Friday, November 30, 2012


Tony Bennet (Photo by Paul Bergen/Getty Images)
For his Spanish-language fans, Tony has a special Christmas treat coming soon. On Sunday December 9th at 10pm EST, Tony and his VIVA DUETS partners will star in "Feliz Navidad Con Los Nuestros: Tony Y Sus Amigos". This will be the first time a non-Hispanic media personality will have their own primetime special on Univision, the largest Spanish-language TV network in the world. Hosted By Univision's Giselle Blondet, the one hour music special will give an inside look at the album, VIVA DUETS - featuring segments with Marc Anthony, Gloria Estefan, Romeo Santos,Vicente Fernandez, Thalía, Juan Luis Guerra and more.

Tony's new memoir, THE ZEN OF BENNETT: LIFE IS A GIFT was just released on November 20th – and already made it onto the NY Times Bestseller List! The book is described as the perfect accompaniment to this legend’s warm, sophisticated, and graceful melodies that have made him beloved by generations of fans.

Also earlier this week, Tony's entire music catalog became available on iTunes! Revisit all the phases of his unstoppable career:

Wanna learn more about what's happening with Tony? Check out some of his most recent interviews below:
CNN / Starting Point with Soledad O’Brien:
WYNC / The Leonard Lopate Show:
BlogTalkRadio / Storytellers with Eric Olsen & Chitra Agrawal:
Rolling Stone / Exclusive with Patrick Doyle:

Connect with Tony Bennett:
1. "The Best Is Yet to Come" with Chayanne
2. "The Way You Look Tonight" with Thalía*
3. "Steppin' Out With My Baby" with Christina Aguilera
4. "For Once In My Life" with Marc Anthony
5. "Are You Havin' Any Fun?" with Dani Martín*
6. "The Good Life" with Franco DeVita
7. "Who Can I Turn To (When Nobody Needs Me)" with Gloria Estefan
8. "Just in Time" with Juan Luis Guerra
9. "Cold, Cold Heart" with Vicentico
10. "I Wanna Be Around" with Ricardo Arjona
11. "Rags to Riches" with Romeo Santos
12. "Return to Me (Regresa A Mí)" with Vicente Fernández*

1. "The Best Is Yet to Come" with Chayanne
2. "The Way You Look Tonight" with Thalía*
3. "Steppin' Out With My Baby" with Christina Aguilera
4. "For Once In My Life" with Marc Anthony
5. "Are You Havin' Any Fun?" with Dani Martín*
6. "The Good Life" with Franco DeVita
7. "Who Can I Turn To (When Nobody Needs Me)" with Gloria Estefan
8. "Just in Time" with Juan Luis Guerra
9. "Cold, Cold Heart" with Vicentico
10. "I Wanna Be Around" with Ricardo Arjona
11. "Rags to Riches" with Romeo Santos
12. "Return to Me (Regresa A Mí)" with Vicente Fernández*
13. "Don't Get Around Much Anymore" with Miguel Bosé*
14. "Blue Velvet" with Maria Gadú*
15. "The Very Thought of You" with Ana Carolina
16. "The Way You Look Tonight" with Thalía* (Guitar Only)

With millions of records sold world-wide and platinum and gold albums to his credit, Bennett has received seventeen Grammy Awards -- including a 1995 Grammy for Record of the Year for his "MTV Unplugged" CD which introduced this American master to a whole new generation -- and the Grammy Lifetime Award. His 2007 prime-time special, "Tony Bennett: An American Classic," won seven Emmy Awards. His initial successes came via a string of Columbia singles in the early 1950's, including such chart-toppers as "Because of You," "Rags to Riches," and a remake of Hank Williams "Cold, Cold Heart." He had 24 songs in the Top 40, including "I Wanna Be Around," "The Good Life," "Who Can I Turn To (When Nobody Needs Me)" and his signature song," I Left My Heart In San Francisco," recorded 50 years ago this coming January 2012. This song garnered him two Grammy Awards. Tony Bennett is one of a handful of artists to have new albums charting in the 50's, 60's, 70's, 80's, 90's, and now in the first two decades of the 21st century. He has introduced a multitude of songs into the Great American Songbook that have since become standards for pop music. He has toured the world to sold out audiences with rave reviews whenever he performs.


Presenting Thad Jones & Mel Lewis & The Jazz Orchestra / Live At The Village Vanguard / Big Band Sound Featuring Miss Ruth Brown

A trio of classics from the Thad Jones/Mel Lewis Orchestra! First up is the initial Presenting album – great music by one of the hippest large American ensembles of the late 60s – almost a US equivalent to the groovy sound of the Clark Boland Big Band over in Europe! Trumpeter Thad Jones and drummer Mel Lewis had already made some great music together on their own – but once they came together in a record like this, they really found a great new direction for their energy – a bold musical force that's strong enough to also encompass the rich talents of players who include Pepper Adams on baritone sax, Joe Farrell on tenor, Jerome Richardson on soprano sax, Richard Williams on trumpet, Bob Brookmeyer and Tom McIntosh on trombones, Hank Jones on piano, and Richard Davis on bass! The sound is full, but never overwhelming – and like the Clark Boland group, this one has a great way of breaking open to allow key soloists to have some great space on their own – a modern approach, and one that still never has the band losing its groove. Titles include "ABC Blues", "Mean What You Say", "Three & One", and "Once Around". 

The next album was recorded live in the Thad Jones/Mel Lewis home turf at the Village Vanguard! The group at this point was a freshly-created outfit filled with some of the best large group jazz soloists of the time – players that included Jerome Richardson, Joe Farrell, Eddie Daniels, Pepper Adams, Richard Williams, and Bob Brookmeyer – not to mention Jones and Lewis themselves! The style here is very much in the mode that the Clarke Boland Band was crafting in Europe during the same period – a redefinition of the larger jazz group, in a way that allowed it to swing with the dynamic energy and soul of some of the smaller combos of the 60s. And while the Jones/Lewis group had many years over which to hone their craft, they've never sounded better than on these initial recordings – as you'll hear on tracks that include "Samba Con Getchu", "A That's Freedom", "Bachafillen", and "Little Pixie".  

On the last album in the set, Ruth Brown joins the big band of Thad Jones and Mel Lewis – in a set that's a real standout in the career of all three artists! Thad and Mel already have a pretty great groove going at this point – a large ensemble approach to jazz, yet one that's swingingly soulful – very much on a par with some of Gerald Wilson's hip work of the same time at time. And adding in Ruth Brown's vocals is a great choice – as she not only needs a great showcase like this for her amazing voice, but also because she really helps unlock a soulful sort of energy that the group always had in their instrumental music. The approach is a bit like some of Etta Jones' best 60s recordings – a nice shift for Brown – and titles include "Black Coffee", "Fine Brown Frame", "You Won't Let Go", "Trouble In Mind", and "Be Anything (But Be Mine)". ~ Dusty Groove



Way way more than just bossa nova – a mighty groover from the great Nico Gomez! Nico's known for his harder pounding tracks that have become favorites with the funky crowd, but this stellar album shows that Nico could also work in jazzier territory when he wanted to – as the album's a wonderful batch of tunes that mix together Latin, groovy, and bossa styles! There's some very nice wordless female vocals on a few cuts, scatting along with a warm breezy feel – and other tracks feature vibes, or guitar, sax, and other strong instrumental elements – with more than enough punch to be funky at a few points. The whole thing's as groovy as groovy can be – with a sound that's past bossa, and way more than any fake easy instrumental attempt at the genre – a real peep into the mad mind of Nico Gomez, and proof that his albums are always worth tracking down! Titles include "Din Din Din", "Aquarela", "Samba De Rio", "Saudade Do Rio", "Agua", "Rio", and "O Barquinho". ~ Dusty Groove


Sublime sounds from Roger Nichols and the revived Small Circle Of Friends – a record that definitely echoes the style the group first created in the late 60s for A&M Records! The set follows strongly on the style of Nichols first comeback album from a few years back – offering up the sweet, warm, personal charm that's always made his music so unique – produced with an edge that's really respectful to the complicated balance of his songs – and which never tries to update things too much at all. A few of the songs are more obscure numbers from the old days, a few others are new, and there's even a special Holiday number in the set too! Titles include "Take Me Home", "Something From Paradise", "My Heart Is Home", "This Is Love", "The Moon Is Red", "Show Your Love", "Christmas Is My Favorite Time Of Year", "Feels Good To Be Bad Again", and a remake of "We've Only Just Begun". (HQ – Hi Quality CD pressing!) ~ Dusty Groove


A really unique album for Lou Donaldson – especially for his early 70s run on Blue Note! The session lives up to its title by offering up a batch of soulful ballads from Lou – tunes that really focus on his sweet lines on alto, yet set amidst some larger backing arranged by Wade Marcus – which also feature some wonderful Fender Rhodes from Derek Smith in the mix! The groove is relatively gentle, and has a nicely laidback sort of feel – the kind of lush yet soulful sounds that Marcus could do so well almost a CTI/Kudu vibe, but a bit more easygoing overall. Titles include a version of Lou's "Blues Walk", plus "What Are You Doing The Rest Of Your Life", "The Long Goodbye", "Stella By Starlight", "You've Changed", and "Autumn In New York". ~ Dusty Groove



A really unique chapter in the career of percussionist Willie Bobo – a rare one-off album for Blue Note – done with a sweet Cali vibe all the way through! Bobo plays his usual percussion, but also sings a bit too – in this charming style that's never too overdone – a deeply personal approach that sounds great next to the album's electric arrangements – all in a vibe that mixes Latin with 70s funk and fusion – all with that beautiful 70s Blue Note balance between polish and poise, groove and soul! The range of sounds is mighty nice – and titles include "Suitcase Full Of Dreams", "Wacky Tobacky", "Dreamin", "Keep On Walkin", "Funk De Mambo", and the "Kojak Theme". ~ Dusty Groove


Fierce funky grooves from the legendary Nico Gomez – a set cooked up in Europe, but heavy with influences from the other side of the Atlantic – from Havana all the way up to New York! There's definitely a Latin groove to the record – one that's similar to other Gomez productions – but there's also lots of heavy funk at the bottom – with basslines that drive most numbers along boldly, really raw percussion played with a nice sense of spontaneity, and these super-tight keyboards and guitars that you might find in American funk! The mix of modes is very much in the best spirit of contemporary groups like Chakachas or Lafayette Afro Rock Band – and titles include "Caballo Negro", "Lupita", "Baila Chibiquiban", "Pa! Pa! Pa! Pa!", "One Note Samba", "Cuba Libre", and "El Condor Pasa". ~ Dusty Groove


A sublime 70s session from Moacir Santos – a set that mixes the complex grooves he forged in 60s Brazil with the warmly jazzy sound of American fusion – all in a result that's totally unique! The album's quite different than any other electric Brazilian sets recorded in the US at the time – a complex album that's filled with soul and imagination – and not just an electrification of earlier styles from Brazil. Santos' vision here is wonderful – and he works with his own arrangements, and key help from producer Dale Oehler – who knows how to bring in all the right electric elements without losing the edge of Moacir's music. Players are great too – and include Jerome Richardson on soprano sax, Oscar Brashear on trumpet, Don Menza on tenor, Gary Foster on alto, Larry Nash on Fender Rhodes, Clare Fischer on piano, and Jerry Peters on organ. The sound builds and swirls in nice chunks, while the soloists creep in and lay down some horn parts – and a few vocalists, including Santos, add some slight lyrics from time to time. Titles include "Tomorrow Is Mine", "Jequie", "Coisa No 2", "Quiet Carnival", "Sampaguita", and "Anon". ~ Dusty Groove



Heavy soul from the great Spanky Wilson – an album that explodes with energy right from the start – in a groove that definitely lives up to the title! Spanky's got a great mix of funk and class on this set – a punch in the rhythms at points, yet also a poise in the way she delivers the lyrics – a blend that's a bit like Marlena Shaw in her earlier years – and set to some killer arrangements from the great HB Barnum! Barnum gives the record all the cool punch of his great 60s work with Lou Rawls – and nearly all the material was written by the obscure Howlett Smith – an excellent lost writer who had a real talent for coming up with cool little soul songs that rise above the usual bag of his generation. This material works great for Spanky, and together, the pair, along with Barnum, cook up a unique lost soul treat! Titles include "Apartment 101", "On The Morning After", "The Other Girl", "You're Gonna Miss Me", "Love Has Me By The Hand", and "Mighty Great Feeling". ~ Dusty Groove


A bit of soul, a bit of jazz, and some nice funky touches at the bottom – a killer little set from the great Spanky Wilson! Wilson's got a really unique place in music – at one level a soul singer with enough sophistication to rival the sound of Marlena Shaw or Nancy Wilson – but at another level, an artist capable of really letting loose – hitting heavier, funkier modes that neither of those singers could ever touch! This set may well be Wilson's masterpiece – put together with excellent production and arrangements from the great HB Barnum – here coming off a great run of work for other artists in the 60s, and focusing all that experience on making Spanky sound great. Titles include "If I Could", "You", "Don't Mess With Bill", "Light My Fire", "Sunshine Of Your Love", "Hurtin", and "The Love That A Woman Should Give To A Man". ~ Dusty Groove


Spanky Wilson really takes off here – hitting some of her boldest soul modes to date – and serving up a few funk-heavy classics in the process! Production and arrangements are by HB Barnum – who draws on his own rich legacy of soul projects for the set, and finds a way to let Spanky really knock things out of the park – while still also holding tight to a mighty sweet groove! The style's almost an indie soul take on the Capitol Records groove that Barnum forged with David Axelrod for other singers – with all the strong sense of space between the grooves that would imply. The set features Spanky doing nice hard grooving versions of tracks that you've heard before – like "Loveland", "Let It Be", "Gloomy Sunday", and "Perhaps" – but there's also some nice ones like "Foolish" or "Love or Let Me Be Lonely", that are less familiar, and mighty nice too! ~ Dusty Groove



Sweet fusion from the great Eric Gale – two late 70s albums back to back on a single CD! Part Of You is part of Gale's great run for Columbia Records in the late 70s, and a set that's got a nicely grooving bottom – thanks to production from Ralph MacDonald, and arrangements from William Eaton! The groove's uptempo at times, but always in a jazz-funk mode – and mostly played with smaller group instrumentation at the core – including keyboards from Richard Tee, bass from Anthony Jackson, and drums from either Steve Gadd or Harvey Mason – both cats who can hold up a groove on a date like this. Titles include "Let Me Slip It To You", "Part Of You", "Trio", "Nezumi", and "Holding On To Love". Touch Of Silk is a classic set that has the guitar of Eric Gale produced by the legendary Allen Toussaint! The cross of talents is pretty compelling – and although the album's not a New Orleans funk outing, it definitely shares some of the more creative elements that you'd get from some of Toussaint's other side projects at the end of the 70s. A few numbers definitely have a bit more bump than you'd expect from a fsuion date like this – and Toussaint himself plays piano and moog on the record, and even sings a tiny bit. Robert Dabon plays Fender Rhodes – and titles include "You Got My Life In Your Hands", "War Paint", "Touch Of Silk", "Au Privave", "With You I'm Born Again", and "Once In A Smile". ~ Dusty Groove


A soaring set from guitarist Grant Green – a really amazing double-length set that caps off his legendary run for Blue Note – done with a vibe that's different than most of his other work for the label! Like some of the other Lighthouse sessions from Blue Note – particularly those from Lee Morgan and Elvin Jones – this one has a very open, free vibe – a way of stretching out on the tracks, yet still staying soulful – all an amazing document of the rich talents of the leader in a live setting! The group's a bit unique, too – and features Gary Coleman on vibes, Shelton Laster on organ, Claude Bartee on tenor and soprano sax, Wilton Felder on bass, and Greg Williams on drums – all players who hit this hip Cali groove with Green – and really take off on cuts that include versions of Donald Byrd's "Fancy Free", Neal Creque's "Windjammer", and The Fabulous Counts' "Jan Jan" – plus the cuts "Flood In Franklin Park", "Walk In The Night", and "Betcha By Golly Wow". ~ Dusty Groove


A masterpiece from Gene Harris – an album that's probably been his biggest influence on the sound of soul in the 21st Century, and for good reason too! The set moves way beyond both Harris' acoustic piano roots in the Three Sounds, and his other electric sides of the 70s – into sublime spacey territory that's wrapped up in soul – as much a pinnacle of his musical vision as early 70s records were for Herbie Hancock or George Duke! The vibe here is a bit between the looser styles of Duke's MPS recordings, and the tighter grooves of the Mizell generation – and arrangements are by Harris, Harvey Mason, and Jerry Peters, the latter of whom really adds some great elements to the record. Harvey's drums make for a great funky undercurrent – and the album features the funky break track "Higga-Boom", the great groover "Losalamitoslatinfunklovesong", and the cuts "Rebato Summer", "Don't Call Me N*gger, Whitey", "Love Talkin", "I Remember Summer", "Green River", and "My Roots".~ Dusty Groove

Thursday, November 29, 2012



An amazing collection of work from Jackie Ross – a singer who was arguably the greatest female soul artist in Chicago during the 60s! Jackie's got a really wonderful approach – sweet on top, but with a hard punch below – very much at the best level of some of Motown's heavyweights of the same period – but not nearly as well-known! That aspect makes this set a really fresh discovery – not just Jackie's few hits, but lots of other rare album and single material too – including a few unreleased tracks that really round out the collection wonderfully. And as you'd guess from Ace/Kent, the packaging and presentation is wonderful – not just crystal-clear quality to the recordings, but really rich notes and images that make the whole thing sparkle way more than any previous collection of Ross' work for Chess. Titles include "Everything But Love", "Selfish One", "Misty", "Wasting Time", "You Really Know How To Hurt A Girl", "Honey Dear", "My Square", "Stick To One", "Dynamite Lovin", "Take Me For A Little While", "I Dig His Style", "Trust In Me", "It's Going All The Way", "Jerk & Twine", "I've Got The Skill", and "Haste Makes Waste". ~ Dusty Groove


Totally great work from Chris Clark – a real surprise, given that we haven't really heard the singer since her Motown records of the 60s! Chris sounds wonderful here – every bit as soulful as before, but even more deeply expressive – yet in ways that aren't hokey or overdone at all. "Dream Or Cry" is a really wonderful tune – done with horns that almost have a Hi Records sort of vibe, and this warmly bubbling groove that pushes Clark even farther than before! That approach is repeated nicely on "Hang It Up" – then Chris steps into mellower territory with "Sleepin" – a really nice ballad with a gentle, almost jazzy vibe. ~ Dusty Groove


Jazz piano great, Beegie Adair, leads a stellar line up of fellow jazz artists, in this swinging collection of some of their best Green Hill holiday recordings, creating and intoxicating mix of instrumental and vocal jazz tracks for holiday entertaining. Citing George Shearing, Bill Evans, Oscar Peterson and Erroll Garner among her influences, pianist, Beegie Adair has recorded over 30 albums, ranging from Cole Porter standards to Frank Sinatra classics to romantic World War II ballads. Her 6-CD American Songbook Collection of tunes by Rodgers, Gershwin, Kern, Ellington, Carmichael and Berlin became an instant collectible classic when it was released in 2002. Other Green Hill jazz artists showcased on this collection include Jaimee Paul, Jack Jezzro, Matt Belsante, Denis Solee, Leif Shires and more. ~


Rhonda Dorsey, a contemporary R&B singer-songwriter, was born in the music metropolis Philly. After completing her BA in Psychology at the University of Pennsylvania she journeyed to Europe where music, her favorite pastime, became her passion. She has toured Switzerland, Germany, Austria and Italy with various formations. Her long awaited debut solo album Chocolate Sound was released on November 9th, 2012. The 13 track album was produced in L.A. by Bryant Siono with a cream of the crop crew of musicians with credits from Chaka Khan, Jennifer Lopez, Kelly Rowland, Israel Houghton & Lady Gaga, to name a few. Rhonda's sound is a delicacy spiced with R&B flavored Neo-Soul, enriched with Gospel realness. The Single-Release of “Chocolate Sound” is in October 2012, just in time for a sweet Halloween treat!

According to her mother, Rhonda sang, "When A Man Loves A Woman" and "When Something Is Wrong With My Baby" before she could talk, let alone understand what she was singing about. Sounds like a natural calling, right? Certainly that's what you feel when you hear her multifaceted voice swooping and soaring, sweet as an angel, sharp as a knife and all with the ease of a songbird in flight. Rhonda was obviously destined to sing.

Her attraction to the romantic lasted beyond her childhood: "I love to write about the many places emotions are bold enough to go. Expressing my feelings and the feelings inspired by others in my music is like making an audible recording of my mind's eye. I may not have experienced everything I write about, but someone has. I enjoy telling life’s stories." Her skillfully penned, honestly revealing and compassionately motivating lyrics invite her listeners to get up close and personal. "…Narrative nakedness suits me. "

Growing up in Philly with her two brothers, music was everywhere. There was always a radio or stereo in the living room, the dining room, the kitchen, the bedrooms, the basement and yes, even in the bathrooms. So no wonder music plays a pivotal part in Rhonda's life. She remembers learning all of the lyrics to Marvin Gaye's "What's Going On" album and staying up all night performing it over and over again with her younger brother. It's still one of her all-time favorites: "Marvin had a very special way of communicating life through his music, with heart, soul and sincerity. I admired that and thought, mmh one day..." Well, that day has arrived; now she too tells her soulful stories from the heart in song. Her music gives her listener something to feel, reminisce about, dream of, long for...

That feel is focused. And yet Rhonda is a musical explorer. She continuously hones her craft, discovering new facets of herself. And her expanding knowledge and awareness are expressed in her songwriting talent every step of the way. The maturity of her voice is reflected in her sophisticated compositions and adept arrangements. She says: "I get more out of my music as I get more out of life. I like that. You live, you grow, you reap what you sow, and hopefully before you go."

Rest assured, the lady’s by no means done yet! Listen to her, watch her perform and relax into her celebration of life. Her voice will show you the way, because Rhonda lives her music and her audience does too. "I feel (music)...people who are real, true to themselves. It’s the "realness feel" I choose for my music, my life."

In her song "Living It" she tells the finger-popping, autobiographical story of living her dreams. The soul-baring "Far From You" is a ballad revealing the honesty of letting go. With its uplifting message and move-your-body beat, "The Sun" invites you to celebrate the bounce-back-ability that defies the odds. Then there's the taste-bud-tempting single "Chocolate Sound" with its appetizing food-4-thought and Rhonda’s revelation of what chocolate sounds like; yes, sounds like!

Rhonda's music recipe is flavored with the R&B she was nurtured on and the Gospel realness that gave birth to her voice. Mixed in is just the right twist of her very own Neo-Soul spice. Rhonda Dorsey's "Chocolate Sound", a tasty dish of sounds and moods, makes you keen for more. Bon Appetit!



Adele's critically acclaimed sophomore album 21 has reached yet another momentous milestone this week, surpassing 10 million albums sold in the U.S. This sales achievement earns Adele, and 21, Diamond Certification by the RIAA. Adele is the only British or European female artist in history to earn this certification. Adele is also the only British or European artist ever to earn Diamond Certification in less than 2 years from release. 21 also has the distinction of being the only single disc released over the last decade to reach Diamond Certification in less than 2 years (a feat which hasn't happened since 2000). "What an incredible honour," Adele exclaimed, "a huge, huge thank you to my American fans for embracing this record on such a massive level."

21 has achieved global success with 25 million albums sold worldwide. In her native UK, 21 has sold an incredible 4.5 million copies. Adele's latest single "Skyfall" is the official theme song to the 007 feature film Skyfall™. Released last month on the 50th anniversary of the legendary film franchise, "Skyfall" has sold over 2 million copies worldwide, and the film has gone on to generate the biggest opening ever for a 007 movie. This week Adele Live At Royal Albert Hall DVD surpasses 1 million copies sold in the U.S., with nearly 3 million copies sold worldwide. The last time a music DVD sold 1 million copies in a single year was 2005.

Source: Columbia Records


A double-header to die for – two of the rarest albums from Pucho & The Latin Soul Brothers – back to back on a single CD! First up is Saffron And Soul – one of the first albums from the legendary Pucho & The Latin Soul Brothers – a wonderful little record that evenly blends together jazz, Latin, and soul music! There's a stronger soul jazz vibe here than on some later Pucho sets – partly due to the strong use of jazz in the rhythms, but also to the record's excellent horn work – not by the Pazant Brothers, but by Harold Alexander on tenor and flute, Claude Bartee on tenor, and Vicent McEwan on trumpet – all players who really make the record sparkle! The set's heavy on vibes too – a Pucho trademark, played here by Willie Bivins – and titles include the excellent "Soul Yamie", plus "Something Black", "The Groover", "Caravan", "Aye Ma Ma", and "What A Piece".

Shuckin' And Jivin' is one of the most soulful albums ever recorded by Pucho & The Latin Soul Brothers – a set that really shows the changing sound of Latin music in the late 60s – with some fresh vocals added to the group by Jackie Soul! Jackie only sings on a few cuts, but really brings in a raw Spanish Harlem vibe – one that gives the set a bit more of a Fania/Cotique sort of groove than usual – even when the group are leaping ahead on tight instrumentals – tunes that really sparkle with piano from Neal Creque, vibes from Willy Bivens, and tenor sax from Claude Bartee! Vocal gems include "Shuckin & Jivin", "CC Rider", and "You Are My Sunshine" – instrumental tracks include "Return To Me", "Swing Thing", "Maiden Voyage", and "How Insensitive". ~ Dusty Groove

Wednesday, November 28, 2012


In 1962, Duke Ellington recorded a trio date with bassist Charlie Mingus and drummer Max Roach that is today considered one of the pivotal jazz recordings of the 1960s. Money Jungle, the 1963 album that emerged from the session, was – among other things – a commentary on the perennial tug-of-war between art and commerce. In some ways, the album’s 11 tracks were intended as a sort of counterbalance to the capitalist bent of the Mad Men generation.

Fifty years later, this precarious balance in the world of jazz – or in any art form, for that matter – hasn’t changed much. Enter GRAMMY® Award-winning drummer, composer and bandleader Terri Lyne Carrington, who enlists the aid of two high-profile collaborators – keyboardist Gerald Clayton and bassist Christian McBride – to pay tribute to Duke, his trio and his creative vision with a cover of this historic recording. Carrington’s Money Jungle: Provocative in Blue is set for release on Concord Jazz on February 5, 2013 (international release dates may vary).

Duke’s original recording is something that has haunted Carrington since she first heard it about a decade ago. “I had bought it on CD, from the discount bin in a music store,” she recalls. “I put it on in my car, and I immediately just felt something mysterious about it. There was just an energy that moved through the tracks. Duke and Charles and Max had a chemistry about them. There was this tension that you could hear, and yet they fit together like a hand in a glove.”

In preparation for the project, Carrington read up on Duke’s biography. “I felt like a method actor, she says. “I just dug as deep as I could in the time that I had to get a glimpse of his perspective on things. When you start rearranging music by someone like Duke Ellington, you better feel really good about what you’re doing. In the end, I felt confident that I didn’t do him a disservice, because he was a very open-minded artist, and he was very much about moving forward.”

Carrington considers her Money Jungle – like its predecessor – primarily a trio album, but she’s not averse to some enhancement and additional textures along the way. Helping out with the rearrangements and reinterpretations is an impressive list of guest artists: trumpeter Clark Terry, trombonist Robin Eubanks, reed players Tia Fuller and Antonio Hart, guitarist Nir Felder, percussionist Arturo Stabile and vocalists Shea Rose and Lizz Wright. Herbie Hancock appears in a spoken word segment as the voice of Duke Ellington.

The set opens with the driving title track, which opens with the simple but unsettling spoken-word observation about a capitalist society: “You have to create problems to create profit.” Despite the ominous message, the music that follows is surprisingly bouyant, thanks to an elastic rhythm set up by Carrington in support of her collaborators’ exploratory piano and bass interplay. All of it is peppered with clips from speeches by Martin Luther King, Jr., Bill Clinton, Barack Obama and others.

The pace slows down a bit with “Fleurette Africain,” a track that features Robin Eubanks on trombone, and Tia Fuller and Antonio Hart on flutes, as well as the iconic Clark Terry on trumpet. Terry also delivers a stream-of-conscious vocal line that’s part spoken-word part scatting. “Getting Clark Terry on this track was one of the most special parts of the record, because he’s someone who is really connected to Duke Ellington,” says Carrington. “My first gig was with Clark at 10 years old then I joined his band when I was 18, after I had left home and moved to New York. His vocals really bring it home for me, and this track kind of brings my career full circle.”

Vocalist Lizz Wright – who has participated in numerous live performances in support of Carrington’s all-female, GRAMMY®-Award winning recording, The Mosaic Project – steps up to the mic for “Backward Country Boy Blues.” The track begins in the spirit of deep Delta gospel, then morphs into something much more contemporary and orchestrated. All the while, Wright’s atmospheric vocals bring an element of mystery to the track.

Carrington inserts two of her own compositions into the set – the syncopated yet melodic “Grass Roots” and the ominous-turned-lively “No Boxes (Nor Words)” – along with “Cut Off,” a delicate piece written by Clayton. The three tracks replace “Warm Valley,” “Caravan” and “Solitude,” which appear on Duke’s original Money Jungle but were not written specifically for the date. In tribute to Ellington and his original work, Clayton’s “Cut Off” does include numerous melodic references to “Solitude.”

The set ends on the quiet notes of “Rem Blues/Music,” which features the voices of Shea Rose and Herbie Hancock. Rose works her way through the song with a spoken-word recitation of the poem, “Music,” which compares the art form to a multi-faceted and irresistibly seductive woman. Hancock closes the track quoting Duke Ellington, with observations about the role of music in society and the popularity of money versus the popularity of art.

The music of Duke’s Money Jungle may have first emerged a half-century ago, but “there’s nothing old about great music and great musicians,” says Carrington, who sees her own Money Jungle: Provocative in Blue as addressing some of the same issues as its 1963 predecessor. “There’s always something that’s new, if you know how to listen to it. You have to be able to appreciate the past if you want to have a future. I think that’s a big part of our job as artists and entertainers and educators – to keep reminding the younger musicians how important our predecessors were – especially the people who made the music what it is today. So it was my goal to bring some fresh light and fresh energy to some of Duke’s music in general and this recording in particular.”



A huge musical treasure – a full unreleased album by Weldon Irvine, plus a bonus video as well! The music is from the stage play Young Gifted & Broke – a short-lived production by Weldon, and one that's done with some of the same hip modes he was bringing to his own music of the 70s – as well as to other artists as well, especially Nina Simone! The style's more jazz than funk, but is still mighty nice – as the instrumentation features loads of electric piano lines from Weldon, and a sparklingly soulful style that's way hipper than most of what you'd find on the stage at the time. Most tunes have lyrics, but are still heavy on Fender Rhodes lines from Weldon – and titles include "Karate Dancer", "Pity for The Man", "Black Lightning's Song", "Musical Interlude", "Comin Home", "We Got A Deal", "No Now Never None", and "Ghetto Lament". DVD features a documentary titled The Edification Of Weldon Irvine – filmed in 1979 by Collis Davis – partly on the play, but also on Irvine and his music too – a beautiful document with footage in both color and black and white. DVD also has subtitles in Japanese – but is in English throughout. (DVD format is NTSC/Region free.) ~ Dusty Groove


The coolest chapter so far in the long-lost story of the He3 Project – wonderfully spiritual jazz sounds from the San Francisco scene of the early 70s – recorded with a wicked blend of instrumentation and vocals, and a really cosmic sound overall! The music isn't just the usual spiritual jazz of the time – nor the familiar funky sound from the other side of the Bay – and instead, it's kind of a tripped-out hybrid that's really unique – and often served up with a rough edge that makes the instrumentation even more compelling! Players include Hadley Caliman on tenor and flute, Joe West and Terry Mederios on guitars, and Herman Eberitzsch (the HE in the group's name) on Fender Rhodes, Echoplex, piano, and screwdriver. Vocals are from two members of The Waters – Maxine and Julia – although the overall vibe is more instrumental in the end. Titles include "Civilization", "The Massage", "Dark Angels", "Artesian Wells", "Shake A Leg Woman", "To Be True", and "This Is The Struggle". (Super-heavy package – almost with the heft of a vintage tape box!) ~ Dusty Groove


Airborne, the proclaimed “Musical Peacemakers” have released a very cheerful and motivating project entitled Airborne - Christmas: Holiday Music. Airborne - Christmas: Holiday Music takes you onboard a magical and musical journey through this wonderful season. An enchanted collection of seasonal favorites and original compositions that are very powerful and intensely creative yet inspires a peaceful serenity and a message of hope. The vocal and musical arrangements raise your spirit to a higher level of joy and peace. The music of Airborne fills your mind and heart with dreams of happiness that really overflows in this season of love. This music awakens within all of us the love and the feeling of global unity, friendship, and peace for the whole world. This is truly the message of Airborne in this Christmas: Holiday Music Collection. Tracks include: Every Year at Christmas Time, The Christmas Song, The Little Drummer Boy, Christmas Time is Here, Let it Snow, O Holy Night, I Wander, What Child is This, White Christmas, and Silent Night.


Launch of Bastian Baker’s 1st live DVD: December 9th, 5pm at the Montreux Casino.

Bastian Baker has risen to success in the musical arena since his debut in 2011. Actually, the Swiss singer-songwriter is also gaining recognition from abroad, especially from France where his fans are many and where he charms the media. His album is still in the French charts, at number 45!

In Switzerland his success on and off the stage has led to two platinum records, the winning of the “revelation of the year” trophy at the Swiss Music Awards, and a Walo Prize. The artist’s singles are also the most played on FM radio with unstoppable hits such as “Lucky”, “I’d Sing For You”, “Tomorrow May Not Be Better”, “Colorful Hospital” and his current hit “Nobody Should Die Alone” set against a superb video.

The talented Bastian Baker distinguishes himself also with the way he delivers his songs. On the live DVD entitled “Bastian Baker Plays Montreux Jazz Festival”, we rediscover a mixture of ardour and gentleness on stage, of youth and also spontaneity.

On June 29th 2012, Montreux Jazz Festival founder and CEO Claude Nobs honoured Bastian Baker by inviting him to perform as the opening act on the Auditorium Stravinski stage for the 46th edition of the Montreux Jazz Festival. This became an exceptional moment in Baker’s career and for Claude Nobs, an unforgettable memory:

“I had heard of this young ice-hockey player from Villeneuve who, despite having a bright future in sport, wanted to become a singer,” recalls Nobs.

“I asked him to perform at a small club in Zermatt having neither heard, nor even met him. He was alone on stage with his acoustic guitar and very quickly seduced the audience with his voice, his music and incredible stage presence. Bastian’s lyrics and melodies are such that they stay in your head and your heart, even making you dance – the rhythms are that powerful. At the end of his concert we did a blues improvisation and I told him he could go far. I meant it". Claude Nobs - Founder & CEO Montreux Jazz Festival

Bastian Baker’s showcase and autograph-signing takes place at 5pm on Sunday December 9th at the Montreux Casino.

“Bastian Baker Plays Montreux Jazz Festival” comes out on Phonag Records December 7th, in DVD and Blu-Ray and includes several bonus sequences including the video for Baker’s superb cover of Leonard Cohen’s “Hallelujah”.



The legendary jazz saxophonist and composer Wayne Shorter will make his triumphant return to Blue Note Records after 43 years with the February 5, 2013 release of Without A Net, his searing new album with his long-running Quartet featuring pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade. Shorter has revealed the album cover artwork for Without A Net, which features drawings by Shorter himself.

The Quartet has also announced 2013 U.S. tour dates including major concert events in New York City and Los Angeles. On February 1, the Orpheus Chamber Orchestra and the Quartet will perform four compositions by Shorter alongside works by Beethoven and Ives at Carnegie Hall. On February 9, the Quartet will be appearing at Walt Disney Concert Hall in Los Angeles for the world premiere of Gaia, a newly commissioned work that Shorter composed for Esperanza Spalding and the LA Phil. The Quartet will also be featured at the New Orleans Jazz & Heritage Festival (May 5) and will perform at Chicago's Symphony Center (June 7) and the Kennedy Center in Washington DC (September 26). See below for a full list of confirmed tour dates.

Shorter, who will be entering his 80th year in 2013-first recorded for Blue Note in 1959 as the precocious 26-year-old tenor saxophonist (and prolific composer) in Art Blakey's Jazz Messengers, which brought him to the attention of label founder Alfred Lion who eventually signed him to his own recording deal. Shorter went on to make a spectacular run of classic albums for Blue Note between 1964-1970 including Night Dreamer, Juju, Speak No Evil, Adam's Apple, Schizophrenia, and Super Nova during a period of time that also paralleled Shorter's years with Miles Davis, first as a member of the trumpeter's trailblazing quintet, and later as a part of Davis' early fusion masterpieces.

Without A Net is a 9-track musical thrill ride that consists of live recordings from the Wayne Shorter Quartet's European tour in late 2011, the one exception being the 23-minute tone poem "Pegasus" which features the quartet with The Imani Winds recorded at Walt Disney Concert Hall in Los Angeles. The album features six new Shorter compositions, as well as new versions of his tunes "Orbits" (from Miles Davis' Miles Smiles album) and "Plaza Real" (from the Weather Report album Procession). The quartet also reinvents the title song from the 1933 musical film Flying Down To Rio, which film buffs (such as Shorter) know as the first on-screen pairing of Fred Astaire and Ginger Rogers.

Feb. 1 - Carnegie Hall New York, NY
Feb. 9 - Walt Disney Concert Hall Los Angeles, CA
Apr. 12 - Schermerhorn Symphony Center Nashville, TN
May 5 - New Orleans Jazz & Heritage Festival, New Orleans, LA
June 7 - Symphony Center Chicago, IL
Sept. 26 - Kennedy Center: Eisenhower Theatre Washington DC
Nov. 2 - Orchestra Hall Detroit, MI

Tuesday, November 27, 2012


Jason “Malletman” Taylor grew up in Brooklyn, NY listening to Lionel Hampton’s music. His curiosity was sparked by his mother, who was a fan of Hampton’s and would go see him perform at the Apollo Theater. This made Taylor interested in finding out more. However, he played the drums and xylophone before he eventually went on to play the vibraphone, which he describes as being “the most beautiful sounding instrument.” He became dedicated to mastering the “vibe” just like the late Hampton, who was so impressed during his first meeting with Taylor in 1981 that he took the young “Malletman” as his protégé and became his mentor. In addition to touring with the legendary Hampton and his 18-piece band, Taylor also lived with Hampton and received the kind of personal training and experience that can only be described as “priceless.” Taylor toured the U.S. and Europe with Hampton, which ended with the two of them playing at President Ronald Reagan’s Inaugural Gala and Disneyland in 1985. It was during that time when Malletman formed Mallet Records, a record company dedicated to its mission of “Keeping Real Music Alive.”

1985 was also the year that Malletman flew away from Hampton’s nest and began promoting his first recording, Once Upon a Mallet (1984) which caught the attention of quite a few people. In 1986, Malletman released his sophomore recording, Good Grief/My Destiny after which, Taylor returned to his true love - performing. Over the years to follow, he developed his unique live show into one that awed audiences and critics alike. As the 1980’s ended, Taylor released the successful Love Attack which featured the singles, “Love Attack” and “Pick Me Up.” “Love Attack” (The Remix) was number 24 on the Let’s Dance! Record Pool Urban Chart in December 2000, placing higher than singles by artists such as Outkast, Lil’ Kim, Eminem and Erykah Badu. Malletman went on to record other releases. Taylor is a five-time Grammy ballot-nominee. His nominations include Best Jazz Instrumental Solo for “The Christmas Song” (1998). His CD single, Live at Mallet’s Place (2005) features “Once Upon a Mallet,” a lively original composition, along with a seductive version of the jazz standard, “Misty.” He is currently working his next release, which will offer at least 10 tunes.

Malletman is known for his unique presentation of Jazz, R&B and Swing, creating a signature sound that is all his own, which he calls “Vibrafunk.” He has been in the company of such greats as Benny Goodman, Dizzy Gillespie, George Clinton, James Brown, Branford Marsalis, Steve Washington, B.B. King, Slide Hampton and Bill Cosby, who is a well-known jazz fan. Taylor has opened up for Earth Wind and Fire (2003), Isaac Hayes (2002), Pancho Sanchez (2000), The Manhattans (1996), Najee (1996), Paquito D’Rivera (1996), Pieces of a Dream (1996), Diana Reeves (1995).

Malletman has a new instructional DVD coming out in 2013 entitled "The Mallet Code".



"Anat does what all authentic musicians do: She tells stories from her own experiences that are so deeply felt that they are likely to connect listeners to their own dreams, desires and longings." - Nat Hentoff

The Sound It Out series presents NY3 - the all-star trio of clarinetist/saxophonist Anat Cohen, drummer Matt Wilson and double-bassist Martin Wind - in a very rare performance at 8:00 PM on Saturday, December 1, 2012, at the Greenwich House Music School in New York City's West Village. Cohen has won hearts and minds the world over, with her expressive virtuosity and delightful stage presence having earned her top spots on both the critics and readers polls in DownBeat magazine several years running. Reviewing Cohen's 2008 headlining set with her quartet at the North See Jazz Festival, DownBeat said: "Cohen not only proved to be a woodwind revelation of dark tones and delicious lyricism, but also a dynamic bandleader who danced and shouted out encouragement to her group. . . With her dark, curly, shoulder-length hair swaying to the beat of the music as she danced, she was a picture of joy." The irrepressible Wilson is a first-call drummer for sessions ranging from straight-ahead jazz to the avant-garde, as well as bandleader in his own right with such groups as the popular Arts & Crafts. Wind has played with the top European jazz orchestras and with icons from Phil Woods to Pat Metheny, as well as leading his own bands. Tickets for NY3 are $20 ($15 for students), available at the door; go to for more information.

This will be only the second show to date by NY3, so sparks are sure to fly as the trio airs fresh takes on standards and a brace of new originals. Cohen, who will be playing both clarinet and tenor saxophone, says: "The music we perform as a trio comes from the jazz tradition, but it's very playful - we have fun with sounds and melodies, following our instincts, without overanalyzing. Matt Wilson is like a kid onstage, and that's what I like to be - it's great to have a partner in crime like him. Matt gets these incredible sounds from the drums, and Martin has this deep, round, almost classical sound on the bass, using his bow in such a musical way. And not having a traditionally harmonic instrument in the band, no piano or guitar, it frees us from pre-assigned roles, so we can really explore the music - so we can play in every sense of the word."

Born in Tel Aviv, Israel, and now a citizen of the U.S., Anat Cohen has been voted Clarinetist of the Year six years in a row by the Jazz Journalists Association, as well as 2012's Multi-Reeds Player of the Year. Anat has toured the world with her quartet, headlining at the Newport, Umbria, SF Jazz and North Sea jazz festivals as well as at such hallowed clubs as the Village Vanguard. This fall, Anzic Records released her sixth album as a bandleader, Claroscuro, which ranges from buoyant dances to lyrical ballads as it showcases Anat's fluency in a global set of styles - from New Orleans and New York to Africa and Brazil. For more information, go to

Matt Wilson, born and raised in Illinois, has performed on some of the world's top stages, from Jazz at Lincoln Center to the White House. He has played on more than 250 recording sessions as a sideman, as well as released nine albums as a leader for Palmetto Records and recorded five more as a co-leader of such projects as Trio M with Myra Melford and Mark Dresser. For more info, go to As a composer and bandleader, Martin Wind has a long-running quartet with Scott Robinson, Bill Cunliffe and Tim Horner, as well as a duo with a fellow native of north Germany, guitarist Ulf Meyer; for more info, go to

Events in the Sound It Out series at Greenwich House Music School include a post-show meet-and-greet for performers and listeners with refreshments provided by Greenwich House. Tickets for NY3 are $20 ($15 for students and seniors), available at the door. The Greenwich House Music School is located at 46 Barrow Street, half a block west of Seventh Avenue South (212-242-4770, Upcoming performances in the Sound It Out series at Greenwich House include Kris Davis & Tim Berne on December 6; and the Darius Jones Quartet on December 20, with Matt Mitchell, Trevor Dunn and Ches Smith. For additional coming attractions, see the Sound It Out concert schedule below; and there are more exciting shows being added - go to

Established in 1905, Greenwich House Music has long been a focal point of the downtown arts scene, with pivotal figures from Henry Cowell, Edgar Varèse and John Cage to Meredith Monk, Joan La Barbara and Morton Subotnick linked with the institution. Singer-songwriter Steve Earle and guitarist Jorma Kaukonen have performed at Greenwich House, and jazz has a history there, too: Varèse and composer Earle Brown, collaborating with saxophonist-producer Teo Macero, hosted an improvisation session in 1957 with a group that included such players Art Farmer and Charles Mingus. More recently, the Jazz Composers Collective held important concerts at Greenwich House in the '90s. Curated by Bradley Bambarger, the Sound It Out series aims to continue this tradition by hosting musicians from jazz and other venturesome genres, further binding Greenwich House Music with progressive scenes across New York City.

For more information about Sound It Out, contact Bradley: 917-805-8747;
Greenwich House Music School: 46 Barrow Street, New York City,, 212-242-4770


Earth Wind & Fire
 Miami Gardens’ 8th annual two-day Jazz in the Gardens music festival at Sun Life Stadium is proud to announce its first round of artists. Earth Wind & Fire, Charlie Wilson, Najee, Mary Mary and Rachelle Ferrell will take the stage for the March 16 and 17, 2013 festival. The City of Miami Gardens is thrilled to announce UPTOWN Magazine as its presenting sponsor for the festival, a perfect partnership as this popular national brand is known for celebrating the luxury lifestyle of professional and influential urban consumers. Nationally syndicated radio personality Michael Baisden, known for his love of great entertainment, has joined the line up as the festival’s host.

“This is the 8th year of Jazz in the Gardens and we’re hitting our stride. We want to make this the best entertainment experience anyone could ever attend in the U.S. It’s gonna be an all the way live weekend”

Jazz in the Gardens success is attributed to the list of legends that grace the stage each year along with its incredible food, affordable tickets and Miami Gardens’ amazing March weather. For the past seven years, the festival has enjoyed unprecedented growth and has consistently delivered increases in attendance. More than 50,000 music lovers from the Caribbean, United States and all over Florida attended the 2012 festival.

“This is the 8th year of Jazz in the Gardens and we’re hitting our stride. We want to make this the best entertainment experience anyone could ever attend in the U.S. It’s gonna be an all the way live weekend,” said Miami Gardens Mayor Oliver Gilbert. “And with our first round of performers, I’m very thrilled with this show already and there are more acts to announce! Once the full lineup is revealed, this will be the best festival we’ve ever had."

The 2012 "Jazz in the Gardens" featured performances from legendary artists including Mary J. Blige, Jill Scott, Patti LaBelle, KEM, Kenny G, Doug E Fresh, Kevin Eubanks, Ramsey Lewis and Nicole Henry. Previous years have included celebrated artists such as Erykah Badu, John Legend, Robin Thicke, the late Teena Marie, Wyclef, Babyface, Frankie Beverly and Maze, Chaka Khan, Chrisette Michele, Common, Anthony Hamilton, Ms. Lauryn Hill, Al Jarreau, Gladys Knight, The Isley Brothers, EnVogue, Lalah Hathaway, Branford Marsalis and Roy Ayers.

For more information about the 8th Annual "Jazz in the Gardens," please call the general hotline at (877) 640-5299 or visit Like at, follow @jazzgardens and use the Twitter/Instagram hashtag #JIG8.

Sponsorship requests should be directed to Roane Consulting Group at (804) 506-4020 or Food and merchandise vendor requests should be sent to


Warner Bros. Records has announced that it has signed vocalist and award-winning actress Emmy Rossum to its roster. The New York City native will release her first album for the label, a collection of covers of classic songs that span the '20s to the '60s entitled Sentimental Journey, on January 29th, 2013.

The album's highlights include its title track, which was a No. 1 hit for Les Brown and His Band of Renown with Doris Day as the vocalist in 1945; "These Foolish Things," a '30s standard that has been recorded by everyone from Nat King Cole and Bing Crosby to Rod Stewart and Michael Bublé; "Summer Wind," which was popularized by Frank Sinatra in 1966; and "I'll Be With You In Apple Blossom Time," which was a Top 5 hit for the Andrews Sisters in 1941.

"I grew up surrounded by classical music singing in the Children's Chorus at The Metropolitan Opera and when I would come home, the house was filled with the voices of Frank Sinatra, Sam Cooke, and Judy Garland," Rossum says. "For as long as I can remember, my mother would sing 'Apple Blossom Time' to me as a bedtime lullaby. Classics, jazz, and standards really infused my childhood and so it felt quite natural to finally make this record."

Last winter, Rossum hit upon the idea to make an album that felt like a musical calendar, an album that would take listeners on an emotional journey through the 12 months of the year. "Each song needed to either lyrically or emotionally reflect the corresponding month," Rossum explains. "Some songs were obvious fits, like 'Summer Wind' for June, 'Apple Blossom Time' for May, 'Autumn Leaves' for October, and 'Pretty Paper' for December. Others songs were less literal fits. I chose 'Nobody Knows You (When You're Down and Out)' for September because, to me, the plaintive melody and lyric emotionally reflect the cold weather creeping in and the sense of melancholy we can get in the fall months."

Recorded over three days at The Village in Los Angeles, Sentimental Journey was produced by Rossum's friend Stuart Brawley, who also co-wrote and produced her 2007 album Inside Out. "I wanted the record to sound authentically of the era, which is why I had all the musicians play live together in one room while I sang on a vintage mic in the vocal booth," Rossum says. "I love the sound of 1920's records, like the Bessie Smith songs I grew up listening to, which is why we mastered to tape. I wanted the record to have the harmonic influences of The Andrews Sisters and the swing of Sinatra records, but wanted it to also feel authentically me."

Rossum is also an acclaimed actress who currently stars in the Showtime dark comedy series Shameless with William H. Macy. She also stars alongside Emma Thompson, Jeremy Irons, and Viola Davis in the upcoming Warner Bros. Pictures feature film Beautiful Creatures, which hits theaters on February 13th, 2013. Rossum's other film credits include Poseidon, Mystic River, The Phantom of the Opera (for which she received a Golden Globe Award nomination), and Songcatcher (which earned her an Independent Spirit nomination). But even with her busy acting career, making Sentimental Journey is a project that is close to Rossum's heart.

"Whenever I have an artistic compulsion, I follow it," she says. "For a while I had been feeling a strong desire to make music again and a strong desire to make this kind of music -- songs written and recorded before music became synthesized and computerized-sounding, when it was just simple, beautiful songs and someone standing up and singing them. I know there are generations that are familiar with this music and the original versions, but there's also a whole generation that isn't and I really want to share these songs with that younger generation as well. I've always gravitated towards a more classic vocal approach, which likely stems from my training as a child, so I feel incredibly comfortable and happy singing these songs."

The track-listing for Sentimental Journey is as follows:
"Sentimental Journey" (Les Brown, Ben Homer, Arthur Green)
"The Object Of My Affection" (Pinky Tomlin)
"I'm Looking Over A Four Leaf Clover "(Mort Dixon, Harry M. Woods)
"These Foolish Things (Remind Me Of You)" (Eric Maschwitz, Jack Strachey)
"(I'll Be With You) In Apple Blossom Time" (Albert Von Tilzer, Neville Fleeson)
"Summer Wind" (Heinz Meier, Johnny Mercer)
"Many Tears Ago" (Winfield Scott)
"All I Do Is Dream Of You" (Nacio Herb Brown, Arthur Freed)
"Nobody Knows You When You're Down And Out" (Jimmy Cox)
"Autumn Leaves" (Joseph Kosma, Jacques Prévert)
"Things" (Bobby Darin)
"Pretty Paper" (Willie Nelson)

Bonus Track:
Keep Young and Beautiful (Harry Warren, Al Dubin)

You can pre-order Emmy Rossum's Sentimental Journey Fan Edition at and receive a physical CD, a calendar featuring exclusive photos capturing the album's 12 month musical journey, and an instant download of the song "Pretty Paper."


Previously Unreleased Completed Studio Recordings from 1968-70 Reveal Post-Experience Experimental Dimensions of Legendary Guitarist

Experience Hendrix LLC and Legacy Recordings, a division of Sony Music Entertainment, proudly announce the release of People, Hell & Angels, an essential new album premiering twelve previously unreleased studio recordings completed by guitarist Jimi Hendrix.

People, Hell & Angels showcases the legendary guitarist working outside of the original Jimi Hendrix Experience trio. Beginning in 1968, Jimi Hendrix grew restless, eager to develop new material with old friends and new ensembles. Outside the view of a massive audience that had established the Experience as rock's largest grossing concert act and simultaneously placed two of his albums in the US Top 10 sales chart, Jimi was busy working behind the scenes to craft his next musical statement.

These twelve recordings encompass a variety of unique sounds and styles incorporating many of the elements—horns, keyboards, percussion and second guitar—Jimi wanted to incorporate within his new music. People, Hell & Angels presents some of the finest Jimi Hendrix guitar work ever issued and provides a compelling window into his growth as a songwriter, musician and producer.

People, Hell & Angels will be available Tuesday, March 5, 2013.

With an album title coined by Jimi Hendrix, People, Hell & Angels reveals some of Hendrix's post-Experience ambitions and directions as he worked with new musicians--including the Buffalo Springfield's Stephen Stills, drummer Buddy Miles, Billy Cox (with whom Hendrix had served in the 101st US Army Airborne and later played on the famed R & B 'chitlin circuit' together) and others--creating fresh and exciting sounds for the next chapter in his extraordinary career.

People, Hell & Angels is co-produced by Janie Hendrix, Eddie Kramer and John McDermott. Kramer first met Hendrix at Olympic Studios in London in January 1967. Hendrix, who would have turned 70 on November 27 this year, developed a unique rapport with Kramer. As a result, Kramer engineered every album issued by the guitarist in his lifetime and recorded such famous Hendrix concerts as the Woodstock festival in August 1969. Since 1997, Kramer has teamed with Janie Hendrix and John McDermott to oversee the release of each Jimi Hendrix album issued by Experience Hendrix.

The dozen previously unreleased Jimi Hendrix performances premiering on People, Hell & Angels include "Earth Blues," "Somewhere," "Hear My Train A Comin'," "Bleeding Heart," "Baby Let Me Move You," "Izabella," "Easy Blues," "Crash Landing," "Inside Out," "Hey Gypsy Boy," "Mojo Man" and "Villanova Junction Blues."

A musical companion piece and successor to 2010's Valleys Of Neptune, the critically acclaimed album showcasing the artist's final recordings with the original Jimi Hendrix Experience, People, Hell & Angels offers tantalizing new clues as to the direction Hendrix was considering for First Rays Of The New Rising Sun, his planned double album sequel to 1968's groundbreaking Electric Ladyland.

Unlike contemporaries such as the Beatles or Bob Dylan, Jimi Hendrix owned his songs and master recordings. He did not have to record his music at recording studios owned and operated by his record company. Hendrix spent countless hours recording his new music at new, independent music studios such as New York's Record Plant and the Hit Factory. Hendrix was so focused on recording his music that, concurrent with nearly all of the sessions featured as part of People, Hell & Angels, he was underwriting the construction of his own recording facility--the state of the art Electric Lady Studios in Greenwich Village.

Janie L. Hendrix, President/CEO of Experience Hendrix LLC, commented, "We're thrilled to be able to release People, Hell & Angels during the celebration of the 70th anniversary of my brother's birth. The brilliance of the album serves to underscore what we've known all along: that there has never been and never will be a musical force equal to his and that we cherish and take inspiration of what he left us both now and for many generations to come...simply eternity."

"People, Hell & Angels provides us with further insight into the genius of Jimi Hendrix," said Adam Block, President, Legacy Recordings. "Working with new rhythm sections and instrumentation, Jimi Hendrix was opening up the horizons of his music, creating new sounds filled with endless possibilities."

People, Hell & Angels - Track by Track

Earth Blues:
Totally unlike the version first issued as part of Rainbow Bridge in 1971, this December 19, 1969 master take features just Hendrix, Billy Cox and Buddy Miles--stripped down funk at its very origin.

This newly discovered gem was recorded in March 1968 and features Buddy Miles on drums and Stephen Stills on bass. Entirely different from any previous version fans have ever heard.

Hear My Train A Comin':
This superb recording was drawn from Jimi's first ever recording session with Billy Cox and Buddy Miles--the powerhouse rhythm section with whom he would later record the groundbreaking album Band Of Gypsys.  Jimi shared a deep love for the blues with Billy Cox and Buddy Miles. Both musicians understood Jimi's desire to create what he described as a 'new type of blues'. Jimi's menacing lead guitar is the centerpiece of this dramatic addition to his remarkable legacy.

Bleeding Heart:
This Elmore James masterwork had long been a favorite of Jimi's. He had performed the song earlier that year with the Experience in concert at the Royal Albert Hall and had attempted to capture the song in New York studio sessions during the weeks that followed. Recorded at the same May 1969 session as "Hear My Train A Coming," the track conveys Jimi's firm understanding of the arrangement and tempo he desired. Before they began, Jimi instructed Cox and Miles that he wanted to establish a totally different beat than the standard arrangement. He then kicked off this amazing rendition that was nothing like any other he had ever attempted.

Let Me Move You:
In March 1969, Jimi reached back to another old friend, saxophonist Lonnie Youngblood. Before he was discovered by Chas Chandler in the summer of 1966, Jimi had contributed guitar as a nondescript studio sideman for Youngblood and such infectious rhythm and blues styled singles such as "Soul Food". This March 1969 session features Hendrix and Youngblood trading licks throughout this never before heard, high velocity rock and soul classic.

In the aftermath of the Woodstock festival, Jimi gathered his new ensemble, Gypsy Sun & Rainbows, at the Hit Factory in August 1969 with engineer Eddie Kramer. "Izabella" had been one of the new songs the guitarist introduced at the Woodstock festival and Jimi was eager to perfect a studio version. This new version is markedly different from the Band Of Gypsys 45 rpm single master issued by Reprise Records in 1970 and features Larry Lee, Jimi's old friend from the famed rhythm & blues 'chitin' circuit', on rhythm guitar.

Easy Blues:
An edited extract of this gorgeous, free flowing instrumental was briefly issued as part of the long-out-of-print 1981 album Nine To The Universe. Now nearly twice as long, the track offers fans the opportunity to enjoy the dramatic interplay between Jimi, second guitarist Larry Lee, Billy Cox and drummer Mitch Mitchell.

Crash Landing:
Perhaps known as the title song for the controversial 1975 album that featured Hendrix master recordings posthumously overdubbed by session musicians, this April 1969 original recording has never been heard before. Jimi is joined here by Billy Cox and drummer Rocky Isaac of the Cherry People to record this thinly veiled warning to his girlfriend Devon Wilson.

Inside Out:
Jimi was fascinated by the rhythm pattern that would ultimately take form as "Ezy Ryder". Joined here by Mitch Mitchell, Jimi recorded all of the bass and guitar parts for this fascinating song--including a dramatic lead guitar part amplified through a Leslie organ speaker.

Hey Gypsy Boy:
The roots of Jimi's majestic "Hey Baby (New Rising Sun)" trace themselves to this March 1969 recording. Unlike the posthumously overdubbed version briefly issued as part of Midnight Lightning in 1975, this is original recording that features Jimi joined by Buddy Miles.

Mojo Man:
Jimi would lend a hand to Albert & Arthur Allen, the vocalists known as the Ghetto Fighters, whom he had befriended in Harlem long before he achieved fame with the Experience. When the two recorded this inspired, previously unreleased master at the legendary Fame Studios in Muscle Shoals, Alabama they took it back to Hendrix at Electric Lady Studios. Jimi knew just what to do to elevate the recording beyond contemporary R & B to the new hybrid of rock, rhythm and blues he was celebrated for.

Villanova Junction Blues:
Long before his famous performance of this song at Woodstock, Jimi recorded this studio version with Billy Cox and Buddy Miles at the same May 1969 session which yielded "Hear My Train A Comin'" and "Bleeding Heart" also featured on this album. Never fully finished, the song stands as an example of the fertile ideas he hoped to harness and bring to fruition.
SOURCE Legacy Recordings


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