Wave Mechanics Union

Arrangements, big on multicolored layers, and first-rate jazz chart “smarts” here take the works of a wide range of progressive rockers to interesting and always fresh-sounding regions. Centered around the vocals of Lydia McAdams, this workshop/big band, led by arrangers Ralph Johnson and Ryan Fraley, recasts gems from the likes of Yes, King Crimson, Paul Simon and others as distinctive jazz outings, each ear-catching workup a standout from the last. McAdams’ work displays a nice mix of underplay and jazz savvy, evidenced here on Ben Folds’ Selfless, Cold and Composed and King Crimson’s Heartbeat. She simmers sensuously on Suzanne Vega’s Caramel, buoyed by a most simpatico brass chart. Yes vocalist Jon Anderson guests on It Will Be A Good Day (The River) and a brief solo piano take on Steely Dan’s Dirty Work makes for a change-up as interesting as the primary fare of this set. Saxophonist Sylvain Carton and pianist Justin Kessler head up a crew of very respectable soloists. Further To Fly rates as one of the freshest of recent jazz...

Giacomo Gates’ Sings Miles Davis

Scat singing is one of the true paradoxes in jazz. A vocalist who scats with any level of authority is usually considered to be a jazz singer, yet one need not scat to fall into the jazz singer category. So, Betty Carter was a jazz singer because she scatted, but so was Billie Holiday and she never scatted. There is, however, a small cadre of artists who could both sing and scat with aplomb. A short list might include, Sheila Jordan, Jon Hendricks, Eddie Jefferson, Mark Murphy and, the vocalist currently under scrutiny, Giacomo Gates. Here, performing music written by and associated with Miles Davis, Gates gives us the best of all possible worlds: a bit of syllabic scatting, some Hendricks-inspired singing of instrumental lines and a lot of his mellifluous baritone voice. Gates proves, as he did with his historic Gil Scott-Heron recording, that great music is not bound to the instrument on which it was created and that it loses neither import nor content when refracted through the prism of superb musicianship. Though there are notable contributions from pianist John di Martino, laying down some tasty changes, and Freddie Hendrix sounding quite Miles-like in his muted utterances, this disc is all about Giacomo Gates joyously creating music both carefully rehearsed and on the spot while all the time spreading that joy to his audience....

Marcus Goldhaber “Almost Love”

MARCUS GOLDHABER has been called “wonderfully imaginative” (JazzTimes) and “exciting and fresh” (Jazziz) as he quickly gains a reputation among critics and fans for his accessible songwriting and intimate approach to straight-ahead jazz. His first two albums garnered tremendous critical acclaim, with PEOPLE Magazine, in a four-star review of his most recent, saying the New Yorker “will have you giddy one moment and melancholy the next and loving every note.” On his third CD, ALMOST LOVE (Fallen Apple), Marcus will have you thinking about love in ways you may not have considered, and others which bear reminding. He’s written 13 new songs and each introduces a unique perspective toward love, a different journey through love or a moment inside love. “Some of these songs have been inspired by moments in my life, but I also wanted to write from a place that is equal parts conviction and uncertainty,” says Marcus.  “This album explores the paths from possibility to bliss … heartbreak to acceptance … anxiety to anticipation … and denial to rediscovery.  Each tune tells its own story and sets its...

David Basse “Uptown”

David Basse’s resonant voice is a signature of Kansas City’s swingin’ jazz and blues sound. Swedish critic Kaber Liden called him “The unbelievable combination of Mel Torme, Jon Hendricks, and Al Jarreau.” Pitch Magazine named him Best Male Vocalist, stating “The winking gris gris of Dr. John, the ecstasy of Ray Charles, Basse adds a unique twist to his phrasing that makes him more than the sum of his influences.” David is a tireless and prolific one man promotional machine for the sound of Kansas City. He performed at the 2011 opening of the new Kauffman Center for the Performing Arts and plans to return with Bobby Watson and the Kansas City Symphony in February 2013 for an exclusively-written tribute for jazz orchestra. A new video featuring David’s voice went viral on YouTube. A member of the Kansas Arts Commission, Ingram’s Magazine named Basse one of the 50 people to know in Kansas. He produces and hosts jazz programming for KPR, the Kansas Association of Broadcasters Station of the Year. He spoke with Scott Simon on NPR & KC Studio’s cover story on 12th Street Jump radio program; of which Basse is a founding member, celebrating public radio’s weekly jazz, blues, and comedy jam. Producers of A&E’s City Confidential filmed David Basse; he appeared with Dr. Billy Taylor on CBS Sunday Morning, and Barbeque America on PBS. With hundreds of recordings and appearances to his credit, David has shared the spotlight with the greats of jazz including Jay McShann, Les McCann, and Phil Woods. Performances include the New Orleans Jazz & Heritage Festival, Jazz Aspen-Snowmass, Wolf Trap, Harrods in London, The Playboy Jazz Festival, Palacio De Congressi in Switzerland, Peninsula Hotel in Hong Kong. “Tremendous jazz music, Basse tore it up with The House of Shoulda, Coulda, Woulda Been.” stated Glenn Mitchell, touting Basse and a star studded show...

Cyrille Aimee

Cyrille Aimée has consistently proven herself to be an unstoppable, undeniable talent in the modern age of jazz. Internationally renowned and praised for her unparalleled abilities, Cyrille’s vocal stylings are synonymous with musical genius. Her culturally rich background has supplied her with the driving force of Dominican rhythm and the incredible swing of the French Gypsies. Taking these natural abilities with her across the world, she has done nothing short of receiving rave reviews and a loyal following in each country she graces with her voice.   Cyrille mastered the art of improvisation while studying at the well known conservatory of jazz at SUNY Purchase, with teachers such as Pete Malinverni, Jon Faddis and Jimmy Greene. Cyrille Aimée  was a finalist in the prestigious Thelonious Monk Vocal Competition of 2010, performing in front of a jury of Al Jarreau, Kurt Elling, Dianne Reeves, Dee Dee Bridgewater… In 2007, Cyrille won both the first and public prize in the Montreux Jazz Festival Competition. Cyrille’s discography and musical history is an impressive list for any musician, jazz or otherwise. At the young age of 26, she has already released four CDs internationally, including “Cyrille Aimée & The Surreal Band” and “Smile” with Brazilian guitarist Diego Figueiredo currently on iTunes. The Japanese label Venus Records has just released Cyrille and Diego’s latest duo album “Just the Two of us” this past November. Cyrille Aimée has been featured on compilations, feature film soundtracks across the globe and on the albums of Denis Chang and David Reinhardt. She fronted France’s latest worldwide sensation ‘Caravan Palace’ on their European tour and performed in front of crowds that number over 10,000 people. Cyrille currently lives in Brooklyn and regularly performs in Manhattan with legends of the East Coast jazz scene. She can be found any given day in the historic jazz clubs of NYC, including Joe’s...

Mark Winkler

“Over a three-decade career, singer/songwriter Mark Winkler has released more than a dozen albums, and written songs performed by top vocalists including Randy Crawford, Dianne Reeves and Liza Minnelli. On Sweet Spot he brings together all of that experience, plus some superb musicians, to create a collection of songs perfect for a late night club performance—or for anytime listening anywhere else, come to think of it.”   “Winkler has name-checked Mark Murphy as a particular influence. On Sweet Spot, he doesn’t quite have Murphy’s hipster cool or vocal power, but he does have a talent for storytelling, for interpreting a lyric with flair. He treats the standards with respect, but he’s also happy to explore their less usual elements. On the Gershwins’ “But Not For Me,” which swings beautifully thanks to the superb bass and drums of Tim Emmons and Steve Barnes, Winkler sings the opening verse, something many other singers leave out, and adds a vocalese part written by Georgie Fame.” “Bobby Troup is one of Winkler’s favorite songwriters, as his 2003 album Sings Bobby Troup (Rhombus Records) testifies. Troup is represented here by “Their Hearts Were Full Of Spring,” a melancholy love song with lyrics that could easily descend into self-parody. Winkler, accompanied solely by Anthony Wilson‘s sparse and empathic guitar, avoids the pitfall, investing the tale with real pathos.” “Winkler’s own songs are a delight—often funny, occasionally melancholy but always displaying a sharp way with a lyric, and some wry observation. “Sweet Spot,” co-written with Geoffrey Leigh Tozer, is a late night, slightly risqué, blues enlivened by a honking saxophone solo from Bob Sheppard and the funky vocals of Barbara Morrison.” “Somewhere In Brazil (West Coast)” and its close cousin “Somewhere In Brazil (East Coast)” are beautifully observed and humorous stories, sung by Winkler in the role of a cynical and somewhat deluded bar singer. Sheppard’s...