Major Scale Management artists Marcus Anderson and Andréa Lisa are flourishing on the touring circuit #jazz #music

 

Spring is still several weeks away, yet two captivating Major Scale Management artists, saxophonist Marcus Anderson and guitarist-vocalist Andréa Lisa, promise to bring the heat this spring and summer to concert stages across the globe.

 

Handpicked and groomed by Prince, Anderson is a veteran and a consummate showman who brings exuberant energy, high-level musicianship, and showstopping charisma to the stage. His shows are experiences, not just concerts. Pairing his impassioned horn work with slick dance moves, Anderson entertains audiences with undeniable rhythms, grooves, and melodies culled from contemporary jazz, funk, and R&B.

 

Anderson has also created and hosts his own festival, the Marcus Anderson Jazz AND Coffee Escape, or MAJACE as it is known to his beloved fans, now in its seventh year, which ties to his tenth year as founder and owner of AND Coffee. Anderson finished last year strong while on a 24-day holiday music-themed tour with saxophonist Mindi Abair and singer Lindsey Webster.

 

On Thursday (March 13), Anderson will join Brian Culbertson to play at the New Orleans Jazz Getaway before making his debut as a headliner on April 12 at the prestigious Berks Jazz Festival with special guest R&B vocalist Kenny Latimore and bassist Julian Vaughn. Anderson will also perform at the Berks Memorial Chuck Loeb All-Star Jam on April 10 and at Gerald Veasley’s All-Star Unscripted Brunch on April 13. Also in April, Anderson will play the Seabreeze Jazz Festival in the Florida panhandle. Other high-profile gigs this spring and summer include the Algarve Smooth Jazz Festival in May, Culbertson’s Napa Valley Jazz Getaway and Dave Koz & Friends at Sea in June, and Koz’s Summer Horns Tour launching in mid-July and running through August.

 

“I have always been a fan of Marcus’ music and now that I have the pleasure of working with him, I can confidently say that Marcus Anderson is one of the most incredibly talented, driven, imaginative, accomplished, and inspiring humans I have ever had the pleasure of meeting. He consistently delivers an unprecedented level of artistry, showmanship, and entertainment whenever he takes the stage,” said Major Scale Management’s founder Gina McCain.

 

“The stage is my playground—every performance is a chance to let loose, connect, and have fun with the audience. My music reflects who I am, constantly evolving. I aim for creativity in every note, ensuring no two performances are ever the same. For me, the magic of live music comes from authenticity and spontaneity. Each show is a unique journey, both for me and the audience. The connection between the performer and the crowd is sacred. That’s why I ensure my vibe is right before stepping on stage. It’s all about sharing something real. I approach every performance with fresh inspiration, making sure it’s not just music but an unforgettable experience and sound. Music is more than a sound; it’s an extension of my soul. I pour everything I have into creating moments that people will carry with them,” said Anderson, who is represented exclusively by Major Scale Management.

 

A guitarist, singer, songwriter, and producer, Lisa is a virtual newcomer who released her debut album, “Silver Lining,” last year. Yet on stage, the South African-born, New Zealand-raised artist is a polished performer who brings intense emotion to her shows. She uses music – instrumental jazz and soulful R&B vocals – to create transformational experiences for her audiences. Lisa pours passion into uplifting, healing, and inspiring listeners, embedding entertaining narratives into her songs and setlist.

 

“What initially drew me to Andréa was her music and incredible voice. She exemplifies the essence of a true artist. The vibe of her music and heartfelt lyrics deeply resonates with listeners. I truly admire her self-awareness as an artist and the path she is charting for herself in the music industry,” said McCain who began working with Lisa last year to help grow her global audience.

 

Lisa has concert dates scheduled at an array of jazz festivals and venues this spring and summer, including Earl Klugh’s Weekend of Jazz on April 3 before making her debut at Berks Jazz Festival from April 10-13 and the Algarve Smooth Jazz Festival in May. In addition to playing Newport Beach Jazz Festival in June, Greater Hartford Jazz Festival and Anderson’s MAJACE festival in July, and Norfolk Waterfront Jazz Festival in August, Lisa will team up for several performances with another Major Scale Management artist, singer-songwriter-bassist Rebecca Jade, for what bodes to be a special series of shows together.

 

To view Anderson’s tour dates, visit https://marcusanderson.net/#tour.

 

Lisa’s tour dates are posted at https://www.andrealisa.com/tourdates. 

 

 

 

ABOUT MAJOR SCALE MANAGEMENT

Gina McCain founded Major Scale Management in 2019, which is dedicated to connecting worldwide audiences with its uniquely talented and musically diverse roster of dynamic concert performers. The exclusive music agency is devoted to fostering the success of its exceptional artists who are committed to delivering an unparalleled entertainment experience every time they take the stage. Major Scale Management is proud to represent artists who are the future of jazz and beyond. For more information, visit https://majorscalemanagement.com.

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Bob James, Dave Koz Team Up on Duets Album and Tour #jazz #music

The decision to stick to just piano and saxophone gives Just Us a flavor unlike any recording Bob James (left) or Dave Koz has ever done.

(Photo: Tyler Franz)

Contemporary jazz icons Bob James and Dave Koz will be touring the U.S. together this spring as a piano-and-saxophone duo under the billing “Just Us–An Intimate Evening of Songs and Stories.” The tour takes its name from their forthcoming duet album, scheduled for release on March 7 via Just Koz Entertainment.

The two artists recorded the album in James’ hometown of Traverse City, Michigan, where they will kick off the tour headlining The Alluvion on March 13. The “Just Us” tour will also include shows at the Mesa Arts Center in Mesa, Arizona (March 15); Studebaker Theatre in Chicago (March 22); The Parkway in Minneapolis (March 25); and Jazz Alley in Seattle (April 1).

“Recording this album with Bob James was one of the greatest life (and music) experiences for me — I learned so much from this treasure of a man,” Koz said. “This duet project is just acoustic piano and saxophone, in all their raw beauty. Talk about being vulnerable! But with Bob at the piano, all concern goes away … like playing on a bed of clouds. I can’t wait to perform these songs with him in front of a live audience.”

“This is a totally unplugged and, as partner Dave points out, vulnerable set,” James added. “Both he and I have had the good fortune to record many times with great rhythm sections and sophisticated production. This time out, all that is stripped away, and it’s just us. We hope the intimacy of these musical one-to-one conversations conveys the spirit we both felt. It was a unique opportunity for me to collaborate and be inspired by the passionate romanticism of my duo partner.”

The Just Us album is collection of originals and colorful re-imaginings of Great American Songbook standards. Its inspired format, sans the support of a traditional rhythm section, liberates both musicians to venture spontaneously beyond the trademark sounds that fueled their superstardom and years of Billboard chart-topping successes.

Making the decision to stick to just piano and saxophone gives the album a flavor that’s worlds away from any recording James or Koz has ever done. “Every time we started into a new tune,” James recalled, “I realized that if I don’t have drums or bass, I have to figure out how to fill that space in with the piano. In the end, we loved the purity of the sound and freedom of filling in those spaces ourselves. We’re doing it this way when we perform this music live as well — no backup band with a short duo segment, but just us all the way through.”

The  The recording came about spontaneously after Koz invited James to headline the main showroom aboard the Seaborn Ovation in September 2024 as part of Somma Italia, the saxophonist’s inaugural Somma Cruise, a luxury extension of the Dave Koz Cruise. James agreed on one condition: that the two create a new recording to give to attendees.

Recorded at James’ house just weeks before the voyage sailed, the souvenir recording featured the two songs that kick off and provide the foundation for Just Us: the soulfully swaying James original ballad “Sommation” (whose title cleverly references the cruise) and a passionate rendition of the standard “My Ship” (inspired by the pianist’s memory of Miles Davis’ 1957 arrangement of the classic Kurt Weill/Ira Gershwin composition). Finding themselves on a freewheeling roll, the two also recorded a silky, highly improvisational rendition of Charlie Chaplin’s “Smile” and the first of two co-writes, the whimsical “T W O,” during that first session.

James explained, “We started having fun and one thing led to another. We weren’t thinking of recording an album but everything unfolded. After the cruise, Dave returned to my house and we just kept going. We did almost everything there and finished up later in Dave’s home studio in L.A.”

They recorded four originals in their second session: “New Hope,” the high-spirited “The Naked Ballet,” the classical-leaning “Protea” and the French-flavored ballad “Rue de Rivoli,” plus a romantic version of “All The Way.” The third and final session brought forth the buoyant “Fountain D’Alice” and a lighthearted swing through “On The Sunny Side Of The Street.” The latter is a bonus track, available only on the physical edition of the album.

Koz observed, “In this digital age, artists can have as many tracks as they want to record a song. Each one takes up sonic space. If you only have two instruments, as we have here, taking up the entire sonic space, each can be heard in a much clearer, bolder, bigger way. It’s amazing and scary because we hear all the breaths, clicks and pad noise. Those who go on this ride with us will hear our instruments in a whole new way.” DB

Original article by downbeat.com

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Groove jazz guitarist dee Brown is cool, calm, and in control on new album #jazz #music

The “Mister Smooth” album drops on March 28, the same day the title track will be released as a single.

             

 

Everyone craves certainty, especially during these tumultuous times. Guitarist dee Brown created a jazzy album of R&B instrumentals on which he adopted the persona of a fictious character called “Mister Smooth,” who is confident, focused, and anchored in equanimity. Writing eight new songs, most of them with his GRAMMY® nominated producer and longtime collaborator Valdez Brantley (Usher, Mary J. Blige, Keith Sweat, Lil Wayne), Brown’s sixth album will be released by Innervision Records on March 28. The melody-rich title track will be issued as a single the same day.

 

Stepping into the “Mister Smooth” character like a method actor while writing and recording the album wasn’t much of a stretch for Brown, who is a devout man of faith. The confidence and maturity that he exudes on the recording and is on full display via his guitar work and the compositions he crafted for the set are bolden and empowering. It’s a determined mindset purposed with overcoming challenges and adversity while remaining in control - even when the world feels chaotic.      

 

“Mister Smooth embodies a person who is consistently on top of things and maintains control in any situation. Even when faced with uncertainty, he excels at ‘faking it until he makes it,’ elevating the experience for everyone involved. I created an album that captures the essence of what it means to be a Mister Smooth. This concept isn’t just a reflection of who I am or aspire to be; it represents a powerful attribute that enhances any situation. The name itself resonates with many, making it relatable and appealing. This is perfectly aligned with the type of music we produce and the kind of person with whom we all aspire to be,” said Brown who released multiple singles from the project while he was working on the collection over the last couple of years.

 

After opening the album with “Mister Smooth,” the Detroit- born and based artist offers a taste of his hometown on “Wes 8Mile,” which he wrote with multi-time Billboard No. 1 chart-topper Blake Aaron who produced the song that was issued as a single. Mike Parlett’s saxophone perfectly complements Brown’s cool toned electric jazz guitar riffs that invoke jazz guitar legend Wes Montgomery.

 

“Eight Mile is one of the main streets running through Detroit, and I grew up on the west side of Detroit. The name ‘Wes 8Mile’ comes from my guitar hero Wes Montgomery's unique style of playing, which often involved using octaves. An octave is a note that is eight diatonic notes away from the first note, and he would play these two notes together. My goal was to create an up-tempo groove that incorporated both octaves and single note playing, along with a half-step modulation. I also wanted to incorporate an ensemble, which is why I invited saxophonist Mike Parlett to play on the track with Carnell Harrell (keyboards), Mel Brown (bass), and Tony Moore (drums),” explains Brown.

 

Another collaboration with Aaron resulted in “The Thing Is…” which adds horn player and arranger David Mann, keyboardist Tateng Katindig, and Aaron’s rhythm guitar to the ensemble. It was the second single from the album and hit all the major charts.

 

“Many times, when a conversation is going and someone wants to make a valid point, they will say, 'The thing is...’ That is what this song is all about, making a musical valid point that will grab your attention and immediately be noticed," stated Brown.

 

Brown and Brantley interpret Sister Sledge’s rousing anthem “We Are Family,” which includes an imaginative jazz breakdown midway through the disco dancefloor filler.

 

“My wife suggested that we remake ‘We Are Family’ and I immediately thought of Nile Rodgers, the incredible guitarist from the legendary group Chic. I’ve always admired his rhythm guitar work,” Brown admitted.

 

Brown sees his Mister Smooth character as someone who would be charming, which inspired the song titled “Charming.”

 

“This track was developed after I decided we needed to record a slower song. I wanted to incorporate 808 electric drums, Moog synth/bass, and a variety of synthesized sounds reminiscent of the 1990s with a strong emphasis on guitar,” said Brown.

 

“Finesse” was the first track recorded for the album, yet the song had to go through a process of evolution. Brown explains, “I noticed a problem with the song’s chorus. I decided to try an alternative melody, and it seems to work perfectly. So, when you hear the track, if you listen to the lead melody on the big body guitar, that’s the new melody and if you listen in the background, there’s another melody that is played with my Stratocaster-style guitar that is more like a picking style playing the original melody. They work together perfectly.”

 

The album’s first single was “You Already Know,” which was released as a deep cut during the recording process to keep Brown on radio playlists. His gregarious guitar is slick and proficient as it deftly maneuvers to the fore of a midtempo electric groove.

 

The vibrant “Charismatic” gets a boost from Merlon Devine’s soprano sax. Brown explains, “Initially, Valdez (Brantley) played the flute sound on the track on his keyboard, but I felt we needed a live flute player. Unfortunately, all the flautists we knew were unavailable. I suggested using a soprano saxophone instead and called my good friend, Merlon Devine. We decided to keep the keyboard flute sound after all, but it’s Merlon’s beautiful soprano sax that really stands out on this track.”

 

We experience a completely different side of Brown on “4^th Dimension,” on which he indulges his rock god guitar alter ego.

 

“I was kind of a rock ‘n’ roller influenced by great bands from the '80s and '90s. I’ve always loved legendary guitarists like Jeff Beck, Carlos Santana, Jimi Hendrix, and Jimmy Page, and I wanted to create a rocky, funky groove. We started exploring a direction that I don’t usually take. I used a lot of distortion and drive on my guitar. We incorporated a jazzy guitar sound as well, resulting in a song blending both jazz and rock elements,” shared Brown.

 

Last holiday season, Brown released “Have Yourself a Merry Little Christmas” on which he, Brantley (keyboards, piano, programming, arrangements), drummer Ron Otis, and bassist Lanar Brantley were joined by vocalist Jayla Treasure, a talented singer, songwriter, Praise and Worship leader, and a music major who is currently continuing her studies in college.

 

“I wanted to choose a song for the holidays that truly embodies the spirit of Christmas. The song turned out great and reached the top of the streaming charts,” enthused Brown.

 

Brown debuted in 2007 with the release of his “No Time To Waste” album. Building his following with growing radio airplay via each successive album and single release, Brown has performed, shared the stage and/or recorded with a wide array of jazz, R&B, and gospel GRAMMY winners, nominees, and Billboard hitmakers including George Benson, Al Jarreau, Stephanie Mills, Gerald Albright, Alexander Zonjic, Bob Baldwin, Mindi Abair, Jessy J, Paul Brown, Paul Taylor, Darren Rahn, Tim Bowman, Randy Scott, Gail Jhonson, Nate Harasim, Bob James, Brian Culbertson, Spyro Gyra, The Ohio Players, Najee, Jeffery Osborne, Aretha Franklin, and Michael and BeBe Winans. For more information, visit https://www.deebrownjazz.com.

 

Brown’s “Mister Smooth” album contains the following songs:

 

“Mister Smooth”

“Wes 8Mile”

“The Thing is…”

“We Are Family”

“Charming”

“Finesse”

“You Already Know”

“Charismatic”

“4^th Dimension”

“Have Yourself a Merry Little Christmas”

 

Pre-save “Mister Smooth” at https://sym.ffm.to/mistersmooth.

 

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Trombonist Reggie Watkins to Release New Project “Rivers” on March 28th, 2025 #jazz #music

Trombonist Reggie Watkins Celebrates His Pittsburgh Home on “Rivers,” Set for March 28 Release on BYNK Records

Though Reggie Watkins has made his bones (so to speak) as a trombonist, leading his own bands and playing with such stellar units as Orrin Evans’s Captain Black Big Band, he is a top-notch composer as well. The best proof of that to date is his strong new album, “Rivers,” his fourth as a leader and the first of his efforts to offer all originals

RICHMOND, Calif., Feb. 28, 2025 /PRNewswire-PRWeb/ — Pittsburgh, Pennsylvania—trombonist-composer Reggie Watkins‘s adopted hometown, and one of America’s richest jazz cities—is at the heart of “Rivers,” Watkins’s fourth album as a leader, to be released March 28 on BYNK Records. But the album doesn’t confine itself to the City of Bridges. Ever the restless explorer, Watkins uses a Pittsburgh-based, post-bop jazz quartet featuring pianist Michael Bernabe, bassist Eli Naragon and drummer Jason Washington Jr. to take on the world.

Even the title of the record (the first to comprise all Watkins originals) isn’t as specific to the city as it may seem. Of course “Rivers” refers on one level to Pittsburgh’s geographic foundation, the confluence of the Allegheny, Monongahela, and Ohio. “You can’t get away from river culture,” Watkins says. “Whatever you do, wherever you go, there are always those three rivers you have to cross.” At the same time, however, the album (and its title track) also nods to Sam Rivers, the innovative Boston saxophonist who is one of Watkins’s inspirations.

You can’t get away from river culture [in Pittsburgh]. . . . I’ve just always had this connection to the city and the people and the jazz scene here.

Watkins also pays tribute to other musical inspirations and friends from locations far and near. The wily opener “Blues for 3-D” is dedicated to the three D’s (trombonist, composer, and Oklahoma native David Gibson, as well as Andre Hayward and Steve Davis); playful but angular “Ocularity” tips its hat to Texan geniuses Ornette Coleman and Don Cherry; and the high-stepping “Blue 6” takes its cues both from New Yorker Thelonious Monk and from Jimmy Knepper, the California trombone great who is one of Watkins’s prime heroes. Even the far-flung locations themselves receive salutes on the album, as with the fond (and self-explanatory) closer “Shanghai Strut.”

Even so, Pittsburgh—and the life and career Watkins has built for himself there—remain a constant presence on “Rivers.” “Hide n Seek,” with its blissful feel and affectionate romp of a trombone solo, is an ode to his children. “Meditations,” a tune that is exactly what its title promises, nonetheless suggests the placid ebb and flow of the river waters that remain the city’s defining feature.

“I’ve just always had this connection to the city and the people and the jazz scene here,” the trombonist notes. “Musicians from Akron and Cleveland are coming to Pittsburgh and vice versa so now you have influences going in both directions.” Naturally, he expresses that bond in part through the powerful chemistry he shares with the album’s locally based band. “There’s special meaning to hooking up with talents like Eli, Michael, and Jason, who was only 23 when we first played together but played beyond his years,” says Watkins.

Taken together, “Rivers” is the story of all these things rolled into one—and hence, a story of Watkins himself.

Reggie Watkins was born August 24, 1971, in Wheeling, West Virginia, 60 miles outside of Pittsburgh. A music lover and aspiring brass player in his teenage years, he tried his hand at trumpet and tuba before finding the trombone in high school. He found it again, on another level, when he discovered J.J. Johnson while studying music at West Virginia University. Thereafter he dove headlong into jazz.

After graduating, Watkins worked for a few years as a musician on the cruise ship circuit before moving to Pittsburgh in 1998, where he worked with noted drummer and native Pittsburgher Roger Humphries. At that point, legendary trumpeter and big bandleader Maynard Ferguson came calling, and Watkins toured with him for several years, becoming his musical director as well. From Ferguson, Watkins went to pop singer-songwriter Jason Mraz, with whom he worked for six years.

Watkins recorded his first album, 2004’s “A-List,” while still with Ferguson, and his second, 2010’s “One for Miles, One for Maynard” (released in 2014), while with Mraz. His third, “Avid Admirer: The Jimmy Knepper Project” (featuring pianist Orrin Evans), came in 2016 after Knepper’s daughter Robin gifted Watkins her late father’s trombones. In addition, Watkins has recorded as a member of the funk ensemble Steeltown Horns, whose debut album “5 Years of Funk” was released in 2023.

For the last eight years, Watkins has recorded and toured with Orrin Evans and his three-time Grammy-nominated Captain Black Big Band. He is featured on their albums “The Intangible Between” (2020) and “Walk a Mile in My Shoe” (2024).

The CD release show and after party will take place Sat. 3/29 at the Andrew Carnegie Free Library and Music Hall aka The Carnegie Carnegie in Carnegie, PA (Greater Pittsburgh). Watkins will also be performing at Con Alma in Pittsburgh, Wed. 4/30 and Wed. 5/14, as well as at The Bop Stop, Cleveland, Fri. 6/20 and Smalls, NYC, Mon. 6/23.

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Smooth Jazz Chart - Weekly Top 100 - March 3, 2025 #jazz #music

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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Multi-Award-Winning Composer-Pianist Randy Klein to introduce several distinct musical projects for 2025 #jazz #music

Randy Klein has carved out a prolific career with a long list of major accomplishments on his resume. He’s a pianist-keyboardist, songwriter, educator, author and founder of Jazzheads, the NYC-based independent music label, to name a few of his many activities. As a cross-genre creative, he’s also proactive in adding new, innovative projects in areas of exploration including jazz, popular and classical music, theatrical works and film scoring. Randy Klein’s extensive contributions to the music world continue with expertise and passion. Of his work, The revered jazz legend, Dr. Billy Taylor, lauded Klein’s work by stating: “I’m glad that Randy Klein’s musical compositions really focus on his gift for melody. I love his work.” Kicking off a year of new projects, Klein released “Invictus” on February 11, a contemporary classical work based on the renowned poem by William Ernest Henley. The recording, with music by Klein and Jonathan Long, and sung by Long, is available on all streaming platforms. Heading more deeply into 2025 is an evening concert presenting songs from Black Swan Blues – the Concept Album. The entire suite of songs will be presented on Monday, May 19 at the Lambs Club in New York City. Recorded by a starry cast of singers, including Karen Mason, Christian Hoff, Lilli Cooper, Aurelia Williams and Jerry Dixon, the album’s blues-infused score and memorable songs, captivates with its story of love, racial injustice and redemption, set in the sultry ambiance of New Orleans, 1963. Performing the songs from Black Swan Blues is another step in the development of the musical, one that will energize its listeners to clamor for a full production. Polymath Klein is a long-time member of the advanced BMI Lehman Engel Musical Theater Workshop, The Dramatists Guild, The Recording Academy (formerly the National Academy of Recording Arts and Sciences) and APME (Association for Popular Music Educators). As a music educator, he conducts clinics on music, songwriting and the business of music. He is an active coach for songwriters at SongU.com., Nashville. As a performer, he has appeared at venues such as Birdland, Klavierhaus, Trumpets, the historic Union of Composers Club (Moscow), Radio City Music Hall (NYC), the Chitlin Circuit, The Playboy Club, The Other Side (The Combat Zone, Boston), Bethlehem Bungalow Colony (Catskills), The Bitter End, The Comic Strip (NYC), Hammersmith Odion (London), The Troubadour (LA), The Metropolitan Opera House and the Mississippi Symphony. This wide variety of experience continues to inform his work, building strength upon strength. John J. Cooper, Program Director WBGO-FM Newark NJ, says: “Klein uses inventive lyrics with infectious melodies making jazz that belongs in a class with John Pizzarelli and Dave Frishberg. Original with a capital O!”   Also coming this Spring is Songs That Speak – a performance piece that features top jazz vocalists performing songs that convey the story and message of Speak,, a uniquely quirky, comedic musical tale with purpose. Speak takes place in the commercial music world, in the early years of branding. Our hero dies in the opening number by throwing himself in front of a Mr. Frosty Freezy Ice Cream truck, but his sacrifice is not for naught. Speak speaks to the need to be heard, and to uncluttered and everlasting love. The Speak score is melodic, rhythmic, multi-genre and built on old-school/new-school sensibilities. Renowned music critic and writer, Ken Dryden, notes “(Klein’s) inventiveness and lyricism put him in the jazz camp, though he doesn't easily fit into any particular style.” Continuing the trajectory of the roll out of Klein’s work, this Summer, Jubilee, a folk opera adapted from Margaret Walker’s 1966 novel of the same name, will be presented at Jackson State University (Jackson, MS). Klein has been long-associated with the works of poet and writer Margaret Walker, a prominent force in the African American literary movement in Chicago, known as the Chicago Black Renaissance. His commissioned “Margaret Walker For My People Song Cycle,” was composed by Klein for chorale and solo voice, with themes of social and civil liberties as its backbone. This masterwork has been performed by the Mississippi Symphony with a 120-voice chorale, at museums, schools, libraries, churches, universities and beyond. Jubilee tells the story of Vyry, Walker’s great-grandmother and her journey from slavery through Emancipation and Reconstruction. Jubilee will have a workshop from June 9 -14, conducted at Jackson State University’s opera department with Opera South as part of the Yale University opera department HBCU collaboration with the Margaret Walker Resource Center. A full concert version of Jubilee is scheduled for summer 2026. NEA Jazz Master Willard Jenkins says of this work, “One of the most important performance pieces being offered today (that) combines Margaret Walker’s poetry with socially conscious themes with Randy Klein’s musical painting of every word.” Finally, 2025 will also see the ongoing promotion of the work that makes up Randy Klein’s Songbook—an eclectic collection of songs that have been recorded and released and deserve to be spotlighted anew. *Who Taught You That? Antoinette Montigue – Bobby Sanabria Big Band *No Randy Klein’s Jazzheads *Go Out and Get Some (Get It Out’cha System) Millie Jackson *Feeling Like A Woman Millie Jackson *Phuck-U Symphony Millie Jackson *Each Ornament Has A Story Ann Kittredge *Fairy Pet Day Cast of Twinkle Tames A Dragon *Ben Franklin Michael Earl *Seconds, Minutes, Hours, Days Ticktock Minutes (PBS) *Anything Can Happen Black Swan Blues *Rhyming Tap Rap Savion Glover – Sesame Street *Everything You Long For (Is in New Jersey) Flambé Dreams – Ashley Fox Linton On June 8 at the Association for Popular Music Education Conference in Memphis, TN, Klein will present a songwriting workshop titled, "The Art of Listening to Songs: Intertwining Culture, History and Emotion."

About Randy Klein: A north Jersey native, he was performing at age 14 in a local rock group The Good Things as well as playing with the Fort Lee (NJ) High School marching band. He is a graduate of the Berklee College of Music in Boston, where he is proud to say he was handed his degree by Duke Ellington. Klein performed with singer-songwriter Ralph Graham until 1976, moving to New York City in 1977 and playing and touring with R&B performer Millie Jackson until 1980. Klein founded Jazzheads in 1992, an independent music label based in New York City. To date, the label has a catalog of over 225 titles, with Grammy nominations, DownBeat Critics awards, and Jazz Journalist awards. Some of the artists that Klein has collaborated with are Multi-Grammy Award-winning jazz vocalist Diane Schuur, Broadway star Karen Mason, Multi-Grammy nominated percussionist/band leader and educator Bobby Sanabria, tenor saxophonist, Ray Blue with Kenny Barron on piano, vocalist Ann Kittredge, trombonist and music educator, Dr. Chris Washburne, bassist, Boris Kozlov, R&B Hall of Famer, Millie Jackson and many others. Most recently, Klein was awarded the Creatives Rebuild New York grant 2022-23. He was also the winner of the USA Songwriting Competition 2005 in the Jazz category and top two in the overall category for his composition “Data.” Among Klein’s many other accolades are the Simons Public Humanities Fellowship at the Hall Center for the Humanities at the University of Kansas for the 2011-2012 academic year. Klein has been nominated for a 1998 and 2010 Jerry Bock Award for his theater composition and is the recipient of the 2009 BMI Foundation Jerry Harrington Award for Outstanding Creative Achievement in Musical Theatre. His song cycle, For My People won the 2009 CAP Grant sponsored by the American Music Center. Klein is also the winner of four Southern Regional Emmy Awards: 1996, for the original score to the 90 minute film-documentary titled Richard Wright – Black Boy PPS/BBC; and 1998, 1999 and 2002 in the category of "Outstanding Collaborative Achievement for Composer" for his work on Ticktock Minutes (PBS), which also won the 1999 National Emmy Award for Best Public Service Announcement. About his many achievements, his creative process and his career to date, Klein says, “With me, there are always many projects in different degrees of completion going on. I’m living my dream. I am very thankful that I am a musician!”

Randy Klein Website

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