NEW RELEASES - PIANO OVERLOAD, JOEY DEFRANCESCO / LARRY CORYELL / JIMMY COBB, BROWNOUT

PIANO OVERLOAD - ANINHA MISSION 

Unheard Piano Overlord material – the hypnotic piano & Rhodes-spun recordings of Guillermo Scott Herren – the visionary mind behind Prefuse 73 and Savath Y Savalas! Piano Overlord arguably finds Herren at his loosest – though Aninha Mission has plenty of the moody, hazy beats that Herren works so well with in other guises. Speaking of beats, John McEntire plays drums on the record, which also features some additional percussion by David Perez and production by Elvin Estela and Carlos Nino. Titles include "Conception", "Reception", "I Moved Here", "Somewhere South", "Better Things", "Eygtology", "Untitled" featuring vocals by Cibelle, "En Sveno", "Aninha" and more. ~ Dusty Groove

JOEY DEFRANCESCO / LARRY CORYELL / JIMMY COBB –WONDERFUL WONDERFUL

They threw in an extra "wonderful" to describe the sound of Joey DeFrancesco's Hammond on this smoking little set – tighter than ever, with wickedly fluid solos, and set up in a hip trio that includes Larry Coryell on guitar and Jimmy Cobb on drums! The album's got a tight, no-nonsense approach that takes us back to some of the best Don Patterson trio dates of the 60s – with lots of those open, flowing rhythm patterns that really set fire to Don's solos – and which here, Joey uses to show that he's one of the current kings of the Hammond! Even familiar titles come out sounding mighty darn fresh in the setting – with tracks that include "Wagon Wheels", "Solitude", "Wonderful Wonderful", "JLJ Blues", "Old Folks", and "Five Spot After Dark". ~ Dusty Groove

BROWNOUT - OOZY

As a split personality with their other notable group, Grupo Fantasma, Brownout sets out to hit the road with a compelling, funkadelic mix of psychedelic grooves from the great state of Texas. The gritty and funky "Flaximus" cements their reputation for creating spacious riffs, horny accompaniment, and classic guitar work. The wholly instrumental tune contains some Latin percussion to keep it interesting. The funky "Stormy Weather" is a classy 70's-era vocal tune created in today's age. The rootsy, earthy sound is unsurpassed by comparable artists of today. The Latin-titled "Andy Y Dando" is a funky, horn-driven delicacy with booming bass and crunchy guitars with some vocals to match. The remaining songs contain quirky electronic embellishments that bridge the gap between the worlds of funk, roots, psychedelic, soul, Latin, and jazz. The result is a groove-laden adventure with fun for the whole family. When the lights go out, Brownout will brighten your day. ~ Matthew Forss

SEAN O'BRYAN SMITH - REFLECTION

A first-call sideman who has played with an array of headliners steps out on faith as a frontman on Reflection, the second solo set by bassist Sean O’Bryan Smith that was released today on Groove Therapy Records. The 12-song mix of church evergreens and gospel hits along with a few well-crafted originals spotlights fine musicianship from legends and hit-makers that present the material produced and arranged by Smith as contemporary jazz instrumentals, funky R&B grooves and enlightened pop tunes. Guest Chuck Loeb’s spirited guitar and roof-raising organ blasts spark “Blessed Be Your Name,” the first single that is amongst the most added tracks and garnering the most increased spins at radio.

Reflection provides a complete picture of the musical missionary - past, present and a glimpse into the future. Originally conceived three years ago as an EP, Reflection evolved into a full-length record the more Smith listened to hymns and worship tunes. Rooted in soul music and tracked using vintage recording nuances from the STAX era, twenty-three acolytes were quick to join the processional recorded in Smith’s Nashville studio including Loeb, Randy Brecker, Gerald Albright, Frank Catalano, Jack Pearson (The Allman Brothers), Jeff Franzel (Taylor Swift, *NSYNC, Clay Aiken), vocalist Lisa Hearns and actor-musician-spoken word artist Malcolm Jamal-Warner.

Critical Jazz called Reflection “…a wonderfully moving hybrid of soul, jazz, and gospel from standards to inspired originals…A truly unique and inspirational hybrid finding a well-deserved happy place somewhere between gospel and contemporary jazz.” SmoothJazz.com wrote “It’s different, it’s refreshing, and yes, it is indeed filled with power and inspiration you won’t soon forget. Sean O’Bryan Smith’s Reflection is not to be missed!”

Opening the album in a celebratory mood, Smith’s rambunctious bass plucks the lead melody shadowed by a stirring organ on a power funk rendition of “How Great Thou Art.” In Smith’s hands, “Blessed Assurance” becomes a soul tune that would be at home on adult contemporary radio. The laid back groove cuddles a warm bass melody, Franzel’s eloquent piano musings and comforting sax licks. Smith approached his bass-work on the somber, contemplative “Mighty To Save” as an orchestral piece. His bass melody is echoed by electric guitar amidst expressive piano and organ noodling. Franzel’s original, “Me Without You,” is an aching torch song featuring Hearns accompanied by piano and six-string bass. An original authored by Smith, “Called” gives voice to Albright’s reassuring sax on the invigorating contemporary jazz affirmation.

“Will The Circle Be Unbroken” is converted into a shuffling Dixieland march that detonates midpoint into a straight-ahead jazz jam illuminated by Catalano’s swinging sax as Pearson’s slide guitar glorifies Smith’s bass oration. Brecker’s prayerful trumpet provides a personal declaration on the melodically meditative “Give Me Jesus.” The bass prophet presides at the pulpit to deliver a rousing sermon as a celestial choir bears witness on the gospel classic “The Blood Will Never Lose Its Power.” A vocal number highlighting keyboardist-crooner Gary A. Brown, Smith’s five-string bass is particularly gregarious, firing fast and furious flourishes on the love song of faith, loyalty and devotion. A marching band drum line rips the revelry in a celebration of spirit on “Battle Hymn of the Republic” as lavish horns fire up the praise on the mélange that dishes tastes of New Orleans and South Africa. Smith composed the music for the title track, a powerful and contemplative bass, B3 organ and spoken word piece that closes the collection. His probing bass invites a soul-searching journey, an honest introspective rumination on self-love and surrendering to faith.
On Saturday (July 21), Smith will perform at an album release gig at the Snow Basin Ski Resort in Snow Basin, Utah that will be filmed for a concert DVD.

A self-taught musician from Chattanooga, Tennessee who presently resides in Nashville, Smith has recorded with Keith Urban, Lady Antebellum, Anna Wilson, Darius Rucker, The Oak Ridge Boys, Larry Carlton and Rick Braun. Touring with Billy Ray Cyrus’ during the country-pop star’s peak generated live work with Rascal Flatts, Kenny Rogers, Wynonna, Esperanza Spaulding, Victor Wooten, Brian Bromberg, amongst many others, further propelling the bassist into becoming a premiere sideman. His eclectic 2008 solo debut, Tapestry, features 32 musicians and underscores his astute and agile bass techniques. Grounded and centered, Smith strives to make music with meaning at the highest level. For more information, please visit http://www.seanobryansmith.com/.

UPCOMING RELEASES - VAN MORRISON, LIONEL LOUEKE, GILLES PETERSON'S BROWNSWOOD BUBBLERS

VAN MORRISON - BORN TO SING: NO PLAN B

Van Morrison returns to Blue Note Records for a new studio album Born To Sing: No Plan B to be released on October 2. Morrison previously released the Grammy-nominated 'What's Wrong With This Picture?' on Blue Note in 2003. A six-time Grammy winner and member of the Rock n' Roll Hall of Fame and Songwriters Hall of Fame, Morrison is one of the most influential artists of the modern age. His poetically impressionistic lyrics and unique fusion of rock n' roll with soul, jazz and folk have deep emotional resonance and universal appeal. His transcendent masterpieces 'Astral Weeks' and 'Moondance' are typically ranked among the best albums of all-time, while his more recent recordings 'Magic Time' and 'Keep it Simple' enjoyed Top 10 debuts. Born To Sing: No Plan B was produced by Van and recorded in his native Belfast. ~ bluenote.com

Born To Sing: No Plan B Tracklisting:
1. Open The Door (To Your Heart)
2. Going Down To Monte Carlo
3. Born To Sing
4. End Of The Rainbow
5. Close Enough For Jazz
6. Mystic Of The East
7. Retreat And View
8. If In Money We Trust
9. Pagan Heart
10. Educating Archie

LIONEL LOUEKE - HERITAGE
On August 28, the acclaimed West African jazz guitarist/vocalist Lionel Loueke will release Heritage, his dynamic third Blue Note album, which was co-produced by label mate Robert Glasper. Heritage finds Loueke—who was hailed by The New York Times as "a gentle virtuoso"—exploring a more electric sound with a new trio featuring Derrick Hodge on electric bass and Mark Guiliana on drums. The album presents seven new compositions by Loueke, two by Glasper, and one co-written by the two. Glasper also contributes piano and keyboards to six tracks, while singer Gretchen Parlato provides background vocals on two tracks. ~ bluenote.com


Heritage Tracklisting:
1. Ifê (7:37)
2. Ouidah (6:23)
3. Tribal Dance (7:14)
4. Hope (7:34)
5. Freedom Dance (4:40)
6. Chardon (6:12)
7. Farafina (5:29)
8. African Ship (2:47)
9. Goree (3:41)
10. Bayyinah (9:24)

BROWNSWOOD BUBBLERS EIGHT - GILLES PETERSON (VARIOUS ARTISTS)

Eight chapters deep, we’re chuffed to be able to bring you another collection of bubblers handpicked by Gilles P. One Little Plane’s ‘She Was Out In The Water’ has been a staple of his radio playlists – a beautifully crafted folk ditty produced by Kieran Hebden aka Four Tet. Likewise, Darkhouse Family’s heavyweight soul jam ‘Take On The World’ featuring the mighty Om’Mas Keith of Sa-Ra Creative Partners fame. As ever there are a fistful of exclusives to be had… from the haunting electronic soul of Hadyn and Everett James (via personal recommendations from Taylor McFerrin and Stacey Epps respectively) to the raggedy bump ‘n’ grind of Hello Skinny’s ‘Crush’ and Nick Mulvey’s rambling ode to the River Lea. Gilles’ love of Brazil shines ever bright with the melodic and sun-drenched ‘Linha de Frente’ by Criolo and there’s a nod to the Grammy-nominated French-Chilean rapper Ana Tijoux with the gorgeous ‘Volver’. ~ gillespetersonworldwide.com

Brownswood Bubblers Eight
1. One Little Plane – She Was Out In The Water
2. Hello Skinny – Crush
3. Leron Thomas – Mr New York
4. Criolo – Linha de Frente
5. Def Sound – (A)gain
6. Hadyn – Manchild
7. Ana Tijoux – Volver
8. Nick Mulvey – River Lea
9. Rough Fields – The Harbour Wall
10. Darkhouse Family feat. Om’Mas Keith – Take On The World
11. Everett James – Shot Through The Heart
12. Rainy Milo – ‘Bout You
13. 2morrows Victory – Lift Off

BLACK ROOTS - ON THE GROUND

Following the 2011 release of Black Roots – The Reggae Singles Anthology and the 2012 rerelease of All Day All Night deluxe version by reissue label Bristol Archive Records, Black Roots and their label Nubian Records have now teamed up with Bristol Archive’s parent label Sugar Shack Records to release their brand new album On The Ground.

It may be more than twenty years since the original line up were together in the studio, but for their new record they’ve picked up where they left off and are right back in that classic Black Roots groove that will keep their existing fans happy and appeal to a whole new generation of reggae lovers, many of whom weren’t born when Black Roots released their string of classic records.

The music is entertaining and upbeat, but it is still roots music. These songs have a social message that is just as relevant in the troubled world we inhabit in 2012 as the band’s songs were during the ups and downs of the 1980s.

Opening track “I Believe” makes it clear that for all the progress we’ve made, for many people life today is just as hard as it’s ever been. Surviving the system isn’t easy. Second track “Pompous Way” is also concerned with society, but this time with fixing it and reaching out to the next generation rather than labelling them as the problem. The music itself harks back to Black Roots of old and other than the mention of the digital age could easily have been recorded thirty years ago.

Another song that sounds like it could have come from the band’s first incarnation is “Militancy” definitely sounding like Black Roots of old and also touching on the theme of slavery, a theme that receives further exploration in the aptly titled “Slavery” recalling the memory of the great evil that befell millions of Africans and their descendants.

There are more upbeat songs recalling a life in rural Jamaica with “Long Long Ago” or celebrating Africa with “Oh Mama Africa.” In fact whatever the message the band are delivering they still do it with great and enjoyable music, the new members of the band more than earning their place alongside the founding fathers.

More than three decades after they formed, Black Roots are back with a brand new 17 track CD album that defies the passage of time and will appeal to all reggae fans, released on September 10th on CD, limited edition vinyl and digital download, available from all good retailers.

http://www.sugarshackrecords.co.uk/ 

BRANFORD MARSALIS QUARTET - FOUR MFS PLAYIN' TUNES

Legendary saxophonist Branford Marsalis and his tight-knit working band will deliver Four MFs Playin’ Tunes (August 2012) on compact disc and digital formats. This is the first recording of the Branford Marsalis Quartet with an electrifying young drummer that joined the band three years ago and the results are a nimble and sparkling album, featuring ambitious original compositions by members of the band, a Thelonious Monk classic, and one standard dating to 1930. The record blends the beautiful and subtle ballad sounds of 2004 release Eternal with the ecstatic contrasts of critically-acclaimed Braggtown. In other words, this just might be the Branford Marsalis Quartet’s most sublime musical achievement yet.

On Four MFs Playin’ Tunes, the song takes center stage with the band members bringing their considerable musical expertise to bear as they focus on each tune as an important musical entity unto itself and not merely a vehicle for showcasing individual talent. Branford Marsalis elaborates: “We need to quit thinking of songs as vehicles and think of them as songs, and treat each with equality… What we are trying to do is to figure out the emotional purpose of each song we play and then play according to that purpose, as opposed to musicians who spend their time developing what they call a concept.”

Those sentiments are echoed unanimously by the group from the youngest and most recent member, drummer Justin Faulkner, who joined the band in 2009 and has been impressing audiences and critics alike during the band’s electric live performances, to core fixtures pianist Joey Calderazzo and bassist Eric Revis. Asked to describe the challenge of his first recording session with the Quartet, Faulkner responds with a question, “What can we do to make each tune an actual song rather than just a bunch of notes on a page?”

Asked about the band concept, Calderazzo clarifies, “I wouldn’t call it a concept. It’s a way we communicate… like a conversation, a dialog.” Revis describes the recording sessions as “natural, like home” and characterized the band as “family” stressing that the “implicit trust” among the band members is key to the success of their collaboration. Faulkner adds, “Like Eric said, we’re a family, and in a family discussion, everyone has something to give to the conversation.”

On his perspective as a bandleader, Marsalis explains, “When you hire people who you feel are talented, 95% of the time, they’re gonna play the right thing. They know, and they’ve listened to enough music to know what’s gonna make the song work, and you just wait a second, and they’ll hook it up, they always do. They always hook it up.” Refuting the suggestion that he chose to include compositions contributed by other band members to be viewed as a democratic bandleader, he stated simply, “they’re the best tunes. It’s always about good tunes.”

In describing Four MFs Playin’ Tunes, Marsalis recalls a television interview program on which famed bandleader and drummer Art Blakey was asked to describe jazz in one word. Blakey’s answer? “Intensity, intensity, intensity.” The Branford Marsalis Quartet has built its reputation by bringing intensity to each and every live and recorded performance, including the ballads. Says Marsalis, “Even if people don’t know what we’re doing, they’ll feel what we’re doing.”

~ marsalismusic.com

MICHELE MELE - CHA CHA

Michele Mele is a natural, highly connective and communicative performer and composer, who’s symbiotic collaboration with Toronto-based producer, composer and guitarist Greg Kavanagh has resulted in her recent release (and fifth gorgeous recording), Cha Cha. Michele’s previous CDs, Like This, Laugh, Feel and her 2009 well-received one-woman show and recording, Naked on the Rocks have already made quite a splash on the international music scene. Her appealing Astrud-Gilberto-ish vocals are a refreshing change from the over-wrought Divas who all too frequently hold sway on the airwaves and in the clubs.

Michele’s original compositions, highly musical arrangements, thrilling instrumental performances and charming vocal style have elicited fans throughout the world. Her supporters have been willingly and happily mesmerized by her uncanny ability to dip into the well of common human experience, and fashion melodies and accompanying lyrics that inevitably touch our hearts and souls. Through her eclectic and deeply relevant music, we can all catch a glimpse of ourselves, and of our common experience of just being human. Michele Mele is from a family of professional musicians. She began playing piano as a small child, and before long it became apparent that music was in her blood; by the time she entered high school, she had already completed all of the necessary music credits for graduation. Michele holds degrees from the University of Toronto Faculty of Music and Faculty of Music Education. As a music educator, she has conducted numerous song writing and active listening workshops at schools and other Toronto area venues.

In 1989, Michele Mele wrote the hit song, “That’s All I Know”, which was recorded by vocal artist Neil Donnell. The recording subsequently went “Gold” in Canada. Michele has also composed and arranged choral works for large choirs, and in 1991 she composed a Christmas-themed work for the Toronto Philharmonic, which they performed in concert. Michele Mele has perpetually been a favorite performer at a number of Toronto’s top music performance venues, and has also performed in New York City, throughout Canada and the U.S. and also in the Caribbean.

Michele’s debut CD, Like This, contained exclusively original material and was released to a warm reception from critics and fans alike in 2003. Her subsequent recording projects followed, culminating in the release of Cha Cha in 2012. All of Michele Mele’s CDs reflect her personal artistic vision. With the happy addition of Greg Kavanagh, Cha Cha is the stunning coalescence of Michele’s talent, clever and communicative songwriting, and the superb musicianship of her ready list of first string co-horts, including Canadian greats: Guido Basso on trumpet and flugelhorn, Michael Stuart on sax, Bill McBirnie on flute and guitarist Lou Bartolomucci.

Michele is a creative personality who also has a number of diverse specialized skills, and in addition to her musical pursuits, Michele is the mother of four beautiful children, a certified scuba diver, an accomplished trapeze artist and slalom water-skier.

michelemele.com

NEW RELEASES - MONDAY MICHIRU, HAMILTON DE HOLLANDA, KEN VANDERMARK / PAAL NILSSEN LOVE

MONDAY MICHIRU - SOULCEPTION

Fantastic sounds from Monday Michiru – quite possibly her greatest album in years, and one that really draws together all the best elements of her style! The vocals are wonderful – soaring, fluid, and filled with soul – almost more confident than ever – and set to these small group jazz arrangements that still bounce around with lots of contemporary rhythms – yet all played live, almost in a clubjazz mode – which makes for a perfect backdrop for Monday's lyrics! As always, the vibe is righteous, and the spirit is totally uplifting – the kind of amazing music that's held us rapt, watching her career for the past two decades – never disappointed, and always blown away by the rich progression in her music. Monday plays a bit of flute on the record, Ed Motta sings guest vocals on a version of the Milton Nascimento classic "Bridges" – and other titles include "Adventures", "What Is In A Soul", "Map Of The Soul", "What Defines You", "Brasilianos", "Til Morning Comes Again", and "The Elusive Song". ~ Dusty Groove

HAMILTON DE HOLANDA – BRASILIANOS 3
Really lovely work from Hamilton De Holanda – the third entry in his Brasilianos series, and possibly the most compelling so far! Hamilton plays a 10 string mandolin with effortless ease – spinning out rich tones and colors that go far beyond traditional Brazilian use of a bandolim – and working in spacious territory that also includes harmonica from Gabriel Grossi, guitar from Daniel Santiago, bass from Andre Vasconcellos, and drums from Marcio Bahia. There's plenty of jazz inflections – and in ways, the album's almost like some of the best ECM sessions of this time from the late 70s – those few that really got the mix of modes right. Titles include "JK Proibido", "Prece Ao Santo Ceu", "Primeiras Ideias", "Saudades De Brasilia", "Saudades Do Rio", "Guerra E Paz", "Caos E Harmonia", and 'A Marcha Dos Candangos". ~ Dusty Groove

KEN VANDERMARK / PAAL NILSSEN LOVE – LETTER TO A STRANGER

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

TNT BAND – ROCK N SOUL AT IT'S BEST – RE-RELEASE 4 ALBUMS OF ORIGINAL MUSIC FROM THE 70s AND 80s

Here’s a look back in time as the TNT Band re-release 4 albums of original music: Rock N Soul Volume 1; Rock N Soul Volume 2; Rock N Soul Volume 3; and Rock N Soul Love Songs

The TNT BAND was born and raised on the streets of the city of New Haven, CT., USA. Formed in the 1970s and disbanded in the 1980s this original Rock N Soul group made a major impact in East Coast Music History and composed, recorded, and produced many interesting compositions during those decades of an East Coast Style of Funk and Blues. The TNT BAND sound was Progressive Rock energized with some good Old Soul Music and Blues. A style of music the band helped in creating that was later to be known as the New Haven Sound. They toured up and down the East Coast performing in Concerts, Clubs, and Colleges from Maine to Florida.

Thomas Borino (Piano , Organ, Vocals) and Thomas Sansone (Sax, Flute, Vocals) childhood friends played in many New Haven area soul and rock bands together. Bands like the United Soul, Quake, Dead End Kids, Sweet Tulsa Band, and the CT All Star Music Revue featuring Thomas Borino, Thomas Sansone, Roger Koob, lead singer of the Premiere's (1950's) and Frontiers (1960's), and Bill Baker, lead singer of The Five Satins (1950's). The TNT BAND started when they left the band at the time they were playing with Tommy and the Rivera's a well known East Coast recording and show band with a few hits under their belt. The TNT BAND was then formed with Greg Borino (Guitar, Vocals), Jeff Evans (Drums, Vocals) Angelo Santos (Drums, Percussion), and Keith Richards (Bass).

The band began recording and performing. The band's unique sound caught on fast and the group then became in much demand. They were performing over 20 nights a month up and down the East Coast. They would write and record during the day and then perform at night. A real hard working band that always was overpaying their dues being musicians in that era. Growing up in New Haven the band was influenced by many different cultures and styles of music. All the passion and emotion of the Blues, Funk, Rock, and Jazz were all present in the city. The band reputation of excellence was based on their ability to combine strong vocal and instrumental arrangements into their compositions. Their live shows always had extended solo sections that featured the talents of each band member.

These blue eyed soul brothers could rock any house and fire up any crowd. Being introduced to the music of Motown, the Soulful sounds of Stax, Jazz, and the power of Rock n Roll at a young age helped them to nurture their art as songwriters and performers. As you listen to the these recordings of the group you can feel and picture in your mind an image of that era in time this music was created and performed. The band was always very social conscious, involved with the Community and knew what their audiences yearned for. But most important you can also hear the love that they had for their life of music. Always giving up to their fans a good time motif that was filled with a genuine heartfelt passion of joy.

When the band disbanded in the late 1980's Thomas Borino, Thomas Sansone, and Greg Borino followed their love for Jazz to form the Contemporary Jazz group, Airborne.Airborne now veterans of jazz celebrate years of recordings, jazz festivals, jazz concerts, and clubs. The members have toured across the World. Airborne has released many Award Winning and Chart Topping CD's and has received Worldwide Airplay and International Acclaim. Airborne the proclaimed "Musical Peacemakers" of Contemporary Jazz sends out an Inspirational Message of Hope to the World. - http://www.airbornejazz.com/

http://www.tntband.com/
Facebook - http://www.facebook.com/pages/TNT-BAND/303766843020123
Twiitter - http://www.twitter.com/TNTBAND2
You Tube – Concert Video’s - http://www.youtube.com/user/tntband1

RANEE LEE - DEEP SONG: A TRIBUTE TO BILLIE HOLIDAY

"Lee isn't afraid musically of plumbing the deep blue moods Holiday could never really escape."
-Peter Goddard, The Toronto Star

Ranee Lee is a true Renaissance woman. In addition to a career as a jazz singer that has taken her to stages in front of her fans around the globe, Lee is also a songwriter, award-winning actress, children's book author, and jazz educator. Despite that resume, Lee actually got her start as a dancer. In an interview with Peter Kerr of The Montrealer, she said, "I was dancing with an Afro-Cuban touring dance troupe. We were in a small town in Ontario, and had to extend the length of our performance to fill the time allotted for the show. I was chosen to sing some songs with the band to fill that time, and the audience loved it!"

In the '60's Lee worked as a singer in Toronto while also taking up the drums and saxophone to make herself more marketable. She eventually moved to Montreal and got her on-stage big-break portraying Billie Holiday in Lady Day at Emerson's Bar and Grill. Lee won a Dora Mavo Moore Award for her portrayal of the jazz legend, and thus the recording of Deep Song soon followed; "the mystique that is Billie Holiday is akin to the free spirit of a summer breeze blowing in many directions, sometimes disturbing, often refreshing, always beguiling. The allure of her music washes over you and touches your soul," reflects Lee.

Deep Song is Ranee Lee's tour de force-bringing the singer to the attention of jazz fans and concert producers worldwide for the first time. Originally released in 1989, the album has been beautifully re-mastered, and is now re-issued with two bonus tracks, "Fine and Mellow" and "Ill Wind". Lee is celebrating 40 years in Montreal, where she has become one of Canada's most popular jazz vocalists.

An extraordinary and captivating performer whether on the stage or on the bandstand, Lee's sensuous melodic interpretations are complemented by her notable musician friends, including: pianist Oliver Jones, guitarist Richard Ring, drummer Archie Alleyne, and saxophonist/flautist Richard Beaudet. In addition, Lee is joined by Milt Hinton, Billie Holiday's own bassist. Hinton writes in the liner notes, "ardent fans of Billie and listeners of all generations will enjoy the unique talent of Ranee Lee on Deep Song. It is a radiant listening experience." The album confirms Ranee Lee as truly among the elite in jazz today.

Deep Song is comprised of jazz standards made famous by Lady Day, such as: "Easy Living" and "Strange Fruit", (the latter, a Holiday signature protest song against racism), as well as songs Holiday had a hand in writing and have since become classics, including: "God Bless the Child", "Don't Explain", and "Fine and Mellow". The album opens with Buddy Johnson's melancholy "I Wonder Where Our Love Has Gone" before transitioning to the jaunty step of "When a Woman Loves a Man" and continuing to cover the breadth of Holiday's landmark career. Throughout, the power and sensuality of Ranee Lee's perfectly articulated melody lines deftly honor her predecessor.

Preserving Lady Day's essence while delivering an experience unique to Lee, All Music Guide's Scott Yanow said of Deep Song that, "Lee manages to recapture Holiday's spirit without resorting to mimicry. This tasteful effort has among its highlights 'When a Woman Loves a Man,' 'Crazy He Calls Me,' 'Easy Living,' and 'Them There Eyes.' Recommended." Notable Washington City Paper writer Joel E. Siegel, who also won a shared 1993 GRAMMY® Award for "Best Album Notes" on a Billie Holiday box set, has an ear for Lee's sound-"Brooklyn-born, Montréal based Ranee Lee retains traditional virtues that most contemporary, jazz-oriented singers, have abandoned: professionalism, humor, discipline, unpretentiousness."

In addition to the accolades of Deep Song, Lee has made strides in all of her endeavors in the subsequent decades. She wrote, produced, and performed in Dark Divas, a musical and double CD release that celebrates several of the most prominent black female singers of the century, such as Ella Fitzgerald, Dinah Washington, and Sarah Vaughan; has acted alongside Billy Dee Williams in "Giant Steps"; hosted the television show "The Performers" on BET in the U.S. and BRAVO in Canada; and wrote and illustrated the children's book Nana What Do You Say? Inspired by her song of the same name off of the 1994 album, I Thought About You. That album was also the first to be nominated for a Juno Award in the Best Mainstream Jazz Category.

In recognition of her unparalleled musical talent, Lee won the prestigious Juno Award for Best Jazz Vocal Album of the Year, for 2010's Lives Upstairs, and continues to accumulate well-revered awards and declarations. She was inducted into The Order of Canada, the country's highest civilian honor, and was given the ACTRA Award of Excellence for Lifetime Achievement. In 2010, Lee received a MECCA nomination for her performance in the Black Theatre Workshop production of "Swan Song for Maria."

As an educator, Lee has been on the faculty of The Schulich School of Music of McGill University for nearly 40 years, and has also contributed her expertise and talents at The University of Laval in Quebec City for nearly a decade. McGill honored Lee's contribution to the development of their jazz program with a prestigious award of appreciation in 2007; she also won the International Association of Jazz Education award in 2004.

Ranee Lee has released ten albums on Justin Time Records, and throughout her career has performed alongside the likes of: Clark Terry, Terry Clarke, Bill Mayes, Herbie Ellis, and Red Mitchell. Lee and her quartet will be performing Deep Song: A Tribute to Billie Holiday at festivals and various venues beginning in mid June.

Ranee Lee - Deep Song: A Tribute to Billie Holiday
Justin Time Records - Release Date: August 14, 2012
justin-time.com

GRAMPS MORGAN – REGGAE MUSIC LIVES

With a mission to heal the world through music, Soul Train Award nominee, Gramps Morgan has unleashed his second, solo, album Reggae Music Lives independently, on his Dada Son Entertainment label. A musical therapy of sorts,Reggae Music Lives is filled with angelic harmonies, authentic compositions and a unique sound brand, Gramps calls "Rockaz". Reggae Music Lives is more than Reggae; it's world-beat, with a little bit of country, a taste of what Americans call rap-Jamaicans call it toasting; mix it with a hint of r 'n' b, a dash of blues synthesized with contemporary reggae that maintains the integrity of the original art form and you get a sense of the musical accents that help to make Reggae Music Lives complete.

After two years in the making, Reggae Music Lives arrives with inspiration, healing and Gramps' determination to make positive changes in the world. The album's first single 'The Almighty' topped the charts in Jamaica, South Florida and New York while 'Life Too Short', released on March 28th, advanced in the fight for justice in the case of Trayvon Martin. Consequently, team Dada Son decided to donate part of the sale proceeds to the family of the slain Florida teenager.

Meanwhile, Mark Brantley, Senior Lawyer and Leader of the Opposition in the National Parliament of St. Kitts and Nevis says: "There is no voice in reggae music today as distinctive as that of Gramps Morgan. His sophomore album reminds us of the deeply spiritual roots of reggae music. Gramps' ability to make music with a global appeal which touches the human spirit and soothes the soul has been taken to new heights in his latest release. I believe that this new effort by this Grammy award winning artist will be a major hit with lovers of conscious reggae music the world over. But don't take my word for it. Pick up a copy, put your feet up and let the music wash over you."

Reggae Music Lives is an evolution of Gramps' professional and musical growth expressed through his singing, narratives, arrangements and compositions. His melodies and hooks are seasoned with mature, worldly lyrics that are delivered flawlessly. All of his experiences have culminated in the creation of a universal sound that he says stems from exposure.

"I've grown so much as a producer, song writer and vocalist. Overall, my experience from touring and working with India Arie; watching John Legend perform every night; touring with different artists; working with the different producers (on this album) and getting a chance to work with my brother Peetah one-on-one writing songs; it's brought me to a whole other level. My experience really came into play in making this. I think this album is really the best of the brand called Gramps Morgan; as a product, you finally get the sound of Gramps Morgan. The first album was just discovering, getting it and learning myself. Gramps Morgan has been born on this album. "

A personal favourite of Morgan's on the album sees the return of India Arie, reuniting with Gramps on "Want Fi Charge Wi" a song whose distinct sound is inspired by African rhythms as is "I Hear You Calling", an ode to Africa. Meanwhile new creative partnerships were also forged on this project, one such collaboration was with renowned duo, Stanley "Rellee" Hayden and Alberto "AL" Cruz also known as the A-Team (Jay Z, Mary J. Blige, Sean 'P-Diddy' Combs, The Notorious B.I.G., KRS 1, Shabba Ranks, Bounty Killer, Red Hot Chili Peppers, Lauryn Hill, Deborah Cox, etc…) on the song called DREAM.

One of the most promising tracks on the album, DREAM, is as inspiring as it is universal, in message and in sound. When Gramps sings "…celebrate wherever you are, keep on striving for your dream, just lift your head high, let your spirit fly, dream away..." one is reminded to persevere; the song offers hope and is that motivator everyone needs.

Another first, and what Gramps describes as "a dream" was working with the legendary, Clive Hunt (The Rollings Stones, Maxi Priest, Jimmy Cliff, Peter Tosh, Beres Hammond). Hunt produced three of the thirteen songs on Reggae Music Lives including the title track, which is an unapologetic declaration of the state of Reggae music; and on two love songs that will create their own 'baby boom' "Find Myself Thinking" and "I Know It's Love". Gramps Morgan fans get a different side of Gramps on "Could Dj (Dem Neva Know)" here the singer switches to a toasting style delivery over a phat beat infused with elements of rap, blues, and some rock riffs.
Like his first album 2 Sides of My Heart Vol. 1 Gramps has again assembled an incredible pool of talent from the novice to the accomplished musicians and producers alike, including his seventeen year old son Jemere Morgan, Jason 'J-Vibe' Farmer, Llamar "Riff Raff" Brown, Delroy "Delly" Foster and Kemar "Flava" McGregor.

The songs on Reggae Music Lives are well rounded and crafted with diverse themes from romantic and universal love; to global consciousness and justice, to living in the moment and being grateful. Reggae Music Lives is mature and contemporary, it's the kind of music that can rock on any gadget at work, home or at play. Reggae Music Lives is about the preservation of art, music and culture and Gramps wants the world to know that "Reggae music is here to stay."

DEEP STREET SOUL - LOOK OUT, WATCH OUT

“Welcome return for Deep Street Soul with another collection of down-right dirty funk grooves!” Ginger Tony, Solar Radio

Following up on the success of their debut long player in 2009, Melbourne-based raw funk outfit Deep Street Soul is back with their latest full-length album Look Out, Watch Out (released back in the fall of 2011). The now five-piece band, which welcomes new soul vocalist May Johnston into the fold, have pulled out all the stops with this release. It is jam-packed with punch, heady dancefloor anthems and some wicked instrumentation that will make all music fans take note.

Not only that, but Look Out, Watch Out also includes guest appearances by some incredible artists who help take this album to a new level. There are contributions from Chip Wickham (who guests with New Masters Sounds, Badly Drawn Boy, etc) on sax (and horn arrangements), Howard Brown on trumpet, and guest vocals by Randa Khamis (Randa & The Soul Kingdom), Roxy Ray (Dojo Cuts, The Underbelly, the Liberators) and Shirley Davis.

The band initially started recording this release as a traditional four-piece, before discovering May and her talents. “Finding May was just a complete fluke, and we consider ourselves lucky to have found a vocalist of her calibre in our very own backyard,” says bassist Papa J Hunter. Deep Street Soul began its life as an instrumental ensemble, and these influences are still evident in the instrumental tracks on the release. Papa J jokes that it took the band years to learn to play together before they were ready to add in the mix of a vocalist. “We love the craft involved in writing a killer instrumental tune, but because we had recently taken on a vocalist for the live shows, we found it really opened up our sound and gave us more options on how we constructed our live sets,” he says. “In that sense, it was a natural progression to follow on from this when it came time to record the new album.”

As the first single from the long player, the title-track Look Out, Watch Out is the perfect introduction to the talents of new vocalist May. She makes her presence felt instantly, her voice leaps out of the speakers and smacks you straight in your musical heart! And it was this exact emotion that the band was aiming for with their new release. While their debut in 2009 was a diamond hard and gritty funk and soul template that established them as a formidable force on the global funk scene, they weren’t ready to use the same ‘tried and trusted’ formula for the next album. Look Out, Watch Out expands the band’s sound and repertoire, seamlessly mixing together its guest contributions, a new member, tight original numbers, a choice cover version of a favourite song and, like icing on a cake, some raucous and heavy bass to top it off.

Tough yet soulful, hard yet deeply melodic, Deep Street Soul captures the imagination from the first notes on the album to the last kick-ass track. Don’t miss getting your hands on this one, you won’t be able to switch it off.

http://www.deepstreetsoul.com/

NEW RELEASES - MILTON SUGGS, NOUVELLE VAGUE, KELAN PHILIP COHRAN & THE HYPNOTIC BRASS ENSEMBLE

MILTON SUGGS – LYRICAL VOLUME 1

Genius work from a singer who makes us proud to live in the Windy City – vocalist Milton Suggs, who emerges here as a hell of a writer and arranger too! Milton's easily one of the best new voices in jazz we've heard in years – filled with a rich sense of imagination on his lyrics and phrasing, and a depth of soul that makes sure that his music and movements are always right on the money – a sound and style that puts him the company of a rare few in jazz – a short list that might include Jon Hendricks, Gregory Porter, Kurt Elling, and Mark Murphy! Yet like all those talents, Suggs has a sound that's uniquely his own – a way of putting over a tune that's tremendous – especially when he takes musical inspiration from others, and makes it something all his own – as he does here with core compositions by Wayne Shorter, Belly Golson, and Roy Hargrove. The Shorter inspiration is especially strong – which is great with us – and the album also features great instrumental accompaniment as well. Titles include "Jayme's Song," "Walking Out," "Only A Memory," "Side By Side," "Die Laughing," "Will You Fly With Me," and "Joy Enough To Spare." ~ Dusty Groove

NOUVELLE VAGUE - ACOUSTIC

Nouvelle Vague live and acoustic in Portugal – covering songs by Echo & The Bunnymen, The Cure, New Order, Yazoo, The Buzzcocks, Eurythmics, New Order, Joy Division, Blondie and others – a remarkably sweet and intimate set! The group are no strangers to covering new wave and post-punk classics, but hearing them in this acoustic format is a bit of a surprising twist, and a rewarding one at that. The breezy, bossa-indebted acoustic guitars, subtle keys, percussion and gentle vocals breath fresh air into some great songs. There's some real wildcard material, too – with takes on the Cramps, Dead Kennedys and others. Includes "The Killing Moon," "Blue Monday," "Sweet Dreams," "Guns Of Brixton," "Blister In The Sun," "Love Will Tear Us Apart," "In A Manner Of Speaking," "Heart Of Glass," "Human Fly," "This Is Not A Love Song" and more. ~ Dusty Groove

KELAN PHILIP COHRAN & THE HYPNOTIC BRASS ENSEMBLE

An amazing bit of music – and an incredible document of generations of creative jazz energy as well! The legendary Phil Cohran teams up here with Hypnotic Brass Ensemble – a collective made up of Cohran's sons, who follow strongly in the rich legacy of his own Artistic Heritage group – yet in a very different way! Hypnotic Brass have caught the ear of many during their bright rise to fame – with a fluid, horn-heavy groove that's really amazing – echoes of Sun Ra and other Chicago creative legends – yet played almost entirely on brass instruments, which gives them an even bolder vibe. Here, working with their progenitor brings the group even more depth than before – an excellent sound that really spins things out wonderfully – percussion layered underneath the horns, solos taking jazzy flight, and an overall righteous vibe that holds things together beautifully. The album's way more than the sum of its parts – and those parts are already rich indeed – and titles include "Stateville," "Cuernavaca," "Ancestral," "Spin," "Apsara," and "Frankincense & Myrrh." ~ Dusty Groove

PALOMA FAITH - FALL TO GRACE

"Faith offers a more modern take on the Brit Blue-eyed soul of Adele and Amy Winehouse."
— SPIN

A captivating chanteuse, a rabble-rousing entertainer and theatrical fashion chameleon, Faith’s debut album, Do You Want the Truth, or Something Beautiful? remains a glossy collection of retro-referencing soul and sassy pop.

From the brass-blasted stomp of ‘Stone Cold Sober’, to the epic sweep of her biggest chart hit ‘New York’, the record went on to sell over half a million copies, earning Faith a nomination for Best British Female at the Brit Awards and the honour of closing the 2011 ceremony singing with Cee-Lo Green. At the behest of Chaka Khan, Faith performed ‘I’m Every Woman’ in front of 50,000 people and earned plaudits from Annie Lennox, who selected Faith join her onstage in support of International Women’s Day.

So much more than just a standard pop artist, one of this 26-year-old’s greatest assets is her wicked and wry sense of humour, she’s outspoken and unafraid: she has an opinion. As an artist she pulls from a wide range of sources, her experiences diverse. With a degree in contemporary dance and a Masters in Time Based Arts from Central St Martin’s, Faith is tri-lingual (English, Italian, and conversational Spanish), and a talented actress to boot (she played the romantic foil to Tom Waits’ Devil in the Terry Gilliam’s ‘The Imaginarium of Dr Parnassus’). You’re as likely to find Faith on the red carpet or on the fashion front row as judging London’s Next Top Tranny at the local working men’s club.

Now as Faith flips the page and writes the next chapter of her story, this Hackney-born girl is keen to express a new level of intimacy with her music. That’s not to say she lost any of her sartorial and performance panache, but Faith’s focus is on her songwriting. On her new, second album Fall To Grace, she’s made the decision to strip herself emotionally bare.

"At the beginning I wanted to do something that was more of a performance and I still have that element because it is part of me,” she explains, “but I feel like where I’ve been most successful is when I’ve just relaxed and been myself. I feel totally, wholeheartedly behind this album. I feel like it belongs to me and I belong to it.”

Recorded in 2011 with the help of producers Nellee Hooper (Madonna, Massive Attack, Bjork) and Jake Gosling (Ed Sheeran), Faith arrived at a crossroads, not in the studio, but during time spent with none other than Prince, who handpicked Faith to perform at NPG Music and Arts Festival in Copenhagen last summer.

“I wasn’t just supporting him, he was teaching me,” says Faith. “He made me watch all the other acts and gave me little lessons. I was completely bowled over. It began as, let’s do a gig, and it turned into spending the weekend with Prince. That was a real turning point for me. I was in the middle of writing the new record and when I left for the festival I felt I’d got to the top of a certain ladder, but when I went home I felt like I was on the bottom of a new ladder. It was scary because I’m at the bottom of something, but I felt that with his encouragement, I could go out there and achieve something.”

On record Faith takes the reigns, moving away from the reference points that characterised her first record – Etta James, Billie Holiday – guiding her compositions into a new, contemporary realm. Collaborating with songwriters such as Ed Harcourt, Matt Hales (Lianne La Havas), Dan Wilson (Adele), Wayne Hector (Britney, Westlife), and even film score composer David Arnold (countless James Bond films,Independence Day,Narnia), ‘Fall To Grace’ is sonically varied, but completely cohesive. From the disco throb of ‘Blood, Sweat and Tears’ and the giddy dance-pulse that runs through ‘Agony’, to ‘Freedom’ (produced and co written by Al Shux), with its shuffled beats and soaring peaks, Faith’s vocals offer bluesy power and reveal husky emotion.

Backed by spectacular strings and gospel singers, lead single ‘Picking Up The Pieces’ finds Faith exploring the struggle of living with the shadow of a lover’s ex, while ‘Black & Blue’ is peppered with astute social observations. On the twinkling pop of ’30 Minute Love Affair’, she recounts a true experience, a fleeting meeting with a busker in London’s Leicester Square when she was just fourteen. “I asked him if he’d be there the next day and he said he would. When I went back he was gone and I’ve never forgotten it.”

But for Faith, ‘Just Be’ is the album’s crown jewel. “It’s supposed to be a realistic love song for real lovers,” she explains. “It’s saying, ‘He gets on my nerves, but I love him.’ I find that more endearing than, ‘There’s no one out there but him.’ That seems naive. I have a lot of admiration for people who’ve been in relationships a long time, married for years. This is a more knowing take on romance.”

Of the album’s title Faith takes the well-worn phrase, “fall from grace” and with Fall To Grace, gives it a positive twist. “It’s a journey and I think it’s hopeful, so I wanted to fall to grace rather than from,” she explains. “I’m taking bad things that have happened and letting them turn me into a more complete person. Recently I’ve been thinking a lot about the idea that inevitably, when anything bad happens to you in life, you always lose a bit of yourself, but then you heal over. In hindsight, even though you’ve lost something, you become stronger. I feel more equipped.”

She adds: “I like the fact that in old songs when people used to sing about heartache there was a real romance in it. I feel like that’s lost in contemporary music, like everyone’s so abrupt: ‘this is terrible’, or ‘this is brilliant!’ It seems so clear cut. So I wanted to bring some of that old-style back – tears can be beautiful. ‘The Beauty of the End’ is about ending a relationship, but indulging in the romance of what you had. I find it strange that people often demonise exes. Unless an ex has done a dreadful, terrible unforgivable thing, I feel like a lot of the time you just go your separate ways and that’s okay. This song is about saying I love you but we’re not going to be together and this is better for both of us. The accompanying string arrangement (arranged by Guy Barker) is kind of like Dr Dre meets Fellini.”

From the off Faith has always been meticulous in mapping the visual imagery to accompany her music, be they videos, photographs or set design. Ever the film fan, Faith looks on this second record as the union of her first two loves: film and music. It’s the soundtrack to her life. “I wanted it to be a homage to film, for everything to look and feel and sound like it was part of a movie.”

There are nods to her favourite film directors Wong Kar Wai and Federico Fellini, traces of Jean-Pierre Jeunet and even Juan Carlos Fresnadillo. “It’s visually very saturated and emotional,” she says. “I’m crying in a lot of the photographs because I was looking at all those iconic images of Marilyn Monroe when she’s about to go onstage and I was trying to make everything look like it was pre-mask. This idea that for me, the show is I’m smiling, I’m always prepared, but before that there’s always real life. All the imagery that I’ve art directed is about capturing that moment of reality and vulnerability before the show begins.”

Of course where these songs, and Paloma Faith, truly come alive is onstage. It’s before an audience that every aspect of her vision is fully realised. It’s in the live delivery that Faith connects with her audience.

“A lot of people write songs because they want to record them in a studio, they want put their feelings out there,” she says. “I don’t write songs for that reason: I write songs so I can perform them.”

A captivating chanteuse, a rabble-rousing entertainer and theatrical fashion chameleon, Paloma Faith prepares to unleash her second album, Fall To Grace, which debuted on the top of the UK charts to critical acclaim, with the first US single "Picking Up The Pieces" dropping soon.

So much more than just a standard pop artist, one of the 26-year-old’s greatest assets is her wicked and wry sense of humour. With a degree in contemporary dance and a Masters in Time Based Arts from Central St Martin’s, Faith is tri-lingual (English, Italian, and conversational Spanish), and a talented actress to boot (she played the romantic foil to Tom Waits' Devil in the Terry Gilliam's 'The Imaginarium of Dr Parnassus'). On her new album Fall To Grace, she’s made the decision to strip herself emotionally bare. But where these songs, and Paloma Faith, truly come alive is onstage with sartorial and performance panache.

palomafaith.com

CHARLIE MINGUS - THE JAZZ WORKSHOP CONCERTS 1964-65

Mosaic Records Celebrates 90th Birthday Anniversary of Charles Mingus with 6-CD Limited Edition Collection Including Previously Unreleased Material

Because this is the 90th birthday anniversary year of Charles Mingus, Sue Mingus called last spring to ask Michael Cuscuna whether he might be interested in issuing some of the unreleased Mingus tapes she had in the archives. It didn't take long to make such a decision! Charles Mingus was always the most incandescent of jazz's few true geniuses, and the mid-1960s was undoubtedly one of the most tumultuous periods in his - and America's - storied history. In Mingus' case, that personal, social and political upheaval was the recipe for some of his most ferociously creative output, represented here by four intense, combustible concerts by some of his most legendary groups.

Mosaic Records collects that quartet of masterful performances on the new 6-CD box set Charles Mingus - The Jazz Workshop Concerts 1964-65 (Town Hall, Amsterdam, Monterey & Minneapolis). Only 47 minutes of the Town Hall concert has been available on an authorized CD. Here a disc and a half worth of music from Town Hall and Minneapolis is being released for the first time in any format.

The line-ups for these concerts include some of Mingus' most vital collaborators: Eric Dolphy, Charles McPherson, Jaki Byard, Johnny Coles, Clifford Jordan, Dannie Richmond. The repertoire includes some of the bassist/composer's greatest works, along with three never-before-issued compositions.

Taken together, this monumental collection gathers an essential body of music from a time when Mingus was as determined to express his independence as his artistry. They represent the fruits of his famously demanding Jazz Workshop and were intended for his own newly-launched record label. Set producer Michael Cuscuna says, "These four triumphant performances capture Mingus at a peak musically and as an entrepreneur, seeking to control the rights to his own music and his economic destiny."

The 13 months spanned by this collection were remarkably eventful for both Mingus and the country, which was embroiled in the height of the Civil Rights struggle and still reeling from the assassination of President John F. Kennedy. During this period Mingus assembled his legendary sextet with Dolphy, Byard, Richmond, Coles and Jordan (which appears here on the Town Hall and Amsterdam concerts); suffered the death of Dolphy, one of his closest collaborators; met his future wife, Sue Graham Ungaro; broke off his productive relationship with Impulse! Records; and took his second stab at releasing his own work.

"After a decade of recording for some of the biggest record labels in the industry," Cuscuna relates, "Charles Mingus decided in 1964 to return to the DIY model that he had begun in the early '50s with Max Roach and their label Debut. The Jazz Workshop label was launched in time for his celebrated Town Hall concert and subsequent European tour (represented here by its Amsterdam concert) with his stellar sextet."

The Town Hall Concert constitutes this set's first disc and contains the music originally released by Fantasy/Debut, supplemented by an additional 32 minutes of unissued material. Originally a benefit for the National Association for the Advancement of Colored People (NAACP), the concert took place on April 4, 1964 (and is not to be confused with Mingus' other Town Hall concert, the big band performance 18 months earlier in which he sought to premier his extended work "Epitaph"). The previously-unreleased portion features a duet with Byard on Ellington's "Sophisticated Lady," a 20-minute rendition of Mingus' "Peggy's Blue Skylight," and an incomplete performance of his Bird tribute "Parkeriana" before the tape ran out.

The sextet reconvenes at Amsterdam's Concertgebouw six days later for the stunning concert that makes up the next two CDs. The date, which revisits several of the tunes from the Town Hall Concert, showcases Mingus' ability to look both forward and back, paying tribute to Ellington, Bird and Dizzy Gillespie (plus a vast swath of the jazz piano tradition on Byard's set-opening "A.T.F.W." referring to Art Tatum and Fats Waller) while displaying his barbed modernity on his own classics "Meditation on a Pair of Wire Cutters" and "Fables of Faubus."

Much had changed by that September when Mingus performed at the seventh Monterey Jazz Festival. Dolphy had passed away unexpectedly in Europe three months earlier and Mingus was leading a new sextet. With the exception of saxophonist John Handy who was replacing an ailing Booker Ervin, this is the group that he would come to dub "My Favorite Quintet." Byard and Richmond remain, joined by Charles McPherson and Lonnie Hillyer, recorded for the first time here. Following an Ellington medley and Mingus' "Orange Was The Color Of Her Dress Then Blue Silk," six more musicians take the stage. The augmented ensemble debuts "Meditations on Integration," the orchestral reworking of "Meditation on a Pair of Wire Cutters."

Accolades poured in for the concert. "Monterey belonged to Charles Mingus," wrote The San Francisco Chronicle. "It was a triumph." DownBeat ranked it among those concerts that "have that rare and delicious moment when the intensity of a performance, its inspiration, is so overwhelming it sets off something akin to an electric shock," while Time Magazine declared that Mingus "must be ranked among the greatest of jazz composers."

The final two discs represent a "My Favorite Quintet" concert from Minneapolis in May of 1965, demonstrating how far the ensemble had evolved. Originally licensed to Fantasy Records and released as My Favorite Quintet Volume One, the version contained in this set restores 68 additional minutes to the concert which have never been issued before, including three otherwise unrecorded Mingus compositions: "Copa City Titty," "A Lonely Day In Selma, Alabama"and "Bird Preamble."

Finding the leader in high spirits, the date features a medley of standards, an offbeat takeoff on "Cocktails for Two," and Mingus replacing Byard on the piano bench twice: for the intro to "Peggy's Blue Skylight" (during which Byard returns the favor and picks up the bass), and for a brief solo to cover stage time while Richmond's drums were being tended to.

The release of previously unheard and hard-to-find music by a giant of Charles Mingus' stature would be welcome under any circumstances, but these four performances find the legendary bassist, composer and iconoclast at the height of his powers. As the mutating line-ups reveal, this was a period of change and of discovery which would soon draw to a sudden close. As Cuscuna recounts, Mingus "would essentially leave the music world in 1966 for almost four years, only to rise stronger than ever in the '70s."

Listening to the music on these six CDs, it's hard to imagine anyone, even Mingus, rising stronger than he sounds here. Fiery, complex, gutsy, witty, vicious and tender - all of his passion and intellect are on display here in their most elemental and vital forms. Mosaic has recovered, unearthed, and reassembled not one but four masterpieces.

mingusmingusmingus.com

NICK PRIDE & THE PIMPTONES - AFTER MIDNIGHT FEAST OF JAZZ

Nick Pride & The Pimptones' After Midnight Feast Of Jazz was one of the high points of 2011 with its blend of funk and jazz instrumentals with a couple of vocal tunes added to the mix. Like the best of the 21st century generation of funk bands, there were enough good tunes and enough stylistic variety to make the album stand out from the crowd.

Hot on the heels of the success of that album Nick Pride and his label Record Kicks commissioned some remixes which are now presented on this album release. Available on CD in Japan only under the title After Midnight Feast Of Jazz, but available digitally elsewhere around the world on bandcamp (under the title Remixed Feast Of Jazz), the new release features thirteen tracks with remixes from the likes of Smoove, TM Juke, Diesler and Soopasoul to name but a few.

The deep funk monster Come And Get It is transformed into something of a party tune with the TM Juke jazz dance mix, where the trumpet really comes to the fore over the beats. Lay It On The Line with Zoe Gilby on vocals is versioned twice on the album with the Danny Massure rmx giving it more of a swinging feel while the James Beige rmx offers a bossa take on the tune, the latter of which works really well.

The Fab Samperi rmx of Brighter Day featuring Susan Hamilton, beefs up the beats a bit and adds some effects to give it more of a club feel, while the Ill Advised rmx has more of a mid-tempo underground R&B feel to it. The other track to get a double remix treatment is Midnight Feast Of Jazz, with the Renegades of Jazz rmx giving it a jazzy breakbeat feel and the Soopasoul rmx and some interesting flourishes and edits to what was already an outstanding dance tune.

Other tracks worthy of mention are the Daytoner remix of the Latin-flavoured Hug Lorenzo, as well as the Tim Shaw rmx of Mia Sorella, which successfully transforms the tune from a slick mid-tempo jazzy tune into nu-jazz dance number. After Midnight Feast Of Jazz is a creditable project offering some interesting versions and remixes which make you want to check out the original album once again.
 
~ Originally posted on Tokyo Jazz Notes HERE

ALICIA SALDENHA - DANCE WITH THE SUN

Alicia Saldenha attracted a lot of attention last year with her vocal performances on the indigo jam unit covers project Rose. Featuring half a dozen covers of classic jazz, soul and funk tunes, the album was very well-received and went on to win the Tokyo Jazz Notes Readers' Poll as the best Japanese release of 2011.

Having shown the world how well she can carry a song, the Osaka-based Trinidadian vocalist now returns with her debut solo album featuring mostly original material giving an insight into Alicia Saldenha the songwriter in addition to her performance skills. Recorded in New York, Dance With The Sun features an impressive backing band with Barney McAll on keyboards, Gabe Cummins on guitars, Mark Kelley on bass and Chris Eddleton on drums in addition to appearances from Peck Allmond and Takuya Kuroda adding horns on a few tracks.

Dance With The Sun is an appropriate title for an album that mixes soul, jazz, funk and reggae influences, and with the band captured live in the studio, it all has a very fresh sound. If this is to be compared with anything, I'd say that the album is close to the kind of crossover sound that Julie Dexter is known for, effortlessly merging genres to create an original sound.

The album opens strongly with four tracks that represent distinctly different styles. Never Gonna Be The Same is a jazz-reggae fusion number that hits just the right balance with McAll's organ playing the perfect backdrop for the vocal line. Love Cast A Spell On Me is a modern soul number while Ooh Boy, the first single sung half in English and half in Japanese, is a sunny slice of radio-friendly lovers rock ideal for the summer months. Doctor, meanwhile, is a warm piece of retro-styled soul that is a fun listen.

The cover of the Bacharach standard Close To You and the ballad I Wanna Be With You are perhaps not essential, but this is more than compensated by the other tracks on offer. Without Reason starts out as a ballad but develops into a delicious reggae-tinged number. It's subtle and understated, but is nevertheless one of the stronger tracks on the set and is followed by the wonderfully funky neo-soul of Ne Complique Pas Les Choses.

Dance With The Sun is an impressive debut that offers a crossover of musical styles as well as an effortless merging of Caribbean, Japanese and new York influences and marks Alicia Saldenha as a name to watch.

~ Originally posted on Tokyo Jazz Notes HERE

THE FILTHY SIX - THE FOX

London-based outfit The Filthy Six, led by trumpeter Nick Etwell, earned great plaudits with their eponymous debut release back in 2010, packed full of soulful organ jazz instrumentals. Two years on and the band are back with their second album, The Fox, named after Graham Fox, the drummer on their first album who sadly passed away at an early age.

The new album features a dozen tracks, ten of which are originals, all capturing the dynamism of their tight live shows. The groove and feel of the music is based in the soul jazz sound of the mid sixties, recalling some of the classic sounds of the era on Blue Note and Prestige, and the band have absolutely nailed the sound while adding enough of their own ideas to make it more than just a retro pastiche.

The opening track, the aptly named Midnight Boogaloo, is classic sixties style soul jazz with a Latin twist, with Pete Whittaker's bluesy Hammond providing great backing for the from the horn section, making for a perfect mod jazz track. Down Frenchmen St. continues in the same vein, albeit more straight ahead soul jazz.

Tracks such as Prattle In Seattle, The Rum Diary and Jukebox really swing, and the influences of greats such as Lou Donaldson, Brother Jack McDuff and Grant Green are in clear evidence.

One new departure on this album is the inclusion of vocals, with Brendan Reilly guesting on lead vocals on two tracks. The first is a cover of Girlfriend, made famous by Michael Jackson, reworked here with a Tighten Up-style groove to great effect. This is followed by the party tune Get Down, with vocalist Reilly backed by The Filthy Choir.

The Fox sees The Filthy Six going from strength to strength. An absolute must for anyone into organ jazz or simply good music played live. The only remaining question is will we have the chance to see them live here in Tokyo? I certainly hope so.

~ Originally posted on Tokyo Jazz Notes HERE

SMOOTH JAZZ HITS: ULTIMATE GROOVES

Concord Records will release Smooth Jazz Hits: Ultimate Grooves, the latest installment in the series of smooth jazz compilations. The 12-track album features titles by stand-out contemporary artists such as Dave Koz, Gerald Albright, Mindi Abair, Norman Brown, Jessy J, Peter White, and more.

"Selected exclusively from albums that have claimed the top half-dozen slots on the Billboard Contemporary Jazz Albums chart, this release brings together, in one collection, some of the most in-the-pocket recordings in smooth jazz today." said Nick Phillips, producer of the compilation and VP of Catalog and Jazz A&R at Concord Music Group. "From the irresistible, funky shuffle feel of Dave Koz's chart-topping 'Anything's Possible' to the driving, Latin-spiced rhythms of Jessy J's 'Hot Sauce,' Smooth Jazz Hits: Ultimate Grooves, quite simply, features the top artists in smooth jazz in their most grooving tracks."

ARTISTS & TRACK LIST:
1. Anything's Possible-Dave Koz
2. Botswana Bossa Nova-David Benoit
3. Highway 70-Gerald Albright
4. Big Brother-The Jeff Lorber Fusion
5. Come Go With Me-Norman Brown
6. On & On-Candy Dulfer
7. Oh Yeah-Walter Beasley
8. Any Way You Wanna-Mindi Abair
9. Riviera Jam-The Rippingtons featuring Russ Freeman
10. Brother Earl-Paul Brown & Marc Antoine
11. Here We Go-Peter White
12. Hot Sauce-Jessy J

~ Concord Records

AZYMUTH'S JOSE ROBERTO BERTRAMI 1946-2012

Jose Roberto Bertrami, one of Brazil’s most celebrated pianists and a revolutionary musician, sadly passed away in Rio de Janeiro on Sunday July 8, 2012 at the age of 66.

Keyboardist, composer and leader of the inimitable Brazilian trio Azymuth, Ze Roberto is known for creating the mesmerising and genre blending samba doido (crazy samba) a mix of samba, jazz, funk and rock with an infectious swing and has had a huge influence on Brazilian music through his solo projects, collaborations and session work.

One of the Brazilian greats, he is responsible for cross-pollinating Brazilian music, bossa nova, samba and folk styles, with jazz, R&B, using his unique keyboard sound, harmonics and is a true technocrat. Amongst many others, he has arranged and written with Sarah Vaughan, Elis Regina, Mark Murphy, Joe Pass, Erasmo Carlos, Jim Capaldi, Milton Nascimento, Airto, Flora Purim and his signature sound can be heard on many of the best-known Brazilian productions, like Erasmo Carlos, Mulher, Jorge Ben, Africa Braz il, the first record of Candeia and hundreds more.

During his almost five decades with Azymuth Bertrami toured the world many times, signed to Milestones Records to release the classic albums Light As A Feather and Telecommunications and had a worldwide chart hit with ‘Jazz Carnival’. Since 1994 Bertrami rekindled his career with Far Out Recordings releasing two solo albums, Things Are Different and Aventura, and ten Azymuth albums. He was also heavily involved with other projects for the label including the unreleased Far Out Monster Disco Orchestra.

Joe Davis and Far Out Recordings have lost one of their dearest friends and most talented musician who shaped the sound of the label and Brazilian music for fifty years.

"He will be sorely missed. I think he is one of the world’s musical geniuses. I have had so much fun, laughs, musical inspiration and direction from Ze. He was a big part of why we started our label and why it has lasted so long. We have toured the world and he is a person whom I have only beautiful memoires of. I feel blessed that we had spent so much time together and worked so long together. I will dearly miss him and like our Azymuth family, I am so, so sad, Brazil will never be the same. He is now in peace and his music will live forever." Joe Davis

A big thanks to everyone who supported his music throughout the years.

~ Far Out Recordings

TOOTS AND THE MAYTALS & PATO BANTON HEADLINE 28TH ANNUAL REGGAE ON THE RIVER

Truly a global musical event, the Mateel Community Center’s 28th annual Reggae On The River will light up Benbow Lake State Recreation Area in Garberville, CA on the weekend of July 21 and 22 with an exciting blend of reggae and world music talent from the far corners of the earth.

Featuring a line-up consisting of more than 30 classic and cutting edge artists on two stages, the festival will celebrate Jamaica’s 50th anniversary of independence from imperial rule and will honor this momentous occasion by presenting some of the island’s best talent. These festivities will include performances by next generation rising stars like Romain Virgo, Duane Stephenson, and Turbulence; a rare U.S. appearance by the triple-platinum recording artist and reigning queen of Jamaican dancehall, Lady Saw; stalwart performers like Fantan Mojah and Yami Bolo; and elder statesmen such as Winston Jarrett and the one and only Toots and The Maytals, the artist credited with coining the term “reggae” with his 1968 hit, Do The Reggay.

The festival will also feature a rich selection of artists from the fertile soils of St. Croix, one of strongholds of modern reggae music, with sets by the island’s two premier bands, Midnite and Bambu Station, along with debut ROTR performances by two of the island’s most exciting female vocalists, Reemah and Lady Passion.

Coming all the way from Argentina to represent South America’s burgeoning reggae scene is Alika, a nominee for Best Independent Artist at the 2009 MTV Music Awards and a beautiful bi-lingual vocalist known as her nation’s “queen of reggae and dancehall.”

Pato Banton

From the continent of Africa, the festival will showcase one of Zimbabwe’s most prolific artists, Oliver Mtukudzi & Black Spirits, who has released more than 57 albums since his start in 1975 and is also recognized as one of the Africa’s greatest humanitarian artists for his groundbreaking work to combat HIV/ AIDS. Also featured will be the emerging talent of South Africa’s Nkulee Dube. The daughter of reggae legend, Lucky Dube, she fuses ethno-soul, jazz, reggae, and African influences and received a whopping 6 nominations at this year’s 31st annual International World & Reggae Music Awards, where she’ll appear just before coming to ROTR.

The event will also feature a rare West Coast appearance by the legendary Calypso Rose who hails from the island of Tobago. With more than 800 songs to her credit, she is the most prolific and accomplished female calypso artist of all time.

Toots & The Maytals

U.K. favorite, Pato Banton, is also back after a hiatus from touring to present his classic British reggae flair in the company of his new ensemble, The Now Generation.

Of course, the festival will also feature a host of top-notch homegrown talent, including the award-winning Native American artist, Casper Loma Da Wa & The Mighty 602 Band of the Hopi Nation in Arizona; Hawaiian faves, Humble Soul and Guidance Band; Miami’s own Streetkind; U.S.-based/ Jamaican-bred talent like Tosh Meets Marley, Junior Toots, Winstrong, and Daniel Bambaata Marley; top West Coast acts including Quinto Sol, Indubious, and The Lions; and local faves, Synrgy and Juce.

Additionally, the event will host more than 80 craft, food, and non-profit vendors; a lively kid zone; and a weekend full of happy reggae fun on the banks of the majestic Eel River. For the full scoop, check out a copy of the official program guide, out now at select newsstands throughout CA/ OR, or visit http://www.reggaeontheriver.com/, where stage schedules, artist bios, sales links, and all other festival info can be found.