Cristopher Clark

Throughout her storied career, composer and music activist Mary Howe elevated the status of women composers and the Washington DC music scene and gained notoriety for her orchestral works. Many of her pieces for smaller ensembles, however, remain unpublished. On BETWEEN US, premiere recordings of Howe’s duos at last see the light of day and showcase her knack for drawing out the melodic qualities and dynamic timbres of the piano, voice, and stringed instruments. The pieces transcend time, simultaneously pulling from the sensibility and formal structures of romanticism and 20th-century idioms, spanning and bridging the gaps that typically pigeonhole music into a specific milieu.

Some guest soloists get overshadowed by Oscar Peterson's technical prowess, while others meet him halfway with fireworks of their own; trumpeter Clark Terry lands in the latter camp on this fine 1964 session. With drummer Ed Thigpen and bassist Ray Brown providing solid support, the two soloists come off as intimate friends over the course of the album's ten ballad and blues numbers. And while Peterson shows myriad moods, from Ellington's impressionism on slow cuts like "They Didn't Believe Me" to fleet, single-line madness on his own "Squeaky's Blues," Terry goes in for blues and the blowzy on originals like "Mumbles" and "Incoherent Blues"; the trumpeter even airs out some of his singularly rambling and wonderful scat singing in the process…

Gary Clark Jr.’s forthcoming album entitled JPEG RAW, his fourth studio release,marks a grand step in his musical evolution. A powerful and expansive artistic statement.While retaining the deep and true resonance of his blues foundations and guitar virtuosity with subtlety yet conviction, he reaches well beyond this time.The emphasis here is on song and studio craft without losing the rawness of his young legend. (Rolling Stone Magazine called him, The Chosen One).The music is dense and adventurous with a more cohesive synthesis of his eclectic musical palette. Hip samples, Thelonious Monk and Sonny Boy Williamson decorate flourishes of African, World Music, even Jazz while merging with blues , rock, R&B and rap; familiar areas he has ventured before, this time with more unity forging a fresh new style. Clark’s lyrics are pointed, deeply personal, outspoken and socially conscious with occasional forays into rap and spoken word from Clark himself.

Sonny Clark's conception of modern jazz is not far removed from his peer group of the late '50s, in that advanced melodic and harmonic ideas override the basic precepts of swing and simplicity. What sets Clark apart from other jazz pianists lies in his conception of democracy to allow his bandmates to steam straight ahead on compositions he has written with them in mind. Though the bulk of this session features the marvelous trumpet/tenor tandem of Donald Byrd and Hank Mobley, it is drummer Art Blakey whose demonstrative presence is heard in full force. He's kicking the band in his own distinctive, inimitable way, rambling through the opener "Junka," based on the changes of "You Go to My Head" with his brand of bomb drops, hard accents, and indefatigable swing…

Prolific 21st century producer, multi-instrumentalist and composer Clark releases his debut work after signing to Deutsche Grammophon.