Tuesday, May 31, 2016

NORWAY: Hanna Paulsberg Concept ‎– Eastern Smiles (Odin 2016)

1 Eastern Smiles 5:59
2 Hemulen På Byn 5:27
3 Ayumi 7:40
4 A Hundred Years 8:33
5 Hotel Papa Charlie 6:08
6 Catalan Boy 5:48

USA/URUGUAY: Beledo feat. Gary Husband, Lincoln Goines: "Dreamland Mechanism" album on MoonJune Records

BELEDO "Dreamland Mechanism"
 Beledo's MoonJune Records debut "Dreamland Mechanism" is a star-studded, multifarious affair. Supported by a cast of modern progressive jazz-fusion luminaries (featuring the likes of Gary Husband, Lincoln Goines and special guest Dewa Budjana, for starters), the Uruguayan-born, NYC transplant  guitar maestro puts not only his virtuosic guitar playing on display, but also his enormous talents on a variety of instruments (acoustic guitar, acoustic piano, violin, accordion, Fender Rhodes, Mini Moog, fretless bass guitar), in a session with more twists, turns and surprises than an Agatha Christie novel!  Equally showcased are Beledo's adept skills as a composer and arranger, as this engaging release covers the stylistic gamut in most convincing fashion. From intimate jazz, to blazing fusion, world music, and thematic prog at its most sublime and majestic, the album scales great sonic heights, while never idling in one place for very long. In his most ambitious undertaking to date, Beledo pulls out all the stops -- giving guitar aficionados plenty to rejoice over, while appealing to a much broader, diverse audience. He rocks with authority and conviction; he dances on air; he grabs the reins and gallops difiently over the edge. This is an album destined to remain anchored in your rotation. Beledo serves notice that he is, indeed, a rare, precious and truly world class talent! 

Cast: BELEDO electric guitar (all tunes), acoustic guitar (4, 9), violin (1), Fender Rhodes (1), Mini Moog solo (2), acoustic piano (3), accordeon (3), fretless bass guitar (4), vocals (9); LINCOLN GOINES bass guitar (1, 2, 3, 6, 7, 8); GARY HUSBAND drums (1, 2, 3, 6, 7, 8); TONY STEELE bass guitar (5,10); DORON LEV drums (5,10), percussion (9); ENDANG RAMDAN lead kendang percussion (4, 9); CUCU KURNIA kendang percussion (4, 8); DEWA BUDJANA electric guitar solo (9); RUDY ZULKARNAEN bass guitar (9).
1. Mechanism 05:21
2. Bye Bye Blues 05:36
3. Marylin's Escapade 08:40
4. Lucilla 06:28
5. Sudden Voyage 05:01
6. Big Brother Calling 04:13
7. Mercury In Retrograde 04:19
8. Silent Assesment 05:01
9. Budjanaji 05:00
10. Front Porch Pine 05:28
All compositions and arrangements by Beledo.

Tracks 1, 2, 3, 6, 7 and 8 recorded January 21, 2015 at Dreamland Recording Studios, West Hurley/Woodstock NY. Engineer: Matthew Cullen. Tracks 4 and 9 recorded July 29, 2015 at Aru Studio, Bandung, Indonesia, Engineer: Tesla Manaf Effendi. Tracks 5 and 10 recorded at South Brooklyn Sound, Brooklyn, NY. Engineer: Joe Ford. Dewa Budjana recorded guitars for track 9 at Temple Island Studio, Jakarta, Indonesia. Engineer: Dewa Budjana. Mixed by Beledo and the engineer Randy Crafton, November 4, 5, 13, 2015 at Kaleidoscope Sound, Union City, NJ. Mastered by Mark Wingfield, January 2016 at Heron Island Studio, Cambridgeshire, England.
"Beledo is considered a real myth among Uruguayan music connoisseurs," according to El Pais newspaper from Montevideo, Uruguay. Piano was Beledo's first instrument, however, he became a guitar hero in his late teenage years captivating audiences in Uruguay and Argentina. Based in NYC area since the early 1990's, Beledo has recorded and performed in his almost 4 decades of professional career with Ruben Rada, Hugo Fattoruso, Pedro Aznar, Gustavo Moretto, Manolo Badrena, Fernando Otero, Tito Puente, Celia Cruz, Joe Locke, Jeff Andrews, Gary Willis, Bill Berg, Rufus Philpot, Thierry Arpino, John Benitez, Jimmy Haslip, Jeff Berlin, Mauro Pagani, Gia Ionesco, Asaf Sirkis, Johnny Johnson, Lincoln Goines, Adam Holzman, Kim Plainfield, Mark Walker, Gary Husband, Dewa Budjana, Tohpati, simakDialog, Dwiki Dharmawan, Dale Barlow, Steve Thornton, Ivan Nestorman, Stefon Harris, Randy Brecker, Andy Middleton, David Fink, Jorge Camiruaga, Bakithi Kumalo, Anton Fig, Jonathan Joseph, Cecilia Tenconi, Richard Cummings, Morris Goldberg, Michael Bissonette, Miguel Cantillo, Jaime Roos, Gilad Atzmon, Richard Boukas, Ustad Shafaat Khan, Neil Alexander, Emedin Rivera, Rodney Holmes, and many more.

USA Daniela Schächter Upcoming Live Appearances

Daniela Schächter
Upcoming Live Appearances

Introducing new songs from her upcoming album…

Daniela Schächter and her Trio will be at:

The Beehive, Boston ~ Friday June 10th

Daniela Schächter vocals/keys
Greg Ryan bass
Brooke Sofferman drums

The Beat Brasserie, Boston ~
 Saturday June 18th

Daniela Schächter vocals/keys
Greg Ryan bass
Bertram Lehmann drums

Bar Next Door, New York ~ Monday June 20th
Reservations recommended at 
((212) 529-5945
8:30pm-11:45pm $12

Daniela Schächter vocals/keys
Marco Panascia bass
Scott Latzky drums

Thelonious Monkfish, Boston ~ Thursday June 23rd

Keala Kaumeheiwa bass
Mark Walker drums
Daniela Schächter piano/vocals

Introducing tunes from her upcoming album "Vanheusenism" A Tribute to Jimmy Van Heusen
CD Release: October 27th Kitano Jazz NY 
CD Release: October 22nd Chris Jazz Cafe PA 

Copies of the new CD will be available for purchase:

"Not since the plangent, at times mournful, at times strident piano artistry of Judy Roberts has one heard such strong, confident, yet softly sensitive piano/vocal combinations..." B. Gosh - Jazz ImprovNY 

For more information please visit her new webpage at

photo credit Jean Hangarter

Media Contact
Jim Eigo Jazz Promo Services
Ph: 845-986-1677
www.jazzpromoservices.com "Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

Monday, May 30, 2016

USA: Tarana: Live at Kennedy Center's Millennium Stage - "BataDe!"

Recorded at the Kennedy Center's Millennium Stage on May 1st, 2016
Tarana is:
Ravish Momin (drums/electronic beats)
Rick Parker (trombone/synths)


USA/JAPAN : Allan Botschinsky Eri Yamamoto -Duologue (AUM FIDELITY 2016)

"It almost sounds like she had no jazz training before she came [to New York]. How is that possible? Wow ... This is her tune, so that means that she can write, too. This is just the beginning, and already she's found her own voice." -- Herbie Hancock "Yamamoto's maturity is instantly evident on the title cut/opener of Up & Coming, her self-produced debut ... The five originals included here demonstrate an extraordinarily rich compositional sensibility--to say nothing of a delicate touch." -- Time Out New York "Rich chordal voicings, tender dynamics, and a supple touch on ballads makes Yamamoto an essential presence." -- All About Jazz
Eri Yamamoto moved to NYC from Japan a little over a decade ago. A classically trained piano prodigy, she initially came to visit her sister, but after hearing Tommy Flanagan perform in trio in Central Park, she had a momentous revelation that her future would be in jazz music. When William Parker recorded his first album of compositions for piano trio, he chose Yamamoto to occupy that seat (Luc's Lantern, 2005). He then brought her into his Raining on the Moon ensemble, and the wisdom of that decision is in full evidence on their recent album, Corn Meal Dance. She fully impressed Matthew Shipp as well, who brought her to the Blues Series/Thirsty Ear label to record her trio album Cobalt Blue in 2006. Duologue is Eri Yamamoto's first album as a leader outside of the piano trio format. She composed each piece specifically with each duo partner in mind, and each piece is informed and suffused by his or her respective musical and personal essence. Contemplative, jubilant, and mesmerizing songs, they are increasingly rewarding with each successive listen. Her improvisations within them, guided by the rhythm as much as the melody, are invitingly exploratory while remaining in service to the song at hand.

USA : Avalon Jazz Band at Dizzy's Club Tuesday, May 31st 7:30 & 9:30pm

Avalon Jazz Band at Dizzy's Club
We are very excited to be performing for the first time at Jazz at Lincoln Center at the renowned Dizzy's Club! Tatiana Eva-Marie, recently acclaimed as a "rising jazz vocalist" by magazine Vanity Fair and "one of the best young singers around" by the Wall Street Journal, leads the Avalon Jazz Band, worldwide ambassadors of Parisian-style hot and Gypsy jazz reminiscent of Django & Grappelli's Hot Club De France, replete with its iconic technical bravados of guitar and violin. The Avalon Jazz Band continues the tradition with new compositions, original arrangements, and a fresh take on classic jazz repertoire, exploring the intermingling of American swing and Eastern European influences through the essential French je ne sais quoi.

Shows at 7:30pm & 9:30pm
Cover $35/ Students $25
Reserve: 212-258-9595 or 

Vocals - Tatiana Eva-Marie
Violin - Adrien Chevalier
Guitar - Vinny Raniolo
Bass - Julian Smith
Special guest on clarinet - Oran Etkin

C'est si bon (Joe's Pub): http://youtu.be/XP8xXRolOQo
Johnny, tu n'es pas un ange (Joe's Pub): http://youtu.be/bq0Jzet7rE0
La Bohème (Café Carlyle): http://youtu.be/UyuOZkNqZ58

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Sunday, May 29, 2016

USA Ben Wolfe-No Strangers Here (MAXJAZZ 2016)

MAXJAZZ is proud to present Ben Wolfe and his debut release, No Strangers Here, as part of its string series. Bassist Wolfe wrote, arranged, and orchestrated all of the songs for this exceptional release. No Strangers Here features some outstanding musicians including a core band featuring Marcus Strickland, tenor and soprano saxophone; Luis Perdomo, piano and Greg Hutchinson, drums. Guest artists include Branford Marsalis, tenor and soprano saxophone; Terell Stafford, trumpet; Victor Goines, bass clarinet and Jeff "Tain" Watts, drums. In addition, most of the compositions unites a jazz ensemble with a string quartet featuring Jesse Mills and Cyrus Beroukhim, violin; Kenji Bunch, viola and Wolfgram Koessel, cello.

USA Saxophonist Dan Pratt - "Hymn for the Happy Man" - Available June 3 on Same Island Music

Saxophonist Dan Pratt Celebrates Espousing 
Happiness and Forward-Thinking Mentality 
on Hymn for the Happy Man - Available June 3

Album Features Christian McBride, 
Gregory Hutchinson and Mike Eckroth

Album Release Performance in 
New York City at Smalls Jazz Club on June 2

Following two critically acclaimed organ group outings, New York saxophonist-composer Dan Pratt heads in a different direction on Hymn for the Happy Man, his fourth recording overall and debut for his own Same Island Music imprint. "After eight years, the organ group had a great run, and I found myself looking for something new to do," explains the California native and longtime Brooklyn resident. "So for this record I decided to go with the piano-bass-drums-sax quartet instrumentation, which is so foundational to jazz. It was one of those things that was staring me straight in the face and I couldn't see it, but on reflection it was such clear choice. I'd never recorded a quartet record, and to go in the direction I wanted to go, I felt I needed to explore an instrumentation that is such an essential strand to jazz's DNA."
Pratt assembled his "dream team" of bassist Christian McBride, drummer Gregory Hutchinson and pianist Mike Eckroth to help him realize seven well-crafted originals and breathe new life into one well-chosen standard. The saxophonist-composer, a member of McBride's big band, heaps high praise on his stellar sidemen for this simpatico session. "McBride and Hutch are incredibly open-minded and agile musicians. Christian is one of a kind. He has a pulse that is really unimpeachable and super singular. There's nobody who plays the bass like him. Add to that his warmth and positivity, and you have a paragon of musicianship as well as humanity. With Greg, I didn't tell him anything except for two or three words about the concept of a piece, and he just gave me something different with every take. Often, it was hard to decide on a take because everything he did was so incredibly compelling. The kind of surprises that I got from Christian and Greg were so delightful; they were things that I could never imagine explaining or asking for.
"And I'm super happy with what Mike played," Pratt continues. "What he was playing behind me felt like he really understood where I was going, what I was playing, and the ideas behind the harmonies of my tunes. And the more adventurous I was, the more into it he was. It's nice to know that I've got that strong ear behind me so when I want to go in a freer direction he always hears it, and he hears it in a melodic context, too."
Photo Credit: Michelle Watt
The foursome kicks off the program with the off-kilter, Monkish "Gross Blues," which has Hutchinson flowing freely over the bar line while McBride keeps steady time with his inimitable groove. "I didn't tell Greg anything but 'Keep it loose and trashy,' and that's what he came up with," recalls Pratt. Eckroth feeds the saxophonist dissonant voicings, nudging him harmonically into some passionate, upper register wailing. McBride also delivers a typically chops-laden solo on this urgent opener.
Pratt affects a singing quality through the rich harmonic terrain of "New Day," and for good reason. "I wrote it after I met the woman who is now my wife, and I just felt this incredible elation," he explains. "It's different than when you meet someone you're smitten with. It's a feeling when you meet somebody and you realize that there is this life-partner potential; a person who brings out the best in you, who inspires you to be the best that you can be, and that inspiration happens by her being who she is." Hutchinson's playing on this breezy, uplifting number is lively and highly interactive. "He totally elevates the piece throughout the whole thing," says Pratt. "What he's playing has this wonderful arc that really fits the spirit of the tune."
Hutchinson's sparse mallet work helps set the darkly delicate tone of "River," which is cast in the vein of such ruminative classics as Wayne Shorter's "Fall" or Miles Davis' "Flamenco Sketches." As the composer explains, "Most of my tunes can be sort of active, and I wanted to write something that was more patient; a tune whose activity lived within its patience. So I was thinking of the reflective nature of watching a river, not really being in the flow of the river but rather reflecting on the river's flow itself, that staid kind of strength but also fluidity."
The effervescent "Warsaw" has Pratt switching to alto sax and burning a blue streak over Hutchinson's highly-charged pulse as McBride's contrapuntal lines add layers of intrigue. "Alto is very new for me," says Pratt, who started on baritone saxophone in eighth grade before switching to tenor later in high school. "I just got the alto not even a year before this recording session and I was so enamored with the sound that I decided to record a couple tunes with it. I just thought for range and timbre it provided something a little different on this tune."
Pratt returns to tenor for the loose second line vibe of "Junket" and the moody, alluring "Riddle Me Rhumba" before pulling out the alto again on the buoyant "Hymn for the Happy Man," a title which fits his own personal philosophy. "It was written in tribute to the humanity that chooses to strive toward deeper happiness; not circumstantial happiness but happiness from within," he explains. "It's to celebrate espousing happiness and a forward-thinking kind of mentality and spirit."
The collection closes with Pratt's unique interpretation of the Kurt Weill-penned jazz standard "Speak Low," which incorporates some clever rhythmic devices to break things up in intriguing ways. "I realized that I'm increasingly interested in playing with space and form, and I want to carry that same sense of joy and play in the music that I write through my arrangements as well," he explains. "So this arrangement is an example of that kind of playfulness. It starts out like any other standard arrangement of 'Speak Low' in a count-it-off-at-a-jam-session kind of way, but there's a lot of very specific and subtle treatments done to the form and chord progression that just basically open up places where you wouldn't necessarily normally have them opened up. I'm really just looking for opportunities for the unexpected to occur."
Those kinds of surprises are prevalent throughout Hymn for the Happy Man, which stands as Pratt's most ambitious and fully-realized recording to date. 

Dan Pratt's Upcoming Performances:
June 2 / Smalls Jazz Club / New York, NY

Videographer: Matt Cowan / Dan Pratt - "Junket" 
Dan Pratt · Hymn for the Happy Man
Same Island Music  ·  Release Date: June 3, 2016
For more information on Dan Pratt, please visit: DanPratt.com

For media information, please contact:
DL Media  ·  610-667-0501
Greg Angiolillo  ·  greg@dlmediamusic.com
Don Lucoff  ·  don@dlmediamusic.com

Public Relations for the Preferred Artist 

USA: JANE IRA BLOOM Early Americans Sun, June 5th 8:30pm Cornelia Street Café

Announcing the release of
JANE IRA BLOOM Early Americans
 Outline (OTL142)
live at   Cornelia Street Café
Sun,  June 5   8:30 pm

"A powerful group of fearless jazz explorers...
who share a commitment to beauty & adventure"   

 - Bob Blumenthal

Jane Ira Bloom   soprano sax
Mark Helias   bass
Bobby Previte  drums

29 Cornelia St.
Greenwich Village, NY
tel # 212 989-9319
Admission: $15 cover $10 minimum

You never know what American original soprano saxophonist Jane Ira Bloom is going to do next. After the success of her 2014 all-ballads release “Sixteen Sunsets” Bloom shifts into another gear showcasing the kinetic energy of her acclaimed trio playing with the musicians that she knows best on Early Americans (OTL142). It’s her first trio album, sixteenth as leader and sixth recording on the Outline label. Her sound is like no other on the straight horn and she lets it fly on every track. She’s joined by long-time bandmates Mark Helias on bass & drummer Bobby Previte and with over fifty years of shared musical history together the album is sure to be a winner. Bloom’s collaboration with Helias dates back to the mid 70’s in New Haven CT and her unique chemistry with Previte has been ongoing since 2000. She brought the group together in summer 2015 to Avatar Studio B in NYC to capture their breathtaking sound in both stereo and surround-sound with renowned audio engineer Jim Anderson. The album features twelve Bloom originals ranging from the rhythmic drive of “Song Patrol” and “Singing The Triangle” to the spare melancholy of “Mind Gray River.” She closes the album with a signature solo rendition of the American songbook classic, Bernstein & Sondheim’s ”Somewhere.” World-renowned portrait photographer Brigitte Lacombe contributes a stunning cover image of Bloom. “Playing in threes” has always held a special fascination for jazz artists - it offers the possibility that something can be slightly off balance and that’s just what fires the imagination of players like Bloom, Helias, & Previte. With Early Americans Jane Ira Bloom stands in the vanguard of her generation carving out new territory in the heart of the jazz tradition.

“Jane Ira, Mark and Bobby bring a virtuoso level of musicianship into an intimate trio setting and produce music that is warm, flowing and conversational - the epitome of the kind of dynamic interaction one would expect from a blending of such exceptionally talented musicians”
                                                                        - Steven Cerra, Jazz Profiles

“Bloom's been playing at the top of her game for quite a while and once again, she finds a way to make that top rise a little higher…killer stuff”
  • MWR, Midwest Record

Saturday, May 28, 2016

USA: New Documentary from Bret Primack: Passing the Torch featuring Jimmy Heath

New Documentary from Bret Primack:

 Passing the Torch featuring Jimmy Heath

Bret Primack, aka the Jazz Video Guy, has started production on a new film, “Passing the Torch.”  The documentary, which is being crowdfunded, is a celebration of the sharing of creativity and knowledge from one generation to another featuring the tenor saxophonist and composer, Jimmy Heath, who turns ninety this October, and the Tucson Jazz Institute Ellington band, composed of high school instrumentalists.

This past January, Mr. Heath and the TJI’s premiere big band opened the Tucson Jazz Festival and something magical happened between the master musician and these young students.  Doug Tidaback, an educator who runs the TJI along with bassist Scott Black and saxophonist Brice Winston, felt that the vibe between Jimmy Heath and his students was so strong that he invited the Jazz legend back to record with the Ellington band, which has won a number of Essentially Ellington competitions at Jazz at Lincoln Center.

When filmmaker Bret Primack, a fifteen-year resident of Tucson, learned of the recording, he decided to document the proceedings.  “I was at the January concert and what happened between Jimmy and those kids came as no surprise.  I’ve known Jimmy since 1978 and in addition to being a superb tenor saxophonist and composer, he has a gentle, humorous, non-threatening approach to teaching that always produces memorable results.”

The recording session takes place this coming weekend and on Saturday, May 28, there will be a one-hour live Facebook broadcast at 3pm EDT live from the session.  After the broadcast, the content will available on demand on Facebook and YouTube.

“I didn’t plan it, but this will be my second film featuring a ninety year old musician," Primack reports.  My first documentary feature Taking Charge, featured famed big band lead trumpeter, Pauly Cohen.  I figure, if these guys are still doing it at ninety, there’s hope for me yet."

To help fund the film:


To view the live broadcast from the recording session: 

To contact filmmaker Bret Primack
(520) 815-9022

USA: Charlie Parker | "Unheard Bird: The Unissued Takes" | July 1, 2016 via Verve/UMe

Verve/UMe Announces Never Before Released 
Charlie Parker Sessions on
Unheard Bird: The Unissued Takes

Two-Disc Set, Available July 1, Released for
Verve's 60th Anniversary Celebration

Discovering previously unheard music is a consistent hope for serious jazz fans. Finding unreleased music from legends, especially those who departed far too early with their legacies incomplete, is a true joy; one of those legends whose every note leads to an adventure of innovation is the immortal Charlie "Bird" Parker. On July 1, Verve/UMe brings a thrill to jazz lovers worldwide with the release of Unheard Bird: The Unissued Takes, a comprehensive two-disc set featuring a cornucopia of previously unknown music--58 never listed studio takes from Charlie Parker. The set was co-produced by Phil Schaap, the eminent jazz historian who is currently Curator at Jazz At Lincoln Center and the foremost expert on Ornithology.

"These previously unknown takes are a blockbuster," Schaap says, "providing heretofore-unheard Bird improvisations, and in high fidelity." Discovered in a cache of materials owned by a former associate of Norman Granz, the founder of Verve Records and visionary producer of these sessions, the newly discovered takes allow the listener inside the private domain between Parker and Granz as they developed some of the most important music in jazz. In his highly detailed liner notes, Schaap provides overview, session-by-session history and track-by-track analysis, further illuminating the creative process of Bird's genius.

Originally issued on Mercury and Clef, but ultimately housed on Verve, the Parker/Granz studio collaborations were well-designed and thoughtfully conceived to display Bird's unparalleled talents in a variety of contexts. These included Parker's four to six piece ensembles (both working and pick-up groups); Latin Jazz efforts, some of which were labeled "South of the Border;" the orchestral Charlie Parker including his masterpieces with strings; standard Big Band; and Parker's prescient view of the Third Stream. Unheard Bird touches on all of these, including a couple of brief false starts on "If I Should Lose You" that were not included in the remarkable 2015 companion set, Charlie Parker With Strings: Deluxe Edition.

From the Latin side, there are five tracks with Parker as the featured soloist with Machito and his Orchestra; and 13 "South of the Border" tracks that feature a rhythm section of Walter Bishop, Teddy Kotick and Roy Haynes or Max Roach, along with Jose Mangual and Luis Miranda on bongos and congas, respectively, and joined on a pair by trumpeter Benny Harris. As a bonus we hear snippets of studio chatter, including Bird discussing tempo; on "Tico Tico" he asks studio guests to quiet down lest they ruin the session.

There is a fascinating set of ten tracks from a Cole Porter project that was never completed due to Bird's illness and untimely passing. Featuring a Big Band that included such heavyweights as Oscar Peterson, Freddie Green, Flip Phillips and Ray Brown, Bird digs into three Porter classics - "Night and Day," "What Is This Thing Called Love" and "Almost Like Being in Love," with brilliant results. More than half of the package features Bird in the small group hardcore bop settings for which he was best known. This features a reuniting of Parker's quintet, referred to as The Golden Era BeBop Five, the only Granz-produced recordings by this ensemble. These 14 tracks feature Kenny Dorham, Al Haig, Tommy Potter and Max Roach. They are joined for four more by trombonist Tommy Turk and Carlos Vidal on conga.

Dizzy Gillespie--Bird's co-conspirator in the Bebop movement--joins Bird for ten tracks, along with Thelonious Monk, Curley Russell and Buddy Rich. The all-Parker program includes complete run-throughs of "An Oscar for Treadwell," "Bloomdido" and "Mohawk." A quartet setting brings Hank Jones, Ray Brown and Buddy Rich to the bandstand for explorations of the beautiful Raye/DePaul gem "Star Eyes" and Bird's "Blues (Fast)."

To round out the new, 69-track set, included are the songs' master takes. (The mismatched math--58 unreleased takes plus 20 master takes somehow equaling 69--is due to the producers combining some of the shorter takes for this release.)

Spanning the years 1949-1952, Unheard Bird: The Unissued Takes displays the immortal master of the alto saxophone Charlie Parker at the peak maturity of his prodigious talents. Accompanied by so many of the era's giants, and allowed the time, space and support to produce art at its highest level, this set is a monumental addition to a legacy of artistry that is breathtaking in its scope and majesty. With Phil Schaap's erudite and perceptive delineation of the ways and means by which this artistry was achieved, and his portrait of the era in which it all took place, Unheard Bird: The Unissued Takes is an essential addition to the library of all serious fans of jazz.

For more information, please visit: VerveMusicGroup.com

* * *

For media information, please contact:
DL Media · 610-667-0501
Maureen McFadden · maureen@dlmediamusic.com
Don Lucoff · don@dlmediamusic.com

Public Relations for the Preferred Artist