Saturday, July 30, 2011

Pat Bianchi Back Home Doodlin Records 2010

Back Home

Pat Bianchi  Back Home Doodlin  2010

Pat Bianchi - Organ
Wayne Escoffery - Tenor Sax
Terell Stafford - Trumpet
Ralph Peterson - Drums
Gilad Hekselman - Guitar
Carmen Intorre - Drums

Like many of you I discover artists while listening to other peoples work which is how I discovered Pat Bianchi. I was listening to Ralph Peterson and the Unity Project's "Outer Reaches"  when my mind was officially "blown" hearing Pat play. Oddly enough Peterson makes an appearance on "Back Home" along with Terell Stafford and Wayne Escoffery who are two of the finest horn players on the straight ahead scene today. Long story short, "Back Home" is packed with variety and actually two discs combined into one. The trio portion of the disc has a wonderful organic feel that flows effortlessly until it creeps into your soul. The quartet portion of the disc swings like a beast and will literally set your hair on fire and I am good with that!

The quartet kicks off with an incredible cover of the Chick Corea tune "Litha." This ensemble includes Escoffery, Stafford and Ralph Peterson on drums. Peterson is simply a beast and does not simply play "in the pocket" he is the pocket propelling this musical train onward. Wayne Escoffery is one of the finest tenor players who is currently working in Tom Harrell's quintet and Terell Stafford is a brilliant trumpet player who continues to top his own work with each subsequent release. In addition this ensemble takes on the work of Ornette Coleman and Wayne Shorter with stellar results! The Bianchi composition "Back Home" is as solid as any tune on the set list but the trio's cover of "Fifth House" from John Coltrane gets the party started. An old school blowing session or as I like to call it - a smoker! The group also gives a standout performance on Ornette Coleman's "Blues Connotation." Musical chemistry runs wild especially with the interplay between Escoffery and Bianchi.

Mixed within the tune list is some more of the blues infused trio set which works so incredibly well because they play as one musical voice. I could have easily enjoyed an entire project built around this trio format. The organic feel on these tunes borders on intoxicating. A wonderful take on "Portrait of Jenny" and "Midnight Mood" help round out and add to the sonic diversity of one of the most solid and well thought out recordings you may come across. The trio features guitarist Gilad Hekselman and drummer Carmen Intorre who play "with" and not around Bianchi adding to a very personal and intimate feel while allowing your hair to cool down from the smoking work of the quartet!

Blues, Swing, Hard Bop...there is a unique fusion of sound that Pat Bianchi makes his own. Playing a C-3 ( think church type organ ) which is a cosmetically tweaked B-3, Bianchi's sophomore release is certainly one of those records I would put in my personal top ten. I read one piece where Pat is compared to Larry Goldings and I take issue with that. While Goldings is indeed outstanding, Pat Bianchi has established himself as a force in jazz today. Bianchi is the hot ticket for jazz organ!
I am a tenor player and while I have a thing for Latin jazz, Pat Bianchi hits ground zero on my musical soul.

Buy or Sell?
4 Stars! Too many high points to list and no low points to be found!

please check out for more information!

The You Tube video is not from "Back Home" but simply a great example of this amazing talent!

additional photo courtesy of

Smooth Jazz / A new way to beat a dead horse.

Another Smooth Jazz station goes down in flames but the world keeps right on spinning.

Let me address the common misconception that I take any sort of pleasure in 94.7 The WAVE in Canada flipping formats this year. As one of the long term unemployed and as a previous announcer here in the Louisville area my heart goes out to anyone working in the rather transient world of commercial radio and especially those finding themselves without a gig! 

That being said if you are truly shocked then you are not paying close attention while playing at home. "WAVE" did what a great many stations do jazz or otherwise - they flipped or will be flipping formats in the next 48 hours. Why?


For the uninitiated commercial radio is not in the business of promoting artists, music, or culture be it jazz, country or rock. Commercial radio's first and only intent is to sell advertising based on researched demographics in a particular location. Granted there can be error involved in any statistical study but the ultimate objective in a format change is increased advertising sales - period.

This decision by the powers that be at "WAVE" is not some grand musical middle finger to the world of smooth jazz. Check this out:

Recording sales are not broken out by genre in this chart, but the RIAA’s 2008 “Music Consumers Profile” contains data reviewing almost a decade of business. According to the published figures, jazz sales equaled 3.0 per cent of total sales in 1999, hit 3.4 per cent in 2002, dropped to 1.8 in 2005, and in 2008 registered a mere 1.1 per cent of sales. In almost every year classical sales trump jazz sales; religious music sales are in the 3.9 to 6.7 range; pop, country, urban/R&B and hip-hop each claim numbers in the low double digits, and rock accounts for between 24.8 and 34 per cent of year end shipments. Other data measures formats, channels, consumers’ ages and genders. ( for the complete article check out the link below )

Numbers do not lie. Jazz - not smooth, not urban jazz, not straight ahead jazz but JAZZ is the lowest in pre-recorded sales so if your station is struggling what possible sense does it make to stay true ( in this case ) to a format that is as dead as Elvis Presley? Chieli Minucci made some interesting comments concerning the documented decline in the industry in a review posted on this site. For me it is more than a vibe, jazz is the one true American cultural art form and an art form that should be celebrated in all of its forms, genres, sub genres and virtually any other label you would like to place on it to feel better about yourself.

The format change at "WAVE" can be considered yet another warning shot concerning the cultural dumbing down of this country and the "virtual" ease in which sonic ear candy can be transported to us in the blink of an eye. Taste is subject and there are far too many variables to consider.

Profit and loss are tangible. You make money or you lose money so how do we fix this? We attack this problem on two fronts first being music appreciation in the schools moving to more selective and smarter choices made by the consumer. You would not buy a car that seemed "slapped together" so why would you buy music that is merely a rehash of what was previously tried and true? Artists will only be as creative as they feel the need to be but if we support our artists no matter what medium or genre they perform in the results will have to better than some of the watered down pablum that sounds as though it has been run through a sonic soul press. I hold the same standards for the traditional community; put out a piano trio that is nothing but standards then how about bringing something new and different to the table in presentation? I have no musical double standard and neither should the passive listener.

The good news for the fans of "WAVE" as well as smooth jazz is that the Internet side of the equation remains in tact. To me the Internet platform is but a temporary fix to the solution. If they are not listening on commercial radio why would you expect Internet coverage to make the difference? Coverage and accessibility for Internet use is still an issue for some and until sales can even remotely approach double digits in pre-recorded product, much like the American economy there is a long and very bumpy road ahead for jazz.

I enjoy jazz in general and despite favoring the more traditional, thanks to this blog I have been able to become "friends" with some of the finest names in smooth jazz today and turned on to music that I listen to on a regular basis. It all comes down to support which translates directly into:


You can pay me now or you can pay me later.

Wolfert Brederode Quartet Post Scriptum ECM 2011

Wolfert Brederode - Piano
Claudio Puntin - Clarinets
Mat Eilertsen - Double Bass
Samuel Rohrer - Drums

"Post Scriptum" is one of the most intoxicating fusions of jazz and classical that makes its sonic mark with a seemingly compelling sense of restraint. ECM founder and producer Manfred Eicher has been well known for his ability to almost perfectly pace a recording and this may be the finest example of his legendary talent. Musical ebb and flow within the harmonious confines of this international ensemble perform together as layered musical thought. From an at time airy quality to a full rich if not gorgeous sound that is firmly anchored, "Post Scriptum" is a highly accessible yet intriguing intellectual masterpiece.

In western improvisational jazz the clarinet has turned into more of an after thought or used for one specific piece in a release. "Post Scriptum" utilizes the full warmth and versatility of the clarinet to serve as the musical metronome for the rest of the ensemble. Musical propulsion with direction and purpose this international ensemble does indeed display sonic grandeur but on a surprisingly intimate scale.

The zen philosophy of less is more has never been transfered to the musical setting better.

"Catching up with Chieli!" The Interview

Chieli Minucci

Has it really been over 25 years?
Chieli Minucci is far from a one trick pony having co-founded the Grammy nominated Special EFX with the late George Jida in 1984. Chieli has gone on to receive critical acclaim both as a solo artist as well as for his work in television, film not to mention his contributions to the Broadway stage. In the same spirit of the harmonious layers of depth and character that make up his music, Minucci can certainly be considered a Renaissance man of jazz. I was lucky enough to catch up with Chieli so that we could "shoot the musical breeze."

To kick things off I wanted to know about the latest release "Without You" and what is coming up!

"This was a long-planned project to mark our 25th anniversary. I'd intended to record a double CD, a DVD, and write a short book to commemorate this milestone in my career. Kind of like an expression of gratitude. In the end I inserted a 32- page booklet in the CD, as opposed to the book. Ambition only goes so far!~ The CD is very special in that most of the music is brand new, and was performed by my longtime band members. I was even able to contribute a special tribute piece to my late partner, percussionist George Jinda, by resurrecting one of his percussion performances from an older source and writing a new composition on top ( Man with a Drum ) of it. In general, the whole CD is a walk through the many styles Special EFX has been known fusion, smooth jazz, etc...

As to upcoming plans I am presently writing new material for a new release. That concept is still developing. Now that there are no longer CD stores or radio stations to consider the playing field has been leveled and it's only about the art, development and live shows. Very refreshing yet the freedom is a bit daunting, ironically."

As a musician I hate labels and I chuckle at those that try and "pigeon hole" certain artists so I asked Chieli about "labels" and just where his music may fit and what his influences are.

"All composers are a reflection of their life's influences. I am no different than others that way. Like many in music, my background is extremely varied. I am not able to label myself because I perform all sorts of styles. What I do with Special EFX is only one facet of my artistic life. However, I did make the decision long ago to pursue different styles on each record release, as opposed to "focusing" too much. To me it's more interesting that way, more unpredictable. The Beatles did that on every release, and they are my first big influence in music. "Smooth Jazz" is merely a focusing of one style of contemporary music."

I commented that "Smooth Jazz" has taken some well documented hits as radio stations continue to flip format and sales are not exactly having the record executives dancing with glee. Has the smoother side of jazz become too predictable and too format driven thus losing some of its creative edge? To me there are a handful of artists that sound as though they are simply rehashing their previous work each time they drop a new release.

"There are many reasons for this. I believe that the artistic skills of the longtime artist have been the reason that the smooth format has lasted so long. It's the newer artists, copying the tried & true, that are watering down the scene. But more important than blame is the natural cycle of business, and what we call "demographics." The crowd that came up on contemporary jazz, from the late 70's till now, is simply aging, shrinking in numbers, and losing interest in a general sort of way. And let's not forget that amazing partnership between radio, record labels, and retail. For 20+ years these 3 conspired in a wonderful way to make a huge success of a style I personally never thought would fly. My own career has always been the biggest gift of all!

"Catching up with Chieli!" The Interview Part 2

Chieli Minucci

As I began to wrap up my chat with Chieli I wanted to ask about his creative process as well as his take on the where the record business is today.

I asked Chieli to try and give us an insight into how the creative process might work for him especially given his involvement in a variety of mediums with the results being such widespread critical acclaim!

"It's all from the same pool. Imagine that you've taken a bite of the best pizza in the world! Are you going to take another bite? I think so! Probably eat at least 4 slices! Writing is like that. Once you start, the door tends to open wider, what comes through is what becomes what we deem good or bad. But creativity can not be considered this way. It just "is."

Moving on I wanted to touch on how the economic recovery that was promised which is now back on life support combined with new technology platforms that have re-shaped how we purchase and listen to music may have changed the industry and perhaps what changes Chieli would make if he could!

"The business as I've known it has gone down the toilet - no stores, no radio, no sales, comparatively. Art, creativity, live concerts still exist as they always have. It's back to grass roots! But the economy for music has tanked. We are in a jazz depression now, at least economically, that is. Artists must become businessmen nowadays, which is not so much fun for many of us! That has lead us to good business people posing as artists ( I won't name names here...but many, coming from the TV world.)"

To wrap up and my favorite question...What was the last jazz disc that you purchased?

"Guitarist Ben Monder's last CD. Amazing!"

I want to thank Chieli for his time in chatting with me! You can find a review of "Without You" posted here. I also want to encourage you to check out for even more information and you can also find the link listed on my home page here as well. Chieli Minucci paints from a rich sonic color palette, layers of musical texture and richness that transcend standard categorization - and this is good! Chieli Minucci is my musical easy button and I hope he is yours as well!

Friday, July 29, 2011

Nils Okland/Sigbjorn Apeland Lyosen - Hommage a Ole Bull ECM 2011

Nils Økland
Lysøen - Hommage à Ole Bull

Nils Økland violin, hardanger fiddle
Sigbjørn Apeland piano, harmonium
ECM 2011

Some of you may have been fortunate enough to have attended a music appreciation class with a well thought out curriculum so that Ole Bull may be a familiar name.

Of course the same people that remember music appreciation from school also hold fond nostalgia for the vinyl long playing record, the traditional brick and mortar record store and can remember when a fill up at the pump did not require a second mortgage.

As comfortable as a wool sweater and as charming as a Norweigan cottage nestled away in the country side this release takes a look at the more contemplative work of Ole Bull who is one of the most iconic figures in Norweigan music. Long known and noted for his improvisational wizardry, Ole Bull was often associated with some of the greatest figures of 19th century music including Franz Liszt and Clara Schumann but never lost touch with his connection to folk music.

Okland and Apeland are the first musicians to record at the island home of Ole Bull (1810 - 1880). Adding to the charm of this recording, Apeland plays a grand piano once belonging to Ole Bull's daughter as well as Bull's harmonium. Nils Okland found himself in the fortunate position of being able to use Bull's Guarneri del Gesu violin from 1734. Perhaps these instruments somehow aided the pair in approaching Bull's work from a point of view of adding their own musical ideas that enhance the beauty and tranquility of the surroundings at Lysoen. The improvisational techniques used by the duo are largely based on Norwegian folk music thus giving a rather organic if not "unplugged" feel to the music of a man once referred to as a "savage genius." Edvard Grieg referred to Ole Bull as his musical savior for showing him the inherent beauty of Norwegian folk music which is captured in all of its pristine elegance with this recording.

A unique and intoxicating fusion of the classical with the cultural folk music of Norway, "Hommage a' Ole Bull" does pay its musical respect to an iconic figure whose music runs the spectrum from lyrical introspection to sonic fury in the blink of an eye.

Music made from the hear but destined to creep into your soul.

Thursday, July 28, 2011

Steve Watson Watson's Riddle Palmetto 2011

Watson's Riddle featuring Chuck Leavell

Steve Watson - Guitar
Paul T. Riddle - Drums ( Original member Marshall Tucker Band )
Chuck Leavell - Piano ( Allman Brothers, Rolling Stones, Sea Level )
Tim Lawter - Bass ( Top flight bassist from MTB )

Street Date 08/30/2011

The three or four people I allow to be close to me understand that on occasion I can be a tad judgemental and certainly that holds true with music. "Watson's Riddle" was no exception for me especially being an independent artist/group I do hold them to a slightly different and higher standard. The irony here being the mainstream media holds me to the same and slightly elevated criteria.

"Watson's Riddle" passes every possible test with flying colors!

From tasteful blues infused contemporary jazz that can range from the smoother side of acoustic to some soaring fusion edged pieces from Steve that show off a solid range of style and technique that most guitarists can only hope to reach - Watson's Riddle is uniquely fresh!

Why? Simple! All musical parts were played by real musicians without any loops or sequences. Musical honesty and integrity placing a fresh spin on contemporary jazz with depth, texture and inventiveness that you will not find virtually anywhere in what is being passed off as "smooth jazz." I am not trying to take a musical drive by against the smooth jazz genre but simply point out just how wonderful music can be without all the electronic crutches that some producers insist on employing. The same crutches that can take wonderful music and run it through a sonic soul press to the point of being left with what I enjoy calling a sonic sleeping pill.

Another ironic bit of back story is that Steve was encouraged by cardiothoracic surgeon Douglas Appleby M.D., to write emotionally engaging music that was relaxing and transforming to the human soul. A simple direct approach with the end result while being jazz by definition - defying any real sub-genre you may try and pigeon hole it in to. The music stands on it's own merit with vitality and a unique musical pulse that allows these "old souls" to breath new life into a genre that at times has been going on and off life support with alarming regularity.

Steve Watson is not a newbie. Watson has performed on recording by such artists as B.B. King and Dolly Parton while having film credits that include "Planes, Trains and Automobiles" Steve brings all of his musical experiences to the table here. Chuck Leavell continues to set the bar for his brilliant piano work while Riddle and Lawter anchor this remarkable ensemble. One musical voice.

Drummer Paul T. Riddle refers to the musical frame of reference for the band as "melodic freak." Musical introspection, playful funk and even while some programmers will now enthusiastically claim this as "smooth jazz" this recording is like a sonic breath of fresh air in this digitally driven world. "Watson's Riddle" defies strict categorization and that is why it works so well.

One of the best "independent" recordings I have heard this year!

Buy or Sell?


Wednesday, July 27, 2011

Francois Couturier Tarkovsky Quartet ECM 2011

Francois Couturier Tarkovsky Quartet ECM 2011

Francois Couturier  - Piano
Anja Lechner - Violoncello
Jean-Marc Larche' - Soprano Saxophone
Jean-Louis Matinier - Accordion

I have often said that the ECM does not merely offer you some of the finest pre-recorded music available but they offer you an experience in sound and the intimacy and passion that is possible when in the appropriate artistic care. The  Tarkovsky Quartet may be one of the finest examples of something that transcends the normal concept of music to indeed penetrate your very soul.

A unique and fascinating fusion of the classical with western improvisation to give you a presentation of sound you can touch. A formal frame of musical reference is impossible as the sonic landscape painted is one that comes from a deeper place within the human spirit.

The listener will experience a musical pulse, a rise and fall of exhilaration as all participants are engaged in the harmonious union of time and sovereign sonic space. Lyrical imagery for the mind and the soul.

While not a devote of cinema in the most meaningful sense of the word, I am drawn into this musical world that is inspired by the work of film maker Andrei Tarkovksy ( 1932-1986) as this release is a reflection of his life and art. For a filmmaker such as Tarkovsky to make this type of impact on a composer is fascinating for me and as I listen I can only imagine the vivid imagery and depth of the work of this cinematographer

The Tarkovsky Quartet has been enthusiastically received by the international press and is a relative fixture on the European concert circuit and festivals. The international debut for this ensemble was at the Bergamo Festival in April 2006.

Following up Song for Tarkovsky ( 2005 ) and the solo piano Un jour si blanc ( 2009 ) this recording was made in the highly responsive acoustic of the Auditorium  RSI  in Lugano completing a trilogy but opening new musical doors for Couturier's quartet, known henceforth as the Tarkovsky Quartet.

Tuesday, July 26, 2011

Brett Garsed Dark Matter 2011

Garsed Jpg 17901

Brett Garsed  Dark Matter 2011

Do not let the title "Dark Matter" fool you. The very first thing that will grab you is the fresh vitality of his performance and technique or to borrow a line from the movie Crossroads "that boy can play."

Garsed may be flying under your musical radar, a stealth guitarist with as much talent, texture and taste in his playing as you will find anywhere. "Dark Matter" is an incredible display of what was once considered "classic fusion" but has now lost its way either as "progressive" or going to the extreme as "metal." Some have described this release as "prog-metal" and I take immediate issue with that. "Dark Matter" embodies jazz sensibilities that cover a wide range of styles to satisfy the most discerning listeners sonic palette. Old school fusion made accessible not by commercialism but by an amazing display of musical fire power.

Free expression. True musical freedom is rare from a stylistic point of view but Garsed seems to relish the opportunity. Normally a release of this nature smacks of desperation for some sort of cross over attention. Brett Garsed simply plays. Garsed is a musician first and foremost which is why trying to force him into a musical pigeon hole would never work, he is consistent but never predictable which makes the excitement literally bleed through your speakers! Drummer Gary Pantazis and bassist Ric Fierabracci lay down a solid groove as they play "with" Brett Garsed and not "around" him. Phil Turcio plays keyboards and Craig Newman makes a musical cameo on bass. "Dark Matter" is one clear musical mission statement designed to touch your soul and set your hair on fire all at the same time!

Garsed's resume is equally as impressive having worked with such luminaries as Frank Gambale, Dennis Chambers and Allan Holdsworth to name some jazz/rock fusion titans. "Dark Matter" is the second solo release from this Australian guitarist, one of the finest fusion based releases you will come across - maybe ever!

Buy or Sell?

Special Thanks as always to Michael Bloom of Michael Bloom Media Relations!

Avishai Cohen Seven Seas Sunnyside 2011

Seven Seas
Avishai Cohen Seven Seas Sunnyside 2011

Available in the United States 08/30/2011 - Previously release as import only.

Avishai Cohen is a premier bassist that for me has long flown or perhaps been playing well under the radar of most people. "Seven Seas" is a release that brings together all the talents of this multi-faceted player into a solid if not mature offering of sonic depth and texture with musical side roads that keep the release exciting and fresh.

"Seven Seas" is built on the musical foundation of nursery rhymes, lullabies and suites with strong symphonic influences which makes a sonic color palette that is a direct reflection of the deep rich cover art that you first encounter. This native of Jerusalem while having been one of the rising stars since the mid 1990's as a performer is equally known and highly respected as a composer, with the legendary Chick Corea with whom he once played referring to him as a "genius."

To try and pin point Cohen's "style" would be the equivalent of trying to stop the earth from rotating. Cohen is consistent yet with the musical unexpected potentially lurking around every corner. Nothing is static with any Cohen release but the perfection achieved with the fusion of his many influences allows "Seven Seas" to be the perfect representation of his craft.

While Cohen's vocals have been pruned back a tad in respect to other releases, several tunes are sung in Hebrew giving a delightful world flavor without distracting from the music. A musical sense of purpose. Avishai Cohen may well be one of the very best bass players that some of you may not have heard of. A musical frame of reference is close to impossible. Think world fusion?

Buy or Sell?


Ron Carter's Great Big Band Sunnyside 2011

Ron Carter is arguably the master of the upright bass. Straight ahead fans can argue players including Ray Brown, Oscar Pettiford, Paul Chambers and Charles Mingus along with Carter and where their places or rankings may fall and much like arguing baseball be it pre or post steroid it is probably more fun than meaningful. Carter's prodigious output and resume speaks for itself and is a living history if not testament to the development of the modern style and technique of the upright bass and its place in jazz today.

Carter is one of those artists where a review in the strictest sense of the word is a bit silly. This is where you acknowledge genius but far more than a cyber lifetime achievement award there is something very special about this recording.

This is the first ever big band recording for the 74 year old Carter and he pulls this off as though this was his primary if not favorite means of musical expression. A smoking hot ensemble that swings with the kind of pop that would give the listener the impression this was a working ensemble years in the making.

The band includes .....

Jerry Dodgion - Alto & Soprano Sax
Steve Wilson - Alto Sax
Wayne Escoffery - Tenor Sax
Scott Robinson - Tenor Sax
Jay Brandford - Baritone Sax
Charles Pillow - English Horn


Steve Davis
James Burton III
Douglas Purviance (Bass Trombone)


Tony Kadleck
Greg Gisbert
Jon Owens
Alex Norris

Ron Carter - Bass
Mulgrew Miller - Piano
Lewish Nash - Drums

"Great Big Band" has been out in Japan since March and will be available in the states 09/13/2011.

Sunnyside records is an independent label that does far more than help younger independent artists, they truely care about musical diversity and making the very best product available to the jazz consumer for which they should be highly commended. From a stellar debut from drummer Adam Cruz to Downbeat Magazine rising star JD Allen to jazz icon Ron Carter - Sunnyside is a label worth keeping your eyes on.

Monday, July 25, 2011

Chieli Minucci & Special EFX Without You CDBY 2010

Without You

Chieli Minucci & Special EFX Without You CDBY 2010

One of my very favorite things about Chieli Minucci & Special EFX is the music pushes past the boundaries of strict categorization. The labels used to try and describe this release include "Smooth" "Fusion" "World" so let us cut to the chase. Chieli Minucci has been a brilliant force on the contemporary music scene for over twenty five years. Minucci is first and foremost a musician and no where are his and the talents of Special EFX on better display than with the 2010 release of "Without You."

"Without You" incorporates jazz fusion, world beats, along with sounds of the smoother side of jazz and not to mention vocals that actually work. A dazzling sonic display of effortless talent playing together as one harmonious ensemble to give the listener sonic texture and depth - sound they can feel.

The lineup for this release includes the original Special EFX lineup of favorites with drummer Lionel Cordew, bassist Jerry Brooks, keyboardist Jay Rowe, and vocalist/percussionist Philip Hamilton – plus many brilliant guest artists, including keyboardist Jeff Lorber, violinist Karen Briggs, keyboardist Lao Tizer, vocalist Will Brock, bassist Dave Anderson, and violinist Alan Grubner.

A little known back story for some is that Chieli is also an accomplished composer for the small screen and occasionally larger screen having won 3 Emmy Awards and been nominated 10 times for his eclectic work for CBS’ The Guiding Light. He has also written theme music for Good Morning America, Bloomberg Radio, and Access Hollywood. His music can also be heard on the soundtrack of the film Legally Blonde.

A double disc giving you more bang for your musical buck includes a collaboration with the great Jeff Lorber on ‘Mountina Jameroon’ not to mention breathing some fresh life into some Special EFX classics “Sambuca Nights" and  “Sweet Surrender” and a few others as well.

Minucci has been honing his craft for literally half of my life and his creativity, passion and inventiveness seem to know no real limitations. "Without You" is a breath of musical fresh air. Despite being well over a year old in terms of release date, this title is one that may have slipped past you but one well worth your time in re-discovering once again.

Please check out for more information!

Sunday, July 24, 2011

Justin Hines Days To Recall Decca Records 2011

Days To Recall

Justin Hines Days To Recall  Decca Records 2011

Street Date 08/02/2011

"Challenges" be they physical, mental or emotional do not add to a level of artistic greatness. Challenges do not make someone talented but they can drive that individual to heights of achievement that perhaps they would have never known if they had not been faced with the adversity that was placed before them.

Music is all Justin Hines has ever wanted to do. Hines has Larsen Syndrome, a joint dislocation condition that confines him to a wheelchair.   “The reality is I don’t really look at my situation as that big a deal,” he says. “We all have our things that challenge us, just some people’s are a little more visible in the forefront. Mine is very apparent, whereas others wear it on the inside.”
I asked my publicity contact at the legendary Decca Records to send me something "different." I wanted to be tested and at the same time shed some light on some talent that may well be flying under your radar. I received "Days To Recall."

Jazz? No. This is one of those musical side roads I will occasionally take simply because I can. This trip was well worth the effort! One thing I love in particular about Justin Hines is that his music is incredibly difficult to pigeon hole.

The musical odyssey for the 29 year old Hines began when at 14 he won a contest to sing the National Anthem at a Toronto Raptors basketball game. A realization of musical destiny occurred with what he have today as a singer/songwriter of musical substance and depth. Pop music bores me. I find virtually no redeeming value in anything played on commercial mainstream radio however what I find in Hines is a musical honesty and integrity that transcends his physical limitations and is almost intoxicating as a form of musical fresh air. Somewhere between contemporary pop and folk there is a brand new category yet to be labeled and that is where you might just find Justin.

The song writing on "Days To Recall" is honest, open and at times very tender. A unique and admirable quality in that while acknowledging that bad things do indeed happen to good people there is a very real optimism that flows effortlessly through this record that should make an instant connection with the audience.

A vocal frame of reference is most difficult given that in the "cookie-cutter" world of the more contemporary "pop" genre Justin Hines is unique. Let us say a musical happy place somewhere between Lyle Lovett and Paul Simon with a magical tone and perfect phrasing that makes a good song better and a better song great.

 The album’s August release coincides with a PBS special of Hines in concert taped at Toronto’s Royal Cinema with special guests Ron Sexsmith, Natalie MacMaster, Donnell Leahy, Sierra Noble and the Canadian Tenors.
Hines was married three years ago and credits this with not only his life but his song writing changing for the better and the tunes “Now There’s You” and “See You Like I Do” are certainly testaments to Hines optimistic and contented outlook on life.

This is the fourth release for Hines and in addition to the solid songwriting there are the welcome additions of strings and horns giving wonderful depth and texture to his work. The Hines blueprint for musical success is to combine passionate delivery with honest emotion and he does so without one ounce of pretentiousness to be found. A pop/contemporary release with musical meat on its bones. To do what Justin does given his circumstances is indeed "amazing" but do not lose sight that Justin is doing his thing at a higher and better artistic level than some singer/songwriters whose biggest challenge is simply picking out their outfit for the day.

Do not celebrate Justin Hines for over coming the physical challenges that have been put before him but instead celebrate his musical success and unlimited potential. I believe he would prefer it that way. I write about passion but Justin lives it. We should all be so lucky!

As always a very special thanks to Jodie at Decca for turning me on to this wonderful new release!

"It's not the height of the wall, but the hammer that you swing"
-Justin Hines

Justin Hines - Days To Recall

Friday, July 22, 2011

Terri Lyne Carrington Mosaic Concord 2011

The Mosaic Project

Terri Lyne Carrington  Mosaic Concord 2011

A female jazz summit? Bit of a bumper sticker and not exactly true. Carrington is long known for creating meaningful compositions that while adhering to the traditions of jazz are more than capable of speaking to a much broader and diverse audience. "Mosiac" may be the best example of Carrington's talents to date and certainly one of the most diverse releases I have had the pleasure to hear all year.

"Mosaic" boasts an all star cast that includes Esperanza Spalding, Dee Dee Bridgewater, Diane Reeves, Cassandra Wilson and Nona Hendryx along with Sheila E, Gretchen Parlato, Patrice Rushen and one of my favorites Carmen Lundy - and that is NOT the full ensemble cast folks!

This multi-dimensional release is an adventurous if not at times blistering romp through elements of bop, soul, funk and much much more!

An eclectic yet accessible set of tunes including Irving Berlin's "I Get Lost In His Arms" to the Lennon and McCartney classic "Michelle" and five Carrington originals is a magical mix of the old and new becoming one musical voice and vision with a very definite sense of purpose.

Celebrating the artistry and musicality of some of the premier women in music today is not an easy task. Combine the tremendous offering of female talent with the politically charged tune "Echo" and the end result is not smacking of overt feminism or political divisiveness but instead the performers and music coming together as one unified musical cast to perpetuate their music, friendship and humanity. A meaningful vibe you can sink your musical teeth into! "Mosaic" is indeed proof of the musical whole outweighing the sum of its parts.

There is a musical honesty and integrity that is almost intoxicating when you listen to "Mosaic." Layers of musical texture, flavor and emotion surround you and draw you in without you even being aware. Welcome to the land of rhythm and groove!

Not Ipod friendly; this release demands if not deserves your undivided attention as there is a definite "historic" not to mention "artistic" significance to this project. Drummer, composer, producer and clinician Terri Lynne Carrington has hit all the right notes with one of the finest releases of the year and easily her best release to date! "Mosaic" is Carrington's first release on the Concord label and she hits the ground running!

Special Thanks to Concord Music for their support and help!
You can learn more at
You can also use the Amazon Search box provided on this page and go straight to
Video courtesy of You Tube

Thursday, July 21, 2011

Rick Braun Sings With Strings Artistry 2011

Rick Braun Sings With Strings Artistry 2011
Street Date 08/02/2011

..."as smooth as a prom dates thigh and a lot less risky."

The above referenced line is from the Clint Eastwood movie "Heartbreak Ridge" and the irony is not lost.
"Sings With Strings" may be as smooth as silk but it is also a release full of dangerous musical landmines.

Beautiful melodies, lush arrangements and the perfect ensemble cast allow Braun to not tap dance but to take a leisurely stroll through everything from heartfelt ballads to full on swing without missing as so much as a beat!

The most obvious "land mine" would be the vocal aspect of this recording. Having made his mark on the smoother side of contemporary jazz as an instrumentalist would Braun have the vocal chops to handle a slightly eclectic but highly accessible set list? It is the "minimalist" approach, the zen like quality of less is more combined with sophisticated phrasing that allow the vocals to take off. A somewhat lesser if not forgotten fact is that Rick Braun has been a singer and a good one as evidenced by his work backing up Rod Stewart and Sade.

Another potential land mine would be that of production, would the jazz element be lost to what would be nothing more than the equivalent of easy listening on steroids? When you team Rick Braun with the great Philippe Saisse you begin pushing musical boundaries and the end result is an incredibly entertaining effort that should satisfy Braun's legions of fans not to mention enlist a few new recruits along the way.

The tunes range from "I Thought About You" to "The Good Life" with my personal favorite "It's Love" where "old school" indeed becomes "new cool." Material of this nature is not easy, these are tunes that can only be carried off with impeccable phrasing, timing and finesse and a god given artistry that simply can not be taught. Rick Braun has never sounded better on flugelhorn and he is joined by Dean Parks on guitar, Joe LaBarbera on drums, David Finck on acoustic bass as well as Philippe Saisse on acoustic piano, vibes and percussion. Jasmine Roy handles some additional vocal work and Johan Renard takes care of the violin solo and toss in the strings and you have a wonderful straight ahead session done by one of the giants of the contemporary genre.

As close to musical perfection as you may hear all year!

Rick Braun makes it look easy!

Jazziz Magazine Art For Your Ears! July 2011

Jazziz Magazine

Jazziz Logo

Am I a "paid spokesperson" for this publication? No...

I figured I would attack the blatantly obvious first.

As a critic I receive countless press releases but as a responsible jazz journalist I need to dig deeper. I like to search for stories that are not apparent to some or better yet, find the angle some writers may have missed.

For me there is no finer publication for the professional writer, artist or passive listener than Jazziz Magazine. I decided to contact the publication to try and get an overall feel of what the magazine is about and where they are heading. I was greeted with enthusiasm and a deep and sincere appreciation of my interest.

Founded by Michael Fagien, Jazziz is founded on the love of music but the similar passion I have for jazz.

The intent of Jazziz?  I think the publishing department can tell you better than I ..."The focus of the magazine is to bring art to your ears. Our editors and publishers focus on bringing the readers nothing but the best. Whether we are letting you know about what is upcoming in the jazz world, who you should be listening to, or which festivals to attend, JAZZIZ takes pride in giving readers the best experience."

I used to go through other publications but with the economic recovery here in the United States all but a pipe dream, I asked about their concerns for the publication given the on going economic malaise here in the United States.
Are you concerned? Like most labels that are forging ahead Jazziz is confident not only in their quality but in the loyalty of those that patronize the publication and they describe their take on this issue..."     Not concerned at all. We have faithful readers who truly are passionate not only about the music, but JAZZIZ itself. "

So while there are other publications you may still be reading, why Jazziz? Again, the publication can speak for itself..."JAZZIZ comes with 2CDs in every print issue, and 12 extraordinary digital editions. Our digital editions are easy to read, and embedded with music. Some readers refer to us a quarterly book rather than a magazine, due to our increased size. Our readers asked for a little more, we gave them a lot more!"

As an independent journalist information is the very back bone of what I do. My "reviews" go well past those of artists, they also take on the established media outlets that are a key player in the world of jazz.

No where is quality, professionalism and outstanding journalistic content on better display than at Jazziz. I have added a link to their web site to my home page. If you have not spent much time checking out the publication then I suggest you check them out. Especially now, the most bang for your jazz buck!

Art for your ears! Sound you can hold in your hand!

Cover Art and logo from and very special thanks to Gabrielle at Jazziz for her time and help in this project!

Carmen Cuesta Mi Bossa Nova Tweety Records 2011

Mi Bossa Nova 

Carmen Cuesta Mi Bossa Nova  Tweety Records 2011

When "vibe" is good!

Evolving from the Samba, the Bossa Nova is a probably the most misunderstood and misrepresented of all genres of jazz. The initial development of this iconic music can be traced back to the 1950's with its two of its originators Antonion Carlos Jobim and Joao Gilberto. Recordings by Charlie Byrd and Stan Getz allowed this music to take flight with its appeal  becoming more universal. The first single to achieve international success was " The Girl From Ipenema" which was edited to include only the singing of Astrud Gilberto, the contribution of Stan Getz was more of a musical footnote. Over the next fourty years the genre would somehow survive being watered down to still somehow hold on to its original "vibe" having been music that  emerged primarily from the upscale beachside neighborhoods of Rio de Janeiro.
 I do not speak Spanish or Portugese, I do not have to. The Bossa Nova for me is jazz "soul music." Universal in approach and appeal the Bossa Nova is something you feel in your musical soul, not a pretentious vibe driven by corporate culture and a desire to make a buck but by musical honesty and integrity that seems to be missing in certain parts of the jazz culture today. The Bossa Nova is sound you can touch and hopefully will touch you.

Fast forward forty years to Carmen Cuesta.

Toss in Carmen's husband Chuck Loeb along with daughters Lizzy and Christina and you may just have an example of the Bossa Nova as the "family business!"

Chuck Loeb plays guitar, keyboards and bass all while wearing the co-producers hat while Cuesta's talented daughters are featured on flute adding a respectful yet contemporary twist on Jobim. "Mi Bossa Nova" is a celebration of the music that Cuesta admits has touched her heart. This musical honesty transcends all language barriers and instead brings forth a musical experience to be relished.

No language barrier should prevent the enjoyment of a vocal talent that is as sublime as Carmen Cuesta. Soft, Sensuous and Stunning the listener can move effortlessly through what might very well double as The Great Bossa Nova songbook. An interesting side note to this release is that Carmen does not speak Portuguese and the Gilberto estate would not give their approval for a Spanish language version of these tunes so Cuesta learned these tunes phonetically but the seamless translation of the work loses nothing. Along with the Jobim tunes there are two Cuesta originals that for me are Bossa Nova "throw-backs" - music that the masters themselves could have easily created forty years earlier.

Cuesta attacks the music of the masters with authenticity, style and flair making each song her own without disrespecting the original or herself and this my friends is the sign of a true artist at work. Especially if you are a fan of Latin jazz with the Bossa Nova being of particular interest this is a release you do not want to let slip through your fingers.

Available at most of the standard cyber-stores feel free to use the Amazon search box provided on my home page to check out the release further.

Easily one of my favorites of the year and I hope you enjoy it as well!

As always special thanks and appreciation goes to Michael Bloom Media Relations for their continued help and support.
The above link in an interview with both Carmen and Chuck!
Both video performances are courtesy of You Tube.

Tuesday, July 19, 2011

Tom Harrell - Jazz Meets Classical / The Pace Report 07/11

A very special interview marking an incredible set played by the Tom Harrell Quintet at the first Blue Note Jazz Festival earlier this month. The video below marks the release of the most recent offering from the Tom Harrell Quintet - The Time Of The Sun. Video courtesy of You Tube.

Michel Camilo Mano a Mano Emarcy Records 2011

Mano A Mano

Michel Camilo  Mano a Mano Emarcy 2011

Michel Camilo - Piano
Giovanni Hidalgo - Conguero
Charles Flores - Bass

Michel Camilo is one reason I never go into a "theoretical" breakdown of a recording. If you are a musician you are well aware of what is going on. If you are not a musician you have concerns ranging from tunes to supporting cast to the overall sound of the release.

"Mano a Mano" is a refreshing twist on the traditional jazz piano trio. A very simple yet subtle change of adding  smaller percussion and congas as opposed to the standard trap kit infuses a Latin flavor that is a perfect hybrid of two musical worlds. Latin jazz is ground zero for my musical soul and "Mano a Mano" is brilliant in presentation and performance!

The smaller percussion adds layers of texture and unique depth allowing a synthesis of classic Cubop and Afro-Caribbean jazz to breath new life into iconic tunes such as Lee Morgan's "The Sidewinder." The other two standards included are breath taking performances of the Coltrane classic "Naima" and "Alfonsina y el Mar" which is from the Latin American Songbook.

This trio is a Latin American jazz summit. Michel is Dominican, Giovanni is Puerto Rican and Charles is Cuban and together they have come up with an incredible representation of style and finesse showing us that Latin jazz is far from one continuous jam session. Subtle nuances abound in this recording, you are treated to something new with each subsequent spin of the disc.

The first trio project in four years, "Mano a Mano" is a musical triumph. Pianist Michel Camilo boasts a Grammy, Emmy as well as having been a two-time Latin Grammy winner and Michel has come up with the finest piano trio of 2011. Camilo's eight orignal compositions are some of his finest and suitably punctuated by the intoxicating interplay of Giovanni and Charles as they play "WITH" Camilo and not around him which pushes this recording to the next level!

Digital down load available 07/26/11 with Physical U.S. release on 09/13/11...Check out   Special thanks to Jodie at the Decca Label Group for her help and support!

Saturday, July 16, 2011

Smooth Jazz takes it on the chin again or did it?

It's the economy stupid...

Taste is subjective; a bad economy is not. Numbers do not lie.

WLOQ in Orlando has been sold and all signs point to a format change. Having worked my way through college as an announcer here in Louisville, I have seen and been a part of format changes all too often.

The common misconception is to blame the music. Radio was not and is NOT in the business of promoting music or developing anything more than the appropriate target demographics to help sell advertising. Nothing more. Nothing less. If you are a fan of the smoother side of jazz and suddenly begin hearing Sade, Luther or Phil Collins then the musical handwriting is on the wall. Be ready.

So does the sale of WLOQ mean anything in particular to the smoother side of jazz? I don't think so.
I have watched the Billboard charts closely over the last few months and the top 25 albums are for the most part evenly split between contemporary and traditional. There are a few of the usual suspects that are missing out of the top 25 having released albums earlier in the year and which have now apparently stiffed in all likelyhood due to the stagnant economic recovery and not because the music is somehow sub-standard  and this includes The Rippingtons and Steve Cole which is a bit of a shocker. In the world of straight ahead jazz there are also a few of the usual suspects already out of the top 25 due largely in part to having released their efforts before April 1st so interest if not disposable income has dropped in direct proportion to the on going economic malaise we still see in the U.S. economy.

I have seen one chart that indicates that the overall sales of prerecorded music are in a deep decline. I have seen a separate chart that actually expects a rebound when and if the economy can ever be fully brought back to life. On this site initial new release reviews are hit hard the first month or two and then seem to fall off a musical cliff while a handful still remain steady which coincides with the other statistical information I have mentioned.

Format in radio is as individual and unique as the city where it exists. The new owners of WLOQ seem to have a Latin history. The Orlando area in Florida has a rather large Latin population and a hybrid format of some type would seem logical based on the track record of the new owners. All this makes for promoting your favorite music that much harder but the bottom line is this - you have more power than you think.

Do not pirate or trade music. Support your favorite artist and better yet the station that may be broadcasting your favorite jazz no matter what sub genre it may come from. Patronize your local record store if you are lucky enough to have one. As a consumer you can vote with your dollars and you can make a difference. Money talks - ask a program director or general manager.

The smoother side of jazz is rebounding nicely this year with diverse and challenging releases from The Rippingtons, Steve Cole, Cindy Bradley and Brian Hughes to name but a few. Artists that are still holding steady are at least elevating their musical game for more sonic diversity in their work and sales do reflect that. If consumers expect the industry to "fix itself" they are in for a long wait and if artists create for "format" ( you know who you are ) rather than artistic expression then you can continue to watch jazz as an art form die off. Personally, I do not want to be a part of a self inflicted suicide and I urge you to get involved as well.

This is far from a death blow for smooth jazz. This is business. Thanks to the economic meltdown business has been forced to work smarter and not harder and this is not necessarily a bad thing. New and different technology platforms are being brought forth every day but one fact still remains constant - jazz makes up one of the smallest percentages of pre-recorded music sales. The sale of pre-recorded religious music almost doubles that of jazz! Do not look at the sale of WLOQ as a bad thing for smooth jazz but instead for jazz in general. Much like our society there can no longer be a "separate" but "equal" distinction. Jazz needs to unify as one voice for one artistic genre while still celebrating the unique diversity that lies within.

It's about the music stupid.

Hopefully this serves as a wake up call to artists, labels and even to independent writers such as myself to rethink just how we can best promote if not move the music that so moves us. The worst part of this situation is of course the impending if not finalized job loss for those employees at WLOQ. One of the main reasons I left radio aside from pursing my degree was the rather transient nature of the business so again this sale is nothing new.

This is a warning shot for jazz in general. Take it seriously.

I blog. You figure it out.

From California With Love The SSJ All-Stars 2011

The lineup:
Alan Broadbent - Two time Grammy winner. Best known for his work with Charlie Haden / Quartet West.

Johnny Holiday/Sam Most - Recorded 4 albums for various labels. 

Leslie Lewis/Gerard Hagen - Regulars on the Southern California scene. Lewis is associate professor of jazz piano with Saddleback College.

Kurt Reichenbach/Jim Cox - Kurt is the son of legendary Bossa Nova drummer Bill Reichenbach Sr. and critically acclaimed for his interpretations of the Great American Songbook.

Diane Hubka/Dan Sawyer - Diane has a wide following in Japan and the United States here accompanied by Dan Sawyer on ukulee.

Christian Jacob - Perhaps best known for his 16 year partnership with Tierney Sutton.

Tierney Sutton - Three time Grammy nominee for best jazz vocal album.

Jim Cox - One of the most sought after studio piano players in the industry having worked with such artists as Allison Krauss, Chris Botti and B.B. King.

Dick Noel - A former member of the Ray Anthony band now known for his commercial work, Dick is still a vocal force after 40 years.

Chris Connor - Originally a member of the Stan Kenton band, sadly Ms. Connor passed away in 2009.

Frankie Randall - After appearances on major television shows and countless feature films, Randall is considered to be one of the kings of the casino circuit.

Pinky Winters/Jim Cox  - Another regular on the Southern California scene, Winters has recorded several albums and has toured Japan extensively.

The back story is simple. The Sunday after the disaster Bill Reed contacted Diane Hubka and out of concern for some mutual friends in Japan this simple act of kindness and restoration of hope was born with ALL proceeds going to the Japanese earthquake-tsunami relief campaign.

Tunes range from "Blue Skies" to " Strike Up The Band" to " We Can Work It Out" all keeping a positive outlook and championing the noble spirit of humanity within us all.

As far as a "review" in the strictest sense of the word - "lovely." Some of the performers you may not be as familiar with but they are top notch talent! There is a nice easy flow to this release. A great deal of thought went into this project and the end result is an engaging set of tunes that are re-born through some really nice artistry you don't often hear with this set list.

NONE of the singers or musicians accepted a fee for their performances. This includes Michael Bloom Media Relations - the publicist that turned me onto this project and to whom I am eternally grateful.

If you are lucky enough to have a traditional record store in your area you may find the release at their location. Discs will be primarily sold on cyber sites such as CD Baby and of course check out for complete details.
 July 16th a CD release party at Vitello's in Studio City, California. Check out the web site for more details!

Thursday, July 14, 2011

Brian Hughes Fast Train To A Quiet Place SHM 2011

Fast Train to a Quiet Place

Brian Hughes  Fast Train To A Quiet Place  Sylvian House Music

Brian Hughes is a musical ninja.

From Wikipedia - Ninja:
A ninja (忍者?) or shinobi (忍び?) was a covert agent or mercenary of feudal Japan specializing in unorthodox arts of war. The functions of the ninja included espionage, sabotage, infiltration, and assassination, as well as open combat in certain situations.

In the realm of contemporary jazz, Brian Hughes showcases his unorthodox use of the electric sitar and Celtic Bouzouki to fuse his elements of western contemporary jazz with blues, gospel, Latin, Brazilian, flamenco tropical and Eastern Indian Music for a true musical fusion of texture and flavor. Hughes pushes an often weak sub-genre of jazz into a different direction of progression that has been needed for years. "Fast Train To A Quiet Place is a musical journey drawing from a multi cultural color palette to paint a sonic masterpiece! From the acoustic driven flamenco jam "Care Sin Nombre" to the bossa nova on steroids tune "Rockanova" - this release works on every possible level by infiltrating the contemporary world with the variety it has so desperately needed.

Hughes weapon of choice would seem to be the Gibson ES 175 hollow body jazz guitar while mixing things up with a Fender Telecaster and nylon string guitar. An appropriate musical frame of reference here may be Pat Metheny but Hughes carries enough musical weight among his peers and those that can go deeper than the Billboard Top 20 jazz releases to appreciate his prodigious talents both as a performer as well as composer.

Hughes pushes musical boundaries with this release. An incredible shot in the arm for contemporary jazz this release is easily in my top ten for the year. In the press release Brian Hughes refers to "Fast Train To A Quiet Place" as a very personal project representing moments of time in his life and where he is now both personally and creatively.

Brian Hughes is in a very good place!

Buy or Sell?

Dominick Farinacci Dawn Of Goodbye Eone 2011

Dominick Farinacci   Dawn of Goodbye  Eone 2011

Elegant. Exquisite. Engaging

In what I fondly refer to as the year of the trumpet, Dominick Farinacci makes his mark as one of the finest lyrical players on the scene today. In Farinacci's hands "old school" quickly becomes "new cool" in a sonic fusion of timeless standards with the lyricism in his playing coming from such vocal inspirations as Frank Sinatra, Nina Simone, Dianne Reeves and Tony Bennett.

"Dawn of Goodbye" is a musical reflection on love and the inevitable loss that occurs in all relationships. It is this very personal approach that gives allows Farinacci to give such an intimate performance to a common theme that touches us all.

Tunes include "You Don't Know What Love Is" and "Willow Weep For Me" make this release one of the most beautiful if not haunting musical experiences you may have this year.

Evidently I am not alone in my assessment of the talents of Farninacci as Wynton Marsalis invited Dominick to perform as a part of a "Live From Lincoln Center" television special when Farinacci was but a senior in high school.

Farinacci is a master technician but with an indescribable Chet Baker level of expressiveness that is pure joy.

Technically gifted and artistically brilliant this release is a must!

Special thanks to my friends Amy and Jordy at DL Media