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Tuesday, May 16, 2023

Toronto-Based MAPLE BLUES BAND Capture A Jazzy, Sultry, Strutting Confidence with Aptly Named “Mating Cry” #jazz

Toronto-Based MAPLE BLUES BAND Capture A Jazzy, Sultry, Strutting Confidence with Aptly Named “Mating Cry”

 



 

MP3s, WAVs, Photos, Bio and All Assets Here

“Mating Cry” YouTube and Spotify

Website

 

 

“Mating Cry,” the new single from Toronto-based Maple Blues Band goes into the jazz world for this, and is exactly what its name suggests – a sexily strutting tune that announces its grand entrance with bright horns and a fun, cocky confidence. And its tenor sax solo by Alison Young adds just the right amount of sultriness to seal the whole deal.

 

With crossover appeal in both jazz and blues, Maple Blues Band reached No. 1 on the Roots Music Report’s Canadian Album Chart for a fifth week total for their album Let’s Go, consisting of 12 of the instrumental compositions the band compiled during their association with The Maple Blues Awards. Their release of a full-length album of instrumental music is part of a master plan to launch the group into the performance market of festivals and concerts.

 

“Mating Cry” was composed by the late piano/organ genius Michael Fonfara. A founding member of The Maple Blues Band, Fonfara was with the band for 16 years.  

 

“We added ‘Mating Cry’ to a show we did at the Calgary Blues Festival in August 2021 to make sure we wouldn’t run out of material,” recalls band leader Gary Kendall. “When I was editing a performance video of that show I realized that our version of that song was strong and should be added to the recording plans. And especially because it’s a fitting tribute to Fonf, who passed away in January, 2021.”

 

A highlight of the recording is Young’s aforementioned sax solo. “Alison is normally on baritone saxophone in our horn section, but I asked her to switch to tenor for the solo at our sessions,” Kendall recounts. “It was a good call for sure!”

 

The Maple Blues Band consists of Gary Kendall, bass/band leader; Pat Carey, tenor/saxophone/horn arrangements; Teddy Leonard, guitar; Al Lerman, harmonica; Jim Casson, drums; Lance Anderson, piano/Hammond B3 and accordionist; Howard Moore, trumpet; Meirion Kelly, trombone; Alison Young, baritone saxophone; and Roshane Wright, percussion.

 

The 12 tracks on Maple Blues Band’s Cordova Bay Records release Let’s Go are a group effort, as the songwriting credits are spread over 24 years, including past and present band members. 

 

Their single “Mating Cry” is available now.

 

For more information, please contact:

 

Eric Alper

Publicist  I  Music Commentator  I  Shameless Idealist

647-971-3742

www.ThatEricAlper.com

Eric@ThatEricAlper.com 

http://www.Twitter.com/ThatEricAlper

http://www.Facebook.com/EricAlperPR

http://www.Instagram.com/ThatEricAlper

 


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Monday, May 15, 2023

Smooth Jazz Chart - Weekly Top 100 - May 15, 2023 #jazz

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Monday, May 08, 2023

Smooth Jazz Chart - Weekly Top 100 - May 8, 2023 #jazz

Smooth Jazz Chart 
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Saturday, May 06, 2023

Pianist Marie Ginocchio invokes her late mentor Chick Corea on an adventure through “Wonderland” #jazz

Pianist Marie Ginocchio invokes her late mentor Chick Corea on an adventure through “Wonderland”
The nineteen-year-old prodigy composed and performed the solo classical-jazz piano album that dropped Friday accompanied by her own illustrations inspired by the music.




Shortly after jazz piano legend Chick Corea passed away a couple of years ago, an introspective teenage pianist began composing solo piano music after listening to his 1978 album “The Mad Hatter.” Although Marie Ginocchio had only been playing piano for four years at the time, the student of the Chick Corea Academy exhibited prodigious composition and performing skills as well as imaginative timing, harmony and phrasing, which caught the ear of Corea’s longtime guitarist Frank Gambale, an acknowledged innovator and virtuoso in his own right. That was the encouragement Ginocchio needed to record “Wonderland,” her debut recording that was released on Friday (May 5) from Tyrian Music.
Each one of the nine piano sketches encompassing improvisational jazz and neo classical music that comprise the collection is accompanied by a colorful drawing made by Ginocchio, who also created the album cover image.
Entry into Corea’s academy program was a seventeenth birthday gift from Ginocchio’s parents in 2020. She found that Corea’s teaching philosophy suited her because of his belief that artistic freedom trumped music theory or process. Ginocchio derived additional influence from jazz pianists Makoto Ozone and Hiromi Uehara as well as from composer Béla Bartók. She is particularly allured to shifting time signatures and tempos along with dissonant harmonies. Corea passed away a year into her studies, but by then, Gambale and Academy staffers recognized that Ginocchio was exceptional and convinced her to start recording.
“She’s a Chick Corea reincarnation in a female form. I’m really going out of my way to help get her exposure that she really deserves. She’s absolutely amazing and brilliant, and I don’t say that lightly. As someone who has been independent, overlooked and misunderstood for most of my career, I understand what she’s facing, and I don’t want her to lose her spirit. The world needs these bright sparks to counter balance,” said Gambale.
In search of ideas for the project, Ginocchio recalled growing up listening to “The Mad Hatter.” With “Alice in Wonderland” as the underlying motif, she eagerly ventured down the rabbit hole, crafting over fifty minutes of music for “Wonderland.”
On the set, the now nineteen-year-old college student displays extraordinary technique, remarkable dexterity and dazzling speed that she deploys to tell mesmerizing piano tales. Ginocchio’s masterful finger work crafts hues, coloring and shading to illustrate her cerebral, contemplative and scholarly compositions that were written and committed to memory before being tracked in a recording studio near her parents’ home in Springfield, Missouri.
Listeners enter “Wonderland” with the precise and pondering “Alice in Analysis.” Ginocchio explains, “I wanted to use lots of lines and patterns in this song emulating how there are many thoughts happening in someone's head.”
The Bartok-influenced “Curiouser and Curiouser” gets its title from the classic story.
“I really wanted a song that would be very chaotic and strange, like how some of Bartok's compositions were. I’ve always loved Bartok and his ideas, so really this song was me trying to emulate him and the energy of his compositions.”
“Who’d Ever Think to Look for Me Here?” is slower and methodical, which Ginocchio intended to “balance out the rest of the songs on the album.” The title quotes Alice when she was lost in Tulgey Wood and references elements from one of Corea’s compositions, “Where Have I Known You Before.”
“Cheshire Cat” is Ginocchio’s attempt to capture the character’s personality.
“I used lots of jumping rhythms as well as complex lines. This character had more of a mysterious but also spunky and weird way of presenting himself, so I tried to make the song emulate that.”
Finding musical inspiration from compositions by Ozone and Corea, the upbeat and melodic “Where People Walk Upside Down” is taken from a quote by Alice in the story. Ginocchio brings “The March Hare” to life by writing a chaotic and energetic piece.
“I used a lot of rhythmic elements along with strange chords, transitions and odd time signatures to emulate those qualities.”
Spawned from another Alice quote, Ginocchio said that she didn’t have a specific idea for “What If I Should Fall” and randomly hit a rhythm and set of notes that she liked.
“From there, I went with the flow of what I originally made up in the beginning but tried to make this song slower and more moving emotionally with the periods of silence and chords.”
Ginocchio animates the odd characters lurking in the woods on the mysterious and bizarre “Into Tulgey Wood.”
“I tried to experiment more with some different rhythms and patterns. I wanted to work more with overlapping my hands for rhythms, so I tried to implement that in this song.”
Closing the adventure, “In the Shadow of the Queen” has a lot of moving pieces that revisit some of the elements we’ve heard earlier on the recording such as slowing the tempo to a deliberate cadence adjacent to a more frenzied section.
Ginocchio’s first instrument was clarinet, and she also plays guitar. Her breakthrough on piano came from learning to play via YouTube tutorials. That led to taking lessons from classical and jazz teachers and listening to classical music as well as to jazz piano recordings by Vince Guaraldi, Oscar Peterson and Bill Evans. But she quickly grew tired of regimented lessons, instead preferring to perform, create and explore her own forms of musical expression.
The ideas for Ginocchio to sketch the album cover and do an illustration for each song on “Wonderland” sprang from Corea’s own passion for sketching. Last year, Corea’s “Children Songs” series inspired Ginocchio to write shorter pieces that she labels minuets and have been shared on social media.
Ginocchio occasionally plays local shows and intends to do some virtual concerts, but she prefers focusing on composing new projects. She plans to experiment by recording in a band setting and adding electronic instruments and keyboards to her works. Along with working on more piano recordings, she plans to compose music pairing acoustic guitar and piano. But for now, Ginocchio’s playground is “Wonderland,” and she hopes listeners will embark on the enchanting escapade with her.
“Wonderland” contains the following songs:
“Alice in Analysis”
“Curiouser and Curiouser”
“Who’d Ever Think to Look for Me Here?”
“Cheshire Cat”
“Where People Walk Upside Down”
“The March Hare”
“What If I Should Fall?”
“Into Tulgey Wood”
“In the Shadow of the Queen”
Visit Ginocchio’s HearNow page at https://marieginocchio.hearnow.com.

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Friday, May 05, 2023

Out today! Mary Lou Williams Resurgence Project Volume 1 from Vibraphonist Cecilia Smith #jazz

VIBRAPHONIST/COMPOSER CECILIA SMITH ADVANCES MARY LOU WILLIAMS’ LEGACY WITH HER MARY LOU WILLIAMS RESURGENCE PROJECT

 VOLUME 1: SMALL ENSEMBLE REPERTOIRE


Release Date: May 5, 2023


Available from innova Recordings

(in-house label of the American Composers Forum)

 

With Lafayette Harris, Jr. & Carlton Holmes (piano/organ),

Kenny Davis (bass), Ron Savage (drums)

 Special guests Carla Cook (vocals), Sheila Anderson (on-air host, WBGO)

 

Includes the previously unrecorded “Tell Me How Long the Train’s Been Gone

(Mary Lou Williams/Paula Stone)

 

Liner notes by musicologist Dr. Tammy Kernodle

"Fluid and flexible in style and technique...Smith proves a versatile four mallet vibraphonist..." — JazzTimes Magazine


"Amazing dexterity, warmth and insight."-Cleveland Free Times

Cecilia Smith is currently available for interview

For more information, please visit:

www.ceciliasmith.com

Tour Press Contact:

Chris DiGirolamo

www.twofortheshowmedia.com

email: Chris@twofortheshowmedia.com

phone: 718-669-0752



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Thursday, May 04, 2023

The Pulse of Entertainment: Saxman Shawn Raiford Releases ‘Forever’ Single | LISTEN #jazz



*“I’m a huge Sade fan. I wanted something that represents Sade…I wanted that vibe,” said Urban Jazz saxophonist Shawn Raiford about his new single “Forever,” which was released for Valentine’s Day, from his upcoming album “The Next Step.” “It has drums coming in…from there we pieced it together. It took a few months to get it like I wanted it.”

The single “Forever” features Andre Delano on sax and Quintin Paris on vocals. The single was written by Shawn, Ashley Jemison, and Grammy-winning Derek Allen (Janet Jackson). Raiford is also fluent in playing R&B, Gospel, Pop, and Rock music.

“I didn’t start playing the sax until I was 35 years old,” he told me when I asked why this upcoming album is only his second. “My grandmother had a celebration at church…she raised me. My aunt asked what I wanted to do. I laughed and said a sax solo. We all laughed. My aunt showed me the program and had Shawn Raiford on sax. I asked her who was that? I went and got a sax. The only thing I had to play was ‘When the Saints Go Marching In.’ I released my first album ‘Man with a Horn’ when I was 55 years old in 2020. I’m 57 now, this is my second album.”

Read the entire Shawn Raiford article on eurweb.com by clicking here!


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Jazz fusion keyboardist Vahagn Stepanyan audaciously opens "A New Chapter" #jazz



 

Jazz fusion keyboardist Vahagn Stepanyan audaciously opens “A New Chapter”

                                

His “Synergy” video premiered in Times Square previewing the album releasing May 19 featuring a world-class collective of musicians.

 

A ten-year-old boy in war torn Armenia confidently told his piano teacher that one day he would play with jazz and gospel luminaries. She instantly shot down his ambitions, but the boy remained steadfast and undeterred, responding defiantly “Mark this day on your calendar because one day it will happen for me.” Flash forward to present day, a year-and-a-half after moving his family to Los Angeles to realize his dream, keyboardist Vahagn Stepanyan surrounded himself with Grammy-winning and world-class musicians, producers and engineers to record his second album, the aptly titled “A New Chapter.” Stepanyan composed and arranged eight songs for the jazz fusion collection releasing May 19.

 

Stepanyan produced “A New Chapter” with Kitt Wakeley, who earlier this year won the Grammy for Best Classical Compendium for “An Adaption Story” to which Stepanyan contributed to engineering and playing keyboards.              

 

In the intervening years between those early piano lessons and recording “A New Chapter,” featuring performances by eleven-time Grammy-winning trumpeter Philip Lassiter (Prince, Ariana Grande), Grammy nominated guitarists Greg Howe and Mark Lettieri (Snarky Puppy); platinum-selling saxophonist Dave Koz, bassist Ida Nielsen (Prince) and powerhouse drummer Eric Moore amongst other accomplished players, Stepanyan was classically trained in composition and learned the art of production. He began selling songs to Armenian artists and started playing in jazz clubs in his native land but learned hard-earned music business lessons by getting paid only four dollars if he was paid at all.

   

Stepanyan was gifted with a saxophone that he promptly sold to buy a computer so he could learn how to arrange songs. During a 2009 visit to the US, he was encouraged by the reaction to his masterful keyboard capabilities. Four years later, difficult circumstances left him without even a keyboard to practice on.

 

Undaunted, Stepanyan continued to believe and worked tenaciously, step by step, never losing sight of his goals. Today, he is an award-winning music producer, arranger, songwriter, film and television composer and keyboardist who crafted an album destined to elevate him to elite status in contemporary jazz.

 

The first single released from “A New Chapter” is “Synergy,” which dropped last month and is accompanied by a teaser video that premiered in Times Square on April 25. The track is constructed of a complex rhythm, Moore’s aggressive and astute drumming, Lettieri’s piercing electric guitar, and rich layers of opulent horns that feature Koz playing soprano sax in a completely different context from which he is best known. Stepanyan adds melodic vocalization to the rocket ship ride that is “Without Limits,” granting the ensemble the autonomy to create free from restrictions. Anthony Crawford’s stratospheric bass solo leaps to the fore on an exploration featuring Lettieri’s fretwork.

 

Nielsen’s dexterous bass is given star status on “Motion,” which packs powerful horn section blasts, a scorching and gauzy electric rock guitar solo by Roy Ziv, and Stepanyan’s otherworldly synthesizer expositions. Howe and Lassiter topline “Gravity,” floating above the intricate swatches of multiple guitars and horns. Throughout “A New Chapter,” Moore’s knockout drumming dominates in impressive fashion, but he’s officially featured on “So Good,” which is illumined by Stepanyan’s imaginative keyboards and a screaming guitar solo by Feodor Dosumov and Melvin Lee Davis’s (Chaka Kahn, Lee Ritenour, George Benson, Gerald Albright) elastic basslines. Brazilian drummer Cleverson Silva and Venezuelan bassist Isai Romero add Latin flavor to the playful “Toy.” Silva remains to play on the explosive “Revolution,” this time in the company of Dosumov’s shredding guitar and Wojtek Pilichowski’s frenetic bass. Closing with a solo piece that was recorded in one take, Stepanyan exquisitely conveys the emotions of the challenges he’s faced in recent years on “Hold My Hand,” a contemplative, poetic and cinematic beauty.

 

Stepanyan began writing “A New Chapter” while traveling through Arizona and into Utah where he visited Hanksville, a place described as “Mars on Earth,” the baren, mountainous backdrop that appears on the album cover.  

 

“It symbolizes the transition from one period of my life to another – a new chapter where you have to create, filling in the colors of life through your own imagination. This is a new chapter for me, and I don’t know where it will take me as an artist. But I do believe that in this new chapter, the best is yet to come,” said Stepanyan, who recently won two awards from the Akademia Music Awards for Best Jazz Songs for “Synergy” and “Motion.” “Motion” also won a Global Music Awards silver medal and garnered a nomination from the Hollywood Independent Music Awards in the Jazz (Fusion/Bebop) category.

 

Knowing that the process of recording “A New Chapter” would be transformational, Stepanyan documented the sessions in a five-part video series along with a teaser video that encapsulates the short documentary series. Each episode takes viewers into the recording studio and captures the musicians talking about crafting the album. As much as Stepanyan oozes respect and reverence for the virtuoso musicians highlighted on the project, they reflect back just as much admiration and accolades upon the keyboardist-pianist’s prodigious skills.

 

Although Stepanyan’s early training was in classical music, his muse has been jazz and gospel while incorporating world beat and global music nuances. He produced and collaborated on three volumes of the multicultural “The Ethnos Project” that were released in 2013, 2015 and 2018, truly international compilations that include up to fourteen languages. As a solo artist, Stepanyan debuted in 2015 with “Moonlight,” an offering of jazz, R&B and funk that he produced. Amongst the talents from the US, Armenia, Brazil, Thailand, Israel and Germany that performed on the album were Billboard chart-topping guitarist Adam Hawley, six-time Grammy-nominated saxophonist Eric Marienthal, bassists Crawford and Davis, and drummer Silva. In 2020, Stepanyan collaborated with Grammy-winning gospel singer Percy Bady.

 

Stepanyan has overcome towering obstacles getting to where he is and he’s done it on his own, trading on his extraordinary talents and unconquerable belief in himself. As he sets out to create a new life, Stepanyan’s “A New Chapter” is a remarkable achievement in production, arranging, songwriting and musicianship. Its roots sprouted from the soil of belief that a determined ten-year-old had long before anyone else recognized his exceptional skills.       

“I still have goals to reach. Mostly, I want people to recognize me not only as a jazz musician but as someone who writes and produces pop, R&B, soul, lo-fi, funk and gospel music as well as film soundtracks. If you have a dream, set your goals and go for it without any excuses. Never give up. Believe in yourself. Keep focused on your passion, work hard and invest in your future.”

“A New Chapter” contains the following songs:

 

“Synergy” featuring Dave Koz

“Without Limits” featuring Mark Lettieri

“Motion” featuring Ida Nielsen

“Gravity” featuring Greg Howe and Philip Lassiter

“So Good” featuring Eric Moore

“Toy”

“Revolution”

“Hold My Hand”

 

For more information, please visit https://vahagnstepanyan.com.

 


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Monday, May 01, 2023

Smooth Jazz Chart - Weekly Top 100 - May 1, 2023 #jazz

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Monday, April 24, 2023

"Let's Do This!" R&B-jazz trumpeter-vocalist Johnny Britt follows up his No. 1 hit with another single destined to top the charts #jazz



 

“Let’s Do This!” R&B-jazz trumpeter-vocalist Johnny Britt follows up his No. 1 hit with another single destined to top the charts

 

While studying music at the Conservatoire de Versailles near Paris decades ago, R&B-jazz trumpeter-vocalist Johnny Britt found the inspiration for his new single while attending an Earth, Wind & Fire concert in the City of Lights. The high-wattage, horn and guitar-powered “Let’s Do This,” featuring Billboard chart topper Nils, arrives Monday. Britt wrote and produced the follow-up to his No. 1 single, “After We Play,” which is the title track to his sixth solo album that dropped last month on J-Jams Records.

 

“In writing ‘Let’s Do This,’ the spirit of Earth, Wind & Fire’s ‘September’ is definitely all over this new song. My intent was to have a strong driving beat to drive the harmonic and melodic elements that make one react to their feelings. The pairing of the open brass trumpet sound along with the Al McKay style of guitar playing makes the two instruments the perfect combination to carry the song. Combined with the happy melody of lyric-less vocals in the chorus that surround the trumpet and guitar is exactly the vision I had,” said Britt who cast Nils to play guitar on the single that will soon be accompanied by a video that was shot in a downtown Los Angeles loft.

 

Named “Pick of the Week” by Smooth Jazz Network, “Let’s Do This” is illumined by Britt’s trumpet and horn section work as well as his soulful vocalization, keyboards, programming and arranging. With Nils as the spotlight soloist, Keith Henderson adds guitar melodies to the rhythmic groove formed by Marcus Williams (drums), Dean Mark (bass) and Sean J. Lawson (percussion). 

 

Before the album dropped last month, the “After We Play” single, featuring hitmaking guitarist Peter White, became Britt’s first number one single as a solo artist. He’s written three Billboard No. 1 singles for saxophonist Boney James. Tracks from the album are garnering spins in multiple formats. Britt teamed with soul balladeer Will Downing on “Butterflies,’ which went top ten on the independent R&B charts and was selected as an Editor’s Choice cut by Jazziz. There’s a lot more multi-genre success still to come for this project that boasts guest appearances by Gerald AlbrightTom BrowneBlair BryantKashan and Ricky Peterson. The cut that is a virtual lock to garner Grammy attention is the first ever duet by Rock & Roll Hall of Famer Little Anthony on his iconic hit with The Imperials, “Goin’ Out Of My Head.” This dream pop gem is graced with guitar accoutrements by Grammy-winning legend George Benson.

 

Britt, who will spend the summer singing and playing trumpet alongside Little Anthony on the Happy Together Tour, will take centerstage with his band at the Capital Jazz Fest on June 3. He launched “After We Play” by playing for packed audiences in Venice, Charlotte, Richmond and Hollywood.   

 

Seeing Britt on stage, witnessing and hearing his passion, feeling the joy and positive spirit in his musical expression, and inwardly experiencing his faith and hope for the world, when discussing the higher purpose and greater meaning behind “Let’s Do This,” his response resonates.

 

“In a world of killing and bad news every day, I wanted to compose a feel-good track, something that would take the listener’s mind off of the negative news, politics, deaths and wars. As a songwriter and musician, I try to lift burdens and create hope through my music. I really strive to do that and with the help of my good friend Nils on guitar, we went for it. We actually said ‘Let’s do this’ and away we went. It’s time to leave our troubles behind and have some fun.”

 

Below are highlights from the initial album and single reviews:

 

“A wonderful confection of smooth jazz and sophisticated soul.” – Soul & Jazz & Funk

 

“A stunning showcase… this one is a real winner.” - Smooth Jazz Therapy

 

“This beautifully crafted, and divinely-hued new recording…” – Exclusive Magazine

 

“His ultra-smooth trumpet tone is still as ingratiating as ever.” – Sonic Soul Reviews

 

“A beautiful album, full of quality music.” – Smooth Jazz Daily and Cultuurmania

 

 

For more information, please visit https://www.johnnybritt.com.


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