SHARON MARIE CLINE - THIS IS WHERE I WANNA BE

Sharon Marie Cline is one who stays focused on her dreams, furiously working all facets of her career, her latest goal penning her new single “This Is Where I Wanna Be”.

 Sharon Marie Cline is taking all the necessary steps to a global music community all her own! Focused on giving her fans what they want, Sharon Marie opened her channels of heart to penning her new single “This Is Where I Wanna Be” with pianist and Music Director Rich Eames. Perfect caption for a driven musical powerhouse who has found her nitch and wants to take it global. Not only does Cline have her own social network that garners visitors from all over the world, she maintains a healthy marketing strategy to have her fans jump on her bandwagon with each offering she provides from live performance to her upcoming CD “This Is Where I Wanna Be”. With great musicians supporting her musical essence, Rich Eameson piano, John Belzaguy on bass (formerly with Natalie Cole and Nancy Wilson) Jon Stuart on drums and Rob Hardt on flute (currently with Pancho Sanchez and formerly with Strunz and Farah ) she can’t go wrong.

“This album is my affirmation. My affirmation of Love and Dreams. It's an optimistic offering to the world. I guess I feel, what better gift to offer the world right now but my particular expression of Love, Romance, Joy...” says Cline.

Always on the jazz club scene, from Los Angeles to Miami, Sharon Marie’s upcoming gigs include Llew Matthews (Nancy Wilson's music director) and Jon Laskin on bass at Jazzy’s Restaurant, August 31st in Temecula, CA, then off to a mini-tour to Miami in September. Looking to perform on jazz festival stages, tour with her own ‘Bad Boyz Of Jazz” as well as seeking non-exclusive booking agents for worldwide performances from studio sessions to concert halls, Sharon Marie has her heart set on a worldwide musical community enjoying her music. Her brilliant interpretations and her smooth mellifluous sound leave a lasting impression on her listeners that is truly unforgettable!

“Sharon Marie Cline is the perfect example of taking your career and working it from every side. With the backdrop of her slogan “My Heartsong” as the wellspring of her creating her own social network, to taking her hand to songwriting, to continually connecting with her fans at her events it takes consistency to maintain your fan-base and that is the golden ring Sharon strives for as she breathes life into her dreams”. The musical conversation on this tune, is warm, melodic, rhythmically cohesive and lyrically appealing, Sharon Marie is forever growing into her golden shoes” says Jaijai Jackson of The Jazz Network Worldwide Social Network.

Be sure to come by and listen in on “This Is Where I Wanna Be” at The Jazz Network Worldwide www.thejazznetworkworldwide.com and consider joining and adding your voice to Sharon Marie Cline’s heartsong at www.sharonmariecline.com.

Visit THE JAZZ NETWORK WORLDWIDE "A GREAT PLACE TO HANG" at: http://www.thejazznetworkworldwide.com/?xg_source=msg_mes_network

JONATHAN BUTLER - GRACE AND MERCY

A life well lived is often the best foundation for compelling art and there’s no denying Jonathan Butler has been blessed with a fascinating life. A South African native whose expansive musical gift has earned accolades in the R&B, contemporary jazz and gospel fields, Butler’s new release Grace And Mercy is filled with the soulful sounds and insightful lyrics fans have come to expect from the veteran performer.

A key word in Butler’s life is balance and after years of touring the globe, he’s learned just how important time away from the spotlight can be. “These days I try to do a little bit of living in between. I balance my life,” he shares. “I’ve got to spend time living, and through living you come up with stories to talk about and songs to write. These songs are personal experiences. People always assume that because you’re a recording artist and you travel the world that you don’t have problems and you don’t have disappointments in your life, which is not true. We all do. This album truthfully and honestly lets people know that the songs that I’m writing are the things that I’m going through in this season. I’m hoping those songs will effect people in a positive and wonderful way.”

On Grace And Mercy Butler delivers a collection of songs that serve as a soothing musical balm in today’s troubled times. “This album really speaks about optimism, faith, belief and hope, especially in the light of what everybody has been experiencing in the last two or three years,” he says. “There’s been a lot of people losing their homes, their jobs, enduring the challenges that life brings. I’m hoping this album will bring hope to people. Songs like ‘Give it Up To God,’ ‘I Stand On Your Word,’ and ‘Who is Like the Lord’ were written from experiences that I’ve had to go through myself.”

The lead single, “I Stand On Your Word,” is a soaring ballad that reminds us of the power of God’s promises. “I love that song,” Butler says. “I hope that it hits home to a lot of people.”

God’s word became real to Butler when he was just a teenager. At 19-years-old, Butler’s life forever changed when he became a Christian. “It was love that drew me to Christ,” he smiles, “the love of someone who cared enough to talk to me about Jesus and take me in when I was basically a broken young man in South Africa. It was my late brother-in-law, my wife’s brother, who led me to Christ. He was that person in my life that actually took the time to talk to me about Jesus, and it didn’t take me long to give my heart to Christ because of that.”

In the past few years, his faith has sustained Butler during some difficult times. He lost his beloved mother and a very close friend in addition to helping his wife battle cancer. It’s been tumultuous time that saw the gifted musician leaning ever closer to God and pouring his experiences into his music. Grace and Mercy showcases Butler’s gift for taking potent lyrical messages and enveloping them in memorable melodies. “Give it up to God” is a soul-stirring slow jam that spotlights Butler’s warm, distinctive voice. “Simplicity always wins for me,” Butler says of the song. “There is such power in a simplistic lyric. You really reach people when you say simply, ‘Give it up to God.’ We all go through those every day trials. We read the Proverbs and Psalms and most of the time we forget that the Bible says, ‘Trust in the Lord with your heart and lean not on your own understanding.’ Every day we have to give it up to God, EVERY day.”

Among Butler’s favorite tracks are “I Know He Cares.” “I love, love, love, love ‘He Cares!’ I wrote ‘He Cares’ and it spoke to me,” Butler says. “I started with the music and then started writing these lyrics down. We all need to know that God really cares for us. The Bible says, “We are the sheep of his pasture” and he absolutely does care for us. That song really speaks to me a lot.”

“Moments of Worship” is another highlight on Butler’s new project. “I actually recorded ‘Moments Of Worship’ in Spain years ago,” he says. “I was at a friend’s house and he had a studio and an engineer. I sat in front of a piano and started singing my favorite worship songs and I just decided to do that on this album. At the end of all the music, it comes back to worship, which I think is beautiful.”

Lyrically Grace And Mercy delivers the kind of Biblically grounded, emotionally uplifting songs Butler has become known for, yet musically he says fans might be caught slightly off guard. “It’s going to surprise people a little bit coming from me because I think it’s much more of an edgier gospel record,” he says of the project, which was recorded at his home studio. “It’s more urban. Overall I feel it’s much more of a raw type of record. I didn’t grow up in church, but I’m a born again Christian. For the last 30 years I’ve been saved so I write from that place. I draw a lot from different elements and experiences and also my culture from South Africa, so I think it’s a little bit different.”

Born in Cape Town, Butler was the youngest of 12 children. He discovered a gift for music early in life and began singing and playing guitar at age seven. As a child, he traveled all over South Africa performing with a troupe of 100 children, getting a first hand look at the country’s disturbing dichotomy---devastating poverty and extreme affluence that existed under Apartheid.

Butler signed his first record deal as a teen and became the first black artist played on white South African stations. “That was 1974 and it was a song titled ‘Please Stay,’” Butler recalls of the historic tune, which won a Sarie Award, the South African equivalent of a Grammy. “Back then I was with an independent label called CCP Productions.”

Though Butler lived in England for 17 years and currently makes his home in Encino, CA, his youth in South Africa continually colors his artistry. “All those memories and all those experiences are what makes a woman or a man a stronger person,” he says. “It influences how they live their lives and their appreciation for life and freedom. That’s what shapes you and gives you that sensitivity of heart. Anyone who grew up in South Africa, or even in the 60’s in America, has a deeper appreciation for life and for freedom. It shapes their lives completely. I feel like all of the stuff that we grew up with in South Africa has made me a better person.”

Butler has toured the world with such acclaimed artists as Kirk Whalum, Dave Koz and Ruby Turner. He’s earned Grammy nominations and rave reviews in the jazz and R&B fields, but his gospel albums hold a special place in his heart. “It was always a desire that I had,” he says of recording gospel music, “but I never really wanted to do it just for the sake of it. I needed to know that God would release me to do it because it’s a ministry. It changes people’s lives and I wanted to be sure that the Lord would release me to it. I prayed about it for a long time. I waited and then when I got the confirmation, God began giving me these songs. I wrote ‘Falling In Love With Jesus’ and that opened the door for me to walk seamlessly into my ministry.”

Music, ministry, faith and family are all woven joyfully together for Jonathan Butler. His daughter, Jodie, tours with him, sings background vocals on Grace And Mercy, and is an integral part of his ministry. “She is actually working on her own project right now,” the proud father says. “I’m going to be making time to help develop her record. She’s a great writer and she’s working on new songs.”

Butler has a lot to smile about these days. His wife of 30 years survived her battle with cancer, and they enjoy spending time doting on their little granddaughter. “With this record I’m really addressing where the Butler family has been and what we have gone through in 2010 and 2011,” he says. “My inspiration is definitely my family. They support me. They love me and they encourage me. I’m very, very excited about this record. I can’t wait for people to and connect with it because I believe that God has a lot in store for me and I’m heeding the call and obeying God.”

A life well lived is often the best foundation for compelling art and there’s no denying Jonathan Butler has been blessed with a fascinating life. A South African native whose expansive musical gift has earned accolades in the R&B, contemporary jazz and gospel fields, Jonathan’s new release Grace And Mercy is filled with the soulful sounds and insightful lyrics fans have come to expect from the veteran performer.

Grace And Mercy is scheduled for release on September 25, 2012.

LUCIANA SOUZA - DUOS III

After a three-year hiatus from recording, consummate artist and jazz singer Luciana Souza returns to Sunnyside Records with Duos III, produced by Grammy-winner Larry Klein. The release of the CD will be accompanied by tour dates throughout the fall and spring, including an evening in Los Angeles’ Broad Theatre on September 1 and Joe’s Pub in New York City on September 12 .

Duos III celebrates the ten-year anniversary of the release of Luciana’s Grammy-nominated and much celebrated CD, Brazilian Duos. Her Duos II record also went on to receive a Grammy nomination for Best Jazz Vocal Record. The last volume of this trilogy brings back her long time collaborators – guitar phenomenon Romero Lubambo, and master guitarist Marco Pereira – and introduces Toninho Horta, one of Brazil’s most unique guitarists and composers. The repertoire is again as varied and beautiful as the Brazilian landscape – including works by Antonio Carlos Jobim, Cartola, Gilberto Gil and Toninho Horta.

“In the last 10 years I have had a lot of opportunity to perform in this format (duo),” added Souza, “travelling the world, and each time understanding more about the dialogue between voice and guitar, and the inevitable clarity and intimacy.”

Luciana Souza has been releasing acclaimed recordings since 2002 – including her four Grammy-nominated records, Brazilian Duos, North And South, Duos II, and Tide. Souza has performed and recorded with greats including Herbie Hancock, Paul Simon, James Taylor, Bobby McFerrin, Maria Schneider, Danilo Perez and many others. Her longtime duo work with Brazilian guitarist Romero Lubambo has earned her accolades across the globe, and her complete discography contains more than 50 records as a side singer.

LISTEN TO EXCLUSIVE PREVIEW OF MICK HUCKNALL'S SOLO ALBUM 'AMERICAN SOUL'

Here's an exclusive preview of the brand new Mick Hucknall solo album American Soul on Youtube, ahead of the album release which is set for October 29th.

Mick is renowned for his great interpretations of others’ songs, having already had global hits with Money’s Too Tight To Mention, If You Don’t Know Me By Now and You Make Me Feel Brand New. The start of Hucknall’s solo career gives him free rein to record, together on one album, his favourites from his own personal journey through the American soul genre, giving an insight into the music that has inspired him throughout his life.

Of how the album came about, Mick says 'It was working with Ronnie Wood and the Faces, then occasional stints with Charlie Watts and Bill Wyman’s bands that helped me realize how much I love singing old school R&B. They certainly played a part in inspiring the making of this album.”

Tracklisting
1. That's How Strong My Love Is
2. Turn back The Hands Of Time
3. I'd Rather Go Blind
4. Lonely Avenue
5. I Only Have Eyes For You
6. Tell It Like It Is
7. Baby What You Want Me To Do
8. The Girl That Radiates That Charm
9. Let Me Down Easy
10. Don't Let Me Be Misunderstood
11. It's Impossible
12. Hope There's Someone

Listen to the clips and watch some ‘behind the scenes’ footage from the album photos shoot exclusively HERE

Upcoming Mick Hucknall Concerts
September 2012
18th LONDON, Royal Albert Hall (SOLD OUT)
19th LONDON, Royal Albert Hall

April 2013
9th DUBLIN, Olympia
12th YORK, Barbican
13th MANCHESTER, Apollo
15th BRIGHTON, Dome
16th PORTSMOUTH, Guildhall
18th BIRMINGHAM, Symphony Hall
19th IPSWICH, Regent
21st CARDIFF, St David’s Hall
22nd BRISTOL, Colston Hall
23rd NOTTINGHAM, Royal Concert Hall
25th GLASGOW, Royal Concert Hall
26th NEWCASTLE, City Hall

NEW RELEASES - DUDUKA DA FONSECA QUINTET, ANAT COHEN, THIRD WORLD LOVE

DUDUKA DA FONSECA QUINTET -SAMBA JAZZ - JAZZ SAMBA

Samba Jazz. Jazz Samba. These two exciting musical forms come together as one in the music of the Duduka Da Fonseca Quintet - uniting North and South (Americas) in a manner which politicians can only dream of. Since his early days as a drummer in his native Rio de Janeiro, Duduka has been seeking the perfect balance between Jazz and Samba, working to develop the swinging sound that is called Samba Jazz. One of the foremost proponents of the genre, he has performed with the best of both worlds, from Antonio Carlos Jobim and Astrud Gilberto to Joe Henderson and Kenny Barron. His quintet featuring saxophonist/clarinetist Anat Cohen, guitarist Guilherme Monteiro, pianist Helio Alves and bassist Leonardo Cioglia is the perfect vehicle for the continuation of his quest.

ANAT COHEN - CLAROSCURO

Anat Cohen – celebrated the world over for her expressive virtuosity on clarinet and saxophone, not to mention the sheer joie de vivre in her charismatic stage presence – presents the latest record of her evolution with Claroscuro, her sixth album as a bandleader. Claroscuro takes its title from the Spanish word describing the play of light and shade (chiaroscuro in Italian). The album ranges from deliciously buoyant dances to darkly lyrical ballads, with live-in-the-studio spontaneity a priority; moreover, Claroscuro showcases Cohen’s fluency in a global set of styles, from the creolized chanson of New Orleans and the evergreen swing of an Artie Shaw tune to African grooves and Brazilian choro, samba and more. Cohen was joined in the studio by her ace working band – pianist Jason Lindner, double-¬‐bassist Joe Martin and drummer Daniel Freedman – as well as special guests: trombonist/vocalist Wycliffe Gordon, percussionist Gilmar Gomes and star clarinetist Paquito D’Rivera.

THIRD WORLD LOVE - SONGS AND PORTRAITS

Another bold release from International Jazz supergroup Third World Love. The band has been drawing dancing-in-the- isles-crowds to its high energy performances in Europe and the Middle-East with its special blend of Jazz, African, and Middle Eastern music. The four co-leaders Avishai Cohen, Omer Avital, Daniel Freedman and Yonatan Avishai - each with a varied and prolific solo career - join forces again to create thought provoking, gyration-inducing music.

~ Anzic Records

FOURPLAY - ESPRIT DE FOUR

Esprit De Four explores the place where four unique perspectives become a single creative force - featuring “Put Our Hearts Together,” Bob James’ tribute to the victims of the devastating tsunami that struck Japan in March 2011

When it comes to making music, four is often the magic number. From the Beatles to MJQ, many legendary quartets have made their mark in the classical, pop and jazz traditions. Maybe it’s the idea of four talented individuals, each approaching the other three from a unique perspective – like inspired travelers hailing from equidistant coordinates on a map – and bringing all of their talents to bear at a single point. Maybe it’s just the sheer mathematical symmetry and balance of the number itself.

Whatever the case, Fourplay has accessed that collective magic. Keyboardist Bob James, bassist/vocalist Nathan East, guitarist Chuck Loeb and drummer/percussionist Harvey Mason have tapped into the creative force that emerges when four brilliant players commit themselves to a singular goal. That symmetry and creativity are at the heart of Esprit De Four, their new CD set for release on September 18, 2012 (international release dates may vary) on Heads Up International, a division of Concord Music Group.

“In the songwriting and recording process, we were building on the spirit we felt during the making of our previous record, Let’s Touch the Sky,” says James, recalling their first recording with Loeb in the guitar position. “We had made the adjustment to Chuck’s sound, and had really enjoyed performing the new music on the road. So we were eager to follow up on this new direction the band had taken.”

Loeb concurs, noting that Esprit De Four is a satisfying balance of the known with the unknown – not just for himself but for his bandmates as well. “We were all in the mood to make an adventurous CD with challenging music, but still maintain that unmistakable Fourplay sound,” he says. “We always try to have fun and keep our spirits united in the effort toward excellence in sound, production and musical content. I personally always want to bring the best songs and performances to my work with these three legendary artists whom I have the great fortune to be working with.”

Esprit De Four includes contributions from all four members of the band, beginning with the melodic “December Dream,” a song by Loeb that’s deceptively quiet and understated on one hand, yet fueled by its own unmistakable energy on the other. Loeb says the song may have started out in his own head, “but once we got into the studio, each guy just brought so much more to the table. Check out the counterpoint that Bob contributes to the middle section, Harvey’s 21st century orchestral snare drums, and the amazing vocals and walking bass line that Nathan does in the finale, and I think you’ll see what I mean.”

Loeb’s additional contributions to the set include the upbeat and percussive “Sonnymoon” (a composition dedicated to Fourplay manager Sonny Abelardo) and the gently atmospheric “Logic of Love.”

The highly elastic and intriguing “Firefly,” written by East and frequent collaborator Tom Keane, is inspired by a young jazz trio from Stockholm called Dirty Loops. “They’re great musicians and good friends of mine,” says East. “I was hoping to capture some of the same fun and energy and unique chord progressions that the trio band is known for, and Fourplay really delivered it.”

East and Keane also came up with the slow and smoldering “All I Wanna Do,” a nod to Fourplay’s more romantic side, written in the tradition of the Neal Hefti classic “Li’l Darlin,” which the band covered on their 1993 album, Between the Sheets. East’s sensual vocals deliver the song’s unmistakable invitation to a passionate interlude.

Mason’s “Venus,” built on an engaging piano/guitar interplay, is both cosmic and melodic at the same time. “It evokes the image of the thought-provoking planet of love,” says Mason. “The song is mentally seductive, with a warm, simple melody supported by transparent dissonant chords that together create a probing, ethereal mood. When I write ballads or love songs for this group, I can’t miss, because these guys are so extremely sensitive and romantic.”

The poignant but hopeful “Put Our Hearts Together,” was written by James – with lyrics by his daughter, Hilary James – as a tribute to the victims of the devastating tsunami that struck Japan in March 2011. The melody line delivered by the superstar Japanese pop singer Seiko Matsuda makes the song all the more personal and genuine.

“The people of Japan have been very supportive of my music for more than 30 years, and I’ve made wonderful friendships there,” says James. “When the tragedy struck, I was immediately motivated to do something.” He first performed the song at the Iwate Jazz Festival in Japan in September 2011, just six months after the disaster. “I attempted to compose something that would have a universal spirit. I could never have known how this song would grow and take on a life of its own as a result of its premiere performance last September.”

James’ other contribution is “Sugoi,” which is also influenced by Japanese music and culture, which James has gravitated to over the past few years. “Despite many attempts to learn the language,” he says, “I admit to knowing only the most basic conversational phrases. The title means ‘Nice…I like it.’ I hope people will say that after they hear the song.”

The title track, Mason’s second contribution to the album, closes the set with its anthemic vibe and unmistakable gospel undercurrent. “The guys clearly loved the direction the song was taking in the studio, so I went with it,” says Mason. “As the album came together, this tune – which remained nameless for the duration of the project – took on a feeling of unity, and I was honored when the guys named it ‘Esprit De Four.’ It’s truly amazing how things develop and take shape in this band. We always seem to be able to follow the path that unfolds when one is able to trust his instincts.”

It’s all part of the inexplicable thing that happens with four, especially when the four are as uniquely gifted as the individual members of Fourplay. Catch the spirit and the magic of Esprit De Four.

ANALOG JAZZ PROJECT - NEW ALBUM "FOLIAGE" & COVER OF MR. MISTER'S "BROKEN WINGS"

Foliage is the debut album from Analog Jazz Project. It is a one man studio band created by Florida smooth jazz guitarist Mike Mangeoglu. On Foliage you'll find a mixture of Smooth, Acid, Chill, R&B, and Electronic Jazz. The music is all instrumental, laid back and mellow, driven by guitar solo's in the jazz style. The element that makes this band unique is all the instruments are played by one musician, all parts were overdubbed in studio. Most of the hooks were improvised and all of the guitar solos were improvised. It is good for relaxing to at home or in your car after a long day. Standout tracks include "Broken Hearts", 'Sunshine", and Loose Goose". The complete tracklisting for Foliage is as follows: 1. Clean Slate; 2. Loose Goose; 3. Sand & Sea; 4. Broken Hearts; 5. Sunshine; 6. New Funk; 7. Why 8. Chill Factor; 9. Pulse; and 10. Coming To An End. 

Analog Jazz Project has also just released a version of Mr. Mister's Broken Wings. This is an instrumental version of  the great 90's tune. It is driven by guitar, melody played on guitar and all backgrounds were done with overdubs by one player. According to Mike Mangeoglu, he says, "I have always loved this song and this band, I hope I did it justice."

We loved their version of Broken Wings and think that you will too - enjoy!

Both are out now and available at cdbaby.com

NATIONAL ENDOWMENT FOR THE ARTS ANNOUNCES 2013 NEA MASTERS

Dizzy Gillespie. Count Basie. Ella Fitzgerald. Herbie Hancock. Names of the greatest purveyors of America's homegrown art form, jazz -- and all NEA Jazz Masters. The National Endowment for the Arts adds four new names to the list with the announcement of the 2013 NEA Jazz Masters. Like the 124 honorees who came before them, these four individuals are recognized for their lifetime achievements and significant contributions to the development and performance of jazz. They will each receive a one-time award of $25,000.

The 2013 NEA Jazz Masters are:
Mose Allison, pianist, vocalist, composer
Born in Tippo, Mississippi, currently lives in Long Island, New York

Lou Donaldson, saxophonist
Born in Badin, North Carolina, currently lives in New York, New York

*Lorraine Gordon, jazz club owner
Born in Newark, New Jersey, currently lives in New York, New York

Eddie Palmieri, pianist, bandleader, arranger, composer
Born in New York, New York, currently lives in Las Vegas, Nevada

* Lorraine Gordon is the recipient of the 2013 A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy, which is bestowed upon an individual who has contributed significantly to the appreciation, knowledge, and advancement of the art form of jazz.

Full profiles of the 2013 NEA Jazz Masters are available on the NEA's website.

NEA Chairman Rocco Landesman said, "Each of the 2013 NEA Jazz Masters has made an indelible mark on jazz as we know it today. Mose Allison's fusion of jazz and blues has created a new sound uniquely his own, influencing scores of musicians and songwriters after him. Lou Donaldson has been a major force not just as a musician but also as a scout for new talent for the Blue Note label. Eddie Palmieri successfully combines the sounds of his Puerto Rican heritage with the jazz music he grew up with as a first-generation American. And Lorraine Gordon continues to provide a haven for jazz musicians to present their art at the Village Vanguard. I look forward to celebrating their achievements and contributions to this important American art form."

Each member of the 2013 NEA Jazz Masters class is a distinguished artist whose significant lifetime contributions have helped to enrich jazz and further the growth of the art form:

•Mose Allison is not just a superior talent as an instrumentalist and singer, but also as a songwriter. Adept in both the blues and jazz, he defies categorization and has been a major influence on musicians, regardless of genre, for more than 50 years.

•Lou Donaldson's distinctive blues-drenched alto saxophone has been a bopping force in jazz for more than six decades. His early work with trumpeter Clifford Brown is considered one of the first forays into hard bop, and his recordings with organist and NEA Jazz Master Jimmy Smith led to the groove-filled jazz of the 1960s and '70s.

•A jazz haven for more than 55 years, the Village Vanguard is the longest-running jazz club in New York City and is still going strong under the ownership of Lorraine Gordon. Since 1957, when NEA Jazz Master Sonny Rollins recorded one of the first recording sessions at the club, the Vanguard has been the place to record a live jazz album, with its exceptional acoustics and intimate space.

•Known as one of the finest Latin jazz pianists of the past 50 years, Eddie Palmieri is also known as a bandleader of both salsa and Latin jazz orchestras. His playing skillfully fuses the rhythm of Puerto Rico with the melody and complexity of his jazz influences: Thelonious Monk and NEA Jazz Masters Herbie Hancock and McCoy Tyner.

The NEA will again partner with Jazz at Lincoln Center to produce an awards ceremony and concert in honor of the 2013 NEA Jazz Masters, that will be webcast live on Monday, January 14, 2013 on arts.gov and jalc.org/neajazzmasters. The ceremony will also be simulcast on SiriusXM Satellite Radio.

Each year since 1982, the Arts Endowment has conferred the NEA Jazz Masters Award to living legends who have made major contributions to jazz. With this new class, 128 awards have been given to great figures of jazz in America, including Count Basie, George Benson, Art Blakey, Dave Brubeck, Betty Carter, Ornette Coleman, Miles Davis, Roy Eldridge, Ella Fitzgerald, Dizzy Gillespie, Lionel Hampton, Herbie Hancock, Elvin Jones, John Levy, Abbey Lincoln, Max Roach, Sonny Rollins, Cecil Taylor, Sarah Vaughan, Nancy Wilson, and Teddy Wilson.

NEA Jazz Masters are selected from nominations submitted by the public and receive a one-time fellowship award of $25,000, are honored at an awards ceremony, and may participate in NEA-sponsored promotional, performance, and educational activities. 173 nominations were considered for the 2013 NEA Jazz Masters. Only living musicians or jazz advocates may be nominated for the NEA Jazz Masters honor.

Nominations are currently being accepted for the 2014 NEA Jazz Masters. Visit the NEA's website to submit a nomination online. Nominations must be received by October 1, 2012.

The NEA has created numerous resources as part of the NEA Jazz Masters program, including:
•Video tributes, brief video tributes to recent NEA Jazz Masters' lives and careers in jazz,

•Jazz Moments, 222 short audio pieces featuring musical excerpts and short interviews with NEA Jazz Masters,

•Podcasts with NEA Jazz Masters and other jazz figures about the history and current state of jazz,

•In-depth interviews with more than 45 NEA Jazz Masters,

•NEA Jazz in the Schools, a free, five unit, online curriculum created in partnership with Jazz at Lincoln Center that explores jazz as an indigenous American art form and a means to understand American history,

•NEA Jazz Masters Live grants to support performance and educational activities featuring NEA Jazz Masters, administered by Art Midwest.

In addition, the NEA supports the Smithsonian Jazz Oral History Program, an effort to document the lives and careers of NEA Jazz Masters. In addition to transcriptions of the hours-long interviews, the website also includes audio clips with interview excerpts of the artists' early years; their first introduction to music and jazz; as well as their unique personal experiences in world of jazz.

The National Endowment for the Arts was established by Congress in 1965 as an independent agency of the federal government. To date, the NEA has awarded more than $4 billion to support artistic excellence, creativity, and innovation for the benefit of individuals and communities. The NEA extends its work through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector. To join the discussion on how art works, visit the NEA at arts.gov.

Jazz at Lincoln Center is dedicated to inspiring and growing audiences for jazz. With the world-renowned Jazz at Lincoln Center Orchestra and a comprehensive array of guest artists, Jazz at Lincoln Center advances a unique vision for the continued development of the art of jazz by producing a year-round schedule of performance, education, and broadcast events for audiences of all ages. Under the leadership of Artistic Director Wynton Marsalis and Chairman Robert J. Appel, Jazz at Lincoln Center produces thousands of events each season in its home in New York City, Frederick P. Rose Hall, and around the world.

THE BEAUTY ROOM - THE BEAUTY ROOM II

The Beauty Room return with their second album following on from their self-titled 2006 debut on Peacefrog Records. Recorded in LA and London the record updates and hybridizes folk, soul, RnB and soft rock of the late-60s and early-70s. World famous techno/electronica DJ and producer Kirk Degiorgio re-unites with vocalist Jinadu on a deeply musical record channelling the likes of the Doobie Brothers, David Crosby and Brian Wilson with a fresh sound all their own.

Beauty Room II was recorded at Sunset Sound - LA, British Grove - UK, Olympic Studios - UK and Studio Heuvellaan - Holland using the best session musicians including Chris Whitten (Johnny Cash, Paul McCartney, Dire Straits), Rob Harris (Jamiroquai), Brian Bromberg (Elvis Costello, Herbie Hancock) and engineered by Grammy-winning producer Peter Henderson (Supertramp, Frank Zappa). Perhaps the most exciting addition to the follow up is the incredible string arrangements of Paul Buckmaster (Elton John, David Bowie, Rolling Stones), which were recorded with the Metropole Symphony Orchestra in Amsterdam, Netherlands.

Singer Jinadu and producer Kirk Degiorgio first collaborated on the As One album 21st Century Soul (Ubiquity) in 2001. Both have worked mainly in the electronic genre recording for a wide range of labels from Mo Wax to Bitches Brew and Far Out. The Beauty Room came about through continued collaboration, with Degiorgio sending Jinadu sketches with increasingly unusual progressions. Jinadu enhanced with catchy melodies, hooks and layers of rich harmonies. The pair has returned to the studio to write and record the follow up to the acclaimed first album, which continues to draw on the Golden Age 60s/70s West Coast influences of their debut, whilst setting the songs in utterly modern productions.

Combining traditional craftsmanship and modern electronics, it stands uniquely alone, there’s timeless urban sophistication alongside a strong cerebral groove reminiscent of Steely Dan. What The Beauty Room achieve here is a similar blend of sharp-creased strut and spiritual meditation, all of it laced with plenty of that most essential yet indefinable alchemical element, soul.

Fans of singer/songwriters such as Joni Mitchell, Neil Young and the West-Coast scene will revel in the down tempo eloquence. Beauty Room II is lush, romantic Rotary Connection type psychedelic soul beautifully played, sung and produced. Warm, human and spaciously beautiful, The Beauty Room will take you on a journey past wonderfully familiar landmarks to a place you’ve never quite been before.

Reviews
‘This is glorious!’ – Mark Sampson (Songlines)
‘A very well produced West Coast soft rock album’ – Robbie Vincent (Jazz FM)
‘It sounds wonderful!’ – Dick Hovenga (Written In Music)
‘This project is amazing!’ – Dj Ausar (WFRG 89.3 FM Atlanta / Soulandjazz.com)
‘Quality!’ - Kevin Beadle

Tracklisting
CD Album (FARO168CD) / Release Date: 9.24.12
1. We Can’t Throw You Away
2. Shadows Falling
3. All in My Head
4. But For Now
5. Wonders in the Sky
6. Walking the Fine Line
7. One Man Show
8. So Far
9. The Last Calling
10. Heaven Is In Your Mind
11. No Rejection

~ faroutrecordings.com

THELONIOUS MONK INSTITUTE OF JAZZ ANNUAL COMPETITION AND GALA 2012

Cast features Herbie Hancock, Wayne Shorter, Jimmy Heath, George Duke, Patti Austin, Nnenna Freelon, James Carter, Ingrid Jensen, Jane Ira Bloom, James Genus, Lee Ritenour, Geri Allen, Vinnie Colaiuta, Ada Rovatti, Claire Daly and special guests Aretha Franklin and Chris Botti

The 25th annual Thelonious Monk International Jazz Competition presented by the world-renowned Thelonious Monk Institute of Jazz, will take place September 22-23, 2012. Open to musicians under age 30 from across the globe, this year’s competition will shine the spotlight on the drums. The evening will also feature a star-studded “Women, Music and Diplomacy” Gala honoring former U.S. Secretary of State Madeleine Albright, as well as an appearance by the UNESCO Director General, Irina Bokova.

Twelve semifinalists will compete at the Smithsonian Institution on Saturday afternoon, September 22nd. From this group the judges will select three finalists who will perform in the final round at the Kennedy Center on Sunday evening, September 23rd. At stake are over $100,000 in scholarships and prizes including a $25,000 first place scholarship and guaranteed recording contract with Concord Music Group; a $15,000 second place scholarship; and a $10,000 third place scholarship. Cadillac is the Presenting Sponsor for the weekend, and air transportation will be provided by United Airlines, Official Airline of the Thelonious Monk Institute of Jazz.

Secretary Albright said, “I am enormously honored to be the recipient of this year’s distinguished Maria Fisher Founder’s Award. Over the past fifteen years I have worked closely with Herbie Hancock, Thelonious Monk, Jr., Tom and Cheri Carter, along with many talented Institute students who have represented our country on diplomatic, cultural, and educational tours around the world. The Thelonious Monk Institute of Jazz has played a vital role in fostering arts education on six continents and has ensured that America’s music will continue to flourish and be appreciated by millions. On behalf of all jazz enthusiasts, I applaud their great success.”

This year’s competition judges include an all-star panel of drummers: Carl Allen, Brian Blade, Terri Lyne Carrington, Peter Erskine, Roy Haynes, and Ben Riley. The Musical Director is George Duke and the cast includes Geri Allen, Patti Austin, Jane Ira Bloom, James Carter, Vinnie Colaiuta, Claire Daly, Akua Dixon, Nnenna Freelon, James Genus, Herbie Hancock, Jimmy Heath, Ingrid Jensen, Linda Oh, Lee Ritenour, Ada Rovatti and Wayne Shorter, along with special guests Aretha Franklin and Chris Botti. Additional hosts and entertainers will be announced shortly.

Herbie Hancock, Chairman of the Thelonious Monk Institute of Jazz, said, “We are proud to honor Madeleine Albright, a brilliant, fascinating, Renaissance woman––a trailblazer whose political and social journey has inspired millions of people around the world. Her support of the Institute has been critical to our success and we are most grateful for her friendship. She is a champion of the music and has used her love of and respect for jazz as a diplomatic tool to bridge cultural differences and encourage peace, understanding, and tolerance wherever she travels.”

“We are looking forward to an inspiring and memorable night of music,” said Tom Carter, President of the Thelonious Monk Institute of Jazz. “This year’s competition highlights the drums–the heartbeat of the bandstand–and we have some exciting surprises in store for our audience. The Gala Concert promises to be a historic blending of musicians and vocalists who will pay tribute to the important role of women in jazz and diplomacy.”

The Competition Semifinals on Saturday, September 22nd will be held from noon to 6:00 pm at the Smithsonian Institution’s Baird Auditorium. The 12 semifinalists will be accompanied by Geoffrey Keezer on piano, Rodney Whitaker on bass, and Jon Gordon on saxophone. Each semifinalist will perform for 15 minutes. From this group, 3 finalists will be selected to perform during the first half of the Gala on September 23rd, which will take place at 7:30 pm at the Kennedy Center’s Eisenhower Theater. Each finalist will perform for 10 minutes along with Gordon, Whitaker and Keezer. The star-studded Gala performance honoring Madeleine Albright will take place after intermission following the Finals.

The 12 semifinalists are: Justin Brown, Richmond, California; Dor Herskovits, Tel Aviv, Israel; Noam Israeli, Haifa, Israel; Dustin Kaufman, Houston, Texas; Kristijan Krajncan, Kranj, Slovenia; Martin Krümmling, Gotha, Germany; Julian Külpmann, Hanover, Germany; Abe Lagrimas, Jr., Waipahu, Hawaii; Kyle Poole, Los Angeles, California; Jamison Ross, Jacksonville, Florida; Colin Stranahan, Denver, Colorado; and Oscar Suchanek, Waltham, Massachusetts.

The Gala Concert will honor Madeleine Albright, a friend of the Institute for more than 15 years. Selected by President Bill Clinton to serve as the first female United States Secretary of State, Albright is one of the most respected and admired women of all time. She will be presented with the 2012 Maria Fisher Founder’s Award in honor of her longtime support of jazz, music education, and the Thelonious Monk Institute of Jazz. The award honors individuals who have made valuable contributions to jazz and jazz education. Past recipients include Herbie Hancock, B.B. King, Bruce Lundvall, Stevie Wonder, George Benson, Wayne Shorter, Clark Terry, Jimmy Heath, George Wein, and Clint Eastwood.

The September 23rd Competition Finals and Gala Concert at the Kennedy Center also will feature the winner of the 2012 Thelonious Monk International Jazz Composers Competition, sponsored by BMI. This year’s recipient is Yusuke Nakamura of Tokyo, Japan, who will perform his winning composition, “Heavenly Seven.” The Composers Competition carries a prize of $10,000 and is presented to a composer who best demonstrates originality, creativity, and excellence in jazz composition.

The Thelonious Monk International Jazz Competition, often compared in stature to classical music’s International Tchaikovsky Competition and Van Cliburn International Piano Competition, is widely regarded as the most prestigious jazz competition in the world. Each year, the competition features a different musical instrument, and major scholarships and prizes are awarded to talented young musicians. Over the past 25 years, the competition has launched the careers of a number of jazz stars including saxophonist Joshua Redman; vocalists Jane Monheit, Gretchen Parlato and Tierney Sutton; pianists Joey DeFrancesco, Marcus Roberts and Jacky Terrasson; trumpeter Ambrose Akinmusire; and bassist Ben Williams. These artists and dozens of others from past competitions have forged successful careers as performing and recording artists, and music educators, helping to preserve and perpetuate America’s legacy of jazz.

Proceeds from the Thelonious Monk International Jazz Drums Competition and All-Star Gala Concert will help fund public school jazz and blues education programs throughout Washington D.C., Los Angeles, Chicago, New Orleans, and the Mississippi Delta. BET will broadcast the competition, and the semifinals will be streamed online via the Smithsonian Institution and Thelonious Monk Institute of Jazz websites.

The Thelonious Monk Institute of Jazz is a nonprofit educational organization established in 1986 in memory of Thelonious Monk, the legendary jazz pianist and composer. Monk was one of the primary architects of bebop and his impact as both performer and composer has had a profound influence on every genre of music. His more than 70 compositions are classics that continue to inspire artists in all disciplines. Monk believed the best way to learn jazz was from a master of the music. The Institute follows that same philosophy by bringing together the greatest living jazz musicians to teach and inspire young people, offering the most promising young musicians college level training by internationally renowned jazz masters through its prestigious fellowship program in Jazz Performance at UCLA, and presenting public school-based jazz education programs around the world. Helping to fill the tremendous void in arts education left by budget cuts in public school funding, the Institute’s school programs are provided free of charge and use jazz as the medium to encourage imaginative thinking, creativity, a positive self-image, and respect for one’s own and others' cultural heritage. Jazz great Herbie Hancock serves as Chairman. Visit the Institute at www.monkinstitute.org.

Thelonious Monk International Jazz Competition Since 1987, the Thelonious Monk Institute of Jazz has presented the Thelonious Monk International Jazz Competition, which is recognized as the world’s most prestigious jazz competition and for discovering the next generation of leading jazz artists. Each year, major scholarships and prizes including recording contracts are awarded to the talented young musicians participating in the Competition. The scholarships help pay tuition for college-level jazz education studies and provide funds for private, specialized instruction. Past judges have included Dave Brubeck, Quincy Jones, Diana Krall, Christian McBride, Branford Marsalis, Pat Metheny, Dianne Reeves, and many others.

LENNY WILLIAMS - STILL IN THE GAME

One thing you can say about Lenny Williams is the man has staying power. At 67 years old, the Oakland, California native has been going strong since the early 1970’s, from his first solo recordings for Fantasy Records, to his stint with Tower of Power, to reinventing himself as a jack-of-all trades soul man in the 1980’s on through to today. Williams has always been one to keep his finger of the pulse of R&B music, and as the times changed, so did he. But unlike a smattering of today’s legendary R&B artists who appear lost as they try to stay current, Lenny never forgot that he’s, well…Lenny Williams. With Lenny, while there might be some compromise in terms of production style, that isn’t the case when it comes to the overall crafting of his songs.

Lenny Williams has a formula for his music. Always did. And he injects that formula into any song he sings, regardless of who wrote and/or produced the track, to make it uniquely his own. That’s the beauty of Lenny Williams, and it’s why he remains as one of the more endearing as well as enduring figures in R&B today.

Lenny Williams’ new CD, Still in the Game, is a testament to his staying power. The 12-track album has a little something for everyone, from contemporary R&B to smooth jazz to down home blues. Actually, Still in the Game evolves from contemporary to old school, but still in a contemporary package, musically speaking. As with many independent albums released by legendary R&B artists, on Still in the Game the keyboard is used to replace horn arrangements, and all too often the drum program can take away from both the song and the artist. Those flaws aside, the album does grow on you as it progresses.

The first two tracks, “Still” and “This Is for the One That Got Away,” are bona fide contemporary R&B songs, the latter, complete with auto-tune. While both are nice enough songs, they don’t fit the life experiences of a 67-year old man, lyrically speaking. But that’s what happens when a song is written by a much younger person in today’s music world. The older artist is usually made to fit the song, and not the song fitting the artist. We see that happening with Charlie Wilson right now in the R&B mainstream. But leave it to Lenny, ever R&B music’s version of an adaptoid, to come in and breathe life into both songs. With both “Still” and “This Is for the One That Got Away,” Lenny is actually competing with today’s R&B new-jacks in their style, but on his level. It takes a man who has been through life’s experiences to turn a contemporary song into something the 40 and 50-somethings will like.

From there, however, Still in the Game, gets more adult, both lyrically and musically. “Where Did Our Love Go” could easily be a spinoff of Lenny’s biggest and most heartfelt hit, “Cause I Love You.” The song certainly flows in that direction, and Lenny even gives a few “Oh-oh-oh’s…” to bring “Where Did Our Love Go” home. On “Happy Man,” Williams provides an Al Green-sequel performance, with a bluesy-soul feel. As on a good Memphis soul song, on “Happy Man” the rhythm guitar gives the song color and feel. “Stepping And Dancing” is just that: a Chicago-styled steppers song that’s good enough to crowd the dance floor. On “Sunshine,” Lenny stays in Memphis blues mode, with a hue of Oakland soul dashed in for good measure. Lenny converts back to the contemporary world, albeit with a mellow feel, on his cover of the Heather Headley hit, “In My Mind.” The song would be A-plus in today’s music world, but it’s still a young person’s song sung by an older gentleman.

On “Grown Man,” however, Lenny Williams is just that: a grown man laying down a grown man’s down home blues song that will drive the patrons in a blues club or liquor house wild. Somewhere, Clarence Carter is applauding the song. Lenny flips the script and goes the smooth jazz route on “On This Day.” The song, featuring smooth jazz sensation Kirk Whalum, delivers to smooth jazz fans what they long for: a jazzy underpinning with experienced, excellent vocal accompaniment. Lenny then turns the corner, heading for the 90’s D’Angelo neo-soul style on “Make Love.”

With the noted exception of rock, there are few music stones left uncovered on Still in the Game. Lenny combines both Motown and Stax on “Good Girl,” which lyrically takes you back to a more innocent music time in the 1950’s and 60’s. The coupe de gras, however, is the final song on the album, “I’m Sorry I Didn’t Know It Was Your Mama,” a down home blues song that’s sure to get you out on the dance floor.

Lenny Williams is ever the chameleon, but in a very good way. And on Still in the Game, he shows the reason for his impressive staying power: he is an artist with the ability to not only adjust with the times, but, more importantly, to make the times adjust to him and his unique gift. Recommended.

By Gabriel Rich - Originally posted at Soul Tracks.com HERE

CHUBBY TAVARES - JEALOUSY

Chubby Tavares is an old school singer, and he makes no attempt to escape that fact on his latest recording, Jealousy. Most fans of 1970s era R&B, disco and funk will remember Antone “Chubby” Tavares as one of the five brothers in the vocal group Tavares. Tavares had a nice run in the 1970s and early 80s with ballads such as their chart topping cover of Hall and Oates’ “She’s Gone,” dance numbers like “It Only Takes a Minute” and mid-tempo cuts such as “Never Had a Love Like This Before.” Tavares’ is probably best known to non R&B fans for their contribution to the Saturday Night Fever soundtrack. The brothers Tavares and the brothers Gibb both contributed versions of the song “More Than a Woman” to that soundtrack.

Tavares’ inclusion on the definitive disco album probably ended up being a curse when musical tastes changed and disco fell out of favor. The pace of the hits slowed in subsequent years, Tavares’ line up waxed and waned and Chubby Tavares had to deal with family tragedy. However, neither the group Tavares nor Chubby Tavares stopped performing. Jealousy is Chubby Tavares’ debut solo record and his first significant release since Tavares released Words and Music in 1983.

On Jealousy, Chubby Tavares reaches beyond his salad days as a hit making member of his family group to record an album of covers ranging from tunes from the Great American Songbook to pop tunes of artists such as The Eagles and Barry Gibb. Jealousy’s track list makes it clear that Tavares approached this project with a non-cynical view toward making a covers album. He didn’t employ modern production techniques or odd collaborations in an attempt to reach a younger demographic. He also didn’t fill Jealousy with a bunch of done to death covers. That means this record can actually have the benefit of introducing the unfamiliar to tunes that they probably never head before. Of course, everyone from Nat King Cole to The Four Tops has recorded a cut such as “It’s All In the Game,” but that’s the exception to the rule. Besides, its inclusion gives me a chance to note that the song’s writer, Charles Dawes, was vice-president under Calvin Coolidge.

The 10 tracks that comprise Jealousy are a good match for Tavares’ vocal style and range – which for a 67-year old is still pretty good. It shouldn’t be surprising that the stronger numbers on Jealousy are rock era cuts such as “I Can’t Tell You Why,” “Words of a Fool” and “Daddy’s Home.” Tavares bluesy version on Gibbs’ “Words of a Fool” is one of the record’s highlights.

Jealousy is an honest record and a labor of love from an artist who appears to be comfortable with his status in the record industry. Tavares appeals directly to music fans longing a time when music was more idealistic. Those old-school fans will hear a lot that they like on Jealousy, and if they can manage to get the CD in rotation at family outings they can even introduce these tunes to a new generation. This is a worthwhile effort from an artist who we’re glad to hear again. Recommended.

By Howard Dukes Originally posted at Soul Tracks.com HERE

BARBRA STREISAND - RELEASE ME, COMPILATION OF UNRELEASED MATERIAL

Release Me to be Available on Vinyl (September 25) and CD (October 9)

Barbra Streisand's private music vault holds all the master tapes she's recorded for five decades. Now, she's sharing 11 previously unreleased songs, spanning a cross-section of her career from 1963 to the present. The collection, titled Release Me, will be available on vinyl (Tuesday, September 25) and on CD (Tuesday, October 9).

In an unparalleled career, Streisand has released more than 60 albums. Many of the sessions for these albums yielded extra recordings, which weren't included on the albums they were intended for. They've all been stored in her vault until now. Over the past year, Barbra has painstakingly gone through the recordings to come up with this collection, Release Me.

Highlights include: "Didn't We" written by Jimmy Webb - recorded in 1970 for an unreleased album project titled The Singer; the standard "Willow Weep For Me" - an unreleased track recorded in 1967 for Simply Streisand, arranged by Ray Ellis noted for his legendary work with Billie Holiday; A striking version of Randy Newman's "I Think It's Going Rain Today," with Barbra on vocals and Newman on piano - from the 1971 Stoney End sessions; an unreleased studio version of "With One More Look At You" from A Star Is Born; Two tracks from the unreleased sequel to the acclaimed The Broadway Album, titled Back To Broadway - "Home" (from The Wiz) and "How Are Things In Glocca Morra ? / Heather On The Hill" (from Finian's Rainbow / Brigadoon).

Reflecting on the album, Streisand noted, "The thing I'm happiest about is that I still have great affection for all these songs. They appealed to me at the time…and still do. Listening now, I actually think to myself, 'The girl wasn't half bad.'"

With the exception of two songs where the original masters couldn't be located, all the tracks on Release Me were transferred from first generation master tapes. Every attention was paid to preserving the sonic perspective of the sessions as they were originally recorded and mixed.

Speaking of the unreleased recordings that reside in Barbra's music vault, her long-time A&R man and co-producer of Release Me, Jay Landers says in his liner notes, "All of Barbra's glorious music...her ideas…the collaborative efforts of the fortunate songwriters, arrangers, mixers and producers who have come into her orbit…the experiments…the occasional missteps and the many triumphs - all driven by the unstoppable force of one woman's vision."

The complete track listing for Release Me features:
1.Being Good Isn't Good Enough (from Hallelujah, Baby!)
2.Didn't We
3.Willow Weep For Me
4.Try To Win A Friend
5.I Think It's Going To Rain Today
6.With One More Look At You (from A Star Is Born)
7.Lost In Wonderland
8.How Are Things In Glocca Morra? / Heather On The Hill (from Finian's Rainbow / Brigadoon)
9.Mother And Child
10.If It's Meant To Be
11.Home (from The Wiz)

SPIRITUAL JAZZ 3: EUROPE - VARIOUS ARTISTS

• All tracks fully licensed and digitally restored from the original master tapes

• Comprehensive liner notes with individual notes on each track with original stories direct from the artists

• 16 page colour CD booklet with in-depth liner notes, album cover scans and previously unpublished photographs

• Most tracks never before reissued – previously only available on rare LPs that change hands for hundreds of dollars

• 180g double vinyl pressing with thick, glossy double gatefold sleeve and colour inserts

- Esoteric, modal and deep jazz from the European undergound, 1963-72.

London’s ever-impressive Jazzman Records delivers the third volume in their immensely popular Spirtual Jazz series, this time with; Spiritual Jazz 3: Europe - featuring the likes of Jef Gilson, That’s Why, Albert Mangelsdorff Quintet, and Dusko Goykovich.

At the end of the ‘50s, Miles Davis’ Kind of Blue heralded the revelatory arrival of modal jazz. As the vibrations of these giant steps resonated across the world, European jazz musicians reassessed their bearings and began to steer a new course. Across the continent they sent roots down into the rich soil of the European folk and Christian liturgical traditions, extended their music along ancient routes of communication and trade to the Middle East, and reached across the crumbling ramparts of the European empires to the music of Asia Africa and Latin America.

The music collected here follows the richly tangled threads of meditative, modal and religious European jazz. Picking up where Spiritual Jazz 2: Europe left off, with volume 3 continuing the excavation of private releases, underrepresented artists and visionary one-offs that stud the European jazz landscape like standing stones. Just as it had waxed, so the cult of American jazz waned, and these recordings are the compelling documents of a musical world in imaginative transition and virtuoso transformation – a second trail of determined footprints on the pathways of European jazz.

Sublime choral jazz in an ecclesiastical setting, revolutionary sounds deep within the USSR, radical modal experiments inspired by excursions to Asia and Latin America, advances in rhythm and sound where modern jazz combines with Balkan and Scandinavian folk traditions. This is Spiritual Jazz – European style.

Tracklisting:
01. Jef Gilson - Unknown
02. Hermann Gehlen - Kyrie
03. Palle Mikkelborg & Radiojazzgruppen - Mongolia
04. Michel Roques – Le Temps
05. Babs Robert – Pro Forma I
06. That’s Why - Udoyeleg
07. Binder Quintet - Vasvirag
08. The Crescendo Quintet – Variations On The Azerbajian Mugam ‘Chargiakh’
09. Dusko Goykovic – Macedonian Fertility Dance
10. Albert Mangelsdorff Quintet – Sakura Waltz
11. Yoki Freund Sextet – Aisha
12. Jan Allan Quintet – Odins Oga
13. Dennis Wiley – Barrio Chino
14. Full Moon Ensemble – Samba Miaou
15. Louis Xavier – Suite
16. Antithesis

Jazzman Records – CD & 2xLP (JMANCD050 / JMANLP050)

Released: 3 Sep 2012

NEW RELEASES – MARLENA SHAW, COUNT BASIE, MILES BONNY

MARLENA SHAW – WHO IS THIS BITCH, ANYWAY?

A great record from the mid 70s – one that has Marlena Shaw further developing her style as a sophisticated soul diva with a sharp modern edge! Although already great in the 60s, Shaw emerges here as an all-adult, all-woman singer – dealing with issues that never would have gotten touched in the decade before, all with a directness and sensitivity that's totally great. A great example of this is the leadoff track "You Me & Ethel" – a hilarious monologue in which Marlena strings along some guy who's trying to pick her up in a bar – really holding it in until it launches into the jazz funk groover "Street Walkin' Woman"! Arrangements throughout the album shift from mellower soul to hipper jazz with ease – taking Shaw into a wide range of territory that clearly shows that no areas were off limits to an artist of her stature in the 70s! Tracks include "Feel Like Makin Love", "You", "You Been Away Too Long", and "Loving You Was Like A Party". ~ Dusty Groove

COUNT BASIE – THIS TIME BY BASIE!

Believe it or not, we totally dig Basie's work from the mid 60s! He was working with Quincy Jones at the time – and Quince laid down some very soulful arrangements that used the best jazz elements of the Basie group to turn out some great pop instrumental tracks with a very groovy sound. This album's a perfect example of that format, as it features some great Basie sidemen, grooving nicely to Quincy's hip swinging arrangements of pop material like "Walk, Don't Run", "Fly Me To The Moon", "This Could Be The Start Of Something Big", and "One Mint Julep". ~ Dusty Groove

MILES BONNY – 2011 BOOTLEGS (GREEN MARBLED VINYL)

Rare tracks from the great Miles Bonny – a sublime follow-up to his Lumberjack Soul album – and a vinyl-only, self-released package that's stuffed with rare tracks! Miles didn't give us any notes with the package – so it's a bit tough to identify the contents – but if you dig Bonny's music as much as we do, you'll hardly need any words to help draw you in – because the cosmic grooves are more than enough! Bonny's soulful vocals are mixed with great spacey beats, jazzy trumpet inflections, and a seriously righteous sensibility overall – the kind of wicked mix that's made him one of the most compelling new soul talents of the 21st Century – with a unique groove that stretches far from his KC roots! (Pressed on green marbled vinyl – and comes in a plain sleeve.) ~Dusty Groove

NEW RELEASES – CARMEN MCRAE, DIONNE WARWICK, SARAH VAUGHAN

CARMEN MCRAE – CAN’T HIDE LOVE

Sweet soul from Carmen McRae – a great 70s album for Blue Note, and one that has the classic singer moving into some very groovy material! The feel here is much more soul than jazz – at least the jazz of the torchy style from Carmen's roots – but as you'd guess from McRae, the vocals still bring plenty of great inflections to play – personalizing even familiar tunes, and really helping to push the level of an already-great record! Arrangements are by Gerald Wilson, Dave Grusin, Johnny Mandel, and Thad Jones – and the set includes Carmen's hip cover of "Can't Hide Love" – plus "I Wish You Well", "Only Women Bleed", "Lost Up In Loving You", "Would You Believe", "A Child Is Born", and "All By Myself". ~ Dusty Groove.

DIONNE WARWICK - DIONNE

One of those great 70s records that really reminds us that, way past Burt Bacharach, Dionne Warwick's a heck of a great soul singer! The album's a bit more polished than some of her other post-Scepter efforts from the decade – yet still comes off quite well, with Dionne really stretching out vocally – and bringing a lot more to the table than might be expected. There's a few uptempo cuts that are a bit off the mark, but Warwick really shines on the mellow and midtempo numbers. Titles include "Who What When Where Why", "All The Time", "In Your Eyes", "Feeling Old Feelings", "Deja Vu", "I'll Never Love This Way Again", and "After You". CD features two bonus tracks – single versions of "Deja Vu" and "After You". ~ Dusty Groove

SARAH VAUGHAN – POP ARTISTRY

A sweet little album that serves up exactly what it promises in the title – a set of 60s pop tunes, all reworked by the jazz vocal artistry of Sarah Vaughan! The set's one of the most upbeat and bouncy that Vaguhan cut during the decade – and although you might know some of the tunes from the hit versions on oldies stations, Sarah's takes on the tracks are completely unique – very personal and transformative, especially since she's stretching out a lot more vocally than the famous singers of the songs. Luchi De Jesus handled the arrangements – and titles include "Make It Easy On Yourself", "Yesterday", "Little Hands", "Waltz For Debbie", "First Thing Every Morning", "He Touched Me", and "I Know A Place". ~ Dusty Groove

NEW RELEASES – ASWAD, CULTURE, LEWLEWAL DE PODOR

ASWAD – THE BEST OF ASWAD: DON’T TURN AROUND

Some of the biggest singles by British reggae giants Aswad! Don't Turn Around his pretty heavy with material from the mid-to-late 80s period – when they were at a commercial peak – blending Lovers Rock and were crossing over in a major way. Breezy, easygoing stuff – plus some great rootsier material, too. Includes "Don't Turn Around", "Back To Africa", "How Long" feat Yazz, "Three Babylon", "Fire" with Shabba Ranks, "Set Them Free", "Rainbow Culture", "Chasing For The Breeze", "Beauty's Only Skin Deep", "Shy Guy" with Easther Bennett and more. ~ Dusty Groove

CULTURE – NATTY DREAD TAKING OVER

A career-spanning Culture anthology – starting with their 70s recordings with Joe Gibbs and continuing with highlights from the later years – 38 tracks on 2-CDs and it comes with bonus DVD! The late 70s material is hard to top – and this set features some of the best of the album tracks of the period – along with standout 80s recordings. Includes "Two Sevens Clash", "This Time", "Baldhead Bridge", "Garvey Rock", "Innocent Blood", "Work On Natty", "Stop The Fussing And Fighting", "Natty Never Get Weary", "Cumbolo", "I Tried". "Too Long In Slavery", "Lion Rock", "We A Boss", "Addis Ababa", "Election", "Poor People Hungry", "Why Am I A Rastaman?" and many more. The DVD features live footage of Culture in the UK from 2003. ~ Dusty Groove

LEWLEWAL DE PODOR – YIILO JAAM

Timeless sounds from Lewlewal – a contemporary group from Senegal, and part of a vanishing culture in the city of Podor! The tracks were recorded recently, but have a feel that goes back decades – mostly acoustic instrumentation on percussion and guitar, played with an intimate approach that draws strongly on tradition – but which also allows for some personal inflections from the group members too. The vocals – sung by Demba Doka Barry – are especially nice – with this hauntingly soulful feel that really grabs us, even over the space of a language difference. Titles include "Ziarre", "Patrimonie", "Jaanfa", "Diaraby", "Yela", and "Almamy". (Also comes with a nice insert of notes – and a postcard too!) ~ Dusty Groove

NEW RELEASES – DAVE GRUSIN, CHICHA LIBRE, ROY AYERS

DAVE GRUSIN – THE POPE OF GREENWICH VILLAGE

Dave Grusin's soundtrack for the seedy 80s NYC crime drama The Pope Of Greenwich Village – a jazzier score than we remembered from the film! Dense, atmospheric keyboards and some 80s clubby jazz funk grooves, along with more spacious and dramatic material. Some really cool, noirish 80s jazzy sounds along with noirish touches and synthy grooves. Includes the title theme, plus "Unemployed", "Chinatown", "Bunky Dies", "For The Three Of Us", "Track Drive", "Horse Race", "Showdown", Coffee, Eddie", "Pauline And Charlie" and more. This great Quartet CD edition is expanded with a 12 bonus tracks, too! (Limited edition of 1000 copies.) ~ Dusty Groove

CHICHA LIBRE - CANIBALISMO

Contemporary chica from this hip New York combo – great sounds that echo with a really timeless feel! The instrumentation here is right on the money – bouncy percussion, sweet electric guitar, outer space keyboards, and a perfect production approach that really ties the whole thing together – and makes you feel like you've dipped into some lost collection of South American wax from the 60s! The guitar is especially nice, with some occasional surfy touches – and titles include "L'Age D'Or", "Papageno Electrico", "Number 17", "Depresion Tropical", "El Carnicero De Chicago", and "Danza Del Millonario". ~ Dusty Groove

ROY AYERS – VIRGO VIBES

A great set of straight jazz from Roy, recorded for Atlantic, and with a feel that's a lot edgier than some of his other work from the time! The groups on the record feature some of the hippest soul jazz players of the time – including Charles Tolliver, Jack Wilson, Joe Henderson, Harold Land, and Reggie Workman – and the feel of the material is almost a precursor to the Strata East sound of the 70s. Tracks are long and spiritual – and titles include "Glow Flower", "Ayerloom", "Virgo Vibes", "In The Limelight" and Charles Tolliver's "The Ringer". ~ Dusty Groove

NEW RELEASES – GEORGE JACKSON, DON BRYANT, JAMES TAYLOR QUARTET

GEORGE JACKSON – LET THE BEST MAN WIN: THE FAME RECORDINGS VOLUME 2

Damn! The first volume in this series of rarities cut by George Jackson for Fame Studios really blew our minds around here – and Kent has gone and somehow topped it with Volume 2! Let The Best Man Win features 2 dozen songs, most of which are originals by Fame staff writer Jackson – and not one one of these was officially released back in the day. A bunch were cut to demo the material for prospective artists, but it's truly hard to imagine anyone bettering these versions – not even Candi Staton or Wilson Pickett! The backing is top notch, too – with that unshakable Fame southern soul rhythm that's just raw enough – and each track feels fully-formed – not at all like a demo! As essential a trip into the Fame archives as any we've had to date! Includes "Mini Skirt Mini", "Get It When I Want It", "Forbidden Love", "Save Me", "Let The Best Man Win", "Soul Lovin'", "I'm Livin' Good", "Your Love Lifted Me", "You Got A Lot To Like", "Ain't That Some Good Lovin'L, "The Darkest Hour Is Before The Dawn" and many more. ~ Dusty Groove

DON BRYANT – PRECIOUS SOUL

A real lost treasure on Hi Records – one of the few albums ever cut by Don Bryant, a singer whose talents seemed to be eclipsed by the rising stars of Al Green and Ann Peebles – but who was every bit as great! Bryant's got a sound here that's still firmly in the Hi style forged by Willie Mitchell – who produces this set – but there's also some nicely rougher edges too, a sound that's almost more Stax than Hi – and which certainly features a bit of a nod to Wilson Pickett down in Muscle Shoals – not exactly funk, but with some nice grit in the grooves! The whole thing's great – and titles include "Try Me", "Cry Baby", "Funky Broadway", "Soul Man", "Land Of 1000 Dances", "She's Looking Good", and "Slip Away". ~, Dusty Groove

JAMES TAYLOR QUARTET – THE TEMPLATE

We've been digging the keyboard grooves of James Taylor for decades – and still, after all that time, he's one of the tightest, most soulful cats around! This sweet set takes Taylor back to the groove he was first hitting in the mid 90s – that blend of Hammond with funky 70s modes – somewhere in the late Prestige Records, or sublime Fantasy soul style – served up here by a core quartet, with added horns, flute, harmonica, and male vocals on a few tracks. Taylor's keys are wonderfully tight and soaring – very much in Hand Of The Inevitable territory, with a 70s Johnny Hammond vibe – and titles include "Loneliness", "Koko", "Song For My Dad", "Light Up Your Soul", "Woman", "Home Is Where The Hatred Is", and "The Template". ~ Dusty Groove