NEW RELEASES: ANDRE MARQUES / JOHN PATITUCCI / BRIAN BLADE - VIVA HERMETO; MAIRA FREITAS - PIANO E BATUCADA; PER TEXAS JOHANSSON - DE LANGEN RULLTRAPPORNA FLEMINGEBERG

ANDRE MARQUES / JOHN PATITUCCI / BRIAN BLADE - VIVA HERMETO

The music of Brazilian genius Hermeto Pascoal, turned into a sweet set of jazzy trio numbers from Andrew Marques on piano, John Patitucci on bass, and Brian Blade on drums! The group really hit the right sort of essence for Hermeto's tunes – that open, fluid, yet highly rhythmic vibe that's always made us love his songs – delivered here in a setting that's a lot more stripped-down instrumentally than Pascoal's initial recordings, but with a vibe that's no less compelling! Blade and Patitucci have to do a hell of a lot of work on the set – moving around with dexterity and color that's got us appreciating their talents in whole new ways – and on a few cuts, the group's also joined by percussionist Rogerio Boccato. Titles include "Bebe", "Ferragens", "Boiada", "Chorinho Pra Ele", "Quaraquaua", "O Ovo", and "Ramos De Girassol". ~ Dusty Groove

MAIRA FREITAS - PIANO E BATUCADA

With a title like this, we had to check the record out – and alongside the piano and rhythms promised in its name, the set also offers up some especially wonderful vocals from Maira Freitas! Maira's the sister of Mart'Nalia, and daughter of Martinho Da Vila – and shares a similar soulful style with the rest of the family – but has a groove that's definitely all her own! Maira plays plenty of piano on the record – and a bit of Fender Rhodes too – and the strong use of that instrument in the lead gives the music a nicely jazzy current – one that makes Freitas sound quite different than her sister, with a very individual sense of phrasing and timing – which creates a very special vibe for the album. Titles include "Gargalhada", "Cuidado Moca", "Pousa", "Minha Festa", "Nao Sei Sei La", "Desavisado", "Danilo Dormindo", and a nice English language version of "Feeling Good".~ Dusty Groove

PER TEXAS JOHANSSON - DE LANGEN RULLTRAPPORNA FLEMINGEBERG

The first album we've ever heard from reedman Per Texas Johansson as a leader – and a wonderful set that draws on all of his great work with other groups over the years! Johansson's a real visionary here – working in a style that resonates both with the careful sounds he can bring from his own instrument, and in the modes of swinging modern that he's given us on other Moserobie sessions – balanced out nicely here from track to track, with some hard-edged numbers and more contemplative passages in the mix! The structure of the group is great – vibes from Mattias Stahl, steel guitar from Johan Lindstrom, and drums from Konrad Agnas – who plays with this snappingly tight groove at some of the best moments – and Johansson blows tenor, cor anglais, and a range of clarinets, often with a very moody sound. Fredrik Ljungkvist joins the group on tenor on two tracks – and titles include "Narkos", "Sormlandsleden", "Dar Du Gatt Forbi", "Bevakad Av Tusen Vakter", "Gang", "Bilblues", "Ljud Pa Gatan", and "Skuggan". ~ Dusty Groove

NEW RELEASES: CELSO FONSECA - LIKE NICE...; MILTON NASCHIMENTO & DUDU LIMA TRIO -TAMAREAR; TORBJORN ZETTERBERG & DEN STORA FRAGEN - OM LIV & DOD

CELSO FONSECA - LIKE NICE...

A really tremendous album from Celso Fonseca – a set that really takes the singer to a whole new level, and may even find him a wider global audience as well! The album begins with the sublime title cut – an original by Celso, with beautiful English lyrics – and throughout the record, songs mix English and Portuguese in this really lovely way – scored to these jazzy backings that are augmented by just the right, light use of strings – which almost gives the whole thing the feel of some sophisticated late 60s jazz vocal album, although one that's still got plenty of Brazilian touches, too! Acoustic guitar underscores some bossa elements in the music, but the set's hardly just a bossa record at all – and instead, really feels like Fonseca making a bid to become one of the best male jazz singers on the planet, which he might well do with a record like this. Titles include "Rio 56", "Like Nice", "Road To Paradise", "Cancao Que Vem", "Meu Silencio", "January In The Tropics", "Zum Zum", "Stormy", and "O Que Vai Sobrar".  ~ Dusty Groove

MILTON NASCHIMENTO & DUDU LIMA TRIO -TAMAREAR

One of the greatest settings in years for legendary Brazilian singer Milton Nascimento – a record that has the giant working with just a jazz trio for backing – led by bassist Dudu Lima, and with a sound that really takes Milton back to his roots! Nascimento's always had a very special style, but some albums of the past decade or two don't always bring it to the forefront – yet here, with just a piano, bass, and drums for accompaniment, Milton hits the kinds of soulful strides he initially made in the company of keyboardist Wagner Tiso on his 70s classics – this kind of spacious, almost heavenly mode that's filled with soul. The musicians move between acoustic and electric elements, but the sound is pretty stripped-down throughout – although guitarist Stanley Jordan joins the set on two numbers. The group really change up some Nascimento classics, too – and titles include "Clube Da Esquinha No 2", "Gran Circo", "Som Do Ceu/Nada Sera Como Antes", "Tamerar", "Belafante", "Fe Cega Faca Amolada", and "Nascimento/Travessia". ~ Dusty Groove

TORBJORN ZETTERBERG & DEN STORA FRAGEN - OM LIV & DOD

Bassist Torbjorn Zetterberg may well be one of our favorite contemporary talents on his instrument – able to play with a depth of soul when he wants, but break out into much more modern ideas as well – adding key energy to any smaller group he joins, but even more tremendous as a leader on records like this! In some way, Zetterberg may be the Charles Mingus of the 21st Century – leading with a very dynamic approach that allows plenty of bold improvisation from the musicians in his group, but always bringing a strong focus to the sound that never fails to delight – as new ideas explode from the efforts of the group, while its individual members express themselves freely. And while we've always loved Torbjorn's records, this one may well blow all the others away for its freshness and vitality – clearly the work of the leader, but also equally shared by the lineup that includes Susansa Santos Silva on trumpet, Mats Aleklint on trombone, Alberto Pinton on baritone and flute, Jon Falt on drums, and the mighty Jonas Kullhammar on tenor, flute, and Braithophone. Titles include "Vad Ar Det Som Dor", "Innan & Efter", "Springa Runt I Hjul", "Saker Overallt", "Sakra Tvivel", and "Knut Utan Slut".  ~ Dusty Groove

AUSTIN’S GRAMMY AWARD WINNING LATIN FUNK ORCHESTRA GRUPO FANTASMA ANNOUNCES NEW ALBUM - PROBLEMAS

A year in the making, the highly anticipated new album from the veteran Austin, Texas based band Grupo Fantasma transcends easy classification, blending international flavors from both far and wide. The sound is contemporary and edgy while also drawing on Latin roots music at its core. Interestingly, Problemas (Problems) manages to sound both familiar (integrating elements of heavy metal, indie rock, funk, hip-hop, jazz) and foreign (African, Eastern European, gypsy, South American, Cuban, Tex-Mex) at the same time, bearing repeated listens that slowly reveal nuances and deeper levels the more you hear it.

The best news is this is their most powerful record in their 15-year history to date, proving to be timeless and timely, as well as diverse and cohesive. It bristles with confidence, featuring a huge yet precise sound. Grupo Fantasma somehow manages to come off as heavy but sensitive, raw and accomplished, deep and fun all at once. This special hybrid quality is the essence and the identity of the band, reflecting their backgrounds and the environment in which they create their art, and as such, it makes them a constantly entertaining group that never disappoints.

For the first time ever, Grupo Fantasma decided not to self-produce. As bassist Greg González puts it, “We thought a new process would help us to find a unique voice and create a story. It would’ve been easier and cheaper to record everything ourselves and reuse the same techniques which successfully garnered us a Grammy and two nominations for successive albums (Sonidos Gold and El Existential) but the desire was to push ourselves in new directions.” While most rock bands rarely go beyond a quintet, maintaining equilibrium and staying creative with a big organization like Fantasma (9 official members and many guests) can be a daunting task when it comes to the studio. González elaborates: “Having a band this large with this many diverse approaches, opinions, and styles meant that having a producer on hand would be necessary to streamline the process.” After coming up with a list of people they admired, they settled on Steve Berlin (Los Lobos, The Blasters, et al), someone they knew would be a well-seasoned, sympathetic producer (as a horn and keyboard player with wide-ranging musical taste) who genuinely enjoyed the band’s oveur and was eager to work with them.

Berlin’s intent was to streamline the music as much as possible, to strip out the superfluous or busy elements so that the core of the band’s songwriting and unique approach would stand out, be accessible and clear. As González notes, “For our part, we felt that one of the challenges we frequently faced was the density of our sound and avoiding the urge to over complicate things, which can be easy to do with so many talented and inspired persons involved in the process.” The band also felt that it was important to keep the proceedings as raw and honest as possible so that the emotional intensity and the basic intent of the music wouldn’t get lost beneath untold layers of horn and percussion overdubs or weighed down by obtuse, overly academic arrangements. According to González, Berlin wanted Fantasma to make music that was uniquely theirs, to give voice to their experiences and influences, yet also not fall into being a merely Latin, Texas, or ‘World Music’ album that could easily be pigeonholed or written off as a calculated attempt at crossover.

The marvelous thing is this goal has been achieved, many times over. Grupo Fantasma walk a fine line: creating a unified, original sound that manages to be hip and current and yet in firm, proud control of their Latin and rock/funk roots. Problemas serves the listener a potent concoction that honors tradition with a contemporary twist, with music that is great to listen to but even better to dance to.

Song-by-song analysis:

Nada:

A cumbia with big band swing/mambo brass, sung by Kino Esparza. Esparza’s lyrics are a bluesy lament at start where the protagonist is suffering from poverty, his lady is leaving him because of it – life is bad; but that is not enough to stop him – it was just a chapter, now over, that prepares him for the next stage. He has to continue on with life, be tough and survive.

Solo Un Sueño: 

This is an Afro-Cuban-inspired jam in 6/8-time with elements of Eastern European gypsy/Middle Eastern accents, plus a little goth/heavy metal flavor on the side, sung (and rapped) by José Galeano. It also features Skerik (Eric Walton of Critters Buggin) on saxophone. Galeano’s lyrics are somewhat ironic in that they question the ideal of achieving “The American Dream” (and the sometimes false promise it entails). The song also suggests that civil involvement and participation are necessary to improve this situation. If you come to this country as an immigrant, be positive, and work hard, get an education and get involved in your community; if you’re not going to participate, don’t complain.

Porque: 

The Beatles reimagined as a stately bolero with elements of sadness as in the lamento, mariachi, and balada romántica genres. Creolized into a Spanish lyric, this rendition, beautifully sung in a Beach Boys choral style by Kino, shows that Lennon/McCartney are universal and cosmic in their poetry.

Esa Negra: 

A rolling cumbia infused with New Orleans funk and heavy metal guitar riffs sure to get the dance floor bumping. Features the Tex-Mex accordion hero Joel Guzmán of Los Super Seven fame. José Galeano’s lyrics celebrate the beauty of a black woman enjoying herself on the dance floor (‘la gozadera’), moving sexily to the band’s grooves. When Galeano sings of ‘frothing the chocolate’ (‘que bate ese chocolate’) he is referring to the making the lady dance (and by extension, making love to her through the music).

Descarga Dura y Pura: 

As far as genre, the title says it all, and showcases what Grupo does best: delivering a ‘hard and pure’ Cuban-style descarga (jam session) that can be danced salsa style (with breaks galore to make the ‘bailadores’ go crazy). The lyrics feature traditional boasting (in a good way) about how Grupo plays hot music that is in your face (‘en la cara’). But unlike most descargas, there is a nod to the band’s consciousness-raising mission because Kino Esparza says the music comes from a band that is about pride, unity, and roots, demonstrating their talent with intelligence and elegance. Let Fantasma be your guides to the future while teaching you about the past.

Mulato: 

An intriguing mix of Afro-Puerto Rican bomba and funk rhythms, with big band swing brass on top featuring a hot ‘bone solo from Mark “Speedy” González. Galeano’s Spanglish opening line of “Hey you, mulato!” points to this fusion of Latin and U.S. flavors at play here. The song is about a Nicaraguan immigrant  of mixed race who works by day and goes out at night in search of women to dance with and then make love to. The call-and-response refrain establishes a somewhat moral tone with the vibe of “Tell me who you hang with and I will tell you who are,” and at the bridge, the point of view changes to the band speaking to a lady dancing in the club, advising her to keep dancing (to avoid becoming the mulato’s next sexual conquest).

Otoño: 

A cumbia with a different disposition than the usual sunny, beach-themed spirit of the genre. This time it’s infused with a spooky psychedelic gothic flavor in the style of Peruvian chicha, courtesy of horror movie organ and spectral guitar lines. Yet behind this dark and pensive sound though there is also a section that is more upbeat, drawing inspiration from the happy tropical music of Climaco Sarmiento, Lucho Bermúdez, and Lito Barrientos from the Discos Fuentes era of the ‘golden age’ of Colombian cumbia. Fantasma has always had a fascination with this early jazz-meets-cumbia sound and emulates that with the inclusion of muted brass and bass clarinet (played by Brad Houser of Critters Buggin). José Galeano articulates the feeling of foreboding doom, nightmares, and dread, describing a person waiting by the phone, hearing the wind as it howls outside and eventually coming to the realization that they are alone, that the call isn’t coming and that they must move on. The autumn of a relationship just as the realization that a long cold winter is coming. The song foretells of impending heartbreak as hope fades for the time being.

Problemas: 

The title track of the album is classic New York hard salsa with a Cuban son flavor in the guitar and melody. But as often is the case with Grupo, this simplicity can be deceptive because mid-way through, there is a brilliant break featuring intricate interplay between the guitar, brass, and percussion, with the inclusion of the Afro-Cuban Yoruba batá drums and massive bass vamp spicing things up nicely. Kino sings convincingly of the “other woman” who is tempting the narrator with her coquettish ways – but the issue is he’s married (and does not want to do ‘anything cruel’) so he swears to resist her because he does not want problems (‘Ay mamá, no quiero problemas’).

Cayuco: 

A playful song in the 1960s style of Nuyorican boogaloo (aka Latin bugalú) with a funky Cubancha-cha-chá rhythm. Here Kino and José sing in unison like in the charanga orchestras of old. Lyrically, this track is about dishonest people, hangers on and ‘mooches’ that break their promises, someone who always wants to be a part of the good times but never wants to contribute to the cause, enjoying the scene without contributing to it. Literally, a ‘cayuco’ in Spanish is a Native American dugout canoe, but is slang for a country bumpkin or a stupid guy, loser, dummy.

Roto El Corazón: 

A deep cumbia with Perivian chicha-style guitar/organ, and featuring big mambo brass with the baritone sax out front and some electronic touches. Kino Esparza uses his expressive tenor voice to detail a romantic revenge story where the take-away is: a broken heart can go both ways. Now you will suffer as you have made me suffer!

That Night: 

A killer boogaloo/cha-cha-chá with a great funky drum break and spunky guitars. Also features a descending vocal chorus that brings to mind Los Lobos/ or the Latin Playboys. An interesting mix of upbeat and edgy/dark sounds. Originally with English lyrics that didn’t sound “quite right” to the band, so it was decided to change them to Spanish, and sung in unison by José and Kino. The protagonist is an incredibly jealous macho type, who, every time he goes out with his girl, loses his cool and goes crazy because someone talks to her or makes a pass. He’s tired of trying to defend his honor. Finally comes a time when he loses it totally at a club and kills a guy after she starts responding to him. The narrator follows him outside and knifes him in the alley. He gets caught and sent to jail, where he concludes she was not worth it after all. — Pablo “DJ Bongohead” Yglesias, 2015

  

Band Lineup:

Jose Galeano (timbales, vocals)

Kino Esparza (vocals, hand percussion)

Beto Martinez (guitar)

Greg Gonzalez (bass)

John Speice (drums)

Matthew “Sweet Lou” Holmes (congas)

Gilbert Elorreaga (trumpet)

Josh Levy (baritone saxophone)

Mark “Speedy” Gonzales (trombone)

Upcoming Shows:

10/30 @ Mohawk – Austin, TX

11/22 @ Whatever Fest – Houston, TX

*More dates announced soon

Virtuoso Flutist LORI BELL Returns With 9th Studio Album - 'Brooklyn Dreaming' Is An Homage To New York City

On January 15, 2016, virtuoso flutist, and world-renown composer, Lori Bell will release Brooklyn Dreaming, an homage to her familial roots with an extraordinary opus that extolls vivid memories of the vibrancy of New York City.

Her 9th album overall, Bell's Brooklyn excursion kickstarts with a freewheeling exposition on Mingus’ “Nostalgia in Times Square,” the Quartet's cohesiveness confidently takes the Monk classic “52nd Street Theme” to exhilarating peaks and soars to dizzying heights on “Times Squared,” “A Dog on Coney,” and “Streets of New York”. The visceral journey of the boroughs concludes with a sublime reading of "Harlem Nocturne.”

Co-pilots on her adventurous tour du force are pianist Tamir Hendelman, known for his work with the Clayton-Hamilton Jazz Orchestra and guest appearances on recordings by Barbra Streisand, Natalie Cole and Diana Krall, bassist Katie Thiroux, a rising star with her own quartet and drummer Matt Witek (John Pizzarelli Quartet, Larry Fuller, Trio, John Clayton).

A flutist and composer of admirable depth and broad musical sympathies, Bell is a Brooklyn native who has contributed to the development of higher standards of performance while earning acclaim from both peers and critics for her artistry on stage and in recordings. With a father that was a big band lead trumpet player for 30 years and a mother that played accordion with a great ear for both jazz and classical music, Bell was exposed to the transformative nature of improvisation by pillars of the golden era of jazz at places throughout Greenwich Village and lower Manhattan. It deeply influenced her and is the indelible thread that weaves throughout the fabric of the nine tracks.

Now in the third decade of her acclaimed career, Bell is revered for her innovative interpretations of Miles Davis, Charlie Parker, Thelonious Monk, Charles Mingus and Duke Ellington, among others.

Lori Bell Quartet

Brooklyn Dreaming

1. Nostalgia in Times Square (Charles Mingus)

2. Times Squared

3. 52nd Street Theme (Thelonious Monk)

4. Streets of New York

5. Brooklyn Dreaming

6. A Dog on Coney

7. Lower Manhattan

8. 3 Deuce Blues

9. Harlem Nocturne (Earle Hagen)

Lori Bell - C Flute & Alto Flute

Tamir Hendelman - Piano

Katie Thiroux - Bass

Matt Witek - Drums

Lori Bell Quartet “52nd Street Theme” (Thelonious Monk)

https://soundcloud.com/1888media/lori-bell-quartet-52nd-street-theme

http://loribellflute.com

NEW RELEASES: CHARLIE RICH - 25 ALL-TIME GREATEST HITS; COOL UNCLE (BOBBY CALDWELL & JACK SPLASH) FEATURING DENIECE WILLIAMS - BREAKING UP; STANLEY COWELL – REMINISCENT

CHARLIE RICH - 25 ALL-TIME GREATEST HITS

Charlie Rich was one of country music's most dynamic hit-makers. 25 All-Time Greatest Hits features for the first time ever all of Rich’s biggest hits recorded for RCA and Epic Records. The collection includes the #1 hits (all pop crossover smashes) - “Behind Closed Doors,” “The Most Beautiful Girl,” “There Won’t Be Anymore,” “A Very Special Love Song,” and “I Don’t See Me In Your Eyes Anymore.”  Other songs include: "I Love My Friend," "All Over Me," "Easy Look," "Road Song." "She Called Me Baby," "Since I Fell For You," "My Elusive Dreams," "America, The Beautiful," and others.

COOL UNCLE (BOBBY CALDWELL & JACK SPLASH) FEATURING DENIECE WILLIAMS - BREAKING UP

You might remember Cool Uncle from their latest track they debuted recently featuring Jessie Ware. Well, the duo—made up of R&B legend (and Dilla-sample mainstay) Bobby Caldwell and Grammy award winning producer Jack Splash—is back with a brand new track. Titled "Breaking Up," the song finds the duo diving deeper into their melting pot of smooth blues and R&B as the track's soulful vocals pull you into the eye of the track featuring legendary soulstress Deniece Williams (of "Lets Hear It For The Boy" fame) and Florida's very own Eric Biddines. Look for "Breaking Up" to be featured on the duo's self-titled album Cool Uncle out next month featuring Mayer Hawthorne, Cee-Lo Green, JD8 and more. 

STANLEY COWELL – REMINISCENT 

A trio set from the mighty Stanley Cowell – yet like so many of his other albums in the format, a record that's got way more to offer than usual! Stanley isn't content to just rework standards with a familiar lineup – and instead really shifts things around a lot, to create the kind of complexity we've always found in his music – and which continues to make Cowell's trio sets some of the best on the Steeplechase label in the past decade or so! The group features Billy Drummond on drums and Jay Anderson on bass – but it's clear from the conception that Stanley's the main man at the helm, an incredibly well-versed player who's able to shift easily between mood and style throughout. Titles include a surprising 10 minute "Xmas Suite" – which includes a few Cowell original Holiday tracks – plus the originals "Reminiscent", "Sweet Song", "Midnight Diversion", "Re-Confirmed", and "Hear With Me" – which features some especially nice kalimba work from Stanley!  ~ Dusty Groove

KNEEDELUS, A Collaboration Between Kneebody + Daedelus, Expands the Pantheon of Instrumental Music

The theory of technological singularity - the notion that humans and computer technology will increasingly blend together - has been explored in many forms of popular culture since it's conception. Over the past two decades, there has been a larger movement to integrate electronic artists and jazz musicians, often leaving the former as more of a sonic addendum (floating over the music) rather than an integrated part of the ensemble. Tasked with exploring a deeper synthesis of electronic and acoustic players, instrumental quintet Kneebody's collaboration with electronic musician Daedelus in turn creates a true union of these disparate approaches to music and genre as a whole.

The collaboration between Kneebody - keyboardist Adam Benjamin, trumpeter Shane Endsley, electric bassist Kaveh Rastegar, saxophonist Ben Wendel and drummer Nate Wood - and Daedelus had its initial roots planted as far back as high school for old friends Wendel and Alfred Darlington (aka Daedelus). "Often when I lived in LA, I would go to practice saxophone at Alfred's house in the bathroom next to his studio. He would knock on the bathroom door and say 'Would you mind playing something on this track?'," recalls Wendel. "So I ended up being on at least five or six of Alfred's albums because I happened to be there practicing. "

The pair's early musical kinship in southern California seeded a connection that grew through numerous collaborations, recordings and live performances over the years, coming to fruition in an improvised performance in 2009 at "Jazz A Vienne" between their two primary music vehicles. When Wendel was awarded a composition grant through Chamber Music America based on the theory of technological singularity, it became a catalyst to write a series of pieces that would bridge the gap between the oft-indescribable world of Kneebody and the unique aesthetic of Daedelus.

When the quintet entered the studio with Darlington, the other members brought more compositions to the fore. "Ben approached me about trying to realize some of this music that was maybe different from the Kneebody spectacular - where they are always so through-composed - and do something that was more intimate," reflects Darlington. The result is a ten-song set of original music that sits inside the rich pantheon of instrumental music, but with a modern sheen that takes the shape of a multi-headed beast straddling rock, jazz, and electronic music.

Grammy® Award-nominated quintet Kneebody generates explosive rock energy paralleled with high-level chamber ensemble playing, and highly wrought compositions balanced with adventurous no-holds-barred improvising. All "sounds-like" references can be set aside as the band has created a genre and style all its own. Each band member has amassed an impressive list of credits and accomplishments over the years while continuing to thrive and grow in reputation, solidifying a fan base around the world.

Like his mythological namesake, Daedelus is an inventor, a creator of sonic labyrinths. He recombines sounds from an eclectic palette into an innovative genre all his own. Otherwise known as Alfred Darlington, the Los Angeles producer has over two-dozen releases on a variety of labels and collaborates with musicians in many worlds: electronic, jazz, hip-hop, etc. His music runs the gamut of emotion, alternately intense and mellow, exuberant and melancholy, danceable and introspective. Daedelus has performed over a thousand shows for audiences on five continents, everywhere from Iceland to Istanbul. He is a founding father of the LA "Beat Scene," often playing the storied Low End Theory club nights. Each live show is unique, employing Monome controllers and open-source software, which allows for on-the-fly improvisation. The backdrop onstage is Daedelus' collaborative invention Archimedes, a robotic array of moving mirrors that reacts to and reflects the performance.

NEW RELEASES: ADELE -25; LEW TABACKIN - SOUNDSCAPES; MARCUS PRINTUP - YOUNG BLOODS

ADELE – 25

Adele is set to release "25," her highly anticipated new album, which will be available globally on Friday, November 20th and is the first new music from her since her Oscar winning single 'Skyfall' in 2012.  "My last record was a break up record and if I had to label this one I would call it a make up record. I'm making up with myself. making up for lost time. making up for everything I ever did and never did." "Hello," the debut single from "25," will be available to buy and stream on Friday, October 23rd. The cinematic video for "Hello" will also be revealed on Friday, October 23rd. It was shot in the countryside surrounding Montreal and is directed by the celebrated young Canadian director Xavier Dolan (Mommy, Tom at the Farm). Tracklist: Hello; Send My Love (To Your New Lover); I Miss You; When We Were Young; Remedy; Water Under The Bridge; River Lea; Love In The Dark; Million Years Ago; All I Ask; and Sweetest Devotion.

  

LEW TABACKIN – SOUNDSCAPES

A really compelling album from reedman Lew Tabackin – a set that has Lew working in a very open trio setting – which is quite a change from his best-known performances in his big band with Toshiko Akioshi! Of courses, Lew has recorded in smaller groups before – but this one's got an especially loose, open feel – as there's no piano at all – just Tabackin on tenor and flute, plus bass from Boris Kozlov, and drums from Mark Taylor! Lew really stretches out on both his instruments – with these long solos that have lots of nice edges, especially on the tenor – in a style that's especially nice on the original tunes for the set, which include "Minoru", "Bb Where It's At", and "Garden Of Life Time". The whole album's got a nicely soulful vibe – maybe more than usual for Lew – and other titles include "Afternoon In Paris", "Day Dream", and "Sunset & The Mockingbird". ~ Dusty Groove.

MARCUS PRINTUP – YOUNG BLOODS

Sparkling work from trumpeter Marcus Printup – a player who can blow with great power when needed, but also hit these slinky, soulful moments too – a balance that only seems to get better and better with each new record! There's a bit of Freddie Hubbard in that approach, but Printup's definitely his own man too – and can step easily into bolder, more spiritual passages – especially when working with a group this great – as the lineup includes Patrick Bartley on alto, Coleman Hughes on trombone, Allyn Johnson on piano, Dezron Douglas on bass, and Ulysses Owens on drums! Owens and Douglas really hold things together wonderfully – with a style that's sophisticated, yet always swinging – especially on some of the album's boldest tracks. Titles include the great originals "En Route", "The Bishop", "Greasy", and "Young Bloods" – plus a wonderful take on "In Your Own Sweet Way", done at a level that really opens the tune up with the horns!  ~ Dusty Groove

JACO: Original Soundtrack due for release on Friday, November 27, 2015 (Record Store Day Black Friday 2015)

A single-disc collection of music from the forthcoming documentary film, "JACO," the JACO: Original Soundtrack premieres three brand-new recordings including two riveting interpretations of Jaco classics: "Come On Come Over" by Mass Mental (featuring Robert Trujillo, Armand Sabal-Lecco, Flea, Whit Crane, Benji Webbe, Stephen Perkins & C-Minus) and "Continuum" by Rodrigo y Gabriel; and "Shine," the new track by Tech N9ne containing a sample of "Kuru," as recorded by Jaco Pastorius.

Produced by Robert Trujillo and Jaco's eldest son John Pastorius IV, JACO: Original Soundtrack brings together 16 essential recordings including Jaco Pastorius solo tracks, Weather Report masterpieces and musical collaborations with Joni Mitchell, Ian Hunter, Herbie Hancock and more. The album offers music fans the rare evocative sonic soundscape, "Longing," featuring Jaco's daughter Mary Pastorius (vox), Chuck Doom (bass), Robert Thomas, Jr. (hand drums/drum kit) and God (rain/thunder).

A full-length documentary film chronicling the life, music and ongoing influence of the mythic electric bass pioneer Jaco Pastorius, "JACO" is produced by Robert Trujillo (bassist: Metallica, Infectious Grooves, Mass Mental) John Pastorius IV, Bob Bobbing, and John Battsek of Passion Pictures ("Searching for Sugar Man," "Project Nim") and marks the directorial debut of documentary filmmaker Paul Marchand and Stephen Kijak ("Scott Walker: 30 Century Man," "Cinemania"). "JACO" incorporates interviews with musical visionaries including Sting, Joni Mitchell, Flea, Jerry Jemmott, Bootsy Collins, Wayne Shorter, Herbie Hancock, Carlos Santana and others with never-before-seen photos and films from the Pastorius family archive. This extraordinary film reveals the story behind Jaco's life and music, both as a solo artist and member of Weather Report, the tragic arc of his demise and early death and the enduring influence and inspiration of his artistry and genius.

Legacy's JACO: Original Soundtrack includes liner notes on Jaco Pastorius penned by Robert Trujillo and album co-producer Chuck Doom.

Also slated for consumer home release on November 27, "JACO," the documentary, will be available via VOD, streaming services, digital download and on DVD and Blu-ray.

"JACO" had its world premiere earlier this year at Austin's SxSW Film Conference & Festival, accompanied by a panel discussion featuring filmmakers Trujillo and Marchand as well as longtime Pastorius collaborator Peter Erskine (Weather Report, Word of Mouth) and Executive Producer John Pastorius.

"JACO" has garnered acclaim at a number of major festivals, including the inaugural Asbury Park Music in Film Festival and the Montreal International Jazz Festival. The film "(captures) the essence of what made Jaco Pastorius such an influential artist," declared the Montreal Gazette, praising "the glowing words of Marchand's interviewees and the many recorded and live musical excerpts that he lets speak for themselves" and hailing "JACO" as "an enlightening introduction to a groundbreaking musician."

On Thursday, November 22 at 7pm, The Theatre at Ace Hotel will host a special screening of the critically acclaimed documentary JACO. The screening will be followed by a 9pm performance by Trujillo and fun rock collective Mass Mental, featuring Armand Sabal-Lecco, Brooks Wackerman, Whit Crane and Stevie Salas. Hipster Assassins featuring Felix Pastorius, Mike Bendy, John Bendy, Chris Ward and Kenny Grohowski will also be performing.

JACO: Original Soundtrack

Compilation Produced by Robert Trujillo & Johnny Pastorius

Come On, Come Over - Jaco Pastorius

Continuum - Jaco Pastorius

River People - Weather Report

Teen Town - Weather Report

Portrait of Tracy - Jaco Pastorius

The Dry Cleaner From Des Moines (Live Version) - Joni Mitchell

All American Alien Boy - Ian Hunter

Liberty City (with Herbie Hancock) - Jaco Pastorius

Okonkole Y Trompa - Jaco Pastorius

Barbary Coast - Weather Report

Crisis - Jaco Pastorius

Longing - Mary Pastorius

Nineteen Eighty Seven - †††

Shine - Tech N9ne

Continuum - Rodrigo y Gabriela

Come On Come Over - Mass Mental (featuring Robert Trujillo, Armand Sabal-Lecco, Flea, Whit Crane, Benji Webbe, Stephen Perkins & C-Minus)

Saxophonist Miguel Zenón and his Quartet Set for Tour to Ten European Cities from October 30 to November 13, 2015

Internationally acclaimed saxophonist/composer Miguel Zenón performs in ten European cities from October 30 to November 13, 2015.  Zenon will be joined by his quartet featuring drummer Henry Cole, pianist Luis Perdomo and bassist Hans Glawischnig, performing new music as well as music from his highly acclaimed 2014 recording Identities are Changeable, a groundbreaking project focusing on the cultural identity of the Puerto Rican community in NYC.

Performance dates:

Friday, October 30 – Belgrade Jazz Festival, Belgrade, Serbia

Saturday, October 31 – Sabac Jazz Festival, Sabac, Serbia

Tuesday, November 3 – Un Tubo, Siena, Italy

Thursday, November 5 – Bologna Jazz Festival, Cantina Ventivoglio, Bologna, Italy

Friday, November 6 – Berlin Jazz Festival, Berlin, Germany

Saturday, November 7 – Le Moulin a Jazz, Vitrolles, France

Monday, November 9 – Jazz Kongress, Freiburg, Germany

Tuesday, November 10 – Jazz Campus Club, Basel, Switzerland

Wednesday, November 11 – Jazz à L'Ouest, Rennes, France

Friday, November 13 – Porgy & Bess, Vienna, Austria

Zenón, whom the LA Times calls "a richly inventive saxophonist," recently performed a special guest with Danilo Perez at the Pan American Games in Toronto, presented his groundbreaking work "Identities Are Changeable" with video at the Conservatorio de Música in his native San Juan, Puerto Rico, served as musical director for the 50th Anniversary celebration of Duke Ellington's first Concert of Sacred Music at Grace Cathedral in San Francisco, and did a residency and tour with the SFJAZZ Collective.  Following this tour, he'll be in residence at Columbia University from November 16-20.

A multiple Grammy® nominee and Guggenheim and MacArthur Fellow, Zenón is one of a select group of musicians who have masterfully balanced and blended the often-contradictory poles of innovation and tradition. Widely considered one of the most groundbreaking and influential saxophonists of his generation, Zenón has also developed a unique voice as a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Latin American folkloric music and jazz. Born and raised in San Juan, Puerto Rico, Zenón has recorded and toured with a wide variety of musicians including Charlie Haden, Fred Hersch, Kenny Werner, Bobby Hutcherson and Steve Coleman and is a founding member of the SFJAZZ Collective.

Zenón's latest recording Identities are Changeable, released November 4, 2014 on his Miel Music label, is a groundbreaking project focusing on the cultural identity of the Puerto Rican community in NYC.  The point of departure for the album was the question Zenón, who came to New York in 1998 to pursue a career in music, had been asking himself and his friends: What does it mean to be Puerto Rican in 21st-century New York City?  Zenón did his own fieldwork for the project, interviewing New Yorkers of Puerto Rican descent, focusing on their experience as second-generation Puerto Ricans. The result is a song cycle for large ensemble, with his longtime quartet (Luis Perdomo, piano; Hans Glawischnig, bass; Henry Cole, drums) at the center, incorporating recorded voices from a series of interviews.  Commissioned by Montclair State University's Peak Performances series, it has a multi-media element with audio and video footage from the interviews, complemented by a video installation created by artist David Dempewolf.  The piece has been performed at venues and festivals worldwide.

The album has received extensive critical acclaim:

"Identities are Changeable is a stoutly ambitious new statement by the alto saxophonist and composer Miguel Zenón…His focus turns here to the Nuyorican experience, interpolating snippets of oral history into his state-of-the-art big band arrangements." - Nate Chinen, New York Times

"Music of extraordinary depth and originality... his most ambitious recording to date." - Howard Reich, Chicago Tribune

 "...a celebratory and poignant dive into understanding the bicultural identity of New Yorkers of Puerto Rican descent. It is an album of highly charged and personal music that at its heart showcases storytelling with passion." - Dan Ouelettte, DownBeat

 "Two words: cultural treasure! In "Identities are Changeable", saxophonist and composer Miguel Zenón illustrates why he is a Guggenheim Fellow and a Mac Arthur Genius. Zenón takes us on a jazzy journey filled with bomba and plena, spoken word, his fluid and flowy sax, and the rich sounds of his long time quartet. But this is much more than a jazz album--it's a multi-layered documentary inside a jazz album." - Sandra Guzman, NBC News

"A richly inventive saxophonist who has often been heard on this coast in his longtime association with the SFJAZZ Collective, Miguel Zenón issued maybe the Latin Jazz album of the year in 'Identities Are Changeable.'" - Chris Barton, LA Times

"...the music is much too majestic to be ignored. Harmonically, and especially rhythmically, its layered multiple meters create a totally different music that is neither conventional jazz nor too obviously related to the island itself...[This is] Zenón in spellbinding form and his terrific rhythm team, which inspires the ensemble, with drummer Henry Cole occasionally achieving seemingly impossible polyrhythms." - Tony Hall, Jazzwise magazine (UK)

"Thought-provoking interviews, memorable performances, and excellent composition, Zenón's Identities Are Changeable has a distinct identity all its own." - Mark F. Turner, All About Jazz

BEEGIE ADAIR & DON ALIQUO - TOO MARVELOUS FOR WORDS

If anyone doubts the timelessness of classic jazz, one listen to saxophonist Don Aliquo and pianist Beegie Adair’s Too Marvelous for Words will convince them otherwise. “We were visualizing vintage, mid-Fifties, Be-Bop feel” states Beegie – and they fully captured it. Sometimes that intent can create a somewhat nostalgic feel, losing the immediacy that is at the core of all great jazz. In the hands of these two masters, quite the opposite occurred. The listener is instead transported into the mindset of that spectacular era, complete with all of the excitement, urgency, and joy of adventurous discovery that were its hallmarks.

A key reason for this is the remarkable empathy among all the musicians, creating the synergy that is so essential for jazz at its highest levels. The outstanding bass and drums tandem of Roger Spencer and Chris Brown respectively are the regular members of Beegie’s trio, contributing greatly to the sense of seamless cohesiveness and unity of purpose that fuels this entire album. While Don has performed often with the two of them over the years, he had performed far less frequently with Beegie before this date. But their profound connection is simply stunning, sounding as if they’ve been playing together regularly for years. Their interplay is so symbiotic that it often seems like they are dancing.

Playing mostly tenor, along with two pieces on alto, Don’s sound on both instruments is full-bodied and robust. His sensational phrasing is so articulate and emphatic that the stories he tells are vividly hewn, fascinating tales. His sound is steeped in the vernacular of the powerhouse saxophonists, but utterly singular and with a completely modern flair. Beegie, internationally loved and renowned, is a marvelous pianist, with an understated but dynamic style and a consummate sense of unfettered and always inventive swing, whether soloing or in ensemble support. Spencer’s deeply resonant sound and inspired playing gives the music a full, but always buoyant bottom. Combined with Brown’s sensitive, subtly vigorous but never overpowering sense of drive and swing, their impeccable time and taste locks every piece into a perfect groove.

The repertoire is sublime, combining wonderful items from the Great American Songbook with classic works from four of the jazz legacy’s greatest composers. That all but one of these compositions were originally written between 1937 and 1952 (the exception being Isfahan, one of the final Strayhorn/Ellington collaborations in 1966) is further testimony to the aforementioned timelessness of this music. Without losing sight of the era they were trying to capture, the exceptional arrangements make every piece modern, vital, refreshing, exhilarating and completely of the moment. The ten pieces include seven lively swingers, ranging from gentle to surging, and three lovely ballads.

There are three items from the unparalleled Billy Strayhorn – another collaboration with Duke; and his own Johnny Come Lately, which opens the album in a loping groove with a staggered approach that creates a somewhat Monk-ish feel. Isfahan is an almost-ballad in soft swing that grows bouncier as it moves along; and the exquisite Day Dream is built on Beegie’s lushly rich piano with Aliquo playing tenor, evoking the heart-wrenching beauty that Johnny Hodges always brought to this piece on alto.

Don brings his own passionate alto styling to Tadd Dameron’s beautiful If You Could See Me Now, an emotive and heartfelt rendition with a deep tinge of blue. Don also plays alto – with Beegie in a splendid Red Garland-ish swing mode – on the playful and joyously up-tempo This Can’t Be Love, one of two Rodgers & Hart songs included here. The other, a poignant and deeply moving version of It Never Entered My Mind showcases Don’s sumptuous tenor sax balladry.

Captivating rhythmic approaches are at play on the richly syncopated Fragos, Baker and Gasparre hit song I Hear a Rhapsody, and the Latin-flavored, ostinato driven All or Nothing at All (Arthur Altman) that features a tour-de-force tenor solo – powerfully visceral and daring, but never losing its rich lyricism. Beegie lays down a deeply grooved and funky bounce on Thelonious Monk’s Bye-Ya, and provides terrific interplay with Don’s fluid and punchy tenor work.

While Nashville is far more famous for another form of music, with jazz artists like these four on its scene, country music may have to move over a bit and make some room.

“What a delightful album! So refreshing to hear these master musicians perform this marvelous selection of great tunes and weave a purely magical spell as only they can. It is very reassuring to know that jazz is alive and well in this part of the country. These musicians are based in Nashville, Tennessee, a place known primarily as the country music capital of the world, yet the sophisticated and soulful sounds emerging from this group suggest that country music, as great as it is, is not the only type of music thriving in that environment.

Don Aliquo, a first rate saxophonist whose big sound and magnificent phrasing permeates this entire recording, is wonderful to hear throughout. And Beegie Adair is a world-class pianist with an exquisite touch who displays an unbridled sense of swing on each and every track to the delight of everyone who hears her. This coupled with the marvelous support of master bassist Roger Spencer and the “in the pocket” drumming of Chris Brown add up to a superb outing that will warrant repeated listening. The “real thing” for sure and my advice is not to miss this boat whether you are a seasoned jazz fan or just a person who likes to hear great music. Highly recommended.” -Mike Longo

Track Listing

1.         Johnny Come Lately      

2.         This Can't Be Love                

3.         Day Dream             

4.         Bye -Ya      

5.         Isfahan      

6.         All or Nothing At All             

7.         I Hear A Rhapsody                

8.         If You Could See Me Now                  

9.         Too Marvelous For Words      
10.       It Never Entered My Mind

                

CATINA DELUNA AND LADO B RELEASE BRAZILIAN PROJECT, A WIDE RANGING SET OF MODERN BRAZILIAN JAZZ

Catina DeLuna and her group Lado B recently released their first CD, Brazilian Project. Featuring Brazilian music from several periods, the performances put the spotlight on Ms. DeLuna’s beautiful voice, the brilliant piano and inventive arrangements of Otmaro Ruiz, and the superb playing of some of Los Angeles’ finest musicians who have come together to form an ensemble with its own group sound.

Lado B (Portuguese for “Side B,” the second side of an Lp which often included surprising treasures) consists of Catina DeLuna, Otmaro Ruiz, guitarist Larry Koonse, bassist Edwin Livingston and drummer Aaron Serfaty. They are joined on various selections by several percussionists including the great Alex Acuna, Bob Sheppard on flute, Nick Mancini on marimba, and a tastefully utilized choir of voices.

While the stereotype of Brazilian music evokes Carnaval, sambas and bossa-novas, the music of LADO B Brazilian Project covers a much wider area. Its 11 selections range from the early styles of the 20th century to the present with fresh renditions of classic themes by the likes of Antonio Carlos Jobim, Milton Nascimento, Pixinguinha, Egberto Gismonti and others. Catina DeLuna and Otmaro Ruiz reinvented the repertoire, keeping an eye on its tradition while creating more modern statements. The result is a set of music that is elegant, contemporary, melodic and often moving.

The opening performance combines together “Lavadeira do Rio” with “Maracatu.” It features Catina’s alluring voice on top of her piano and quiet percussion before the piece becomes energetic with fine interplay between Koonse’s guitar and Ruiz’s piano. The fascinating performance concludes with Catina’s voice being answered by the choir. “Garota De Ipanema (The Girl From Ipanema)” is reborn in a modernized version that retains the essence of Jobim’s famous piece. “Cavalo Marinho,” a poetic tribute to the ocean, has some exquisite flute by Bob Sheppard. “Contrato de Separacao” is a quietly emotional performance highlighted by the unique blend between voice, flute and Ruiz’s piano.

“Chovendo Na Roseira,” an extended exploration of Jobim’s “Double Rainbow,” has inspired use of the choir behind Catina. The singer’s voice sounds particularly lovely on “Estrela Azul,” a new love song receiving its recorded debut. The brief “O Canto Da Ema” has Catina’s powerful singing accompanied only by her body percussion. Nascimento’s “Encontros e Despedidas” is reinvented and given an atmospheric performance. The traditional “Lamentos,” while retaining its joyful melodic simplicity, benefits from being outfitted with complex rhythms and Catina’s infectious vocals. An exciting “Quase Frevo” and a haunting and heartfelt rendition of “Fotografia” (which includes a lyrical Koonse guitar solo) conclude the memorable program.

Considering her masterful singing throughout Brazilian Project, it is not surprising that Catina DeLuna has had a very productive and accomplished career. Born and raised in Brazil, she began playing piano and singing while quite young. She earned a B.A. in Brazilian Popular Music from the UNICAMP University in São Paulo. After graduation, Catina founded two major bands: Arirê, a vocal group in which she not only sang but was the pianist and arranger, and Serenata Brasileira. With the latter ensemble, she performed Brazilian classics from the 1920s and 30s, singing the music authentically while dressed in period costumes. She also worked as a voiceover artist, recording many commercials for radio and television.

Since her move to the United States, Catina DeLuna has earned a Master’s degree from Northern Illinois University, served as a visiting scholar at the University Of Illinois at Urbana-Champaign, moved to Los Angeles where she teaches privately and at Silver Lake Conservatory and the Los Angeles Music Academy, and has spent time performing in Japan and Singapore, Catina, who performs regularly in Southern California’s top jazz venues with Lado B, recorded Na Era de Ouro with Serenata Brasileira and her solo debut Brazilian Accent prior to the new CD.

A powerful pianist, inventive arranger, and an influential educator, Otmaro Ruiz was born in Venezuela and has been based in Los Angeles since 1989. Ruiz has worked with such notables as Arturo Sandoval, John McLaughlin, Tito Puente, Billy Cobham’s Spectrum 40 Band, Frank Gambale, Charlie Haden’s Liberation Music Orchestra, Frank Morgan and Robben Ford, and was Dianne Reeves’ pianist and musical director for five years. Otmaro Ruiz has frequently led his own exciting and adventurous Crossover Latin Jazz groups along with a series of stimulating CDs.

Throughout Brazilian Project Catina DeLuna, along with the arrangements and piano of Otmaro Ruiz and the playing of Lado B, revitalizes Brazilian jazz.

EXPANSIONS: THE DAVE LIEBMAN GROUP RELEASE THE PUZZLE

Understanding the concept of The Puzzle, Lieb’s second “new" group recording is simple: As he states: “Improvising is a matter of solving a puzzle.” Yes, of course it is. The difficulty lies in the execution and that’s when the fun begins.

The Puzzle, EXPANSION'S new recording on the Whaling City Sound label centers on the construction skills of the group featuring five extraordinary musicians—Lieb on soprano sax and wooden flute; Matt Vashlishan (reeds); Bobby Avey (keys); Tony Marino (bass) and Alex Ritz (drums). Each one is a heavy lifter… each one a puzzlesolver. As the eleven tracks unfold, it’s interesting and revealing to see how the puzzle analogy works. The musical elements get scattered about at the onset. Next, the improvisation and extrapolation are addressed as these pieces begin finding their place in the whole scheme. Eventually, it all comes together and the assembled puzzle gets an opportunity to shine.

With Liebman, a master improviser, showing the way, EXPANSIONS directs its energy towards dissembling and reassembling the vernacular of jazz. At the core, this group is an adventurous ensemble, eager to invent and constantly in search of new terrain to explore. Its debut album skirted the outer edges of new jazz interpolation and concepts with a profoundly intellectual approach to composition and improvisation. The Puzzle finds the band getting even deeper into the headier aspects of the process, daring each other to find fresh ways of considering the music at hand.

Songs like “The Thing That Wouldn’t Leave” embrace that challenge. “The Thing” according to composer/bassist and long time Liebman associate Tony Marino, addresses the whole ever present matter of dissonance versus consonance. The opening track, “Hat Trick,” penned by reed man Matt Vashlishan, is at first a playful romp with a handful of highly rhythmic and intervallic based motifs all coming from seemingly various directions, with the bass, piano, and sax all finally meeting up in the end. Album closer “Danse De La Fureur” is a Liebman-adapted track excerpted from an Olivier Messiaen composition written while this 20th century master master was a prisoner in a World War II prison camp. It is bruising and maniacal, dark and disturbing, uniquely Expansions-esque.

And so goes the entire recording. For those listeners who like jazz to tickle their cerebral cortex, that like a good challenge when they choose what music to listen to, Liebman has always been an excellent choice. Match Lieb’s vast skills and energetic spirit with the accompaniment and contributions of the group members and you get The Puzzle, an intensely satisfying recording with all the right pieces coming together… a completed puzzle sure to please fans of contemporary and serious jazz