NEW RELEASES - MAKROKOSMOS QUARTET, CINEMATIC ORCHESTRA, LOST SOUL GEMS FROM SOUNDS OF MEMPHIS

MAKROKOSMOS QUARTET – ROUND MIDNIGHT

A set of performances dedicated to Thelonious Monk – yet music that's quite far from anything by Monk that we've ever heard before! Yet there's also a definite Monkish inspiration going on here – a sense of space and timing that resonates in different, often drawn-out ways – performed by the group's twin pianos, handled by Ufuk and Bahar Dorduncu – and percussion by Francois Volpe and Sebastien Cordier. The result is more avant compositional than jazz, yet the performance here is key too – on performances of compositions that include Oliver Schneller's "Resonant Space", Guillermo Gregorio's "Construction In Four Parts", Fabrizio Rat Ferrero's "L'Abito Non FaIl Monaco", and Stefan Wirth's "Standards". ~ Dusty Groove

CINEMATIC ORCHESTRA – IN MOTION #1

Not just the Cinematic Orchestra – but a set that features work from other artists too – all in a beautifully evocative set of soundscapes that draws heavily from the collaboration, and which goes way beyond other previous work from the group! The sounds here are really united in a commitment to richly expressive modes – often working in a soundtracky style that lives up to the Cinematic promise – using strings on just about every track, but in these cool spare, stark ways that mix with the other instrumentation – and almost recall the glory of the first 4AD experiments in these modes from decades back. In addition to "Manhatta", "Entr'Acte", and "Necrology" by Cinematic Orchestra – the set also features "Lapis" by Austin Peralta, "Dream Work" and "Outer Space" by Dorian Concept & Tom Chant, and "Regen" by Gary Reverend. (Cool LP-styled sleeve, too!) ~ Dusty Groove .

LOST SOUL GEMS FROM SOUNDS OF MEMPHIS

Deep southern soul from the Sounds Of Memphis label – with some incredible stuff that for the most part never has seen official light of day before now – compiled by Dean Rudland for Kent UK! Kent has mined the vaults of Sounds Of Memphis for a series of solid compilations, and it's surprising how much more continues to be discovered considering the continual high quality! A solid majority of the tracks are prime 60s & 70s southern soul – with some early 80s records later on on the set that with a contemporary sound, though still committed to a true soul style! Includes "Pity A Fool" by Carl Sims, "I Don't Want No One Way Love" by Dan Greer, "Stop Boy" by Fran Farley, "So Cruel" by Barbara And The Browns, "Teardrops" by William Bollinger, "Play The Game (Pt 2)" by Version, "Make It Easy On Yourself" by Demetrius, "When I Look Inside" by Takelia Kelly, "It's Hard To Say No" by George Jackson & Linda Lucchesi, "Save My Love" by Billy Cee & The Freedom Express and more. ~ Dusty Groove

NEW RELEASES - NICOLE MITCHELL, JOE McPHEE / STEVE DALACHINSKY EVAN PARKET JOE MORRIS QUARTET

NICOLE MITCHELL – ARC OF O

One of the most ambitious sets we've heard from Nicole Mitchell – a really unique mixing of modes that features a core Chicago group coming into play with the Arche New Music Ensemble! The initial group features Nicole on flute, vocals, and electronics – with Mwata Boden on baritone and bass clarinet, David Boykin on tenor, and Renee Baker on violin – all set against the larger backdrop of Arche – which features eleven musicians led by Rafal Zapala on electronics and percussion, on piano, trumpet, cello, viola, clarinet, trombone, oboe, and more! Mitchell's still at the heart of the performance – as the tracks are all her own compositions, and she conducts the proceedings as well – with this wonderful mode that's almost a blend of AACM energy with some of the more orchestrated improvisations of the European scene. The bulk of the record features the long "Arc Of O" piece – followed by a smoking rendition of Mitchell's great "Afrika Rising", a much more freewheeling and spiritual number! ~, Dusty Groove

JOE McPHEE / STEVE DALACHINSKY/ EVAN PARKER – 13 MINIATURES FOR ALBERT AYLER

A beautiful set of tributes to the legendary Albert Ayler – presented here in a series of improvisations from different assemblages of players – some solo, some duo, and some in larger groups – all working together in a legacy of sound that really takes off from the amazing tones and textures that Ayler first forged in the 60s! The range of musicians is as exciting as the music itself – and the performances feature reeds from Joe McPhee, Evan Parker, Urs Leimgruber, Raphael Imbert, John Tchicai, and Michel Portal – plus trumpet from Jean-Luc Cappozzo, bass from Joelle Leandre, Jean Jacques Avenel, and Barre Phillips, drums from Simon Goubert and Christian Rollet – and a mixture of sung and spoken passages from Lucia Recio, Steve Dalachinsky, and Jacqueline Caux. ~ Dusty Groove .

JOE MORRIS QUARTET – GRAFFITI IN TWO PARTS

A really noteworthy recording in the career of guitarist Joe Morris – not just because it's lain undiscovered for decades – but also because it features one of the few recorded performances of Lowell Davidson, who's also known for a famous 60s album on ESP! Davidson plays drums here, and the unusual "aluminum acoustic bass", not his usual piano – a shift that was made in order to find a way to resonate more strongly with Morris – who himself plays guitar and banjouke – in a quartet that also features Malcolm Goldstein on violin and Butch Morris on cornet! The work is almost more spacious than some of Morris' other recordings – especially those of the 90s onwards – partly because there's a lot of "room" in the recording, almost that loft jazz style that you'd hear on improv records of the 70s – really perfect for the odd array of percussion instruments that Davidson brings into his performance. The core of the record features "Graffitti (parts 1 & 2)" – plus the very short "Tag". ~ Dusty Groove

ALEKS GIRSCHEVICH - TOMORROW

Before you dismiss the Aleks Girshevich Trio simply because the jazz combo is named after its prodigious 11-year-old Russian-American drummer-percussionist, Aleks Girshevich, listen to the scholarly piano etchings vividly composed by his father, Vlad Girshevich. Masters have been bewildered by the cerebral beats and Cuban and Brazilian-influenced rhythms deftly dispensed by Aleks. Produced by the chamber jazz outfit’s award-winning double bassist David Arend, the trio’s passionately performed debut collection, Tomorrow, will be released August 14th by Dapper Music.

Tomorrow is comprised of eight original compositions: seven penned by Vlad Girshevich and a closing experimental improvisational piece, “Dithering,” hatched by the trio. The senior Girshevich’s striking piano melodies occupy center stage throughout the recording and stir a variety of emotions. His melodies are chipper and cheerful, pensive and haunting, and at times touchingly exquisite. The erudite grooves and polyrhythms constructed by Aleks Girshevich and Arend fluctuate in time and tempo mid-tune. Listeners are transported, willing participants on a clever, captivating and challenging journey through wide-ranging peaks and valleys that adeptly invite and embrace without overwhelming. All About Jazz recently wrote, “Tomorrow is an immensely pleasing combination of elegant swing, original craftsmanship, and engaging melodies provided by Vlad.”

Next month, three selections – the title cut, brimful as the day’s first rays of sunlight, “Fragility,” a tender, poignant beauty, and “Broken Promises,” an up-tempo jaunt that provides a glimmer of hope amidst a veil of sadness – will be serviced to jazz radio stations across the U.S. to help pave the way for the album’s arrival.

Arend said, "For me, Tomorrow celebrates the debut of a trio full of promise. Our style could be termed 'chamber jazz' for there is an intimacy and an expressive, coloristic aspect that create an aura similar to classical chamber music. The listener is drawn into a conversational, contemplative atmosphere that swings and sighs. Vlad and I have shared musical and philosophical ideas over 15 years. Now that young Aleks has begun to harness his prodigious gift for drums and percussion, it is evident that this trio's time has arrived. In this sense, Tomorrow is here."

A classically trained pianist and composer, Vlad Girshevich emigrated from Tashkent, Uzbekistan to Aspen in 1996. He was introduced to Arend, who was studying classical music at the Aspen Music Festival at the time. Although Vlad did not speak English, the two men communicated through music on the bandstand and a friendship was formed. After Herbie Hancock heard Girshevich perform, he invited him to be a fellow at the Thelonious Monk Institute at JazzAspen/Snowmass. Arend and Girshevich played in duo and trio settings over several summers in Aspen before the bassist moved to New York City to attend The Juilliard School. Together they recorded We The People in 2000, but distance made collaborations difficult over the next decade. During that period, Arend’s artistic endeavors spanned jazz, modern chamber music, electronica, opera and orchestral work and included diverse collaborations with Ornette Coleman, Bela Fleck, Bobby McFerrin and Carlos Santana as well as playing on New Zealand’s Classical Record of the Year (2000).

He has over 20 years of orchestral experience teaming with the San Francisco Symphony and a bevy of world-renowned composers (John Williams, Tan Dun, George Crumb) that has seasoned his licks with a distinctively classical sensibility. Rooted in the Russian classical realm, Vlad Girshevich often performed in the jazz spectrum with the likes of Wayne Shorter, Arturo Sandoval and legendary drummer Horacio “El Negro” Hernandez, the latter of whom offered encouragement after watching a YouTube clip of a then 9-year-old Aleks drumming in 2010. Later that year, Vlad and Aleks Girshevich gigged with Arend in California leading to the birth of the trio. Documentary filmmakers are shadowing the Girshevich’s fascinated by the dynamics of the high-level father-son musical apprenticeship.

The Aleks Girshevich Trio will perform music from Tomorrow at a Bay Area gig in early August before entering the studio to record their second collection.

http://www.aleksgirshevichtrio.com/

The compositions contained on the Aleks Girshevich Trio’s Tomorrow are:
“Strange Memories”
"Tomorrow”
“The Other Side”
“Fragility”
“Broken Promises”
“222”
“Where Were You?”
“Dithering”

THE MIRACLES – RENAISSANCE / DO IT BABY

Incredible early-to-mid 70s albums from The Miracles – Renaissance and Do It Baby – plus a bonus Tom Moulton remix! First up, Renaissance truly is one, and proof that the the group could do amazing things away from Smokey Robinson! Of course, they've got a heck of a lot of great help on this set – from some of Motown's best, like Willie Hutch, Fonce Mizell, Freddie Perren, and even Marvin Gaye, who wrote and produced the album's standout track "I Love You Secretly", a stone treasure that's as good as any of Marvin's recordings from the time! The whole set is great, though, filled with wonderful songs that never got their due – and which will make this one stand for years as a treasure to fans of harmony soul! Titles include "I Didn't Realize The Show Was Over", "I Love You Secretly", "I Don't Need No Reason", "Don't Let It End", and "What Is A Heart Good For".

The follow-up Do It Baby is another overlooked post-Smokey gem – a beautifully display of Miracles' unmatched soul harmony mastery – on a record that's just about as good as anything they did with Smokey. This one actually reminds us a lot of some of our favorite Philly albums coming out at the same time! Arrangements are handled by James Carmichael, Freddie Perren, and Willie Hutch – and it's heavy with slinky smooth soul groovers like "Do It Baby", "You Are Love", "What Is A Heart Good For", and "Give Me Just Another Day", one of a few great cuts on the record written by Leon Ware! This much needed Hip-O Select package includes a bonus track, too: Tom Moulton's mix of "Do It Baby" – which extends that classic cut to more than 7 minutes of dancefloor soul greatness! ~ Dusty Groove 

SOUL-JAZZ SAXOPHONIST BONEY JAMES HEADLINES SMOOTH JAZZ CRUISE

As the excitement mounts for January’s 10th anniversary sailings, The Smooth Jazz Cruise: The Greatest Party at Sea will present soul-jazz sax sensation Boney James in concert August 31st at The Frederick Brown, Jr. Amphitheater (The Fred) in Peachtree City, GA. Opening the show will be eclectic violinist Ken Ford. Tickets are now on sale and available at The Fred Box office (770.631.0630 www.amphitheater.org) and at Ticket Alternative outlets (877-725-8849 http://www.ticketalternative.com/).

James is a leading light in the contemporary/smooth jazz realm who has also achieved crossover success in the urban music world. In his 20-year solo career that spans a dozen albums, he has scored nine #1 Billboard contemporary jazz albums while earning four gold records, three Grammy nominations, a Soul Train Award and an NAACP Image Award nomination. His music is a soul-drenched mix of R&B grooves, contemporary jazz instrumentals, and romantic ballads. In addition to his slick originals, James has a knack for delivering sterling renditions of R&B classics - “Sweet Thing,” “Grazin In The Grass” and “Send One Your Love” to name a few. Touring in support of last year’s hit-filled “Contact” album, which spent a remarkable 11 weeks at #1, his sultry single “Deep Time” is presently heating up the radio airwaves.

The Atlanta-based Ford will make his debut aboard The Smooth Jazz Cruise 2013. Dispensing a unique fusion of jazz, blues, R&B and hip-hop, the electric violinist pours passion into his exhilarating performances. His latest recording, State of Mind, is a seven-song EP that includes a pair of bonus tracks, fan favorites produced by Grammy winner Colin Morrison (The Temptations, Chante Moore). Utilizing live instrumentation and adventurous sonicscapes, Ford is a soulful improviser best experienced in a concert setting.

Known as “The Greatest Party at Sea,” The Smooth Jazz Cruise showcases legends, Grammy winners and chart-topping contemporary jazz and urban adult contemporary artists aboard a luxurious full ship Holland American charter that will sail from Fort Lauderdale to Cozumel, Belize City and Key West on January 13-20 and January 20-27, 2013. It is an extraordinary week devoted to live music with the 2013 lineup consisting of Ford, George Benson, David Sanborn, Marcus Miller, Brian Culbertson, Jonathan Butler, Candy Dulfer, Rick Braun, Richard Elliot, Bob James, Jeff Golub, Angie Stone, Paul Taylor, Steve Cole, Raul Midon, Larry Braggs, DW3, music director Brian Simpson and comedian Alonzo Bodden presented in theatre, club and intimate piano bar settings. The velvet rope is removed allowing cruisers to mix and mingle freely with the musicians at cocktail parties, informative seminars, autograph and Q&A sessions, theme nights and even sporting contests. Perennially sold-out, nearly 60% of the passengers are repeat guests. For further information or to reserve a cabin, please visit http://www.thesmoothjazzcruise.com/.

MONTREUX JAZZ FESTIVAL ADDS NENEH CHERRY AND JAMES CARTER ORGAN TRIO TO LINEUP

Just days before the launch of the Montreux Jazz Festival, it's organizers have announced that Trip Hop star Tricky has cancelled his performance with Martina Topley-Bird. Their ‘Maxinquaye” concert was to signal a return of this legendary due. Instead, the Festival looks forward to welcoming for the first time Neneh Cherry with her new and ambitious project: Neneh Cherry & The Thing, as well as James Carter who will be accompanied by his Organ Trio. Spectrum Road will still be featured on the evening’s colourful line-up.


James Carter Organ Trio



James Carter is one of the most admired Jazz musicians of his generation. His music is born out of a deep respect for and intimate knowledge of the Jazz tradition. Yet it is hard to categorize his music as he has such a diverse range of influences and, to him, it is precisely this mix-up that makes his music beautiful. He is known as a saxophonist and he began with Lester Bowie in New York before recording with John Medeski in 2009. Then in 2011 the James Carter Organ Trio released an album which paints a portrait of the Detroit Jazz scene. That same year the Jazz Journalists Association awarded him the Baritone Saxaphonist of the Year award.



Neneh Cherry

“I think I’m built to last.” These are the lyrics Neneh Cherry sings on her latest album The Cherry Thing which she is to play at the Montreux Jazz Festival with Scandinavian Jazz Trio The Thing. After more than 20 years she is still here, singing with brio and performing her unique music which happily and seamlessly brings together such disparate influences as The Stooges, Ornette Coleman, Suicide, and MF Doom. “Thos who think these sorts of collaborations are inspired will love the album immediately. Those who think these sort of projects are hack will love it, too.” – The Washington Post; June 19, 2012.

Neneh Cherry, the James Carter Organ Trio, and Spectrum Road with Jack Bruce, Cindy Blackman Santana, Vernon Reid and John Medeski perform at the Miles Davis Hall on Friday, July 7, 2012 at 8: 30 pm.

montreuxjazzfestival.com

NEW RELEASES - THE SPINNERS, CHUBBY CHECKER, ANN PEEBLES

THE SPINNERS – TRULY YOURS: THEIR FIRST MOTOWN ALBUM WITH BONUS TRACKS 1963-1967

The first Motown full length record by the Spinners – Original Spinners from '67 – followed by an impeccably well-chosen collection of bonus material! It's excellent stuff – an overlooked album with some very hard to find Motown work by this early version of the legendary Spinners – with lead vocals by Bobby Smith and Edgar Edwards. The tracks have a mixture of sweet and raw harmonies – crafted with an elegantly soulful sound that would later take the group way over the top during the 70s, and which here sounds sublime next to some of the group's Motown contemporaries! The first 12 tracks on this excellent Kent compilation are the Original Spinners tracklist – including "Sweet Thing", "I Cross My Heart", "I'll Always Love You", "Truly Yours", "Like A Good Man Should", "For All We Know", "How Can I", "It Hurts To Be In Love", "Nobody Else But You", "Where Is That Girl", "Tomorrow May Never Come" and "That's What Girls Are Made For". Most of the 14 bonus tracks are previously unreleased masters – revelatory stuff from earlier in the 60s – formative, yet beautifully realized recordings with productions by Harvey Fuqua and Ivy Joe Hunter! Titles include "Darling", "Words Can't Describe", "12 O'Clock", "Just Another Guy", "We're Gonna Be More More Than Friends" and more. ~ Dusty Groove

CHUBBY CHECKER - CHEQUERED

Forget everything you know about Chubby Checker – because this album's unlike any of his 60s hits – and instead shows the singer as a hipper, funkier, more soulful talent than before! As you might guess from the spelling in the title, the set's got overseas origins – and really only circulated in the European market of the early 70s – and unfortunately never helped Checker regain his fame over here on our shores. There's some nice tripped-out elements that really work well with the groove – a bit of psych mixed in with funk and deep soul – all kind of that hip London brew that has all the separate elements coming together wonderfully. Titles include "Stoned In The Bathroom", "How Does It Feel", "My Mind", "He Died", "Goodbye Victoria", "Love Tunnel", and "No Need To Get So Heavy". CD features the bonus track "Gypsy". ~ Dusty Groove

ANN PEEBLES – STRAIGHT FROM THE HEART

Ann Peebles sings straight from the heart on this classic early set for Hi Records – a record that's to female vocals what Al Green's work of the time meant to male soul! As with Green's Hi Records of the time, Willie Mitchell is firmly in charge of production and backings – working with that warmly glowing Memphis soul style that carved whole new territory in soul music for the 70s – a maturing and mellowing of earlier southern modes, in a way that helps Peebles hit some fresh and uncliched sounds with her vocals. At a time when so many other singers were trying to copy Aretha, Ann's approach is mighty fresh – as you'll hear on tracks that include "I Take What I Want", "Slipped Tripped & Fell In Love", "What You Laid On Me", "Trouble Heartaches & Sadness", "99 Pounds", "I've Been There Before", and "Somebody's On Your Case". ~ Dusty Groove

NEW RELEASES - JOSH BERMAN & HIS GANG, THE VISIONEERS, RONNIE FOSTER

JOSH BERMAN AND HIS GANG – THERE NOW

Seminal Chicago sounds from cornetist Josh Berman – and a record that's not just a key example of his talents, but of the whole energy of the Windy City scene as well! There's a nice gag in the "His Gang" on the cover of the record – but it's also somewhat well put, too – as Berman's definitely got ears for the old-time sounds such a name might imply – yet always has ways of making those older modes come out with freshly modern energy! The balance is amazing – and really shows Josh's ear for trad jazz, mixed with his contemporary avant expressions – a pan-historical jazz mode that's hardly ever been handled this well – except maybe by Jaki Byard at a few moments. At some level, the instrumentation reads like an old trad band – cornet, clarinet, trombone, bass clarinet – but the sounds here are definitely 21st Century – played by a great "gang" that includes Guillermo Gregorio on clarinet, Jeb Bishop on trombone, Jason Stein on bass clarinet, Keefe Jackson on tenor, Jason Adasiewicz on vibes, Josh Abrams on bass, and Frank Rosaly on drums. Berman's arrangements are wonderful – very offbeat, but swinging too – and titles include "Sugar", "Mobile & Blues", "Liza", "Cloudy", "One Train May Hide Another", and "Jada". ~ Dusty Groove

THE VISIONEERS - HIPOLOGY

Marc Mac takes it back, way back – with some great 70s styled sounds mixed in with Marc's 21st Century vibe – a timeless mix of tightly grooving soul jazz with a live hip hop backdrop! In his work with 4 Hero, Marc could proudly pay tribute to his influences while innovating with contemporary beats and rhythms – and that tradition continues with Hipology. Classic hip hop and the 70s soul, funk and fusion that laid the blueprint are revered, with a modern vibe. Marc Mac produces and plays percussion, bass, strings and every kind of keyboard – with guest rhymers and players include the Ariya Astrobeat Arkestra horns, Baron & TRAC, Luke Parkhouse, John Robinson, Notes To Self and others. Titles include "Shaft In Africa (Addis)", "Funky Fanfare", "Apache (Battle Dub)", "Jungle Green Outlines", "Swahililand", "Luanne From Harlem", "Back In Time","Oil & Water" feat Notes To Self, "Come And Play In The Milky Night", "Whatever Happened To Peace?" and more. Includes a bonus CD: the Hipology Bonus Mixtape! ~ Dusty Groove

RONNIE FOSTER - DELIGHT

A definite delight from Ronnie Foster – a post-Blue Note set that actually has the keyboardist sounding better than ever! Ronnie's always been one of those guys who seems to work best when moving against a bit of structure – and here, that force is provided by the excellent Jerry Peters – who's come up with some great soul backings that also have these nicely offbeat corners – more than enough to preserve some of the quirkiness of Foster's work from previous years – yet also giving him a bit more direction too! There's a bit of vocals on the set – mostly from Ronnie – with backing from Phyllis Hyman, Jim Gilstrap, and Peters himself. Titles include "Argentina", "We As Love", "Let Me In Your Life", "I've Got Your Love", and "When Will I Write You A Song?". This CD version also includes the bonus "You're The One (US 7" Single)". ~ Dusty Groove

TAMMY WYNETTE - STAND BY YOUR MAN REMIXES

Coinciding with the 70th birthday celebration of the late Tammy Wynette, two Dave Audé remixes of her Grammy Award®-winning “Stand By Your Man” were made available for download at all digital retailers starting June 15th through Epic/Legacy The remixes are “Stand By Your Man - Dave Audé Radio Remix” (3:21) and “Stand By Your Man - Dave Audé Club Remix” (5:16).

“Stand By Your Man” is the signature track by Wynette (b. May 5, 1942 - d. April 6, 1998), acknowledged as “The First Lady Of Country Music” by The Country Music Hall of Fame. It remains an American classic in 2012, more than a third of a century after its release in October 1968. Dave Audé brings a new attitude to the song, transforming it into a red-hot dance track which is the equal to his memorable remixes for Madonna, Sting, Lady Gaga, Katy Perry, Ke$ha, Jennifer Lopez, Kelly Clarkson, Britney Spears, Beyoncé, U2, and Coldplay, to name a few. Since 1996, Audé has amassed an unprecedented 75+ #1 Billboard tracks. “Stand By Your Man” is Executive Produced by Fletcher Foster and Darrell Brown.

The Dave Audé remixes are the first major chart contenders by Tammy Wynette since 1991, when British rave sensations The KLF invited her to sing on their left-field pop hit “Justified and Ancient (Stand By the JAMs).” The track hit #2 Dance in Billboard, #11 on the Hot 100, and went to #1 in 18 countries.

In 1968, “Stand By Your Man” followed the similarly controversial “D-I-V-O-R-C-E” and both topped the Billboard Country charts that year. “Stand By Your Man” went on to win the Grammy Award® for Best Female Country Vocal, the second of Tammy's two Grammy Awards®. The song was inducted into the Grammy® Hall Of Fame in 1999, and was selected by the Library Of Congress in 2010, for addition to the National Recording Registry.

At the dawn of the feminist revolution in the late 1960s, “Stand By Your Man” and “D-I-V-O-R-C-E” stirred up emotions on all sides of the fence, and solidified the standing of Tammy Wynette in American culture. It certainly paved the way for her third consecutive honor as the Country Music Association's (CMA) Female Vocalist Of the Year, which she won in 1968 (the second year of the awards), 1969, and 1970. That track record was Tammy's alone for nearly two decades, until Reba McEntire finally broke it in 1987 with a fourth consecutive win.

The legend of Mississippi farm girl Virginia Wynette Pugh is inscribed on the American psyche -- married at 17 and a divorced mother of three daughters before she reached 21. Her voice, a soulful confession choked out in a heart-wrenching tumble of emotion, brought her to the attention of CBS Records Nashville producer Billy Sherrill, who signed the 24-year-old to Epic Records in 1966. Sherrill thought her blond ponytail reminded him of the Debbie Reynolds movie Tammy and the Bachelor, and the rest is history.

In less than a year, her third chart single (“My Elusive Dreams,” a duet with David Houston) became the first of 20 singles to hit #1 on the Billboard Country chart for Tammy over the next decade. Her career encompassed 11 consecutive #1 country LPs and worldwide sales of more than 30 million albums. As a cornerstone of the Epic roster, her marriage to George Jones in 1969 (the year after Johnny Cash and June Carter were wed) was a union of country royalty.

Tammy Wynette is acknowledged as the first American country artist to earn an RIAA platinum million-selling LP (1969's Greatest Hits) and was one of the first country acts to tour inter¬nationally on a regular basis. Every new generation has awakened to her indomitable presence. In that perennial process of re-discovery lies the magic of Tammy Wynette's spirit.

LegacyRecordings.com

BRIAN CULBERTSON'S 'DREAMS' HITS #1 POSITION

With his thirteenth album Dreams (Verve/Universal), Brian Culbertson has done it again, hitting the #1 position on Billboard's Contemporary Jazz Charts. With the help of lauded guest vocalists Noel Gourdin, Vivian Green, and Stokley Williams of Mint Condition, Dreams masterfully melds jazz sensibility with an R&B flair in a wondrous mélange of enchanting grooves.

Released on June 12th, the album is a stunning collection of 10 mesmerizing tunes, including the poignant lead single "Still Here" - featuring the soulful rapture of Vivian Green, telling the passionate tale of how taking a risk on love can have a happy ending. "Your Smile," the album's lead jazz single, is an exquisite rhythmic excursion underscored with an undeniable buoyant groove. Brian recruited the R&B vocal prowess of singer Stokley Williams to enhance the melodic elegance of "No Limits," whose romantic lyrics accentuate the thrill of actualizing an altruistic union. On "You're My Music," Boston-based singer Noel Gourdin pours his thick, soulful vocals over both Brian's shimmering piano chords and bass guitar licks.

On Dreams, Brian brought together a group of "who's who" in music including: R&B producer and longtime collaborator and arranger Rex Rideout (Angie Stone, Ledisi, Luther Vandross, Lalah Hathaway, Will Downing, Kem); four of R&B's top session players to help round out the sound - bassist Alex Al (Michael Jackson, Stevie Wonder, Quincy Jones); and guitarists Michael Thompson (Babyface, Toni Braxton), Rob Bacon (Beyonce, Raphael Saadiq), and John "Jubu" Smith (Frankie Beverly & Maze, Whitney Houston).

Brian is currently on tour with jazz saxophonist David Sanborn during a 30 city stop appropriately entitled The Dream Tour, hitting an array of venues including wineries, cruises, casinos and festivals through September.

2012 is certain to be a pivotal turning point in Brian's illustrious career. Dreams holds the key to a new dimension of the jazz listening experience by effortlessly combining elements of R&B and soul with spellbinding melodies and the marvel of inner visions. With Dreams, as with his previous efforts, Brian proceeds to keep the genre of jazz alive and viable by consistently injecting a fresh approach into his own unique sensibility. Dreams definitely proves that jazz and groove fit hand-in-glove.

~ http://www.brianculbertson.com/

BRAZILIAN TRIO - CONSTELACAO

Brazilian Trio is a masterful amalgamation of musician, composer and arranger friends dedicated to perpetuating the artful blend of Brazilian classical music and jazz. The trio consists of pianist Helio Alves, bassist Nilson Matta and drummer Duduka Da Fonseca. Their 2009 debut CD, Forests, netted them a coveted Grammy nomination for Best Latin Jazz Album right off the bat, validating their musical mission with passion and appreciation. For their eagerly awaited sophomore follow up, the Trio has moved to Motema Music for Constelação (pronounced “cohn stay lah sow” - “constellation” in Portuguese). Divinely showcasing each player with an original composition apiece plus uniquely engaging renditions of fine pieces ranging from Brazilian composers such as Tenorio Jr. and the great Antonio Carlos Jobim to jazz stalwart Cedar Walton, the 10-song album picks up from where the earthy Forests left off…and gracefully ascends skyward. This music is deep enough to impress connoisseurs of Brazilian music while appealing to casual music lovers that simply adore the sound of beautiful masterfully rendered tunes.

“There are two hallmarks of Brazilian music,” Matta explains, “melody and rhythm. But improvisation requires knowledge of the language of jazz. We’re thinking in 2/4 but we use the info that we get from jazz. This way the music keeps growing. It’s the new direction of playing Brazilian Music.”

The album title was inspired by the evocative title of the opening number “Constelação” composed by Alfredo Cardim (with a lyric unheard here by Dee Dee McNeil). This had a lot to do with the Cruz constellation, which is among the most prevalent in the sky over Brazil. So symbolic is this cross-shaped constellation that it was integrated into the design of Brazil’s national flag, reflecting a deep connection to spirituality.

Each member of Brazilian Trio contributed an inspired composition to the project. Duduka’s piece is the enchanting “Isabella” – “a lil’ waltz for a lil’ flower,” he shares with pride, “my daughter Isabella. She is 14.” Similarly, Helio’s piece “Bebe” is for a very special lady in his life. “I wrote ‘Bebe’ a while ago for my wife, Ellen. I originally recorded it on my first album, Trios (Reservoir Records – 1998) with Al Foster on drums and John Patitucci on bass. It had a more straight-ahead jazz feel then. Now it’s a more Brazilian feel in ¾ over which I was able to take more liberties. I’m a totally different player now and I really appreciate the fresh approach with Nilson and Duduka.”

Nilson brought the medley “LVM/Direto Ao Assunto” to the table – two songs from two different times in his life that fit together here like a hand in glove. “’Direto Ao Assunto,’ which means ‘straight to the point,’ is a short piece I composed around `72/`73 when I was still living in Brazil. I named it that because though it’s difficult to play it’s simple in sound. ‘LVM,’ which are the initials of my wife Luisa and my sons Victor and Maico, is a song I composed in Yellow Springs, Pennsylvania when I was just starting with Don Pullen’s band. He insisted that we each write something for the group. My surroundings inspired that ballad and now it has become the introduction for this song – two songs in one.”

Regarding the approach to recording Constelação, Helio (softly pronounced ay-lee-oh) states, “We stayed close to the format of the last album…even recording in the same studio (Avatar in New York City). Because our histories and origins are so similar, we work well together.” Duduka adds, “We started rehearsing at Nilson’s house in New Jersey. We all had ideas. We filtered, discussed, then after several rehearsals we had the final repertoire that we were all happy with. We recorded and produced the album ourselves. We’ve developed a great deal of empathy, growing more and more refined. We’re evolving every time we play.”

That empathy is in magnificent evidence on several compositions by the legendary Brazilian composer Antonio Carlos Jobim. Though Brazilian Trio strives to also highlight lesser-known national treasures, there’s simply no getting around the prolific “Tom” Jobim. The group tackles three of his pieces this time; “O Bôto,” “Quebra Pedra” and “Luiza.” Helio remarks, “‘Luiza” is one of his most beautiful melodies…so gorgeous. The guys agreed right away to do it. When Jobim recorded it he sang it and even though his voice was not the greatest it was still so very moving because of the melody. The guy just had so many incredible songs.” Nilson marvels, “Jobim surprises us all the time. On ‘Quebra Pedra,’ the bass plays the fifth (of the chord)! It’s a very intricate rhythm with a catchy yet complicated melody. These three songs are each completely different. These selections prove that Tom’s capacity was very broad but his personality is always present.”

The most familiar song of this set belongs to the great Dorival Caymmi and is titled “O Cantador,” better known in America by the version with English lyrics entitled “Like a Lover” (made famous by Sergio Mendes and Brazil `66 from their LP Look Around). The original Portuguese lyric was penned by nelson Motta (NOT to be confused with B.T. bassist Nilson Matta). Brazilian Trio’s version of this dreamy ballad is breathtakingly tender - lovely and light as a feather.

Brazilian Trio also digs into the 1964 bossa jazz classic “Embalo” by unsung Brazilian pianist Tenorio Jr. as well as the album-closing “Bolivia” - the surprisingly syncopated, South American favored and most famous composition from the pen of American jazz great Cedar Walton. The latter opens with a commanding drum solo by Duduka that drops down into one of the hippest swing grooves ever. Constelação is nothing short of a triumph for the group which is now well on its way to establishing itself as ambassadors of the music.

The story of Brazilian Trio begins in Rio de Janiero circa the early `70s when Duduka Da Fonseca (born in Rio) and Nilson Matta (born in Sao Paulo) met playing soccer with a loose gathering of other musician friends in a little field every Wednesday. Both men knew of and respected each other as players but were so busy with separate gigs that they never got a chance to collaborate while in Rio. In1975. Duduka came to America to make a living as a jazz musician in New York City. Ten years later Nilson also made the move to New York and with Duduka began playing in bands with greats including globetrotter Herbie Mann.

Helio Alves (born in Sao Paulo) came to the United States initially to study music at the Berklee College of Music in Boston. Brazilian trumpeter Claudio Roditi was very excited about his progress and encouraged him to move to New York. Once there in 1993, Helio met Duduka and Nilson and the three of them began playing together. Brazilian Trio officially began informally when they took up a weekly residency gig at a little club the West Side of Union Square. They played steadily together over several years just the three of them as well as at the service of jazz royalty like the late, great saxophonist Joe Henderson.

Brazilian trio recorded its first album, Forests, in 2009, selling a lot of CDs over in Europe and netting a Grammy nomination here in the U.S. They will now build on the momentum with the transfixing music of Constelação.

“So many composers, known and obscure, have contributed to the richness of the Bossa Nova movement,” Duduka concludes. “In late `50s, Samba Jazz was also created. Gentlemen like (Brazilian drummer/percussion great) Dom Um Romao were also listening to Horace Silver, Art Blakey & The Jazz Messengers, Coltrane and Miles, so they had a parallel vibe going on. Mix in the classical influence from Bach, Debussy and Ravel, and you get the musical direction that Brazilian Trio is dedicated to carrying forward for many years to come.”

~ Motema Music

ABIAH - LIFE AS A BALLAD

"...a singer with an innate ability for passionate songwriting that one cannot learn." - Billboard Magazine

Ever since the untimely departure of Luther Vandross, the American pop scene has been absent of a Black American male balladeer possessed of chops beyond belief, staunch lyricism and emotional maturity. Abiah (pronounced Ah-bee-yah) more than adequately answers the call of that absence with an album and a presence that is sensuous, soulful, honest, grown-up and quite passionate about restoring vocal excellence to the contemporary airwaves.

Who is Abiah? These are the bare facts: he is a seasoned balladeer possessed of a five-and a half octave range; an established vocal coach and former Universal Republic recording artist; and he is of Ghanaian, Cuban, Native American descent, though raised in Rochester, NY.

While that background remains a part of his roots and identity, 2012 marks a musical, professional and personal evolution for the singer-songwriter. Previously known as "Jeremiah" in the music world (full name Jeremiah Abiah, the latter of which means 'God is my father'), Abiah sets forth his highly anticipated sophomore album, Life As A Ballad, reflective of a long journey towards his intensely personal sound and overall musical growth - consisting of nine self-penned originals.

Growing up in a musical home - his mother an accomplished concert pianist - induced a love for learning about the nuances of the singer's art and craft that found him studying at the Eastman School of Music as a young teen where he studied with legendary chanteuse Renee Fleming's mother, Patricia Alexander. Afterwards came enrollment at Syracuse University and The New England Conservatory for operatic training. Abiah's pre-undergraduate obligations were completed while on the road, where he quickly found work as a backing vocalist for George Michael and while in college he also landed a steady gig with Yolanda Adams.

"There was a moment when I thought I had lost my voice. "I was experiencing growing pains which were hard to decipher at first but eventually they helped me to trust my heart, sound and aesthetic again. I thought I would never record again. I even toyed with the idea but the music perpetually tugged at me. Changing my stage name was the impetus of a new beginning," reflects Abiah. "This is how Life As A Ballad was born as I dealt with the idea of finding beauty in the dark, that glimmer of light when all hope seemed lost."

A move to New York City in the early 2000s saw Abiah "hitting the pavement hard'' and eventually playing Central Park SummerStage and the world renowned Blue Note on a regular basis; though a turning point came when Abiah started gaining the attention of major labels. As is frequently the case for ambitious but not yet quite industry-savvy young artists, Abiah's fledgling recordings fell through the cracks. An entire album, brought to the verge of a major label deal, got shelved because the song the major label executives favored most was the only one not produced by a very major and deservedly much lauded producer.

"I'm not opposed to major labels. I just believe an artist needs to keep his finger on the pulse of everything. It's hard to be artist and business, but it is necessary," said Abiah. "Initially I was angry and came out pointing fingers but the healthier aspect became, what did or didn't I do? Taking that responsibility has given me power and greater perspective."

While plotting his next round of moves, creatively and professionally (following his major label departure) Abiah got practically handed an unexpected cottage industry, when he became an in-demand vocal coach, even featured on MTV's program, MADE. Initial inquiries from singer-friends impressed by his sound and range has blossomed into a side-business that finds him coaching up-and-comers prepping for demos and showcases, solid pros hankering to rise up to that proverbial next level, and musical game show contestants hoping to impress celebrity judges with noticeably increased prowess.

This recording is the result of Abiah's steady and patient march over a decade in New York, finding the perfect songs and session mates to support his vision. Like any astute young artist in pursuit of a unique bespoke career path, Abiah wisely sought out collaborators who were of highly skilled and veteran pedigrees, and of course, simpatico. Notable among those collaborators are very well regarded young pianist Robert Glasper, who is Abiah's cousin who he met in earlier days while they cut their musical teeth in the New York's music landscape. Marvin Sewell, the album's stellar guitarist, has been a frequent flyer in Cassandra Wilson's ensemble since the late 1990s as well as Jack DeJohnette.

The captivating warmth of Abiah's voice can be heard all over Life As A Ballad. In addition to his phenomenal range, he is an incredibly acute interpreter, composer and producer. Across the album's nine tracks, he can be heard moving from crooning conversational whispers to heartfelt sighs of ecstasy. The title track was written in just 15 minutes after inspiration struck in a chance encounter with The Oprah Winfrey Show, during which the widow of Steve Irwin says, "When he left, the wind stopped moving." On a more uplifting track, Abiah's range can also be felt again on "Doves, a flirtatious cascading adaptation of a Prince classic, "When Doves Cry," entrenched in global harmonics.

The album's gorgeous opener, "September'', is a well orchestrated mélange of achingly mature lyric writing, full throated, flowing and tautly controlled vocal drama, lush Beatles-esque harmonies and transcendent, transporting melodicism. The artist's intention to have his music move people poignantly within are generously on display, as well as in "Foolish Heart", which Abiah describes as "achingly beautiful," and "the most personal song on the record."

Ultimately, Life As A Ballad designates Abiah as a contender for that sizable niche slice of today's market known as Adult Contemporary - the same slice where equally well-honed, melodious and crafty modern male vocalists like Michael Bublé, Jason Mraz, Sting, Seal and occasionally even Robin Thicke are seen to reside.

Life As A Ballad also features Robert Glasper, Marvin Sewell, Keith Witty,  Ulysses Owens, Jr., among others and is set for release on August 28 on Madoh Music.

JOSE FELICIANO TO RELEASE TRIBUTE TO ELVIS PRESLEY ALBUM

With a career that has earned 9 Grammy Awards; including the LARAS Lifetime Achievement, Jose Feliciano has attained worldwide acclaim that has spanned more than three generations. Jose Feliciano now indulges himself in a lifelong dream… to honor his childhood hero- Elvis Presley. His latest CD release, The King... by Jose Feliciano, visits some of Elvis' greatest hits as well as some of Jose's favorite songs.

The highly acclaimed guitarist, singer and composer returns to his youth to rekindle his passion for Elvis. After over a year in his private studio, Jose handpicked twelve Elvis songs. He arranged each one, played all of the instruments, recorded all of the background vocals and branded each song with his own distinctive voice and guitar.

The record came to fruition after Jose made a pilgrimage to Memphis in January 2012, to join in the annual remembrance of Elvis' birth at Graceland. It wasn't his first visit; but it was remarkable. Jose was asked to lead Elvis Fans in singing Happy Birthday at the Birthday Cake Celebration.

While at Graceland, Jose was fortunate to meet Elvis' long time friend and confidant, George Klein. George broadcasts his radio program from Graceland and is the Executive Producer of The King...by Jose Feliciano. Jose also met Johnny Phillips, the nephew of the man who first recorded Elvis in 1954.

He now co-owns the company his uncle founded- the legendary Select-O-Hits. He quickly signed Jose and will release the project throughout North America on August 7th, 2012. Mr. Phillips adds, "It's an honor to be working with one of the greatest singers, musicians and performers of our time!!"

This CD is the most personally satisfying genre album to date. The King... By Jose Feliciano not only showcases the magic of Feliciano but his genuine appreciation and affection for the undisputed King of Rock and Roll, Elvis Presley.

http://www.josefeliciano.com/
http://www.selectohits.com/

NEW RELEASES - GREGORY GENERET, WILLIE WRIGHT, PHAROAHS

GREGORY GENERET –
(RE) GENERET-ION

A great debut for jazz singer Gregory Generet – a new voice on records, but a vocalist who's worked often in performance on the New York scene! Generet's got this style that grabs you right away – an instant classic mode that carries echoes of Johnny Hartman and an older generation of jazz – set to tight trio backings from a group that includes Onaje Allen Gumbs on piano, Marcus McLaurine on bass, and Payton Crossley on drums! Other musicians move in and out as the set rolls along – including Roger Byam on tenor, Marc Cross on soprano, and Eddie Allen on trumpet – but the core sound is focused on the trio's warm backing of Genere't vocals – with strongly-pronounced basslines that are a great fit for his mood. Titles include "Rio De Janiero Blues", "Moon Dance", "Stolen Moments", "Caravan", "How High The Moon", and "Angel Eyes". ~ Dusty Groove

WILLIE WRIGHT – THIS IS NOT A DREAM

The first album in many many years from the enigmatic Willie Wright – an artist who's probably best known for Numero Records' recent revival of his older material, than he was for getting big exposure back in the day! This new set is handled with a surprisingly great style – one that really stays true to Wright's unique brand of folksy soul – a mode that's got echoes of Bill Withers and Terry Callier, but which is also served up in a voice that's distinctly Willie's own too! Instrumentation is nicely stripped down – just guitar, keyboards, and rhythm on most tracks – plus bits of flute or sax here and there – and the production is wonderfully faithful to Wright's vocals, which sound surprisingly strong after all these years. Titles include "Jimmie Lee", "Our Time Has Come", "Dance Floor", "Donna's Song", "Trust", "Don't Change A Thing", and "This Is Not A Dream". ~ Dusty Groove

PHARAOHS - AWAKENING

A brilliant batch of jazzy funk from Chicago! The Pharaohs were a solid jazz/funk group with a spiritual edge, with a connection to the righteous Windy City scene that stretched back to membership in Phil Cohran's Artistic Heritage Ensemble, and later work in Earth, Wind and Fire. Players include Chicago soul and jazz luminaries Louis Satterfield, Don Myrick, Ben Israel, Aaron Dodd, and Derf Reklaw – and the overall style of the tracks is the same mixture of spiritual jazz, soul, and funk that you find on the best early Earth Wind & Fire records! Titles include "Damballa", "Freedom Road", "Great House", and "Black Enuff". (Back in print for the first time in years! Includes code for download.) ~ Dusty Groove

NEW RELEASES - VINCENT INGALA, THE RUFFCATS, ECCENTRIC SOUL

VINCENT INGALA – CAN’T STOP NOW

An amazing sense of playing style and grace, well beyond his years… he’s charming, sincere and extremely talented. Vincent Ingala knocked us out the minute we heard his debut album NORTH END SOUL. I’ve always said, the most dangerous kind of people in the world are those who don’t know what they want… Vincent is the exact opposite, he knows precisely what he wants and there’s no way he’s going to stop now! Quickly becoming a favorite at festivals and music events, the young saxophonist and composer is working with seriously skilled talent on CAN’T STOP NOW. You’ll hear the utmost quality in production on this savory new release including contributions from one of our favorites, keyboardist Gregg Karukas as well as chart-topper, Jonathan Fritzén. Soulful grooves with addictive melodies, Vincent’s exciting new album will be a game changing arrival at Smooth Jazz… I anticipate this being a huge hit for the 19-year-old. Get ready world, Vincent Ingala’s shifted into high gear! ~ Sandy Shore / smoothjazz.com

THE RUFFCATS – ESSENCE VOL. 1

A damn funky debut from The Ruffcats – a German combo who've cut their teeth providing grooves for singers like Bajka, Flo Mega, and Jaguar Wright – but who sound even better in an instrumental format on their own! There's a really sinister approach to the music here – one that goes past conventional funk, into a wry mix of funky elements that come across sounding as fresh as they do rootsy – that unusual blend that we always used to love from the trippier Poets Of Rhythm projects! Core instrumentation is very familiar, but it somehow comes together in really different ways as the set moves on – maybe a particular bubble on the Hammond here, a moody riff on the Rhodes there, odd tunings on the horns, weird rhythms on the percussion, and things like that – all of which contribute to a really great set of tracks that includes "Odd Stones", "The Baaang", "Dr Cosmo", "Brain Gone Ruff (parts 1 & 2)", "Boti's Skit", and "Turtles". ~ Dusty Groove

ECCENTRIC SOUL: A RED BLACK GREEN PRODUCTION – VARIOUS ARTISTS

A killer collection of east coast soul from the 70s – work that originally appeared on a handful of different labels, but which was all put together by Robert Hosea Williams – an unsung producer working out of a small studio in Silver Springs – with an incredible ear for up-and-coming talent! The music here is totally deep and righteous throughout – the hippest of the indie label scene on the east coast – and work that really lives up to the progressive, righteous reference you'd get from the Red, Black, & Green in the title! There's plenty of group soul here – of a type that mixes older harmony modes with hipper 70s references – creating a really badass approach to soul music that's simply mindblowing – and way different than the mainstream variants that were hitting the charts at the time. The whole thing's great – one of the best Numero comps in years – and titles include "Phoney People" and "I Really Really Love You" by Father's Children, "Sleepwalking" and "Let's Do It Over" by The Summits, "Don't Worry About The Joneses" and "We're Two Fools In Love" by Dysons Faces, "Day By Day" and "It Must Be Love" by The Exceptions Featuring Mark Greene, "Town Called Nowhere" and "I Need Your Love" by Skip Mahoney & The Casuals, and "Summer In The Parks" and "Generation" by East Coast Connection. ~ Dusty Groove

NEW RELEASES - CHRIS READ, JARRARD ANTHONY, NICKODEMUS

CHRIS READ PRESENTS LATIN CONCRETE: A MODERN LATIN RHYTHM SUITE

Unlike many of the compilations to have emerged from the BBE stable, this release is less about unearthing rare or unheard music and more about shining a light on a sound that has been developing in its own small corner of the musical spectrum over the last decade or so. Chris Read approaches this compilation, not as someone who grew up around Latin influenced music or with any lengthy history of involvement in it, but as a DJ and music fan who grew up listening to the early sample based music of the late 80s and early 90s has, ever since, set about exploring the many directions that music has travelled in. The music which appears on this compilation is the product of just one of those many avenues. The tracks featured here come from a variety of sources but in many cases are the product of a generation of DJs and producers who similarly grew up listening to the sample rich hip hop, house and more of the 80s and 90s and have taken that influence and applied it to a particular sound, in this case the varied musical styles of the Latin Diaspora. This is modern Latin music from a DJ's perspective - rhythm heavy, beat driven and infectious. ~ bbemusic.com

JARRARD ANTHONY – READY TO LIVE

A hell of a great album from Jarrard Anthony – an artist who's been bubbling under for the past few years – but who really comes into his own with this beautiful album! The set's got all the spiritual overtones you might guess from the cover – but also comes across with a tightly-crafted, all-soul approach too – a really rich vibe that's a perfect fit for Anthony's positive-spirited lyrics! Instrumentation is relatively lean – mostly handled by Nate Smith – yet comes across with a focus that seems to make a lot out of a little – a really great groove that builds nicely as the album rolls along. The album features guest work by Lonnie Liston Smith, Monet, Darien, Amer Amen, Amma Whatt, and Onaje Allan Gumbs – and titles include a remake of Don Blackman's "I Love You" – plus "Morning In The Forest", "Healer", "Cloud 10", "Something Like Love", "Never See Her Again", "Lucky Day", and "Blowing On Your Back". Also features the bonus track "Damn Sista (future remix)" with Eric Roberson – and "Never See Her Again". ~ Dusty Groove

NICKODEMUS – MOON PEOPLE

Nickodemus logically follows up his warm and breezy Sun People album with the more cosmically-lit follow up Moon People – once again bringing a wealth of global influences and instrumentation to his unique style of spacey dancefloor soul! He's joined by the legendary Afrika Bambaata and other great vocal guests – including Sammy Ayala, Kissey Asplund and Kathrin DeBoer of Belleruche – which elevates the creative mix of beats and eclectic instrumentation quite nicely! That said, the instrumental backdrops are quite hypnotic on their own – cosmic soul beats and atmosherics flavored by flutes, Eastern string accents, horns, steel drums and much more – depending on the needs of the particular track. Includes "Under The Volcano" with Navegante, "Moon People" feat The Real Live Show, "Nights Of Balaur", "Alkebulan" feat Afrika Bambaata, "Peaceful Island Earth" feat Kathrin DeBoer, "The Nuyorican Express" feat Candela Allstars, "Mirage" with Kissey Asplund, "Conmigo (Hallex Remix)" feat Sammy Ayala, "Vino People" and more. ~ Dusty Groove

MAXI PRIEST - MAXIMUM COLLECTION

Reggae music has flourished in this post-Internet age. It’s never been so accessible and yet whilst new acts are plentiful, global audiences are still drawn towards those legends who achieved worldwide recognition the hard way; i.e. by making hits of timeless appeal, and are stamped with authenticity.

As verified by his long-awaited retrospective, Maximum Collection, Maxi Priest has earned his place among other greats such as Bob Marley, Jimmy Cliff, Toots & The Maytals and Dennis Brown in spreading the reggae gospel far and wide. This is an extraordinary achievement for a singer steeped in Jamaican music, yet raised in South London. Maxi’s joyous brand of reggae and lovers’ rock, infused with r&b and accompanied by real charisma, would bring him a level of success no other British reggae singer can match. He’s deserved it too, because despite the pressures of stardom, he’s remained true to his core audience from the beginning.

Maxi original fans yearned for songs that reflected their own aspirations, tastes and upbringing. Many came from hardworking immigrant families who’d faced discrimination and yet still found the resolve to build strongly knit communities. Whether it told of hardship or romance, reggae music formed the soundtrack to these people’s lives and by the time riots had swept through Britain’s inner cities in the early Eighties, they were ready to celebrate one of their own. ‘Should I’ had already flown to No. 1 on the Black Echoes charts before Maxi signed with Virgin Records, and follow-up hit ‘In The Springtime’ announced the arrival of his 1985 debut album You’re Safe. That was the year he was invited to appear at the UK Reggae Sunsplash, and gave a crowning performance infront of 25,000 people crammed into Crystal Palace football stadium. A short while earlier, he and Paul Robinson had produced Philip Levi’s ‘Mi God Mi King,’ which made history by becoming the first British reggae production to reach No. 1 on the Jamaican charts – a feat that remains unequalled to this day. Whilst his record label saw him as a marketing dream, British reggae audiences took note of his South London roots, and appreciated his humble beginnings.

Maxi had first learnt to sing in church, encouraged by his mother who was a Pentecostal missionary. The second to last of nine brothers and sisters, he’d honed his craft listening to Jamaican greats such as Dennis Brown, John Holt, Ken Boothe and Gregory Isaacs, as well as singers like Marvin Gaye, Al Green, the Beatles, Phil Collins and Frank Sinatra. After rehearsing in the basement of his parents’ house, Maxi had teamed up with Robinson and brother-in-law Jesse James and spent months practising above Lee’s Sound City record shop in Deptford as part of Bad Breed, with whom he recorded his debut single, ‘Hey Little Girl.’ Reggae sound-systems also formed an intrinsic part of his early history.

As a teenager, he’d lifted speaker boxes for the Jah Shaka and Negus Negast sound-systems. He was also a founder member of Saxon International, and played a key role in it becoming London’s No. 1 sound-system. Saxon was home to MCs like Smiley Culture, Peter King, Tippa Irie and Philip Levi, who together with Pato Banton, had revolutionised reggae music with their rapid-fire deliveries. It was with Saxon that Maxi began performing at neighbourhood youth clubs and house parties, and first won an appreciative female audience. Maxi was therefore no overnight sensation, but had graduated through the ranks, and against considerable odds.

“You’re born in England, you try and find some identity and you’re constantly told that you don’t belong here, so you find yourself searching for a sense of belonging,” he says. After joining the Twelve Tribes Of Israel and embracing Rastafari, he was given the name Maxi Priest. As he learnt more of his cultural heritage, Maxi took part in some of London’s historic, anti-racist demonstrations and has continued to express roots and culture and reality themes in his music ever since.

It was ‘Strollin’ On,’ again produced by himself and Paul Robinson that brought his first taste of chart success in March 1986. ‘Strollin’ On’ was taken from his follow-up album Intentions, on which he collaborated with Aswad. By then Maxi was headlining shows at places like the Brixton Academy and Hammersmith Odeon, and taking reggae music into venues such as the Astoria; this prior to performing at Jamaica’s Reggae Sunsplash – a great honour for any reggae artist from overseas. Within just a few years, he’ll be welcomed on stage by Dennis Brown, Gregory Isaacs and Freddie McGregor – an occasion he says was one of the best moments of his career. Today, he’s among the most widely travelled of any reggae star. He’s toured the world many times, and continues to draw big, appreciative crowds wherever he goes.

In 1987, Maxi left for Jamaica in the company of keyboard wizard Duncan Bridgeman and Mafia & Fluxy, who are the UK’s very own rhythm kings. It was in Kingston, Jamaica that he recorded his third album Maxi, produced by Sly & Robbie in collaboration with Willie Lindo. This masterful collection yielded the hits ‘Some Guys Have All The Luck,’ ‘How Can We Ease The Pain,’ shared with Beres Hammond, and an enchanting cover of Cat Stevens’ ‘Wild World’ which went Top 5 in Britain, Top 10 in the US and also entered the country and western charts! Soon, Maxi was having hits all around the world and with records that appealed to music lovers of all persuasions. Japanese audiences especially took him to heart, and he still enjoys superstar status there. Further international acclaim came with his 1990 album Bonafide, which spawned the hits ‘Just A Little Bit Longer,’ ‘Best Of Me,’ ‘Human Work Of Art,’ ‘Peace Throughout The World,’ ‘Sure Fire Love’ and ‘Close To You.’ The latter reached No. 7 in the UK, and then topped the US Billboard charts in October 1990. More than twenty years later and Maxi Priest is still the only reggae singer – from anywhere, including Jamaica – to have a No. 1 hit in America.

As Maxi’s fame went global, Virgin released Best Of Me, which contained a selection of hits past, present and future. This was the album containing ‘Housecall,’ featuring Shabba Ranks, who was Jamaica’s reigning dee-jay at the time. ‘Housecall’ rewrote the rules where reggae was concerned. American radio was heavily formatted, and it was hard to get reggae play-listed on most commercial stations. ‘Housecall’ broke that mould and established Maxi and Shabba at the forefront of a new, urbanised form of reggae music that incorporated strands of hip hop and r&b, as well as their trademark reggae sound.

This groundbreaking new fusion transformed Maxi’s 1992 album Fi Real into a classic, and especially on tracks like ‘Groovin’ In The Midnight’ and ‘Just Wanna Know.’ Major league collaborations with American soul legends Roberta Flack and arranger Arif Mardin – and also jazz guitarist Lee Ritenour – followed. Both these associations led to further chart success, and on the jazz as well as international listings. In 1993, Maxi again ventured into new territory after making his film debut in ‘Scam,’ starring Christopher Walken and Lorraine Bracco.

During the mid-nineties, as reggae’s popularity increased, he co-founded the hugely influential Mad House label whilst continuing his winning streak with dee-jays. In 1996, he and Shaggy were back in the charts with ‘That Girl,’ taken from the album ‘Man With The Fun.’ It was Maxi’s fifth Top 20 hit in Britain, where his popularity has endured throughout his career. In the meantime, he and his brother Martin founded the Dug Out label, which they launched from the basement of their family house in South London. Community has always been important to this most genial of reggae stars. It’s why he’s readily taken part in local campaigns such as No Trigger, aimed at lessening gun violence.

It was Dug Out that gave UK r&b singer Elisha La Verne her start – who would experience considerable success with the Japanese label Avex. Maxi’s always encouraged others to explore their potential, and later invited Elisha to duet with him on the hit song ‘Back Together Again’ – a track that also featured his son Ryan, from the group Ultimate Kaos. ‘Back Together Again’ was included on Priest’s CombiNation album from 1999, a set that also featured ‘What A Woman Needs,’ written in collaboration with R&B singer Joe. Maxi’s endorsement of young talent would again reap dividends in 2005, after he worked with up-and-coming producer Don Corleon. ‘I Believe’ was a big hit in Jamaica, and later appeared on 2 The Max – an album that radiated class from start to finish.

Other highlights included an exquisite cover of ‘Fields Of Gold,’ written by Sting; ‘Cry For The Children,’ which evoked the sound of Seventies’ reggae and ‘Full Hundred’ – a song co-written and produced by Maxi’s two sons, Marvin and Ryan. Another son, Che, appears on the alternative version of ‘Full Hundred’ found on Maximum Collection, which Maxi remixed with Livingston Brown. The latter played a key role in the production of ‘2 The Max,’ as did Lauryn Hill main-man Commissioner Gordon. Maxi’s followup album Refused was beautifully presented and again featured tracks that glistened like gold, all of them soaked in the sounds and spirit of the Caribbean. A year later, in 2008, he toured and recorded with fellow British reggae trailblazers UB40 – a partnership that resulted in the irresistible ‘Dance Until The Morning Light.’

As usual, Maxi had ensured that his music had class and relevance, whatever the subject matter. Those timeless, cultured vocals can still be heard in today’s reggae mix, as heard on his latest release ‘Nothing But Trouble’ – a song that’s the title track of his forthcoming album, and underlines Maxi’s enduring quality for all to hear. His singing remains impressive as ever, but after nearly thirty years in the business, he deserves a retrospective.

Soon to be released ‘Maximum Collection’ isn’t just a play on his name please note, but a statement of fact – one enhanced by fresh recordings and remixes that’ll dazzle even his most ardent fans.

Maxi would like to dedicate ‘Maximum Collection’ to the memory of his mother and father, and former managers Erskine Thompson and Zola Burse.Maxi Priest’s new record ‘Nothing But Trouble’ is coming soon... featuring the new single ‘Nothing But Trouble’ as heard on this collection

~John Masouri
  maxipriest.com

Maximum Collection Tracklisting:
Disc 1
1. In The Springtime
2. Strollin On
3. Just Wanna Know
4. For The Love Of You
5. Rough Diamond (feat. Gappy Ranks)
6. How Can We Ease The Pain (feat. Beres Hammond)
7. Wild World
8. Some Guys Have All The Luck
9. Lion In The Jungle (feat. Michael Rose)
10. Heartbreak Lover (feat. Beres Hammond and Buju Banton)
11. Stamina (feat. Joseph Cotton)
12. Morning Light (Socca Remix) (feat. Maximus and UB40)
13. Sure Fire Love
14. Should I
15. Let Me Know
16. Real Love
17. Goodbye To Love Again
18. Fields Of Gold

Disc 2
1. Watching The World Go By
2. Close To You
3. Housecall (remix) (feat. Shabba Ranks)
4. Nothing But Trouble (Unreleased Track)
5. Full Hundred (feat. Che Elliott)
6. Cry Me A River
7. Cry For The Children
8. Fever (feat. Dennis Brown & Shabba Ranks)
9. Just A Little Bit Longer
10. Bonafide Love
11. I Know Love (feat. Tiger
12. Make It Yours (feat. Shurwayne Winchester)
13. That Girl (feat. Shaggy)
14. Searching
15. Groovin In The Midnight
16. Best Of Me
17. Love Don t Come Easy
18. We Tomorrow People

NEW RELEASES - THE JAMAICAN JAZZ CRUSADERS, JD ALLEN, BRUCE BARTH

THE JAMAICAN JAZZ CRUSADERS FEATURING ROY BURROWES

An amazing little record – not just for the music itself, which is inherently great – but also for its straight jazz presentation of players you might know in more of a reggae-based setting! The album's a smoking set of hardbop numbers, played with plenty of soul – by a combo billed as the Jamaican Jazz Crusaders – featuring Roy Bubbles Burrows on trumpet, Ernst Ranglin on guitar, Roland Alphonso on tenor, Aubrey Adams on piano, Harold Williams on bass, and Carl McLeod on drums. The format's a bit unusual, in that the album's bracketed by interviews and introductions from Jamaican jazz DJ Nevil Willoughby – but in the core are some great performances, with very inventive arrangements, especially in the way Ranglin's guitar is used – on titles that include "The Highest Mountain", "On Green Dolphin Street", "Split Kick", and "Round Midnight". ~ Dusty Groove

JD ALLEN – MATADOR & THE BULL

The title's not a metaphoric one – or at least not entirely so, as this set of original tracks by JD Allen draws strong inspiration from the art of bullfighting – but then also moves on to deeper musings on movement and choice – cast out perfectly by the expert trio on the set! Allen's tenor is already dynamic enough – but it's really set fire here by the bass of Gregg August and drums of Rudy Royston, who propel the original compositions with a deep sense of color and soul that really matches JD's horn – the kind of tenor trio effort that hearkens back to the initial late 50s experiments in the format by Sonny Rollins, but grows to encompass all the changes that have taken place since then! Titles include "Paseillo", "Cathedral", "Suite Of Lights", "Ring Shout", and "Muleta". ~ Dusty Groove

BRUCE BARTH – THREE THINGS OF BEAUTY

Not just a great album for the piano of Bruce Barth – but also for the vibes of Steve Nelson, whose tones are a perfect fit for Barth right from the very first note of the set! The pair ring out beautifully, righteously, soulfully throughout – leaping forward in tones that are fresh, with plenty of those sharp edges we always love in Nelson's playing – but also well grounded in soul and swing, thanks partly to help from Ben Street on bass and Dana Hall on drums – both players who know when to leap in with bold rhythms when needed, and hang back nicely on some of the more lyrical moments too. Titles include "Big Nick", "Final Push", "My Man's Gone Now", "Wondering Why", "Be Blued", "The Song Is You", and "Three Things Of Beauty". ~ Dusty Groove