Davis’ three stellar breakout singles serve as an instant sonic addiction with their beautiful verses, breathtaking melodies and brilliant arrangements. Her refreshing, relatable music will leave ears buzzing for more when Davis’ heartfelt debut album, “Trophy” drops Nov. 8.
“Each of the singles has their own identities and sonic worlds. Since this album is a culmination of my writing, there are huge gaps of time between their conceptions, especially the first two singles,” she said.
“The production style and arrangement choices help bring these songs together on the album. Obviously, these songs all come from me, but at very different times in my development as a writer. I think more than anything, the singles capture moments in time.”
The Grand Rapids funk-rock-jazz fusion quintet abandons daily trivial nonsense to live a more purposeful existence.
“When I wrote that song, that feeling was weighing heavy on me. There is so much that goes on every day in our lives, some of it important, and some of it only seems important,” said Isaac Berkowitz, Desmond Jones guitarist, drummer and vocalist.
“There’s a lot of trivial nonsense that we let get in the way of living happy and meaningful lives. When that nonsense piles up on us, it can be hard to see through it to what really matters. Some people like to look at the stars and feel small as a way to get perspective, and in the same sense, I think remembering the idea that we are all animals, or that we are all ‘still creatures’ on this planet just trying to survive, can give us that same perspective and peace of mind.”
Together, Berkowitz and his Desmond Jones bandmates – Chris Bota (guitar, vocals), George Falk (saxophone, vocals), John Loria (guitar, vocals) and John Nowak (drums, guitar, vocals) – beautifully capture this personal philosophy in lighthearted, funkified way.
On “Still Creatures,” a fun, groovy wah-wah guitar riff opens the four-minute track and mimics the sound of a chicken while jazzy alto and baritone sax solos and rhythmic bass and drums bring a smooth, melodic feel.
“Even though it’s a new release, it’s something we’ve been working on for over a year in our live shows, and we’ve had it recorded for a while,” said Nowak, who formed Desmond Jones with his bandmates in 2012 at Michigan State University. “When we first started playing that song and Isaac showed it to us, we actually were just calling it, ‘Chicken Fingies,’ for a long time. At some point, Isaac said, ‘Actually, it’s called Still Creatures.’”
The Los Angeles-based independent jazz label is releasing two newly discovered Wes Montgomery and Bill Evans recordings, “Back on Indiana Avenue: The Carroll DeCamp Recordings” and “Evans in England,” on limited-edition 180-gram 2LP for Record Store Day and deluxe 2 CD/digital on April 19.
“Back on Indiana Avenue” surveys the early music of Montgomery, a jazz guitarist, made in his hometown of Indianapolis during the years before he rocketed to fame after signing with Riverside Records in 1959. The 22-track album features studio and live recordings of Montgomery’s music along with Indianapolis pianist and arranger Carroll DeCamp.
It’s the sixth archival release of Montgomery’s from Resonance Records and includes an essay by jazz scholar Lewis Porter and jazz guitar giants George Benson and John Scofield. On the DeCamp recordings, Montgomery is heard in full flight in a variety of settings – piano quartets, organ trios, sextets and drummer-less Nat “King” Cole-style trios, including “Round Midnight,” “Jingles,” “Whisper Not” and others.
“‘Back on Indiana Avenue’ is a very important release of previously unissued material from guitarist Wes Montgomery, and it’s not music, it’s 2LPs, 2CDs worth of unissued material and nearly a 50-page book with all sorts of different people who have a story to talk about, a narrative of these recordings in provenance and where they came from,” said Zev Feldman, Resonance Records co-president and independent producer.
“We tell these stories, and we put out these projects, and George Klabin, God bless him, my co-president and the founder and owner of Resonance Records, he is so generous allowing this to happen. This is like fantasy land, and every day, I wake up in this different dimension and wonder, ‘Is this really my life?’”
On their melodic self-titled, full-length debut studio album, Chirp knows how to magically capture and beautifully deliver the sweet, groovy sounds of spring.
Today’s release of “Chirp” celebrates the Ann Arbor funk, prog rock and jazz fusion quartet’s creative migration from improvising on the stage to nesting in the studio.
“Those songs turned out how we really envisioned them because we were able to take a long time to plan everything out as well as record and mix,” said John Gorine, Chirp’s drummer. “When we play those songs live, we know what we want to do, but it’s different when we have a lot more time to plan certain things out and just get what we want out of those songs.”
Chirp does their share of genre-hopping by blending catching progressive rock, funk and jazz originals with majestic reinterpretations during their high-energy, dynamic shows. Though their music incorporates many technical, well-crafted elements, they’re committed to grooving with a solid, dedicated fan base.
For dedicated Chirp fans, the album is a direct sonic flight through their eclectic catalog without any layovers or turbulence. While hearing “Chirp,” listeners travel smoothly through a series of glistening grooves, riffs and beats eloquently condensed into a brilliant studio package.
“You want to trim the fat a little bit, even though most of the songs are on the longer side of what people are used to hearing. I’d say the average song length on the album is five and a half minutes while our average live song length is between eight and 10 minutes,” said Jay Frydenlund, Chirp’s guitarist and vocalist. “As a songwriter, for me, it’s always difficult figuring out what we want to cut down and how we want to cut down the length of a solo section or maybe take parts out.”
With a vibrant new single and lineup, Honey Monsoon is floating in a new musical stratosphere.
Earlier this week, the metro Detroit jazz-fusion quintet dropped their latest single, “Cloud,” a five-and-a-half-minute peaceful sonic journey filled with funky guitars, bright synths, gentle cymbal crashes and slow grooves.
“It’s a dynamic love song about being in an amazing state, realizing that you’re there, being present and preserving that,” said Ana Gomulka, Honey Monsoon’s vocalist, guitarist and keyboardist. “It’s a complex song where I put myself in a character role and follow a floaty, vibey path that’s immediate and accessible.”
That uplifting musical path soars to the sky-high auditory intersection of jazz, disco, rock, funk, soul and R&B – think Stevie Wonder, Nile Rodgers, George Benson, Sade and Toro y Moi combining their signature styles into an atmospheric sound.
Honey Monsoon will release a new video soon for “Cloud” that features footage from some of their local favorite spots in Detroit, including the Fisher Building and the Renaissance Center. Additional footage was shot at a local church in Ypsilanti.
“Cloud” is the first single from Honey Monsoon’s forthcoming album, “Opal Soul,” a follow-up to their 2017 jazzy, soulful debut, “Rose Gold,” due out March 22. It also features a fresh lineup with new members Sam Naples (guitar, vocals) and Binho “Alex” Manenti (bass, keys) along with Taylor Greenshields (drums), Leo Willer (paintbrushes) and Gomulka.
“We’ve been in the studio collaborating with so many incredible people in the area on horns, keys, strings and vibraphone,” said Gomulka, who started writing songs for “Opal Soul” in September. “We’ve been in the trenches putting together this eclectic production for ‘Opal Soul.’”
Produced, engineered and mixed by Greenshields and Naples at Fundamental Sound Co., “Opal Soul” will feature eight tracks and include former member Andrea Holther-Cruz on two to three songs written with the previous band’s lineup.
“Opal Soul” also will feature a more diverse sound that draws influences from pop, rock, Latin, funk, Afrobeat and world music. For “Rose Gold,” Honey Monsoon intertwined jazzy, soulful sonic textures against a rock-infused backdrop with bright vocals and saxophone solos.
“‘Opal Soul’ is based on a concept of reflection, and I was inspired by that while writing for this album,” Gomulka said. “It highlights the reflection and soulfulness that we put into the creative process.”
The Ann Arbor progressive rock, funk and jazz fusion quartet will share new tunes and covers as they close out 2018.
“We’re definitely going to try to change it up from the norm. I think for a lot of people coming out that night it will be new. We always like to bust out new covers for special events and holidays, so you can definitely expect some of that,” said Jay Frydenlund, Chirp guitarist and vocalist.
“I think there will be some fun interaction amongst the bands and sit-ins. It will be different from your normal Chirp/Stormy Chromer/Biomassive show.”
This is the third year Chirp has teamed up with Stormy Chromer, a homegrown progressive jam band, for a New Year’s Eve show in Tree Town. It’s the second consecutive year for the event at The Blind Pig, 208 S. First St.
“Stormy Chromer brought us into the fold. We just wanted to go down in the hometown because the last couple of years have been so fun,” Frydenlund said. “Stormy Chromer has always been one of our favorite groups to play and collaborate with. We’re happy they invited us back to do it again.”
While Chirp and Stormy Chromer have a long history of playing together, it’s the first time Chirp will share the stage with Biomassive, an electronic rock band from Traverse City. Biomassive will blend the organic feel of real-time music with deep, intelligent beats of their ground-shaking, sub-bass mechanics.
“I’ve heard good things about Biomassive,” said Frydenlund, who grew up in Ann Arbor and started playing guitar in college. “I’ve listened to their stuff online, so I’m definitely excited.”
“We’re going with all live bands this year, and it’s a three-band night. Chirp and Stormy Chromer have a long and awesome relationship, and we’re all from Ann Arbor. Biomassive is a band that we just really hit it off with when we played with them two years ago,” said Amin Lanseur, Stormy Chromer’s drummer and vocalist.
“Chirp’s Jay (Frydenlund) and I decided to go with a three-band bill because we want to see how much we’ve grown as far as what we can do. It’s going to be an awesome feeling to look out there and see all these people who are here to see my buddies and me do what we love to do.”
The New Year’s Eve show will include a ball drop set with Stormy Chromer improvising on stage and counting down with the crowd to 2019. Members of Chirp and Biomassive will join the band to ring in the new year.
“We’ll pick a song that has a tendency to have an upbeat, dancy jam, and then I’ll get us as close to 120 beats per minute as possible so that every two beats is a second,” Lanseur said. “Then, we’ll just have a timer up there, and we’ll be doing our thing.”
Stormy Chromer also will share some covers and feature a new song to keep the show fresh well after midnight. “We’re going to be debuting a new song that I’m really excited about and that’s been conceptualized for a really long time now,” Lanseur said. “I think people can look forward to a handful of new material that they’ve never gotten out of us before.”