A very Happy New Year year to all the visitors of the JazzHQ blog, Facebook and Twitter. We're pleased that you found your way here and grateful if you've done it more than once.
Best wishes to you all. Good health and peace in the new year.
The Late Show's very own Jon Batiste & Stay Human fittingly wrap up 2022 with a performance of 'Auld Lang Syne.'
Saturday, December 31, 2022
Saturday, December 24, 2022
A Very Merry Christmas from JazzHQ #jazz
Our very best wishes to all of you who took the time to visit JazzHQ during the year, whether at jazzhq/blogspot.com, twitter.com/jazzhq, or facebook.com/jazzhq.
White Christmas - The Drifters (Video/cartoon)
Sung by The Drifters. Cartoon by Joshua Held.
Featuring Bill Pinkney on lead bass and Clyde McPhatter on tenor.
Sing along:
Ooh
Doop doop, doop doo doop
Ooh
Doop doop, doop doo doop
I'm dreaming of a white Christmas,
Just like the ones I used to know,
Where those treetops glisten, and children listen,
To hear sleigh bells in the snow, the snow.
Then, I-I-I am dreaming of a white Christmas,
With every Christmas card I write,
May your days, may your days, may your days be merry and bright,
And may all your Christmases be white.
I-I-I am dreaming of a white Christmas,
Just like the ones I used to know,
Where the treetops glisten, and children listen,
To hear sleigh bells in the snow.
I-I-I am dreaming of a white Christmas,
With every Christmas card I write,
May your days, may your days, may your days be merry and bright,
And may all your Christmases be white.
Jingle bells, jingle bells, jingle bells all the way.
Ooooh.
Ooh
Doop doop, doop doo doop
Ooh
Doop doop, doop doo doop
I'm dreaming of a white Christmas,
Just like the ones I used to know,
Where those treetops glisten, and children listen,
To hear sleigh bells in the snow, the snow.
Then, I-I-I am dreaming of a white Christmas,
With every Christmas card I write,
May your days, may your days, may your days be merry and bright,
And may all your Christmases be white.
I-I-I am dreaming of a white Christmas,
Just like the ones I used to know,
Where the treetops glisten, and children listen,
To hear sleigh bells in the snow.
I-I-I am dreaming of a white Christmas,
With every Christmas card I write,
May your days, may your days, may your days be merry and bright,
And may all your Christmases be white.
Jingle bells, jingle bells, jingle bells all the way.
Ooooh.
Friday, December 23, 2022
Monday, December 19, 2022
Congolese Superstar Fally Ipupa Releases New Album 'Formule 7' via Warner Music / Featured on NPR Weekend Edition Sunday
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Best selling smooth jazz at amazon.com
Jazz from Amazon.com
Smooth Jazz Chart - Weekly Top 100 - December 19, 2022 #jazz
Smooth Jazz Chart
This chart from smoothjazz.com generally updates every Monday.
When it updates, this post will be repeated with the most recent link.
Sunday, December 18, 2022
Seun Kuti drops new "African Dreams" EP with Black Thought December 9 After EU/US Tour
Seun Kuti & Black Thought’s New EP African Dreams Released, December 9 |
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Friday, December 9, Seun Kuti, the legendary Afrobeat family scion, released his new EP with Black Thought, the co-founder and MC of Jimmy Fallon’s The Tonight Show house band The Roots. The record, titled African Dreams, is comprised of three hip-hop remixes of songs from Seun Kuti & Egypt 80’s 2018 Grammy®-nominated Black Times and is produced by Molotov, mixed by Q Million, mastered by Chris Athens, and distributed by AWAL, with album artwork by Oddhouse. The duo released an animated music video for the record’s lead single, “Kuku Kee Me (Remix),” on September 22, before the track dropped on September 23. The song is an official soundtrack selection for FIFA 23 that perfectly marries the artists’ unique but global perspectives, combing funky beats and blistering verses to share the message of “people power” in the world today. The two previously worked together on Common’s single “When We Move,” which debuted worldwide for UN World Oceans Day before a performance on The Tonight Show, with footage of Seun Kuti at The New Afrika Shrine in Lagos intercut with Common, Black Thought, and The Roots live on-stage at Rockefeller Center in New York. This new album follows Seun Kuti & Egypt 80’s June 24 release of Live at Clout Studios, a two-track EP recorded at the renowned premises of Cool FM 96.9 on Victoria Island in Lagos. It also comes at the end of Seun Kuti & Egypt 80’s whirlwind international tour, which began in Leeds on June 1 and concluded in Madrid on November 7, hitting stops at major festivals and unique venues across the US, UK, and Europe along the way. The tracklist is as follows: Web and Social |
Best selling smooth jazz at amazon.com
Jazz from Amazon.com
Friday, December 16, 2022
Singer-Songwriter Adam Warner Releases Critically Acclaimed Country & Southern Rock Album, 'What We’re Known For'
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Best selling smooth jazz at amazon.com
Jazz from Amazon.com
Wednesday, December 14, 2022
A marathon effort to "Let Go" #jazz
Straight-ahead jazz saxophonist Sam Taylor ran the Philadelphia Marathon on the heels of his new album release.
Focused and locked in, Sam Taylor toed the start line of last month’s Philadelphia Marathon in the same manner as he stands backstage prior to being introduced. With a number plate pinned to his chest, he inhaled deeply just like before he puts his saxophone to his lips to play the first note. When the starter pistol fired, Taylor did exactly what he does when music fills his being and emotes through his horn: he let go. Taking off to conquer 26.2 miles, he surrendered to the experience of his first marathon, in his hometown, in the days prior to his fortieth birthday, and in the shadow of his newly released straight-ahead jazz album, “Let Go.”
“Returning to my hometown of Philadelphia, the place where my love for music took hold, was nurtured and allowed to grow, the moment was pregnant with possibility,” said Taylor who now resides in Harlem. “Music and running are both universal. Musicians surrender to the music, interpret the song and share with others. The marathon brings together a sea of humanity - each of us with our own vulnerability of mind/body/spirit. We surrender to that vulnerability - let go - inspiring each other along the way.”
Taylor attended The Performing Arts High School in Philly. As a student, he bused over to Temple University where he listened to acclaimed trumpeter Terrell Stafford play and lecture about jazz. On the new album, Taylor exhibits his studies flanked by Stafford, who is spotlighted throughout the swinging ten-song set that climbed into the top 30 on the Jazz Week chart.
As he ran the historic streets of Philadelphia past scenic landmarks, urban neighborhoods and beautiful waterfront vistas on a “crazy cold” November morning, Taylor recalled the jazz artists he saw play in local clubs while he was growing up and the impact those musicians had on cultivating his love of music. His feet hit the pavement mile after mile and along the way, Taylor thought of another saxman from Philly, Benny Golson. On “Let Go, which Taylor produced with Cory Weeds, he pays homage to Golson by performing the now 93-year-old’s “Out of the Past,” adding his own touch to the lyrical melody set to a bluesy swing groove.
Eight miles in, Taylor felt completely free and open to the adventure. In full stride, he began pondering the music and running connection.
“There is a desire in everyone for openness and freedom; both music and running serve this need,” reflected Taylor.
Passing the halfway mark, the tempo of Taylor’s rhythmic run continued like a metronome as he recalled seeing trumpeters John Swana and Joe Magnarelli play in Philly jazz joints. On “Let Go,” Taylor memorialized the influence they had on him by recording “Philly New York Junction,” a tune he saw the duo perform many times.
Grabbing an energy gel and a cup of water from the twenty-mile feed station, Taylor felt a much-needed boost, bringing to mind the pride he felt in recording his first composition that serves as the title track to his third album, “Let Go.” The song reflects his belief that music is an act of giving. Taylor feels that a life in music is about generosity and letting go. It’s about surrender, which requires being both tender and strong. It’s how he approached training for the marathon. Taylor knew the effort would require building endurance and strength – physically and mentally. Equally, he recognized the need to focus on “tender” qualities such as nutrition, recovery and rest.
In the final miles, Taylor realized that he was about to achieve his dream of completing a marathon prior to his milestone birthday. The realization brought to mind the intention he set for the “Let Go” recording date, which took place in Van Gelder Studios, the same studio were legends John Coltrane, Sonny Rollins, Freddie Hubbard and Stanley Turrentine recorded. The morning of the session, Taylor put pen to paper to write his intention to be grateful, mindful and present while giving and letting go. In the company of pianist Jeb Patton, bassist Neal Miner and drummer Willie Jones III, Taylor tracked “Let Go,” the set list of which includes standards from the Great American Songbook written by Barry Harris, Hank Jones and Jule Styne.
Crossing the finish line in front of the iconic Philadelphia Museum of Art in jubilation – and exhaustion, Taylor relished his accomplishment. He’d given his all, which is what mattered to him most of all. Early on during the pandemic, Taylor started running to replace his yoga practice. It provides an outlet for him to stay fit, clear his mind, and build cardiovascular strength that benefits his saxophone play. Running a marathon offered a goal to challenge his limits. Finishing underscored the music and running connection for him, emphasizing his ethos to let go and give.
“In a way, crossing the finish line is but a moment in time, a stop along the journey. Playing music is much the same: enter the studio, step foot on stage and express a moment; give voice to personal and collective forms of memory and feeling; inspire hope; and move others to create and share their own beauty and joy. It is the process: showing up, again and again, letting go and giving what you can,” said Taylor who will run the United Airlines NYC Half in March.
For more information, please visit www.samtaylormusic.com.
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Tuesday, December 13, 2022
Jazz fusion guitarist Ron Bosse's "Burning Room Only" is off to a hot start
Grammy winner Jeff Lorber produced and cowrote the album igniting the media landscape.
Jazz fusion guitarist Ron Bosse’s “Burning Room Only” is off to a scorching start across multiple media channels. The Deep Cat Records release produced and cowritten by Grammy winner and fusion keyboard icon Jeff Lorber is winning stellar reviews, hitting the charts in several jazz formats, receiving national airplay and has been streamed nearly 100,000 times. Videos created for two tracks from the album have already amassed approximately 200,000 views. Hot early numbers for a jazz fusion project.
A showcase for Bosse’s prodigious fretwork, the guitarist says the strength of “Burning Room Only” comes from the collaborative power of teaming with Lorber, and the chemistry and community they shared with the world-class musicians who lent their unique talents to the project. Among the masterful players featured throughout the record are drummer Gary Novak (George Benson, Lee Ritenour, Chick Corea), bassists Ben Shepherd, Jimmy Haslip (Yellowjackets), Hadrien Feraud and MonoNeon (Prince); multi-horn player and arranger David Mann, and saxophone soloists Bob Mintzer (Yellowjackets) and Bob Reynolds (Snarky Puppy).
Bosse acknowledges the impact “The Two Pats” – Martino and Metheny – have had on his artistry. The deliberate approach that Bosse took when writing music for “Burning Room Only” was to make it a “groove-jazz” set, also evidenced by his style of play. The Boston-based Bosse cites Martino’s influence reigning throughout the disc, even going as far as paying tribute to the late guitarist on the cut “Aerodynamic.” The track that will soon feature on a Jazziz magazine compilation CD has a companion video that was viewed over 118,000 times on Bosse’s Instagram page (@ronbossemusic).
“Burning Room Only” hit the Jazz Week charts while the first radio single, “Kiss the Sky,” landed on the Radiowave Groove Jazz chart. Richly melodic and groove laden, the single was one of the most heard songs nationally on SiriusXM’s Watercolors. Profiled in a soon-to-be-published feature in Vintage Guitar magazine, Bosse and “Burning Room Only” are being celebrated by reviewers.
Encouraged by the album’s sizzling reception, Bosse has a long view gameplan and is committed to keep “Burning Room Only” on the burners well into the New Year. A second single will drop shortly after the holidays. Alternate versions of songs and bonus tracks highlighted by the appearance of luminaries are in the works with additional details soon to be announced.
Below are excerpts from some of the initial album reviews:
“His playing and compositions are world class on every level…This album is somewhere between fusion and contemporary groove based funky jazz. I honestly cannot overstate what a good listen it is. It has all the elements that make it stand out from the sea of good guitar players that work within the many subgenres of jazz. The interplay between the musicians is as good as it gets and the production is flawless. Ron's guitar is a masterclass in playing for the song while still pushing the boundary far enough to make his very capable voice be heard. I highly recommend Burning Room Only to anyone that loves world class musicianship featured on an album that the listener does need to be a musician to enjoy. That is not an easy balance to strike. But this album does it in stellar fashion.” – Radio Guitar One
“A gifted fretman who deftly combines alacrity and dexterity in his impassioned play, Bosse surrounded himself with first-call musicians to animate the eleven songs on ‘Burning Room Only’… Bosse’s guitar brings a fiery edge to tracks that define the essence of fusion: jazz improvisation meets rock and roll abandon…The album straddles the line, finding a happy balance between lush melodies and harmonies neatly packaged in pop-length songs and freeform jams and sprawling sonic explorations.” – Jazz Guitar Today
“This radiantly flourishing new recording opens on the heartbeat of the album, the groovy, free flowing funk of ‘Bossman’ (his longtime nickname) and the majestically intricate ‘Power Drive’…my goodness, just listening to his fingers do the talking makes me exhausted!” – Exclusive Magazine
“Fulfilling Guitar Player Magazine’s early assessment of him as a ‘master in the making’ like never before, Bosse finally gives himself the perfect spotlight to showcase his potent rhythm lead guitar chops with some of the most colorful and creative melodic lines and improvisations of his career.” – The JW Vibe
“Ron Bosse succeeded perfectly in offering the same level of virtuosity on his guitar as we are used to from Jeff Lorber and his fellow players. Thus, melody and performance strength seamlessly merge…Burning Room Only can be characterized in three words: Bosse meets Lorber. So if you want to hear an excellent guitarist on a Jeff Lorber album, you should grab this one without hesitation.” – Smooth Jazz Daily
“Ron Bosse brings a fiery edge to his new album, Burning Room Only, defining the essence of fusion on its lead single, ‘Bossman.’” - Jazziz
For more information, please visit www.ronbosse.com.
Best selling smooth jazz at amazon.com
Jazz from Amazon.com
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