Oloron, France, recevoir une bonne dose de Latin Jazz

La population d'Oloron, en France, a tenu la 21e édition du Festival "Des Rives & Des Notes" et ont réussi à faire l'embauche de chiffres de première ligne de Jazz World.

Dhafer Youssef / Zakir Hussain, Richard Bona, Kenny Garrett, Omar / Sosa, Orlando "Maraca" Valle et son cousin Ramon Valle et de l'été de la jeune porte-clé étoiles Marialy Pacheco dans cette belle région des Pyrénées.

Le festival prendra effet du 27 Juin au 6 Juillet 2014. Alli, il y aura un développement artistique unique, outre l'aspect culturel et éducatif, mais aussi sera présente tourisme et de la gastronomie.



Oloron-Sainte-Marie est une ville dans le sud-ouest de la France située dans les Pyrénées-Atlantiques (64), dans la région de l'Aquitaine. Il a 10 992 habitants (recensement de 1999). Parmi ses bâtiments les plus importants de la cathédrale de Santa María de Oloron, dont la construction a commencé en 1102 et s'est terminée avec l'architecture romane de style gothique à l'esprit.

Cette pianiste cubaine de 31 ans est la première femme à avoir remporté (en 2012) le concours de piano solo du festival de Montreux (comme Harold López-Nussa l’avait fait quelques années plus tôt).
Marialy Pacheco a grandi dans une famille de musiciens et commencé très jeune ses études de piano. Formée à l’école classique cubaine, elle remporte, à 19 ans, un concours de jazz présidé par Chucho Valdès. Elle est actuellement considérée comme l’une des plus talentueuses musiciennes de sa génération. Ainsi, après avoir joué en trio jazz en Béarn, Marialy Pacheco retournera en Australie (où elle a vécu plusieurs années) pour interpréter le concerto n°7 de Bach avec l’orchestre symphonique du Queensland … Sa musique est donc un équilibre délicat entre jazz, musique traditionnelle cubaine et classique. Cet équilibre nuancé et captivant apparaît clairement dans son nouvel album en trio  »Introducing » paru en mai. C’est ce trio qui se produira à Oloron le 6 juillet pour un concert unique en France cet été.

Profitez de cette vidéo du gagnant du Prix du festival de Montreux, piano solo, de Brême - Allemagne 2013:



Nous attendons le soutien des autorités françaises au Venezuela (ambassade, la Chambre de Commerce et d'Industrie, l'Alliance Française) et se propage à couvrir cet événement excitant.

¡¡Viva The Latin Jazz!!

Doris Duke Foundation awards jazz musicians - DDCF and Latin America

Yesterday, the Doris Duke Charitable Foundation announced the 

recipients of its 2014 Performing Artist Awards, including 13 

jazz and improvising musicians, who will receive at least $1.7 

million in unrestricted grants in total. 

The awards were given in two tiers. Six jazz musicians were 

given Doris Duke Artist Awards, worth an unrestricted grant of

$225,000 over a 3-5 year period, with the potential to earn an 

additional $50,000. They include alto saxophonist Oliver Lake, 

alto saxophonist Steve Lehman, multiple woodwind player Roscoe 

Mitchell, harpist Zeena Parkins, pianist Craig Taborn and 

pianist Randy Weston. 

Randy Weston and His African Rythms in Zaragoza 2011 - Spain

Seven jazz musicians were given Doris Duke Impact Awards, worth 

an unrestricted grant of $60,000 over 2-3 years plus the 

potential of an extra $20,000. They include pianist Muhal Richard

Abrams, trumpeter Ambrose Akinmusire, alto saxophonist Steve 

Coleman, guitarist Ben Monder, pianist Aruán Ortiz, alto saxophonist Matana Roberts and 
vocalist Jen Shyu.

All Doris Duke Artist Award winners have won at least three 

designated national grants or fellowships over the past 10 years, 

including one which was funded by the Doris Duke Charitable 

Foundation. Artist Awards are given to what the organization

calls "generative" artists — those who often create new works — and 

as such, highly favoring jazz performers who are also noted composers. 

By comparison, the recipients of Doris Duke Impact Awards were 

nominated by previous winners of Doris Duke Artist Awards. They may be 

either "generative" or "interpretive" artists, meaning that musicians 

who are not necessarily known as composers may receive the prize.

Doris Duke Charity Foundation and Latin America

Jazz musicians from Latin America, such as Edward Simon (Venezuela) and 

Jovino Santos Neto (Brazil), both pianists, composers, have been 

supported by Doris Duke Foundation Charity of different forms: 

scholarships, production works, projects, awards, etc.

Aruan Ortiz

Now is the time to Aruan Ortiz. Within the select group of award-winning 

jazz musicians highlights the young Cuban Aruan Ortiz, who has shown the 

talent and ability that leads to rapid development. Today is one of the 

leading figures of contemporary jazz and latin jazz.

Ortiz We know from his work on "The Cumbanchero" with flutist Mark 

Weinstein, where besides running the piano arrangements performed that 

earned him accolades.

Sharon Marie Cline release new Album this tuesday April 29 th, 2014 in The Charleston Super Club

Sharon Marie Cline w/ The Jamieson Trotter Trio Tues 4/29 + New CD I'm such a lucky girl!!!!  I get to play with THE JAMIESON TROTTER TRIO in Santa Monica on Tues 4/29.   Jamieson, the son of famed/acclaimed pianist Terry Trotter , is a monstrous, hugely talented musician is his own right.... also joining us is Gary Wicks, bass player for Manhattan Transfer, and acclaimed drummer Peter Buck... Yes! I am a LUCKY GIRL!!!!   Come check out this great band! APRIL 29th 8:30-midnight  NO COVER!!! Love, Sharon NEW CD

Sharon Marie Cline "THIS IS WHERE I WANNA BE” (Self Produced) Street Date June 3, 2014                         There are two primary goals for every great vocalist:  to own each song as one’s personal creation; and to tell a story even more deeply than the lyrics depict.  Outstanding vocalist Sharon Marie Cline clearly achieves both of these goals – vividly proven by her new CD This Is Where I Wanna Be.             With her closest musical associates at the core of the journey, Sharon Marie embraces a diverse repertoire of 12 songs, covering nearly 90 years of popular appeal.  Broadway tunes, Brazilian classics, the Great American Songbook, contemporary pop and her original songs co-composed with her pianist and musical director Rich Eames are all lovingly transformed into personal statements of beauty and heartfelt expression.             The ensemble possesses that sense of unity and synergy that is essential to this level of artistry, with Eames’ keyboard mastery present on every track.  Bassist Luther Hughes powerfully anchors five tracks, with Adam Cohen, Trevor Ware, Ryan Cross and John Belzaguy bringing their exceptional talents to the remainder.  Jon Stuart – who along with Eames and Sharon Marie created all but one of the delightful arrangements - provides his masterful drumming, spelled by Peter Buck on two tracks; and percussionist Victor Orlando brings his special color to three. Guitarist Jacques Lesure provides his guitar artistry on three as well.             In addition, Sharon Marie has brought a number of guests to the proceedings, each chosen specially for the particular flavor they bring to each song.  Much of this participation is in the use of obbligato, beautifully complementing Sharon Marie’s vocals as they richly embellish her impeccably delivered song lines.  Interplay and sensitivity are the dominant qualities that are present throughout the entire album.  Sharon Marie’s singing is totally responsive to her musicians – and vice versa – as her beautiful sensuous voice coils sinuously around the ensemble creating a powerful oneness that gives each song a most impressive depth.             Her voice is richly melodic, never strained and always impeccably phrased, enhancing the lyrics with moods and emotion that tell so much more than the words define.  And her versatility allows her to cover the broad expanse of material, bringing songs that go back as far as the 1920s right into the middle of 2014.  Ballads, blues, Brazilian rhythms, groove swing and up-tempo jazz are all fully in her command.  The entire history of jazz vocalizing is contained in Sharon Marie’s style, and while the influences of many of the giants can be heard in her sound, the essence is fully her own.             With such a lustrous, mellifluous voice, ballads are an ideal platform for Sharon Marie’s expressiveness.  She employs a style that evokes Sarah Vaughan, Betty Carter and Nina Simone, stretching lyrics into deeply resonant long tones that wring every bit of emotional content out of the lyrics.  Brazilian composer Ivan Lins’ Love Dance is built on Eames’ gently punctuating electric piano, Adam Cohen’s darkly hued bass and Stuart’s sensitive drums and percussion, providing a gently Brazilian feel under the lovely vocal.  Green, Heyman and Rose’s 1932 classic I Wanna Be Loved – previously popularized by Billy Eckstine and Dinah Washington - is treated to Sharon Marie’s special brand of passionate warmth. Eames’ cascading piano, Hughes’ deep wood and Stuart’s subtle brushwork lay the perfect setting for Sharon Marie’s emotive vocal.  The Gershwins’HHow Long Has This Been Going On? (from 1928’s Rosalie) is a spellbinding duet with Eames.  The powerful connection between the two consummate artists is fully apparent in this heart-wrenching rendition, with Sharon Marie’s voice coating the piano in a gossamer mist.            Delicacy in a slightly more up-tempo mode is felt on Quiet Nights Of Quiet Stars(Corcovado) by the immortal Antonio Carlos Jobim, with English lyrics by Gene Lees.  A serene samba, Sharon Marie’s voice tenderly caresses the lyrics and melody, with Derek Bombeck’s  softly rhythmic guitar, Eames’ piano and Stuart’s gentle percussion providing the ideal texture.  Another Brazilian groove is in play on the Cline/Eames original title track This Is Where I Wanna Be.  A tranquil bossa-ish feeling is created by Lesure, Eames, Stuart and John Belzaguy’s deeply syncopated bass.  Rob Hardt’s warm, full bodied flute adds a special touch both in his obbligato caresses and fine solo.             Their other original Sugar On My Lips (with lyrics by Sharon Marie and Mark Winkler) is a delicious slow groove blues, perfectly suited for Sharon Marie’s breathy sensuousness.  With tantalizing syncopation in her delivery and Eames’ organ wail, Lesure’s Grant Green-ish soulfulness, Trevor Ware’s deep bass groove and Orlando’s congas, this is deliciously nasty and delightfully provocative.             The gorgeous DePaul and Raye classic , You Don’t Know What Love Is has been performed by virtually every great jazz vocalist and instrumentalist – almost always as a ballad.  Sharon Marie turns the tables here, opening as a ballad, but quickly sliding into an infectiously rhythmic, bluesy groover - built on Ware’s suspended bass ostinato, Lesure’s soulful guitar and Reinhold Schwarzwald’s potent tenor sax, and with some perfectly placed vocal overdubs by Sharon Marie.             A similar rhythmic thrust is employed on Cole Porter’s Why Can’t You Behave?(from 1948’s Kiss Me Kate) with Hughes’ sprightly walking bass centering the potent rhythm section for Sharon Marie’s spirited vocal.  Another Broadway hit – Rogers and Hammerstein’s South Pacific, 1949 – provides Happy Talk, a jaunty bouncer that showcases Sharon Marie’s vigorous up-tempo style.  Lee Thornberg’s harmon-muted trumpet solo and obbligato contributions add a special flare.             That up-tempo groove is also the mode for Rose & Hirsch’s 1926 hit Deed I Do.  A nicely syncopated swinger built on Hughes’ brightly waling bass and Stuart’s fervid drumming, Sharon Marie brings the old song into the present in sparkling fashion. The eminent Tamir Hendelman arranged 1934’s If Dreams Come True (Sampson, Goodman and Kurtz), in a medium up groove with Bram Glik’s robust tenor sax on hand for some striking unison lines with Sharon Marie in scat mode.             Jumping ahead 40 years Sharon Marie shows how she can take a song heavily identified with its originator and make it entirely her own.  Neil Sedaka’s Laughter In The Rain is a gently effervescent excursion, with Ryan Cross’ cello and Schwarzwald’s tenor sax providing lavish coloring and flavor.             A prominent member of the L.A. music scene, Sharon Marie is poised for international stardom. Of this, her 3rd album, she states “This album is a passion piece and a coming of age project for me. It embodies my fantasies, my dreams, my history, my optimism and my soul. There is more and more to express each day, yet this album is a launching point. So quite literally: This Is Where I Wanna Be.”  National Publicity Campaign Jim Eigo Jazz Promo Services///jim@jazzpromoservices.com National Radio Campaign KATE SMITH PROMOTIONS of CHICAGO///katesmithpromotions.kate@gmail.com

El trompetista y compositor Enrique "Enriquito" Rodriguez lanza con Youkali Music este jueves en Madrid su nueva produccion "ALCUDIA"

CONCIERTO DE  ENRIQUITO Presentando su nuevo CD "ALCUDIA" Jueves, 24 de abril de 2014 a las 21:30 h en Off de La Latina Mancebos 4, 28005 Madrid. Tel.: 91 354 00 14 Venta anticipada: 8 €. En taquilla: 10 €. Reserva de entradas. Haz CLIC en las portadas de los CDs para escuchar el repertorio del concierto y para más información.  ALCUDIA Enriquito Ref.: Youkali 082 Tras el éxito imparable de su debut “Me Quito El Sombrero” (2012, Youkali Music), que supuso la irrupción definitiva de la Trompeta como instrumento flamenco por derecho propio y le situó como principal depositario y heredero del fuego sagrado de una raza única de músicos legendarios, pioneros de la búsqueda de territorios inexplorados, fronterizos entre el Jazz y el Flamenco - desde Pedro Iturralde a Jorge Pardo - Enrique Rodríguez Paredes, “ENRIQUITO”, regresa con “Alcudia”, su nuevo trabajo, más jondo, maduro, personal e intransferible que nunca. Nueve piezas originales, destinadas, de nuevo, a dejar una profunda huella en el Jazz y en el Flamenco contemporáneos. O, en otras palabras, en la Música Popular Española del Siglo XXI. Grabado en directo en los estudios Globalmedia 360, con su tierra natal, La Mancha y su Valle De Alcudia, próximo a Puertollano, como gran inspiración, “Alcudia” invita a un viaje musical a través de la inquietud y el movimiento: idas y venidas, cruces de caminos, conversaciones entre conocidos y desconocidos, los contrastes entre su ciudad adoptiva, Madrid, y su hogar de Puertollano… Acompañado de sus habituales Rubén García(Piano),Yago  Salorio (Bajo), Carlos Leal (Guitarra Eléctrica) y Rodrigo Díaz "El Niño" (Batería), ENRIQUITO también ha contado con la ayuda impagable del gran Josemi Carmona a la Guitarra Flamenca, Pablo M. Caminero al Contrabajo, Bandolero al Cajón y el maestro de maestrosJorge Pardo a la Flauta en “Alcudia”, la pieza que da título al álbum, además del cantante, guitarrista y compositorDiego Guerrero, Nasrine Rahmani a la Percusión y el extraordinario percusionista y cantante Juanito Makandé. Muchos y variados talentos poniendo su granito de arena en una obra especial, espiritual, emocionante y única, que vuelve a reunir al espíritu de Chet Baker con el duende del Flamenco. Gloria bendita. MÚSICOS: Enrique Rodríguez "Enriquito": Trompeta y fliscorno Rubén García: Piano Carlos Leal: Guitarra eléctrica Yago Salorio: Bajo eléctrico Rodrigo Díaz "El Niño": Batería ARTISTAS INVITADOS: Josemi Carmona: Guitarra flamenca Pablo Martín Caminero: Contrabajo Bandolero: Cajón Diego Guerrero: Voz Nasrine Rahmani: Percusión

Barbara Levy Daniels New CD "Love Lost and Found" + Live Appearance @The Metropol...

Barbara Levy Daniels Appearing at The Metropolitan Room 34 W 22nd St New York, NY 10010  (212) 206-0440 Wed.,  June 18th 9:30pm with Special Guests Houston Person and Musical Director/Pianist John DiMartino Celebrating The Release of Her New CD "Love Lost and Found" New CD Features Barbara Levy Daniels (Vocals) John DiMartino (Piano and Music Director) Warren Vache' (Coronet) Shinnosuke Takahashi (Drums) Paul Meyers (Acoustic Guitar) Boris Kozlov (Bass) (Bldproductions Inc ) Street Date March 4, 2014)

Jack Goodstein Blogcriitics "…classics from the Great American Songbook…Daniels puts her own personal stamp on them. Her phrasing makes for an imaginatively effective interpretation of the material" "Her dynamic personal readings of songs like ‘The Nearness of You’, ‘Willow Weep For Me’...breathe revived life into the music.” Grady Harp Amazon "Barbara Levy Daniels…not only sings, she mesmerizes…Her voice is mellow and rich, true to pitch, full of expression…" "The old standards feel so right with Barbara that they seem like old lovers, She is sensationally communicative

         At the tender age of 12, young vocalist Barbara Levy Daniels was auditioning for ABC Paramount Records.  Its president had invited no less a personage than Ray Charles to listen in and give an opinion.  “Sign her right away” was The Genius’ verdict.  That was over 50 years ago, followed by a number of singles and a 30 year practice in psychotherapy. Over the past 15 years, Barbara managed to find the time to create two highly acclaimed albums and now offers further testimony to Ray’s endorsement with her new CD Love Lost and Found.

            With a voice of liquid gold, Barbara fully demonstrates a quality of all truly great singers – absolute confidence in both her instrument and the manner in which she wields it. On this CD, she takes on 13 classics from the Great American Songbook, and in her early champion’s manner, she makes each of these often-performed pieces entirely her own.  Her vocal style here can be comfortably compared to the great saxophone song interpreters - like Hawkins, Webster and Young - in using the lyrics as a launching point for her musical interpretation.  They inspire the story she tells, but she’s never confined by them. The storytelling essence of Barbara’s artistry is explained by her statement: "While I listen to life stories by day, I sing about life stories when I perform."

            Full-bodied and resonant, her voice is highly emotive, often marked by the type of cry that is heard in  the styles of Johnny Hodges and Gene Ammons, subtly adding to the emotional impact without even a hint of affectation.  Never even remotely straining to hit each tone directly in its heart, she roots in there and allows the resonance to expand outward in a powerful aural pastiche.

            While Barbara does not employ her scatting style on this CD, the music is unquestionably jazz. What sets the non-scatting jazz vocalist apart from a regular singer of songs are an inherent sense of rhythmic creativity and interpretative freedom interacting with a supporting group that provides an environment for expressive development.  All of that is in full bloom on Love Lost and Found.  The ensemble is comprised of extraordinary musicians who are not only topflight artists, but who also understand the subtleties demanded by their supporting roles and how to bring total creativity to the musical concept. The empathy here is so powerful that they sound like they’ve all been playing with Barbara for many years.

            Pianist John di Martino is always fully in sync with Barbara’s vision at each moment, prodding, enhancing and embracing each note and phrase and never falling into the obvious choices that can occur in vocal accompaniment. Bassist Boris Kozlov’s deeply wooded tone provides the heartbeat of the music - his heavily syncopated rhythmic mastery often providing the nucleus around which the track is built.  His full-bodied sound contrasts beautifully with Barbara’s voice and his phrasing both propels and supports the music.  Drummer Shinnosuke Takahashi blends sublime subtlety with rhythmic dynamism that anchors each piece perfectly.  Cornetist Warren Vaché is present on eight tracks, usually muted, and a master of lyricism and impeccable taste whether playing obbligato or soloing. Guitarist Paul Meyers adds zest, sparkle and color to three pieces as well.  Vaché and di Martino share all the solos, always succinct and in sharp focus.

            The repertoire has been artfully selected from pieces composed between 1927 and 1944, but there is not a wisp of nostalgia or obviousness in the interpretations of these beloved songs.  The feeling is highly contemporary and in the moment; immediate and fresh.  Also serving as musical director and arranger, di Martino has crafted 13 gems; each cut and designed as a unique piece of music that is also integrated seamlessly into the album’s essence.

            Irving Berlin’s delicate ballad I Got Lost in His Arms showcases Barbara’s mastery of time and space as she uses syncopation, lingers tantalizingly behind the beat and slides into rubato time at will, smearing and spreading tones while swirling around the rhythm section. Berlin’s Say It Isn’t So is given a Bossa Nova treatment, with guitar and piano playing off each other nicely over subtle dynamic bass and drums and Barbara’s voice dancing within the joyful setting.

            A Brazilian feel is again on tap for Rodgers and Hart’s Where or When, a delicious samba with the guitar-enhanced rhythm section spreading a gossamer blanket for Barbra’s voice and di Martino’s solo.  Meyers’ guitar takes a Freddie Green-ish angle on Mills, Hudson and Delange’s infectious Moonglow, a delightfully syncopated, easy bouncer enhanced by Takahashi’s whisk-broom shuffle drumming – respectfully evoking a modern feel for an older era.

            A similarly transportive mode is created for It’s the Talk of the Town (Symes, Neilburg and Livingston).  A torchy, grooving ballad with gently stride-ish piano and a muted cornet solo. There’s an afterhours feel of musicians playing for each other with the listeners as fortunate bystanders.  That late night vibe is also on hand for two other ballads. Carmichael and Washington’s lovely The Nearness of You is a touching piece with voice and piano reminiscent of some of those great Lester Young/Teddy Wilson recordings. Mean to Me (Turk and Ahlert) is a ballad in a bluesy swing groove with Barbara’s sultry vocal prodded by di Martino’s piano and a delightful muted Vaché solo. A deeper blue is the tone for Ann Ronell’s Willow Weep for Me.  Wailing cornet with di Martino’s slow barrelhouse left hand and Otis Spann-flavored right sets a flawless blues mood for Barbara’s shout – down home, uptown style.

            Rodgers and Hart’s My Heart Stood Still is a smoothly swinging item embellished by mellow cornet. Straightforward swing is the theme for Burke and Van Heusen’s It Could Happen to You with Kozlov’s syncopated walking and Vaché’s obbligato around Barbara’s deeply grooved vocal.  Comes Love (Stept, Tobias and Brown) is a jaunty swinger – playful, straightforward and delightfully rhythmic.  Warren and Gordon’s There Will Never Be Another You kicks it up a notch, with Barbara in full swing mode, Vaché on open cornet and the band surging on all cylinders. The album closes with Lewis and Coots’ For All We Know, a powerfully evocative piece stoked by Takahashi’s Bolero-like drumming.

            From the celestial choir over which he undoubtedly presides, Ray Charles is smiling down upon Love Lost and Found, saying…. “You see?......What’d I Say!”

    www.barbaralevydaniels.com 

 jazzpromo@earthlink.net • www.jazzpromoservices.com

John di Martino Trio April 17, 2014 in The Kitano New York

John di Martino Trio featuring: Boris Kozlov & Klemens Marktl special guest: Sacha Boutros  The Kitano New York  April 17, 2014  8 & 10 pm sets www.kitano.com/Jazz-Schedule

John di Martino - piano Boris Kozlov - bass Klemens Marktl - drums Sacha Boutros - vocal The Kitano New York 66 Park Avenue at 38th Street New York NY 10016 reservations: (212)  885 - 7119rese sets: 8 & 10 pm www.kitano.com/Jazz-Schedule photo by Slawek Przerwa

Jazz Promo Services New Releases for April 2014

ES2 (Erick Storckman And Eliot Smith) - "AlgoRhythms"

(Twin Rivers Records TR227)

Eliot Smith – Keyboards, Erick Storckman – Trombone, Cliff Lyons – Tenor Sax, Pete McCann – Guitar, Andy Eulau – Bass, Scott Neumann – Drums

Street Date: 04/29/2014

Eddie Allen - "Push"

(Edjalen Music EM 505)

Eddie Allen – TRUMPET, Keith Loftis – TENOR SAX, Dion Tucker – TROMBONE, Misha Tsiganov – KEYBOARDS, Mark Soskin – PIANO, Kenny Davis – ACOUSTIC BASS, E.J. Strickland – DRUMS

Street Date: 04/29/2014

MAY 2014

Antonio Adolfo - "Rio, Choro, Jazz"

(AAM 0706)

 A Tribute To Legendary Brazilian Pianist & Composer Ernesto Nazareth

Street Date: 05/06/2014

Noshir Mody - "Stories From The Years Of Living”

(Self Produced)

Mody-guitar, Tsuyoshi Niwa-soprano sax, Carmen Staaf-piano, John Lenis-bass,Yutaka Uchida-drums

Street Date: 05/06/2014

PERRY BEEKMAN - “BEWITCHED: PERRY BEEKMAN SINGS & PLAYS RODGERS AND HART”

(Self Produced)

PERRY BEEKMAN (VOCALS AND GUITAR), PETER TOMLINSON (PIANO), LOU PAPPAS (BASS)

Street Date: 05/06/2014

Steven Kroon - "On The One"

(Kroonatune Records KTR 005)

Steven Kroon, Congas & Percussion, Igor Atalita, Keyboards, Bryan Carrott, Vibraphone, Ruben Rodriguez, Bass, Craig Rivers, Flute, Vince Cherico, Drums,

Special Guest:  Tim Ries, Saxophone

Street Date: 05/07/2014

Mark Weinstein - Latin Jazz Underground

(ZOHO ZM 201403)

Mark Weinstein-flute, Aruan Ortiz-piano, Rashaan Carter-Bass, Gerald Cleaver-drums, Roman Diaz-percussion

Street Date: 05/13/2014

Charles Davis - "For The Love Of Lori"

(Blue Gardenia)

Charles Davis – saxophone, Steve Davis – trombone, Joe Magnarelli – trumpet, Neil Smith – drums, Rick Germanson – piano, David Williams – bass

(Not Actual Cover)

Street Date: 06/03/2014

Louis Prima Jr. - “Blow”

(Warrior Records WR16532)

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

Street Date: 06/10/2014

Sharon Marie Cline - "THIS IS WHERE I WANNA BE”

(Self Produced)

Sharon Marie Cline-Vocals

Street Date: 06/03/2014

Louis Prima Jr. - “Blow”

(Warrior Records WR16532)

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

Street Date: 06/10/2014

                  Jim Eigo

jim@jazzpromoservices.com

www.jazzpromoservices.com