Acclaimed jazz guitarist – Julian Lage, has revealed a new set of performances to end the year and bring in the new decade, in celebration of his latest Grammy nomination. A five-time nominee of the prestigious award, Lage has been a universally renowned composer for almost two decades – having first performed at the 2000 Grammy awards, at only 12 years old.
The tour, which has included performances alongside fellow guitar icon Bill Frisell, will see him and his bandmates – The Julian Lage Trio, featured in his 2019 album Love Hurts – perform throughout the East Coast. Beginning with a stop at Philadelphia’s Jonny Brenda’s, Lage will also make stops in Washington, DC and Old Saybrook, CT, before finishing off with a six-night set at the Village Vanguard in New York City.
Julian Lage’s slate of performance can be found below, while tickets can be purchased here.
Dec. 18 – Johnny Brenda’s – Philadelphia, PA
Dec. 19 – Union Stage – Washington, DC
Dec. 20 – Katharine Hepburn Cultural Arts Center – Old Saybrook, CT
Jan. 14 – 19 (Tuesday through Sunday) – Village Vanguard – New York, NY
It’s no easy feat to make a Christmas album stand out these days. There’s a lot to choose from and they all tend of blend into each other. Even original songs can have a tough time climbing the charts, except for Mariah Carey’s “All I Want For Christmas Is You.” No one will ever understand how that song got so popular. Regardless, Ernie Haase & Signature Sound have put together A Jazzy Little Christmas, a unique collection of Christmas classics with a twist as well as original scores that are sure to turn a few heads.
What’s more, they follow the holiday spirit by vowing to donate a portion of the proceeds to New York Cares’ Winter Wishes program – a branch of the New York Cares group that is dedicated to providing gifts to low income families.
Ernie Haase & Signature Sound is an Emmy-nominated southern gospel quartet stemming from all over the country. They’ve released a copious amount of albums over the years, but this album is their first Christmas album in a decade and it brings that classic, magical, warm Christmas feel that has transcended time.
The album is filled with a variety of classics such as “It’s Beginning to Look A Lot Like Christmas,” “Winter Wonderland” and “Mister Santa.” They’re chock full of rich, bold brass instrumentation, swirling strings and, the cornerstone of the group, the unbelievable chops of Ernie Haase, Devin McGlamery, Dustin Doyle and Paul Harkey. Together, they created some otherworldly harmonies and sounds that are warm and inviting, perfect for this time of year. They also created some original tracks that Haase hopes will become holiday classics. In his online bio, Haase tells a heartwarming tale of how his original, “Christmas in Manhattan” came to be.
“New York City is a very special place for me and my wife, Lisa. We’re going on 30 years of marriage, and one of the things we started doing when we first got married was going to New York and doing a Broadway blitz, especially at Christmas time. We would get there and just look at the lights and take in the city, so I wanted to write an original love song about those experiences.”
It’s a sweet tale that makes the song more sincere and unique. This authenticity, coupled with their charitable nature, makes this an underrated album. So fire up the yule log on your TV, spike the eggnog and fall into the holiday spirit with this in-depth and unique album. Stream it on Spotify, iTunes, or download it on their site.
Key Tracks: Winter Wonderland, Mister Santa, Christmas in Manhattan
Sweet Megg & the Wayfarers have recently announced details about their album release party, set for October 19 at Jalopy Theatre in Brooklyn. With a jazzy style, Sweet Megg & the Wayfarers take audiences back to the 1920s, with a six-member band consisting of a wide range of instruments, including three types of saxophones, upright bass, guitar, drums, and lead vocals by Megg Farrell.
Farrell describes the new album as a return to “earlier repertoire of the 1920’s and 30’s, but we’ve also been mixing that with some modern elements.” The lead guitarist adds sweet tones of a telecaster and pedals to the album, creating a sound similar to Les Paul. This new album also features some heart-felt original songs, written and performed by Megg. All members of the band have special arrangements in the album—creating a one-of-a-kind, old-fashioned jazz style with a touch of modern bluegrass and western swing. Listen to the band’s first album below.
Guests of the October 19 show will get a sneak peak of the album debuting in December, which features an array of songs from nearly a century ago. Songs by Jellyroll Morton (“Why”), Billie Holiday (“I Cried For You”), Fats Waller (“Sweet & Slow) and Bessie Smith (“Devils Gonna Get You”) are performed by Megg and the Wayfarers, with their own personalized takes on the ageless tracks. Originals by Farrell are also found on the album (“Under the Moonlight” & “When the Moon Covers Up the Sun”), which drew their inspiration from the moon. The band’s trombone player, Sam Chess, was utilized heavily in these songs to create a youthful and swing-type style.
Throw on your dancing shoes and join the band at the album release party on October 19th at Jalopy Theatre. Doors open at 8 PM and tickets are only $10! Click here for more info.
London-based trio The Comet is Coming present a dark and earthshaking sound with their blend of jazz, electronica and psychedelia. Shabaka Hutchings (also of Sons of Kemet and Shabaka and the Ancestors) plays a frenetic and chaotic saxophone over haunting and pulsing percussion from drummer Max Hallett. Swirling, psychedelic synths by Dan Leavers drown the mix, making the listener feel as if they are trapped in a jazz apocalypse dream.
Fresh off their new LP, The Afterlife, released in September on Impulse! Records, the band began a short October tour on Tuesday night at Music Hall of Williamsburg in Brooklyn. A simple stage set-up, with a lone, dim red light illuminating the drum kit center-stage awaited fans as the doors opened. With no opener, Comet quietly took the stage and began playing some lighter jazz progressions as the band was seemingly just loosening up. Then, with a loud crescendo, the band dove right into their heavy jazz rock.
The sound of The Comet is Coming stands distinctly apart from Shabaka’s other projects, and most of the modern jazz scene. The Afterlife can easily be the soundtrack for any number of cosmic apocalypse movies. It’s a raw mix of Sun Ra’s spacey sound with dance-floor ready techno percussions.
For roughly an hour and a half, the band flew in and out of tracks from all of their releases, but relying heavily on The Afterlife. There was no lull to speak of – as one song was coming to an end, one of the musicians was already looping the next track to keep a continuous flow. Each band member took their turn with a solo, which seamlessly integrated into the setlist. A simple back-lit stage cast the band in silhouette – giving the music that extra bit of ominous mystery.
Shabaka Hutchings of The Comet is Coming. Photo by Buscar Photo
The Comet is Coming have cemented their status as one of the more exciting and intriguing modern jazz bands out there. Their live show is a visceral, cathartic experience and each new release sees the band pushing their music further down the rabbit hole of underground jazz. They continue on a short run of dates in early October, ending with a stop at Austin City Limits on October 11 before heading over to Europe.
Jazz at Lincoln Center’s Blue Engine Records celebrates the most wonderful time of the year with the release of Big Band Holidays II, a sequel to a beloved and festive album released in 2015, performed live by the world-renowned Jazz at Lincoln Center Orchestra with Wynton Marsalis.
The Big Band Holidays concerts have been a New York City tradition among jazz lovers and families for more than a decade. Every December, the critically acclaimed Jazz at Lincoln Center Orchestra ,Wynton Marsalis and an all-star roster of guest vocalists explore the canon of holiday standards to perform both new and traditional arrangements of Yuletide favorites. Blue Engine Records has assembled highlights from these historical performances, making them available on record for the first time.
Big Band Holidays II includes an electric, never-before-released solo piano performance of “O Tannenbaum” by Aretha Franklin. The Queen of Soul sang the holiday classic in English and German, while accompanying herself on piano, at a surprise performance at Jazz at Lincoln Center’s 2015 Big Band Holidays concert. “O Tannenbaum,” exclusively on Big Band Holidays II, is one of only a handful of tracks to be released since Franklin’s passing on August 16, 2018.
Additional guests on Big Band Holidays II include some of today’s commanding new voices in jazz: Catherine Russell, Veronica Swift, Denzal Sinclaire and Audrey Shakir. This newest collection of holiday classics is now available for pre-order and will be available on all digital platforms on October 25, in stores as a CD on November 8, 2019, and available on 2xLP audiophile vinyl later in the holiday season.
Big Band Holidays II tracks include holiday favorites “Silver Bells,” “The Most Wonderful Time of the Year,” and “Silent Night.” They feature the Jazz at Lincoln Center Orchestra’s signature sense of swing, New Orleans-flavored nuances, and deeply soulful, church-rooted grooves.
To celebrate this special Blue Engine Records release, the Jazz at Lincoln Center Orchestra and guest vocalists Denzal Sinclaire and Alexis Morrast will embark on a 12-city Big Band Holidays U.S. Tour. Kicking off the holiday season with messages of peace and good cheer, the Big Band Holidays tour commences on November 30 in Toronto, Canada and ends with four performances December 18-22, including a special matinee at Jazz at Lincoln Center’s Rose Theater at Frederick P. Rose Hall, located at Broadway at 60th Street in New York, New York.
TRACK LISTING 1. It’s the Most Wonderful Time of the Year 2. Cool Yule (ft. Catherine Russell) 3. We Three Kings (ft. Denzal Sinclaire) 4. O Tannenbaum (ft. Aretha Franklin) 5. Rise Up, Shepherd, and Follow 6. (Everybody’s Waitin’ for) The Man with the Bag (ft. Veronica Swift) 7. What Will Santa Claus Say? (When He Finds Everybody Swingin’) (ft. Catherine Russell) 8. Brazilian Sleigh Bells 9. Silver Bells (ft. Catherine Russell) 10. Snowfall 11. Silent Night (ft. Denzal Sinclaire)
On September 7, the Greenwich Village event space (Le) Poisson Rouge was set for an intimate evening with SPAGA, a quasi-jazz project from the mind and fingers of Disco Biscuits keyboard player Aron Magner. Tables were draped with black cloths, lit by candles, and set with other accoutrements while on stage waited a baby grand piano, an upright bass on its side, and a full drum kit. Upon entering before the army of Bisco fans, the mood and setting were surprisingly sophisticated.
As The Disco Biscuits are generally known for their dance-inducing electronic music and laser beams, an open floor plan with room to move was the expectation. Alas, the performance did circumvent most expectations but lacked the confidence, or boldness, of traditional jazz stylings.
What is most interesting about SPAGA is the clear intersection between the old-fashioned and the new-age. It’s a classic trio set up with modern gadgetry intact. A synthesizer sat atop the grand piano with an assortment of foot pedals beneath, and a laptop computer was situated right next to the bench. The upright bass ran through a full effects pedalboard beside a rock drum kit. Throughout the course of the 90-minute set, all of the above were put to good use.
While the bulk of the night’s music was pulled from the recently released album (SPAGA, out now via AM Records) the opener was a non-album number, appropriately titled “For The Table.” This set the tone for the rest of the night’s offerings as it featured a tantalizing hook to anchor the more loosely fastened sections of improvisation. A major highlight right off the bat was drummer Matt Scaranos’ incredible ownership of the kit. As the keys and bassist Jason Fratacelli repeated the songs melodic content, Scarano displayed an impressive command over every little detail on top of, inside, and outside the beat. The songs that followed like the albums opener “Creed” and “Resurrection” both find their strength in their composition, giving the listener moments to mellow in ambiance and elate with blistering rhythms.
SPAGA did cover a wide spectrum on Saturday. “Resurrection” sits on a hip-hop beat, while a totally unique take on Led Zeppelin’s “Black Dog” seemed to be just a tease at first, eventually playing out as the full song. Improvisation was there, but it didn’t feel so much like it was in a jazzy conversationalist sense. Instead, it seems SPAGA has taken to sticking with the jam-band formula of creating a pocket, building a steady groove to fill it, and elevating the energy to a peak.
Magner took to the microphone to comment that SPAGA is a project grown from wanting to reconnect with and explore an instrument that he was properly trained on but spent a long time away from, the acoustic piano. While there isn’t much comparison between SPAGA’s piano-laden presentations and The Disco Biscuits electronically driven material, they certainly feel like they could have been made in the same kitchen. There’s different ingredients, but similar flavors.
All in all, SPAGA is a unique interpretation through a time-tested setup. There are moments of familiarity laced throughout a set that is, for the most part, completely separated from what you normally would hear from Magner and Co. SPAGA will be at Resonance Music Festival in Slippery Rock, PA ON September 19 and can be heard on all streaming platforms now.
Setlist: For The Table, Creed, Resurrection, Black Dog, Dig*, Colors, Four Angels, Good Old Days, Bird
*Temporary song name. Magner stated that it’s currently untitled and being decided on social media by fans.
Karl Denson’s Tiny Universe brought their brand of optimistic funk to White Eagle Hall in Jersey City on July 31 for an enthusiastic Wednesday night crowd. With them for an opening set of reggae and saxophone showmanship was DeLa and Steady Rock Easy. DeLa is the saxophone player for Slightly Stoopid, the San Diego reggae outfit with which Karl Denson has recorded and performed with as a sought after horn player himself. And I must say… Karl Denson is a hell of a bandleader!
Seriously, this guy is relentlessly generous. When you share the stage with some of the top-notch talent in the music business, there’s plenty of room to share in the groove.
DeLa and Steady Rock Easy
Pulling from a selection of bouyant reggae beats from his latest studio effort Opening Night, on which Denson is a guest musician, DeLa and Steady Rock Easy provided a straight up and joyful delivery. DeLa’s chops are seasoned, and tasteful, greasing the wheels for the ride Karl Denson and Co. were about to venture on. For the finale of the opening set, DeLa spoke, “If Karl Denson is in the house, we’d like to get him up here…. Oh I guess he is here!” Denson then came out for a collaborative saxophone duo to close out the Steady Rock set.
Karl Denson’s Tiny Universe
The most glaringly obvious thing about Karl Denson is his humility. Tiny Universe is widely regarded as one of the most talented and lively acts on the planet and, in addition to being a founding member of Greyboy Allstars, Denson was tapped by legendary rockers The Rolling Stones in 2014 as their touring saxophone player. In fact, the Stones played Metlife Stadium just one day after this gig. That’s quite a resume’ already, not even counting his impressive list of studio sessions and sit-ins. All of this, suffice to say, is enough to fluff anyone’s ego. Despite that, it seems that Karl Denson keeps a tighter grasp on his own humbleness than he does on his instruments. He grins and dances on stage with a tambourine as much as he fires on all cylinders with his saxophone or flute.
Gnomes and Badgers (out now via Seven Spheres Records) is Karl Denson’s commentary on today’s political atmosphere. A handful of the songs from that album made their way into Wednesday nights set, like “What If You Knew,” “Gossip” and “Can We Trade.” Each track is toe-tapping, no matter the pace, and laced with positivity. It’s uplifting that there is so much music being created right now that is built on optimism as opposed to avoiding hope for the future, given the state of affairs around the world.
Karl Denson shakes the tambourine during “Under My Thumb”
There were also some throwbacks. “New Ammo,” from the album of the same name, is a racer. There’s also the Rolling Stones cover “Under my Thumb,” which abandons the lyrics in favor of harmonized horn lines of the vocal melody instead. Throughout all of it, Denson took a lot of opportunities to point, glance, and shift towards other members of the band as if to say, “You take a solo! Now you take a solo!” Again, hell of a band leader.
The closer, “Time to Pray,” was a fresh reminder that none of us are in a competition. Each member of the Tiny Universe team was shining bright and grinning in delight, reveling in each other’s stamina. The lyrics “Kneelin, kneelin, there is no other way / You think it’s time to win, I think it’s time to pray” gives weight to this idea; it’s not about being right, it’s about sharing in hope for a more positive and optimistic future. A blazing guitar solo, plenty of flute action, an up-tempo beat to drive the dancing festivities, and a huge, rising organ build up drove it all home on a high note.
Karl Denson’s Tiny Universe
Karl Denson’s Tiny Universe is on tour through the end of August and takes on a Fall Tour from September through November.
Setlist via guitarist Dj Williams:
Catching Sparks, Everybody Knows That, Satisfied, Gossip, What If You Knew, Rich Man’s Welfare, I’m Your Biggest Fan, Can We Trade?, Under My Thumb, New Ammo, Time to Pray.
World renowned jazz/funk saxophonist Karl Denson is set to bring his 7-piece Tiny Universe to the historic White Eagle Hall in Jersey City on Wednesday, July 31. Tickets are available here via Eventbrite.
Karl Denson is a founding member of the seminal funk band, The Greyboy Allstars, as well as the touring saxophonist with The Rolling Stones. The spirit and energy of KDTU is hard to contain as it’s stacked with top talent including Greyboy Allstars members Zak Najor on drums, bassist Chris Stillwell, and Crush Effects keyboardist David Veith. Rounding out the touring lineup are also guitarist DJ Williams, trumpeter Chris Littlefield, and lap steel/slide guitarist Seth Freeman.
With unparalleled chops and an eclectic mix of musical influence from Prince to the White Stripes (covers of both can be heard on tour), it’s no wonder Denson has been sought to record with acts such as Lenny Kravitz and Slightly Stoopid.
Touring in support of the recent release Gnomes and Badgers (out now via Seven Spheres Records), KDTU is making their way across the country all the way through the fall. For more ticket information and tour dates, visit Karl Denson’s Tiny Universe.
Beginning tomorrow, keyboard maestro, Marco Benevento, will kick off a string of 10 summer tour dates with room for more to be added along the way. The experimental rock and jazz pianist will play two dates before hitting White Eagle Hall in Jersey City on Friday, May 3, where NYS Music will be there to catch the set in full review.
Armed with the rhythm section of Karina Rykman on bass, drummer David Butler, and a smile from ear to ear, every one of the trio’s gigs is a celebratory event. With appearances already booked at Mountain Jam and Levitate Music and Arts Festival, Benevento’s summer is sure to be as colorful as the stained striped suits he likes to wear on stage.
A taste of live Benevento
Ahead of the first release under his birth-name, New York City native Andrew Fox has been enlisted to bring his soulful psych-pop blend to both the Jersey City and Washington D.C. dates as the opening act. Be sure to check out Shock By Shock, on streaming platforms now.
Andrew Fox Debut Shock by ShockMarco Benevento
Tour Dates:
May 1 – Wilkes-Barre, PA – River Street Jazz Cafe May 2 – Ardmore, PA – The Ardmore Music Hall May 3 – Jersey City, NJ – White Eagle Hall w/ Andrew Fox May 4 – Greenfield, MA – Hawks & Reed Performing Arts Center May 10 – Washington, DC – Pearl Street Warehouse w/ Andrew Fox May 11 – Harrisburg, PA – The Abbey (Free) June 13 – Bethel, NY – Mountain Jam June 26 – Brooklyn, NY – Industry City July 13 – Marshfield, MA – Levitate Music & Arts Festival August 7 – Big Indian, NY – Full Moon Resort
Coming this April, Megg Farrell & Friends will release their first country-influenced album. Farrell is a seasoned jazz musician and is now trying her hand at the country scene with their song “Blues in the Womb.”
The new direction is a result of years of musical experience, as well as a plethora of genres and influences. Megg Farrell & Friends stems from country roots, but dives deeper where listeners will find there’s so much to pick apart and enjoy. Now, this is arguably not their most exciting track, but it will strike some amount of curiosity into anyone who remotely appreciates jazz, country, bluegrass and pop. Weird combo, eh? Well this track is the quite contrary to weird. It’s buttery, exotic, organic and plain fun.
There’s so much to unpack here. Warm, jazzy guitar lulls us into the space with Farrell’s complementary airy and chipper vocals, setting a sultry scene. The album’s party trick of including country into its jazz roots pops up once again when quintessential bluegrass brush drumming solidifies the beat as a dobro lazily glides around in the background. At this point, listeners may feel compelled to grab a grass skirt, coconut bra and fruity drink, because this sounds very tropical… But wait. Just like that, a clave beat swings in, one that is used very often in jazz music. In this case, it’s a little more aggressive which helps pick up the pace and energy.
https://youtu.be/42Nu-ZGaQg8
Now fully immersed in the space they’ve created, listeners can finally relish in Farrell’s outstanding vocal creativity and range. It resembles something similar to Regina Spektor or Fiona Apple, but more full and clean cut. That doesn’t mean she doesn’t have fun though. Her range is phenomenal and the fact she is able to produce such a full sound at such a low register is telling of how talented she is. To the untrained ear it might not be so impressive but rest assured, it’s not something that’s learned overnight. Just as easily as she hits the low notes, she bangs the higher register without hesitation.
The track finishes with an abstract but palatable solo from an unnamed sax player and a sudden drop off. The track may have felt more tied together if each player had a chance to solo, but they’ll likely have the liberty to flaunt their talents in a live setting. Stay tuned to their Facebook page for upcoming events and news – they’ll be skating around New York for the next few months.
Again, “Blues in the Womb” is not the ambassador for the remainder of the album. Rather, the song shows how raw talent can pull in vast influences into one track to create something smooth and natural. Although people might shy away when they hear the word “country,” it’s highly encouraged listeners of all types try this one from beginning to end; it’s a near guarantee there’s something that everyone can enjoy. The album drops on April 5 on all major streaming services.
