Dick Hyman's approach to solo piano is both rich in tradition and deeply personal, an odyssey into the wellsprings of American music. Ranging through a repertoire of well-known standards and sometimes obscure delights, Hyman brings a wealth of piano techniques, infectious swing, and a knack for sometimes extravagant variations, including a version of "Just You, Just Me" that ranges from classic stride playing to interpolated soul jazz. Among the little-heard pieces are "Odeon," a 1905 composition by Brazilian Ernesto Nazareth that adds a Latin touch to a ragtime foundation, and James P. Johnson's exuberant "Carolina Shout." Hyman's version of the traditional ballad "Shenandoah" is especially inspired, a lovely rolling improvisation that presses its consonant harmonies toward the resonating world of minimalism. Recorded on a nine-foot Boesendorfer concert grand, this recital is both an audiophile's and piano lover's delight. --Stuart Broomer

“There's a certain nakedness to a jazz duo. Everything is out there and exposed - no crashing cymbals to hide behind, or bass lines to get lost in. It often brings out a different side of your playing, a brutal honesty that is left after everything else is stripped away. Here is where we ended up...” Kevin Jones recently joined the Florida State University College of Music faculty as Assistant Professor of Jazz Trombone in 2016 after previously holding teaching appointments at the University of Texas at Austin, the University of South Carolina, Lander University, and Presbyterian College. As a performing artist, Dr. Jones toured with James Brown, Kenny Loggins, the Ringling Bros. Circus, and Princess Cruise Lines. He has numerous performing credits with jazz and commercial artists including the Temptations, Bucky Pizzarelli, Aretha Franklin, Joshua Redman, David Sanborn, Bill Holman, Jeff “Tain” Watts, Jim McNeely, Burt Bacharach, and Barry Manilow. Bill Peterson began his career in Chicago as a pianist and conductor/arranger/contractor for many celebrity artists, sharing the stage with celebrity greats including Ramsey Lewis, Diane Schuur, Patti Labelle, Frankie Valli and The Four Seasons, Smokey Robinson, Red Buttons, Suzanne Somers, Steve Allen, Joan Rivers, Morey Amsterdam, Kathie Lee Gifford, Mary Hart, Bob Newhart, Tony Bennett, George Burns, Danny Thomas, and Las Vegas sensation, Danny Gans.

Before he was a noted composer of such shows as Little Me, Sweet Charity, Barnum and On the Twentieth Century, Cy Coleman was the favorite of the New York cabaret and supper club scene. Now, for the first time, Cy and his fellow musicians play the scores of Harold Arlen and E.Y. Harburg’s hit show Jamaica in addition to songs from the Rodgers and Hammerstein hits Flower Drum Song and South Pacific. The works from the latter production have been taken from rare transcription recordings, and are making their first debuts since being recorded in the early 1950s. While listening to this jazzy album, think of yourself sipping a Manhattan cocktail or a martini at the Shelburne or Park Sheraton hotels’ club while Cy Coleman and his fellow musicians regale you with a bevy of Broadway blockbuster tunes. It’s ‘50s jazz at its finest.

The Lights Are Always On is pianist/composer Lynne Arriale’s 16th album as leader, and her third recording on Challenge Records International. Lynne’s original music is a suite of compositions that reflect the world-wide, life-changing events of the past two years. On this session Lynne is joined by bassist/co-producer Jasper Somsen and drummer E.J. Strickland, both outstanding, in-demand musicians on the international jazz scene.

Lynne’s ten original, highly evocative compositions begin with the persistent Afro-Cuban influenced “March On,” a tribute to activists worldwide. “The Lights Are Always On” features a lyrical melody in perpetual motion; the foundation of a thematic arc that soars over the entire piece. It is followed by the jubilant, gospel-influenced “Sisters.” Lynne’s dedication to Lt. Colonel Alexander Vindman, “Honor,” is the melding of two engaging melodic ideas; each reinforcing the other. Together they convey the heroic character and unwavering strength of this American patriot. “Loved Ones” expresses joyful appreciation for those who are precious to us. The set continues with “Sounds Like America,” where Lynne creates an optimistic melody and solo, culminating in a celebratory chordal finish.

“The Notorious RBG,” is an exuberant dedication to Ruth Bader Ginsburg, assertively propelled by drummer E.J. Strickland. Following that, Lynne and Jasper deftly navigate the angular harmonic construction of “Into the Breach,” Lynne’s ominous remembrance of the January 6th Insurrection and the heroes that saved democracy on that day. “Walk in My Shoes,” a dedication to civil rights icon John Lewis, reflects the tenacity and strength of this remarkable leader. Lynne begins her solo with two motivic statements, which she skillfully integrates into a cohesive, powerful performance. The album concludes with “Heroes”, a heartfelt ballad composed in recognition of those who enlightened a very dark period in our history, and who embody the greatest humanistic virtues of mankind.

REVIEWS:

This is an album that is drawing on a lot of important messages of solidarity, of resistance, of hope, of joy, and it’s absolutely exquisite… a gorgeous sense of space and melody... This album emotionally, feels very necessary right now… outstanding!

-- A Closer Listen, Jazz at Lincoln Center (Seton Hawkins)

Her last two albums especially reveal how her vision, insight and passion cohere with her sense of being a fellow human and citizen in America, and of the world in very troubled times. Emotional and musical eloquence radiate from her playing with heartfelt ardor and honesty, and focused intensity. We are hearing a sort of heroism at work, her generous spirit and commitment, her exquisitely pointed and expansive testimonies.

-- Culture Currents (Kevin Lynch)

Arriale has great emotional pull, and there are whirlpools and whirlwinds in her playing. There is this pattern in Arriale where she begins with darkness, then everything is bathed in light. This is a strong recording, about strength. She has succeeded in putting us in the hero’s shoes, the light of the powerful mind pushing on through protests, and making change. And she has succeeded in putting us back in our shoes, with this invested strength to go on and change.

-- The Flash Boston (Sofia Marshall)

‘Lyla’ is Avishai Cohen’s first release with Razdaz Recordz. Piano legend Chick Corea appears as a special guest performing a duet with the leader. Avishai Cohen is an Israeli jazz double bassist, composer, singer, and arranger. He began playing the piano at 9 years old but changed to the bass guitar at the age of 14, inspired by bassist Jaco Pastorius. In 2002, Cohen founded his record label, Razdaz Recordz. "I've always been interested in several genres of music, including jazz, rock, pop, Latin and funk," says Cohen. "I'm always packed with ideas. I decided to start my own label because I'm involved in so many different projects." Cohen's signature sound is a blend of Middle Eastern, eastern European, and African-American musical idioms.

"Every time I listen to the very first tones of Afterglow, I get struck immediately, as if by a force of nature. Suddenly, I am part of a natural phenomenon, that manifests right in front of me. At that very moment, everything else in the world doesn't seem to matter that much. There's only you and the musical synergy of two masterminds, who put their hearts and souls in every detail of their private conversation. Exactly the same feeling hit me over and over, when audio engineer Floren Van Stichel and I were part of the creation of Afterglow, in September2018. The sheer beauty of the music by Enrico Pieranunzi and Bert Joris was present at every single moment. The only thing Floren and I had to do was listen. We simply guarded the entire process. While performing together, Enrico once said: "Sometimes, the moment you don't play adds more significance to the things you do play". The same thing applies to being a producer. Being present was just enough. Nature took it's course and Afterglow saw the light of day." (Jasper Somsen)

The award-winning Dutch composer and bass clarinet player Joris Roelofs is also currently working on a PhD dissertation on Friedrich Nietzsche, improvisation and the notion of freedom. On the album Rope Dance he is able to combine all of this, in a suite of twelve pieces inspired by Nietzsche – ‘by far the most musical of philosophers’ according to Roelofs. It is especially the parable of the tightrope walker in the opening section of ‘Thus Spoke Zarathustra: A Book for All and None’ that has provided him with inspiration for his own ‘Light-Footed Music for All and None’. It is not surprising that Nietzsche’s thoughts about free spirits, liberated from conventional constraints and belief systems, resonate particularly well with musicians working with improvisation and across genres. Roelofs has therefore been able to gather a group of highly versatile colleagues from the Benelux jazz scene to perform his music: pianist Bram de Looze, bass player Clemens van der Feen and Martijn Vink on drums. The album also confirms the multi-faceted talents of bassoonist Bram van Sambeek, following previous recordings on BIS of classical, pre-Romantic and contemporary concertos, as well as hard rock covers with the group ORBI (the Oscillating Revenge of the Background Instruments).

Jean Michel Pilc had already planned on coming to Europe for concerts and master classes, and so a studio recording was arranged in the Netherlands. The result of both recordings is Parallel: a double album with two solo piano recordings, conceived in a completely new form, on both sides of the Atlantic Ocean. The album is a fascinating and exciting journey into Jean-Michel's realm of composed and improvised music that makes one want to listen to it over and over again. Jean-Michel writes: "Most people believe that growing up and aging goes hand in hand with gaining knowledge and wisdom. It may be comforting to think that life teaches you things and there is often something true about it. However, for me there is a parallel, deeper reality at work. The more I know, the more I have to unlearn. The music of this album- created in the last years, in two very different sessions with the invisible ink of improvisation- deals with this mysterious and constantly growing part of the unknown: create, forget, and recreate."