NEW RELEASES: BLUNDETTO, BUGGE WESSELTOFT, SHAWN LEE'S INCREDIBLE TABLA BAND

BLUNETTO – WARM MY SOUL

Blundetto's groove is even nicer than before – honed through their work on singles and remix efforts – and turned towards a rich array of global roots that really deepen the sound of this album! There's as much 70s African and Jamaican influence going on here as there is a spiritual jazz side – both filtered through 21st Century modes that rework the primal elements, and come up with a fresh new groove – yet one that's always respectful to the originators! Guests on the set include the Akale Horns, Shawn Lee, Tommy Guerrero, and Jahdan Blackkamoore – and titles include "Hercules", "Rocroy", "It's All About", "Walk Away Now", "Treat Me Like That", and "I'll Be Home Later". (Really great limited heavy vinyl pressing – with cool textured fabric cover!)

BUGGE WESSELTOFT - SONGS

Some of the most beautiful music we've ever heard from Bugge Wesseltoft – a set of spare piano solos, mostly standards – and a wonderful demonstration of his more jazz-based talents! Bugge's an artist who first came to our ears back in the 90s, through some creative experiments that mixed electronics and jazz – but in recent years, he's become more of an acoustic artist – and steps forth wonderfully here with a really sensitive sound! Most tunes are familiar jazz standards, played by Bugge on an acoustic piano, but with a sense of flow and space that clearly comes from working a Fender Rhodes – that kind of spacious sound that we love in the mid 70s recordings by Steve Kuhn. The sound is beautiful – really haunting and evocative, in ways that may well make the record one of the most daring that Wessletoft has ever recorded. Titles include "Chicken Feathers", "Lament", "Like Someone In Love", "Giant Steps", "How High The Moon", and "Darn That Dream".

SHAWN LEE’S INCREDIBLE TABLA BAND – TABLA ROCK

Incredible tabla funk from Shawn Lee and his Incredible Tabla Band – inspired by both classic drum breaks and Indian tabla and sitar-flavored psych funk – a full on covers set of the landmark Bongo Rock album (and more) by Michael Viner's Incredible Bongo Band in this mad mode! The genesis of this album was simply Lee's desire to cover the standout track "Apache", but, Shawn isn't the kind of artist to stick a toe into a project – nope, he goes right off the conceptual deep end, putting his own creative stamp on music that's proudly adherent to whatever the classic inspiration. It's especially amazing here – what could have been a mere novelty covers album of what you could argue was originally something of a novelty album (novel, though furiously creative and influential) is perhaps the most brilliant moment of Shawn Lee's career-to-date! Drum and percussion heavy genius that helped form the blueprint of hip hop – fused with buzzing and thumping Indian funk-styled grooves – pure genius from Shawn Lee with Prithpal Raiput on tablas, Andy Ross on saxes & flutes, Dom Glover on trumpet and Mick Talbot on Hammond. Includes "Let There Be Drums", "Apache", "Bongolia", "Last Bongo In Belgium", "Dueling Bongos", "Inna Gadda Da Vida", "Raunchy '73" and "Bongo Rock '73" – all covers from the original 1973 version of the Bongo Rock album – plus "Sing Sing Sing" and "Pipeline" from the '74 follow up.

Source: Dusty Groove

NEW RELEASES: NITE JEWEL, GAL COSTA, JOYCE

NITE JEWEL – ONE SECOND OF LOVE

Neo classic electro pop & soul from Nite Jewel – featuring the haunting synths and beats that we loved on her earlier album – and she delivers better songs and more confident vocals on this excellent set for Secretly Canadian! Nite Jewel seemingly loves pop soul and drum machine funk, which of course endears us greatly to her stuff. What's exciting now is that she's really developed a distinguished voice now – this really a really strong, standout album! Includes "This Story", "One Second Of Love", "She's Always Watching You", "Mind & Eyes", "Memory, Man", "No I Don't", "Autograph", "Clive" and more. (Limited edition "white haze" vinyl. Includes digital download.).

GAL COSTA - RECANTO

Amazing stuff – the most intriguing album we've heard from Gal Costa in decades – and one of the first in many years to get back to the more experimental side of her music! The set was co-produced by Caetano and Moreno Veloso (who also play on the session as well), and it's really got Gal getting back to the creative styles of the Tropicalia years – yet also filtered through the more contemporary modes that Moreno's been using in his 21st Century projects too! The blend is incredible – a reminder that Costa can still be pretty damn captivating when she wants to be – and that she's still part of one of the most important musical communities on the planet. Kassin also does a lot of work on the record – and in a way, it almost sound most like some of his best creative projects in recent years – but graced with all the indescribable depth that Costa brings to her presentation of the lyrics. Titles include "Segunda", "Recanto Escura", "Cara Do Mundo", "Autotune Autoerotico", "Tudo Doi", and "Neguinho

JOYCE - DACOR BRASILEIRA

A great slice of work from Joyce's career at EMI/Odeon – one that focuses on material from the classic Agua E Luz and Feminina albums – plus some later 90s tracks too! Joyce never let up during these years – still going strong, working in a mix of gentle bossa, jazzy folk, and strongly expressive lyrics that set her apart from most of her generation – truly sublime music that's made her one of our favorite Brazilian artists ever! The set features a few duet tracks, plus great solo material – and titles include "Feminina", "Misterios", "Rio Doce", "Duas Ou Tres Coisas", "Aldeia De Ogum", "Mais Uma Vez Mais Uma Voz", "Capitao", "Revendo Amigos", "Eternamente Gravida", "Minha Gata Rita Lee", "Rei Morto Rei Posto", and "Monsieur Binot".


Source: Dusty Groove

NEW RELEASES: WILL DOWNING, SLY & ROBBIE, CECILIA STALIN

WILL DOWNING – TODAY

The warm soul sound of today – courtesy of the legendary Will Downing! The set's the second in Downing's trilogy of soulful expression EPs, and it's got a wicked sound that's even better than the Yesterday volume – all original tunes by Will, co-written with Chris "Big Dog" Davis, who provides some great production on the set – the kind of lush but tight groove that always works perfectly with Will's vocals – mellow, but never too much so – and always with this gentle rhythm that glides along wonderfully with the vocals! Downing's never sounded better, and our hat's off to him for putting out such great music on his own label. Titles include "One Step Closer", "Sexy", "Like Last Night", and "The Blessing". (Tracks on CD pressed out of sequence).

SLY & ROBBIE – BLACKWOOD DUB

Trancscendent dub from masters Sly Dunbar & Robbie Shakespeare – delivering some of the best modern dub we've heard in years – from Sly & Robbie or anyone else! Firstly, the production and instrumentation is top notch. Recorded Harry J's and featuring a stellar line up of players. Secondly, they're delivering the goods creatively – with all the echo and atmosphere of classic dub, but doing so with a profoundly modern vibe. Sly's drums, percussion and syn drums are a mighty thing to behold – technologically adept, yet steeped in classic vibes. Robbie's guitars are great, too, and the players include Dalton Brownie, Hansel Collins, Robbie Lyn, Mikey Mao Chung and others. Includes "Dirty Flirty", "Shabby Attack", "Burru Saturday", "Communication Breakdown", "Frenchman Code", "Riding East", "Smoothie", "The Bomber", "The Great Escape" and more. (Limited edition vinyl includes the CD and poster.)

CECILIA STALIN – STEP LIKE A GIANT

A massive return to form from Cecilia Stalin – and proof that she's got way more to offer than just some amazing vocals! The set's not just great on the vocal tip, but also in terms of the arrangements, too – a 21st Century recasting of jazz modes, criss-crossed with the best bits of the European underground – served up with a vibe that's especially heavy on London flavors, too! Music crackles right from the start – and Cecilia wrote and arranged the whole set herself, while also singing these beautiful lyrics that blend old school vocalese with contemporary soul – the kind of groove that we first loved when we discovered her singing with Koop about a decade ago – but even more focused and mature here! The set features a few great remakes – "Step Like A Giant", "Afro Blue (Roots)", and "Favorite Things" – all showing her love of John Coltrane – plus the tracks "Cinematic Favorite", "Quinox", "Aisha", "One", "Shining Star", "So Blue & Green", and "My Naima".

Source: Dusty Groove

IDINA MENZEL LIVE - BAREFOOT AT THE SYMPHONY

Idina Menzel has a diverse career on the stage, in film and television, and in music. The beloved Broadway star, best known for her work in the Broadway musical and film adaption of Rent, her Tony Award-winning performance as Elphaba, the green-faced Wicked Witch of the West in Wicked, and her recurring role in the hit TV series Glee, has spent much of the past two years crisscrossing the country, headlining concerts with world-renowned symphony orchestras. This past November, on Menzel’s 2011 tour itinerary, the star recorded her forthcoming PBS special Idina Menzel Live: Barefoot at the Symphony. On March 6th, Concord Music Group released the DVD and accompanying album.

The TV special, DVD, and the album, were captured in Toronto at Koerner Hall, a beautifully modernist, acoustically blessed space literally carved out of the city’s historic Royal Conservatory of Music headquarters. Menzel performs with the 52-piece Kitchener-Waterloo Symphony, one of Canada’s premiere symphony orchestras, under the direction of legendary conductor Marvin Hamlisch (or as Menzel prefers to call him, the legendary Marvin Hamlisch) and her equally accomplished music director and pianist, Rob Mounsey (who has worked with everyone from Paul Simon and Steely Dan to Madonna, Usher and Rihanna).

Though Menzel’s symphony concerts have attracted sellout crowds and earned consistent critical praise, she was hesitant about the idea at first. “I’ve toured a lot in my life with different bands and different styles of music, but I stayed away from orchestras and symphonies for a long time, because I like to have a real intimacy with the audience, and I was afraid these big orchestras would usurp my ability to do that. But then I discovered that there’s a way to work with 80 musicians and make it feel like we’ve all known each other for years. I’m still able to explore my edgier side with songs like ‘Roxanne,’ but do it with an orchestra, which is really thrilling.”

Menzel opens the set with “Life of the Party,” written by Andrew Lippa for his 2000 off-Broadway musical The Wild Party, which costarred Menzel and her husband, Taye Diggs. It was Menzel who came up with the clever idea of combining Cole Porter’s “Love for Sale” with Sting’s “Roxanne.” From Rent, the landmark musical that not only provided Menzel with her big professional break but also introduced her to Diggs, she chooses “No Day But Today.”

Between Broadway numbers, Menzel slips in Jimmy Webb’s “Asleep On the Wind” (recorded by Webb in 1974 for his album Land’s End). Other standouts include Lady Gaga’s “Poker Face,” which she performed with Lea Michele on Glee and charged Mounsey with the challenge of coming up with a big, orchestral arrangement for it. Mounsey also came up with a playful rendition of Rodgers and Hart’s “Where or When,” featuring a special guest, husband Taye Diggs. Making the guest appearance was, she says, “entirely his idea. Once we’re on stage together it’s the real deal and we have great fun.”

With the PBS special and the album both completed, Menzel plans to go back on tour this summer. She also hopes to return soon to Broadway for “a brand new, original show that I’m not allowed to talk about, but really excites me.” In addition, Idina’s exemplary work continues with A BroaderWay, the foundation she established with Diggs in 2010 to help inner-city girls find outlets for self-expression through arts-related programs. But, says Menzel, “my biggest project right now is trying to be a really great mom and learning how to balance family and career. I’m just trying to spend as much time with my family as I can.”

DAN CRAY - MERIDIES

Pianist/composer Dan Cray’s first four CDs—trio recordings featuring his Chicago-based threesome of bassist Clark Sommers and drummer Greg Wyser-Pratte—built their repertoires around enticing cover versions of standards and jazz classics.

Now with Cray’s bold new disc, Meridies, due out March 20 on Origin Records, the Chicago-area native has expanded his trio—here with Sommers and drummer Mark Ferber—to a quartet that includes the well-regarded young tenor saxophonist Noah Preminger. And the program now spotlights mostly Cray originals, with only two covers.

The main reason behind the shifts in Cray’s musical perspective was his move in 2009 to that hotbed of activity and creativity, New York City. Like so many jazz musicians before him, Cray felt that he needed to be in New York’s challenging, fertile milieu to test himself as a musician and discern his potential.

Since arriving in there in 2009 and settling in Brooklyn, Cray has done just that. He’s earned a Master’s in Music from New York University, where he taught as an adjunct music professor, and he’s met many simpatico musicians with whom he regularly performs in clubs or more informal house sessions.

Two of these recent acquaintances—drummer Ferber and saxophonist Preminger—are heard on Meridies. Through the now-NYC-based Sommers, of whom Cray says “he knows what I’m gonna do before I do,” the pianist met the in-demand Ferber. “He’s so clear with everything he does,” says Cray. “I’ve never heard him make a mistake.”

Subsequently, the pianist met Preminger, a fellow Brooklynite. “We hit it off from the start,” he says. “I could just tell we were gonna play together. I loved the fact that he loved ballads. Not all young players do.”

Meridies is an exciting package, full of modern-minded material given imaginative, accessible treatments. This slant to the program is partly the result of Cray’s thirst to find personal expression within the contemporary acoustic jazz framework, and partly due to mentoring by Mike Kocour, the pianist’s teacher at Northwestern University (where he received his B.A).

“More than anyone, Mike taught me about communication,” says Cray. “He showed me how to break things down to their essential elements and develop lines in a meaningful way.”

The program is replete with choice cuts. “Worst Enemy” segues from a wide-open Latin groove for the composer’s solo to a natty blues for Preminger; the pop standard “Smile” is done as a perky jaunt in 7/4. Cray’s “East 69” is a winsome trio outing in 3/4, while “Winter Rose” is a fresh contemporary tune with percolating rhythm. Joe Henderson’s “Serenity” is fast and spirited; Cray’s “Amor Fati” and “At Least” are succulent ballads that exhibit the pianist’s warmth and Preminger’s alluringly breathy sound.

Cray, 35, was born and grew up in the Chicago suburb of Glen Ellyn, and started studying piano at age 4. After graduating Northwestern, he cut his teeth with live dates in Chicago, where he played with such top locals as saxophonists Eric Schneider and Greg Fishman and bassist Eddie de Haas. His first four CDs—2001’s Who Cares, No One (2004), Save Us (2005), and Over Here Overheard (2008)—enhanced his visibility.

Meridies (me-ri-dee-ayze), Latin for midday, “refers somewhat to William Butler Yeats’s book 'A Vision,'” says self-professed Latin geek Cray, “where he talks about the 35th year of life being the ‘apex of individuation.’ Hence, midday in the daily cycle.” Musically speaking, it refers to the mature and vivid work heard on Cray’s new recording.

Dan Cray’s New York CD release show will take place on Thursday 4/19 at the Kitano (Park Avenue at 38th Street, Manhattan). He’ll be performing with tenor saxophonist Noah Preminger, bassist John Tate, and drummer Matt Wilson. Cray returns to Chicago for a two-night engagement at Andy’s (with Preminger, Clark Sommers, and drummer TBA) 6/15-16.

JOHN PIZZARELLI - DOUBLE EXPOSURE

For nearly 30 years, guitarist John Pizzarelli has explored various corners of the jazz landscape and merged a variety of styles into a single, distinctive signature sound. On any given recording – indeed, in any given song – one is likely to encounter an entertaining convergence of jazz, swing, the American songbook, pop, bossa nova and more.

Double Exposure, Pizzarelli’s latest recording on Telarc – a division of Concord Music Group – focuses on two distinct styles to make a single fine recording. Set for release on May 15, 2012, Double Exposure is a collection of tunes by some of the great pop songwriters of his own generation that are framed squarely within traditional jazz arrangements.

“I didn’t want to just cover these songs, but rather find a way to present them that was unusual and interesting’” says Pizzarelli. “I think growing up in a household that had two specific record collections became the inspiration – my father’s jazz records, my sisters’ record collection and records brought around by their friends.”

The result is a fascinating and engaging musical hybrid. Double Exposure draws from a diverse pool of some of the best pop songwriters of the past five decades: Lennon and McCartney, Neil Young, James Taylor, Leiber and Stoller, Tom Waits, Joni Mitchell and others. Woven into these memorable compositions are threads of jazz borrowed from figures like Wes Montgomery, Billy Strayhorn, Thad Jones and John Coltrane.

Pizzarelli is backed by his touring and studio band, featuring keyboardist Larry Fuller, bassist (and brother) Martin Pizzarelli and drummer Tony Tedesco. In addition, organist Larry Goldings assists on a number of tracks. A four-piece horn section arranged by Don Sebesky includes Tony Kadleck (trumpet, flugelhorn), John Mosca (trombone, euphonium), Kenny Berger (baritone sax, bass clarinet) and Andy Fusco (alto and tenor saxophone, clarinet), providing accents and embellishments along the way.

The 13-song set opens with the upbeat and uptempo “I Feel Fine/Sidewinder,” a track which Pizzarelli describes as “Lennon and McCartney meet Lee Morgan.” Before the recording sessions got under way in the fall of 2011, he and his band initially road tested the song at a Birdland gig in New York City. “There were kids there who were saying, ‘Hey, we loved the way you played ‘Sidewinder’ inside a Beatles tune!’”

This jazz-flavored rendition of the Beatles classic is the latest chapter in the prolific Pizzarelli-McCartney association that has developed over the past few months. Pizzarelli appears on several tracks on McCartney’s new album, Kisses on the Bottom, a collection of standards (plus two McCartney originals) released in early February. Two days after the release, Pizzarelli performed with Sir Paul at an iTunes concert at Capitol Records Studios in Hollywood, California. The two also performed together at the Grammy Awards in Los Angeles on February 12, 2012.

Pizzarelli’s intriguing renditions of Neil Young’s “Harvest Moon” and Billy Joel’s “Rosalinda’s Eyes” are a nod to the guitarist’s high school and college years – a period during which he played in numerous pop and rock cover bands – while “In Memory of Elizabeth Reed” is his perky take on the Allman Brothers’ instrumental, augmented by themes from Wes Montgomery’s “Four On Six.” The combination was “something that just came out of the blue,” says Pizzarelli. “I was sitting up in my cabin, thinking about an instrumental. I thought about all the instrumental tracks the Allman Brothers have recorded over the years, and ‘Elizabeth Reed’ immediately came to mind.”

In “Walk Between the Raindrops,” the Donald Fagen song from his 1982 solo recording, The Nightfly,
includes arranger Don Sebeskey’s homage to trumpeter Thad Jones.

The slinky, sly-sounding “Take a Lot of Pictures” is the album’s sole original track, as penned by Pizzarelli and his wife, singer/actor Jessica Molaskey. The title comes from an old expression by Frank Sinatra, who was known to grow weary of backstage fans with overactive cameras. “Take a lot of pictures” was Sinatra’s way of implying that he wouldn’t be returning to the venue anytime soon. Likewise, the Pizzarelli/Molaskey song is a bitterly comic sendoff to a love gone sour.

The album closes with a whimsical reading of Seals and Crofts’ 1973 hit, “Diamond Girl,” which quotes directly from Miles Davis’ iconic “So What” and features an expressive trumpet solo by Tony Kadleck.

“There was a lot more to this record than just writing out chords to these songs and saying, ‘Let’s play this,’” Pizzarelli says of Double Exposure. “I really worked hard on the arrangements. I worked on what everybody would play. And I sat down with the guitar and worked everything out before I even sat down with the group.”

“It’s a different kind of record, but it’s also something that I’ve been wanting to do for several years, so I’m glad I finally got to do it. It was a matter of finding the jazz to go inside the pop song, and doing it in a way that would be entertaining and engaging.”

“In each one of these songs, there are two things happening at once – a pop dimension and a jazz dimension – but at the same time they blend together very well. This is what my career has been about, ever since I first became aware of music and ever since I first picked up the guitar. This record provides the listener with an exposure to both of these very significant dimensions.”

MONTY ALEXANDER CELEBRATES 50TH YEAR IN MUSIC AT THE BLUE NOTE

In a career spanning five decades, pianist Monty Alexander has distinctively bridged the worlds of jazz, popular song, and the music of his native Jamaica. With over 70 albums to his name, Alexander is celebrating his 50th year in music with an ambitious, two-week engagement at New York's Blue Note, which began on Monday, February 20 through Sunday, March 4. Alexander is presenting the engagement in two parts: Part 1 - The Full Monty: 50 Years in Music! (February 23 - 28) and Part 2 - Jamaica Meets Jazz - A One Love Celebration (February 29 - March 4). The featured body of work and lineup will vary throughout the engagement, with each evening focusing on a project from Alexander's extensive career (six projects total will be presented throughout the engagement). Special guests throughout the two weeks include Russell Malone, Christian McBride, Dr. Lonnie Smith, Pat Martino, Freddie Cole, Dee Dee Bridgewater, Ernest Ranglin, John Clayton & Jeff Hamilton, and Robbie Shakespeare & Sly Dunbar, among others.


"I derive great personal joy and satisfaction from being able to present music that can bring out people of all persuasions and life styles," says Alexander, "from Kingston, Jamaica to New York and the rest of the world - that's my Harlem-Kingston Express train. That is what this Blue Note booking is all about."

Part 1 of the engagement kicked off on February 20 with a performance by one of Alexander's working ensembles, Harlem-Kingston Express, featuring special guest, guitarist Ernest Ranglin. They will perform music from their GRAMMY® nominated debut, Harlem-Kingston Express: Live! (Motéma Music - released in June 2011).

On February 21 & 22, Alexander brought back his long-standing Triple Treat project. Originally consisting of guitarist Herb Ellis and bassist Ray Brown (a group that toured and recorded together throughout much of the 80's), Alexander will reinvigorate the trio in a program titled "Triple Treat Revisited," featuring one of the "living descendants" of Brown, bassist Christian McBride, as well as guitarist Russell Malone, who appeared on Brown's last recording, along with Alexander.

Alexander's Uplift! trio project (stemming from the March 2011 Jazz Legacy Productions release of the same name) was performed on February 23 & 24, featuring organist Dr. Lonnie Smith and guitarist Pat Martino respectively. On February 25 he showcased Ivory & Steel, a project that reflects the music of Trinidad and the steel drum tradition (much like the Iron & Steel group Alexander led in the 70's and 80's).

"Uplift! is a name that came to me and represents how I feel within myself when I play. It seems that when I play, many others also share this experience," says the pianist. "I wanted to have a straight trio record of mine out there, doing what I do the way I do it when I play live concerts - that old classic setting. And we have a ball doing it. The trio is my own personal big band/orchestra."

With "A Night at Jilly's" on February 26, Alexander honored the first jazz club he performed in when he arrived to New York City from Jamaica in 1963 - Jilly's. It was here that Alexander began to establish himself on the U.S. scene. During his three year's at the club, he had the privilege of accompany the great Frank Sinatra. Special guests for the evening will include vocalists Dee Dee Bridgewater and Freddie Cole.

Closing out Part 1 of Alexander's engagement is "The Montreux Alexander '76 Trio Reunion" on February 27 & 28, dedicated to one of the pianist's most celebrated albums, Montreux Alexander: The Monty Alexander Trio Live! at the Montreux Festival. The show featured the original trio, with bassist John Clayton and drummer Jeff Hamilton.

"Ray [Brown] used to frequently say to me 'you should form a trio with younger musicians' and in 1969 he introduced me to a young bass player named John Clayton, who I stayed in touch with," explains Alexander. "In 1975 my regular bass player suffered a physical ailment and John Clayton came and played with me in Annapolis, MD (on drums was Louis Hayes) and for the second week of that same booking he suggested his good friend from music school, Jeff Hamilton on drums. This unit stuck together for about two and a half years, playing consistently all year round. Montreux in 1976 was one of the nights where this trio was captured and to this date it still is one of my most popular recordings. This was a very well oiled combo."

Alexander goes directly to his Jamaican roots with Part 2 of the engagement. On February 29-March 2, Alexander will present "Monty meets Sly & Robbie," performances with drummer Sly Dunbar and bassist Robbie Shakespeare. Sly & Robbie are two of reggae's most recognized trailblazers and collaborated with Alexander on his album, Monty Meets Sly & Robbie. The pianist will conclude the engagement by bringing back his Harlem-Kingston Express group for two final nights on March 3 & 4. Special guests for these performance dates are TBA.

Alexander has been on the express track his whole life and now, in this 50th year of phenomenal musicianship, he shows no sign of slowing down. In 1961, the urban sophistication of jazz and the American songbook, and an invitation to accompany none other than Frank Sinatra, lured the teen prodigy Alexander away from Jamaica and the art form most associated with that nation. The move led to an extraordinary career in jazz, reggae and popular song including collaboration with greats such as Tony Bennett, Dizzy Gillespie, Milt Jackson, Sonny Rollins, Quincy Jones, Bill Cosby and Bobby McFerrin.

Source: Motema Music

ELIO VILLAFRANCA / ARTURO STABLE - DOS Y MAS

Elio Villafranca and Arturo Stable, two Cuban-born maestros of jazz and world music, unveil Dos y Mas, the debut recording of their exquisite new piano and percussion collaboration, which was released on Motéma Music this past January. Villafranca's virtuosic and multifaceted pianism engages Stable's poly-rhythmic percussion genius on ten original compositions that pay tribute to the spiritual, classical and traditional legacies of Cuba, Latin America, the Middle East, Africa and Spain.

The intimate musical journey of Dos y Mas was sparked nine years ago when Villafranca and Stable met for the first time in rehearsals for Jane Bunnett's band The Spirits of Havana. Their collaboration in that setting was so satisfying that it led Stable to suggest they develop their original works together and record a duet album. Over the years, the project grew and took shape, expanding into a cultural exploration much greater than the two of them could have anticipated, hence the moniker, Dos y Mas. (Two and More.)

Steinway artist Elio Villafranca and Ritmo artist Arturo Stable were both classically trained at the Instituto Superior de Arte in Havana, and are now at the forefront of the latest generation of remarkable Cuban artists making major creative contributions to the international development of modern jazz.

Their rich Dos y Mas recording gracefully interchanges jazz and world elements: the rhythmic "Saghezi" percolates with Middle Eastern flavor, as Stable's ripe tapping of the Daf drum dances with Villafranca's emotionally gripping keyboard work. The gentle and romantic "Alla" conveys a sunlit sensibility, with the soft sounds of running water trickling in the background. According to Arturo, the song is meant to "evoke the things in life that you see from the distance and you would like to get closer to."

Most steeped in the duo's shared Cuban history is the captivating, "Arara," in which the pair recreates the ancient melody of Ojún Degara, one of the oldest Arara folkloric groups living in Cuba. Taking it one step further, the beautiful melody is paired with a traditional rhythm from Danzòn, the official dance of Cuba. The evocative "Vertiente," inspired by the flamenco traditions of Southern Spain, blends the "Buleria" rhythm with Afro-Cuban and jazz inflections. Of the songs written in the Afro-Cuban tradition, including "En La Colonia," Stable comments, "I got inspired by the many traditional chants from the Yoruba religion that I listened when I was growing up in Cuba."

Growing up in Cuba and then relocating to the United States had a huge impact on both artists musically. Villafranca notes, "In the streets of my hometown, San Luis in the province of Pinar del Rio, I was exposed at a very early age to Tambor Yuka, a musical form rooted in Congolese traditions. In Cuba I was not only exposed to the rich Diaspora of Afro-Cuban music as well as the various genres of popular Cuban music, but I also received a top quality education in European classical music. When I moved to the U.S. and studied jazz, this and other forms of music--South American, Middle Eastern, and other Caribbean genres--helped to shape my musical language. The music I wrote for this album is the result of all of the musical journeys I've traveled for many years, investigating different musical propositions."

The Dos y Mas journey comes to a wistful close with "Cuba Linda." Written by Villafranca, the song is Villafranca's and Stable's first recording of a Coro de Clave y guaguancó composition. Originating from the tradition of choral singing in Barcelona, Spain in 1845, "Cuba Linda" expresses the duo's nostalgia for their homeland. Guest vocalist Igor Arias sings, "Cuba Linda, como te extraño" or "Beautiful Cuba, how much I miss you,"on the nearly eight minute-long heartfelt tribute.

Because percussionist Stable initially trained as a pianist, and Villafranca began his studies as a percussionist, the two have an extraordinarily deep understanding of both instruments and of each another's natural instincts. The result is a glorious musical conversation that is articulate, romantic and emotive. Says Stable, "Working with Elio is a very rewarding experience. He is always open to new ideas and to taking risks, musically speaking. I love that because it means the music can always take a new direction. We share similar backgrounds culturally and musically, so the connection between us was there since the beginning. I always feel I learn something new when we perform together."

Villafranca agrees, "Arturo's musicality and ability to play many different hand drum instruments with facility, elevated my playing and my interpretation of his playing. Together we have arrived a new musical dimension."

Together and separately, Villafranca and Stable have developed loyal followings both as leaders and for their work with many of the world's top musicians, including Wynton Marsalis, Pat Martino, Johnny Pacheco, John Faddis, Billy Harper, Esperanza Spalding, Lionel Loueke, and Paquito d'Rivera.

Both artists are avid and creative educators who are as in demand as lecturers at universities as they are as performers at festivals, clubs and cultural centers. Villafranca is a resident professor at Temple University, while Stable teaches at the University of the Arts in Philadelphia, where he designed their unique Hand Percussion.

Villafranca's 2003 release, Incantation/Encantaciones, featuring Terell Stafford, Jane Bunnett and Pat Martino, quickly established the young pianist as an important new artist on the scene, and earned him a spot in Jazz Times magazine's 2003 Critics Poll for the Top 50 Best Jazz Albums. In 2010, Villafranca received praise for his exceptional work as the pianist, composer and co-producer of Latin percussionist Chembo Corniel's CD, Things I Wanted To Do, which was nominated for Best Latin Jazz Album of the Year in the 53rd Annual Grammy awards.

Dos y Mas marks the Motéma music debut for both leaders, who add some Cuban flavor to the strong and growing roster of world-jazz artists on the label which include: NEA Jazz Master Randy Weston and his African Rhythms, Jamaican jazz/reggae legend Monty Alexander and his Harlem Kingston Express, and the recently acclaimed Brazillian/Israeli duo Roni Ben-Hur and Nilson Matta.

Source: Motema Music

MARISA MONTE - O QUE VOCE QUER SABER DE VERDADE

On March 27, Blue Note Records will release O Que Você Quer Saber De Verdade (“What You Really Want To Know”), the long-awaited new album from Brazilian superstar Marisa Monte. O Que Você Quer Saber De Verdade is the celebrated singer and songwriter’s first new album in six years since the release of her twin albums Universo Ao Meu Redor and Infinto Particular, the latter of which Jon Pareles named one of his Top 10 albums of 2006 in The New York Times.

O Que Você Quer Saber De Verdade was produced by Monte with co-producer Dadi and recorded in Rio de Janeiro, São Paulo, Buenos Aires, Los Angeles and New York. The album features musicians such as the Oscar-winning multi-instrumentalist Gustavo Santaolalla, the Brazilian power trio Nação Zumbi, Argentinean tango group Café de los Maestros, a duet with Rodrigo Amarante of the Brazilian-American super group Little Joy, and a string ensemble performing arrangements by the American maestros Greg Cohen and Miguel Atwood-Ferguson.

The album features songs penned by Monte along with long-time musical partners Arnaldo Antunes, Carlinhos Brown and Dadi. Monte also covers some of her favorite artists including Jorge Ben (“Descalço no Parque”) and a version of the classic tango “Lencinho Querido” by Juan de Dios Filiberto and Gabino Coria Penaloza.

Marisa Monte - O Que Voce Quer Saber De Verdade Tracklist:
1. O que você quer saber de verdade
2. Descalço no parque
3. Depois
4. Amar alguém
5. O que se quer
6. Nada tudo
7. Verdade, uma ilusão
8. Lencinho querido (el panuelito)
9. Ainda Bem
10. Aquela velha canção
11. Era óbvio
12. Hoje eu não saio não
13. Seja feliz
14. Bem aqui

Source: Blue Note Records

ANDREA VENEZIANI TRIO - OLTREOCEANO

Bassist Andrea Veneziani followed his musical dreams from Rome to New York in the summer of 2009, and those dreams are made manifest with the release on March 13 of his ravishing debut CD Oltreoceano (Overseas). A trio session with pianist Kenny Werner and drummer Ross Pederson, the disc is a striking introduction to the gifts of this Tuscan-born bassist and composer.

“Kenny is one of the major pianists who operates in trio settings today,” says Veneziani of Werner, who was an instructor in the bassist’s NYU Master’s program. “I like his playing, very sensitive and creative, a true improviser.” Pederson, a rising young drummer on the New York scene, “knows how to shape the music, which was essential for me, because of the nature of my compositions.”

Those compositions include two (“Night Flight,” “In Viaggio con Te”) inspired by his travels, which included a July 2010 tour of Costa Rica; “Traffico,” for which Veneziani composed only the melody, with the remainder of the performance free-form; and the minor-key “Mark Rothko,” for the late American abstract painter. Three short interludes—“Free Episode #1,” “Free Episode #2,” and “Free Episode #3”—were improvised in the studio by Veneziani, Werner, and Pederson without advance planning, other than the moods requested by the bassist beforehand.

The nonoriginals are from the oeuvres of three jazz icons: Charlie Parker (“Segment”), Thelonious Monk (“Pannonica”), and Bill Evans (“Time Remembered”). Evans’s influence can be felt in the effortlessly floating interaction between Veneziani, Werner, and Pederson, not just during “Time Remembered,” but throughout Oltreoceano.

“It’s really about interplay,” the bassist says. “I had listened to a lot of Bill Evans’s piano trio recordings during my years of studies. Bassists in those kinds of groups have more space—Scott LaFaro, Marc Johnson, all the bass players who played with Bill Evans always had the chance to play longer solos and counterpoint lines. You have more space and you can also break a bit the typical role of the instrument. I was always attracted to that.”

Andrea Veneziani was born April 21, 1977, in Pescia, Italy, a small town in Tuscany. At 15 he moved with his family to Rome and by 19 had taken up electric bass, initially inspired by Flea of the Red Hot Chili Peppers and other funk bass players. He gradually developed an interest in jazz and began studying acoustic double bass, “transfer[ring] all the technique I already had from the electric to the double bass.”

Veneziani studied at jazz clinics like Siena Jazz and at the Conservatory of Music Licino Refice in Frosinone, Italy, where he was awarded an Advanced Academic Diploma in 2007. From 2004 until leaving Italy in 2009, Veneziani performed at jazz festivals all over Italy, and was also active as a composer and arranger in many different settings, from jazz to theater and film.

The bassist arrived in New York in the summer of 2009 on a scholarship from the Fulbright Commission for Educational and Cultural Exchange between Italy and the United States. He was enrolled at New York University’s Steinhardt Department of Music and performing Arts Professions, from which he graduated in May 2011 with a Masters of Music Degree in Performance with a Concentration in Jazz. His teachers at NYU included Joe Lovano, Chris Potter, John Scofield, and Kenny Werner, his trio-mate on Oltreoceano.

Veneziani is in the process of planning a fall 2012 tour of Italy with an American trio. Meanwhile, the Harlem resident stays busy with teaching (private students as well as at the New York Jazz Workshop) and performing engagements with various bands, including his own trio. “I’m playing a lot here,” he says of New York, “and better, because the level is higher. You can always play with good musicians. You can always meet new musicians from all over the world. Music here is really alive.”

ELIS REGINA CLASSICS RE-RELEASED

Um Dia – 20 De Julho De 1979 (Montreux Jazz Festival – plus bonus tracks)

One of the last great recordings from Elis Regina – expanded here with a range of never-heard bonus tracks! The 2-CD set offers up all the amazing sides recorded by Regina at the Montreux Jazz Festival in 1979 – originally issued as a single album in the 80s, but even more incredible here in its expanded scope! The set marks the last time that Regina really hit a groove – that sublime blend of jazz, samba, and Brazilian modes that marked some of her best late 60s recordings – spun out here with incredible live energy in two different performances. As you'd guess from the title, all music is from one day – but from two different concerts – one in the afternoon, one at night – with variations in track listings, jazz instrumentation, and especially Regina's approach to the lyrics. The set also features a few tracks with Hermeto Pascoal on piano – and titles include "Triste", "Cobra Criada", "Agora Ta", "Onze Fitas", "Corrida De Jangada", "Mancada", "Amor Ate O Fim", "Samba Dobrado", "Na Baixa Do Sapateiro", "Maria Maria", "Upa Neguinho", "Corcovado", "Asa Branca", and "Garota Da Impanema".

Elis Anos 60 (12 CD set)

The birth of a legend – all the original 60s Philips albums from Elis Regina, packaged together in one set, and combined with 2-CDs' worth of bonus rare material too! The music is amazing – and starts with a more familiar bossa/samba mode, but quickly stretches out into the richer, more expressive sound that Regina really helped pioneer in Brazilian music – a careful balance of emotion and feeling, yet one that always manages to swing with a bit of soul as well! Arrangements are sublime throughout – some small combo jazz, some larger charts by Roberto Menescal, and some nice live moments too – even some collaborations with Jair Rodrigues, The Jongo Trio, Zimbo Trio, and Toots Thielemans too! Includes individual albums Samba Eu Canto Assim, 2 Na Bossa, O Fino Do Fino, Dois Na Bossa No 2, Elis 1966, Dois Na Bossa No 3, Elis Especial 1968, Elis & Toots, Elis Como & Porque, and Elis Regina In London – plus the CDs Perolas Raras and Esse Mundo E Meu – both compilations of rare singles, EP tracks, and other hard to find gems!

Elis Anos 70 (13-CD set)

Completely sublime music from the legendary Elis Regina – really standard-setting recordings that helped push Brazilian music into a whole new range of sounds and styles! The 70s saw Elis Regina really opening up her sound – digging deep into the expressive modes she first unleashed in the 60s – hitting these incredibly rich vocal styles that perfectly fit the mature vocals and arrangements used for the songs. There's a breadth of feeling here that's wonderful – and yet, at the same time, Regina has this unique way of never being too over-emotive either – a fresh face for female vocals in Brazil, and one that set the tone for countless generations to come! Albums include Elis No Teatro Da Praia, Em Pleno Verao, Ela, Elis 1972, Elis 1973, Elis & Tom, Elis 1974, Falso Brilhante, Elis 1977, Transversal Do Tempo, and Elis Especial – plus a whole bonus 2-CD set of rare material from the 70s – No Ceu Da Vibracao – filled with b-sides, single tracks, and other hard-to-find songs!

Source: Dusty Groove

COMING SOON: U-NAM - WEEK END IN LA: A TRIBUTE TO GEORGE BENSON

Chart topping jazz artist U-Nam (best known for his #1 hit “Street Life") is currently in the process of wrapping up production of his next project. Paying tribute to his hero and favorite artist George Benson, U-Nam will be releasing the album Week End in L.A. (A George Benson Tribute ) as U-Nam & Friends.

I just had the opportunity to listen to a sneak preview of U-Nam’s version of Benson's "Love X Love" from the forthcoming album due out this spring, and all I can say is WOW what a really cool track! I can’t wait to listen to the whole album when it’s released. Week End In LA (A Tribute To George Benson) also features: George Duke, Phil Perry, Ronnie Foster, Patrice Rushen, Tim TiO Owens,Paul Jackson Jr, Mike White, Smitty Smith, Eric Valentine, Kamil Rustam, Andreas Oberg, Franck Sitbon, Denis Benarrosh, Raymond Gimenes, Dio Saucedo, Jeff Lacey, Matt Rohde, Bill Steinway, Shannon Kennedy and many others.

According to U-Nam, with this new project, one can, “Expect the Unexpected!!!" U-Nam also mentionned that this will be the “Best, Biggest, Most Exciting and Intimidating project of his life." He also added, “before I even started to record any music on this project, my first thought was to call George [Benson], let him know about the project and ask for his blessing. I got more than I expected when he told me this, ‘Man, for sure you have my blessing and anyway whatever you’re gonna do it’s gonna sounds fantastic.’ After that I felt relieved and incredibly motivated to do a great hommage to GB!" The album is going to follow in the footsteps of “GB"; a mix of Jazz, R’n’B, Pop, Soul and full of innovation.

JOYCE 'RIO' - THE NEW STUDIO ALBUM

Joyce’s seventh original recording for Far Out – Rio – combines Joyce’s Brazilian rhythms (partido alto to samba), jazz and bossa harmonies and intelligent lyrics through her beautifully expressive voice on special original compositions and unique versions of classic Brazilian songs.

“In the summer of 2010, I was invited by the city of Rio to present a solo show on Ipanema beach. It was intended as a sort of luau for people leaving the beach, with just voice and guitar. I threw a sundress over my swimsuit, flip-flops on my feet, coconut water within easy reach, and there I was.

The sea of people, both locals and tourists, on the sand; the presence of friends who, like me, grew up on that stretch of beach; giving joy to so many made the show one of the happiest I’d ever given. Seeing all those people singing with me the city’s anthem, “Cidade Maravilhosa,” was priceless. This CD was born when the sun sank behind the Dois Irmãos hill, and the crowd applauded as we had done so many years ago. A crowd that applauds a simple sunset must be very good folk. Rio—the mountain, the sun and the sea—where I make my samba simply.”

Joyce - Rio Tracklist:
1. Adeus America
2. O Mar
3. Manha No Posto Seis
4. Vela No Breu
5. Puro Ouro
6. Desde Que O Samba E Samba
7. Valsa De Uma Cidade
8. As Mariposas/Com Que Roupa
9. Fitio de Oracao
10. Rio Meu
11. Viva Meu Samba
12. Mascarada
13. Samba Do Carioca
14. Cidade Maravilhosa
15. Tardes Cariocas / See You In Rio

NEW RELEASES FROM COMPTON, MARK DE CLIVE-LOWE & AZYMUTH

COMPTON – COMPTON’S SOUL

A sweetly soulful surprise from Andy Compton of The Rurals – a set that's even more profoundly steeped in deep soul atmosphere – with Compton collaborating with seductive female vocalists for one of the sultriest underground soul sets we've heard in a while! This is one of those records that you'd expect to good, given Andy's previous work – and it's actually a knockout! It's elegant and slow cooking, but, it's to hypnotic and intoxicating to call it laidback. The backdrop smoulders with keys, beats and bass with some jazzy soul flourishes. 9 of the 13 tracks are sung by Jaidene Veda, with some great spoken passages, too. Other vocalists include Diviniti, Kafele and Ladybird – and the singers write their own lyrics, given the album a nice collabortive vibe. Includes "And It Rains", "Bluenotes", "Believing", "Imagined", "Where Do We Go", "Record By Record", "Tomorrow", "Oh Love I", "7 Days", "Soon" and "No Limits". Source: Dusty Groove

MARK DE CLIVE-LOWE - RENEGADES

Mark De Clive-Lowe is back, and more brilliant than ever – working here on a set that's overflowing with superstar talent, and which cooks even more than some of his previous albums! All the grooves we've always loved from Mark are firmly in place – the wicked beats, cosmic rhythms, and spacious keyboards – but there's also a nice new focus too, one that brings in a lot deeper soul to most tunes – thanks in part to vocals from an array of guests who include Omar, Nia Andrews, Tawiah, Ovasoul7, Bembe Segue, Sheila E, and Sandra Nkake! The album's stuffed with tuneful numbers – more great singles than most other artists would hope for in a single album – and Mark still keeps things a bit cosmic at points too, with some great space jazz keyboards. Titles include "Get Started", "Under Orders", "The Why", "Everything", "Emergency", "Alabi", "Push", and "Hooligan". Source: Dusty Groove

AZYMUTH - MADDSLINKY & ZED BIAS REMIX 12"
 
The third remix single taken from Azymuth’s acclaimed 2011 studio album Aurora is Ta Nessa Ainda Bicho. Following monster mixes on 12” of Azymuth’s In My Treehouse (LTJ Xperience – JD19) and Meu Mengo (Mark E – JD 21) comes this highly limited heavyweight 12” from influential UK garage, break beat garage, broken beat and dubstep pioneer producer Zed Bias and the alias Maddslinky.

JILL SCOTT RELEASES "SO BLESSED"

Blues Babe/Warner Bros. recording artist Jill Scott's new single "So Blessed" was released to Urban Adult Contemporary radio on Monday, February 27th. The new record off the #1 critically acclaimed album The Light Of The Sun follows Jill's resounding performance of "So Blessed" at the 43rd Annual NAACP Image Awards, which also garnered her the award for Outstanding Female Artist, besting Beyonce and Mary J. Blige (See Video Link below). After headlining VH1 Divas and performing at the Nobel Peace Prize Concert most recently, the win adds additional accolades to her album, which also scored two Soul Train Awards for Best R&B/Soul Female Artist and Best Female R&B Soul Album.

"So Blessed" takes Jill back to the hit making producers Vidal and Dre (Michael Jackson, Alicia Keys), who she previously worked with on her Grammy winning debut album Who Is Jill Scott?Vol.1. The mid tempo funky soul record inspires all listeners to wake up every morning and realize the blessings around them. "This record spoke to me as an inspiration for myself and for others to remember to count your personal blessings every day. The money, cars, trophies, can all disappear immediately... it's about what's happening in your life like your family, friends and health," comments Jill.
The record follows the success of her debut #1 record "So In Love" ft. Anthony Hamilton, which stood atop the radio charts for an astounding 18 weeks and tying the all time BDS record with Maxwell's "Lifetime" record at 17 weeks. Jill then proceeded to follow up with her next single "So Gone(What My Mind Says)" which was a top 10 record peaking at #7 atop the charts as well.

Reigning supreme, three time Grammy Award winner Jill Scott secured the #1 spot on the Billboard charts for the first time in her career with the release of The Light Of The Sun. With sales of over 135,000 units in her first week Scott beat out Bon Iver and Adele for the week's top selling album across all genres. The album scored rave reviews across the board from Wall Street Journal calling it "one of the superior albums of the year" to NPR Music naming it "Best of 2011," all the way across the likes of The New York Times, Entertainment Weekly, and People Magazine. Scott's successful return additionally came with a string of firsts, gracing her first Billboard Magazine cover, as well as her first solo performance at the 2011 BET Awards, which The Washington Post named as one of the night's greatest performances.

The Jill Scott Live Experience lived supreme throughout the summer as her "Summer Block Party Tour" garnered rave reviews across the country. Publications such as New York Magazine, Newsweek, People, and Time Out NY amongst others gave her outstanding reviews for her live performance. Boston Globe remarked "Jill does not waste her breath or time..." while the Washington Post remarked "a romantic journey from pleasure, to pain, to confusion and finally to acceptance, with enough rest stops for fun and laughter as balance."

In addition, Jill dominated television, having appearances on The Today Show, Tonight Show With Jay Leno, Live! With Jimmy Kimmel outdoor series, and Live! With Regis & Kelly. Not to be topped by her performance this year at The White House for the American Poetry Workshop as well as President Obama and his family.

ENNIO MORRICONE - THE COMPLETE EDITION

Ennio Morricone is an Italian composer and conductor, who wrote music for more than 500 motion pictures and television series, in a career lasting over 50 years. His scores have been included in over 20 award-winning films as well as several symphonic and choral pieces. Morricone is most famous for his work in the Spaghetti Westerns directed by his friend Sergio Leone, including A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, the Bad and the Ugly (1966), and Once Upon a Time in the West (1968).

This new collection includes an incredible amount of classic and obscure film music, original compositions, orchestral arrangements and more from the himself – an incredible 15-CD retrospective, and at a stunningly affordable price – selected by Morricone himself. This collection is by far the most encompassing set we've ever seen for him.

Of course he's most famous for his international film score work, from cult horror to classic Hollywood – so 9 of the 15 discs are film themes and score material, selected by Morricone and sequenced chronology on discs 1-9, selections including the themes or other bits from Il Buono, Il Brutto, Il Cattivo, Escalation, Galileo, Gli Intoccabili, Slalom, Svegliati E Uccidi, Metti Una Sera A Cena, Veruschka, La Donna Della Domenica, Copkiller, Malena, and so much more! Discs 10 & 11 cover his best work for television, disc 12 is a set of Ennio's contemporary classical compositions, disc 13 features favorite original songs he composed for a wide range of international artists, disc 14 includes favorite orchestral arrangements, and disc 15 features arrangements he did for hit songs by artists such as Gino Paoli, Donatella Moretti, Paul Anka, Jimmy Fontana and others.

MARCHIO BOSSA - ITALIAN BOSSA BAR

Marchio Bossa is a jazz band founded by Piero and Pippo Lombardo in 2001, and their primary objective was to produce what they consider to be the best blend of bossa nova and samba jazz possible. In doing so, they utilized elements from the bossa nova sound of Antonio Carlos Jobim, Sergio Mendes, etc., and to mixed it up with other jazz and funk elements from the likes of Al Jarreau, Earth Wind & Fire, and Pat Metheny, among others. Overtime, Marchio Bossa have matured to an elegant and refined act, both live and on recordings, boasting some of the most talented Italian musicians.


Their latest album, Italian Bossa Bar, reflects the new-euro bossa groove that they have so well perfected.  To date Marchio Bossa have released four albums (plus compilations), each of which achieved both critical and sales successes worldwide: Italian Lounge Music (2003, Azzurra Music); No Bossa No Party (2004, Azzurra Music); Fantasy – The Best Of Lounge (2006, Azzurra Music); Colorando (2008); and The Very Best Of Italian Lounge Music (2009).

Musicians:
Francesca Leone - vocals; Pippo Lombardo - piano and keyboards; Guido Di Leone - guitars; Pierluigi Balducci – bass; Mimmo Scialpi - drums.

Guest Musicians:
Fabrizio Bosso (trumpet), Daniele Scannapieco (tenor) sax, Gilson Silveira (percussions), Gaetano Partipilo (contralto sax), Rocco Zifarelli (guitar), Marco Tamburini (trumpet), Leo Gadaleta (strings), Bruno Tassone (baritone sax), Fabio Lepore (vocals), Tommy Gargano (vocals).

Marchio Bossa - Italian Bossa Bar Tracklist:
1. E Questo Samba Va
2. Your Smile
3. Goodbye My Friend
4. Ama
5. Windmills Of Your Mind
6. Morena
7. Cafè Bossa
8. Uma Batida De Amor
9. Case Vuote
10. Vorrei
11. Suoni D'acqua
12. Nascita Di Un Nuovo Amore

NNEKA – SOUL IS HEAVY

Soul Is Heavy is the new album from award winning Nigerian singer/songwriter, Nneka. An effortlessly balanced combination of hip hop beats, reggae grooves, brass riffs and African-pop is the canvas for its motif of love, pain, politics and God. Featuring guest collaborations with The Roots' Black Thought ("God Knows Why") and Ms. Dynamite ("Sleep"), Soul Is Heavy further affirms her credentials as a fast-rising star of black-consciousness music.

Nneka's natural energy channels hope and optimism throughout her writing ("Shining Star"), but her signature steeliness and stark life observations are maintained ("No Doubt"). This isn't an album that has to be pretentious to stand out. It is real, honest, true to itself and bursting with feeling.

Soul Is Heavy is both affirming and compelling by addressing the tough realities and uncomfortable truths of modern politics - both personal ("Stay") and international ("Soul is Heavy") - adding credence to her comparisons with Lauryn Hill / Erykah Badu.

A majority of the album has once again been produced by close friend and co-writer DJ Farhot, and mixed by Tom Elmhirst and Philippe Weiss whose recent credits include Amy Winehouse, Adele, Cee Lo Green and Wyclef Jean.

Nneka kicks off her North American tour on March 6th in Vancouver with dates following in San Francisco, Los Angeles, Austin for SXSW, Chicago, New York, Philadelphia and others.

Tour Dates
3/6: Vancouver @The Biltmore Cabaret
3/7: Seattle, WA @ The Crocodile
3/8: Portland, OR @ Doug Fir Lounge
3/10: San Francisco, CA @ Red Devil Lounge
3/11: West Hollywood, CA @ Troubadour
3/13 – 3/17: Austin, TX @ SXSW
3/18: Houston, TX @ House Of Blues Bronze Peacock
3/21: Chicago, IL @ Double Door
3/23: Toronto @ Virgin Mobile Mod Club "Canadian Music Week"
3/24: Montreal @ Cabaret du Mile End
3/26: Cambridge, MA @ T.T. The Bear's
3/27: New York, NY @ Gramercy Theatre
3/28: Philadelpha, PA @ Johnny Brenda's
3/29: Vienna, VA @ Jammin Java Music Club & Cafe
3/31: Atlanta, GA @ Vinyl

CEU – CARAVANA SEREIA BLOOM

The open road, the bohemian atmosphere, the existential mythology of travel—these were the visions in young Brazilian singer Céu’s mind while creating her latest album. One of the most sonically adventurous artists in her country today, numerous road trips from her São Paulo home to Brazil’s Northeast proved to be the perfect inspiration for this newest sonic adventure.

“All the files were sitting in a big folder on my computer under a very boring name: Studies on the Road,” says a reflective Céu. “So I decided to mix the title of one song with a word found in the lyrics of another. Then I added ‘Caravan’ in front of the sentence. In the end it made a lot of sense, as the album was created in partnership with a lot of other people.”

The result, Caravana Sereia Bloom (Six Degrees Records), is her boldest work to date. Today, the Grammy/Latin Grammy – nominated singer seems to have more in common with the psychedelic oeuvres of early Tropicalia artists and Os Mutantes than the restrained musings of Jobim, eschewing much of the laid-back bossa nova and samba that caused Starbucks to make her self-titled debut the first international release in its Hear Music™ Debut series.

This can quickly be heard on the ska-based, carnival-esque “Asfalto e Sal.” Like the greats mentioned above, Céu uses airy guitar riffs and lazy drum rhythms so prominent in Caribbean music to seduce your ears. Once you’re nodding along, her poetry sets in. This particular track looks at sociological behaviors in urban environments. “Our sense of ‘progress’ that pushes us to continuously grow, ends up dominating and polluting our culture,” she says. “The character in ‘Asfalto e Sal’ goes on the road in order to jump out of this kind of life.”

Ironically, São Paulo may be the safest place to escapes such “progress.” Since 2007, the world’s fourth-largest city has completely banned outdoor advertising—no billboards, no ads on the sides of buses or kiosks, no Times Square lighting displays. Nevertheless, no land is an Eden. With a sense of escape gnawing inside of her, Céu derived these Kerouacian fantasies from a piece of Brazilian cinematic history.

“The record as a whole was a way to pay tribute to ‘Caravan Holiday’ from the movie Bye Bye Brasil,” she says. The movie tells the story of a trickster magician, Gypsy Lord, and his Caravana Rolidei. A local accordion player falls in love with the notion of life on the road (as well as Lord’s precious dancer, Salomé), and jumps on board with his own pregnant wife, Dasdô. The movie takes many twists and turns, reminding us that it is the journey and not the destination that counts.

You can immediately hear how much Céu is enjoying her own journey on this 35-minute gem. Producer Gui Amabis does a fantastic job of allowing stripped down guitars to convey a constant sense of momentum. Pieces of popular Brazilian Music from the Northeast are embedded in lush reggae grooves. A lifelong fan of Bob Marley and all things Jamaican, Céu stretched her musical vocabulary to draw inspiration for each song, exploring a multitude of Latin American sounds: cumbia, lambadas, carímbos, bregas and guitarradas.

“Basically this entire album is a collection of short tales revolving around the chaos of a road trip,” she says. “In each song I put myself in a different character’s place. In ‘Palhaço’ I am working in a circus and have to convince the clown to go back on stage. And then in ‘Amor de Antigos,’ I have to convince an old lady to remember her true love.”

“Retrovisor,” the album’s first single, is set in a dark bar near the end of a night of Karaoke. The last performer sings about heartbreak to a disgruntled crowd of waiters and truck drivers. Keeping true to the record’s theme, Céu and crew took their own road trip to Recife’s Vila Velha to film the video.

Then there’s the dripping, sensuous rhythm of “Streets Bloom,” one of the few songs that Céu has ever sung in English. Wanting to collaborate with friends, she called experimental vocalist Lucas Santtana, whose recent album Sem Nostalgia has received numerous accolades in Brazil and America. “The idea was to create a Brazilian road trip with a Wild West flavor,” she says.

“He liked the idea and came back with beautiful lyrics, as if I were telling people my impressions of a such a trip.”

The brooding, ambient nature of this latest release is intentional. While updating bossa nova and samba put Céu on the global map, she chose to travel to Brazil’s Northeast for the heaviest dose of musical inspiration. Utilizing the post-psychedelia synthesizers and guitar effects of the typical sounds of Brazil’s popular music from the Northeast, she also pays tribute to modern innovators, all the while evolving her own unique and personal sound. Céu’s sound is as relevant to Brazil today as her legendary forebears two generations ago. Caravana Sereia Bloom is this girl from São Paulo’s finest moment in a career that shows no sign of slowing.

BARBRA STREISAND RE-SIGNS WITH COLUMBIA RECORDS

Barbra Streisand will remain on Columbia Records, the Sony Music-owned label has announced. Streisand has sold over 71 million albums in the U.S. including her most recent Grammy nominated album, What Matters Most, which was her 31st to reach the Top Ten. The Grammy- and Oscar-winning singer and actress has been with the label for 50 years, having originally signed in the early 1960s. She released her first album, The Barbra Streisand Album, in 1963. Only crooner Tony Bennett has been on the label longer.

Streisand is one of the most commercially and critically successful entertainers in modern entertainment history, with more than 71.5 million albums shipped in the United States and 140 million albums sold worldwide. She is the best-selling female artist on the Recording Industry Association of America's (RIAA) Top Selling Artists list, the only female recording artist in the top ten, and the only artist outside of the rock and roll genre.

According to the RIAA, Streisand holds the record for the most top-ten albums of any female recording artist – a total of 32 since 1963. Streisand has the widest span (48 years) between first and latest top-ten albums of any female recording artist. With her 2009 album, Love Is the Answer, she became one of the rare artists to achieve number-one albums in five consecutive decades. According to the RIAA, she has released 51 Gold albums, 30 Platinum albums, and 13 Multi-Platinum albums in the United States.

Columbia will also release a 12-set DVD featuring unprecedented access into Streisand's professional and personal life. The DVD set will consist of never before seen footage directly from Barbra’s archives.

HAMMOND EXPRESS - ANOTHER STEPPIN' SOUL

If you shiver everytime you hear a Hammond organ twirl, possibly played by Jimmy Smith, Jack McDuff, Larry Young or Booker T., then you’re not one to miss the latest album entitled Another Steppin’ Soul from Hammond Express. It’s a timeless homage to classic organ soul from Italy's Hammond Express – paying tribute to Booker T & The MGs, The Tams, Groove Holmes, John Barry, Brian Auger, Curtis Mayfield and others!

Their debut album, Rendez-Vous (2003) was a new-lounge compilation (released by the Italian label Scenario Music), was a futuristic trip into dance jazz, through spy-movie soundtracks (“Modern City Blues”), sci-fi atmospheres (“Space”), ‘70’s bossa nova (“Bossa Rouge – Vibrato Mix”) and easy-listening evergreens, like the Carpenters “We’ve Only Just Begun”. Not the usual Hammond combo, but something modern for a “future lounge” party with a psychedelic touch.

Now producer and keyboardist Francesco Gazzara infuses soul with the sweet sound of the 60s. Singer Lily Latuheru joins Gazzara, bass player Massimo Sanna, drummer Juliano Ferrarri, percussionist Mirtao and flute & horns player Dario Cecchini. The set opens & closes with solid originals, but the focus is choice covers. 14 tracks in all. "The Glorious Revolution", "Never For Me", "I Can't Help Myself", "Diamonds Are Forever", "Nobody Does It Better", "Move On Up", "Inner City Blues". "Mercy", "What", "Goldfinger", "Stadium", "The House In The Clouds" and more. Francesco Gazzara by the way is already well known as the leader of his own group GAZZARA, as well as being the author of the book “Lounge Music: Il Blues Dell’Uomo Bianco.”

Hammond Express - Another Steppin' Soul Tracklist:
1. The Glorious Revolution
2. Be Young Be Foolish Be Happy
3. Never For Me
4. I Can't Help Myself
5. Diamonds Are Forever
6. Nobody Does It Better
7. Move On Up
8. Inner City Blues
9. Mercy
10. What
11. Goldfinger
12. Stadium
13. You Can't Hurry Love
14. The House In The Clouds
15. Batucada Express
16. Ass Enchillada

BURT BACHARACH - CASINO ROYALE ORIGINAL MOTION PICTURE SOUNDTRACK EXPANDED EDITION

Casino Royale is back yet again – and this time it’s a 45th Anniversary edition that includes a slipcased 2-CD set with two booklets, one of which is 64 pages in length with notes by Bond musician historian Gergely Hubai. Hubai discusses the film’s troubled production history, and analyzes Bacharach’s music via track-by-track notes, while the book is illustrated with rare stills, poster artwork and other memorabilia. The 45th Anniversary Edition of Casino Royale is limited to 1,500 copies and is due to ship late this month. It can be pre-ordered now from both Screen Archives Entertainment and Quartet Records.

Burt Bacharach, Casino Royale: Original Motion Picture Soundtrack
CD 1: The Complete Original Soundtrack
1. Main Titles (2:36) – Herb Alpert and the Tijuana Brass
2. Opening Cars Converging / To the Bond Chateau (1:54)
3. The Black Rose (0:33)
4. Pipe Lament / James Bond in Scotland (1:14)
5. Cock O’ the North (1:52)
6. The Widow Duty of Lady Fiona / Wassail (3:41)
7. Agent Mimi Locked in Her Room (1:35)
8. Grouse Shoot (0:33)
9. Mimi’s Lament (1:29)
10. Little French Boy (Drink a Pint of Milk a Day) (2:08)
11. Money Penny’s Bedroom (1:36)
12. Gymnasium Training (1:48)
13. Buckingham Club (1:19)
14. The Look of Love (3:46) – Dusty Springfield
15. Proposals, Super 8 and Costumes (1:35)
16. Sir James’ Trip to Find Mata / Temple Dance (3:14)
17. Sitar Background / Back to London (2:54)
18. Arrival in Berlin (1:03)
19. Old Berlin House / Mata-Hari School for Spies (2:43)
20. Escape from the Berlin House (1:19)
21. Bond Arrival in France (0:39)
22. Vesper in the Shower (0:42)
23. Hi There Miss Goodthighs (1:15)
24. Dream On James, You’re Winning (1:17) – Mike Redway
25. Le Chiffre’s Magic Act / My Name is Bond, James Bond (1:14)
26. Vesper’s Kidnapping (0:44)
27. Torture Sequence (0:29)
28. Mata’s Kidnapping / Flying Saucer (1:05)
29. Sister McTarry (0:36)
30. Fight in Casino Manager’s Office / Dr. Noah’s Headquarters (2:09)
31. The LSD Room (0:34)

32. The Big Fight at Casino Royale (4:30)

33. Seven Bonds in Heaven / End Title (2:25) – Mike Redway

CD 2: The Soundtrack Album

1. Casino Royale Theme (Main Title) (2:36) – Herb Alpert and the Tijuana Brass

2. The Look of Love (4:09) – Dusty Springfield

3. Money Penny Goes for Broke (1:38)

4. Le Chiffre’s Torture of the Mind (2:10)

5. Home James, Don’t Spare the Horses (1:31)

6. Sir James’ Trip to Find Mata (3:48)

7. The Look of Love (Instrumental) (2:46)

8. Hi There Miss Goodthighs (1:14)

9. Little French Boy (2:21)

10. Flying Saucer / First Stop Berlin (2:52)

11. The Venerable Sir James Bond (2:30)

12. Dream on James, You’re Winning (1:18)

13. The Big Cowboys and Indians Fight at Casino Royale / Casino Royale Theme (Reprise) (4:57) – Herb Alpert and the Tijuana Brass