Billboard #1 Singer/Songwriter. Lindsey Webster releases "Reasons" on Shanachie Records September 22 #jazz

BILLBOARD #1 SINGER/SONGWRITER LINDSEY WEBSTER GIVE ENDLESS REASONS TO FALL IN LOVE WITH HER ON CAREER-MAKING SIXTH RECORDING OUT 

SEPTEMBER 2, 2022

Special Guests Include Nathan East, Nicholas Payton, Randy Brecker, Brian Culberson, 

Lil John Roberts, Kev Choice & More

“Everything is energy," exclaims the stunning, charismatic Billboard #1 singer/songwriter Lindsey Webster. “Atoms make up everything, and they are only made of 0.0001% matter. That leaves 99.9999% space - aka energy! This simple fact is how I remember to take my focus off of this physical world and tune into my spirit." Webster who studied cellular and molecular biology in college with the intentions of becoming a researcher adds, “The more we tune into our own energy, the better our lives become.”  Soultracks once declared “If Carole King and Sade had a kid, she would be Lindsey Webster.”  The amiable and earthy singer, has managed to shake up the cliquish male and instrumental dominated - Contemporary Jazz scene, forging a path that is uniquely her own.  Amazingly in 2016, Webster became the first vocalist to hit #1 on Billboard’s Contemporary Jazz charts since Sade.  All About Jazz declares, “Webster is soulful, authentic and belongs on the short list of new talents keeping the tradition alive and taking it to the next level,” while Pop Matters describes Webster’s voice as “Soulful…Effortless.” The Woodstock native’s anticipated new recording, Reasons, (to be released September 2, 2022) is the next step in her evolution as an artist. “For the first time, I think I made an album for myself,” she confides. “I’ve come a long way. On my first album, little 21-year old Lindsey was singing those songs the way I thought Mariah (Carey), Amy Winehouse or Adele would do it. I had no idea who I was as a person, let alone as an artist.  This album speaks to what I want and in return I think that it will connect with my audience in a deeper way.” Reasons features several major special guest collaborators including bassist Nathan East, trumpeters Nicholas Payton and Randy Brecker, pianist Brian Culbertson (who plays trumpet and trombone on the album) Kev Choice who raps on a track and drummer Lil John Roberts, among others. At the heart of Lindsey’s collaborations is her long-time musical partner and former husband, pianist Keith Slattery.  “I think our shared vision for the potential of what our music is capable of keeps the dream alive,” confides Lindsey.  “Keith is an amazing example of understanding and compassion. I can speak for the both of us when I say that relationships are given to us to learn from whether they are romantic or not. I find it trivial and petty to throw away a great friendship and partnership over differences. Life is too short!”   The winning combination of Webster and Slattery has resulted in two Billboard #1’s and eight Top 10’s on the Billboard charts.

The highly anticipated Reasons is an intimate and introspective portrait of Lindsey Webster’s epiphany about herself and her relationships.  It has all the makings of a career-defining album as she steps forward as one of the best singers of her generation, a promising songwriter and rarity in the world of Contemporary Jazz. The cathartic album explores not only the joyful side of love but also the heartbreak and growth from disappointment.  Although Lindsey has always prided herself in maintaining a level of honesty in her music, she has only recently become comfortable delving into the darker side of her feelings. “I used to shy away from my negative emotions and felt guilty about being one of those ‘toxic positivity people’ who fake smile through things, telling myself and others to ‘just be positive,’” explains Webster, who meditates daily. “This attitude got me through a certain time in my life but it took sitting with myself and being curious about my negative emotions. It’s scary territory, but once you become friends with your demons, it’s like the Wizard of Oz, and it’s not as scary as you once thought it was.”

Reasons is a sublime showcase of Lindsey Webster's metamorphosis as an artist, shining a spotlight on her precise, effortless and ethereal vocals. At times her voice calls to mind such iconic singers as Mariah Carey, Anita Baker and Roberta Flack. There is an authenticity that permeates the songs featured on the album. “There has never been another option for me, other than honesty,” reveals the former EMT and firefighter. “The better I get to understand myself, the better my expression and music seems to get and this makes music truer, and people feel that.” Reasons was recorded during three different sessions, starting August 2021, with a second session at the end of January 2022 with the final session wrapping in May 2022. “I think that the pandemic really forced me to look inward, giving me deeper insights into who I am, which made it easier for me to say what I was feeling in these songs,” shares Lindsey, who was first cellist in High School and continues to play to this day.  “I reached a new level of not caring if what I said might offend someone.”

Reasons opens with the sassy, insatiable groove of “I Didn’t Mean It,” which is a Top Ten Billboard single. The track features Brian Culbertson who joins Lindsey for the fist time on recording. Bassist Chris Snowdon and drummer Lil John Roberts are also on the track and in the rhythm section throughout most of the album.  "I Didn't Mean It" finds Lindsey reconsidering her feelings about a love gone awry. “I wrote this one when I was in a mood and frustrated that this particular guy wouldn’t take our dating to the next level. I was reacting to what was a blow to my ego and the frustration of not getting my way.” Lindsey sublty reverses the mood with the sensational "Love Of Your Life." In a soulful and moving performance, she proves why she is worth every bit of praise she commands.  Once you hear her sing a ballad, it is hard not to become a believer and “Love Of Your Life,” a shining example. The stunning and flirty number finds Lindsey's voice  at its peak as she shows off her impeccable range, soulful delivery and flawless intonation. She sings, “Come and let me give you the love of our life” and it is hard not to surrender. The track features bassist Nathan East who solos on both bass and vocals, adding just the right touch. “When choosing what instrument should take the solo, I kept hearing Nathan on his bass, doing his classic singing along thing. He agreed to be on the song and killed it!” 

Another highlight on Reasons is the lilting, melancholy and sultry “Just The Night.” “This is a song that led me to do a lot of soul searching,” reveals Lindsey. “My heart felt broken, because despite how much I wanted this relationship to work, the guy still tried to deny our chemistry and I was left feeling alone. At the time I didn’t realize that this experience would push me to inquire deeper into myself and my motives for wanting him, and for that matter, any man, enough to let it disrupt my inner world so much." “Stay With Me,” is a vibey bouncy R&B  banger featuring trumpeter Randy Brecker and a rap by Kev Choice while “Wish You Well” tells the realization of a love affair coming to an end as Lindsey sings “We were cool and now you don’t even feel like a friend…baby its cool, one day I’ll wish you well...” Webster shares that the track “The Way” is the best song that she has written to date.  The song itself is realization and confirmation that Lindsey is enough and right where the universe needs her to be whether she is in a relationship or not. Webster candidly sings about finally arriving in a space where she can trust her intuition, not give in to fear and have the confidence of knowing her own heart. “The words to this song are so true to my journey and musically Keith really killed it,” she shares. “4 AM” is a short but sweet, dreamy ditty about a new love, while “Twin Flame” further explores Lindsey’s new love with a kindred spirit. “A twin flame is an energetic match. It’s much deeper than a typical soulmate. It’s someone who is basically a mirror.”  Also showcased on Reasons is the memorable “You Take Me," about a departed love that still lingers in your heart and mind and haunts your dreams. The album’s title track was one of the final songs written on the recording. "I was having trouble determining the title for the album," explains Lindsey. "The title 'Reasons' resonated because there were so many reasons for all of the things that happened leading up to this album." Lindsey leaves us on the right now with “I’m OK,” featuring trumpeter Nicholas Payton. The gorgeous track is affirmation that everything Lindsey has been through has brought her to where she needs to be. “The truth of the matter, is that through all the things that happen in this world, I always end up being OK.”

Growing up in an artist community of Woodstock, NY, the daughter of loving hippie parents, the allure of music was never far from Lindsey Webster. The singer grew up listening to her parent's Jimi Hendrix, Beatles and Elvis Costello LPs and later the Supremes. Influenced by everyone from Mariah Carey and Christina Aguilera to Steely Dan and Earth Wind and Fire, these days Lindsey still feeds her eclectic taste. “Bob Marley is my #1 most listened to artist on Spotify but I listen to Lake Street Dive, Raveena, Chaka, Joanna Teters, and so much more,” shares the singer who enjoys outdoor activities, bootcamp challenges and hiking. Webster made history in 2016 with her original, "Fool Me Once,” which was the first vocal driven #1 song to top the Billboard Contemporary Jazz chart since Sade's “Soldier of Love” in 2010. She beat Sade’s three-week run at #1 with a four-week stay at the top of the charts. November 2016, Webster made her Shanachie debut with Back To Your Heart, which spawned three songs that reached Top 3 on the Billboard Contemporary Jazz Charts: “Back To Your Heart,” “Next To Me” and “Where Do You Want To Go,” which hit #1.  2018 saw the release of Love Inside, which featured the Top 5 hit “Love Inside” and "the Top ten single “It’s Not You, It’s Me” featuring Rick Braun.  A Woman Like Me followed in 2020 featuring the standout title track, the lush ballad "A Love Like Me" and the catchy "One Step Forward." Webster who counts Steve Wonder, Anthony Hamilton and Chris Botti at the top of her wish list of collaborators concludes, “I feel that the highlight of my career is still an unfolding journey. There is excitement around every corner of my life and work! “

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Billboard hitmaker Kendra Erika casts a completely different spell #jazz

Billboard hitmaker Kendra Erika casts a completely different spell

 

The dance music vixen returns to her jazz roots with a Sinatra remake produced by

Earth, Wind & Fire’s Ralph Johnson and Myron McKinley.

 

It’s been four years since Kendra Erika cast her spell on the dance music world to capture the number one spot on Billboard’s Dance Club Songs chart with “Self Control.” At her core, the siren’s burning passion is singing jazz and after a prolific three years during which she dropped eleven singles, most of which reached Billboard’s top ten enroute to amassing millions of streams and YouTube views, Erika is following her muse and changing the tempo. Her sultry version of “Witchcraft,” a Grammy nominated Song of the Year and Record of the Year originally released in 1957 as a single by Frank Sinatra, will go for playlist adds at jazz radio on Monday (July 3).

 

Having become a fixture in the dance music space, Erika sought a new challenge. Just as she did with her club music releases when she tapped Grammy winner Damon Sharpe (Ariana Grande, Jennifer Lopez, Pitbull) to produce her, she teamed up with seasoned producers to launch her first foray in jazz. In fact, the idea to record “Witchcraft” came over lunch in Los Angeles with Earth, Wind & Fire’s Ralph Johnson, who along with being an original member of the Rock & Roll Hall of Fame band has collaborated with Drake, Meghan Trainor, Nathan East and Howard Hewett.

 

“We were talking music direction for our collaboration, and I mentioned Frank Sinatra and that instantly perked Ralph's ears and attention. Sinatra has one hell of a classic style and vibe, and that's what made us sift through the songs he did. When I posed ‘Witchcraft,’ you could feel the agreement in the air amongst us. So, the magic started brewing from there,” said Erika who was exposed to Sinatra’s music at an early age, long before she started singing standards from the Great American songbook in South Florida clubs, bars and lounges as a teenager and in her early twenties. 

 

Johnson brought in Earth, Wind & Fire’s longtime keyboardist and musical director Myron McKinley to coproduce “Witchcraft.” The production duo surrounded Erika’s sultry voice with lush instrumentation, including McKinley’s elegant piano and keyboards, swooning strings and a classy trumpet solo by Anne King.

 

Just like going home, Erika instantly felt comfortable singing jazz in the company of accomplished pros despite it being a dramatic departure from her dance-pop-EDM music recordings.   

 

“Before I went into the studio to record with Ralph and Myron, I thought that I would have to do a barrel of takes and change the way I sing and do things. However, it turned out to be such a smooth recording process. I only had to do a few takes of the song all the way through. That signified to me, especially going back to my roots and having spiritual confirmation from Frank (Sinatra), that I have come to that level now in my career where all it takes is for me to be fluid and stay true to myself as an artist in order to flow in an advanced environment,” said Erika, who shot a sensual video to accompany the single release (https://youtu.be/3jJAxpLepOk).

 

In addition to maintaining a constant presence on the Billboard dance charts, Erika’s singles and videos have filled dance floors, been added into MTV rotation and climbed the charts in the UK. “Witchcraft” will definitely introduce her vocal talents to a new audience.

 

“And it might just lead to a jazz album,” said Erika with a bewitching smile.

 

Please visit https://kendraerika.com for more information.

 

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Smooth Jazz Chart - Weekly Top 100 - June 26, 2023 #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. 

Click here to view the smoothjazz.com chart for this week

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Axon Radio pays homage to the rich jazz history of their hometown #jazz

                                    

Axon Radio pays homage to the rich jazz history of their hometown

 

Two-time Grammy winner Paul Brown and Billboard hitmaker Darren Rahn team up with the Indianapolis duo on “Naptown Hustle,” which began collecting playlist adds this week.

 

While the video for contemporary jazz group Axon Radio’s new single looks like a modern love letter to their hometown, Indianapolis, the roots of “Naptown Hustle” run nearly one hundred years deep. The duo that makes up Axon Radio, drummer Travis Brant and bassist Cory Carleton, set out to honor Indianapolis’s jazz history by affectionately crafting an instrumental tribute. Building upon the foundation of a taut rhythmic groove, melodies came from the single’s co-writer and producer Darren Rahn, a multi-time Grammy nominee who has architected 27 Billboard No. 1 singles. Electing to go with electric jazz guitar as lead instrumental voice, two-time Grammy winner Paul Brown, a producer of more than sixty number one singles, plies his bluesy, cool jazz touch to the track. Axon Radio’s third single was released this week on the Def Left Ear imprint and became one of the most added singles on the Mediabase chart, scoring an instant add to the SiriusXM Watercolor playlist, and debuting on the iTunes top 40 UK jazz singles chart prior to release.

 

Back in the 1920s, Indianapolis had a vibrant jazz scene, belying the bucolic city’s sleepy reputation for which the media affectionately coined the nickname “Naptown.” Guitar legend Wes Montgomery was born during that era and carried the mantel proudly when he came of age alongside fellow Indianapolis native and trumpet great Freddie Hubbard. 

 

The “Naptown Hustle” video (https://www.youtube.com/watch?v=jTwEW9HK7Eo) takes viewers on a tour through the streets of Indianapolis, visiting cultural landmarks, hot spots and other historic locales. The mostly black-and-white video has a cosmopolitan look and a neighborhood feel while the track itself has a distinct retro sound.

 

“When writing 'Naptown Hustle,' we felt the song had a strong seventies vibe. It was written on drums and bass, which is typical of most Axon Radio songs. When producer Darren Rahn heard the track, he expanded on the idea by adding strings and other instrumentation (Rhodes, organ, synths and programming) to the mix. We all wanted a title that represents both our hometown and the seventies vibe so, we added 'Hustle' to the title as a throwback to the seventies dance, The Hustle,” said Brant.

 

Since Axon Radio’s approach to songwriting is somewhat unique, they often pursue collaborators to illuminate their work. Brant and Carleton reached out to Rahn, being fans of his saxophone playing and songwriting skills. Initially, they weren’t aware that Rahn was also a producer who has a stellar track record.

 

"We happened to be looking for a new producer so finding out Darren could fill that role made this collaboration a great fit," said Carleton. 

 

"From the start, we wanted guitar to be the lead instrument. Not only does it fit the song's vibe, but it would also serve to differentiate us in a genre that can be heavy with saxophone artists. When we approached Darren about guitar players, Paul Brown was at the front of my mind. Again, as luck would have it, Rahn and Brown have a long-standing work history. Shortly after, Paul was on board and ‘Naptown Hustle’ was complete," said Brant, who has been playing and writing music with Carleton for thirty years.

 

Before forming Axon Radio, Brant and Carleton performed as a drum and bass duo for a decade, creating an alchemic sound of jazz, funk, and fusion with live looping and interactive audience experiences. They released an experimental jazz fusion EP in 2020 titled “Shadow Logic,” which highlighted fusion guitarist Oz Noy as soloist. Then the group decided to take a deliberate turn towards making more commercial music, teaming up with contemporary jazz headliners such as nine-time Grammy nominee Gerald Albright and chart-topping saxophonist Michael Lington. 

 

Carleton said, “Our approach to songwriting is fairly unique as every song is written starting with drums and bass. This often makes for an eclectic mix of time signatures, key changes and rhythms. We’ve enlisted top-tier producers and arrangers to help smooth things out.”

 

Among those producers and arrangers are Bud Harner (Mindi Abair, David Benoit, Keiko Matsui), keyboardist Matt Rohde (Jane’s Addiction, “The Voice”), and now Rahn (Dave Koz, Najee, Blake Aaron).

 

Axon Radio’s first single, 2021’s “Prom Drama,” featured Albright along with A-list session players Michael Thompson (guitar) and Luis Conte (percussion). Last year, the group spotlighted Lington on “Forklift Judy.” Both singles were accompanied by imaginative videos that contained hidden messages and QR codes to download free music. The band will neither confirm nor deny that they utilized that tactic in the “Naptown Hustle” video.   

 

For more information, please visit https://axon-radio.com. 

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Trombonist/Composer Andrew Danforth to release debut recording "Homegrown" #jazz

Andrew Danforth - Trombone, Composer

Sean Imboden - Tenor Sax/Christopher Pitts - piano

Nick Tucker - bass/Carrington Clinton - Drums

RELEASE DATE: September 8th, 2023

About "Homegrown As a sophomore in High School I received a lesson from a New York jazz trombonist that changed my perspective on music. In the lesson I was asked to play some fundamental jazz exercises (ii-V-I licks) for the teacher to gauge where I was at in my playing. Having never practiced any licks before, I improvised my way through the progressions. The trombonist said they sounded very “Homegrown.” Frustrated by this, I spent a long time working on the fundamentals of jazz language and bebop playing. At the time, I used the comment as fuel to get better at my craft, but it took on a new meaning to me in my masters degree. The more I spent working towards mastery of my instrument the more I realized how important it was to have a unique voice on the instrument. The “Homegrown” quality of my improvisation would never leave the core of my music. Gaining perspective from my upbringing in the Indy jazz community and finding a much deeper appreciation for the history of music in my hometown went a long way.  This album is a dedication to the past, present and future of creative music in Indianapolis and a musical representation of the natural landscape, humanity and social geography of Indianapolis that I have grown to care so deeply for.  The eponymous track “Homegrown” reminds me of the vast landscape in central Indiana where skyscrapers and corn fields meet. The combination of city and county governments in the 1970’s along with urban sprawl forced the mixture of urban and rural communities which gives Indianapolis its unique atmosphere. A floating horn melody sits over the off kilter lilt of the ostinato groove. There is a constant switch from dark to bright tonal centers throughout the piece. All of these compositional choices are done for musical intent but hold a strong relation to the mixture of lifestyles and culture in Indianapolis.  My parents moved to Indianapolis in the late 1980’s and raised my sisters and I in a musical household. I asked my mom what her first memory of Indianapolis was and she said it was waking up in their first rental home and looking at the brand new wood floors. “New Wood Floors” reflects the upbeat nature and positive atmosphere that comes with new beginnings.  The darker side of history in Indianapolis comes out in “Absence of the Avenue.” Indiana Avenue was a segregated Black community in Indianapolis that birthed one of the richest and most vibrant Black cultural hubs in the United States. At its height in the mid 20th century, the Avenue produced internationally known jazz musicians like Freddie Hubbard, Wes Montgomery, James Spaulding and Carl Perkins. It was also home to four giants in jazz trombone. JJ Johnson, considered by many to be the greatest jazz trombonist of all time; Slide Hampton, whose harmonic framework crafted a new era of modern jazz trombone after JJ; David Baker, who’s playing career was cut short but delivered the highest technical proficiency of the instrument seen up to that point; and Phil Ranelin, Freddie Hubbard’s preferred trombonist and longtime Detroit jazz legend.   This fervent jazz culture died out as a result of urban blight and eventual government led destruction of the neighborhood. Although there were calls for the city to help the struggling Avenue and save the community from forced relocation, they chose instead to demolish the Lockefield Gardens which had offered affordable housing to so many on the Avenue. The Interstate Highway Act saw the destruction and relocation of black neighborhoods in most cities and Indianapolis was no exception. The Avenue was razed to construct I-65 and the newly founded Indiana University student apartments. Only the Madame Walker Theatre remains on the Avenue as a historic landmark. The jazz community reformed and has repopulated since, but with the changing music trends of the 1970’s, Indianapolis jazz never regained the widespread and heightened popularity that Indiana Avenue once gave it. “Vacate” sets up a free improvisation into the bed of the piano creating a wash of color that echoes in the air. The theme for the Avenue comes in as only certain overtones are left to ring out. The wash is gone and only the basic structure of the melody is sustained.  “Absence of the Avenue” depicts the razing of the neighborhood. It has an angry and helpless quality to it.  “Vacant” shifts immediately to a somber wail, again into the piano bed. Another wash, this time much simpler than “Vacate,” depicts the emptiness after the destruction of the Avenue. The main theme comes back slower and more drawn out than before, signifying the end and acceptance of reality.  “Orange Hue in the Uplands” is a nostalgic look back at my time in Bloomington, Indiana. The forested rolling hills that turn a deep orange in the fall are a treasure of the Southern Indiana landscape. The ebb and flow of the meter mimics the hills while the staid harmonic palette embraces the serenity and simple beauty of an Indiana autumn.  “In Motion” was written specifically for the personnel in my band. I wanted to showcase the high level of musicianship that is still coming from Indianapolis. The solo section allows the band to play a more modern avant-garde and post bop approach that I see in many of the groups here in Indianapolis.  The final track, “Prairie Breeze,” refers to a small stretch of land in the Tipton Till Plain just northwest of Indianapolis. On my biweekly drive to and from Urbana during my masters program, I would pass by a beautiful prairie that opened up out of a thickly forested country road. The setting sun, coloring the clouds auburn and purple, color the pasture and reveal the beauty of open grassland that often gets ignored. I wanted to recreate the atmosphere of a summer breeze blowing over open grassland.

About Andrew Danforth: Andrew Danforth is a proud product of the Indianapolis jazz scene. He is an active trombonist, composer and educator in multiple genres. Throughout his career he has performed and recorded with world class artists including the Buselli Wallarab Jazz Orchestra, Steve Allee Big Band, Sean Imboden Large Ensemble, The Temptations, Indianapolis Symphony Orchestra, Richmond Symphony and National Repertory Orchestra.  As a composer and improviser, Andrew blends traditional Naptown hard bop with elements of Midwest emo, European art music and RnB. He seeks to pay homage to the long legacy of creative music in Indianapolis by writing innovative compositions and pushing the boundaries of contemporary jazz.

Andrew Danforth is currently available for interview

Please visit the Andrew Danforth website: www.andrewdanforthmusic.com 

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Jazz fusion guitarist Ron Bosse ignites “The Afterburners” #jazz

The EP dropping June 30 features Grammy winners Jeff Lorber, Randy Brecker and Bob Mintzer along with guitar giants Mike Stern and Oz Noy.

BOSTON (20 June 2023): When jazz fusion guitarist Ron Bosse starts writing music for an album, he keeps writing, winding up with more songs than he can include on the album. That’s what happened with his “Burning Room Only” album that he wrote with Grammy-winning keyboardist and the project’s producer Jeff Lorber, which was issued last November. The success of the Deep Cat Records album inspired Bosse to release a couple of tunes that were left off the disc that have the same “burning” theme in addition to releasing a few alternate versions of songs from the album featuring prominent and highly esteemed collaborators. Assembled as a six-track EP, “Burning Room Only: The Afterburners” releases on June 30.

The EP opens the way the album opens, with “Bossman.” There are two versions on “The Afterburners,” the first of which spotlights Grammy-winning trumpeter Randy Brecker trading barbs with Bosse’s clean and crisp electric guitar.

“I've been a huge fan of Randy Brecker since I was a student at Berklee College of Music. Since many of the songs on the album have saxophone as another melodic voice, we felt that trumpet would be a great contrast. Jeff (Lorber) and I immediately thought of Randy as we are both big fans. I think he was the perfect choice and his (trumpet) voice really brings an element to this song that takes it to a different place. Not only does he help add punch to the melody I wrote, but he also adds these beautiful ambient soundscapes via his solos that remind me of some of the old fusion stuff Miles Davis did,” said the Boston-based Bosse, who plans to release this version as a single.

The set closes with a version of “Bossman” that highlights drummer Lil’ John Roberts (Stevie Wonder, Quincy Jones, Prince, Michael Jackson, Elton John).

The EP also contains two versions of “Enter The Burn,” a jazz-rock rocket ship careening at dazzling speed requiring exceptional dexterity. The first version features keyboardist Derek Sherinian while the second take showcases guitarist Norwood Pearson.

Israeli guitarist Oz Noy guests on a different version of “Rumble Strip” from what appears on the album. Cruising along a funky mid-tempo groove bolstered by robust horn section parts, the guitar work exhibited is masterful from Bosse and his special guest.

“I learned about Oz's playing about three years ago and was immediately impressed. He really has carved out a unique and individual voice as a guitarist. He has this fantastic combination of jazz, fusion and blues in his playing that is truly distinctive. I thought Oz would be the perfect choice for ‘Rumble Strip’ because his sound is a great contrast to my sound. Oz has a bright tone with a hint of distortion that is very edgy whereas mine is a clean tone and a little darker sounding. Together, they really complement each other, and because they're so different, you can distinctly hear each individual element,” said Bosse.

Bosse invited Grammy nominated guitar legend Mike Stern to duet on “Zero-G,” a relentless, frenetically paced shredder doused with the fervent force of Bob Mintzer’s (Yellowjackets) wailing sax.

“I specifically decided to include Mike Stern on this project because he is one of my all-time favorite musicians. Mike is this amazingly fiery player who plays with a ton of energy and excitement, and I felt he would be perfect for these tracks. ‘Zero-G’ is an incredibly ferocious tune and extremely challenging on a technical level for guitar. In fact, I've had a handful of world-class musicians straight up tell me that they wouldn't be able to play it due to the technical challenges. This is one of the songs that started with a motif that I designed in order to overcome specific technical challenges on the guitar. I then composed a song around those sections. It's similar to how Bach would write etudes that focused on specific instrumental hurdles and how John Coltrane wrote ‘Giant Steps’ in order to help him play over specific types of chord changes,” said Bosse.

Other noteworthy musicians who perform on “The Afterburners” are horn player and arranger David Mann, drummer Gary Novak, and bassists Benjamin Shepherd, MonoNeon and Jimmy Haslip.

Bosse loves the sound of two guitarists going toe to toe and he relishes the opportunity to play alongside Stern, Noy and Pearson. The decision to challenge himself by keeping prestigious company recalls a lesson he learned while at Berklee watching a Pat Metheny masterclass.

“Pat (Metheny) said something that may be the single greatest bit of advice that I've used over the years. He said, ‘Always surround yourself with great players.’ When I look at my career, I have consistently done this in every musical situation I've been involved with. It is almost instinctual to me at this point, and it goes without saying that this approach is the best way to consistently push yourself to the next level, which is incredibly important to me,” Bosse explained.

To help set up the EP release, Bosse and Lorber will play two shows in Washington, DC on Wednesday (June 21) at Blues Alley and one show on Friday (June 23) at The Tin Pan in Richmond, VA. Backed by an accomplished quintet made up of Pearson on guitar, saxophonist Mark Zaleski, vibraphonist Will Hudgins, bassist Carlos Sulbaran and drummer Steve Langone, the set list will be composed of most of the songs on “Burning Room Only” along with several classics from Lorber’s catalogue.

Jazziz magazine named “Burning Room Only” one of 2022’s best albums. It peaked at No. 5 on Billboard’s Contemporary Jazz albums chart, generating over 300,000 streams on Spotify, YouTube, Amazon and Apple Music to date. The latest single from the album, “DNA,” was released earlier this month and was one of the most added new singles on the Mediabase chart in its debut week.

“It has a very hypnotic, almost trance-like quality to it. People talk a lot about great songs and what they make them ‘think’ about, but I believe that some great songs don't make you think of anything in particular, but actually make you ‘feel’ something instead. ‘DNA’ always puts me in a serene, peaceful-like state. It's one of those songs that is perfect for when you want to free your mind and experience the world around you,” said Bosse.

Available only as a digital release, “Burning Room Only 2.0: The Afterburners” contains the following songs:

“Bossman” featuring Randy Brecker

“Enter the Burn” featuring Derek Sherinian

“Rumble Strip” featuring Oz Noy

“Zero-G” featuring Mike Stern and Bob Mintzer

“Enter the Burn” featuring Norwood Pearson

“Bossman” featuring Lil’ John Roberts

For more information, please visit http://www.ronbosse.com.

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Chart-Topping Pianist, Composer and Producer, Brian Simpson Makes a Soul Connection On New Shanachie Recording Released June 16, 2023 #jazz

“I named my new album Soul Connection because that is always my goal in making music, to create a sonic message of love that can hopefully touch the soul.” -Brian Simpson

“Every performance and recording presents an opportunity to bring happiness to a world of listeners. Music has an unparalleled ability to make a difference in our lives. I continue to appreciate how it can inspire people through good and bad times and never take for granted the opportunity I have been given to play a small role in someone's life,” reflects Brian Simpson. The celebrated and genre-bending pianist, composer and producer has long reigned as a guiding light on the Contemporary Jazz scene. Revered for his Midas touch, Simpson’s trademark sound is known for soul-stirring love songs, hit-making party anthems and emotive and captivating melodies. June 16, 2023, Brian Simpson makes a Soul Connection on his eleventh album as a leader and eighth for Shanachie Entertainment. The anticipated recording is the perfect amalgamation of influences that are close to Simpson’s heart: Jazz, R&B, Funk, Blues and Soul and a healthy dose of optimism. His eloquent touch, sophisticated harmonic sensibility and bluesy overtones shine on each of the album's ten tracks. 

Brian Simpson’s title choice for his new recording was driven by his intentions. He explains, “I named it Soul Connection because that is always my goal in making music, to create a sonic message of love that can hopefully touch the soul.” The inspired, majestic and feel-good title track opens the album with its percolating groove, funky changes and sailing melody. Simpson’s invitation to become one with the band is hard to resist.  Bassist Alex Al lays down the funky bottom while the rocksteady drumming of Michael White and percussive fuel of Ramon Yslas, help Simpson lock in and create a joyful affair. “Out Of The Blue,” is a scintillating R&B number which shines a spotlight on Simpson’s remarkable ability to craft dazzling melodies that linger in your mind and settle in your heart. Saxophonist Steve Alaniz blends to beautiful effect with Simpson’s soulful and hypnotic playing.  The pianist confides, “I'm following in the footsteps of those that laid the foundation of contemporary jazz music. Fusing jazz and R&B are just what contemporary jazz is all about." Simpson transports us to a stunning city on the Mediterranean Sea for the Latin-tinged “Barcelona,” conjuring its allure, beauty and mystique alongside guitarists Yarone Levy and Ray Fuller.  The meditative flow of “Meadow Breeze” is the perfect oasis from the hectic and frenetic pace of life. Simpson’s legato piano lines almost sing through each note, leading us to a place of serenity. A master at orchestrating moods, Simpson kicks it up a notch on the R&B flavored and groove heavy “See You Again,” the lone vocal on the album featuring Will Gaines.  

“I feel that I have refined the ‘Brian Simpson sound’ on this project,” says Simpson. “I can only hope that my fans take part in the joy and passion that went into its conception and production.” Soul Connection features nine originals and one reinvention of Alexander Borodin, George Forrest, and Robert Wright’s classic “Stranger In Paradise” from the 1953 musical Kismet. Simpson’s romantic and utterly pleasing version is a delight from beginning to end. If midnight is the bewitching hour, Simpson works a little magic of his own on “Midnight Mood,” a sultry and ethereal number.  Saxophonist Steve Alaniz and guitarist Yarone Levy help to transform this rendezvous under the moonlit stars into an unforgettable meeting. 

"I have figured out that there is no simple way to write a good song," explains Simpson. "You have to take time crafting every element. I will often write one melody for a song then try to come up with something completely different, then let a day go by before listening again, in order to get an objective opinion on which one to use. I often make changes at the last minute, so it's a process of refinement that isn't over until it's over!" The luminescent and dance-inducing “Until The Break Of Down” is an unstoppable up-tempo swinger, emitting nothing but good vibes. As much fun as it is to listen to, you can tell it’s even more fun for the band to play as the ensemble lets loose and trade choruses. The emotive “Through the Tears,” shines a light on Simpson’s ability to craft unforgettable melodies and elicit deep emotion through his playing and compositional prowess.  As all good things must come to an end, Simpson and company send us on our way with the memorable Gospel-tinged “Going Home,” which brims with beauty and hope. Lucky for us this is not goodbye, just press repeat and Simpson’s got your soundtrack and Soul Connection for any day and any mood. 

Hailing from Gurnee, Illinois, Brian Simpson always knew music would play center stage in his life. "Our house was filled with music. My older brother and sister both played instruments, and my brother's rock band rehearsed in our living room every weekend," shares the keyboardist. "My dad listened to jazz with such a keen ear. I learned to enjoy the beauty of a great jazz solo and how to discern the musicians with great phrasing from listening to music with him.” After graduating from Northern Illinois University, Simpson relocated to Los Angeles where he quickly immersed himself in the local jazz scene.  Late night jazz sessions found him playing alongside everyone from saxophonists Everette Harp and Boney James to guitarist Norman Brown.  The free-spirited musician soon found himself taking a temporary leave of absence from the jazz scene, touring the world with pop divas Teena Marie, Sheena Easton, and Janet Jackson.  His foray into the pop world didn't end there; in January 1991 he co-wrote the #1 Pop hit "The First Time" by Surface, which conquered both the R&B and Adult Contemporary charts.   Placing his success in pop aside, Brian Simpson has always been a working jazz musician.  He has toured with some of the greats of recent jazz history, including George Duke, Stanley Clarke, Larry Carlton, George Howard, Billy Cobham, and Gerald Albright.  Brian has been the musical director for jazz saxophonist Dave Koz for close to 20 years, and for close to a decade the Musical Director of the ambitious and highly popular “The Smooth Jazz Cruise." Simpson's breakthrough as a solo artist began in 2005 with the #1 radio hit "It's All Good." The title track of It's All Good proved instantly and joyfully prophetic, as it hit #1 on the Radio & Records Smooth Jazz Airplay chart and remained in the Top 5 for four months.  His follow-up single, "Saturday Cool," went Top 15. In 2007 Simpson released Above the Clouds, which delivered the memorable radio hits "What Cha Gonna Do?" (Top 10) and "Juicy" (Top 15).  In 2010 Simpson released South Beach whose title track snagged a #1 slot on the charts. Just What You Need followed in 2013 featuring the Antônio Carlos Jobim/Vinicius de Moraes classic "The Girl From Ipanema" which hit #1 on the charts and "Emerald City," a top 3 hit. 2015's Out Of A Dream featured the Top Ten single "Skywatcher,” while 2016 saw the release of Persuasion which showcased the top 10 single "Wonderland." Something About You was released in 2018, highlighting the Top 5 single “Morning Samba” and in 2021Simpson joined forces with Steve Oliver for the dynamic collaboration Unified. With the release of Soul Connection, Brian Simpson is poised to further endear himself to his devoted international following. He concludes, "I have what I consider the greatest job in the world. I feel like I have much more music to make, and I can hardly wait to make it."

For more information on Brian Simpson please contact Monifa Brown/Shanachie Entertainment
(646) 886-5629/mbrown@shanachie.com

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