Ellington Legacy; Michael White’s New Orleans – Bob Stewart

With “Single Petal of a Rose“, the talent-laden Duke Ellington Legacy offers an insightful tour through a program of masterpieces by Ellington and his inimitable creative partner, Billy Strayhorn. A nine-piece multi-generational ensemble founded by guitarist Edward Kennedy Ellington II, Duke’s grandson, the Legacy explores sublime ballads, hard-charging flag wavers, lustrous tone poems and sultry vocals, channeling an essentially Ellingtonian spirit from a contemporary perspective. With savvy music direction by saxophonist Virginia Mayhew and brilliant arrangements by pianist Norman Simmons, the band fully adheres to Duke’s prime directive, swinging as if their lives depended on it.

New Orleans jazz luminary Dr. Michael White returns with “Adventures in New Orleans Jazz, Part 2“, which lays much closer to its roots than the internationally spiced Part 1. A propelling force of classic New Orleans jazz, the unique experiences that the clarinetist has had throughout his career paired with his ability to articulate the significance and timelessness of the music has made him a highly influential voice. In addition to receiving the NEA’s National Heritage Fellowship Award, White was named Louisiana Humanist of the Year by the Louisiana Endowment for the Humanities, and he also won the Offbeat Magazine Best of the Beat Award as Clarinetist of the Year, and Gambit Magazine’s Big Easy Entertainment Award for Traditional Jazz Artist of the Year.

Geissman’s Trilogy; Evingson Samples Gimbel – Bob Stewart

In addition to leading his own groups, guitarist Grant Geissman has recorded with such artists at Quincy Jones, Chuck Mangione, and Gordon Goodwin. He’s co-written the Emmy-nominated theme for the CBS-TV series “Two and a Half Men” and also writes music for the series “Mike and Molly.” “Bop! Bang! Boom!” is the third in a loosely fashioned trilogy reflecting Geissman’s shift to more traditional jazz expressions. “The key to making meaningful music for me is to not limit myself stylistically,” says Geissman. “I actually can’t envision writing an album where every track sounds the same. One of the reasons I created my own label, Futurism, was so that I could explore anything I wanted-which to me is what an artist is supposed to do.”

Known for taking divergent paths, Twin Cities-based vocalist Connie Evingson’s past releases have explored the music of the Beatles, Dave Frishberg, Django Reinhardt, Peggy Lee and Broadway. For her ninth release, “Sweet Happy Life“, she samples the songbook of Grammy and Oscar-winning lyricist Norman Gimbel. With a healthy dose of bossa nova and samba from Gimbel’s collaborations with Antonio Carlos Jobim, Luis Bonfa and others, the disc also includes swinging jazz standards, pop hits and romantic readings of film songs.

Branford’s New Quartet; Live Crawford/Sample – Bob Stewart

The Branford Marsalis Quartet has built its reputation by bringing intensity to each and every one of its live and studio performance. Says Marsalis, “Even if people don’t know what we’re doing, they’ll feel what we’re doing.” Those sentiments are echoed unanimously by the group members with their newest CD, “Four MFs Playin’ Tunes“, the first recording by the quartet with the electrifying young drummer Justin Faulkner, who joined the band three years ago and has been impressing audiences and critics alike during the band’s live performances. Core fixtures Joey Calderazzo on piano and bassist Eric Revis round out the group on a program of ambitious originals by the band members, a Monk classic and a standard dating to 1930.


In their native Great Britain, Get the Blessing are much beloved for taking the ‘j’ word by the scruff of the neck and giving it a good shake. The romantic rumors that the BBC Jazz Award-winning contemporary quartet met at an Ornette Coleman Appreciation Society in Bristol could easily be true. The band’s unique performances hark of the rich Bristolian melancholy that revolutionized British pop music, yet reflect esoteric variations on where jazz as we know it has come from and is heading. The backbone of the band for their third CD, “OCDC”, is bass player Jim Barr and drummer Clive Deamer, who double as the rhythm section for trip-hop band Portishead. The parallel assault of trumpeter Pete Judge and saxophonist Jake McMurchie complete the signature sound that defies classification.

Harrell’s Number 5; Galban’s Swan Song – Bob Stewart

Tom Harrell is one of the world’s most respected jazz trumpeters and composers. His original works achieve that rare balance between intricacy and musicality, being at once intellectually engaging and emotionally satisfying. His playing is marked with a shrewd lyricism and sensitive tone that argues against technique for technique’s sake, high note grandstanding or oblique reference. In realizing this musical vision, Harrell has surrounded himself with like-minded players and it is this, his ‘working band,’ that has appeared unchanged on all five of his recording for High Note Records, the newest entitled “Number Five.” The result is a comfort level that approaches musical symbiosis, and a recording which is much more than another entry in an already impressive discography.


It’s been a year since the passing of Manuel Galban, the maestro who left the famed Los Zafiros and then astounded the world with Buena Vista Social Club. “We began with a selection of about one thousand tunes,” said the Cuban guitar legend. Indeed, “Blue Cha Cha” — recorded in 2010 and the first solo work to be released by Galban in many years — had been hatched conscientiously. He was a musician who liked to allow projects to mature for as long as necessary to ensure optimal results. It’s a recording with an almost orchestral feel, bursting with the energy that only he could glean from the guitar, featuring a variety of styles.

Mobley & Dearie Inspired – Bob Stewart

Last fall, the Vancouver-based saxophonist Cory Weeds began planning his new CD. “Over a number of years, I’ve gotten to know Mike LeDonne as a friend,” says Weeds. “I’ve booked him at my jazz club…and I recorded my first CD as a leader with him.” Weeds brought the keyboardist to his Cellar Live club for two nights and a short tour after that. In conversations, the two came up with a concept for a new release. “He suggested doing an album of Hank Mobley tunes,” Weeds continues, “and I thought that was a fantastic idea.” “Up a Step” features LeDonne on the Hammond B3 in Weeds quartet on a program of Mobley originals and songs associated with the jazz master.


Hailed as “the next important jazz singer” by Don Heckman of the Los Angeles Times, Sara Gazarek is a strikingly original artist blessed with a beautiful, translucent voice. For her new project — “Blossom & Bee” — she is joined by her L.A.-based trio with guest appearances from guitarist/vocalist John Pizzarelli and the project’s producer Larry Goldings on keyboards. For her first recording in five years, the group seamlessly combines fan favorites alongside refreshing new originals. Sarah reflects, “a common thread woven through a lot of this material is the subtle, yet unwavering musicianship of Blossom Dearie’s music…trying to breathe a similar air of humor and sophistication that she brought.”

Fleck/Roberts Collaborate; Big Band Jarreau – Bob Stewart

The Marcus Roberts Trio, founded in 1995, is known for its virtuosic style-a style that is strongly rhythmic, melodic, and filled with dynamic contrast. When long time Roberts fan and banjo virtuoso Bela Fleck stayed late at a Savannah Music Festival jam session just to hear the pianist play, he was asked to join in. A year later they agreed to perform together at the same festival. “The gig was honestly amazing,” says Fleck. “There was a natural rapport between Marcus and me from the first note.” “It was a lot of fun working with Bela on this project,” say Roberts of their new CD, “Across the Imaginary Divide.” “The recording brings our two styles together in a way that I think will be really enjoyable for the listeners.”

After nearly five decades of recording and performing, at an age when many artists are coasting if not retiring altogether, Al Jarreau continues to take his music to new and different places. Since the mid-1970s, this versatile singer has applied his distinctive vocal style to a broad spectrum of musical genres, and is the only vocalist in history to claim Grammy Awards in three distinct genres of jazz, pop and R&B. The most recent chapter in his journey is “Al Jarreau and the Metropole Orkest-Live“, a collection of the best performances from a two-night engagement in the Netherlands last year with full orchestral arrangements by conductor and arranger Vince Mendoza.

Jimmy Heath Reads from His Autobiography at Jazz Fest

Jazz 88.3 KCCK and Iowa City UNESCO City of Literature will present jazz legend Jimmy Heath in an opportunity to meet fans and sign copies of his autobiography, “I Walked with Giants,” Sunday, July 1 at 1pm at Iowa City’s Java House Café, 211 East Washington St., prior to his performance at the Iowa City Jazz Festival.

Heath, 85, is the composer of more than 100 jazz songs, a three-time Grammy nominee, and was a collaborator and friend of many jazz stars, including Charlie Parker, John Coltrane, Miles Davis, and Dizzy Gillespie.

Heath’s autobiography is structured like a jazz song, where Heath will tell a story about a particular time or performer, and someone else who was there will then “riff” on the same story, creating a unique dialogue format.

The Heath Brothers Quartet, with Heath on saxophone and his brother Albert “Tootie” Heath on drums, will perform at 6pm on the main stage at the Iowa City Jazz Festival on July 1.

The signing will take place at 1pm at the Java House in downtown Iowa City. Then, after the performance, at approximately 7:45pm, Heath will appear at the KCCK booth on Clinton Street and sign books and CDs.

“Jimmy’s book is a unique snapshot of a time in jazz, in all of popular music, really, that will never come again, “ says KCCK General Manager and Iowa City Jazz Festival stage host Dennis Green. “To be able to hear the reminiscences in person of someone who was a close friend of Charlie Parker, Milt Jackson, Miles Davis and others is truly the tale of someone who walked with giants.”

Green, along with City of Literature Interim Executive Director John Kenyon, will moderate the discussion.

Metheny’s Unity Band; Reed on Monk – Bob Stewart

Over the course of more than three decades, guitarist Pat Metheny has set himself apart from the jazz mainstream, expanding and blurring boundaries and music styles. Now, for the first time since his 1980 release “80/81″, he’s recorded with a band that features tenor saxophone. “Unity Band” introduces a new Metheny ensemble featuring Chris Potter on sax and bass clarinet, longtime collaborator Antonio Sanchez on drums and the up-and-coming Ben Williams on bass. “In many ways my bands were envisioned as an alternative to the more conventional kinds that I had come up playing in,” says Metheny. “The fact that it has taken me another 30 years to get to it again is kind of a testament to how busy those ‘alternative’ ways of thinking have kept me.” Metheny wrote a considerable amount of new material with the new group in mind, winnowing the music down to nine tunes.
Pianist Eric Reed has claimed that Thelonious Monk’s music makes it possible “to travel way out there, if you’re willing to go where it can take you.” On his new CD, “The Baddest Monk“, Reed and his colleagues prove more than willing. This is not another Monk tribute disc, dragging out the usual suspects for another tired line-up but it is rather a vital, living and insightful re-examination of Monk as seen through the imagination of sympathetic and like-minded artists. Reed and his ensemble are able to penetrate to the very core of Monk’s writing, dismantle its component parts and reassemble them so that they contain not only the essence of Monk, but that of the players themselves.