Lucy Smith Sings!
Wednesday, August 7, 8:00 pm @ Katerina's
1920 W. Irving Park Rd.
Chicago, IL 60613
(773) 348-7592
$10 cover
Lucy, vocals; Marcus Evans, drums;
Marcin Fahmy, piano; Junius Paul, bass
New Release Lucy Smith "Autumn in Augusta: Songs My Mama Would Like" (LMS 1263) Street Date September 10, 2013  |
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Autumn in Augusta is
a sly smile, a deep chuckle and a fierce belief that “everything is
going to be alright.” Autumn in Augusta is a tribute project for and
about my mother and her music. It is music I grew up listening to and
rebelling against. Now I find my mother and her music in just about
everything I do. It turns out she had pretty awesome taste! My mom,
Julia Ann Smith, was born and raised in Augusta, Georgia and died in
Chicago almost twenty years ago. She introduced me to Josh White, Nina
Simone, Mariam Makeba and Trini Lopez, just to name a few. I am forever
grateful.
 Autumn in Augusta: Songs My Mama Would Like
TRACKS:
1. Joyful, Joyful We Adore You 2:36
2. Wayfaring Stranger 4:12
3. How Can I Keep from Singing? 3:14
4. House of the Rising Sun 5:48
5. How Long, How Long Blues 2:52
Total Running Time: 18:42
STUDIO
All arrangements by Lucy Smith (BMI)
Recorded, mixed and engineered by Anthony Gravino at The Drake, Chicago, IL
Mastered by Jonathan Pines and Anthony Gravino at Private Studios, Champaign, IL
CD Design/Layout by Nicold Pittman
ARTIST’S STATEMENT
I grew up in
Chicago and listened to all kinds of music. Our living room had a wall
covered, floor to ceiling, with mirrored tiles that reflected what was
happening outside on Racine Avenue. My mom’s console stereo (encased
speakers, turntable AND an AM/FM radio) sat in the corner of the room. A
stack of LP’s was always ready to go. I was in my own kinda heaven. I
spent hours listening to and singing along with Josh White, Nina Simone,
James Taylor, Aretha Franklin, Trini Lopez, Mariam Makeba, Eric Carmen,
Marvin Gaye, Stevie Wonder and (yes) Barry Manilow.
Now I make my
own music—composing, arranging and performing. I am earnestly committed
and pay homage to music that constantly feeds and informs jazz. Roots
music – music born in America—blues, gospel, folk and ultimately jazz.
We speak and live in blues and folk -- articulating struggle in regional
languages and dialects. Both of these music forms often provide
audacious and timely comic relief while gospel and jazz are outlets for
release and infinite expression. My mother schooled me by playing Josh
White’s John Henry over and over again and Nina Simone’s tribute
to Martin Luther King. They informed me musically and politically. When I
select music for this project, Autumn in Augusta, the requirements are
clear.
Anecdotal and Track Information
1. Joyful, Joyful, We Adore You
To me Joyful, Joyful is
an international folk song. Beethoven’s music and Van Dyke’s text have
inspired arrangements that cross a chasm of genres - cherubic boys’
choirs that bring tears to my eyes to the gospel rock of the film Sister Act. This arrangement, a laid back rumba to swing, is “influenced” by Oscar Peterson’s version of My Heart Belongs to Daddy (Night Train). Marcin’s inside the piano action makes the arrangement pop.
2. Wayfaring Stranger
I’ve listened to many versions of this Appalachian tune. Even though Wayfaring Stranger references
death and is presented at ballad pace, it is a jubilee and it grooves! I
believe music has always helped people deal with difficult times and
for me this tune does just that.
3. How Can I Keep from Singing?
So this should be my motto, right? “It sounds an echo in my soul. How can I keep from singing?” I can’t.
4. House of the Rising Sun
I remember
hearing this song when I was a kid and not really “getting it.” My mom
often played Nina Simone’s organ-grooving version. I understand it now. House of the Rising Sun is
all about the lyrics—it’s a compelling story—in fact a story within a
story which is open to much interpretation (if you get what I mean.)
5. How Long, How Long Blues
Leroy Carr’s
blues standard was a musical staple in my house. I was most familiar
with Lead Belly’s version that was full of hollers and nasally groans.
Marcin and I took our time with it and found a great space
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| LUCY SMITH: Vocals, Arranger www.lucysmithjazz.com Lucy Smith was born and raised on the Southside of Chicago. As leader/arranger for the Lucy Smith Quartet/Quintet and as singer/songwriter for the jazz-infused Passing for Normal/Swag, Lucy has led a myriad of musical combinations exploring the worlds of traditional jazz, blues, gospel and other popular music. Inspired to make her passion her life, Lucy completed vocal performance and jazz studies under the tutelage of pianist and jazz vocalist Patricia Barber, and trumpeter Orbert Davis. She’s currently the music director for Chicago’s Fourth Presbyterian’s “Jazz at Four” service where she creates a new jazz infused paradigm for worship while rearranging centuries old hymns and keeping alive the legacy of sacred jazz music. Her other music director work includes projects at the Park West Theatre, Goodman Theatre and at Steppenwolf Theatre where she shared the stage with blues legend Koko Taylor and others. Lucy has composed and performed music for the feature film Hannah Free and the documentary Woke Up Black. She makes music with many musicians who have Chicago roots, including Ernest Dawkins, Joshua Ramos and Greg Ward. Lucy was lead vocalist for the Center for Black Music Research's Stop-Time Ensemble and the Concord Orchestra. MICHAEL CASKEY: Drums michaelcaskey.com Michael Caskey (aka Bunny Patootie) hails from rural Southwestern Michigan. Graduating Magna Cum Laude from Western Michigan University's school of music in 1999, Michael has performed with artists as diverse as Chuck Mangione, Koko Taylor, Toni Tennille, Danilo Perez, Marvin Hamlisch, The Heritage Blues Orchestra and John Sinclair. Currently, Michael is a member of Eastern Blok, a pan-cultural ensemble that performs and presents master classes throughout the United States (including Princeton, Cornell, Carnegie Mellon, and University of Michigan among others). He plays with numerous Chicago artists including (but not limited to) Grazyna Auguscik, Hood Smoke, Leslie Hunt, and The Claudettes. A DownBeat jazz magazine award winner and five-time Detroit Music Award recipient, Michael has performed for audiences throughout the United States, Canada, Mexico, Poland, France, Germany, Denmark, and Belgium. At Columbia College in Chicago, Michael coordinates the dance department's accompanist program and teaches Music and Rhythm in Dance. He has also collaborated with Chicago dance companies, composing and producing original sound scores for Hedwig Dances, Lucky Plush Productions, Zephyr Dance, Same Planet Different World, Pete Carpenter and members of Mad Shak. MARCIN FAHMY: Piano and Keyboards Originally from Krakow, Poland, Marcin Fahmy is a graduate of Karlowicz Music School and DePaul University. While still in high school, Marcin was one of only two pianists in the country chosen to play in the Grammy All-American Jazz Ensembles, joining an elite group of musicians in a series of concerts and recordings in New York City. This event gave him the opportunity to work with artists such as Wynton Marsalis, Jon Faddis and Chick Corea. He was also invited to perform at the 1997 Grammy Awards and many of its accompanying events. Marcin has shared the stage with, Gary Peacock, Peter Erskine, Bill Evans, Dick Oatts, Nicholas Payton, Koko Taylor and Kenny Werner. He is currently one of the most sought after pianists performing in Chicago. JUNIUS PAUL: Bass juniuspaul.com Junius Paul, born and raised in the Chicago area and a graduate of St. Xavier University in Chicago, is known internationally for his passion and skill as a performer, composer, sideman and bandleader. Junius is well-established in many musical genres, ranging from jazz to hip-hop, house music, funk, classical and gospel, and has shared the stage with such artists as Wynton Marsalis, Curtis Fuller, Donald Byrd, Fred Anderson, Roscoe Mitchell, Ernest Dawkins, Donald Harrison, Kahil El’Zabar, Hamiett Bluiett, Nona Hendryx, Corey Wilkes, KRS-One, Dee Alexander, Marcus Strickland and Gary Bartz to name a few. In addition to his many local and national television appearances, he has appeared on numerous audio and DVD recordings for many artists as well. Some of Junius' recent performances include the Umbria Winter & Summer Jazz Festivals (Umbria, Italy), Kuumba Festival (Toronto, Canada), Teatro Manzoni (Milan, Italy), the Sons d’hiver Festival (Paris, France) and the Made in Chicago Series (Poznan, Poland). Junius also serves as an adjunct music professor at Trinity Christian College. |
Available at:
cdbaby.com iTunes Amazon.com www.lucysmithjazz.com http://autumninaugusta.com |
 MCG JAZZ IS SEARCHING FOR A STAR! MCG JAZZ ANNOUNCES AUDITIONS FOR THE NEXT GREAT MALE JAZZ VOCALIST |
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 The Gentlemen Sing: Three Generations of Song featuring Allan Harris and Ernie Andrews is missing its next generation singer.This brand-new curated project by Marty Ashby and MCG Jazz features Allan Harris, Ernie Andrews and a brand-new artist that will be chosen by nationwide search. MCG Jazz opens the search with a nationwide call for submissions from young male jazz vocalists, followed by live auditions here in Pittsburgh with Allan Harris and Freddy Cole. The project will culminate in a two-concert presentation showcasing Allan Harris, Jazz Master Ernie Andrews and a brand new jazz star! MCG Jazz invites young male jazz vocalists, ages 18 to 35, to submit resumes and videos and compete to win the ultimate prize: a 2-show live concert appearance at MCG Jazz on February 28, 2014 with superstar Allan Harris and living legend Ernie Andrews.  Every entry must include the application (downloadable at MCGJazz.org), a resume and a 5 to 7-minute video that includes the individual singing “It Could Happen to You” in a medium tempo and one tune of his choosing. Submissions are being accepted electronically now through September 13, 2013. Submit your video online via YouTube using the tag “MCGGen3” and email your application to kfriedson@mcg-btc.org. Alternatively, you may send a DVD with your application to MCG Jazz, Attention: Kahmeela Friedson, 1815 Metropolitan Street, Pittsburgh, PA 15233. Links: Mcgjazz.org Allanharris.com Martyashby.com 412-322-0800 www.mcgjazz.org FB: www.facebook.com/mcgjazz Twitter: www.twitter.com/Amy_ |
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MCG Jazz
http://mcgjazz.org
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com
http://www.jazzpromoservices. |
Allan Harris vocals (#12)
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"Albare
is the most active jazz guitarist and composer in Australia today.
Albare’s recordings and world tours spread the passion of jazz to the
fans everywhere."
-- Con Gallin, CEO Gibson Australia “Guitarist Albare fronts an impressive team through music that mixes energy with lyricism… a strong statement for the value of modern contemporary jazz.” JAZZ WEEKLY
American
audiences may just be getting to know the original music and
extraordinary musicianship of the gifted guitarist/composer Albare (the
nom de guerre of Albert Dadon), but in Australia he’s already a
prominent member of Australia’s ever-growing and excellent jazz scene.
Born in Morocco, raised in France and Israel and immigrating to
Australia at the age of 27, he has since become a jazz legend down
under, not just as a player, but also as director of the Melbourne Jazz
Festival and founder of the Australian Jazz Awards.
The Road Ahead fuses Albare’s Moroccan roots effortlessly with six-string influences ranging from Wes Montgomery to George Benson, fueled by grooves established by his extraordinary rhythm section: Phil Turcio on piano (Phil is also one of Australia’s foremost record producers), Cuban bassist Yunior Terry and Venezuelan drummer Pablo Bencid. All of the tunes on the current CD are originals, with the exception of Stevie Wonder's Overjoyed, which features the warm voice of guest vocalist Allan Harris, whom Tony Bennett has called “my favorite singer.”
Official website: www.albaremusic.com
Official Facebook page: www.facebook.com/ALBAREMUSIC. Enja is distributed by Allegro Media Group, Portland, OR. National Publicity Campaign Jim Eigo Jazz Promo Services Ph: 845-986-1677 / jim@jazzpromoservices.com "Specializing in Media Campaigns for the music community, artists, labels, venues and events. |
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ALSO AVAILABLE ON
ENJA RECORDS  |
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WATCH |
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When Sly and The Family Stone hit the scene back in the late
‘60s, the world – socially, culturally and politically – was in a state
of upheaval. And their music perfectly evangelized the moment. Today,
we stand dangerously at the edge of a similar precipice – and that
message of celebratory potential and jubilant clarity is sorely needed.
With that concept squarely implanted in his mind’s eye, visionary
conceptualist, producer, arranger, composer and keyboard wizard Jason
Miles has created the extraordinary Sly Reimagined on the Zoho
Roots label. With his groundbreaking, genre-defying borderless
mothership Global Noize providing the vehicle, Miles takes on eight
classic Sly Stone journeys into the wilds of a reality nearly half a
century beyond their point of inception.Nobody is more capable or qualified to take on a project like this than the Grammy-winning Miles. His groundbreaking synth programming for Miles Davis’ ‘80s masterpieces Tutu, Music from Siesta and Amandla; along with his contributions to a genre-crossing array of artists - including Luther Vandross, Aretha Franklin, Michael Jackson, Ruben Blades, David Sanborn, Whitney Houston, Grover Washington Jr., The Crusaders, Chaka Khan and so many others - have led to a variety of legacy-based dedications to Marvin Gaye, Ivan Lins, Vandross, Grover…and now Sly.  Reimagined
is the ideal description as the music on this CD doesn’t simply pay
homage, but also defines the timelessness of the music by translating it
to the forefront of musical thinking here in 2013. Global Noize – with
its triumvirate of Miles, turntable master DJ Logic and vocalist Falu –
is accompanied on this recording by an astonishing array of nearly two
dozen musical powerhouses, including Nona Hendryx, Roberta Flack, Jay
Rodriguez, Amanda Ruzza and the original Family Stone drummer Greg
Errico.
The nine vocalists and seventeen instrumentalists are woven masterfully
into the musical context of each piece – no contrivance, no excess, no
aural gymnastics, just extraordinary musicianship, impeccable
tastefulness and a relentless sense of groove. The musicians
weave in and out, emerging at the always appropriate moment and then
sinking back into the perfect mix. There is a visceral sense of
ensemble playing, as live and cohesive as the 1968 concert performance
at the Fillmore East where Jason first experienced Sly and The Family
Stone, becoming forever connected to its unique musical expression. But
while that group never could have existed without the foundation of
James Brown, vocal groups from the Orioles through the Temptations,
jubilant jazz of Louis Jordan through Mingus and Sun Ra, and all strains
of Gospel and Blues, Sly Reimagined shows the influences of
the post-Sly environment of P-Funk, Prince and the many explorers
stimulated by Sly and The Family Stone. All cross-bred with the
borderless context of the here and now at its richest.Two songs are given dual treatments. It’s a Family Affair – both with Roberta Flack on lead vocals – receives a Groove Vibe Version and the Falu Mumbai Mix. The former a deeply grooved percussive blend with horns, voices, rhythm and DJ Logic all circling around in an infectious round-robin; the latter sparer, leaner, meaner and tinged with Eastern harmonic and rhythmic flavors that offer testimony to the sub-title. Nona Hendryx sings lead on both versions of The Same Thing. The straight-up version is an extremely funky excursion with a dark gurgle of baritone sax (courtesy Jay Rodriguez) all swaggering, staggering and lurching forward like a super-hip drunk on a fervent mission for The Funk. The Mulholland Drive Mix plows similar ground, but coupling a deep bass groove with a strong spicing of the classic tenor/organ combo tradition.  The Big Horn tenor style – this time in the hands of Ron Holloway - is also featured on Fun
with a raucous solo that evokes the irresistible sound of Gene Ammons
and Arnett Cobb. Surrounding it is a vividly syncopated groove kick, a
passionately soulful vocal by Maya Azucena, DJ Logic’s turntable magic, a
chanting chorus and lots of undiluted fun.Maya’s vocals also take the lead on two other pieces. You Can Make It If You Try, a richly layered celebration with a distinct P-Funk feel, the funky trumpet of Ingrid Jensen, and Rodriguez updating Jr. Walker into the 21st Century. On Stand, a proudly upright and emphatic take on the anthem, Maya soars over a chorus of vocalists chanting it out in Funkadelicized Gospel jubilation. She also provides playful and expressive support for Nona Hendryx’s lead on In Time, an easy-grooved percussive jaunt stoked by rich synthesizer textures.  Global Noize regular Falu is up front on the brilliant Thank You For Talking To Me Africa
– with a side trip to India via her Carnatic vocal approach. An
ultra-thick body built on a saxophone choir (arrangement and all saxes
by Jeff Coffin), sets a tantalizing groove that oozes like a lava flow
and just keeps digging deeper and deeper and deeper into the darkest
lustre of pure funk. Falu’s exotic, sinuous style is also ideal for Dreams,
an appropriately ethereal and evocative soundscape built upon a
pastiche of electronica that closes out this remarkable album in a most
palpably emotional manner.The presence of Jason Miles is at the core of every element of this truly remarkable album. Not only does the concept flow stem from the heart and soul of his remarkable musical vision; but also the keyboards, synthesizer and programming that comprise his instruments of aural expression permeate every moment of this music, holding it together and binding all of the parts into a most singular sensibility. Sly Reimagined is an album that can be experienced for its sheer joy, or dug into more deeply for in unlimited depth of artistic expression.
For more information about Jason Miles and this album
visit http://www.jasonmilesmusic.com and http://www.zohomusic.com/ ZOHO ® is distributed by Allegro Media Group, Portland, OR. |
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| Personnel Jason Miles keyboards and programming, organ, synthesizers, synth bass DJ Logic turntables on 2 -4, 9, 10 Nona Hendryx lead vocals on 1, 4, 9 Falu lead vocals on 7, 8, 10 Roberta Flack lead vocals on 2 & 8 Maya Azucena vocals on 3, 5, 6; background vocals on 1 Amy Hanaialii vocals and vocal adlibs on 7 Malika Zarra World vocals on 1 James D Train Williams vocals on 2, 5 Butterscotch Beat Box on 1; scratching, vocals on 5 Porter Carrol vocals on 6 Nick Moroch guitar on 1, 10; Will Bernard guitar on 2, 6, 8, 9; Dean Brown guitar on 5, 7; Ingrid Jensen trumpet on 2, 5; Barry Danielian trumpet on 3, 7; Gottfried Stoger tenor sax on 1; Jeff Coffin all saxes, horn arrangement on 7; Ron Holloway tenor sax on 3; Jay Rodriguez tenor sax on 2, 5, 8, 9 baritone sax on 4, flute and bass clarinet on 10; Amanda Ruzza bass on 2, 6 – 9; Greg Errico drums on 1, 5, 6,; Mocean Worker (Adam Dorn) bass on 5, EFX and beats on 10; Adrian Harpham drums on 2, 8; Brian Dunne drums on 7, 9; Bashiri Johnson percussion on 7
Track Listing:
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For Interviews and Promos Contact:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com http://www.jazzpromoservices. |
PJ Rasmussen
Adventures in Flight CD Release Party
Sunday, July 28th 9:30 PM
@ The Metropolitan Room
34 West 22nd St.
between 5th and 6th Avs
New York, NY 10010
$20; 2 drink minimum
Featuring
Guitar: PJ Rasmussen
Piano: James Weidman
Bass: Adrian Moring
Drums: Jon Difiore
Sax: Nate Giroux
Trumpet: Ben Hankle Upcoming Live Appearances Every Wed. through August
PJ Rasmussen
Jazzy Jammin' at the Boardwalk (Open Jam)
7-10 PM
1000 Ocean Ave, Asbury Park, NJ
Featuring
Guitar: PJ Rasmussen Trio
Drums: Ryan Palermo
Bass: Daseul Kim
Aug 17 & Sep. 21 April Webb/PJ Rasmussen Duo
April Webb, Vocals
PJ Rasmussen: Guitar
16 Prospect Street, Westfield, NJ
Wed., August 28th
The PJ Rasmussen Quartet
Set Times: 6-7 PM; 7:20-8 PM; 8:20-9 PM; 9:20-10 PM
99 7th Ave south between Christopher St &Grove St.
NYC
Featuring
PJ Rasmussen—Guitar
Adrian Moring-Bass
Jon Difiore— Drums
Piano-- Chris Pattishall
Tue., Sept 3rd
The Daseul Kim Quartet
Set Times: 8-9:15 PM; 9:45-11 PM
239 East 53rd Street, Lower Level
(Between 2nd-3rd Avenue)
NYC
$5 Minimum
Featuring
Daseul Kim-Bass
PJ Rasmussen-Guitar
Anthony Pocetti-Piano
Drums: Arthur Vint
Sep 13 w/ April Webb Hat City Kitchen Sep 25th Cassandra Kubinski/PJ Rasmussen Duo Set Times: 7, 8, 9 PM
205 W 54th St.
PJ Rasmussen
"Adventures In Flight"
(Third Freedom Music 1001) Street Date June 4, 2013 PJ Rasmussen-guitar Steve Johns-drums Adrian Moring-bass Chris Pattishall-piano Nate Giroux-tenor saxophone Danny Reyes-trumpet & flugelhorn Kelly Green-vocals Chartbound On Jazz Week  |
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 PJ Rasmussen "Adventures In Flight" (Third Freedom Music 1001) Street Date June 4, 2013 PJ Rasmussen-guitar Steve Johns-drums Adrian Moring-bass Chris Pattishall-piano Nate Giroux-tenor saxophone Danny Reyes-trumpet & flugelhorn Kelly Green-vocals A debut album is a daunting experience for any artist regardless of age. But guitarist/composer PJ Rasmussen’s first CD – Adventures in Flight on Third Freedom Music – shows a young man brimming with musical confidence and leadership qualities of a seasoned professional. A truly outstanding composer, PJ has assembled a remarkable sextet for a highly diverse, but totally cohesive set of Rasmussen originals. Over the past 25 years, many artists have tried to re-create the substance of the classic 1960’s Blue Note era. But what is usually missed is that the music of that era was utterly entrenched in the times it was created – an essential component of the Jazz tradition. While PJ and his cohorts have feet solidly planted in that legacy, the music on this CD is vividly contemporary. Born in 1990, PJ cut his musical teeth on the rock and blues spirit of men like Eric Clapton and Stevie Ray Vaughan, and has brought his love of those forms to his serious commitment to Jazz. Combining these elements into a unified musical vision has resulted in carrying that timeless Blue Note recipe of funky hard-bop, soulful lyricism, passionate swing and innovative exploration smack dab into 2013. With one exception, all of the musicians are contemporaries of the guitarist; and that is the remarkable drummer Steve Johns, whose experience and mastery of a wide variety of styles contributes heavily to the unified thrust of this album. All of the other musicians – tenor saxophonist Nate Giroux, Danny Reyes on trumpet and flugelhorn, Chris Pattishall on piano and Adrian Moring on bass – are superb, performing with youthful vigor and with a sense of urgency that has become increasingly rare. A most surprising element is that this group, after only a few rehearsals, sounds like an ensemble that has been performing together for years, particularly highlighted by the seamless interplay and nearly telepathic interaction between Moring and Johns, who anchor each track emphatically. A major element of the success of this album is the extraordinary compositional skill of Rasmussen. Eschewing the complex harmonics and rapidly jagged unison lines that young composers often employ to demonstrate compositional and performing virtuosity, PJ strives for lyricism, rhythmic variety and depth of mood, offering both the opportunity for rich musical exploration and the adventurousness of innovative excitement. Each composition is fully thought out and the music is well-planned, but still open enough for the elements of surprise and spontaneity that are essential to the best Jazz expositions. The arrangements are finely crafted to fit both the compositional structure and the musicians who play them. And two of the pieces, Waxing and Wayne-ing and At Long Last have the added spice of the lovely voice of Kelly Green wordlessly enhancing the melodic line. As a guitarist, Rasmussen is a musician of exceptional skills and has full command of a variety of genres. His solos roar, rock, blaze and swing, as the music demands. He shares the solo space primarily with tenorman Giroux and pianist Pattishall. Giroux is a muscular, passionate saxophonist with chops to burn; Pattishall is also an excellent musician whose accompaniment and solos are always ideally suited to the circumstances. Their versatility matches Rasmussen’s as they are fully comfortable with the full palette of styles. The album opens with a brief poem – an effective idea that is used twice more to further clarify the message of the album – introducing Avionics, a syncopated driver with a light airy theme in the classic hard bop mode, featuring a fluid, articulate single note guitar solo, a fiery tenor solo in the early Joe Henderson urgency mode, exciting piano and a riff-driven drum solo – all over propulsive bass. Similar territory is explored in Waxing and Wayne-ing, but in an edgier groove. Dedicated to Wayne Shorter, there is considerable homage to the Classic Quartet of the magnificent John Coltrane as well. Opening with a McCoy Tyner-ish vamp, the piece is powered by the pianist’s forceful left hand, both in his solo and driving the rhythm section. PJ offers a swirling solo, sometimes sailing over the rhythm, sometimes in rhythmic counterpoint; while Nate’s tenor is in an appropriate Shorter mode - lyrical and masterful. The funk groove is embraced in three distinct variations. Baden Hill is a punchy hip-hoppish affair built on a fractured backbeat rhythm with vocal-burst tenor, a highly percussive piano solo and a soulful guitar turn that evokes that delicious Grant Green aura – all stoked by a richly chugging Soul Train motion of the bass and drums. Sunday Driver features a jagged upwardly spiraling melody over a lurching, staggering funk bottom that generates a palpable tension, launching a funkily wailing tenor; exciting, sardonically witty guitar that shows off PJ’s rock chops; and a brilliant drum solo – all mightily charged by amazing support from Pattishall. A complex, adventurous and always smoking piece, Kickin’ the Can drives on a straightforward rocking funk groove. PJ works that soul Jazz thing with tantalizing bent chords and smears of sound. Pattishall funks out in Bobby Timmons-like Gospel mode and some two-handed chords a la Red Garland. Extremely acid Jazz tenor - punchy, dancing and crying – pushes the intensity meter, all making this a joyous celebration. Jubilation is also the theme of Stolen Miracles. An up-and-down-the-ladder theme is built on a succession of Cuban-style piano rhythms, suspended swing and driving hard bop. Fiercely intense biting solos by guitar, tenor and piano dance around the suspended groove of the rhythm section, concluding in a joyful collective improvisation. Two beautiful ballads complete this delightful package. Are You the One is a lovely medium tempo piece that gives Danny Reyes an opportunity to showcase his warm and fluidly beautiful flugelhorn. The album concludes on a most appropriate note with At Long Last, a delicately constructed piece that’s like a Spring shower – warm and welcoming, from softly falling rain to fine cloudbursts. A perfect denouement to an album crafted with love and joy.
Adventures in Flight portends great things to come from PJ Rasmussen and his splendid ensemble.
Artists Website: www.pjrasmussen.com National Publicity Campaign Jim Eigo Jazz Promo Services Ph: 845-986-1677 / jim@jazzpromoservices.com "Specializing in Media Campaigns for the music community, artists, labels, venues and events.” National Radio Campaign Mike Hurzon Tracking Station (954) 463.3518 trackst@bellsouth.net |
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For Interviews and Promos Contact:
Jim Eigo Jazz Promo Services T: 845-986-1677 E-Mail: jim@jazzpromoservices.com http://www.jazzpromoservices. |
