Featuring: Ambrose Akinmusire -trumpet; Walter Smith– tenor sax; Fabian Albmazon, piano; Harish Ragavan, bass; Justin Brown, drums
..:: SOURCE: YouTube.com ::..
“Gretchen Parlato has proven herself to be exactly the type of driven, inspiring, and creative artist that I knew she would be the first time I met her. She is something special.” – Terence Blanchard
Watch Gretchen’s recent performance with Esperanza Spalding on The View
Acclaimed vocalist Gretchen Parlato will kick off the release of her new album, The Lost And Found, with an NPR Music “Exlusive First Listen.”
From March 28 – April 5, NPR Music will make The Lost And Found available for free on-demand listening in its entirety at NPRMusic.org and through the NPR Music App for iPhone and iPod Touch; a week-long world exclusive, culminating with the retail release of the album on April 5.
Gretchen Parlato’s 2009 sophomore breakthrough, In a Dream, signaled the arrival of an incredibly inventive modern jazz singer. Her follow-up, The Lost and Found, demonstrates that she has staying power. In a Dream garnered international acclaim with Billboard magazine hailing it as “the most alluring jazz vocal album of 2009”; it also made it onto the top year-end polls for Jazz Times, the Boston Globe, the Village Voice and NPR. The Lost And Found shows immediate weight and intensity, exposing a greater dynamic range. “I feel like I stepped out of my own way and allowed myself to be more revealing and vulnerable through the music,” reflects Parlato. Continue reading
From April 6 to 8, five-time Grammy Award-winning bassist Victor Wooten will be in residence at Berklee College of Music. April 6, Wooten will team up with banjo great and Flecktones bandmate Béla Fleck for a master class, and on April 8 he will deliver the keynote at Berklee’s 17th Annual Liberal Arts Symposium. These events are not open to the public. The media can attend by request.
The master class with Béla Fleck takes place Wednesday, April 6, from 1:15 to 3:00 p.m. at the Berklee Performance Center, 136 Massachusetts Avenue. Fleck is at Berklee from April 5-6 for the American Roots Music Program’s Banjo Masters Residency, which brings world-renowned banjo players to the college to give students private and ensemble based instruction.
Berklee’s 17th Annual Liberal Arts Symposium takes place Friday, April 8, from 9:30 a.m. to 12:30 p.m. at David Friend Recital Hall, 921 Boylston Street. At the event, Wooten will discuss his book The Music Lesson: A Spiritual Search for Growth Through Music. The book is being used in the Berklee Liberal Arts Department’s Artistry, Creativity, and Inquiry Seminar, and it illustrates that musical gifts mirror those from life, and each movement, phrase, and chord has its own meaning. Continue reading
GARAGE A TROIS Featuring SKERIK, MIKE DILLON, MARCO BENEVENTO & STANTON MOORE
To Release ALWAYS BE HAPPY, BUT STAY EVIL On April 12
On April 12, Garage A Trois will release Always Be Happy, But Stay Evil via Royal Potato Family. Aptly described by photographer John Margaretten as “a transformative, punkalectic, pornographic seizure of sight and sound,” the modern day post rock/freak jazz supergroup will support the album with west and east coast tour dates in April and May. Garage A Trois, a force greater than the sum of its colossal parts, is comprised of Seattle-based saxophonics master Skerik, Brooklyn sound-sculptor/keysman Marco Benevento, Texas-born punk rock vibraphone hero Mike Dillon and New Orleans funky drummer/beat scientist Stanton Moore.
Always Be Happy, But Stay Evil follows Garage A Trois’ 2009 release, Power Patriot (the band’s debut with Benevento replacing original member Charlie Hunter). In the words of Stanton Moore, “the band set out to capture the highly flammable, rock-driven, avant pop album we all knew we were capable of making.” Recorded at Studio In The Country in Bogalusa, LA (where masterpieces by The Neville Brothers, Stevie Wonder and The Wild Magnolias have been cut) with revered engineer/producer Randall Dunn (Cave Singers, Black Mountain, Sun City Girls), Always Be Happy, But Stay Evil is indeed the finest representation yet of the band’s sinewy, fourth-dimensional, polychromatic songwriting. It’s sure to fuel the fire for a growing legion of fans amassing around the most dangerous instrumental band on the scene today. Continue reading