THE SOUL SESSION - ONE

They got the title One right on this one – as there's definitely a lot of soulful elements in the mix, of the sort we used to hear much more strongly from the European scene a decade or so ago! The set's a great reminder of the kind of imports that used to really drive us wild – those productions that are steeped in classic influences, yet filter things together to come up with a rich contemporary vibe – a new sort of magic that's only made in the studio, often with a lot of collaborative help! In the case of this session, core sounds from Ralph Kiefer – who plays Fender Rhodes and delivers lots of beats – are supported by great guest work from Bajka, Kay Fischer, Karl Frierson, Declaime, and others – who really bring some great elements to the tracks, particularly the sort of vocals that really help the whole album take shape.

“Struggles And Blessings” is the apt opener. Bajka, who has been busy with Bonobo, Dalindeo and Radio Citizen features her unmistakable vocal style and we discover that The Soul Session is all about diversity. This is where “Root Down” comes in. A heavy heavy monster of a groove with a hypnotic brass section, “Root Down” is irresistible. De-Phazz vocalist Karl Frierson then dives soul deep into a modern fusion track. “Soul Desire” builds a bridge from the spirituality of the 70s to the urgency of the present.

A few bars only into the mysterious opening of “The S.O.S. Suite”, clocking in at a mighty 17 minutes long, we know that this will be one serious trip into space. Think of the golden era of Hip-Hop circa A Tribe Called Quest or Pete Rock & C.L. Smooth connected to the London pioneers of genre bending grooves originated in Camden Dingwalls or That’s How It Is. Dudley Perkins aka Declaime, who already worked with Lootpack, Tha Alkaholiks and Madlib, drops his rhymes to the main theme and boards the funky mothership, before Kiefer catapults it into an enthralling Drum’n Bass excursion.

We take a deep breath while “YeahYeahYeah” puts us back into deep relaxation. Anaj, a highly respected Berlin artist in many disciplines from design to sculpture, is introduced  as vocalist on “Woman & Man”, while Karl Frierson returns for “Underneath” respectively. Here we see The Soul Session at their best: Beautifully crafted compositions, a tight rhythm section and cleverly worked out arrangements. “Hamjam” proves this point in full effect: Ralph Kiefer’s grooves are deeply rooted in the best of hang loose 70s fusion, the precise machinery of 80s funk and the crossover vibes of the 90s.

Then, of course, there is “Light My Fire”. Yes, it is the Doors tune and you may be tempted to think that there is no chance to put some fresh perspective to a classic like this. But wait until you have checked out this version with Kiefer himself on vocal duties. Sticking to the era and still breathing the freewheeling spirit of the late 60s and early 70s L.A. sound, One closes with the “Horse With No Name Suite”. Clocking in at around 11 minutes with the America classic, a bona fide three minute 70s pop tune in its original incarnation, turns into an up-to-date Jazz suite on One.

“Out Of The Rain” is the title of the suite’s closing part and that’s exactly the feeling you get after listening to this album. The Soul Session steps into the arena with a longplayer full of pleasant surprises: A profound sense of history, respect and deep understanding of jazz, soul, funk and electronic music, connected with a high-profile musicianship and amazing ongwriting skills. This is definitely “one” rare treat these days – and it’s all about Soul!

KINNY - CAN'T KILL A DAME WITH SOUL

An acutely talented vocalist, Kinny trained classically as an opera singer before the spontaneity and freedom of jazz, reggae and soul lured her into pursuing her true passion.

Kinny – aka Caitlin Simpson – was born and raised in Canada and has a mixture of Jamaican, Native Canadian Indian, French and Swedish heritage. Describing herself as a ‘freestyle improv vocalist’, she fuses a classical mezzo-soprano sound with the jazzy attitude-soul of the likes of Erykah Badu, and her voice sashays effortlessly between soaring melodies, steely staccato phrases and caramel-dipped dulcet tones.

The first band Kinny performed with after cutting loose from the musical theatre world was Third Eye Tribe, who became well known and highly regarded in Canada and beyond for their electrifying live shows in which Kinny laid spontaneous, improvised vocals over electronic, dub and hip hop beats. On tour with the band in 2001, Kinny visited Bergen in Norway and loved the city so much that she moved there. Comparing Bergen to a Scandinavian version of her native Vancouver, Kinny finds inspiration and intrigue in the vibrant music scene, the extreme seasons and the peace and closeness to nature that abounds in sparsely populated countries.

In Norway, Kinny met and collaborated with the multi-talented Espen Horne (a producer, designer and professional goalkeeper…) and the fruits of their labours fell into the hands of Quantic, who passed them on to Tru Thoughts A&R Robert Luis. This resulted in the release of Kinny And Horne’s album Forgetting To Remember on Tru Thoughts in 2005. The album gained rave reviews and brought Kinny’s talent to the attention of the world’s most respected musical minds and tastemakers – including Daddy G, who invited her to audition as a vocalist for Massive Attack; and Andy Smith (with whom she is currently working on a set of tracks for a potential collaborative project in the near future). Kinny became a regular visitor to the UK with gigs at The Big Chill, Cargo, Jazz Café, Native and across Europe. During this period she hooked up with a variety of producers, guesting on tracks by the likes of TM Juke, Diesler and Quantic. Her versatility and charisma, and her desire to embrace new ideas and ways of creating songs became a sign of things to come.

For her debut solo album, Idle Forest Of Chit Chat, Kinny has hand-picked a roster of seven different producers including Quantic, Nostalgia 77, TM Juke, Hint and Norwegian rising star Souldrop, to push the boundaries of her own exceptional talent and expose herself to various styles and ways of working. The first single (a double A side, “Enough Said” // “Desire”) came out on 8th December 2008 and showcased an original, up-to-the-minute brand of modern soul that mixes irresistible beats, incredible melodies and a pop sensibility with her own unmistakable force of personality and raw talent.

With Can’t Kill A Dame With Soul, her voice brings a depth of soul to every recording we've heard of her – be it spacey club grooves or jazzy modern electronics-flavored soul. Since the preceding Idle Forest Of Chit Chat album, she's doing her thing with a much more personal approach, and this one fully delivers on the increasing promise over the past few years. Modern soul with spacey touches and one of the best albums on Tru Thoughts in quite a while! Can't Kill A Dame With Soul Includes "Floating Zzzzzzz!", "Big Fat Liar", "Tick Can Tock" feat Son Of Light, "Up Side Down", "Suffocate", "Lost Baggage", a great little electro soul cover of The Cure's "The Love Cats", "You From This Sting", "One Fan Talking", "Shrinking Violet" and "Mmm Of My Hums".

ANGELA BOFILL - ANGIE (EXPANDED EDITION)

Released in 1978, Angie was the auspicious debut album by singer and songwriter Angela Bofill, marking the arrival of a distinctive and unique artist who has built a solid following among soul and jazz connoisseurs worldwide ever since. Angie is a mixture of jazzy soul and soulful jazz, all put together with a sound that's really a cut above most of her contemporaries. As with Jean Carne or Phyllis Hyman, there's a sophistication to Angela's sound here that indicates roots in much hipper territory that were still pulling strongly on her work for this mainstream set – a sound that runs deeper than you might expect for such a commercially successful record, and which has really kept it alive for years

The Bronx, New York-born artist worked in a variety of different artists including jazz greats Dizzy Gillespie and Cannonball Adderley and disco group Ecstasy, Passion & Pain as well as singing with The Dance Theater Of Harlem before landing her record deal with GRP Records, the label founded by key jazz producers Dave Grusin and Larry Rosen. Grusin & Rosen masterminded the production of Angie, pulling together an amazing group of star players for the sessions including drummers Buddy Williams and Steve Gadd, bassist Francisco Centeno, percussionist Ralph MacDonald, guitarist Eric Gale, Grusin himself on keyboards and GRP labelmate/flautist Dave Valentin (who facilitated Angela’s introduction to the label).

Angie received immediate acclaim for press, radio and public in the US, reaching No. 5 on Billboard’s jazz charts, No. 20 on the R&B charts and No. 47 on the Top 200 album charts. The single, "This Time I’ll Be Sweeter” (included here on this expanded edition reissue) was also a Top 30 R&B hit establishing Angela as a staple soul/jazz artist. Titles include "Children Of The World United", "Summer Days", "Rough Times", "This Time I'll Be Sweeter", and "The Only Thing I Would Wish For". Includes a bonus track – the Arista single mix of "This Time I'll Be Sweeter".

PAUL BROWN - THE FUNKY JOINT

Woodward Avenue Records is preparing for the release of The Funky Joint from double Grammy winner and guitarist, Paul Brown. The album is due to be released on Woodward on March 6, 2012. Paul Brown also serves as producer on his new album, which includes appearances by Boney James, Euge Groove, Bob James, Bob Baldwin, Marco Basci and “The Producers” tour-mate, Darren Rahn. “This album allows Paul to unleash his musical roots and just let it rip” says Mark Nordman, President and CEO of Woodward Avenue Records, “while at the same time being true to the sound that has earned him over 50 # 1 Hits.”

“Paul Brown sets the musical standard by which others are measured. The Funky Joint showcases Paul’s incredible guitar playing as well as his signature sound, as both an artist and a producer. We are extremely excited about this album and look forward to its release. Making really great music requires a commonality of vision and purpose between the artists and the label…….and we are confident that our association with Paul will be very positive and beneficial to all whom we work with. Woodward Avenue Records is trailblazing a new direction for Jazz, R&B and Soul by fusing music and artists from different genres into a fresh and unique sound…..the signature sound of Woodward Avenue Records and the great Paul Brown.”

The Funky Joint Track Listing:
1. The Funky Joint (3:32)
2. As Clear As Day (featuring Boney James) (3:44)
3. Montreux (4:18)
4. Say It Like It Is (3:34)
5. Love Don't Come EZ (3:48)
6. Tuff Times (featuring Jonathan Fritzen) (3:57)
7. Backstage Pass (featuring Bob James) (3:26)
8. Ya Dig (featuring Darren Rahn) (4:36)
9. From The Ground Up (featuring Euge Groove) (4:44)

CHICK COREA & GARY BURTON - HOT HOUSE

Pianist Chick Corea and vibraphonist Gary Burton became a collaborative team almost by accident. Their first musical encounter took place at a jazz festival in Germany in 1972, when they performed together in a spur-of-the-moment encore. The results were so satisfying – not only to the audience but to the artists themselves – that the two musicians reconvened in a recording studio a couple months later to record the intricate yet highly melodic Crystal Silence, their first of several collaborative studio projects.

The impromptu encounter in Germany marked the beginning of a musical partnership that has lasted for four decades – not only on the performance stage but also over the course of seven recordings. Despite the years that have come and gone since that fateful European gig, the duo of Corea and Burton have not lost their ability to generate their unique brand of what could best be described as cool heat.

This highly creative and prolific team celebrates forty years of great jazz with the September 4, 2012, release of Hot House on Concord Jazz, a division of Concord Music Group.

“Though we often go for months at a time between duet tours while we are playing music on our own,’ Burton says, “within about ten minutes of getting together again, the old communication snaps back into place. I can guess what Chick is going to play next from two blocks away, and he is the same with me. Certainly, the principal reason we have continued to work together all this time is because we have this natural reaction.”

That “natural reaction” is alive and well on Hot House, a collection of ten songs that draws from the work of some of their favorite composers from the 1940s through the 1960s. “After exploring several genres of jazz and standards, we eventually settled on eight composers, most from the jazz world,” says Burton. “But we chose songs that are generally not that well known; the composers’ names are probably more familiar than the songs to most listeners. The final result feels very fresh and different to us.”

Although the source material is indeed eclectic, the set as a whole is seamless and undeniably rich. It starts with the lighthearted “Can’t We Be Friends,” what Burton calls “a rather obscure standard first recorded by Art Tatum,” a piano hero to both Burton and Corea. The track intentionally maintains some of Tatum’s flourishes and stride swing feel. The duo then makes the unlikely shift from Tatum to Paul McCartney’s decidedly darker “Eleanor Rigby,” a cover that adds a sense of uptempo urgency to the original song’s poignancy.

The lush and melodic “Chega de Saudade” is the first of two Antonio Carlos Jobim tunes, and one that both artists learned during their respective stints with Stan Getz in the 1960s. They return to the Jobim catalog later in the set with the equally ornate “Once I Loved.”

Other noteworthy offerings include a mercurial rendition of Bill Evans’ “Time Remembered” and a playful reading of “Strange Meadow Lark,” a lesser known selection from Dave Brubeck’s iconic 1959 recording, Time Out.

The energetic title track is a tune by pianist Tadd Dameron, based on the harmony progression of Cole Porter’s “What Is This Thing Called Love?” Burton explains that he and Corea “got confused about who was going to solo first after the melody, and we both started soloing at the same time, but it seemed to work really well, so we kept it as part of the arrangement.”

Hot House also includes Thelonious Monk’s brief and little known “Light Blue,” to which Corea adds a second chorus that stays very much in the spirit of Monk.

The set closes with Corea’s own “Mozart Goes Dancing,” an intricate and engaging piece recorded with the Harlem String Quartet. The track was originally slated for the duo’s next project – a reprise of their touring and studio work in the ‘80s with string quartet and newly penned music from Corea – but “the result was so spectacular that we decided to add it to the CD,” says Burton, “as a preview of what we’ll be doing with our duo next year.”

After four decades of collaboration, the Corea-Burton team continues to look forward to the next big idea. “Throughout our 40 years of making music together, there has never been a downside with our duet,” says Corea. “Each concert and recording we have done has always been a great pleasure and a personal inspiration. This new set of duet music is no exception. Until this recording, we never focused on ‘standards’ with our duet, but it was natural to do as these songs are from the era we grew up in.”

Burton adds: “I used to think that someday we would run out of ideas and get bored with our duet. When we crossed the 20-year mark, I wondered if we might come to the end sometime soon. But at the 30-year mark, I began to think it might last, after all. And now after four decades, we are as excited as ever about the music we’re playing and how much fun we have on stage every night.”

TAB BENOIT - MEDICINE

Medicine, Benoit’s seventh solo release on Telarc International, a division of Concord Music Group, successfully joins two gifted guitarists/songwriters in a session that proves greater than the sum of its very talented parts. This 11-track recording features seven new Benoit originals co-written with ace songwriter Anders Osborne (his song “Watch the Wind Blow By” was recorded by Tim McGraw in 2002, hitting No. 1 on the country charts for two weeks and selling over three million albums, and Keb’ Mo’s 1999 GRAMMY-winning album Slow Down, featured two songs he had co-written).


“Anders and I have been friends for years, and we have a very comfortable relationship,” says Benoit, a GRAMMY®-nominated songwriter, as well as a guitarist and singer with a repertoire that ranges from swamp-pop classics to gritty blues and rootsy jams. “Songwriting needs to feel natural. It needs to flow easily. When he and I went out on the bayou, we came back with seven songs! Anders also played most of the rhythm parts on the album. He does a good job of not stepping on what I’m doing and making it fit the song.”

In an unusual twist, Osborne (who also co-produced the album) uses B.B. King’s famous guitar “Lucille” on Medicine. “He played half the album on that guitar, basically anything that’s not slide guitar,” Benoit says.

Medicine showcases a lean, energetic young band, and vibe-wise it’s hipper and groovier than anything Benoit has ever done before. The recording also spotlights the work of keyboardist Ivan Neville (son of Aaron Neville and nephew to members of the Neville Brothers), drummer Brady Blade (Emmylou Harris, Steve Earle, Dave Matthews) and bassist Corey Duplechin (Chubby Carrier & Bayou Swamp Band). Fiddler/singer Michael Doucet of BeauSoleil makes a special appearance on three tracks.

Medicine was recorded at Louisiana’s legendary Dockside Studio (B.B. King, Dr. John, Keb’ Mo’, Taj Mahal, Buckwheat Zydeco), located on a 12 acre estate in the heart of Cajun country on the banks of the Vermilion Bayou, and engineered by David Z (Prince, Jonny Lang, Buddy Guy, Gov’t Mule). The award-winning music producer/engineer worked with Benoit on three earlier releases (Fever for the Bayou, Power of the Pontchartrain and Night Train to Nashville). “When David’s in the booth, I don’t have to worry,” says Benoit. “He’s always comfortable with the way I work. We have a lot of fun and like to joke around.”

Benoit’s blazing guitar kicks off the title track of the recording. “‘Medicine’ captures what this album is all about,” he says. “Let music be the medicine. Like John Lee Hooker once said, ‘Blues is the healer.’”

“Sunrise” showcases Benoit’s keen sense of tasteful restraint when it comes to the slower blues numbers, and “A Whole Lotta Soul” spotlights Ivan Neville on B-3, alongside Benoit’s crunchy fretwork and vocals.

“Long Lonely Bayou” is a special highlight. This roots summit features two of Louisiana’s biggest and most popular artists: Michael Doucet and Tab Benoit. “Michael and I have played several gigs together over the years,” Benoit says. “When I wrote this song, I could practically hear him performing it. Most Cajun music is played in a major chord, but Michael approached it as crying, minor type of song.”

“In It To Win It” and “Next To Me” both spotlight Benoit’s unbelievably solid guitar chops, while “Nothing Takes The Place of You” is a deep, soulful ballad drenched in his whiskey-soaked vocals. Doucet returns to play fiddle and sing on “Can’t You See” and the album’s funky closer, “Mudboat Melissa.”

Tab Benoit is Louisiana’s No. 1 roots export. More than just an acclaimed bluesman, he is an indefatigable conservation advocate. Benoit is a driving force behind Voice of the Wetlands, an organization working to save Louisiana’s wetlands. In 2010, he received the Governor’s Award for Conservationist of the Year from the Louisiana Wildlife Federation. Benoit also starred in the iMax motion picture Hurricane on the Bayou, a documentary of Hurricane Katrina’s effects and a call to restore the wetlands.

In 2007, Benoit won the dual awards of B.B. King Entertainer of the Year and Best Contemporary Male Performer at the Blues Music Awards in Memphis (formerly the W.C. Handy Awards). In 2006, he received a GRAMMY nomination for Best Traditional Blues Album for Brother to the Blues, a collaboration with Louisiana's LeRoux. LeRoux joined Benoit on Power of the Pontchartrain in 2007 and the live Night Train to Nashville in 2008.

Medicine is more than another strong entry in Benoit’s increasingly impressive discography – it’s one of his most defining albums. “Magic happens when you least expect it,” says Benoit. “Most of the stuff here was played live – these are mostly first takes. When it came down to playing, we weren’t trying to structure things. We were open to the moment.”

TANIA MARIA - TEMPO

Tania Maria has had a long and passionate love affair with music. Born into a family of amateur musicians in São Luis, northwestern Brazil, she began studying the piano at the age of seven and was just 13 when she was the hands-down first-prize winner in a regional competition as the leader of a group started by her father.

At the time, bossa nova was all the rage from Rio to New York, adding a peppery touch to jazz like an exotic local spice. Just three years later, however, this talented young woman with a bright future tried to distance herself from music by studying law. Her fingers continued to yearn for the piano, however, and she finally gave in to its insistent call, committing herself to music with more fervour than ever. After shuttling between gigs in Rio and Sao Paulo, she recorded her first album at the age of 20, for Warner.

As early as 1969, her first musical performances clearly showed her potential and her predilections: an astounding mix of Brazilian rhythms and jazz harmonies, underpinning a remarkable natural gift for spinning sophisticated melodies.

Tania’s first album, Olha Quem Chega, was released in Brazil in 1971, but it was a move to France in the late 1970’s that enabled her to explode onto the international jazz scene. At a concert in Australia, her formidable musical precision and freewheeling spirit caught the attention of guitarist Charlie Byrd, who recommended her to Carl Jefferson, founder of Concord Records.

A move to New York followed, and in 1983, she released the album Come With Me on Concord Records. The title track became a huge international smash hit, and is still played on the radio and in clubs all over Europe, Japan, and America.

She has also done a lot of traveling in her time, from the Paris nightlife of the 1970s, where she met Claude Nougaro, to the New York fusion years in the 1980s; she has lived in both cities, and both continue to live in her. She's also taken part in virtually every major jazz festival in the world, from Montreux to New Orleans, Tokyo and Nice. Tania Maria is an accomplished musician who, though always attracted to swing and jazz, has never forgotten the fundamental beats of her native choro and samba

After 36 years and over 25 albums, and by way of such runaway hit songs such as "Piquant", "Come With Me" and "Made In New York", Tania Maria stands out as one of the truly great talents on the Brazilian music scene, where she is known for her unmistakable voice, whose sultry low tones can lay down a serious groove, and for her percussive touch at the piano, where things can suddenly take a more classical turn.

On her latest release entitled Tempo, she’s paired with bassist Eddie Gomez. Tempo feels like a terrific late set at a small jazz club in Rio, Paris, or New York. Tania and Eddie have recorded together before, and their intuitive interplay makes Tempo a special session. Tempo is being released on the French label Naïve,and it’s the work of a mature, talented artist who's been around long enough to know how to make everything she does sound near perfect.

CHRIS RIZIK: THE 2012 GRAMMY AWARDS WERE A STEP BACKWARD FOR SOUL MUSIC

The collective gasp you heard halfway through the Grammy Awards broadcast on Sunday night was from the soul music community, aghast over what they had just witnessed. People were already getting a little ticky on Facebook and Twitter as performance after performance came forward on Sunday night with very little nod to soul, gospel or even jazz music. Classic rock fans were in nirvana (no pun intended) as great bands like the Foo Fighters, Bruce Springsteen and the E Street Band, a reunited Beach Boys and even the Beatles (through two performances by Paul McCartney) dominated the stage with fine performances. And the Grammys got it 100% right as Adele’s brilliant 21 received every award possible. Adele displays what is best in popular music and in 2011 she brilliantly culled elements of rock, country, folk and even some R&B into a cohesive whole that we'll be talking about for years. But on a night when soul music legend Diana Ross was to receive a Lifetime Achievement Award, the current, vibrant form of her genre was completely ignored, with soul only receiving peripheral, historical half-nods in mini-tributes to Whitney Houston and Etta James.

Then, at that midway point of the show, insult was added to the perceived injury as the award for Best R&B Performance was presented. The category had an unusually strong group of nominees this year: Ledisi is a singular voice, and while nominated in prior years she hasn’t yet won a much deserved Grammy. Kelly Price swept the SoulTracks awards in December for good reason: Her self-titled album was simply glorious. Former teen star El DeBarge received a welcome Second Chance in the past year with the redemptive album of the same name. And R. Kelly threw his longtime critics (including me) a curve by showing he had the talent to make memorable music even on someone else’s turf. Oh yes, and there was also Chris Brown, whose nomination in the category was like the old Sesame Street song “One of these things is not like the others.” While a fine dancer, as a vocal artist he is not in the same league as Ledisi, Price or DeBarge, nor was his album in any way properly categorized with the others. But soul fans let the odd nomination grouping roll right off us, because, of course, there was no way Brown would win…until he did. The response in Twitterland was swift and furious. And while everyone has his or her own tastes, thousands of postings wondered aloud under what critical criteria could this result happen, except a simple adoption of the Soundscan sales numbers.

That Brown was nominated in the same category as Ledisi and Price - and that he won - appeared to support the “conspiracy theory” of some music fans who frequently complain that the Grammys just don’t understand the breadth of black music. And it didn’t help that on this same night Diana Ross received only fleeting recognition for her Lifetime award while Brown and Rihanna performed not once but multiple times.

Since the Milli Vanilli fiasco, an embarrassed Grammy committee has been careful to choose the Best New Artist each year based on real artistic merit, regardless of popularity. That’s how the talented Esperanza Spalding won last year and little known folkster Bon Iver took the award this year. But in the R&B category, year after year the awards simply play out like the Billboard charts – as if the voters never even listened to the nominated albums. And, when combined with the choice of performances for the evening, it would not be surprising if rock or country music fans left the Grammys with the impression that the state of black music today is epitomized by Chris Brown, Rihanna and the perplexing, insulting Nicki Minaj.

I’m not sure whether it is worse to be ignored or misrepresented, but the many talented artists we cover on SoulTracks would be justified in feeling both slaps from the Grammy Awards this year. On the sacred evening when the music industry celebrates its diversity, talent and character, and on a stage full of great rock and country performers whose styles were heavily influenced by jazz, the black church and rhythm & blues, it was frustrating to see the status of those varied styles in 2012 demonstrated in a minimalized, one-dimensional manner that doesn’t move much beyond hip-hop. But, sadly, that’s exactly what we received on Sunday. And once it all sank in, that collective gasp after the Best R&B award slowly turned to disappointment -- disappointment that on the same night that a beautiful woman with a once-in-a-generation voice was honored, the influential, seminal forms of American music that were the basis of her training now appear to have to prove themselves to the music establishment all over again.

By Chris Rizik (February 13, 2012) / Soultracks.com
Source: http://www.soultracks.com/cr-2012-grammy

GREGORY PORTER'S ‘REAL GOOD HANDS' SELECTED AS iTunes SINGLE OF THE WEEK

"Real Good Hands," a track from Be Good, internationally acclaimed vocalist Gregory Porter's sophomore release on Motema Music, has been selected by iTunes as its Single of the Week for the week of February 14. "Real Good Hands," will be available for free download on iTunes from February 14 through 20.

Porter's 2010 debut release, Water, racked up a continuing stream of accolades and awards around the globe, including a ‘Best Jazz Vocal ' Grammy® nomination (a rare feat for a debut recording), soaring to #1 on both iTunes and Amazon in the UK, and landing on an international array of year-end ‘Best Of' lists for 2010 in several genres.

On Be Good, Porter has crafted a work that not only meets, but is likely to surpass, the heightened expectations of the jazz, blues and soul audiences eagerly awaiting his follow up to Water. Featuring Porter's winning combination of "outstanding original songs, erudite lyrics and social comment, top drawer musicianship and improvisation, and a voice to die for" (Jazz Wise), Be Good is a musical compendium of groove-driven delights, ranging from quiet ballads to up-tempo burners, from romantic charmers to powerful, blues-tinged anthems.

Be Good finds Porter surrounded by the core of his powerhouse working band, with whom he recorded his Grammy- nominated debut, and who have performed with him for over three years: Chip Crawford on piano, Aaron James on bass, Emanuel Harrold on drums, and Yosuke Sato on alto sax.Under the sure hand of producer Brian Bacchus, Porter and the band rise to new heights on Be Good, which is further fueled by richly emotional horn arrangements by Kamau Kenyatta, who produced Water and who continues to play an important role in Porter's sound. Kenyatta also performs on one track ("Painted on Canvas") and guest instrumentalists Keyon Harrold on trumpet and Tivon Pennicott on tenor sax are also featured throughout.

Porter tapped the prodigious talents of veteran producer Brian Bacchus for Be Good. Bacchus, whose A&R successes have included Norah Jones' Grammy® -winning Come Away with Me, has produced projects for such acclaimed jazz artists as Randy Weston, Lizz Wright, Richie Havens, Ronny Jordan, and Patricia Barber.

A North American tour is currently underway, with Porter spending the week leading up the release of Be Good with a series of shows at Pizza Express in London - which earned him a four star review in The Guardian - and in Amsterdam. He'll return to the US for shows in March and April in Boston, New York, Detroit, Chicago and Pittsburgh, with appearances scheduled for summer festivals and west coast shows in the fall. Full tour information is available at http://www.gregoryporter.com/, and at http://www.motema.com/.

More Information: http://itunes.apple.com/us/preorder/be-good/id496959087

LUTHER VANDROSS - LOVE, LUTHER

This new 4-CD, career-spanning collection features 56 songs including hits, live performances, demos, unreleased tracks, and the exclusive new single, “There’s Only You”. In addition to showcasing Luther’s soulful, sexy vocals the set also offers duets with Dionne Warwick, Mariah Carey, and Beyonce Knowles. Plus, the full-length version of Aretha Franklin’s “Jump To It” provides a shining example of his masterful skill as a record producer. A lavish, 60-page full color book with artist info, photos from the Vandross family album and a powerful essay written by Luther’s mother completes the collection.

Disc 1
1. Ready For Love (Album Version)
2. If You Can't Dance (Album Version)
3. Meet Luther Vandross (Album Version)
4. The Glow Of Love (Album Version)
5. Never Too Much (Album Version)
6. Don't You Know That? (Album Version)
7. A House Is Not A Home (Album Version)
8. Bad Boy/Having A Party; Bad Boy\ Having A Party (Album Version)
9. Since I Lost My Baby (Album Version)
10. She Loves Me Back (Album Version)
11. Who's Gonna Make It Easier For Me
12. If This World Were Mine (Album Version)
13. How Many Times Can We Say Goodbye (Album Version)
14. Superstar/Until You Come Back To Me (That's What I'm Gonna Do); Superstar\ Until You Come Back To Me (That's What I'm Gonna Do) (Album Version)

Disc 2
1. If Only For One Night (Album Version)
2. Creepin' (Album Version)
3. Wait For Love (Album Version)
4. 'Til My Baby Comes Home (Album Version)
5. It's Over Now (Album Version)
6. The Night I Fell In Love (Album Version)
7. There's Only You (Album Version)

8. Anyone Who Had A Heart (Album Version)

9. So Amazing (Intimate Mix)

10. Give Me The Reason (Album Version)

11. Stop To Love (Album Version)

12. There's Nothing Better Than Love (Album Version)

13. So Amazing (Album Version)

14. For You To Love (Album Version)

15. Here And Now (Album Version)

Disc 3

1. Love The One You're With (Album Version)
2. Funky Music (Is A Part Of Me) (Album Version)
3. Georgy Porgy
4. Power Of Love/Love Power; Power Of Love\ Love Power (Album Version)
5. Don't Want To Be A Fool
6. I Want The Night To Stay (Album Version)
7. Endless Love (Duet with Mariah Carey) (Album Version)
8. Any Love (Album Version)
9. Knocks Me Off My Feet (Album Version)
10. Your Secret Love (Album Version)
11. Never Let Me Go (Album Version)

12. Can Heaven Wait (Album Version)

13. The Closer I Get To You (Duet With Beyonce Knowles)

Disc 4

1. Isn't There Someone (Album Version)

2. Dance With My Father (Album Version and Radio Version)

3. Take You Out (Radio Edit & Album Version)

4. I'd Rather

5. Buy Me A Rose

6. Shine (Main)

7. Got You Home (Main)

8. Jump To It (Original 12" Mix)

9. Hot Butterfly (Disco Remix)

10. Searching (Live)

11. Always And Forever (Live)

12. Windows Of The World/What the World Needs Now; Windows Of The World\ What the World Needs Now (Live)

13. The Lady Is A Tramp (Album Version)

14. A House Is Not A Home

SOUNDTRACK FOR A REVOLUTION

The soundtrack to Soundtrack For A Revolution – a film that chronicles the sounds of the Civil Rights era, features new recordings by a diverse, reverent roster of artists that ably demonstrate how deeply these songs continue to resonate. Soundtrack For A Revolution tells the story of the American civil rights movement through its powerful music - the freedom songs protesters sang on picket lines, in mass meetings, in paddy wagons, and in jail cells as they fought for justice and equality. The film features new performances of the freedom songs by top artists, including John Legend, Joss Stone, Wyclef Jean, and The Roots; riveting archival footage; and interviews with civil rights foot soldiers and leaders, including Congressman John Lewis, Harry Belafonte, Julian Bond, and Ambassador Andrew Young. The freedom songs evolved from slave chants, from the labor movement, and especially from the black church. The music enabled blacks to sing words they could not say, and it was crucial in helping the protesters as they faced down brutal aggression with dignity and non-violence. The infectious energy of the songs swept people up and empowered them to fight for their rights.

The soundtrack inncludes legendary spiritual soul and folk songs by Angie Stone, The Roots, Vivian Green, Anthony Hamilton with The Blind Boys Of Alabama, Mary Mary, John Legend and Joss Stone and Wyclef Jean. Each brings earnest passion to the performances, many in a fairly raw and urgent mode. Includes "We Shall Not Be Moved" by Mary Mary, "Here's To The State Of Mississippi" by Wyclef, "Will The Circle Be Unbroken" by Richie Havens, "Wade In The Water" by Angie Stone. "Oh Freedom" by Vivian Green, "Ain't Gonna Let Nobody Turn Me Around" by The Roots and more.

Soundtrack For A Revolution features musical performances by:

Anthony Hamilton and the Blind Boys of Alabama

Angie Stone

Joss Stone

Vivian Green
The Carlton Reese Memorial Unity Choir
Mary Mary
Wyclef Jean
Richie Havens
The Roots
John Legend

GERARDO FRISINA - MODERNO PRIMITIVO

Gerardo Frisina goes back to the roots of the sound which has made him famous worldwide - the Latin sound of classics like Descarga or The Latin Kick (both previously released on Schema Records/Italy). This new one, Moderno Primitivo, is an EP about the encounter of the ancient Afro-Cuban tradition (the core of Frisina's artistic DNA) with a refined electronic taste. This component enriches drums and percussions and gives more edge to the whole production with details like pads and effects.

The title cut definitely earns the "Primitivio" in its title – thanks to some mighty spare acoustic rhythms at the bottom – much more classically Afro-Cuban than you'd guess from the house mix listed here! In fact, it seems that all instrumentation is played live – even though there's a tightness to the groove that might also fit a contemporary club sound too – massive conga lines, organ riffs, and a bassline that really stitches the whole thing together! In Moderno Primitivo the Latin ensemble headed by Frisina takes us into a jam session where percussions, piano and trombone play happily.

The "original mix" has some more live jazzy instrumentation on trombone and keyboards – and "Cogele El Ritmo" builds a strong groove with almost a descarga vibe – yet always that tightly-directed style we love from Gerardo Frisina! The "Latin House Mix" is a club version where the rhythmic element and the groove take control of the mix. The melody is broken and a Hammond plays over a ostinato bass. The flavour is definitely tribal."Cogele El Ritmo" is a trip into Frisina's Latin world. Slower than "Moderno Primitivo", still has a solid hook to the dance-floor and is a triumph of joy and colour.

SMOOTH JAZZ RADIO RETURNS TO ALBUQUERQUE: 103.7 THE OASIS

Look for an official launch today, according to a posting on the New Mexico Board of Radio-Info.com last Thursday, February 9. It appears the new format will happen on an AM + FM Translator combination. The AM is KOAZ, Isleta, NM at 1510. It has a very weak night signal of just 25 watts, and it will apparently be simulcast on a recently-moved translator. The translator, owned by Don Davis, was previously in the non-commercial band at 91.1, but has been relocated to 103.7, and that will be the branding of the smooth jazz outlet. Currently, 1510 KOAZ Isleta, New Mexico is stunting with a loop of Smooth Jazz artists and promos for a new format debuting at 12 noon on Valentines Day, February 14.

At that time the station will become “103.7 The Oasis” simulcast on K279BP Albuquerque. A Facebook page for the new station is up and already active. KOAZ had previously been simulcasting “K-Mine Country” 980 KMIN Grants, NM as KMYN. 1510 operates with 5kW daytime and 25 watts at night. The translator, which has just completed its upgrade from 10 watts on 91.1 to 250 watts on 103.7. The sites elevation at almost 5000 feet gives the translator coverage of all of greater Albuquerque.

KOAZ is an AM broadcast station licensed to Martha Whitman (dba Isleta Radio Co.) Isleta Pueblo, New Mexico. The station signed the air as KABR by the Alamo Navajo School Board. When applying in October 2007 to start KABR-FM, the Alamo Navajo School Board pledged to divest itself of the AM station upon receiving its license for the FM station. The FCC granted the license for KABR-FM. In 2010, the FCC granted the application to assign KABR (AM) to Martha Whitman and the construction permit to serve Isleta Pueblo by moving KABR (AM), making it part of the KTBL antenna system. The ownership reassignment has since been consummated. Throughout 2011 it simulcasted a country music format from KMIN AM out of Grants, New Mexico branded as "K-Mine" with callsign KMYN.

CELEBRATING CURTIS HAIRSTON

Reverse Spin Entertainment (RSE) will release a compilation album of music sung by the late, great Curtis Hairston. In the short span of his life, Curtis touched many with his unique voice and vocal styling.

October 10, 2011 marked what would have been Hairston’s 50th birthday. In his honor, Earl “The Pearl” Monroe, owner of Pretty Pearl Records, now Reverse Spin Entertainment (RSE), has arranged a compilation of Hairston’s hits to be re-released, as a tribute to the gifted and talented artist. There are also several songs never before released to the public.

All of the songs have been re-mixed by John Morales, legendary mixer/re-mixer and co-founder of M&M Productions, renowned for their work with The Rolling Stones, Aretha Franklin, Odyssey and many more. The entire album has been re-mastered and has additional production by Mozartt and additional engineering by Blaise Davis, both of RSE.

Included are songs that were part of Curtis’ solo career as well as work he did with The BB&Q Band. You’ll hear some of his greatest hits; “I Want You All Tonight”, “Genie” and “Dreamer”, which reached #1 in the U.K. You’ll also enjoy his top 20 hit, “I Need Your Loving”, “Minutes Away” and much more.

The U.K. absolutely fell in love with Curtis, and proclaimed him “The Mr. Clean of Soul”. The single, “Elysian Lady,” written and produced by Greg Radford, is now available on iTunes. This album captures Curtis Hairston’s beautiful lyrics, vocals and overall musical legacy.

Reverse Spin Entertainment is an entertainment, sports and consulting company. Its music division, Reverse Spin Music, creates unique musical projects, which are used as springboards for artists and musicians of various genres.

WHITNEY HOUSTON: 1963-2012

The TV networks are devoting coverage in memory of Whitney Houston and so here is a breakdown of what you may want to see:

On Monday, February 13 at 6:00 p.m.*, 106 & PARK (BET) will pay tribute to the singer's life and legacy with a 3-hour special episode followed by the 9:00 p.m.* premiere of BET HONORS 2012.

BET Programming Lineup

Monday, February 13
6:00 p.m.* - 3-hour Special Episode of 106 & PARK

For more updates on Whitney Houston, please visit www.bet.com. Viewers can keep up with this developing story on Twitter by following @BET. Additionally, past tributes and performances of Whitney Houston can be seen on BET.com:
•http://www.bet.com/video/bethonors/2010/jennifer-hudson-whitney-houston-tribute-2010.html
•http://www.bet.com/video/bethonors/2010/kim-burrell-whitney-houston-tribute-20102.html
•http://www.bet.com/video/bethonors/2010/whitney-houston-tribute-2010.html
•http://www.bet.com/video/bethonors/2010/whitney-houston-2269611.html
•http://www.bet.com/video/musicnews/2012/sparkle-whitney-houston-mike-epps-news-brief-s1.html
•http://www.bet.com/video/celebrationofgospel/2011/legendary-performance-by-whitn-231962.html


VH1 is paying tribute to the incomparable talent of pop music icon Whitney Houston, one of the biggest-selling artists in history, who passed away this past Saturday in Los Angeles. On Monday, February 13th at 9:30 PM/7c, VH1 will premiere the "VH1 News Special -"Whitney Houston: Death of a Diva,"hosted by Janell Snowden and featuring the latest updates on events surrounding her death as well as reactions from attendees at her mentor music mogul Clive Davis's annual pre-Grammy Awards party last night as well as tributes from officials, artists and music executives and fans.

VH1's new "100 Greatest Women In Music" five-night countdown special premiering on Monday, February 13th at 10 PM/9c will also acknowledge the tremendous loss and salute Houston's legacy and wide-ranging influence. "100 Greatest Women In Music" will honor female artists who have thrived in the music industry from 1990 to present day, pop, R & B, rap, country and rock.

On Thursday, February 16th at 11 PM/10c, VH1 will debut "VH1 News Presents Whitney Houston's Greatest Moments," a new special celebrating Whitney Houston's legacy by sharing performances from throughout her storied career which included appearances on VH1 Divas in 1999 and 2003, and VH1 Honors in 1996.

Monday morning's edition of VH1's "Big Morning Buzz Live" will provide updates on the tragedy on VH1's daily dose of pop culture news, chat and entertainment which airs each weekday morning at 10 AM/9c.

VH1 began airing Houston's music videos in a block last night at Midnight and will continue to run them in the daytime hours, including "I Will Always Love You," "So Emotional," "Greatest Love Of All," "How Will I Know," "I'm Your Baby Tonight," "I Wanna Dance With Somebody," "Saving All My Love For You" and "It's Not Right, But It's Okay."

VH1 Classic will air a three-hour video tribute "Whitney A-To-Z" comprising her entire video work premiering on Tuesday, February 14 at 12 Noon and 8 PM. VH1 Soul will continue to air Houston's videos all of today and through the night.

VH1.com, VH1's Tuner music blog and TheFabLife.com are all featuring a look back at Whitney's life through career-spanning performances (http://www.vh1.com/music/tuner/2012-02-11/whitney-houston-8-greatest-musical-moments/) and photos (http://www.thefablife.com/2012-02-11/whitney-houston-dead-at-48/) and will continue to update readers about the female icon's death and the tributes from around the world. VH1's social media accounts will also do the same. In addition, VH1.com will post images and reports from Saturday's Clive Davis event as well as exclusive interview footage from the red carpet at the Beverly Hilton.

In memory of Whitney Houston, OWN: Oprah Winfrey Network will present a special two hour "Remembering Whitney: The Oprah Interview," with the music legend's last in-depth television interview from "The Oprah Winfrey Show" to air this Thursday, February 16 from 9-11 p.m. ET/PT on OWN. This special television event, what is arguably Houston's most revealing and compelling interview of her career, will be rebroadcast as Winfrey reflects on her personal memories of the iconic superstar and shares with fans the magic of a musical icon who has gone too soon.

In September 2009 for the "The Oprah Winfrey Show" season 24 premiere, Winfrey sat down with Houston for a special one-on-one interview. After nearly seven years since the world heard the music icon's voice, Houston gave an intimate and poignant performance of "I Didn't Know My Own Strength." She shared only with Winfrey the private struggles she tried to hide from public view and discussed openly about her marriage to R&B star Bobby Brown, her struggles with drug abuse and why she retreated from the spotlight. Opening up to Winfrey like never before, Houston also spoke candidly of the day she left her husband, her sorrow over the death of Michael Jackson and her hopes for her future.

ADELE TIES RECORD HELD FOR MOST GRAMMY AWARDS WON BY A FEMALE ARTIST IN A SINGLE YEAR

Last night's Grammy Awards confirmed that 2011 truly was the year of Adele. The 23 year-old singer was honored with 6 Grammy Awards, including "Record of the Year," "Album of the Year" and "Song of the Year," tying the record held by Beyoncé for most Grammy Awards won by a female artist in a single year. This brings Adele's career Grammy total to 8. Viewers who tuned into the live ceremony, which took place from the Staples Center in Los Angeles earlier this evening, witnessed Adele deliver a breathtaking rendition of "Rolling in the Deep," her first public performance since she underwent vocal surgery in November. Adele took home honors in the following categories:

Record of the Year ("Rolling in the Deep")
Album of the Year ("21")
Song of the Year ("Rolling in the Deep")
Best Pop Solo Performance ("Someone Like You")
Best Pop Vocal Album ("21")
Best Short Form Music Video ("Rolling in the Deep")

Adele's sophomore album 21 was the biggest selling album of 2011 with over 18 million units sold worldwide. Entertainment Weekly declared it "that rarest pop commodity: timeless," and the Associated Press affirmed that Adele "created more than just an album with good songs: she's crafted a masterpiece." In addition to being named Billboard's "Artist of the Year," Adele had the best-selling US single of the year, "Rolling in the Deep," certified 6x Platinum, as well as the best-selling music DVD of the year, "Live at The Royal Albert Hall," certified 7x Platinum. She has broken countless records – including becoming the first-ever artist to lead the Billboard 200 while concurrently having 3 Billboard Hot 100 #1 singles from the same parent album ("Rolling in the Deep," "Someone Like You," and "Set Fire to the Rain"). 21 has spent 19 nonconsecutive weeks, to date, at #1 on the Billboard Top 100, surpassing records held by Billy Ray Cyrus' "Some Gave All" and 1998's "Titanic" soundtrack.

http://www.adele.tv/

http://www.columbiarecords.com/

GREGORY PORTER - BE GOOD

In the short fifteen months since Gregory Porter exploded onto the international music scene with his debut CD, Water (Motema Music, 2010), he has racked up a continuing stream of accolades and awards. Porter's Water garnered a 'Best Jazz Vocal ' Grammy® nomination (a rare feat for a debut recording), rocketed to #1 on both iTunes and Amazon in the UK, made significant sales inroads and has soared on to be included on an international array of year-end 'Best Of' lists for 2010 in several genres. The happy result is that, in less than a year and a half, these successes have created a formidable draw for Porter as an international touring artist.

To support the February 14 release of Be Good, Porter will kick off a series of US dates that will begin on March 15 at Boston's Regatta Bar, and will continue on through New York City (3/16 at the Highline Ballroom), Detroit (March 28 -31 at the Dirty Dog Jazz Cafe, Chicago (4/1 at the Mayne Stage) and will conclude in Pittsburgh (4/3 at the Cabaret at Theater Square.) Full show details are available on on both motema.com and on Gregory's website.

As the summer festival scene kicks into gear, Porter will also perform at various festivals around North America. Details on those performances are forthcoming.

On Be Good, (out February 14, 2012 on Motéma), Porter has crafted a work that not only meets, but is likely to surpass, the heightened expectations of the jazz and soul audiences eagerly awaiting his follow up to Water. Featuring Porter's winning combination of "outstanding original songs, erudite lyrics and social comment, top drawer musicianship and improvisation, and a voice to die for" (Jazz Wise), Be Good is a musical compendium of groove-driven delights, ranging from quiet ballads to up-tempo burners, from romantic charmers to powerful, blues-tinged anthems. Be Good finds Porter surrounded by the core of his powerhouse working band, with whom he recorded his Grammy® nominated debut, and who have performed with him for over three years now: Chip Crawford on piano, Aaron James on bass, Emanuel Harrold on drums, and Yosuke Sato on alto sax. Under the sure hand of producer Brian Bacchus, Porter and the band rise to new heights on Be Good, which is further fueled by richly emotional horn arrangements by Kamau Kenyatta, who produced Water and who continues to play an important role in Porter's sound. Kenyatta also performs on one track ("Painted on Canvas") and guest instrumentalists Keyon Harrold on trumpet and Tivon Pennicott on tenor sax are also featured throughout.

Porter tapped the prodigious talents of veteran producer Brian Bacchus for Be Good. Bacchus, whose A&R successes have included Norah Jones' Grammy® -winning Come Away with Me, as well as Cassandra Wilson, Gonzalo Rubalcaba, Wild Magnolias, and Joe Lovano's tribute to opera legend Enrico Caruso, Via Caruso, has produced projects for acclaimed jazz artists including Randy Weston, Lizz Wright, Richie Havens, Ronny Jordan, and Patricia Barber. Bachus first met Porter through a mutual friend and the two immediately recognized a shared sensibility, a sense of musical camaraderie that resulted in a strong in-studio collaboration.

"Gregory is the real deal and a revelation in terms of new male jazz singers, but I think that his voice coupled with his songwriting may be the thing that leaves most listeners with their mouths open," says Bacchus "There have been many solid singer songwriters coming from under the jazz umbrella of the last 10 years that are mostly brimming with folk and country influences Gregory is the first that I'm hearing that is squarely coming out of a real classic soul bag (i.e. Bill Withers, Curtis Mayfield, Donny Hathaway) as a songwriter, but with both feet firmly planted in jazz's soil."

A disarmingly sincere performer, with a groove that never quits, a voice of incredible virtuosity and a seemingly universal appeal as a songwriter, Porter's lyrics often speak as dreams do, in the languages of image and emotion, communicating thoroughly though not always directly.His objective as a songwriter, he says, is "to create a sincere message about my feelings on love, culture, family and our human joys and pain." Even in conversation he leans toward the poetic: "Just like the song 'Painted on Canvas' says,'I'm 'made of the pigment of paint that is put upon' ...trying to be honest and organic in my colors that I show." Be Good clearly attains that goal, and also proves to have a wide palette of colors to show.

The CD's opening track,the song mentioned above, masterfully primes the canvas of Porter's sophomore release. Gentle as a bedtime story-teller, his vocals weave seamlessly in and around the warm tones established by his core band, enhanced by the sparkling threads of Kamau Kenyatta's tenor sax and Chip Crawford's impressionistic pianism."Be Good,(Lion's Song)" the leading single from the album, has been a favorite at Porter's live shows for some time,here finally making its much-anticipated recording debut.The upbeat tribute "On My Way to Harlem" percolates with the vibrant cultural energy of the Harlem renaissance figures that once walked the streets near St. Nick's Pub, where Porter's working band came together and where he finally solidified his conviction to record his first record in 2010. "I grew up in California and now I live in Brooklyn," explains Porter, "but even so, I feel that the spirit of the artists that came out of Harlem - from Duke Ellington to Langston Hughes - has so influenced my work that Harlem is as much a part of me as if I had lived there."

The soulful spirit of the '70s, epitomized by such artists as Lou Rawls and the Chi Lights, echoes forth in style on Porter's "Real Good Hands," a track that makes it clear that Porter is a complete romantic at heart. On the intriguing ballad, "The Way You Want to Live," a song of dangerous personal choices that he dedicated to Amy Winehouse during a performance at the Blue Note in New York just days after her untimely death, Chip Crawford's poignant touch on the keyboards is matched by Porter's fervent delivery. Next up, the band's unassuming, solid rapport underscores the tenderness of Porter's lyrics on "When Did You Learn?"

"Imitation of Life," the first of the three tracks on Be Good not written by Porter, is the title track from an Oscar-nominated 1959 film starring Lana Turner and Sandra Dee. Written by Paul Francis Webster and Sammy Fain, who also penned the Academy Award-winning "Love Is a Many Splendored Thing," and the Johnny Mathis hit, "A Certain Smile, "Imitation of Life" was originally performed by Earl Grant and has seldom since been recorded.

Porter, the youngest of a family of six raised in Bakersfield, California by a single mother who was also a minister, offers a show stopping and inspiringly heartfelt tribute to this clearly exceptional woman in "Mother's Song," emphasizing the extraordinary impact her love and fortitude has upon his life and work. "Our Love" which takes as its theme romantic love that succeeds despite the odds and in spite of naysayers, sustains the CD's mellow mood until Porter shakes things up completely with the scat-inflected, high energy "Bling Bling." Next, Porter delivers perhaps one of the hottest and grittiest versions ever of Nat Adderly's classic, "Work Song," a hard driving blues and jazz standard that has been recorded by vocalists as disparate as Nina Simone, Bobby Darin, Sammy Davis, Jr. and Johnny Rivers. Porter closes the proceedings with an a cappella version of "God Bless the Child," that is as understated as a prayer and as comforting as a lullaby.

In review after review, critics are inspired to comment on Porter as a new "king' of jazz," and a "leader of the pack," a performer of extraordinary presence who has been compared with the greatest of the greats, such as Joe Williams, Nat Cole, Donny Hathaway, and Marvin Gaye. As musically solid as his recordings are and as powerful and honest as Porter's magnificent voice is, it may just well be the brilliance of his poetry and the unguarded depth of his emotional delivery that is most fueling his rapid rise to fame. While fans will certainly be tempted to interpret deeply autobiographical messages amid the stories of love and loss that Porter has composed for Be Good, Porter is quick to point out that he is more painter than photographer. "My songs may start from a place of personal experience," he explains, but he uses his poetic license freely. "I try not to impose any particular perspective on the music. I want listeners to be affected each in his or her own way, and moved as much by what can be read in between the lines as what the lyrics say."

Crowned as "....the next big male vocal jazz star" by Allmusic.com, Gregory Porter was born in Los Angeles, raised in Bakersfield, and now lives in the Bedford-Stuyvesant area of Brooklyn. He got his start singing in small jazz clubs in San Diego, where he lived while at San Diego State University (which he attended on a football scholarship as an outside linebacker, until sidelined by a shoulder injury.)

His first studio experience resulted in his being featured on Hubert Laws' Remembers the Unforgettable Nat King Cole (on "Smile"), a particularly apt start for a young man who, as a child, not only used to sing along to the Nat King Cole records his mother would play, but who would go on to impress theater audiences with a deeply personal one man show, Nat King Cole and Me. That show, which ran for two months at the Denver Center for the Performing Arts, was preceded by Porter's work in "It Ain't Nothin' But the Blues." Although he'd only had minimal prior theatrical experience (in the Doo Wop musical "Avenue X"), Porter eventually was cast in one of eight lead roles when the play opened in San Diego, and eventually followed it to Off-Broadway and then Broadway theater, where the New York Times, in its 1999 rave review, mentioned Porter among the show's "powerhouse line up of singers." "It Ain't Nothin' But the Blues" went on to earn both Tony and Drama Desk Award nominations that year.

In 2009, Porter signed with Harlem-based label Motema Music, releasing his debut CD, Water, in May of 2010. Water has earned Porter incredible accolades from jazz and soul media alike.

"Warmth coats every line of Gregory Porter's intimate jazz and soul debut. Hints of Nat King Cole bleed through Porter's articulate phrasing, but the weight of Joe Williams and the spiritualism of Bill Withers resonates, too....Porter's conviction and traditionalism....delivers another refreshing, contemporary male jazz voice worth savoring." - Creative Loafing Atlanta.

"The versatile Porter's Water leaves you awash in enticing grooves." - USA Today

"Gregory Porter has most of what you want in a male jazz singer, and maybe a thing or two you didn't know you wanted." - New York Times

Two videos off of Water have been released, for the songs "Illusion" and the politically charged "1960 What?" Both have received significant airplay around the country, on such national outlets as VH-1.

FUNKEE BOY - PHILOSOULPHY

Chart topping Smooth Jazz keyboardist and producer Funkee Boy has released his sophmore CD Philosoulphy containing 13 songs that draw upon his influences in Smooth Jazz, Funk, RnB, and Soul! Philosoulphy features special guest appearances from his friends & fellow recording artists Leila, Elan Trotman, Vincent Ingala, Ru Williams, Anthony Rivera, Robert Harris, LG McKenzie, and more.

This CD has inspiring music to fit your every mood making you want to play it over and over and over again. If you like the passionate, romantic sound of artists such as Luther Vandross, Sade... the contemporary sound of today's RnB artists Brian McKnight, NeYo... the classic grooves of Earth, Wind, & Fire, Tower Of Power, Stevie Wonder... and the smooth jazz of artists Brian Culbertson, Dave Koz, Kenny G, etc. then this CD is for you!

Philosoulphy contains 13 songs featuring beautiful melodies with Piano, Saxophone, blended with creative/meaningful lyrics and rich sultry warm vocals.

The CD has up-tempo tracks "All Up In It," "Into To You" featuring Saxophonist Vincent Ingala, "Philosoulphy" and a great cover of the LTD Rnb classic "Back In Love Again." Mid-tempo smoothness can be found on tracks "New Day."" "In The Moment," "Bliss" featuring guitartist Robert Harris, "Infatuated," and "Just Because" featuring saxophonist Elan Trotman.

Funkee Boy also pays tribute to one of his favorite bands Tower of Power on the track "On Top" (featuring RU Williams) on vocals, where he creatively infuses titles of his favorite Tower Of Power songs within the lyrics.

For those wanting to get in a romantic mood, check out the sexy ballads "Anatomy" featuring the silky voice of Anthony Rivera, "When We Groove" featuring the sultry voice of Leila, and the sweet piano lead on "Sensuality". These songs are sure to get you in the mood!

All -n-all Funkee Boy's - Philosoulphy is a CD perfectly blending old school with new school that will lift you up and never let you down

Funkee Boy's - Philosoulphy 1. All Up In It 4:08
2. New Day 3:27
3. Back in Love Again 4:04
4. When We Groove (feat. Leila & Vincent Ingala) 6:09
5. In the Moment 3:45
6. Bliss (feat. Robert Harris) 3:51
7. Into You (feat. Vincent Ingala) 3:38
8. Anatomy (feat. Anthony Rivera) 4:22
9. Infatuated 4:00
10. On Top (feat. Ru Williams) 4:45
11. Sensuality 4:34
12. Just Because (feat. Elan Trotman) 4:17
13. Philosoulphy

TOM JONES TEAMS WITH JACK WHITE FOR HOWLIN’ WOLFS ‘EVIL’

British crooner Tom Jones has teamed with producer Jack White for a cover of Howlin' Wolf's 'Evil', which has has debuted online. The track will be released on Jack White's Third Man Records label as part of their Blue Series. It is due out on March 6, but the pair’s version of ‘Evil’ premiered yesterday on BBC radio. ‘Evil’ as well as the B-side track ‘Jezebel’ also features Jack White's bandmates from The Raconteurs, Patrick Keeler and Jack Lawrence as well as My Morning Jacket's Carl Broemel. The Blues Series has previously featured artists such as Stephen Colbert, John C. Reilyy, and Insane Clown Posse, who put out their track 'Leck Mich Im Arsch' as an exclusive seven-inch and download last September. The unlikely hook-up with the controversial rap duo came about when they apparently crossed paths with White at an airport.

The seven-inch single will also feature a new rendition of ‘Jezebel,’ a song also taken on by Edith Piaf and Anna Calvi. Both songs will feaure White’s Raconteurs bandmates. Tom Jones is no stranger to covers, of course, in 1964 he performed the Ray Charles hit 'What’d I Say;' he covered Prince’s 'Kiss;' and on his 2003 album Reloaded, he included versions of Talking Heads' 'Burning Down the House,' Ram Jam's 'Black Betty' and other tracks.

LISA LINDSLEY - EVERYTIME WE SAY GOODBYE

Lisa Lindsley's 2011 debut recording, Everytime We Say Goodbye, introduced jazz audiences to, as critic Ken Franckling described her, "a Bay Area singer we need to keep an eye on -- and ears wide open for years to come."

Lindsley is now preparing to make her New York debut -- at the Metropolitan Room on Wednesday, March 28 -- and has put together a new show, "I've Got a Lot of Livin' to Do," which also features her frequent musical colleague George Mesterhazy.

Mesterhazy, a premier accompanist for singers (from Shirley Horn during the last several years of her life to, more recently, Paula West, Mark Murphy, and Rebecca Parris), offered impeccable support on Lindsley's CD as pianist and arranger. "George has been a great support and mentor in guiding me with music, and making me realize I can go for my dream," says Lisa. "Performing in New York with George is another big step on my dream ladder!"

Recorded during the breakup of her marriage, Everytime We Say Goodbye reflects the currents of longing, melancholy, and fortitude running through her life at that time. In concert, Lisa brings vivacious energy to the stage, with a repertoire reflecting her resilience and rekindled exuberance. Lindsley may be a latecomer to jazz singing, but she has deep experience as an actress and possesses a natural flair for comedy. "I've Got a Lot of Livin' to Do" is a lively, persuasive showcase for all her gifts as a storyteller and a performer of the first order.

Lisa Lindsley was born and raised in Ogden, Utah, the daughter of a jazz-loving father and a former film actress mother who'd left Hollywood because of the McCarthy-era blacklist. By high school Lisa had discovered musical theater, a passion that carried through to college. She attended the prestigious California Institute for the Arts (CalArts) theater program, then spent a decade touring and performing with The Imagination Company.

Raising and homeschooling three daughters put her performing ambitions on the backburner for a long time, but in recent years she developed a successful career as a voice-over artist and, inspired by her daughters' own involvement in musical theater, she took the plunge into singing. The Bay Area's rich pool of jazz education has proven invaluable -- from her classes at Contra Costa College with award-winning vocal group instructor Roger Letson, to her on-the-job training with veteran pianist/drummer Kelly Park, to her studies at Berkeley's Jazzschool Institute, where she is enrolled in the demanding jazz studies degree program. Lindsley regularly appears on Bay Area stages, and also tours throughout California.

Lisa Lindsley at the Metropolitan Room, with George Mesterhazy, piano; Brian Glassman, bass; John Mele, drums, on Wednesday, March 28, 9:30 pm. Tickets are $15. The Metropolitan Room is located at 34 W. 22nd Street between 5th & 6th Avenues. (212-206-0440, http://www.metropolitanroom.com/).

SPIRITUAL JAZZ VOLUME II

The sound of spiritual jazz from the European underground of the 60s and 70s – a really rich music-making scene that's every bit as impressive as the one going on in the US – as you'll hear from this amazing set of tracks! As with the first volume in the series, the collection is filled with modal jazz and other groovers – mostly long tracks that really stretch out, yet still always have a tight sense of rhythm – one that makes the music completely infectious right from the start!

It might be tempting to think of European jazz of this sort as kind of a copy of a US mode – but instead, it really happened simultaneously – as younger players were really pushing past the styles of previous years – and drawing not only on American jazz for inspiration, but also a range of different post-colonial modes particular to the European scene – bits of African, Latin, Brazilian, and other styles that really helped influence their approach. And in a way, it might even be said that the Europeans of the 60s had a much looser approach to rhythm, one that really allowed for experiments like these – and which, in turn, went back to have an influence on the American side as well.

Titles include "Temple Dancer" by Michael Garrick, "Communion" by Erich Kleinschuster, "Archangelo" by Raphael, "Africa Freakout" by Barney Wilen, "Corrida" by Nicolai Gromin, "Duke & Trane" by Hiekki Sarmanto, "Nana Imboro" by Wroblewski Jazz Quintet, "Las Morillas De Jaen" by Pedro Iturralde, "Bosnia Calling" by Dusko Goykovich, and "Candy Clouds (part 2)" by Hans Dulfer & Ritmo Natural.

Source: Dusty Groove

NORAH JONES TO RELEASE NEW DANGER MOUSE PRODUCED ALBUM THIS SPRING - LITTLE BROKEN HEARTS

Norah Jones is set to release a new album this spring entitled Little Broken Hearts (released via Blue Note/EMI), which is a collaboration with producer and musician Danger Mouse. The two first worked together when Danger Mouse called upon Jones to contribute vocals to his acclaimed 2011 spaghetti western-tinged album, Rome, and their connection proved deep enough that they decided to collaborate on Jones’ fifth studio album.

Little Broken Hearts will feature original songs co-written by Jones and Danger Mouse, is the fascinating next step in the artistic evolution of one of the most intriguing singers to have emerged in the past decade. Together they have married their highly personal styles to create an entirely new sound.

The duo reconvened in Danger Mouse’s Los Angeles studio this past fall to finish what they had begun. The songs were all built from the ground up in the studio, with Jones and Danger Mouse sharing all the songwriting credits and performing the majority of the instrumental parts; Jones on piano, keyboards, bass, and guitar, and Danger Mouse contributing drums, bass, guitar, keyboards, and string arrangements.

Jones is scheduled to tour extensively in 2012, performing at a mixture of festivals, amphitheatres and theatres in the U.S. and abroad, including her return to the Hollywood Bowl, which has been announced as part of the venue’s subscriber series. The nine-time Grammy-winning singer will be appearing at the Kodak Hall at Eastman Theater in Rochester, New York, on June 29, and at the outdoor amphitheatre in Los Angeles on August 10.