News/New Releases

Apollo Theater Inducts Lionel Ritchie & The Late Etta James Into Legends Hall of Fame...

Administration — Mon, 21 May 2012 21:50:08 GMT

APOLLO THEATER INDUCTS LIONEL RICHIE AND THE LATE ETTA JAMES INTO APOLLO LEGENDS HALL OF FAME AT ANNUAL SPRING GALA BENEFIT CONCERT AND AWARDS CEREMONY

MONDAY, JUNE 4, 2012

SINBAD TO HOST, WITH SPECIAL APPEARANCES BY
DANNY GLOVER, CHAKA KHAN, EDDIE LEVERT,
VALERIE SIMPSON, MARY MARY

CITI TO RECEIVE CORPORATE AWARD
FOR COMMUNITY LEADERSHIP

GALA PROCEEDS TO BENEFIT THE THEATER’S EDUCATION AND COMMUNITY ENGAGEMENT PROGRAMS

(HARLEM, NY –May 21, 2012) – The Apollo Theater, one of the nation’s greatest cultural treasures, announced the lineup for its seventh annual Spring Gala Benefit Concert, at which they will induct Lionel Richie and the late Etta James into the Apollo Legends Hall of Fame. Proceeds from the gala benefit, to be held on Monday, June 4, 2012, will go toward the non-profit Theater’s education and community engagement programs.

In addition to performances honoring Richie and James, this year’s program will include tributes to three musical icons that have passed this year. Ten-time GRAMMY® Winner Chaka Khan will perform a tribute to the late superstar Whitney Houston; Eddie Levert, in honor of Soul Train creator Don Cornelius; and Valerie Simpson for her husband and legendary songwriting partner Nick Ashford. The evening will be hosted by celebrated comedian and former host of Showtime at the Apollo, Sinbad, with American Idol’s Ray Chew serving as musical director.

Lionel Richie and Etta James join past Apollo Legends Hall of Fame inductees—all legendary musicians, artists, and entertainers whose paths to fame included the Apollo—Stevie Wonder, Michael Jackson, Aretha Franklin, Quincy Jones, Patti LaBelle, Smokey Robinson, James Brown, Gladys Knight and the Pips, Little Richard, and Ella Fitzgerald. Each Apollo Legends Hall of Fame inductee is honored with a plaque in the Apollo Walk of Fame, installed under the Theater’s iconic marquee on 125th Street.

Lionel Richie’s first Apollo appearance was in the early 1970s, with The Commodores, who were opening for Smokey Robinson and The Miracles. “The Apollo is such an important part of music history in this country, and my own personal history,” Mr. Richie said. “When they called and said they were putting me on that list of names, I was thrilled. It’s an honor to be a part of the Apollo Legends Hall of Fame.”

Additionally, each year at the Spring Gala benefit, the Apollo recognizes a corporation whose support enables the Theater to grow and expand its artistic, community, and education programs. The Apollo will present Citi with its 2012 Corporate Award, in recognition of its outstanding philanthropy and community leadership.

“Citi is proud to be a long-time supporter of the Apollo Theater,” said Citi CEO Vikram Pandit. “The Apollo is world-renowned for discovering great talent and its education programs are second to none.”

The evening includes the gala benefit concert and awards ceremony, produced by Ron Weisner for Ron Weisner Entertainment, and a glamorous after-party featuring a stylish lounge transformed and created by celebrity event planner Marc Wilson of Marc Wilson Design.

Tickets for the 2012 Spring Gala and after-party are now on sale. To purchase benefit tickets to the event or to make a donation to the Apollo Theater, call 212-531-5347. To purchase show-only tickets, visit www.apollotheater.org.

Proceeds from the Apollo Spring Gala benefit the Apollo Theater, a not-for-profit organization. The Apollo’s world-class performances and education programs honor the influence and advance the contributions of African American artists and emerging creative voices across cultural and artistic media.

ABOUT THE APOLLO THEATER

The Apollo is a national treasure that has had significant impact on the development of American culture and its popularity around the world. Since introducing the first Amateur Night contests in 1934, the Apollo Theater has played a major role in cultivating artists and in the emergence of innovative musical genres including jazz, swing, bebop, R&B, gospel, blues, soul, and hip-hop. Ella Fitzgerald, Sarah Vaughan, Billie Holiday, Sammy Davis, Jr., James Brown, Michael Jackson, Bill Cosby, Gladys Knight, Luther Vandross, D’Angelo, Lauryn Hill, and countless others began their road to stardom on the Apollo’s stage. The Apollo Theater’s new artistic vision builds on its legacy. New Apollo programming has music as its core, driving large scale and more intimate music, dance and theater presentations. The Apollo will continue to present historically relevant presentations, as well as more forward-looking, contemporary work. Based on its cultural significance and architecture, the Apollo Theater received state and city landmark designation in 1983 and is listed on the National Register of Historic Places. For more information, visit www.apollotheater.org.

The Apollo Theater gratefully acknowledges its Spring Gala Sponsors: Citi; MacAndrews & Forbes; His Excellency Michael Moussa-Adamo, Ambassador Extraordinary and Plenipotentiary of the Gabonese Republic to the United States of America, Mexico and Haiti; JPMorgan Chase & Co.; Ticketmaster; and TVOne.

Special thanks to American Airlines, Belvedere, and Moët & Chandon Champagne.

The Apollo's annual season is made possible by lead support from The Coca-Cola Company, The Parsons Family Foundation, the Ronald O. Perelman Family Foundation, the Upper Manhattan Empowerment Zone, Reginald Van Lee New Works Fund, JPMorgan Chase & Co., the Ford Foundation, Bloomberg Philanthropies, and individual support from members of the Apollo National Committee and Young Patrons.

Lead annual support is also provided by public funds from the City of New York Theater Subdistrict Council; with additional funding from the National Endowment for the Arts; the New York City Department of Cultural Affairs in partnership with the City Council; and the New York State Council for the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Saxophonist Kenny G & Rahul Sharma Unite for New Project, "Namaste" | Coming June 26th, 2012 - LISTEN TO EXCLUSIVE TRACK!

Administration — Mon, 21 May 2012 00:11:28 GMT

KENNY G AND RAHUL SHARMA WELCOME LISTENERS TO THE CROSSROADS WHERE
EAST MEETS WEST

Namaste Combines The Exotic, Sultry Sounds Of Santoor And Saxophone, With A Chill Mix By Kid Tricky Due June 26th From Concord Records

LISTEN TO NEW TRACK BY CLICKING HERE!

When the elements of melody and harmony are carefully balanced, the convergence of one world with another results in a beautiful sound.

Namaste is a collaborative album crafted by Rahul Sharma – a native of India’s Kashmir region and a third-generation master of the exotic, 100-string santoor – and saxophonist Kenny G, a multiple Grammy-winning titan on the contemporary jazz landscape for more than two decades. This unusual and daring project captures the best of these two musicians – with a chill ambiance set up by mixer/producer extraordinaire Kid Tricky, (along with Walter A. and Soul Seekerz) – is set for release on June 26th, 2012 by Concord Records.

The evolution of Namaste is a fascinating story of two artists transcending cultural boundaries, beginning when Sharma, who first learnt the santoor from his father the legendary santoor maestro Pandit Shiv Kumar Sharma, approached saxophonist Kenny G during the latter musician’s performance in Mumbai a few years ago. Sharma, who has developed a substantial domestic and international following since the late 1990s via more than 50 studio recordings and extensive touring, introduced himself to Kenny by presenting him with a few of his CDs during his visit. Some informal discussions ensued, and an idea quickly took shape to collaborate on a studio recording by emailing music files back and forth from opposite ends of the globe and two very diverse musical perspectives.

The result was Namaste India, released in India in 2011, a collection of seven tracks that were deeply rooted in the traditions of Indian folk and classical music, but were also finely embellished with saxophone solos and accompaniments of an unmistakably Western orientation. As musical and cultural marriages go, it was a thing of beauty.

“It was an experiment to see how the santoor and the saxophone would work together,” says Sharma. “I knew Kenny would add so much to the compositions. But when I listened to the final results, I thought, ‘Wow, this is even better than I expected.’ The way he ended many of the tracks with a few simple notes was such a beautiful complement to the entire composition. He would improvise in a way that was so unexpected, and then find a way to fit it back into a melody that wasn’t typical of the kind of music he has recorded in the past.”

Kenny G, for all of his artistic and commercial success over the past two decades as a composer and an improviser, admits that working his way into Sharma’s tracks was no routine task. “It wasn’t the usual formula of playing the melody, improvising, repeating the melody, and then doing an ending,” he says. “It was more a question of ‘Where do I fit in? What notes do I play that will best serve this piece of music?’ But it was fun. It was an opportunity to just experiment with the sounds and notes and phrases. Little by little, over the course of several months, we put together the first few songs, and we realized, ‘Hey, I think we have something going here…’”

John Burk, Executive Vice President of A&R at Concord, was immediately taken with the album’s seductive world beat, but wondered whether there might be a way to enhance the overall set with a chill mix to bring the subtle backbeat slightly more to the forefront without losing the music’s inherent mystical essence.

Enter mixer/producer Marc Burrows, also known as Marc JB of the UK dance music group Bimbo Jones, and operating on this project in the alternate guise of Kid Tricky. Burrows reconfigured the entire album with a shade more rhythmic presence, and isolated a couple songs – namely the title track and the otherworldly “Transcendental Consciousness” – for a full remix. “In some ways,” says Burk, “the album is actually a three-way collaboration – mostly between Kenny and Rahul, but with a little bit of additional production from Kid Tricky.”

The set opens with Kid Tricky’s remix of “Namaste,” a track that walks a fine line between a hypnotic Eastern groove and the melodic solo lines and accents crafted by Kenny’s tasteful sax work. The entire track is underscored by a rhythmic beat that carries the song without being overly obtrusive.

In “Brahma Vishnu Shiva,” Sharma sets up the kind of rich foundation that only 100 strings can provide, but the arrangement allows plenty of room for the saxophone to deliver a well-balanced counterpoint to the santoor.

Further in, “Lotus Lovers” opens with a gentle but persistent combination of drumbeat and shimmering keyboards – a configuration that serves as the backdrop to a pleasant and engaging conversation between Sharma and Kenny. Kid Tricky inserts a slightly offbeat rhythm underneath “Valley of Flowers” that forces the listener to engage with the song even before the saxophone and santoor come in.

“Om Shanti” borrows riffs, vocal chants and other elements from two earlier tracks – “Namaste” and “Brahma Vishnu Shiva” – and weaves them into a hybrid piece that is familiar and yet new at the same time.

The album closes with remixed tracks that don’t appear on the original Namaste India, including a stirring version of “Transcendental Consciousness,” as reimagined by Walter A, and a rendition of the tile track remixed by the Soul Seekerz.

Indian music and contemporary jazz saxophone piped through chill mixes may seem like a gamble, but Namaste comes with a significant payoff. “At first it seemed like an odd combination,” admits Burk. “But then we listened to it and we realized that it was two great masters of their respective instruments getting together and doing something very innovative and even very daring. And it’s going to force people to hear Kenny in a way they may not have heard him before. This record provides a fresh glimpse of his versatility that sometimes gets forgotten in the shadow of such major success.”

But regardless of his own range and versatility, Kenny knows that there’s always more to be learned by taking chances and reaching across cultures. “I think the most important thing to come out of this project is the idea that two musicians from very different backgrounds with two very different instruments can find common ground and really make something innovative and interesting in the process,” he says. “We each just spoke our own languages to each other, and in the process we developed a language of our own. In the end, we figured out how to make something very intriguing and beautiful.

Contemporary Jazz Saxman Gerald Albright & Guitarist Norman Brown Unite for New Album, "24/7" | Coming June 19th, 2012

Administration — Fri, 18 May 2012 16:09:45 GMT

CONTEMPORARY JAZZ GREATS GERALD ALBRIGHT AND NORMAN BROWN JOIN FORCES ON NEW CONCORD ALBUM

24/7 set for release on June 19, 2012

As listeners, we like to enjoy music 24 hours a day, seven days a week. So it’s a good thing that contemporary jazz greats Gerald Albright and Norman Brown have been working overtime to produce 24/7, their first album together. This June 19, 2012 release on Concord Jazz, a division of Concord Music Group, offers ten killer soul-jazz tracks of music that never sleeps.

Ever since the debut of Norman Brown’s critically acclaimed 2002 album, Just Chillin’ – which won a GRAMMY® in the prestigious Best Pop Instrumental Category – this innovative and original guitarist has been front and center in the fast evolving fusion of pop, R&B and jazz that has captured the imagination of true music aficionados across the country and around the world.

On 24/7, Brown teams up with saxophone master Gerald Albright, whose high-profile recordings have established the Los Angeles-based musician as one of the most prominent artists and a true “musicians' musician.” Whether he is playing contemporary or straight-ahead jazz, Albright stands in a class all by himself. His 2010 release, Pushing The Envelope, received a GRAMMY® nomination for Best Pop Instrumental Album.

“The title is reflective of the commitment that both of us have made in terms of our instruments,” Albright says. “Even when we sleep we’re thinking about melodies, recordings, concerts and whatever we’re going to do next. 24/7 also speaks to the camaraderie between us. I first met Norman back in the ’80s, when we would play together at a club in Redlands, CA. Other musicians would stop by, but I was always impressed with Norman’s playing. It was a lot of fun – but a challenge as well. We went our separate ways, but here we are now.”

Brown adds, “When we were recording the project, we didn’t have a lot of time – so we were working on it 24/7!”

24/7 spotlights Brown on lead and rhythm guitars, alongside Albright on alto, tenor and baritone saxophones, flutes, bass guitar, electric wind instrument, percussion, programming and background vocals. The band for most of the recording alternates between keyboardist Tracy Carter, rhythm guitarist Rick Watford and drummer Jay Williams; and keyboardist Herman Jackson, bassist Byron Miller, drummer Charles Streeter and percussionist Ramon Ysalas.

The album opens with “In The Moment,” a pop instrumental gem that gives Albright’s horns and Brown’s guitar lots of breathing room. “This was one of the last tunes I wrote for the project,” Albright says. “I felt we needed something uptempo and funky. Later on, we decided it should go first. The tune was very spontaneous – it came to me ‘In the Moment.’”

Herman Jackson’s “Keep It Moving” sets the mood to kick back and enjoy the ride. “Herman and I have worked together for years,” says Brown. “He’s my production partner and has worked with me on all of my albums. When we were in the studio cutting tunes, Herman played me this track, and I felt it really fit the mood of the whole record.”

“Perfect Love,” another showcase for Brown’s trademark fluid playing and clean articulation, spotlights the guitarist’s daughter, Rochella, and godson, DeMille Cole-Heard, on lead vocals. “I just love the concept of love,” Brown says. “My music is always centered on some aspect of love, and that’s been a recurring theme in all of my compositions. The lyrics were written by Dr. Farid Zarif, a natural doctor who I’ve worked with on my diet and fitness, but he’s also a musician who’s worked with Stevie Wonder.”

On “Buenos Amigos,” Albright draws creative inspiration from American jazz percussionist Willie Bobo (1934-1983), one of the many legendary musicians with whom he has worked. “I’m really into Latin music,” Albright says. “There was a big time period when I played with Willie. He really schooled me on how to play Latin, and I wanted to reflect on those experiences. The title refers to my friendship with Norman.”

It was Brown’s idea to update “Tomorrow,” a mellow Brothers Johnson classic from 1976. “I like to give the audience something familiar, but with a twist,” says Brown. “I thought this track was perfect for Gerald and me. It fits the project completely.”

Brown’s “Yes, I Can” features an irresistible groove and a positive vibe. “I always like to find something energetic, funky and groovy,” he says. “This track started with the groove and came together quickly. The tag at the end just spoke to me” ‘Yes, I can,’ ‘Yes, I can.’”

Albright’s daughter, Selina, contributes her vocal skills to the well-polished and soulful title track (and later to “Champagne Life”). “Norman and I collectively decided on the title,” Albright says. “We went through several choices. Mark Wexler [Senior Vice President and Label Manager for Concord’s Jazz and Classics Group] encouraged us to pull out all the stops and employ the talents of our daughters. Selina actually wrote the lyrics. In my opinion, this is a classic Gerald Albright mid-tempo tune. I was even able to play bass and dig in with some orchestration.”

It was Albright’s decision to include “Champagne Life,” from singer Ne-Yo’s album Libra Scale. “When I first heard Ne-Yo’s version,” he says. “I thought, ‘this feels good,’ and this would also work as a nice tune for our summer concert dates! First and foremost, I love the tune. This was the first song I brought to Norman when we started the project.”

Brown co-wrote “The Best Is Yet To Come” with Jeanette Harris. “Jeanette is a young saxophonist,’ he says. “And I was producing her album. I wrote several tracks with her, and this was one of them. Later, I decided to use it on our record. There’s a throwback feel to it that reminds me of music from the days of CTI Records.”

24/7 closes with Albright’s laid back “Power Of Your Smile.” “A thick, orchestral ballad was the one thing that we didn’t have on the album,” Albright says. “I also wanted it to have a melody that people could sing – with a nice balance between the guitar and the saxophone. After all, there’s a camaraderie between Norman and me – we’ve been friends for three decades.”

“I’ve been a big fan of Gerald Albright since back in the day,” says Brown. “He’s one of the world’s premier saxophonists, and it’s an honor to work with such a great talent. That’s what makes this project so special.”

Chuck Brown - The Godfather of Go Go Passes...

Administration — Fri, 18 May 2012 15:03:46 GMT

The Godfather of Go Go, Chuck Brown, Passes...

One of music's leading talents in the R&B scene, Chuck Brown, from the Chuck Brown and the Soul Searchers fame in the 70's has recently passed away (May 16th, 2012). Mr. Brown was well known for his relentless energy on stage and for the introduction of the widely used sub-genre term "Go-Go" in the Washington D.C. Area, which in turn, help spawn and influence a great group of bands featuring that musical style. His hit single, "Bustin Loose" is considered a major classic.

The team at T.U.M.S. sends our condolences to his Family and kin. Mr. Brown was 75.

Jazz Supergroup THE COOKERS to Release Third Album, "Believe" on June 12th | LISTEN TO EXCLUSIVE STREAMING TRACKS!

Administration — Fri, 18 May 2012 14:46:54 GMT

Jazz Supergroup, THE COOKERS,
Celebrate Their Fifth Anniversary With Stellar Third Release,
BELIEVE, Available June 12 on Motéma Music

Featuring Billy Harper, Eddie Henderson, David Weiss,
Craig Handy, George Cables, Cecil McBee, and Billy Hart

LISTEN TO STREAMING TRACKS FROM BELIEVE

In an interview, drum great Billy Hart summed up his attitude toward The Cookers succinctly but emphatically: "Believe in us," he insisted (tacking an expletive onto the end that served to press the point home). Over the course of two albums, The Cookers have given jazz audiences plenty of reason to believe, and their Motéma Music debut, bearing the simple but eloquent title Believe, finds the all-star septet continuing to keep the faith in swinging fashion - their third release, celebrating their fifth anniversary as a working ensemble.

The credentials of these seven musicians are beyond reproach, but simply gathering a group of legends and throwing them into a recording studio isn't necessarily a recipe for success, points out David Weiss, the band's founder, chief organizer, and trumpeter. "A lot of basketball teams throughout the years have signed a group of all-stars and assumed they would win it all because they had assembled the best group of players imaginable and in the end lost because they never really considered that the group would not gel and could not play together," Weiss points out by way of illustration. "You can't just put a bunch of names together and expect it to be great. These guys just turned out to be the perfect combination."

It's impossible to foresee how any ensemble will gel until the first notes are played, of course, but The Cookers had an inherent advantage in the fact that these legendary jazzmen had all proven themselves integral components in great bands of the past. Harper was a member of groups led by Lee Morgan and Max Roach and served a two-year stint with Art Blakey's Jazz Messengers; trumpeter Eddie Henderson and drummer Billy Hart were both part of Herbie Hancock's electric Mwandishi ensemble; pianist George Cables played alongside Dexter Gordon and Art Pepper; and bassist Cecil McBee anchored Charles Lloyd's famed 1960s quartet with Keith Jarrett and Jack DeJohnette.

"This is a band," Weiss says, emphasizing the fact that the unit has cohered into something that transcends its all-star status. "But it's a band of guys who have been in a lot of the most important bands in the history of this music. They know what it's like to be in a band and what makes bands great."

The line-up is completed by Weiss and altoist Craig Handy, players from a later generation who nevertheless follow in their bandmates' fiery footsteps. The name comes from the Freddie Hubbard's classic two-volume album Night of the Cookers, classics featuring Lee Morgan, Harold Mabern, James Spaulding, Pete LaRoca, Big Black, and Larry Ridley. These Cookers approach their material in the same sense of adventurous exploration as Hubbard and his ensemble did, generating brilliant music out of seemingly basic elements.
Credit: Vincent Soyez

Like their previous two critically acclaimed releases, Cast The First Stone (Plus Loin, 2011) and Warriors (Jazz Legacy Productions, 2010), Believe consists almost entirely of music written by the band members themselves, culled by Weiss from throughout their storied careers. For those earlier albums, however, Weiss pulled primarily from his own fondly-remembered favorites. Having exhausted his personal wishlist, this time out he had to dig a little deeper, providing the enviable opportunity to unearth some undersung treasures from his colleagues' back catalogues.

The disc opens with the jagged-edged "Believe, For It Is True," from Harper's 1980 album The Believer, which is followed by the mysterious unfolding of McBee's previously-unrecorded "Temptation(s)." McBee also contributes the free-form "Tight Squeeze," from his 1996 Palmetto release Unspoken. Cables' simmering "Ebony Moonbeams" was originally recorded on Freddie Hubbard's 1974 session High Energy, while Hart's buoyant "Naaj" was premiered on the drummer's 1988 album Rah.

What Weiss discovered during the process was that not only did these men's playing mesh together fluidly, so did their compositional styles. "They all complement each other perfectly," he says. "It makes for a more interesting program. Billy Harper's tunes are amazing, but if he's coming on like a sledgehammer, a George Cables tune balances things. If there's too much beauty - if there is such a thing - in George's tune, we have Cecil McBee's tunes for something a little more ethereal or experimental. They all come essentially from the same era, so they all speak a common language."

A prime example is the way that the brash fanfares of Harper's "Quest" are tempered by Cables' tender, strolling "But He Knows," before McBee's fragmented "Tight Squeeze" raises the blood pressure again, an effect counteracted by the joyous, palette-cleansing "Naaj."

The final selection finds The Cookers truly living up to their name on a blistering run-through of Wayne Shorter's "Free For All." The piece is the title tune from Art Blakey's 1964 hard-bop blow-out that also yielded "The Core," the ferocious Freddie Hubbard tune that was a highlight of The Cookers' 2010 debut. Blakey's Free For All was a landmark album for these master instrumentalists, Weiss explains.

"It was like me hearing my first Mahavishnu Orchestra record when I was 12 years old. It was one of those records that spoke to you as a kid and got you in touch with your love for the music. For them, it was Free For All."

And for countless aspiring jazz musicians who came after them, that landmark listening moment came via a classic album that, chances are, featured at least one of these players. The Cookers' line-up serves as a lifeline to one of the music's golden eras, a rare conglomeration of true living legends still making vital, modern music.

"Once you get these guys together and really see what they can do," Weiss says, "you see that they're not truly being recognized. They have direct ties to all the music that everybody, even younger people, came to this music listening to. They were part of what made jazz what it is and the classic records that attract most people to jazz, the greatest era of this music. Let's not forget where this thing came from and why it was so good: it's exciting music played with compassion and conviction and intensity. That's what these guys are doing."

It's that urge, to recognize and celebrate these tremendous artists while they continue to create at the height of their powers, that inspired the band to distill Hart's directive down to that one single word: Believe.

"It's a simple word for a philosophy," Weiss says. "Just believe in something. Care about something. And since you have this record in your hand, believe in this."

THE COOKERS' UPCOMING PERFORMANCES:

June 14 | Scullers | Boston, MA

June 15 | Hartford Jazz Society | Hartford, CT

June 17 | Playboy Jazz Festival | Hollywood, CA

June 20 & 21 | Yoshi's | Oakland, CA

June 22 | TD Vancouver International Jazz Festival| Vancouver, BC

June 26 & 27 | Jazz Alley | Seattle, WA

June 28 | Mt. Vernon Country Club | Golden, CO

July 28 | Caramoor Jazz Festival | Katonah, NY

For more information on Motéma Music, please visit motema.com
dlmediamusic.com

"Bounce TV Remembers Donna Summer" - A Tribute on Friday, May 18th, 2012

Administration — Thu, 17 May 2012 19:31:24 GMT

Bounce TV to Pay Tribute to Donna Summer With Soul Train Episode and Film Thank God It's Friday on Fri. May 18

ATLANTA, May 17, 2012 /PRNewswire/ -- Bounce TV (http://www.bouncetv.com), the nation's first and only broadcast television network for African Americans, will pay tribute to the legendary Donna Summer with "Bounce TV Remembers Donna Summer," featuring an episode of Soul Train and her film Thank God It's Friday this Friday, May 18 beginning at 8:00 p.m. Eastern time.

"Bounce TV Remembers Donna Summer" will feature her memorable Soul Train episode from 1976 in which she performs "Winter Melody" and "Spring Affair," as well as her role in the classic disco film Thank God It's Friday, which features the songs "Love to Love You Baby," "Try with Your Love," "Je T'aime," and "Last Dance."

Bounce TV Remembers Donna Summer
Fri. May 18

8:00 PM ET Soul Train
9:00 PM ET Thank God It's Friday
All Times Eastern

Bounce TV launched September 26, 2011 and is already available in 75% of African American households and 60 million homes nationally. Bounce TV airs twenty four hours a day, seven days a week on the digital signals of local television stations. Martin Luther King III and Ambassador Andrew Young are among the Founding Group and Board of Directors of Bounce TV. Bounce TV is majority African American-owned. Toyota USA is the signature sponsor of the network.

Bounce TV targets African Americans primarily between the ages of 25-54 with a programming mix of theatrical motion pictures, live sports, documentaries, specials, inspirational faith-based programs, off-net series and now original series. Live sports and events are part of the Bounce TV schedule, including both football and basketball games from the nation's largest African American athletic conference, the Central Intercollegiate Athletic Association (CIAA.)

SSchmitz@BounceTV.com

SOURCE Bounce TV

New Jazz Release: Pianist Aaron Diehl - "The Bespoke Man's Narrative" | LISTEN TO EXCLUSIVE STREAMING TRACKS!

Administration — Thu, 17 May 2012 19:08:59 GMT

PIANIST AARON DIEHL TO MAKE MACK AVENUE RECORDS AND STUDIO DEBUT WITH CAPTIVATING NEW ALBUM,
THE BESPOKE MAN'S NARRATIVE
AVAILABLE JULY 31

Release Date· July 31, 2012

LISTEN TO EXCLUSIVE STREAMING TRACKS FROM
THE BESPOKE MAN'S NARRATIVE

In fashion circles, the adjective "bespoke" denotes custom-made suits and shirts and signifies the person who designs and constructs them. On The Bespoke Man's Narrative, his brilliant Mack Avenue Records debut, pianist Aaron Diehl extrapolates this notion to matters of musical invention.

"The idea for the metaphor was that the composition and concept were specifically for these musicians," Diehl says, referring to his working quartet of 30-ish all-stars - vibraphonist (and Mack Avenue artist) Warren Wolf, bassist David Wong and drummer Rodney Green - that interprets the five originals and five arrangements comprising the program. "There's a sequence, an arc, a beginning, middle and end. Each piece has something to do with my musical development."

The project gestated in April of 2011 in Indianapolis after Diehl, 26, earned first place in the rigorous Cole Porter Fellowship in Jazz Competition of the American Pianists Association. The award garnered him $50,000 in career support and an opportunity to record with Mack Avenue Records.

"I thought it would be wise to use the opportunity to document this ensemble," Diehl states. "I decided to compose and arrange music in line with our own sound and conception, while using the strategies of bandleaders like John Lewis and Duke Ellington, who developed their music in line with the abilities of their personnel."

Diehl is singularly positioned within his generation to apply these lessons to a contemporary context. An alumnus of Todd Stoll's Columbus (Ohio) Youth Jazz Orchestra, which specializes in performing a broad timeline of Ellington's music, he spent the last six months of his sophomore year at Juilliard - he was 19 at the time - helping pianist John Lewis' widow, Mirjana, to organize her late husband's archive of manuscripts, scores, reel-to-reel tapes and recordings. Already intimate with the stride piano canon from his teens, Diehl applied the quality time with Lewis' Bach-to-blues oeuvre towards finding a conceptual space in which to coalesce his varied interests.

This quartet initially took shape in 2008 - then with drummer Quincy Davis - when Diehl was asked to play a concert of Lewis' music. By an April 2010 performance of this repertoire at Dizzy's Club Coca-Cola, Rodney Green had assumed the drum chair.

"Warren is a virtuoso," Diehl says of his fellow Mack Avenue artist. "There couldn't be anyone more appropriate to play the part of Milt Jackson. David is a fluid, precise player with a lot of finesse and a strong bow, who comes straight out of the bebop-based approaches of Percy Heath and Paul Chambers. Mrs. Lewis said that John would have loved him.

"I hadn't realized it, but Rodney listened a lot to Connie Kay, and told me that one reason he wanted to be part of this project was to get more inside Connie's approach."

In preparing this program of creative refractions of the aforementioned oeuvres, Diehl focused on nurturing an ensemble sound. "Rather than feature just my piano playing, I like to involve everybody in the process," he says. "Sharing the wealth allows for more musical possibilities."

For all his collective orientation, Diehl commands attention at the piano. Addressing a Fazioli F-228 grand piano, he showcases a nuanced touch, a comfort zone with tempos ranging from rubato to brisk, encyclopedic harmonic knowledge, an abiding sense of blues expression and a will - when necessary - to swing. He's assimilated vocabulary across the timeline, finding fresh, idiomatic ways to mix-and-match ideas drawn from a diverse cohort including, among others, Lewis, Ellington, Ahmad Jamal, Marcus Roberts and Kenny Kirkland. As he puts it, "My overall goal is trying to figure out how to connect all the language to make an interesting and engaging performance, and also develop my own voice. Why limit yourself to just playing something here and something there? It's all gold."

Diehl's all-jazz-is-modern attitude dates to formative years. "I started young with Bach, so going into jazz, I had an affinity for piano," he says. He also developed a feeling for music's ritualistic functions by playing for Mass in the Catholic Church that his parents attended, as well as services held for a primarily African- American clientele at his father's funeral home. At 13 he joined Stoll's Columbus Youth Jazz Orchestra; at 16 he took a steady trio gig in a Columbus hotel lounge; at 17, directly after graduating high school, he joined the Wynton Marsalis Septet for a European tour of one-nighters. That fall, he matriculated at Juilliard, where Oxana Yablonskaya worked with him on "how to develop various aspects of my sound."

The group simpatico shines through on "Moonlight In Vermont," to which Diehl imparts an Ahmad Jamal meets the MJQ feel, establishing bespoke ensemble support for solos by Wong and the leader.

The chops come out full force on "Stop and Go," a boppish contrapuntal quartet piece that, Diehl says, "alternates between half-time and double-time." He adds that the term is used in aviation (Diehl's a licensed pilot who learned to fly in high school) that is used when you land on the runway, briefly touch the ground, stop and then immediately take off again. "Aviation has always been my second passion, ever since my father began flying when I was a toddler. After earning his license, my mom wouldn't fly until he had a few more hours logged, but my sister and I never declined opportunities to get in the air."

Diehl wears his classical erudition lightly on a gorgeous trio re-imagination of the "Forlane" section of Maurice Ravel's "Tombeau de Couperin." He approaches George Gershwin's "Bess, You Is My Woman Now" similarly, improvising intensely on the melody while remaining true to the score.

"This record is just a starting point, something on which to build and invest," Diehl says. "Hopefully, over the long term, the ensemble will develop and refine a band sound." Devotees of the idiom will eagerly await the process.

The Bespoke Man's Narrative track listing:

1. Prologue (Aaron Diehl)
2. Generation Y (Aaron Diehl)
3. Blue Nude (Aaron Diehl)
4. Moonlight in Vermont (John Blackburn/Karl Suessdorf)
5. Single Petal of a Rose (Duke Ellington)
6. The Cylinder (Milt Jackson)
7. Stop and Go (Aaron Diehl)
8. Le Tombeau de Couperin (III. Forlane) (Maurice Ravel)
9. Bess, You Is My Woman Now (George Gershwin, Ira Gershwin, Du Bose Heyward)
10. Epilogue (Aaron Diehl)

For more information on Aaron Diehl, visit:
aarondiehl.com

media.mackavenue.com

MACK AVENUE · the road to great music · mackavenue.com

dlmediamusic.com

New Gospel Release: Coko | "Always Coko" - Coming May 22nd, 2012

Administration — Thu, 17 May 2012 18:42:15 GMT

LIGHT RECORDS TO RELEASE ALWAYS COKO

COMPILATION CD OF COKO'S BEST GOSPEL SONGS
IN-STORES & ONLINE EVERYWHERE MAY 22, 2012

Nashville, TN (May 17, 2012) - Cheryl "Coko" Clemons, the beautiful soprano of the legendary R&B group SWV, has always been deeply connected to Gospel music. Over the past few years, Coko released two successful gospel albums, "Grateful" and "The Winner In Me," on Light Records. They will celebrate her gospel roots with the release of ALWAYS COKO, a compilation of her best of gospel songs.

ALWAYS COKO relives her anointed moments on rich upbeat tracks, spirited contemporary tunes and engaging melodies. ALWAYS COKO is a testimony of her journey and intimate look at the heart of a truly gifted artist.

Coko's power-house vocals are showcased on big ballads "The Winner In Me," & "I Surrender." She rises on the upbeat "May Be My Last Time" and simply soars on the fan favorite, the Clark Sisters re-do of "Endow Me," featuring Faith Evans; Little Mo and Fantasia.

From its Urban inspirational, contemporary pop tracks and worship ballads, ALWAYS COKO is a must have for music fans.

ALWAYS COKO will be available May 22, 2012 in stores and online everywhere.

About Light Records and Entertainment One

For over 40 years Light Records has provided life-changing, restorative and inspiring Gospel music. From their prolific Gospel catalogue with Walter Hawkins; The Winans; Andrae Crouch to Today's modern favorites - Shirley Caesar; JJ Hairston & Youthful Praise, Ricky Dillard, Jessica Reedy, Bishop Paul Morton, Dawkins & Dawkins, James Fortune and Dorinda Clark-Cole, Light Records continually strives to keep Gospel music innovative and fresh while keeping the traditions alive.

Light Records is a wholly owned division of Entertainment One. Entertainment One (LSE: ETO) is a leading international entertainment company that specializes in the acquisition, production and distribution of film and television content. The company's comprehensive network extends around the globe including Canada, the U.S., the UK, Ireland, Benelux, France, Scandinavia, Australia, New Zealand and South Africa. Through established Entertainment and Distribution divisions, the company provides extensive expertise in film distribution, television and music production, kids programming and merchandising and licensing. Its current rights library is exploited across all media formats and includes more than 20,000 film and television titles, 2,400 hours of television programming and 45,000 music tracks.

Singer Cheryl Pepsii Riley Celebrates 10 Years of Touring Success with Tyler Perry

Administration — Thu, 17 May 2012 18:37:18 GMT

Soulful Songstress
Cheryl Pepsii Riley
Celebrates Ten Years of
Touring Success with Tyler Perry

New York - Madea may have a job - as evidenced by the success of the latest play, "Madea Gets A Job" in Tyler Perry's popular stage play franchise - but Cheryl Pepsii Riley has a career. That's because Riley's role as Carla Montgomery in the latest Madea escapade marks almost ten years that the soulful songstress has performed as a mainstay in Tyler Perry's many endeavors. And with vocals that simmer and soar throughout the theatre, the audiences couldn't be happier about it.

Riley, who first burst on the music scene in the late '80's with her torching classic "Thanks for My Child," has been able to steadily build her fan base via several ventures, including an independent CD release "Let Me Be Me." But her inclusion in over ten Tyler Perry productions, including stage plays, DVD releases, film cameos and soundtrack credits, has served to solidify her as one of soul and gospel music's legendary voices.

The native New Yorker from Brooklyn holds down a solid base on her home front as well. She is also celebrating five successful years at New York's legendary Village Underground with her own homegrown vehicle, the "Back in the Day, Black Velvet Painting, Blue Lights in da Basement, Musicians and Singers Jam" night. More simply known as "Black Velvet Mondays," the showcase attracts singers, songwriters and musicians from around the world who drop in to grace the stage.

Dedicated to regularly making her way to the club between her busy touring schedule, Riley produces and hosts the event every Monday. In addition to hosting and producing however, she is known for dropping pearls of wisdom in the midst of her Monday night events for aspiring artists.

"I originally started 'Black Velvet Mondays' because of the things I had to learn on my own, things no one told or showed me. I just wanted to share information as well as provide a positive and safe atmosphere for the up and coming musicians and singers who are striving to hone their crafts. My vision was to help other artists along the way. I always say God gave me this gift, not just for the entertainment of it all, but to continue to live my purpose here on earth," reveals Riley, who hopes to write a book featuring her advice gems.

In "Madea Gets A Job" Riley's character is the chief administrator of a senior citizen home. Single and experiencing man troubles, Madea's motherly advice guides her to her true love. Her show stopping performances of "All I Want is Love" and "Dr. Feelgood" are highlights of the production.

"I can't begin to express the gratitude I have for Tyler Perry. I have not only seen our audiences grow and grow, but I have watched him literally build an empire, right before our eyes. He absolutely inspires and motivates all of us around him to do the same for ourselves! As a performer, there is no greater joy than interacting with the audience. Having consistently worked with Tyler Perry for almost a decade now has been a tremendous experience. Top that with my showcase event on Monday's, as well as my own Cheryl Pepsii Riley shows and projects, and all I can say is that I am humbled and thankful for the many blessings," cites Riley.

Check the tour schedule for "Madea Gets A Job" at tylerperry.com/stage-plays/madea-gets-job/ and sing along with Cheryl Pepsii Riley at www.CherylPepsiiRiley.com.

Photo Credit for Cheryl Pepsii Riley: Steven Williams

Mary Mary's "Go Get It" is #1 on Billboard's Gospel Charts and #3 on R&B Charts

Administration — Thu, 17 May 2012 14:53:00 GMT

MARY MARY’s GO GET IT SCORES #1 POSITION ON THE BILLBOARD GOSPEL CHARTS AND #3 ON THE BILLBOARD R&B CHARTS AFTER FIRST WEEK SALES

NEWS OF THE HIGH RANKING FIRST WEEK OF SALES COMES ON THE HEELS OF WE tv’s ANNOUNCEMENT TO RENEW THEIR SELF TITLED REALITY SERIES FOR SECOND SEASON

(New York, NY; May 16, 2012) - Multi Grammy award winning My Block/Columbia Records duo Mary Mary makes a splash on top Billboard charts. For the fourth time in their career, the duo’s new release Go Get It debuts at #1 on the Billboard Gospel Chart. Go Get It hit # 3 on the Billboard R&B Chart, and makes the top 20 on Billboard’s Top 200 Albums charting at #16. The album, composed of two brand new songs and classic remixed and remastered versions of some of the duo’s greatest hits, has taken off as a fan favorite with the infectious lead single and title track, ‘Go Get It’ debuting on the top 10 Gospel singles chart since it’s April release, where it still remains, currently at #7. The album, heralded as a soundtrack to their current self-titled WE tv reality series, has been widely received by fans and critics alike.

Mary Mary kicked off their album promo week with an interview on ABC’s Good Morning America with host Robin Roberts and an exhilarating in-studio performance, backed by their live band of ‘Go Get It.’ The ladies rounded out their promo week with appearances on nationally syndicated morning show, The Better Show, Trinity Broadcasting Network’s Praise the Lord, and NYC’s PIX 11 Morning News.

Pundits agree; Go Get It proves that Mary Mary is here to stay. USA Today states “Sisters Erica and Tina have been delivering faith-inspired positive messages for more than a dozen years…Go Get It is a stirring call to improve your life…Can’t Give Up Now and Shackles are reminders of their broad appeal.” Billboard Magazine notes GO GET IT as “an insinuating groove and a gloriously uplifting lyric that urges the listener to “Go Get It…” Billboard goes on to say that “sisters Erica & Tina have managed to enjoy a devoted following in the gospel market while expanding its fan base in the mainstream thanks to the duo’s funky energetic style and signature soaring vocals.”

The duo, sisters Erica and Tina Campbell have been keeping up a tremendous pace. In the past year the ladies have been nominated for every major award and have taken home many – receiving the prestigious ASCAP Golden Note Award, a BET Award, Soul Train Award, two Stellar Awards and double Grammy nominations. In addition to filming the first season of their reality series which takes a personal look at their lives as singers, mothers, wives, and siblings – trying to balance it all; both sisters experienced pregnancy within the past year. Erica and husband/producer Warryn Campbell welcomed their third child in February 2012 and Tina and husband/Tonight Show Band drummer Teddy Campbell, are currently expecting their 5th child due August 2012.

Having just announced Season 2 of their WE tv series the ladies are showing no signs of slowing down. The duo will be honored at this year’s 2012 Essence Music Festival and will be touring in the coming months. The album Go Get It was released, May 8th 2012 and is available now in stores and online.