Luis Raul Montell
¡¡Viva The Latin Jazz!!
|Steve Turre and His Sanctified Shells|
|Lew Tabackin, James Jeuns and Claudio Roditi|
Louis Prima Jr. New CD
+ Upcoming Live Appearances
Listen To Louis Prima Jr. “Blow”
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. WarriorRecords.com/louisprimajr and www.LouisPrimaJr.com
National Publicity Campaign
Jim Eigo Jazz Promo Services
Ph: 845-986-1677 / firstname.lastname@example.org
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.
"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.
|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
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
LIKE FATHER LIKE SON
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 Amazon.com
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.
"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 HotelThe Perry Beekman Trio
July 6th 11:30 - 2:30
The Rhinecliff HotelThe 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!