ART GARFUNKEL’S THE SINGER

Includes 34 Songs Hand Picked By Garfunkel On 2-CD Collection From Simon & Garfunkel Years And Solo Work

Pulling together all the roots and branches of Art Garfunkel’s remarkable career in music, The Singer, is a 34-song collection of songs hand-picked by the artist himself. Spanning the years from the first Simon & Garfunkel album of 1964 (Wednesday Morning, 3AM) up through 2007’s Great American Songbook album (Some Enchanted Evening), this two-CD retrospective will be available at all physical and digital retail outlets starting August 28.

The voice and soul of a true American poet have illuminated the work of Rock And Roll Hall Of Fame inductee Art Garfunkel for nearly five decades. It is there on record – the Simon & Garfunkel LPs of 1964 to 1970 on Columbia, and his deep catalog as a solo artist starting in 1973 (the first seven albums also on Columbia) – as well as in film, and on the printed page (his 1987 collection of prose poetry, Still Water). Five-time Grammy Award®-winner Art Garfunkel has always approached every new project with the poet’s perspective.

As Garfunkel explained the essence of his artistry to Esquire, “We didn't push for exaggerating one's contribution… There are many songs where I am a shadow. Many songs, I was a silvery edge around Paul Simon's coffee-brown lead front part. As the record emerged, you go, ‘That's what it is. Those are the two personalities. That's what's happening.’ And the sound is lovely as long as the composite works.”

In addition to curating The Singer, Garfunkel provides his own personal track-by-track annotations, which appear in the booklet in his handwritten form. The notes are as unique as Garfunkel himself. He writes of “Cecilia,” the S&G hit single from 1970: “‘Car!’ we called in Queens. Then we stopped the game and stepped aside. I grew up where the brick houses were semi-attached with driveways in between. Punchball was king. Somehow the yelling we did as street kids found its way to ‘Cecilia.’ We shouted the song over a track we made from a tape loop of rhythmic hand clapping onto our blue jeans.”

The weaving of songs from the Simon & Garfunkel repertoire with songs from Art Garfunkel’s repertoire as a solo artist is one of the hallmarks of The Singer, as the collection takes on a timeless air, moving back and forth through time in a seamless pattern.

Garfunkel’s work with Simon generated eight Grammy Awards®, starting with the two won by “Mrs. Robinson” (from the movie The Graduate) at the ceremony in 1969, namely Record of the Year and Best Contemporary Pop Performance/ Duo or Group. Two years later, Bridge Over Troubled Water was voted Album of the Year, and the title song swept Record of the Year, Song of the Year, Best Contemporary Song, Best Arrangement Accompanying Vocalists, and Best Engineered Recording. (In 1977, “Bridge Over Troubled Water” received England’s prestigious Britannia Award as the Best International Pop LP and Single of the previous 25 years.) Garfunkel added another Grammy Award® to his shelf in 1998, when his album Songs From a Parent To a Child was named Best Children’s Album.

Garfunkel has also maintained a steady presence on the silver screen. After working with director Mike Nichols on The Graduate soundtrack, Garfunkel followed up with feature roles in Nichols’ Catch-22 (1969) and Carnal Knowledge (1971, for which he received a Golden Globe nomination as Best Supporting Actor), opposite Ann-Margret, Candice Bergen and Jack Nicholson. Garfunkel went on to garner acclaim for roles in Nicholas Roeg's award-winning Bad Timing: A Sensual Obsession with Theresa Russell and Harvey Keitel (1980); Good To Go (1986); the controversial Jennifer Lynch film, Boxing Helena (1993); and most recently in 2010, The Rebound with Justin Bartha.

The life and times of Art Garfunkel course throughout The Singer, especially felt in the reverence for songs that make up the American pop vernacular. Two of Garfunkel’s signature performances hit #1 on the Billboard Adult Contemporary (AC) chart: “I Only Have Eyes For You” (a 1930s tune that became a hit for the Flamingos in 1959, revisited by Garfunkel on 1975’s Breakaway LP, the song also hit #1 in the UK); and Sam Cooke’s “(What A) Wonderful World” (from 1978’s Watermark), in which Garfunkel was famously joined by Simon and James Taylor.

Garfunkel’s roster of #1 AC hits also includes “All I Know” (his debut single as a solo artist in 1973, a Jimmy Webb composition); the 1975 reunion duet with Simon on “My Little Town” (premiered on the second show of NBC’s Saturday Night Live); and “Breakaway” (written by England’s Gallagher & Lyle, one of the three consecutive #1 AC hits from the Breakaway LP, along with “I Only Have Eyes For You” and “My Little Town”).

In addition to all the aforementioned, The Singer contains many more examples of Garfunkel’s unerring way with pop tunes from our collective past: “Disney Girls” (from the Beach Boys’ Surf’s Up); “I Wonder Why” (via Dion & the Belmonts); “When A Man Loves A Woman” (Percy Sledge); “Cryin’ In The Rain” (a duet with James Taylor, via the Everly Brothers, an early Carole King-Howie Greenfield composition); and “Two Sleepy People,” the 1930s Hoagy Carmichael-Frank Loesser chestnut that captivated a new generation in 1955 when it was sung by James Dean and Natalie Wood in Rebel Without A Cause.

Finally, The Singer continues to underscore Garfunkel’s near-lifelong association with the music of composer Jimmy Webb. After recording 1978’s Watermark with the Muscle Shoals Rhythm Section, which contained 10 Webb compositions, Garfunkel said in his understated manner, “I like the idea of inviting people to consider this man... Jimmy Webb.” The Singer contains some rarely anthologized Webb tunes recorded over the years by his friend: “Scissors Cut,” “In Cars,” and “All I Know.”

“Never mind the transience of show business and popularity,” Garfunkel told Esquire. “When we hear Ray Charles, we go, ‘That’s a great singer.’ You don’t need a reporter or a writer to tell us. Good is good and it should shine through the years.”

ART GARFUNKEL: THE SINGER tracklist
CD 1
1. Bridge Over Troubled Water (Simon and Garfunkel)
2. All I Know (with Jimmy Webb)
3. Perfect Moment (with Buddy Mondlock and Maia Sharp)
4. For Emily, Wherever I May Find Her (Simon and Garfunkel)
5. Cryin’ in the Rain (with James Taylor)
6. I Only Have Eyes For You (with Nicky Hopkins)
7. 99 Miles From LA
8. (What A) Wonderful World (with James Taylor and Paul Simon)
9. Bright Eyes
10. Two Sleepy People
11. Skywriter
12. Scarborough Fair/Canticle (Simon and Garfunkel)
13. Some Enchanted Evening
14. The Promise
15. The Thread (with Maia Sharp and Buddy Mondlock)
16. Lena (featuring Dean Parks)
17. Barbara Allen

CD 2
1. Kathy’s Song (Simon and Garfunkel)
2. Long Way Home (with Maia Sharp)
3. Scissors Cut
4. The Sound of Silence (Simon and Garfunkel)
5. Breakaway (with Graham Nash and David Crosby)
6. So Long, Frank Lloyd Wright (Simon and Garfunkel)
7. Waters of March (with Billy Payne)
8. The Decree (with Amy Grant)
9. I Wonder Why (with Kenny Rankin)
10. Disney Girls (with Bruce Johnston and Toni Tennille)
11. My Little Town
12. O Come All Ye Faithful (with Eric Weissberg)
13. A Heart in New York (with Michael Brecker)
14. I’ve Grown Accustomed to Her Face
15. April Come She Will (Simon and Garfunkel)
16. When a Man Loves a Woman (with Jeremy Steig and Michael Brecker)
17. In Cars

NEW RELEASES - OUTERATTIK, FRED LONBERG-HOLM, BIBI TANGA & THE SELENITES

OUTERATTIK - THE ATTIC

Downtempo, acid jazz, and chillout fans will enjoy Outerattik’s The Attic EP, from UK-based jazz musician and producer Jamie Smith, The Attic consists of four tracks of funked up acid jazz that were inspired by Jamie’s memories of discovering music through his parents’eclectic vinyl collection that were stored in the attic. Outerattik has already been featured recently on radio shows and podcasts, such as Ipswich 105.7 FM’s Electric Soul Show, Dave’s Lounge podcast, Rootdown FM, and Lord Bubba’s Nu-Jazz Funk Radio podcast. The track "Nineties Man" is the opening track on the French chillout compilation Lounge Masters Vibes Vol. 2, released in May 2012. The EP also received positive feedback from the UK’s Chill radio station, which complimented the “lovely electric piano” and said the music was “very expressive and chilled”. Jamie has been interviewed and the EP featured in the popular blog Downtemposcape, where the release received praise from editor DJ EROK. Other tracks are "Electro Funk #50," "What For No?," and "Attic Faery." ~ outerattick.com

FRED LONBERG-HOLM - FAST
CITIZENS GATHER

Fred Lonberg-Holm at his collaborative best – working with a great group of Chicago citizens, each of whom shape the others' sound in the set! Parts of the record have Lonberg-Holm's older style of arch avant energy – an almost academic mode that comes across with thoughtfully expressive passages. Yet other sides of the music are much more freewheeling – and almost swinging, which is quite a change for Fred – but a welcome one too! Things never get too conventional, as the older modes grab back the newer ones from time to time – making for a rich set of sounds that come from Lonberg-Holm on cello and guitar, Aram Shelton on alto and clarinet, Keefe Jackson on tenor and bass clarinet, Josh Berman on cornet, Anton Hatwich on bass, and Frank Rosaly on drums – and, oddly, at some point nearly every band member plays some form of trumpet, too. Titles include "Infra Pass", "It's A Tough Grid", "Later News", "Lazy Day", "Roses", and "Simpler Days". ~ Dusty Groove

BIBI TANGA & THE SELENITES - 40° Of SUNSHINE

Parisian groove theorists Bibi Tanga and The Selenites return in 2012 with 40° of Sunshine, their second release for the Nat Geo Music label. 40° of Sunshine was recorded in the studio after a two month African tour, and it's the group's most warm, relaxed and deeply poetic recording yet. Bibi explains of the title track, "'40° of Sunshine' takes some poetic license. It's a story that imagines what would happen if alcohol were replaced by liquid sunshine; 40 ounces of bottled sunshine." A relaxed, collective approach paid off with funky synchronicities and poetic couplings on tracks like "Poet of the Soul" - built around a slippery funk groove married to lines from poet Walt Whitman's masterpiece "Leaves of Grass" - and "Laughing Song" - based around a poem by canonical English poet William Blake. "Banda a gui koua" introduces guest singer Emma Lamadji, who appears on seven of the album's tracks. One track, "My Heart Is Jumping," has a darker backstory than the rest, as Bibi recounts: "the track is built around Professeur Inlassable‘s loops of an obscure 1930s recording, which had a woman singing the words, 'my heart is jumping.' Two days after le Professeur made the loop he had a little heart attack of his own. 40° of Sunshine is such a surprising and satisfying listen - you never know where your head will roam, but your feet will always be firmly planted on the dancefloor. ~ giantstep.net

LAISSEZ LES BONS TEMPS ROULER @ NEWPORT JAZZ FESTIVAL

with Dr. John & The Lower 911, Jon Cleary, Preservation Hall Jazz Band, Catherine Russell and Jonathan Batiste



Asset Management will laissez les bons temps rouler on Friday, August 3, at 8:00 pm at the International Tennis Hall of Fame at the Newport Casino with a tribute to the birthplace of Jazz. Bourbon Street Comes to Bellevue Avenue: Newport Salutes New Orleans will dish up the sounds of Dr. John and the Lower 911 featuring Jon Cleary, the Preservation Hall Jazz Band in a 50th Anniversary celebration and special guests Catherine Russell and Jonathan Batiste.

In addition to the swinging music, the evening will include some of the Big Easy's next best thing - food. Newport's own Russell Morin Fine Catering will offer New Orleans-style Shrimp Po' Boys, Cajun Chicken and Tasso Jambalaya and Southern Pecan Tarts for purchase.


Catherine Russell
(photo: Stefan Falke)

Jazz fans are also invited to participate in A Newport Summer Tradition!, an exclusive cocktail party hosted by the International Tennis Hall of Fame at the Newport Casino, 194 Bellevue Avenue, on Friday, 6:30pm - 7:45pm. The annual event features great music, food and beverages, and is the perfect kick-off to the Newport Jazz Festival concert. Tickets are $40 for Tennis Hall of Fame members / $50 for Non-Members. For tickets and more information regarding the cocktail party, please visit http://www.tennisfame.com/news-and-events/events/2012-08 or call (401) 849-3990.



Dr. John
(photo: Lisa Houlgrave)



Tickets for this and all Newport Jazz Festival® events are available at the local office, 770 Aquidneck Avenue in Middletown. Office hours are Tuesday through Friday, Noon - 6:00 pm, and Saturday, 10:00 am - 2:00 pm. The office accepts cash, checks and all major credit cards. To purchase on line, visit www.newportjazzfest.net. To charge by phone, call Ticketmaster at (800) 745-8000. General admission single-day tickets and two-day passes for the Newport Jazz Festival events at Fort Adams State Park can also be purchased at the Visitors Center at 23 America's Cup Avenue in Newport. Log on to www.gonewport.com for office hours.



The Newport Jazz Festival presented by Natixis Global Asset Management, featuring Pat Metheny, Tedeschi Trucks Band, Dianne Reeves, Dr. John, Jack DeJohnette, Maria Schneider Orchestra, Jason Moran & the Bandwagon and others, takes place August 3 - 5 at the International Tennis Hall of Fame at the Newport Casino and Fort Adams State Park. For the complete line-up and more information, visit www.newportjazzfest.net or call the Newport Festivals Foundation hotline at (401) 848-5055.

OLA ONABULE - SEVEN SHADES DARKER

If I’ve heard it once, I’ve heard it a thousand times: Those British singers are the only ones making decent soul music these days. I can refute that statement by identifying the deep bench of indie soul singers from the states. I’ll just say that Gregory Porter, Sy Smith, et. al., beg to differ and leave it at that. However, it’s clear that something is brewing across the pond, and that something explains why a lot of American singers have to venture across the pond to get any love.

It’s also true that the output from European soul singers – and especially those with connections to the United Kingdom – is quite impressive. Adele immediately comes to mind, but there’s Corinne Bailey Rae, James Hunter, Incognito, Mama’s Gun, Julie Dexter and veterans such as Sade. There’s clearly a British formula for making soul music and Ola Onabule – the velvety voiced Brit of Nigerian descent - perfects it on Seven Shades Darker, his follow-up to 2007’s excellent The Devoured Man.

How good is this record? If you can make it past “Every Prey,” the album’s opening track without putting the stereo, computer or MP.3 player on repeat you’re better than I, and I’m guaranteeing that you won’t make it past “Let Love Alone,” which is track three. Both possess a unique set of virtues: “Every Prey” is an up-tempo funk/pop hybrid that is distinguished by Onabule’s razor sharp lyricism and some horn play that might remind listeners of Chicago. “Let Love Alone,” is a classic R&B ballad that finds Onabule encouraging his woman not to be consumed by insecurity. “She may turn phrases I’ve heard you say/And yet not make me feel what they mean,” Onabule sings. “Let Love Alone” features an instrumental arrangement that fuses jazz and R&B and serves as the perfect platform for Onabule’s vocal dexterity.

Onabule’s willingness to explore social themes also elevates Seven Shades Darker. The percussive “Great Expectations” tells the story of a young man who summons the courage to flee his war-torn village in hopes of finding something better, while the pensive “A Name” describes how something as simple as a name can provide enough evidence to lead to a man being persecuted. “So what’s in a name/that begs you heed its call/and binds you in its thrall/Tells of where you hail/What flag of faith you sail.” The funky “The Desperate One” addresses the hopelessness that drives many economically disadvantaged youth to make bad decisions.

It’s a tribute to the beauty of Onabule’s vocal instrument, his skill as a songwriter and his talented musicians that none of these songs comes off as preachy or overbearing. Onabule ranges from affairs of the heart to affairs of state, but each song is connected by their quality proving that the time that elapsed between The Devoured Man and Seven Shades Darker was time well spent. Highly Recommended.

~ Howard Dukes
   Soultracks.com

ERIC BENET - THE ONE

Eric Benet recently declared in an interview with BoomBox that “This is the one. This is the one that I’ve been working toward my entire career. I’m stronger vocally, creatively, and I’m at the top of my game now. This is the purest representation of Eric Benet.” I couldn’t agree more. While Benet has had his share of seminal soul classics including his preternaturally good solo debut album, True To Myself, his products have been a rollercoaster ride in strength and depth. At his best, Benet has been an R&B song and voice talent to be reckoned with, at his worst his material can meander into generic schmaltz and clichéd melodies. Still, Benet’s star has endured through media drama and label transitions to inexplicably overcome an industry in decline and to reach his creative apex. This may be the best album Eric Benet has crafted since his benchmark introduction some 16 years ago as that young matinee idol tenor with the permanent five o’clock shadow.

It’s taken Eric Benet Jordan a Mississippi minute to reclaim his identity following his high-profile marriage and divorce from Academy Award-winning actress Halle Berry, including late night comedian digs about Benet’s reported “sex addiction” (Benet has since clarified with Ebony/Jet that he is not a sex addict). Long before he became tabloid fodder, Benet was set to take the mantle of R&B King as one of the most compelling soul singers of his generation. After separating from his sister, Lisa, and cousin, George Nash Jr., as a member of the band Benet and appearing on Michael Franks’ Dragonfly, the singer, songwriter, producer had a run of back-to-back hits that received both critical and commercial acclaim, including “Femininity,” “Let’s Stay Together,” “When You Think of Me” (feat. Roy Ayers), “Georgy Porgy” (feat. Faith Evans), and the million-selling crossover pop hit “Spend My Life with You” (feat. Tamia).

Then, Benet married Berry and suddenly he was framed in the media as someone benefiting from her shine, rather than it being a pairing of the movie beauty with an artist who’d worked hard to have a great deal of shine all his own. It didn’t help public perception that his 2001 Better and Better project was shelved by Warner Bros. and Benet didn’t release another full-length solo project for most of his marriage to Berry -- instead guest-starring on soundtracks like The Ride, other stars’ vehicles like Something for the People’s This Time It’s Personal and several smooth jazz projects.

By the time the semi-confessional Hurricane came out in 2005, Benet’s marriage was over and it was high ridicule season of him in the tabloids. Benet salvaged his reputation when the title track, initially dismissed, became an inspiring song of hope for the victims of Hurricane Katrina, showing up on charity benefits and products supporting the survivors. Despite yielding a Top 30 R&B hit with “I Want to Be Loved,” Hurricane was the least successful of Benet’s catalog at the time. In the years since, Benet became methodical about reconstructing his career (now as an independent artist) and fully recovering his standing and his legion of fans with 2008’s Love & Life and 2010’s Lost In Time, delivering a string of Top 20 and 40 R&B hits, including: “Chocolate Legs,”“You’re The Only One,” and “Sometimes I Cry.”

Releasing a project every two years can be a gift and a curse. It keeps an artist in the public eye, but sometimes material can be rushed out too soon as with the lackluster, ‘70s inspired Lost In Time. With co-producers George Nash Jr., Andy Duncan, Wayne Jobson, and the incomparable Osunlade, Benet does not have that issue this go-round. With very few missteps, Benet’s The One is an inspired and comprehensive offering from start to finish. “Real Love,” the Top 40 R&B single released last year, trumpeted a return of pristine vocal form by Benet, whose skyscraping falsetto has grown to rival that of Earth Wind & Fire’s Phillip Bailey, Enchantment’s E.J. Johnson, or After 7’s Kevon Edmonds. Throughout The One, Eric Benet proves his voice is now a promise fulfilled. His thumping follow-up, “Harriett Jones,” has a mid-tempo groove that’s the perfect entry for summer but doesn’t come close to the blessing that is “News for You.”

With its EWF doo wop opening and rising harmonic choruses, on “News for You” Benet delivers a steppers delight that doesn’t skip on a horn chart equal to any of the brass sections the ‘70s soul enthusiast admires. The rollicking “Redbone Girl” (feat. Lil Wayne) rolls with enough swinging horns and swelling organ rolls to make James Brown proud. Despite the controversy it has inspired, the song isn’t the offensive cut some colorists are making it out to be (the man did sing an ode to brown-skinned girls just two albums ago, ya’ll). With an unexpected break and minimalist conclusion, “Waitin” nicely completes the big band classic soul cuts. The album is full of bright, yet romantic sounds like these, bursting with live orchestrations that add energy and warmth to each track. These robust songs feel expensive and well-crafted, worthy of an artist of Benet’s stature but rarely heard as vets approach their 20 year mark in the industry.

Word is “Muzik” (feat. India Benet) may be the next single. A father-daughter duet can be a sticky affair; one wants to avoid both an ick factor or obvious G-rated pandering. Benet beats these concerns by kicking up the jam factor with a metaphorical tribute to his daughter and their struggles over the years that has just enough funk, infectious hooks, and exceptional vocal work from India Benet that one totally forgets this a song between a parent and child. The vamp out alone may make it the kind of single that burrows itself into the memory bank and keeps you humming its tune.

Ballads are spare here but elegant in their craftsmanship, maintaining a class even when the topics run salacious. Against trickling piano runs, brushed drums, and swirling brass, Osunlade maintains his winning record of production brilliance with “Come Together,” a quiet storm that seductively asks the kind of question Tank provocatively asked on his famed sexual healing cut, “When.” The standout, breathy ballad “Touching Again” takes brooding colors and signature chords heard on such Benet classics as "A Love of My Own” and "All in the Game," adding subtly driving lyrics and rhythms that will leave listeners breathless (sadly it is one only available on the International Deluxe Edition). For those deejays who still play slow jams for the dancefloor, Benet rounds out this trio of smoldering material with a traditional urban AC hip-to-hip sway with “Runnin’.”

The pop and country departures on “The One” illustrate Benet’s versatility, but some dip into his penchant for the cloying. A Nashville inspired duet with Jewel Anguay, with its pitch perfect acoustic guitar strums, surprises listeners like a field of daffodils on a golden lit day. The Broadway lullaby of “Here in My Arms (Lucia’s Lullaby)” is sonically a spare and tender moment by an awestruck father to his newborn daughter, but Ruzann Sargsyan’s borderline cliché classical string arrangement and Benet’s sentimental lyricism (co-penned with new wife Manuela Testolini) leave it just shy of the “Awww” reward it strives so hard to earn. “Gonna Be My Girl” and “Lay It Down” find Benet solidly tip-toeing into pure Top 40 radio pop; neither anthemic melody is indicative of the originality Benet is capable of, but each is serviceable and are likely to grow on you through repetition. Whatever they don’t deliver, a ‘90s throwback ballad to Glenn Lewis’s “Falling Again,” the sultry, Latin-tinged “That’s My Lady,” fully recovers, leaving listeners twirling in flamenco breaks and electric guitar solos that crown the jam Benet’s own. The peppy Shaggy duet “Hope That It’s You” is infectious, Caribbean fun.

Though part of what makes Eric Benet’s The One work are its familiar and sometimes obscure reference points throughout the project, Benet always brings a twist to these comfy proceedings, making something new each time: changing a chord here, adding a break there, incorporating an instrumental solo with backing harmonies. Never are you bored by these journeys to past musical sounds that have been so lovingly and careful updated for modern soul audiences. Both in its gifts and challenges, The One is the perfect portrait of Benet’s artistry. Its inviting lyrics of triumph, relationships, and love are also reflective of an artist, new husband and father who has learned some hard lessons about life and this business of music, only to finally find both his personal and creative lives right at home. Highly recommended.

~ L. Michael Gipson
   Soultracks.com

DAVE EGGAR - KINGSTON MORNING

Grammy-nominated cellist, pianist, composer and producer Dave Eggar is a virtuoso of many styles. He has performed worldwide as a solo cellist and pianist, as well as with his band Deoro. Dave has performed and recorded with artists in numerous genres including Josh Groban, Coldplay, Beyonce, The Who, Michael Brecker, Pearl Jam, Joss Stone, Fall Out Boy, Dave Sanborn, Kathleen Battle, Ray Lamontagne, Carly Simon, Sinead O’Connor, Bon Jovi and many more. Eggar has toured extensively as the solo cellist with the rock band Evanescence and with singer Amy Lee, including performances on The View, PBS, The Tonight Show, MTV and VH1.

Dave's 4th solo release, Kingston Morning, was recorded in Brooklyn, NY, Kingston, Jamaica, and Big Stone Gap, Va. It was released on Domo Records in late April 2010. "This project was an especially moving and emotional recording for me to make,” divulged Eggar. “With open minds and open hearts, our lives were forever changed as these unique Reggae and Appalachian collaborations took shape. My imagination has always been captivated by the music and culture of Jamaica and Appalachia. These journeys to Kingston and Big Stone Gap were truly a life altering experience for me. I am especially proud of the music that has been produced as a result of our efforts.”

Eggar was a musical prodigy as a child, beginning to play the cello and piano at age three and performing on Broadway and at the Metropolitan Opera by age seven. He trained as a classical cellist at the Juilliard School and later graduated from Harvard University and the Juilliard School’s Doctoral Program. He debuted in Carnegie Hall at 15 as the youngest winner in the history of the Artists International competition. He has appeared throughout the world as a classical soloist, including concerto appearances at Avery Fisher Hall, Carnegie Hall, Lincoln Center, London’s Barbican Center, the Paris Opera, and the Hollywood Bowl.

ST. GERMAIN'S 'TOURIST' REMASTERED FOR RE-RELEASE

St. Germain's Legendary Electronic Album 'Tourist ' Remastered For CD, Vinyl & Digital Release By Blue Note/EMI On August 28th - Includes an iTunes LP with Previously Unreleased Bonus Track

First released in 2000, the legendary electronic album Tourist by veteran French DJ and producer St Germain (Ludovic Navarre) has been digitally remastered (44kHz/24bit) for reissue on CD, 180-gram double gatefold vinyl (with download code), and digitally on August 28th by Blue Note/EMI. The album's first-ever digital release will include a Mastered for iTunes version and an iTunes LP with a previously unreleased bonus track, "Touristes," performed live by the legendary French singer, composer and author, Claude Nougaro.

St Germain's second album, Tourist achieved the number one position on Billboard's Contemporary Jazz Albums chart, and the album and its creator won France's most prestigious music award, the Victoires de la Musique, in jazz, live performance, and electronic categories (Jazz Discovery of the Year, Live Discovery, and Best Electronic Album). In the Netherlands, the album was honored with three Edison Music Awards (Best Instrumental Album, Best Dance Album, and Best Jazz Album). St Germain was also nominated for Best French Act by the MTV Europe Music Awards and Best Jazz Act by the MOBO Awards.

With more than three million copies sold worldwide, Tourist is an electronic music staple featuring nine evocative, jazz-infused tracks still heard at clubs, restaurants and fashion shows around the world. Diamond-certified in France and Platinum or multi-Platinum in Belgium, Canada, Netherlands, New Zealand, Spain, Switzerland, Australia, Austria, Italy, Ireland, Norway, and Portugal, the album is an influential entry in the electronic music genre.

In his four-star Rolling Stone review of the album, David Fricke praised St Germain's skilled electronic-meets-jazz approach: "A sly dog with a disciple's touch, Navarre shows respect for the spirit, if not the letter, of classic jazz. He gives his live soloists, including trumpeter Pascal Ohse and saxophonist-flutist Edouard Labor, room to breathe, if not blow wild." Rolling Stone later touted Tourist as one of 2000's best albums.

In December 1995, St Germain became the first electro wave artist to perform onstage with musicians (at the Les Transmusicales in Rennes, France), and he has headlined more than 280 shows around the world. Tourist's release was supported with a sold out international tour which included concerts in France, North America, Italy, the Netherlands, Germany, Belgium, Israel, Spain, Portugal, the UK, New Zealand, Australia, Switzerland, Greece, Turkey, Norway, Denmark, Finland, and China.

www.facebook.com/StGermainOfficial

St Germain Tourist (CD, LP, digital, iTunes LP)
1. Rose Rouge
2. Montego Bay Spleen
3. So flute
4. Land of...
5. Latin Note
6. Sure Thing
7. Pont des Arts
8. La goutte d'or
9. What You Think About...

~ Blue Note/EMI

NEW RELEASES – DOMINGO CURA, MARILYN CRISPELL / MARK DRESSER / GERRY HEMINGWAY, HOT PEAS & BUTTA X PIMP JONES

DOMINGO CURA – TIEMPO DE PERCUSSION: AN ANTHOLOGY 1971 TO 1977

Amazing sounds from Argentine drummer Domingo Cura – a range of rhythms that go way beyond anything you might already know in South American music! Most numbers are quite spare – and have a way of mixing rootsy drumming with offbeat production, instrumentation, and even a bit of electronics – all of which results in these really mindblowing sounds that are unlike anything else we can think of – rhythmic and pulsating, yet also ethereal and haunting – with a range of styles all wrapped together, almost as if Charles Hayward was recording in an ethnographic setting, with help from Tortoise, and a bit of jazz instrumentation as well! The package brings together key tracks from some of Cura's most important 70s recordings – and titles include "Viento Norte", "La Trunca Norte", "Vidala De La Copla", "La Vieja", "Mincura", "Golpes De America", "Juana Azurduy", and "Percusion". ~ Dusty Groove

MARILYN CRISPELL / MARK DRESSER / GERRY HEMINGWAY – PLAY BRAXTON

A trio of Anthony Braxton alumni take on some of the master's amazing compositions – played here in free-flowing modes by the group of Marilyn Crispell on piano, Marc Dresser on bass, and Gerry Hemmingway on drums! The compositions are all Braxton numbered formulas – those incredibly difficult math-based modes that initially seem intimidating, but which, to the right set of eyes, can become beautiful platforms for improvisation and musical expression – as you'll hear in the riveting performances on the set! Titles include "Composition 116", "Composition 23C", "Composition 69B", "Composition 40N/40B", and "Composition 108C/110/69Q". ~ Dusty Groove

HOT PEAS & BUTTA X PIMP JONES – KODOJA: TERROR MOUNTAIN SHOWDOWN

An inventive project from Hot Peas & Butta and Big Pimp Jones – one that's similar to some of the soundtrack-styled funk we've heard before from the latter act – but with a vibe that's definitely deeper, too! The music here is written for an imaginary thriller – based around a secret government project – and the results are quite similar to the grooves you might hear on some classic 70s soundtrack for a film with a equally-compelling plotline! Drums are heavy, and there's lots of bold deep funk energy at the core – but there's also some richer sounds too – touches of orchestrations here and there which really shade things in nicely, and make you feel like the record is more of a high-budget studio recording than a simple deep funk effort. Titles include "Terror Mountain Showdown", "Night Over The Harbor", "Battle In The Sky", "Epilogue Of Chaos", "Descending Upon Monsters", and "The Military's Kiss". Comes with a bonus 7" single – feature three more tracks not on the CD! ~ Dusty Groove

NEW RELEASES – CANNONBALL ADDERLY, BUNNY MARRETT, DETROIT FUNK VAULTS

CANNONBALL ADDERLY – CANNONBALL’S SHARPSHOOTERS

A set that's right on target, right from the start – and one that has the young Cannonball Adderley really coming into his groove! The set's a lot more soul jazz-oriented than some of Cannon's records from a few years before – played by a rock-solid group that includes brother Nat Adderley on cornet, Junior Mance on piano, Sam Jones on bass, and Jimmy Cobb on drums – hitting a groove that's got plenty of nascent elements of that Cannonball sound that would virtually take over jazz in the 60s! Yet there's also a nicely different vibe going on here too – a bit less structure, and a looser approach to the mode – spun out with some modern moments too, on titles that include "Straight No Chaser", "Jubilation", "Our Delight", "Fuller Bop Man", and "Stay On It". ~ Dusty Groove

BUNNY MARRETT – I’M FREE

Rare mid 80s recordings from singer Bunny Marrett – a largely unrheralded hero of the Bristol reggae scene of that decade – and a 6 track set of strong work that's gone unreleased until now! Recorded in '86, Marrett plays rhythm guitar and sings, with a band that includes Glen Crooks, Bob Locke, Tim Norfolk, Tony Orrell and UK Scientist. Stellar roosty sounds from the Bristol scene. Includes "I'm Free", "Natural Princess", "Farm Diggin", "Jazzy Reggae" and "Jazzy Reggae Dub". ~ Dusty Groove

DETROIT FUNK VAULTS – FUNK AND SOUL FROM DAVE HAMILTON 1968 TO 1979

Funky soul from Detroit – the second foray into the uber-rare and unreleased funk treasures recorded at Dave Hamilton's Motor City studio – and an even deeper look at what's turning out to be one of the greatest long-buried funk catalogs to come to light in recent years! The collection includes some singles released on Hamilton's own TCB and other imprints, some that were licensed to other labels, plus a wealth of unreleased material. There's straight ahead funk vocals and instrumentals, and numbers that have more of a freewheeling, adventurous vibe – albeit with a raw funk backdrop! Includes numbers by The Deacons, Prophet & His Disciples, Chico & Buddy, Billy Garner, OC Tolbert, Little Ann, Dave Hamilton himself, The Webb People, The Pepper and more. 22 tracks in all: "A Drop In The Bucket" by The Deacons, "You Fool, You Fool Pt 1" by Prophet & His Disciples, "A Thing Called The Jones" by Chico & Buddy, "The Bad Things (You Said To Me)" by The Barrino Brothers, "Ghetto Stride" by Dave Hamilton, "Who" by Jackie Dee, "Love Bandit" by OC Tolbert, "Simon Says' by The Future Kind, "Clap Your Hands" by The Tokays, "I'm Sending Vibrations" by The Webb People and more. ~ Dusty Groove

NEW RELEASES – LE BEAT BESPOKE, CROSSOVER TO MODERN SOUL, BEHIND CLOSED DOORS

LE BEAT BESPOKE 5– 16 TAILOR MADE CUTS COMPILED BY ROB BAILEY

Underground mod, garage and otherwise raucously R&B-fueled singles from the late 60s – rugged, raw and fuzzy, though melodic and unstoppably danceable, no matter how freaky – and possibly the best yet in the Le Beat Bespoke series! The songs are almost all deeply obscure and completely irresistible – rare stuff from around Europe and the US, plus a few other freak scenes around the world – wild, groovy stuff from The Deep Set, Los Delphines, The Hush, Satin Bells, Maximus, Tobias, Jay & The Hot Kids, The Outcasts and many more! Along with the above-mentioned kaleidoscope of styles on Volume 5 is more than a little bit of funky psych – and it all flows brilliantly thanks to driving dancefloor rhythm and the freewheeling era that Le Beat Bespoke represents! Includes "Make Love" by The Grabbeltons, "That's The Way Life Goes" by The Deep Set, "Sunset Show" by Sense Of Humor, "Turn Out The Lights" by Sand Of Time", "I'd Like To Know" by Tobias, "One Fine Morning" by James Curtis, "Loving You Sometimes" by The Outcasts, "A Better Mind" by Maximus, "Come C'Mon" by Satin Bells and more. 16 tracks on the vinyl version. ~ Dusty Groove

CROSSOVER TO MODERN SOUL – NORTHERN SOUL’S FINEST GROOVES (VARIOUS ARTISTS)


A wonderful collection from the soul treasure hunters at Outta Sight – essential grooves from a pivotal period – late 60s and early 70s soul singles that bridge the raw, driving vibe of the previous era to the more sophisticated arrangements of dancefloor soul to come! It's got some legendary names and comparably obscure ones alike – a great, stylistically varied set of soul tunes by Bobby Womack, The Electrifying Cashmeres, The Carlettes, Philharmonics, Three Shades Of Soul, Johnny Adams, Deniece Chandler, The Identities and more. Superb soul singles all the way – a bunch of which we've never heard before now! 24 tracks in all: "What Does It Take (To Win Your Love)" by The Electrifying Cashmeres, "Lost Without Your Love" by The Carlettes, "Tried And Convicted" by Bobby Womack, "Mama, I Wish I Stayed Home" by Deniece Chandler, "I Can't Get Along Without You" by Judy Green, "When Love Slips Away" by The Identities, "Crying Time Is Over" by Tony Love, "You're A Bad Habit, Baby" by Johnny Adams, "Patience" by Rokk and more. ~ Dusty Groove

BEHIND CLOSED DOORS – WHERE COUNTRY MEETS SOUL (VARIOUS ARTISTS)

A stellar collection of country soul by many of the greatest voices of any strain of soul music – Solomon Burke, Esther Phillips, Al Green, Bettye Swann, Percy Sledge, Little Milton, Candi Stanton and many more! A healthy portion of the material comes from the late 60s and early 70s – recordings that bring a depth of genuine soul to songs written or popularized by artists more often associated with the country charts. That said, it's soul music all the way – showing both the dexterity of these great soul singers and the adaptability of the such great songs. Includes "Detroit City" by Arthur Alexander, "He'll Have To Go" by Solomon Burke, "Take Time To Know Her" by Percy Sledge, "I Saw Me" by Esther Phillips, "Hangin' On" by Ann Peebles, "I'm So Lonesome I Could Cry" by Al Green, "Behind Closed Doors" by Little Milton, "Set Me Free" by Clarence Carter, "Yours, Love" by Joe Simon, "She Even Woke Me Up To Say Goodbye" by Brook Benton and more. ~ Dusty Groove

NEW RELEASES - JOYCE HURLEY, THE VENTURES, BADEN POWELL

JOYCE HURLEY - JOYCE

One of the most soulful albums to come out of the Australian scene of the 70s – and the crowning achievement of jazz singer Joyce Hurley – a vocalist we'd easily rank with Dee Dee Bridgewater for depth of righteous expression! Joyce's voice is definitely different than Dee Dee's – with some very unique phrasing – but this album's got the same sort of uncommonly expressive vibe as Bridgewater's legendary Afro Blue set. Backing is by a small combo with nice reed and electric piano work – usually letting Joyce take the lead at most moments, but with horn help to shape the sound of the tunes in really nice ways – a balance that few jazz records of the time ever hit this well – and which continues to uphold the soulful power of Hurley's vocals! The album's got loads of great numbers – including the jazz dance classic "Sunbath", a wicked take on "Maiden Voyage", and the instrumental number "Sambole" – plus other titles that inlcude "Blues For Joyce", "Left Alone", "How Are You Dreaming", and "Threedom Street". ~ Dusty Groove

THE VENTURES – THE VENTURES ON STAGE

A cooking set of live performances by The Ventures – key proof that their searing guitar sounds weren't just the result of some studio trickery! The set features the group in three different settings – at home in the US, over in the UK, and in Japan – where they enjoyed a huge amount of fame in the 60s! All cuts are mighty smoking – core grooves that are heavy on tight, fuzzy guitar lines – and driven by drums that are arguably even more pounding than on the studio albums. The applause is quite high at times – possibly dubbed in – and titles include "Driving Guitars", "Yellow Jacket", "Wipeout", "Journey To The Stars", "Caravan", and a sweet medley of "Walk Don't Run/Perfida/Lullaby Of The Leaves". ~ Dusty Groove

BADEN POWELL – IMAGES ON GUITAR

One of Baden Powell's grooviest albums ever – a brilliant blend of his bossa roots with the freer 70s grooves of MPS! The album follows the mode of some of his other European recordings, but is still a bit different – in that the overall sound is a bit freer than before, with tracks that really open up beautifully – including one or two that hit a nicely heavy groove! The lovely Janine De Walyene sings these wonderful wordless vocals on some of the album's best tracks – scatting heavily on the famous jazz dance number "Blues A Volante" – and drifting moodily behind the guitar on other numbers. Other instrumentation includes bass, drums, and a bit of Brazilian percussion – and titles include the classic "Blues A Volante", plus "Violao Vagabundo", "Canto", "Ate Eu", and "Conversacao Comigo Mesmo". ~ Dusty Groove

JAY SHEPARD - HARSH MISTRESS

Multifaceted musician and songwriter, Jay Shepard, has just completed recording his long-awaited solo album, Harsh Mistress, with prominent producer, Matty Amendola, and 825 Records. While this is Jay's debut album, he is certainly no stranger to the music industry.

Dubbing his sound to be alternative, many of Jay's songs deal with themes of romance, unrequited love and sexual conquest, common in rock, pop, funk, and blues music. “As far as the sound, we were going for rock-and-roll guitars, Beatles-esque harmonies, with sly-modern production,” explained Jay “ And of course, the most important ingredient - good songs with catchy hooks.”

The tracks on Harsh Mistress exude speed and power (even though at the core the songs may seem like standard pop tunes). Stylistically, it's in a category unto itself; blending unique rhythmic patterns, contrasting terraced dynamics, heavy fuzzed guitar riffs, lo-fi acoustic guitars and vocals, tight hard-hitting indie rock drums, in addition to a heavy use of electronic instruments and classic analogue synths. With musical improvisation, and extended jams, from the contemporary and catchy hooks on: “Come Back Home,” “Vacant Scene,” “You Wanted,” and “Love on Lend,” to the hard hitting, heavy riffs, and gigantic sounding drums on: “She's the Fire,” “Harsh Mistress,” and “Last Man on Earth;” coupled with eclectic and electronic influences on: “Time Will Never Slow,” “Truth,” and “All You Got,” and the great depth throughout the ballads in: “The City,” and “So It Goes,” Jay's sound is an exploration of music across genres.

In some ways, the sound on this album pays homage to some of Jay's musical influences, including: 60's and 70's rock icons: Led Zeppelin, Cream, and Jimi Hendrix, jam bands: the Grateful Dead and Phish; further extending to the jazzier worlds in college, and modern rock bands that transcend the genre of pop-rock. No doubt a collaborative effort, Jay and Matty recorded their parts and ideas, both having their hands on the faders when it came to mixing. Incredibly open to Matty's advice and production attitude, and understanding that his mind was on the bigger picture (the cohesive sound for the album), allowed Jay to really hone his efforts on writing and creating. “I had specific ideas about the sound, the production, and the mix for my record,” explained Jay. “Matty was there to support and help this "vision" come to life; not to strangle or control the process - but to guide it.”

Through a twist of fate, Matty Amendola met Jay while playing drums on a twenty-two city tour with a dance troupe, in 2007. Jay came in to sub one week, playing guitar, and the two instantly clicked, both musically and personally. Spending most of their downtime jamming and listening to music, they found a rooted connection through common influences and musical tastes. After hearing “Love on Lend,” Matty lent his fine-tuned drumming ability, in order to complete Jay's nearly finished track. Keeping tabs on each other after the tour, they finally decided to record and release Jay's debut album under 825 Records. “I knew I wanted someone like Jay on the roster; someone who approaches the music industry like I do, someone who can play their instrument in their sleep, but understands how important it is to write good songs,” explains Matty. Upon signing Jay, they re-did “Love on Lend,” and then finished off the other eleven tracks on the album. From old school funk to heavy hitting rock, to subtly, sultry vibes, Jay's debut album, Harsh Mistress, was truly a collaborative effort between these two musicians.

The pair re-arranged parts when needed and re-record tracks; they would toss around ideas like structural changes to the form, unique subliminal special effects, in addition to adding instrumentation here and there. Jay attacked the vocals, guitars, bass, keys, and synths, while Matty laid down live drums, percussion, additional drum programming and an occasional backing vocal. Although Jay and Matty covered all the instrumentation during the recording of Harsh Mistress, the live band performing these tracks, along with Jay, at the upcoming shows are, without-a-doubt, a force to be reckoned with. There were a few songs that were simply ideas when Jay came to Matty, and so the two finished writing them together, i.e. “Come Back Home;” while most of the songs were worked on at Jay's apartment before being brought to 825 studios; they were finally mastered by Hans DeKline at Sound Bites Dog, in Los Angeles, CA (Snoop Dogg, iTunes Exclusives, The Von Bondies).

Prior to the recording of Harsh Mistress, Jay became well-known as a touring and live musician, sharing the stage with the likes of: the Derek Trucks Band, Bernie Worrell, and Natasha Bedingfield. Over the last six years, he rocked shows with over forty various bands and artists, in venues ranging from dive bars in the lower-east-side for no money, to Radio City the very next week. Being in and out of the trenches in the NYC scene has definitely influenced him as a person, and as a result, his art. From the crazy New York nights to the bright city lights, Jay's inspiration continued to flourish; ultimately leading to the conclusion of his first 12-track album. ~ 825 Rcords

NEW RELEASES – THE DELLS, THE THREE DEGREES, THE TRAMMPS

THE DELLS – ONE STEP CLOSER (WITH BONUS TRACKS)

An 80s effort from The Dells – who may be one step further away from the benchmark 70s era – but they're still sounding plenty darn sweet on One Step Closer! The album has top-shelf production from the team of Marvin Yancy and Chuck Jackson, who also handled a good deal of the arrangements on the set. There's a strength here that's undeniable – a way of putting over a tune that has The Dells really building on all their years together, and not giving into any sort of commercial tricks or gimmicks to change with the times. And even though some of the instrumentation is a bit more contemporary, the vocals are still totally great – very old school in their approach to a tune, and crafted with a real love for a classic-styled harmony! Titles include "One Step Closer", "Love On", "You Just Can't Walk Away", "Holdin On", "I Am Your Man", "Jody", "Don't Want Nobody", and "Come On Back To Me". 3 bonus tracks on this CD edition: "You Just Can't Walk Away (US Single Edit)", "One Step Closer (US Single Edit)" and "One Step Closer (US Remix Club Version)". ~ Dusty Groove





THE THREE DEGREES – STANDING UP FOR LOVE (WITH BONUS TRACKS)

A sweet late 70s set from The Three Degrees – who've moved on over to CBS/Epic after their hot streak at Philly International – with a bit more of an expansive sound than usual! They're still working in a core Philly mode with recording at Sigma Sound and arrangements by Richard Rome – but also with tunes that hit a growing range of more sophisticated, adult-oriented themes. The trio are clearly out to show that they're not just a dancefloor act here – as the album features some sensitive ballads – and those are done beautifully! The Three Degrees are Sheila Ferguson, Valerie Holiday and the returning Helen Scott on this relatively overlooked, though solid record – which includes the slightly funky "Macaroni Man", plus "People With Feeling", "What I Did For Love", "We're All Alone", "Gee Baby", "Standing Up For Love", and "In Love We Grow" and "Just Leave Me Alone". 3 bonus tracks on this CD version: "Toast Of Love (Single Version – Non Album)", "Do It (Use Your Mind) (Single Version)" and "Standing Up For Love (Single Version)". ~ Dusty Groove .

THE TRAMMPS – DEFINITIVE COLLECTION

The full range of greatness from the Trammps – key gems from their years on Buddah, Atlantic, and Philly International Records – nearly every one of them a non-stop groover throughout! The Trammps were one of the most unique groups on the Philly scene of the 70s – a great harmony outfit like some of their contemporaries, but geared up for the dancefloor right from the start – with a soaring, soulful vibe that was crucial to the development of the disco sound at the time! They really hit the heights with some cuts in the latter half of the decade – yet always managed to come across with the well-honed group soul focus of their roots. This 34 track package offers up the Trammps in all their greatness – and titles include "Trained Eye", "Groove All Mighty", "Zing Went The Strings Of My Heart", "Trammps Disco Theme (Tom Moulton mix)", "Starvin", "Body Contact Contract", "Hold Back The Night", "Love Epidemic (Tom Moulton mix)", "Mellow Out", "VIP", "Music Freek", "Love Magnet", and "Soul Bones". ~ Dusty Groove

NEW RELEASES – ROY AYERS, DON CHERRY, HERB HARDESTY & HIS BAND

ROY AYERS – IN THE DARK (WITH BONUS TRACKS)

Roy Ayers in a seductive mid 80s mode – his first for Columbia – and a record with some incredibly nice moments that blow away most of his contemporaries! The synth soul and drum machine era might seem like an odd fit for Roy's jazzy vibes, but it actually works really well here! You could argue that few players with a such profound jazz funk pedigree could pull off an 80s modern sound so succussfully – and we'd argue that Roy Ayers is indeed one of the few! If synths and programmed drums aren't your thing, this record is actually more heavily-weighted with laidback jazzy soul, with plenty of vibes and the usual warm sexy vocals from Roy. Includes the funky classic "Poo Poo La La", which has a great little monologue in it – plus "I Can't Help It", "Compadre", "Sexy, Sexy, Sexy", and "Love Is In The Feel". This 2012 FTG CD includes 3 bonus tracks: "In The Dark (7" Version)", "Poo Poo La La (Edit)" and "Love Is In The Feel (7" Version)". ~ Dusty Groove

DON CHERRY – ORGANIC MUSIC SOCIETY

Early 70s greatness from Don Cherry – a double album's worth of profoundly spiritual soundscapes paired with lots of weird effects – and a very laidback groove overall! Tracks are written by Cherry, Terry Riley, Pharoah Sanders, and Nana Vasconcelos – and include performances by Don on trumpet, voice, and harmonium. Lots of cool percussion elements by the group, with some tabla and other Indian instrumentation. Titles include "Elixir", "Relativity Suite (Parts 1 & 2)", "Terry's Tune", "Hope", "The Creator Has a Master Plan", and "Resa". In a cool, trippy gatefold, too! ~ Dusty Groove

HERB HARDESTY & HIS BAND – DOMINO EFFECT: THE WING AND FEDERAL RECORDINGS 1958 TO 1961

Sax-heavy New Orleans R&B instrumentals from Herb Hardesty – the tenor player and secret weapon in Fats Domino's band – one of those incredible players whose name isn't as well known as the sound of his instrument! His sax sounds really great out front and in the lead – tightly grooving late 50s and early 60s rhythm & blues. This first ever CD retrospective of Herb's relatively few recordings as a leader features sessions recorded in New Orleans in '58, NYC in '59 and Cincinnati in '61 – with stellar players that include Hank Jones, Jimmy Davis, Walter Nelson, Clarence Ford and Roy Montrell. 12 of the tracks from a never-released Mercury LP – and the set has 20 tracks in all! Includes "Sassy", "Goldie", "Herb's Mood", "Nat", "Adam And Eva", "Coach Train", "69's Mother's Place, "The Chicken Twist", "Perdido Street" and more – plus 2 tunes with vocals by group guitarist Walter "Papoose" Nelson – "It Must Be Wonderful" and "Why Did We Have To Part". ~ Dusty Groove

NEW RELEASES – MELBA MOORE, TAVARES, GEORGE McCRAE, KASHIF

MELBA MOORE – THIS IS IT (WITH BONUS TRACKS)

A real stormer from Melba Moore – brilliantly-arranged dancefloor soul with beautiful lead vocals by Melba – on one of her best records of the 70s! Melba is straight-up amazing here, bringing genuine soul to feverish dancefloor gems and otherwise soaring numbers. This Is It was produced and arranged by Van McCoy, who was at the peak of his disco-era popularity at the time. We'd call this work here on Melba's record a creative peak for Van – even though if it didn't break Melba out in a big way commercially at the time. It includes the McCoy-penned should-be classic "This Is It", plus "Free", "Stay A While", a sweet cover of Curtis Mayfield's "Make Me Believe In You", "Lean On Me" (one of the greater showpieces for Melba's incredible voice), "Blood Red Roses", "Brand New" and more. This 2012 CD edition includes the bonus "This Is It (12" Version)" and "Free (Extended Version)". ~ Dusty Groove

TAVARES – WORDS & MUSIC (WITH BONUS TRACKS)

Hey, now – this is much more than merely Words & Music – it's a solid further step into a sweet 80s groove for the Tavares brothers! Their status as one of the great sibling vocal groups in R&B is on full display on this final album for RCA. The production is right at home in the keyboards-heavy 80s modern mode – but it's the vocals lead the way! Butch, Tiny, Chubby, Pooch and Ralph Tavares are such pros, and such a tight unit, there's really nothing they couldn't pull off! They still sound great here with a stylistic update of their sound – without ever compromising the classic R&B-styled vocal groove! Includes "Ten To One", "Deeper In Love", "Caught Short", "You're My All In All", "Baby I Want You Back", "I Really Miss You Baby", "Don't Play So Hard To Get", "Us And Love (We Go Together)" and more. 3 bonus tracks: "Deeper In Love (12" Version)", "Words And Music (12" Spoken Intro/Pop Version)" and "Words And Music (12" Spoken Intro/R&B Version)". ~ Dusty Groove

GEORGE McCRAE – ROCK YOUR BABY (WITH BONUS TRACKS)

The record that forever put George McCrae on the map – and a crossover bit of Miami soul from the 70s with all the key elements of the TK sound firmly in place! George's vocals are nicely flanged out in that cool production mode that TK was using with its big acts of the time (an approach that was perfect for AM radio, by the way) – the backings of the tunes have the chugging electric rhythms shared by Timmy Thomas and other acts at the label, spiced up by a bit more warm guitar to give the record a deeper southern soul vibe. The record features a 6 minute version of George's super-huge hit "Rock Your Baby", plus a "Rock Your Baby Reprise" – and it's also got a great little version of "I Get Lifted", one of those Miami funk classics that sounds great no matter who does it! Other tracks include "Look at You", "Make it Right", and "I Can't Leave You Alone". Also features 2 bonus tracks – single versions of "Rock Your Baby" and "Look At You". ~ Dusty Groove

KASHIF – KASHIF (WITH BONUS TRACKS)

A monumental bit of 80s soul – the first solo album from Kashif – issued hot on the heels of a few years spent penning and producing work for a range of bigger artists! Given his experience with the pros, Kashif's emerging here as a very fully-formed talent in soul – a singer with a way of keeping things real, even when the tunes are catchy – and a producer with a great ear for the changing styles of soul at the time. The grooves are often nicely spare and stripped down, yet never without a good sense of feeling – and titles include "I Just Gotta Have You (Lover Turn Me On)", "Stone Love", "Say Somethin' Love", "All", "Help Yourself To My Love", "The Mood", "Don't Stop My Love", and "Rumors". 5 bonus tracks on this FTG CD version: "Help Yourself To My Love (12" Version)", "I Just Gotta Have You (Lover Turn Me On) (Instrumental)", (Lover Turn Me On) (Single Version)", "Stone Love (Instrumental)" and "Say Somethin' Love (Single Version)". ~ Dusty Groove

SHEMEKIA COPELAND - 33 1/3

Features a guest appearance by Buddy Guy, with songs by Bob Dylan, Sam Cooke, Lucinda Williams and more

In a span of less than two decades, Shemekia Copeland has evolved from teenage upstart to one of the most prominent voices in the blues. She's currently the most feted woman in the blues world and actually had a coronation where she was crowned and declared "Queen of the Blues" at the Chicago Blues Festival in 2011. Shemekia earned her crown with a series of high-quality recordings and an unrelenting tour schedule that has taken her to all corners of the globe. She's played all the major festivals and concert dates from Europe to Iraq to a memorable performance at the White House in front of an audience that included the President of the United States, sharing the bill with Buddy Guy, Mick Jagger, Jeff Beck, B.B. King and other greats.

Earlier this year, Shemekia participated in two tribute concerts celebrating recently departed great Hubert Sumlin and Robert Johnson's centennial, both at New York's Apollo Theater in Harlem, not far from the neighborhood where Shemekia spent her childhood. Those nights she was a featured attraction along with Eric Clapton, Keith Richards, Derek Trucks, Elvis Costello and Taj Mahal. Clearly, she's risen to the top of the field and that reckoning is underscored with the forthcoming album release of 33 1/3, her second for Telarc International, a division of Concord Music Group.
For Shemekia, it's all about ushering the blues – an art form that stretches back to the early 1900s – into a fast-paced new century and keeping the music true to its roots, making it relevant to a new generation. Her latest step in this ongoing journey is 33 1/3, an 11-song CD set for release on September 25, 2012.

The album's title is a nod to Shemekia's past, but also an acknowledgment of where she is right now. "I always loved vinyl records," she says, recalling her teenage years in the twilight of the vinyl era. "I loved the whole experience – looking through them in the bins at the store, taking in the cover design on the sleeve, reading the liner notes while I listened to the music. Nobody under a certain age knows that experience anymore. So when John Hahn, my manager, who also wrote some of the songs on this record, asked me what I grew up listening to, I said, 'LPs.'" And he said, 'How many times did they go around?' and I said 33 1/3 revolutions per minute.' He said, 'How old will you be when this record is released?' I said 33 1/3. It's a meaningful number for me, especially at this time in my life and in my career."

The material on 33 1/3 is culled from a variety of high-profile sources, including Bob Dylan, Sam Cooke, pater familias Johnny Clyde Copeland and Randy Weeks. Shemekia weaves it all together with assistance from a skilled studio crew: guitarist/producer Oliver Wood (Wood Brothers), bassist Ted Pecchio (Susan Tedeschi) and drummer Gary Hansen. Various guest musicians step in along the way, including the Buddy Guy.

"Every one of these songs tells a story about where I am in my life," says Shemekia. "They all connect to something that has happened to me, both good and bad. I've experienced a lot since I started making records and touring more than 15 years ago, and I think people want to tap into the wisdom that comes with that experience. I tried to bring a little bit of that to every one of these songs."

The set opens with the swampy and primal "Lemon Pie," a confrontational track that addresses the cavernous gap that currently divides the haves and the have-nots. "This whole country was built on the idea of people being able to come here and be part of a strong middle class," says Shemekia. "Now, it's becoming a place where you have just the rich and the poor and nobody in between."

She takes Randy Weeks' "Can't Let Go," initially a country hit for Lucinda Williams, and recasts it in a gritty blue light, courtesy of Wood's dirty slide guitar. "When you're in a room with someone like Oliver, anything can happen," she says. "When all was said and done, it had become a very funky track. I think Oliver's a genius."

The dark and mysterious "Ain't Gonna Be Your Tattoo" tells a tale of violence that ends with Shemekia's character finding the courage to walk out. The song gets its ominous vibe from Buddy Guy's searing guitar lines. "I originally knew Buddy through my father, but I started touring with him back in 1997," says Shemekia. "I opened for him way back then. And he's always been very good to me and very supportive. I have a lot of 'uncles' in this business – guys who kind of took me under their wing after my dad passed away. Buddy is one of those guys. It's the perfect song for him."

The crunchy, midtempo "Mississippi Mud," including guest vocals by J.J. Grey, cautions against the human tendency toward succumbing to inertia and narrow thinking. "It's a song about people who are stuck, set in their ways," says Shemekia. "The mud is a metaphor for anything that keeps you stuck in a backward, rigid way of thinking. It's about people who only see things in black and white, and can't see anything in between – or don't want to see anything in between. The world is changing, and people need to decide to be a part of the change."

Shemekia borrows "One More Time" from her father's catalog. Set in an understated shuffle groove with tasty accents from harpist Jon Liebman, the song is a last chance warning issued to a lover with a track record of extracurricular liaisons. But the confrontational vibe immediately pivots to something much more lively and soulful with "Ain't That Good News," a Sam Cooke song that Shemekia sings as an ode to her husband. "He and I both travel quite a bit," she says, "and every time one of us calls the other to say we're coming home, we're always excited."

The set closes with a sultry and seductive innovatively rearranged version of Bob Dylan's "I'll Be Your Baby Tonight," the vocal track delivered in something just beyond a hush. "The way that Oliver had me sing it is just so incredible," she says. "It's almost like a whisper. It's very different from the way I usually sing, and I love it."

While 33 1/3 takes a number of different directions, courtesy of songwriters representing a variety of styles, it always moves at the right speed, and it positions the artist right where she wants to be in relation to her music, her fans and history itself. 33 1/3 is a real album experience, something quite rare these days. To be sure, each track stands on its own but the whole is, somehow, more than the sum of its parts.

"I've always wanted to be a blues singer," says Shemekia. "I never wanted to be anything else. There are so many people for whom the blues was not their genre of choice, but they landed here because they got rejected elsewhere. That was never the case for me. I want to see this music evolve and grow, and for that to happen, I have to evolve and grow as an artist. I have to be able to sing a folk song by Bob Dylan or a country song by Randy Weeks and reinterpret it in the context of the blues. It's at the heart of just about every other form of American music. It's a genre that tells stories. I want to tell as many of those stories as I can – at 33 1/3 and beyond."

MICHAEL PEDICIN - LIVE AT THE LOFT

Features His Working Band  - Guitarist Johnnie Valentino, Pianist Jim Ridl, Bassist Andy Lalasis, & Drummer Bob Shomo Join Pedicin

Tenor saxophonist Michael Pedicin fulfilled a longtime dream last fall by releasing an album of all ballads, a challenging form of which he is a master purveyor. In the process Pedicin, whose 40-plus-year career has included tours with Dave Brubeck and Maynard Ferguson, experienced a new ease with the recording process and quickly made plans for his next CD. The result, Live @ The Loft, is a bracing club date with his working group that his Jazz Hut label will release July 31.

I'm more comfortable now playing the saxophone, sounding the way I want, than I ever have in my life," Pedicin says. A tenor man's tenor man, he is devoted to what he described as the "raw, inside-your-body sound" of the classic players on the instrument.

On the new disc, his 11th, Pedicin leads a quintet comprised of colleagues of many years' standing -- guitarist Johnnie Valentino, bassist Andy Lalasis, and drummer Bob Shomo -- as well as pianist Jim Ridl, a more recent addition to the ensemble. The CD was produced by Joseph Donofrio, best known in the jazz world for his work on Pat Martino's Grammy-nominated Blue Note recordings.

The titular "Loft" refers to the second-floor, 60-seat space at the Sandi Pointe Bistro in southern New Jersey that Pedicin discovered when he used it to warm up for a previous performance at the venue. He liked the feel and sound of the room so much, he helped convert it to a nightclub and has since frequently performed there. It was a natural choice for recording the new album.

"I feel better playing live than in the studio," he says. "In the studio, there's so much room for anxiety and critical self-judgment. With a live audience, you just play. You're in your element and in the moment."

Live @ The Loft offers a personal survey of songs written by or associated with Pedicin's main musical inspiration, John Coltrane -- from "Impressions," taken at a slower tempo than the original, to "Like Sonny" and "Africa" ("It lets us get out of the box for a minute"), and including exquisite readings of the ballads "I Want to Talk About You" and "Say It (Over and Over Again)."
Michael Pedicin, 64, grew up in a musical family in the Philadelphia suburbs. His father, alto saxophonist and singer Mike Pedicin, was an extremely popular entertainer and bandleader in the Philadelphia area who enjoyed a No. 1 Billboard pop chart hit in 1957 with "Shake a Hand." By the time Pedicin Jr. was 13 and had heard saxophonist Willis "Gator Tail" Jackson in person and Coltrane and Cannonball Adderley on record, he knew he wanted to spend his life playing saxophone.

At 20, Pedicin began earning his living as a member of the horn section at Philadelphia's Sigma Sound Studios, where he worked for producers Kenny Gamble, Leon Huff, and Thom Bell, playing on sessions by such artists as the Spinners, the O'Jays, and Lou Rawls. He also went on the road with Maynard Ferguson, Stevie Wonder, and David Bowie.

In 1980, Pedicin made his first album, Michael Pedicin Jr. (Philadelphia International), which yielded the surprise hit "You" -- big in New York City and even bigger in the Philippines. Subsequently he toured with Brubeck, and was a mainstay in the Atlantic City casinos, hiring orchestras and playing behind such singers as Frank Sinatra.

Pedicin has since played a lot of straight-ahead jazz, formed his Brubeck Project (which released its debut CD in early 2011 on Jazz Hut), and toured with such notables as guitarist Pat Martino. He also earned a Ph.D in psychology and, in addition to his musical activities, has a private psychology practice specializing in helping creative people. He's an active educator as well, currently a Professor of Music and Coordinator of Jazz Studies at the Richard Stockton College of New Jersey.

In support of Live at the Loft, Pedicin will be making his first West Coast appearances as a leader at Yoshi's San Francisco 8/21, and at Vitello's, Studio City, 8/23. Drummer Justin Faulkner (Branford Marsalis, Kurt Rosenwinkel) will be his special guest in the band, which also includes Johnnie Valentino on guitar, pianist Jim Ridl, and Chris Colangelo, bass.

East Coast dates include 9/14 at Sandi Pointe in Somers Point, NJ, where Live at the Loft was recorded, and 9/15 at Chris' Jazz Café in Philadelphia. Pedicin's band will include Valentino and Ridl, plus bassist Andy Lalasis and drummer Bob Shomo.

http://www.michaelpedicin.com/