AHMAD JAMAL - BLUE MOON

Blue Moon is not just celebrated pianist-composer Ahmad Jamal‘s latest album, it’s his current masterpiece, suffused with a predominant feeling reminiscent of his greatest periods with Chess and Impulse! Records.

Comprised of brilliant new interpretations of songs from two of America’s most storied mediums of entertainment (classic films and Broadway) and originals that convey pure majesty, each of the nine pieces showcases Jamal’s creative reinvention of swing, provides a pretext for breathtaking melodies, and showcases sophisticated ensemble interplay with his new working group.

In regards to cinema, Jamal’s roots run deep. When he was younger, he used to be a movie aficionado. “I would occasionally watch several films a day,” he states. Jamal sees music and film as closely related bodies. In fact, his own music was even used in the 1995 Clint Eastwood film, The Bridges of Madison Country.

Jamal reflects, “Music plays a central role in cinema. That is the very reason why generations of great composers and arrangers dedicated themselves to this art: Johnny Mandel, Quincy Jones….even during the silent era, pianists were in demand.” That respect and understanding of the interconnectivity between music and film – from a composition standpoint – is clear on Blue Moon through the album’s repertoire.

The title track, a song popularized by the like of Billie Holliday, Mel Torme and even Elvis Presley, was actually written in 1934 for the MGM film Hollywood Party. Jamal knows its very depths. “I used to play it a lot when I was a child, in private. It is the first time I am putting it on an album.” Jamal offers a most expansive and comprehensive version of the composition.

“Blue Moon” is not the only composition drawing from the world of film. He revisits “Invitation,” a song from the original soundtrack of A Life of Her Own, the 1950 George Cukor movie. Jamal’s interpretation of the composition gives the adopted jazz standard new meaning, featuring an infectious groove underneath Jamal’s distinctive approach to the melody. In the same vein, though in solo format, Jamal reinterprets “Laura,” the Johnny Mercer classic that gave its title to the 1944 Otto Preminger masterpiece (a song that he considers to be “one of my favorites”).

Just as other jazz musicians have often transfigured popular Broadway shows over the years, Jamal showcases his version of “This Is The Life,” excerpted from Golden Boy, a 1964 success that featured Sammy Davis Jr. Without erasing its original melodic energy, Jamal draws original obliques with the strength of his personal, sensual approach to the keyboard.

Such a ubiquitous gift allows the pianist to prove in turn allusive and even more expressive on “The Gypsy,” another borrowing from the popular songbook repertoire, and which has become a standard since Charlie Parker recorded the composition 1946. As far as “Woody’n You” is concerned, it is one of Jamal’s “go-to” classics. “My first version appears on the ‘Live At Pershing.’ It was an enormous success. I have been playing those pieces for a very long time.”

In addition, he added three compositions of his own: “Autumn Rain,” already recorded, but presented on Blue Moon in completely different form, “Morning Mist,” and “I Remember Italy,” which underlines the empathy he has for that country. On the latter, Jamal draws a musical novel, full of bright colors reminiscent of the most important painters (a track that channels the impressionistic classical music period of Claude Debussy and Maurice Ravel). “I am often influenced by the cities I travel through, to which have been many. But Italy really has a peculiar flavor. Traveling is good for me, even if my favorite city is home,” Jamal is in tune with a world, “so vast one will never be able to see it all, but one should do everything in his/her power to make it a better place.”

For the album, Jamal surrounded himself with a renewed team: three impeccable guardians of the tempo in bassist Reginald Veal, drummer Herlin Riley and percussionist Manolo Badrena. Veal, whom has made a name and a sound for himself with the likes of Wynton Marsalis and Joshua Redman, is a younger musician, yet provides the group with a rock solid foundation. On one side of the group sits Riley, whom after spending years of work on the New York scene recently came back to work with the pianist [Jamal] who got him started in the mid-1980s. On the other side sits Jamal’s old friend Badrena, a percussionist who was part of Wayne Shorter and Joe Zawinul’s Weather Report in the mid-to-late 1970s.

Jamal is not just a living legend of jazz; he is one of the most inspired and inspiring artists in music today. An important and influential figure in jazz history (he was a key influence on Miles Davis in his formative years, and countless others), he introduced the concepts of space, silence and dramatic dynamics into jazz performance. He continues to influence a diverse generation of artists from Herbie Hancock, Hiromi to Matthew Shipp. Renowned critic Stanley Crouch considers Jamal’s distinctive style as having an influence on the same level as “Jelly Roll Morton, Fletcher Henderson, Duke Ellington, Art Tatum, Count Basie, Thelonious Monk, Horace Silver and John Lewis, all thinkers whose wrestling with form and content influenced the shape and texture of the music, and whose ensembles were models of their music visions.”

In reflecting on the overall album and group’s chemistry, Jamal states, “Recording an album is like playing on stage. All together and most importantly not isolated in our booths. There is no secret: it is a very human matter.” This organic interaction is clear on the album.

At 81 years old, with Blue Moon, Ahmad Jamal is at the peak of his art.

ahmadjamal.com

JACK DEJOHNETTE - SOUND TRAVELS

2012 promises to be a banner year for legend Jack DeJohnette, renowned as one of music’s most adventurous artists and prolific drummers. He’ll receive a National Endowment for the Arts Jazz Master Fellowship, the highest U.S. honor for jazz musicians. The Chicago-born, New York-based artist will also turn 70, boasting a top-drawer historical resume that ranges from his early days as a charter member of the Charles Lloyd Quartet and his seminal drumming in Miles Davis’s pioneering fusion band in the late ’60s and early ’70s (including Bitches Brew) to his longstanding quarter-century-plus contributions to the Keith Jarrett Standards Trio as well as his own diverse solo career recording for such labels as ECM, MCA/Impluse!, EMI/Blue Note, and his own imprint Golden Beams.

Add to that another crowning achievement: DeJohnette’s latest and arguably best album, Sound Travels (a co-release between Golden Beams and eOne). It’s a superb genre-spanning, nine-song collection that grooves with Latin rhythms and West Indian energy, muses with meditative tunes, and buoys with straight-up jazz swing. Sound Travels features an array of collaborators, including vocalists Bruce Hornsby (on the funky, bluesy tune “Dirty Ground” that has AOR hit potential), Bobby McFerrin and Esperanza Spalding. Also on board are emerging talents such as trumpeter Ambrose Akinmusire and guitarist Lionel Loueke (and Spalding, who plays bass on seven of the tracks) and established jazz stars such as saxophonist Tim Ries, percussionist Luisito Quintero and, on one track, pianist Jason Moran.

But DeJohnette is the spotlighted star of the album. He composed all of the tunes (he co-composed “Dirty Ground” with Hornsby, who wrote the lyrics), he drums with his distinctive and passionate style, and he plays the piano (his first instrument on which he studied classical music from the age of 4 to 14) on nearly all the tracks, including the lyrical solo bookends.

DeJohnette’s goal for the album was simple: “I love to play grooves and beautiful melodies,” he says. “It was fun once we got started. It was like, let the juices flow.”

Given his Jazz Master award and his significant birthday, DeJohnette made plans to do something special for 2012. To help plot the course, he sought out his longtime industry friend Chuck Mitchell at eOne, whom he’s known for over 40 years, to discuss ideas. “We talked about people who could play on the album,” says DeJohnette, “but Chuck was also firm that I play piano as well as drums. I’ve made a few piano albums in my career, and he likes them. I enjoy playing the piano. I love the melodies and harmonies, the way the piano sounds and the touch. I loved it.” (Moran was originally slotted to play more than one number, but DeJohnette says, “As things developed in the studio, I felt so comfortable on the piano that it just worked its way into the fabric of nearly all the songs.”)

While Mitchell serves as executive producer of Sound Travels, DeJohnette enlisted the services of Robert Sadin as the album’s producer. “When Chuck and I talked about the album, I told him that I liked the intuitive way Bob worked on albums by Sting and Herbie Hancock,” DeJohnette says. “Bob also helped me think through the players on the album. For example, I knew I was going to use Ambrose. But we both felt that we needed another horn voice, so we thought of saxophonist Tim Ries, who is a fine jazz composer and has worked with the Rolling Stones. He was in Budapest at the time, so I called him and it happened to be his birthday. I told him I had a record date, and he arrived the next day jetlagged. Even so, he really took care of business.”

DeJohnette wrote most of the music last July when he was touring Europe with Jarrett’s trio. “I had a [Korg] M3 keyboard on which I wrote sequences and played around with arrangements,” he says. “Bob would check them out, and he was excited.”

DeJohnette also wanted to focus on vocals for some of the tracks. The first of the album is from Spalding, whom DeJohnette had met via Hancock and later contributed three tracks to on her Radio Music Society album. “It was Bob’s idea to have Esperanza sing,” he says. “It wasn’t planned that way. But she was gracious enough to go along. Because of the creative environment in the studio, Bob asked Esperanza to improvise over the chord changes of the first solo section on ‘Salsa for Luisito.’” The Latin-jazz-infused song is DeJohnette’s salute to his percussionist Luisito Quintero, whom he met via Danílo Pérez. “I can count on Luisito,” says DeJohnette, “and he can play anything. We play a drums-timbales call-and-response section.”

The second vocal track comes courtesy of singer-songwriter Hornsby, who had enlisted the drummer for his 2007 trio jazz album, Camp Meeting, with Christian McBride. After hearing one of DeJohnette’s instrumentals in 7/4 time, Hornsby asked him to send the music. The result: the Band-like “Dirty Ground” that Hornsby sings. “I love the groove of that song,” DeJohnette says. “It reminds me of Levon Helm, who lays a funky groove. For those kinds of grooves, he’s my favorite drummer. So Bruce wrote the lyrics partly about New Orleans and Mardi Gras, but there’s also a nod to Levon.”
DeJohnette also singles out Loueke’s contributions to the tune. “He’s a master of understatement,” he says. “I had the opportunity to work with him before, and I enjoyed it. But on ‘Dirty Ground,’ he knocked me out with the way that he played in a Delta blues style.”

The final vocal number features McFerrin’s wordless singing on the haunting “Oneness.” “Bobby just came in and sang the melody,” says DeJohnette. “And then we agreed to do a call-and-response section. Bobby is amazing in his ability to improvise.”

Another top-tier tune in the collection is DeJohnette’s tribute to Sonny Rollins, “Sonny Light,” a dancing tune steeped in West Indian rhythms. “I played this for Sonny and he was touched,” DeJohnette says. “He likes calypsos. Originally I wrote this on my keyboard, but I wanted to get Lionel’s nylon-string guitar to sound like a kora. It reminded me of something that Sonny might play.”

DeJohnette also took the straight-ahead jazz path for two tunes, including the swinging “New Muse,” which features Ries on soprano sax and the leader displaying his trademark vitality on the drums. “Ambrose was great on this track,” he says. “I just love his melodic and harmonic solos. I love his sound and his ideas.”

The second jazz-oriented track, “Indigo Dreamscape,” is a gentle groove with an angular melodic architecture and a fine trade between Moran and Ries on tenor sax toward the end. Originally recorded by DeJohnette on his 1990 Parallel Realities album with Hancock and Pat Metheny, the leader decided to make a new arrangement that included Spalding’s bass and the horns. Also in the middle of the album, serving as an interlude of sorts, DeJohnette delivers the title track, joined by Loueke, Spalding and Quintero.

The beginning and conclusion of Sound Travels features DeJohnette on solo piano. “Enter Here” is a meditation and welcome with a resonating bell punctuating the end, while “Home” is a slow celebration. As for going it solo, DeJohnette says, “Why not? That way I cover all the bases. ‘Enter Here’ is a neutral song, inviting the listener in for a journey through the rest of the album, and ‘Home’ is an improvisation that’s like church. It’s like the 1-4-5-1 chorus you hear in South African music, which reminds me of Abdullah Ibrahim, who is one of my favorite pianists. I played it in the studio and Bob said, ‘It sounds like home,’ hence the title.”

Just like most of the tunes on Sound Travels, the piano solos are both brief. “Nothing goes on too long on this album,” DeJohnette says. He proudly adds, “I wanted to make something that would make people move, to make them relax and forget their troubles. I wanted to bring a smile.”

HERE COMES...SHORTY LONG - THE COMPLETE MOTOWN STEREO MASTERS

The 2 fantastic albums Shorty Long cut for Soul/Motown – '68's funky Here Comes The Judge & '69's soulful Prime Of Shorty Long – a perfect pair, put together with 2 bonus tracks and great notes by the rare soul-reverent heroes at Kent UK! The CD kicks off with the Here Come The Judge – a fantastic album of funky soul – actually only one of two albums he cut – and the only one that was issued before his untimely early death – a killer batch of tracks that mix together funk, Detroit soul, and a great sense of humor! The album kicks off with Shorty's hit single "Here Comes The Judge", a funky musical version of the "judge" routine that had been knocking around the Chittlin Circuit comedy scene for years, particularly in the work of Pigmeat Markham. The album also features Shorty's legendary "soul party" cut, "Function At The Junction", plus lots of other tasty numbers like "Night Fo Last" (done in vocal and instrumental versions)", "Here Comes Fat Albert", "Stranded In the Jungle", "Don't Mess With My Weekend", "Ain't No Justice", and "Sing What You Wanna".

The Prime Of Shorty Long is a beautiful album from Shorty – issued shortly after his early death from drowning at the age of 29 – and an amazing document of the mighty soul powers he would have had in years to come! There's a depth here that Shorty never had before – a sense of power and righteousness that comes through not just in the vocals, but in the construction of the songs as well – very tight, with a musical vision that shows a sense of pride and power that was never present in Long's earlier singles. Paul Riser handled the arrangements, in a way that really illustrates that cresting Motown intensity at the start of the 70s – and titles include "Whiter Shade Of Pale", "Baby Come Home To Me", "When You Are Available", "The Deacon Work", "Give Me Some Air", "I Had A Dream", and "I Wish You Were Here". CD also features 2 bonus tracks – "Mobile Lil The Dancing Witch" (previously unissued stereo mix) and "Chantilly Lace" (previously unissued stereo alternative version). ~ Dusty Groove

LOU RAGLAND - I TRAVEL ALONE (HOT CHOCOLATE / THE CONVEYOR)

An amazing set of music – two rare albums from Ohio funk legend Lou Ragland, plus bonus tracks, and a whole set of unreleased sessions too – a huge amount of new music, even if you've got some of the previous reissues! First up is the legendary Hot Chocolate album – one of the greatest lost funk records of all time! The group is not the British pop band, but an Ohio funk group led by the great guitarist Lou Ragland. The album's originally from Canada, which makes it super rare – and these guys are funky funky funky, and kick some major booty with a heavy guitar sound that's just great! Some of the cuts are instrumental, and some of them have some excellent soul vocals that are produced with a nice deep sound that's brought out nicely by the excellent quality of the reissue. The record's got a bit of Sly Stone, a bit of Grant Green, and a bit of Mike James Kirkland – with a tasty raw indie soul vibe – and the original album was only pressed up at 500 copies. Titles include "So Dam Funky", "Ain't That A Groove", "Sexy Moods Of Your Mind", "Messin With Sly", and "What You Want To Do" – plus 8 more tracks from the same vintage – "Good For The Gander" by Hot Chocolate, "I Travel Alone" and Big Wheel" by Lou Ragland, "Red Robin" and "I've Got Something Going On" by Volcanic Eruption, and "I Can't Take It" and "What The Doctor Prescribed" by Lou Ragland & Hot Chocolate.

Next is The Conveyor – the second album from Lou Ragland, stepping out here in a great set of mellow soul tracks! The album's quite different from the heavy funk of the Hot Chocolate album – more of a message-oriented approach to soul, in the vein of similar 70s indie work by Mike James Kirkland. The arrangements are also bigger – not smooth, but ambitious, in a style that perfectly matches the higher vision Lou's going for in tracks like "Understand Each Other", "What Should I Do?", "The Next World", and "It's Got To Change". Conveyor also comes with bonus tracks too – "Tend To Your Business" by Wildfire, plus "Since You Said You'd Be Mine" and "I Didn't Mean To Leave You" by Lou Ragland. And last up is an incredible batch of unreleased material – maybe the biggest and best so far from Ragland – tracks that have this really ambitious quality that mixes soul, funk, and larger orchestrations – especially some light strings, which really expand the sound, and push the music into this righteous territory that reminds us a lot of the creative experiments in Chicago during the Cadet/Concept years! Lou's vocals are great, and the message is totally righteous – and even though the tape quality is slightly aged, the soulful vibe really comes through – on cuts that include "Understand Each Other", "It Ain't My Fault", "Could It Be I'm Falling In Love", "Spend My Life Loving You", "Until I Met You", and "Brother Louie". Lovingly packaged by Numero – with a huge booklet of photos and history – and cool mini-LP sleeves too! ~ Dusty Groove 

KENNY GARRETT - SEEDS FROM THE UNDERGROUND

Over the course of a stellar career that has spanned more than 30 years, saxophonist Kenny Garrett has become the preeminent alto saxophonist of his generation. From his first gig with the Duke Ellington Orchestra (led by Mercer Ellington) through his time spent with musicians such as Freddie Hubbard, Woody Shaw, Art Blakey & The Jazz Messengers and Miles Davis, Garrett has always brought a vigorous yet melodic, and truly distinctive, alto saxophone sound to each musical situation. As a bandleader for the last two decades, he has also continually grown as a composer. With his latest recording (and second for Mack Avenue Records), Seeds From The Underground, Garrett has given notice that these qualities have not only become more impressive, but have provided him with the platform to expand his horizons and communicate his musical vision clearly. Seeds From The Underground is a powerful return to the straight-ahead, acoustic and propulsive quartet format that showcases Garrett's extraordinary abilities.

For Garrett, Seeds From The Underground is a special recording. It once again consists of all original compositions, and is truly an homage to those who have inspired and influenced him, both personally and musically. "All of these songs are dedicated to someone," says Garrett. "And the 'seeds' have been planted, directly or indirectly, by people who have been instrumental in my development."

With Seeds From The Underground Garrett has crafted a project that offers his appreciation while always making the listener aware of his band's skillful approach to melody, harmony and rhythm. From personal nods such as the opening track "Boogety Boogety," dedicated to his memory of watching western films with his father (the title refers to the sound of a galloping horse); "Wiggins," which references his high school band director Bill Wiggins; and "Detroit," an evocative, reflective composition about his hometown, and a celebration of mentor Marcus Belgrave; to his appreciation of some of his musical heroes on "J Mac" (Jackie McLean); "Haynes Here" (Roy Haynes); and "Do Wo Mo" (Duke Ellington, Woody Shaw and Thelonious Monk).

Melody, as a matter of fact, was a key element for the saxophonist when writing for the recording. "I wanted to focus on the melody," Garrett reflects. "I want people to remember what the melody is before we start improvising...and on some songs I heard voices, the singing of the melody." This latter point is in evidence on the selections "Haynes Here," "Detroit" and "Welcome Earth Song."

Another notable component compositionally for Garrett on Seeds From The Underground is his approach to rhythm and meter. Over the past few years, one of the most popular and acclaimed groups that he has been a part of is the GRAMMY® award winning Five Peace Band, joining guitarist John McLaughlin, pianist Chick Corea, bassist Christian McBride, and drummers Vinnie Colaiuta and Brian Blade. His participation in that band led him to experiment with writing in different meters. "Some of these songs are in odd meters; in my experience with John, we played some songs in odd meters, so I thought, this is a different way of writing songs," Garrett states. "So there is some of that approach here."

Garrett's current working band is very much up to the task on Seeds From The Underground. And like all successful bandleaders, Garrett knows what he wants musically and has formed a band that will best communicate his message (with implicit trust among one another). Bassist Nat Reeves is a rhythmic anchor and a long-standing member of Garrett's past aggregations. However, for this recording, Garrett thought a lot about the talents of fellow Detroiter, drummer Ronald Bruner, as well as Venezuelan pianist Benito Gonzalez. "When I decided I wanted to do the album, I had Ronald in mind; I thought that he would work well on these songs. And Benito has been in my band for a while, and we talked conceptually about how I hear the piano in the band. McCoy Tyner is my man, so I wanted to have more of that sound, and there aren't a lot of young guys around who are dealing with that like Benito is." Percussionist Rudy Bird also provides a driving, rhythmic pulse to the recording.

A very important contributor to Seeds From The Underground is the project's co-producer: pianist, composer and educator, Donald Brown. His friendship with Garrett goes back to their days with Art Blakey & The Jazz Messengers. He has been an integral part of past Garrett recordings, and has been a musical inspiration for him. "I feel comfortable in the studio with him and I know he's going to hear what I hear, because we think alike in how we hear music," states Garrett. "I've also always admired his compositions and he was really inspired by these compositions, so he was glad that we were able to hook back up on this project."

Garrett has always expressed interest in music from other parts of the world. Whether it's Africa, Greece, Indonesia, China or Guadeloupe, he immerses himself in the culture and gleans from his experience something that becomes a part of his artistic message. On Seeds From The Underground, the African-influenced "Welcome Earth Song" and "Laviso, I Bon?" (the latter was inspired by a musician friend in Guadeloupe) are prime examples.

The album highlights Garrett's overall approach to music: wide-ranging, receiving ideas from all musical sources and genres. Garrett states, "I love the challenge of trying to stay open...about music and about life. If it's music, I just try to check it out. Right now I'm listening to some music from Martinique and I'm lovin' it. If I like it, maybe I can incorporate some of it into what I do." As for composing: "I don't try to control what I write," he says. "Music comes from 'The Creator.' It's a gift that's coming in, and I receive it. I write in all genres, and I'm writing all the time. It's never about what it is...I just say thank you."

Seeds From The Underground is the latest stop on what continues to be a fascinating musical journey for Kenny Garrett and his listeners. It's a recording that is not only a significant personal statement from the saxophonist, but a musical declaration of his continued growth as a musician, and in particular, as a composer.
"Since my last recording, [his Mack Avenue debut, Sketches Of MD/Live At The Iridium, I've had a lot of different experiences [including the aforementioned Five Peace Band, as well as The Freedom Band featuring Corea, McBride and Haynes]," Garrett reflects. "What I liked about putting this album together was the idea that my writing had grown and had become a little different, partially the result of Seeds From The Underground." ~ Mack Avenue Records

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)