank of Telluride; CCAASE-Town of Telluride; The Telluride Foundation; Colorado Council on the Arts; National Endowment for the Arts; Kendall-Jackson; Finlandia; Plant It Water; Telluride Alpine Lodging; DownBeat Magazine; Resort Quest - Telluride Dworbell,Inc.; The Ice House Camel’s Garden Hotels; Montrose Daily Press; and Just for Kids Foundation; Colorado Homes & Life Styles; Bear Creek Lodge; Mountain Lodge at Telluride; The Peaks Hotel & Golden Door Spa; Capella – Telluride

Those were the good ole days, weren't they Ken!

Thanks - and yes I am Mitchell Feldman

Chuck - We have not been in touch since the 1980s when I was running CMP Records in Germany. In your first communication regarding me since then you imply I am a pimp? Where is this bullshit coming from? Can't see what I ever did or did to you to come within miles of being called a pimp. What does that make you? A jazz whore? Am looking forward to playing the Nessa vinyl I have loving kept for decades on my program unless that's pimping? Guess you missed taking your medication the day you read about my radio show. Music always, Mitchell

ACtually it has more than 16 - the NPR affiliate in Atlanta, which strangely is NOT a part of GA Public Broadcasting, is WABE (run by Atlanta Board of Education)...Then there is the Peachtree Public Radio network. There is a community station in Atlanta called WRFg, etc,

a great time....if one is not at a club. looking forward. thanks, mr. ghoul. Thanx Mr. Ghoul!

Thanks, Ghost of Miles!

Georgia Public Broadcasting is pleased to add another original program to its jazz line-up. Beginning October 7 veteran jazz journalist and publicist Mitchell Feldman will start producing and hosting "Jazz Without Borders" from the studios of WACG/90.7FM in Augusta each week from midnight Saturday until 3AM Saunday. This new show expands the stylistic and geographic spectrum of jazz currently heard during GPB's other jazz offerings such as "The Jazz Spot," "Piano Jazz" and "Jazz With Bob Parlocha." "Among my goals are: to air more progressive jazz (both historical and current) in an effort attract younger listeners and establish an audience base for the music in the years to come; to play new releases often as a way to support the jazz music of the moment which is often overshadowed by or gets ignored by mainstream jazz radio in favor of popular and archival favorites; to play non-US artists not only from Latin America and the Caribbean but also from Europe; and to celebrate the heyday during the 1970s of jazz rock fusion and freer forms of jazz." "Jazz Without Borders" will mix post-1950s modern jazz (i.e. the music of such masters as Thelonious Monk, Miles Davis, Charles Mingus, John Coltrane, Ornette Coleman, etc.), classic fusion (electric Miles, Weather Report, Return to Forever, John McLaughlin, etc.) and freer forms of jazz from such creative music scenes as Chicago's AACM, St. Louis's BAG and the lower Manhattan loft scene from their heydays in the 1970s (the Art Ensemble of Chicago, Air, World Saxophone Quartet, etc,; current releases by artists keeping the mainstream jazz tradition alive today (i.e. Wynton Marsalis, Pat Martino, the Clayton Brothers, Cedar Walton, etc.); established and emerging visionaries extending jazz's stylistic horizons (e.g. Dave Holland, Joe Lovano, Uri Caine, Bill Frisell, Dave Douglas, Ravi Coltrane, Vijay Iyer, Chris Potter, Avishai Cohen, the Bad Plus, etc.); "Jam Bands" (Charlie Hunter, Medeski Martin & Wood, Soulive, etc.); and non-US artists from Europe, the Caribbean, South America, Africa, etc. (Enrico Rava, Paolo Fresu, Gianluca Petrella, Michel Portal, Tomasz Stanko, Jan Garbarek, Chucho Valdes, Oscar Castro Neves, Eddie Palmieri, etc.). Mitchell Feldman has been publicizing, promoting and marketing jazz, classical and world music and writing about the music as a freelance journalist since 1976. As he says "My formative years that laid the foundation for success I would have both in the U.S. and abroad were spent in Georgia -- on the Contemporary Concert Committee and as Music and Jazz Director at WUOG-FM while attending journalism grad school at the University of Georgia in the late 70s; as Music Program Director and producer of the 1980 Atlanta Free Jazz Festival and 1981 World Music Concert Series while working for the City of Atlanta Department of Cultural Affairs; and as the weekly freelance jazz critic for The Atlanta Constitution, music editor of Atlanta Magazine and jazz columnist for Creative Loafing in the early-mid 80s." From 2004-2006 Feldman hosted "Friday Night Jazz" on Jazz 89 KUVO in Denver, the #1 major market jazz station in the U.S. He recently relocated to Augusta, GA and will host "Jazz Without Borders" live each week from the studios of GPB affiliate WACG 90.7 FM in Augusta. Listen to Georgia Public Broadcasting Radio online at www.gpb.org The GPB Network consists of: Albany 91.7 FM * Athens 91.7 FM * Augusta 90.7 FM * Brunswick 88.9 FM * Carrollton 90.7 FM * Columbus 88.1 FM * Dahlonega 89.5 FM * Demorest 88.3 FM Fort Gaines 90.9 FM * Macon 89.7 FM * Rome 97.7 FM * Savannah 91.1 FM * St. Marys 1190 AM * Tifton 91.1 FM * Valdosta 91.7 FM * Waycross 90.1 FM

Greetings Group! Below is the text and a link to Howard Reich's over all VERY POSITIVE review in today's Chicago Tribune of the HotHouse gig. The headline and the compliments strike me as backhanded (the word 'less" does imply something is lacking, no?) but Reich is the kind of critic (not my personal favorite) who writes in a style that to this reader comes across like some all-knowing oracle and has a more 1st-person voice than I prefer to read. When I review something I recount what happens at the event or on the CD from a point of view that doesn't come across as being above the music. He doesn't come right out and use the pronoun "I" but too much of "him" in what he writes for my personal taste (it's about the music isn't it?). But at least he not only got the little "o" right but GOT THE COPY EDITORS TO LEAVE IT THAT WAY ALL THROUGH THE ARTICLE!!! No small achievement. But, then again, there are ways to say things. Why write it this way: "His [Jim's] right-hand work, in particular, offers ample fluidity, yet even his fast-flying passagework is more impressive for its melodic ingenuity than its speed or technical prowess." When it can be written this way: His....yet even the speed or technical prowess of his fast-flying passagework is overshadowed by its melodic ingenuity." Much more positive way of saying the same thing. But why complain. When we started the promotion of "This Is The Place," Jim said one of his goals -- and one clearly shared by any Midwestern band on its way "up" -- was to get a gig in Chicago. Today there have been 2 in 2 months. And a strong review in The Trib with plenty of lines that can be excerpted for PR purposes is nothing to sneeze at! CONGRATULATIONS!!! http://metromix.chicagotribune.com/search/...0,1327800.story LESS IS MORE WITH ORGANISSIMO By Howard Reich Tribune arts critic One way or another, every jazz organist must come to terms with the legacy of Jimmy Smith, who died in February at age 79 but remains the measure by which his successors are judged. Some, such as the formidable Joey DeFrancesco, aspire to comparable levels of virtuosity and often attain it. Others, such as Jim Alfredson, who anchors a Michigan-based trio called organissimo, build on Smith's breakthroughs in harmony and color while avoiding comparisons to the master's brilliant technique. Alfredson and organissimo, in other words, draw an audience's attention with the vivid character of their compositions and the unerring precision of their ensemble playing, not the flash and bravura of the leader's keyboard work. Because Alfredson and his colleagues share a less-is-more musical philosophy, they can be remarkably effective as a unit, as was the case Wednesday night at HotHouse. When Alfredson, guitarist Joe Gloss and drummer Randy Marsh are in top form, the listener nearly forgets that three distinct voices are at play. As Alfredson pumps swelling chords, Marsh produces sharply staccato backbeats and Gloss articulates sleekly crafted melody lines. Even during solos, the musicians assist each other with uncommon sensitivity, a space in an Alfredson cadenza punctuated with a quick combination from Marsh's drum kit. That's not to say, however, that Alfredson can't get around the keys of his Hammond B-3 organ. His right-hand work, in particular, offers ample fluidity, yet even his fast-flying passagework is more impressive for its melodic ingenuity than its speed or technical prowess. Combine Alfredson's knack for choosing just the right color and tone in any given composition with his colleagues' ability to match his gestures, and you have one of the most promising organ trios in jazz. Though an original tune such as "Stomp Yo' Feets" easily might have emerged as a caricature of New Orleans street beats, it transcended that cliché thanks to Marsh's ultra-economical rhythms and Alfredson's inventive solos. Drawing upon a broad vocabulary of keyboard devices—from two-handed glissandos to telegraphic chords to buoyant wah-wah effects—Alfredson proved as entertaining as the Crescent City musicians the tune saluted. The band's best work came in "Mellow Mood," which Smith and Wes Montgomery famously recorded in the mid-1960s. Creating the darkest timbres, subtlest voicings and most insinuating phrases of the evening, organissimo lived up to the tune's name. If the band was less creative in the standard "Tenderly," if drummer Marsh played harmonica to minimal effect, these moments were the exceptions in an otherwise beguiling show. hreich@tribune.com Copyright © 2005, The Chicago Tribune

Soweto Kinch Kicks Off 1st US Tour As Leader With Performances In NYC At Charlie Parker Jazz Festival (8/27) & The Jazz Gallery (8/28) Award Winning Alto-Saxophonist / Rapper Also To Appear At Clef Club For Jazz in Philadelphia (8/31), Montreux Jazz Festival in Atlanta (9/2) & AfricanFest in Chicago (9/3) The "blazing young alto player" (NY Times) and rapper Soweto Kinch, hailed in Downbeat, JazzTimes, Time Out New York, Billboard and other publications as the "bridge" and "missing link" between the worlds of jazz and rap music, will conduct his first North American tour as a leader with appearances at the 13th Annual Charlie Parker Jazz Festival (8/27) and The Jazz Gallery (8/28) in New York City, the Clef Club for Jazz in Philadelphia (8/31), the Montreux Jazz Festival in Atlanta (9/2) and the Chrysler Financial African Festival of the Arts in Chicago (9/3). The concerts are Mr. Kinch's first in the US since his North American debut and only US appearance to date in December 2004 at The Jazz Gallery that was a highlight of the city's jazz season that year. Mr. Kinch will perform selections from Conversations With The Unseen (DuneCD08), his critically acclaimed recording debut as a leader for the British jazz label Dune Music that was named one of the Top-10 Jazz Recordings of 2004 by The New York Times, The New Yorker and Amazon.com. He will also premiere new music from his forthcoming second CD scheduled for worldwide release in March 2006. As on Conversations... Mr. Kinch will be accompanied by guitarist Femi Temowo, bassist Michael Olatuja and drummer Troy Miller. Appearing as a special guest at all five US concerts will be the American trumpeter and vocalist Abram Wilson, Dune's first non-British signing whose own first CD as leader, Jazz Warrior (DuneCD011), was released to critical acclaim in October 2004 in the UK and Europe and in the US in January 2005. Mr. Kinch's appearance at the Charlie Parker Jazz Festival, at 3 pm Saturday, August 27th at Marcus Garvey Park in Harlem, is free and open to the public. General Admission tickets to his sets at 9 and 10:30 pm on Sunday, August 28th at The Jazz Gallery, 290 Hudson Street (below Spring Street) in Lower Manhattan, are $15 per set and $10 for members. Call 212.242.1063 for reservations. Information about Mr. Kinch's concerts in Philadelphia, Atlanta and Chicago can be found at www.clefclubofjazz.com, www.woodruffcenter.org and www.africainternationalhouse.org. An exceptionally gifted, self-taught musician, the eloquent British saxophonist-rapper Soweto Kinch was born in London in 1978 and began playing the alto when he was nine. Like many of his country’s rising jazz stars, he is a graduate of the Tomorrow’s Warriors youth jazz development program and is undoubtedly one of the few jazz artists or rappers with a degree in Modern History from Oxford University. Mr. Kinch cites saxophonists Courtney Pine and Denys Baptiste and bassist Gary Crosby as his main mentors and he made his recording debut in 2001 with Crosby's Jazz Jamaica All Stars. Though his music is firmly rooted in jazz and he has a strong respect for the mainstream, Mr. Kinch constantly explores and examines his relationship with that tradition by integrating other styles. Mr. Kinch launched his solo career with the entirely self-penned Conversations... that was released in April 2003 in the UK and Europe and in September 2004 in the US. Critically acclaimed on both sides of the Atlantic, the CD seamlessly fuses Charlie Parker with Q-tip in an original synthesis of straight ahead jazz with funky hip-hop and rap. In the UK Conversations… was a finalist for the prestigious Mercury Music Prize for Album of the Year in 2003. Mr. Kinch and the CD both received glowing coverage in reviews and features in The Times, The Guardian, The Independent, The Observer and other leading British newspapers and in The New York Times, JazzTimes, TimeOut NY, Billboard, DownBeat and other major American publications. Kinch continued to refine his jazz-rap fusion with the August 2004 release in the UK and Europe of his first single, Jazz Planet (DuneSD001-DuneVY001), on which he wonders what the world would be like were it ruled by jazz. Mr. Kinch is the winner of the 2004 Urban Music Award for Best Jazz Act, the 2004 Peter Whittingham Award for Jazz Innovation, BBC Jazz Awards for Best Band (2004), Best Instrumentalist (2004) and Rising Star (2002), MOBO (Music Of Black Origin) Award for Best Jazz Act 2004 and the 2002 White Foundation / Montreux Jazz Festival International Young Saxophonist of the Year Award.

The Jazz Gallery To Observe 10th Anniversary Sep - Dec 2005 With Special Series Celebrating Musicians & Themes That Helped Establish Venue Over Past Decade Festivities At Lower Manhattan Performance-Gallery Space Acclaimed for Eclectic Music, Visual Arts & Literary Programming Begin Sept 6 & 7 With Photo Exhibition “Los Musicos en Cuba” & Trumpeter Roy Hargrove NEW YORK, NY (June 21, 2005) The Jazz Gallery -- a visionary not-for-profit performance and exhibition space in lower Manhattan praised by the artists it presents, its patrons and the media for the eclectic musical, visual and literary programs it curates -- will commemorate its first decade with a special 10th anniversary season running from September through December 2005. The Gallery will celebrate this milestone in its history with a series of concerts showcasing musicians and reprising themes that, over the past 10 years, have earned the space its global reputation as one of the world’s most distinctive arts organizations. The Gallery will kick off its 10th anniversary season on Tuesday, Sept. 6th, with the opening of the photography exhibition “Los Musicos en Cuba: Images From A Musical Island” featuring black-and-white images by Cuban photographers Ernesto Dos Santos and Leslie Sinclair and color images by American photographer David Garten portraying a wide range of musicians, both native and foreign, performing in Cuba. On Wednesday, Sept. 7th, trumpeter Roy Hargrove, who has been closely associated with the Gallery through- out its history and joined its Board of Trustees this year, will kick off the musical component of the venue’s 10th anniversary season with “The Trumpet Shall Sound.” This is the first in a series of musical programs taking place through December reflecting themes and showcasing artists that were instrumental in the organization’s development. Hargrove will be joined each evening through Sept 11th by another acclaimed jazz trumpeter in this latest edition of a series whose success since its debut in December 2001 has made it one of the Gallery’s most popular programs. Darren Barrett (9/7), Claudio Roditi (9/8), Tom Harrell (9/9), Nicholas Payton (9/10) and Marcus Belgrave (9/11) are scheduled to appear with Hargrove accompanied by the rhythm section of pianist Danny Grissett, bassist Reuben Rogers and drummer Greg Hutchinson. The Jazz Gallery’s 10th anniversary season will continue through December 2005 with other special editions of the various thematic programs it presents. This year’s Large Ensemble Series will begin with an appearance by the Oliver Lake–John Hicks Big Band Sept. 22-24 and extend through the course of the celebration with performances by Peter Apfelbaum & The New York Heiroglyphics, Frank Lacy’s Vibe Tribe and the Jason Lindner Ensemble, among others. Also starting in September and continuing throughout the anniversary sea- son is a Percussion Series that will present Dafnis Prieto, Jeff “Tain” Watts and a duo concert by Chico Hamil-ton and Marcus Gilmore on October 22 that is the first event in the new “Jazz Masters Pass It On” series that will continue on Dec. 17 with a duo piano concert by Kenny Barron and Gerald Clayton. The Gallery’s popular vocal series “Heartsong” will begin in October with appearances by Claudia Acuña, Andy Bey, Lezlie Harrison and Gretchen Parlato and also extend through December. The Jazz Gallery is internationally renowned for having nurtured a generation of emerging jazz artists and helping launch the careers, and raise the profiles, of many of the leading young instrumentalists, composers and bandleaders enjoying success on the contemporary jazz scene today. Among the musicians the Gallery regularly presented during their formative years who still appear there: Claudia Acuña, Peter Apfelbaum, Avishai Cohen, Ravi Coltrane, John Ellis, Roberta Gambarini, Robert Glasper, Vijay Iyer, Jason Lindner, Rudresh Mahanthappa, Jason Moran, Luis Perdomo, Dafnis Prieto, Yosvany Terry, Lizz Wright and Miguel Zenon. Veteran jazz artists also regularly perform at the Gallery which, over the past 10 years, has presented Henry Grimes, John Hicks, Lee Konitz, Frank Lacy, Oliver Lake, Butch Morris, David Murray, Benny Powell, Clark Terry, Henry Threadgill, Chucho Valdès, Frank Wess and Randy Weston. Former “young lions” in mid-career including Steve Coleman, Roy Hargrove and Jeff “Tain” Watts are also mainstays of the venue’s programming. The unique interaction at The Jazz Gallery between emerging and established artists was recently acknowl- edged by The National Endowment for the Arts which awarded the organization a $10,000 grant to help fund the programming initiative “The Jazz Masters Pass It On: The Inter-Generational Transmission of Jazz Cul- ture,” that will be formally introduced this fall during the 10th anniversary season.