Category Archives: Outta World interviews

John Raymond is making a name for himself as one of the most promising, genre-bending musicians in jazz today. With a singular voice as a trumpeter, flugelhornist and composer, Mr. Raymond is “steering jazz in the right direction” (Downbeat Magazine) by pushing it’s boundaries, seamlessly incorporating indie-rock, folk and electronic influences into his music. Mr. Raymond has performed with artists such as Kurt Rosenwinkel, S. Carey (of Bon Iver), Orrin Evans (of The Bad Plus), and Cory Wong (of Vulfpeck) among others. He has released six albums since 2012 – four with his primary band Real Feels (w/Gilad Hekselman & Colin Stranahan), each receiving praise from Stereogum, the New York Times, Downbeat, JazzTimes and more. John has also established himself as a sought-after educator, both as Professor of Jazz Trumpet at Indiana University and as a guest clinician and soloist at schools around the world.

I had the pleasure of chatting with John ahead of the February 20th show in Madison, as John Raymond & Real Feels hits up Arts & Literature Laboratory to open doors into spots where music may not have yet found. John and I set the stage for folks who may not be familiar with him or his music and with words, he guides us through what new ears to this scene can expect in a live setting. We get led down the path that helps map out just how John has found his open mindedness towards music and his “Voice” in the jazz community (and beyond). With the release of a brand new album to support, “Live Vol. 2”, we get a little insight as to how Real Feels interpretation of a timeless classic got started, worked on and presented. All of this ties in nicely with learning how working with artists from many musical syles & genres has backed into the vision and feelings of Real Feels. As always, the best way to find out just what’s what, is to catch one or more of their shows.

Photo by: Andrea Canter

Anchor Bay, California based electronic music artist and producer Michal Menert draws breath from the world that surrounds him, transmuting daily inspiration into music that is singularly his own. Michal co-produced the chart topping Pretty Lights album “Taking Up Your Precious Time”, and it was only natural that he was the first artist to join Pretty Lights Music. His debut solo album “Dreaming of a Bigger Life” was released in 2010, followed by 2012’s mega-LP “Even If It Isn’t Right”. In winter of 2015 the highly anticipated “Space Jazz” was introduced to the world, followed by fall 2015’s debut release by his band Michal Menert & the Pretty Fantastics, “1”. Just this Winter, he and the Pretty Fantastics put out another ear and mind opening album, “From The Sea”. His no boundaries type approach has opened up very cool experiences and opportunities to collaborate, support, work with artists of all sorts, including Dead & Co., Mickey Hart, Bassnectar & Umphrey’s McGee are just a small sample. Committed to a community driven approach to collaborative creativity, Michal works hand in hand with producers he chooses for his own record label, Super Best Records. A dynamic and ideological producer, collaborating and working closely with a new generation of hip-hop & EDM producers, this is one artist who is dedicated to bringing a new musical vision to life free from limitation.

I had a chance to talk briefly (we had a wacky phone connection) with Michal ahead of his February 20th show in Madison at the High Noon Saloon. We got into what one who doesn’t know could in a nutshell believe they are getting into when they walk into this show. We talk about how the music he creates has been influenced by the world around him and who helped open his ears to it all and I can’t help but notice that they way Michal approaches his creation of music, is very similar to how I go about trying to proGram greenarrowradio. We did get a little time to talk about the creation of latest album, “From The Sea” and how it went from the seed to the exploding flower of sonic goodness, I have been fortunate to share with he listeners.

Photo by: Bad Astronaut Photography

Hailed by Downbeat for its “deft analysis of choice repertoire,” and by the Chicago Reader for its “diversity of approaches to all kinds of source material,” the JOE POLICASTRO TRIO is Chicago-based alternative jazz trio led by bassist Joe Policastro features guitarist Dave Miller and drummer Mikel Avery. While firmly rooted in jazz, the band’s open-minded, inclusive nature draws upon a wide array of musical styles and sources while still keeping the aesthetic of an acoustic trio intact. “Nothing Here Belongs” (JeruJazz Records) marks the fourth release by the band. The new release follows in the wake of “West Side Story Suite” (2013), “POPS!” (2016), and “Screen Sounds” (2017), all of which highlighted the trio’s ability to remake unlikely songs in its own raw, highly idiosyncratic fashion. The new release, by contrast, for the first time showcases the trio’s captivating body of original music, while also including characteristically bold arrangements of other artists music. True bands feel like a rarity in jazz these days, especially ones who hone their craft as consistently as this one does. In addition to their long-running thrice weekly residency at Pops For Champagne in the Chicago, the band has been extensively playing together throughout the US and Canada having even performed for President Barack Obama. As sidemen, Joe Policastro (Jeff Hamilton, Pat and Debby Boone, Phil Woods, Diane Schuur), Dave Miller (Clarice Assad, Patricia Barber, Algernon), and Mikel Avery (Joshua Abrams, Theaster Gates, Rob Mazurek) have shared the stage with a wide array of musicians but dedicate collectively to this trio. Whether highlighting the original music of its members, re-contextualizing modern music, or performing jazz classics of the likes of Thelonious Monk, Chico Hamilton, or Charles Lloyd, the trio readily displays its singular approach, sound, texture, and simultaneity.

I had the pleasure of catching up with Joe ahead of the Trio’s February 9th date at Café CODA in Madison. We get into what an audience at this event can expect from the performance with open minds and ears attached. We take a deeper dive into the new album, “Nothing Here Matters” and how it grew from the seed of an idea into the bold flower that is now available for the world to digest. We ebb and flow around improvisational skills of each member and how it works so well bringing them toGether,and how the music on one of their albums builds and potentially strays even during a live event. I enjoyed listening to how Joe listens to and feels music, we have similar ways about us and I hope with any of the trio’s releases and/or going out to check them in a live setting, you might just find the same to be true.

Quannum and Solesides co-founder, and Grammy nominated MC, Lateef the Truth Speaker has joined forces with acclaimed Bay Area DJ and producer Jah Yzer and the multi-talented musician and reggae artist Winstrong, to showcase the cross roads of reggae and hip-hop on their newest project “Roots & Tings”. The new music draws deeply and respectfully from the history of both genres while pushing a new vibe to create powerful and provocative tracks. Roots & Tings will roll out singles monthly throughout 2019 with Quannum Records. Each release will be accompanied by original artwork, limited edition t-shirts from aspiring designers and will be available on both vinyl 45’s and digitally, everywhere you can stream. Until embarking on the “Roots & Tings” project, the Bay Area based artists, Lateef, Jah Yzer and Winstrong have known each other separately for more than ten years. Coming together for this project a collaboration was immediately born as they clicked effortlessly over a relatively unstructured creative process on the new project.

I had the opportunity to take a conference call with all three artists about this latest sonic blend and we get into the process of how this collaboration came toGether, how each artists found their place to add their own skillz to the project and how social justice is a big part of the give back that this AND all music can provide. The way they are rolling this project out gives each chunk of the album it’s own personality and visual effects to provide every note an opportunity to reach each listener. Featuring artwork from incarcerated artists and youth apprentices making the clothing, this music provides a chance for each, every and all. They have taken the stories of the past, mixed them with the voice of today and taken what was back to what it is.

Billy Childs is a versatile improvisational jazz pianist and composer whose talents have been recognized with over ten Grammy nominations and a Guggenheim Fellowship award. Mr. Childs has performed with several influential jazz artists including J.J. Johnson and Joe Henderson before landing a deal with Wyndam Records in 1988. He subsequently released Take For Example, This…, the first of four critically-acclaimed albums for the label. Mr. Childs acknowledges legends like Chick Corea and Herbie Hancock as his early jazz influences, and attributes his love of composition to classical composers such as Paul Hindemith and Igor Stravinsky. This broad range of influences results in his own “neoclassical” style which crosses musical boundaries. Over the course of his versatile career, Childs has collaborated with artists such as Yo-Yo Ma, Sting, and the Kronos Quartet. He oversaw the Grammy-winning project The Calling: Celebrating Sarah Vaughan by Diane Reeves in 2000.

I had the honor of spending a little time with Mr. Childs ahead of his upcoming performance as The Wisconsin Union Theater welcomes Billy Childs and the UW Jazz Orchestra on Saturday, February 9th at 8:00pm at the Play Circle. Mr. Childs will join the UW Jazz Orchestra on stage for an exciting opening act. We discuss what can be expected from the event, including this unique opening appearance with our local jazz orchestra. We get into how the the 2018 Grammy Award winning Best Jazz Instrumental Album, “Rebirth” came together and how he finds his place in the space of artists like Sting and the Kronos Quartet. This week, he has been taking part in yet another musical exploration with students as he is in residence at Manhattan School of Music, so we make sure to find out what has been going into the week working as/on several projects, with fresh new artists.

Oakland, California music legends Tower of Power – the most dynamic and distinctive band of survivors in Soul Music – is roaring into its unprecedented 50th anniversary with a dynamic new disc of all new material that finds them as energized and inspired as ever. A labor of love, definitively titled “Soul Side of Town”, this new release is charged with fourteen filler-free songs. In the spirit of their enduring theme song “Oakland Stroke” – the book-ending intro and outro “East Bay” shine a light on elemental instrumental ingredients within the band’s signature sound. This astounding and historical release (out since June 1, 2018 in digital, vinyl, streaming & CD formats) inaugurates Tower of Power’s fresh affiliation with Mack Avenue Records, a Detroit-based company renowned for its award-winning dedication to top-tier Jazz that is now extending its support to Soul and Funk giants, Tower of Power: a band so one-of-a-kind, it’s an institution. Anticipation is so high for Tower of Power’s 50th Anniversary milestone that the first show on their home turf of Oakland swiftly sold out with a second one right on its heels, and an appearance at this year’s Playboy Jazz Festival also has tongues wagging! This year promises to be a BLAST for Tower of Power and all its fans as they celebrate this incredible milestone with a motherload of electrifying new sounds guaranteed to funkifize, energize and provide the soundtrack for new American movements of Love, Peace, Soul Power, Mind Power and People Power to rise!

I had the honor of catching up with founding member Mr. Emilio Castillo ahead of the group’s November 15th show in Madison at the Overture Center’s Capitol Theater. Mr. Castillo and I get into what a newbie to the scene could expect if this is their first time catching the soulful leGends in a live setting. We talk about how the new album keeps the familiar sound and gives ears a fresh feel, as well as how the album went from the seed of soul to a funkified flower that uplifts and charts! How does Tower of Power keep that signature sound so fresh and when it unites with other artists, how does it know where to do all it does? We talk a little bit about that secret sauce that allowed fifty years to fly by and a hope for fifty more with new songs like the ones on “Soul Side of Town”. Dig, what is hip!

photo by: Anna Webber

Nnamdi Ogbonnaya is a multi-instrumentalist composer, producer, and performer. His musical identity was forged in the DIY community of Chicago. Relentless participation in numerous musical projects bridged genres and created inroads between scenes. Near constant activity quickly made him a locus of gravity in the community. Nnamdi has toured the USA, Mexico Europe and Canada with projects ranging from punk to jazz. A full accounting of his musical activity over the last eight years includes approximately 15 bands and dozens of tours. All the while, Nnamdi has not only released a stream of records and EPs under his name and the ironic moniker “Nnamdi’s Sooper Dooper Secret Side Project”, but also runs his own label called SOOPER Records. His solo styling combines hip-hop, experimental rock, gospel, and jazz. His songs can often contain a sense of satire that is just as humorous as it is critical. Nnamdi’s lyrical insights draw on the diversity of his cultural experience as a Black, Jewish, first generation Nigerian-American. His work is characterized by the coupling of sophisticated compositional structures with pop-music motifs.

I had a chance to catch-up briefly with Nnamdi Ogbonnaya ahead of his November 8th show at the High Noon Saloon in Madison, Wisconsin. We get into what folks can expect at one of his shows, how he does the things he does the way he does. Find out how “The Simpsons” fit in and which one of his tunes would he choose to build a set-list around if programming a set on greenarrowradio.

Nnamdi Ogbonnaya

They’ve performed with Lil Wayne, collaborated with Cee Lo Green and toured extensively with labelmate Tech N9ne. No matter whom they work with or who hears their music, ¡Mayday! quickly impresses whoever hears its diverse music and sees its riveting live show. Before joining Strange Music, ¡Mayday! became a draw in Southern Florida and the Southeast because of its energetic shows and anthemic music, earning such A-list fans as Lil Wayne, who featured the group in his “Get A Life” and “Da Da Da” videos, and Cee Lo Green, with whom they collaborated on the Internet hit “Groundhog Day.” Upon joining Strange Music, the sextet released its debut album, Take Me To Your Leader, in March 2012. The group’s stellar instrumentation and its captivating blend of singing and rapping on such selections as the ominous “Badlands” with Tech N9ne, the stirring “Tango In Tunisia,” the edgy “Death March” and the eerie “Don’t Make Me Live” introduced ¡Mayday! on a national stage as a versatile, noteworthy group with thematic diversity and impressive musicianship. Touring, recording and working with independent music powerhouses Tech N9ne and Strange Music also gave ¡Mayday! the keys to success. And now they have a new release that takes their recent tour experience in a roots/reggae heavy scene and combines that with tier thoughtful hip hop-ness, we get “South of 5th”

I had the chance to speak with Wrekonize from ¡Mayday! before they bring that South Beach part scene back to Madison at Ruby on November 2nd We familiarize folks with the style and sound of the band as it is now, back in the day and where they are heading We dive deep into the new release “South Of 5th”. I guarentee you will have a good time checking out the new album, but also getting yourself tothe part whenever they are in your town will certainly keep that Summer feeling alive.

After some time on the radio and some gigging with rock bands (as a drummer) Tony Adamo moved to Los Angeles for several years. By day, he went to work putting up billboards; to workin’ on the rehab of the famous Hollywood sign; to joining the Studio Utilities Union where he worked in the background on TV shows. That gig led him to a job as a Hollywood agent at the Beverly Hecht Agency, where he booked TV commercials and models for print ads. But by night, Tony was out was performing with local bands. Heading back to San Francisco, Tony landed a studio gig and was introduced to Tower of Power original members Mic Gillette and Skip Mesquite, who agreed to record with him. Mic and Tony became fast friends, and Mic later introduced him to Stephen “Doc” Kupka, co-founder of Tower of Power and owner of Strokeland Records. Over the next few years “Doc,” Mic, Skip and Tom Politzer recorded on Tony’s early recordings with Mic writing all the horn arrangements. Somewhere in this mix of experiences Tony found a new groove – spoken word delivered with a full band. He had worked with drummer Mike Clark, and was very hip to the fact Mike could bring out the groove needed for his lyrics. Mike laid down some screamin’ drum tracks, and Tony improvised the rest. Tony’s Ropeadope Records release is titled ‘Was Out Jazz Zone Mad’, and he pays tribute to the greats, to the players behind him, and to the art of improvisation.

I had the hip pleasure of getting toGether with Tony to discuss the road that led him to right here, right now. How the brand new album came together and we even dissected a couple of the tracks to get you, the listener to wear his creative shoes. We find out who some of the key players on the release are, with a centralized focus on the co-producer of some of the work and friend of this program, Mr. Mike Clark. We also learn that if Tony was to come into the studio to do his thing and share some tunes with the listeners of greenarrowradio, I could probably walk slowly back to the studio since everyone would be in radio bliss.

Frank Catalano recently finished a successful tour of the United States, France, England and Japan and he has been releasing them as a series of live recordings on Ropeadope Records. His Savoy/Columbia recording “Bang!” debuted at #12 on the Billboard Jazz Charts. Frank’s recording, “Mighty Burner” was on the Billboard Charts for twenty straight weeks. Now forty years old, Mr. Catalano is the only known saxman to have performed with Miles Davis, Randy Brecker, Charles Earland, Elvin Jones, Stan Getz, Betty Carter, Von Freeman, Tito Puente, Tony Bennett, Les Claypool and Louis Bellson while still in high school! This led to his signing to Delmark Records at age 18 and a string of critically acclaimed recordings. He has been heard by millions of people all over the world thanks in part to three Grammy-winning and eleven Grammy-nominated recordings with a wide variety of artists such as Jennifer Lopez, Destiny’s Child, and John Legend. He has also performed live on the Oprah Winfrey TV show with singer/composer Seal.
No stranger to adversity, Frank cut off his right middle finger in an automobile accident. After several surgeries and much effort, he relearned his signature technique, making him one of the most in-demand musicians today and regularly donates his musical services to the Susan G. Komen Breast Cancer Foundation.
Also an entrepreneur, he has patented a devise that allows him to control his saxophone via midi components. Yamaha acquired the patent rights and in 2007 they received a Special Merit Grammy Award for Technical Achievement.

I had the pleasure of catching up with this man of many talents ahead of his October 6th show at Arts & Literature Laboratory in Madison. We spoke about who will be performing with him to round out the evening’s quartet, and just what kinds of sounds and grooves to expect. We reflect on what it is that allows Frank to be able and moreover, willing to play with all different kinds of musicians creating all kinds of different art. This is the part of the conversation that really had me diggin’ the person I was speaking to as it made me feel like he is ready to be ready at any time and that is what makes the moments of music fascinating for the creators, and sharers. We find out who he would share over the air on greenarrowradio for 30 min….err…we bumped it up to all three hours since the choices were so damn solid.

Credit: Andrew A Nelles/Chicago News Cooperative

For the first time in 15 years, legendary godfathers of reggae Black Uhuru have returned to the studio to record a new album. “As The World Turns” captures the band’s best, passing the torch even as Black Uhuru’s flames continue to burn strong. Featuring original songs and strong cameos, it is one of the first times in years Duckie Simpson, iconic founder of the band, has stepped out in front, his earthy, soulful baritone guiding the record. To support the album, the band is headed on a East Coast US Tour with stops in major cities New York, Washington DC, Philadelphia, and Boston. Plans of a West Coast Tour will be in March 2019. The album was recorded half in California and the rest in Jamaica. Most of the production was done by Horace “King Hopeton” Campbell at his Double Lion Studio who tours with the band on keyboards. Leebert “Gibby” Morrison studio in Jamaica was used to overdub and voice the backing vocals by Nikki Burt. The album was mixed by Jermaine Forde who tours as the band engineer and Jay Edge William at Ajang Studio and the album was mastered at Music Works Anchor Recording Studio in Kingston. Band agent Mike Gener along with Derrick Simpson are the Executive Producers. The album was released September 7th and is available on all major platforms and distributed by Independent Distribution Collective based out of San Francisco.

I had the honor of speaking with Duckie and Andrew Bees of Black Uhuru about this latest release, “As The World Turns”, and the mini-tour they just wrapped up on the heels of it’s release. We got into what are similarities and differences between making music now and then. How the new album’s songs are being received by the audiences of today, and what are the demoGraphics of an audience at a Black Uhuru concert in 2018. This is some of that music that really shaped me as a listener and believer, and it was a complete thrill to get a few moments with these great guys as they continue to spread love around the world. Love to all.

A pianist with astounding technique and boundless imagination, Alex Mercado is acclaimed for his ability to write striking compositions and create vibrant sonic landscapes that have resonated with critics and audiences alike in his native Mexico. On Symbiosis, his second trio recording after 2012’s The Watcher, Alex takes us on a journey through a vibrant musical world full of engaging melodies and the dynamic improvisations that typify the finest in contemporary modern jazz. Featuring Antonio Sanchez & Scott Colley, and being selected as one of Downbeat Magazine Editors’ Picks for 2014, the album will introduce jazz aficionados outside Mexico to a virtuoso instrumentalist without peer in his homeland where he is the “1st Call” pianist of choice for Magos Herrera, Sachal Vasandani, Bryan Lynch, Camila Meza and other visiting artists. Alex’s career highlights to date include being commissioned in 2010 to arrange and perform as the featured soloist in the orchestral opening to Sir Elton John’s concert at Chichen Itza with the Yucatan Symphony Orchestra; participating in 2011 as an arranger/composer on singer Magos Herrera’s album Mexico Azul, recorded in NYC with John Patitucci, Adam Rogers, Tim Hagans and Luis Perdomo; and being chosen in 2012 by the Mexican government to inaugurate with a solo piano concert the iconic City Of The Books, one of Mexico City’s most important and historic landmarks.

I had the honor of speaking with Mr. Mercado ahead of his show on September 27th at Cafe Coda in Madison, Wisconsin. We spoke about the trio he has playing his music off of his four recordings. We dive mind first into how the music transcends entertainment and becomes a spiritual thing, each note taking on a different personality…. a rebirth, when different musicians join him, especially in a live setting. I found myself spellbound at times listening to Alex describe the nuances of a song’s journey, and how the energy that we create together, artists and listener, can create an adjustment to our spirit.

The trio for the evening of 9/27 in Madison is as follows:

Alex Mercado – Piano
Bob DeBoo – Bass
Rodrigo Villanueva – Drums

Alex Mercado & Wynton Marsalis

If any band is a poster child for turning the power of positive thoughts and intention into reality, it’s the explosive horn-and-percussion trio Moon Hooch. In just a few short years, the group, Mike Wilbur, fellow horn player Wenzl McGowen, and drummer James Muschler, has gone from playing on New York City subway platforms to touring around with some powerhouse groups like Beats Antique, They Might Be Giants, and Lotus, as well as selling out their own headline shows in major venues around the country. The band uses everything they’ve learned from their whirlwind journey to push their sound to new heights. That melds together the raw, transcendent energy of their live performances and the sleek sophistication of their studio work into a singular, intoxicating brew that blends elements of virtuosic jazz, groovy funk, and pulse-pounding electronic dance music. At their performances, the band now plays through what they call a “Reverse DJ” setup, in which the live sound from their horns runs through Ableton software on their laptops to process recorded effects onto the output. In addition, to flesh out their sound on the road, the band began utilizing Moog synthesizers, an EWI (an electronic wind instrument that responds to breath in addition to touch), and other more traditional instruments like clarinets. Mike has even added vocals to his repertoire on some tracks (something the subway never allowed him to do).

I had the chance to speak with Mike Wilbur about the groups upcoming stop in Madison on September 29th at the Majestic Theatre. We get into what both newcomers to the scene and people who have tasted the Moon Hooch earlier on can expect from the now version of the group. Which direction has that live sound taken in 2018? We get into how the new three track EP “Light It Up” got off the ground. BY the end of the conversation, I was wishing Mike was in studio with me helping prepare a setlist of music….as you will hear, he would play and arrange a show in a very familiar fashion as to what people expect on greenarrowradio.

Home is where you hang your hat, or so the old adage goes. For Justin Kauflin, critically acclaimed and accomplished jazz pianist and composer, the last few years of touring has found home to been many places. On the brand new release, “Coming Home”, Justin invites others to experience the world from his perspective as he sonically paints the homes he has found throughout his global travels. This is his third release, and second with the tastemaker imprint Qwest Records. With this album, he ventures into new sonic territory bringing in more modern influences of synths, electric guitar, and bass. From the start, recording “Coming Home” was electric. Mr. Quincy Jones and Mr. Derrick Hodge produced the album at Quincy Jones’ famous Westlake Studios (Michael Jackson, Madonna, Frank Ocean). Justin was joined by Chris Smith on acoustic and electric bass, Corey Fonville on drums and percussions, and Alan Parker on acoustic and electric guitar. The musicians had a blast bringing the album to life. Justin is planning a tour to support the new album. He is excited to get back on the road and create new experiences with his music and can’t wait to take these tunes in front of a live audience and create new life into them.

I had the honor of discussing the new album with Justin and how it grew from a newly planted seed and bloomed into a beautiful flower of sonic unity. We get into how “Home” was at times, redefined and what made the road have a comfortable feel. Of course, we had to find out what kinds of special touch working with both Mr. Quincy Jones and Mr. Derrick Hodge (as well as the other talented band members) brought out of each other during the process. And finding out what Mr. Kauflin would play on greenarrowradio if given the chance to fill in for me if I were to step out of the studio. He would easily take you, the listener, with him on a similar ride we attempt each time we get toGether through the airwaves. Check out this great person and artist in our chat, I think you’ll find he is someone to help guide us through.

Photo by John Lewis Marshall

Naia Izumi is an independent guitarist, bassist, drummer, singer songwriter and producer based out of Los Angeles and recipient of the 2018 NPR Tiny Desk Contest. Creating music and playing for people on the streets, watching and feeling those who pass by and making sounds that resonate within the moment when the heart feels it. Many of the shared moments of creation are interpreted elegantly with a guitar through an intricate uniqueness that is refreshing, soulful and downright bizarre at times with haunting undertones reminding you that magic exists.

I had the chance to catch up with Naia shortly before the September 8th show on the beautiful Terrace at the University of Wisconsin in Madison. We take some time to let people who go to the show know that the moments that will be shared will be unlike anything you may have seen online that features Naia. Feeding off the atmosphere and the audience has been a key to the growth of this artist. We walk through a timeline from when that first sonic experimentation to the moment in May when Naia won the annual NPR Tiny Desk Contest. Can you believe that it may have actually slipped his mind that he even entered the contest? We dissect the song he entered, “Soft Spoken” and discussed being born with something to say, and when that right moment to be heard showed up. I listen to A LOT of music of all sorts, and it is hard to find something/someone that truly fits into that “unique” category, but with Naia Izumi, I think I have found it.

Photo By Beck Harlan/NPR

Lemon Bucket Orkestra are Toronto’s original guerrilla-folk party-punk massive. The multi-award-winning ensemble has been heralded as a groundbreaking, genre-bending phenomenon by media and fans alike, and over the past 8 years have performed all over the world from WOMAD in New Zealand and Pohoda in Slovakia, to Festival D’Été in Québec City, and Luminato in Toronto. Equal parts exhilarating precision and reckless abandon, LBO’s live shows are a truly immersive experience – ranging from the ecstatic to the cathartic and all points in between – and they have expertly captured that unique blend of energy and emotion on their new album “If I Had The Strength”. Released in Canada through Outside Music in late 2018, it’s set for worldwide release via a new deal with Six Degrees Records this September, and includes guest appearances from famed soprano Measha Brueggergosman, rising Latino rapper Boogát, sing-a-long phenoms Choir!Choir!Choir! and more. The band will be busy touring the Canadian festival circuit this summer, and are heading out on a 12 date US tour in support of the Six Degrees release this fall. Along with the worldwide release of the new album, LBO will also be premiering a new live video for the song “Freedom”. Filmed with multiple cameras at Toronto’s legendary Opera House earlier this year, it captures the band doing what they do best – taking the audience on a joyful, impassioned ride through the Balkans and beyond. Don’t miss your chance to see this dozen strong juggernaut if you can.

I had the chance to catch up with Michael Louis Johnson, trumpet player of Lemon Bucket Orkestra to discuss what people at the Madison World Music Festival can expect when they show up and bring the party. We get into the creation of the new album from seed to blooming flower, and the vision and fuel behind the making of the video for “Freedom”. I found that we painted a great picture of what a show will be like and how the album and video were made, but hearing who Michael, on behalf of himself and the band, might choose to put on a festival bill with them if he could choose from any artist ever really opened my mind to the who behind the what.

Lemon Bucket Orkestra

Grammy Award winning children’s artist Dan Zanes and Haitian-American vocalist and music therapist Claudia Eliaza present the freewheeling musical world of the Night Train 57, an engine powered by fifteen original singalongable songs. In this Sensory Friendly comic folk opera, the husband-wife duo are joined by Mexican percussionist Yuriana Sobrino on a collection of festive tunes played with an amazing array of diverse instruments, and of course their voices. This recording is intended to be enjoyed as a stand alone listening experience for families and early childhood educators as well as fans of the comic folk opera. Night Train 57 was significant in the Theater for Young Audiences genre in that it was the first entirely Sensory Friendly work to be commissioned by The Kennedy Center which for several years has been the leader in the movement towards greater accessibility. The show premiered in the Fall of 2017 and will be touring North America for the next several years. Claudia and Dan are at the forefront of the emerging Sensory Friendly movement which aims to help performing arts venues provide conditions that are welcoming to a variety of families, including those who have children with special needs. Night Train 57 is the 22nd release from Dan’s Festival Five Records, a label specializing in all-ages music for kids and kid sympathizers. The label’s first release was Rocket Ship Beach in 2000. For the past 2 years, in addition to Night Train 57 performances, Claudia and Dan have been performing as a duo – and sometimes a trio with Haitian jazz vocalist Pauline Jean – in venues large and small across America and Canada. In concert, their soulful take on family folk music includes selections from Lead Belly, Baby!, an award winning 2017 Smithsonian / Folkways release, as well as hits from Dan’s deep back catalog and, more recently, some traditional tunes from Claudia’s Haitian heritage.

I had the honor of speaking with Claudia and Dan about this project and how we all share the “inclusion is a cool thing” thinking. We get into how the songs were developed and nurtured by a new found toGetherness, and how the first experience of a sensory friendly event has left not only Claudia and Dan with a real satisfied feeling, but what it has shown to mean for the variety of people in attendance. Variety. Diversity. Everyone.

Performing Arts centers are catching on and I am sure the one closest to you does not want to feel left out, so share this concept, share this interview and share these people with them and hop on the Night Train 57 engine that can, for all.

Photo Credit: Anna Zanes