LUIS CONTE - EN CASA DE LUIS

Luis Conte can play virtually any style of music and has performed with a very wide range of major artists, including James Taylor, Madonna, Barbara Streisand, Phil Collins and Pat Metheny, to name a few. Conte is also an important bandleader, and a very skilled songwriter and singer. His many musical talents are on display throughout En Casa de Luis, his seventh recording as a leader.



On En Casa De Luis, Conte welcomes such talented players as guitarist Barry Coates, trumpeter Walt Fowler, bassist Jimmy Johnson and (on “Dance Of The Firefly”) pianist Larry Goldings. Each of the musicians adds color and their own personality to the music, under the guidance of the leader. Luis Conte is heard on congas, timbales, shakers, guiro, cajon, djembe, claves, bongos, cowbells, pandeiros, maracas and many other percussion instruments. On “Conga Melody” he also plays bass, accordion, and keyboards. In addition, Conte is the composer of six of the 11 selections and he takes three personable and spirited vocals.


The music ranges from exciting percussion displays and instrumentals for the Latin jazz quartet to a few particularly unique performances. The opening “En Casa De Luis” has a likable and memorable melody that Conte sings along with three background vocalists over his percussion. “The Last Resort” is an Afro-Cuban jazz piece that has a very good trumpet solo by Walt Fowler. The chant piece “El Rumbero Mas Chevere” features several vocalists including guest Hector Crisantes. “Water Pots,” a duet with Coates that has a catchy riff, puts the focus on Conte's percussion. “Sticks And Stones” gives the core quartet an opportunity to stretch out.



Luis Conte's interpretation of the Peggy Lee hit “Fever” is one of the most unusual ever heard of this standard, featuring his chanting and percussion. He also takes the vocal on the brief but hypnotic “Conga Melody.” On “Eden,” Conte is heard on all of the instruments (including electric bass) except for the guitar, which is prominently played by Coates. “Dance Of The Firefly” has Conte in a supportive role, setting a relaxed groove for the rhythm section of Larry Goldings, Barry Coates and Jimmy Johnson. The same group, with Walt Fowler in Goldings' place, plays the moody instrumental “There's Only Love” before Conte and Daniel Willy conclude the memorable set with some percussion fireworks on “Mi China.”

JAZZ SOUL SEVEN - IMPRESSIONS OF CURTIS MAYFIELD

Curtis Mayfield ranks among the most important and influential artists of the past century, the definition of soul both as leader of the Impressions and as a solo artist. As a singer and musician, his pure tone melted hearts and as a songwriter, he was peerless, a voice of African-American pride as well as a man whose insights into the ways of the heart spoke to generations.

Mayfield’s impact on artists of all persuasions is incalculable, and jazz musicians have long found much in his words and melodies to inspire new interpretations. Impressions of Curtis Mayfield  is a new collection of a dozen reimaginings of some of the late, great soul man’s most potent compositions, recorded by a collective of jazz aces calling themselves the Jazz Soul Seven: Terri Lyne Carrington–-drums, Russ Ferrante—piano, the late Master Henry Gibson—percussion, Bob Hurst—bass, Wallace Roney—trumpet, Phil Upchurch—guitar, and Ernie Watts—saxophone. Each of these players is a giant in his or her own right, who brings to these timeless songs a lifetime of experience and knowledge. Produced by Brian Brinkerhoff, co-produced by Upchurch, and recorded by Andy Waterman at The Bakery in North Hollywood, California, Impressions of Curtis Mayfield forces a rethink of just how rich and durable is the catalog of Curtis Mayfield, who passed away in 1999, more than nine years after suffering a paralyzing accident that never stopped him from spreading his message.

As it says in A. Scott Galloway’s liner notes that accompany the CD, “Curtis Mayfield is a peerless prophet of American popular music, a gentle giant who walked this earth with enough third eye insight and empathy for his fellow man to tower above us all. Instead, he stood among us, an iconic artist with an unwavering sense of purpose that made a conscious choice to remain earthbound and ever accessible.”

That juxtaposition of power and empathy is palpable in such tunes as the album-opening “Freddie’s Dead,” “Amen,” “People Get Ready,” “Keep On Pushing,” “Superfly,” “I’m So Proud” and “Gypsy Woman,” the song that first put Curtis Mayfield and the Impressions on the musical map more than 50 years ago. Even sans vocals, these new takes on the Mayfield canon express vividly the beauty and honesty inherent in his work.

Writes Galloway, “As a subject for tribute and exaltation, Curtis Mayfield is undeniable. And for a tribute steeped in the freedom and complex expressiveness of jazz, the man proved to be an unexpected natural…What better music than jazz to expand Mayfield’s messages of freedom, unity and uplift in less linear directions? In jazz, the musicians are the message! This band really would have brought a smile to Curtis’ lips.”

http://www.bfmjazz.com

EDDIE GOMEZ - PER SEMPRE

Acoustic bass giant Eddie Gomez ensures his place as one of the truly great musicians working today with his newest recording – Per Sempre, to be released by BFM Jazz on May 1, 2012.

Recorded in Bologna, Italy while on tour in winter 2009, Per Sempre is a luminous jazz disc destined to stand the test of time, showcasing an amazing ensemble. Gomez brings originals—by himself and members of his quintet—to the table, along with one evergreen, “Stella by Starlight.” One of "Per Sempre’s" haunting melodies, “Arianna,” is a stunning ballad “exemplified by the gorgeous, plucked Gomez solo at its center” — Jazz Times.

Coming off his recent triumph Further Explorations (with Chick Corea and the late Paul Motian) in which Gomez celebrated the 50th anniversary of legendary pianist Bill Evans’ classic album Explorations, Per Sempre furthers Gomez’ stature as consummate bassist, inspirational leader, composer and cultivator of musicianship.

Eddie Gomez’s career kicked into gear in the early 1960s and there are more than twenty albums under his rubric. Per Sempre features a host of talent and original composition. Gomez’s conception is like his career, spanning the mainstream (Miles Davis, Gerry Mulligan, Dizzy Gillespie, Bill Evans, Benny Goodman, McCoy Tyner, Hank Jones, Freddie Hubbard) to fusion (Steps Ahead, The Gadd Gang) to classical (Tashi, The Kronos Quartet, Richard Stoltzman). His recent recording Duets, co-led with Carlos Franzetti on piano, won Best Instrumental Album at the 2010 GRAMMY® Awards.

Per Sempre is rich with breezes wafting from the Mediterranean and the Caribbean; exquisite chamber jazz – soulful and swinging. Gomez’s bass is, as usual, resolute as a heartbeat and delicate as a raindrop.

The Quintet Members are: Marco Pignataro, saxophone Matt Marvuglio, flute Teo Ciavarella, piano Massimo Manzi, drums.

GRAMMY®-winning, legendary bassist EDDIE GOMEZ has been on the cutting edge of music for over four decades. His impressive resumé includes performances with jazz giants such as Miles Davis, Dizzy Gillespie, Gerry Mulligan and Benny Goodman. Eddie’s distinctive sound and style can be heard on hundreds of recordings spanning the worlds of jazz, classical, Latin jazz, rhythm & blues, popular and contemporary music. At age 21, Eddie became the bassist with the Bill Evans Trio – and rose quickly to prominence. For 11 years, he played an integral role in the Trio’s sound and evolution, and played on many recordings including two GRAMMY®-winning albums.

A sought-after educator, Eddie is Artistic Director of the Jazz Program at the Conservatory of Music of Puerto Rico, and is frequently artist in residence at schools across the U.S. and throughout Europe. As a composer, many of Eddie’s compositions are featured on his recordings as well as on those of his contemporaries. Today, Eddie tours and records with his own group, and performs around the world in collaboration with some of the great musicians of our time. His recent recording Duets, co-led with Carlos Franzetti on piano, won Best Instrumental Album at the 2010 GRAMMY® Awards. His latest recording Per Sempre will be released by BFM Jazz on May 1, 2012.

http://www.eddiegomez.com/
http://www.bfmjazz.com/

e.s.t./ESBJORN SVENSSON TRIO - 301

ACT Music has announced the release of 301, a full album of previously unheard material by e.s.t. (Esbjörn Svensson Trio), available on May 8. The album is a follow up to e.s.t.'s 2008 effort, Leucocyte, and is the group's second album following pianist Esbjörn Svensson's tragic death (prior to Leucocyte's release).

Heralded as one of the most exciting jazz bands of the decade, the seven-track album features Svensson with his longtime band mates, drummer Magnus Öström and bassist Dan Berglund.

In January 2007, e.s.t. was on tour in Asia and Australia performing shows in Tokyo, Osaka, Yokohama, Jakarta, Perth and Sydney. It was their third tour of Japan and their second time on the continent; and the venues and audiences had become noticeably bigger.

Only a few weeks before, they had finished their triumphant tour of Germany, including a legendary performance in Hamberg which resulted in Live In Hamburg (ACT, 2007), awarded "Album of the Decade" by the London Times. It was undoubtedly the prime time for the style-defining jazz band of the 2000s.

The group decided to rent the famous "Studio 301" in Sydney for their off-days in the middle of the Australian tour and jammed for two consecutive days to develop new songs and material. Altogether they recorded nine hours of music. Leucocyte became the first release from these sessions and has been praised by critics and fans alike as a ground-breaking work that leads into a new musical universe.

Very soon after the recording, Svensson had edited much of the material down to two albums. And so the plan at the time was to release either a double album or two consecutive albums from this recording. Svensson's tragic passing on June 14, 2008 (as a result of a scuba diving accident) disrupted this undertaking and only one of the albums, Leucocyte (ACT, 2008), was released at the time.

Three years later, in October and November 2011, Berglund and Öström revisited the material from that recording session and together, with the band's regular sound engineer Ake Linton, made their own edit for an album which is now called 301, on the basis of the name of the studio where the album was recorded.

e.s.t. was a phenomenon: A jazz trio, that saw itself as a pop band that plays jazz, which broke with the tradition of leader and sidemen in favor of equality within its members, which not only played jazz-venues but also venues usually reserved for rock bands, which used light effects and fog-machines in their live shows, which got a whole audience to sing-a-long to jazz-standards as eg. Thelonious Monk's "Bemsha Swing", is a trio that goes beyond the scope of the usual classic jazz trio.

Their music was found in the pop-charts and their videos played on MTV Scandinavia. With their unique soundscape, combining jazz with drum 'n' bass, electronic elements, funk rhythm, and pop and rock as well as European classical music, e.s.t. won an audience spanning from the classic jazz fans to the younger hip hop fans. Critics and audiences worldwide agree: e.s.t. was one of the most innovative jazz bands of the 21st century.

e.s.t./Esbjörn Svensson Trio · 301
ACT Music · U.S. Release Date: May 8, 2012
Esbjörn Svensson / piano, electronics, transistor radio
Dan Berglund / double bass, electronics
Magnus Öström / drums, voices, electronics

TRACK LIST:
All songs composed by Esbjörn Svensson, Dan Berglund and Magnus Öström.
1. Behind The Stars (3:44)
2. Inner City, City Lights (11:45)
3. The Left Lane (13:37)
4. Huston, The 5th (3:34)
5. Three Falling Free Part I (5:49)
6. Three Falling Free Part II (14:30)
7. The Childhood Dream (8:02)

DAVID BENOIT - CONVERSATION

Pianist and composer David Benoit has something to say. It’s clear from his multi-dimensional body of work across three-and-a-half decades, and his deep jazz roots that still allow room for forays into classical, Latin, pop, world music and a range of other sounds. The connections and associations he has made along the way have resulted in a fascinating and ongoing interplay between musics, musicians and musical philosophies. Simply put, Benoit is engaged in a conversation – a dynamic and ongoing act of communication that results in a sound that’s consistently engaging and entertaining.

Benoit takes the discussion to a new level of creative exchange on Conversation, his new album set for release on May 29, 2012, on Heads Up International, a division of Concord Music Group.

“When I started making records, I never conformed to a specific format,” says Benoit, whose recording career began with the release of Heavier Than Yesterday in 1977. “Mostly my records were just me writing and playing my own music, directly from my heart. I’ve come back to that on this record, but using some orchestral colors this time. As a composer, I’ve stretched a bit, and this really represents where I am right now as a pianist, as a musician, as a composer. It’s a very good snapshot for people who have been following me for a while. This is where I am right now. I’m not pandering to radio. I’m just doing what I love to do, and that’s what’s been so much fun about it.”

Benoit gets assistance along the way from musicians representing a broad cross section of styles: electric guitarist Jeff Golub, acoustic guitarist Pat Kelley, guitarist David Pack, flutist Tim Weisberg, classical pianist Robert Theis and a cadre of young classical players who are fearless about taking their music to less traditional and more adventurous and exploratory places.

“As a writer, I really wanted to dig deep on this and try some things with people who weren’t afraid to try them with me. It’s actually one of the most fun and relaxed records I’ve made in at least a couple years. It was just nice to not have any kind of agenda. The title of the album really sums it up. There’s a lot of conversation going on with this record.”

The discussion starts with the sweeping and cinematic “Napa Crossroads Overture,” a track co-authored a couple years ago by Benoit and David Pack, GRAMMY Award winning co-founder, guitarist and main vocalist for the band Ambrosia, who appears on this version. “I knew it would fit perfectly on this record,” says Benoit. “It’s reminiscent of the lush, orchestrated sound of some of my earlier recordings, and it was a lot of fun to revisit that sound.”

Further in, Benoit has some fun with “Diary of a Wimpy Kid,” the rollicking, Vince Guaraldi-esque theme music composed by Theodore Shapiro for the 2010 movie of the same name. Benoit gets assistance on this track from his 11-year-old daughter June, a up-and-coming (but by no means wimpy) violin student. “Our engineer brought his rig to my house, and we recorded it right in my living room so June could play on the last verse,” he says. “I made sure Jeff Golub put in a crunchy guitar solo to add another layer of fun to it.”

The quieter and much more melodic “Sunrise on Mansion Row” is one of Benoit’s favorites in the entire set, “and one of the few that I wrote just sitting at the Steinway,” he says. “I wanted to get a little bit of that French sound into it, as a nod to influences like Debussy and Ravel. We brought in a string quartet, with a cello player who plays a really nice line. The song represents where I am as a composer right now. I’m writing some pretty stuff, but trying to make it interesting and evocative, too.”

The swaggering “Let’s Get Ready” features a compelling sax solo from David Sills in the 12-bar blues section. “The title helps define the track,” says Benoit. “It’s a prelude to something else. It’s more of a traditional jazz piece, designed to flow right into the more adventuresome closing track.”

And that closer is the title track, “Conversation,” which is actually the third and last movement in a suite that Benoit wrote several years ago called Music for Two Trios. “I hired Robert Theis, who won the International Prokofiev Piano Competition in 1995, to play on it,” says Benoit. “It’s the first time I didn’t play all the piano parts on my own record. It’s a conversation between classical and jazz, between a melodic pianist like Robert and a blazing guitarist like Jeff Golub. That’s really what this song and the entire record are about – conversations between musicians coming from different realms and finding common ground.”

The discussion may be intense and filled with many voices, but the overriding message remains simple. “My primary goal on this recording – just as it is on nearly all of my recordings – is for people to come away from it feeling good,” says Benoit. “Or maybe it will take them to a place they’ve never been. Maybe they’ll feel something a little bit deeper than they might feel with other CDs, or maybe they’ll want to put it on and have a cocktail and dance the bossa nova. In the end, I want them to take away whatever they want to take away. The main thing is that they enjoy it, and they experience a little bit of what I experienced making it.”

PATRICK BRADLEY - UNDER THE SUN

For Under The Sun, Patrick Bradley teamed up producer Jeff Lorber for this project, along with a stellar cast of top notch musicians, includingf saxmen Dave Koz and Eric Marienthal, flugelhorn and trumpeter Rick Braun, guitarists Dwight Sills and Michael Thompson, bassists Alex Al and Nate Phillips, drummers Tony Moore and Dave Weckl, horn section work from David Mann, and the sultry voice of Irene B.

Bradley harnessed a variety of influences and inspirations for Under the Sun, on which he played piano, keyboards, organ and Moog synthesizers. Bradley refers to the deep-pocketed “Straight Path,” the first track to be serviced to radio stations, as his “life verse” as it is about trusting the Lord for guidance. A lilting and joyous celebration of love with a cascading piano hook, “Into the Sunset” was written for his wife, Lisa. Koz and Irene B. add seductive elements to the R&B ballad “Just Let Go.” Bradley is a passionate road cyclist and he offers a taste of the adrenaline rush experienced while descending in a pack on “Slipstream,” which includes a lead-out from Braun’s horns. The unpredictability of life is the focus of “Time and Chance,” which delivers the message to live life to the fullest while being unafraid of taking chances. “Crows on the Lawn” swings. The poignant “Tears from the Sky” was written after his father’s passing and it’s an expansive, emotional piece both mournful and celebratory. “Rush Street” and the majestic “The Empress of Dalmatia” explode into aggressive progressive rock-jazz fusion jams ignited by Sills’ incendiary guitar pyrotechnics.

As for the album title, Bradley said, “The idea behind this record is to enjoy life and celebrate all it offers during the brief time we have under the sun. No matter what life dishes up, we should keep our dreams alive and pursue our passion, hopes and aspirations. The last few years have been challenging for all of us as we find ourselves in times of change and uncertainty. Seasons of change hit home for me personally when my parents passed away. I found myself in a period of reflection. These songs were written in times of joy, sorrow and triumph, yet with an eye on eternity. Life is speeding by. My hope is that we all will take the time to prioritize and tend to the important things and important people and relationships, and not just chase the mad pursuits of this life.”

A self-taught musician who started playing piano at age eight, Bradley’s musical endeavors have spanned jazz fusion, smooth jazz, gospel, rock, progressive rock, and classical. The Southern California native debuted in 2007 with Come Rain or Shine, an international seller that spawned the title track single, which peaked at #26 on the radio chart. Bradley is assembling a band to perform music from Under the Sun live in support of the album release. Outside of music, Bradley serves as a regional president of the Whole Foods Market southern pacific region.

The songs that comprise Bradley’s Under the Sun are:
“Straight Path”
“Into the Sunset”
“A Message”
“Just Let Go”
“Slipstream”
“Time and Chance”
“Crows on the Lawn”
“Tears from the Sky”
“Rush Street”
“Under the Sun”
“The Empress of Dalmatia”

patrickbradley.net

ROCIO GUITARD - JAZZDANCE

Whether belting out lyrics like a powerhouse or interpreting sensitive ballads, Rocío Guitard is a superb singer. Her latest CD, JazzDance, is a revelation for she reinvents standards in surprising ways, and shows that jazz can be both creative and accessible, danceable yet quite unpredictable.

Born in Germany and raised in Spain, Rocío remembers hearing Beatles songs in her parents’ car. She learned virtually every Beatles song by heart, sang along and, when she was bored with that, she harmonized. Rocío started playing the recorder when she was three, moved on to other instruments when she was six, and at eight began studying piano and music theory at the Royal Conservatory in Madrid, graduating when she was 13. She taught herself to play guitar at 15 and began writing songs of her own.

Rocío played piano in her high school band when she was 14. “The band had a singer who couldn’t read music and he had to learn a new song. I agreed to sight read it for him, and at that moment the bandleader walked in and heard me sing. He thought that I should do the song instead, and I have been singing ever since.” When she moved to Germany to attend college (earning a Masters Degree in Mathematics from the Ludwig Maximilian University), she started singing in professional a-cappella groups and choirs. Soon Rocío was singing lead and solos. “By the time I graduated college, I was making a living singing, so I decided to turn my passion into my profession. Unfortunately there was not enough exposure, enough genres, enough musicians, or enough everything in Munich. I decided to sell everything that I owned and come over to the United States, arriving in the San Francisco Bay area in 1998 with two suitcases and a phone number for a voice coach.”

Rocío opened a teaching studio soon after her arrival and became a widely respected vocal coach. “Some teachers had given me some bad habits and then there were others who gave me a lot of good habits. One way for me to give back to the singing community, especially the younger generation, was to compile the things that work. I am a working performer. I do voiceover work, I teach 4-6 hours a day, and then I go out and perform or record. I use my voice constantly yet I never lose my voice, so what I am doing is healthy.” Rocío is an international lecturer and is involved in seminars, workshops and private lessons. She visits Central Europe twice a year and has worked with hundreds of singers for the Jazz Academy in Graz, Austria, the Green Voice Institute in Munich, the Theater Academy of Krakow, Poland and the National Academy of Recording Arts and Sciences in San Francisco. “I work with beginners as well as seasoned and touring veterans from all genres. I teach them to sing in all ranges with power and no effort. The reward that I get is seeing a student’s face light up when they realize that high notes are a breeze to sing if you just know how.”

In addition to her teaching, Rocío has participated in a countless number of studio sessions and performed at clubs, restaurants and festivals since her move to San Francisco. Her eclectic tastes in music are reflected by her experiences which include performing rock and pop with One Velvet Down and Hip Affair, Latin music (Salsa Profundo), R&B and soul with Silicon Vibe, classical music (Grupo Cervantes) and jazz with such groups as The Funny Valentines, CrossCurrent, The Mirabai Ensemble and Jazz By Design.

In 2002 Rocío Guitard recorded her first CD as a leader (Mosaique) which featured her songs in a variety of styles including jazz, pop and world music. Windows, a set of neo-soul originals followed in 2008. JazzDance is a departure for it mostly features Rocio coming up with strikingly new renditions of jazz standards.

Bothered that jazz was considered background music by many listeners, Rocío wanted to make a difference. “I went to see a concert at Yoshi’s by a well known pianist. The band was phenomenal but not a single foot was tapping, not a single head was bobbing, and nobody in the room was moving to the music. Jazz used to be the music that people went out to dance to in the 1940s before it became this intellectual art form. We lost much of the audience because the average person cannot relate anymore; it became music for musicians rather than for the general audience. So for JazzDance, we took songs from that time and a little later and gave them a contemporary treatment. I treated the songs as if they had never been recorded before, infusing them with a little bit of pop, soul, latin and funk without losing their essence. My goal was to strike a healthy balance between what audiences today are used to and the improvisational approach. I want to get people moving again to jazz.”

JazzDance was recorded by Rocío with her regular band, musicians who she has been performing with during the past few years. The group consists of keyboardist and co-arranger/co-producer Greg Sankovich, bassist Jerry Burdick, drummer Carlos Almeida and saxophonist Lincoln Adler with guests Ross Wilson (doubling on trumpet and trombone), cellist Kris Yenney, and percussionists Michael Spiro and Alex Marino.
JazzDance opens with a brief unaccompanied “Intro” that has Rocio welcoming listeners to the CD. Along the way there are many exciting moments. “Foodie Toonz” is a humorous and ultimately logical mixture of “Frim Fram Sauce,” “Peel Me A Grape” and “I Can’t Get No Satisfaction.” Charlie Parker's “Confirmation” is stretched out beyond bebop. “Respect” is atmospheric, exuberant and jazzier than other versions while Cole Porter’s “Night And Day” is given a complete transformation, sounding like a recently composed ballad. Rocío’s catchy “Just Because,” a contemporary love song, deserves to become a standard. Bob Dorough’s “Devil May Care” is slowed down and, during its wild climax, Rocío’s wordless sounds interact with the other musicians. Annie Ross’ “Twisted” is always performed in a conventional bebop fashion, but this time it is outfitted with funky rhythms that divorce the song from bop and turn it into a lowdown blues, giving it fresh life.

“Put The Blame On Mame,” which Rita Hayworth sang in the film Gilda, starts out sounding like an old record before it becomes quite soulful. The late 1940s r&b hit “Harlem Nocturne” is turned into an atmospheric ballad while “Sing Sing Sung” is quite a tour-de-force for Rocío. She sings all of the parts on the classic big band hit “Sing Sing Sing,” from string bass to high note trumpets. Finally, “Weathered Coffee” finds a great deal of common ground between “Black Coffee” and “Stormy Weather”, and “Reprise” serves as a perfect summation for the memorable set.

For the future, Rocío Guitard’s main goal is to expose the wider public to the music she loves, and to make listening to jazz a fun experience. With her remarkable singing and teaching talents along with her infectious spirit, her impact on the contemporary music and jazz scene will be felt for many years to come.

“Few other singers could put on such a display so successfully. (…) Throughout JazzDance, Rocio Guitard shows that she is quite a powerhouse, one who has a wide range, a beautiful voice, and the intuitive ability to be a major jazz singer. This set is highly recommended.” Scott Yanow, author of ten books including The Jazz Singers, Swing, Jazz On Film and Jazz On Record 1917-76

“Rocio Guitard is an extremely creative and exciting vocalist on the jazz scene today. Her innovative arrangements and wide spectrum of expression stand heads above the army of typical jazz interpreters. Listen to her.” Jeffrey Wood, Fantasy Studios

“Breathlessly agile, wonderful, and brilliant.” Sueddeutsche Zeitung

“An amazing artist.” Mark Phillips, Ultimate Audio

“Rocio Guitard is what music is all about.” Joe Kelley, WVOF

“Fantastic job on the album, and we look forward to more of your music.” Mark Stanley, SoundTraxx.com

~ gethermusic.com

GROOVE:55 - A LA CARTE

Groove:55. are four band members who bring decades of music experience to the project having worked with Oliver Jones, Gregory Charles, and Zachary Richard to name but a few. So it seems almost fitting that they would come together as a unified collective to share in their many years of creative experience and knowledge to create their second album À la carte.

The Groove:55 members consists of Yves Adam (alto, tenor & soprano sax) a graduate of McGill’s music faculty in jazz performance as well as teaching saxophone at The Montreal International Jazz festival Blues Camp.

Jacques Mignault (Keyboards) studied alongside Art Roberts at Montreal’s Concordia university; he would later go on to win the inaugural grand prize of the Roland Synthesizer music contest among hundred’s of entrants spanning over 22 countries that was judged by the late great Oscar Peterson.

Yves Nadeau (bass) is a veteran of the Montreal Jazz scene, having played hundreds of shows on stages all over Quebec with his bands Solstice & Expresso.

Rounding out the Montreal quartet is Daniel Lemay (drums), winner of the 1985 Individual Championship of Quebec in snare drum, and 15th in the world in the same competition. He won in 1986 the Inter-Collegial Grand Prize in percussion. Daniel has played with Richard Beaudet, François Richard, Ivanoe Jolicoeur, Roger Walls, Ron DiLauro, André Leroux, Normand Guilbault and Normand Deveault, to name a few.

Together they make up Groove:55 the number that has the remarkable property of being the 10th number of the Fibonacci suite and the sum of the numbers 1 to 10. The most important part is its groove and this band has it in spades with their new album À la carte.

The critics have responded with thumbs up reactions throughout…
"À la carte ... stands out as one of the most consistent and viable pop/jazz albums you’re likely to hear in 2012. Groove 55 knows what sounds sell, on 'À la carte' theymanage to imbue that sound with originality and energy... The depth here will surprise you."
Wildy Haskell

"Groove:55 is a contemporary music group with a jazzy soul and instrumental ear for the best jazz music today. The mix of keyboards, drums, and saxophone accompaniment are keys to high-quality jazz music.”
Matthew Forss

"The stylishly laidback, jazzy-cool meanderings of Groove 55 are kind of like David Sanborn’s output, or like the easier side of Ian Carr or Brian Auger. The horns sway and wave, the percussion lays down a relaxed backbeat, and the entire number saunters by with a smooth, approachable groove…like it doesn’t have a care in the world; that’s Canada’s Groove 55 in a nutshell. Their latest album, À la carte, is a splendid array of well-done, well-developed soft jazz pieces. "
Mike DeGagne

STREET CORNER RENAISSANCE - LIFE COULD BE A DREAM

Reclaiming the innocence of the past with new passion, the a cappella ensemble Street Corner Renaissance’s Life Could Be A Dream, is just that… a dream! Group founder, Maurice Kitchen, successful insurance professional, quit his job and joined forces with Torre Brannon Reese (community youth advocate), Kwame Alexander (minister), Tony Snead (legal assistant) and Sonny Banks (transportation worker). “I just didn't want to die, a claims adjuster.” The only claim Maurice is making these days is, “We’ve closed the generation gap for vibrant Baby Boomers who dare to dream the impossible dream yet again.” Together they have created their unique style of Doo Wop, R&B and Jazz.

Life Could Be A Dream a feel-good album featuring 17 songs with a special guest appearance from Wally Roker (bass singer from The Heartbeats). From the title track (also known as “Sh-boom”), “Hit the Road Jack,” and “Earth Angel” to more contemporary songs like “Billy Jean” and “Love Train,” to the Gospel anthems “Change Is Gonna Come” and “Jesus Gave Me Water,” these five talented gentlemen will leave you transfixed by their flawless harmonies and contagious whimsy. After all, they’re “theme” uses the melody from “Meet The Flintstones.” The group thrills audiences throughout the U.S. at festivals, arts centers, cruises and nightclubs. Sharing the stage with Take 6, George Duke, Patti Austin, Kool and the Gang and Boyz II Men. Look forward to the past with Street Corner Renaissance!
~ Scott O’Brien // Smoothjazz.com

DARREN RAHN - SPEECHLESS

Canadian smooth jazz saxophonist Darren Rahn became popular as producer of Warren Tisdale's "Ain't No Stopping Us Now". Since then he is an in-demand producer for artists like Najee, Dave Sereny, Jay Soto, Eric Darius and many more. His official debut album Once In A Lifetime (2007) was soon followed by Talk of the Town (2009), both released on nuGroove Records.

His newest album Speechless (2012) is his third and the first one on Trippin' N Rhythm Records. Darren is joined by Mel Brown (bass), Paul Brown (guitar), Matt Godina (various instruments), Nate Harasim (keys), Maxine Hardcastle (vocals), Frank Selman (guitar) and more.

"Wave of the Future" introduces into the new album and sets the signal on Go. Pulsed by a conjuring beat Darren expands his melody line on sax. "Into the Light" smiles with an emotional touch dedicated to best live appearance.

"Magical" features R&B singer Joshua taking lead and direction. This crossover to R&B is one of Rahn's intriguing aspects. Since July 2011 Darren and Paul Brown join forces live as "The Producers". It's only natural that both created the mellow "Give 'n' Take". They share the song on soprano sax and Gibson guitar bringing a new sound into the term romance.

When compositional talent, excellent musicianship and instrumental knowledge comes together, that is "Magnetic". Darren Rahn shines however on tenor sax, his favorite instrument. Darren's polished horn arrangement on "Revelation" can really compete with greats like Greg Adams or Tom Scott.

"Studio 54" was a world renowned discotheque from 1977 until 1981 when it was sold by founders Steve Rubell and Ian Schrager. Darren's tribute features saxophonist Najee on flute. Many elements of the song recall the Disco style of that time. Speechless presents Paul Hardcastle's beautiful daughter Maxine Hardcastle, better known for her qualities as top-dj. But this girl can sing!

With "One Step Ahead" Rahn presents popular smooth jazz with new electronic sound. Key wizard Nate Harasim knows to top this experience with his musical extravaganza on "Euro Trippin". " Flashback" is a little wink to the legendary disco time featuring Dave Koz on alto sax, while Darren perfectly intertwines on tenor sax. "The Healing" is a well conceived and epic composition with the great sentiment of a home comer.

Darren Rahn is a young producer, which has already succeeded in creating his own signature sound. With a great label like Trippin' and Rhythm in the back Speechless is just another step to a breathtaking level of musical genius.

Tracks:
01 Wave of the Future [3:51]
02 Into the Light [4:11]
03 Magical (Featuring Joshua) [4:00]
04 Give 'n' Take (Featuring Paul Brown) [5:23]
05 Magnetic [4:43]
06 Revelation [4:10]
07 Studio 54 (Featuring Najee) [4:08]
08 Speechless (Featuring Maxine Hardcastle) [5:18]
09 One Step Ahead [4:21]
10 Euro Trippin [3:31]
11 Flashback (Featuring Dave Koz) [5:01]
12 The Healing [4:39]

~ Smooth Jazz Daily

JAMES MASON - RHYTHM OF LIFE

One of our favorite albums ever – and every track is a masterpiece! The album was originally cut for the tiny Chiaroscuro label in 1977 – and it's got a sound that's unlike anything else we can think of – soaring, soulful, jazzy, and righteous – wrapped up in a blend that's never been done this perfectly again! James Mason's a player who's know for a bit of keyboard work with other artists – but here, he's really working as a collective power – bringing together a brilliant ensemble that work as one to hit some sublime sounds – much in the way that Roy Ayers could work some key magic with his groups at the same time, but with a vibe that's very different too.

Players include Ayers associates Justo Almario on saxes and Philip Woo on piano – and a young Narada Michael Walden adds some excellent drums to the record – a lot more powerful and funky than on most of his own albums! Lead vocals are by Clarice Taylor – who's got this unique voice that really makes the record – proud, but sensitive at the same time too – and Mason plays lots of Fender Rhodes, polymoog, Arp, and a bit of guitar. Titles include the breakbeat classic "Funny Girl", the monster groover "Sweet Power Your Embrace", the funky "Slick City", and the massive "Free" – but every cut's a winner, and others include "Mbewe", "Rhythm Of Life", and "Dreams". This is the kind of album that makes us proud to be in business! CD features great bonus tracks too – an unreleased 1977 mix of "Sweet Power Your Embrace", the single mix of that track too – and the later grooves "I Want Your Love" and "Nightgruv". ~ Dusty Groove

THE MICHAEL FRANKS BOX SET

Together with Steely Dan, James Taylor and Christopher Cross, Michael Franks belongs to the rare category of the best California sound songwriters. His early influences were rock and blues, but Michael Franks has rapidly added jazz and funk touches to his music. He has been often compared to Mose Allison and he is also a huge Antonio Carlos Jobim fan. He wrote a song to him as a tribute to him, “Antonio’s Song” and a full -LP entitled Abandonned Garden in 1995. Michael Franks’ musical alchemy is unique : Jazz, pop, funk, bossa-nova, soft-rock, fusion...

In 38 years and 18 albums, he has collaborated with the greatest jazz & pop musicians. The list is endless : Wilton Felderr (The Crusaders), Larry Carlton, David Sanborn, Michael Brecker, Jeff Lorber, Vinnie Colaiuta, Joe Sample, Steve Gadd… Same thing for producers, including Tommy Lipuma.

This new Box Set offers the best of Michael Franks on 5 CDs focusing on 4 themes. The fifth CD contains the rare and mythical live recording of Michael Franks with Crossfire, available on CD vinyl replica format.

Combining substance (73 track including unreleased and rare tracks) with form (4CD Box Set + 1 CD vinyl replica), RHINO FRANCE delivers the ultimate Graal to the artist’s fans and everyone in search of two redeeming values : musical sophistication and the care for details.

The set ibncludes 73 Remastered Tracks on 5-CDs, featuring unreleased tracks, rarities & many more…
Also features the much sought-after album Michael Franks With Crossfire Live available on CD vinyl replica format, and a 16- page booklet with a foreword by Michael Franks and track-by-track liner notes + photos. The entire Box Set was supervised by Michael Franks

UNRELEASED AND RARE TRACKS INFORMATION

• “Coming Home To You” : Taken from the “Author Author” original soundtrack. Track composed by Dave Grusin and Marylin & Alan Bergman . Never released on CD !!
• “Jealousy” – Geyster Remix – (Previously Unreleased) . Unreleased “Jealousy” remix by Geyster. This remix was based on the original multi-track tapes. A killer electro-soft rock track not to be missed !
• “Blue Pacific” –Alternate Version- (Previously Unreleased) . A wonderful version featuring a different line-up from the original album track. With Joe Sample , Larry Carlton , John Guerin & Freddy Washington.
• “This Will Never Do” (Previously Unreleased) . Taken from the musical Noa Noa. As good as a Michael Franks classic.
• “Somewhere in the Rain” . Taken from the rare Over The Sky, Yuming International Cover Album only released in Japan.
• “I Bought You A Plastic Star For Your Aluminium Tree” . Alternative version of the Watching the Snow album Track. Previously available on the Jazz Christmas Party compilation.
• Bob Mintzer with Michael Franks : “Foolish Heart” . Michael guests on saxophonist Bob Mintzer’s beautiful LP.
• Anri With Michael Franks : “Antonio’s Song / The Rainbow” . Taken from Japanese superstar Anri’s Angel Whisper album. A great interpretation of the Michael Franks’ classic.
• Me Phi Me with Michael Franks : “(Think…) Where Are You Goin” . Amazing Michael Franks collaboration with the hip-hop/R&B 90’s band. A true vocal wonder.
• Joe Sample with Michael Franks : “Leading Me back To You” . Michael Franks featuring on Joe Samples’ Spellbound album. A 80’s jazz-fusion classic.
• Besides being a great interpreter, Michael Franks is most of all a dedicated composer. Also included are two covers of Michael’s classics in this boxset : “Popsicle Toes” by The Manhattan Transfer and “Nightmoves” by Dee Dee Bridgewater .

TRACKLISTS
CD1
Pop & Funky Grooves
01 Can’t Seem To Shake This Rock ‘n’ Roll 4:20
02 Born With The Moon In Vergo 6:13
03 Monkey See, Monkey Do 3:35
04 B’wana-he No Home 4:57
05 When The Cookie Jar Is Empty 5:09
06 All Dressed Up (With Nowhere To Go) 3:48
07 Jealousy 3:38
08 Laughing Gas 3:26
09 Alone At Night 4:24
10 When Sly Calls (Don’t Touch That Phone) 5:52
11 Your Secret’s Safe With Me 4:40
12 Woman In The Waves 5:59
13 Barefoot On The Beach 5:05
14 Somehow Our Love Survives 5:01
15 Practice Make Perfect 4:55
16 Now That Your Joystick’s Broke 2:46
17 The Dream 5:16

CD2
Jazz & Exotic Summer
01 Monk’s New Tune 5:42
02 Hearing «Take Five» 5:41
03 Don’t Be Blue 3:31
04 When You Smiled At Me 5:04
05 Popsicle Toes 4:36
06 Sanpaku 4:15
07 Eggplant 3:38
08 Sometimes I Just Forget To Smile 3:53
09 Mice 5:27
10 Rendezvous In Rio 5:37
11 The Way We Celebrate New Year’s 6:24
12 Under The Sun 5:27
13 Tell Me About It 4:27
14 Tahitian Moon 4:37
15 Like Water, Like Wind 5:19
16 The Art Of Love 4:12

CD3
Soft & Cool School
01 Dragonfly Summer 5:04
02 Nightmoves 4:04
03 Lotus Blossom 4:20
04 The Lady Wants To Know 4:46
05 On My Way Home To You 4:52
06 Living On The Inside 5:40
07 String Of Pearls 4:33
08 One Day In St. Tropez 5:19
09 Hourglass 4:46
10 Rainy Night In Tokyo 4:42
11 Never Say Die 3:34
12 All I Need 4:48
13 Like Moon Behind A Cloud 6:24
14 Blue Pacific 5:00
15 Still Life 4:15
16 The Cool School 5:48

CD4
Rarities & Previously Unreleased Tracks + Duets & Some Covers
01 Coming Home To You 3:59
02 Jealousy -Geyster Remix- (Previously Unreleased) 4:20
03 Blue Pacific -Alternate Version- (Previously Unreleased) 4:54
04 This Will Never Do (Previously Unreleased) 5:29
05 Somewhere In The Rain 5:52
06 I Bought You A Plastic Star For Your Aluminum Tree 4:57
07 Foolish Heart Bob Mintzer with Michael Franks 5:24
08 Antonio’s Song / The Rainbow Anri with Michael Franks 5:33
09 Leading Me Back To You Joe Sample with Michael Franks 5:07
10 (Think…) Where Are You Goin? Me Phi Me with Michael Franks 4:32
11 Ladies’ Nite Michael Franks with Bonnie Raitt 4:11
12 When I Give My Love To You Michael Franks with Branda Russel 4:25
13 Now Love Has No End Michael Franks with Valerie Simpson 6:14
14 Island Christmas Michael Franks with Veronica Nunn 5:45
15 Popsicle Toes The Manhattan Transfer 4:12
16 Nightmoves Dee Dee Bridgewater 3:11

CD5
Michael Franks with Crossfire : Live
01 Don’t Be Blue 3:43
02 When the Cookie Jar is Empty 6:35
03 The Lady Wants to Know 5:50
04 B’Wana-He No Home 4:35
05 Chain Reaction 4:20
06 Antonio’s Song 4:38
07 Monkey See, Monkey Do 6:10
08 Popsicle Toes 4:35

NEW RELEASES - AGE OF NORTHERN SOUL, ASTOR PIAZZOLLA, SKAH SHAH

AGE OF NORTHERN SOUL – A RED HOT FUSION OF RHYTHM & BLUES, POPCORN, & NORTHERN SOUL

Rave-up soul treasures from the late 50s through the 60s – one of the best compilations we've seen from Outta Sight! Age Of Northern Soul is what it says it us – pulling together great material that blends Northern Soul, Popcorn and R&B – all of it pretty wonderful. It's got lesser-remembered tunes from famous names that sound as glorious in our ears as some of the more beloved hits – including Etta James, Jimmy Ruffin, The Temptations and The O'Jays – as well as some great stuff from singers and groups most known to collectors. It's also jam packed with songs – 27 in all! Titles include "Seven Day Fool" by Etta James, "Don't Feel Sorry For Me" by Jimmy Ruffin, "Don't Mess With My Man" by Irma Thomas, "Mr Johnny Q" by The Bobbettes, "Oh My Soul" by Garlon Davis, "The Day Will Come" by Freddie Gorman, "Faded Letter" by Satintones, "Hard Times" by Royal Jokers, "Romance Without Finance" by The Temptations, "Heard Hearted Woman" by Eddie Burns, "Drip Drop" by The Drifters, "It Keeps Raining" by Fats Domino and many more.

ASTOR PIAZZOLLA - LIBERTANGO

One of Astor Piazolla's beautiful expanded tango albums from the 70s – really groundbreaking work that still holds up beautifully today! For the set, Piazolla's usual modern bandoneon tangos are augmented by a set of lush orchestral arrangements that have an excellent romantic feel to them – and the resulting sound is like something that might have been lifted from a great 70s Italian soundtrack – extremely evocative and inventive, with a haunting, other-worldly sound at times. This is the sort of stuff that used to get trashed when 80s fans of his work praised a return to "simpler" forms – but we've got to admit, we dig this stuff a lot more, especially because Astor's strength as an orchestral arranger is so fantastic, and the addition of flutes, electric bass, and organ really open his sound up. Titles include "Undertango", "Libertango", "Violentango", and "Novitango".

SKAH SHAH #1

Those are some pretty sweet leisure suits on the cover of the record – and the album's got some equally sweet grooves to match – the bouncy blend of horns, percussion, and guitars we've come to expect from Skah Shak #1! The group's got Haitian origins, but there's a fair bit of Latin in the mix as well – especially in the way the horns come together over the top of the arrangements, often with jazzy flourishes that really help add a new level of melody to the tunes. Most numbers build in long, hypnotic grooves – and titles include "Message", "Aide M Rele", "Pour Demain", "Manman", "Yaveh", and "Zanmi".

~ Dusty Groove

SHEILA E. IS SMOKIN' HOT!!!

I just caught Sheila E. on tonight's episode of Dancing With The Stars and what an amazing artist she is!  Sheila E. is indeed a multi-faceted drummer, percussionist, vocalist, songwriter, performer, arranger, producer, composer, instrumentalist and humanitarian. Her gifts have brought joy on the world and have made her one of today's brightest talents, and she continues to be one of our most treasured stars. Sheila has recorded and toured extensively with renowned artists. In 1983, Sheila caught the attention of Prince and changed her name to "Sheila E.," and Prince helped her record her first solo album, The Glamorous Life. The first single from the album, The Glamorous Life, written, performed, and directed by Sheila E., was released in the spring of 1984 and earned popular and critical acclaim. This single went on to receive multiple Grammy and American Music Award nominations, and won MTV's Best Video Award. Her last CD release Heaven (2001) is an enchanting combination of adult contemporary, funk, jazz and inspirational tracks. Her most recent collaboration is entitled Now And Forever with her family - the E Family, and it features appearances by Earth Wind & Fire, George Duke, Gloria Estefan, Rafael Saadiq, and Joss Stone.

www.sheilae.com

SIMPLY RED LIVE IN MONTREUX

Filmed and recorded live in Montreux in 2003, this concert is to be released on both DVD and Blu-ray on May 21st and it features Simply Red performing 18 fantastic tracks including "Holding Back The Years", ''Money's Too Tight (To Mention)", "You Make Me Feel Brand New"', "Stars", as well as a personal favorite "Night Nurse".

Tracklisting:
1) Sad Old Red
2) Enough
3) Lost Weekend
4) A New Flame
5) Night Nurse
6) Something For You
7) You Make Me Feel Brand New
8) Home Loan Blues
9) Stars
10) Fake
11) Come To My Aid
12) Thrill Me
13) The Right Thing
14) Something Got Me Started
15) Holding Back The Years
16) Money s Too Tight (To Mention)
17) Fairground
18) Sunrise

Running Time 124 mins

CHRISTINA AGUILERA - BACK TO BASICS

Paying tribute to the music that inspired her, pop icon Christina Aguilera's album Back To Basics, is a modern take on vintage jazz, soul and blues from the 1920s, '30s and '40s, the album is wildly inventive with a throwback style creating a sound that's gritty and raw. Back To Basics reunites her with producer Linda Perry as well as creating new collaborations with producers such as DJ Premier.

"This is a concept album that follows a bold, set vision," stated Aguilera. "The touchstones are Billie Holiday, Otis Redding, Etta James and Ella Fitzgerald... what I used to call my 'fun music' when I was a little girl." Back To Basics utilizes an orchestra, choir, string quartet and jazz horns, as well as techniques that offer a vintage sound and sensibility. I Got Trouble incorporates a scratchy blues feel, while Candy Man recalls the tight harmonies of all-girl groups from the '30s and '40s, Save Me From Myself is an emotionally naked, raw-sounding song, and Thank You, is dedicated to her fans, features DJ Premier splicing bits of Genie In A Bottle with fan voicemail messages. Also sure to appeal to Aguilera fans is the risque song Nasty Naughty Boy (which has a '20s burlesque feel) and the sassy club track Still Dirrty.

Upon release the album debuted at No.1 in the US, the UK and eleven other countries. The album received generally positive reviews, and the critically acclaimed lead single "Ain't No Other Man" was a substantial success, reaching No. 2 on the World Chart, No.6 in the US, and No.2 in the UK. Producers on the album included DJ Premier, Kwamé, Linda Perry, and Mark Ronson. The follow-up singles did very well in different regions, "Hurt" in Europe and "Candyman" in the Pacific. She co-directed both music videos, the former with Floria Sigismondi who directed her "Fighter" video, and the latter, "Candyman", with director/photographer Matthew Rolston which was inspired by The Andrews Sisters. Back to Basics has sold 4.5 million units worldwide,with over 1.7 million sold in the US.

CARLOS SANTANA - THE SHAPE SHIFTER TOUR 2012

Carlos Santana and the Santana Band will launch the Shape Shifter Tour 2012 with a string of North American dates beginning July 7 at the Grand Casino Mille Lacs in Hinckley, MN. Other highlights include concerts at the Molson Canadian Amphitheatre in West Toronto, ON (7/14), the Bank of America Pavilion in Boston, MA (7/17), and two dates at the Borgata Spa & Resort Event Center in Atlantic City, NJ (7/20-21). More dates to be announced!

The tour follows the May 15, 2012 release of Shape Shifter, the latest album from Santana—and the first for Carlos Santana's new label Starfaith Records. The 13-song set is an instrumental tour de force long awaited by fans (one song features vocals by Santana's lead vocalists Andy Vargas and Tony Lindsay). The album also features Chester Thompson on keyboards, Dennis Chambers on drums, Benny Rietveld on bass, Salvador Santana on keyboards, Raul Rekow on congas and Karl Perazzo on percussion.

Comprising mostly original compositions that Carlos has been setting aside for such an instrumental project, Shape Shifter's specially chosen tracks flow together as the magical sustain of his guitar and the spirit behind every note creates music that defies all cultural and language barriers—the music of Santana. In that spirit, Carlos dedicated the album to Native Americans, acknowledging Australia's 2008 apology to the Aborigines, and President Obama's signing of the 2009 Native American Apology Resolution. He says, "I encourage any and all countries (that have not as yet done so) to acknowledge the first people of their land, and make this a collective global effort."

On the Shape Shifter Tour 2012, Santana will perform selections from the new album, as well as classics from the group's more than four-decades-long career. Also this year, on May 2, Santana begins a two-year residency performing at the House of Blues at Mandalay Bay in Las Vegas.

Since Santana emerged from the San Francisco Bay Area music scene in the 1960s, the group has sold more than 100 million records, reached more than 100 million fans at concerts worldwide, and been inducted into the Rock and Roll Hall of Fame. Santana has won 10 GRAMMYs, including a record-tying nine for a single project, 1999's Supernatural (including Album of the Year and Record of the Year for "Smooth"). With the 2010 release of Guitar Heaven: The Greatest Guitar Classics of All Time­, Santana joined the Rolling Stones as one of only two music acts in Billboard history to score at least one Top Ten album in each decade from the 1960s on. Among other honors, Carlos Santana is #20 on Rolling Stone's list of the "100 Greatest Guitarists of All Time"—"Santana's crystalline tone and clean arcing sustain make him the rare instrumentalist who can be identified in just one note."

Shape Shifter tour dates:
July 7 - Grand Casino Mille Lacs, Hinckley, MN
July 9 - Ravinia Festival, Highland Park, IL
July 12 - Fraze Pavilion for the Performing Arts, Kettering, OH
July 13 - Soaring Eagle Casino Resort, Mount Pleasant, MI
July 14 - Molson Canadian Amphitheatre, West Toronto, ON
July 15 - DTE Energy Music Theatre, Clarkston, MI
July 17 - Bank of America Pavilion, Boston, MA
July 18 - Meadowbrook U.S. Cellular Pavilion, Gilford, NH
July 20-21 - Borgata Spa & Resort Event Center, Atlantic City, NJ

http://www.santana.com/

RAMSEY LEWIS - FUNKY SERENITY / SALONGO

Two electric killers from Ramsey Lewis – back to back in a single package! Funky Serenity is sweet electric funk from Ramsey – one of his best from the 70s, and a set with Lewis on Fender Rhodes, electric harpsichord, and other keyboards, grooving away in an open-ended 70s mode that still retains all the heavy soul of his classic work for Chess. Morris Jennings adds in some very nice percussion with his drum work, and Cleveland Eaton's on funky bass, giving the set a strong bottom groove. Features the sublime sample cut "My Love For You", a great version of "Knights In White Satin" that's done with a weird spacey groove, plus the tracks "Kufany Mapenzi (Making Love)", "Serene Funk", "What It Is!", and "Dreams".

Salongo is a tremendous little record, and one of the funky 70s sets that Ramsey Lewis recorded with Earth Wind & Fire! Well, not Earth Wind & Fire entirely – but the Kalimba Productions team of Maurice White and Charles Stepney that gave the group its sound – plus a nice sprinkling of other players that were often associated with sessions by the group! Ramsey's own combo here includes Steve Cobb on drums and vocals, and Derf Reklaw on reeds and vocals as well – and the overall sound has bits of African and Brazilian influences, worked into a soulful fusion groove that sounds a lot like the instrumental backings EWF were using at the time. Titles include "Brazilica", "Slick", "Rubato", "Salongo", and "Seventh Fold".

~ Dusty Groove

SAM & DAVE - HOLD ON, I'M COMING / DOUBLE DYNAMITE

A treasure trove of hard soul classics – two albums by Sam & Dave, with bonus tracks too! First up is Hold On I'm Coming – classic Sam & Dave work for Stax, and a searing batch of hard soul tracks that forever redefined the concept of a male soul duet! This was the sound that put Sam & Dave over the top hard – and which left a generation of similar acts trying to catch up. The album sports a sublime track list of Stax originals – mostly by the Isaac Hayes/David Porter team, plus a few others by Steve Cropper and other writers – all top-shelf work that really helps the pair do their best! Titles include "Hold On, I'm Comin", "You Don't Know Like I Know", "You Got It Made", "It's A Wonder", "Blame Me", "Don't Make It So Hard On Me", "I Take What I Want", "I Got Everything I Need", and "If You Got The Loving".

Double Dynamite is sublime early Stax work from Sam & Dave – the kind of record that forever changed the way the male voice was used in group soul music! The rhythms on the tunes are totally raw – bass, drums, and guitar that are kind of fused into a dirty funky bottom that proves a perfect foil for the leaping vocal mode of the pair – a chunky sort of blend that was one of the boldest new sounds to come out of the Memphis scene of the time. Sam & Dave also get some key support here from another important duo – that of Isaac Hayes & David Porter, who wrote a good portion of tracks on the set, and were no doubt instrumental in the groove! A killer, and the sort of record that changed male duet (and group) singing for generations to come! Titles include "You Got Me Hummin", "When Something Is Wrong With My Baby", "Use Me", and "Sweet Pains" – plus a great cover of "I'm Your Puppet". CD also features 3 bonus tracks – "Goodnight Baby", "Sweet Home", and "A Place Nobody Can Find". ~ Dusty Groove

EARL KLUGH - FINGER PAINTINGS / HEART STRING / WISHFUL THINKING

A triple-header from Earl Klugh – three records that helped redefine the sound of jazz guitar at the end of the 70s! First up is Finger Paintings – a real breakout album for Earl, and the kind of record that got him on the a-list of fusion players for the rest of the 70s! The title here is especially well-chosen – as the tunes have a gently colorful feel that's never too slick, despite the tighter setting of the album – with light arrangements by Dave Grusin that still leave Earl plenty of space to work his subtle magic on the strings of the guitar. Titles include "Keep Your Eye On The Sparrow", "Summer Song", "Dance With Me", "Dr Macumba", "Long Ago & Far Away", and "Cabo Frio".

Heart String has Klugh working in this warm, mellow mode that's mighty nice – set to gentle orchestrations by Dave Matthews, which work perfect for Klugh's groove! There's nothing too over the top here, and Earl mixes acoustic and electric in a great sort of blend – using the former instrument to help keep a sort of soul to the proceedings, and never let things get too slick. Titles include "Heart String", "Spanish Night"," Pretty World", "Rayna", "Waiting For Cathy", "I'll See You Again", and "Acoustic Lady (parts 1 & 2)".

Wishful Thinking is smooth fusion from one of the greats – and although an 80s set, a record that still holds onto most of the best warmth of Earl Klugh's earlier years! The production is surprisingly laidback at points – never too many 80s gimmicks or easy attempts at a hit – and Earl plays with arrangements from Dave Matthews, Don Sebesky, and Johnny Mandel – all top-shelf talents who know best how to keep the sound in line. All tracks are Klugh originals – and tunes include "Tropical Legs", "Wishful Thinking", "A Natural Thing", "All The Time", and "The Only One For Me". ~ Dusty Groove

BOB MARLEY & THE WAILERS - MARLEY: THE ORIGINAL SOUNDTRACK

As an integral companion piece to this critically acclaimed documentary, the official soundtrack from Marley will be released through Universal Music Enterprises (UMe) on April 17, 2012, as a 2-CD collection and a special 3-LP vinyl set. The CD contains 25 tracks, hand-picked by the Marley family and Chris Blackwell, gathering together some of the most significant musical moments of one of the most beloved and cherished artists of all-time.

Featured are classic studio recordings, a special Kindred Spirit dub mix of "Exodus" and tracks from various live performances including, for the first time on record, the 1978 One Love Peace Concert performance of "Jammin'" during which Marley joined the hands of bitter political rivals Michael Manley and Edward Seaga, a gesture which went some way towards restoring peace to a strife-torn Jamaica

Bob Marley wasorn February 6, 1945, in rural St. Ann's Parish, Jamaica, leaving home at 14 to pursue a music career in Kingston. A naturally gifted musician and singer, he recorded his first track in 1962. In '72 finding himself stranded in London with his band the Wailers, he signed to Chris Blackwell's Island Records and went on to enjoy global success and put reggae on the music map. Many of his songs - which highlighted both Jamaica's poverty and the spirituality of its people - have since become universal anthems. Marley died of cancer on May 11, 1981, aged 36.

DISC 1
1) Corner Stone
2) Judge Not
3) Simmer Down
4) Put It On
5) Small Axe
6) Mellow Mood
7) Stir It Up
8) Concrete Jungle
9) Crazy Bald Heads (Groucho mix)
10) Natty Dread
11) Trenchtown Rock (live at The Roxy Theatre)
12) Get Up Stand Up
13) Work

DISC 2
14) Jammin (live at One Love Peace Concert)
15) Exodus (Kindred Spirit Dub Mix)
16) No Woman No Cry (Live at the Lyceum)
17) War (Live at the Rainbow)
18) I Shot the Sheriff (Live at the Lyceum)
19) Roots Rock Reggae
20) Three Little Birds
21) Real Situation
22) Could you Be Loved
23) One Love / People Get Ready
24) Redemption Song
25) High Tide Or Low Tide

DEAN MARTIN - COLLECTED COOL (4-DISC BOX SET)

On June 12, 2012, Universal Music Enterprises (UMe) releases Dean Martin - Collected Cool, the first and only career-defining, four-disc box set that combines his biggest hits and signature tunes from both his Capitol Records and Reprise years. Live rarities and spoken word intros make their CD debut including, in its entirety, the rare and unreleased audio recording of his 1962 Lake Tahoe show capturing Martin's unique vocal styling that cemented his reputation as one of the most revered and emulated artists of all time.

Dean Martin - Collected Cool also includes a DVD of a live performance filmed at the London Apollo Victoria Theatre in 1983. This show was only aired on cable in 1983 for a brief time and has never been aired or available since then. Martin commands the stage with his own unique and charismatic presence and that’s all captured on this DVD for fans and newcomers alike to experience why Dean Martin still remains a superstar. Musician/Actor Steven Van Zandt commented about Martin, “He was the coolest dude I’d ever seen, period.”

Dean Martin’s early autobiography is as gritty as that of any hip-hop star: delivering bootleg liquor, serving as a speakeasy croupier and blackjack dealer, working in a steel mill, ruling the ring as boxing phenomenon Kid Crochet, and rubbing elbows with members of the nightclub underworld.

Born Dino Paul Crocetti, he soon christened himself Dean Martin. Martin developed his own style, not content to follow the others. He later paired up with comic Jerry Lewis and the comedy duo became the hottest ticket around and parlayed their onstage success into a string of hit movies and television appearances. But Martin was also a formidable solo artist, scoring such hits as “Memories Are Made of This,” “That’s Amore” and “Powder Your Face With Sunshine (Smile! Smile! Smile!)” for Capitol Records; all are represented on this box set.

After Martin and Lewis parted ways, Martin continued to wow crowds in Vegas and impress critics with a series of dramatic film roles, successful TV specials and a consistent string of hit singles and albums. Not long after, Martin’s affiliation with Frank Sinatra, Sammy Davis Jr. and the rest of the fabled Rat Pack became a new chapter in his life. He fueled his image as a boozing playboy through onstage antics with his pals in ensemble films like Ocean’s 11 and Robin and His Seven Hoods.

Dean Martin - Collected Cool: Disc one follows Dino’s early rise to stardom and features the best of his Capitol Records years, packed with his biggest hits, signature songs, rarities and career-defining recordings. Included are some of Martin’s most well-known numbers such as “That’s Amore,” an instant classic and one of his most beloved songs that reached No. 2 on the Billboard Hot 100; “Return to Me” which hit No. 4 on the Billboard Hot 100; plus Martin’s signature tunes “Volare” (peaking at No. 12 in 1958), “If I Could Sing Like Bing” (his homage to vocal great Bing Crosby), the stereo version of “On An Evening In Roma,” the ever-popular “Ain’t That A Kick In The Head,” and the unreleased “Dean’s Spoken Word Introductions,” taped in 1949.

In early 1962, Dean Martin left Capitol and began to record for Frank Sinatra’s newly formed label, Reprise Records. Disc 2 features some of Martin’s biggest and most cherished hits from his rich and fruitful Reprise years plus a stripped-down version of the No. 1 hit single “Everybody Loves Somebody,” which originally topped the charts and knocked the Beatles from the No. 1 spot. Also included are his No. 1 Adult Contemporary hits “In The Misty Moonlight,” “In The Chapel In The Moonlight,” “You’re Nobody ’Til Somebody Loves You” and the track “The Door Is Still Open To My Heart,” which also reached No. 6 on the Billboard Hot 100 chart. Other notable highlights include “Guys and Dolls”(featuring Frank Sinatra), the top-10 hit “I Will,” which entered at No. 3 on the Adult Contemporary charts, and his duet with Conway Twitty, “My First Country Song,” which reached the top 50 on Billboard’s Country & Western chart and earned Dean Martin his first ever country hit.

Disc 3 features a rare, live audio recording of Dino’s concert at Cal-Neva Lodge in Lake Tahoe, CA, on July 27, 1962. This show captures Martin at the apex of his career, during his post-Capitol years and extremely prolific tenure at Reprise. This performance has never been released in its entirety— only a few tracks were available as bonus material—but it’s now available on this box set. Featured are incredible performances of “Volare,” “On An Evening In Roma,” “It Had To Be You/Nevertheless,” “Beautiful Dreamer” and his only recording of Matt Monro’s hit “My Kind Of Girl.” Dino’s quick wit and sense of humor shines bright through his onstage banter and parodies of classics such as ”I Love Tahoe (Paris)”and “Drink To Me Only With Thine Eyes,” all caught on this 51-minute rare recording.

Collected Cool also contains a DVD featuring 60 minutes of live footage from his show at London’s Apollo Victoria theatre show in 1983. This performance originally aired only on Showtime and has never been made commercially available until now. This live concert features Dino performing some of his biggest hits and well-known songs including “Everybody Loves Somebody,” “That’s Amore,” “Little Ole Wine Drinker Me” and “Welcome To My World,” plus classic Martin parodies of “Pennies From Heaven,” “Please Be Kind” and “It’s Magic.”

Dean Martin’s effortless vocalizing has become modern shorthand for cool, as evidenced by the use of his songs in films, television, and ad campaigns, and this box set chronicles one of the most important artists of the 20th century. The Washington Post summed it up by saying, “Somewhere in the public identity of Dean Martin was a kind of essential Everyman of wonder, celebrating the fact that everybody does love somebody sometime, and that we could do worse than raise a glass to joys like that.”

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GREGOIRE MARET RELEASES DEBUT ALBUM

Over the course of the past decade, Grégoire Maret has emerged as a unique and compelling new voice across a wide spectrum of the modern jazz world. That his chosen instrument – the harmonica – is a relative rarity in the genre is one element in his singular sound, but far from the whole explanation. After all, the extensive list of heavy-hitters who have enlisted him for their own projects is unparalleled: Herbie Hancock, Pat Metheny, Cassandra Wilson, and Marcus Miller are some of his most prominent employers, none of whom have the patience to employ novelty for novelty’s sake.

His guest appearances on recording sessions and concert stages expand that list to even more jaw-dropping proportions: Raul Midón, George Benson, Jimmy Scott, John Ellis, Jacky Terrasson, Richard Bona, Sean Jones, Terri Lyne Carrington, Johnathan Blake, Kurt Elling, Bilal, Robert Glasper, Lionel Loueke, Jeff “Tain” Watts, Mike Stern, and Charlie Hunter have all made use of Maret’s unmatched palette of color. More recently, he’s worked alongside some of the biggest names in music, including Elton John, Sting, and Prince.

Along the way, Maret has redefined the role of the harmonica, finding fresh pathways through a remarkable variety of styles. Herbie Hancock has called Maret “one of the most creative musicians around,” while Marcus Miller has declared that he is “carrying the instrument into the 21st century with prowess, passion, and creativity.”

Now, after years as one of the most in-demand sidemen and guests in jazz (and beyond), Maret finally makes his highly anticipated first statement as a leader with his long-awaited, self-titled debut. The gorgeous, lyrical album opens up a wealth of possibilities for the underutilized jazz harmonica, encompassing the diversity of Maret’s influences and experiences to date but retaining a unified sound evidencing accents from jazz, soul, and Brazilian music among others.

“There’s a lot about this record that is about my past to where I am now,” Maret says. “I wanted to acknowledge not just who I am but how I came to be what I am now.”

That acknowledgement encompasses not only Maret’s own compositions but pieces and contributions by many of the artists who have impacted his work, both directly and indirectly. Cassandra Wilson and Marcus Miller both repay Maret’s years under their leadership with guest appearances, while pieces by Metheny, Stevie Wonder and Brazilian composers Ivan Lins and Milton Nascimento spotlight their compositional influence.

Perhaps most profoundly, harmonica legend Toots Thielemans duets with Maret in a torch-passing moment on Lins’ “O Amor E O Meu Pais.”

“That was absolutely a dream come true,” Maret says of working with Thielemans. “But the tricky part was to take it to its full potential. I didn’t want it to just be a duet of solos, the championship of the harmonica. I wanted something really musical and complementary, where you really see how much he influenced me but also how different we are. I’m so honored that he accepted my invitation and I wanted to make it as special as it could ever be. I even hired a whole orchestra.”

One of the other leading lights of the harmonica, Stevie Wonder, is represented by the relatively obscure title track to his 1979 album, “Journey Through the Secret Life of Plants.” The tune was chosen, Maret explains, “because it made sense for me to pay tribute to Stevie Wonder, but in a way that would be really genuine to me. I didn’t want to take the best-known song, but one I could make my own in a way. It’s just to show how much love and admiration I have for him and his genius.”

Along with his soulful harmonica sound, both vocals and percussion emerge as essential elements in Maret’s own compositions and his arrangements of the work of others. “Voice and percussion are the two main instruments that really reach peoples’ core,” he explains. “Since the beginning of humanity, those are the first things we played. When we are still in the womb, the first thing we hear is our mother’s voice and heartbeat. So those are the things that will always touch people the most, not because they’re unsophisticated but because they’re what we first heard.”

Maret arranged “The Man I Love” with Wilson in mind long before he ever worked with her, but never showed the arrangement to her during their near-decade collaboration until it came time to record her contribution to his album. It has since become a regular part of her own repertoire. Similarly, he penned “Prayer” with the voices of Take 6 in mind, never having met or worked with the famed a cappella ensemble. After sending a recording of the music to the group’s main arranger, Mark Kibble, Maret was stunned a few days later when Kibble replied with a moving vocal arrangement, performed by Kibble and bandmate Alvin Chea.

The first of two three-part suites on the album, “Crepuscule Suite” was inspired by Maret’s two years of touring with Marcus Miller. “I think everybody knows how funky Marcus is and how he can play the bass like nobody else,” Maret says. “But I don’t think everybody knows how lyrical and beautiful he can play on the fretless. I wanted to showcase that side of him that may be a little less known but that I got to hear every night.” The bassist’s elegant lyricism is amply displayed on the piece, representing the magical twilight hours of dawn and dusk.

The “Children’s Suite” returns to the notion of the sounds heard within the womb at its outset, then represents the entire cycle of life with the enchanting sounds of children at play enlivening the background. In a sense, those curious kids could be seen to represent Maret’s beginnings as a musician, inspired by a schoolmate’s keychain harmonica and his musician father’s extensive record collection.

Both suites were written with Maret’s longtime collaborator Federico Gonzalez Peña, who co-produced much of the album with Maret and plays piano and keyboards throughout. The two met shortly after Maret’s arrival in New York and rapidly formed a personal and musical bond. “I thought it would be really special to have his take on making music since we have such a close collaboration,” Maret says. The remainder of the tracks were overseen by the renowned producer Matt Pierson, whose credits include some of the most acclaimed and successful jazz recordings in recent memory, comprising sessions with Brad Mehldau, Kirk Whalum, Joshua Redman, Jane Monheit and countless others.

Maret grew up in Geneva, Switzerland, the son of a Harlem-born, African-American mother and a Swiss father. After studying at the prestigious Conservatoire Supérieur de Musique de Genève he decided to undertake jazz studies at New York’s New School University. Intending to return to Switzerland and a career as a teacher, Maret soon found himself working regularly with NYC’s finest jazz musicians, and his decision to stick around for a year after graduation was extended indefinitely.

Calls came quickly from bandleaders as diverse as Jacky Terrasson, Steve Coleman, and Meshell Ndegeocello, each of whose music required Maret to expand his vision of his own instrument, an ideal that continues to this day.

“It’s always completely different,” he says. “For every new project, I come to a place where I almost feel like a beginner again. So I start everything from zero to be in tune with whatever the music is calling for.”