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With her album, All About Love, composer and vocalist Debora Galán shares original jazz and pop compositions inspired by her Spanish and Cuban ancestry and her attenuating love for melody, rhythm and groove. Aided by producer (Emmy winning and Grammy nominated) Allan Phillips, and a stellar team of musicians, she shares a compendium of smooth and tasteful Latin flavored jazz tunes, with lyrics in English and Spanish. Album single, “Arms of Love,” and corresponding music video, are grabbing attention from fans and receiving airplay in the U.S. and abroad. 

Born in Brussels, the bilingual Spanish songstress inherited her love of music from her grandfather and mother who both sang flamenco. Galán moved to the States and began singing professionally in her teens. In the 1980’s, she was living in Washington, D.C., performing with leading bands in Latin jazz and salsa clubs and opening for major Latin stars. 

Now at home in San Diego, the stunning vocalist performs widely on the West Coast with occasional forays to Vegas. Having mastered R & B, Gospel, Jazz and Latin styles. Galán brings talent and training to many projects. She has recorded with singer songwriter Steven Ybarra and pianist Greg Manning and collaborated with Greek guitarist Vassilis “Blue” Sotiriou. (Stay tuned for news of an upcoming venture with Christian de Mesones). In her first album as a leader, she allows passion and optimism to infuse her appealing brand of world music. 

Recommended Tracks:
2.  Arms of Love
5.  Luz del Sol
6.  Love Sublime
11. ¿A Esto le Llamas Amor?

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Featuring

Gabriele Tranchina, voice 
Joe Vincent Tranchina, piano 
Andy Eulau, bass 
Willie Martinez, drums 
Renato Thoms, percussion

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Philly hitmaker Jerry J. Ross, 84, co-writer of soul hit ‘I’m Gonna Make You Love Me’
 
Dan GeringerOctober 6, 2017 — 7:17 PM EDT
 
Jerry J. Ross, 84, a hit songwriter and record producer who was inducted into the Philadelphia Music Alliance Walk of Fame in 2013, died Wednesday, Oct. 4, of prostate cancer at the Holy Redeemer Hospital hospice unit in Meadowbrook.
 
Mr. Ross co-wrote “I’m Gonna Make You Love Me” with Kenny Gamble and Leon Huff. It was a 1968 hit recorded as a duet by Diana Ross and the Supremes and the Temptations.
Mr. Ross is credited with discovering and mentoring Gamble in a relationship that goes back to the late 1950s, when he helped Gamble and Thom Bell record “Someday” for his Heritage label as Kenny and Tommy.
 
“Jerry Ross was instrumental in introducing Thom Bell and me to the music business, including signing me to my first recording artist deal with Columbia Records,” Gamble said in a statement Friday. “He mentored Thom Bell and me to write songs. He was our good friend and was key to the beginning of the Gamble, Huff and Bell legacy.”
 
Gamble pinch-hit in 2013 when Mr. Ross was unable to attend his Philadelphia Music Alliance Walk of Fame induction ceremony. “Jerry Ross is a very special person,” Gamble said then. “He had faith in me at a young age and taught me a lot of things about the music industry.”
 
 
Gamble said it was a shame Mr. Ross wasn’t able to be there because “he used to call me every year and say, ‘Try to get me in the Walk of Fame.’” Gamble smiled and said, “So, Jerry, you are in the Walk of Fame.”
 
Reading from an acceptance speech Mr. Ross had prepared, Gamble said, “Before there was Rodgers and Hammerstein, there was Rodgers and Hart. Before there was Gamble and Huff, there was Gamble and Ross.… The day that I met Kenny Gamble, our lives changed.”
 
Mr. Ross, who broke into the music business during his Temple University student days when got the booth announcer gig on Dick Clark’s American Bandstand, wrote or produced gold records including “Sunday Will Never Be the Same” (by Spanky and Our Gang), “Apples, Peaches, Pumpkin Pie” (Jay and the Techniques), “Sunny” (Bobby Hebb), and “Venus” (Shocking Blue).
 
Mr. Ross’ daughter, Cheri Dorwart, remembered growing up with a dad who was immersed in music.
 
“I’d be in my second-floor bedroom and my dad would be in his basement office, playing tapes on his reel-to-reel, and I could hear every song he was playing,” she recalled, including “‘You Gave Me Somebody to Love’ by the Dreamlovers, which he wrote for my mom.”
 
She said her father referred to himself as a musicologist or a musical architect, and was proud of his ability to discover talent, including what he called his “Dutch Invasion” trip to the Netherlands, where he found the rock band Shocking Blue and produced the million-seller “Venus.”
 
“He had this thing about him,” Dorwart said. “He would know instinctively whether a group would be successful or not. Even if they were performing a song he didn’t like, he always knew if he could do something with them.
 
“When he heard a song,” she said, “he would know within the first couple of bars whether it was a yes or a no. Sometimes, there were songs that the big companies would turn down, and my dad’s like, ‘They’re all wrong. I know this is a hit.’”
 
He told his daughter that he started his own record labels because “I’m tired of being told no by other people. They don’t hear what I hear. It’s going to be a hit and they will realize they made a mistake.” He proved it by producing the hit single “When We Get Married” by the Dreamlovers on his own Heritage label in 1961.
 
He is survived by his daughter and two grandchildren. Mr. Ross was predeceased by his wife, Janice, and son Kenneth.
 
A funeral service will be at 11:15 a.m. Sunday, Oct. 8, at Goldsteins’ Rosenberg’s Raphael Sacks Suburban North, 310 Second Street Pike, Southampton. Interment will be in King David Memorial Park, Bensalem.
 
Contributions may be made to the American Cancer Society, 1626 Locust St., Philadelphia 19103.
 
 

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WATCH: Audrey Silver – “The Cold Wind’s Embrace”
Lyrics by Audrey Silver
Music by Audrey Silver and Dominique Gagne

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100 E Main St
Waterbury, CT 06702
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Dave Stryker-Guitar
Jared Gold-Organ
Byron Landham-Drums 
 

Celebrating The Release Of His New CD
Strykin’ Ahead

4 Stars Downbeat Nov. 2017

“….Overall, the album casts a warm, clear glow, with plenty of cohesive interplay between Stryker, organist Jared Gold, drummer McClenty Hunter, and vibraphonist Steve Nelson. While influenced by many guitarists, Stryker remains true to his own vision. Wes Montgomery and Kenny Burrell may be touchstones, but Stryker forges his own sound throughout.” – Martin Kasdan 

Watch
Dave Stryker – Strykin’ Ahead

(Strikezone 8815)
Street Date: September 1, 2017
Dave Stryker Strykin’ Ahead

Available From 
www.davestryker.com

Upcoming Live Appearances
 

OCT 13 (FRI) – Lord of Life Lutheran Church / Tabernacle NJ

w/ Jared Gold, Byron Landham 7:30

OCT 27 (FRI) – PALACE THEATRE

WATERBURY, CT
w/ Jared Gold, McClenty Hunter 7pm 

Dave Stryker is a 2017 DownBeat Critics Poll Finalist

Advance Praise For Strykin’ Ahead

“A mainstream record of undeniable beauty”
Vittorio Lo Conte /  Music Zoom Italy

If you have chops like Dave’s; his musical sensibilities; his uncanny ability to put together interesting instrumentations; his skill at selecting just the right band mates to make Jazz with; wouldn’t you want to work all the time, too?

It becomes like anything you’re good at; you want to do it as often as possible but occasionally vary the context to keep it from getting stale.
– Steven Cerra Jazz Profiles
 
A real burner of a set, it feels like an artifact from the past, unreleased from Bluenote/Verve, but it’s modern, contemporary touches are well evident showing how a cat that’s been hitting all the right notes for all these years can’t make a false step now.
– CHRIS SPECTOR, Midwest Record Editor and Publisher 
 
I give Dave and his talented crew a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 4.99 for this one… and keep in mind that you heard it here first… this one is BOUND for the awards.
– Dick Metcalf Improvijazzation Nation
 
 

About The New CD

Artist: Dave Stryker
Title: Strykin’ Ahead
Label: Strikezone Records 8815
Artists Website: www.davestryker.com
Release Date: September 1, 2017
UPC Code: 88829560583 

Track listing, track times:

1 SHADOWBOXING Dave Stryker (D. Strike Music BMI) 5:59
2 FOOTPRINTS Wayne Shorter (Miyako Music BMI) 6:39
3 NEW YOU Dave Stryker (D.Strike Music BMI) 5:50
4 PASSION FLOWER Billy Strayhorn (Billy Strayhorn Songs Inc ASCAP)
5:33 5 STRYKIN’ AHEAD Dave Stryker (D. Strike Music BMI) 6:12

6 BLUES DOWN DEEP Dave Stryker (D. Strike Music BMI) 7:15
7 JOY SPRING Clifford Brown (Second Floor Music BMI) 8:12
8 WHO CAN I TURN TO Newley/ Bricusse (Musical Comedy Prod Inc BMI) 7:32
9 DONNA LEE Charlie Parker (Atlantic Music Corp BMI) 6:27

DAVE STRYKER-guitar, STEVE NELSON-vibraphone, JARED GOLD-organ,
McCLENTY HUNTER-drums
 

The notion of moving forward by triangulating a space between creative and pragmatic imperatives is a consistent thread throughout Dave Stryker’s four decades in the jazz business, not least on Strykin’ Ahead, his 28th CD as a leader. Stryker augments his working trio of Jared Gold on organ and McClenty Hunter on drums with vibraphone player Steve Nelson, all on-board for a second go-round after their stellar contri- butions to last year’s Eight-Track II. Like the leader, Nelson is a preternaturally flexible and in-the-moment improviser with deep roots in the tradition who knows how to push the envelope without damaging the contents. Stryker internalized those imperatives on a 1984-1986 run with Brother Jack McDuff, and he received further invaluable training in the art of musical communication during a decade on the road with Stanley Turrentine, to whom he paid homage on the 2015 release Don’t Mess With Mister T.

In contrast to his Eight Track II conception of putting his spin on pop hits of his formative years, Stryker returns to his long-standing practice of presenting originals and reharmonized standards from the jazz and show music songbooks. “Shadowboxing” is a burning 14-bar minor blues; his well-considered chordal variations on Wayne Shorter’s “Footprints” proceed to a simmering 5/4 figure. Next is “New You” (a stimulating Stryker contrafact of the oft-played “There Will Never Be Another You”). He personalizes Billy Strayhorn’s “Passion Flower,” set to Hunter’s insinuating bossa-funk groove. The title track “Strykin’ Ahead” has a Cadillac-racing-down-the-freeway-feel; he imbues the lovely melody of “Who Can I Turn To” with the full measure of his plush, inviting tone.
 

That Stryker knows his Albert King is evident on the slow-drag “Blues Down Deep,” which evokes wee-hours third sets in the inner city grills and lounges of Stryker’s apprentice years. He knows his bebop, too. On Clifford Brown’s “Joy Spring,” the solo flights over Stryker’s “modernized” progressions transpire over Hunter’s drum-bass beats and crisp, medium-up four-on-the cymbal; on the chopbusting “Donna Lee,” all members springboard off a churchy vamp and Hunter’s funk-infused swing.

“I’ve always wanted to write vehicles that are fun and interesting to blow over,” Stryker says. “Trying to come up with a beautiful melody that lasts is very fulfilling. Writing is a big part of my voice in this music.” Stryker is too modest to say that his voice is also a big part of jazz, to which he’s devoted a career marked by consistent application of the values that he espouses. But that’s all right—I’ll say it for him.

(edited liner notes from Ted Panken)

Produced by Dave Stryker
Executive Producer – Rick Simpson
Engineered and Mixed by Chris Sulit at Trading 8’s Studio, Paramus NJ on June 28, 2016 

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NEWLY RELEASED ON SUNNYSIDE RECORDS: “EXPEDITION”

Denny Zeitlin & George Marsh
continue their duo electro-acoustic adventures in free improvisation

(Sunnyside Records 1487)
Street Date: July 21, 2017

CRITICAL ACCLAIM
 

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The Django Reinhardt NY Festival launched in 2000 at Birdland is in it’s 18^th year.  Out of the Festival came the top players, The Django Festival Allstars, who tour 2X a year and always spend a week at their home in the US, BIRDLAND.  On the road, to standing ovations, they play top venues –Hollywood Bowl, San Francisco Jazz Festival, Kennedy Center, Montreal Jazz Festival and much more with original music in the style and Django favorites.  This past summer at the Playboy Jazz Festival at the Bowl, critic Scott Yanow wrote “highpoint of the entire festival”!

Dad, DORADO SCHMITT, started performing in NY in 2002  when SAMSON was 21 and  AMATI  5, all grown up now and  together on the Birdland stage for the first time. It’s a family dynasty of enormous  talent that comes from the soul of gypsy life where music is God, joined by virtuoso accordionist LUDOVIC BEIER and Grappelli protégé, PIERRE BLANCHARD, on Violin.  They will put you on the edge of your seats with joy,  smiles, shock you with their hot #’s and break your heart with a ballad, joined by gypsy cousin, Francko Mehrstein, on rhythm guitar and Gino Roman on Bass.
 
  The Special guests include the young great saxist Grace Kelly Nov. 7,8, and 11 and top swinging clarinetist Ken Peploski on Nov. 9 and 10 , For a change of pace,  newcomer Chris Smith will be on drums on Nov. 12^th. 
 
The music harkens back to the 30’s and 40’s in France to the Hot Club Quintette of Django and Grappelli, romantic days in ‘ol Paris with swing music in the dance halls and streets while campfires lit up the sky on the outskirts of Paris with gypsy life.  Music and family  was and still  is King !  Hot Jazz has more than survived, is vibrant and causing a sensation all over the country.   
 
The musicians  will again be  on tour as well (see schedule below) and at their NY home, Birdland Nov. 7-12 before returning home to  Paris and gypsy community Forbach, France,  near Germany.  It’s real, it’s romantic, it’s exciting…let your heart lead the way.  The Festival was co-founded by Maestro Ettore Stratta.
 
Paricipating sponsors:  AIR FRANCE
                                      RD WRIGHT, INC.,   JOHN PEARSE STRINGS
                                      John and Joan D’Addario Foundation
                                      The ROW HOTEL – 44^th Street and Eighth Ave.
 
BIRDLAND,  315 W. 44^th street, Full Dinner Menu, Parking nearby
Reservations:  212-581-3080    or www.birdlandjazz.com
 
 
DJANGO FESTIVAL ALLSTARS US TOUR
NOV. 3:  The DAKOTA, Minneapolis, Minn.
           5:  The CABOT THEATRE, Beverly, Mass
           6:  The KENNEDY CENTER, Wash. DC
     7-12:   BIRDLAND, NYC
         15:   UBS Atrium Series Mid-Day Concert Series, Weehawken, NJ
         17:    EQT JAZZ STAGE at Pittsburgh’s “Light Up Night’ Celebration
         18:    MANCHESTER CRAFTSMEN’S GUILD,  Pittsburgh, Pa.

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The Eddie Who Remix is a funky dance version of a tune originally written by Eddie Harris about what he has accomplished as a jazz musician throughout his career .

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Carl Allen & The Art of Elvin
appearing at
Smoke Jazz Club
October 13th thru 15th

Set times are 7:00 pm, 9:00 pm and 10:30 pm

Vincent Herring – Alto, soprano saxophone 
Eddie Henderson – Trumpet
Sullivan Fortner – Piano
Peter Washington – Bass
Carl Allen – Drums
 

“Specializing in Media Campaigns for the music community, artists, labels, venues and events.”

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You’ve heard Duke Ellington, but never like this.
Richard DeRosa, Grammy nominee and professor of jazz arranging at the University of North Texas, co-produced an album of modernized works by Ellington, a jazz legend. It’s called Rediscovered Ellington.
Fans of Ellington’s toe-tapping “Hey Baby,” which he recorded with Rosemary Clooney (actor George Clooney’s aunt) in 1946, will recognize what DeRosa calls “the DNA of the song,” but with an entirely new twist. The other songs on the album are much more obscure. Even fans of Ellington’s work might not recognize some of the material. That’s because DeRosa and fellow producers Garry Dial and Dick Oatts purposely chose songs that aren’t well known.
In 2015, DeRosa was the chief conductor and arranger for the WDR Big Band in Germany. He asked Dial and Oatts to be a part of a program and mentioned that he needed help coming up with a theme. Dial had just the thing.
Dial had access to all of Ellington’s music. In 1979, Ellington’s sister, Ruth, and her son, Stephen James, hired Dial to archive Ellington’s music collection, which included his compositions as well as those of his associates.
In 1979, Garry Dial was hired by Duke Ellington’s sister to archive his music collection … Dial ended up taking the files home to record them, which is why he was in “the unique position of having these scores of Duke’s music” 38 years later.
Dial went to Ruth’s apartment to record the music — until her poodle started singing along and “was not to be silenced,” he says. He copied the files and took them home to record them, which is why he was in “the unique position of having these scores of Duke’s music” 38 years later.
“We basically rummaged through it and chose pieces that most people wouldn’t know,” DeRosa says. “Even people who know Duke Ellington might not know some of these pieces. And then we modernized them.”
They performed two live concerts in Germany in May 2016, but DeRosa didn’t want the project to end there. “I wanted to preserve this project because it’s so unique,” he explains. “We also recorded in the studio, so I remixed the project in the studio in October and took it to a record company.”
The album was released in August and has received several positive reviews from jazz enthusiasts.
This is the kind of work DeRosa does outside of his job at UNT. He’s also a drummer, and he used to perform more often, but recently he has become more of an arranger and conductor. He moved to Denton to join UNT’s faculty in 2010.
His first album, Perseverance, showcases the work he does at UNT, and he hopes it serves as an example to his students of how to create a variety of sounds. “I often stress to my students not to write the same type of music all the time,” he explains. He views it as his mission to broaden his students’ musical experiences beyond jazz, which is why he wanted each piece on Perseverance to have its a unique slant.
One of the pieces included on the album is a song DeRosa wrote as a thank you to Neil Slater, who retired in 2008 from his position as chair of the Division of Jazz Studies and director of UNT’s One O’ Clock Lab Band. DeRosa calls Slater one of his most impactful mentors. The song, called “Neil,” was nominated for a Grammy Award for best instrumental composition in 2015.
DeRosa will be arranging half of a performance for Jazz at Lincoln Center Orchestra’s “Leonard Bernstein at 100” celebration Nov. 9. Vincent Gardner, Jazz at Lincoln Center’s lead trombonist, is arranging the other half, and DeRosa will conduct the concert.
We Found People Who Know Nothing About Ambient Music on Reddit and Took Them to DAMN
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“One of the most lyrical and romantic pianists around.” – Jazz Weekly’s George Harris

The quartet will feature Hendrik Meurkens.
 

Commonly termed a classical artist, Roger Davidson has developed a fearlessly eclectic reach, both as a composer and pianist. Roger’s acclaimed catalog ranges from chamber, symphonic, and choral pieces to jazz, tango, Klezmer, children’s music, a wide span of Latin and Brazilian projects. International co-mingling is in Roger’s blood. He was born in Paris in 1952 to a French mother and an American father and grew up in New York. He started playing piano at four, and taking violin lessons at eight. He has studied at St. Olaf College, earning a B.A. in German Language and Asian Studies in 1974, at Boston University where he earned a master’s degree in composition in 1980. Roger then, at the suggestion of early baroque music scholar Sidney Beck, went to Westminster Choir College in Princeton, New Jersey, where he began writing choral music and earned a master’s degree in choral conducting in 1985. Roger then began a professional jazz career when he attended the Stanford Jazz Workshop at Stanford University in California, studying under visiting teachers Stan Getz, Dizzy Gillespie, and James Moody. As a jazz pianist, Roger went on to be mentored by Helen Keane, who later produced his first jazz album.

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