Chip Shelton

Artist Information

Biography

CHIP SHELTON

With incredible talent and perseverance, Chip Shelton has earned an undisputed reputation as one of the most renowned flutists in the world of jazz. And in recent years he has established himself as a formidable saxophonist as well.

The flute, with its high-pitched tone, didn’t start out as a swinging jazz instrument until Frank Wess (a Shelton Mentor) first popularized it as a member of Count Basie’s Big Band. He set the standard for such noted flutists as Yusef Lateef, Herbie Mann, Charles Lloyd, and Hubert Laws that further propelled the instrument into the jazz spotlight.

What separates Shelton from his legendary predecessors is his ability as a multi-instrumentalist. He utilizes the entire flute family from the tiny piccolo, Bb flute, concert flute in C, alto flute, bass flute, (the five-foot) contra-bass flute to the end-blown flute (custom fitted so it can be played in a saxophone position), and ethnic wood flutes.

“These instruments are more difficult to play, but I’m willing to work harder to produce these different sounds that people don’t ordinarily hear,” says Shelton. “Since many of these instruments aren’t seen regularly on stage they are real conversation pieces.” Shelton’s varied arsenal also includes percussion, keyboards, the unique saxophones C-tenor, and C-soprano; as well as the standard Tenor, Alto, & Soprano saxes.

While most musicians manage to release an album every two years or more, the industrious Shelton may be the only artist who, who in recent years, releases an album every year, alternating between studio and live recordings. The live recordings are part of a series called “Have Flute Will Travel.” Like James Brown, he is the hardest working man in show business touring before and after every project. You can credit him for his eagerness to share his music with the world and Summit Records, who released his last five albums, for sharing his unique concept.

Shelton has had an impressive eight releases to date. Beginning with “A Labor Of Love” (Rise Up Records, 1995) which was recorded live at New York City’s Five Spot jazz club, and received shining reviews. A critic for Jazz Times wrote, “Shelton pushes Eddie Harris’ ‘Listen Here’ with touches of vocal sounds blending with his instrument.”

Shelton’s work is an expanding jazz tapestry that drives his musical concepts while expounding on his musicianship. “Since that first CD, my music is less classically based and my improvisational construction is more open,” says Shelton. “I’m coming more from the soul as opposed to playing structure. What I’m about now shines more.”

Shelton’s “shine” has always been apparent to his listening audiences. His live CDs, (the aforementioned “Have Flute Will Travel,” series) demonstrate his dynamic live performances. On the first of the series, “Stop 1 Berlin,” Shelton and his band which includes a combination of expatriates (mostly American) and native Berlin musicians, come hard. The quartet is swinging on 10 cylinders. Everyone is mean on this one from the opening cut “Well You Needn’t” (Thelonious Monk). All seven tracks are real barn burners as Shelton swings high above the flames on his end-blown concert flute.

On “Cape May Jazz Festival Stop 2,” (2 CD set) Shelton introduces another concept to the “Have Flute Will Travel” series: his working band PeaceTime that infuses a soulful stride. On the tune “Imprints,” a swinging subtle romp (penned by Shelton) he displays his talent on soprano saxophone. On Sonny Rollins’ “St. Thomas,” Shelton returns to flute while giving his band room to walk, as he belts out hip flute riffs that flow like a warm Caribbean breeze. 4 ½ stars says All Music Guide

Regardless of Shelton’s repertoire of reggae, funk or straight ahead jazz penned by such notables as John Coltrane, Freddie Hubbard, or Pharoah Sanders, he always leaves his fans and new listeners wanting more. On his latest CD, “Imbued With Memories,” Shelton makes full use of PeaceTime to showcase his skills as a composer, contributing six of the 10 tracks as he makes an impressive appearance (his third) on saxophones. “My musical options opened up when I started playing sax again,” says Shelton.

Shelton always wanted to be involved in music but he graduated from Howard University’s School of Dentistry, as a back-up. While still a freshman at Howard in Washington, DC, Shelton was on a mission for a $35 saxophone. Unfortunately, his sax budget was too small but the owner of Baltimore’s North Avenue Pawn Shop convinced him to buy a nice flute.

In the beginning, Shelton played by ear, then in 1988-90, he studied with John Purcell privately, and at the Manhattan School of Music, as a Jazz Flute major. Following his departure from the School of Music, he studied classical technique with Julius Baker, “the Dean of American flutists.” He also studied musicianship with Dr. Helen Hobbs Jordan. Shelton received additional mentorship at Jazzmobile, Inc. mainly from masters like Jimmy Heath and Frank Foster, and with Bill Barron at The Muse, in Brooklyn, in an effort to learn everything he could about jazz.

With confidence to test his chops in front of a tough New York City audience, Shelton hit the local club scene performing at the Cellar, Birdland, the Five Spot, and other clubs.

“The music has a life of its own and I just follow the muse,” said Shelton.

Ron Scott, 7/30/08

Instrumentation

Chip Shelton- Flute, Sax, Vocal, Percussion. Noriko Kamo- Organ. Greg Bufford- Drums.
Alternates:
Roy Meriwether, Jon Davis, Mala Waldron, or Onaje Allan Gumbs- Piano
George Gray, Dwayne Cook Broadnax, Tony Jefferson, Sylvia Cuenca, Victor Jones, or Alvester Garnett- Drums.
Nate Shaw, Jon Davis, or Doug Carn- Organ.
Miriam Sullivan, Tom Charlap, Marcus McLaurine, Santi Debreano, Belden Bullock, or Nicki Parrott- Bass
Lou Volpe, Rodney Jones, Ryo Kawasaki, or Robert Mwamba- Guitar. Steve Kroon, Daud David Williams, or Guillerme Franco - Percussion. Okaru Lovelace, Jann Parker, or David Paterson- Vocals.

Discography

"Imbued With Memories", on Summit Records. Street date May 13, 2008. Grammy-considered, fall 2008. http://www.summitrecords.com/product.tmpl?SKU=515

"Have Flute Will Travel- Stop 2, Cape May Jazz Fesival", featuring Doug Carn, on Summit Records. Streaming audio at http://www.summitrecords.com/product.tmpl?SKU=482

"Peacetime", featuring Roy Meriwether, on Summit Records. Streaming audio at: http://www.chipshelton.com/

"Have Flute Will Travel, Stop 1-Berlin", on Summit Records, streaming audio at http://www.amazon.com/exec/obidos/tg/detail/-/B00062IELE/qid=1106926034/sr=1-5/ref=sr_1_5/102-6840053-6012133?v=glance&s=music

"Flute Bass-ics", feat. Ron Carter, on Summit Records, streaming audio at http://www.summitrecords.com/product.tmpl?SKU=329

"More What Flutes 4", featuring Roy Meriwether, on Satellites Records, streaming audio at http://www.satellitesrecords.com/gate.htm

"3 Flutes Up", on Satellites Records, streaming audio at http://www.satellitesrecords.com/gate.htm

"A Labor of Love", on RUP Records

Links

• Facebook
• MySpace
• Chip Shelton Website
• You Tube Video
• You Tube Video
• Summit Records
• The Jazz Network

Audio

• Imbued With Memories
  Listen  
• The Shadow of Lo
  Listen  
• Man In The Green Shirt
  Listen  
• Cobi's Place
  Listen  
• Nukes May They Rust In Peace
  Listen  
• Peace Reprise
  Listen  
• FluteThing
  Listen  
• MLK
  Listen  
• BlueChip [Duet with Ron Carter]
  Listen  
• MrMagic
  Listen  

Lyrics

• Nukes May They Rust In Peace
• MLK

Video

ChipSheltonVideoSampler

Photo Gallery

Press

• Have Flute Will Travel: July 29, 2011 [+ Show ]
  

  Have Flute Will Travel Rick Gee’s Jazz Jamm St. Petersburg, Florida Weekly Challenger: Chip Shelto...Have Flute Will Travel
  Rick Gee’s Jazz Jamm
  St. Petersburg, Florida Weekly Challenger: Chip Shelton Performance July 29, 2011
  Flautist/Saxophonist Chip Shelton had his flute; and true to his word, he traveled to St Petersburg from the Big Apple (NYC). This was his very first appearance in our town, and we at Rick Gee’s Jazz Jamm were extremely excited to have him here. We welcomed him with open arms.
  On Friday, July 29, Shelton performed in concert as the featured musician at the Renaissance Vinoy Resort & Golf Club in St. Pete. Providing support for this very talented jazz musician were local jazz musicians, The Tom Hamilton Trio, with Hamilton on bass, Ben Winkler on keyboards and Glenn Bush on drums. An added treat was a special guest conga player Andrew Maldonado, leader of the Latin Jazz Band, “Latin Roots”. With highly skilled jazz musicians such as these gentlemen, you can imagine how “hot” it was in the Plaza Ballroom that night.
  With Shelton on soprano sax the Hamilton Trio opened the first set with the Bossa “Little Sunflower.” Shelton demonstrated his musical talents by playing not only soprano and alto sax, but flute and piccolo also. Some of the tunes that followed were “Straight, No Chaser”, “Footprints,” “Lady Bird,” and ‘Wave.” In the second set the musicians worked on some favorite jazz standards, including... “Joy Spring,” “Caravan,” “St Thomas,” “Days of Wine and Roses,” “Confirmation,” “Take the ‘A’ Train,” and “Memphis Underground”.
  Shelton also took requests from the audience and played “Stella by Starlight,” and “Misty”. On “Misty” Shelton wowed the audience by playing the tune on piccolo. Several tunes later; the group allowed yours truly to sit-in, and I played “I Remember Clifford” and “Coming Home, Baby.”
  Fellow New York jazz musicians consider Shelton to be one of the hardest working men in show business. Shelton’s “shine” has always been apparent to his listening audiences as well. His live CDs, released annually, demonstrate his dynamic live performances. His live recordings are part of a series called “Have Flute Will Travel.
  Shelton swings high above the flames on his end-blown concert flute. Regardless of his repertoire of reggae. funk or straight ahead jazz penned by such notables as John Coltrane, Freddie Hubbard or Pharoah Sanders, he always leaves his fans and new listeners wanting more.
  Although Shelton always wanted to be involved in music, he graduated from Howard University’s School of Dentistry. as a back-up. In 1988-90, Shelton studied at the Manhattan School of Music, and with Julius Baker “the Dean of American flutists”, including studies with Dr. Helen Hobbs Jordan. In an effort to learn everything he could about jazz, Shelton was mentored at the Jazzmobile, Inc. by Jazz Masters such as Jimmy Heath and Frank Foster. You can check out his website at: www.chipshelton.com.
  Remember to ‘Keep Jazz Alive” by “Supporting Live Jazz!”
  Website: rickgeesjazzjamm.com Feed back: rickgeesjazzjamm.blogspot.com
  

• AMG Review of Imbued With Memories [+ Show ]
  

  Review by Scott Yanow Chip Shelton has long been a very talented and fluent flutist whose music st...Review by Scott Yanow
  Chip Shelton has long been a very talented and fluent flutist whose music straddles the boundary lines between straight-ahead jazz, soul-jazz and R&B. Imbued with Memories differs from most of his previous recordings in that the music was recorded in the studio rather than live in concert; it puts the emphasis on Shelton's regularly working group and, in addition to his playing on flute and piccolo, Shelton is also occasionally heard on a pair of his antique instruments: a tenor and a soprano sax, both of which are pitched to the key of C (rather than B flat). Otherwise, the music is typical of a Chip Shelton recording. It always grooves, even on "It Don't Mean a Thing." Among the more intriguing selections are a funky rendition of Joe Henderson's "Recordame," an R&B-ish vocal tribute (with Jann Parker) to Martin Luther King ("MLK"), and Shelton's mournful C-tenor on "Tsunami After-Prayer." Guitarist Lou Volpe takes honors among the supporting cast. Recommended to lovers of funky jazz.
  
  

• TwinsJazz, Wash.DC, June 17, 2008 [+ Show ]
  

  [Link to review with photos: http://www.soul-patrol.com/jazz/chipshelton.htm] Concert Review Chip...[Link to review with photos: http://www.soul-patrol.com/jazz/chipshelton.htm]
  
  Concert Review Chip Shelton/Peacetime @ Twins Jazz Club in Washington DC (5/17/2008)
  
  This past Saturday night at Chip Shelton's CD release party for his EIGHTH ALBUM, "Imbued With Memories" at Twins in Washington DC, was quite simply an amazing event, in front of a PACKED HOUSE FOR BOTH SETS. By the way, you can listen to Chip Shelton's New Release, "Imbued With Memories" (featuring the entire album + an interview with Chip) exclusively on Soul-Patrol.Net Radio at: http://www.soul-patrol.net/chip_memories.ram
  
  (and sometimes there is "elegance in simplicity")
  
  - It was a GREAT evening for Chip Shelton.
  - It was a GREAT evening for Twins Nightclub.
  - It was a GREAT evening for Jazz.
  - It was a GREAT evening for Black Music/Culture.
  
  And it all really did happen, on a warm spring night, right in the middle of America's ORIGINAL..."chocolate city"
  
  (the home of DUKE ELLINGTON)
  
  And I have no doubt that the "Duke" was looking down on us and smiling...
  
  First let me tell you about the music. Chip and his band were "on tha one" in more ways than one. They simply flat out SMOKED. Some jazz artists & fans traditionally have a problem in trying to classify things by musical styles. They get caught up into so much of a terminology game ("smooth jazz" vs. "straight no chaser" vs. "fusion", etc) that I think that sometimes they forget that the music is supposed to be fun. If I had to describe the type of music that Chip played last night I suppose that I would say that it was very "CTIesque". But for those of you who don't know or care what that term means, I will tell you that musically it was a whole lotta fun. Chip Shelton "channeled" Hubert Laws, Stanley Turrentine, Ronnie Laws, Herbie Mann, Louis Jordan, Eddie Harris and more during the show. One of the highlights for you Classic Soul fans was Chip's cover of Donny Hathaway's "Valdez in the Country" (taken from Chip's new album "Imbued With Memories.") Another highlight was the song "Cliff Notes" (also taken from Chips new album "Imbued With Memories) a very funky cut inspired by the artistry of the legendary Clifford Brown.
  
  Longtime Soul-Patroller and longtime Washington DC area radio personality "Dr" Nick Johnson was the emcee for the evening. Nick can be heard worldwide via XM Satellite Radio daily as the host of "Soul Street" every morning. "Dr" Nick is someone that I have known for a long time and I was honored to have him introduce me to the crowd. When he did so the entire room greeted me with warm and enthusiastic applause. Did my ego a whole lot of good, but more importantly that told me that the that the online promotion for the show had been effective. Twins Nightclub (www.twinsjazz.com) was full for both sets. It was a classic jazz club type of setting, with a twist. They had a menu of fantastic Ethiopian food that my family of picky eaters thought was off the chain.
  
  The crowd was 99 & 44/100 percent Black. That certainly wasn't by design, but I thought that it was most interesting, since the racial mix at most jazz clubs that I have been at over the past few decades has been overwhelmingly white. That's not a bad thing, but it always causes me to wonder just why it seems that Black folks seemed to have abandoned jazz? I don't pretend to have the answer to that question, however I do think that it's worth pointing out that the presence of BOTH the hosts of "Soul Street" and "Soul-Patrol.com" in the house says volumes about the "soulfulness" at the heart of Chip Shelton's music. Thinking about the "CTIesque" nature of the music, the "Saturday night fish fry 99 & 44/100 percent Black crowd, the "chocolate city" location it all had a "Grover Washington Jr." type of vibe, that left me smiling.
  
  On a personal note...
  In addition to "Mrs. Earthjuice", I brought my daughter 15 year old daughter Rachel. Soul-Patrol's Greer Muldoon brought her 15 year old son Tyler. For both of these two young people it was their first time ever at a jazz club.
  
  Some of yall will remember meeting Tyler at the 2004 Soul-Patrol Convention and seeing just how excited he was at seeing a live band
  (RioSoul) perform for the first time in his life and how excited he was to have been a part of Badal Roy's Tabla Drumming workshop.
  
  And of course as you all know, Rachel runs hot & cold with this kind of stuff. Nevertheless both got quite a bit out of being there to hear the music, meet the musicians and more. The club was packed for both sets and both Tyler and Rachel hung in there for most of the three hours of live jazz. They both got to meet the musicians as well as many of the folks in the club.
  
  Does this mean they will become lifetime fans of jazz? http://www.chipshelton.com
  
  (I dunno)
  
  But I'll bet they will never forget last sauturday night as long as they live. And they both will always know, just what it's like to see/hear LIVE JAZZ done in a classic setting surrounded by
  a whole bunch of people simply enjoying themselves, as they groove to some GREAT MUSIC.
  
  They will know what it's supposed to be like. And to me that is worth all of the money in the world. How's that for ..."putting skin in the game..."
  
  The last song of the first set was a Chip Shelton original called "Chip's Blues". The song is a "jump blues" (think Big Joe Turner/Louis Jordan) that Chip had the entire audience "tappin", "clappin" and "rappin" to. Both Tyler and Rachel were "tappin", "clappin" and "rappin" right along with the rest of the packed nightclub filled with "grown folks" 30 to 50 years older than they were.
  
  Overall, this show was just about "as good as it gets", because Tyler & Rachel were there. But also for several other reasons as well.
  
  As I observed all of this Duke Ellington's famous line, flashed thru my head:
  
  "There are only two types of music.....GOOD AND BAD"
  
  I thought about the irony of this show being in Duke Ellington's hometown of Washington DC. One of the songs that Chip Shelton played was a cover version of Duke Ellington's "It Don't Mean a Thing (If It Ain't Got That Swing)."
  
  I had a great big smile on my face, thinking about just what the future of Jazz might just sound like in the hands of artists like Chip Shelton. It might just sound like a whole lotta multi generational fun, filled with lots of "good music" (to quote "the Duke"), with a crowd of smiling faces in my opinion. To this "1970's old head" that sounds a whole lot like that late/great record company called CTI which was able to successfully bridge the "terminology gap" in Jazz and bring an entire new generation of listeners (like me) to the genre in a way that connected the listeners of the past, present and future.
  
  I'll leave the answers to the hard questions about jazz to the "experts." But I have no problems answering the easy ones. If you want to go out and listen to some great music, played by virtuoso musicians and have a whole lotta fun at the same time, be sure to go and check out Chip Shelton/Peacetime, when they come to your city.
  And if you can't check him out live, check out his website online at: http://www.chipshelton.com
  
  There is a good reason why Chip Shelton is one of the core artists of Soul-Patrol.com. There is indeed a "message in the music."
  
  Listen to Chip Shelton's New Release, "Imbued With Memories" exclusively on Soul-Patrol.Net Radio at: http://www.soul-patrol.net/chip_memories.ram
  
  --Bob Davis
  

• "4 1/2 Stars": AMG Review of Cape May Live CD [+ Show ]
  

  Review by Ken Dryden Multi-reed player Chip Shelton is in top form throughout this concert recordi...Review by Ken Dryden
  Multi-reed player Chip Shelton is in top form throughout this concert recording, producing two entire discs from one single evening. Well accompanied by organist Doug Carn, guitarist Lou Volpe, and drummer Sipho Kunene, Shelton starts the gig with "Imprints," a deliberately obvious reworking of Wayne Shorter's "Footprints" that takes on a life of its own with the leader's strong soprano sax. The percolating take of "St. Thomas" finds him switching to piccolo and featuring Carn and Volpe extensively. Shelton plays flute in a funky medley of "All Blues" and "Well, You Needn't." The second disc takes on a breezier vibe, starting with Volpe's "Astral Island." With the leader back on flute, "On Green Dolphin Street" is recast with a reggae rhythm, avoiding the typical settings of this warhorse and giving the piece a new lease on life. Shelton's lyrical flute in "Body and Soul" is an obvious highlight, while the humorous, extended workout of "Comin' Home Baby" leaves his audience wanting more, the way it should be. Highly recommended.
  
  

• Premier Sunday, XM Satellite Radio [+ Show ]
  

  PREMIER SUNDAY on Beyond Jazz…XM 72 ...as we present another Premier Sunday on Beyond Jazz. ...we’...PREMIER SUNDAY on Beyond Jazz…XM 72
  ...as we present another Premier Sunday on Beyond Jazz. ...we’re happy to turn you on to more new music from some of the newcomers to Beyond Jazz… with a master of saxes and flute, and a fine writer too, Chip Shelton, joined by a great group of New York area players on his new CD titled “Peacetime.”…
  
  Listen for cuts from this cool, new release beginning at 10 PM Eastern/7 PM Pacific, right after our new show THE MOJA REPORT with MARK RUFFIN on another Premier Sunday…part of The Sunday Specials, from XM 72, Beyond Jazz.
  
  Russ Davis
  Program Director
  Beyond Jazz
  (((XM))) Satellite Radio
  

• June 2007 Live Performances [+ Show ]
  

  ...this 2nd of a three part series of concert reviews celebrating the release of Chip Shelton's ..."......this 2nd of a three part series of concert reviews celebrating the release of Chip Shelton's ..."HAVE FLUTE WILL TRAVEL, STOP 2, CAPE MAY JAZZ FESTIVAL LIVE!"?
  ... part 1... Thursday, June 7, Cecil's Jazz Club & Restaurant, West Orange, NJ.
  ...part 2, FRIDAY NIGHT JAZZ @ THE FIREHOUSE, CEDAR PARK, 50TH & BALTIMORE AV.
  PHILADELPHIA, PA.
  I arrived at the venue, located not far from Clark Park, the scene of
  our recent Soul-Patrol Convention at around 7pm. Cedar Park however is
  as different from Clark Park as night & day. First of all Cedar Park is
  very small, it's what they used to call a "vest pocket park" composed of
  a small grass area & some swing sets, located at the "triangle" where
  two streets meet. The second part is that it's not in "University City",
  it's in "West Philadelphia" and those seven blocks make all of the
  difference in the world.
  
  Chip was on stage when I arrived, backed up by the same band (Doug Carn-
  Organ, Lou Volpe- Guitar, Sipho Kunene- Drums) that appear on his new
  album "HAVE FLUTE WILL TRAVEL, STOP 2, CAPE MAY JAZZ FESTIVAL LIVE!". A
  few of you may recall that we featured Chip's last album "Peacetime"
  here on Soul-Patrol.com last year. The new album is as different from
  the last one as "night & day". In a word "Peacetime" was
  "highbrow/experimental" and "Have Flute Will Travel, Stop 2, Cape May
  Jazz Festival Live!" is "lowbrow/funky."
  
  At the Soul-Patrol Convention we had quite a bit of heated discussion
  about the future of jazz and the challenge of engaging the modern day
  Black community in the music we call jazz.
  http://www.soul-patrol.net/2007jazz_panel.ram
  
  It seems to me that both Chip's new album and the concept of presenting
  live jazz on Friday nights in a small neighborhood park in West
  Philadelphia just might provide at least part of the answer.
  
  For those of you who like labels, this show would be described as
  "soul-jazz" of the type that we used to listen to back in the late
  1960's/early 1970's at back yard BBQ's, fish fry's, block parties and
  marathon bid whist games! It was all about artists like Herbie Mann and
  Freddie Hubbard. It was "jazz that you could dance to" and I saw people
  doing the bop & the lindy to the music of Chip Shelton on a mild Friday
  night on the corner of Baltimore & 50th street in West Philadelphia. It
  was "jazz that you could see" as the street scene not unlike that
  depicted on the cover of the great Miles Davis album "On the Corner"
  came to life "on the corner" of Baltimore & 50th street in West
  Philadelphia. It was "jazz that you could smell" as the aroma of BBQ &
  auto emissions freely mixed on the corner of Baltimore & 50th street in
  West Philadelphia. And lastly it was "jazz that you could hear" as the
  sounds of Chip Shelton- Flutes, Sax, Vocal, Percussion, Doug Carn-
  Organ, Lou Volpe- Guitar, Sipho Kunene- Drums freely mixed with the urban street sounds of the corner of Baltimore & 50th street in West Philadelphia... In short this was all great stuff and the overall environment in my opinion provides at least part of the answer to the questions raised about the "future of jazz" at the 2007 Soul-Patrol Convention. The music
  must return to it's roots as "popular music" amongst the people who"originated the music." And Chip Shelton's not just talking about it, he's actually doing it!
  
  Anyhow, tonight I'll be traveling to the "Village of Harlem" for part 3 of
  Soul-Patrol.com's coverage of the release of:
  "HAVE FLUTE WILL TRAVEL, STOP 2, CAPE MAY JAZZ FESTIVAL LIVE!"
  Featuring: Chip Shelton- Flutes, Sax, Vocal, Percussion, Doug Carn-
  Organ, Lou Volpe- Guitar, Sipho Kunene- Drums
  This time we will be at the legendary "Minton's Playhouse", the classic
  '30s Harlem jazz house that discovered legends like Charlie Parker,
  Miles Davis, Dizzy Gillespie and Thelonious Monk.
  
  Saturday, June 9, Minton's Playhouse, 208 W. 118th at St. Nicholas Av.
  
  ----------------------------------------
  Bob Davis
  ----------------------------------------
  www.soul-patrol.com
  SOUL-PATROL.NET RADIO
  ----------------------------------------
  Here is a link to additional reviews not listed here on sonicbids...
  http://www.chipshelton.com/reviews.htm

• Best of 2006 Award [+ Show ]
  

  Happy New Year, This is Bob Davis, owner of Soul-Patrol.com I wanted to wish you a happy new year ...Happy New Year,
  This is Bob Davis, owner of Soul-Patrol.com I wanted to wish you a happy new year and inform you of some good news. Your album Chip Shelton - "Peacetime" has been selected as one of “Soul-Patrol.com’s Best of 2006.” You can view your selection at the following url:http://www.soul-patrol.com/newsletter/2006/news12/best2006.html
  As you can see you are listed there along with a hypertext link to a review, an audio presentation, an eCommerce site or your homepage, where Soul-Patrol readers can get a taste of your accomplishment.
  
  We will be sending out a special email to all 44,000 Soul-Patrol Newsletter readers during the first week of January/2007 notifying them of all of the winners. We will also keep a link up to this awards page on every page of the Soul-Patrol.com website for the next 12 months (till we announce next year’s winners).
  ...we have been giving out this award for the past seven years to artists that we feel have gone above and beyond in creating high quality music that helps to advance the culture that Soul-Patrol.com represents.
  
  Congratulations on your selection for this award.
  
  As always we will be making presentations of these awards at the 2007 Soul-Patrol Convention which will be held this year in Philadelphia in May/2007, in conjunction with the Philadelphia Black Heritage Festival. Watch the Soul-Patrol Newsletter for more details about the 2007 Convention!
  
  ... have a happy New Year and continued success.
  
  Bob Davis
  
  CEO Soul-Patrol.com
  

• Jim Santella Review of Peacetime [+ Show ]
  

  Peacetime Chip Shelton | Summit Records By Jim Santella Flutist Chip Shelton likes variety...Peacetime
  Chip Shelton | Summit Records
  By Jim Santella
  
  Flutist Chip Shelton likes variety. His instruments are unique, and his musical programs always come with pleasant surprises. In addition to his arsenal of flutes from every musical register, he’s elected this time out to add soprano sax and several poignant vocals to the program.
  Shelton’s lyrical flute warbles like a songbird in the sunshine of a cool morning on Horace Silver’s “Peace” as Jann Parker interprets lyrics by Doug Carn. His soprano saxophone graces a hip arrangement of “I’ve Known Rivers” with sparkling colors. His alto flute can be found on his warm composition “Imprints,” which drives straightahead with a dramatic quality that recalls John Coltrane’s “Impressions.”
  Unlike the G alto flute, Shelton’s B-flat alto flute has a timbre nearly identical to the C concert flute. His contrabass flute, on the other hand, runs to the far end of the family’s tonal spectrum. This deep, dark, delicious and airy instrument can be heard briefly on “Down Home New York"...
  Shelton’s C flute remains his strong point throughout this, his third Summit release. Since the mid-1980s, he’s brought a credible approach to flute jazz that cannot be discounted. Combining this natural method of expression with a hearty desire to swing and groove, Shelton has met continued success.
  
  Visit Chip Shelton on the web.
  
  
  

• Cape May Jazz Festival: November 2005 [+ Show ]
  

  Cape May Jazz Festival: November 2005 By Sandy Ingham Having heard flutist Herbie Mann perf...Cape May Jazz Festival: November 2005
  By Sandy Ingham
  
  Having heard flutist Herbie Mann perform a number of times over his long career, culminating in his final performance at the New Orleans Jazz and Heritage Festival—while he was hooked up to oxygen—I was happy to learn that the Cape May (New Jersey) Jazz Festival was dedicating its Nov. 11-13 festival to his music.
  
  And this was no token tribute. Dave Valentin was the headliner Friday night at Convention Hall, playing with guitarist Larry Coryell and pianist Marc Soskin, two who went way back with Herbie. On the drums was Mann's son, Jeff.
  
  Saturday night, Hubert Laws and David “Fathead” Newman took over the big stage. And another flutist, Chip Shelton, held forth all night at one of the...festival venues in this picturesque seaside town...
  
  Chip Shelton's last set finished up my festival in fine fashion, Shelton and bandmates Lou Volpe on guitar and Doug Carn on organ revisiting the Herbie Mann songbook one more time.
  
  

• Flute Bass-ics Review [+ Show ]
  

  By C. Michael Bailey Herbie Mann is who I think of first when considering “jazz flute.” Then, I s...By C. Michael Bailey
  
  Herbie Mann is who I think of first when considering “jazz flute.” Then, I suppose, there are James Moody and Frank Wess. Chip Shelton is a new name to me and his recent recording, Flute Bass-ics , was previously reviewed at AAJ by the ever-capable Dan McClenaghan. This disc has languished at the bottom of my pile for consideration too long. It is a completely enjoyable outing that warranted serious attention.
  
  Mr. Shelton?s debut on Summit steps out of the jazz flute fray in two fundamental ways. First, it employs the current Ron Carter Quartet, and second, it features the multi-talented Shelton playing a variety of flutes and flute relatives. This type of music is reminiscent of early 1970s detective shows where the soundtrack is intended to infer a relaxed yet dangerous environment. Light and airy, the music never gets in the way and is not too damn hard to understand.
  
  Now, the songs... “Biko and Mandela” is a African pop vibe honoring those two South African heroes. Less is more on the single blues, “Blue Chip,” a strolling duet between Shelton and Carter. Tadd Dameron?s “The Scene is Clean” is waxed Latin with a heavy dose of bebop. The remaining standard, “I?ll Remember April,” is equally provocative and enjoyable.
  
  Visit Summit Records and Chip Shelton on the web.
  

• 3 Flutes Up Review [+ Show ]
  

  Featured Artist: Chip Shelton CD Title: 3 Flutes Up Year: 1999 Record Label: Satellites ...Featured Artist: Chip Shelton
  
  CD Title: 3 Flutes Up
  
  Year: 1999
  
  Record Label: Satellites Records
  
  Style: Contemporary Jazz
  
  Musicians: Chip Shelton (c-vertical, alto and bass flutes), Ryo Kawasaki (guitar), Onaje Allan Gumbs (piano), Tom McKenzie (bass), Greg Bufford (drums), Guilherme Franco (percussion), Daoud David Williams (percussion), Everald Brown (conga), George Grey (drums), Mike Parr (vocals), Donald Smith (piano/vocals)
  
  Review: Chip Shelton is a master on and of the flute. What a remarkable and creative individual he is with the flute. In a crazy world where people have an inner itch to give some artist "star ratings" when all that is truly necessary is to honestly say this is the way it is in words, Chip Shelton must have a star rating of 100 stars after his work! Shelton like most jazz creators are beyond the need for stars in their crowns because they have their music and their instruments! "3 Flutes Up" is a great CD, one where the performer gives full range and credit to the flute in all of its magical approaches!
  There are 15 selections on this CD, and each is memorable. Nat Adderley's "Work Song" is included, along with Yusef Lateef's "Live Humble," and the enduring "Swinging Shepherd Blues." Chip Shelton performs on c-vertical, alto and bass flutes, Ryo Kawasaki on guitar, Onaje Allan Gumbs on piano, Tom McKenzie on bass, Greg Bufford on drums, Guilherme Franco on percussion, Daoud David Williams on percussion, Everald Brown on conga, George Grey on drums, Mike Parr on vocals, and pianist Donald Smith who also does the vocal on "Live Humble." Chip Shelton also performs some of his own compositions. Shelton is a remarkable performer and master of the flute.
  
  This CD would make a fine gift for a friend and to have in the home library. The selection, "Transition," written by John Coltrane is another pleasant surprise, among many, on this excellent jazz CD. 100 stars!
  
  Tracks: 15 selections including Nat Adderley's "Work Song", Yusef Lateef's "Live Humble," and "Swinging Shepherd Blues."
  
  Reviewed by: Lee Prosser
  
  
  
  
  --------------------------------------------------------------------------------
  Copyright© 1999 JazzReview.com®. All Rights Reserved.
  

Setlist

1/3 Originals, covering most of the different Jazz feels, past to present.
1/3 Standards like "Sugar", "Half Nelson", "Joy Spring", "Little Sunflower", "Footprints", "Take The A Train", How High The Moon", many reharmonized and given fresh new treatment.
1/3 World Feels and Ballads, including "Recorda Me", "Nika's Dream", "Body and Soul", "Stella By Starlight", "Misty" and adaptations of Standards in such feels as Reggae, Calypso, Waltz, Jazz Funk, Jazz Rock, 6/8, Bossa Nova, Samba, Salsa, Merinque, and more.

Basic Requirements

Calendar