Saturday, July 15, 2017

R.I.P.: Joe Fields (1929-2017)

Founder of such jazz labels as Cobblestone, Muse, HighNote and Savant. Although he was credited as "producer" in some albums, Joe never considered himself a record producer. He was a record executive and label owner who loved jazz, and dedicated his life to promote it.

Hermeto Pascoal's debut album as a leader, "Hermeto", was released in 1971 on Cobblestone, produced by Airto & Flora Purim after Fields' approval. At Muse, Fields signed Dom Um Romao and produced his first solo sessions in the USA, that yielded the albums "Dom Um Romao" and "Spirit Of The Times".

He was also responsible for the very controversial "Donato/Deodato" album, being credited as producer in the second pressing when the album was re-titled "Joao Donato" after a law suit. [George Klabin had been listed as producer in the original vinyl issue.]

He was very important to the careers of Mark Murphy, Charles Earland, Kenny Barron, Grant Green, Cedar Walton, Norman Connors, Houston Person etc.
Below is an e-mail I got today from jazz publicist Jim Eigo: 

"Joe Fields, a driving force in the jazz music business for over 50 years, passed away on Wednesday, July 12, 2017. He was 88 years old. 

Joe was born in Jersey City, N.J. in 1929 and raised in Brooklyn. He attended Pershing Jr. HS and Erasmus Hall and was a citywide athlete, winning the prestigious New York Journal American Lou Gehrig award. Joe worked many jobs during his school years, including selling newspapers, pushing a rack in the Garment District, and driving a cab. He played college football at Syracuse and the University of Bridgeport where he was captain of his team his senior year. While attending Bridgeport, he met and married his wife of 66 years, Joan Nancy Boyd.

After graduating from college, Joe had several business ventures but found his calling in the music business. In the late fifties, he began selling records to music stores in Brooklyn. Joe was hired by London Records to pick singles for the United States market. 

He worked for MGM, Verve, Prestige, and Sue Records before becoming the national sales manager at Buddha Records. While at Buddha, Joe started their jazz division, Cobblestone Records. 

He started his own record label when he acquired Cobblestone from Buddha and renamed it Muse Records. From 1973 to 1996, Muse created nearly 30 years of successful jazz recordings featuring artists such as Pat Martino, Houston Person, Cedar Walton, Charlie Earland, Larry Coryell, Woody Shaw, and many others. The label was nominated for various jazz music awards and won two Grammys. During the mid 80's Joe acquired both the Savoy and Landmark Records labels. Savoy was a seminal jazz company with recordings by Charlie Parker, Miles Davis, Dexter Gordon, and other influential stars of the early years of the Bebop era.

In 1997, Joe, and his son Barney, launched HighNote and Savant Records. This started another legacy that continues to this day. Performers who have thrived on the label include such notable musicians as Kenny Burrell, Houston Person, Wallace Roney, Eric Alexander, Freddy Cole, Tom Harrell, Russell Malone, and others who continue to release new jazz recordings.

Joe was a founding member of the Police Boys Club Lacrosse program in Manhasset, New York. He was one of the founders of the Manhasset Lacrosse "Day of Champions" where both college and high school teams continue to play in this yearly event. In recognition of his many contributions to lacrosse, Joe was one of the inaugural inductees in the Manhasset Lacrosse Hall of Fame.

Joe joined the Manhasset Gentleman Joggers at its inception in the 1960’s, running in everything from Sunday jogs and 5K's to half marathons. He enjoyed many years of friendly competition with a wide group of friends.

He is survived by his wife, Joan Nancy Fields, four children; Christine Jenne (Richard), Suzanne Fields, Laura Tralongo, Barney Fields, grandchild Allison Passero (Julius), and a great grandson, Julius Passero III.

Funeral Arrangements:
Sunday, July 16, 2017
3:00-5:00pm & 7:00-9:00pm
Fairchild & Sons Funeral Chapel
1570 Northern Blvd.
Manhassett, NY 11030
(516) 627 - 2000

R.I.P.: Steve Getz (1948-2017)

(born on October 28, 1948; died on July 11, 2017)

Known as "Stan Getz's son", Steve actually did a lot for jazz, besides preserving his father's legacy.

I saw him for the first time when he toured Brazil playing percussion on Stan's band, in the mid-70s.

Much later, in 1985, he got in touch with me because Steve wanted to book Luiz Bonfa for an engagement at the Fat Tuesday's club, in NY, for which he was working. Bonfa liked Stan (he had been the first Brazilian musician to play and record with the legendary tenorist) and loved Steve.

So, a miracle happened and Bonfa, famous for avoiding performances in jazz clubs, accepted the invitation and did a series of sold-out "concerts" (we couldn't call a Bonfa performance "a gig"...) at Fat Tuesday's, backed by Nilson Matta on bass, Waltinho Anastacio on percussion, plus guests Yana Purim and Octavio Burnier.

Bev Getz, Steve's sister, has informed esophageal cancer surgery as the cause of his passing.
Rest in Peace.

Sunday, July 9, 2017

Anna Mjöll live @ Herb Alpert's Vibrato

The sweetest voice in the current Jazz scene. Period.
Don't miss LA-based Icelandic jazz princess Anna Mjöll leading an all-star sextet @ Herb Alpert's Vibrato in Bel Air next Sunday, July 16.
Call 310.474.9400 for reservations.

"Bossa Nova - Босса Нова" in Russia!

Trying to read the data and liner notes for this first production to release in Russia! "Bossa Nova - Босса Нова" including tracks by Luiz Bonfá, Sergio Mendes, João Gilberto, Antonio Carlos Jobim, Astrud Gilberto, Durval Ferreira, Baden Powell, Stan Getz, Charlie Byrd and Coleman Hawkins.

I'm also credited as percussionist on Bonfa's "Batukada" that I (А. де Соутейро) produced in 1991 with Н. Матта (Nilson Matta), П. Мейреллес (Pascoal Meirelles) and
Э. Деонато (Eumir Deodato).

Arnaldo DeSouteiro Back At Work!

Arnaldo DeSouteiro...Back at work! Filming! (actually, being filmed)

Sunday, June 18, 2017

Anna Mjoll All Star Quintet @ The Baked Potato, next week!

Almost SOLD OUT! (yay!) - this one will be INSANE!!
THIS Friday at The Baked Potato, the Anna Mjoll All Star Quintet - two shows 9:30 and 11:30
Featuring: Randy Waldman, Carlitos Del Puerto, Dave Tull, Larry Koonse

The Baked Potato
3787 Cahuenga Blvd, Studio City 91604

Click here for tickets:

Tuesday, June 6, 2017

Thursday, June 1, 2017

Big Band CD of the Month - "The Brett Gold New York Jazz Orchestra: Dreaming Big"

Big Band CD of the Month
The Brett Gold New York Jazz Orchestra: "Dreaming Big" (GoldFox Records) 2017
CD Release Date: June 16, 2017

Rating: **** (musical performance & sonic quality)

Composed & Arranged by Brett Gold
Produced by Pete McGuinness
Executive Producer: Brett Gold
Recorded by Mike Marciano @ Systems Two Recording Studio (Brooklyn, NY) on November 3 & 4, 2016
Mixed & Mastered by Paul Wickliffe @ Skyline Productions (Warren, NJ)
Cover Painting: Edouard Vuillard
Photo: Pete McGuinness
Designed by Disc Makers Design Studio (Pennsauken, NJ)
Liner Notes: John Fedchock and Brett Gold

Featuring: Ted Kooshian (piano), Phil Palombi (bass), Scott Neumann (drums), Sebastian Noelle (guitar), Mark Vinci (alto sax, soprano sax, clarinet, flute), Matt Hong (alto sax, clarinet, flute), Dave Riekenberg (tenor sax, flute, clarinet), Tim Ries (tenor sax, soprano sax, flute, clarinet), Charles Pillow (tenor sax, soprano sax, clarinet), Frank Basile (baritone sax, bass clarinet), Jon Owens, James de la Garza, Dylan Schwab, Scott Wendholt (trumpet), Bruce Eidem, John Allred, Bob Stuttmann, Jeff Nelson (trombone)

The release of "Dreaming Big," which marks the recording debut of the Brett Gold New York Jazz Orchestra and features the compositions of Brett Gold, illuminates a most intriguing jazz odyssey.

A star trombonist in high school in his native Baltimore, Gold was steered away from a music career by his parents as well as his trombone teacher, of all people. Gold became an attorney and went on to achieve formidable success in the field of international and corporate tax law. But 25 years into his legal career, Gold changed course and reestablished contact with his musical muse.

"Dreaming Big" is remarkable not only for its very existence but also for the striking sounds it offers. A tour de force, the music ranges from 12-tone melodies to playful Monkisms to a stirring political statement. While the album introduces one of jazz's most challenging new instrumental voices, at the same time its warmth, humor, and accessibility convey an easy sophistication one would associate with an artist of far greater experience.

Gold enlisted first-call players from New York's jazz, studio, and Broadway scenes to produce the recording, including saxophonists Charles Pillow and Tim Ries, trumpeter Scott Wendholt, trombonist John Allred, bassist Phil Palombi, and drummer Scott Neumann.

Many jazz composers and arrangers, including Gold, cite Gil Evans and Bill Holman as influences. But Gold's affinity for the odd time-signature music of the late Don Ellis is reflected in a number of pieces on the CD. Among the compositions on Dreaming Big, the Middle Eastern-themed "Al-Andalus" (featuring a virtuosic turn by trumpeter Jon Owens) is partly in 11/4 and partly in 5/4. "That Latin Tinge" is a 7/4 mambo, not the usual time signature for a salsa piece. Even the fairly straightforward "Stella's Waltz" can trip someone up with its occasional judiciously placed bar of 5/4. And then there's "Nakba," the powerful 11-minute finale, which was composed partly with Gold's Moroccan sister-in-law in mind. The song is named after the Arabic word for "catastrophe," used by the Palestinians to describe the Arab-Israeli War of 1948. Featuring Ries on soprano saxophone, it traces the tragic history of the Israeli-Palestinian conflict.

 Brett Gold "I found out that you can stop playing music, but it's still there circulating in your head," Gold says of the years when he was not involved in music full-time. After finishing high school a year early, he attended the University of Rochester as a double major in history and film studies (Magna Cum Laude and Phi Beta Kappa) and continued his music studies at the Eastman School of Music where he played with one of its nationally recognized jazz ensembles. But he soon placed his jazz activities on the back burner, earning a J.D. from Columbia University Law School (1980) and an LL.M in tax law from New York University Law School (1983).

When Gold returned to jazz, he had no problem coming up with ideas for compositions -- his brain was full of them -- but his sabbatical from music left him unprepared to execute those ideas both on paper and on his horn, which he hadn't touched in 10 years. He first sketched his pieces out and hired professional musicians to record demo-like CDs of them. Then, studying privately with distinguished teachers like Pete McGuinness, Neal Kirkwood, and David Berger, he learned how to write complex compositions for big band.

Eventually, in 2007, Gold was accepted into the esteemed BMI Jazz Composers Workshop, under the direction of Mike Abene, Jim McNeely, and Mike Holober. During his tenure there, he developed a book of more than two dozen arrangements, of which 11 of the best appear on Dreaming Big.
"As a member of BMI, I was pushed to write longer, more abstract orchestral pieces, something I resisted," he says. "Instead, I looked to the way Duke Ellington wrote for his band -- his best pieces were seldom more than three to five minutes long. I also admired his idea of writing for individual members of the band."

Over the years, Gold has absorbed and strongly personalized any number of influences, some more than just musical. A study in diminished chords featuring clarinets and flutes, "Theme from an Unfinished Film" reveals his debt to what he calls the "internalized lyricism" of movie composers such as Bernard Herrmann, David Raksin, and Ennio Morricone. The genesis of "Exit, Pursued by a Bear (Slow Drag Blues)" was Shakespeare's most famous stage direction. And "Al-Andalus" was originally inspired by the hopes raised by the Arab Spring.

Gold does not play in the trombone section on Dreaming Big. "I actually function a lot better in a dark room writing music," he says. The roles he plays on the new album are those of composer, arranger, producer -- and big dreamer.
Photography: Lily Edelman-Gold
Web Site:

Vocal Jazz CD of the Month - "Bob Merrill: Tell Me Your Troubles / Songs by Joe Bushkin"

Vocal Jazz CD of the Month
Bob Merrill: "Tell Me Your Troubles - Songs by Joe Bushkin" (Accurate) 
CD Release Date: May 19, 2017

Rating: **** (musical performance & sonic quality)

Produced by Bob Merrill
Engineers: Chris Sulit, Adam Keil, John Arbuckle, Wes Hovanec
Mixed by Jay Newland
Cover Photo: Alec Harrison
Liner Photos: Pam Setchell
Graphic Design: Ian Carey

Arranged by Bob Merrill, Laurence Hobgood and Eric Comstock
Featuring: Bob Merrill (vocals, trumpet, cornet & flugelhorn), Howard Alden (guitar), Nicki Parrott (bass, vocal), Steve Johns (drums), Harry Allen (tenor sax), Laurence Hobgood, John Colianni and Rossano Sportello (piano), Adrian Cunningham (alto sax, clarinet).
Special Guests: John Bushkin (piano), Kathryn Crosby (vocal), Bucky Pizzarelli (guitar), Eric Comstock (vocal, piano), Wycliffe Gordon (trombone, vocal), Duffy Jackson (drums)

Coinciding with the centennial of pianist/composer Joe Bushkin's birth, the new album by trumpeter and singer Bob Merrill, "Tell Me Your Troubles: Songs by Joe Bushkin, Vol. 1," celebrates the musical legacy of a man who was revered by many of America's foremost entertainers for his wizardry at the keyboard and skills as a tunesmith. He also happened to be Merrill's father-in-law.

Bushkin penned songs with his longtime lyricist John DeVries or the great Johnny Burke in the repertoires of the likes of Sinatra (Joe's "Oh! Look at Me Now" was Frank's first hit), Bing Crosby, Nat "King" Cole, Benny Goodman, Louis Jordan, and countless others.

This first volume of a planned two-album commemorative project pays reverential tribute to Bushkin's oeuvre and its special blend of mood and merriment on contemporary interpretations of 10 songs ranging from the popular to the obscure. The album opens and closes with archival spoken word salutes to Bushkin by Sinatra and comedian Red Buttons.

Cut from the same engaging entertainer's cloth as Bushkin -- not to mention trumpeter-singers like Louis Armstrong, Dizzy Gillespie, Louis Prima, and Chet Baker -- Merrill was already performing crowd-pleasers like "Oh! Look at Me Now" and "Boogie Woogie Blue Plate" (a 1947 hit for Louis Jordan and his Tympani Five) before he met his future wife Christina and bonded with her gregarious father. "These songs have such a timeless, universal appeal," says Merrill. "I really hope the album exposes them to a new generation. Maybe Harry Connick, Diana Krall, Michael Bublé, or even Lady Gaga will give them new life."

"Tell Me Your Troubles" is full of classic tunes and rediscoveries, charismatic vocals, swinging solos, and sparkling arrangements and presents Merrill at his elegant best, whether showcasing his brass palette of trumpet, cornet, and flugelhorn or his smooth Tormé-like vocals, easy articulation, and natural enthusiasm. In addition to the A-List rhythm section of guitarist Howard Alden, bassist Nicki Parrott, and drummer Steve Johns, the album features an illustrious list of guest artists including saxophonist Harry Allen, trombonist/singer Wycliffe Gordon, cabaret star Eric Comstock, guitarist Bucky Pizzarelli, and pianist Laurence Hobgood.
                                         Joe Bushkin and Bob Merrill 

A previously unreleased performance of "Oh! Look at Me Now!," from Bushkin's final recording session in 2003 with Merrill, Howard Alden, and drummer Duffy Jackson, is one of the album's standouts. "Joe's tempo for the song had increased over the years," says Merrill, "but I suggested we slow it down to the tempo of Sinatra's later version, from the 1957 album 'Swingin' Affair' on Capitol." (Pictured at left: Bushkin and Merrill, 2003.)

"I got to spend a lot of time with Joe, always looking over his shoulder, absorbing stuff by osmosis," recalls Merrill, who coaxed Bushkin out of retirement in the early 1990s and performed with him at festivals and clubs such as New York's Tavern on the Green and L.A.'s Jazz Bakery until his passing in 2004 at age 87. He also produced and wrote liner notes for CD reissues of four Bushkin albums, including last fall's release of "Live at the Embers" (Dot Time Legends) from 1952.
Born in Manhattan in 1958, Bob Merrill traces his early interest in jazz to the fact that Benny Goodman lived in the penthouse of the building he grew up in on the Upper East Side. After his father took him to a Tonight Show taping where he heard Doc Severinsen, Merrill devoted himself to the trumpet (Bushkin's second instrument).

He studied with William Vacchiano, first trumpet of the New York Philharmonic, and received improv tips as a teen from Red Rodney. Merrill attended both the New England Conservatory of Music (studying with Jaki Byard, in whose Apollo Stompers he played) and Harvard, where he co-founded a jazz concert series at the Hasty Pudding Club and led a house band for such visiting artists as Illinois Jacquet, George Coleman, Lee Konitz, and Warne Marsh.

Merrill released his first album as a leader, "Catch as Catch Can," in 1997, the same year he was featured on American Movie Classics leading the AMC Orchestra on the series Gotta Dance! His second album, "Got a Bran' New Suit," featured pianist Bill Charlap among others. It was followed by "Christmastime at the Adirondack Grill," and then the wildly eclectic "Cheerin' Up the Universe" (2015), which featured pianist John Medeski and trombonist Roswell Rudd.

On Thursday May 4, Merrill will preside over a Joe Bushkin Centennial concert at the BMCC Tribeca Performing Arts Center (199 Chambers Street, Manhattan), part of Jack Kleinsinger's Highlights in Jazz series. Featured performers include several from the new CD's cast (Wycliffe Gordon, Eric Comstock, Nicki Parrott, John Colianni, Harry Allen) as well as pianists Ted Rosenthal and Spike Wilner.

Photography: Pam Setchell
Web Sites: /

Wednesday, May 31, 2017

Jazz Station Gallery: "Arnaldo DeSouteiro & Sivuca"

 (Manuel Gusmão, Cesar Machado, Paula Faour, Arnaldo DeSouteiro, Dom Um Romão & Sivuca, 2003)
(Dom Um Romão, Manuel Gusmão, Cesar Machado & Sivuca, 2003)

Tuesday, May 30, 2017

Anna Mjöll live @ Vibrato, LA, June 11

LA-based Icelandic jazz princess Anna Mjöll @vibratogrilljazz June 11 - this one will sell out FAST - call 310.474.9400 for reservations - hope to see you there!

Monday, May 29, 2017

Schomburg Center for Research in Black Culture Acquires Sonny Rollins's Personal Archive

The Schomburg Center for Research in Black Culture at The New York Public Library today announced the acquisition of American tenor saxophonist and jazz legend Sonny Rollins's personal archive. The robust collection includes more than 150 linear feet of material that document Rollins's life and career from the 1950s to the present.

This acquisition also marks the Harlem native's "return" to the neighborhood of his youth. Rollins was profoundly influenced and inspired by the sights and sounds of the Harlem Renaissance and its pioneers, including Duke Ellington and Louis Jordan, who shaped modern music and Rollins's creative life.

"Well, I'm home again," Rollins said. "Home, where I absorbed the rich culture which was all around me. Where, on 137th Street, two blocks from the Schomburg, I was born in 1930. This archive reveals my life in music, how someone principally self-taught became taught. How the spiritual light of jazz protected and fed me, as it does to this day."

Spanning a 60-year career and more than 80 albums, the Rollins archive is rich with texture, offering an intimate look into the creativity, curiosity, and organization that led to the artist's creative process and practice. Archive items range from audio reels and cassettes of unheard music and practice sessions, personal photographs from Rollins's travels abroad, sheet music with margin notes, personal writing, practice diaries, and handwritten letters between Rollins and his wife and partner of more than 45 years, Lucille Pearson Rollins.

The archive also offers insight into Rollins's social and professional network of musicians through detailed notes from recorded sessions, letters, and snapshots from touring over the decades.

To be primarily housed within the Schomburg Center's Moving Image and Recorded Sound Division, the Rollins archive joins a robust collection of jazz-related materials across the institution's divisions, including the A Great Day in Harlem Documentary collection, the Louis Armstrong Jazz Oral History project, the Don Redman papers, the Billy Taylor collection, the Ron Carter collection, and the Duke Ellington Society collection.

This acquisition also adds significant weight to the New York Public Library's collection of jazz-related items including the George Avakian and Anahid Ajemian papers, which include letters from Rollins to Avakian and several unreleased live and studio recordings from Rollins's time at RCA; the Ivan Black papers that include promotional and performance photographs of Rollins; along with the Sy Oliver, Phoebe Jacobs, and Benny Goodman collections.

"Rollins had a measure of professional and personal stability that allowed him to collect the artifacts of his life from original manuscripts and compositions to his business records, unlike many of his peers. In this sense, his archive is unique," said Shola Lynch, curator of the Schomburg's Moving Image and Recorded Sound division."He has also been aware of keeping the flame. As Rollins said recently of his peers and mentors: 'They're not here now so I feel like I'm sort of representing all of them, all of the guys. Remember, I'm one of the last guys left, as I'm constantly being told, so I feel a holy obligation sometimes to evoke these people.' As in life, Rollins's archive will undoubtedly evoke them and their musical relationships, and through it, will add granularity to a swath of black history. For the first time, Rollins has opened the doors to studying his music, life, and work as a giant of jazz."

"Famous for his reinventions, Sonny Rollins and his archive reveal the profound nature of jazz, America's classical music. Drafts, notes on composition, extensive correspondence, the entire spirit and scope of the Rollins archive show his sophisticated, sustained, and spiritual creative process up close in a way that may best be called literary," said Kevin Young, noted author and Director of the Schomburg Center. "Having the archive of Sonny Rollins come home here, just blocks from where he was born and grew into one of our finest artists, provides a connection to the geniuses who made Harlem and whose legacies, like those of James Baldwin and Maya Angelou, also are housed at the Schomburg."

Highlights from the Sonny Rollins Archive include:

● Personal papers, diaries, notes, and drawings illuminating Rollins's private thoughts and creative process sporadically through the decades
● Recordings of practice sessions as well as recording takes from as early as the 1960s
● Snapshots and photos from life on the road with his fellow musicians from as early as the 1960s
● Personal correspondence between Rollins and his wife and manager, Lucille Pearson, over the decades that range the gamut from love notes to unfiltered thoughts related to colleagues, bandmates, and business

The Sonny Rollins archive will be processed over the next year at NYPL's Library Services Center in Long Island City, and will be made available for research at the Schomburg Center.
About the Schomburg Center for Research in Black Culture

The Schomburg Center for Research in Black Culture, a research unit of The New York Public Library, is generally recognized as one of the leading institutions of its kind in the world. For over 90 years the Center has collected, preserved, and provided access to materials documenting black life, and promoted the study and interpretation of the history and culture of peoples of African descent. Educational and Cultural Programs at the Schomburg Center complement its research services and interpret its collections. Seminars, forums, workshops, staged readings, film screenings, performing arts programs, and special events are presented year-round. More information about Schomburg's collections and programs can be found at

About the New York Public Library

The New York Public Library is a free provider of education and information for the people of New York and beyond. With 92 locations-including research and branch libraries-throughout the Bronx, Manhattan, and Staten Island, the Library offers free materials, computer access, classes, exhibitions, programming, and more to everyone from toddlers to scholars, and has seen record numbers of attendance and circulation in recent years. The New York Public Library serves more than 18 million patrons who come through its doors annually and millions more around the globe who use its resources at To offer this wide array of free programming, The New York Public Library relies on both public and private funding. Learn more about how to support the Library at

Photo of Sonny Rollins by John Abbott.

Web Sites:,

Read the New York Times piece about the archive acquisition (by Giovanni Russonello)

Sylvia Brooks @ Catalina, in Hollywood, June 7

Don't miss Sylvia Brooks live at Catalina Jazz Club next June 7, celebrating the release of the CD "The Arrangement."

Jazz Station Gallery - "Sabá & Arnaldo DeSouteiro"

Legendary Brazilian bass player Sabá - founding member of Jongo Trio (with Cido Bianchi & Toninho Pinheiro) and Bossa Três (with Cesar Camargo Mariano & Toninho Pinheiro) at the office of Radio Gazeta - São Paulo, where he hosted a radio show. Everytime I used to go to São Paulo, working with such artists as Dom Um Romão, Carlos Barbosa-Lima, Eumir Deodato and Ithamara Koorax, I took them to be interviewed by Sabá.

Born Sebastião Oliveira da Paz in 1926, he died February 23, 2010 in São Paulo, Brazil. Sabá was also a member of the Dick Farney Trio and played for many years with Wilson Simonal as well as with Elis Regina, Jair Rodrigues, Casé etc.
(Sabá & Arnaldo DeSouteiro at the office of Rádio Gazeta, São Paulo, 2001)

SOUL, Feel Good Instrumentals & Positive Hip Hop Needed

Got some Retro-sounding Soul Songs, Feel Good Instrumentals, or Positive Hip Hop Songs?

CONTEMPORARY, RETRO-Inspired SOUL SONGS with Male or Female Vocals are needed by an excellent Film/TV Music Library that has a TON of awesome placements in many high-end Films and TV Shows. They’re searching for soulfully expressive, Mid-to-Up Tempo Songs that could be found on the same playlist as artists/songs like (but not limited to):

“Fool For You” by Cee lo Green ft. Melanie Fiona
“Marvin Gaye” by Charlie Puth ft. Meghan Trainor
“Valerie” by Mark Ronson ft. Amy Winehouse

Give them well-crafted Songs that have all the retro appeal of the references mentioned above. Your submission should have Motown era rhythms, catchy melodies, captivating lyrics and a great big, infectious chorus. You’d be wise to have a really strong vocal performance that’s full of attitude and soul! Lyrics that don’t have references to specific names, dates, times, brands, and places could make your song more appealing.

Please do NOT copy or rip off the referenced artists or songs in any way, shape, or form. Use them as a general guide for tempo, tone, and overall vibe. Broadcast Quality is needed (great sounding home recordings are fine).

This company offers an EXCLUSIVE deal, so please be sure the songs you pitch for this opportunity are NOT already signed with any other Libraries or Catalogs. Any sync fees will be split 50/50 with the Company. You’ll get 100% of the Writer’s share, and the Publisher will get 100% of the Publisher’s share. You must own or control your Master and Copyright to submit.  Please submit one to three Songs online or per CD, include lyrics. All submissions must be received no later than 11:59PM (PDT), on Wednesday, June 21st, 2017.  TAXI #S170621RS

Join TAXI Today To Submit

FUN, FEEL-GOOD TOP 40 INSTRUMENTALS are needed by an A-List Film/TV Music Publishing Company that’s always landing lots of upper crust placements. They’re looking for fresh, Mid-to-Up-Tempo Instrumentals in the stylistic ballpark of Artists/Songs like (but not limited to), Pharrell, Maroon 5, Taylor Swift, etc., etc., etc. Please listen to the following references they gave us to get yourself in the general ballpark of what they’re looking for:

“Happy” by Pharrell
“Moves Like Jagger” By Maroon 5 ft. Christina Aguilera
“Shake It Off” by Taylor Swift

Although the references have vocals, please submit only Instrumentals for this pitch.
Give them well-crafted Instrumentals that have an emotionally up-beat feel, with catchy melodies, rhythmic beats, and a cool sounding ear-candy through-out. Your overall production should be current sounding (not dated, please) and have a slick, polished, Top 40 sound.

All submissions should be at between 3:00 and 5:00 minutes long, give or take. Non-Faded/Buttoned endings with a natural ring out will work best. Do not copy the references in any way, shape, or form. Use them only as general guide for overall feel, texture and tone. Broadcast quality is needed (great sounding home recordings are fine).

This company offers an EXCLUSIVE deal. You’ll split all upfront sync fees 50/50. The Publisher will get 100% of the Publisher’s share, and you’ll get 100% of the Writer’s share. You must own or control your Master and Copyright. Since this is an EXCLUSIVE deal, please be sure the material you submit for this pitch is NOT already signed with any other Libraries or Catalogs. Please submit one to three Instrumentals online or per CD. All submissions must be received no later than 11:59PM (PDT), on Tuesday, June 20th, 2017.  TAXI #Y170620FI

Join TAXI Today To Submit

CONTEMPORARY, POSITIVE RAP/HIP-HOP SONGS with Male Vocals are needed by a Music Licensing Company that’s not looking for “typical library music”. They’re looking for music that is either from real artists, or sounds so convincing that you can’t tell that it’s not from a working artist or band. They’re always pitching to competitive, high-end placements, and they want music that doesn’t sound like it came from a typical “library.” Please submit fresh sounding Mid-to-Up-Tempo Songs that could be found on a playlist with acts like (but not limited to):

“Sunday Candy” by Donnie Trumpet & The Social Experiment
“Black SpiderMan” by Logic ft. Damian Lemar
“Perfect” by J. Cole ft. TLC

Please send them well-crafted Rap/Hip Hop Songs that are rhythmically compelling, with plenty of great hooks (rhythmic, melodic, and lyrical), with a great chorus. Your submission should have a current sounding beat, and a vocal performance that has a confident vocal delivery that’s full of swagger.

Your lyric themes can vary, but should be in the general range of the references and other songs in that ballpark. Universal lyrics will usually work best, so please avoid specific names, places, dates, times, brands, and especially profanity. Do NOT copy the referenced acts in any way, shape, or form. Use them only as a guide for tempo, tone, and vibe. Also, do NOT submit any material with unauthorized samples of other artists’ songs, sounds, or any other form of media. Broadcast Quality is needed (great sounding home recordings are fine).

This company offers an EXCLUSIVE deal. You’ll split all upfront sync fees 50/50. The Publisher will get 100% of the Publisher’s share, and you’ll get 100% of the Writer’s share. You must own or control your Master and Copyright. Since this is an EXCLUSIVE deal, please be sure the material you submit for this pitch is NOT already signed with any other Libraries or Catalogs. Please submit one to three Instrumentals online or per CD. All submissions must be received no later than 11:59PM (PDT), on Friday, June 16th, 2017.  TAXI #S170616PR

Join TAXI Today To Submit
5010 N. Parkway Calabasas, #200, Calabasas, CA 91302

Songwriting Contest - Final Week To Enter


The Song of the Year songwriting contest will award over $80,000 cash and prizes to the top writers in the contest. Submit your best songs at


The top 50 songs from the Song of the Year songwriting contest will be sent to major and minor record labels, music publishers, managers, booking agents and more (including Warner Music, EMI Music, Sony Music Entertainment and Universal Music). Song of the Year has many music resources who are always excited to review the top songwriters in the contest for further consideration. More information at


When you enter the songwriting contest you will automatically be eligible for the "Pick My Prize" promotion. Five individuals will be selected to receive any "one" of three promotional packages they choose. More information at


The songwriting contest offers ten categories so that everyone has a category that best fits their songwriting style. The ten categories are:
Lyric Only
Adult Contemporary

Only the "songwriting" merits of the songs are reviewed and judged in the songwriting contest. Production quality is not taken into consideration. Home recordings are accepted. International entries are accepted. More information at

Monday, May 22, 2017

Billy Childs @ Moss Theater, May 26

Friday, May 26 - 8:00 pm, $35 (students $25)
Moss Theater (New Roads School at The Herb Alpert Educational Village)
3131 Olympic Blvd. Santa Monica

Sponsored by Performance Fund donors: Harry and Ellen Sondheim


This performance is made possible, in part, by funding from the National Endowment for the Arts through a grant from the Western Jazz Presenters Network.KJAZZ 88.1 - official media sponsor.
Check out
for upcoming June shows!

Brazilian genius Hermeto Pascoal gets honorary NEC Doctorate

Brazilian genius composer, arranger and multi-instrumentalist Hermeto Pascoal received an honorary Doctor of Music degree from New England Conservatory during NEC's 146th annual Commencement yesterday, May 21. [Pictured above by © Eric Antoniou: New England Conservatory Interim President Tom Novak, honorary Doctor of Music degree recipient Hermeto Pascoal and NEC Jazz Studies Department Chair Ken Schaphorst.]
Pictured below by © Eric Antoniou:
Brazilian composer/multi-instrumentalist and NEC honorary Doctor of Music degree recipient Hermeto Pascoal presented New England Conservatory Interim President Tom Novak with an original score.

R.I.P.: Mickey Roker (1932-2017)

R.I.P.: Mickey Roker (March 9, 1932 - May 22, 2017)

Fabulous drummer. Saw him live with Dizzy and later with the Pablo All-Stars.
Roker performs in some of my favorite albums by Duke Pearson (How Insensitive with Andy Bey, Bebeto Castilho, Dorio Ferreira, Airto & Flora, the Christmas project Merry Ole Soul, and specially It Could Only Happen With You, on which he performs alongside Hermeto Pascoal and Flora Purim), Donald Byrd (Electric Byrd - with Airto and Hermeto - and Kofi, with Airto and Dom Um Romao), Milt Jackson (Olinga), Herbie Hancock (Speak Like A Child), Astrud Gilberto (Now).

Plus many many sessions with Lee Morgan, Sonny Rollins, Bob Cranshaw, my friends Randy Brecker and Mike Longo, Stanley Turrentine, Shirley Scott, Horace Silver, my late friends Art Farmer and Joe Shepley, Blue Mitchell, Clark Terry, Harold Vick, Horace Silver, Frank Foster, Toshiko Akiyoshi, Bobby Hutcherson, Herbie Mann, Cedar Walton, Albert Dailey, Roy Ayers, Zoot Sims, Mary Lou Williams, Blue Mitchell, Benny Carter, Jon Faddis, Hank Jones, Ella Fitzgerald, Count Basie, Joe Pass, Ray Brown, Ray Bryant, J.J. Johnson, Al Grey, Joe Williams, Hank Jones, Dusko Goykovich, Nat Adderley, Hank Jones, Gigi Gryce, Gene Ammons, Jim Hall, McCoy Tyner, Ben Webster...The list goes on and on.

Friday, May 19, 2017

Molly Holm to perform in San Francisco!

Molly Holm's Upcoming Concert at The Red Poppy Art House in San Francisco!
Saturday June 24th, 2017, 7:30 pm - 10 pm 
2698 Folsom St. @ 23rd St.
San Francisco, CA Ph: (650) 731-5383

$20 - $25, Doors open at 7 pm
Tickets are only available at the door. Payable by cash or check -- no credit cards.]

Featuring: Molly Holm, vocals; Frank Martin, piano; Jeff Chambers, acoustic bass; Deszon Claiborne, drums

Vocalist/composer Molly Holm, with her all-star jazz trio, makes her Red Poppy debut exploring the multicultural crossroads of improvised music through original compositions, straight-ahead and modal jazz tunes and traditional folk songs. Molly's music, often intertwined with the elements of North Indian raga, experimental vocals, or playful free-form improvisation, also reveals the rhythmic and note-bending influences inherited from the music of the African diaspora.

R.I.P.: Morris "Butch" Stewart (1953-2017)

(born on January 13, 1953 in Evanston, Illinois;
died on May 19, 2017 in Evanston, Illinois)

I was introduced to him in 1986 by Chuck Mangione, when Morris produced Chuck's "Save Tonight For Me" album. He also played keyboards, sang, and co-wrote most of the songs on that project.

At 64, Stewart died last Friday due to complications from surgery and a long battle against cancer. The man behind familiar theme songs to the Oprah Winfrey Show and the Tom Joyner Morning Show, also wrote jingles for Coca Cola, McDonald's and many other companies. B

Stewart grew up in Harvey, Illinois and later attended DePaul University. He soon married his sweetheart, Brenda Mitchell and began to build a budding career working as background vocalists for Ramsey Lewis and later Earth, Wind and Fire.

He also produced for The O'Jays, Howard Hewett and Danniebelle Hall. Stewart was the founder of JoyArtMusic, creating jingles for some of the top creative agencies becoming a one-stop destination for television and radio shows, helping to cultivate multiple careers including his sons’ group, the Rich Kidz.

Rest in Power.

Monday, May 8, 2017

Marius Preda presents "Mission Cimbalon" with Arturo Sandoval, Mike Stern and Dennis Chambers

"Mission Cimbalon" features a cavalcade of top-notch jazz royalty, including Arturo Sandoval, Mike Stern, Dennis Chambers, Tom Kennedy, Teymur Phell, Sanah Kadoura, Taco Gorter, Robin Koerts & Kiba Dachi. It is Preda's life ambition to expose the world to this glorious instrument and to bring into focus its history and cement its place it the jazz canon.

The cimbalom is a concert hammered dulcimer: a type of chordophone composed of a large, trapezoidal box with metal strings stretched across its top. It is a musical instrument commonly found in Hungary and throughout the group of Central-Eastern European nations and cultures which composed Austria-Hungary (1867-1918), namely contemporary Hungary, Croatia, Romania, Moldova, Ukraine, Poland, the Czech Republic and Slovakia. It is also popular in Greece. The cimbalom is (typically) played by striking two beaters against the strings.

The steel treble strings are arranged in groups of 4 and are tuned in unison. The bass strings which are over-spun with copper, are arranged in groups of 3 and are also tuned in unison. The Hornbostel-Sachs musical instrument classification system registers the cimbalom with the number 314.122-4,5. Moreover, the instrument name "cimbalom" also denotes earlier, smaller versions of the cimbalom, and folk cimbaloms, of different tone groupings, string arrangements, and box types.

In English, the cimbalom spelling is the most common, followed by the variants, derived from Austria-Hungary's languages, cimbál, cymbalom, cymbalum, țambal, tsymbaly and tsimbl etc. Santur, Santouri, sandouri and a number of other non-Austro-Hungarian names are sometimes applied to this instrument in regions beyond Austria-Hungary which have their own names for related instruments of the hammer dulcimer family.
Marius Preda, born in 1977 comes from a musical family, where at the age of four, he received his first big toy from his grandmother. It was a Cimbalom! He immediately fell in love with this toy and wouldn't trade it for anything in the world! He spent all of his days and nights playing the new instrument.

In 1993, Marius was invited to the Netherlands, and in '95 he began to study the Vibraphone at the Jazz Department of the Royal Conservatory in The Hague, The Netherlands, where he graduated with a distinction. With the skills, he accumulated over these years, Marius was able to develop a new way of playing the cimbalom. As a result, he became the first cimbalom player in the history of Jazz.

Over the years, Marius has played with and contributed to: Arturo Sandoval, Mike Stern, Vladimir Cosma, Dennis Chambers, Tom Kennedy, Teymur Phell, Sanah Kadoura, John Patitucci, Andreas Oberg, Lewis Nesh, Leonid Ptashka, Dave Kikoski, Didier Lockwood, André Rieu, Flairck, Anne Ducros, Philip Catherine, Rosenberg Trio, Nolwen Leroy, Richard Sanderson, Gheorghe Zamfir, Robby Lakatos, Decebal Badila, Tudi Zaharescu, The Basily's, Taco Gorter, Robin Koerts, Kiba Dachi and many more!

Respected and lauded by other musicians for his mastery, Arturo Sandoval explains it best, "Marius is a gift from God for our own enjoyment," which Sandoval and Vladimir Cosma both were involved with the production Mission Cimbalon. Cosma explains, "Marius is one of the best musicians that I have worked with during my entire music career."

Wednesday, May 3, 2017

Single of the Month - "Idris Muhammad: Could Heaven Ever Be Like This"

12" Single of the Month
Idris Muhammad: "Could Heaven Ever Be Like This / Tasty Cakes / Turn This Mutha Out" (Kudu 3318P) 1977/2017

Rating: ***** (music performance and sonic quality)

Produced, Arranged & Conducted by David Matthews
Composed by David Matthews & Tony Sarafino

This is NOT a bootleg, it's an official Kudu release licensed by Sony Music Entertainment UK Limited to be pressed & distributed in UK by as a "Record Store Day 2017" very special release.

And this is NOT a jazz session, but a first-class disco-funk effort. These 3 tracks originally appeared on Idris Muhammad's most commercially successful album ever, "Turn This Mutha Out." Produced, written & arranged by the criminally underrated maestro David Matthews for Creed Taylor's Kudu label, a subsidiary of CTI Records, the album features an all-star cast: Michael Brecker, Hiram Bullock, Clifford Carter, Will Lee, Jeremy Steig, Brazilian percussion master Rubens Bassini, Sue Evans, and many more.

Vocal CD Reissue of the Month - "Maria de Fátima Fattoruso: Bahia Com H"

Vocal CD Reissue of the Month
Maria de Fátima Fattoruso: "Bahia Com H" (Sondor/Think! Records THCD-420) 1981/2017

Rating: **** (musical performance & sonic quality) 

Featuring: Maria de Fátima (vocals, Ovation guitar), Hugo Fattoruso (piano, Fender Rhodes electric piano, Arp Odyssey and Arp Quadra synthesizers, arrangements, vocals), Osvaldo Fattoruso aka George Fattoruso (drums), Eduardo Marquez (electric bass), Pippo Spera and Marcos Szpiro (guitar), Chango Castro, Jorge Graf, Roberto Galletti (percussion) etc.

One of Brazil's best kept secrets, Maria de Fátima Fattoruso lived in Los Angeles during the second half of the 70s, having worked and recorded with Manolo Badrena, Jon Lucien, Airto Moreira, Milton Nascimento and many others. She married keyboard wiz Hugo Fattoruso (founder of the legendary OPA trio) and traveled with him to Uruguay to record this album in 1981 for the Sondor label. Soon after, both relocated to Brazil and became a fixture of Rio de Janeiro's busy studio scene; Hugo joined bands led by Djavan, Chico Buarque, Milton Nascimento, Marcio Montarroyos and Geraldo Azevedo, while Maria kept working as backing vocalist on albums by Milton, Gilberto Gil, Arthur Verocai and Dom Um Romão.

This is the second CD release of "Bahia Com H," but the first one with a paper sleeve Mini-LP gatefold cover. The musical content is magical, including many intriguing original songs by Maria and beautiful renditions of Jards Macalé/Capinam's "Movimento dos Barcos" (maybe the album highlight), Milton Nascimento/Ronaldo Bastos' "Três Pontas" and two songs that had been rediscovered one year earlier by João Gilberto on his "Brasil" album: Dennis Brian's title track "Bahia Com H" (graced by gorgeous synthesized strings in a fabulous arrangement) and Ary Barroso's "O Tabuleiro da Baiana," sung in duet with Hugo (Gilberto had recorded it in duo with Maria Bethania.)

There are also funkyfied versions of Gilberto Gil's "Toda Menina Baiana" and Gil/Caetano Veloso's "São João Xangô Menino," the track chosen by Sondor to be released as a single back in '81, with "No Tabuleiro da Baiana" on Side B. Thirty six years later, it remains a timeless album, and its charm is intact. Sadly, it has never been released in Brazil neither in the USA.


ブラジル音楽の大家Arthur Verocai、Gilberto Gilの作品への参加や ウルグアイ音楽史に大いなる足跡を残すバンド、Barcarola、OPAでの活動で知られるブラジル人女性シンガー“Maria de Fatima”唯一のソロ・アルバムが初の紙ジャケットCD化。中古レコード市場で常に高額で取引される本作品は、公私を共にしたHugo Fattorusoとの共作を含めたオリジナル3曲、Ary Barroso、Caetano Veloso、親交の深いGilberto Gil、Milton Nascimentoらのカヴァー6曲、全9曲で構成。先述の当時夫であったHugo Fattorusoを中心にウルグアイ名うてのミュージシャンに囲まれ残した、81年発表ブラジリアン美しき傑作。

◆解説:ケペル木村(Música LocoMundo)
◆原盤:Sondor 1981年