Jazz promo services

Jazz promo services

May 28, 2014

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


Jane Monheit Sings Irving Berlin
with Arrangments by Mary Ann McSweeney

Monday, June 2nd 7:00 pm
Birdland Jazz Club
315 West 44th Street
New York, New York NY 10036
(between 8th and 9th Avenues on the west side of midtown Manhattan)
For phone reservations & information, please call (212) 581-3080.
Buy Tickets HERE
Discount Parking Garages on 44th street.
(Edison Parking 330 West 44th Street, just east of 9th Avenue)

“Jane Monheit Sings Irving Berlin Arrangements by Mary Ann McSweeney”
The Broadway at Birdland concert series is proud to announce that jazz vocalist Jane Monheit will be performing a concert of Irving Berlin material with an extraordinary trio, led by arranger/bass player Mary Ann McSweeney, on Monday, June 2 at 7pm.
Teaming up for a third time with a dynamic band and vocal accompanists, gifted jazz vocalist Jane Monheit will sing an upbeat portfolio of Irving Berlin classics to new arrangements by bassist Mary Ann McSweeney. After two successful gigs performing the swinging version of Cole Porter’s “Anything Goes” this is just another opportunity to delve into the amazing compositions of Irving Berlin with a twist. Monheit’s stellar backup band for the evening will be Mary Ann McSweeney (bassist, arranger), Jim Ridl (pianist),and Alvester Garnett (drums).
Grammy Award-nominated Jane Monheit has been a leading light in both the jazz and cabaret worlds since emerging as a finalist in the Thelonious Monk Institute’s 1998 vocal competition. In addition to her own recordings, she has worked alongside the likes of Terence Blanchard, Tom Harrell, and Ivan Lins. Monheit is touring in support ofher album The Heart of the Matter, which she says is an especially satisfying collaboration with Grammy Award-winning producer Gil Goldstein, who has previously worked with such giants as Wayne Shorter, Gil Evans, and Pat Metheny. The pair first joined forces for part of Monheit’s 2009 album The Lovers, The Dreamers, and Me.
Mary Ann McSweeney
McSweeney has played with jazz legends Dizzy Gillespie, Joanne Brackeen and Lee Konitz, Gil Goldstein and Bucky Pizzarelli, and played for famous conductors, Leonard Bernstein, Lalo Schifrin, and John Williams. She has performed with Renee Rosness, Vic Juris, Ken Peplowski, Dennis Mackrel, Lewis Nash and Larry Goldings.  Maryann performed with the Maiden Voyage and Diva Big Bands and performed with her quintet at the Sexial Jazz Festival in Portugal and the Mary Lou Williams Jazz Festival at the Kennedy Center.
Ms. McmSweeney arranged for and recorded with Warner Bros. Artist, Lea Delaria. She toured Europe and performed with David Krakouer’s Klezmer Madness and three time Tony award winning vocalist Audra McDonald. Her orchestrations can be heard on Chita Rivera’s new Cd entitled “Now I Swing.”
Along with being full time professional bassist in New York City, McSweeney is on the faculty for the Middle School Jazz Academy at Lincoln Center and the New York Jazz Workshop.
She recently performed at the White House with the Eli Yamin Quintet for a special event. In March she will be the musical director/arranger for a show at Birdland in New York City featuring Jane Monheit. The program includes selections from the Cole Porter musical, “Anything Goes.”





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May 28, 2014

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


Matt Panayides Group
Kickstarter Campaign+
Pre-Recording Gig @ Smalls

Saturday, May 31st
Matt Panayides Group
Rich Perry
Mark Ferber
Thomson Kneeland
183 W. 10th St.
New York, NY 10014
Premiering new music to be recorded June 6th.
Kickstarter campaign to raise funds for new album HERE

“Matt is definitely a bright new face on the Jazz guitar scene.  He is a gifted player as well as composer with a warm, clear sound”

~Vic Juris, guitarist & educator

Matt Panayides has developed into one of the premier guitarists of his generation.”

~Garry Dial, pianist, composer, producer and educator

Matt Panayides is a modern guitarist/composer.  He loves performing and collaborating with a diverse array of musicians, while being part of the vibrant, creative music scene of New York. His compelling melodies, compositions and improvisations remain in the listener’s mind long after the gig, employing modern harmonies, free and structured improvisations, mixed-meter rhythms and straight-ahead swing. Hailing from the Midwest, he moved to NYC in the late 90’s to study jazz at MSM.  While there he began leading his own groups and collaborating with other musicians on the scene.  In 2002 he moved to Seoul, following performance opportunities abroad.  Since his return to NYC in 2006 he has been leading his own group and appearing as a sideman in world class venues throughout the city including Smalls, Cornelia Street Café, 55 Bar and ShapeShifter Lab to name but a few.  His current group features a long-standing partnership with Rich Perry on tenor sax and a rotating cast of some of NYC’s heaviest rhythm section players including: Steve LaSpina, Thomson Kneeland, Bob Sabin, Dan Weiss, Mark Ferber, Clarence Penn and Jeff Davis.   He has also begun to appear on the international jazz festival scene with a recent performance at the Daegu Jazz Festival in South Korea, with more appearances in the works.  Some of the other major performing artists Panayides has had the opportunity to play and study with include: Garry Dial, Mulgrew Miller, Jane Monheit, Vincent Herring, Rodney Jones, Mario Escalera, Alec Haavik, Cecil Bridgewater, Gene Bertoncini and Jack Wilkens.In 2011 Matt released to great acclaim his first album as a leader on the Pacific Coast Jazz record label. The album features his tunes with Rich Perry, Steve LaSpina and Dan Weiss.






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 Web Site: www.jazzpromoservices.com/



May 28, 2014To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo, jim@jazzpromoservices.com



On May 30th & 31st, in Montclair, New Jersey, Seed Artists will present Eric Dolphy: Freedom of Sound, a celebration to mark 50 years since the death of this visionary multi-instrumentalist and composer. It’s a short hop from Manhattan to experience what The New York Times calls a “major two-day festival.” Come and be part of jazz history:    

UNEARTHED DOLPHY COMPOSITIONS!   Never recorded, never performed. From solo bass clarinet to an ensemble conducted by flutist and Dolphy scholar James Newton, this will be their world premiere.A SLATE FOR THE AGES!  Among the 40 world-class musicians honoring Dolphy: living legend Richard Davis (both nights), Grachan Moncur III, Henry Threadgill, Andrew Cyrille, Oliver Lake, Don Byron,Vernon Reid…and young innovators who are extending Dolphy’s legacy. You can’t catch this slate anywhere else.

GUNTHER SCHULLER!   The Dolphy symposium features Gunther Schuller, titan of modern music; Richard Davis, James Newton, John Szwed (Columbia University) and Michael E. Veal (Yale). It will be a fascinating discussion: Dolphy the musician and the man, but also revelations about his conceptual sophistication that will elevate his place in jazz.

PLUS…Dance, poetry, video and educational exhibits, food and drink, and Dolphy T-shirts, posters and original prints.

All of this for just $20 per night! Not a better deal to be found.

GREAT ART for GOOD WORKS   Proceeds will benefit our nonprofit partners–the Jazz Foundation of America and the Montclair Academy of Dance and Laboratory of Music. Aid to ailing musicians, and music and arts for underserved children.


Friday, May 30th            7:00 pm -10: 30 pm
Saturday, May 31st       5:00 pm – 6:30 pm (symposium)
7:00 pm – 10:30 pm (concert)

TICKETS:  $20/night, available through ShowClix and our website,seedartists.org.
At the door, tickets will be $25, so buy now!

WHERE:  Memorial Auditorium at Montclair State University
1 Normal Avenue, Montclair, NJ  07043

It’s closer than you think! Quicker than going from midtown Manhattan to Park Slope. Accessible by New Jersey Transit and by car on Friday, by DeCamp bus service and car on Saturday night. Please see seedartists.org for directions.

The venue is wheelchair accessible.

Questions? Call (862) 621-9761.

Facebook (daily posts): http://on.fb.me/1dXG8Yg

Twitter (daily tweets):  @seedartists

A video that Richard Davis made for us: https://vimeo.com/92262453

You can support Eric Dolphy: Freedom of Sound by contributing to our Indiegogo campaign: http://bit.ly/Qo6WH1.

OR you can write a check, payable to Seed Artists. Mail donation to:

Seed Artists, Inc.
19 Elmwood Avenue
Montclair, NJ.  07042

Regards in peace, Pheeroan akLaff Artistic director of Seed Artists.






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Jim Eigo Jazz Promo Services
272 Ste Route 94 S #1  Warwick, NY 10990
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May 27, 2014To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo, jim@jazzpromoservices.com


Eric Person Big Band
plays Dizzy’s Club Coca Cola
Wednesday May 28
Two sets: 7:30 and 9:30pm

NEW YORK, NY 10019
Seats can be reserved here
Internationally acclaimed saxophonist Eric Person, while best known for his sideman work with Dave Holland and Chico Hamilton is an inventive bandleader in his own right. A capable section man who has held down the alto chair in big bands led by David Murray, McCoy Tyner and John Hicks, Person gets an opportunity to show off his talent as a composer/ arranger fronting his own 12-man unit: the Eric Person Big Band.
The ensemble, which features some of New York’s finest players, have a supple airy sound not often heard in a big band. John Murph in his review of Person’s latest cd in Down Beat gave the music 4 1/2 stars said:
“Thoughts on God could be the career-defining album that Eric Person needs to garner greater recognition.”
The Eric Person Big Band endlessly intrigues musically.
Personnel and Instrumentation:
Eric Person-alto and soprano saxophones
Craig Bailey-alto saxophone, flute
Jason Marshall: tenor saxophone, clarinet
Keith Loftis-tenor saxophone
Frank Vacin-baritone saxophone
Mark McGowan-trumpet
Duane Eubanks-trumpet
Dion Tucker-trombone
Mark Williams-trombone, bass trombone
Adam Klipple-piano
Adam Armstrong-bass

Shinnosuke Takahashi-drums





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May 27, 2014To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo, jim@jazzpromoservices.com



June 6: Mat Maneri & Tanya Kalmanovitch Viola Duo / Reggie Workman Group

June 7: Jin Hi Kim, Wadada Leo Smith, Gamin, Samir Chatterjee,
Bobby Previte, and David Liebman


The New School for Jazz and Contemporary Music
and Mannes College The New School for Music will host the Seventh Annual International Society for Improvised Music Conference, June 5-8. The conference will include evening concerts, open to the public, on Friday June 6 and Saturday, June 7.

The June 6 concert will feature artists from The New School – Mat Maneri & Tanya Kalmanovitch Viola Duo, and the legendary jazz bassist Reggie Workman and his group. The June 7 concert will be an aggregated performance based on daytime Crosscultural Improvisation Workshops directed by komungo virtuoso and composer Jin Hi Kim, and featuring master innovator, trumpeter Wadada Leo Smith,
  Korean piri virtuoso Gamin, Indian tabla virtuoso Samir Chatterjee, global percussionist
 Bobby Previte, and National Endowment for the Arts Jazz Master
 David Liebman.

In addition, the conference offers more than 90 performances, workshops, academic papers, and panel discussions from June 5-8. To register, visit www.improvisedmusic.org.


Reggie Workman Group / Mat Maneri & Tanya Kalmanovitch Viola Duo
Kirk Nurock, piano; Lakecia Benjamin, alto sax; Odean Pope, tenor sax
Tapan Modak, tablas; Elizabeth Panzer, harp; Reggie Workman, bass; Winard Harper, drums
Friday, June 6 at 7:30 p.m.
Auditorium at 66 west 12th Street
Admission: Admission: Free for New School students, faculty and staff, $20, $15 for seniors and non-New School students with valid I.D.

Jin Hi Kim, Wadada Leo Smith, Gamin, Samir Chatterjee, Bobby Previte, and David Liebman
Saturday, June 7 at 7:30 p.m.
Auditorium at 66 west 12th Street

Tickets: To buy tickets in person, visit the New School Box Office, 66 West 12th Street lobby. Box Office hours are: Monday – Thursday, 4:00 – 7:00 pm and Friday, 3:00-6:00 pm. Inquiries can be made by emailing boxoffice@newschool.edu or calling 212.229.5488  ext. 2458. Buy tickets online at The New School Online Box Office.

About the International Society for Improvised Music

Melding diverse cultures, ethnicities, disciplines, and ideas that shape society at large, today’s musical world is rich with creative expressions that transcend conventional styles and categories. Improvisation is a core aspect of this global confluence. The International Society for Improvised Music was formed to advocate understanding of this important facet of 21st century musical life through performance, education, research, and the illumination of connections between musical improvisation and creativity across fields. Reflecting its commitment to diversity in its many forms, ISIM welcomes participants from the widest possible variety of ethnic, racial, cultural, and geographic backgrounds, strongly promotes gender balance, and celebrates work that is rooted in the many styles, genres, ethnic and historical traditions, methodologies and technologies both old and new, that are linked by the central practice of improvisation. ISIM also encourages collaboration with improvisatory practitioners from areas beyond music, such as dance, theater, visual music, and film, and also seeks to make its events open to a wider audience. This includes public school teachers, students, children, individuals from under-served communities, and others from the general cross section of people interested in the arts. Visit www.improvisedmusic.org/upcomingEvent.html.

About The New School for Jazz and Contemporary Music
The New School for Jazz and Contemporary Music is the musical manifestation of The New School and its legacy. Steeped in progressive tradition while moving forward into new frontiers of sound and experimentation, New School Jazz is a rarity among conservatory music schools. With instructors who are active, professional musicians and the backing of a major university, the school provides its students with the leeway and encouragement to break through artistic barriers, the counsel of veterans in maneuvering through the terrain of the music world, and a solid academic foundation to sustain and enrich their efforts and evolution. For more information, visit www.newschool.edu/jazz.

About Mannes College The New School for Music
Mannes College The New School for Music develops the next generation of classical musician/citizens by combining the music conservatory traditions with the cutting-edge advantage of being part of The New School, the nation’s foremost progressive university. Founded in 1916, the Mannes formula for quality education has capitalized on its world-class faculty, location in the heart of the global arts capital, small class size, and a living tradition of rigor and depth that develops strong technique and great artistry. The Mannes ethos forms the basis of a vibrant community, whether you are a degree or diploma student in the College or Extension divisions, or a young person studying in Mannes Prep. In this second decade of the 21st century, when demands on artists are greater and more complex than ever, Mannes is committed to providing a wide range of exciting learning and knowledge building in partnership with its sister divisions of The New School, including one of the world’s great design schools, Parsons The New School for Design; the liberal arts at Eugene Lang College; public policy, business, and civic engagement in The New School for Public Engagement; and cross disciplinary arts learning at The New School for Jazz and Contemporary Music and The New School for Drama. For more information on Mannes and The New School visit:  www.newschool.edu/mannes.







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May 27, 2014To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo, jim@jazzpromoservices.com



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May 21, 2014

For Immediate Release

Jennifer M. Walden
Director, Marketing & External Affairs
Louis Armstrong House Museum
m: 718.909.5271
Louis Armstrong House Museum Celebrates  
Twenty Years of the Louis Armstrong Archives

Before there was a historic house museum, there were 72 boxes of Louis Armstrong’s artifacts located at the Rosenthal Library at Queens College/CUNY in New York City.  The story of how those boxes got there and grew into the worlds largest archives dedicated to a jazz musician is a true credit to both Louis and Lucille Armstrong.

Throughout his storied career, Louis Armstrong entertained countless fans around the world onstage with his show-stopping live performances. But offstage, Armstrong was dedicated to documenting the story of his life, writing autobiographical stories, recording reel-to-reel tapes, designing collages, annotating photographs and compiling scrapbooks, doing so “for posterity.”

Louis Armstrong passed away in 1971 in his Corona, Queens home. What was left with his wife Lucille was a treasure trove of artifacts.  “Pops always valued anything people gave him, and kept everything so far as possible,” Lucille said in 1974. “He maintained a very orderly collection of autographed pictures, letters, cards, gold records and other awards—all the things he valued. I have them in the house in Corona.”

Lucille Armstrong passed away in 1983 and, in her will, left the contents of Louis’s collection to the Louis Armstrong Educational Foundation, who in turn, chose Queens College to administer it. Archivist and current Louis Armstrong House Museum Executive Director Michael Cogswell was hired in 1991 and was greeted on his first day by all 72 boxes of artifacts to preserve, arrange and catalog – and so it began.

Three years later, on May 24, 1994, jazz legend Lionel Hampton cut a ribbon and the Louis Armstrong Archives was officially open. On opening day, the Armstrong Archives housed only the Louis Armstrong Collection—everything found in Louis and Lucille’s home in Corona—but since then, it has strategically grown to include a total of eight research collections, including the monumental Jack Bradley Collection, (the world’s largest private Armstrong collection) and the Gösta Hägglöf Collection (the biggest European assemblage of Armstrong-related artifacts).   The Armstrong Archives is now the world’s largest publicly held archives for any jazz musician.

In 2003, the Armstrong’s home, perfectly preserved, opened to the public as the Louis Armstrong House Museum.   The Museum features regular exhibitions of materials drawn from the Armstrong Archives.

In the course of these 20 years, the Louis Armstrong Archives has played a central role in a reappraisal of Armstrong’s importance, with dozens of biographies and documentaries making heavy use of the Archives’ holdings. More than a thousand researches have logged in countless hours of research with the collections.

To celebrate the significance of the Louis Armstrong Archives, the Louis Armstrong House Museum debuts the new exhibit: 20 Years of the Louis Armstrong Archives. The exhibit features a selection of one-of-a-kind mementos from the different research collections many of which are on public display for the first time. “This exhibit is to be enjoyed by Armstrong fans ‘for posterity,’ just as Louis Armstrong intended,” noted Michael Cogswell. The exhibit, curated by Louis Armstrong House Museum’s Archivist Ricky Riccardi, runs from May 28 through October 6, 2014 and is free with museum admission.

Louis Armstrong House Museum:
The Louis Armstrong House Museum is located at 34-56 107th Street in Corona, Queens, New York. The museum is open Tuesday – Friday from 10:00 am to 5:00 pm and Saturday/Sunday from 12:00 noon – 5:00 pm.  Travel directions and more can be found atLouisArmstrongHouse.org or by calling the museum at 718.478.8274.  Thanks to the vision and funding of the Louis Armstrong Educational Foundation, the Louis Armstrong House Museum welcomes visitors from all over the world, six days per week, 52 weeks per year. The Louis Armstrong House Museum is a member of the American Alliance of Museums, Association of African American Museums, Black History Month 5 Boro Tour, Museums Council of New York City, New York State Museums Association, National Trust for Historic Preservation, NYC & Co., and the Queens Tourism Council.  The museum is a constituent of Kupferberg Center for the Arts – Queens College/CUNY.

Photo by Jack Bradley
Copyright © 2013 Louis Armstrong House Museum, All rights reserved.Our mailing address is:

Louis Armstrong House Museum

34-56 107th Street, Queens, NY

QueensNY 11368





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Jim Eigo Jazz Promo Services
272 Ste Route 94 S #1  Warwick, NY 10990
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 Web Site: www.jazzpromoservices.com/



May 27, 2014To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo, jim@jazzpromoservices.com
Barbara Levy Daniels
Appearing at
The Metropolitan Room

34 W 22nd St
New York, NY 10010
(212) 206-0440

Wed.,  June 18th 9:30pm
with Special Guests Houston Person
and Musical Director/Pianist John DiMartino

Celebrating The Release of Her New CD
“Love Lost and Found”

New CD Features
Barbara Levy Daniels (Vocals)
John DiMartino (Piano and Music Director)
Warren Vache’ (Coronet)
Shinnosuke Takahashi (Drums)
Paul Meyers (Acoustic Guitar)
Boris Kozlov (Bass)(Bldproductions Inc )
Street Date March 4, 2014)

Jack Goodstein Blogcriitics

“…classics from the Great American Songbook…Daniels puts her own personal stamp on them. Her phrasing makes for an imaginatively effective interpretation of the material”

“Her dynamic personal readings of songs like ‘The Nearness of You’, ‘Willow Weep For Me’…breathe revived life into the music.”

Grady Harp Amazon

“Barbara Levy Daniels…not only sings, she mesmerizes…Her voice is mellow and rich, true to pitch, full of expression…”

“The old standards feel so right with Barbara that they seem like old lovers, She is sensationally communicative.”


“When you’re in the mood for great female jazz vocals, you’ll queue up Barbara every time – guaranteed! She’s an expert singer…we-evidenced by her silky sooth…rendition of ‘Say It Isn’t So’…what chops!”

“I give Barbara & crew a MOST HIGHLY RECOMMENDED, with an ‘EQ’ (energy quotient) rating of 4.99 .”

Joe Lang Jersey Jazz

“Daniels has a knowing way with the lyrics, and her voice has traces of experience that lend validity to her reading of the words.”

Mark Tucker Folk & Acoustic Music Exchange

“This is Daniels’ third solo disc, and if I were to cite a genre, I’d have to say she’s a straight-ahead jazz singer.”

“My favorite is ‘Moonglow’ and Daniels invokes a lightly saxophonic rendering in various passages, the whole thing sounding a bit like a Rosemary Clooney who was listening to West Coast Cool…”

Vittorio Lo Conte Musicboom

“This is Daniels’ third solo disc, and if I were to cite a genre, I’d have to say she’s a straight-ahead jazz singer.”

“My favorite is ‘Moonglow’ and Daniels invokes a lightly saxophonic rendering in various passages, the whole thing sounding a bit like a Rosemary Clooney who was listening to West Coast Cool…”

At the tender age of 12, young vocalist Barbara Levy Daniels was auditioning for ABC Paramount Records.  Its president had invited no less a personage than Ray Charles to listen in and give an opinion.  “Sign her right away” was The Genius’ verdict.  That was over 50 years ago, followed by a number of singles and a 30 year practice in psychotherapy. Over the past 15 years, Barbara managed to find the time to create two highly acclaimed albums and now offers further testimony to Ray’s endorsement with her new CD Love Lost and Found.

With a voice of liquid gold, Barbara fully demonstrates a quality of all truly great singers – absolute confidence in both her instrument and the manner in which she wields it. On this CD, she takes on 13 classics from the Great American Songbook, and in her early champion’s manner, she makes each of these often-performed pieces entirely her own.  Her vocal style here can be comfortably compared to the great saxophone song interpreters – like Hawkins, Webster and Young – in using the lyrics as a launching point for her musical interpretation.  They inspire the story she tells, but she’s never confined by them. The storytelling essence of Barbara’s artistry is explained by her statement: “While I listen to life stories by day, I sing about life stories when I perform.”

Full-bodied and resonant, her voice is highly emotive, often marked by the type of cry that is heard in  the styles of Johnny Hodges and Gene Ammons, subtly adding to the emotional impact without even a hint of affectation.  Never even remotely straining to hit each tone directly in its heart, she roots in there and allows the resonance to expand outward in a powerful aural pastiche.

While Barbara does not employ her scatting style on this CD, the music is unquestionably jazz. What sets the non-scatting jazz vocalist apart from a regular singer of songs are an inherent sense of rhythmic creativity and interpretative freedom interacting with a supporting group that provides an environment for expressive development.  All of that is in full bloom on Love Lost and Found.  The ensemble is comprised of extraordinary musicians who are not only topflight artists, but who also understand the subtleties demanded by their supporting roles and how to bring total creativity to the musical concept. The empathy here is so powerful that they sound like they’ve all been playing with Barbara for many years.

Pianist John di Martino is always fully in sync with Barbara’s vision at each moment, prodding, enhancing and embracing each note and phrase and never falling into the obvious choices that can occur in vocal accompaniment. Bassist Boris Kozlov’s deeply wooded tone provides the heartbeat of the music – his heavily syncopated rhythmic mastery often providing the nucleus around which the track is built.  His full-bodied sound contrasts beautifully with Barbara’s voice and his phrasing both propels and supports the music.  Drummer Shinnosuke Takahashi blends sublime subtlety with rhythmic dynamism that anchors each piece perfectly.  Cornetist Warren Vaché is present on eight tracks, usually muted, and a master of lyricism and impeccable taste whether playing obbligato or soloing. Guitarist Paul Meyers adds zest, sparkle and color to three pieces as well.  Vaché and di Martino share all the solos, always succinct and in sharp focus.

The repertoire has been artfully selected from pieces composed between 1927 and 1944, but there is not a wisp of nostalgia or obviousness in the interpretations of these beloved songs.  The feeling is highly contemporary and in the moment; immediate and fresh.  Also serving as musical director and arranger, di Martino has crafted 13 gems; each cut and designed as a unique piece of music that is also integrated seamlessly into the album’s essence.

Irving Berlin’s delicate ballad I Got Lost in His Arms showcases Barbara’s mastery of time and space as she uses syncopation, lingers tantalizingly behind the beat and slides into rubato time at will, smearing and spreading tones while swirling around the rhythm section. Berlin’s Say It Isn’t So is given a Bossa Nova treatment, with guitar and piano playing off each other nicely over subtle dynamic bass and drums and Barbara’s voice dancing within the joyful setting.

A Brazilian feel is again on tap for Rodgers and Hart’s Where or When, a delicious samba with the guitar-enhanced rhythm section spreading a gossamer blanket for Barbra’s voice and di Martino’s solo.  Meyers’ guitar takes a Freddie Green-ish angle on Mills, Hudson and Delange’s infectious Moonglow, a delightfully syncopated, easy bouncer enhanced by Takahashi’s whisk-broom shuffle drumming – respectfully evoking a modern feel for an older era.

A similarly transportive mode is created for It’s the Talk of the Town (Symes, Neilburg and Livingston).  A torchy, grooving ballad with gently stride-ish piano and a muted cornet solo. There’s an afterhours feel of musicians playing for each other with the listeners as fortunate bystanders.  That late night vibe is also on hand for two other ballads. Carmichael and Washington’s lovely The Nearness of You is a touching piece with voice and piano reminiscent of some of those great Lester Young/Teddy Wilson recordings. Mean to Me (Turk and Ahlert) is a ballad in a bluesy swing groove with Barbara’s sultry vocal prodded by di Martino’s piano and a delightful muted Vaché solo. A deeper blue is the tone for Ann Ronell’s Willow Weep for Me.  Wailing cornet with di Martino’s slow barrelhouse left hand and Otis Spann-flavored right sets a flawless blues mood for Barbara’s shout – down home, uptown style.

Rodgers and Hart’s My Heart Stood Still is a smoothly swinging item embellished by mellow cornet. Straightforward swing is the theme for Burke and Van Heusen’s It Could Happen to You with Kozlov’s syncopated walking and Vaché’s obbligato around Barbara’s deeply grooved vocal.  Comes Love (Stept, Tobias and Brown) is a jaunty swinger – playful, straightforward and delightfully rhythmic.  Warren and Gordon’s There Will Never Be Another You kicks it up a notch, with Barbara in full swing mode, Vaché on open cornet and the band surging on all cylinders. The album closes with Lewis and Coots’ For All We Know, a powerfully evocative piece stoked by Takahashi’s Bolero-like drumming.

From the celestial choir over which he undoubtedly presides, Ray Charles is smiling down upon Love Lost and Found, saying…. “You see?……What’d I Say!”

 For more information visit www.barbaralevydaniels.com

National Press Campaign:

Jim Eigo

Jazz Promo Services

845.986.1677 • Fax: 845.986.1699


This E Mail Is Being Sent by:
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May 27, 2014To: Listings/Critics/Features
From: Jazz Promo Services
Press Contact: Jim Eigo, jim@jazzpromoservices.com


Barb Jungr “Hard Rain”
The songs of Bob Dylan and Leonard CohenUS Release Today
May 27, 2014

(Kristalyn Records KLCD1)
Street Date May 27, 2014
Vocals: Barb Jungr
Bass: Neville Malcolm, Bass on tracks 1, 3, 8 + 10: Steve Watts, Percussion: Gary Hammond, Shakuhachi: Clive Bell, Talking drum and additional percussion: Richard Oletunde Baker, Piano, hammond organ and synthesisers: Simon Wallace

International Acclaim For “Hard Rain”
The songs of Bob Dylan and Leonard Cohen
5 stars The Independent  Hard Rain Live Review
4 stars The Times Hard Rain Live Review
4 stars The Daily Mirror Hard Rain album review
4 stars The Independent Hard Rain album review
4 stars I Paper Hard Rain album review
4 stars Jazzwise Hard Rain album review
4 stars R2 album review
8/10 Uncut Hard Rain album review
9/10 Peterborough Today

Track listing, track times and composer:

1. Blowin’ In The Wind (Bob Dylan)

2. Everybody Knows (Leonard Cohen and Sharon Robinson)

3. Who By Fire (Leonard Cohen)

4. Hard Rain (Bob Dylan)

5. First We Take Manhattan (Leonard Cohen)

6. Masters Of War (Bob Dylan)

7. It’s Alright Ma (Bob Dylan)

8. 1000 Kisses Deep (Leonard Cohen and Sharon Robinson)

9. Gotta Serve Somebody (Bob Dylan)

10. Land Of Plenty (Leonard Cohen and Sharon Robinson)

11. Chimes Of Freedom (Bob Dylan)

Musicians: Vocal: Barb Jungr, Bass: Neville Malcolm, Bass on tracks 1, 3, 8

+10 Steve Watts, Percussion: Gary Hammond, Shakuhachi: Clive Bell

Talking drum and additional percussion: Richard Oletunde Baker

Piano, Hammond organ and synthesisers: Simon Wallace

Arranged by: Simon Wallace and Barb Jungr Produced by: Simon Wallace Executive Produer: Independent Voices

Recorded and mixed at Underhill Studios by Simon Wallace Tracks 4 + 7 mixed by Simon Wallace and Richie Stevens

Mastered by: Dick Beetham at 3670 Mastering Artwork photography and design: Steve Ullathorne Hair: Jason Welch at Eleven

The UK’s finest interpreter of song, Barb Jungr erturns to the songs of Bob Dylan and Leonadr Cohen with the release of Hard Rain. Oft referred to as “the politicised chansonnier” and cited as one of the worlds’ best performers of Dylans’ material, Barb turns to six of his most politically hadr-hitting songs along with five of Leonadr Cohen’s most impassioned songs of conscience. Barbs’ selection for Hard Rain reflects her despair with the political times that we live in an dshe has deliberately chosen songs that resonate as strongly today as they did when they weer originally written: Blowin’ In The Wind is now 51 years old nad its sentiments are as relevant today as they ever weer.

“The space in between has always been my default position. Between song and singer, lyric and music, arrangement and performance. So I am amazed to be so clear about this collection. I knew right from the start it was all the tougher songs of Bob Dylan and Leonard Cohen that I wanted to sing. I knew there was somehow a through thread to them – that the world they described and the actions they rejected and celebrated were of as much importance today as the day those songs were penned. There’s something in both writers that transcends the material itself, as though the words and music have powers beyond the paper and the groove, beyond the voice and the piano. So I’m entering a new decade with singing a clutch of special songs that have moved and shaken, caressed and struck me. I hope you’ll love the glorious music of both of these writers as much as I do….if that’s possible…. and let’s watch the dawn of the new day together.” —Barb Jungr

The album comes complete with insightful liner notes by writer Liz Thomson, who as Elizabeth Thomson prepared “the director’s cut” of No Direction Home: The Life and Music of Bob Dylan (2014). She was also the co-editor of The Dylan Companion. As a young journalist, her first ever interview was with Leonadr Cohen.

All of the arrangements on the album aer by Barb and her long-standing collaborator and accompanist, hte pianist Simon Wallace, who also produced the album. In addition to Simon (piano, Hammond organ and synthesizers), Barb is also joined by Neville Malcom on bass (with Steve Watts providing bass on tracks 1,3,8 and 10);

Gary Hammond (percussion); Clive Bell (Shakahachi) and Richard Olatunde Baker on talking drum and additional pecrussion. Together with Barb, they inject new life and energy into each song. Hard Rain will be released on Kristalyn Records on 24th March 2014. The album will be supported by an extensive run of liev dates and will be launched with a special premiere performance of this Dylan/Cohen collection at Londons’ Purcell Room on Friday 14th February befoer going on tour throughout the UK.

“In 2002, the British singer Barb Jungr released “Barb Jungr Sings Bob Dylan: Every Grain of Sand”, which is, as far as I’m concerned, the most significant vocal album of the 21st century thus far.” —The Wall Street Journal, 2011

“The only word to describe her dramatic interpretations is revelatory…..I was open mouthed with astonishment.” —New York Times, December 2013





What The Press Is Saying About
Barb Jungr “Hard Rain”
The songs of Bob Dylan and Leonard Cohen
The Daily Mirror 4 stars
“Jungr proved one of the greatest interpreters of Bob Dylan songs with two previous cover albums from his awesome songbook. This time, two towering masters of Jewish American song provide the raw material for Barb’s rich voice and finely details jazzy arrangements. A notable achievement.”
All About Jazz march 14 2014
“The readings of these Dylan songs reaffirm Jungr’s standing as a Dylan interpreter; her loose, easy version of “Chimes of Freedom”—made famous as a hit byThe Byrds—emphasises that Jungr rivals the group as one of the best. In no way does it detract from her abilities as a Dylan interpreter to say that the revelation of Hard Rain is that her versions of the Cohen songs all but steal the album. As an album, it is the equal of Jungr’s two all-Dylan ones but, more importantly, it opens up a rich new seam for her to mine. More!!”
The Independent 4 stars
“It’s a masterclass in the value of interpretive liberty, with songs transform in almost revelatory manner. As with the album generally, its a subtle balance of hot and cold, a work of fiery cool.”
Jazzwise 4 stars
“Investing everything she sings with telling insight, Jungr’s complete affinity with the material lends the collection a galvanising power. There are lyrical jewels a plenty.”
R2 4 stars
“Barb Jungr affirms her reputation as a consummate Dylan interpreter with a collection of Bob’s political and spiritual narratives augmented here by similar matieral from the pen of his contemporary, Leonard Cohen…nourish jazz bues arrangemtns compound her ethereal impressionism. Its quite some achievement to throw new light on these old tableaux.”
Uncut 8/10
“The commanding and rhapsodic singing brings connection and insight while superlative arrangements – majoring in opulent blues jazz noir settings, refresh songs as daunting as “It’s Alright Ma (I’m Only Bleeding)” and “First We Take Manhattan”. To give such standards precious new life is quite an achievement.”
Sunday Times
“Once again, the British singer finds new paths through what, at first glance, might seem familiar material. 1000 Kisses Deep is simply heart-stopping. Jungr’s attention to timbre and nuance brings new depth to every syllable.”
MOJO 3 stars
“As an interpreter, Jungr’s ace in the hole is an ability to personalise even age-old familiars like  Blowin’ In The Wind without resorting to deconstruct mode. First We Take Manhattan is beautifully reworked, with Jungr draping a delicate vocal line over Simon Wallace’s piano back-drop of a kind that Gil Evans might have visualised for Miles. Fascinating Fare…it’s more than alright, Ma.” (Fred Dellar)
“Jungr has the ability to take a well known song and make it her own. This is a knockout album.”

Something Else 

Barb Jungr has a powerful tool in the box — and that is her voice. Combine this with the powerful songs of Bob Dylan and Leonard Cohen, and a group of good musicians, and you have something which has the potential to blow your mind. So, Barb sets high expectations and this album does not disappoint.  Hard Rain is a great album, one in which to immerse yourself until you are soaked through.

For Folk’s Sake

…there’s no questioning the artistry of this rarest of things: a deeply challenging covers album.
CD Review:  
British vocalist Barb Jungr has never been known to play it safe. Her previous recordings have revealed an iconoclastic singer with little fear of any material. She has an affinity for Bob Dylan as seen in her two previous collections of Dylan songs, Every Grain of Sand (Linn, 2002) and Man in the Long Black Coat (Linn, 2011). On Hard Rain Jungr adds Leonard Cohen to her Dylan oeuvre, a pairing that contrasts the two different song writers, while, at the same time, demonstrating the social source of their music.  A musical vision this refined and challenging comes rarely. Barb Jungr has been and will continue to be a creative force to reckon with, and aren’t we fortunate for it. 

Feature – 

“what Jungr really is is an exceptional interpreter of popular songs, with a dramatic, sometimes theatrical style and a remarkable technique.

Her interpretive skills are thrillingly apparent on her current album, Hard Rain, on which she sings six songs by Bob Dylan and five by Leonard Cohen.” (Trevor Hodgett)

“She has earned her place at the top table of influential singers, and it is bewildering that an appearance on the only popular music programme on British terrestrial television continues to elude her. If Hard Rain doesn’t earn her a place in the line-up for the current series of Later…  With Jools Holland, someone is missing a vital link.”
4 Stars 

“Jungr always brings exceptional freshness to her shows, not to mention unexpected harmonica choruses with pianist Simon Wallace and bassist Dudley Philips. Admirably vivacious even at the end of a 19 – date tour, she put total immersion into the songs and kept the audience enrapt.”

CD Review:
Barb Jungr, Hard Rain (Kristalyn)

At a time when far too many jazz singers seem addicted to the most tired tunes in the Great American Songbook, London-based Barb Jungr has settled on a very different range of material. She is in love with the often-political works of musical bards Bob Dylan and Leonard Cohen. Hard Rain: The Songs of Bob Dylan and Leonard Cohen is a gem. This is excellent. 
The performances more than validate Jungr’s reputation as one of Britain’s finest interpretative singers, with particularly impressive versions of Cohen’sFirst We Take Manhattan and Dylan’s Masters of War. There are two remarkable achievements here: Blowin’ in the Wind, which Dylan wrote in 1962 and which opens the album, sounds fresh; the album also offers the second, truly great reinterpretation of Chimes of Freedom.
THE SENSE OF DOUBT – live review  The Arts Depot, North London
When an artist like Barb Jungr  – an obsessive studious of admirable story tellers – takes the fearless responsibility of reinterpreting “some of the least compassionate songs by Cohen and the most compassionate by Dylan” with a mesmerizing voice; the hymns gain both clarity and depth. The words and vision of our heroes reborn with magnificence and their comprehension, intellect and importance rises. This is Barb Jungr´s mission. A truly touching duty on stage that becomes an experience of intellectual contemplation.
To see Barb Jungr performance at the Arts Depot – a cultural hub in North Finchley – brought me to a state of inexplicable and intangible nostalgia or what in Portuguese called, Saudade. Just think in the greats: Frank Sinatra, Shirley Bassey, Sam Cooke, Nina Simone, Roy Orbison, Billie Holiday, Roberta Flack, Ella Fitzgerald and an infinite etcetera. When a true artist stands in front of an audience at its most vulnerable with nothing but the unpredictable possibilities of the voice, something magical happens. When they are truly exposed to the eyes of the public in a small venue with nothing to offer but their vocal chords, is when popular music becomes more valuable.


BARB JUNGR Hard Rain (Kristalyn Records) Albums Widely regarded as one of the finest interpreters of other people’s songs, Jungr’s new album features six Dylan and five Leonard Cohen tracks. It is a mesmerising tour de force focusing on some of the most political songs written by the two legends. 9/10

“I guarantee that once you step out of your reverie as the CD ends, you’ll be hunting for more. Hard Rain doesn’t just satisfy the senses and brainworks, it also installs a hunger.” (Mark S Tucker)

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Jim Eigo Jazz Promo Services
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