TONY BENNETT - VIVA DUETS

Bennett's Latest CD Features Duets with Top Latin Recording Artists Including Marc Anthony, Roberto Carlos, Gloria Estefan, Vicente Fernandez, Juan Luis Guerra, Romeo Santos, Thalia and Many Others

Legendary performer and 17-Time GRAMMY winner Tony Bennett, who celebrates his 86th birthday on Friday, August 3rd, releases his latest CD, Tony Bennett: Viva Duets, worldwide on Tuesday, October 23rd on Columbia Records. Viva Duets, is the singer's third duets-themed project, following the platinum selling and critically praised Duets and Duets II CDs. Featuring many top names in the Latin recording industry, Viva Duets finds Bennett performing his greatest hits with a celebrated roster of artists including Marc Anthony, Miguel Bose, Robert Carlos, Ana Carolina, Chayanne, Franco DeVita, Gloria Estefan, Vicente Fernandez, Maria Gadu, Juan Luis Guerra, Dani Martin, Romeo Santos, Thalia and Vicentico, with additional duet guests to be announced. A truly international endeavor, Viva Duets, features performances in English, Spanish and Portuguese with artists representing eight countries and three continents.

Tony Bennett is known for recording duets live and Viva Duets was no exception, with sessions recorded in Ft. Lauderdale, New York, and in the case of famed Mexican performer Vicente Fernandez, on his 400 acre ranch in Guadalajara. All of the tracks are from Bennett's extensive hit catalog, with the exception of the duet with Vicente Fernandez, which features an English/Spanish version of the song, "Return To Me," originally recorded by Dean Martin. Viva Duets presents Bennett's classic songs with an international flavor that will generate widespread appeal for this unique multi-lingual presentation. Working with this unprecedented list of Latin artist, many of whom he met for the first time in the recording studio, Bennett commented, "Each of these artists were so warm and welcoming that there was an instant rapport. Latin music has always been about melody and harmony and a lot of soul, so there was a very close artistic connection with each duet guest. I am absolutely thrilled about the record."

Tony's first two duet projects, Duets and Duets II, both achieved platinum sales, multiple GRAMMY awards and were the best selling albums in his career to date. Bennett made music industry history when Duets II entered Billboard's Top 200 at the #1 position, making him the oldest artist, at the age of 85, to have a CD in the top spot. The Duets project also had international acclaim, hitting the top of the charts in several countries including Portugal and Mexico.

The current track listing for TONY BENNETT: VIVA DUETS is as follows:
"For Once In My Life" with Marc Anthony
"Don't Get Around Much Anymore" with Miguel Bose
"The Very Thought of You" with Ana Carolina
"The Best Is Yet to Come" with Chayanne
"The Good Life" with Franco DeVita
"Who Can I Turn To?" with Gloria Estefan
"Return to Me (Regresa A Mi)" with Vicente Fernandez
"Blue Velvet" with Maria Gadu
"Just in Time" with Juan Luis Guerra
"Are You Havin' Any Fun?" with Dani Martin
"The Way You Look Tonight" with Thalia
"Cold, Cold Heart" with Vicentico
(Song selections for Roberto Carlos and Romeo Santos TBD)

Just days before the eruption of Mount Vesuvius in Italy, the great-grandparents of the singer Tony Bennett took a major leap of faith and embarked on steamship, along with hundreds of other Italian immigrants of limited means, seeking a better life in America. Little did they know that their great-grandson would make the American Dream come to life as an Italian-American born in New York City during The Great Depression, to become one of the most legendary singers of popular song in the world…..Tony Bennett.

No one in popular American music has recorded for so long and at such a high level of excellence than Tony Bennett. The essence of his longevity and high artistic achievement was imbued in him in his loving childhood home in the Astoria section of Queens where he was born on August 3, 1926 under his given name, Anthony Domenick Benedetto. His father died when Tony was 10 and his mother, Anna, raised Tony and his older brother and sister, John and Mary, in a home surrounded by loving relatives who were Tony's first fans filling him with encouragement and optimism. Each Sunday, his family would gather in a circle while Tony and his siblings performed for them. "Although these were very tough times for everyone, our family connection was so strong and positive that I felt very lucky and it was during those Sundays of my childhood that I knew being a performer was what I was meant to do with my life." He attended the High School of Industrial Arts in Manhattan, where he continued nurturing his two passions, singing and painting, but at the age of 16 he had to leave school to find a job to assist his widowed mother, who worked as a seamstress, with meeting their expenses. As Tony recalls, "It was a regret that I was not able to finish my formal education, so ever since then, every day, I am still studying and learning things, and I am always reading books. Even today as I approach 86 years of age, I am still learning more and more -- I am what I call a perpetual student. My education really was the "school of life."

As a teenager Tony sang while waiting on tables and then enlisted in the Army during World War II and while in Europe he performed with military bands. He later had vocal studies at the American Theatre Wing School. The first time Bennett sang in a nightclub was in 1946 when he sat in with trombonist Tyree Glenn at the Shangri-La in Astoria. Bennett's big break came in 1949 when comedian Bob Hope noticed him working with Pearl Bailey in Greenwich Village in New York City. As Bennett recalls, "Bob Hope came down to check out my act. He liked my singing so much that after the show he came back to see me in my dressing room and said, 'Come on kid, you're going to come to the Paramount and sing with me.' But first he told me he didn't care for my stage name (Joe Bari) and asked me what my real name was. I told him, 'My name is Anthony Dominick Benedetto' and he said, 'We'll call you Tony Bennett.' And that's how it happened. A new Americanized name -- the start of a wonderful career and a glorious adventure that has continued for over 60 years."

With millions of records sold world-wide and platinum and gold albums to his credit, Bennett has received seventeen Grammy Awards -- including a 1995 Grammy for Record of the Year for his MTV Unplugged CD which introduced this American master to a whole new generation -- and the Grammy Lifetime Award. His 2007 prime-time special, "Tony Bennett: An American Classic," won seven Emmy Awards. His initial successes came via a string of Columbia singles in the early 1950's, including such chart-toppers as "Because of You," "Rags to Riches," and a remake of Hank Williams "Cold, Cold Heart." He had 24 songs in the Top 40, including "I Wanna Be Around," "The Good Life," "Who Can I Turn To (When Nobody Needs Me)" and his signature song," I Left My Heart In San Francisco," recorded 50 years ago this coming January 2012. This song garnered him two Grammy Awards. Tony Bennett is one of a handful of artists to have new albums charting in the 50's, 60's, 70's, 80's, 90's, and now in the first two decades of the 21st century. He has introduced a multitude of songs into the Great American Songbook that have since become standards for pop music. He has toured the world to sold out audiences with rave reviews whenever he performs.

Tony Bennett is a dedicated painter whose interest in art began as a child. He continues to paint every day, even as he tours internationally. He has exhibited his work in galleries around the world. The United Nations has commissioned him for two paintings, including one for their 50th anniversary. His original painting, "Homage to Hockney," is on permanent display at the Butler Institute of American Art and the landmark National Arts Club in New York is home to Tony's painting "Boy on Sailboat, Sydney Bay." Three of his paintings are part of the Smithsonian Museums permanent collections including his portrait of his friend Duke Ellington that became part of the National Portrait Gallery's collection in 2009.

Throughout his career, Tony Bennett has always put his heart and time into humanitarian concerns. He has raised millions of dollars for the Juvenile Diabetes Foundation, which established a research fund in his name. His original paintings each year grace the cover of the American Cancer Society's annual holiday greeting card, proceeds from which are earmarked for cancer research. He is active in environmental concerns and social justice. He marched with Dr. King in the historical Selma to Montgomery Civil Rights movement and the Martin Luther King Center in Atlanta bestowed upon him their "Salute to Greatness Award" for his efforts in fighting racial discrimination. Bennett founded the Frank Sinatra School of the Arts in 2001 and in 2009 a state-of-the-art permanent facility was built in his hometown of Astoria, Queens. With his wife, Susan Benedetto, he established Exploring the Arts, a non-profit organization that supports arts education in NYC public schools. By the fall of 2011, Exploring the Arts will be partnering with 14 public high schools in every borough of New York City to enhance and foster the arts.
www.tonybennett.com
www.exploringthearts.org
www.zenofbennett.com

~RPM/Columbia Records

BRUCE HORNSBY - RED HOOK SUMMER (SOUNDTRACK)

Bruce Hornsby has put the finishing touches on his soundtrack to the Spike Lee film Red Hook Summer, which will be released in New York City August 10 and nationally on August 24th. The self-produced soundtrack consists of Hornsby's distinctively evocative original instrumental solo piano compositions with two vocal tracks also included. Through a partnership with 429 Records, Hornsby's album is available now on iTunes, followed by a wide digital release on August 7th. 429 Records will release a CD version on August 28th.

Red Hook Summer, Hornsby's second project for 429 Records, follows up 2011's Bride Of The Noisemakers a 2-CD collection of 25 handpicked songs recorded live on tour in various venues between 2007 and 2009. The American singer, pianist, accordion player and songwriter has nurtured a highly respected repertoire, drawing freely from the musical worlds of classical, jazz, bluegrass, folk, Motown, rock and blues. This diversity is reflected in his songwriting and the seamless improvisations of his creative live performances.

Red Hook Summer is a film written and directed by Spike Lee. The film will be released on August 10th by 40 Acres and a Mule. The story is centered on Flik Royale, a thirteen year old boy from Atlanta who is sent to live with his preacher grandfather, Da Good Bishop Enoch Rouse. Spike Lee will reprise his role as Mookie, the main character from his 1989 film Do The Right Thing.

RED HOOK SUMMER Track Listing:
1) Boiler Room
2) Gospel Camp
3) Claus Ligeti
4) Song E (flat)
5) Arc de Terre
6) Camp Variation
7) Sordid Pastime
8) Hymn In C (instrumental)
9) Ogerman
10) MNF
11) Arc de Terre (live)
12) Ogerman (live)
13) Spirit Climbing (Hornsby on vocals)
14) Hymn In C (Hornsby on vocals)

www.redhooksummer.com

NEW RELEASES - NONA HENDRYX, MICHAEL KIWANUKA, KEVIN TONEY 3

NONA HENDRYX – MUTATIS MUTANDIS

Nona Hendryx in the 21st Century – sounding every bit as funky and righteous as she did back in the day! The set's got a nicely stripped-down groove, and is very heavy on the sort of raw guitars that Nona used increasingly during her 80s years – that variant of funk that's almost a bit punky at times too – which makes for more than enough sharp edges to match the wit and politics in the lyrics! There's almost a deep soul vibe running through some of the cuts – a quality that's similar to some of the Anti treatment other older soul stars have gotten in recent years – but from start to finish, the spirit of the album is definitely Nona's own. Titles include "Oil On The Water", "Tea Party", "Black Boys", "The Ballad Of Rush Limbaugh", "Strange Fruit", and "When Love Goes To War". ~ Dusty Groove

MICHAEL KIWANUKA – HOME AGAIN

The full length debut for Michael Kiwanuka – a record that stands out brilliantly, not only for it's strength and depth – but also because almost no one is making airy, often acoustic soul music a major label in 2012! The record has been compared to Terry Callier's work with producer Charles Stepney in the early 70s – and that's not off base at all, but Kiwanuka has a sound and a voice of his own. The songs are engaging and immediate, his voice confident and assured – and the instrumentation is pretty amazing for a contemporary soul album! We're talking sax, trumpets, shakers, flutes, bells, blocks and more. A wonderful surprise! Includes "Tell Me A Tale", "I'm Getting Ready", "I'll Get Along", "Rest", "Home Again", "Bones", "Always Waiting", "I Won't Lie", "Any Day Will Do Fine", "Worry Walks Beside Me" and "Lasan". ~ Dusty Groove

KEVIN TONEY 3 – NEW AMERICAN SUITE

The first album from The Kevin Toney 3 – headed by the piano player and one-time leader of the legendary Blackbyrds – and it's a nicely melodic set of soulful trio jazz! There's a warm, affectionate vibe throughout, and it's played by skillful veterans with genuine passion. Toney composed, produced and arranged in collaboration with bassist Michael Bradford, and the trio is completed by the great drummer Chris Coleman. They're working with a range moods that roll from smoothly measured to charged and anthemic. Solid stuff! Includes "New American Suite", "Love Is All We Need", the slow-building standout "A Soulful Union", "Spacious Skies", "Cyberia", "The Entertainer", "E Pluribus Unum", "In God We Trust" and "Family Times – Getting Happy". ~ Dusty Groove

UPCOMING RELEASES - DR LONNIE SMITH, JEFF KASHIWA, JONATHAN FRITZEN

DR LONNIE SMITH - THE HEALER

The great B3 organ master and conjurer of sound, Doctor Lonnie Smith, has made some great studio recordings, but he'll be the first to tell you that his music needs to be experienced live. The release of his brand new live recording The Healer marks the Doctor's first live recording since his landmark 1970 album Live At Club Mozambique. It showcases the great bandleader reinventing the possibilities of sound along with two young stars - guitarist Jonathan Kreisberg and drummer Jamire Williams. The Healer puts the listener front row center at a wild ride of a show that seamlessly blends jazz, fusion, hip hop, world music, and of course the B3 funk that Doc helped create. It also marks the launch of Pilgrimage Records, the good doctor's new completely artist controlled record label. Tracks include Backtrack, Mellow Mood, Dapper Dan, Chelsea Bridge, Beehive, and Pilgrimage. Release date: August 14.

JEFF KASHIWA - LET IT RIDE

Rippingtons saxophonist Jeff Kashiwa returns to Native Language for his eighth solo project overall, a spirited and contemporary Let It Ride. Featuring a who's who of special guests, including pianist David Benoit, Rippingtons guitarist Russ Freeman, Spyro Gyra keyboardist Tom Schuman, and guitarist Chuck Loeb, Let It Ride is being released in between a hectic tour schedule as featured soloist for the Rippingtons and the Sax Pack, a sax trio supergroup he fronts with saxophonists Steve Cole and Marcus Anderson. His last few albums have all debuted Top 10 on Billboard's Contemporary Jazz chart, and this album should be no different. Release date; August 21

JONATHAN FRITZEN - MAGICAL

Recently named by legendary broadcaster Art Good as his `debut artist of the year,' Swedish-American composer and keyboard player Jonathan Fritzen is back, and then some, with his latest CD, the appropriately titled Magical. With featured performances from Boney James, Paul Brown, Jackiem Joyner, Darren Rahn and Vincent Ingala, Magical is Fritzen's fourth solo release and follows the highly acclaimed Diamonds which enabled him to reach #1 on both the Billboard airplay charts and the Amazon.com sales charts. Now Magical seems certain to cement his position as the master of delightfully accessible contemporary jazz. Tracks include: Magical feat. Boney James, Love Will Overcome feat. Jackiem Joyner, Sweet Spot feat. Paul Brown, Electric, Nostalgia, To The Top feat. Vincent Ingala, Can’t Get You Out Of My Mind feat. Malene Mortensen, Turn Back Time, Nordic Light, Lullaby feat. Darren Rahn, and Angels. Release date: August 21\

~ amazon

JAZZ CONNECT CONFERENCE DATES FOR APAP/NYC 2013 ANNOUNCED

On January 10-11, 2013 in New York City, the Jazz Connect conference will bring together a broad range of elements and constituencies of the jazz community in a series of workshops, panels, plenaries and special events, all dedicated to expanding the worldwide audience for jazz. Organized by JazzTimes and the Jazz Forward Coalition and supported by the Association of Performing Arts Presenters (APAP), this hands-on interactive conference aims to share best practices, provide tools to empower individuals and organizations, and establish a voice for jazz.

The jazz industry and community has been looking for a time and place to aggregate since the spring of 2009 when the International Association for Jazz Education (IAJE) folded. Various entities have been convening around APAP/NYC, the world's largest networking forum and marketplace for performing arts professionals, but until now there has not been an overall tent for the entire jazz community to share its resources and collective power.

An initiative to create a stand-alone jazz confab began with APAP/NYC 2012, with multiple sessions over the course of six days, including: an all-day DIY seminar hosted by JazzTimes, a welcoming address, a series of pecha-kucha presentations (short visual presentations) from innovators in the field, three panels at APAP and a culminating town-hall session presented by the Jazz Forward Coalition. The Jazz Connect organizing committee decided to adapt the model further to create a focused event dedicated to the jazz community in 2013.

Peter Gordon, co-founder of Jazz Forward Coalition, president of Thirsty Ear Recordings and one of the conference's organizers, sees the gathering as a well-timed opportunity for jazz to shape its future. "Though we live in uncertain times, market disruption is also market opportunity," he says. "As the music industry positions itself to be part of the massive reorientation of how people discover, consume and experience music, jazz is left to decide whether to be part of the revolution or be left behind. We have assembled a vast number of thought leaders to guide, cajole, shape and give inspiration for jazz culture to thrive in the coming years-mapping a strategy to take jazz from an often marginalized genre to a well-known powerhouse."

The 2013 Jazz Connect Conference will have two full days of panels, workshops and presentations, featuring artists and professionals from all over the globe. Lee Mergner, publisher of JazzTimes and also an organizer of the conference, says that although the industry has changed since the days of the JazzTimes Convention and the IAJE Conference, the importance of bringing people together to discuss issues and best practices remains. "We've seen a real seismic change in the jazz industry, with more artists, organizations and companies operating with less resources," says Mergner. "It's become a much more DIY genre, and now more than ever, jazz people need to get together face-to-face in order to deal with all the challenges they face-from new models for touring to the effect of changing technologies."

The Jazz Connect conference, held during the day at the Hilton New York Hotel and Sheraton New York Hotel, will also feed into the nighttime performances of Winter Jazzfest. "It's important that the jazz community connects with the world at large, whether that be general music listeners or the mainstream media," explains Mergner. "Winter Jazzfest has become a hotbed for both new and established artists to showcase their performance chops. And it's attracted new and younger audiences to the music."

In addition to the two full days of sessions preceding APAP/NYC, Jazz Connect will assist with programming of sessions during APAP/NYC 2013 addressing issues related to the community of arts presenters about how they interact with the jazz genre.

"One of our missions is to be a convener of the various performing arts," says Mario Garcia Durham, president and CEO of APAP. "APAP/NYC has hosted similar platforms for theater and dance in the past, and we are dedicated to be a support system for jazz, one of the country's classical art forms and a unique expression of American identity. The 2012 Jazz Connect gathering was a stellar success, and we want to continue to support jazz professionals and practitioners."

Admission to the Jazz Connect conference is free. The Jazz Connect conference is organized by a committee of industry professionals, including Marty Ashby, Sara Donnelly, Erika Floreska, Peter Gordon and Lee Mergner. For more information about the Jazz Connect conference, call 617-315-9154 or e-mail jazzconnectnyc@gmail.com.

KONBIT MIZIK HARNESSES THE UNIVERSAL POWER OF MUSIC TO BUILD COMMUNITY IN HAITI

Konbit Mizik, a not-for-profit recording studio currently based in the streets of Port-au-Prince, uses music to build community and grow community leaders through education, workforce development and artistic expression for Haiti’s most vulnerable youth. Founded by musician Ian Evans and filmmaker Nick Cannell in the wake of one of the most catastrophic natural disasters of our time, Konbit Mizik has recorded hundreds of songs, produced numerous music videos, filmed interviews with artists, and hosted multiple free outdoor concerts across the country.

Co-Founder & Executive Director Nick Cannell explains, “What’s unique about Konbit Mizik as an NGO in Haiti is the groundswell support that we have built through a common love and passion for music. We go into some of the most disadvantaged parts of Port-au-Prince and give voice to some of the most talented and neediest populations.”

With the help of locals such as Lavalasse Russell (Outreach Director) and Daniel Laurent (Executive Director, Group en Priere), and guided by a community-based, binational board of directors, Konbit Mizik prides itself on cultural and linguistic competency and a commitment to the underground artists they represent. They have copyrighted and released three albums so far, arranged recurring paying gigs for artists, and several of their songs and videos have been featured on national Haitian TV and radio stations.

In addition to acting as a record label for underground artists, Konbit Mizik believes they have a responsibility, and a great opportunity, to teach and mentor Haiti’s most underserved youth in the areas of music theory, audio recording, and video production. Konbit Mizik is currently seeking funding to create a permanent studio and school which will serve as an exchange program for professors, students, and professionals from around the world.

Konbit Mizik is a NYS not-for-profit corporation with 501(c)3 status-pending from the IRS. Konbit MIzik assures complete transparency for its donors by requiring all funds to be reviewed by John F. Payne Associates and their policy allows for zero waste, fraud, or abuse.

For additional information, visit the Konbit Mizik website at www.konbitmizik.org.

NEW RELEASES - DADO MORONI / MAX IONATA, MAIS QUE NADA: A&M POP BOSSA, TROPICALIA: OU PANIS ET CIRCENCIS

MAX IONATA / DADO MORONI – TWO FOR DUKE

Two For Duke brings together two of the big names on the Italian jazz scene, pianist Dado Moroni and tenor player Max Ionata, on a set of eleven tunes from the Ellington repertoire. There's a wonderfully intimate live in the studio feel to this, making the listener feel as he or she is sitting in on an exclusive session. This duet is a match made in heaven, with Moroni's warm piano playing laying down a rich harmonic tapestry onto which Ionata is free to weave in some rich detail. A tribute project to an all-time great is always fraught with risks, as there are high standards to live up to, but Ionata and Moroni are more than equal to the task and at times their mutual understanding is so spot on that it almost feels effortless. On Two For Duke, the pair delve into all era of the Ellington catalogue, with some well-known standards as well as some tunes that aren't revisited as often these days. The high points on the set include the Billy Strayhorn composition The Intimacy Of The Blues, the swinging Just Squeeze Me and the late night mood of In My Solitude. A superbly accomplished album, Two For Dukes is a refreshing new take on the Ellington songbook, and a great album to chill out to. Originally posted on Tokyo Jazz Notes HERE

MAIS QUE NADA: A&M POP BOSSA (VARIOUS ARTISTS)

A sublime selection of grooves from the legendary A&M Records – and a key document of the way the label helped shape the sound of Brazilian music in the 60s! Far more than any other American imprint, A&M had a key dedication to bringing Brazilian sounds to the US – not just through work by artists like Sergio Mendes, Edu Lobo, Bossa Rio, and others – but also through the way it introduced Brazilian songs, arrangements, and instrumentation to work by other singers too! This package brings together some of the best of those moments – great music mostly from the late 60s – showing not just the presence of Brazilian music on the label, but the strong influence of bossa nova as well. Titles include "Old Devil Moon" by Bossa Rio, "Dindi" by Claudine Longet, "Fool On The Hill" by Sergio Mendes & Brasil 66, "One Note Samba" by Chris Montez, "Don't Go Breaking My Heart" by Roger Nichols, "Fly Me To The Moon" by Chris Montez, "Day By Day" by Bossa Rio, "Misty Roses" by The Sandpipers, "The Girl From Ipanema" by Chris Montez, "Up Up & Away" by Bossa Rio, "Mas Que Nada" by Sergio Mendes & Brasil 66, and "Our Day Will Come" by Roger Nichols Trio. ~ Dusty Groove

TROPICALIA: OU PANIS ET CIRCENCIS (VARIOUS ARTISTS)

This is it: the landmark record that brought together all the brilliant young talents of the radical Tropicalia movement – Caetano Veloso, Gilberto Gil, Os Mutantes, Nara Leao, and Gal Costa. The groundbreaking album served as a "manifesto" for the Tropicalia movement, and it's still the best introduction to the fantastic sounds of the group. Gal and Caetano sing "Baby", Caetano and Gilberto sing "Tres Caravelas", and the whole group sings the tracks "Parque Industrial" and "Hino Do Senhor Do Bonfim". Also includes Gilberto Gil's great reading of "Bat Macumba", Nara Leao singing "Lindoneia", and Os Mutantes storming through "Panis Et Circenses" (bread and circuses). Beautiful cover, too, featuring the group all sitting together, looking super intellectual. Essential stuff! (On heavy vinyl – and with a bonus CD of the album!) ~ Dusty Groove

THE FARAH QUINTET

The first four releases from Timeless featured the acoustic trio RF, with hip covers of classic soul, jazz and hip-hop tunes of years gone by. Producer Farah has now assembled Farah Quintet, led by pianist Nao Suzuki for the label's latest project.

Again, this is a covers project, this time one with a distinctly Brazilian feel to it, reviving the jazz samba sound of the sixties. To recapture the mood of the era, the session was recorded on open-reel tape using a vintage mic, and then mastered for CD. The results are stunning, sounding like the band have been recorded playing live in a small club.

The nine-track set opens with a faithful rendition of the Dee Felice Trio classic, Nightingale, with the rhythm section slightly further forward in the mix than the original making it very club-friendly. From there its on to the fast-paced samba of Muito A Vontade, a Joao Donato tune and a blistering version of the Fritz Pauer composition Terra Samba, with something of a deep house arrangement.

There is a heavy percussion arrangement of Baden Powell's classic Berimbau that makes it ideal for the dancefloor at either jazz events or crossover nights. Its full of energy with an unrelenting rhythm, and the slight imperfections you get from one-take recordings add to the live feel of the piece. Also worth a mention are Zimbo Samba and Fiesta Espanola, the latter of which features Shoji Haruna on tenor sax.

There's no doubt that it's mission accomplished on The Farah Quintet, with the spirit of sixties jazz samba successfully revived and given a contemporary twist all the time keeping the authentic analogue sound. A great soundtrack for the summer.

~ Originally posted on Tokyo Jazz Notes HERE

BLUE NOTE RELEASES SIX JAZZ CLASSICS IN HIGH DEFINITION AUDIO

Albums by John Coltrane, Eric Dolphy, Herbie Hancock, Wayne Shorter, Horace Silver, and Larry Young Digitally Remastered from Original Analog Masters

Blue Note/EMI has announced today's high definition, master-quality audio release of six classics from the label's legendary catalog on HDtracks (http://www.hdtracks.com/). John Coltrane's Blue Train, Eric Dolphy's Out To Lunch, Herbie Hancock's Maiden Voyage, Wayne Shorter's Speak No Evil, Horace Silver's Song for My Father, and Larry Young's Unity have been digitally remastered for the first time in 96kHz/24bit and 192kHz/24bit from their original analog multi-track masters. All of the albums are accompanied by their original sleeve notes plus additional photos and newly-written package essays.

Blue Note president Don Was says, "In preparing these hi def remasters, we were very conscientious about maintaining the feel of the original releases while adding a previously unattainable transparency and depth. It now sounds like you've set up your chaise lounge right in the middle of Rudy Van Gelder's studio!"

Today's HDtracks debuts, remastered in hi-res by Alan Yoshida and Robin Lynn at Blanche DuBois, follow the recent HDtracks bows of several other EMI albums, including The Beach Boys' landmark 1966 album Pet Sounds, Norah Jones' new album, Little Broken Hearts, and Jones' earlier Blue Note albums: Not Too Late, Feels Like Home, and Come Away With Me.

HDtracks is a high-quality music download service offering a diverse catalog of music from around the world. HDtracks offers both AIFF and FLAC lossless files, and select titles are available in ultra-high resolution 96khz/24bit files, providing audiophiles who demand the highest quality recordings with an online experience not available anywhere else.

In 1957, while in the midst of finding his own voice on the tenor saxophone in bands led by jazz freedom riders Miles Davis and Thelonious Monk, John Coltrane enlisted a band of peers and entered Rudy Van Gelder's Hackensack, N.J., studio. With a new spirit rising, Coltrane created Blue Train, a 40-minute-plus masterwork that stands as one of the greatest jazz records of all time. It was only Coltrane's second album as leader, and his sole recording under his own name for Blue Note Records.

Free-flying Eric Dolphy veered into the contrarian zone in his musical approach on his one and only Blue Note album, 1964's Out To Lunch. Breaking away from the clichés of post-bop jazz and speaking boldly on his array of instruments (flute and alto sax, as well as bass clarinet), Dolphy displayed the avant-garde modus operandi to expect the unexpected. The sometimes abstract and off-kilter yet often whimsical album turned heads and opened ears, and it has gone down in jazz history as one of the genre's masterpieces. A must-hear. A best bet. A revelation.

1965's Maiden Voyage sprang from the mind of one of the most adept and creative of the sound-sculpting facilitators, pianist and composer Herbie Hancock. By the time he recorded the album, Hancock had been in the Miles Davis Quintet for several years, an experience he, bassist Ron Carter and drummer Tony Williams (the rhythm section here) all described as transformative. Arguably Hancock's peak solo statement from the 1960s, Maiden Voyage appropriates elements of the Davis group dynamic for a transfixingly understated meditation on the lure of the sea. The album is also a perfect case study in the art of group interplay; it offers an array of thoughtful answers to the question "How, exactly, does conversation happen in jazz?"

On the spectrum of jazz challenges, Wayne Shorter's 1965 album Speak No Evil appears to lean toward the easy side. It sits in a comfortable and utterly approachable medium swing. Its primary theme is a series of long tones outlining placid, open-vista harmony. Its bridge resembles something from the notebook of Thelonious Monk – a simple staccato motif that stair-steps up and down, each phrase defined by strategic accents. Yet, as often happens in the music of Wayne Shorter, things are not entirely what they seem. There are layers. The notes of the melody tell one story; the chords nudge the musicians someplace else, a realm where theory lessons are of limited value and instinct matters more than intellect.

Song for My Father stands as the milestone of Horace Silver's oeuvre, not only for its snappy songs (most originals, no songbook standards), but also for its top-tier ensemble interplay. Silver's pianism is unmistakable in its percussive bounce, with his light pounce on the keys fashioning chords that contribute to the hard bop rhythm. While he's not a flashy virtuoso of the instrument, he's a charismatic craftsman whose mesmerizing songs afford his band mates ample room to improvise with brio. The sessions were recorded a year apart, from October 1963 to October 1964, by two different ensembles (Silver's old band on two songs, and his then-new quintet on the other four).

If you happened to be a fan of the jazz organ sound in 1965, you knew exactly what to expect when you stepped into a club – greasy blues, ballads and jazz warhorses played at racecar tempos. Larry Young's Unity changed that. In one elegant stroke. All by itself. Embracing modal harmony and the freer, more open structures/language favored by the rising crew of post-bop musicians, Young expanded commonly held notions of what was possible on the instrument; his brisk, restless, masterfully syncopated performances on this album brought the organ into the modern post-bop conversation.

John Coltrane – Blue Train

1: Blue Train
2: Moment's Notice
3: Locomotion
4: I'm Old Fashioned
5: Lazy Bird

Wayne Shorter – Speak No Evil

1: Witch Hunt
2: Fee-Fi-Fo-Fum
3: Dance Cadaverous
4: Speak No Evil
5: Infant Eyes
6: Wild Flower

Eric Dolphy – Out To Lunch

1: Hat and Beard
2: Something Sweet, Something Tender
3: Gazzelloni
4: Out to Lunch
5: Straight Up and Down

Horace Silver – Song for My Father

1: Song for My Father
2: The Natives Are Restless Tonight
3: Calcutta Cutie
4: Que Pasa
5: The Kicker
6: Lonely Woman

Herbie Hancock – Maiden Voyage

1: Maiden Voyage
2: The Eye of the Hurricane
3: Little One
4: Survival of the Fittest
5: Dolphin Dance

Larry Young – Unity

1: Zoltan
2: Monk's Dream
3: If
4: The Moontrane
5: Softly As In a Morning Sunrise
6: Beyond All Limits

~ Blue Note/EMI

NEW RELEASES - JOHN AMBERCROMBIE QUARTET, DUDUKA DA FONSECA QUINTET, THELEMA

JOHN AMBERCROMBIE QUARTET – WITHIN A SONG

Tenorist Joe Lovano makes a wonderful appearance here – really bringing in a lot of soulful depth to an otherwise mellow set from guitarist Jon Abercrombie – providing a perfect foil to the lead player's sense of tone and timing! Abercrombie's guitar feels like it's swinging a bit more than usual – just a bit, but in all the right ways – and it's darn hard to ignore the presence of Lovano, whose well-chosen notes burst brightly in these great little lines throughout. The rest of the group features Drew Gress on bass and Joey Baron on drums – and titles include "Where Are You", "Easy Reader", "Sometime Ago", "Interplay", "Wise One", "Nick Of Time", and "Blues Connotation". ~ Dusty Groove

DUDUKA DA FONSECA QUINTET – SAMBA JAZZ – JAZZ SAMBA

Samba jazz, but lots more too – a set that's got plenty of dark edges amidst the warmer rhythms – which makes for one of the most compelling albums we've heard so far from drummer Duduka Da Fonseca! The group's a quintet, with some especially nice work on tenor from Anat Cohen – whose tone really helps flesh out the sound of the record, and bring in a strong sense of depth – amidst some lighter sounds from Guilherme Monteiro on guitar and Helio Alves on piano. Lenoardo Cioglia rounds out the combo on bass – and titles include "O Guarana", "The Peacocks", "Rancho Das Nuvens", "Sabor Carioca", "Depois Da Chuva", and "Melancia". ~ Dusty Groove

THELEMA – HEARING THE LIGHT

A cinematic cover, and some cinematic music to match – one of the moodiest projects we've heard from the contemporary underground of artists inspired by older film soundtracks! Keyboards are the dominant instrument here – often used in spare, snakey ways that recall older European cinema – but with a quality that's less scene-setting than just purely musical – sometimes groovy, sometimes a lot more stark and atmospheric. There's a few moments of spoken Icelandic dialogue – and titles include "Ljos", "Close Your Eyes & See", "Become A Hearer", "Grey Evening", and "Still Hearing The Light". (Includes a bonus CD of the entire album!) ~ Dusty Groove

NEW RELEASES - JOE MCPHEE & INGEBRIGT HAKEN-FLATEN, DEBO BAND, MALABIMBA

JOE MCPHEE & INGEBRIGT HAKEN-FLATEN – BROOKLYN DNA

Not just a great duo set between reedman Joe McPhee and bassist Ingebrigt Haker Flaten – but also a set that pays tribute to the rich legacy of Brooklyn jazz from the 40s onward – pulling together strands of influences from Sonny Rollins, Don Cherry, Dewey Redman, and others! McPhee always sparkles in a setting like this – and his alto and soprano sound sharper and more expressive than we've heard in years – a perfect fit for the well-chosen basslines from Flaten, who seems to have a new sort of soul that really makes the recording shine. Titles include "Spirit Cry", "Blue Coronet", "Putnam Central", "Crossing The Bridge", "Here & Now", and "214 Martense". ~ Dusty Groove

DEBO BAND

Great grooves from Debo Band – a contemporary combo, but one who's steeped in older Ethiopian modes – particularly the best 70s sounds inspired by artists like Mulatu, Mohammad Ahmed, and Tilahun Gessesse! The album may well be the funkiest set ever issued by Sub Pop – and has a hard-rolling power that rivals classic sounds you might hear on the Ethiopiques series – sent home especially well by the sax lines of Danny Mekonnen, and amazing vocals of Bruck Tesfaye – an artist who's really got his sound just right! Other instrumentation is right on the money, with some occasional touches of funkier elements – but usually just the right sort of classic Ethiopiano percussion, horns, and strings to make the music come out beautifully. Titles include "And Lay", "Asha Gedawo", "Habesha", "Abassel", "DC Flower", "Not Just A Song", "Ney Ney Weleba", and "Akale Wube". ~ Dusty Groove

MALABIMBA

A really great group with a strong influence from 70s Italian soundtracks – one that serves up some mighty spare instrumentation that just includes percussion and keyboards – the latter of which is heavy on organ and synthesizer! The music has a really sinister feel – like the kind of grooves, both funky and mellow, you'd find on some sort of spooky soundtrack from years back – almost like some of Goblin's best film scores of the 70s, but without as much jamming overall! The approach is really wonderful – lean, mean, and far from cliche – and titles include "Isolato", "Malabimba 1", "La Fortuna Alterna", "La Svolta", "Addormentato", "La Piaga Dell Umo", and "La Violenza". (Comes with a bonus CD of the album!) ~ Dusty Groove

NEW RELEASES - GLOBAL NOIZE, DOS CAFUNDOS, IG CULTURE

GLOBAL NOIZE - DREAMS

Dreams is a brand new recording from Global Noize - consisting of Jason Miles, DJ Logic, Indian Diva Falu, Amanda Ruzza and Jay Rodriguez.  Here they are joined by Mocean Worker, Nick Moroch and Emily Bindiger to create a new song that expresses where we and what we feel as a society - all wrapped around an amazing musical tapestry. As a bonus Global Noize is giving it away as a free download. The track is mixed by Goh Hotoda, and according to Jason Miles "the song, recording, performances, production, mix and mastering are of the highest quality." Here is the link: http://soundcloud.com/global-noize/dreams

DOS CAFUNDOS – CAPITAO CORACAO

Founded 2002. Rio de Janeiro. A dastardly loving concoction of Frank Zappa, John Zorn and Mr Bungle processed through a Burrows-esque descent into musical madness. A post neo funk, prog-jazz, samba punk hybrid known as Dos Cafundós. Often frenetic, ever evolving, morphing through time signatures, moods and intensity ‘Capitão Coração’, the band’s first full length release, represents a broadening of Far Out Recordings’ sonic offerings showcasing the musical craftsmanship and diversity of Rio. Definitely the way forward - I love this! - John Armstrong (BBC Radio 2); Sounds great, will play it on my show - Christoph Twickel (Byte.FM, Germany); Dig it! Will play it - Jeremy Sole (KCRW, L.A.)

IG CULTURE PRESENTS SOULFUL SHANGHAI
One of the crunchiest efforts we've heard from IG Culture in awhile – a record that's filled with the cosmic beats we've always loved in his music, yet firmly grounded on earth overall! The set mixes heavy rhythms with lots of vocals and rhymes – efforts from ID 4 Windz, Mr Mensah, Julie Dexter, K Banger, Bilal Salaam, and John Robinson – all wrapped and layered together in ways that are quite different from conventional hip hop, and which really resonate with the kind of collective, collaborative spirit we love in IG's music! There's an even darker feel here than usual – which we really appreciate – and titles include "Catalog Pieces", "Futures Back", "Black Renaissance", "Core Exit", "Truth", "Tangile Dream", "Outsider", "What's Happening", "The Sankofaz Peace Ark-Extra", and "Do The Math". ~ Dusty Groove

PHAROAH SANDERS - IN THE BEGINNING 1963 - 1964

An amazing look at the earliest years of one of our favorite jazz musicians ever – a massive 4CD set that goes way beyond Pharoah Sanders' famous first album for ESP! The box is filled with great music, but is also an historical document too – as it offers up some interview snippets, alongside material that has Sanders working in the Don Cherry Quintet, the Sun Ra Arkestra, the Paul Bley Quartet, and his own group as well!

CD 1 features material from January 1, 1963 – recorded with a Don Cherry group that features Sanders on tenor, Joe Scianni on piano, David Izenzon on bass, and JC Moses on drums – plus a May, 1964 date with a Paul Bley group that features Sanders, Izenzon, and Paul Motian on drums!

CD 2 features a famous group led by Sanders – with Jane Getz on piano, Stan Foster on trumpet, William Bennett on bass, and Marvin Patillo on drums – on the titles "Bethera" and "Seven By Seven".

CDs 3 and 4 feature material from December 30 and 31st, 1964 – a famous performance with Sun Ra and Black Harold – one that seems to be expanded from the previous release, presented with both mono and stereo tracks. Titles include "The Second Stop Is Jupiter", "We Travel The Spaceways", "Dawn Over Israel", "Gods On Safari", "Space Mates", and "The Voice Of Pan". And yes, some of this stuff's been on the market before – but the package also features interviews with Sun Ra, Pharoah Sanders, and Don Cherry – plus a nice booklet too! ~ Dusty Groove

DONNY McCASLIN - CASTING FOR GRAVITY

"With his expansive feeling and unadulterated love of music-making, McCaslin is in some ways the Sonny Rollins of his generation." - Ottawa Citizen

"I'm hard pressed to think of other horn players who can routinely deliver performances as astonishing and Herculean as McCaslin's-and even better, he always uses his prodigious energy in the service of a greater musical purpose." - Chicago Reader

"It was radical. With fire-breathing fists, (McCaslin) deployed his ordinance to the ground..." - Boston Globe
Acclaimed saxophonist Donny McCaslin takes a bold leap forward with his tenth album as a leader, Casting for Gravity. McCaslin's gargantuan tenor sound finds an ideal setting to rampage through in the ferocious grooves and electronic textures of keyboardist Jason Lindner, bassist Tim Lefebvre, and drummer Mark Guiliana. Couching his trademark gift for brawny melodies in lurching dub rhythms, swirling electronica-inspired atmospheres, and arena-rock power, McCaslin has crafted a game-changer of an album, fusing a wealth of forward-looking influences into one wholly new modern jazz sound.

Casting for Gravity follows on the heels of 2011's highly acclaimed Perpetual Motion, which found McCaslin experimenting for the first time with merging his hard-charging acoustic sound with more funk-inflected electrified elements. But where that album was a blistering electro-acoustic hybrid, Casting for Gravity soars past fusion into alchemy, forging a visionary voice from eclectic influences.

"I wanted to make a bigger record with more sonic layers," McCaslin explains. "I wanted to go a lot deeper into the electronic realm and push myself harder."

McCaslin's initial forays into plugged-in territory were a reflection of his upbringing in Santa Cruz, California, where he was weaned on the deep, deep grooves of Tower of Power and Headhunters bassist Paul Jackson. Those influences remain in the percolating rhythms of "Bend" or the enormous musculature of "Stadium Jazz," inevitable how deeply ingrained they are into McCaslin's approach. But he wasted little time casting back into the past for inspiration on this outing, looking instead to ground-breaking contemporary artists.

Chief among them is Aphex Twin, the pseudonym of highly influential British electronica musician Richard D. James. "Aphex Twin really affected the way I wrote for this album," McCaslin says. "I was attracted to the way he uses really simple melodic ideas with all the activity happening in the drum programming. He's got a palette of ambient sound, there's a textural backdrop, the melodic elements are sparse and the beat is really intense. I wanted to try to write some stuff coming from that feeling."

The album's completely through-composed title track bears out that influence strongly. McCaslin plays the tune's yearning, serpentine melody through its permutations, but the rhythm section constantly evolves and expands throughout the piece, with Lindner enveloping them in evocative sonic textures. "Love Song for an Echo" expands further on the concept, maintaining the notion of spare melodic material coupled with vigorous rhythmic activity, but embellishes that idea with rich harmonies and improvisational invention.

Another prime influence for McCaslin was the Scottish electronica duo Boards of Canada, whose song "Alpha and Omega" is here transformed into a mesmerizing excursion into lush sax echoes and ricocheting dub rhythms. "I love their ambient textures," McCaslin says of the duo. "The thing that frustrates me sometimes about electronica music is the lack of melodic and harmonic development. For me, the song has to be strong in and of itself, whether it's electronica or swing or whatever. So the challenge for me was to take that ambient vibe and rhythmic element, try to not overwrite, but to have the melodic and harmonic content provide enough meat to make it a strong tune."

The results are evident throughout Casting for Gravity, as the quartet swells into luxurious electronic environments, but navigates within that sonic sphere with lithe, incisive blowing. The cohesiveness of the band's sound is the result of an extensive touring schedule prior to recording, a rarity in the modern jazz landscape.

Both Lefebvre and Guiliana played on Perpetual Motion and continued to development that music live with McCaslin in the ensuing months. It was during those gigs that LeFebvre's strong dub influences emerged, a direction that resonated with McCaslin and that he strove to encourage through his writing for the band. "Santa Cruz, where I grew up, was a hotspot in terms of reggae," McCaslin says. "When I was a kid I got to see Jimmy Cliff, Peter Tosh, Burning Spear, Mighty Diamonds, Black Uhuru - that music was popular in the culture there. So when Tim started pulling out the dub thing it reminded me of my love for that music."

That sound emerges in tunes like "Says Who," where McCaslin left the composition open enough that the dub elements emerge organically within a piece that also bears traces of American folk, elastic Weather Report-style fusion, and a crushing finale that suggests the experimental Swedish metal band Meshuggah. It also accents the slinky, Meshell Ndegecello-esque groove of "Losing Track of Daytime," which eventually opens up into an aspirational melody reminiscent of Aaron Copland.

Lindner and Guiliana are bandmates in the electro-groove trio Now vs. Now, which led McCaslin to the keyboardist/bandleader for a gig at the European Jazz Baltica festival. "Jason is an amazing writer and orchestrator and improviser," McCaslin raves, "but sonically he's so organic. I've loved Jason's writing for a long time, so I thought this was my opportunity to play with him more."

The wide-ranging palette that Lindner offer is one key to the album's sound, from the pounding piano rock of "Stadium Jazz" (named for a Guiliana joke aptly referring to the quartet's robust noise) to the glitchy stabs of "Tension," penned in a successful attempt to represent jagged emotion through music. It's a feeling that McCaslin is all too intimate with considering he now has two young children at home, though the more idyllic nature of family life is depicted in the album's joyous closer, "Henry," written for his infant son.

Saxophonist/composer David Binney contributed the blissful "Praia Grande," named for the Portuguese beach where it was composed. A longtime friend and collaborator, Binney has produced most of McCaslin's records and was more integral than ever before in this effort. "David was deeply involved in the whole record and had a huge impact on it," McCaslin says. "He pushed me to really go for it, to make a really landmark album."

The effort paid off, with an album that truly breaks new ground not just for McCaslin but for integrating modern musical genres seamlessly into envelope-pushing jazz. The saxophonist has long been one of the music's most striking voices, leading to long-running collaborations with innovators like Dave Douglas and Maria Schneider. His own solo work has been marked by a restless exploration that is only accelerated with this latest release.

Upcoming Donny McCaslin Appearances:
All dates to feature the Donny McCaslin Group unless otherwise noted.
Personnel for each date varies.
** Indicates performance(s) w/Maria Schneider Orchestra
** August 5 / Newport Jazz Festival / Newport, RI
August 6 / Dizzy's Club Coca-Cola / New York, NY w/Marshall Gilkes Group
August 12 / Litchfield Jazz Festival / Goshen, CT
August 17 / An Die Musik / Baltimore, MD w/Alan Blackman Group
September 1 / 2012 Fox Jazz Festival / Menasha, WI
September 2 & 3 / Detroit Jazz Fest / Detroit, MI
September 22 / Monterey Jazz Festival / Monterey, CA w/Antonio Sanchez
October 10 / Scullers Jazz Club / Boston, MA
October 12 & 13 / Upstairs Jazz Club / Montreal, Quebec, Saxophone Quartet w/Dave Liebman, David Binney & Samuel Blais
October 15-17 / (Venues TBA) / Quebec, Saxophone Quartet w/Dave Liebman, David Binney & Samuel Blais
October 18 & 19 / University of Alabama / Tuscaloosa, AL
October 23 / Jazz Standard / New York, NY w/Freddie Bryant Group
October 24 / Atlas / Washington, D.C. w/Alan Blackman Group
** October 30 & 31 / Dakota Bar and Grill / Minneapolis, MN
** November 1 & 2 / University of Wisconsin-Stevens Point / Stevens Point, WI
** November 3 / Lawrence University / Appleton, WI
November 15 / Garde Arts Center / New London, CT
November 16 / Firehouse 12 / New Haven, CT
** November 20-25 / Jazz Standard / New York, NY
December 1 / An die Musik / Baltimore, MD
December 4 & 5 / Jazz Standard / New York, NY
December 8 & 9 / Dazzle / Denver, CO
February 6 & 7, 2013 / Indiana University / Bloomington, IN
February 8 & 9, 2013 / The Green Mill / Chicago, IL
February 15 & 16, 2013 / Tallcorn Jazz Fest / Cedar Falls, IA
February 22 & 23, 2013 / Holland Performing Arts Center / Omaha, NE
March 2, 2013 / San Joaquin Valley Jazz Fest / Fresno, CA
March 4, 2013 / Kuumbwa Jazz Center / Santa Cruz, CA
** April 1-4, 2013 / University of North Florida / Jacksonville, FL

donnymccaslin.com

HOME - GIFT OF MUSIC

"Call me romantic, but I believe in the power of music and its ability to heal and uplift," proclaims Rio Sakairi, Director of Programming at The Jazz Gallery, an internationally recognized breeding ground for young musical talent in New York City. It is this sentiment that inspired her into action, when a 9.0-magnitude earthquake struck off the coast of Japan on March 11, 2011. Marking one of the worst natural disasters on record, the earthquake spawned devastating tsunamis and a subsequent nuclear crisis. The insurmountable destruction claimed tens of thousands of lives, and the world watched in horror. For Sakairi, it was more than an unfathomable tragedy; it literally hit home.

Born and raised in Tsuchiura, Ibaraki - just two hundred miles from the severely ravaged Sendai area - Sakairi was inspired immediately into action. She called upon an esteemed roster of friends and colleagues within the thriving jazz scene, and they came together to create a gift to those who suffered such incredible loss. HOME - Gift of Music is an eight-song manifesto of hope from some of today's most innovative musicians in jazz and beyond, including Gretchen Parlato, Doug Wamble, Becca Stevens, Alan Hampton, John Ellis and Claudia Acuña. Scheduled for release on September 11, 2012 on Sunnyside Records, the singer-songwriter leaning repertoire captures the huge emotive capacity of the artists, with an intimacy as personal as a love letter. The fullness of their hearts is evidenced by the immediacy with which they were able to unlock their overflowing expression of compassion, empathy and, ultimately, optimism.

Sakairi's reputation as a concert producer has placed her among the most influential figures in the jazz field. Her creative ideas, understanding of new trends, track record of discovering and nurturing new talent, and impeccable artistic standards have captured the attention of such seasoned experts as George Wein. Now stepping out as a record producer, Sakairi demonstrates her musical sensibilities and convictions as a philanthropist.

The musical and social camaraderie that Sakairi has so uniquely fostered over the last twelve years at The Jazz Gallery undoubtedly came into play during the recording. The artists donated their time and talents, penning personal songs specifically for this project. All proceeds from HOME - Gift of Music will go to Habitat for Humanity Japan, where volunteers are working tirelessly to rebuild homes for those affected. Studio time, engineering, artwork, graphic design, distribution, marketing and PR services were also generously donated.

"All of the songs were written with very short notice and there was no rehearsal," says Sakairi. "It's pretty magical the way everything came together. It was all done in just one or two takes."

Sakairi's mentoring skills proved instrumental, pushing artists not only beyond the jazz realm, but for some, out of their comfort zones; most notably with the contribution of the multi-reedist John Ellis, who makes his debut as a vocalist on the pensively assuring title track. "I just knew he could do it," says Sakairi, who has commissioned Ellis three times for The Jazz Gallery's notable commissioning program. "Every time I push him, he rises to the challenge, delivering results above and beyond my expectations. It turned out to be great, exactly as I thought it would."

Becca Stevens laces this track and others throughout the album with mesmerizing vocals, and also contributes two standout songs. Her Tillery bandmate Gretchen Parlato offers backing vocals on several tracks as well, and also sings two gorgeous duets with bassist/guitarist Alan Hampton and trumpeter Leron Thomas. Both Hampton and Thomas also shine as vocalists away from their respective instruments. Guitarist Doug Wamble's soulful, hymn-like anthem, "Fear Not the Fall" anchors the overall emotionalism of the album, while singer Sachal Vasandani's album closer, "Doves" stirs up hope for what is to come. The album also boasts a stellar band, including the pianist Taylor Eigsti, the saxophonist Dayna Stephens, the guitarist Adam Rogers, the bassist Ben Williams, and the drummer Johnathan Blake, among others.

Vocalist Claudia Acuña contributes the album's only cover, a rousing rendition of "The Music Is The Magic", written by the incomparable singer/songwriter Abbey Lincoln. The song's lyrics, which embody Sakairi's notions about the power of music, are a perfect fit.

"The music flowed," says Sakairi. "Everything was easy. It felt good to be in the studio, and we were all happy to be there. There was lots of excitement and laughter and good will. Everyone brought their A game and it was so amazing to work with them. I don't know how they do it."

In the age of the five-minute attention span, and in a world with no shortage of catastrophes, Sakairi is working hard to remind everyone that, although the tragedy in Japan may not make the front page today, people are still hurting and the road to recovery is long and difficult. HOME - Gift of Music is a testament to the enduring spirit of the people of her native homeland, and to the ability of music to leave an ineradicable impact. "Action is how we show that we love and we care," says Sakairi. "Action is the only way to combat helplessness. I took on this task because this is my home."

TRACK LISTING/PERSONNEL:
1. Gambare Nippon (0:24)
2. If It Was (2:50) By Alan Hampton
3. Coming Home (2:16) By Becca Stevens
4. Home (3:15) By John Ellis
5. The Music Is The Magic (4:02) By Abbey Lincoln
6. Tillery (5:34) By Becca Stevens
7. Fear Not The Fall (6:23) By Doug Wamble
8. Leave Rebirth (4:44) By Leron Thomas
9. Doves (7:38) By Sachal Vasandani

Claudia Acuña - vocals (track 5)
John Ellis - vocals (track 4)
Alan Hampton - vocals & guitar (track 2)
Gretchen Parlato - vocals & percussion (tracks 2, 6, 8, 9)
Becca Stevens - vocals & guitars (tracks 3, 4, 6, 9)
Leron Thomas - vocals (track 8)
Sachal Vasandani - vocals (track 9)
Doug Wamble - vocals & guitar (track 7)
Dayna Stephens - tenor saxophone (track 2)
Taylor Eigsti - piano (tracks 2, 8, 9)
Adam Rogers - guitars (tracks 5, 8, 9)
Ryan Scott - guitars (track 4)
Danton Boller - bass (track 4)
Chris Tordini - bass & vocals (track 6)
Ben Williams - bass (tracks 5, 8, 9)
Johnathan Blake - drums (tracks 5, 8, 9)
Bill Campbell - drums (track 4)

MELODY GARDOT ANNOUNCES U.S. TOUR DATES

Acclaimed singer Melody Gardot will start a US concert tour this Fall beginning September 20th in San Francisco, it was confirmed today by her label, Verve Records and Beaver Productions, her national tour promoter. Her newly released third album The Absence debuted at No. 3 in France, No. 1 on the Billboard Jazz Charts as well as No. 1 on iTunes Jazz Charts around the globe. The album also reached Top 10 in several countries including Germany and Japan. The Grammy nominated Philadelphia native will also perform at the famed Monterey Jazz Festival and appear in concert in Los Angeles, Chicago, Boston, NYC and Philadelphia. Tickets are scheduled to go on sale on August 3rd.

Gardot who has just completed a highly successful European tour also performed at the Montreal Jazz Festival to rave reviews including the Montreal Gazette which described her show as "a spellbinding festival set for a bonafide star...From the moment she walked on stage...Gardot absolutely radiated in front of the rapturous crowd...She seemed to have every single listener under her spell... She sounded every bit the star." Jazz Times concurred by stating, "Gardot and band guided an adoring crowd on a haunting musical journey through swamp and samba, part funk and fado, with stops at blues and bossa nova."

"The Absence" has been receiving glowing reviews as well: "Gardot's melodies recall the golden age of Billie Holiday and Ella Fitzgerald." – People Magazine. 

"Spellbinding."...'The Absence' is an album of seductive, mysterious atmospheres conjured by a pop-jazz singer whose audacity, raw talent and intense feeling recall the young Rickie Lee Jones, even though the two have little in common beyond a fierce individuality." – Stephen Holden, New York Times.

"On tunes that traverse styles from samba to bluesy pop, Gardot wields her power with a light, sure hand... She could teach other singers volumes about restraint." ***1/2 stars – Elysa Gardner, USA Today.

The Absence was inspired by the culture that the singer-songwriter soaked up during travels to Portugal, Morocco, Argentina and Brazil. The songs remind her listeners that while often compared to such musical icons as Nina Simone, Judy Garland, Miles Davis, Edith Piaf, Astrud Gilberto, Stan Getz and others, Melody Gardot is a unique talent, a beautiful voice and a well earned reputation as one of the great live performers touring today.

Melody Gardot US Tour Dates:
Sept 20 – San Francisco, CA – Herbst TheatreSept 21 – Monterey, CA – Monterey Jazz FestivalSept 22 – Los Angeles, CA – Orpheum TheatreSept 25 – Chicago, IL – Park WestSept 27 – Boston, MA – Berklee Performance CentreSept 28 – New York, NY – Town HallSept 29 – Philadelphia, PA – Merriam Theatre
For more information, please contact:
Liz Rosenberg / Karen MossLiz Rosenberg Media

~ Verve Records

NEW RELEASES - SNOWBOY PRESENTS NEW VINTAGE, PRIVATE WAX, LOS TRANSATLANTICOS

SNOWBOY PRESENTS NEW VINTAGE (VARIOUS ARTISTS)

Snowboy is not only a Latin Percussionist, Band Leader, Recording Artist and a DJ of different permutations and era's of Jazz, Latin, Funk and Soul, but also a curator at the 'Vintage' festival in England. As all the bands on here are current, you may be surprised to see Crazy Cavan and the Rhythm Rockers 'Teddy Boy Rock And Roll' are also included. They've recently celebrated 40 years together and Snowboy wanted to acknowledge that achievement. They're still out there doing it too, and that makes them current.  Whether you're keen on the term 'Vintage' or not (and some of the artists here are not comfortable with that term), a definition in the Collins Dictionary is “Representative of the best and most typical”. There you have it. You're in for a treat. ~ BBEMusic

PRIVATE WAX (VARIOUS ARTISTS)

Zafsmusic.com continues to bring you the rarest disco & boogie bangers with his new compilation titled Private Wars. 16 scintillating excursions into the deep disco & boogie world of privately pressed & produced gems. Zaf Zafsmusic is a disco weasel of the highest order. He has, by his own admission, got it bad--losing sleep and suffering physical maladies from the want of certain must-have pieces of stamped vinyl. Fortunately, he also has excellent taste and a lengthy history of wheeling and dealing with other similarly afflicted individuals, a history that has allowed him to sift the wheat from the crap, err, chaff, as it were. Taken as a whole, this compilation is perfect party material, filled with feel-good tunes that take things back to that simple love of music that enticed us all in the first place. Zaf deserves our thanks for making his private wax public. ~ BBEMusic

LOS TRANSATLANTICOS - FIRST TRIP

Fusing Latin American sounds with European electronic beats can often produce a bland and rudderless dross destined for derivative lounge compilations and deliriously dull playlists at pretentious after work cocktail bars. Not so with the aptly named First Trip, the superb sophomore effort from the equally aptly named “Los Transatlanticos”. The story of Los Transatlanticos begins in 1996 when the Croatian Born and Berlin Resident Dean Bagar aka Tricky D went on a trip to Bogotá, Colombia, where he met Pablo Gaviria and immediately bonded over a common love for Caribbean music. Before long the synergy between both became such that they decided to form “Los Transatlanticos”, named in reference to both their musical approach and their forced l! ong distance artistic relationship, and formed of mainly Colombian musicians and vocalists. The outcome of the first meeting of Los Transatlanticos is 1st Trip, a musical fusion of the Caribbean and the European which owes more to Manu Chao’s rebel nonconformist spirit than Thievery Corporation’s slick aesthetical perfectionism - to the benefit of the listener and live audience both - made its live debut at the Berlin Worldtronic Festival in December 2011 to rapturous reception, and will surely herald in a very eventful year ahead for these Transatlantic music friends. It’s time to jam. ~ BBEMusic

MELBA MOORE REISSUES...

MELBA MOORE - MELBA

Soaring soul from Melba Moore – a singer who really came into her own with this sweet 70s album! Melba always had a great voice, right from the start – but here, she's working with arrangements and production by Van McCoy – updating her sound with a bit of a clubby groove, in a way that helps Moore reach even greater heights than usual – and cross over to a big audience with ears for the growing disco sounds of the time! McCoy really knows how to pitch things right – and overall, the album's got a much deeper feel than some of his own disco work of the time – thanks, no doubt, to Melba's rich vocal approach. Titles include "So Many Mountains", "Good Love Makes Everything Alright", "The Way You Make Me Feel", "The Greatest Feeling", "Mighty Clouds Of Joy", and "Ain't No Love Lost". ~ Dusty Groove

MELBA MOORE - A PORTRAIT OF MELBA

The vocals of Melba Moore, and some great Philly soul rhythms – put together with tight arrangements from McFadden & Whitehead, who give Moore a similar approach to some of the best Philadelphia International records of the time! There's a really nice sense of balance to the record – some mellower moments mixed in with the groovers, and a few stepping midtempo numbers that are especially nice – and which seem to unlock a depth and maturity in Melba's vocals we can really appreciate. Titles include "Living Freee", "You Are My River". "Standing Right Here", "Just Another Link", "Is This The End", "Promised Land" and "I Don't Know No One Else To Turn To". CD features 2 bonus tracks – extended single versions of "Promised Land" and "Standing Right Here".

~ Dusty Groove

MELBA MOORE - DANCIN' WITH MELBA

An album of club tracks, as you might guess from the title, but every bit as strong as Melba More's other work from the late 70s! The album's got some top-shelf club help throughout – including production from Van McCoy and McFadden & Whitehead, the latter of whom also contributed a few key tracks – and the whole thing's also mixed by Richie Rivera with a soaring, spacious sound, and one that's never too cloyingly commercial. Melba's strong vocals are right at home in the setting, and even the longer tracks don't seem to dampen her enthusiasm at all. Titles include "Standing Right Here", "Free", "Play Boy Scout", "Promised Land", and "Make Me Believe In You". CD features a bonus 12" version of "This Is It". ~ Dusty Groove

NEW RELEASES - RODRIGUEZ, ORRIS EVANS, HIDEO SHIRAKI

RODRIGUEZ - SEARCHING FOR SUGAR MAN

Amazing sounds from the legendary Rodriguez – the brilliant 70s singer who had a groove that was equal parts soul, funk, rock, and folk – and an overall approach that was pretty darn unique! Most numbers here have some acoustic guitar over slightly funky rhythms – perfectly scored to work with Rodriguez's raspy soul vocals, which have an undeniably heartfelt style – somewhere in a space between Terry Callier and early Jose Feliciano, but very much its own mode too! This CD features great gems from Rodriguez's years at Sussex Records – including three tracks not on the albums – "Can't Get Away", "Street Boy", and "I'll Slip Away" – plus other titles that include "Sugar Man", "Cause", "I Wonder", "Like Janis", "Jane S Piddy", "I Think Of You", "Inner City Blues", and "Sandrevan Lullaby Lifestyles". ~ Dusty Groove

ORRIN EVANS - FLIP THE SCRIPT

Exactly the kind of bold, powerful album that pianist Orrin Evans does so well – stretching out strongly, yet never going too far to swing – driving his trio here with a great deal of force, and definitely reminding us that the pianist is in the lead! Evans' touch on the keys is amazing – ringing out with clarity of vision right from the start – and although he gets very able support from Ben Wolfe on bass and Donald Edwards on drums, it's almost as of Orrin's ringing out all on his own, and drawing the rhythms along in the process! Titles include "When", "Big Small", "Clean House", "Flip The Script", and "Question". ~ Dusty Groove

HIDEO SHIRAKI - HIDEO SHIRAKI PLAYS BOSSA NOVA

Bossa jazz from 60s Japan – a set recorded right around the same time that Verve first started hitting bossa grooves in the US! The sound here is sharper than a Verve bossa album, though – with some of the same hardbop inflections you'd hear on other Hideo Shiraki albums from the time – thanks to flute and tenor from Sleepy Matsumoto, and trumpet from Hisaya Omata. The tenor and trumpet come together with almost a Blue Note-styled sort of sound – but the bossa vibe is still nicely maintained in some of the looser percussion touches in the rhythms – a great blend that makes the album a real standout in the Japanese jazz scene of the 60s! Titles include "Sayonara Blues", "Gypsy Blue", "Deux Step", "Groovy Samba", "Orfeo Negro", and "Tico Tico". ~ Dusty Groove