Friday, April 27, 2018



2018 release. Cannonball Adderley is considered to be one of the all-time greatest jazz musicians; one whose playing projected depth and command. But, he also possessed the rare ability to connect and uplift the listener, shouting out "joy" in every phrase. For his 90th birthday, "Jubilation!" celebrates the genius of Cannonball Adderley. Beloved veterans Jim Snidero (Downbeat critics' poll) and Jeremy Pelt create a formidable front line while David Hazeltine, Nat Reeves and Billy Drummond form an incomparable rhythm section. It's an all-star lineup celebrating a true jazz giant.


A straight jazz album from Brazilian pianist Gilson Peranzzett, an artist who's played on countless sessions over the years, including a wealth of famous vocal records too – but who here pays tribute to the great Oscar Peterson, in a nicely stripped-down set of jazz piano trio tracks! Peranzzetta plays acoustic throughout, and has that magical soulful swing of Peterson – the fluid groove that made Oscar's work so revolutionary in the 50s, and which continues to be an inspiration all these many years later. At points, Gilson maybe brings in some darker touches of his own – especially on the intros to the tracks – and the group here features Paulo Russo on bass and Joao Cortez on drums. Titles include "I Feel Pretty", "Con Alma", "Days Of Wine & Roses", "Easy To Love", "I've Got You Under My Skin", and "Somewhere". ~ Dusty Groove


A beautiful tribute to pianist Jef Gilson – one of the hippest French jazz talents of the 60s and 70s – put together by a combo who take their name from his legendary Palm Records label! The group here are a quartet, and they work with wonderfully moody use of Hohner electric piano by Fred Escoffier, plus a bit of Farfisa and Hammond – of which are used spaciously, over rhythms that often move a lot more fiercely – with a third element created from the soulful tenor work of Lionel Martin – a saxophonist who really gets the spirit of the older Palm Records releases right! Actually, the whole group gets the spirit right – working here with a knowledge of the freer corners of jazz, but never going to that space – and instead hanging back in this spiritual blend of global currents, but all with a sensibility that's really unique. The mixture of tenor and harder electric piano lines is already great enough – but the loose rhythms at the core are what really send things home – on titles that include the Jef Gilson compositions "Mother Africa", "Chant Inca", "Chakan", "Mode De Fa", "Newport Bounce", and "Ouverture Jazz Pour San Remo" – plus a version of "The Creator Has A Master Plan". ~ Dusty Groove



Janelle Monae knocks it out of the park here – sounding every bit as great as before, but also hitting this righteous mode that really takes the singer to incredible new territory! If you loved Janelle's previous records, don't worry – she's still as catchy and playful as ever – but there's also a depth and darkness that's inspired by recent political turns in America – which Monae also uses to address issues that go back much farther in her experience, woven together in songs that are maybe even more politically powerful because of the way that they'll also win over the mainstream! Stevie Wonder gets the very first thanks in the long notes at the end of the book – and the mix of soul and message here definitely hearkens back to Stevie in the 70s – is all Janelle's own. Heck, even guests like Zoe Kravitz, Brian Wilson, and Pharrell Williams can't get in the way – on titles that include "Screwed", "Django Jane", "I Got The Juice", "Stevie's Dream", "Don't Judge Me", "Crazy Classic Life", "Take A Byte", "Do Afraid", "Americans", "I Like That ", "Pynk", "Jane's Dream", and "Make Me Feel". And hey, you've gotta love a record that's inspired both by Vibranium and Stevie Wonder!  ~ Dusty Groove


Bass-heavy funk with a definite 80s influence – but served up here with a contemporary crispness that's the best calling card of Stimulator Jones! In a world where so many others find it easy to completely cop the sounds of the post-disco years, these guys take all the best elements and weave them into something that's completely their own – unabashedly bright and bubbly in their choice of melody, and crafting tunes that are way more than just a blend of beats, bass, and keyboards – even though the keyboards here are pretty darn great overall! Titles include "Need Your Body", "Water Slide", "Give My All", "Feel Your Arms Around Me", "Together", "Trippin On You", and "Suite Luv". ~ Dusty Groove


Ruby Velle's got one of those voices that will no doubt make her huge – soaring and powerful, right from the very first notes – with a capable confidence that could probably take on just about any style of music, but which is especially great here in the company of the Soulphonics combo! There's definitely an influence here from older soul music – particularly southern deep soul – but the presentation is much more contemporary, although manages to be that way without resorting to modern production or hip hop elements in the rhythms. Titles include "Love Less Blind", "Who Closed The Book", "Lost Lady USA", "I Tried", "Call Out My Name", "Used Me Again", "Broken Woman", and "State Of All Things".  ~ Dusty Groove

Toots and the Maytals Announce 2018 North American Summer Tour

Legendary reggae artist, Toots and the Maytals have announced a major 2018 summer tour throughout the U.S. and Canada. The tour hits major cities and festivals, most notably: New Orleans Jazz and Heritage Festival, DC World Reggae Festival, LOCKN’ and Kaya Fest.

Toots Hibbert is one of the true and rightful architects of reggae music – so much so that “Do the Reggae,” a 1968 single by Toots and his group, The Maytals, is credited with giving the genre its name. Classic songs written and recorded by Toots and the Maytals have been covered by the likes of The Clash, Amy Winehouse, Sublime, Pitbull, and Jay-Z - and the group was featured in reggae’s greatest breakthrough event - “The Harder They Come,” the 1972 film that became an international sensation.

Toots’ highly-successful 2004 album, TRUE LOVE, featured all-star guests ranging from legends like Keith Richards, Eric Clapton and Bonnie Raitt to next generation stars including No Doubt, The Roots and Phish’s Trey Anastasio. The caliber of these collaborators revealed the impact that Toots had on generations of rockers and rappers, while appearances from reggae icons Bunny Wailer and Marcia Griffiths showed the respect granted to the man who might be music’s greatest living vocalist. And at the heart of it all is that voice – drenched in soul, rooted in gospel, and still breathtakingly powerful after almost four decades in the spotlight.

Toots recently signed with UTA for representation in all areas, with the agency playing an integral role in booking the tour.

Toots is currently hard at work on new music, having already recorded more than two albums worth of material. Expect to see something exciting very soon. 

See below list of all upcoming tour dates:

Apr 28: Kaya Fest - San Bernardino, CA
Apr 29: The Marquee - Tempe, AZ
May 1: Strauss Square at AT&T Performing Arts Center - Dallas, TX
May 2: Tobin Center for Performing Arts - San Antonio, TX
May 3: New Orleans Jazz & Heritage Festival - New Orleans, LA
May 5: SunFest - West Palm Beach, FL
Jul 6: Fremont Theatre - San Luis Obispo, CA
Jul 8: Harrahs SoCal - Valley Center, CA
Jul 11: The Fillmore - San Francisco, CA
Jul 12: Music in the Park - San Jose, CA
Jul 13: SOMO Village - Rohnert Park, CA
Jul 14: Reggae on the Mountain - Topanga, CA
Jul 18: At The Plaza Concert Series - Albany, NY
Jul 19: Finger Lakes Grassroots Fest - Trumansburg, NY
Jul 20: Capitol Theater - Port Chester, NY
Aug 1: Higher Ground – South Burlington, VT
Aug 3: Aura - Portland, ME
Aug 4: Brooklyn Bowl - Brooklyn, NY
Aug 5: Hartwood Acres Amphitheatre - Pittsburgh, PA
Aug 8: Thalia Hall - Chicago, IL
Aug 10: Danforth - Toronto, ON
Aug 11: Corona Theatre - Montreal, QC
Aug 13: Martha's Vineyard Concert Series - Martha's Vineyard, MA
Aug 14: The Chicken Box - Nantucket, MA
Aug 15: The Chicken Box - Nantucket, MA
Aug 17: Ocean Mist - Kingstown, RI
Aug 18: Reggae In The Park - Philadelphia, PA
Aug 19: DC World Reggae Festival - Washington, DC
Aug 22: College Street Music Hall - New Haven, CT
Aug 23: Paramount - Huntington, NY
Aug 24: LOCKN' - Arrington, VA


Rejoining Pangea: Seattle’s Duende Libre Uses Jazz Savvy to Knit Continents and Rhythmic Sensibilities from Cuba to Turkey

Once long ago, there were no continents, nothing to divide the great mass of land. Seattle-based trio Duende Libre’s tender, clever songs explore this notion, charting the imaginary folds and roads of Pangea, the ebb and flow of the world’s sounds.

Guided by founder and bandleader, pianist Alex Chadsey, Duende Libre prove that what drifted apart can drift back together, and that musical traditions are living things and therefore constantly in flux. The Puget Sound and the Bosphorus, Cuba and Jamaica overlap and inform one another in pieces that wed jazz concepts with pop pleasures on Drift (release June 15, 2018; release celebration: June 29, 2018), the group’s second album.

“We draw influences from many different cultures and countries and parts of the world, and the album’s title is a tribute and invocation of these influences,” explains Chadsey. “We explored using different rhythmic feels and styles as a way to meld those sensibilities. That’s what I was going for: a musical pangea where borders become less rigid, and where surprising new sounds emerge in the grey areas between traditions.”

Chadsey comes by his global influences honestly. Growing up with an ear for music from around the world, Chadsey developed a lifelong passion for Western classical and jazz, including pieces like Chick Corea’s “Spain,” covered artfully on the album by the trio joined by vocalist Chava Mirel. Chadsey applied his classical and jazz training to Latin music as a member of the GRAMMY-winning Quetzal and as a core player in roots reggae legend Clinton Fearon’s Boogie Brown Band. Chadsey drew on these experiences and a lifetime of curious listening as he embarked on his own project, tapping fellow open-eared Seattle musicians bassist Farko Dosumov and drummer Jeff “Bongo” Busch to create an original sound that Jazziz called “a strikingly authentic blend, one that has marked their city as an epicenter for musicians who share an appetite for bridging worlds.”

They take full advantage of Seattle’s wealth of global musical talents. “Choro,” a piece a few degrees removed from the Brazilian style, pays homage to Jovino Santos Neto, a master pianist and composer whose work guided Chadsey. The grooving “Kiki” tips the hat to the Cuban son of Cuban cuatro virtuoso Kiki Valera Alarcon and La Familia Valera Miranda, his family’s long-standing band. Valera invited Duende Libre to join him for a collaborative concert, part of a larger series he was curating. “We did one gig together and I was so inspired by that encounter,” recalls Chadsey. “I wrote the piece for him. We are drawing on clave, but trying to do something different. I wanted to know what would happen if I took traditional figures and chord progressions from Cuban son, which is usually in four, and experimented with changing meters. It creates a whole different feel and has been a fun challenge for us to play.”

Duende Libre’s debut album sparked an extensive round of touring, taking them from their hometown and as far afield as Alaska. They spent long hours on the road together between gigs. The downtime had a musical upside, as the group became more integrated and tighter. “It’s osmosis,” notes Chadsey. “You’re just hanging out together more than you’re actually playing. You’re sitting in the bus, hanging out with the people you meet. Time spent together on the road impacts the music in interesting and surprising ways.”

New directions coalesced for Duende Libre, and they took advantage of the momentum to jump into the studio, resulting in Drift. They invited friend and fellow Clinton Fearon bandmate, singer and songwriter Mirel to join them, adding her voice’s lilting strength to several tracks including the ethereal “Zephyr.” Busch and Chadsey put their heads together to shape the rhythmic push and pull of the title track, “Drift,” which contrasts various nuances of the pulse and the swing, the juxtaposition of triple and duple meter that is so integral to African diasporic musics. Dosumov also contributed a piece to the album, the bouncy, gritty “Subway.” “We are starting to have musical convos as a trio, or quartet when Chava joins us,” says Chadsey. “To do that spontaneously is one of the goals of any jazz artist, to be creating musical communion.”

This communion has grown out of productive tensions between Chadsey, who loves to engage with pop song forms and hooks, and the other members of the trio, in particular Busch, who wants to open things up and push the boundaries. In the end, Duende Libre strikes the balance between ear candy and experimentation.

“When I’m writing a tune, I intentionally try to strive for something as melodic as possible. But I’m not too attached to how the songs are arranged,” Chadsey says. “When I bring them into the band, they go through different iterations, experimenting with forms. Jeff has great arrangement ideas, in particular, and he and I often agree to disagree. That’s the beauty of any relationship, the opportunity to step out of your bubble. That’s where growth happens.”

By exploring new territory where heritage, influence, and style can meet, Duende Libre reenforce, in their own nuanced way within the jazz tradition, the ties that bind our world, sonic and otherwise. “Everyone in the project really understands and values music as a sacred way of connecting people across lines of difference,” states Chadsey. “The imperative to connect has never been more important than it is now, and music will keep us healthy and sane through these turbulent times.”

Kristo Rodzevski Releases The Rabbit and the Fallen Sycamore

The Rabbit and the Fallen Sycamore, the third album in a trilogy by singer-songwriter Kristo Rodzevski and his group of jazz progressives, will be released by Much Prefer Records on May 25, 2018.

Mixed by celebrated producer Bill Laswell, "The Rabbit..." represents the fulfillment of a musically adventurous idea: Assemble seven world-class improvisers in a studio, establish an environment for pure music-making, and capture all on tape. Such is the essence  - and beauty - of "The Rabbit..."

By partnering with core collaborators Mary Halvorson (guitar), Tomas Fujiwara (drums) and Michael Blanco (bass), then inviting contributions from Kris Davis (piano), Ingrid Laubrock (saxophone) and Brian Drye (trombone), Kristo fermented an intoxicating brew. The bubbling inventions are spontaneous performances without overdubs. 

Once the group selected the best material, Laswell was called in to shape all. In a great sense, Laswell's touch (and ears) provide the sonic and musical template for the album. He is celebrated as a lover of musical hybrids and cross-pollinations. His legendary work with Herbie Hancock, Iggy Pop, John Zorn and Motörhead, among others, attests to his wide-angle views.

"The Rabbit..." boasts a melding of seemingly disparate influences, all living together sweetly - Eastern European folk, free jazz, punk and song-form narrative. Heard, too, is Kristo's  affinity for the music of Tom Waits, Burt Bacharach and Jim O'Rourke. Critic Chris Brazier calls it "collision music."

Thematically, the album continues themes established in Kristo's earlier efforts, Batania (2015) and Bitter Almonds (2017). While those trilogy installments examined the deep feelings for his Macedonian grandmother and mother, "The Rabbit..." explores a transition - the fading significance of his past to his life in the USA.

Kristo's songs resonate in that gray area between nostalgia and expectation. There is passion here, tapping the most human of emotions, desire and suffering. The cover design by Ikue Mori (DNA) provides a visual analog to this provocative music.

Kristo Rodzevski is Macedonian-born vocalist, guitarist, and composer, based in New York City since 1999. He began as a street musician in Europe in the early 1990s. He was a founding member of an influential group of Macedonian musicians who would go on to form the bands Foltin and Ljubojna and perform at festivals throughout Europe.

Kristo's debut album, Batania, received positive reviews by the Wire, All About Jazz, Jazz Right Now, etc., and won plaudits as the best single of 2015, and was voted the  second best album of that year  by the Macedonian Kanal 103.

His second album, Bitter Almonds, features two songs soon to appear on Bikini Moon, a  feature film by Academy-Award-nominated (director, writer, and visual artist Milcho Manchevski). [Video Here.]

Kristo has appeared on other film soundtracks, including Shadows (by Milcho Manchevski), To the Hilt (by Academy Award nominated director Stole Popov) and The War is Over (by Mitko Panov, a Palme d 'Or winner at the Cannes Film Festival).

He has had solo performances at Joe's Pub and Merkin Hall, and has performed as soloist with the Macedonian Philharmonic Orchestra, at the Macedonian Opera and Ballet, New York City's Carnegie Hall.

Kristo's  singing style has been described as "effortless," "velvety," and with "a masterful control of vocal micro-dynamics and access to emotional depth.

Vocalist Allan Harris Pays Heartfelt Tribute to Iconic Singer and Innovator of Vocalese with The Genius of Eddie Jefferson

With his gruff, gravelly voice, his penchant for hep cat diction, and the serpentine bebop turns of his vocalese creations, the late Eddie Jefferson might not seem the ideal match for a classic romantic crooner like Allan Harris. The Brooklyn-born singer has previously paid homage to the songs of Billy Strayhorn and Nat King Cole, repertoire that seems like a more ideal fit.

Until embarking on the project that became The Genius of Eddie Jefferson, Harris would have agreed wholeheartedly with that assessment. "In my wildest dreams I never imagined I'd tackle Eddie Jefferson's material," he admits. "But once I started to sit down with his material and delve into what he was singing, it blew all of my stereotypes and prejudices out the window. How wrong I had been over the years not to give this incredible genius credit."

Not only did Harris discover the depth of Jefferson's estimable talents and innovations, but he found his own way into Jefferson's idiosyncratic takes on the classic solos of jazz giants like Miles Davis, Dexter Gordon, Lester Young and Coleman Hawkins. The Genius of Eddie Jefferson, available now on Resilience Music Alliance, is an ideal blend of Harris' rich, beguiling baritone and Jefferson's bantering cool. The album follows Harris into adventurous new territory, at once embracing the challenge and making these bop classics as embracing and celebratory as his takes on jazz standards and swooning ballads.

Harris didn't take the plunge alone. Though he'd previously covered Jefferson's most famous piece, "Moody's Mood For Love," he needed to plunge deeply into the singer's catalogue and methodology. Harris worked closely with pianist Eric Reed (Wynton Marsalis, Christian McBride) and GRAMMY® Award-winning producer Brian Bacchus (Gregory Porter) to immerse himself in the tricky contours of Jefferson's work. "It was daunting," Harris says. "Sometimes it seemed like I was taking a master class at MIT. But I wanted to grow as a jazz vocalist -- I've done the American Songbook. No one has really tackled a full project of Eddie Jefferson's with the type of voice that I have, and I wanted to get it exact."

It helps to have a band that can provide the ebullient swing and fierce chops that can drive the tunes that Jefferson built his creations upon, and Reed assembled an ideal one: bassist George DeLancey (Houston Person, Tia Fuller), drummer Willie Jones III (Roy Hargrove, Arturo Sandoval), and tenor saxophonist Ralph Moore (Kevin Eubanks, Freddie Hubbard). The band is joined by special guest saxophonist Richie Cole, who worked closely with Jefferson in the singer's final years, up to the night of his tragic death outside Baker's Keyboard Lounge in Detroit.

"To have Richie Cole there was a blessing from above," says Harris. "His knowledge of what Eddie was doing was paramount because he was right there beside him. He not only gave me a pat on the back that was sorely needed, but he gave me a few pointers and a kind of permission to open things up a little bit to what I'm about."

In his liner notes, writer and musician Greg Tate compares Jefferson to such pioneering hip-hop lyricists as KRS One and Public Enemy's Chuck D, poets of the vernacular who could combine urban jargon and socially pointed messages. Harris agrees, saying, "Eddie Jefferson used the guise of his street language to create some really wonderful English literature on that stuff. Because his voice was so streetwise and rough, until you really listen to him in depth you don't understand that he was very erudite in his lyrical value. He didn't just rely on nursery rhyme rhythms and prose. He really dealt in some really hip street stuff."

He also celebrated the jazz musicians whose work he was repurposing, often painting musical portraits of these legends through his lyrics, as on the album's opening track, "So What." Following the lines of Davis' classic solo, he recounts a famous incident in which both the trumpeter and then-sideman John Coltrane left the stage mid-performance, deciding they needed a bit of extra rehearsal before resuming the show. Harris' rendition is soulful and warm, vividly capturing the vintage nightclub atmosphere.

For all his protestations, Harris has no problem with bringing the grit and funky edge to Horace Silver's "Sister Sadie" and "Filthy McNasty," or tearing his way through a blistering Lester Young solo on "Lester's Trip to the Moon." At the same time, he brings a heartbreaking tenderness to the classic "Body and Soul" and a down-home blues to "Memphis." He courses along with bop vitality on Dexter Gordon's lively "Dexter Digs In" and Charlie Parker's gymnastic runs on "Billy's Bounce." His romantic soul emerges on Duke Pearson's lament "Jeannine," while Cole's "Waltz for a Rainy Bebop Evening" is a wistful reflection on the music's rich legacy.

Despite his initial reluctance, taking on Jefferson's oeuvre has made an indelible mark on Harris as a singer. "This has tainted me," he says. "This feels so good, like reaching a high. Doing Eddie Jefferson's music has taken me out of the arena of being just the guy singing jazz standards in front of a smoking band, to feeling like a part of the band. It would be hard now for me to turn back." 

Upcoming Allan Harris U.S. Performances:
April 27 - 29 | Smoke Jazz Club (Album Release w/ Cyrus Chestnut Trio) | New York, NY
May 11 - 12 | The Jazz Forum (w/ Helen Sung Trio) | Tarrytown, NY
May 16 | Faena Theater | Miami, FL
May 19 | Arts Garage | Delray Beach, FL
May 22 | Blue Bamboo | Orlando, FL
May 24 | Good Times Jazz Bar | Savannah, GA
May 25 - 26 | The Jazz Corner | Hilton Head, SC
June 12 | DC Jazz Festival | Hamilton's
August 7 | Yoshi's | Oakland, CA
August 11 | JAS Cafe | Aspen, CO
August 17 - 18 | South Jazz Kitchen | Philadelphia, PA

Wednesday, April 25, 2018


The Rings Of Saturn is Tatham’s fourth CD. It’s the follow-up to her critically acclaimed 2015 release Out of My Dreams, which debuted at #26 on the JazzWeek radio chart, solidifying her position as a top vocalist in the L.A. jazz scene and establishing her as an important jazz artist to watch.  Tatham continues the tradition -- laid down by the great vocalists of past generations -- of finding first-class material to sing and swing with a contemporary sensibility enhanced with hip, new arrangements. The songs Tatham selected for this project are not your usual fare. The CD comprises lesser-done jazz tunes as well as one original. From standards “Love Me or Leave Me” and “It Could Happen to You,” to re-imagined pop tunes like Todd Rundgren’s “Can We Still be Friends” and Phoebe Snow’s “Poetry Man,” to a musical theater classic like “Anyone Can Whistle” by Stephen Sondheim, THE RINGS OF SATURN is an eclectic project that showcases Tatham’s musicianship, beautiful voice and aptitude for lyric interpretation.  Tatham is a performer unafraid to take risks. Her nuanced readings combined with a flexible voice that is by turns gentle and inviting and then throaty and robust, demonstrates an artist in full control of her diverse material.

Joanne Tatham, vocals
Max Haymer, piano
Lyman Medeiros, bass
Dan Schnelle, drums
Marcel Camargo,  guitar (5, 7,10)
Larry Koonse, guitar (2)
Kevin Winard, percussion
Brian Swartz, trumpet
Bob Sheppard, sax

Arranged by Max Haymer, Eli Brueggemann (6),  Marcel Camargo & Joanne Tatham (10). Produced by Mark Winkler

1. Love Me or Leave Me ( 3:45) 2. Summer in New York (5:23) 3. Catch Me If You Can (4:09) 4. Poetry Man (4:07) 5. The Rings of Saturn (5:05) 6. Can We Still Be Friends (4:35) 7. If You Never Come To Me (5:43) 8. Anyone Can Whistle (4:47) 9. Nice To Be Around (3:52) 10. Jazz ‘n’ Samba (Só Danço Samba) (2:11) 11. It Could Happen To You (3:56).

Tuesday, April 24, 2018

Johnny Mathis - Raindrops Keep Fallin' on My Head & Sings the Music of Bacharach & Kaempfert

Real Gone Music and Second Disc Records have kicked off a new series celebrating
the legendary Johnny Mathis’ classic albums of the 1970s and onward with the first-ever expanded CD edition (and standalone U.S. CD premiere!) of the artist’s very first LP of the 1970s. Raindrops Keep Fallin’ on My Head was titled after Burt Bacharach and Hal David’s Academy Award-winning hit from the film Butch Cassidy and the Sundance Kid. On Raindrops, Mathis reinterpreted the popular hits of the day in his signature velvety smooth style, aided and abetted by the lush orchestras of Ernie Freeman and Al Capps, and the production of Columbia Records veteran Jack Gold. In addition to Bacharach and David, also represented by Johnny’s hit “Odds and Ends” and “Alfie,” the original album features his renditions of songs by Jimmy Webb (“Honey Come Back”), George Harrison (“Something”), Paul Simon (“Bridge Over Troubled Water”), John Barry (“Midnight Cowboy”), and Rod McKuen (“Jean”)—a true “Who’s Who.” The expanded Raindrops Keep Fallin’ on My Head has been bolstered with ve bonus non-LP singles from Mathis’ return to Columbia Records circa 1968-1970, including Bacharach and David’s “Whoever You Are, I Love You” from their Tony Award-winning Broadway musical Promises, Promises; Bert Kaempfert’s “Night Dreams;” and Gordon Lightfoot’s “Wherefore and Why,” arranged by Harry Nilsson’s frequent collaborator, Perry Botkin, Jr.! The blues they sent to meet you won’t defeat you with this newly-expanded edition of one of Johnny’s most beloved albums!

1. Raindrops Keep Fallin' on My Head
2. Honey Come Back
3. Watch What Happens
4. Something
5. Alfie
6. Midnight Cowboy
7. A Man and a Woman
8. Odds and Ends
9. Jean
10. Everybody's Talkin'
11. Bridge over Troubled Water
12. Night Dreams
13. Whoever You Are, I Love You
14. For All We Know
15. Wherefore and Why
16. The Last Time I Saw Her
In a career spanning over 60 years, Johnny Mathis has always had an unerring ear for a song...witness his new, 2017 album featuring his recordings of future standards by Adele, Bruno Mars, and Pharrell Williams. At the dawn of the 1970s, Mathis was celebrating the great songwriters of that day, too, with a double album entitled Johnny Mathis Sings the Music of Bacharach and Kaempfert. Real Gone Music and Second Disc Records are proud to inaugurate a series of Johnny’s greatest albums of the 1970s and beyond on CD with the first-ever expanded reissue of The Music of Bacharach and Kaempfert. Bert Kaempfert may not have achieved the same name recognition in the U.S. as Burt Bacharach, but Kaempfert’s contributions to the standards songbook are indelible, thanks to such songs as “Danke Schoen,” “Spanish Eyes,” “Strangers in the Night,” and “L-O-V-E,” all of which are sung in Johnny’s inimitably intimate style on this collection. Johnny was joined by German arranger-conductor Herbert Rehbein, a close collaborator of Kaempfert’s, for these very special sessions. Johnny’s relationship with Burt Bacharach dated to the late 1950s with classics including “Heavenly” and “Faithfully.” Soon, Bacharach’s style would de ne the sound of the 1960s, and Johnny was bringing his individual stamp to “This Guy’s in Love with You,” “I Say a Little Prayer,” and “I’ll Never Fall in Love Again.” All of these songs and more are featured on Mathis’ Bacharach salute. In true Real Gone/ Second Disc style, though, that’s not all! We’ve added ve rare bonus tracks to this already jam-packed double album: Bert Kaempfert’s “It Makes No Difference,” originally issued only in the U.K., and four hits by Burt Bacharach and Hal David including their very rst song with Johnny, “Warm and Tender,” and three more favorites from Johnny’s Global Records period! Mathis + 1 Burt + 1 Bert = Johnny Mathis Sings the Music of Bacharach and Kaempfert, or 26 tracks of musical bliss!

1. Wonderland by Night
2. Spanish Eyes
3. The Lady Smiles
4. Danke Schoen
5. The Times Will Change
6. Remember When (We Made These Memories)
7. Strangers in the Night
8. Don't Stay
9. If There's a Way
10. Lady
11. L-O-V-E
12. It Makes No Difference
13. Walk On By
14. The Look of Love
15. I Say a Little Prayer
16. Heavenly
17. This Guy's in Love with You
18. I'll Never Fall in Love Again
19. Alfie
20. Odds and Ends
21. Faithfully
22. Don't Go Breakin' My Heart
23. Warm and Tender
24. What the World Needs Now Is Love
25. Saturday Sunshine
26. (There's) Always Something There to Remind Me

Jackie DeShannon: Stone Cold Soul—The Complete Capitol Recordings Presents All 25 Sides Recorded for Capitol

Author of Such Iconic Anthems as “What the World Needs Now Is Love” and “Put a Little Love in Your Heart,” Jackie DeShannon is one of the greatest singer-songwriters of her generation.

After a decade spent at Liberty/Imperial Records, Jackie was wooed away by Capitol Records in 1971. The label first sent Jackie to Memphis’ American Recording Studios to record sessions with producer Chips Moman

After spending the first full decade of her recording career at Liberty/ Imperial Records, where she immortalized such iconic anthems as “What the World Needs Now Is Love” and “Put a Little Love in Your Heart,” Grammy-winning singer-songwriter Jackie DeShannon was wooed away to Capitol Records in 1971. Upon landing at her new label, the Kentucky-born DeShannon was dispatched to Memphis’ American Recording Studios, where, with producer Chips Moman and a crack band consisting of Bobby Emmons and Bobby Woods on keyboards, Reggie Young on electric guitar, Mike Leach on Bass, Johnny Christopher on acoustic guitar, and Gene Crisman on drums, she recorded a flavorful mix that embraced her Southern soul roots blended with country, gospel, and pop. 

The wide-ranging repertoire included the DeShannon originals “West Virginia Mine” and “Now That the Desert Is Blooming” along with songs by George Harrison (“Isn’t It a Pity”), Van Morrison (“And It Stoned Me”), Carole King & Gerry Gof n (“Child of Mine”), Emitt Rhodes (“Live till You Die”), Arlo Guthrie (“Gabriel’s Mother’s Highway”), Spooner Oldham & Dan Penn (“Sweet Inspiration”), and others. But those tracks inexplicably remained in the vaults, leapfrogged by the tracks DeShannon cut at Capitol Studios upon returning to California that turned into her Songs album. In fact, of the Memphis tracks, only a single (“Stone Cold Soul”) and a lone track on Songs (“Show Me”) were released at the time. 

The rest of the Songs album, co-produced by DeShannon with Eric Malamud and John Palladino, featured covers of Bob Dylan’s “Lay Lady Lay” (retitled “Lay, Baby, Lay”) and Hoyt Axton’s “Ease Your Pain” plus a shimmering trio of DeShannon originals: “Salinas,” “Bad Water,” and a remake of “West Virginia Mine.”  DeShannon’s stay at Capitol proved to be short-lived; legendary producer Jerry Wexler bought out her contract to bring her to Atlantic Records, leaving most of Jackie’s Memphis masters unreleased. Some of those masters emerged as part of a long-out-of-print UK collection decades later, but now, for the first time, all 25 of Jackie’s Capitol recordings are available on this Real Gone Music compilation. Stone Cold Soul—The Complete Capitol Recordings presents Jackie’s rare Memphis tracks including 5 previously unreleased titles along with her Songs album. The CD also offers a stunning selection of never-before-seen period photographs from her personal collection along with in-depth liner notes from Joe Marchese taken from an interview with Jackie. Remastered by Mike Milchner at SonicVision, Stone Cold Soul offers essential listening for any Jackie DeShannon fan or vintage roots-rocker!

1. You Don't Miss Your Water (Til Your Well Runs Dry)
2. Stone Cold Soul
3. West Virginia Mine (Original Version)
4. Child of Mine
5. Live Till You Die
6. Makes You Beautiful
7. Seven Years from Yesterday
8. They Got You Boy
9. Isn't It a Pity
10. Sweet Inspiration
11. Johnny Joe from California
12. Now That the Desert Is Blooming
13. Sleepin' with Love
14. Gabriel's Mother's Highway
15. And It Stoned Me
16. Show Me
17. Keep Me Warm
18. Lay, Baby, Lay
19. Down by the Riverside
20. International
21. Sunny Days
22. Salinas
23. Bad Water
24. Ease Your Pain
25. West Virginia Mine (Version 2)

Flutist Andrea Brachfeld Releases "If Not Now, When?"

Andrea Brachfeld If Not Now When The "incredible clarity of purpose" flutist-composer Andrea Brachfeld gained after spending 2016 in deep introspection about her life and music generated the nine original compositions on her exhilarating new album If Not Now, When?, which is set for May 18 release by Jazzheads Records. The quartet outing, featuring the dynamic rhythm section of pianist, arranger, co-composer, and co-producer Bill O'Connell, a longtime collaborator, as well as bassist Harvie S and drummer Jason Tiemann, is an uncompromising manifestation of music Brachfeld recalls came to her on a cold day in January 2017.

"It seems that music always chooses me, and I very politely acquiesce to its energy. This has been my journey throughout my life and If Not Now, When? is no exception," she explains. "Of all my projects, this recording is the closest yet to my heart. Every note felt good in my body."

The album's song titles, which include "The Listening Song," "Creating Space," "The Silence," "Anima Mea," "Deeply I Live," and "Moving Forward," allude to the year Brachfeld spent on an inner journey meditating as opposed to composing, an experience that was clearly cathartic. "The way I composed all of the songs was like taking a huge block of marble and chopping away until I got the image inside the marble," she says. "It was about seeing what melodies came out and working on them until they felt right."

A grant from Chamber Music America and the Doris Duke Charitable Foundation for the CD -- "a wonderful affirmation" -- assured Brachfeld she was on the right path. "In the end," she says, "it's all about your voice, your journey to find your voice."
Brachfeld's flute playing has what the late New York Times critic John S. Wilson described as a "vigorously dark, gutty quality." It's no wonder the first jazz flutist to turn her head was free jazz pioneer Eric Dolphy. In her music, that energy she described can pour out to bruising effect. "If you want to play jazz, you have to be able to get the articulation of Charlie Parker, to make the instrument sound like a trumpet or saxophone," says Brachfeld. "With a lot of flute players, I don't hear those articulations."

Andrea Brachfeld was born May 3, 1954 in Utica, NY and raised in New York City. She began playing piano at age six and flute at 10. In 1969, she enrolled at the High School of Music & Art, and, at 16, got her first jazz gig, playing her own pieces with her quartet at an "All Night Soul" presentation at St. Peter's Church. She attended Saturday morning Jazzmobile workshops; Jimmy Heath was one of her flute instructors.

She went on to study flute at the Manhattan School of Music, where her fellow students included Kenny Kirkland, Fred Hersch, and Angela Bofill. After connecting with the Charanga band Tipica New York, Brachfeld recorded with the legendary band Charanga '76, which catapulted her to fame as the first woman to play flute with a Charanga band in the United States.

Andrea Brachfeld Brachfeld recorded her first album, Andrea (1978), with Tito Puente percussionist José Madera producing. A year later, she accepted an invitation to perform in Venezuela and ended up staying for two and a half years, during which time she led her own group, opening for such visiting luminaries as GaryBurton, Chick Corea, and Paco de Lucia.

When she returned home to New York in 1981, she devoted herself to her family and attended graduate school, acquiring a Master's in education. For nearly 25 years, she taught ESL and bilingual education while maintaining a local profile as a musician.

Then, in 1998, Brachfeld approached acclaimed jazz flutist (and former high school classmate) Dave Valentin with material she had written and asked if he wanted to record any of it. "His response was, 'I want you to record it.'" That she did, acting as her own producer on 2002's Latin-tinged Remembered Dreams (Spirit Nectar). Over the next decade and a half she would release a half dozen albums, eventually moving away from Latin music and back toward her first love, bebop.

Andrea Brachfeld will be performing at the following venues (all dates with Insight -- Bill O'Connell, piano; Harvie S, bass; Jason Tiemann, drums -- except as indicated): 4/28 The Jazz Loft, Stony Brook, NY; 4/29 An Die Musik, Baltimore; 5/18 Trumpets, Montclair, NJ; 6/18 Triad Theater, NYC; 8/10 Pavillion Café, National Gallery of Art, Washington, DC (with Bill O'Connell, piano; Lincoln Goines, bass; Robby Ameen, drums); 8/25 Long Branch (NJ) Jazz & Blues Festival; 10/4-7 La Cote Flute Festival, Gland, Switzerland; 10/12 Flushing (NY) Town Hall. 



‘LillyGood Party!’ is the brand new BBE compilation from highly respected Swiss DJ Alex Attias. Taking its name from a party he runs in his native Lausanne, LillyGood has gradually evolved into a radio show and even a label, now on its 4th release. Reflecting the music he plays at the club-night, ‘LillyGood Party!’ is packed with funk, disco, deep house and boogie bullets from across the globe. “The idea is to present not only rare or difficult tracks to find, simply good grooves for people to play out, or listen to at home.” From rare Japanese disco gems, through spiritual jazz, to genre defying sounds from broken-beat cohorts Kaidi Tatham and Dego, LillyGood Party! takes a unique trip inside the musical mind of one of dance music’s true nonconformists. Alex Attias got his start in back in ’88 playing funk, house, jazz, and disco, as well as producing under various monikers such as Mustang, Freedom Soundz or Beatless. Moving to London in ’97 he started his ‘Visions’ label and found himself at the epicentre of the emerging West London ‘Broken Beat’ scene which grew around his studio at Goya. Releases on People, Planet E, Ubiquity, Neroli, Archive and Compost followed, as well as remixes for Incognito, 4Hero, Ennio Morricone, Sun RA, Art Blakey, Roni Size and Laurent Garnier among others.


The most righteous cover we've ever seen on a record from reedman Salim Washington – and a great indication of how righteous the music inside is as well! Salim has quietly been giving us genius over the past 20 years or so – and this album really continues that legacy – reaching back to 70s modes of spiritual jazz and loft improvisation, but really finding a way for those older modes to resonate strongly in the new millennium – as Washington leads a core trio that balances his work with the drums of Tyshawn Sorey and bass of Hill Greene – both inventive younger players whose sense of rhythm and texture really bring something new to the table, and push the music out of any stale older modes. Melanie Dyer plays viola on two tracks, and also provides a recitation of Amiri Baraka's "New Invasion Of Africa" – and Salim plays tenor, flute, oboe, and mbira. Titles include "Jamila", "Bitter Sweet", "To Know Yaweh", "Uh Oh", "Four In One", "You Can Fly", "Self Love/Revolutionary Ontology", and a version of Julius Hemphill's "Dogon AD".  © 1996-2018, Dusty Groove, Inc.


Bosq’s aptly titled third full-length effort “Love & Resistance” is a collection of songs that reflect a producer’s continuing emergence by diving deeper into his influences. The strains of Afro and Latin flavors are interwoven and still heavily permeate but the underlying groove and rhythms have taken on a more modern, jazz-funk and disco-soul vibe with nods to Bobby Caldwell, Roy Ayers, the Mizell brothers and Nile Rodgers’ Chic. Originally based out of Boston, MA but now calling Medellin, Colombia home, Bosq’s new surroundings have inspired him to create his most diverse and creative album to date. Already featuring the top tune “Can’t Seem To Hide” with Megan Doherty that made a splash off the gates as the first single from the album (10/10 rating from Mixmag), the whole album is soldered together with each track being a single-worthy release in it’s own right. Featuring guest vocalists on all but one of the tunes including frequent collaborators Kaleta, and Nicole Willis, along with Ray Lugo who’s known for his work in Kokolo and Boogaloo Destroyers. LA based singer Induce and new duo Lucid Paradise (E da Boss & Ishtar) along with vocalist Bruno Morais whose classic Brazilian voice is reminiscent of Jorge Ben round out the cast of Bosq’s most vocally varied album work to date, reflecting both his growth as an artist and his willingness to push his own sonic boundaries. A relentless work ethic fused with a broad and varied music palette all attuned to the groove and a focus on making folks move has led to numerous remix projects, most recently with legendary Benin-based Orchestre Poly-Rythmo De Cotonou. With a steadily growing fan base and reputation amongst fellow artists and musicians, Bosq’s immediate future is already laden with releases lined up for Fania and his collaborative effort Body Music alongside The Rapture’s Vito Roccoforte.

Django Festival AllStars Set to Release First Studio Album "Attitude Manouche"

Among nomadic peoples like the gypsies, the oral tradition is central to keeping a heritage alive. Customs, beliefs, stories and, of course, music must be passed down from one generation to the next, always honored but continuously evolved and updated as time marches on. With their new album, Attitude Manouche (available June 15 on Resilience Music Alliance), the Django Festival AllStars carry on that tradition in their own way, as modern-day virtuoso Samson Schmitt steps into the crucial lead guitar role long held by his father, legendary gypsy jazz guitarist Dorado Schmitt.

Attitude Manouche reveals that Samson Schmitt has inherited those vital qualities, and brings them to a thrilling new take on the gypsy jazz tradition. The Django Festival AllStars reinterpret Django Reinhardt’s vision through a set of new music that carries forward their namesake’s vision in a way that both honors his legacy while giving them a thoroughly contemporary twist.

While the AllStars’ name represents a community of gifted artists who collaborate in different line-ups depending on the performance, the quintet on Attitude Manouche have forged a distinctive voice together as all are featured soloist which join Schmitt. Ludovic Beier is a renowned accordionist and player of the accordina, Pierre Blanchard a virtuoso of the violin and Grappelli prodigy, Dou Dou Cuillerier – scat singer and rhythm guitarist, and the only Italian – Antonio Licusati on bass: five master musicians with their own innovative voices within this storied tradition.

“We have a great passion for playing music together and for trying to create a new sound,” Beier says. “Every musician is different, but we’ve succeeded in creating a common music together that lets everybody express ourselves very well. That’s really important and also very rare.”

The title of Attitude Manouche reflects the fact that while these French and Italian musicians may not share Reinhardt’s Manouche heritage by blood, they all reflect that heritage in their souls. That’s abundantly clear in the set of mostly original music that makes up the album, which fluidly and spiritedly combines the gypsy jazz tradition with influences from modern jazz, classical music, other world music, and even film scores.

The latter comes to the fore on the album’s sole non-original tune, the main theme from John Williams’ Academy Award-winning score for Steven Spielberg’s Schindler’s List. The AllStars’ rendition not only moving renders an achingly beautiful piece of music, but pays heartfelt tribute to the gypsy people who were victims of the Nazi regime. “A lot of gypsies were deported to concentration camps along with the Jewish community,” Beier explains. “We wanted to pay tribute to that very dark period of history, so we decided to create an arrangement for that song mixing gypsy swing with Jewish traditional music, spearheaded by violinist Pierre Blanchard.” This track in particular coincides strongly with the mission of Resilience Music Alliance, founded by social and political activist Steve Ruchefsky, in celebrating the human driven condition of resilience.

The album opens with Samson Schmitt’s buoyant title track, which in itself is almost a mission statement, fully representing the classic gypsy swing sound but with a modern-day edge. “In that song we can recognize a lot of the gypsy jazz swing and harmonies,” Beier says, “but this is definitely something composed in 2018. It pays tribute to tradition but is open to our own time. That’s our attitude.”

Beier’s lively “Late Train” takes a similar approach, briskly combining the Reinhardt sound with ideas from ‘60s-era jazz greats like Wes Montgomery and George Benson. Another legend is paid explicit homage on “Around Toots,” as the accordionist pays touching homage to the late harmonica master Toots Thielemann, with whom Beier had the honor and pleasure of performing. “Laugh With Charlie” winks at the complex figure of filmmaker, comedian and composer Charlie Chaplin in a piece that combines jazz and classical influences with a necessary sense of joyous humor, composed by Samson Schmitt.

Other cultural traditions blend into the sound on tracks like the sultry “Troublant Romeo,” (also by Blanchard) a simmering tango that heats up for some intense soloing. Blanchard’s “Balkanic Dance” finds an unexpected common ground between the gypsy sound and Turkish folk music. The album closes with Beier’s “Tsigane Fantasy,” a reference to the band’s European heritage that takes its name from the generic European word for “gypsy.”

While audiences always thrill at the AllStars’ ability to take blistering runs at breakneck speeds, the band is equally adept at pulling at their listeners’ heartstrings. Take Schmitt’s “Lovely Wife,” a tender ballad that wrings maximum emotion from a plainspoken melody. “Nocturne” is another relaxed Blanchard tune that feels like the wind-down of a hectic day, the perfect soundtrack for a moment’s pause to reflect as the sun begins to set.

The Django Festival AllStars’ eclectic and forward-looking repertoire reimagines Reinhardt’s pioneering sound for modern ears, and in that way, is a fitting tribute to the icon whose name they proudly bear. “Django passed away more than 50 years ago,” says Pat Philips-Stratta, who produced the album. “But I think if he was here today he would be exploring new fields and bringing them into his music. We add new experiences and new influences, but when the audience listens to our music they can hear Django Reinhardt’s legacy. That’s very important to us.”

The release of Attitude Manouche is preceded by a very special concert at Carnegie Hall in New York City on May 1. With Forever Django: Passing the Torch, the AllStars will celebrate the mantle being handed down from father to sons – not only Samson, but also his younger brother, guitarist Amati Schmitt. Both generations will share the stage along with special guests including GRAMMY® Award-winning vocalist Melody Gardot and top clarinetist Ken Peplowski. Additionally, up and coming vocalist Veronica Swift will appear as a guest. The concert will be dedicated to the late Ettore Stratta, the conductor, pianist, composer and producer who created the Django Reinhardt Festival along with his wife, Pat Philips-Stratta.

Django Festival AllStars · Attitude Manouche
Resilience Music Alliance · Release Date: June 15, 2018

Monday, April 23, 2018


Legendary drummer Bernard Purdie has left a huge legacy of music behind him – and here he adds to that legacy in a new small combo set – one that features core work from members of New Mastersounds and Pimps Of Joytime – and which also features Ivan Neville on keyboards, and Cyril Neville on some guest vocals! The groove here is pretty faithful – the set was recorded in Brooklyn, and doesn't have the too-commercial sound that it might if it were on a major label – and titles include "Elevate", "Cool Down", "Money Bags", "Deep In Love", "Stranded", "Frank Funk", "Better Man", and "The Golden Tie". ~ Dusty Groove


In 2018, esteemed pianist Kenny Barron will celebrate his 75th birthday and mark the 50th year of a remarkable recording career. The year will also be punctuated with yet another milestone with the May 4 release of his Blue Note debut Concentric Circles. The sublime 11-song set features new originals plus interpretations of songs by Caetano Veloso and Thelonious Monk, and introduces a new edition of the Kenny Barron Quintet with saxophonist Dayna Stephens, trumpeter Mike Rodriguez, bassist Kiyoshi Kitagawa , and drummer Johnathan Blake. Hear the lead track "Blue Waters" on our Jazz Now! playlist."


Walter Wolfman Washington is a soulful musician as well as a deep thinker and hip philosopher and his hometown is New Orleans. Walter has cut his teeth for the last 50 years playing everywhere from European festivals to bars that you will never find on a map. New Orleans is notorious for its wildness, parades, and celebrations. New Orleans is Mardi Gras, but it’s also the uptown class of Allen Toussaint and hip style and language of Dr. John. Walter has always embodied both, but finally we have a set of songs that reflects the yin to Walter’s bring-the-party yang. ~ Dusty Groove


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