Featuring Kandace Springs, James Carter Organ Trio and James Francies
In a spectacular celebration of the 80th Anniversary of Blue Note Records, a cutting-edge lineup of explosive new talent will take the stage to celebrate. Pianist James Francies, Saxophonist James Carter with his Organ Trio and vocalist Kandace Springs showcase the current swirling, stylistic and diverse state of jazz music.
Run Time: 90 minutes
Kandace Springs: The Nashville singer and pianist will release her 3rdBlue Note album The Women Who Raised Mein early 2020. After her head-turning 2014 self-titled EP (which caught the attention of Prince who raved “Kandace has a voice that could melt snow”), Springs released her Larry Klein produced debut album Soul Eyes in 2016, followed by her “breathtakingly eclectic” (MOJO) 2018 album Indigo produced by Karriem Riggins. The Wall Street Journaldeclared “the soulful pianist and vocalist is self-assured, distinctive and strikingly contemporary,” while Rolling Stonesaid that Springs “recalls an era when the boundaries between jazz, soul and pop were more fluid.”
James Francies: The Houston-born, NYC-based pianist and composer released his acclaimed debut album Flight on Blue Note in 2018, and The New York Timeshas called him “a pianist with liquid dynamism in his touch.” Francies has played with jazz headliners like Pat Metheny, Chris Potter, Jeff “Tain” Watts, Stefon Harris, Eric Harland, and Terrace Martin, and racked up equally impressive credits in hip-hop and R&B: from gigs with Ms. Lauryn Hill, José James, Common, and Nas, to studio time with Chance the Rapper and appearances with The Roots on The Tonight Show Starring Jimmy Fallon.
James Carter: The Detroit saxophonist’s Blue Note debut James Carter Organ Trio: Live From Newport Jazz comes out Aug. 30, a thrilling live performance of Carter’s imaginative soul jazz reinvention of Django Reinhardt. “One of the most charismatic and powerful soloists in jazz,” per the New York Times, Carter harbors a command of his instruments that is astonishingly complete, though he only employs that technique in the service of canny ideas, evoking early jazz, jump blues, the avant-garde and other lessons residing inside his vast, scholarly knowledge of the music of the African-American experience.
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