FRED HAMMOND - GOD, LOVE & ROMANCE

Fred Hammond has been a trailblazer throughout his 30-year career. He founded the legendary band Commissioned that brought freshly funky air to the traditional gospel world in the 1980s. Then, in the `90s, he ushered in the urban praise and worship music movement with his Radical For Christ ensemble – paving the way for artists such as Israel Houghton and Tye Tribbett. With his forthcoming 12th solo album, God, Love & Romance (Verity Gospel Music Group), Hammond continues to break new ground for the gospel genre. Disc one is a suite of love songs touching on the topics of courtship, romance and even lost love while disc two gives us the soul stirring gospel songs we’ve grown accustomed to from Hammond.

The 19-track set was inspired by Hammond’s life and by simply observing the world around him. “It’s been on my heart for about four years and I was encouraged by my good friends Pastor Mike & DeeDee Freeman (Spirit of Faith Christian Center, Temple Hills, MD) to finally do it,” Hammond says of his decision to record a collection of love songs. “A lot of times as men with Christian beliefs we don’t talk about the things that are really important to us in love relationships. I believe God uses not only my triumphs but He uses my tribulations, turmoil, and trials to help other people go through what they are going through.”

“These are my heart songs,” he says. “I sing my worship and I sing the gospel but there was something just pulling at me to sing about romantic love. “Often as Christians we don’t adequately address issues between couples. We pray, we give in the offering, tithe, we fast, and we have Bible class. You would think our relationships (in the church) should be the strongest, but 50% of all first time marriages in the church end in divorce and I believe the thread is that we don’t talk about what’s real.”

Shrouded within an Urban Adult Contemporary musical setting, Hammond gets the real talk discussion of these grown folks issues under way with devotional love songs such as “I’m In Love With You,” “You Are My Love Come True” and the jazzy “When I Come Home To You.” The melodies and chord changes emanate with a warm and familiar old school R&B flair. Hammond’s passionate tenor bends, stretches and soars with the emotional complexity and dynamism of the testament to weathering life’s storms as a couple on “Face It All,” a tune reminiscent of Major Harris’ classic 1975 R&B evergreen, “Love Won’t Let Me Wait” and Luther Vandross’ “Here and Now”.

However, these songs don’t only deal with the blissful side of love. The up-tempo jazz funk of “What Can I Say, What Can I Do?” asks for a chance to prove this couple can be more than just friends while “One More Try” is a last ditch effort to save a relationship.

Hammond knows that there are many people who may appreciate the romance aspect of this album but they still want to hear him get his praise on and he doesn’t disappoint in that regard. As the forerunner of urban praise and worship music, no one does it quite like Hammond. He delivers sincere worship ballads such as “Amazing Love” and “Love Song To The Lamb.” He also continues to bring festive funk with up-tempo jams like “Better Love” and “I Will Lift You Up.” He offers a revamped rock-edged rendition of his 2004 smash “Celebrate (He Lives)” alongside the album’s first radio hit, “I Feel Good,” a breezy let the top down jam. “I Feel Good is a declaration that we take a vacation from the everyday stresses of life and concentrate on the blessings that God has given. It gives us an anthem to speak encouragement over ourselves on any gloomy day and give it a positive outlook.”

Life for Hammond these days is spent with his 14-year-old son and his 24-year-old daughter both who live with him in Dallas, TX and keep him grounded. He moved to the city to sit under the teaching of Bishop T.D. Jakes. He and his brother Ray Hammond co-manage his career from their fHammond Entertainment headquarters where they have begun to develop films and produce music on other artists. During his leisure time, he enjoys spending time on the water, riding his motorcycles and customizing cars.

Hammond made his professional foray into the music business as the bass player for the Grammy Award winning gospel group, The Winans, in 1980. Two years later he formed the urban gospel band, Commissioned. Then, in 1994 Hammond went solo and introduced urban-flavored praise and worship music into the black church when it was still considered a white church phenomenon. In the years since, he’s become one of gospel’s top leading artists and earned a half dozen gold or platinum record certifications for albums featuring hits like Glory to Glory, No Weapon, We’re Blessed and more recent tunes such as “This is the Day” and “They That Wait.”

God, Love & Romance promises to extend Hammond’s long legacy of not just creating hits but also creating music that touches the heart and soul of believers. It’s Hammond’s hope that this current project will open the door to a more productive dialogue within the church about romantic relationships. “I see a lot of people having issues with relationships and trying to make them work,” he concludes. “I don’t think this record is the answer and cure for every broken relationship or that everybody is going to get it together. I think this is simply an injection of reality within the contemporary church world, as we know it. ”
~Amazon.com

KEITH ANDREW - BLUE FUNKY BLUE

Guitarist/keyboardist/vocalist Keith Andrew brings us a funky, saucy, and smooth offering that is diverse, melodic, and loaded with swagger. This release, Blue Funky Blue, which also features saxman Marcus Anderson and guitarist Rob Tardik on select tracks, boasts a delightful blend of contemporary jazz, fusion, blues, funk, and touches of World, a recipe not unfamiliar to Andrew.

On Blue Funky Blue, you’ll find yourself in the familiar settings of contemporary jazz (e.g., “Pookies Groove”), blues (title track), and funk (“Who Dat, Where You At?”) only to witness a slight detour into exotic areas of World (“Fertile Crescent,” “Sherpadance”) and great fusion (“Little Sierra,” “Makes Me Wonder,” “New Way”). You’ll also find tracks that just do their own thing, defying categorization or pigeonholing (e.g., “Howl Mountain” and the raspy “In the Middle of the Night,” which play with fusion, blues, and rock, as well). The outrageously swinging uptempo bluesy “Who Dat, Said Who Dat?” showcases Andrew’s ability to fire off lightning riffs and directs the spotlight toward the nimble fingers of keyboardist Nate Ginsberg, as well. This piece is jazz/blues on steroids, so hold on to your hats for the ride. Impressive showing of skill for sure.

To say this album is full of emotion and creativity is an understatement. This had to be a true experience for all who participated in the making of this project. I personally wouldn’t say that Blue Funky Blue is as comprehensively bluesy and funky as its title might suggest, but if you want creativity, diversity, and totally impressive musicianship, open this door. You’ll find that you’re in the right place.
~ Ronald Jackson /.thesmoothjazzride.com

NEW RELEASES: THE O'JAYS, JEFF BRADSHAW, THE CAFE SESSIONS

THE O’JAYS – WE’LL NEVER FORGET YOU: THE IMPERIAL YEARS 1963 TO 1966
Amazing early work from The O'Jays – tracks recorded a decade before their big fame at Philly International – with a heartbreaking harmony feel all the way through! Even at the start, The O'Jays were a cut above – and as you'll hear here, they come across with an especially deep soul approach to harmony vocals – one that's perfect both for mellow cuts, and for some of the more uptempo groovers here – work so great, we always wonder why it took these guys a full decade to achieve the chart fame they deserved! But never mind that, because this excellent collection finally gives these Imperial years their due – and offers up a whopping 28 tracks in all, every Imperial Records single in one sweet little package – with great mastering and notes too. Titles include "Stand Tall", "The Storm Is Over", "Crack Up Laughing", "How Does It Feel", "Lonely Drifter", "Whip It On Me Baby", "Lipstick Traces", "Oh How You Hurt Me", "No Time For You", "Pretty Words", "Stand In For Love", "Friday Night", "Time Is On My Side", and "Let It All Out". ~ Dusty Groove

JEFF BRADSHAW – BONE APPETIT
Bone Appetit is Jeff Bradshaw's long-awaited sophomore release on Hidden Beach and features not one but two volumes of musical surprises. Bone Appetit plays like a modern-day version of the seminal album by Quincy Jones - The Dude, with Jeff serving as maestro while both singing and playing his horn. Guest artists include Marsha Abrosius who joins Jeff on the lead single and video for "Got Til It's Gone," Raheem DeVaughn turns up the heat on "Til Tomorrow," Coko from SWV fuels the spirit with the inspirational "So Thankful," and Kindred the Family Soul represent with "All Day Loving" and a solo turn by Fatin Dantzler on a decidedly jazzy version of Mos Def's Hip Hop classic, "Umi Says." Jill Scott introduced Jeff Bradshaw to the world with the single, Slide. He's been treating the world to his masterful performances ever since including performing and recording with top-tier artists such as Musiq Soulchild, Floetry, Salt n' Papa, Mos Def, Talib Kweli, Kindred, Estelle, Kanye West, Mary J. Blige, Jay-Z and Grammy Best New Artist winner Esperanza Spaulding. The specially priced Double Compact Disc, Bone Appetit Double Issue, contains Bone Appetit Vol. 1 Main Course and Bone Appetit Vol. 2 Deuxieme Cours. ~ Amazon.com

THE CAFÉ SESSIONS
This one features 15 chilled out tracks as compiled by Jazz FM’s Late Lounge DJ Claire Anderson with Caffè Nero, and it features the following: "Sunshine" – Submotion Orchestra; "You Don’t Know My Name" – Scarlette Fever; "Everybody Loves the Sunshine" – D’Note; "Touch Me" – Cass Fox; "1000 Miles" – Roebeck; "Choices" – Honey Ryder; "Acacia House" – Rivergods; "Sunset" – Nitin Sawhney; "The Sea" – Morcheeba; "Little Things" – James Bright; "Time Takes Time" – Dusted featuring Dido; "Calling" – Bliss:
"Epoca" – Gotan Project; "Life’s a Beach" – Max Sedgley; and "Voices" – Dario G.

NEW RELEASES: THE CRUSADERS, BOSSA RIO, ROZALLA MILLER

THE CRUSADERS - THE VOCAL ALBUM
An essential document of the great soulful side of The Crusaders – that wonderful stretch when they started inviting singers to work along with their groove – further expanding their music into great territory for the 80s! There were some folks who wrinkled their nose at this at the time – thought it was a jazz group selling out by adding singers. But to us, it was a brilliant move – as The Crusaders already had a strongly soul-influenced groove – one that any vocalist would more than be happy to work with. Singers here include Bobby Womack, Flora Purim, Randy Crawford, Tina Turner, Bill Withers, Nancy Wilson, Joe Cocker, and BB King – and titles include "Better Not Look Down", "Hold On", "Help", "Soul Shadows", "The Way It Goes", "Burnin Up The Carnival", "Street Life", and "This Old World's Too Funky For Me". ~ Dusty Groove

BOSSA RIO
A groovy bossa gem from the glory days of A&M Records – an ultra-hip group recorded with production by Sergio Mendes! The feel here is a lot like that of Brasil 66 – bossa rhythms, sunny CA instrumentation, and lovely female vocals – in this case sung singularly, by the lovely Gracinha Leporace – aka Mrs Mendes! Instrumentation is arguably even better than on Brasil 66 records – with wonderfully groovy organ lines from Manfredo Fest, who plays Lowrey organ instead of the usual Hammond. A really essential slice of bossa nova – and a record we'd never part with! Filled with wonderful tunes that include "Gentle Rain", "Up Up & Away", "Wave", "Do You Know The Way To San Jose", "Cacao do Sal", "Veleiro", "Saiupa", and "Nana". ~ Dusty Groove

ROZALLA MILLER - BRAND NEW VERSION
Dance diva Rozalla Miller shot to fame in the early 90s with Everybody’s Free – now she’s back with her first jazz album. Tracks include: "Broken Stones", ""Signs", "Step By Step", " Heard It All Before", "Brand New Version", "Until The End", ""For Lovers", "Over Again", "Trust", "The Love That We Had", as well as the bonus track (and remake of course of ) "Everybody’s Free".

NEW RELEASES: CHICAGO UNDERGROUND DUO, SY SMITH, ROY ASSAF

CHICAGO UNDERGROUND DUO – AGE OF ENERGY

The title's an interesting choice – given that the energy here is often quite laidback – a set of open sonic explorations between cornet player Rob Mazurek and drummer Chad Taylor – both of whom handle plenty of electronics in the set as well! Both Rob and Chad are musicians who can work in harder, sharper modes when needed – but here, they relax into a groove that really recalls the late 90s Chicago scene that both helped them raise up in prominence – in a style that's an atmospheric mix of jazz and other instrumental modes. Titles include "Winds & Sweeping Pines", "It's Alright", "Castle In Your Heart", and "Age Of Energy" – the last of which does have Taylor moving with a stronger punch than on other tracks. (Includes digital download!)

SY SMITH – FAST & CURIOUS
Sy Smith and Mark De Clive-Lowe – an amazing combination that makes for an equally amazing record! Sy's always been great, no matter what the setting – but this time around, all instruments and production are handled by Mark, who gives the record a sweetly cosmic groove! The album bristles with excitement from the very first note – and Smith's singing has this wickedly spacious quality – all the depth of soul we've loved from the start, but a new sense of power that slides in perfectly with the crackling rhythms and jazzy keyboards from De Clive-Lowe. Rahsaan Patterson guests on the cut "Nights (Feel Like Getting Down)" – a beautiful remake of the Billy Ocean classic – and other tunes include a version of Teena Marie's "Teena" – plus great Smith originals that include "The Fast & Curious", "Truth", "Personal Paradise", "The Primacy Effect", "Messages From The Stars", and "The Ooh To My Aah".

ROY ASSAF – RESPECT VOL. 1

A core trio set from pianist Roy Assaf - but one that also features some great horn work on some tracks too – including guest tenor from Eric Alexander, flugelhorn from Roy Eldridge, and trumpet from Greg Gisbert! Assaf gets things going in a bluesy, swinging groove – but then stretches out quickly into a range of modern modes from the late 20th Century – bringing in some great post-swing, post-bop modes with bassist Reuben Rogers and drummer Greg Hutchinson. Alexander soars on a great version of McCoy Tyner's "Fly With The Wind" – which also has percussion from Vanderlei Pereira – and other titles include "Prism", "Song For Abdullah", "September In Rio", "Hymn To Freedom", "Uranus", and "Textures".

~ Dusty Groove

NEW RELEASES: QUANTIC & ALICE RUSSELL, LEILA PINHEIRO & NELSON FARIA, DR. JOHN

QUANTIC & ALICE RUSSELL – LOOK AROUND THE CORNER
Mindblowing stuff – maybe the deepest album we've heard so far from Quantic, and a great step forward for Alice Russell too! After years of working in some of the best contemporary funk modes around, Quantic really expands his vision here – hitting a level of maturity that brings in richer arrangements with bits of strings and other righteous touches – all in a vibe that feels just like the Cadet studios at the end of the 60s! The approach is great – because at the bottom, Quantic's still got all his sharp funky edges intact – mixed in with these swirling soulful arrangements that Charles Stepney would have been proud of – all coming together in a mode that unlocks this whole new side in Alice Russell too – a vibe that's almost Stevie Wonder-ish at times, which really fits perfectly with the grooves. Sublime sounds throughout – a true instant classic – with titles that include "Magdalena", "Here Again", "Travelling Song", "I'll Keep A Light In My Window", "Look Around The Corner", "Su Suzy", "Boogaloo 33", "Road To Islay", and "Similau".

LEILA PINHEIRO & NELSON FARIA – CEU E MAR
One of the loveliest albums we've heard in years from Leila Pinheiro – a set of spare tunes recorded with only the guitar of Nelson Faria for accompaniment! The intimate setting is wonderful, and seems to bring out more feeling than usual from Pinheiro's vocals – yet also creates this sense of understatement, too – a way of never pushing things too far, and this wonderful mode of slipping into occasional wordless singing in passages of a tune – showing of a jazzy warmth that almost reminds us of Joyce at points. The stripped-down approach continues throughout the album – bringing us deeper and deeper with each track – and titles include "Cada Tempo Em Seu Lugar", "Doce Presenca", "O Amor E Chama", "Sucedeu Assim", "Bala Com Bala", "Bolero De Sata", "That Old Devil Called Love", and "Dupla Traicao".

DR. JOHN – LOCKED DOWN
The best records in years – maybe decades – from the legendary Dr John – and a set that stands up strongly next to the messed-up Crescent City vibe of his 70s classics! Big thanks are due to Black Keys' guitarist Dan Auerbach – who produced and supervised the whole recording – and helped create the kind of rootsy studio proceedings that make for just the right vibe to help the Doctor hit all his best classic modes! Leon Michels brings in some great keyboards, too – and an undercurrent of El Michels funk – and Dr John's vocals really sparkle in the setting – stepping out with all the weird raspy elements we love so much. Titles include "Ice Age", "Getaway", "Kingdom Of Izzness", "You Lie", "Eleggua", "My Children My Angels", "Locked Down", and "Big Shot".
~ Dusty Groove

EILEEN HUNTER'S TIMELESS CLASSICS...

Eileen Hunter, is a combination of timeless classics and self-penned songs, from Gus Khan's 'My Baby Just Cares for Me' made famous by Nina Simone to Burton Lane's 'Old Devil Moon' and the jazz-lovers favourite 'Black Coffee'.. The Scottish-born UK jazz singer and writer Eileen Hunter is the first artist and album to be released on Jazz FM's new label Clifford Street Records.

'I Miss The Sky', was written by Norah Jones' guitarist and songwriter Jesse Harris who was recently nominated for a Grammy for writing Norah's hit 'Don't Know Why'. He also penned several other songs on the multi-million-selling album 'Come Away with Me'.

Eileen Hunter is a beautifully-crafted album of well-loved jazz classics from the 40s and 50s sitting gracefully alongside arresting original tracks written and composed by Eileen and her fellow collaborators – husband and former 'X Factor' winner Steve Brookstein, Livingstone Brown and Alan Glass..

"Jazz FM has long wanted to sign upcoming artists but it is only now, with the rise of digital sales and the prominence of the Internet as a promotional tool, that this is viable commercially," says Richard Wheatly, Chief Executive of Jazz FM. "We are delighted to have found Eileen, a quite remarkable talent, to set the standard and launch our new record label."

Jazz FM's Mike Vitti says, "Eileen is an exceptional talent. She not only provides an inspirational vocal performance, she is an amazing musician, a considered writer and has an arresting grace on stage." ~ Jazz FM

Track listing
• 1. Now And Then
• 2. Letter, The
• 3. Comin' Round To You
• 4. I Miss The Sky
• 5. Old Devil Moon
• 6. It's All Over My Friend
• 7. Wave
• 8. When In Rome
• 9. Do You Know Where You're Going To
• 10. If I Should Lose You
• 11. Like I Do
• 12. Black Coffee
• 13. My Baby Just Cares For Me
• 14. Just Squeeze Me

PEPPERMINT CANDY

This terrific two-CD collection charts the story of the swing genre via the most danceable songs from the 1920s to the present day.

CD1:
1. Get Happy - Frank Sinatra
2. Chattanooga Choo Choo - The Glenn Miller Orchestra
3. It Don't Mean A Thing - Django Reinhardt
4. Lullaby Of Broadway - The Andrews Sisters
5. 'Tain't What You Do (It's The Way That Cha Do It) - Ella Fitzgerald & Chick Webb & His Orchestra
6. Jump, Jive, An' Wail - Louis Prima
7. Cotton Club Stomp - Take B - Duke Ellington
8. Are You Hep To The Jive - Cab Calloway
9. At The Swing Cat's Ball - Louis Jordan & His Tympany Five
10. The Dirty Boogie - The Brian Setzer Orchestra
11. Candyman - Christina Aguilera
12. (Baby) Hold Me Tight - Kitty, Daisy and Lewis
13. Quiet Whiskey - Wynonie Harris
14. I Will Survive (Album Version) - The Puppini Sisters
15. Jumpin' At The Woodside - Count Basie & His Orchestra
16. Poontang - The Treniers
17. Lilly - Le Quecumber Allstars
18. Washington Square - The Correspondents
19. Deep Henderson - Nick Hollywood
20. Juke Joint Jumpin' - Wayne Hancock
21. It_s The Gold - Buddy Johnson and his Orchestra
22. Georgia Swing - Jelly Roll Morton's Red Hot Peppers
23. Hell - Squirrel Nut Zippers

CD2:
1. Sing, Sing, Sing - Benny Goodman & His Orchestra
2. Boogie Woogie Bugle Boy - The Royal Air Force Squadronaires feat. Imelda May
3. Jeepers Creepers - Louis Armstrong
4. Blow A Fuse (It's Oh So Quiet) - Betty Hutton
5. Don't Sit Under The Apple Tree (With Anyone Else But Me) - Glenn Miller & His Orchestra
6. Night and Day - Artie Shaw & His Orchestra
7. Wallflower (Dance With Me Hey) - Etta James
8. La Menteuse - Carmen Maria Vega
9. When I Look In Your Eyes - OutKast
10. Straighten Up And Fly Right - Nat King Cole
11. When I Get Low I Get High - Ella Fitzgerald with Chick Webb & His Orchestra
12. High Society - Kid Ory
13. Mama Don't Want No Peas 'N' Rice 'N' Coconut Oil - Count Basie & His Orchestra
14. Alabamy Home - Duke Ellington
15. Sugar Foot Stomp - Fletcher Henderson And His Orchestra
16. Scrub Me Mama With A Boogie Beat - Swing Republic
17. Oh Lady Be Good - Slim Gaillard
18. Right Now - The Creatures
19. Good Morning Judge - Wynonie Harris
20. Jumpin' Jack - Big Bad Voodoo Daddy
21. Saturday Night - Kenny Ball & His Jazzmen
22. Jive Man - The Correspondents
23. Swing Set - Jurassic 5

JAMES "D-TRAIN" WILLIAMS

Born and nurtured in Brooklyn, New York, James "D-Train" Williams began his singing career at age 6. He sang in many church choirs and school choirs. While attending school at Erasmus High School he earned the prestigious title “D-Train” as a Defensive Tackle, football star. (”When he hits you, you felt the impact of the Train”). James’ career came into play by a chance meeting, while helping out his fellow classmate the legendary Will Downing in the studio, he met producer Hubert Eaves III and the two embarked on a musical journey of Number 1 Billboard Hits.

James "D-Train" Williams gave memorable and fresh-sounding R&B/dance tracks of the early to mid-1980’s. Along with Hubert Eaves III their first single, the brilliant “You’re The One For Me,” was released on Prelude Records in 1981. The song hit number one on the dance chart in early 1982 and kept that position for three weeks. Their first album for Prelude was 1982’s entitled You’re The One For Me. The album stormed the club charts and produced three powerhouse 12″ singles. Besides the stunning title track it also featured “Keep On” and the much-covered “Walk On By.”

Music, D-Train’s second album, followed in 1983 and was supported with another batch of singles: “Keep Giving Me Love,” “Are You Ready For Me,” and the major club smash “Music” amongst them. “Something’s On Your Mind,.” Followed by “Oh how I Love You Girl”, top 10 R’N’B hit, "Misunderstanding" (from his debut Columbia album, Miracles of The Heart,) “In Your Eyes”, and a host of others.

Having signed to the Epic/Prelude label, they found greater success in the UK than in their home country. They enjoyed three UK Top 30 hits with “You’re The One For Me” (1982), “Music, Part 1″ (1983) and “You’re The One For Me (Remix)” (1985). D-Train’s biggest US hit was the Billboard R&B Top 5 single, "Something’s On Your Mind" (1983).

James “D’Train Williams has worked with the following artists; Michael Jackson, Luther Vandross (Dance With MY Father CD), Vanessa Williams ( Everlasting Love CD) Bette Midler, Cher, Mary J. Blige Cheryl Lynn, Patti Austin, Kirk Whalum, Judy Collins, Aaron Carter, Elton John (Aida CD), Clay Aikins (Christmas CD), Natalie Cole (Snowfall On The Sahara CD), and many others.

Along with singing background vocals on CD’s for many outstanding artists, James D-Train Williams is one of the number one Jingle vocalists in the industry. Spots such as; Be All That You Can Be (Amy & Navy), Verizon, Kmart, Pampers, Got Milk, Cotton, AT & T, Optimum Online, New Jersey Bell, Kodak, Nescafe, Hanes, Budwiser, Home Improvement, and New York One to name a few.

James has appeared in such films as; “Keeping The Faith” with Ben Stiller, “A Walk In The Park “with Richard Gere & Winona Ryder. He is also the lead Vocalist for the television theme Pokemon, Pokemon The Movie and background vocalist for Walt Disney’s “Hercules” The Movie.

James "D-Train" Willimas is scheduled to appear at the upcoming Happy Days Music Festival on June 2, in Surrey, UK, along with artists Jocelyn Brown, Gwen McCrae, and Colonel Abrams

http://www.happydaysfestival.co.uk/

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