Fabio Zeppetella - "Hand Made" - Via Veneto Jazz/Jando Music

© -  Steven A. Cerra, copyright protected; all rights reserved.

Fabio Zeppetella hails from Puglia [Apulia in English], a region of southern Italy that borders the Adriatic Sea in the East, the Ionian Sea to the Southeast and the Strait of Otranto and the Gulf of Taranto to the south. This southernmost portion of Italy known as the Salento Peninsula forms the heel of the Italian “boot” on a map of Italy. Its major city is Bari.

Puglia is a southern crossroads reflecting Mediterranean, Hellenic, Slavic, Turkish and North African influences.

And so it is with the guitar stylings on Fabio Zeppetella as they are made up of elements of all these cultures as well as an admixture of Jazz, Rock, Folk and Classical influences.

You can hear all of these components at work on the nine tracks that make up Fabio Zeppetella American Quartet Hand Made, Fabio’s latest CD on Via Veneto Jazz [Jando Music/VVJ 084].

Aaron Goldberg| piano

Greg Hutchinson| batteria [drums]

Matt Penman| contrabbasso [bass]

Fabio Zeppetella | chitarra [guitar]

More information about Via Veneto Jazz can be found on its website - http://www.viavenetojazz.it/index.html. Via Veneto Jazz’s latest releases can be acquired through www.forcedexposure.com. You can also find its music at Amazon.com both as CD’s and Mp3 downloads and through Marco Valente’s online retail source - www.jazzos.com.  As has been noted previously, with the Euro falling back to Earth in relation to the US dollar, buying CD’s from European detailers is not the pricey proposition it once was.

Fabio Zeppetella is a groove merchant, although not in the way this term has been used in past associations with Jazz [think of the Count Basie Orchestra’s simplified blues riffs or of the funky blues sound of a tenor sax-guitar-Hammond B-3 organ- drums quartet].

Fabio sets his grooves through repetitive phrasing, some of which is extremely complicated from a technical standpoint, set over song structures that can be very open and linear or tight and closed like a Bach fugue.

He pushes the music forward almost in a percussive way, but using single-note phrasing instead of chordal strumming. His lines are immaculate - very clean, logical and always rhythmic.

You have to pay attention because there is always so much going on in Zeppetella’s music.  Listening to it brings to mind allusions of the dance, almost as if it is choreographed instead of based on melody and harmony.

As the principal composer of the music on Hand Made, Fabio keeps things interesting and flowing by varying the CD’s nine [9] tracks in terms of mood, motif, and movement.

Even with the familiar theme to John Coltrane’s Moment’s Notice, Zeppetella finds a way to refresh it and to make it different by playing it as a street Samba [Kudos to drummer Gregory Hutchinson who lays down such an authentic samba beat that you’d think you were at Carnival in Rio de Janeiro] .

Fabio’s original composition Reunion uses well-placed accents to create the illusion of an odd time signature thereby cleverly disguising its straight-ahead format.

Across the City opens with Aaron Goldberg on piano playing a two chord vamp over which the melody is played in unison in bass clef by Fabio on guitar and Matt Penman on bass. It’s 16-bar repeated structure is bridged by an interlude that suspends the time above the opening two chord vamp. It’s like listening to a closing tag in the middle of of a tune.

Via Manzoni 7 has to be one of the loveliest ballads I heard in years and Fabio really shows off his acoustic guitar chops on it.

Matt Penman on bass is a rock throughout framing the bottom of the chords while working closely with drummer Gregory Hutchinson to form a pulsating rhythm section.

And what more can be said about pianist Aaron Goldberg who continues to impress with his brilliant technique which he constantly employs to take chances, some of which he barely resolves before they result in improvisational train wrecks! Because of his bravery,he has become one of the most exciting soloists on today’s Jazz scene.

The editorial staff at JazzProfiles has written earlier pieces about Aaron’s superb work and you can find these features here and here.

Jando Music and Via Veneto Jazz, the co-producers of Hand Made  [Via Veneto Jazz/Jando Music/VVJ 084] sent along the following annotation as part of its media distribution package which have included for your review below followed by a video that features the Choro Pra Gianlu track from the CD.

“With heart and soul instilled into each of the 9 “handmade” songs (excluding track 8, composed by the legendary John Coltrane) Zeppetella presents his latest project, together with a quartet of world-renowned jazz musicians: Aaron Goldberg on piano, Greg Hutchinson on drums and Matt Penman on bass.

Zeppetella, a musician with impeccable technique and great musical sensitivity, utilises a unique and personal language: the result of his constant efforts to generate new combinations capable of expressing an innovative musical identity.

The Apulian guitarist elaborated a completely original sound, with influences ranging from traditional legends such as Charlie Christian and Wes Montgomery to bebop and hard-bop styles of the Sixties.

Full of unexpected phrases, Fabio’s touch on the strings is cleanly enunciated, alternating between gentle and persuasive. His main attribute lies in his original approach to interpreting music, where each sound finds its place and meaning, as in poetry.”

If you are looking for some new and exciting Jazz that will move your ears in some new directions, you need look no further than Fabio Zeppetella’s American Quartet’s performance on Hand Made [Via Veneto Jazz/Jando Music VVJ 084]

www.jandomusic.com  

www.viavenetojazz.it

VIAGGIANDO - The Rosario Bonaccorso Quartet - Via Veneto Jazz/Jando Music

© -  Steven A. Cerra, copyright protected; all rights reserved.

Matteo Pagano is the owner-operator of Via Veneto Jazz, a Jazz record label that began operations in 1993. You can locate more information about Via Veneto’s background by visiting its website - http://www.viavenetojazz.it/index.html

Matteo’s work on behalf of Jazz and Jazz musicians is reminiscent of that of Ross Russell at Dial, Teddy Reig at Savoy [and later, Roulette Records], Orrin Keepnews at Riverside Records, Richard Bock at Pacific Jazz Records, Lester Koenig at Contemporary Records, Bob Weinstock of Prestige Records and, of course, Alfred Lion and Francis Wolff at Blue Note Records and Norman Granz at Verve, Norgran and Clef, to name some of the more prominent pioneers in documenting Jazz on records.

Matteo, along with these legendary, independent Jazz record producers, has given the music and the musicians support and exposure and, in Via Veneto Jazz’s case, helps bring the work of Italian Jazz musicians to a wider audience.

The process of making Jazz recordings must, to a large degree, be rewarding in and of itself because I doubt that Matteo makes much money from the sale of Jazz CD’s.  As someone once said when asked: “How do you make a million dollars in Jazz?” “It’s easy,” he answered: “start with two million dollars!”

For Jazz labels such as Via Veneto Jazz, which is based in Rome, Italy, distribution can be a real issue, but Matteo has taken a number of steps to make his recordings more widely available.

His latest releases can be acquired through www.forcedexposure.com. You can also find his music at Amazon.com both as CD’s and Mp3 downloads and through Marco Valente online retail source - www.jazzos.com. With the Euro falling back to Earth in relation to the US dollar, buying CD’s from European detailers is not the pricey proposition it once was.

The editorial staff at JazzProfiles thought it might be fun to celebrate “Via Veneto Jazz Week” by posting a series of reviews of that label’s latest releases.

First up is bassist Rosario Bonaccorso’s Viaggiando [Via Veneto Jazz/Jando Music VVJ 098]. Bonaccorso is one of the “elder statesmen” in modern Italian Jazz circles having performed with drummer Roberto Gatto, pianist Dado Moroni, saxophonist Stefano DiBattista and Francesco Cafiso and trumpters Enrico Rava and Flavio Boltro.

In Italian, “viaggiare” can have any number of meanings from traveling, to  journey or voyage, or to ride, to tour to make a trip - all based around the action of getting from point-to-point, place-to-place.

But inherent in the term in the idea that the flow of movement is the focal point: put another way, it is the journey itself the counts, not necessarily getting to the destination.

Traveling with friends makes the process all that more enjoyable and also helps the time of the journey pass more pleasurably.

In bassist Rosario Bonaccorso’s latest CD Jazz improvisation VIAGGIANDO [Via Veneto Jazz/Jando Music VVJ 098], he is joined by old and new traveling companions:

Roberto Taufic| Guitar

Fabrizio Bosso| Trumpet and Saxhorn

Javier Girotto| Soprano Sax, Baritone Sax, Quena and Moseño

The music on this CD is different because it reflects past Jazz traditions while, at the same time, incorporating influences from today’s World Music. Its universal and modern but at the same time it draws a heavy reliance on the traditional Afro-Cuban clave beat and the more recent Brazilian bossa nova beat which is a lighter version of the samba. The music swings but the time is less metronomic and more inferred through the use of Latin Jazz rhythms, but without the use of a Latin Jazz percussion.

The media release that accompanies the recording offered these comments about it:

“VIAGGIANDO is Rosario Bonaccorso’s latest CD, produced by Jando Music and Via Veneto Jazz.  The innate strength and vigour of Rosario’s melodic writing, together with the striking form structure on which he has been working for years, make him widely regarded as one of the most influential and innovative double bass players.  

VIAGGIANDO, recorded with his new quartet, consists of 14 original compositions that propel listeners head-long on an incredible journey, subtly shifting from one continent to another, while drifting through emotions linked by the common thread of the “voyage”: an inspirational trigger that has always played a key role in the musical adventures of the double-bassist.  

A deep introspection pervades Rosario Bonaccorso’s music, portraying a soul-searching autobiography that predominantly reveals his passions and inspirations - distant journeys into unknown lands, nature...the sea itself, love and contrasting emotions - that are the true heart of the album. There are also a few tracks where the musician sings for the first time: Storto, My Faith, Mon Frere ...a passion for singing, which, over the years, has made him recognizable thanks to his voice being perfectly and expressively symbiotic with his instrument.

Once again, he has chosen his travelling companions with acute sensitivity and awareness, to achieve an end result that is true to his inspiration - effective and beguiling. At his side, Fabrizio Bosso sustains the creative flow, as he intuitively chisels evocative melodic fragments with his trumpet, while Argentinian saxophonist Javier Girotto and Brazilian guitarist Roberto Taufic blend in seamlessly into the fabric, further flavouring this journey with the cultural sensitivity deriving from their homelands.  A voyage that spans over the Mediterranean,  America’s Jazz, Brazil, Argentina ... essential and pure ingredients that, under the guidance of Rosario Bonaccorso,  give birth to a kaleidoscopic of emotions that only music can convey.”

Here are two audio-only samplings of the wonderful music on this CD.

www.jandomusic.com

www.viavenetojazz.it  

Press Office

Maurizio Quattrini (+39 338/8485333 | maurizioquattrini@yahoo.it)

Dearborn Station: Randy Brecker with the DePaul University Jazz Ensemble

© -  Steven A. Cerra, copyright protected; all rights reserved.

After our recent, lengthy profiles on Clark Terry and Joe Morello, respectively, the editorial staff at JazzProfiles thought it might be fun to kick back with some shorter postings centering around music that we have been listening to in recent weeks.

The first of these is Dearborn Station: Randy Brecker with the DePaul University Jazz Ensemble which was released on February 10, 2015 by Graham Carter on his Jazzed Media label [CDJM1070].

Graham is constantly doing wonderful things on behalf of the music and this recording represents his latest effort. You can find out more about Graham and Jazzed Media by visiting his website - www.jazzedmedia.com.

You can also preview all of the songs on the CD at www.amazon.com by searching under Randy’s name and you can also buy the CD or download Mp3 files on Amazon and other online and retails sites.

As usual, Graham sent along his usual informative and descriptive information in support of his latest release.

“A dynamic and brilliant performance by jazz trumpeter Randy Brecker with the acclaimed DePaul University Jazz Ensemble, beautifully captured in a "live" recording at Chicago's legendary Jazz Showcase. Impressive arrangements and an electric performance combine to create a recording of note.

1.   The unparalleled intensity and swagger of featured trumpet soloist Randy Brecker combines with the critically acclaimed DePaul University Jazz Ensemble in a dynamic "live" concert performance at Chicago's legendary Jazz Showcase. The brilliant performance of trumpeter/composer Randy Brecker and the DePaul Jazz Ensemble is beautifully captured, with the audience at the venerable jazz club adding to the electricity and excitement of the moment.

2.   Randy Brecker is featured as trumpet soloist and composer with the exceptional DePaul University Jazz Ensemble. Brecker solos on six selections, demonstrating his brilliant technique and harmonic ingenuity. Particularly notable is the dynamic, up-tempo performance of It's You Or No One, with Jazz Ensemble director/trumpeter Bob Lark and Randy Brecker exchanging heated solo trumpet phrases. Student soloists of note include tenor saxophonists Corbin Andrick and Andrew Janak; alto saxophonists Brent Griffin and J.T. Teichert; pianist Scott Williams; and trombonist Brian Scarborough.

3.   Beautifully crafted arrangements from DePaul students, faculty and alumni, and original tunes by Randy Brecker (Squids & You’re In My Heart). Especially notable are DePaul student arrangers Corbin Andrick (On Green Dolphin Street) and Andrew Janak (Squids), and faculty members Thomas Matta (It's You Or No One; Cathy's Song) and Joseph Clark (Well, You Needn't).

Bob Lark, who directed the DePaul University Jazz Ensemble and produced the recording offered these insights about it in his insert notes.

“Recording music in a jazz club remains a constant source of appeal and integrity. Located in the historic 'Printer's Row' district, the Dearborn Station was once the symbolic and geographic hub of development in Chicago's south loop area. The station began a new life in the mid-1980s as a commercial office/retail center. The past several years, the Jazz Showcase has been housed in the historic Dearborn Station. As the oldest historic jazz club in town (founded in 1947 by Joe Segal), the Jazz Showcase today is the symbolic and geographic hub of jazz in Chicago.

For more than twenty years, The DePaul University Jazz Ensemble has regularly performed at the Jazz Showcase. Dearborn Station, recorded 'live' at the Jazz Showcase by the Jazz Ensemble and featuring guest artist Randy Brecker, is the band's tenth in a series of such recordings at the famed club.

Throughout the years I've gotten to know Randy Brecker through a series of performances with The DePaul University Jazz Ensemble, and involvement with The Great Plains Jazz Camp in Emporia, Kansas. He is an icon, among the greatest jazz trumpeters in the history of the idiom. Randy has been an inspiration to myself and our students through his performance, professionalism, and encouragement. In addition to his brilliant trumpet playing, he has composed many tunes and arrangements representing a variety of musical genres.

Thomas Miller, the engineer for this recording, is to be commended for capturing the natural sound of the band. Painstaking attention to microphone selection and placement, and the mixing of the recorded tracks reveal the excellent musicianship of this excellent engineer. Energy, sound, and presence are transferred from the jazz club to this wonderfully crafted recording.

We begin the recording with Squids, composed by Randy Brecker. This arrangement was created by Andrew Janak specifically for this project. The melodic line alone is a technical challenge, yet Andrew and Randy perform the line with authority. The rhythm section drives the band, and the brass and sax sections respond with a crisp and muscular performance. Randy's solo is virtuosic, and Andrew cuts loose with an assertive, dynamic solo improvisation of his own.

Former Jazz Ensemble member Joseph Clark's arrangement of Well, You Needn't opens with a driving, 'second line' groove played by drummer Rob Dicke. Solos by Brent Griffin and Brian Scarborough display a melodic and harmonic sense that are both playful and cerebral. Of course, Randy Brecker solos with a signature style that defines the tune and spirit of the chart. Clark's dramatic arrangement features plunger-muted effects from the brass and a clever, surprise ending.

On Green Dolphin Street is given a fresh treatment with Corbin Andrick's arrangement. Randy and Corbin perform statements of the melody and solo improvisations that are inspired. The brass and sax section ensemble figures are performed in lock-step with the groove established by the rhythm section.

You're In My Heart is a composition of Randy's, performed here in an arrangement by Rich Shemaria. Woodwind doubles within the sax section and numerous rhythmic shifts are among the many intriguing components of this chart. J.T. Teichert and Randy solo with finesse while demonstrating a fleet technique.

Infant Eyes is presented in a beautiful and harmonically rich arrangement by former DePaul colleague Paul McKee. Randy's clarion trumpet work is inspiring, and featured throughout the chart. Following Randy's solo improvisation is a rich, muscular soli passage by the saxophone section. The arrangement peaks in intensity with lead trumpeter Marques Carroll soaring over a roaring ensemble passage, before Brecker returns with a poignant, final statement of the tune.

My colleague Thomas Matta arranged It's You Or No One, an up-tempo, assertive chart that shows-off the brilliance of the DePaul band's ensemble playing. Solo improvisations and exchanges are heard from myself, and then Randy. Tom's arrangement builds to a strong, swinging conclusion.

The beautifully crafted arrangement of Cathy's Song is also by Thomas Matta. It's a nice vehicle for showcasing the band's subtler side, beginning with a warm and harmonically rich saxophone section soli. Bobby Lark's warm flugelhorn tone and lyrical sense shape the melody with finesse. Guitarist Lee Rothenberg plays a solo improvisation that lends itself well to the tune while showcasing his rich, jazz vocabulary.

Tina's Glass Nickel Is an original work by DePaul student Rich Palys. The arrangement is imaginative and challenging, producing counter-lines that complement the melody. Ensemble passages reveal the band's ability to play with nuance and attention to swing style. Substantive and engaging solos are played by Scott Williams, Brett Balika, Marques Carroll, and Rob Dicke.

Frank Foster's Blues In Hoss’ Flat concludes our album. It is a jazz classic and epitomizes the swinging blues charts of the Count Basie Orchestra. Solos by Gibron Lockhart, Michael Brawley and Chris Shuttleworth display a bit of swagger, and pianist Scott Williams' solo pays appropriate homage to Basie himself. Our band loves to play this arrangement, and the closing ensemble choruses are pure, swinging, fun!

What is apparent throughout this recording is the result of inspired students performing with a celebrated soloist in a classic jazz venue. We were privileged to perform with Randy Brecker at the Jazz Showcase. We hope that you enjoy this recording, the fruit of our efforts.

- Bob Lark January, 2015”

Ted Howe Jazz Orchestra - "Pinnacle"

© -  Steven A. Cerra, copyright protected; all rights reserved.

As a young man learning his way through the world of big band drumming back when their was such a “World” [at least, a commercially viable one], I was aided and abetted in this journey by the generosity of a family friend who kept giving me big band LP’s to which I faithfully practiced on a regular basis.

He was an immensely popular DJ on KMPC, a very powerful AM radio station based in Los Angeles, CA.

Since his program focused on the big bands, vocalists and vocal groups of the Swing Era [1935-45] and the popular music of the post World War II era [1945-1960], he had no use for most of the albums released by independent, modern Jazz labels so he gave them away to family and friends.

One such gift became music that I practiced to so often that I had its charts [arrangements] memorized. I could have stepped in and played them in performance with a moment’s notice.

Of course, that would have been a geographic impossibility because the band on the LP in question - Life is A Many Splendored Gig - was the Herb Pomeroy Orchestra and it was based 3,000 miles away in Boston, MA.

What I liked best about Herb’s arrangements was the easy way in which they flowed forward; they were very linear in the manner of much of the writing for big bands on the west coast that I was hearing at the time from arrangers such as Gerry Mulligan Bill Holman, Marty Paich and Lennie Niehaus.

I found out later that the interconnecting thread for all of this was that Herb Pomeroy like the arrangers I noted had either been on the Stan Kenton band and/or wrote charts for the band during the 1950’s.

Herb’s Life is A Many Splendored Gig was released on Roulette Records in 1957 LP R-52001 and reissued on CD by Fresh Sounds records in 1989 FSR-CD 84.

When I received my copy of Pinnacle featuring the music of the Ted Howe Orchestra, it brought back many happy memories of the Herb Pomeroy Big Band for all the reasons mentioned in the annotations below by Holly Cooper, whose www.MouthpieceMusic.com is handling the media distribution for the CD and by Ted Howe himself in his insert notes.

At one time or another many, if not most, Jazz musicians want to try their hand at playing in a big band.

When you are in one that clicks, there’s nothing in the world like it.

The surge of energy and rhythmic propulsion generated by a powerful big band leaves you giddy with excitement.

Navigating your way through a big band arrangement with fifteen or so companion musicians creates a sense of deep satisfaction that comes from successfully meeting a difficult challenge.

The art of individualism, which is so much a part of Jazz, gets put aside and is replaced by the teamwork and shared cooperation of playing in an ensemble setting.

When it all comes together you feel like you’re in love; overwhelmed by something bigger than you and that you don’t understand.

You gotta pay attention; you gotta concentrate and you gotta do your best, otherwise it’s a train wreck.

So much goes into it:

- great charts [arrangements]

- great section leaders

- great soloists

- a great rhythm section

- and most of all, a great leader who melds it all together.

Enter The Ted Howe Jazz Orchestra.

Suite #1 For Jazz Orchestra (1981) Ted Howe, insert notes.

“A musical Suite usually showcases something special: dance, group of smaller pieces tied together by a common theme or many other subjects and elements.

Most of the great classical composers have used Suite form, which was constantly evolving and changing over the years, to say something musically different and out of the ordinary for the time.

Tchaikovsky: Nutcracker Suite; Holst: The Planets; Copeland: Appalachian Spring, Grieg: Peer Gynt Suite, etc.

My Suite # 1 For Jazz Orchestra was inspired by many revered classical composers but especially by Duke Ellington and the many Suites he composed for his orchestra, among them The Far East Suite, Latin America Suite, Liberian Suite, New orleans Suite, etc.

In late 1980,Herb Pomeroy, trumpeter, arranger and professor at Boston's esteemed Berklee College of Music. Herb taught a very special two year arranging course there for over 30 years: his now famous, Herb/e's Line Writing class. It was based on a lot of techniques he acquired from his many years of listening and studying Duke Ellington's music. In my years as an instructor at Berklee, I was always fascinated with the sounds that were emanating from some of the rehearsal bands that students of Herb's were writing arrangements for but I had relocated to Atlanta, and Herb was in Boston. I approached him about studying with him long distance. He said ok, so we managed to do it on the telephone on most Sunday evenings, after Herb returned home from rehearsing his MIT Jazz Band, for well over a year. He was very kind to do that and asked for no compensation. (I did, however, have my Mom buy him gift certificates every month at his favorite Italian restaurant in the North End of Boston.)”

“Pinnacle, Ted Howe's newest CD, features his 13 piece jazz orchestra and showcases five original extended pieces composed and arranged by Howe. With its beautiful melodies, rich textures, high energy, and virtuosic performances, this recording is intense and exciting while remaining highly accessible. Howe is a Los Angeles-based pianist, composer, arranger, producer, and teacher. Pinnacle is his seventh CD as a leader and showcases his strength as a melodist and his broad knowledge and command of many diverse musical traditions.

Howe's compositions touch on a wide range of styles, including swing, funk, and Latin, among others. The many time signature changes catch the listener by pleasant surprise. Howe's harmonization technique employs more of a horizontal, linear approach commonly used in classical music. His horn voicings and subtle use of dissonance create mysterious overtones that make his 13 piece ensemble sound as big as an 18-20 piece big band, but with far fewer musicians.

Howe's approach to arranging was greatly influenced by the late Herb Pomeroy, the well-respected trumpet player, arranger, and eminent jazz music educator at Boston's renowned Berklee College of Music. Pomeroy, Howe's friend and teacher, developed a method of arranging now widely known as "Herbie's Line Writing Course/' that was inspired by his love of Duke Ellington's music and arranging techniques. (Herb never stopped studying The Duke's music.) Like Ellington, who adapted classical music forms and techniques to jazz and wrote many extended compositions and "suites," Howe includes on this release a jazz suite with three distinct movements. There are also four other pieces that closely hew to the classical paradigm, all providing the space for these superb musicians to express themselves within the framework of these challenging compositions. According to Howe, "These pieces aren't just about the music; they're also about the instruments, the varied combinations of sound they make, and how great musicians can rise to just about any challenge and take the music to new and exciting places."

Take, for example, the opening piece, "Presto for Two Trombones” which features Los Angeles trombonists Andy Martin and Francisco Torres. This is a very challenging piece for slide trombone players, especially the solo section, where these two virtuosos rip through the very fast modal section. The inimitable John Patitucci also adds some heat to this piece with his own lightning fast solo.

Howe cites Chris Botti as the inspiration for "Impromptu for Trumpet," a sweetly melodic number that belies the tune's difficult chord changes. Lester Walker's beautiful interpretation deftly rises to the challenge.

The core of this project is the "Suite #1 for Jazz Orchestra." This piece premiered in 2011 at the Conant Arts Center in Oglethorpe University in Atlanta, GA. The three movements are based solely on a single four-bar motif using many of the time signatures and instruments usually used in jazz.

Howe showcases his own playing in the lovely "Adagio for Piano." His touch is light and graceful on this piece, the second of the only two numbers which he plays on in this project.

The final work on this disc is "Jazz Etude for Three Clarinets," featuring solos by Sam Skelton on Eb clarinet, and John Patitucci on bass. This intriguing piece is characterized by the frequent use of diminished chords which create tension and an interesting, intense display of dissonance.

Currently based in Los Angeles, Howe lived in Atlanta for many years. He has performed with and/or produced for many well-known artists, including Mel Torme, Lainie Kazan, Cherly Bentyne (of the Manhattan Transfer), Dave Weckl, Joe LaBarbera, and Tom Kennedy, among others. He travels around the country performing his two very popular shows, "An Evening of Duke Ellington," and "Shaken Not Stirred: The Music of James Bond." Howe has also produced three other well-reviewed CDs as a leader on the Summit Records label, "Ellington," "Love Song," and "Elton Exposed," which became a big hit on the official Elton John Fan Club web site -- a rarity for any jazz CD!

Pinnacle is a marvelous work from a mature artist who clearly has an ear for beautiful melodies and great respect for and knowledge of musical traditions. This CD will certainly expose Howe's achievements and talents as a musician and composer to a much wider audience, which he so richly deserves.

Pinnacle is available on Amazon and iTunes.

You can sample Howe's work from Pinnacle on a Soundcloud link featuring "Jazz Etude for Three Clarinets."

Artist Website:  www.tedhowe.com

Label:                 Hot Shoe Worldwide

Label Website:   www.hotshoerecords.com