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AFTER LOSING — AND RECLAIMING — HER VOICE, LA TANYA HALL RETURNS WITH TRIUMPHANT NEW ALBUM, IF NOT NOW , WHEN…  La Tanya Hall — a vocalist, educator, and longtime Steely Dan touring member known for her story-driven approach and stylistic versatility — is honored to announce the upcoming release of If Not Now, When…, her most personal and intentional project to date. Born from a period of vocal silence and artistic reflection, the album offers a thoughtfully curated collection of lesser-known songs chosen for their lyrical power and emotional weight. If Not Now, When… arrives October 10 via Blue Canoe Records. Produced by Michael Leonhart, the project features an all-star band including saxophonist Gary Bartz, trumpeter Eddie Henderson, pianist Cyrus Chestnut, harmonicist Gregoire Maret, bassist Gerald Cannon, drummer Mark McLean, and guitarist Marvin Sewell. Across its eight tracks, Hall explores material that is often overlooked — songs chosen for their storytelling and emotional resonance.The result is a deeply personal and musically openhearted album shaped by Hall’s renewed artistic purpose following a prolonged loss of her voice during the early months of the COVID-19 pandemic. A Colorado native, Hall began performing at age 13 with her father, a jazz pianist. Her solo debut, It’s About Time (Bridge Records, 2008), earned praise from JazzTimes for “the keen interpretative smarts of Maxine Sullivan underscored by the elegant sophistication of Nancy Wilson,” calling her “marvelously dexterous.” Her 2019 follow-up, Say Yes (Blue Canoe), was hailed by ClevelandClassical.com for its “full, alluring color-palette, impeccable diction, and an expansive vocal range,” while JazzTimes highlighted the album’s “alternating glimpses of Hall’s various musical personas.” In addition to her solo work, Hall has built a multifaceted career as a touring and session vocalist with Diana Ross, Bobby McFerrin, Seal, Harry Belafonte, Rob Thomas and Steely Dan; and as a jazz educator, building the vocal jazz program at Oberlin Conservatory, where she teaches today. Hall contracted COVID-19 in the early days of the pandemic and spent over five months recovering—much of it unable to speak, let alone sing. “I lost my voice completely,” she recalls. “It was terrifying. Singing has always been part of how I connect with the world, and suddenly that was gone.” As her voice slowly returned, self-doubt began to creep in. “I started to question everything — was I ready to record again? Would it be good enough? Would people want to hear it?” It was her husband, pianist Andy Milne, who broke through the hesitation: If not now, when? “It was kind of a lightning bolt,” Hall says. “I’ve been making music for a long time, and I realized I still have things to say.” She immersed herself in seldom-recorded repertoire, seeking out songs with lyrical substance and emotional weight. “I’ve always been drawn to the rare gem,” she says. “Songs that haven’t been overly done — that tell a story.” From there, she assembled not just a band of master musicians, but a circle of collaborators she trusted on a deeper level. “I wanted to be surrounded by people who would allow me to be vulnerable,” she explains. “People who play with heart and create space for a vocalist.” At Teaneck Sound in Teaneck, New Jersey, this trusted circle of musicians brought Hall’s vision to life with warmth and precision. The first track, Horace Silver’s “Pretty Eyes,” sets the tone—a lilting, harmonically rich ballad featuring saxophonist Gary Bartz and trumpeter Eddie Henderson. Both longtime collaborators and fellow faculty members at Oberlin Conservatory, the two bring a fluid, intuitive rapport to the tune. “They already have a musical history and bond that comes alive when they play together,” Hall says. “I was nervous to ask them — but neither one of them hesitated to say yes.” Hall was inspired to put her own stamp on “Cornfield” (Randy Newman’s “Let’s Burn Down the Cornfield,” originally from his 1970 album 12 Songs) after hearing Lou Rawls’ seminal interpretation. Staying true to her mission of championing overlooked songs, Hall and her band deliver a stripped-down arrangement that emphasizes the track’s haunting quality and nuanced storytelling. The vocalist then turns her attention to another underappreciated gem, Abbey Lincoln’s seldom-covered “A Turtle’s Dream.” Drawn to Lincoln’s insightful lyricism and unique compositional voice, Hall presents the tune with sensitivity and grace. Pianist Cyrus Chestnut sets the tone with what Hall describes as “one of the most beautiful solo openings,” providing a gentle, reflective foundation for her vocal storytelling. Hall emphasizes the modern day relevance of Oscar Brown Jr.’s “Long As You’re Living,” a joyful meditation on gratitude and the preciousness of life. In a nod to the broader cultural moment, she highlights the song’s central message: “No matter what side of the fence you fall on, we have to lead with love.” Returning to Abbey Lincoln’s rich songbook, Hall puts her stamp on “Tender as a Rose,” another rarely covered tune. Guitarist Marvin Sewell’s intuitive playing particularly shines here—Hall notes their immediate, deep musical connection, describing the recorded performance as their very first take. Reflecting on their nearly 30-year friendship, Hall calls Sewell “a wonder” and highlights the unspoken understanding that permeates their collaboration. On If Not Now, When…, Hall makes a deliberate effort to spotlight female composers, and her selection of Bernice Petkere’s “Lullabye of the Leaves” speaks directly to that intent. Acknowledging that Petkere’s contributions have often been overlooked, Hall uses this performance as an opportunity to honor her legacy and artistry. The album concludes with two songs from different sides of the musical realm. The first, “Azure,” is from Duke Ellington’s expansive repertoire, co-written by Ellington and Irving Mills. Hall chose the rarely performed composition specifically to highlight its sophisticated melodic contours and emotional subtlety. The second, “Day Dreaming,” is an Aretha Franklin classic that has been stripped down to an intimate acoustic conversation between Hall, guitarist Sewell and Maret on harmonica. This bare-bones approach lets each phrase land with quiet assurance, ending the album on a note of spacious resolve. “I just want to keep spreading light and music,” Hall concludes, her voice and confidence restored. “That’s my main goal in this existence.”   Guitar phenom Dan Baraszu creates a twenty-song solo guitar album titled, "Lone Guitar" featuring multi-genre interpretations of the American SongBook from jazz to rock, pop, and in-between.  Drum extraordinaire and composer Sinclair Lott delivers a thoughtful straight-ahead jazz album with a modern twist. Featuring Bob Sheppard (saxophones), Tigran Hamasyan (piano), Danny McKay (bass), and Sinclair Lott (drums). This ten song album titled, "Long Story Short" features seven original compositions and three cover tunes by Dizzy Gillespie, Dave Brubeck and Ornette Coleman. Fans of traditional jazz will enjoy listening to Sinclair's Story of music with this uplifting collection of compositions and performances.   “Essência is a joyful romp through the musical landscape of the Americas guided by master pianist Otmaro Ruiz and exciting new guitar virtuoso, Bruno Mangueira. Their musical partnership is informed by their Venezuelan and Brazilian heritages fused with their deep love and understanding of American jazz and the European classical tradition. Otmaro and Bruno flawlessly navigate this landscape with a program of eight original compositions and two standards. Each song feels like a suite, taking us through a wide range of dynamics and emotional territory. Impressively, their original compositions sound like they could be standards. They evoke the timeless feeling of classic songs by Tom Jobim, Hermeto Pascoal, and other Brazilian masters while maintaining the vibrancy of the present. There are hints of Bach, Chopin, and lush harmonic passages that will send music theory students racing for their notepads.  I love the program’s intelligent balance of composition and improvisation. In the Brazilian tradition, one might expect the balance to be weighted toward composition and jazz, toward improvisation. Essência has managed to marry the two in a cohesive and natural way. The song construction is airtight while the performances and improvisations take us for a wild and exciting ride. Neither Otmaro nor Bruno shy away from taking chances. The gorgeous yet sometimes unexpected harmonies are constantly shifting and it takes a skilled improviser to make their way through this treacherous terrain and arrive safely on the other side. Otmaro and Bruno are our able guides.  Duo playing demands an extraordinary level of musicianship. Every note, every gesture is exposed. The musicians must breathe together and have an almost telepathic connection. Each player must fully grasp the entirety of each piece, as their constantly shifting roles require them to alternately supply melodic, harmonic, and rhythmic support for one another. It’s a daring high wire partnership calling for empathy and a deep commitment to the music and to one another. Otmaro and Bruno embody these qualities throughout. Essência celebrates the joy of two master musicians as they explore the essence of their beloved musical traditions in this intimate setting and guide us to new landscapes and possibilities.” - Russell Ferrante (YellowJackets), August 2019  “Reflections from Dave Pope”  This project, which is my first commercial recording, has come to fruition much too late in life in life but better late than never. Juggling family life, a career in banking, and a music career on multiple instruments has been quite an endeavor but one I would not trade for anything. I made a conscious decision in my early twenties to choose a dual career path, knowing the challenge would be to do justice to both. Since then, I have committed to being the best musician I can be under the circumstances and have worked very, very hard at being able to “hang” with musicians at the level on this record. There are several special aspects of this record worth mentioning. It is the debut recording of my brother Mike on piano, which is actually his “second”instrument. Primarily known as a virtuoso bass player, this record gives Mike the opportunity to make a musical contribution as a pianist and as you will hear, the contribution is remarkable. Also, it joins Mike with his mento on bass, John Patitucci of whom I have always been a big fan and am honored to have on the record.  This recording was tracked in two half-day sessions at Mike’s studio with virtually no pre-session planning. It was also mixed and mastered by Mike with the kind assistance of our brother Peter during tracking. The project was intentionally loose, spontaneous, and not overly produced. My objective was to have fun and document what was happening musically in our lives in the moment. More importantly, I hope you will have fun listening. - DAVE POPE
 When I convened the first rehearsal of the Knoxville Jazz Orchestra in August of 1999, I had no way of knowing the extent to which this experience would shape the next two decades of my life. I had just moved back to Knoxville after four years in Chicago, and my immediate goal was to create an outlet for my newfound love of writing for big band. I envisioned periodic rehearsals to read new arrangements and perhaps a few gigs at local night clubs. Beyond that, there was no plan. It would just be fun to get together with some of the region’s best players and make music for a couple of hours. On that first night, the band read all four of the arrangements that I had written to date, plus music by Thad Jones, Duke Ellington, Billy Strayhorn and perhaps a few others. By the time the rehearsal was within aa month we’d played our first public concert. By December, we had established a regular performance schedule at a local restaurant and started to attract a small following.  From L to R: Vance Thompson, Donald Brown. Photo credit by Eric Smith We may have continued in this fashion for a while before slowly fizzling out the way that so many similar projects to, but two important early milestones intervened and gave the band a clear sense of purpose. In September of 1999, Keith Brown asked me to write big band arrangements on six Donald Brown composition for the UT student big band’s Spring concert. Although we could not perform those arrangements publicly before the UT debut, the KJO became the laboratory for these new arrangements, allowing me to instantly hear what I had written, and simultaneously creating the beginning of a unique library of music. The second milestone occurred in January of 2000. The band was wrapping up a rehearsal of the new arrangements when trombonist Don Hough, one of the band’s elder statesmen asked if he could have everyone’s attention. He walked to the front of the band and said, “Ive been in Knoxville for a long time and we’ve never and anything like this before. This band is special and should be treated as such. I propose that we figure out a way to get to Europe next summer to play some festivals.” The response was unanimous. Of course we’d like to go to Europe to perform!  Knoxville Jazz Orchestra (now celebrating 20 years) In the months that followed, we hired a travel agent and began making plans for our trip abroad. We recorded the new arrangements, self-released our first CD (The Music of Donald Brown, 2000) and used the recording to secure performance slots for July of 2001 at Jazz a Vienne, the Montreux Jazz Festival and Festival International de Jazz in Ezcaray, Spain. We played as many local and regional gigs as we could, pooling all of the money together toward our common goal. The money that could not be raised through playing gigs was paid from our own pockets. By the time we returned from our trip, the band was completely transformed. We had found not only a cohesive sound, but also a common purpose. Everyone in the group had a sense of ownership. While the Europe trip was important for galvanizing the band, it was not a sustainable business model. To survive and thrive, we needed to build a local audience to enable us to play regularly in appropriate listening venues. We applied for non-profit status with the mission of promoting jazz in our region, and in early 2002 began presenting concerts featuring notable guest artists alongside the band. By 2006, we’d gained enough traction to begin booking an entire series of events. As of the writing of these notes, our organization presents more than fifty events per year, from free outdoor summer concerts, to ticketed events at venues both large and small.  The music on this disc represents the entire journey. “Back Down In Lu Easy Anna” dates back to the original batch of arrangements, while “The Road Less Traveled” was written this year specifically for this recording. “Woody’n You” was created for a 2003 performance with saxophonist James Moody. We performed with Mulgrew Miller that same year and arranged the chart on “Grew’s Tune” as a result. “The Tennessee Waltz” and “Tumbling Tumbleweeds” were done for a concert we called, “Country and Bluegrass Meet the Big Baand” in 2019. “Ask Me Now”, “Rhythm-A-Ning” and “Monk’s Mood” came from a 2012 Thelonious Monk tribute concert featuring pianist Eric Reed and “At Last” was commissioned by Doc Severinsen at the end of a hour tour that we played with him in 2015. In 2018, we performed with guitarist Bill Frisell, leading to the orchestration of his beautiful take on “What The World Needs Now”. And a 2019 performance with Jazzmela Horn spawned the chart on Jimmy Rowle’s’ haunting ballad “The Peacocks”. The guest soloists each have unique connections to the journey as well. Eric Reed, Michael Dease, Carmen Bradford, and Gregory Tardy have each performed with the band on one or more occasions over the years. They made stunning contributions and we are grateful for their willingness to participate with us in this effort. Thomas Heflin was a student at UT when the band was formed. He quickly earned a spot in the trumpet section and although he has since relocated around the country several times, he has continued to perform with the band whenever his schedule allows. Guitarist Mike Seal was also a student at UTK when the band was formed. Although he had never performed with the group before this recording, I had worked with him on various projects over the years and knew that he would add the perfect touch to “Tennessee Waltz”, “Tumbling Tumbleweeds” and “What The World Needs Now”. Saxophonist Greg Tardy was brought in from NYC to guest on our “Blues Man From Memphis” recording in 2004. He mentioned in a passing that Knoxville was a beautiful place and that he could see himself living here. This started a conversation that led to him being hired as Assistant Professor of Saxophone at The University Of Tennessee in 2010. He has been a regular member of the KJO ever since and has been a huge shot in the arm for our band and our town.
Of course, none of this would have been possible without the selfless dedication of the gentlemen in the orchestra. They have gone above and beyond, year after year, honing their craft and giving of their time and energy. Maintaining a high level of musical skill in a town like Knoxville requires a very special sort of dedication, since the scene is not large enough for musicians to support themselves by performing alone. The band is as good as it is because these men have continued to choose the road less traveled. They have ultimately created something that is much larger than the sum of its parts, and I could not be more proud to call them all friends. This past twenty years have flown by. Here’s to twenty more! - Vance Thompson (Leader/Director of the Knoxville Jazz Orchestra)  After enjoying accolades while singing, performing and touring with icons in numerous genres as a support artist, La Tanya Hall re-emerges as a multi-faceted jazz vocalist and interpreter extraordinaire with her first full-length album in a decade. Though her gorgeous, emotionally intuitive vocals take center stage, the expansive collection is, at heart, a collaborative effort with Unison, a newly formed NYC trio led by Hall’s husband Andy Milne on piano, featuring John Hebert on bass and Clarence Penn on drums. Say Yes was produced and arranged by Milne, a distinct and respected voice at the heart of NYC’s creative jazz scene for over 20 years. While Say Yes is technically a follow-up to La Tanya’s 2009 recording, It’s About Time, she sees Say Yes as the first project that is a true reflection of her artistic spirit. Fans wondering why it took her so many years to return to the studio can look to her busy schedule touring these past seven years with Steely Dan – and her 10-year career as an instructor, passing along her experience and expertise to the next generation of singers as Associate Professor of Jazz Voice at Oberlin Conservatory and at The New School in NYC.  Over the years, La Tanya’s versatility in a multitude of genres has made her a first-call vocalist for some of music’s most celebrated artists, including Diana Ross, Bobby McFerrin, Harry Belafonte, Michael McDonald, Burt Bacharach, Quincy Jones, Aretha Franklin, Rob Thomas, Patti Labelle, Michael Feinstein and Steve Tyrell. Developing her solo artistry, she has performed in recent years at some of New York’s most renowned venues, including Jazz at Lincoln Center, Birdland, Symphony Space, Iridium, and Feinstein’s/54 Below. In addition, she has appeared as a soloist with the American Composer’s Orchestra, The Colorado Symphony, the Jefferson Symphony and the St. Louis Symphony. “I have been busy singing with everybody else,” La Tanya says, “and even though my first album received critical acclaim, it featured arrangements that I couldn’t fully immerse myself in vocally and as an artist. So, with Say Yes, I was eager to present material that would support and showcase my disposition and broad range of musical tastes. Working so closely with my husband afforded me a trusting, collaborative dynamic that allowed me to sing as fully and as freely as I could." Besides her exquisite vocal tone and Milne’s elegant arrangements and piano work, the most remarkable aspect of Say Yes is La Tanya’s unique choices of material – a set list that truly reflects her deep musical curiosity, spanning generations and many genres. She reaches outside the jazz realm with lush re-imaginings of folk-rocker Jonatha Brookes’ “Because I Told You So” (which the singer calls “the most personal song on the album to me”) and Joni Mitchell’s “The Fiddle and the Drum” – a Vietnam era tune whose poetry resonates perfectly in response to today’s intense socio-political climate. Another remarkable theme that La Tanya develops with this recording is the decision to re-interpret classic jazz pieces that originated as instrumentals before lyrics were added later. These include “All You Need To Say,” which first appeared as the instrumental “Never Say Yes” on Cannonball Adderley’s 1961 album with Nancy Wilson; Benny Golson’s “Whisper Not,” whose lyrics were added later by Leonard Feather; “Pannonica,” Thelonious Monk’s tribute to elusive “patron saint of jazz” Pannonica de Koenigswarter, with lyrics added later by Jon Hendricks; another Monk-Hendricks classic, “Well You Needn’t”; and Clare Fischer’s “Pensativa,” whose lyrics were later penned by Norma Winstone. In addition, La Tanya reaches back to 1944 and revamps Cole Porter’s classic, “Ev’ry Time We Say Goodbye,” incorporating a Pablo Neruda poem which adds new life to the already powerful lyrics, to 1942 for a fresh, bourbon-soaked spin on Fats Waller’s “Jitterbug Waltz,” and to 1916 for the Raymond Hubbell tune “Poor Butterfly,” – the latter of which is a part of La Tanya’s Sarah Vaughan tribute show.  |
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