Pianist/Composer Ted Rosenthal to release four distinct new albums over the next year. #jazz #music

Ted Rosenthal Website

"Rosenthal is a pianist of rarest skill, weaving rapid single note lines that span out into rich chordal patterns, parallel octaves and hints of the blues" - Leonard Feather, Los Angeles Times “There aren't many modern jazz pianists more dexterous than Mr. Rosenthal.” - Nate Chinen, New York Times “A musician's musician who balances technique and taste.”  - The New Yorker * Ted Rosenthal has enjoyed a prolific career, including fifteen critically acclaimed albums as a leader, “Trios in 4 Acts” marks the pianist’s long-awaited return to the studio after more than a decade. The four new albums, recorded in a flurry of activity during the summer of 2024, each follow a separate thread that Rosenthal has explored over the course of his career. All four feature two stellar trios with whom he has been developing these ideas for more than decade: bassist Martin Wind and drummer Tim Horner, or bassist Noriko Ueda and drummer Quincy Davis. Rosenthal has played in virtually every situation in which a veteran jazz musician might imagine – working as a sideman with such legends as Gerry Mulligan, Art Farmer, Phil Woods and James Moody, accompanying vocalists like Ann Hampton Callaway and Helen Merrill, performing with big bands including the Jazz at Lincoln Center Orchestra and the Vanguard Jazz Orchestra, and a soloist with the Detroit Symphony and the Phoenix Symphony. He has also composed a jazz opera and music for the Alvin Ailey American Dance Theater. Despite that broad spectrum of experience, Rosenthal insists that the piano trio remains the ideal ensemble. “It's the perfect combination,” he says. “You’ve got the anchor in the bass and the rhythm in the percussion; you have the opportunity for solo moments along with enjoying the interaction with your musical partners. You don't really need anything else.” The limitless possibilities that Rosenthal finds within the trio format will be on vibrant display throughout 2025 as the pianist launches an ambitious series of releases under the informal title, “Trios in 4 Acts.” Each of the four albums scheduled for release over the next 12 months will showcase a distinct facet of the artistry of his longtime working trios: familiar Songbook standards, inspired original compositions, jazz reimaginings of classical themes, and a look back at early jazz styles. “I've been extremely active performing, touring, composing and teaching over the past ten years,” Rosenthal explains. The stretch of time since his last release, Rhapsody in Gershwin (Playscape), has included the composition of his jazz opera, “Dear Erich,” inspired by a trove of letters written to his father by family members following his escape from Nazi Germany. The deeply personal piece was premiered by New York City Opera in 2019. He has also continued to mentor a new generation of rising stars through his work on the faculties of The Juilliard School and Manhattan School of Music. “Trios in 4 Acts” serves as a return, at least in recorded form, to the core of Rosenthal’s work by encapsulating a decade of evolution with a pair of remarkable trios. The yearlong project kicks off on March 21 with the release of High Standards, the pianist’s latest collection of classic standards from the Great American Songbook and beyond. While many of the titles will be familiar to even the most casual jazz fan – including chestnuts like “Skylark,” “Old Devil Moon,” “Lover Man,” and the wry pairing of “Everything Happens To Me” and “It Could Happen To You” – Rosenthal’s deft new arrangements bring an invigorating fresh perspective to these oft-reprised melodies. He also includes imaginative and swing inflected arrangements of Broadway songs less often associated with the jazz canon – “Jet Song” from West Side Story, “One” from A Chorus Line and “To Life” from Fiddler on the Roof. “All jazz players are looking for ways to make their music personal and identifiable,” Rosenthal says, “and in a way to improve upon what came before. I always tell my students that if they’re going to redo something, it should sound better than the original. There has to be a real reason for it to exist, dramatically and musically. It becomes the best of both worlds, where you're taking something familiar and putting your own twist on it.” High Standards will be followed in June by The Ted Rosenthal Songbook, a set of ten new original compositions, including four trio interpretations of pieces originally written for Dear Erich. While the “Songbook” idea suggests a career-spanning overview, The Ted Rosenthal Songbook focuses entirely on material penned in recent years, all strong enough to compile a complete book in itself. “In jazz, there are songs and there are tunes,” the composer says, defining the latter as pieces built primarily as vehicles for improvisation. “When I compose I always try to end up with something that I'm still going to be proud of and want to keep playing ten, twenty, even thirty years later.” In October the series continues with Classics Reimagined – Impromp2, the sequel to 2010’s Impromptu, Rosenthal’s previous reimagining of repertoire from the classical canon. Impromp2 includes the trios’ jazz transformations of classics by Dvorak, Brahms, Beethoven, Rachmaninov, Chopin and others. On several pieces the trio is supplemented by special guests Ken Peplowski (clarinet) and Sara Caswell (violin). The final release of “Trios in 4 Acts” will arrive in January 2026 with The Good Old Days, a nostalgic yet inventive revisiting of sounds from the swing and ragtime eras. The album combines classics like Hoagy Carmichael’s “Two Sleepy People” and Scott Joplin’s immortal “Maple Leaf Rag” with Rosenthal originals in a vintage style. On a few tunes he and Tim Horner pair off for James P. Johnson-style drum-and-piano duets, including Rosenthal’s “Schmatta Rag,” while on others he is joined by the versatile clarinet stylings of Ken Peplowski. “It was ambitious to record 40 songs for four distinct programs over the course of a short period of time,” Rosenthal concludes. “I'm very fortunate that both of my trios really embody the various moods and styles and can express their own swing and virtuosity within them. It was exciting to be back in the studio and to document the different but related themes that continue to fascinate me.” As the curtain rises on Rosenthal’s latest musical drama, audiences should settle in – these compelling originals and bold reimaginings will keep listeners in their seats until all four acts unfold.

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Saxophonist Chase Huna believes the time is "Just Right" to inject some youth into jazz #jazz #music

The first single from his upcoming “Heart and Soul” album drops on February 10.

 

As a teenager, saxophonist Chase Huna made records under the tutelage of two-time GRAMMY winner Paul Brown and Billboard chart-topper Steve Oliver, learning how to produce and focus on developing his songwriting skills. He’s also shared the stage with contemporary jazz royalty over the last decade. Having cultivated his talents in and out of the studio, now at age 25, Huna feels that the time is right to take the next step as a young emerging artist on the contemporary jazz scene. On February 10, he’ll release “Just Right” as a single to preview his forthcoming “Heart and Soul” album, which he plans to release this summer on Mirage Records.

 

Huna wrote and produced “Just Right,” a deep pocketed R&B groove constructed by bassist Darryl Williams and drummer Gorden Campbell. Keyboardist Carnell Harrell adds melodic shading that buttresses Huna’s tenor sax. Throughout the track, Huna’s impassioned play exhibits maturity and restraint. His horn work is cool and confident, soulful and sultry.    

 

“I’ve always felt that rhythm lives inside of me. One of my favorite ways to feel that is for me to play it out onstage or write it out in the studio. I knew there was something special about this song when I felt the need to dance to it in my studio every chance I got. I selected the song title thinking that every piece of this recording, from the saxes and instrumentation to writing the best song I could, had to be ‘just right,’” said the Palm Springs, California-born and bred Huna.

 

“Heart and Soul” will be Huna’s fourth album and he’s crafting the collection with the intention of injecting a jolt of fresh energy, youth, and creativity into jazz. The set will showcase his amalgam of R&B, jazz, pop, and soul. Huna’s focus is on the song, serving and nurturing each one while exploring the unique nuance of every harmony and melody that make up his compositions.

 

"This new album is so special to me, and I feel that the title says it all. It’s been a fulfilling experience writing and recording every song on this project and it all truly comes from the heart. I’m excited to share the new music. My hope is to share my passion and convey the same feeling I have when playing music with anyone who appreciates the joy music brings,” said Huna.

 

At fifteen, Huna released his Oliver-produced debut single, “On The Chase.” The cut ended up serving as the title track to Huna’s debut album, which dropped in 2017. A year later, Brown helmed Huna’s third single, “U Best Believe.” During those formative years, Huna focused on learning the art of record production. His first self-produced disc, “Life of the Party,” released in 2020 followed a year later by “Life of the Party Volume II.” Both projects spawned radio singles and airplay, which helped Huna’s audience multiply. The saxman continued to keep the company of genre stars by performing with Peter White, Rick Braun, Marc Antoine, Brian Simpson, and Eric Darius, and hit the stage at the Newport Beach Jazz Festival, Catalina JazzTrax Festival, and Brian Culbertson’s Napa Valley Jazz Getaway.

 

Outside of jazz, Huna frequently performs alongside folk/rock singer-songwriters Al Stewart, Ambrosia, John Ford Coley, and Walter Egan.

 

To pre-save “Just Right,” go to https://distrokid.com/hyperfollow/chasehuna1/just-right-2?utm_campaign=website&utm_medium=Email+&utm_source=SendGrid. 

 

For more information, please visit https://www.chasehuna.com.

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Paul Taylor to release new album "It's A Brand New Day" February 28th #shanachie #jazz #music

The number thirteen is cloaked in mysticism, regarded by some cultures as unlucky and revered by others as a sacred good omen or the birth of a new beginning. Saxophonist Paul Taylor’s anticipated new recording and Shanachie debut, It’s A Brand New Day, is his thirteenth recording as a leader. The charming and down-to-earth saxman reveals, “This album in some ways signifies a new cycle for me, as this is my first new recording in three years. The title speaks to my desire to give my fans an optimistic outlook as we approach every brand new day.” The chart-topping saxophonist has enjoyed an enviable career with a string of Billboard #1 hits and collaborations with a genre-crossing list of musicians including Regina Belle, Maxi Priest, Peabo Bryson, Keiko Matsui. The Rippingtons, Peter White, Euge Groove, Michael Lington, Jamie Jones and Marion Meadows. Taylor confesses, “I simply love creating and making my own music. I am the happiest when I am doing just this.

It never gets old.” Danny Weiss, VP of Shanchie’s Jazz A&R, states, “I've been an admirer of Paul's brilliant work dating back to his very first recordings. His superb tone and phrasing are second to none. Paul Taylor is a true icon whose status is well deserved.”

Shanachie Entertainment · Paul Taylor - Forever More

Paul Taylor’s love affair with the saxophone began when he was a kid growing up in his native Denver and his parents enrolled him in a youth band. Lucky for us Paul Taylor’s somewhat clairvoyant band director selected the saxophone for him and Paul never looked back. “In the 70s, my first influences were Grover Washington Jr., Earth, Wind and Fire, Patrice Rushen and Quincy Jones,” reminisces Taylor. “Later it was the Brecker Brothers and David Sanborn but from the very beginning, I wanted to be like Grover Washington, Jr. I wanted to record my own music and tour and be a star in the industry.”

All these years later Paul Taylor is living his best life and taking us along for the ride. He concludes, “I am grateful for my fans, and I'm blessed to be playing music for as long as I have. It’s incredible to have a career where I get to work on my craft every day.”

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Smooth Jazz Chart - Weekly Top 100 - January 20, 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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Remembering Martin Luther King Jr's Famed 'I Have a Dream' - NPR Video #MLKDAY

Martin Luther King Jr.

On Martin Luther King Jr.'s birthday, we remember the civil rights leader's most famous speech, and King's remarkable legacy. He was born on January 15, 1929, in Atlanta. He gave the "I Have a Dream" speech on Aug. 28, 1963 to 250,000 people who marched to the Lincoln Memorial in Washington D.C. In 1983, President Ronald Reagan signed a bill that created a federal holiday to honor King, celebrated on the third Monday in January.

Video link: Remembering Martin Luther King Jr's Famed 'I Have a Dream

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Sean Nelson and the New London Big Band to release of "Don't Stop Now" #jazz #music

The Lost Music of Thad Jones, written for Harry James Eight "brand new" charts from the pen of Thad Jones are brought back to life, including novel arrangements of familiar tunes like Tip Toe and Three and One. Alongside trumpeter Wayne Bergeron in the role of Harry James, and John Riley, longtime drummer with the Vanguard Jazz Orchestra, Thad Jones's legacy ensemble, the band has recorded these historically important compositions. Musicians Saxes: Erik Elligers, Tyler Wilkins, Cedric Mayfield, Josh Thomas, Jeff Emerich Trumpets: Wayne Bergeron, Don Clough, Seth Bailey, Renée McGee, Luke Wingfield Trombones: Sean Nelson, Leroy Loomer, Vince Yanovitch, Wes Mayhew Piano: Jen Allen Guitar: Gianni Gardner Bass: Lou Bocciarelli Drums: John Riley Tuba: Adam Crowe (track 9) Harp: Megan Sesma (track 11) Release Date: April 25th, 2025 (All In Records)

About the Recording The first thing to understand about the great composer/arranger/trumpeter/bandleader Thad Jones is that he was a genius. The mark of any great jazz is that it hits the ear and the brain on multiple levels: yes, there is the virtuosity of Thad’s complex voicings, his unique melodic twists, the technical challenges for the band – but his music also reaches the listener on a deeper gut level, with its bluesy, propulsive sense of underlying powerful swing and forward motion. These qualities hold true whether Thad was composing and arranging for the Count Basie Band in the 1950s, for the historic Thad Jones-Mel Lewis Jazz Orchestra that he co-led from 1966-78, in writing projects for a variety of guest solo singers or writing for his later bands in Europe. This multi-level magnetism of Thad Jones’ little-known arrangements for the great trumpeter Harry James is no different. Harry James may be best known as a big band era trumpet virtuoso, but he was also an ardent Count Basie fan. In his later years, James entered into retainer agreements with several well-known Basie arrangers, including Thad Jones as well as Ernie Wilkins, Neal Hefti, and Bill Holman. He contracted them each for one chart a month, over a period of several years. This gave rise to no less than 25 Thad Jones compositions and arrangements, written exclusively for the Harry James Band but largely unknown or forgotten until recently. Some of these were Thad’s own takes on big band era favorites like “Cherokee,” “Frenesi,” “Flying Home,” and “Harlem Nocturne.” Others were Thad’s own original compositions; those originals are the selections recorded so beautifully by Sean Nelson and the New London Big Band, with two virtuoso guests: the renowned trumpeter Wayne Bergeron and Vanguard Jazz Orchestra veteran drummer John Riley. It is important to note that most of these arrangements were never recorded by James himself – these are the first recordings of this music. Most notable are Thad’s arrangements of his own tunes “Tip Toe” and “Three and One.” Both titles eventually became part of the legendary repertoire of the Thad Jones-Mel Lewis Orchestra – but these are earlier versions done for Harry James, apparently written three or four years before their famous later offspring! These early versions are shorter, less composed-out – but most definitely experimenting with the ideas that would soon become known as classics. This is an important recording, not only because it brings to light Thad Jones’ artistic genius in these newly discovered arrangements, but also because of the high level of the New London Big Band’s performances with the great Wayne Bergeron and John Riley. -Dr. David Demsey, Curator of the Living Jazz Archives at William Paterson University

About Sean Nelson Sean Nelson is the leader and founder of the New London Big Band. By day, he is enlisted in the U.S. Coast Guard, where he plays trombone with the Coast Guard Band​’s concert band and jazz ensembles, serves as staff arranger​, and is music director for both the Beacons Jazz Ensemble and the Guardians Big Band.​ Sean also serves as jazz trombone instructor at the University of Connecticut. ​ ​As an arranger and composer, Sean worked on the production team for the 2015 National Christmas Tree Lighting, creating several arrangements for guests including Andra Day, Kelsea Ballerini, and Tori Kelly. This program was performed for the Obama family and heard nationally on PBS. ​Sean composed the official song for the National Oceanic and Atmospheric Administration officer corps (one of the eight federal uniformed services), sung by all recruits at basic officer training as well as other official events. ​He has won the National Band Association Young Composers Jazz Composition Contest and is a two­ time winner of Downbeat Magazine’s Student Jazz Arranging Contest. He currently works as the arranger for Sam Houston State University Bearkat Marching Band, writing new shows each season. Sean's big band arrangements are published at iJazzmusic.com. ​ A native of Dallas, Texas, Sean received a Bachelor of Music degree from Sam Houston State University, studying trombone with Henry Howey, and a Master of Music degree from the University of North Texas, studying trombone with Tony Baker and jazz arranging with Paris Rutherford and Rich DeRosa. While at North Texas, he was trombonist and composer for the One O’Clock Lab Band and sang with the Jazz Singers I. Sean’s trombone quartet won the International Trombone Association Quartet Contest, and he was honorable mention in the ITA’s Frank Smith Solo Competition. He spent his summers and winter breaks playing in house bands on cruise ships for Princess Cruises and Cunard Cruises. Sean lives in Quaker Hill, Connecticut, with his wife Megan and children Lucinda, Giles, and McCoy. ​ Sean is a performing artist for S.E. Shires trombones and Denis Wick mouthpieces and mutes.

About the New London Big Band Led by trombonist and composer Sean Nelson, the Connecticut based New London Big Band is a "full bodied and polished brassy big band" (Jazz Weekly) made up of 17 of the finest musicians in New England. Formed in 2016, they play monthly to sold out crowds at the Social Bar + Kitchen in New London, where they attract professional and amateur dancers from near and far. The band wants to show the world that big band jazz is a vibrant and joyful sound that is not just for jazz aficionados. "Nelson...has assembled a youthful, sharp, hip 17-piece ensemble as dedicated as he is to the belief that big band sounds can provide a fine musical experience — one best served up live, where the groove and excitement of the arrangements and instrumental interplay can energize and pack a dance floor across generations." (The Day of New London)

For more information, please visit: New London Big Band Website

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