The third and the last of trumpeter Jason Palmer’s highly acclaimed mini-series of recordings of songs composed or made famous by his favorite lady singers pays homage to the contemporary soul, R & B singer/songwriter, eight-time Grammy winner Anita Baker. “Sweet Love”, the famous award-winning title from her second album “Rapture” (1987) turned Jason’s attention to Baker’s music. “ hardly just a straight or smooth jazz take on classics by Minnie – and instead an openly creative project that takes the core structure of the songs, then pulls them apart – especially when it comes to the rhythms – so that the players continually revisit the lovely melodies created by Riperton, yet also fly free in musical moments inspired by her energy.” (Jazz Chill of Dusty Groove on SCCD 31750 “Take A Little Trip”) “Palmer's intriguing new release is the second in his planned series of homages to singers who have produced powerful music … Wondaland is more contemporary, celebrating the artistry of Janelle Monáe via jazzed-up arrangements of her songs … overall seems more interested in building on the beauty of Monáe's music with his arrangements than in flashing his chops. Which keeps this charming album a bona fide homage.” (Bill Beuttler – Jazztimes on SCCD 31800 “Wondaland”)

This selection includes an explanatory commentary of this opera, written by Thomson Smillie and narrated by David Timson.

Guitar Recital: Jason Vieaux

Discussing this impending studio date, the indefatigable saxophonist Mats Gustafsson and intrepid vibraphonist Jason Adasiewicz decided to compose new pieces for one another. The resulting tracks - which also include a hallucinogenic arrangement of "Timeless", dedicated to it's composer, the recently deceased guitarist John Abercrombie - show a markedly different side of both musicians. Quiet, at times tender, this meeting of like-minded musicians evoked a new kind of tension, not one birthed out of screams and wallops, but instead one marshaling the power of restraint. Gustafsson's work with groups like The Thing and Fire! Orchestra have made him one of the most renowned figures in contemporary energy music, and Adasiewicz's joyous noise in his own bands and with Peter Br�tzmann, Rob Mazurek, and many others have likewise earned him top status in the pantheon of today's free musicians. On Timeless, they explore low dynamics, static soundscape, and melodic lyricism, infused with passion and intellect. One track features the wooden-keyed African balafon, coaxing a buoyant response on alto from Gustafsson, while their mutual boyhood love of highly select fusion records provided an unforeseen jumping off point for the whole record. On the cover, a painting by Charline von Heyl; across the interior, a photo portrait of the musicians. Personnel: Mats Gustafsson - alto, tenor and baritone saxophones; Jason Adasiewicz - vibraphone and balafon. Recorded October 1, 2017, by Alex Inglizian at Experimental Sound Studio, Chicago.

Jason Miles's newest release for his Kind of New Band "Black Magic", his first on the Ropeadope label, he is exploring the possibilities of the small electric ensemble based on the same band of superb musicians he recently toured Europe with Reggie Washington on Bass, Gene Lake, Drums, Jay Rodriguez, Sax and Bass Clarinet and Philip Dizack on Trumpet. It is a combination of live tracks recorded at NewBlu in NYC and 4 new studio tracks that were influenced by a recent concert and encounter with Herbie Hancock. Jason recently said "seeing Herbie perform just made me realize how deep you have to go to get the most from your creative soul. I re-evaluated the new music I had and realized I hadn't explored my musical soul deep enough. I locked myself in my studio and came up with 4 new tracks that I couldn't be happier with and decided to call it Black Magic.There was some other vibes going on for sure"

In a review of Jason Stein's debut album, The Story This Time (Delmark 2013), JazzTimes said "This record kills. The double-horn front line allows for torrid, bop-rooted synchronicity and numerous moments of unfettered exploration." Stein understands the bass clarinet's history and seeks to extend it's comfort zone, and he's not prone to move into the stratosphere, staying in the natural range on his instrument, but picking up the pace manually, the overland route, through force of will. Add to a couple tracks the contrabass clarinet of Keefe Jackson, which ratchets the sound down into the substrata a few notches, and the uncanny play between the anchor and the waves is even more pronounced.

Shaping their musical heritage together for 15 years, saxophonist Keefe Jackson and vibist Jason Adasiewicz have been vital in defining and refining "The Chicago Sound". Their relationship with Delmark has spanned over a decade; combined they have 20 albums on the label. On Rows And Rows, six of the nine original compositions were composed specifically for the session, while the remaining three are older tunes re-imagined for duo. The atmosphere of a jazz duet can paint one of the most personal and intimate musical conversations. This one brings the listener into their world, creating a social environment that you may want to tap your foot to, or even go a little further.

What makes this group so important is the relationship that exists between it's members. Bassist Jason Ajemian (Chicago Underground Trio, Lay All Over It, Born Heller) saxophonist Tim Haldeman, and drummer Nori Tanaka are regulars on the Chicago improvisation scene. Joined here by vibist Jason Adasiewicz (Loose Assembly, Exploding Star Orchestra,) trumpeter Jaimie Branch, and guitarist Matt Schneider this prolific, expansive and inventive group becomes a sonic family on this release. The interplay between the players is ceaseless in reawakening the heart of what is jazz today. Like a conversation among old friends it's intimacy is palpable; warm, friendly and at ease.

Sun Rooms is Jason Adasiewicz's three year old trio featuring Jason (vibraphone), Mike Reed (drums) and Nate McBride (bass). Their debut record Sun Rooms (DMK 593) was named by the New York Times (Ben Ratliff) as one of the Top 10 Pop and Jazz Records of 2010. Spacer was written in the winter of 2011 and slowly shaped through a month long residency at a north side Chicago bar, the Whistler. Engineered by Griffin Rodriguez, Spacer documents 8 new tunes by Adasiewicz, one from McBride, and one from Dutch cornetist Eric Boeren.

Shaping their musical heritage together for 15 years, saxophonist Keefe Jackson and vibes player Jason Adasiewicz have been vital in defining and refining "The Chicago Sound". Their relationship with Delmark has spanned over a decade; combined they have 20 albums on the label. On Rows And Rows, six of the nine original compositions were composed specifically for the session, while the remaining three are older tunes re-imagined for duo. The atmosphere of a jazz duet can paint one of the most personal and intimate musical conversations. This one brings the listener into their world, creating a social environment that you may want to tap your foot to, or even go a little further.

In a review of Jason Stein's debut album, The Story This Time (Delmark 2013), JazzTimes said "This record kills. The double-horn front line allows for torrid, bop-rooted synchronicity and numerous moments of unfettered exploration." Stein understands the bass clarinet's history and seeks to extend it's comfort zone, and he's not prone to move into the stratosphere, staying in the natural range on his instrument, but picking up the pace manually, the overland route, through force of will. Add to a couple tracks the contrabass clarinet of Keefe Jackson, which ratchets the sound down into the substrata a few notches, and the uncanny play between the anchor and the waves is even more pronounced.

Sun Rooms is Jason Adasiewicz's three year old trio featuring Jason (vibraphone), Mike Reed (drums) and Nate McBride (bass). Their debut record Sun Rooms (DMK 593) was named by the New York Times (Ben Ratliff) as one of the Top 10 Pop and Jazz Records of 2010. Spacer was written in the winter of 2011 and slowly shaped through a month long residency at a north side Chicago bar, the Whistler. Engineered by Griffin Rodriguez, Spacer documents 8 new tunes by Adasiewicz, one from McBride, and one from Dutch cornetist Eric Boeren.

HIGH RED CENTER

The debut album of the Jason Stein Quartet, the Story This Time, brings together Chicago bass clarinetist Jason Stein with three of his favorite improvisers. With Joshua Abrams on bass, Frank Rosaly on drums, and Keefe Jackson on tenor saxophone and contrabass clarinet, the album features five original compositions by Stein and six under explored compositions by jazz luminaries Lee Konitz, Warne Marsh, Lenny Tristano, and Thelonious Monk. Following three critically acclaimed albums with his trio Locksmith Isidore, Stein's new Chicago quartet seamlessly integrates rigorous written material with fierce and imaginative improvisational flights.

Jason Ajemian's music conjures a fever dream of multiple musical universes. The bassist-composer has acquired a high profile during his years in Chicago & New York, performing with Marc Ribot's Sun Ship, Matt Bauder's Day In Pictures, Matana Robert's CoinCoin, Rob Mazurek's Exploding Star Orchestra & Chicago Underground Trio. Folklords has an outstanding group of New York improvisers (Kid Bliss, Owen Stewart-Robertson & Jason Nazary) performing conceptual, visual & sonic landscapes: meditative Mingus ballads, imaginary conversations between Sun Ra & Thelonious Monk, poetic takes on pop culture, and an elegy for Malachi Rischter.

Jason Marshall returns with an incredibly soulful date featuring some of New York's finestincluding pianist Marc Cary, bassist Gerald Cannon and drummer Willie Jones III. Recorded at the studios of Rudy Van Gelder in Englewood Cliffs New Jersey and produced by Jeremy Pelt. Jason has developed a style that encompasses the whole of African-American music.

Double vinyl LP pressing. In 1999, the same year that Jason Moran released his debut recording Soundtrack To Human Motion, the pianist and composer also joined New Directions, a band made up of young stars from the Blue Note roster. At the core of New Directions was the genesis of a rhythm section-with Moran, bassist Tarus Mateen, and drummer Nasheet Waits-that would go on to become one of the most enduringly creative and acclaimed piano trios in jazz. The Bandwagon made their first recording as a trio with Facing Left in 2000 and has been the foundation of the majority of Moran's artistic statements since. On his 2010 album Ten, Moran celebrated the 10th anniversary of The Bandwagon with an assured album that was a snapshot of a mature band with a decade of shared musical experience from which to draw. In addition to provocative originals the album presented singular interpretations of pieces by Thelonious Monk, Jaki Byard, Leonard Bernstein, and Conlon Nancarrow. This first-time vinyl release includes the bonus track "Thelonious" previously only available in Japan.

In some way, each and every one of us is searching for sanctuary. In certain cases, that search reflects a vital need - a home, a country, a safe haven. For those of us fortunate to have those crucial needs met, sanctuary comes to mean something more personal and metaphorical - the embrace of loved ones, a cherished memory, a quiet space in nature. On Sanctuary, their extraordinary second album as co-leaders, violinist Jason Anick and pianist Jason Yeager explore the vast spectrum of what the concept can mean through the medium of their own personal sanctuary - the music they create. Due out October 11, 2024 via Sunnyside Records, Sanctuary builds on the foundation set by the pair's previous outing, 2017's United. That album marked the culmination of a nearly lifelong friendship and collaboration; Anick and Yeager met for the first time at a local jam session as teens in the Boston area. Since then, both have continued to collaborate while establishing flourishing careers as composers, performers and educators, with both serving on the faculty at Berklee College of Music. In advance of the album release, on June 28, 2024, the duo will publish Yeager's composition "Nublado" (Spanish for "overcast"), a single culled from the sessions that yielded Sanctuary. Featuring leading trumpet titan Jason Palmer, "Nublado" will be available exclusively as a digital single on all streaming platforms. Where United represented a convergence of their distinct voices, with each contributing individual pieces, Sanctuary is a melding of the two, with more than half of the tracks credited to both composers. In addition, the debut's rotating cast of musicians has settled into a core quintet, with Anick and Yeager joined by trumpeter and flugelhorn player Billy Buss, bassist Greg Loughman and drummer Mike Connors, with guest appearances by trumpet great Jason Palmer, tenor saxophonist Edmar Col�n and cellist Naseem Alatrash. Sanctuary is a direct result of not only the personal evolution that Anick and Yeager have undergone over the last several years, but of the times in which it was created. The project was interrupted by the pandemic, providing time for the co-creators to further develop the music they'd prepared for their cancelled April 2020 recording date. At the same time, headlines around the globe have been filled with stories of refugee crises and immigration battles, bringing home the profound importance of the core idea. "We had two goals at the outset of this album, " Anick explains. "First, we wanted to develop a cohesive music from our shared voices by composing together. Second, we really wanted to reflect the things that were going on in the world around us. The central theme coalesced around sanctuary, because at the end of the day it's what we're all trying to find." Time and memory both play important roles in the narrative that unfolds over the course of the album. Opener "Futures Past" muses on the way that the future we imagine for ourselves can change in a moment as the result of present events. "When something catastrophic happens, " Yeager explains, "you're not only losing your present circumstance but you're potentially losing the dreams, hopes and fantasies you had for the future. The tune wrestles with the loss of the futures that now only exist as memories."

Comedians and jazz musicians have been more comforting and enlightening to me than preachers or politicians or philosophers or poets or painters or novelists of my time. Historians in the future, in my opinion, will congratulate us on very little other than our clowning and our jazz. -Kurt Vonnegut