Libby York Trio

“A jazz singer of cool composure and artful subtlety” New York Times “Her wit and easy swing” The New Yorker “Consummate jazz phrasing” JazzTimes “Superb vocalist “ Chicago Jazz Magazine “She’ll appeal to Diana Krall fans, but is very much her own woman.” Times of London “Stylish and cosmopolitan with a broad streak of lush life urbanity, Libby York has a sound that recalls, without any condescension or gratuitous nostalgia, Anita O’Day, Chris Connor and Sarah Vaughan.” DownBeat, ****Sunday in New York 4 stars “Libby, you sing like an angel, don’t ever stop.” Jazz guitarist Russell Malone Vocalist Libby York has garnered raves from the international jazz press for her performances and recordings, Blue Gardenia, Sunday in New York, Here With You and her latest release Memoir. She has enchanted audiences at venues such as The Kitano, Waldorf Astoria and Metropolitan Room New York City, Green Mill, Jazz Showcase, Winter’s Jazz Club Chicago, venues in Los Angeles, the Netherlands, Vancouver BC and Cafe Laurent, Paris. It's rare for Adam Gopnik, The New Yorker contributor and author (Paris To The Moon, Through The Children's Gate), to write liner notes. But he was so taken by York's voice and style that he offered to write them for York’s Here With You. Gopnik enthuses: "...the miracle of jazz singing as good as this, is that a voice's encounter with words manages not only to produce the emotion the songwriters put in but add another new emotion of the singer's own. Cool jazz singers Anita O'Day, Chris Connor, June Christy and Julie London are subtle influences on York, but her voice is unique, with a rich, warm tone not often found. She mentions Rosemary Clooney’s comment “I’m a singer of fine songs who works with jazz musicians” as resonating with her approach. In live performance she is a true jazz singer who improvises with her phrasing and swings hard. “The in-the-moment interaction with my band members is such joy! Libby’s latest album Memoir demonstrates that she is an expressive vocalist who chooses to work with only the best: Warren Vache, cornet, Russell Malone, guitar, John DiMartino piano, Martin Wind, bass and Greg Sergo, drums. In a nod to the great Bing Crosby/ Bob Hope duets York teams with Vache on “Put it There, Pal” and a tender rendition of “Thanks For The Memory”, featuring guitarist Russell Malone. Her other recordings reveal her as an astute record producer, featuring the great Frank Wess on tenor sax, Renee Rosnes, piano, Todd Coolman bass, Billy Drummond, drums, and Howard Alden, guitar. They also demonstrate the timelessness of the songs that she chooses to record and her heartfelt storytelling. Although York has been performing since 1980, her recording career did not come about overnight. Her early influences include singer/guitarist Frank D’Rone and the great June Christy’s “Something Cool” album. She left Chicago in the early 70s to major in political science at American University in Washington, DC and opened a restaurant, The Back Porch Cafe in Rehoboth Beach, Delaware in 1974, which is still thriving. She spent most of the 80s and early 90s in New York where she was featured vocalist with Swing Street, an eight-piece big band, and was coached by the great Abbey Lincoln, and enjoyed a short stint as production assistant on Saturday Night Live. In 1999, her debut album Blue Gardenia was released on the Southport label. This was followed in 2004 by her breakthrough recording Sunday in New York, a Blujazz release that boasted Renee Rosnes on piano and Count Basie alumni Frank Wess on tenor sax. The album received an abundance of rave reviews including 4 stars in DownBeat magazine. In JazzTimes, Christopher Loudon described Sunday in New York as "a delectable all-standards program" and praised York's "tremendous Anita O'Day appeal" as well as her "bravura dexterity." Jazz Review's John Gilbert called York "a master vocalist with a deep well of talent at her disposal," and in All About Jazz, Dr. Judith Schlesinger asserted: "York is relaxed, subtle, and infinitely tender, especially on the ballads... you can hear the smile in her voice." Sunday in New York’s liner notes were by the renowned Chicago-based jazz critic and radio personality, Neil Tesser, who wrote: "York finds the complicated emotional center of a lyric and sets it out with disarming simplicity." Libby’s recording career demonstrates that she a storyteller, singer, bandleader, record producer and label owner. "Sometimes," York asserts, "being both the producer and the vocalist is very challenging, to say the least, but I like overseeing the sound, how we present these classic American Songbook gems. The music, and the audience, deserve no less.” She currently spends her time in Chicago, New York, Paris, Key West and looks forward to California appearances in 2017. Website | Facebook | Twitter | Instagram Publicity: Ann Braithwaite (781) 259-9600 [email protected] Online distribution & radio promotion: Groov Marketing 503-286-0006 [email protected] Roni Ben-Hur Bio “A limber and inventive guitarist, Ben-Hur keeps the modernist flame alive and pure, with a low flame burning in every note — Gary Giddins, The Village Voice An esteemed, redoubtably swinging guitarist on the New York City jazz scene for the past 35 years, Roni Ben-Hur has been immersed in the music of Charlie Parker, Dizzy Gillespie, Bud Powell and Thelonious Monk since arriving in the Big Apple from Israel in 1985. A protege of bebop piano legend, educator and 1989 NEA Jazz Master Barry Harris, Ben-Hur earned his reputation on the strength of such superb recordings as 1995’s Backyard (with the Barry Harris Trio), 1998’s Sofia’s Butterfly and 2001’s Anna’s Dance (which reunited him with his mentor Harris). A multi-directional player, Ben-Hur has also revealed a strong affinity for Brazilian music on his 2005 album Signature, 2007’s Keepin’ It Open, 2009’s Fortuna and 2011’s Mojave. His 2015 album Alegria De Viver was a collection of intimate duets with legendary Brazilian singer Leny Andrade, once described as “the Sarah Vaughan of bossa nova.” Ben-Hue’s longstanding fascination with Brazilian music now comes to full fruition on his latest recording, 2020’s Samba Do Arraia. Recorded in Sao Paolo, this quartet project, which he co-led with drummer Percio Sepia, features the great Andrade guesting on four tracks. Said the guitarist about his twin passions for bebop and bossa nova: “My affinity for jazz and Brazilian music has to do with my roots being North African. With my family coming from Tunisia, I felt very at home with those rhythms since both the Brazilian and jazz rhythms come from Africa. It all just feels very natural to me.” While Roni continues to embrace the music of Brazil, he also remains steadfastly committed to straight ahead jazz. It’s become one of his enduring signatures over the past four decades. “That swing feeling…you can’t beat that,” he enthusiastically affirmed. “And I was very lucky when I started my career here in New York to be around Barry Harris and all these people around him who just loved that feel. And when you play for that audience, you can sense when the beat is right. You can see that in how they move their head and their body. It’s very authentic, very uplifting, really. You get a shot of energy coming through you when that swing beat comes.” Ben-Hur’s long journey began in a small, provincial desert town in Israel called Dimona, where he was born on July 9, 1962. His family had emigrated to Israel from Tunisia in 1955 during the rebellion against the French colonialists. In 1972, at the age of 10, his surname of Bohobza was legally changed to Ben-Hur. At age 11, he began taking guitar lessons in Dimona and later copied tunes off records by Leonard Cohen, The Beatles, Led Zeppelin and Pink Floyd. He first heard jazz in 11th grade when a friend turned him on to albums by The Crusaders and Chick Corea. “That crossover sound was the start for me,” he said. By age 17, Roni began taking lessons with jazz guitarist Carl Abramovich, generally regarded as the best player in Israel in 1979. “He introduced me to Wes Montgomery, Jim Hall and Joe Pass, and he helped me get started in learning the language of jazz.” Ben-Hur began working in wedding and bar mitzvah bands, which gave him a well-rounded musical background. “We had to play Moroccan music, Yeminite music, Georgian music, Polish music…whatever the ethnicity of the families in that event, we played it.” Between gigging and working as a waiter in Jaffa, Roni had saved up enough money for a flight to New York. He arrived in the Big Apple in 1985 at the age of 22 and soon began hanging out four nights a week at Barry Harris’ Jazz Cultural Theatre in the Chelsea section of Manhattan, where his jazz education deepened. “Barry has an incredible amount knowledge and he is very articulate in conveying that information. Even when he talks about very complex concepts and things that will take you years to digest, it makes sense right away.” After the Jazz Cultural Theatre closed in 1987, Ben-Hur became part of an inner circle of musicians who continued taking classes with Harris’ at his Weehawken home. He played his first gig with Harris in 1991 and in 2002 recorded Live in New York with his bebop mentor. During this time, Roni also worked with such straight ahead elders as saxophonists Cecil Payne and Charles Davis, bassist Walter Booker and drummer Leroy Williams. “My transition of coming to New York and learning jazz and being associated with all these people who are connected to the source of this music required me to adapt and learn a new musical language,” he said. “But there always was a strain of who I am and where I came from in my music. And now I'm more open to ways that I can combine these elements, where I can insert my own roots into the language of jazz and not feel that I'm speaking two languages at the same time.” A dedicated educator, Ben-Hur is also founding director of the jazz program at the Lucy Moses School at the Kaufman Center in Manhattan, which he established in 1994. Through his ambitious outreach programs — his RBH jazz camps, which take place in Vermont during the summer and in the South of France in the spring and fall, and his popular online workshops and masterclasses (https://www.mymusicmasterclass.com/artist/artists/roni-ben-hur) — Roni has continued to pass on the invaluable lessons learned from his mentor Barry Harris to a new generation of aspiring jazz musicians. Harvie S is an award-winning bassist, educator, composer, arranger, and producer whose artistry has continually expanded the expressive possibilities of the bass. Throughout his remarkable career, he has challenged both himself and his peers, pushing the boundaries of contemporary jazz while maintaining a deeply personal musical voice. His latest release, Bright Dawn (Origin Records), has received international acclaim and rave reviews, further solidifying his reputation as one of today's most creative and lyrical bassists. His acclaimed duo recording with guitarist Sheryl Bailey, Departure (Whaling City Sound), was selected as DownBeat's Editorial Pick in August 2017 and received outstanding reviews for its intimate and adventurous interplay. His recording New York Notes, featuring the Alan Broadbent Trio (HighNote/Savant), remained on the JazzWeek national radio charts for 19 weeks. A legendary figure in jazz, Harvie S has performed and recorded with many of the music's greatest artists, including Stan Getz, Chet Baker, Dexter Gordon, Tony Bennett, Ray Barretto, Michael Brecker, Jean-Pierre Rampal, Paquito D'Rivera, Gil Evans, Art Farmer, Mark Turner, Jim Hall, Stefon Harris, Billy Hart, Lee Konitz, Yusef Lateef, Dave Liebman, Joe Lovano, Pat Metheny, Paul Motian, Chico O'Farrill, Danilo Pérez, Maria Schneider, Zoot Sims, Toots Thielemans, Ray Vega, James Williams, Phil Woods, Louie Bellson, and countless others. His extensive discography includes 20 albums as a leader, 15 as a co-leader, and more than 400 recordings as a sideman, collaborating with artists such as James Brown, Chick Corea, Kenny Barron, Tom Harrell, Sheila Jordan, Steve Kuhn, Pat Martino, Alan Broadbent, Wycliffe Gordon, David Matthews, Virginia Mayhew, James Weidman, Eddie Henderson, James Moody, Anat Cohen, Jack Wilkins, Mike Stern, John Scofield, Billy Taylor, and Grover Washington Jr., among many others. His celebrated duo recording with the legendary Sheila Jordan, Yesterdays (HighNote Records), was named one of JazzTimes' 100 Best Recordings of 2012. A previously unreleased live performance by the Sheila Jordan–Harvie S Duo, recorded in Québec in 1983, is scheduled for release in November. n 2013, Witchcraft, featuring jazz master Kenny Barron, reached No. 1 on the JazzWeek national radio charts. The recording followed their acclaimed 2009 duo album Now Was the Time, also released on HighNote/Savant. Harvie S was selected as a United States Jazz Ambassador, touring throughout Europe and Southeast Asia. He has appeared on NPR's All Things Considered and Fresh Air, and his career is documented in Leonard Feather's Encyclopedia of Jazz, The New Grove Dictionary of Jazz, and the AllMusic Guide. He also composed the musical themes for the documentaries The Trumpet Kings, The Piano Legends, and John Coltrane. His work has been featured in numerous international publications, including The New York Times, USA Today, DownBeat, JazzTimes, All About Jazz, Jazziz, The Japan Times, The Los Angeles Times, The New York Post, Daily News, Cadence, Jazz Improv, Coda (Canada), Swing Journal (Japan), Jazz Life (Japan), Jazz Forum (Poland), Jazz Hot (France), Jazz Podium (Germany), Jazz-it (Italy), and Hot House. Harvie S has appeared at many of the world's premier jazz venues and festivals, including the Blue Note, Iridium, the Kennedy Center, the Montreal Jazz Festival, Monterey Jazz Festival, Detroit Jazz Festival, Berlin Jazz Festival, Molde Jazz Festival, Moscow Jazz Festival, JVC Jazz Festival, and countless concert halls and festivals throughout North America, Europe, Asia, and beyond. Recognized worldwide for his lyrical sound, masterful technique, and fearless musical imagination, Harvie S continues to inspire audiences, fellow musicians, and students through his performances, recordings, compositions, and educational work. some quotes of Bright Dawn Harvie S—Bright Dawn (Origin). Bassist Harvie S sent along what has to be one of his finest album to date, and that’s saying something given his prolific recording schedule. The quartet features Harvie S (b), Peter Bernstein (g), Miki Hayama (p,Fender Rhodes) and Matt Wilson (d). Recorded in 2024, the album is in the pocket. Eight of the 10 tracks are Harvie originals, and all swing and sting. Harvie sounds fantastic, Peter’s guitar is happening, Miki’s piano is strong and beautiful, and Matt’s drums keep it all together. Marc Meyers Jazz Wax March 28, 2026 Bright Dawn is the latest winner in an incredibly deep discography—one including more than 20 previous leader dates, roughly the same amount as a co-leader, and hundreds of credits as a sideman—and it’s a clear evidentiary statement acknowledging a musical force of nature and constant: Harvie S is the radiant sun, steadily lighting the way at each new day. Dan Bilawsky "An imaginative, harmonic and rich effort, Harvie and company make every tune worth repeated listens." Take effect Few bassists in contemporary jazz combine diplomatic stature, compositional ambition and melodic authority as convincingly as Harvie S....From its opening moments, the record establishes a language that is both contemporary and grounded in tradition. The melodic lines are expansive but never indulgent; rhythmic structures shift subtly, sometimes stretching across bar lines, sometimes tightening into sharply defined pulses. What distinguishes the writing is not complexity for its own sake,"but architectural control. Themes unfold patiently, then fracture into improvisational dialogue before reassembling with quiet inevitability. The solo bass passages throughout the album are among its most arresting moments. In these spaces, Harvie S demonstrates a rare ability to balance technical command with narrative clarity. ....This is not merely a display of mastery. It is a reminder that jazz, at its most vital, is both story and structure ,emotion shaped by design. And here, Harvie S shapes both with unflinching precision and quiet authority. MUSIC REVIEW BY THIERRY DE CLEMENSAT, PARIS-MOVE 5 Stars "Bright Dawn" is an album that convinces through its naturalness and solidity - a work that surprises without striving for innovation at all costs, instead reaffirming, with intelligence and taste, the enduring vitality of contemporary jazz. With "Bright Dawn", he confidently reasserts his identity as a bandleader, composer and outstanding instrumentalist. The album is marked by a notable variety of musical settings, all held together by a clear and coherent vision that never feels unfocused. From the very first bars, Harvie S's technical command is evident - he moves effortlessly between fast pizzicato passages and arco playing, while remaining an impeccable accompanist throughout. MUSIC REVIEW BY FRANCESCO SPEZIA, UK JAZZ Bassist extraordinaire Harvie S does some delightful interplay with his adroit team Peter Bernstein/g, Miki Hayama/p and Matt Wilson/dr on this collection of mostly originals........A luminous bright dawn. MUSIC REVIEW BY GEORGE W HARRIS, JAZZ WEEKLY He is also one of the most respected and sought after bass voices in the jazz music arena......... Every arrangement and every song included in this project is beautifully played and spotlights Harvie S as a masterful bassist and engaging composer. It brought joy to my listening room. MUSIC REVIEW BY DEE DEE MCNEIL, MAKING A SCENE His new album, Bright Dawn, has Harvie leading a quartet, including guitarist Peter Bernstein, pianist Miki Hayama and drummer Matt Wilson. You hear a reflection of Harvie's time in Cuba, a reimagination of a Bob Dorough classic, a Chick Corea nugget, alongside some originals, guaranteed to delight. WBGO I have long admired bassist Harvie S......A long time professor of jazz bass and ensembles at the Manhattan School of Music he has a big phat sound that makes you feel as if you have arrived home..... Chick Corea’s ‘Humpty Dumpty’ is interpreted on Bright Dawn. Harvie S’s version is both exuberant and vital.....it will put a smile on your face and make you understand the bass role in a group setting Marlbank