Suraya Mohamed for NPR – “This is me coming back full circle in my life,” Dee Dee Bridgewater told NPR right before this Tiny Desk performance. Ever since her teenage years, she’s wanted to make her latest album, Memphis… Yes, I’m Ready. Now, a gorgeous 67 years young, Bridgewater is connecting openly with her roots, her birthplace and the town she’s loved all her life.

When she was just three years old, her family moved from Memphis, Tennessee, to Flint, Michigan. Years later, Bridgewater could still hear the soul sounds of Memphis on WDIA, the first radio station in America programmed entirely by African-Americans for African-Americans. She recalled, “I could catch it when I was in Flint as a teenager and I would listen to it after 11:00 at night, because that was the only time I could get it — when all the other stations were off the air. I know it was real, ’cause I went through it and these were all songs I heard on WDIA.”

Bridgewater brought three of these songs to the Tiny Desk: First, is the celebrated blues hit, “Hound Dog,” first recorded by not by Elvis Presley but by Willie Mae “Big Mama” Thornton in 1952. What makes this presentation special is not only Bridgewater’s sultry and soulful interpretation, but her adorable Daisy, perhaps the cutest “Hound Dog” to ever bless this song.

 

Watch Tiny Desk Concert here

Dee Dee Bridgewater on TKA

The saxophonist Ravi Coltrane has spent much of his career standing apart from the heavy legacy of his father, John Coltrane, who died when he was not yet 2 years old. Of late, the younger Mr. Coltrane has turned much of his attention toward his mother, the pianist and harpist Alice Coltrane, whose influence is less ubiquitous in jazz.

But at Jazz Standard on Wednesday, there was no way to avoid thinking about paternal inheritance. Performing with a trio, Mr. Coltrane welcomed a special guest, Tomoki Sanders, a fellow tenor saxophonist and the son of Pharoah Sanders, who performed with John Coltrane in his final years and carried the spiritual-jazz mantle after Coltrane’s 1967 death. Clearly, the risk of a disappointing gimmick would seem to be running high. But Mr. Coltrane is allergic to glib gestures, and it quickly became clear that Tomoki Sanders was there for the right reasons.

At 23, Mr. Sanders cannot even be called a new face on the New York scene yet: He spent his teenage years living in Tokyo and is currently finishing his degree at the Berklee College of Music in Boston. But you’ll be hearing from him soon. There are few saxophonists in jazz today as silvery and deft as Ravi Coltrane, who blew a handful of melted-ore solos throughout the evening, bending in all sorts of directions without slurring the notes themselves. But Mr. Sanders kept up with him handsomely. He played some keen, beboppish solos of his own, always keeping track of the pocket and never losing his command.

Unsurprisingly, Mr. Coltrane had the snugger rapport with his rhythm section — Dezron Douglas on bass and Allan Mednard on drums — but Mr. Sanders was keyed in and constantly listening. On the opening of “Fifth House,” just seconds into the performance, he and Mr. Coltrane came together to play a drone, melding comfortably. When the tune neared its end, the two saxophonists threw out little, charmlike notes and dashes. Mr. Sanders was quick and light of touch, finding the spaces between Mr. Coltrane’s tones. Ultimately the two horns became locked in an unlikely harmony, just one note apart, embracing the fertile space between them.

Read full article on The New York Times

Ravi Coltrane on TKA

John Bungey for THE TIMES: Charles Lloyd, a musician who has lived many lives, fixes me with his wise-owl gaze and says quietly: “I am one of the last of the Mohicans. There aren’t too many of us left.”

Mohicans? Lloyd, still busy performing as he reaches his 80th birthday on March 15, is referring to that band of jazz elder statesman — Wayne Shorter, Sonny Rollins, Pharoah Sanders — whose life journey has been as much spiritual as musical: sax man meets shaman.

“I come from the source,” continues Lloyd. “When I was growing up in Memphis, Duke Ellington and Count Basie used to stay in my mother’s house, so I’ve always been around this music . . . I have been drunk on this music since I was a little boy.”

While Lloyd has never enjoyed the profile here of Miles Davis or Rollins, the saxophonist and flautist has journeyed through one of the most remarkable musical careers of the postwar years. His first band as leader, with the young Keith Jarrett on piano, swiftly made a million-selling album — almost unheard of then for instrumental jazz. In flower-power San Francisco, he shared bills with the Grateful Dead and Janis Joplin. But then Lloyd crashed and burnt. He quit the business, reluctant to play stadiums or become “a commodity”, and retired to the woods in Big Sur, California, to pursue “a simple life with high thinking” and find a cave for transcendental meditation.

Read the full interview on The Times

Charles Lloyd on TKA

JAZZTIMES – For this annual companion poll to last issue’s Top 50 Critics’ Picks, our regular contributors and critics participated in this survey based on our yearly Readers’ Poll. Voters were asked to focus on artists’ achievements during 2017 rather than assessing entire careers.

Charles Lloyd won Best Acoustic Small Group/Artist, and was nominated for Best Tenor Saxophonist as well as Best Flutist.

Cécile McLorin Salvant won Best Female Vocalist, and was nominated for Artist of the Year.

 

Read the full list of winners and nominees on JazzTimes

Charles Lloyd on TKA

Cécile McLorin Salvant on TKA

Scott Bernstein for JAMBASE – Instrumental quartet TAUK has been hard at work in the studio with longtime producer Robert Carranza and have unveiled the first taste of their new music. TAUK debuted the track “Premises” yesterday on SiriusXM’s Jam On, a song which is part of a new EP due on April 6.

Shapeshifter I: Construct is the first installment of new music from the Long Island-bred band and will be followed by an upcoming full-length album this fall. TAUK recorded both the EP and LP in one concentrated period inside an old house. “Everything just happened so naturally this time around,” said guitarist Matt Jalbert in a press release announcing the EP. “I can’t think of one moment where it felt like anything was forced. We were all just completely focused and in the same mindset, which made this an incredibly fun and smooth experience.”

 TAUK kicks off the Shapeshifter Tour on Saturday in support of ALO at The Fillmore in San Francisco and then heads to Arizona for a Sunday appearance at the Pot Of Gold Music Festival. The foursome then begins a run of headlining dates that will carry them through mid-May.

Close But No Cigar: #1 Contemporary Jazz Album & #3 Jazz Album

The DELVON LAMARR ORGAN TRIO is a Unique 60’s & 70’s vintage soul trio with the sounds of the Hammond B3 mixed with tasty guitar lines & old school style pocket drumming.  With a deep soul backbone augmented by jazz, rhythm & blues and rock ‘n’ roll, the Seattle trio – Lamarr on B-3 organ, Jimmy James on guitar and David McGraw on drums – evokes a classic instrumental sound with a fresh, virtuosic sensibility on debut LP Close But No Cigar on Colemine Records.

2018 Festivals include:  High Sierra Music Festival, Joshua Tree Music Festival, Monterey Jazz Festival, Wichita Riverfest, Vancouver Jazz Festival, Detroit Jazz Festival and San Jose Jazz Festival.

Stream Close But No Cigar here

Delvon Lamarr Organ Trio on TKA

Landon Kuhlmann for DAYTROTTER – Before you Google it, that instrument is a hammered dulcimer. It’s an old instrument that has roots in a few different cultures, and many different versions of it exist. It’s probably something you’ve heard before but didn’t know where it was coming from. I’ve seen it played a couple of times but never in a setting like this. I’m no expert on the instrument, but it seems here to be a meshing of classical and contemporary playing styles, an idea that helps define the entire band.

I want to start off by saying House of Waters is the fusing of three incredibly intelligent and skilled musicians. That much is obvious to even the casual listener. You don’t have to understand the complex things they’re doing in the music to simply enjoy the sounds, the melodies and moods House of Waters passes through in their music.

Is it jazz? Is it some kind of folk music? Am I, somehow and unbeknownst to me, listening to a form of rock music? These questions, and that grasping for definitions, is useless with this band. Their genre can only be described by other words like fresh, calm, serene, and bliss. Hearing something this new to me feels like I’m hearing music for the first time all over again.

Watch the full session on Daytrotter

House of Waters on TKA

Rachel George for BILLBOARD – Three-time Grammy-nominated piano prodigy Joey Alexander is premiering the title track from his upcoming Eclipse album exclusively on Billboard.

The young artist’s musicianship and knowledge of jazz and classical fundamentals are embraced on this free, peaceful 10-minute track. He approached “Eclipse” with subtle sounds and delicate harmonies.

“After seeing the eclipse, I was inspired to compose something new,” the 14-year-old told Billboard. “It was a little intimidating to play those first notes, knowing it would be the only take. I was relieved after listening back in the control room. It’s what I really love, composing freely in the moment, listening and reacting to the band, creating something new and moving to another place.”

The Eclipse album was recorded during and inspired by the solar eclipse in August 2017. Its multi-dimensional sound ranges from classical jazz music to gospel, reinventing the popular 1875 hymn “Draw Me Nearer.”

Recorded in just over three days, the album includes features from saxophonist Joshua Redman and contributions from bassist Reuben Rogers and drummer Erick Harland.

At age 14, Alexander’s growth and elevation as a remarkable composer and artist truly shine through on his album. “This new album represents who I am, and I’m looking forward to bringing people on the journey,” Alexander said.

Eclipse will be available May 4 on Motéma Music.

Read Full Article and listen to Eclipse here

Joey Alexander on TKA

Rodney Carmichael for NPR: In the canon of R&B, the ’80s are frequently dismissed as the genre’s most soulless decade. Nelson George called it “the death of rhythm and blues” in his book of the same name, citing the now infamous Harvard Report on marketing black music (commissioned by then-CBS Records exec Clive Davis) as the impetus for the industry’s switch from indifference to a vested interest in R&B. By 1980, he writes, CBS’ roster of black artists had jumped from two to 125 — and as the decade progressed, that sonic integration led to a watered-down R&B sound. Synthesizers replaced live bands. Commercial radio quelled the funk with the Quiet Storm. “Crossover” became the profit motive for packaging black artists for white consumption.

But if you were coming of age in the ’80s, like a teenaged Michelle Lynn Johnson — who took on the name Meshell Ndegeocello around the same time Prince began musing over the woman in the raspberry beret — all those behind-the-scenes industry machinations are incidental to a period whose output soundtracked your adolescence with some of the most emotionally indulgent R&B and pop of the latter 20th century. Meshell Ndegeocello has always been a soul conjurer of sorts, bent but never bound by tradition. With her latest body of work, Ventriloquism, out March 16, she splits the difference — stitching together a wide swath of songs that reflect what we remember, and even regret, of the era in which her own artistic sensibilities were taking root, distilling its clichés into a rootsy, bluesy folk romp.

As with most cover sets, the story is in the song selection. What may at first seem like a random mix of one-off hits from beloved-but-unsung artists (Force MDs, Lisa Lisa & Cult Jam, Surface, Al B. Sure!) and influential megastars (George Clinton, Tina Turner, Janet Jackson, Sade) is actually a carefully curated homage to some of the era’s definitive sonic innovators. It’s a perfect collection for an artist whose genre-bending fusion of rock, soul, funk and R&B befuddled an industry still beholden to racially-coded designations (i.e. “urban”) when she entered the scene.

Listen to Ventriloquism on NPR

Meshell Ndegeocello on TKA

Congrats to Stacey Kent, whose new album “I Know I Dream” won Vocal Album of the Year at the Jazz Japan Awards!

“It’s often said that the most sophisticated jazz audiences in the world these days are to be found in Japan. So I’m delighted, but not surprised, that Stacey has won this important award for her beautiful new album. She’s one of the truly great jazz singers of this or any other era – and one of the most subtle. Her brilliant technique works through understatement, nuance and implication to create complex shades of feeling. In other words, she exemplifies the kind of artistic qualities Japanese people have understood and celebrated for centuries. It’s been a privilege for me to write lyrics for her over these past ten years, and I’m so glad I was again allowed to contribute to this superb new record. I hope Japanese jazz fans will go on from here to have a long, deep love affair with Stacey Kent’s music.” – KAZUO ISHIGURO, Novelist, Lyricist, Nobel Laureate

 

Stacey Kent on TKA