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PAUL VAN DYK: FULL TRACK LISTING FOR DOUBLE-DISC 'BEST OF' ANTHOLOGY UNVEILED

Throughout his unparalleled 15-year career in electronic dance music, PAUL VAN DYK has achieved what most musicians in any genre only dream of: a hugely successful recording career that has resulted in over three and a half million albums sold worldwide, a prestigious Grammy nomination, a high profile remixography that includes U2, Justin Timberlake, Depeche Mode and Britney Spears, multiple sold-out global tours and now his very own DJ iPhone and iPod App.  Following the June 9 (retail) and May 26 (digital) release date announcement for his next album VOLUME (Ultra Records), the dance music trailblazer has now unveiled details about the package’s track listing and U.S. tour.

van dykVOLUME is a heavyweight two-disc anthology of PAUL VAN DYK’s most memorable and requested releases of original songs from his studio albums 45 RPM (1994), Seven Ways (1996), Out There And Back (2000), the Grammy-nominated Reflections (2003) and In Between (2007), plus various remix productions.  CD 1 is a mixed collection of his original works including “White Lies,” featuring the Pussycat Dolls’ Jessica Sutta, “Nothing But You” and “Time Of Our Lives” with Vega 4, whose lead singer Johnny McDaid also lends his vocals to the brand new song “Home” that was created specially for VOLUME.  Also highlighted are VAN DYK’s stellar hits “Forbidden Fruit” and “We Are Alive” that achieved worldwide chart success.

The set additionally includes a new mix by VAN DYK--as constantly requested by his fans--of his timeless classic “For An Angel.”  Also available to coincide with the release will be a remix EP of a number of new mixes by Spencer & Hill, Miika Kuisma, Filo and Peri, Dave Darrell and others of “For An Angel.”  CD 2 consists of his most popular remixes of artists such as U2, Depeche Mode, New Order, Justin Timberlake and Britney Spears.  The complete track listing follows below.

In support of VOLUME, the live electronic music performer who’s known for his creative on-the-spot mastery will embark on an intense tour, appearing in 17 cities in 17 days.  The VOLUME tour kicks off June 11 in Scottsdale, AZ and will take VAN DYK throughout middle-America, making stops in such markets as Salt Lake City, Oklahoma City, Detroit, Chicago, Nashville and Atlanta.  The leg wraps June 26 with a headlining spot at the Electric Daisy Carnival in downtown Los Angeles, the two-day festival where over 100,000 people are expected.  Select dates prior to the tour will have VAN DYK hitting San Francisco and Las Vegas for headlining one-off Memorial Day weekend performances.  The highly anticipated tour is one of the most sought-after tickets this summer.  Fans can check out www.wantickets.com/paulvandyk, the official ticket provider of the PAUL VAN DYK - VOLUME U.S. Tour, for more information.

Since announcing the PAUL VAN DYK iPhone Application last Monday, April 21, the YouTube link which depicts him demonstrating the different assets of the app has already received over 10,000 views.  “What you have is different tools that … are very, very helpful if you’re a DJ,” VAN DYK told Deanna Rilling of the Las Vegas Weekly (4/23/09) about the new technology.  “Van Dyk explains that he didn’t want a boring app that people lose interest in after a few minutes. ‘I wanted to have something more than just a gadget,’ he says. Van Dyk’s app has BPM, decibel and frequency meters, plus a torch function to illuminate the booth in case a DJ loses a contact lens or drink ticket.”

View the link here: http://www.youtube.com/watch?v=ES8Km5UUn8U

The complete track listing for VOLUME is as follows:

Disc 1

1. For An Angel (PvD Remix ‘09)

2. Home (PvD Club mix)

3. Let Go

4. White Lies

5. Nothing But You

6. Another Way

7. Forbidden Fruit

8. Together We Will Conquer

9. New York City

10. A Magical Moment

11. The Other Side

12.  We Are Alive

13. Time of Our Lives

Disc 2

1. Justin Timberlake - What Goes Around Comes Around (PvD Mix)

2. U2 – Elevation (PvD Mix)

3. Depeche Mode – Martyr (PvD Mix)

4. Timo Maas – Pictures (PvD Mix)

5. New Order – Spooky (PvD Mix)

6. Humate - Love Stimulation (PvD Mix)

7. Faithless - Bring My Family Back (PvD Mix)

8. Hans Zimmer & James Newton Howard - Batman Theme (Paul van Dyk remix)

9. Binary Finary – 1998 (PvD Mix)

10. Lisa Miskovsky - Still alive (PvD Mix)

11. Britney Spears - Gimme More (PvD Mix)

PAUL VAN DYK’s upcoming U.S. tour dates are:

DATE

CITY

VENUE

Fri 5/23

San Francisco, CA

Cow Palace

Sun 5/24

Las Vegas, NV

Rain

VOLUME tour:

Thu 6/11

Scottsdale, AZ

Myst Nightclub

Fri 6/12

Salt Lake City, UT

The Great Saltair Amphitheater

Sat 6/13

Denver, CO

Electric Daisy Carnival - Arapahoe County Fairgrounds and Regional Park

Sun 6/14

Albuquerque, NM

Sunshine Theatre

Mon 6/15

Oklahoma City, OK

City Walk

Tues 6/16

St. Charles, MO

HOME

Wed 6/17

Columbus, OH

BoMA

Thu 6/18

Pontiac, MI

Crofoot Ballroom

Fri 6/19

Minneapolis, MN

Epic

Sat 6/20

Chicago, IL

Congress Theatre

Sun 6/21

Milwaukee, WI

The Rave

Mon 6/22

Indianapolis, IN

Talbott Street

Tues 6/23

Nashville, TN

Limelight

Wed 6/24

Atlanta, GA

Opera

Thu 6/25

Dallas, TX

Lizard Lounge

Fri 6/26

Houston, TX

Bar Rio

Sat 6/27

Los Angeles, CA

Electric Daisy Carnival - LA Memorial Coliseum and Exposition Park

Caribbean Holidaze On Sale to Public Today

Tickets are on sale today for the third installment of the immensely popular Caribbean Holidaze in Runaway Bay, Jamaica.  Following a strong pre-booking period, fans can now book all remaining rooms. Limited availability remains!

umThe four-night all-inclusive vacation features the music of The Disco Biscuits & Umphrey's McGee with special guest performances from favorites like The New Deal, Perpetual Groove, Lipp Service "Eliot Lipp & Members of Pnuma", Yacht Rock, Omega Moos, and Michael G from Easy Star.  In addition, fans can look forward to solo performances from ALO's Dan "Lebo" Lebowitz and Perpetual Groove frontman Brock Butler.

Held at two of Jamaica's most exclusive resorts - Hedonism III and Breezes Runaway Bay - Caribbean Holidaze offers fans a super-inclusive getaway and music experience.  All you can eat, drink, and just about everything you can do is included in every package, in addition to four days of unforgettable oceanfront concerts.  Fans can choose the wild atmosphere at Hedonism or the more laid-back island vibe at Breezes; both resorts offer incredible amenities, activities and much more.

Whether staying at Hedonism III or Breezes, the all-inclusive resorts offer rooms and suites for all tastes; prices range from $945 - $1895. Visit www.caribbeanholidaze.com for more information.

Event details are as follows:

Caribbean Holidaze
December 10-14, 2009
Breezes Runaway Bay & Hedonism III
Runaway Bay, Jamaica
Featuring Umphrey's McGee, The Disco Biscuits, The New Deal, Perpetual Groove, Lipp Service "Eliot Lipp & Members of Pnuma", Yacht Rock, Omega Moos, Michael G from Easy Star, Dan "Lebo" Lebowitz and Brock Butler solo.

Tickets on sale now at www.caribbeanholidaze.com.

The Kitano Hotel presents the Beat Kaestli Quartet, May 20th

After returning from his 7th European tour and Festival in Mexico, internationally acclaimed vocalist Beat Kaestli presents his unmistakable blend of Jazz, classical and contemporary vibes at the Kitano Hotel, New York, backed by his stellar NY-Trio, featuring vocalists Aria Hendricks and Hilary Kole. His soon to be released CD “Far From Home - A Tribute to European Song” ( http://www.myspace.com/beatkaestli ) is already receiving praise from audiences everywhere. It’s dedicated to European composers, like Weill, Bizet, Purcell and Legrand and Jazz legend Jon Hendricks writes in his liner notes:  “Soulful, sensitive singing. I am impressed by Beat Kaestli’s CD and I look forward to hearing more!”. His sets will also include songs from his new French program.

beatBeat’s current CD “Happy, Sad and Satisfied” is still gaining acclaim in the US, Canada, Mexico and Europe, having received great reviews from a majority of the major Jazz publications, while radio stations and local papers have been supporting the tours and festivals with interviews, showcases and CD reviews. In the US, the CD was introduced on “Groove Boutique”, a nationally syndicated show on CD 101.9 Smooth Jazz, and Kaestli’s refreshing approach to standards remains a favorite on Jazz radio stations everywhere. Additionally, “Happy, Sad and Satisfied” has been receiving high praise from critics and audiences across the country and in Canada. It was named among the “Top 25 Best CDs of 2006” by Indie Music Magazine and received a “Best Male Jazz Vocal” nod from the Twirlie Awards. Also, Kaestli’s last NY performances at the Blue Note and the Jazz Standard were mentioned among the “Noteworthy Performances” in JazzImprov Magazine.

About Beat Kaestli:
Beat Kaestli is a vocalist, songwriter, arranger and producer residing in New York City. He moved to New York from his native home of Switzerland, where he was awarded a scholarship to the Manhattan School of Music (BM). In 2007 he received a scholarship from the Ella Fitzgerald Foundation and graduated in 2008 with a Masters Degree from the Aaron Copland School of Music (MA). While honing his craft alongside noteworthy Jazz performers, such as Jane Monheit, Jason Moran and Stefon Harris, he immersed himself in Manhattan’s fiercely competitive music scene, emerging as a seasoned performer. He now appears in clubs such as The Blue Note, Birdland, The Bitter End, The Jazz Standard, The Stone and Sweet Rhythm, performing with Jazz greats, like Esperanza Spalding, Clarence Penn, Joel Frahm and Billy Drummond. In 2005, Beat was the chosen vocalist for the Glenn Miller Orchestra, thrilling audiences in concert halls across the USA. Since the release of his acclaimed CD “Happy, Sad and Satisfied” in 2006 he is touring the world extensively with his own projects, showcasing his music in renowned clubs and at festivals across the US, Europe, Mexico and Canada.

The Blue Note Years: The Photography Of Francis Wolff & Jimmy Katz

Spring, 2009 JazzPrezzo proudly announces the release of The Blue Note Years: The Photography Of Francis Wolff and Jimmy Katz in celebration of the 70th Anniversary of Blue Note Records, the most important record label in the history of jazz.

John-ColtraneThis elegant coffee table book, including two CDs of music, spans an incredible seventy years of the label, from its beginnings to the present, through the eyes of two master photographers. The images, many of them never seen before, capture the major artists in modern jazz at historic recording sessions and other contexts. In recognition of this unique collection, the Jewish Museum of Berlin plans a special exhibition of photographs from the book for the fall of 2009.

Designed by award winning designer Ingo Wolff, the book features essays by producer Michael Cuscuna,  Blue Note president Bruce Lundvall, recording engineer Rudy Van Gelder, and jazz historian Ashley Kahn.

Wolff’s Rolleiflex caught each important development from traditional and swing-era styles of the 40’s through bebop, hard bop, soul, avant-garde, and even the first sounds of fusion.

Photographs include jazz legends  Sidney Bechet and Thelonious Monk, Art Blakey and Horace Silver, Miles Davis and Clifford Brown, and Sonny Rollins and John Coltrane, breadth staggering in its historical importance.  The story continues with jazz greats Jackie McLean, Herbie Hancock, Dexter Gordon, Freddie Hubbard, Lee Morgan, Grant Green, Ornette Coleman, Cecil Taylor, Don Cherry, Andrew Hill, Cassandra Wilson and Joe Lovano.

Wolff’s iconic black and white photographs, intimate, relaxed, and respectful of the musicians and their craft, raised jazz players to a heroic level. His point of view endures today: musicians intensely working on their instruments, peering at sheet music or talking among themselves, playing the music with eyes gazing off into space or closed in musical rapture.

In the early nineties, Blue Note found Wolff’s spiritual descendant in Jimmy Katz whose style has its own distinctive signature. Like Wolff, Katz can catch the right moment, frame it, light it and shoot it in a fraction of a second. Their careers have run along parallel lines: both picked up the camera early, fell under the spell of jazz, and established a mature, visual signature. Like a Wolff image, a Katz portrait is instantly recognizable.

Ashley Kahn writes, “Seeing, as the saying goes, is believing. In the photography of both Wolff and Katz there is a deep, shared reverence for the music, captured in a way that makes us all fortunate witnesses to some private and truly historic moments.”  Bruce Lundvall comments, “This book is the nicest 70th Anniversary gift that Blue Note could get.”

The Avett Brothers @ Boulder Theater

North Carolina's Avett Brothers play acoustic music that has roots in traditional folk and bluegrass, but also captures the high spirits and no-boundaries attitude of rock & roll -- which is appropriate, since rock is where Scott Avett and Seth Avett cut their teeth as musicians.

avettTheir songs are honest: just chords with real voices singing real melodies. But, the heart and the energy with which they are sung, is really why people are talking, and why so many sing along.

They are a reality in a world of entertainment built with smoke and mirrors, and when they play, the common man can break the mirrors and blow the smoke away, so that all that's left behind is the unwavering beauty of the songs. That's the commotion, that's the celebration, and wherever The Avett Brothers are tonight, that's what you'll find.

GA / 18+ / $29.50
On Sale Friday, May 1
10am internet, 3pm phone/box office

Tickets are on sale now at The Boulder Theater Box Office. Call (303) 786-7030 for tickets by phone. Tickets are also available through our website @ www.bouldertheater.com. Ticket prices include tax and service charge.

Gene Bertoncini | May 2nd | Our Lady Of Peace Church

geneOver decades, Gene Bertoncini has firmly established himself as one of the most eloquent and versatile masters of the guitar. With elegance and ease, he bridges jazz, classical, pop, and bossa nova styles, integrating his own spontaneous and tasteful improvisations along the way. He has earned highest critical acclaim for his artistry on both the classical and electric guitar.

Bertoncini’s musical roots go back to his early years in the Bronx where he grew up in a house filled with music. His love affair with the guitar began when he was seven, and by the time he was sixteen, he was appearing on New York television.

His career took an unusual turn when he decided to fulfill another long-standing interest, and took a degree in architecture at Notre Dame. He was quickly swept into the musical scene at the university, and the first thing he did after picking up his degree was to work opposite Carmen McRae in Chicago. He returned to New York to work with vibraphonist Mike Manieri, and then with a quintet led by drummer Buddy Rich.

He describes his architectural experience as something which gives his music its finely-wrought form and style. He wins continual praise for the superb structure of his arrangements and improvisations which serve as a vehicle for his virtuosic technique.

Gene Bertoncini has worked with the Metropolitan Opera orchestra, the Benny Goodman Sextet; singers Tony Bennett, Morgana King, Lena Horne, Vic Damone and Edye Gorme; jazzmen Buddy Rich, Wayne Shorter, Hubert Laws, Clark Terry, Paul Desmond, and Paul Winter; and arranger/composers Burt Bacharach, Lalo Schifrin and Michel LeGrand, among others. He performed regularly on the Merve Griffin and Johnny Carson shows, and has been one of the most prolific and popular studio musicians in New York City. For the past eight years Bertoncini has performed with bassist Michael Moore in a duo which The New York Times describes as “...one of the finest pairings of jazz strings....”

Mr. Bertoncini’s teaching credits include the Eastman School of Music where he regularly performs and conducts summer workshops for jazz guitarists, the New England Conservatory, New York University, and the Banff School of Fine Arts. He has been a highly sought-after guest clinician in colleges and universities throughout the country.

National Jazz Museum in Harlem April 21-25 Events

We are bubbling over this week as we salute Quincy Jones and his great early 60’s big band Tuesday evening at Jazz For Curious Listeners, followed two days later by a contemporary big band leader/composer/trumpeter, Charles Tolliver, who will be our subject for an extended interview at Harlem Speaks. Friday night’s Harlem In The Himalayas will be an acoustic treat as the legendary guitarist Gene Bertoncini plays duets with his younger counterpart, Roni Ben-Hur. Our Saturday Panel will feature the provocative cultural critic Stanley Crouch and Stony Brook Professor of Ethnomusicology Frederick Moehn as we take an in-depth look at The Unfinished Emancipation: Jazz and Freedom.

Tuesday, April 21, 2009

Jazz for Curious Listeners
The Jazz World of Quincy Jones: The Big Band Years
7:00 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300 or register online

In 1956, Quincy Jones toured again as a trumpeter and musical director of the Dizzy Gillespie Band on a tour of the Middle East and South America sponsored by the U.S. State Department. Upon his return to the states, Jones  got a contract from ABC-Paramount Records and commenced his recording career as the leader of his own band.

He organized a tour of North America and Europe, and though the tour was a critical success, poor budget planning made it an economic disaster and the fallout left Jones in a financial crisis.

Though it didn't make sense economically, didn't make sense logistically, didn't provide ego satisfaction for star players, because of their love for Quincy, an exceptional group of musicians signed on for the tour, some of them literally traipsing all over Europe to find venues that could house them and bandstands that could squeeze them all in. There was never any problem finding audiences eager to hear what Quincy was thinking, or what musicians like Art Farmer, Zoot Sims, Curtis Fuller, Phil Woods, Freddie Hubbard, Benny Golson, Art Blakey, and Hank Jones were blowing. And those who attend tonight’s Jazz for Curious Listeners session will discover just the same joy.

A 1956 date for an ABC-Paramount release was a masterpiece of arranging and band leading. You will hear Quincy creating his new sound in the 1959-60 studio recording that comprised Quincy's "The Birth of a Band" release and later sessions. In writing for the big band, Quincy concealed a great deal of harmonic and rhythmic complexity in his charts. He really was reinventing big band music for a new decade and a new generation of listeners. His pieces sounded youthful and vibrant, and could be technically demanding almost beyond belief; more the writing you'd expect a five-piece band to conquer, not one comprising 17 or 18 or 20 musicians. But his bands rose to the challenge, showing there is great swing in precision, and a way of creating excitement by playing both loose and tight at the same time.

Quoted in Musician magazine, Jones said about his ordeal, "We had the best jazz band in the planet, and yet we were literally starving. That's when I discovered that there was music, and there was the music business. If I were to survive, I would have to learn the difference between the two." Irving Green, head of Mercury Records, got Jones back on his feet with a loan and a new job as the musical director of the company's New York division. In 1964, Jones was promoted to vice-president of the company, thus becoming the first African American to hold such a position.

One of his popular songs, "Soul Bossa Nova", was released in 1962 as a track on the album Big Band Bossa Nova, which was also released that year.

Thursday, April 23, 2009

Harlem Speaks
Charles Tolliver, Trumpeter
6:30 – 8:30pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

Self-taught as an instrumentalist, composer and arranger, Charles Tolliver seems constitutionally averse to doing things the easy way. “I like to rumble,” he told Down Beat. “I take the most difficult routes for improvisation. It's easy to play a number of choruses effortlessly and never make a mistake, never break down. That's no fun. You need to get in hot water by trying something out right from the jump, get yourself out of that, and move on to the next chorus”.

Alto saxophonist Jackie McLean launched Tolliver's career in 1964 by hiring him as a sideman on his Blue Note album It's Time, used him on the subsequent albums Action and Jacknife, and made his composition “Right Now” the title track of a 1965 quartet date. As the '60s progressed Tolliver also appeared with Blue Note heavyweights Horace Silver (Serenade to A Soul Sister) and Andrew Hill (One For One, Dance With Death), as well as sessions for other labels with Max Roach, Booker Ervin, Gerald Wilson, and Gary Bartz. In 1969 he formed the innovative quartet Music Inc., which he documented on four albums for Strata-East.

Born in 1942 in Jacksonville, Florida, Tolliver moved to Harlem with his family at ten and to Brooklyn's Fort Greene neighborhood, then a musical hotbed, in 1958. He matriculated at Howard University as a pharmacy major, but the pull of music was too strong.

“If I could have brought my classroom from Howard University to New York with me while I was trying to get into the scene, I probably would have done both at the same time,” Tolliver says. “But I felt I was ready to try this thing, and there was no way to stay in Washington, D.C. and finish my studies. I was lucky to get in with Jackie McLean almost instantaneously when I got back to New York, so there was no need to go back to school”.

Adamant that “small group is my first love,” Tolliver cites Gillespie-Basie arranger Ernie Wilkins' arrangements for Sonny Rollins” 1958 album The Big Brass [Verve] as a formative big band influence. “I got hold of an arrangement from that record, and analyzed how Ernie Wilkins placed the horns and left the space to get a small group sound,” he relates. As the '60s progressed, Tolliver studied Thad Jones closely at his Monday night Village Vanguard sessions; during a sojourn to California around 1966, he played and recorded with harmony masters Gerald Wilson and Oliver Nelson.

After Tolliver and Stanley Cowell presented their early charts on the 1970 recording Music Inc. And Big Band, Max Roach commissioned Tolliver to write a long suite to be performed at the 1972 Montreux Festival. “That's when I started to really get into writing,” Tolliver recalls. “For both Stanley and I, the idea was to write for big band and keep the small group energy inside it somehow”.

Tolliver continued to evolve his concept through the '80s and '90s on various engagements as a soloist with European radio orchestras; after the 2003 rebirth of the big band, he resumed writing and arranging full force.

“Big band jazz is not about over-writing to the point where all these different sections are playing in different time signatures and all that nonsense,” Tolliver says. “It doesn't have to sound like you're writing for a symphony. After all, we are playing this so-called thing named jazz. Jazz is about theme, melody, call-and-response, counterpoint if you want, but not overly done--and always improvising. If you take away improvising and swing, then it seems to me that you are removing two of the prime elements that allow us to call ourselves jazz musicians. You know what jazz is because of the way the drummer plays. I take careful consideration in selecting the drummer, and anything I write will be drumcentric.”

Catch more of Tolliver’s strong views on music and jazz as well as discussion of his recent Town Hall concert in honor of Thelonious Monk’s famous performance there 50 years ago.

Friday, April 24, 2009

Harlem in the Himalayas
Gene Bertoncini and Roni Ben-Hur
7:00pm
Location: Rubin Museum of Art
(150 West 17th Street)
$18 in advance | $20 at door |
Box Office: 212.620.5000 ext. 344

Master guitarists Gene Bertoncini and Roni Ben-Hur's new CD Smile is the first in the Motéma Music’s new ‘Jazz Therapy’ series of charitable fund raising CDs produced in association with the Jazz Foundation of America. Jazz Therapy, Volume 1: Smile, will benefit the Dizzy Gillespie Memorial Fund at Englewood Hospital and Medical Center which, under the leadership of Dr. Frank Forte, has been responsible for providing millions of dollars of free care to jazz musicians.

Gene Bertoncini is one of the pre-eminent jazz guitarists active today. His fluid technique and lyricism have won him international praise and accolades as the "Segovia of jazz." An eloquent and versatile improviser, Mr. Bertoncini has been heard with an extraordinary range of jazz greats, including performances and recordings with Benny Goodman, Buddy Rich, Wayne Shorter, Hubert Laws, Paul Desmond among others, as well as such distinguished singers as Tony Bennett, Lena Horne, Nancy Wilson, Vic Damone, and Eydie Gorme. Bertoncini honed his professional chops as a member of the Tonight Show band during Johnny Carson's tenure, and he has worked with composers and arrangers such as Lalo Schifrin and Michael Legrand as well with the Metropolitan Opera Orchestra. In addition to an active performing and recording schedule, Gene teaches at the Eastman School of Music and William Paterson University. A New York City native, he graduated from the University of Notre Dame with a degree in architecture. According to the New Yorker magazine, "Bertoncini is an affecting, highly original guitarist how moves easily back and forth between classical and jazz guitar."

Respected internationally as one of the elite players jazz, Roni Ben-Hur has recorded six albums as a leader and has a key band member for such jazz luminaries as Barry Harris, Chris Anderson, Rufus Reid, Walter Booker, Jimmy Heath, Clark Terry, Slide Hampton and Etta Jones. His Mel-Bay instructional book, Talk Jazz Guitar, has established him as a top jazz guitar guru. Ben-Hur fell in love with jazz in his native land of Israel. Upon moving to New York City, his career quickly took root as he landed the cherry position of first-call guitarist for the legendary Barry Harris. His 1998 release Sofia's Butterfly earned him the title "Best New Artist" in the Jazziz Annual Reader's poll, and 2001’s bop-oriented Anna's Dance was selected by award-winning critic Gary Giddins as "One of The Best Jazz CD's of 2001." Ben-Hur's 2004 outing, Signature was a critical sensation that firmly established his singular voice as a composer and band leader and led to his new recording home, Motema Music, where he released Keepin’ it Open in 2007, to unanimous critical acclaim, initiated this new Jazz Therapy series and is working on plans for a variety of innovative releases in the coming years.

Saturday, April 25, 2009

Saturday Panels
The Unfinished Emancipation: Jazz and Freedom
10:00am – 4:00pm
Location: NJMIH Visitors Center
(104 E. 126th Street, Suite 2C)
FREE | For more information: 212-348-8300

In many ways, jazz and freedom are synonymous. Jazz improvisation relies on the structure of melodies and chord changes for the purpose of individual and group expression. “Freedom,” within the context of the United States, is an idea based on individual and group expression within the political and social framework of democratic ideals. Freedom without structure, however, is chaos that can descend into anarchy and anomie.

The history of the United States is a bittersweet tale where the founding of the country was based on emancipation from the bonds of mother-country England, yet with the tragic irony of enslavement of African-Americans and Jim Crow laws, the promise of emancipation from the fetters of birthright based on aristocracy and royal bloodlines became muddied by hypocrisy and greed.

Today’s panel discussion will confront the intersection of ideals and history, aspiration and disappointment, art and politics, and the role of jazz as a cultural response and reflection of the human desire for freedom in the 20th century and beyond.

Our panelists this month will be author and critic Stanley Crouch, along with Professor of Ethnomusicology at Stony Brook University Frederick Moehn. Observing and writing about American culture for the past three decades, Mr. Crouch has authored numerous volumes, and is currently a weekly columnist for the New York Daily News, as well as a frequent contributor to The Huffington Post and The Daily Beast websites. Professor Moehn teaches courses such as "Jazz Historiography and Discourse" and "Music and Race" at Stony Brook, and is currently a Visiting Scholar at the Center for the Study of Ethnicity and Race at Columbia University.

4th Annual Backbeat Jazzfest Series @ The Studio at Colton Theatre!

Located in the heart of the historic Faubourg Marigny neighborhood The Studio at Colton, a program of the Creative Alliance of New Orleans, is a brilliant new arts venue providing both studio and exhibition space to nearly 100 New Orleans artists of all disciplines and cultural organizations. As part of the 4th Annual Backbeat Jazzfest Series the Backbeat Foundation will present a series of concerts at The Studio at Colton Theater and The Studio at Colton Red Ballroom for music lovers craving late night entertainment after a day filled with musical celebration in the magnificent converted arts studio complex. The impressive roster of talents includes such musical heavyweights as Medeski, Martin and Wood, Grupo Fantasma, Trombone Shorty & Orleans Avenue, Soulive, Charmaine Neville, the Benevento/Russo Duo and many more.

By bringing the 4th Annual Backbeat Jazzfest Series to The Studio at Colton the Backbeat Foundation aims to support and promote the general art community of New Orleans while also providing audiences and musicians access to a new music and art venue.

Don't miss the incredible line-up of the 4th Annual Backbeat Jazzfest Series at The Studio at Colton!

And don't forget, this year, the Backbeat Jazzfest Series will be offering music lovers and the musicians they love smoke-free environments at all shows.

Additional details and information about the events can be found at www.backbeatfoundation.org or by visiting the Foundation's Myspace and Facebook pages. Additional information and updates about the series can be found at the Jazz Fest Series 2009 group page.

For information about The Studio at Colton please visit www.studioatcolton.org.

 
The Studio at Colton Theater
 
4/ 23    Roots of Music All-Star Benefit feat. Roots of Music Crusaders, Free Agents Brass Band, Como Mamas, Ivan Neville, Big Sam, Anders Osborne, Terence Higgins & More 

4/24     The Iguanas, Seth Walker and 007
 
4/25     Grupo Fantasma, Big Sam's Funky Nation, Brownout! & Soul Rebels Brass Band
 
4/30     Bonerama and Midnite Disturbers --Stanton Moore, Kevin O'Day, Ben Ellman,Troy Andrews, Big Sam and Mark Mullins
 
5/1       Soulive with the Shady Horns & Special Guest Nigel Hall and the Benevento/Russo Duo
 
5/2       Medeski, Martin & Wood with DJ Logic
 
5/2 -     Trombone Shorty & Orleans Avenue with DJ Logic  - Late Show (technically Sunday morning at 2am)
 

 
The Studio at Colton Red Ballroom
 
4/24     Young Fellas Brass Band, Charmaine Neville and Yosvany Terry with Ye-De-Gbé
 
4/25     Singer Songwriter Sessions: Kristin Diable, Beth Nielsen Chapman, Alex McMurray, and Chuck Perkins; Voices of the Big Easy & More
 
5/1       Morikeba Kouate, Shannon Powell & His Funky Friends & Big Chief Monk Boudreaux Record Release Party 
 
5/2       Paul Sanchez & His Rolling Road Show and The Jon Batiste Band

Reed Foehl CD Release @ Boulder Theater

Reed Foehl will celebrate on June 11 the release of Once an Ocean at the Boulder Theater with a concert featuring Frazey Ford and Trish Klein of the Be Good Tanyas and formerly Boulder-based guitar hero Jefferson Hamer.

Opening the special evening of music will be Lyons' own Moody Sisters, followed by a set from Ford and Klein's band.

The new CD, recorded with Tanya's producer John Raham in Vancouver, Canada, is a new chapter in Foehl's already successful performance and songwriting career going back to his days with Acoustic Junction.  Once an Ocean, Foehl's third solo release, features a deft weaving of folk-rock, country and indie pop that reveals an edgy look at love and loss that never sinks into saccharine sentimentality or cold remove.

Advance copies of Once an Ocean, produced by Foehl, Hamer and Raham, are already making waves among industry insiders as a masterfully performed and produced collection of excellent new songs.  The record sparkles start-to-finish with the performance of Hamer on guitar and Raham on drums, and Ford and Klein lending both vocal and instrumental support.  Expect an equally energetic, powerful performance June 11.

THE FACTS:
WHO: Reed Foehl, featuring Frazey Ford and Trish Klein of The Be Good Tanyas, Jefferson Hamer and The Moody Sisters

WHAT:  Release party for Once an Ocean, Foehl's new recording.  Opening will be special guests The Moody Sisters.  Second, a set with Ford, Klein and Raham.  Reed Foehl with Raham, Ford, Klein and Hamer finishes the evening.

Tickets are on sale now at The Boulder Theater Box Office. Call (303) 786-7030 for tickets by phone. Tickets are also available through their website @ www.bouldertheater.com. Ticket prices include tax and service charge.

Bill Kreutzmann Announces BK3 Tour Dates

Bill Kreutzmann, Grateful Dead drummer for the band's entire thirty year career, tours this summer with his potent new trio project, BK3.  For the summer run, BK3 features bassist James "Hutch" Hutchinson (Bonnie Raitt) and guitarist Scott Murawski (Max Creek).  This BK3 announcement comes as Bill is wrapping up a highly anticipated Dead reunion tour.  An art exhibit, The Art of Bill Kreutzmann and the Grateful Dead, has popped up in various cities along The Dead tour, including a showing at Café Le Cave in Des Plaines, Illinois on May 4th and 5th.

With BK3, Kreutzmann finds himself lined up and locking into a powerful new wave of musical freedom.  In all its lineup variations (Phish bassist Mike Gordon and Allman Brothers' bassist Oteil Burbridge have both done gigs with BK3) Kreutzmann is thoroughly enjoying making music with such great players, and is driven by musical chemistry that is simply "over the top." This run of shows, which begins on the east coast on May 29th and includes festival stops such as Mountain Jam Festival, Oregon Country Fair, and All Good Music Festival, is the first with Hutch Hutchinson on bass.

The list of currently confirmed tour dates for BK3, Bill Kreutzmann featuring James "Hutch" Hutchinson and Scott Murawski is as follows:

May 29 Port City Music Hall Portland ME
May 30 Toad's Place New Haven CT
May 31 Mountain Jam Festival Hunter NY
June 03 The National Richmond VA
June 04 Cat's Cradle Carrboro NC
June 05 The Music Farm Charleston SC
June 06 Wanee Music Festival Live Oak FL
July 10 Oregon County Fair Veneta OR
July 12 All Good Music Festival Masontown WV

Bill Kreutzmann is a man of many passions, and today in addition to drumming, he is also an artist.  Look for his artwork on display for a very special exhibit this May, when The Dead's tour stops in Chicago. The current exhibit, titled Bill Kreutzmann and the Art of the Grateful Dead, shows on May 4th and 5th at Café Le Cave in Des Plaines, Illinois (across the street from the Allstate Arena, where The Dead play).  In addition to the artwork of Bill Kreutzmann, also featured are a collection of rare signed prints by Jerry Garcia, a selection of Grateful Dead photography by Herb Greene and Baron Wolman, and Grateful Dead poster art by Richard Biffle.

The Art of Bill Kreutzmann and the Grateful Dead

Hosted by Walnut Street Gallery
Monday, May 4 (12:00 PM - 6:00 PM) and Tuesday, May 5 (10:00 am - 6:00 PM)
Café Le Cave
2777 Mannheim Road / Des Plaines, Illinois
(Across the street from Allstate Arena)
Free and open to the public
For more information visit www.walnutst.com or call 800.562.3387

Kreutzmann's psychedelic and surreal body of work combines his love of photography and digital media. At his first public showing in 2001, during a one man art exhibit at Walnut Street Gallery in Colorado, he received glowing response to his works and praise from collectors. Kreutzmann was first inspired to create art by longtime friend and Grateful Dead band mate Jerry Garcia, who would paint and draw while the band toured. On a day off from performing, Jerry invited Bill to his room to show him how the digital process worked. Bill was hooked. After Jerry's death in 1995 Kreutzmann moved to Hawaii and began expanding on what Jerry taught him, experimenting with 3-D software, animation programs and Photoshop. Today, he equates creating his digital art to playing drums. Sitting at his computer, he just lets his imagination flow. Kreutzmann's deep passion for all things oceanic is evident throughout his art.