Eagle Rock Entertainment To Release New Blue Note Records Documentary Next Month

Courtesy: Eagle Rock Entertainment

Blue Note Records is among the most well-known and respected labels in the jazz industry, and next month, Eagle Rock Entertainment will release a new documentary that is focused on the company.

Blue Note Records: Beyond The Notes is scheduled for release Sept. 6 on DVD, Blu-ray and digital.  Directed by Sophie Huber, the documentary presents the history of the legendary label, which has been home to the likes of Wayne Shorter, Herbie Hancock and Thelonius Monk.

It starts at the label’s creation by two German immigrants — Alfred Lion and Francis Wolff and proceeds through the label’s life from there. The label’s story is told through the use of rare archived label footage, interviews with current Blue Note Records head Don Was and interviews with the man artists and acts who were and are signed to Blue Note Records.

A trailer for the documentary is streaming online now here. Pre-orders are open now for the doc’s DVD and Blu-ray platforms.

More information on this and other titles from Eagle Rock Entertainment is available online now at:

 

Website: http://www.eagle-rock.com

Facebook: http://www.facebook.com/EagleRockEnt

Twitter: http://twitter.com/EagleRockNews

 

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Ross’ Debut LP Could Take The Crown In This Year’s Best New Jazz & Blues Field

Courtesy: Blue Note Records

Vibraphonist Joel Ross released his debut full-length studio recording Kingmaker early this month.  Ross stated in an interview about the 12 songs that make up the 67-minute body of the album, that the songs are “influenced by people or events, relationships I had, or even a question someone posed.”  According to information provided about the album, many of the songs are tributes to his family, so in other words, the album is itself a full-on musical tribute to the people who played a part in one way or another in his personal development.  The compositions spawned from those experiences are works that will appeal to jazz fans of all backgrounds.  The album’s opener, ‘Touched by an Angel’ is just one of the works that supports the noted statements.  It will be addressed shortly.  ‘Is It Love That Inspires You,’ which comes just ahead of the album’s midway point, does just as much to support those statements.  It will be addressed a little later.  ‘It’s Too Late,’ the album’s finale, is another example of the power of Ross’ experiences on his music.  It will also be discussed later.  When it and the other two songs noted here are considered along with the nine songs that make up the rest of the record, the whole of Kingmaker proves to be a record that could easily take the crown on any jazz critic’s list of the year’s top new jazz albums.

Joel Ross’ debut full-length studio recording Kingmaker is a strong start for the Chicago-born, Brooklyn-raised vibraphonist.  It is a record whose compositions – crafted apparently from experiences in Ross’ own life – make it worthy of the crown in this year’s field of new jazz albums.  That is proven in part through the album’s opener, ‘Touched By An Angel.’  The song stands out because it exhibits the ability of Ross and company – Benjamin Tiberio (bass), Immanuel Wilkins (alto sax), Jeremy Corren (piano) and Jeremy Dutton (drums) – to play slow with control and more upbeat with just as much talent.  As the old adage states, anyone can play fast, but it takes a real musician to play slow and with control.  The song opens very down-tempo, with Ross creating the song’s foundation through a series of chords alone.  After a few opening bars, the subtle sound of the vibraphones.  Corren and Dutton eventually join in, performing in similarly subtle fashion.  As the song gradually progresses, Wilkins joins in, too making the arrangement even fuller.  As the song reaches and passes its midway point, Wilkins takes the lead, while Dutton adds his own fills (at the same time keeping solid time).  Ross even starts to add his own flare to the composition with an almost seemingly improvisational style performance.  By the time Ross and company reach the song’s final couple of minutes, it slows back down, yet all involved still maintain such control while presenting such a welcome improvisational style in their performances. By the time the song reaches its finale, audiences will not even realize that the song has run for almost 11 minutes.  In other words, the way in which the song progresses and the talent exhibited by each musician creates a song that keeps listeners engaged and entertained with ease.  It really does an exceptional job of illustrating what must have been such a positive experience in this case for Ross.  To that end, it would be interesting to learn what experience Ross had that led to the song’s creation.  It is just one of the songs that stands out among Kingmaker’s dozen total songs.  ‘Is It Love That Inspires You’ stands out just as much as ‘Touched By An Angel.’

‘Is It Love That Inspires You,’ unlike ‘Touched By An Angel,’ is a rather upbeat composition.  Ross takes the lead in this song while Dutton adds his own touch to the work.  The subtlety in Tiberio’s work on bass and Dutton’s full-on solos (which fully put on display his stick control and knowledge of his rudiments), add even more enjoyment to the song.  The upbeat feel from the group in whole serves to illustrate the nature of the song’s title very well.  Given, it is unknown if the “love” in this case is familial or if it is romantic.  This critic does not have liner notes to offer background.  Even with that in mind, the positive feel and energy in the composition goes a long way toward presenting the positive emotion that is implied in the title.  To that end, the song in whole becomes another clear example of why Kingmaker is such a strong offering from Ross and company.  It is not the last of the album’s most notable additions.  ‘It’s Too Late,’ the album’s finale, is another standout addition to the album.

‘It’s Too Late,’ like the other songs discussed here, stands out because of the ability of Ross and company to so expertly illustrate the mood set by the song’s title.  When one thinks of the statement, “It’s too late,” that is more often than not spoken and written in a negative connotation and associated with negative situations.  Sure, there are times when it is used in positive situations, but more often than not it is associated with negative situations.  That sentiment is expressed very well in this case, as Ross and company present a composition that exhibits a certain sense of melancholy.  Even with Dutton’s impeccable time keeping in what is an otherwise upbeat song in terms of tempo, the mood is one of some introspection, even as the song slowly fades in its final bars.  Considering all of this, it would once again be interesting to learn the experience that served as the inspiration for this song, as it is certain to be an interesting story.  The same applies to the other songs discussed here and the rest of the album’s works.  Each work featured in this record does an equally good job of telling its own musical story.  When they are all considered, they collectively make Kingmaker a record whose stories are certain to appeal to a wide range of listeners.  Keeping that in mind, it becomes one of the year’s strongest new jazz records and potentially one of the year’s top new albums overall.

Joel Ross’ debut album Kingmaker is a solid first effort from the up-and-coming multi-talented musician and his fellow performers.  That is due to a dozen featured songs that tell their own specific story in connection with the songs’ titles.  The songs also go a long way toward exhibiting the talents and abilities of each musician.  All three of the songs featured here support those statements.  When they are considered along with the nine remaining songs not addressed here, they collectively make Kingmaker a viable candidate for the crown on this year’s new jazz and blues records and even a spot on any critic’s list of the year’s top new albums overall.  Kingmaker is available now.  More information on Kingmaker is available online now along with all of Joel Ross’ latest news and more at:

 

 

 

Website: http://www.iplayvibes.com

Facebook: http://www.facebook.com/iplayvibes

Twitter: http://twitter.com/iplayvibes

 

 

 

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Joel Ross Debuts New Single; Announces New Live Dates

Courtesy: Blue Note Records

Vibraphonist Joel Ross will release his debut album next month, and in anticipation of its release, has debuted another single from the record.

Ross debuted the song ‘Yana‘ this week.  The song is taken from Ross’ debut album Kingmaker.  The album is scheduled for release May 3 through Blue Note Records.  The debut of ‘Yana’ comes less than a month after Ross debuted the lead single from Kingmaker, ‘Ill Relations.’

Kingmaker‘s full track listing is noted below.

The track listing for KingMaker is as follows:

1. Touched By An Angel

2. Prince Lynn’s Twin

3. The Grand Struggle Against Fear

4. Ill Relations

5. Is It Love That Inspires You?

6. Interlude

7. KingMaker

8. Freda’s Disposition feat. Gretchen Parlato

9. With Whom Do You Learn Trust?

10. Grey

11. Yana

12. It’s Already Too Late

Ross will launch a tour in support of Kingmaker May 22 in Brooklyn, NY.  The tour, which features performances in cities, such as Boston, MA; Atlanta, GA and New York, New York also includes dates in the UK this summer.  The tour’s current schedule is noted below.

JOEL ROSS – 2019 TOUR DATES:

May 22 – Roulette – Brooklyn, NY

May 25 – Atlanta Jazz Festival – Atlanta, GA

May 28 – Blues Alley – Washington DC

June 4 – Jazz Standard – New York, NY

June 5 – Jazz Standard – New York, NY

June 6 – Scullers Jazz – Boston, MA

July 10 – Pizza Express – London, UK

July 11 – Pizza Express – London, UK

July 14 – North Sea Jazz Festival – Rotterdam, Netherlands

July 17 – Umbria Jazz Festival – Umbria, Italy

July 19 – Plaza de Europa – Santa Cruz de Tenerife, Canary Islands

July 20 – Plaza de Santa Ana – Las Palmas de Gran Canaria, Canary Islands

August 3 – Newport Jazz Festival – Newport, RI

More information on Joel Ross’ upcoming album, tour and more is available online now at:

 

Website: http://www.iplayvibes.com

Facebook: http://www.facebook.com/iplayvibes

Twitter: http://twitter.com/iplayvibes

 

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Chris Dave and The Drumhedz Announces Debut Album’s Release Date; Unveils Debut Single

Courtesy: Blue Note Records

Hip-hop outfit Chris Dave and the Drumhedz will make its debut in the new year.

The group, led by drummer and composer Chris Dave, the band will release its self-titled debut album Jan. 26 via Blue Note Records. It features appearances by Anderson, .Paak, DJ Jazzy Jeff, Bilal, SiR, Anna Wise and others.

In anticipation of the album’s release, the group has released its lead single ‘Destiny n Stereo (ft. Elzhi, Phonte Coleman, & Eric Roberson).’ The song is streaming now on SoundCloud. Pre-orders for Chris Dave and the Drumhedz are open now. The album’s track listing is noted below.

Tracklisting:

1. Rocks Crying

2. Universal Language [ft. KRNDN, Sy Smith, D.Rose]

3. Dat Feelin [ft. Sir, Tiffany Gouche, Keyon Harrold]

4. Black Hole [ft. Anderson .Paak]

5. 2n1

6. Spread Her Wings [ft. Bilal, Tweet]

7. Whatever

8. Sensitive Granite [ft. Kendra Foster]

9. Cosmic Intercourse [ft. Stokley Williams, Casey Benjamin]

10. Atlanta, Texas [ft. Goapele and Shafiq Husayn]

11. Destiny n Stereo [ft. Elzhi, Phonte Coleman, Eric Roberson]

12. Clear View [ft. Anderson .Paak, Sir]

13. Job Well Done [ft. Anna Wise, Sir]

14. Lady Jane

15. Trippy Tipsy

More information on Chris Dave and the Drumhedz’ self-titled debut album is available online now along with all of the group’s latest news and more at:

Website: http://chris-dave.com

Facebook: http://www.facebook.com/officialchrisdaddydave

Twitter: http://twitter.com/chrisdaddydave

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Charles Lloyd Reveals New Live Recording’s Release Date, Lead Single

Courtesy: Blue Note Records

Veteran jazz musician Charles Lloyd will release his latest live recording this summer.

Passin’ Thru is scheduled to be released Friday, July 14 via Blue Note Records.  Audiences can hear the recording’s title track online now here.

The nearly seven-and-a-half-minute song, whose studio take was originally recorded in 1963–when Lloyd was a member of the Chico Hamilton Quartet–is driven largely by bassist Reuben Rogers. Though, Rogers’ fellow musicians do eventually join in, filling out the song.

Audiences can download ‘Passin’ Thru’ online now here.  The record’s track listing is noted below.

The track listing for Passin’ Thru is as follows:

1. Dream Weaver
2. Part 5, Ruminations
3. Nu Blues
4. How Can I Tell You
5. Tagore on the Delta
6. Passin’ Thru
7. Shiva Prayer

Joining Lloyd for the performance featured in this recording are Jason Moran (piano), Reuben Rogers (bass) and Eric Harland (drums).  More information on Passin’ Thru is available online now along with all of Charles Lloyd’s latest news at:

 

 

 

Website: http://charleslloyd.com

Facebook: http://www.facebook.com/CharlesLloydSax

Twitter: http://twitter.com/CharlesLloydSax

 

 

 

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Trombone Shorty Launches ‘Parking Lot Symphony’ Support Tour

Courtesy: Blue Note Records

Trombone Shorty hit the road this week in support of his latest album Parking Lot Symphony.

Shorty, whose real name is Troy Andrews, launched his latest slate of live dates Monday in New York City.  His next live performance will be May 4 at Shorty Fest at the House of Blues in New Orleans, LA.  Andrews’ latest tour also includes a performance at The Ritz Raleigh on Saturday, June 3, Greenfield Lake Amphitheatre in Wilmington, NC on June 4 and The Fillmore in Charlotte, NC on Sept. 26 as well as performances in Pennsylvania, Montana, Texas and many other states across the country.

The current schedule for Trombone Shorty’s new tour is noted below.

TROMBONE SHORTY & ORLEANS AVENUE – TOUR DATES (new dates in bold):

May 4 – Shorty Fest 2017 @ House of Blues – New Orleans, LA

May 7 – New Orleans Jazz & Heritage Festival

May 20 – Central Washington University Concert Hall – Ellensburg, WA

June 2 – Dominion Arts Center – Richmond, VA

June 3 – The Ritz – Raleigh, NC

June 4 – Greenfield Lake Amphitheatre – Wilmington, NC

June 6 – Ridgefield Playhouse – Ridgefield, CT

June 8 – Burlington Discover Jazz Festival – Burlington, VT

June 9 – Ocean City Music Pier – Ocean City, NJ

June 10 – Boarding House Park – Lowell, MA

June 11 – College Street Music Hall – New Haven, CT

June 15 – Sherman Theater – Stroudsburg, PA

June 16 – Westbury Theater – Westbury, NY

June 17 – Aura – Portland, ME

June 24 – Bayou Boogaloo & Cajun Festival – Norfolk, VA

June 29 – Meijer Gardens Amphitheater – Grand Rapids, MI

June 30 – Summerfest – Milwaukee, WI

July 1 – Grandview Park Bandshell – Sioux City, IA

July 2 – ESSENCE Festival – New Orleans, LA

August 3 – Freeman Stage at Bayside – Selbyville, DE

August 4 – Newport Jazz Festival – Newport, RI

August 5 – Summer Spirit Festival – Columbia, MD

August 14 – Wilma Theatre – Missoula, MT

August 16 – Red Rocks Amphitheater – Morrison, CO

August 17 – Red Butte Garden Amphitheatre – Salt Lake City, UT **co-headline with St. Paul & The Broken Bones**

August 19 – Edgefield – Troutdale, OR **co-headline with St. Paul & The Broken Bones**

August 20 – Woodland Park Zoo – Seattle, WA **co-headline with St. Paul & The Broken Bones**

August 22 – Mountain Winery – Saratoga, CA **co-headline with St. Paul & The Broken Bones**

August 24 – Green Music Center – Rohnert Park, CA **co-headline with St. Paul & The Broken Bones**

August 25 – Avila Beach Amphitheater – Avila Beach, CA **co-headline with St. Paul & The Broken Bones**

August 26 – The Chelsea – Las Vegas, NV **co-headline with St. Paul & The Broken Bones**

August 27 – Cal Coast Credit Union Open Air Theatre – San Diego, CA **co-headline with St. Paul & The Broken Bones**

August 30 – Hollywood Bowl – Los Angeles, CA **co-headline with St. Paul & The Broken Bones**

September 14 – ACL Live at the Moody Theater – Austin, TX

September 15 – Aztec Theater – San Antonio, TX

September 16 – Pavilion at the Music Factory – Irving, TX

September 19 – House of Blues – Houston, TX

September 20 – Saenger Theater – Mobile, AL

September 21 – Tabernacle – Atlanta, GA

September 23 – Pilgrimage Music & Cultural Festival – Franklin, TN

September 24 – Bourbon & Beyond Festival – Louisville, KY

September 26 – The Fillmore – Charlotte, NC

September 28 – Jannus Live – St. Petersburg, FL

September 29 – Revolution – Ft. Lauderdale, FL

September 30 – Revolution – Ft. Lauderdale, FL

October 1 – Ponte Vedra Concert Hall – Ponte Vedra, FL

October 10 – Orpheum Theater – Boston, MA

October 11 – The Fillmore – Philadelphia, PA

October 13 – Terminal 5 – New York, NY

October 14 – Terminal 5 – New York, NY

October 20 – Palace Theater – St. Paul, MN

October 21 – Riviera Theatre – Chicago, IL

October 23 – Danforth Music Hall – Toronto, Canada

October 24 – Danforth Music Hall – Toronto, Canada

October 26 – The Fillmore – Detroit, MI

October 27 – Egyptian Room at Old National Centre – Indianapolis, IN

Along with his new live dates, Andrews has also released the latest single from his new album.  ‘No Good Time,’ the record’s third single, is out now.  It is streaming online now here.  The song mixes elements of gospel, blues, jazz and R&B for an interesting new offering.

More information on Trombone Shorty’s new live dates, album, news and more is available online now at:

 

 

 

Website: http://tromboneshorty.com

Facebook: http://www.facebook.com/TromboneShorty

 

 

 

Twitter: http://twitter.com/tromboneshorty

 

 

 

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Hayes Announces Release Date For New Horace Silver Tribute Record

Courtesy: Blue Note Records

Famed jazz drummer Louis Hayes will has announced the release date for his next full-length studio recording.

Serenade For Horace will be released Friday, May 26 via Blue Note Records.  The album is a tribute to his friend Horace Silver, who was an accomplished and respected composer, pianist and band leader.

“I wanted to do this recording for Horace Silver because I wanted jazz fans to hear his music and I wanted to honor his memory,” Hayes wrote in the album’s liner notes.  “Horace and I always stayed in touch ever since I first worked with him.  When he got to the point he wasn’t feeling too well, I went to see him and one day he said to me, “Louis, you’re a part of my history.”  I thought about what that meant and I began thinking about how to take Horace’s music and his legacy into the future.”

The album’s lead single ‘Song For My Father’ is available now for download through various digital outlets.  It features vocals from Grammy® Award-winning vocalist Gregory Porter.  The 11-song record can be pre-ordered online now here, and features 10 classic Horace Silver compositions along with Hayes’ original work, ‘Hastings Street.’

Serenade for Horace’s full track listing is noted below.

The track listing for Serenade for Horace is as follows:

1. Ecaroh
2. Señor Blues
3. Song for My Father feat.Gregory Porter
4. Hastings Street
5. Strollin’
6. Juicy Lucy
7. Silver’s Serenade
8. Lonely Woman
9. Summer in Central Park
10. St. Vitus Dance
11. Room 608

In anticipation of the album’s release, Hayes has scheduled a three-night stint at Dizzy’s Club at Jazz at Lincoln Center from May 29 – 31.  The dates also coincide with Hayes’ 80^th birthday.

More information on this and other titles from Blue Note Records is available online now at:

 

 

 

Website: http://www.bluenote.com

Facebook: http://www.facebook.com/bluenote

Twitter: http://twitter.com/bluenoterecords

 

 

 

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Logan Richardson Releases His Latest LP This Week

Courtesy: Blue Note Records

Saxophonist Logan Richardson will release his latest full-length studio recording this week.

Logan Richardson will release Shift, his latest full-length studio recording this week. The album is Richardson’s first for Blue Note Records and his third overall full-length studio recording. It comes a little more than six years after his most recent album, 2008’s Ethos. That album was released via Inner Circle Music. Richardson brought enlisted one of the biggest names in the jazz industry today for the record in guitarist Pat Metheny for the record. In discussing joining Richardson for Shift Metheny noted Richardson’s talent and his overall vision that impressed him most about working with him. “While he is unquestionably one of the best new alto players to emerge of his generation, it is his overall artistic vision that impresses the most,” he said. Also on board for the project are pianist Jason Moran, bassist Harish Raghavan, and drummer Nasheet Waits.

Shift will be available in stores and online this Friday, February 26^th. It can be pre-ordered online now via Amazon and iTunes. It boasts ten original compositions from Richardson and a cover of Bruno Mars’ ‘Locked Out Of Heaven.’ Audiences that pre-order the album now will get the album’s lead track ‘Mind Free’ immediately. The song is also streaming in full online now via YouTube and other streaming services. Audiences can also check out the album’s trailer online now via YouTube at https://www.youtube.com/watch?v=pbieGieGfGk&feature=youtu.be.

Richardson will tour in support of Shift beginning March 12^th in Vincennes, France. His current tour takes him to a handful of venues throughout Europe in March and April. There is also a planned date in New York, NY on May 20^th at Dizzy’s Coca Cola Club. All of the latest updates on Richardson’s tour is available online now along with all of his latest news and more at:

 

Website: http://www.loganrichardson.global

Facebook: http://www.facebook.com/loganrichardsonworld

 

To keep up with the latest sports and entertainment news and reviews, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment news and reviews in the Phil’s Picks blog at https://philspicks.wordpress.com.

Blanchard’s New Album Will Leave Listeners Breathless

Courtesy: Blue Note Records

Famed trumpet player Terence Blanchard has seemingly done it all since first becoming a household name some thirty-five years ago with the Lionel Hampton Orchestra. He has remained one of the most influential musicians in the music industry throughout that time. He has also composed and arranged some of the most beloved songs that music lovers and moviegoers have ever heard. He has also become a well-respected educator. Considering this, one would think that Blanchard would be happy doing everything that he does. Apparently he is not one to rest easily on his laurels, having released countless studio recordings and movie soundtracks throughout his career. This past May, Blanchard added to his already extensive catalogue of recordings when he released his latest studio effort Breathless. Released May 26th via Blue Note Records, Breathless is an aptly titled record. That is because it will in fact leave listeners breathless with awe with its thirteen total tracks. The songs that make up the body of the record will leave audiences so in awe primarily because of their diversity. Blanchard doesn’t stick solely to the realm of jazz in this album. Rather he expands out into other musical avenues throughout the course of the record, presenting pieces that audiences of all tastes will appreciate. The structure of the songs is also of note. That is especially the case in regards to the more jazz and fusion oriented pieces. The attention to detail in regards to those songs’ structures will keep listeners entirely engaged even despite the length of some of said compositions. Last but not least worth noting of Breathless that makes it an aptly titled album is the sequencing of the album’s songs. Just as much attention was paid to the general effect of the album in its sequencing as to the creation of the songs themselves. That element, when set alongside the structure of the songs, and their diverse nature, completes the album and shows in full why Breathless will indeed leave listeners breathless in the best possible way.

Terence Blanchard’s latest full-length studio release Breathless is an aptly titled album. As noted already, that is because it will in fact leave listeners breathless in the best possible way. The main way in which it leaves audiences so in awe is in its selection of songs. Throughout the course of the album’s thirteen tracks, Blanchard and his fellow musicians–Oscar Seaton (drums), Donald Ramsey (bass), Charles Altura (guitar), Fabian Almazan (keyboards, electronics), and P.J. Morton (vocals)–do not stick solely to one style of music. Blanchard’s jazz roots are there in the form of the Miles Davis-esque ‘See Me As I Am’ and the more smooth jazz style ‘Everglades.’ ‘Shutting Down’ exhibits blatant R&B sounds, and ‘Compared to What,’ the album’s opener, exhibits a clear funk style vibe. There is even a song in ‘Cosmic Warrior’ that could be argued to have something of a rock influence. That obviously doesn’t even cover all of the songs featured throughout the course of the album’s seventy-eight minute run time. Along with everything else already noted, Blanchard and company have also included a pair of semi-spoken word pieces of sorts in the form of ‘Samadhi’ and the album’s title track. Those wanting something with a little more energy will enjoy the fusion style of ‘Confident Selflessness.’ If all of that isn’t enough, the funk/hip hop hybrid sound of ‘Soldiers’ will impress listeners. That sound combines with that of the other noted songs and that of the compositions not noted to display a variety of sounds that will impress listeners of all ages and in turn keep said listeners engaged from start to finish. That variety is within itself plenty of reason for listeners of all ages to take in Breathless. In giving it a chance, those listeners that do will agree that such a swath of sounds in itself will leave them breathless and in awe. It is just the tip of the iceberg in what makes Breathless such an aptly titled record, too. The structure of many of the songs is just as certain to leave listeners breathless.

The diverse range of sounds displayed throughout the course of Breathless’ thirteen tracks is within itself certain to leave listeners breathless and in awe by the time the record ends. Of course as key as this is to the record’s enjoyment, the structure of the songs is just as important to note. ‘Everglades,’ the album’s third track is proof positive of the importance of the songs’ structures. ‘Everglades’ runs a total of fourteen minutes and thirty-four seconds. For many listeners, that may seem like a rather long run time. However those that allow themselves to be immersed in the song will hear for themselves just why the song’s structure is so important in relation to its run time. The song is split clearly into a definitive ABC pattern over the course of its run time. Throughout the course of those three sections, the song doesn’t just switch from one section to the next. Rather it evolves as it progresses, starting softly and growing until it reaches its climax roughly halfway through. From there, it switches very quickly, gradually descending in intensity straight through to the song’s closing seconds. The song’s balance as it rises and falls makes its fourteen-minute plus run time feel much less. Simply put, it makes that run time feel like little more than a background note for lack of better wording.

The well thought out structure of ‘Everglades’ is within itself solid proof of the importance of the overall structure of Breathless’ songs in its enjoyment. It’s just one example of the importance of the songs’ structure in the record’s overall impact. ‘See Me As I Am,’ the album’s second song is another example of the importance of song structure to the album’s enjoyment. This song is in part a direct throwback to Miles Davis’ legendary album Kind of Blue thanks to Blanchard’s smooth work on the trumpet alongside the talents of his band mates. The song comes in at nearly nine minutes (8:53 to be exact). Yet its structure (its arrangement) makes that run time just as inconsequential as that of ‘Everglades.’ Its arrangement encourages listeners to close their eyes and take in the music. Those listeners that do take it in will note how time seems to simply slip by as the song progresses. That is again thanks to the attention paid to the song’s structure as it was being composed and performed. Understanding this, audiences will once again agree why the structure (arrangement) of the songs is just as pivotal to leaving listeners breathless and in awe by the album’s end as the diversity of the songs themselves.

‘Everglades’ and ‘See Me As I Am’ are both solid examples of why the arrangements, or structures, of Breathless’ songs are so important to the album’s enjoyment overall. ‘Compared To What’ is one more example of the importance of the structure of the songs in the bigger picture of the album’s enjoyment. At five minutes and forty-nine seconds, it is not the album’s shortest song. Nor is it the album’s longest. But it does exceed the standard three to five-minute run time of most mainstream songs. Audiences will note in regards to this song’s arrangement that it keeps the energy flowing from start to finish. At no one point from start to finish does it let up. Its sustained energy makes it a perfect choice to open the album and an equally solid lead-in to the more reserved sound of ‘See Me As I Am’ before the rest of the album progresses. Speaking of the rest of the album, this composition is just one more of so many included in Breathless that could be used to exemplify the importance of the songs’ structure in the enjoyment of the record in whole. The structure of those other songs together with that of the pieces noted here shows in whole why together with the choice of songs, Breathless will leave listeners breathless and in total awe of the talents of Blanchard and his band mates.

The structure, or arrangement, of each of Breathless’ songs taken into consideration along with the choice of songs featured throughout the record show clearly why this record will leave listeners breathless in the best way possible. While both elements together play an important, collective role in the success and enjoyment of Breathless, they are not all that should be noted in that success and enjoyment. The sequencing of the songs is noteworthy, too. Listeners will note that from its high-energy opener to the laid back grooves of its title track to the deeper, and at times heavier sound of ‘Cosmic Warrior’ to the gentle tones of the album’s closer ‘Midnight,’ the sequencing of each of the album’s songs proves quite important in its own right to the enjoyment and success of this standout album. The energy level of each song in relation to the other makes the album’s near eighty-minute run time pass by in the best way possible, leaving. By the end, listeners will feel completely satisfied knowing that they have just heard an album that once again will leave them breathless in the best way possible.

Terence Blanchard’s latest full-length LP is a surprisingly enjoyable new release. From start to finish, the thirteen-track record shows in a number of ways just what makes it such an enjoyable collection of songs. The ways in which it does so include: its diverse selection of songs, the structure, or arrangement of said songs, and the overall sequencing of those songs. All three elements prove to be of equal importance in the enjoyment of this album. Collectively, they prove with the fullest clarity why Breathless will leave listeners breathless in the best way possible. Breathless is available now in stores and online and can be ordered direct from Blue Note Records’ online store at http://bluenote.shop.bravadousa.com/Product.aspx?cp=60921&pc=BGCDBU37. More information on Breathless is available now online along with all of the latest news and more from Terence Blanchard at:

Website: http://www.terenceblanchard.com

Facebook: http://www.facebook.com/TerenceBlanchardJazz

Twitter: http://twitter.com/T_Blanchard

To keep up with the latest sports and entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it. Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.

Lickety Split Rocks Its Way Into The Year’s Best New Records List

Courtesy: Blue Note Records

Robert Randolph and the Family Band are back.  And they are back in grand fashion on their first album in three years.  The new record, Lickety Split is one of the best new records of 2013, hands down.  This twelve-song musical masterpiece mixes lots of fun anthems with some more subdued pieces and tosses in a pair of covers and a famous guest spot to make it an album that audiences will find themselves enjoying even more with each listen. 

Among the best of the album’s more full on songs is its opener, ‘Amped Up.’  This was the perfect choice with which to open the album.  It wastes no time at all getting listeners moving.  The energy kicks right into gear at one thousand percent, making listeners want to pump the volume on their stereos and iPods to eleven.  It’s just a fun, full on song that anyone will enjoy.  Randolph sings cheerfully, You’ve only got one life to live/So give it everything you’ve got to give/If anybody asks you why/Look ‘em in the eye and say/I’m about to get amped up/Everybody throw your hands up/Come on and get cranked up/Everybody get amped up.”  The energy from the lyrics mixes with the song’s music to easily achieve its goal at getting audiences amped up and moving.  Once the song ends, Randolph and company pull back, but not too much, in the bluesy/gospel hybrid ‘Born Again.’ 

‘Born Again’ isn’t as high energy as ‘Amped Up.’  But, it still has its own energy.  The song’s bluesy/gospel hybrid sound is just like something that one might actually hear in a church.  Ironically enough Randolph himself stated of the song that this song was originally a love song.  “It’s about finding the joy again,” he said.  “At first, it was more of a love song, about the sense you get when you find the right person.  Then as we were recording this new music with a whole new sense of direction and feeling free again it all came together.  It’s not a religious thing, it’s just new energy—which is really the old energy that I had at the beginning of my career.”   It’s interesting that he notes that it not only started out as a love song, but that it was also not a religious thing.  That’s because with its hybrid sound, it could just as easily pass for a song one might hear in a church.  Regardless, it’s a song that any listener will enjoy.  Vocalist Lenesha Randolph’s vocals are so strong throughout the song.  And the addition of a choir to back the band serves to make the song that much better.  It’s such an impressive follow-up to the album’s opener that by its end, some listeners might even find themselves out of breath and energy having danced their way through both songs.  Thankfully, the band pulls back just a little more on the next song, ‘New Orleans.’

New Orleans is even more pulled back than the first two songs on Lickety Split.  After all of the energy carried by those two songs, this seeming love letter to one of America’s greatest cities is perfectly placed in the album’s overall sequencing.  Again, Lenesha Randolph takes center stage, her vocals so gentle and calming.  Set again Robert Randolph’s slightly more upbeat sections, the two make for a wonderful juxtaposition celebrating Nola.  Lenesha sings fondly of the city, “I heard a sound/Sweet soulful sound/And a happy song/In my dreams/A marching band/Piano man/And that soul…/So sad and sweet.”  The tone in her singing instantly creates such a sense of nostalgia among listeners.  This includes even listeners who have maybe never been to New Orleans.  One can almost see images in sepia tone in their minds, everything of which she sings.  Robert Randolph’s counterpoint, on the other hand, brings everything into full color.  It helps to paint a massive, happy picture of a city that has done and meant so much to America.  It’s one more wonderful addition to an album that boasts so many high points. 

The joy of this album doesn’t end with its first trio of songs.  As soon as ‘New Orleans’ fades gently away, the party gets moving again with the aptly titled, ‘Take The Party.’  This piece brings back the energy of the album’s opener before easing into the more old school funk influenced ‘Brand New Wayo.’  The fun doesn’t end here, either.  Randolph and company keep listeners’ ears throughout the rest of this album. This is thanks in large part to the band’s continued talent and skill as musicians.  Credit will be given where credit is due here.  The people behind the boards are also to thank for this album’s fun factor, as well as guest guitarist Carlos Santana and trombone player, Trombone Shorty. 

Engineer Eddie Kramer (Jimi Hendrix, Led Zeppelin) and mixer Jim Scott (Tedeschi Trucks Band) deserve their own credit for the work behind the boards on this record.  It’s no wonder that Lickety Split bears significance to the Tedeschi Trucks Band with Scott on board.  If one didn’t know any better, one would think that one of the husband/wife duo of Susan Tedeschi and Derek Trucks was in fact guesting, hearing the guitar work throughout the record.  Though having fellow legend Carlos Santana on board, helping with guitar duties doesn’t hurt, either.  That bonus, and the work of everybody else involved on this record makes Lickety Split a must hear for any long-time Robert Randolph fan and for anyone that is new to the work of this highly accomplished musician and his family.  It will be available tomorrow, July 16^th in stores and online. Audiences can keep an eye out for it in the official Robert Randolph online store at http://www.robertrandolph.net.  Fans can also go here and the band’s official Facebook page, http://www.facebook.com/rrtfb and “Like” it to keep up with all of the latest news and tour information from the band.

To keep up with the latest sports and entertainment reviews and news, go online to http://www.facebook.com/philspicks and “Like” it.  Fans can always keep up with the latest sports and entertainment reviews and news in the Phil’s Picks blog at https://philspicks.wordpress.com.