BRIA SKONBERG - SO IS THE DAY

Less than two years ago, trumpeter-vocalist-composer-bandleader Bria Skonberg uprooted from Western Canada and arrived in New York City. Lured by the music and those who play it so well, the already-seasoned musician hoped to thrive and to learn in the jazz mecca. The city landscape and abundance of clubs proved to be a stark contrast to the hobby farm Skonberg was raised on in Chilliwack, British Columbia, but the young musician dove in head-first, ready to make an impact with her unique, modern take on the traditional jazz and hot swing the scene was built on. Soon, in the spring of 2011, she found herself performing a highly successful first solo concert at New York's renowned Symphony Space for the Sidney Bechet Society. During the performance, Skonberg announced that one of her resolutions for the year was to record a new album of mostly original material. With nine freshly-minted originals and three equally intriguing interpretations of well-known pieces, So Is The Day, her debut for Random Act Records, is that album.

Joining Skonberg in the frontline are two of her staunchest supporters: saxophonist, clarinetist and flautist Victor Goines, and trombonist Wycliffe Gordon (who has employed Skonberg in the brass section of his big band and small ensembles on several occasions). The rhythm section features pianist Jeff Lashway, guitarist Randy Johnston, bassist Kelly Friesen, and drummer Ulysses Owens Jr., joined by percussionist Roland Guerrero on several tracks; special guests include trombonist Michael Dease (on "Gymnopedie") and John Pizzarelli, who sings and plays with Skonberg on "I Wish I Hadn't Forgotten." Scott Elias (Random Act Records Founder/President and So Is The Day's producer), also plays organ on the upbeat "Penny In Your Pocket."

Elias was introduced to Skonberg through Lashway, whose Reunion album was Random Act Records' debut release in 2009 (the same year Skonberg released her independently produced debut, Fresh). Lashway performed at a festival in Idaho where Skonberg also happened to be playing, called Elias and told him, "Bria Skonberg should be your next artist-she has it all."

Soon after, Elias and his wife Anna (also his business partner) went to see Skonberg play at the Suncoast Jazz Festival in Florida. "Of course, she rocked the room; they had the crowd dancing. We were thoroughly impressed," remembers the producer.
So Is The Day, releasing on April 10, features nine of Skonberg's own ingenious originals, plus three familiar melodies. The album kicks off with "Keep Me In The Back Of Your Mind," giving us our first taste of Skonberg's tangy-toned trumpet, as well as her compelling vocal style. "Keep Me" also features some inspired growling from Gordon.
The title track is one of the musician's signature achievements as a composer-bandleader thus far, a wailing, bluesy number that's equal parts New Orleans and early Duke Ellington; it features a soulful clarinet solo from Goines. The influence of New Orleans is also clearly evident on "Chilliwack Cheer." The track is a traditional Crescent City style anthem for marching and partying, featuring Skonberg's rapturous trumpet, as well as prominent participation from the boisterous tandem of Goines and Gordon.

Inspired by her father's hockey-playing hobby, "Hip Check" is a funky hard-bop style vamp (complete with a big toned tenor solo from Goines) that could have been played by Art Blakey's Jazz Messengers. Its odd-metered groove amply complements the quirky melody.

"Far Away" best exemplifies the leader's more contemporary songwriting skills. As with the best tunes, a seemingly autobiographical story is displayed here. A tale of longing and the challenges of a long-distance relationship is a universal hurt to which most would-be couples (and perhaps all road-weary musicians) can easily relate.

"Penny in Your Pocket" and "I Wish I Hadn't Forgotten" are quite possibly Skonberg's most charming originals on the album. The latter recalls the snappy swing numbers of the 1940s, a mood that is perfectly realized by the composer, both in solo and together with Pizzarelli's voice and guitar. "Have A Little Heart" is her most notable contemporary sounding ballad, and though it's somewhat slow, the mood is essentially optimistic and far from a torch song. It gives us a welcome solo by Skonberg on flugelhorn, in addition to her heartfelt singing.

The album introduces three new interpretations of others' tunes, including Erik Satie's classical piece "Gymnopedie", interpreted here in an Afro-Cuban vibe; Irving Berlin's tune written for Ginger Rogers, "Let Yourself Go", now a funked up groove; and Joni Mitchell's classic, "Big Yellow Taxi", which is phrased over pan-American polyrhythms, and made vital by Skonberg's percussive, staccato phrasing on both flugelhorn and vocals.

"My Friend" is a suitable closer, a standout feature for the composer-trumpeter's singing, a highly emotive, traditional-style spiritual that spotlights her solo voice as accompanied only by pianist Lashway.

Originally from Chilliwack, British Columbia, Skonberg comes from a musical family in which everyone played an instrument. "My parents were teachers but thought it would be a cool experience to raise cows and chickens along with three kids," she remembers, "so we always had chores to do on our two-acre hobby farm. My surrounding neighbors owned farms, so we had lots of space to run around and make lots of noise, which is good when you're learning the trumpet."
Encouraged by her father to study the instrument, she also learned to play and compose music on the piano, and sing. Her first influences on the trumpet included Louis Armstrong, Kenny Ball, and Nicholas Payton - all of whom she listened to for their expertise in the swing and traditional jazz styles. "My first real trumpet mentor was Simon Stribling who's an incredible Australian jazz/life enthusiast now in Whistler, BC. He opened my ears to players like Roy Eldridge, Jabbo Smith, Red Allen, lots of Louis and more when I was 17. He still inspires me."

Skonberg was also drawn to this music because Chilliwack was home to an annual trad festival, for which bands and soloists flew in from all over the world. The Vancouver Dixieland Jazz Society sponsored her attendance at the Mammoth Lakes Jazz Camp. "That changed my life - I really fell in love with the whole culture," states Skonberg. "I'm now a full faculty member at the annual student and adult Sacramento Traditional Jazz Camps." Her first paid gig was as a singer, with the Moonlighters Big Band from Abbotsford. Bria was 16 at the time (most band members were 30-40 years older), and she proved her worth to the orchestra by doubling on trumpet, as well.

She auditioned for and was accepted by Capilano University in Vancouver, and upon graduating Skonberg worked and recorded regularly with her own groups The Big Bang Jazz Band, which grew out of her high school in Chilliwack, Bria's Hot Five which was dedicated to the music of Louis Armstrong and the swing dance scene, and the Mighty Aphrodite Jazz Band that she co-founded in 2004. Comprised entirely of young women from the West Coast of the USA and Canada, they have played all over the states and have released four albums. From 2006-2010 she honed her show chops as a featured soloist in the big band of Canadian icon Dal Richards. Her career grew exponentially when she moved to New York City. Even though it's a city that is hardly bereft of trumpet players, almost immediately she found herself studying with legendary brass star Warren Vache and playing in the big band of Nicholas Payton.
Now, as an 18-month veteran of the competitive New York scene, and with her forthcoming U.S. debut, So Is The Day, Skonberg is prime to position herself as one of the most versatile and imposing musicians of her generation. "Bria Skonberg brings the great tradition of Louis Armstrong into the 21st Century," says Elias. "Her songwriting is intelligent and touching, her trumpet playing is swinging and sublime, her voice is angelic and heartfelt. Her beauty is rare and shines from the inside out."
SoBar Entertainment Presents:
Bria Skonberg So Is The Day Album Release Performance @ The Iridium
with special guest Warren Vaché
Tuesday, April 24 - sets at 8pm & 10pm
1650 Broadway, New York, NY 10019
Phone: (212)582-2121

Bria Skonberg - trumpet, flugelhorn, voice
Warren Vaché - cornet
Will Anderson - saxophone, clarinet
Mike Dease - trombone
Jon Weber - piano
Sean Cronin - bass
Roland Guerrero - percussion
Tommy Campbell - drums

Bria Skonberg · So Is the Day
Random Act Records · Release Date: April 10, 2012

NEW RELEASES: JOHN BARRY, DEXTER WANSEL, UNDERGROUND SYSTEM AFROBEAT

JOHN BARRY - ICPRESS
One of the greatest soundtracks ever from the great John Barry – a set of tracks that echoes some of his famous modes from James Bond films, yet also has a unique quality all its own! Barry's got a strongly jazzy sensibility here – and spaces out some great instrumentation with the same sensibilities used in the equally great music for The Knack! Staff aren't listed, but there's clearly some great Brit jazz players in the lineup – given the record's key use of vibes and tenor solos – as well as this very cool slow-plucked guitar with a noisy, echoey quality. The sound is brilliant – everything you'd hope for in the best 60s soundtracks – and titles include "The Ipcress File", "Alone In Three Quarter Time", "A Man Alone", "Jazz Along Alone", "Goodbye Harry", "Alone Blues", and "If You're Not Clean I'll Kill You". CD package is great too – much better sound than any previous versions, with full notes, bits of dialogue, and even a secret track too! ~ Dusty Groove

DEXTER WANSEL - CAPTURED
An overlooked gem from Dexter Wansel – a mid 80s set recorded after his famous albums for Philly International, and a record that offers a nice transition of his earlier groove! The set's got a keyboard-heavy vibe – similar to the mode that Wansel brought to the studio in the late 70s, but with a different 80s spin overall – especially given the use of drum programs in most of the rhythms, and a mix of other instruments from electric sources as well. Yet given Dexter's ear for a tune, the whole thing comes together with a nice degree of warmth, and a sense of soul that's deeper than you'd expect – especially given that Virgin Records were clearly trying for a crossover hit on this one. There's some great vocals on the leadoff track by The Jones Girls – and other vocals are by Meeta Gajjar, Dr Pearl Williams Jones, and Cynthia Biggs El – who co-wrote most of the record with Wansel. Titles include "Captured", "Do What You Wanna Do", "Nam", "In The Wind", "East Meets West", "Heart On The Line", "Conversations", "Turn Me On", and "Year Of Living Dangerously". CD also features a bonus 12" mix of "Captured". ~ Dusty Groove

UNDERGROUND SYSTEM AFROBEAT - THE B.O.B. EP
Modern Afrobeat from Brooklyn – with a unique vibe! This is the debut EP from Underground System Afrobeat – recorded after honing their craft on the live scene for a solid year-or-so – long enough to really get it down! This is the way contemporary Afrobeat ought to sound – heavy rhythms, tight horns, funk & soul guitar, bass and keys – played by dexterous musicians. One thing that sets USA apart in a fertile New York scene is their strong female vocal front. Multilingual singer and flautist Domenica Fossati is on lead vocals – and she's great, not to overlook a sharp ensemble. Players include founder and guitarist Peter Matson, guitarist Bob Lanzetti, David Cutler on bass, drummer Yahoteh Kokayi, Yoshi Takemasa on congas, Greg Sanderson on tenor, Jackie Coleman on trumpet, Colin Brown on keys, and Maria Christina Eisen on baritone sax and vocals. Includes 2 lengthy jams: "BOB" at 8+ minutes and "95 South" at just short of 12 minutes. ~ Dusty Groove

SOUL CAL - DISCO & MODERN SOUL 1971 - 1982

An amazing compilation – a decade in the making, and filled with wonderful grooves – most of which have never appeared on CD or LP reissues! And while the music itself is already wonderful, the package also includes an amazing 80 page book, too – a rich research project that digs deep into the American underground of the 70s – and features a wealth of photos, images, and historical details on music that never got it's due back in the day! The set's based around the groundbreaking series of Soul Cal 12" reissues put together by Stones Throw about a decade ago – wonderful records that unearthed rare grooves that fall beautifully in a space between funk and club – almost all originally issued on tiny little labels from all over the US, but working together to create a rich vibe in the set. Given the book, there's a Numero-like heft to the whole thing – although the range of grooves is even greater than one of their collections – and titles include "Ecology" by Anubis, "You Can Be A Star" by Luther Davis, "Don't Get Discouraged" by UPC All Stars, "Things Cannot Stop Forever" by Stanton Davis, "Free Your Mind" by Record Player, "Get Down" by Freedom Express, "Keep Running Away" by Clifford Nyren, "Love Is" by Leon Mitchison & The Eastex Freeway Band, "What It Takes To Live" by Key & Cleary, "I'm Gonna Miss You Girl" by Ellis & Cephas, "It's A Bad Feeling" by Mixed Sugar, and "Put A Smile On Time" by Rhythm Machine. ~ Dusty Groove

DR. JOHN & PRESERVATION HALL JAZZ BAND @ THE NEWPORT JAZZ FESTIVAL

Dr. John

Two of the most renowned names in New Orleans history, Dr. John & The Lower 911 and the Preservation Hall Jazz Band, will be featured at the opening night concert of the Newport Jazz Festival presented by Natixis Global Asset Management at the International Tennis Hall of Fame at the Newport Casino, 194 Bellevue Avenue, on Friday, August 3, at 8:00 pm. Bourbon Street Comes to Bellevue Avenue: Newport Salutes New Orleans promises to be one of the most enjoyable evenings in the history of the Friday night concerts at the Casino.

George Wein, creator of both the Newport Jazz Festival and the New Orleans Jazz and Heritage Festival said, "It has been a dream come true that I have been able to enjoy producing these two great festivals. My love for New Orleans cuisine of gumbo and crawfish is only exceeded by my passion for Narragansett Bay lobster and New England clam chowder."

Tickets go on sale at 10:00 am on Wednesday, April 11, at http://www.newportjazzfest.net/ and http://www.ticketmaster.com/.

In addition,the Newport Jazz Festival Opening Night Cocktail Party, a Newport summer tradition, kicks off the evening from 6:30 - 7:45 pm, at the International Tennis Hall of Fame at the Newport Casino. This exclusive party welcomes a limited number of attendees for an evening of great music, food and beverages. Tickets are $40 for Tennis Hall of Fame members and $50 for non-members. Pricing includes open bar and hors d'oeuvres. Party attendees must have a ticket to the Newport Jazz Festival concert. To order Cocktail Party tickets, call (401) 324-4072.

Dr. John, aka Mac Rebennack, is universally celebrated as the living embodiment of New Orleans' rich musical heritage. His colorful musical career began in the 1950s when he wrote and played guitar on some of the greatest records to come out of the Crescent City, including music by Professor Longhair, Art Neville, Joe Tex and Frankie Ford. Later, he gave up the guitar and concentrated on organ and piano, and after a move West in the 1960s, he continued to be in demand as a session musician, playing on records by Sonny and Cher, Van Morrison, Aretha Franklin and The Rolling Stones. During that time, he launched his solo career, developing the charismatic persona of Dr. John: The Nite Tripper. Adorned with voodoo charms and regalia, a legend was born with his breakthrough 1968 album Gris-Gris, which established his unique blend of voodoo mysticism, funk, rhythm & blues, psychedelic rock and Creole roots. The multiple Grammy Award winner and 2011 Rock and roll Hall of Famer continues to write, arrange, produce and interpret with a passion that has yet to wane. Beginning March 29, Dr. John celebrates his 50+-year career with a three-week artist-in-residency at New York's prestigious Brooklyn Academy of Music, and his latest CD, Locked Down, hit the streets April 3. Join in the second line, Newport-style, with Dr. John & The Lower 911 when Bourbon Street Comes to Bellevue Avenue.

Preservation Hall Jazz Band

The Preservation Hall Jazz Band (PHJB) derives its name from Preservation Hall, the venerable music venue located in the heart of New Orleans' French Quarter, founded in 1961 by Allan and Sandra Jaffe. The band, now celebrating its 50th anniversary season, has traveled worldwide spreading their mission to nurture and perpetuate the art form of New Orleans Jazz. Their music embodies a joyful, timeless spirit. Under the leadership of the Jaffes' son, Ben Jaffe, the PHJB continues with a deep reverence and consciousness of its greatest attributes in the modern day as a venue, band, and record label. The PHJB began touring in 1963 and for many years there were several bands successfully touring under the name Preservation Hall. Many of the band's charter members performed with the pioneers who invented jazz in the early twentieth century including Buddy Bolden, Jelly Roll Morton, Louis Armstrong, and Bunk Johnson. Band leaders over the band's history include the brothers Willie and Percy Humphrey, husband and wife Billie and De De Pierce, famed pianist Sweet Emma Barrett, and in the modern day Wendall and John Brunious. These founding artists and dozens of others passed on the lessons of their music to a younger generation who now follow in their footsteps. The PHJB is also celebrating their 50th anniversary at the Newport Folk Festival (http://www.newportfolkfest.net/) on Saturday, July 28.

Stay tuned for information about some very special guests, Cajun food and more when Newport Salutes New Orleans on Friday, August 3.

Tickets for Newport Jazz Festival concerts at Fort Adams State Park, featuring Pat Metheny, Tedeschi Trucks Band, Dianne Reeves, Jack DeJohnette's 70th Birthday Celebration, Maria Schneider Orchestra, Jason Moran and the Bandwagon and more, are on sale now on-line, by phone and by mail. General admission tickets (single-day passes only) also can be purchased in person at the Newport Visitor Information Center, located at 23 America's Cup Avenue. There will be a festival office in the Newport area where tickets can be purchased in person at a later date.

For general information, craft vendor information or to leave a message for festival staff, call the festival hotline at (401) 848-5055. For more information, log on to http://www.newportjazzfest.net/.

VINCE MENDOZA - NIGHTS ON EARTH

After a remarkably productive decade which saw him writing stellar orchestral arrangements for recordings by such popular singers as Bjork, Melody Gardot, Sting and Joni Mitchell (he won two of his six Grammy® Awards and 25 nominations for his contributions to her Both Sides Now in 2000 and Travelogue in 2003), Vince Mendoza has shifted focus back to his own compositions for the first time in 13 years. His most personal and compelling project to date, Nights On Earth is yet another crowning achievement in the career of the acclaimed composer-arranger-conductor.

On this eagerly-awaited follow-up to Epiphany (which he recorded in 1997 with the London Symphony Orchestra), Mendoza recruited an all-star cast of longtime collaborators like guitarists John Abercrombie, John Scofield and Nguyen Le, drummer Peter Erskine, percussionist Luis Conte, organist Larry Goldings, steel drummer Andy Narell, pianists Kenny Werner and Alan Pasqua, saxophonists Bob Mintzer and Joe Lovano. He is also joined by such new friends as Brazilian vocalist Luciana Souza, Malian kora player and singer Tom Diakite, Argentinian bandoneon master Hector del Curto, Algerian drummer Karim Ziad, French saxophonist Stéphane Guillaume and young American jazz stars in bassist Christian McBride, drummer Greg Hutchinson and trumpeter Ambrose Akinmusire, a winner of recent awards from the Jazz Journalists Association and DownBeat. Along with members of the Metropole Orkest, the Dutch ensemble that Mendoza has presided over as chief conductor for the past six years, they bring to life these evocative pieces that flow directly from the composer’s heart to his pen.

“I always thought that being a musician is about having a community of artists that inspires you,” says Mendoza, “and I think part of the process of the creation of this recording has to do with the people that I have met and learned from along the way. A lot of what this music has to do with is celebrating that community of the musicians from the many traditions that they represent.”

While names such as Abercrombie, Scofield, Lovano, Werner, Mintzer and Erskine represent the jazzier side of Mendoza’s community of artists (they appeared on his 1990 Blue Note album Start Here and his 1991 follow up for the label, Instructions Inside), musicians like Souza, del Curto, Diakite and Ziad represent his adventurous explorations into world music (as on 1992′s Jazzpana and more recently on 2009′s Viento: The Garcia Lorca Project). “I have an affinity with these musicians and their music, as they also have with my writing,” says Mendoza. “I wanted to incorporate them into my compositions, to frame their voice in an interesting way. And I thought they would have a connection to my writing style in their improvisations.”

From the flamenco flavored opener “Otoño,” fueled by the sound of cajon and palmas, to the soothing bossa nova “Ao Mar,” with lyrics composed by Souza and sung with alluring tones in her native Portuguese, to the African flavored “Shekere,” featuring stirring vocals and kora playing by Diakite and a killing distortion-laced electric guitar solo by Le, Mendoza cuts a wide stylistic swath through his Nights on Earth. Add the epic sweep of “Poem of the Moon,” featuring bracing solos from Akinmusire and Abercrombie, along with gentle and evocative numbers like “The Stars You Saw” and “Beauty and Sadness,” both featuring heart-wrenching, lyrical solos by Werner and Lovano, the atmospheric and chamber-like “Addio” for bandoneon and string quintet, and the romantic “The Night We Met,” featuring a delicate, transcendent piano solo by Pasqua, and you begin to get a fuller portrait of Mendoza the composer.

“Gracias,” simultaneously evokes the spirit of Santeria in the Obatala groove of Luis Conte’s bata, and the church in the swells of Larry Goldings’ organ work. Scofield also turns in some highly expressive string-bending in his solo here. Says Mendoza of Scofield’s solo, “You know it’s John from the first second – from his sound and where he puts the notes, and the freshness with which he approaches my music. That’s something I’ve always appreciated about what he’s brought to these records. Nothing is calculated. It always feels like he’s in that moment there…and the moment is always brilliant and soulful.” “Everything Is You,” is a refined number that opens with classical counterpoint between flutes, harp, piano and cello before yielding to potent solos by Pasqua and Mintzer. The closer, “Lullaby,” is a stirring duet between cellist Fred Sherry and bandoneon virtuoso Curto. “I think that the music on this record has a lot to do with the loss of my parents and the value of love,” says Mendoza in reflecting on Nights On Earth. “‘Otoño is about my father. He really loved flamenco music and Spanish culture. ‘The Stars You Saw’ is about telling my mother stories of my first trip across the ocean when I was a young budding musician starting to travel many years ago. And the use of the bandoneon on ‘Addio’ has a lot to do with the Italian background on my mother’s side. The bandoneon and the accordion were always sort of a part of family functions. ‘The Night We Met’ and ‘Everything is You’ have to do with my wife. They are about romance and the miracle of love. ‘Ao mar’ and ‘Lullaby’ have to do with my son and the heart-connection we have with our family.

“We chose a beautiful photograph of the Aurora Borealis for the cover, and to me this says a lot about a life in music and art. Our experiences and encounters are sometime brief, sometimes magical and fleeting, but the images and feelings from these encounters always go deep into our hearts and create lasting memories. This is the place where I find music.”

An inspired, affecting collection of moving and deeply meaningful music, Nights on Earth is Mendoza’s most profound and heartfelt offering to date.

ARTURO SANDOVAL DEAR DIZ (EVERY DAY I THINK OF YOU)

On May 8th, Arturo Sandoval will release his second album on Concord Jazz, Dear Diz (Every Day I Think of You). Dear Diz (Every Day I Think of You) is Sandoval’s tribute to Dizzy Gillespie, the mentor and friend who literally rescued him and his family from an oppressive existence and gave them a chance at an entirely new and better life. The album is a collection of classics from Gillespie’s massive body of work, each framed in big-band arrangements that throw the spotlight squarely on the elements of bebop that underscore so much of the iconic trumpeter’s work and set the tone for the music of his era.

Backing Sandoval on the project is a crew of top-shelf jazz artists: vibraphonist Gary Burton, Yellowjacket's leader saxophonist Bob Mintzer, organist Joey DeFrancesco, clarinetist Eddie Daniels, saxophonist Ed Calle, drummer/co-producer Gregg Field and several others. Also along for the ride are a couple of unlikely but well-placed surprises – actors Andy Garcia on percussion and vocalist Manolo Gimenez. The resulting set is, as Field puts it, is Sandoval’s “love letter to an old friend.”

The set opens with Gillespie’s voice, introducing a young Arturo Sandoval as “one of the young grand masters of the trumpet” during a live performance in the late ‘80s. What follows is a contemporary re-construction of Gillespie's signature “Bebop,” arranged by 2012 Grammy-winner Gordon Goodwin. Goodwin, whom Field calls “The most interesting voice in contemporary big band writing,” is also responsible for the fiery arrangement of “Salt Peanuts!,” which features Bob Mintzer on tenor sax, Gary Burton on vibes and if you listen closely you'll hear Sandoval friend Joe Pesci joining in the band vocal. “This is such a perfect example of Gordon’s genius,” says Field, “of his ability to take something that is so familiar to jazz musicians and fans and completely rework it.”

Dizzy’s “Birks Works” is rechristened here with the tag “a la Mancini,” thanks to the contributions of saxophonist Plas Johnson, who famously recorded Henry Mancini’s iconic Pink Panther theme nearly 50 years ago. Album pianist Shelly Berg’s arrangement utilizes alto flute, trumpet, tenor sax and strings – all of which further evoke the Mancini sensibility.

“Con Alma,” arranged by Grammy-winner Nan Schwartz, includes a classical-string quartet arrangement that’s a very beautiful thing,” says Sandoval. “This tune has been recorded many times, but I don’t think it’s been recorded quite this way before. The string quartet gives the song such a fine, elegant sound.”

The exotic and impassioned “Tin Tin Deo” features vocalist Manolo Gimenez , supported by Mintzer on tenor sax, by actor Andy Garcia on percussion, Wally Minko on piano and Joey DeFrancesco on organ – all carefully balanced in an arrangement by Dan Higgins. The album closes with an eleventh track, “Every Day I Think of You” a poignant, string-infused ballad by Sandoval that serves as the coda to this heartfelt tribute recording. Propelled by Sandoval’s stirring vocals, the track veers completely away from the big band vibe that precedes it, opting instead for something much more intimate, understated and personal. “I really mean every word of that song,” says Sandoval. “Dizzy encouraged me so much. He opened so many doors for me and showed me so many opportunities that I would not have had otherwise.”

At the heart of Dear Diz (Every Day I Think of You) is the bebop groove that Gillespie spent a lifetime exploring and refining, says Sandoval. “When it comes to bebop, you either know it or you don’t,” he says. “There’s no halfway. If you’re going to be a good bebop player, you really need to be a hell of a musician with a lot of skill and a great education and a great command of your instrument. This is what Dizzy was all about. He wasn’t just a trumpet player. He was an innovator and a creator. That sense of innovation and creativity that he brought to every note he played is what inspires this recording and everyone who plays on it. In that sense, he’s still very much with all of us. I do think of Dizzy every day.”

Below is the tracklisting:
1. Be Bop featuring Shelly Berg & Zane Musa
2. Salt Peanuts! (Mani Salado) featuring Bob Mintzer & Gary Burton
3. And Then She Stopped featuring Joey DeFrancesco
4. Birks Works (ala Mancini) featuring Plas Johnson & Joey DeFrancesco
5. Things To Come featuring Bob Mintzer, Bob Sheppard & Joey DeFrancesco
6. Fiesta Mojo featuring Eddie Daniels
7. Con Alma (With Soul) featuring The Ralph Morrison String Quartet
8. Tin Tin Deo featuring Manolo Gimenez & Wally Minko
9. Algo Bueno (Woody and Me) featuring Dan Higgins & Andy Martin
10. A Night in Tunisia (actually an entire weekend!) featuring Bob McChesney & Ed Calle

ENCORE
11. Every Day I Think Of You featuring Arturo Sandoval, vocal

PHILIP BAILEY - CHINESE WALL / INSIDE OUT

Two crucial albums from Philip Bailey – back to back in one package! First up is Chinese Wall – a big breakthrough for Philip Bailey – and a record that was kind of a second-level explosion for the Earth Wind & Fire sound in the 80s! There's a definite crossover feel to the record – a style that takes Bailey's soulful vocals, and mixes them with lots of catchy hooks – in ways that push the Kalimba aesthetic even more into mainstream modes. Yet the album's still got some solid soul grounding, too – thanks to arrangements by Tom Tom and Arif Mardin – which is a nice contrast to the production by Phil Collins, who also guests on the hit "Easy Lover". Other cuts include "Time Is A Woman", "Go", "Walking On The Chinese Wall", "Photogenic Memory", "I Go Crazy", and "Children Of The Ghetto".

On Inside Out, Philip Bailey hits a great groove – working with Nile Rodgers, who gives him a lean, clean sound that works perfectly with his vocals! The sound is a nice change from the direction Bailey was heading in previously – a return to the focused soul of the later Earth Wind & Fire years, with his amazing lead opening up in ways that few other singers can match. Tunes are pretty well-penned too – catchy, but never cloyingly commercial – and titles include "State Of The Heart", "Welcome To The Club", "Special Effect", "Because Of You", "Take This With You", "The Day Will Come", "Back It Up", and "Echo My Heart". CD also features the bonus track "State Of The Heart (dub mix)". ~ Dusty Groove 

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