Over a period of three months in 2018, Kirk and his longtime friend and producer, the British jazz trumpeter and session musician James McMillan, recorded tracks in locations ranging from studios in Jakarta, Tokyo, Paris, Nairobi, Johannesburg and Hastings, to hotel rooms, office buildings and even Kirk's living room in Memphis - tracks that showcase the album's harmonious mix of American jazz, blues, funk, pop along with global indigenous musical forms abound on Humanite.

A more fitting title for this album does not exist. It is yet another example of just how well Erroll Garner knew and understood himself and his music. Perhaps his greatest talent was an ability to distill and communicate precisely who he was at any given moment. Here we find him perfectly embodying the definition of his sun sign. Whatever your views on astrology might be, all that is left to do is listen. The Octave Remastered Series represents the heart of Erroll Garner's recorded catalog. Spanning 12 albums recorded and released between 1959 and 1976, this collection of music is among the most important in the history of jazz. It represents an artist in his prime, with full creative and commercial control of his output following his break with Columbia Records. All of these albums were owned by Garner's Octave Records and licensed for release on a variety of iconic labels, including MGM, ABC, Philips, Mercury, Reprise, MPS, and more.

The Octave Reissue Series represents the heart of Erroll Garner's recorded catalog. Spanning 12 albums and last 18 years of Garner's career, this collection of music is among the most important in the history of jazz. It represents an artist in his prime, with full creative and commercial control of his output following his break with Columbia Records. Over 20 years ago these albums were bundled on to double albums and released by Telarc in a set. While this was appropriate for the era, this repackaging of Garner's discography caused some material to be cut for time. It is now time to untangle his discography and restore each of these 12 records to their original artistic statement. The series will include newly restored and mastered transfers of the original analog master tapes by our GRAMMY winning team of producers and Engineers, and the original artwork restored by our award winning design partners. In addition, EGJP will curate and include newly discovered bonus material from the Garner catalog in each release. While the emotionally charged music of Erroll Garner is particularly well suited for the big screen, and has been used in countless films over the years, he only ever composed this one film score. A natural orchestrator and with an uncanny ability to sound like an entire orchestra by himself, on this record Garner makes singular use of a 35-piece orchestra to bring his music to new heights.

Digitally remastered reissue of Erroll Garner's classic 1970 album. Recorded at the tail end of 1969 with a cast of new collaborators, this album is a prime showcase of Erroll Garner's two greatest strengths: his ability to completely reinvent well known songs, and his endlessly creative facility as a composer of original music. From his sultry "The Loving Touch" to the Afrofuturistic "Mood Island," Garner's originality again proves boundless.

2020 release from the jazz saxophonist. The deluge of political divisiveness, horrific violence and hateful rhetoric that seem to have polluted our lives on a daily basis over the last few years have left many people across the country and around the world feeling angry, frustrated and hopeless. It would be more than understandable if that feeling was even more intense for Jimmy Greene, for whom the flood of outrageous headlines and social media missives play out against the backdrop of personal tragedy. Greene refuses to succumb to the negativity, however. On his heartfelt album, While Looking Up, the saxophonist was guided by the inspirational words of his pastor: "If I'm not able to find strength or peace by looking inward," he said, "or if I'm not able to do it by looking outward to my immediate surroundings, I have to look upward." On While Looking Up, Greene finds solace, support and inspiration from each of these directions, but in particular from casting his gaze heavenward. Looking inward, he's comforted by his faith and by the gift for moving, expressive composition that has marked his work for the last two decades. Looking outward, he has his family and his brilliant collaborators, culled for this project from a list of longtime favorites who haven't entered the studio together in at least a decade. And while looking up, he recalls the joyful spirit of his daughter, Ana Marquez-Greene, who tragically lost her life in 2012, along with 25 other students and educators at Sandy Hook Elementary School in Newtown, Connecticut.

Oscar Peterson was one of the most brilliant and distinctive modern jazz pianists to come to the fore in the post-war era, as adventurous small-group music and virtuoso soloists established new strands of jazz in the wake of the demise of the big swing bands as post-war austerity took hold and public tastes evolved. Initially making his mark in his native Canada, he made his first records for RCA in Montreal, but soon captured the attention of jazz impresario Norman Granz and within a few years was recording under his auspices for Clef/Mercury in New York. This great-value 47-track 2-CD collection specifically addresses those early years, and comprises studio recordings in trio, quartet and duo settings with a variety of line-ups, performing well-known Great American Songbook standards which were the staple repertoire of jazz improvisers in that era along with original compositions. The recordings come from ten different recording sessions, and feature trio and quartet recordings with bassists Bert Brown, Albert King & Austin Roberts, drummers Frank Gariepy, Roland Verdon, Russ Dufort, Mark Wilkinson & Clarence Jones, and guitarists Armand Sampson & Ben Johnson, plus recordings as a duo with bass players Ray Brown and Major Holley. It's an entertaining showcase for the already highly developed talent of one of the great piano stylists of the genre, and offers an insight into how his music evolved during the key formative years of his career.

On East West Time Line, Eubanks explores the chemistry he maintains with musicians on both coasts. And once again, his distinctive fingerstyle approach to the instrument is in the service of tunes that run the stylist gamut from urgent swingers to introspective ballads to Latin-tinged numbers and some get-down Philly funk. Discussing his collaboration with his friends Eubanks said "I think because I'm so familiar with all the musicians and we played together over the years in different settings, on different tours, that it helped the music quite a bit. It's that thing where everybody's pulling for each other to do well and trying to make each other sound better..."

Bix Beiderbecke was one of the most important figures in the early years of jazz, his trumpet and cornet performances influencing a host of contemporaries and later performers within the genre. Despite the brevity of his career - he succumbed to alcohol abuse at the age of 28 - he recorded a substantial body of work, both with his own early small bands such as the Wolverine Orchestra, and with the leading orchestras of the time led by Jean Goldkette, Frankie Trumbauer and Paul Whiteman. This great value 50-track 2-CD set brings together recordings from across his career, from his first session in 1924 through to his final session with Hoagy Carmichael in 1930. It features not only Bix, but many other top names of the era, and is a fine cross-section of Bix's work. It has been carefully selected to avoid duplication with any tracks on our existing Bix Beiderbecke CD on the Fabulous label (FABCD144) so the two together will provide a fine overview of his work.

The Octave Reissue Series represents the heart of Erroll Garner's recorded catalog. Spanning 12 albums and last 18 years of Garner's career, this collection of music is among the most important in the history of jazz. It represents an artist in his prime, with full creative and commercial control of his output following his break with Columbia Records. Over 20 years ago these albums were bundled on to double albums and released by Telarc in a set. While this was appropriate for the era, this repackaging of Garner's discography caused some material to be cut for time. It is now time to untangle his discography and restore each of these 12 records to their original artistic statement. The series will include newly restored and mastered transfers of the original analog master tapes by our GRAMMY winning team of producers and Engineers, and the original artwork restored by our award winning design partners. In addition, EGJP will curate and include newly discovered bonus material from the Garner catalog in each release. Recorded in 1959, the Dreamstreet tapes sat unreleased while Garner fought for control over his catalog. Finally issued in 1961 as the first product of his newly formed Octave Records, it heralded Garner's return with a set of performances worthy of the wait. A new Garner original, "By Chance," has been added to the remastered release, restored from the original session reels.

Vinyl LP pressing. As he's made abundantly clear over the past 30 years, Joey DeFrancesco has plenty of soul. What most listeners probably haven't spent much time pondering is that soul's place in the universe. On his adventurous new album, In The Key Of The Universe, the master organist turns his musical attentions to his spiritual side, tapping into a strain of metaphysical jazz that's fueled sonic searchers for more than half a century. Joey D calls upon disciples and missionaries of jazz to join him in paving the way to enlightenment. In The Key Of The Universe arrives almost exactly 50 years after the release of Karma, the landmark album by legendary saxophonist Pharoah Sanders. One of the primary exponents of spiritually-oriented jazz, Sanders makes three guest appearances on the album, including an update of his best-known track from Karma, the cosmically influential "The Creator Has A Master Plan." Playing drums on that track was the great Billy Hart, who reunites with Sanders as well as DeFrancesco, with whom he's worked several times over the years since joining the organist for his 1989 album Where Were You?

This was Erroll Garner's first traditional studio album in five years and perhaps his most ambitious album ever as a composer. The selections were surely inspired by the new array of musicians assembled for the sessions, including percussionist Jose Mangual, who would go on to play with Garner for the rest of his career. The electric atmosphere captured on tape here is at times raucous and always palpably joyful. The Erroll Garner Octave Remastered Series represents the heart of Erroll Garner's recorded catalog. Spanning 12 albums and last 18 years of Garner's career, this collection of music is among the most important in the history of jazz. It represents an artist in his prime, with full creative and commercial control of his output following his break with Columbia Records.

45 years after his album debut, Stanley Clarke shows he is still unapproachable on both the electric and acoustic bass. Backed by a versatile young band, The Message swells with an abundance of strength, soul, and astounding musicianship.

Not yet 30, Christian Sands is currently one of the most in-demand pianists working in jazz. In the last few years he has toured around the world as a bandleader and recently appeared as a sideman on records by Christian McBride and Gregory Porter. After the one-two punch of Reach and Reach Further - EP, Sands' dynamic 2017 Mack Avenue debut and his live/unreleased studio tracks EP follow-up released earlier this year, Facing Dragons is Sands' return to the recording studio with an indestructible band and an unwavering allegiance to the groove.

Classical Music

I'm a proud immigrant. A proud Mexican and a proud American that feels torn by the injustices that are being perpetrated against so many innocent people in search of a better life. This album is dedicated to them and their journey. Antonio Sanchez, July 2018

Classical Music

GRAMMY^® Award for Best Large Jazz Ensemble Album

 

Click here to view the Vinyl version. 

 

In the press materials for bassist Christian McBride’s new big band album, he cites bandleaders Duke Ellington and Maria Schneider as strong influences on his large-ensemble work. McBride’s artistic debt to those two musicians reflects his desire to be part of a jazz tradition while also pushing it forward. His 2011 big band album, The Good Feeling (Mack Avenue), generated rave reviews, and most of the players on that album are back for Bringin’ It. McBride has said, “[L]ike Duke Ellington used to do, I can write for my guys because I know their sound and style.” Nine of the 11 tracks here were arranged by McBride, who included three original compositions in the program. (All three are songs that he had previously recorded with a smaller ensemble, so it’s clear that he wants to continue refining his acumen as an arranger.) A judicious yet bold arranger, McBride knows exactly when he or one of his trusted bandmates should inject a solo into a tune. Trombonist Michael Dease offers a growling, greasy solo on the McBride original “Used ’Ta Could,” a party tune so addictive that it should be accompanied by a warning label. Carl Maraghi’s baritone sax solo adds some mighty muscle to a winning rendition of Wes Montgomery’s “Full House.” On a lovely arrangement of “In The Wee Small Hours Of The Morning,” the leader’s tasteful arco work and Brandee Younger’s harp add intriguing textures, as though McBride is telling the listener, “I have a lot of dazzling colors on this palette, and I know how to use them properly.” The album concludes with trombonist Steve Davis’ arrangement of his own composition “Optimism.” It’s a toe-tapper incorporating surprising twists and shifts, spiced with Todd Bashore’s arresting alto sax solo and Davis’ fluid trombone solo. McBride is a busy, multifaceted artist who’s constantly juggling projects, and the release of Bringin’ It gives his big-band fans a reason to celebrate. - DownBeat Magazine Editors' Pick

'For One to Love' includes five original songs as well as Burt Bacharach's 'Wives and Lovers,' and continues to showcase her deep appreciation of the great Bessie Smith with a take on 'What's The Matter Now.' She also sings in French on a song by French singer Barbara from 1965 called 'Le Mal de Vivre'. McLorin Salvant is superbly supported in her vision by a world-class group of musicians who share her values and play a key role in shaping each performance into an artistic statement. There are no studio tricks or subterfuge here. For One To Love is truly the creation of a singular and unique creative. We present to you with Cecile, the second record in her young and amazing career.

Looking back in order to look forward is fundamental to most art forms, maybe none more so than the profound art of jazz. In rare cases, such retrospection can reveal entirely new aspects of the art and its creator, redefining a legacy for a new generation. Such is the case with the genius of Erroll Garner. One of the most popular figures in jazz during his exceptional career, Garner’s legacy is receiving a remarkable reinvigoration through the concerted efforts of Octave Music’s Erroll Garner Project (EGP) and its partnership with Mack Avenue Music Group. Together they are celebrating the 100th anniversary of Garner’s birth with an extraordinary three-tiered release focused on Garner’s output from 1959 to 1975 and featuring a stunning 27-song previously unreleased 1959 concert recorded at Boston’s Symphony Hall.

GRAMMY^® Award for Best Large Jazz Ensemble Album

 

Click here to view the CD version.

 

In the press materials for bassist Christian McBride’s new big band album, he cites bandleaders Duke Ellington and Maria Schneider as strong influences on his large-ensemble work. McBride’s artistic debt to those two musicians reflects his desire to be part of a jazz tradition while also pushing it forward. His 2011 big band album, The Good Feeling (Mack Avenue), generated rave reviews, and most of the players on that album are back for Bringin’ It. McBride has said, “[L]ike Duke Ellington used to do, I can write for my guys because I know their sound and style.” Nine of the 11 tracks here were arranged by McBride, who included three original compositions in the program. (All three are songs that he had previously recorded with a smaller ensemble, so it’s clear that he wants to continue refining his acumen as an arranger.) A judicious yet bold arranger, McBride knows exactly when he or one of his trusted bandmates should inject a solo into a tune. Trombonist Michael Dease offers a growling, greasy solo on the McBride original “Used ’Ta Could,” a party tune so addictive that it should be accompanied by a warning label. Carl Maraghi’s baritone sax solo adds some mighty muscle to a winning rendition of Wes Montgomery’s “Full House.” On a lovely arrangement of “In The Wee Small Hours Of The Morning,” the leader’s tasteful arco work and Brandee Younger’s harp add intriguing textures, as though McBride is telling the listener, “I have a lot of dazzling colors on this palette, and I know how to use them properly.” The album concludes with trombonist Steve Davis’ arrangement of his own composition “Optimism.” It’s a toe-tapper incorporating surprising twists and shifts, spiced with Todd Bashore’s arresting alto sax solo and Davis’ fluid trombone solo. McBride is a busy, multifaceted artist who’s constantly juggling projects, and the release of Bringin’ It gives his big-band fans a reason to celebrate. - DownBeat Magazine Editors' Pick

In The Key Of The Universe - Joey DeFrancesco - Label: Mack Avenue - As he's made abundantly clear over the past 30 years, Joey DeFrancesco has plenty of soul. What most listeners probably haven't spent much time pondering is that soul's place in the universe. On his adventurous new album, In The Key Of The Universe, the master organist turns his musical attentions to his spiritual side, tapping into a strain of metaphysical jazz that's fueled sonic searchers for more than half a century. Joey D calls upon disciples and missionaries of jazz to join him in paving the way to enlightenment.

In a 2013 Q&A with JazzTimes, Julian Lage described the Cline-Lage duo sound as "200 percent power," and that's exactly what comes through on ROOM: an inspired collection of originals and collaborative pieces that runs the full range from intricately composed and complex to free and spontaneous. Nels Cline builds on the strength of his previous duo work with the likes of Elliott Sharp, Thurston Moore, Carla Bozulich, Marc Ribot and not least of all the late West Coast bassist Eric Von Essen. Lage, for his part, has worked in duo settings with David Grisman, Martin Taylor, John Abercrombie, Taylor Eigsti and others.

Classical Music

Branford Marsalis is one of the most revered and renowned Jazz musicians in the world. THE SHEEP ANTHOLOGY is the first career-spanning collection of Branford's richest and most impassioned recordings for Columbia Records. Featuring 10 expansive tracks and over one hour of music, this stellar collection truly is the best of Branford Marsalis. THE STEEP ANTHOLOGY also includes one previously unreleased live recording. Album tracks include "Doctone," "Maria," "Royal Gardens Blues." [Note: This product is an authorized CD-R and is manufactured on demand].