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Wednesday, March 13, 2024

Jazz Ensemble of Memphis - Playing In The Yard #jazz #music

Jazz Ensemble of Memphis
Playing In The Yard

Impacting
March 29th, 2024


Format: Jazz

"These kids are incredible! I’m so grateful to be a tiny part of their world. And it is indeed their world now."
Kirk Whalum — Memphis Musician


The Jazz Ensemble of Memphis’ Playing in the Yard has made me one happy Jazz-camper this day! Having just finished reading the biography of one Thelonious Monk, who made it a habit of “playing in the yard” with his historically adventurous, ingenious, yet playful music, I’m smiling from ear to ear as I listen! I’m feeling extra blessed to note the high level of creativity in the writing/arrangement, and of course the improvisation. Yes!! This is such a welcome discovery because mediocrity creeps in unannounced far too often in these endeavors. “Hey we’re only teenagers…” We forget that Monk & his cronies (Dizzy, Parker, et al) were also in their teens and early twenties when they innovated an exalted art form that remains at the center and top of all popular music. Globally. And these kids are bringing that excellence to fore with that unmistakable Memphis seasoning which sets them apart, and in the rarified air of other Memphis giants. George Coleman, Phineas Newborn, Herman Green and so many more — left here with hopes that exactly this would happen! Bravo!!!
- Kirk Whalum — Memphis Musician

This record began as a conversation between Memphis International Records owner, Jeff Phillips, his father Johnny and producer David Less about the 1959 album, Downhome Reunion: Young Men From Memphis. Recorded in New York, it featured Memphis Jazz legends George Coleman, Booker Little, Phineas Newborn, Jr. Calvin Newborn, Frank Strozier, Jamal Nasser and others before they were famous.

The Phillips’ asked Less to produce a new version, recorded in Memphis, of some of the top young jazz musicians that, like on the original record, were at the beginning of their careers but showed promise of future greatness. The Jazz Ensemble of Memphis was not a working group and some met for the first time at these sessions. Their ages range from 17-26. Playing The Yard is that album.

This album is dedicated to all of those great Memphis Jazz musicians that came before us. We stand on your shoulders.

The Players:


Drums: Kurtis Gray was 17 years old at the time of recording this album.
Trumpet: Martin Carodine, Jr. was 19 at the time of this recording.
Bass/Electric Bass: Liam O’Dell was 21 years old at the time of recording.
Keyboards/Percussionist/Vibes/Congas: DeAnte Payne was 25 years old at the time of this recording.
Tenor Saxophone/Flute: Charles Pender II was 26 years old at the time of this recording


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Tuesday, March 12, 2024

Positive Thinking: Contemporary jazz guitarist Chris Standring shares his joy and optimism on “As We Think,” dropping April 5 #jazz #music

 

While a kid growing up in the United Kingdom, contemporary jazz guitarist Chris Standring read James Allen’s “As a Man Thinketh,” and it sowed the seeds of positivity and optimism, leading to a transformation that occurred in his early sixties when the musician got married for the first time last year. Acknowledging how his mindset inspires the music he composes and records, Standring’s upbeat nineteenth album, “As We Think,” captures his marital bliss and hope on the eleven songs that he wrote and produced on the Ultimate Vibe Recordings release that arrives on April 5.

 

“Allen’s little book from way back in 1902 had a lasting impact upon me. As an excessively positive thinker, albeit with a very realistic, often dark, typically British outlook, I thought ‘As We Think’ might just be the perfect title to describe where I sit in the universe right now. I recently got married, an influence that emanates loudly from these recordings,” said Standring who created his distinctive brand and unique sound using retro jazz, seventies soul and funk, vintage R&B grooves and modern electronic nuances in the mix that surrounds his guitar tone and technique, distinguishing himself from other contemporary jazz guitarists.  

 

Standring opens the new album in a quartet configuration backed by the taut rhythm section comprised of bassist Andre Berry (David Sanborn, Dave Koz, Rick Braun), drummer Chris Coleman (Chaka Khan, Christina Aguilera, Babyface), and Grammy nominated percussionist Lenny Castro (Joe Sample, Eric Clapton, Toto). The album contains four songs featuring this core lineup, the first of which is “Chocolate Shake” that Standring stirs with a talk box.

 

“As We Think” is a departure from recent Standring recordings in that the album is horn powered with most of the arrangements constructed by Grammy and Emmy winner Walter Murphy. “Good Gracious” introduces the horn section made up of Aaron Janik (trumpet), Brandon Fields (alto sax), Katisse Buckingham (tenor sax) and Ido Meshulam (trombone).

 

“This is the kind of song I love to play because it is challenging to improvise on and it

allows me to build a story in a solo. Plus, it feels really good,” said Standring who plays London’s Pizza Express Jazz Club on March 14-16 before returning to gig south of Los Angeles at Spaghettini on March 23.

 

The Earth, Wind & Fire elements on the seductive R&B groove “Come Closer” are undeniable, prompting Standring to say, “This whole album has a very retro feel about it, as do many of my albums, but I have a particular fondness for the soul of the 1970's. This feelgood track instantly takes you to that time.”

 

In addition to his agile lead guitar licks, Standring adds organlike keyboards to the invigorating “Top Hat & Tails.” The first radio single, “Alphabet Soup,” is a groovy funkster accompanied by a slick black and white video that can be viewed at https://www.youtube.com/watch?v=TZ-Z_LL0k7w.  

 

“It’s an ensemble piece featuring one of my label artists, Dino Soldo, on tenor sax, Rodney Lee on organ, and a Los Angeles-based horn section. Quite an elaborate arrangement, which is possibly why I named it ‘Alphabet Soup’ because everything's in there. I'm always looking for new fun songs to add to my live show and this will no doubt be in the 2024 live setlist,” enthused Standring.

 

On “Bedtime Story,” the guitarist intended to create a Steely Dan-like tune, but that’s not exactly how the story unfolded.

 

“I'm a sucker for ballads and chord sequences that allow me to express myself while improvising. I actually wanted to try and write something like ‘Babylon Sisters’ because of the distant chords that take you on a little journey, but I ended up going in quite a different direction once I got in there. This is what came out. Clearly nothing like Steely Dan,” said Standring with a laugh.

 

Coleman is featured on “Michael’s Watch,” pounding out a timely drum solo midtrack in juxtaposition to Standring’s lyrical electric jazz guitar. The instrumental song recounts the unlikely story of how a watch running ten minutes late led to his parents meeting for the first time at a wedding and how he wouldn’t be here if that watch ran on time.  

 

“This Life” satisfies Standring’s long-held desire to pen a tune that has a reggae vibe.  

 

“I always wanted to write a reggae track but twist it somehow to my style. I have tried unsuccessfully in the past, but ‘This Life’ came out great. It’s fun and joyful,” he said.

 

Showcasing another one of his label artists, Terry Disley, “Monday Madness” grants the acoustic pianist the platform to rip a swinging solo. Standring challenges himself on “Swings and Roundabouts.”

 

“Sometimes I like to take a sample of something strange and make a whole song out of it,

forcing myself to choose harmonies that have to match the musical sample. In this case,

the opening scratchy keyboard lick is that sample. Sometimes having to work within tight parameters makes for very creative writing,” reflected Standring.

 

Closing with “Too Good To Be True,” Standring serenades his new bride with an assist from Soldo’s reassuring harmonica embrace and Larry Steen’s elastic upright bass rhythms. 

 

“There is something very longing and hopeful about this song, but also romantic,” described Standring.

 

After playing in the jazz and hip-hop band Solar System, Standring debuted as a solo artist with 1998’s “Velvet” album. A dozen years later, he scored his first of seven Billboard No. 1 singles with “Bossa Blue,” which also was Billboard’s contemporary jazz track of the year. Standring notched an additional four more Billboard No. 1 singles as a featured guest soloist on singles by Thom RotellaCindy BradleyRick Braun and Richard Elliot. Eager to explore the unconventional and unexpected, he’s challenged himself by recording a live album in London with an orchestra and a collection of standards culled from the great American songbook that he recorded at the famed Abbey Road Studios. Mixing things up literally last year, Standring issued a remixed set of his more sensual tracks titled “The Lovers Remix Collection.”

 

A popular performer on concert and festival stages throughout the U.S. and Europe, Standring is eager to share the joy, positivity and celebration he infused into the music on “As We Think” during his concert itinerary that presently contains dates through October.

 

“As We Think” contains the following songs:

 

“Chocolate Cake”

“Good Gracious”

“Come Closer”

“Top Hat and Tails”

“Alphabet Soup”

“Bedtime Story”

“Michael’s Watch”

“This Life”

“Monday Madness”

“Swings and Roundabouts”

“Too Good To Be True”

 

 

Go inside the “As We Think” recording sessions with Standring in the EPK: https://www.youtube.com/watch?v=0H4SQpbi5vs.

 

For more information including tour dates, please visit https://chrisstandring.com.

 


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