Wednesday, January 31, 2018

Second Chance, Diane Shaw's much anticipated follow-up to the 2015 Best Selling Debut Soul Album

Her 2015 debut album ‘Love, Life & Strings’ was labelled ‘The Best Soul Album of the 21st Century’ by Tower Records in Tokyo. It spent 2 weeks at the top of the UK Soul Charts gaining critical industry acclaim and worldwide airplay after being championed on BBC Radio 2 and 6 Music by DJ’s including Craig Charles and Tony Blackburn. Following on the heels of that success, 

Diane Shaw now finally brings her much anticipated follow up set ‘Second Chance’ which expands on the theme incorporating that winning formula of old school arrangements and real musicians rarely heard in this day and age. Real songs are at the core of Diane’s concept for her own music style, and this album is comprised of 12 brand new ‘Future Classic’ Soul Songs.

‘Second Chance’ has been in the working for over 18 months now, and tracks have been handpicked from a variety of sources, original writers as well as industry veterans. We have been very fortunate to get our hands on some rare gems unreleased by songwriting greats. She also has a new song written by the legend Michael McDonald which has never been released, and has been rearranged it into a great mid-tempo track. An unreleased Motown track written by Jimmy Webb in 1963 was also found and rearranged and should hit the spot for the dancefloors of the Northern Soul scene.

Slightly different from her first album, Diane has introduced a few classic modern soul-style dance numbers in the vein of classic Philly Soul and similar, and she once again took on the immense challenge of ditching the computers for the recording with a full live band in the hope of recreating that real authentic feel once again. 

Second Chance Album will be released on February 8.


Matador! Soul Sounds is proud to announce their debut album Get Ready. The band consists of the dream team of Eddie Roberts (New Mastersounds) and Alan Evans (Soulive) alongside keyboardist Chris Spies and bassist Kevin Scott. Rounding out the already killer line-up are vocalists Kimberly Dawson (Pimps of Joytime) and Adryon de León (Orgone) bringing their soulful and powerful energy to the mix. Combining the dynamism of each band leader, the music they have created is brand new, hard hitting and drenched with their shared musical passions – jazz, funk & soul.

In order to get to know the band better, we will introduce a more in-depth lookinto each band member during our #MatadorMonday weekly campaign. Starting on February 5th, check out Matador! Soul Sounds website and social platforms to get a free download from the album every week (for six weeks) leading up to release date. The weekly promotion will give fans more information on each band member and their personal stories about select songs and perspective on creating the album.

Matador! Soul Soundswas formed organically when Eddie and Alan were on tour. Eddie explains, "The idea came about one night while we were drinking wine in a bar in DC when I turned to Alan and asked 'can we start a band together?' Alan obviously shared the same sentiment as here we are today launching the debut album!" The next step was to come up with a name that encompassed both of their identities and musical inspirations. The naming of the band came about during Eddie and Alan's Grant Green tribute shows. Both of them liked the Grant Green album Matador!, and all that it evoked. Matador! Soul Sounds is a band loosely based on the concept of traditional Spanish bullfighting. However, a common misconception in America is that bullfighting is a feat of one man versus one bull. In reality, bullfighting is largely a team effort by a matador and his cuadrilla - which is the theme that showcases the all-star lineup behind this original band.

Matador! Soul Sounds made their debut live performance at the Brooklyn Comes Alive festival in the fall and did not disappoint. Live For Live Music stated, “Roberts, Evans, and company blessed the Brooklyn Bowl audience with their unique brand of power-funk. Roberts’s guitar skills were on full display as he anchored the band with his funky, rhythmic playing. Alan Evans was the king of the pocket, pushing the band forward with his locked-in grooves and tight hits. Chris Spies was excellent on the organ, playfully setting the tone, while Kevin Scott held the low-end down on his bass. Dawson and de León were a breath of fresh air, infusing these funky songs with a soulful vibe that elevated the music to another stratosphere. Matador! Soul Sounds’ musical prowess was on full display throughout their performance at Brooklyn Comes Alive, and the audience responded with endless enthusiasm, clearly loving the new project.”

Catch the band in March on their first national tour as they make their way from the east coast to the west bringing their fresh new sound from their debut album. Get Ready is slated for release on March 12th and will be available on red vinyl, as a digital download, and on all major streaming music services. 

Tour Dates
3/15 @ Rex Theatre – Pittsburgh, PA 
3/16 @ Union Stage – Washington, DC 
3/17 @ [Pacifico Presents] Brooklyn Bowl – Brooklyn, NY 
3/18 @ Fairfield Theatre Company – Fairfield, CT 
3/19 @ Brighton Music Hall – Boston, MA 
3/21 @ The Ardmore Music Hall – Ardmore, PA 
3/22 @ Martyr’s – Chicago, IL 
3/23 @ Cervantes’ Other Side – Denver, CO 
3/24 @ Fox Theatre – Boulder, CO
3/26 @ Great American Music Hall – San Francisco, CA 
3/28 @ Jack London Revue – Portland, OR 
3/29 @ Nectar Lounge – Seattle, WA 



The Soultrend Orchestra is the brainchild of author and arranger Nerio “Papik” Poggi (who has produced more than 20 albums in the last 10 years and has collaborated with several Italian and international artists including Mario Biondi , Matt Bianco, Sarah Jane Morris, Wendy D Lewis and Tom Gaebel) accompanied for this new project by producer and composer Luigi Di Paola with whom Papik has been working for over twenty years. The first abum from Soultrend was released in 2011 and was titled ‘Groovy Nights’. The new album is entitled ’84 King Street’as the band gets bigger and presents a more ambitious project than the previous one. The main inspiration is clearly the disco sound of Nile Rodgers & Chic who have been so popular of lately with a worldwide rebirth of their musical style. More than 35 musicians and singers have taken part in the recording of the Orchestra’s album. Among the featuring vocalists are, Lucy Campeti (from the Duo Groovy Sistas), who has worked with Gabin, Franco Micalizzi, Gloria Gaynor and Mario Biondi; Ely Bruna, (who has featured in most of Papik’s projects); Frankie Lovecchio, (who has collaborated with Claudio Baglioni, Delegation, Mario Biondi, Mike Francis and Amy Stewart); the soul Band ‘Adika Pongo’, who in 2011 released an album for the historic UK soul label Expansion Records; Frankie Pearl (from the Duo ‘Groovy Sistas’), a very talented singer; Letizia Liberati (‘More Blonde’), Isabella Canana, Dario Daneluz, all three well-known Italian session vocalists, and to complete the list are the soul duo Janine Johnson and Eli Thompson, aka ‘Westcost Soulstars’. The title “84 King Street” refers to the address of New York legendary “Paradise Garage” disco where Larry Levan (world renowned Disco DJ) was the main resident and where Disco Music had its highest peak in popularity during the second half of 70’s.


A really great setting for drummer Gerry Hemingway – an album that has him improvising live with trombonist Samuel Blaser – a fantastic musician who's one of the freshest trombone talents we've heard in years! In previous comments, we've liked Blaser to a modern day heir to the genius of 60s trombonists like Roswell Rudd and Grachan Moncur – and those words definitely hold true here, as Blaser delivers a wondrous balance between new sounds and tuneful moments, fresh ideas and a longer tradition on his horn – all in ways that make Hemmingway sound even more creative than usual. The album features six duets, all recorded live in a church during a jazz festival in the Netherlands – with titles that include "Spoor", "Rogue", "Mettle", "Bloos", and "Balloon".  ~  Dusty Groove

Classic 80s soul from Jonathan Butler – an artist who didn't emerge on the global scene until halfway through the decade, but one who'd already had plenty of recordings on his home turf of South America! Butler was part of the great Pacific Express group in the late 70s, and also recorded as a younger artist too – but by the time of these tracks for Jive, he was a fully-formed soul singer and guitarist, easily able to take on both the American and UK worlds of soul – where he shined brightly as a triumphant force to emerge during the generation of Apartheid. Unlike other South African artists crossing over at the time, Butler's got a vibe that's much more suited to the American soul world of the period – as you'll hear on this well-done collection of 32 tracks from his big crossover years. The set's got just about every key track from these years, including duets with Vanessa Bell Armstrong and Ruby Turner – and titles include "7th Avenue South", "Haunted By Your Love", "Baby Please Don't Take It", "I'll Be Waiting For Your Love", "Gentle Love", "Afrika", "Take Me Home", "Sarah Sarah", "One More Dance", "Barenese", "Say We'll Be Together", "What Does It Take", "Welcome Home", "No Strings No Ties", "True Love Never Fails", "Song For Jon", "If You're Ready", "Melodie", "Crossroads Revisited", "I Miss Your Love Tonight", "Holding On", "Lies (ext version)", and "Love Songs Candlelight & You". ~ Dusty Groove

Tuesday, January 30, 2018



A beautiful record from Gato Barbieri – almost a return to more traditional forms, but still graced with the searching, burning quality that made most of his early 70s sides so great! The tracks are all long and exploratory – and have Gato blowing with that tremendous tenor tone – a mix of late Coltrane and Pharoah, with some warmer, sentimental touches that really send us. The rest of the group includes George Dalto on electric and acoustic piano, Pretty Purdie on drums, and Paul Metzke on guitar – and most of the tracks feature added Latin percussion – not too much, but just the right amount to make them bounce along in a rhythmic groove. Totally great all the way through, and with tracks that include "Carinoso", "Marnie", "A John Coltrane Blues", and "Yesterdays". (Part of the Flying Dutchman 1000 Master Collection!) ~ Dusty Groove


The Chisa Years: 1965–1975 (Rare and Unreleased) is a compilation album by South African jazz trumpeter Hugh Masekela. The album consists of 14 rare or forgotten tracks recorded by Stewart Levine and Hugh Masekela from 1965 to 1975 when they ran their own Chisa Records label. Thom Jurek of Allmusic wrote “In sum, there isn’t a weak moment on this entire collection. It’s appeal is wide and deep and one can only hope this is the first of many volumes of this material to appear. BBE Records has done a stellar job in making this slab available.” Dan Nishimoto of the Prefix Magazine stated “The compilation focuses on Masekela’s original idea of “African American Music.” From the early experiments of the Zulus (a group featuring M’Bulu) in mixing doo-wop, rhythm & blues and South African gospel and the mbaqanga/”Grazing in the Grass”-style work of the generically named Johannesburg Street Band to the clearly Fela-influenced Ojah (Masekela’s band in the mid-’70s, consisting of players from Ghana and Nigeria) and the ready-for-primetime belting of M’Bulu, each track reveals a multi-pronged effort to find and challenge the notion(s) of how African and American cultural forms could interact.”


Afro-centric house in its purest form, Manchild (In The Promised Land) is characterised by Lono Brazil’s golden voice and original poetry which paints a moving picture of urban deprivation and stolen childhood. Subtle synth chords shimmer behind the jazz influenced bass-line and warm percussion that seems to play ‘call and response’ with the vocal. Fresh from appearing on Boiler Room Tokyo back in April, talented and in-demand Japanese husband and wife duo Dazzle Drums provide a deep and tribal dub version of ‘Manchild’, steadily building up a compelling drum groove before taking flight into synth-heaven.

"The Poetry of Jazz," A Collaboration Between Saxophonist/Composer Benjamin Boone & The Late Pulitzer Prize-Winning U.S. Poet Laureate Philip Levine

Benjamin Boone Philip Levine Musicians and poets have been inspiring each other for millennia, with collaborations in San Francisco and New York between beat poets and beboppers during the 1950s a particularly memorable recent chapter. On the forthcoming The Poetry of Jazz, which Origin Records will release on March 16, saxophonist-composer Benjamin Boone and Pulitzer Prize-winning poet Philip Levine make an invaluable contribution to the jazz-and-poetry canon and set a standard for the genre that will be hard to surpass in the future.

Fellow professors at California State University, Fresno, until Levine's death in 2015, Boone and Levine performed their first concert together in March 2012; that fall they decided to lay down some tracks. The Poetry of Jazz features 14 iconic poems by Levine set to compositions by Boone based on the music he heard in their words and their author's delivery.

For the recording sessions, Levine was in the studio with the musicians. "He told me, 'Why the hell would I want to be in a room by myself? I do that enough already! Have the musicians there and then that will be fun,'" Boone recalls. "There were always musicians playing live with him. Phil did most tracks in a max of two takes. 'Gin' was the absolute first take."

A highly regarded composer who often sets text to music, Boone employs a vast and vivid sonic palette in writing and arranging settings for Levine's words. He recruited an impressive cast of California players, relying particularly on drummer Brian Hamada, bassist Spee Kosloff, and pianist David Aus, who also contributed compositionally.

In addition, on the intimate "The Unknowable (Homage to Sonny Rollins)," Boone evokes the inner struggle and beatific quest embodied by the saxophone colossus's famous woodshedding walks on the Williamsburg Bridge, a search that materializes in the thick, sinewy sound of Chris Potter's horn. Tom Harrell delivers a strikingly beautiful statement on "I Remember Clifford (Homage to Clifford Brown)," while the mercurial altoist Greg Osby darts and weaves around "Call It Music (Homage to Charlie Parker)," about Bird's infamous Dial recording session of "Lover Man." On Boone's poignant ballad "Soloing (Homage to John Coltrane)," Branford Marsalis's sinuous tenor lines bring to life Levine's comparison between his aging mother's isolated existence and a Coltrane solo. 

"I wanted to record Phil's poems about Rollins, Brown, Parker, and Coltrane, as well as his poems that created melodies when he read them," Boone says. "We talked a lot about the relationship of music and the voice, and I told him, I don't want to react word by word. The music and the poetry had to be equal and symbiotic."

A lifelong jazz fan who was born (1928) and raised in Detroit when it was a proving ground for a brilliant generation of bebop-inspired improvisers, Philip Levine often wrote about jazz and the musicians he loved in his verse. But Boone, an award-winning composer, player and educator, wanted to dig deeper. He drew inspiration not only from the subjects of Levine's poems but also from the musicality of his language and his wry, emotionally restrained recitation.

Over the course of his career Levine collaborated with musicians in a variety of settings, but felt the results weren't always salutary, which made the connection with Boone all the more satisfying. He observed that "[Boone's] ability to both hear and 'get' my writing was astonishing... He can tell just where the music needs to carry the moment or the language has to climb over the instruments. His compositions seem to grow directly out of the thrust of the language."

Benjamin Boone Born in 1963 in Statesville, NC, Benjamin Boone grew up in an intellectually stimulating family and could have devoted himself to any number of pursuits. He concentrated on the saxophone and started improvising from an early age, but was also interested in composition. "I learned a great deal about science, literature, visual art, writing, history, politics, and music from my four older brothers," he says. "So I've always gravitated towards interdisciplinary projects like this one, where I can combine playing, composition, literature, and oration to create an artistic statement that addresses history and topics relevant today."

Boone traces his fascination with the music of spoken language to a hearing issue "that makes it hard for me to understand words," he says. "When I hear people speak I hear it as music, a melodic line. This fascination with spoken language allowed me to use Phil's voice as an instrument, which makes this project unique."

Boone is heralded as a performer and composer in both jazz and new music circles. His compositions have been heard in 29 countries and on more than 25 albums and have been the subject of multiple national broadcasts on NPR. He conducted musical research in the former Soviet Republic of Moldova as a Fulbright Senior Specialist Fellow and is currently spending a year in Ghana performing and composing with African musicians as a Fulbright Scholar.

With The Poetry of Jazz Boone has opened up a new literary and musical frontier, and there's more in store. The album features the first half of the 29 poems he recorded with Levine, who addressed his readers in his classic verse, writing "if you're old enough to read this you know what work is." 


Jazz Holdouts holding out until “Morning”

The follow up to their No. 1 single, “Summer Nights,” started going for radio adds on Monday; album slated for summer release.

From night until morning, Jazz Holdouts frontmen Alan Palanker and Lou Cortelezzi have been toiling away in the studio diligently conceiving ultramodern electronic soundscapes to pair with their enticing keyboard and saxophone melodies. Last summer, they came up with a sensual blend of throbbing house music, nocturnal chill nuances and steamy contemporary jazz harmonies on a cut titled “Summer Nights,” which went No. 1 on the Billboard and Mediabase charts. Going downtempo for a laidback oeuvre of sunrise seduction, the duo wrote and produced “Morning Breeze,” the follow-up single that began going for radio playlist adds on Monday.     

“‘Morning Breeze’ refers to the urge we often have to make love when we awaken in the morning. It passes over us like a cool breeze on a hot summer day and we make of it what we will,” said Cortelezzi about the inspiration for the new cut. “Our goal is to create instrumental music that is, groove oriented, atmospheric and contemporary. The more traditional elements that say ‘jazz’ - like improvisation - are secondary to the overall effect of the composition.”

The winning combo of keyboardist Palanker and saxman Cortelezzi have taken Jazz Holdouts in bold directions. The outfit initially formed as an adult R&B/singer-songwriter venture that dropped the debut disc, “Intuition,” in 2014. Scrapping the original concept and recruiting the hornman into the fold, the reimagined Jazz Holdouts premiered their reworked vision in 2016 with the Billboard Top 20 single “Simple Things,” a futuristic foray swirling exhilarating electronica experimentations, dancefloor dynamics and soothing sophisticated sax. All three singles will be on the ten-song album slated for release this summer.      

Jazz Holdouts consists of a veteran core of accomplished musicians who have toured and recorded with many of the biggest names in pop, R&B and jazz over the past few decades. On “Morning Breeze,” Palanker and Cortelezzi are joined by guitar ace Michael Thompson, bassist John Siegler and percussionist Walfredo Reyes Jr. Fusion guitarist Jamie Glaser will appear on the album as well.

“Lou and I are the songwriters, but the Jazz Holdouts recording process is unique and technologically current, including valuable contributions from our highly-skilled audio mix engineer, Douglas Cooper Getschal, who is key to shaping our sound,” said Palanker.

After the album is complete, the Jazz Holdouts’ focus will shift to how to present the music live in a compelling multimedia production that stimulates the senses. Cortelezzi said, “We are excited about the possibility of adding extensive video content to our live shows. The combination should be very entertaining to our audience and interesting to us as musicians.”

Kneebody + Inara George (The Bird and The Bee) to Release New Single "How High"

Stream Kneebody's "How High" feat. Inara George

Seventeen years in and the genre-bending electric jazz collective Kneebody is stronger and more diverse than ever. After the release of their critically acclaimed ninth studio album Anti-Hero, Kneebody teams up with Inara George -- from indie pop darlings The Bird and The Bee -- on "How High," the next chapter in the long history of this genre-defying band. This song is the first in a string of singles and collaborations with new artists that will come from Kneebody in the future.

"Inara is a powerhouse and kind of an icon here in LA.," says bassist, producer and songwriter Kaveh Rastegar. "She has one of the most recognizable and wonderful voices and the songs she writes are so good. She has made so much great music whether it's with her own albums or with The Bird and The Bee, her project with producer multi-instrumentalist Greg Kurstin."

After the release of Anti-Hero and months of touring internationally, Kneebody began the process of talking about writing songs with other artists. "We all thought of working with Inara right away," says Rastegar. "I was so excited that she wanted to get together to write this song." Kneebody's relationship with George is not new, with George contributing vocals to an early song in their discography -- before the band was even known as Kneebody and released the album Wendel. 

Saxophonist Ben Wendel recalls that early collaboration with fond memories and relates that experience to this new creations. "It was an organic process, when we decided we wanted to collaborate with new artists we knew how well we all would work together given our previous history," says Wendel.

"How High" came together in a very natural way one day with Rastegar playing guitar and George singing. The idea was to write a song that was positive and devotional as the main focus. "I think that those ideas and feelings came through in this song," reflects Rastegar.

"It was such a fun session," says George. "I felt like we sort of let ourselves get experimental while still writing something that's melodic and hopefully beautiful." Fans of Kneebody and Inara George alike will feel right at home between this marriage of artists, especially having an icon like George joining a band that truly makes it a goal to not be confined to any genre. Although Kneebody exists in the broad definition of instrumental music, this collaboration proves their influences and musical diversity comes from an enormous array of music genres. 



Vibist Steve Hobbs serves up a tribute to the late Bobby Hutcherson – but one that's not slavish in sound or spirit at all – which is very much in the best Hutcherson tradition! Instead, the music is all Steve's own – and is given a nod to Bobby, as he passed away right after the recording of the album – and had also be a longtime friend and supporter of Hobbs – whose own talents on the vibes are pretty great! And like Hutcherson in the 70s, Steve also plays a fair bit of marimba on the record too – using the wooden instrument in ways that resonate with the soulful elements of his vibes, but differently – in a cool combo that features Adam Kolker on tenor and soprano sax, Bill O'Connell on piano, Peter Washington on bass, and John Riley on drums. Titles include "Let's Go To Abaco", "The Road To Happy Destiny", "The Craving Phenomenon", "Tres Vias", "Thelonious Funk", "Into The Storm", "El Sueno de Horace Silver", and "In From The Storm". ~ Dusty Groove


Renowned New Mexico artist Deborah Samuels – “Desert Orchid contains the best of what the southwest is all about. Lovely and filled with such grace!” Desert Orchid – is an aural refection of the American southwest - the landscape, plant life, the verandas, and rugged people who live artfully amongst nature’s often hostile terrain. The plateaus in the distance, the thousands of miles of blowing sand, the harsh morning light, the grace and pastoral beauty of late afternoon is encased in one, lone Desert Orchid. “I’ve been exploring a variety of Spanish influenced themes with 2018 Grammy nominated violinist Elizabeth Rodriguez and Magdelys Savigne of jazz musician Jane Bunnett’s, all-Cuban women’s ensemble, Maqueque. Last year, under banner The Uprising we saw the release of Isle of Saints – a contemporary mix of Cuban rhythms and 70s’ style fusion jazz. Over the holidays the ranchero style single arrived, “Amarga Navidad” with OKAN – the band guided by Rodriguez and Savigne. Also, in the mix, Cuban virtuoso Pablofsky Rosales on guitar,” says pianist/composer Bill King. Desert Orchid mixes Spanish roots with chamber music, a most unusual marriage of genres. One moment, the performance seems as if you were shaded by a porch and basking in a hot summer’s wind, the other; at a concert hall listening to sophisticated ensemble.


Sweet reeds from Mike Lebrun – a musician who's way more than just another funky saxophone player! Mike's got a great ear for the overall sound of his music – so that he often layers together his instruments, in ways that make us feel like two horns are following the same path at once – quite possibly the case, given that Lebrun plays tenor, alto, soprano, flute, and clarinet on the record – in addition to handling the overall rhythms! There's other live musicians too – playing more alto, vibes, piano, and some very strong drums – the last of which are often used to give the music a nice kick, but in ways that are fresher than more standard funk. The whole thing explodes nicely with a strong sense of tone and color – and titles include "Flute Party", "Saxophones Crash A Flute Party", "Clusterduck", "Now Then Or Some Other Time", "Jamovaland", "Melt", "Summon The Hope", "Drive There", and "Drive Back".  ~ Dusty Groove


Get Shorty - Original Television Soundtrack

Sony Music has announced the release of GET SHORTY (Original Television Soundtrack) with an original score by composer Antonio Sánchez. Based in part on  Elmore Leonard’s 1990’s New York Times bestselling novel, and created for television by Davey Holmes, GET SHORTY follows  Miles Daly, played by Chris O’Dowd (Miss Peregrine’s Home for Peculiar Children, The Sapphires, Bridesmaids), the muscle for a crime ring in Nevada who tries to become a movie producer in Hollywood with the help of a washed-up producer, Rick Moreweather, played by three-time Emmy® award winner Ray Romano (Everybody Loves Raymond, Men of a Certain Age, Parenthood), as a way to leave his criminal past behind and win back his recently estranged family. GET SHORTY also stars Sean Bridgers (Rectify, Room), Carolyn Dodd (The Adventures of Catty Wompus), Lidia Porto (Horrible Bosses 2), Goya Robles (11:55), Megan Stevenson (Review) and Lucy Walters (Power).

The first season of the series premiered on EPIX on August 13, 2017 in the US. GET SHORTY is executive produced by Holmes and Adam Arkin (The Americans, Billions). The series is produced by MGM Television and distributed by MGM.

Riding the crest of a musical wave that began with his Golden Globe® and BAFTA®-nominated score for Alejandro González Iñárritu's Academy Award®-winning film, Birdman* or (The Unexpected Virtue of Ignorance), followed by soundtracks composed for director Fernando León de Aranoa’s Política, Manual de Instrucciones, drummer/Composer Antonio Sánchez returns with the EPIX Original Series GET SHORTY.

Born in Mexico City in 1971, Antonio Sánchez began playing the drums at age five and performed professionally in his early teens. Antonio pursued a degree in classical piano at the National Conservatory in Mexico and in 1993 moved to Boston where he enrolled at Berklee College of Music and New England Conservatory. There, he graduated Magna Cum Laude in Jazz Studies.

Since relocating to New York City in 1999, Antonio has become one of the most sought-after drummers in the international jazz scene. His playing is featured on over a hundred albums, and he has been the drummer of choice for 20-time Grammy® winner Pat Metheny and has been part of virtually every project the famed guitarist has created since 2000. Sanchez and Metheny have recorded ten albums together (Speaking of Now, The Way Up, Day Trip, Tokyo Day Trip, Quartet Live, Unity Band, Tap: Book of Angels Volume 20, KIN (←→), The Unity Sessions), three of which have been awarded the Grammy®.

Antonio’s continuous search as an artist has inspired him to compose and lead his own bands and ensembles. He has released five critically acclaimed albums as a leader. His debut, Migration (CAM Jazz, 2007) was called “one of the best new releases of 2007” by All About Jazz and featured an impressive cast which included Pat Metheny, Chick Corea, Chris Potter, David Sanchez and Scott Colley. His second solo effort, Live in New York (CAM Jazz, 2010) was recorded during a four-day run at the Jazz Standard in New York City. New Life (CAM Jazz, 2013), Three Times Three (CAM Jazz, 2014, Europe/2015, US) and The Meridian Suite (CAM Jazz, 2015) followed.

Sánchez’s career blossomed with Birdman, Política, Manual de Instrucciones and Get Shorty.

Monday, January 29, 2018

Till Brönner & Dieter Ilg release Nightfall

Some musical constellations are so obvious that the question arises why they hadn’t become reality long ago. And when they finally do see the light of day, they appear so familiar to us as if we’d known them for ages. One of these constellations is the duo formed by the Berlin trumpeter Till Brönner and the Freiburg bass player Dieter Ilg. They are, in the full sense, soul-mates, no matter how threadbare the term might sound. They often seek to do the very same thing on their antithetical instruments, even if they express it in quite different ways. As a result, they fit each other to a tee. This osmosis is now plain to hear on their joint début album, Nightfall.

In recent years some people have been able to savour the privilege of hearing the Brönner-Ilg duo live. Both musicians have long numbered among the major protagonists of German and European jazz. Brönner has recorded albums in a very wide range of formations, worked as a producer for artists as varied as film diva Hildegard Knef and baritone Thomas Quasthoff, plunged into spontaneous live performances with free jazzers such as Baby Sommer and Christian Lillinger and played in the White House at the invitation of Barack Obama. In the 1990s Ilg discovered German folk song for jazz, supported musicians such as Randy Brecker, Charlie Mariano or Nguyen Le with his sonorous, thoughtful but always uncommonly open-minded delivery, and played in the legendary quintet with Albert Mangelsdorff and Wolfgang Dauner. When Ilg and Brönner happen to meet, they bring together not only a chapter of jazz history and lots of jazz stories, but a good part of the future.

For all their personal fame, these two never strike the attitude of two superstars at a summit meeting. They’re simply two musicians who have a lot to say to each other. That’s why they took their time before entering the studio, and why they take their time when playing. A good story needs time to unfold and breathe. It wants to be spelled out and filled with life. But it also wants to be heard. Brönner and Ilg don’t rush from one musical climax to another, but let their stories come as they will. The most important thing is what they have to say and how they say it. Instead of melody line and accompaniment, they prefer a balanced dialogue on an equal footing at every moment. The nature of their instruments ensures that Brönner’s part is perhaps a bit more lithe and pliant, and Ilg’s a bit more forceful. But every tone has weight and stands for itself, a mirror reflection of its counterpart.

The choice of pieces is sufficient proof that the musicians did not want to pin themselves down to a fixed classification or pigeonhole. If jazz was ever an expression of individual liberty, then this independence is manifest here, devoid of myths, in their approach to the material and their spontaneous treatment of it. Anything can be done if you only want to do it, and Brönner and Ilg certainly do. Songs by Leonard Cohen, the Beatles and Britney Spears, pieces by Jerome Kern, Johnny Green and Ornette Coleman, compositions by Johann Sebastian Bach and Melchior Vulpius, even a few creations of their own: the range of intentions and influences on display is almost unparalleled. In each song the two men find inventive new angles and perspectives. There aren’t any solos in the classical jazz sense. As in any good conversation that unfolds naturally, the lines of argument fall now on one side, now on the other. The flow of thoughts is completely free. It’s pressed here into a narrow riverbed only to expand a moment later into a broad delta.

On Nightfall, Brönner and Ilg open up limitless realms of association for the listener. They make it easy for their recipients to enter the dialogue. Depending on the time of day or year, the songs cast completely different shadows. There’s no “just-the-two-of-us” mood that so often turns jazz duos into affairs for so-called aficionados. Nightfall is exactly what it is, and nothing else. Dyed-in-the-wool jazz fans will see themselves reflected in the light-heartedness of this interchange no less than young pop listeners who may never have come into contact with a jazz album.

Nightfall is many things at once. It’s a début album and, at the same time, the fruit of a long and intensive collaboration between two great storytellers. It’s at once a consummation, a stocktaking and a promise for the future. It’s a resolute dismissal of entrenched prejudices and a passionate affirmation of the freedom and miracle of jazz. The organic blend of willful abandon and understatement celebrated on this album is anything but run-of-the-mill. Not least of all, the album is a refreshing counterfoil in the age of perfectionism. It projects the cathartic discovery that no matter how much one has achieved in life, it’s always worth starting from scratch, over and over again. And if proof is needed, here it is!

Damian “Jr. Gong” Marley receives GRAMMY Award for Stony Hill as "Best Reggae Album"

Damian “Jr. Gong” Marley is proud to receive a GRAMMY Award for Stony Hill in the category of "Best Reggae Album." This marks his 4th GRAMMY Award, having previously won "Best Urban Alternative Performance" for his groundbreaking acclaimed single “Welcome to Jamrock” and others for "Best Reggae Album" for his studio albums Welcome to Jamrock and Half Way Tree.

In addition to his GRAMMY win, Damian recently debuted the visuals for “Speak Life” the track off his GRAMMY Award winning studio album. The video exclusively premiered on global music and entertainment platform, TIDAL and features cutting-edge dancehall production by first-time Marley collaborator, Anju Blaxx of U.I.M. Records. The video was directed by B+ of Mochilla and filmed in Addis Ababa, Ethiopia. Click HERE to view! The album also features additional tracks including, “Medication,” “Nail Pon Cross” and “R.O.A.R.”

Damian is currently gearing up for a U.S. festival run this year. He is set to take the stage at Reggae Rise Up in St Petersburg, FL, Kaya Festival in San Bernardino, CA and Governors Ball in New York City. Additionally, he is headed to Columbia, where he will be headlining the Jamming Festival. Tickets are available now HERE. This summer, he will embark on a European tour and is planning his North American tour for the fall.

The youngest son of Reggae legend Bob Marley, Damian “Jr. Gong” Marley garnered his own place in music history when he became the first ever Reggae artist to win a GRAMMY outside of the “Reggae” category, taking home an award for “Best Urban/Alternative” performance for his title single, “Welcome To Jamrock”. The acclaimed 2005 breakthrough disc Welcome To Jamrock, also won a GRAMMY for “Best Reggae” Album. Marley has been shaking up stages all over the world for the past few years, first in collaboration with Nas on their Distant Relatives project, and then when he went on to partner with Skrillex for their groundbreaking track “Make It Bun Dem,” which Rolling Stone called “a monster mash up of dubstep and dancehall.” Most recently, Marley’s latest album Stony Hill won the 2018 GRAMMY Award in the Best Reggae Album category. Additionally, Damian appeared on Saturday Night Live alongside Jay Z to perform their stand out track “Bam,” and he is also featured on Ty Dolla $ign’s acclaimed track “So Am I” with Skrillex.

Chart-Topping Billboard #1 Soul Jazz Diva Lindsey Webster Drops New Single "Love Inside" From Forthcoming CD Love Inside

Growing up in an artist community, the daughter of loving hippie parents, in Woodstock NY, the allure of music was never far from Lindsey Webster. The adorable, instantly likeable and earthy singer/songwriter, who grew up listening to her parent's Jimi Hendrix, Beatles and Elvis Costello LPs and later the Supremes, once pursued medical school before finally settling on music. Webster has been taking the contemporary jazz world by storm, scoring a  #1 hit with her soulful original "Fool Me Once." This feat is remarkable in numerous ways. Not only is Lindsey half the age of the male instrumentalists who dominate the genre, but her #1 is the first vocal driven song that has topped the Billboard smooth jazz chart since Sade's "Soldier of Love" in 2010.   November 2016,  Webster made her Shanachie debut with Back To Your Heart which spawned two #1 hits: "Back To Your Heart" and "Where Do You Want To Go." Webster's anticipated new CD Love Inside is scheduled for release March 16th.

Influenced by everyone from Mariah Carey and Christina Aguilera to Steely Dan and Earth Wind and Fire, there is an honesty and authenticity that reverberates through Lindsey Webster's enchanting, smoky, rich and soulful honey-toned pipes. Joining forces with her husband, pianist and musical partner, Keith Slattery, the duo crafts evocative soundscapes that fuse the best elements of R&B, jazz, pop and soul. "The knowledge, style and intuition that Keith brings to my songs is amazing," says Lindsey of her husband. "Keith and I are extremely passionate and sensitive people who put the same pride and perfectionism into our writing, recording, and producing. Our philosophy is simple: we do what feels right. I believe this is what has helped us to forge our own sound." 

Mack Avenue Records Artists Billy Childs, Christian McBride and Cécile McLorin Salvant Celebrate 60th Annual GRAMMY® Award Wins

"This is a special night for Mack Avenue. We couldn't be more proud of Billy Childs, Christian McBride, and Cécile McLorin Salvant for their wins in the Best Jazz Instrumental Album, Best Large Jazz Ensemble Album, and Best Jazz Vocal Album categories. With eight nominations we've had butterflies since the nominees were announced! We salute every one of them." -- Denny Stilwell (president, Mack Avenue Records)

Best Jazz Instrumental Album Winner:
Billy Childs - Rebirth

Since his first recordings of the 1980s, Billy Childs has developed into one of the most distinctive and distinguished composers of our time. An accomplished symphonic writer, he has also amassed a career's worth of jazz originals that can swing hard, dazzle with intricacy, touch you with direct simplicity, or mesmerize with crystalline lyricism. On his Mack Avenue debut album Rebirth, Childs reaches back to the start of his almost astoundingly varied musical experience-leading a small jazz band of state-of-the-art musicians with his piano playing.

At his musical core, Childs is an improvising pianist. He has the ability to equally distill the harmonic and rhythmic languages of classical music and jazz into his playing. The wide-ranging vocabulary on some tracks begs the question of Childs' love of classical music; "I'm not just jazz," he stresses. His insistent pulse and melodically probing introduction to song is a key to the Childs' musical identity: open to extended harmonic possibilities as they come along, taking a flexible approach to time and leaving an open door for input from his bandmates.

A Los Angeles native, Childs grew up in a home hearing his parents' musical tastes: Bach, Stan Getz and Antonio Carlos Jobim, the Swingle Singers. As Childs developed, he was deeply touched by the music of Emerson, Lake & Palmer, the Modern Jazz Quartet and Laura Nyro, among other contemporary musicians. As a young player, Childs took his bandstand boot camp in the bands of trombonist J.J. Johnson and trumpet titan Freddie Hubbard. While his compositions and orchestrations have taken Childs into a realm that transcends jazz venues, the fact remains that the improvising pianist is largely the product of his tenures as band pianist with those two late masters.

Best Large Ensemble Jazz Album Winner:
Christian McBride Big Band - Bringin' It

Iconic bassist Christian McBride has been doing what the title of his upcoming big band album implores for years: Bringin' It. This highly anticipated release, which follows the Christian McBride Big Band's 2011 Grammy® Award-winning debut, The Good Feeling, puts his status and skills as an all-around entertainer on full display.

A key aspect that has helped the bassist find his voice as an arranger is the fact that, except for drummer Quincy Phillips, this is the exact same band that recorded the big band album with him six years ago. "These guys know my sound. They know my style. They know what my compositional and arranging DNA is. I've been able to keep the exact same unit, so like Duke Ellington used to do, I can write for my guys because I know their sound and style."

While the music played by the Christian McBride Big Band is on the cutting edge of 21st century large ensemble music, the orchestra's presentation, like its sound, respects the past while looking forward. Danny Ray, the legendary stage announcer for James Brown, travels with the group to give the leader an old-school intro before playing his thoroughly modern music.

With a list of growing accolades including his recent appointment as Artistic Director at the Newport Jazz Festival, hosting shows on SiriusXM ("The Lowdown: Conversations with Christian") and NPR ("Jazz Night in America," as well as frequent online contributions to various programs including "All Things Considered"), speaking engagements, and occasional DJ performances under the alias DJ Brother Mister, he's more than just a bandleader: Christian McBride is transcending that title to something more complete.
Best Jazz Vocal Album Winner: 
Cécile McLorin Salvant - Dreams and Daggers

GRAMMY® Award-winning vocalist  Cécile McLorin Salvant has had a remarkable rise to stardom in her professional career, and she took another big leap forward with  Dreams and Daggers, her third album for  Mack Avenue Records.

"The songs on this album are of dreams and daggers. The daggers have been used at times to attack, at times to defend. For power, no doubt, to take it, to keep it. The dreams are the ones I caught looking out a window, or from the light sleep before the deep. I don't always know what they mean, but they are the ones I was able to keep. And yet dreams can be desires too. I wrote them down to make them true. That we may bring our wildness into view. That we may be unruled and unruly," explains McLorin Salvant.

In 2013, McLorin Salvant made her Mack Avenue Records debut with WomanChild, garnering a GRAMMY® Award nomination, NPR Music's pick for "Best Jazz Vocal Album of the Year," and three placements in DownBeat's critic's poll as "Jazz Album of the Year," "Top Female Vocalist," and "Best Female Jazz Up and Coming Artist of the Year," among many other accolades. Her 2015 follow up release, For One To Love, won the GRAMMY® Award for "Best Jazz Vocal Album."


JEFF LORBER FUSION Brings Home Grammy For Best Contemporary Instrumental Album For Their CD PROTOTYPE

"It's a thrill to finally get a Grammy award. I've been nominated six other times, the first one in 1986,  but I guess this was our year.
Being able to make music for a living is it's own reward but getting a Grammy is a great feelingI that I won't forget. Of course it would not have been possible without the efforts of the other band members and people that support our creative endeavors." - Jeff Lorber

Trailblazing pianist, composer, producer and bandleader Jeff Lorber is a consummate artist who continues to push himself to new plateaus. A groundbreaking Fender Rhodes pioneer along with the likes of Herbie Hancock, Joe Sample and Bob James, Lorber has triumphed as one of the most innovative musical minds in contemporary jazz. Lorber's newest CD Prototype, is a sterling example of his expansive musical roots, masterfully crafted harmonic and melodic sophistication, irresistible finger-poppin' grooves and intricate rhythmic sense. "I came up with the name Prototype because we are always trying to up our game and come up with new exciting music that could be a prototype or innovative harbinger for the future of our musical style," says the LA based pianist. Lorber, a Berklee College of Music alum who formerly majored in Chemistry at Boston College, goes full throttle on Prototype, orchestrating like an alchemist in the lab and concocting a majestic elixir of jazz, soul, funk, pop, R&B and gospel.

Prototype features longtime collaborators - bassist Jimmy Haslip (founding member of The Yellowjackets) and drummer Gary Novak. "From a production standpoint Jimmy adds a 'big picture' element. He contributes a lot with his warm bass sound and on the road he is without a doubt one of the finest soloists out there on his instrument." Lorber adds, "Gary's very versatile, imaginative, super solid and gets a great sound. He really shines playing over the funky polyrhythmic grooves we record."  The newest member to the all-star unit is saxophonist Andy Snitzer, who like Lorber (and the Brecker Brothers) hails from Cheltenham, PA.  Lorber states, "Andy's got a perfect approach. It's soulful and melodic and he is not afraid of taking the music outside a bit." Prototype also features special guests bassist Nathan East, guitarists Chuck Loeb, Larry Koonse and Paul Jackson, Jr. and saxophonist Dave Mann, among others.

Jeff Lorber's Fusion came to life in the 70s when the pianist attended Berklee College of Music. "I was listening to Miles Davis and Bitches Brew and the beginning of great fusion bands like Mahavishnu Orchestra, Weather Report and Return to Forever," reflects Lorber. "There were also artists like  Herbie Hancock,  The Crusaders and Grover Washington, who pioneered a more melodic and funky type of sound.  Not to mention the fantastic music being made in R&B and pop music like Earth Wind and Fire and Tower of Power." Lorber envisioned Jeff Lorber Fusion  a second generation to these fusion bands that were more R&B and melody oriented. A true clinician, Lorber has made it a point to study the long line of modern jazz pianists since 1945.  "Herbie Hancock and Chick Corea have been major influences but I had to go back and try to figure out who they listened to and were inspired by," says Lorber.  "Some of these icons that come to mind are Bill Evans, Thelonious Monk, McCoy Tyner and Bud Powell." He adds, "I also can't forget all of the pianists who played with Miles Davis such as Red Garland, Wynton Kelly, Tommy Flanagan and Horace Silver." Growing up in Cheltenham, Pennsylvania offered great inspiration for Jeff Lorber. "There were a lot of home grown record labels like Cameo Parkway and Philadelphia International (Gamble and Huff) not to mention tons of home grown talent. And the Dick Clark show originally came from there."

In 1977 Jeff Lorber Fusion released their self-titled debut. Their 1980 album Wizard Island made the introduction of a then little known Kenny G. The ensemble quickly gained traction and became one of the most popular jazz acts, touring nonstop. In 1982 Lorber made his solo debut with It's A Fact. He   first Grammy nomination  in 1986 for his radio hit "Pacific Coast Highway" from his album Step By Step. In the 90s Lorber released a successful string of projects including West Side Stories (1994), State of Grace (1996) and Midnight (1998). During this time Lorber also stayed busy producing for the likes of Michael Franks, Richard Elliot, Gerald Albright and Rick Braun, among others. The prolific pianist continued to add to his accolades with his shining recordings Kickin' It (2001), Philly Style (2003), Flipside (2005), He Had A Hat (2007, Grammy nominated) and Heard That (2008), Now Is The Time (2010, Grammy nominated), Galaxy (2012, Grammy nominated) Hacienda (2013, Grammy nominated) and Step It Up (2015). Lorber made his first recordings for Shanchie as a member of Jazz Funk Soul with Chuck Loeb and Everette Harp on the albums Jazz Funk Soul and the Grammy nominated More Serious Business.

Jeff Lorber has endured his own battle with Polycystic Kidney Disease (PKD) and has made it a mission to work with the PKD Foundation to raise awareness. "I was very lucky that my wife donated her kidney," shares the pianist. "I'm going on 11+ years and I'm very grateful for that. My sister had a transplant a couple years ago and she is doing well also. There are some solutions that are being worked on but like many genetic based diseases it could be a long time before there is significant progress.  People should know that there are 800,000 people in the US with PKD and two million worldwide. It's a huge problem that unfortunately doesn't get a lot of publicity."

Loeber, a self-professed enthusiast of podcasts, audio books, Spotify, YouTube and Apple Music concludes, "Since I had the transplant I focus on doing things that I enjoy and that are meaningful. I try to make the most of each day and to be productive and make great music."  There lies the Prototype for a beautiful life.


Chuck Berry's "The Great Twenty-Eight," Rock 'N' Roll's All-Time Greatest Greatest-Hits Album Released As Super Deluxe Vinyl Box

In the firmament of rock 'n' roll's first-generation creators, no artist looms larger than Chuck Berry. In a consistently innovative recording career that spanned more than 60 years, the iconic singer-songwriter-guitarist, who passed away on March 18, 2017, laid much of the groundwork for modern rock 'n' roll, while creating some of rock's most distinctive and enduring anthems, from "Johnny B. Goode" to "Roll Over Beethoven," "Rock and Roll Music" to "Reelin and Rockin'," and many more.      

Geffen/UMe are paying tribute to the immortal spirit of Chuck Berry with the ultimate vinyl version of his landmark greatest hits compilation, The Great Twenty-Eight, with The Great Twenty-Eight: Super Deluxe Edition. Available today, the five-disc vinyl box set housed in a textured box, complements the original two-LP, 28-song compilation with an additional LP, More Great Chuck Berry, containing 14 more hits, rarities and B-sides missing from the original, as well as a rare live album, Oh Yeah! Live in Detroit, available on vinyl for the first time. The collection also includes a newly created bonus ten-inch EP Berry Christmas, featuring four holiday-themed classics on "Rudolph-Red" vinyl, with one song on vinyl for the first time as well.

Berry's recordings for Chicago's seminal Chess label have been extensively anthologized in the CD era. But for many Berry devotees, the two-LP vinyl collection The Great Twenty-Eight remains both a sentimental favorite and a definitive document of Berry's musical genius. It's no wonder that The Great Twenty-Eight was ranked number 21 on Rolling Stone's "500 Greatest Albums of All Time," the highest-ranking hits compilation on that list. For those interested in the original 28-track edition of The Great Twenty-Eight, it is now back in print in its original two-LP format for the first time since its initial release in 1982. 

The Great Twenty-Eight: Super Deluxe Edition also includes a handsome 12" x 12" book featuring a special introductory essay by Keith Richards, a new essay by best-selling author and SiriusXM host Alan Light, complementing Michael Lydon's liner notes from the original version of The Great Twenty-Eight, and reminiscences from DJ Lee Alan, plus complete U.S. single, album and EP discographies. The text is enhanced by reproductions of Berry's original LP cover art and rarely-seen photographs.

As Light writes, "When The Great Twenty-Eight was released in 1982, it was immediately recognized as one of the essential albums in rock 'n' roll history... Enter this edition of The Great Twenty-Eight, with thirty more Chuck Berry recordings—the Great Fifty-Eight, as it were—fleshing out the story of rock 'n' roll's poet laureate while also demonstrating, through the addition of a riveting live album from 1963, his power as a stage performer...  The opportunity to spotlight additional facets of his music is the greatest contribution to his history that this collection offers."

A survey of Berry's first decade of recording on Chess, the original The Great Twenty-Eight contains 21 singles along with six of their b-sides and one album track from Chuck Berry in London. Of those singles, eleven were top ten hits on the Billboard R&B singles chart and ten were Top 40 hits on the Billboard Hot 100. During his Chess years, Berry created a massive—and massively influential—body of work that includes countless beloved classics, from "Maybellene" to "Roll Over Beethoven" to "Johnny B. Goode" to "Memphis, Tennessee" and beyond. Indeed, Berry's music is so deeply ingrained into our culture that NASA launched "Johnny B. Goode" into outer space on the Voyager spacecraft as a representation of the sounds of the human race for the benefit of our cosmic neighbors. All of these songs are included on The Great Twenty-Eight, which also includes the ubiquitous hits "Rock and Roll Music," "Sweet Little Sixteen" and "No Particular Place To Go" and many others that have become part of the collective consciousness. 

More Great Chuck Berry comprises 14 classic Berry tunes not included on The Great Twenty-Eight, including the sultry, simmering number "Wee Wee Hours," the original flip side of "Maybellene"; "My Ding-A-Ling," Berry's only No. 1 pop single; "Too Pooped To Pop (Casey)," the top 20 R&B A-side of "Let It Rock"; the Top 10 R&B hit "No Money Down"; the celebratory "Promised Land"; and the rollicking "You Never Can Tell," which earned cinematic immortality as the accompaniment to John Travolta and Uma Thurman's twist in the film Pulp Fiction.

Oh Yeah!: Live In Detroit is a thrilling, rare concert performance from October 1963, celebrating Berry's return to the stage after a break from performing. With support from local DJ and TV host Lee Alan, Berry, backed by Motown's Funk Brothers rhythm section and horn players, recorded the live album during a series of performances at Detroit's Walled Lake Casino.

Returning to the spotlight after a year-and-a-half brought out an energy and intensity in Berry that can be heard clearly in this historic 12-song set, which launches with "Guitar Boogie" and includes "Let It Rock, "Too Much Monkey Business (available for the first time in the U.S.)," "Johnny B. Goode," Sweet Little Sixteen" and a lengthy, edge-of-chaos medley, as Berry feeds off an audience that sings along with nearly every track. Throughout the show, Berry tells jokes that slyly address racial tensions. But the record was scrapped at the time and has been previously only available as part of a limited-edition CD set; this marks its first time on vinyl, and as any kind of standalone release.

The bonus EP Berry Christmas collects together four Christmas classics on "Rudolph-Red" vinyl. The 10-inch disc features Berry's chestnuts, "Run Rudolph Run" and "Merry Christmas Baby" along with "Christmas" and "Spending Christmas," the latter making its vinyl debut as it was previously available only in a limited-edition CD box set.

Bob Dylan once called Berry "the Shakespeare of rock 'n' roll." John Lennon stated, "If you tried to give rock 'n' roll another name, you might call it 'Chuck Berry.'" As Keith Richards writes in the booklet intro, "Chuck Berry is the gentleman who started it all."

And if those testimonials aren't convincing enough, one listen to The Great Twenty-Eight: Super Deluxe Edition will make the case for Chuck Berry's singular, timeless rock 'n' roll brilliance.

LP 1 & 2: The Great Twenty-Eight
The original classic 2-LP compilation

Side 1
2.Thirty Days (To Come Back Home)
3.You Can't Catch Me
4.Too Much Monkey Business
5.Brown-Eyed Handsome Man
6.Roll Over Beethoven
7.Havana Moon

Side 2
1.School Day (Ring! Ring! Goes The Bell)
2.Rock And Roll Music
3.Oh Baby Doll
4.Reelin' And Rockin'
5.Sweet Little Sixteen
6.Johnny B. Goode
7.Around And Around

Side 3
2.Beautiful Delilah
3.Memphis, Tennessee
4.Sweet Little Rock And Roller
5.Little Queenie
6.Almost Grown
7.Back In The U.S.A.

Side 4
1.Let It Rock
2.Bye Bye Johnny
3.I'm Talking About You
4.Come On
5.Nadine (Is It You?)
6.No Particular Place To Go
7.I Want To Be Your Driver

LP 3: More Great Chuck Berry

Side 1
1.Wee Wee Hours
2.No Money Down
3.Drifting Heart
4.La Jaunda (Español)
5.Blue Feeling
6.Vacation Time
7.Joe Joe Gun

Side 2
1.Too Pooped To Pop "Casey"
2.Our Little Rendezvous
3.You Never Can Tell
4.Promised Land
5.Little Marie
6.Dear Dad
7.My Ding-A-Ling (live single version)

LP 4: Oh Yeah! Live In Detroit
Recorded at the Walled Lake Casino, October 25 & 26, 1963
First time on vinyl
*First U.S. release

Side 1
1.Guitar Boogie
2.Let It Rock
3.Almost Grown
4.Chuck Berry Dialogue 1
5.Too Much Monkey Business*
6.Johnny B. Goode
7.Introduction / Instrumental
8.Sweet Little Sixteen

Side 2
1.Wee Wee Hours
2.Chuck Berry Dialogue 2
4.Medley: Goodnite Sweetheart Goodnite/Johnny B. Goode/Let It Rock/School Day

Bonus: Berry Christmas EP

Side 1
1.Run Rudolph Run
2.Merry Christmas Baby

Side 2
1.Spending Christmas (first time on vinyl)



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