NEW RELEASES: CAMERA SOUL, SOUNDS FROM THE SOUL UNDERGROUND, FANIA ALL-STARS

CAMERA SOUL - WORDS DON'T SPEAK

If you like the sound of European jazz, then you will truly enjoy this release from Camera Soul entitled Words Don’t Speak. It’s from the same team that brought us Italian Bossa Bar by Marchio Bossa. This is an Italian release which features a total of 11 songs, 8 of which are original composutions. The overall sound of this release reminds us of the sou/jazz sounds from latter 70s to the early 80s. Keyboardist and producer Pippo Lombardo has enlisted a top notch group of musicians for this album, which features vocals by Serena Brancale. Top tracks include , “Born to Be (Forever Mine),” “Bossanova,” the Maurice White-penned, “Miracles," and the cover of Lionel Ritchie’s “Love Will Conquer All.”

Camera Soul – Words Don’t Speak Tracklist
1. Words Don’t Speak
2. Again
3. Born To Be (Forever Mine)
4. Love Will Conquer All
5. All Dark
6. Bossanova
7. Miracles
8. I Am
9. Zigzags
10. Whereabouts
11. Suddenly

SOUNDS FROM THE SOUL UNDERGROUND – A FRESH MIX OF CONTEMPORARY SOUL, FUNK, JAZZ, LATIN & AFROBEAT FROM AROUND THE WORLD


The soul underground of today – proof that there's still some amazingly deep music being made in the 21st Century, as long as you know where to look! The groups here are all contemporary, but they work strongly in the sounds of the 60s and 70s – the best funk and soul modes from that classic generation, put together faithfully, but with a fresh approach too – given the youthful energy that most of these artists bring to their recordings! There's just a few contemporary touches here and there, but overall most of the production and instrumentation is very much in the best vintage mode – on these cuts pulled from hard to find imports and rare 7" single releases of the past few years. But hardly just take our word for it – there's plenty to please your ears the moment you jump into the set – cuts that include "You What" by The Andy Tolman Cartel, "Poker Nights Theme" by The Delicious Allstars, "Shaft In Africa" by The Mighty Showstoppers, "Put Leg To Road" by Ariya Astrobeat Arkestra, "Mr G" by Jessica Lauren Four, "Cockroach Grind" by The Haggis Horns, "Kekfeny" by The Qualitons, "Cramp Your Style" by The Killer Meters, "Cascade" by Renegades Of Jazz, "Hey Girl" by Jo Stance, and "Something's Gotta Give" by Nick Van Gelder.
Source: Dusty Groove

FANIA ALL-STARS – LIVE AT THE RED GARTER VOl. 2

A Latin soul party – beyond compare! The album's a completely wonderful live set that really captures the energy, excitement, and warm sociability of the hip New York scene at the end of the 60s. The music is stunning – a freewheeling blend of jazz, soul, and Latin themes – played with effortless ease by a lineup that includes Joe Bataan, Ray Barretto, Willie Colon, Larry Harlow, Bobby Quesada, Louie Ramirez, Ralph Robles, and some of the other heavy-hitters of the Latin soul years. (Just imagine trying to get so many jazz or rock talents together on one stage – it would never happen!) The album's incredible – and even the spoken introductions and crowd noise really help set the feel of the era's mighty magic power! Titles on this second volume include "Kikapoo Joy Juice", "If This World Were Mine", "Richie's Bag", "Red Garter Strut", and "Son Cuero Y Boogaloo". Firey stuff, and one of their best records!
Source: Dusty Groove

MICHAEL PEDICIN – BALLADS...SEARCHING FOR PEACE

Tenor saxophonist Michael Pedicin, whose 40-plus-year career has included tours with Dave Brubeck and Maynard Ferguson, has long demonstrated a profound feeling for ballads--those slow, tender songs with lovely melodies that, in the hands of the best purveyors, create a powerful emotional intimacy. On his new CD Ballads... searching for peace, Pedicin focuses on the genre with seven masterful renditions, ranging from a timeless standard to attractive originals and classics of the jazz repertoire. The disc is Pedicin's 10th.

Ballads...searching for peace draws some of its inspiration from the 1962 Ballads album by John Coltrane, Pedicin's main musical hero. "From the time Trane did Ballads, I've always wanted to do a ballads album," explains Pedicin. "I finally did it. There is nothing quite as inspiring and satisfying for me as playing a beautiful ballad."

For the new album, Pedicin teams with longtime colleagues: guitarist John Valentino, who co-produced the session with Pedicin and engineer John Mulhern; pianists Dean Schneider (also a member of Pedicin's other group, the Brubeck Project) and Barry Miles; and the rhythm tandem of bassist Andy Lalasis, and drummer Bob Shomo.

The album kicks off with an evergreen that has been recorded by many, including Coltrane: Don Raye and Gene DePaul's "You Don't Know What Love Is," which opens and closes with expressive saxophone cadenzas. "I've been playing it for a long time," Pedicin says of the song, which was the title track of his 1991 FEA CD release. "It has always been one of my most requested songs."

Other highlights include Wayne Shorter's poignant "Virgo" and McCoy Tyner's gorgeous "Search for Peace," as well as Hank Mobley's rarely-played "Home at Last," done as a gentle bossa with solos from the leader, Schneider, Valentino, and Lalasis.

Originals comprise the remainder of the selections. "Blame It on My Heart" and "Few Moments" were brought to the session by Valentino; Pedicin contributes the romantic-tinged "Tell Me," its title suggestive of his other line of work as a psychologist. Pedicin feels the album presents him at his best. "I don't think I've ever been able to proudly listen to one of my own CDs until this ballads album," he says.

The saxophonist grew up in a musical family. His dad, alto saxophonist and singer Mike Pedicin, was an extremely popular entertainer and bandleader in the Philadelphia area who had a No. 1 Billboard pop chart hit in 1957 with "Shake a Hand." "I idolized my dad," Pedicin says. "He allowed me the freedom to learn about music, the saxophone, and life itself--the way I needed to learn it."

By the time Pedicin Jr. was 13 and had heard saxophonist Willis "Gator Tail" Jackson in person and Coltrane and Cannonball Adderley on record, he knew he wanted to spend his life playing saxophone. At 20, Pedicin began earning his living as a member of the horn section at Philadelphia's Sigma Sound Studios, where he worked for producers Kenny Gamble, Leon Huff, and Thom Bell, playing on sessions by such artists as the Spinners and Lou Rawls. He also went on the road with Maynard Ferguson, Stevie Wonder, and David Bowie.

In 1980, Pedicin made his first album, Michael Pedicin Jr. (Philadelphia International), which yielded the surprise hit "You"--big in New York City and even bigger in the Philippines. Subsequently he toured with Brubeck, and was a mainstay in the Atlantic City casinos, hiring orchestras and playing behind such singers as Frank Sinatra.

Pedicin has since played a lot of straight-ahead jazz, formed his Brubeck Project (which released its debut CD earlier this year on Jazz Hut), and toured with such notables as guitarist Pat Martino. He also earned a Ph.D in psychology and, in addition to his musical activities, has a private psychology practice specializing in helping creative people. He's an active educator as well, currently an Associate Professor of Music and Coordinator of Jazz Studies at the Richard Stockton College of New Jersey.

Still, playing comes first. "I will never put my saxophone down until I can't play anymore," he says.

http://www.michaelpedicin.com/

PAT METHENY & DIANNE REEVES TOPLINE THE 2012 NEWPORT JAZZ FESTIVAL



Pat Metheny



George Wein, producer and founder of the Newport Jazz Festival® and Chairman of the Newport Festivals Foundation™ has announced the program for the 2012 Newport Jazz Festival to be held in Newport, RI August 3 - 5 at the historic Fort Adams State Park and the International Tennis Hall of Fame at Newport Casino.

The 2012 Newport Jazz Festival® features Pat Metheny Unity Band with Chris Potter, Antonio Sanchez and Ben Williams; Dianne Reeves; Jack DeJohnette's 70th Birthday Celebration featuring his Quintet and an All-Star group performing two sets; Bill Frisell - John Lennon Songbook; Joe Lovano and Dave Douglas Quintet: Sound Prints; The Bad Plus with Bill Frisell; James Carter Organ Trio with Special Guests Rodney Jones and Miche Braden.



Dianne Reeves



In addition, also appearing are Dafnis Prieto Sextet; 3 Clarinets: Ken Peplowski, Evan Christopher, Anat Cohen; Christian McBride's Inside Straight; John Ellis & Double-Wide; Darcy James Argue's Secret Society; and Pedrito Martinez Group on Saturday, August 4, 11:00 am - 7:00 pm, on three unique stages at Fort Adams State Park.



Then on Sunday, August 5, the music continues at Fort Adams at 11:00 am with the Tedeschi Trucks Band; Maria Schneider Orchestra; Jason Moran and the Bandwagon; Kurt Elling; Miguel Zenón's Rayuela; Jenny Scheinman & Bill Frisell; Ambrose Akinmusire Quintet; Rudresh Mahanthappa's Samdhi; Gretchen Parlato & Lionel Loueke with special guest Becca Stevens; John Hollenbeck's Claudia Quintet + 1 featuring Theo Bleckmann; 3 Cohens: Yuval, Anat and Avishai Cohen; Vince Giordano & the Nighthawks; Lewis Nash Quintet featuring Jeremy Pelt and Jimmy Greene; Ryan Truesdell's Gil Evans Centennial Project; and Berklee Global Jazz Institute Sextet.

THE BERNIE WORRELL ORCHESTRA

Rock n' Roll Hall of Famer, Grammy winning featured musician, and co-founder of the original Parliament-Funkadelic (P-Funk) puts a unique funked up spin on his new album featuring The Bernie Worrell Orchestra! Including songs from Bernie Worrell: Standards as well as classics from Bernie's past collaborations. Five upcoming performances featuring special guests including: Chris Frantz and Tina Weymouth of Talking Heads and Tom Tom Club and Steve Scales of the Talking Heads (Sunday April 1st performance):

Friday, March 17, 2012 - 8:30 PM

Le Poisson Rouge
158 Bleeker Street, New York, NY 10012
http://lepoissonrouge.com/events/view/3033


Friday, March 23, 2012 - 8:00 PM
The Brooklyn Bowl
61 Wythe Avenue, Brooklyn, NY 11211
http://www.brooklynbowl.com/

Friday, March 30, 2012 - 8 PM
The Spot Underground
15 Elbow St, Providence, RI 02903
http://thespotprovidence.com/

Sunday, April 1, 2012 - 7:30 PM

Stage One

70 Stanford Street, Fairfield, CT 06824

http://fairfieldtheatre.org/

Friday, April 13, 2012 - 8PM - (originally scheduled for 3/10)

The Historic Blairstown Theatre

30 Main St., Blairstown, NJ 07825

http://thehbt.com/

How many artists can say they were in on the ground floor of an honest-to-Rock & Roll Hall Of Fame supergroup, while inventing a completely original and uncanny sound and, in the ensuing years, building a legendary reputation as one of the most versatile hired guns in the music business? True funkateers know the history. From the fat Minimoog bass lines of “Flash Light” and “One Nation Under A Groove” to the percussive piano runs of “Chocolate City” and “Give Up the Funk,” Bernie Worrell is synonymous with the legacy of Parliament-Funkadelic; in fact, he’s one of the originators of the psychedelic funk sound, having written and co-produced the lion’s share of the music going back to Funkadelic’s formative years, with an eclectic ear for everything from Chopin to the Chi-Lites.

These days the terms “living legend” or “funk icon” really don’t come close to doing him justice. “Funk iconoclast” is probably more apt, considering the breadth of Worrell’s contributions to seminal albums outside the P-Funk canon—including Talking Heads’ Stop Making Sense and Public Image Ltd’s Album, to name two of the more monolithic examples. Keith Richards, Yoko Ono, Bootsy Collins, Jack Bruce, Ginger Baker, Mos Def, Sly & Robbie, Deee-Lite, Bill Laswell and many more have recruited Bernie in the studio and on tour—all for his versatility, vision and feverish creativity whenever he gets his hands on a keyboard.

June, 2011 saw the release of Bernie Worrell: Standards -- Bernie's take on jazz standards -- precipitating the decision by Worrell and co-producer, Evan Taylor to "take the show on the road". The Bernie Worrell Orchestra performs with a nine piece band consisting of two guitarists, two drummers, bass, percussion and a three piece horn section that performs songs from this album along with songs from Bernie's vast repertoire. The enthusiastic response from fellow musicians means that you just don't know who will show up to join the BWO on stage.

More information, including tour dates, can be found at http://www.bernieworrell.com/.

NEW RELEASES: CAETANO VELOSO & DAVID BYRNE, ITHAMARA KOORAX, EMILIO SANTIAGO

Caetano Veloso & David Byrne -
Live At Carnegie Hall

A legendary pairing of two amazing artists – a once-in-a-lifetime performance from Caetano Veloso and David Byrne (and we don't mean that as a Talking Heads pun, either!) The album's got a stripped-down, acoustic feel that really lets both singers open up and dominate the proceedings – Caetano at first, in a presentation of some of his own songs – then Byrne on some of his music – all in an instrumental setting that features guitars from both singers, plus cello from Jacques Morelenbaum, and percussion from Mauro Refosco – starting from gentle spareness to more focused energy, a bit like the style used by Byrne in Stop Making Sense, yet still acoustic overall. The singers come together as the set moves on – clearly comfortable in a warm friendship – and titles include "Sampa", "Coracao Vagabundo", "Mahata", "The Revolution", "And She Was", "She Only Sleeps", "Life During Wartime", "Road To Nowhere", "Um Canto De Afoxe Para Bloco De Ile", "Terra", "Nothing But Flowers", and "Heaven".

Ithamara Koorax -
Got To Be Real

Maybe the greatest album so far from Ithamara Koorax – and quite a change from some of her previous records, too! A number of the songs are 70s soul classics – music that's clearly inspired Ithamara over the years, and which really drives her to deliver a strongly soulful vocal approach throughout! Another great aspect of the album is the presence of Jose Roberto Bertrami – who brings in these amazing Fender Rhodes lines that really fit the sound – the kind of warm, soulful lines that always made his work in Azymuth so great. There's still a nice dose of Brazilian jazz in the mix, but the overall approach is a lot more soul-based than usual – and the jazzy keyboards really deepen the sound, too – and give the record a feel that's way deeper than just a collection of covers. Titles include "Got To Be Real", "Butterfly", "Goin Out Of My Head", "Never Can Say Goodbye", "Negue", "My Favorite Things", "Vesti Azul", and "Pigmalio 70".

Emilio Santiago -
So Danco Samba – Ao Vivo

A nice little live set from Emilio Santiago – recorded in support of his excellent studio album of the same name, but with a slightly different feel overall! Instrumentation is by a tight combo with more than a bit of jazz in the mix – perfect for Santiago's vocals, which have all the warm, soulful qualities we've loved for decades – a sound that was already mature and fully-formed back in the 70s, and has only gotten better as years have gone on! Keyboards and percussion make the instrumentation sound great – and titles include "Confissao", "Olhou Pra Mim", "Nunca Mais", "So Danco Samba", "Influencia Do Jazz", "Sambou Sambou", and "Tendencia".

Source: Dusty Groove

PHRONESIS - WALKING DARK

Phronesis are a dynamic trio who need little introduction. Their fourth album, Walking Dark, is the highly anticipated follow-up to the acclaimed Alive [Edition], which was voted ‘Jazz Album of the Year’ by both Jazzwise and MOJO magazines in 2010. Since the success of this release, the band have toured widely across Europe and North America, earning consistent praise for their vibrant live performances.

Formed by Danish bass player Jasper Høiby in 2005, the energy and individuality of Phronesis comes from an extraordinary democracy of expression and almost telepathic empathy between the musicians – three of the finest players on the European jazz scene today. British pianist Ivo Neame and Swedish drummer Anton Eger come together with Høiby to create a poly-rhythmic sound that is utterly accessible despite its underlying complexity, full of emotion and heart yet always delivered with clarity and direction.

Walking Dark is titled in reference to a series of concerts the trio played in total darkness as a dedication to Høiby’s visually impaired sister, and is the culmination of a body of work they have explored in performance since their second release, Green Delay. Høiby explains, “The Pitch Black project has provided us with the opportunity to focus on the intuitive aspect of how we communicate musically between ourselves, and with the listener. For me personally, it’s also been a way of giving something positive back to my sister, who continues to walk in darkness”.

Høiby describes Walking Dark as ‘a joint Phronesis adventure’ – the first album in which all members of the band contribute to the writing, as well as the arranging. Yet through these individual compositional textures, each track nevertheless displays the characteristic groove-driven ‘Phronesis sound’, incorporating constantly shifting yet expertly tight rhythmic patterns and exploratory openness. The album sees all three players reaching further than ever before, creating music that by turns drives with urban energy and resonates with mountainous space and sheer delightful abstraction.

With Walking Dark, this compelling trio have replicated in a studio setting the cha¬rismatic energy that makes them such a remarkable live force on stages internationally, and have produced an indisputable statement as to where jazz is heading in 2012.

JASPER HØIBY double bass
IVO NEAME piano
ANTON EGER drums

Source: Edition Records

JOSH ARCOLEO - BEGINNINGS

The first thing that hits home with Beginnings – tenor saxophonist Josh Arcoleo’s debut CD – is its timelessness. It’s immediately modern and wonderfully assured and yet the entire tradition of jazz’s first instrument seems to flow through it. Arcoleo has a highly personal tone on his horn and there’s an individuality about his sound that is bold and commanding. Some musicians take years to learn these lessons and others never do. Josh Arcoleo, just 23 with already plenty of road miles under his belt, definitely has gravitas, that rarest of qualities, and he has it in spades.

It’s no surprise that he studied with James Brown Alumnus Pee Wee Ellis and claims Ellis’ one time tutor Sonny Rollins as an influence, along with the great Joe Henderson. We’re talking ‘big tenor’ here. Just listen to the intro to the title track. Arcoleo and his musicians sketch what is to come quite beautifully but it still doesn’t prepare you for the majestically elegant way the music unfolds.

And there’s a more delicate strength to Phoenix, with its gorgeous introduction from pianist Ivo Neame, and to Glade. Both reveal Arcoleo’s growing confidence and skills as a writer but they also suggest that here is a musician who knows how to draw out the best of his sidemen. The space that James Maddren and Calum Gourlay create on both of these tunes is astonishing, whilst Neame plays with perfect poise and weight. And there is a nicely loose feel to Arcoleo’s entry on Phoenix before he pushes the pace and ratchets up the tension. Elsewhere, there’s a real muscularity to be found in the opening track, Dean Road, whilst Nomads’ Land bristles with electricity. In tough times like these, the music must show both its vigour and its tenderness and Beginnings is all these things and more.

When tenorist Dick Morrissey first hit the West End in the early sixties, Ronnie Scott dubbed him ‘the kid with the tenor’. There’s been a few new tenor kids come through town since then. Now there’s a new star, only he ain’t a kid. Josh Arcoleo is blessed with a voice and a vision that’s already mature and full of authority. Beginnings is one of the most complete debut albums in a long time. More than that its title warns of things to come. This is so much more than just the Beginnings.

Musicians:
JOSH ARCOLEO saxophones
IVO NEAME piano
CALUM GOURLAY double bass
JAMES MADDREN drums

Source: Edition Records

DIANA KRALL ANNOUNCES "SUMMER NIGHTS" TOUR

Diana Krall, the multi-platinum, Grammy®-winning musician with an unprecedented nine #1 Billboard Jazz chart debuts, will begin her biggest year of touring since 2009 on March 22. After multiple appearances during Grammy® week in Los Angeles, Krall is announcing nearly 20 additional dates on her 40-city, 2012 "Summer Nights" tour, taking place across the U.S. this spring and summer.

Krall will be joined on tour by Anthony Wilson (guitar), Robert Hurst (bass), and Karriem Riggins (drums).

Since her Grammy®-winning tenth studio album Quiet Nights (Verve) was released in 2009, Krall has performed on four different continents, produced Barbra Streisand's Love Is the Answer, contributed "Simple Twist of Fate" to the charity album Chimes of Freedom: The Songs of Bob Dylan Honoring 50 Years of Amnesty International and performed on Paul McCartney's new album, Kisses On The Bottom.

Diana Krall "Summer Nights" U.S. Tour:
3/22 - Durham, NC - Durham Performing Arts Center
3/24 - Key Largo, FL - Ocean Reef Cultural Center
3/26 - West Palm Beach, FL - Kravis Center for the Performing Arts
3/27 - Sarasota, FL - Van Wezel Prof. Art Center
3/28 - Clearwater, FL - Ruth Eckerd Hall
3/30 - Virginia Beach, VA - Sandler Center for the Performing Arts
3/31 - Newport News, VA - Ferguson Center
6/19 - Baltimore, MD - Meyerhoff Symphony Hall
6/21 - Vienna, VA - The Filene Center
6/22 - Rochester, NY - Kodak Hall at Eastman Theater
6/23 - Lenox, MA - Tanglewood
6/26 - New Brunswick, NJ - State Theatre
6/27 - Lancaster, PA - American Music Theatre
6/29 - Hyannis, MA - Cape Cod Melody Tent
6/30 - Cohasset, MA - South Shore Music Circus
7/01 - Saratoga Springs, NY - Saratoga Performing Arts Center
7/03 - Williamsport, PA - Community Arts Center
7/06 - Chautauqua, NY - Chautauqua Institution Amphitheater
7/07 - Ocean Grove, NJ - The Great Auditorium
7/08 - Bethlehem, PA - Sands Bethlehem Event Center
7/11 - Atlanta, GA - Chastain Park Amphitheater
7/12 - Greenville, SC - Peace Center For the Performing Arts
7/13 - Nashville, TN - Schermerhorn Symphony Center
7/15 - Louisville, KY - The Kentucky Center-Whitney Hall
7/16 - Milwaukee, WI - The Riverside Theater
7/17 - Highland Park, IL - Ravinia Pavilion
8/05 - Beaver Creek, CO - Vilar Performing Arts Center
8/06 - Denver, CO - Denver Botanic Gardens - York Street
8/08 - Salt Lake City, UT - Red Butte Garden Amphitheatre
8/10 - Pala, CA - Pala Casino - Starlight Theater
8/11 - Indio, CA - Fantasy Springs Resort Casino - Special Event Center
8/13 - Las Vegas, NV - The Smith Center for the Performing Arts - Reynolds Hall
8/15 - Livermore, CA - Wente Vineyards
8/16 - Saratoga, CA - The Mountain Winery
8/18 - Lincoln, CA - Thunder Valley Casino Resort - Outdoor Amphitheatre
8/21 - Turlock, CA - Turlock Community Theatre
8/22 - Hanford, CA - Fox Theatre
8/19 - San Francisco, CA - Davies Symphony Hall
8/24 - Los Angeles, CA - Hollywood Bowl
8/25 - Los Angeles, CA - Hollywood Bowl
8/26 - Santa Barbara, CA - Santa Barbara Bowl
8/28 - Santa Rosa, CA - Wells Fargo Center for the Arts
8/29 - Jacksonville, OR - Britt Pavilion
8/31 - Portland, OR -Arlene Schnitzer Concert Hall
9/01 - Woodinville, WA - Chateau Ste. Michelle Winery
9/02 - Woodinville, WA - Chateau Ste. Michelle Winery

http://www.dianakrall.com/

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