Neon Jazz interview with Tim Ray
click image for interview!
Eric Wyatt interviewed on Neon Jazz, discussing upcoming release “The Golden Rule: For Sonny”
5.22.19: Greb Abate Interviewed on Neon Jazz
Earlier this week, Greg Abate was featured on Neon Jazz for interview regarding his fourth recording with the Tim Ray Trio on the Whaling City Sound label with his CD Gratitude – State Door Live @ The Z. Abate shares with his listeners his continuous desire for improvement and critical thoughts he possesses about his performances that in turn, only aid in his ability to grow. Lately he has been trying to be more creative, creating different lines and verses for different lengths to switch things up. Contrary to the publics initial belief, this performer unlike many others, prefers a lack of rehearsal before recording or performing. He states “I like the in the moment type of playing…that unpredictable rehearse”. Greg Abate and the Tim Ray Trio’s newest album is described by Abate himself as “sincere with no gimmicks…with communication with the audience both verbally and musically”. It is truly a beautiful album. Check out the full interview to get to know the real Greg Abate!
When going live: “what you hear is what you get, there’s no forgiveness” -Abate
Click here to view full interview
Miles Donahue/WCS
“Just Passing Thru”
Photos: #1 color, #2 b&w, #3 b&w, #4
Publicity: JazzBluesNews, Neon Jazz, The Jazz Hole, Midwest Book Review, Making A Scene Magazine, Amazon Reviews, Midwest Record Entertainment, Jazz Square, ALL MUSIC, AllAboutJazz
Radio Promotion: New World ‘N Jazz
CDs: ArkivJazz
Distribution: NAXOS of America
Mixed Media Client since: 2017
Just Passing Through
Review by Leonid Auskern from Jazz Square
A Welcome Guest
On Just Passing Thru
Miles Donahue makes himself comfortable
Miles Donahue’s latest album, coming on the heels of The Bug (Whaling City Sound, 2017), Just Passing Thru is large in scope and beautiful in execution. The absurdly talented player, vibrant on both tenor and soprano saxes, trumpet, and keyboard, shows just how broad his musical wingspan is. It certainly helps that he has an amazing crew behind him. Joe Santerre provides power grooves on electric bass as does Larry Finn on drums. They are joined by percussionist Ricardo Monzon, keyboard player Alain Mallet, and a handful of tracks featuring guitarist Mike Stern. With a vision that includes Crusaders’ style R&B, Weather Report fusion, and lovely, soulful turns, Donahue is masterly and versatile.
From song to song, there are wide swings of style and substance, from moments of tenderness, passages of grandeur, and fistfuls of exhilarating, technical wonder. The opening “Hear My Words” kicks off with an ingenious, shuffling melody that settles into a samba, and then finishes with a little funk. “Living Room Blues” swings with verve and passion, showcasing Santerre’s powerful bass. “A Man of a Few Words” opens with an introspective statement that morphs into alto soulfulness, buoyed by Mallet’s beautiful electric piano. “Railroaded” has a funk foundation to go along with its zesty ensemble playing. Joining that performance is none other than Mike Stern, one of the great voices in jazz guitar, and his solo here is proof of that. And then there’s the surprising “Ireland,” a nod to Donahue’s ancestral homeland that is both respectful and anthemic, in the way a rock song is anthemic. Talk about unexpected!
Throughout Donahue’s lovely Whaling City Sound recording, he never fails to challenge convention. In many, often subtle ways, he ventures out on the unexpected limb rather than the sturdy one that’s already been tried. His adventurousness is gratifying. Donahue finds a myriad of ways to reward his listeners and we are grateful for that. It may or may not be a fact that jazz musicians age with grace and class. In Miles Donahue’s case, the concept bears out. It is a joy to follow his risky explorations, as he makes his way through a labyrinth of unexpected turns. More than simply Just Passing Thru, Donahue is staying a while, long enough to leave a permanent impression on today’s jazz landscape.