jazz

Sidney Scott: “Maybe You Were Right”

Historically, a native Austinite status set you on an accessible, auspicious trajectory towards making music. But of course, as tech culture eclipses the “weird” Live Music Capital character that Austin’s clung on to since the ’70s, it just doesn’t happen as much any more. So while simply being born within the city limits isn’t enough to guarantee the songwriter’s lifestyle, having musical parents sure as heck helps. See: Sidney Scott. Raised by a professional singer and a professional woodwind player, Sidney’s childhood in the Scott household was always chock full of good tunes. So when Sidney started discovering her own pipes, her folks weren’t necessarily looking to maintain a family legacy in music…but they certainly weren’t hypocrites either; they encouraged Sidney to follow her own passion, and we’re awfully glad they did. In 2021 Sidney Scott shared a pair of standalone studio singles, showing off her proclivity for soul, jazz, folk, and blues, not to mention an incredible grasp on vocal performance. Today, as part of her patient plans to drop her debut EP tentatively in 2024, Sidney Scott gives us a sneak peek at her unique hybridizing process. What began as an iPhone voice memo attempting to capture the best of both Brandi Carlile and Lake Street Dive was fully fleshed out by seasoned Austin producer Ray Prim and a form-fitting four-piece backing band. This latest original is a sensuous piece of gospel-soul that from its first organ-vocal unison through its sparkling firecracker choruses, billowed arrangement nuances, and Shirley Bassey-meets-Amy Winehouse final falsetto vibrato, years from now, when looking back at those of us who recognized Scott’s promising potential, might just make you say “Maybe You Were Right”

Passiflora: “SOMS”

Next week is South By South West, which means it’s been three whole years since SXSW 2020’s abrupt cancellation marked the beginning of our ongoing COVID climate. Of course, we now recognize several silver linings, mainly the sudden abundance of free time to follow through with unrealized creative projects, some of which haven’t been heard until now.

Take for example Austin trio Passiflora. Passiflora’s first root came from a cross-pollination of genre interests between guitarist Rudy Durham, singer Lauren Harris, and drummer Raul Luevano sometime under the veil of the pandemic. What sprouted as an experiment in hybridizing indie, R&B, and jazz has since bloomed into a collective one-of-a-kind passion project. Their style reminds us of turn-of-the-millennium neo-soul innovators like Jill Scott and Erykah Badu, albeit with an extra jazzy sense of adventure, manifested as time signature changes, enthralling chord progressions, and killer polyrhythms.

For their appropriately-named debut EP eponymous, Passiflora brought The Point bassist Jack Montesinos into the mix, and dang does he fit right in the pocket. eponymous is out this Friday, Passiflora performs at Continental Club Saturday, March 25th, and today they pass along the album’s final lead single. Acronymized as “SOMS”, “Sun on my Skin” begs to be enjoyed under brighter skies by basking in dreamy keys, breezy drum brushes, and, of course, Harris’ siren singing that heralds the start of spring and’ll subconsciously make you want to put this “f***ing record on repeat”.

Jill Barber: “Hell No”

When we watch characters like Marge Simpson or Mad Men‘s Betty Draper, their “homemaker” status is typically the butt of a joke. However after plenty of post-lockdown reflections, the status quo has clearly shifted back to domestic preferences. And although she’s worked damn hard for her planet-spanning, twenty-plus-year success, Canada’s Jill Barber is ready to put aside almost all of it in favor of motherhood and marriage. Almost. Barber boasts a discography dating back to 2002, an impressive list of international festival appearances, three JUNO nominations, countless awards, song placement in programs like Orange is the New Black, ambassadorship with Save the Children, bilingual fluency, and oh yeah, authorship of two children’s books. With a decade of marriage under her belt and a couple kids tied to her hip, this highly-decorated debonair has entered her forties with the maternal wisdom that you simply can’t rush greatness, nor should you ascribe to outdated norms. Sure, Jill still mixes a potpourri of infectious folk arrangements and seductive jazz vocals within perspicacious pop formulas. But she’s also eager to reclaim and re-appropriate the term “homemaker” on her eleventh full-length of the same name, out next Friday. Homemaker is a jubilant piece of musical matriarchy and cooperation, plain and simple, one that recognizes that nobody succeeds alone, that twice the work for half the pay is a raw deal. Barber’s latest cut comes straight from her creative nerve center in Vancouver, British Columbia and serves as her first as co-producer, yet another testament to the power of nurturing together. So if you want to stave off these statewide winter shivers, harness the warmth of emotional energy within Homemaker and say heck yeah to “Hell No”.

Christina Galisatus: “Candlelight”

Without a cursory glance at the classical glossary, the term “chamber” might be a bit off-putting. No, it’s not music to be tortured to, nor the ambiance you’d hear in a musty dungeon. Instead, when we talk about “chamber music“, we’re really referring to palatial arrangements and efficient approaches that rely more on cooperation between players relative to their performance space, basically allowing a room’s acoustics to take on a character of its own. As a genre modifier, jazz and folk are perhaps the most analogous modern styles you could revolve into the chamber, thanks to their emphases on solo ability and roots in large hall venues. So in an era where we can digitally replicate reverb across thousands of different room designs with the click of a button, it’s heartwarming to hear artists continue to employ this centuries-old technique.

Among those with technical respect for their sonic surroundings? Los Angeles pianist-composer Christina Galisatus. Galisatus spent her adolescence internationally touring with a symphony orchestra playing French horn, but by the time she started college, she’d fully returned to her childhood love of the ivories. Stanford degree now on the mantle, Christina Galisatus is eager to share her own variety of evocative, jazz-folk vibrations.

This Friday Christina Galisatus gifts us her debut full-length Without Night, an amazing encapsulation of chamber-adjacent live concert magic. At sixteen tunes (a baker’s dozen of originals plus two interludes and a reprise), each harmonic reflection is a remarkable moment of nuance, only made possible through an interaction between Galisatus, her backing sextet, and their acoustic environment. Without Night also marks Galisatus’ first foray into formally writing lyrics, an experience that lends itself to the LP’s sense of rumination and resonance. But before Without Night hits wax this weekend, Christina’s lit a wick that illuminates the album’s dulcet discipline and dynamic range. The ensemble’s synchronicity both with each other and their shared space glows throughout “Candlelight”, like a torch-in-sconce that taper off the walls, floor, and ceiling into an almost amorphous luminescence.

Samara Joy: “Warm in December”

Well…it’s the very last Song of the Day for 2022. As mentioned before, we’ll be off for a couple weeks and returning with an exciting batch of premieres on Monday, January 2nd. But with Christmas just over a week away now, we’d be remiss if we didn’t save the very best 2022 yuletide tune for last. If you don’t know Bronx-born vocalist Samara Joy, hop aboard the hype train (whose existing passengers include LaKeith Stanfield and Regina King) now. At just 23, Joy’s already begun to lead a new generation of jazz royalty, thanks to a pair of incredible post-lockdown LPs. Joy’s latest, Linger Awhile, picks up where her 2021 eponymous debut left off, and marks an indoctrination into the ranks of fellow Verve virtuosos – Anita O’Day, Ella Fitzgerald, and Billie Holiday. Both albums make great evergreen gifts for the vocal jazz fanatic in your family, but Samara’s not shy about her love of Christmas either. In fact she was just here in Austin last Wednesday for Big Band Holidays w/J@LC Orchestra. Joy just dropped an intimate, gospel collaboration “O Holy Night” with The McLendon Family, but considering the all-too-real risks of blackouts this coming Winter, we’re tossing “Warm in December” straight into your stocking. By nixing the clichéd cheese of sleigh bell percussion and leaving plenty of space for improv piano and sensitive dynamic shifts, “Warm in December” transcends your run-of-the-mill Christmas playlist as a contemporary jazz instant classic.

Dezron Douglas: “Atalaya”

Jazz has pretty much always been my favorite genre. But along the way, I’ve discovered that the biggest barrier of getting into newer stuff (for myself, personally) is a general lack of connection to any sort of jazz royalty. Fortunately, that’s not the case with Dezron Douglas.

Once apprentice to the late legend Jackie McLean, this Hartford-born educator-bandleader-bassist-producer-composer has also lent his talents to the likes of Ravi Coltrane and Pharaoh Sanders, just to name a few. Even in America’s most-competitive jazz hubs, Dezron’s dexterity, discipline, and deep understanding of theory have propelled him towards the top. In the realm of studio releases, Dezron Douglas only rode the momentum of his 2020 Brandee Younger collab Force Majeure for just a bit before recruiting the dream quartet for his solo debut.

Entitled ATALAYA, this LP is a ten-track trek across all kinds of avant-garde jazz. Bop, free jazz, and even effects-drenched solo fusion (see the penultimate tune, “Octopus”) whisk together better than ever before. And if you’re after a multi-sensory listening experience, consider copping a bag of Douglas’ very own coffee blend! A piping hot cup curated by the aficionado himself, plus ATALAYA (and its eponymous album opener) on vinyl? Sounds like an all-around rich cross-cultural roast for the winter.

Sammy Rae & The Friends: “If It All Goes South”

It’s that rare sliver of the year where the weather is great the whole day through. And for me personally, that’s all the motivation I need to get out and enjoy live music, indoors or out. Even if the venue’s little more than a concrete box, as long as there’s airflow, I’m out there dancing. With that in mind, we’ve got an official recommendation for this weekend.

In just a couple days, some of slickest genres seep together across a seven-piece, courtesy of Sammy Rae & The Friends. Since their 2018 debut EP The Good Life, this septet’s soared under the direction of their eponymous frontwoman, whose daring pipes are impressive as hell to say the least. Sammy Rae & The Friends bring their brand of jazzy-funk-soul to Empire Control Room 10PM this Saturday alongside NC indie pop outfit The Collection as part of a month-and-a-half-long national junket. It’s only the fourth of twenty-plus tour dates, so be sure to show Sammy Rae & The Friends some of that trademark Texas hospitality. Who knows? You may even flip the script on the meridional connotations of The Friends’ latest single (and music video) “If It All Goes South”. One thing’s for sure, you won’t have any trouble memorizing the acapella-and-horn-heavy chorus.

Takuro Okada: “Sand”

John Lennon. Kate Bush. Nels Cline. They’ve all dabbled in what mainstream listeners consider to be “dark arts” (the avant-garde genre)…but only after becoming pop stars. And well after his mid-2010s tenure with Tokyo indie-folk-rock sensation Mori Wa Ikiteiru, guitarist-songwriter Takuro Okada has begun ascending into their ranks. Ever since he went solo, Okada, (ever equipped with his fully-loaded pedal board and vintage amplifier), has reconsidered what defines “pop” music other than commercial radio and stream numbers. Hell, he even took it a step further and dove down a discourse of what “music” is.

In that “post-modern pop” spirit, Takuro Okada shared his sophomore full-length Betsu No Jikan this past week. A far cry from his indie-rock roots, Betsu No Jikan guides you on a reflective six-song journey through first-rate improv jazz, mind-melting ambient soundscapes, exotic instrumentation, and an exciting touch of experimentalism. With the exception of the album opener (which covers Coltrane’s classic “A Love Supreme”) the record effortlessly lays landmark motifs based around natural landscapes, such as the sifting, cinematic late-A-Side opus,”Sand”.

The Watters: “Life As A Dream”

We’ve all experienced impostor syndrome in one way or another. For musicians, it typically comes in the form of filling a bill considered “out of their league” or trying their hand at a style that’s not as rehearsed as the rest of their repertoire. But you’ll never know unless you try, right? Because that’s exactly what happened with Austin Americana-blues-soul-rock outfit The Watters. Daniel and Jenna Watters live within walking distance of The Far Out Lounge, whose doors opened at the top of the pandemic. When Far Out put out an open call for a “Sunday Jazz Brunch”, it stirred something in The Watters; as unapologetic lovers of New Orleans Dixieland and stride jazz standards like “Ain’t Misbehavin'”, they certainly seemed in touch with those sought-after sensibilities. And since having a horn section is half the battle for most jazz bands, why the hell not? Needless to say, those Sunday Jazz Brunches went off without a hitch. As such, the Watters’ tides have turned towards the incorporation of jazz, a shift that heavily influenced their latest EP Mellow. With their idiosyncratic blues-soul still front and center, jazz masterfully interjects itself within these four rousing originals. But you’ll also hear flourishes from the swingin’ ’60s sound on Mellow‘s sophomore offering “Life As A Dream”. Either way, as is usual with The Watters, it’s best experienced live. So catch The Watters 10:30pm tomorrow night at The Continental Club along with Wrongbird for the Mellow EP release show and get lucid with the sensuous psychedelia of “Life As A Dream”.

Takuya Kuroda: “Midnight Crisp”

It’s been almost a full decade since I graduated college, and I’d like to think that those I haven’t kept up with remember me for my two biggest creative endeavors at the time: playing trumpet and producing jazz-sampled hip-hop beats. I only say that because it seems like a pretty cool combo that I’ve sadly shied away from in the past few years. However if you are on the hunt for that unique pairing, look no further than Kobe Japan’s Takuya Kuroda. It took little time for Kuroda to cement himself in Brooklyn’s bustling jazz scene, where he eventually linked up with legends like José James and DJ Premier (who later recruited Takuya as a centerpiece for The Badder Band).

Takuya Kuroda just wrapped up Newport Jazz Fest and embarks on a month-long European tour in October. The occasion? Kuroda’s seventh studio album, Midnight Crisp. Like a soundtrack that switches between scenes of strutting, sensuality, and solitude, this sensational six-song collection comes out October 21st. So with a couple months to spare, feel free to step into the self-titled pseudo-’70s album opener, which just landed yesterday alongside the record announcement.

José James: “Christmas in New York”

Born in Minneapolis and now based out of New York, guitarist-vocalist José James continues to inspire joy at the intersection of jazz and hip-hop. His discovery in London about a decade back led to legendary jazz label Blue Note Records signing James and releasing five of his albums between 2012 and 2018. Since then José James has been operating through his own independent label, Rainbow Blonde Records, who shared No Beginning No End 2 last year, the live album José James: New York 2020 earlier this year, and Merry Christmas from José James just a month ago. With Merry Christmas James recaptures the glee of his younger yuletide experiences with some familiar jazz favorites and two originals – all of which feel more multi-faceted and nuanced than their surface-levels may suggest – particularly the melancholy “Christmas in New York”.

Jeremy Lister: “Christmas in Rio”

Like so many others before him, blue-eyed, Mississippi-born vocalist Jeremy Lister first fell in love with singing in his childhood church. Fast forward to 2003 when Lister relocated to Nasvhille and released his debut EP Shooting Star and jump ahead again to 2010, when he joined acclaimed a cappella outfit Street Corner Symphony, who landed second place on NBC’s The Sing Off and earned the group a touring spot alongside Ben Folds.

In the decade that’s passed since then, Lister’s chops as a crooner have only improved, scoring the jazz singer a duet with Allison Krauss, a family record alongside The Lister Brothers, and several high-level commercial and television spots. The latest from Lister is Happy Holidays, Everyone (though we would’ve also accepted Meremy Listmas), a big-band full-length featuring ten outstanding originals. But if brassy mid-century swing isn’t your cup of hot chocolate, bask instead in the sunny Southern-Hemispheric swagger of “Christmas in Rio”!

Akina Adderley: “Home Before Dark”

The term “songstress” is a relatively outdated one, but if there’s anyone here in Austin that fits the description, it’s absolutely Akina Adderley. In addition to her work providing vocals for the world-jazz group NORI and as one third of retro-girl-pop project Charlie Faye & The Fayettes, Adderley’s long maintained a reputation as a must-hear powerhouse performer, be it on her own or with her eponymous trio.

Akina Adderley plays with NORI on December 11th at Central Market North Lamar and with The Akina Adderley Trio on December 29th at Geraldine’s, but the big news comes in the form of a standalone single. Touting a gospel-blues-adjacent waltz of a groove and lyrics that look at our collective path as a nation, “Home Before Dark” will keep you in bright spirits even in these wintry early nights.

Kristine Mills: “Reach Out To Me”

Though she’s historically called Houston her home, after several LPs that navigate the many canals of jazz (including two in the bossa-nova-verse), singer Kristine Mills is about to actualize her international aspirations with a move to London. That pond-hopping dream becomes a reality only after the release of Mills’ aptly-titled new record, Looking Back. Moving Forward., which drops next Friday. On the cusp of Looking Back. Moving Forward. Mills performs 7PM this Thursday at Parker Jazz Club for a single and music video release show, one that you can enjoy from the comfort of your own home thanks to a livestream. But if you do plan on coming out, you’ll want to check out Kristine’s powerful pipes ahead of time with “Reach Out To Me” and the aforementioned music video for that jazziest of hues, “Blue Isn’t Blue Anymore“!

BLK ODYSSY: “Hang Low” (KUTX Live)

The name BLK ODYSSY might seem a bit grandiose on first glance, but a quick listen to their recent material justifies the epic magnificence of their sound. While D’Angelo & The Vanguard maintains a naming convention that touts their frontman’s saga, singer Sam Houston has graciously allowed his own name to go by the wayside as the “feature” of BLK ODYSSY and allowed his breathtaking vocals (almost reminiscent of post-Impressions Curtis Mayfield) to mesh effortlessly within a more traditional “band” framework.

Nonetheless, our August 2021 Artist of the Month‘s new record BLK Vintage could definitely make for a good pairing with Black Messiah, offering up a slick mix of modern jazz-psych-soul and seductive funk-R&B. You can catch BLK ODYSSY’s My KUTX session tomorrow night at 6PM and enjoy the grainy visuals of a three-song set below, taped just for KUTX at 512 Studios. The intimate performance (complete with a scarf-wrapped mic stand and plenty of stank face) opens with a previously unheard demo (“Gangster of Love” – that already packs a ton of potential) and KUTX rotation favorite “Funkentology”, but with Texas summer keeping the sun high and the heat in close company, the belle of the ball may just be “Hang Low”.

Cochemea: “Black Pearl”

During the heyday of Sharon Jones & The Dap-Kings, people pretty much said the same thing. “She sure can belt it out but that horn section doesn’t hurt either.” And though Sharon Jones has since passed, The Dap-Kings have continued a collective legacy of excellence. Take for example, Dap-Kings sax virtuoso/multi-instrumentalist Cochemea Gastelum, who’s rounded up the very best of Daptone’s rhythm sections to fill out his mononymous seven-piece Cochemea.

Next Friday Cochemea continues the cultural exploration that began with 2019’s All My Relations with Vol. II – Baca Sewa. You can expect an expertly-packaged deep dive into Gastelum’s Yacqui/Yoeme heritage across Baca Sewa‘s ten spiritual jazz originals, all of which are guaranteed to have an entrancing effect, as heard on Vol. II’s latest single, “Black Pearl”!

McKenna Esteb: “My Heart”

Whether it’s with mid-century jazz royalty, ’60s soul-psychedelia, or more modern renditions by women singers, songwriter McKenna Esteb is all about the jazz-soul sound. Raised in Seattle and now based here in Austin, McKenna Esteb’s recruited an intimate backing band to round out her arrangements, but its her commanding vocals that win us over every time.

Last Friday McKenna Esteb released her latest single, “My Heart” along with an NPR Music Tiny Desk Contest submission that you can watch below. So be on the lookout for more from this promising songwriter in the near future and get the blood to pump you through hump day with “My Heart”!

Sven Wunder: “Panorama”

Dating back to the heyday of film noir, jazz has always lent itself to an element of mystery. And for Swedish studio hermit Sven Wunder, jazz has allowed him to explore several eclectic satellite genres without relying on any concrete songwriting formulas, be it with the Anatolian rock and European jazz on 2019’s Eastern Flowers or the Pan-Asian elements heard on last year’s Wabi Sabi.

Regardless of where Wunder lands on the jazz spectrum, he’s set to continue the saga this Friday with Natura Morta, a cross-cultural full-length that examines humanity’s ties to nature and chips away at the walls dividing classical chamber orchestras and modern jazz bands at just under a dozen tracks. Natura Morta‘s sprawling sound isn’t the easiest to define on the whole, but there’s a timeless, nationless quality to the record’s latest single that recalls the oddities and fluidities of the Mahavishnu Orchestra, “Panorama”!

Sunny Jain: “Heroes”

After thirteen years on the road at the front of his global dance group Red Baraat, percussionist-songwriter Sunny Jain was especially affected by the constrictions of COVID. But, ever the optimist, Jain began sifting through his rolodex and soon formed a half-hundred intercontinental collective willing to help out in the writing and recording process of a new project.

Well, today, after countless hours of remote collaboration, Sunny Jain released the aptly titled Phoenix Rise LP, re-assembling the infectious energy of Red Baraat with the idiosyncrasies of his newfound team players, complete with music videos and even a 22-recipe vegan cookbook. Sunny Jain and company glisten throughout the album, effortlessly blending genres like jazz and hip-hop underneath striking vocal performances, as heard on one of Phoenix Rise‘s lead singles “Heroes”!

Aaron Myers: “If It Only Took Love”

Ever since its official UNESCO designation in 2011, International Jazz Day has invited a bit of extra joy into April 30th. And doing his share is D.C. pianist-vocalist (not to mention published author, radio host, and more) Aaron Myers, who does a stellar job of recreating mid-century styles with a vocal delivery reminiscent of Nat King Cole.

Today Myers released his fourth studio project, The Pride Album, featuring a dozen tracks (both standards and originals) that, along with its stunning visual counterpart, tackle the facets of life as a BIPOC artist amidst the oppression prevalent in the US. The subject matter, though, tends to teeter towards a lighter side, which when coupled with Myers’ incandescent singing on tracks like “If It Only Took Love”, is guaranteed to make your mind smile through the weekend.