The lovely, sultry siren is already a jazzy, soulful sensation! She is the 2011 winner of 2 Black Music Awards, “Best Neo-Soul Artist” and “Best Urban Soul Artist.” She’s also the 2011 Los Angeles Music Awards winner, and Producer’s Choice for “Jazz Album of The Year”. (Previous Producer’s Choice winners include No Doubt, The Black Eyed Peas, System of A Down and Sugar Ray).
It was once said that, “only passions, great passions can elevate the soul to great things.” This is reflected in the mind, body, soul, and music of Jacnique Harris-Love; known to her fans simply as Jacnique. She is an avid songwriter, pristine vocalist, sensational performer, a runway renaissance woman and a rising star!
For info on EURweb’s Jazzy In July email: [email protected]
The group is comprised of five talented musicians whose melodic compositions produce extraordinary and compelling music.
Currently members of ZOE’ include sax man Reggie Harris, keyboardist Cleveland Belin Jr., drummer David Ferebee, bassist H. Marice Fonville and percussionist/trumpeter Boliver “Chico” Guadalupe. ZOE’s recent project “Let’s Fly” features the late Ron Segers, a gifted guitarist and guiding force for the jazzy quintet.
ZOÉ has performed with or opened for Mindi Abair, Keb Mo, Phil Perry, Jeff Kashiwa, jazz flautist Sherry Winston and numerous notable, inspirational speakers.
ZOÉ has captivated audiences beyond the Philadephia/South Jersey area with their infectious rhythms that roll from smokin’ funk to supremely sensual.
For more info visit www.zoejazz.com.
Experience more of our Jazzy in July series HERE.
*Vivian Male is a jazz vocalist whose debut recording was on the collaborative CD “Boston Sings Out.” Next came Vivian’s first solo CD titled “Our Day Will Come.”
Her exhilarating renditions demonstrate a musical versatility that appeals to audiences of all ages. Over the years Vivian has had the delightful pleasure of working with Walter Beasley, Bill Pierce, Andre Ward and producer/composer Rollins Ross.
New England Patriot fans may recognize Vivian as the frequent chanteuse of the National Anthem at local games.
Vivian’s favorite venue is Sculler’s Jazz Club in Boston. When away from the mic, Ms. Male is a highly recognized governmental official whose specialty is public policy.
Among her numerous affiliations are: the Governor’s Advisory Committee on Women’s Issues, the Middlesex County Chapter of Links, Inc., the Coalition of 100 Black Women of Boston, the Museum of African American History’s Legacy Society and the Berklee College of Music (Vice Chair Emerita), where she co-founded the Sarah Vaughan Endowed Scholarship Fund.
Vivian is the proud mother of a 15-year-old son and a glowing ray of sunshine in the world of jazz.
For info on EURweb’s Jazzy In July email: [email protected]
*Caesar Jazz Balladeer delivers exquisite renditions in four languages that have left audiences around the world in a trance. He has often been compared to the great Nat “King” Cole.
Last month Caesar completed his anticipated debut album, A Tribute to Nat “King” Cole at Capitol Studios in Studio A, using the same microphone and Steinway piano that Nat “King” Cole and Frank Sinatra used in the 1950’s.
Caesar recorded with two of the best engineers in the world, 30 year Capitol vet and 3 time Grammy winner Charlie Paakkari, and Al Schmitt who has won 21 Grammy Awards, and has served as Producer/Engineer on over 150 Gold and Platinum albums including Natalie Cole’s Unforgettable album featuring Nat “King” Cole. Yes, Caesar is in good company!
Currently Caesar is seeking the public’s support to help complete the mastering of the project in time for Grammy consideration. Fans can donate via Kickstarter and assist Caesar in adding his spin on the legacy of the late Mr. Cole, whose widow (Maria Cole) has now also passed away as of July 11, 2012. Caesar extends love to the entire Nat Cole family and wishes to honor his memory and make history of his own with a classic, all star album featuring Peter White, Eric Bloom, John Anter and more. Caesar’s deadline is August 5th.
Click to make a pledge, read Caesar’s story, listen to his music and see pictures of his recording session at Capitol Studios in Studio A http://kck.st/KYRwis
*(New York, NY) – The Essence Festival, now among the largest consumer live events in the nation hosting more than 550,000 annually, is thrilled to announce the all-star, night-by-night lineup of performers from July 2-5 in New Orleans, LA.
In addition, stay tuned next week for a special announcement of a New Orleans fan favorite making a triumphant return to close out Friday night’s tribute to the city with an epic performance on July 3.
The A-list nighttime concerts featuring more than 40 acts will take place across five stages in the Superdome throughout the weekend—on the Festival’s renowned Mainstage and within the intimate Superlounges.
The 2015 Essence Festival night-by-night musical lineup is as follows:
- Thursday, July 2nd – What now? Tour featuring Kevin Hart. Other Mainstage Performances by: Trey Songz and Lecrae.
- Friday, July 3rd – Mainstage: Charlie Wilson, India.Arie, Kem, plus a soon-to-be announced return of New Orleans’ finest. Superlounges:Adrian Marcel, Avery*Sunshine, Doug E. Fresh, Goapele, Kelly Price, Kindred The Family Soul, Luenell, Nico & Vinz and Slick Rick.
- Saturday, July 4th – Mainstage: Usher, Missy Elliott, Erykah Badu, Common, Beenie Man & The Zagga Zow Band. Superlounges:Bilal, Elle Varner, Esperanza Spalding Presents: Emily’s D+Evolution, Kool Moe Dee, Mali Music, Mystikal, Raheem DeVaughn, Sevyn Streeter, Tank and The Bangas and Tonya Boyd-Cannon.
- Sunday, July 5th – Mainstage: Kendrick Lamar, Mary J. Blige, Trombone Shorty & Orleans Avenue, Floetry. Superlounges: Andra Day, Dee-1, Dumpstaphunk, Eric Roberson, Jeff Bradshaw, Lianne La Havas, Mase, Robert Glasper, SZA, Teedra Moses and Tweet.
- Nephew Tommy from “The Steve Harvey Morning Show” will return as the Mainstage host, with special DJ appearances by Doug E. Fresh, and more surprise guest performances. In addition, special tribute moments will occur throughout the weekend in recognition of the 10th anniversary of Hurricane Katrina.
New Orleans Essence Festival Itinerary with Wendell Pierce
Single day tickets go on sale today and are priced starting at $50 per person per night. For more information about ticket sales, accommodations and the latest news about the Essence Festival , visit Essence Festival www.essencefestival.com, join the Festival community: follow us on Twitter @essencefest #EssenceFest and become a fan of 2015 Essence Festival on Facebook.
Sponsors of the 2015 Essence Festival include presenting sponsor Coca-Cola and major sponsors Ford, My Black Is Beautiful, StateFarm, and Verizon; and official media partner MSNBC. Superlounge sponsors include Coca-Cola, Ford and Verizon.
The 2015 Essence Festival™ is executive produced by Essence Festival LLC, a division of Essence Communications Inc. (ECI), and produced by Solomon Group. GeChar is the executive producer of the 2015 Essence Empowerment Experience and Empower U.
*Frank McComb, the former MoJazz and Columbia Records singer who is now among the most successful independent artists in Urban Adult/Contemporary Jazz, is on a hot streak in 2015 with SRO performances in Europe, South Africa and Australia all the way to New York’s legendary The Bitter End Club and Studio City in California where he just played for the first time at Sheila Escovedo’s new club, “The E Spot.”
As McComb continues to prepare new material for “Soulmate: Another Love Story“ – his fall-slated first studio album in five years – he will be showcasing his latest 4-song teaser EP, Soulmate, by bringing his unique hybrid of soul to Rams Head on Stage in Annapolis, Maryland on Sunday, July 19th at 8:30PM.
He will next take part in a benefit concert for Cancer Research Institute at the Howard Theatre in Washington, D.C. on Tuesday July 21st at 8PM.
“The list is long of great musicians that have played Rams Head,” McComb says of the 18 year-old club established in 1997. “Fans have been asking me to play there for years as it is one of their favorite places to experience live music.
And I am honored to play the Howard Theatre to lend hope and support to so many battling cancer, and with the dedicated intention of eradicating this terrible disease.”
The Howard concert will be McComb’s first visit to the venue since being invited by the late, great George Duke to perform for the theatre’s grand reopening event on April 10, 2012.
Joining Frank on both shows will be Crystal Aikin who is enjoying a surge in popularity thanks to being the top prize winner in Season One of BET’s gospel music program ‘Sunday Best’ blessing all with her song, “Even Me.” She will be doing her own set and, though she’s never met Frank before, plans to prepare one duet to make both nights extra special.
Also on the bill at Rams Head is veteran pianist /singer and songwriter Aziza Miller whose single, “The Subway,” is a delightful New York-themed music video. Aziza (who under her married name Linda Williams (maiden name Miller) composed her former employer Natalie Cole’s bossa soul classic, “La Costa” – Natalie wrote the lyrics) brings a zesty presentation under the guise of her new moniker as a leader.
In other Frank McComb news, he just contributed his composition “Signature” to the upcoming CD – You, Me and Forever by contemporary jazz master saxophonist Najee, playing every instrument except sax (of course) and guitar. Come experience the multi-faceted magic of McComb – up close and personal – at Rams Head (July 19) and the Howard Theatre (July 21).
*Since the launch of Playboy magazine in 1953, two elements have been remarkably consistent: the first is the celebration of the world’s most beautiful & desirable women and the second is its involvement with music. The Playboy experience was never just about sex—it was about lifestyle. And music—particularly the finest jazz, a personal passion of Hefner’s—has always been an essential component of that lifestyle.
While many books have been written about the Playboy organization and the ultimate playboy himself, Hugh Hefner, no book—until this one—has focused specifically on Playboy and the music scene, its impact on popular entertainment (and vice versa), and the fabulous cadre of performers who took to the stages of the mythic Playboy Clubs and Jazz Festivals. Patty Farmer’s “Playboy Swings“ is a groundbreaking look at Playboy through a new lens: music.
In addition to its renowned coverage of music in the magazine, Playboy began to sponsor a series of historic jazz festivals, starting with the groundbreaking 1959 Playboy Jazz Festival in Chicago celebrating the magazine’s 5th Anniversary.
Twenty years later in 1979, Hef enlisted George Wein, the world’s most famous jazz impresario, to help him revive the Playboy Jazz Festival at perhaps the most famous music venue in the world: The Hollywood Bowl. This annual event continues to this day, attracting legendary stars, tens of thousands of ticket-buyers and employing the talents of thousands of musicians.
It was the success of that inaugural jazz festival that gave birth to the idea of the Playboy Club which opened its first doors in Chicago on February 29, 1960. And once the clubs took hold, it was only natural that they would offer live performances featuring the sort of music the magazine endorsed. As much as anything—including the clubs’ iconic Bunnies—the music presented at the clubs set the tone of the organization and kept patrons coming back for more.
From the first issue of the magazine, music enjoyed pride of place, and by 1957, Playboy had launched its “All Star Poll,” in which readers were invited to vote for their favorite musicians and acts. This led to what was, at the time, a rather bold step for the young company: Playboy began to produce records. Now, Playboy was doing more than discussing or reviewing music; it was actually presenting it.
Two months after that first Jazz Festival in October 1959, Hefner launched his first TV project, Playboy’s Penthouse, and all the top-notch performers and musicians dropped by. Comics made the scene as well, including the legendary Lenny Bruce on the very first show. A later foray into television, Playboy After Dark (1968), was no less welcoming to the artists of the day. This time, traditional pop singers such as Vic Damone and Johnny Mathis shared the bill with the likes of Ike and Tina Turner and Sonny & Cher.
At its peak, Playboy was the largest employer of talent in the country.
The Playboy Clubs reached their apogee in the mid-to-late 1960s, and nothing like the wide-ranging Playboy “circuit” for entertainers had been seen since the Golden Age of VaudevilleBy the time the clubs began losing momentum in the late ‘70s, Playboy had spent several decades shaping American musical taste and cultural values.
While music may not be the first thing you think of when you hear the word Playboy, it should certainly be in the top two—and “Playboy Swings” is meant insure that. Compiled with the cooperation of hundreds of people
who were on the scene throughout Playboy’s rise, fall, and renaissance, “Playboy Swings” carries readers on a seductive journey through the history of the empire—all the while focusing on the entertainment that made it unique.
Featuring candid, in-depth interviews with a multitude of musicians and singers, as well as those involved behind the scenes, the book moves from the inception of the Playboy Empire through the 1959 jazz festival, to the opening of club after club. Throughout the book, it is the artists who do most of the talking—and they have a lot to say about the golden era of
Playboy entertainment. The result is a fresh take on one of the great social and cultural institutions of our time, as well as a unique first-person history of American popular performance in the second half of the 20th century.
“Playboy, (Hef), has been a good friend to music in general, but especially jazz. We need him again!”—Al Jarreau
“You weren’t taken seriously if you didn’t have a Playboy key!” “Hugh Hefner didn’t care if you were black, white or purple, only if you were funny or could sing.”—Dick Gregory
“God Bless the Playboy Clubs and Hugh Hefner, they made Gregory, Dad and myself stars!”—Maurice Hines
Now, in the 21st century, the clubs are starting to come back to life. There’s a new second-generation London Club, which opened in 2011, that is packing them in nightly and a new generation is discovering the magic and legend of the Playboy mystique.
*(New York, NY) Miles Davis’ 20-year association as an artist at impresario George Wein’s renowned Newport Jazz Festival is a thriving tradition that will be celebrated with the release of Miles Davis at NewPort Debut with Musical Tributes, Workshops and more.
Newport Jazz Festival to be held July 31-August 2 celebrates the Iconic Trumpeter’s Relationship with the Legendary Newport Jazz Festival and Its revered founder-impresario George Wein, Commemorating the 60thAnniversary Of Miles’Newport Debut With Musical Tributes, Workshops and more.
Miles Davis at Newport 1955-1975: The Bootleg Series Vol. 4. 296-minute program includes nearly four hours of previously unreleased material.
The four-CD box set, comprised of live performances by Miles’ stellar band lineups in 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975, in Newport, Rhode Island, New York City, Berlin, and Switzerland, will be the lynchpin for a 60th anniversary commemorative weekend of events at this summer’s annual Newport Jazz Festival (July 31, August 1 & 2).
Ahead of the festival, Miles Davis at Newport1955-1975: will be available everywhere on Friday, July 17 — 60 years to the date since Davis’ breakthrough performance at Newport in 1955 — through Columbia/Legacy Recordings, a division of Sony Music Entertainment.
An interview with Newport Jazz Festival founder-impresario, George Wein, discussing his relationship with Miles Davis, can be viewed below:
George Wein discusses Miles Davis and the Newport Festival
Fans are now able to pre-order the 4-CD set bundled with a poster exclusively from MilesDavis.com (http://smarturl.it/miles_newport_d2c ). The set is also available for pre-order on Amazon (http://smarturl.it/miles_newport_amzn).
The newest entry in Columbia/Legacy Recordings’ critically-acclaimed Miles Davis Bootleg Series, Newport 1955-1975 clocks in at 296 minutes, nearly four hours of which is previously unreleased.
From Miles’ debut performance at NJF in 1955 (a hastily arranged jam session featuring Thelonious Monk and Gerry Mulligan, that immediately led to the trumpeter’s Columbia signing), to his final public performance of the ’70s in 1975 (at Lincoln Center during NJF-NY, the singular “Mtume” named for Miles’ favored percussionist of that decade), the box set traces the ascendance of Miles’ music as the ne plus ultra of jazz.
The full-length concert performances alone of Miles’ famed “Kind Of Blue” Sextet (with Cannonball Adderley, John Coltrane, Bill Evans, Paul Chambers, and Jimmy Cobb), and ‘second great quintet in ’66 and ’67 (with Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams) represent templates that reverberate in jazz and popular music to this day.
In that spirit, George Wein, who at age 89 still guides the Newport Jazz Festival, will preside over this summer’s Miles-centric gathering, July 31, August 1 & 2.
The lineup includes a cadre of bands led by trumpet stars Ambrose Akinmusire, Chris Botti, Peter Evans, Jon Faddis, Tom Harrell, Arturo Sandoval, and Bria Skonberg.
In a rare, historic tribute, Botti, Evans, Faddis, Harrell, Sandoval and Skonberg will perform one Miles Davis number during their sets.
The festival weekend will feature a number of exciting panel discussions focusing on Miles Davis, created in conjunction with the Miles Davis Estate and curated by Grammy Award®-winning music historian Ashley Kahn.
Highlights include an interview with George Wein conducted byNew York Times critic Nate Chinen (co-author of Wein’s autobiography Myself Among Others: A Life In Music); a celebration of Miles and the St. Louis trumpet tradition with excerpts from the Clark Terry documentary Keep On Keepin’ On (produced by Quincy Jones); and a discussion of Miles’s romance with electric guitars.
There will also be a playback of music from the new Columbia/Legacy Recordings box set Miles Davis Bootleg Series, Newport 1955-1975 with co-producer of the collection—Grammy Award®-winning producer Steve Berkowitz and consultant Nell Mulderry.
Kahn penned the liner notes to this set, noting how Miles’s historic performances at the Newport Jazz Festival never failed to “show the trumpeter repeatedly rising to the occasion, delivering groundbreaking music every time he hit the Newport stage.”
In this symbiosis, George Wein employed Miles to make Newport great, and Miles obliged by bringing some of the post-modern jazz era’s paramount musicians to the festival stage in his bands.
The Newport Jazz Festival (and starting in 1959, Wein’s Newport Folk Festival) enabled audiences of 10,000 to dig the music in a surprisingly intimate setting, where you really could hear a pin drop. “When Miles played his solo on ‘Round Midnight’,” Wein remembers of that breakout 1955 jam, “he put his horn right up to the microphone, which trumpet players didn’t do.
Normally they like to get some air and play a little bit away from the mic but he put the bell of his horn right up against it, and it came through clear as a bell.”
In that moment, with that simple move, Wein states, “That’s when he became the star of the festival and later [Columbia Records A&R man] George Avakian went up and signed him.”
With his “ecumenical” music mix in these five- and six-hour programs – from traditional to bop, hard bop, and re-bop, from cool, modern and post-modern to jazz-rock, rock-jazz, blues and R&B – the contemporary music festival was sired by George Wein.
As Kahn affirms, Wein “swayed generations of festival producers and impresarios – from groundbreaking one-offs like the Monterey International Pop Festival in 1967 and Woodstock in 1969, all the way up to today’s genre-blending annuals like Coachella and Bonnaroo, [and in Europe] Glastonbury and Montreux.”
Intrinsically and inextricably linked at the hip were Miles Davis and George Wein, from the first conversation Wein recalls with the trumpeter in 1952, at a little club in New Haven, “when [Miles] was playing with a band that Symphony Sid had put together with Percy Heath and Milt Jackson,” Wein clearly recalls.
Twenty years or so later, he memorably amped up the 1969 NJF program with Led Zeppelin, the Mothers of Invention, Jeff Beck, Sly and the Family Stone, and others.
Miles was just six weeks away from recording the principal sessions for his all-time game-changing “Bitches Brew,”and his live band had replaced Hancock, Carter and Williams with Chick Corea, Dave Holland, and Jack DeJohnette.
With more electronic instrumentation, and broader drum patterns, Miles was quickly moving beyond the very jazz styles he had helped to create and popularize.
Into the ’70s, rock and R&B-rooted musicians like guitarists Pete Cosey and Reggie Lucas, electric bassist Michael Henderson, Mtume on percussion, plus jazz drummer Al Foster and a rotating cast of saxophonists came aboard. As Miles’ scope expanded, Wein’s festival became a week-long affair in Manhattan, then across Europe.
But to eyewitnesses, Newport Jazz Festival 1969 was ground zero, the big bang that informed “Bitches Brew.” “I remember that Miles always came to Newport and left as fast as he could,” Wein told Kahn.
“In ’66, he came up in a boat and got to the stage in time to play, and was back on the boat and got the hell out of there. In ’69, he stayed from the first day to the last, standing right by my shoulder… He watched every group and watched the response of the audience, who got the most applause, what music they were playing. He was studying. And that affected all the last years of his career.”
Miles Davis at Newport 1955-1975: The Bootleg Series Vol. 4. was produced for release by the multiple Grammy Award®-winning trio of Richard Seidel and Michael Cuscuna; with co-producer Steve Berkowitz. Executive producers for the Miles Davis Estate were Cheryl Davis, Erin Davis and Vince Wilburn, Jr. The music was mastered by Mark Wilder and Maria Triana at Battery Studios in New York City. All original concerts were produced by George Wein.
Miles Davis at Newport 1955-1975: The Bootleg Series Vol. 4. (Columbia/Legacy Recordings 88875081952)(All tracks previously unreleased, except where otherwise indicated)
CD 1: (July 17, 1955: Newport Jazz Festival, Newport, RI)
Selections: 1. Spoken Introductions by Duke Ellington and Gerry Mulligan • 2. Hackensack • 3. ’Round Midnight (previously released) • 4. Now’s The Time •
(All-Star Jam Session: Miles Davis, trumpet; Zoot Sims, tenor saxophone; Gerry Mulligan, baritone saxophone; Thelonious Monk, piano; Percy Heath, bass; Connie Kay, drums.)
(July 3, 1958: Newport Jazz Festival, Newport, RI)
Selections: 5. Spoken Introduction by Willis Conover (previously released) • 6. Ah-Leu-Cha (previously released) • 7. Straight, No Chaser (previously released) • 8. Fran-Dance (previously released) • 9. Two Bass Hit (previously released) • 10. Bye Bye Blackbird (previously released) • 11. The Theme (previously released) .
(Miles Davis, trumpet; Cannonball Adderley, alto saxophone; John Coltrane, tenor saxophone; Bill Evans, piano; Paul Chambers, bass; Jimmy Cobb, drums.)
CD 2: (July 4, 1966: Newport Jazz Festival, Newport, RI)
Selections: 1. Gingerbread Boy • 2. All Blues • 3. Stella By Starlight • 4. R.J. • 5. Seven Steps To Heaven • 6. The Theme / Closing Announcement by Leonard Feather.
(July 2, 1967: Newport Jazz Festival, Newport, RI)
Selections: 7. Spoken Introduction by Del Shields • 8. Gingerbread Boy • 9. Footprints • 10. ’Round Midnight • 11. So What • 12. The Theme/Closing Announcement by Del Shields
(1966 & 1967: Miles Davis, trumpet; Wayne Shorter, tenor saxophone; Herbie Hancock, piano; Ron Carter, bass; Tony Williams, drums.)
CD 3: (July 5, 1969: Newport Jazz Festival, Newport, RI)
Selections: 1. Miles Runs The Voodoo Down (previously released) • 2. Sanctuary (previously released) • 3. It’s About That Time / The Theme (previously released) .
(Miles Davis, trumpet; Chick Corea, electric piano; Dave Holland, bass; Jack DeJohnette, drums.)
(November 1, 1973: Newport Jazz Festival In Europe, Berlin)
Selections: 4. Spoken Introduction by Ronnie Scott/Band Warming Up • 5. Turnaroundphrase • 6. Tune In 5 • 7. Ife • 8. Untitled Original • 9. Tune In 5/Closing Announcement by Ronnie Scott
(Miles Davis, trumpet, organ; Dave Liebman, soprano saxophone, tenor saxophone, flute; Pete Cosey, guitar, percussion; Reggie Lucas, guitar; Michael Henderson, electric bass; Al Foster, drums; James Mtume Forman, percussion.)
(July 1, 1975: Newport Jazz Festival – NY, Avery Fisher Hall)
Selection: 10. Mtume.
(Miles Davis, trumpet, organ; Sam Morrison, tenor saxophone; Pete Cosey, guitar, percussion; Reggie Lucas, guitar; Michael Henderson, electric bass; Al Foster, drums; James Mtume Forman, percussion.)
CD 4: (October 22, 1971 : Newport Jazz Festival In Europe, Neue Stadthalle, Dietikon, Switzerland)
Selections: 1. Directions • 2. What I Say • 3. Sanctuary • 4. It’s About That Time • 5. Bitches Brew • 6. Funky Tonk • 7. Sanctuary.
(Miles Davis, trumpet; Gary Bartz, soprano saxophone, alto saxophone; Keith Jarrett, electric piano, organ; Michael Henderson, electric bass; Ndugu Leon Chancler, drums; Don Alias, percussion; James Mtume Forman, percussion.)