Category Archives: Outta World interviews

Ed Palermo is not a “business as usual” musician. After all, when most people think of “big bands,” they think “Oh No! Not Jazz!!” But go to see Ed Palermo’s Big Band, and you might hear Frank Zappa, Todd Rundgren, The Police, Pat Metheny, or one of Ed’s own compositions, loaded with lush turns and unexpected twists. Gil Evans wonderfully articulated Palermo’s unusual approach to traditional instrumentation: “I first heard Ed Palermo’s music in a small club in the SoHo section of Manhattan. He was using the instrumentation of a traditional big band, yet his arrangements and songs were anything but that. When I thought the music was going in a certain direction, it would suddenly turn a corner. Ed has the ability to keep that important balance between cohesiveness and unpredictability. Ed Palermo’s music is alive and represents now.” This is something that attracted me to Ed and his music from the first time I ingested it. Before forming his band, Ed toured and recorded with many different artists, including Aretha Franklin, Tito Puente, Eddie Palmieri, Celia Cruz, Lena Horne, Tony Bennett, Mel Torme, Lou Rawls, Melba Moore, Debbie Gibson, The Spinners, and countless others. He has written & arranged for the Tonight Show, Maurice Hines and Eddy Fischer. He also arranged the music for a James Brown concert at the Hollywood Bowl. Ed’s interpretations of the music of Frank Zappa, Paul Butterfield, Todd Rundgren, The Beatles, Jeff Beck, Procol Harum, Jethro Tull and others have consistently brought him and his band critical acclaim and rave reviews. The Ed Palermo Big Band’s latest CD, “Prog vs Fusion: A War of the Ages,” highlights some of Ed’s favorite progressive rock & jazz fusion compositions. It was released April 18th on Sky Cat Records.

THE ED PALERMO BIG BAND:
ED PALERMO – arranger, bandleader
CLIFF LYONS – alto sax
PHIL CHESTER – alto sax, soprano sax
BILL STRAUB – tenor sax
BEN KONO – tenor sax
BARBARA CIFELLI – baritone sax
RONNIE BUTTACAVOLI – lead trumpet
JOHN BAILEY – trumpet
AUGIE HAAS – trumpet
BOBBY SPELLMAN – trumpet
CHARLEY GORDON – lead trombone
MIKE BOSCHEN – trombone
MATT INGMAN – bass trombone, tuba
BRUCE McDANIEL – arranger, vocals, guitar
KATIE JACOBY – violin
BOB QUARANTA – piano
TED KOOSHIAN – keyboard
PAUL ADAMY – bass
RAY MARCHICA – drums
and special guest
MIKE KENEALLY – guitar, backing vocals

I had the chance to reconnect with Ed recently to talk about his love for ‘Prog Rock and Jazz Fusion’ and how that journey has led him and now us to this battle royale. We get into the creation of the new record and we talk about getting ‘The Fish’ on there as its own entity. I imagine the homework on choosing the tunes was a whole lotta fun. We talk about where they big band gets to play these songs live, jammin’ in his basement and if he finds time to be able to get out a find new artists or music to enjoy. This is the type of album that will hopefully gain attention by music lovers of all sorts, as it’s openness to explore certainly makes proGramming it over the airwaves and seeing surprised faces as I share it in my own personal listening space, all part of the adventure. THIS is the type oif battles we should be discussing.

Legendary saxman Frank Catalano consistently headlines world-class festivals and sells-out venues throughout the USA, Europe, & Japan. Thanks to his signature sound & renowned reputation, Catalano averages 150 concerts a year with his jazz quartet. As a coveted guest artist, Frank often lends his sax stylings to high-profile rock groups. Recent highlights include playing a 7-minute improvised sax solo at The Hollywood Bowl with The Smashing Pumpkins, closing out the Chicago Blues Festival with Los Lobos, and performing with Les Claypool, Sean Lennon, and the Violent Femmes. He also teamed up on a unique version of the Jane’s Addiction hit “Jane Says” w/Perry Farrell, Billy Corgan, & Jimmy Chamberlin, Frank’s longtime friend & collaborator. A Belgian documentary about Frank entitled “Sugar Jazz” premiered at the Tokyo Liftoff Film Festival and has since screened worldwide. The film captures Frank’s musical essence and reveals his candid musings with the backdrop of iconic Chicago locations in the city where he was born. While just a teenager, Catalano signed to Delmark Records and released a string of critically acclaimed recordings with jazz greats including Randy Brecker, Ira Sullivan, Willie Pickens, Paul Wertico, and his mentor Von Freeman. His co-led album with Freeman, “You Talking To Me” remains a cult classic. Catalano is the only known saxophonist to perform with Miles Davis, Charles Earland, Elvin Jones, Junior Wells, Randy Brecker, Stan Getz, Betty Carter, Tito Puente, Tony Bennett, & Louie Bellson while still in high school. As a sideman, Frank has been heard by millions thanks to his collaborations with Jennifer Lopez, Beyoncé, Maurice Joshua, Destiny’s Child, John Legend, Tony Bennett, Seal, and countless others. Frank’s numerous accolades include an IMA award at Lincoln Center and induction into the Fox Valley Arts Hall of Fame. He has featured on 3 Grammy‐winning & 11 Grammy-nominated recordings and received a Tech Grammy Award for his numerous patents & developments. At 19 years old, Frank was the youngest sax player to be voted into the Downbeat Critics Poll. Head to his website to find pout more about all he does/did. Amazing cat!

Lurrie Bell is bonified blues royalty and was recently inducted into the Blue Hall of Fame in Memphis. He started playing with his father Carey Bell at age 7 and went on to play with Muddy Waters, Howlin’ Wolf, Willie Dixon, and many other blues giants. Bell’s career was on a path to stardom when his undiagnosed bipolar and schizophrenia go the better of him. Initially, he failed to receive the medical treatment he needed and unfortunately experienced periods of homelessness and other adversities. Thankfully in 2016, Lurrie’s album “Can’t Shake This Feeling” received a Grammy nomination and his career was again on an upward trajectory. It is clear that Mr. Bell has some soul in his blues and the music he and Frank present, shows that off from the first note.

I had thre chance to play catch-up with friend of the proGram, Frank Catalano ahead of the event with him and Lurrie Bell (bringing along the quintet as well) on May 24th at the North Street Cabaret. We get into what the creation of this project and new album has them doing since late last year. The Summer sounds super busy and as we spoke, he was playing the next day with Mr. Randy Brecker. Frank is one of my favs because of that versatility you’ll hear him mention during this call. Know so much as a jazz guy, not a single avenue would not be neglected by him, I think. The people that call him to be a part of things is wide and wild. We find out who is the band joining them here and Madison and we spent a good chunk of time getting to know the new Set Me Free record. All the things he did, from producing to playing, the soul of this album is felt throughout. Frank tells the tales of the album and some of the tunes – not be be missed, as the feelings are true and need to be heard. Frank also does the same while building a setlist around a track or two from the new record. Absolutely always a good chat (and concert) with Frank Catalano.

Arun Ramamurthy is a violinist, composer & educator based in Brooklyn, NY. Rooted in South Indian classical Carnatic music, Arun is a versatile musician, performing internationally in both traditional Carnatic & Hindustani settings, as well as blurring genres with his own innovative projects like the acclaimed Arun Ramamurthy Trio & Nakshatra duo with violinist Trina Basu. Arun studied under the celebrated violinist brothers, Sri Mysore Nagaraj & Dr. Mysore Manjunath, the distinguished violinist Sri. Ananthakrishnan as well as many early years with western classical violinist Jim Mate. He has shared the stage with luminaries like Dr. M. Balamuralikrishna, Sudha Ragunathan, Reggie Workman, Kenny Werner, Jamey Haddad, Amir ElSaffar, Hamid Drake, Martha Redbone, Yacouba Sissoko, Adam Rudolph, Lizz Wright, Subhankar Banerjee, Mashkoor Ali Khan, Awa Sangho, Roman Diaz, Melvis Santa and many more. Arun’s music has brought him stages like Carnegie Hall, Lincoln Center, Celebrate Brooklyn and many other celebrated venues. He leads the Arun Ramamurthy Trio, an ensemble that brings a fresh approach to Carnatic classical repertoire and features Arun’s original composition work. Praised by All About Jazz as “a beautiful, exotic, ear-opening listening experience” ART released their 2nd studio album ‘New Moon’ in September 2024 through Greenleaf Music. He also co-leads a violin duo project with wife & violinist Trina Basu, reimagining string chamber music through the lens of Carnatic, western chamber music and jazz. The duo released their debut studio album “Nakshatra” in January 2022. As a composer, Arun has created new works for his Trio (ART) & duo project with Trina Basu, scores for theatrical productions such as Tom Stoppard’s Indian Ink, for Indian classical dance, and for the pioneering musician’s collective Brooklyn Raga Massive. Arun received Chamber Music America’s New Jazz Works grant to compose his Trio’s upcoming release New Moon. He was also commissioned through New Music USA to compose original work for Malini Srinivasan’s ‘Appeasing Radhika’, an ambitious project investigating Devadasi lives in Indian Classical performing arts. Arun is a co-founder of Brooklyn Raga Massive, a genre-bending musicians’ nonprofit rooted-in and inspired-by the classical music of South Asia. In 2010, Arun created and produced Carnatic Sundays, a traditional and cross-genre concert series at the iconic West Village haunt, Cornelia Street Cafe. Throughout his career, Arun has curated and performed in hundreds of concerts bringing together music from all over the world. Arun also is a dedicated educator, teaching Carnatic music privately to children and adult students, professional string players and instrumentalists from various genres. He conducts workshops and has held teaching-artist residencies working with student ensembles at Oberlin Conservatory of Music, Brooklyn College’s Jazz & Big Band program, NYU, Yale University, Sarah Lawrence University, and many others.

I had the chance to catch up with Arun ahead of the trio landing in Madison on May 3rd along with woodwind sound designer Pawan Benjamin at the North Street Cabaret. We get right into what one in attendance should be ready for while Arun shares what makes the trio a sonic brotherhood with percussionist and friend of the proGram, Sameer Gupta, and electric bassist Damon Banks. Arun walks us thru the development of the latest album, ‘New Moon’ and I would be remiss if I did not give him a chance to shout out the all that Brooklyn Raga Massive really is (besides a something that has opened many more doors for me to explore into). This will go down as one of those shows I will recall for a lifetime.

Branford Marsalis continues to thrill audiences around the world while racking up achievements across diverse musical platforms, even after 4 decades in the international spotlight. From his initial recognition as a young jazz lion, he has expanded his vision as an instrumentalist, composer, bandleader & educator, crossing stylistic boundaries while maintaining an unwavering creative integrity. In the process, he has become an avatar of contemporary artistic excellence winning 3 Grammy Awards, a Tony nomination for his work as a composer on Broadway, a citation by the National Endowment for the Arts as Jazz Master, and a 2021 Primetime EMMY nomination for the score he composed for the Tulsa Burning documentary. His first instrument, the clarinet, gave way to the alto and then the tenor & soprano saxophones when the teenage Branford began working in local bands. A growing fascination with jazz as he entered college gave him the basic tools to obtain his 1st major jobs, with trumpet legend Clark Terry and alongside Wynton in Art Blakey’s legendary Jazz Messengers. When the brothers left to form the Wynton Marsalis Quintet, the world of uncompromising acoustic jazz was invigorated. Branford formed his own quartet in 1986 and it remains his primary performance vehicle. The Quartet has established a rare breadth of stylistic range, known for the telepathic communication among its uncommonly consistent personnel, its deep book of original music replete with expressive melodies and provocative forms, and an unrivaled spirit in both live & recorded performances, the Branford Marsalis Quartet has long been recognized as the standard to which other ensembles of its kind must be measured. Branford formed the Marsalis Music label in 2002, and under his direction it has documented his own music, talented stars such as Miguel Zenón, and un-heralded older masters including one of Branford’s teachers, the late Alvin Batiste. Branford has also shared his knowledge as an educator. He enjoys working with students and has formed an extended relationship with North Carolina Central University where he has been teaching for the past eighteen years. He has also taught at Michigan State University and San Francisco State University and continues to conduct workshops throughout the world. As for other public stages, Branford spent a period touring with Sting, collaborated with the Grateful Dead & Bruce Hornsby, served as Musical Director of The Tonight Show Starring Jay Leno and hosted NPR’s widely syndicated Jazz Set. The range and quality of these diverse activities established Branford as a familiar presence beyond the worlds of jazz & classical music, while his efforts to help heal and rebuild New Orleans in the wake of Hurricane Katrina mark him as an artist with an uncommonly effective social vision. Together with Harry Connick, Jr. and New Orleans Habitat for Humanity, Branford conceived and helped to realize The Musicians’ Village, a community in the Upper Ninth Ward that provides homes to the displaced families of musicians and other local residents. The centerpiece of the Village is the Ellis Marsalis Center for Music, honoring Branford’s father. The Center uses music as the focal point of a holistic strategy to build a healthy community and to deliver a broad range of services to underserved children, youth and musicians from neighborhoods battling poverty and social injustice. In January 2024, following in his father’s footsteps, Branford was appointed Artistic Director at the Center and in this capacity, he will shape the artistic trajectory and steer the organization’s creative vision for the future.

I had the complete honor of spending a little time chatting it up with Mr. Branford Marsalis. We dive head first into the upcoming event in Madison on May 1st at the Wisconsin Union Theater. We talk about what people with hear & see at this shared encounter, including the spontaneous interactions. The Quartet gets introduced to us as well so we now know a little more about those folks spending the time with us. They also have a new alum out on Blue Note Records titled ‘Belonging‘, it is an interpretation of Keith Jarret’s 1974 ECM release. Mr. Marsalis shares how this music hits and how it shapes from the original and how the quartet works as students of music, with a slight reminisce of their John Coltrane ‘Love Supreme’ experience years ago. While talking about the tune, ‘The Windup’, we end up talkin’ baseball, sharing our unlove for one particular NY team and I would have been remiss not to try and learn more about his work with the Grateful Dead’s ‘Eyes Of The World’. Note to self, no noodling! Man, I appreciate how this cat does things the way he does things.

Grammy nominated composer & CMES Harvard University fellow, Mehmet Ali Sanlıkol made his Carnegie Hall debut in April 2016 premiering his commissioned piece Harabat/The Intoxicated with the American Composers Orchestra. Other recent works have been heard at Tanglewood’s Ozawa Hall & Jordan Hall. He hails from Cyprus & Turkey, and is a Jazz pianist, a multi-instrumentalist, a singer, an ethnomusicologist as well as a full-time faculty member at the New England Conservatory. He has been the recipient of numerous respected awards including the South Arts Jazz Road Creative Residency Grant in 2021, The Aaron Copland Fund for Music Grant twice in 2016 & 2020, as well as the New Music USA Grant twice in 2020 & again in 2024. A musical polymath, Mehmet Ali Sanlıkol has composed for, performed & toured with international stars & ensembles such as Dave Liebman, Bob Brookmeyer, Billy Cobham, Antonio Sanchez, Anat Cohen, Ingrid Jensen, Miguel Zenón, John Patitucci, Esperanza Spalding, The Boston Camerata, The Boston Cello Quartet, American Composers Orchestra, Okay Temiz, Erkan Oğur & Birol Yayla. He pairs Turkish instruments such as zurna (double reed wind), ney (end-blown flute), kös (large kettledrums) and nekkare (small kettledrums) with the jazz orchestra/combo to perform his Turkish music-influenced compositions, in which Turkish makam (mode) and usul (rhythmic cycles) are intertwined with modern jazz as well as specifically film noir influenced music. To achieve the same goal on keyboard instruments he has designed & conceived the SANLIKOL Renaissance 17, a digital microtonal keyboard with 17 keys per octave. Mehmet studied western classical piano with his mother and started giving piano recitals at age 5. Later on he studied with the internationally acclaimed Turkish composer/pianist Aydın Esen and won a scholarship to Berklee College of Music. While at Berklee, Sanlıkol studied jazz composition with such accomplished composers like Herb Pomeroy & Ken Pullig. After studying with composers George Russell, Bob Brookmeyer & Lee Hyla, Sanlıkol completed his Doctor of Musical Arts Degree in Composition. During his doctoral studies, he also focused on Turkish music & ethnomusicology as a result of which he helped find the organization DÜNYA based in Boston, where he acts as the president. It’s a musicians’ collective dedicated to contemporary presentations of Turkish traditions, alone and in interaction with other world traditions, through musical performance, publication, & educational activities. Since its founding Sanlıkol has produced, performed & delivered talks at over two hundred DÜNYA events and released 17 albums, 3 singles, a concert DVD, a feature film of Mehmet’s opera “Othello in the Seraglio” and a documentary film. You can often find Mehmet actively delivering papers & talks at academic conferences such as International Conference on Analytical Approaches to World Music & Society for Ethnomusicology. His first book, entitled The Musician Mehters, about the organization and the music of the Ottoman Janissary Bands has been published during 2011 in English by The ISIS press and in Turkish by Yapı Kredi Yayınları. His second book, entitled Reform, Notation and Ottoman music in Early 19th Century Istanbul: EUTERPE, was published by Routledge in 2023. Currently, he is the director of New England Conservatory’s Intercultural Institute and the project director and curator of Nilüfer Municipality Dr. Hüseyin Parkan Sanlıkol Musical Instruments Museum.

I had the chance to catch up with Mehmet a day or two ahead of the debut concert featuring the R-17 and we got right into it. He described the where it idea (not necessarily a new idea) came from, how it resonates with his desire to reconnect with his Turkish culture, and how this innovation will lead to more exploration. I was and am fascinated by all of this. the concert left nothing to the mind. It took a walk thru history with ancient instrumentation and combined it with a climb into the bed of the future with his new sonic tool to take off with. We talk about the R-17’s small place on his soon to be released album, 7 Shades of Melancholia, out 4/25 on DÜNYA and dive into the creation and ins and out of the new record. For me to get into these types of discussions with Mehmet was a nice push in the ‘we keep building’ direction, as the sonic bridges we create keep getting stronger with each new step added, and new directions we can head. We are constantly moving, and the R-17 is certainly a mover and a shaker.

ALASH are masters of Tuvan throat singing (xöömei), a remarkable technique for singing multiple pitches at the same time. What distinguishes this group from earlier generations of Tuvan throat singers is the subtle infusion of modern influences into their traditional music. One can find complex harmonies, western instruments & contemporary song forms in Alash’s music, but its overall sound & spirit remain decidedly Tuvan. Trained in traditional Tuvan music since childhood, the Alash musicians studied at Kyzyl Arts College just as Tuva was beginning to open up to the West. They formed a traditional ensemble and won multiple awards for traditional throat singing in international xöömei competitions, both as an ensemble and as individuals. At the same time, they paid close attention to new trends coming out of the West. They have borrowed new ideas that mesh well with the sound and feel of traditional Tuvan music, but they have never sacrificed the integrity of their own heritage in an effort to make their music more hip. Alash first toured the U.S. under the sponsorship of the Open World Leadership program of the Library of Congress & the National Endowment for the Arts. Since then they have returned many times, to the delight of American audiences. Alash enjoys collaborating w/musicians of all mediums. Since their early partnership with the legendary Sun Ra Arkestra, they have joined forces with musicians across the spectrum—from country to classical to jazz to beatboxing. Alash appeared as guest artists on Béla Fleck & the Flecktones’ Grammy-winning holiday CD Jingle All the Way (2008). They joined Chicago’s innovative Fifth House Ensemble in a groundbreaking concert series called Sonic Meditations, and later were part of a “global jam band” which recorded the soundtrack for the video game The Pathless. Bady-Dorzhu Ondar even teamed up with beatboxer Shodekeh in a live recording of original Tuvan songs filtered through the creative artistry of hip hop musicians. Beyond performing, Alash has a passion for teaching & promoting understanding between cultures. Their tours often include workshops in which they introduce Tuvan music to students in primary, middle & high schools, colleges, universities, and music conservatories. Even children have learned to throat-sing.

Members of Alash:

Bady-Dorzhu Ondar: vocals, igil, guitar, bayan (accordion). Kyzyl Arts College, East Siberia State Academy of Culture and Art. Best soloist, 2005 All-Russian Festival of traditional ensembles and orchestras. Best in Maxim Dakpai xöömei competition, 2006. Named People’s Xöömeizhi of Tuva, 2007. Grand prize, International Xöömei Symposium, 2008.

Kang-Khüler Saaia: vocals, byzaanchy, chadagan. Kyzyl Arts College, founding member of Tuvan National Orchestra.

Ayan-ool Sam: vocals, doshpuluur, igil, xomus. Republic School of the Arts, Kyzyl Arts College, Moscow State
Pedagogical University. First prize, International Xöömei Symposium, 2008. Named People’s Xöömeizhi of Tuva, 2015.

Ayan Shirizhik: vocals, kengirge, shyngyrash, shoor, xomus. Kyzyl Arts College, East Siberia State Academy of Culture and Art. Second prize, International Xöömei Symposium, 2008. Distinguished Artist of Tuva, 2009. Named People’s
Xöömeizhi of Tuva, 2021.

Sean Quirk: manager, interpreter. Studied music in Tuva on Fulbright fellowship. Named Distinguished Artist of Tuva, 2008.

I had the pleasure of getting some time with the ensembles manager/interpreter Sean Quirk as the ensemble got its tour on. Here in Madison on March 29th, people can experience all that is the Alash Ensemble at the Bur Oak. We got deep into trying to explain just what it is people who go out and see an Alash show are going to experience. I will attest (Sean will back me), it is as much a feeling within as it is getting wrapped in the sound vibrations coming out to you. It is something that does change people. Sean does his best to share what is was/is about the music and the culture that changed his life. Click into his name above to see just how much he got immersed – amazing cat. We talk about the ability of this music and these artists to be universal collaborators, with an openness to see where the ‘fits’ are, I believe the bridges of the world do get extended. We also get into a little lesson or two on both the instruments (not just throat singing happening here) and the region of Tuva. The music is as fascinating as all the pieces that make it happen. I believe I could do greenarrowradio from Tuva (with our new Packers Bar opening).

Charles Walker was born in Nashville, Tennessee on 7/12/1940. Charles or “Wigg,” as he is known by his friends (his mother nicknamed him when he was born with a full head of hair), began singing at an early age in church & school. He cut his first record in 1959 for Ted Jarrett’s legendary Champion label. One cut, “Slave To Love,” was credited to Charles Walker and the Daffodils. In fact, there was no such group as the Daffodils. The backup singers on the record were label mates the Kinglets & Larry Birdsong. In 1960, Charles moved to New York City where studios & nightclub work were plentiful. 1962 found Charles recording with Chess Records out of Chicago, and soon he signed on as lead singer with the J.C. Davis Band. This band began touring the country opening for the greats of the era including James Brown, Jackie Wilson, Etta James, Wilson Pickett, Little Willie John, Otis Redding, & Sam Cooke. The J.C. Davis Band recorded some real barnstormers for Chess like “Sweet Sweet Love” & “The Chicken Scratch.” In 1964, Charles formed his own group, Little Charles and the Sidewinders. They became one of the most in demand soul bands in New York City’s nightclub scene, performing at the Apollo Theater, Small’s Paradise and venturing out to Las Vegas & Atlantic City. They subsequently recorded for Chess & Decca labels. The Sidewinders stayed together through the 60’s, and in 1969 he cut some sides for Botanic Records. The Sidewinders reformed in 1973 and worked as a show band in hotels, nightclubs, and casinos without the benefit of a recording contract. Early in the 80’s, he recorded in England and re-issued many of the Sidewinders classic sides. Realizing that there was a market for soul music in the U.K., he formed his own label P.R.G. and released the single “See Me” in Europe. He spent most of the 1980’s in England & Spain and worked steadily but recorded occasionally. In 1993, he moved back to Nashville to do some serious recording, since Nashville’s blues & R&B scene was really booming. His solo releases include “I’m Available,” “Leavin’ This Old Town,” “In the House” (live with Johnny Jones) & “Soul Stirring Thing.” He also released an album on the U.K. label Zane records called “Number By Heart” in 2003. Charles most recently was the featured singer for a band called “The Dynamites featuring Charles Walker”, and 3 records were released since June of 2007 on Outtasight Records. The band toured frequently in the U.S., Canada, Europe, & Australia. Charles is one of the few remaining original soul singers from back in the day when old school R&B/soul was brand new on the music scene. There has recently been a resurgence of this style of music, and it is finding a younger audience while rekindling memories for the old school crowd. Wigg is still delivering this style of music at a very high level, and his experience and maturity in the field of soul music gives him a perspective that is unmatched. Now in 2025, he comes out strong like never before even, with a new album ‘This Love Is Gonna Last’.

I had the chance to catch up quickly with Mr. Charles “Wigg” Walker’s shortly after ‘This Love Is Gonna Last‘, his first album in over a decade, officially dropped. We go seed to flower on the record, including dissecting two of the track a bit. The album is a dedication to his late wife and shifts seamlessly between definitive eras of soul, from Philly and Detroit to Memphis. We go back in time to learn a little about what he learned from James Brown, how he was the opening act for the Jackson 5 and the work he did fronting The Dynamites. I think this album will add to any music fans collection, but certainly, if that old feelin’ soul music is your thang – this has that and it feels fresh and new.

Currently celebrating 30 Years Since Their Groundbreaking Debut, Dah Shinin’, Brooklyn, NY-Iconic duo, Smif-N-Wessun is preparing to release their latest album Infinity, February 21st., 2025. Hailing from Bucktown, a borderless place where otherwise warring Brooklyn neighborhoods find peace, Smif-N-Wessun, aka Tek & General Steele, are recognized and respected worldwide for their lyrical control. The pair first appeared on Black Moon’s debut album Enta Da Stage in 1993. Adding relentless rhymes to tracks “U da Man” & “Black Smif N’ Wessun,” the pair paved the way for the Brooklyn Supergroup Boot Camp Clik. Smif-N-Wessun released their classic debut Dah Shinin’ January 10, 1995 on Nervous Records. The album was noted for its hardcore lyrical content & gritty production, handled by Da Beatminerz production crew and was selected as one of The Source’s 100 Best Rap Albums of all time. Always standing on business, the Brooklyn duo has always stayed true to their roots. Never faltering or curving to conformity Infinity is a testament to their staying power and a gift to their loyal fans. The album will be released on Bucktown USA Entertainment/ Duck Down Music. The first single, “Infinity” was released on January 10th, followed by “Elephant In The Room” both produced by Khrysis, February 7th. A third single, “Medina” featuring Pharoahe Monch produced by SND*TRK, to be released simultaneously on February 21st. Fresh from the triumphant return of a successful domestic & international tour, Smif-N-Wessun’s new album is a cumulative reflection of their life experiences. Executive Produced by college professor & world renowned producer, 9th Wonder and the Soul Council, 9th explains the thought process with the album. “I wanted to make sure that it didn’t sound dated. It sounds like them (Smif-N-Wessun) but it’s also new. They are our generation’s version of Thelonious Monk, Charlie Parker, Donald Byrd.” Illustrious MCs featured on the album include, Buckshot, Pharoahe Monch, Conway the Machine, legendary artists Sean Price & Prodigy, multi-platinum RnB legend, Ralph Tresvant along with rising stars, Sweta and Jalisa. Infinity cements Smif-N-Wessun’s status as creators of nothing but classics. This is their eighth album and the 2nd collaboration with 9th Wonder and the Soul Council. Showcasing buttery beats from Council members, 9th Wonder himself, Khrysis, SND*TRK, Kash, Mu’aath & Nottz, the album delivers a sonic smash that will satisfy everyone from the rap purist to new school connoisseurs. This new album has cemented Smif-N-Wessun’s place in Hip-Hop history as stalwart artists and champions of Hip-Hop culture.

I had the honor of chatting with Tek & Steele like we was hanging out on the front stoop together talking music. We got into the 30th anniversary of Das Shinin’ and how that album got it’s story built, and the fellas of course, mention those who came before and helped them through. We also got into the upcoming event at the Union Theater’s Play Circle in Madison on February 13th and what showgoers can think to expect, especially with this new record, ‘Infinity’ set to drop a little over a week later. We gonna get some teasers! That of course got us into the new album and how these joints came to life, and they got me a couple of tunes ahead of time to share with listeners. From the classic to the this moment music, Smif-n-Wessun are always poised to share their stories in a way that are relatable, image in the mind worthy and got a soul of their own riding on beats to move to.

In 1988 the Orchestra was formed as an outgrowth of its concert series, Classical Jazz, with David Berger conducting. When Wynton Marsalis became artistic director in 1991, he emphasized the history of jazz, particularly Duke Ellington. The first album was Portraits by Ellington (1992), and seven years later the Ellington centennial was honored with the album Live in Swing City: Swingin’ with the Duke (1999). Under the leadership of Marsalis, the band performs at its home The House of Swing, tours throughout the U.S. and abroad, visits schools, appears on television, and performs with symphony orchestras. The Orchestra backed Wynton Marsalis on his album Blood on the Fields, which won the Pulitzer Prize in 1997. Since 2015, the Orchestra’s albums have been issued on its own label, Blue Engine Records. The first release from Blue Engine Records, Live in Cuba, was recorded on a historic 2010 trip to Havana by the JLCO and released in October 2015. The label issued Big Band Holidays in December 2015, The Abyssinian Mass in March 2016, The Music of John Lewis in March 2017, and the JLCO’s Handful of Keys in September 2017. Blue Engine’s United We Swing: Best of the Jazz at Lincoln Center Galas features the Wynton Marsalis Septet and an array of special guests, with all proceeds going toward Jazz at Lincoln Center’s ever important education initiatives. One of Blue Engine’s most recent album releases (2023) include Wynton Marsalis Plays Louis Armstrong’s Hot Fives and Sevens and The Jungle, a recording of Marsalis’ fourth symphony featuring the JLCO and the Melbourne Symphony Orchestra, and they dropped another at the end of 2024, ‘The Shanghai Suite’. Always swinGin’!

Wynton Marsalis is an internationally acclaimed musician, composer, bandleader, educator and a leading advocate of American culture. He is the world’s first jazz artist to perform and compose across the full jazz spectrum from its New Orleans roots to bebop to modern jazz. By creating and performing an expansive range of brilliant new music for quartets to big bands, chamber music ensembles to symphony orchestras, tap dance to ballet, Wynton has expanded the vocabulary for jazz and created a vital body of work that places him among the world’s finest musicians and composers. Here in Madison on January 29th, at the Overture Center, we will get to experience the world’s premier big band, Jazz at Lincoln Center Orchestra directed by Wynton Marsalis. Marsalis, has been hailed as the “Pied Piper” & “Doctor of Swing”. The group performs a vast repertoire of music, from historic and rare compositions, including works by Duke Ellington, Count Basie, Thelonious Monk, Mary Lou Williams & Charles Mingus, to new music from the group’s unrivalled collection of world-renowned composers and arrangers. I had the honor of catching up with Maestro Marsalis ahead of the event in Madison and we get going by talking about what a youngster joining the experience for the first time may want to check out and try to focus on. Us young at heart can follow along with this advice as well. We dive into the latest release on Blue Engine Records, ‘The Shanghai Suite’, and how it grew it’s wings. I was personally interested in a couple of other things. Just how did his time with Art Blakey and the Jazz Messengers show him how to become himself and what is a day off like for Wynton Marsalis, someone who’s list of deeply cool and important accolades is so long and impressive, I just wonder how he chills out. You probably won’t be surprised by his answer. This time with Maestro Marsalis felt good to be a part of, he was welcoming and open….HUMAN…like the music.

Adrian Younge is a self-taught multi-instrumentalist, composer, & orchestrator who has produced for entertainment greats such as Snoop Dogg, Kendrick Lamar & Wu Tang Clan. In 2007, Younge relinquished his position as a professor of law to find himself at the center of the Black Dynamite phenomenon. He served as the film’s editor/composer. Hailed as a modern blaxploitation masterpiece, the soundtrack was listed in the top 10 best soundtracks of the year by the LA Times. In 2011, Younge created the album, ‘Something About April’, showcasing a dark mix of psychedelic soul & cinematic instrumentals. In 2013, the project was sampled twice by Timbaland for Jay-Z’s Magna Carta… Holy Grail, solidifying Younge as a new sound in hip hop. His work has also been sampled by various artists including No I.D., DJ Premier, Schoolboy Q, and more. Younge owns/operates Linear Labs, a recording studio/label which reflects his dedication to the art of analog recording, utilizing analog tape & live instrumentation exclusively. Under the label, he’s produced projects for artists such as Ghostface Killah, Souls of Mischief, & The Delfonics. In 2017, Younge & Ali Shaheed Muhammad (A Tribe Called Quest) formed the band, The Midnight Hour. In addition to musical releases & touring, they’ve teamed to score a myriad of television/film projects: Marvel’s Luke Cage (Netflix), Raising Kanan (Starz), The Equalizer (CBS), Reasonable Doubt (Hulu), Run This Town (2019), Washington Black (2023), Boogie (2021), and Bitchin’, The Sound and Fury of Rick James (2021). Younge has also scored Black Dynamite (2009), Black Dynamite animated series (2012), California King (2023), The Big Payback (2023), Queens (ABC), All Rise (OWN), & Human Footprint (PBS). In 2019, Younge, Muhammad, Andrew Lojero & Adam Block created Jazz Is Dead (JID): a multimedia company specializing in the production of live concerts, studio albums, television & film. JID concerts have earned an ever-growing fanbase through national/international tours. Under the label, Younge & Muhammad have produced albums w/their musical heroes including luminaires such as Roy Ayers, Lonnie Liston Smith, Gary Bartz, Jean Carne, Marcos Valle & Tony Allen. In February 2021, Younge released the seminal album, ‘The American Negro’, his most important work to date. This project, in tandem with his Amazon original podcast, ‘Invisible Blackness’ and short film ‘TAN’, provides an unapologetic critique on the evolution of racism in America. The podcast features conversations with guests such as Chuck D, Roy Choi, Dr. Melina Abdullah, Wayne Brady & Mahershala Ali. For Adrian, the message is more important than the music. The many projects continue today as he is working on JID30’s and we are just searing up JID20’s. In between, there is more going on over at Linear Labs: São Paulo. São Paulo sparks a new golden era of musical genius defined by the maestro Adrian Younge, encapsulating what he’s learned in building the first era of Linear Labs and its successor label Jazz Is Dead. Linear Labs: São Paulo marks the evolution of this journey. Step into an extraordinary psychedelic and soulful experience with Adrian Younge presents Linear Labs: São Paulo: a compilation of new songs showcasing the musical brilliance of Adrian Younge with artists from around the world. Essentially, the album features one unreleased song from an array of forthcoming albums Younge has produced for Linear Labs, including Something About April III, the tertiary installment of Younge’s masterwork trilogy, and a new blaxploitation adventure from hip hop legend Snoop Dogg, entitled ‘Don’t Cry For the Devil’. Also included on this preview is Brazilian actress/ singer Samantha Schmütz, Middle-Eastern singer Liraz, London-based jazz vocalist ALA.NI, afro-futuristic soul singer Bilal and a bonus song with Stereolab’s Lætitia Sadier.

I had the pleasure of catching up with friend of the proGram, Mr. Adrian Younge shortly after ‘Adrian Younge presents Linear Labs: São Paulo‘ dropped and even before we got into how that all took shape, and color, we just did a routine check in with each other since last we spoke. It is always one of my objectives to try and get listeners to ‘feel’ the way the artists, these PEOPLE, feel as they go through the artistic explorations and expressions. The global reach of many of his projects is always something that catches my ear – but on this compilation, this peek into the future, I really took off in flight with it. We talk about how then then gets mixed with the now and sometimes the future gets created, on analog even. I feel a connection with this cat, so the support is brotherly for me and I truly believe he will continue to unlock and open new doorways into sonic adventures that seem familiar yet, there’s a welcoming newness to that rare groove…and it may just be Adrian Younge.

lespecial is redefining the term “power trio”. They sound & feel more like a heavy Prog-tronic Power Trio. The multi-instrumentalists from Connecticut continue to push the boundaries of what a three-piece band is capable of both live and in the studio with their their latest full-length album that dropped Autumn 2023, “Odd Times”. The band’s signature blend of “heavy future groove” combines headbanging metal riffage & surgical rhythmic precision with bone shaking 808s, sub synths and ethereal vocal stylings for a dance floor that welcomes moshing, dancing and hip swaying alike. Listeners are taken on a journey to the musical netherworld through esoteric soundscapes punctuated by raw, primal power. Odd Times, lespecial’s darkest and heaviest record to date, is an enigmatic and compelling musical project that explores the ever-changing nature of time amidst isolation. With heavy riffs, tribal drumming, and hints of levity, it’s a captivating journey crafted in collaboration with Havok‘s David Sanchez. An intriguing blend of old-school metal and modern djent-inspired riffage awaits in this haunting sonic experience.

Band Members:

Luke Bemand – Bass, Synth, Percussion, Vocals
Jonathan Grusauskas – Guitar, Synth, Sampler, Percussion, Vocals
Rory Dolan – Drums, Sampler, Percussion, Vocals

I had the chance to hanG out with Luke before this party rolls into Madison on November 8th at the Majestic. We got into what this tour and this event with Doom Flamingo is shaping up to be, including some of the special treats for not only your ears from lespecial, but prepare your eyes for some serios effects/lights. We go deep into their latest full-length mentioned above ‘Odd Times’ and how for me as a listeners, the heaviness of it came at a time when that rawness was needed, so we got into how if felt to create it, working with David and it felt like they too really got to enjoy being back together in the same space working as this is a band meant to be in a live setting creating the moods and supporting the grooves. We also talk a little bit about the conclusion of legetaway V, what this festival errr retreat err hang out, yes all of this, is all about. Sounds like a place to be a part of for the cool kids for sure. I have listened to this band for a few years and I just really enjoy the space within their music to invite others in and we get into one of those artists, the incomparable and friend of this program, Mike Dillion. We get into what kind of energy he brings, a project they created together and the coolness of playing with some like Mike that he grew up listening to and learning from since kidhood.

The Arab Blues traces a trajectory between tradition and innovation, embodying the call of tradition and the response of the diaspora. The synthesis Rami & Karim create is an auditory expression of not only the power & persistence of tradition but equally the validity of its transformation under the unique cultural conditions they inhabit. The basis of their work is the Turath, the canon of classical Arab compositions & improvisational techniques. This rich heritage consists of melodic & rhythmic exposition and instrumental interaction at countless levels of depth. They interpret these forms in the context of the sounds of the contemporary North American metropole. In this project, the equally lush traditions of Blues & Jazz in Chicago provide the context of how the two approach and assimilate the Turath. This marriage of forms is fruitful because of the emotional range of the Blues and the improvisational flexibility and ingenuity of Jazz. The Arab Blues was developed by Lebanese-Egyptian oud & guitar player Rami Gabriel through a research fellowship at the Center for Black Music Research, 2 Illinois Artist grants, and a decade of experience as a jazz and blues musician in Chicago. Native Egyptian percussionist Karim Nagi, a 2-time beneficiary of the Doris Duke Building Bridges grant for Muslim Artists, a TEDx speaker, and accomplished teacher completes this duo with his energetic & lyrical rhythms on Riqq, Tublah and alternatively assembled drum-set. Chicago inspires this duo to amplify & expand the sound of their Arab folk traditions – discovering the trajectory of their community’s music; the future of their past sound. They are participating in this city’s musical possibilities by celebrating and embodying the potential of the immigrant experience. On their debut full-length album, Saba, The Arab Blues growl & romp their way through original Arabic themes & arrangements in the blues traditions of Chicago, Mississippi, & Mali. Drawing from their acoustic & electric repertoire, the album reflects the anger, protest, and dislocation of our cultural moment. In the hands of The Arab Blues, traditional forms such as the Sama’i (‘Sama’i Kurd guitari’) and Levantine folk music (‘Golan’) are transformed into electrifying journeys. On Saba, an Egyptian and a Lebanese musician make a definitive statement of their sound crafted in Chicago. Forged in the diaspora, this sound bellows freedom, longing, & defiance.

I was very excited to get to spend a little time with Karim & Rami ahead of The Arab Blues October 17th album release event in Madison at the North Street Cabaret. We dive deep into the new album, dissecting a few tracks and not only how they came toGether to form the songs, but the true, human feelings within these tracks that at times smack you right in the face. We talk about humanity, trying to get a solid footing as a group steeped in a traditional music whose people have been vilified in the U.S.. So much of this music and these feeling resonated with me form the moment I hit play, I could FEEL this music and the emotions that clearly went into creating it. There is talk about the influences of both Black Sabbath & Led Zeppelin, where they recently found themselves rocking the same stage the mighty Zep first played. They are in the middle of the Venn Diagram where tradition holds hands with the possibilities of the future and some heavy grooves to help wake people up and open their senses. This show..This album..These people!

The two day Twin Composer Festival in Madison on October 19 & 20 will showcase the works of two trailblazing composers Oottukkadu Venkata Kavi (OVK) from India, who lived from 1700-1765 and his no less illustrious Western contemporary Johann Sebastian Bach (1685-1750). This Entertainment Extravaganza seeks to not only raise appreciation for the contributions of these two great composers, but also aims to raise funds for Planet Symphony for Environment’s Collective Micro Climate Action Movement (CMCAM) initiatives such as Roof and Land Greening and Rainwater Management across the world. The festival will feature concerts by icons of Western & Eastern cultures, dance and theater performances, as well as Emerging Artists’ programming. The rare jewel in the crown will be the Melody, Harmony & Melharmony concert on Oct 20th at 4PM in the Oakwood Auditorium featuring ace Carnatic Violinist V V Subrahmanyam and his son V V S Murari, Chitravina N Ravikiran, the inventor of Melharmony, Apollo Chamber Players (a popular String Quintet from Houston), the iconic Mrdangam player Prof Trichy Sankaran and renowned percussionists Patri Sathish Kumar & K V Gopalakrishnan. Band students of Memorial High School will also present a composition of Maestro Ravikiran arranged by Ben Jaeger, Band Director of Memorial High School. The festival will felicitate Maestros Trichy Sankaran and VV Subrahmanyam with Lifetime Achievement Awards and honor Apollo Chamber Players for their many distinguished contributions. Art Patrons Dr. C M Venkatachalam and Shekar Viswanathan get special awards for supporting and promoting music, dance and culture in North America. Talent promotion: An important highlight of the event is morning to night concerts on the opening day by emerging talents from all over the United States, as well as from India, with eminent artistes such as Bhargavi Balasubramanian, Krithika Natarajan and Rajeev Mukundan. The second day starts off with a musical on the “Life of Oottukkadu Venkata Kavi” by a Chicago based team led by C Ranganathan followed by short recitals by various students of Meenakshi Ganesan’s Kalaanjali Dance Company. The festival will culminate in a choral rendition of select compositions of OVK by artists of North American Melodic Ensemble.

I had the complete honor of speaking with Maestro Chitravina N Ravikiran ahead of this incredible event. We got into a little bit about what Melharmony is and how it will be showcased. Maestro Ravikiran did a wonderfully succinct job of filling us in on each performer and their impressive backgrounds. He was able to easily paint the picture of what the energy they each will provide during these unique performances. Each artist heading to Madison for this festival is/are a master(s) in their subject field, and together, they will work to open minds, history books and the possibilities to a successful path forward thinking about each other and the planet we all reside upon. Not only will the music be uplifting, spontaneous and downright a one of a kind offering, this type of scene would not be complete without the focus on our planet and the initiatives we as individuals can do for our small part to help cool the planet’s warming, ease Mother Nature’s aches and provide stability to a world spinning with daily turmoil, that we just cannot wait for other’s to act on. All the information you need on the festival is here including dates/time/location.

After making their triumphant return in 2020 with their self-titled album, Long Beach Dub Allstars have taken it all the way back-to-basics on their latest album “Echo Mountain High”. The album will take listeners on a trip through a psychedelic mountain range of musical madness filled with reggae, rock, ska, hip hop, hard dub, & soul. Long Beach Dub Allstars have always taken chances and have never been afraid to chart into unknown musical territory. “Echo Mountain High” sees them experimenting with some heavy psychedelics and finds the band playing some hard classic dub anthems along with some wild experiments, showcasing the band’s free spirit & fearlessness to venture into the unknown. Joining the Dub Allstars on this mind-altering musical journey are Chris Dowd (Fishbone), who adds his trombone flavor to a track, some sweet vocals on another and some of his iconic keys on 2 others. Devin Morrison (Expanders/Man Like Devin) and Jesse Wagner (Aggrolites), lend some singing on a few tracks. Philieano (Doobie Raider) jumps on two tracks to rap and sing some harmonies, and local Long Beach ripper, Travis Goertz, plays a little slide guitar on one track. Today’s generation of reggae-rock fans may not fully understand how critical this group was to the reggae-rock genre, following Sublime’s conclusion in 1996. They played at a time when social media was non-existent. Live-videos of their early performances are mostly of grainy VHS quality, while most live-photos shot by fans were with those cheap throw-away cameras. There was no Youtube, Facebook, and this was before Myspace or even iTunes. They were the torch bearers of a genre that Sublime introduced and the original ‘Dub Allstars lineup included most of the players who were involved in cultivating that Reggae-Rock sound with Brad Nowell. 25 years later the band has found its resurgence with Opie Ortiz(vocals), Miguel Happoldt (guitar), Tim Wu (horns) joined by Roger Rivas (keys), Ed Kampwirth (bass) and Gil Sharone(drums).

I have to say, when Sublime and Long Beach Dub Allstars first made their way to me I found both to be a something I never heard quite like that before. Maybe it was that West coast flavor that adds its own something to it, but I dug it. I was happy to see that LBDAS are heading to Madison on September 19th along with The Movement at the Majestic to give us some of that West coast good time. I had the chance to chat with Ed Kampwirth to go through what the event will godown like. I wanted to get more insight on the latest album, ‘Echo Mountain High’, so we dive in seed to flower, talk a little about a couple of the tracks and from what went from a session in the yard to this finely assembled group of interesting & diverse tunes. For me this is soul’s music. Taking risks and getting the rewards should be how this album plays out for this band. We do touch a little on how the 562 (Long Beach) plays into the way the music grooves and grows as well as the lineage of the band from the then to now and all points between. HR is definitely an important figure in many a life, our included so we chat briefly about a tune he is actually singing on on their 2020 self titled record. Of course, no time would be complete without building some kind of setlist and that is just what Ed did. Some kind.

Photo by: Matt Farrington @maxfarenhite

BALTHVS is a Colombian psychedelic funk trio formed in 2020. Best known for their eclectic style, which fuses elements of Middle Eastern Music, Disco, House, Funk, Psychedelia, Indie Rock, Surf & Cumbia into a cohesive whole. The band is notable for their energetic shows, live improvisation and prolific output. Since their formation, the band has released over 39 singles and 3 full length albums, accumulating over 15 million streams worldwide. The group has performed in the biggest rock music festival in Colombia, Rock al Parque, has toured extensively in the United States, gracing SXSW 3 times in row as well as 7 countries in Europe. They will perform at major festivals such as Outside Lands & Austin City Limits this year. Summer 2024 is proving to be the Season of ‘HARVEST’, with all eyes on BALTHVS. After selling out several shows on its N.A. & European tour, including its very first L.A. show at the tastemaker venue the Lodge Room in Highland Park, BALTHVS has quickly gained a passionate audience following. As the rise of psychedelic music popularity gains steam, BALTHVS is at the forefront. They just dropped a new album, their 4th, ‘Harvest’. In support of the new album release, BALTHVS will be embarking on a U.S. Tour this August. Released on Mixto Records, ‘Harvest’ was composed by all 3 band members, Balthazar Aguirre, Johanna Mercuriana & Santiago Lizcano. This album is a reflection of where the band is currently. The trio spent a month at a tropical summer house in La Mesa, Colombia to record. The tropical landscape served as more than just a backdrop, it was the wellspring of inspiration for BALTHVS. Unlike their previous albums, where Balthazar took the lead in recording, composing, producing & arranging, the music emerged as a collective effort. All 3 contributed equally to the creation of every song. Harvest features vocals that harmonize like instruments, weaving lyrical poetry into a tranquil groove. Most evident in songs like “Like Coconut Water,” an effervescent song that captures the essence of a tropical escape. “Anouk” is a gorgeous groove that is dedicated to the house cat at La Mesa, the sphynx-like guardian who set watch during the recording sessions. “Mango Season” a laid back, funky and soulful instrumental groove that is perfect for relaxing, skateboarding and looking at clouds. ‘Harvest’ is a sonic testament to the last 4 years of artistic & personal growth and building a musical family across borders.

I was so psyched to see that part of the Summer Harvest 2024 tour would brinG BALTHVS to us here in Madison. On August 24 at the Orton Park Festival, we will be able to hang out with this group of rising stars. I had the chance to catch up with Johana, Santi & Balthazar while they were in Colombia, to help get to know the people and the what’s’ possibly heading our way. We get into their sound merging many grooves with the spirit of the Grateful Dead and that feel your way into the music way. We get into the creation of and dropping of the new album ‘Harvest and how working with a label, Mixto Records and the combination of all three bandmates’ ideas made for what I would say is a aura-filled album for me. I truly feel their music. We talk about how Mother Nature was a close second to the honorary band member during the albunm’s creation and provided many an opportunity to expand during the process. They really made yet more exciting noise recently at their L.A. debut on the Jazz Is Dead stage and were introduced by the coolth that is friend of the proGram, Mr. Adrian Younge. Of course, we get a little time to build a little setlist – all of this time together left me even more ready to find a brand new groove and way with BALTHVS. Take some time and found yours.