ERIC BIBB - TROUBADOUR LIVE

For four decades, singer-songwriter-guitarist Eric Bibb has criss-crossed the globe, captivating live audiences by bearing witness to the infinite complexities of the human experience – both the mundane and the spiritual – with music that’s steeped in the tradition of American blues and layered with generous shades of folk and gospel. He is, in every respect, a modern-day troubadour – heir to the legacy of Lead Belly, Woody Guthrie, Odetta and countless other great voices of the early and mid-20th century.

Bibb’s recording, Troubadour Live, captures one of those powerful live performances in an intimate but emotionally charged setting. Recorded in December 2010 at Katalin and All That Jazz in Uppsala, Sweden (about 50 miles north of Stockholm).

“After many ambitious studio albums, I really wanted to document and share with a wider audience what I’d been doing live on stage,” says Bibb. “Given my intensive touring schedule over the past couple years, there was a window of opportunity to involve some fine musicians whom I really love working with live as well as in the studio, and it all seemed to come together around this gig.”

Among these “fine musicians” is Swedish guitarist Staffan Astner, who has recorded and/or performed with a list of artists from every corner of the world and every style imaginable. Some of Astner’s past collaborators include Ray Charles, Ian Hunter, Celine Dion, Kim Richey, Roxette and many others.

Also on hand are Glen Scott, Andre De Lange and Paris Renita, the gospel trio collectively known as Psalm4. Over the years, Bibb has worked with all three vocalists individually and as a group on previous recordings and stage performances. “Knowing how well we’ve worked together in the past, I asked them to join me for a few of the tunes in this performance,” says Bibb. “It was a nice way to reconnect with some old friends.”
Troubadour Live opens with “The Cape,” a quiet and nostalgic ode to the value of childlike courage – at any age – in the face of the unknown. Astner steps in immediately after to lend a few tasty licks to the rousing “New Home,” a mix of country blues and churning gospel.

Further into the set, the easygoing “Shavin’ Talk” celebrates the simple pleasures of life, while “Tell Riley” pays tribute to blues giant B.B. King. “Staffan’s a huge B.B. King fan, and he was really able to get into that zone and play stuff that’s reminiscent of B.B. I found that to be really exciting.”

The spiritual and melodic “Connected” includes understated accents from Astner and a subtle piano interlude by Glen Scott, but “the crowning glory of that song is when Andre De Lange begins to sing in Zulu at the end of the song,” says Bibb. “Something really came together there. The song seemed to be a really good canvas for something special and spontaneous to happen, and we actually lived the theme of the song. We really connected.”

Paris Renita takes the stage and joins her Psalm4 colleagues for the stirring “New World Comin’ Through,” an often dark but ultimately optimistic view of a better future. Bibb says, “I think something powerful happens on this song, with beautiful vocals from Psalm4 and some great slide guitar from Staffan.”

In addition to the live material, Troubadour Live also includes two bonus tracks crafted in the studio. “Put Your Love First” is a country-flavored vocal duet that Bibb co-wrote and recorded with Australian singer-songwriter and multi-instrumentalist Troy Cassar-Daley. “If You Were Not My Woman,” meanwhile, is a straight-up reggae track with a simple backbeat and heartfelt, devotional lyrics.

“A live record is a way to give people a sense of the way an artist communicates with his or her audience,” says Bibb. “I think this record does that. It’s intimate, and that’s a big part of what I like to do.I play in front of larger crowds sometimes, but I think my forte is being able to get close to an audience on a given evening and deliver a message that they can take with them after they leave. I think Troubadour Live captures that moment of connection.”

AL DI MEOLA - PURSUIT OF RADICAL RHAPSODY

Following the much ballyhooed Return To Forever reunion tour of 2008 - guitarist Al Di Meola began refocusing his energies on his World Sinfonia band. Live in Seattle and Elsewhere documented his tightly-knit chemistry in concert on a 2009 tour with his acoustic ensemble of accordianist Fausto Beccalossi, second guitarist Kevin Seddiki, bassist Victor Miranda, drummer Peter Kazsas and Di Meola’s longtime collaborator Gumbi Ortiz on cajon and assorted hand percussion. Di Meola’s rhythmically-charged flamenco and tango inspired originals revealed his knack for advanced harmonies along with his embracing of simple, beautiful, alluring melodies. And although he may be a romantic at heart, he showed that he is still very much capable of flashing those legendary chops that graced his ‘70s classics like Elegant Gypsy and Casino.

On Di Meola’s recent outing, Pursuit of Radical Rhapsody, the guitar virtuoso and world music pioneer deals in more evocative and compelling sounds with his World Sinfonia ensemble, delivering hauntingly beautiful and deeply moving music from track to track. The collection kicks off with the entrancing, suite-like “Siberiana,” which opens with some tender call-and-response between Beccalossi’s accordian and Di Meola’s nylon string acoustic guitar before building to a turbulent section with searing electric guitar lines on top. On the affecting “Paramour’s Lullaby,” Di Meola takes a more deliberate approach on electric guitar, spinning warm, lyrical lines over the beautiful harmonies before engaging in spirited call-and-response with Beccalossi near the end of the piece. The rhythmically charged “Mawazine” (featuring percussionist Mino Cinelu) is broken up into two parts on the album and showcases some typically tasty electric guitar work by the leader.

The lushly cinematic “Michelangelo’s 7th Child” (featuring Hungary’s Sturcz String Quartet) has Di Meola utilizing subtle MIDI textures and colorations on his acoustic guitar while also showcasing some virtuosic runs. “Gumbiero” is a stirring Latin number underscored by Ortiz’s churning conga work. Sparks fly between Di Meola’s signature fretboard bravado on both acoustic and electric, Beccalossi’s facile accordion playing and Gonzalo Rubalcaba’s dazzling piano work on this spirited offering. “Full Frontal Contrapuntal” features some chops-busting unisons and intricate exchanges between Al’s MIDI-tinged acoustic guitar and Beccalossi’s accordian. The surging “This Way Before” and the evocative, flamenco inspired “Fireflies” both feature Di Meola alternating between acoustic and distortion-laced electric guitar licks. The stirring Latin flavored “Destination Gonzalo” and “Radical Rhapsody” both feature virtuosic contributions from pianist Rubalcaba and former Weather Report drummer Peter Erskine. The poignant “Bona” is a tender offering with the Sturcz String Quartet that features some of Di Meola’s most lyrical playing on the record. The leader also turns in soothing interpretations of two classic pop tunes, the Beatles’ “Strawberry Fields” and “Somewhere Over the Rainbow,” both of which feature the great jazz bassist Charlie Haden.

OTIS TAYLOR - CONTRABAND

Otis Taylor isn’t defined by any single category. A musical alchemist and a true innovator, Taylor has never been afraid to experiment beyond the blues tradition. He’s a master craftsman who has created his own signature “trance blues” style by melding haunting guitar and banjo work, syncopated rhythms and a combination of gruff vocals, shouts and yells with raw passion.


“When I sing, I just do what I do,” Taylor says. “Whatever comes out – that’s the way I leave it. And if I make a mistake, I leave it in. I like to keep the emotion.” Otis Taylor’s Contraband is evidence of that. Set for release February 13, 2012, on Telarc, a division of Concord Music Group, the subject matter on Taylor’s new album is familiar terrain as he sings of love, social injustices, personal demons and war.

The album takes its title from an article that appeared in the May/June 2011 issue of Preservation Magazine about runaway slaves who during the American Civil War escaped to the Union lines at Fort Monroe, VA (http://www.preservationnation.org/magazine/2011/may-june/the-forgotten.html). Known as “contraband,” they lived in camps where conditions were often worse than life on the plantation.

Otis Taylor’s Contraband isn’t just speaking to the African American experience, but to the entire human experience. “I’m not really a protest singer or even a very political person,” says Taylor. “I just try to tell an interesting story and let people interpret it as they wish.”

On Otis Taylor’s Contraband, the iconoclastic bluesman is reunited with several longtime collaborators including the supple-toned Ron Miles on cornet, pedal steel guitarist Chuck Campbell from American Sacred Steel gospel group The Campbell Brothers, djembe player Fara Tolno, a master drummer born in Guinea, West Africa, fiddler Anne Harris from Chicago, IL and the Sheryl Renee Choir. Bass is handled by Taylor’s daughter Cassie and Todd Edmunds. Rounding out the band are Jon Paul Johnson on guitar, Brian Juan on organ, and Larry Thompson, former house drummer for Colorado’s world-renowned Caribou Ranch recording studio.

The recording took an ominous turn in April 2010 when Taylor became victim of a serious illness and had to undergo major surgery. “I found out that I had a cyst connected to my liver and my spine,” he says. “I’ve always had a bad back, but the cyst was as big as a softball and it was pushing on the nerves in my spine. It was a pretty serious thing. So I went into the studio three days before the operation and recorded seven acoustic songs…just in case. If you listen to parts of the album carefully, you can tell I was in excruciating pain.”

Otis Taylor’s Contraband offers 14 compelling originals. “The Devil’s Gonna Lie,” a rousing showcase for the entire band, opens the album with Taylor’s trademark howls and a demonic laugh. As he writes in the liner notes, “When there is peace, the devil wants war. When there is love, the devil wants hate.” On “Yell Your Name,” one of the project’s original seven acoustic tunes, Taylor sings about a man wants his lover to come back.

The insistent rhythm of another acoustic love song, “Look To The Side” spotlights the distinctive sound of Taylor’s specially made electric banjo. Of the foot-tapping “Romans Had Their Way,” he says, “I wrote this song in the ’60s when I was a kid, listening to groups like the Kinks. This is the only old song on the album – all the rest are new.”

A stark meditation on race, “Blind Piano Teacher” tells the story of a young black piano teacher who lives with an older white man, while a man begs a woman for compassion on “Banjo Boogie Blues”

With its swirling guitars and hypnotic lyrics, “Contraband Blues,” a song about Civil War slaves who were held by the Union Army as contraband (or captured property), is the powerful centerpiece to the album. “During the Civil War, slaves were free, but not as people,” Taylor says. “We don’t usually think of people as contraband, but this is about treating humans as animals.”

The bleak and haunting “Open These Bars” – the longest song on the album – refers to the Jim Crow years in the South, when a black man could be lynched for just looking at a white woman. On “Yellow Car, Yellow Dog,” a poor man wishes he had money and could win the love of a woman. Taylor calls this “one of my more poetic songs.”

“Never Been To Africa” is the simmering tale of a black soldier who’s fought all over the world in World War I, but has never seen Africa. There’s desperation in Taylor’s voice when he sings “Cold sweat running down my leg, I can feel the gas coming across my face, I know I don’t believe in war, but I’ll fight anyway.”

On the final track, “I Can See You’re Lying,” Taylor captures the energy and emotion of romance and relationships perfectly. “It’s another one of my dark, twisted love songs,” he says.

By taking blues music as an art form to a higher level altogether, Otis Taylor’s Contraband is both subtle and challenging. Another thought-provoking entry in his canon, Taylor’s eighth Telarc album is the follow up to Clovis People, Vol. 3, released in May 2010.

“It’s all a balancing act,” Taylor says. “A new album has to be different, but you can’t be too different. It has to be the same, but not exactly the same. It’s like a riddle.”

PETER WHITE - HERE WE GO

After nearly four decades of writing, recording and touring, either as a sideman or a solo artist, Peter White still seeks out the road not yet traveled. Whether it’s new songs, new ideas, new styles or new collaborators, this virtuoso of contemporary jazz, classical, pop and Spanish guitar is at his best when standing on the edge of creative territory waiting to be explored.

This sense of adventure is at the heart of Here We Go, his new recording set for release on March 13, 2012, on Heads Up International, a division of Concord Music Group. The 11-song set, co-produced by White and long time collaborator DC (George Benson, Al Jarreau, Bob James, Jeffrey Osborne) includes a range of original material written in the recent and distant past and features guest spots from saxophonists David Sanborn and Kirk Whalum.

Like his previous album, Good Day (2009), Here We Go is a collection of songs written and recorded to move people on a level that’s beyond any preconceived concepts. “When I start recording, I don’t have a vision,” White freely admits. “I just go with the moment – what feels good, what sounds good. The vision comes out of the music. The music doesn’t come out of the vision.”

Some of the energy fueling this record is the realization of White’s longtime dream to collaborate with Sanborn, whom he’d met while playing in a live jam session with several other musicians just a couple years ago. In truth, White has been a fan of the saxophonist for decades. “David is someone whom I’ve wanted to play with for the longest time,” he says. “This is someone who played at Woodstock and recorded with David Bowie. His sound has become the inspiration for many of my contemporaries. He’s a legend to me and to just about every musician I know.”

The infectious title track was written with Sanborn in mind, “It came to me one day while I was driving,” White explains. “I kept thinking, ‘this has to be something outstanding. I can’t go to David Sanborn with anything less!’ The excitement about having him play on my record inspired an uptempo rhythm, so I took it in that direction.”

The album fires on all cylinders from the very first notes of “Night After Night,” the effervescent opening track that was culled from some of White’s older, unfinished material. “DC helped me finish this song,” he says. “He added a lot to the rough idea that I had put together years ago. This song and some of the other older ones were ideas that I’d been living with for so long that I could only think about them one way. It was really helpful to have someone like DC hear it for the first time and bring about a fresh approach.”

The powerful ballad “Time Never Sleeps” was written with friend and keyboardist Philippe Saisse, and was originally intended for Saisse’s next CD. “Philippe called me one day and suggested that it should go on my CD, so we reversed the order of the verses so that instead of him playing the first verse on piano, it was now me and my guitar. After many other changes in the arrangement it felt right to go on my CD and subsequently became the second track.”

The wistful “If Ever…” includes White’s 10-year-old daughter, Charlotte White, on violin. “The first time she brought the violin home and played a simple major scale for me, I was almost in tears. I thought it was the most beautiful thing I had ever heard. So I wrote this part for her, I set up the microphone at home and she played it. It’s a song about looking into the future. It’s about possibilities, about what one could do with one’s life if things were slightly different.”

“Our Dance” features the ever-soulful Kirk Whalum on saxophone. White has performed and recorded with Grammy Award winner Whalum many times since the mid-1990s and has often cited him as a major influence. “When Kirk plays, he can connect directly to your emotions”, White explains. The song plays out as a waltz, depicting a couple's relationship and its many intricacies before ending in beautiful harmony.

“Joyride” started with an electric guitar melody created by DC on top of a disco beat, and later embellished by White’s acoustic. “I added a classical guitar arpeggio on top of this slamming disco groove in an effort to create something that people would want to dance to ¬– a sort of latter day ‘Classical Gas’” says White, laughing.

“Costa Rica” is built on an energetic Latin rhythm featuring the congas and timbales of longtime associate Ramon Yslas (Patti Labelle, Christina Aguilera) and pays tribute to a place that White has visited and enjoyed a number of times. “Whenever I go there, I’m struck by the happiness of the people and the beautiful countryside,” he says. “Those are the things that I tried to capture in this song.”

The carefree “My Lucky Day” is White’s nod to Bob Marley and reggae in general. “I’ve always been a fan of reggae,” he says. “Of course, you have to listen to Marley to get the authentic sound. On this song I just tried to convey the passion of reggae in my own way.”

“Requiem for a Princess” is a piece that was written shortly after the death of Lady Diana in 1997. “That was an event that hit everybody hard, especially if you were English. I remember watching the funeral car on live TV moving through the countryside. At every village, people threw flowers on the car until it was just completely covered. I poured all of my sadness into this song and haven’t been able to record it until now, as the memory was too fresh. It’s all minor chords and descending lines- maybe the saddest song I have ever written.”

Here We Go is, in many ways, a study in diversity – a collection of the joyous and the poignant, the newly crafted and the vintage. “I wanted variety,” says White. “I wanted songs that moved me, in the hopes that they’ll move the listener as well. I’m on a journey, and I want to bring with me anyone who’s willing to follow. That’s what the title of the album – and indeed, the spirit of the album – is all about.”

KIRK WHALUM'S LIVE 'ROMANCE LANGUAGE' CONCERT ON VALENTINE'S DAY...

Instead of dealing with crowded, overpriced restaurants on Valentine's Day, stay home, light a few candles and let Grammy winning saxophonist Kirk Whalum set the mood for romance with a live two-hour concert streaming at 11:30 PM ET/8:30 PM PT in conjunction with the release of his 29th album, Romance Language. In partnership with Portland Prime, Hilton Portland & Executive Tower and BMW & MINI Portland, the February 14th webcast powered by StageIt and shared around the world via Whalum's Facebook page will include a backstage camera offering viewers a rare glimpse behind the scenes. On February 18th, there will be a rebroadcast of the Valentine's Day concert at 8 PM ET/5 PM PT with a live question and answer session with Whalum.

The essence of Romance Language is Whalum's reimaging of the classic album of duets recorded in 1963 by sax titan John Coltrane and sterling vocalist Johnny Hartman. Whalum's contemporary version showcases his younger brother Kevin's velvety voice. They recorded all six timeless standards that comprise the original collection utilizing fresh arrangements and live-sounding production by Whalum and John Stoddart, Whalum's musical director and keyboardist. The Rendezvous Music release includes a few romantic R&B-pop instrumentals that Whalum believes to be modern standards along with a show-stealing vocal performance by Kirk & Kevin's 83-year-old uncle, Hugh "Peanuts" Whalum.

Romance Language is available as the world's first complete LiveAudio optimized album for JAMBOX by JAWBONE, a leader in personal mobile technology devices. LiveAudio allows music to be enjoyed in a 3D-like, surround sound experience from a single, small Bluetooth wireless speaker. During the live stream, Whalum will give away a JAMBOX and announce an exclusive JAMBOX offer as a gift to his fans.

The musicians scheduled to accompany Kirk, Kevin and special guest Hugh "Peanuts" Whalum on the Valentine's Day webcast from the Hilton Portland & Executive Tower are Stoddart (keyboards), Marcus Finnie (drums), Braylon Lacy (bass), and Kevin Turner (guitar).

Additional information about Whalum is available at http://www.kirkwhalum.com/.

LONNIE LISTON SMITH - A SONG FOR THE CHILDREN / EXOTIC MYSTERIES

Wonderfully warm work from the late 70s years of Lonnie Liston Smith – material from his key stretch a Columbia Records, a time when he'd really learned to tighten up his groove a bit from earlier years, yet still keep all the deeper soul intact! The set kicks off with Song For The Children from 1979 – a set done by Lonnie with help from Bert DeCoteaux, who's still clearly aiming the record at the soul side of the spectrum – using Lonnie's cosmic blend of keyboards, rhythms, and vocals just the right way – and hitting some sounds that are a bit more righteous than other Columbia Records fusion acts of the time. Some cuts feature lead vocals by James Robinson – and other instrumentation includes saxes from Dave Hubbard and guitar by Ronnie Miller. The album kicks off with the soul jazz number "A Song For The Children", and other tracks include "Aquarian Cycle", "Street Festival", "Gift Of Love", and "Midsummer Magic". (Note that the reissue leaves off the track "Fruit Music", due to space restrictions.) Exotic Mysteries is one of the fullest-sounding albums ever cut by Lonnie Liston Smith – but one of the greatest albums too! The set has Smith really taking off a bit more than on his work for RCA or Flying Dutchman – hitting some fuller sounds in the studio, thanks to backings arranged by Berg DeCoteaux, who's clearly trying to push Lonnie's groove a bit more towards a soul fusion audience of the time, yet always without losing any of the righteous energy that makes the music so great. There's a wonderful blend of acoustic and electric keyboards on the set – wrapped up in bits of strings, and propelled strongly to the skies with some great rhythms that include bass work from a young Marcus Miller, who also wrote some of the tracks on the set. Vocals aren't often in the lead – usually just sung by a chorus, if at all – and some of the best numbers here have a laidback groove that's totally wonderful – nice and mellow, with lots of room for the keys! Tracks include "Quiet Moments", "Space Princess", "Night Flower", "Mystical Dreamer", "Magical Journey", "Singing For Love", and "Exotic Mysteries".  

Source: Dusty Groove

LET IT BE ROBERTA: ROBERTA FLACK SINGS THE BEATLES AVAILABLE ON AMAZON FOR $3.99!

Roberta Flack, the four-time Grammy Award-winning artist, is back after an eight year absence with a brand new album, Let It Be Roberta: Roberta Flack Sings The Beatles — a collection of Beatles song interpretations. As part of the "Daily Deal" promotion with Amazon.com, the digital download of the full album will be available for purchase at Amazon's MP3 store for $3.99 on Monday, February 6th and will include 2 bonus tracks. The first single "We Can Work It Out" is currently racing up the charts at several different radio formats including AC, Urban AC and Smooth Jazz. Buzz continues to build within the press. Says Marc Myers in the Wall Street Journal: "On each track, Ms. Flack transforms the familiar with her penetrating, soulful voice and passionate phrasing...as comebacks go, Ms. Flack's seems to be well under way." Ms. Flack has also been planning a series of tour dates to coincide with the release of the album. Newly signed to a partnership of 429 Records, Sony ATV Music Publishing and Flack's RAS Records, the album which was produced by Sherrod Barnes, who has also produced Beyonce' and Angie Stone, with contributing producers Jerry Barnes and Barry Miles, is slated for release on February 7th worldwide (Sony Music will release the album in Japan).

Roberta Flack has long been known as an unparalleled musician who effortlessly inhabits the worlds of pop, soul, R&B, jazz and folk. From her very first recording , "The First Time Ever I Saw Your Face" which hit #1 in the U.S across all charts, Flack has created strong emotional bonds with her listeners through her poignant musicality and unerring stylizations while also shining an uncompromising light onto the culture and politics of the times. Since bursting onto the scene in 1969 with the blockbuster album First Take (produced by the legendary Joel Dorn), she's followed her fiercely uncompromising lyrical and musical muses earning her a place alongside pioneering artists such as Aretha Franklin, Elton John, and Nina Simone. A multiple Grammy winner, she is the only artist along with U2 to win "Record of the Year" in consecutive years (for "The First Time Ever I Saw Your Face" and "Killing Me Softly"). Although she's taken some time between recordings, she's never stopped performing having constantly toured worldwide. Flack, a national treasure gives her time freely to a host of charitable and humanitarian causes--among them, the ASPCA (spokesperson of the year for 2011) and the Roberta Flack School of Music in Bronx, NY (which she founded in 2006).

Let It Be Roberta: Roberta Flack Sings The Beatles Track Listing:

In My Life

Hey Jude

We Can Work it Out

Let It Be

Oh Darling

I Ahould Have Known Better

The Long & Winding Road

Come Together

Isn't It A Pity

If I Fell

And I Love Her

Here, There, and Everywhere

LENNY WILLIAMS - UNFINISHED BUSINESS

Oakland, California native Lenny Williams possesses one of the most distinctive voices in contemporary music. With his rich, passionate vocal style, he is rightfully regarded as one of R&B's most influential soul men. Williams began his musical career making records that have subsequently become R&B and Pop classics, tunes like the mega-hit "Cause I love You" (recorded on his solo album) and "So Very Hard To Go', which he recorded as the lead singer for Tower of Power. Lenny's style has transcended into the new millennium, influencing many of today's newest R&B and Pop vocalists. Lenny himself sounds better than ever, and can be heard on his new CD  Unfinished Business on LenTom Records.

Born in Little Rock, Arkansas, Lenny moved to Oakland at a very young age. Learning to play the trumpet in elementary school fueled his interest in music. Lenny's skills as a vocalist were first nurtured by singing in gospel choirs and groups around the Bay Area. He was in good company working alongside up-and-coming artist Sly Stone, Andre Crouch, Billy Preston and members of the Hawkins family, Edwin, Walter and Tremaine.

After winning several local talent contests, Williams signed his first record deal with Fantasy records. He cut two singles for the label including "Lisa's Gone", now regarded as an R&B classic among British soul music lovers, and "Feelin Blue", written by John Fogerty of Credence Clearwater Revival. Lenny then spent a brief spell with Atlantic Records before deciding to put his solo career on hold in 1972, when he joined the emerging funk band Tower of Power. A string of hits ensued, including " So Very Hard To Go', and "Don't Change Horses (In The Middle Of The Stream)", written by Lenny and Johnny "Guitar" Watson. During his two years with the group, Lenny participated in three milestone albums, the gold LP Tower Of Power, Back To Oakland, and Urban Renewal, while touring non-stop throughout the United States, Europe and Asia.

At the end of 1975 Lenny returned to his solo projects. Initially signing with Motown in 1972, he later moved to ABC Records in 1977 (which was then purchased by MCA Records in 1979). Over the next four years. Lenny scored ten charted hits, including "Shoo Doo FuFu Ooh", 'Choosing You", "You Got Me Running", "Love Hurt Me Love Healed Me", and "Midnight Girl". Lenny recorded four more albums from 1977 to 1980, Choosing You, his first gold LP, Spark Of Love, Love Current, and Let's Do It Today. These albums established a solid and loyal following for Lenny, and the impact of his music can still be felt, particularly the mega-hit "Cause I Love You", from Spark Of Love. This song crosses generational boundaries, and has frequently been used on "old school" and "slow jam" compilations throughout the years.

After leaving MCA, Lenny recorded for independent labels, Rockshire and Knobhill. In 1986 Lenny was invited to sing vocals on "Don't Make Me Wait For Love" a track from superstar sax man Kenny G's multimillion selling album Duo Tones. When released as a single in 1987, the song became a top 20 pop and R&B hit.

Over the past few years, Lenny has continued his solo career, touring the US, Europe and South Africa In 2004 and 2005 Lenny Williams and Kanye West were honored recipients of the BMI song writers award for the song "Over Night Celebrity" recorded by rapper Twista. He has recently shared stages with Aretha Franklin, The Whispers, Rick James, Boney James, Bobby Womack, Ohio Players, Al Green, Usher, K-Ci and JoJo, Alicia Keyes, Anthony Hamilton and Frankie Beverly and Maze. Lenny has also expanded his multi-dimensional career to include acting, starring in several stages plays "Love On Lay Away" starring Deborah Cox, actor Mel Jackson and Martha Wash. He also appeared in "What Men Don't Tell" starring Kenny Latimore, Shante Moore and Dottie Peoples the hit stage play "When A Woman's Fed Up". As an icon of the past and the present, Lenny Williams continues to expand his musical prowess and flex his newly found acting skills. He is sure to continue wowing his fans in the United States and beyond for decades to come.

KEN NAVARRO - THE TEST OF TIME

Ken Navarro has released the first video "Message In A Bottle" from his upcoming album The Test Of Time, set for release on March 20, 2012 (see the link below for viewing). The Test Of Time is Ken Navarro's 20th release. Navarro is an accomplished guitarist in the Contemporary and Smooth Jazz genre, with decades of widespread airplay, media coverage and touring. His new CD is fingerstyle solo guitar, and this music and style are not just contemporary jazz but also acoustic guitar virtuoso. It is solo guitar like you never imagined it. Genuine, flawless performances with melodies, bass lines, harmonies, percussion - all masterfully played simultaneously on just one guitar.

Navarro's previous CD Dreaming Of Trains was pre-nominated for the 2011 Grammy awards in 2 categories and his 2008 album The Grace Of Summer Light was named the #1 contemporary jazz album of the year at Jazz Times. Over the past 20 years, he has had numerous Top 5 songs at national radio and has performed in every major US city. In each of the 12 songs that make up The Test Of Time, Navarro delivers a genuine, flawless performance, where all of the melodies, bass lines, harmonies and even percussion are masterfully played simultaneously on just one guitar without overdubbing. Some of the contemporary classics included are The Police's “Message In A Bottle”, John Lennon's “Imagine”, Glen Campbell's “Wichita Lineman”, Pat Metheny's “Letter From Home” and Santana's “Europa”. These performances are magical in many ways and will be appreciated by a wide audience. Navarro's has infused himself in each style of solo guitar playing so that it transcends the song and style and becomes an original Ken Navarro masterpiece.

http://www.youtube.com/watch?v=4uBrjpdRMHk

STANLEY CLARKE – THE COMPLETE 1970s EPIC ALBUMS COLLECTION

The most complete Stanley Clarke 1970s albums collection!

• Stanley Clarke’s most famous and best-selling albums were all recorded for Nemperor/Epic between 1974 and 1979. All are included in this collection.
• All of these albums were either Top 50 or Top 100 Billboard Pop Albums, and all were Top 5 Billboard Jazz Albums.
• Clarke demonstrates throughout why he is considered one of the all-time greatest acoustic and electric bass players.
• Includes his biggest hits “School Days”, “Silly Putty”, “Rock’N’Roll Jelly”, “Vulcan Princess” and more.
• Many featured guests including Chick Corea, John McLaughlin, George Duke, Jeff Beck, Tony Williams, Jan Hammer, Steve Gadd, Stan Getz and Freddie Hubbard.

The bass has seen its share of extraordinary innovators in the hundred-plus years of jazz history. Stanley Clarke, much like such hallowed figures as Jimmy Blanton, Charles Mingus and Scott LaFaro, was a game changer on his instrument. Unlike those who came before him though, Clarke helped alter the nature of both the acoustic and electric configurations of the bass. His groundbreaking work of the 1970s has been so integrated into the very fabric of modern jazz bass playing that a return visit to his own brilliant recordings can be nothing less than a revelatory listening experience.

By the time he was in his early twenties, Clarke had already apprenticed in the bands of, among others, Horace Silver, Pharoah Sanders and Stan Getz; his phenomenal technique, rich tone and melodic phrasing galvanizing the acoustic bass into previously unheard territory. Uniting with keyboardist Chick Corea in the various editions of the Return To Forever band, Clarke began incorporating the electric bass into his arsenal. Blending funk-styled finger popping and virtuosic strumming techniques – mated with his harmonic and compositional sophistication -- Clarke alerted a new generation of fusion players to the instrument’s untapped potential.

Clarke’s own recordings of the time are ripe with superb playing from the leader and such illustrious fans as drummer Tony Williams, keyboardists Jan Hammer and George Duke, and guitarists Jeff Beck and John McLaughlin, just to name check guests from Clarke’s first two albums. With his third album, School Days, Clarke became a bonified jazz-funk hero: the greasy bass line of the title track remains a yardstick of groove playing; to this day, no self-respecting electric bassist dares not have it under his or her fingers.

Subsequent albums found the now revered bassist mixing rock, jazz, R&B and orchestral textures with comfort, originality and boldness. Make no mistake, each of these pioneering Clarke recordings can sit proudly alongside the fusion masterworks of the Mahavishnu Orchestra, Weather Report and Return To Forever.

Albums Included:
1. Stanley Clarke
2. Journey To Love
3. School Days
4. Modern Man
5. I Wanna Play for You [2-CDs]
6. Live 1976-1977

THE GEORGE DUKE BAND – THE COMPLETE 1970s EPIC ALBUMS COLLECTION

Legacy Recordings has release the George Duke Band's most complete 1970s Epic albums all in one bundle!

• Keyboard master and renowned producer George Duke’s most famous and biggest selling albums were recorded for Epic in an incredibly prolific period between 1977 and 1979. All of them are in this collection.
• These albums were all crossover successes faring very well on the Pop, R&B and the Jazz Charts.
• Includes his biggest hits “Reach For It”, “Dukey Stick” and more.
• Special guests and featured players include Dianne Reeves, Stanley Clarke, Sheila E., Milton Nascimento and more.
• Extensive liner notes by George giving the behind the scenes stories of all of the records.
• Includes Brazilian Love Affair, considered by many to be George’s very best album. Recorded in Brazil with top Brazilian players.

George Duke has worn many hats during his nearly fifty-year career. Jazz pianist, rock keyboardist, R&B and pop producer, singer, composer, arranger and bandleader -- Duke has been impossible to pigeonhole, which is just the way he likes it.

By the time Duke began his tenure at Epic Records he had already garnered a sturdy reputation as a resourceful and versatile keyboardist from his work with Jean-Luc Ponty, Cannonball Adderley, Frank Zappa and Billy Cobham. Yet jazz was not on his mind when he came to record at his new label. With From Me To You, Duke went funky with a vengeance. Enlisting bassist Stanley Clarke and singer Dianne Reeves among his collaborators, Duke turned in a song-oriented R&B recording that set the pattern for the popular albums that followed.

Now established with a new audience who knew him primarily as an R&B artist, Duke focused on sophisticated funk on Reach For It, which yielded a hit single in its title track; Don’t Let Go had its own R&B anthem in “Dukey Stick.” Follow the Rainbow and Master Of The Game continued marching in the funky footsteps of their predecessors.

Duke’s passion for Brazilian music finally rose to the surface with A Brazilian Love Affair, on which he’s joined by Airto Moreira, Flora Purim and the master singer and composer Milton Nascimento, who contributes the only two non-Duke originals. Recorded in Rio de Janeiro, this labor of love also features a host of Brazil’s finest studio musicians. A Brazilian Love Affair and The 1976 Solo Keyboard Album, on which Duke offers more of his instrumental prowess than usual, might be anomalies when it came to Duke’s Epic work. Yet they demonstrated that this unclassifiable musician had more than just funk in his veins

Albums included:
1. From Me To You
2. Reach For It
3. Don't Let Go
4. Follow The Rainbow
5. Master Of The Game
6. Brazilian Love Affair

BILL O'CONNELL - TRIPLE PLAY THREE

New York Latin Jazz pianist Bill O'Connell's Triple Play Plus Three, his debut recording for Zoho, is an innovative spin on the traditional jazz trio format. Triple Play Plus Three presents eight lively, virtuosic O'Connell originals, plus two 20th century classics by Thelonious Monk (‘Round Midnight") and Kurt Weill ("Speak Low"). Triple Play Plus Three also features Dave Valentin, Richie Flores, Dave Samuels and Paquito D'Rivera.

Bill O'Connell's colorful career is notable for his extensive accomplishments in both Latin music and modern jazz, from serving as Mongo Santamaria's pianist in the 1970s over his long association with flutist Dave Valentín to working with Chet Baker, Sonny Rollins, Gao Barbieri, and the fabled Fort Apache Band, followed by a stellar career as a band leader and solo artist since the 1990s.

"A lot happens at the moment," the leader adds, "and that's the beauty of just having three people. Because there's no bass player, sometimes I'm playing the tumbao (the basic rhythm played on the conga and the bass in Afro-Caribbean music) with my left hand and sometimes I just leave it alone. This really allows me to direct the harmony or re-harmonize any way I want without having clashes with a bassist. I feel that this format has opened up a different way for me to play."

Dave Valentin made his recording debut with Ricardo Marrero's group and he appeared also on a Noel Pointer album. Discovered by Dave Grusin and Larry Rosen, Valentin was the first artist signed to GRP and he has been a popular attraction ever since. Valentin has recorded over 15 albums, combining the influence of pop, R&B, and Brazilian music with Latin and smooth jazz to create a slick and accessible form of crossover jazz. In 2000, he appeared in the documentary film, Calle 54, performing with Tito Puente. He toured with El Negro and MioSotis. Since the mid-2000s, Valentin has been signed to Highnote Records releasing World On A String (2005) and Come Fly With Me (2006). He has done several collaborations with pianist Bill O'Connell and was a nominee for the Latin Grammy Awards in 2006 and, for Pure Imagination, in 2011.

Typically, a Latin jazz group led by its percussionist would mean one thing: explosive Afro-Cuban rhythms in a boisterous, celebratory atmosphere. But the boundaries of the music have been expanding exponentially in recent years, and 34-year-old Arturo Stable is a prime example of how the influence of his native Cuba is being woven into a far more colorful tapestry than ever before. Stable's musicianship is subtle and textured, and his compositions possess an elegant romanticism culled from classical music.

 Bill O'Connell - Triple Play Plus Three:
1. Sweet Sophie Rose (feat. Paquito D'Rivera)
2. Bill's Blues (feat. Dave Samuels)
3. Crazy Samba (feat. Dave Valentin)
4. 'Round Midnight (feat. Paquito D'Rivera)
5. Non-Sense (feat. Dave Samuels)
6. Lake Road (feat. Dave Valentin)
7. Cobblestones (feat. Dave Samuels)
8. Speak Low (feat. Richie Flores)
9. Mr. EP (feat. Dave Valentin)
10. La Playa (feat. Dave Samuels)

HULON - AFTER HOURS

The urban jazz styling of Hulon has returned with his newest album, After Hours, set for release on February 7, and available on iTunes and Hulon’s website (http://www.hulon.com/). After Hours features Howard Hewitt, Geoff McBride and the new radio single “Do You Feel Me.”

After the success of his debut album, First Impressions, Hulon’s newest album, After Hours, has combined passion and confidence creating Hulon’s best tracks to date. Hulon’s debut album spent 15 weeks on the Billboard Jazz Chart, peaking at #25, and featured the single “Sax on the Beach,” which reached #16 on the Smooth Jazz.com Top 50 Indie Chart, and was featured on the noted jazz website AllAboutJazz.com, in addition to receiving national and international airplay on terrestrial and online radio.

The new 11 track set includes a vocal and instrumental version of the 1977 Heatwave classic “Always and Forever,” and eight originals penned by Kashiwa that play to Hulon’s strengths as a soulful balladeer and a grooving R&B/funk player, with a few dashes of cool and swinging traditional jazz in the mix. Highlights include the sensual late night romance “You’re Beautiful,” the whimsical mid tempo light funk tune “Takin’ My Time,” the tropical chill of “Sticky Trickuation,” the sly, Pink Panther-esque “Speak Easy,” (featuring shuffling drum, bass and finger snap rhythm) and the high octane horn-driven jam and first single from the new release, “Do You Feel Me.”

Hulon has collaborated once again with mentor, composer, producer and fellow saxophonist Jeff Kashiwa. World renowned for his years with The Rippingtons, The Sax Pack and numerous hit solo albums over the past 20 years, Kashiwa again brought in some of contemporary jazz’s most powerful and dynamic players to take Hulon’s musical game on the new collection to the next level including Dave Hooper (drums), Allen Hinds (guitar), Melvin Davis (bass) and Bill Heller (keyboards) all of whom have played key roles on First Impressions.

Yet there’s much more to Hulon’s dynamic emergence onto the urban jazz scene than simple chart stats and the support of some of the genre’s best players. At its heart, it’s the story of a musical dream long deferred, and unique connections between the spiritual and emotional healing power of music and the physical healing that Dr. Hulon E. Crayton does as a rheumatologist and founder of The Arthritis and Infusion Center, which specializes in the treatment of Rheumatological diseases as well as sports related injuries. The title of one of the tracks on After Hours, the tropical flavored groove tune, “Second Opinion,” is a playful ode to his longtime profession.

Upcoming Tour Dates:

February 18, 2012 @ Pineapple Willy's, Panama City Beach, FL
May 10, 2012 @ Pineapple Willy's, Panama City Beach, FL
May 11, 2012 @ Pineapple Willy's, Panama City Beach, FL
May 12, 2012 @ Pineapple Willy's, Panama City Beach, FL

Official website: http://www.hulon.com/

THE NEW ORLEANS JAZZ FESTIVAL 2012 LINEUP

The upcoming New Orleans Jass Festival will feature a lineup that can only be described as a gumbo of Rock, Jazz, Blues, Soul, Rock, Reggae and just about everything else in between.  Here's a listing of who's who this year.

• Bruce Springsteen & the E Street Band
• Eagles
• Tom Petty and the Heartbreakers
• Foo Fighters
• The Beach Boys 50th Anniversary Reunion
• Zac Brown Band
• Eddie Vedder
• John Mayer
• The Neville Brothers
• Trombone Shorty & Orleans Avenue
• Al Green
• Herbie Hancock and his Band
• Ne-Yo
• My Morning Jacket
• Bon Iver
• Paulina Rubio
• Jill Scott
• Florence + the Machine
• Allen Toussaint
• Feist
• Bunny Wailer
• Bonnie Raitt
• Irma Thomas
• Maze feat. Frankie Beverly
• Dr. John & the Lower 911
• Janelle Monae
• Yolanda Adams
• Iron & Wine
• Pete Fountain
• Rodrigo y Gabriela and C.U.B.A.
• Steel Pulse
• Rebirth Brass Band
• Grace Potter & the Nocturnals
• Esperanza Spalding: Radio Music Society
• Funky Meters
• Levon Helm Band with special guest Mavis Staples
• Sharon Jones & the Dap-Kings
• Aaron Neville’s Gospel Experience
• Steve Earle and the Dukes (And Duchesses)
• Galactic
• Preservation Hall Jazz Band’s 50th Anniversary Jam
• Little Anthony & The Imperials
• Ani DiFranco
• GIVERS
• Kermit Ruffins & the Barbecue Swingers
• Dianne Reeves
• Irvin Mayfield & the New Orleans Jazz Orchestra
• Better Than Ezra
• Carolina Chocolate Drops
• Ivan Neville’s Dumpstaphunk
• Bruce Hornsby
• Dave Koz
• The Dirty Dozen Brass Band
• Gomez
• The Pedrito Martinez Group
• The Bounce Shake Down feat. Big Freedia, Katey Red, Keedy Black, and DJ Poppa
• Israel Houghton and New Breed
• Seun Kuti & Egypt 80
• Zebra
• Amanda Shaw & the Cute Guys
• James Cotton “Superharp” Band
• Cowboy Mouth
• Asleep at the Wheel
• Papa Grows Funk
• David Sanborn and Joey DeFrancesco
• Bobby Rush
• Chuck Leavell & Friends with special guest Bonnie Bramlett
• Ellis Marsalis
• Marcia Ball
• Voice of the Wetlands Allstars
• John Boutté
• Gary Clark Jr.
• The Texas Tornados feat. Flaco Jiménez, Augie Myers, and Shawn Sahm
• Cubano Be, Cubano Bop: Poncho Sanchez & His Latin Band feat. Terence Blanchard
• Cheikh Lô of Senegal
• Tab Benoit
• Regina Carter's "Reverse Thread”
• Bombino of Niger
• Glen Hansard
• Big Sam's Funky Nation
• Jeremy Davenport
• Sarah Jarosz
• Bonerama
• Evelyn Turrentine-Agee
• Terri Lyne Carrington’s Mosaic
• Ruby Wilson’s Tribute to Bessie Smith & Ma Rainey
• Wycliffe Gordon Quintet: Hello Pops Tribute to Louis Armstrong
• Donald Harrison
• Lindigo of Reunion Island feat. Fixi of France
• Sonny Landreth
• Buckwheat Zydeco
• Soul Rebels
• The Stars of Heaven
• Heritage Hall Jazz Band feat. Jewel Brown
• Rockin’ Dopsie, Jr. & the Zydeco Twisters
• Anders Osborne
• Honey Island Swamp Band
• Theresa Andersson
• John Mooney & Bluesiana
• Eric Lindell
• Walter "Wolfman" Washington & the Roadmasters
• BeauSoleil avec Michael Doucet
• Pine Leaf Boys
• James Andrews & the Crescent City Allstars
• Steve Riley & the Mamou Playboys
• Big Chief Bo Dollis & the Wild Magnolias
• Big Chief Monk Boudreaux & the Golden Eagles Mardi Gras Indians
• Shamarr Allen & the Underdawgs
• Terrance Simien & the Zydeco Experience
• Dr. Michael White & the Original Liberty Jazz Band feat. Thais Clark
• Banu Gibson
• Hot 8 Brass Band
• George French & the New Orleans Storyville Jazz Band
• and more are all among the artists scheduled to appear at Jazz Fest.

This years' poster (see above) features Trombone Shorty, who's 2010 breakthrough album, Backatown, led to his first Grammy® Award nomination, an international tour and multiple network television appearances. Major media critics point to him as the embodiment of New Orleans’ irreplaceable culture and its varied and eternally appealing musical magic. To see Trombone Shorty perform is to experience the once-in-a-generation thrill that those who saw Buddy Bolden invent jazz must have experienced.  Trombone Shorty’s invigorating, genre-blurring exposition of New Orleans’ deep culture is a thrilling commentary on the irresistible nature of the city’s contemporary arts. The artists' interpretation imagines Trombone Shorty on the porch of his old house in Treme, rousing the City with his horn. 

SANTANA - GREATEST HITS LIVE AT MONTREUX 2011

Santana were founded in the late sixties and came into the spotlight following their glorious appearance at the Woodstock festival in 1969. Their eponymous debut album was released the same year and became a global success, introducing the public to the band’s unique blend of Latin rhythms and guitar based rock. With legendary guitarist and band leader Carlos Santana at the helm, hit albums and singles followed through the seventies, eighties, nineties and up to the present day. Both Carlos and the band have been frequent visitors to Montreux over the years and in 2011 they presented a stunning concert of their greatest hits, classic album tracks and brilliant cover versions from their debut album right up to 2010’s “Guitar Heaven”. This is the ultimate Santana live concert and absolutely not to be missed. Over three hours of music available in Blu Ray Disc (Single) or DVD (Two Disc Set).  Release date is February 21, 2012.

Santana - Greatest Hits Live At Montreux 2011Disc 1
1. Spark Of The Divine
2. SOCC
3. Back In Black
4. Singing Winds, Crying Beasts
5. Black Magic Woman / Gypsy Queen
6. Oye Como Va
7. Maria Maria
8. Foo Foo
9. Corazon Espinado
10. Benny and Cindy solo
11. Jingo
12. Carlos Speaks/ Novus
13. Europa (Earth's Cry, Heaven's Smile) / I Want You
14. Batuka
15. No One To Depend On

Disc 2
1. Duende
2. Open Invitation
3. Make Somebody Happy
4. Right On Be Free (featuring Susan and Derek)
5. Evil Ways
6. A Love Supreme
7. Sunshine Of Your Love
8. Smooth
9. Dame Tu Amor
10. Soul Sacrifice
11. Dennis drum solo
12. Samba Pa Ti
13. Into The Night
14. Love, Peace, and Happiness / Freedom

Blu Ray Disc has same track listing as DVD, but on one singular disc.
Bonus Features: Interviews with Carlos Santana, Cindy Blackman Santana, Behind The Scenes Footage.

BARRY WHITE - LET THE MUSIC PLAY: EXPANDED EDITION

Hip-o Select is about to release some sweet satin soul from the one and only Barry White, with a nicely-expanded release of his 1976 LP Let the Music Play. This remastered and expanded edition of the album features five bonus versions of Let The Music Play, including the Funkstar Deluxe Mix from 2000, the alternate version, both sides of the original single (an edit and an instrumental) and a new mix by longtime Select collaborator John Morales, reimagining the tune as a vintage 12″ single version.

Let the Music Play hit No. 4 on the R&B charts, and it’s been unfairly overlooked as a whole until recently, with the retooling of “Let the Music Play” as a European dancehall cut in 2000 and the discovery of some great alternate material for the song on the great Barry White box set Unlimited in 2009. Let the Music Play will be released on February 14, 2012

Barry White, Let the Music Play: Expanded Edition
1. I Don’t Know Where Love Has Gone
2. If You Know, Won’t You Tell Me
3. I’m So Blue and You Are Too
4. Baby, We Better Try to Get It Together
5. You See the Trouble with Me
6. Let the Music Play
7. Let the Music Play (Single Version)
8. Let the Music Play (Instrumental)
9. Let the Music Play (M+M Throwback Mix)
10. Let the Music Play (Funkstar Deluxe Mix)
11. Let the Music Play (Alternate Version)

CHRISTIAN VANDOR - JOHN COLTRANE L'HOMME SUPREME

"On July 17, 1967, time stopped. The legendary and great saxophone player John Coltrane left us. I was lucky enough to discover, at a very young age, an exceptional musician. The beauty, the spirituality, the strength, the softness, as well as the fragility of notes. The expression of that sound which spoke to me like a voice. From that moment on, he became my daily bread. Indispensable. No one can ignore the immensity of his visionary works. It still resonates in all of today's musical productions, and certainly in those of tomorrow. In 1997, I had a dream, a record, dedicated to John Coltrane. A child painted the sun on a white cardboard, and below that sun, he wrote a title in blue... John Coltrane l'homme supreme," says music visionary and Frenchman Christian Vandor.

L’Homme Supreme was recorded in 2011, day after day, between July 17, the date in which John Coltrane departed, and July 21, the day on which his funeral was held. On each day, an offering, a musical, poetic gift, for him, was created in real time. On the 21st at midnight, the record was completed. "For my work, it is still Coltrane who actually gives me the real material to work on, to be able to move on," according to Christian Vander.

Featured musicians on L’Homme Supreme include: Christian Vander, Stella Vander, Simon Goubert, Pierre-Michel Sivadier, Frederic d'Oeslnitz, Phillippe Dardelle, Isabelle Feuillebois, Herve Aknin, Marcus Linon, Sylvie Fisichella, Sandrine Destefanis, Julien Tessier

NOUVELLE VAGUE - CHANSONS ET MUSIQUES DE FILMS

If you're a fan of French films, then you will love this fantastic 3-CD set featuring the music of the French New Wave cinema years. The late 50s shift in French cinema is arguably one of the most important film moments in the 20th century – and although the movies are best remembered for their directors, stars, and striking images – most of the films also had some pretty amazing music as well! In fact, we've always felt that the music was integral to the Nouvelle Vague – from famous jazz scores, to lovely lyrical passages, to bold orchestral arrangements that also ended up having a huge impact on wider European music as well. This package is the first we've ever seen to really dig deep into the New Wave – and it brings together 80 tracks from dozens of films – a really wide variety of music, provided by artists who include Michel Legrand, Georges Delerue, Paul Misraki, Pierre Jansen, Miles Davis, Maurice Jarre, Jean Constantin, Martial Solal, Michel Magne, Antoine Duhamel, Alain Romans, and others – from movies that include 400 Blows, Jules & Jim, Hiroshima Mon Amour, Les Bonnes Femmes, Une Femme Est Une Femme, Breathless, Weekend, Lola, Cleo De 5 A 7, Le Bonheur, Alphaville, and many others.

Disc 1:
1. Générique (02:47)
Ascenseur pour l'échafaud - Miles Davis
2. Sur l'autoroute (02:17)
Ascenseur pour l'échafaud - Miles Davis
3. Au bar du petit bac (02:53)
Ascenseur pour l'échafaud - Miles Davis
4. Générique et car de police (03:13)
Les 400 coups - Jean Constantin
5. Ecole buissoniére (02:09)
Les 400 coups - Jean Constantin
6. Balzac et final (03:04)
Les 400 coups - Jean Constantin
7. La mort (02:07)
A bout de souffle - Martial Solal
8. New York herald tribune (01:26)
A bout de souffle - Martial Solal
9. Duo (02:21)
A bout de souffle - Martial Solal
10. Hiroshima mon amour (suite) (04:57)
Hiroshima, mon amour - Giovanni Fusco
11. Valse du café du fleuve (02:27)
Hiroshima, mon amour - Georges Delerue
12. Générique (03:23)
Le Doulos - Paul Misraki
13. Thème de Stéphanie (02:23)
La tete contre les murs - Maurice Jarre
14. Charlie (générique (01:54)
Tirez sur le pianiste - Georges delerue
15. Framboise par Bobby Lapointe (02:39)
Tirez sur le pianiste - Georges delerue
16. Les délinquants (04:22)
L'Amérique insolite - Michel Legrand
17. Hymne à l'Amérique (final) (03:07)
L'Amérique insolite - Michel Legrand
18. Valse des bonnes femmes (03:01)
Les bonnes femmes - Paul Misraki
19. Angéla, Strasbourg St Denis (03:04)
Une femme est une femme - Michel Legrand
20. Chanson d'Angéla par Anna Karina (02:23)
Une femme est une femme - Michel Legrand
21. Blues chez le Bougnat (02:08)
Une femme est une femme - Michel Legrand
22. Troisiéme gnossienne (03:08)
Le feu follet - Erik Satie
23. Un mari à prix fixe (générique) (02:19)
Un mari à prix fixe - Michel Magne
24. Grand thème bouzouki (03:17)
Méditéranée - Antoine Duhamel
25. Chanson de Lola par Jacqueline Danno (02:11)
Lola - Michel Legrand
26. Roland reve (02:14)
Lola - Michel Legrand
27. Embrasse-moi par Jeanne Moreau (02:12)
Peau de banane - Serge Rezvani

Disc 2:
1. L'eau à la bouche par Serge Gainsbourg (02:31)
L'eau à la bouche - Serge Gainsbourg
2. Angoisse (02:37)
L'eau à la bouche - Serge Gainsbourg
3. Black march (01:36)
L'eau à la bouche - Serge Gainsbourg
4. Le tourbillon chanté par Jeanne Moreau (02:03)
Jules et Jim - Serge rezvani
5. Vacances - Georges Delerue (02:44)
Jules et Jim
6. Landru (générique) (02:02)
Landru - Pierre Jansen
7. La ballade des dragueurs (02:33)
Les dragueurs - Maurice Jarre
8. La joueuse chanté par Corinne Marchand (01:52)
Cléo de 5 à 7 - Michel Legrand
9. San toi chanté par Corinne Marchand (02:12)
Cléo de 5 à 7 - Michel Legrand
10. L'amour et le jeu (02:07)
La baie des anges - Michel Legrand
11. Pierre Et Nicole (01:47)
La peau douce - Georges Delerue
12. Sidonie chanté par Brigitte Bardot (02:51)
Vie privée - Yani Spanos
13. La leçon de danse (02:29)
Vie privée - Fiorenzo Carpi
14. Concerto (02:17)
Vie privée - Fiorenzo Carpi
15. La dénonciation (suite) (05:01)
La dénonciation - Georges Delerue
16. Valse des roses (01:29)
Les jeux de l'amour - Georges Delerue
17. Le bonheur (Fugue en ut mineur K 546) (04:08)
Le bonheur - W. A . Mozart
18. La vie s'envole chanté par Anna Karina et Claude Brasseur (01:51)
Dragées au poivre - Serge Rezvani
19. Sinfonia par les Swingles singers (04:54)
Dragées au poivre - Jean Sebastien Bach
20. La rafle (01:54)
Dragées au poivre - Ward Swingle
21. Andantino de la sonatine n° 8 (01:40)
Moderato cantabile - Anton diabelli
22. Antoine et Colette (01:20)
L'amour à 20 ans - Georges Delerue
23. Thème de Dorante et final (01:42)
Les amoureux du France - Michel Legrand
24. Valse triste (02:04)
Alphaville - Paul Misraki
25. Leitmotiv pour Pierre (02:51)
Un couple - Alain Romans
26. Thème joli mai (03:11)
Joli mai - Boris Mokrousov / arrangements Michel Legrand
27. Marie Chantal (générique) (02:21)
Marie-Chantal contre le dr Kha - Pierre Jansen
28. L'orgueil / Marina (04:11)
Les sept péchés capitaux - Sacha Distel
29. La gare (02:25)
Les parapluies de Cherbourg - Michel Legrand

Disc 3:
1. Ouverture (01:53)
Le mèpris - Georges Delerue
2. Camille (02:29)
Le mèpris - Georges Delerue
3. Générique (02:09)
Le mèpris - Georges Delerue
4. L'amant de 5 jours (03:55)
L'amant de 5 jours - Georges Delerue
5. Chanson en langue inconnue par Daniele Licari (02:28)
Le dernier homme - Paul Misraki
6. Valse de Marienbad (02:25)
L'année derniere à Marienbad - Francis Seyrig
7. Le grand voyage (02:34)
Un monsieur de compagnie - Georges Delerue
8. Le scandale (04:24)
Le scandale - Pierre Jansen
9. La fete triste - Georges Delerue (02:37)
L'insoumis
10. Mic et mac par Anna Karina (02:39)
Pierrot le fou - Antoine Duhamel
11. Ferdinand (02:56)
Pierrot le fou - Antoine Duhamel
12. Jamais je ne t'ai dit que jen t'aimerai toujours par Anna Karina (02:50)
Pierrot le fou - Serge Rezvani
13. Pierrot (02:48)
Pierrot le fou - Antoine Duhamel
14. L'amour à la chaine (03:22)
L'amour à la chaine - Georges Delerue
15. Julie et l'écharpe (02:52)
La mariée était en noir - Bernard Herrmann
16. Arrestation de Delvaux et fuite de Julie (02:54)
La mariée était en noir - Bernard Herrmann
17. Antoine (03:35)
Baisers volés -Antoine Duhamel
18. Arrivée des camionneurs (04:23)
Les demoiselles de Rochefort - Michel Legrand
19. Le boucher (générique) (01:58)
Le boucher - Pierre Jansen
20. Le depart par Christianne Legrand (02:26)
Le départ - Krzysztof Komeda
21. Chaque heure est un départ (02:59)
Le départ - Krzysztof Komeda
22. Alice au pays des syllogismes (03:01)
Week end - Antoine Duhamel
23. Le mépris - Georges Delerue (05:14)
Le mépris - bonus - par le traffic quintet
24. Pierrot le fou - Antoine Duhamel (04:02)
Pierrot le fou - bonus - par Sporto Kantes

Total Duration: 03:39:02

CARMEN LUNDY - CHANGES

Encountering the work of Carmen Lundy can, admittedly, be a bit surprising for the first time listener. In an age of prepackaged, mass-produced beats and slavishly retro stylings, Lundy offers something that's become increasingly rare: utter authenticity.  A unique and adventurous singer, often compared to the likes of Sarah Vaughn, Betty Carter and Billie Holiday, Lundy writes and performs songs with an emotional vulnerability rarely seen in modern jazz. Her life forays far beyond the boundaries of music – she's an acclaimed actress, teacher and visual artist – inform her work with a sophistication and worldliness that consistently defies the expected. The bottom line? A deep connection that, for the singer's legion of fans, makes the release of each Lundy CD more than an opportunity to hear new music – it's an appointment to catch up with a dear friend.

On February 7, friends will once again reconnect, as Lundy releases her 12th album, Changes. Recorded with her core band of stellar musicians (Anthony Wonsey, piano, Kenny Davis, bass, and Jamison Ross, drums) and featuring special guest artists Oscar Castro-Neves (guitar), Nolan Shaheed (trumpet and flugelhorn), and George Bohanon (trombone), this eclectic collection of new songs boasts all-star talent at every step of the way. The sessions were engineered and mixed by the incomparable Don Murray (The Spinners, Lee Ritenour, Whitney Houston, Ray Charles and countless others) and mastered by the legendary Doug Sax (The Who, Pink Floyd, The Eagles, Barbra Streisand, Neil Diamond).

And at the center, as has been the case for more than three decades, Carmen Lundy's trademark warmth, style and impeccable songwriting chops. “As a composer, many of the songs on this project were written or re-imagined on guitar and feature one of the master guitarists of the classical Brazilian sound, my hero, Oscar Castro-Neves.” So welcome friends, old and new. Find a warm and comfy place, turn down the lights and catch up with Carmen. She's got a lot to tell you.

Released by Afrasia Productions, Inc., Changes will be available February 7, 2012 at itunes, Amazon.com, and all major digital download sites. Changes, along with Carmen Lundy's entire catalog, can also be found at top music retailers throughout North America and is distributed through City Hall Distribution.

http://www.carmenlundy.com/
www.facebook.com/carmenlundymusic
www.youtube.com/therealcarmenlundy
http://www.afrasiaproductions.com/

CHRIS BRUBECK’S TRIPLE PLAY – LIVE AT ARTHUR ZANKEL MUSIC CENTER

Over the past decade, Chris Brubeck (on bass, trombone, and piano), guitarist Joel Brown, and multi-instrumentalist Peter Madcat Ruth have honed a vast and vivid repertoire encompassing Delta blues, Tin Pan Alley standards, New Orleans grooves, jazz gems, and incisive originals. With all three contributing vocals, Triple Play delivers an epic sojourn through American music unlike any other band on the scene.

Their new CD, Live at Arthur Zankel Music Center, features two Triple Play patriarchs as special guests: piano legend Dave Brubeck and gifted jazz player Frank Brown on clarinet. Recorded in June 2011 at Skidmore College in Saratoga Springs, NY, the disc will be released on Blue Forest Records February 7.

Triple Play grew out of Crofut & Brubeck, an ensemble formed with the innovative banjo player Bill Crofut and Joel Brown on guitar. They produced a series of critically acclaimed CDs for Albany (Unsquare Dance); Telarc (Across Your Dreams, featuring Frederica von Stade); and Koch (Bach to Brubeck, a collaboration with the London Symphony Orchestra that included Chris's symphonic arrangements and compositions).

Following Crofut's 1999 death, Madcat Ruth (whose relationship with Brubeck dates back to their teenage years in the late 1960s) joined Brubeck and Brown to form Triple Play. The group's first Blue Forest CD, 2000's Triple Play Live, documents their roof-raising energy while the second, Watching the World, captures the trio's freewheeling humor, dazzling musicianship, and unpretentious spirit. After seeing the group at the Monterey Jazz Festival, Seattle Times critic Paul de Barros noted, "Triple Play is what jazz always was and always should be about: good-time rhythm, unbridled joy and the sweet release but bittersweet aftertaste of the blues."

As a player, Brubeck divides his time between fretless electric bass, piano, and bass trombone. His desire to increase the horn's visibility led to his first major orchestral composition, "Concerto for Bass Trombone and Orchestra," which he recorded at Abbey Road Studios with the LSO for Bach to Brubeck. The piece has been performed by many orchestras throughout the world including the Pittsburgh Symphony, the Baltimore Symphony, and a televised performance by the Boston Pops. (Chris will appear as soloist when the Orchestre de Bretagne in Brittany, France, performs the Concerto in October 2012.)

The concerto's success led to a steady stream of classical commissions, such as "Interplay for 3 Violins and Orchestra," his Boston Pops commission for Nadja Salerno-Sonnenberg, Eileen Ivers, and Regina Carter, which earned him an ASCAP Deems Taylor Award for best composition for television broadcast; and Chris's second trombone work, "The Prague Concerto," recorded by the Czech National Symphony Orchestra and released on the Koch CD, Convergence.

In recent years he's probably spent more time working in orchestral settings than jazz clubs. In a major collaboration with Dave Brubeck, they wrote the score for "Ansel Adams: America," a multimedia composition featuring 100 Adams photos projected above the orchestra. Other recent commissions include "Quiet Heroes: A Symphonic Salute to the Flagraisers at Iwo Jima," narrated by Wilford Brimley; and "Travels in Time For Three" for orchestra and the ensemble Time For Three (two violinists and a double bassist), who will perform "Travels" at Carnegie Hall 3/8 with the Boston Pops.

Triple Play's 2012 schedule includes shows in Delray Beach, FL (2/2), Largo, FL (2/4), and Austin (3/4); a residency and concert at Eisemann Center, Richardson, TX 2/15-17; and an appearance with the Kearney Symphony Orchestra, Kearney, NE 12/2-4.

The Brubeck Brothers Quartet (Chris, Dan on drums, pianist Chuck Lamb, guitarist Mike DeMicco) will be performing in Sedona, AZ 2/22 (Chris serves as Composer in Residence at the Arizona Music Festival 2/18-24); Kent, WA 4/6; Scullers, Boston 4/11; Skidmore College, Saratoga Springs, NY (residency and concert) 4/12-13; Dubrovnik Festival 5/22-27; Vancouver, WA 6/16; Colorado Music Festival, Boulder 7/3; Vail, CO 7/5; Infinity Hall, Norfolk, CT 7/27; Rockport, ME 7/30-8/2; Tour of Russia 9/15-29. A new Brubeck Brothers CD will be out this summer, and the next Triple Play disc, recorded live in Singapore with the Singapore Chinese Orchestra, is set for late 2012 release.

"I think there's no way to end the confusion or to define what I do," Brubeck says. "I just feel really grateful I have different areas to play in and work in and compose in. The Brubeck Brothers Quartet, Triple Play, and my composing career all complement each other. Triple Play brings me back to my blues, jazz, and rock roots." A recent Los Angeles concert prompted L.A. Times reviewer Mark Swed to observe that the trio "stole the show with its flair and virtuosity" and its "rollicking good fun." "We have a blast," Brubeck admits, "and audiences love the joy we share playing together." That is plain to hear in the exhilarating performances--and delighted audience response--heard on the Zankel Music Center CD.

http://www.chrisbrubeckstripleplay.com/

DETROIT'S SMOOTH JAZZ "OASIS" AND "BONE" GO OFF THE AIR

Martz Communications has ceased operations of its pair of HD fed translators in Detroit. Tim Martz-run Radio Power had trouble finding a workable frequency for smooth jazz "Oasis", after an interference complaint filed by Clear Channel's Toledo rocker, WIOT. The Oasis originally signed on at 104.7, the same frequency as WIOT, and the FCC rules are that a translator (such as 104.7 The Oasis) must sign off if there is a complaint by a full-power station, pending resolution of the problem. The Oasis looked at other frequencies, including 93.9 and 93.5. But the Smooth Jazz Board of Radio-Info.com reports that both station's Facebook pages feature the same statement saying that "All good things must come to an end. We’re sorry to say that The Oasis has ceased operations today. Thanks for your support Detroit. You’re the best.”


Bone Program Director Holly Hutton added, “Hey – Just wanted to say Thank you to everyone who listened and supported us. I know we had signal issues…but my personal experience at this station was a positive one. This company really celebrated true radio programming and gave me an opportunity to learn and discover that radio could be FUN again. I appreciate Martz and the time I had here and the friends I have made. From the inside and out; it was the radio that I fell in love with a bzillion years ago. I’m not sure if you’ll hear me on the air again…but if it’s meant to be, it will and I’ll talk to you then. xoxo ~ Holly Hutton”.


Both translators debuted last April 20 with programming fed by HD subchannels of 107.5 WGPR. The Oasis has struggled with interference issues with WIOT Toledo.