NEW RELEASES: COLEMINE SINGLES: 20/45 RPM; 80s SOUL CLASSICS VOLUME #6; BRUNSWICK SINGLES COLLECTION: SOUL GROUPS

COLEMINE SINGLES: 20/45 RPM (VARIOUS ARTISTS)

An excellent compilation of the funky sounds of Colemine Records – a contemporary indie label/labor of love with roots in Oxford, Ohio – who've been putting out some of the best singles in the post-millennium funk underground for years! The label has been delivering solid funk 45s for years, and it's about time they collected 'em on tight compilation. We've only ever seen most of the tunes on the original 45s, and it's great to have so many top shelf funk tunes together at last – numbers by Jungle Fire, Orgone, Tee See Connection, Los Sospechos, Dojo Cuts, Jive Turkeys, Ikebe Shakedown, Geno Washington & The Ironsides and more. 20 tracks in all! Includes "Comencemos (Let's Start)" by Jungle Fire, "Don't Get Caught" by Droptones, "Black Mamba" by Tee See Connection, "Authoritay" by Alan Evans Trio, "Don't Stop" by Orgone, "City Heights" by Sure Fire Soul Ensemble, "Don't Throw Your Love Away" by Gene Washington & The Ironsides, "Like Yesterday" by Monophonics and more.  ~ Dusty Groove

80s SOUL CLASSICS VOLUME #6 (VARIOUS ARTISTS)

A diverse batch of 80s soul groovers – with great tunes by superstars and lesser-remembered soul heroes and heroines alike! It's jam-packed 2CD set of tunes, many of which were no doubt popular in their heyday, but they're anything but ubiquitous these days. It's got a nice mix of styles, too, with some 70s soul jazz influenced numbers – some of them by genuine 70s soul jazz figures – plus some leaner synth funk flavored tunes, bouncing clubby tunes, breezy duets and more. 24 tracks on 2CDs: "Whatcha' Gonna Do" by Average White Band, "Lies" by Shock, "Emotions' by Starpoint, "Feelin' Free" by Jermaine Jackson, "Starstruck" by Patti Austin, "Chillin' Out"by Curtis Hairston, "Love In Your Eyes" by Vaneese Thomas, "I'm In Love With You" by Koko-Pop, "I'm Freaky" by O'Bryan, "Palm Of Your Hand" by Peabo Bryson & D'Atra Hicks and more.  ~ Dusty Groove

BRUNSWICK SINGLES COLLECTION: SOUL GROUPS (VARIOUS ARTISTS)

Great group soul from the wonderful Brunswick Records – and a sweet selection that goes way beyond the hits and the bigger groups who recorded for the label! Sure, Brunswick is known for its big groups from Chicago – who were some of the best of their time – but the label also recorded a lot of up-and-comers who were totally great too – but who never got to put together a full album for the label! Lots of those groups are collected here – in a wonderful collection that's filled with soaring harmonies, deep soul leads, and some totally groovy arrangements that are in the best Brunswick ultra-hip style of the early 70s. Titles include "Chickens" by Complaments, "Purple Haze" by Johnny Jones & King Casuals, "Lonely Street" by The Admirations, "I'll Take You Just As You Come" by The Nialations, "Until You came Along" by The Visitors, "I Think I'll Cry Out Loud" by The Realistics, "The Sweetest Thing" by Channel 3, "Sing A Ling" by The Cooperettes, "Don't Fail Me Now" by The Symphonics, "A Strange Way" by The Loreleis, "Don't Take It Out On This World" by Adam's Apples, "Cowboys To Girls" by Jalynne Sound, "He's Got Your Number" by The Demures, and "Stay With Me Baby" by BW & The Next Edition.  ~ Dusty Groove

New York City Based Serbian-Japanese Instrumental Duo Yagull Greatly Expands Their Post Rock Chamber Soundtrack Concept On Second Album 'Kai', Featuring Extraordinary Multicultural Line-up Of Guests

Yagull's official debut for MoonJune Records, 'Kai', finds the band expanding its post-rock chamber soundtrack concept to great effect. The result is a simmering sonic bouillabaisse, chocked full of choice ingredients which delectably merge to blur the lines drawn by traditional genres - delightfully teasing the palette, while appealing to an expansive range of music aficionados! The group delivers twelve songs on this joyous outing: eight brand new compositions; two tunes from Films, reworked and revisited; plus, two tastefully-revised classic rock covers. The tracks showcase Yagull's considerably potent stylistic capacity, making for a savory, finely-polished sophomore release. This new effort finds Yagull now launching itself from a duo framework - with Sasha Markovic being joined by the extraordinary pianist, Kana Kamitsubo - this most special of occasions is perfectly accentuated by a host of guest contributors; featuring fellow MoonJune international recording maestros, Beledo (guitar, lute), Dewa Budjana (guitar) and Marko Djordjevic (drums), and many other great musicians. With 'Kai', Sasha, Kana & company have embarked on a majestic journey that will appeal to a broad range of listeners... and carry them along for the ride!

'Kai,' represents big musical and personal changes for group founder, composer, producer, and guitarist, Sasha Markovic. Yagull has officially became a duo with the addition of Sasha's most challenging collaborator up until this time, pianist extraordinaire Kana Kamitsubo. Sasha and Kana's partnership went further as they became husband and wife. Album 'Kai' and the title track are named after their son born in 2014.

Picking up where the first Yagull CD, 'Films' left off in 2012, 'Kai' expands the post rock chamber soundtrack concept exploring new structures written around acoustic guitar, bass, percussion and acoustic piano. Yagull as a duo has an increased crossover potential for attracting listeners that may not be dialed into any of the specific genres baked into this release.

Yagull delivers eight brand new compositions, two tunes from 'Films' revisited ( Dark, Sound Of M ) plus two covers for this sophomore release. The tracks range from “North” which exploits Kana's mastery of creating evocative mood and space for Sasha to play, folksy “Z-Parrow” while “Omniprism” drifts into progressive rock ambiance. Methenyesque tune “Blossom”, leaves space for special guest Dewa Budjana to shine with another beautiful, lyrical solo. The title track for their son emotes a melody that can easily go alongside “Waltz for Debby” by Bill Evans in any play list. Sasha once again wears his affection for classic rock as a badge reworking the Free song, “Wishing Well”, which was also passionately performed by the late Gary Moore, as well as Deep Purple's “Burn”. Beledo's majestic lute introduction pays a homage to Deep Purple's live version from the 'Made In Europe' record.

Regarding the cover material, Sasha recently explained to DME, “My first serious music love was Deep Purple, since I heard the 'Deepest Purple' compilation along with ‘Rainbow Rising' at age of 11. I’ve been playing 'Burn' in the similar arrangement for fun for many years now. It started as a joke when I was a teenager, and played it along with a friend of mine in a two-guitar arrangement with Zappa-like kind of vocal approach. When I presented this idea to Kana [Kamitsubo] last year, she gave the song completely new dimension with her playful piano solos. We are having a lot of fun playing it live these days. As for 'Wishing Well', I am a huge fan of Free and Bad Company and had to do the tribute to them on this album. I still consider Free the best teenage band that ever lived - since they were all between 16-18 when they started. 'Wishing Well' is one of those songs I grew up on and always liked singing for fun with my acoustic guitar. I just experimented with replacing the vocal parts with classical guitar, and at the end Wen Chang added her violin playing the main riff, so the basic album arrangement was born. Always loved Gary Moore's and Blackfoot's take on it, too. I had a chance meeting with Simon Kirke this summer, and got to play him the song, and he loved it.”

Yagull are also joined by several guest musicians, the extraordinary and diverse line up hailing from eight different countries, including fellow Moonjune international recording artists Beledo (guitar), Dewa Budjana (guitar) and Marko Djordjevic (drums), as well as the long time collaborator flutist Lori Reddy, Anthony Mullin from The Blackfires (guitar), Jackson Kincheloe from Sister Sparrow & The Dirty Birds ( harmonica ), Gabriel Nat (clarinet), Wen Chang (violin) and Yoshiki Yamada (upright bass). 'Kai' has set Yagull on a journey that will appeal to wide range of listeners. This is essential MoonJune music.

TRACK LISTING

1. North 05:33 (Kamitsubo/Markovic)

2. Dark 06:58 (Markovic/Kamitsubo/Thomas)

3. Heiwa 03:18 (Markovic/Kamitsubo)

4. Blossom 05:06 (Kamitsubo/Markovic)

5. Mio 05:20 (Markovic/Kamitsubo)

6. Wishing Well 04:39 (Free)

7. Burn 03:55 (Deep Purple)

8. Sound Of M 04:31 (Markovic/Kamitsubo)

9. Z-Parrow 01:50 (Markovic)

10. Kai 04:05 (Kamitsubo/Markovic)

11. Omniprism 05:50 (Markovic/Kamitsubo/Beledo)

12. Oyasumi 01:54 (Markovic/Kamitsubo)

Produced by Sasha Markovic

Executive production by Leonardo Pavkovic

For more info:

www.yagull.com

www.moonjune.com

Guitarist MATTHEW STEVENS Combines Immersive Feeling of Live Concert with Respect for Natural Sound on Debut Album Woodwork

New York City-based guitarist and composer Matthew Stevens is considered one of the most promising artists in jazz today through his associations with NEXT Collective, Christian Scott, Esperanza Spalding, Terri Lyne Carrington, Walter Smith III, and Harvey Mason. 

Now Stevens comes fully into his own with his debut recording as a leader, Woodwork. (Exclusive "Mastered for iTunes" release February 24; physical release available May 26.) The album showcases the diverse influences on Stevens, his warm, robust sound, and his fluid, emotive playing at the helm of a stellar quintet. He's joined by pianist and fellow NEXT Collective member Gerald Clayton, bassist Vicente Archer, drummer Eric Doob, and percussionist Paulo Stagnaro. 

The album's title, Stevens says, reflects the almost tactile way in which he creates music. "It's a metaphor for how I see myself interacting with sound. Woodwork is an act of creation in collaboration with the natural world; it evokes a sense of being handmade or one of a kind. These raw materials exist regardless of whether or not you do something with them, so I try to respect that and let the music unfold naturally." 

In Woodwork, Stevens places the sound of the guitar front and center, achieving a full-bodied resonance that captures the immersive feeling of a live concert experience. "When you listen to a saxophone or a trumpet on a record, you often feel like you're right there in the room," Stevens explains. "I miss that on the guitar. As a guitarist, your touch and articulation contribute hugely to your identity as an instrumentalist, so if you have none of that air in the sound, you lose a lot of nuance. I put a microphone in front of my guitar as well as the amp so it doesn't just feel in your face, but like the music is alive and moving around the room." 

A self-described guitar fanatic who fell in love with his father's Jimi Hendrix records as a child, Stevens purposely assembled his band to allow the guitar to express his melodies alone. His strings shimmer over percussive interplay on opener "Ashes (One)," then weave a hypnotic groove on "Star L.A." They sing the folk-inspired melody of the title track "Woodwork" and roar on the album's driving composition "Uptown Dance Party."

The elusive "Sunday" continues the genre-bridging mission of the NEXT Collective with a haunting David Bowie cover, while "Blasted" pays homage to Wayne Shorter with its churning, circular melody. Stevens was recently invited by musical director Terri Lyne Carrington to perform at a fundraiser for the upcoming documentary Wayne Shorter: Zero Gravity alongside an all-star lineup including Shorter, Hancock, Spalding, Marcus Miller, Lalah Hathaway, Corrine Bailey Rae, Lizz Wright and Dee Dee Bridgewater.  

Stevens possesses a rare ability to marry singable melodies with cerebral complexity, as on the tense, shifting "Sequel" or the knotty "Grown Ups." A through-composed duo for guitar and piano, "Gently" mesmerizingly interlaces the expressive lines of Stevens and Clayton.

"Brothers," performed as a trio with Archer and Doob, embraces the sound of the acoustic guitar, from the blossoming resonance to the scrape of fingers on strings. Much of the album was recorded at the Clubhouse Studio in Rhinebeck, New York, which just happens to own an early-70s Lowden formerly favored by late folk legend Pete Seeger, and played reverently by Stevens on this song.

A Toronto native, Stevens began taking piano lessons as a child and switched to guitar after a few years. In middle school he joined a local rock band that played original songs as well as popular hits by bands like Nirvana and Soundgarden. He spent several summers at the University of Toronto's jazz camp, studying with Lorne Lofsky and ultimately moved to the United States on a scholarship to Berklee College of Music. 

Immediately after college, Stevens joined Christian Scott's band, ultimately recording five albums with the heralded trumpeter. He's since toured extensively in the U.S., Canada, Europe, Asia, South Africa, and South America, performing at leading national and international jazz festivals, including Montreux, North Sea, Newport, Montreal, Monterey, Fujitsu, New Orleans Jazz and Heritage, and at renowned venues such as the Hollywood Bowl, the Kennedy Center, the Blue Note clubs in New York, Tokyo and Milan, and the Moscow International Music House. He's also a member of the adjunct faculty at the New School and has taught workshops at the Maryland Summer Jazz Workshop, USC, and Berklee. 

Over the past year, Stevens has been featured on recordings by drum legend Harvey Mason, saxophonist Walter Smith III, and pianist Justin Kauflin, whose CD was produced by Quincy Jones in conjunction with Keep On Keepin' On, the new documentary about the relationship between Kauflin and his mentor, Clark Terry. He's also toured regularly with drummer Terri Lyne Carrington and bassist Esperanza Spalding, and will appear on Spalding's next recording, produced by David Bowie's longtime producer Tony Visconti.

In 2015, Stevens has plans to tour with Carrington, Spalding, bassist Ben Williams, and his own band, which Woodwork establishes as a group to watch closely. "Collectively we were able to tap into what we all think is important musically," Stevens says. "In my own experience there's nothing that feels more exciting than that." 

92Y Jazz In July Festival Announces 2015 Program

92nd Street Y announces the 31st Annual 92Y Jazz in July Festival, curated by Bill Charlap, who begins his second decade as artistic director of the time-honored annual Festival. Jazz in July runs from Tuesday, July 21 through Thursday, July 30, bringing together some of the world's finest jazz players for specially designed performances. Programming for this year's festival features a highly anticipated return visit from vocalist Ernie Andrews in a program entitled Duke Ellington: Drop Me Off In Harlem. The Broadway themed program Jazz & Sondheim, Side By Side, will showcase vocalist Ann Hampton Callaway and saxophonist Steve Wilson in performance with Grammy® Award-nominated drummer/composer, Matt Wilson.

One of the world's premier jazz pianists, Bill Charlap has performed and recorded with many of the leading jazz artists of our time. With his longtime trio of bassist Peter Washington and drummer Kenny Washington, he has released seven highly-acclaimed albums for the Blue Note label, including the GRAMMY® Award-nominated albums The Bill Charlap Trio - Live at the Village Vanguard and Somewhere: The Songs of Leonard Bernstein. In 2010, Charlap released Double Portrait, a collaboration with his wife, the celebrated jazz pianist Renee Rosnes, recorded at 92nd Street Y. He has also released two CDs with his mother, the renowned Sandy Stewart: Love Is Here to Stay and Something to Remember.

Charlap curates 92Y Jazz in July in collaboration with Hanna Arie-Gaifman, Director of 92Y Tisch Center for the Arts, which produces 92Y's concert series, including Jazz in July.

92Y Jazz In July 2015 Schedule:

Tue, Jul 21, 8 pm

BILL & DICK's ALL STAR JAZZ PARTY

Two generations of jazz - piano titan Dick Hyman and heir to the throne Bill Charlap, plus clarinet superstar Anat Cohen - blaze through American Songbook classics and swing standards.

Bill Charlap's New York Trio: Bill Charlap, piano / Jay Leonhart, bass / Bill Stewart, drums

Dick Hyman Trio: Dick Hyman, piano / Howard Alden, guitar / Jay Leonhart, bass / with special guest Anat Cohen, clarinet

Wed, Jul 22, 8 pm

DUKE ELLINGTON: DROP ME OFF IN HARLEM

"It Don't Mean a Thing," "Prelude to a Kiss," and "Sophisticated Lady" - Edward Kennedy Ellington was American music royalty. Now another member of the jazz aristocracy, legendary vocalist Ernie Andrews, makes a rare New York appearance to put his stamp on these timeless tunes. The soulful sounds of Houston Person's tenor sax, plus vibes virtuoso Steve Nelson make it jazz heaven.

Ernie Andrews, vocals / Bill Charlap, piano / Renee Rosnes, piano / Houston Person, tenor saxophone / Jeremy Pelt, trumpet / Steve Nelson, vibes / Peter Washington, bass / Kenny Washington, drums

Thu, Jul 23, 8 pm

THE PIANO MEN: FROM JELLY ROLL TO OSCAR

Jelly Roll Morton claimed he "invented" jazz. True? Well, he and other keyboard giants-from ragtime pioneer Scott Joplin to swinging virtuoso Oscar Peterson-enriched the form like nobody else. Hear their syncopated stylings come alive in the lightning hands of modern-day piano greats Bill Charlap, Marcus Roberts and Jeb Patton.

Bill Charlap, piano / Marcus Roberts, piano / Jeb Patton, piano / Todd Coolman, bass / Willie Jones III, drums

Tue, Jul 28, 8 pm

SWING A SONG OF SINATRA

No one sang like Sinatra, and no one sings Sinatra like Kurt Elling. Celebrate Ol' Blue Eyes' centenary with this superstar Grammy® Award-winning vocalist - and a band that boasts Benny Goodman veteran Warren Vaché on cornet.

Kurt Elling, vocals / Bill Charlap, piano / Harry Allen, tenor saxophone / Warren Vaché, cornet /

Peter Washington, bass / Kenny Washington, drums

Wed, Jul 29, 8 pm

JAZZ & SONDHEIM, SIDE BY SIDE

Piano duo Bill Charlap and Renee Rosnes' offer up stunning jazz treatments of Sondheim's masterpieces from groundbreaking shows like Company, Follies and Sweeney Todd. This is a night for both theater and jazz fans, with the dynamic voice of Ann Hampton Callaway and a soaring string ensemble to bring out the beauty of Broadway's best.

Bill Charlap, piano / Ann Hampton Callaway, vocals / Steve Wilson, alto & soprano saxophone / Renee Rosnes, piano / Sean Smith, bass / Matt Wilson, drums / String Ensemble TBA

Thu, Jul 30, 8 pm

BENNY, BASIE & BUCKY!

Guitar icon Bucky Pizzarelli, clarinet marvel Ken Peplowski and ace drummer Dennis Mackrel are the living personification of the swinging legacies of Count Basie and Benny Goodman. The stars come out to finish the festival with a big bang.

Bill Charlap, piano / Sandy Stewart, vocals / Ken Peplowski, clarinet / Randy Sandke, trumpet / Joe Locke, vibes Bucky Pizzarelli, guitar / Jay Leonhart, bass / Dennis Mackrel, drums

ABOUT JAZZ IN JULY

This annual summer jazz festival, directed by pianist Bill Charlap, brings together some of the world's best jazz musicians for once-in-a-lifetime performances at 92nd Street Y. Recent Festival shows have explored be-bop and Latin jazz; celebrated jazz legend Jimmy Heath and former artistic director Dick Hyman; and sampled the work of great composers, from Cole Porter to Thelonious Monk. Recent line-ups have featured jazz greats Ray Bryant, Barry Harris, Wynton Marsalis, Eddie Palmieri, Trio Da Paz, and Frank Wess.

NEW RELEASES: CANNONBALL ADDERLEY – BIG MAN; HARRY ALLEN / JAN LUNDGREN QUARTET - QUIETLY THERE; APHEX TWIN - COMPUTER CONTROLLED ACOUSTIC INSTRUMENTS PT 2

CANNONBALL ADDERLEY – BIG MAN: THE LEGEND OF JOHN HENRY

In what would turn out to be the final years of his short life, jazz great Julian “Cannonball” Adderley embarked on a number of ambitious, genre-stretching projects. The last of these was 1975's Big Man, the score for a musical play based on the John Henry (“the steel driving man”) American folk legend. The album was released as a two-LP set with libretto, and featured music from Adderley and his then-current musical associates including brother Nat Adderley, George Duke (using the alias “Dawilli Gonga”), Roy McCurdy, Airto Moreira, Carol Kaye and others. The sessions also made full use of a large string section and chorus, while the primary vocalists in Big Man sang and read their lines in character; the vocal cast included lead vocalist Joe Williams, Randy Crawford (making her professional debut on record here at age 21), and Robert Guillaume (later to win two Emmy Awards for his work on TV series Soap and Benson, and a Grammy Award for his work connected to The Lion King). Long out of print and never before issued on CD, Real Gone Music's reissue of Big Man boasts liner notes by Bill Kopp (Kopp also penned the liners for RGM's first Adderley reissue, The Black Messiah) with quotes from Robert Guillaume, and the full libretto, with remastering by Joe Tarantino. The final artistic statement from a jazz giant! ~ Real Gone Music

HARRY ALLEN / JAN LUNDGREN QUARTET - QUIETLY THERE

A great laidback set from tenorist Harry Allen – nothing fancy, but a great demonstration of Allen's wonderfully old school approach! The group's got an easygoing groove – led by pianist Jan Lundgren – and Allen blows these soulful, spacious solos over the top – with a bit of a Gene Ammons vibe on both the groovers and mellow cuts. Even better, all tracks are compositions by the great Johnny Mandel – whose music works perfectly for this format – and titles include "Emily", "The Shining Sea", "Sure As You're Born", "Cinnamon & Clove", "Suicide Is Painless", and "The Shadow Of Your Smile".  ~ Dusty Groove

APHEX TWIN - COMPUTER CONTROLLED ACOUSTIC INSTRUMENTS PT 2

The no longer hibernating Aphex Twin follows up 2014's excellent Syro LP with the appropriately-titled Computer Controlled Acoustic Instruments Part 2 EP – a coolly experimental project that's a lot different that his other recent work, but it's a worthy left turn! It's indeed played with a lot of live instruments – drums, cymbals and all around prominent percussion, piano, strings and more – which feels fresh and alive, even if it is played through computer control. Hypnotic sounds from a modern master.  ~ Dusty Groove

LOST TRACKS FROM DUSTY SPRINGFIELD REISSUED ON "FAITHFUL"

In 1971, Atlantic Records released a pair of Dusty Springfield singles produced by the legendary songwriter/producer Jeff Barry (one-time songwriting and romantic partner of Ellie Greenwich, and author of too many hits to name):  "Haunted"/"Nothing Is Forever" and "I Believe In You"/"Someone Who Cares." A restless Dusty, freshly relocating to America from her native England, then departed the label and left an additional 9 songs recorded with Barry in the can, where they stayed until Rhino issued one track, "Faithful" (in mono), as a bonus track on the 1990s CD release of Dusty's 1970 Atlantic album A Brand New Me. 

The other tracks didn’t surface until a subsequent deluxe reissue of Dusty’s landmark 1969 album Dusty in Memphis included them as bonus cuts. Now, reissue producer Jim Pierson—who tracked down the missing masters after being lost for over two decades —has assembled all of Dusty’s Barry-produced masters and put them together in a single package for the first time to create the third Dusty Springfield Atlantic Records album as planned in 1971. Real Gone Music’s release of Faithful presents these historic Barry-Springfield collaborations exactly as they were originally intended to be heard, with the 12 tracks intended for the album release and one intended for single-only release. All tracks are in stereo, while the liner notes, penned by The Second Disc's Joe Marchese, feature a number of rarely-seen photos of the legendary singer. These stunning pop, soul and gospel flavored selections showcase the iconic singer at the height of her vocal magic.  A missing/jumbled part of Dusty’s august recorded legacy, finally set right!

"Faithfiull" Tracklisting"

1.  I'll Be Faithful

2.  Live Here With You

3.  Haunted

4.  Someone Who Cares

5.  Make It With You

6.  Love Shine Down

7.  I Believe In You

8.  Have A Good Life Baby

9.  Natchez Trace

10. All The King's Horses

11. You've Got A Friend

12. I Found My Way Through The Darkness

13. Nothing Is Forever

~ Real Gone Music

NEW RELEASES: POPS STAPLES - DON'T LOSE THIS; ABDULLAH IBRAHIM - THE SONG IS MY STORY; RAHEEM DEVAUGHN - LOVE SEX PASSION

POPS STAPLES - DON'T LOSE THIS

The last material ever recorded by the legendary Pops Staples – raw, rootsy tracks that are surprisingly great overall – even when augmented by Jeff Tweedy and Mavis Staples! Pops recorded these tracks in the late 90s, and Mavis held the tapes for years – thinking that they were great, but needed a little something extra to be fully realized. So, with just a bit of effort, Tweedy added in a bit of guitar and bass, plus some other light rhythms – and called in Mavis and other members of the Staple Singers to just provide some slight added backing vocals – in a way that never dampens Pops' lead at all. We were honestly quite suspicious of the project, but find we really like it a lot – maybe even more than some of Mavis' revival recordings in recent years. Titles include "Better Home", "The Lady's Letter", "Gotta Serve Somebody", "Sweet Home", "Somebody Was Watching", and "Love On My Side".  ~ Dusty Groove

ABDULLAH IBRAHIM - THE SONG IS MY STORY

Sublime solo piano from Abdullah Ibrahim – and a set that also features a bit of solo saxophone as well! The performance was recorded in an Italian concert hall with a wonderfully resonant sound – and the material is half compositions by Ibrahim, and half improvisations that have a very poetic feel! There's a quality here that's more introspective than some of Abdullah's other material – dark and moody at times, and set free from some of his more rhythmic conceptions overall – although never entirely free jazz, and certainly never avant at all. The package features a DVD of the performance as well as a CD – and titles include "Marinska", "The Song Is My Story", "Threshold", "Celestial Bird Dance", "For Coltrane", "Kalahari Pleiades", and "Just Arrived". (DVD is NTSC, Region 0.)  ~ Dusty Groove

RAHEEM DEVAUGHN - LOVE SEX PASSION

Always-great work from Raheem DeVaughn – an artist who seems to spin out records with effortless ease, but always makes music that sounds totally wonderful! There's a flurry of song snippets and sound at the start of this one – almost as if Raheem's shuffling through his emotive memory bank, before launching into the rock-solid tracks that build the album together – all with a warm, seductive style that never promises to be anything it's not – and which is stated by DeVaughn proudly in the album's title! Heck, you've gotta love a record that's marketed with a warning – "Opening this CD will cause the population to spike" – and when it comes from Raheem, we might well believe it. Titles include "Black Ice Cream", "Father Rock Lovin", "Countdown To Love", "When You Love Somebody", "Miss Your Sex", "Strip", and "Never Never Land".  ~ Dusty Groove

Benny Sharoni's Latest CD Slant Signature Showcases the Masterful Tenor Saxophonist's Brilliance

Benny Sharoni, a take-charge tenor saxophonist with a powerful tone reminiscent of Sonny Rollins, unites a deep respect for the jazz masters of the past with a keen imagination all his own. Slant Signature, Sharoni's second CD, is a purposeful statement from a constantly searching artist, an inspired outing that takes the reedman's soulful, sophisticated brand of jazz to new heights.

Sharoni honed his sound like the greats of old: on the bandstand and on his own terms. The consistent hallmark of Sharoni's playing is the deep warmth and beauty of his tone and his lyrical phrasing. " A close friend said that I always go for the pretty notes," he says. "Of course, everyone has a different idea about what a pretty note is."

Sharoni's playing isn't the only focus of Slant Signature.  He's accompanied by his longtime quartet featuring pianist Joe Barbato, bassist Todd Baker, and drummer Steve Langone, plus special guests trumpeter Jim Rotondi and guitarist Mike Mele. The band reinforces the music's immediacy and beauty, drawing in listeners with a profound joie de vivre while tackling Sharoni's five tangy originals.  They also put their distinctive stamp on the Lee Morgan classic "Ceora," Freddie Hubbard's "Down Under" and Ray Bryant's "Tonk."  "They have musical instincts that reflect my own sensibilities" Sharoni says. "That's huge."

It's been several years since Sharoni's debut CD, Eternal Elixir (2010, Papaya), garnered rave reviews. Yet these have not been idle years for the Boston-area composer-saxophonist. "A jazz musician never feels like he's mastered anything," Sharoni says, "but I felt like over the last five years of hard work, exploration and composing that the time was right to embark on this project. This album is a great milestone for me. I feel like I'm at my next level of freedom and creativity."

It's always been an unlikely route for Sharoni, the Israeli-born son of Chilean and Yemeni immigrants, but he's forged his own path successfully. He enrolled at Berklee College but left after one semester, too free-spirited to thrive while there. He continued his jazz education, studying privately with Jerry Bergonzi and George Garzone, playing gigs with the likes of Joshua Redman, Danilo Perez, Kenny Garrett and Larry Coryell, imbibing influences and carving out his own sound.

His playing can be gruff and virile, as it is on "Subterranean Samba."  He can also play a melody with a gentle caress, as he does on Lee Morgan's "Ceora." The sensual appeal of his sound is matched by a searching intelligence, so that his music is always smart and emotionally honest without being pretentious. Listen to "Bitter Drops" to hear how Sharoni's burly sound anchors his probing lines in a bedrock of blues. On "Slant Signature," he sounds relaxed and in control as his elegant phrases flow smoothly over the galloping tempo. And there's a compelling logic to his solos on "Minor City" and "The Bodega" that grabs listeners and takes them along for the ride.

The band, too, fits Sharoni's vision with a deep intuitive level of communication and solos at once relaxed, yet urgent and focused. "Subterranean Samba" and "The Bodega" are good places to hear how tight the band is, how readily they lock into a groove, and how well they support each other. Pianist Joe Barbato mines the New Orleans piano tradition for a rhythmic, bluesy solo on "Bitter Drops" and gets down to some serious gospel soul jazz testifying on Ray Bryant's "Tonk." Bassist Todd Baker lays down a rock solid foundation for the band, no matter whether the music is unfolding with blistering energy in "Minor City" or at the leisurely tempo of "Ceora." Drummer Steve Langone is a model of versatility, handling Brazilian, New Orleans, Latin, and swinging jazz rhythms with equal finesse.

Even trumpeter Jim Rotondi, who is playing with Sharoni for the first time, sounds like a regular band member on "Tonk," "Down Under," and "The Bodega," on which his tasteful melodicism and swing find a welcoming home. The album's other special guest, guitarist Mike Mele, who also appeared on Sharoni's acclaimed first album, provides a title track highlight in a solo that nicely balances long, flowing bop lines and blues inflections.

Born and raised in Israel on a kibbutz near the Gaza Strip, Benny Sharoni grew up in a home full of music. His multiethnic ancestry meant Sharoni heard music from his parents' respective homelands of Chile and Yemen as a child. As a teenager, he studied classical flute, but fell in love with jazz when he heard Sonny Rollins. In 1986, after a traumatic stint in the Israeli army, Sharoni moved to Boston to attend Berklee College of Music. He soon began leading his own bands and has appeared with Joshua Redman, Danilo Perez, Kenny Garrett, and Larry Coryell. He now performs and tours regularly with his band throughout the East Coast, Canada, Europe and Asia. Eternal Elixir, Sharoni's first CD as leader, "mixes the vitality of a spiritual journey with the intelligence of an academic lesson, to come up with an intoxicating cocktail of brains and brawn," according to Jordan Richardson in All About Jazz.

For Sharoni, the bottom line is that the music moves and inspires people. "This record is 99 percent heart," he says. "The band is so full of heart and joy and intensity and everybody's mission was make the most beautiful music they could."

http://bennysharoni.com/

 

JEREMY SISKIND - HOUSEWARMING

The Housewarming Project is a jazz trio that moves with the grace of a chamber ensemble and sings with the soul of the singer-songwriter movement. The trio is led by award-winning pianist Jeremy Siskind (winner of the 2012 Nottingham International Jazz Piano Competition, and second place winner of the 2011 Montreux Solo Piano Competition), who - armed with a Master's in English Literature from Columbia University - began writing music and lyrics inspired by poets such as Jorge Luis Borges, Seamus Heaney, and Derek Walcott. The first collection of songs, which deal with love and loss, horror and heartbreak, are movingly delivered by vocalist Nancy Harms and colored by woodwind master Lucas Pino on the 2012 Brooklyn Jazz Underground Records release, Finger-Songwriter. 

Finger-Songwriter was hailed in ecstatic terms as "one of the most remarkable recordings I've heard in a very long time" (MinnPost), "One of the best albums I've heard all year" (emusic.com), "the most exciting musical project I've heard in a long time" (Jazz Police), and "winsome . . . literate and spry" (The New York Times). Emusic.com placed it in its top 100 albums of the year (of any genre), and independent blog www.birdistheworm.com named the CD the fifth best jazz disc of 2012. 

With Siskind in the lead, the band started touring in 2012, primarily performing in-home concerts. From the summer of 2012 to 2014, the band played nearly 70 in-home concerts in 18 states, making new friends and converting unsuspecting audiences into new jazz fans. The music is ideal for in-home concertizing - as Harms ushers listeners into the trio's world with her innate story-telling abilities, Pino colors the music with whispering tenor work, mournful clarinet, and murmuring bass clarinet, and Siskind sonically rounds out the music with sparkling, Debussian harmony. 

By 2013, Siskind's songs caught the attention of some of the world's great jazz vocalists, such as Kendra Shank, Peter Eldridge, and Kurt Elling, who all joined the trio in the studio to record Housewarming, an album that features nine new Siskind compositions, as well as four covers, "Whispering Grass" by the Inkspots, the standards "Moonlight in Vermont" and "I Could Have Danced All Night", and a tune by singer-songwriter Adem called "Everything You Need". 

Themes of domesticity reverberate throughout the album, which reflects on what it means to have a place where you belong, a theme that Siskind grapples with often. He explains, "two-and-a-half years ago I suddenly picked up my belongings and moved from New York to Kalamazoo, Michigan to pursue a job offer. Since then, as the Chair of the Piano Department at Western Michigan University (since 2014), I've been floating between the two - very different - places, with my heart truly in New York, and all of my stuff in Michigan. Housewarming also serves as homage to Norma Winstone's album Somewhere Called Home, as Winstone's group is a major influence and kind of the "parent group" for Siskind and his trio. 

www.jeremysiskind.com 

 

DUTCH SAXOPHONIST MARIKE VAN DIJK RELEASES THE STEREOGRAPHY PROJECT

Dutch saxophonist/composer Marike van Dijk began playing jazz as a precocious 14 year old. She went on to study at the Rotterdam Conservatory from which she graduated (cum laude) in 2006. She continued her studies at the Amsterdam Conservatory, obtaining her master's degree in jazz performance (cum laude). In 2009 Marike was nominated for the prestigious Dutch "Deloitte jazz award" and the "Amersfoort jazz talent award". JazzNL, a foundation for promoting young Dutch jazz talent, selected her as an "artist deserving wider recognition". Prior to moving to the Big Apple, van Dijk toured Europe extensively, performing at prestigious festivals and venues with her quintet, and the European Jazz Orchestra, among others. In May 2013 she obtained her second masters degree, this time from New York University, for which she was awarded a full scholarship by the Dutch government. In 2014 van Dijk was awarded a sizeable (and quite competitive) composition grant from the Dutch Performing Arts Fund for composing for large ensembles, and she is currently a member of the BMI Jazz Composers Workshop, led by Jim McNeely. The Brooklyn-based artist's debut album Patches of Blue was released in 2010, and she now offers the brilliant follow up, The Stereography Project on BJURecords.

The Stereography Project is a twelve-piece jazz group with string quartet led by van Dijk. This New York based group features young, creative, musically-powerfully individuals, all deeply rooted in the jazz tradition, and like van Dijk, committed to furthering that tradition: Marike van Dijk (saxes/compositions), Ben van Gelder on bass clarinet/alto sax (Monk Competition semi-finalist), Alan Ferber on trombone (Grammy Nominee), Anna Webber on flute/tenor sax (Charlie parker award winner), Lucas Pino on clarinet/tenor sax (DownBeat Magazine award winner), and Sita Chay/Eli Speirs (violin), Eric Lemmon (viola), Amanda Gookin (vocals), Manuel Schmiedel (piano), Rick Rosato (bass), Mark Schilders (drums), Defne Sahin & Ruben Samama (vocals), Dan Pratt (conductor), John Davis (recording and mixing), Scott Hull (mastering) 

Van Dijk's compositions mix contemporary classical music with jazz and improvisation. All compositions were inspired by images and music van Dijk experienced throughout her childhood in The Netherlands as well as her life in New York City; contrasting her experiences of spacious views of fields, forests and lakes with the ever changing, but non-stop energy, of New York City. Van Dijk's highly narrative, compelling style of composing is best described as, "film music without the film".

www.marikevandijk.com

 

TRUMPETER ALEX NORRIS DELIVER HIS IMPECCABLE, RICH SOUND ON NEW RELEASE - EXTENSION DEADLINE

Trumpeter/composer Alex Norris, who grew up in Columbia, MD, received a scholarship to the Peabody Conservatory of Music, graduating in 1990. Two short years later found Norris taking NYC by storm, working with the Vanguard Jazz Orchestra, Toshiko Akiyoshi's Jazz Orchestra, and Maria Schneider's Band. From 1994-1998 Norris was a member of Betty Carter's Jazz Ahead, becoming musical director in 1998, sadly the final year of Carter's life. Norris has also performed and recorded extensively in the bands led by Lonnie Plaxico, Jason Lindner, and Ralph Irizarry. 

Norris has also worked with many noted jazz artists, such as Slide Hampton, Joshua Redman, Brad Mehldau, Chris Potter, Carl Allen, John Patitucci, Mulgrew Miller, Brian Blade, and legends of the Afro-Cuban jazz scene as well, having worked with Andy and Jerry González, Manny Oquendo, Paquito D'Rivera and Chico O'Farrill. In addition to performing all over the world with his own group, Norris is currently a first-call sideman for many artists, including Ron Carter's Great Big Band, the Mingus Big Band, Alan Ferber's Big Band, Kyle Eastwood, Helen Sung, Miguel Zenon, Amina Figarova, and many other jazz and Latin jazz artists. Norris appears on over 80 CDs as a sideman; several of them for labels such as Blue Note, Verve, Impulse!, Steeplechase, and Sunnyside. 

Alex Norris now proudly announces the release of his second recording as a leader, Extension Deadline, featuring The Alex Norris Organ Quartet, with long-time musical cohort George Colligan on Hammond A-100 organ; old friend, inspiration and colleague, Gary Thomas on tenor saxophone (Thomas is head of Jazz Studies at the Peabody Conservatory of Music where Norris is proud to be an adjunct Professor); and one of NYC's premier jazz drummers, Rudy Royston. Extension Deadline is the long-awaited, much-anticipated, follow-up recording to Norris' first recording, A New Beginning. 

About the music on Extension Deadline: The title track has a double meaning, as it was composed during tax filing season, during which Norris filed for an extension, and simultaneously, the trumpeter came to the conclusion that he had put off releasing his follow-up release long enough, and that if put off much longer, it may never happen. "Night Watchman" was inspired by the view at night outside Norris' Manhattan Plaza apartment. "What Happened Here?","is a dedication to anytime a relationship of any kind goes suddenly wrong. We are left bewildered and speechless, and we don't know what to do", said Norris. "San Jose" was composed in 2004 after performances that summer at the San Jose Jazz Festival with three Latin jazz bands that have been a deeply meaningful part of Norris' life, Manny Oquendo Y Libre, Timbalaye and Rumba Club. "One of my favorite songs is Bobby Hutcherson classic 3/4 tune, 'Little B's Poem.' I thought it would sound nice at a slower tempo", explained Norris. "Where Angels Fear" was written in 2007. The title is borrowed from the poem Essay on Criticism by Alexander Pope, Norris' namesake -"Fools rush in where angels fear to tread." "'Optimism' is one of my favorite George Colligan originals, and I'm happy that he agreed to having it recorded on this project", said Norris. "Red Flag" has a very angular melody (you might even say alarming, hence the title!). This song is an up- tempo burner, and it features some brilliant trading with Rudy Royston. In conclusion Norris states that, "I'm very pleased with the musical story this recording tells. Thank you for listening!"

www.alexpopenorris.com

 

Boz Scaggs Set To Unveil New Studio Album 'A Fool To Care'

Another spellbinding album in a prolific career, this new collection of songs boasts Scaggs' pioneering blend of rock, soul, jazz and R&B taken to new heights A Fool To Care is the follow-up to the critically acclaimed 2013 album Memphis, which Rolling Stone described as 'sublime' and hit the #1 spot on the Billboard Blues Chart and the Top 20 on the Billboard 200.

A Fool To Care showcases the patchwork of influences and innovations that make up a Boz Scaggs album…and sees Scaggs letting loose and having some fun. You can hear that sense of fun, as well as his ability and willingness to wander in any musical direction throughout these twelve tracks. The inspirational heart of the album lies in the sounds of Texas, Louisiana and Oklahoma that played such a vital role in shaping Scaggs' musical sensibility, but they venture forth boldly from there. Scaggs brings a sly drawl to a funky workout like Li'l Millet and the Creoles' "Rich Woman" and an elegant delicacy to the Impressions' "I'm So Proud." He easily negotiates the Latin flavoring of "Last Tango on 16th Street" and "I Want to See You," both written by San Francisco bluesman (and longtime Scaggs compatriot) Jack Walroth. Horns, strings, soulful background vocalists and guests like guitarist Reggie Young and steel guitarist Paul Franklin lift the album into the stratosphere.

Produced by Steve Jordan (Stevie Nicks, Bob Dylan, John Mayer) and recorded over four days at Blackbird Studio in Nashville, A Fool To Care features two very special guests – Bonnie Raitt contributes slide guitar and sassy vocals on the original song "Hell To Pay" and Lucinda Williams trades vocal lines with Scaggs as a kind of prayer for deliverance on The Band's "Whispering Pines." The core band joining Boz on A Fool To Care is Willie Weeks (bass), Ray Parker Jr. (guitars), Jim Cox (keyboard) and Steve Jordan (drums).

Raised in Texas with an abiding respect for a wide spectrum of American roots music, William Royce "Boz" Scaggs began a long and storied career in 1965 with the release of his first solo recording Boz. After cutting his teeth playing with Steve Miller and honing his rock and R&B chops with the likes of the Muscle Shoals Rhythm Section and Duane Allman, Scaggs achieved multi-platinum success with Silk Degrees in 1976. He has continued on a lauded and multi-genre musical journey to the present day. With a trademark voice, a rich catalogue and many accolades, Scaggs continues to establish himself as one of music's most creative and original artists.

A Fool To Care Tracklisting:

1.Rich Woman

2.I'm A Fool To Care

3.Hell To Pay

4.Small Town Talk

5.Last Tango on 16th Street

6.There's A Storm A' Comin'

7.I'm So Proud

8.I Want To See You

9.High Blood Pressure

10.Full Of Fire

11.Love Don't Love Nobody

12.Whispering Pines

Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY® Salute Airs Monday, Feb. 16, 9 P.M. on CBS

Surprising the audience with a captivating finale performance, Stevie Wonder received multiple standing ovations singing some of his all-time classics, including "Superstition" and "You Are The Sunshine Of My Life," at the taping for "Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY® Salute." An impressive superstar cast of 19 artists saluted Wonder with songs from his stellar songbook in front of a sold-out audience at Nokia Theatre L.A. LIVE. The all-star lineup for the historic event featured performances by Babyface, The Band Perry, Tony Bennett, Beyoncé, Andrea Bocelli, Gary Clark Jr., Ariana Grande, Jennifer Hudson, India.Arie, Lady Gaga, John Legend, Annie Lennox, Janelle Monáe, Aisha Morris, NE-YO, Jill Scott, Ed Sheeran, Ryan Tedder, and Pharrell Williams. Two-time GRAMMY winner LL COOL J hosts this very special tribute, with appearances by Jason Derulo, Jamie Foxx, Tyler Perry, Craig Robinson, and Maya Rudolph. Recorded live, the tribute concert, paying homage to Wonder's iconic career in a two-hour special, will be presented by The Recording Academy®, AEG Ehrlich Ventures and CBS, and broadcast in HDTV and 5.1 surround sound on the CBS Television Network on Monday, Feb. 16 from 9 – 11 p.m. ET/PT.

“I encourage all of us as artists to write songs about love. Love is the key, and you've given me love, and I thank you for it.”

A 25-time GRAMMY winner, Wonder is the only artist to have received Album Of The Year honors in three out of four consecutive years with Innervisions (1973), Fulfillingness' First Finale (1974), and Songs In The Key Of Life (1976).

"We must, without question, let the world know that love is king and queen," said Wonder, thanking fellow artists and fans from the stage before launching into a medley of his hits. "I encourage all of us as artists to write songs about love. Love is the key, and you've given me love, and I thank you for it."

"Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY Salute" is produced by AEG Ehrlich Ventures, LLC. Ken Ehrlich is the executive producer, Leon Knoles is director, and David Wild and Ken Ehrlich are writers. Greg Phillinganes is music director.

Following is a list of performances:

Beyoncé -  "Fingertips" 

Beyoncé & Ed Sheeran -"Master Blaster (Jammin')" 

Beyoncé, Gary Clark Jr. & Ed Sheeran - "Higher Ground" 

Tony Bennett - "For Once In My Life" 

John Legend -"I Believe (When I Fall In Love It Will Be Forever)" 

Annie Lennox - "My Cherie Amour" 

Lady Gaga - "I Wish" 

Andrea Bocelli - "I Just Called To Say I Love You" 

Babyface & Ariana Grande - "Signed, Sealed, Delivered I'm Yours" 

The Band Perry - "You Haven't Done Nothin" 

Ed Sheeran - "I Was Made To Love Her" 

India.Arie, Janelle Monáe & Jill Scott - "As" 

Pharrell Williams & Ryan Tedder - "Don't You Worry 'Bout A Thing" 

Jennifer Hudson - "All In Love Is Fair" 

Aisha Morris & NE-YO - "Isn't She Lovely" 

Stevie Wonder -  "Contusion," "Sir Duke," "You Are The Sunshine Of My Life," "Ribbon In The Sky" "Overjoyed," "Superstition" 

Stevie Wonder & Ensemble - "Happy Birthday," "Another Star"  

NEW RELEASES: IDRIS MUHAMMED – TURN THIS MUTHA OUT; REAL SIDE RECORDS PRESENTS SOUL ON THE REAL SIDE 3; JAQUES MORELENBAUM CELLO SAMBA TRIO - SAUDADE DO FUTURO - FUTURO DA SAUDADE

IDRIS MUHAMMED – TURN THIS MUTHA OUT

A great late 70s chapter in the career of funky drummer Idris Muhammad – moving into very different territory here than his early soul jazz with Lou Donaldson, and even his earliest solo material too! David Matthews arranged the tracks, and he's given them a slick but soulful sound, with lots of spacey fusion elements, and a nice funky soul vibe that's a bit similar to some of Larry Mizell's work – stretched out in this great mix of grooves and deeper jazzier elements – even at a level that's hipper than Matthews' usual material from the time. Idris is at the core on percussion – and the lineup also includes Jeremy Steig on flute, Eric Gale on guitar, Randy Brecker on trumpet, and Wilbur Bascomb on bass – and titles include the seminal "Could Heaven Ever Be Like This", plus "Cambay Bolongo", "Tasty Cakes", "Crab Apple", "Moon Hymn", and "Say What".  ~ Dusty Groove

REAL SIDE RECORDS PRESENTS SOUL ON THE REAL SIDE 3 (VARIOUS ARTISTS)

A set that's heavy on classic cuts from the 70s, but throws in a few contemporary numbers too – all in this wonderful blend of music that's got a wicked mellow groove all the way through! The style is a bit modern soul, but more in that smooth 70s mellow style we love so much – lots of midtempo rhythms, less disco inflections, and plenty of room for amazing lead vocals that really send the tunes home with a hell of a lot of warmth and soul! Familiar cuts mix with lesser-known gems we'd totally missed – and titles include "Getaway" by Walter Thomas, "All I Want Is You" by Convertion, "I Need You More Than Ever" by The Montclairs, "Keep On Pushing Love" by Al Green, "Work To Do" by The Main Ingredient, "Don't Walk Away" by General Johnson, "You Got It" by Roy G Hemmings, "The Walk" by Jesse Gomez & TCB, "If Loving You Is All I Have To Do" by Anna Brooks, "Corazon" by LTG Exchange, "Mercy Mercy Me/Inner City Blues/What's Going On" by The Shirelles, "Love Knocked You Down" by The Nights, and "Just To Be With You" by The O'Jays.  ~ Dusty Groove

JAQUES MORELENBAUM CELLO SAMBA TRIO - SAUDADE DO FUTURO - FUTURO DA SAUDADE

A beautiful record that's exactly what's promised in the group's name – a samba trio that's heavy on cello – played by the great Jaques Morelenbaum, who we know from so many other great records! The style's a bit bossa jazz, but has a very different feel – as the use of the cello really brings out the bluer, more melancholy moments in the tunes – as Jacques bows his instrument with a great sense of expressiveness alongside acoustic guitar and percussion. Titles include "Eu Vim Da Bahia", "Coracoa Vagabundo", "Outra Vez", "Ar Livre", "Voce E Eu", "Maracatuesday", and "Tim Tim Por Tim Tim". ~ Dusty Groove

Karla Harris Sings The Dave & Iola Brubeck Songbook // First-Ever Studio Recording Featuring the Vocal Songbook of Dave and Iola Brubeck

In her Summit Records debut, Karla Harris Sings the Dave and Iola Brubeck Songbook,

vocalist Karla Harris brings something rarely heard in a Brubeck tribute: Lyrics. This new release is the first-ever studio recording featuring the vocal songbook of Dave Brubeck's music with lyrics written by the person who had an especially close insight into the iconic jazz pianist's music - his wife of 70 years, Iola Brubeck. 

Harris, a marvelous singer who gained a strong presence on the Pacific NW jazzscape after living for years in Portland, is poised to enter the national stage with this contemporary, respectful and musically innovative tribute. Not since a 1961 live recording of the Dave Brubeck Quartet with guest vocalist Carmen McRae has there been an album of vocal versions of this music, and no one has ever gone into the studio to record and release the Brubeck Songbook as a dedicated vocal project.

The project is the brainchild of Los Angeles-based producer, arranger and pianist Ted Howe, whose previous recordings include chart-topping tributes to Gershwin, Elton John and Ellington. Howe, a lifelong Brubeck fan who remembers the first time he heard the pianist in 1954 ("his playing floored me," he recalls) cites Brubeck as a major inspiration in his own career, and has long wanted to produce a vocal tribute of the composer's music.

Impressed with Harris after working with her at a 2013 concert he produced in Atlanta, Howe approached the singer with the idea.

"I loved the concept immediately. It was intriguing, to say the least," Harris says. "I had no idea words existed for so many of the songs Dave Brubeck composed or that Iola wrote so many of those lyrics. They've really gone largely undiscovered."

Work got off the ground when Howe, through the Brubeck estate, received a copy of a rare, out-of-print Dave Brubeck songbook published more than 30 years ago - a copy provided by Iola herself in early 2014 for this project, shortly before her passing.

"It felt like we were uncovering hidden treasure," Harris says of looking through the music for the first time. "There was as an opening verse to 'Strange Meadowlark,' for example, that we didn't know even existed. And there was Iola's name listed as lyricist on tune after tune, making it clear this songbook belonged to them both. Her words were sophisticated, filled with imagery and emotion; they changed my experience of some of these songs. I wanted to sing them very much."

Included among the 11 tracks on Karla Harris Sings the Dave and Iola Brubeck Songbook are several Brubeck classics along with a few less-known standouts, as well as some tunes from "The Real Ambassadors," a musical the couple wrote together in 1962.

Lyrics led the way as Howe created arrangements, opening some unexpected approaches in the process. For example, "In Your Own Sweet Way," traditionally played as a bright swing tune, here becomes something plaintive, taking its cue from Iola's surprisingly melancholy lyrics. "Take Five" melds a haunting new vamp with the classic Desmond progression to bring out what Harris calls "some frustrated longing" in those lyrics written by Iola and Dave.

The arrangements on Karla Harris Sings the Dave and Iola Brubeck Songbook are dynamic and a complement to Harris' singing, which is luminous and compelling throughout. She is joined by a group of masterful musicians who shine, collectively and individually - fitting for a tribute to a composer famous for instrumental hits. Howe, deft and fluid at the piano, is joined in the rhythm section by two players well known to contemporary jazz listeners - Modern Drummer Hall of Fame inductee Dave Weckl and internationally acclaimed bassist Tom Kennedy. The twin engine of Weckl and Kennedy, who have played together on various projects and tours for decades, powers beautifully and seamlessly the diverse feels among the tracks. Rounding out the group is L.A. session veteran Bob Sheppard adding alto sax to three of the 11 tracks with mesmerizing Desmond-esque flavor.

Throughout the recording, producer-arranger Howe honors Dave Brubeck's legacy. "This project was my way of saying thank you musically for his impact and for his influence on my own playing," Howe says. "I incorporated, in my own way, innovations Brubeck is associated with, such as polyrhythms, bi-tonalities and varied time signatures and styles, within a vehicle for Karla." 

The result is a modern tribute that completely showcases Dave Brubeck's music hand-in-hand with the incredible lyrics of Iola Brubeck through the voice of newcomer Karla Harris.

Upcoming Karla Harris Performances:

February 26 / Portland Jazz Festival / Portland, OR

February 28 / Portland Jazz Festival / Portland, OR

March 6 / Sarasota Jazz Festival / Sarasota, FL

March 8 / The Palladium / St. Petersburg, FL

April 10-11 / The Jazz Corner / Hilton Head, SC

June 12 / Callanwolde Fine Arts Center / Atlanta, GA

www.KarlaHarris.com