Country Artist Cherish Lee Shares Originals and Classics on Debut Holiday Album.
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Just in time for tree trimming and cookie baking, country artist Cherish Lee is putting her personal touch on the most magical time of year with her first Christmas album. A Cherish Lee Christmas has something for everyone this season with new takes on timeless classics like O Holy Night and We Wish You a Merry Christmas alongside brand-new, original Christmas cuts. 
 
A Cherish Lee Christmas is available on iTunes, Spotify and all digital retailers now. 
 
The album marks Cherish’s first venture into the Christmas genre thanks to friend and fellow artist, songwriter and producer, Shay Watson who often writes for television, movies and commercials. Together the pair found a knack for penning holiday tunes, one of which earned a spot on the popular soap, The Young and the Restless. With her affinity for the holiday, it was only a matter of time before Cherish compiled her own collection of songs for the season. 
 
“Christmas is my absolute favorite time of year,” Cherish says. “I’m thankful to Shay Watson for helping this project come to life. I hope you’ll enjoy this album as much as I do and here's to love, blessings and light this holiday season!”
 
The album contains four original songs, each of which was carefully selected by Cherish to share a message of family and togetherness. Her husband, whom she married on Christmas Eve, was the inspiration behind Stay Warm and With Every Christmas while she dedicates You’re The Reason, which she recorded in French and English, to her young son Wyatt. 
 
For more information on Cherish Lee visit her at CherishLeeMusic.com and follow her on Facebook, Instagram and Twitter. 
 
About Cherish Lee: Daughter of entertainment icons, Johnny Lee (Urban Cowboy’s “Lookin’ for Love”) and Charlene Tilton (Lucy Ewing on hit TV show “DALLAS”), Cherish has been around the limelight her entire life. Her father helped to open many doors in country music — taking her on the road, performing at the infamous Ryman Auditorium and The Grand Ole Opry. However upon moving to Nashville, this Los Angeles native has solidified her own name in Music City. The release of her album, Tequila Cowgirl, at the beginning of the year followed her title of Billboard’s Country Artist to Watch and landed her a sponsorship with the luxuriously crafted G4 Tequila as well as boasting two successful singles. Her current release, Ones You Leave Behind, delves into life after loss — a feeling all too familiar to Cherish who lost her brother to a heroin overdose. She has used this song to spread the important message of the dangers of the growing opioid epidemic in notable places such as CMA Music Festival, Tin Pan South Songwriter’s Festival, Today In Nashville and Dollywood. With a tour and new music expected in early 2019, Cherish continues to capture fans across the country with honest and powerful storytelling and the blend of her classic country roots with a little rock ‘n’ roll edge. 

After years of traveling along life’s dusty roads, Danny Lynn Wilson has emerged sharing his “Peace of Mind” - a personal collection of Original Roots recordings expressing his profound inner experiences. Polished with the persistent help of his band and the grinding force of time, these songs received a new breathe when Danny was introduced to producer/multi-instrumentalist Dave Gross. The addition of the subtle nuisances of Dave’s skill transcend the music to a higher dimension. Guided by the natural ebb and flow of the universe they freely explore themes such as love, longing and kindness through the blues while challenging the listening to become a better person.
Troughout all the ups and downs, Danny has discovered the power in the intimate connection of the universal language that is music. His honest approach to song writing encourages all that the everyday struggle is worth the experience garnered as we travel through life. By maintaining the belief that he is forever a beginner, childlike insight comes humming effortlessly over his humble voice on tunes such as “Long Way Home”, “Love Only You” and “Peace of Mind”. Above all, this album portrays a majestic triumph over darkness, convincing us to look for the positive despite what life throws in our direction
If you have peace of mind, you can and happiness under the most difficult circumstances.
 
Danny Lynn Wilson: vocals, acoustic guitar
Dave Gross: electric guitar, baritone guitar, banjo, mandolin, piano,
Hammond organ, wurlitzer, harmonium, percussion, vocals (9)
Matt Raymond: upright & electric bass
Ray Hangen: drums
Greg Gumpel: resonator guitar (9, 11), vocals (9)
Sean Daly: lapsteel (2, 7, 13)
Danielle Gross: vocals (1, 4, 9)
Clare Moses: vocals (1, 13), cello (5)
Doug James: tenor sax (8), baritone sax (12)
Charles Burnham: violin (3, 6)
April Mae: washboard (10)
 
Produced, recorded & mixed by Dave Gross at Fat Rabbit Studios
Mastered by Kim Rosen at Knack Mastering
“The opening chords from the guitar followed by this tender, unassuming voice commands the immediate attention of the listener.”
-Terrapin Station
“Danny is as pure as it gets, everything he writes and sings completely brings you to the place he's coming from”
-Dave Gross, producer
 
Peace Of Mind
TRACKS:
1. When Will The Loving Start 3:09
2. Sympathy For Your Man 3:58
3. Peace Of Mind 3:44
4. Long Way Home 3:09
5. Love Only You 3:42
6. Middle Class Blues 2:44
7. Shine Is O_ 3:39
8. Arkansas Trotter 3:08
9. High Water 2:52
10. No Walls 3:20
11. Fuss ‘N Fight 2:53
12. Too Many Hounds 3:22
13. Galway Bay 4:04
*All songs written by Danny Lynn Wilson (BMI)
​
Artist: Danny Lynn Wilson
Title: Peace Of Mind
Label: SwingNation Records
Catalog #: SNCD388015
Genre: Blues, Roots
Packaging: Digipak
List Price: $14.99
UPC: 888295841238
STREET DATE: 1/8/19
www.dannylynnwilson.com

From L to R: Luques Curtis, Lisa Hilton, Mark Whitfield Jr.

Lisa Hilton Forges Safe Haven During Tumultuous Times with New Release OASIS
 
"Hilton's melodies frequently blend the two-handed punch of Horace Silver with the moodiness of McCoy Tyner..." - Stereogum
 
“Hilton’s music is picturesque and impressionistic… the pianist has excellent technique.” - DownBeat

An enticing oasis pulsing with West Coast cool energy is what the acclaimed pianist and award-winning composer Lisa Hilton has created with her new release, OASIS (available now via Ruby Slippers Productions). Along with her trio mates, bassist Luques Curtis and drummer Mark Whitfield Jr., they have delivered on that promise with a new album that is at times tender, yet emotionally intelligent, and well-conceived. On OASIS, Hilton notes that the album title refers to a place of refuge, relief and a realization during the composing process that while she herself needed an antidote during these tumultuous times, others were seeking their own safe haven, or "oasis," as well.
 
The opening track, "Twists of Fate," surprises the senses with its cool laid back vibe laced with an energy related to the electricity of Thelonious Monk and Count Basie’s best excursions in bop, with Hilton leaving plenty of aural room while Curtis and Whitfield lay down some incredibly arresting rhythms. The trio then segues into the Horace Silver influenced, "Adventure Lands."
 
Compositions like the title track, "Oasis," "Watercolor World" and "Sunday Morning" showcase the trio’s collective ability to coalesce around an ethereal or, conversely, an ecstatic mood; at times with washes of free jazz and cascading notes fluttering. The classic George Gershwin tune, "Fascinating Rhythm," now travels in some new directions with the supple grooves of Curtis and Whitfield as well as yielding the melody under Hilton’s supple touch. This is a good companion to Hilton’s "Vapors & Shadows" as well as the lively "Just for Fun." 
 
"Lazy Daisy" is a slow blues for a sunny afternoon, though here with an impish twist mixing bluesy tones against simpler melodic ideas. Latin rhythms weave in and out of Hilton’s compositions, and here are showcased on the fast paced "Sunshine States." The final track "Warm Summer Night" ends the album in a solo piano version awash in Americana.
 
Hilton continues to produce an album a year with what has been described by Midwest Record Recap as a “throbbing undercurrent of West Coast Cool.” The pianist's 21st release, OASIS, is meant to lift spirits as a positive and energizing force in our lives -- something the pianist and her trio have accomplished using traditional ideas in new and invigorating ways.
 
About Lisa Hilton:
 
Hilton's blues inflected trans-genre or poly-genre style influences extend beyond jazz legends Thelonious Monk, Count Basie, Horace Silver and Duke Ellington, to include bluesman Muddy Waters and Robert Johnson, minimalists like Steve Reich, current rockers Black Keys or modernists Prokofiev, Stravinsky and Bartok. Hilton has performed at venues across the US from the legendary Carnegie Hall to Chicago’s historic Green Mill and is known her expressive technique at the piano as well as for her warmth and storytelling on stage. Originally from a small town on California's central coast, Hilton studied classical and twentieth century piano formally from the age of eight, where she was inspired by her great uncle, Willem Bloemendall, (1910-1937), a young Dutch piano virtuoso. In college though, due to the lack of creativity in the program, she became a music school drop out, switching majors and receiving a degree in art instead. Ever since becoming a professional musician, this background in the fine arts has well informed Hilton's composition process.
 
Committed to helping students who are often overlooked, for many years Hilton has regularly spent time to help blind students at the Perkins School for the Blind in Boston, The Chicago Lighthouse for People Who are Blind or Visually Impaired, The Junior Blind of America in Los Angeles, Camp Bloomfield for the Blind in California, or The Berklee College in Boston and their adaptive music lab for visually impaired musicians. "I enjoy extending help to those with physical disabilities - music should be for everyone," Hilton explains. OASIS will be the 21st album produced under her publishing arm, Lisa Hilton Music, and released on the Ruby Slippers Productions label. Hilton’s catalog of published compositions now totals well over 200 tracks.
 
Lisa Hilton · OASIS
Ruby Slippers Productions (#1023) · Release Date: December 7, 2018
 
For more information on Lisa Hilton, please visit:
 LisaHilton.com | Facebook | Instagram | Twitter
 
Read a Q&A with Lisa Hilton

EERSTE NAMEN LITTLE WAVES
 
Klaar voor een eerste lading namen? De unieke jazzy folksinger Ryley Walker, de Belgische revelatie Portland, donkere indie van Marissa Nadler, de nieuwe allstar band Crayon Sun en de betoverende Gabriel Kahane, zullen op 13 april 2019 de podia in C-mine bevolken op de zevende editie van Little Waves. Hou littlewaves.be in de gaten voor meer schoons!


KOOP JE EARLY BIRD
Koop nu je Early Bird tickets aan slecht € 23 !! (de normale voorverkoopprijs is 33 euro).
Opgelet, de oplage vroegboektickets is beperkt. Dus mis deze unieke kans niet. Op = op.
> Bestel je Early Bird ticket



Ryley Walker (USA)
In tijden van examens kon het antwoord op de vraag "geef het synoniem voor singersongwriter" gewoon wel eens Ryley Walker kunnen zijn. De rasartiest uit Rockford, Illinois bezorgt je intense muziekvreugde met zijn aandoenlijk stemgeluid en fijne luistertunes. Hij is in 2018 helemaal op dreef met de release van ‘Deafman Glance’ in mei en onlangs verscheen nog ‘The lillywhite sessions’, met covers van Dave Matthews Band. En in april 2019 op ons podium!

 

Portland (BE)
Finalist Humo’s Rockrally 2016, winnaar van Studio Brussel’s ‘De Nieuwe Lichting’ 2018, heel wat festivalpassages (Dranouter, Boomtown, OLT Rivierenhof, Crammerock, Leffingeleuren, …) en nu helemaal op ramkoers met hun nieuwe single (onder de vleugels
van het Belgische label [PIAS]): het wonderschone ‘Lucky Clover’. Oprecht trots dat we Portland, deels uit Limburgland, op Little Waves hebben staan!

 

Gabriel Kahane (USA)
Een singer songwriter met zijn basis in Brooklyn, NY, tot daar niets nieuws. Maar als je weet dat zijn muzikale basis klassieke muziek is, stijgen de verwachtingen automatisch. En dat is voor Kahane helemaal geen probleem. In de zomer verscheen ‘Book Of Travelers’, pianoballades van het betere genre. Maar ook live betovert Kahane. Laat je onderdompelen door eigenwijze, meeslepende pop, kortom, een concert voor de échte liefhebber.

 

Crayon Sun (BE)
Als een ex-lid van Millionaire en Mark Lanegan - Aldo Struyf - samen met Mister Blues - Big Dave - een muzikaal engagement aangaat, kan je als muziekfan alleen maar stralen. Stralen én je ticket voor Little Waves boeken! Crayon Sun bezorgt je een avondje Gutter Twins,
Afghan Whigs, Millionaire, maar dan anders. Heerlijk anders.

 

Marissa Nadler (USA)
‘With a new strength to her songs, Nadler’s force has never seemed greater’, een greep uit één van de toprecensies van haar nieuwste en beste album totnogtoe, ‘For my crimes’ (Bella Union), én het bewijs waarom we deze Amerikaanse singer-songwriter oh zo graag op Little
Waves wilden. Mission accomplished dus, en jullie zijn de winnaars! Een gig vol sobere en aangrijpende songs met invloeden uit folk, country, zelfs een snuifje black metal, en u op de
eerste rij, wedden?
​

22.03.2019
La Madeleine, Brussel 
€ 32 (incl. alle kosten)
Tickets te koop vanaf woensdag 12 december om 10u via ticketmaster.be
TICKETS

De recent gevormde Latijns-Amerikaanse boysband CNCO - met inmiddels al meer dan 8 miljoen CNCOwners - komt op vrijdag 22 maart in het kader van hun 'World Tour’ naar onze hoofdstad.
CNCO werd eind 2015 gevormd in het tv-programma La Banda. De boysband bestaat uit de heren Christopher, Eric Brian, Joel, Richard en Zabdiel.
In 2016 brachten ze hun debuutalbum 'Primera Cita’ uit, geproducet door rapper Wisin. Op dat album staat o.a. het nummer 'Reggaetón Lento’ (Bailemos). De videoclip op YouTube heeft al meer dan 1,4 miljard (!) views. Een jaar later kreeg het nummer een nieuwe versie. CNCO en de powervrouwen van Little Mixbundelden hun krachten en brachten een remix van het ritmische latin nummer uit. Het nummer werd onmiddellijk een hit en stond maandenlang aan de top van de charts.
Vorig jaar speelden ze maar liefst 40 uitverkochte shows in 15 verschillende landen en speelden ze al het voorprogramma van Enrique Iglesias, Ariana Grande, Ricky Martin en Pitbull.
De latin boysband CNCO bracht enkele maanden geleden hun tweede album met gelijknamige titel uit, dat ze op 22 maart persoonlijk komen presenteren in La Madeleine in Brussel. Het album stond onmiddellijk op #1 in de Latin Charts in de VS. Nummers als 'Hey DJ’, 'Mamita’, Reggaeton Lento (Remix), Mi Medicina en Fiesta En Mi Casa hebben ondertussen al miljoenen streams/views op verschillende digitale music platforms.
De ticketverkoop start woensdag 12 december om 10u via ticketmaster.be.

​The jazz world is littered with the stories of brilliant but ultimately discarded geniuses. Greg Murphy pianist, swore his will not be among them. Though it easily could have been. And almost was.

Rewind. After several months of study with Ellis Marsalis in Chicago in the early ’80s, and a couple years of performances under his belt, Murphy moved to New York to find his way as a performer. He hit the ground running, proving he could play with the best of them. But it didn’t take long for the reality of a hardscrabble life in jazz to sink in. The city ground him down, sweeping him up in an underworld of homelessness and addiction. Years of struggle ensued. 

Fast forward, now, to the resurrection. 

Today, with his too-human episodes behind him, he is back and so is his brilliance. The promise he showed in Chicago and in his early years in New York has re-emerged. His new music, Bright Idea, is the sound of a major talent, a resilient, defiant iconoclast, finally ready for his time in the spotlight. 

An epic trio recording made with Jeff “Tain” Watts and Eric Wheeler, Bright Idea comes together in a way that embraces all of the places Murphy has been, from his grinding, intensive study in New York, his time in New Orleans with Ellis Marsalis, his pop-funk days in Chicago, and his Latin jazz work with Raphael Cruz. It is a well and fully rounded musical adventure, rife with dimension and color, and his most fully realized recording yet. At this point in his career, we are happy to expect no less. 

Recorded, produced and arranged by Murphy, Bright Idea features mainly originals, with a few exceptions including the opening Pharrell Williams tune “Happy.” With Watts and Wheeler alongside, Murphy achieves an energetic vitality on the session, especially on tracks like the newly discovered Coltrane composition, “Untitled Original 11383,” a twelve-bar blues, and Joe Ford’s “Earthlings.” But throughout the album there is generosity, reciprocity and the desire to make memorable and triumphant music. 

Bright Idea, Greg Murphy’s second Whaling City Sound project and fifth overall, is pure and beautiful, his strongest statement as a leader and his most beautifully played collection of stories. Fully back and in complete command, Murphy can now swing with the best. He has come out from the dark side and into the light, now destined, even determined, to find his proper place in the pantheon of jazz piano.

Photo Credit: Anna Webber
​
"With his earnest and elastic baritone, Mr. Elling is among the most highly regarded jazz crooners of the past quarter century.” - The New York Times
 
"For as long as we’ve known Kurt Elling, he has been among our most inquisitive jazz vocalists.” - WBGO

With the release of his GRAMMY® Award-nominated album The Questions earlier this year, Kurt Elling responded to our tumultuous times with a wide-ranging set of music that explored some of humanity’s most timely and timeless struggles. Drawing upon material from jazz standards and American Songbook favorites to contemporary classics by influential songwriters like Bob Dylan and Paul Simon, Elling meditated on the political and the existential, the spiritual and the global.
 
The Questions, with its soulful melodicism, profound urgency and vigorous swing, earned Elling and his band widespread acclaim, culminating in the singer’s 13th career GRAMMY® Award-nomination. Most importantly, it engaged audiences around the world in the most vital challenges of this staggering historical moment. Now, The Questions LIVE captures that experience through an intimate, compelling performance recorded during the band’s most recent European tour.
 
A special gift from Elling to his fans, The Questions LIVE arrives just in time for the holidays, a time for families and friends to gather together and celebrate the communal spirit of the season. That spirit comes vividly to life as Elling convenes an intimate London crowd for a short set featuring expanded versions of four songs from The Questions as well as a new piece based on Ben Webster’s bristling “Did You Call Her Today.”
 
“I’m hoping to not only address this moment of craziness in the world, but also to lift people up about it,” Elling explains. “I’m not a protest singer, though there’s a lot to protest. It’s tough for me to sing from anger, though there’s a lot to be angry about.”
 
The Questions LIVE opens, as did the original album, with Elling a cappella, reciting the stirring opening lines of Dylan’s “A Hard Rain’s A-Gonna Fall.” As he relates to the audience afterwards, the song’s litany of poetic horrors feels “as current as it was when it was written.” He goes on to introduce the “hard-won wisdom” of poet Franz Wright, whose words were set to music by pianist Stu Mindeman for the philosophical “A Happy Thought.”
“Politics, death… it’s going pretty good so far,” Elling jokes before turning his attention to that most ever-present of mysteries, love, on guitarist John McLean’s warm arrangement of Rodgers and Hammerstein’s “I Have Dreamed.” From finding love to maintaining it, “Every Day You’re Away” adds some romantic advice gleaned from many years as a traveling musician to Webster’s “Did You Call Her Today.” It is, as Elling points out, “an everyday question,” but one that’s just as important to ponder as the big questions posed by this repertoire.
 
“Maybe the questions themselves are the answers,” Elling muses before concluding this moving set with “Endless Lawns,” which pairs Carla Bley’s music with Elling’s own lyrics, adapted from a poem by Sara Teasdale. It sends the audience, and now listeners around the world, home on an optimistic if wistful note, countering the darkness of the day’s headlines with a welcome dose of hope.
 
“In the face of this unfolding catastrophe in front of us,” Elling says, “I at least want it known that I’m on the side of compassion, grace and fellowship – not on the side of division, fascism and ignorance.”
 
That sentiment is amply expressed, certainly, in Elling’s lyrics and performance, which is heartfelt but full of humor, bristling with passion yet ultimately brimming with faith in humanity. But it’s there as well in the collective spirit of jazz, the inspired interactions between Elling and his bandmates: guitarist John McLean, bassist Clark Sommers, drummer Adonis Rose, and, joining the regular band for this European jaunt, pianist and organist Jim Watson. Each one of these gifted musicians are given plenty of space to explore these heady questions in their own voices live on stage.
 
In the current political climate, Elling says, “the approach of jazz itself is a form of protest. The collegiality, the mutual support, the democratic; everybody gets a say and if you take a single member out there’s an essential ingredient missing. It’s not a complete community until everybody’s in their right and mutually supportive place.”
 
For Elling, that place is on stage, finding that night’s answers in communion with fellow musicians and rapt audiences. “I’m trying to give the music and the audience the best that I can,” he says, “and be true to the example of the cats who came before me.”
Kurt Elling · The Questions LIVE
Release Date: December 7, 2018
 
For more information on Kurt Elling, please visit: KurtElling.com
 
Follow Kurt Elling on Social Media:
Facebook | Instagram 

Mexican-American Drummer/Composer ANTONIO SÁNCHEZ Addresses the Immigrant Experience Under the Trump Administration on New Album Lines In The Sand  Available January 25, 2019
 
BiRDMAN Soundtrack Composer Continues to  Use Music as a Vehicle for Social Activism
 
New Album Follows Bad Hombre, His 2017 Critically Acclaimed Politically-Leaning Album
 
Project Features Migration, Sánchez' Working Band
 
"To put it mildly, Sánchez is not a big fan of President Donald J. Trump. He's full-voiced with his criticism on social media, and has now found a musical outlet for it..." - Nate Chinen, NPR Music

 
Perhaps not “all politics is personal,” but for Mexican born and raised drummer and composer Antonio Sánchez, who became a naturalized American citizen in 2016, the criminalizing of immigrants and the breathtakingly casual cruelty in the enforcement of border policies by the Trump Administration do feel personal, deeply personal.
 
“I feel so blessed and so thankful for what I've achieved in the United States,” says Sánchez. “But at the same time, I feel completely repulsed by what the United States is doing to immigrants — especially to people coming from the South. […] So whenever and wherever I'm performing, I'm speaking out, trying to make sense of what is going on.”
 
Not surprisingly, Lines In The Sand (CAM Jazz), his follow-up to 2017´s remarkable Bad Hombre (CAM Jazz), is a passionate and eloquent statement from a superior artist and emerging social activist. In Lines In The Sand, Sánchez turns his anguish and anger into a moving musical statement, as much a protest against injustice as a tribute to every immigrant’s journey.
 
“With all the political turmoil and ethnic violence that is permeating the country and the world,” writes Sánchez in the liner notes for Lines In The Sand, “it’s been impossible for me not to pay much closer attention to what being a brown-skinned immigrant with a Latin name from a third world country means to me, as well as the implications for my family and my future children.”
 
“As I write these words [in July 2018], families are being torn apart at the US-Mexico border in a grotesque attempt to deter illegal immigration (which happens to be at a historical low). Small immigrant children being scarred for life by these inhumane policies keep reminding me of the millions of people that aren’t as fortunate as I have been and whose journey to come to this country sometimes becomes a matter of sheer life or death.”
 
Working with his band Migration — John Escreet on piano, Fender Rhodes and Prophet Synthesizer; Matt Brewer on acoustic and electric bass; Thana Alexa on vocals and effects and Chase Baird tenor saxophone and EWI — Sánchez builds, in some cases very explicitly, on the social and musical statements in Bad Hombre.
 
In “Bad Hombres y Mujeres,” which Sánchez calls “a kind of a reverse remix,” he took the bass line from the original tune, “which is a lot simpler in Bad Hombre, and turned it into this kind of almost symphonic piece.” Meanwhile “Home,” an instrumental piece in its previous version, is re-imagined here with lyrics by Alexa.
 
In fact, the voice is a critical element in Lines In The Sand. As in Sanchez’s earlier The Meridian Suite (2015), it is mostly treated like another instrument — now carrying the melody lines, as in the elegiac “Long Road,” now creating textures with the electronics or the keyboards, saxophone, and bass.
“I like to have that human element in my music,” says Sánchez. “Even though the saxophone can be incredibly lyrical, people can relate to the voice in a completely different level.”
 
Voices also appear at strategic points in the extended pieces in Lines In The Sand — “Travesia” and the title track, which bookend the recording — adding to their distinct cinematic quality. In some instances — most notably in the dramatic intro to “Travesia,” an audio verité collage of cries and noises from ICE and police raids — Sánchez makes his point bluntly and unambiguously. For the most part, the pieces suggest soundtracks for imaginary films. It’s an approach to musical storytelling that Sánchez had a chance to explore while working on the score for Birdman (2014).
The soundtrack earned him a Grammy Award for Best Score Soundtrack for Visual Media, and nominations for the Golden Globe Award for Best Original Score, and BAFTA Award for Best Film Music.
 
“I really started liking the idea of creating a narrative to tell longer stories,” he says. “And in that narrative, I can develop my characters, which are my melodies, my rhythmic ideas, in a more thorough way. On “Travesia” and “Line In the Sand,” I'm really thinking in a cinematic storytelling kind of way.”
 
“In ‘Travesia’ I'm really trying to evoke the journey that immigrants have to go through. With the intro, which is so violent, I wanted to give [the listener] a really concise narrative of what happens on one of those raids and what it must feel like. The piece then gets really intense sometimes, and sometimes it gets beautiful and very sparse. I really like contrast in music, so I love to go from the most sparse and softest passage to an incredibly intense section, take you by surprise and, I´d hope, take you on a journey.”
 
The storytelling approach also informs the title track, in which Sánchez includes a fragment of “At the Wall, US/Mexican Border, Texas, 2020” a poem by Mexican-American students and activists Paola Gonzalez and Karla Gutierrez that he found on YouTube.
 
“I thought their poem was powerful and poignant so I grabbed it and added it to a section of the track that I always felt like it needed something extra,” explains Sánchez. “When I superimposed the poem over that section it gave me goose bumps. “
 
The journey comes to rest on the story told by yet another voice, that of Boston-based Mexican-American poet, musician, and activist Jonathan Mendoza reading his poem, “Blood Country.” In Mendoza’s prayer-like cadence, “Blood Country” suggests a glance back before stepping into a new world.
It says in part:
…
I pledge allegiance to staying.
I pledge allegiance to going.
I pledge allegiance to remaining, and longing,
despite knowledge of a forbidden future.
 
I pledge allegiance not to the blood,
but to the scar. Not to the blister,
but to the thickening of skin,
 
“This was such a perfect statement in which to end,” says Sánchez. “With Lines In the Sand I want people to stop for a second and think about what's going on with a lot of human beings in this precise time in history, and how immigrants are being viewed, not only in the United States but all over the world, and how those human beings can be feeling.”

Antonio Sánchez Tour Dates:
w/ Migration unless noted otherwise
 
January 5: Highline Ballroom, New York, NY
January 10: Het Concertgebouw, Amsterdam, NL
January 11: LantarenVenster, Rotterdam, NL
January 12: Flagey, Brussels Jazz Festival, Brussel, BE 
January 13: A38, Budapest, HU
January 14: Alte Feuerwache Mannheim, Mannheim, DE
January 15: Teatro Lope De Vega, Sevilla, ES
January 16: Fasching Stockholm, Stockholm, SE 
* March 13: Valley Performing Arts Center, Great Hall, Northridge CA  
March 14: Valley Performing Arts Center, Great Hall, Northridge, CA
** March 15: Carpenter Performing Arts Center, Long Beach, CA
March 19-20: Dimitriou's Jazz Alley, Seattle, WA
March 22: Jaqua Concert Hall - John G Shedd Institute for the Arts, Eugene OR
March 23: Tower Theater, Bend, OR
 
*Bad Hombre performance
**BiRDMAN LiVE Performance

For more information on Antonio Sánchez, visit antoniosanchez.net 

Twee jaar na hun ontstuimig en felgesmaakt debuutalbum ‘What’s All The Mumble About’ is de Brusselse rockband Jacle Bow klaar met de langverwachte opvolger. Het album “Whatever You Might Find” verschijnt op vrijdag 22 februari 2019 en wordt twee dagen eerder, op woensdag 20 februari, live voorgesteld in de AB Club.  Klik hier voor de laatste tickets en info.
 
Jacle Bow heeft zich sinds de release van haar debuutalbum in januari 2017 stevig op de kaart van het Belgisch rocklandschap gezet. De voormalige StuBru’s Nieuwe Lichting-finalisten werden op zowat elk festival in Vlaanderen en Wallonië geboekt, speelden een tour langs de westcoast van de USA, werden Artist In Residence in de AB én de Muziekodroom, mikten 5 singles van hun debuutalbum ‘What’s All The Mumble About’ in De Afrekening en vulden o.a. de grote zaal van de AB en de Brielpoort met hun inventieve Music For Life-campagnes.
 
Gelukkig is er ook tijd voor nieuwe muziek. Officieel herleid tot het rocktrio Jonas Bastijns (zang, gitaar), Karel Van Mileghem (gitaar, bas, keys) en Joris Thys (drums), klinkt de band rijker en volwassener dan ooit qua sound en instrumentarium op haar opvolgalbum “Whatever You Might Find”. De vooruitgeschoven albumtracks “Hideaway’ en ‘Mysterious Guy’ tonen een meer confidente eigen smoel, rockende elegantie, funk en bravoure. Luister o.a. naar de titeltrack zelf, ‘Whatever You Might Find’, vanaf vandaag beschikbaar op alle digitale platformen.
 
Opvallende gasten? Producer Mario Goossens (Triggerfinger) die een extra drumlaag legt op de Harry Nilsson-cover ‘Jump Into The Fire’. En de grootmeester van het Nederlandstalige lied, Raymond van het Groenewoud, die zijn klassevolle piano- en backing-vocal kunsten etaleert in het meanderende ‘In Time’.
 
Never change a winning team, en dus werd de productie van “Whatever You Might Find” opnieuw in de handen gelegd van Mario Goossens (Triggerfinger), die voor de albumopnames met de band naar de nieuwe Trypoul Studios (NL) trok. Ward Neirynck stond in voor de Mixing & mastering.  
 
Het opvallende artwork is van de hand van de Luikse graffiti-kunstenaar Lucien Gilson, die wereldwijd furore maakt met zijn zwart-witte designs als NOIR artist. 
 
Tracklisting
1. Whatever You Might Find
2. Mysterious Guy
3. Alone
4. Hideaway
5. Nothing Gets Me Excited
6. Run Part #1
7. In Time
8. I’m Already Gone
9. Run Part #2
10. Jump Into The Fire

​‘Elsewhere Bound’ is de vooruitgeschoven single en titeltrack van het veelkleurige vijfde studio-album van Tiny Legs Tim (release: 1 februari 2019 via Sing My Title/N.E.W.S.). Op zijn nieuwe plaat ruilt TLT de akoestische bare-to-the-bone intimiteit van voorganger ‘Melodium Rag’ in voor een vlezige productie met een uitgebreide bezetting.
De clip van ‘Elsewhere Bound’ is gedraaid in Bar Venetië in Borgerhout en baadt in een sfeer van gezellige groezeligheid. Cinema Belge met een surrealistisch kantje en een absurde knipoog naar the Coen Brothers.
De album release Tour brengt Tiny Legs Tim in 2019 naar een aantal zeer gereputeerde zalen en clubs.

 
* 22/02  -           De Singer / Rijkevorsel                                  Try-Out
* 01/03  -           AB / Brussel
* 08/03  -           De Roma / Antwerpen
* 28/03  -           De Casino / St Niklaas
* 29/03  -           4 AD / Diksmuide
* 14/05  -           De Handelsbeurs / Gent
 
De Tiny Legs Tim live band:

 
Tiny Legs Tim: gitaar en zang
Tom Callens: blazersarrangementen, bariton en tenor sax
Mark De Maeseneer: tenor sax
Marie-Anne Standaert: trompet
Yves Fernandez: trompet
Luc Vermeir: Piano
Steven Troch: Mondharmonica
Filip Vandebril: Bas/contrabas
Amel Serra García: percussie
Frederik Van den Berghe: drum

​Lokerse Feesten to the rescue, wij hebben de perfecte oplossing! Bezorg je (klein)kinderen, je lief, je ouders, enfin, alles wat je dierbaar is, hét cadeau voor eindejaar.

Koop nu je cadeaubon voor de Feesten en wees de held van de feestdagen: je hebt keuze tussen cadeaubonnen van €10, €25 en €50. Met de unieke couponcode kan je later het verkregen bedrag aftrekken van de online bestelling van je ticket of abonnement.

Bestel hier en vouw je printversie tot een leuke cadeauomslag.

Fijne feesten!

 
“Belgium’s noise rock godfathers are back and blazing!” Metal Hammer UK
​

Brussels rock-monument en Belgische cultband La Muerte heeft (voor het eerst sinds lang) een nieuw (heavy) album klaar dat vandaag verschijnt op CD en Ltd 2LP via Bxls label Mottow Soundz en op 12 januari stellen ze het live voor in de AB in de nieuwe bezetting die ook in stond voor de studio-opnames.  
 
Metal Hammer schreef ook dit over het nieuwe album:
"Listen to this sufficiently loud and a religious experience is guaranteed."
 
Dee J Moens (nl talig) en Marc Marais zijn beschikbaar voor itvs a la carte. Beide zijn de stichtende leden van de band en hebben naast La Muerte nog carrières binnen de muziek- en cinéma wereld. DeeJ Moens werkt(e) als live- en studio mixer / producer reeds samen met tal van binnen- en buitenlandse artiesten.  Marc (als Marco Lagune) heeft als regisseur een fascinatie voor Bmovies en docus, kortfilms en een langspeelfilm op zijn actief en bracht onlangs ook een boek over skaten: Primitive Skateboarding Belgium 1978 (Editions du Caid). In 2015 speelden ze alle grote festivals plat op hun reünietournee.
 
“they’re back with this gripping mesh of proto-punk, heavy psych and biker metal, bolstered by a deliciously disturbing video” (Classic Rock UK)
 
“sounding like somewhere between Entombed, The Stooges and Unsane. sounds good eh? well, they do it even better than what you can expect. Super strong and addictive stuff.”  (The Blasting Days)
 
More Usefull links:
The clip: https://youtu.be/UrpGsDgH42E
La Muerte on FB: https://www.facebook.com/LAMUERTE.BE
Marco Laguna: http://www.marcolaguna.be/
Download persfoto + artwork hier
​

Altitudes & Attitude, acollaboration between Anthrax’s Frank Bello and Megadeth’s David Ellefson -two virtuosicbass players who’ve anchored some of the fiercest thrash records of all time –will release its debut album Get It Out on January 18 via Megaforce Records.  Atestament to the expressive strength of rock songcraft, Get ItOut reaches far beyond the boundaries of an all-star metal outing.
Hear their new song “Late” here and on allstreaming services.  
Get It Out is available for pre-order here.

A kind of rock ‘n’ roll primal-scream therapy, Get It Out is the result of nearly four years of writing and recording sessions—and decades of touring, searching, striving and living. “I’ve learned that writing songs is very cathartic,” says Bello, who has long made songwriting a daily practice.  When Anthrax is off the road, he tries out new material at open mics around New York City.  “A lot of these lyrics are about the inner struggles of my life, and about the rage that has built up from my life experiences—my brother’s murder; my father abandoning my family when we were young, leaving us with no funds to pay the bills. … The ups and downs of life in general. I’ve always had an anger inside that music really helps me deal with.”
“The album has the perfect title,” Ellefson adds. “This is music that has been living inside of us for so long.  There’s a big musical part of each of us that doesn’t get heard anywhere else.”
Boasting producer Jay Ruston (Anthrax, Stone Sour, Steel Panther), drummer Jeff Friedl (A Perfect Circle, Devo, Filter) and a deep bench of guest stars including Ace Frehley (the track “Late”) and Gus G., the record also represents the fulfillment of a lifelong but little-known ambition for two uniquely gifted artists. As Bello puts it, “All I ever wanted to do was write good songs. I’ve always been a melody guy. I love hooks; I love catchy songs with a good riff.”

The Altitudes & Attitude story begins in 2010, when Bello and Ellefson started touring together to lead bass clinics for the amp manufacturer Hartke. In need of backing tracks to support their demonstrations, they embarked upon some writing sessions and discovered their chemistry.
Bello and Ellefson debuted Altitudes & Attitude in early 2014, with a self-titled three-song EP that earned the duo airplay on SiriusXM and an appearance on VH1 Classic’s That Metal Show. Those tracks—“Booze and Cigarettes,” “Tell the World,” “Here Again”—are included on Get It Out as bonus cuts, in remixed and remastered form.
Ellefson explains that “A&A could have only happened at this moment in time”—when the titans of thrash metal’s Big Four are older, wiser, kinder and more open creatively. “When you’re still climbing up the hill,” he says, “there’s no room for friendly competition. But once you’ve been to the top of the hill and you’ve seen the view—which all of the Big Four have—it’s OK to break bread, hang out, have a drink.” Or, in the case of Altitudes & Attitude, delve into hard-rock songwriting in a profound way. “To hear other sides of us as artists—not just as musicians and performers, but as artists.”


Altitudes & Attitude Tour Dates
+ = with Slash ft. Myles Kennedy & The Conspirators
January 26-31 Ship Rocked Cruise
February 7 Nottingham, ENG Rescue Rooms
February 9 Manchester, ENG Academy 3
February 10 London, ENG Underworld
February 12 Norwich, ENG The Waterfront
February 14 Tilburg, NL 013 Tilburg
February 15 Frankfurt, DE Bett
February 16 Munich, DE Backstage
February 17 Bochum, DE Zeche
February 22 Paris, FR Zenith +
February 23 Brussels, BE The Cirque Roya +
February 24 Amsterdam, NL Afas Live +
February 27 Oslo, NO Sentrum Scene +
February 28 Stockholm, SE Annext +
March 3 Hamburg, DE Sporthalle +
​
US tour dates on the way
www.altitudesandattitude.com

blackwave. keeps on booming! Na een sensationeel concert in een uitverkochte AB in Brussel twee weken geleden en met 3 MIA nominaties op zak in de categorieën "groep", "doorbraak" & "urban", ging de ticketverkoop voor het concert op dinsdag 23 april bijzonder snel. Dat concert is nu uitverkocht. Het Antwerpse hip-pop duo Will en Jay voegt daarom een 2e concert toe in De Roma op woensdag 24 april 2019. Tickets voor dit extra concert zijn per direct in verkoop via livenation.be en proximusgoformusic.be.

Het duo dropt in mei 2017 een eerste EP ‘Mic Check’. Daarna gaat het snel voor blackwave. De EP versiert lovende recensies in de Belgische en Nederlandse pers. Ook de buitenlandse critici weten hun muziek te pruimen. Volgende wapenfeit: single 'Elusive feat. David Ngyah’ gaat begin dit jaar in première bij de Engelse krant The Independent en is instant hotshot bij Studio Brussel. Het nummer klopt ondertussen af op meer dan 3,5 miljoen Spotify-streams. Next: “Swangin'”, hun tweede release dit jaar, gooit hoge ogen met een première op Vice / Noisey en bereikt de nummer 1-plaats op de populaire Hype Machine hitlijst. Afgelopen zomer scoort het aanstekelijke “Whasgood?!”, met invloeden van Prince, Outkast en Will Smith, een review in Billboard magazine en sluit de band KluB C op Rock Werchter af. Na uitverkochte shows in Vooruit Gent, OLT Rivierenhof en AB een feilloos parcours.

Met de single “Good Enough” trekt blackwave. de herfst in. Vol old school 90's hip-hop vibes toont deze track hun enorme muzikale en vocale talent. Dat talent werd net bekroond met een Music Moves Europe Talent Award in de categorie hip hop/rap. Een prijs die ze op het komende Eurosonic Noorderslag (ESNS) in ontvangst zullen nemen.

En dit is nog maar de mic check.

Dit concert is een co-productie tussen Live Nation en De Roma.
 
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​After fourteen albums released and twenty years as a recording artist, I have finally got around to releasing a music book of tunes I recorded. Like all jazz musicians, I practiced jazz back in the day with 'real books'. A real book chart is all a jazz musician needs to have in order to interpret the music. Essentially a real book chart is a piece of music with only the melody and chords written. Any integral rhythms and bass lines are usually sketched in too, but for the most part, any instrumentalist is in their element with this format. And so jazz musicians collect real books by the dozen so they are never at a loss in a professional performing situation.

So here is mine. Seventy six songs taken from eleven recorded albums. (Instrumental compositions only). 

You can order the PDF version, the spiral bound print version, or both. (When you order the print version, you also get the PDF version). Many of these songs are available as mp3 backing tracks (not quite all), and there is an option to order those, along with the original album recordings.

Both PDF and print version charts are super high rez. Take a look at one example here. Open the index here to all songs included in this collection.

I love it when I hear other musicians playing my compositions. So feel free to use these charts to make your own arrangements. Have fun!
 
76 Chris Standring compositions all in jazz real book format.
Spanning 11 solo albums. Including songs from the albums:
Solar System 
Velvet
Hip Sway
Groovalicious
Soul Express
Love & Paragraphs
Blue Bolero
Electric Wonderland
Don't Talk, Dance!
Ten
Sunlight
* PDF version!
* Spiral Bound Print Version!
* Audio Mp3s & Backing Tracks!
 
http://www.chrisstandring.com/songbook/vol-1/index.html?fbclid=IwAR1Pm5zttGPtO-VytphiP4EKKZ8gS-eM5n_cVSIm9xJ54MKH7DP62CFJNTk

Igor Gerzina Releases Christmas Album "Svim na zemlji"
A Collection Of Croatian Traditional Christmas Carols 

The multiple Porin awarded saxman Igor Gerzina has released instrumental Christmas album with Croatian traditional Christmas songs. Album is released by Status Production and is his first Christmas record. 

"Svim na zemlji" is the sixth studio album by European producer, composer & saxophonist Igor Gerzina.
The most powerful instrument in the Christmas garment brings the most beautiful traditional Croatian Christmas tunes in the performance of this top instrumentalist.
"I had a specific idea how my Christmas album should sound like: instrumental, warm, intimate, not overproduced, as natural as possible. I wanted the album to have a festive Christmas atmosphere, a bit jazzy and funky, even gospel, but to keep the uniqueness and beauty of Croatian traditional Christmas songs", says Igor.
"Svim na zemlji" is an album full of beautiful traditional tunes with amazing sax power in pop spiced smooth jazz genre with a brilliant instrumental synergy Igor and his band. What unifies the album is Igor's well known robust saxophone style with perfect rich tone of his tenor and emotional solos.

In this holiday season, you will have a great soulful experience listening to Igor's new album "Svim na zemlji" and you will surely enjoy this musical ride. 

www.svimnazemlji.com

Story about the Album "Svim na zemlji":

This album has been several years in the making.
I've had different ideas: covers of foreign songs, like Jingle Bells, vocal collaborations, combinations of both, etc., and I've recorded a lot of demos.
Finally, last Christmas inspiration struck, and I had a specific idea how my Christmas album should sound like: instrumental, warm, intimate, not overproduced- as natural as possible.
I wanted the album to have a festive Christmas atmosphere, a bit jazzy and funky, even gospel, but to keep the uniqueness and beauty of Croatian traditional Christmas songs. For that I knew I needed excellent musicians, who not only played well, but understood my idea and were able to translate it into music. 
This could only have been done with the help of my closest associates, wonderful musicians: Jurica Leikauff on keyboards, Elvis Penava on guitar, Dubravko Vorih on bass and young Mario Klarić on drums.
The sound I wanted came about after a lot of work. Arrangements, recording preparation, recording itself and mixing took a long time (I don't know what my neighbours thought when I rehearsed Christmas songs in the middle of summer.)
During this whole process I've enjoyed every step immensely, especially the collaboration with amazing people, aforementioned colleagues, sound mixer Bojan Pahljin in RSL studio in Novo Mesto, as well as the guys from KADAR 22 agency, who created the visual identity 

Photo Credit: Jimmy Katz

Master Trombonist Steve Davis Debuts His Powerhouse New Sextet on Correlations, Available March 8 on Smoke Sessions Records
 
New Album Features Stellar Lineup Including Wayne Escoffery, Joshua Bruneau, Xavier Davis, Dezron Douglas and Jonathan Barber
 
Album Release Performances March 7-9 at Smoke Jazz & Supper Club
One of the most acclaimed trombonists of his generation, Steve Davis has been a member of some of jazz’s premiere ensembles: Art Blakey’s Jazz Messengers, Chick Corea’s Origins, the Jackie McLean Sextet, Benny Golson’s New Jazztet, the Christian McBride Big Band, and the all-star collective One For All. With Correlations, Davis introduces a powerhouse group all his own, a new multi-generational sextet that weaves together a thrilling new sound from myriad common threads.
 
Correlations, due out March 8 via Smoke Sessions Records, introduces the new band with a set of inspired new tunes and classic compositions from jazz masters who’ve pointed the way for Davis and his cohort to follow, galvanized by tradition but boldly pushing forward. That adventurousness is just one of the connections that binds these six artists together, one of many correlations that give the album and the sextet their name.
 
Such commonalities proved important, as the sextet as a whole had never worked together prior to the weekend at Smoke that preceded the recording. There was plenty of shared history between the individual members, however: Davis, trumpet and flugelhorn player Joshua Bruneau, saxophonist Wayne Escoffery, pianist Xavier Davis, bassist Dezron Douglas, and drummer Jonathan Barber.
 
One of the primary correlations that binds these stellar musicians together is the mentorship of the legendary saxophonist and educator Jackie McLean, via the jazz studies program he founded at the University of Hartford’s Hartt School of Music. Davis, Douglas, and Escoffery all studied directly under McLean; Bruneau and Barber both entered the program later, with all four benefiting from the tutelage of Davis, who joined the faculty in 1991.
 
“Jackie instilled in us all the value of playing with fire and conviction,” Davis says. “He stressed the importance of keeping one foot in the past and one foot in the future, balancing the tradition and history with looking to do something that sounds fresh and special. All the guys in the band certainly embody those principles when they play.”
 
Xavier Davis (no relation) is the odd man out when it comes to educational background, but he still shares strong bonds with several members of the band, not least its leader. The two have worked together extensively in David Weiss’ New Jazz Composers Octet as well as the Christian McBride Big Band, while the pianist has played alongside Escoffery in trumpeter Tom Harrell’s band for many years and with both Escoffery and Douglas as part of the collective Black Art Jazz Collective.
 
“There are all kinds of musical relationships over many years between all of us,” says Davis. “So, while this actual band had never played together, I knew because of all the common roots that the chemistry was going to be great. And we really hit the ground running.”
They were given more than a little extra propulsion thanks to Davis’ exhilarating new compositions for the group. Having penned countless tunes and arrangements for McLean’s revered sextet as well as One For All and his own ensembles, Davis eloquently speaks the language of the three-horn frontline, and was newly inspired by the incredible one he’d assembled for this date.
 
“I’ve always tried to approach any band I’ve had over the years as our band,” the trombonist stresses. “Anything I write leaves plenty of room for everyone involved to help shape it. The three horns share a very natural camaraderie and simpatico, and the rhythm section is just magic. My job is just to provide the format, focus it with repertoire, and get out of the way and let it happen.”
 
The album begins in spirited fashion with “Embarcadero,” named for the roadway that curves along the San Francisco waterfront. The tune’s carefree swing captures the feeling of driving a scenic route with the top down, as Davis had the opportunity to do while teaching for the first time at the Stanford Jazz Workshop in 2001 – an especially welcome change of pace for someone used to the hectic, claustrophobic environment of the metropolitan east coast.
 
The aptly-named “Subtlety” derives its pastel beauty from the rich harmonies of the piece, which coaxes moving, nimble solos from all three horn players. Percussion great Cyro Baptista brings his inimitable touch and vigorous rhythmic complexity to “Bautista’s Revenge” – the parallel in names being entirely coincidental. The title actually stems from Davis’ passion for baseball: Tony Bautista was an infielder for the Baltimore Orioles; during one game Davis witnessed a belligerent Sox fan taunting Bautista mercilessly, until he knocked out a grand slam home run and mocked his tormentor back with a “boo-hoo” gesture.
 
The tender “Song For My Love” is a romantic dedication to the leader’s wife, Abena Koomson-Davis, that coasts on the preternatural groove of Xavier Davis, Douglas and Barber. The family feeling continues with the sprightly “Newbie,” titled by Davis’ teenage daughter Angie as dad worked it out on the piano. The celebratory “Can't Complain” is a reflection on Davis’ life, a casual acceptance of a contented existence that includes a loving family, unparalleled collaborators, and a remarkable career spanning more than three decades. The final original, “Blues for Owen,” tips the hat to the late Owen McNally, a longtime journalist and jazz booster for the Hartford Courant.
 
Davis gorgeously voices the familiar melody of Horace Silver’s beloved “Peace,” a timeless composition with an all-too timely message for this divisive era. Xavier Davis’ thundering keys lead into George Cables’ surging “Think on Me,” while the pianist’s stark, delicate side emerges on Thad Jones’ crystalline “A Child Is Born,” which also features Barber’s lush brushwork and a lyrical, eloquent turn from Douglas. McCoy Tyner’s bold, stirring “Inner Glimpse” brings the album to a close with a show of the ensemble’s full force.
 
Whether you consider Correlations in terms of key mentors, mutual inspirations, shared experiences or sympathetic outlooks, what’s most important is not the source of these connections but the bonds they’ve forged. With this superb new sextet, Steve Davis has assembled a band whose ties can bind in endlessly creative and vibrant new music.
 
"Correlations" was produced by Paul Stache and Damon Smith and recorded live in New York at Sear Sound's Studio C on a Sear-Avalon custom console at 96KHz/24bit and mixed to ½" analog tape using a Studer mastering deck.
Available in audiophile HD format.

Steve Davis · Correlations
Smoke Sessions Records · Release Date: March 8, 2019
 
For more information on Steve Davis, please visit: SteveDavisMusic.com

De vierde editie van Fumprock wordt opnieuw een knaller. Het festival voor Ambulancewens België heeft een legende weten te strikken voor de affiche van zaterdag 16 februari 2019. The Kids vieren de 40ste verjaardag van hun legendarische debuutalbum in Diepenbeek.

Eind 2018 belandde Vlaanderens allereerste punkband opnieuw in de hitparade met een heruitgave van het debuutalbum ‘The Kids’ en het tweede album ‘Naughty Kids’. De godfathers van de punk toeren nog steeds door Europa en blijven een zeer energieke liveband. Dat zullen ze komen bewijzen ten voordele van Ambulancewens.

De vierde editie heeft nog meer leuke bands op de affiche. De gloednieuwe band A Bear Called Panda komt er in avant-première hun debuut-cd voorstellen, Hell City is terug met een geweldig album en Bizkit Park zal laten horen waarom hun ode aan de Nu-metal al de hele zomer brokken maakt op festivals. Het feestje wordt vakkundig op gang getrapt én afgesloten met respectievelijk de rockcoverbands Anger Driven en Silk Stalkings.
Fumprock wordt georganiseerd ten voordele van Ambulancewens België. Alle vorige edities waren uitverkocht. De afgelopen 3 jaar kon het festival al meer dan 8.000 euro schenken aan die organisatie.  Die bekostigden daar een stukje van de aankoop van een nieuwe kinderambulance mee voor palliatieve en langdurig zieke patiëntjes.

Net als vorig jaar rijdt touroperator De Zigeuner met een gratis Fumprockbus door Diepenbeek en Hasselt om mensen veilig van en naar het festival te brengen. Fumprock moedigt dus zoveel mogelijk festivalgangers aan om de bus of de fiets te nemen of te carpoolen. Wie toch met de auto komt, kan parkeren op het Patersplein.

Fumprock gaat opnieuw frisdrank, bier én alcoholvrij bier tappen in biologisch afbreekbare bekers. Net als vorig jaar worden die bekers door Bionerga verwerkt tot compost. Vorig jaar zorgde dit voor een geslaagde actie. Zorgboerderijen, volkstuintjes en festivalgangers teelden prei met de compost -niet toevallig het logo van Fumprock- en de foto’s van de soms flink uit de kluiten gewassen Fump-prei werden gedeeld op onze sociale media. We kunnen deze actie opnieuw opstarten met de financiële steun van de Provincie Limburg.
​
Fumprock IV, 16 februari 2019 met Anger Driven, A Bear Called Panda, Hell City, Bizkit Park, The Kids en Silk Stalkings in OC Rooierheide, Diepenbeek. Tickets kosten 10 euro in voorverkoop. Meer info via www.fumprock.be

02.05.2019
Ancienne Belgique, Brussel
Verkoop vanaf vrijdag 7 december om 10u

TICKETS

Op 2 mei 2019 stelt Alan Parsons in de AB "Alan Parsons Live Project” voor. Samen met een goed geoliede band zal Alan die avond alle hits van The Alan Parsons Project nieuw leven inblazen.
Alan Parsons begon zijn carrière als muziektechnicus bij legendarische platen als 'Abbey Road’ (The Beatles), 'Let it be’ (The Beatles), 'Wild Life’ (Wings), 'Red Rose Speedway’ (Wings), 'Year of the Cat’ (Al Stewart) en 'Dark Side of The Moon’ (Pink Floyd). In 1975 besloot Alan om een nieuwe uitnodiging van Pink Floyd (kan je  'Wish You Were Here’ helpen opnemen?) af te slaan. Hij richtte -samen met Eric Woolfson- The Alan Parsons Project op en de rest is geschiedenis.
Ze scoorden monsterhits en eeuwige roem met nummers als 'Eye In The Sky’, 'Sirius’, 'Don’t Answer Me’, 'Games People Play’, 'Old and Wise’, 'Time’, 'Prime Time’, 'I Robot’ en 'Standing on Higher Ground’. Tijdens hun commerciële hoogdagen traden ze nooit live op.
Vanaf 1999 speelt Alan Parsons de vele hits live voor volle zalen. In 2017 verscheen de "35th Anniversary edition” van hun meesterwerk "Eye In The Sky” uit 1982. Een conceptalbum met een toekomstvisie omtrent kunst, religie, politiek en cultuur in de eenentwintigste eeuw.
Op 2 mei 2019 kunnen we eindelijk live kennismaken met het unieke universum van The Alan Parsons Project. Tickets gaan in verkoop vanaf vrijdag 7 december om 10u via greenhousetalent.be.

​Jamiroquai en Vorst Nationaal is een echt liefdesverhaal! 
 
Na zijn uitverkochte concert in 2011 is het een blij weerzien met een zaal die veel betekent heeft voor Jay Kay! 
Op 30 Mei strijken de Space Cowboy en zijn bandleden neer in Vorst Nationaal! 
 
Jamiroquai is een van de meest toonaangevende Britse bands van de afgelopen 25 jaar. 
De albums van de soulfunkformatie haalden meermaals de top tien in Groot-Brittannië en drie albums prijkten zelfs helemaal bovenaan! Er gingen samen meer dan 26 miljoen keer over de toonbank. Dat leverde Jamiroquai onder meer een plekje op in het Guinness Book of World Records voor bestverkochte funkalbum aller tijden. 
 
Sinds de oprichting van Jamiroquai door frontman Jay Kay in 1992, behaalden deze pioniers van de ‘Funk van de toekomst’ al snel wereldfaam en zetten ze zichzelf op de kaart als een van meest succesvolle shows ter wereld.
Het uitbrengen van hun debuutalbum ‘Emergency on Planet Earth’ in 1993, ging gepaard met het volledig vernieuwen van de moderne popmuziek en Jamiroquai beïnvloedde sommigen van de meest populaire artiesten van vandaag. 
Jamiroquai scoorde hoge ogen met hits als "Cosmic Girl", "Virtual Insanity", "Deeper Underground", "Canned Heat" en "Seven Days in Sunny June".
 
Mis alvast deze Britse funk /acid jazz formatie niet op 30 mei 2019 in Vorst Nationaal.
 
Tickets en info:
Tickets gaan in verkoop op vrijdag 7 december om 10 uur
Via www.gracialive.be, www.teleticketservice.be, www.fnactickets.be en in alle Fnac verkooppunten.

The release of “Bob Baldwin presents Abbey Road and the Beatles” marks the pianist-keyboardist’s 30th anniversary as a recording artist. The first single, “Imagine (Living As One)” featuring Euge Groove, was shipped to radio.
 
ATLANTA (4 December 2018): Bob Baldwin was a kid listening to pop radio in the outskirts of New York City when he fell in love with the melodies of the Beatles. For his 25th album, the pianist-keyboardist embarks upon a magical mystery tour through the hit-filled pages of the legendary group’s storied songbook, plying his trademark urban-jazz sheen to the iconic harmonies. The Red River Entertainment release that dropped last Friday (November 30), “Bob Baldwin presents Abbey Road and the Beatles” was produced and arranged by Baldwin who wrote an original song in tribute to the band, “Abbey Road,” along with composing new passages that add unique elements to the eleven reimagined Beatles classics.
 
Having issued albums that honor the landmark works of Stevie Wonder, Michael Jackson and Thom Bell, Baldwin set his sights on the Fab Four’s influential catalogue that first captured his interest decades ago.
 
“My childhood listening tendencies before I was ten-years-old were quite broad, including Oscar Peterson, Miles Davis, the music of Motown and Aretha Franklin. On the pop side, the catchy hooks of the Beatles crept into my ear from days of listening to pop radio. For this project, I wanted to interject my own reharmonized view of the Beatles music while keeping the original melodies pure. Doing the Beatles was a different twist for me,” said Baldwin, who plays piano, keyboards, bass, drums, melodica, vocoder and plies his soothing tenor voice to the session. “It would be cool to know if Sir Paul McCartney could hear it, and more importantly, if he digs the attempt.”  
 
The first single recently serviced to radio is a reading of John Lennon’s signature piece that Baldwin soulfully reinvents as “Imagine (Living As One)” and adds sweet soprano sax from Euge Groove. Other prominent soloists include vocalist CeCe Peniston on “(Don’t Wanna Be) The Fool on The Hill”; flutist Ragan Whiteside serenely illuminates “Michelle (My Girl)”; and noted jazz-R&B singer Lori Williams, who brings a nuanced grace and elegance to Paul & Linda McCartney’s “My Love.” Williams also charms on the Beatles salute that she wrote with Baldwin, “Abbey Road,” which the pair perform as a vocal duet. Songs like “Come Together (Can We All Just Get Along?),” “(Mellow) Yellow Submarine,” “And I Love Her,” “Yesterday” and “Eleanor Rigby” swing and groove like never before, rebuilt from the ground up on the back of Baldwin’s meticulous jazz and urban arrangements. Anchoring the rhythm section are drummer Tony Lewis and bassist Dave Anderson, who craft deep pockets seasoned with a smattering of percussion from Café Da Silva.  
 
The arrival of “Bob Baldwin presents Abbey Road and the Beatles” coincides with Baldwin’s 30th anniversary as a solo recording artist. The 1988 release of “A Long Way To Go” was discovered by Roberta Flack, who was a finalist judge at the time for the Sony Innovators Award, a prestigious honor bestowed upon Baldwin. The debut album was the first entry in a library consisting of jazz, R&B and gospel discs, of which over a dozen have entered the Billboard Contemporary Jazz Top 20 sales chart. At radio, Baldwin’s track record boasts 15 Top 20 Billboard BDS hits, the most recent being this year’s “Be Blessed (No Stress).” He is the creative force behind The Groove Pact’s “Club Life,” a late summer smash from an all-star collective consisting of Baldwin, Marion Meadows, Marcus Anderson, Nils, Joey Sommerville, Oli Silk, Tom Browne, Whiteside and others. Enjoying a remarkably prolific period, Baldwin released seven full-length albums over the last twelve months.  
 
Ten years ago, Baldwin launched his nationally-syndicated radio program, “The NewUrbanJazz Lounge,” which reaches over half-a-million listeners weekly with a mix of contemporary jazz influenced by urban and Brazilian music. A creative, Atlanta-based entrepreneur who leads a music production and event planning company, he authored “You Better Ask Somebody,” a 2012 book about his experiences in the music business. Baldwin, who also designs and markets a hat collection, has a patented invention that will soon be revealed.
 
“Bob Baldwin presents Abbey Road and the Beatles” contains the following songs:
 
“Come Together (Can We All Just Get Along?)”
“(Mellow) Yellow Submarine”
“And I Love Her (Real Talk)”
“(Don’t Wanna Be) The Fool on The Hill” featuring CeCe Peniston
“Imagine (Living As One)” featuring Euge Groove
“Michelle (My Girl)” featuring Ragan Whiteside
“Something (In The Way She Moves)”
“My Love” featuring Lori Williams
“Abbey Road” featuring Lori Williams
“Yesterday”
“Eleanor Rigby”
“Something (In The Way She Moves)” vocal version
 
The album is available for purchase at https://amzn.to/2rcgTLO.
For more information, please visit www.BobBaldwin.com and www.NewUrbanJazz.com.

Roland Van Campenhout
The Blues - Folk Magician
brengt nieuwe plaat uit op 1 februari
‘Folksongs from a Non-Existing Land’
​

​Folksongs from a Non-Existing Land’ zuigt je, van bij de allereerste noot, mee in een de duistere en magische wereld van diens maker : Roland Van Campenhout. De Belgische meester-gitarist en zanger begeleidt ons door een mysterieus, muzikaal landschap. Je voelt de verwantschap met Ry Cooder’s legendarische soundtrack uit ‘Paris, Texas’ (Wim Wenders) alsook de gewaagdheid van Captain Beefheart, de grote singer-songwriter Tom Waits en de sjamaan Dr. John.

Inmiddels 74, met diepe wortels in blues en folk, is Roland iedere muziekstijl meester, gaande van jazz naar ethno tot psychedelic. Een levende legende, een archetype van een uitstervend ras; de ‘Sound Magician’. Zelf definieert hij zijn laatste werk als ‘Mantra Blues’.

Dit uitzonderlijk werk werd opgenomen in het Belgische Gent om dan gemixt te worden in Tokio, door de Australische Joe Talia, die de plaat een oosterse toets geeft.

Na het lezen van Jack Kerouac’s beatnik klassieker ‘On the Road’ en de werken van Allen Ginsberg en William S. Burroughs opende zich, op jonge leeftijd, een eindeloze bron aan inspiratie. Deze explosie aan nieuwe ideeën gaf het leven aan Roland’s eerste skiffle-groep. Tegen het einde van de jaren ’60 ging hij op zoek naar zijn roots in de blues met mensen als Tim Hardin, Leo Kottke en, natuurlijk, zijn hechte vriend Rory Gallagher. Met deze ervaringen aan de basis gaat de baardige man de experimentele tour op en davert zo op de eeuwwisseling af. Steeds met zijn legendarisch, herkenbare sound. Vanaf het jaar 2000 werkt de meester samen met jongere muzikanten zoals Helmut Lotti, Mauro en Sioen.

Bij het maken van ‘Folksongs from a Non-Existing Land’ keerde Roland terug naar het oerlandschap in zichzelf. De trip door een onbestaande wildernis, een imaginaire wereld geeft een enorme voldoening, een shot aan eindeloze creativiteit. “De titel bevat veel humor ,” lacht Roland, “aan de andere kant beschrijft het mijn muzikale evolutie. Klanken uit de folkmuziek, Bob Dylan, Woodie Guthrie of Joni Mitchell. Na decennia verkennen, de wereld rond, is het geen wonder dat mijn muziek continu verandert; je leert veel mensen kennen, vriendschappen worden gesmeed en daar durft al eens een jamsessie uit voortkomen. Mocht ik heel mijn leven hebben vastgehouden aan één sound zou dat een creatieve dooddoener zijn.”

Over zijn vader, die stierf toen Roland nog maar 5 jaar oud was, zegt hij : “Mijn vader heeft altijd een grote indruk op mij gemaakt. Zowel mijn vader als zijn vader, waren jazz muzikanten. Ik ben ervan overtuigd dat ze beiden een grote impact hebben gehad - en altijd zullen hebben- op mijn werk.” Zelf deelt hij zijn oeuvre in als ‘Ethno-Pop-Folk’ want “Dat is de definitie die ik zelf leuk vind.” giechelt hij vrolijk, “De man die de aarde verkent met ogen en oren wijd open, ondergedompeld in de magie van deze wereld. Later verwerk ik mijn indrukken door teksten te schrijven en muziek te maken. Ik ben onderweg sinds de jaren stillekes, het bracht mij langs de meest diverse landen en continenten. En het zal nooit veranderen maar waar ik ook kom ontstaat muziek. Muziek die nieuwsgierigheid, transparantie en rusteloosheid ademt.”

Kijk HIER naar de video van eerste single 'Pack Up Your Sorrows'

Live
31/01 AB Club, Brussel
02/02 De Roma, Antwerpen
16/02 De Singer, Rijkevorsel
28/03 De Casino, Sint-Niklaas
26/04 Minard, Gent

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De eerste naam van VESTROCK 2019, Nothing But Thieves, is inmiddels bekend. We zijn blij dat we zeven nieuwe namen voor de jubileumeditie op 31 mei, 1 en 2 juni 2019 kunnen aankondigen: 
Kaiser Chiefs
RONDÉ
Blaas of Glory
Donnie
Joost
Black Honey
Fangclub

Sinds 2003 bestormen Kaiser Chiefs, uit het Britse Leeds, de hitlijsten, concertzalen en festivalpodia. Hun eerste grote hit Ruby is inmiddels een evergreen van grote klasse maar ook nummers als I Predict a Riot, Oh My God en Everyday I Love You Less And Less scoorden hoog in de wereldwijde hitlijsten. De liveshow rondom de grenzeloos energieke frontman Ricky Wilson staat altijd als een huis. Voor 2019 staat er een gloednieuw album op de planning en daarnaast een headlining show op VESTROCK 2019! 
Er volgen nog tientallen namen voor de jubileumeditie van VESTROCK en VESTROCK  JUNIOR.

Nothing But Thieves op zaterdag 1 juni
In tegenstelling tot eerdere berichtgeving zal de alternatieve rocksensatie Nothing But Thieves niet op vrijdag 31 mei maar op zaterdag 1 juni op VESTROCK staan. 

VESTROCK
VESTROCK beleef je op het eiland in de stadsgracht van het prachtige, pittoreske Hulst dat omringd is door middeleeuwse stadswallen. In 2019 orgaiseren we het driedaags onafhankelijk festival voor rock-, pop- en danceliefhebbers voor de tiende keer. Dankzij de prachtige ligging heeft VESTROCK een intiem, gezellig en kleinschalig karakter. Je gaat niet snel een gemoedelijker festival tegenkomen. Op VESTROCK ontdek je als bezoeker nieuwe opkomende acts naast gevestigde namen. Dat is het lekkerste met een bijzonder bier in de hand. Onze eigen VESTROCK bier misschien? Daarna kun je kruipend naar onze heerlijke camping die volgens bezoekers wordt beschreven als één van de beste festivalcampings van de Benelux.
 
VESTROCK 2019 Early Bird kaartverkoop is gestart
De early bird kaartverkoop voor VESTROCK 2019 is inmiddels gestart via www.vestrock.nl. VESTROCK is op een eiland waardoor het aantal beschikbare kaarten net als andere jaren ​beperkt is.

​In 1988 verschijnt tijdens de opkomst van de alternatieve rockscene het album MLAH van Les Négresses Vertes. Opener "La valse" wordt gevolgd door "Zobi la mouche" -een iconische Post-Punk classic van de band - en daarna komt "Voilà l’été", een echter klapper. Verder op het album volgen nog songs als "Sous le soleil de bodega", "Face à la mer" en vele anderen…
Wie de band destijds live aan het werk zag, herinnert zich ongetwijfeld de energie en de muzikale diversiteit. Voor zij die hen nog niet zagen is er goed nieuws : Les Négresses Vertes toert naar aanleiding van de 30ste verjaardag van het album "MLAH ».
 
Deze week verschijnt er trouwens een mooie 2CD of (limited) 3CD+DVD overzichtsboxset 87-93 van de band via Because/NEWS.  Link: Negresses Vertes - C'est Pas La Mer a Boire (1987-1993)
  
De live comeback van Les Négresses Vertes is niet onopgemerkt voorbij gegaan. De zalen verkochten zeer snel uit (Ittre, Hoei, Aarlon) en de band stond op enkele opmerkelijke zomerfestivals waaronder Dranouter.
 

​Muziekfestival W-FEST topt volgende zomer met legendarische namen als Jimmy Sommerville, Tony Hadley, The Human League en Echo & The Bunnymen. Ook The Stranglers, Killing Joke, Nik Kershaw en Howard Jones kleuren onder meer het jaren tachtig belevingsfeest, dat voor het eerst plaatsvindt op en rond de site van Waregem Expo.
 
De vierde editie van W-FEST (15 tot 18 augustus) geeft zijn headliners prijs. Het festival zet voornamelijk iconen uit de jaren ’80 in de verf en pakt ook dit jaar uit met verrassende namen. The Human League (UK) scoorde hits met Don’t you want me en Being Boiled, Jimmy Sommerville (UK) was, eerst met Bronski Beat, later met The Communards een hitmachine en Tony Hadley brak potten bij Spandau Ballet (UK). De vierde headliner is topper Echo & The Bunnymen (UK, The Cutter, Killing Moon, Lips Like Sugar). Deze vier tenoren uit de jaren ’80 worden in augustus 2019 herenigd met tal van oude bekenden, want ook The Stranglers, Killing Joke, Nik Kershaw en Howard Jones zullen - samen met nog vele anderen uit dezelfde generatie - op deze hoogmis van de eighties muziek niet ontbreken.)
 
Laatste optreden ooit
 
Red Zebra met Peter Slabbynck zorgt samen met Allez Allez, Lavvi Ebel, Siglo XX en Schmutz voor het Belpopgehalte. Wie de wavers van Siglo XX, Merciful Nuns en het iconische Nitzer Ebb voor de laatste keer live aan het werk wil zien, moet zich naar Waregem reppen. De line-up van W-FEST valt met deze namen in een definitieve plooi. In totaal programmeert het festival, op verschillende podia tussen 15 en 18 augustus meer dan zeventig namen. Nieuw dit jaar is de Olivier Daout-stage (genoemd naar wijlen Olivier Daout, van dag één een grote fan van W-FEST), waarop meer intieme ‘living room’ concerten plaatsvinden.
 
Nieuwe locatie
 
Na drie edities, waarbij de laatste editie goed was voor 30.000 bezoekers, verhuist W-FEST naar de site om en rond Waregem Expo. Organisator Erik De Ridder: “Om kampeerders en bezoekers het maximale comfort te garanderen en de toekomst van het festival veilig te stellen, hebben we de verhuis naar Waregem met beide handen aangegrepen, een opportuniteit die we niet konden laten liggen. De link met de regio wordt versterkt, het terrein bevindt zich op amper 15 km van de vorige locatie en de streek is per slot van rekening de bakermat van de Belgische New Wave. We torpederen de bezoeker naar zijn jeugdjaren op een locatie die daar akoestisch voor werd ingericht. Ook de bereikbaarheid wordt beter. De festivalsite is gelegen vlakbij afrit 5 van de E17, het station is op wandelafstand.”
 
Beleving primeert
 
W-FEST pakt uit met een pak nieuwe initiatieven zoals Wireless Wave, waarbij bezoekers kunnen opteren om via een hoofdtelefoon, weg van de drukte en op een LED-scherm naar optredens te kijken. Om de beleving van het festival op de spits te drijven, staat een Bedroom Experience met live streaming op het programma. Een wellness center sterkt de innerlijke én uiterlijke mens en een New Wave-kunstveiling, alsook de Molecule Ride for Charity (wielerwedstrijd) brengen geld in het laatje voor enkele goede doelen. Op de festivalsite kan je elektrische fietsen & motoren testen, stappen in een flightsimulator, in een reuzezetel naar iconische films uit de jaren ’80 kijken of helemaal lossgehen in het Lunapark. Vier dagen lang wordt de belevenis muzikaal overgoten door Eighties dj’s.