OUT OF MANY - 50 YEARS OF REGGAE MUSIC

HISTORICAL 3 DISC BOX SET NOW AVAILABLE JULY 31

August 6th marks the 50th Anniversary of Jamaica’s Independence and VP Records is celebrating with the island's iconic music. On July 31, the label will release an extensive 3 CD set Out Of Many, 50 Years Of Reggae Music - chronicling the genre's evolution with an iconic hit from each year since 1962

Out Of Many - 50 Years of Reggae Music captures the essence of every era over the past five decades with these 51 distinctive hits from artists including Lord Creator, Alton Ellis, Skatalites, Augustus Pablo, Dennis Brown, Culture, Eek-A-Mouse, Yellowman, Barrington Levy, Gregory Isaacs, Shabba Ranks, Chaka Demus & Pliers, Ninjaman, Beres Hammond, Lady Saw, Beenie Man, Sizzla, Sean Paul, Elephant Man, Tanya Stephens, Mavado, Gyptian and many more. The collection includes extensive liner notes written by reggae historian Noel Hawks. He discusses the innovation and evolution of the island's music, and how the iconic label VP Records - once Randy's Record Mart at 17 North Parade in Kingston, Jamaica - played a crucial role in the production and worldwide distribution of these sounds.

The album features the monumental anthems that played a pivotal role in the Jamaica's musical history. The disc opens with Trinidadian singer Lord Creator's 1962 calypso track "Independent Jamaica." This benchmark record was the #1 in Jamaica at the time and was produced by Vincent Chin, the founder of Randy's and VP Records. It was also the first song licensed in the U.K. by Chris Blackwell's Island label.

The set then delves into the ska era with The Skatalites' "Malcolm X" to the soulful cool sounds of rocksteady with hits "Mouth A Massy" by Alton Ellis, "Take It Easy" Hopeton Lewis and "Ba Ba Boom" by The Jamaicans. Featured songs like Dave and Ansel Collin's timeless "Double Barrel" (Jamaica's first #1 hit in the UK) and Dennis Brown's "Westbound Train" mark the defining era of reggae, which is further solidified with 70s' roots classics like Junior Byles' ominous "Fade Away" and Culture's "Two Sevens Clash."

The Out Of Many collection also includes the 1985 game-changing hit "Under Me Sleng Teng" produced by King Jammy and the track's vocalist Wayne Smith. This song introduced computer driven rhythms, which spawned the dancehall era and created the template for contemporary reggae music as a whole.

From dancehall hits (Shabba Ranks' "Mr. Loverman," Beenie Man's "Who Am I," Sean Paul's "Get Busy" and Mavado's "Weh Dem A Do") to lover's rock anthems (Beres Hammond's "Can't Stop A Man" and Gyptian's "Hold You"), roots reggae tunes (Sizzla's "Just One Of Those Days" and Tanya Stephens' "These Streets") leading into dubstep ("Zungguzungguguzunggezeng (Horsepower Remix)" by Yellowman), Out of Many's musical sphere offers a well-rounded variety of the island's seminal sounds.

Over the past fifty years Jamaica's music has made an indelible mark as a cultural beacon throughout the world. Today, reggae is one of the most influential musical forms. Out Of Many celebrates these achievements of the past and the promise of the future in one must-have collection.

Out Of Many – 50 Years of Reggae Music Track Listing:
Disc 1
1. Independent Jamaica – Lord Creator (1962)
2. Blow Roland Blow – Joanne Gordon/ Roland Alphonso (1963)
3. Malcolm X – The Skatalites (1964)
4. Mouth A Massy – Alton Ellis (1965)
5. Take It Easy – Hopeton Lewis (1966)
6. Ba Ba Boom – The Jamaicans (1967)
7. Such Is Life – Lord Creator (1968)
8. Love The Reggay – Gaylads (1969)
9. Love Of The Common People – Nicky Thomas (1970)
10. Cherry Oh Baby – Eric Donaldson (1971)
11. Java – Augustus Pablo (1972)
12. Westbound Train – Dennis Brown (1973)
13. Everything I Own – Ken Boothe (1974)
14. Fade Away – Junior Byles (1975)
15. I’m Still In Love With You – Marcia Aiken (1876)
16. Two Sevens Clash – Culture (1977)
17. Smoking My Ganja – Capital Letters (1978)
18. We Got Love – Freddie McGregor (1979)
19. Ice Cream Love – Johnny Osbourne (1980)

Disc 2
20. Wah-Do-Dem – Eek-A- Mouse (1981)
21. Fattie Boom Boom – Ranking Dread (1982)
22. Zungguzungguzunggezeng – Yellowman (1983)
23. Here I Come – Barrington Levy (1984)
24. Under Me Sleng Teng – Wayne Smith (1985)
25. Hello Darling – Tippa Irie (1986)
26. Rumours – Gregory Isaacs (1987)
27. Telephone Love – JC Lodge (1988)
28. Twice My Age – Krystal & Shabba Ranks (1989)
29. Mr. Loverman – Shabba Ranks & Deborah Glasgow (1990)
30. The Going Is Rough – Home T, Cocoa Tea & Cutty Ranks ((1991)
31. Gal Wine – Chaka Demus & Pliers (1992)
32. The Return – Father & Son – Ninjaman & Ninja Ford (1993)
33. Under mi Sensi (94 Spliff) – Barrington Levy (1994)
34. Can’t Stop A Man – Beres Hammond (1995)
35. Give Me The Reason – Lady Saw (1996)

Disc 3
36. Who Am I – Beenie Man (1997)
37. Heads High – Mr. Vegas (1998)
38. Can You Play Some More – Beres Hammond & Buju Banton (1999)
39. Down By The River – Morgan Heritage (2000)
40. Give It To Her – Tanto Metro & Devonte (2001)
41. Just One Of Those Days – Sizzla (2002)
42. Get Busy – Sean Paul (2003)
43. Pon De River Pon De Bank – Elephant Man (2004)
44. Living In Love – I Wayne (2005)
45. These Streets – Tanya Stephens (2006)
46. Weh Dem A Do – Mavado (2007)
47. Roots – Etana (2008)
48. I Feel Good – Beres Hammond (2009)
49. Hold You – Gyptian (2010)
50. Zungguzungguguzungguzeng (Horsepower Prod Remix) – Yellowman (2011)
51. Independent Jamaica (2012)- Peetah Morgan & Hollie Cook

NEW RELEASES - CALTONE'S JAMAICAN 45s, AARON BAHR DECTET, TV SOUND & IMAGE

LISTEN TO THE MUSIC - CALTONE'S JAMAICAN 45s 1966-1969

Cooking Kingston sounds from the 60s – a heady helping of work from the under-documented Caltone label – an early imprint whose quality level was right up there with Studio One! Caltone was a smaller operation, but managed to issue sides by some of the best on the scene at the time – and did so in a way that often created a nice sense of variety, given the looser setup of the company. Most of the grooves here are in a rock-solid rocksteady mode – with plenty of echoes of American 60s soul – and although the instrumentation is great throughout, the sublime vocals on some cuts are really what make the package crackle! Titles include "Killer Joe" by Tommy McCook & The Supersonics, "Making Love" by Devon & The Tartans, "Hold Your Love" by The Cool Cats, "Hear Them Say" by Eric Monty Morris, "Gypsy" by The Emotions with Lynn Taitt Band, "The Journey" by The Uniques, "Return Home" by Alva Lewis, "I'll Never Try" by The Clarendonians, "Why Wipe The Smile From Your Face" by The Kingstonians, "Listen To The Music" by Lloyd & The Groovers, and "You Are The One" by King Rocky & The Willos. ~ Dusty Groove

AARON BAHR DECTET - PROLOGUE

"Music is the sound track of people's life. Aaron's compositions are poetic running water with gyroscopic textures and shapes. And his trumpet playing outlines his extremely talented and sincere musical artistry. Brilliant, Bravo!" Tiger Okoshi

"Bahr is a detail man: He writes for large ensembles, taking care to bring out small melodic ideas. Prologue includes four incandescent suites, a horn-plumped Beatles cover, and a nod to Miles."- East Bay Express

Aaron Bahr is a trumpet player and composer from the California Bay Area. He is a graduate from Berklee College of Music in Boston where he was the 2008 Jimmy Lyons Scholar. While attending Berklee, he had the pleasure of performing and studying with such artists as Greg Hopkins, Tiger Okoshi, Phil Wilson, Maria Schneider, Ron Carter, Dave Liebman, among many others. He plans to continue his studies at New England Conservatory in their Master's in Jazz Composition program.

Aaron is devoted to making music that is musically lush, rich with orchestration, but always devoted to simple, singable melodies. He believes that music does not need to sacrifice quality or expression in the name of mass-appeal; that music can be complicated but made from the simplest building blocks and be made into something everyone can enjoy. ~ CD Universe

TV SOUND AND IMAGE - BRITISH TELEVISION, FILM AND LIBRARY COMPOSERS 1956-1980

England was a surprisingly funky place in the 60s and 70s – home to a rich array of great grooves created by the scene's important sound library labels – staffed by the cream of the crop of the British jazz musicians and soundtrack composers of the time! The work of these cats often backed bigger names in film and TV – James Bond, The Avengers, Dave Allen, and others – but this set digs even deeper, to uncover a host of great instrumental moments that go way beyond famous movie themes – a wealth of excellent cuts from the late 50s through the late 70s – starting with exotic jazz modes, moving into 60s mod swingers, and including a fair bit of 70s electric funk as well! This scene's been reissued a bit before, but never this well – as Soul Jazz do their usual top-shelf job of bringing the music together – and offering up detailed notes and a great package that really sends the whole thing home. Part 2 – 2LP version features 17 tracks that include "Canvas" by Brian Bennett, "Death Line" by Will Malone, "Folk Song" by James Clarke, "Steam Heat" by Barbara Moore, "Artful Dodger" by Syd Dale, "Jaguar" by John Gregory, "Whole Lotta Love" by CCS, "Face Up" by Alan Moorehouse, "Angels" by Alan Parker, and "Soul Thing" by Keith Mansfield. ~ Dusty Groove

THE COMPLETE TONY BENNETT / BILL EVANS RECORDINGS

Having completed his relatively brief sojourn with MGM/Verve with 1973's Listen Easy, Tony Bennett was in the midst of forming his own label, Improv Records, when he made a deal with jazz pianist Bill Evans to cut two LPs: The Tony Bennett/Bill Evans Album and Together Again. (The first would be for Evans' label, Fantasy Records, the second to follow on Improv.) The singer and his collaborator -- "accompanist" does not adequately describe Evans' contribution, and in any case he received co-billing -- got together in a recording studio over four days in June 1975 with no one other than the producer, Helen Keane and an engineer present, and quickly recorded two of the best albums of either's career.

For Bennett, it was a dream project; for years (decades, actually), he had been balancing the demands of commerciality with his own inclinations toward jazz and affection for the songs of Broadway masters and of the Great American Songbook. Left to himself with a jazz partner, he naturally gravitated toward both interests. There were songs here that he had already recorded, but never in so unadorned and yet fully realized a fashion. Evans was an excellent accompanist, using his steady left hand to keep his singer centered, but ready, whenever the vocals were finished, to go off into his characteristically lyrical playing. Bennett could seem a bit earthbound when he came back in (he still wasn't really a jazz singer), but his obvious enthusiasm for the project, coupled with his mastery of phrasing in songs he understood perfectly made him an equal in the partnership.

As far as the major-label record business was concerned, the 46-year-old singer might have been over the hill and indulging himself, but in fact he was in his prime and finally able to pursue his ambitions unfettered, and that would prove itself a major boost to his career over time. For the moment, he'd made an excellent jazz-pop hybrid in which both musicians were shown off to advantage. [Of the 20 alternate takes and two bonus tracks included in this complete package, nine are previously unreleased except on the Bennett box set, The Complete Improv Recordings. Not surprisingly, they are more interesting for Evans' different improvisations than for anything else. But they also demonstrate that he and Bennett tried different approaches to the tunes. "Young and Foolish," the lead-off track on their first album, begins with both Bennett and Evans on the refrain, but the alternate take starts with Evans alone, followed by Bennett singing the song's introductory verse instead; the version runs a minute longer. The alternate take of "The Touch of Your Lips," on the other hand, is at a faster tempo and a minute shorter. None of the alternate takes actually improves on the originally released ones, but they show how well considered the album was. (by William Ruhlmann)

JOE BONAMASSA - DRIVING TOWARDS THE LIGHT

He'll never be the new Stevie Ray Vaughan, but at the rate blues-rock (emphasis on the latter) guitarist Joe Bonamassa is going, he can take a stab at being the next Gary Moore. Like the Irish guitarist, Bonamassa is influenced by the British blues-rockers more than the Americans they lifted their licks from. He's also just as prolific; this is his thirteenth album in twelve years and that's not including side projects with Black Country Communion and Beth Hart, and DVDs grabbed from his 200-night-a-year road schedule filled with sweaty, high-energy performances. Makes you tired just reading about it.

Bonamassa isn't much of a songwriter so he wisely contributes only four tunes to this disc's eleven, with some relatively obscure deep blues covers from Howlin' Wolf ("Who's Been Talkin'"), Willie Dixon ("I Got All You Need"), and Robert Johnson ("Stones in My Passway") gravitating toward his roots side. Also included are offbeat choices from Bill Withers ("Lonely Town/Lonely Street") and Tom Waits ("New Coat of Paint"). For better or worse, they all end up sounding like Joe Bonamassa tracks, since he feeds them into his leathery rock sensibilities, churning out requisite hot guitar solos whether they serve the song or not.

He's left his road-hardened band on the sidelines and calls in top-notch session guys, including Aerosmith's Brad Whitford, David Letterman drummer Anton Fig, and keyboardist Arlen Schierbaum, whose piano and organ add some much-needed R&B attitude to the hard rock attack. Bonamassa even relinquishes lead vocals to Australian Jimmy Barnes, who goes so over the top singing his own "Too Much Ain't Enough Love" it seems like he is auditioning for AC/DC. Longtime producer Kevin Shirley gets a slick, professional sound from these guys, and when everyone is cooking and the material is solid, such as on the grinding Bonamassa original "Dislocated Boy" and the Wolf cover (including a spoken word sample of the blues legend that kicks off the tune), the arrangements and guitars mesh together like whisky and soda.

What Bonamassa lacks in a distinctive sound and singing, he makes up for with sheer determination, which is almost enough to push the album from pretty good to pretty great, especially on the horn-enhanced slow blues of "A Place in My Heart" that explodes out of the speakers in a way Gary Moore could summon at will. In other words, this is a keeper if you've already bought into the guitarist's more-is-more approach that has served him well thus far, and he shows no signs of abandoning it now. ~ Hal Horowitz

AL DEGREGORIS - TIMES AND TRAVELS

Jonathan Widran, All Music "A keyboardist, composer and artist of extraordinary depth and vision, Al DeGregoris was on a mission to take his sound to the next level after the success of his debut-and succeeds brilliantly by complementing his own array of keyboard sounds, melodies and grooves with key contributions by the contemporary jazz elite. Despite all the star power, DeGregoris holds his own with a multi-faceted, multi-textured vibe that Jeff Lorber and Bob James would appreciate. In a genre where many artists find their pocket and continue to mine the same safe territory, DeGregoris' has a blast taking stylistics leaps across cultures and time, going back to classic funk and big band, island and culture hopping and finding a few rockin' sweet spots amidst the cool retro urban flow. These are Times and Travels that people are going to love experiencing."


Brian Soergel, JazzTimes "A complete musician who started playing at 4 and has studied with an impressive list of musicians himself, Al DeGregoris is a welcome addition to the smooth jazz field. With a style as cool and as inventive as Joe Sample, Brian Culbertson and David Benoit, DeGregoris' songs are wonderfully harmonic and toe-tappingly suited to live shows and festivals as well as deserving airplay rotation. Like any great smooth jazz CD, "Times & Travels" mixes moods for maximum listenability. "Follow Your Dreams," a bouncy track with horns and vibes, leads off and is as tasty as anything on smooth-jazz radio the last couple of years. DeGregoris can do funk, as he explores with "We Don't Do That Here" and "Drive Time," the latter capturing the essence of a great Crusaders tune and features Chieli Minucci on guitar. "Bamboo Forest" is a smooth highlight, a relaxing song whose guitar work is reminiscent of Earl Klugh. Finally, DeGregoris shows off his skills with a short, solo-piano "Prelude" and his jazz chops with the swinging and energetic "4 X Four".

PAT METHENY UNITY BAND

On Unity Band, Pat Metheny reveals that he can look in two directions at once. The group he's assembled here is an all-star ensemble. Drummer Antonio Sanchez has been with him for a decade, while double bassist Ben Williams makes his first appearance with the guitarist, as does tenor saxophonist Chris Potter (whose soprano and bass clarinet playing are on display, too). Metheny makes full use of this ensemble's possibilities. That said, he looks back through his catalog and composes for this band from some of the information gleaned there.

One can recall the swirling melodic euphoria of the Pat Metheny Group in the guitar and guitar-synth interplay in "Roofdogs." On the ingenious "Come and See," Metheny's many-stringed Picasso guitar meets Potter's bass clarinet to create a tonal inquiry before Williams and Sanchez establish a deep blue groove. When Potter adds his tenor and Metheny his electric, we get a Latinized swinging pulse that is ever so slightly reminiscent of the 80/81 band with Michael Brecker and Dewey Redman (this isn't the only place that happens here).

Fans of Metheny's more abundantly lyrical side will appreciate the breezy sway of "Leaving Town," though its melody -- twinned by his guitar and Potter -- is full of compelling tight turns, before the rhythm section evokes a deep, swinging blues and the guitarist gets refreshingly funky in his solo. On "Signals" Metheny uses his Orchestrion and guitar with live loops; the band employs live loops throughout the intro on top. Potter's tenor solo is emotive, grainy, and reaching, while the atmosphere recalls -- only generally -- the album the guitarist cut with Steve Reich. The nocturnal, smoky "Then and Now" has a torch ballad quality due to Potter's utterly songlike solo. Set closer "Breakdealer" begins at the boiling point and gets hotter.

The title hints at what Sanchez does throughout the tune while pushing forward, but Williams not only keeps up, he adds propulsive shades of his own and rocks the arpeggiated changes fluidly. Metheny and Potter are free to sprint and they do; both dazzle with their lyric invention and knotty, imaginative, nearly boppish solos. The two front-line players are surely at their best in one another's company on the date; you expect them to be. Yet it's the rhythm section that astonishes thoroughly. Their interplay is not only intuitive, it's informative; it points to new corners for Metheny and Potter to explore. Given the guitarist's more compositional solo experiments of the last few years -- all of which have been very satisfying -- Unity Band is a return to what he does best: composing for, and playing with, a band of top-shelf players. ~ Thom Jurek

BRUBECK BROTHERS QUARTET - LIFETIMES

New CD by Brubeck Brothers Quartet, To Be Released by Blue Forest Records July 24

Since the early 1970s, Chris and Dan Brubeck have performed and recorded frequently with their father Dave in Two Generations of Brubeck, the New Brubeck Quartet, and Trio Brubeck. Now, on the Brubeck Brothers Quartet's new CD LifeTimes, they and "honorary brothers" Mike DeMicco (guitar) and Chuck Lamb (piano) have chosen to honor Brubeck père by reimagining a number of his best-known songs.

"Dave Brubeck's music is rich with challenging chord progressions and beautiful melodies," says Chris. "Dave is one of the biggest inspirations in all our lives, and we all thought it was time to salute his compositions, adding the BBQ's fresh approach to some of his most enduring tunes."

Those would be "Jazzanians," which first appeared on Trio Brubeck (1993) and was written in honor of the like-named multiracial South African student band led by eldest brother Darius Brubeck; "Kathy's Waltz," introduced on Dave's Time Out (1959) and named for his only daughter; "My One Bad Habit," inspired by a remark Ella Fitzgerald made to Dave ("My one bad habit is falling in love") and first sung by Carmen McRae on Dave and Iola Brubeck's 1961 all-star album The Real Ambassadors; and "The Duke," an Ellington tribute first recorded by Dave in 1955 and heard here in an arrangement with "a little bit of half time and double time from the first bar," says Dan, "with those grooves alternating throughout the track."

Also included is Dave's biggest hit "Take Five" (composed by Paul Desmond), which Dan kicks off with a second-line New Orleans groove in 5/4, along with two originals by pianist Lamb ("Go Round," "The Girl from Massapequa") and one by guitarist DeMicco ("Prezcence").

LifeTimes, BBQ's fourth CD and their first since 2008's Classified, is the latest chapter in the brothers' near-lifelong series of collaborations. Chris (b. 1952) and Dan (b. 1955) benefited from early exposure to the family business: the Brubeck Quartet regularly rehearsed at the Brubecks' Connecticut home, and drummer Joe Morello would leave his practice set behind. "He let me bang around on 'em," Dan recalls. "I used his drums all through high school."

Chris, who started on piano at age 5 and trombone in fourth grade, met Trummy Young, Louis Armstrong's trombonist, while Young and Armstrong were working with his parents on The Real Ambassadors and years later, as an adult, got to know Young. "He and Paul Desmond really shaped my ears," says Chris.

In addition to recordings and performances over the years with their illustrious father, Chris and Dan have recorded together with pianist Andy LaVerne (for Blackhawk); made two albums with brother Darius featuring Larry Coryell; and pursued their own very different individual paths. Chris, a self-taught arranger and composer, has had compositions commissioned and performed by orchestras around the world, including the Boston Pops, Baltimore Symphony, and Czech National Symphony Orchestra; he also tours and records with the blues-roots group Triple Play. Dan's résumé includes work with Coryell, Roy Buchanan, the Band, and the Dolphins, a group he co-founded with Mike DeMicco. Mike and Chuck Lamb first played together 30 years ago in Chuck's fusion group, Dry Jack. The intertwining pasts of the BBQ have helped them to forge a unique musical bond.

The Brubeck Brothers Quartet is touring this summer in support of LifeTimes, with shows scheduled as follows: 7/24 Gate House Cafe, Southbury, CT; 7/26 View Arts Center, Old Forge, NY; 7/27 Infinity Hall, Norfolk, CT; 7/28 Summer Arts Festival, Huntington, NY; 7/29 Oswego (NY) Harborfest; 7/31 Machias Bay Chamber Concerts, Machias, ME; 8/1 Strand Theater, Rockland, ME; 8/2 Rockport (ME) Opera House (second half of concert: BBQ will perform Chris's Vignettes for Nonet with the Bay Chamber Concerts woodwind quintet); 8/25 Vancouver (WA) Wine & Jazz Festival; and 10/5 Fredfest, Fredericksburg, VA. (Photo of Chris and Dan by Stephane Colbert.)
On 9/12, the Quartet will embark on a two-week tour of Russia, co-sponsored by the U.S. State Department. The group will be performing by themselves as well as with the Russian National Orchestra (at Tchaikovsky Hall in Moscow) and with various guest artists including saxophonist Igor Butman, flutist Maxim Rubstov, and trumpeter Vladislav Lavrik.

At the Tchaikovsky Hall concert, on 9/17, the group will perform selected tunes with the Orchestra, and Chris Brubeck and Vladislav Lavrik will play Chris's trumpet and trombone concerto, From the Blues to Beyond. Other dates include: 9/14 Igor Butman Jazz Club, Moscow; 9/19 Town Hall concert, Efremov; 9/21 Music School concert, Samar; 9/22 Moscow Conservatory Great Hall; 9/25 Mariinsky Concert Hall, St. Petersburg.

http://www.brubeckbrothers.com/

NEW RELEASES - PAULO MOURA & ANDRE SACHS, SERGIO SAMPAIO, MAURO SENISE

PAULO MOURA & ANDRE SACHS – FRUTO MADURO

One of the most creative settings we've heard in years for the reed work of Paulo Moura – thanks to a collaboration here with guitarist Andre Sachs, who helps provide some really fresh sounds and different rhythms than we might normally hear on some of Moura's other later work! The style here almost takes us back to Moura's most creative modes of the 70s – still rootsy at the core, with echoes of older choro styles, yet also inflected with some great jazzy touches too – especially on the warmer shadings of the tunes from other instrumentation – which really helps make Moura's clarinet sound rich and expansive. Titles include "Coquetel", "Macunaima", "Andina", "Trem Do Moura", "Obstinado", "Chroma 2", and "Mulatas Etc E Tal". ~ Dusty Groove

SERGIO SAMPAIO – TEM QUE ACONTECER

Soulful samba from the great Sergio Sampaio – stepping out here on one of his better-remembered records from the 70s! The album's got a really unique approach – in that it's not always all-out rhythm and energy – but occasionally hits these mellower moments that are really nice – laidback and feeling, yet still in the same spirit of the rest of the music too – and hardly ballads or love songs at all, just these thoughtful passages that really expand the sound of the album way past the obvious! Instrumentation changes to fit the mood of the tunes, which also adds to the depth – and titles include "Ate Outro Dia", "A Luz E A Semente", "O Filho Do Ovo", "Velho Bode", and "Que Loucura". CD features 3 bonus tracks – "O Teto Da Minha Casa", "Ninguem Vive Por Mim", and "Historia De Boemio". ~ Dusty Groove

MAURO SENISE - AFETIVO

Beautiful reed work from Mauro Senise – spun out over some really creative arrangements that have him sounding even more fluid and expansive than ever – and recorded with help from great guests who include Hermeto Pascoal, Egberto Gismonti, Wagner Tiso, Edu Lobo, and Gilson Peranzzetta! Given that Mauro's helped out most of these artists over the years, the sense of collaboration here is really warm and rich – that great Brazilian instrumental way of sounding expressive, yet never in an overly-emotive or cloying sort of way – easily moving through some classic references, but always with a sense of fresh discovery too. Titles include "Choro Bandido", "Ondine", "Choro Sim Porque Nao", "Tie Sangue", "Bodas De Prata", and "Mauro E Ana". ~ Dusty Groove

THE BRECKER BROTHERS - THE COMPLETE ARISTA ALBUMS COLLECTION

 •The Brecker Brothers -- Michael and Randy -- were one of the most successful of the jazz/fusion groups that arose in the 1970s, recording 6 best-selling albums for Arista between 1975 and 1981.

•None of these albums have ever been released on CD in the U.S.

•Randy Brecker contributes liner notes to the set also which includes full discographical info. and rare photos.

•The band will be playing major jazz festivals in the U.S., Europe, and Japan.

•Randy’s own profile at the moment is very high. He received 3 Grammy nominations this year.

Trumpeter Randy Brecker and saxophonist Michael Brecker had already shared the bandstand and logged plenty of studio time together before they formed The Brecker Brothers. The siblings stood as a team with Horace Silver’s hard bop ensemble, the proto-fusion unit Dreams, and Billy Cobham’s early Crosswinds band, as well as on myriad studio dates for a panoply of artists from James Taylor to Parliament.

By 1975 it was time for them to make their own mark. Gathering together some of the cream of the studio players that they were spending considerable time with, including saxophonist David Sanborn and bassist Will Lee, the brothers formed a tight combo that would integrate their taste for jazz, fusion, R&B, funk and pop. Right out of the box, they garnered a hit single, “Sneakin’ Up Behind You,” from their debut recording, Brecker Brothers, which also included the emblematic “Some Skunk Funk.”

Subsequent albums saw name players like guitarists Steve Khan and Hiram Bullock, keyboardist George Duke, bassist Marcus Miller and vocalist Luther Vandross making vital contributions. No matter how commercially oriented the music might veer, the solid playing of both Randy and Michael could be heard. On such albums as the live recordings, Heavy Metal Bebop and the special project Blue Montreux, the brothers fully displayed their extraordinary technical skills and gutsy phrasing. Combining jazz chops and R&B seasoning, both of the Breckers became important stylistic influences on their respective horns.

In retrospect, the Brecker Brothers can be seen as dashing heroes, unafraid to follow wherever their muse lead them no matter what straight-laced critics objected to. From today’s eclectic viewpoint, their up front blend of jazz and outright pop sounds was not only ahead of the curve, it was right up to the minute.

•Musicians on the records make a jazz/fusion hall of fame including David Sanborn, Steve Gadd, Will Lee, Harvey Mason, Marcus Miller, George Duke, and many more.

•In 1979 they also participated in all-star shows at the Montreux Jazz Festival. The band was Steve Khan, Tony Levin, Mike Mainieri and Steve Jordan. These two albums are included here as bonuses.

•The Brecker Bros. have reunited as The Brecker Brothers Reunion Band-- with excellent Italian saxophonist Ada Rovatti keeping it in the family (she is Randy’s wife) and ably filling the late Michael’s role -- for an all-new studio recording of all new material, featuring David Sanborn, Mike Stern, Dave Weckl, and Will Lee (to be released in September).

•A new Brecker Bros. Reunion live DVD from the Blue Note jazz club will also be released. Both new releases are on Half Note Records, the label of The Blue Note Jazz club in New York, who will sponsor a record release show the week of Sept. 11-18 in New York.

Albums included:
1.The Brecker Brothers
2.Back to Back
3.Don't Stop the Music
4.Heavy Metal Be-Bop
5.Detente
6.Straphangin'
7.Blue Montreux
8.Blue Montreux II

CAETANO VELOSO TO BE CELEBRATED AS 2012 LATIN RECORDING ACADEMY PERSON OF THE YEAR

An eight-time Latin GRAMMY® winner and two-time GRAMMY® winner, Brazil's Caetano Veloso will be celebrated as the 2012 Latin Recording Academy Person of the Year on Wednesday, Nov. 14 in Las Vegas, it was announced on July 10 by Gabriel Abaroa Jr., President/CEO of The Latin Recording Academy®(www.latingrammy.com).

Songs from Veloso's catalog will be performed by an impressive array of notable artists and friends of the honoree. A portion of the net proceeds from the gala will benefit Veloso's chosen charity, Fundacion Viva Cazuza in Brazil — a not-for-profit HIV prevention and treatment organization for children and young people — as well as The Latin Recording Academy's outreach and education programs. The celebration will precede the XIII Annual Latin GRAMMY Awards®, which will be held at the Mandalay Bay Events Center in Las Vegas and will be broadcast live on the Univision Network on Thursday, Nov. 15 at 8 p.m. Eastern/7 p.m. Central.

"Caetano Veloso has become the preeminent ambassador of Brazilian music and culture," said Abaroa. "It is difficult to find a man with such immense talent, passion and dedication to his creative projects — whether in music, writing or activism — and it is The Latin Recording Academy and its Board of Trustees' great pleasure to celebrate a man of limitless talent and commitment. By celebrating Caetano, we celebrate Brazil, and we look forward to honoring his amazing career and music."

A musician, producer, arranger, writer, painter, and political activist, Veloso is considered one of the most influential Brazilians since the '60s. He first became known for his participation in the Brazilian music movement Tropicalia, which signaled a new generation of politically outspoken artists who recreated the face of popular Brazilian music. Veloso was forced into exile in London from 1968–1972, and during this time he developed great musical sensitivity reaching unimaginable heights. It was then that Veloso became a citizen of the world. The '80s gave Veloso his largest audience and recognition as he began touring internationally. Throughout his illustrious career, he has recorded more than 40 albums, published five books, directed a film and has won numerous awards. In 2003 he participated in the 75th Annual Academy Awards, where he and Lila Downs performed "Burn It Blue" from the film Frida, which received a Best Original Song nomination.

Hailed as one of the greatest songwriters of the 20th century, Veloso consistently tours and produces albums. This year, he released Live At Carnegie Hall — which documented a special collaborative concert with friend David Byrne in 2004 — and Especial, an album with fellow Brazilians Gilberto Gil and Ivete Sangalo.

As the 2012 Latin Recording Academy Person of the Year honoree, Veloso joins a list of past recipients that includes Placido Domingo, Gloria Estefan, Julio Iglesias, Carlos Santana, and Shakira among many others.

NEW RELEASES - JOAO BOSCO, MARCOS VALLE, ANA COSTA

JOAO BOSCO – 40 ANOS DEPOIS (DVD)

A beautiful tribute to the legendary Joao Bosco – a celebration of his forty years in Brazilian music – put together with help from a host of guests who include Joao Donato, Milton Nascimento, Toninho Horta, and Chico Buarque! The presence of these equal legends is a great reminder of the way that Bosco's music has influenced generations of MPB – perhaps not as famous on a global scale as these other artists, but always very well-respected by his peers – who often recorded many of Joao's compositions, and made them their own. The music's got all the acoustic charm of Bosco's best 70s recordings – and with some of his other recent sets, there's a sense of depth and growth that really shows his tremendous evolution as an artist over the years. Titles include "Agnus Sei", "Tanajura", "Fotografia", "Plataforma", "Jimbo No Jazz", "Drume Negrita", "Tarde", and "Caca A Raposa". DVD features four more tracks than the CD – and has a bonus "making of feature" (All region.) ~ Dusty Groove

MARCOS VALLE – ENSAOI (DVD)

A great Marcos Valle appearance – from some years when he really wasn't recording that much at all! This 1992 TV set comes right before Marcos' big rediscovery by the global scene, via his recordings for Far Out – and it offers a deeply personal retrospective of Valle's years of music in Brazil – in a setting that has him speaking often between the tunes, usually with these great camera closeups – then performing mostly unplugged versions of his tunes on piano and guitar. Titles include "Mustang Cor De Sangue", "Escape", "Moshi Moshi", "Alegria Da Vida", "Azimuth", "Black Is Beautiful", and "Com Mais De 30". (All region.) ~ Dusty Groove

ANA COSTA – HOJE E O MELHOR LUGAR

One of the rootsiest albums we've ever heard from the lovely Ana Costa – quite different than her earlier funk and soul sides in Brazil, and done in a really great samba mode overall! Instrumentation is mostly acoustic – with excellent percussion and guitar – and Costa's vocals really open up in the setting, with a crackling charm that grabs us right away! Titles include "Peso E Medida", "Que Me Dera", "Sou O Samba", "Filosofia De Vida", "O Que E O Que E", and "Cantador De Felicidade". ~ Dusty Groove

SARAH VAUGHAN - THE COMPLETE COLUMBIA ALBUMS COLLECTIONS

•The albums in this collection serve as bookends to Sarah’s long and illustrious career as one of the greatest vocalists of the 20th century, in any genre. The first two contain recordings from 1949-1953 when she was first signed to a major label -- Columbia. And Gershwin Live! and Brazilian Romance are two of her last and best albums, recorded as special projects for CBS/Columbia in 1982 and 1987.

•After Hours With Sarah Vaughan has never been on CD. This CD edition contains four bonus tracks not on the original LP.

•Sarah Vaughan In Hi-Fi features Miles Davis in a rare role accompanying a vocalist and contains 9 bonus tracks not on the original LP.

•None of these albums are presently available on CD.

•Booklet contains full discographical info., rare photos, and liner notes by award-winning vocalist scholar/author and Wall Street Journal jazz columnist Will Friedwald.

Some called her “Sassy” or “The Divine One,” but for most, Sarah Vaughan was known as only one thing: the ultimate jazz vocalist of the 20th-Century. Now, a quartet of classic albums have been brought together as Sarah Vaughan: The Complete Columbia Albums Collection; a four-CD set that further enhances the legacy of this magisterial singer. The recordings included span nearly 40 years and bookend her first major label signing -- to Columbia in 1949 -- and her return to the label as a world-renowned diva for two special projects in 1982 and 1987.

After Hours With Sarah Vaughan captures the sumptuous 1949-1952 sessions that set Vaughan's luscious tones off of arrangements for strings. Complemented by orchestra leaders including Percy Faith and Mitch Miller, Vaughan delivers top notch interpretations of "Just Friends," "I Cried For You," "Street Of Dreams,” her hit, "Black Coffee”, and other standards. Four bonus tracks not found on the original album are included here.

Sarah Vaughan In Hi-Fi, features her mostly from1949 and 1950 in a more jazz-oriented setting with none other than a young Miles Davis, in one of the only times he accompanied a singer on record. Nine bonus tracks highlight this disc.

Recorded at the Hollywood Bowl in 1982, Michael Tilson Thomas / Sarah Vaughan: Gershwin Live! unites the now fully matured singer, still in peak vocal condition, with the renowned conductor Michael Tilson Thomas in a program of beloved Gershwin tunes that includes "The Man I Love" and "Someone to Watch Over Me," as well as a “Porgy and Bess” medley. This album won Vaughan the 1982 Grammy Award for Best Jazz Vocal Performance. One fascinating aspect of this box is the opportunity it presents to compare Sarah’s interpretations of the same Gershwin material -- “Summertime” and “Nice Work If You Can Get It” -- from both early and late periods in her career.

Sarah Vaughan: Brazilian Romance, Vaughan’s last complete album, finds her in a personal comfort zone. A longtime fan of Brazilian popular music, Vaughan takes to such gorgeous tunes as “So Many Stars,” “Photograph” and “Nothing Will Be As It Was” with passion and her trademark artistry -- a fitting farewell.

•Gershwin Live! took home the Grammy for Best Jazz Vocal Performance, Female in 1982.

•Song highlights contained on the four CDs include both early (1949-1950) and late (1982) versions of “Summertime” and “Nice Work If You Can Get It” plus her hits and favorites “Black Coffee,” “You’re Mine You,” “The Nearness Of You,” “So Many Stars,” “Nothing Will Be As It Was,” and many more.

Albums included:
1.After Hours With Sarah Vaughan
2.Sarah Vaughan In Hi-Fi
3.Michael Tilson Thomas / Sarah Vaughan: Gershwin Live!
4.Sarah Vaughan: Brazilian Romance

ETTA JAMES - THE COMPLETE PRIVATE MUSIC BLUES, ROCK 'N' SOUL ALBUMS COLLECTION

•Etta James is an iconic American vocalist who, like Ray Charles, could basically sing any style and make it her own. This collection of albums -- drawn from the 13 she released for Private Music and RCA between 1997 and 2006 -- contains both her most blues oriented work as well as soul, rock and even country material. A projected subsequent Etta box will include her more jazz-oriented material done for Private.

•Two of the albums included here, Burnin Down The House and Live From San Francisco, contain versions of her greatest hits including “Tell Mama," “Something’s Got A Hold On Me,” ’d Rather Be Blind” and, of course, “At Last."

•Booklet contains full discographical info., rare photos, and liner notes by Grammy-winning jazz, blues and soul music authority/writer/NPR radio personality Bob Porter.

•Only two of these albums are presently available on CD.

Rightfully acknowledged as an icon of rhythm and blues, Etta James could, and did, sing an extraordinarily wide variety of music with equal amounts of heart and soul. The 7-CD set, Etta James: The Complete Blues, Rock ’N Soul Private Music Albums Collection, covers 6 of the 12 acclaimed recordings she made for Private Music and RCA between 1997 and 2006. The emphasis in these albums is on the more earthy blues, R&B, rock and occasional country material that this vocal dynamo put her inimitable stamp on. (The more jazz-oriented work that James cut for Private will find its way onto a projected box set in this series.) This set, which includes Love’s Been Rough On Me; Life, Love And The Blues; Matriarch Of The Blues; Burnin’ Down The House; Let’s Roll; Blues To The Bone; and the bonus disc: Live From San Francisco (recorded in 1981) returns five of these prized albums to CD.

At the time of her passing in 2012 -- after a career that stretched more than a half-century -- James was acclaimed as the musical titan she surely was. A Rock And Roll Hall Of Fame member, and a three-time Grammy winner who also received a Grammy Hall Of Fame and Lifetime Achievement Award, James was an inspiration for generations of musicians, as demonstrated by the 2012 Grammy Awards tribute to her featuring Bonnie Raitt and Alicia Keys.

Stocked with blues staples, R&B standards, and interpretations of rock tunes from the likes of The Rolling Stones, Bob Dylan, The Eagles and Creedence Clearwater Revival, The Complete Blues, Rock ’N ’Soul Private Music Albums Collection also includes lives versions of such James’s classics as “Tell Mama,” “Something’s Got A Hold On Me,” “I’d Rather Go Blind” and, her signature song and wedding favorite, “At Last.”

•"At Last" may be the most played “first dance” wedding song of all time.

•When Etta died earlier this year she received unprecedented media coverage including many front page stories. She was paid tribute on the Grammys by Bonnie Raitt and Alicia Keys.

•Etta has had 12 Grammy nominations, won three Grammys, and has received Grammy Hall Of Fame and Lifetime Achievement Awards, and was inducted into the Rock And Roll Hall Of Fame.

Albums included:
1.Love’s Been Rough On Me (1997)
2.Life, Love And The Blues (1998)
3.Matriarch Of The Blues (2000)
4.Burnin’ Down The House (2002)
5.Let’s Roll (2003)
6.Blues To The Bone (2004)
7.Live From San Francisco (1981) On The Spot

SWEET SOUL RECORDS RELEASES WORLD SOUL COLLECTIVE VOL. 1

With this latest release, Sweet Soul Records again demonstrates their total commitment to bringing soul music listeners good quality music. This compilation covers a range of musical styles like soul, neo-soul, jazzy soul, R&B, and funk, with all songs easily fitting into the “organic music” description.

“Since the release of our “Soul Over The Race” series, which have gone on to achieve both domestic and international popularity, we have been fortunate enough to garner attention from some very talented independent artists from numerous different countries. By having the opportunity to release top international soul artists here in Japan, we have been able to carefully select and compile some of the best independent soul music on offer and include that music on “World Soul Collective Vol.1.” This compilation covers a range of musical styles like soul, neo-soul, jazzy soul, R&B, and funk, with the pre-release response being overwhelmingly positive.” says Michael Harris, Senior Manager at Sweet Soul Records.

Also included on this release is the track “Make the Change,” the first original music recorded by Sweet Soul Records and sung by Nao Yoshioka, the very talented Japanese soul singer who placed second at the Apollo Amateur Night competition in May 2011. Nao joins a number of talented independent soul artists and musicians from the US, Mexico, The Netherlands, France, Spain, Germany, Australia, and New Zealand. Tracks include “Who’s In the Mirror” by Nik West; “Imagine” by Jeremy James; “ This Time” ORLY; and “The Best Is Yet to Come “ by Mr President.

NEW RELEASES - ARCHIVES, ANN PEEBLES, HENRI GUEDON

ARCHIVES

A contemporary group, but one with a very vintage reggae vibe – one that's put together here by producer Eric Hilton, who's got a well-trained ear for the classic, thanks to his work in Thievery Corporation! There's a warm, soulful feel to the record – a vibe that's somewhere between mid 70s Kingston, and London reggae from a decade later – all handled with a stripped-down, no-nonsense approach that features soulful horns, stepping basslines, and just the right sort of dubbish production to make the whole thing gel together – yet survive on its own without any studio tricks or gimmicks. Vocals are by Ras Puma, Lenny Kurlou, Sleepy Wonder, and Ichelle Cole – and titles include "Who's Correct", "Nuff A Dem", "Crime", "Blasting Through The City", "Sensibility", "Music Is My Prayer", and "Boof Baff". ~ Dusty Groove

ANN PEEBLES – THE ORIGINAL SOUL SISTER

An amazing amount of greatness from the legendary Ann Peebles – easily one of the most important southern female soul singers of the 70s! Peebles was a seminal force on the Memphis soul scene, especially in the early part of the decade – working famously here for Hi Records, with lots of help from studio genius Willie Mitchell. Ann's work for Hi was second only to labelmate Al Green – and like Green, she worked in a similar slow-burning style that set a whole new sound for southern soul – one that updated an older Memphis mode into a more sophisticated, more adult groove that made tremendous use of Peebles' magnificent vocals! This 44 track package features some of the best tunes from those years – a great overview that includes "I Can't Let You Go", "I Can't Stand The Rain", "Do I Need You", "Put Yourself In My Place", "Part Time Love", "I Pity The Fool", "Breaking Up Somebody's Home", "I'll Get Along", "Generation Gap Between Us", "Heartaches", "If You Got The Time", "Mon Belle Amour", "Waiting", "Good Day For Lovin", "Beware", "Dr Love Power", and "Come To Mama". ~ Dusty Groove

HENRI GUEDON – COSMOZOUK PERCUSSION

The coolest grooves we've ever heard from percussionist Henri Guedon – a really wonderful blend of Latin, Caribbean, and jazz-based influences – all filtered into a very special sound! There's plenty of percussion at the core, but there's also some sweet keyboards too – used sparely, so that the album's not a funky electric one – but in just the right ways to bring in a cool sort of 70s funk touch to the whole record – almost in some of the ways you'd find with Nuyorican funk of the same time! Vocals are great, too – mostly in French – but the instrumental element is what really moves us – and it moves us plenty! Titles include "Brujeira", "Tou Patou Feme", "Guajira Contestation", "Bomba Miscien", "Vulcano", and "Marcel Song". (Beautiful pressing – super heavy cover and vinyl!) ~ Dusty Groove

JIMMY SMITH - SIT ON IT / UNFINISHED BUSINESS

Great late 70s work from Jimmy Smith – two albums back to back on a single CD! One of our favorite later albums from organist Jimmy Smith – and a set that cooks heavily in a wicked blend of jazz, funk, and soul! The style's a bit like the groove that Johnny Hammond hit during his Gears period – arranged by Eugene McDaniels and Alan Silvestri, with an approach that's somewhere between Larry Mizell and Skip Scarborough – tight grooves, bits of vocals, yet plenty of room for Smith's keyboard solos to take off over the top! Players include Herbie Hancock on piano, Alan Silvestri on guitar, and Lenny White on drums – but the main star is Jimmy – who's grooving massively over the top of the album, with soaring solos that are some of his best work from the late 70s.

Our favorite track on here is a masterful take of "Can't Hide Love", but there's a lot of other nice funky tracks like "Slippery Hips", "My Place In Space", and "Give Up the Booty". Unfinished Business is mighty soulful business from the great Jimmy Smith – a set for Mercury Records that updates his sound slightly, yet also hits some classic Hammond lines too! Jimmy plays a bit of acoustic piano and keyboards in addition to his classic organ – and works here in a setting that's tightly arranged, yet mostly small combo – with work from Ray Crawford on guitar, Nolan Phillips on tenor and flute, and added percussion from Buck Clarke and Stephanie Spruill. Rhythms step along nicely in kind of a 70s take on 60s soul jazz modes – leaving lots of room for Jimmy to open up on his solos – but there's also a few other more ambitious moments, including a great take on "Serpentine Fire" arranged by Ronnie Foster – and a warmly wonderful "Stevie" – which is a suite of tracks dedicated to Stevie Wonder. Other titles include "8 Counts For Rita", "Blues For Charlie", "Until It's Time For You To Go", and "Norristown PA". ~ Dusty Groove 

RANDY CRAWFORD & JOE SAMPLE LIVE

Randy Crawford and Joe Sample have been making music together in one form or another for nearly 36 years. From their first hit together in 1979, "Street Life" (which Randy sang with Joe and The Crusaders) to "One Day I'll Fly Away," "When Your Life Was Low" and "Last Night at Danceland," to their recent duo collaborations on the GRAMMY®-nominated CDs - Feeling Good (2006) and No Regrets (2008), they've made music that people remember. They remember the songs. They remember the melodies. But above all, they remember Randy's incredible voice - and Randy's voice is truly one of the most memorable of all the singers today.

Recorded on tour in Europe with Joe on the piano joined by his son Nicklas Sample on upright bass and the incomparable Steve Gadd on drums, Live is a true gem. The album contains Randy's and Joe's classics "Street Life," "Almaz" and "One Day I'll Fly Away," as well as choice tracks from their recent duo studio releases Feeling Good and No Regrets - "Everyday I Have the Blues," "Me, Myself and I" and Randy's rendition of the Edith Piaf classic "No Regrets."

Randy Crawford & Joe Sample Live Tracklist
1. Every Day I Have The Blues
2. Feeling Good
3. Tell Me More and More and Then Some
4. Rainy Night In Georgia 5.
5. This Bitter Earth
6. Me, Myself and I 
7. No Regrets
8. One Day I'll Fly Away
9. Almaz
10. Street Life
11. Last Night In Danceland

HALIE LOREN - STAGES

"Her songwriting abilities continue to demonstrate a laudable maturity."
- Chris Loudon, JazzTimes

"Though vocalist Halie Loren has made a name for herself by bringing her warm and inviting alto to bear on a mixture of pop and jazz classics, she has received far too little recognition in the United States."
- Dan Bilawsky, All About Jazz

A story is always better when sung through the lips of someone like Halie Loren. Her live re-release album Stages creates a captivating story, each song leaving the listener's ears insatiate, yearning to hear, "what happens next?" In this live recording, Loren's sultry delivery of perfectly articulated melodies, naturally warm in tone, touches her listeners note by note, creating a symphonic experience to be remembered. Stages captures the intimate essence of two of Loren's most revered live performances -- constantly calling listeners all over the world back for more.

Originally released in 2010, Stages is Loren's first-ever live album. By popular demand, the album is being re-issued, with two never-before-released live bonus tracks, by Justin Time Records on July 10, 2012.

Recorded in 2009 at two different Oregon performances, Stages seamlessly fuses standards like "Summertime" and a sassy "Is You Is or Is You Ain't My Baby" with pop tunes like U2's "Still Haven't Found What I'm Looking For." Interlacing these tunes are Loren's own original compositions, folky-pop tune "Free To Be Loved By Me" and, "They Oughta Write a Song," title track of her 2008 release. In addition, this newly enhanced release features two bonus tracks, "I'd Rather Go Blind," and "Nearness of You."

Stages features the complementary musical craftsmanship of Loren's longtime collaborators: pianist Matt Treder, bassist Mark Schneider, drummer and percussionist Brian West, and trumpeter Tim McLaughlin.

Our live shows are quite eclectic, and feature songs from even further outside the generally jazzier genre that is represented on our studio albums... we take chances, and some of these songs were examples of that," recalls Loren. "The rendition of U2's "I Still Haven't Found What I'm Looking For" was the product of my coming to Matt Treder (piano) and saying, 'what if we try it as a ballad?'. We rehearsed it through one time, and then performed it on stage. Now it's on an album for the whole world to hear. The same is true for several of the original songs on Stages -- It was our first time performing them as a band outside of our rehearsal space. Sometimes things go right the first time around, and have their own kind of magic, and it's great to capture that when it happens."

Ultimately it is Loren's warm and playful delivery of these melodies that grants her the freedom to seemingly effortlessly join these eclectic genres together into one complete album. Stages thus, is the result of Loren's gifted ability to capture the intimate ambiance of a live performance into a timeless recording.

"Capturing the energy and spontaneity of a live performance is always one of my goals when recording in the studio," says Loren. "The innate quality of the 'live' sound and sparkle is my favorite part of creating a live CD... it's like inviting listeners from all over the world to attend a concert playing exclusively for them through their stereos or iPods. It makes the concert experience accessible to all. I'm thrilled to be able to share the newest version of Stages with fans around the globe."

Loren's sound has been compared to those of Diana Krall and Norah Jones. These comparisons are a reflection of Loren's cross-genre success. Her musical career started when Loren was just a teenager, winning first place at national songwriting contests in jazz, inspirational, and country music. Her mastery of diverse genres blends musical boundaries into a seamless sound that only Loren can deliver.

Although still in her twenties, Loren's voice has been inviting listeners into her intimate sound worldwide long before her release of Stages. Since 2005, she has released five albums. Loren's debut jazz album, They Oughta Write a Song (2008), awarded her "Best Vocal Jazz Album" at the 2009 JPF Music Awards. With distribution in Asia through JVC/Victor Entertainment, it became Japan's No. 2-selling jazz album of the year.

"Thirsty," Loren's original song from her album After Dark (2010), won the listener-determined Vox Pop award for best jazz song at the 10th Annual Independent Music Awards. After Dark awarded Loren "Artist of the Year," by online reviewer Wildy's World.

Heart First (2012), Loren's most recent release, showcases her craftsmanship for eclectic balance of jazz standards, re-imagined pop classics, as well as Loren's own original compositions. Heart First won Jazz Critique Magazine's "Golden (top) prize" for Best Vocal Album in its annual Jazz Audio Disc Awards 2011.

Collaborating with Grammy® Award-winning and chart-topping musicians and songwriters since she was a teenager, Stages is the manifestation of Loren's musical maturation. Her diverse musical background thus allows Loren to take creative liberties musically and vocally, depending on how she chooses to tell each story. As one reviewer comments, "her respect for the past is undeniable, while her finger on the pulse of modern music gives her songs a wide appeal that reaches far beyond jazz clubs." And that's just it, Loren doesn't appeal to merely one specific genre of like-minded listeners, she accomplishes something deeper, touching directly the hearts and souls of sentient beings throughout the world.

Loren's genre-crossing albums have reached No. 1 on Amazon Japan's jazz chart and are consistent top-ten contenders on jazz and pop radio. Success has brought Loren's music to ever-widening audiences, including sellout concerts at the Blue Note and the Cotton Club in Tokyo, headlining the Ginza Festival in 2010, and several consecutive tours in the US, Europe, and Asia.

A well-revered singer, songwriter, and musician, and also storyteller, Loren has finely crafted a live album that grants listeners all over the world intimate access to Loren's stage. Stages unites Loren and her listeners through one very sentient heartstring.

halieloren.com

THE PRESERVATION HALL 50TH ANNIVERSARY COLLECTION BOX SET

Fifty years after a former art gallery on St. Peter Street became a haven and platform for the surviving musicians who made New Orleans the birthplace of jazz, The Preservation Hall 50th Anniversary Collection box set celebrates their contributions. This deluxe 4-CD, 58-track collection will be available September 25 through Legacy Recordings.

The Preservation Hall 50th Anniversary Collection includes five previously unissued tracks that were recorded at Allen Toussaint's Sea-Saint Studios over the years: "In The Evening (When The Sun Goes Down)" (1967); "Precious Lord" (1970); "C. C. Rider" (1981); and "I Get The Blues When It Rains" and "Nellie Grey" (both 1986). After Hurricane Katrina ravaged the state-of-the-art studios in 2005, Preservation Hall producer and musician Ben Jaffe (son of original producer, Preservation Hall Jazz Band member and founder Allan Jaffe) was able to recover many of the tapes and restore a portion of the music.

In presenting its comprehensive history, The Preservation Hall 50th Anniversary Collection draws from 19 albums (and one bonus CD) that were recorded and released between 1962 and 2010, on the Atlantic Records, CBS Records, Sony Music, and Preservation Hall Recordings labels. Tracks are sequenced in non-chronological order, so the listener can appreciate the seamless transitions of the music and the musicians' lineups from decade to decade.

For example, on disc two, the 1995 recording of "(True) You Don't Love Me" (originally popularized by Little Miss Cornshucks), featuring Wendell Brunious on trumpet and vocal, and Narvin Kimball on banjo, is followed by 1962's "In The Sweet Bye And Bye," featuring George Lewis on clarinet and trombonist Big Jim Robinson. The latter is from the Atlantic sessions of July 1962, produced by Nesuhi Ertegun and engineered by Cosimo Matassa (inducted into the Rock And Roll Hall Of Fame in 2012, the man responsible for the career-defining hits of Fats Domino, Little Richard, Lee Dorsey, and many others).

They are followed by the venerable "I'll Fly Away" from American Legacies, the 2010 collaboration between Preservation Hall musicians and the Del McCoury Band; and then the 2001 PHJB lineup's version of "That Bucket's Got A Hole In It" with 'Tuba Fats' on vocals. Then it's back to the 1962 Atlantic sessions for "Love Song Of The Nile" with Billie Pierce on piano and vocals, De De Pierce on trumpet, bassist 'Papa' John Joseph, and George Lewis. Next comes a 2009 cover of Jimmie Rodgers' "Blue Yodel #9" by trumpeter Mark Braud, singer Clint Maedgen, and producer Ben Jaffe on tuba (as Jaffe reminds the reader that Rodgers' recording of the song with Louis Armstrong "was one of the first times a white artist and an African-American artist collaborated on record"). Then it's back to the 1962 lineup for their version of Armstrong's "Shine," and so on throughout the box set, as decades cojoin and the ultimate dream radio playlist evolves.

Moving the proceedings along and providing invaluable documentation are Ben Jaffe's song-by-song annotations. "Billie and De De Pierce were two of my favorite people," Jaffe notes of "Eh La Bas," the box set's first song. "They were incredibly sweet and generous with their time. I remember De De's leathery hands and Billie's short, stubby fingers. I was 5 years old when they gave me a Rock 'Em Sock 'Em robot for Christmas. I thought it was the coolest thing ever, the kind of gift you receive from your grandparents... 'Eh La Bas' is one of my favorite tunes... De De sings it in Creole... He spoke Creole to Billie... I could pick up every other word. It was like going to my grandparents' house and hearing them speak Yiddish... Even if you couldn't pick up the words, you knew what they meant!"

In 2009, on a break from the Jazz & Heritage Festival, Pete Seeger and his grandson Tao (with his bandmates in the Mammals, Michael Merenda and Ruth Ungar) showed up at the Hall to record "We Shall Overcome" with the PHJB.

As Jaffe notes: "Mr. Seeger was a hero to my parents. He was an inspiration to them, a guiding light, and acted as a steadfast moral gauge. I remember meeting Mr. Seeger for the first time almost 30 years ago late at night, down on the Canal Street wharf on the Spanish Plaza right where the U.S.S. President used to dock. During Jazz Fest, there used to be late night shows on the President. Mr. Seeger was sitting by the dock. He and our Dad exchanged a few niceties. I remember Mr. Seeger putting me on his lap and singing me a lullaby. It felt like being back in the womb. Being at Preservation Hall, playing 'We Shall Overcome' with Mr. Seeger and his grandson Tao, was one of the most beautiful and proudest moments of my life. I think our Dad would have really enjoyed being there that day."

In many ways, The Preservation Hall 50th Anniversary Collection is a family's story, and a tribute to Allan Jaffe (1935-1987). A trained musician from Pennsylvania, Jaffe frequently visited New Orleans when he served as a GI in the 1950s at Fort Polk, about four hours northwest of the Crescent City. He and his newlywed wife emigrated there in 1961, and fell into the second line of a parade that wound up at an art gallery. The owner actively promoted jam sessions at his gallery by the elder founding fathers of jazz. Most of them were born in the late 19th century, and had few outlets for their pure jazz (not Dixieland!) in the postwar era of the 1950s.

The aging gallery owner took a chance on the Jaffes, suggesting they take over the gallery lease, "with the idea," as Ben writes, "of our young parents formalizing the jam sessions into organized, nightly performances by the living legends of New Orleans Music, most of which had been forgotten, locked out by changes in the social landscape and the bottom line hustle of Bourbon Street." Allan Jaffe relished his role, not only as impresario but as tuba player (in lieu of string bass) at sessions.

Atlantic Records co-founder Nesuhi Ertegun's field trip of July 1962 was immortalized on the four Jazz At Preservation Hall LPs recorded there: Volume 1: The Eureka Brass Band of New Orleans; Volume 2: Billie & De De Pierce/ Jim Robinson's New Orleans Band; Volume 3: Paul Barbarin's Band/ Punch Miller's Bunch & George Lewis; and Volume 4: The George Lewis Band Of New Orleans. Six tunes from those LPs are heard on the 50th Anniverary Collection. The ages of the musicians at those seminal dates tell a story, among them 'Papa' John Joseph (85), Alcide 'Slow Drag' Pavageau (74), George Lewis (62), Punch Miller (68), Big Jim Robinson (69), and 'youngsters' Emanuel Sayles (55), Billie (55) and De De Pierce (58), and Louis Nelson (59). In connection with the Atlantic releases, newsman David Brinkley featured the Preservation Hall on the old NBC Nightly News.

Jaffe then took over as producer, and launched the Preservation Hall Recordings label. The first LPs were released in 1964, Sweet Emma And Her Preservation Hall Jazz Band (pianist Sweet Emma Barrett was 67 at the time); and in 1966, New Orleans' Billie And De De And Their Preservation Hall Jazz Band.

A decade later in 1976, the PHJB signed with CBS Records. Four LPs were issued over the next ten years, all produced by Jaffe, and simply titled New Orleans Volume I (1976), New Orleans Volume II (1981), New Orleans Volume III (1983, subtitled When The Saints Go Marchin' In, whence comes the version of the classic song heard on this box set), and New Orleans Volume IV (1986).

When Allan Jaffe died from melanoma in 1986, at age 51, Ben writes "It left a wide open hole in our immediate family and at Preservation Hall." A trained bassist whose life was inextricably bound up with the band, Ben went off to Oberlin College in 1989. Upon his graduation four years later, "I returned to New Orleans to manage the Hall and tour and record with the band on string bass. I was 22."

The following year, the band recorded the first of two albums for the Sony Music Masterworks division. From In The Sweet Bye And Bye (1994), produced by Ben (who played bass) and engineered by Delfeayo Marsalis, comes "Do Lord," featuring Ellis Marsalis on piano, Dr. Michael White on clarinet, and elder statesman Narvin Kimball (age 85) on banjo; and "Sing On" with young Wendell Brunious on trumpet, son of the band's great trumpeter John Brunious. The second Sony Music album was Because Of You (1995), again produced by Ben Jaffe (on bass) and (co-) engineered by Delfeayo Marsalis. From that album comes the aforementioned "(True) You Don't Love Me," a showcase for Wendell, who led the band for many years in the '90s.

Under Ben's guidance, the Preservation Hall Jazz Band flourished in the '90s and the '00s, continuing to release new albums, and becoming a worldwide touring attraction. They perform some 100 shows a year, bringing traditional New Orleans jazz to old and new audiences in the U.S. and on foreign soil. Ben lamented the passing of two childhood heroes, Percy Humphrey in 1994 (age 89) and his brother Willie Humphrey in 1995 (age 95). Banjo mentor Narvin Kimball passed away not long after Katrina; and the great John Brunious died in 2008 (age 67).

In 2010, the Preservation Hall Jazz Band released a landmark double-CD entitled Preservation: An Album to Benefit Preservation Hall & the Preservation Hall Music Outreach Program. Musicians from every strata flocked to the sessions, among those being the five who are featured on this new box set: Pete Seeger and clan on the aforementioned "We Shall Overcome"; Andrew Bird on "Shake It And Break It"; Yim Yames of My Morning Jacket on "Louisiana Fairytale"; Tom Waits on "Tootie Ma Is A Big Fine Thing"; and Richie Havens on "Trouble In Mind." Among the many artists who collaborated on separate tracks for this project were Terence Blanchard, Brandi Carlile, Ani DiFranco, Dr. John, Steve Earle, Merle Haggard, Jason Isbell of Drive-By Truckers, Angelique Kidjo, Amy LaVere, Buddy Miller, Italy's Paolo Nutini, and others.

Among those 'others' was contemporary bluegrass star Del McCoury, who appeared on three tracks. The collaboration was so enjoyable that Del signed up his group the following year for a full album collaboration with the Preservation Hall Jazz Band, entitled American Legacies. Two songs from that album, "I'll Fly Away" and "A Good Gal Is Hard To Find" are among the many highlights of this new set.

I get great pleasure," Ben writes, "out of a song that has been interpreted, reinterpreted and performed for years and is still as fresh and new as the day it was born... That's something music does... stretch time, overlap traditions, change history... New Orleans Music is meaningful... It is vital and full of life. It can be happy and joyous. It can be sad and mournful. It has no language barrier. It delivers a universal message we, the Preservation Hall Jazz Band, carry with us everywhere we travel."

THE PRESERVATION HALL 50th ANNIVERSARY COLLECTION PRESERVATION HALL JAZZ BAND

Disc One – Selections: 1. Band introduction by Allan Jaffe (live, 1972) * 2. Eh La Bas (E) * 3. Oh, Didn't He Ramble (I) * 4. I Get The Blues When It Rains (1986, previously unissued) * 5. St. James Infirmary (King Britt Remix) (P) * 6. Ice Cream (Q) * 7. In The Evening (When The Sun Goes Down) (1967, previously unissued) * 8. Down By The Riverside (C) * 9. Corinna, Corinna (L) * 10. I'm Alone Because I Love You (D) * 11. El Manicero (Q) * 12. Do Lord (J) * 13. St. James Infirmary (E) * 14. Just A Little While To Stay Here (G) * 15. Complicated Life (O) * 16. We Shall Overcome (S).

Disc Two – Selections: 1. His Eye Is On The Sparrow (N) * 2. Shake It And Break It (R) * 3. Nellie Grey (1986, previously unissued) * 4. When The Saints Go Marchin' In (H) * 5. Little Liza Jane (N) * 6. (True) You Don't Love Me (K) * 7. In The Sweet Bye And Bye (C) * 8. I'll Fly Away (T) * 9. That Bucket's Got A Hole In It (N) * 10. Love Song Of The Nile (A) * 11. Blue Yodel #9 (Q) * 12. Shine (A) * 13. Burgundy Street Blues (C) * 14. I Want A Little Girl (live, 1972) * 15. Chimes Blues (D).

Disc Three – Selections: 1. Whenever You're Lonesome (D) * 2. Lord, Lord, Lord, You Sure Been Good To Me (H) * 3. Sing On (J) * 4. Joe Avery (F) * 5. Louisiana Fairytale (R) * 6. Shake That Thing (N) * 7. Short Dressed Gal (Q) * 8. Freight Train Blues (E) * 9. Over In The Gloryland (O) * 10. A Good Man Is Hard To Find (D) * 11. Nobody Knows The Way I Feel This Morning (B) * 12. I Ain't Got Nobody (G) * 13. Amen (F).

Disc Four – Selections: 1. Tootie Ma Is A Big Fine Thing (R) * 2. Bourbon Street Parade (I) * 3. I'm Confessin' (L) * 4. Le Petit Fleur (P) * 5. One More 'Fore I Die (T) * 6. Shake It And Break It (G) * 7. C. C. Rider (1981, previously unissued) * 8. That's A Plenty (M) * 9. Westlawn Dirge (Q) * 10. Who Threw The Whiskey In The Well? (O) * 11. Peanut Vendor (E) * 12. Trouble In Mind (R) * 13. A Good Gal Is Hard To Find (T) * 14. Precious Lord (1970, previously unissued).

Album index:
(A) – Jazz At Preservation Hall – Volume Two: Billie & De De Pierce/Jim Robinson's New Orleans Band (Atlantic Records, recorded 1962)

(B) from Jazz At Preservation Hall – Volume Three: Paul Barbarin's Band/Punch Miller's Bunch & George Lewis (Atlantic Records, rec. 1962)

(C) from Jazz At Preservation Hall – Volume Four: The George Lewis Band Of New Orleans (Atlantic Records, rec. 1962)

(D) from Sweet Emma And Her Preservation Hall Jazz Band (Preservation Hall Recordings, rec. 1964)

(E) from New Orleans' Billie And De De And Their Preservation Hall Jazz Band (Preservation Hall Recordings, rec. 1966)

(F) from Preservation Hall Jazz Band – New Orleans Volume I (CBS Records, rec. 1976)

(G) from Preservation Hall Jazz Band – New Orleans Volume II (CBS Records, rec. 1981)

(H) from Preservation Hall Jazz Band – When The Saints Go Marchin' In - New Orleans Volume III (CBS Records, rec. 1983)

(I) from Preservation Hall Jazz Band – New Orleans Volume IV (CBS Records, rec. 1986)

(J) from Preservation Hall Jazz Band – In The Sweet Bye And Bye (Sony Music, rec. 1994)

(K) from Preservation Hall Jazz Band – Because Of You (Sony Music, rec. 1995)

(L) from Preservation Hall Hot 4 with Duke Dejan (Preservation Hall Recordings, rec. 1996)

(M) from Songs Of New Orleans (Preservation Hall Recordings, rec. 1999)

(N) from Shake That Thing (Preservation Hall Recordings, rec. 2001)

(O) from Hurricane Sessions (Preservation Hall Recordings, rec. 2005, 2006)

(P) from Preservation Hot 4 – St. Peter Street Serenade (Preservation Hall Recordings, rec. 2008)

(Q) from New Orleans Preservation Volume 1 (Preservation Hall Recordings, rec. 2009)

(R) from PRESERVATION (Preservation Hall Recordings, rec. 2009)

(S) from PRESERVATION (Bonus Disc) (Preservation Hall Recordings, rec. 2009)

(T) from Preservation Hall Jazz Band & The Del McCoury Band – American Legacies (Preservation Hall Recordings, rec. 2010)