BIG BAD VOODOO DADDY - RATTLE THEM BONES

Big Bad Voodoo Daddy, longtime purveyors, custodians and distillers of a modern big band swing sound are back and newly signed with Savoy Jazz. In celebration of twenty years bringing an irrepressible groove to the adoring masses, the band has recorded Rattle Them Bones—their eighth studio album. Founding members Scotty Morris and Kurt Sodergren, plus the five other original members continue to keep their sound fresh coming off the 2009 release of their tribute to Cab Calloway. Produced by Morris and Joshua Levy with Big Bad Voodoo Daddy, the band has honed their musicality to a fine point, effortlessly striking a balance between respect for the authenticity of the swing sound and the original ideas they incorporate into the mix. The band features Morris (vocals, guitar, banjo), Joshua Levy (piano, arranger), Kurt Sodergren (drums), Dirk Shumaker (acoustic bass, vocals), Glen "The Kid" Marhevka (trumpet), Karl Hunter (soprano, alto, tenor saxophones and clarinet) and Andy Rowley (baritone saxophone, vocals). Savoy Jazz will release Rattle Them Bones on September 4th.

Big Bad Voodoo Daddy is truly a pioneering band having inspired a movement with their fierce dedication to fully inhabiting their particular musical world. It's a sound that spans many eras—think the prohibition era of "Boardwalk Empire" to the lounging swing of 60's "Mad Men". With Rattle Them Bones Big Bad Voodoo Daddy has put together an album of originals and hand-picked covers that would evoke a certain mood—a mood influenced by some surprisingly diverse sources ranging from Mark Twain to Randy Newman, Django Reinhardt to George Gershwin.

Says Morris: "The goal with every album is to take the listener on a unique journey… Often as we start making sense of the material, the record tells us what it's going to be, and it was clear this time that we weren't going to be limited to a single decade or vibe. We feel like we left Cab and started thinking about Don Draper and Mark Twain and along the way some fascinating ideas emerged that turned Rattle Them Bones into a celebration of the landscape of American music we love so much. "

Rattle Them Bones Track List:
1. The Adventures Of
2. Diga Diga Do
3. The Jitters
4. Let It Roll Again
5. It Only Took A Kiss
6. She's Always Right (I'm Never Wrong)
7. Why Me?
8. Devil's Dance
9. It's Lonely At The Top
10. Still In The Mood
11. Gimme That Wine
12. 5-10-15 Times

JOHNNY MATHIS' MERCURY ALBUMS TO BE RELEASED ON CD FOR FIRST TIME

Johnny Mathis’ mid-’60s sides for the Mercury label have long been overlooked, though they rank among the most commercially and artistically successful recordings of his career. Why? Well, for one thing, Johnny has been a flagship artist for Columbia Records for so long that folks tend to forget that he spent three years apart from the label. But more importantly, those recordings, most notably the ten LPs he cut for Mercury, have been out of print during the entire compact disc era, as only Johnny’s Christmas album has ever come out on CD.

Now, by special arrangement with Sony Music, the artist and his management, Real Gone Music will issue these essential albums (everything but the Christmas album, which remains in print) on compact disc for the first time — nearly 50 years after Johnny’s first release on Mercury. Each release consists of two albums, each newly remastered at Battery Studios in New York, complete with original art and comprehensive liner notes featuring an exclusive interview of Johnny by pop vocal expert James Ritz (who counts these Mercury albums as his favorite Mathis recordings, by the way).

The first wave of releases includes a never-before-released album of Broadway-themed songs recorded by Johnny in 1964-1965, paired with his charting album from 1965, Love Is Everything, while the other twofer, Tender Is the Night/Wonderful World of Make-Believe, features Johnny’s first two “secular” albums for Mercury (his first release for the label was Sounds of Christmas). Both albums hit the charts in 1964, with Tender Is the Night reaching #12, and both albums feature Johnny’s dreamy takes on stage and film songs, with arrangements on Tender by the great Don Costa. ~ Real Gone Music

KINNY - CAN'T KILL A DAME WITH SOUL

Can’t Kill A Dame With Soul is the second solo album on Tru Thoughts from Kinny, an opera chanteuse turned singer-songwriter whose lifelong passion for reggae, jazz and soul music intertwines with her classical training for a unique and potent style. The new LP finds this self-proclaimed ‘freestyle improv vocalist’ channelling her trademark impulsive, freeform stylings into a more reflective set of deeply personal songs that explore escalating struggles with mental instability and identity.

Kinny’s captivating power and range of vocal expression, her diverse cultural heritage (a mix of Jamaican, Native Canadian and Swedish), and the twists and turns her life has taken all feed into the music; and her richly emotive sound never shies away from a dancefloor-filling groove or a stream-of-consciousness lyrical flow. The warm, immersive and soulful soundscape created by Norwegian producer/musician duo Souldrop (who also produced two tracks on her first album) provides the perfect cocoon for Kinny’s crystal-edged voice, the eclectic sonic palette ranging organically from big bassy beats and keys to acoustic instrumentation and percussion.

Kinny - aka Canadian born, Norway based Caitlin Simpson - is one of a handful of standout female singers to have been nurtured and developed in the Tru Thoughts stable, alongside the likes of soul queen Alice Russell and Belleruche siren Kathrin deBoer. Her 2010 solo debut Idle Forest Of Chit Chat - on which production was split between collaborators including label-mates Quantic, Nostalgia 77 and Hint – gained rave reviews and support from Laurent Garnier, Craig Charles (BBC 6Music), Mark Lamarr (BBC Radio 2) and Daddy G (Massive Attack), and sparked more than the occasional comparison to luminaries including Erykah Badu.

This time, on Can't Kill A Dame With Soul she worked exclusively with Souldrop, fellow residents of the vibrant musical town of Bergen, Norway. Creating music in one room with her production team, rather than across several international borders, made for a totally different recording experience. “It can be exciting, making tracks with people on the other side of the World and hearing the results. But for me – and I think you can hear this on the record - this way was much better for the album making process. We felt more like a unit creating something and fed off of each other’s energies...”

Lyrically, the issues Kinny battles on this album stem from her Obsessive Compulsive Disorder (OCD), a lifelong condition that has come to overwhelm her: “Every song on this album is in some way about my mental illness which affects my everyday life. All the tracks stem around my fear, pain and frustrations and how having OCD has changed me.” A long hospital stay, following a traumatic car accident in 2010, caused her underlying fears of contamination to escalate. Even while knowing it is irrational, she is unable to control it. With singing as her only respite, the visceral sense of a spiritual release – of music that just had to be made - permeates Can’t Kill A Dame With Soul. Many specific lyrics, including Let me out of this jar and It wants more in “Shrinking Violet” and I got this disease in “Mmm of my Hums”, directly relate her frustrations. The album’s title, on the other hand, references the strength and character within – the sense of Kinny – which keeps her keeping on. ~ tru-thoughts.co.uk

QUANTIC & ALICE RUSSELL WITH COMBO BARBARO - LOOK AROUND THE CORNER

This intoxicating record mixes sweet souland blues with overtones of folk andgospel, and the inimitable swing of Quantic's world-renowned outfit the Combo Bárbaro, who form the core band. Recording at Quantic’s Sonido del Valle studio in his adopted home city of Cali,Colombia, producer/musician Quantic and singer/songwriter Russell had the space and time to revel in their creative chemistry, revisiting and building on the spirit of their previous collaborative tracks which have peppered the last decade (including big hitters for Quantic Soul Orchestra and for Russell’s solo project). For legions of hopeful fans around the World, this is the culmination of a tense will-they-won’t-they storyline, and Look Around The Corner proves good things come to those who wait.

The first single is the album's title track, which came out on 10” vinyl and download on 20th February. Intricately layered and stunningly realised, it has sparked a huge buzz and an addition to the BBC 6Music Playlist. Major radio support includes repeated daytime spins across 6Music and from Robert Elms (BBC London); tastemaker play from Gilles Peterson (BBC R1), John Kennedy (XFM), Craig Charles (6Music), Emma Warren (RBMA/NME Radio), Jamie Cullum (BBC R2), Alex Lester (BBC R2) and more, plus many session and interview requests. Heavy international play includes rotation onKCRW (USA) and French national stations including FIP and France Inter. With Alice Russell’s versatile, shimmering vocals and Quantic’s trademark warm production alongside big string sections, spine-tingling harmonies, unshakable hooks and an uplifting crescendo, it is no surprise.

The lead track lights the touch paper, and the album abounds with melodies and momentum from there on in; brimming with big, classic-sounding yet fresh and original songs including the simply irresistible funky stomp of “Magdalena” and the close harmonies, Latin rhythms and bouncing melody of “Su Suzy”. There’s a taste of vintage rock ‘n’ roll on “Boogaloo 33”; and a modern take on seventies soul ballads in “I’d Cry”, on which Russell’s heartfelt candy-laced vocals play a bittersweet game of call-and-response with gypsy-folk violins and the dancing piano keys of Alfredito Linares, one of the musical stars of the record.

“Travelling Song” and “Similau” see the duo reinterpret a classic folk song from the English movement and one from its equivalent in the West Indies. You’ll also find an inspired version of the soul standard “I’ll Keep My Light In My Window”, one of Russell’s all-time favourite songs which has scarcely sounded better than in this current incarnation, on which she exercises her famed powers as a classic soul vocalist. The band take centre stage in instrumental numbers including “Una Tarde In Mariquita” and “Road To Islay”, showcasing the sheer wealth of talent running through the outfit, not to mention the compositional skills and broad church of influences for which Quantic (aka Will Holland) becomes ever more greatly revered with each release. The closing flourish – a Reprise of “Look Around The Corner” – is a compelling invitation to hit the repeat button.

Quantic, aka Will Holland, moved to Cali, Colombia in 2007, and the sessions that became Look Around The Corner took place over two visits that Russell made in the intervening four years. Pushing the concept of their previous collaborations, reflecting the locale and the players’ backgrounds, Quantic and Alice Russell infused the style with a Latin undertone; the blues and soul sound still takes centre stage though, rather like the soul records made in Miami and New York in the ‘70s, or the disco from the Bronx. Chicago’s Chess label was a key influence on the production aesthetic, and a mutual love of Minnie Riperton fed into some of the vocal melodies.

The record features Mike Simmonds (Alice Russell’s regular strings guru who joined them in Colombia from London); as well as Alfredito Linares, bassist Fernando Silva and conga player Freddy Colorado, all from the Combo Bárbaro. Wilson Viveros, from coastal town Buenaventura, was an invited drummer; also on drums for some songs was Jazz drummer Larry Joseph from Cali. Alfredito is the instrumentalist star of the show, sprinkling his magical and charismatic brand of bluesy, boogaloo piano throughout the album.

Tru Thoughts’ two all-time biggest selling artists, Quantic and Alice Russell have each captured the World’s imagination not just for their natural born talents but for their unique and refreshingly passionate take on their craft, with an authentic yet creative approach. With ever-growing international fanbases, sell-out tours, and coverage across the World’s music and cultural media they are now well established artists; Quantic released a critically acclaimed Best Of compilation last year, celebrating 11 years and 14 albums on Tru Thoughts, while Alice Russell regularly plays to thousands both at home and abroad, and is recording her fifth longplayer. ~ shop.etchshop.co.uk

NEW REISSUES - TAMBA TRIO, ELIS REGINA, CHARLIE MINGUS

TAMBA TRIO - TEMPO

The stuff of legend – and one of the greatest albums ever from Brazil's Tamba Trio! The group have a sound here that goes way beyond standard bossa jazz – in that amidst the piano, bass, and drums, the trio also harmonize vocally too – swirling together the lyrics, which are often wordless, in these cool jazz riffs that are really amazing – soaring out above the instrumentation, to create a whole new layer of grooves! Arrangements are by the group's pianist, Luiz Eca – who really reaches a high point in his musical development here – and titles include the classics "Boranda", "Barumba", and "Consalacao" – plus "Yansa", "Moto Continuo", "Nuvens", and "Pregao". (Heavy vinyl and cover – almost like a Japanese pressing!) ~ Dusty Groove

ELIS REGINA - IN LONDON

Elis Regina hits the London scene of the late 60s – with amazing results that make the album one of her best from the early years! The style here is still quite bossa-oriented, but backings are done by Peter Knight – who'd worked with Scott Walker and some of the other hip British singers at the time – so the sound's a bit different than Elis' Brazilian records, too. Knight's quite sensitive to Regina's way of interpreting a tune – and he nicely follows the soaring, jazzy vibe that Roberto Menescal had given her at home. But the groove's also a bit more open and fluid too – with some slight Brit Easy touches that really send the whole album home! Titles include a great version of "Upa Neguinho", plus "O Barquinho", "Zazueira", "Giro", "A Volta", "Corrida De Jangada", "Watch What Happens", and "Wave". (Excellent pressing – heavy vinyl and cover, and honestly nicer than the original Brazilian pressing!) ~ Dusty Groove

CHARLIE MINGUS – JAZZ EXPERIMENTS

A pivotal album in the career of Charles Mingus – one that really has him honing his sound, and reaching for that trademark mix of modernism and raw emotion that set a whole generation on fire! The album's a lot more freewheeling than other Mingus material from the time – although still a bit more compact than the Atlantic or Columbia sides – and the group's staffed with key early interpreters of Charles' vision – including John LaPorta on alto, Teo Macero on tenor and baritone, Thad Jones on trumpet, Clem DeRosa on drums, and Jackson Wiley on cello – an instrument that really helps shade in some of the darker corners of the tunes. Titles include great early originals like "Four Hands", "Minor Intrusion", "Thrice Upon A Theme", and "The Spur Of The Moment" – plus his great take on "Stormy Weather", which is a bit stormier than most! ~ Dusty Groove

DONNY HATHAWAY – LIVE / IN PERFORMANCE

Both Donny Hathaway concert albums in a single set – both on US CD for the first time! CD 1 features Donny Hathaway Live – massively beautiful work from the legendary Donny! After two studio albums that had firmly put him on the map as one of the 70s best soul talents, Atco had the genius to have Donny record this live album before very enthusiastic crowds in Hollywood and New York. The result is one of the best soul albums ever – one that shows a totally different side of Donny, and which has him jamming with a smaller, hipper, jazz-oriented group in long versions of some of his best tracks. Features a massive 12 minute version of "The Ghetto", which has loads of excellent instrumental breakdowns, a 13 minute version of "Voices Inside (Everything Is Everything)", a superior version of the track "Little Ghetto Boy", which was only ever on a soundtrack, and covers of "What's Going On" and "Jealous Guy" that really transform them from the original versions. Very similar to the classic Curtis Mayfield 2LP live set on Curtom – and with a similar "Chicago studio soulster goes jazzy and intimate" feel.

In Performance was issued after Donny's untimely death, and features rare live material from his classic years – most recorded during the same concerts on Donny Hathaway Live! As the fame of his first concert album will attest, Donny's an extremely wonderful live performer, with a wealth of talents that show that his studio work is only half the picture of his soulful creativity. Includes a great version of "Sack Full Of Dreams", plus "Nu-Po", "Song For You", "I Love You More Than You'll Ever Know", and "To Be Youg, Gifted, & Black". 2CD set features new remastering too – better than ever! ~ Dusty Groove

FRANCIS LAI - CINEMA

He's got shaggy long hair on the cover, but we still love him anyway – and honestly, Francis Lai may well be one of our favorite soundtrack composers ever! Sure, the guy hit early fame for his soundtrack to A Man & A Woman, but as this big box set will attest, he had a genius career that lasted years – scoring films famously for French director Claude Lelouch, as well as a host of other screen efforts that are showcased here! The box includes many great recordings never issued on CD before – and is a great companion to other Lelouch-heavy collections of Lai's work showing his ability to go beyond famous themes, and hit a rich array of great sounds through the 70s and early 80s.

In addition to two CDs of instrumental music, mostly from the three decades of Lai's career, the package also features one more CD of vocal numbers by Nicole Croisille – the singer who really made some of his best themes shine. Includes work from the films The Games, Hannibal Brooks, L'Odeur Des Fauves, Le Petit Matin, Un Amour De Pluie, Le Cinema De Minuit, Le Petit Poucet, Le Bon Et Les Mechants, Child Under A Leaf, Bilitis, Bonjour La Trois, Madame Claude 2, Les Yeux Noirs, Bernadette, Le Passager De La Pluie, and many more. Croisille sings versions of "Le Passager De La Pluie", "Images", "Un Deuxieme Amour", "Vivre Pour Vivre", "Il Y Avait", and "Avant Toi". ~ Dusty Groove

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.

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