Music has a long history of cultural cross-pollination, where artists draw inspiration from various traditions leading to the evolution of rich and diverse musical genres. Conrad Herwig's current offering is just such a recording. The Latin Side of McCoy Tyner is the latest installment in a critically-acclaimed series that started in 1996 with The Latin Side of John Coltrane. It's the work of a musically gifted, bilingual artist, a master trombonist who grew up admiring jazz's greatest practitioners but, at the same time, cutting his Latin Jazz teeth with legends such as Mario Bauza, Tito Puente, Paquito D'Rivera and others. On the gig here with Herwig, giving the recording and, by extension, the entire "Latin Side of..." project his personal seal of approval, is the great pianist and composer, Eddie Palmieri. Palmieri is surrounded by some of the most respected names in Jazz / Latin Jazz, including Craig Handy, Bill O'Connell, Alex Norris, Robby Ameen and others, all playing imaginative and challenging arrangements by O'Connell and their fearless leader. Here, Conrad Herwig goes directly to the very core of Tyner's compositions and imbues them with the vibrant essence of Afro-Cuban and Afro-Caribbean traditions.

With his first vinyl release in over 30 years, Jim Snidero has selected his favorite cuts from two critically acclaimed sax trio recordings, "For All We Know" and "Bird Feathers," with jazz greats Peter Washington on bass and Joe Farnsworth on drums. The result is a deeply satisfying set that demonstrates why Snidero placed in the top five of the alto saxophone category in the 2024 DownBeat Magazine International Critics Poll. Equally divided between a homage to the great Charlie Parker and three beautifully interpreted standards, this swinging trio projects a warm maturity that is further accentuated by the analog 180-gram vinyl format.

Charlie Parker's music has been recorded, studied, debated, and canonized for more than seventy years. Which is precisely why paying tribute to Bird still takes a lot of nerve. There is no safe middle ground. You either bring something new to the conversation, or you risk being drowned out by history. On Another Kind of Bird, Richard Baratta does not tiptoe around this dilemma. Joined by arranger and pianist Bill O'Connell, Baratta revisits Parker's music with a clear sense of purpose and a refusal to play it safe, delivering bold reimaginings propelled by a powerhouse ensemble. Baratta anchors the session with his working band, then raises the stakes. On select tracks, saxophonists Eric Alexander, Abraham Burton, and Craig Handy join regular altoist Vincent Herring to form a dynamic horn section that adds muscle and urgency to the music. Parker emerges here not as relic, but as catalyst: energized, expanded, and unmistakably alive.

Baltimorean pianist LAFAYETTE HARRIS JR. Is known for an energetic sense of rhythmic vitality, a tasty, full bodied musical approach to the keyboard, and a sensibility drenched in the blues. A staple at the Lenox Lounge in Harlem for a number of years as well as a member of various aggregations led by Max Roach, Harris' new recording reflects this experience as well as a myriad of influences, from boogie-woogie legend Sammy Price to Kenny Barron and Barry Harris, all of whom encouraged Lafayette as an up-and-coming player. Bassist Peter Washington brings a forceful sense of rhythm and lyrically rounded solos to the date, and drummer Lewis Nash keeps the rhythms swinging strongly and as steady as a Swiss watch. A thoughtful setlist and sterling sound from the Van Gelder Studio makes this a self-recommending album.

Jazz vocalist Giacomo Gates is blessed with a smooth and supremely expressive baritone voice and an all-inclusive musicality which encompasses a hipster-like coolness, a smattering of vocalese, an Eckstine-like seductiveness, the story telling ability of a griot, a firm footing in the blues and a sense of swing which is second-to-none. His performances can be quiet and full of insight (or innuendo) or be ebullient and joyful. Whatever style Gates may offer - be it sensitive, sensuous or syncopated - he infuses the music with an understated humor, wry cultural and social implications and an impish delight in surprising his listeners. You is a perfect example of Gates at his best with the vocalist putting together a program with a unique and decidedly altruistic leitmotiv. As Gates himself says, "The context of many songs written and recorded, are composed by people with 'I' problems... but not these songs. All of these songs are about you." Here are 18 songs everybody knows and loves, arranged with creativity and wit and featuring Gates' gregarious delivery so that there can be no mistake, "it's all about you!"

Nicole Glover has been getting some well-deserved exposure as a side-person recently but this tenor saxophonist is best appreciated on her own albums, where she fronts a saxophone-bass-drums trio. While not a common jazz format, this instrumentation has sired some classic recordings from greats like Don Byas, Sonny Rollins, Joe Henderson and Ornette Coleman, to contemporary trios led by Branford Marsalis and Glover's label mate, JD Allen. Glover's own trio features the rich, full-toned bass of Tyrone Allen and the sensitive, yet propulsive drumming of Kayvon Gordon. A special guest on the recording is vibes master, Steve Nelson, of whom Glover says, "He's incredible to work with because he is just a phenomenal musician... He enhances everything he is a part of of." This foundation provides two streams of sound (three with the vibes) beneath Glover's improvisations, allowing her complete freedom to be lyrical or driving as she chooses, while maintaining the aural identity of the ensemble.

When it comes to musical material, a nexus between quality and reception is never a sure thing. Some choice compositions and performances receive their flowers while others slide into relative obscurity. Off the Charts takes an inspired set list of lesser-known works by the likes of Wayne Shorter, Bobby Hutcherson, Charles Lloyd, Chick Corea and others and brings them back into their well-deserved spotlight. Delving into the past calls for a cast attuned to the present, and Richard Baratta has assembled an incredible lineup. Pianist David Kikoski comes with his own brand of kinetic energy, bassist John Patitucci serves as the backbone of the band, tenor saxophonist Jerry Bergonzi brings his signature sound to the fore, and percussionist Paul Rossman proves to be a vibrant colorist and rhythmic collaborator. Together, with Baratta spurring them on, this crew brings out the best in this superb selection of inspired music.

For five years in the mid-1980s, the 1369 Club in Cambridge, MA was a thriving, vibrant and colorful home to a diverse clientele of both jazz "newbies" and the cognoscenti.� The roster of performers was equally diverse, made up of top local and national jazz artists as well as a lucky group of amateur musicians who were able to join the "pros" on stage at the frequent open sessions featured by the Club.� For three nights in 1985 the awe-inspiring triumvirate of guitarist and Miles Davis alumnus Mike Stern, bassist Harvie S and Boston-based drummer Alan Dawson held court, delivering performances of great intensity, virtuosity and unforgettable excitement.� Jazz, by it's very nature, is an ephemeral art and once the trio finished their three night run, it was thought the music went up into the ether to remain only as cherished musical memories to those in the audience.� However, Harvie S knew that tapes of those evenings were in private hands and together with Barney Fields of Savant Records arranged for a selection from them to see the light of commercial release.� So here are these thought-to-be lost performances back from the mists of time, capturing Harvie S, Mike Stern and Alan Dawson at the peak of their abilities.� Mike Stern was about to release his first album as a leader, Upside Downside, Alan Dawson was fresh from being the featured drummer on Muse Records' popular Live at Sandy's series and Harvie S had already played with greats such as Zoot Sims, Thad Jones, Gil Evans, Urbie Green, Art Farmer, Lee Konitz and Sheila Jordan, and continues to enjoy a long and extremely prolific career.� So thanks to Harvie, Savant Records and all those who helped bring this project to fruition the laws of time and space are hereby suspended - if only for the length of this recording.� Suddenly, it is 1985 again!

In JD Allen's liner notes for Queen City, it becomes clear that he spent a great deal of time thinking about how the pandemic has impacted his relationship with music and specifically his saxophone.� In the notes Allen writes, "Performing music for and with people is what I do and I've come to the realization that an audience of listeners of any size is a part of the music; it's also a shared experience. Covid-19 changed that and forced me to try to remember why I started playing in the first place, the years before I started performing and recording."� The tenor saxophonist's response to his period of introspection is this current recording, a solo saxophone program.� It is a recording full of stark, uncompromising power, affording some rare insight into the psyche of the performer.� This is not a Coleman Hawkins' "Picasso"-toned, I-love-my-horn-and-my-horn-loves-me type of symbiosis.� There is a real sense of confrontation between Allen and his horn and, by extension, the audience which makes for a unique listening experience.� This is not to imply that Queen City is some severe piece of avant garde abrasiveness.� Rather, it encompasses an extraordinarily wide-range of musical languages which communicates an equally broad spectrum of emotions.� Melodies�� of ravishing beauty alternate with angular, aggressive phrases to express frustration, anger, resolve, hope, love and acceptance in what may become one of the most personal and revealing recordings to come out of the trying time of Covid-19.

After receiving four Grammy nominations for his highly successful series of recordings that "latinize" the music of John Coltrane, Miles Davis, Joe Henderson, Wayne Shorter, Herbie Hancock and Horace Silver, Conrad Herwig turns his attention to the legendary Charles Mingus. An imposing figure in jazz, Mingus was known for being complicated, volatile and a touched-by-genius innovator. As an homage to this influential artist, Conrad Herwig provides a fiery excursion into the world of Afro-Caribbean rhythms skillfully applied to Mingus' wildly imaginative compositions. Joining Herwig is special guest trumpeter Randy Brecker together with long-time "Latin Side" band colleagues pianist Bill O'Connell, reedman Craig Handy and the trumpet/flugelhorn of Alex Sipiagin with the rhythm section of Luques Curtis, Robby Ameen and Camilo Molina. Collectively they bring a vibrant spirit and authority to this repertoire which is unique among today's salsa ensembles. Featured tunes run the gamut from the thoughtful and intimate "Duke Ellington's Sound of Love" to the unbridled joy of "Boogie Stop Shuffle" with the somewhat lop-sided introduction to the opening track, "Gunslinging Bird," being the perfect harbinger of things to come. This latest installment in Conrad Herwig's "Latin Side" series pays tribute to the work of Charles Mingus with progressive arrangements, propulsive rhythms, exciting solos and the consummate musicianship of the leader and his bandmates.

Barbara Morrison has been featured on over 20 recordings choosing her repertoire from a wide array of genres from traditional jazz and blues to gospel and pop. Her powerful voice, with it's two-and-a-half-octave range, allows Ms. Morrison to belt out down-home, soul-stirring blues in a manner which places her firmly in the tradition of Etta Jones, Helen Humes, Irene Reid, and Dinah Washington. Her impassioned renditions of favorite torch songs reveal a consummate musicianship and a firm grasp of a song's deepest meaning.

The one thing all but one of the works on this recording have in common is that they were used in a motion picture, though only six of the eleven songs were written for a specific movie. They cover a fairly long period of cinematic history with Charlie Chaplin's timeless classic, "Smile" being heard in the earliest and latest films on the list: Modern Times (1936) and Joker (2019). It is interesting to note that the album's leader and drummer, Richard Baratta, was an executive producer on Joker. With this Hollywood connection, Baratta's life has been somewhat cinema-centric, but he actually started out as a jazz drummer, working with Butch Morris, Billy Bang, Hal Galper and others. Today Baratta has returned to his jazz roots and his colorful, propulsive drumming is a real highlight of this recording, a follow up to his 2020 release, Music in Film: The Reel Deal. You won't find any lengthy, indulgent solos here but you will smile approvingly at his keenly executed flourishes and mini-breaks. Back in the studio with Baratta is Grammy-nominated arranger and pianist, Bill O'Connell, his years of Latin jazz experience influencing a number of tracks. Alto saxophonist Vincent Herring also returns providing an athletic lead on many selections and some coruscant solo work. With guitarist Paul Bollenback and bassist Michael Goetz rounding out the rhythm section and Paul Rossman providing some additional percussion colors, Richard Baratta takes you on another imaginative, jazz-filled trip to the movies. But you'll have to supply your own popcorn.

DOG STAR

Called by Mozart "The King of the Instruments," the organ went from sacred to salacious when it left the church and began turning up in jazz clubs in the 1950s. It was at that time that the model B-3 organ was assimilated into the jazz line-up and became a sought-after solo instrument. It's hipper-than-hip tone color and thumping bass pedals defined an instrumental sound that mesmerizes the instrument's aficionados to this very day. Pittsburgh-born Bill Heid knows the B-3's history well and his playing ranges from the boppish to the bodacious. From 1965 into the late 70's, he worked the "chitlin' clubs" in Baltimore, Newark, Detroit and Chicago, often with greats like Sonny Stitt, David "Fathead" Newman, Mickey Roker, Roger Humphries, Henry Johnson, Jimmy Ponder and Peter Bernstein. Heid himself penned all but one of the tunes, with each of them channeling the musical spirits of such Hammond luminaries as Don Patterson, "Big" John Patton, "Baby Face" Willette, Larry Young, Jimmy Smith and Jack McDuff. The album closes with a too-cool-for-school take on "Hurt So Bad," which looks back with a knowing glance to the Richard "Groove" Holmes version. Throughout the 10 tracks, the band plays with a soulful feeling, a great sense of ensemble and no small amount of infectious joy - drummer Randy Gelispie hits exactly the right mix of blues and swing, with his relaxed, in-the-pocket feel, and Perry Hughes on guitar ties things together with his own thoughtful style in his imaginative and satisfying solo breaks.

MD66

The sound of a truly fine big band makes a lasting aural impression, combining sheer grandness with the finest, intimate improvisations. We now welcome back to the stage the Peter Hand Big Band. A native of New York City, Hand has been a guitarist in a wide variety of groups, has composed an impressive number of tunes, and has also studied big band arranging and composing with the legendary Herb Pomeroy. The Band, includes a stellar array of New York jazz players ? including Houston Person, Don Braden, Eddie Allen, Valery Ponomarev, Bruce Williams, James Weidman and Harvie S to name a few.

HIGH VOLTAGE

2018 release. Bill O'Connell's pianism has always been known for it's razor-sharp rhythmic sense, clean articulation and phrasing which is as affectionate as it is unfussy. And although the idiom often demands fire and verve one must never lose sight of O'Connell's graceful dynamics which give his lines interesting twists and turns that dart and swerve with spontaneous freedom. With friends like Randy Brecker, Craig Handy, Conrad Herwig, Andrea Brachfeld and Dan Carillo on hand, Jazz Latin is more than a release, it is an event.

When I go into the studio with these guys, it's not like I feel pressure. It's like, oh boy, let's go have some fun, ays saxophonist Jerry Bergonzi, recalling how his previous Savant recordings came together. In short, the acclaimed veteran didn't want the fun to end. So now here we have another terrific recording to complement the reedman's impressive Savant discography and another chance to delight in the exceptionally responsive company he keeps. Revelling in the company of long-time partners bassist Dave Santoro and drummer Andrea Michelutti, Jerry also brings Pasadena-born pianist Bruce Barth into the studio. Jerry doesn't often record with a pianist �" when one cuts their musical teeth with a pianist like Dave Brubeck the titan's shadow must loom large over the keyboard but he and Bruce have become muy simpatico over the years and their interplay here is remarkable indeed. With Jerry's imaginative compositions and his intense approach to music-making, this is jazz that cuts you no quarter. The whole session swings, communicates and challenges as only Jerry Bergonzi can.

There's an old saying that a great jazz musician never plays a song the same way once. That could certainly be said of Jerry Bergonzi. He is an intellectual artist of uncompromising integrity and a bold, original composer. On Jerry's new Savant recording he returns to the organ-tenor trio format after a long hiatus from it. From the opening track, Cy Coleman's "Witchcraft" with it's hypnotic organ vamp and "bewitching" chord substitutions Jerry gives to the first 8 bars, you know this isn't going to be your parents' organ-tenor gig. Bergonzi and his discmates, Renato Chicco on organ and Andrea Michelutti on drums, take these standards down new harmonic paths and use them as a launching pad for fertile and impressive improvisation. The playing is always intense and distinctive, fresh and spontaneous.

Danny Grissett is definitely one of today's most exciting and respected pianists. The go-to keyboard man for the likes of Tom Harrell, Jeremy Pelt, Wayne Escoffey and others Grissett also finds time to lead his own groups and is a composer of considerable merit. A rare artist who grips and holds attention, Grissett handles the classics of the American songbook with an aplomb equal to the way he deals with the rather complex structures of his own intricate compositions. A gifted improviser with splendid technique, the pianist can also offer warmth and affection in melodic lines, the balance of fine taste, pungent swing and a jubilant approach inevitably generating audience cheer. For his first recording as a leader for Savant, Grissett and company offer a varied and interesting set-list which mixes jazz standards and some of the pianist's own compositions.

THAT FEELIN'

It might strike as a paradox, but sometimes the brilliance of certain inventions can be measured by how obvious, how commonplace they seem. The music of Venezuelan pianist Silvano Monasterios is so easy-on-the-ear, so elegantly structured, and has such a casual, lived-in feel that it takes a bit to catch on to how sophisticated his work truly is. It's only after awhile that one notices the harmonic turns, the storytelling soloing, or his rhythmic vocabulary, especially his discreet use of traditional Venezuelan styles. Partly Sunny is Monasterios' second album for Savant, and his choices suggest that he feels no need to accommodate any conventional expectations about how Latin jazz should sound. Whatever someone might argue to be some essence of "Latin," is here integrated into the overall sound. With his working trio augemented with the great clarinetist Anat Cohen, saxman Troy Roberts and the colorful percussion of Robert Quintero, Monasterios has given us an album that is exuberant & visceral as well as personal & considered.

HEART BEAT

EVERYTHING IS COOL