Smooth Jazz Chart
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Wednesday, October 26, 2022
Saturday, October 22, 2022
Jazz Guitarist Ron Bosse to Release New Album “Burning Room Only” on Oct. 28th, 2022 #jazz
Jazz fusion guitarist Ron Bosse blazes a path via mindset and the power of collaboration
“Burning Room Only,” produced and cowritten by Grammy winner Jeff Lorber, drops October 28.
Inherently jazz is about collaboration, the sum of the whole being greater than the parts due to the magic that results from improvisation when the chemistry amongst the musicians is right. That’s the approach jazz fusion guitarist Ron Bosse took to record “Burning Room Only.” The Boston-based fretman hooked up with Grammy-winning fusion icon, keyboardist Jeff Lorber, to write and record the eleven-song set produced by Lorber that drops October 28 on the Deep Cat Records label.
Bosse views “Burning Room Only” as a mindset. Yes, musicians love to describe scorching performances as “burning,” and that certainly applies to the masterful musicianship on display throughout this collection, but Bosse takes the meaning deeper.
Over the course of fourteen months, Bosse spent hours talking to Lorber about the funky contemporary jazz grooves, intense rock fusion explorations and compelling melodies they were creating. Led by the guitarist’s remarkably proficient and alacritous finger work, the set that Bosse and Lorber crafted is a team effort with this formidable team featuring some real “burners.” Lorber deploys nimble keyboard harmonies and unleashes fiery solos. Drummer Gary Novak (George Benson, Lee Ritenour, Chick Corea) anchors the beats with precision, locking into the bass lines etched by Ben Shepherd, Jimmy Haslip (Yellowjackets), Frenchman Hadrien Feraud, or the colorfully experimental MonoNeon (Prince). Robust horn section arrangements by David Mann add muscle and might, with two saxophonists – the Yellowjackets’ Bob Mintzer and Snarky Puppy’s Bob Reynolds – harnessing soul, power and passion in spotlight solos.
Citing jazz guitar great Pat Martino’s “El Hombre” as inspiration for the groove-jazz style of play that proliferates “Burning Room Only,” Bosse said, “There are two songs on Pat’s album – “Cisco” and “A Blues for Mickey-O” – that are more groove oriented rather than traditional swing, yet Pat still solos with his classic linear approach of fluid eighth-note lines. Ever since hearing that album, I’ve wanted to record an album that was groove oriented, with a contemporary rhythm section, but where the guitar still had a classic clean jazz tone, and the solos were super swinging. With ‘Burning Room Only,’ I think we nailed this approach.”
First out of the gate is the album opener, “Bossman,” which was issued as a single last Friday (September 16).
“My solo on this song really crystallized some of the technical approaches I had been working on for quite some time. I was going for a super streamlined and fluid way of playing eighth-note lines over funky 16th-note-based grooves, and I feel like I really locked in this approach on this song. It definitely set the tone for the solos that followed. Anyone who knows me, knows that I am very dedicated to my instrument in the sense that I’m constantly practicing. In the years leading up to recording this album, and throughout the recording process, I got to a heightened level of practicing of almost 6-8 hours a day. I was really trying to push myself as hard as possible to be able to improvise as fluidly as possible without boundaries with respect to tempo. Essentially, I wanted to be able to play anything that came to my mind and be able to deliver it effortlessly,” said Bosse, who was called “Bossman” by friends when he was a kid.
Tracks from “Burning Room Only” will aptly be promoted at multiple jazz radio formats. Sweetly melodic, invitingly familiar yet grand and challenging in scope, “Kiss The Sky” will begin collecting playlist adds on the smooth side of jazz on September 26.
“To me, the song takes you on a journey through every twist and turn. The melody evolves throughout the song without much repetition, and keeps you closely engaged. The harmony is very complex and enchanting. This was one of the first songs on the album that made me see the true genius behind Jeff’s writing. He has this unique ability to write extremely rich chord progressions, yet he keeps the melody so strong and memorable that you sometimes miss how elaborate it really is. I think that with all art, this is a constant challenge – trying to balance complexity and richness with accessibility,” said Bosse.
Funky with a rock edge that Bosse says reveals his love for Stevie Wonder and Lenny Kravitz, “Rumble Strip” will hit as a second single on October 7.
Meticulously attentive to details large and small, Bosse poured a lot into making an impactful statement on “Burning Room Only.” And he knew that statement would benefit in ways unimagined via collaboration. In Lorber, Bosse not only found a producer and co-songwriter, but a partner with a shared ethos who is able to coax the best performances possible from the guitarist. Lorber also played a role in surrounding Bosse with the finest musicians available. The chemistry and community formed during the recording sessions elevated the project, forging lasting bonds.
“When I first began the process of recording this album with Jeff, I immediately noticed that we shared similar values in that we feel that all aspects of the production require a high level of attention and detail. Not only is it about the songs, it’s about the orchestration, it’s about the musicians, the solos, the way it’s recorded, how it’s mixed and mastered, the album artwork, the song titles. One of the things I think about when reflecting on the process of writing and recording the album is how collaboration can yield a result far more unique than going it alone, especially if you put the right people together,” Bosse reflected.
“This time period has been one of the most prolific for me which is a true testament to the power of collaboration. My most memorable experience throughout the process of recording this album is the camaraderie and connection with the musicians involved. It’s these personal experiences that really mean the world to me.”
“Burning Room Only” contains the following songs:
“Bossman”
“Power Drive”
“Strutter”
“Checkin’ In”
“Kiss The Sky”
“Rumble Strip”
“Aerodynamic”
“Event Horizon”
“Ante Up”
“DNA”
“Deep Cat”
For more information, please visit www.ronbosse.com.
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Thursday, October 20, 2022
Straight-ahead jazz saxophonist Sam Taylor's defiant act of giving #jazz
One bright morning last January, saxophonist Sam Taylor started his day by writing down his intentions. It was an important day, the day that he would lead a quintet featuring trumpeter Terell Stafford in the same historic recording studio where John Coltrane, Sonny Rollins, Freddie Hubbard and Stanley Turrentine recorded, to track his third album for Cellar Live. Locking in his focus, Taylor’s message to himself was to be grateful, mindful and fully present for the recording experience, and most importantly, to give and let go. The resultant ten-track swinging jazz set “Let Go,” produced by Taylor and Cory Weeds, drops October 21 on CD and October 28 digitally.
Taylor’s set list consists of selections from the Great American Songbook, including songs written by Barry Harris, Hank Jones, Benny Golson, and Jule Styne. However, one can argue that the centerpiece is Taylor’s own composition. The Harlem-based artist wrote the title track, marking the first time he ever recorded one of his own songs. “Let Go” embodies Taylor’s ethos as a musician.
“It was written during a year full of the unexpected, with invaluable new experiences and lessons. More than that was the validation of a virtue I have long held true in my heart as I live this life of music: music is an act of giving. Living a life of music is also a journey of generosity and letting go. The musician surrenders to the music, interprets the song and shares that with others. To surrender, to be tender and giving is a show of strength, an act of defiance. This is an empowering idea. Our world faces such heartache, fear and profound grief. How do we meet that every day as individuals and as a society? Tenderness and loving kindness could be the most powerful tools we have. In my own way, this recording is an act of defiance,” said Taylor.
Recorded at Van Gelder Studios, Taylor and Stafford are flanked on the album by a trio comprised of pianist Jeb Patton, bassist Neal Miner and drummer Willie Jones III. Taylor grew up in Philadelphia listening to Stafford, a renown and respected talent who teaches in the City of Brotherly Love at Temple University.
“Terell Stafford is an international jazz star, a fixture on the Philadelphia jazz scene and one of the city’s artistic leaders. To have the opportunity to know him and play with him now as a professional musician is truly special. I remember attending a workshop while I was a young student at The Performing Arts High School in Philadelphia. We took a bus up Broad Street to Temple University where students across the city sat and listened to Terell’s group play and speak about jazz. I remember his emphasis on rhythm, the triplet, how to feel the beat. He was giving and patient. I can honestly say he is just as genuine and giving now. It is an overwhelming honor to play this music with him,” said Taylor, who will perform at Rite of Swing Jazz Café at Temple University on November 10.
Recently released as a single, the album opens with the bebop anthem “Luminescence,” which was penned by Harris, a seminal figure on the New York City jazz scene who passed away a few weeks prior to the “Let Go” recording date.
“I invited my musical heroes to come together, to bring their powerful voices into a space, surrender and let go. Terell, Jeb, Neal and Willie were masterful. The space, a studio that echoes with jazz history, made the day that much more meaningful. I haven’t the words to express my gratitude. My hope is the music communicates that clearly and fully.”
“Let Go” contains the following songs:
“Luminescence”
“Let Go”
“Angel Face”
“Getting’ Together”
“Out of the Past”
“Prisoner of Love”
“Here’s That Rainy Day”
“Philly New York Junction”
“You’re Never Fully Dressed Without A Smile”
“Bye Bye Baby”
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Soul-jazz saxophonist Merlon Devine eager to stir things up
“Stirred,” the latest single from his “Soul Jazz” album, goes for playlist adds on October 24.
Gifts. Talents. Blessings. All to serve a specific purpose that serves others. And they are to be utilized fully to fulfill that function. That’s how soul-jazz saxophonist Merlon Devine sees it, using his to write and record contemporary jazz that is church derived. His new upbeat instrumental R&B single “Stirred” goes for playlist adds on October 24.
“ I believe everyone has a gift. Every person on earth has something they were given - from God - to help them fulfill their purpose while on earth. There’s a scripture in the Bible that talks about each person ‘stirring’ their gift. In other words, your gift should not collect dust, but each person should make sure they keep their gift sharp and in use. I feel we are most effective and happy when we use the gift we’ve been given,” said Devine about the feel-good song he wrote with producer Matt Godina (Darren Rahn, Julian Vaughn, Nicholas Cole, Lin Rountree).
“Stirred” is the third single from Devine’s eighth album, “Soul Jazz,” which dropped last year. Emoting passion, inspiration and grace, Devine plays saxes and flute on the track. Godina adds keyboards, guitar and programming to the ebullient harmonies. The midtempo groove is anchored by bassist Kevin “Mr. Kevin Jerome” Stancil and drummer Lester Estelle, Jr.
It’s natural for Devine to turn to his faith when it comes to composing music. Born in Little Rock, Arkansas to parents who pastored a church, the household was always filled with music, primarily gospel. While Devine’s nine siblings could all sing, he found his voice via saxophone. Church informed his spirituality, but discovering contemporary jazz informed his music. From Jesus and the Apostles to Groover Washington, Jr., Najee, George Howard, Kirk Whalum and other saxophone greats, Devine found a creative path for his artistic expression to incorporate both pillars in his life.
“My love for contemporary jazz grew as I grew as a player. Listening to these saxophonists, mixed with the soulful and heartfelt riffs I was hearing at church, shaped me into what I am today. When I started writing songs, it was contemporary jazz. It evolved into a wonderful opportunity for me to provide churches with instrumental music in the style of contemporary jazz during sacred worship gatherings. I consider myself a contemporary jazz ambassador to the church,” said Devine who lives with his family just outside of Washington, DC.
As “Stirred” arrives, hopefully motivating listeners to put their gift to work, Devine continues his musical ministry this month at the following concert dates:
October 22 Grand Opening Event Waldorf, MD
October 23 Crossover Church Hyattsville, MD
October 30 First Baptist Church N. Brentwood, MD
For more information, please visit https://merlondevine.com.
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Wednesday, October 19, 2022
Urban-jazz harpist Mariea Antoinette is "So Amazing" #jazz
Her exquisite interpretation of the Luther Vandross classic is collecting playlist adds and airplay.
It was a million-dollar wedding and the bride-to-be commissioned urban-jazz harpist Mariea Antoinette to play her down the aisle. As she pondered what to perform, Antoinette came upon the Luther Vandross classic “So Amazing” and the bride loved it. Antoinette teamed with longtime producer Allan Phillips to craft a beautiful and soulful arrangement for the occasion. When the bride arrived at the altar, spontaneous applause broke out. Encouraged by the reaction, Antoinette decided to record the rendition as a single. Her sublime “So Amazing” just dropped and is presently receiving more than one hundred spins per week from dozens of radio outlets, including SiriusXM’s Watercolors.
“So Amazing” continues Antoinette’s mission of placing the harp in unexpected settings, proving that the ancient stringed instrument has soul and can groove. With Antoinette dexterously playing delicate notes and strumming mellifluous harmonies, the single is illumined by lush orchestration provided by string and horn sections, including violins, violas, cello, trumpet, saxophone, flute, trombone and celestial background vocals. Phillips’s keyboards and percussion anchors the track flanked by guitarist Evan Marks, bassist Nathan Brown and drummer Tiki Pasillas.
“This wedding was for a bride who has everything. In speaking with her about song selection for the ceremony, she wanted an R&B song that was powerful. She indicated that she loved Luther Vandross, Kem and a host of other R&B singers so I started looking through their catalogs. When I heard Luther's ‘So Amazing,’ I knew that was the one. The song lends itself to the harp,” said Antoinette who remains a fan of Vandross and was inspired after seeing him perform.
“I've been to three of Luther’s concerts. He was/is ‘so amazing.’ I loved his style, professionalism and stage presence. Seeing Luther’s shows was a master class in performance.”
“So Amazing” will serve as the title track of Antoinette’s fourth album, which she anticipates releasing next spring, perfectly timed for wedding season. In December, she’ll shoot her first PBS special with her band and a string section at The Wallis Annenberg Center for the Performing Arts in Beverly Hills, which will be titled “An Intimate Evening with Mariea Antoinette.”
Antoinette is an award-winning artist who performed for President Barack and Michelle Obama, shared the stage with Ne-Yo at the BET Awards, toured extensively with Jazz in Pink, and has served as principal harpist for the Los Angeles Southeast Symphony Orchestra. She’s had records that hit Billboard’s top five, paving the way to performances at major jazz festivals and events, including Catalina Island JazzTrax Festival, Capital Jazz Fest and the Women Songwriters Hall of Fame Awards. Antoinette has won honors from the Black Women in Jazz and the Arts, a Black Music Award, and a San Diego Prestige Award for best instrumentalist. Her activism includes partnering with Daughters Lives Matter, a nonprofit organization stressing the importance of healthy father-daughter relationships and positive imagery.
For more information, please visit https://marieaantoinette.com.
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Tuesday, October 18, 2022
Jazz singer-songwriter Samantha Fierke's mesmerizing "Mirage" is a journey to self-discovery #jazz
The debut album that gains national release on November 18 is receiving Grammy consideration in five categories.
So much of jazz singer-songwriter Samantha Fierke’s world was not as it appeared as they worked on their debut album in the midst of the pandemic. Still a teenager at the time, Fierke had not yet been diagnosed as autistic and was “finding their place in the world through their queer identity,” all while fear, economic uncertainty and civil unrest gripped the US. Writing poignantly about the contrasting feelings of hope and despair amidst chaos and turmoil, Fierke composed the resonant lyrics to the arresting “Mirage,” the title track to the acoustic jazz vocal album produced by Loyd Warden receiving its national release on November 18.
When they began crafting “Mirage” in 2020, Fierke had deferred their first year at Berklee College of Music and also had to push back recording the album due to pandemic restrictions. The delay afforded Fierke’s music time to mature, songs that explore the pain they endured while masking their autism in an abusive relationship; fantasizing romantically about a woman; express the rage and power of their generation in response to the politics of our times; the pain and anger of betrayal; and emerging from darkness with hopeful anticipation.
As restrictions eased last year, Fierke entered bassist Mickey Jamieson’s home studio in Columbia, Missouri where they recorded live accompanied by a trio comprised of Jamieson, keyboardist Samuel Luetkemeyer, and Warden on drums and percussion.
Taking stunning command of the mic to sing and scat like a seasoned and skilled veteran, the eight songs on “Mirage” pour from the twenty-year-old singer’s being rife with raw emotion, intimacy, intensity and brazen authenticity. Despite difficult and deeply personal subject matters, Fierke shares their poetic narratives while peeling back the protective layers. Their voice never waivers, exhibiting astonishing beauty, poise, strength and grace amidst the embers of heartache and glimmering rays of optimism. Working with melodies and rhythms constructed from jazz, fusion, global folk, funk and sophisticated pop, sonically the tracks on “Mirage” are artfully assembled, sparsely rendered tapestries that provide dramatic shading, sensual grooves and moody melodic enhancements illuminating Fierke’s tales.
“Mirage” opens with a tribute to Chick Corea on the astutely rhythmic “Kick It Loose.”
“Chick died as I was still writing it and immediately, I knew it was for him. It is a song for the musician’s soul, to remind us that we are not simply a commodity to be bought and sold. Music is not between audience and performer, but among a communal group,” said Fierke who released a five-song EP of standards in 2018 titled “Sam.”
While there’s a touch of whimsy on the swinging “I Remember Butterflies,” the lyric reveals lost innocence.
“My childhood was outdoorsy and playful, thanks to my mom and her garden. I recently noticed that the swarms of butterflies that used to greet me every summer are now down to one or two pairs of wings at a time. It is a mourning.”
Jamieson literally got down on his hands and knees to record the sound of water droplets to provide interesting percussive texturization on “Shower Song.”
Fierke explains, “Sometimes life - or some sour soul - hits you like a brick with so much force that all you can do is let the water wash it away until you are well again. I wrote this to process the pain and anger handed to me by someone I called a friend.”
The journey of self-discovery became very real for Fierke a little over a year ago when they finally received their autism diagnosis. Five years earlier, they began writing the lyrics to “Color Me,” even without knowing what they were fully about.
“They were the heartbroken words from a young me drowning to change myself, mask myself, in desperation that the abuse I was receiving in a relationship would stop. The song is not as cheery as it seems and that is precisely the point,” Fierke said about the track that was issued last spring as a “teaser single.”
“My autism was harder to identify at first due to my ADHD, which can sometimes make the behaviors look different via opposite extremes competing for exposure. When I received my diagnosis, all the sudden my life and all my experiences made sense. Putting the pieces together was extremely liberating in some ways, but it also revealed a lot of deep pain and heartache that I’ve experienced due to being autistic. And it hurt to realize that if I had supports in place all along, I may have lived a very different life and avoided a lot of trauma.”
The haunting and unsettling “Mirage” is the session’s centerpiece. The track varies in tone and tempo, propelling the experience along.
“When I began writing ‘Mirage,’ it became clear how heavy it was. This song wrote itself and I simply uncovered it. I cannot explain it properly other than to describe it as desperation and perseverance. In the process, I saw my songwriting solidify into something that felt more authentic and sacred to me than anything I had ever written. Though the words were simply revealing themselves to me without much literal understanding on my part, I knew what it was about. I knew the feeling of the mirage. It is a reflection on the desperation to hold onto hope. It is a timeless feeling but writing it during this momentary ‘falling apart of our world’ felt so heavy. The song speaks of a journey through a desert that seems to never end even as the lyrics beg to keep going. It is simultaneous hope and despair. Once I felt how this song lingered in my stomach, I began to build an album around it — some old and some new tunes, but all my own songs. Even still, I’m connecting the dots that my intuition already put together, linking all the songs together back to the center of ‘Mirage.’”
The amorous “Sweet Girl” finds Fierke daydreaming about a queer romance.
“It was a peaceful image in my mind come to life through song written with a heart full of love by a young queer soul. It is a fantasy of peaceful feminine domesticity. Nothing close to what I was told of domesticity. It is a painting of queer love with no distinct names or faces,” said Fierke who identifies as bisexual and gender queer.
“When People Speak” has roots dating back to 2016, which Fierke wrote in response to the emerging political climate of the time that continues to this day.
“This song grew and festered in me, built out of rage and power with hope for what could be. It is the overwhelm our generation is far too used to. It wasn’t intrinsically political, but it was definitely a reflection on what it felt like in the world at the time. Still feels similar. It’s just four chords, but it’s an immensely complex and intimate song. It takes so much trust to play it the way it’s meant to be,” said Fierke.
The set closes with “Smile Again,” a lilting groove anchored by Luetkemeyer’s nimble keys. Conceived while vacationing on a goat farm with her lover, Fierke wrote as he slept.
“My partner deals with a lot of really intense mental health issues and sometimes my role is to see the hope that he’s struggling to find. The song is more about celebrating the inevitability of happiness. It’s not explicitly for or about him, but he’s the biggest influence, especially in the later verses,” Fierke shared.
During the “Mirage” recording and arranging process, Fierke received guidance from Grammy nominated jazz vocalists Gretchen Parlato, Jane Monheit and Oleta Adams as well as Grammy winner Taylor Eigsti, mentors and role models who have taken an interest in the promising singer-songwriter. Last June, Fierke finally shared the album in two cities: their hometown (Columbia, MO) and Boston where they’re now a college sophomore. Another Grammy winner, Brother Paul Brown (The Waterboys), got hold of the collection and submitted the album for Grammy consideration in five categories (Jazz Vocal Album, Producer of the Year, Non-Classical, Album of the Year; Arrangement, Instruments and Vocals; and Best New Artist). Encouraged by the buzz and critical acclaim in Fierke’s two homebases that was growing organically, a plan came together to take “Mirage” national.
Two days after “Mirage” drops, Fierke will perform at The Jungle near Boston on November 20.
“Mirage” contains the following songs:
“Kick It Loose”
“I Remember Butterflies”
“Shower Song”
“Color Me”
“Mirage” (Mickey music with)
“Sweet Girl” (Loyd music with)
“When People Speak”
“Smile Again”
For more information, please visit https://samdoesjazz.com.
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Monday, October 17, 2022
Neo soul singer-songwriter Rebecca Jade shows a "total goddess vibe" on "A Shade of Jade"
The album released Friday as “Show Me” hits Billboard’s New and Active singles chart
For years, she’s been performing with the likes of Sheila E., Sir Elton John and at jazz festivals throughout the world, but never before has neo soul vocalist Rebecca Jade recorded a collection of her own songs until now. The ten-track “A Shade of Jade” dropped Friday, which Jade coproduced with keyboardist and frequent songwriting partner Carnell Harrell (Boney James, Andra Day). The LadyJade Music release arrived as Jade’s “Show Me,” a vintage R&B cut driven by a hard-hitting hip hop beat, layers of sophisticated vocal tracks and modern jazz nuances, is among Billboard’s New and Active singles.
Always a singer, Jade didn’t consider herself a songwriter although she had written lyrics and poetry in an ever-present notebook that she carried for years. But she didn’t have the confidence to share or fully explore that side of her artistry. Teaming with Harrell changed that. Finally opening up the pages containing intimate thoughts, feelings, reflections and experiences, Jade turned those journaled writings into resonant lyrics, often composing vibrant melodies for songs that deftly incorporate R&B, jazz, hip hop and pop. Anchoring the aural alchemy illumined by lush harmonies and soul-powered grooves is Jade’s richly expressive voice, commandingly delivering substantive stories of hope, inspiration and romantic ardor. Her lyrics empower strength, courage and fortitude; get vulnerable and fantasize about unabashed love; and relish life with a full and grateful heart.
As Jade worked on “A Shade of Jade,” with Harrell on keyboards, Kyle Bolden on guitar, Raymond McKinley on bass, Charles Streeter Sr. on drums, and saxophonist Eric Darius making a guest appearance to solo on “Bottle Up Magic,” she teased the album by releasing a video for the motivational “What’s It Gonna Be,” which won two statues at this year’s San Diego Music Awards. The former division one college basketball player who earned a full athletic scholarship to UC Berkeley appears in the hoop-themed video that has amassed 127,000 views to date (https://www.youtube.com/watch?v=N8MrEOyjXQA).
The San Diego-based artist has sold out concerts previewing “A Shade of Jade” in her hometown and near Los Angeles and performed last week at the Barbados Jazz Excursion. This holiday season, Jade will be trekking across the U.S. with saxophone star Dave Koz (who is featured soloing on “My Reason”), performing at his 25th annual Christmas tour that also features genre luminaries Rick Braun, Peter White and Keiko Matsui.
Although Jade’s album just arrived, early reviews are singing the singer’s praises.
“Rebecca Jade is the most powerful and versatile vocalist I have heard in years…Jade’s voice is an intoxicating instrument and an addictive one at that…Jade is the complete package: power, soul, and finesse.” – San Diego Troubadour
“Listen up real close, and you’ll hear an ingénue aspiring to true, original greatness, wrapped up in faultless, luxe vocals, dripping with and dropping casual, causal, in-depth bombs, all while cushioned in a total goddess vibe.” – Carol Banks Weber/Coggie Ink
“An extremely tight, hugely soulful collection that has the potential to take Jade anywhere she wants to go.” – Smooth Jazz Therapy
For more information, please visit www.rebeccajade.com.
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Smooth Jazz Chart - Weekly Top 100 - October 17, 2022 #jazz
Smooth Jazz Chart
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When it updates, this post will be repeated with the most recent link.
Friday, October 14, 2022
New Release from Robert Glasper 'Black Radio III Supreme Edition' on Loma Vista / Concord #jazz
ROBERT GLASPER RELEASES BLACK RADIO III SUPREME EDITION |
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DELUXE ALBUM FEATURES MAC MILLER, ESTELLE, PJ MORTON, BJ THE CHICAGO KID, INDIA.ARIE, BILAL, ALEX ISLEY, EMILY KING, AND LUKE JAMES
WORLD RENOWNED ROBTOBER RESIDENCY AT BLUE NOTE NEW YORK THROUGH NOV 6; PERFORMANCES AND GREEN ROOM LIVE STREAMS ON TWITCH
KENNEDY CENTER PERFORMANCE NOV 13 TO COMMEMORATE 10 YEAR ANNIVERSARY OF BLACK RADIO |
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WATCH THE VISUALIZER FOR “THERAPY PT.2 FT MAC MILLER”
PRESS PRAISE FOR ROBERT GLASPER
"Glasper continues to explore and refine that intricate marriage of sound with Black Radio III, an album that not only champions Black music, but also Black love and resilience in deeply troubled times."
“Glasper has a knack for building immersive sonics which whisk the listener into whatever world he desires.” - HIPHOP DX
“The modern jazz icon.” - ESSENCE
“Love is a path Glasper has traveled often in the past, but it’s never sounded as spacious or star-flecked as it does here.” - PITCHFORK
“Black Radio III — an expectedly dope meld of jazz, R&B and hip-hop.” - ROLLING STONE
“A masterclass in hip-hop, R&B and jazz fusion.” - HYPEBEAST
“If an artist’s music is a reflection of their life, then Glasper’s hyper- collaborative approach to music and performance is no different than his hyper- gregarious life which continuously builds upon itself taking his career to extraordinary heights.” - POLLSTAR
“The title is not misleading: “Black Radio III” really does feel like listening to the Black radio station of your dream.” - VARIETY
Today, multi-Grammy and Emmy-winning artist and producer Robert Glasper releases Black Radio III Supreme Edition, a deluxe version of the third installment of his acclaimed Black Radio series, out now on Loma Vista Recordings / Concord. Glasper adds nine additional new tracks to his critically-lauded 2022 album including single “Therapy pt.2 Ft Mac Miller” and its new accompanying visualizer, as well as songs featuring an array of R&B’s finest from PJ Morton to Estelle, Luke James, Bilal, BJ The Chicago Kid, India.Arie, Alex Isley, and Emily King. Ten years ago, Robert Glasper made history with Black Radio, blending jazz, rap, hip-hop and R&B and charting in all four genres and today reaches even further into his musical canon.
Speaking on the Black Radio series and the album’s deluxe treatment, Glasper says:
“Thank you Black Radio family for a phenomenal year celebrating Black Radio III and the historic milestones of Black Radio over the last decade. Black Radio was always intended as an ongoing project, evolving over time, perhaps never complete but anchored in its creative commitment to celebrating black music. As a next chapter and a show of gratitude, I’m closing out the year with even more new music. The supreme edition of Black Radio III brings more new songs that have deeply personal meaning to me and are too special to not share with the world.”
The continuing Black Radio series has become Glasper’s legacy, upholding a place at the center of a culture-shifting community: from long-time sonic brothers yasiin bey and Bilal, to legends including Ledisi, Lupe Fiasco, Kanye West, Jill Scott, and Erykah Badu. Black Radio III, which features the uplifting “Black Superhero” featuring Killer Mike, BJ The Chicago Kid, and Big K.R.I.T., and a range of artists from Jennifer Hudson to Q-Tip to Yebba, has earned him high praise this year from Variety, OkayPlayer, UPROXX, where the record has landed on “Best of 2022 So Far” lists. The release was launched with a special MLK Day performance on The Tonight Show Starring Jimmy Fallon (where Glasper returned last week to sit in with The Roots), featuring Rhapsody, DJ Jazzy Jeff, BJ The Chicago Kid and Amir Sulaiman. An interview and Emmy-nominated performance on The Daily Show with Trevor Noah followed, as well Glasper’s official partnership with Record Store Day and FAMS, the coalition of Black-owned independent US record stores, as an ambassador for A Day of Action.
This month, dubbed Robtober, marks the return of Robert Glasper’s legendary Blue Note residency at the iconic New York City jazz club featuring yasiin bey, Lalah Hathaway, Terrace Martin, Alex Isley and more surprise guests. Wednesday night, in between stints at both weekends of Austin City Limits Music Festival, Glasper staged a Robtober live stream performance with Alex Isley from the Blue Note via Twitch to celebrate the release of Black Radio III Supreme Edition. Tune in throughout the month of October, as Glasper will be offering fans behind-the-scenes access during his residency via a new series of Green Room live streams on Twitch. Follow Rob’s Twitch channel here: https://www.twitch.tv/robertglasper
In its first week, the 4th annual Robtober drew crowds that included Miguel, Terrace Martin, comedian Jeff Ross, and more, kicking off what is just the beginning of the month-long super event. The residency includes tributes to Herbie Hancock and the late Meghan Stabile, a celebrated jazz promoter and friend of Glasper, in addition to nights with Lalah Hathaway and a special Halloween set with Thundercat. In previous years, Glasper’s residency was amplified with guest performances from the likes of Stevie Wonder, J Dilla, Jill Scott, Questlove, Common, Q-Tip, Anderson Paak, Kamasi Washington, H.E.R., Chris Rock, and more. This summer, Glasper programmed the inaugural Blue Note Jazz Festival in Napa Valley—an offshoot of his annual residency—with headliners including Black Star, Snoop Dogg, Chaka Khan, Erykah Badu, Maxwell, Black Star, Dinner Party, Madlib, Corinne Bailey Rae and special guest host Dave Chappelle. The festival was glowingly covered in a VIBE cover story: “years of musical history and our ancestors’ wildest dreams rolled into one.”
As a producer, Robert Glasper has contributed to landmark records throughout his storied career, like Kendrick Lamar’s To Pimp a Butterfly and Flying Lotus’s Flamagra, and continues to be an enduring influence within the legendary Blue Note Records. The Houston native’s earlier projects, the Grammy Award-winning Black Radio (2011), Black Radio 2 (2013), and ArtScience (2016) topped Billboard’s Jazz Album Charts, while recent records like Grammy-nominated Fuck Yo Feelings (2019), with features ranging from YBN Cordae to Herbie Hancock, and Black Radio III featuring Grammy-winning single "Better Than I Imagined" contribute to Glasper’s staggering honorary success. With long-time collaborator, co-producer, and creative partner Terrace Martin, he formed another dream team supergroup, Dinner Party (2020) featuring Kamasi Washington and 9th Wonder. The record was nominated for Best Progressive R&B Album at this year's 64th Annual Grammy Awards.
Robert Glasper’s accolades are a testament to his career which spans over two decades and several genres. He boasts 4 Grammys, an Emmy, a Peabody, and made history with Black Radio (2012), the first album to debut in the top 10 of 4 different genre charts simultaneously: Hip Hop, R&B, Urban Contemporary, Jazz and Contemporary Jazz—his follow-up Black Radio 2. Next month, Glasper will take the stage at Sony Hall with yasiin bey and Bilal before celebrating his groundbreaking album’s 10th anniversary at The Kennedy Center in Washington D.C. on November 13—special guests yasiin bey, Lalah Hathaway, Bilal, and Meshell Ndegeocello will perform alongside a 32-piece orchestra led by Derrick Hodge. In addition to his musical releases, Glasper has composed scores for films and series like Peabody-winning Mr. SOUL! (2018), 2020’s The Photograph starring Issa Rae, Emmy-nominated documentary The Apollo, HBO’s 2022 series Winning Time: The Rise of the Lakers Dynasty and Peacock’s Fresh Prince reboot, Bel-Air.
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