From Brooklyn Vegan:

Pokey LaFarge will be back with In The Blossom of Their Shade on September 10 via New West Records. The album was produced and arranged by Pokey and Chris Seefried, and recorded in Chicago and Los Angeles. We’ve got the premiere of the album’s new single, “Rotterdam” which is a mix of swing, country, Latin, and social commentary.

“I wrote this song back in 2017 and I remember at the time how I admired the seemingly high level of social equality and access to certain social services there in The Netherlands,” Pokey says. “But really it’s more about a place that doesn’t really exist—Rotterdam as utopia. Paired with a fair amount of confusion and frustration over how some things are in the USA, I found the lyrics to be an outlet.” Listen to that below.

Read full article on Brooklyn Vegan

Pokey LaFarge on TKA

The nominees for the 32nd Annual IBMA Bluegrass Music Awards have been announced. Michael Cleveland & Flamekeeper received a nomination for instrumental group of the year, while Michael Cleveland is nominated for fiddle player of the year. Results of the balloting will be revealed at the IBMA Bluegrass Music Awards on Thursday, September 30, at the Duke Energy Center for the Performing Arts in Raleigh, North Carolina. The Awards show will be broadcast on SiriusXM’s Bluegrass Junction at 7:30 p.m. EDT, streamed via Facebook Live.

See all nominees on IBMA.org

Michael Cleveland & Flamekeeper on TKA

When Bill Charlap first heard and fell in love with jazz, drummer Eddie Locke was the culprit. Locke worked with Roy Eldridge and Coleman Hawkins. Bill, a mere fourth grader, heard Eddie play at school with pianist Johnny Morris playing Scott Joplin’s “Solace”. At that moment that he was hooked. Although his mom is the GRAMMY award winning vocalist Sandy Stewart and dad was Broadway composer Moose Charlap (most notably the composer of Peter Pan), it was this particular experience hearing Locke play that would define the trajectory of his life. He would hear him again with Sir Roland Hanna in the seventh grade at another school assembly, this time playing “On Green Dolphin Street”. He went on to attend one of New York’s prestigious performing arts high school. There, he would sometimes skip his last period class to go play Fats Waller’s piano at the Songwriters Hall of Fame inside the GM building. It must have been fate because it was there where he met composer and songwriter Walter Bishop, Sr. who encouraged his natural talent, giving him pointers along the way.

Charlap would go on to perform and record with the likes of Gerry Mulligan, Phil Woods, Scott Hamilton, Benny Carter, and even won a GRAMMY with Tony Bennett. He formed his trio formed in 1997 with Peter Washington on Bass and Kenny Washington on Drums. Since then they’ve travelled the world over and are regarded as one of the best trios in jazz today. When he’s not on stage he’s paying it forward to the next generation of musicians, just as the greats poured into him, as Director of Jazz Studies at William Patterson University.

On this episode of The Pulse, Bill Charlap talks about his musical upbringing, the anniversary of his trio, and what’s on the horizon.

Read full article on WGBO.org

Bill Charlap on TKA

Acoustic guitar virtuoso Andy McKee has announced a new EP, Symbol, his first studio effort in nearly a decade.

The six-track outing, due to be released September 17 via Mythmaker Records, will feature renditions of tracks from a handful of legendary artists, to whom McKee pays tribute through his masterful unplugged prowess.

Accompanying the news is a Guitar World-exclusive premiere of the lead single from Symbol, a cover of Michael Hedges’ Ragamuffin.

McKee’s fingerstyle skills here are every bit as awe-inspiring as those found on the original, easing listeners in with a series of pristine open-string motifs before launching into a barrage of body-spanning rhythmic beats and two-hand tapping passages.

Check out the single, and McKee’s dazzling performance, in its entirety in the video below.

“These are my interpretations of tunes that really inspired me. I wanted to give listeners a chance to hear what I hear when I listen to this music,” explained McKee of his new effort. “I also wanted to branch out a bit and include music that isn’t originally for acoustic guitar.”

Of Ragamuffin, McKee continued, “Michael [Hedges] was not only a revolutionary guitarist on the technical side, his ability to compose for solo guitar was also genius. 

“Most importantly though, he was able to search inside of himself and consistently pull up very human and evocative themes that made him a true artist. I’ll always be grateful for his music.”

Read full article on Guitar World

Andy McKee on TKA

Pat Metheny, “It Starts When We Disappear”

Pat Metheny has shared the uplifting and harmonically dense “It Starts When We Disappear,” the lead single from his rocking forthcoming live album SIDE-EYE NYC, recorded just before the pandemic and due out September 10 via BMG Modern Recordings. The LP features him alongside a rotating ensemble, performing new originals and inventive reworkings of some of his most beloved compositions. SIDE-EYE NYC is Metheny’s second full-length, following his multi-movement acoustic guitar LP Road to the Sun, released earlier this year. You can pre-order it here.

Kurt Elling, “Manic Panic Epiphanic”

Kurt Elling has released “Manic Panic Epiphanic,” the groove-laden, funky new single from his forthcoming album, SuperBlue. Pre-order it here. The record is due out October 8 and features him alongside guitarist Charlie Hunter and the Butcher Brown rhythm section with drummer Corey Fonville and bassist/keyboardist DJ Harrison. The band will make its live debut, performing songs from the new album, at Chicago’s Ravinia Festival on July 13. Check out Elling’s upcoming live dates here.

See the full list on JAZZIZ

Pat Metheny on TKA

Kurt Elling on TKA

To fully appreciate an Eddie Palmieri show, it helps to see it twice. First, catch the pianist outdoors at New York’s Lincoln Center and soak in the space and balance between the septet. Later, head downtown to Blue Note and behold the same ensemble—with the horns mere feet from your face. The effect, as Palmieri said during a recent Blue Note set, is of “a herd of elephants, or 99 Mack trucks.”

Why is this music so viscerally overwhelming, capable of pulling your head in seven directions while maintaining precision? It’s simple, Palmieri says during a recent phone call. “After I take a piano solo, I give it to one of the drummers and then we synchronize,” he tells GRAMMY.com. “And when the horns come in, I guarantee you I’m going to put you to dance in your seat!”

Now, music fans of all backgrounds can watch that equation play out before them. If you’re on the East Coast, Palmieri’s current run of shows at the West Village institution are a masterclass in swinging and dancing rhythms. 

His next Blue Note gigs are August 2 and 16 and if you can’t make those, there are bound to be more. Because, to hear Palmieri tell it, traveling overseas is an ordeal at 84—and the Blue Note is his temple for now. “We’re very fortunate to perform at the greatest jazz club in the world,” Palmieri says humbly. “But when I’m playing there,” he adds with an audible grin, “It’s the greatest Latin jazz club in the world!” 

GRAMMY.com caught up with the seven-time GRAMMY winner and 14-time nominee to discuss his 60-year career, the lessons he learned along the way and why the Blue Note is, in his words, “the greatest jazz room in the world.”

Read full article on GRAMMY.com

Eddie Palmieri on TKA

Listen to one of Metheny’s Brilliant and Expansive New Compositions From SIDE-EYE: 

https://patmetheny.lnk.to/ItStartsWhenWeDisappear/PR Extensive World Tour Dates Unveiled 

“Pat Metheny is Still Seeking Breathtakingly New Vistas” – NPR, All Things Considered 

Pat Metheny has unveiled the latest chapter in his wildly prolific career –SIDE-EYE, a new setting featuring the 20-time GRAMMY winner accompanied by a handpicked and rotating cast of players featuring some of the most exciting and innovative new musicians on the New York scene. The new album, SIDE-EYE NYC will be released September 10 through BMG Modern Recordings. Recorded just before the pandemic, SIDE-EYE (V1.1V) deftly balances a mix of stunning new originals with inventive reworkings of some of Metheny’s most beloved compositions such as “Timeline,” which originally featured Metheny performing with fellow icons Michael Brecker and Elvin Jones. Now bringing that same unmistakable spirit to a new crop of players who grew up with his music as a part of their musical heritage, Metheny’s SIDE-EYE seamlessly flows in his usual genre-defying way from post-organ-trio grooves to expansive mini-suite forms to simply Metheny at his most rocking.

Listen to “It Starts When We Disappear” from SIDE-EYE NYC here: https://patmetheny.lnk.to/ItStartsWhenWeDisappear/PR

Pre-order SIDE-EYE NYC here: https://patmetheny.lnk.to/SideEyeNYC/PR

As is only fitting for a musician known for an extensive touring regime, Metheny has announced over 100 concerts world-wide to accompany the release of SIDE-EYE— returning to the road this fall and spanning well into 2022, with even more shows to be announced soon. As on the recording, the live version of SIDE-EYE will feature the phenomenally talented pianist/organist/keyboardist James Francies. The drum chair in SIDE-EYE has been filled to-date by some of the most exciting players around including Eric Harland, Anwar Marshall and most notably, Marcus Gilmore, who is spotlighted on the recording. The exciting young New Orleans drummer, Joe Dyson, will be featured in the upcoming live performances around the world. 

SIDE-EYE NYC is the latest in an unmatched run of eclecticism from Metheny, whose most recent albums include From This Place, named Downbeat’s Jazz Record of the Year for 2020, and March 2021’s multi-movement classical guitar suite Road To The Sun – which the Wall Street Journal’s Allan Kozinn hailed as “beautifully nuanced” and “presenting significant additions to the solo, ensemble and transcription repertory.” This wide range of musical experimentation is of course nothing new for Metheny – he is in fact the only musician ever to win GRAMMY awards in twelve different musical categories. Widely sought out amongst sonic worlds for decades, his collaborators on past projects have included Steve Reich, Ornette Coleman, Herbie Hancock and David Bowie. 

SIDE-EYE – NYC Tracklist 

It Starts When It Disappears 

Better Days Ahead 

Timeline 

Bright Size Life 

Lodger 

Sirabhorn 

Turnaround 

Zenith Blues 

PAT METHENY SIDE-EYE TOUR DATES 

September 16, 2021 – Jazz Alley – Seattle, WA 

September 17, 2021 – Jazz Alley – Seattle, WA

September 18, 2021 – Jazz Alley – Seattle, WA 

September 19, 2021 – Jazz Alley – Seattle, WA 

September 21, 2021 – Revolution Hall – Portland, OR 

September 22, 2021 – Cascade Theater – Redding, CA 

September 24, 2021 – Monterey Jazz Fest – Monterey, CA

September 25, 2021 – SFJazz Center Miner Auditorium – San Francisco, CA

September 26, 2021 – SFJazz Center Miner Auditorium – San Francisco, CA

September 27, 2021 – Crest Theater – Sacramento, CA 

September 29, 2021 – Lobero Theatre – Santa Barbara, CA

September 30, 2021 – The Rady Shell at Jacobs Park – San Diego, CA

October 1, 2021 – Irvine Barclay Theatre – Irvine, CA 

October 3, 2021 – Mesa Arts Center – Mesa, AZ 

October 5, 2021 – Fox Tucson Theatre – Tucson, AZ 

October 6, 2021 – National Hispanic Cultural Center – Albuquerque, NM

October 7, 2021 – Boulder Theatre – Boulder, CO 

October 8, 2021 – Strings Music Pavilion – Steamboat Springs, CO

October 9, 2021 – Paramount Theatre – Denver, CO 

October 11, 2021 – Lied Center Performing Arts – Lincoln, NB

October 12, 2021 – Pantages Theatre – Minneapolis, MN 

October 14, 2021 – Pabst Theatre – Milwaukee, WI 

October 15, 2021 – Thalia Hall (2 shows) – Chicago, IL 

October 16, 2021 – Memorial Hall – Cincinnati, OH 

October 17, 2021 -Orchestra Hall – Detroit, MI 

November 4, 2021 – Flying Monkey – Plymouth, NH 

November 5, 2021 – State Theatre – Portland, ME 

November 6, 2021 – Foxwoods- The Fox Theater – Mashantucket, CT

November 7, 2021 – Wilbur Theatre – Boston, MA 

November 9, 2021 – Ridgefield Playhouse – Ridgefield, CT

November 11, 2021 – Keswick Theater – Glenside, PA 

November 12, 2021 – State Theatre New Jersey – New Brunswick, NJ

November 13, 2021 – The Music Center at Strathmore – N Bethesda, MD

November 14, 2021 – Patchogue Theater of Performing Arts – Patchogue, NY

November 16, 2021 – Williams Center for the Arts – Easton, PA

November 18, 2021 – Kodak Theater – Rochester, NY

November 19, 2021 – Troy Music Hall – Troy, NY 

November 20, 2021 – Academy of Music – Northampton, MA

February 3, 2022 – State Theatre – State College, PA

February 4, 2022 – Ferguson Center for the Arts – Newport News, VA

February 5, 2022 – Jefferson Center – Roanoke, VA 

February 7, 2022 – Schermerhorn Symphony Center – Nashville, TN

February 8, 2022 – Thomas Wolfe Auditorium – Asheville, NC

February 9, 2022 – Carolina Theater – Durham, NC 

February 11, 2022 – Blumenthal Knight Arts Theater – Charlotte, NC

February 12, 2022 – Variety Theater (2 Shows) – Atlanta, GA

February 13, 2022 – UAB’s Alys Stephens Center – Birmingham, AL

February 14, 2022 – Charleston Music Hall – Charleston, SC

February 16, 2022 – Lyric Center – Stuart, FL 

February 17, 2022 – Dr. Phillips Center – Orlando, FL

February 18, 2022 – Arsht Center Knight Concert Hall – Miami, FL

February 19, 2022 – Florida Theatre – Jacksonville, FL

February 20, 2022 – Capitol Theatre – Clearwater, FL

February 23, 2022 – One World Theater – Austin, TX

February 24, 2022 – One World Theater – Austin, TX

February 25, 2022 – Cullen Theater – Houston, TX 

February 26, 2022 – Majestic Theatre- Dallas, TX 

April 26, 2022 – Sono Centrum- Brno, Cz 

April 27, 2022 – Wiener Konzerthaus- Vienna, Au 

April 28, 2022 – MUPA – Budapest, Hgy 

April 29, 2022 – Forum Karlin – Prague, Cz 

May 1, 2022 – Alte Oper Erfurt – Erfurt, Gr 

May 2, 2022 – Alte Oper – Frankfurt, Gr 

May 3, 2022 – Tollhaus Karlsruhe – Karlsruhe, Gr 

May 4, 2022 – Tonhalle Dusseldorf – Dusseldorf, Gr 

May 6, 2022 – Grand Teatro Geox – Padova, It

May 7, 2022 – Teatro Alighieri -Ravenna, It

May 8, 2022 – Teatro Umberto Giordano – Foggia, It

May 9, 2022 – Auditorium Parco della Musica – Rome, It

May 11, 2022 – Auditorium Del Lingotto – Torino, It

May 12, 2022 – Teatro degli Arcimboldi – Milano, It

May 13, 2022 – Volkhaus – Zurich, Sw 

May 14, 2022 – Philharmonie im Gasteig – Munich, Gr

May 15, 2022 – Philharmonic Luxembourg – Luxembourg

May 17, 2022 – Admiralspalast – Berlin, Gr

May 19, 2022 – Oetkerhalle Halle – Bielefeld, Gr

May 20, 2022 – Geblasehalle – Neunkirchen, Gr

May 21, 2022 – L’Olympia – Paris, Fr 

May 22, 2022 – Ancienne Belgique – Brussels, Bl

May 24, 2022 – Beethoven Saal – Stuttgart, Gr

May 25, 2022 – Konzerthaus Dortmund – Dortmund, Gr

May 27, 2022 – Haus Auensee – Leipzig, Gr

May 28, 2022 – Laeiszhalle – Hamburg, Gr 

May 29, 2022 – De Roma – Antwerp, Bl 

May 30, 2022 – Tivoli Vredenberg – Utrecht, Hld

May 31, 2022 – Glocke – Bremen, Gr

June 2, 2022 – Opera Nova – Bydgoszcz, Pl

June 3, 2022 – Opera Lesna – Sopot, Pl 

June 4, 2022 – Palladium – Warsaw, Pl 

June 6, 2022 – National Forum of Music – Wroclaw, Pl

June 7, 2022 – Centrum Spotkania Kultur – Lublin, Pl

June 8, 2022 – Church of St. Kolbe – Bielsko-Biala, Pl 

June 9, 2022 – Kunsthaus Weiz – Weiz, Aus

June 12, 2022 – Hammersmith – London, UK

June 14, 2022 – Rocher de Palmer – Cenon, Fr

June 15, 2022 – Sala Mozart – Zaragoza, Sp

June 17, 2022 – Aud. Mar de Vigo – Vigo, Sp

June 18, 2022 – Botanical Garden – Madrid, Sp

June 19, 2022 – Teatro de la Maestranza – Seville, Sp

June 21, 2022 – Palau de la Musica – Barcelona, Sp

June 22, 2022 – Palau de les Arts – Valencia, Sp 

Brooklyn 

32 Court Street Suite 1800 

Brooklyn, NY 11201 718.522.7171 

Los Angeles 

925 N La Brea Ave Floor 4 

Los Angeles, CA 90038 323.395.2444 

Nashville 

1017 17th Ave South Suite 4 

Nashville, TN 37212 615.280.5330

Bobby Rush, 87, is a Grammy-winning blues musician, composer and singer. His latest album is “Rawer Than Raw” (Deep Rush). He is the author of “I Ain’t Studdin’ Ya” (Hachette), a memoir. He spoke with Marc Myers.

When I was 6, my father took out his harmonica and played it for me. As I listened and watched, the groove hit me. Later, I searched his room looking for it but came up empty.

Suddenly, my father was standing in the doorway holding the harmonica. Smiling, he said, “Is this what you’re looking for?” I said yes but that I didn’t know how to play it.

Daddy sat down and showed me how to bend notes and use my hands to alter the sound. What I remember most is the song about a dog outrunning a train.

Read full article on WSJ

Bobby Rush on TKA

Book Excerpt: ‘I Ain’t Studdin’ Ya’

By Bobby Rush 
Mud, Walter, and Jimmy
After Big Joe Turner, the next person I saw at the Big Rec was Jimmy Reed. His performance had a profound effect on me. I had never heard a group that had Jimmy Reed’s band’s feel. There was a mysterious chemistry between the drummer, bassist, and guitarist. They were playing behind the beat—almost dragging—but it was still tight as a tick and hypnotizing. Ya couldn’t help but fall under the spell of that feel. A few years later, in 1957, you’d hear that vibe on one of his signature songs, “Honest I Do.”

But it cost me only 75 cents to change my life. ’Cause that was the ticket price to see Muddy Waters at the Big Rec. Little Walter was in his band. Muddy, with that moon face and twisted mouth, sang from the Rec stage like he was trying to tell me something. Raising his eyebrows high and low while he sang, he really let his band shine. Often he’d look at one of his musicians and say, “Play that thing, boy.”

With Little Walter blowin’ that harp right behind him, he gave praise up a lot. Like most young musicians, you learn by watching others. I soaked up every one of Muddy’s musicians that night. Going back and forth with my eyeballs, I was a sponge. And I would do a lot of soppin’ first time I saw Muddy Waters.

After seeing some greats perform at the Big Rec, my dreams felt possible. Because there they were, standing right in front of me. The greats came down to earth. What remained in outer space was recording and songwriting. I wanted to know more. And in my case, that was the basics. I started to listen to music, more like a doctor examining a patient. I checked out the lyrics. I learned what sets the verse apart from the hook, word-wise. I was figuring out what made great guitar riffs and the power of repetition that created a bass line. Still, I just kept putting my pennies together, working little jobs, and booking little gigs. From gig to gig I went, just trying to survive. This sounds crazy, but I didn’t know what I was doing—but somehow I knew what I was doing.

This was 1952, right before the dam burst with what would be the birth of rock ’n’ roll. But don’t get it twisted. As Ike Turner and a hundred other Negro musicians would soon say to me: that rock ’n’ roll is nothin’ but R&B.

Full interview on WBUR

Bobby Rush on TKA

Amanda Gorman, who impacted a global audience when she delivered the poem “The Hill We Climb” at President Biden’s Inauguration, closes the series with a powerful poem titled “The Miracle of Morning.”

It is the lone spoken word piece, but as she reads her words, Meshell Ndegeocello’s gentle and pensive music underscores her words. The episode ends with an animated version of Gorman stepped out onto the podium in that unforgettable yellow coat from Inauguration morning, and Ndegeocello’s music plays before the credits roll.

Written amid the pandemic, she reminds audiences of loss and discovering solidarity. Her words once again reinforce the message of the series, reminding viewers of a united country and the promise of healing.

“Do not ignore the pain. Give it purpose. Use it,” she says.

Read full article on Variety

Meshell Ndegeocello on TKA