NEW RELEASES - KERKKO KOSKINEN ORCHESTRA, JOE LOCKE / GEOFFREY KEEZER GROUP, HAWTHORNE HEADHUNTERS

KERKKO KOSKINEN ORCHESTRA – TRAINS & LETTERS

A brilliant set from Finnish arranger Kerkko Koskinen – one with loads of deep jazzy textures, and a feel that's almost like some lost European soundtrack of the late 50s! The arrangements are tight, but never overwhelming – so that the ensemble's soloists have plenty of room to stretch out in creative patterns of their own – mixing in some great modern jazz modes that really deepen the feeling of the whole record – with elements that remind us of the best Swedish or French jazz experiments of the 50s! Players include Jukka Eskola on trumpet, Timo Lassy on tenor and flute, and Kerkko Koskinen himself on cembalo – and the record's got some especially evocative vibes from Penu Savolainen, who handles his instrument with these sharp chromatic tones that are mighty nice. Titles include "Day Train", "The Answer", "Night Train", "Calling Mrs Aagaard", "Taipan March", and "Modern Single Man". ~ Dusty Groove

JOE LOCKE / GEOFFREY KEEZER GROUP - SIGNING

Joe Locke's vibes, and some great work on Fender Rhodes and piano from Geoffrey Keezer – wrapped up beautifully in a mode that makes for one of the best records from either player in a number of years! From the notes, it's clear that the album's definitely a co-led session – with different arrangements and compositions contributed from each player – a nice sense of depth that really allows for some complex tones from the piano and vibes – styles that go way past the obvious! Rhythms are a part of this too – thanks to simple, effective touches from Mike Pop on electric and acoustic bass, and Terreon Gully on drums – and titles include "Hide & Seek", "Naima", "Darth Alexis", "The Lost Lenore", and "Signing". ~ Dusty Groove.

HAWTHORNE HEADHUNTERS – MYRIAD OF NOW

Electro funk, boogie soul and spacey hip hop from Hawthorne Headhunters – completely delivering on the promising earlier EP and rivaling the best of their similarly-traveling peers – particularly Plug Research labelmate Shafiq Husayn, along with leftfield funk leaders Dam Funk and Georgia Anne Muldrow – and we do not take those comparisons lightly! The Hawthorne Headhunters started as more of a freewheeling collective, though here as more of a partnership between Coultrain and Black Spade. 70s jazz funk, 80s synth soul and otherwise spacey sounds and the insistent underlying bounce of the best hip hop continue to inform the sound. Titles include "Sum People Don't Change", "Collage" feat Rockwell Knuckles & Tef Po, "Luv Galactic" feat I Am, "Teleport", "Yellow Cougar", "Whirlwind", "Ghostfields", "Fairweather" feat Von Pea & Haz Solo, "Hole In The World", "Tribute" and more. ~ Dusty Groove

NEW RELEASES - JAZZ COURIERS, TY CAUSEY, STEVE KUHN

JAZZ COURIERS LIVE IN MORCOMBE 1959 – TIPPIN’

Primo work by one of the greatest Brit jazz groups of the 50s – the legendary Jazz Couriers, and their smoking frontline of Tubby Hayes and Ronnie Scott on tenor sax! The pair have a way of coming together that's simply beautiful – not the kind of "battle" you might have gotten from American tenorists a few years before – and instead, a way of collaborating on long-spun, beautifully-blown tracks that really expand under the two voices of the tenors – in ways that other hardbop groups might with just a sax and trumpet. Part of the group's success is their great rhythm section too – Terry Shannon on piano, Jeff Clyne on bass, and Billy Eyden on drums – a trio who really kick things into gear wonderfully on this previously-unissued live date! The material was recorded at a restaurant gig – nice and intimate, but with very good sound – so much so that the record is very much on a par with the group's famous studio sides of the time. Tubby Hayes also plays a bit of vibes on the record – and titles include "For All We Know", "Embers", "Tippin", and "Cherokee/The Theme". ~ Dusty Groove

TY CAUSEY – FALSE FACES

Strongly emotional and slowly simmering craft from Ty Causey – a veteran of the midwestern smooth, jazzy soul scene – and his efforts are as strong as ever here! There's an easygoing confidence in Ty's approach that he's carried for a while – and that continues in full effect here. His songs speak to straight forward, soulful truth, with a relaxed style and emotional and spiritual depth. The production is just as sweet – with a smooth soul pace, and subtly dexterous musicianship. Some guitar, a bit of flute or sax come into play with nice keys and percolating percussion. Includes "Must Be Magic", "Too Much Baggage", "Tap Into This Chemistry", "I'll Wait For You", "I'll Wait For You", "You'll Never Be Lonely", "False Faces", "Love Call", "A Reason Why", "Hot 2 Night", "The Limit of Love", "Bold And Beautiful". ~ Dusty Groove

STEVE KUHN - WISTERIA

Steve Kuhn's a player who's always got our ears – a pianist we've loved from the late 60s onwards, still sounding great on this lovely set for ECM! There's a warmth here we haven't heard from Kuhn in a while – almost a return to those lyrical modes we loved in his 70s work for the label, particularly his acoustic lines – which always seemed to have this open flow that was definitely informed by work on Fender Rhodes, yet still in a very classic style overall! Kuhn's amazing here – and the album's one that definitely lives up to all of our love for his older records – and the trio is perfectly subtle, too – with gentle work on bass from Steve Swallow and quietly evocative drums from Joey Baron. Titles include "Chalet", "Romance", "Pastorale", "Wisteria", "Promises Kept", "Dark Glasses", "A Likely Story", and "Permanent Wave". ~ Dusty Groove

KIRK WHALUM 2012 ROMANCE LANGUAGE TOUR DATES

Houston, TX - Sunday, April 29th, 2012
Arena Theater - with Jonathan Butler

Durham, NC - Friday, May 4th, 2012
The Carolina Theater Box Office 919.560.3030
w/Kevin Whalum wsg Nicole Henry. Fundraiser to benefit the DNS Scholarship Fund

Charlotte, NC - Saturday, May 5th, 2012
Halton Theater - 4th Annual Carolina Jazz Concert Series (Central Piedmont Community College)
Romance Language Tour w/Kevin Whalum wsg Nicole Henry
http://www.youtube.com/watch?v=4TrdqWBFkO0@jazzdiva @cpcc

Temecula, CA - Saturday, May 19th, 2012
South Coast Winery
Romance Langauge Tour

Pasadena, CA - Saturday, May 26th, 2012
Central Park
Romance Language Tour

Columbia, MD - Saturday, June 2nd, 2012
Capital Jazz Festival Merriweather Post Pavilion
Romance Language Tour

Hoover, AL - Sunday, June 3rd, 2012
Preserve Jazz Festival
Romance Language Tour w/Kevin Whalum wsg Nicole Henry

St. Louis, MO - Sunday, June 10th, 2012
Saxquest Saxophone Shop
Sax workshop Kirk Only 2 PM
http://www.saxquest.com/
Cincinnati, OH - Friday, June 15th, 2012
Kingsgate Marriott Hotel
Romance Language Tour w/Kevin Whalum wsg Nicole Henry

Chicago, IL - Sunday, June 17th, 2012
Ray and Joan Kroc Comm. Center
Real Men Cook Event
http://www.realmencook.com/

Johannesburg, SA - Thursday, June 21st, 2012
Carnival City
Romance Language Tour

Cape Town, SA - Friday, June 22nd, 2012
His People Church
Romance Language Tour

Kwazulu Natal, SA - Saturday, June 23rd, 2012
Port Shepstone - Ugu Jazz Festival
Romance Language Tour

Houston, TX - Friday, July 6th, 2012
Miller Outdoor Theatre
Romance Language Tour w/Kevin Whalum wsg Nicole Henry

Austin, TX - Saturday, July 7th, 2012
One World Theatre
Romance Language Tour w/Kevin Whalum wsg Nicole Henry

Accra, Ghana - Friday, July 27th, 2012
International Conference Center
Romance Language Tour

Long Beach, CA - Saturday, August 11th, 2012
Rainbow Lagoon
Romance Language Tour

St. Louis, MO - Sunday, September 16th, 2012
Sheldon Concert Hall
Romance Language Tour

San Antonio, TX - Saturday, September 22nd, 2012
Travis Park
Jazz'SAlive Festival Romance Language Tour
http://www.saparksfoundation.org/jazzsalive.html

Italy, Greece , Sicily - Sunday, September 22nd, 2013
Dave Koz and Friends Cruise
http://www.davekozcruise.com/

CAROLE KING - THE LEGENDARY DEMOS

Carole King’s The Legendary Demos is being released via Hear Music/Concord Music Group. A previously unreleased collection of 13 history-making Carole King recordings of some of her most celebrated songs, The Legendary Demos traces King's journey from her days as an Aldon staff writer in the 1960's, where she crafted hit after hit for other artists, to the dawn of her own triumphant solo career in the 1970's, and contains her original recordings of future standards like "(You Make Me Feel Like) A Natural Woman," "It's Too Late," and "You've Got A Friend." Featuring liner notes by acclaimed author and Rolling Stone contributing editor David Browne, the collection brings to light a heretofore missing link in the chain of King's career. Fittingly, The Legendary Demos serves as a companion to King’s long-awaited memoir, A Natural Woman, which is being released April 10th, 2012 via Grand Central Publishing.

Aldon Music used these demos—short for “demonstration records”—to pitch King's material to other artists, from Gene Pitney and Bobby Vee to Aretha Franklin and the Monkees. While the recordings have long been coveted and collected within the industry, they have never before been released to the public.

Whether it was a potential single for the Monkees or a solo performer like Pitney, King’s demos were remarkable in their completeness. “When she sat down to the piano and played a demo of one of her songs, the whole arrangement appeared right in front of your eyes magically,” recalls Brooks Arthur, who engineered a number of these efficient sessions for King at one of several midtown Manhattan studios. “A lot of the smarter producers would adhere to Carole’s demos. If you stuck to that, you’d come home a winner.”

King and then-husband/songwriting partner Gerry Goffin signed with Aldon Music in 1959, and anyone who listened to the radio during the first half of the ‘60s will recognize the songs of teen passion and devastating heartbreak heard in King’s original recordings. “Take Good Care of My Baby” was a No. 1 hit for Bobby Vee in 1961. Goffin’s gift for tapping into teen anguish—in this case, hiding behind a stoic public face—was never conveyed better than in “Crying in the Rain,” which the Everly Brothers took into the top 10 in early 1962. “Just Once in My Life” was the Righteous Brothers’ follow-up to their still-spine-tingling “You’ve Lost That Lovin’ Feelin’,” and King’s demo reveals how she and Goffin were instantly able to tap into the duo’s (and producer Phil Spector’s) dramatic, impassioned sound.

Like many of their fellow songwriters at the time, King and Goffin wrote songs for Don Kirshner’s TV show about a fictional, Beatles-derived pop band that debuted in September 1966. The Monkees turned out to be more credible singers (and musicians) than anyone initially expected, as their high-charting 1967 version of King and Goffin's “Pleasant Valley Sunday” revealed. The Monkees also cut “So Goes Love,” a dreamier ballad heard here, but the track didn’t make their first album and wasn’t released until long after they’d disbanded.

The Legendary Demos includes early takes of six tracks that formed the basis for King’s world-wide solo breakthrough Tapestry. King and lyricist Toni Stern’s ever-poignant “It’s Too Late” is here, along with King’s own “Way Over Yonder,” “Beautiful” and “Tapestry,” all three bursting with the artistic and spiritual renewal infusing King’s life during this period.

Among the collection’s numerous gems is the original 1967 demo for Goffin, King, and producer Jerry Wexler’s “(You Make Me Feel Like) A Natural Woman,” a song that would later appear on Tapestry and of course be famously cut by Aretha Franklin later that same year. King’s version offers several different takes from the Franklin and Tapestry versions. Her delivery in the opening lines is looser (check out the way she stretches out “Lord” in “Lord, it made me feel so tired”), and the bridge is even more imbued with palpable romantic and sexual heat.

And finally, there’s King’s initial take on “You’ve Got a Friend,” a classic entry in the Great American Rock Songbook. Milling around in the Troubadour balcony during soundcheck, her friend James Taylor heard King perform the song on a bare stage and was immediately taken with it; his own version, a massive hit, would arrive the following year.

The Legendary Demos Tracklisting:
1. Pleasant Valley Sunday (Goffin/King)
(Carole King: vocal; other musicians unknown) circa 1966
Covered by The Monkees (1967) - #3 on the U.S. Pop Charts

2. So Goes Love (Goffin/King)
(Carole King: vocal; other musicians unknown) circa 1966
Covered by The Turtles (1967)

3. Take Good Care of My Baby (Goffin/King)
(Carole King: vocal, piano) circa 1961
Covered by Bobby Vee (1961) - #1 on the U.S. Pop Charts

4. (You Make Me Feel Like) A Natural Woman (Goffin/King/Wexler)
(Carole King: vocal, piano) circa 1967
Covered by Aretha Franklin (1967) - #8 on the U.S. Pop Charts

5. Like Little Children (Goffin/King)
(Carole King: vocal; other musicians unknown) circa 1966
Covered by The Knickerbockers (1966)

6. Beautiful (King)
(Carole King: vocal, piano) circa 1970

7. Crying In The Rain (Greenfield/King)
(Carole King: vocal; other musicians unknown) circa 1962
Covered by The Everly Brothers (1962) - #6 on the U.S. Pop Charts

8. Way Over Yonder (King)
(Carole King: vocal, piano) circa 1970

9. Yours Until Tomorrow (Goffin/King)
(Carole King: vocal; other musicians unknown) circa 1966
Covered by Paul Wayne (1966)

10. It’s Too Late (King)
(Carole King: vocal, piano) circa 1970

11. Tapestry (King)
(Carole King: vocal, piano) circa 1970

12. Just Once In My Life (Goffin/King/Spector)
(Carole King: vocal, piano) circa 1965
Covered by The Righteous Brothers (1965) - #9 on the U.S. Pop Charts

13. You’ve Got A Friend (King)
(Carole King: vocal, piano) circa 1970
Covered by James Taylor (1971) - #1 on the Billboard Top 100 Charts

Carole King is arguably the most successful and revered female songwriter in pop music history. To date, more than 400 Carole King compositions have been recorded by more than 1000 artists, resulting in 100 hit singles - many of them reaching #1. A member of the Rock and Roll Hall of Fame, King was the first woman to win four GRAMMY® Awards in one year, and her landmark 1971 album Tapestry received a Diamond Award from the RIAA for sales of more than 10 million units in the U.S., with more than 25 million units sold worldwide.
 
~ Concord Records

JACKSONVILLE JAZZ FESTIVAL FULL LINEUP

Mayor Alvin Brown and the City of Jacksonville are proud to announce the latest additions and full lineup of performances for the 2012 Jacksonville Jazz Festival. The annual tradition will be held Thursday, May 24 through Sunday, May 27 in the heart of downtown Jacksonville. The festival is free and open to the public unless otherwise noted.

“The Jacksonville Jazz Festival promises world-class performances for families and friends throughout Memorial Day weekend,” said Mayor Alvin Brown. “Come join us for the music and take some time to explore Downtown at its best.”

Additions to the lineup include: Béla Fleck and the Marcus Roberts Trio; Najee; Jonathan Butler; Pop/Jazz featuring Karen Briggs; Grace Kelly Quintet; Firecracker Jazz Band; Navy Band Southeast TGIF; Doc Handy; Tropic of Cancer; Pierre & Co.; BK Jackson; Elisha Parris; Noel Freidline Quintet; St. Johns River City Band; Ya’ Gozo’ The Latin Jazz Band; Longineu Parsons; Von Barlow’s Jazz Journey featuring Tina Fabrique; BERT Quartet featuring Claire Heusinger; John Ricci Quartet; The Fusion Band; Isaac Byrd Jr. and Tribe Judah; BayStreet; Aaron Bing; Sacred Jazz featuring the Noel Freidline Quintet with the Jacksonville Mass Choir; and The Kelly/Scott Quintet.

Artists previously announced: Sonny Rollins; Corea, Clarke and White; Patti Austin with the Jacksonville Symphony Orchestra; Trombone Shorty & Orleans Avenue; Poncho Sanchez and his Latin Jazz Band featuring Terence Blanchard; Karrin Allyson Quartet; Brian Culbertson; Michael Mossman and Antonio Hart with the University of North Florida Jazz Ensemble 1; Jazz Crusaders; The Rippingtons featuring Russ Freeman; Soul Rebels; Raul Mídon; Cindy Blackman Santana & Another Lifetime; Madeleine Peyroux; Linda Cole & the Joshua Bowlus Trio; Douglas Anderson School of the Arts Jazz Ensemble 1; JB Scott’s Swingin’ Allstars; and Just Jazz Quartet.

Other activities held as part of the Jazz Festival: Art in the Heart Downtown, a juried art show and craft sale, the Wine Down/Brew Town Tasting Experience, Jacksonville Jazz Piano Competition presented by Keyboard Connection Pianos & Organs, ‘Round Midnight Jazz Jams, Generation Next Youth Talent Competition, and a jazz brunch.

The 2012 Jacksonville Jazz Festival is proudly produced by the City of Jacksonville Office of Special Events with support from these sponsors: Jacksonville Aviation Authority; Verizon; Duval County Tourist Development Council; Shands Jacksonville; the Hyatt Regency Jacksonville Riverfront, the official host hotel; the Omni Jacksonville Hotel, the official co-host hotel; Keyboard Connection Pianos & Organs; CBS47 Action News; V101.5; JAZZIZ; Beringer; Coca-Cola; Champion Brands; Farah & Farah and Jax River Cruises.

For more information on the 2012 Jacksonville Jazz Festival, call the Office of Special Events at (904) 630-3690 or visit the official Jacksonville Jazz Festival website and social pages.

JaxJazzFest.com
Facebook.com/JacksonvilleJazzFestival
Twitter.com/JaxJazzFest or @JaxJazzFest #JaxJazzFest

NEW RELEASES - MICHAEL KIWANUKA, NORTHERN SOUL COLLECTOR, NICK WATERHOUSE

MICHAEL KIWANUKA - HOME AGAIN

"Life-affirming...accomplished work of depth and distinction." - Q Magazine

Available now exclusively on iTunes, Michael Kiwanuka's debut album, Home Again, was produced by Paul Butler from The Bees in his home studio on the Isle of Wight. A top 5 best seller in the UK, it takes Michael's effortless melodies, observant lyrics and smooth voice and builds them into timeless and rootsy folk-inflected modern soul. The title single "Home Again" is the iTunes free Single Of The Week. The US release features an additional song, the Dan Auerbach-produced "Lasan."

Michael will be heading to the US for a run of tour dates this June, kicking off at the Bonnaroo festival in Manchester, TN, followed by shows in New York City, Brooklyn, Philadelphia, Washington DC, Chicago for Lollapalooza, and San Francisco for Outside Lands Festival. ~ Giant Step

NORTHERN SOUL COLLECTOR VOL 2 - THE ULTIMATE SOUL MEETING: 26 WINNERS FROM THE RARE SOUL CLAN

The title gets it right – as this is definitely a great meeting of soulful talents – including some of the best of the late 60s underground scene! The package is filled with singles that range from upbeat deep soul to deeper Northern Soul – a mix of styles that comes from labels from the mid-south on up north – put together with a great ear for a swinging, socking soul tune! There's plenty here we haven't seen on CD for years – if at all – and titles include "Empty Arms & Bitter Tears" by Gerri Taylor, "Big Bad World" by Cathy Saint, "Cross My Heart" by Joe Haywood, "Welcome To My Heart" by The Bouquets, "My Little Plaything" by Glenn Watts, "Lover Come Back" by Jackey Beavers, "Just Call On Me" by Eddie Wilson, "My Baby Changes" by The Victones, "You Got To Pay The Price" by Gloria Taylor, "Salvation" by The Men From Macon, "I Find No Fault" by Johnny Jones, "I Can't Be A Fool For You" by Danny Owens, and "When I'm Ready" by Mill Evans. ~ Dusty Groove

NICK WATERHOUSE - TIME'S ALL GONE

A stone smoking album from Nick Waterhouse – the first full-length we've ever heard from the singer, and a killer set all the way through! The backings are funky, but the sound is nice and gritty too – much more in an R&B mode than other contemporary albums of this nature – which is a perfect fit for Nick's sharp-edged way of handling the lyrics! Production is wonderful – very classic overall, but with a fresh feel that's all its own – a perfect illustration of the way that Waterhouse gets past easy generic classifications, or any sort of soul music cliches – and manages to come up with something fresh, unique, and all his own! Most instrumentation is vamping small combo soul, with occasional backup vocals – and titles include "Times All Gone (parts 1 & 2)", "Indian Love Call", "Is That Clear", "Raina", "If You Want Trouble", "Say I Wanna", "Some Place", and "Teardrop Will Follow You". (Nice heavy pressing – with a cool tip-on cover!) ~ Dusty Groove

NEW RELEASES - JESSICA LAUREN FOUR, CLARICE ASSAD, LEE HAZLEWOOD

JESSICA LAUREN - JESSICA LAURA FOUR

A wonderful full album from keyboardist Jessica Lauren – a London talent we've loved for years, and have watched mature deeply over the past few decades! Jessica's keyboards have graced a number of key recordings from the past 20 years or so on the British scene – but she's issued woefully few albums under her own name, which makes this jazzy session an even greater treat! Jessica plays acoustic piano and organ on the record – the latter of which still brings in some of the more electric modes we know from her roots – while the piano tones ring out with a beautifully earthy feel – alongside bass, drums, and a heck of a lot of percussion – more than enough to bring in plenty of Latin and other global elements to the music! Most tunes are instrumentals, but the set does feature guest vocals from Jocelyn Brown on the track "Happiness Train" – and instrumental cuts include "The Name Of Fela Will Always Stand For Freedom", "White Mountain", "Vaya Con Dios", "Gangaman", and "Mel Benson". ~ Dusty Groove

CLARICE ASSAD - HOME
Brazilian vocals, with plenty of jazz – a smoker of a set from singer Clarice Assad – with a feel that takes us back to rare indie albums of the 70s and 80s! The instrumentation is great – lots of hard-grooving piano from Clarice, played in these inventive ways that often infuse odd melodic touches with a key sense of rhythm – one that's augmented by lots of additional percussion, including djembe, pandeiro, tamborim, ocean drum, and more – used sparely, but with great effect to drive along the piano and vocals! And Assad has his great way of singing and scatting too – a style that's rooted a bit in 70s modes from Tania Maria or Flora Purim – but which takes off with its own sort of earthy experimentalism as well. Titles include "20 Anos Blues"," Dora", "The Last Song", "Cajuina", "Ad Lib", and "For Elis" – a great medley that's a tribute to Elis Regina! ~ Dusty Groove

LEE HAZLEWOOD - LHI Years: SINGLES, NUDES & BACKSIDE 1968 TO 1971

Amazing sounds from Lee Hazlewood – some of his most offbeat, unbridled recordings ever – and that's saying a lot if you've already heard his classics for Mercury, MGM, and Reprise! The package here brings together rare work from Lee's own LHI label – packaged beautifully with a rich set of notes, session details, and some amazing photos that follow in the spirit of the nutty-looking cover image! Hazlewood's voice is sublime throughout – that deeper-than-deep quality that always leaves us breathless – perfect for the sly wit and and "aw shucks" sensibility of the tunes – and also for unlocking the growing adult sensuality that Lee was letting into his work at the time. A few female singers step forth in that great Hazlweood duet mode – Nina Lizell, Suzi Jane Hokom, and Ann Margret – who each sing on a few tracks – but Lee's in the lead on most numbers, and titles include the previously unreleased "I Just Learned To Run" – plus "The Bed", "Sleep In The Grass", "The Night Before", "If It's Monday Morning", "Won't You Tell Your Dreams", "Hey Cowboy", "No Train To Stockholm", "What's More I Don't Need Her", "Trouble Maker", and "Nobody Like You". ~ Dusty Groove

SANTANA & ALLMAN BROTHERS BAND ANNOUNCE TOUR

Two legendary groups join forces as Carlos Santana and the Santana Band announce six special co-headlining concerts with The Allman Brothers Band during July 2012. The dates kick off July 22 at the Darien Lake Performing Arts Center in Darien Lake, NY, and wrap July 30 at the Merriweather Post Pavilion in Columbia, MD. Highlights also include shows at Nikon at Jones Beach Theater on July 24, and the PNC Bank Arts Center in Holmdel, NJ on July 25. Tickets for the six dates begin going on-sale May 4.

"It is a delight and an honor to finally share the stage, and the music, with Gregg Allman, Derek Trucks, Warren Haynes and The Allman Brothers Band," says Carlos Santana. "This is something that we've hoped to make happen for many years." These special concerts follow the first leg of U.S. dates on Santana's Shape Shifter Tour 2012.

Previously, Santana and The Allman Brothers have only intersected at major festivals. On touring together, Gregg Allman says, "We've all looked forward to doing this for a very long time." The Allman Brothers Band line-up includes Gregg Allman (vocals and keyboards), Butch Trucks (drums, tympani), Jaimoe (drums), Warren Haynes (vocals, lead and slide guitar), Derek Trucks (slide and lead guitar), Oteil Burbridge (bass), and Marc Quinones (congas and percussion). Earlier this year, the group was honored with a special GRAMMY Lifetime Achievement Award.

Santana's tour dates with The Allman Brothers follow the May 15, 2012 release of Shape Shifter, their latest album—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.

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."

http://www.santana.com/

Shape Shifter tour dates (* = Santana closes show):
July 22 - Darien Lake Performing Arts Center, Darien Lake, NY
July 24 - Nikon at Jones Beach Theater, Wantagh, NY
July 25 - PNC Bank Arts Center, Holmdel, NJ*
July 27 - Saratoga Performing Arts Center, Saratoga, NY*
July 28 - The Comcast Theatre, Hartford, CT
July 30 - Merriweather Post Pavilion, Columbia, MD*

BRIAN HUGHES - FAST TRAIN TO A QUIET PLACE

True to the title of his eighth and latest solo recording Fast Train To A Quiet Place, Brian Hughes at last carved enough time away from his whirlwind live performance schedule to dedicate himself to his first studio recording since 2003’s Along The Way. The benefits of recording and traveling the world with his fellow Canadian Loreena McKennitt for 24 years – the last 20 while also developing his own career as a chart topping contemporary jazz guitarist – are clear from the get go on the explosive ten track collection. Driven by the multiple award winning composer and guitarist’s trademark electric guitar contemporary jazz vibe, the set also incorporates elements of blues, gospel, Latin, Brazilian, flamenco, tropical and Eastern Indian Music.

Hughes complements the unique sounds of his three main guitars – the Gibson ES 175 hollow body jazz guitar, Fender Telecaster and nylon string – with fascinating excursions on the electric sitar and Celtic Bouzouki. Working with longtime band mates, drummer Tal Bergman (Joe Bonamassa, Rod Stewart), percussionist Ron Powell (Kenny G, Madonna) and bassist Rufus Philpot (Al DiMeola, Jeff Golub) as well as new keyboardist Matt Rodhe (Prince, Christina Aguilera, “American Idol”), Hughes succeeds in capturing with a live in the studio recording the spirited, improvisational energy of his live performances.

He’s chronicled these for his fans on two recent live performance projects, Live (2007) and the DVD No Reservations (2010). The train gets rolling with the bustling and percussive, stop and start motion that drives the opening track and first single “Fast Train,” which builds slowly towards a blistering, hypnotic crescendo. The sensual and dreamy “Blanket of Stars” was inspired by Hughes walking out of the studio looking up at the sky on a perfect night in his hometown of Altadena, California. The quirky working title of “Would You Like Fries With That My Dear?” somehow stuck to a sizzling track that spins bossa nova into such frenzy that Hughes began to call the vibe “Rockanova.” After the blues tinged tropical romance of “You & I,” Hughes ventures into spy movie territory with the cool and bluesy, samba/boogaloo piece “Gotcha.” Rodhe brings out the classic soul-jazz via the Hammond B-3 on the funked out “Super Tight,” which features Hughes’ bright, blistering electric guitar.

The inspiration for the title of the acoustic driven flamenco jam “Café Sin Nombre” is the place in Sevilla where flamenco is supposed to have originated. Fast Train To A Quiet Place wraps with a three songs with roots in very different places. Following an exotic venture to India via a romp on the electric sitar on the moody, atmospheric “The Gift,” Hughes goes “To A Quiet Place” with a graceful interlude on the bouzouki. He then heads back home—down home—for a fiery, anthemic electric guitar driven gospel explosion appropriately named “Hallelujah.”

While concurrently building a following via his work as a co-producer and musical director for fellow Canadian Loreena McKennitt, Brian Hughes has carved out an impressive career in the contemporary jazz arena. His first two albums, Between Dusk and Dreaming (1991) and Under One Sky (1992), established him as one of the rhythmically progressive guitarists and composers in the genre, perfectly blending his fluid and emotive guitar style into an exciting, melodic mix of Latin, Jazz and World Music compositions.

After being chosen as a winner in JAZZIZ Magazine’s “Guitars On Fire” competition in the early 90s, his subsequent recordings Straight To You (1996), One 2 One (1998), Shakinʼ Not Stirred, Along the Way, Live and the concert DVD No Reservations have received critical acclaim and major radio air play in the U.S. and Canada. His sizzling fretwork and infectious compositions have received great critical acclaim that is perfectly reflected in one journalist’s assessment that Hughes is “both a great artist and an accessible one. His passion is so obvious, intense and contagious, that his audience shares it.”

Hughes has received the SOCAN / BMI “Jazz & Instrumental Composer of the Year” award seven times from 1997 to 2011, and the title track from Shakinʼ Not Stirred was featured on an episode of HBOʼs “Sex and the City.” He has performed over the years at numerous international festivals and concerts, including: The Providencia Jazz Festival (Santiago, Chile), The Montreal International Jazz Festival, The Edinburgh International Jazz Festival, The Vancouver International Jazz Festival and The Catalina Island Jazz Festival.

“I chose the title Fast Train To A Quiet Place,” he says, “because the new album is another journey oriented recording for me, drawing influences from many different cultures and featuring songs that I’ve written over the past few years. It’s a very personal project and all the songs have a specific meaning — each one a snapshot of a moment in time and which collectively represent where I am in my life now personally and creatively.”

BOBBY BROOM - UPPER WEST SIDE STORY

Bobby Broom's new CD, Upper West Side Story, is the guitarist's tenth album in as many years -- the culmination of a golden period of prolific creativity and steady artistic growth. Five of those recordings have featured his jazz trio with bassist Dennis Carroll and drummer Kobie Watkins, who've worked as a unit since 1997. Origin Records, Broom's longtime label, will release the CD on May 15.

Providing an intimate look at Broom's musical personality and the trio's fully developed group chemistry, the original compositions on Upper West Side Story are described by Broom as "an ode to where I'm from." They reflect a wide range of influences across a spectrum of genres while always remaining deep in the tradition of the modern jazz guitarist. Included is the first studio recording of Broom's "D's Blues," a live video of which has been a fan favorite online for several years.

"I purposely waited to make a record of all originals," says Broom. "I feel that can be sort of a run-of-the-mill thing to do -- that everyone is doing it. But, you know, I've been out here 30 years now and people need to know who I am beyond my guitar sound and style. This album reveals more of me."

"In my twenty years of playing with Bobby," says bassist Carroll, "I've always felt that his style of playing melds the feelings of all-American blues with an urban hip soulfulness that really speaks to the progression of jazz."

"B is one of the great guitarists and musicians of this generation," adds drummer Watkins. "Playing with him and this trio has meant so much for my development and prepared me to have intelligent musical conversations."

For the last two years, Broom has also been working with the young drummer Makaya McCraven, who is heard on three tracks of the new CD. Playing with Bobby, says McCraven, "you always have to dig deeper. His depth in vocabulary allows the music to go anywhere with ease."

The CD cover photo was shot on 95th Street and West End Avenue, a very short walk from Broom's childhood home at 95th and Columbus. Though Broom, 51, has now lived over half his life as a Chicagoan, he was born in Harlem and raised on the Upper West Side. He attended the High School of Music and Art, made his Carnegie Hall debut at 16 with Sonny Rollins, and debuted as a leader on record at 21 with Clean Sweep (GRP). Broom remains a New Yorker at heart.

The move to Chicago came in 1984, after which he continued to tour with Rollins (1982-1987, 2005-2010), joined forces with Kenny Burrell & the Jazz Guitar Band, played briefly with Miles Davis, and performed and recorded with local leading lights such as Charles Earland.

"Broom has one of the few truly recognizable styles among modern guitarists, and one of the most satisfying solo concepts in mainstream jazz," critic Neil Tesser has written in the Chicago Examiner.

After recording the all-star blowing session Modern Man in 2001, Broom commenced his series of trio albums with Stand followed by Song and Dance (which Pat Metheny called "one of the best jazz guitar trio records I've ever heard"), The Way I Play, and 2009's Plays for Monk. He also remained busy with the Deep Blue Organ Trio, the group he has co-led with Chris Foreman and Greg Rockingham since 2000. Their fourth album Wonderful!, a Stevie Wonder tribute, was a #1 JazzWeek album shortly after its summer 2011 release. Deep Blue has toured as Steely Dan's opening act on several occasions in recent years.

As jazz finds itself in a more academic period ushered in by programming and institutions, Bobby Broom and his trio(s) continue to operate from jazz's natural standpoint -- the black music aesthetic in rhythm and the blues, and the distinctly urban-American-influenced jazz strain that continues to thrive and evolve from each generation to the next via recordings and tutelage on the stage. Broom and his bandmates have come by their perspective having worked with many of jazz's Golden Era legends, who taught that listeners will respond to music they can understand and feel.

http://www.bobbybroom.com/

MIKE STERN - ALL OVER THE PLACE

Since his days with Blood Sweat & Tears in the mid-1970s, followed by stints with Billy Cobham and Miles Davis’ band in the ‘80s, and a solo career that now spans more than 25 years, guitarist Mike Stern has used his jazz roots as a starting point for exploring a range of alternate territories that include R&B, rock, swing, funk, world music and numerous other regions along the musical topography. The recipient of Guitar Player magazine’s Certified Legend Award for 2012, he’s an artist who’s not afraid to bring numerous styles and ideas – however diverse – into the same place just to see what happens.

All Over the Place is Stern’s new recording on Heads Up International, a division of Concord Music Group. Set for release on June 19, 2012, the 11-song set aligns the characteristically diverse and adventurous guitarist with a cadre of brilliant guests, including trumpeter Randy Brecker; saxophonist Kenny Garrett; and drummers Dave Weckl, Keith Carlock and Lionel Cordew. Also on hand is a delegation of high-caliber electric and acoustic bass players: Esperanza Spalding, Richard Bona, Victor Wooten, Anthony Jackson, Dave Holland, Tom Kennedy, Will Lee and Victor Bailey.

“I’ve been playing a lot of different kinds of great music with a lot of different musicians on some of my more recent records,” says Stern, whose Big Neighborhood – released on Heads Up in 2009 – followed a similarly eclectic vibe. “I love bebop, swing, rock, all the stuff that a lot of guitar players – especially jazz players – tend to include in their music. It’s the nature of the instrument, but very much a part of my nature as well. There’s a lot of music that really inspires me, and it usually covers quite a few territories.”

It’s all here, starting with the mysterious funk groove of the leadoff track, “AJ,” which Stern wrote specifically for contrabass guitarist Anthony Jackson. Other personnel on board for the opener are saxophonist Chris Potter, keyboardist Jim Beard, rhythm guitarist Leni Stern (Mike’s wife), drummer Keith Carlock and percussionist Tim Keiper.

Leni returns a couple tracks later on “Out of the Blue,” this time playing an exotic three-stringed Malian instrument called a n’goni. Her opening riffs segue into the high-powered free-for-all featuring Brecker, Beard, Kennedy, Keiper and drummer Kim Thompson.

A tempo changeup comes in the form of the much leaner and quieter “As Far As We Know,” featuring Spalding on bass and vocals. “I like drama,” says Stern. “I like a lot of dynamics. I like music that has a lot of heart, and I hope this priority comes through in my playing and in my writing, especially on this tune.”

Stern is joined by drummer Al Foster on three engaging songs that land squarely in the center of the album: the funky and swinging “Blues for Al,” the energetic and colorful “OCD,” a song loaded with solo work by Stern and Garrett; and the much more understated and reflective acoustic piece, “You Never Told Me.”

“Halfway Home” is a gritty blues piece that showcases Stern’s slide guitar chops and deftly juxtaposes them against Wooten’s funky bass work and Cordew’s relentless backbeat.

The mellow groove of “Flipside” throws the spotlight on saxophonist Bob Malach, who joins Stern in some solid solo work. Malach is back for the title track, which closes the set on a fiery note as Stern leads a groove that’s reminiscent of his high-energy collaborations with the Brecker Brothers in the early ‘90s.

“The guitar tends to keep you open-minded, because you hear it in so many places,” says Stern, listing many places he himself has ventured along the way – not just on All Over the Place, but in earlier work as well. “You hear it in rock, in country, in pop, in funk, in classical, you hear it in jazz, you hear it in so many kinds of music that you can immediately identify it on one level or another.”

Stern is ready at a moment’s notice to go to all of these places and more, and he’s ready and willing to bring anyone along for the ride. “Music, to me, is a language of the heart,” he says. “I hope people will get some emotional payoff from what I’ve done on this recording. That’s the vibe that I continue to go for with all of my music.”

PETER CINCOTTI - METROPOLIS

With its hard-driving beats, funky rhythms and stellar pop-centric sensibility, vocalist, pianist and composer Peter Cincotti’s fourth album, Metropolis, might be perceived as a sharp left turn from the jazz-focused, boy-crooner sound that established his career in America a decade ago. But Cincotti has been living something of a musical double life, as his last record of all original pop songs went gold in Europe, reaching the top of radio charts alongside the likes of Rihanna and Coldplay. Cincotti sees his latest release, Metropolis, as more evolutionary than revolutionary, marking his continuance along a musical path that he started mapping as early as age three.

Cincotti was just 18 when, in 2003, his eponymous debut album for Concord catapulted him to international fame. Endless comparisons were made to the singing and playing style of Harry Connick Jr. (one of Cincotti’s early mentors and strongest boosters) and Cincotti was often hailed as the post-millennial answer to Frank Sinatra. Looking back a decade, Peter recalls, “I was surrounded by a lot of people who want you to repeat things—to make the same record over and over again. [Back then] I did have a lot of idols in the Sinatra mold, and still do, but that was always just one room in the house for me. Even with the first album, my goal was to find a personal approach to the [jazz] genre. Music for me is about creating something, not repeating something.”

His second album, On The Moon, marked the very beginnings of Cincotti’s expansion beyond the jazz genre, and became a kind of bridge that lead from his first album to his third album East Of Angel Town, released by Warner Brothers Records in 2007. Produced by the legendary David Foster, East Of Angel Town redefined Cincotti overseas and yielded his last hit single “Goodbye Philadelphia”, which reached #1 on pop radio charts throughout Europe, leading to sold out tours, primetime TV performances, and unique collaborations with artists like David Guetta.

For Cincotti, Metropolis is just another step forward. Produced by John Fields (Switchfoot, Jonas Brothers) Cincotti’s fourth album examines the joys and ills of the contemporary urban experience from multiple perspectives. “The album is,” says Cincotti, “meant to be representative of how we live today. It’s not about one particular city, but the urban landscape in general. I wanted each song to feel like a neighborhood within Metropolis, and for the storylines of the songs to somehow seem as if they were occurring simultaneously.”

The album opens with its set piece, the title track, strongly reminiscent of the Pet Shop Boys’ infectiously propulsive electronica. Later tracks “Graffiti Wall,” partially inspired by the twentieth anniversary of the Berlin Wall’s demolition, and “World Gone Crazy,” with its condemnation of society’s tech-fueled ferocity, further speak to the overarching theme.

The remaining tracks focus more on personal tales within this urban jungle. “There are,” says, Cincotti, “a few songs on the album about commitment, beginning with “My Religion.” It’s polar opposite is “Forever and Always.” Both are about becoming someone else for the sake of a relationship, but the first comes from the dark side of commitment and the second from the light.”

Romantic upheaval is also prevalent. “Take a Good Look” traces a disintegrating relationship. As Cincotti explains, “The beginning of the song is a question, the middle a feeling, and the end an undeniable belief that the relationship is over.” The closing track, “Before I Go,” is also about departures but, he says, “has a sort of cockeyed optimism in it. It’s about trying to freeze that moment in time before you have to say goodbye, honestly believing you can fight the inevitable.”

But, proof that Cincotti has not entirely lost heart, there are also several songs that suggest a more upbeat attitude towards love and its possibilities. “Do or Die” tells of a guy infatuated with a workmate who is finally given his chance when he finds himself alone with her in an elevator. “It is,” says Cincotti, “all about making the first move — that ‘fight or flight’ response that sometimes goes through your head when you’re interested in someone.” Irresistible attraction is also central to “Magnetic.” “In this case,” says Cincotti with a laugh, “the guy’s excuse is that it’s pure physics: ‘don’t blame me,’ he’s saying, ‘I have no control over this.’” And “Fit You Better” is a clever tale of, as the lyric suggests, ‘perfect opposites’ whose marked differences are what make the romance work.

Though all 12 tracks demonstrate Cincotti’s skill and maturity as a songwriter, two are particular standouts. “Madeline” again concerns commitment, but with an intriguing twist. The guy in the piece is unswerving in his long-term dedication to one woman, yet realizes that a former lover will always cloud his memory. “I was interested,” says Cincotti, “in the idea of someone from the past forever tainting the present. What it may be like to move forward while accepting the fact that the rest of your life will be haunted by someone you will never have again.” And, dovetailing the through themes of modern urban life and romantic entanglements is “Nothing’s Enough.” Cincotti sees the song as “a big question mark. It concerns [societal] excess; how people my age have become accustomed to quick changes and immediate gratification on every level. The question is: How does that mindset affect modern day relationships?”

Ultimately, Cincotti would like listeners, who nowadays often approach music in terms of individual track downloads rather than complete albums, to “listen to the album as an album. I’m hoping people will press ‘pause’ on the craziness of their daily lives and actually experience the entire record. It’s a lot to ask in this day and age, but this album is all about creating another world—the [quasi-mythical] world of Metropolis — and I want them to feel like they’ve actually been there.”

WALTER TROUT - BLUES FOR THE MODERN DAZE

The Mascot Label Group has announced an April 24 release date for Walter Trout's 21st album Blues For The Modern Daze. The offering displays the contemporary guitar legend returning to his hard-core blues roots, with songwriting at a creative and personal zenith. Blues For The Modern Daze is Trout's sixth recording for Provogue Records, a division of the Mascot Label Group, and his first pure blues album in 23 years as a bandleader.

Trout's practical schooling in blues started when he arrived in Los Angeles in 1973 and got gigs behind Hooker, Big Mama Thornton, Finis Tasby, Pee Wee Crayton, Lowell Fulsom, Percy Mayfield and Joe Tex. In 1981 he joined the remaining original members of Canned Heat. But the real turning point was his tenure with British blues giant John Mayall. Trout became part of the Bluesbreakers' lineage of great guitarists along with Eric Clapton, Peter Green and Mick Taylor. Beginning in 1984 he shared six-string duties with Coco Montoya in Mayall's band, creating a flexible guitar dynamic that helped provide the Bluesbreakers a renaissance that returned the group to the apex of the international blues touring circuit. Trout began leading his own group in 1989 and cut his debut album Life In the Jungle, rapidly becoming a star in Europe. His first Stateside release, 1998's critically heralded Walter Trout, made him start down the road towards becoming the fixture of the American blues-rock scene that he is today.

Trout's travels over the past 39 years, and his wide appreciation of his predecessors, yield a significant influence to Blues For The Modern Daze. Trout shares, "My main inspiration for this album was the country bluesman Blind Willie Johnson, an early blues innovator who recorded such timeless gospel informed blues numbers as 'Soul of a Man' and 'Nobody's Fault But Mine.' His music is so beautiful, primal, direct and deeply spiritual that I wanted to feel it at my back when we were cutting these songs." He continues, "This album captures my interest in exploring a side of my music that's rooted in my first musical love, and it reveals something about me too. It sums up the thoughts and attitudes of somebody who is getting a little older and is feeling a little like he's a part of another era, with different values and a different perspective on life than often seem to be prevalent today. And I stand behind those values, like compassion, authenticity and honesty, as strongly as I stand behind my music."

Blues for the Modern Daze was recorded at Entourage Studios in North Hollywood, California, with Trout and engineer Eric Corne producing. It's the fifth time Trout has collaborated with Corne, who contributed to the arrangements and sonic palette of the songs that Trout wrote and demoed on acoustic guitar during the year before the sessions. The EPK for Blues for the Modern Daze can be streamed here: http://www.youtube.com/watch?v=NK4k3rPGd1A

Trout returns to the road in the U.S. on April 25th in Solana Beach, CA. Confirmed appearances include:
4/25 Solana Beach, CA Belly Up Tavern
4/26 Las Vegas, NV Boulder Station Casino
4/27 Santa Ana, CA The Observatory
4/28 Simi Valley, CA Simi Valley Blues Festival
5/09 Collinsville, CT Bridge Street Live
5/10 Bethlehem, PA River Jazz Festival @ Musikfest Café
5/11 Shirley, MA Bull Run
5/12 Stanhope, NJ Stanhope House
5/14 Buffalo, NY The Tralf
5/16 Fall River, MA Narrows Center for the Arts
5/18 New York, NY Iridium Jazz Club
5/19 New York, NY Iridium Jazz Club
5/20 New York, NY Iridium Jazz Club
5/21 New York, NY Iridium Jazz Club
5/23 Charlotte, NC Double Door Inn
5/24 Asheville, NC Orange Peel
5/25 Atlanta, GA Smith's Olde Bar
5/26 Biloxi, MS MS Gulf Coast Music, Art, Craft & Seafood Festival
5/27 Biloxi, MS MS Gulf Coast Music, Art, Craft & Seafood Festival
6/02 Hagerstown, MD Western Maryland Blues Festival
6/06 Davenport, IA Redstone Room
6/07 Milwaukee, WI Shank Hall
6/08 Canton, OH Canton Blues Festival
6/09 Minneapolis, MN Famous Dave's Blues Festival
6/10 Des Moines, IA House of Bricks
6/12 Lincoln, NE Zoo Bar
6/13 Kansas City, MO Knucklehead's Saloon
6/14 St. Louis, MO Old Rock House
6/15 Chicago, IL House of Blues
6/16 Henderson, KY WC Handy Blues Festival
6/30 Silverado, CA Irvine Lake Blues Festival
8/12 Duluth, MN Bayfront Blues Festival
8/26 Marshfield, MA North River Blues Festival
9/01 Laramie, WY Snowy Range Music Festival

skaras@skhmusic.com
http://www.waltertrout.com/
http://www.mascotlabelgroup.com/

PETE GITLIN - AMPLIFY

Coming Together Records has announced Amplify, the second release from Phoenix-based guitarist and composer Pete Gitlin. Following up on Full Circle and the Great Temptation, and its #1 hit "Sunshine Days", Amplify stakes out new ground in the alternative jazz genre. Early previews of the CD describe it as "the Sgt. Pepper of smooth jazz", in that each of the ten tracks are very different, and yet they hang together as an inspiring and uplifting work.

Far from playing it safe, Gitlin and his producer, John Herrera, from the legendary Arizona fusion band Turning Point, have crafted a dizzying array of styles and songs, from the pure smooth jazz of the joyous single "Lucky in Love", to the neo-soul of "Soul Connection", to the raunchy beat of "Reggaetown", to the country/jazz feel of "Cowboys and Indians", to the Philly-soul sound of "Until the Morning Comes". A truly unique work, with production and excitement rare in the smooth jazz genre.


Plus there are fantastic performances from a variety of notable jazz stars, including:
•Cindy Bradley - trumpet and flugelhorn
•Jeff Kashiwa (The Rippingtons and Sax Pack) - saxophones, flutes and EWI (electronic wind instrument)
•Dominic Amato - saxophones, EWI and vocoder
•Michael Broening - keyboards
•Mel Brown - bass
•Dennis Rowland (former Count Basie vocalist) - vocals

Pete Gitlin is a guitar player, bassist and composer who is creating a new kind of jazz…part smooth, part contemporary, part funk, part rock…call it alt jazz. With such varied influences as Pat Metheny and Miles Davis, Lee Ritenour and Larry Carlton, the Beatles and Steely Dan, Pete looks beyond the labels attached to musical styles while searching for the passion and melody behind his own unique music. Having played in rock, fusion, and funk bands in his teens and twenties, Pete took a break from his musical career to raise his family, achieving high levels of success in the technology world as a Vice President at a Fortune 500 company.
 
But in April of 2007 he decided to take the plunge and devote 100% of his time to writing and performing. Through a series of magical events he met drummer and producer John Herrera from the legendary Phoenix band Turning Point. John heard the potential in Pete’s music, and a collaborative effort began. The result of this partnership is Full Circle and the Great Temptation – featuring Pete’s stellar guitar work ably supported by respected jazz musicians Jeff Kashiwa from the Grammy award-winning smooth jazz band The Rippingtons on sax, Mel Brown (Wayman Tisdale and Eric Darius) on bass, Michael Broening (Grammy award winner with George Benson and Al Jarreau) on keyboards, Dominic Amato on sax, and of course John Herrera on drums and percussion.
 
Also participating in the project are vocalist and pianist Rachel Eckroth on the adult contemporary radio ready “Golden Love Light” and vocalist Jodi Light on the smooth and refreshing “Sunshine Days”, as well as pedal steel guitar maestro Mike Smith on the brilliant “Sunrise”.
 
http://www.petegitlin.com/

JAZZ CLUB RELEASES FROM MONTY ALEXANDER, LEE RITENOUR & QUINCY JONES

MONTY ALEXANDER - PIANO GENIUS

Pure genius from pianist Monty Alexander – a collection that features some of his greatest recordings for MPS! Sometimes, there's a special sort of magic that happens between a player and a label – and that's definitely what happened with Alexander at MPS Records during the 70s – a whole new level of his playing that never came out with other labels – and which, despite countless other recordings in later years, may not have ever sounded this great again! There's a sense of freedom to the MPS recordings – a unique approach to rhythm that really works well with Monty's touch on the keys – and which makes the tunes, although often just trio or quartet number, supremely groovy from the ground up. Titles include "So What", "Theme From Shaft", "Montevideo", "Brown Skin Girl", "We've Only Just Begun", "You Are The Sunshine Of My Life", "Here Comes The Sun", and "Theme From Love Story". ~ Dusty Groove

LEE RITENOUR - MASTERPIECES: THE BEST OF THE GRP YEARS
Sweet grooves from Lee Ritenour – a collection of the guitarist's classic recordings for the GRP label! Lee was one of the key talents who helped forge the GRP sound right from the start – that great blend of soulful and smooth that went onto have an impact on jazz for generations to come – but which is often heard best in the hands of a founder like this! Ritenour's got a great sense of space and timing, which usually keeps things far from the smooth jazz cliches that often hold back other players. There's great keyboards on many numbers – played by Bob James, Dave Grusin, and others – and titles include "Rio Funk", "13", "Butterfly", "St Bart's", "Water To Drink", "Boss City", "78th & 3rd", "Mizrab", and "Children's Games".
~ Dusty Groove

QUINCY JONES - SONGS FOR PUSSYCATS / QUINCY IN RIO
An unusual package of Quincy Jones albums – featuring variations on two American records, presented here in offbeat German versions of the 60s! First up is Songs For Pussycats, kind of a mix of Quincy Jones' Pussycat album for Mercury with some tracks from other records too – all done in that wicked mix of jazz, soundtrack, and popular themes that Quincy virtually helped invent back in the 60s! The album's got plenty of great groovers that take a popular tune and kind of turn it on its ear – takes on tracks like "What's New Pussycat", "Take Five", "Mack The Knife", "Sermonette", "Mr Lucky", and "Cast Your Fate To The Wind" – all of which are souped-up by Quincy, and done in a rhythmic style that takes them past familiar versions you might know. Quincy In Rio is a set that seems to be the famous Big Band Bossa Nova album at the start, but which also features tracks from other 60s albums too – showing a whole new fresh side to Quincy's genius in a jazz bossa mode! Arrangements are very lively, with lots of great percussion underneath the soaring big band charts – and titles include "Bossa Nova USA", "Desafinado", "Jive Samba", "Baia", "The Gentle Rain", "Non-Stop To Brazil", "Samba De Una Nota So", and "I Love You & Don't Forget It". ~ Dusty Groove

RARE LATIN BOOGALOOS, FANIA ALL-STARS & AFRO LATIN VINTAGE ORCHESTRA

LONG LIVE BOOGALOO – RARE LATIN BOOGALOOS FROM SPANISH HARLEM 1963 TO 1972

Killer cuts from the glory days of the Latin Soul scene – and a really nice little set that goes way beyond other collections of this nature! All tunes are hard-burning Latin groovers, with plenty of jazz in the instrumentation, and lots of soul in the vocals – but what really makes the package stand out is the way it brings together tracks that aren't compiled as often as others – including a number of gems from the Decca and Mercury labels of the 60s, mixed with other smokers from the Fania family of labels! Great all the way through, and with a whopping 22 tracks that include "Mia's Boogaloo" by Ozzie Torrens, "Chicken & Booze" by Manny Corchado, "The Boogie Man" by Louie Ramirez, "We Belong Together" by Herbie Oliveri & The Latin Blues Band, "Bataola Boogaloo" by Bobby Quesada & His Band, "Dance The Boogaloo" by Johnny Zamot, "Funky Shingaling" by King Nando, "Be's That Way" by Willie Bobo, "Straw Boss" by Lenni Sezar, "Cookin With A&J" by Johnny Rodriguez & Angel Rene, "Lost In The Jungle" by La Cucaracha Brass, "Boogaloo Sabroso" by Monguito Santamaria, "Marilu" by George Guzman, "Funky Big Feet" by Bobby Valentin, and "Lucy's Spanish Harlem" by Louie Ramirez. ~ Dusty Groove

FANIA ALL-STARS – LIVE JUNE 11, 1994 – PUERTO RICO (CD/DVD)

A tremendous concert from the Fania All Stars – recorded on the 30th anniversary of the Fania label, and with enough fire and soul to show that the group hasn't dimmed at all over the years! This performance is really a reunion of the group from the classic years – as it features many of the best artists to work under the Fania All Stars name – including Celia Cruz, Johnny Pacheco, Eddie Palmieri, Ray Barretto, Bobby Valentin, Roberto Roena, Larry Harlow, and many many others – all grooving tightly on a double-length set of tracks! Tunes are a bit shorter than the old days, but still have plenty of room for participants to do their thing – and titles include "Quitate La Mascara", "Puerto Rico/Adoracion", "Azuquita Mami", "Busca Lo Tuyo", "Tres Pianos/Guajira", "Vamanos Pal'Monte", and "Su Gente". ~ Dusty Groove

AFRO LATIN VINTAGE ORCHESTRA - AYODEGI

Global jazz and funk from the excellent Afro Latin Vintage Orchestra – a group that works quite a timeless mode, actually – with strains of Nigerian jazz funk, Latin percussion and rhythms, 70s jazz funk and grittier funky soul throughout Ayodegi! What's so exceptional about this group is the seamless way they pull eclectic styles together without it ever feeling like they're genre hopping – there's an intuitive flow to the material that's totally cohesive. The group has 10 members, laying down an array of great percussion, horns, keys, guitar and vocals. Wonderful stuff! Includes "Ayodegi", "Orient Express", "Mamadou", "Theme Jazz", "Fusion", "Presentations", "Oldskool Trip", "JB & Ben On Faya", "Superstar" and "TNT". ~ Dusty Groove

PETE FORNATELE, LONGTIME NEW YORK RADIO DJ, DEAD AT 66

April 26, 2012
By Billboard staff
Longtime New York radio disk jockey and author Pete Fornatale, best known for his long stints on WFUV-FM and WNEW-FM, died Thursday morning at the age of 66. According to New York's Daily News, He suffered a brain hemorrhage on April 15 and been in intensive care for the last week. What follows is an obituary provided by WFUV (90.7 FM, wfuv.org) - the station will offer an on-air celebration of his life and career on Saturday, May 5 from 4 to 8 p.m.

"This is a devastating loss, not just for his family, friends, and colleagues at WFUV, but for radio listeners everywhere," said Chuck Singleton, interim general manager of WFUV. "Pete was a beloved air personality for four decades and a master communicator. His influence as a pioneer of progressive FM radio is almost incalculable."

A native of The Bronx, Pete Fornatale got his start in radio in 1964 as a Fordham University undergraduate, hosting a program on WFUV called Campus Caravan. At a time when rock on the radio was confined to Top 40 AM stations, Fornatale spun records by lesser-known artists, played deeper album cuts than the current hit singles, and conducted soul-searching interviews with artists such as The Beach Boys, The Mamas and The Papas, and Simon & Garfunkel, all of whom came through Fordham on tour. "The complete freedom to put this package together, for better or for worse stamped me then and is still with me today," Pete reflected in 2001.

After graduating from Fordham in 1967, Fornatale taught for several years before beginning his professional career in the summer of 1969 at WNEW-FM in New York. (On his first program he read a commercial for the Woodstock Festival, which was happening in two weeks.) He hosted several different shifts at WNEW-FM before launching his Sunday morning program, Mixed Bag, in December, 1982. As the name implies, the program was designed to be a reflection of Fornatale's eclectic musical taste. Inspired by a fan letter from Suzanne Vega, he helped launch the careers of many singer-songwriters, including Vega, John Gorka, and Christine Lavin. Grammy winner Shawn Colvin told The New York Times in 2001, "Pete helped pave the way for so many of us. He was a rare guy in radio then."

Over the years he conducted in-depth interviews with hundreds of performers, including Paul Simon, Joni Mitchell, Leonard Cohen, Carly Simon, Dion, and James Taylor. The key to a successful interview, he said, was "establishing trust." One of his frequent guests, Peter Yarrow of Peter Paul & Mary, recounted, "When we would talk together, the nature of our discussions would be very personal, very deep, and very revealing. They were the kind of in-depth discussions you rarely hear in the media."

In 1991 Fornatale moved the program to WXRK (K-Rock), where it was renamed The Sunday Show. In 1997 he returned to WNEW-FM when it launched a format of "Classic Rock with Classic Jocks." He came full circle to WFUV in 2001 as the host of Mixed Bag on Saturdays from 4-8 pm. The latter-day Mixed Bag typically focused on a single theme each week, with Fornatale drawing on his encyclopedic knowledge of music for songs to illustrate that week's theme and engaging his listeners in the process through the program's online bulletin board.
That knowledge and passion for music was also reflected in his career as an author. He wrote or co-wrote six books: Radio in the Television Age (a textbook), The Rock Music Source Book, All You Need Is Love: And 99 Other Life Lessons from Classic Rock Songs, The Story of Rock & Roll, Simon & Garfunkel's Bookends, and Back to the Garden: The Story of Woodstock. At the time of his death, he was working on a book on the Rolling Stones.

The positive response to his books led Fornatale to develop multimedia programs that utilized his personal recollections, his sense of humor, and interview segments to tell the story of Woodstock and Simon & Garfunkel at schools, libraries, and coffee houses. The veteran folk duo Aztec Two-Step frequently appeared with Fornatale on the Simon & Garfunkel's Bookends programs. More recently, Art Garfunkel was an unannounced guest at some of the Simon & Garfunkel: "How Terribly Strange to Be 70" programs.

For many years Pete Fornatale was on the board of World Hunger Year (now known as WhyHunger), the organization co-founded by Harry Chapin and Bill Ayres in 1976, and served as an eloquent co-host of many annual Hungerthon radio fundraisers. Ayres, his Hungerthon co-host and executive director of WhyHunger, said, "Pete and I were friends for 45 years. It is amazing how much good came from Pete Fornatale through his radio work and his work with WhyHunger."

Fornatale also had a presence on television. He co-hosted the 1991 HBO telecast of Paul Simon Live in Central Park and regularly served as expert guest commentator on PBS specials featuring Bob Dylan, John Fogerty, The Grateful Dead, Jimi Hendrix, Roy Orbison, Peter, Paul and Mary, Simon & Garfunkel, James Taylor and others.

His work has been recognized with many awards, including The New York Council of Churches Award for Broadcast Excellence (1976), the Armstrong Award for Excellence in Musical Programming (1983), The New York Folk Festival Special Folks Award (1984), The World Folk Music Association Award for Making a Difference in Broadcasting (1992, The New York AIR Award for Achievement in Radio in (1998), and, this past February, the AMEE Award for Excellence in Broadcasting from the AFTRA (American Federation of Television and Radio Artists) Foundation.

Dennis Elsas, WFUV's afternoon host, said, "Pete Fornatale was a radio innovator. His vision of programming music and entertaining his audience was unique and original. I heard that the first time I discovered his Campus Caravan show on WFUV in 1967. I would watch that grow as we became close friends and then be lucky enough to work together for so many years at WNEW-FM and WFUV. It is hard and sad for me and his devoted listeners to imagine the New York radio dial without him."

Next to music Fornatale's biggest passion might have been baseball. When asked the question, "What wacky thing would you if you had the time (or guts)?" he replied, "See a game at every Major League ballpark in the American and National League (The 'guts' part is that I don't like to fly)."

He is survived by his three sons: Peter, a book editor (who worked with his father on several books); Mark, a wine importer; and Steven, a New York City police officer. Donations in his name may be made to Why Hunger.
 
http://www.billboard.biz/bbbiz/genre/rock-and-pop/pete-fornatale-longtime-new-york-radio-dj-1006891952.story

HERBIE HANCOCK & UNESCO ANNOUNCE THE FIRST ANNUAL INTERNATIONAL JAZZ DAY FEATURING ALL-STAR CONCERTS

UNESCO Director-General Irina Bokova and UNESCO Goodwill Ambassador Herbie Hancock have  announced International Jazz Day to be held April 30th of every year. In partnership with the Thelonious Monk Institute of Jazz, the initiative- Hancock’s first major program introduced as a Goodwill Ambassador-will encourage and highlight intercultural dialogue and understanding through America’s greatest contribution to the world of music. International Jazz Day will foster and stimulate the teaching of jazz education with a particular emphasis placed on children from disadvantaged communities in classrooms around the world and will be offered to all 195 member states of UNESCO.

Said UNESCO Director-General Bokova, “The designation of International Jazz Day is intended to bring together communities, schools and other groups the world over to celebrate and learn more about the art of jazz, its roots and its impact, and to highlight its important role as a means of communication that transcends differences”.

In an address to UNESCO officials, Herbie Hancock said, “Please take a moment and envision one day every year where jazz is celebrated, studied, and performed around the world for 24 hours straight. A collaboration among jazz icons, scholars, composers, musicians, dancers, writers, and thinkers who embrace the beauty, spirit, and principles of jazz, all of them freely sharing experiences and performances in our big cities and in our small towns, all across our seven continents.” He went on to say, “Music has always served as a bridge between different cultures; and no musical art form is more effective as a diplomatic tool than jazz.”

In anticipation of April 30th International Jazz Day, the celebration will kick-off on April 27th at UNESCO Headquarters in Paris with a daylong series of jazz education programs and performances. An evening concert will feature Herbie Hancock, Dee Dee Bridgewater, Marcus Miller, Hugh Masekela, Lionel Loueke, Tania Maria, Barbara Hendricks, Gerald Clayton, Terri Lyne Carrington, John Beasley, China Moses, Ben Williams, and Antonio Hart, and others to be announced. The daytime events will include master classes, roundtable discussions, improvisational workshops, and various other activities.

International Jazz Day will be celebrated by millions worldwide on Monday, April 30th and will begin with a sunrise concert in New Orleans’ Congo Square, the birthplace of jazz. The event will feature a number of jazz luminaries along with Hancock including Dianne Reeves, New Orleans natives Terence Blanchard, Ellis Marsalis, Treme Brass Band, Dr. Michael White, Kermit Ruffins, Bill Summers, and others.

The world-wide programs and events will conclude in New York City at the United Nations General Assembly Hall with an historic sunset concert certain to be one of the most heralded jazz celebrations of all time, with confirmed artists including Richard Bona (Cameroon), Dee Dee Bridgewater, Danilo Perez, Derek Trucks and Susan Tedeschi, Jack DeJohnette, Herbie Hancock, Jimmy Heath, Zakir Hussain (India), Angelique Kidjo (Benin), Lang Lang (China), Romero Lubambo (Brazil), Shankar Mahadevan (India), Wynton Marsalis, Hugh Masekela (South Africa), Christian McBride, Dianne Reeves, Wayne Shorter, Esperanza Spalding, Hiromi Uehara (Japan) and others to be announced. George Duke will serve as Musical Director. Confirmed Co-Hosts include Robert De Niro, Michael Douglas, Morgan Freeman and Quincy Jones.

The concert from the United Nations will be streamed live worldwide via the United Nations and UNESCO websites, and will also be post-broadcast on United Nations Radio.

Tom Carter, President of the Thelonious Monk Institute of Jazz, said, “The Institute is pleased to be a partner with UNESCO in presenting educational programs and performances as a part of International Jazz Day. For more than a century, jazz has helped soothe and uplift the souls of millions of people in all corners of the globe. It stands for freedom and democracy, particularly for the disenfranchised and brings people of different cultures, religions, and nationalities together.”