UNIVERSAL MUSIC GROUP SIGNS ROD STEWART TO LONG-TERM RECORDING CONTRACT

Expanding its creative investment further, Universal Music Group has signed iconic artist Rod Stewart to a long-term worldwide recording agreement, it was announced today by Lucian Grainge, Chairman and Chief Executive Officer of the company, Mr. Stewart and his manager, Arnold Stiefel.

As part of this multi-album deal, the two-time Hall of Famer has teamed with Grammy award-winning producer, songwriter and Verve Music Group Chairman David Foster to record his first Christmas album. Stewart's warm, expressive and distinctively raspy voice is proving a perfect fit for the holiday classics. The album will also feature a handful of star-studded vocal duets and is scheduled for release this fall via Verve Music Group.
"I've known Rod and Arnold for many years and have been wanting to work with them for some time," stated Mr. Grainge. "Rod possesses one of pop music's most inventive and memorable voices; and we're delighted to be part of the next great chapter in his already storied career."

"UMG remains committed to artistic creativity and expanding opportunities for artists in the marketplace," continued Mr. Grainge. "And nowhere is this more evident than in our new partnership with an artist of Rod's caliber."

Rod Stewart commented, "I'm confident that by partnering with my fellow CBE, Lucian, and his cracking, top-notch company, we have the best team in the business. And the chance to work again with David Foster makes it that much sweeter."

"This is a match made in heaven," Arnold Stiefel declared. "Rod's writing spirit has been rekindled and Universal is the perfect keeper of the flame."

With his soulful and singular voice, narrative songwriting and passionate live performances, Rod Stewart has paved one of the most iconic and successful musical careers of all time. In July, he will reunite with Stevie Nicks to reprise their acclaimed Heart & Soul tour and in September he will return to his Las Vegas residency at The Colosseum at Caesars Palace. All on the heels of his hotly anticipated first memoir and Christmas album, which are both, scheduled for U.S. release this fall.

During Stewart's iconic five decade-long career, he has sold more than 150 million albums worldwide, scored countless charting hits, 18 Grammy nominations and two inductions into the Rock and Roll Hall of Fame. He is a Grammy Living Legend and in 2007 was bestowed the prestigious CBE (Commander of The British Empire) title by the Queen of England.

For more information, visit www.rodstewart.com.

LATIN DISCO DANCEFLOOR GROOVES WITH A LATIN TOUCH

A very different side of the sound of Fania Records – tracks that draw heavily from the club and disco rhythms of the New York scene of the 70s, but serve up the music with a sweet little Latin twist! The set really illustrates the evolution of Latin Soul from the 60s – showing a generation of artists who were equally willing to draw from the styles of their African-American contemporaries on the scene, but in different ways than the Latin artists of a decade before! Most tracks still have a fair bit of Latin percussion in the mix (it's no secret that Latin rhythms were a big influence on 70s disco) – and the selection of cuts is really wonderful – way past the obvious, and in ways that are different than other collections of this nature, including the Nuyorica classics on Soul Jazz. Titles include "Waterbed" by LTG Exchange, "Dance Dance Dance" by Orquesta Novel, "To Be With You" by Jimmy Sabater, "Good Times" by Charanga 76, "Salsa" by Louie Ramirez, "Mambo Rock" by Seguida, "Afro Hustle" by Lou Perez, "Call Me" by Joe Bataan, "Es Un Demonio Ella" by Fausto Rey/Larry Harlow, "My Love Supreme" by Milton Hamilton Crystalized, "Wata Wasuri" by Tito Puente, and "Johnny's No Good" by WRLC. ~ Dusty Groove.

NEW RELEASES - THE ENDANGERED, KEN VANDERMARK / PAUL NILSSEN LOVE, JOHN SURMAN

THE ENDANGERED 

A sweet little set from LA's Endangered – a great quartet that boasts strong lead vocals from Maiya Sykes, and a nice groove that makes a bit more use of electric guitar than keyboards! The guitar phrasing is mighty nice – and gives the record an earnest quality that really sends the vocals home – yet also manages to avoid some of the too-acoustic or too-singer songwriter modes of the indie underground – a balancing act that's tricky, but really comes off well as the set rolls on – making for one of the freshest debuts we've heard in years! Titles include "Calling On You", "Broke Heart", "Dollars", "Mistakes", and "You Be Mine". ~ Dusty Groove

KEN VANDERMARK / PAAL NILSSEN LOVE – LETTER TO A STRANGER

One of the loosest, freest recordings we've heard from Ken Vandermark in awhile – a great set of duets with drummer Paal Nilssen-Love, who's really got the right spirit here to match the sensitivity in Vandermark's reeds! Many tunes are in a sparer, gentler exploration of textures and tones – played beautifully by Ken on the fringes of music – using tenor, baritone sax, bass clarinet, and A clarinet – usually instruments that set the tone of the performances first, which Paal then follows beautifully with inventive work on the drum kit, and some additional percussion. The set's a great reminder that Vandermark can still stretch out beautifully like this – and titles include "Field 1", "Letter To A Stranger", "Field 3", "Crippled Donkey", "Strange Love", "Field 5", and "Bent Corners". ~ Dusty Groove

JOHN SURMAN – SALTASH BELLS

Beautiful sounds from reedman John Surman – played solo, but on a variety of different instruments – all in tones and textures that aptly demonstrate that Surman's style is as sonic as it is musical! The record does a great job of avoiding some of the colder elements that sometimes hold back Surman in such a setting – and really recreates that special warmth when he hit some of his moodier, more spacious modes in the 70s – spun out here on soprano, tenor, and baritone sax – plus alto, bass, and contrabass clarinets – as well as harmonica and synthesizer too! Most tracks are shortish, but very evocative – with titles that include "Glass Flower", "Whistman's Wood", "Saltash Bells", "Sailing Westwards", "The Crooked Inn", and "Dark Reflections". ~ Dusty Groove

DONALD VEGA - SPIRITUAL NATURE (FEATURING CHRISTIAN MCBRIDE, LEWIS NASH, ANTHONY WILSON & CHRISTIAN HOWES)

"... an exceptionally articulate pianist... Vega's single most distinctive characteristic is his romantic lyricism." - JazzTimes

While pianist Donald Vega is beginning to draw attention in jazz circles as Mulgrew Miller's successor in the Ron Carter Trio, he makes a bold statement as a composer and bandleader on Spiritual Nature. Joined by the regal rhythm tandem of bassist Christian McBride and drummer Lewis Nash, Vega explores the marriage of jazz, Latin and classical music on his auspicious Resonance Records debut. "It's a dream come true," says the 37-year-old pianist of the opportunity to record with McBride and Nash. "Spiritually, this is my dream trio." The core trio is augmented by guitarist Anthony Wilson, violinist and label mate Christian Howes, tenor saxophonist Bob Sheppard, trumpeter Gilbert Castellanos and trombonist Bob McChesney on Vega's sophomore outing (following 2008's self-produced Tomorrows, which also featured drummer Nash).

Classically-trained in his native Nicaragua, Vega emigrated to Los Angeles at age 14 and began learning the language of jazz from mentor Billy Higgins at The World Stage and later with bassist John Clayton at the University of Southern California. Bassist Al McKibbon, a member of Dizzy Gillespie's band of the late 1940s, subsequently took the young pianist under his wing and schooled him on the bandstand on the finer points of bebop. Vega met drummer Nash while working in McKibbon's trio in Los Angeles. For Spiritual Nature, Vega imagined pairing Nash with bassist McBride, whom he had met in 2007 while attending The Juilliard School in New York. "The idea of having this tasty drummer with this killing bass player was so interesting," he says. "But for them to get together in one place, it's very rare because they're both so busy. And when we finally got together, the music just played itself, like magic."

Throughout Spiritual Nature, Vega shifts the configuration from trio to quartet to quintet, providing plenty of scintillating moments along the way. He kicks it off with the aggressively swinging, hard boppish "Scorpion," which showcases his voicings for trumpet and sax on the frontline and also features an outstanding drum solo from Nash. "I love writing harmonies," says Vega, "but most important to me is the melody. I always want it to be singable." Ron Carter's "First Trip," which originally appeared on Herbie Hancock's 1968 Blue Note classic, Speak Like a Child, is rendered here as a jaunty swinger underscored by Nash's brushwork, McBride's walking bass lines and featuring Wilson on guitar. "My attitude here was, 'OK, Herbie's version was so incredible, nobody's going to do it better than that. So let's just have some fun with it.'"

A delicate quartet rendition of Monty Alexander's lyrical "The River" features Howes on violin while the title track blends a straight eighth note jazz feel with a subtle bossa nova vibe. "You can hear the McCoy Tyner influence on my playing," says Vega, "and the tropical flavor from my country, Nicaragua. And when I hear it back, just the way it moves makes me think about the things that are unexplained - nature and the spiritual." A cover of Monty Alexander's funky boogaloo "Accompong" is highlighted by some rapid-fire exchanges between Vega's piano and Wilson's guitar while a trio interpretation of Niels Henning Orsted Pedersen's delicate waltz-time number "Future Child" opens with an extended introspective solo piano introduction from Vega. McBride's bold, walking bass lines fuel a swinging piano trio rendition of Makoto Ozone's "You Never Tell Me Anything" and on the atmospheric "Contemplation" he incorporates Fender Rhodes electric piano for a different color.

Vega's arrangement of the classical piece "Etude Opus 8, #2" by Alexander Scriabin deftly incorporates a 6/8 Afro-Cuban feel in the bass line while showcasing brisk unisons on top in a 3/4 encounter between piano and violin. "In Nicaragua, I had classical training," he explains. "I studied Chopin, Bach, Brahms, all the classics. And I always wanted to mix jazz with classical and Latin. Since I knew all of those languages, why not expand on that? And this was a perfect piece to incorporate all of those elements."

A poignant solo rendition of Antonio Carlos Jobim's "Falando De Amore-Tema De Amor" showcases the pianist's exquisite touch on the keyboard. "My all-time heroes are Hank Jones and Tommy Flanagan," says Vega. "Those are the masters I try to learn from, in terms of the touch and harmony." He explains that it was producer Klabin's idea to record three separate segments and then graft them together into one flowing piece. "When George brought in this piece, which I had never heard before, he said, 'Would you be open to doing something where you come in and record one voice, then we record a second voice and a third voice, and then put them all together?' I know Bill Evans did that on Conversations with Myself, and he was very masterful in his approach on that album. So I agreed. I'm very open and I'm always ready to learn. So George and I actually collaborated on that one."

Vega's gentle quartet number "Child's Play," which has Nash playing with his hands on the kit, carries special meaning for the new, first-time father. "I have a lot of brothers and sisters and they all just had babies too," he says. "We're all in different places - Los Angeles, Miami, New York - and in composing this tune I was imaging just having all the kids together playing. That's the image that came to mind and when the musicians were able to hear the story of where this tune came from, they knew what to play."

The album concludes with a loose, highly interactive trio rendition of Benny Golson's classic ballad "I Remember Clifford" that is underscored by Nash's signature brushwork and McBride's contrapuntal approach to the bass. "All the other tunes on the album were heavily arranged," says Vega, "so we wanted just one tune where we don't have to read, we don't have any arrangement, we just play. Benny Golson's writing is great and we all knew this tune, so the idea was, 'Let's just go in and play.' And you can hear that kind of looseness on this track."

Backed by such a formidable lineup, Vega makes a giant leap as a composer-arranger and bandleader in his own right on Spiritual Nature.

Spiritual Nature Track Listing (release date August 14):
Donald Vega - piano/Rhodes
Christian McBride - bass
Lewis Nash - drums
Anthony Wilson - guitar
Christian Howes - violin
Bob Sheppard - saxophone
Gilbert Castellanos - trumpet
Bob McChesney - trombone

1. Scorpion (D. Vega)
2. First Trip (Ron Carter)
3. River (M. Alexander)
4. Spiritual Nature (D. Vega)
5. Accompong (M. Alexander)
6. Future Child (N.H. Orsted Pederson)
7. You Never Tell Me Anything (M. Ozone)
8. Contemplation (D. Vega)
9. Etude Opus 8, #2 (Scriabin, adaptation by D. Vega)
10. Falando de Amor / Tema de Amor (arrangement by D. Vega & G. Klabin) (Theme from Film "Gabriela" by A.C. Jobim)
11. Child's Play (D. Vega)
12. I Remember Clifford (B. Golson)

donaldvega.com

NICOLA CONTE PRESENTS VIAGEM 4

NICOLA CONTE PRESENTS VIAGEM 4

Italian producer, musician and DJ Nicola Conte is well-respected for his penchant for combing the depths for quality Brazilian and jazz songs, and for the first three editions of his Viagem compilation series for London’s Far Out Recordings, he’s shared with the world a variety of fantastic delights seldom heard outside of Brazil. The theme is simple: the focus is on Brazilian goodness from the 1960s and 1970s. But simplicity can be deceptive, especially when you’re the tastemaker having to find the gems featured here. The simpler exercise lies in the pure listening enjoyment; Conte has once again put together choice cuts from the 1960s and 1970s, the tunes bursting with flair, class, sophistication, and unadulterated energy. These vintage numbers are like small trips back in time. You might not mind traveling there again and again after taking in this most exquisite musical experience, thanks to the golden touch of Mr. Conte and his stellar collection, or at least seventeen of them on Viagem 4. Bravo! ~ velanche.com

Nicola Conte Presents Viagem 4 Tracklist:

1. 7 De Ouros – So’ Balanço
2. Myrzo Barroso - Consolaçao
3. Quarteto 4 - O Morro Naó Tem Vez
4. Bossa Jazz 3 - Outra Vez
5. Luli - Ballero
6. Anilza Leoni - Balumba
7. Bwana Trio - Cute
8. Shirley e O Tuca Trio - Gosto Do Que e Bom
9. Betinho Do Vibraphone - Pandeiro Triste
10. As Compositoras - Ponto De Vista
11. Luiz Henrique & Os Copa 5 - Samba Novo
12. Quarteto De Saba - Pra Que Chorar
13. Marcos Moran - Batucada Surgiu
14. Quarteto De Bruno Solis - Upa Neguinho
15. Bossa Nova + 5 - Saudade Vem Correndo
16. Gilda Horta - Litoral
17. Rosana Tapajos - Te Quero Assim.

Viagem 4 is set for release on July 9.

LUCKY GIRL - A PORTRAIT OF JACQUI NAYLOR

On Tuesday, June 19, 2012, a new documentary about jazz vocalist and songwriter, Jacqui Naylor, was released nationwide through Ruby Star Records and eOne Distribution (RBY-DV-79367). Lucky Girl -A Portrait of Jacqui Naylor, is produced by ARTiDOCs, a Bay Area production company specializing in portrait style documentaries on artists. The documentary is shot with a Panasonic HVX200 in HD, using natural light.

After producing a music video for Naylor in 2008, ARTiDOCs co-founders Marcelina Cravat and Jules Kobelin approached the singer about creating a feature length portrait documentary of her life and creative process. Naylor agreed and the duo and their crew followed the artist and her band for two years on the road and into the studio, while they prepared new music for her eighth CD, also titled Lucky Girl, (Ruby Star Records RSR-007 2011)

The documentary follows Naylor on tour to several jazz clubs including Seattle's Jazz Alley, San Francisco's Rrazz Room, and the Istanbul Jazz Center in Turkey. Replete with performances, songwriting sessions, and behind- the-scene moments, the film transports the viewer through a series of musical montages and local flavors. Interviews with long-time band members and others close to Naylor offer an intimate look at the life of this respected jazz artist who is also a practicing Buddhist and long-time San Francisco resident.

"Jacqui's primary goal is to provide unity and community and this message is clearly delivered throughout the duration of Lucky Girl," says producer Kobelin. From the opening scene of chanting with fellow Buddhists in their home to the recording of a pledge drive song for NPR, the film shows how Naylor and pianist and husband, Art Khu, use their music to bring people and ideas together. The couple's original song "Dreamin' Prayin' Wishin' was recently picked up by Two Degrees for use in their marketing to end world hunger and "Rise Up" featured on the Obama-Biden Website.

Naylor is perhaps best known for her ability to mix genres from different generations through the arranging technique she calls "acoustic smashing." "Jacqui Naylor has brought new twists to the notion of melding jazz and pop tunes - without high-tech assistance," claims NPR's California Report. "Naylor has the chops and sensitivity to pull it off," chimes New York Magazine. The film includes examples with "My Funny Valentine" from Rodgers and Hart sung over the groove of ACDC's "Back In Black," "Black Coffee" from Webster and Burke atop Led Zeppelin's "Moby Dick," and "Surry With The Fringe On Top" from Rodgers and Hammerstein over George Benson's "Breezin'."

Naylor has eight recordings of originals and covers on her Ruby Star Records label available in the United States, Europe and Asia and tours regularly in these regions at esteemed venues including Yoshi's San Francisco, Ronnie Scott's London, Birdland New York, Snug Harbor New Orleans, Women in Jazz Festival Germany, Reus Jazz Festival Spain, Monterey Jazz Festival, San Francisco Jazz Festival and the Blue Note Clubs in New York, Milan and Japan.

artidocs.com
jacquinaylor.com
myspace.com/jacquinaylor

NEW RELEASES - MAKROKOSMOS QUARTET, CINEMATIC ORCHESTRA, LOST SOUL GEMS FROM SOUNDS OF MEMPHIS

MAKROKOSMOS QUARTET – ROUND MIDNIGHT

A set of performances dedicated to Thelonious Monk – yet music that's quite far from anything by Monk that we've ever heard before! Yet there's also a definite Monkish inspiration going on here – a sense of space and timing that resonates in different, often drawn-out ways – performed by the group's twin pianos, handled by Ufuk and Bahar Dorduncu – and percussion by Francois Volpe and Sebastien Cordier. The result is more avant compositional than jazz, yet the performance here is key too – on performances of compositions that include Oliver Schneller's "Resonant Space", Guillermo Gregorio's "Construction In Four Parts", Fabrizio Rat Ferrero's "L'Abito Non FaIl Monaco", and Stefan Wirth's "Standards". ~ Dusty Groove

CINEMATIC ORCHESTRA – IN MOTION #1

Not just the Cinematic Orchestra – but a set that features work from other artists too – all in a beautifully evocative set of soundscapes that draws heavily from the collaboration, and which goes way beyond other previous work from the group! The sounds here are really united in a commitment to richly expressive modes – often working in a soundtracky style that lives up to the Cinematic promise – using strings on just about every track, but in these cool spare, stark ways that mix with the other instrumentation – and almost recall the glory of the first 4AD experiments in these modes from decades back. In addition to "Manhatta", "Entr'Acte", and "Necrology" by Cinematic Orchestra – the set also features "Lapis" by Austin Peralta, "Dream Work" and "Outer Space" by Dorian Concept & Tom Chant, and "Regen" by Gary Reverend. (Cool LP-styled sleeve, too!) ~ Dusty Groove .

LOST SOUL GEMS FROM SOUNDS OF MEMPHIS

Deep southern soul from the Sounds Of Memphis label – with some incredible stuff that for the most part never has seen official light of day before now – compiled by Dean Rudland for Kent UK! Kent has mined the vaults of Sounds Of Memphis for a series of solid compilations, and it's surprising how much more continues to be discovered considering the continual high quality! A solid majority of the tracks are prime 60s & 70s southern soul – with some early 80s records later on on the set that with a contemporary sound, though still committed to a true soul style! Includes "Pity A Fool" by Carl Sims, "I Don't Want No One Way Love" by Dan Greer, "Stop Boy" by Fran Farley, "So Cruel" by Barbara And The Browns, "Teardrops" by William Bollinger, "Play The Game (Pt 2)" by Version, "Make It Easy On Yourself" by Demetrius, "When I Look Inside" by Takelia Kelly, "It's Hard To Say No" by George Jackson & Linda Lucchesi, "Save My Love" by Billy Cee & The Freedom Express and more. ~ Dusty Groove

NEW RELEASES - NICOLE MITCHELL, JOE McPHEE / STEVE DALACHINSKY EVAN PARKET JOE MORRIS QUARTET

NICOLE MITCHELL – ARC OF O

One of the most ambitious sets we've heard from Nicole Mitchell – a really unique mixing of modes that features a core Chicago group coming into play with the Arche New Music Ensemble! The initial group features Nicole on flute, vocals, and electronics – with Mwata Boden on baritone and bass clarinet, David Boykin on tenor, and Renee Baker on violin – all set against the larger backdrop of Arche – which features eleven musicians led by Rafal Zapala on electronics and percussion, on piano, trumpet, cello, viola, clarinet, trombone, oboe, and more! Mitchell's still at the heart of the performance – as the tracks are all her own compositions, and she conducts the proceedings as well – with this wonderful mode that's almost a blend of AACM energy with some of the more orchestrated improvisations of the European scene. The bulk of the record features the long "Arc Of O" piece – followed by a smoking rendition of Mitchell's great "Afrika Rising", a much more freewheeling and spiritual number! ~, Dusty Groove

JOE McPHEE / STEVE DALACHINSKY/ EVAN PARKER – 13 MINIATURES FOR ALBERT AYLER

A beautiful set of tributes to the legendary Albert Ayler – presented here in a series of improvisations from different assemblages of players – some solo, some duo, and some in larger groups – all working together in a legacy of sound that really takes off from the amazing tones and textures that Ayler first forged in the 60s! The range of musicians is as exciting as the music itself – and the performances feature reeds from Joe McPhee, Evan Parker, Urs Leimgruber, Raphael Imbert, John Tchicai, and Michel Portal – plus trumpet from Jean-Luc Cappozzo, bass from Joelle Leandre, Jean Jacques Avenel, and Barre Phillips, drums from Simon Goubert and Christian Rollet – and a mixture of sung and spoken passages from Lucia Recio, Steve Dalachinsky, and Jacqueline Caux. ~ Dusty Groove .

JOE MORRIS QUARTET – GRAFFITI IN TWO PARTS

A really noteworthy recording in the career of guitarist Joe Morris – not just because it's lain undiscovered for decades – but also because it features one of the few recorded performances of Lowell Davidson, who's also known for a famous 60s album on ESP! Davidson plays drums here, and the unusual "aluminum acoustic bass", not his usual piano – a shift that was made in order to find a way to resonate more strongly with Morris – who himself plays guitar and banjouke – in a quartet that also features Malcolm Goldstein on violin and Butch Morris on cornet! The work is almost more spacious than some of Morris' other recordings – especially those of the 90s onwards – partly because there's a lot of "room" in the recording, almost that loft jazz style that you'd hear on improv records of the 70s – really perfect for the odd array of percussion instruments that Davidson brings into his performance. The core of the record features "Graffitti (parts 1 & 2)" – plus the very short "Tag". ~ Dusty Groove

ALEKS GIRSCHEVICH - TOMORROW

Before you dismiss the Aleks Girshevich Trio simply because the jazz combo is named after its prodigious 11-year-old Russian-American drummer-percussionist, Aleks Girshevich, listen to the scholarly piano etchings vividly composed by his father, Vlad Girshevich. Masters have been bewildered by the cerebral beats and Cuban and Brazilian-influenced rhythms deftly dispensed by Aleks. Produced by the chamber jazz outfit’s award-winning double bassist David Arend, the trio’s passionately performed debut collection, Tomorrow, will be released August 14th by Dapper Music.

Tomorrow is comprised of eight original compositions: seven penned by Vlad Girshevich and a closing experimental improvisational piece, “Dithering,” hatched by the trio. The senior Girshevich’s striking piano melodies occupy center stage throughout the recording and stir a variety of emotions. His melodies are chipper and cheerful, pensive and haunting, and at times touchingly exquisite. The erudite grooves and polyrhythms constructed by Aleks Girshevich and Arend fluctuate in time and tempo mid-tune. Listeners are transported, willing participants on a clever, captivating and challenging journey through wide-ranging peaks and valleys that adeptly invite and embrace without overwhelming. All About Jazz recently wrote, “Tomorrow is an immensely pleasing combination of elegant swing, original craftsmanship, and engaging melodies provided by Vlad.”

Next month, three selections – the title cut, brimful as the day’s first rays of sunlight, “Fragility,” a tender, poignant beauty, and “Broken Promises,” an up-tempo jaunt that provides a glimmer of hope amidst a veil of sadness – will be serviced to jazz radio stations across the U.S. to help pave the way for the album’s arrival.

Arend said, "For me, Tomorrow celebrates the debut of a trio full of promise. Our style could be termed 'chamber jazz' for there is an intimacy and an expressive, coloristic aspect that create an aura similar to classical chamber music. The listener is drawn into a conversational, contemplative atmosphere that swings and sighs. Vlad and I have shared musical and philosophical ideas over 15 years. Now that young Aleks has begun to harness his prodigious gift for drums and percussion, it is evident that this trio's time has arrived. In this sense, Tomorrow is here."

A classically trained pianist and composer, Vlad Girshevich emigrated from Tashkent, Uzbekistan to Aspen in 1996. He was introduced to Arend, who was studying classical music at the Aspen Music Festival at the time. Although Vlad did not speak English, the two men communicated through music on the bandstand and a friendship was formed. After Herbie Hancock heard Girshevich perform, he invited him to be a fellow at the Thelonious Monk Institute at JazzAspen/Snowmass. Arend and Girshevich played in duo and trio settings over several summers in Aspen before the bassist moved to New York City to attend The Juilliard School. Together they recorded We The People in 2000, but distance made collaborations difficult over the next decade. During that period, Arend’s artistic endeavors spanned jazz, modern chamber music, electronica, opera and orchestral work and included diverse collaborations with Ornette Coleman, Bela Fleck, Bobby McFerrin and Carlos Santana as well as playing on New Zealand’s Classical Record of the Year (2000).

He has over 20 years of orchestral experience teaming with the San Francisco Symphony and a bevy of world-renowned composers (John Williams, Tan Dun, George Crumb) that has seasoned his licks with a distinctively classical sensibility. Rooted in the Russian classical realm, Vlad Girshevich often performed in the jazz spectrum with the likes of Wayne Shorter, Arturo Sandoval and legendary drummer Horacio “El Negro” Hernandez, the latter of whom offered encouragement after watching a YouTube clip of a then 9-year-old Aleks drumming in 2010. Later that year, Vlad and Aleks Girshevich gigged with Arend in California leading to the birth of the trio. Documentary filmmakers are shadowing the Girshevich’s fascinated by the dynamics of the high-level father-son musical apprenticeship.

The Aleks Girshevich Trio will perform music from Tomorrow at a Bay Area gig in early August before entering the studio to record their second collection.

http://www.aleksgirshevichtrio.com/

The compositions contained on the Aleks Girshevich Trio’s Tomorrow are:
“Strange Memories”
"Tomorrow”
“The Other Side”
“Fragility”
“Broken Promises”
“222”
“Where Were You?”
“Dithering”

THE MIRACLES – RENAISSANCE / DO IT BABY

Incredible early-to-mid 70s albums from The Miracles – Renaissance and Do It Baby – plus a bonus Tom Moulton remix! First up, Renaissance truly is one, and proof that the the group could do amazing things away from Smokey Robinson! Of course, they've got a heck of a lot of great help on this set – from some of Motown's best, like Willie Hutch, Fonce Mizell, Freddie Perren, and even Marvin Gaye, who wrote and produced the album's standout track "I Love You Secretly", a stone treasure that's as good as any of Marvin's recordings from the time! The whole set is great, though, filled with wonderful songs that never got their due – and which will make this one stand for years as a treasure to fans of harmony soul! Titles include "I Didn't Realize The Show Was Over", "I Love You Secretly", "I Don't Need No Reason", "Don't Let It End", and "What Is A Heart Good For".

The follow-up Do It Baby is another overlooked post-Smokey gem – a beautifully display of Miracles' unmatched soul harmony mastery – on a record that's just about as good as anything they did with Smokey. This one actually reminds us a lot of some of our favorite Philly albums coming out at the same time! Arrangements are handled by James Carmichael, Freddie Perren, and Willie Hutch – and it's heavy with slinky smooth soul groovers like "Do It Baby", "You Are Love", "What Is A Heart Good For", and "Give Me Just Another Day", one of a few great cuts on the record written by Leon Ware! This much needed Hip-O Select package includes a bonus track, too: Tom Moulton's mix of "Do It Baby" – which extends that classic cut to more than 7 minutes of dancefloor soul greatness! ~ Dusty Groove 

SOUL-JAZZ SAXOPHONIST BONEY JAMES HEADLINES SMOOTH JAZZ CRUISE

As the excitement mounts for January’s 10th anniversary sailings, The Smooth Jazz Cruise: The Greatest Party at Sea will present soul-jazz sax sensation Boney James in concert August 31st at The Frederick Brown, Jr. Amphitheater (The Fred) in Peachtree City, GA. Opening the show will be eclectic violinist Ken Ford. Tickets are now on sale and available at The Fred Box office (770.631.0630 www.amphitheater.org) and at Ticket Alternative outlets (877-725-8849 http://www.ticketalternative.com/).

James is a leading light in the contemporary/smooth jazz realm who has also achieved crossover success in the urban music world. In his 20-year solo career that spans a dozen albums, he has scored nine #1 Billboard contemporary jazz albums while earning four gold records, three Grammy nominations, a Soul Train Award and an NAACP Image Award nomination. His music is a soul-drenched mix of R&B grooves, contemporary jazz instrumentals, and romantic ballads. In addition to his slick originals, James has a knack for delivering sterling renditions of R&B classics - “Sweet Thing,” “Grazin In The Grass” and “Send One Your Love” to name a few. Touring in support of last year’s hit-filled “Contact” album, which spent a remarkable 11 weeks at #1, his sultry single “Deep Time” is presently heating up the radio airwaves.

The Atlanta-based Ford will make his debut aboard The Smooth Jazz Cruise 2013. Dispensing a unique fusion of jazz, blues, R&B and hip-hop, the electric violinist pours passion into his exhilarating performances. His latest recording, State of Mind, is a seven-song EP that includes a pair of bonus tracks, fan favorites produced by Grammy winner Colin Morrison (The Temptations, Chante Moore). Utilizing live instrumentation and adventurous sonicscapes, Ford is a soulful improviser best experienced in a concert setting.

Known as “The Greatest Party at Sea,” The Smooth Jazz Cruise showcases legends, Grammy winners and chart-topping contemporary jazz and urban adult contemporary artists aboard a luxurious full ship Holland American charter that will sail from Fort Lauderdale to Cozumel, Belize City and Key West on January 13-20 and January 20-27, 2013. It is an extraordinary week devoted to live music with the 2013 lineup consisting of Ford, George Benson, David Sanborn, Marcus Miller, Brian Culbertson, Jonathan Butler, Candy Dulfer, Rick Braun, Richard Elliot, Bob James, Jeff Golub, Angie Stone, Paul Taylor, Steve Cole, Raul Midon, Larry Braggs, DW3, music director Brian Simpson and comedian Alonzo Bodden presented in theatre, club and intimate piano bar settings. The velvet rope is removed allowing cruisers to mix and mingle freely with the musicians at cocktail parties, informative seminars, autograph and Q&A sessions, theme nights and even sporting contests. Perennially sold-out, nearly 60% of the passengers are repeat guests. For further information or to reserve a cabin, please visit http://www.thesmoothjazzcruise.com/.

MONTREUX JAZZ FESTIVAL ADDS NENEH CHERRY AND JAMES CARTER ORGAN TRIO TO LINEUP

Just days before the launch of the Montreux Jazz Festival, it's organizers have announced that Trip Hop star Tricky has cancelled his performance with Martina Topley-Bird. Their ‘Maxinquaye” concert was to signal a return of this legendary due. Instead, the Festival looks forward to welcoming for the first time Neneh Cherry with her new and ambitious project: Neneh Cherry & The Thing, as well as James Carter who will be accompanied by his Organ Trio. Spectrum Road will still be featured on the evening’s colourful line-up.


James Carter Organ Trio



James Carter is one of the most admired Jazz musicians of his generation. His music is born out of a deep respect for and intimate knowledge of the Jazz tradition. Yet it is hard to categorize his music as he has such a diverse range of influences and, to him, it is precisely this mix-up that makes his music beautiful. He is known as a saxophonist and he began with Lester Bowie in New York before recording with John Medeski in 2009. Then in 2011 the James Carter Organ Trio released an album which paints a portrait of the Detroit Jazz scene. That same year the Jazz Journalists Association awarded him the Baritone Saxaphonist of the Year award.



Neneh Cherry

“I think I’m built to last.” These are the lyrics Neneh Cherry sings on her latest album The Cherry Thing which she is to play at the Montreux Jazz Festival with Scandinavian Jazz Trio The Thing. After more than 20 years she is still here, singing with brio and performing her unique music which happily and seamlessly brings together such disparate influences as The Stooges, Ornette Coleman, Suicide, and MF Doom. “Thos who think these sorts of collaborations are inspired will love the album immediately. Those who think these sort of projects are hack will love it, too.” – The Washington Post; June 19, 2012.

Neneh Cherry, the James Carter Organ Trio, and Spectrum Road with Jack Bruce, Cindy Blackman Santana, Vernon Reid and John Medeski perform at the Miles Davis Hall on Friday, July 7, 2012 at 8: 30 pm.

montreuxjazzfestival.com

NEW RELEASES - THE SPINNERS, CHUBBY CHECKER, ANN PEEBLES

THE SPINNERS – TRULY YOURS: THEIR FIRST MOTOWN ALBUM WITH BONUS TRACKS 1963-1967

The first Motown full length record by the Spinners – Original Spinners from '67 – followed by an impeccably well-chosen collection of bonus material! It's excellent stuff – an overlooked album with some very hard to find Motown work by this early version of the legendary Spinners – with lead vocals by Bobby Smith and Edgar Edwards. The tracks have a mixture of sweet and raw harmonies – crafted with an elegantly soulful sound that would later take the group way over the top during the 70s, and which here sounds sublime next to some of the group's Motown contemporaries! The first 12 tracks on this excellent Kent compilation are the Original Spinners tracklist – including "Sweet Thing", "I Cross My Heart", "I'll Always Love You", "Truly Yours", "Like A Good Man Should", "For All We Know", "How Can I", "It Hurts To Be In Love", "Nobody Else But You", "Where Is That Girl", "Tomorrow May Never Come" and "That's What Girls Are Made For". Most of the 14 bonus tracks are previously unreleased masters – revelatory stuff from earlier in the 60s – formative, yet beautifully realized recordings with productions by Harvey Fuqua and Ivy Joe Hunter! Titles include "Darling", "Words Can't Describe", "12 O'Clock", "Just Another Guy", "We're Gonna Be More More Than Friends" and more. ~ Dusty Groove

CHUBBY CHECKER - CHEQUERED

Forget everything you know about Chubby Checker – because this album's unlike any of his 60s hits – and instead shows the singer as a hipper, funkier, more soulful talent than before! As you might guess from the spelling in the title, the set's got overseas origins – and really only circulated in the European market of the early 70s – and unfortunately never helped Checker regain his fame over here on our shores. There's some nice tripped-out elements that really work well with the groove – a bit of psych mixed in with funk and deep soul – all kind of that hip London brew that has all the separate elements coming together wonderfully. Titles include "Stoned In The Bathroom", "How Does It Feel", "My Mind", "He Died", "Goodbye Victoria", "Love Tunnel", and "No Need To Get So Heavy". CD features the bonus track "Gypsy". ~ Dusty Groove

ANN PEEBLES – STRAIGHT FROM THE HEART

Ann Peebles sings straight from the heart on this classic early set for Hi Records – a record that's to female vocals what Al Green's work of the time meant to male soul! As with Green's Hi Records of the time, Willie Mitchell is firmly in charge of production and backings – working with that warmly glowing Memphis soul style that carved whole new territory in soul music for the 70s – a maturing and mellowing of earlier southern modes, in a way that helps Peebles hit some fresh and uncliched sounds with her vocals. At a time when so many other singers were trying to copy Aretha, Ann's approach is mighty fresh – as you'll hear on tracks that include "I Take What I Want", "Slipped Tripped & Fell In Love", "What You Laid On Me", "Trouble Heartaches & Sadness", "99 Pounds", "I've Been There Before", and "Somebody's On Your Case". ~ Dusty Groove

NEW RELEASES - JOSH BERMAN & HIS GANG, THE VISIONEERS, RONNIE FOSTER

JOSH BERMAN AND HIS GANG – THERE NOW

Seminal Chicago sounds from cornetist Josh Berman – and a record that's not just a key example of his talents, but of the whole energy of the Windy City scene as well! There's a nice gag in the "His Gang" on the cover of the record – but it's also somewhat well put, too – as Berman's definitely got ears for the old-time sounds such a name might imply – yet always has ways of making those older modes come out with freshly modern energy! The balance is amazing – and really shows Josh's ear for trad jazz, mixed with his contemporary avant expressions – a pan-historical jazz mode that's hardly ever been handled this well – except maybe by Jaki Byard at a few moments. At some level, the instrumentation reads like an old trad band – cornet, clarinet, trombone, bass clarinet – but the sounds here are definitely 21st Century – played by a great "gang" that includes Guillermo Gregorio on clarinet, Jeb Bishop on trombone, Jason Stein on bass clarinet, Keefe Jackson on tenor, Jason Adasiewicz on vibes, Josh Abrams on bass, and Frank Rosaly on drums. Berman's arrangements are wonderful – very offbeat, but swinging too – and titles include "Sugar", "Mobile & Blues", "Liza", "Cloudy", "One Train May Hide Another", and "Jada". ~ Dusty Groove

THE VISIONEERS - HIPOLOGY

Marc Mac takes it back, way back – with some great 70s styled sounds mixed in with Marc's 21st Century vibe – a timeless mix of tightly grooving soul jazz with a live hip hop backdrop! In his work with 4 Hero, Marc could proudly pay tribute to his influences while innovating with contemporary beats and rhythms – and that tradition continues with Hipology. Classic hip hop and the 70s soul, funk and fusion that laid the blueprint are revered, with a modern vibe. Marc Mac produces and plays percussion, bass, strings and every kind of keyboard – with guest rhymers and players include the Ariya Astrobeat Arkestra horns, Baron & TRAC, Luke Parkhouse, John Robinson, Notes To Self and others. Titles include "Shaft In Africa (Addis)", "Funky Fanfare", "Apache (Battle Dub)", "Jungle Green Outlines", "Swahililand", "Luanne From Harlem", "Back In Time","Oil & Water" feat Notes To Self, "Come And Play In The Milky Night", "Whatever Happened To Peace?" and more. Includes a bonus CD: the Hipology Bonus Mixtape! ~ Dusty Groove

RONNIE FOSTER - DELIGHT

A definite delight from Ronnie Foster – a post-Blue Note set that actually has the keyboardist sounding better than ever! Ronnie's always been one of those guys who seems to work best when moving against a bit of structure – and here, that force is provided by the excellent Jerry Peters – who's come up with some great soul backings that also have these nicely offbeat corners – more than enough to preserve some of the quirkiness of Foster's work from previous years – yet also giving him a bit more direction too! There's a bit of vocals on the set – mostly from Ronnie – with backing from Phyllis Hyman, Jim Gilstrap, and Peters himself. Titles include "Argentina", "We As Love", "Let Me In Your Life", "I've Got Your Love", and "When Will I Write You A Song?". This CD version also includes the bonus "You're The One (US 7" Single)". ~ Dusty Groove

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