New Jazz & Blues – 6/28/2022

New Jazz & Blues – 6/28/2022

New Jazz:

Lance Conrad – Home (Self-produced): “This is an homage to the end of a chapter, but it is a necessary beginning for the next. It is wistful, yet exciting – looking backwards and forwards at the same time. It encompasses both the comfort of the past and the anticipation of a bright future. This collection of music represents my first voyage out into the world after leaving home. The bittersweet tension one feels from leaving is a necessary reminder to live in the forever of each moment, and to bring your childlike wonderment with you, wherever  you go. This album is a sentimental dedication to all of those who have invested so much time to help me realize my dreams. Home is a place of comfort, discovery, and curiosity. It is now also a launching pad to what’s next.” (Liner notes) The players are Lance Conrad (guitar), Barclay Moffitt (sax), Peter Gemus (bass) and Mark Valdes (drums) and offer four originals from Conrad and one from Valdes and Moffitt each. Click here to listen to the opening song, “Home”.

Melissa Errico – Out Of The Dark (Three Graces Music): “At the height of the pandemic in 2020, with all the world locked away in lonely rooms and only old movies to watch at midnight, singer and author Melissa Errico suddenly returned to one of her life-long obsessions – noir! That dark, disturbing sensibility of intractable fatalism that Paris existentialists discovered in American film in the nineteen forties, and that runs as a mesmerizing, mysterious current through modern movies and modern music alike. Along with her collaborator Adam Gopnik, she curated a series of film noir classics at New York’s FIAF, appeared in the New York Times with an essay on having a black sequined gown specially made to play the role of the femme fatale on stage and offered Manhattan a concert of noir songs.
Now, her recording “Out Of The Dark: The Film Noir Project” brings together all of those threads in a single masterly sequence, a song cycle that offers an unforgettably sexy, sensual, and sophisticated arc, all black-velvet piano and vibraphone tones, telling a complete story of hope, despair, and hope renewed. In no sense a retro project, her choices reach from noir classics, like Laura and The Bad and The Beautiful, into the French chansons of the fifties and sixties, and includes the debut of four entirely new songs, by Michel Legrand, David Shire, and the late Peter Foley, all with arrangements by her musical director, pianist Tedd Firth.” (https://melissaerrico.com/home/) Click here to listen to the songs on this release.

Hugh Fernandez – Qzean (Origin): “…catchy and inventive…the performances develop in unexpected directions, and the often-episodic frameworks make most of the selections sound like mini-suites. Downbeat ****
Ozean is German for “ocean,” where life on Earth started and the pathways for forging cultural exchange and enrichment of civilization were navigated. The beauty, importance and fragility of the waterways were front-of-mind as guitarist Hugo Fernandez composed this music for his Berlin-based quartet. Born in Mexico, with stops at Berklee and the University of New Orleans before a decade in Madrid and now Berlin, Fernandez’s experiences through life in these vivid cultural capitals comes through the music with wide-ranging elements of folkloric forms, Western classical music, and even pop, informing his deep jazz sensibilities. With trumpeter Christoph Titz, bassist Martin Lillich, and fellow expat, drummer Jesus Vega, they embrace a musical world that could be a “forward-looking vision of jazz” (House of World Cultures, Berlin). 
”…personality, competence and a sound all of its own…” – El Pais (Spain) Click here to listen to some samples of music from this release.

Jean Fineberg – Jean Fineberg & JAZZphoria (Pivotal Records): “JAZZphoria is a contemporary original jazz & r&b octet, featuring tightly arranged tunes and led by saxophonist/flutist /composer Jean Fineberg. The musicians have performed or recorded with Tony Bennett, Natalie Cole, T-Bone Walker, David Bowie, Melba Liston, Laura Nyro, Andrea Bocelli, and many others. The ensemble’s name refers to the ethereal moment when everyone is in sync and “in the zone.” (https://jazzphoria.bandcamp.com/) Jean Fineberg leads the group and plays tenor sax and flute; with Carolyn Walter (bari sax, bass clarinet and flute); Tiffany Carrico and Marina Garza trumpet & Ellen Seeling; Nancy Wenstrom (guitars); Erika Oba (keys, flute, piccolo); Jennifer Jolly (piano); Susanne DiVincenzo with Ariane Cap (bass), Lance Dresser (drums) and Michaelle Goerlitz percussion. Click here to listen to samples of the songs in this release.

Todd Herbert Quartet – May Waltz (TH Productions): “Todd Herbert is a tenor saxophonist currently residing in New York City. Originally from Evanston, Illinois, Todd began playing the saxophone at age ten. He studied privately and performed in his middle school and high school concert and jazz bands before receiving a bachelor’s degree in jazz studies from the University of Miami. Todd then moved to Chicago where he played professionally as a side man with various groups as well as leading his own. He became a member of Charles Earland’s band and after an extended stay he joined Freddie Hubbard’s band, with whom he performed for several years. In 1997 Todd moved to NYC where he hasbeen performing as a side man and a leader ever since.” (https://www.katesmithpromotions.com/wp-content/uploads/2022/06/TODDHERBERT-MAYWALTZ.pdf) The remainder of the quartet are David Hazeltine (piano), John Webber (bass) and Jason Brown (drums). My ears found Herbert’s own compositions real standouts! Click here for a live version the title song.

Dmitri Matheny – Cascadia (Origin): “Celebrated for his warm tone, soaring lyricism and masterful technique, American musician Dmitri Matheny has been lauded as “one of the most emotionally expressive improvisers of his generation” (International Review of Music). First introduced to jazz audiences in the 1990s as the protégé of Art Farmer, Matheny has matured into “one of the jazz world’s most talented horn players” (San Francisco Chronicle). Born on Christmas Day, 1965 in Nashville,Tennessee, Dmitri was raised in Georgia and Arizona. Attracted to his father’s collection of jazz and classical LP records, Dmitri began piano lessons at age 5, switched to the trumpet at age 9, and took up the flugelhorn at 18. Matheny attended the prestigious Interlochen Arts Academy in Michigan, then the Berklee College of Music, Boston, graduating magna cum laude in 1989. After private studies with Carmine Caruso in New York City, Matheny became the protégé of the legendary Art Farmer, a formative relationship that lasted over a decade. Farmer, “the bebop master who defined the sound of the flugelhorn in modern jazz” (All Music Guide), was Matheny’s public champion and private mentor. Generously sharing his wisdom, experience and influence, it was Farmer who encouraged Dmitri to devote himself exclusively to the “Big Horn.” Under Farmer’s tutelage Matheny emerged as a promising new voice in jazz.“Art Farmer’s role in the early success of Dmitri Matheny cannot be overstated,” observed writer and historian Phil Elwood. “Without Art, there could be no Dmitri.” At 29, after launching a busy recording career on the West Coast, Matheny made his New York debut at the Weill Recital Hall at Carnegie Hall, then began touring internationally. The soulful sound of Dmitri’s horn garnered praise from critics and audiences alike, drawing frequent comparisons to Miles Davis, Chet Baker and—not surprisingly—to Art Farmer. Upon Farmer’s passing in 1999, Matheny acquired his mentor’s copper-bell flugelhorn. Today, Dmitri leads the Dmitri Matheny Group, “an all-star jazz band featuring some of the most accomplished musicians in the western United States” (All About Jazz). Matheny has toured extensively throughout the United States, Europe and Asia. He has traveled to 21 countries and has performed with many Motown and popular music acts including the Temptations, Martha Reeves, Fabian, the Four Tops, Bobby Vinton, Sandy Patty, Bobby Rydell, Frankie Avalon and the O’Jays. Matheny has had the privilege of appearing in concert with such jazz luminaries as Larry Coryell, Nathan Davis, Amina Figarova, Tommy Flanagan, Wycliffe Gordon, Darrell Grant, Larry Grenadier, John Handy, Tom Harrell, Billy Higgins, Red Holloway, Denise Jannah, Joe Lovano, James Moody, Jean Louis Rassinfosse, Tony Reedus, Sam Rivers, Max Roach, the Rosenberg Trio, Bud Shank, Sonny Simmons, Mary Stallings, Akira Tana, Billy Taylor, Bobby Watson and Paula West. Dmitri Matheny has received several prestigious music awards, including “NW Instrumentalist of the Year” in the 2016 Earshot Jazz Golden Ear Awards and “Best New Artist” (with Brad Mehldau, Stefon Harris and Ravi Coltrane) in the 1999 JazzTimes Readers Poll. Dmitri Matheny is also a prolific composer and lyricist whose published compositions span the jazz, pop, symphonic, choral, chamber and world music genres. He has received premieres and commissions from Meet the Composer, St. Domenic’s Church, the Manhattan New Music Project, the American Society of Composers Authors and Publishers (ASCAP), the Jazz Composers Orchestra and 20th Century Forum…. Throughout his professional career as a concert and recording artist, Dmitri Matheny has distinguished himself as a dedicated educator, community leader and advocate for jazz and the arts….” (https://www.dmitrimatheny.com/bio) Click here to listen to this latest release – “Cascadia”. 

Ben Morris – Pocket Guides (OA2): “Composer and arranger Ben Morris plays piano as he leads his semi-big band through a wide range of originals. Various and exotic moods are created, such as a mix of muted horn from Derek Ganong teaming with a Korean melody on “Hongdae After Midnight” as well as some Satie-esque piano work alongside Juan Gabriel Olivares’ clarinet on “A Lost Pair of Kits”. A mix of strings and John Boggs’ voice makes for a fragrant journey on the driving “Bubbles In A River” with a rich mix of David Bernot’s soprano sax and Jack Bogards’ violin gliding through “Ymi’rs Bones”. Dan Montgomery lays down a funky bass line for the dark reeds on a noirish “ Fairfields” and the team gets chaotic on the traffic jam of “Edward”. Sonic travels.” (www.originarts.com)
Writing for his large, uniquely-voiced ensemble, and with influences ranging from traditional Norwegian folk music, modern jazz, and contemporary classical music, composer/pianist Ben Morris’s dynamic debut surprises and captivates. With his core group – Zosha Warpeha on Norwegian Hardanger fiddle and violin, Juan Olivares on clarinet, Dan Montgomery on bass, Evan Hyde on drums, and Ben on piano – he was invited to premiere four original pieces at the Newport Jazz Festival in 2019, setting in motion the inspiration to expand the ensemble and compositions to create Pocket Guides. With visions of bustling foreign cities, Norse mythology, tundras and waterways, Morris’s music is cinematic, surprising and visceral, the rich textures reflecting his experiences living and studying in Norway, Korea, Florida, Texas, New Jersey, and now Colorado. (https://originarts.com/oa2/recordings/recording.php?TitleID=22203) Click here to listen to samples of two songs on on this release.

Nate Najar – Jazz Samba Pra Sempre (Blue Line): “If you’re of a certain age, then you know. If not, go ahead and ask around. Jazz Samba, by saxophonist Stan Getz and guitarist Charlie Byrd, occupies rare air in the universe of essential albums for Brazilian jazz fans. In strictly jazz terms, we’d put it right up there with Kind of Blue. It’s that special. Jazz Samba was recorded in a single 50-minute session  – with no retakes  – on February 6, 1962. Importantly, it was the first of Getz’s five Bossa Nova albums recorded within two and a half years. It’s fair to say that Jazz Samba popularized Bossa Nova when it was released 60 years ago this month. And while the sax player was Jazz Samba’s headliner, there’s no doubt that Charlie Byrd’s guitar was the story.” (https://www.connectbrazil.com/nate-najars-jazz-samba-pra-sempre-explained/) “Six decades later, Charlie Byrd’s guitar is still the story. “When I first heard Charlie’s records, I thought, ‘That’s what I want to do,’” recalled Najar, while reflecting on his early years.The St. Petersburg Florida native continued. “I loved his sound. There was just this elegant simplicity in his playing. It always seemed like just the right way to do it.”
Najar’s interest resulted in several visits to Byrd’s hometown, Washington D.C. A pivotal moment occurred during one of those visits. Impressively, Najar took creative custody of Byrd’s personal 1974 Ramirez 1A classical guitar. Musician and guitar. The two became fast friends. Tuning, traveling, rehearsing, recording, and performing. All the while watching the calendar for this day to arrive.” (https://www.connectbrazil.com/nate-najars-jazz-samba-pra-sempre-explained/) There’s only one place to begin – then or now – “Desafinado”. Click here to listen to Najar’s performance on this release.

Bili Ortiz – Points Of View (Left Angle Records): “While perhaps best known for his 16 years recording and touring with Santana (starting with the iconic Grammy winning album Supernatural), veteran Bay Area trumpeter Bill Ortiz is a true multi-genre force of nature with a resume spanning 40 years – including a hip/hop R&B splash in the 90s when a resume already bustling with Herbie Hancock, Wayne Shorter, Chick Corea and Pete Escovedo added Tony Toni Tone, TLC and En Vogue to the mix.
Considering his passion for and expertise with so many genres, it’s no surprise – and quite a musically freewheeling blessing – that his latest album, the perfectly titled Points of View – is a spirited, expansive and intensely liberating full ensemble experience, with several songs that stretch over frolic filled swinging, jamming and emotionally charged minutes – including the constantly tempo shifting opening jam “Sunburst” (a fresh twist on a mid-70s Eddie Henderson tune), a densely percussive, hypno-exotic rumba swirl through Jaco Pastorius’ “Okonkole & Trompa” and a brassy, lightly swinging, traditional jazz spin on Wayne Shorter’s “Oriental Folk Song.” Besides Ortiz’s bold fulfillment of his goal to gather musicians who were “open enough not to be locked into a run of the mill, play it safe jazz record” – including legendary saxophonist and longtime Ortiz hero Azar Lawrence – one of the other salient delights of Points of View is including three vocal tunes (“Gil Scott-Heron’s “A Toast To the People,” “Ain’t No Need in Crying” and “Fusion/Noche Cubana”) alternately showcasing the eminently soulful talents of Terrie Odabi and Christelle Durandy. While it’s a player’s album nonpareil, with a constantly moving and grooving fusion of great melodic, harmonic and rhythmic moments, Ortiz’s desire to send everyone off with a beautiful feeling inspired him to wrap with the subtly elegant flourish of “My Lord and Master” from “The King and I.” driven by the Matt Clark’s intoxicating piano stylings. Click here to listen to songs on this release.

Charles Ruggiero – Drummer/Composer (RMF Records): “  Charles Ruggiero was born to be a drummer. The son of world renowned jazz musician Vinnie Ruggiero, Charles spent his early years surrounded by the “who’s who” of jazz. There was always music around, and with musicians like Art Blakey, Philly Joe Jones, Freddie Hubbard, and Jon Hendricks coming to spend time and play, it was only a matter of time before he caught the bug and asked his father to play the “bang-bangs.” As a teenager, Charles got serious about drumming, playing anywhere he could. Soon, local high schools and colleges, as well as professional theatre groups, and popular local bands throughout western N.Y. started to hire him. After winning a seat in the New York State All State Jazz Ensemble, music colleges came calling. Manhattan School of Music offered a full scholarship and a chance to study with famed jazz educator Justin DiCioccio, so he jumped at the chance. The jazz scene in New York City in the early 90’s was vibrant and he was plying regularly with his own “who’s who” of  jazz, including Joshua Redman, Peter Bernstein, Jane Monheit, Ryan Kisor, Joel Frahm, Sam Yahel, Brad Mehldau, Myron Walden, Chris Potter, and Dwayne Burno, to name a few. In 1994, Charles joined Chuck Mangione’s group, touring with the jazz superstar for the next 4 years. The first months of his time with Mangione provided him with the chance of a lifetime – learning the ropes, playing alongside the legendary drummer Steve Gadd. “He taught me so much, and he never uttered one word about music.” says Ruggiero….” (https://ruggierodrums.com/bio) I regret I am unable to find a sample of the music from this release.

John Stein – Lifeline (whaling city sound): “Whaling City Sound is pleased to announce the June 17, 2022 release of Lifeline, a landmark double album that celebrates the career of John Stein, making a persuasive argument for his inclusion among the most important guitarists of his generation. Selected highlights from Stein’s varied discography capture his eclectic spirit with his honey-toned guitar effortlessly guiding listeners across several decades of brilliance. After retiring from a longtime career at his alma mater Berklee College of Music where he held a professorship since 1999, and upon recently contracting a rare autoimmune disease, the esteemed jazz veteran decided to synthesize his remarkable body of recorded work. Sharing his unique musical vision, John Stein presents Lifeline.
The recorded output surveyed on this compilation spans more than twenty years, from Stein’s 1999’s Green Street to the most recent recording, 2021’s Serendipity. Throughout this assortment of releases, Stein has been consistently regaled for his expansiveness, turning heads with his emotive, subtle, grooving, and precise stylistic excursions. “Working with a clean, undistorted classic jazz-guitar sound, he renders maximum swing and expression,” said veteran jazz critic Jon Garelick in a review for The Boston Phoenix. Stein began playing guitar at the age of 7, but he began studying jazz seriously at the age of 30 when he enrolled at Berklee College of Music. From there, Stein established the tendencies he would demonstrate throughout his career – a warm, clean tone, a serious knack for composing, and an ability to vividly capture a mood through his music. “There’s a wealth of detail – the dips and turns of phrases, accents falling like words – that he gets at even the fastest tempos,” Garelick added.
The Lifeline project came about because of an unexpected health setback. Out of the blue, Stein contracted Myasthenia Gravis, a debilitating nerve and muscle disorder that left him severely impaired, requiring a long stint in the hospital, including two weeks in the ICU on a ventilator. Thanks to excellent medical care, Stein was eventually able to return home, but once there he found himself unable to play guitar. Stein now says: “My coordination is slowly coming back. I have had to adopt a lighter touch with my left hand principally, but also with my picking hand. By adopting a lighter touch, I am gaining some new playing options that I hope to incorporate as my strength and coordination return. I consider all the guitar relearning that lies ahead part of my therapy.” Lifeline, a spectacular overview of Stein’s virtuosic prime recordings over the years, celebrates the past and future in hopes of a return to those musical heights. The first disc kicks off in style with “Up and at ‘em.” Late saxophone icon David “Fathead” Newman joins Stein, bassist Keala Kaumeheiwa and drummer Greg Conroy for some swift, fluent, and interactive swing as the band burns through the chart. “Brazilian Hug” highlights Stein’s long affinity with the music of Brazil, inspired by an early encounter with the classic recording Getz/Gilberto. “Invitation” is a mysterioso interpretation of Bronislau Kaper’s tune, while “Hotcakes” hits a bluesy mid-tempo swagger, this time backed by “Fathead” Newman on flute, Ken Clark on Hammond B-3, and Dave Hurst on drums. Stein’s poignant, self-penned ballad “Jo Ann” (written for his mother) also features lovely flute playing (this time from Fernando Brandão), before the ultra-funky groover “The Roundabout.” By this point, there are already tracks from six separate albums featured, a taste of just how varied and prolific Stein has been. More follow …. “He’s in an elite class,” says Wayne Everett Goins, professor of music, director of jazz at Kansas State University and renowned author, “a mere handful of jazz guitarists who consistently put taste above chops and flash. John Stein has the ability to say so much more with less effort than most of his contemporaries can muster.”
With dazzling guitar playing, notable contributions from the side musicians, creative arrangements, and compositions that are at once sophisticated and memorable, the full scope of John Stein’s instrumental and compositional prowess is on display on this prodigious, varied, and musically rewarding retrospective.” (https://lydialiebman.com/index.php/2022/05/02/new-release-guitarist-john-stein-presents-lifeline-due-out-june-17-2022-via-whaling-city-sound/) Click here to listen to samples of the songs of this release.

Kathrine Windfeld Big Band – Orca (Stunt Records): “Europe’s new jazz big band star, Danish Kathrine Windfeld, has captured the essence of the sea predator on her third release with her own music with her own big band, each composition largely devoted to maritime themes. In her instrumental choices, we really hear how dark Dark Navy can be. As the leader of smaller groups, she was known as an original artist in her field, until in 2014 assembling a full-fledged jazz big band, which she has kept together on the side. This is something that can be neither taught nor learned at any conservatory. As the jazz musician communities work today, it must be considered one of the most difficult disciplines to gather 16 individuals to play music by one composer, find venues to hold rehearsals in, organize concerts and tours, constantly get the 16 musicians’ private appointments in tune with the band, convince record labels that the music should be released and, in particular, continue to do so tirelessly that, to listeners, the ensemble remains a unit performing regularly, assuming a high and recognizable artistic identity, making it unmistakable in its sound.” Personnel are: André Bak, Rolf Thofte Sørensen, Maj Berit Guassora (trumpet); Magnus Oseth (trumpet, flugelhorn); Göran Abelli, Mikkel Vig Aagaard, Anders Larson and Andre Jensen (trombones); Jakob Lundbak and Magnus Thuelund (alto sax); Roald Elm Larsen & Ida Karlsson (tenor sax), Aske Drasbæk (baritone sax, bass clarinet); Viktor Sandström (guitar); Johannes Vaht (bass); Henrik Holst Hansen (drums); Kathrine Windfeld (piano) and Claus Sørenseen (conductor).”  (https://www.jazzmessengers.com/en/84937/kathrine-windfeld/big-band-orca) Click here to listen selections on this release.

New Blues Releases:

Dave Alvin & The Third Mind – The Third Mind (YepRoc): “Dave Alvin, Victor Krummenacher (Camper Van Beethoven, Cracker, Monks of Doom), David Immergluck (Counting Crows, Monks of Doom, John Hiatt), and Michael Jerome (Richard Thompson, Better Than Ezra). They approached the recording of these songs in a very free-form manner – no rehearsals, no charts – where they’d just choose a key, hit record and play. They chose songs/compositions primarily identified with the 1960s underground scene as a tribute to the open minded music of that period as well as to the fearless musicians like Alice Coltrane, Michael Bloomfield, Fred Neil and Roky Erickson who helped create the sounds of that era. A word of wisdom: “”There are two types of folk music: quiet folk music and loud folk music. I play both.” – Dave Alvin) The album contains six songs, 5 covers and one original.” (https://davealvin.bandcamp.com/album/the-third-mind?t=2) Click here to check out “The Third Mind”!

J-Rad Cooley – Yard Sale (VizzTone): “Young Salt Lake City-based musician J-Rad Cooley is a singer/songwriter, piano player and harmonica player, a unique storyteller with a distinct sense of blues, melody and groove. His soulful songs show his diverse influences from Lightnin’ Hopkins to Ray Charles to The Band, some with a New Orleans twist or a distinct ragtime flavor. For his impressive debut album, YARD SALE, J-Rad got together with Memphis based musician/producer Tony Holiday in Wild Feather Recordings, the Hendersonville, Tennessee studio of Zach Kasik (bassist for Too Slim & the Taildraggers). YARD SALE comprises all original compositions plus one classic cover, with four tracks featuring Grammy nominated piano player Victor Wainwright. Supporting album musicians include bassists Kasik and Josh Karrick, guitarist Aubrey McCrady, and drummer Shake E. Fowlkes, with guests including Tim “Too Slim” Langford on guitar and Hannah Jason on background vocals.” (https://bluesmusicstore.com/j-rad-cooley-yard-sale/) Click here to listen to “My Wallet’s Dry”.

Bob Margolin & Bo Corritore – Bo Far (VizzTone): “Bob Corritore and Jimmy Vivino contributed a track to Bob Margolin’s 2019 album “This Guitar And Tonight”. Three years later the pleasure has come true again and Vizztone has brought them together again, this time for Margolin and Corritore to release their first full album together with the help of Vivino on two tracks. Their meeting in the studio has resulted in an absolutely amazing blues album. Bob Margolin is a legend of contemporary blues, it’s not necessary to go through his past as a guitarist, and Bob Corritore is the best and most coveted harmonica player for two decades. Both statements are indisputable for any fan. These multi-award-winning blues musicians are the present of true blues music, their contributions to the genre will be essential for future fans who come with concern and expectation to find the musicians who decisively contributed to safeguarding blues music and preserving it for the world with a dynamism that kept it alive and full of energy. I would say that albums like this are completely necessary as well as essential.” (https://www.blues21.com/bob-margolin-bob-corritore-so-far) Click here to listen to songs from this release!

Johnny Sansone – Into Your Blues (Short Stack): “Johnny’s long awaited new BLUES album is finally here, and you can order your advance copy now! Eleven original songs, representing Dallas Blues guitar with Mike Morgan. Chicago Blues guitar with Johnny Burgin. A special guest appearance with New Orleans legend, Little Freddie King, and a collaboration with Johnny and New Orleans Mooncat, the unstoppable Jason Ricci.” (https://www.johnnysansone.com/product-page/into-your-blues-cd)  Two years in the making, Johnny’s long awaited BLUES album is here! Did someone say BLUES? That’s right. Johnny Sansone’s INTO YOUR BLUES, bringing you some mighty fine performances. Eleven original songs, representing Dallas, with Mike Morgan; Chicago with Johnny Burgin. A treasure of a guest performance with the honorable Little Freddie King and wait ’til you hear the collaboration with New Orleans Mooncat himself, Jason Ricci, on Blowin’ Fire! Johnny Sansone started out early playing music. His father, a saxophonist who’d been in Dave Brubeck’s band during World War II, introduced him to the saxophone at age 8. Johnny picked up the guitar and harmonica by the time he was 10 and had a life changing experience at 12 when he saw a Howlin’ Wolf show in Florida. That was the moment the young Sansone knew he was destined to play the blues as his lifetime vocation. He sat in with Honeyboy Edwards at 13. During the 1970s Sansone studied with blues harmonica legends James Cotton and Jr. Wells. In the 1980s he toured with Ronnie Earl, John Lee Hooker, Jimmy Rodgers and Robert Lockwood Jr. (https://www.bluestownmusic.nl/new-release-johnny-sansone-into-your-blues/) Click here to listen to a live song from not long ago.

Dylan Triplett – who is he? (VizzTone): “Influenced and tutored by his father, Dylan began branching out towards other young artists like Blues Phenom, Marquise Knox. Not long after, Dylan began performing regular guest spots with Marquise and continued to sharpen his craft.  Dylan also found motivation and influence from other notable St. Louis shakers such as Emcee/Blues Torchcarrier Alonzo Townsend, Charles “Skeet” Rodgers, and the legends of the past such as Oliver Sain, Ray Charles, James Brown and many others as you will feel as soon as he picks up the mic. Those influences have led him to already grace stages such as Blues at the Arch, the Baby Blues Showcase, the National Blues Museum, and the Big Muddy Blues Festival. If you have any doubt about the future, Dylan Triplett is the answer….and he’s still only 21. Buckle up….Billed as Little Dylan, he began singing at the age of 9 and started his professional career at 15, performing with his father and uncle, both seasoned jazz musicians. Grammy winning bassist and producer Larry Fulcher assembled all-star group for this project, beginning with guitarist Dr. Wayne Goins (head of Jazz Studies at Kansas State Univ) as his co-producer. Joining them are rising blues star Christone “Kingfish” Ingram, Johnny Lee Schell, Sean McDonald and St. Louis’ own Tru Born on guitars. Fellow St. Louis jazz great Montez Coleman plays drums with Ryan Marquez and the legendary Mike Finnigan handling keyboard duties. Added to that mix are Joe Sublett and Kyle Turner on saxophones.” (https://www.roughtrade.com/us/dylan-triplett/who-is-he) Click here to listen to the “Skywalkers”.

Kopasetically,

Professor Bebop

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