Portland's own 5 Grand has been in existence for just under a year, comprised of some of the city's best R&B and jazz players, combining years of experience and touring with such bands as Romeo, Visions, Hot Property, Dirty Revival, The Andy Stokes Band, Cool Breeze, Mack and Dubs Smokin' Section as well as appearances with National Acts such as Con-funk- shun, Buddy Rich, Portland's own Shock, George Clinton and others. Come have a "Grand" Experience!
The Members of 5 Grand are: Darnell "Dee Love" Love - Bass, Vocals and Keys Tony "Tone" Winters - Drums and Programming Melissa "Meli" Steinbach - Lead Vocals Eddie "Kane" West - Guitar, Vocals and Sax Will "The Sound" Caynon III - Keyboards Rich "Dick Tate" Gates - Lead Guitar and Vocals
Seattle area native Mark Lewis is a well-traveled saxophonist and flutist who has created a large body of jazz music over the past four decades. He's been a part of jazz scenes from Seattle and San Francisco to Rotterdam and Paris. His new album, The New York Session, features piano legend George Cables, veteran bassist Essiet Essiet and drummer Victor Lewis.
Born in Tacoma and raised on a farm outside of nearby Gig Harbor, Mark Lewis absorbed music from both sides of his family. His paternal grandmother was a concert pianist, and his maternal grandfather played saxophone (a C melody horn that Lewis started playing at age nine). Despite profound visual impairment, he had free run of the family hi-fi system and soaked up Count Basie, Duke Ellington, and Art Tatum while investigating his parents' record collection. Lewis's waking hours were filled with music through his school years, and he went on to study composition, flute, electronic music, and piano at Western Washington University and the Cornish Institute of Allied Arts.
Settling in Seattle, Lewis started performing regularly at Norm Bobrow's Jazz at the Cirque showcase, and quickly found invaluable colleagues and mentors amongst resident masters like Art Foxall, Bea Smith, Dee Daniels, and Buddy Catlett. Drum master Otis "Candy" Finch, who moved to Seattle after a sterling New York career recording with heavyweights like Stanley Turrentine, Herbie Hancock and Dizzy Gillespie, recognized Lewis's budding talent and took him under his wing. He also encouraged him to get out of town, and in 1978 the 20-year-old saxophonist flew to Europe with a one-way ticket and his alto sax, $500 in his pocket, and virtually no contacts.
He ended up making Rotterdam his homebase for the next 14 years, and established himself as a vital force on the international jazz scene as a player, label owner, and producer. Building an extensive network of musical peers amongst Dutch players and American ex-pats ("Johnny Griffin got me my first gig in Europe," Lewis recalls), he maintained three working Dutch groups, including an organ trio with Carlo de Wijs; an experimental-minded quartet with Willem Kühne, James Long, and Frans van Grinsve; and a world-jazz quintet featuring musicians from India, Holland, West Africa, and South America.
"I only played original music, and I thought it was a good idea to play everywhere," Lewis says. "Gigs helped promote the sales of albums. No one wanted to play in Sweden in the winter, the off season. I didn't mind. I'd play anywhere."
His record company Audio Daddio became one of the era's essential outlets, releasing recordings by Art Foxall, Vonne Griffin, Al Hood, Art Lande, and David Friesen. The label's last European recording The Rotterdam Session features tenor saxophonist Clifford Jordan and legendary jazz drummer Philly Joe Jones, in one of his last recordings. Lewis also maintained a strong presence back in the States, spending several long stints in the Bay Area in the 1980s. He gained a considerable following with a quartet featuring drum maestro Eddie Moore, pianist Mark Levine, and bassist Larry Grenadier (the group featured on most of his critically hailed Quartet Records album In the Spirit).
How many artists have been praised a "punk rock provocateur," "jazz vibraphone visionary," and "percussion virtuoso" in the same sentence? There's only one: Mike Dillon. Whether through his affiliation with artists like Les Claypool, Primus, Rickie Lee Jones, and Ani Difranco, and collaborations such as Nolatet, Garage a Trois, The Dead Kenny G's, Critters Buggin or bands he has led, including Mike Dillon Band, Mike Dillon's New Orleans Punk Rock Percussion Consortium, Billy Goat and Hairy Apes BMX, the Texas-native has set his own standard for 25 years now.
Over the past decade, Mike Dillon has released a number of acclaimed albums, intertwining a range of influences from Zappa-esque eccentricity to Fishbone punk funk, D.C. Go-Go to Milt Jackson-influenced vibraphone majesty. Never before, however, has he recorded music so personal and committed to a sustained mood as his latest album, Functioning Broke. The recording finds Dillon solo on vibraphone and various percussion, building each track into its own minimalist, but multi-dimensional auditory landscape.
The current version of the Mike Dillon Band features guitarist Cliff Hines, Bassist Nathan Lambertson and a rotating cast of drummers including Claude Coleman Jr. (Ween), Simon Lott, G. Maxwell, Doug Belote and Paul Thibodeaux. With this line up, Dillon has continued exploring the connection between New Orleans street beats, Ska, funk, Hardcore and jazz. The band will release a new record in February 2017 titled, "Life is not a Football." Produced in New Orleans by Richard Maloney and Dillon with engineers Rick Nelson and Robert Mercurio, this album sounds like a Spotted Cat trad band that grew up playing Dead Kennedys and invited Captain Beefheart over for a dinner cooked by Thelonious Monk. The Mike Dillon Band has supported acts like Galactic, The Revivalists, Clutch, Primus, and Fishbone, while continuing to play music festivals and in cities across the U.S.
In 2016, the Gambit's Big Easy Awards named Mike Dillon "Performer of the Year" and the Mike Dillon Band "Best Punk/Metal Band" in New Orleans. Living in New Orleans for over 10 years now, when not on the road with Rickie Lee Jones, Nolatet, or the Mike Dillon Band, Mike resides in the Musician's Village.
Mike's latest release, Life Is Not A Football, released April, 2017 (Royal Potato Family) is "A recording with the Big Easy coursing through its veins and equal parts Frank Zappa and The Butthole Surfers in its DNA. Life Is Not A Football, is a no-holds-barred affair, complete with rallying cries for justice, truth-to-power political and existential rants and plenty of inside jokes.
• 2016 Big Easy Award (Gambit) - Winner Best Heavy Metal/Punk
• 2015 Drummies Artist Awards - Winner Rock/Pop/Hip-Hop Percussionist
• 2015 Drummies Artist Awards - Runner up Percussionist of The Year
• 2014 Downbeat Critics Choice -- Vibraphone
• 2014 Downbeat Readers Poll Winner - Vibraphone
• 2012, 2013 and 2014 Downbeat Rising Star
A year after his impressionistic, award winning and critically-lauded ECM debut Into The Silence, Avishai Cohen's Cross My Palm With Silver(May 5th, 2017) introduces a program of new pieces which put the focus on the ensemble, on teamwork, with an exceptional quartet featuring Yonathan Avishai (piano), Barak Mori (bass) and Nasheet Waits (drums). The adroit interplay among the musicians allows Avishai Cohen to soar, making it clear why the pure-toned trumpeter is one of the most talked-about jazz musicians on the contemporary scene.
In 2016 alone, Cohen was named "Best Foreign Artist" by Jazz Magazine France, while Into the Silence was awarded "Best Album of the Year" by TSF Jazz and Academie du Jazz, and in the top 20 albums of the year by JazzTimes. For four years running, Cohen has been voted a Rising Star-Trumpet in the Down Beat Critics Poll. Along with leading his quartet, the trumpeter has led Triveni (a trio with Omer Avital and Nasheet Waits) for over a decade, was a member of the prestigious SF Jazz Collective for six years, and has been a featured soloist in a number of special ensembles - most recently in "Jazz 100" alongside Danilo Perez, Lizz Wright, Chris Potter and Wycliffe Gordon. He also records and tours the world with The 3 Cohens Sextet, the hit family band with his sister, clarinetist-saxophonist Anat, and brother, saxophonist Yuval. Declared All About Jazz: "To the ranks of the Heaths of Philadelphia, the Joneses of Detroit and the Marsalises of New Orleans, fans can now add the 3 Cohens of Tel Aviv."
The trumpeter began performing in public in 1988 at age 10, playing his first solos with a big band and eventually touring with the Young Israeli Philharmonic Orchestra to perform under the likes of maestros Zubin Mehta, Kurt Masur and Kent Nagano. Having worked with Israeli folk and pop artists in his native country and appeared on television early on, Cohen arrived as an experienced professional musician when he took up a full scholarship at Berklee College of Music in Boston. In 1997, the young musician established an international reputation by placing third in the Thelonious Monk Jazz Trumpet Competition. Avishai came of age as a jazz player as part of the fertile scene at the club Smalls in New York's West Village.
Cohen first recorded for ECM as part of saxophonist Mark Turner's quartet on Lathe of Heaven, released in September 2014. The trumpeter has performed at the Village Vanguard and beyond with Turner, as well as widely in a band led by pianist Kenny Werner. Cohen has played often in the Mingus Big Band and Mingus Dynasty ensemble, and he has lent his horn to recordings by Anat Cohen, Yuval Cohen and keyboardist Jason Lindner, along with collaborating on stage with French-Israeli pop singer Keren Ann, the Red Hot Chili Peppers, and Indian Tabla Master Zakir Hussain. In addition to performing, Cohen was named the Artistic Director of the International Jerusalem Festival in 2015.
As with Into The Silence, Cross My Palm With Silver was produced by Manfred Eicher at Studios La Buissonne in the south of France. It was released on the eve of a major European tour, with concerts in France, Italy, Spain, Luxembourg, Great Britain, Switzerland, Germany and the Netherlands, which will be followed by a World Wide Tour in the Fall of 2017
Guitarist Peter Bernstein, organist Larry Goldings, and drummer Bill Stewart make up one of the best organ jazz trios of the past two decades. The respect the musicians have for one another comes through in the subtle and intricate manner of the musical conversation that happens between them on stage. Indeed, you can hear them listening to each other. Drawing mainly on jazz standards, and a few original pieces, they re-present the organ jazz trio in a quiet, sensual, and grooving presentation. All members of the Young Lion jazz movement at the close of the 20th century, and now all firmly established jazz stars, this group has been together for 25 years making multiple recordings which display their distinctive sound, whether exploring the depths of jazz standards, or playing their original compositions. Jazz enthusiasts recognize the trio for charting new ground with hard swinging, yet thoughtful music. Peter's warm, feather-light touch and fluid improvisation with Larry Goldings' warm hum, and Bill Stewart's polyrhythmic and melodic focus, create a vivid combination of synergistic playing. With the trio's extensive use of the music's dynamic possibilities, the passion and joy of this amazingly versatile instrumental lineup is there for all to hear.
"This is a killer organ trio barrage that's deep in the pocket. Bernstein, Goldings and Stewart have a natural feel for this music, laying down a groove that lets each soloist float across the tunes." - DownBeat Magazine
Barrett Martin is an award winning writer and drummer best known for his work in several rock bands from Seattle including Mad Season, Screaming Trees, Tuatara, and Walking Papers. He has traveled the world extensively, holds a masters degree in anthropology & linguistics, and is an adjunct professor in the liberal arts department at Antioch University Seattle. He has played on over 100 albums, and has studied music in West Africa, Latin America, Cuba, Brazil, the Peruvian Amazon, Australia, New Zealand, and Alaska. His academic work has included talks and teaching at New York University, Occidental College, Emory University, the University Of Georgia, the University Of Alaska, and the University Of New Mexico. He is the founder of the record label Sunyata Records, and when he is not on tour or in a classroom, he produces albums that range from indigenous music, to folk, jazz, blues, and of course, rock and roll. He was recently awarded the 2014 ASCAP award for excellence in writing.
A short synopsis of his studies around the world include work with Garifuna drummers in Belize, Wolof drummers in Senegal, Ewe drummers in Ghana, Santeria drummers in Cuba, Candomble drummers in Brazil, the singing Shipibo Shamans of the Peruvian Amazon, Delta Blues musicians, Arabic musicians, Native American musicians, and various recording projects around the world. Over the course of his 25 year career, his music has been featured on NPR's "All Songs Considered", The New York Times, The Los Angeles Times, USA Today, Rolling Stone, Spin, Classic Rock, Mojo, Uncut, and numerous other international magazines, newspapers, and websites.
He has recently started writing a music blog for the Huffington Post.
Bobby is a band leader, musician, record producer, songwriter, and session musician with a 40-year professional history that spans the globe and a lengthy discography. Originally from New York City, Bobby developed his reputation while performing with Joe Cocker at Woodstock, touring with Joe Cocker Mad Dogs & Englishmen, and performing and/or touring or recording with countless other music stars such as Al Jarreau, Jackson Browne, Beach Boys, the Captain & Tennille, and Etta James - to name a few. He has an extensive discography. He also performed and toured the globe for 10 years with Tom Jones. Bobby was nominated "Outstanding Percussionist" (a Muddy Waters Award), he was inducted into the Oregon Music Hall of Fame and he received The Jazz Hero Award from the Jazz Journalists Association.
Bobby has been a respected advocate, speaker, instructor and keeper of Latin rhythms on the Portland music scene for many years. The Ensemble is his central focus.
Trio Subtonic is a groove heavy power trio out of Portland, Oregon that blends genre bending funk with slow burning underground soul jazz. Led by keyboardist Galen Clark, Subtonic explores a coalescence of rock, soul, funk, hip hop and jazz that simultaneously draws in listeners and pushes boundaries. Creating a sonic footprint reserved for more than just three people, Subtonic delivers soulful grooves, expansive improvisations and a deep pocket that compels audiences to try dance moves they didn't know they had. Subtonic will be joined by legendary monster guitarist Dan Balmer.
Avery*Sunshine is without a doubt one of the most dynamic voices on the creative music scene, known for her invigorating and combustible live performances, compelling and revealingly honest song writing and impeccable instrument. The earthy and charming singer who has lent her vocals to the silver screen and collaborated with the likes of Roy Ayers, Will Downing, and Musiq Soulchild, has also lent her choral directing and choirs to a few of the live performances from Michael Buble, David Foster, Anthony Hamilton, and Jennifer Holiday. In 2005 she lent her voice to the soundtrack for Paramount Pictures¹ The Fighting Temptations, and in 2005 she was hired as lead keyboardist for Tyler Perry¹s stage play Meet the Browns.
In 2007, she was sought out by Grammy- and Tony Award-winning vocal powerhouse Jennifer Holliday to be choral director for the theatrical production of Dreamgirls during the National Black Arts Festival in Atlanta. Avery*Sunshine has also had the distinction of performing at the Democratic National Convention in Denver, CO and four private events during the 2009 Inauguration of President Barack Obama. As home in a variety of musical contexts, she has also sung background for gospel icon Yolanda Adams.
The SunRoom is Avery*Sunshine's 2nd full length. It's one of those albums that transports you both musically and emotionally. From organic soulful in-the- pocket grooves, sublime ballads and exuberant up-tempo numbers, the vocals shine throughout, the production is tight and the songwriting is authentic and thought provoking. All of the material on the CD was co-written by Avery*Sunshine and Dana "BigDane" Johnson with the exception for the gospel track "Safe In His Arms." The musical roots of Avery*Sunshine run deep as collectively their creative core has been inspired by such diverse iconic figures as Nina Simone, Gladys Knight, The Doobie Brothers, Curtis Blow, B.B. King and John Coltrane to Parliament & Funkadelic, The Clark Sisters, Madonna, Miles Davis, Earth, Wind & Fire and James Brown.
With the release of The SunRoom, it is obvious that Avery*Sunshine and Dana "BigDane" Johnson are no ordinary stars and that their magnetic field of positivity has a gravitational pull that is destined to resonate with the masses. "Our mission is simple: to inspire and encourage people to pursue whatever their life calling is and to operate at the highest level of themselves through that calling - ultimately to #SHINE".
Two-time Edison Award-winning and Grammy-nominated Christian Scott aTunde Adjuah--trumpeter, composer, producer, and designer of innovative instruments and interactive media--is set to release three albums to commemorate the 100th anniversary of the very first jazz recordings of 1917. Collectively titled The Centennial Trilogy, the series is at its core a sobering re-evaluation of the social and political realities of the world through sound. It speaks to a litany of issues that continue to plague our collective experiences: slavery in America via the prison-industrial complex, food insecurity, xenophobia, immigration, climate change, sexual orientation, gender equality, fascism, and the return of the demagogue.
The first release in the trilogy, Ruler Rebel, vividly depicts Adjuah's new vision and sound, revealing him to the listener in a way never heard before by way of a completely new production methodology that stretches trap music with West African and New Orleanian Afro-Native American styles. Ruler Rebel was released this past March after the first annual Stretch Music Festival at Harlem Stage. Created by Adjuah, the Stretch Music Festival explores the boundaries of stretch, jazz, trap, and alternative rock with some of music's most poised and fiery rising stars.
Diasopora (released on June 23) Stretches everything from the rhythms of the New Orleans and the Caribbean to the soundscapes and textures of Nordic Pop, Alt Rock, Japanese Traditional Music, Afro beat and beyond. Heralded by JazzTimes magazine as "jazz's young style God" and "the architect of a new commercially viable fusion," Adjuah is the progenitor of Stretch Music, a genre-blind musical form that stretches the rhythmic, melodic, and harmonic conventions of jazz to encompass many musical forms, languages, thought processes, and cultures. In 2016, he won JazzFM's Innovation of the Year honor along with the DownBeat Critics Poll Rising Star Composer to go along with his many wins for Rising Star Trumpet.
Critics on "Ruler Rebel" "Christian Scott is making some of the most interesting music in the jazz world right now." - Stereogum
"Ruler Rebel is inflected with the looping rhythms and drum samples of contemporary hip-hop. But where some danceable bands get so deep in the groove, they neglect the solos, Scott serves up a lot of trumpet." - NPR Fresh Air
"Ruler Rebel is striking in its blend of the organic and the electronic, the edgy and the ageless, with Scott's broad, brooding lines spread across the rough-hewn beats of trap music, the dynamic rhythms of 21st-century jazz drumming and the percussive traditions of West Africa." - Rolling Stone
"It is music that sounds completely contemporary, yet fully integrated into a century of great black American music, from James Reese Europe to Miles Davis to Kendrick Lamar." - WNYC
"The Coronation of X. Atunde Adjuah"
"Adjuah blends sounds of the diaspora as he and Pinderhughes both riff over an instrumental laced with galvanized drums and percussion." - The FADER
"A rhymer could easily drop a sharp 16 over Adjuah's diasporic drum canvas, but instead Pinderhughes' flute play gloriously floats over it, playing to the song's title with a shrill, first-rate fervor." - IMPOSE