Flutist Jamie Baum has always struck me as a very thoughtful artist with a lot on her musical mind. We met several years ago at a conference and she’s been pleasantly persistent in updating her career developments ever since. A Connecticut native who is a New England Conservatory jazz composition grad, Jamie has worked with and been influenced by an impressive range of artists; in the jazz spectrum that has ranged from Randy Brecker and Kenny Barron to George Russell and Wadada Leo Smith. Deeply invested in a philosophy of achieving a better integration of the flute in the jazz ensemble, the last time we reported on Jamie’s work it was as part of the ensemble Yard Byard, dedicated to the music of the neglected genius pianist-composer Jaki Byard; a passion for upholding Byard’s legacy she shares with another of his successful students, pianist Jason Moran.

Several months ago, uplifted by her latest project and eager to share it, Jamie sent me an advance disc of her recently released project, In This Life (Sunnyside), performed by her septet+. The depth and breadth of particularly her composition and arrangement work on this new disc was immediately apparent, as was her continued growth on her instrument and as a selfless bandleader. Clearly some questions were in order…

Judging from your growing discography and culminating with your latest release In This Life, its clear that you are a musician who places paramount value on the overall sound and blend of an ensemble. I base that impression in part on the fact that you’ve recorded largely in sextet and now septet+ configurations. Is that an accurate sense of where you’re coming from?
I have a few answers to that question. The first, is that I have always been involved in different projects/bands at the same time where one may be a quartet working with standards, another a duo working with free structures and another, for example, with the music of Jaki Byard…and so the Septet, which was formed in 1999, has always been about my compositions. It has been a great vehicle for me to explore new ideas. I started the septet when preparing for my master’s degree recital at Manhattan School of Music in jazz composition, and since then the band has recorded 3 CDs, the third of which is In This Life, my second for Sunnyside Records. For this recording the group was expanded to an Octet and I also added special guests Dan Weiss on tabla and Samuel Torres on congas. Having this band has given me the chance to workshop a lot of concepts relating to form, orchestration, meters, structures for improvisation, etc., as well as the opportunity to see how I can take influences from other genres of music to expand jazz formats for composition and improvisation.

As is with most jazz improvisers, I enjoy playing standards and blowing several choruses over the form however, I have felt that this isn’t always as interesting to the listener as it is to the player. Sometimes I will go hear bands play several choruses over a 12, 16 or 32 bar tune, one soloist after the next, and find that the thread of the composition is lost. That has inspired me to find ways of integrating the soloing and composition through extracting and developing parts of the melodic and rhythmic motifs into a variety of relevant sections for improvisation. I also try to keep each piece and the overall CD interesting by considering all of the possible pairings and color options available from the different instruments as they relate to the vibe or expressive quality I’m going for. So as they say, “the devil is in the details”, and that attention to those details can really help create a mood and perhaps inspire the soloist to improvise in a way that is more relevant to the composition. I also think it is important to not only give attention to the shape of each piece but to the overall set, whether for a performance or recording.

When you plan a recording date, how do you go about matching as closely as possible the intentions of your compositions with the players you select to play those compositions?
Well, first and most importantly, I have been very lucky to have great players work with me who understand what I am going for and who really bring their own unique interpretation to the music. I have had many of the same musicians play in the band for several years at a time, including great players like Ralph Alessi, George Colligan, Doug Yates, Jeff Hirshfield… and knowing who you are writing for is a gift. I have to say that the music wouldn’t be what it is without them and so it is important to choose the right musicians….players who don’t need to be told too much. There is a fine balance you have to find as a leader, knowing how much and what to say in order to be able to get what you want but to not inhibit all of the wonderful ideas, spontaneity and expressiveness that the band brings to “the table”. I do, however, think carefully about who I choose to solo on which compositions and in which sections in the composition. I also consider who I give the melody to at any given time in order to achieve the color, energy or intensity I feel the piece needs. I have to say though, those things are usually figured out well before going into the studio to record since we generally perform the music quite a bit before then. By the time we record, I will have a good sense of what I want to happen in that way. With that said, I try to be as flexible and “in the moment” as possible in the studio. If one of the band members or producers has an idea they want to try, I’m all for it because you never know what kind of magic you will end up with… which is what we all are hoping for anyway.
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Jamie & her In This Life crew

The flute is not a standard member of most big band woodwind sections; usually it is included as a saxophonist doubling to provide the ensemble with a different color based on the composition. It strikes me that somewhere down the road you’ll be compelled to place your compositions before a large ensemble or big band. What precedents can you think of from your observations of a flutist writing for and leading a large ensemble?
Good question. I’m not sure I know of any flutist who has actually composed compositions for big band as well as played on them… doesn’t mean that there aren’t any, it’s just that none are coming to mind at this moment. I’m sure there are saxophone doublers who have and who have had an affinity and understanding of how to use flute and its doubles effectively. There were several recordings that did use a lot of flute in ensembles that inspired me early on, including Herbie’s Speak Like a Child, Hubert Laws’ The Rite of Spring and In The Beginning, Gil Evans’ recordings, and ensembles that used interesting instrumentation and formats like Kenny Wheeler and George Russell‘s early works. I have been asked several times to write for big band and/or orchestrate my music for big band… its not that I’m not interested in doing it, it is a matter of finding the time and making it a priority….

You also appear on your fellow flutist Ali Ryerson’s big band recording with a full ensemble of flutes (Game Changer, Capri Records). What was that like and did you carry anything away from that experience that you might think about for your future endeavors?
When Ali first formed the band 10 years ago, she asked me to play in it. I think most jazz flute players at one point or another have “big band envy”. I think that at some point we all would have liked the opportunity to be involved in a big band; the chance to be a part of an ensemble where you can learn so much about blending, articulation, intonation, jazz phrasing, playing in different styles, be pushed to do your best due to its competitive nature, camaraderie, learning from being around your peers, play so much of that great repertoire, etc.…. I’ve often thought that not having those opportunities can put the aspiring jazz flutist at a disadvantage. Playing in Ali’s big band has been a fun experience for some of the reasons I mentioned, particularly since all of the players are on a high level and the arrangements are tastefully and thoughtfully done. Being in the middle of the sound and colors of all of those flutes is certainly a unique experience. I’m not sure though how that might affect my future endeavors, but then you don’t necessarily know how experiences are going to present themselves in your music further down the road.

What’s next on your horizon?
I’m looking forward to the many upcoming CD release gigs in November, including the Firehouse 12 in New Haven on 11/15 and the Jazz Standard in NYC on 11/19 [see Jamie’s current full schedule of CD release gigs below] and I’ll be doing a 10-day tour in Canada with Jane Bunnett at the end of November. More CD release performances in the coming months with the Septet+, including one at Blues Alley in DC in February, a new CD coming out by Yard Byard: The Jaki Byard Project, some duo gigs with pianist Richie Beirach in February, some writing projects, etc. Lots to look forward to!

Jamie Baum’s In This Life CD Release Tour Dates

Nov 14 – Springfield, MA
Pioneer Valley Jazz
Nov 15 – New Haven, CT Firehouse 12
Nov 16 – Old Lyme, CT The Side Door
Nov 19 – New York, NY Jazz Standard
Nov 23 – Waterloo, ON TheJazzRoom
Nov 27 – Toronto, ON Hugh’s Room
Nov 28/ 29- Quebec Bar Sainte Angele
Nov 30 – Ottawa, ON The GigSpace
Dec 1 – Kingston, ON Kingston Jazz Society

*Nov 23 through Dec 1 dates will feature special guest Jane Bunnett

Last year when the Jazz & Colors day was launched in New York’s Central Park, as I read over the mission of this thoroughly unique undertaking immediately I was taken by the fact that clearly here was a stellar example of jazz music performed in a unique way in a fairly non-traditional setting. Certainly the idea of jazz-in-the-park is almost as old as the music itself… but in Central Park on a crisp November day, definitely late fall!? And then there was the overall design of the event, where audiences could literally stroll the park and be lifted along by a kind of soundtrack effect (no surprise, Peter Shapiro whose Brooklyn Bowl organization founded and produces this event, is also a film entrepreneur). And then there’s the matter of the commonality of the music performed by the featured bands – though performed in their own spirit – eliciting the kind of subtle sonic differences akin to fall foliage color variations, where one slight modification in hue can lend a dramatic visual effect to Mother Nature’s overall Autumnal pallet.

This year’s Jazz and Colors day will be Saturday, November 9. Just to give you a sense of this idea, here’s the basic premise from the Brooklyn Bowl team, as ace publicist Kim Smith relayed it:

30 ENSEMBLES RETURN TO CENTRAL PARK TO PERFORM
FOR SECOND ANNUAL JAZZ & COLORS EVENT, NOVEMBER 9, 2013

Each ensemble will simultaneously perform the same set list of jazz standards, allowing people to explore Central Park, from midtown to Harlem, with their own personalized musical soundtrack. The second set highlights songs about specific cities, either in title or theme – paying homage to Brooklyn, Las Vegas and London – each of which will, by the Spring of 2014, host its own Brooklyn Bowl venue, the sponsor for Jazz & Colors.

The first set, beginning at noon, will include: “Caravan” – the classic first performed by Duke Ellington in 1936; “Bemsha Swing” by Thelonious Monk, appearing on his acclaimed 1957 LP Brilliant Corners; “Cherokee” – written in 1938 by Ray Noble and recorded by numerous jazz musicians over the decades; “A Night in Tunisia” — one of the signature pieces of Dizzy Gillespie‘s big band; “So What” — the opening track on Miles Davis‘ 1959 album Kind of Blue; “Footprints” by legendary saxophonist Wayne Shorter; “Maiden Voyage” — one of Herbie Hancock‘s best-known compositions; the unmistakable “Take 5” by Paul Desmond, first performed by The Dave Brubeck Quartet on their 1959 album Time Out; and “Tenor Madness” by the Saxophone Colossus Sonny Rollins, originally a twelve-minute piece recorded in 1956 with John Coltrane.

The second set (following an intermission) will include: Billy Strayhorn‘s “Take The A Train”, written by in 1939 for the Duke Ellington Orchestra; the frequently recorded “Harlem Nocturne” (1939) by Earle Hagen; “Stompin’ at the Savoy”, composed by Chick Webb in 1934 and named after the Savoy Ballroom that once existed in Harlem; “Grand Central” by John Coltrane, recorded in 1959 on Cannonball & Coltrane; “Central Park North” by Thad Jones, the title track from the Thad Jones / Mel Lewis Jazz Orchestra’s album from 1969; “New York City” by Gil Scott Heron, arranged by Brian Jackson, from their joint 1976 recording It’s Your World; “A Foggy Day in London Town” by George Gershwin, which appeared in the 1937 Fred Astaire film A Damsel in Distress; “Las Vegas Tango” from The Individualism of Gil Evans (1964); and the jazz-funk-soul classic “We Live in Brooklyn Baby” by pianist Harry Whitaker, appearing on Roy Ayers‘ 1971 recording He’s Coming.

“This year’s Jazz & Colors playlist features some of the most popular jazz standards in the first set giving a nod to many jazz legends that resided in New York City. The second set pays homage to songs that were specifically written about our beloved city, plus bonus songs about London, Las Vegas, and Brooklyn.” says Brice Rosenbloom. “Our program offers audiences the opportunity to experience these classic tunes in a new way, as thirty groups offer different interpretations.”

Clearly we had to ask Jazz & Colors programmer Brice Rosenbloom some questions.

What was the original mission or intent of Jazz & Colors, what’s behind the name, and where in Central Park do these performances take place?
Jazz & Colors was born out of the desire to create a free and large scale public music event that would attract visitors to experience Central Park in a unique way. As America’s classical music Jazz is the perfect choice of genres to provide an accessible soundscape that is appropriately rooted in our city’s past. The name is relevant to the Fall season and the changing colors of the leaves, therefore Jazz & Colors. The beautiful thing about the concept is that 30 groups are located all over the park, dispersed among the natural beauty, beside landmarks, on hillsides, in valleys, beside water, and filling every corner of the park with beautiful music.

Tenor man JD Allen’s Quartet, with Duane Eubanks on trumpet, Jazz & Colors 2012

How do you coordinate 30 bands – the majority of which are used to almost exclusively playing their own original music – to “simultaneously perform the same set list of jazz standards”?
The wonderful thing about living in New York city is that we have the pleasure of living among the best and most creative musicians in the world. The reason the concept for Jazz & Colors works with groups performing a predetermined set list is that these talented musicians are up to the challenge. Most of the tunes are recognizable standards, but instead of playing them straight we encourage every group to put their own voice, their own interpretation, into the song so that we will truly have 30 different versions of the same standard being played at the same time. Most of the musicians love knowing they’re a part of this truly unique day of music.

Besides the obvious – achieving a substantial audience following – how do you foresee this unique endeavor becoming a New York tradition?
From our experience launching Jazz & Colors last year it immediately became a favorite of regular park-goers, and clearly attracted new visitors to the park. From tourists to native New Yorkers park goers were encouraged to experience the park in an interesting way. Not since Christo and Jeanne-Claude’s The Gates has there been a large scale Park-wide public arts project like Jazz & Colors. As long as there are continued resources to make the event possible I foresee it becoming a longstanding NYC tradition.

Is this something that you see as a uniquely New York CIty phenomenon, or might this idea be exportable to other major cities?
Jazz & Colors works very well in New York City because of our intimate relationship to Jazz and the clear role New York played as the staging ground for so much of the development of the music and the musicians it fostered. However I’m certain the concept could work very well in other cities who want to activate a large public space to pedestrian traffic using music in a unique way.

The Knuffke-Stacken Duo with drummer Bill Goodwin all bundled up & blowin’ at Jazz & Colors 2012

How would you like to see this expand?
To other cities… Or multiple days… perhaps to the Five boroughs…

Here’s the list of bands who will play this year’s Jazz & Colors event:
* 2 Sisters, Inc Band
* Andrew Lamb Trio
* Arturo O’Farrill & The Afro-Latin Jazz Orchestra
* Brian Charette
* Daseul Kim Quartet
* Doug Wamble Quartet
* Duane Eubanks
* ELEW
* Frank London’s Klezmer Brass All Stars
* Gregg August Quartet
* Hot Future Five
* Jason Kao Hwang
* Jason Marshall Quintet
* Jazz at Lincoln Center All-Stars featuring the Russell Hall Quartet
* Joe Alterman Trio
* Joel Harrison Quintet
* John Raymond Quartet
* Kahlil Kwame Bell
* Kimberly Thompson Quartet
* Lakecia Benjamin & Soul Squad
* Marika Hughes & Bottom Heavy
* Mike Mohamed Quartet
* Mitch Froman’s Latin Jazz Quartet
* Outer Bridge Ensemble
* Roy Campbell Jr.
* Vince Ector Quartet
* Walking Distance
* Wayne Escoffery Quartet featuring Carolyn Leonhart
* Yard Byard
* Yosvanny Terry Quartet

Photos by MARK MILLMAN

Further information: WWW.JAZZANDCOLORS.COM

Ancient/Future Radio is heard Wednesdays 10:00pm-Midnight on WPFW 89.3 FM, Pacifica Radio for the Nation’s Capital; streaming live at www.wpfwfm.org.

ARTIST/TUNE/ALBUM/LABEL
(theme) Ernestine Anderson, In The Evening
Lester Bowie‘s Brass Fantasy, Thriller, Twilight Dreams, Venture
Lambert, Hendricks & Ross, Halloween Spooks, Hottest New Group in Jazz, Columbia
Philly Joe Jones, Blues for Dracula, (same), Riverside
Nina Simone, I Put a Spell on You, The Best Of, Phillips
Marion Brown, Spooks, Three for Shepp, Impulse!
Gigi Gryce/Donald Byrd, Social Call, Modern Jazz Perspective/Jazz Lab, Collectibles
Betty Carter, Social Call, (same), Columbia
Ray Vega, Social Call, Boperation, Concord
Django Festival All-Stars, Nuages, Live at Birdland, Three’s a Crowd
Miles Davis, Fran Dance, Complete Columbia Miles Davis & John Coltrane, Columbia
WHAT’S NEW/THE NEW RELEASE HOUR
Rene Marie, I Wanna Be Evil, (same), Motema
Preservation Hall Jazz Band, That’s It, (same), Legacy
Harrison Bankhead Sextet, Chicago Seniorita, Harvest Moon, Engine
Robert Glasper Experiment, Let it Ride, Black Radio 2, Blue Note
Robert Glasper Experiment, Jesus Children, Black Radio 2, Blue Note
Randy Weston/Billy Harper, The Healers, The Roots of the Blues, Sunnyside
Joe Fiedler’s Big Sackbut, Sackbut Stomp, (same), Multiphonic
Jonathan Finlayson, Lo Haze, Moment & The Message, Pi

Contact: willard@openskyjazz.com

A couple of weeks back our ongoing dialogue with black music writers, Ain’t But a Few of Us, included the young writer Anthony Dean-Harris. In addition to detailing how he came to write about jazz, Anthony spoke in very positive tones about a jazz presenting organization called The Art of Cool that he had recently become affiliated with as correspondent to their web site. That somewhat audacious name certainly piqued the curiosity, so based on Dean-Harris’ enthusiastic referral I sought out Art of Cool mover & shaker Cecily Mitchell for some insights into this developing organization devoted to bringing jazz to the Durham, North Carolina area.

Cicely Mitchell & Al Strong of the Art of Cool

In the vernacular we – at least some of us – know what one might mean by the art of cool. But please tell us your mission with this organization, why you chose that name, and how Art of Cool stands for what you’re trying to do in your part of the country.
Art of Cool is a 501(c)(3) organization dedicated to presenting, preserving and promoting jazz-influenced music. Our goal is to expand the audience for jazz and improvised music. The name evolved from the venues where we originally started presenting jazz which were small local art galleries in the Raleigh-Durham area. We wanted to give reference to jazz without actually saying the word “jazz’ which to be honest can be a barrier for some people. I thumbed through some old albums that my partner, Al Strong, had and picked out “Birth of the Cool”. Art of Cool just made sense and stuck.

How did Cicely Mitchell become a jazz enthusiast?
I met Al Strong, a local trumpeter and professor at St. Augustine’s and North Carolina Central. He turned me on to jazz. I loved soul music and good old-school hip hop before we met. The elements of what I loved about those genres I later realized were the essence of jazz. Al seemed to help me connect all the dots. It was almost instant that jazz was my link to African American tradition and culture.

It’s weird. All through undergrad I kept saying…”I’m going to get into jazz…like Miles and Coltrane.” Yet I always felt a little intimidated. I just didn’t know where to start. Al listens to all the greats all the time so it was simple to just jump in head first. Of course, he’s got quite a collection.

Why Durham, NC and how did you determine that this was a niche in your community that you needed to fill?
Durham, NC has a rich tradition of Black American Music mostly in the blues and soul music. North Carolina in general has a very big jazz connection. The most obvious are John Coltrane, Nina Simone and Thelonious Monk. Aside from the history Durham currently is very strong in arts performance culture. It is home to 2 performance theatres that are currently in the top 100 in box office sales. Durham is home to Duke University as well as North Carolina Central University both schools boast residencies by Branford Marsalis. Nnenna Freelon is a downtown Durham resident. The students and faculty at both schools play around town and make the scene extremely strong. People come to Durham for school or jobs in Research Triangle Park. The population is highly educated and more adept for arts culture like jazz, classical music or plays. So all the pieces are in place in Durham: the players, the audience and the institutions. Art of Cool is here simply to connect them all.

Talk about some of the activities you’ve presented thus far, and be candid about both successes and the not so successful – including some sense of why/how some things may have been successful, and others less so.
We mainly present jazz and soul music in club venues and outdoor stages now. We successfully filled the earlier art galleries that we presented jazz in the first year. We attribute success to the strength of the players on the scene.

We tried to launch the series in art galleries in Raleigh; however, we’ve found that it hasn’t taken off as quickly as Durham. We think it is because Raleigh is more of a rock and bluegrass type of town. Durham is known as the place in the Triangle to go hear jazz or soul music. It is rich in Black American Music offerings.

As an organization, besides the obvious funding, what are some things your organization could use going forward?
Art of Cool would love to build a strong blog community. We hope to reach more people outside of the Triangle by writing more about the resurgence of jazz. Please help spread the word. We also could use visitors to our first annual Art of Cool festival which will be held downtown at 8 venues with over 20+ world-class jazz/soul musicians over two days (April 25-26, 2014). Maceo Parker and Miguel Atwood-Ferguson are the headliners. We announce the full lineup Nov. 15th, 2013.

What kind of future do you foresee for Art of Cool?
– Art of Cool’s future includes: Art of Cool Festival, which will be held each April.
– Start of Cool, which is our jazz education program that we seek to launch next year.
– Launch of a more active blog featuring content about the next generation of jazz musicians which will be led by Anthony Dean-Harris of Nextbop.com.

Art of Cool is the kind of DIY effort on behalf of the music that has some measure of precedence in history; jazz support organizations have been hatched in numerous communities around the country, to varying degrees of success. No question Art of Cool could certainly be replicated in other communities. To get a better sense of the impact Art of Cool has made on the culture of the Durham, NC community thus far I sought out the impressions of two Durham area residents whose instincts where the music is concerned are impeccable, including vocalist-educator Lenora Zenzalai Helm (whose recent efforts were profiled earlier this year in the Independent Ear), and staunch jazz supporter Aminifu Harvey, a DC-area transplant who has expressed great appreciation for the jazz scene in Durham.

Lenora Zenzalai Helm: Yes, Art of Cool is definitely making a huge impact here in the NC Triangle (Raleigh/Durham/Cary) area. They are putting together a jazz festival – the first one outside of a university-connected event that I know of. They created a groundswell of support, had an impressive marketing strategy of community forums, open meetings with stakeholders (musicians, presenters, businesses, potential funders, etc.) and seemed to include everyone in the decision to “bring a festival to Durham.” A couple of years before this effort, they created a concert series that they used Reverbnation for to audition internationally. The brains behind the whole deal is a musician colleague from NCCU – trumpeter Al Strong, and Cicely Mitchell.

I was on their first concert series last year, and they are in the 2nd season of that series. They also kind of attach their name to any artist coming to town and do an after hours set near that artist’s concert to draw attention to that performance, and create and continue the branding, so that they seem to be ubiquitous. Very clever indeed. I love them (Al and Cicely), and think they are an example of how to “get it done” in a locale where the intersection of small town folk and big ideas meet. Durham is an interesting place with a very particular slice of black history – did you know there was a section of town called “black wall street”? Plus, the success of DPAC (Durham Performing Arts Center – the #1 grossing PAC in the country I’m told) was helpful to the AOCP’s venture toward a festival.

Aminifu Harvey: The Art of Cool. Man this organization has brought some hip and outstanding jazz performers to Durham; the organization has significantly added to the cultural growth of Durham as a leading musical site in North Carolina and the region. The outdoor performances have been family oriented, allowing young and old to mingle. They also are a means of transferring this American music to the very young. In addition Art of Cool has added to the financial stability of the businesses in the area. I try to make sure I attend the indoor concerts also. Why would I want to live anywhere else if I were (which I am a jazz aficionado).I am looking forward to the Art of Cool 2014 season.

Further information: WWW.THEARTOFCOOLPROJECT.COM

Ancient/Future Radio, hosted by Willard Jenkins, airs Wednesday evenings 10pm-midnight over WPFW 89.3 FM, Pacifica Radio serving the DC metro region and streaming live at www.wpfwfm.org. The following playlist for the 10/23 show reflects an extra hour subbing for the final hour of Evening Jazz from 9-10pm.

ARTIST/TUNE/ALBUM TITLE/LABEL
Dizzy Gillespie, Dizzy’s Blues, Dizzy’s Diamonds, Verve
Dizzy Gillespie, Ool-Ya-Koo, Dizzy’s Diamonds, Verve
George Adams/Don Pullen Quartet, Flame Games, Live at Montmartre, Timeless
Ronald Shannon Jackson & the Decoding Society. Barbecue Dog, Barbecue Dog, Antilles
Randy Weston, African Cookbook, Spirits of Our Ancestors, Antilles
The Last Poets, If We Only Knew, Holy Terror, Black Arc
*Ancient/Future theme: Yusef Lateef, In the Evening
John Coltrane, Spiritual, Complete Village Vanguard, Impulse!
Sathima Bea Benjamin, Music,SongSpirit, Ekapa
Tony Williams, There Comes a Time, Ego, Polydor
Ornette Coleman, Good Girl Blues, Complete Science Fiction, Columbia
Melissa Aldana, Live, Free Fall, Inner Circle
Melissa Aldana, I’ll Be Seeing You, Second Cycle, Inner Circle
Blake Meister, Market East, Septagon, Inner Circle
WHAT’s NEW/THE NEW RELEASE HOUR 11-midnight
Cecile McLorin Salvant, I Didn’t Know What Time It Was, Womanchild, Mack Avenue
Cecile McLorin Salvant, Womanchild, Womanchild, Mack Avenue
Ali Ryerson Jazz Flute Big Band, Speak Like a Child, Game Changer, Capri
Anne Drummond, French Folk, Revolving, Origin
Mack Avenue Superband, Liberty Avenue Stroll, Live at the Detroit Jazz Festival, Mack Avenue
Mack Avenue Superband, Oh Daddy, Live at the Detroit Jazz Festival, Mack Avenue
Jacques Lesure, Sonnymoon for Two, When She Smiles, WJ3

contact:
willard@openskyjazz.com