Saturday, October 25, 2014

The New Standard, Red Hill, Indigo Mist - Grammy Reminder.






Artist: Jamie Saft, Steve Swallow & Bobby Previte
Title: The New Standard
Best Jazz Instrumental Album
Artist: Jamie Saft
Title: Minor Soul
Best Improvised Jazz Solo
Artist: Steve Swallow
Title: The New Standard
Best Improvised Jazz Solo
Artist: Steve Swallow
Title: Surrender The Chaise
Best Improvised Jazz Solo
Artist: Jamie Saft, Steve Swallow & Bobby Previte
Title: The New Standard





Artist: Wadada Leo Smith, Jamie Saft, Joe Morris & Balazs Pandi
Title: Red Hill
Best Jazz Instrumental Album
Artist: Wadada Leo Smith
Title: Agpaitic
Best Improvised Jazz Solo
Artist: Jamie Saft
Title: Tragic Wisdom
Best Improvised Jazz Solo

LISTEN to Agpaitic
 LISTEN to Tragic Wisdom



That The Days Go By  
And Never Come Again   



Artist: Cuong Vu, Richard Karpen, Luke Bergman & Ted Poor
Title: That The Days Go By And Never Come Again
Best Jazz Instrumental Album


"The Disciple," 10th CD by Pianist Peter Zak For the SteepleChase Label, To Be Released Oct. 21

"The Disciple," 10th CD by Pianist Peter Zak
For the SteepleChase Label,
To Be Released Oct. 21
Trio Recording Features
Bassist Peter Washington & Drummer Willie Jones III
CD Release Show at Smoke, New York City,
With Trio Plus Special Guest Peter Bernstein,
Wednesday, Oct. 22

October 2, 2014

For his tenth CD in as many years, all for the Danish SteepleChase label, pianist Peter Zak continues his brilliant series of jazz trio explorations, this time in the company of bassist Peter Washington and drummer Willie Jones III. The new disc, The Disciple, will be released October 21.

"The fact that the piano is the lead instrument in terms of playing the melody appeals to me," Zak says of the trio format. "There's that, and the hookup between the ride cymbal and the bass doesn't get any better than that. The reason I play jazz is basically for that feel."

Washington, who's on board for his fourth consecutive Zak session, "is one of the best musicians I've ever played with," says the pianist. "He really knows how to break up the time and to really find the groove when it needs to be found. He hears everything that's happening immediately."

Zak's association with Jones dates to 1998 when both were sidemen on trumpeter Ryan Kisor's The Usual Suspects CD. "He's got a lot of energy but he's not bombastic," Zak says of the much-in-demand drummer. "I just like his sensibility about swinging."

Peter Zak

Zak is a stylistic disciple of some of the greatest jazz pianists of the bop and post-bop eras. He salutes six of them on The Disciple with personalized interpretations of compositions by Chick Corea ("The Loop"), Elmo Hope ("Barfly"), Horace Silver ("Nutville"), Herbie Hancock ("Requiem"), Hampton Hawes ("Jackie"), and Thelonious Monk ("Criss Cross"), along with three originals and one by the Russian classical composer and pianist Alexander Scriabin.

He hadn't initially planned a CD of tunes made up entirely of tunes by piano players. It just turned out that way, as did the fact the set opens and closes with waltzes: Corea's "The Loop" and his own "The Disciple." His decisions must have been subconscious, as he has long shown himself to be master of programming music who often selects great yet little-known songs for his recordings and live performances. "I want to do things that are off the beaten track, something that hasn't been done a lot," he explains.

Peter Zak
Peter Zak, 49, was born in Los Angeles and grew up in Columbus and Kent, Ohio, then moved with his family at age 16 to Oakland. At the University of California, Berkeley, where he majored in history, he studied with Susan Muscarella (founder/director of Berkeley's Jazzschool, now the California Jazz Conservatory).

Zak played on an extracurricular basis in combo and big band settings, with the UC Jazz Ensembles. He also freelanced in bands with noted bassist Herbie Lewis, who had recorded with one of Zak's major influences, McCoy Tyner, as well as Jackie McLean and local hero Bobby Hutcherson. Following his graduation from UC Berkeley, Zak played clubs, concerts, and festivals with such notables as saxophonists Frank Morgan and John Handy.

Since moving to New York in 1989, Zak has enjoyed ongoing recording and performing associations with saxophonists Walt Weiskopf, Jim Snidero, and Stephen Riley; trumpeter Ryan Kisor; and guitarist Tom Guarna. Zak has accompanied such name artists as George Coleman, Billy Hart, Jon Hendricks, Etta Jones, Jimmy Cobb, Scott Hamilton, and Junior Cook. He's been on the faculty in the Jazz and Contemporary Music College of the New School since 1995 and currently teaches an ensemble class there.

Zak has recorded steadily as a leader since making his debut, in 2005, with The Peter Zak Trio, a trio date with Paul Gill and Al Foster. That same year, he was the recipient of a $10,000 commission from the Doris Duke Foundation to compose and perform a new work for his trio.

In his notes to The Disciple, Zak describes the composition process as something "by turns challenging, intriguing, frustrating, and finally rewarding" and discusses the value of standard jazz repertoire "as springboards to improvisation and collective interaction. . . . You still need that foundational element that's built on a basis of collective knowledge among the performers, and oftentimes the audience. Only then do we stand a chance for that deep groove, and for imagination to truly take flight."

Peter Zak and his trio (Paul Gill, bass, and Joe Farnsworth, drums) plus guest soloist Peter Bernstein will be performing a CD release show for The Disciple at Smoke, 2751 Broadway, New York City, on Wednesday 10/22. Sets are at 7:00, 9:00, and 10:30 pm.

Photography: Javier Oddo
Peter Zak -
Peter Zak - "The Disciple"
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Justin Time


Photo Credit: Sally Sheldon

For a jazz recording artist, spending day after day making music in the studio feels like a gift. What could be better than waking up to a cup of coffee and an endless array of creative possibilities to explore that day? Well, how about also waking up to the news that their most recent album release just debuted at #1 on the Billboard Jazz chart?! And then it gets even better the second week when the album stays at the top of Billboard Jazz charts at #1.

North American jazz singer/songwriter Halie Loren experienced that very sort of morning when it was announced that her new "best of" compilation album, the aptly named Best Collection, debuted at the top of the Billboard Jazz chart in Japan. "It felt a little bit like lightning striking twice", says Loren, as her previous studio release Simply Love also debuted at #1 on Billboard Jazz. Once could be called a beautiful stroke of luck. Twice? Well, that sounds more like a trend.

After releasing half-a-dozen albums that have enjoyed countless weeks at #1 on Amazon, iTunes, and elsewhere both in albums and singles, her releases still remain very much at home among the top-100 bestselling albums next to chart neighbors Norah Jones, Diana Krall, and Michael Buble at any given time, as they have consistently over the past 4 years. In addition, her 6 tours to-date in Japan have brought Loren and her band to many a sold-out venue in cities across the nation. Yes, in Japan and Asia, Loren has been prolific and commercially successful enough in her twenties to already have garnered her the kind of body of work and avid fan base to warrant her a "best of" album.

The September 17 release, Best Collection, is an eclectic blend of 17 fan-favorite tracks and lesser-known gems from Loren's previous album releases, along with a bonus track - a 1970's Japanese hit titled "Goodbye Morning", translated for and lyrically adapted by Ms. Loren. Distributed by JVCKENWOOD Victor Entertainment, the album is currently only available in Japan.

For her fans elsewhere in the world, this autumn is also finding Loren in the studio crafting the songs that will be featured on her new album, scheduled for release worldwide in early 2015, aptly timed to coincide with her biggest Japan tour to-date next February. "Fans can expect something fresh and new to get excited about, as we are infusing many of these new tunes with a warm soulful vibe and old-school horn section features, while maintaining that lovely balance between classic and modern sensibilities that we enjoy so much... and we'll be sharing significantly more original material with our fans this time, too", says Loren. 

For more information on Halie Loren, please visit:
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For additional information, please contact:
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Keith Altomare  ·

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Brand new compositions on Soundcloud ! Jacques Pellarin's music

hello from France,

Fresh out of the studio , I enjoy sharing past six brand new  instrumental compositions in color Accordion -Image (Film music / Media) !

Back in the studio, is announced in January 2015 ... after the UK tour of "Jac & Co" in November.

A booster shot also, with the release of my latest digital album "Accordion Rushes " (September 2014) available on I tunes, Amazon, Google Play, CD Baby ... and streaming on my website, Spotify, etc ...

Thank you for your attention and have fun!

musically yours !

Jacques   " Vents de mer " , co-signé avec Maryon Pellarin , ( guitare , Accordéon, percussions )    "Without borders " ( Accordéon & Harmonica )    " Rue des orgues " ( Accordéon et petit piano jouet )        " Krysalid "  ( Accordéon solo /French cinema style )   " Vintage waltz " ( Accordéon solo /Valse Jazz manouche )   " Back to Japan " ( Accordéon solo / Neo Romantic Classic style )

JEFF BALLARD FAIRGROUNDS feat. Kevin Hays, Lionel Loueke, Reid Anderson MARCH 1-21, 2015


JEFF BALLARD FAIRGROUNDS feat. Kevin Hays, Lionel Loueke, Reid Anderson

MARCH 1-21, 2015

They ride the rides. They take a turn riding all of them. These rides, which make up this amusement park, should be built in places perfect, well studied. It takes a certain strength to build, to manage, and to coordinate. These and other qualities Mr Ballard must have thought about, a cultured and refined musician, when he decided to call his latest creation Fairgrounds. Whomever would like to may participate, the only requirement is that they are emotionally committed. Ballard started from there, with friends, colleagues, who would assure him the right chemistry: Lionel Loueke on guitar (Herbie Hancock, Terrance Blanchard), Reid Anderson (whom we know as the bassist of the imaginative trio The Bad Plus; but here he has left the acoustic bass and has devoted himself to weaving electronic sounds and textures with a computer and various controllers), and Kevin Hays (Joe Henderson, Benny Golson, John Scofield) on piano and keyboards. As a carousel, anyone can climb aboard this band if he so wishes. So the group's roster expands and contracts. An open workshop, creative, constantly evolving. Those who come in should not behave as simply a "guest" but as a full time essential member of the band, bringing all his or her desires, commitment, and knowledge thru the gate into the fairgrounds. Musically diverse, sometimes very bold and unexpected, Jeff Ballard Fairgrounds does not have a fixed or pre-established repertoire, the music mostly comes as sound ideas brought in by Ballard and his companions, taking on different forms as the ideas germinate and expand in context. A group with an unusual timbre from their combined strength. A new reality which will act as an arena where one can bring ideas and flex the mind. The creativity and commitment of the leader is well documented also by his stylistic choices. The sharp blades of the avant-garde, the obsessions of free jazz, the intrigue of electronics, wide cultural diversity of rhythm, colors, textures of rock, the splendid virtuosity of the individual involved.
All of this is to describe Jeff Ballard Fairgrounds. Just listen to it and you will no longer have any doubt: when the bell sounds announcing the new round of tournament, stay there. Don't miss it.
Line up: Jeff Ballard (drums), Kevin Hays (piano), Lionel Loueke (guitar), Reid Anderson (electronic).
Our sub agents for Europe are: Anteprima Productions (France), Artribute (Germany, Austria, Switzerland), Kjell Kalleklev Management (Norway), Angels Mas Caribbean Music Productions (Spain), Amsterdam Jazz Agency (Benelux).
Via della Repubblica 161, 05022 Amelia (TR), Italy
ph. +39.0744.983431 - fax +39.0744.983738
(Enrico Iubatti) +39.347.5744516; (Andrea Scaccia) +39.339.2980936

Canada, Montreal: Aldo Mazza & Friends Sunday, November 9, 8 pm , Segal Centre 5170 Cote Ste-Catherine

  my world
 Aldo Mazza & Friends
 ( international percussionists), Marco Lienhard (Shakuhachi & Taiko master ), and more

Sunday, November 9, 8 pm , Segal Centre
5170 Cote Ste-Catherine
Box Office 514-739-7944 • Tickets:

My World:  an evening of musical surprises and works for mixed ensembles
Press contact : KoSA Music  , 514- 482-5554,

Internationally recognized drummer and percussionist, Aldo Mazza is perhaps best known for his work with the percussion group, REPERCUSSION.   He is also the founder and artistic director of the KoSA International Percussion Workshops and Festivals, and organization with world wide reach that provides educational musical enrichment programs in China, Cuba, Europe, Oceania, USA and Canada.  Mazza is also performs as a recording artist, concert session specialist, clinician and educator.           

As member of the percussion quartet, REPERCUSSION,  he has been on three world tours,  made five acclaimed recordings with the ensemble, and has performed with renown artists on over 100 records and compact discs and has also been a featured musician on numerous television appearances.  He has played with major symphony orchestras in Canada, performed at music festivals around the world, and has performed for both Canadian Prime Ministers and American Presidents.

As a solo artist, Aldo has also been featured in numerous film documentaries, radio, film sound tracks and television  events.  He has provided drum and percussion tracks for Celine Dion, Alain Caron, Jon Bon Jovi, Nikki Yanofsky and Aldo Nova.

Aldo Mazza is well known for his work as a session drummer on standard drum kits,  but he is equally acclaimed as a world percussionist and as a concert percussion performer.  He has provided a variety of classical and world percussion, for James Brown, Chris De Burgh,  Oliver Jones and many more. 

He has composed many percussion ensemble works, authored many published articles, created drum method books and has produced an educational DVD with Hudson Music and the Drum Channel.

He is a frequent world traveler,  performing and giving workshops and clinics.  Under the umbrella of KoSA, he also facilitates educational programs and cultural exchanges to countries such as Cuba, China and Italy. His diverse professional background in rock, pop, classical, world music and jazz, along with his keen interest in ethnomusicology has led him to create his personal hybrid percussion approach in playing.  •  •

Mon univers
Aldo Mazza et ses amis
 Répercussion (percussionnistes internationaux), Marco Lienhard (maitre Shakuhachi et Taiko) et plus
 Dimanche 9 novembre, 20 h, Centre Segal
5170 Cote Ste-Catherine
Billetterie : 514-739-7944 • Billets :
 Mon univers : une soirée remplis de surprises musicales et d’œuvres pour ensembles mixtes
Médias : KoSA Music, 514-482-5554,

Le batteur et percussionniste de renommée internationale Aldo Mazza est probablement mieux connu pour son travail au sein de l’ensemble de percussion RÉPERCUSSION.  Il est également le fondateur et directeur artistique de KoSA International Percussion Workshops and Festivals, une organisation à portée internationale offrant des programmes éducatifs d’enrichissement musical en Chine, à Cuba, en Europe, en Océanie, aux États-Unis et au Canada. Mazza travaille également en tant que musicien de studio, spécialiste d’organisation de concerts, enseignant et éducateur.           

En tant que membre du quatuor de percussion RÉPERCUSSION, il a participé à trois tournées mondiales, enregistré cinq albums acclamés et joué sur plus d’une centaine de disques et de CD d’artistes de renom. Il a également participé à plusieurs émissions de télévision,  joué avec des orchestres symphoniques au Canada, offert des prestations dans des festivals partout dans le monde et a joué devant quelques premiers ministres canadiens et présidents américains.

Comme artiste solo, Aldo apparait dans plusieurs films documentaires, des bandes sonores de films, et dans des événements radiophoniques, télévisuels. Il a enregistré des pistes de batterie et de percussion pour Céline Dion, Alain Caron, Jon Bon Jovi, Nikki Yanofsky et Aldo Nova.

Aldo Mazza est bien connu pour son travail de studio en tant que batteur, mais il est tout aussi applaudi comme percussionniste de musique du monde. Il a notamment joué les percussions classiques et du monde pour James Brown, Chris De Burgh, Oliver Jones et beaucoup d’autres. 

Il a composé plusieurs œuvres pour ensemble de percussion, écrit et publié plusieurs articles, créé des méthodes de batterie et réalisé un DVD éducatif avec Hudson Music et The Drum Channel.

Il voyage fréquemment à l’étranger, soit pour se produire en spectacle ou pour donner des ateliers. Sous la tutelle de KoSA, il contribue au fonctionnement de programmes éducatifs et d’échanges culturels dans des pays comme Cuba, la Chine et l’Italie. Son bagage professionnel dans le rock, la pop, le classique, la musique du monde et le jazz, ainsi que son grand intérêt en ethnomusicologie, lui ont permis d’élaborer sa propre approche musicale hybride.


Friday, October 24, 2014

AVAILABLE TODAY on Marsalis Music via OKeh Records: Branford Marsalis Celebrates Melody and Feeling on In My Solitude: Live at Grace Cathedral


AVAILABLE TODAY on Marsalis Music via OKeh Records:
Branford Marsalis Celebrates Melody and Feeling on
In My Solitude: Live at Grace Cathedral

Celebrated Saxophonist's First Unaccompanied Concert
at Iconic San Francisco Site Documented on New Album

"... an estimable soloist." - The New York Times

"... a prolific and acclaimed jazzman..." - Rolling Stone

Branford Marsalis continues to prove that there is no context too large or small to contain his gifts. A reigning master of the jazz quartet format, dedicated champion of the duo setting, in-demand soloist of classical ensembles both chamber and orchestral, and session-enhancing special guest on an array of rock, roots and pop performances over the course of his career, his ever-broadening creativity and instrumental command have created the profile of a multi-dimensional musician with few peers among contemporary performers.

One setting notably absent from Marsalis' resume until now has been the unaccompanied solo concert. This most daunting of formats poses particular challenges that were met with his signature blend of serious intent, technical rigor and emotional directness when Marsalis brought his soprano, alto and tenor saxophones to Grace Cathedral on October 5, 2012. This San Francisco landmark, the site of Duke Ellington's Sacred Concerts in the Sixties and, since 1983, home to recitals at the centerpiece of the annual San Francisco Jazz Festival, proved an ideal setting for a program spanning early and post-bop jazz, baroque and contemporary classical music and spontaneous improvisation. The results can be heard on In My Solitude: Live at Grace Cathedral, the new album that Marsalis is releasing on his Marsalis Music via OKeh Records imprint on October 21, 2014.

As might be expected from someone with such a refined appreciation of musical excellence, Marsalis prepared by listening to solo recordings by a range of preferred artists, including Sonny Rollins, Steve Lacy and Sam Newsome from the jazz world as well as Anner Blysma, Angela Hewitt and Arno Bornkamp among classical players. He also committed himself to a program that transcended blatant displays of virtuosity. "From my time playing r&b and rock and roll, I can listen like a casual listener," he notes, "but the challenge for 80% of any audience, for any kind of music, is hearing melody and improvisation based on melody. Playing a lot of notes can be impressive at first, but will quickly make every song sound similar. So everything I played at Grace Cathedral was based on songs with great melodies, not being too `notey,' and utilizing the feeling in the room."
photo credit: Palma Kolansy

Getting the most out of the moment may be illustrated most clearly on "Improvisation No. 3," where Marsalis' tenor saxophone engages in conversation with a passing siren, while each of the 11 tracks reflects his appreciation of the vast cathedral space. "Every room has a sound of its own," Marsalis emphasizes. "There's a difference between playing in the Village Vanguard, and Alice Tully Hall in Lincoln Center, and Royal Festival Hall in London; and there is definitely a difference playing in Grace Cathedral, with its seven-second delay. Playing solo interludes in other rooms where my quartet performs was not going to prepare me. I had to hear that Grace 
Cathedral sound in my head."

The melodies Marsalis chose for inspiration include two of his own, "The Moment I Recall Your Face" and "Blues for One," Hoagy Carmichael's uberstandard "Stardust," Steve Lacy's "Who Needs It?", a movement from a baroque sonata by Carl Philipp Emanuel Bach, and "I'm So Glad We Had This Time Together," the closing theme of Carol Burnett's classic television show. One of the biggest challenges and clearest signs of Marsalis's evolving mastery is his interpretation on alto saxophone of "MAI," a through-composed piece by Japan's Ryo Noda that tests the mettle of the most accomplished recital-hall saxophonists. "This is a great piece, with multiphonics and other fingerings not typical for the saxophone, that captures the spirit of the shakuhachi, the bamboo flute on which a purely Japanese form of music has been created. While I was in Japan recently, a friend gave me a tour of sorts in which I heard the instrument played in a variety of settings, which helped me to appreciate that patience, rather than getting to the point as quickly as possible, is everything. I wanted to honor the original intent of Noda's music, and I knew that the audience would relate to the sound of the piece in Grace Cathedral."

Marsalis also determined to balance the program with four improvisations, each of which sustains the mood of deep feeling and melodic coherence. "Musical spontaneity, like spontaneity in any language, has to be within a context to be meaningful," he emphasizes, "and the more music you know, the more spontaneous you can be. So I went out on stage with spaces intentionally left in the program, where I could create improvisations clearly based both on what I had just played and the feeling of the room and the audience."

Regardless of its starting point, each track confirms that, whether playing soprano, alto or tenor saxophone, Marsalis possesses one of the warmest, most direct and expressive sounds of any instrumentalist. "My main concern has been eliminating any shakes in my tone, and classical practice helps a lot with that," he says, "but otherwise I don't think about creating something people will think of as my sound. When it's time to play the gig, I just let it happen."

"Playing a solo concert is just hard," Marsalis admits. "After a gig, I'm usually happy to spend time with friends, but after the Grace Cathedral concert I just wanted to go to sleep. After all, if I have an off night with my band, Joey [Calderazzo], Eric [Revis] and Justin [Faulkner] will pick up the slack. But this was just me."

Yet no reinforcements were required. In My Solitude: Live at Grace Cathedral is both intensely introspective and accessible without compromise, a singular achievement in the singular career of Branford Marsalis.

About Branford Marsalis
Branford Marsalis has stayed the course. From his early acclaim as a saxophonist bringing new energy and new audiences to the jazz art, he has refined and expanded his talents and his horizons as a musician, composer, bandleader and educator - a 21st Century mainstay of artistic excellence.

Growing up in the rich environment of New Orleans as the oldest son of pianist and educator Ellis Marsalis, Branford was drawn to music along with siblings Wynton, Delfeayo and Jason. His first instrument, the clarinet, gave way to the alto and then the tenor and soprano saxophones when the teenage Branford began working in local bands. A growing fascination with jazz as he entered college gave him the basic tools to obtain his first major jobs, with trumpet legend Clark Terry and alongside Wynton in Art Blakey's legendary Jazz Messengers. When the brothers left to form the Wynton Marsalis Quintet, the world of uncompromising acoustic jazz was invigorated. Branford formed his own quartet in 1986 and, with a few minor interruptions in the early years, has sustained the unit as his primary means of expression.

Branford has not confined his music to the quartet context. In addition to guest turns with a legion of giants including Miles Davis, Dizzy Gillespie, Herbie Hancock and Sonny Rollins, he has excelled in duets with several major pianists, including his boyhood friend Harry Connick, Jr. and the longtime pianist in his quartet, Joey Calderazzo. Branford's first solo concert, at San Francisco's Grace Cathedral, is documented on his latest recording, In My Solitude. Branford has also shared his knowledge as an educator, forming extended teaching relationships at Michigan State, San Francisco State and North Carolina Central Universities and conducting workshops at sites throughout the United States and the world.

Classical music inhabits a growing portion of Branford's musical universe. With a repertoire including works by Copland, Debussy, Glazunov, Ibert, Mahler, Milhaud, Rorem, Vaughn Williams, Villa-Lobos and Sally Beamish, Branford is frequently heard with leading symphony orchestras including those in Chicago, Detroit, Dusseldorf and North Carolina as well as the New York Philharmonic. He also served as Creative Director for the Cincinnati Symphony's Ascent series in 2012-13.

Broadway has also welcomed Branford's contributions. His initial effort, original music for a revival of August Wilson's Fences, garnered a Drama Desk Award for Outstanding Music in a Play and a Tony nomination for Best Original Score Written for the Theater. Branford also provided music for The Mountaintop, starring Samuel L. Jackson and Angela Bassett, and served as musical curator for the 2014 revival of A Raisin in the Sun.

Some might gauge Branford Marsalis's success by his numerous awards, including three Grammys and (together with his father and brothers) his citation as a Jazz Master by the National Endowment for the Arts. To Branford, however, these are only way stations along what continues to be one of the most fascinating and rewarding journeys in the world of music.

Upcoming Branford Marsalis Tour Dates:
all dates are with the Philadelphia Chamber Orchestra unless otherwise noted

October 22 / Legacy Hall at River Center for the Arts / Columbus, GA
October 23 / Charleston Music Hall / Charleston, SC
October 24 / Dale F. Halton Theater / Charlotte, NC
October 25 / Virginia Tech center for the Arts / Blacksburg, VA
October 26 / Otis A. Singletary Center for the Arts / Lexington, KY
October 28 / Osterhout Concert Theater / Binghamton, NY
November 1 / Kean University / Hillside, NJ
November 2 / State Theatre Regional Arts Center / New Brunswick, NJ
December 31 / Terrace Theater @ Kennedy Center (with Quartet) / Washington, DC 

Branford Marsalis · In My Solitude
OKeh/Marsalis Music  ·  Release Date: October 21, 2014  
For more information on Branford Marsalis, please visit:

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