viernes, 30 de mayo de 2014

Lucas Van Merwijk rooted with a Dutch Caribbean + Jazz

"Lucas has been a great school and friends for what they do and we congratulate ... Latino musicians have been first class next to the Marco Toro, and more ... but has a Latin heart that produces this" 
Luis Raul Montell


Dutch drummer Lucas van Merwijk hits Los Angeles

Lucas van Merwijk

will be performing in Los Angeles on the 28th of september with the CSULA Afro-Latin Jazz Ensemble. The concert is the final event of the Summer Sundays Concert Series at the MOLAA (Museum of Latin American Art).

Sunday, September 28
Benny Moré, Que Bueno Canta Usted!

Lucas van Merwijk has been leading his Cubop City Big Band for nearly 20 years.
The repertoire will consist of a mix of Beny Moré, Arsenio Rodriguez and Machitomambo dance classics.

Summer Sundays Concert Series at the Museum of Latin American Art in Los Angeles

Evoking the sounds of Cuba’s Big Band Era with famed Dutch percussionist Lucas Van Merwijk and Cuban Master percussionist Calixto Oviedo, this performance features the CSULA Afro-Latin Jazz Ensemble and offers an opportunity to experience the works of legendary Arsenio Rodriguez in a Big Band format for this first time in the USA.
Besides music of Arsenio Rodriguez the band will perform music of Beny Moré and Machito as performed by Van Merwijk's Cubop City Big Band.

Lucas van Merwijk the Cubop City Big Band

The Cubop City Big Band was named after the New York club ‘Cubop City’ where such legends as Charlie Parker, Dizzy Gillespie and Chano Pozo used to perform in the nineteen forties and fifties.
In the early years of its existence the orchestra was inspired by the great cuban bandleader Machito.
During the years to come music of other pioneers of Latin music, such as Arsenio Rodriguez and Beny Moré became an inspiration for new projects. Later on new directions included Musica de Colombia, Musica de Venezuela, Musica de Uruguay, Musica de Grupo Afro Cuba, Music of Emiliano Salvador, Tribute to Tito Puente and more.
Invited guest musicians included Andy Gonzalez, Armando Peraza, Luís Conte, Raul Rekow, Armando 'Chocolate' Armenteros, Nelson Gonzalez, Roberto Quintero and Edmar Castañeda.
Lucas van Merwijk Latin projects with bands around the world

Drummer / percussionist Lucas van Merwijk is now available to share his experience and 100 plus salsa and latin jazz big band charts with orchestras around the world. Scores include music from Machito (CD the Machito Project), Beny Moré (CD Moré and More), Arsenio Rodriguez (CD Arsenio), Musica de Colombia, Music from the Movie 'The Mambo Kings', Musica de Venezuela, Musica de Uruguay, Musica de Grupo Afro Cuba, Tribute to Tito Puente charts and more.

Legendary arranger Marty Sheller on The Cubop City Big Band's latest release 'Que Sensación!: 

'Terrific arrangements, excellent execution and wonderful musicianship all around. It's a breath of fresh air in a Latin Jazz scene saturated with mediocre music.'
Cubop City Big Band Charts

Over 100 great salsa and latin jazz big band titles
arranged by arrangers such as Edy Martinez (Ray Baretto, Tito Puente) and Marc Bischoff.

Titles include: 

Tin Tin Deo, El Diablo Suelto, TP Special, Que Humanidad, Que Sensación, Ran Kan Kan, Mata Siguaraya, El Rey Del Timbal, Cuban Fantasy, Night In Tunesia, Perfidia and more.

Lucas van Merwijk bookings

To get more info on Lucas van Merwijk 's participation with big bands, orchestra's around the world, to receive repertoire lists, mp3's of Cubop City Big Band tracks or other information please send an email to Roosje den Hertog, Tam Tam Productions.
van Merwijk has been teaching at the Jazz & World Music departments of the Rotterdam Codarts and the Amsterdam Conservatory since 1985 and recently published his drum method WorldBeat.


¡¡Viva The Latin Jazz!!

lunes, 26 de mayo de 2014

Adam Schroeder, saxo baritone, continues his ascent and present with Capri Records his second CD "Let's"

Big sounds from the big horn!  Baritone saxophone giant Adam Schroeder's Let's

brings together a modern day master with guitarist Anthony Wilson, bassist John Clayton
and drummer Jeff Hamilton

"Everyone will be impressively surprised with Adam Schroeder's playingŠ Check him out! He's Bursting onto the sceneŠ!" - Clark Terry

"Beautiful, beautiful!  I love the way you play that cannon!" - Clint Eastwood

To Be Released June 17 on Capri Records

It's always news when an immensely gifted baritone saxophonist like Adam Schroeder releases a recording. Why the baritone - the mighty warhorse of the saxophone family, a horn capable of expressive majesty whether delving deep in the low register or careening in the tonal stratosphere - should have so few present day high profile players is anyone's guess. Still, it's obvious that with the release of Let's - Schroeder's second album as a leader - a mesmerizing baritone virtuoso, one capable of bringing newly deserved exposure to his instrument, is poised to make his mark. Making the most of a gorgeously full bodied tone and a commanding technique that allows him to both burrow deep and to soar, Schroeder reflects the best of such past masters of his instrument as Gerry Mulligan, Serge Chaloff and Pepper Adams, and such dazzling contemporary practitioners as Gary Smulyan and Ronnie Cuber. With expert support from guitarist Anthony Wilson, bassist John Clayton and drummer Jeff Hamilton, Schroeder glides through a thoroughly pleasurable mainstream program that trains its spotlight on his inspired improvising as well as his engaging and well-crafted originals. Durable tunes by Duke Pearson, Thad Jones, Benny Carter, along with the sturdy standards, "Wrap Your Trouble In Dreams" and "In the Middle of a Kiss," and Stevie Wonder's R&B classic, "You and I (We Can Conquer the World)" round out a memorable recording that wisely places its faith in melodic swing.

 "Melodies!" Schroeder emphatically states when speaking of the criteria that he used in selecting his non-original material. "Each of the songs written by others had to have great melodies first and foremost. These are tunes that make you smile when you first hear them, and then reveal their compositional and harmonic depth the more you listen to them. They also offer vast freedom of expression for everyone to improvise on." Schroeder's own pieces, the funky, "Just Clap Your Hands," the alluring mid-tempo ballad, "Patience Endurance, Steady Hope" and the swinging, "A Hawkeye, A Hoosier & Two Cali Cats" among them, possess similarly attractive traits to the more recognizable fare. Whether seasoned or original, each piece allows Schroeder to display his stupendous gifts and to musically meld with his distinguished band mates. "It's awe-inspiring to work with legends like John Clayton and Jeff Hamilton, as it is to play with a great younger player like Anthony Wilson. Musicians like them just want you to succeed. Although you might want to place experienced players like John and Jeff on a pedestal, that's the last place they want to be. They make you feel like part of a family. For them, the music becomes all important."

While a horn and guitar front line may be atypical, Schroeder felt that it was the right fit "sonically -- the timbre of the baritone with that of the guitar works better as far as I'm concerned, than an a baritone and a piano might. That combination can get too muddy."

Although originally a bebop-obsessed alto saxophonist, Schroeder, an Iowa native, switched to baritone in his later high school years. While still in school, Schroeder had the opportunity to play in the college band at Clark Terry's International Institute of Jazz Studies. Among the prestigious artists that the Los Angeles-based baritone virtuoso subsequently performed with over the ensuing decades are Ray Charles, Louie Bellson, Jack Nimitz, Diana Krall, Sting, John Pizzarelli, Chris Botti, Bob Mintzer, Bennie Wallace and Clark Terry, who remains a friend and mentor. Schroeder - whose first album A Handful Of Stars was released on Capri Records in 2010 - is currently associated with, among others, the Clayton-Hamilton Jazz Orchestra.

Adam Schroeder has extracted profit musically to his meeting in scenes with Latin musicians taken root in the coast west, is like that since in his sound one feels the influence of the mambo ... observe said in this short, but brilliant video ... enjoy it!

Ann Braithwaite
Braithwaite & Katz Communications

The drummer and composer Umberto Pagnini in Europe continues to create Latin Jazz and release CD "Capriccio"

The next June will be the launch of the new production of Umberto Pagnini "Capriccio". 
The, Pagnini, has had a clear inclination towards career Latin music, with much emphasis to the bossa nova that blends perfectly with jazz rhythms. 
This work has the participation of vocalists Laura Littardi, Elisabeth Caumont and Isabelle Carpentier, who will put the sweet touch to some CD grooves to compensate for the sound of a band with energy and harmony. 
Expectations are high, as in the video that follows is a sample of what you heard in "Capriccio", where the combination of Pagnini and Miss Littardi musically masterful looks:

¡¡Viva The Latin Jazz!!

lunes, 19 de mayo de 2014

Some moments of the 2014 International Day of Jazz - Open Letter to the Organizers

Steve Turre and His Sanctified Shells
Lew Tabackin, James Jeuns and Claudio Roditi
Roberta Gambarini
Pete Escovedo

Open letter to the organizers of International Jazz Day





Dear Friends:

This communication is intended to congratulate the success that comes year after year reaching the " International Jazz Day" , for the effort and work , which of course has several functions , including: educate, disseminate and showcase the art of jazz.

For those who love Jazz every day this great music is part of our life.

We thank our humble words to their work , we honor and gives strength to continue supporting course from anywhere and while the Jazz and its people.

But I also like to take this opportunity to ask , with due advance, are served to review the growth that has taken the Latin Jazz, in all aspects : the variety of rhythms, the number of fans around the world , the interpretive quality of their performers, creativity and tremendous expansion of this subgenre of Jazz , which certainly shows one of the more cheerful mergers and improvisation in jazz.

It is true that Latin Jazz musicians are worldwide and in many scenarios, but really happy on this day for good music participation of Latin Jazz musicians performers must be greater, and that is our desire, many and it is our request.

Thank you very much for attention and are made ​​to order.

¡¡Amor y Jazz!!,

¡¡Viva The Latin Jazz!!,

Luis Raul Montell (Oficial)

martes, 13 de mayo de 2014

Louis Prima Jr. New CD “Blow” + Upcoming Live Appearances

Louis Prima Jr. New CD
+ Upcoming Live Appearances


Listen To Louis Prima Jr. “Blow”
Click HERE

Louis Prima Jr - Go Let's Go (Lyric Video)

(Warrior Records WR16532)
Street Date: 06/10/2014

Louis Prima, Vocals/Trumpet
A.D. Adams, Drums
Steve Pandis, Bass
Ryan McKay, Guitar
Gregg Fox, Keys
Marco Palos, Saxophone
Ted Schumacher, Trumpet
Phil Clevinger, Trombone
Leslie Spencer, BG Vocals
Upcoming Louis Prima Jr. Dates
05/30 - Kansas City, MO  (Zona Rosa)
06/05 - Los Angeles, CA  (Bardot)
06/06 - Los Angeles, CA  (The Mint
06/13 - New York, NY  (Lorenzo's  Hilton Garden Inn)
07/06 - Chicago, IL  (City Winery)
08/30 - Destin, FL  (Harborwalk Village)
08/31 - Destin, FL  (Harborwalk Village)
10/02 - Philadelphia, PA  (Atlantic City Convention Center)
10/03 - Gretna, LA  (Gretna Heritage Festival)
10/04 - Gretna, LA  (Gretna Heritage Festival)
You can always check them online as well on his EPK:

         Two words immediately spring to mind when thinking of the legendary Louis Prima – boisterous and fun.  With BLOW, the second album by Louis Prima Jr. and The Witnesses, those two words are the starting point for an explosive journey into the pure expression of out-and-out exultation.  Following up on his critically acclaimed Warrior Records debut CD Return of the Wildest, Louis brings the family tradition of unadulterated joyous swing right up to the immediate present with eleven tracks of thunderously unbridled testifying.  “With the band’s collective talents and diverse musical tastes, we wind up with a sound unique to this band, while staying true to the boisterous Prima style.” says Louis.

            There are elements of past and present New Orleans, 40s small group swing, 50s rock ’n’ roll, Memphis soul, hardcore R&B and various elements of rock and jazz – all passionately placed into the cauldron of Louis Prima Jr.’s personal creativity.  Blend in the exceptional skills of eight like-minded musicians, a simpatico co-producer and great songs, and the result is a scintillating musical experience that will make you shout out loud.

            Along with Louis’ outstanding trumpet playing, tenor saxophonist Marco Palos, trumpeter Ted Schumacher and trombonist Phil Clevinger create the enormous sound of a big band with the dexterity of an R&B horn section.  The rhythm section of Gregg Fox on keyboards, Steve Pandis on upright bass, drummer A.D. Adams and Ryan McKay on guitar keep everything impeccably in place - and with spectacular energy. Vocalist Leslie Spencer lends tremendous backup support to Louis’ spirited vocals, and shines brightly when featured out front.  Prima's arrangements are perfectly crafted for this powerhouse ensemble and ideally developed for each composition.  The recording itself – co-produced by Louis and Jim Ervin (who arranged one piece and co-arranged another) – sustains a level of live energy and in-your-face enthusiasm throughout.

            There are seven originals by the writing team of Louis, Palos, Adams and McKay; and one by Ervin.  “We didn’t set out to simply write music we thought the fans wanted to hear. We wanted to challenge ourselves musically and also challenge the listener.  You can’t fool the fans by trying to force the word ‘daddy-o’ into every song.  If music does not come honestly from your soul, it will ultimately be short lived.”  A few surprises are included - covers of Louis Sr.’s 1944 classic, Robin Hoodand Adam Ant’s hit, Goody Two Shoes; and an enthralling “duet” by father and son onThat’s My Home using the elder Prima’s vocal and trumpet tracks from his original 1959 recording.

The heart and soul of this music is laid out in no uncertain terms right from the opening track, the title tune Blow.  A rollicking, take-no-prisoners instrumental of blistering horn lines, explosive rhythms and a wailing big horn-style tenor sax solo, it grabs you by the shirt-front, slaps you in the face, grips you in a tight bear hug and places a big fat kiss square on the lips.  And that’s just the appetizer.

            Go, Let’s Go follows in similar fashion; a fervid scorcher rooted in a raucous New Orleans-style – both jazz and R&B – with jumping call-and-response vocals, big trombone glissandi, punchy rhythm and Mingus-like jubilation.  A growling organ and funky guitar break leads into Schumacher’s trumpet solo, before drum and hand claps take it into the shout vocal ending – and the hootin’ and hollerin’ of the band in response.

            But thunder and lightning is not always the tone.  Someday brings Leslie Spencer up front in a vividly Stax/Volt-ish soul ballad.  With Memphis style horns a la the Bar-Kays, and her powerful soulful voice in a Carla Thomas by way of Etta James mode stoked by a raunchy tenor that would make Illinois Jacquet smile, this is a radiant, emotionally-charged performance.

            Leslie is also featured on I Just Wanna Have Fun, a searing R&B groover powered by thick bursts of horns over driving rhythm section.  A roaring tenor turn followed by a raw-etched guitar solo in potent call-and-response with the horns leads out to the vocal over the shouting horn section.  Might Be Crazy, a smoldering medium-tempo soulfest by Louis and Leslie is stoked by heavily syncopated, punchy horn lines and a Chicago blues style bass line.

            A slightly more laid-back vibe is set on New Orleans, a bouncy cooker that showcases Louis’ stirring and compelling voice over a shouting chorus and Fats Domino-esque honky-tonk piano.  A soul-drenched tenor solo and Louis’ impassioned vocal goes out over celebratory horns and chorus in a wild party – that sounds like it comes to a halt when the cops showed up because everybody was just having too damned much fun. There’s another easy groove on the closing track, Jim Ervin’s Those Million Things, a nicely swinging piece that showcases Louis’ infectious vocal stylings built over a delicious pastiche of horns and Ervin’s subtle string arrangements.

            Fame and Glory is in the rip-roaring, foot-stomping style that permeates so much of this wonderful album.  A driving romp in hardcore R&B style with bellowing horns, hollering chorus and throbbing rhythm, it lands somewhere in the middle of The JBs, P-Funk and Archie Shepp’s Attica Blues.  Another full-throttle smoker in pure jump style is Louis’ cover of Adam Ant’s Goody Two Shoes, with barking Night Train horns and the rhythm section surging like a diesel.  Brief explosive solos by snarling tenor and howling trombone launch a great horn break, building the tension higher and higher under Louis’ terrific scorching vocal.

            Jump blues is also on tap for Robin Hood, a hit for Louis Sr. in 1944.  Prima’s striking vocal cooks over the smoking horns that power this vehicle, with their lower tones chugging in locomotive beat.

            It’s a special treat to hear that fabulously singular Prima voice just as it was captured on his original 1959 version of That’s My Home, but ensconced here in a marvelous new Prima Jr./Ervin arrangement.  The same can be said for his trumpet solo, so full, round and subtly crafted.  The trumpet and vocal duet of father and son is not just moving, it’s an absolutely joyous delight – and that holds true for this remarkable and extraordinary album.

To borrow a phrase from the liner notes “A new legend is being born and it will BLOW you away.”
For more information, visit:
www. and

National Publicity Campaign
Jim Eigo Jazz Promo Services
Ph: 845-986-1677 /

lunes, 12 de mayo de 2014

Yearning for the Wind by Ancient Future w/ Matthew Montfort (Guitar) & Vishal Nagar (Tabla)

Composed by scalloped fretboard guitar innovator Matthew Montfort, Yearning for the Wind is a poignant piece based on Rag Kalyan,an evening raga that corresponds to the Lydian mode. The composition also incorporates harmony and other guitaristic elements. A duet with Indian tabla virtuoso Vishal Nagar, who is considered one of the most gifted tabla players of his generation, Yearning for the Wind is set in matta tal, a nine beat rhythmic cycle. As a bridge between the slow and fast sections of the piece, Vishal Nagar performs an elegant tabla solo over the soft nine beat groove that slowly builds up to a vibrant rela (a fast tabla composition characterized by rapid drum rolls).

Yearning for the Wind is the first audio/video release in Ancient Future history. It is also the first brand new Ancient Future studio recording released to the general public since 2002's Planet Passion.  It isn't that Ancient Future hasn't been active. Indeed, Ancient Future has recorded over three hours of music in this period, much of it live. But rather than release it all in a market where a low value is placed on music while a high value is placed on the tech companies that deliver it, Ancient Future has taken a different approach.
Recorded in December 2013, this evocative piece was produced for the Archive of Future Ancient Recordings, Ancient Future's ambitious ongoing recording project. To finance A.F.A.R., Ancient-Future.Com Records provides financial supporters access to select files from Ancient Future's archives of alternate takes, live concerts, radio performances and new studio recordings as they are created. On February 11, 2014, the exact 35th anniversary of the first Ancient Future concert, Yearning for the Wind became the 10th track added to the archive and was made available to A.F.A.R. supporters in mp3, CD quality, and 96-kHz/24-bit hi-res audio and HD video.
To promote the Archive of Future Ancient Recordings, an enhanced E-CD of Yearning for the Wind with the audio, HD video, and digital liner notes will be available at online stores such as Ancient-Future.Com and starting June 17, 2014. But fans can download Yearning for the Wind now on iTunes and other digital retailers as a a single (AF-20352), a video (AF-90302), an mp3 bundled with an HD video (AF-20302), or sign up to support A.F.A.R. to get it in full 96-kHz/24-bit audio resolution as a thank-you gift!
Within a week of its digital preview release, Yearning for the Wind rose to the top of the Ethnocloud Top 40 Charts for April, 2014, earning #1 spots in both the video and audio track categories!

domingo, 11 de mayo de 2014

Gipsy Kings and Ed Motta will give joy and romance to the Nice Jazz Festival

Gipsy Kings revered set of Flamenco Jazz and Ed Motta generator Brazilian romantic music to the world, through his voice and guitar, will be performing in the near Nice Jazz Festival in France.

The vestuto Festival was scheduled for 8 to 12 July this year and expectations are growing day by day, as fans Jazz great feast they `ll not only that these representatives of Latin Jazz, but will also have Dr. John Richard Galliano and once famous band Deep Purple.

In the video we offer Gipsy Kings enjoy your emblematic Groove "Bamboleo" ... Gozalo!:

¡¡Viva The Latin Jazz!!

viernes, 9 de mayo de 2014

Kate Ross New CD + 1st Annual Mother/Daughter Tea & Fashion Show Tomorrow

Kate Ross

1st Annual Mother/Daughter Tea & Fashion Show

Saturday May 10th 12:00 pm – 3:00 pm @Briarwood Facilities
I have the honor of performing at the 1st annual Mother/Daughter Tea & Fashion Show. Sponsored by the Women's Ministry of Jerusalem Tabernacle Missionary Baptist Church to help teens and battered women, a cause near and dear to my heart. Tickets are $20.00 in advance and $25.00 at the door. Contact Alice Butts 614 822-5870 or Sandra Kemper 614 256-9688 for tickets or to make a donation to this worthy cause.

This event is being held Saturday May 10th, 2014 from 12:00 – 3:00 pm at Briarwood Facilities Banquet, Business & Wedding Chapel 1421 Davidson Dr. Reynolds, Ohio 43068.


Kate Ross

"People Make the World Go Round”

(KimCourt Productions KCPKR-01)

Street Date June 3, 2014

Kate Ross– Vocals, Caleb Hutslar-Keyboards, Greg “The Governor” Pearson-Drums, Dave Irwin-Bass, 

Craig McMullen-Guitar, Drums – Roger Myers, Alto Sax – A. C. Collins

There has always been a debate as to what separates a jazz singer from a singer who simply interprets songs in a rhythmic fashion.  But from the first few bars of Kate Ross’ extraordinary debut album People Make The World Go Round, any question as to whether she qualifies is summarily dismissed.  Even more importantly, Kate is one of those rarer jazz vocalists who is fully committed to not only imprinting her personal identity on the mind of the listener, but also moving the art form forward.

            In Kate’s case her Commitment is one that fully deserves that capital C.  Diagnosed with Degenerative Disc Disease 30 years ago, Kate has overcome the chronic pain – exacerbated by two broken neck injuries due to her condition – while working three jobs to put her two children through college and pursue a career as a singular and adventurous vocalist.  But neither she nor her music dwell upon the pain and struggle, offering instead a message teeming with optimism, jubilation and gratitude for all the beauty that life has brought her.

            “When you’re in chronic pain everyday and still have responsibilities, there is no time to wallow in pain. You still must do what you need to do to survive. I still had to provide for my children.  I think the situation made me a stronger person.”

            And in the transcendent expression that is the art of jazz at its finest, her challenging journey has enriched and informed the stories she tells through her music.  She imparts these stories with a beautifully expressive voice, full of emotion, with emphatic phrasing and a dynamic sense of rhythm.  She delivers the lyrics with the precision of the spoken word, shaping each syllable with the artistry of an aural sculptress.

            Surrounding herself with a group of musicians who have been committed to her music for more than 15 years, the album demonstrates that synergy and unity that is essential to all truly creative music.  Keyboardist Caleb Hutslar (mainly on acoustic piano), bassist Dave Irwin and guitarist Craig McMullen – best known for his extensive work with the immortal Curtis Mayfield – and drummer Roger Myers are all brilliant musicians who perform with exceptional sensitivity and striking creativity whether supporting or soloing.  Greg “The Governor” Pearson, another longtime collaborator of Kate’s replaces Myers on two tracks, while B3 master Tim Boyles and alto saxophonist A.C. Collins add their special talents on one each as well.  A very special luster is brought to the production by the legendary Motown producer Reggie Dozier who re-mixed and mastered the album.

            As generous a leader as Kate is, the story here is really her consummate vocal artistry.  The energy and artistic pursuit clearly bring to mind the unparalleled empress of jazz vocal creativity Betty Carter.  And like Betty and the great Bettye LaVette, Kate has that special talent of making every song she sings entirely her own, regardless of previous interpretations, or even the composer’s original intent.

            This quality is expressed quite clearly on both the title piece and the popular standard Without a Song that closes the album.  On the Stylistics’ mega-hit People Make The World Go Round, Thom Bell and Linda Creed’s soul classic is transformed into a rollicking jazz excursion. Arranged by McMullen and taken at breakneck speed, full of striking suspended rhythms and fueled by richly wooded wailing bass, it also features a soaring guitar solo with Grant Green-ish inflections and a full-bodied unbridled piano solo.  Kate’s rip-roaring vocal audaciously tears apart the melodic line, driving home the message with vehement intensity and never faltering in the pure unfettered swing of it.  Kate arranged Without a Song as a rhythmic romp in an R&B bounce, stoked by Boyles’ B3 and Irwin’s bass in a rich organ pedal style.  Kate’s punchy delivery of the lyrics lies deliciously behind the sprightly funk groove.

      Dave Irvin composed and arranged two pieces. The album’s opening track Jazzis a sojourn in straightforward, vigorous swing with an infectious jump style.  The rhythm section is smoking on all cylinders and Kate’s profusely surging vocal sets the lively and spirited tone that permeates the entire album.  Up Into The Big Blue Soundis introduced by the virile, soulful tone of A.C. Collins’ alto sax, who adds a delightful obbligato to Kate’s vocal, also delivering a potent solo.  With its undulating rhythms, Hutslar’s dancing electric keyboards and A.C.’s sinuous sax it could not only appeal to fans of smooth jazz, but also provide them with a depth not often found in the genre – further pushed by Myers’ spectacularly inventive drumming and Kate’s sumptuous vocal.

            The remaining four pieces were all composed by Art Bell, with Kate co-composing and arranging Kate’s Song.  A highly original piece, it’s strikingly syncopated and marked by bold Carter-ish intervals.  Sometimes bordering on the Baroque, the compelling story told by the lyrics coupled with Kate’s dramatic delivery make this a stunner.  Collectively arranged by the group, Meet Me is an unusually structured sound poem sung in an almost narrative form with Kate’s vocal coating the rhythm section like a delectable sauce on a sundae.

            Two beautiful ballads – both arranged by Bell – round out this enthralling album. Midwinter Dream, an item of filigreed beauty is given a poignant and tender treatment, stated with precision and gracefulness.  Once again, Myers’ drumming, totally unexpected for a ballad, is the ideal complement to Kate’s singing.  Home To Me is an anthem-ish piece, perfectly suited to Kate’s deeply emotive expressiveness.  The powerfully affecting cry in her voice combined with her stirring vibrato make this a heart-wrenching tour-de-force.

            While Kate’s personal story – warmly told by the late, great radio personality Bobby Jackson in his liner notes – is both powerful and uplifting, the real story lies in the music on this splendid CD.  Kate Ross is poised and ready to take a prominent place in the forefront of the jazz vocal world.

      For more information about this very special woman and her music,

National Publicity Campaign
Jim Eigo Jazz Promo Services
Ph: 845-986-1677 /

National Radio Campaign
814.482.0010 /

miércoles, 7 de mayo de 2014

Saxophonist Clarence Johnson III Live @ The Velvet Note Friday, May 9th 7:30 & 9:30 p.m. - New CD "Watch Him Work"

Saxophonist Clarence Johnson III
Live @ The Velvet Note 
Friday, May 9th
7:30 & 9:30 pm


Saxophones: Clarence Johnson III
Keys: Yoel B'nai Yehuda
Guitar: Andre Avelino
Bass: Kevin Smith
Drums: Henry Conerway

New CD:
Clarence Johnson III
“Watch Him Work”

Johnson’s previous recordings focused on straight-ahead jazz. “Watch Him Work” favors jazz fusion and smooth jazz, with Johnson blowing both tenor and soprano saxophones on mostly instrumental, mostly original compositions. “This is the other side of my musical personality that has always been there, bubbling up,” he said. “I finally got a chance to explore it.”

“The direction of the music exhibits the things that I’ve gone through, the things that have made me mature and grow up,” he said. “At 22, you’re one way. When you’re in your late 30s, you’re a seasoned veteran, looking at things from a mature perspective. I think all of that is reflected in the music and the life choices that I’ve made.”

“On the homefront, New Orleans saxophonist Clarence Johnson III has become a forceful bandleader and really took charge during his Sunday afternoon (New Orleans Jazz and Heritage Festival) set. Clarence also displayed his power as a vocalist, singing and chanting during part of his new suite, John 14:6.” It was a surprisingly electric set……….Yet while the band was plugged in, it never failed to swing….” Gambit Magazine (Geraldine Wycoffe-now at Offbeat Magazine)

Artist: Clarence Johnson III
Title: Watc h Him Work
Label: Like Fat her Like Son Music
UPC Code: 884501951975
Release Date: November 5, 2013

CLARENCE JOHNSON III-Tenor & Soprano Saxophones, Background
Vocals Track 4 & 7, Tambourine Track 6
Mike Esneault: Sound design-All Tracks except #9, Orchestration-
Track 10, David Ellington: Tracks 9 & 10, Tyrone Jackson: Track 5
Chris Severin: Tracks 3, 6, &8, Donald Ramsey: Tracks 2, 4, & 5, Moffet Morris: Tracks 9 & 10, Maurius Tilton Track 1
Henry Conery III Tracks 1, 5, 9, & 10, Jamison Ross: Tracks 3, 6, & 8, John Jones Tracks 2, & 4
Steve Masakowski: Tracks 2, 5, 7, & 10, Bill Solley: Tracks 3, 4, & 8
Bobby Campo-Trumpets/Flugal: Tracks 1, 2, 5, 8, William “B.J.” McGibney-Trombone Tracks 2 & 8, Jeff Albert-Trombone: Tracks 1, & 5

Track listing, track times and composer:
1. Watch Him Work (4:17)
2. MAMMA’S PRAYER (4:47)
3. Like Father Like Son (5:18)
4. Cornerstone (6:08)
5. Joy (4:52)
6. Grazin’ In The Grass (3:51) (Philemon Hou-Arr Clarence Johnson III)
7. The Way You Look Tonight (5:39) (Fields/Kern Arr Clarence Johnson III)
8. Brian’s Journey (4:46)
9. Struttin’ (4:19)
10. Beyond Words (5:09)

CHRIS SPECTOR, Editor and Publisher 
CLARENCE JOHNSON III/Watch Him Work:  Now in his late 30s, the Nawlins sax ace is changing course to be more in line with what he feels.  Going for more fusion and smooth jazz, he’s right in the pocket.  His originals cook and his take on “Grazin in the Grass” gives it the zest Grover Washington would have had he not turned his attention to “Soulful Strut”.  Playing for his own account rather than a record company’s, Johnson gets to push the buttons he wants to and he hits them with just the right amount of torque each time.  Fun stuff that goes the distance with loads of good vibes for all.
By Grady Harp
First some words from the artist: `The direction of the music exhibits the things that I've gone through, the things that have made me mature and grow up. At 22, you're one way. When you're in your late 30s, you're a seasoned veteran, looking at things from a mature perspective. I think all of that is reflected in the music and the life choices that I've made." He named his record company, as well as a track on the new record, "Like Father Like Son." "It's a tribute to the way my dad raised me in Godly instruction, and the way I'm trying to do the same thing with my son. Looking at my father, the way he carried himself with such dignity and class, I learned how to be a man. The "Him" of the "Watch Him Work" title track is a reflection of Johnson's deep-seated, non-denominational Christianity. "That's exactly what this record represents. The `h' will always be capitalized to signify that I'm talking about God. No matter how tough things become, just offer it up in prayer. Once you let God deal with it, just step back and watch Him work."

Known for his fierce and often sultry saxophone sound and astounding virtuosity, New Orleanean Clarence Johnson III enjoys a successful career as a recording and performing artist, an educator, and also appears in films and television. Currently, Clarence is preparing for the upcoming release of his latest recording, "Watch Him Work", his first release in nearly 15 years. The new original material, which features himself and his latest creation, Cornerstone, can best be described as a fresh take on jazz fusion, which is reminiscent of the compositional styles of Stanley Clarke, George Duke, the Brecker Bros., and the Yellow Jackets.

After too long a recorded absence, Clarence Johnson III is back, even better, so Watch Him Work.

martes, 6 de mayo de 2014

John Santos Sextet happy life and musical art forever!

John Santos is another one of the emblematic figures of Latin Jazz is a living legend as our other great genre. 
Several relevant institutions in the Bay Area (San Francisco), but also where you live Oakland, California, to support this conga player, bandleader, composer, arranger, educator, producer, who has reached the hearts of all through their recordings, but especially in their live performances. 
The Sextet always sounds everywhere, also with His Friends, but especially in Jazz Caribe Radio with all productions...Gozalo!!

¡¡Viva The Latin Jazz!!

lunes, 5 de mayo de 2014

Perry Beekman New CD "Bewitched" + Upcoming Live Appearances

New CD

"Bewitched: Perry Beekman Sings and Plays Rodgers and Hart"
Perry Beekman - Vocals & Guitar
Peter Tomlinson – Piano
Lou Pappas - Bass

Upcoming Live Appearances

June 12  7:30 - 9:30 PM

The Stockade Tavern – Kingston, NY

The Perry Beekman Trio

June 15th 11:30 - 2:30
The Rhinecliff Hotel
The Perry Beekman Trio

July 6th 11:30 - 2:30
The Rhinecliff Hotel
The Perry Beekman Duo

July 16  6:30 – 8:30 PM
Jazz on the Plazz – Los Gatos, California
The Perry Beekman Trio

August 9  6:30 – 8:30 PM
Maverick Concerts – Woodstock, NY
The Perry Beekman Trio Plays Gershwin
"Bewitched" is the follow up to Perry’s 2013 debut release "So in Love: Perry Beekman  Sings And Plays Cole Porter." Here's what Perry has to say about his new project:
The collaboration of Richard Rodgers and Lorenz Hart was an unlikely one. Rodgers was organized and businesslike, while Hart was a notoriously unreliable alcoholic. Yet in spite of their divergent personalities, their collaboration produced some of the most beloved entries in the Great American Songbook. I leave it to their contemporaries to elaborate further:

Tuneful and tasty, schmaltzy and smart.
Music by Rodgers, lyrics by Hart.” 
– Irving Berlin

It’s smooth! It’s smart! It’s Rodgers! It’s Hart!” – Cole Porter

The meticulously crafted music of Rodgers combined with Hart’s dazzling lyrics to produce over five hundred songs, populating twenty-eight theatrical productions and nine movies. This recording contains fifteen of my favorites, and I hope some of yours too.

The music on this CD is a combination of carefully planned, well-rehearsed arrangements, along with some good old fashioned “blowing.” (As we jazz folk like to call improvisation.) My goal has been to create a setting for each tune that helps express its essential nature. Here are some examples of what I mean:

- The enormously clever lyrical phrases of “I Wish I Were in Love Again” come one after another at an alarming rate. They have a percussive quality that led me to the vamp style introduction and accompaniment of the arrangement. In the instrumental break, I tried to mimic the phrasing musically with the guitar and piano.

- I find the melody of “Wait Till You See Her” to be extremely powerful in its simple beauty. So, for the instrumental section, I decided to showcase the melody with Lou’s artful bowing over a re-harmonized background provided by Peter and myself.

- I selected the bare bones guitar/voice treatment of “It Never Entered My Mind” to enhance the quality of the song’s deeply personal reckoning of love gone wrong.

- My semi-classical, instrumental treatment of “Blue Room” was inspired by the carefully measured intervallic steps of its melody. I envisioned the arrangement as collaboration between Richard Rodgers and J.S. Bach!

As I continue to explore the guitar, piano, bass trio format, new possibilities manifest themselves. I’ve come to think of my trio as a little big band, and have been trying to expand the palette of musical textures and colors available to explore the great beauty of the timeless classics that we play. (Including, but not limited to using my guitar as a bongo drum!)

Still, let there be no mistake; our goals here are to share the bountiful riches of the extraordinary Rodgers and Hart, swing hard, and to get you tapping your feet and smiling.

Once again, I have the privilege of recording with my working trio, featuring Peter Tomlinson on piano and Lou Pappas on bass. As always, I am greatly indebted to them for their inestimable contributions and commitment.

I am “Bewitched” with this music. I hope that you will be too.

The Selections:

1     I Wish I were in Love Again (2:51)

2     Mountain Greenery (3:33)

3     Wait Till You See Her (2:42)

4     Have you Met Miss Jones (3:39) Instr.

5     Bewitched (5:08)

6     Thou Swell (3:30)

7     It Never Entered My Mind (4:35) Instr./Vocal

8     My Heart Stood Still (3:41)

9     There’s a Small Hotel (3:20)

10    Spring is Here (2:58)

11    This Can’t be Love (4:21)

12    Blue Room (3:13) Instr.

13    This Funny World (2:51)

14    Falling in Love with Love (3:33)

15    The Lady is a Tramp (5:00)

Artist Website:
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