THE JASON STEIN QUARTET - THE STORY THIS TIME

The debut album of The Jason Stein Quartet, The Story This Time, brings together Chicago bass clarinetist Jason Stein with three of his favorite improvisers. With Joshua Abrams on bass, Frank Rosaly on drums, and Keefe Jackson on tenor saxophone and contrabass clarinet, the album features five original compositions by Stein and six underexplored compositions by jazz luminaries Lee Konitz, Warne Marsh, Lenny Tristano, and Thelonious Monk. Following three critically acclaimed albums with his trio Locksmith Isidore, Stein's new Chicago quartet seamlessly integrates rigorous written material with fierce and imaginative improvisational flights.

Jason Stein was born in 1976 and is originally from Long Island, New York. Stein is one of the few musicians working today to focus entirely on the bass clarinet. He studied at Bennington College with Charles Gayle and Milford Graves, and at the University of Michigan with Donald Walden and Ed Sarath. In 2005, Stein relocated to Chicago and has since recorded for such labels as Leo, Delmark, Atavistic, 482 Music and Clean Feed. Stein has performed throughout the US and Europe, including performances in festivals in Lisbon, Cracow, Utrecht, Barcelona, Debreccen and Ljubljana. He has had the opportunity to perform with a number of exciting local and international musicians including: Michael Moore, Jeff Parker, Oscar Noriega, Rudi Mahall, Ken Vandermark, Rob Mazurek, Jeb Bishop, Michiel Braam, Ingebrigt Haker-Flaten, Urs Leimgruber, Pandelis Karayorgis, Fred Lonberg-Holm, Tony Buck, Eric Boren, Kent Kessler, Tobias Delius, Jack Wright, Michael Zerang, Michael Vatcher, Frank Gratkowski, Peter Brotzman, and Wilbert DeJoode.

The Jason Stein Quintet:
Jason Stein - bass clarinet
Keefe Jackson - reeds
Josh Abrams - bass
Frank Rosaly - drums

CAMERON PIERRE – RADIO JUMBO

Cameron Pierre is a respected staple on the U.K. Jazz scene. The guitarist was born in London and raised on the Caribbean island of Dominica. Pierre taught himself to play the guitar at age sixteen and began his musical career in the reggae genre playing for artists such as Barrington Levy, Al Campbell, Dennis Brown and Wayne Marshall. He found his niche with jazz and cites George Benson, Charlie Christian, Wes Montgomery, Miles Davis and Charlie Parker as some of his greatest influencers. His music unabashedly reflects his rich Caribbean heritage. To date he has released six albums: Friday Night (1997), Return to the Source (1999 ), The Other Side of Nottinghill (2002), Devotion (2003), Pad Up (2007) and Radio Jumbo-featuring Mario Cononge (2011). Pierre has worked with Pee Wee Ellis, Orphy Robinson, Alex Wilson, Jazz Jamaica, Dennis Rollins, Omar Puente, Junior Walker, Joe Cocker, and numerous others in the jazz genre. In 1994 he formed 'Creole', a multi-cultural mélange of musicians from Africa, Haiti, Cuba and the Caribbean, enjoying wide critical acclaim for their performances at the Glastonbury and Womad Festivals. He is the first artist signed to saxophonist Courtney Pine’s Destin-E label and has toured Europe and the Caribbean with Pine. Pierre’s own The Cameron Pierre Band has performed at London Jazz Festival, North Sea Jazz Festival in Holland, Breacon Jazz Festival in Wales.

His latest album, Radio Jumbo, was recorded in just one day at London’s Holodeck Studios, and it features renowed French pianist Mario Cononge. Radio Jumbo is a mix of French Antillean rhythms and influences fused against a backdrop of jazz interpretation. “I love Jazz music and it’s tradition for it offers me the unique opportunity of self expression unmatched by any other art form, says the Dominica-reared Pierre, who had only one day of rehearsal with the musicians prior to recording the live album. Radio Jumbo consists of ten tracks, two of which see vocal contributions by Dominicans Michele Henderson and Dave Joseph.

Henderson, hugely popular in the French West Indies, masterfully covers Stevie Wonder’s “Another Star”, while Joseph gives a stirring narration on the track “Traditional.” Pierre debuts his banjo playing skills on “Traditional” as well as the title track “Radio Jumbo.” A staple of the Jing Ping bands he listened to as a child; Pierre says he always dreamt of incorporating the traditional African instrument into his music.

The album was named after a radio station from his teenage days in Dominica called Radio Jumbo and reflects the Creole heritage of both Pierre and Canonge (who hails from Martinique). Sharing a love for sounds such as zouk, cadence, kompa, and beguine; and influenced by bands such as Tabou Combo, Magnum Band, Malavoi (of which Canonge was a member) Grammaks, Exile One and others; wanting to work together was easy. Pierre first saw Caononge perform at a party in Paris in 1994 and found his way to the band’s rehearsal the following day. It took 16 years, though, for the two to actually get together to record any music.

During the recording of Radio Jumbo, Canonge was instrumental in getting Pierre’s ideas across to the musicians (including a string quartet) who were not familiar with some of the French-influenced rhythms. Still, they all shared a Caribbean sensibility; drummer Wesley Joseph was of St. Lucian descent, and the bass player Michael Bailey and percussionist Donald Gordon had in common their Jamaican heritage. Pierre is hopeful that a European and Caribbean tour with Canonge can take place next year. In the meantime he plays the UK jazz circuit with his own Cameron Pierre Band, and to Composer, producer, arranger, teacher;

Radio Jumbo Track List.
1. Ma Molly
2. Big Foot
3. Radio Jumbo
4. Another Star (With Michele Henderson)
5. Solomon
6. If Only
7. Soul Eyes
8. Traditional
9. Like I Remembered
10. Room 115

http://www.cameronpierre.co.uk/
www.myspace.com/cameronpierre
www.reverbnation.com/cameronpierre
www.facebook.com/cameronpierremusic
www.youtube.com/cameronpierremusic

MIGUEL MIGS - OUTSIDE THE SKYLINE

The mighty Miguel Migs returns with his third artist album, a genre-crossing creation featuring guests ranging from Bebel Gilberto to Capleton to Meshell Ndegeocello. When it came to recording his new album Outside The Skyline, Miguel Migs was able to pull together an impressive line-up of collaborators; original disco diva Evelyn ‘Champagne’ King, reggae legends Half-Pint and Freddie McGregor, first lady of musicianship Meshell Ndegeocello, Berlin based singer Georg Levin and bossa nova phenomenon Bebel Gilberto all make an appearance on the album, alongside two vocalists who’ve been regular co-conspirators, Aya and Lisa Shaw. The result is an album that’s trademark Migs. Informed by house but no slave to metronomic dancefloor rhythms and tempos, it takes influences from jazz, reggae, soul and more, with a heavy emphasis on high-quality songwriting and equally high production values. Despite achieving levels of success – both critical and commercial – Migs remains a genuinely humble, self-effacing individual. A globe-trotting A-list DJ, nominated on a Beatport poll as Best Deep House Producer who, rather than constantly bigging himself up, prefers to let his music to the talking. Thankfully, Migs’ music more than does the talking – it speaks to people. Enjoy!

Miguel Migs -Outside The Skyline Track List

1. Intro - Life (feat. Half Pint)

2. Tonight (feat. Meshell Ndegeocello)

3. Breakdown (feat. Lisa Shaw)

4. Everybody (feat. Evelyn ''Champagne'' King)

5. The Distance (feat. Aya)

6. Life feat. (Half Pint)

7. Close Your Eyes (feat. Meshell Ndegeocello)

8. They Don't Know (feat. Freddie McGregor)

9. The System (feat. Capleton)

10. Zuzu (feat. Bebel Gilberto)

11. Changin' (feat. Sonny J Mason)

12. Don't Stop (feat. Aya)

13. Lose Control (feat. Lisa Shaw)

14. Getaway (feat. Georg Levin)

KIM WATERS - THIS HEART OF MINE

Kim Waters latest release is his 17th album as a leader and tenth for Shanachie Entertainment, This Heart of Mine, which artfully showcases why he has long held the throne as the King of Smooth Urban Jazz. This Heart of Mine finds the saxophonist doing what he does best -- creating dreamy melodies, sultry ballads, reinventing timeless R&B hits and playing funky dance-inspired and hot stepper originals. Waters brings to life a tapestry of love songs that explores the full range of emotions that love sparks. The CD opens with the soulful and inviting “Heart Seeker,” which shines light on Waters’ undeniable knack for crafting unforgettable melodies and songs that take you on a journey.

The album’s first single “Free Fall,” reunites Waters with celebrated producer Davy D. The dynamic duo joined forces for the #1 hit song “Water Fall” from Kim’s 2002 recording Someone to Love You. “Working with Davy D comes very easy because he has this amazing ability to create incredible tracks,” says Kim. “Once he creates the beats I then add my own jazz vibe and the result always turns into something amazing! Davy D is great at everything he does.”

A highlight on This Heart of Mine is the sublime Kim Waters ballad “Am I a Fool,” featuring several-time Grammy nominated Soul Prince, Calvin Richardson. The duo also has a stunning new video that takes the song to new heights. “‘Am I a Fool’ is a song that I wrote about a man who is so in love with his woman that he let's her run all over him and take advantage of his kindness,” explains Kim. “I have witnessed this with several friends and was inspired to write this song.”

“Am I A Fool” has all the ingredients for a hit at urban radio. In recent years Waters has garnered a new fan base recording such diverse projects as The Sax Pack (with fellow saxophonists Jeff Kashiwa and Steve Cole) and his own Streetwize and Tha’ Hot Club CDs that are known for their clever reworkings of the hottest hip hop, R&B and reggae hits on the radio. On This Heart of Mine, Waters does a hot buttery soul rendition of the R. Kelly ballad “Love Letter” as well as takes on the Alicia Keys and Jay-Z smash hit “Empire State of Mind.” The latter features Kim Waters’ wife and vocalist Dana Pope, who is also featured on the Streetwize recordings. “I decided to record ‘Love Letter’ and ‘Empire State of Mind’ because I am a fan of both R. Kelly and Alicia Keys. Both of these songs have true messages. ‘Love Letter’ is an open expression of love that I can relate to while ‘Empire State of Mind’ offers an inspirational message of hope and the fulfillment of dreams.”

No Kim Waters CD would be complete without his trademark - get your groove on - dance floor anthems. Songs like the uplifting and in the pocket “The Groove’s Alright,” “Running To Love” and Waters’ ode to dedicated Steppers around the country, “Step to This,” demonstrate the saxophonist’s delicate balance of jazzy grooves with R&B flavor. Waters once again hits the mark with his seductive ballads “I Love My Girl” and “Stay With Me Tonight.” He penned “Double Two Love” for his musically gifted twin daughters, Kimberly and Kayla. “Being a Dad is the most important job and my family is my main inspiration,” confides Kim. “Kimberly and Kayla are the key to my heart and they inspire me to continue to create my music and keep it fresh. They are truly angels. Even though they are 21 years old this year, they will always be my little girls. ‘Double Two Love’ is my way to express my love for them through music and gives them something to share with their friends and family forever!”

MANU DIBANGO - AFRO-SOUL MACHINE

A solid and decades spanning double dose set of classic and less canonized gems from African sax legend Manu Dibango on 2-CDs with material recorded from the mid 70s to early 00s. For 50 years, Manu Dibango has been on the frontline of popular music. This is an amazing achievement, and even more so when you realize he can still simply be described as an 'instrumentalist from Africa'. How he's achieved this and some of the fruits he's given us along the way, is the subject of this release. Manu Dibango has never stayed still; whether on marimba, keyboard or saxophone and usually with his distinctively gruff vocals half-talking, half-singing, he makes his mark. It's got blueprint level 70s Afro Soul, timeless African boogie, sultry, kinda jazzy groovers with Afro percussive elements, European dancefloor influenced numbers and more – well chosen to highlight his stylistic sprawl over the years! 30 tracks on 2CDs: "Bessoka (Version Courte)", "Lagos Go Slow", "A La Claire Fontaine", "Waka Juju", "The Panther", "Soul Makossa (Manu Version)", "Ambiance Tropika", "Aloko Party", "Reggae Makossa" "Negropolitaines", "Gombo Sauce", "Mboa", "Tek Time" and many more

Manu Dibango - Afo-Soul Machine tracklist:
Disc 1

1.Bessoka [Version Courte]

2. Lagos Go Slow

3. Africa Boogie

4. A La Claire Fontaine

5. Waka Juju

6. Super Kumba

7. Manga Bolo

8. Du Bush a Bush

9. Blowin' Western Mind

10. Mboa

11. Gombo Sauce

12. Negropolitaines

13. Pour Une Poignee De Cfa

14. The Panther

15. Mpuli Mwa Moni

Disc: 2

1. Soul Makossa [Manu Version] 
2. Ambiance Tropika
3. Mincalor
4. Pavane Pour Une Melodie
5. Images De Famille
6. Soul Fiesta [Remix Version Lounge] 
7. Tek Time
8. Aloko Party
9. Kango
10. Ngosso
11. Chock 'n' Soul
12. Qui Est Fou De Qui
13. Black Beauty
14. Reggae Makossa
15. Un Soir Au Village

AZYMUTH - AURORA

Returning to their huge old school sound, this new recording celebrates 35 years of Azymuth as “arguably the most successful band to come out of Brazil.” The signature swing samba is heavier than ever with a string of unforgettable tunes: from dance-floor fillers and lush jazz to hard, grooving samba funk and warped psychedelia. Together the original three piece Azymuth orchestra has made their strongest album since the seminal recordings Azimuth and Light as a Feather.

Aurora, the follow-up to 2008’s Butterfly draws on the sound that was so synonymous with their work in the 1980s, mixing disco, jazz, funk, psych, and samba with their super style, playing, and improvisation. Together with producer Daniel Maunick and David Brinkworth (Harmonic 313), Azymuth recorded Aurora in Rio de Janeiro over a two week period. There's a stripped-down, all-classic feel that takes us right back to the group's best work of the 70s – partly because Jose Roberto Bertrami sticks to Fender Rhodes exclusively on the set – using the classic keyboards with a righteous vibe that really brings a hell of a lot of soul to play. And there's also a bit of Incognito help on the production, which helps ensure just the right sound – nothing too modern, nor too gimmicky – just pure Brazilian fusion all the way through – proof that the old ways are still often the best. Titles include "In My Treehouse", "Isso E Partido Alto", "Carnaval Legrand", "Diz No Pe", "Meu Mengo", "Crazy Clock", and "Aurora". 12 in all.

Opening the set is the cool, fresh title track ‘Aurora’, which features Alex’s daughter and fellow Far Out recording artist Sabrina Malheiros on vocals alongside Marcio Lott. ‘In My Treehouse’ is an extremely personal track written by Bertrami, which is influenced by his oak tree and dreams that recall his childhood playing in a tree house in his mother’s hometown. ‘Isso É Partido Alto’ encapsulates the sound of Azymuth, the focus on their signature groove, partido alto (one of the oldest traditional samba rhythms). ‘Diz No Pé’ is a samba monster combining broken drumming with syncopated samba instrumentation, written by Ivan Conti. ‘Carnaval Legrand’ is dedicated to one of Jose Roberto Bertrami’s peers – the great Franco-Armenian arranger and composer Michel Legrand, while ‘Meu Mengô’ is inspired by Alex Malheiros’ football team – Flamengo – another passion shared with his Azymuth band-mates

The Original Cult Trio Pianist, songwriter, and band leader Jose Roberto Bertrami is recognized as one of the legends of Brazilian music, remaining one of its most influential keyboardists. He is responsible for the intensity and maverick approach of Azymuth. Ivan Conti is Azymuth’s drummer and percussionist. Known as Mamao, he is a spontaneous and incredibly energetic drummer, and the real hardcore Carioca of the trio. He has collaborated on a number of major projects in recent years including 2008’s Jackson Conti ‘Sujinho’ album with Madlib. On bass is Alex Malheiros, who learnt his trade playing with the master of Brazilian swing, Ed Lincoln. Alex is respected in Brazil as one of the original groove masters. The threesome is responsible for twenty five studio albums from 1975 crate-digger favourite debut Azimuth (Far Out re-issued in 2007); to 1979’s Light as a Feather (which spawned ‘Jazz Carnival’); and ‘80s classics including ‘Telecommunication’. One of the biggest jazz funk tunes of all time, ‘Jazz Carnival’, spent eight weeks in the UK Top 20 in 1980 and was a Number 1 hit around the world in the dance charts

One of very few successful bands to have kept the original line-up, in their sixth decade the cult trio continue to tour the globe wowing audiences at the finest venues and festivals. Azymuth’s previous seven recordings for Far Out have been both critically acclaimed by the press and spun heavily by global DJs. With Aurora their finest work yet for the label, the samba legends swinging ‘samba doido’ (crazy samba) is primed to win over another generation of fans. You’re in the hands of masters.

MAURICIO MAESTRO FEATURING NANA VASCONCELOS - UPSIDE DOWN

Mauricio Maestro began his career as a member of the vocal quartet Momentoquatro in the late 60s, before he and Nana Vasconcelos became friends as members of Luiz Eça's band Sagrada Familia. The pair also formed part of Milton Nascimento's Clube De Esquina scene along with Joyce and Marcos Valle on his legendary Clube De Esquina album series. Having arranged for Brazil's top artists from an early age Mauricio Maestro lent his masterful bass playing to Joyce's classic early albums, The Holy Family, played on and produced Visions of Dawn and founded Boca Livre in 1979 - one of the most successful groups ever to emerge from Brazil. Nana Vasconcelos has released more than thirty albums over an epic forty year career that took in spell playing with legendary folk-prog band A Tribo. Vasconcelos is a vocalist and berimbau player of immense quality and displays his percussion skills that saw him named best drummer in the world for eight straight years by U.S. magazine Downbeat.

Now Mauricio Maestro and Nana Vasconcelos finally reconnect on the second part of their four decade psychedelic folk trilogy. Following on from Visions of Dawn – the 1976 acid-folk lost classic – Upside Down stirs up a time when people dared to make remarkable liberated records like this. Nana and guest vocalist Kay Lyra – who completes the present day folk trio – combine floating harmonies and delicate string-led psychedelia. Maestro's moving compositions melt together hypnotising strings with his own darting acoustic guitar and wonderfully languid vocals. The master of percussion Nana Vasconcelos brings an endless concoction of exotic instrumentation to stirring life as mind-bending vocals move in and out of focus. Nana and Mauricio reunite on this modern acoustic masterwork full of simple pleasures.

This is a contemporary set, but one that's unlike any other recent Brazilian recording we can think of – given the very unique vibe that Mauricio Maestro is going for. The sound here has deep rhythms and folksy touches – a warm acoustic mode, but topped with some slight electricity and larger arrangements – a bit like some of the more creative sounds in the Brazilian underground during the post-Tropicalia years – yet with a richness that takes it much farther too! Maestro handled the arrangements, and he brings in a jazz-tinged quality that's not unlike the Milton Nascimento generation – yet the overall approach is earthier too, and vocals are handled by Mauricio, percussionist Nana Vasconcelos, and Kay Lyra – swirled up with a bit of light string backings that really help the record soar to the skies! We'd rank this one right up there with classics from the 70s by Joyce or Edu Lobo – but we also recognize that it's very much it's own record too. Titles include "Jungle Bells", "Agua Clara", "Canto Do Paje", "Todos Os Santos", "Ciclo Da Vida", and "Ouvindo Estrelas."

MESHELL NDEGEOCELLO - WEATHER

Meshell Ndegeocello is back with her latest album Weather, out November 8th on Naïve in the U.S. Her ninth album in 20 years, Weather finds the eclectic songwriter expanding on her iconic style, a lush album of intimate songwriting. Produced by Grammy-winner Joe Henry (Aimee Mann, Solomon Burke, Ani DiFranco), Weather is the latest addition to Meshell’s diverse catalog. A strikingly organic record, the album finds Meshell experimenting with the sparse, orchestral melodies paired with thoughtful lyrics, all performed by a band of fearsome musicians. The album opens with the title track “Weather,” a spacey, soulful groove that sets the stage for the rest of the record. Tracks like “Oysters” and her cover of Leonard Cohen’s “Chelsea Hotel” find Meshell constructing hushed ballads, centered around mournful piano. These tracks are juxtaposed with Meshell’s defiant, soulful stomps on songs like “Rapid Fire” and “Dirty World.” The album also features all-star collaborations with the likes of Chris Connelly (ex-Revolting Cocks, Ministry), Benji Hughes, and Joe Henry. Weather, ironically, might be her most easily appealing and accessible album since her mainstream breakout – with a haunting, moody quality and deep sinking emotionalism. Producer Joe Henry is a good fit – the record has a quiet, kind of noirish quality that serves Meshell very well. Includes  "Feeling For The Wall",  "Chance", "Crazy And Wild", "Dead End", "Don't Take My Kindness For Weakness" and more.

Born Michelle Johnson in Berlin, Meshell Ndegeocello has spent that last twenty years forging a unique career that’s as distinct as it is critically celebrated. Arriving in New York in the early ’90s with a few bedroom demos and her bass, Meshell quickly struck out on her own, joining The Black Rock Coalition and eventually signing to Madonna’s newly minted Maverick Records. Her politically charged, sexually rebellious music crossed boundaries and norms, all while incorporating a bit of everything into her sound, including hip hop, rock, R&B, new wave, go-go and punk. Her neo-soul anthem “If That’s Your Boyfriend (He Wasn’t Last Night)” topped the charts, and cover of Van Morrison’s “Wild Night,” performed with John Mellencamp, became a ’90s classic. Quickly developing into a musician’s musician, Meshell has shared the stage with The Rolling Stones, Madonna, Alanis Morrisette, James Blood Ulmer, The Blind Boys of Alabama, Tony Allen, John Medeski, Billy Preston, Chaka Khan, and more.

THE VERY BEST OF NEIL DIAMOND - THE ORIGINAL STUDIO RECORDINGS

Columbia Records and Legacy Recordings have announced the release of The Very Best of Neil Diamond - The Original Studio Recordings on Tuesday, December 6. The new long-awaited definitive single disc compilation of 23 best-loved hits and signature tracks from America's quintessential singer-songwriter is the first Neil Diamond collection to draw from the artist's complete studio discography. The Very Best of Neil Diamond - The Original Studio Records includes his first pop chartings as a writer/performer for Bang Records in the mid-1960s; his spectacular career-defining hits for Uni/MCA (1968-1972); music from 1980's The Jazz Singer (his 5x platinum-selling soundtrack album on Capitol Records) and studio essentials from a long-running association with Columbia Records that began in 1973 with the Jonathan Livingston Seagull soundtrack album and runs through a pair of Rick Rubin-produced albums: 12 Songs (2005) and Home Before Dark (which became Neil's first Number 1 album on the Billboard 200 in 2008).

The Very Best of Neil Diamond - The Original Studio Recordings includes "Recollections," a revelatory set of liner notes penned by Neil especially for this collection, providing anecdotal detail and behind-the-scenes point-of-view insight into each of the songs. In his reflections on "Hell Yeah," the track that closes the album, he writes, "'Hell Yeah' is an affirmation of a lifetime spent devoted to music and my attempt to find a personally satisfying life for myself beyond the music. I have that life now but it was a much harder job than I thought possible. Still, well worth all the years and all the tears."

In closing his "Recollections" for The Very Best of Neil Diamond - The Original Studio Recordings, Neil says, "I wish I could personally thank the hundreds of musicians, arrangers, and engineers who, along with the producers, spent long days and nights in studios around the country to make these recordings vibrate and thrill. As a songwriter I can only humbly bow down and thank them all from the depths of my heart for giving wings to my dreams."

Across a musical career spanning nearly five decades, Neil Diamond has sold more than 125 million albums worldwide, with a remarkable track record of 16 Top Ten albums, and 37 Top Ten singles. A Grammy Award-winning artist, Neil Diamond has been inducted into the Songwriter's Hall of Fame and is a recipient of the Sammy Cahn Lifetime Achievement Award. Among Diamond's many other honors, he has received a Golden Globe Award, 12 Grammy nominations and was named the 2009 MusiCares Person of the Year.
Neil Diamond, a 2011 Rock and Roll Hall of Fame Inductee, was recently announced as a 2011 Kennedy Center Honoree and will be part of the 85th Annual Macy's Thanksgiving Day Parade.

The Very Best of Neil Diamond - The Original Studio Recordings
track listing

1. Forever In Blue Jeans
recorded November 1978
arranged and conducted by Tom Hensley
Produced by Bob Gaudio
Columbia single #3-10897, rel. 1/16/79
charted 1/27/79; weeks: 11; peak: #20
from the Columbia album You Don't Bring Me Flowers (FC 35625), rel. 12/78

2. Beautiful Noise
recorded 11/5/75
strings and horns arranged by Nick DeCaro
Produced by Robbie Robertson
Columbia single #3-10452, rel. 11/16/76
from the Columbia album Beautiful Noise (PC 33965), rel. 6/10/76

3. Love On The Rocks
recorded October 1980
Produced by Bob Gaudio
Capitol single #4939
charted 11/1/80; weeks: 20; peak; #2(3)
from the Capitol album The Jazz Singer (SWAV-12120), rel. 11/10/80

4. Cherry, Cherry
recorded 1966
Produced by Jeff Barry & Ellie Greenwich
Bang single #528
charted 8/20/66; weeks: 12; peak: #6
from the Bang album The Feel Of Neil Diamond (BLP-214), rel. 10/66

5. I Am…I Said
Produced by Tom Catalano
UNI single #55278
charted 3/27/71; weeks: 10; peak: #4
from the UNI album Stones (93106), rel. 10/71
Originally released in 1971

6. Sweet Caroline
Produced by Tommy Cogbill, Tom Catalano & Neil Diamond
UNI single #55136
charted 6/28/69; weeks: 14; peak: #4
from the UNI album reissue Brother Love's Travelling Salvation Show (73047), rel. 7/69
Originally released in 1969

7. Cracklin' Rosie
Produced by Tom Catalano & Neil Diamond
UNI single #55250
charted 8/22/70; weeks: 15; peak: #1
from the UNI album Tap Root Manuscript (73092), rel. 10/70
Originally released in 1970

8. Play Me
Produced by Tom Catalano & Neil Diamond
UNI single #55346
charted 8/12/72; weeks: 11; peak: #11
from the UNI album Moods (93136), rel. 6/72

9. I'm A Believer
recorded 1967
Produced by Jeff Barry & Ellie Greenwich
Bang single #586
charted 6/26/71; weeks: 8; peak: #51
from the Bang album Just For You (BLP-217), rel. 9/67

10. Girl, You'll Be A Woman Soon
recorded 1967
Produced by Jeff Barry & Ellie Greenwich
Bang single #542
charted 4/8/67; weeks: 11; peak: #10
from the Bang album Just For You (BLP-217), rel. 9/67

11. Holly Holy
Produced by Tom Catalano & Tommy Cogbill
UNI single #55175
charted 11/1/69; weeks: 14; peak: #6
from the UNI album Touching You, Touching Me (73071), rel. 10/69
Originally released in 1969

12. Solitary Man
recorded 1966
Produced by Jeff Barry & Ellie Greenwich
Bang single #519
charted 5/21/66; weeks: 10; peak: #55
from the Bang album The Feel Of Neil Diamond (BLP-214), rel. 10/66

13. Song Sung Blue
Produced by Tom Catalano & Neil Diamond
UNI single #55326
charted 5/6/72; weeks: 13; peak: #1
from the UNI album Moods (93136), rel. 6/72

14. You Don't Bring Me Flowers
duet with Barbra Streisand
arranged by Alan Lindgren
recorded November 1978
Produced by Bob Gaudio
Columbia single #3-10840, rel. 10/17/78
charted 10/28/78; weeks: 17; peak: #1(2)
from the Columbia album You Don't Bring Me Flowers (FC 35625), rel. 12/78

15. Hello Again
recorded October 1980
Produced by Bob Gaudio
Capitol single #4960
charted 1/31/81; weeks: 16; peak; #6
from the Capitol album The Jazz Singer (SWAV-12120), rel. 11/10/80

16. Red, Red Wine
recorded 1967
Produced by Jeff Barry & Ellie Greenwich
from the Bang album Just for You (BLP-2170), rel. 9/67

17. If You Know What I Mean
recorded 11/5/75
strings and horns arranged by Nick DeCaro
Produced by Robbie Robertson
Columbia single #3-10366, rel. 6/4/76
charted 6/19/76; weeks: 12; peak: #11
from the Columbia album Beautiful Noise (PC 33965), rel. 6/10/76

18. Brother Love's Travelling Salvation Show
Produced by Tommy Cogbill & Chips Moman
UNI single #55109
charted 2/22/69; weeks: 13; peak: #22
from the UNI album Brother Love's Travelling Salvation Show (73047), rel. 3/69
Originally released in 1969

19. Pretty Amazing Grace
Produced by Rick Rubin
from the Columbia album Home Before Dark (88697 15465 2), rel. 5/6/08

20. Kentucky Woman
recorded 1967
Produced by Jeff Barry & Ellie Greenwich
Bang single #551
charted 10/14/67; weeks: 8; peak: #22
from the Bang album Just For You (BLP-217), rel. 9/67

21. Shilo
Produced by Jeff Barry & Ellie Greenwich
Bang single #575
charted 2/7/70; weeks: 14; peak: #24
from the Bang album Just For You (BLP-217), rel. 9/67
Originally Recorded 1967.

22. America
recorded October 1980
Produced by Bob Gaudio
Capitol single #4960

charted 4/25/81; weeks: 17; peak; #8

from the Capitol album The Jazz Singer (SWAV-12120), rel. 11/10/80

23. Hell Yeah

Produced by Rick Rubin

from the Columbia album 12 Songs (88697 03958 2), rel. 11/8/05

http://www.neildiamond.com/

http://www.columbiarecords.com/

http://www.legacyrecordings.com/

EMANUELE CISI QUARTET - HOMECOMING

Emanuele Cisi has earned a reputation as being one of Italy's top tenor and soprano saxophonists over the last two decades with his distinctive fluid style that oozes with style and lyricism. He has cut six albums under his own name and has participated in dozens of others as either a co-leader or sideman.  He’s recorded in many different European countries for both Italian and foreign labels (including Blue Note and Universal). He’s played at concerts and TV shows Europe, United States, and China, and has collaborated with the likes of Clark Terry, Jimmy Cobb, Billy Cobham, Nat Adderley, Aldo Romano, Daniel Humair, Enrico Rava, Paolo Fresu, Sting and many others.

His latest album, Homecoming, was recorded with his quartet comprising of Luigi Bonafede (piano), Rosario Bonaccorso (bass) and Francesco Sotigu (drums), and is out on the Japanese label that specialises in Italian jazz, Albore Jazz. The format here is very organic – tunes that build slowly but strongly, all penned by Cisi and other group members. The soprano sax tunes are especially nice – gently arcing in space with a open, earnest feel – never stretching out too much, but finding just the right pace for the pulse. Titles include "Sweet Prayer", "Temporary", "Warnin Up", "Rosa", "Homecoming", and "Like Luigi". The sound is very much modern European post-bop jazz with a nod of respect to Coltrane and Sonny Rollins, and the whole set has a warm and rich feel to it. The album bursts into life with Like Luigi, an explosive, uptempo number with Cisi offering us a stunning, expressive tenor workout that dominates the piece with just short space for a breather in the mid-section. It's a tune that won't let you sit still, but just as you're really getting into the swing of things, it comes to an abrupt halt at the four minute mark, leaving the listener hungry for more.

The title tune is a mellow, laidback ballad with soprano sax that is full of longing and has an understated feel that gives it power. This is followed by the foot-tapping "Scisi Ta'", a wonderful slice of mid-tempo jazz with Cisi weaving his melodies over some really solid backing. Elsewhere high points include the soprano-led "Temporary," a very modern European jazz number and the swinging "Song For Bengt," which could either be a tribute to the Danish tenorman, Bengt Jaedig or his compatriot, pianist Bengt Axen, since it features both lengthy tenor and piano solos, though either way it's a great tune. Homecoming really highlights the talents of Emanuele Cisi and his band both as performers and composers. and is a great jazz album for late summer evenings, that is worth

SOUL TOGETHERNESS 2011

This latest installment of the Soul Togetherness series (the 12th), includes 15 modern soul room dancefloor tracks. This compilations features music from the U.S, Japan, Australia, South Africa Venezuela and the U.K. on yet another essential selection of the year’s finest new music and revivals, and it features expansive tracks from Heston, Rahsaan Patterson, Deborah Bond, They, Reel People, Electric Empire, the legendary Leon Ware and many more. As Japan becomes a force in fine new soul music, included is a killer cut from Shuya Okino (Kyoto Jazz Massive) with “Give Yourself A Chance;” Electric Empire from Australia; Nothende from South Africa; a taste of Venezuela disco courtesy of London-based Los Charly’s Orchestra; and from the U.K. the best of this year’s top tunes from Sarah Fonteyne and Reel People. Also included are "And You Don't Stop" by Kelly Price, “Kiss Of Life" by Maydie Miles, "Maybe You'll Be Back" by Sharon McMahan, "Messing" by Sarah Fontaine, "On The Beach (Atjazz Love Soul Mix)" by Leon Ware and more.

Soul Togetherness 2011 Track Listing:
1. Shuya Okino - Give Your Love a Chance
2. Heston - Greatest Lover (CB Remix)
3. Nothende - Celebrate
4. Kelly Price - & You Don't Stop
5. Debórah Bond - 5:35
6. Rahsaan Patterson - 6:00 AM
7. They - FatBack
8. Mary Mary - Survive
9. Reel People feat. Tony Momrelle - Tell Me Why
10. Maydie Myles - Kiss Of Life
11. Sharon McMahan - Maybe You'll Be Back
12. Electric Empire - Baby Your Lovin

13. Sarah Fonteyne - Messing

14. Los Charly's Orchestra - Feeling High

15. Leon Ware - On The Beach (Atjazz Love Soul Remix)

ARTIST PROFILE: ESPERANZA SPALDING

If "esperanza" is the Spanish word for hope, then bassist, vocalist and composer Esperanza Spalding could not have been given a more fitting name at birth. Blessed with uncanny instrumental chops, a multi-lingual voice that is part angel and part siren, and a natural beauty that borders on the hypnotic, the young prodigy-turned-pro might well be the hope for the future of jazz and instrumental music. Spalding was born and raised on what she calls "the other side of the tracks" in a multi-lingual household and neighborhood in Portland, Oregon. Growing up in a single-parent home amid economically adverse circumstances, she learned early lessons in the meaning of perseverance and moral character from the role model whom she holds in the highest regard to this day - her mother.

But even with a rock-solid role model, school did not come easy to Spalding, although not for any lack of intellectual acumen. She was both blessed and cursed with a highly intuitive learning style that often put her at odds with the traditional education system. On top of that, she was shut in by a lengthy illness as a child, and as a result, was home-schooled for a significant portion of her elementary school years. In the end, she never quite adjusted to learning by rote in the conventional school setting. "It was just hard for me to fit into a setting where I was expected to sit in a room and swallow everything that was being fed to me," she recalls. "Once I figured out what it was like to be home-schooled and basically self-taught, I couldn't fit back into the traditional environment."

However, the one pursuit that made sense to Spalding from a very early age was music. At age four, after watching classical cellist Yo Yo Ma perform on an episode of Mister Rogers' Neighborhood, the roadmap was suddenly very clear. "That was when I realized that I wanted to do something musical," she says. "It was definitely the thing that hipped me to the whole idea of music as a creative pursuit." Within a year, she had essentially taught herself to play the violin well enough to land a spot in The Chamber Music Society of Oregon, a community orchestra that was open to both children and adult musicians. She stayed with the group for ten years, and by age 15, she had been elevated to a concertmaster position.

But by then, she had also discovered the bass, and all of the non-classical avenues that the instrument could open for her. Suddenly, playing classical music in a community orchestra wasn't enough for this young teenager anymore. Before long she was playing blues, funk, hip-hop and a variety of other styles on the local club circuit. "The funny thing was, I was the songwriter, but I had never experienced love before. Being the lyricist and the lead singer, I was making up songs about red wagons, toys and other childish interests. No one knew what I was singing about, but they liked the sound of it and they just ate it up."

At 16, Spalding left high school for good. Armed with her GED and aided by a generous scholarship, she enrolled in the music program at Portland State University. "I was definitely the youngest bass player in the program," she says. "I was 16, and I had been playing the bass for about a year and a half. Most of the cats in the program had already had at least eight years of training under their belts, and I was trying to play in these orchestras and do these Bach cello suites. It wasn't really flying, but if nothing else, my teachers were saying, ‘Okay, she does have talent.'"

Berklee College of Music was the place where the pieces all came together and doors started opening. After a move to the opposite coast and three years of accelerated study, she not only earned a B.M., but also signed on as an instructor in 2005 at the age of 20 - an appointment that has made her the youngest faculty member in the history of the college. She was the 2005 recipient of the prestigious Boston Jazz Society scholarship for outstanding musicianship.

In addition to the studying and the teaching, Spalding's years at Berklee also created a host of networking opportunities with several notable artists, including pianist Michel Camilo, vibraphonist Dave Samuels, bassist Stanley Clarke, guitarist Pat Metheny, singer Patti Austin, and saxophonists Donald Harrison and Joe Lovano. "Working with Joe was terrifying," she recalls, "but he's a really generous person. I don't know if I was ready for the gig or not, but he had a lot of faith in me. It was an amazing learning experience."

Spalding's journey as a solo artist began with the May 2008 release of Esperanza, her debut recording for Heads Up International, a division of Concord Music Group, which went on to become the best selling album by a new jazz artist internationally in 2008. The highly acclaimed release was the first opportunity for a worldwide audience to witness her mesmerizing talents as an instrumentalist, vocalist and composer. The New York Times raved, "Esperanza has got a lot: accomplished jazz improvisation, funk, scat singing, Brazilian vernacular rhythm and vocals in English, Portuguese and Spanish. At its center is a female bassist, singer and bandleader, one whose talent is beyond question."

Soon after release, Esperanza went straight to the top of Billboard's Contemporary Jazz chart where it remained for over 70 weeks. Spalding was booked on the Late Show with David Letterman, Jimmy Kimmel Live, the CBS Saturday Early Show, the Tavis Smiley Show, Austin City Limits and National Public Radio. Other highlights included two appearances at the White House, a Banana Republic ad campaign, the Jazz Journalists Association's 2009 Jazz Award for Up and Coming Artist of the Year, the 2009 JazzWeek Award for Record of the Year, and many high profile tour dates, including Central Park SummerStage in New York and the Newport Jazz Festival. 2009 was capped by an invitation from President Obama to perform at both the Nobel Prize Ceremony in Oslo, Norway - where the Nobel Peace Prize is awarded - and also at the Nobel Peace Prize Concert.

In early 2010, Spalding was the subject of an in-depth profile in The New Yorker, she was also featured in the May 2010 Anniversary issue of O, The Oprah Magazine's "Women on the Rise" (in a fashion spread that features portraits of 10 women who are making a difference in various careers), and she was again nominated by the Jazz Journalists Association for their 2010 Jazz Award for Up and Coming Artist of the Year.

If Esperanza marked a brilliant beginning for this gifted young artist, then Spalding's August 2010 release, Chamber Music Society, sets her on an upward trajectory to prominence. Inspired by the classical training of her younger years, Spalding has created a modern chamber music group that combines the spontaneity and intrigue of improvisation with sweet and angular string trio arrangements. The result is a sound that weaves the innovative elements of jazz, folk and world music into the enduring foundations of classical chamber music traditions. Co-produced by Esperanza and Gil Goldstein (with string arrangements provided by both), Chamber Music Society finds Esperanza with a diverse assembly of musicians: pianist Leo Genovese, drummer Terri Lyne Carrington, percussionist Quintino Cinalli, guitarist Ricardo Vogt, and vocalists Gretchen Parlato and the legendary Milton Nascimento. The string trio is comprised of violinist Entcho Todorov, violist Lois Martin and cellist David Eggar.

On February 13, 2011, Spalding won the Grammy® Award for Best New Artist. She is the first jazz musician to ever win this award. "People have asked me what significance being a jazz artist particularly brings to the award," she says. "We all know that jazz artists aren't typically nominated in this category, so that alone is special about the award this year. But, mainly I hope this will be significant in that the media spotlight will illuminate more than just an edge of the HUGE breadth of all that is happening in jazz music as a whole right now." In addition to touring with Joe Lovano, Spalding has also performed with pianist McCoy Tyner, among others.

RICHARD BONA - TEN SHADES OF BLUES

Ever since his solo debuts in 1999, Richard Bona has defended the idea of music that’s universal: generous and accessible to all. He was born in 1967 in Minta, a tiny Cameroon village, into a family where both his mother and grandfather were singers. Richard was playing the balafon by the time he was four, and then he taught himself to play the guitar. Later, in the capital of Douala, a jazz-club owner played him records by bassist Jaco Pastorius; Richard decided he’d teach himself to play the bass as well. In 1989 he went to Europe, living in Germany for a while before moving to France to complete his bass education. He took lessons for some seven years in Paris, and at the same time he became a familiar figure in the capital’s clubs, where he met Didier Lockwood and Marc Ducret, and the Africans Manu Dibango and Salif Keita. “It was a very formative period; I was meeting people whose styles varied.” In 1995 Richard went to New York. For the next few months he visited the city’s famous jazz clubs and worked with Michael and Randy Brecker, Pat Metheny, Larry Coryell, Mike Stern, Steve Gadd, Joe Zawinul, even singer Harry Belafonte. Richard Bona suddenly had a reputation for being one of the best bassists of his time, and by now he was also giving people a glimpse of his other talents as a composer and singer. A solo career was beckoning.

Scenes From My Life was released in 1999. It was followed by Reverence (2001), Munia: The Tale (2003), Tiki (2006, with John Legend and Djavan) and the live album Bona Makes You Sweat in 2008. The musician found his audience immediately: his brio as a fluid instrumentalist made everything seem easy, and his slender singing voice had real melody; coupled with these musical talents were his gifts as a natural showman, for Bona appeared to be born for the stage. Above all, his compositions naturally took in different sources: Africa, jazz, fusion… Bona was still highly sought-after as an instrumentalist, and he regularly received calls from some of the greatest musicians, including the late Joe Zawinul, Mike Stern and Larry Coryell. His reputation went beyond jazz and world music however, and he caught the attention of such stars as Bobby McFerrin, Paul Simon, Chick Corea, Chaka Khan or George Benson. In 2004, Richard Bona joined his talents with those of Lokua Kanza from the Congo and Gerald Toto from Martinique, and together they released TotoBonaLokua.

Far from slowing down his rhythm, Bona the globe-trotter has maintained his pace, and one look at his 2009 schedule is enough: a tour with Sylvain Luc and Steve Gadd, plus dates with Bill Evans and his group Soulgrass, a summer of festivals alongside Richard Galliano (with Gonzalo Rubalcaba and Clarence Penn)…all this activity shows that Bona has remained an eclectic. “Frankly, that’s why I do what I do. I get bored when I stay inside one format; once I’ve done it I want to move on to something else. Why wouldn’t I? I feel like a student, in the sense that I know what I don’t know.” Ten Shades of Blues, Richard Bona’s fifth studio CD, synthesizes his thirst for new things, even if Bona’s unmistakable stamp can be heard after just a few bars: “It’s my role to make all this coherent. It wouldn’t be nice for the listener to zip from one mood to the next if there wasn’t a link.”

MAYSA - MOTIONS OF LOVE

Longtime Incognito vocalist Maysa is one of finest Soul/Jazz singers to emerge in the past 20 years, as evidenced by her acclaimed solo albums highlighted by her gorgeous, unique vocal sound. Motions Of Love s a set of all new songs, highlighted by a wonderful duet with Dwele and featuring a new song composed and produced especially for this album by the legendary Stevie Wonder. Over the years Maysa has established herself as one of the leading contemporary female soul singers, her new album Motions Of Love she will please her many fans. 'Get With Me' is a nice uptempo track, the shuffling 'Name It On The List' grooves along nicely, and 'Love Sweet Love' is a good dancer. 'Dance With Me' is a good mid tempo stepper, 'Hold On' is a nice subtle mid tempo that builds nicely, 'Flower Girl' an upper mid tempo head nodder featuring Dwele. The atmospheric cover of Angela Bofill's 'I Try'and the ballad 'It's Over are also highlights, as well as “Have Sweet Dreams” featuring Stevie Wonder on harmonica. The album is set to be released November 8, 2011

Maysa - Motions of Love
1. Get Wit Me
2. Come Dance With Me
3. Day N Night
4. Flower Girl (feat. Dwele)
5. Have Sweet Dreams (co-written by Stevie Wonder)
6. Motions Of Love
7. You Won't Find Your Way
8. When It's Over
9. Love Sweet Love (LSL)
10. Hold On
11. I Try
12. When It's Over (Reprise)
13. Your Name's Not On The List
14. Special Place

CHICO HAMILTON - EL CHICO / THE FURTHER ADVENTURES OF EL CHICO

Amazing sounds throughout – 2 killers from Chico Hamilton! El Chico is light years ahead of the staid sounds that Chico Hamilton was cutting in the 50s! Hamilton's one of those players who has an amazing range to his music – almost all of it really incredible, as Chico always shifts things up over time – continually trying new things, and new modes of expression – even though, given his popularity, he could have just kept recording the same things year after year. This album is true testament to that propensity for growth in Hamilton's music – a wonderfully unbridled set that's filled with unusual rhythms, odd instrumentation, and even some of the first touches of psychedelic jazz to appear in the 60s! Players include Sadao Watanabe on alto and flute, Gabor Szabo on guitar, Jimmy Cheatham on trombone, and Willie Bobo and Victor Pantoja on percussion – all working together in a really wonderful range of modes from track to track – always groovy, but also pretty far-reaching and exploratory too! Titles include "El Moors", "Helena", "Strange", "Marcheta", "El Chico", and "Conquistadores". Further Adventures is massively groovy work from Chico Hamilton – one of his standout swingers for Impulse Records in the 60s, and a set that really showcases all the changes in music he'd made for the decade! The set features some wonderful reed work from Jerome Richardson and Charlie Mariano, plus some especially great guitar from Gabor Szabo – a player who was rising to fame in Hamilton's group, but also stands out here with lots of the breezy grooves he'd bring to his own dates for Impulse. Tracks are short, but in a good way that really keeps them focused – and other players who complete the groove include Clark Terry on trumpet and Ron Carter on bass – both of whom nicely pick up Chico's sense of adventure and humor. Titles include "Monday Monday", "Daydream", "Stella By Starlight", "Evil Eye", "Manila", "That Boy With The Long Hair", and "Monday Monday".  Source: Dusty Groove

GOAPELE - BREAK OF DAWN

Singer/songwriter Goapele broke out of Bay Area at the beginning of the last decade determined to make a difference in the world of music. Seamlessly blending genres while refusing to be limited by the “neo-soul” tag, the eloquent singer/songwriter completed her first release Closer in 2001 and never looked back. Embraced from the beginning by critics and fans alike, Goapele craved the perfect niche for herself as she created music that fused jazz, soul and hip-hop with her own beautiful poetry.


Yet, while the Oakland native and former Berklee College of Music student has continued to grow as artist and live performer in the eleven years since her debut, Goapele is also known as a savvy businesswoman. Not content to be merely another singer lost in the machine, Goapele’s follow-up recordings Even Closer (2002) and Change It All (2005) were released through majors in conjunction with her own independent label Skyblaze. “I like being more hands on when it comes to my music,” Goapele says of the family owned independent label. “Establishing Skyblaze allowed me to have a more direct connection with my business as well as the music.”

While Rolling Stone magazine once called Goapele the “spiritual love child of Sade and D’Angelo,” her searing voice can be both sensuous and serious, often on the same song. After taking off six years from recording, Goapele has returned to the forefront of the music scene with Break of Dawn, a collection of sophisticated songs dealing with love, loss and all the life in between. “One of my goals for the newest project Break of Dawn was to be more uninhabited,” Goapele says. “I came into this business as a young woman who wanted to be taken seriously for my music, but, now I’m more willing to share my sexiness as well. I realize that it’s possible to be both complex and provocative.”

As a perfect example of Goapele’s more sensuous side, her first single “Play” is like a hot bubble bath overflowing with synths and passion. "I was working with producers Electric Thunderbolt, Dan Electric and Teddy Thunderbolt, and they started a little vibe with the synths and drums. I just liked it so much I was ready to get into the recording booth,” Goapele says. With sizzling rhythms that are subtle, sexy, but nonetheless funky, one feels as though Goapele is whispering lustful secrets in your ear. “Milk & Honey,” produced by Bedrock, is another sleek, sexy song that helped set the tone for Break of Dawn. “Bedrock and I worked together on the last album, and when he started working on the music for ‘Milk & Honey,’ I knew that was the direction I wanted to go in.”

Recorded mostly at Zoo Studios in Oakland, Break of Dawn digs deep while honestly revealing the many layers of experience that defines Goapele, from the birth of her daughter to the death of her father as well as a close friend. “When I began thinking about the kind of disc I wanted to make, I felt as though the world was open,” Goapele states. “My musical foundation was already in place, so I could experiment and try new things.” As one of the earliest songs recorded for this project, the title track is the perfect anthem of perseverance in an ever-changing world that we have no control over. “I chose Break of Dawn as the title, because for me it represents being able to face challenges while still moving forward. After recording Break of Dawn, I felt that through the good and bad things that have happened in my life, these were the experiences that led me to where I am today.”

Produced by multi-instrumentalist Malay, who has worked with John Legend and Big Boi, the self-empowering song has a vibe that matches the Goapele’s personality perfectly. “Both the album title and the song represents a new day and yet another opportunity to live the life we want to life,” Goapele explains. “This is what keeps me inspired and motivated.” Collaborating with an array of creative folks including Kerry "Krucial" Brothers, Bobby Ozuma, Malay and Bedrock, this is also the first project Goapele has worked with other songwriters. “Writing lyrics has always been such a personal process for me, but for Break of Dawn, I decided to take some of the pressure off of myself,” she says, laughing. Songwriter Carman Michelle teamed-up with Goapele and producer Krucial to help compose one of the album’s most heartfelt songs “Hush,” a beautiful lullaby written for her four-year-old daughter. “For the first time I felt I didn’t have to do everything myself.” Another emotionally charged track is “Tears on my Pillow,” a sorrowful song that explores death, abandonment and separation. Produced by Bobby Ozuma, “Tears on my Pillow” is a hard-hitting soulful song that explores Goapele's more bluesy side.

Growing-up in Oakland, her politically activist parents helped Goapele develop her musical taste by taking her to countless concerts. “Both of them loved music, so we’d go to shows,” Goapele says. Her father was a politically exiled South African who knew many of the musicians. “They were often friends of the family, so they would let me go on stage to sing and dance with the backup singers.”

Indeed, a little bit of the James Brown/Prince vibe comes through on the hypnotic-funk of “Money.” As the last song recorded for Break of Dawn, she says, “Although I’m a naturally laidback person, I felt I need a song to kick up the tempo a little bit. Malay played me a funky bassline and we just took the song from there. The subject of money is stressing out so many people these days, but I wanted folks to realize it’s not more important than relationships with other people.”

JOSH MILAN PRESENTS HONEYCOMB MUSIC VOLUME 1

Following up to the massive success of "Your Body," Josh Milan has written and produced a full length CD - Josh Milan Presents Honeycomb Music Volume 1 - that features songs with some of his favorite seasoned artists as well as fresh and new talent, including Sandra St. Victor, ChinahBlac, Crystal Johnson, Cinnamon Brown, Honey Sweet, and a few others have lent their talents to complete this project. Josh Milan is a former member of the legendary combo Blaze – a group that so perfectly brought a genuine depth of soulful songwriting integrity to the dancefloor scene from the mid 80s house era onward. Now Milan carries on that tradition with the debut of his Honeycomb Music project. Milan wrote and produced each track on the 2-CD package – with some great voices from the contemporary scene and names we're seeing for the first time. “The project is an attempt to put live instrumentation and overall soul back into house music” Milan says. “Live instrumentation and strong songs stand out here, just as they did for Blaze” Most tracks on the CD run between 5 & 7 minutes, and include songs by Angela Johnson, Crystal Johnson, T'Zelle, Lamone, Honey Sweet feat Cassio Ware, Chinahblac, Lamone, Sandra St. Victor and others. Titles include "Kipepeo" by T'Zelle, "Raul Rosario, We Miss You" by Honey Sweet, "Forever I Do" by Angela Johnson, "GOD" by Dawn Tallman, "Under The Moonlight" by Cinnamon Brown, "Who Am I" by Crystal Johnson, "Your Eyes" by Lamone, "Till You Go Home" by Chinahblac and more.

Milan, the record label's owner and creative force, has written and produced some of the most popular music in dance music history. After 20 years of writing, recording, and performing music as the former member of Blaze and for other artists such as Grammy award winning producer "Little Louie" Vega, dance music artist Barbara Tucker and producing giant Kenny "Dope" Gonzalez, Milan has finally launched his own record company, Honeycomb Music. In a short time, Honeycomb Music has quickly become a name synonymous with class and has even enjoyed its first taste of success when the single, "Your Body," went to #1 around the globe, fast becoming one of the hottest releases of the year. "There is a lot of live instrumentation that the industry has gotten away from. That's the main reason I'm starting Honeycomb Music. I wanted to be in full control of the music that comes out. Labels like to have a hand in your music. The industry has a way of dictating what some producers feel they should produce. I'm choosing to march to my own BEAT. After this project comes out, I will be finishing my solo project. I'm looking forward to an extremely creative year!"

CHRIS STANDRING & KATHRIN SHORR - SEND ME SOME SNOW

On their warm and inviting first collaborative collection on Ultimate Vibe Recordings, renowned contemporary jazz guitarist Chris Standring, and the award winning folk/pop singer/songwriter, Kathrin Shorr, celebrate "the most wonderful time of the year" with a unique vintage pop/jazz vibe that draws on traditions of the past while blazing new trails for the ever-popular genre. While evoking feelings of nostalgia for days gone by, the ten witty, charming and easy grooving originals make the perfect fresh accompaniment for a whole new set of inspiring Yuletide memories.

Driven by the dynamic blend of Standring's crisp electric and acoustic guitar and Shorr's soulful voice, smart phrasing and clever lyrics, Send Me Some Snow features top L.A. based musicians, including bassist Larry Steen and drummer Dave Karasony, who played on Standring's ambitious, largely autobiographical 2010 recording Blue Bolero-a set which spawned the hit radio single "Bossa Blue" (the #1 Billboard Contemporary Jazz Track of the Year). Other key players complementing Standring and Shorr's exciting chemistry are bassist Dan Lutz, pianist Mitchel Forman and longtime Standring associate Dino Soldo, who adds harmonica magic to "Christmas Ain't Christmas" and tenor sax, clarinet and EWI to "Mistletoe Moon." Also carrying on the rich textural elements of Blue Bolero, many of the tracks on Send Me Some Snow feature a four piece string quartet featuring two violins, a viola and cello.

While both were enjoying remarkable success in their individual genres, Standring first met Shorr several years ago at a party where he was so blown away by her singing that he grabbed his guitar and joined her. They became close friends over the next several years and Standring decided on a whim to send her a track he had been working on that sounded like the start of a Christmas song. Though she was on a writing retreat working on material for Sweet Talk Radio--the popular folk/pop duo she has with her husband Tim Burlingame--Shorr came up with a strong melody and unique lyrics. "Send Me Some Snow" became the catalyst and eventual title track for what evolved into a full-fledged project.

"I had been pondering the idea of recording a Christmas album for a number of years," Standring says, "but the thought of recording yet another version of 'Jingle Bells' didn't inspire me in the least. I knew Kate had an affinity for holiday songs and she did a wonderful version of 'Winter Wonderland' at Hotel Café, so I thought it might be fun to see if she might want to write a Christmas song together. When I sent her the track that developed into Send Me Some Snow, I didn't think it would grow into something this substantial. But everything developed organically. I invited her to my studio and we wrote another, then another. If we had contrived a full album from the start, I don't think it would have been as incredible an experience.

"Once we got rolling," the guitarist adds, "an overall concept took shape and we focused on vintage sounding original songs with lush string arrangements, old school type vocal sounds, organic drum sounds and upright bass-almost as if you might hear these songs on a classic LP from the 40s or 50s. Throughout the process, it occurred to us, much to our surprise, that we were creating something very original that few if any artists in our genres had done in the past. We couldn't find anyone who had done an entire album of originals with this kind of vintage sound. Our creativity was spurred by the desire to do something fresh and new but that would tug at people's hearts like the standards do. Christmas music has an emotional power like no other to bring on feelings of nostalgia and sentimentality.

Tongue firmly planted in cheek, Standring says that for him, the best part of the experience was when Shorr-also British born-brought over chocolates and tea for him to share. "The entire project flowed effortlessly from beginning to end" he says. "When you work with someone you vibe so well with, it's like you're coming from the same place creatively. We 'get' each other musically and that's a rare thing to discover." Shorr says, "I tried to come at the theme as originally as I could, looking for new ideas that hadn't been done much before. I think the second song we wrote was 'Dear Santa' which is from the perspective of Mrs. Claus and what her Christmas is like every year. That was a good jumping off point for us."

Standring and Shorr launch the set with the title track, featuring a cool shuffling jazz groove behind her whimsical lead vocal and harmonies, all wrapped around the theme of wanting for Christmas the one thing money can't buy. It's a unique twist on the desire for a white Christmas and giving that to the one you love. On "Someone's Gonna Get Something (For Christmas)," the duo creates a charming and infectious sing-a-long around the story of a woman who suspects she might be proposed to on this special day. Shorr says, "It's an amazing compounding of goodness, offering hope for the future on the perfect day for it." Shorr draws on her extensive folk/pop background for the soulful, jazz inflected romp "I've Got A Thing For Jack," as in Frost.

The duo also recognizes that for many, Christmas can be a melancholy time of year, a notion they express beautifully on the graceful and slightly bittersweet "Christmas Ain't Christmas." The deep emotions are enhanced by Soldo's harmonica and Standring's thoughtful nylon string lines. They try something edgy on the sassy, funked up pop/rocker "Naughty or Nice," creating distortion around Shorr's lead vocal and adding finger snaps and a touch of blues. The gentle, plaintive ballad "Dear Santa" was inspired by Shorr's reflection on the loneliness Mrs. Claus must feel being alone on Christmas Eve while her hubby brings joy to kids all over the world. The cleverly titled "Mistletoe Moon" is old fashioned holiday fun at its best, a contemporary take on the swinging big band sounds and vocal harmonies (a la The Andrews Sisters) of the past. Shorr describes it as "a song that leans towards Christmas but whose sentiment about getting caught up in romance applies throughout the year."

Anyone who lives in sunny climes can relate to the soft folk/pop flavored "Christmas in Tinseltown," which is what happens when two artists who live in Southern California write and produce a Christmas recording during the summer when it's 80-90 degrees out. While it includes imagery specific to Hollywood, the track is really about the fact that all the glitz in the world doesn't compare to the glow of love between two people when the lights go down. "There's No Time Like Christmas Time" is all about the sights and sounds of Christmas, looking forward to the season and being full of optimism. Send Me Some Snow wraps with the collection's wistful and romantic "Through the Holidays," written from the point of view of someone pleading with a lover to love them through the holidays before making any fateful decision about their relationship.

As they raise a toast to their dynamic collaborative recording, Standring and Shorr have a great deal to celebrate this season. One of contemporary urban jazz's most popular artists since the late 90s, Standring in 2010 followed his popular solo recordings Soul Express and Love and Paragraphs with Blue Bolero, a personal, expansive artistic statement (on his own label, Ultimate Vibe) featuring a trio and orchestral arrangements which represented a 180 degree departure from the "in the pocket" grooving instrumental style he was best known for. The single "Bossa Blue" spent eight weeks at #1 on the Billboard contemporary jazz radio chart and was declared the #1 contemporary jazz track of the year. In 2007, he achieved similar success as the co-writer of the Rick Braun/Richard Elliot hit "RnR," which was #1 for over two months.

Since Sweet Talk Radio, the folk/pop duo of Shorr and her husband Tim Burlingame, released their critically acclaimed debut album My Hallelujah in 2009, they have enjoyed numerous TV licensing placements and a vigorous touring schedule. Over the years, their music has been heard on "Army Wives," "Haven," "Beautiful People," "Fairly Legal" and "In Plain Sight," and the duo have also scored several independent films. They play regularly in Los Angeles at venues like The Hotel Café and have performed at numerous folk festivals throughout the Western U.S.

Standring and Shorr made their live debut together in October at the Catalina Island Jazz Trax Festival. "Chris and I are really excited about Send Me Some Snow," says Shorr, "and I hope that people who love Christmas music and have a thing for the classics will 'get' it too. I'm inspired by the widespread success in recent years of original holiday songs like Sara Bareilles and Ingrid Michaelson's 'Winter Song.' Send Me Some Snow is our contribution to an historically beautiful landscape of music. It's that music that inspired us to throw our own hats in the ring and go back in time when melody was king and romance was everything."

Chris Standring & Kathrin Schorr - Send Me Some Snow
1.Send Me Some Snow

2. Someone's Gonna Get Something (For Christmas)

3. I Got a Thing for Jack

4. Christmas Ain't Christmas Without You

5. Naughty or Nice

6. Dear Santa

7. Mistletoe Moon

8. Christmas in Tinseltown

9. There's No Time Like Christmas Time

10. Through the Holidays

DEXTER GORDON - THE COMPLETE COLUMBIA ALBUMS COLLECTION

This brand new compilation from Columbia includes 6 great albums on 7 CDs, with each individual album packaged in a replica mini-LP sleeve reproducing the album's original cover art.  In addition, there is a booklet with full discograpical information, rare photos and liner notes.  The box-set is produced by Michael Cuscuna, co-directed by Woody Shaw III, with liner notes by Cuscuna and Gordon's widow and long-time manager, Maxine Gordon.

There are no second acts in American lives” wrote F. Scott Fitzgerald, a man who never would have put those words to paper had he lived to see Dexter Gordon’s triumphant late career revival. Actually, the great tenor saxophonist had a number of “second acts” during his lifetime. Yet the late 1980’s flourish that found Gordon (1923-1990) an international star and an Oscar nominee could hardly be topped for a dramatic finale. Gordon may have come of age in the Swing Era worshipping the dual tenor deities Coleman Hawkins and Lester Young, but he made his mark during the subsequent rise of bebop, translating Charlie Parker’s revolutionary rhythmic and harmonic language to the tenor saxophone. From 1945 to 1962 “long tall Dexter” (LTD) maintained his status as one of the unimpeachable tenor titans, notwithstanding prison spells that somehow never stalled his momentum. Relocating to Europe, Gordon, his ear ever open to stylistic changes in jazz, retained his celebrity.

On returning Stateside in 1976, Gordon was signed by Columbia Records, who documented him on the celebratory Homecoming: Live At The Village Vanguard. Subsequent albums found Gordon, still in fighting shape and now receiving higher public visibility than ever before, turning out a series of acclaimed recordings that united him with younger associates including Bobby Hutcherson, Woody Shaw, and George Cables.
Gordon’s ultra hip manner and regal bearing made him a natural for films, and in 1986, he starred in Round Midnight in a role loosely based on both Bud Powell and Lester Young, ultimately garnering a deserving Academy Award nomination. (Gordon also appeared in the posthumously released Awakenings alongside Robert DeNiro and Robin Williams.) He went out a “star, ” a role he had already embodied in the jazz world for some five decades

Gordon Dexter - The Complete Columbia Albums Collection includes:
Homecoming: Live At The Village Vanguard [2 CDs] (1976)
Sophisticated Giant (1977)
Manhattan Symphonie (1978)
Live At Carnegie Hall (1978)
Gotham City (1980)
Bonus Tracks ( a new compilation disc of bonus material)