$10 in advance
$12 at the door
With a singular voice on the trumpet and flugelhorn, John Raymond is making his mark as one of the most promising, up-and-coming jazz musicians in the world. Dubbed as a Rising Star by Downbeat Magazine, John has performed with musicians such as Billy Hart, Kurt Rosenwinkel, Orrin Evans, Linda Oh, Dan Tepfer and Gilad Hekselman among others.
He has released four albums since 2012, all of which receiving critical acclaim from the New York Times, Stereogum, Downbeat, JazzTimes and more. John has also established himself as a sought-after educator, both as the recently-hired Professor of Jazz Trumpet at Indiana University and as a guest clinician and soloist at schools around the world.
Electrifyingly new and strangely familiar at the same time. With his mix of modern sounds and old-fashioned feeling, Raymond is steering jazz in the right direction
He has also been a featured artist at the FONT Festival and NYC Winter Jazz Fest, has been interviewed by The Gospel Coalition and WBGO “The Checkout,” and was a recipient of the 2015 ASCAP Herb Alpert Young Jazz Composer Award. John has also established himself as a sought after educator around the world, and is currently the Professor of Jazz Trumpet at Indiana University in Bloomington, IN.
In addition, John is an active guest clinician & soloist at schools around the country such as the University of North Texas, Oberlin College, the Brubeck Institutue, New Trier High School, and Lawrence University among others. John has also presented at the Jazz Education Network national conference, and his two-part article “Developing the Entrepreneurial Mind: Teaching Students How To Bloom Where They’re Planted” was also recently published by JAZZed magazine.
When I think about playing with this band, and the band itself, it feels very authentic to who I am, and it feels very real. It helps that it’s a trio, because a trio can function in a different capacity than a larger group. It’s smaller, more intimate. There’s a different sense of communication going on. I feel like when we play for audiences, that’s a huge selling point. People come away saying, “Wow, we can really connect to this band.” A lot of people have told me they don’t really like jazz, but they love this band.
Click HERE to visit the performers website
Click HERE to visit the performers website
Review from JAZZ TIMES:
John Raymond & Real Feels: Real Feels; Live, Vol. 1 (Shifting Paradigm)
John Raymond & Real Feels: "Live, Vol. 1"
John Raymond’s Foreign Territory was one of the most impressive records of 2015, for its articulation of creativity within the bounds of tradition. Where that disc was composed mostly of originals often inspired by classic songs, Real Feels investigates classics through sly deconstruction and unabashed emotion.
Raymond is a trumpeter of bright clarity and subtle panache. His shift to flugelhorn for all nine songs on the debut of the Real Feels trio highlights both of those attributes, yet hearing the flugelhorn on the depression-era gospel rave-up “I’ll Fly Away” (complete with handclaps) or the gymnastic bop standard “Donna Lee” puts a distinctive tweak on the proceedings. His solo prelude to “Amazing Grace” is an especially charming example of his understated prowess, a succinct yet seamlessly retailored harbinger of the famous hymn.
The auspicious trio includes drummer Colin Stranahan and guitarist Gilad Hekselman, the latter of whom was on Raymond’s debut disc, Strength & Song, and provides harmonic ingenuity here much as pianist Dan Tepfer did on Foreign Territory. The song choices are idiosyncratic. Hekselman gets rock-star fuzzy and gritty on Dave Holland’s tribute to Charles Mingus, “Blues for C.M.,” which appears right after a gentle tossing of the traditional folk ballad “Scarborough Fair.” Radiohead leader Thom Yorke’s compassionate “Atoms for Peace” is given a stronger, sunnier treatment than the original. And the deconstruction of Woody Guthrie’s populist anthem “This Land Is Your Land” opens itself to all sorts of political speculation.
The live album repeats material from the debut on four of its six tracks but at nearly double the length, a stretched canvas mostly allotted to deeper solos and more ethereal effects. (The other two new songs are “Yesterday,” a Beatles swap with “Blackbird” from the studio disc, and the closing “Minor Silverstein,” by Raymond’s former Twin Cities cohort, bassist Chris Morrissey.)
In the end, as with Foreign Territory, Real Feels is about Raymond finding himself anew in the music. The concentrated joy and dedication of his scholarship is loosened by his open-hearted approach to the material. Live, Vol. 1 demonstrates that time together has enabled Hekselman and Stranahan to better absorb Raymond’s cue of contemplative immersion, and to find their own innovative ways to wield the trio’s unique instrumentation.