NICCI CANADA - TWENTY TWELVE

Singer/songwriter Nicci Canada should add “poetress” to her description, as the material on her debut release, Twenty Twelve, flows as lyrically as a poem. Spinning image and story after image and story, this lovely young lady is someone to whom you could listen for a long while without ever even being cognizant of the time, and I’ll bet she can do that with her lyrics alone.
 
A most expressive vocalist with strong, precise, and distinctive pipes, Canada incorporates R&B and jazz phrasings and mixes in her own excitement and heavy doses of confidence on this project. Alternating between classily assertive (e.g., “Welcome to My World” and “Rivertown”) to sweetly sexy and almost demure (“Attraction” and “Boaz”), Canada’s material is diverse and unique, fitting her vocal style like a glove.

This debut not only allows you to hear Canada the singer, but Canada the songwriter, as she has written all but one track. She also provides a glimpse, via a spoken prelude, into her thinking in composing the beautiful track “Crazy Baby.” This tune, one of my faves, is enticingly soft and melodic and can easily lay claim to one’s head and heart with one listen. Another standout in her compositions is the deep “Change.” The lyrics here just have to move one to reflection and maybe even action. It’s that motivational.

Nicci Canada, as a jazz vocalist and songwriter, is a breath of fresh air. In a word, she affects. Her scatting, sassy lyrics and vocals, and ability to weave all of the diverse elements found here into one beautiful collage of sound and creativity is a testament to an artist who obviously loves what she does and is most enthused about sharing it all with anyone and everyone. ~ Ronald Jackson / thesmoothride.com.

ANNE SAJDERA - AZUL

Pianist/composer Anne Sajdera has long been an invaluable part of the San Francisco Bay Area Brazilian music scene—as leader of her own band Pelo Mar and member of ensembles such as Rio Thing and the award-winning Bat Makumba. Her much-anticipated debut Azul, which will be released April 17 by her label, Bijuri Records, highlights her exquisite touch, rhythmic acuity, and melodic resourcefulness front and center.

Sajdera (sazh-dair-uh), who co-produced the CD with veteran guitarist/composer Ray Obiedo, utilizes her dynamic trio of Gary Brown on bass and drummer Paul van Wageningen, with percussion added on most tracks. “Every artist is different, but in order to make my first album in the right way, I needed to have the right people around me,” says the pianist. “It’s taken this long to find those people. It was the perfect time.”

Percussion on Azul is handled alternately by Airto Moreira and Michael Spiro, with drummer Phil Thompson taking over for van Wageningen on two selections. “I always knew I wanted percussion on the album probably because when I think musically, I’m always thinking from the perspective of the rhythm section,” says Sajdera. “I have deep reverence for Airto and feel so fortunate that he wanted to participate in this recording. He never looks back when he’s working. Mike Spiro wasn’t that different. He treats recording like painting.”

Obiedo was struck by Sajdera’s “focus and conscientiousness about every aspect of the production. Her choice of tunes, both her original compositions and the Brazilian and jazz standards, and her beautiful arrangements made this project such an enjoyable experience for me.” In addition to Sajdera’s sophisticated, lyrical originals, the repertoire includes compositions by Egberto Gismonti (“Frevo”), Chico Pinheiro (“Tema em 3”), Ivan Lins (“Love Dance”), and Wayne Shorter (“Ana Maria”), as well as a dramatically reharmonized version of “I Should Care.”

Born in 1965 in Portsmouth, Virginia to a military family, Anne Sajdera grew up in San Diego. In 1985 she moved north and enrolled in the San Francisco Conservatory of Music as a performance major, graduating as a composition major. She focused on 20th-century repertoire and immersed herself in Stravinsky, Prokofiev, and Bartók while performing as pianist for the Conservatory Orchestra, which gave her exceptional opportunities like performing a selection from John Adams’s opera "Nixon in China" conducted by the composer at SFCM’s 75th-anniversary concert in Davies Symphony Hall.

Sajdera began investigating jazz and then—via a class with Marcos Silva at the Jazzschool—Brazilian music. She gigged extensively around the Bay Area with her band Pelo Mar and was an original member of Bat Makumba, with whom she performed at the city’s huge Mission District Carnaval festivities. Recently she has been working with Latin-jazz singer-songwriter Alexa Weber Morales.

The pianist also developed an interest in classical Hindustani music, sparked by a two-month stay in India in 1999. She has since continued to cultivate this facet of her musical vision through study with India’s foremost violinist and vocalist, Kala Ramnath.

The music for Azul emerged after a two-year stretch (2006-2008) when Sajdera was off the scene recuperating from a back injury, a period when she was “writing tunes, practicing, setting up grooves, trying to really expand my linear playing. I studied a lot and went back to original sources like Herbie Hancock, Keith Jarrett, Monty Alexander, and Egberto Gismonti.”

Anne Sajdera will celebrate the release of Azul with a special concert on Sunday, April 22, 4:00 pm, at the Piedmont Piano Company in Oakland, with bassist Gary Brown, drummer Celso Alberti, and percussionist Brian Rice. The CD is available at iTunes and CD Baby.

NEW RELEASES: HOWLIN’ WOLF, LJ REYNOLDS, THE FUNK ARK

HOWLIN’ WOLF – MESSAGE TO THE YOUNG

Funky blues work from Howlin Wolf – his key entry into the funked-up genre that Chess Records was cutting at the end of the 60s with other blues artists like Etta James, Bo Diddley, and Muddy Waters! As on records with those artists, Wolf's older modes are updated here for a hipper, younger audience – backed up with a bouncing batch of electrified backings arranged by Sonny Thompson, and conducted by Thompson and Cash McCall, the latter of whom is most likely playing a bit of guitar here. Tracks are a bit longer than usual, and filled with plenty of heavy guitar bits next to the vocals – and titles include "I Smell A Rat", "Miss James", "If I Were A Bird", "She's Lookin Good", "Turn Me On", and "Message To The Young". ~ Dusty Groove

LJ REYNOLDS – TRAVELIN’ / LJ REYNOLDS

A pair of classic early 80s soul albums from ex-Dramatics singer LJ Reynolds! The self-titled '81 set is killer material in a modern Detroit mode all the way through – with top-shelf production by Reynolds, Don Davis, and Ronnie McNeir/ Ronnie, who'd been lost to the industry for a few years, also re-emerges as a writer on the songs "Southern Pearl", "Lonely Superstar", and "Ain't No Woman Like My Baby". The real standout, though, is the amazing cut "Key To The World", a killer steppers track that has a hook that won't quit, and this wonderful brassy finish that gives the track a really triumphant sound that works perfectly with the righteous lyric. LJ Reynolds' sounds great on '82's Travelin', too – stepping even more strongly away from his work with The Dramatics, and emerging as one of the best male soul acts of the early 80s! The production on this one is split between Reynolds and Don Davis, in a mode that's contemporary, but which allows LJ plenty of space for old school vocal expression – that far-reaching style of singing that always made him stand out strongly from the pack! There's a sublime mellow version of Aretha Franklin's "Call Me" on the set – and other tracks include "Words", "Trust In Me", "Say You Will", "You & Me", "Let Me Satisfy You", and "Fast Action". ~ Dusty Groove

THE FUNK ARK – HIGH NOON

After a highly praised debut, Washington DC’s The Funk Ark is back with an even tighter follow up album. Less than a year has passed since the release of From The Rooftops on ESL Music and the world funk ensemble has established itself as one of the strongest players in the scene both in the studio and with their high-octane live performances. High Noon is the title of The Funk Ark’s sophomore release and was recorded and produced by Adrián Quesada of the Grammy award winning group, Grupo Fantasma. The new album is coming out on April 3, 2012. The album has been getting some love from music blogs such as Remezcla, Performer Mag and "Hey Mamajo" was featured as KCRW's Top Tune of the Day on March 15th. ~ Eslmusic.com

NEW RELEASES: BATIDA, LEE FIELDS & YUSEF LATEEF

BATIDA

The first-ever contemporary recording on Soundway – but a set that's still got firm roots in the 70s African scene that's usually represented by the label! Batida is the brainchild of Portuguese DJ Mpula – who brings together samples from older Angolan recordings with contemporary beats and rhythms – often in a blend that's got the quick-stepping sort of pace you'd hear in favela grooves from the Brazilian scene – yet which comes across completely differently, thanks to the rich array of acoustic elements in the original recordings! There's loads of sweet guitar lines that rifle through the music – and the set also features guest contributions from contemporary MCs and producers. Titles include "Alegria", "Pronta Pra Batida", "Puxa", "Bazuka", "Ka Heueh", "Saudade", "Cuka", and "Tirei O Chapeu". (Includes download.)

LEE FIELDS – FAITHFUL MAN

Smoking soul from the mighty Lee Fields – and a set that really has him getting back to his roots, as well! The record's billed as a follow-up to the previous My World – but it's got a style that's much more deep soul, much more southern-tinged than that great record – a beautiful indication of Lee's rich legacy in soul music – which stretches back decades, with rare releases on small indie labels! Yet the sound here is much stronger than Fields ever got back in the day – thanks to help from The Expressions, and some sublime Truth & Soul production – a combination that really has the record feeling as if it were recorded for Atlantic at Muscle Shoals at the end of the 60s. Lee's vocals really rise to the setting, and may well be some of his best in years – and that's saying a hell of a lot, given how great he always is! A stone home run throughout – with titles that include "Faithful Man", "Wish You Were Here", "Moonlight Mile", "Walk On Thru That Door", "Still Hanging On", "You're The Kind Of Girl", and "I Still Got It”.

YUSEF LATEEF – ROOTS RUN DEEP

A really wonderful record from Yusef Lateef – one that almost sounds like a lost indie spiritual jazz set from the 70s – of the sort that Lateef hardly would have cut at the time! The session is solo, with some overdubs – a really beautiful mix of Lateef's work on tenor, piano, and flute with some spoken/sung passages based around stories he wrote back in the 70s – delivered with a really warm, intimate sort of style – one that reminds that, after all these years, Lateef is still one of the most righteous cats in jazz music! The whole thing's a real revelation – of the sort that's got us going back to track down other indie sides by Lateef in recent years – although we'll bet that none are as great as this one. Title sinclude "Roots Run Deep", "Cream Puff", "Where Is Lester", "Goodbye", "Motherless Child", and "Interior Monologue".

~ Dusty Groove

BILL EVANS LIVE AT ART D'LUGOFF'S TOP OF THE GATE

With Live at Art D'Lugoff's Top of the Gate, Resonance Records offers listeners a table at the front of the stage for a stellar performance by one of jazz's greatest trios. It's October 23, 1968 in Greenwich Village, and legendary pianist Bill Evans is joined by bassist Eddie Gomez and drummer Marty Morell for two top-notch sets, represented here in their entirety. Aired only once, on Columbia University radio station WKCR-FM, this concert hasn't been heard for more than forty years and has never been released in any form.

"This gives people a good idea of what it must have been like to be in the room at the time and experience the music," says producer Zev Feldman. "We've done everything short of building a time machine."

The credit for the recording's remarkable clarity and intimacy rests entirely with George Klabin, then a 22-year-old recording engineer granted unprecedented access to the date by Evans' longtime manager, Helen Keane. Jazz fans can be forgiven for being skeptical after countless long-lost jazz recordings have hit the market only to sound as if they were transmitted over the telephone via a bad connection on a stormy night. Klabin, however, conscientiously positioned separate microphones on each member of the trio, yielding a pristine mix that's the next best thing to being there. This is, quite possibly, the best-engineered and most gorgeous-sounding live recording ever made of Evans.

"Being able to hear jazz up close, as I did in clubs, I was dismayed by what I heard on live recordings," Klabin recalls. "The sound was so often muddy and distant and not satisfying. I wanted to capture the intimacy."

The benefits of Klabin's approach can be heard from the first notes of Evans' delicate introduction to "Emily," which ring out with a hushed brilliance while the gentle murmur of diners can be heard unobtrusively in the background. "This release celebrates the memory of Bill Evans," Feldman says, "but it also celebrates the memory of Art D'Lugoff, who was a visionary and obviously one of New York's greatest music impresarios, and the Village Gate as well, which sadly is no longer with us either."

D'Lugoff opened the Village Gate in 1958, followed by the upstairs club, Top of The Gate, a few years later. The Greenwich Village establishments thrived for the next three-and-a-half decades, hosting not only the era's most influential figures in jazz but rising stars in folk music, world music, blues, and comedy, as well as off-Broadway shows. Just to give some idea of how central the Gate was: at the same time that Evans, Gomez and Morell were treating the audience upstairs to the music you're listening to now, patrons downstairs were thrilling to the sounds of Thelonious Monk or Charles Lloyd, whose quartets were sharing the stage that week.

Despite that monumental double-bill, however, the evidence we now have proves that it would have been difficult to top the show being put on by the Evans trio. At this time, Gomez was two years into what would become an eleven-year stint in the trio, while Morell had joined the group literally the same week the show was documented. The trio had quickly found its footing, however, playing at the height of their powers individually and collectively. For proof, look no further than the extended drum/bass interaction on the second disc's "Autumn Leaves."

Throughout the two sets, Evans showcases his gift for interpreting standards, playing only one original ("Turn Out the Stars") over the seventeen tracks. "My Funny Valentine" moves effortlessly from tenderness to passion, while "Gone With the Wind" erupts at a breakneck pace and "Here's That Rainy Day" concludes the evening with heart-breaking emotion.

Students of Evans' music will be delighted to see that three pieces ("Emily," "Yesterdays," and "'Round Midnight") are represented in both the first and second sets, offering a rare opportunity to compare the soloists' diverging takes on the same tunes in a single evening. Also, as Feldman points out in his notes, several of the selections possess historic significance: both "My Funny Valentine" and "Here's That Rainy Day" (and possibly "Mother of Earl") mark Evans' first documented trio performances of those songs, while "Here's That Rainy Day" may be the first time Evans recorded that piece period.

In addition to offering this vital concert for the first time, Feldman and Klabin have labored to surround the music with important context, assembling a package rich with photographs, information and reminiscences. Both Gomez and Morell offer heartfelt reflections of their time with Evans, while Klabin explains his methods in enlightening detail and Raphael D'Lugoff looks back at growing up in his father's legendary venue. A younger Raphael can be seen in a family photo alongside his father and sister Sharon, one of several historical documents included in the package, which also features memorabilia from the club and the actual contract for the week signed by Evans. D'Lugoff also provided a picture of the bustling street scene outside the Gate from the 1960s.

The liner notes also include an essay by pioneering jazz critic Nat Hentoff, an appreciation by the great vibist Gary Burton. These notes are lined with iconic photographs by Jan Persson, Raymond Ross, Herb Snitzer, Fred Seligo, and Tom Copi, whose striking cover image is graced by the original logo from the Top of the Gate sign.

The album will be available in a 2-CD deluxe digi-pack with a 28-page booklet. Additionally, a limited first-edition pressing of 3,000 hand-numbered 3-LP 180 Gram vinyl box sets will be made available, pressed by Record Technology Incorporated (R.T.I.), including a 4-panel booklet featuring the same content as the CD booklet. This edition was pressed at 45 RPM for optimum sound and mastered by Bernie Grundman. The entire package will also be downloadable with an e-booklet (where available) for those who choose to purchase the album digitally.

Resonance Records has chosen to participate and show support as an independent label for Record Store Day (April 21) by exclusively releasing a limited edition pressing of 1500 units of a 4 track "Selections From Top of The Gate," 10" record, pressed by Rainbo on cobalt blue-colored vinyl at 33 1/3 RPM.

Live at Art D'Lugoff's Top of the Gate follows Resonance's release earlier this year of Echoes of Indiana Avenue, a landmark collection of previously unreleased recordings of guitar master Wes Montgomery. Together, the two collections cement the label's place at the forefront of both new and archival jazz. "Our mission is both exposing deserving living talent and preserving the great jazz of the past," Klabin says. "We look to capture moments that are seminal or important in the career of the musician and in the history of modern jazz, so this is a perfect example."

For Feldman, the opportunity to work on not only a Bill Evans release but a recording from this particular era has been a dream come true. The producers' introduction to Evans' music came courtesy of the pianists' work with this particular group, featuring Gomez and Morell. "This is something very personal for me because it was one of the first groups of Bill's that I had a love for," Feldman says. "I'm just so grateful to George that he took the initiative to document these performances, and it's just incredible that it's been tucked away for all these years and has stood the test of time."

Klabin recalls that October night 40-odd years ago as "one of the best experiences of my life. This was one of the best Bill Evans trios playing during a period, on a night, where Bill Evans was at his best."

Bill Evans · Live at Art D'Lugoff's Top of the Gate
(recorded October 23, 1968)
Resonance Records HCD - 2012 · Release Date: June 12, 2012

Bill Evans - piano
Eddie Gomez - bass
Marty Morell - drums

TRACK LIST:
Disc One - Set 1
1. Emily (Mandel & Mercer)
2. Witchcraft (C. Coleman)
3. Yesterdays (J. Kern)
4. Round Midnight (T. Monk)
5. My Funny Valentine (Rogers & Hart)
6. California Here I Come (De Sylva, Jolson & Myers)
7. Gone With The Wind (Magidson & Wrubel)
8. Alfie (B. Bacharach)
9. Turn Out The Stars (B. Evans)

Disc Two - Set 2
1. Yesterdays (J. Kern)
2. Emily (Mandel & Mercer)
3. Round Midnight (T. Monk)
4. In A Sentimental Mood (D. Ellington)
5. Autumn Leaves (J. Kosma)
6. Someday My Prince Will Come (Churchill & Morey)
7. Mother Of Earl (E. Zindar)
8. Here's That Rainy Day (Burke & Van Heusen)

JOHNNIE BASSETT - I CAN MAKE THAT HAPPEN

Guitarist Johnnie Bassett is a special bluesman, possessing a certain inspired individuality and skill set rarely found these days. In a career dating back to the early 1950s, the spry 76-year-old has earned many accolades--just last year he copped Detroit Music Awards for "Outstanding Blues/R&B Instrumentalist" and "Outstanding Blues Artist/Group." Well regarded in the Great Lakes region and blues America, yes, but arguably even more admired in Europe, where he's a favorite of festival-goers. Bassett's familiarity with jazz, R&B and soul is just as considerable as his blues knowledge; he's held his own in the fast company of luminaries from various strains of great American music including Ruth Brown, Big Joe Turner, Smokey Robinson, Tina Turner, Dinah Washington, former neighbor John Lee Hooker and a young guitar fledgling named Jimi Hendrix.

For all his talent, Bassett has made just a handful of feature albums. The best of the five is his new one, I Can Make That Happen (Sly Dog Records)--its release is cause for celebration. Bassett, even-tempered and polite, says, "My sound and the way I play and tune my guitar is different from anybody. I designed it that way when I was getting into the business. I heard all the other guitarists coming up and they all sounded the same to me -everybody wanted to be B.B. King or T-Bone Walker. I wanted to be different-sounding." He realized his goal long ago through his open tuning, his impeccable timing, his personal way of bending notes, his mix of playfulness and relaxation in phrasing, and his arsenal of signature licks. Only a few of Bassett's peers play from the heart as convincingly as he does on his trusty old Gibson, Heritage and Conrad guitars.

The Florida-born septuagenarian turns in fine performances on strong original material for I Can Make That Happen, supported by ace musicians belonging to two popular Detroit bands. Keyboardist Chris Codish, bassist James Simonson and drummer Skeeto Valdez are The Brothers Groove. The Motor City Horns consists of saxophonist Keith Kaminski, trombonist John Rutherford, and trumpeters Bob Jensen and Mark Byerly. (Each of these players also contributed to the success of Bassett's 2009 Sly Dog release, The Gentleman Is Back.)

"The whole experience was electrifying," says Bassett about recording the new album. "We rehearsed three days. I like what we got out of that." Codish, who produced with Kaminski, recalls, "It was a lot of fun. All of us have been playing together for a long time and we were comfortable with each other. And I think we've grown as a band since the first record." So, what's it like to play with Bassett? "Johnnie's the top of the groove pyramid,' says Chris Codish, "where he sets the time with his playing, it's very natural for the rest of the band to fall in beneath him to support and follow him. He makes it fun."

Happily, Bassett and his friends show no interest in churning up the same old chord progressions on threadbare songs, as do hordes of blues recording artists year in and year out. Instead, the Motowners freshen up the blues using elements of jazz, R&B and soul on a program of superior songs mostly written by Chris Codish and his father, Bob. Bassett even refurbished rock and soul classics. The bandleader opines, "I think people will like the choices made as far as the material is concerned."

Opener "Proud to Be From Detroit" is a funky blues born of a band studio-jam based on a bass riff. "We thought with all the problems in the city," comments Bassett, "this song would make people forget about them." Bassett's singing of his own words about the city's virtues has a slow-burning intensity; likewise, his guitar work is wonderfully expressive, a shining beacon of accumulated technique. Note the drama built by the mighty horns before Bassett sings. "You can dance to that all day," he laughs.

"Love Lessons" has a more relaxed groove, spun off the piano rhythm; here, Bassett gives Bob Codish's risqué lyrics a real-life shimmer. "I don't know why we keep using Bob's stuff," jokes the bandleader, "but it all turns out well for us." Ditto for "Spike Boy," still another bawdy tune, this one packed with wicked train metaphors and enlivened by the jaunty confidence of the crackerjack band. "There's a bit of a Henry Mancini-meets-the-blues feel to this one," observes Chris Codish.

Bassett, as a singer and guitarist, has the capacity to sound fresh and involved emotionally at all times. But he seemingly outdoes himself with his excellent guitar solo on "I Can Make That Happen," a number that began life as a short duet demo by Chris Codish and fellow songwriter Jim "Moose" Brown, a top Nashville sessions guitarist and co-writer of "It's 5 O'Clock Somewhere." Strikingly, Bassett translates emotions into bent phrases and tone with startling clarity and timing. Revitalizing soul great Solomon Burke's "Cry to Me," Bassett proves once again that integrity and entertainment aren't mutually exclusive. "Solomon was one of my favorite balladeers," Bassett replies when asked how they happened to cover the 1962 R&B chart hit.

On Bob Codish's "Teach Me to Love," Bassett joins "Detroit Diva" Thornetta Davis in resting their splendid vocals on what Chris calls a "warm background pillow of harmony" generated by the horns. Kaminski weighs in impressively with a tenor saxophone solo. Next up is the album's sole instrumental, "Dawging Around," penned by Kaminski in honor of Bassett's Blues Insurgent Band saxophone player, the late Scott "E. Dawg" Petersen. The musicians' comfort level with swinging jazz is obvious. Let's hope Bassett, a veteran of many jazz organ combos, and always musically intelligent, records more instrumentals on the jazzy side of blues in the future.

The blues, of course, is about rising above difficulties, and "Cha'Mon!" and "Let's Get Hammered" both emphasize the fun factor. Bob Codish's "Motor City Blues" acknowledges the harder times of Detroit residency but it derives its emotional clout from Bassett singing witty lyrics that are optimistic about the future. Bassett and his producers unleash the biggest surprise near the album's end with a stirring rendition of Jimi Hendrix's "The Wind Cries Mary." Bassett hosted a Sunday night jam session decades ago in Seattle where a young Hendrix regularly attended and performed, often picking up tips and licks from watching Bassett. The enterprising guitarist brings their connection full circle as he and his colleagues locate many new pockets of freshness in the familiar song.

Bassett, after all, isn't just playing for the blues crowd. "My style of playing is laid back. I try to play my music where everybody of all ages can enjoy it," he says with characteristic graciousness. "That's what keeps you working, and I've been doing it since 1953. I hope the new album catches on." Rest assured, Mr. Johnnie Bassett will make that happen.

Johnnie Bassett · I Can Make That Happen
Sly Dog Records · Release Date: June 19, 2012

PETE BELASCO – LIGHTS ON

While Pete Belasco is truly one of the most satisfying singers of our time, seven years is a very long wait without getting some... Some of that seductive slow groove, some soulful crooning and some cleverly, evocative lyrics. Sure, Pete Belasco’s signature sound lingers, which is why radio stations worldwide continue to support his two previous recordings (Get It Together and Deeper)… with Lights On, the wait is over my Belasco-starved friends! This new project is everything you’ve been holding out for! Subtle, sexy and intelligent with skillfully crafted tunes in a similar vein as vintage favorites Mayfield, Marvin and Smokey. Fans of today’s neo soul, will also enjoy discovering Pete’s Lights On… a relevant musical tale of a sweet, sweet life. We are so fortunate that this sensitive artist was willing to venture back into the recording studio to deliver 12 entrancing new songs, plus 2 bonus tracks. Favorites for me include the infectious “Rock It” and the stunning “My Eyes.” Radio will be thrilled and fans will be relieved… and I can finally relax as I am Belascofied once again! ~Sandy Shore / Smoothlounge.com.

1. Ain’t Doin It
2. Lights On
3. Rock It
4. Down
5. My Eyes
6. Repay You
7. Stubborn (Stay Focused)
8. Later
9. One
10. Just Me
11. Sweeter
12. Who’s The Man
13. My Eyes (Organic Mix)
14. One (Organic Mix)

LEGACY: THE BEST OF TAB BENOIT

In a career of more than two decades, blues guitarist/vocalist Tab Benoit has generated an impressive body of work — every note of it rooted in the rich and centuries-old musical and cultural traditions of his native Louisiana. While his earliest recordings and performances may have established him as a genuine blues musician, his ever-expanding body of work has become even more resonant in the years since Hurricane Katrina and its devastating aftermath in 2005. Through his environmental advocacy work with Voice of the Wetlands — which actually predates Katrina by a few years — Benoit has counterbalanced his musical career with a tireless commitment to protecting the precarious landscape of his home state.


This fierce commitment to creative and environmental ideals comes to the forefront in a compilation of recordings from Benoit’s years, so far, on the Telarc label. Legacy: The Best of Tab Benoit gathers 14 tracks that mark some of the high points in the career of an artist who has been aptly described as “the new kid from the old school.” Legacy is set for release on Telarc, a division of Concord Music Group.

“Benoit is a true Louisiana resource, the product of a life steeped in music — blues, country, Cajun, rock and soul,” according to the liner notes by John Swenson, author of New Atlantis: Musicians Battle for the Survival of New Orleans. “Tab brings all these elements to bear in a style uniquely his own, a delivery built around one of the greatest voices of his generation and powered by an exciting guitar sound. Benoit stands out as a blues player because he never, ever overplays, making every note count the way greats like Albert King and Johnny Copeland could do it. Benoit is also a fine songwriter whose heart shines through his work and who conveys an earnest message in every story he tells.”

All of these virtues are apparent throughout Legacy, which opens with the potent “Shelter Me,” a Buddy Miller song about overcoming adversity. Benoit’s version, from his 2007 album Power of the Pontchartrain, was produced by David Z (Prince, Jonny Lang, Buddy Guy), who thought it carried the appropriate message for a post-Katrina album.

“[David] had worked with me before Katrina when I told him what Voice of the Wetlands was about,” says Benoit. “I described what was going on with the wetlands and what the problems were. I’d been trying to warn people about what would happen. And then it happened. Of course there’s frustration and all kinds of other emotional things. We’ve worked enough together that he knows I’m still optimistic. I don’t give up the fight. I think a lot of that is in that song.”

The foot-stomping next track, “Night Train,” comes from Benoit’s 2005 release, Fever for the Bayou. “It was one of those songs that kind of writes itself,” says Benoit. “I’d just driven home from Chicago or someplace. I drove straight through, about 20 hours. It’s like being on a night train going all night and trying to get home.”

Throughout the collection, Benoit is joined by other luminary bluesmen with whom he has collaborated during the past 13 years. Among them are guitarists Kenny Neal (“I Put a Spell on You”) and Jimmy Thackery (“Nice and Warm,” “Whiskey Store”), vocalist Billy Joe Shaver and fiddler Wayne Thibodeaux (“Comin’ on Strong”), vocalist/percussionist Cyril Neville (“The Blues Is Here To Stay”) and harpist Jimmy Hall (the live “New Orleans Ladies,” featuring Louisiana’s LeRoux).

The album closes with “Bayou Boogie,” a wild jam taken from Whiskey Store Live, Benoit’s 2004 recording with Thackery (and the follow-up to the 2002 Benoit-Thackery studio project, Whiskey Store). Also on hand for this balls-out free-for-all are saxophonist Jimmy Carpenter, Ken Faltinson on Hammond B-3, bassist Carl Dufrene, and dual drummers Darryl White and Mark Stutso.

“Me and Jimmy have been friends since I got out on the road. We had a chance to play and tour together and we had a ball doing it. On the road we’d pair our bands together so we’d have two drummers, my bass player playing bass and his bass player playing B-3. Both bands had a chance to hang out together and become friends. That was a lot of fun.”

The fact is, “it’s always a lot of fun when Tab comes to play,” says Swenson. “Legacy: The Best of Tab Benoit allows his fans to share in that fun back at home.”

1. Shelter Me 5:05

2. Night Train 4:17
3. I Put a Spell on You 4:51
4. For What It's Worth 5:17
5. Nice and Warm 7:38
6. Muddy Bottom Blues 4:20
7. Darkness 4:40
8. Comin' On Strong 3:25
9. The Blues Is Here To Stay 6:01
10. Medicine 5:47
11. These Arms of Mine 4:16
12. Whiskey Store 3:28
13. New Orleans Ladies 5:44
14. Bayou Boogie

Concord Music Group

BASIA – FROM NEWPORT TO LONDON

The Polish-born vocalist, who began her career with hits throughout Europe by Matt Bianco and then made the transition to become a very successful solo artist in the '90s, is in stunning form at this recent concert recorded in Lodz, Poland. As well as hits such as "Promises", "New Day For You" and "Cruising For Bruising", Basia also performs "Astrud" (about Astrud Gilberto) and the new studio recordings "Wandering" and "From Newport to London". Danny White, who also began with Basia in Matt Bianco, is again her musical director, producer and co-writer. The album also includes three brand new exclusive studio recordings. Jazz FM

Tracklisting:
1. Third Time Lucky (Live)
2. Drunk On Love (Live)
3. Cruising For Bruising (Live)
4. How Dare You (Live)
5. If Not Now Then When (Live)
6. Love Lies Bleeding (Live)
7. I Must (Live)
8. Astrud (Live)
9. New Day For You (Live)
10. A Gift (Live)
11. An Olive Tree (Live)
12. From Now On (Live)
13. Promises (Live)
14. Time and Tide (Live)
15. Copernicus (Live)
16. There's A Tear (Acoustic Version)
17. Wandering
18. From Newport To London

NEW RELEASES: HAROLD MELVIN & THE BLUENOTES, KOOL & THE GANG & ROYAL GROOVES

HAROLD MELVIN & THE BLUE NOTES – TALK IT UP (TELL EVERYBODY) (WITH BONUS TRACKS)

Later work by Harold Melvin & The Blue Notes – but proof that the sound of a great group will never die! The record was cut for the small Philly World label, but it's got plenty of elements that really echo the best Philly elements of the glory years – snapping groovers that provide a solid midtempo style for the vocals to soar from – and some warm ballads that are filled with that beautiful glow that the group had from the Teddy P years onwards! Titles include "Time Be My Lover", "Don't Give Me Up", "I Can't Let You Go", "What We Both Need", "I Really Love You", and "Today's Your Lucky Day". CD is overflowing with bonus tracks – almost as many as the original album – with titles that include "Don't Give Me Up (12" long)", "Today's Your Lucky Day (single)", "I Really Love You (single)", "I Can't Let You Go (single)", "Don't Give Me Up (12" M&M dance mix)", "Today's Your Lucky Day (12" instrumental)", and "Don't Give Me Up (12" M&M dub)".

KOOL & THE GANG

A landmark album of funky genius – and one of the first times a batch of funky 45s had ever been so tightly sewn into a full LP! By the time of this album's release, Kool & The Gang were already underground legends – cutting it up in small clubs around the east and midwest, and working hard to push their excellent early singles on the De-Lite label – the kind of indie funky 45s that went on to shape the sound of a generation to come! This album brings together a number of those singles – really great little tracks that you can't really ever find on wax, and which have the group's perfect blend of bass/drum rhythms, choppy guitar, and hard-blaring horns – a massive groove that's still tighter here than any of the countless combos the record went onto inspire. The LP's a non-stop jam all the way through, with funk so pure it could be considered the blueprint for a generation – and titles include "Give It Up", "Raw Hamburger", "Kool's Back Again", "Breeze & Soul", "Sea of Tranquility", and "Kool & The Gang".

ROYAL GROOVES – FUNK & GROOVY SOUL FROM THE KING RECORDS VAULTS

Mighty recordings from the funk years of King Records – amazing grooves that follow the initial inspiration that James Brown gave to the label – but take things into wild new territory too! The late 60s & early 70s were kind of a strange and tumultuous time at the longtime Cincinnati operation – which was adapting to the changes in funk, soul and R&B music that James Brown almost single-handedly ushered in – at King and throughout the entire culture! What's most impressive here, beyond the exceptional quality of each song and performer, is the diversity – as the set's not all front-to-back JB-style funk – and also features some funked up bluesy soul, strains of gospel, the convincing move towards funk from veterans such as Hank Ballard & Bill Doggett – all topped off with righteous storytelling, sweet female soul leads, and some amazing grooves down at the bottom! Titles include "Getting Down (With Hoss)" by Kastle, "Love's Sweet Water" by Barbara Burton And The Messengers, "Baby Don't You Know" by The Brownettes, "Clay Tyson (Man On The Moon)" by Clay Tyson, "Cool Jerk" by The Coasters, "The Boo Boo Song" by King Coleman, "Unwind Yourself" by Hank Ballard, "Steal Away" by Leon Austin, "Peter Rabbit" by The Presidents, "Lookin For A Woman" by Robert Moore, "Push & Shove" by Willy Wiley, "Ball Of Fire" by Connie Austin, "Sad But True" by Elaine Armstrong, and "You Keep Me Hanging On" by Bonnie & Sheila.

Dusty Groove

HIROSHIMA - DEPARTURE

Hiroshima have released their latest album, Departure, the follow-up to their 2010 Grammy-nominated Legacy CD. Co-founder and leader of the band, Dan Kuramoto has stated, “After more than 30 years in the recording industry -- and almost 4 million records sold we’ve decided to leave record companies behind and venture on our own. “It is a new beginning for us in many ways. This actually is something that many other artists are now doing since they all now have the ability to self-market themselves with distribution through various website. Having said that, Departure is a journey of nine songs -- all originals with just one guest artist, the incredible harmonica player Tetsuya “Tex” Nakamura

Here are some of the album highlights:

The opening track “Have You Ever Wondered,” is a luscious, textured piece featuring Nakamura and June’s shimmering koto.

“Koto Cruise,” is the second song and features a funky groove and a burning koto solo, “Blues for Sendai,” a soulful jazz blues piece, is dedicated to the spirit of the Japanese people who are rebuilding after the tragedies of March, 2011.

The rockin’ blues in “Smiling Jack,” recalls the music of the 80’s and features the roaring B3 organ playing of Kimo Cornwell.

The sensual soul of “See You Again,” is a tribute to our friend and mentor James Moody. If you listen closely you’ll hear “Moody’s Mood for Love.”

After many years of requests, we offer our first live taiko recording, “Yamasong Duet” - - capturing the voice and the thunder of Shoji’s taiko and Danny’s fierce percussion interplay.

The power and spirit of “First Nation,” a composition by the Hawaiian Kimo Cornwell, is a song embracing many native cultures - - and some serious jazz.

Departure ends with two new visitations to our most popular songs, “Thousand Cranes,” and a soulful version of “One Wish,” done as an acoustic trio.”

“Also on our website at hiroshimamusic.com we ask you to join the Hiroshima community. By signing up and giving us your email addresses we will provide information about the band, special discounts, free music, and an interactive network of arts, culture and lifestyles.

www.hiroshimamusic.com
facebook.com/hiroshimamusic
www.listn.to/hiroshima
www.listn.to/junekuramoto

BEN E. KING @ THE JAZZ CAFE, LONDON, UK APRIL 13-14

Jazz Cafe and Soul Motion present

BEN E KING

April 12 – 13- 14

Intimate London shows for legendary soul artist

Born Benjamin Earl Nelson, in Henderson, North Carolina, young Ben’s family relocated to New York City when he was at the tender age of nine. Possessing one of the most elegant baritone voices ever, Rock & Roll Hall of Fame alumnus Ben E. King’s imprint on the musical landscape is so indelible that an optimum barometer has been set for countless aspiring performers. From a youngster in Harlem to an embraceable solo artist, Ben E. King’s contributions to the pop music spectrum are incalculable.

From the first cut of his upcoming release, I’ve Been Around, to the very last track on this superlative disc, Ben E. King magnifies his presence as a monumental force in the ever-changing entertainment arena. I’ve Been Around is a twelve-track rainbow collection of fresh, eclectic tunes, including the title track, “I’ve Been Around,” which is a rapturous mix of R&B and indefatigable jazz-funk; “Comparing Her To You,” a lingering ballad laced with a smidgeon of new country; and “I Bet You That,” a vocally infectious jam with a uniquely frenetic pulse. In addition to these and a plethora of other novel selections, keep an ear open for the surprise bonus track.

As a member of The Drifters, Ben sang lead on such chart-stoppers as “Dance With Me,” This Magic Moment,” “Save The Last Dance,” and “I Count The Tears.” In 1960, and in the midst of unimaginable success as a Drifter, Ben made the decision to aim even higher by pursuing a lifelong dream to choose and perform many of his own tunes as a solo artist. This also called for Ben to create a stage name to distinguish the solo artist from the Drifter. By shortening his original name, by using his middle initial, and by displacing his last name, he now became known universally as Ben E. King.

In 1961, as Ben E. King the icon that the world has come to cherish, his first hit was one that even the Queen of Soul was moved to cover, the magnificent “Spanish Harlem.” But his second heart-melting single, “Stand By Me,” reached gargantuan proportions. That # 1 R&B hit and top five pop jam (written by Ben E. King, Leiber and Stoller) has been sung or covered by almost everyone who ever walked into a recording studio. Why, even Hollywood film-director Rob Reiner was inspired to select “Stand By Me” as the title for his 1986 feature film and sound score by the same title. During that same period “Stand By Me” was re-released as a single, rose to the top ten in the US, and rocketed to the # 1 spot in the UK.

Ben E. King is still recording and pleasing fans from Tokyo to the streets of L.A. Truly, one of the premier group and individual artists to ever clutch a microphone, Ben E. King’s rich, velvety voice is a priceless national treasure. From a youngster in Harlem to an embraceable solo artist, Ben E. King’s contributions to the pop music spectrum are incalculable.

solaradio.com

KHARI CABRAL SIMMONS - CLEMENTINE SUN / SUN GODDESS - THE BEST OF RAMSEY LEWIS

KHARI CABRAL SIMMONS - CLEMENTINE SUN

Atlanta-based musician and songwriter Khari has come up with a stunning collection of uplifting, airplay-friendly tunes which fuse soul, bossa nova and jazz. Clementine Sun was mixed by Bluey from Incognito who add their horns to the hooky 'How Can We Go Wrong?'. India.Arie is guest vocalist on a delightful treatment of Stevie Wonder’s 'Never In Your Sun' which is already attracting a lot of airplay and Sabrina Malheiros sings on 'Major Bossa'.

Clementine Sun tracklisting:
1.Clementine Sun
2.Never In Your Sun (feat India.Arie)
3.Coolamon Waltz
4..Get Back (feat Chantae Cann)
5.Ninos (feat Oteil Burbridge & Russell Gunn)
6.The Dove
7.Belle Of Byron Bay (feat Monday Mi-chiru)
8.How Can We Go Wrong? (feat Incognito)
9.Major Bossa (feat Sabrina Malheiros)

SUN GODDESS - BEST OF RAMSEY LEWIS

This one is the most comprehensive collection of Columbia recordings by fusion keyboard legend Ramsey Lewis. The 32-track double CD focuses on his iconic 1974 album Sun Goddess produced by Earth Wind & Fire and further collaborations and solo albums made over a productive 16-year period. Many of the tracks here have never previously been on CD or are extremely rare. Special guests include Stevie Wonder, Grover Washington Jr. and Nancy Wilson.

CD 1:
1. Spring High
2. Every Chance I Get
3. Caring For You
4. Tambura
5. Romance Me
6. So Much More
7. Lynn [Live]
8. Caribbean Blue
9. Wandering Rose
10. Hot Dawgit
11. Love Notes
12. I Dig You
13. That's The Way Of The World
14. Slippin' Away
15. Paradise
16. Expansions

CD 2:
1. Sun Goddess
2. Sassy Stew [Live]
3. That Ole Bach Magic
4. What's Going On
5. Whisper Zone
6. Tequila Mockingbird
7. Brazilica
8. The Messenger
9. Fish Bite
10. Camino El Bueno
11. Lakeshore Cowboy
12. My Angel's Smile
13. All The Way Live
14. Skippin'
15. I'll Always Dream About You
16. Intimacy

Jazz FM

DOME RECORDS - TWENTY YEARS 3 CD SPECIAL EDITION

From Beverley Knight, Lulu and Hil St Soul in the Nineties to Incognito, Eric Roberson, Avery Sunshine and Drizabone Soul Family in the label’s second decade, Dome has always been able to deliver the very finest soul artists. CDs1 and 2 contain highlights from Dome’s first 20 years, while CD3 includes new songs, previously unreleased remixes, radio performances and exclusive live recordings. A stunning 3-CD collection covering the highlights of Dome’s 20-year history, with a lavish 40-page booklet containing notes by label founder Peter Robinson and many previously unpublished photos. Jazz FM

Disc: 1
1. Lulu with Bobby Womack - I’m Back For More
2. Richard Darbyshire - This I Swear (Knuckles & Morales Radio Mix)
3. Sinclair - I Want You Back
4. Beverley Knight - Moving On Up
5. Hil St Soul - Until You Come Back To Me
6. Mike Stevens feat Meli’sa Morgan - Tell Me (How It Feels)
7. Dennis Taylor - Smile
8. Beverlei Brown - Love You Yes
9. Full Flava feat Carleen Anderson - Stories
10. Cooly’s Hot Box - Make Me Happy
11. Angela Johnson - Rescue Me
12. D-Influence feat Dyanna Fearon - I Wanna Know You
13. Donna Gardier - How Sweet It Is (To Be Loved By You)
14. Incognito - Can’t Get You Out Of My Head
15. Seek - Talk About It
16. Rosie Gaines - Honeychild
17. Rahsaan Patterson - Stop Breaking My Heart
18. Avani - Best Friend’s Lover

Disc: 2
1. Brenda Russell - Make You Smile
2. Conya Doss - Can’t Stop
3. George Duke feat Eric Benet - Superwoman
4. Martha Redbone - Children Of Love
5. Carleen Anderson - My Door Is Open
6. Julie Dexter & Khari Simmons - Fooled By A Smile
7. Anthony David feat India Arie - Words
8. Donnie - If I Were You (Radio Version)
9. Mikelyn Roderick - Slippin’
10. Full Flava feat Kelli Sae - Music Is My way Of Life
11. Gordon Chambers feat Ledisi - To Love Again
12. Eric Roberson feat Lalah Hathaway - Dealing
13. Angela Johnson feat Frank McComb - Play
14. James Taylor Quartet - Got To Give It Up
15. Don-E - Stay Awhile
16. Heston - No Way, No How
17. Avery Sunshine - All In My Head
18. Drizabone Soul Family - I Fell Apart

Disc: 3
1. Khari Cabral Simmons feat Sabrina Malheiros - Major Bossa
2. Anthony David - Location Location Location
3. Heston - She Lives In Me
4. Avery Sunshine - He Keeps On Doing Great Things For Me
5. Rahsaan Patterson - 6 A.M. (Steve ‘Silk’ Hurley Old Skool 330 Mix)
6. Angela Johnson - You’re Here With Me (Masheen remix)
7. Down To The Bone - Watch Me Fly (Earth Sold Remix)
8. Incognito - Freedom To Love (Reel People Rework)
9. Tortured Soul - Home To You (Ethan White Remix)
10. Avery Sunshine - Ugly Part Of Me (Mike Dunn’s BlackBall Soul Mixx)
11. Eric Roberson - Just A Dream (Live UK radio session)
12. Anthony David - Spittin’ Game (Live UK radio session)
13. Cooly’s Hot Box - It’s Alright (Mike Gee Choice FM radio drop)
14. Lulu with Bobby Womack - I’m Back For More (Peter Young - Jazz FM radio drop)

RALPH TEE'S LUXURY SOUL

Ralph Tee’s “Luxury Soul” show on Jazz FM is now a two CD collection on Expansion Records featuring 30 sublime recordings from the 70s and 80s. Ralph’s ‘vintage soul in revival’ played in the second hour of his show remembers a period of lush musical arrangements and productions from a golden age of soul. With talented singers and musicians releasing big budget, sophisticated soul through major record labels at the time, some of these artists had huge commercial success and are household name while many more became so popular with soul fans their music has endured the years and remains in demand today. Ralph’s compilation focuses on songs that are either currently rare on CD or previously unissued on CD that captures the essence of Ralph’s Sunday afternoon ‘niceness’ here at Jazz FM that he calls Luxury Soul. Jazz FM

CD 1
1. Let Somebody Love You - Phyllis Hyman
2. I Don't Know - Rene & Angela
3. New Found Love - Charles Veal
4. Diana - Earth, Wind & Fire
5. It's Over - O'Bryan
6. Never Been Here Before - Paulette McWilliams
7. Special Lady - Splendor
8. All My Reasons - Noel Pointer
9. I Wanna Be With You - David Ruffin
10. Are We Losing Touch - Nancy Wilson
11. It's The Last Time - Keni Burke
12. Glory Glory - Maxi Anderson
13. Different Kinda Different - Johnny Mathis
14. Just A Little Piece Of You - Betty Everett
15. Let Me Take You There - Major Harris

CD 2
1.I'm Just Warmin' Up - Eloise Laws
2. Let Me Be Yours - Lillo Thomas
3. Never Like This - Two Tons of Fun
4. I Can't Used To being Alone - Family Brown
5. Sometimes Love - Lenny Williams
6. Made For Each Other - Ben E. King
7. Only The Angels Know - Linda Clifford
8. Take Some Time - Ndugu & The Chocolate Jam Co.
9. Don't Take Me for Granted - Atlantic Starr
19.We Can Make It Alright - The Gap Band
11. Show You How - Cheryl Lynn
12.You Know Something I Wanna Know - Beau Williams
13. Good Inside - Bobby Lyle
14. I Get It From You - Pages
15. Spread Love – Brick

NEW RELEASES: WILD BELLE, NICK DE CARO & THIRD COAST KINGS

WILD BELLE – KEEP YOU / TAKE AWAY

An impressive intro to Wild Belle – the group fronted by the brother & sister duo of Elliot & Natalie Bergman! Elliot's best known around these parts for his work with global soundscape eclecticists Nomo – and if you follow Nomo, you know enough to expect the unexpected. That said, we still didn't expect something like Wild Belle! There's just 2 songs here, but it's fair to say that they have the potential to breakout huge, and pretty damn quick, too. "Keep You" has a bit of a breezy rocksteady vibe while "Take Me Away" is a seriously catchy pastiche of psych-pop-soul tunefulness. Their sounds are built from Rhodes, toy piano and other keys, sax, kalimba, guitar, bass, drums, autoharp and more. We haven't even touched on Natalie's vocals yet, which are easygoing and seductive at the same time. No genre, really. Just good. Get it!

NICK DE CARO – HAPPY HEART

One of the few albums as an artist from the great Nick De Caro – one of the hipper arrangers of the 60s, best known for his collaborations with Claudine Longet on A&M! Nick's a very subtle genius – one who can work firmly inside the mainstream, but also bring something different to the table – a magical way of inflecting a tune, spare use of silence, or controlled emotion that always made his backings a perfect fit for the adult sound of A&M. Instrumentation here is heavily strings, but never in a syrupy, sleepy way – and many numbers feature a standout lead instrument – such as piano by Lincoln Mayorga, soprano sax by Gabe Balthazar, or tenor sax by Bill Perkins. Nick sings on 2 tracks – "I'm Gonna Make You Love Me" and "Caroline No" – in this compressed style that's totally wonderful – and other titles include "Love is All", "Quiet Sunday", "Lullaby From Rosemary's Baby", "Happy Heart", and "I'll Forget You". CD also features a bonus single edits of "Happy Heart" and "Spanish Flea". (SHMCD pressing.)

THIRD COAST KINGS

Sharply funky sounds from the third coast of Detroit – played by one of the best groups to emerge from the Motor City in years! Although the city's been known for its electric styles of the past few decades, recent years has seen a strong return to old school modes – and the Third Coast Kings are a perfect example of that – a group who really respect classic funk styles of the late 60s and early 70s, and really get the instrumentation, production, and overall conception right on the money! There's plenty of funky combos around these days, but these guys really do a hell of a job – and the overall sound of the record is so great, they easily give most of the more established funk acts a real run for their money. Titles include "Summalove", "Case Quarter", "On The Reel", "Gold Brick", "Emcee Marie", "Come On", "Give Me Your Love", and "Crush It".

Dusty Groove

ERIC MARIENTHAL - IT'S LOVE

Saxman Eric Marienthal is certainly no stranger in the world of contemporary jazz, and, more importantly, not a stationary or idle figure. Having worked with everyone from Chick Corea’s Electrik Band to the Rippingtons, he has firmly implanted himself as one of the most sought-after saxophonists in the biz. Here with his newest release, It’s Love, the versatile artist draws on the experience and support he’s received over the years.

The masterfully done project is produced by his longtime friend, guitarist/producer and Fourplay newest member Chuck Loeb. Loeb’s presence is almost immediately felt in the production. Says Marienthal of Loeb,”Working with Chuck on It’s Love was a great experience that was in many ways an extension of the creative live performances we had been doing together. His jazz melodies, harmonies, and solos constantly inspired me to up my game and took the album to a whole other level.” Yeah, it’s easy to see how Loeb can have that impact.

Adding to Loeb’s presence, Marienthal calls on (who else?) producer/keyboardist Jeff Lorber for his handiwork on the album, as well as Yellowjackets members keyboardist Russell Ferrante (with whom he’d worked before on such Marienthal projects as Got You Covered) and bassist Jimmy Haslip. The blend of all of these high profile artists splashes such color on the canvas of this project that it’s almost blinding.

In addition to some sparkling originals, Marienthal nods in appreciation to this likes of Brenda Russell, covering her “Get Here” flawlessly; the “Duke” (Duke Ellington), covering his “In A Sentimental Mood” so sentimentally and with much obvious respect; and the Fab Four (Beatles), covering “Can’t Buy Me Love” in a cool, laid-back interpretation of the classic.

The saxman takes care of these covers right up front as the first three tracks, then cuts loose on his original material which includes the romantic title track, co-written with Loeb, and the solidly jazz-lined “Two In One” and “Costa Del Soul,” also co-written with Loeb. On the latter piece, Lorber and Haslip are featured. Of course, as many know, both are now also integral parts of the revived Jeff Lorber Fusion. Lorber also co-wrote the snappy “Babycakes” (one of my faves) with Marienthal. More Yellowjackets influence appears as Ferrante’s keys figure nicely in “Café Royale.”

In the sweet and tender finale, “When I Found You,” keyboardist Brian Culbertson drops by to offer his fabulous skills to complement Marienthal’s telling sax. Alone by candlelight with your heartthrob, ‘nuff said.

There’s much to like here as a true smooth jazz aficionado. There’s not an overwhelming or overbearing amount of R&B here (it’s sprinkled in here and there on a few pieces). This is sweet contemporary J-A-Z-Z, tastefully written and performed. Marienthal’s sax is clear, definitive, and crisp as he announces each track from the depths of his soul. This is what it’s all about, jazz fans. Treat yourselves to a listen. – Ronald Jackson

Thesmoothjazzride.com

RAHSAAN PATTERSON - BLUEPHORIA

A conversation often heard is the one lamenting that soul music just isn’t as good as it was “back in the day”, and I often ponder with playful irony the memories of my elders sharing much the same sentiment as they complained about being made to suffer the musical outrages of the noisy, offensive and occasionally sexually suggestive content of soul artists of the seventies & eighties, especially when I consider that many of the accused – Parliament / funkadelic , Prince, Marvin Gaye, to name but a few - are now considered to be legends and highly respected amongst today’s soulful chattering class.


This thinly veiled – but stubborn - refusal to listen to anything that doesn’t immediately supply a hankering to be transported back to that coming of age / first job phase of ones lives has got to be at its very least creatively restricting for both the music lover and it’s makers. Some of the best soul music has come from artists who took the risk to challenge the “norm” and seek to create their own soundtrack to a particular phase in their lives in order to grow, experiment and to reflect their own experiences.

Rahsaan Patterson’s latest release Bleuphoria, is a prime example of a work which has been imagined and conceived through a particular phase of an artist’s romantic experience.

This, his sixth solo release in a successful song writing and recording artist career that has spanned over a decade and a half, finds Patterson in his most experimental mode to date, and draws subtly on the musical influences of Prince whist utilising Patterson’s Chaka Khan like vocals to a smooth and often dramatic effect. From the very first track - a spookily catchy cover of the Flamingo’s, “I only have eyes for you” – one is made aware that this is not going to be a run of the mill release.

There is no shortage of guest vocalists & arrangers on this project - Andre Crouch and Tata’ Vega. Jody Watley, Shanice Wilson, Faith Evans, and Lalah Hathaway – all enhance tracks which range in style from some beautiful thoughtful soul ballads, deep soulful house, gospel, mid tempo funk and even a more rock influenced mid tempo number. However it is in the Soulful mid tempo tracks and the Ballads that his song writing and vocal talents truly shine on this release.
As by now you may well have guessed this album is unusual, requiring the removal of any musical blinkers, and allowing yourself the time to accompany one of this generations most successful soul artists, on a musical rollercoaster ride, that rewards far more than it ever frustrates.

Soulbrother.com

ELLIOT YAMIN – LET’S GE TO WHAT’S REAL

Elliott Yamin has already earned a prestigious reputation as both a world-class recording artist and a deeply compelling live performer, having built an impressive body of work as well as an intensely loyal international fan base. On Let's Get to What's Real, the multi-talented artist raises the musical and personal stakes, tapping into the emotional honesty and sonic intimacy of classic soul to create the most inspired and distinctive music he's ever made. The resulting album is the purest expression to date of the musical talent and personal charisma that were first introduced to the public during Yamin's stint as one of the most acclaimed performers to Ever compete on TV's American Idol.

Elliott Yamins fresh new creative leap is apparent on such impassioned new tunes as the intimate, insistent Self Control, the rousingly upbeat Gather Round, the poignantly autobiographical Virginia and the commanding title track, whose lyrical sentiments underline the sense of personal commitment that Yamin brought to the project. Those tracks find the artist decisively reinventing his sound, reaching back to the heartfelt immediacy of vintage R&B while remaining firmly grounded in the present.

1. Gather Round
2. Self Control
3. Thinkin Bout You
4. Let s Get To What s Real
5. Poison
6. Downtown
7. Enough Love
8. Up, Down, All Around
9. I ll Be That Bridge
10. Virginia
11. 3 Words

Amazon.com

CONGO SANCHEZ – VOL. 1

Introducing Congo Sanchez, the backbeat of the Washington DC party scene. As one of the city’s most adept instrumentalists, he is the favored sideman and producer for dance bands and world music ensembles alike. His contributions to The Empresarios Bestia EP, Funk Ark’s From the Rooftops and Thievery Corporation’s Culture of Fear stand out with distinct character. He finally steps out on his own with his solo debut, Congo Sanchez, Vol. 1, out April 17, 2012 on ESL Music.

Musician and Selecta extraordinaire, Congo can generally be found in one of two places. If he’s not on the road drumming with DC’s own, Thievery Corporation or See-I: he’s jamming out to fresh vibes at the mysterious Lillypad studios. He is developing a unique blend of Afro-Latin Dub, as he evolves in to his own on the DC music scene. This EP-his first solo outing-proves that the sound is here, and Congo Sanchez is the ambassador. His over-all taste, and musical personality are a delight, with a superlative sense of rhythm and a musicianly approach to arrangements and melody.

“I embodied Afro-Cuban and Haitian rhythms while accompanying for world dance classes, and began composing pieces for Solo Percussion and Chamber Jazz Ensembles….built a DIY home studio and started to produce my own beats with these ideals in mind.”

Congo produces and performs everything on the EP, with two notable exceptions. Karen Joy McCoy plays shimmering violin on “Democrazy,” the opening track, while the horn section from Ikebe Shakedown – Morgan Price, sax; Jason Colby, trumpet; Nadav Nirenberg, trombone – add their blazing ensemble work to “T.E.T.O. (strut)” . Congo lays down subtle keyboard textures and multi-layered percussion tracks throughout, giving the music an otherworldly vibe rooted by his earthy backbeat.

“During college, I took interest world music. I learned of the Yoruba and Fon traditions of West Africa and how they remained vital throughout colonialization in the Western Hemisphere. All the time re-discovering these rhythms and melodies in music that I listened to growing up in suburban America.”

Congo Sanchez knows his roots and leads the listener on a fascinating journey along the vibrations of DC’s outernational sound.

Eslmusic.com

MARLENA SHAW - ANTHOLOGY

Marlena Shaw has been one of the most prolific soul and jazz female vocalists with a recording career spanning 35 years. Equally comfortable singing soul, jazz or cocktail lounge styles, her versatility and rich and sweet tones have graced albums recorded for Cadet in the 60's, Blue Note and Columbia in the 70's and independent labels, Polydor and Verve in the late 80's and most recently Concord Jazz.

On this anthology we have picked the cream of the tracks across her career for the first time on one album. We start this anthology in 1968, the height of the Civil Rights Movement in the States with the epic "Woman Of The Ghetto". An all time classic with poignant lyrics powerfully sung by Marlena. 'My children learn just the same as yours, as long as no one tries to close the door. We must all have identity - self respect is our separate task'. The song is backed by driving bass and Maurice White introducing the Kalimba sound with which he achieved great fame with Earth, Wind and Fire in the 70's. The track has long been in demand by both soul and jazz fans, but in the mid nineties the song with it's chorus scat was sampled by Blueboy on the club and chart hit "Remember Me", introducing it to a younger audience.

"California Soul" written by the then Motown stable writers Ashford & Simpson is a glorious late 60's soul song with Charles Stepney's string arrangement reminiscent of his more famous Rotary Connection sides also recorded for Cadet. Both these tracks are taken from Marlena's second Cadet album 'Spice of Life', which also featured the infectious but far too short "Liberation Conversation", a real powerhouse track featuring her distinctive scat vocals.

Marlena almost had a top 30 US R&B hit I 1967 with her second single, a cover of Cannonball Adderley's instrumental hit "Mercy, Mercy, Mercy". Her previous single, a cover of Ramsey Lewis' famous "Wade In The Water" which she co-wrote, failed to hit at the time but has rightly become a long time favourite of 60's soul collectors and Northern Soul dancers.

Marlena left Cadet after "Spice of Life" and toured with the Count Basie band for nearly five years, until 1972 when she became the first female singer to be signed to Blue Note.

Marlena stayed with Blue Note for five years recording five albums. Featured from that period here are the subtly funky and slinky "Lovin' You Was Like a Party", the wonderful mid tempo "The Feelings Good", the melancholy Carol King song "So Far Away" and her great version of Eugene McDaniels' "Feel Like Making Love" which really cooks.

On her last album for Blue Note It's Just A Matter Of Time, Marlena followed the trend and veered in the direction of Disco, which led to her being signed to Columbia in 1977. On Her first album for Columbia Sweet Beginnings, Marlena re-cut the Carole King/Goffin standard "Go Away Little Boy", which she had originally recorded on her 'Spice of Life' album in the 60's. This time inspired by her personal experiences and live performance ad libs, she included a straight talking introduction to the song 'Yu Ma' (her way of saying You Mutha) and made the definitive version of the song : her own classic. The track has been popular throughout the world ever since, and especially women who can relate to the lyrics. It also became the biggest hit of her long career reaching #21 in the US R&B chart.

The album also included the more jazzy "Look At Me Look At You", a delightfully breezy mid tempo number which has also been very popular for many years. Sweet Beginnings became Marlena's biggest selling album, reaching #62 in the billboard chart.

Her next album Acting Up, also produced by Bert De Coteaux in 1978, included three excellent 'two step' songs: "Rhythm of Love", "You Bring Out The Best in Me", and possibly the first recording of "Back For More". The latter was originally written by Kenny Stover for Leo's Sunship, but it is best known for Al Johnson's version featuring Jean Carn, recorded years later. 'Acting Up' also included the theme from the hit movie 'Looking For Mr Goobar' - "Don't Ask me To Stay Until Tomorrow", but the album failed to match the success of 'Sweet Beginnings'.

After an aborted album with producer Jack Gold and arranger Gene Page that was never released, she recorded her last album for Columbia Take A Bite in 1979, a mixture of disco and cocktail lounge songs, which included her disco version of "Touch Me In The Morning", a club hit at the time. It was four years later after leaving Columbia before Marlena recorded another album Let Me In Your Life for California indie South Bay Records. We include from that album the magnificent mid tempo two step "Without You In My Life" which was Gary Taylor's first recorded song.

In the same year (1983) she sang on guitarist Phil Upchurch's Name of The Game album for Jam Today, which features the uplifting, more up tempo "Could It Be You", which completes our anthology of this great and under-rated artist. Marlena still regularly performs, as she has since her debut at the Apollo Theatre NY at the age of 10, and tours Europe and Japan, enticing her audiences with many of the classic songs featured on this anthology.

Woman Of The Ghetto

California Soul

Mercy Mercy Mercy

Wade In The Water

Liberation Conversation

Loving You Was Like A Party

The Feeling's Good

So Far Away

Feel Like Making Love

Yu Ma/Go Away Little Boy

Rhythm Of Love

Without You In My Life

Look At Me, Look At You (We're Flying)
Back For More

You Bring Out The Best In Me

Could It Be You (w/Phil Upchurch)

Laurence Prangell April 2000