SEAN O'BRYAN SMITH - REFLECTION

A beatific album of hymns and inspired originals shepherded by bassist Sean O’Bryan Smith and anointed by an accomplished minion of 23 musicians, Reflection will be released July 17th on Groove Therapy Records. Smith produced and arranged the offering of soul, contemporary jazz and gospel selections that comprise the second solo album from the in-demand bass player. Previewing the 12-song disc, the rousing rocker “Blessed Be Your Name” featuring guitarist Chuck Loeb, saxophonist Tommy Ogle and pianist-songwriter Jeff Franzel (Taylor Swift, *NSYNC, Clay Aiken) goes for radio adds June 11th.

Three years in the making, Reflection was conceived as Smith listened to hymnals and spirituals at church while on break from touring. After creating fresh arrangements for classics such as opener “How Great Thou Art,” “Blessed Assurance,” “Will The Circle Be Unbroken” and “Battle Hymn Of The Republic” and celestial covers “Blessed Be Your Name,” “Give Me Jesus,” “The Blood Will Never Lose Its Power” and “Yes You Have,” he composed two originals. “Called” is an infectious soul-jazz groove graced by Gerald Albright’s soaring sax while the record’s title track is a thought-provoking spoken word sermon delivered faithfully by Malcolm Jamal-Warner. Franzel contributed a third original, “Me Without You,” an aching torch song blessed with Lisa Hearns’ yearning voice. Throughout Reflection, Smith coaxes robust rhythms and divine melodies from his four- and five-string basses, six-string fretless bass, upright bass and piccolo bass. Other prominent soloists on the album are Randy Brecker’s prayerful trumpet on “Give Me Jesus” and Frank Catalano’s saxophone on the New Orleans-flavored march “Will The Circle Be Unbroken” and the soul-stirring “The Blood Will Never Lose Its Power.”

“Reflection is a tribute not only to great hymns and worship tunes, but also a nod to where I've come from as a musician and where I'm heading as an artist. All of the music that inspires me is present on this project along with a few surprises. My greatest hope is for people to enjoy the music and hopefully feel some of the inspiration that I feel,” said Smith, who recorded in his Nashville studio with co-producer Rich Krainak. “As the basis of Reflection, I wanted to return to my roots in soul music and sought an underlying feel reminiscent of an old STAX album. We purposely went for a lot of older tones and we mixed everything through an old Trident analog console to give it just the right touch. The end result is an album that hopefully people will enjoy while venturing on a nostalgic trip through gospel and contemporary jazz.”

Days after Reflection streets, Smith will perform at a July 21st album release gig at the Snow Basin Ski Resort in Snow Basin, Utah that will be filmed for a concert DVD.

Diversity is an integral part of Smith’s three-decade career. His bass mastery makes him a first-call musician on tour and for recording sessions with marquee artists including Esperanza Spalding, Lady Antebellum, Anna Wilson, Keith Urban, Darius Rucker, Rascal Flatts, Kenny Rogers, Wynonna, The Oak Ridge Boys, Larry Carlton, Brian Bromberg, Victor Wooten, Rick Braun and some of the “American Idol” and “Canadian Idol” contestants. Smith released his internationally acclaimed solo debut, “Tapestry,” in 2008. In addition to being devoted to supporting Reflection, he is a member of two new jazz groups: Thunder-Smith-Taylor boasts legendary drummer Tony “Thunder” Smith (Mahavishnu, Santana) and Grammy nominated guitarist Joe Taylor, and Polcat, a jazz fusion outfit made up of Grammy winning saxman Catalano, guitarist Chris Poland (Megadeth, OHM) and drummer Jim Gifford. Additional information about Smith is available at http://www.seanobryansmith.com/.

The songs on Smith’s Reflection are:
“How Great Thou Art”
“Blessed Assurance”
“Mighty To Save”
“Blessed Be Your Name”
“Me Without You”
“Called”
“Will The Circle Be Unbroken”
“Give Me Jesus”
“The Blood Will Never Lose Its Power”
“Yes You Have”
“Battle Hymn Of The Republic”
“Reflection”

TOM JONES - SPIRIT IN THE ROOM

Tom Jones announces the follow up to 2010’s acclaimed collection of songs that was Praise and Blame with the release of Spirit In The Room on 21st May 2012 through Island Records.

Universally graced with critical and commercial success – reaching No 2 in the UK, Praise and Blame saw Tom mark a return to his roots and emerge with a powerful body of work drawn from the American spiritual repertoire. Now moving forward with Spirit In The Room, Tom draws on an evocative range of compositions executed with an unprocessed passion that make them his own. There is a raging interpretation of Tom Wait’s ‘Bad As Me’, a wonderful rendition of Odetta’s ‘Hit Or Miss’, the front porch blues of Vera Hall Ward’s ‘Travelling Shoes’ and a stunning reading of the other-worldly ‘Charlie Darwin’ by Low Anthem— all revealing Tom as he continues to explore his artistic landscape..

Spirit In The Room once again brings together Ethan Johns (Brit Award Producer of the Year 2011) and Tom for intimate performances with a very considered and select group of musicians— multi instrumentalist Johns, Richard Causon on vintage keyboards, piano, guitars (Ryan Adams, Kings Of Leon and Rufus Wainwright), Warpaint’s Stella Wazgawa on drums, and Ian Jennings and Sam Dixon on bass.

Recorded at Bath’s Real World studios, Spirit In The Room, like it’s predecessor, allows an unvarnished Tom Jones to bring a voice to songs as only he can. Accompanied by Ethan Johns throughout, the album includes gems from a diverse choice of writers - Linda & Richard Thompson, Leonard Cohen and Paul McCartney amongst others. Simple, raw and soulful, welcome to Spirit In The Room.

Ever busy, Tom has also graced a recent single on Jack White’s Third Man label . Featuring Howlin’ Wolf’s ‘Evil’ in his own inimitable style and produced and played by White and some of his Raconteurs, the single comes backed with a reworked version of Frankie Lane’s classic ‘Jezebel’ and has already picked up widespread praise .

Spirit In The Room is:
1. Tower Of Song (L. Cohen)
2. (I Want To) Come Home (P.McCartney)
3. Hit Or Miss (Odetta)
4. Love And Blessings (P. Simon)
5. Soul Of A Man (Blind Willie Johnson)
6. Bad As Me (T.Waits)
7. Dimming Of The Day(R. & L. Thompson)
8. Travelling Shoes (V. Hall Ward)
9. All Blues Hail Mary (J. Henry)
10. Charlie Darwin (Low Anthem)

TOM JONES own words about the album
Spirit In The Room - April 2012

Sir Tom Jones is on a roll. At 71 years of age he’s all set to deliver Spirit In The Room, his most eagerly anticipated album in a long time. With its predecessor, 2010s Praise and Blame, the peerless British singer has achieved only the latest of many gravity-defying turnarounds in a career that is now into its sixth decade.

On that remarkable record, Sir Tom deployed all his passion and versatility across a smoldering, gritty collection of vintage blues and gospel songs, which included compositions by the likes of John Lee Hooker, Sister Rosetta Tharpe and Bob Dylan.

“I never expected Praise and Blame to be as accepted as it was, ” the pop icon muses, with his familiar humility. “I just thought, ‘This is a real album, I’m baring my soul here, so hopefully a few people will like it and buy it’. And they did. Such was the power in his performances, that Praise and Blame scaled to No. 2 in the UK charts – higher than you’d ever normally find a “roots” album, and higher than Jones himself had been this century. Indeed, only Dylan has outsold it with a new album at this stage in life and career.

With every justification, Sir Tom felt that he was back on the right path again, getting stuck into the music he grew up with in Treforest, South Wales – the music that inspired him to sing in the first place. The album’s unforeseen mass popularity became even clearer as he and his band toured the songs around Europe’s festivals to a rapturous reception.

So, once the dust had settled on that campaign, he called up Ethan Johns, his producer on Praise and Blame, who had subsequently been awarded a Brit for his work with Jones and Laura Marling, and talked about working together again. Rather than merely knocking out a sequel, they set about taking things further, going deeper-and-down into the essence of popular song. The result is Spirit In The Room, another landmark development in Sir Tom’s recorded legacy.

Spirit In The Room has a different kind of magic about it. Here, recorded in the intimate ‘wood room’ at Real World Studios in Bath, and often with the most minimal accompaniment, Jones’s commitment and ability as a singer is tested to the max. Much as each of Johnny Cash’s ‘American Recordings’ albums with Rick Rubin has its own feel and character, so this partnership is starting to shape up as equally exploratory, feeling its way from one session to the next.

“The reason I like working with Ethan is, it’s a new day for him,” Jones reasons. “He doesn’t want anything like the stuff I’ve done before. So we were trying to find songs that dug deep, to get something out of me that I hadn’t had the chance to express yet. “This time, we really got down to the nitty-gritty.”

Ethan, whose father Glyn worked as an engineer/producer for all the big names in ’60s/’70s rock (The Who, Led Zeppelin, Rolling Stones, The Eagles) worked with Tom in sifting through hours of music, and together they whittled it down to a few dozen songs to try out.

The idea of reconvening again in the studio at Real World, where they'd made Praise and Blame, was initially scuppered because Peter Gabriel’s staff were doing some work on the studio. They were working a few things out at another facility near London, but were struggling for the right vibe, when Real World called to say they could use their room after all. “It’s just a room,” says Tom, “just old brick, and old beams. There’s no sound booth—it’s just playing in a room, all facing each other. Once we got back in, everybody felt something happening—there was definitely a spirit in the room.”
The band was as minimal as could be for a live-in-the-studio recording. Johns took up the guitars for every tune as well as a range of other eclectic instruments. They were joined by Richard Causon on piano and vintage keyboards, Ian Jennings and Sam Dixon on bass, and on drums, Stella Mozgawa from Californian all-girl combo Warpaint, who was drafted in after the last album’s stickman Jeremy Stacey, then touring with Noel Gallagher, spotted her on ‘Later With Jools Holland’.

“The actual recording took two weeks,” Tom recalls, “and nine times out of ten the takes were between noon and seven in the evening. A lot of producers like to have everything in the track prepared, then have me just turn up and sing. With Ethan, everything happens on the day we actually record. We work out everything together on the spot, then record it live – each time from beginning to end, so the performances you hear are real performances.

But in that process, sometime things don’t happen easily or just don’t happen at all, so you just move on. We’d play them through together, often a few different ways but it all had to sound absolutely right. Ethan would say,‘Let me try that again, I can do, better than that’. Then he’d try it, and it was like, ‘No, that wasn’t better!’. Sometimes there’s a simplicity in the first time you try it. You just get ahold of a song, and you do it the way you feel it. Ethan listens. He’ll say,’I’m telling you, that first take, or the second one – you’re more real than you’ll ever be again. Don’t try and clean it up, because you lose the essence’. I’ll say—a little skeptically— ‘Oh well, if you really think so...You need somebody you can trust, that’s why I like Ethan.”

Through these spontaneous methods, Johns indeed elicited some remarkable performances from Jones, revealing depths which perhaps have remained hidden during his tenure as a titan of British pop – until Praise and Blame.

As on that album, there are stomping gospel/blues tunes like Vera Hall Ward’s ‘Travelling Shoes’, where his tenor stretches and resounds with all the force of a freight train thundering down the tracks. His reading of Odetta’s ‘Hit Or Miss’ has a wonderfully breezy, down-home country vibe. Yet, there are also startlingly unusual moments like the opening reading of Leonard Cohen’s ‘Tower Of Song’, where the performance is all about restraint and nuance, reinforcing the subtlety in the lyric.

Amongst the songwriters showcased this time are Paul Simon, Richard Thompson, and Tom Waits, whose ‘Bad As Me’ from last year’s album of the same name, Jones tackles with a maniacal cackle which makes even its author seem straight-laced. “I’ve always been a lyrics man,” Tom confesses, adding with a chuckle: “Melody’s always handy, a good thing to see it through, but songs I relate to are always lyrically strong. These songs here now, they can relate to a lot of people, you don’t have to be in a certain profession or live a certain lifestyle in order for them to mean something to you. It’s some great stuff!”

For Jones himself, the songs are laden with meaning. Where in ‘Tower Of Song’ Cohen originally sang about being “born with the gift of a golden voice”, he was having a wry joke at his own expense. In Jones’s hands, those words obviously have a more direct resonance, and later he alters the songwriter’s original image of being “tied… to the table” to “…the stage” – more pertinent for one of the most successful and in-demand live performers of the post-War era.

The second track, meanwhile, finally solders a writer/singer partnership that almost became established way back in the late-’60s. As The Beatles approached their final manic days, Paul McCartney had been in a hurry to find a top singer to record ‘The Long & Winding Road’ and get it in the charts pronto. Tom was his first port of call, but Jones already a single of his own recorded, which would’ve had to delay McCartney’s plans by a few weeks. The song of course, ended up on ‘Abbey Road’ instead. All these years later, Johns found him a recent Macca composition, ‘ (I Want To) Go Home’, with which the singer feels a huge empathy at this point along his own long and winding road.

“The message of it is,” he says, “I’ve done this, I’ve done that, it was great at the time. I was out there, tried to do it on my own – done this, had success with that, but now I wanna come home. So it can mean home literally, or home, to myself, rather than being out there trying to prove something.” He pauses, and concludes: “They’re all very meaningful songs to me.”

In his time between takes at Real World, Sir Tom Jones would wander the streets of the surrounding village, Box, in rural Wiltshire, which, he notes with a smile, “only has one main street with two pubs on it”. By coincidence, this village was where his paternal grandmother had originally come from before she married and moved to Wales. “My nana always spoke with a West Country accent,” he remembers. “I used to say to my Granddad, ‘Why does she speak funny?’ And he’d say, ‘Because she’s from Box’. To me, it seemed like it must be a little town in the middle of nowhere.”
Wandering the village’s hilly little streets decades later, Tom couldn’t help but be reflective about his life. “Getting older, you think more spiritually,” he reflects. “I think children think these things too, but we lose all that once we get into our working lives.” ‘Spirit In The Room’ is essentially his reconnection with that part of himself—the wondering, questing spirit, which routinely gets brushed aside in a life lived to the full.

Throughout the album, there is a sense of Tom coming full circle. On songs like ‘Love & Blessings’ and ‘Travelling Shoes’, you can hear the rattle-and-thrum of the late-’50s rock ‘n’ roll which electrified his childhood, layered with the specter of gospel and R&B which re-entered his narrative on Praise & Blame. The album will doubtless return Sir Tom to the upper echelons of the charts where his recording career began.
Newly revitalised, this indefatigable force of nature has found time to record a 45rpm single with Jack White in Nashville. White, who operates in much the same momentary vein as Ethan, called Tom into his Third Man studios, and the two tracks, including a take on Howlin’ Wolf’s ‘Evil’ segued with elements from The Doors’ ‘Wild Child’, were cut in one afternoon. “He likes to work live, with everyone there in the room, which certainly fits with what I’m doing. We were done in three hours!”

Seemingly at the opposite extreme, Sir Tom has also been a huge hit on primetime UK TV, as a coach on BBC1’s ‘The Voice’. “When we did the album, and then they asked me if I would consider doing this show, I thought, ‘Well I hope the one doesn’t clash with the other. But I really think there is a connection, because when I listen to singers I’m listening for individual voices – pure voices, that are not copying someone else, that inject something that’s real – something that comes from the soul.” Sir Tom smiles. “It’s not that far removed from what I’m doing.”

It’s ultimately a mark of the man himself that he can span these seemingly conflicting worlds, while in each being totally himself. That he has also managed, at this exciting juncture, to deliver one of his finest and most profound albums is little short of miraculous. We, the listeners, can only marvel at the spirit in the room.

Spirit In the Room is released 21st May through Island Records

http://www.tomjones.dk/newcd/main.htm

REBECCA FERGUSON - HEAVEN

Syco/Columbia Records have announced that they will be releasing the first album from British "X-Factor" sensation Rebecca Ferguson, Heaven, on May 29. That same week, Ferguson will perform cuts from Heaven on The Today Show, The View and on The Tonight Show with Jay Leno.

Critics at home and abroad have already hailed Ferguson as being "in the same league with Aretha Franklin" (The Daily Telegraph) whose "voice is the main attraction" (examiner.com) during her live shows because she doesn't need "flashy choreography or outrageous costumes" to make herself stand out. The New York Daily News, in a 4 **** review, raves, "rich and resonant, tawny and thick, the voice of Rebecca Ferguson has a timbre like no other and a character that speaks of a full life." Heaven is a "seamless blend of old soul, dusty blues, and even a bit of country and rock" (Uptown Magazine). According to Glamour magazine online, the album, written by Ferguson and produced by an impressive roster of music legends, is "soulful, emotive and incredibly accomplished."

Ferguson's first U.S. TV performance will be on The Today Show on May 29, followed the next day by an appearance on The View. She'll make a second appearance on Today on June 1 and will head to Los Angeles for The Tonight Show with Jay Leno on June 26. Ferguson became an overnight sensation after her first appearance in the selection rounds for the 2010 edition of the British "X Factor." Though she eventually came in a close second, she became such a fan favorite that when she first performed her single on the show last November, pre-orders for the album on Amazon.com saw more than a 700% jump, nearly twice that of Rihanna, who sang a song from her new album on the same program.

And she has developed a large group of celebrity fans, including British music icon Adele. "She's been such a support and said such lovely things about me," Rebecca says of the singer. "She even admitted she voted for me 80 times when I was on the show. She means every word she sings, which I love."

TOMMY BOLIN - GREAT GYPSY SOUL

In the annals of rock history, Tommy Bolin occupied a brief, but shining stint as a brilliant guitarist who wowed those in the know with his mastery of many genres—rock, fusion, funk, reggae and heavy metal among others. Along with a much lauded solo career that pushed the boundaries of rock/jazz fusion, Bolin played with The James Gang and Deep Purple which set him up for major solo guitar stardom which was cut short by his untimely death in 1976.

Not to be overlooked, there's been much written about the guitar wunderkind and now a top notch roster of players have signed on to pay tribute to Bolin on Great Gypsy Soul. Produced by Greg Hampton and Warren Haynes, it's a remarkable project that brings together major players who actually perform alongside Tommy Bolin's playing and vocals from the recording outtakes to his solo debut album "Teaser." Peter Frampton, Warren Haynes (a key supporter of the project), Nels Cline, Steve Lukather, Steve Morse, Brad Whitford, Joe Bonamassa, John Scofield, Derek Trucks, Glenn Hughes and Myles Kennedy all contribute to this amazing project.

Great Gypsy Soul was released on 429 Records on March 27 in a single CD format and digitally. The deluxe version was available as an Amazon exclusive and hit #1 on their rock chart. The deluxe double CD with bonus tracks will now be available physically and digitally everywhere on May 29th.

Tommy Bolin was the quintessential guitar prodigy who focused his talents within the burgeoning rock/metal scenes of the early 70's as well as mastered a highly lauded jazz fusion technique catching the attention of rock tastemakers and guitar legend peers. It was just a matter of time before Bolin was making a name for himself playing on projects as diverse as Billy Cobham's Spectrum project (considered one of the great jazz fusion recordings of all time), replacing Joe Walsh in the James Gang, playing session work on seminal fusion projects by Moxy and Alphonse Mouzon, to replacing Ritchie Blackmore in Deep Purple. With the release of his second solo album Private Eyes, what should have been a red letter moment for Bolin, opening up for Jeff Beck in Miami, sadly turned tragic as Bolin was found dead of an overdose shortly after the gig.

Says Warren Haynes: "Many of the guests added after the fact have a close personal connection to Tommy—all share in acknowledging his place in rock history. Watching (and hearing) it all come to fruition some 35 years later was a journey of its own—well worth the travel."

Track Listing:
Disc 1
1) The Grind w/ Peter Frampton
2) Teaser w/ Warren Haynes
3) Dreamer w/ Myles Kennedy and Nels Cline
4) Savannah Woman w/ John Scofield
5) Smooth Fandango w/ Derek Trucks
6) People People w/ Big Sugar and Gordie Johnson
7) Wild Dogs w/ Brad Whitford
8) Homeward Strut w/ Steve Lukather
9) Sugar Shack w/ Glenn Hughes and Sonny Landreth
10) Crazed Fandango w/ Steve Morse
11) Lotus w/ Joe Bonamassa, Glenn Hughes and Nels Cline

Disc 2 Bonus CD
1) Flying Fingers w/ Oz Noy and Nels Cline
2) Marching Bag -- Movement One w/ Nels Cline, Bolin, Greg Hampton, John Scofield, Sonny Landreth
3) Marching Bag -- Movement Two w/ Nels Cline, Bolin, Steve Lukather, Derek Trucks, Peter Frampton
4) Marching Bag -- Movement Three w/ Gordie Johnson, Bolin, Nels Cline, Oz Noy, Steve Lukather, Steve Morse, Joe Bonamassa
5) Marching Bag -- Movement Four w/ Nels Cline, Bolin, Warren Haynes, Joe Bonamassa, Oz Noy, Brad Whitford, Peter Frampton

http://www.429records.com/

THE SHAOLIN AFRONAUTS - QUEST UNDER CAPRICORN

London's Freestyle Records bring us a new 12-inch from South Australian afrobeat/jazz band, The Shaolin Afronauts. The 12-inch (Brooklyn), which will also be available as a digital download, contains the lead-track from their upcoming album, Quest Under Capricorn, on the a-side, and a live recording of a track from their previous album on the b-side.

2011's debut album from The Shaolin Afronauts, Flight Of The Ancients, was a critical and commercial success story. Lauded as a truly original blend of the sounds of 1970's West Africa, Ethiopia and the pioneering and progressive avant-garde jazz artists of the same period, Flight Of The Ancients went onto be nominated for several music awards, including the 25th Aria Fine Arts Awards.

This new single, Brooklyn, displays the band's musical progression. Whilst the multi layered afro rhythms remain, as well as the hypnotic horns and melodic interplay, the soulful, jazz inspired harmony has been taken up several levels to quite a stunning effect.

The b-side of this limited edition 12-inch single is a very special live version of Kilimanjaro, which was recorded in January 2012 at the Adelaide Festival Centre, Space Theatre with an expanded 18-piece line up as The Shaolin Afronauts Ensemble. This track is not included on the forthcoming new album and is a totally exclusive to this single.

This is the very first release in the new Freestyle 300 series - strictly limited edition, hand-numbered vinyl singles.

Tracklisting:
A. Brooklyn
B. Kilimanjaro (Live)

http://www.freestylerecords.co.uk/
http://shaolinafronauts.com/

LEO GANDELMAN - VIP VOP

Saxophonist Leo Gandelman is a celebrated Brazilian musician in both MPB and classical music. Gandelman returns with his unique take on jazz music with a new studio album full of remarkable Brazilian samba-jazz compositions. This deluxe package features the full high-definition CD album and a bonus DVD featuring the record played live in its entirety plus a documentary shot during the making of Vip Vop. This is a high-quality sax-led jazz record full of invention and intrigue.

Reviews
"When I think about Brazilian saxophone, I think about Leo Gandelman. During all the years of his carreer, this musician, arranger, composer and producer, positioned his parabolic to different musical directions and Jazz elements, but never left our cultural and artistic roots behind, constructing note by note, scale by scale, record by record, a brazilian vocabulary for the Saxophone and our music. His trademark is his signature !"

Charles Gavin (producer, composer and author of '300 important albums of Brazilian music')

Tracklisting
CD Album (FARO165CD)
1. Leo Gandelman - Sinal Vermelho (Red Sign)
2. Leo Gandelman - Nego Tá Sabendo (They Know)
3. Leo Gandelman - Vip Vop (Very Important People / Very Ordinary People)
4. Leo Gandelman - Luz Azul (Blue Light)
5. Leo Gandelman - Lançamento (Release)
6. Leo Gandelman - Numa Boa (Feeling Good)
7. Leo Gandelman - Neshama (To My Father)
8. Leo Gandelman - Camisa 7 (Jersey #7)
9. Leo Gandelman - Reza (Pray)
10. Leo Gandelman - Alma Cubana (Cuban Soul)

http://farout.greedbag.com/

BOBBY MATOS AFRO LATIN JAZZ ENSEMBLE - ACKNOWLEDGEMENT

A veteran percussionist and pioneer of the Latin jazz genre since the early sixties, Bobby Matos has created an excellent fusion of Latin and Afro-jazz music on Acknowledgement. Matos records ten original hot and heavy, hip-moving compositions with his Afro Latin Jazz Ensemble and pays tribute to the legendary John Coltrane with Afro-Latin arrangements of three Coltrane standards. They include the four-note classic "A Love Supreme Acknowledgement," supported by some masterful playing from bassist John B. Williams, and "Tunji" and "Equinox," featuring fine tenor work by Frank Fontaine, Jr. and several solos by Danny Weinstein on viola and trombone.

Matos opens up the session with one of his own uptempo charts on "Manhattan Mozambique," which is followed by another upbeat piece dedicated to his musician son, "Song for Jud." Jud Matos, also a member of the band, plays the clave throughout but really shines on the guiro, bell and chekere on "Chango's Jazz." Not to be outdone, Bobby Matos comes through on congas and timbales in expressive style, marking this disc as an exciting percussion project. While the majority of the tracks here are instrumentals,"Songoro" and "Soy Lucumi" are two charanga-based tunes with vocals provided by Ismael "East" Carlo.

Two of the best scores on the album have to be the brief but sweet little number "Motivos de Jazz," highlighting Weinstein's performance on violin, and the melodically engaging "Evelyn," with pronounced play by Matos (timbales), Fontaine, Jr. (flute) and Theo Saunders (piano). This album contains an obvious Afro-Cuban accent that this Cuban-American reviewer can appreciate. Acknowledgement combines Latin jazz swing with a heavy Afro percussive backdrop, delivering a truly vibrant performance.


~ Edward Blanco
   http://www.lifeforcejazz.com/

BLOWOUT - THE SUPPORTING THEORY

Blowout is a musical collective concentrating on composition, improvisation, and communication in a jazz setting.

PRESS & REVIEWS:

“Blowout plays a rousing, raucous brand of post-Bop music, combining the arranging sensibilities and layered tempos of vintage Mingus with a quirky structuralist sensibility that recalls Phillip Johnston, and some occasional rock. I love the horn polyphony! Many of the tunes feature a kind of continual weave between Ewing's excellently portly trombone (check him out on "Solid Brass Numchuk") and the sinewy saxophones (listen to Bennett punish his bari on "Duplicity"), with Moran the comper/mischief-maker sprinting ahead of Germain and Lewis. Make no mistake, this is Jazz, not Jazz-Rock. Moran is an extremely tasteful electric player, who simply knows how to use the textures (and the history) of his instrument (including that extra low string for some serious rumble). He also displays a nimble swinging technique on his own "Ring around the Collar". But for all the tightly woven charts and nimble swing, the group sure does have range: check out the eeire atmospherics on "Tin Foil Is Not Soft", the heavy funking on "Nothing But Trouble", the sludgy menace of "Deuguelasse", or the noir-ish "Baby Be Mine". All in all, this is a nice surprising disc: a band with real personality, playing music with warmth and heart and - what's so rare these days- humor!” — Cadence Magazine

“All of the musicians… distinguish themselves not so much for what they contribute as what they leave out, restraining from making the pointless squeal or pseudo-virtuosic wail that characterizes so many first offerings in the modern-jazz world. …If this young band keeps going, the blowing is only going to get more ‘out’ — in the most complimentary sense of the word.” — SF Weekly

“Some music is so hip, you know, upon first hearing, there is no way it will ever find a large drawing. Like fine wine made in small reserves, it is to be savored when experienced. This is as candid a statement as can be made regarding the excellent compositional abilities found within the six-member band Blowout. The compositions are all clever and sharp, witty and urbane, but most especially fun. All of the compositions emphasize a true collective sound with no one instrumental texture predominating. The music on The Supporting Theory isn't what you might expect, and that's due to the way Moran handles his instrument. For the most part he plays single note lines which allow the music to have an airy space and freedom lacking in most jazz - think Kenny Wheeler's Angel Song ensemble.” — Jazz Review.com

“Their music is very much a modern day jazz fusion which has taken influences from World, Contemporary, Middle Eastern and Avant Guard to offer a blend of excitement and expression which is what jazz is all about. This is music to wake up and listen to, and an album full of energy, musicianship and composition and an album which has superb arrangements and will appeal to the jazz fan who wants a menu of steak and chips as opposed to a watered down consumme soup.” — EuroClubDeJazz.com

~ lifeforcejazz.com

MICHAEL CARVIN - LOST AND FOUND PROJECT 2065

Michael Carvin is a drummer of extraordinary talent, inventiveness and technique. His mastery affords him the ability to handle any musical situation and to skillfully pass on his knowledge of the instrument to an ever increasing number of students internationally. Born in Houston, Texas, Carvin’s musical training began at an early age with his father, one of the top drummers in Houston.

With that training, by the age of twelve, Carvin began playing professionally and won what would be the first of five consecutive Texas rudimental championships. Mr.Carvin’s diversified career has included a two-year tour with Earl Grant throughout Europe, Japan and the U.S., another two years as a staff drummer with Motown Records and extensive studio and television work on the west coast.

Joining Freddie Hubbard’s band in 1973, Mr.Carvin moved to New York where he quickly gained a reputation as a formidable jazz drummer. In addition to leading his own bands, Carvin’s vast playing and recording experience includes work with Dizzy Gillespie, Dexter Gordon, Jackie McLean, Hank Jones, McCoy Tyner, Illinois Jacquet, Pharoah Sanders, Bobby Hutcherson, James Moody, Hampton Hawes, Ruth Brown, Abbey Lincoln, Jimmy Smith, Hugh Masekela, Alice Coltrane, Cecil Taylor, Charles Brown, Terumasa Hino, Bobby Watson, Billy Bang, and many others.

Michael Carvin has established himself as one of the world’s most respected drum teachers and clinicians. Students from Europe, Japan and South America come to New York to study at the Michael Carvin School of Drumming. His book, “Something For All Drummers”, written with beginning, intermediate and advanced students in mind, provides information of improving sight reading and soloing abilities. Mr. Carvin has recorded over 150 albums. He endorses Pearl Drums, Istanbul Cymbals, Remo Drum Heads and the Michael Carvin Signature Drum stick which he designed.

~ lifeforcejazz.com

DAWAN MUHAMMAD - HEREAFTER

Dawan Muhammad qualifies as a unique kind of renaissance man. For Hereafter he plays woodwinds and flutes, is composer, arranger, conceptualizer, and label manager. But the reality is so much broader than that. He is a community activist and non-profit entrepreneur, as much concerned for the mental and cultural health of Bay Area communities, and propagation of this unique art form we call jazz, as he is about his own musical development. He gives back to the community in a variety of different, well-chronicled ways; he gives back to the music in this instance with Hereafter. 

Dawan¹s primary vehicle, LifeForcejazz, is not only the imprimatur of this recording, it is also a means of bringing arts and culture to various Bay Area communities, through a variety of after-school and weekend programs for youngsters and young adults. LifeForcejazz, which can be accessed on the web at www.lifeforcejazz.com (http://www.lifeforcejazz.com), also provides vehicles to assist independent jazz recording artists to better maximize their product and opportunities. Just who is the dynamic force behind LifeForcejazz?

Born in Dallas Texas, Dawan Muhammad seemed to naturally respond to jazz, even as a toddler. He later became intrigued by homegrown jazz artists like Buster Smith, Red Garland, Ornette Coleman, King Curtis, Kenny Dorham, David "Fathead" Newman, Cedar Walton, and James Clay, just to name a few. When Muhammad¹s family migrated to the San Francisco Bay Area, he took up the saxophone in middle school. By the time he entered military service his alto sax was just a memory, but his love for jazz and experience in the service drove him to resume his musical quest. He enrolled in correspondence courses from Berklee School of Music and was eventually stationed at McGuire Air Force Base in New Jersey where he came in contact with New York-based artists and mentors such as Frank Wess,George Coleman, Barry Harris, James Spaulding, Don Patterson, Joe Chambers and a host of others.

Following his service stint he earned degrees in Political Science and Islamic Studies from UC Santa Cruz. While matriculating, he co-founded Evidence Artistic Records with classmate Randy Masters and became immersed in developing ideas, vehicles, and means to assist in advancing the careers of his fellow artists. In 1994, Dawan and jazz legend Billy Higgins launched LifeForcejazz Records to pursue new projects and examine the impressive body of recordings in the can, some of which they never intended to release. However, due to the compelling nature of the music and a desire to build a label and distribution vehicles, more releases became inevitable. Which brings us to Hereafter.

The sessions that yielded this 10 track program stem from recordings laid down in December 1979; December 1987; and February 1988. Despite that passage of time, there is freshness in this music that is unmistakable. According to Dawan, "I have a somewhat suspect reputation for attempting to pull off spontaneous recording sessions, where musicians are called together at the last minute, the music is arranged on the spot, and everyone leaves the session wondering what happened." Wonder no more, the evidence is
finely wrought in Hereafter, which is a somewhat prophetic title considering its recording vintage and current release.

"Although these recordings were not intended for commercial use, as it turns out, I ended up releasing them for documentation purposes. The collaborating artists on these dates are a combination of long time friends and mentors, who were always willing to help me try out my ideas and bring some of their own to the table. I try to pay tribute to those who influenced me," says Muhammad. Indeed the music is delivered by a cast including several notable artists on the national and international stage. These include Ray Drummond (tracks 1-4) and Jeff Chambers (tracks 5-10), who anchor the date with their bulwark bass work, giving the music a firm foundation. The trumpet and flugelhorn chores are split between two underrated voices: Eddie Henderson (tracks 1-4), and the late Johnny Coles (tracks 8-10).

And speaking of underrated, the drum work on tracks 8-10 is contributed by one of the Bay Area¹s finest, Eddie Marshall. Rounding out the cast are such estimable players as pianists Paul Nagel (tracks 1-4) and Glen Pearson (tracks 5-10); drummers Guillermo Cantu (tracks 1-4) and Bob Braye (tracks 5-7); and trombonist Dan Marcus (tracks 8-10). One of the date¹s wild cards is Mondre Moffett on baritone horn, a member of the brass family seldom heard in jazz settings, but quite appropriate to the setting in which Dawan has cast it. Establishing the tone is our leader, who performs on soprano, alto, and tenor saxophones; bass clarinet, and flutes. The title track, Hereafter, establishes a medium tempo, contemplative mood, with flute and woodwind harmonies underpinning Henderson's bittersweet flugelhorn.

Capturing the mood, Dawan takes his solo on alto flute, which coupled with Henderson's flugelhorn is remindful of some of Herbie Hancock's voicings when Eddie was his trumpeter. Dawan adroitly switches to the alto after concluding his flute statement. West Oakland Strut, written by fellow Bay Area pianist Ed Kelly, provides a framework for Moffett's dexterous baritone horn. One of the hallmarks of this date is Muhammad's democratic leadership; he gives ample breathing room to his peers' expressions, never hogging the spotlight.

Dawan wrote a stately intro to Chick Corea¹s Now He Sings, arranging the composer's piano voicings for horns, this sextet rendition finds our leader on soprano sax. Bowing to the composing gifts of his fellow travelers, next up is pianist Paul Nagel¹s No Need, a superb showcase for Eddie Henderson¹s fluid drive trumpet, as he delivers a beautiful legato solo, spelled by Dawan¹s tenor this time. Speaking of his tenor, he takes his own Consider The Source on the big horn. It¹s a quartet showcase for the leader¹s tenor, which at least at this point in his career was his most broadly developed voice. Glen Pearson¹s lyrical Bree¹s Theme follows. It¹s a lovely, optimistically open piece and yet another fine tenor showcase for Dawan. His tenor has a warm, humanistic quality. Sneakin¹ A Peak Into Darkness by Jeff Chambers is a good blowing vehicle for Muhammad¹s soprano. The pianist sits this one out, leaving a bare bones sax, bass & drums setting, allowing Dawan to hang fly with his freest expressions on the date. His original piece Ota is an apt follow-up, a lovely flute ballad, and the entry point for the burnish-toned Johnny Coles. Eddie Marshall¹s Seems To Be is one of this disc¹s highlight themes, given a jaunty swagger in its delivery and Dan Marcus¹ fluid trombone adds a tasty voice on this piece.

The slightly introverted styling of Coles offers a nice contrast to Eddie Henderson from earlier in the date. While Eddie Henderson is more from the Freddie Hubbard school, Coles is more closely akin to a Kenny Dorham or Booker Little approach. The juxtaposition of the two trumpet & flugelhorn men lends the date a successful sense of balance. The surging Muhammad original, Muqaddimah, with its three horn frontline, has an almost Messengers-like quality. The selections on Hereafter offer music that grows and further unfolds with each listen. Makes one wonder what other goodies Dawan Muhammad has up his sleeve or rather, in his vault. The wait should be well worth it!

~Willard Jenkins
   http://www.lifeforcejazz.com/

RUMER - BOYS DON'T CRY

Atlantic recording artist Rumer has announced the U.S. release of her extraordinary new album, Boys Don't Cry. The collection -- which follows recent domestic release of the British singer/songwriter's acclaimed debut, Seasons Of My Soul -- arrives on these shores on September 25th.

Boys Don't Cry sees Rumer bringing her remarkable voice to a striking selection of songs penned and originally performed by some of the most iconic male songwriters of the 1970s. The album showcases stunning reinterpretations of classics like Daryl Hall & John Oates' "Sara Smile" and Townes van Zandt's "Flyin' Shoes" alongside lesser-known works by such legendary tunesmiths as Todd Rundgren, Isaac Hayes, Ronnie Lane, Paul Williams, Stephen Bishop and Terry Reid. (see track listing below).

The album has already begun drawing critical applause, with Mojo hailing it for "(showing) off Rumer's ability to inhabit, interpret and seek out the universal... Rumer's still-remarkable Karen Carpenter voice (is) the gentle hand on forehead, pure white linen, a kind of musical Florence Nightingale, quick to round up the strays, seal up the wounds and make everything lovely."

Rumer heralded next week's British release of Boys Don't Cry with a stellar rendition of the album's first single, Jimmy Webb's "P.F. Sloan," on the BBC's flagship music program, Later with Jools Holland. The singular performance -- which saw Rumer accompanied by the one and only Webb -- can be viewed now at Rumer's official website, www.rumer.co.uk/updates,watch-rumer-performing-with-jimmy-webb_129.htm?f=news. Additionally, Rumer will celebrate the release of Boys Don't Cry with a live show at London's St. James's Church which will be broadcast live via different online partners around the globe.

Here in the U.S., Rumer was among the superstar artists contributing her talents to Burt Bacharach & Hal David: The Library of Congress Gershwin Prize for Popular Song In Performance at the White House, an all-star PBS music special filmed as part of the Emmy Award-nominated PBS series, In Performance at the White House. The concert event, hosted by President and Mrs. Obama, was held earlier this month in honor of songwriters Bacharach and David's receipt of the Library of Congress Gershwin Prize for Popular Song and also features performances by Stevie Wonder, Sheryl Crow, Michael Feinstein, Diana Krall, Lyle Lovett, Arturo Sandoval, and many others. Burt Bacharach & Hal David: The Library of Congress Gershwin Prize for Popular Song In Performance at the White House premiered Monday, May 21st at 9 pm ET on PBS stations nationwide (check local listings). To view the clip of Rumer's performance click here: http://www.youtube.com/watch?v=aiOqnCns59Y

Fueled by the much-admired hit singles "Slow" and "Aretha," Seasons Of My Soul was a platinum certified popular success upon its initial 2010 U.K. release. What's more, the album proved an international sensation, reaching the top 10 in Belgium, Norway, Ireland, New Zealand, and the Netherlands.

Seasons Of My Soul was also a critical phenomenon, earning unprecedented acclaim for a debut album. Mojo hailed the collection as a five-star "Instant Classic," praising Rumer for "(achieving) perfect balance between effusion and restraint... It's as if Rumer is laying bare humanity's soul, such is her ability to create intimacy and emotional depth within a song." "A mellifluous aural balm of jazz and soul, these are songs of yearning and loss," declared Q in a four-starred rave, while Uncut applauded the album for its "dream-like melancholy, thanks to the tension between Rumer's sweet voice and her troubled lyrics." "Sensationally good," affirmed The Sunday Times, "Rumer has one of those voices -- a sort of confiding, conversational sigh, equal parts Laura Nyro, Karen Carpenter, Dusty Springfield, and Joni Mitchell -- you would be happy to listen to for days and days."

Furthermore, Rumer received rapturous praise for her live performances, with Q extolling "a voice pure as a primary colour, dappling occasional light towards Carole King, more seldom Alison Goldfrapp, but for the most part a fiery phoenix rising from the unmistakable ashes of Karen Carpenter." "Her vocals are a deft blend of bright, shining delicacy and the darkness of genuine heartache," declared The Independent of a headline appearance at London's famed Bloomsbury Theatre, with The Times proclaiming the show as "a classic pop moment." In addition, a performance at New York's Joe's Pub earned the admiration of the Daily News, who noted, "It's particularly gratifying in these melisma-mad days to hear a singer who doesn't throw her voice around athletically. Instead (Rumer) trusts the essential quality of her instrument to tell the tale."

The U.S. release of Seasons Of My Soul was followed by a number of high-profile TV appearances, including NBC's The Tonight Show with Jay Leno, E! News, and CBS Sunday Morning. The latter feature instantly established Rumer as a major star, catapulting the album to #1 on the iTunes Store as well as both Amazon and Barnes & Noble's digital albums charts.

Rumer - Boys Don't Cry Tracklisting
Release Date: September 25th

1. "P.F. Sloan" (Jimmy Webb)
2. "Be Nice To Me" (Todd Rundgren)
3. "Traveling Boy" (Paul Williams)
4. "Soulsville" (Isaac Hayes)
5. "Same Old Tears On A New Background" (Stephen Bishop)
6. "Sara Smile" (Daryl Hall & John Oates)
7. "Flyin' Shoes" (Townes van Zandt)
8. "Just For A Moment" (Ronnie Wood & Ronnie Lane)
9. "Brave Awakening" (Terry Reid)
10. "Welcome Back" (John Sebastian)
11. "A Man Needs A Maid" (Neil Young)
12. "My Cricket" (Leon Russell)

BOBBY MATOS AFRO LATIN JAZZ ENSEMBLE - UNITY

On his latest recording for LifeForce Jazz Records, in addition to 9 tracks with his regular working group, Bobby has also included 5 Afro Latin percussion jam sessions, with special guests Chembo Corniel, and Phoenix Rivera. There is also one track with special guest artists Binky Griptite and Bosco Mann (from the soul phenomenon “the Dap Kings”) as well as an appearance from the Doo Wop vocal group “the Mighty Echoes”.

Bobby’s 2 horn section switches easily between a jazzy frontline of sax and trombone to a violin and flute Charanga sound. In addition to several originals from the band members, there are tunes from masters like Wayne Shorter, Tito Rodriguez, Horace Silver, and Ray Rivera. For the first time on a recording, the band adds Puerto Rican rhythms (Bomba and Plena) to their repertoire of Jazz, Mambo, Son Montuno, Rumba, Mozambique, Charanga, and Iyesa.

Bobby’s band features jazz and Latin jazz veterans Theo Saunders (piano), John B. Williams (bass), Dan Weinstein (violin & trombone), Pablo Calogero (tenor sax & flute), Robertito Melendez (congas & panderetta), Frank Fontaine (tenor sax), and Jud Matos (percussion), as well as the leader on timbales, congas, percussion in addition to arranging several songs.

Bobby says "Occasionally times can get so stressful, depressing, and painful that everything seems hopeless, and out of nowhere you'll hear a great piece of music that suddenly transforms and transcends all the negative stuff. Music can actually change your brainwaves and even act as a healing force for the body. I've seen an old man with a walker get up and dance to a sensous Cuban danzon-mambo. I've seen crowds all moving in time to the beat of the music and I know that music has this power to unify us, and make us one"

~ lifeforcejazz.com

KSBR BIRTHDAY BASH JAZZ FESTIVAL

Saddleback College Radio Station KSBR (88.5 FM) is proud to announce that Hiroshima, Paul Brown, Chris Standring and Jackiem Joyner will be among the more than 30 musicians appearing at this year’s KSBR Birthday Bash Jazz Festival. The Birthday Bash debuts on Sunday, May 27, 2012 on the Village Green of Oso Viejo Park in Mission Viejo. Some of the other artists appearing at this year’s event include, trumpeter Greg Adams, Brazilian singing sensation Fabiana Passoni and Spyro Gyra keyboardist Tom Schuman. As always, there will be at least 5 very special guests who cannot be announced until they come on stage. Previous surprise artists have included Mindi Abair, Patti Austin, Chris Botti, Larry Carlton, Brian Culbertson, Bob James, Boney James, Joe Sample, Tom Scott, and Peter White.

The concert is co-sponsored by the City of Mission Viejo. This will be the 23rd year of the station’s largest fund raising event, and it celebrates the 33rd anniversary of jazz on KSBR 88.5 FM.New this year is the first annual Taste of the Bash that will feature over 20 restaurants and wineries showing off their finest creations. The Taste is an added value, so those purchasing tickets to the concert will be admitted to the Taste of the Bash for no additional charge. The Birthday Bash is the major fundraising event for KSBR-FM, Mission Viejo’s own community radio station at Saddleback College. Some of the restaurants who are confirmed to serve up are Pita Jungle in Newport Beach, California Pizza Kitchen in Mission Viejo, Chilis in Mission Viejo, Roma D’Italia in Ladera Ranch, as well as wineries Hamilton Oaks Vineyards from Trabuco Canyon and Long Shadow Ranch from Temecula. More restaurants and wineries that will be at the Taste of the Bash can be found at http://www.ksbr.org.

Platinum and Premium Gold VIP guests will be treated to a fine dining experience by The Anaheim White House Restaurant, Hanna’s Restaurant in Rancho Santa Margarita and Vintage Steak House in San Juan Capistrano; dessert will be provided by Donna B’s Bakery in Laguna Niguel, Tommy Bahama in Newport Beach and Oh For Sweet Sakes! in San Clemente. It’s a Grind Coffee in Mission Viejo will also be serving coffee. Islands Restaurant in the Mission Viejo Kaleidoscope will be serving lunch to the 100 plus volunteers who work tirelessly to make the festival a success. And, once again, Two Guys Grilling will be providing meals for the Bash All-Stars and their families.

The event will include a special tribute to Veterans. Saddleback College’s is the most significant tribute to veterans at any community college campus in the nation. In recognition of this event and the role that the college’s VETS (Veterans Education and Transition Services) Center plays in the community, the festivities will include a color guard performance and a special musical tribute to kick off the concert. In addition, veterans and active military personnel may purchase general admission tickets for just $25 through the Saddleback College VETS Center (949) 582-4252. The Center is open Monday – Thursday 9am to 4:30pm and Friday 9am to 12 noon.

Doors open at 3:00 pm; the Taste of the Bash will run from 3:00 P.M. to 6:00 P.M. Advance sale ticket prices begin at $45; $50 at the door. Reserved VIP seating is still available and is priced at $100-$175 per person. Tickets are available to the public at http://www.KSBR.org, at the Norman P. Murray Community and Senior Center and at the Fine Arts Ticket Office at 949-582-4656.

Located in Mission Viejo, Saddleback College provides quality higher education and training to the greater south Orange County community. Having served more than 500,00 students since 1968, Saddleback College offers over 300 degree and certificate programs to help students reach their personal, career, and educational goals.

When: Sunday, May 27, 2012
Gates open – 3:00 P.M.
Taste of the Bash 3:00 P.M. – 6:00 P.M.
Military Appreciation Festivities - 4:30 P.M.
Music – 5:00 P.M.
Location: Oso Viejo Park
24932 Veterans Way
Mission Viejo, CA 92692

MILTON SUGGS - LYRICAL VOLUME 1

In 2010 with his debut album as a leader, Things to Come, vocalist Milton Suggs established himself as an artist to be aware of and watch closely. He cements that idea with a strong showing in 2012 with the first volume in an anticipated series of albums simply and appropriately entitled, Lyrical.

Lyrical, Volume I was recorded in late 2011 and early in 2012 with some fine instrumental talent out of the midwest. Detroit pianist Michael Jellick, bassist Joshua Ramos, and drummer Greg Artry comprise the rhythm section while several talented horn players including trumpeters Corey Wilkes and Marquis Hill, as well as saxophonist Christopher McBride make strong statements as soloists.

True to its title, the album’s repertoire consists of arrangements by Milton Suggs of compositions from some of the most beloved musicians and composers in jazz all with original lyrics by Suggs. The album opens with three Wayne Shorter compositions: first, the powerful war-like anthem “Before It’s Too Late” (originally called “Armageddon”), followed by “Walking Out” (“Footprints”), before winding down to a moving ballad in “Jayme’s Song” (“Infant Eyes”), a father’s ode to his newborn daughter.

The musical as well as lyrical content of this album is an eclectic display of different styles as well as subject matter. With styles ranging from straight ahead swing, to bossa, to R&B influenced grooves, Suggs offers the diversity and accessibility that is coming to define his work. A self proclaimed romantic, he approaches the subject of love from many different angles; from laments of loss in songs such as “Only A Memory” (based on Lee Morgan’s “Ceora”) to praises of adoration in songs like “Side by Side” (based on Benny Golson’s ever popular “Stablemates”) his words go a long way in illustrating love’s complexity and vastness.

It has been two years since the release of Milton’s acclaimed debut album, Things to Come, and between now and then he certainly hasn’t been resting on his laurels. In addition to performing throughout the country in places such as The Kennedy Center in Washington D.C., Milton has been writing. Not only has he been building a catalogue of original music for later recording and release, but he has also spent much of his time crafting lyrics to the melodies of many of his favorite well known and lesser known jazz compositions to be released on subsequent volumes.

Writing is something for which Milton discovered a fondness at an early age. “I was probably in the third grade, around eight years old, when I found a book of poetry at a family member’s house,” recalls Suggs. “I read this one poem ‘She Walks in Beauty like the Night’ and I was mesmerized. From then on I was trying to write love poetry. When music came into the picture I began to understand how when great melodies are paired with honest and meaningful lyrics, the best of both worlds come together and create something new and special.” It is only fitting that an album like Lyrical is being released when it is. We were given a preview of Milton’s prowess as a lyricist on his previous album, and now it is being displayed on a larger scale.

“Things to Come was my manifesto, a declaration of some of the directions I intend to go in my career. So I’ve really been taking to time to see those goals through to fulfillment,” Suggs says.

“There is so much great music out there that the possibilities seem endless when it comes to putting words to melodies. I really enjoyed the project because it gives me the opportunity to step away from writing music and really focus on my appreciation for these great tunes by other artists.”

While the elder statesmen such as Wayne Shorter, Cedar Walton, and Benny Golson have provided Suggs with much lyrical inspiration, he also shows appreciation for a younger generation of artists such as trumpeter Roy Hargrove. “Joy Enough to Spare” is a lyrical treatment of Hargrove’s “Joy is Sorrow Unmasked” from his 2008 album Earfood. Not only does Suggs provide a warm vocal on this track, but he also accompanies himself on piano.

While the influence of masters such as Eddie Jefferson and Jon Hendricks was apparent with his previous album, Suggs adds a new dimension to his vocal styling that reflects the influence of soul singers Donny Hathaway and Marvin Gaye and even groups such as the Chi-lites and Blue Magic. “Of course soul is much of what I grew up listening to, so I wanted to explore possibilities of pairing some of those vocal recording techniques with the jazz standards,” Suggs says. On many songs from this album, Milton provides his own background vocal accompaniment, something that is not typically heard among jazz vocalists.

Milton’s soul music influence comes to life in the vibrant “Will You Fly with Me”, an R&B style song based on Tadd Dameron’s “Lady Bird” and Miles Davis’s “Half Nelson” with a track from producer and vibraphonist Justin “Justefan” Thomas. With a stunning solo from pianist Michael Jellick, this particular song offers what might be considered a more contemporary spin to an ever popular jazz classic.

When asked what possibilities might lie ahead within his career Suggs had this to say, “I definitely intend to keep putting out volumes of the Lyrical series, but for my next immediate project I would like to do an album of all original compositions. But for now I’ll just focus on making sure this album gets heard.” With a combination of great tunes, solid arrangements, exceptional vocals, and great lyrics accomplishing that goal should not be a problem.

HOT CLUB OF DETROIT - JUNCTION

Following up It's About That Time, Night Town and the eponymous 2006 debut Hot Club of Detroit - Hot Club of Detroit expands its sonic and compositional horizons with Junction. Retaining its original lineup of reeds, two guitars, accordion, upright bass and no drums, this is the band's fourth release for Mack Avenue Records. There are personnel changes, however, and for the first time, the Hot Club of Detroit is joined (on three tracks) by a vocalist: French musician Cyrille Aimée, a native of Django Reinhardt's hometown and third-place winner of the 2010 Thelonious Monk International Vocal Competition.


Junction's sound is at once vintage and boldly new, rooted in the legacy of Django Reinhardt but also the sensibilities of Ornette Coleman, Pat Metheny, John Zorn and even the rock band Phish. Far from a traditional gypsy jazz ensemble, Hot Club of Detroit (HCOD) proves itself a versatile modern jazz group, with a unique acoustic-electric sound that surges past expectations and genre boundaries.

"A lot of bands that model themselves after the Hot Club of France are now working with drummers, or percussion of some sort," says HCOD rhythm guitarist Paul Brady. "We never have. And by doing that it forces us to think creatively about what we can do without it. How can we approach odd meter, how can we approach certain grooves? Regardless of what a drummer can add, that absence to me is interesting and different."

Unfortunately, Junction comes at a difficult time. HCOD bassist Andrew Kratzat and his fiancée were both seriously injured in an auto accident in July 2011, and are currently on a long road to recovery. "This album is a dedication to both of them," declares Brady. "It's been tough for us, musically but also emotionally," adds HCOD accordionist Julien Labro. "Andrew is like a brother, a family member. But we're still hopeful, and one day I'm sure he'll be back to playing."

Honoring Kratzat's example, bassist Shawn Conley brings stellar musicianship to Junction. Another new face is saxophonist Jon Irabagon, winner of the 2008 Thelonious Monk International Saxophone Competition and member of the acclaimed punk-jazz quartet Mostly Other People Do the Killing. Andrew Bishop, also on reeds, makes appearances on three tracks, increasing the band's power and timbral variation. (Family obligations required Carl Cafagna, the group's original saxophonist, to step aside.)

Irabagon is assertive from the start, contributing his own "Goodbye Mr. Anderson" as the album opener. (The title comes from The Matrix, the chords to an extent from Bobby Hebb's "Sunny" and John Coltrane.) The writing partnership of Labro and lead guitarist Evan Perri is also central to the album's sound. From their rich creative exchange comes the flowing soprano sax/accordina melody of "Song For Gabriel" (named for pop legend Peter Gabriel); the Pat Metheny-esque 6/8 time of "Junction"; and the French-style waltz "Midnight in Detroit" (a parallel to Stephane Wrembel's "Midnight in Paris," used in the Woody Allen film). "The openings of 'Song For Gabriel,' and 'Junction' are very idiomatic to the guitar, which makes them feel like pop tunes to me," adds Perri.

Perri and Labro also co-arranged "Rift," by Phish's Trey Anastasio, to close the album, adding a foundation of brisk la pompe rhythm guitar, even a hint of Western swing, to a 1993 rock song of fairly epic (and very electric) proportions, though without abandoning the tune's structure. "I considered it sacrilegious, and refused to shorten the original form of 'Rift' during rehearsals!" Perri laughs.

Labro's pieces make clear his rigorous attention to craft and his wide-ranging influences. "The thing with 'Hey!'" he explains, "is that it was not supposed to be two tenors at first. When we knew Andrew was able to participate, I started thinking I could hear a dialogue and absolutely wanted to include his voice." John Zorn is the inspiration behind "Chutzpah," with a blasting free-form intro that gives way to precise ensemble passages and a riot of changing tempos and feels. The darker and calmer "Goodbye Mr. Shearing" honors the late piano master George Shearing, who in fact started out on accordion. "There are just a few recordings where he plays accordion and his language was great, so ahead of its time for the instrument."

Another Labro composition, "Django Mort," was inspired by a Jean Cocteau poem that was read at Reinhardt's funeral. Aimée sings the French text as the band plays in a laid-back shuffle feel with a romantic flair. "I tried to imagine when those words were first recited, perhaps with an organ playing in the background," Labro says. "So the accordion starts by itself, and the counterpoint is very Baroque. I also thought about Django being a jazz musician, and why not have a procession like they do in New Orleans. So I opened that up into a bluesy vibe, thinking about guitarists like Howlin' Wolf."

Just before "Django Mort" is Labro's arrangement of an unfinished Django Reinhardt mass, "Messe Gitane." While researching Django's death, Labro came upon the only recording of this remarkable work-in-progress, a roughly 10-minute fragment for solo organ. "Django never orchestrated any of it," Labro reports, "but you can tell that something bigger was supposed to arrive." Irabagon and Bishop both play clarinet on the piece, enhancing its chamber-like beauty.

Aimée also offers "a nice bit of vocal athleticism," in Brady's words, on the Angel Cabral tune "La Foule" ("the crowd"), a Parisian standard associated with Edith Piaf. "The lyrics are about two people who meet in a crowd and they dance," Brady offers, "and the party gets more and more crowded and they lose each other." Labro resets the popular waltz in a tricky but natural-sounding mixed meter. "The song is actually Peruvian in origin," he says, "so I wanted to bring that Latin back in. It was already in Cyrille's repertoire, but to sing it that fast with the different meters was a challenge, and she hung in there. She's really willing to take risks."

No less challenging was Ornette Coleman's "Lonely Woman," also arranged by Labro, featuring Irabagon on alto saxophone and Aimée singing a lyric written by Margo Guryan. Labro explains: "In the original, the time and the harmony are there but they're so loose. We needed to find a way to capture what the words are about, without destroying what Ornette intended."

Labro and Brady share composer credit on "Puck Bunny," which is slang for a female hockey fan. "A critic once called us 'puckish'," Brady explains, "so I was originally going to call this 'Puck,' as in the Shakespeare character." Brady also cites the free-spirited influences of Mostly Other People Do the Killing as well as Jason Moran's Bandwagon. Labro scored the piece for bass clarinet (Bishop) and sopranino saxophone (Irabagon), creating the widest possible sonic range. "What's great about having Jon and Andrew together," Labro says, "is that they can play so many woodwinds, so it gives you a lot to work with. You can mix and match and get totally different sounds."

Different sounds coming together, band members collaborating from different cities: all of this makes Junction the perfect album title. "It's a nice mix of pop-oriented material and also rather avant-garde stuff," Brady concludes. "I remember an interview with Marc Ribot, my favorite guitarist in the world, talking about how avant-garde and pop have a lot of crossover, and even some of the musicians are the same people, like Marc himself. It made total sense to me, and it came into my mind while preparing this record." Perri concurs: "We've always believed that if Django Reinhardt were alive today, he wouldn't play the same way he always did. In his short lifespan you can see how much evolution and vision he had. To pay tribute to him is to continue pursuing our own ideas."

Junction Track Listing:
Jon Irabagon / saxophones
Julien Labro / accordion/accordina
Evan Perri / acoustic/electric guitar
Paul Brady / rhythm guitar
Shawn Conley / bass
Cyrille Aimée / vocals (trks. 3, 7 & 10)
Andrew Bishop / tenor saxophone, clarinet, bass clarinet (trks. 4, 6 & 12)

1. Goodbye Mr. Anderson (Jon Irabagon) - 6:03
2. Song For Gabriel (Evan Perri, Julien Labro) - 4:23
3. La Foule (Angel Cabral, words by Michel Rivgauche) - 4:11
4. Hey! (Julien Labro) - 5:59
5. Chutzpah (Julien Labro) - 5:39
6. Messe Gitane (excerpts from Django Reinhardt's unfinished Mass) - 4:00
7. Django Mort (Julien Labro, words by Jean Cocteau) - 5:33
8. Junction (Julien Labro, Evan Perri) - 4:05
9. Midnight in Detroit (Julien Labro, Evan Perri) - 2:12
10. Lonely Woman (Ornette Coleman, words by Margo Guryan) - 5:44
11. Goodbye Mr. Shearing (Julien Labro) - 4:03
12. Puck Bunny (Paul Brady, Julien Labro) - 4:03
13. Rift (Trey Anastasio) - 5:57

Upcoming Performances:
June 28 / Dazzle Jazz / Denver, CO
June 30 / Jazz Aspen Snowmass / Aspen, CO
July 1 / Jazz at the Market / Vail, CO
July 28 / Chris' Jazz Cafe / Philadelphia, PA
July 29 / Snail Pie Lounge / Glenville, PA
July 31 / Iron Horse Music Hall / Northampton, MA
August 2 / World Café Live / Wilmington, DE
August 3 / Birdland - Django Reinhardt Festival World Yacht / New York, NY
August 11 / DjangoFest Colorado / Crested Butte, CO
August 17 / The Green Mill / Chicago, IL
August 18 / The Jazz Kitchen / Indianapolis, IN
September 16 / Pender Harbour Jazz Fest / Pender Harbour, BC
September 19 / DjangoFest / Whibley Island, WA
November 10 / Izzy Asper Jazz - Winnipeg Art Gallery (w/ Cyrille Aimée) / Winnipeg, Manitoba
January 26 / Centenary Stage Company / Hackettstown, NJ

http://www.hotclubofdetroit.com/

SCOTT GRIMALDI - THE COLOR OF MIDNIGHT

Jazz saxophonist Scott Grimaldi has released his debut album, The Color of Midnight featuring the artist on an array of saxophones and other woodwinds; he is also the producer and arranger. Although labeled as an instrumental smooth jazz album, some tracks have an unmistakable R ‘n’ B vibe. Scott composed three of the tracks and has assembled an impressive group of the best vocalists and musicians to bring The Color of Midnight to reality. After years of not so gentle nudging from legendary record producer, Tony Camillo, for whom Scott played in the studio since the 80’s, Scott finally got his chance to break out his own unique sound on this amazingly innovative project and groundbreaking album, one that cannot be defined by a single musical genre.

The Color of Midnight contains fresh new arrangements of classic hits from Stevie Wonder, Bruno Mars, Henry Mancini, Peter Cetera, Michael Jackson and R. Kelly, combined with Scott’s original compositions Batteries Not Included, I Promise & The Color Of Midnight. The work identifies his high-energy signature sound. A fan of jazz can hear the musical influences of David Sanborn, Tom Scott, Hubert Laws and Chicago.

From a gifted, musical family, Scott’s formal music training began with guitar lessons at 8 years old. A few years later, he gravitated towards the flute in the school band and thus began his serious studies with all of the woodwinds. In high school he mastered the bass guitar and studied woodwinds with jazz legend, Lenny Hambro while playing on the weekends with his parents’ popular club date band. After graduation, Scott attended Berklee College of Music, Boston, Mass. Within three years, he was sought after to work professionally on the road as an arranger/woodwinds player for a touring show band. After a two year stint, Scott returned to NJ to pursue work as a musician in the fields of recording, performances and as an arranger for song writer, Bill Giant. During that time, Scott studied privately with legendary teachers Adolph Sandole and Danny Trimboli and received a B.M. degree from the Manhattan School of Music, NY, NY.

For over two decades, Scott has performed with popular and iconic stage acts that include Aretha Franklin, Ray Charles, The Manhattan Transfer, Vanessa Williams, Frank Sinatra Jr., Rosemary Clooney, Linda Eder, The New Jersey Symphony Orchestra, Frankie Valli & The Four Seasons, The Temptations, Little Anthony & The Imperials, The Duprees and Etta James. His performance work includes several Broadway musicals including “Steel Pier”, “Kiss Of The Spider Woman” and “Me And My Girl”.

As a recording studio musician, Scott was a regular at Venture Sound Studios, playing for Grammy award winning record producer, Tony Camillo. He played for T.C. Records recording artists that include Freda Payne, The Dramatics & The 5th Dimension and produced Sandy Sasso’s “Mixed Grill”. His musical credits span television, film, and advertising.

In addition, Scott was a recognized industry expert in the field of music copyright infringement. His transcriptions were utilized by the iconic artists of the 80’s and 90’s, including Janet Jackson, R. Kelly, Billy Joel, Madonna and Aerosmith. His publishing credits include “The Rolling Stones Singles Collection”, “Phil Spector, Back To Mono” and “Sam Cooke’s Night Beat”.

In the field of music education, Mr. Grimaldi is an Adjunct Professor of the Fine Arts Dept. at Manhattan College, Riverdale, NY, since 1989. As co-director of the Jazz program at Princeton High School, Princeton, NJ, Scott has led his students to national recognition annually. His passion for developing his own protégés has led to enormous achievements for his private students, including top chair positions in Regions & All-State Bands/Orchestras, NJ Youth Symphony, NJPAC Jazz For Teens, as well as acceptances at the top conservatories in the nation.

His numerous talents and versatility in many aspects of the music industry have converged to give rise to the production of this new classic of smooth jazz, R & B, The Color of Midnight, the most talked about break out album in the genre in years.

~ grimaldimusic.com

JASON SMITH - BLUE MOON

Just when you thought just plain good old fashioned music was gone for good, along come Jason Smith. Jason’s Flying Solo project will remind you, and take you back to the forgotten era of when music was music. It was produced by Jason and his cousin and long time music partner, Gil Smith. The all instrumental compilation of “smooth jazz” tunes represents a newness and freshness for Jason who is ‘starting over’ in his musical career.


Jason first picked up the electrical bass at the early age of nine. He had told everyone at school that could play bass. In reality, he couldn’t but his father could. Jason ran to him for a ‘crash course’ and within two weeks time his father had taught him enough chords and notes to make it through the high school talent show. It was the beginning of Jason’s musical career.

He and Gil had instantly became serious partners. He studied for several hours a day and then he began taking private lessons. It wasn’t long before his music teacher noticed Jason’s tremendous natural aptitude for music, and he brought in a keyboard and began jamming with the future musicians. He taught them about song structure, and chord changes. Soon “Jason & The Boys,” were performing at all the neighborhood talent shows, contests and neighborhood dances. By the time Jason got to Junior High, the word was out that he was an instrumental master. All the young “homies,” in the neighborhood were coming to Jason and Gil to have their rap songs as professionally produced as their material was at that time. Jason and Gil had made quite a reputation for themselves around Los Angeles County High School for the Arts!

Young Smith was a hard worker and a fast learner. His skills earned him a scholarship to the famed Berklee School of Music in Boston where he studied for three years. While at Berklee, Jason became aware of a totally different music scene and the many different music styles. Returning back to California, Smith joined forces with brother Billy and to form the reggae band Caribbean Pulse. They recorded one album, Stand Up, which brought them household fame throughout the Caribbean. The band was formed in 2001, and 2003 Billboard magazine named them “Top Reggae Band.” They toured the Caribbean, Canada, Europe, South Africa and a few stateside dates. The album was entirely written and produced by Jason. Their joint recording, Jah Is My Rock, with Damian Jr. Gong Marley stayed on the Billboard chart for 20 weeks. In 2004 Jason produced the debut CD for veteran R&B recording artist Cuba Gooding, who had been the lead singer of the ’70s group, The Main Ingredient.

"Flying Solo is a very spiritual project for me. Everything on it has a meaning. I use the electric bass to speak for me,” states Jason Smith. It is a ‘coming out’ project for him: coming out of producing and writing for others. According to him, “My music is really heartfelt, totally adult music.” The title track was co-produced by Kowan Q. Paul Kowan, who is known for his production work with Craig David, Boyz II Men, Faith Evans and many others. This was one of Kowan’s last works before he tragically passed away. Also joining in on the production efforts is Gil Smith who is currently the Musical Director for Lil Wayne, Nicki Menaj, and Keri Hilson. “I worked with a great team of producers and writers, and I’ve waited a long time for this project. Once you hear it, you will agree, Flying Solo will surely soar!

~ thesmoothjazzartist.com

NEW RELEASES - LATIN CONCRETE, BODDI SATVA, ALAIN MION

CHRIS READE PRESENTS LATIN CONCRETE - A MODERN LATIN BEAT SUITE

Unlike many of the compilations to have emerged from the BBE stable, Latin Concrete is less about unearthing rare or unheard music and more about shining a light on a sound that has been developing in its own small corner of the musical spectrum over the last decade or so.

Chris Read approached this compilation, not as someone who grew up around Latin influenced music or with any lengthy history of involvement in it, but as a DJ and music fan who grew up listening to the early sample based music of the late 80s and early 90s has, ever since, set about exploring the many directions that music has travelled in. The music which appears on this compilation is the product of just one of those many avenues.

The tracks featured her! e come from a variety of sources but in many cases are the product of a generation of DJs and producers who similarly grew up listening to the sample rich hip hop, house and more of the 80s and 90s and have taken that influence and applied it to a particular sound, in this case the varied musical styles of the Latin Diaspora. This is modern Latin music from a DJ's perspective - rhythm heavy, beat driven and infectious. ~ bbemusic.com

BODDI SATVA - INVOCATION

Hailing from Central African Republic (C.A.R.), Boddhi Satva vowed early in his career to make a statement through a signature sound of his own. Ancestral Soul was born. When music is the soundtrack of universal rituals - birth, graduation, marriage, and ancestorship, that’s Ancestral Soul; when music is simultaneously an tense argument between passionate lovers, a intense freestyle session between- or a revolutionary political speech by live instruments – kora, piano, sax, flute, congas, cello, balafon and turntables, that’s Ancestral Soul; when deep house music has modern Congolese rumba as wife, West African voices as mistresses, and urban R&B and Afro-Cuban rhythms as occasional girlfriends, that’s Ancestral Soul.

Boddhi Satva subsequently became a demanded remixer as “Ancestral Soul” versions of mainstream tracks won over club audience! s across the globe, in addition to recognition from connoisseurs and tastemakers. 2012 will see the worldwide release of the debut album Invocation on BBE Records, after it was released in Africa in 2011 by Vega Records, the label of the legendary Louie Vega. The latter hand-picked Boddhi in 2008 to be an elite producer for Vega Records and a resident of Vega DJ tours.

Invocation confirms the solid place that Boddhi established for himself in the house music landscape. It is an ode to the ritual dimension and the spiritual power of music. It is a kaleidoscope that reflects the layers, nuances, colours, impressions and transformations that one experiences in life. ~ bbemusic.com

ALAIN MION & THE NEW CORTEX – LET’S GROOVE!

Alain Mion leads a new Cortex – grooving nicely, too – doing it live in Paris! Mion is at the grand piano for a good deal of the first side, energetically leading a great group on some stellar, timelessly jazzy numbers. The second half of the set has him on Fender Rhodes, for tracks that fully dive into the jazz funk vibe of classic Cortex.

The musicians are fantastic, too! Patrik Boman on bass, Gerard Prevost on electric bass, Adeline De Lepinay on percussion and some vocals, Michael Kersting on drums,and a great lineup of soulful saxes: "Loic Soulat Pietro Tonolo, Greg Deletang, Romano Pratesi and Phil Brohet. Includes a nice set of Mion originals including "Phila Nite Song", "The Wrong Soul Blues", "When The Ship Sails Away", "East St. Louis, 1917", "The Tap Tap", "Green Street" and more. (Includes MP3 download.) ~ Dusty Groove