January 15, 2014To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo, jim@jazzpromoservices.com
Special Valentine’s Day ReleaseJohn Brown “Quiet Time”


John Brown (bass)
Ray Codrington (trumpet, flugelhorn)
Brian Miller (saxophone)
Gabe Evens (piano)
Adonis Rose (drums)

Track Listing

1    Come Live with Me (Martyn Ware, Glenn Gregory & Ian Craig Marsh)  6:06
2    Quiet Time (John V. Brown) 5:41
3    …and the Willow Weeps (Dr. Lonnie Smith) 9:01
4    When Summer Comes (Oscar Peterson)     7:43
5    A Lullaby of Itsugo Village (Elvin Jones)     8:38
6    You Don’t Know What Love Is (Gene DePaul / Don Raye) 7:45
7    When October Goes (Barry Manilow / Johnny Mercer) 8:12
8    Theme for Monterey (Gerald Wilson) 8:08
9    Lost (Gabriel Evens) 6:37
10    Don’t Let Me Be Lonely Tonight (James Taylor) 6:48

(Brown Boulevard)
Street Date February 14, 2014

Multitalented bassist/bandleader John Brown takes listeners on a peaceful journey to where he hopes ”to move people to stand still; to stop to find private space to experience quiet time both alone and with someone.”

On his earlier critically acclaimed outings, Terms Of Art and Dancing With The Duke, Brown explored two of jazz’s most popular repertoires; digging deep into the soulful sounds of Art Blakey and the Jazz Messengers on the former and mining gems from the sophisticated songbook of the maestro Duke Ellington on the latter. Now on Quiet Time, the North Carolina bass man shows off his encyclopedic knowledge of the jazz canon, presenting a thoughtful program that ranges from brand new originals and little known jazz masterpieces to pop(ular) radio hits and classics culled from the Great American Songbook.

Drawing on his extensive experience performing with everbody from Elvin Jones to Nnenna Freelon, Brown has put together a stirring selection of music, which while focused on the theme of quietude is nonetheless multifaceted, traversing a dynamic range of emotions that is never lacking in interest or intensity.  Leading his North Carolinian working quintet featuring the commanding multigenerational front line of veteran trumpeter/flugelhornist Ray Codrington and young alto/tenor saxophonist Brian Miller, along with swinging rhythm section mates, pianist Gabe Evens and drummer Adonis Rose, Brown provides the solid foundation that keeps the music grooving throughout.  The unit, which debuted on Brown’s Terms Of Art, returns tighter than ever, once again in the words of Jazz Times’ Bill Milkowski, “solidly swinging and full of deep feeling from start to finish.”

The band gets right to the heart and soul of the album’s with the opener Come Live With Me. Miller’s soulful sax states the melody of the Ray Charles super hit with a slow and easy sound that recalls the late great sax man Hank Crawford, as he’s accompanied by Evens’ sanctified church piano chords. Brown’s long low bass notes are as mellow as a lazy Sunday afternoon and Rose’s beat is as emphatic as it is unobtrusive.  Codrington’s short sweet solo displays his a truly original sound on trumpet, his clear speech like articulation evincing the hymnal beauty of a choir soloist before Miller’s wailing cries recapitulate the popular melody and Evens ends the proceedings with a rubato coda.

Codrington’s mellifluous flugelhorn opens Brown’s beautiful title track, Quiet Times – his broad pure tone lyrically announcing the melancholy mood of the romantic tome.  Miller, attaching himself to the final notes of his frontline mate’s solo, reinforces the tender feeling, first with his own passionate solo and then in enchanting harmony.  Even’s is pensive in his improvisation, his unhurried pace buoyed by Brown’s even pulse and Rose’s delicate brushwork, before the two horns return to take things out in tandem, conjuring the image of lover’s in a blissful embrace.

The mood changes on Dr. Lonnie Smith’s … and the Willow Weeps.  Previously recorded under the title of As The World Weeps, by the organist composer on his Rise Up disc and Dr. Michael White on Adventures In New Orleans Jazz, Part Two, Brown and company take this Crescent City funeral march at a measured deliberate pace, with Rose digging down deep into his hometown roots to direct the music’s solemn tempo.  Miller switches to tenor, his big brooding sound complemented by Codrington’s flugelhorn on the mournful dirge.

When Summer Comes, penned by Oscar Peterson as part of his ten song Royal Wedding Suite commemorating the nuptials of Great Britain’s Prince Charles and Lady Diana, is one of the late great Canadian pianist’s most moving masterpieces.  Codrington stays with his flugelhorn to open the proceeding, once again his pure tone, consistent throughout his full range, brings out the beauty of the song’s lyrical melody.  Miller, again on tenor, takes his time to sing out his song of praise with the patience and power. Stepping into the spotlight briefly, Brown shows himself to be a capable soloist, with lyrical phrasing and a singing tone.

Codrington switches to muted trumpet to accentuate the exotic flavor of Elvin Jones’ A Lullaby of Itsugo Village, a song Brown first encountered as a member of the iconic drum master’s Jazz Machine band.  Based on a Japanese folk song, the pretty waltz is a shining example of Brown’s wise observation, “It is in the moments when we allow ourselves to sit still and hear quiet that we find our inner voices, our inner passion, our inner strength, our inner selves.”  Here on this meditative melody each of the band members reaches deep into their souls to show their individual selves, as they come together to combine their personal sounds in a quiet intensity.

The inclusion of You Don’t Know What Love Is in the program is more than fitting. One of the most recorded compositions in the Great American Songbook, the Don Raye/Gene de Paul classic epitomizes the themes of romance and loneliness that often fills one’s “quiet time.”  A feature for tenor and bass, Brown stretches out on this one, displaying the virtuoso technique that allows him the wide range of expression that makes this date so successful.

When October Goes, the posthumous pairing of Johnny Mercer’s lyric with a Barry Manilow melody, was first heard on the pop idol’s jazzy 2:00 AM Paradise Café album, featuring the likes of Sarah Vaughn, Mel Torme, Gerry Mulligan, Bill Mays, Mundell Lowe, George Duvivier and Shelley Manne.  Since its initial recording it has found it way into the standard jazz repertory with vocal versions by Nancy Wilson, Rosemary Clooney and Dianne Schurr.  This rendition spotlights instrumental ballad talents of Codrington and Miller.

Gerald Wilson’s Theme For Monterey, from the NEA Jazz Master’s same titled suite, commissioned to premiere at the 1997 edition of the venerable California jazz festival, was orchestrated by the great arranger/composer to be heard in a variety moods, from a ballad to a shout.  Here the quintet reprises the first movement of the work, aptly subtitled Romance.

Lost is written by pianist Gabe Evens, whose fine work as talented young composer has been previously documented on his own albums, Connection and Mobius.  The poignant piece features both the composer’s piano and Miler’s alto.

The date concludes appropriately with James Taylor’s plaintive plea Don’t Let Me Be Lonely Tonight. Even’s opens with gospel tinged chords and Miller takes his time reciting the melody on his horn as the rhythm section sets an unhurried tempo that lets every note of the familiar song ring out with touching nearness.

In creating Quite Time John Brown has given music lovers a precious gift that can be equally enjoyed in solitude or the company of a dear one.  As he wisely says, “Enjoying quiet time and sharing what we find in these intimate moments with someone special is an added pleasure.”  One that he sincerely hopes people will enjoy “over and over.”

CD Available From
Artist Website

Media Contact
Jim Eigo Jazz Promo Services
Ph: 845-986-1677 / jim@jazzpromoservices.com
“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

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January 15, 2014To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo, jim@jazzpromoservices.com

Flushing Town Hall
Music Mix Series

January 2014
Alex Blake Quartet
FRI, JAN 24, 8 PM
Tickets start at $10
Alex Blake is a modern bass virtuoso recognized for his technical and stylistic mastery of the classical upright (double) bass and the electric bass. From classical fingering and guitar-like strumming of intricate melodic patterns to resounding slapping and vibrant staccatos, Blake produces a full range of harmonies and rhythms.LUNAR NEW YEAR – JAZZ:
Young Joo Song Quartet
FRI, JAN 31, 8 PM
Tickets start at $10
Young Joo Song is one of Korea’s leading Jazz pianists. Her swift rise in the Jazz world enabled her to record 8 albums with distinguished labels such as EMI, Warner and Sony. She also earned “Best Jazz Album” and “Best Jazz Performance” at the Korea Music Awards.

For a complete list of all events visit www.flushingtownhall.org, or for more information, photos or to interview facilitators and/or performers, please contact Malika Granville (718) 463-7700 x244; mgranville@flushingtownhall.org

Flushing Town Hall is conveniently located on 137-35 Northern Boulevard Flushing, NY, 11354; a block and half east of Main Street, FTH is easily accessible by subway and bus; we offer limited, free parking for our patrons. For tickets and more information, visit: flushingtownhall.org, or call the Box Office: (718) 463-7700, ext. 222.


Flushing Council on Culture and the Arts (FCCA) was founded in 1979 to be a revitalizing force for its community, and a creative catalyst for developing and promoting the arts throughout the Borough of Queens, the most culturally diverse county in the United States. FCCA restored, operates and programs historic Flushing Town Hall (circa 1862) as a multi arts center (on behalf of New York City, which owns the building) and provides services to artists, arts organizations and educational institutions, borough- wide.

FCCA also receives major support from the National Endowment for the Arts; New York State Council on the Arts, a State Agency; New York City Department of Cultural Affairs, Mayor Michael R. Bloomberg; New York City Department of Education; Queens Borough President Hon. Helen Marshall; NYC Council Members Hon. Leroy Comrie, Hon. James Gennaro, and Hon. Peter Koo; Queens Delegation; and Bloomberg Philanthropies.

This E Mail is being sent for Flushing Town Hall by:Jim Eigo Jazz Promo Services
272 Ste Route 94 S #1  Warwick, NY 10990
T: 845-986-1677 / F: 845-986-1699
E-Mail: jim@jazzpromoservices.com
Web Site: www.jazzpromoservices.com/



January 15, 2014To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo, jim@jazzpromoservices.com
Shawn Maxwell’s Alliance
CD Release Weekend

Thursday, February 20th through Sunday, February 23rd
8pm & 10pm everynight, special 4pm matinee on Sunday
Joe & Wayne Segal’s Jazz Showcase
806 S Plymouth Ct. (Corner of W Polk & S Plymouth)
Chicago, IL 60605
$20 – no minimum
jazzshowcase.comPurchase Ticket Direct Link


Shawn Maxwell – alto saxophone, flute, clarinet
Chris Greene – soprano saxophone
Keri Johnsrud – voice
Mitch Corso – guitar
Stephen Lynerd – vibraphone/percussion
Meghan Fulton – french horn
Rachel Maxwell – french horn
Marc Piane – acoustic bass
Stacy McMichael – acoustic bass
Paul Townsend – drums

(Chicago Sessions CS0021)
Street Date February 18th, 2014

SHAWN MAXWELL’S ALLIANCEThe alto saxist and composer Shawn Maxwell lives and works in Chicago, where a prodigious number of talented musicians have created a vibrant and impressive jazz scene – the largest (and consequently most crowded) aggregation of top-tier players in the U.S., after New York. Such an environment provides a great deal of stimulation, as well as the assurance of finding the resources needed to fulfill nearly any musical concept. But it also provides a lot of layers, under which even a player with his own strong stamp can get buried.

“There are so many great saxophonists in Chicago,” Maxwell muses, “and we’re all doing the same sort of project, with a quartet or quintet; it’s frustrating that we get buried in the pack. It’s hard to get noticed. And personally, I get frustrated doing the same thing myself. I wanted to break out; I wanted to try something completely

Mission accomplished. Times ten.

Maxwell’s rationale for this album is a bit misleading: in point of fact, his four previous albums, and particularly his last two (on Chicago Sessions), have shown continual growth and development, as opposed to “doing the same thing.” But you can still appreciate his desire to break the mold – to bust a 90-degree move off the path he has followed till now; to cast his musical ideas out the window and let them land as they might, like the I Ching, arranging themselves into patterns for new
interpretation and potential insight.

And sure enough, the music on this album bears little if any resemblance to his previous discs. For starters, many of the tunes are surprisingly short – bite-sized even. (You don’t squeeze 18 tracks onto an album by making any of them an epic; Maxwell himself characterizes some of these tracks as “sketches,” rather than full-fledged compositions.) What’s more, the tunes don’t swing, at least not in any conventional sense. They strut or brood, percolate or pogo, but no one will mistake the underlying beats for the classic rhythmic engine of hard-bop, or the streamlined pulse of more modern styles, or the energy bursts of the avant-garde. As for the instrumentation, it resembles an unholy alliance of several discrete sources: the translucent voicings of a little big band crossed with textures of what the 1950s knew as “exotica” – heavy on the woodwinds – and expressed in insistent unison lines, sotto voce counterpoints, and occasional touches of space-alien electronics.

Well, he did say “different.”

“I just think that the more I play and record, the more comfortable I get with myself – and more of the ‘real me’ comes out,” Maxwell says, building on previous statements about his earlier efforts to “fit into some sort of box of what I thought people wanted to hear.” So on Alliance, he allows, “I threw abandon out the window. It’s just what I heard in my head. I only put this group together to see what would happen in
rehearsals; I had no plans to record, but after hearing the music played live, I changed my mind. I was just digging it, and it sounded so different that I decided to just take this idea and run with it. Some people might hate it – but it might be unique enough to catch on.”

Unique to many contemporary listeners, perhaps, but not to veterans of the 1960s, or to those who have combed the bins of vinyl at second-hand record shops, where they could have come across the music of Philip Glass or Frank Zappa. The tonal palette employed here, with the high reeds and vibes leading the way, recalls the performing unit that classical composer Glass used during the 70s, when he burnished his minimalist compositions to notable popular success. And many of Maxwell’s tunes – with their jaunty, angular melodies, deceptive time signatures, and metronomic rhythm arrangements – sound as if inhabited by the ghost of Zappa, the brilliant and unorthodox rock composer, social critic, and master of humor as dark as it was wacky, who captivated the more musically astute rock fans of the 60s and 70s with such albums asHot RatsWeasels Ripped My Flesh, and the mellifluously titled Waka/Jawaka. Zappa died in 1993, but his music remains a trove ripe for investigation and resuscitation, and you can’t blame Maxwell for carrying that torch into the present.

No, really – you can’t blame him for channeling Zappa, because he hasn’t.

“I wouldn’t mind the comparison,” Maxwell readily admits, “but I wasn’t trying to emulate Zappa. I’ve never really been a huge fan of his, though I have heard some of his music. But if I’ve done any of that” – i.e., if he’s infused this music with Zappa’s muse – “it’s really unintentional. Some other people have mentioned this, so I guess I should go back and listen to more of his music. But no, I wasn’t trying to sound like him at all.”
Many people reading that statement may choose not to believe it: Maxwell’s music has such strong similarities to that of his famous predecessors that you could well accuse him of lying about his influences, or of purposely forgetting deep-seated childhood experiences with their music. If he weren’t such a straightforward and self-deprecating sort, I might accuse him of such things myself.

So instead, let’s consider the biological concept known as convergent evolution. This is the process in which organisms that are not closely related – different species, or even different genera – independently develop similar traits. For one example, the Australian honey possum, a mammalian species, evolved to feature a long tongue, which it uses to draw nectar from deep within flowers – similar to the feeding tube known as the proboscisin butterflies and hummingbirds. There is no direct evolutionary line for this structure from insects to birds to mammals. Each species converged independently on this evolutionary trait; in layman’s terms, each reinvented this particular wheel. It appears Shawn Maxwell, in trying to break the mold of his own creative output, may similarly have discovered (or re-discovered) this sound on his own.

“This music was all bottled up inside me,” he continues. “But it also developed after I’d heard other artists going in a somewhat similar direction – trying something edgier, taking some chances, moving away from the typical head-solo-head thing. And I wanted something that was more orchestrated, but not your typical jazz orchestra – more of a ‘chamber band,’ I guess you’d call it.”

As for the instrumentation, any similarity to past music is entirely accidental – quite literally, because the tonal palette itself came together accidentally. Maxwell didn’t design this band to meet any pre-supposed notion of how it should sound: “I just thought of people who I wanted to work with on this experiment,” he explains. (Remember, he had no initial plan to record this stuff at all.) “So the instrumentation is really a function of the fact that my friends happen to play these instruments. I mean, the only reason there are French horns is that my wife plays that; the second horn is played by a friend of hers. And I wanted a vocalist, but didn’t want to write lyrics, so I had her sing with the horns. And the weirdness of this, as it fell together, made me think, Hey, this might just work.”

And that brings us around to the name.

“Well, since all the musicians are good friends, I originally used ‘Super Friends’ as the working title,” explains Maxwell, referring to the kids-TV franchise depicting the exploits of super-heroes drawn from the DC Comics world (Superman, Batman, Wonder Woman, etc.). Then he changed it to “Rebel Alliance,” in homage to the scrappy heroes of theStar Wars cinematic saga, and eventually shortened that to just “Alliance.”

As you can see, Maxwell has a soft spot for cartoons, comics, and science fiction –but that was made clear in the superhero illustration that adorned his previous album and in several of the song titles as well. So in at least one sense, Alliance isn’t so different after all.

Actually, that’s the only sense.

– Neil Tesser

National Press Campaign Contact:

Jim Eigo

Jazz Promo Services

845.986.1677 • Fax: 845.986.1699

jazzpromo@earthlink.net • www.jazzpromoservices.com


This E Mail Is Being Sent by:
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January 15, 2014To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo, jim@jazzpromoservices.com
The Matthew Finck Jonathan Ball Project
NYC CD Release Party
Monday, January 20th, 2014 8:00PM
The Cutting Room

44 E. 32nd ST.
New York , US 10016
Purchase Tickets HERE


Matthew Finck-guitar
Jonathan Ball –saxophone,
Jay Anderson-bass
Adam Nussbaum-drums

New CD

The Matthew Finck Jonathan Ball Project
“It’s Not That Far”


Matthew Finck guitar Jonathan Ball saxophone

Randy Brecker trumpet tracks 2, 5, and 7

Jay Anderson bass, Adam Nussbaum drums
Produced by: Matthew Finck and Jonathan Ball
Track listing:

1. It’s Not That Far 5:58 (Jonathan Ball)

2. Gentle Soul 6:47 (Matthew Finck)

3. Levin’s Impression 5:24 (Jonathan Ball)

4. I Thought You Had Gone 4:57 (Matthew Finck)

5. Conundrum 5:17 (Jonathan Ball)

6. East 86th 6:29 (Matthew Finck)

7. Geppetto 7:27 (Jonathan Ball)

8. The Way You Look Tonight 5:27 (Jerome Kern)

9. Get Up! 4:25 (Matthew Finck)

Matthew Finck, guitar, and Jonathan Ball, tenor saxophone, with their new album “It’s Not That Far,” continue the vast and varied range of collaborations between their instruments, expanding their conversations, and on three tracks, enriching their sound with the trumpet and flugelhorn of Randy Brecker. Their collective experience reaches back deep to the blues, gospel, and R&B, is grounded in bebop, and draws from sources as disparate as funk, rock, Bossa Nova and fusion. Matthew Finck (b.1972), has collaborated in the past with Roswell Rudd, John Medeski, and Steve Wilson among many. Jonathan Ball (b.1968), has teamed up with Ira Coleman, Randy Gillespie, Giovanni Hildago, Charles Flores, and Dafnis Prieto, to name just a few. Randy Brecker (b.1945), with two dozen albums under his belt as a leader, and countless albums as a sideman, displays versatility and flawless storytelling that speaks for itself.
The rhythm section, anchored by Jay Anderson (b.1955), bass, and Adam Nussbaum (b.1955), drums, delivers a percussive and unerringly consistent pulse that is highly textured and finely layered. Both Jay and Adam have played, and continue to play with, a virtual “Who’s Who” in jazz, performing locally and around the world. Jay notably so with Red Rodney, Joe Sample, and the Maria Schneider Orchestra; Adam with Stan Getz, Dave Liebman, Michael Brecker, and John Scofield.
The nine tunes on the album “It’s Not That Far,” are the result of an inspired collaboration between all musicians involved. In Jay and Adam, the co-leaders engage a rhythm section that contributes vast musical experience, complexity, and depth. “From the beginning we knew we wanted Jay and Adam to anchor the group. The music simply would not be what it is absent their contributions. The two day recording session was a pure joy from our perspective; relaxed, collaborative, and exciting all at the same time. They are a perfect foil for any creative musical endeavor. Their advice and sensibilities are priceless and what you get is an interplay 30 years in the making.” The nine tracks offered here prove the case in point convincingly.
While this album marks a major milestone in the careers both of Matthew and Jonathan, as performers and as composers, it also allows a look forward. Future collaborations are already being sketched out; maybe change the sound texture a bit, perhaps add a Hammond B3 to the mix. Up next is developing original compositions, exercising and fine-tuning them on the bandstand until they’re ripe and ready

or the next recording. Live audiences will be in good hands, and so is the legacy of the collaboration between jazz guitar and tenor saxophone. Be on the lookout for the next Finck-Ball partnership production – it’s not that far.

Available from Amazon/CDBaby/iTunes
Media Requests
For Interviews, photos and preview copies for review contact
Jim Eigo
Jazz Promo Services
272 State Route 94 South #1
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NATIONAL RADIO CAMPAIGN: Lisa Reedy Promotions 775.826.0755 E-Mail:lisa@jazzpromotion.com http://www.jazzpromotion.com

























































































































































































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