BIG BROTHER AND THE HOLDING COMPANY FEATURING JANIS JOPLIN - LIVE AT THE CAROUSEL BALLROOM 1968

Columbia/Legacy Recordings has announced the release of Live at the Carousel Ballroom 1968, a previously unavailable live concert recording of Big Brother and the Holding Company featuring Janis Joplin, recorded June 23, 1968 by legendary soundman Owsley Stanley, a/k/a "Bear," who supervised the mastering of this release before his fatal car accident on March 12, 2011, in his adopted homeland of Australia. The release of the album marks the one-year anniversary of his passing and is dedicated to Bear.

"Care was taken to preserve and ensure the integrity of the music as well as to present an accurate snapshot of the masterful talent of one of the greatest singers of her generation and one of the hottest live bands in the San Francisco scene," wrote Bear's widow, Sheilah Stanley, in her dedication to Live at the Carousel Ballroom 1968. "This is Bear's vision -- how he heard the band live, and how he wanted to transmit that to you... this truly is Bear's presentation of this phenomenal band and inspirational music."

Cited by San Francisco rock scribe Joel Selvin as "truly one of the fathers of today's concert sound systems," Owsley Bear Stanley "supervised the sound at the Carousel Ballroom, a former big band dance palace at the corner of Market and Van Ness in downtown San Francisco that, for a few brief, glorious months in 1968 was operated by a collective formed by the Dead, Jefferson Airplane, Quicksilver Messenger Service and Big Brother and the Holding Company, a social/musical laboratory experiment akin to inmates running asylums, whose six-month run may well have corresponded with the height of the whole '60s Haight-Ashbury/San Francisco thing...."

An essential and pivotal figure in the San Francisco counter-cultural scene, from beatniks to hippies to beyond, Bear began mixing live sound with the Grateful Dead in 1966 and ran the sound system for the Carousel until Bill Graham took over and rechristened it the Fillmore West in the autumn of 1968. From his first days with the Dead, Bear would record the shows he was involved with as a way to improve his live system set-ups. Bear's "sonic journals" are generally regarded as the gold standard for live concerts from the psychedelic era.

"What is key about these moments captured by Owsley is that they're a true representation of what this mythic band really sounded like live," notes rock scribe Jaan Uhelszki in her essay on Janis and Big Brother's enduring ability to astound and surprise. "The rough magic, the explosive synergy, the dangerous frisson of boundaries being demolished between artist and audience....these 14 songs are a testament to what a force of nature Janis Joplin and Big Brother and the Holding Company was during these two nights at the Carousel Ballroom. Showing them at the zenith of their considerable power, it is so fortunate that this recording was ever made -- only two months before their break up. This is one of the few living documents of that propitious and monumental pairing."

"He viewed these recordings as windows into the past," wrote Bear's son, Starfinder Stanley, in his notes for Live at the Carousel Ballroom 1968. "So this is not just a live recording of Janis Joplin singing with Big Brother and the Holding Company. This is an auditory portal that...can transport you back to the short-lived but incredible world of the Carousel Ballroom in 1968."

Big Brother and the Holding Company Featureing Janis Joplin -
Live at the Carousel Ballroom 1968
tracklisting
1. Combination Of The Two
2. I Need A Man To Love
3. Flower In The Sun
4. Light Is Faster Than Sound
5. Summertime
6. Catch Me Daddy
7. It's A Deal
8. Call On Me
9. Jam - I'm Mad
10. Piece Of My Heart
11. Coo Coo
12. Ball & Chain
13. Down On Me

Bonus Track:
14. Call On Me (Saturday Show - June 22, 1968)

PAN AM: MUSIC FROM AND INSPIRED BY THE ORIGINAL SERIES

Pan Am: Music From and Inspired By the Original Series, a collection of music from and inspired by the ABC television drama, slated for January 17, 2012 CD release from Verve Music Group, is a non-stop flight back to the early ’60s. The collection features 14 songs by Buddy Greco, Bobby Darin, Ella Fitzgerald, Stan Getz & João Gilberto with Antonio Carlos Jobim, Peggy Lee, Shirley Horn, Sergio Mendes & Brasil ’66, Billie Holiday, Count Basie, Brenda Lee, Connie Francis and Dinah Washington, plus new artists Grace Potter and Nikki Jean.

According to the Verve Music Group’s SVP of A&R Jay Landers, “The Pan Am series goes to great lengths to capture the dawn of the jet age with accuracy, and music plays a vital role. Many of the artists of the era are found in the classic Verve catalog so it was a great synergistic opportunity.” Also, S-Curve/Universal recording artist Nikki Jean sings the Lennon & McCartney classic “Do You Want To Know a Secret.”

The TV series Pan Am follows the travels of a young flight crew as they set off on international adventures at the dawn of the Jet Age in the 1960s. The show captures a time when only a few could experience a global adventure or gain a front-row seat to history. Those lucky enough flew Pan Am, the largest, most prestigious airline in the world. More than Coca-Cola, Elvis Presley or the transistor radio, Pan Am exported American culture to the world abroad and brought that world back to American shores. The crew travels to intoxicating cities such as Paris, Berlin, Monte Carlo and Rome and bumps into history along the way. Through their eyes, Pan Am revisits an era nearly half a century ago. So, buckle up . . . adventure calls . . . and thank you for choosing Pan Am.

Track List:

1. Buddy Greco – “Around The World”

2. Grace Potter – “Fly Me To The Moon”

3. Bobby Darin – “Call Me Irresponsible”

4. Ella Fitzgerald – “Blue Skies”

5. Stan Getz & João Gilberto w/Astrud Gilberto and Antonio Carlos Jobim – “The Girl From Ipanema”

6. Peggy Lee – “New York City Blues”

7. Shirley Horn – “The Best Is Yet To Come”

8. Sergio Mendes & Brasil ’66 – “Mais Que Nada”

9. Billie Holiday – “Just One More Chance”

10. Count Basie – “I Can’t Stop Loving You”

11. Brenda Lee – “Break It To Me Gently”

12. Nikki Jean – “Do You Want To Know A Secret”

13. Connie Francis – “Quando Quando Quando (Tell Me When)”

14. Dinah Washington – “Destination Moon”

New episodes of Pan Am will air starting January 8 at 10 p.m. ET/PT on ABC. The series stars Christina Ricci (“Penelope”) as Maggie, Margot Robbie (“Neighbours”) as Laura, Michael Mosley (“Justified”) as Ted, Karine Vanasse (“Polytechnique”) as Colette, Mike Vogel (“The Help, ” “Blue Valentine”) as Dean and Kelli Garner (“Going the Distance”) as Kate. Series creator Jack Orman (“ER, ” “Men of a Certain Age”), Thomas Schlamme (“The West Wing, ” “Parenthood”), Nancy Hult Ganis (“Akeelah and the Bee”) and Steven Maeda (“Lie to Me, ” “Lost”) are executive producers. Pan Am is produced by Jack Orman Productions, Out of the Blue Entertainment and Shoe Money Productions in association with Sony Pictures Television.

LATIN JAZZ - DENGA & EL MAJA - ROBIN JONES AND HIS QUINTET

The CD features 2 classic Latin jazz LP's (Denga and El Maja) that were recorded in the UK in the early 1970's featuring the Robin Jones Seven - a band comprising the leading exponents of the genre at the time. The 2 LP's were recorded live at CTS studios in London with no 'over-dubbing'. The recordings featured on this CD represent rare examples of Latin Jazz recorded in England where, with the possible exception of Kenny Graham (in the early 50's) there had been little or no Latin Jazz to speak of. However, Latin music had first become popular in England during the 30's with the Rhumba craze that followed worldwide success of 'El Manicero'. This was followed by the samba and conga dances of the 40's.While the music of New York bands lead by Tito Rodriguez, Machito, etc. were known to some in England during the 50's, it had not been as freely available and popular as that typified by George Shearing with his quintet line up. During the 60's, Brazilian music also became very popular through the recordings of Stan Getz and Sergio Mendes. However, until the formation of this band, the UK based Latin ensembles such as those led by Edmondo Ros, Roberto Ingles, although very popular, were only watered-down imitations of Latin Big bands in the US and more often that not, ignored many of the conventions of Latin music. These bands in an attempt to achieve broad popular appeal, favoured Latinised versions of tunes familiar to English audiences.

Robin Jones & His Quintet
Denga [03:19]
Goodbye Batucada [03:32]
Urubu [03:15]
Autumn [03:27]
Con Fuego [04:07]
Zapatos Amarillos [03:12]
Africa Revisited [03:14]
El Sueno [03:19]
Surfaticket [03:04]
My Summer Love [03:01]
Tristeza [03:16]
Sucio Mambo [02:36]

The Robin Jones Seven
El Maja [03:21]
Santa De La Luna [03:28]
Oya [03:03]
Atlas [07:05]
Batucada Da Vida [04:32]
The Wailer [03:20]
Chant Afrique [03:43]
El Lobo [03:04]
Carica Papaya [02:40]

SANDY BARBER - I THINK I'll DO SOME STEPPING ON MY OWN / DON'T YOU WORRY BABY

Records are made every day, released every week, and even with the best will in the world this means that scores of records are ignored or lost from the moment that they are pressed. However it is also true that the collector, the DJ and the fanatic are all out there looking for something that can lift their soul. So there is always hope that if your record is good enough, one day it will be discovered and revered. Artists as diverse as Terry Callier, David Axelrod and Vashti Bunyan have all benefited from this effect, and if there is any justice in the world so should Sandy Barber’s album The Best Is Yet To Come.

Born in New York City on June 8th 1955, Barber grew up and attended school just across the river in Englewood New Jersey. With the encouragement of her big family she was singing from an early age at any events that would have her. As a teenager she came second at the legendary ‘Talent Night’ at the Apollo Theatre in Harlem. The Apollo was known throughout America as the premier venue of the African American circuit, and was infamous for its tough audience. Even stepping onto that stage was a challenge, but to finish in the top three was a serious achievement.

The appearance at the Apollo was heard by Chris Curry who arranged for Sandy to audition for David Jordan a producer who was working on a group called Rare Pleasure. He had a song called ‘Let Me Down Easy’ and felt that Sandy’s voice was perfect for it. The record released on Cheri Records became a club anthem – today probably better known for being sampled by David Morales on his hit ‘Needing U’ – with Sandy’s vocals perfectly capturing the songs pleading nature. Sandy didn’t enjoy working with a group and went out on her own soon after, a decision that was vindicated when a mutual friend introduced her to the producer, writer and record label owner Clyde Otis, who Sandy describes as ‘her mentor’. Otis liked what he heard and signed her immediately to the deal that would produce her album The Best Is Yet To Come.

When he signed Sandy he was bringing with him over a quarter of a century of knowledge and experience and he used it all in putting together the record. The vocal arrangements were handled by Tasha Thomas, the incredible singer who had made her name in the stage play of ‘The Wiz’, who recorded the wonderful ‘Shoot Me (With Your Love), at the time one of the hottest singers on the scene. The musical arrangements were by Nat Adderley Jr, son of the jazz trumpeter, and a brilliant keyboard player in his own right, who had recorded with the group Natural Essence on Fantasy.

The album opens with ‘Look Out Sky’ which lays out the stall for the whole album. A glorious uplifting soul song that benefits from the thoughtful arrangement that allows for plenty of space within the record for the voice to shine through. ‘I’ve Got Something Good’ has a pounding four to the floor rhythm and a great horn arrangement as Sandy tells about her good thing. Especially notable on this track is the vocal backings that mimic and sing along with the rising synthesiser part. ‘The First Time’ takes the tempo way down and is a jazz based ballad reminiscent of Marlena Shaw’s ‘Go Away Little Boy’, with a fine string arrangement. The first side ends with the fantastic ‘Don’t You Worry Baby (The Best Is Yet To Come), seven minutes of carefully arranged ecstatic soul. The record builds from a elongated intro, through some banked backing vocals to the full on song, before dropping into an instrumental middle section of strings and saxophone, and an improvised out-section where Sandy’s voice comes right back in.

The album has become sought after in recent years for the cut that opens up side two ‘I Think I’ll Do My Stepping At Home’, once more the rhythm section and its arrangement proves to be the perfect foil for Sandy’s love-worn but defiant voice. This is followed by the discofied version of the theme to ‘Wonderwoman’ the late 70s TV staple starring Linda Carter. This contrasts with the vibrant, but extremely jazzy ‘Can’t You Just See Me’ which rolls along on an astounding piano part and some bluesy guitar. The original album ends with the emotional overload of the second ballad of the album ‘Stay Here With Me’, a fitting showcase for Sandy’s voice.

‘Wonder Woman’ was lifted as a single, possibly in the hope that it would get sales on the back of the success of the TV series, and it was backed by a non-album B-side, ‘Remember Me’ another cut that could have sat very well on the album. Access to the master tapes at Otis’ Argon productions has allowed us to unearth four previously unreleased tracks including the lovely ‘Let’s Get Back Together’, that appear to have been recorded later, possibly for a follow up album for The Best Is Yet To Come.

Sandy continued singing, joining the group Blue Moderne who released records on Roll and Atlantic, before appearing solo as Sandy B on Vinylmania, Nervous and King Street amongst others. She lives in New Jersey and continues to sing in and around New York.

Out now is the single taken from the forthcoming album The Best Is Yet To Come - Deluxe Edition. It comes with instrumental and new mixes by John Morales and Al Kent.

I Think I'll Do Some Stepping On My Own b/w Don't You Worry Baby - Sandy Barber

I Think I'll Do Some Stepping On My Own - Sandy Barber

I Think I'll Do Some Stepping (On My Own)(John Morales Vocal Mix) -

I Think I'll Do Some Stepping (On My Own)(John Morales Alternative Mix) - Sandy Barber

I Think I'll Do Some Stepping (On My Own)(John Morales Instrumental Mix) -

I Think I'll Do Some Stepping (On My Own)(Al Kent's Classic Mix) - Sandy Barber

I Think I'll Do Some Stepping (On My Own)(Al Kent Disco Jam) - Sandy Barber

Don't You Worry Baby (The Best Is Yet To Come) - Sandy Barber

Don't You Worry Baby (The Best Is Yet To Come)(John Morales Vocal Mix) -

Don't You Worry Baby (The Best Is Yet To Come)(John Morales Jazz'd Up Mix (Instrumental))

BOSSA NEGRA - SUMMER SAMBA

Bossa Negra is a musical concept created by producers Howard Lee and Sérgio Luiz Brandão with the aim of making Brazilian music accessible outside of Brazil without compromising the integrity of the music. The result of this pioneering collaboration has resulted in the first ever studio recording of well-known Brazilian songs rearranged, reinterpreted and sung with Chinese and English lyrics. In addition to the project’s lyrical reinterpretation of well-known Brazilian songs, the producers have also created the first ever fusion of Chinese, Australian and Brazilian music into one album. By taking popular songs from China and Australia, Bossa Negra has pioneered a new direction in world music by recording these songs with a Brazilian arrangement and incorporating instruments from each of these countries.

Giants of the Brazilian music industry were recruited to write the arrangements for this album including Renato Fonseca (who toured with Djavan on keyboards), Luiz Brasil (whose arrangements have appeared on the albums of Caetano Veloso, Gilberto Gil & Gal Costa), Marco Brito (Ivan Lins’ current pianist) and Sérgio Luiz Brandão. The album was recorded in Rio de Janeiro Brazil in 2009 and consisted the crème de la crème of Brazilian musicians including the following Grammy winners: Armando Marçal - multiple recipient of numerous Grammys for his role as the percussionist of Pat Metheny’s band during the 1990’s; Renato Fonseca - “Best Brazilian Song” received in 2000 for his role as the keyboardist and programmer on Djavan Ao Vivo album; and Marco Brito - “Album of the Year” & “Best MPB album” as the pianist for the album Cantando Histórias with Ivan Lins received in 2005.

Other musicians include Cassio Cunha (Alceu Valena), Carlos Balá (Djavan), João Viana (Djavan’s son), Cesinha (Caetano Veloso), Pantico Rocha (Lenine) on drums, Luiz Brasil (Gilberto Gil, Gal Costa), João Castilho (Djavan, Simone) on guitars, Jesse Sadoc, Marcelo Martins, Aiduas Ayres (Joao Bosco) on horns, Marco Lobo on percussion, William Barton on didgeridoo, Aria nominee Jacqueline Gawler and “asian new talent” recipient Joanna Dong on the vocals. Special guests include Samba legend Tia Surica of Portela Samba School, Paulinho da Viola’s daughter Eliane Faria, Brazilian rock legend Evandro Mesquita plus Grammy recipient and Brazilian pop sensation Jorge Vercilo.

Sérgio Luiz Brandão (co-producer - Brazil): With hundreds of albums and thousands of performances to his credit, Sérgio Luiz Brandão, the multi-instrumentalist, bass virtuoso, arranger, composer and producer has been a monumental figure in the Brazilian, latin and jazz scene for the past 40 years both in Brazil and the USA. They include; Antonio Carlos Jobim, Sérgio Mendes, Jaco Pastorius, Astrud Gilberto, Jeff “tain” Watts, João Bosco, Gilberto Gil, Marcos Valle, Johnny Alf, Wanda Sa, Michele Camillo, Kenny Kirkland, Flora Purim, Chico Freeman, Airto Moreira, Paquito D'Rivera, Gato Barbieri, Jon Lucien, Herbie Mann, Toots Thielemans, Naná Vasconcelos, Randy Brecker, Carlos Franzetti, Dom Um Romão, Trilok Gurtu, Jorge Dalto, Nara Leão, Leny Andrade, Cyro Baptista, Romero Lubambo, Toninho Horta, Café, The Black Eyed Peas, Will.I.Am, John Legend and Tania Maria. Sérgio Luiz Brandão also co-produced Ivan Lins’ album Juntos with Quincy Jones in 1984. The album was a blockbuster with both critical and commercial acclaim in this USA/Brazil coproduction. Sérgio was instrumental in recruiting the musicians that performed on this record including: Nana Caymmi, Djavan, Tim Maia, Elba Ramalho, George Benson, Verônica Sabino, Erasmo Carlos, Simone, Patti Austin, Paulinho da Viola, Beth Carvalho and Marcus Miller.

Howard Lee (co-producer Hong Kong- China): Musician, promoter and producer Howard Lee was first exposed to Brazilian music whilst playing with various jazz bands in China and Australia. To further explore his curiosity in Brazilian music, he travelled to Brazil in 2003 for almost 2 years. The aim of the trip was to study the many facets of Brazilian music, culture, and the historical/social context in how music plays a role in Brazilian society. These cities included Rio de Janeiro, Salvador, Recife, Porto de Galinhas, Olinda, Belo Horizonte, Ouro Preto, Manaus, Foz do Iguaçu and Sao Paulo. During this period he had the fortunate opportunity to study with some of Brazil’s most respected musicians including the drummer of Hermeto Pascoal’s band for the past 20 years Márcio Bahia, Edu Ribeiro from Yamandu Costa’s band as well as percussionists from Mono Bloco and Mangueira samba school.

Upon the return of this trip, Howard Lee has made it a mission to promote Brazilian music wherever he goes. This included the formation of the Hong Kong Bloco, the first samba percussion ensemble of it’s kind in the region as well as being the founder of the band Bossa Negra.

Album information:
Lead Vocals Mandarin: Joanna Dong

Lead Vocals English Jacqueline Gawler

Guitars: João Castilho

Bass: Sérgio Luiz Brandão

Keyboards/Piano: Renato Fonseca

Percussion: Armando Marçal

Sax: Paulo Levi Teixeira

Drums: João Viana

Arranger: Renato Fonseca (based on Marcos Valle’s live performances)

Backing Vocals: Jacqueline Gawler

Recording Engineer: Fabricio Matos

Mixing Engineer: Nicolas Kalwill

Mastering Engineer: Greg Calbi

Recording Studio: Fibra Studios - Rio de Janeiro, Brazil

Recording Studio (Joanna's vocals): Resonance Audio – Singapore

Mixed at Estudios Panda - Buenos Aires, Argentina

Mastering Studio: Sterling Sound New York

English Lyrics: Norman Gimbel

Mandarin Lyrics: Joanna Dong

http://bossanegra.com/

TONY BENNETT - DUETS II THIRTEEN GREAT PERFORMANCES

Tony Bennett made music history with the Grammy-nominated CD Duets II when it debuted at the top of the Billboard Album charts, making Bennett the oldest vocal artist ever to achieve the number one spot. Recently nominated for three Grammys, including Best Traditional Pop Vocal, Best Pop Duo/Group Performance, and Best Instrumental Arrangement Accompanying Vocalist(s), the critically acclaimed album followed the 85-year-old singer's Grammy-winning 2006 Duets CD, which had, in turn, been released in honor of his 80th birthday.

Tony Bennett: Duets II, a presentation of Thirteen Great Performances, features the singer's greatest hits, performed by Bennett and today's biggest stars, including John Mayer, Michael Buble, k.d. lang, Sheryl Crow, Willie Nelson, Queen Latifah, Norah Jones, Josh Groban, Faith Hill, Alejandro Sanz, Carrie Underwood and more. The sessions, filmed to capture the magic of these performers singing with the master of the Great American Songbook, airs on Friday, January 27, 2012, at 9 p.m. on PBS (check local listings).

The album took more than six months to record, with each track recorded face-to-face with his singer partners in studios around the world, from LA to Nashville to London. Among the many highlights is Amy Winehouse's last recorded track ("Body and Soul"), which was produced in London's famous Abbey Road Studios in March. Other tracks were recorded in New York in late July: the Richard Rodgers-Lorenz Hart classic, "The Lady Is a Tramp," with Lady Gaga, and the Alan and Marilyn Bergman classic, "How Do You Keep the Music Playing," with Aretha Franklin, and "Stranger in Paradise," with Andrea Bocelli, recorded at the singer's Italian home (see full track listing below).

The CD received kudos from all quarters. The Wall Street Journal noted that the singer was "…constantly reaffirming his position as pop music's greatest living patriarch," and Associated Press observed, "Tony Bennett is as timeless as the songs he sings on Duets II.'" The musical segments are highlighted by insights on the process from the performers, making for an up-close look at one of the year's most celebrated recordings. The sessions were filmed by Oscar-winning cinematographer Dion Beebe ("Chicago," "Memoirs of a Geisha," "Collateral"), providing a personal, behind-the-scenes look at Bennett's latest collaborations and his artistic approach with each song.

Entering his seventh decade as a recording artist with more than 100 albums and 15 Grammy Awards including the Grammy Lifetime Achievement Award, Bennett has earned his legendary status many times over. He remains the Columbia recording artist with the greatest longevity at the label. His 2007 primetime special, "Tony Bennett: An American Classic," won seven Emmy Awards and was directed by Academy Award winner Rob Marshall. He has performed for Presidents Eisenhower, Kennedy, Johnson, Carter, Reagan, George H.W. Bush, Clinton, George W. Bush and Obama. He also worked with and marched alongside Martin Luther King in his 1965 civil rights march and was honored with the Martin Luther King's Salute to Greatness Award.

In addition to performing, he is a visual artist as well, with three of his original paintings featured in the permanent collection at the Smithsonian, including his portraits of Ella Fitzgerald and Duke Ellington. His humanitarian efforts are renowned, and the United Nations honored him with their Humanitarian Award in 2007.  He has published three books — his autobiography, The Good Life, and two collections of his paintings, Tony Bennett: What My Heart Has Seen and Tony Bennett in the Studio: A Life of Art and Music. Bennett founded, in association with the Department of Education in New York City, the Frank Sinatra School of the Arts — a public arts high school in his hometown of Astoria, Queens. With his wife, Susan, he established Exploring the Arts, a charitable organization that supports arts education in NYC public high schools. Exploring the Arts supports 14 public high schools throughout New York City.

The full song program follows:

"The Lady Is a Tramp" (Lady Gaga)

"One for My Baby (And One More for the Road)" (John Mayer)

"Body and Soul" (Amy Winehouse)

"Don't Get Around Much Anymore" (Michael Buble)

"Blue Velvet" (k.d. lang)

"How Do You Keep the Music Playing" (Aretha Franklin)

"The Girl I Love" (Sheryl Crow)

"On the Sunny Side of the Street" (Willie Nelson)

"Who Can I Turn To (When Nobody Needs Me)" (Queen Latifah)

"Speak Low" (Norah Jones)

"This Is All I Ask" (Josh Groban)

"Watch What Happens" (Natalie Cole)

"Stranger in Paradise" (Andrea Bocelli)

"The Way You Look Tonight" (Faith Hill)

"Yesterday I Heard the Rain" (Alejandro Sanz)

"It Had to Be You" (Carrie Underwood)

UNÉ

UNE’s musical journey begin in the Jeffrey Projects in Detroit “the motor city,” as one could only imagine would be the birthplace of an R&B singing phenomenon. Encouraged by his mother at an early age to use his God given talent, UNE’ would perform with his brothers and close friends at various venues in Detroit. There the self-taught singer/songwriter UNÉ (pronounced “you nay”) came to be and started developing his natural gift…his voice. chose this name to express his universal, eternal and soulful spirit. UNE’ also has performed in various stage plays in Detroit and in the mid-west area, where he met Ernest Thomas (Raj) television star from the hit TV show “What’s Happening” and “Everybody Hates Chris” (Mr. Omarr). Afterwards, UNE’ moved to the L.A. area to further his music career and teamed up with Ernest Thomas and Carmela C. Martin to form Unet Music & Entertainment, where he completed his self-titled CD UNE’. Which was produced by Sterling G. and co-produced by Carmela C. Martin. And recently, UNE’ formed UneMusic to further develop himself as an independent artist.

My goal is to make music that touches the very soul of a person. To take them on a journey with me, whether it’s traveling the byways of love or the passages of hurt, I want my music to be a spiritual ride we (the listener) both could share in. When you hear UNE’ on his self-titled CD, you experience his heartfelt sound---smooth, strong and at the same time, gentle. As he sings about life’s journeys, you know that he has experienced a myriad of peaks and valleys. His sojourns in romantic relationships give his music a deep resonant texture, as evidenced by his song “I Can Remember.” When you listen to “I Really Love U Love,” “You Complete Me” and “I Won’t Complain”, you will know this singer/songwriter has been there. Cuts like “Lady You Are” and “Hit Da Shaw” emanated from people in his life who were close to him. UNE’s lyrics are tangible, real not fabricated nor written by a detached source.

Like his Motown predecessors, he carries the magnetism that legendary greats such as Marvin Gaye and Smokey Robinson possess. His sound is divine whether accompanied by instruments or a cappella. The soul of his music stems from bittersweet realities of love, life and the hurt and joy that it can bring.

UNE’ has performed his music at various venues in the U.S. and abroad in Manchester and London, England under Soulchoonz Promotions. And currently UNE’ is performing an acoustic version of his smooth soul/R&B music accompanied by jazz/blue guitarist, Albert John in the L.A. area. At such venues as the “House of Blues” in Hollywood and Busby’s in L.A. under Surge Events Promotions.

One fan commented, “I love your CD and your live performance was even greater! UNE’ touches the heart and spirit of his audience”.

http://www.unesongs.com/

http://www.unemusic.com/

www.myspace.com/unesongs

www.facebook.com/unesongs

www.youtube.com/UneMusic

RAF VILAR - STUDIES IN BOSSA

Studies In Bossa is the debut album from Rio-raised, London-based Raf Vilar on the Far Out label. Vilar fits in perfectly with bossa-influenced sounds of Sabrina Malheiros and Clara Moreno. On Studies In Bossa Vilar moves between Portuguese and English vocals through tracks that evoke the great bossa nova, folk and samba of 60s and 70s Brazil whilst incorporating global jazz and electronica. It’s breezy, airy melodies and light arrangements with enough classic bossa craft to stand the test of time! Raf is the nephew of the legendary Ivan Conti, so it's safe to say that he's got this stuff in his blood. The arrangements are mostly laidback, but filled with unfakeable love and passion for easygoing bossa, with some of the best tracks featuring just Raf's vocals and a guitar – but the more arranged numbers with piano, bass, sax and additional percussion are great, too.

Recorded with musician friends in London the relaxed atmosphere allowed Vilar’s beautifully unhurried songs to flourish. Producer and bossa nova enthusiast August Jacobsen, best known as Hunsley & Guz and resident DJ at some of London’s biggest clubs such as Fabric and The Egg, provided the electronic elements especially present in "Solidão," which mixes synthesizers with the accordion. That zestful quirky edge comes out through the album with the sounds of toys, books, keys and coins in the pocket blending perfectly with more traditional instrumentation.

Studies In Bossa draws on many of the singer-songwriter’s influences; as diverse as Jewel and Tom Waits' folk; samba from Noel Rosa; and original bossa nova from João Gilberto and Chico Buarque. Raf’s love of jazz came from his uncle Ivan Conti who is the drummer for Far Out legends' Azymuth, hence his eventual link to the label.

Inspired by a childhood close to the slums of Rio de Janeiro, Raf now lives in a bohemian warehouse in Brick Lane, London. Although in his early 20s the maturity of the song-writing on tracks such as "Então Ve," a pure bossa in which he sings about making the most of life’s opportunities, shines through.

On "Por Um Amor Qualquer," he uses raw samba as a perfect album opener to introduce his sound before taking these studies in bossa through the harmonica-led folk of "So no Ar;" the simple beauty of acoustic guitar and soft vocals on "Perfeito;" and "Amargo Amor," infused with fado from the Portuguese ancestry of Brazil.

With this recording Vilar is unveiled to an international audience. Until now undiscovered, the quality and beauty of these recordings is undoubted: a rare nu-bossa star has arrived.

Tracklist:
1. Por Um Amor Qualquer
2. Bossa Me
3. Sem Ter Voce
4. Imaginar Voce
5. Le Com Cre
6. So no Ar
7. Perfeito
8. Entao Ve
9. Eu Sei
10. Amargo Amor
11. Solidao
12. Lullaby

NICOLA CONTE PRESENTS VIAGEM 3: A COLLECTION OF 60S BRAZILIAN BOSSA NOVA AND JAZZ SAMBA

Travelling back to 1960’s Brazil the Viagem series takes its third voyage. Digging further still Brazilophile and Italian jazz don Nicola Conte has re-discovered eighteen choice rarities 1963 - 1970. As the global centre for all that was musically chic, these bossa nova and samba jazz hybrids blend the passion of South America and Africa with the sophisticated style of Europe and North America. Often written to take bossa back to the people and in protest against the dictatorship that took hold in 1964 these long-neglected classics are expertly conjured together by Blue Note and Schema recording artist Conte. Poetic and wildly evocative the mix perfectly mirrors the creator’s laid-back cool and a swinging cosmopolitan Brazil. Nicola Conte’s love and dedication to Brazilian music is astounding. Evident in his own soulful approach to his music Conte has brought to the fore a truly legendary era in jazz and Brazilian music that has until the Viagem series been long forgotten. The selection of so many undiscovered tunes is sure to reignite the flames for many who have been digging for these rarities since their initial popularisation.

According to Nicola Conte…“On Volume three I researched further to find tracks that are even more obscure. With a wider range to the earlier Viagem volumes – including tracks from the early 1960s though to 1970 – the music of Viagem 3 is deeper and uncovers many brilliant unknown artists who recorded EPs, but never full albums. There is of course beautiful bossa nova here with truly great arrangements, but this is not just a compilation of bossa. For a more contemporary feeling I’ve tried to give a view on a different side of Brazilian music by incorporating darker Afro rhythms and very far out melodies and atmospheres currently so popular in the London and Tokyo scenes. This special taste is most impressive on the spiritual and haunting finale by Werther. There is a strong jazz feel to most of the tracks, which hint on the jazz club scene, some playing an important part in the Brazilian jazz story. The instrumentals from Bossa Trio, Wan Trio, Brasil 40 Graus have long been staples of my DJ set and some of my very favourite tracks from the record collection. Dalmo Castello’s track ‘Fora de Hora’ impressed me most with Edu Lobo inspired strings and broken samba. Lobo’s mid-60s sound - influenced by the new bossa sound, elements of northeastern music and socially conscious lyrics - has a strong resonance with many of these recordings as protest songs deeply unpopular with the rising Brazilian military dictatorship. These are fine classics that define this time of great creativity and change. I truly believe that this period was the peak of Brazilian music.”

Nicola Conte Presents Viagem 3 Tracklist:

1. Dalmo Castello - Fora de Hora

2. O Triangulo - Vocé Que Nao Vem

3. Luiz Carlos Sá - Canto Do Quilombo

4. Aizita - Faz De Conta

5. Octons - Tokyo Blues

6. Vera Brasil - Vai Joao

7. Walter Matesco - Mar Amar

8. Marisa Barroso - Sem Fim

9. Marcio Diniz - Mulata Dengosa

10. Carlos Sodre - Samba De Negro

11. Bossa Trio - Tema em Do

12. Kazinho - O Samba Ta Ficando Bom

13. Herique Benny & JT Meirelles - Chegar De Brigar

14. Wan Trio - Selvagem

15. Eliana Pittman - Batucada Negro

16. Claudia - Macumba

17. Brasil 40 Graus - Copa 70

18. Werther - Litoral

TERENCE BLANCHARD - RED TAILS

World-renowned film composer and musician Terence Blanchard has completed the score for the soundtrack for Lucasfilm’s Red Tails. A high-flying action epic inspired by the heroic exploits of the first all African-American aerial combat unit, The Lucasfilm Ltd. production of Red Tails will launch on January 20, 2012, released by Twentieth Century Fox. Produced by Rick McCallum and Charles Floyd Johnson, the gripping WWII actioner is directed by Anthony Hemingway (“Treme,” “The Wire,” “Battlestar Galactica”). Red Tails stars Academy Award winner Cuba Gooding, Jr., Academy Award nominee Terrence Howard and Emmy Award winner Bryan Lee Cranston. The film addresses racial prejudice, war and showcases the human spirit as it rises above all odds. Produced by Lucasfilm Ltd., Red Tails began development by George Lucas over 20 years ago. Several writers contributed to the script, but ultimately John Ridley completed the screenplay. Producers interviewed surviving original Tuskegee pilots and even gained access to official logbooks from their missions in World War II. The film was shot in Croatia, Czech Republic, Italy and England, and the film score was recorded in Prague as well with an 85 piece orchestra.

Terence Blanchard’s work on Red Tails comes fresh off the heels of his critically acclaimed score for the Broadway play, The Mother****** With The Hat starring Chris Rock. He is currently at work on the music for the Broadway remake of A Streetcar Named Desire and has been commissioned by the Opera St. Louis for a project that will premiere in 2013. As a film composer, Blanchard has more than 50 scores to his credit and received a Golden Globe nomination for Spike Lee's 25th Hour. In 2009, Blanchard loaned his musical voice to Louis the Alligator in The Princess and the Frog. He has completed scores for Lee's Miracle at St. Anna, the soundtrack for Darnell Martin’s Cadillac Records and Guy Moshe’s adventure thriller Bunraku (Demi Moore, Woody Harrelson and Josh Hartnett). Other film music written by Blanchard includes Kasi Lemmons' Eve's Bayou and Talk to Me, Oprah Winfrey's Their Eyes Were Watching God, Tim Story's Barbershop and Ron Shelton's Dark Blue.

Blanchard’s music was also recently seen in Spike Lee/HBO’s If God’s Willing And The Creek Don’t Rise, commemorating the fifth anniversary of the Hurricane Katrina disaster and the sequel to the critically-acclaimed 2006 film, “When The Levees Broke.” The film shows the current state of Blanchard’s native New Orleans five years after Hurricane Katrina, and follows the lives of several individuals and their families in the aftermath of one of the worst disasters to occur in U.S. history. Blanchard won a Grammy for his 2007 CD “A Tale of God’s Will (A Requiem for Katrina),” which included tracks from Levees.

Terence Blanchard has established himself as one of the most influential jazz musicians and film score masters of his generation, a member of a jazz legacy that has shaped the contours of modern jazz today. With more than 29 CD’s to his credit, Blanchard is a four-time Grammy Award winner and has received multiple Grammy nominations as well as a Golden Globe nod. His latest CD, “Choices,” was released by Concord Jazz in 2009 to widespread critical acclaim. Recorded in New Orleans at the Ogden Museum Of Art -- itself a survivor of Hurricane Katrina -- “Choices” addresses the choices we all make in life – both as a society and on a personal level. Guest artists on “Choices” include writer, speaker, educator and activist Dr. Cornel West and singer, musician and composer Bilal. West performs spoken word pieces on the album with Bilal providing vocals on several of the tracks.

http://www.terenceblanchard.com/

QUINTIN GERARD W. - BEFORE IT'S GONE

Quintin Gerard W. is blazing the trail and catapulting Urban/Smooth/Contemporary Jazz music into a future of substance, strength, and popular appeal! Before It’s Gone, the newest CD project for Quintin Gerard W. is an amazing collecting of melodic moods, with funky beats and satisfying sensual grooves! It starts with a funky, sweet, soulfully atmospheric soprano groove, and then eases into a hypnotically trippy chill mode, complete with cool ambiance, spacey sound effects and clever sax/flute harmonizing! Quintin also sprinkles in a lovely and soothing female voice for flavor, while never losing his dynamic sax improvisations. This CD also keeps the mood upbeat, lighthearted and he even throws in a bit of high-energy 90s house music! Before It’s Gone also taps into Quintin’s love of gospel and adds graceful flute touches. Quintin proves he is a true multi-instrumentalist as he handles some of the album’s keyboards himself. However, he emphasizes that he “plays keyboards and piano as a songwriter and producer only,” and he delivers with an incredible collection of tunes that are full of rich, powerful vibes that proves this music is

Before It's Gone Tracklist:
1. Sweet Ladies 4:35

2. Our Day Will Come 5:29

3. Like This Like That 4:15

4. When Things Don't Go So Well 6:52

5. Before It's Gone 5:22

6. Night Time Pleasure 1:39

7. The Asymptote 4:11

8. Foster's Child 4:15

9. Be Happy People 4:06

10. Words Can't Explain 4:47

11. Buy That Ring 5:20

12. Nevada Nights 5:45

13. Test My Love Again 4:54

GINA CAREY / JOHN CAREY - LOVE LETTERS / SMOOTH & FUNKY

Gina Carey

Soul singer Gina Carey is ready to take the music industry by storm once again as she prepares to drop her 6th CD release Love Letters on Valentine’s Day, February 14, 2012. Love Letters includes 10 songs all well written, arranged, composed and produced by Gina Carey. Love Letters is a combination of Soul, R&B, funk and & smooth jazz. Her husband Soul /Jazz Guitarist John Carey has also dazzled this CD with his guitar licks. “This project is going to be my best work ever!” Quotes Gina Carey. “This is the first album that I have ever had complete creative control over. Now, those who enjoy my music will finally get the chance to hear the Gina Carey. Gina deems her husband as her greatest inspiration for these incredible Love songs. My mission is to ignite to world to love again.”

Gina’s last CD Melodic soared all the way up the #1 spot on the UK Soul charts. She shared the Top 30 charts will soul divas Jill Scott, India Aire and Aretha Franklin. Melodic was also named one of the Top Soul Albums of the year in the November/December 2011 issue of “Soul Brother Records,” one of the largest Records stores still standing in the UK. Gina anticipates the same if not more success from her new upcoming Valentines gift Love Letters.



John Carey



However, Gina Carey is not the only one in the Carey household that’s making noise in 2012. Her husband and tour partner “The Urban Soul Guitarist” John Carey is about to pluck his strings yet another time with his new upcoming 5th CD release Smooth and Funky. Smooth and Funky will be available on March 1, 2012. John’s eclectic rhythmic style continues to fascinate listeners worldwide as he includes a verity of 80’s Soul, Latin and Smooth Jazz tunes. All songs were perfectly written, composed, arranged and produced by non other than John Carey himself. John produced Gina Carey last CD Melodic. Modest vocal contribution from his wife Gina Carey can also be heard on John’s CD.

John Carey quotes, “Although I love to play smooth jazz music, I also enjoy playing many other styles of music as well. Smooth Jazz, Soul , Blues, Hendrix and Santana. I don’t want to be in a box known as only a smooth Jazz Guitarist, I want to be known a as a guitarist who plays good music. I want to give my listeners the very best of me." John’s last CD New Beginnings soared all the way up the #8 spot on the UK Soul charts and was recently named one of the Top Smooth Jazz Albums of the year 2011 along with Smooth Jazz Guitarist Nick Colionne in the November/December 2011 issue of “Soul Brother Records.” Just like his wife Gina, John is excited and is looking forward to exceeding to success of New Beginnings with his new upcoming CD Smooth and Funky.

TOM WETMORE - THE DESIRED EFFECT

The buoyant grooves and graceful melodies heard on the forthcoming CD The Desired Effect serve to introduce a fresh new voice in jazz—Tom Wetmore, whose Crosstown Records will release the pianist/composer’s exceptional debut, The Desired Effect, on January 17. The 29-year-old Massachusetts native has been active on the New York scene since 2005, leading his own traditional jazz trio as well as his eclectic sextet. He’s also performed and/or recorded with Clark Terry, Slide Hampton, T.K. Blue, Bernard Purdie, and the fine contemporary players showcased on his new disc.

Its nine tracks feature a uniquely voiced frontline of alto saxophone and two lead guitars, with Wetmore playing electric Rhodes piano throughout, utilizing time signatures that shift frequently within each composition. “It’s really two lead guitars,” he says of the frontline. “There’s no rhythm guitar. When I compose I think of the guitars and sax as contrapuntal voices, and it really allows for some interesting explorations.” The nucleus of Wetmore’s sextet began forming during his graduate studies at William Paterson University, where he earned a master’s degree in Jazz Performance in 2007. He’s joined on The Desired Effect by alternating alto saxophonists Jaleel Shaw and Eric Neveloff, guitarists Brad Williams and Justin Sabaj, electric bassist Michael League, and drummer Garrett Brown. The CD title was inspired by a line from the song “P. Funk (Wants to Get Funked Up)” from Parliament’s Mothership Connection (1975): “The desired effect is what you get when you improve your interplanetary funksmanship.”

“It’s my odd little way of saying that this music isn’t about having a story, or meaning, or any type of grand idea,” explains the pianist. “It’s about the desired effect—which stands in for all the different kinds of beauty people could find.” Or as Wetmore writes in his liner notes: “This music is about being true—or, at the very least, striving to be true. It is about beauty, about being touched. When you allow yourself to be touched, The Desired Effect is what you get.”

As a teenage piano student, Wetmore was introduced to the music of Miles Davis and Herbie Hancock, and within months had landed a regular gig playing jazz standards at a local café. He went on to study physics and government at Cornell University, but before completing his undergrad work he took a semester off to study in Boston with legendary pianist and composer Ran Blake. “I’ve never really encountered anybody who has worked out a way to truly transcend style like Ran,” he says of studying with Blake. “I learned how to be true to improvising. Every note really comes from inside you, not from a pattern or a lick or from a solo you transcribed.”

Currently, Wetmore keeps a disciplined regimen of writing at least one new composition each day and posts the scores on http://www.tomstuneaday.com. In a “very natural next step for me,” he intends to pursue doctoral studies in jazz performance in the near future. “I prize myself as an instinctual natural performer and composer,” he says, “but I also believe in contributing to scholarship. I think that working toward a Ph.D. would create a solid balance between performance and scholarly pursuit, which would allow me to become a better jazz musician overall.”

Upcoming CD release shows for The Desired Effect include the Tea Lounge in Brooklyn, 1/19, and Somethin’ Jazz Club in Manhattan, 2/4. Wetmore will be playing electric piano, with guitarists Brad Williams and Justin Sabaj; bassist Matt Turowski, and drummer Garrett Brown. Alto saxophonist Jaleel Shaw is set to appear at the Tea Lounge show, Eric Neveloff at Somethin’ Jazz.

KNEW YOU WERE WAITING: THE BEST OF ARETHA FRANKLIN 1980-1998

The 70th birthday of Queen Of Soul Aretha Franklin, winner of 15 Grammy Awards® and the first female ever to be inducted into the Rock and Roll Hall Of Fame, will be celebrated on March 25, 2012. In honor of this momentous occasion, and also in advance of Black History Month in February, Knew You Were Waiting: The Best Of Aretha Franklin 1980-1998 will be available on January 31, 2012. Knew You Were Waiting puts the spotlight on Aretha's hitmaking years as an Arista Records artist, working closely with Arista founder and president Clive Davis. Davis served as executive producer of Knew You Were Waiting, which was compiled and produced by Leo Sacks, known for his work on last year's definitive box set, Take A Look: Aretha Franklin Complete on Columbia, as well as scores of historic Soul and R&B projects for Legacy Recordings over the past two decades.

The new chronologically-sequenced, 16-song collection is the first major U.S. release to focus on the nearly two-decades string of hits that marked Aretha's tenure at Arista. These range from her label debut, 1980's #3 comeback R&B smash "United Together" (her first Top 5 hit in over three and a half years), to 1998's iconic #5 R&B entry, "A Rose Is Still A Rose," written, produced and arranged by Lauryn Hill of the Fugees.

"When Aretha Franklin signed to Arista Records in 1980," writes Ernest Hardy in his liner notes to Knew You Were Waiting, "she had nothing left to prove… She had redefined the terms and reset the boundaries of both R&B and pop. She had sung jazz, gospel and blues, and erased the lines between them. She embodied the beauty that was Blackness while providing a soundtrack to the Civil Rights movement of the 1960s. She had worked with the very best songwriters, musicians, producers, arrangers and visionaries, and proved herself to be one of the best singers, songwriters, musicians and visionaries the music industry had ever seen." Hardy is an award-winning cultural critic and essayist based in Los Angeles.

Underscoring Hardy's point, Aretha's Arista years were indeed marked by a steady flow of successful collaborations with contemporary music's "very best songwriters, musicians, producers, arrangers and visionaries." Virtually every track on Knew You Were Waiting supports this, starting with "United Together," which was written and produced by Chuck Jackson (known for his career-making hits with Natalie Cole), and features Aretha's beloved Sweet Inspirations on backing vocals (the 'original' lineup of Cissy Houston, Myrna Smith, Sylvia Shenwell and Estelle Brown). Likewise, "Love All The Hurt Away," a duet with George Benson, was written by Sam Dees, and produced by the late Arif Mardin, the legendary producer who worked on so many of Aretha's early breakthrough '60s and '70s Atlantic LPs.

Lauryn Hill, Arif Mardin and Chuck Jackson are just three of the important producers with whom Aretha worked at Arista. In addition to tracks produced by Luther Vandross (with arrangements by Marcus Miller), Narada Michael Walden, and Kenneth 'Babyface' Edmonds, Knew You Were Waiting also includes tracks produced by Keith Richards of the Rolling Stones and Dave Stewart of the Eurythmics.

In addition to the collaborations above, Knew You Were Waiting contains many more A-list collaborations that have become cornerstones in the Aretha canon:

•"Freeway Of Love" (1985), featuring the late Clarence Clemons of the E Street Band on tenor saxophone, Randy Jackson on bass, and percussion by the Santana rhythm section, was a #1 R&B hit for 5 weeks, and went on to win the Grammy Award® for Best R&B Female Vocal;

•"Sisters Are Doin' It For Themselves" (1985), a Top 20 pop hit with the Eurythmics' Annie Lennox and Dave Stewart (who produced), also features [Tom Petty] Heartbreakers band members Benmont Tench (organ), Stan Lynch (drums), and Mike Campbell (lead guitar);

•"Jumpin' Jack Flash" (1986), a Top 20 R&B and pop crossover smash duet with Keith Richards (who produced and played lead guitar, along with fellow Rolling Stones guitarist Ron Wood), was the title song from the movie Jumpin' Jack Flash starring Whoopi Goldberg;

•"I Knew You Were Waiting (For Me)" (1986), a duet with George Michael, was another mega-hit, #1 pop for a fortnight and #5 R&B, and winner of the Grammy Award® for Best R&B Vocal Duo;

•"Through The Storm" (1989), a Top 20 R&B and pop crossover hit vocal duet with Elton John, is one of two Albert Hammond/Diane Warren compositions (among many!) that were brought to Aretha by Clive Davis;

•"It Isn't, It Wasn't, It Ain't Never Gonna Be" (1989), a #5 R&B hit duet with Whitney Houston, is the other Hammond/Warren composition here, from the same album (Through The Storm); and

•"Ever Changing Times" (1991), a Top 20 R&B hit vocal duet with Michael McDonald, written and produced by the hitmaking duo of Burt Bacharach and Carol Bayer Sager, in a mix previously unreleased on CD.

Knew You Were Waiting as Hardy concludes, "makes clear that Aretha Franklin was a vibrant, soulful, stretching, creative, forceful artist at Arista Records. She kept her fingers on the pulse of the world around her while sating old fans and scoring new ones. Her music at the label was about a place that exists behind and beyond mere words... No one expresses joy the way she does. No one conveys grief or loss with anywhere near her force or heartbreaking precision. She burns right through the words she sings, taking you straight to the core. That is her unmatched genius."

Knew You Were Waiting: The Best Of Aretha Franklin 1980-1998
Tracklist
1. United Together (from Aretha, 1980)
2. Love All The Hurt Away - duet w/George Benson(from Love All The Hurt Away, 1981)
3. Jump To It (from Jump To It, 1982)
4. Get It Right (from Get It Right, 1983)
5. Freeway Of Love (from Who's Zoomin' Who?, 1985)
6. Who's Zoomin' Who (from Who's Zoomin' Who?, 1985)
7. Sisters Are Doin' It For Themselves - duet w/The Eurythmics (from Who's Zoomin' Who?, 1985)

8. Another Night (Who's Zoomin' Who?, 1985) 

9. Jumpin' Jack Flash (from Aretha, 1986)
10. Jimmy Lee (from Aretha, 1986) 

11. I Knew You Were Waiting (For Me) - duet w/George Michael (from Aretha, 1986) 

12. Through The Storm  - duet w/Elton John (from Through The Storm, 1989) 

13. It Isn't, It Wasn't, It Ain't Never Gonna Be - duet w/Whitney Houston (from Through The Storm, 1989) 

14. Ever Changing Times - duet w/Michael McDonald (from What You See Is What You Sweat, 1991) 

15. Willing To Forgive (from Greatest Hits (1980-1994), 1994)

16. A Rose Is Still A Rose (from A Rose Is Still A Rose, 1998)

CESARIA EVORA: 1941-2011

Cesaria Evora's death was announced by her managers. She had a stroke in 2008 and a heart attack in 2010. After another stroke this year, she announced her retirement.

Évora’s music was in a style called morna, which is sung in taverns on the Cape Verde islands: slow, pensive ballads with an underlying lilt, suffused with sodade, the Cape Verdean creole term for a nostalgic longing that pervades music across Portugal (where the word is saudade) and its former empire.

Évora was born on 27 August 1941 in Mindelo, Sao Vicente, Cape Verde. When she was seven years old her father died, and at age ten she was placed in an orphanage, as her mother could not raise all six children. In the 1960s, she started singing on Portuguese cruise ships stopping at Mindelo as well as on the local radio. It was only in 1985 when at the invitation of Cape Verdean singer Bana she went to perform in Portugal. In 1988 a Cape Verdean producer based in France, José da Silva, brought Ms. Évora to Paris to make an album. She sang about love, sorrow and history, including slavery, in a husky, dignified, unhurried contralto that brought warmth and gravity to songs by Cape Verde’s leading poets. She also sang in her country’s more upbeat styles, coladeira and funaná, but her serenely sorrowful mornas were her legacy. She always performed barefoot, a gesture of solidarity with poor women. A concert review in The New York Times described her as “a Yoda of melancholy” onstage.

Évora's international success came only in 1988 with the release of her first studio album La Dive Aux Pieds Nus recorded in France, which fused morna and coladeira with Caribbean, Brazilian and European pop.  Évora drew a following among Cape Verdean expatriates in Europe, but it was not until she returned to unembellished morna with her third album, Mar Azúl — a 1991 collection recorded with acoustic instruments — that her music began to reach a broader audience. Her 1992 album Miss Perfumado sold over 300,000 copies worldwide. Her 1995 album Cesaria brought her broader international success and the first Grammy Award nomination. In 1997, she won the KORA All African Music Awards in three categories: Best Artist of West Africa, Best Album and Merit of the Jury. In 2004, her album Voz d’Amour was awarded a Grammy in the world music category.

Évora toured the world through the 1990s and 2000s, expanding her repertory with Cuban and Brazilian songs on Café Atlántico in 1999, and collaborating with Bonnie Raitt, Caetano Veloso and the Cuban musicians Chucho Valdés and the Orquesta Aragón on her 2001 album São Vicente di Longe. Her final studio album, Nha Sentimento in 2009, introduced tinges of Arabic pop to her music from the Egyptian composer and arranger Fathy Salama.

When Évora announced her retirement this year, she told the French newspaper Le Monde: “I have no strength, no energy. I’m sorry, but now I must rest.” She died on December 17th at the age of 70, and is survived by her children, Eduardo and Fernanda, and two grandchildren. The government in Cape Verde declared two days of national mourning in her honor.

WILLIAM JOHNSON - FLOR DE VIDA

William Johnson has returned with his new Latin jazz & world fusion project Flor de Vida, and explores the textures of jazz, world music, rock, and contemporary with percussion leading the charge. Flor de Vida is a spirit and rhythm filled album that combines the strength of Grammy award winning musicians along with several internationally accomplished musicians from all over the world.

Having spent nearly eight years in the Air Force, William Johnson traveled extensively across the globe and developed a love for diverse forms of music. Drawing upon his Latin heritage, and being inspired by such musicians as Sheila E., William began to study the congas and bongos. This passion for global cultures, people, and music led him to study African, Middle Eastern, and classical forms of Indian music. William has studied classical tabla (small kettle drums from India) under Nikhil Tikkekar from Mumbai, India. In 2009 William started a percussion instruction podcast that has grown to reach thousands across the globe. The Heartbeat for Worship was established in 2007 and since has grown to receive notable press and attention from all over the world including Grammy award winning artists.

In 2009 William released his first solo project Freedom... Joybeat, a meditation album centered around world percussion. The Heartbeat for Worship DVD was recorded & released in 2010. It is a two hour DVD recorded in high definition and stereo surround sound, featuring seven drummers, violin, guitar, vocals, keys, and intense worship. Currently William is working on a film documentary of the Heartbeat for Worship including interviews and performances by world class drummers Luis Conte, Lou Santiago Jr., Al Sergel (of Key of David/ Jason Upton, and more), and more.