KANDACE SPRINGS RELEASES “BLACK ORCHID” EP; SET TO OPEN FOR DARYL HALL & JOHN OATES’ SUMMER TOUR

Singer and pianist Kandace Springs offers her fans a taste of her forthcoming sophomore album due out later this year with the release of her Black Orchid EP, featuring three brand new tracks produced by Karriem Riggins that are available to stream or download today. Kandace delivers a pair of inspired covers with her simmering take on The Stylistics’ “People Make the World Go Round” and a radiant performance of the Roberta Flack-popularized torch song “The First Time Ever I Saw Your Face” (a crowd favorite at Kandace’s live shows), along with the ruminative “Black Orchid” which highlights the acoustic strum of guitarist-songwriter Jesse Harris (who struck GRAMMY gold with Norah Jones by penning her breakout hit “Don’t Know Why”). Watch the video for “People Make The World Go Round” HERE.

Kandace will be opening for multi-platinum and award-winning artists Daryl Hall & John Oates and Train along their co-headline North American summer tour, which kicks off May 1 in Sacramento, CA and wraps August 11 in Seattle, WA. Produced by Live Nation, the extensive trek will make over 35 stops across the U.S. and Canada including Chicago, Philadelphia, Toronto, New York, Los Angeles and Kandace’s hometown Nashville. Tickets are on sale now at LiveNation.com.

* * *

Prince once said that Kandace Springs “has a voice that could melt snow.” The music icon heard her cover of Sam Smith’s “Stay With Me” online and invited her to perform with him at Paisley Park for the 30th anniversary of Purple Rain, becoming a mentor to the young singer and pianist. Another legend, Daryl Hall, also discovered Kandace early on, inviting her to perform on his TV show Live from Daryl’s House.

Kandace’s 2014 self-titled EP turned even more heads and led to performances on Letterman, Kimmel and Fallon, as well as the Afropunk and Bonnaroo festivals. Okayplayer called her as “a vocal force to be reckoned with” and Afropunk dubbed her “a versatile and vital artist.”

Kandace’s 2016 debut album Soul Eyes presented an already remarkably mature artistic voice with an album that touched upon soul and pop while channeling her jazz influences as well as her Nashville upbringing. MOJO marveled at the album’s “sensuous vocals with minimalist yet elegant arrangements” while The Guardian raved that “she has a rare ability that can’t be taught – to sound like an old soul, just doing what comes naturally.”

Kandace draws much of her musical inspiration from her father, Scat Springs, a respected session singer in Nashville. It was due to him that Kandace grew up surrounded by music, and he encouraged her to take piano lessons after he watched her peck out melodies on the instrument when she was 10. Yet as a girl, she was equally interested in other creative outlets, especially visual art and, more unexpectedly, automobiles. “My dad gave me a Matchbox car, and my mom gave me a Barbie,” she says. “I drew a mustache on the Barbie and never played with it again, and I still have the Matchbox car.” (Her obsession with cars, which she collects, rebuilds, and resells, continues to this day.)

Something deeper in the young musician was sparked when she heard Norah Jones’ 2002 Blue Note debut, Come Away With Me. “The last song on the record is ‘The Nearness of You’ and that song really inspired me to learn to play piano and sing. It was just so soulful, simple and stripped down. That really moved me and touched me. It’s when I realized, ‘This is what I wanna do.’”

Kandace began gigging around Nashville, and eventually an early demo she recorded caught the ears of Evan Rogers and Carl Sturken, the production team who have written hits for Shakira, Christina Aguilera, and Kelly Clarkson, and are best known for discovering Rihanna as a teen and signing her to their production company SRP. Rogers flew to Nashville with an offer to sign Kandace. Still only 17 years old at the time she and her family decided that it wasn’t the right time to pursue a recording career, instead taking a job at a downtown Nashville hotel where she valet parked cars by day and sang and played piano in the lounge at night.

A few years later, Kandace was talking about going to automotive design school, but her mother suggested that she get back in touch with Rogers and Sturken. She instead moved to New York and started working seriously on new songs and demo recordings. She eventually landed an audition with Blue Note President Don Was at the Capitol Records Tower in Los Angeles, winning him over with a stunning performance of Bonnie Raitt’s “I Can’t Make You Love Me” (the original of which he had coincidentally produced).

As Kandace continues to develop as an artist, she’ll surely win over many other hearts. “I would like to be known as one of the younger people that are keeping jazz and soul alive and vibrant, “she says. “I love the realness of jazz and soul.”

SOURCE: BlueNoteRecords

Listen too BLACK ORCHID

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Trans-formative Latin Jazz pianist/composer Harold López-Nussa arrives on June 15th with Un Día Cualquiera, his hypnotic new recording on Mack Avenue Records

Un Día Cualquiera is a forceful statement from a Cuban musician leading his tight-knit Cuban band, recorded in the U.S. (at WGBH Studios in Boston, Mass.), and influenced by music from both countries in ways that transcend narrow notions of “Latin jazz.”

The album nods to classic Cuban composers and musicians but it focuses mostly on pianist Harold López-Nussa’s original compositions and his distinctive trio concept. These compositions are mostly new, save for one or two, such as the opener, “Cimarrón,” which are older pieces reinvented for the present moment. ~Mack Avenue Records 

Pre-order today!!

Aruán Ortiz Trio: Live in Zurich | March 16, 2018

When Aruán Ortiz appeared with his new trio at Zurich s unerhort!-festival on 26 November 2016, the sense of anticipation was palpable; how would the music from the well-received studio album Hidden Voices feel in a live context. The trio was at the end of their first European tour and on a roll. Immediately after the concert, Ortiz was already enthusing about the interaction and musical dialogue. Mulling it over like the aging process of wine; carrying one or two pieces around with you for years, till the final versions emerge.

In Ortiz case, this applies to compositions such as Fractal Sketches and Analytical Symmetry, which were first heard on the studio album Hidden Voices, here in a new line-up, with Brad Jones on bass and Chad Taylor on drums, after an intensive two-week tour. That close relationship between the musicians and the song grows tremendously the more you play it, and it develops a musical trust within the band.

When all goes well, the sound and energy are in tune with the compositional idea. On this live album, we can hear just how well it went on 26 November 2016 at the unerhort!-festival in Zurich. ~Editorial Review | Amazon

Expected Release: March 16, 2018

 

PIANIST/COMPOSER LESLIE PINTCHIK RELEASES SIXTH CD YOU EAT MY FOOD, YOU DRINK MY WINE, YOU STEAL MY GIRL! WITH STELLAR BAND, FEBRUARY 23, 2018

* Featuring Steve Wilson, Ron Horton, Shoko Nagai, Scott Hardy, Michael Sarin, and Satoshi Takeishi *

 “Ša composer of emotional depth and effortless lyricism.” – DownBeat
“Getting lost in this music is simply a joy.” –
 AllAboutJazz
“A crafty, lyrically minded improviser and a compelling composer…” – The New Yorker
“…achingly beautiful…a level of intimacy that is rare today in jazz.” – JazzWax.com
CD Release concert at Jazz at Kitano in Manhattan on Wednesday, May 23rd, 2018

Pianist and composer Leslie Pintchik found the title for her new album in one of those “only in New York” moments. While crossing Canal Street at West Broadway in the SoHo section of Manhattan, she heard a voice behind her yell, “You eat my food, you drink my wine, you steal my girl!” As it happened, she’d just completed writing a new composition, and at that very moment she knew she’d found its title. It was a perfect fit for the sharp-elbows vibe of the piece, with its samba-funk groove, understated humor and fender-bender of an ending. So with one gruff shout, serendipity handed her a bold, spunky title, for a bold, spunky tune.

With its implied but elusive narrative and personality to spare, the outburst also turned out to be a perfect title for Pintchik’s new recording, which features six of her original tunes and two standards. As on her five previous albums, Pintchik has penned a collection of songs overflowing with warmth, humor, tenderness, depth and smarts – without forsaking her razor-sharp edge. Pintchik is unique in combining a brisk energy and drive with a gift for accessible, infectious melodies – like that overheard accusation, her music strikes a unique balance between the sharp-edged and the charming. You Eat My Food, You Drink My Wine, You Steal My Girl! will be released February 23, 2018 via Pintch Hard Records.

In his liner notes for the CD, Allen Morrison writes “As a composer, [Pintchik is] like a novelist, unspooling each song like a good story with twists and turns, and with a story-teller’s patience and sense of form. And, like a good novel, her songs appeal to both the head and the heart; they are subtle, sometimes wry, sometimes somber. I think they’re not-so-buried treasures, waiting to be discovered by other jazz artists.” In addition, the wide range of grooves (samba-funk with a touch of partido alto, swing, bolero, traditional samba, straight-eighths, and ballads-all played with exceptional skill and pizzazz by Leslie and her top-notch band members) is a great added pleasure.


For this outing, Pintchik returns once again with the musicians with whom she has played and recorded for many years: Steve Wilson on alto sax, Ron Horton on trumpet and flugelhorn, Scott Hardy on bass and guitar, drummer Michael Sarin, and percussionist Satoshi Takeishi. On accordion, Shoko Nagai is the newcomer and a wonderfully intriguing addition to the mix. Recalling the recording session, Pintchik said “I had the time of my life playing with these extraordinary musicians and people, all gems and superb players.”

“You Eat My Food, You Drink My Wine, You Steal My Girl!” is not the only mouthful of a title on the album. It’s topped by “Your call will be answered by our next available representative, in the order in which it was received. Please stay on the line; your call is important to us,” which should instantly raise the blood pressure of anyone who’s ever wasted hours of their life on hold to fix – or at least attempt to – a problem that’s already wasted too much time. Fueled by that all-too-common experience, the tune swings hard with a fervor born of equal parts frustration and an antic comic spirit. Special kudos to the rhythm section for its drive amidst the unexpected stops and starts.


From the playful to the poignant: Pintchik’s ballad “Mortal” was written, she says, “to express a sense of life’s fragility, beauty, and especially shortness.” A highlight of the set, “Mortal” showcases a fearless use of space and silence, and gorgeous heart-on-the-sleeve solos from Pintchik, Wilson, Horton and Hardy. (Of particular note is Horton’s flugelhorn solo, which is both beautiful and wrenching.) On the opposite end of the emotional spectrum, “Happy Dog,” as its name suggests, is a cheerful tune. Shoko Nagai plays the melody in unison with Pintchik, and the samba-based rhythm provides a simpatico backdrop for the wonderfully frisky solos of Pintchik, Hardy and Takeishi.
Like Pintchik’s tunes, Edward Hopper’s paintings are renowned for suggesting stories not quite told in full within the confines of their canvases. A tune with a straight eighths time feel that features Shoko Nagai on accordion, “Hopperesque” was inspired by the iconic artist’s work, especially those paintings that depict people in the kind of threshold moments that provoke the viewer to wonder what happened before, and what might come after, the scene we’re presented with. “I’ve tried,” Pintchik says, “to capture that feeling of mystery.”One of the earliest tunes written for the album, “A Simpler Time” was inspired by the composer’s trip to the Hancock Shaker Village in Massachusetts, where she was touched by the rare adult cradles that she saw, used to soothe the elderly and infirm. Pintchik characterizes the piece as “an adult lullaby.” In his liner notes, Morrison writes “There’s an emotional maturity to it that seems to acknowledge that life itself is not simple, that we are often overwhelmed with hard choices and mixed emotions, and we have a universal need for kindness. As with so many of Leslie’s songs, the melody is memorable, but not simple.”Approaching the album’s standards with the same unique perspective and wry insight that she brings to her own tunes, Pintchik plays the jazz and pop standard “I’m Glad There Is You” as a bolero, which affords the melody of this love song a lot of breathing room. In his liner notes to the CD, Allen Morrison writes “It’s one of the most tender readings of this great song (by Jimmy Dorsey and Paul Madeira) that I’ve ever heard.” The Jerome Kern/Otto Harbach chestnut “Smoke Gets In Your Eyes” is played as a samba, with an added catchy rhythmic hook that bookends the melody. This version features a wonderfully relaxed rhythm section that, in the ending tag, builds up a strong head of caffeinated Brazilian steam, before the rhythmic hook returns, and it’s over and out.

Leslie Pintchik Short Bio
Before embarking on a career in jazz, Leslie Pintchik was a teaching assistant in English literature at Columbia University, where she also received her Master of Philosophy degree in seventeenth-century English literature. She first surfaced on the Manhattan scene in a trio with legendary bassist Red Mitchell at Bradley’s, and in the ensuing years Pintchik formed her own trio which performs regularly at New York City jazz venues. Pintchik’s debut CD So Glad To Be Here was released in June 2004, followed by Quartets in 2007.

About So Glad To Be Here, Ken Micallef wrote in DownBeat “Pintchik’s music is fresh, full of light and instantly invigorating (4 stars).” In the fall of 2010, she released her third CD We’re Here To Listen, as well as a DVDLeslie Pintchik Quartet Live In Concert.  Jim Wilke, creator of the nationally syndicated “Jazz After Hours” radio show included We’re Here To Listen on his “Best CDs of 2010” list, and the jazz journalist and scholar W. Royal Stokes included both projects in his “Best of 2010” list. Pintchik’s fourth CD In The Nature Of Things was released on March, 2014. Steve Futterman, in The New Yorker magazine, called it “…one of the more captivating recordings to come out so far this year…”, and Gary Walker of WBGO jazz radio called it “…a gorgeous display of the trio.” In his review of Pintchik’s fifth CD True North-released in March, 2016-Dan Bilawsky in AllAboutJazz.com wrote “Leslie Pintchik’s music has a magical draw to itŠ Getting lost in this music is simply a joy. If 2016 has a more pleasurable listen to offer than True North, this writer hasn’t heard it yet. (4 1/2 stars)”

In addition to composing the music for her band, Leslie has also written the liner notes for some notable recent jazz CDs, including Duologue by saxophonist Steve Wilson and drummer Lewis Nash (on the MCG label), and Daybreak by pianist Bruce Barth (on the Savant label).

SOURCEAnn Braithwaite

Pianist/composer Hal Galper lands on solid ground in 2018 with his seventh project on Origin Records aptly titled CUBIST

With his focus on ‘the art of the trio’ since moving on from the Phil Woods Quintet in the late ’80s – the last decade incorporating his innovative development of trio ‘Rubato‘ playing into 7 albums on Origin Records – pianist Hal Galper made a major, personal musical statement in adding his old friend and saxophone titan Jerry Bergonzi to a late 2016 tour and live recording.

Diving into the ‘Rubato’ deep end with the trio, Bergonzi provided another dimension and added spark, opening unforeseen avenues to the trio and quickly becoming an integral part of Galper’s musical concepts going into the future. Thus, the Hal Galper Quartet, featuring Jerry Bergonzi! Recorded at Cleveland’s Tri-C, Tommy LiPuma Center for Creative Arts, the quartet recorded live in an open session format with a small but involved audience.

Bassist Jeff Johnson contributed much of the music for the tour and four of the tracks for the recording. His tune title ‘Cubist,’ provided the implied visual of a subject with many parts out of place or overly-dramatized, offering new perspectives on a familiar image, and a fine metaphor for the music. ~Editorial Review | Amazon

Expected Release Date: February 16, 2018

John Beasley Compares 1950s/’60s Social Struggles & Thelonious Monk’s Subsequent Artistic Response to Current Culture on MONK’estra, Vol. 2

Available September 1 on Mack Avenue Records,
Ahead of Thelonious Monk Centennial
 
Album Features Special Guests
Dianne Reeves, Regina Carter, Kamasi Washington,
Dontae Winslow, Conrad Herwig and Pedrito Martínez

 

If one were to have access to a time machine and could go back to see legendary bandleader Thelonious Monk in concert during the 1950s and ’60s, you’d likely see him so compelled by the music that he would retreat from his piano mid-performance and conduct his band, no matter how small or large, through an impassioned dance. But behind the joyous dance that overtook the stage lay the societal struggles a jazz musician endured to present that 90 minutes of musical freedom — a tale of police harassment, systemic oppression and constant battles for equality. Fast forward to 2017 and composer-arranger-pianist John Beasley is using Monk’s spontaneous movements and experiences as the basis for conducting radically reconceived versions of the late composer’s music for his critically acclaimed big band project: MONK’estra.

 

“You start thinking of Thelonious and his era, of what it took just to be a jazz musician during that time. I wanted to push the story out there that maybe some jazz fans had forgotten about,” says Beasley. “The deeply rooted struggles these musicians went through while following their human impulse to create music and how our current culture is still reminiscent of those times.”

 

Looking to the past for inspiration brings the music into the future for MONK’estra, Vol. 2, which masterfully applies a rich orchestral palette across an array of modern infectious rhythms, while discovering new dimensions of the classic compositions that emerge directly from their deepest jazz roots.

 

Beasley expands on the inspiration that earned him two GRAMMY® Award-nominations, plus widespread critical and popular acclaim, for MONK’estra, Vol. 1. Beyond just adapting the indelible themes of Thelonious Sphere Monk (subject of many centennial celebrations this year) for a 16-member big band plus incomparable guest artists, these 10 songs explode into new musical experiences due to the collective unit embracing a new strain of jazz, which features diverse sounds and a broad base of influences from the entire black music canon.

 

Consider: trumpeter Dontae Winslow breaks out a fierce rap, appropriate for these modern times, between his horn solos on “Brake’s Sake.” Regina Carter bows in the soulful vein of Ray Nance on Beasley’s homage-to-Ellington treatment of “Crepuscule for Nellie.” Tenor saxophonist Kamasi Washington wails at full throttle, à la Pharoah Sanders, on the first half of “Evidence,” followed by Conrad Herwig’s “I want to be happy!” trombone history-of-techniques lesson. Dianne Reeves enacts “Dear Ruby” with lyrics written by Sally Swisher, originally recorded by the great Carmen McRae. Pedrito Martinez infuses “Criss Cross” with an Afro-Cuban beat.

 

With his multi-faceted talents being recognized on the largest scale, Beasley has been invited to conduct global jazz orchestras playing the music of MONK’estra. Live performances have given him a deeper understanding of the genius and wit of Monk and how he gave space for musicians to interpret freely. “We did a lot of concerts prior to recording Volume 2,” Beasley says, “which allowed me to ‘feel out’ our band’s personality and tweak arrangements so we would not sound like a wind chamber ensemble — which can be kind of stuffy — but instead like a juicy, funky, street big band — you know, jazzy. Witnessing audiences reacting to this sound, made me write more of this feeling into Volume 2.”

 

The “juicy, funky, street” elements are evident from the get-go — Winslow’s rap about racial and economic justice also bears throwback resonance. “While this is a Monk tribute record, it expresses ideas about the human experience at his time and at our time — how we live and what we value with a poignant point that the equality issues that his generation of black musicians faced are still present today,” comments Beasley. “I mean, yes, we’ve come a long way, but have we really?”

 

As such themes from Monk’s life and his music endure, Beasley’s interpretations are informed by the music of his generation: “Our time, which I think of as a fair amount of funk, rhythm and blues, Afro-Cuban influence, hip-hop, all of that. For me,” he continues, “arrangements start with a rhythmic groove. I’m not trying to recreate the great earlier versions, because they’ve already been done. I’m trying to put my own personality into the mix. I orchestrate and write at the same time, thinking ‘How about this counter-line? What color would be cool underneath it?'”

 

So hear handclaps and finger snaps beneath Regina Carter. Terreon Gully’s drums and Ben Shepherd’s bass punctuate the freely improvised group section of “Evidence” (Beasley says he was thinking of Coltrane’s “Ascension”). Low and muted brass and high reeds usher in a lush trombone on “Ugly Beauty,” then whisk it into “Pannonica.” New Orleans syncopation launches “I Mean You,” with funk riffs lending body. Beasley’s organ swirls under the ultra-romantic harmonization of “Light Blue.” Irresistible clave drives “Criss Cross,” coming to a head in staggered parts of call-and-response after passages of montuno and barrelhouse piano. “Work” has a mysterious, cinematic, narrative complexity.

 

John Beasley is the director, grandly re-envisioning stories born from the genius of Thelonious Monk onMONK’estra, Vol. 2.

 

For John Beasley’s career biography, please click here.

 

John Beasley’s MONK’estra Performances:
August 24 / San Diego Symphony/Bayside Summer Nights / San Diego, CA
September 3 / Detroit Jazz Festival / Detroit, MI
September 17 / Monterey Jazz Festival / Monterey, CA
October 1 – 3 / Bijou Theatre / Knoxville, TN
October 11 / Jefferson Center / Roanoke, VA
October 12 – 14 / Jazz Standard / New York, NY
October 15 / SFJAZZ / San Francisco, CA
November 1 – 2 / Blue Note / Tokyo, Japan
November 5 / JazzFest Berlin / Berlin, Germany
November 15 / Bozar / Brussels, Belgium
November 16 / deSingel / Antwerp, Belgium
December 1 / Harlem Stage/Manhattan School of Music / New York, NY
December 7 – 8 / Sendessal / Frankfurt, Germany
December 11 – 12 / JAM Music Lab / Vienna, Austria

 

SOURCE: DLMedia 

Keyboardist-composer Vijay Iyer’s energized sequence of ECM releases has garnered copious international praise, Far From Over is his fifth for the label since 2014.

Keyboardist-composer Vijay Iyer’s energized sequence of ECM releases has garnered copious international praise. Yet his fifth for the label since 2014 Far From Over, featuring his dynamically commanding sextet finds Iyer reaching a new peak, furthering an artistry that led The Guardian to call him one of the world’s most inventive new-generation jazz pianists and The New Yorker to describe him as extravagantly gifted… brilliantly eclectic.

Far From Over features a sextet of virtuoso improvisers with horn players Graham Haynes, Steve Lehman and Mark Shim alongside rhythm partners Stephan Crump and Tyshawn Sorey leveraging a wealth of jazz history even as it pushes boldly forward. The music ranges from the thrillingly explosive (Down to the Wire, Good on the Ground) to the cathartically elegiac (For Amiri Baraka, Threnody), with melodic hooks, entrancing atmosphere, rhythmic muscle and an elemental spirit all part of the allure. This group has a lot of fire in it, but also a lot of earth, because the tones are so deep, the timbres and textures, Iyer says. There’s also air and water the music moves. ~Editorial Review | Amazon

Expected ReleaseAugust 25, 2017 

Pianist /composer Theo Hill unleashes a coruscating burst of passionate creativity on Promethean

Pianist Theo Hill unleashes a coruscating burst of passionate creativity on Promethean, a hard-hitting trio date that features the solid harmonic foundation of bassist Yasushi Nakamura and the bombastically explosive metrics of drummer Mark Whitfield Jr. Listeners are invited to fasten their seat belts and take a trip when the bandleader steers his group into an innovative exploration of the pantheon of musical inspirations. Bursting into flames and rising like the Phoenix, Mr. Hill shares with us his stolen sparks of heaven to captivate our attention with his heartfelt musical tale of stunning melodicism.

Featuring a soulfully interpretative program of compositions across a variety of styles, sounds, and moods, Promethean succeeds as a scintillating performance that will certainly spark flames of delight in the hearts of straight-forward jazz enthusiasts everywhere. ~Editorial Review | Amazon

Grammy® Award-Nominated Big Band John Beasley’s MONK’estra Announces International Tour Dates for 2017 & 2018

World Tour Presents MONK’estra Collective in Various
Formats Celebrating Thelonious Monk’s Centennial

Collective Joined by Peter Erskine, Frank Lacy, 
Terreon Gully, Brian Lynch, Greg Tardy, Bob Sheppard, 
Conrad Herwig, Rashawn Ross, Kendrick Scott, 
Ben Williams and Feat. Guest Artists Grégoire Maret and
Dee Dee Bridgewater for Select Performances
 
John Beasley’s MONK’estra is pleased to announce international tour dates for 2017 and 2018, with a highly anticipated follow up to the Grammy® Award-nominated debut (presents MONK’estra, Volume 1) set for release later this year on Mack Avenue Records.
John Beasley’s MONK’estra is a collective of musicians lead by the critically acclaimed and multi-faceted pianist, composer, arranger and music director John Beasley, who recently served as Music Director for the 2017 International Jazz Day concert in Havana, Cuba featuring Herbie Hancock, Chucho Valdés, Gonzalo Rubalcaba, Antonio Sánchez, Dhafer Youssef, Ambrose Akinmusire, Christian Sands, Esperanza Spalding, Kenny Garrett, Marcus Miller, Regina Carter and many more.
2017 Tour Schedule:
 
July 7 – 8 / North Sea Jazz Festival / Rotterdam, Holland
July 9 – 10 / Ronnie Scotts / London, UK
August 24 / San Diego Symphony/Bayside Summer Nights / San Diego, CA
September 3 / Detroit Jazz Festival / Detroit, MI
September 17 / Monterey Jazz Festival / Monterey, CA
October 1 – 3 / Bijou Theatre / Knoxville, TN
October 11 / Jefferson Center / Roanoke, VA
October 12 – 14 / Jazz Standard / New York, NY
October 15 / SFJAZZ / San Francisco, CA
November 1 – 2 / Blue Note / Tokyo, Japan
November 5 / JazzFest Berlin / Berlin, Germany
November 15 / Bozar / Brussels, Belgium
November 16 / deSingel / Antwerp, Belgium
December 1 / Harlem Stage/Manhattan School of Music / New York, NY
December 7 – 8 / Sendessal / Frankfurt, Germany
December 11 – 12 / JAM Music Lab / Vienna, Austria
2018 Tour Schedule:
January 19 / Purdue Jazz Festival / West Lafayette, IN
January 20 / Carmel Center for the Arts / Carmel, IN
January 29 / Orchestra Hall / Chicago, IL
March 9 / Walt Disney Concert Hall / Los Angeles, CA
For more information on John Beasley please visit: JohnBeasleyMusic.com
SOURCE: DLMedia

Alcanza, a nine movement suite written for Rhizome (voice, guitar, strings, piano, bass, drums and electronics) features Grammy nominated pianist/composer Fabian Almazan

Fabian Almazan began creating some buzz with his sparkling piano chops in trumpeter Terence Blanchard’s group on Choices (Concord Music Group, 2009). Originally from Havana, Cuba, Almazan is not only one of the young rising stars in New York, but is also classically trained and has received a number of awards as a composer in film, chamber and orchestral projects. Mark Turner  AllAboutJazz

Alcanza (Spanish for “reach”) is a nine-movement suite of music that deals with those brief moments in our lives in which one-second changes everything- or at least gives us a remarkable new perception of our condition. It also deals with the process of finding our own path as we go from childhood into adulthood; reflecting the beauty, frustrations, and paradoxes of modern-day life and not giving up on reaching for everything in life that brings us joy and love.

Camila Meza- voice & guitar ; Megan Gould– violin 1 ; Tomoko Omura– violin 2 ; Karen Waltuch- viola ; Noah Hoffeld- cello ; Fabian Almazan – piano, electronics ; Linda Oh– bass ; Henry Cole– drums

Expected Release Date: 6/2/2017

SOURCE: Biophiliarecords.com