FELA - LIVE IN DETROIT 1986

New York's Knitting Factory Records presents the release of Live In Detroit 1986, the first new Fela Kuti material to be issued since his final studio album, Underground System, in 1992. Recorded live at the Fox Theater in Detroit in November 1986, the concert marked a triumphant return to the USA for Fela. He had tried to leave Nigeria to tour the States two years earlier before being arrested and imprisoned on dubious charges of "currency trafficking". An Amnesty International campaign helped secure his release in April 1986 and, just two months later, he appeared on stage as part of Amnesty's Conspiracy Of Hope American tour.

The evening's audio recorder, Bob Teagan, recalls the '86 Fox Theater show, "It was like seeing Boby Marley, Frank Sinatra, Michael Jackson, Marvin Gaye, and James Brown all rolled into one. Fela captured the revolution of Marley, the love of Marvin Gaye, he sung with a rare and exquisite charcoal voice like Sinatra but he would scream himself out and go hoarse by the end of the three hour marathon show, all the while he danced like Michael Jackson or a ballerina, and captivated the crowd with the showmanship of James Brown...Coming into the Fox Theater, Fela was well aware that it was the same venue that birthed the careers of Marvin Gaye, Stevie Wonder, and it was the epicenter of Motown. These were all profound influences on Fela and he did those artists justice with his performance, dancing all across the massive stage and inciting the crowd to move with him."

The Detroit concert was part of Fela's debut US tour with his Egypt 80 band and the recording finds them on strident form, showcasing all-new material in free-flowing extended workouts: "Just Like That" recalls Fela's memories of the Nigerian Civil War; "Confusion Break Bones" (an update of his earlier track, "Confusion"), compares the present African situation to a permanent traffic jam at a town center crossroads; "Teacher Don't Teach Me Nonsense" swipes at the oyinbos (white men) forcing sham versions of democracy on Africa and allowing "democratic" rulers to line their own pockets at the expense of the people while foreign-owned multi-nationals are allowed to freely strip the continent of its natural resources; "Beasts Of No Nation" reflects on Fela's recent court case and imprisonment in Nigeria and, more widely, on the issues around Apartheid. The messages here resonate as powerfully as anything from Fela's career.

The tracks featured in the concert would appear on studio albums: Teacher Don't Teach Me Nonsense during the same year, produced with Compass Point studios mainstay Wally Badarou, then Beasts Of No Nation and O.D.O.O. (Overtake Don Overtake Overtake) in 1989. Often overlooked in favour of the punchier sound of Fela's recordings with Africa 70, these later recordings are deeply soulful affairs, at times melancholy, marked by lengthy, complex and freeform arrangements.
Live In Detroit, 1986 is released on May 8th by Knitting Factory Records.

~ glidemagazine.com

NEW RELEASES - THE SULTANS OF SOUL, LOVERS ROCK IN THE UK, EL BARRIO - LATIN FUNK

THE SULTANS OF SOUL

A nice collection of rare soul – a variety of souful gems from as far back as the late 60s, spanning the 70s and stepping into 80s – all produced by Hadley Murrell! Murrell was a regional resource for all things soul in the Phoenix scene during the 70s, but we learned a lot more about him from this set. For one, he operated in LA for time, plus we can see just diverse and adaptable his production work and songwriting is! The tracks here are rooted in raw soul, but from there it branches out into laidback harmony laden-numbers, driving psych soul, funk, lush string-accented groovers and more. There's some names here we recognize and others that's are new to us – and it's strong stuff all the way through! 18 tracks in all: "Shakedown" and "The Wine Is Bitter, But The Grapes Are Sweet" by Black Ice, "The One Who's Hurting (Is You)" by Roy & The Dewdrops, "I Like What You're Doing" and There's One One Else" by Eddie Horan", "I'm A Winner" by Smoked Sugar, "Ain't That What You Want" by Liquid Blue, "I Am Somebody" and "Mama Told Me To Watch Out" by Freddi-Henchi & The Soulsetters, "You Ought To Be With Me" by Carl Weathers (yep. . .Apollo Creed/Action Jackson himself!), "Larry, Move Your Hand" by Penguin Feet & The Tar Drop Kid and more. (Nice, hardbound book-like package full of notes & photos, too!) ~ Dusty Groove

HARMONY, MELODY & STYLE – LOVERS ROCK IN THE UK 1975 TO 1992 PART 2

Part soul music, part Caribbean sounds – and a much-needed look at the lover's rock genre in reggae – that unique blend of Jamaican rhythms and American soul that took place in the British scene of the 70s and 80s – and created some pretty amazing records overall! There's definitely echoes here of the reggae styles you'd know from big Kingston recordings of the 70s – but there's also a mellower, more laidback mode as well – yet one that's warmed up a bit by more soul-styled production – creating a sound that's almost linked to some of the American midtempo soul that was playing big on the steppers scene. Once again, our hat's off to Soul Jazz for doing such a great job with the project – pulling together excellent work from overlooked recordings – and finding a way to help send it all home with great notes and track selection. Titles on this second vinyl volume include "Stop & Think It Over" by Full Wood, "Caught By Love" by Christine White, "Paradise" by Jean Adebambo, "People Make The World Go Round" by The Cool Notes, "Thinking Of You" by Candy McKenzie, "We've Got One" by Wendy Walker, "Even Though You're Gone" by Louisa Mark, and "Goodbye My Love" by The Sadonians. ~ Dusty Groove

EL BARRIO – LATIN FUNK: NY YORICAN FUNK 1968 TO 1976

Heavy funk with a Latin groove – a wonderful mixing of modes that's completely fresh and unique! The set follows nicely off other El Barrio explorations of late 60s Latin Soul, and traces the groove that emerged in its wake – a blending of hipper funky styles in the 70s with some of the bolder, prouder Latin modes of the time! Unlike Latin Soul, which was concentrated enough to get strong attention at the time, Latin Funk was often a bit more dispersed – just a track here and there, scattered over albums by both older artists and lesser-known newcomers – some of whom gave more famous acts a real run for their money. This overstuffed collection does a great job of pulling together tracks from a variety of different albums over an 8 year span – and it's a perfect introduction to an under-compiled genre that's finally getting its due! Track selection and notes are by the mighty Adrian Gibson – and titles include "You Need Help" by Monguito Santamaria, "Identify Yourself" by Cafe, "Dynamite" by Harvey Averne, "I'm Satisfied" by Joe Bataan, "Together" by Ray Barretto, "Guajiro Bacan" by Azuquita, "Funky Felix" by Seguida, "I Got The Feeling" by Chollo Rivera & The Latin Soul Drives, "There You Go" by Fania All Stars, "I'm Gonna Get To You Yet" by TNT Boys, "Black Dice" by Mongo Santamaria, and "Hot Pants" by Gilberto Cruz. ~ Dusty Groove

THE CONSTELLATIONS - DO IT FOR FRE

The Constellations, astute purveyors of Atlanta's rock/soul underbelly, have signed with 429 Records and are gearing up for the release of  Do It For Free — their debut album for 429 and the follow up to their acclaimed debut Southern Gothic. Led by Elijah Jones, and featuring Wes Hoffman (bass), Travis Phillips (guitar), James Gordon (keyboards) and Shane Hoffman (drums)—the band reinforce their reputation for hard swinging alt beats but have honed their musical outlook concentrating on muscular grooves and a more soulful melodicism. Produced by Andy Rose, the swirling funk anchored by the B3 and Fender Rhodes Organ provides the perfect backdrop for the band's trademark gritty songwriting. Known for their live show, the band will perform on the entire Warped Tour this summer.

The band is hosting a remix contest on Indaba for their single "Back in Atlanta." The contest live at: http://www.indabamusic.com/opportunities/the-constellations-back-in-atlanta-remix-contest. Submissions are due by May 22nd and prizes include VIP passes to The Warped Tour, a meet and greet with the band, and $500 cash. The winner will be announced on the album release date.

In addition, Rolling Stone.com is offering a free download of "Right Where I Belong"—visit: http://www.rollingstone.com/music/news/mp3-download-the-constellations-right-where-i-belong-20120507. "DO IT FOR FREE" will be released on 429 Records on June 12, 2012.

Perfectly suited for the Warped Tour, the Constellations are constantly touring—taking every opportunity to hit the road. Much of the inspiration for Do It For Free came to light after months on the road. Elijah also connects his active involvement with the Occupy Movement with some of the inspiration for Do It For Free — the title a reference to the 99 Percenters as well as the band's dedication and love for playing live no matter what the costs or profit.

Says Elijah Jones: "We've been on the road for what seems like forever and a lot has changed musically since our first release. We're changing what The Constellations sound can and will be defined as. While there was no overall concept going into the writing and recording of Do It For Free, we knew we wanted to make something that sounded a little more soulful, with more melodic songwriting and less rapping. We wanted it to be defined under one musical umbrella instead of doing all the stylistic jumps."

Track Listing:
Black Cat
Afterparty
Right Where I Belong
All My Great Escapes
Back in Atlanta
Let It Go
Do It For Free
The Ol' Speakeasy
The Breeze
April
Side By Side
Let's Get Paid
Hallelujah

Warped Tour Dates:
6/16 - Salt Lake City, UT, Utah State Fairpark
6/17 - Denver, CO, Sports Authority @ Mile High
6/20 - Las Vegas, NV, Luxor Hotel Parking Lot
6/21 - Irvine, CA, Orange County Great Park
6/22 - Pomona, CA, Pomona Fairplex
6/23 - San Francisco CA, AT&T Park
6/24 - Ventura, CA, Ventura County Fair
6/27 - Chula Vista, CA, Cricket Wireless Amphitheatre
6/28 - Phoenix, AZ, Camelback Park
6/29 - Las Cruces, NM, NMSU Practice Field
6/30 - San Antonio, TX, AT&T Center
7/1 - Houston, TX, Reliant Park
7/3 - Dallas, TX, Gexa Energy Pavilion
7/5 - Maryland Heights, MO, Verizon Wireless Amphitheatre
7/6 - Auburn Hills, MI, The Palace of Auburn Hills
7/7 - Tinley Park, IL, First Midwest Bank Amphitheatre
7/8 - Shakopee, MN, Canterbury Park
7/9 - Bonner Springs, KS, Sandstone Amphitheatre
7/10 - Noblesville, IN, Klipsch Music Center
7/11 - Cuyahoga Falls, OH, Blossom Music Center
7/12 - Burgettstown, PA, First Niagara Pavilion
7/13 - Holmdel, NJ, PNC Bank Arts Center
7/14 - Montreal, Canada, Parc jean Drapeau
7/15 - Toronto, CA, The Flats at Molson Canadian Amphitheatre
7/17 - Darien Center, NY, Darien Lake Performing Arts Center
7/18 - Scranton, PA, Toyota Pavilion
7/19 - Mansfield, MA, Comcast Center
7/20 - Camden, NJ, Susquehanna Bank Center
7/21 - Uniondale, NY, Nassau Veterans Memorial Coliseum
7/22 - Hartford, CT, The Comcast Theatre
7/24 - Columbia, MD, Merriweather Post Pavilion
7/25 - Virginia Beach, VA, Farm Bureau Live
7/26 - Atlanta, GA, Aarons Amphitheatre at Lakewood
7/27 - Orlando, FL, Central Florida Fairgrounds
7/28 - Wellington, FL, Cruzan Amphtitheatre
7/29 - St. Petersburg, FL, Vinoy Park
7/30 - Charlotte, NC, Charlotte Verizon Wireless Amphtitheatre
7/31 - Cincinnati, OH, Riverbend Music Center
8/1 - Milwaukee, WI, Marcus Amphitheatre
8/4 - Redmond, WA, King County Marymoor Park
8/5 - Portland, OR, Rose Quarter Riverfront

RICHIE CANNATA'S SELF-TITLED DEBUT RELEASE

He’s worked with Billy Joel, Celine Dion, Jennifer Lopez, the Beach Boys, Bernie Williams and the list goes on. This New Yorker, born and raised in Brooklyn then Long Island has music in his blood. Richie Cannata studied classical piano growing up, but it doesn’t stop there. He also studied the clarinet, flute, keyboards, and saxophone with the tenor saxophone being his forte.

In his 20’s Richie performed and toured with Billy Joel. Richie often returns to perform on stage with Billy Joel, most recently on the New Years Eve 2000 Millennium Show at Madison Square Garden along with a 12 show run in 2006.

During the mid 1990’s Richie toured with the Beach Boys. In his experience with them he also worked with John Stamos as he and the Beach Boys would appear on the hit sitcom, “Full House” together. “John Stamos was always fun and made my performances memorable. The best episode for me was with Little Richard and then again all the episodes were fantastic.” He recently also contributed to Brian Wilson’s new CD.

Richie is not only a professional musician but also a music producer. He has produced albums for Phoebe Snow, Rita Coolidge, Corey Hart, and Tommy Shaw. Cove City Sound Studios is also a favorite for major headliner names to record their upcoming music. One of the most recent was Jennifer Lopez for her hit song, “On the Floor.” Richie’s musical work can also be heard in the motion pictures “Remo Williams – The Adventure Begins” and “Slaves of New York.”

All of Richie’s extensive work behind the scenes in music lead him to open “Cove City Sound Studios.” This is a state of the art recording studio in Glen Cove, New York Richie co-owns with his son Eren Cannata.

Richie currently is working on many production projects at Cove City Sound Studios in addition to hosting Monday Night Jams at the Bitter End. He also is the musical director of former New York Yankee and Latin Grammy nominated jazz artist, Bernie Williams and his band. In 2011 Richie released his debut solo album titled, Richie Cannata sold online now. “Being the owner of Cove City Sound Studios I never had the chance to get into my own studio and record a CD. This year I did and the results have been awesome. I would love it if people would support this live music so we can play shows throughout the world and make a in CD in the future.” To pick up your copy visit www.itunes.com.

~ richiecannata.com

ABLAYE CISSOKO & VOLKER GOETZE - AMANKE DIONTI

The music that German-born and New York City-based trumpeter Volker Goetze and Senegalese vocalist and kora player Ablaye Cissoko create, transcends both geographic and musical boundaries. When the duo first came together for their 2008 debut, Sira, their collaboration resulted in a unique musical synthesis that fused the timeless tradition of the storyteller/griot with a modern perspective. On their Motema Music debut, Amanke Dionti (May 8), Goetze and Cissoko have once again set out on an spiritual sonic journey, one that ranges from the desert and coast of West Africa to the urban landscapes of New York and Paris and which addresses themes of our ancient spiritual roots, and our hurried, dehumanized modern strife. In the tradition of the griot, Cissoko attempts to mend our souls with music, and with Goetze as his partner and champion, he succeeds, as their recordings are truly soul soothing.

Goetze says that the music on Amanke Dionti evolved during the extensive touring schedule he and Cissoko have kept up since the release of Sira. “You can say that Sira came about intuitively, while by the time we recorded Amanke Dionti, we were much more aware of the elements that make our pairing work,” he explained. Performing internationally certainly provided the duo with ample space in which to further define their unique chemistry, whether it was during sound checks, backstage, or performing live. And while the spirit of improvisation is key to the almost meditative essence of their sound, Goetze also emphasizes that Amanke Dionti is equally about focus. “When we play, we are simply playing in a state of mind much like meditating. Any great performer knows how to get into his ‘zone,’ and it amazes me that we can stay in that zone for over an hour every time we perform live. Of course, the energy of the audience helps. But when we are recording, it’s important to spend as much time as necessary in that place as well, not for the sake of perfection, but to allow that same moment of peace to enter. If one meditates, you know that we cannot stay ‘in the moment’ for very long. It’s hard work. The mind wanders. One continually needs to bring it back to the present, to the breath.”

For the making of Amanke Dionti, Goetze and Cissoko opted to skip the sterile environment of the recording studio in favor of recording in the very special environment of Bon Secours, an historic all wooden church in Paris that dates back to the mid-nineteenth century. “Playing acoustic enabled us to interact with a greater dynamic. Rooms with a natural reverb are perfect for the kora, voice and trumpet. An all wooden church provides that perfect environment, while the spiritual, mystical nature of the space itself served the spirit of our music.”

Cissoko, who comes from a long line of griots – West African storytellers and praise singers who are the repositories of the oral tradition of their people, addressing personal and social matters through music – utilizes the platform of his recordings with Goetze to create a new paradigm for his traditional role. The subjects of his compositions are both personal and universal, based on experience and observation. The serenity of the opening track, “Kanan Maloundi,” mirrors the griot’s appeal for society to respect art and its fragility through the lyric, which is in Mandinka. Cissoko’s exquisite vocals, accompanied by the serene interweaving of kora and trumpet, are the hallmark of the sound and style that have earned the duo accolades around the globe.

“Amanke Dionti,” which can be translated to “She is Not Your Slave,” is sure to create controversy in Cissoko’s home country of Senegal, as it tackles one of the least public but still very troubling societal issues facing the Senegalese people. Cissoko’s lyrics exhort respect for the thousands of young women, who are sent by their starving families in the poorest remote areas to serve as maids for more prosperous urban families. These young women hope to work in exchange for food, shelter, education and certainly more money than they ever might have been able to earn had they remained at home, but instead many are exploited and treated as nothing more than slaves. By openly addressing these conditions, Cissoko is violating a taboo in his homeland: While the role of the griot may have been to speak out about those things that ordinary people were not allowed to address, Cissoko takes these issues to an international audience, becoming in essence a “global griot.”

Goetze’s somber trumpet opens the wistful “Togna,” as Cissoko’s lyrics offer a message of tolerance and respect. Goetze interprets: “People who disrespect and harm others because of race or religion, are really just crying out for love. One can only hope that they will learn to love themselves before they disintegrate into violence.” Being true to one’s own heart is at the heart of Amanke Dionti’s up-tempo “Silo,” which Cissoko says translates as “straight path.” With no vocals and only the lively interplay of the two instruments, the song moves forward with a surety that echoes its underlying message. The flowing and sparkling “Flueve” was written in homage to the Senegal River, which finds its end at the Atlantic Ocean in Saint-Louis, Cissoko’s hometown.

The song “Haiti” speaks not only of the natural devastation caused by the 2010 earthquake, which killed over 300,000, injured another 300,00 and left over one million people homeless, but also of the suffering caused by the ensuing political greed and corruption. Cissoko again fulfills an important function of a griot: preserving the oral culture and history of important events in a time when written language was non-existent.

Amanke Dionti closes with “Miliamba,” which is traditional in its origin, relating the story of a virgin sacrifice to the ancient gods. “For me, it represents all those unwilling offerings we experience through injustice and intolerance,” says Goetze in explanation of the duo’s decision to include it on the CD. “It has a healing sadness for me.”

Also included on the CD is an excerpt from Griot, the documentary film by Goetze that stars Cissoko. The film was shot in Senegal, back when the two were working on Sira. Until then, Goetze had not known much about griots, but once his interest had been piqued, he wanted to share what he’d learned with a larger audience. Eventually, he came to collaborate with Academy Award-nominated documentarian Sam Pollard (who has also worked with Spike Lee) on the film, which is currently being readied for submissions to film festivals internationally, and which had its first pre-screening at Womex in 2011. Ablaye Cissoko and Volker Goetze played together for the first time in Senegal with the African-European Jazz Orchestra as the opening act for Youssou N’Dour in 2001. They soon discovered that despite their many cultural differences, their common personal and musical sensibilities resulted in a deep friendship which in turn gave rise to shared artistic and social goals. Cissoko’s interest in jazz and Goetze’s interest in West African music were wonderfully complimentary prerequisites for a fascinating and mysterious dialogue, which Cissoko succinctly captures by saying, "De notre diversité s'élève une force," which translates to, “From our diversity, grows a force.”

German-born and New York City-based Volker Goetze has collaborated with many important artists in both the jazz and world music arenas, including Nana Vasconcelos, Craig Handy, Peter Kowald, Markus Stockhausen and Lenny Picket. Ablaye Cissoko is considered one of the most brilliant proponents of the kora, a 21 string harp-lute, and is equally noted for his emotional, evocative vocals. His incredible talents have led him to work with such acclaimed artists as Motema label-mate Randy Weston, and the respected world music artist Omar Pene.

Their 2008 debut, Sira, met with powerful international acclaim. The Boston Globe lauded the CD as “a quite gem,” and All About Jazz raved, “A breath of fresh air….Sira provides an oasis of calm in which to pause and rest, to reflect and be moved…” BBC World on 3 extolled the CD as “a wonderful collaboration of culture and languages,” while in France, Jazzman’s 4 Star review stated, “Sira marks a true meeting of the minds…a hymn to simplicity and to the universality of music. Beautiful.”

In keeping with the strong element of social conscience that permeates their lives and work, Cissoko and Goetze realized that their partnership would have even greater cultural significance if their creative alliance could benefit local communities in West Africa. The artists are donating 10 percent of their profits from Sira and Amanké Dionti to Tostan, an organization whose mission is to empower African communities to bring about sustainable development and positive social transformation based on respect for human rights.

~ Motema

LAKECIA BENJAMIN - RETOX

Charismatic and dynamic saxophonist/bandleader Lakecia Benjamin, who has played with Stevie Wonder, Alicia Keys, The Roots and Macy Gray, will take center stage in her own right with the June 12 release of her unconventional soul/funk album, RETOX, on Motéma Music.

While she’s made quite an impact with her impressive sax work on stage and on record, Benjamin opted to take a slightly different tack on RETOX, allowing her talents as a composer and producer to share the spotlight with her funky sax struts. In fact, several of the CD’s 12 tracks don't even feature sax. "This album is really a fruition of years of songwriting as much as it is a showcase for my sax playing and horn arrangements," said Benjamin. On songs like "My Love" and "Share" she’s chosen to let the vocals carry the song. "I was more concerned with doing justice to my compositions than putting a sax solo in every song."

Benjamin began her career at the young age of 12, eventually earning a scholarship at the New School and landing stints with some of the most respected artists in jazz, including trumpet giant, Clark Terry and experimental jazz icon Reggie Workman. On RETOX, she shows off her impeccable, purist jazz resume with a deep, kaleidoscopic and ingeniously arranged mix of original old school soul and funk songs as well as a Stevie Wonder classic, “Don’t You Worry ‘Bout a Thing.” An A-list of edgy vocalists, both established and emerging talent such as Krystle Warren, Amp Fiddler, Maya Azucena, Chinah Blac and Melanie Charles, join Benjamin on an album that's as electrifyingly diverse as the cast that plays on it. "I call my band SoulSquad because, even as a kid, I always wanted to play like I was in an army of funky musicians," says Benjamin.

Though her own music is immersed in the vintage sounds of James Brown, Maceo Parker, Sly and the Family Stone and the Meters as well as classic jazz, Benjamin's soaring, dance floor-friendly grooves take the classic vibe to a whole new level. The constant throughout it all is Benjamin's summery, sultry alto saxophone, adding something special, on every cut – be it a smoldering late-night ambience, an erudite, forceful jazz intensity or the tight funk multi-horn harmony sections that pepper the proceedings throughout.

Hit producer Ben Kane (D'Angelo, Krystle Warren), who engineered and co-produced the album with Benjamin, gives the tracks a rich, full-bodied analog sound, that nods to the great radio hits from the golden age of soul.

"With many artists, the musical compositions are conceived as a vehicle for that artist's own voice to shine. Working with Lakecia is a bit different in the sense that it is really the compositions themselves where she lends much of her musical voice. The goal on RETOX was to do each song justice, regardless of what role her saxophone would play. In doing so, I tried to keep a certain rawness that would allow for the soul of each song to shine though. It is that raw soul I think that unites the seemingly different genres featured on this album and reflects who Lakecia is as an artist and composer."

Benjamin's unique new contribution to the future of soul and funk is sure to win over fans of acts from Maceo Parker and Sharon Jones to Adele and Erykah Badu. In keeping with her eclectic style, the tracks are a mix of vocal and instrumental joints. Along with the blissfully peaceful “Dreams,” there are some serious party jams: the band's signature, P-Funk flavored opening track, “SoulSquad” - which evolved out of a jam at a concert sound check; “Maceo,” a period-perfect, JB's-style tribute to funky sax legend Maceo Parker; and the horn-driven groove “Get Down,” which Benjamin describes as, "A go-go feel meets James Brown, just to show that vocalists aren't the only life of the party!"

The CD’s remaining tracks cover a lot of ground as well. “Keep Talkin',” a casually seductive duet between Amp Fiddler and Tracey Nicole, mashes up a sweet mid 60’s-style soul melody with more ambitious 70’s stylings. "Growing up in the 90's in Washington Heights, I used to wake up on a Saturday morning: Sunny day, people barbecuing, sounds of Arrested Development, A Tribe Called Quest, or Common hanging in the air," says Benjamin. “On ‘Share My Life,’ I wanted to re-create that feeling.” Recreate it she does, on a track that features airy, carefree vocals by Jacoria Marzett and a cameo from rapper Whosane over a swirling, summery ambience. Benjamin relates how “My Love,” featuring the nuanced, Sarah Vaughan-esque voice of Memphis born, Parisian based Krystle Warren, addresses how love transcends mere physical attraction: "It's about walking through life and knowing you have a like-minded individual to grow with."

“Human Being” hypnotically fuses jazz and funk with gospel in an echoey blend reminiscent of Digable Planets, featuring singer Mavis Swann Poole – a friend of Benjamin's since college - out front and center. With its wickedly catchy hook, “Jump and Shout,” the first single and video from the album, holds nothing back, a driving but sultry kiss-off anthem. Benjamin had been looking for a singer to channel her lyrics' righteous rage and when she heard Chinah Blacc singing at a house party, she realized she'd found the perfect match.

The easygoing, satisfied, boudoir-pop song “Smile” bounces along with lead vocals by Benjamin's longtime friend and collaborator Maya Azucena and one of Benjamin's signature lush, balmy horn charts, along with an exquisitely warm, direct alto sax solo. And “Don't You Worry 'Bout A Thing” pays homage to Benjamin's friend Stevie Wonder: Benjamin speeds it up, reinventing it for the dance floor with Latin sabor and a tight clave beat.

The closing track, “Slow Juice,” is, says Benjamin, “a new version of ‘Juicy,’ another one of my compositions, which was originally going to be on the album. As we were listening to it in the studio one day, I asked Ben to rewind back to a certain part. I don't know what button he pressed, but the song started playing about four speeds slower. I loved it! So I decided to take out all the horn parts and vocals and create a whole new song over that groove. Hence the title: ‘Slow Juice!’"

"Lakecia is a great signing for us," enthuses Motéma president Jana Herzen. "She brings up the younger guard of our roster with impeccably jazz-infused funk and soul that’s delivered with a kind of balls to the wall rock and roll attitude." Herzen explains she first discovered Lakecia at a performance of Kit McClure's Big Band at the Mary Lou Williams Women in Jazz Festival at Kennedy Center for the Arts. "Though Lakecia wasn't a soloist on that gig, my eye was continually drawn to her. Her presence literally radiated from stage like a beacon. Backstage later that night I asked bassist Rufus Reid (also a Motéma artist) about her and he said knowingly, 'Yeah, things have been getting very personal with Lakecia lately.' He meant that she was really making her music her own. That vignette told me a lot about her. The fact that Rufus, a respected elder on the jazz scene, was watching her closely, made me take a closer look and I soon discovered she was very well loved. She’s super talented, super disciplined and terrifically unpredictable. I think she has a huge career ahead of her."

A streetwise New York City native born and raised in Washington Heights, Lakecia Benjamin has become one of the most highly sought-after players in soul and funk music. She first picked up the saxophone at Fiorello LaGuardia High School for the Performing Arts, after which she joined the renowned jazz program at New York's New School University. By that time she was already playing with renowned jazz figures like Clark Terry and Reggie Workman, which led to gigs and tours with a wide array of artists such as Rashied Ali, the David Murray Big Band, Vanessa Rubin and

James "Blood" Ulmer. With her deep jazz roots, she was soon in demand as an arranger and horn section leader, landing stints with such acclaimed artists as Stevie Wonder, Alicia Keys, Macy Gray, the Roots, and Anita Baker.

Currently, Benjamin is a featured musician and arranger for comedy star Craig Robinson and the Nasty Delicious. (Robinson, best known for his work on TV’s The Office as well as such popular films as Pineapple Express and Hot Tub Time Machine, tours regularly with the Nasty Delicious band serving as the main foil in his popular comedy act). Benjamin has also had the honor of performing at the White House at President Obama’s inaugural ball. She’s performed on four continents and her extensive recording credits include saxophone and arrangements for Santigold, Maurice Brown, the Clark Terry Big Band, Krystle Warren and Talib Kweli, among others.

On RETOX, her debut on the three-time Grammy nominated, Harlem-based Motéma Music, Benjamin follows rising label star Gregory Porter as the second in a new series of soul-jazz vocal crossover acts on the label, which first built its reputation by releasing first rate instrumental jazz. The label is also home to NEA Jazz Master Randy Weston, Grammy nominated jazz-reggae crossover innovator Monty Alexander and NAACP Image award nominee Geri Allen.
 
~ Motema

ARTURO O'FARRILL & AFRO LATIN JAZZ ORCHESTRA'S MUSICA NEUVA 5

Arturo O'Farrill's GRAMMY® Award-winning ensemble, the Afro Latin Jazz Orchestra, will conclude its 10th Anniversary season with a celebration titled, "Música Nueva 5: Big Band Poetry Jam & Beyond" at Symphony Space in New York City.

The program will celebrate the Nuyorican Poetry movement and the Latino community, and the artists will mix the classic sound of mambo, boogaloo, and salsa with hip-hop, acid jazz, and alternative improvisation. Additional guests for the evening include poet and curator Angel R. Rodríguez, Sr., as well as Tony Award-Winner Lin-Manuel Miranda and turntablist DJ Logic. Spoken word artists include Sandra María Esteves, Tato Laviera, Odilia Rivera Santos, Caridad "La Bruja" De La Luz, Circa '95 (PattyDukes & RephStar), and Christopher "Chilo" Cajigas. The arrangers for the two-night engagement include O'Farrill, Todd Bashore, Adam Kromelow, Jason Lindner, Adam O'Farrill, Jay Rodríguez, and Bill Ware.

** Rehearsals will be open to members of the media, with the opportunity to shoot B'roll. **

WHEN:
Rehearsal Dates:
Tuesday, May 8 @ Local 802
10AM-11AM: Sandra Maria Esteves & Jay Rodriguez ("Ode to the Moon")
11AM-12PM: Tato Laviera & Eddie Conde ("Guarachera del Mundo")
12PM-1PM: Christopher "Chilo" Cajigas & Jason Lindner ("They Came")
2PM-3PM: Caridad "La Bruja" De La Luz & Todd Bashore ("Nuyorico")
3PM-4PM: Odilia Rivera Santos & Arturo O'Farrill ("When I Arrived in Cuba")
4PM-5PM: Circa '95 (PattyDukes & RephStar) & Adam O'Farrill ("Free Lunch")

Thursday, May 10 @ Carroll Music
10AM-11AM: Sandra Maria Esteves & Adam Kromelow ("Ode to Being Alive")
11AM-12PM: Tato Laviera, Bill Ware, & Jorge Quevedo ("Instrument")
1PM-2PM: Lin-Manuel Miranda & Arturo O'Farrill ("Piragua")
2PM-4PM: Angel R. Rodriguez, Sr. & Arturo O'Farrill ("El Desempleo y El Joseo")
4PM-5PM: Finale

Performance Dates:
Friday, May 11 - 8PM
Saturday, May 12 - 8PM

WHERE: (Rehearsals)
Local 802, 322 West 48th St., New York, NY 10036
Carroll Music, 625 West 55th St., New York, NY 10019

Performances:
Symphony Space, 2537 Broadway at 95th St., New York, NY 10025

Founded in 2002 by O'Farrill to perform the full repertory of big band Afro Latin jazz and commission new works to advance this culturally rich genre, the ALJO was a resident orchestra at Jazz at Lincoln Center from 2002 to 2007. In 2007, the ALJO left Lincoln Center to pursue the twin goals of developing new audiences for big band Afro Latin jazz and of creating a robust educational program for young performers. O'Farrill founded the Afro Latin Jazz Alliance that same year to pursue both the performance and educational aspects of this uniquely pan-American art form.

The ALJO is currently in its fifth season in residence at Symphony Space, and it continues to tour nationally and internationally to critical acclaim, performing over the past several years at The Kennedy Center for the Performing Arts, Boston Symphony Hall, the Newport Jazz Festival, The Joyce Theater (with Ballet Hispanico), Megaron Concert Hall (Athens, Greece), and the Taichung Jazz Festival (Taichung, Taiwan), among countless other venues. The ALJO received a GRAMMY® nomination for its 2005 album, Una Noche Inolvidable (Palmetto), and in 2009 earned a GRAMMY® for Best Latin Jazz Album for its release Song for Chico (Zoho). The Orchestra's newest album, 40 Acres and a Burro (Zoho), was a 2012 GRAMMY® nominee for Best Large Jazz Ensemble Album.

afrolatinjazz.org

NEW RELEASES - HAMMOCK HOUSE, ITHAMARA KOORAX, LTJ EXPERIENCE

HAMMOCK HOUSE – EASTBOUND L

Classic Latin, beautifully remixed – as a host of Fania Records gems are given a fresh twist by Louie Vega, Joe Claussell, Gilles Peterson, and others! The package is way more than you might expect – not clunky remixes of Latin styles, but some beautiful numbers that really expand the warmth and spontaneous energy of the originals – mostly keeping a strong 70s vibe intact, and approaching the project with a really loving feel overall! In fact, the sound is almost as if Schema got their hands on Fania – since there's echoes here of some of the updated Latin modes you'd find on that label too. Titles include "Saona (Gilles Peterson & Simbad rmx)" by Noro Morales, "Me Voy Ahora (Sacred Rhythm dance version)" by Ismael Miranda, "Siembra (Joe Claussell rmx)" by Ruben Blades, "Mi Gente (Louie Vega eol rmx)" by Hector Lavoe, "Take Five (Nicola Conte rmx)" by Roberto Roena, "Morris Park (Bonde De Role rmx)" by Lenni Sesar, and "O Elefante (Shh rmx)" by Ray Barretto. ~ Dusty Groove

ITHAMARA KOORAX – GOT TO BE REAL

Maybe the greatest album so far from Ithamara Koorax – and quite a change from some of her previous records, too! A number of the songs are 70s soul classics – music that's clearly inspired Ithamara over the years, and which really drives her to deliver a strongly soulful vocal approach throughout! Another great aspect of the album is the presence of Jose Roberto Bertrami – who brings in these amazing Fender Rhodes lines that really fit the sound – the kind of warm, soulful lines that always made his work in Azymuth so great. There's still a nice dose of Brazilian jazz in the mix, but the overall approach is a lot more soul-based than usual – and the jazzy keyboards really deepen the sound, too – and give the record a feel that's way deeper than just a collection of covers. Titles include "Got To Be Real", "Butterfly", "Goin Out Of My Head", "Never Can Say Goodbye", "Negue", "My Favorite Things", "Vesti Azul", and "Pigmalio 70". ~ Dusty Groove

LTJ EXPERIENCE – I DON’T WANT THIS GROOVE TO EVER END

The first album in years from LTJ X-Perience – one of the few funky acts that got things going on the Italian scene in the generation before Schema Records! LTJ are a key link between the Italian sound of the 80s and the later growth into bold new styles – and this album definitely seems to show that mix – as it's very spare, with lots of straightforward grooves that run towards the slower end of the house music spectrum! In fact, the set's almost more house than anything LTJ X-Perience have ever done in the past – a surprising change, but one that almost goes back to the Italian roots that spawned them – yet without too much of the overblown energy of the Italo Disco years. Titles include "Sound Machine", "Time Has Been Now", "I Love You", "Organ Mind", "Black Gold", "Turn Me On", "Always In The Mood", and "I Don't Want This Groove To Ever End". ~ Dusty Groove

MAYSA, SHEILA E, PATRICE RUSHEN, OLETA ADAMS HEADLINE SMOOTH JAZZ SUMMER NIGHTS

The 15th Season of the Smooth Jazz Summer Nights Concert Series at Penn's Landing celebrates women in music with an illustrious all female lineup that will leave you awestruck and enthralled. An evening summer breeze, the sultry sounds of horns, smooth vocals, and heart pounding percussions will certainly give credence to the Smooth Jazz Summer Night Concert Series being a summertime must-do event. This season's power-packed lineup of female artist will grace the RiverStage on the Delaware River Waterfront every Friday night in August beginning at 7:30 pm. This Friday night concert series is absolutely FREE and will be followed by followed by landside fireworks at every Friday night at 9:15pm. Smooth Jazz Summer Nights is sponsored in part by WDAS-FM, along with CW Philly 57 and CBS 3.

Maysa will highlight the 15th season of Smooth Jazz Summer Nights on Friday, August 3rd. Maysa's extensive discography includes Metamorphasis (2008) and A Woman in Love (2010) both of which debuted at #1 on Billboard's Contemporary Jazz Album Charts during the same year they were released. Maysa's current CD on the Shanachie label, titled Motions in Love, marks her 21st year in the music business. Maysa has performed with Stevie Wonder as part of his backing group Wonderlove as well as on the Oprah Winfrey Show and The Tonight Show.

Philly's very own Carol Riddick will heat-up the waterfront with her sultry, sensual vocals and mesmerizing performance on Friday, August 3rd. This South Philadelphia native has lent her distinct vocals on records by Will Smith and Jazzy Jeff, Anthony Hamilton, Jill Scott, and Musiq Soulchild, and this performance will be Carol's time to shine in the spotlight as a featured solo artist.

On Friday, August 10th, prepare yourself for the hip and grooving sounds of trumpet player and winner of two Oasis Contemporary Jazz Awards, Cindy Bradley. After earning a bachelor's degree in jazz studies from Ithaca College, and attending the New England Conservatory, Cindy immediately headed to New York and immersed herself in the pulsating jazz scene and realized her passion for straight ahead be-bop, contemporary jazz, funk, and jazz fusion all of which influence her unique sound. Unscripted is the title of Cindy's current CD and second release.

The celebration of women in music on Friday, August 17th features Multi-Grammy nominated artist Patrice Rushen who is a true musical trailblazer as the first woman to serve as Musical Director for the 46th, 47th & 48th Annual Grammy Awards; the first woman in 43 years to serve as Head Composer/Musical Director for the Emmy Awards; and the first woman Musical Director of the NAACP Image Awards for 12 consecutive years. In addition to her success as a recording artist and musical director, Rushen is also an accomplished composer who has provided musical scores for Emmy-nominated television programs and feature films and she has written an award-winning symphony. As one of the music industry's most versatile and sought after artists, Rushen has performed with Philharmonic Orchestras and has produced for such esteemed artists as Stevie Wonder, Herbie Hancock, Prince, Carlos Santana, Boys II Men, Tom Jones, Nancy Wilson, and Michael Jackson. Rushen also works with NARAS "Grammy In The Schools" and other organizations dedicated to establishing music education and mentorship programs for inner-city youth.

Patrice Rushen will perform with Ndugu Chancler as 1+One during this Smooth Jazz Summer Nights Concert Series on August 17th. Ndugu Chancler is well-known as a world-class drummer, percussionist, producer, composer, music clinician, teacher, and a three-time Grammy nominee who has performed and recorded with Miles Davis, George Duke, Tina Turner, Frank Sinatra, Weather Report, Lionel Richie, Kenny Rogers, Thelonious Monk, and John Lee Hooker. Chancler was the drummer on the biggest selling pop album by Michael Jackson, Thriller, and provided the beat on "Billie Jean."

Four-time Grammy nominated recording artist Oleta Adams will perform as part of the Smooth Jazz Summer Nights Concert Series on Friday, August 24th. Oleta's melodic vocal style draws upon her church roots and intertwines R&B, soul, and adult contemporary pop music with a graceful ease.

Oleta Adams has sold nearly three million records and has toured internationally with Tears for Fears, Phil Collins, Michael Bolton, and Luther Vandross. She has also recorded duets with Al Jarreau, David Sanborn, and gospel great Shirley Ceasar to name a few. Oleta's music has been featured in commercials and Hollywood movies such as Sleeping With the Enemy and How Stella Got Her Groove Back. Ms. Adams' 1990 debut platinum-selling album Circle of One included the heartfelt and timeless hit single "Get Here" which would go on to become the unofficial anthem of the 1991 Gulf War. Her current CD titled Let's Stay Here is her ninth release.

Sheila Escovedo, a.k.a. Sheila E., will turn up the heat on the waterfront RiverStage with her explosive percussion performance on the Friday, August 31st finale of the series. Sheila E., the daughter of percussionist Pete Escovedo and the goddaughter of the late Tito Puente, has collaborated and performed with industry giants such as Marvin Gaye, Diana Ross, Billy Cobham, Cecilia Cruz, Miles Davis, Gloria Estefan, Patti Labelle, Stevie Nicks, Stevie Wonder, and Ringo Starr. Some of Shelia's most notable works were with Prince, including the '80s classics The Glamorous Life and A Love Bizarre. Sheila further expanded her musical talents as a writer and musician while performing with Prince on many of his recordings and was the musical director for his band, New Power Generation. This year, Sheila collaborated with Hans Zimmer on music for the upcoming film Madagascar 3 and the music production for the 2012 Academy Awards show.

WDAS FM, CBS 3, and the CW Philly are proud media partners for this series. Their on-air personalities will introduce performers and have promotional giveaways. (KYW-TV) and The CW Philly 57 (WPSG-TV) are part of CBS Television Stations, a division of CBS Corporation.

WDAS FM is part of Clear Channel Worldwide the largest independent radio group with six stations in Philadelphia - WDAS FM, Power 99 FM (WUSL), Q-102 (WIOQ), My106.1 (WISX), WDAS AM and Radio 1045 (WRFF).

Public Programming at Penn's Landing would not be possible without the continued support of corporate partners such as PECO, Verizon, Pennsylvania Lottery, Coca-Cola Refreshments of Philadelphia, and the Greater Philadelphia Tourism Marketing Corporation, all of whom are committed to serving the Greater Philadelphia community.

The 2012 Summer Program of Free Events at Penn's Landing is funded and produced by the Delaware River Waterfront Corporation (DRWC). All events produced by DRWC are FREE to the public on the RiverStage on the Great Plaza, the heart of Penn's Landing, Philadelphia's premier Delaware River waterfront entertainment destination.

The DRWC is a nonprofit corporation created in January 2009, exclusively for the benefit of the City of Philadelphia and its citizens. The fundamental purpose of DRWC is to design, develop, and manage the central Delaware River waterfront in Philadelphia. DRWC is transforming the waterfront into a vibrant destination location for recreational, cultural, and commercial activities for the residents and visitors of Philadelphia.

BEBE WINANS - AMERICA AMERICA

BeBe Winans, a critically acclaimed, inspirational R&B and gospel vocalist, best known as a member of the celebrated Winans family dynasty, has signed with Razor & Tie. BeBe Winans' new album, America America, which honors our nation's heritage, will be released by Razor & Tie on June 19th, 2012. Cliff Chenfeld, co-owner Razor & Tie, comments, "BeBe Winans is one of our country's great singers and he has made a timely, necessary record that will speak to all Americans. It is a brave, powerful statement. We are very proud to be working with BeBe."

Winans is a Grammy Award-winning singer, songwriter and producer, including his Grammy for co-producing the song "Jesus Loves Me" on Whitney Houston's smash film soundtrack from 'The Bodyguard.' He has achieved wide notoriety both as a solo artist and as part of the hit-making duo BeBe & CeCe Winans (the first brother and sister duo to be awarded a prestigious Star on the Hollywood Walk of Fame). He is also a noted actor who has appeared on the stage (in the Broadway production of 'Oprah Winfrey Presents The Color Purple') and screen (2003's 'The Manchurian Candidate'). As a solo artist, BeBe Winans has sold 1 million albums.

"I am very excited about this new partnership with Razor & Tie," Winans said. "They understand who I am as an artist and what I'm trying to achieve with America America. I appreciate their business model and look forward to working closely with them to bring this new record to the widest audience possible."

America America, Winans' seventh solo release, is comprised of nine classic songs including "America The Beautiful," "Lift Every Voice," "The Battle Hymn of the Republic" and our national anthem, "The Star Spangled Banner," all imbued with his soul-stirring touches. Winans also wrote three new songs for the album -- the beautifully hopeful title track and first single, "America America" (which will feature a touching companion video directed by David Warshauer [Katy Perry, Black Eyed Peas]), the upbeat "We're The United States of America," and the poignant "Ultimate Sacrifice," dedicated to our troops.

"The inspiration for America America is the time we are living in," Winans explains. "Sometimes, we forget that we are all Americans. At sporting events, when the national anthem is sung, everyone stands -- black, white, rich, poor -- everyone."

Tour dates with Dave Koz beginning in June and continuing throughout the summer will be announced shortly. The pair worked together on the title track of Koz's 1999 release, The Dance. Winans is expected to perform songs from America America as well as highlights from his impressive career.

Winans' poignant memories of his dear friend and frequent musical collaborator Whitney Houston will be shared in his upcoming book, The Whitney I Knew (Worthy Publishing). The book will be in stores on July 31, 2012. No one can forget the emotional performance and moving eulogy Winans delivered during Houston's nationally televised funeral.

BeBe Winans is the latest addition to independent label Razor & Tie's expanding roster that includes artists from various genres. The New York City-based label is one of the fastest growing independent record companies in the United States, and has garnered both Platinum sales and Grammy awards in its 20-year history. www.razorandtie.com

NEW RELEASES - JEFF HERSHEY & THE HEARTBEATS, GREG PHILLIGANES, JEFF PARKER TRIO

JEFF HERSHEY & THE HEARTBEATS – SOUL MUSIC VOLUME 1

Raw soul from Jeff Hershey & The Heartbeats – a modern So Cal combo with deep, genuine love for the gritty live soul & R&B sounds of the mid 60s onward – and they're committed to doing it right! The group plays with a live-ready intensity and raw integrity that's really infectious – and they have a charismatic singer in Jeff Hershey to get it across strongly. It's a core sextet of guitar, bass, drums, baritone and tenor sax behind front man Hershey. The album was recorded to analog, to further underscore the authentic approach. That was the right way to go, as it sounds live and direct, no doubt as intended! They also pull off a couple of slower cookers, further demonstrating their depth. We're guessing their live show kills, but they clean up on record, too! Includes "Didn't Come Around", "Way Back Home", "Knock You Down", "Push On Through", "Stay Here At Home", "Good Times", "Another Day Without You", "Nobody Does It (Like You Do)", "Honesty Road", "Wearin' Me Out". ~ Dusty Groove

GREG PHILLIGANES - PULSE

Greg's definitely showing off all his chops on this one – working with help from a huuuge array of famous guest stars – including The Pointer Sisters, James Ingram, Howard Hewett, Jackie Jackson, Michael Jackson, Robbie Nevil, and others. And while the bulk of the record really shows the influence of these mainstream 80s soul artists – and not always in a good way – the record also sports a brilliant tune done with Donald Fagan of Steely Dan, the sweetly grooving "Lazy Nina", which sounds like the best work off Fagan's Nightfly, and has Greg and Don duetting on vocals! Titles include "Behind The Mask", "Signals", "Shake It", "Countdown To Love", "Come As You Are", and "Playin With Fire". CD features lots of bonus tracks – "Only You", "Behind The Mask (12" version)", "Playin With Fire (12" version)", "Behind The Mask (inst)", "Behind The Mask (single)", and "Playin With Fire (inst)". ~ Dusty Groove

JEFF PARKER TRIO – BRIGHT LIGHT IN WINTER

One of the nicest records we've heard from Jeff Parker in years – a trio date with some wonderfully rich sounds, and a great showcase for some of the more lyrical sides of his music! Parker plays in these great chromatic modes throughout – using some slight effects with his hollow-body electric, in the company of bassist Chris Lopes and drummer Chad Taylor – the latter of whom really helps make the album great, thanks to a fluid, open sense of rhythm – yet one that still always knows how to swing! There's more of a groove here than you might usually expect from Jeff, and a sensitivity too – and the album almost feels like the beginning of a rich new chapter in his career. Titles include "Mainz", "Swept Out To Sea", "Freakadelic", "Istvan", "Occidental Tourist", and "The Morning Of The 5th". ~ Dusty Groove

NEW RELEASES - BILL WITHERS, ERIC REED, PHILIPPE BADEN POWELL

BILL WITHERS – JUST AS I AM (40th ANNIVERSARY EDITION)

A beautiful album by Bill Withers – filled with incredibly well written songs, and an amazing instrumental technique that blended folksy elements with smoother 70s soul, in a sound that would put Bill at the top of the charts for many years, yet still give him cred with soul fans for decades! Booker T Jones arranged, produced, and played electric piano on the album – and we can say without a doubt that the record's one of the few good things to come out of his move to LA! Although the album's not a greatest hits one, given the strength of the tracks, it may as well be, as it includes Withers classics like "Grandma's Hands", "Ain't No Sunshine", "Harlem", and "Hope She'll Be Happier". Also features the nice groover, "Better Off Dead", which has a very tasty intro! ~ Dusty Groove

ERIC REED – BADDEST MONK

Eric Reed's no stranger to the music of Thelonious Monk, but this time around he's got a great approach – a fresh take on these modern classics, served up in soulful ways that definitely fit the "baddest" spirit of the title! There's even more of a rhythmic focus here than in the original compositions – served up with heavy drums from Henry Cole and bass from Matt Clohesy – and topped with bold leads from Seamus Blake on tenor and Etienne Charles on trumpet – both of whom further emphasize the soulfulness of Reed's arrangements. Jose James sings on a version of "Round Midnight" – and other instrumental tunes include "Epistrophy", "Green Chimneys", "Bright Mississippi", "Monk Beurre Rouge", and "Evidence" – as well as Reed's own "The Baddest Monk". ~ Dusty Groove

PHILIPPE BADEN POWELL – BRAZIL: PIANO MASTERS SERIES VOLUME 2

A striking solo set from Phillipe Baden Powell – much bolder and more expressive than his previous album – even though the overall feel is a lot more stripped-down too! Baden's got a very sharp approach to the keys of the piano – working here in a range of tones that's really breathtaking – a stark palette of sounds that's recorded with just the right sort of depth to let all of his most subtle touches come through. As befits his roots, the tunes are a mix of Brazilian numbers and jazz standards – plus a few original compositions as well – and titles include "Canto Triste", "Consolacao", "Prologue", "The Meantime", "Loro", "Choro Para Metronomo", "Ending", "Giant Steps", and "Vista Chinesa". ~ Dusty Groove

METALLIC TASTE OF BLOOD

In an audacious meeting of the minds, guitarist/producer and sonic provocateur Eraldo Bernocchi, who recently released Winter Garden with Harold Budd and Robin Guthrie, has joined forces with Porcupine Tree bassist Colin Edwin, keyboardist Jamie Saft (John Zorn, Bad Brains, New Zion Trio, Black Shabbis) and drummer Balázs Pándi (Obake, Merzbow, Venetian Snares) in the band Metallic Taste of Blood. Spanning the space between metal, progressive dub, alternative rock, free jazz and ambient music in a smooth and all-encompassing way, this latest offering in an ever-burgeoning catalog of renegade albums in the RareNoiseRecords stable ranging from bone-crunching intensity to cinematic soundscapes, with detours into reverb-soaked excursions and fuzz-fueled onslaughts along the way.

"There's really no specific idea or concept at work here," says Bernocchi, co-founder of RareNoiseRecords who has also collaborated with the likes of Bill Laswell, Mick Harris, Toshinori Kondo, Nils Petter Molvaer and Davide Tiso, and is a member of the experimental doom metal band Obake. "These are four musicians who enjoy working together and playing music where they are freely expressing themselves. I'd say it's more of an emotional stream than a juxtaposition of styles. And it just comes by itself, helped by sound."

Bernocchi, who played guitar in an Italian punk band as a teenager, contributes a wide range of stirring six-string work throughout Metallic Taste of Blood (MTOB), including his spaghetti western guitar on "Sectile," his catchy New Wave-ish riffs on "Bipolar" and his heavy, distortion-laced licks on "Schizopolis" and "Fist Full of Flies." Elsewhere, Bernocchi's ambient music influences play out on his reverb-soaked guitar lines on, "Crystals and Wounds" and "Transverse," as well as his sonic seasonings on the elegant, "Glass Chewer" and the cinematic sounding "Twitch."

Bassist Edwin, a native Australian and member since 1993 of Porcupine Tree, the UK underground band hailed as the Pink Floyd of the '90s, brings an unparalleled, wrecking ball intensity to his crunching fuzz bass lines on tracks like "King Cockroach," "Sectile" and "Maladaptive." Says Edwin, "It's always a journey into the unknown working with somebody new, so on my first visit to Eraldo's studio in Tuscany, I had prepared some basslines and programmed drum ideas to get Eraldo and myself started. Naturally, as a bass player, I am quite drawn to repetitive and hypnotic pattern type basslines, so I had tried to come up with things that were strong enough to build on, but also quite open-ended, and hopefully suggestive of different directions. I had been listening to a lot of Moroccan music, especially Bachir Attar's The Next Dream, and was drawn to the trance-like but evolving quality of the music, so I guess a lot of that seeped through in this project. Eraldo mixed me higher and also encouraged me to add more distortion to the bass than I would have, left to my own devices."

Though Edwin does exhibit thunderous intensity with his throbbing basslines through this MTOB project, his contributions throughout are far more diverse, alluding to slippery dub bass lines on "Glass Chewer" and a kind of tumbao groove underneath "Schizopolis." As he explains, "I have always loved dub, and it's power and discipline, but have never really played in a context where that influence has come through so much before, but it seemed to come out quite naturally here. The basic foundation for 'Glass Chewer' came about as I was thinking of the polyrhythmic approach that occurs in a lot of African music, where you can feel the beat either in cycles of six beats or four. There is a rhythmic tension and release when the guitar figure comes in and goes out, that really appeals to me. 'Schizopolis' was based around a repetitive fretless bassline, but there's a purposely odd symmetry to the repetition, which is then broken by the slow four section that follows. I have always loved Mick Karn's bass playing, and while his work was unique and truly impossible to copy, I would cite the oddness of the bassline here as something that has been influenced by him, likewise the quirky line on 'Crystals and Wounds.'"

While there were structures laid out for the various pieces on Metallic Taste of Blood, Bernocchi says that 50% of the material is improvised. "Improvising is a process that's a part of me," he says. "It's very difficult at this point to detach from it."

Adds Edwin, "We didn't have any kind of blueprint or set out to make something in a particular direction, it was a case of being led by our instincts and by the possibilities we were creating. It became apparent pretty early on to me and Eraldo that we were working on something new for both of us. As for improvisation, certainly that is a part of the sound. There's even a bass solo on 'Schizopolis,' although is has been transformed by Eraldo's sonic sculpting."

While the initial core of MTOB was Bernocchi and Edwin, the addition of drummer Pándi and keyboaridst Saft came easy. "Balázs was a natural choice as I am working with him in Obake and he really fits a band like this. He is such an amazing drummer, he easily adapts to all the styles of this record." says Bernocchi. "Jamie is an amazing musician and shares with us his passion for experimental music as well as extreme metal, which is something you don't really find in jazz musicians too often. Colin and I created some structures, which were really open ones, and then each musician gave a contribution in term of melodies, layering, and arranging."

Adds Edwin, "One of the things I love about working on music is how other musicians can really surprise you because they hear things to do that you'd never imagined yourself, so it has been very inspiring to me to hear the way the material has developed. Early on in the recording process, Eraldo frequently surprised me by doing what he would do with my initial, very basic ideas. Where I had imagined one thing, he would often do the exact opposite. He added some very atmospheric electronics to where I thought he might riff with his downtuned baritone guitar, for example. And Jamie really knocked me out with some of his input, especially his electronics on 'Maladaptive' and his use of the harpsichord on 'Schizopolis' I am aware that some music 'works' precisely because of the juxtaposition of seemingly incongruous elements, but no one in the band suggested we do anything a certain way; it's more the case that the blend of personalities in Metallic Taste of Blood is what has lead us to the results on the album. So you could say, the personalities have led the concept."

Regarding his two current, similarly intense working bands, Metallic Taste of Blood and Obake, Bernocchi says, "The approach is very similar. There's an improvisation component in both of them. MTOB is much more structured and we conceived the record as a modern kind of opera that was really organic. Obake is much more direct, a punch-in-your-face kind of thing. It'll stay like that and possibly become more and more heavy over the course of a song."

And regarding the potent band name, Edwin says, "It was Balázs' suggestion to use the name Metallic Taste of Blood, which we all liked immediately. I think it fits the music perfectly; it's unsettling, but strangely satisfying at the same time."

Metallic Taste of Blood · Metallic Taste of Blood
RareNoiseRecords · Release Date: June 12, 2012

THE BEST OF PERCEPTION & TODAY RECORDS

Perception Productions, a New York based label that ran from the late 60s through until 1974, was a strangely eclectic affair. Its roster stretched from a radical Afro-American poet through to the pop band King Harvest whose hit ‘Dancing In The Moonlight’ became a massive hit for the UK band Toploader a couple of decades later. The inbetween points covered jazz, funk, vocal harmony soul and proto-disco. In fact distilled down into this compilation the label provides us a view of Manhattan’s black music scene of the period, from the established greats to the fresh young things who would make their mark in the coming years. The two men who ran the label, President Terry Phillips and Boo Frazier burned brightly for that half a decade before almost entirely disappearing from the music scene.

When they started up the label their initial signings suggested that the black high arts were their true love. The first year saw Shirley Horn, James Moody and the most famous of them all Dizzy Gillespie signed in quick succession. Gillespie is one of African-American music’s most important figures, who in the 1940s alongside Charlie Parker figureheaded the revolutionary changes in jazz that were labeled Bebop. He was rarely without a record deal from that day forth until his death in 1993, so getting him to sign to the new label was something of a coup. He made two albums for the label, the second Portrait Of Jenny was a beautiful jazz album, but his debut The Real Thing put him in a more contemporary setting. The funking up of Dizzy was a success and the two tracks we feature here are groove jazz masterpieces. In particular Mike Longo’s ‘Matrix’ has been long sought after by collectors and is a well known sample used most effectively by the Beatnuts on their track ‘World Famous’. The saxophonist – and flute player – James Moody is a contemporary of Gillespie’s his playing was nearly as well respected. He had first recorded in the 1940s, but had often had problems with addiction, which had at times, seem him hospitalised. By the early 70s these problems were largely behind him and he was becoming a respected elder statesman in the music world. He also recorded two albums for Perception The Teachers and Heritage Hum from where we draw the lovely title track. ‘The Teachers’ was recorded with a young jazz-rock group called the Albert who released two albums for Perception both called The Albert. Fronted by vocalist Otis Smith ‘One Life’ is lifted from the first.

By the early 70s jazz was going through a tough period and it may have occurred to Phillips and Frazier that if their labels were going to survive they needed to diversify, however their jazz leanings continued throughout the label’s time. Organist Julius Brockington was a young talent and a typical leader of an organ combo, the most popular format for the jazz clubs in the Black neighbourhoods of the day. His records are in not especially sophisticated, in some ways the music is organ funk or RnB, rather than jazz, as can be seen on this frantic cover version of Aretha Franklin’s ‘Rocksteady’. He also had a single for Perception with his family group the Brockington’s ‘I Just Got To Know’. Brockington and his band backed Baltimore based poet Wanda Robinson on her second album for the label Me And My Friend from which we lift ‘A Possibility (Back Home)’. Her first album was produced by Anthony Davis, but features two tracks that use the backing tracks from the Patrick Adams produced group Black Ivory (more of whom later), one of these ‘Instant Replay’ used the group’s ‘I Keep Asking You Questions’ as its background music. You can listen and compare. Saxophonist Tyrone Washington signed to the label in 1972 to record the obscure album Roots which had Hubert Eves on piano. Washington had gotten his breakthrough in the late 60s when he worked with Horace Silver and recorded his debut album for Blue Note.

Brazilian singer Astrud Gilberto was one of the most successful jazz artists of the 60s with her records for Verve, most notably the hit ‘Girl From Ipanema’ recorded with Stan Getz. Her sole album for Perception was something of a gem, with arrangements by Eumir Deodato who at the time was at the height of his success with Creed Taylor’s CTI label. She is backed by an all-star group that includes Airto Moreira, Billy Cobham, Patrick Adams and Mike Longo. Produced by the singer herself, it featured the wonderful ‘Gingele’ and a stunning version of Jorge Ben’s ‘Take It Easy My Brother Charlie’. The final fruit of Perceptions’ dalliance with jazz that we look at is Joe Thomas’ Is The Ebony Godfather. The flautist was nearly 40 when he made this album for Today, late some would say but the good grooves of ‘Chitlins & Cutchifrutos’ and his version of Gary Byrd’s proto rap ‘Every Brother Ain’t A Brother’ obviously attracted the attention of jazz producer Sonny Lester with whom Joe spent the rest of the 70s recording for his Groove Merchant and LRC labels.

When they stepped into the soul and funk arena Perception / Today really found their feet through two people in particular Bill Curtis from the Fatback Band and a young producer called Patrick Adams. The Harlem born Adams was just into his twenties when he began working for the label and he proved incredibly versatile. With Jon Bartel he produced funk rock which was clearly being aimed the same audience that was propelling Motown’s group Rare Earth to the top of the charts. Jon Bartel was the singer songwriter who fronted a group that included Larry O’Brien on guitars and Abe Blaingame on percussion (the LP label credits the artist as the Jon Bartel Thing). Bartel recorded a single album for Perception which came out in 1972 and you can perceive Adams at work in the rhythm guitar arrangement of ‘Naturally Good’, whilst ‘You’ve Just Been Bitten’ includes a big break just waiting to be sampled. Adams also produced the radical funk group Madhouse who’s album ‘Serve ‘Em’ features a vicious caricature of Richard Nixon and a sleeve note that states that the group just knew that the American people would sentence themselves to four more years of hell in the 1972 Presidential election.

His greatest moments at the label came with Black Ivory which was the group that also first introduced the musical world to the genius of Leroy Burgess. Both Burgess and Adams are today lauded as some of the most important figures in the history of dance music, Adams with his songwriting and productions on his own P&P label and for scores of others. Burgess as a performer – often with Adams – and also as a songwriter and producer. Black Ivory were formed when Harlem native Leroy Burgess met his then girlfriends brother Larry Newkirk and discovered that he had a group called the Mellow Souls, after hearing Leroy’s voice Larry asked him to join the group. by the time they joined Today the group consisted of Leroy, Russell Patterson and Stuart Bascombe. They recorded two albums for the Today Don’t Turn You Around and Baby, Won’t You Change Your Mind. We’ve lifted all three tracks we use from their debut album, which was recorded in New York and at Sigma Sound in Philadelphia. The strings and uplifting choruses on ‘Surrender’ and ‘You Keep Asking Me Questions’ certainly reflect the emerging Philadelphia sound, whilst ‘You and I’ shows the group’ roots in vocal harmony singing. Their greatest success came after leaving Today to go to Buddah, most notably their dance classic ‘Mainline’ from 1979.

The Fatback Band’s history is very much that of how street funk developed in New York. Bill Curtis had been in New York since the early 50s, and had been an on the road drummer who had played behind all the big stars of the time either on tours that travelled around the country or as part of the legendary Apollo Theatre’s house band. By the late 60s he was working out of Queens, providing bands for all sorts of events from club gigs to weddings, from covering chart hits to playing calypso. He also had his own label for which he provided the main band, known after the label – and Bill’s drumming style- as The Fatback Band. Tiring of never being paid as an independent label he decided to hand that task over to someone else and signed to Perception in 1971. Their first breakthrough came when with the release of their debut album Let’s Do It Again the track ‘Going To See My Baby’ was picked out by New York’s number one soul DJ Frankie Crocker who started playing it on his show. With his support the group broke through with hits such as ‘Njia (Nija) Walk’ from their second album ‘People Music’. They were rapidly picking up an audience and their final release for the label ‘Dance Girl’ was proving to be very popular when Perception went bust and the record was lost. Fatback then signed to Spring’s ‘Event’ label and went on to massive international success with amongst others ‘Spanish Hustle’ and ‘I Found Lovin’.

Much of the rest of the label’s roster was filled up with one off recordings aiming at greater success. The Eight Minutes for instance where a family group from Chicago who were clearly being aimed at the market dominated by The Jackson 5. Produced by James L Porter, their one album An American Family showed that they were of a higher quality than most of the acts that tried to muscle in on this territory as evidenced by the tracks that we feature. JJ Barnes and Debbie Taylor were soul singers who recorded in many places both before and after Perception. Barnes’ biggest success came in Detroit in the late 60s but his recordings at Perception were perfectly pitched to show off his voice. Debbie Taylor released the album Coming Down To You on Today to little notice which is a shame because numbers like ‘Too Sad To Tell’ deserve more attention. Bobby Rydell had been a pop singer for Cameo Parkway Records in Philadelphia in the early 60s, he clearly had a decent voice as shown on ‘Honeybuns’ but he was a strange signing to Perception / Today.

I’ve saved a final mention for the Johnny Pate written and arranged Blaxploitation soundtrack for ‘Brother On The Run’. Pate was an accomplished jazz bassist, recording for the Bethlehem label in the 50s. In the 60s he found himself much in demand as the consummate arranger on the Chicago soul scene working alongside Curtis Mayfield on much of his seminal production work. In the early 70s he recorded the Outrageous album for MGM and also made two fantastic soundtrack albums. The most famous of these is Shaft In Africa with the acid jazz classic ‘You Can’t Even Walk In The Park’. Just as good is the rare ‘Brother On The Run’, which features Pate alongside a stellar line up of Joe Beck on guitar, Jerry Dodgion on reeds, and a main theme sung by Adam Wade.

When Perception closed its doors in 1974 it had been producing records for nearly 5 years. It’s left behind a legacy of great soul, funk and jazz which is contained within the compilation.

Dean Rudland
December 2011

Tracklist:
CD1
1. Dizzy Gillespie - Matrix
2. The Eight Minutes - I Can't Get No Higher
3. Adam Wade & Johnny Pate - Brother (Title)
4. JJ Barnes – You Owe It To Yourself
5. Debbie Taylor - Too Sad To Tell
6. Joe Thomas - Chitlins & Cuchifritos
7. The Fatback Band - Njia (Nija) Walk
8. Bartel - Naturally Good
9. Madhouse - Get Some Of This
10. Astrud Gilberto – Gingele
11. The Albert - One Life
12. Bobby Rydell - Honey Buns
13. Black Ivory - You And I
14. The Eight Minutes - Take My Love Don't Set Me Free
15. Wanda Robinson - Instant Replay

CD 2
1. Fatback Brother Bill Curtis - Dance Girl
2. Bartel - Boogie
3. Dizzy Gillespie – Alligator
4. Black Ivory - I Keep Asking You Questions
5. Julius Brockington - Rock Steady
6. Tyrone Washington - Submission
7. Joe Thomas - Every Brother Ain't A Brother
8. Bartel - You've Just Been Bitten
9. Black Ivory - Surrender
10. The Eight Minutes - Find The One Who Loves You
11. Astrud Gilberto - Take It Easy My Brother Charlie
12. James Moody - Heritage Hum
13. J. J. Barnes - Wishful Thinking
14. The Eight Minutes - Looking For A Brand New Game
15. Wanda Robinson - A Possibility (Back Home)

~ bbemusic.com

DONALD FAGEN / MICHAEL McDONALD / BOZ SCAGGS - THE DUKES OF SEPTEMBER 2012 TOUR DATES

The Dukes of September Rhythm Revue consists of Donald Fagen, Michael McDonald, and Boz Scaggs The group was formed in 2010 and is a resurrection of the previous New York Rock and Soul Revue which featured the same three musicians and played a combination of hits from the members respective careers as well as a wide variety of covers. Donald Fagen and Michael McDonald began working together in the mid-1970s when McDonald would collaborate with Steely Dan, singing and playing keyboards on a lot of their material. The two worked together again during the early 1990s in the short lived New York Rock and Soul Revue which also included Boz Scaggs, Phoebe Snow, Eddie Brigati, David Brigati, Charles Brown, Walter Becker, Cornelius Bumpus and Mindy Jostyn.

The Dukes of September 2012 tour dates:
 June 20 – Fox Theatre – St. Louis, MO
 June 22 – Jazz Aspen Snowmass Festival, Aspen, CO
 June 24 – The Joint @ The Hard Rock Hotel, Las Vegas, NV
 June 25 – Humphreys Concerts by the Bay, San Diego, CA
 June 27 - Wells Fargo Center for the Performing Arts - Santa Rosa - CA
 June 30 - Civic Auditorium - San Jose - CA
 July 01 - Paramount - Oakland - CA
 July 05 - Britt Pavilion - Jacksonville - OR
 July 06 - Chateau Ste-Michele - Woodenville - WA
 July 07 - Orpheum - Vancouver - BC
 July 10 - Paramount - Denver - CO
 July 14 - Verizon Theater - Grand Prairie - TX
 July 15 - ACL Live at Moody Theater - Austin - TX
 July 17 - Woodlands Pavilion - Woodlands - TX
 July 20 - Verizon Wireless Amphitheater - Alpharetta - GA
 July 21 - Amphitheater at The Wharf - Orange Beach - AL
 July 24 - Ruth Eckherd Hall - Clearwater - FL
 July 25 - Hard Rock Hotel and Casino - Hollywood - FL
 July 27 - St. Augustine Amphitheater - St. Augustine - FL
 July 28 - Tuscaloosa Amphitheater - Tuscaloosa - AL
 August 01 - Beacon Theater - New York - NY
 August 02 - Beacon Theater - New York - NY
 August 05 - Borgata - Atlantic City - NJ
 August 08 - Musikfest - Bethlehem - PA
 August 11 - CMAC - Canandaigua - NY
 August 14 - Jacob's Pavilion - Cleveland - OH
 August 15 - Zoo - Toledo - OH
 August 17 - Pine Knob - Detroit - MI
 August 18 - Kresge Auditorium - Interlochen – MI
 September 10 – PNC Pavilion, Cincinnati, OH
 September 27 – Red Rock Amphitheatre, Morrison, CO