Jazz Vocalist-Trumpeter Jumaane Smith Releases New Single “I’m Gone” | LISTEN! #jazz #music

Jazz Powerhouse Jumaane Smith Masters the Art of Letting Go on New Single “I’m Gone” 

New LP Come On Home Out August 16 via Zinn Music

Arrangement of “St. James Infirmary” Selected for WNYC’s 2024 Public Song Project

Performing at Dizzy’s Club at Lincoln Center Following Sold-Out Run of Shows at NYC’s Renowned Birdland Jazz Club

Acclaimed jazz vocalist and trumpeter Jumaane Smith continues to captivate audiences with the release of his latest single, “I’m Gone,” the third track from his highly anticipated album Come On Home, set to be released on August 16 via Zinn Music. Smith, renowned for his collaborations with music legends such as Quincy Jones, Aretha Franklin, and Stevie Wonder, as well as lengthy tenures performing with Michael Bublé and Harry Connick Jr., brings a profound depth and resonance to his latest work. His exceptional talent and versatility shine through, weaving together elements of jazz, blues, and contemporary soul to create a timeless sound.

“I’m Gone” is an exploration of the theme of moving on. With upbeat soulful melodies and candid lyrics, Smith delves into the complexities of setting someone free and the journey of releasing what no longer serves us. This single showcases his ability to blend emotional storytelling with musical prowess. “’I’m Gone’ is a song about the freedom and strength found in letting go,” says Smith. “It reflects a personal journey of overcoming challenges and leaving what you need to in the past.”

Born from a place of introspection and emotional exploration, Come On Home draws from Jumaane Smith’s own experiences of overcoming adversity, including early trauma and the challenges of his upbringing. The album serves as a cathartic expression of his innermost thoughts and emotions, offering listeners a glimpse into his soul. For Smith, creating Come On Home was a process of self-discovery and healing—a means of confronting past hardships while embracing the joy and refuge found in music. With each track, Smith channels a raw and authentic energy where vulnerability meets strength, and every note resonates with profound meaning. Ultimately, Come On Home symbolizes not only a musical homecoming for Smith, but also a statement to the power of art.

Jumaane Smith was recently tapped to contribute to WNYC’s 2024 Public Song Project by covering the classic “St. James Infirmary.” This project, which aims to celebrate the diverse musical heritage of New York City, invites artists to reinterpret iconic songs with their unique style. Smith’s rendition of “St. James Infirmary” brings his distinct blend of jazz, blues, and soul to the forefront, offering a fresh take on the timeless piece. Take a listen here: https://publicsongproject.bandcamp.com/track/st-james-infirmary

Jumaane Smith’s journey from the hallowed halls of Juilliard to the world’s grandest stages is a monument to his unparalleled talent and resolute dedication to his craft. As a product of the inaugural class of Juilliard’s Jazz Studies program, where he was mentored by the legendary Wynton Marsalis, Smith honed his skills and developed a profound understanding of jazz tradition and innovation. Since then, his career has been nothing short of extraordinary. From collaborating with Quincy Jones, Stevie Wonder, and Aretha Franklin to sharing the spotlight with pop sensations like the Jonas Brothers, Smith has effortlessly navigated diverse musical landscapes while staying true to his jazz roots. His remarkable 18-year tenure as lead trumpeter and vocalist with Michael Bublé not only showcased his virtuosity, but also solidified his status as one of the most sought-after musicians in the industry.

Last month, Jumaane Smith and his quartet headlined a sold-out run of shows at the renowned Birdland Jazz Club in New York City, allowing audiences to experience his captivating live performances and storytelling. Fans can look forward to another unforgettable evening as Jumaane is set to perform at Dizzy’s Club at Lincoln Center on September 25. Additional tour dates (listed below), tickets, and additional information can be found HERE.

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Jazz horn player Gabriel Mark Hasselbach is feeling "Lucky" amidst a prolific summer #jazz #music

“Count Your Lucky Stars,” his second album to drop this summer, will be released on August 2. The first single, “SunSeeker” featuring Marion Meadows, is now collecting playlist adds.

 

Juno Award-winning and multiple horn player Gabriel Mark Hasselbach has a long-established gratitude practice. As he prepares to release his second album since June, he’s feeling grateful about this prolific summer that will see the release of his fifteenth album, “Count Your Lucky Stars,” which he wrote and produced with Lew Laing Jr. (Paul Brown, Richard Elliot, Norman Brown). The Windtunnel Records release arrives on August 2.

 

“Count Your Lucky Stars” is a 13-song aural exploration through contemporary jazz rhythms, grooves and melodies. Showcasing his lyrically expressive horn play, Hasselbach wields multiple horns on every track throughout the project, finding the variety empowers him to uniquely color, shade and texturize each song.   

 

“I mix my flute and my muted trumpet and my flugelhorn in a lot of different combinations. And I really like the balance of those textures. It provides different sonic colors to me, so it’s something that I’ve gravitated to and just by nature have developed,” Hasselbach recently told the Jazziz podcast.     

 

The album opener, “SunSeeker,” is the first single from the new album and the cut spotlighting saxophonist Marion Meadows began collecting radio and Spotify playlist adds last week, including SiriusXM’s Watercolors. Both artists lived in Hawaii for many years. Hasselbach paints the picture of the song’s inspiration.

 

“The song title explains our journey to the islands, a magical place full of hope and love. Tradewinds create breezes that keep you cool, allowing the sun to gently burnish you,” said Hasselbach who will make his Catalina JazzTrax Festival debut on October 17.    

 

The uplifting title track is next and sprang from a daily affirmation that Hasselbach repeated.

 

“I spent the last twenty years or so doing the personal development work to reach my potential and higher self, and part of that exercise was a daily affirmation that started out as wishful thinking and became my reality along the way. A 'thank you' goes a long way in daily interactions, but even more so when you thank the Universe or Higher Power for the good things you have - mentally, emotionally, physically and spiritually - rather than the things you don't have.”

 

Hasselbach’s positive mindset permeates “Positive Space,” a chill tune about the need for quiet, safe spaces free from toxic people.

 

“We all need places that nourish us, happy places free from toxic relationships. That is the key to a balanced and happy life, so I thought a musical expression of that reality was worth exploring,” said Hasselbach.

 

Juno and American Music Award-winning singer-guitarist Alfie Zappacosta plies his distinctive voice to “We Are,” continuing Hasselbach’s careerlong tradition of including at least one vocal track on every album. Pianist Miles Black is featured on “Force of Habit,” a slick percussive groove constructed by Laing Jr. and bassist Glenn Riley. Laing Jr.’s deft beats anchor “Funky Lew,” one of two duo tracks on the album performed by Hasselbach and Laing Jr. Eddie Bullen guests on “Written in the Stars,” issuing a poetic piano solo.

 

The tempo rachets up to dance floor on “Show of Hands,” which Hasselbach said was written to pay homage to those who step up to serve society. 

 

“This is an inspirational and aspirational track that is meant to promote community spirit and giving. The world needs more uplifting and civic minded people who don't always put themselves first. In a way, this song is an anthem for the good guys!” enthused Hasselbach.

 

From club vibe to romance, Hasselbach serenades on “Paris Solstice,” recreating the ambiance from when he proposed to his wife atop the Eiffel Tower.

 

“After a couple of French 75s and some cheese nibbles, the fading light of the summer's eve bathed us in a golden glow as we were basking in the joy following the ‘Yes!’” recalled Hasselbach.

 

“Just A Little Fling” is the only song on the set that is flute driven. Andrew Jacob Scott’s articulate electric jazz guitar features on “State of Play.” The atmospheric “That Being Said” ventures into exotic romance created by Andre Frappier’s rhythmic Latin guitar and Steve Alaniz’s sensual sax.

 

“Work the Magic” celebrates the magic of momentum, which began for Hasselbach last month when he released a retrospective collection of 18 vocal tracks taken from his 14 albums. “The Vocalists” features Michael Bublé, Dee Daniels and an accomplished assortment of popular Canadian vocalists as well as Hasselbach crooning himself. The vocal album is made up of straight-ahead jazz, R&B, blues and adult contemporary pop selections. 

 

This summer isn’t the first time that the fruitful Hasselbach has dropped two albums around the same time. His previous two projects, the contemporary jazz “Tongue & Groove” and straight-ahead “MidCentury Modern Vol.3,” both streeted in 2022. “Tongue & Groove” scored a Contemporary Album of the Year nomination at the inaugural Jazz Music Awards while “MidCentury Modern Vol.3” enjoyed a 17-week run on the JazzWeek chart.

 

A Denver native who has made Vancouver his home, Hasselbach is the rare jazz musician who is equally at home in contemporary, straight-ahead and traditional New Orleans jazz settings. He’s amassed eleven Billboard top 30 singles, and his extensive collection of honors and awards includes several Junos (Canada’s Grammy equivalent). Reflecting his resume  of projects in all hues of jazz, Hasselbach has recorded with a diverse array of Grammy winners and Billboard chart-toppers including Jeff Lorber, Paul Brown, Paul Hardcastle, Bob Baldwin, Marc Antoine, Greg Manning, Darren Rahn, Warren Hill, Rob Tardik, Bob James, Chuck Loeb, Larry Coryell, Ernie Watts and Bob Mintzer. He’s performed around the world at some of the most prestigious jazz festivals including Montreux, North Sea and JVC.

 

The “Count Your Lucky Stars” album contains the following songs:

 

“SunSeeker” featuring Marion Meadows

“Count Your Lucky Stars”

“Positive Space”

“We Are” featuring Alfie Zappacosta

“Force of Habit” featuring Miles Black and Andrew Freeman

“Funky Lew” featuring Lew Laing Jr.

“Written in the Stars” featuring Eddie Bullen

“Show of Hands” featuring Glenn Riley

“Paris Solstice” featuring Miles Black

“Just A Little Fling”

“State of Play” featuring Andrew Jacob Scott

“That Being Said” featuring Steve Alaniz and Andre Frappier

“Work the Magic”

“We Are” featuring Alfie Zappacosta (radio edit)

 

 

Listen to “SunSeeker” at https://lnk.to/yZjNCh6w.

 

For more information, visit https://gabrieljazz.com.

 

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Bassist Mauricio Morales to Release New Project “Seven Days” on Oct. 11th, 2024 #jazz #music

Los Angeles-Based Bassist/Composer Mauricio Morales Wrote the Compositions for Seven Days as Self-Driven Challenge in a Week

Featuring Saxophonist Edmar Colón, Guitarist Horace Bray, Trombonist Ido Meshulam, Pianist Luca Mendoza and Drummer Jongkuk “JK” Kim

Available October 11, 2024

On its own merits, the music on Seven Days, Mauricio Morales’ latest album, speaks with a strong, persuasive creative voice. The respected bassist-composer-bandleader’s fourth album presents seven distinctive compositions for sextet, with sophisticated shifts in mood and musical structure. The music teems with intelligence as well as infectious melodic qualities, with deft, lushly harmonized lines for the front line of trombone, saxophone and guitar.

In a mode of decidedly modern jazz which also manages to be easy on the ear and heart, the music also benefits from bold, integrated playing and soloing by his young allies from both the east and west coasts–connections made when the Mexican Morales lived and studied in Boston before settling in his current adopted hometown of Los Angeles.

But beyond the gleam and energy of Seven Days are working process elements adding to the dramatic and conceptual back story. Morales composed this body of work—the result of a self-driven challenge to write seven tunes in as many days–while literally stuck in his native Mexico due to a mysterious Visa renewal snafu. Channeling his sense of alienation into the cathartic process of crafting the varied moods and cohesive suite of pieces led to a live performance in Los Angeles, and following the urging of his bandmates to create a recorded version of the work resulted in the document that is Seven Days, the engaging and dynamic album document, recorded entirely live over two days in the studio.

It would be a mistake, however, to view the album as a characteristic Mauricio Morales album. Creative restlessness is one of his character traits. As he comments, Seven Days is “definitely a piece of work that is very close to me, in a way that’s different to the work that I’ve released before, because of how it came to be. I’m excited about everything that I’m working on, and I will probably forget about it the moment I release it,” he laughs. Not likely.

Morales has been a rising force as player and bandleader/project-leader for the past several years, but his formative musical life goes back to his picking up the electric bass at 13 years old and the upright bass six years later. With the noted artist Tere Lojero as his mother and a music aficionado father to guide his interests, Morales discovered a passion for writing and manifesting his own music. Working on the east coast scene after heading to Berklee School of Music in 2012, Morales migrated westward to Los Angeles in 2018.

Morales launched what has become a diverse discography with the sometimes fusion-tinged tracks of 2021’s Luna, followed by the improvisation-leaning trio album Eclipse in 2022 and The Endless Ride last year, in 2023. The pop resonances and qualities on that album, including vocals, is in marked contrast with the almost entirely acoustic sextet context of Seven Days.

Of the variety between projects, Morales explains, “I want to explore different areas of my artistry. My first record had a very youthful essence to it. I wanted to put everything within seven songs–my writing, my playing, and everything else. And then the second record was the complete opposite because it is completely stripped down.” With The Endless Ride, he explains, “I wanted to also experiment with all my influences of when I was younger, because when I started playing music, I wasn’t really listening to jazz at all.”

Clearly, from the evidence of Seven Days, Morales is by now deeply steeped in jazz, as player and composer, and expertly equipped to create his own new vision within the genre. In terms of influences on his writing, especially in discernible “jazz” mode, he points to such prominent artists as Aaron Parks, Brad Mehldau, Brian Blade and especially Pat Metheny. “Even though his music can be complex,” Morales says of Metheny’s music, “there’s something very accessible about it that I’ve always resonated with since before I played jazz.”

For the Seven Days project, Morales had bold and empathetic company in the band gathered to realize his vision—saxophonist Edmar Colón, guitarist Horace Bray, trombonist Ido Meshulam, pianist Luca Mendoza and dynamo drummer Jongkuk “JK” Kim. The seven tracks of Seven Days follow a diverse course of musical and emotional impressions, starting with the wary optimism of “Monday: Wishful Thinking,” with a prime example of Morales powers as soloist, and continuing with the restrained but driving force of “Tuesday: Under the Magic Tree.” The more balladic ambience of “Wednesday: The Wanderer” and “Thursday: Solitude” segues into the roiling energy of “Friday: A Ghostly Vision” (showcasing piano and guitar) and “Sunday: The Paradox” follows a bittersweet but forward-motion pulse, featuring tenor sax and trombone in the solo spotlight.

Fortunately, it has seen the recorded light of day for all to hear, and Seven Days adds one more layer to Morales’ steadily evolving artistic identity and catalogue. “I want not only the record itself to be cohesive on its own,” he comments, “I want it to be cohesive as well with my previous work. There are connections within all of them.”

As a multi-tasking instrumentalist, composer, bandleader and general-purpose idea generator behind his projects, Morales views Seven Days and his albums in a highly personal way. He asserts that “a very specific moment in my life is printed in this music because it’s really, truly uncompromised. It is my voice in all of it, in wherever you see it.”

Photo Credit: Mónica Loza

Mauricio Morales • Seven Days
Release Date: October 11, 2024

For more information on Mauricio Morales, please visit:

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Contemporary jazz keyboardist Patrick Bradley is spiritually rooted in "Gratitude" #jazz #music

                                                                       

His sixth album arrives September 20; the title track of the set produced by Grammy nominated hitmaker Darren Rahn will be released as a single.

 

Although already a deeply devout man, a life-threatening illness became a literal “come to Jesus” moment for Billboard chart-topping contemporary jazz keyboardist Patrick Bradley. The immense sense of gratitude and awe that he feels since overcoming the gravely ill month that saw him hospitalized twice informs the ten songs that he wrote for his sixth album, “Gratitude,” which drops September 20 on the Patrick’s Song Factory label. Multi-time Grammy nominated producer Darren Rahn produced the collection and co-wrote seven songs with Bradley.   

 

Before stricken by the undiagnosed illness, Bradley had been on a high since his last album, “Exhale,” was released in 2021. The title track shot to No. 1 on the Billboard chart. A second single, “Completely Yours,” went top 10 and two other singles (“Song of May” and “Reinvention”) reached the top 20. That same year, the sickness that the doctors deemed Bradley at “substantial risk for morbidity” sparked a crisis of faith. His liver, pancreas and kidneys were under attack, causing intense and debilitating headaches. Bradley did some soul searching at the height of his illness.

 

“At that time, I had been a Christian for some 38 years, and yet there was that pinging concern if my heart was fully with the Lord. Was I just living for myself or really living for the Lord? Was I taking the Lord seriously enough or was I just living an easy cheap grace sort of life? Easy believe-ism if you will,” shared Bradley.

 

Feelings of repentance filled Bradley, lighting his path to healing.

 

“I began to weep uncontrollably. An intense sense of repentance and humbling came over me. At that moment, my headaches stopped, and I began to recover. That moment changed me forever, and I continue to be blown away by my loving, gracious and Holy God. My hope through this music I wrote and recorded for ‘Gratitude’ is to glorify the Lord and lift up and bless those who hear it,” said Bradley who will preview the album with a performance at Spaghettini south of Los Angeles on Sunday (July 28).

 

Not just transformed spiritually, Bradley exhibits some stylistic changes on “Gratitude.” His previous sets were more fusion focused and displayed him primarily playing synth and organ along with some piano. The new project is distinctly more contemporary jazz-based and spotlights Bradley’s piano play, a switch underscored by the album’s cover art showing Bradley standing next to a piano. Instead of spacy and explorative jazz fusion forays, the ten songs on “Gratitude” feel more present, focused and are brimful of joyous energy.

 

The album opens with the graceful and poetic “Narrow Path,” on which Bradley and Rahn (synths, tenor sax, synth bass and drum programming) are joined by guitarist Allen Hinds. The rhythm section swells to include two-time Grammy-winning bassist Mel Brown, drummer Tarell Martin and percussionist Christian Teele on the groovy, retro “Nothin’ Ain’t,” which features Rahn, a 29-time Billboard No. 1 hitmaker, ripping a fat sax solo mid-tune embellished by Bradley’s roof raising organ blasts.

 

Earlier this year, Bradley offered a glimpse of “Gratitude” when he released “Road Trippin’” as a single.

 

“The inspiration of the song is really celebrating the freedom and the joys of a road trip. Ever since my wife, Lisa, and I purchased a fifth wheel a couple of years ago, we’ve been enjoying the outdoors. We’re grateful to have the opportunity at this time in our lives when we have both the freedom and the means available to get out there. For us, it’s about exploring new destinations and visiting cherished places while enjoying the beauty of God’s creation,” said Bradley who lives in San Diego County.

 

The tone and tempo become more reflective on the album’s title track and forthcoming second single. Rahn, who like Bradley is a man of faith, delivers an impassioned and compassionate sax sermon on “Gratitude,” which will begin collecting playlist adds on September 30.

 

Bradley revisits his fusion muse on “Transformation,” on which he plays his trademark piano, synth and organ combo. Guitarist Randy Jacobs adds slick funk riffs to the reassuring affirmation that is “Abide In Me.” “The Calling” has cosmic elements created by Bradley’s four-prong keyboard palette (piano, Rhodes, synth and organ) and Dave Beegle’s acoustic and electric guitars. Bradley pays homage on the empowering rock fusion anthem “Luminaries.”

 

“As the world grows darker and colder, the need for salt, light and truth grows exponentially. Jesus said His disciples are the salt and light of the world,” said Bradley who freely quotes scripture in conversation, especially when citing his creative inspiration.

 

Beegle features on “There Is No Other,” which Bradley recalls was seeded forty years ago when reading the book of Isaiah 43:10.

 

“From that point on, my life was changed, and I began to follow Christ. I understand now that was a sovereign act of God’s grace in my life. I am continually humbled and am still completely blown away by Him,” Bradley admitted.

 

The album closes with “Celebration,” a festive contemporary jazz romp spiced with saucy Latin jazz nuances.

 

Bradley debuted in 2007 with the “Come Rain or Shine” album, which featured six-time Grammy nominated saxophonist Eric Marienthal. The title track became the keyboardist’s first Billboard top 30 single. Four years later, Bradley returned with “Under The Sun,” which was produced by Grammy-winning fusion pioneer Jeff Lorber and included Marienthal’s shining sax and a highlight performance from trumpet and flugelhorn star Rick Braun. Lorber returned to helm “Can You Hear Me” in 2014, an outing that saw Bradley’s impressive list of collaborators add Jimmy Haslip (Yellowjackets, Steely Dan), Gary Novak (Chick Corea, Lee Ritenour), David Mann (Sting, James Taylor, Billy Joel) and Michael Thompson (Bob James, Michael Jackson, Celine Dion). Multiple Grammy nominated headliner Dave Koz played an emotional soprano sax solo on the title cut, which is nearing in on ten million streams. Haslip, Novak, Mann and Thompson linked up with Bradley and Lorber again on 2017’s “Intangible.” The album notched two Billboard top 10 singles: “Dear Friend” and “Tailwind” featuring guitar ace Paul Jackson Jr. (Michael Jackson, Daft Punk). 

  

The “Gratitude” album contains the following songs:

 

“Narrow Path”

“Nothin’ Ain’t” featuring Darren Rahn

“Road Trippin’”

“Gratitude” featuring Darren Rahn

“Transformation”

“Abide In Me”

“The Calling”

“Luminaries”

“There Is No Other” featuring Dave Beegle

“Celebration”

 

 

For more information, visit https://patrickbradley.com.

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