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Fresh is the best one-word summation of XYZ. Jeff Richman’s eighteenth record as a leader, and first since 2016’s dynamic Sizzle, keenly addresses the old adage that “good things come to those who wait.” Richman’s ensemble is anchored by rhythm section giants Vinnie Colaiuta and Jimmy Haslip, as well as by keyboardists George Whitty, Scott Kinsey, Mitchel Forman, Otmaro Ruiz and trumpet soloist Jeff Beal. Nine original songs, led by Richmans’ compositional imagination, are propelled by the dynamics of the band’s improvisational skills. While Richman’s well established signature sound is gracefully in place, XYZ expands the directional scope, and pops with a modern-day swagger.   Multi-Instrumentalist and Memphis Composer/Producer Neal Bowen, releases his debut album for Blue Canoe Titled, "Kamikaze Think Tank". Neal’s music showcases his abilities not only on bass, but guitar, keys, and in production. With the contributions of drummer/producer Jason Cooper and trumpeter/arranger Tom Clary, Neal’s debut album Kamikaze Think Tank is a tribute to his musical heroes that have become a part of his musical voice and vision. Echoes of Weather Report, Dixie Dregs, and Steely Dan can be heard throughout. Now available wherever you get your music!  This book presents a wide range of topics for the students—in preparation for written essays, philosophical flexibility, and assessment. Ron Westray’s Contemporary Black Urban Music: The Revolution of Hip Hop  Specific objectives of the book include the discussion of the historical evolution of CBUM/Hip-Hop, and the development (and retention) of an informed perspective regarding legendary figures, bands, and genres in CBUM. The examination of the historical, social, and economic implications of CBUM that lead to the globalization of Hip-Hop, an understanding of how CBUM is perceived and measured in society, and the student’s ability to describe a range of effects fostered by the evolution of CBUM, all factor highly in this book.
Ron Westray was born in Columbia, SC, in 1970. From 1993 to 2005 he was a member of the Jazz at Lincoln Center Orchestra (New York), directed by trumpeter Wynton Marsalis. As lead trombonist and arranger, he participated in most of the concerts, tours, and recordings of this band over those twelve years. A collaborator of pianist Marcus Roberts since 1991, he has also played, toured, and recorded with many... Since 2009, he has occupied the [inaugural] Oscar Peterson Chair in Jazz Performance at York University in Toronto, where he is an Associate Professor in the Music Department of the School of the Arts, Media, Performance & Design. Keyboard Wizard, Producer, Composer, and former Curtis Mayfield alumnus Buzz Amato releases a carefully crafted eleven song album titled Muse Café. This eleven song collection features music inspired by each of the Greek Muses and showcases his writing, arranging, production as well as his keyboard skills.  We are honored to release a recording from the late great Allan Holdsworth with Alan Pasqua, Chad Wackerman, and Jimmy Haslip. More Info can be found here.   Guitar phenom Dan Baraszu and bassist Joseph Patrick Moore team up to record the Metallica classic "Seek & Destroy" from their 1983 debut album titled, "Kill 'Em All". This jazz duo interprets this song in a fashion unimagined nearly 40 years ago by writers James Hetfield and Lars Ulrich. Jazz is about moving music forward and Dan and Joseph's rendition of this classic heavy rock tune, performed in a jazz setting, demonstrates this unique dynamic duo by pushing the boundaries of what jazz is in 2022.   For the past several years, former Yellowjackets bassist and prolific producer Jimmy Haslip has enjoyed an ongoing working relationship with the Bremen, Germany-based jazz fusion keyboardist and composer Michael Schmidt (aka MSM Schmidt). While Haslip played on Schmidt’s 2007 album Transit and 2009’s Destination, he ended up co-producing 2012’s Evolution, 2015’s Utopia and 2017’s Life. They take their chemistry to new heights on ARCeology: The Music of MSM Schmidt. This dynamic offering finds Haslip and members of his ARC Trio (keyboardist Scott Kinsey and Hungarian drummer Gergö Borlai) joining forces with the GRAMMY® Award-winning John Daversa Big Band on greatly expanded versions of previously recorded Schmidt material, along with two brand new pieces composed by Kinsey and Schmidt. The result is a powerhouse collection of polished, swaggering big band fusion along the lines of the Jaco Pastorius Big Band or The Brecker Brothers’ 2003 collaboration with the WDR Big Band Köln on Some Skunk Funk. “I wanted to see if I could make this a big band record but somehow make it different,” said Haslip. “I didn’t think it should sound like a vintage big band recording. I wanted it to sound modern and have more of an edge, which is what led me to include guest soloists like Nguyên Lê, Mike Miller, Steve Khan, Oz Noy and others. They bring progressive elements into the big band setting and add compelling ideas to each song.”  Out of the eight songs that appear on ARCeology, six were previously recorded on other Michael Schmidt records. The two brand new compositions here are Schmidt’s “Mirrors” and Kinsey’s “Quartet.” And as Haslip noted, “In approaching this project, there was the thought that if you’re going to redo songs that have already been recorded, what can be done to make them sound like new compositions? And I think with Scott’s rhythm arrangements and John’s input on the horn parts, we came up with some creative solutions.” Haslip also credited Kinsey, who became de facto co-producer of ARCeology. “Originally, I was the point producer on this whole thing, but as time went on I just knew that Scott needed to be a part of the production team,” he recalled. “We weren’t far into the project when I approached Scott and said, ‘I want you to be my co-producer on this because you’re contributing so much great work and it’s only fair that we do this together.’ He was up for that, so I am happy to say that Scott and I co-produced the record. I can’t take full credit for what’s happened here, as Scott was the real workhorse. He played most of the keyboard and synth parts and did all the keyboard solos, of course. Also, Scott’s rhythm arrangements had a big hand in influencing John’s horn arrangements. There was a lot of cool stuff already in place for John to just embellish. But then again, John has his own unique voice for orchestration. Everything he wrote after the fact was fantastic."  |
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