Multi-Instrumentalist/Composer Brent Birckhead to release new recording "CACAO" #jazz

BRENT BIRCKHEAD Soprano, Alto, Tenor Saxophones | Soprano & Alto Flutes I Bass Clarinet | Synthesizers MARK MEADOWS - Piano I Fender Rhodes ROMEIR MENDEZ - Acoustic Bass | Electric Bass CV DASHIELL III- Drums DEANTE HAGGERTY-WILLIS - Guitar (CACAO; SKYLINE) MATVEI SIGALOV - Guitar (GOING GANG GONG GOONG) COREY WALLACE - Trombone (JODECI) THELJON ALLEN - Trumpet | Flügelhorn (HEADSPACE)  SPECIAL GUESTS Christie Dashiell / Vocals (Tracks 7 and 9) Christian / Vocals (Track 9) Renaissance Mic / Vocals (Track 9) * Release Date: April 5th, 2024

“ONE OF THE MOST RIVETING YOUNG IMPROVISORS IN NEW YORK”-NY TIMES

About the Recording Brent Birckhead, the multi-instrumentalist, producer, arranger, and composer, presents CACAO—an album that chronicles his journey of expansion and self-reclamation. This 9-track sophomore release serves as a testament to his evolution as both an artist and a person. Born amidst the COVID-19 pandemic lockdown, CACAO reached completion as societies around the globe emerged from their collective hibernation. Four years after his eponymous solo debut, this harmonious masterpiece represents Birckhead's courageous decision to forge a new path guided by the rhythmic beat of his heart. It is an album engineered to inspire those brave enough to create their own road as they walk it, and Birckhead ensures that the path he has paved is impossibly smooth. During the historic pandemic and the ensuing solitude of quarantine, the Downbeat Award-winning artist chose to abandon the geographic and stylistic elements that once defined his musical identity. In a spiritual and physical exodus from New York City, he rediscovered his hometown of Baltimore, Maryland. In this unexpected journey, Birckhead found a wellspring of growth. The forced isolation refined his creative process, transforming him into a one-man band driven by a relentless pursuit of productivity, experimentation, and dynamism—reminiscent of Stevie Wonder's growth during the TONTO era. Equipped with analog instruments, samplers, and an array of digital tools, Birckhead embarked on an ambitious approach to improvisation and solo arranging. This path required him to embrace discomfort in order to achieve true artistic maturation. As Birckhead explains, "Sometimes, we find ourselves clinging to habits and experiences that no longer serve us, instead of embracing the discomfort that accompanies growth." A studio overhaul provided him with a streamlined workflow, enabling him to become a more prolific composer and giving him the confidence to operate as both maestro and accompanist within a single record. Simultaneously, his physical relocation allowed for the deepening of personal relationships with immediate family members and the community that had supported him since childhood. CACAO draws from the profound growth experienced during these endeavors. Opening with "There's Salt In The Honey," Birckhead references the bitterness that precedes life's sweetest moments. In this case, relinquishing his identity as a New Yorker playing on some of the city's grandest stages were a challenging pill to swallow. However, it paved the way for a reclamation of identity just a few hours down the turnpike. Throughout the album, contrasting sensations of sourness and sweetness symbolize the symbiotic relationship necessary for achieving balance in all aspects of life. Birckhead's saxophone cuts through in tracks like "Late Breakfast," alluding to the disciplined approach to early mornings that aided his personal homeostasis. Meanwhile, "Headspace" serves as a rapturous meditation on the anxiety experienced during challenging times, racing to capture the light at the end of the tunnel. Birckhead's identity finds its place in 'Skyline,' an homage to his former home of New York City. Featuring Christie Dashiell, Mic Renaissance, and his wife, Christian, the song encapsulates the iconic view of the city's skyline that Birckhead left behind upon departing from his East Harlem residence with panoramic views of the Bronx. The sticky melody, inspired by the birthplace of hip-hop, is counterbalanced by razor-sharp bars, emphasizing the art form's chameleonic ability to adapt to any arrangement—a trait mirrored by Birckhead himself. The title track, "CACAO" (The Main Ingredient), exudes an overwhelming sense of coolness. This smooth and sweet composition marks the formal debut of Birckhead's enveloping signature sound. With a bright fanfare of woodwinds and a dense funk bass line, the song mirrors the complex yet addictive flavor profile of its namesake. The versatility of Birckhead's musicianship shines throughout the entire album, creating a cohesive body of work. Closing with the exclamation, "that's the one!" Birckhead's observation about the track also applies to the album as a whole. With each track, he raises the bar and pushes boundaries. In "Ging Gang Gong Goong,"the bass takes the lead ahead of Birckhead's horns. The track derives its name from the pronunciation of the bass line, which serves as its main theme. It pairs a simple melody with a dramatic ending, adding a touch of cinematic flair. Within this alternate universe, levitating arpeggios and bright stabs play hide and seek in the depths of a rich bottom register. Birckhead demonstrates his prowess as a master orchestrator, allowing the music to speak for itself. The song's title becomes an unforgettable refrain, immortalizing its essence. “Cold Fried Chicken,” is about letting the sound marinate, however enticing it may be at first listen. In Birckhead’s estimation, certain things taste better the second day once the ingredients have had time to meld. Here, he applies that ethos to a well-seasoned cut that throws back to the iconic sound of Blaxploitation era funk with a lyrical performance. The result is food for the soul. Birckhead explores his artistic gifts on “Who Is It? (Who It Is).” Christie Dashiell accompanies Birckhead in a melodic interplay that elevates the art of trading. Her performance recalls Flora Purim’s iconic imprint upon the Return to Forever catalog and the melodic weft of voice and guitar that defined the sound of Pat Metheny Group. Further embracing infectious rhythms, Birckhead pays tribute to 90s R&B giants with "Jodeci." Inspired by the namesake track and Baltimore natives Dru Hill, this composition replicates the distinctive style of quartet singing that defined the era. A textured blend of gospel runs, tight harmonies, and captivating percussion captures the essence of classic "please, baby, please" ballads. The seamless fusion of early influences with bold new statements showcases Birckhead's ability to find his artistic home on CACAO—the first chapter of his artistic renaissance. Brent Birckhead attributes the recent outgrowth of his sound to a complete acceptance of his gifts and a newfound willingness to speak openly about them Birckhead puts it simply, “When someone asks who you are, you have to tell them without reservation.” Playing multiple flutes, saxophones, bass clarinet, keyboards and programming pads, Brent Birckhead delivers a deeply personal body of work –– one that illuminates the rise of a bonafide leader and clarifies the depth of his talent. When he plays, there’s no mistaking exactly who it is. "I’ve learned that inspiration doesn't simply come to you; you have to create the right environment and put in the work to be ready when it arrives. This album marked the first time I approached my work in that way. It's been a journey of self-discovery, and I sense a significant change within myself. I feel like a completely new person, with recognizable growth and a newfound energy, partly influenced by the pandemic. No one knew what the future held; it was a time of immense uncertainty. But what I did know is that I wouldn't stop creating. I had to find a way to discover new avenues for creativity and in turn, I found boundless expression. I've improved and evolved. I feel like I'm entering a new season of my life," said Birckhead. With CACAO, Brent Birckhead invites listeners on a transformative musical journey. It is an album that encapsulates his evolution, passion, and resilience—a testament to his unwavering commitment to his craft and his unyielding spirit in the face of uncertainty.

About Brent Birckhead Brent Birckhead is an award-winning artist, whose aesthetic is an intersectional amalgam of traditional and popular styles. Unbound by genre, Birckhead’s approach to woodwind artistry is driven by his compulsion for creative risk and deep respect for legacy. His place in the continuum of a storied lineage begins with his surname, Birckhead, and extends to his extensive musical education and work ethic as a visionary approach to life as a rising leader. Educated at Howard University (BME, MM), Birckhead was named best blues/pop/rock soloist and outstanding instrumental jazz soloist by Downbeat Magazine as part of the annual Student Music Awards. In 2011 Brent was named "Best Alto Saxophonist" by the Washington City Paper. The Baltimore native's talent earned him the honor of performing and touring with legendary artists including Lauryn Hill, Nas, Wale, Eric Benet, Larry Graham, George Duke and many more. Birckhead is the professor of saxophone at Morgan State University. On February 22nd Birckhead released his self titled debut album on Revive Music. Click below to view"Skyline"video

Click below to view"Cacao"video

For more information visit: www.brentbirckhead.com

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Smooth Jazz Chart - Weekly Top 100 - January 29, 2024 #jazz

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Chicago drummer/composer Kabir Dalawari issues his inspired sophomore release "LAST CALL" #jazz

Produced by Matt Ulery   Featuring Kabir Dalawar (drums and compositions), Kyle Brooks (alto saxophone), Chris Madsen (tenor saxophone), Joshua Achiron (guitar), Nicholas Olynciw (piano), Stephen Parisi Jr. (bass)   Release Date: April 5, 2024  (Shifting Paradigm Records) Available on all streaming and digital platforms

About "Last Call" In a stirring follow-up to his 2022 debut Awareness (“tight and cellular, yet wide-open enough to springboard the quartet’s fanciful improvisations” – Chicago Tribune), drummer Kabir Dalawari is proud to present Last Call, alternating between quintet and sextet as he debuts a new book of kinetic original compositions. The album was produced by prolific recording artist Matt Ulery, Dalawari’s former composition teacher at Loyola University, who played bass on Awareness and now cedes that function to the talented Stephen Parisi Jr.   “I’ve always been drawn to ensembles with piano and guitar together,” Dalawari states. “Joshua Achiron (guitar) and Nicholas Olynciw (piano) made this vision of mine a reality. It’s rare to find instrumentalists who play at such a high level while respecting each other’s harmonic space.” Kyle Brooks, making a return appearance on alto sax, “is my longest-running musical collaborator,” Dalawari adds, “and when writing this music he was the first to come to my mind. Chris Madsen, on tenor, is a staple of the Chicago jazz scene who has served as an inspiration and mentor, and we’ve recently become good friends. I’m very grateful to feature him on three tracks.”   The rhythmic and melodic nuance in Dalawari’s writing is clear from the start of the leadoff title track. Powerful even when he’s not playing, Dalawari lays out completely as Madsen begins to build his solo. By the end it’s the drummer soloing, in an unaccompanied feature that serves as a segue to the funky uptempo “Detached.” On gigs, these two pieces are conjoined and played as a suite, their subject matter integrally linked. “‘Last Call’ symbolizes my decision to let go of certain relationships that were holding me back in both my personal and musical development,” Dalawari reveals. “The melody and harmonic choices emphasize that through the cyclic and meditative three-bar phrases, it’s as if I’m calling to someone and they aren’t receptive to what I have to say.”   Achiron slides in a wholly serendipitous quote from Debussy’s Clair de Lune on “For Ma,” just one of many examples of the deep resourcefulness these players can harness at any time. Parisi’s solo bass intro sets up a performance filled with vivid, lilting lyricism. The subtle recurring groove transitions and bracing piano and guitar solos of “Consciousness” give it a visceral appeal.   Dalawari explains “Turbulence” as “inspired by a plane ride to Japan. The pedal point in the middle that inspired the metric modulation was an accidental Finale input that I very much liked and committed to. The metric modulations and tempo changes represent turbulence on a plane, or in our minds.” Achiron’s curiously lingering solo guitar moment at the end seems apt, as the program proceeds with the beautiful guitar-led waltz “Imposter Syndrome,” before concluding with the brief and enigmatic “Outerlude.”   Dalawari approaches music in part from the perspective of someone versed in neuroscience, given his collegiate focus on Jazz Studies and Cognitive Psychology at Loyola University Chicago. Add to that the kind of broadminded musicianship fostered by the Chicago scene, an epicenter of jazz exploration from the music’s beginnings. “I absolutely love Chicago,” the drummer declares. “Chicago is a family with no shortage of creativity, inclusiveness and mentorship.”   The Chicago scene also values genre versatility, Dalawari adds, affording players the chance to play many different types of gigs over the span of a month. As he takes it all in, expanding his interests and abilities at a rapid pace, Dalawari has risen to become one of Chicago’s vital representatives as he continues his spirited musical journey.

About Kabir Dalawari: Kabir Dalawari is a drummer, composer and educator based in Chicago, Illinois. As a bandleader, Dalawari has showcased his various bands at Chicago's best venues such as: Andy's Jazz Club, Evanston SPACE, California Clipper, Constellation Chicago and many more. As an educator, Dalawari holds faculty positions at Amos Alonzo Stagg High School and People's Center for Cultural & Contemporary Arts, where he leads ensemble rehearsals and teaches private lessons. He has taught clinics at both Loyola University Chicago and DePaul University. Dalawari's debut album "Awareness" released in March 2022 and continues to receive both national and international acclaim. His second Album "Last Call" is set to release April 2024. Dalawari's artistic vision is to blend traditional Jazz Language with a contemporary approach inspired by his studies on Black American and North Indian music.

For more information on Kabir Dalawari visit: www.kabirdalawari.com

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Smooth Jazz Chart - Weekly Top 100 - January 22, 2024 #jazz

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Unstoppable: Billboard chart-topper Adam Hawley signs new R&B/jazz artists to grow his MBF Entertainment label #jazz

 

Jason Jackson, Brandon Marceal and Kat Hawley have new projects on the release schedule.

R&B/Jazz guitarist Adam Hawley’s rocket ride continues as the 14-time Billboard chart-topping artist, songwriter and producer inked three artists to bolster his boutique record label, MBF Entertainment. The title track to his sixth album, “Unstoppable,” launches the imprint’s 2024 release slate that includes forthcoming releases from saxophonist Jason Jackson, flautist Brandon Marceal and vocalist Kat Hawley.  

 

Hawley’s career path and chart successes in the eight years since he released his debut album, “Just the Beginning,” have been nothing short of extraordinary. Prior to releasing the 2016 collection on Maurice White’s Kalimba Records that earned him three Billboard No. 1 hits, Hawley was a first-call touring and session musician, playing guitar on stage and in the studio to accompany Jennifer Lopez, Natalie Cole, Brian McKnight, Backstreet Boys, Lalah Hathaway, Dave Koz, Brian Culbertson, and Manhattan Transfer. Three more albums followed as did the No. 1 Billboard hits – for his solo releases as well as for music that he wrote and/or produced for other artists.

 

After White passed and Kalimba Records dismantled, Hawley began releasing his albums via his own label, MBF Entertainment. First, he reissued his first two albums, “Just the Beginning” and “Double Vision,” in 2019. His third album, “Escape,” was the first new album released by MBF Entertainment. It was 2020’s best-selling jazz album in 2020 according to Nielsen, driven by two more Billboard No. 1 hits.

 

Although Hawley initially created MBF Entertainment to release his own records, as he continued to experience success as a producer, he decided to bring everything together under one roof and sign other artists to the label.

 

“I was the last person to get onboard with doing a label,” admitted Hawley with a laugh. “But the more music that I wrote and produced for other artists, I saw the opportunity to combine all these elements of creating music and then releasing it in a way that would build the careers of these artists.”

 

Hawley produced several tracks for Jackson’s 2021 debut EP, “Movin’ On,” and the R&B/jazz saxman’s first full-length album, “All In,” the following year. Jackson’s first single for MBF Entertainment will arrive in April.

 

Hawley produced two singles for Marceal, a soulful contemporary jazz artist who adds urban and gospel nuances to his repertoire. The flutist’s debut single for MBF Entertainment will drop in June.

 

Kat Hawley, Adam’s wife, released her debut single for the label, “Keep On, Keepin’ On,” last June featuring saxophone star Steve Cole. Her sophomore single, “Never Too Busy,” was released earlier this month and offers a second glimpse into what’s to come when her debut album streets in July.      

 

“The thing the first few artists signed to MBF Entertainment have in common is that they put the music first. They’re all fantastic players and good people. They are devoted to learning their craft and each one of them has something to say artistically,” said the Los Angeles-based Hawley, who earned a doctorate in music arts from the University of Southern California.

 

Last month, Hawley toured the U.S. performing a Christmas-themed concert setlist in support of his newly released “What Christmas Means To Me” album. The “Unstoppable” single will be released next month followed by the album of the same name in March. Featured guests on the project include Jackson, Kat Hawley, saxophonist Judah Sealy, and vocalist L. Young.

 

MBF Entertainment releases are distributed by A-Train Entertainment. For more information, please visit https://www.mbfentertainment.com. 

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World jazz guitarist Reza Khan embarks on a “Mystical” journey through collaboration #jazz

 

The March 8^th album release will be led by the first single, “Language of Love,” featuring legendary keyboardist Bob James.

 

The element of the unknown is inherent when artists come together to collaborate. World jazz guitarist Reza Khan is intrigued by that mystery, seeing magic in the creative process and finding the results to be mystical. Putting his eager  curiosity and desire to experiment into practice, he invited a handful of Grammy-recognized musicians and Billboard hitmakers to join him and producer, songwriter and horn player David Mann on a collaborative recording adventure. The resultant collection, “Mystical,” will arrive on March 8.    

 

Khan has a lengthy history of collaborating with Mann, who as a saxophonist, flutist and woodwinds player has worked with superstars - from Tony Bennett and Lady Gaga to Sting, James Taylor, Paul Simon, Madonna, Billy Joel, The Eagles and Tower of Power along with seminal jazzers Jeff Lorber, Chuck Loeb, Michael Franks, Dave Koz and The Rippingtons. Mann was Khan’s first call to cowrite and produce the album when he conceived the project. On Khan’s six albums, he had never before turned the producer’s duties completely over to anyone, but he trusted Mann to helm “Mystical” after having had a really positive experience on his previous outing, 2021’s “Imaginary Road.”

 

“David Mann and I have a great musical chemistry and share a vision of creating music that is innovative and eclectic. David played saxophone, flute, keyboards, and percussion on some of the tracks, adding his signature touch of groove and melody to the songs,” said Khan, who will celebrate the album release with a concert date at New York City’s Blue Note Jazz Club on March 23.

 

With Mann aboard, Khan decided to do something else he never did before: begin composing music for the album with specific featured artists in mind – even before asking if they would be willing to guest on the album. Khan’s leap of faith paid off when every single one of them - two-time Grammy winner Bob James, Grammy winner Lorber, three-time Grammy winner Jimmy Haslip, Grammy nominees Keiko Matsui and Philippe Saisse, and Billboard chart-topper Nils Jiptner - eagerly accepted the invitation to collaborate with the guitarist on “Mystical” based on the lofty standards of musicianship, songwriting and production exhibited on Khan’s well-crafted contemporary jazz, fusion, world music and new age albums.

 

“‘Mystical’ is a collection of ten original songs that display musical versatility and creativity. The album is also the result of my collaboration with some of the most talented and renowned musicians in the jazz and world music scene. Each of these musicians has contributed their own style and flair to the songs, creating a musical synergy that is both captivating and inspiring,” said the Bangladesh-born, New York City-based Khan about the album made up of seven new songs and three reimagined tunes culled from his catalogue.

 

Lorber’s fusion-y keyboards and mini-Moog feature on the album opener, “Falcon.” Khan’s nylon and electric guitars soar majestically on the track that gets a power boost from Mann’s horn section.

 

“The song is inspired by the falcon, a symbol of freedom, courage, and vision, setting the tone of the record with a bird’s eye view of the album,” explained Khan.

 

The enchanting title track possesses atmospheric qualities with Mann’s mid-tune soprano saxophone flight adding humanlike emotion to the lush, ethereal arrangement. Wielding his acoustic and electric guitars, Khan pays tribute to the “mystical and spiritual aspects of music, and how it can connect us to a higher reality.”   

 

The first single, “Language of Love,” initially appeared on Khan’s 2011 “Simple Plan” album. His electric guitar and Mann’s tenor sax provide the parlance on the updated version, which is bolstered by James’s ardent piano poetry and bassist Brendan Rothwell’s plunging rhythm pockets.

 

“Bob James adds his signature touch of elegance and sophistication to the song about the universal language of love, and how it can overcome any barriers and differences. In this case, it depicts the foreplay between the piano, guitars and the sax,” said Khan.  

 

“Catalina’s Dream” is a romantic tryst brought into focus by Khan’s exotic nylon guitar riffs and rhythms. Saisse’s storming piano solo erupts fancifully amidst the cascading playground of horns deployed with precision by Mann.    

   

Vocalist Jennifer Grimm sang “Bahia’s Mama” on Khan’s 2009 debut album, “Painted Diaries.” Her voice track remains on the lively remake that pays homage to Khan’s love of Brazilian jazz. He uses his nimble nylon guitar play and the sensual qualities of Grimm’s voice to relish in the joy and romance of Brazilian music and culture.    

 

Mann wrote the initial ideas for “Rising,” a motivational tune about rising above challenges and difficulties while striving for dreams and goals. He asked Khan to write additional passages while incorporating an electric guitar solo that engages Mann’s tenor sax in empowering banter.

 

The positivity continues on “Look at the Bright Side,” which beams energetically via the duet between Jiptner’s electric guitar and Khan’s nylon guitar affirmations. Khan and Jiptner’s previous collaboration, “Drop of Faith,” became Khan’s first Billboard top ten single, which appeared on Khan’s 2019 album, “Next Train Home.”

 

Matsui’s appearance on the album is quite personal to Khan, who has another career, that of a program manager for the United Nations. While getting caught in a dangerous sandstorm on the drive from Kuwait City to the Iraqi border, he listened to the Japanese pianist’s music to soothe his nerves. Matsui lends her distinctive blend of contemporary jazz, world fusion, classical and Asian music to “Strum.”

 

Providing another bolt of optimism, “Positivity” is a rousing, life-affirming tune enriched by a trio of solo voices: Khan’s jubilant electric guitar, Mann’s sunny soprano sax and lyrical basslines etched by Mark Egan (Pat Metheny Group, Gil Evans Orchestra). 

 

Khan plays acoustic guitar to close the collection with a serene stroll amidst swatches of sweeping orchestral strings crafted by Mann on “Whispering Trees.” Khan said, “Whispering trees is a metaphor for the secrets and wisdom of nature, and how they can calm and heal us.”

 

Throughout “Mystical,” Khan’s agile guitarwork shines while collaborating with legends and icons, chart-topping soloists, and esteemed first-call session musicians. Collaborating on the compelling compositions that make up the setlist that are vividly realized through Mann’s production palette bodes to elevate Khan’s stature with his global brand of contemporary jazz meets world music.      

 

“‘Mystical’ is a musical journey taking the listener to various places and exploring a variety of moods and emotions. The album is a testament to my musical vision that plays out in an aural theater. It is an album that will take you on a musical adventure, making you feel and think along the way.”

 

Khan’s “Mystical” album contains the following songs:

 

“Falcon”

“Mystical”

“Catalina’s Dream”

“Language of Love”

“Bahia’s Mama”

“Strum”

“Rising”

“Look at the Bright Side”

“Positivity”

“Whispering Trees”

 

 

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

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