BIG NEWS: WWR to release ‘Views from the Inside’ from JC Sanford + 15 piece Orchestra May 20th worldwide!

Whirlwind Recordings is pleased to announce:

JC Sanford FB



Views from the Inside is the stunning new album from the multi-faceted trombonist, composer & conductor JC Sanford and his 15-piece orchestra. A multiple-award winning composer and 2 X Grammy-nominated artist as a member of the John Hollenbeck ensemble, Sanford’s wide-ranging compositional palette is deeply rooted in the traditions of the jazz and classical worlds yet pushes both boundaries to create a landmark recording of the new jazz orchestra renaissance, featuring bold sonorities, unexpected colors and arresting sonic textures.

The JC Sanford Orchestra features many of New York’s marquee creative musicians brought together to form a completely unique ensemble featuring non-traditional instrumentation. Neither a big band nor conventional chamber group, the orchestra is a hybrid ensemble that has resulted from Sanford’s extensive experience over the years composing for a variety of instruments in a multitude of contexts, media and genres. Featuring five brass, 4 woodwinds (including double reeds), cello, violin, and an unconventional rhythm section featuring double bass, vibraphone, accordion, and percussion rather than drum set, the timbres alone have yielded some very unique moods and engaging compositional results.

The album shimmers with an eclectic mix of music written by Sanford over the last ten years, from the epic, through-composed pieces, to the shorter, Brooklyn-inspired ‘vignettes.’ Sanford explains, “I found myself, inspired by my influences of Bob Brookmeyer, [with whom Sanford studied with extensively] Jim McNeely and Maria Schneider, writing mainly longer, extended, multi-sectional works. I decided since I so often like to hear brief works, I should be able to write some that are satisfying and that tell a story, but short stories, rather than epic journeys. I thought the best way to do this would be to programmatically describe places around Brooklyn that had influenced & affected me deeply, more of a snap shot or memory than a diatribe. I feel they behave as a glue, holding the entire album together.”

Throughout the album, myriad textures and colors abound. Programmed electronics fuse seamlessly with shimmering brass lines; epic moments of free improvisation evolve into to rapturous full-orchestra refrains; dense, cluster-harmonies give way to spacious violin and trombone improvisations; quirky odd meters shift into deep swing or flowing conducted rhapsodies. Views from the Inside unleashes Sanford’s wild and infectious imagination resulting in an exciting musical adventure that both invigorates and challenges the listener while assuring that we live in exciting musical times where genre-labeling holds no weight.

It’s an album stocked with notable melody and inviting performances. Sanford, inspired by such diverse influences as Richard Strauss, Charles Ives, Stevie Wonder and Billy Joel, makes certain that a sure sense of song and expressive drama is never lost amongst the intriguing tonal colors and surprising harmonic and rhythmic structures. All of this marking Views from the Inside out as a truly landmark recording, solidifying Sanford’s international reputation as one of the most compelling of contemporary composers.

The JC Sanford Orchestra features: JC Sanford – composer, conductor, trombone; Satoshi Takeishi – percussion; Jacob Garchik – accordion; Tom Beckham – vibraphone; Meg Okura – violin, electronics; Will Martina – cello, electronics; Aidan O’Donnell – double bass; Dan Willis – oboe, piccolo, flute, soprano sax; Ben Kono – English horn, bass clarinet, clarinet, flute, alto saxophone; Chris Bacas – clarinet, soprano saxophone, tenor saxophone; Kenny Berger – contra-alto clarinet, bassoon, alto flute; Taylor Haskins – trumpet, flugelhorn, harmonizer; Matt Holman – trumpet, flugelhorn; Mark Patterson – tenor trombone; Jeff Nelson – tuba, bass trombone; Chris Komer – French horn; Asuka Katitani – conductor (on ‘Robins in Snow’ & ‘Verrazano Bikeride’).



BIG NEWS: WWR to release Bobby Avey’s ‘Authority Melts From Me’ May 6th worldwide, featuring Miguel Zenon & Ben Monder



Whirlwind Recordings announces the incredible release from pianist and composer Bobby Avey:

Authority Melts From Me

Worldwide release: May 6th, 2014

Bobby Avey – Piano, Compositions
Miguel Zenón – Alto Saxophone
Ben Monder – Guitar
Thomson Kneeland – Double Bass
Jordan Perlson – Drums


Authority Melts from Me is the fascinating new album and artistic statement from Bobby Avey, praised by the New Yorker magazine as “A young pianist of invention and refinement.” Winner of the 2011 Thelonious Monk Competition for composition, Avey also received the 2011 “New Jazz Works: Commissioning and Ensemble Development Grant” from Chamber Music America, which enabled Avey to travel to Haiti to record a Vodou Ceremony in the small village of Soukri and subsequently create an hour-long suite grounded in rhythms found in Haitian Vodou drumming. This compelling suite of new music, entitled Authority Melts From Me, pays homage to the Haitian Revolution and features the immense talents of Miguel Zenón, Ben Monder, Thomson Kneeland, and Jordan Perlson.

Reprinted below are the liner notes from the album:

Authority Melts From Me is a suite for quintet, inspired by my respect for the Haitian people, who have persevered through a tragic history of colonialism, slavery, and foreign occupation. This suite focuses particularly on Haiti’s slave revolt–the only successful slave rebellion in recorded history–which led to Haiti’s declaration of independence from its colonial master, France, in 1804. On the eve of the slave insurrection in August 1791, leaders of the rebellion conducted a massive Vodou ceremony at Bois Caïman in the northern mountains of the island to declare their intent to take over the Northern part of Haiti (then Saint Domingue). As Haitian scholar Madison Smart Bell writes: In Haitian Vodou, there is understood to be a great crossroads between the world of the living and the other world inhabited by the spirits of the dead. Vodou practitioners believe that the souls of the dead do not depart. Instead, they go into a parallel universe invisible to the living, but quite nearby – and not impossible to reach. Traffic through this crossroads defines much of Vodousaint religious practice.

In addition to a Vodou priest, Vodou drummers facilitate opening the gateway between the two worlds.

I have selected music from two Vodou drumming ensembles: the drummers of the Societe Absolument Guinin from Port au Prince, and the drummers from the community of Soukri, near the town of Gonaïves, whose ceremony I had the great honor of attending and documenting in January 2012. Since distinct Vodou traditions have been preserved in specific communities for hundreds of years, these ensembles have unique lexicons. Following a period of immersion, careful transcription, and analysis, I composed a suite of music utilizing rhythms and concepts found in these two drumming ensembles. The result is Authority Melts From Me.

The history of jazz has always been one of cultural variety and amalgamation of diverse traditions. I hope to be furthering that in a sensitive way by incorporating traditions of a county I respect. I hope to add something to the legacy of jazz that stays true to the aspirations of that music while incorporating a style that up until now has not been explored in this way. What I also hope is that this endeavor is creating further linkages in the relationships of the various branches of the African diasporic tradition.

Musicians taking part in the realization of Authority Melts From Me: Miguel Zenón – alto sax; Ben Monder – guitar; Thomson Kneeland – bass; Jordan Perlson – drums, and me on piano.

My visit to Haiti in January 2012 made painfully immediate the conditions under which Haitians struggle. Even prior to the earthquake, 55% of Haitian households survived on the equivalent of 44 U.S. cents a day. Only 35% of students are able to complete primary school and only 4% graduate from secondary school. More than one in twenty people are HIV-positive, and nearly 1 in 5 children die before their 6th birthday. Such statistics only begin to convey the reality for much of Haiti today. Almost three years after the earthquake, nearly 400,000 Haitians braved Hurricane Sandy under tents and tarps.

What is very important for Americans to understand is that America has played a dominant role in shaping the current state of Haiti. The U.S. invaded and occupied Haiti from 1915 to 1934, training a brutal military force designed to suppress Haiti’s domestic population. The U.S. killed between 15,000 and 30,000 Haitians during its occupation and in building up the military, provided a force that has terrorized the country since. Haitian soldiers, serving elite interests, were essentially immune from the rule of law. They have also regularly overthrown governments, as Haiti has seen over 30 coups in its history.

America embraced the dictatorship of Francois Duvalier during most of his 14-year rule. Sociologist Alex Dupuy estimated that perhaps 50,000 people were killed during this reign of terror. America even more enthusiastically supported Duvalier’s son, Jean-Francois, who ruled for an additional 15 years. He kept taxes low and imposed starvation wages for workers, creating an inviting investment climate for U.S. companies.

In 1986, Jean-Francois was ousted. Following four years of turmoil that saw 11 different presidents and a populist movement in the face of military repression, Haiti held its first ever free and fair elections in 1990. One candidate, the populist priest Jean-Bertrand Aristide, won decisively with 67% of the vote with 80% of the electorate voting. He was overthrown in a CIA-backed coup seven months later.

In 2000, Aristide ran for president again, this time elected by over 90% of the vote. The second coup took longer to orchestrate but in 2004, the US kidnapped Aristide and flew him to South Africa.

The current international troop presence in Haiti, the arrival of which was orchestrated by the U.S. in the aftermath of the 2004 coup, has presided over eight years of human rights abuses. Two years ago, the U.S.-funded troops inadvertently yet carelessly introduced cholera to the country, which has killed 8,500 and infected nearly 700,000 as of this writing. Efforts are underway to demand accountability and reparations for this act of criminal negligence.

Despite the countless obstacles Haitians face, the short amount of time that I spent in Haiti made clear the resilience of the Haitian people is the country’s greatest asset. I hope my music will lead to greater understanding and awareness of Haiti among the American people and ultimately play some small role in inspiring thoughtful action to turn the tide of the relationship between the two countries.”

Photo of Bobby Avey by Eliseo Cardona of Chromatic Blues Photography

‘Sabotage and Celebration’ with 5 Star review in Jazz Journal, New York City Jazz Record and All About Jazz. “Exhilarating”

“Escreet is a musical omnivore who embraces aspects of contemporary classical music, Frank Zappa, dance music, electronica and a wide swath of jazz, from bop to avant garde. What comes out is uniquely personal, some of the most inventive and distinct jazz around today.”
The New York City Jazz Record

“A remarkable album. A genuinely exciting new album, perhaps one of the most exciting jazz albums for quite some time.”
5 Stars, Jazz Journal

“Exhilarating. One of 2013’s finest modern jazz records.”
All About Jazz

These are just some of the recent accolades we’ve had in for John Escreet’s mind-blowing new release Sabotage and Celebration.
Check the album page for more info.

The press on this record has been unanimous and we couldn’t agree more. Lots more to come on this album including release dates in Germany, Austria and Switzerland soon!





John-EscreetSabotage and Celebration is the fifth solo album (and first WWR release) from one of the world’s most dynamic and original artists, pianist and composer John Escreet. The album glistens from start to finish with the endless imagination and unrelenting vision of a truly singular voice in modern music, and is aptly supported by an A-list of the world’s preeminent creative musicians who all contribute inspired performances at the peak of their powers. Any attempt to pigeonhole the music on the album would be futile, as Escreet’s compositional palette is as wide open as his piano virtuosity, complete without boundaries, and this new recording boasts such an ambitious production and scope it excitedly reaffirms with each listen that musical possibility is truly infinite.

Sabotage and Celebration was recorded on November 7th 2012, the day after the United States’ presidential election which saw Barack Obama win a second term in office over his opponent Mitt Romney. On the night before the recording date (election night itself), the group performed the music in NYC in preparation for the session (literally as the results were coming in) amidst an atmosphere of tension and uncertainty, which gave way to an atmosphere of celebration as the final result became apparent and was eventually announced. The title of the album is in many ways a literal description of the track that bears its name: in the early stages of the piece there is sonic madness, almost as if the music itself is being ‘sabotaged’. This eventually transitions into a highly contrasting second section, which emotes feelings of celebration and even dance. The title also refers to many of the widely reported voter issues (which many described as simply ‘voter sabotage’) that took place in various parts of the US during the election: overbearing and restrictive voter ID laws, the long lines at polling stations which ultimately prevented many people from casting their vote, as well as supposed ‘malfunctions’ in many electronic voting machines. Yet despite this, the end result signaled a celebration that reached way beyond the United States.

The presidential election was not the only real life event that influenced the music on Sabotage and Celebration. Says Escreet, “The music was written at different stages, but a lot of it was written a week before the recording session, which was also during the aftermath of Hurricane Sandy (the deadliest and most destructive hurricane of the 2012 Atlantic hurricane season). NYC was effectively shut down for an entire week – there was no public transport and much of the city was without power. I was stuck in my apartment and couldn’t really go anywhere all week, so I stayed home, wrote and did nothing else. It just so happened that the music that I wrote during this time ended up being what I consider to be the strongest material.”

Escreet’s new album covers an incredible amount of musical ground. A string section is prominently featured as a result of his recent re-fascination with orchestral music; listen in as he seamlessly incorporates it into the context of a conventional quintet. And that’s not all- brass, guitars and vocals are also layered into the proceedings in surprising ways, creating music of a larger scale. “A lot of the albums back in the 70s featured a wider sonic palette, using stings, brass and all kinds of different instruments. Those influences, combined with some of the pop music I have been listening to recently helped shape the sound of this album, along with all kinds of other influences. I have also been spending more time in Los Angeles over the past couple of years, where my good friends and musical collaborators Louis Cole and Genevieve Artadi (aka KNOWER) are based. It was great to have them contribute vocals to the last track on the album.” Escreet explains.

Sabotage and Celebration comes from a prolific individual who has digested an alarming amount of music in his barely 30 years, and yet with all of its sophistication and wit, Escreet composes and performs with big passion straight from the heart. If this is his vision of music at this stage in his young career, there really is no telling what’s next.

And that is a very exciting prospect.





Nia Lynn’s Bannau Trio ‘Points of View’ with 4 Star Jazz Journal review + London Jazz


Nia Lynn released ‘Points of View‘ with us at the end of 2013 and we’re still getting some really great mentions in the press about this special release which features the incomparable Gareth Lockrane on flutes and Ross Stanley on piano.  Just in is a great 4 star review (reprinted below) from Jazz Journal and also a beautiful analysis from London Jazz.  Both of these reviewers really checked out the music and that’s something we’re noticing about the press’ treatment of this record.  If you haven’t checked out Nia before please do- she’s one of the UK’s top creative singer/songwriters and also a very astute musician who can use her voice in ways others only can dream about.  She writes great original material and her treatment of covers is always creative and personal. 









jazz journal - February 2014 copy

BIG NEWS: WWR Signs Tori Freestone for her debut release ‘In the Chop House’ out 21 April, 2014 + Launch Tour

TF Front Cover

Tori Freestone

Announcing the debut album from Tori Freestone!

In the Chop House

Tori Freestone – Tenor Saxophone, Compositions
Dave Manington – Double Bass
Tim Giles – Drums

Release date: April 21, 2014

 (for tour dates see bottom of news udpate)
visit Tori’s brand new website!



In the Chophouse is the debut album from Tori Freestone, a saxophonist, flautist and violinist who has been performing at the forefront of the British improvised music scene as both a side women and highly regarded bandleader for over a decade. Her multi-faceted skills have seen her work as a core member with such diverse bands as the Ivo Neame Quintet/Octet, ‘Compassionate Dictatorship’ (her own co-led group with Jez Franks), Loop Collective’s Rory Simmons as well as artists such as the Cuban group ’Orquesta Timbala’, singer Brigitte Beraha, saxophone colossus Andy Sheppard and trumpeter Neil Yates.

Indeed this wealth of experiences has shaped Freestone’s playing and composing and this is highly evident on her debut. A robust tenor sound, melodic invention and a balance between wit and playfulness in her original songs mark Freestone’s music out, not to mention a strong willingness to blur the lines between the written and improvised. Comprised of long-time musical associates in the uber-creative drummer Tim Giles and highly original bassist Dave Manington, the trio has been developing Tori’s repertoire which explores the openness that the saxophone trio allows while taking inspiration from some of the non-chordal sax led trios of the moment. This group dynamic has culminated into a program of music that has been developed over the last few years and, excitedly, has been recorded for Freestone’s first appearance as a leader on Whirlwind Recordings.

We’ve asked Freestone to give us a little background about the music on In the Chophouse:

“Most of the writing for my trio’s debut took place after my involvement in trumpeter/composer Neil Yates’ ‘Surroundings’ Project,’ which was a large ensemble that premiered at the Manchester Jazz Festival a few years back. Having the opportunity to renew old collaborations with such fantastic musicians compounded with Neil’s beautiful writing inspired me to officially focus on my trio and in particular reconnect with my folk music roots and infuse this influence into my own compositions, which also draw inspiration from many of my favorite jazz instrumentalists and bands from around the world.

I’d been playing with Dave and Tim since meeting them at college in many different ensembles and formats, and, as well as being great friends, we’ve built a strong musical rapport over the years and at this point really know the intricacies of each other’s playing style. With this strong basis it’s been possible to use the material as a springboard to explore the open quality that this sparser trio format provides. We’re able to push our own boundaries, playing openly and freely while having the knowledge that we can rely on each other for some solidity and grounding at any given point. We’ve also taken inspiration from some of the non chord sax led trios past and present, such as Joe Henderson, the Seamus Blake – Marc Miralta trio, the Fly Trio and the Julian Arguelles trios to name a few. All of these experiences have shaped In the Chophouse, and the album itself was named after ‘Mr Thomas’s Chop House,’ the Victorian pub in Manchester near St Ann’s Square where we would congregate after a day of rehearsals.”

From moments of intensity and volume to passages of calm, folk-influenced soundscapes, In the Chophouse showcases three highly experienced and eclectic musicians at their very best. From the first note their approach to openness allows the music to dictate the proceedings which also invites the listener to take a strong role in the interpretation of the music. Freestone’s assent to solo artist has been a timed move, but one that has been certainly worth the wait.

Visit the ‘In the Chop House’ album page to listen to all the tracks from the album.


Catch Tori on tour!

Jan 29 – Tori Freestone Trio @ E17 Jazz, Walthamstow

 18 Feb – Tori Freestone Trio @ the Amersham Arms, SE London

 21 Feb – Tori Freestone Trio @ Birmingham Jazz

 2 March – Tori Freestone Trio @ the Union Chapel

 5 March – Tori Freestone Trio @Dempseys, Cardiff

 6 March – Tori Freestone Trio @Bonnington Hall, Nottingham

 9 March – Tori Freestone Trio @ Splinter Jazz, Newcastle

 10 March – Tori Freestone Trio @ Leeds

 11 March – Tori Freestone Trio @Leeds International Jazz Conference

 14 March – Tori Freestone Trio @Bebop Club, Bristol

 15 March – Tori Freestone Trio @Sherborne Jazz

 22 April – Tori Freestone Trio album launch @ The Forge, Camden

16 May – Tori Freestone Trio @ La Laguna Jazz Festival, Tenerife, SP

6 July – Tori Freestone Trio, Milestones Jazz Club, Lowestoft, Suffolk

29 July – Tori Freestone Trio, St Ives Jazz Club, St Ives, Cornwall, UK

31 July – Tori Freestone Trio, the Sound Cellar, Poole, Dorset, UK



Rachael Cohen with 4 Star review in Jazzwise & MOJO Magazines, radio play, features + new Promo Video!

Rachael Cohen’s Halftime has had a great showing in the press of late, with some glowing 4 star reviews in both MOJO (reprinted below) and Jazzwise Magazines.  She was also featured on her native Scottish Jazz Federation website. And her radio play continues with some nice features on The Bridge Jazz Show.

And we’re also excited to share the new promo video we made for her album, check it out! 




Rachael Cohen MOJO Feb 14

BIG NEWS: Monocled Man set to release debut album “Southern Drawl” Worldwide on April 28!

Monocled Man CoverWhirlwind Recordings is elated to announce the release of:

Southern Drawl by Monocled Man
Worldwide release date: April 28, 2014

Rory Simmons –
Trumpet, Keyboards, Audio Editing
Chris Montague – Guitars
Jon Scott – Drums








Southern Drawl
is the debut album from Monocled Man, the brainchild of trumpeter, composer and producer Rory Simmons, an artist who comfortably sits at the forefront of the UK’s new wave of improvising and creative musicians. A trio consisting of Simmons on trumpet, Chris Montague on guitars and Jon Scott on drums, Monocled Man are already known for their unabashed raw energy, eclectic mix of genres and tricksy yet accessible compositions. These three astute musicians enjoy careers pushing music to its limit as sidemen with many of the most celebrated contemporary British bands, and bring this wealth of experience to make the music on Southern Drawl a completely unique and exciting statement, representing some of the best in what’s happening on the UK’s new music landscape.

Much of Monocled Man’s music is inspired by the contemporary explorations of the NY Downtown scene, including Tim Berne, Jim Black and Craig Taborn, with sonic influences from David Torn, Cuong Vu and The Chicago Underground Ensemble. And in London where the trio is based, influence is found in the vast output from the forward-thinking Loop Collective (Simmons is a founding member) as well as music made by Chris Batchelor, Liam Noble, Julian Argüelles and the band Troyka.

Southern Drawl lays spiraling post rock inspired riffs over soaring brass lines and saturated guitars. Hypnotic guitar loops evolve out of through-composed knotty melodic lines and polyphonic writing; rumbling free drums with loose trumpet improv bristles over the top of the energy created between Chris Montague and Jon Scott. Simmons’ trumpet playing lurches between sweet, almost Arve Henriksen moments to the wilder improv of contemporary players like Ralph Alessi and Herb Robertson, while even invoking the delayed soaked psychedelia of 70’s Miles Davis. Chris Monatgue’s post-Krantz driven sound, with influences of Marc Ducret and David Torn, brings elements of acid country, skronk and noise improv. Enveloping the ensemble with intricate but driving poly-rhythm and multi-layered texture is Jon Scott, one of the UK’s most in demand new drummers. Playful percussive moments give way to thrashing grooves at the next, propelling the energy of the trio throughout the record.

And this album is lit with colors of layered synths and processed audio from the sessions, which were carefully and skillfully edited and produced by Simmons. Filtered drums fly across the stereo image, while de-tuned brass chords throb under moments of hi-octane noise. An array of analog keyboards paired with stretched audio give this album a fresh panorama of high energy contemporary jazz and rock improv, soaked with a post-produced kaleidoscopic landscape that marks Monocled Man out as one of the most eclectic and exciting new ensembles on the European scene. 


WWR artist Ollie Howell wins £30,000 Sky Arts award

Sutures and StitchesJazz drummer/composer Ollie Howell, whose debut album Sutures and Stitches released on Whirlwind Recordings last year, has just been awarded a Sky Academy Arts Scholarship from Sky Arts. One of only 5 award-winners this year (and the first recipient of any of the Sky Awards from jazz), Howell’s award means a £30,000 grant towards his next album and mentoring from directors at Sky and music industry experts.

Ollie’s musical education began with piano lessons at his family home in Warborough at the age of 7, before attending at Wallingford School (where he started learning the drums) and then going on to study at the Royal Welsh College of Music and Drama in Cardiff, where he graduated with a first-class honours degree in 2011. It was whilst studying at music college, that Ollie also caught the ear of music legend Quincy Jones, who has since become Ollie’s friend and mentor. Jones has publically praised Ollie’s musical talents, saying “An unbelievable drummer. So creative I couldn’t believe it. This kid really is a 360-degree beautiful young cat that I believe has what it takes to make a life out of music”.

This award comes after a year where Ollie’s debut album, ‘Sutures and Stitches’, was released worldwide on Whirlwind Recordings to massive critical acclaim (including glowing praise from The Guardian, The Financial Times and MOJO Magazine, amongst many others), and after recently winning the prestigious Peter Whittingham Development Award, administered by the Musician’s Benevolent Fund. This debut album also has an incredible back-story, with all the compositions written during various periods of hospitalisation, after Howell was suddenly diagnosed with a brain malformation in 2009.

When asked about his feelings on this award win, Howell said “I still can’t believe it really. It’s going to be such an incredible experience. I’ve been so thankful for all the recent praise that my debut album has been receiving and to all the audiences at our gigs, and I can’t wait to get started on this next project! I’d obviously like to say a huge thanks to Sky Arts and Ideas Tap for this amazing opportunity”.

With Ollie’s debut album quickly flying off the shelves worldwide, his next Sky-sponsored endeavour will be recording his next CD at the end of the year, which will also feature a live DVD, to be released in 2015, and a documentary on Sky Arts. Already having amazed audiences around the country on his last UK tour in 2013, including 2 sold-out night’s at the world famous Ronnie Scott’s Jazz Club in London (as special guest support for jazz legend Jimmy Cobb, another of Ollie’s mentors), Ollie will be touring again in the Autumn, and will also be playing at some of the biggest UK jazz festivals this Summer. More information and Howell’s tour dates are available on his website (, where you can find links to buy his critically acclaimed debut album.

With an exciting year ahead, Howell is sure to continue taking the jazz-world by storm, and this recent award win will undoubtedly help bring his critically acclaimed music to a far larger audience.

To check out samples of each track and to purchase Ollie’s debut release (CD or high quality MP3)  please click here

Patrick Cornelius Featured on NPR Jazzset

Infinite Blue Low ResNew York saxophonist and composer Patrick Cornelius has recently been featured on NPR’s Jazzset with a performance of his recent suite of original music entitled When We Were Very Young. 

The suite, based on A.A. Milne’s 1924 book of poetry of the same name, contains five movements and in this recording with NPR features an array of top New York musicians including Jason Palmer (trumpet), John Ellis (tenor saxophone, bass clarinet), Nick Vayenas (trombone), Miles Okazaki (guitar), Gerald Clayton (piano), Peter Slavov (bass) and Kendrick Scott (drums). 

You can hear the whole hour-long performance of the suite on NPR’s website, which also includes insight in to the chosen inspiration for Patrick’s new work. 

Patrick has released two albums with WWR, Fierce and Infinite Blue, which you can hear and purchase on our album page and featured below we have a track from each of those albums for your listening pleasure.