TAMMY WYNETTE - STAND BY YOUR MAN REMIXES

Coinciding with the 70th birthday celebration of the late Tammy Wynette, two Dave Audé remixes of her Grammy Award®-winning “Stand By Your Man” were made available for download at all digital retailers starting June 15th through Epic/Legacy The remixes are “Stand By Your Man - Dave Audé Radio Remix” (3:21) and “Stand By Your Man - Dave Audé Club Remix” (5:16).

“Stand By Your Man” is the signature track by Wynette (b. May 5, 1942 - d. April 6, 1998), acknowledged as “The First Lady Of Country Music” by The Country Music Hall of Fame. It remains an American classic in 2012, more than a third of a century after its release in October 1968. Dave Audé brings a new attitude to the song, transforming it into a red-hot dance track which is the equal to his memorable remixes for Madonna, Sting, Lady Gaga, Katy Perry, Ke$ha, Jennifer Lopez, Kelly Clarkson, Britney Spears, Beyoncé, U2, and Coldplay, to name a few. Since 1996, Audé has amassed an unprecedented 75+ #1 Billboard tracks. “Stand By Your Man” is Executive Produced by Fletcher Foster and Darrell Brown.

The Dave Audé remixes are the first major chart contenders by Tammy Wynette since 1991, when British rave sensations The KLF invited her to sing on their left-field pop hit “Justified and Ancient (Stand By the JAMs).” The track hit #2 Dance in Billboard, #11 on the Hot 100, and went to #1 in 18 countries.

In 1968, “Stand By Your Man” followed the similarly controversial “D-I-V-O-R-C-E” and both topped the Billboard Country charts that year. “Stand By Your Man” went on to win the Grammy Award® for Best Female Country Vocal, the second of Tammy's two Grammy Awards®. The song was inducted into the Grammy® Hall Of Fame in 1999, and was selected by the Library Of Congress in 2010, for addition to the National Recording Registry.

At the dawn of the feminist revolution in the late 1960s, “Stand By Your Man” and “D-I-V-O-R-C-E” stirred up emotions on all sides of the fence, and solidified the standing of Tammy Wynette in American culture. It certainly paved the way for her third consecutive honor as the Country Music Association's (CMA) Female Vocalist Of the Year, which she won in 1968 (the second year of the awards), 1969, and 1970. That track record was Tammy's alone for nearly two decades, until Reba McEntire finally broke it in 1987 with a fourth consecutive win.

The legend of Mississippi farm girl Virginia Wynette Pugh is inscribed on the American psyche -- married at 17 and a divorced mother of three daughters before she reached 21. Her voice, a soulful confession choked out in a heart-wrenching tumble of emotion, brought her to the attention of CBS Records Nashville producer Billy Sherrill, who signed the 24-year-old to Epic Records in 1966. Sherrill thought her blond ponytail reminded him of the Debbie Reynolds movie Tammy and the Bachelor, and the rest is history.

In less than a year, her third chart single (“My Elusive Dreams,” a duet with David Houston) became the first of 20 singles to hit #1 on the Billboard Country chart for Tammy over the next decade. Her career encompassed 11 consecutive #1 country LPs and worldwide sales of more than 30 million albums. As a cornerstone of the Epic roster, her marriage to George Jones in 1969 (the year after Johnny Cash and June Carter were wed) was a union of country royalty.

Tammy Wynette is acknowledged as the first American country artist to earn an RIAA platinum million-selling LP (1969's Greatest Hits) and was one of the first country acts to tour inter¬nationally on a regular basis. Every new generation has awakened to her indomitable presence. In that perennial process of re-discovery lies the magic of Tammy Wynette's spirit.

LegacyRecordings.com

BRIAN CULBERTSON'S 'DREAMS' HITS #1 POSITION

With his thirteenth album Dreams (Verve/Universal), Brian Culbertson has done it again, hitting the #1 position on Billboard's Contemporary Jazz Charts. With the help of lauded guest vocalists Noel Gourdin, Vivian Green, and Stokley Williams of Mint Condition, Dreams masterfully melds jazz sensibility with an R&B flair in a wondrous mélange of enchanting grooves.

Released on June 12th, the album is a stunning collection of 10 mesmerizing tunes, including the poignant lead single "Still Here" - featuring the soulful rapture of Vivian Green, telling the passionate tale of how taking a risk on love can have a happy ending. "Your Smile," the album's lead jazz single, is an exquisite rhythmic excursion underscored with an undeniable buoyant groove. Brian recruited the R&B vocal prowess of singer Stokley Williams to enhance the melodic elegance of "No Limits," whose romantic lyrics accentuate the thrill of actualizing an altruistic union. On "You're My Music," Boston-based singer Noel Gourdin pours his thick, soulful vocals over both Brian's shimmering piano chords and bass guitar licks.

On Dreams, Brian brought together a group of "who's who" in music including: R&B producer and longtime collaborator and arranger Rex Rideout (Angie Stone, Ledisi, Luther Vandross, Lalah Hathaway, Will Downing, Kem); four of R&B's top session players to help round out the sound - bassist Alex Al (Michael Jackson, Stevie Wonder, Quincy Jones); and guitarists Michael Thompson (Babyface, Toni Braxton), Rob Bacon (Beyonce, Raphael Saadiq), and John "Jubu" Smith (Frankie Beverly & Maze, Whitney Houston).

Brian is currently on tour with jazz saxophonist David Sanborn during a 30 city stop appropriately entitled The Dream Tour, hitting an array of venues including wineries, cruises, casinos and festivals through September.

2012 is certain to be a pivotal turning point in Brian's illustrious career. Dreams holds the key to a new dimension of the jazz listening experience by effortlessly combining elements of R&B and soul with spellbinding melodies and the marvel of inner visions. With Dreams, as with his previous efforts, Brian proceeds to keep the genre of jazz alive and viable by consistently injecting a fresh approach into his own unique sensibility. Dreams definitely proves that jazz and groove fit hand-in-glove.

~ http://www.brianculbertson.com/

BRAZILIAN TRIO - CONSTELACAO

Brazilian Trio is a masterful amalgamation of musician, composer and arranger friends dedicated to perpetuating the artful blend of Brazilian classical music and jazz. The trio consists of pianist Helio Alves, bassist Nilson Matta and drummer Duduka Da Fonseca. Their 2009 debut CD, Forests, netted them a coveted Grammy nomination for Best Latin Jazz Album right off the bat, validating their musical mission with passion and appreciation. For their eagerly awaited sophomore follow up, the Trio has moved to Motema Music for Constelação (pronounced “cohn stay lah sow” - “constellation” in Portuguese). Divinely showcasing each player with an original composition apiece plus uniquely engaging renditions of fine pieces ranging from Brazilian composers such as Tenorio Jr. and the great Antonio Carlos Jobim to jazz stalwart Cedar Walton, the 10-song album picks up from where the earthy Forests left off…and gracefully ascends skyward. This music is deep enough to impress connoisseurs of Brazilian music while appealing to casual music lovers that simply adore the sound of beautiful masterfully rendered tunes.

“There are two hallmarks of Brazilian music,” Matta explains, “melody and rhythm. But improvisation requires knowledge of the language of jazz. We’re thinking in 2/4 but we use the info that we get from jazz. This way the music keeps growing. It’s the new direction of playing Brazilian Music.”

The album title was inspired by the evocative title of the opening number “Constelação” composed by Alfredo Cardim (with a lyric unheard here by Dee Dee McNeil). This had a lot to do with the Cruz constellation, which is among the most prevalent in the sky over Brazil. So symbolic is this cross-shaped constellation that it was integrated into the design of Brazil’s national flag, reflecting a deep connection to spirituality.

Each member of Brazilian Trio contributed an inspired composition to the project. Duduka’s piece is the enchanting “Isabella” – “a lil’ waltz for a lil’ flower,” he shares with pride, “my daughter Isabella. She is 14.” Similarly, Helio’s piece “Bebe” is for a very special lady in his life. “I wrote ‘Bebe’ a while ago for my wife, Ellen. I originally recorded it on my first album, Trios (Reservoir Records – 1998) with Al Foster on drums and John Patitucci on bass. It had a more straight-ahead jazz feel then. Now it’s a more Brazilian feel in ¾ over which I was able to take more liberties. I’m a totally different player now and I really appreciate the fresh approach with Nilson and Duduka.”

Nilson brought the medley “LVM/Direto Ao Assunto” to the table – two songs from two different times in his life that fit together here like a hand in glove. “’Direto Ao Assunto,’ which means ‘straight to the point,’ is a short piece I composed around `72/`73 when I was still living in Brazil. I named it that because though it’s difficult to play it’s simple in sound. ‘LVM,’ which are the initials of my wife Luisa and my sons Victor and Maico, is a song I composed in Yellow Springs, Pennsylvania when I was just starting with Don Pullen’s band. He insisted that we each write something for the group. My surroundings inspired that ballad and now it has become the introduction for this song – two songs in one.”

Regarding the approach to recording Constelação, Helio (softly pronounced ay-lee-oh) states, “We stayed close to the format of the last album…even recording in the same studio (Avatar in New York City). Because our histories and origins are so similar, we work well together.” Duduka adds, “We started rehearsing at Nilson’s house in New Jersey. We all had ideas. We filtered, discussed, then after several rehearsals we had the final repertoire that we were all happy with. We recorded and produced the album ourselves. We’ve developed a great deal of empathy, growing more and more refined. We’re evolving every time we play.”

That empathy is in magnificent evidence on several compositions by the legendary Brazilian composer Antonio Carlos Jobim. Though Brazilian Trio strives to also highlight lesser-known national treasures, there’s simply no getting around the prolific “Tom” Jobim. The group tackles three of his pieces this time; “O Bôto,” “Quebra Pedra” and “Luiza.” Helio remarks, “‘Luiza” is one of his most beautiful melodies…so gorgeous. The guys agreed right away to do it. When Jobim recorded it he sang it and even though his voice was not the greatest it was still so very moving because of the melody. The guy just had so many incredible songs.” Nilson marvels, “Jobim surprises us all the time. On ‘Quebra Pedra,’ the bass plays the fifth (of the chord)! It’s a very intricate rhythm with a catchy yet complicated melody. These three songs are each completely different. These selections prove that Tom’s capacity was very broad but his personality is always present.”

The most familiar song of this set belongs to the great Dorival Caymmi and is titled “O Cantador,” better known in America by the version with English lyrics entitled “Like a Lover” (made famous by Sergio Mendes and Brazil `66 from their LP Look Around). The original Portuguese lyric was penned by nelson Motta (NOT to be confused with B.T. bassist Nilson Matta). Brazilian Trio’s version of this dreamy ballad is breathtakingly tender - lovely and light as a feather.

Brazilian Trio also digs into the 1964 bossa jazz classic “Embalo” by unsung Brazilian pianist Tenorio Jr. as well as the album-closing “Bolivia” - the surprisingly syncopated, South American favored and most famous composition from the pen of American jazz great Cedar Walton. The latter opens with a commanding drum solo by Duduka that drops down into one of the hippest swing grooves ever. Constelação is nothing short of a triumph for the group which is now well on its way to establishing itself as ambassadors of the music.

The story of Brazilian Trio begins in Rio de Janiero circa the early `70s when Duduka Da Fonseca (born in Rio) and Nilson Matta (born in Sao Paulo) met playing soccer with a loose gathering of other musician friends in a little field every Wednesday. Both men knew of and respected each other as players but were so busy with separate gigs that they never got a chance to collaborate while in Rio. In1975. Duduka came to America to make a living as a jazz musician in New York City. Ten years later Nilson also made the move to New York and with Duduka began playing in bands with greats including globetrotter Herbie Mann.

Helio Alves (born in Sao Paulo) came to the United States initially to study music at the Berklee College of Music in Boston. Brazilian trumpeter Claudio Roditi was very excited about his progress and encouraged him to move to New York. Once there in 1993, Helio met Duduka and Nilson and the three of them began playing together. Brazilian Trio officially began informally when they took up a weekly residency gig at a little club the West Side of Union Square. They played steadily together over several years just the three of them as well as at the service of jazz royalty like the late, great saxophonist Joe Henderson.

Brazilian trio recorded its first album, Forests, in 2009, selling a lot of CDs over in Europe and netting a Grammy nomination here in the U.S. They will now build on the momentum with the transfixing music of Constelação.

“So many composers, known and obscure, have contributed to the richness of the Bossa Nova movement,” Duduka concludes. “In late `50s, Samba Jazz was also created. Gentlemen like (Brazilian drummer/percussion great) Dom Um Romao were also listening to Horace Silver, Art Blakey & The Jazz Messengers, Coltrane and Miles, so they had a parallel vibe going on. Mix in the classical influence from Bach, Debussy and Ravel, and you get the musical direction that Brazilian Trio is dedicated to carrying forward for many years to come.”

~ Motema Music

ABIAH - LIFE AS A BALLAD

"...a singer with an innate ability for passionate songwriting that one cannot learn." - Billboard Magazine

Ever since the untimely departure of Luther Vandross, the American pop scene has been absent of a Black American male balladeer possessed of chops beyond belief, staunch lyricism and emotional maturity. Abiah (pronounced Ah-bee-yah) more than adequately answers the call of that absence with an album and a presence that is sensuous, soulful, honest, grown-up and quite passionate about restoring vocal excellence to the contemporary airwaves.

Who is Abiah? These are the bare facts: he is a seasoned balladeer possessed of a five-and a half octave range; an established vocal coach and former Universal Republic recording artist; and he is of Ghanaian, Cuban, Native American descent, though raised in Rochester, NY.

While that background remains a part of his roots and identity, 2012 marks a musical, professional and personal evolution for the singer-songwriter. Previously known as "Jeremiah" in the music world (full name Jeremiah Abiah, the latter of which means 'God is my father'), Abiah sets forth his highly anticipated sophomore album, Life As A Ballad, reflective of a long journey towards his intensely personal sound and overall musical growth - consisting of nine self-penned originals.

Growing up in a musical home - his mother an accomplished concert pianist - induced a love for learning about the nuances of the singer's art and craft that found him studying at the Eastman School of Music as a young teen where he studied with legendary chanteuse Renee Fleming's mother, Patricia Alexander. Afterwards came enrollment at Syracuse University and The New England Conservatory for operatic training. Abiah's pre-undergraduate obligations were completed while on the road, where he quickly found work as a backing vocalist for George Michael and while in college he also landed a steady gig with Yolanda Adams.

"There was a moment when I thought I had lost my voice. "I was experiencing growing pains which were hard to decipher at first but eventually they helped me to trust my heart, sound and aesthetic again. I thought I would never record again. I even toyed with the idea but the music perpetually tugged at me. Changing my stage name was the impetus of a new beginning," reflects Abiah. "This is how Life As A Ballad was born as I dealt with the idea of finding beauty in the dark, that glimmer of light when all hope seemed lost."

A move to New York City in the early 2000s saw Abiah "hitting the pavement hard'' and eventually playing Central Park SummerStage and the world renowned Blue Note on a regular basis; though a turning point came when Abiah started gaining the attention of major labels. As is frequently the case for ambitious but not yet quite industry-savvy young artists, Abiah's fledgling recordings fell through the cracks. An entire album, brought to the verge of a major label deal, got shelved because the song the major label executives favored most was the only one not produced by a very major and deservedly much lauded producer.

"I'm not opposed to major labels. I just believe an artist needs to keep his finger on the pulse of everything. It's hard to be artist and business, but it is necessary," said Abiah. "Initially I was angry and came out pointing fingers but the healthier aspect became, what did or didn't I do? Taking that responsibility has given me power and greater perspective."

While plotting his next round of moves, creatively and professionally (following his major label departure) Abiah got practically handed an unexpected cottage industry, when he became an in-demand vocal coach, even featured on MTV's program, MADE. Initial inquiries from singer-friends impressed by his sound and range has blossomed into a side-business that finds him coaching up-and-comers prepping for demos and showcases, solid pros hankering to rise up to that proverbial next level, and musical game show contestants hoping to impress celebrity judges with noticeably increased prowess.

This recording is the result of Abiah's steady and patient march over a decade in New York, finding the perfect songs and session mates to support his vision. Like any astute young artist in pursuit of a unique bespoke career path, Abiah wisely sought out collaborators who were of highly skilled and veteran pedigrees, and of course, simpatico. Notable among those collaborators are very well regarded young pianist Robert Glasper, who is Abiah's cousin who he met in earlier days while they cut their musical teeth in the New York's music landscape. Marvin Sewell, the album's stellar guitarist, has been a frequent flyer in Cassandra Wilson's ensemble since the late 1990s as well as Jack DeJohnette.

The captivating warmth of Abiah's voice can be heard all over Life As A Ballad. In addition to his phenomenal range, he is an incredibly acute interpreter, composer and producer. Across the album's nine tracks, he can be heard moving from crooning conversational whispers to heartfelt sighs of ecstasy. The title track was written in just 15 minutes after inspiration struck in a chance encounter with The Oprah Winfrey Show, during which the widow of Steve Irwin says, "When he left, the wind stopped moving." On a more uplifting track, Abiah's range can also be felt again on "Doves, a flirtatious cascading adaptation of a Prince classic, "When Doves Cry," entrenched in global harmonics.

The album's gorgeous opener, "September'', is a well orchestrated mélange of achingly mature lyric writing, full throated, flowing and tautly controlled vocal drama, lush Beatles-esque harmonies and transcendent, transporting melodicism. The artist's intention to have his music move people poignantly within are generously on display, as well as in "Foolish Heart", which Abiah describes as "achingly beautiful," and "the most personal song on the record."

Ultimately, Life As A Ballad designates Abiah as a contender for that sizable niche slice of today's market known as Adult Contemporary - the same slice where equally well-honed, melodious and crafty modern male vocalists like Michael Bublé, Jason Mraz, Sting, Seal and occasionally even Robin Thicke are seen to reside.

Life As A Ballad also features Robert Glasper, Marvin Sewell, Keith Witty,  Ulysses Owens, Jr., among others and is set for release on August 28 on Madoh Music.

JOSE FELICIANO TO RELEASE TRIBUTE TO ELVIS PRESLEY ALBUM

With a career that has earned 9 Grammy Awards; including the LARAS Lifetime Achievement, Jose Feliciano has attained worldwide acclaim that has spanned more than three generations. Jose Feliciano now indulges himself in a lifelong dream… to honor his childhood hero- Elvis Presley. His latest CD release, The King... by Jose Feliciano, visits some of Elvis' greatest hits as well as some of Jose's favorite songs.

The highly acclaimed guitarist, singer and composer returns to his youth to rekindle his passion for Elvis. After over a year in his private studio, Jose handpicked twelve Elvis songs. He arranged each one, played all of the instruments, recorded all of the background vocals and branded each song with his own distinctive voice and guitar.

The record came to fruition after Jose made a pilgrimage to Memphis in January 2012, to join in the annual remembrance of Elvis' birth at Graceland. It wasn't his first visit; but it was remarkable. Jose was asked to lead Elvis Fans in singing Happy Birthday at the Birthday Cake Celebration.

While at Graceland, Jose was fortunate to meet Elvis' long time friend and confidant, George Klein. George broadcasts his radio program from Graceland and is the Executive Producer of The King...by Jose Feliciano. Jose also met Johnny Phillips, the nephew of the man who first recorded Elvis in 1954.

He now co-owns the company his uncle founded- the legendary Select-O-Hits. He quickly signed Jose and will release the project throughout North America on August 7th, 2012. Mr. Phillips adds, "It's an honor to be working with one of the greatest singers, musicians and performers of our time!!"

This CD is the most personally satisfying genre album to date. The King... By Jose Feliciano not only showcases the magic of Feliciano but his genuine appreciation and affection for the undisputed King of Rock and Roll, Elvis Presley.

http://www.josefeliciano.com/
http://www.selectohits.com/

NEW RELEASES - GREGORY GENERET, WILLIE WRIGHT, PHAROAHS

GREGORY GENERET –
(RE) GENERET-ION

A great debut for jazz singer Gregory Generet – a new voice on records, but a vocalist who's worked often in performance on the New York scene! Generet's got this style that grabs you right away – an instant classic mode that carries echoes of Johnny Hartman and an older generation of jazz – set to tight trio backings from a group that includes Onaje Allen Gumbs on piano, Marcus McLaurine on bass, and Payton Crossley on drums! Other musicians move in and out as the set rolls along – including Roger Byam on tenor, Marc Cross on soprano, and Eddie Allen on trumpet – but the core sound is focused on the trio's warm backing of Genere't vocals – with strongly-pronounced basslines that are a great fit for his mood. Titles include "Rio De Janiero Blues", "Moon Dance", "Stolen Moments", "Caravan", "How High The Moon", and "Angel Eyes". ~ Dusty Groove

WILLIE WRIGHT – THIS IS NOT A DREAM

The first album in many many years from the enigmatic Willie Wright – an artist who's probably best known for Numero Records' recent revival of his older material, than he was for getting big exposure back in the day! This new set is handled with a surprisingly great style – one that really stays true to Wright's unique brand of folksy soul – a mode that's got echoes of Bill Withers and Terry Callier, but which is also served up in a voice that's distinctly Willie's own too! Instrumentation is nicely stripped down – just guitar, keyboards, and rhythm on most tracks – plus bits of flute or sax here and there – and the production is wonderfully faithful to Wright's vocals, which sound surprisingly strong after all these years. Titles include "Jimmie Lee", "Our Time Has Come", "Dance Floor", "Donna's Song", "Trust", "Don't Change A Thing", and "This Is Not A Dream". ~ Dusty Groove

PHARAOHS - AWAKENING

A brilliant batch of jazzy funk from Chicago! The Pharaohs were a solid jazz/funk group with a spiritual edge, with a connection to the righteous Windy City scene that stretched back to membership in Phil Cohran's Artistic Heritage Ensemble, and later work in Earth, Wind and Fire. Players include Chicago soul and jazz luminaries Louis Satterfield, Don Myrick, Ben Israel, Aaron Dodd, and Derf Reklaw – and the overall style of the tracks is the same mixture of spiritual jazz, soul, and funk that you find on the best early Earth Wind & Fire records! Titles include "Damballa", "Freedom Road", "Great House", and "Black Enuff". (Back in print for the first time in years! Includes code for download.) ~ Dusty Groove

NEW RELEASES - VINCENT INGALA, THE RUFFCATS, ECCENTRIC SOUL

VINCENT INGALA – CAN’T STOP NOW

An amazing sense of playing style and grace, well beyond his years… he’s charming, sincere and extremely talented. Vincent Ingala knocked us out the minute we heard his debut album NORTH END SOUL. I’ve always said, the most dangerous kind of people in the world are those who don’t know what they want… Vincent is the exact opposite, he knows precisely what he wants and there’s no way he’s going to stop now! Quickly becoming a favorite at festivals and music events, the young saxophonist and composer is working with seriously skilled talent on CAN’T STOP NOW. You’ll hear the utmost quality in production on this savory new release including contributions from one of our favorites, keyboardist Gregg Karukas as well as chart-topper, Jonathan Fritzén. Soulful grooves with addictive melodies, Vincent’s exciting new album will be a game changing arrival at Smooth Jazz… I anticipate this being a huge hit for the 19-year-old. Get ready world, Vincent Ingala’s shifted into high gear! ~ Sandy Shore / smoothjazz.com

THE RUFFCATS – ESSENCE VOL. 1

A damn funky debut from The Ruffcats – a German combo who've cut their teeth providing grooves for singers like Bajka, Flo Mega, and Jaguar Wright – but who sound even better in an instrumental format on their own! There's a really sinister approach to the music here – one that goes past conventional funk, into a wry mix of funky elements that come across sounding as fresh as they do rootsy – that unusual blend that we always used to love from the trippier Poets Of Rhythm projects! Core instrumentation is very familiar, but it somehow comes together in really different ways as the set moves on – maybe a particular bubble on the Hammond here, a moody riff on the Rhodes there, odd tunings on the horns, weird rhythms on the percussion, and things like that – all of which contribute to a really great set of tracks that includes "Odd Stones", "The Baaang", "Dr Cosmo", "Brain Gone Ruff (parts 1 & 2)", "Boti's Skit", and "Turtles". ~ Dusty Groove

ECCENTRIC SOUL: A RED BLACK GREEN PRODUCTION – VARIOUS ARTISTS

A killer collection of east coast soul from the 70s – work that originally appeared on a handful of different labels, but which was all put together by Robert Hosea Williams – an unsung producer working out of a small studio in Silver Springs – with an incredible ear for up-and-coming talent! The music here is totally deep and righteous throughout – the hippest of the indie label scene on the east coast – and work that really lives up to the progressive, righteous reference you'd get from the Red, Black, & Green in the title! There's plenty of group soul here – of a type that mixes older harmony modes with hipper 70s references – creating a really badass approach to soul music that's simply mindblowing – and way different than the mainstream variants that were hitting the charts at the time. The whole thing's great – one of the best Numero comps in years – and titles include "Phoney People" and "I Really Really Love You" by Father's Children, "Sleepwalking" and "Let's Do It Over" by The Summits, "Don't Worry About The Joneses" and "We're Two Fools In Love" by Dysons Faces, "Day By Day" and "It Must Be Love" by The Exceptions Featuring Mark Greene, "Town Called Nowhere" and "I Need Your Love" by Skip Mahoney & The Casuals, and "Summer In The Parks" and "Generation" by East Coast Connection. ~ Dusty Groove

NEW RELEASES - CHRIS READ, JARRARD ANTHONY, NICKODEMUS

CHRIS READ PRESENTS LATIN CONCRETE: A MODERN LATIN RHYTHM SUITE

Unlike many of the compilations to have emerged from the BBE stable, this release 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 approaches 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 here 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

JARRARD ANTHONY – READY TO LIVE

A hell of a great album from Jarrard Anthony – an artist who's been bubbling under for the past few years – but who really comes into his own with this beautiful album! The set's got all the spiritual overtones you might guess from the cover – but also comes across with a tightly-crafted, all-soul approach too – a really rich vibe that's a perfect fit for Anthony's positive-spirited lyrics! Instrumentation is relatively lean – mostly handled by Nate Smith – yet comes across with a focus that seems to make a lot out of a little – a really great groove that builds nicely as the album rolls along. The album features guest work by Lonnie Liston Smith, Monet, Darien, Amer Amen, Amma Whatt, and Onaje Allan Gumbs – and titles include a remake of Don Blackman's "I Love You" – plus "Morning In The Forest", "Healer", "Cloud 10", "Something Like Love", "Never See Her Again", "Lucky Day", and "Blowing On Your Back". Also features the bonus track "Damn Sista (future remix)" with Eric Roberson – and "Never See Her Again". ~ Dusty Groove

NICKODEMUS – MOON PEOPLE

Nickodemus logically follows up his warm and breezy Sun People album with the more cosmically-lit follow up Moon People – once again bringing a wealth of global influences and instrumentation to his unique style of spacey dancefloor soul! He's joined by the legendary Afrika Bambaata and other great vocal guests – including Sammy Ayala, Kissey Asplund and Kathrin DeBoer of Belleruche – which elevates the creative mix of beats and eclectic instrumentation quite nicely! That said, the instrumental backdrops are quite hypnotic on their own – cosmic soul beats and atmosherics flavored by flutes, Eastern string accents, horns, steel drums and much more – depending on the needs of the particular track. Includes "Under The Volcano" with Navegante, "Moon People" feat The Real Live Show, "Nights Of Balaur", "Alkebulan" feat Afrika Bambaata, "Peaceful Island Earth" feat Kathrin DeBoer, "The Nuyorican Express" feat Candela Allstars, "Mirage" with Kissey Asplund, "Conmigo (Hallex Remix)" feat Sammy Ayala, "Vino People" and more. ~ Dusty Groove

MAXI PRIEST - MAXIMUM COLLECTION

Reggae music has flourished in this post-Internet age. It’s never been so accessible and yet whilst new acts are plentiful, global audiences are still drawn towards those legends who achieved worldwide recognition the hard way; i.e. by making hits of timeless appeal, and are stamped with authenticity.

As verified by his long-awaited retrospective, Maximum Collection, Maxi Priest has earned his place among other greats such as Bob Marley, Jimmy Cliff, Toots & The Maytals and Dennis Brown in spreading the reggae gospel far and wide. This is an extraordinary achievement for a singer steeped in Jamaican music, yet raised in South London. Maxi’s joyous brand of reggae and lovers’ rock, infused with r&b and accompanied by real charisma, would bring him a level of success no other British reggae singer can match. He’s deserved it too, because despite the pressures of stardom, he’s remained true to his core audience from the beginning.

Maxi original fans yearned for songs that reflected their own aspirations, tastes and upbringing. Many came from hardworking immigrant families who’d faced discrimination and yet still found the resolve to build strongly knit communities. Whether it told of hardship or romance, reggae music formed the soundtrack to these people’s lives and by the time riots had swept through Britain’s inner cities in the early Eighties, they were ready to celebrate one of their own. ‘Should I’ had already flown to No. 1 on the Black Echoes charts before Maxi signed with Virgin Records, and follow-up hit ‘In The Springtime’ announced the arrival of his 1985 debut album You’re Safe. That was the year he was invited to appear at the UK Reggae Sunsplash, and gave a crowning performance infront of 25,000 people crammed into Crystal Palace football stadium. A short while earlier, he and Paul Robinson had produced Philip Levi’s ‘Mi God Mi King,’ which made history by becoming the first British reggae production to reach No. 1 on the Jamaican charts – a feat that remains unequalled to this day. Whilst his record label saw him as a marketing dream, British reggae audiences took note of his South London roots, and appreciated his humble beginnings.

Maxi had first learnt to sing in church, encouraged by his mother who was a Pentecostal missionary. The second to last of nine brothers and sisters, he’d honed his craft listening to Jamaican greats such as Dennis Brown, John Holt, Ken Boothe and Gregory Isaacs, as well as singers like Marvin Gaye, Al Green, the Beatles, Phil Collins and Frank Sinatra. After rehearsing in the basement of his parents’ house, Maxi had teamed up with Robinson and brother-in-law Jesse James and spent months practising above Lee’s Sound City record shop in Deptford as part of Bad Breed, with whom he recorded his debut single, ‘Hey Little Girl.’ Reggae sound-systems also formed an intrinsic part of his early history.

As a teenager, he’d lifted speaker boxes for the Jah Shaka and Negus Negast sound-systems. He was also a founder member of Saxon International, and played a key role in it becoming London’s No. 1 sound-system. Saxon was home to MCs like Smiley Culture, Peter King, Tippa Irie and Philip Levi, who together with Pato Banton, had revolutionised reggae music with their rapid-fire deliveries. It was with Saxon that Maxi began performing at neighbourhood youth clubs and house parties, and first won an appreciative female audience. Maxi was therefore no overnight sensation, but had graduated through the ranks, and against considerable odds.

“You’re born in England, you try and find some identity and you’re constantly told that you don’t belong here, so you find yourself searching for a sense of belonging,” he says. After joining the Twelve Tribes Of Israel and embracing Rastafari, he was given the name Maxi Priest. As he learnt more of his cultural heritage, Maxi took part in some of London’s historic, anti-racist demonstrations and has continued to express roots and culture and reality themes in his music ever since.

It was ‘Strollin’ On,’ again produced by himself and Paul Robinson that brought his first taste of chart success in March 1986. ‘Strollin’ On’ was taken from his follow-up album Intentions, on which he collaborated with Aswad. By then Maxi was headlining shows at places like the Brixton Academy and Hammersmith Odeon, and taking reggae music into venues such as the Astoria; this prior to performing at Jamaica’s Reggae Sunsplash – a great honour for any reggae artist from overseas. Within just a few years, he’ll be welcomed on stage by Dennis Brown, Gregory Isaacs and Freddie McGregor – an occasion he says was one of the best moments of his career. Today, he’s among the most widely travelled of any reggae star. He’s toured the world many times, and continues to draw big, appreciative crowds wherever he goes.

In 1987, Maxi left for Jamaica in the company of keyboard wizard Duncan Bridgeman and Mafia & Fluxy, who are the UK’s very own rhythm kings. It was in Kingston, Jamaica that he recorded his third album Maxi, produced by Sly & Robbie in collaboration with Willie Lindo. This masterful collection yielded the hits ‘Some Guys Have All The Luck,’ ‘How Can We Ease The Pain,’ shared with Beres Hammond, and an enchanting cover of Cat Stevens’ ‘Wild World’ which went Top 5 in Britain, Top 10 in the US and also entered the country and western charts! Soon, Maxi was having hits all around the world and with records that appealed to music lovers of all persuasions. Japanese audiences especially took him to heart, and he still enjoys superstar status there. Further international acclaim came with his 1990 album Bonafide, which spawned the hits ‘Just A Little Bit Longer,’ ‘Best Of Me,’ ‘Human Work Of Art,’ ‘Peace Throughout The World,’ ‘Sure Fire Love’ and ‘Close To You.’ The latter reached No. 7 in the UK, and then topped the US Billboard charts in October 1990. More than twenty years later and Maxi Priest is still the only reggae singer – from anywhere, including Jamaica – to have a No. 1 hit in America.

As Maxi’s fame went global, Virgin released Best Of Me, which contained a selection of hits past, present and future. This was the album containing ‘Housecall,’ featuring Shabba Ranks, who was Jamaica’s reigning dee-jay at the time. ‘Housecall’ rewrote the rules where reggae was concerned. American radio was heavily formatted, and it was hard to get reggae play-listed on most commercial stations. ‘Housecall’ broke that mould and established Maxi and Shabba at the forefront of a new, urbanised form of reggae music that incorporated strands of hip hop and r&b, as well as their trademark reggae sound.

This groundbreaking new fusion transformed Maxi’s 1992 album Fi Real into a classic, and especially on tracks like ‘Groovin’ In The Midnight’ and ‘Just Wanna Know.’ Major league collaborations with American soul legends Roberta Flack and arranger Arif Mardin – and also jazz guitarist Lee Ritenour – followed. Both these associations led to further chart success, and on the jazz as well as international listings. In 1993, Maxi again ventured into new territory after making his film debut in ‘Scam,’ starring Christopher Walken and Lorraine Bracco.

During the mid-nineties, as reggae’s popularity increased, he co-founded the hugely influential Mad House label whilst continuing his winning streak with dee-jays. In 1996, he and Shaggy were back in the charts with ‘That Girl,’ taken from the album ‘Man With The Fun.’ It was Maxi’s fifth Top 20 hit in Britain, where his popularity has endured throughout his career. In the meantime, he and his brother Martin founded the Dug Out label, which they launched from the basement of their family house in South London. Community has always been important to this most genial of reggae stars. It’s why he’s readily taken part in local campaigns such as No Trigger, aimed at lessening gun violence.

It was Dug Out that gave UK r&b singer Elisha La Verne her start – who would experience considerable success with the Japanese label Avex. Maxi’s always encouraged others to explore their potential, and later invited Elisha to duet with him on the hit song ‘Back Together Again’ – a track that also featured his son Ryan, from the group Ultimate Kaos. ‘Back Together Again’ was included on Priest’s CombiNation album from 1999, a set that also featured ‘What A Woman Needs,’ written in collaboration with R&B singer Joe. Maxi’s endorsement of young talent would again reap dividends in 2005, after he worked with up-and-coming producer Don Corleon. ‘I Believe’ was a big hit in Jamaica, and later appeared on 2 The Max – an album that radiated class from start to finish.

Other highlights included an exquisite cover of ‘Fields Of Gold,’ written by Sting; ‘Cry For The Children,’ which evoked the sound of Seventies’ reggae and ‘Full Hundred’ – a song co-written and produced by Maxi’s two sons, Marvin and Ryan. Another son, Che, appears on the alternative version of ‘Full Hundred’ found on Maximum Collection, which Maxi remixed with Livingston Brown. The latter played a key role in the production of ‘2 The Max,’ as did Lauryn Hill main-man Commissioner Gordon. Maxi’s followup album Refused was beautifully presented and again featured tracks that glistened like gold, all of them soaked in the sounds and spirit of the Caribbean. A year later, in 2008, he toured and recorded with fellow British reggae trailblazers UB40 – a partnership that resulted in the irresistible ‘Dance Until The Morning Light.’

As usual, Maxi had ensured that his music had class and relevance, whatever the subject matter. Those timeless, cultured vocals can still be heard in today’s reggae mix, as heard on his latest release ‘Nothing But Trouble’ – a song that’s the title track of his forthcoming album, and underlines Maxi’s enduring quality for all to hear. His singing remains impressive as ever, but after nearly thirty years in the business, he deserves a retrospective.

Soon to be released ‘Maximum Collection’ isn’t just a play on his name please note, but a statement of fact – one enhanced by fresh recordings and remixes that’ll dazzle even his most ardent fans.

Maxi would like to dedicate ‘Maximum Collection’ to the memory of his mother and father, and former managers Erskine Thompson and Zola Burse.Maxi Priest’s new record ‘Nothing But Trouble’ is coming soon... featuring the new single ‘Nothing But Trouble’ as heard on this collection

~John Masouri
  maxipriest.com

Maximum Collection Tracklisting:
Disc 1
1. In The Springtime
2. Strollin On
3. Just Wanna Know
4. For The Love Of You
5. Rough Diamond (feat. Gappy Ranks)
6. How Can We Ease The Pain (feat. Beres Hammond)
7. Wild World
8. Some Guys Have All The Luck
9. Lion In The Jungle (feat. Michael Rose)
10. Heartbreak Lover (feat. Beres Hammond and Buju Banton)
11. Stamina (feat. Joseph Cotton)
12. Morning Light (Socca Remix) (feat. Maximus and UB40)
13. Sure Fire Love
14. Should I
15. Let Me Know
16. Real Love
17. Goodbye To Love Again
18. Fields Of Gold

Disc 2
1. Watching The World Go By
2. Close To You
3. Housecall (remix) (feat. Shabba Ranks)
4. Nothing But Trouble (Unreleased Track)
5. Full Hundred (feat. Che Elliott)
6. Cry Me A River
7. Cry For The Children
8. Fever (feat. Dennis Brown & Shabba Ranks)
9. Just A Little Bit Longer
10. Bonafide Love
11. I Know Love (feat. Tiger
12. Make It Yours (feat. Shurwayne Winchester)
13. That Girl (feat. Shaggy)
14. Searching
15. Groovin In The Midnight
16. Best Of Me
17. Love Don t Come Easy
18. We Tomorrow People

NEW RELEASES - THE JAMAICAN JAZZ CRUSADERS, JD ALLEN, BRUCE BARTH

THE JAMAICAN JAZZ CRUSADERS FEATURING ROY BURROWES

An amazing little record – not just for the music itself, which is inherently great – but also for its straight jazz presentation of players you might know in more of a reggae-based setting! The album's a smoking set of hardbop numbers, played with plenty of soul – by a combo billed as the Jamaican Jazz Crusaders – featuring Roy Bubbles Burrows on trumpet, Ernst Ranglin on guitar, Roland Alphonso on tenor, Aubrey Adams on piano, Harold Williams on bass, and Carl McLeod on drums. The format's a bit unusual, in that the album's bracketed by interviews and introductions from Jamaican jazz DJ Nevil Willoughby – but in the core are some great performances, with very inventive arrangements, especially in the way Ranglin's guitar is used – on titles that include "The Highest Mountain", "On Green Dolphin Street", "Split Kick", and "Round Midnight". ~ Dusty Groove

JD ALLEN – MATADOR & THE BULL

The title's not a metaphoric one – or at least not entirely so, as this set of original tracks by JD Allen draws strong inspiration from the art of bullfighting – but then also moves on to deeper musings on movement and choice – cast out perfectly by the expert trio on the set! Allen's tenor is already dynamic enough – but it's really set fire here by the bass of Gregg August and drums of Rudy Royston, who propel the original compositions with a deep sense of color and soul that really matches JD's horn – the kind of tenor trio effort that hearkens back to the initial late 50s experiments in the format by Sonny Rollins, but grows to encompass all the changes that have taken place since then! Titles include "Paseillo", "Cathedral", "Suite Of Lights", "Ring Shout", and "Muleta". ~ Dusty Groove

BRUCE BARTH – THREE THINGS OF BEAUTY

Not just a great album for the piano of Bruce Barth – but also for the vibes of Steve Nelson, whose tones are a perfect fit for Barth right from the very first note of the set! The pair ring out beautifully, righteously, soulfully throughout – leaping forward in tones that are fresh, with plenty of those sharp edges we always love in Nelson's playing – but also well grounded in soul and swing, thanks partly to help from Ben Street on bass and Dana Hall on drums – both players who know when to leap in with bold rhythms when needed, and hang back nicely on some of the more lyrical moments too. Titles include "Big Nick", "Final Push", "My Man's Gone Now", "Wondering Why", "Be Blued", "The Song Is You", and "Three Things Of Beauty". ~ Dusty Groove

DAVE GRUSIN - FRIENDS OF EDDIE COYLE / THREE DAYS OF THE CONDOR SOUNDTRACKS

A masterpiece of moody keyboards – two killer 70s scores from the great Dave Grusin! First up is The Friends of Eddie Coyle – wonderful music for a superb late Robert Mitchum film – never available on record, at least that we know of – and filled with the kind of groovy, funky, keyboard-heavy lines that make some of Grusin's early 70s scoring so great! The tunes are wonderful – often a bit short, but very enigmatic – and the package features stunning sound on tracks that include "Mr Connection", "Clean Cut", "Baylis Robbery", "The Stakeout", "Shopping Center", "Partridge Robbery/Take A Walk", "Jackie Meets Pete & Andrea", and "Eddie Is Hit". Three Days Of The Condor is an incredible soundtrack – one of the all-time greats of the 70s!

Dave Grusin really outdid himself with this one – and created a sublime mix of sound, space, and spare funky beats that holds up wonderfully all the way through! The main theme steps around in a haunting mix of electric piano, basslines, and muted trumpets over strings – and lots of other tunes on the set follow the same format – taking the best of funky Morricone and Francis Lai, and giving it an even hipper American twist! Plus, most of Grusin's soundtrack work of this nature was never properly issued (like his great tunes for Barretta!) – and this rare album is one of the few that ever made it, however briefly, to the record racks! Titles include "Condor", "Yellow Panic", "Out To Lunch", "Flight Of The Condor", and "Flashback To Terror". Loads of great keyboards! CD also features 8 more bonus tracks added to the original record – more great Grusin nuggets from the Condor soundtrack – packaged here with great notes, on a CD that's over 70 minutes in length. ~ Dusty Groove 

SECOND NEWPORT JAZZ FESTIVAL GALA TO HELP SUSTAIN LEGACY OF NEWPORT'S JAZZ & FOLK FESTIVALS

Jazz and Folk Festivals, the Newport Festivals Foundation, Inc.™will hold its second annual fundraising Gala on Saturday, August 4, at 7:30 pm at the historic Marble House, 596 Bellevue Avenue, in Newport, Rhode Island. An intimate evening of fine dining and music featuring performances by Dianne Reeves, Jason Moran, Anat Cohen, Bill Frisell, Lewis Nash, Lionel Loueke, Steve Wilson, Rudresh Mahanthappa, Peter Martin and Ingrid Jensen, the Gala will immediately follow the day-long concert series at Fort Adams State Park.

"Last year, the Foundation hosted an exciting celebration of jazz and folk music at Rosecliff on the Thursday evening between the two festivals. After hearing from people who were disappointed because they were unable to travel to Newport prior to the weekend, we decided to hold the Gala on Saturday evening to give more festival attendees the opportunity to enjoy the music at another historic mansion while supporting the Foundation's mission," said George Wein, Chairman of the Newport Festivals Foundation and Producer of the Jazz and Folk Festivals.

Cocktails and hors d'oeuvres begin at 7:30 pm, a New Orleans-influenced dinner will be served at 8:30 pm and the evening's program will begin at approximately 9:00 pm. Gala tickets, which can be purchased at www.newportfestivalsfoundation.org, are $500 for a single seat, recognition in the Gala program book, and a ticket to the Newport Jazz Festival on August 4 and 5. ($305 is tax deductible). Please visit the Foundation website for information on corporate sponsorship and tables.

The Newport Folk Festival takes place July 27 - 29 at Fort Adams State Park featuring Wilco, My Morning Jacket, Jackson Browne, Conor Oberst, Patty Griffin, Guthrie Family Reunion, Dawes, The Head & The Heart and more. Tickets, which are sold out for Saturday and Sunday, are still available for the Wilco concert on Friday. For more information, go to http://www.newportfolkfest.net/.


Jason Moran

 The Newport Jazz Festival takes place the following weekend, August 3 - 5, at the International Tennis Hall of Fame at the Newport Casino and Fort Adams State Park featuring Pat Metheny, TedeschiTrucks Band, Dianne Reeves, Jack DeJohnette, Dr. John, Maria Schneider Orchestra, Jason Moran & the Bandwagon and others. Tickets and more information are available at http://www.newportjazzfest.net/.

The Newport Festivals Foundation, Inc.* was founded by George Wein in 2010 to build up and continue the legacies of the famed Newport Jazz Festival and Newport Folk Festival. Under the auspices of the Foundation, the Newport Jazz Festival presents performers who respect and honor jazz and folk music traditions, and at the same time reflect the changes in today's musical trends. Through the establishment of partnerships with high schools and colleges/universities, the Foundation will present programs to educate young people about jazz and folk music as presented at the annual festivals. For more information, please visit www.newportfestivalsfoundation.org.

PROJECT GRAND SLAM - SPRING DANCE

When is the last time a jazz ensemble named after the nefarious scheme of a James Bond villain packed such a solidly melodic and grooving punch? Project Grand Slam, named by leader Robert Miller as a play on “Goldfinger’s” plan to steal all the gold from Fort Knox, is probably the first—and he and PGS are up to plenty of melodic and grooving wonder this summer on Spring Dance, their explosive new album on Cakewalk Records.

The collection’s lead track is its title tune, an upbeat, feel-good, winner penned by Miller. Miller’s other songs include the Joe Zawinal tribute “Joe Z,” a high energy blast that brings to mind the fiery fusion magic of Weather Report, complete with exotic chanting and old school keyboards; the sensual and elegant soprano sax led ballad “Ma Petite Fleur,” a piece Miller dedicates to his wife and that he calls his favorite on the collection; the brass-fired, classic blues-funk explosion “Catch You Later”; and “Flat Busted,” an in-the-pocket, mid tempo grooving urban jazz tune featuring Gilad Ronen’s hypnotic flute runs.

Ronen and Joye Hennessey’s “Remember” is featured first as a dramatic and soulful, longing romantic vocal (highlighted by strings and an emotional sax solo) and, as a coda to Spring Dance, a thoughtful and reflective instrumental that evolves into a percussive, easy rolling, rhythmically engaging samba. Ronen also composed the ambient, slightly melancholy ballad “The Turn,” which featured a smoky sax melody and soaring horn textures.

The band also covered the old Hollie’s hit, “He Ain’t Heavy, He’s My Brother”. Says Miller: “Joye did an incredible job with the song, almost like Mariah Carey singing jazz!”.

The eclectic nine-track collection is the follow-up release to PGS’ critically acclaimed 2008 debut, Play, which included the Top 20 jazz radio hit “The Captain Of Her Heart” (sung by Judie Tzuke). Five of the tracks from Play, along with the band itself (with Miller having a speaking part), were prominently featured in an episode of the hit NBC-TV series “Lipstick Jungle,” starring Brooke Shields. PGS did several live performances at clubs in NYC in addition to a charity show for the Ronald McDonald House.
For the new album Miller invited Mike Eckroth, keyboardist for guitar legend John Scofield, and alto sax man Danny Lerman to complement the core trio. After a few days of rehearsal, the new lineup of PGS convened in the studio and nailed the basic tracks in a week, with most songs done in two or three takes. After some overdubs, Justin Smith was brought in to sweeten some of the tracks with strings. And Joye Hennessey added her soaring vocals.

Miller is a renowned solo artist. His debut project, Child’s Play (Wildcat Records 1994) included performances by Randy Brecker, Jon Lucien and Anton Fig; his follow up, Prisoners of Love (1996) was released on 32 Records, a label Miller co-founded that became famous in the late ‘90s for a series of “Jazz For…” compilation recordings (Jazz For a Rainy Afternoon, Jazz For The Quiet Time, etc.) that dominated the Billboard Jazz charts and sold well over one million units. His band, The Robert Miller Group, played at many major New York area clubs, graduating to the national festival circuit where they appeared with artists like Bruce Hornsby, Bela Fleck and Kenny Barron.

NEW RELEASES - BEGINNERS GUIDE TO BOSSA NOVA, FANIA ALL STARS, EL BARRIO: SOUNDS FROM THE SPANISH HARLEM STREETS

BEGINNERS GUIDE TO BOSSA NOVA – VARIOUS ARTISTS

Way more than just an introduction – and instead, an amazing collection of bossa nova gems – 48 tracks pulled from the vaults of the legendary EMI/Odeon label – home to some of the best bossa work ever recorded in Brazil! The package is a treasure through and through – filled with key classics, overlooked gems, and the kind of weird and wonderful bossa numbers that never made it here to the US – but which have made digging for Brazilian records a favorite pastime of ours for decades. Most tracks here are from the 60s, and the set runs from straight bossa numbers to others that use bossa as a starting point, then take off into great new territory. Titles include "Ao Amigo Tom" by Doris Monteiro, "A Resposta" by Marcos Valle, "Voce" by Milton Banana Trio, "Deixa Eu Dizer" by Claudia, "A Ra" by Joao Donato, "Eh Mundo Bom Tai" by Johnny Alf, "Agua De Beber" by Neco, "Onde Anda O Meu Amor" by Bossa Tres, "Fotografia" by Sylvia Telles, "Por Causa De Voce" by Marisa, "Outra Vez" by Elizeth Cardoso, "Inutil Paisagem" by Dick Farney, "Ho Ba La La" by Norma Benguell, "Estamos Ai" by Leny Andrade, "So Tinha De Ser Com Voce" by Eumir Deodato, and "Misturada" by Quarteto Novo. ~ Dusty Groove

FANIA ALL STARS – LIVE IN AFRICA (CD/DVD)

A key 70s moment of pride for the New York Latin scene – and one of a number of crucial live sets cut by the legendary Fania All Stars! The group were invited to play a three day music festival in Zaire in 1974 – timed to coincide with the Rumble In The Jungle Ali/Foreman fight – and after blowing the crowd away on the first night of the festival, they took the stage again for a massive encore on the last night – recorded here in all its glory! The energy of the set is amazing – as some of New York's greatest Latin artists of the time rock the house in front of a crowd of 80,000 Africans – creating a cultural exchange that should have made the State Department blush. Numbers include "En Orbita", "Guantanamera", "Quimbara", "El Raton", "Mi Gente", and "Ponte Duro". Package includes the full original film, plus lots of bonus footage that's extra-cool – including some great location shots in Zaire! Also features the full album on CD - but with more cuts than the film! ~ Dusty Groove

EL BARRIO – SOUNDS FROM THE SPANISH HARLEM STREETS

A killer batch of boogaloo and Latin Soul – and a set that even features 2 unissued gems from the vaults of Fania Records! As with the previous entry in this series, the sound here is plenty darn soulful throughout – lyrics that are often in English, and rhythms that borrow heavily from American funk and soul of the late 60s – mixing African-American musical styles with Puerto Rican and Cuban elements – all to come up with a groove that's as fresh today as it was back in the Spanish Harlem scene of the time! Previously unreleased tracks include "Evil Ways" by Pete & Louie, and the full length version of "O Elefante" by Ray Barretto – and other tunes include "Rise Up" by Orchestra Harlow, "Safari" by Tito Puente, "Revolucionando" by New Swing Sextet, "Times Are Changing" by Jimmy Sabater, "MC2" by Willie Colon, "Crystal Blue Persuasion" by Joe Bataan, "Musica Del Alma" by TNT Boys, "Here Comes The Judge" by Pete Rodriguez, "Ape Walk" by Al Escobar, and "Rat Race" by Ralfi Pagan. ~ Dusty Groove

NENEH CHERRY & THE THING - THE CHERRY THING

A mindblowing collaboration – one that brings the soulful vocals of Nenah Cherry into play with the avant jazz sounds of The Thing – but all in a mode that's unlike anything either artist has recorded before! The mix of talents is no surprise – given that Nenah's dad is Don Cherry, whose own European work helped to set the tone for a generation – and also given that group members Mats Gustafsson, Paal Nilssen Love, and Ingebrigt Haker Flaten all have ears for styles that go way beyond jazz – including a surprisingly great taste for offbeat funk, which really comes to the forefront on this unusual set!

Make no mistake, there's still plenty of jazz-based instrumentation – sharp reeds from Mats Gustafersson, heavy drums from Paal Nilssen Love, and those magical moody basslines that we love so much from Ingebrigt Haker Flatern – but they often get a bit more directed, and are augmented with slight added instrumentation at points – to provide a perfect foil for Cherry's righteous vocals – all with results that easily make the album one of the most unusual soul projects we've heard in years – on a par with equally creative efforts from artists like Meshell Ndegeocello, Erykah Badu, or Georgia Anne Muldrow. Titles include "Cashback", "Dream Baby Dream", "Too Tough To Die", "What Reason Could I Give", "Dirt", "Accordion", and "Sudden Moment". ~ Dusty Groove

ALBERT KING - I'LL PLAY THE BLUES FOR YOU

Concord Music Group has releaseed Albert King's I'll Play the Blues for You as part of its Stax Remasters series. Enhanced by 24-bit remastering by Joe Tarantino, four previously unreleased bonus tracks, and newly written liner notes by music journalist and roots music historian Bill Dahl, the reissue not only spotlights one of the most entertaining and influential blues recordings of the 1970s, but also underscores the album's enduring nature four decades after its original release.

In addition to King's brilliant guitar and vocal work, the album also features a rhythm section made up of members of the Bar-Kays and the Movement - the former a new lineup following the tragic Otis Redding plane crash that wiped out most of the original band, and the latter group Isaac Hayes's funk-driven outfit, with guitarist Michael Toles, bassist and Bar-Kays co-founder James Alexander, and drummer Willie Hall members of both bands. Rounding out the backup unit is the Memphis Horns, featuring longtime Stax mainstays Wayne Jackson on trumpet and Andrew Love on tenor saxophone.
Recorded in Memphis in 1972 and released in the fall of that same year, I'll Play the Blues for You "was a typically brilliant mixture of pile-driving blues and hot Memphis soul grooves that dented Billboard's pop album survey at #140," says Dahl in his liner notes. "Producers Allen Jones and Henry Bush kept King contemporary while simultaneously emphasizing his inherent strengths. The result was one of Albert's best long-players."

"This album was originally recorded and released in 1972, at the very end of an era when a variety of musical genres - blues, rock, pop, soul and funk, to name a few - could still coexist on a single radio station playlist or on a single tour bill," says Chris Clough, Concord's Manager of Catalog Development and producer of this reissue. "Albert King was versatile enough, and had a broad enough appeal in the early '70s, to pull in audiences that were dialed into every one of these styles. He successfully walked a tightrope that connected so many different kinds of music and so many different audiences. This versatility is partly why he's so influential four decades after this recording was originally issued."

In addition to the LP's eight tracks, I'll Play the Blues for You includes four previously unreleased titles - two of which are alternate takes of songs in the main sequence. "A stripped-down ‘Don't Burn Down the Bridge' minus the horns crackles with excitement," says Dahl, "while a freshly discovered alternate of ‘I'll Play the Blues for You' sports a contrasting horn arrangement and has no spoken interlude yet stands quite tall on its own, even with King playing right over an elegant sax solo (he really tears it up on the extended vamp out, spinning chorus after chorus of hair-raising licks").

The other two of the four bonus tracks are "splendid additions to King's Stax canon," says Dahl. "It's hard to understand why ‘I Need a Love' laid unissued; the upbeat scorcher comes complete with full-blast horns, Albert's smoky vocal bearing an ominous edge. ‘Albert's Stomp' is a funk-soaked instrumental that finds King working Lucy [his trademark flying V guitar] over fatback organ and Toles's wah-wah."

Dahl sums up this 1972 tour de force accurately and succinctly: "When Albert King gave us I'll Play the Blues for You, he fulfilled his promise and then some."

~ Concord Music Group

CLARENCE MILTON BEKKER - OLD SOUL

Producer Mark Johnson's Playing for Change: Songs from Around the World, released in 2009, established a forum for street musicians from around the globe, the invisible army of raw talent that exists outside the conventional margins of the music business. Among those raw talents was vocalist Clarence Milton Bekker, a native of Suriname who developed his craft in his adopted homeland of Holland and eventually crossed paths with Johnson on the streets of Barcelona.

Propelled by the strength of his performances on Playing for Change - and his subsequent performances as part of the internationally touring Playing for Change Band - Bekker steps into the spotlight for a solo album -- Old Soul.

Recorded in Santa Monica, California, Old Soul captures the vintage American soul music that awakened Bekker's musical consciousness when he was still a young boy in Holland in the 1970s and early ‘80s. Producers Reggie McBride and Mark Johnson, assisted by a crew of veteran soul musicians directly connected to that seminal period, take Bekker on a trip back in time to revisit the powerful sounds originally crafted by iconic figures like Otis Redding, Al Green, Sam and Dave, and many others.

Bekker's worldly wisdom is evident on every track in Old Soul. The album opens with the uptempo "Any Other Way," a testament to the inner strength that it takes to keep your head up after a breakup. Bekker and his crew shift gears into a slower, funkier groove for Allen Toussaint's "Yes We Can Can," a heartfelt call for unity and harmony in a desperate and broken world.

Further in, Bekker digs a swampy groove that underscores Bill Withers' suspicious and confrontational "Who Is He (And What Is He To You)," then does a quick detour into the rousing devotional "Try a Little Tenderness," the anthem that became Otis Redding's signature song shortly after he recorded it in 1966. "Of course, Otis owns that song," says Bekker. "His version is fantastic, something no one can touch. But we did it in one take in the studio, and it felt so good. When I listened to the playback, it just gave me goosebumps."

A longtime fan of Al Green, Bekker considers "Tomorrow's Dream" one of his favorite tracks on the album. While the arrangement here is a bit leaner than the big sound that defines many of the other tracks, the emotional impact is just as powerful here as anywhere else in the set.

In the home stretch, "Shine On Me," Bekker's one original contribution to the album, fits seamlessly with the balance of the material, thanks in large part to the sincerity of his lyrics combined with an arrangement that takes all the right cues from the old school. "Hold On, I'm Coming" written by Isaac Hayes and made famous by Sam and Dave, is the rousing closer.

"I'm amazed by the road my life has taken and how it has changed along the way," he says. "It's really difficult for a European artist to have an impact outside of his own continent or even his own country, but by the grace of God, I've been given a chance. It's up to me now to make the best of that chance. I just want to make music for anybody who wants to listen to it." Bekker has experienced enough of the world that he's not afraid to take charge of his corner of it. Old Soul is a reverent tribute to the past, by an artist who keeps one eye fixed on the future.

~ Concord Music Group

GRADY NICHOLS - DESTINATIONS

Saxophonist Grady Nichols’ new CD, Destinations, is a musical vacation. You can visit the beach (“Beachside”), explore the streets of London (“London Baby!”), go a little country (“Tulsa”), hit the west coast (“You With Me”), spend time daydreaming (“Walk Thru My Dreams”) and come back home again (“Coming Home”). After listening to the CD, you realize you have embarked on a musical journey touring various genres without any layovers.

Grady steps into new territory by peppering this project with a driving banjo, pedal steel guitar, steel drums, and string section which are woven seamlessly into a cohesive contemporary jazz / pop setting. It’s always more fun traveling with your friends and joining Grady on his journey are Grammy winner Bill Champlin who lends his voice and Hammond B-3 chops on “You Know Me.” Grammy nominee Jeff Lorber continues his collaboration with Grady on “You With Me” with LA session king Michael Thompson on guitar.

“When I first met with producer Chris Rodriguez, I explained my passion for the saxophone and how I felt it was a ‘voice’ that could ‘sing’ a lot of styles. I also felt that the sax was a key part in some of the most memorable songs in pop music over the last 30 years. I wanted to tap into all of that with this record. Chris understood how to bring it all together and give me a project that was an absolute blast to make. He and I both listen to a lot of different kinds of music and Chris’s experience performing with Keith Urban, Kenny Loggins, Amy Grant, and Faith Hill brought a bunch of ingredients together and yet stayed true to my voice.”

Grady’s many influences are evident on Destinations. A native of Arkansas, Grady’s main exposure to any type of jazz as a teenager was through the Weather Channel. (He even wrote the network to get a copy of their playlist and began learning about the artists played during the local forecast.) Some of his early influences were David Sanborn, David Foster, Chicago and a myriad of classical film scores.

Grady realizes many fans are not “locked” into one genre and with the digital world, listeners can easily explore an array of music. “Like my audience, I enjoy different styles of music. I try to push the envelope a bit in concert to see how the fans will react. I also attend many concerts and realize a John Mayer or Keith Urban fan may also like my music. So I was inspired to write in the style of a singer-songwriter with the saxophone as the lead voice (“You Know Me”). I re-interpreted Keith Urban’s “Only You Could Love Me This Way” as an instrumental. And my cover of Journey’s “Faithfully” has been a hit in concert for some time now.”

On Grady’s last three projects, he has worked with producers that are also writers/artists/performers. One of the key advantages is the collaborations result in songs that can go from studio to stage. “Chris is a consummate musician and performer. He knows how to get on stage night after night in front of rock, pop, Christian and country audiences and deliver great performances. The songs we developed will work live in front of an audience as well as on the CD.”

Destinations is Grady’s sixth CD. His last project Take Me With You, was produced by artist/writer Zac Maloy (Daughtry, Blake Shelton, Carrie Underwood), featured a guest appearance from Leigh Nash of Sixpence None The Richer and a house remix tune from Andy Caldwell. Fusion/Smooth Jazz Jeff Lorber produced Sophistication with Paul Brown mixing and Chris Botti making a guest appearance. The CD had two national charting singles. In The Fullness of Time was recorded live with Chicago’s Bill Champlin contributing his vocals on a couple of tunes. Grady’s earlier releases were Mysterious Intentions and Between You And Me.
 
~ gradynichols.com

NEW RELEASES - CARLOS NINO & FRIENDS, RALPH CONDE, JUICY

CARLOS NINO & FRIENDS – AQUARIUSSSSSSS

Carlos Nino builds near-orchestral grandeur out of samples, loops, acoustic strings, voice and nature sounds – with assistance from fellow Build An Ark sailors and other guests – breezy, laidback and engaging all the way! The album is constructed from recordings Carlos made of himself and the guests, free flowing mood music that takes flight with nature sounds – crashing waves and more. The musicians in his circle are incredible, and while the music is ambient at times, it's also got a dexterous sweep that's mighty nice too! Players include Miguel Atwood-Ferguson, Jesse Peterson, Dntel, and Daedelus – and titles include "Mezame (Awakening)", "Sailing In Concentric Circles", "Bath Of Breath Crystal Crescendo", "Listening To The Conversation Of The Birds", "Trance Elation Of Transformance", and "Tears Of Transcendence". (Vinyl limited to just 500 copies. Includes download with bonus track.) ~ Dusty Groove

RALPH CONDE - RESPE

From smooth jazz to blues with a Caribbean twist, guitarist Ralph Conde has produced a wonderful introduction to the sounds of Haitian music. Conde was formerly a member of super-Haitian group Tabou Combo, having spent seven years recording and touring with the band. Throughout his career, Conde recorded solo albums like Ralph Conde & Friends (1997); collaborated with the group Kassav, as well as with other zouk artists. In 2004, Henry Debbs produced Ralph’s album that produced the French Caribbean hit song “Gwada”. More recently he recorded Akoustikreyol – which featured a more mellow and smooth sound, such as in this one. Respe features titles such as "Tu Peux Metre" (originally recorded by Coupe Cloue); "Bebe Paramount" (from Tabou Combo), "Bouki Ak Malice "(from Les Freres Dejean); and "Adoration" (by the Magnum Band.)

JUICY

An 80s soul classic – and one of those records that never seems to get old! The set's the first album from Juicy – recorded when they were more of a group than a studio duo, and working here with production from Deodato – who gives their sound some nice jazzy touches! That's no surprise, though, as Deodato's also playing a bit of clavinet and synth on the album – matching the keyboards of lead vocalist Katie Barnes, and hitting the 80s groove sound that was the group's strongest suit – a tightly stepping style that's mighty nice throughout! Titles include "You're Number One", "I've Got Something", "Don't Cha Wanna", "Love's A Merry Go Round", "Our Love Is Stronger", "Sing The Message", and "The Night Is Still Young". CD features bonus tracks – "Don't Cha Wanna (inst)", and "I've Got Something (ext)". ~ Dusty Groove