NEW RELEASES – DAVE GRUSIN, CHICHA LIBRE, ROY AYERS

DAVE GRUSIN – THE POPE OF GREENWICH VILLAGE

Dave Grusin's soundtrack for the seedy 80s NYC crime drama The Pope Of Greenwich Village – a jazzier score than we remembered from the film! Dense, atmospheric keyboards and some 80s clubby jazz funk grooves, along with more spacious and dramatic material. Some really cool, noirish 80s jazzy sounds along with noirish touches and synthy grooves. Includes the title theme, plus "Unemployed", "Chinatown", "Bunky Dies", "For The Three Of Us", "Track Drive", "Horse Race", "Showdown", Coffee, Eddie", "Pauline And Charlie" and more. This great Quartet CD edition is expanded with a 12 bonus tracks, too! (Limited edition of 1000 copies.) ~ Dusty Groove

CHICHA LIBRE - CANIBALISMO

Contemporary chica from this hip New York combo – great sounds that echo with a really timeless feel! The instrumentation here is right on the money – bouncy percussion, sweet electric guitar, outer space keyboards, and a perfect production approach that really ties the whole thing together – and makes you feel like you've dipped into some lost collection of South American wax from the 60s! The guitar is especially nice, with some occasional surfy touches – and titles include "L'Age D'Or", "Papageno Electrico", "Number 17", "Depresion Tropical", "El Carnicero De Chicago", and "Danza Del Millonario". ~ Dusty Groove

ROY AYERS – VIRGO VIBES

A great set of straight jazz from Roy, recorded for Atlantic, and with a feel that's a lot edgier than some of his other work from the time! The groups on the record feature some of the hippest soul jazz players of the time – including Charles Tolliver, Jack Wilson, Joe Henderson, Harold Land, and Reggie Workman – and the feel of the material is almost a precursor to the Strata East sound of the 70s. Tracks are long and spiritual – and titles include "Glow Flower", "Ayerloom", "Virgo Vibes", "In The Limelight" and Charles Tolliver's "The Ringer". ~ Dusty Groove

NEW RELEASES – GEORGE JACKSON, DON BRYANT, JAMES TAYLOR QUARTET

GEORGE JACKSON – LET THE BEST MAN WIN: THE FAME RECORDINGS VOLUME 2

Damn! The first volume in this series of rarities cut by George Jackson for Fame Studios really blew our minds around here – and Kent has gone and somehow topped it with Volume 2! Let The Best Man Win features 2 dozen songs, most of which are originals by Fame staff writer Jackson – and not one one of these was officially released back in the day. A bunch were cut to demo the material for prospective artists, but it's truly hard to imagine anyone bettering these versions – not even Candi Staton or Wilson Pickett! The backing is top notch, too – with that unshakable Fame southern soul rhythm that's just raw enough – and each track feels fully-formed – not at all like a demo! As essential a trip into the Fame archives as any we've had to date! Includes "Mini Skirt Mini", "Get It When I Want It", "Forbidden Love", "Save Me", "Let The Best Man Win", "Soul Lovin'", "I'm Livin' Good", "Your Love Lifted Me", "You Got A Lot To Like", "Ain't That Some Good Lovin'L, "The Darkest Hour Is Before The Dawn" and many more. ~ Dusty Groove

DON BRYANT – PRECIOUS SOUL

A real lost treasure on Hi Records – one of the few albums ever cut by Don Bryant, a singer whose talents seemed to be eclipsed by the rising stars of Al Green and Ann Peebles – but who was every bit as great! Bryant's got a sound here that's still firmly in the Hi style forged by Willie Mitchell – who produces this set – but there's also some nicely rougher edges too, a sound that's almost more Stax than Hi – and which certainly features a bit of a nod to Wilson Pickett down in Muscle Shoals – not exactly funk, but with some nice grit in the grooves! The whole thing's great – and titles include "Try Me", "Cry Baby", "Funky Broadway", "Soul Man", "Land Of 1000 Dances", "She's Looking Good", and "Slip Away". ~, Dusty Groove

JAMES TAYLOR QUARTET – THE TEMPLATE

We've been digging the keyboard grooves of James Taylor for decades – and still, after all that time, he's one of the tightest, most soulful cats around! This sweet set takes Taylor back to the groove he was first hitting in the mid 90s – that blend of Hammond with funky 70s modes – somewhere in the late Prestige Records, or sublime Fantasy soul style – served up here by a core quartet, with added horns, flute, harmonica, and male vocals on a few tracks. Taylor's keys are wonderfully tight and soaring – very much in Hand Of The Inevitable territory, with a 70s Johnny Hammond vibe – and titles include "Loneliness", "Koko", "Song For My Dad", "Light Up Your Soul", "Woman", "Home Is Where The Hatred Is", and "The Template". ~ Dusty Groove

INTRODUCING...THE ARCHIVES

The Archives began when Thievery Corporation’s Eric Hilton began a quest to explore the roots of reggae music. He asked keyboard ace Darryl “D-Trane” Burke to put together a cover band that would introduce club goers to the rock steady hits and obscurities of the pre-reggae era. When the group began writing original material, Burke contacted players he knew that could bring a progressive vibe to the music. “Everyone in the band
has recorded and toured internationally with acts like Eek-A-Mouse, Culture,
Gregory Isaacs and The Abyssinians,” Burke explains. “We weave together the
best of foundation roots, rock steady, early dub and dancehall influences
with arrangements that use funky throwbacks such as jazz flute, melodica and
organ to create a classic, yet fresh and conscious sound.”

The band landed a two-year residency at the DC club Patty Boom Boom.
Nightlong sets that often saw them playing 60 tunes or more allowed them to
hone their sound and win an audience of dedicated fans. “It takes time to
create new flavors,” Burke explains. “Playing weekly allowed us to simmer
this stew and unify our sound. Now we’re comfortable in any situation and
confident that we can step up and take it to the next level.”

The Archives feature vocalists Ras Puma, the charismatic singer on Thievery
Corporation’s Culture of Fear, and Lenny Kurlou (S.T.O.R.M.). Mateo Monk
(Sankofa Blackstar) plays guitar, flute and melodica; Burke (Moja Nya, Eek-
A-Mouse, Gregory Isaacs) is on keyboards and drummer Leslie “Black Seed”
James Jr. (Culture, Eek-A-Mouse) and bass player Justin “Relentless” Parrott
(Claudius Linton) round out the lineup. The songs were composed collectively
and all band members contributed to the arrangements.

With Eric Hilton behind the board and Thievery Corporation’s head engineer,
Chris Stone, adding his magic to the mix, the band laid down 13 tracks full
of smoking soul and sufferation. Burke’s funky clavinet and James’s one drop
drumming introduce “Ghetto Gone Uptown.” Puma and Kurlou alternate lead
vocals and add smooth harmonies to the chorus of this lover’s rock jam. The
vibe is mellow, but the lyrics are a serious examination of the country’s
economic woes. Legendary dance hall DJ, producer and Thievery Corporation
vocalist Sleepy Wonder sings lead on “Music Is My Prayer,” an ode to the
healing powers of music. His scat-infused vocal on this sweet, laid-back
track owes a debt to the work of Black Uhuru’s Michael Rose.

Desi Hyson, singer and main songwriter of Al Anderson’s Original Wailers
takes lead vocals on “Crime,” a melodic romp that calls for the legalization
of ganja with a ska-like bounce in its rhythm. “More To Life” is a Black
Uhuru style roots rocker with inventive drumming from James and a passionate
vocal from Puma, calling for worldwide responsibility and compassion as an
antidote for the planet’s anguish. Subtle dub effects set off Monk’s wicked
guitar solo.

The band shows off its diversity on “Melodica Funk,” a rock steady
instrumental that blends melodica, Monk’s Latin-flavored jazz flute and
Burke’s Jackie Mittoo-style organ solos and “Why Can’t We Live Together,” a
funky disco/reggae cover of the Timmy Thomas standard. They also shine on
“Who’s Correct,” a bubbly rock steady groove featuring Parrott’s militant
Augustus Pablo-style bass line and a serious message of religious tolerance
and a dub heavy take on the Clash/Mikey Dread tune “One More Time.”

“Dali once said he learned to paint like the masters before embarking on his
visionary quest,” Monk says. “We strive to play like the masters in our
field, but we’re part of our generation. Modern sensibilities have developed
since the golden era of reggae: better gear, more awareness of studio
techniques, new approaches to improvisation, new paradigms for the concert
experience and greater social consciousness. We are not a retro band. We’re
a 21st century band with really deep roots and we want to contribute to
reggae’s evolution. Same tree, new leaves.” ~eslmusic.com

CLIFTON ANDERSON - AND SO WE CARRY ON

Clifton Anderson’s latest offering, And So We Carry On showcases six great new original compositions and three uniquely arranged standards. All are combined with stellar performances from both Clifton, his working group and an impressive list of guest artists including: Kenny Garrett, Monty Alexander,Wallace Roney, Jeff “Tain”Watts, Bob Cranshaw,Warren Wolf, Steve Jordan, Kimati Dinizulu and Victor See Yuen.

Clifton Anderson was born on October 5, 1957 in Harlem, New York City. He grew up surrounded by music. His father was a church organist /choir director, and his mother a singer and pianist. It was no surprise that Clifton exhibited an affinity for music at an early age.When he was seven years old he got his first trombone, a gift from his uncle, Sonny Rollins. A graduate of The Manhattan School Of Music,

Clifton has worked with a “who’s who” of diverse musical giants from Frank Foster, McCoy Tyner, Clifford Jordan, Stevie Wonder, Dizzy Gillespie, Merv Griffin and The Mighty Sparrow to Lester Bowie, Dee Dee Bridgewater, Paul Simon, Terumasa Hino, Muhal Richard Abrams,WyClef Jean, Geri Allen, Charlie Haden, Slide Hampton and Wallace Roney among others. Clifton joined Sonny Rollins group in 1983, touring worldwide and recording ten releases with him until 2009.

He has produced four releases for Sonny’s label Doxy Records: Sonny, Please - the DVD; Sonny Rollins in Vienne; Road Shows Vol. 1 and Clifton’s own Decade. Clifton received a nomination for 2009 “Trombonist Of The Year” from The American Jazz Journalists Association. His live performances have continued to receive stellar reviews. In 2009 with the release of the critically acclaimed Decade, Clifton decided to leave Sonny’s group to lead his own band full time. In September 2011 Clifton headed back into the studio to record the highly anticipated And So We Carry On. “With people increasingly faced with turmoil, uncertainty and crisis, I wanted to create music that uplifts the listener and offers a sense of hope to prevail”. And So We Carry On has already created a buzz among musicians and will certainly prove to be a worthy successor to Decade. "With his third release as a leader, trombonist Clifton Anderson gives US the soul, substance and spirit to carry on.

Musicians:
Clifton Anderson – Leader/Trombone
Eric Wyatt – Tenor Sax
Donald Vega – Piano
Essiet Essiet - Acoustic Bass
Steve Williams – Drums

TOM HARRELL - THE TIME OF THE SUN

Tom Harrell is widely recognized as one of the most creative and uncompromising jazz instrumentalists and composers of our time. He is a frequent winner in Down Beat and Jazz Times magazines' Critics and Readers Polls and a Grammy nominee. Harrell is also a Trumpeter of the Year nominee for the 2010 Jazz Journalists Association Awards. Each of Harrell’s 24 albums has found its way onto various critics "Top Ten" lists worldwide.

Roman Nights (2010) is the third album and the latest Harrell offering that features the current members of his quintet. The unit includes tenor saxophonist Wayne Escoffery, pianist Danny Grissett, drummer Johnathan Blake, and his bassist of 12 years, Ugonna Okegwo. The quintet's previous albums, Light On (2007) and Prana Dance (2009), were released to wide critical acclaim and won SESAC awards for topping the radio charts in the U.S. Roman Nights once again reached the #1 spot in the US radio charts during 2010.

In contrast to his signature recordings during the RCA/BMG years (1996 - 2003) where much of his focus was on projects involving large ensembles, the latest albums on Highnote demonstrate Harrell's skills as a leader of a tight, smaller unit that calls to mind the energy and rapport of Art Blakey’s and Horace Silver’s bands. The trumpeter-composer weaves complex harmonies together with rhythms and melodies while utilizing the available colors to full effect.

Harrell divides his time between writing projects, live performance, and recordings, and actively tours with his quintet around the world. Recent television broadcasts of concerts include: San Javier Jazz Festival in Spain; Viersen Jazz Festival in Germany; Red Sea Jazz Festival in Israel; Jazz a Liege in Belgium; and Chivas Jazz Festival in Brazil. Harrell was featured as the Artist in Residence at the Barga Jazz Festival (August 2009) and Vicenza Jazz Festival (May 2009). At the latter festival he performed duo, quintet and big band concerts over several days. Harrell also performed music from his Wise Children and Paradise albums with the Duisburg Philharmonic Orchestra at Traumzeit Festival (July 2009) and as a guest soloist and arranger at the Concertgebouw with the Concertgebouw Jazz Orchestra (July 2009). This year’s special projects include several concerts with his quintet plus strings (July and November 2010) and concerts with his quintet and the Yakima Symphony Chamber Orchestra (October 2010).

A graduate of Stanford University with a degree in music composition, Harrell is a prolific composer and arranger. Carlos Santana, Cold Blood, Azteca, Vince Guaraldi, Hank Jones, Kenny Barron, the Vanguard Jazz Orchestra, Danish Radio Big Band, WDR Big Band, Brussels Jazz Orchestra, Metropole Orchestra and Arturo O'Farrill & the Afro-Latin Jazz Orchestra are among the many who have recorded or performed his work. Harrell's composition and arrangement, "Humility," was recorded for the latter's 2008 release, which just won a Grammy for the Best Latin Jazz Album.

Some of Harrell's notable RCA/BMG recordings include Wise Children, a project in which he combines woodwinds, brass, horns, strings, guitars, percussion and the vocals of Cassandra Wilson, Dianne Reeves, Jane Monheit and Claudia Acuna with his quintet; Paradise and The Art Of Rhythm, both of which feature chamber groups with strings; and his big band project, Time's Mirror.

In addition to the 24 albums and hundreds of concerts worldwide as a leader, Harrell has worked with important figures in jazz history including Stan Kenton, Woody Herman, Dizzie Gillespie, Horace Silver, Bill Evans, Gerry Mulligan, Art Farmer, Phil Woods, Lee Konitz, Sam Jones (with whom he briefly co-led a big band in the 70s), Jim Hall, Charlie Haden and with contemporaries such as Joe Lovano and Charles McPherson.

Harrell's latest album is The Time Of The Sun.

This biography was provided by the artist or their representative.

ANITA BAKER'S 'LATELY' A HUGE HIT ON URBAN AC RADIO

Capital/Blue Note Records is reporting that Anita Baker’s latest release “Lately” has thus far been a huge success thanks to Urban Adult Contemporary (AC) Radio. Released digitally on August 7, 2012, "Lately" is the highest debut single on the Billboard Urban AC Chart for anyone in the last 15 years, landing at #10. In addition, Baker was the first recording artist ever to have an unprecedented premiere on Urban Adult Contemporary Radio for all Clear Channel stations. Venturing in newer territory still, Baker says Only Forever will probably be her last commercial record. Not because she’s quitting music completely, but because she wants to try slightly different genres. “I have a gospel album in me, a jazz album…[there are] other things I want to say, and I'll say them," she told the Boombox. Only Forever will arrive in stores October 23, 2012.

The single has garnered 55 adds in just this past week. Here is a listing of the stations that have picked up the single: WBLS (NYC), KJLH (Los Angeles), WSRB (Chicago), KBLX (San Francisco, CA), KRNB (Dallas), KMJQ (Houston, TX), WHUR (Washington DC), WRNB (Philadelphia), WDAS (Philadelphia), WMXD (Detroit), WHQT (Miami), WWIN (Baltimore), WFUN (St. Louis), KMJM (St. Louis), WBAV (Charlotte, NC), WQNC (Charlotte, NC), WZAK (Cleveland), WFXC (Raleigh), WKSA (Norfolk), WQMG (Greensboro, NC), WYLD (New Orleans, LA), KJMS (Memphis),WBHK (Birmingham, AL), KOKY (Little Rock), WHEN (Syracuse, NY), WLXC (Columbia, SC), WWDM(Columbia, SC), WDLT (Mobile, AL), WMGL (Charleston, SC), WWMG (Montgomery, AL), WKJS (Richmond, VA), WKSP (Augusta), WLVH (Savannah, GA), WDZZ (Flint, MI), KVMA (Shreveport, LA), WAKB (Augusta, GA), WROU (Dayton, OH), WXST (Charleston, SC), WWMG (Montgomery, AL), WKXI (Jackson, MS), WTLZ (Saginaw Bay, MI), WKZJ (Columbus, GA), KDKS (Shreveport, LA), WHRP (Huntsville, AL), WTUG (Tuscaloosa, AL), WMGU (Fayetteville, NC), KISX (Tyler, TX), Heart & Soul (Sirius), WMPZ (Chattanooga), WRBV (Macon, GA), WSBY (Salisbury, MD), WTTH (Atlantic City), WXMG (Columbus, OH), WTLC (Indianapolis), WRRX (Pensacola).

NEW RELEASES - STEVE PARKS, THE WATERS, DAVID NEWMAN

STEVE PARKS – MOVIN’ IN THE RIGHT DIRECTIONS

A completely unique little set from singer Steve Parks – a set cut in the Bay Area scene of the early 80s – but done with a righteous 70s vibe that mixes jazz, soul, and bits of Latin influences as well! The overall approach is definitely soul, but there's plenty of jazz inflections in the vocals and instrumentation – a vibe that's not unlike the best sound of Jon Lucien on RCA, but which is carried here by Parks with a bit more force – and these undeniably fluid vocals sounds that really blow us away! Instrumentation is right on the money – warm, jazzy, and never hokey at all – with lots of great acoustic percussion at the core. Titles include the massive sample track "Movin In The Right Direction" – plus "All In A Day", "Everything's Gonna Be OK", "Don't Stop Now", "The Golden Key", and "Sadness In My Samba". CD features an insane number of bonus tracks – 9 more numbers that include "Wrong Decision", "Should've Been Wishing", "Wonderful", "Stop Drop Everything", "You Make It Easy For Me", and "Shimmy & Jive". ~ Dusty Groove

THE WATERS - WATERCOLORS

A nicely grooving set to start the 80s by The Waters – an underappreciated 2-man, 2-woman LA vocal group who did a considerable amount of backup vocals in the studio scene of the late 70s – and this is easily their best record! It's got some of the best arrangements the group ever received – and it's also got a smooth modern soul style that's similar to some of Wayne Henderson's work on Fantasy Records, mixed with some of the smooth jazz funk that was coming out on Arista at the time. An overlooked gem! Titles include "I Can Make You Smile", "Throw A Little Bit Of Love My Way", "Come To Me", "Dance With Me", "Heart Lead The Way", "Let Him Prove It", and "Party People". ~ Dusty Groove

DAVID NEWMAN – BIGGER & BETTER

One of the best David Newman albums for Atlantic from the 60s – and one that breaks past the R&B-influenced formula of earlier albums! This one features some great arrangements by William Fischer, the cool wild-card arranger who was to late 60s Atlantic what David Axelrod was to Capitol at the same time. Fischer's touch isn't exactly funky – but it's certainly far-reaching, as he sets up David's funky tenor and flute in some very hip arrangements that mix together horns, strings, and soul production, in a mode that provides some of the best backings that Newman's ever had to solo over – a favor he returns admirably in his playing on the album! Includes the cool psychedelic number "The Thirteenth Floor", Eddie Harris-ish readings of "And I Love Her" and "Yesterday", and versions of Sam Cooke's "Ain't That Good News" and "A Change Is Gonna Come". ~ Dusty Groove

TRI4TH - TRI4TH AHEAD

The simple and bold graphics of the album jacket is like a modern take on the classic album covers of the Blue Note era and likewise the music on TRI4TH's second album sees the band taking influence from golden era jazz to produce a new sound for a new generation. Playing in a classic quintet format, TRI4TH have built up a solid fanbase through captivating live performances and a collection of catchy original tunes.

This second set, once again produced by Tatsuo Sunaga, sees the band further developing their sound from their self-titled debut. Sunlight Yellow Over Drive is the uplifting uptempo opener, with its catchy refrain getting the album off to a great start. Things continue in a similar vein with the lead track Try Ahead with a sound that hits the middle ground between Soil & "Pimp" Sessions and Quasimode just perfectly.

After this lively opening, the album settles into a more swinging mood with numbers such as Night Hawks and the wonderful mid-tempo dancer Rumble Fish, which is a real grower as well as the complex groove of Seven. New Life Standard is a mellower number with a wonderful main hook which has something of a spiritual feel to it.

There are also one or two slower numbers on offer with Circle seeing Junnosuke Fujita leading the tune with some fine soprano sax, but the tempo picks up again for the closing pair of tunes, Dance 'Em All and Burn, Juyoga, Burn.

TRI4TH Ahead is a fine album that sees building on the potential shown on their debut. Recommended listening.

Originally posted @ Tokyo Jazz Notes HERE

PAUL SIMON LIVE IN NEW YORK CITY

During the first leg of Paul Simon’s triumphant, 2011 U.S. tour, he thrilled hometown fans with a special club performance at New York City’s historic Webster Hall. The show, captured on film for Paul Simon Live In New York City, is set for release on September 18th, 2012 and presents this iconic artist working at the peak of his artistic and creative powers in an unusually intimate setting.

Paul Simon Live In New York City (Hear Music/Concord Music Group) recorded in superb high-definition by director Martyn Atkins along with sterling audio mixed by Phil Ramone and Andy Smith, will be available in three formats: 2-CD/1-DVD special package, Blu-Ray and Standard DVD.

The 20-song, 90-minute set list was drawn from his legendary career and includes several songs that haven’t been performed live in many years. “Kodachrome,” “Mother and Child Reunion,” “Gone At Last” and “The Obvious Child” are just some of the highlights as well as songs from Simon’s most recent album, 2011’s So Beautiful or So What (Hear Music/Concord Music Group) including “Dazzling Blue,” “Rewrite,” “The Afterlife” and the album’s propulsive title track.

Joining Paul on the show is a stellar band of musicians including Cameroonian guitarist Vincent Nguini, guitarist/drummer Jim Oblon, pianist Mick Rossi, saxophonist/ keyboardist Andrew Snitzer, bassist Bakithi Kumalo, guitarist Mark Stewart, master percussionist Jamey Haddad and multi-instrumentalist Tony Cedras.

Paul Simon Live In New York City track list:
The Obvious Child
Dazzling Blue
50 Ways To Leave Your Lover
So Beautiful Or So What
Mother And Child Reunion
That Was Your Mother
Hearts And Bones
Crazy Love, Vol. II
Slip Slidin' Away
Rewrite
The Boy In The Bubble
The Only Living Boy In New York
The Afterlife
Diamonds On The Soles Of Her Shoes
Gumboots

ENCORE
The Sound Of Silence
Kodachrome
Gone At Last
Late In The Evening
Still Crazy After All These Years

THE AFRO LATIN JAZZ ALLIANCE ANNOUNCES GRAMMY® WINNERS ARTURO O'FARRILL AND THE AFRO LATIN JAZZ ORCHESTRA'S 2012/13 SEASON AT SYMPHONY SPACE

The Afro Latin Jazz Alliance is pleased to announce the 11th season of the GRAMMY® Award-winning Afro Latin Jazz Orchestra (ALJO), directed by Arturo O'Farrill, in 2012/13 at Symphony Space on Manhattan's Upper West Side. The Orchestra's sixth season at Symphony Space exemplifies the Alliance's commitment to reflecting a diverse and larger picture of Afro Latin jazz, one that acknowledges and celebrates the past while embracing innovation and experimentation that propels the music forward. Symphony Space is located at 2537 Broadway at 95th Street.

"In 2002 we introduced 'Afro Latin' into the lexicon, and now with the Orchestra's 11th year we're just beginning the adventure, we've just started the party, the exploration," remarks Arturo O'Farrill. "This year, the Afro Latin Jazz Orchestra embraces the West Coast, Israel, the Catskills, Mexico, Colombia, and even the Harlem Renaissance. Don't miss this season, it's one to watch."

General Admission is $50/$40/$30, Students/Seniors/Children $15, Symphony Space Members $40/$32/$24. Take advantage of this special subscription offer: purchase tickets for two concerts and get admission to the third concert for free! For tickets go to: www.symphonyspace.org, call 212.864.5400, or visit the box office. For subscriptions, call or visit the box office.

2012/13 Performances at Symphony Space
November 2 & 3, 2012: Falafel, Freilach, and Frijoles: From Mambo to Borscht
Falafel, Freilach, and Frijoles: From Mambo to Borscht will examine the long and venerable relationship between the Puerto Rican and Jewish communities as evidenced by the history of mambo and salsa bands performing for avid dancers called "mamboniks" in the predominantly Jewish resort area of the Catskills known as the Borscht Belt. The ALJO will also be exploring the themes common to the larger Jewish and Latino communities including a journey to the Middle East, the Mediterranean, and North Africa. Loosely based on the famous albums by Irving Fields such as Bagels & Bongos, as well as the recording Mazel Tov, Mis Amigos, the evening will cast Jewish and Yiddish classics in Afro Latin big band versions and also set Latin classics in traditional Klezmer settings. Guest artist Steven Bernstein will co-host, perform, and be a part of the pre-performance discussion.

February 1 & 2, 2013: East Meets West
East Meets West will explore the development of West Coast Latin jazz with featured guest artists. There has been an unspoken rivalry between the East and West Coast Latin jazz movements. The "scene" California has given birth to, if not quite as old, is just as complex and profound, spawning incredible artists. To extinguish the rivalry and give heartfelt recognition to our West Coast brethren, guest artist John Santos, a significant artist from California, will guest curate, perform, and be a part of the pre-performance discussion.

May 3 & 4, 2013: Música Nueva 6
The Afro Latin Jazz Alliance's traditional new music concert in which the ALJO explores new directions in Afro Latin big band jazz will examine several tangents. The evening will feature the brass band traditions in the New World, including the Banda music of Mexico, Colombia, Peru, and other Latin American countries. The program will also explore lesser known sub-genres of Spanish music. In addition, in partnership with Symphony Space, the Orchestra will present a new co-commissioned work that focuses on the Latino contribution to the Harlem Renaissance.

ARTURO O'FARRILL
Pianist, composer, educator, and founder of the nonprofit Afro Latin Jazz Alliance, was born in Mexico, grew up in New York, and was educated at the Manhattan School of Music, Brooklyn College Conservatory, and the Aaron Copland School of Music at Queens College. O'Farrill played piano with the Carla Bley Big Band from 1979 through 1983. He then went on to develop as a solo performer with a wide spectrum of artists including Dizzy Gillespie, Steve Turre, Freddy Cole, The Fort Apache Band, Lester Bowie, Wynton Marsalis, and Harry Belafonte. In 1995 Mr. O'Farrill agreed to direct the band that preserved much of his father's music, the Chico O'Farrill Afro Cuban Jazz Orchestra, which concluded a 15-year residency at Birdland. In 2002 Mr. O'Farrill created the Afro Latin Jazz Orchestra (ALJO) for Jazz at Lincoln Center due to a large body of music in the genre of Latin and Afro Cuban jazz that deserves to be much more widely appreciated. His debut album with the Orchestra, Una Noche Inolvidable, earned a GRAMMY® Award nomination in 2006 and the Orchestra's second album, Song for Chico, earned a GRAMMY® Award for Best Latin Jazz Album in 2009. The ALJO's new album, 40 Acres and a Burro, was released to critical acclaim and was nominated for a 2012 GRAMMY® Award for Best Large Jazz Ensemble Album. Arturo O'Farrill recently released his first solo piano recording, The Noguchi Sessions. Arturo O'Farrill is a Steinway artist.

THE AFRO LATIN JAZZ ORCHESTRA (ALJO)
The GRAMMY® Award-winning Afro Latin Jazz Orchestra, soon to start its 11th season, was founded in 2002 by musician, composer, and educator Arturo O'Farrill to perform the full repertory of big band Afro Latin jazz, and to commission new works to advance this culturally rich genre. The ALJO was a resident orchestra at Jazz at Lincoln Center from 2002 to 2007. In 2007 the ALJO left Lincoln Center to pursue the twin goals of developing new audiences for big band Afro Latin jazz and creating a robust educational program for young performers. O'Farrill founded the nonprofit Afro Latin Jazz Alliance that same year to pursue both the performance and educational aspects of this uniquely pan-American art form. The ALJO performs an annual season at Symphony Space on Manhattan's Upper West Side, plays at the famed jazz club Birdland every Sunday evening as part of an ongoing residency, and continues to tour nationally and internationally to critical acclaim.

THE AFRO LATIN JAZZ ALLIANCE (ALJA)
Founded in 2007, the nonprofit Afro Latin Jazz Alliance is dedicated to preserving the music and heritage of Afro Latin jazz, supporting its performance for new audiences, commissioning new work, and educating young people in the understanding and performance of this important cultural treasure. The Alliance maintains a world-class collection of Latin jazz musical scores and recordings and provides institutional support for the GRAMMY® Award winning Afro Latin Jazz Orchestra. As the ALJO celebrates its 11th season, the Afro Latin Jazz Alliance's educational and community outreach programs continue to flourish. For more information on the Afro Latin Jazz Alliance, Afro Latin Jazz Orchestra, and Education Programs, visit: www.afrolatinjazz.org.

The work of the Afro Latin Jazz Alliance is made possible with support from: Foundations: Arnhold Foundation, Leonard Bernstein Family Foundation, BMI Foundation, Brenner Family Foundation, D'Addario Music Foundation, Fund for the City of New York, New Yankee Stadium Community Benefits Fund, New York Community Trust/Lila Acheson Wallace Fund for the Arts, Fan Fox and Leslie R. Samuels Foundation; Corporate: Capital One, Colgate/Palmolive, Con Edison, Goya, WABC-TV; Public: City Council Member Gale Brewer, 1199/SEIU, and other generous individual donors.For more information, please contact:

Afro Latin Jazz Alliance· Nina Olson
(212) 866-6634· nolson@afrolatinjazz.org

NEW RELEASES - JANIS JOPLIN, SELAH SUE, MY & THE MIGHTY MIGHTY MAGOO ORCHESTRA

JANIS JOPLIN – I GOT DEM OL’ KOZMIC BLUES AGAIN MAMA!

The stellar solo debut of Janis Joplin – fronting her own Kozmic Blues Band after the break from Big Brother! The raw emotion of her voice is as impressive as ever here – and there is more of a rockin' blues vibe here than on her earlier records – thanks the killer horn section in this new band. There's some stripped down numbers, too, giving this record a pretty balanced feel. A classic! Titles include "Try", "Maybe", "As Good As You've Been To This World", "Kozmic Blues", "To Love Somebody", "Little Girl Blue", and "One Good Man". (180 gram vinyl remaster – with the restored original artwork!) ~ Dusty Groove

SELAH SUE - RAGGAMUFFIN

Having already garnered multiple platinum certifications in France, The Netherlands, and her home nation of Belgium, Selah Sue brings her distinctive blend of pop, soul, funk and reggae to the US. Her style is exemplified on the vivacious first single, "Raggamuffin," which was produced by Patrice and has garnered the coveted iTunes Single of the Week. Rap superstar J.Cole features on the remix of "Raggamuffin" (an iTunes bonus track), and Cee-Lo Green joins in on a duet in "Please." Selah also partnered with producer Jerry Wonda (longtime collaborator of Wyclef Jean and producer of Fugees' classic, The Score) on "Fade Away" and co-wrote the emotional ballad "Mommy" withMeshell Ndegeocello. The U.S. version of the full-length includes three exclusive tracks: "On the Run," "Break," and "Fade Away." Beginning September 17th, catch Selah as she takes her thrilling debut album on anextensive tour this Fall across North America, performing alongside Ed Sheeran, Emeli Sandé, and Allen Stone. ~ GiantStep

MY & THE MIGHTY MIGHTY MAGOO ORCHESTRA  - GORGEOUS I AM

Too much is never enough! My & the Mighty Mighty Magoo Orchestra has one and only one noble task - to entertain the public with bombastic, raw energy and swinging arrangements. Ok? It might sound a little bit lit: John Lennon, Joni Mitchell and James Bond visiting Mardi Gras. Looking further below the surface we're going to meet Nina Hagen, Kate Bush, Frank Zappa and Freddie Mercury. Avantgarde-soul resting on a singer songwriters bluesy bed. The band can perform on a pile of crushed piano if that's what you prefer! My Engström Renman, the bands core soul is also known for her work with Gothenburg based lounge metal outfit Hellsongs. www.birdswillsingforyou.com

THE WARM AND INVITING SOUND OF SONY HOLLAND

Minnesota born Sony Holland is a performer with the talent and charisma that personifies the golden age of American music. As Richard Connema of Talking Broadway wrote, “Her calling cards are flawless phrasing, sultry tonality and bright energy. Her vocals shine on the slower and languorous ballads. She is the quintessential artist who keeps getting better and better...” Scott Yanow of the Los Angeles Jazz Scene adds, "One of the most talented jazz singers in town, Sony Holland has the potential to sing a wide variety of music and improvise creatively in every idiom. This continually evolving artist is well worth seeing live.”

Though many fans are initially drawn in by her classic beauty, they soon find that Sony is a very talented artist. Leaving behind her early classical vocal training, Sony began to find her own voice by singing on the streets of Fisherman’s Wharf in San Francisco. That led to countless festivals and nightclub performances across the U.S. and three extended tours of Asia. Along the way she has become a true band leader. “On the road you need to earn the respect of the musicians or you’ll never get the sound you want,” Sony confides. She has emerged as a distinctive performer who exudes the confidence and charm that comes from knowing who she is, excelling at her craft and loving it!

As for her genre of choice she says, “I fell in love… that’s the best way to put it. I fell in love with Sarah Vaughan, Nancy Wilson, Tony Bennett, Nat King Cole, Anita O’Day, Peggy Lee and the lyrics and music of Cole Porter, Harry Warren, Rodgers & Hart, etc…” She continues, “They have been my idols and my teachers. They cared about their craft and got better with time."

Sony is at home on stage whether accompanied by her guitarist/husband, Jerry Holland, a swinging jazz quartet or a 17-piece big band. KCSM DJ Pete Fallico says, “Sony gives a vocal experience not to be missed… with smooth delivery, lyrical pleasure and heartfelt emotion.” Sony continues on her steady path to artistic and popular success. Sony Holland is one of those big talents that seem to burst on the scene from nowhere… but in reality she has been building her career the old fashioned way, one sweet note at a time.

Upcoming appearances:
8/23: Levitt Pavilion - Music Under The Stars, Memorial Park, Pasadena
8/30: Sony Holland Duo @ the Left Coast Wine Bar

www.sonyholland.com

GUITARIST ERIC ESSIX RELEASES SELF-TITLED ALBUM

Eric Essix began his career as a recording artist in 1988 with his debut recording, First Impressions followed by Second Thoughts in 1989 on the Los Angeles based contemporary jazz label, Nova Records. While pursuing a degree at the prestigious Berklee College of Music in Boston, Nova Records folded leaving Eric without a outlet for the amazing new band he had just assembled called Modern Man made up of longtime bassist, Sean Michael Ray and new classmates Matt Rohde on keyboards, Melvin Butler on sax and a young, up and coming phenom, Lil’ John Roberts on drums. So he financed and produced Eric Essix & Modern Man, Third Degree Burn, releasing it nationally on his own S6 Records label in 1993.

Five years of nearly constant touring and three albums later (Eric Essix and Modern Man, LIVE! and two more on Ben Tankard’s , Spirit Jazz Label ; Just Like You and Beautiful Music: Guitar), Eric got the break that had eluded him for more than a decade. He was signed by legendary Warner Brothers Vice President Ricky Schultz who formed the careers of artists like Pat Metheny, Al Jarreau, David Sanborn, Larry Carlton, Fourplay, Boney James, Joshua Redman and the Yellowjackets. Ricky liked the guitarist’s latest self produced CD, Small Talk and released it on his new Warner distributed indie label, Zebra Records.

Soon after, Eric had his his first taste of real success on a national playing field with the single, For Real which maintained a steady chart presence all the way up to the top five for more than 25 weeks establishing him as a solid artist in the heyday of the very popular “smooth jazz” genre. The second release on Zebra, Southbound, saw Eric making a shift towards the southern roots music he grew up playing and listening to living in his native Alabama. He also recorded 6 cover songs – something he had never done before – and the album’s instrumental interpretation of the classic, soul ballad, Rainy Night In Georgia became Eric’s next big hit also enjoying an extended run on the charts.

Eric left Zebra in 2002 to restart his own indie label with a new name; Essential Recordings, and in April 2004, he celebrated his first release on the label (distributed nationally by Selectohits), Somewhere In Alabama, which continued his exploration of southern themes. The single, Sweet Tea, spent some time on the charts and Eric continued to tour and maintain a presence in the industry. Everything came to a screeching halt, however, when in October of that same year, he lost his Mother, Imogene Essix, to heart failure.

Music and his faith were the only things that would help him navigate through this darkest period of his life and 6 months later he emerged from the studio with a moving musical tribute to her of spirituals and hymns called, Abide With Me. Eric released a handful of side projects and compilations after that on the Essential Records label (Blue, The Modern Man Recordings double CD set; Retrospective: Volume One; a CD by longtime friend and vocalist Cece Phillips called Long Time Coming on which he played and produced and an unlikely record fronting an 18 piece big band called Eric Essix featuring the Night Flight Band: Superblue). For the first time in his career, Eric began to explore the role of sideman and this led to a string of tour dates and performances with some of the biggest names in the contemporary jazz world such as Jeff Lorber, Gerald Albright, Ronnie Laws, Phil Perry, Boney James, Everret Harp, Peabo Bryson, Chuck Loeb, Marcus Miller, Eric Darius, Alex Bugnon, Marcus Johnson, Rick Braun, Peter White, Mindi Abair and others. His travels increased dramatically and Eric began to tour many countries abroad teaching, performing and talking about music in Hungary, Israel, Ukraine, India and the Caribbean.

One of Eric’s longtime dreams was to bring a world class jazz festival to his hometown and in 2007 he founded the Preserve Jazz Festival. The event became an instant hit and now, in its 6th season, draws attendees from all over the nation and A-list jazz artists (many of those mentioned above) to the beautiful Preserve community in Hoover, AL for an incredible day of food, fellowship and great music in a one of a kind outdoor venue!

After much touring and a host of side recording projects for other artists, in 2009, Eric decided it was time to take a shot at another national release and began working on what he later decided would be the last of a trilogy of recordings about his beloved southland. That record brought him full circle and closer to home than ever before. It was called Birmingham and his song Shuttlesworth Drive from the album, a musical tribute to the great civil rights pioneer, Rev. Fred Shuttlesworth, became his biggest radio hit ever as an independent smooth jazz artist spending 7 consecutive weeks at #1, and over 20 weeks in the top 10! When the courageous leader, passed away in 2011, Eric was honored by his wife’s request for him to play at the funeral where he performed a moving rendition of the spiritual, “Precious Lord” from his Abide With Me album.

2010 saw Eric headed in a direction he never saw coming when he was offered and accepted a position as Artist Coordinator and Programming Consultant at the University of Alabama Birmingham’s prestigious Alys Stephens Performing Arts Center. It was a great opportunity to expand on his skills as a businessman in the music industry and led to organizing shows with his staff at the Center for artists like Al Pacino and Liza Minelli; to Pat Metheny, Ricky Skaggs and Wynton Marsalis.

That same year, Eric completed his first ever Christmas album of traditional selections performed mostly with just him on guitar, and in 2011 he released Volume 2 of his Retrospective series consisting of all Ballads from his catalog. Now Essential Recordings presents the new self titled release by Eric Essix, his first set of brand new music and arrangements following the success of 2009's "Birmingham"!

It's a new sound and a new direction for this southern styled guitarist whose soulful licks and phrasings are drenched in gospel and blues, but tinged with a generous portion of rock and neck bobbing funk. On this outing, those core characteristics of his sound remain, but compositionally he has broadened his horizons and embraced some country and folk music textures that happen to blend nicely with his southern sensibility and laid back approach. It is a natural progression for him as a writer after songs like Brother Bryan, Miles Away, Big Valley and his very “churchy” rendition of the civil rights anthem, We Shall Overcome from the Birmingham album. The record definitely seems to further define his identity for his listeners and even for himself.

“I have never personally considered myself to be a jazz artist in the truest sense of the word as it relates to the tradition of the music. But, I think because my music is predominately instrumental, I have been labeled a jazz guitarist; which is fine…I get it. However, I also understand that jazz requires a certain amount of study and discipline and, for guitarists, there is a very distinct vocabulary and sound that I have not put in the time to master like so many of my contemporaries -Russell Malone, Mark Whitfield and others. From my first album to this newest one, the voice that has been the most expressive for me on the guitar has always had an edgy, overdriven crunchiness which is the sound I love more than any other. I have not used that voice as much as I would have liked over the past several years in the studio and it’s exciting to explore it a bit more on this new project.”

Eric does not waste any time going there on the album’s opener, his cover of the Tom Petty hit, Free Fallin which ends with wailing Strat tones soaring over a bubbly organ pad and soaring background vocals. Except for the angular B-3 solo on the next song by the records producer and keyboardist Kelvin Wooten, on a funky Essix composition called Gravitate, the album contains nothing but extended guitar solos with Eric taking his time to make a clear statement on all of the albums ten tracks. “I got a lot of encouragement from Kelvin to ‘just play’ and even the songs we had originally planned to fade, ended up rolling out to the very end of the track with guitar solos.” A lot of listeners who have followed Eric since his debut recording in 1988 will probably say, “It’s about time!”

As a performing artist, composer, teacher and businessman, Eric is more active and productive than ever and continues to strive for excellence in everything he is involved with. Already having produced his own self tiled new album and a project for guitarist and tenor banjo player, Tony Lombardo, Eric has already begun planning an early 2013 release tentatively entitled "4" which will commemorate the 50th anniversary of the 16th Street Church bombing with songs of healing, reconciliation and hope . ~ ericessix.net

PHIL DENNY - CROSSOVER

A shift in the genre labeled “smooth jazz” is happening now and saxophonist Phil Denny enters with a new sound and energy to launch a solo career.

Although no stranger to the stage, emerging recording artist Phil Denny is on track to elevate his music career to the next level. Denny, a Lansing, MI native has found that music is his true calling. A former vice president for a mortgage brokerage firm of 7 years and part-time performer, tossed in the towel to pursue his passion for music; a full-time journey that has already presented some incredible opportunities.

After spending most of 2011 in-studio with producer Nate Harasim, the much-anticipated debut CD labeled Crossover is now in the final stages of production and promises to deliver a contagious blend of infectious music. Denny teamed up with a great cast of musician friends on this ten track CD to bring you a full-length music experience. Inspired by a variety of musical stylings, this will be the new identity of this passionate and soulful talent.

2012 started off on a high note with the completion of Crossover and an International debut at the Skywards Dubai International Jazz Festival in February. The journey included a sixty-minute show on the jazz garden stage which lured in a diverse crowd of hundreds of jazz fans from around the globe as well as collaborative appearances with Trippin ‘N’ Rhythm Records artists Cindy Bradley, Nate Harasim, Oli Silk, Julian Vaughn Althea Rene and Elizabeth Mis.

A unique style and personality on the saxophone has helped to cultivate a loyal, diverse fan base while building an impressive resume. Having performed with or along side notable artist like Kirk Whalum, Gerald Albright, Darren Rahn, Randy Scott, Tim Bowman, Lalah Hathaway, Howard Hewitt, Nate Harasim, Oli Silk, Gail Jhonson, Julian Vaughn, Cindy Bradley, Lin Rountree, Althea Rene, Al McKenzie, Terrance Palmer, Orrick Ewing and even had an impromptu jam session with Stevie Wonder. Many of these artists being some of Denny’s most impressionable influences.

Be on the look out for this up and coming saxophonist known for his engaging live performance that takes you on a captivating musical journey every time. Stay tuned for the debut of “Crossover” expected to be released Summer 2012. ~ philonsax.com

LEE RITENOUR - RHYTHM SESSIONS

Ritenour Embarks on Innovative Musical Journey with All-Star Rhythm Sections Including Chick Corea, George Duke, Stanley Clarke, Dave Grusin, Christian McBride, Marcus Miller and Winners of his Annual Six String Theory International Competition

“I always thought it’s a very cool model to combine very well-known, almost legendary players with completely new talent on the same record. I love that scenario. It’s not a format that many people have followed before, but I’ve always considered it a fascinating experiment, and a way to create some great sounds.”……..Lee Ritenour

In a career that spans five decades and more than 40 albums, guitarist Lee Ritenour has developed a keen understanding of the symbiotic balance between the frontman and the supporting players, between the wisdom of experience and the enthusiasm of youth. On Rhythm Sessions, Ritenour’s new album set for release on Concord Records, September 25, 2012 (international release dates may vary) he surrounds himself with a cadre of high-profile veterans and promising newcomers – all of whom reaffirm the vital role played by the rhythm section in any worthwhile musical endeavor.

Included on the Rhythm Sessions roster are luminaries like Chick Corea, George Duke, Stanley Clarke, Dave Grusin, Marcus Miller and many others. Also appearing throughout the record are the winners of Ritenour’s 2012 Rhythm Section Competition, an international event he launched in 2009 as a guitar competition and later expanded to include aspiring keyboardists, bassists and percussionists. The competition winners appearing on the album include keyboardist Hans de Wild (Holland), pianist Demetrius Nabors (Michigan), bassist Michael Feinberg (New York) and drummer Selim Munir (Turkey). The album also features Ritenour’s 19-year-old son Wesley, an aspiring drummer in his own right on one of the tracks.

The most recent result of that ongoing experiment is an album that embraces a variety of sounds and grooves, all rooted in jazz, but also layered with shades of funk, R&B, Latin, world music and more. The album’s sense of variety stems from the eclectic source material. Some songs were penned by Ritenour, while others come from heavyweights like Herbie Hancock, Dave Grusin, Chick Corea, EST and Nick Drake. “I wanted the various rhythm sections assembled for this album – the guitar, keyboards, bass and drums – to be very organic,” says Ritenour. “The songs I wrote for this project were written with these different musicians in mind, and the songs I picked by other songwriters brought to mind certain players as well. So while my name may be on this record, it’s as much about these other players as it is about me.”

Ritenour’s previous recording, 6 String Theory, had focused primarily on guitar by featuring the international winners of his 2009 guitar competition. However, in keeping with his ongoing commitment to discovering and mentoring new talent, he quickly realized that there was so much ground yet to be covered. “There are just so many great piano players and bass players and drummers out there, so when it came time to make Rhythm Sessions, I thought, ‘Why not make a record featuring some of those great players, and then extend the contest to include the rhythm section, and let the young rhythm section winners make an appearance on the record?’”

This mix of seasoned players with newcomers results in a multi-layered, multi-textural and extremely engaging recording. “I’m at a point in my career where I’m marshalling all of my skills and experience over 40 years and really putting it all into an album like Rhythm Sessions,” he says. “I’ve always loved working with great talent, and at the same time finding new young talent and opening doors for them. I want to take as many opportunities as I can to give something back as a way of expressing my thanks for all that’s been given to me.”

EYDIE GORME – DON’T GO TO STRANGERS / SOFTLY AS I LEAVE YOU

A great double-header – especially since both albums are top-shelf! Don't Go To Strangers is a 60s classic from Eydie Gorme – and a set that showed the world that she had a lot more to offer than just some peppy duets with Steve Lawrence! Sure, Eydie had sung on her own before – and often did a pretty darn great job – but this album really takes off with a new sort of maturity – one that comes through in the title, and in Gorme's all-adult readings of the tunes – with a poise, care, and class that we're not sure we'd heard on records from her before. Don Costa handles the arrangements superbly – and titles include "What Did I Have That I Don't Have", "If He Walked Into My Life", "Don't Go To Strangers", "How Did He Look", "When He Leaves You", and "Tell Him I Said Hello".

Softly As I Leave You is great second-period work from Eydie Gorme – one of the wonderfully mature 60s albums when she was really developing herself as a singer! The album's got a careful sort of poise – emotive, but never overdone – and arranged to perfection by Don Costa, in ways that are even more sensitive to Eydie's strengths than his previous work with the singer. Titles include "Every Time We Say Goodbye", "What's Good About Goodbye", "Guess I Should Have Loved Him More", "Softly As I Leave You", and "All Alone". ~ Dusty Groove

REGGIE QUINERLY - MUSIC INSPIRED BY FREEDMAN TOWN

On his forthcoming debut CD, jazz drummer and composer Reggie Quinerly taps a rich vein of cultural history from his native Houston to produce an ambitious, soulful, and uniquely resonant work -- Music Inspired by Freedmantown. The disc will be released September 18 by Quinerly's Redefinition Music label.

Although Quinerly attended grammar school in the heart of the historic African-American district once known as Freedmantown (now the Fourth Ward), he knew little of the significance of the area. But a melody he composed while in his second year at Juilliard opened the door to memories of his hometown and, soon, an obsession with learning everything he could about the neighborhood and its past.

"Over time I began to discover how this area became home to Houston's largest population of African-American homeowners immediately following the Emancipation Proclamation," says Quinerly, 31. "I learned how its history has played a significant role in the advancement of racial and economic equality, impacting the lives of all Texans from then on."

The streets of Freedmantown, he says, "were becoming the backdrop for this project. I wanted to capture the very soulful essence of Freedmantown's voice."

With the exception of the standards "I'm Old Fashioned" and "Sentimental Journey" (the latter his mother's favorite song), all of the songs on the CD were composed by Quinerly and most relate directly to Freedmantown. A world-class cast of players was on hand to help the leader breathe life into his evocative sound portraits: tenor saxophonist Tim Warfield, pianist Gerald Clayton, guitarist Mike Moreno (a classmate of the drummer's at Houston's High School for the Performing and Visual Arts), and bassist Vicente Archer.

Also featured, on two selections, are trumpeter Antoine Drye, tenor saxophonist Matt Parker, and trombonist Corey King, as well as vocalist Sarah Elizabeth Charles (on "Victoria") and pianist/organist Enoch Smith Jr., who sings his own lyrics on the church-influenced track "Freedmantown" (The soul of this place / is written on every citizen's face).

Reggie Quinerly started playing drums at age 8 after hearing Lester Grant playing at the church Quinerly attended with his family. "Many people, including myself, come to jazz through church, with the latter helping to shape the way we hear and play the former. In my mind, he was a jazz drummer first," Quinerly says of Grant, with whom he studied for a year. "Much later I discovered he had been a top session drummer in the '50s for many traveling blues and jazz acts, which explained why the way he played wasn't necessarily from the gospel tradition. It wasn't shoutin' music. Sitting at his side, I developed my sensibility for hearing the drums a little bit differently. It was definitely more low-key."

Quinerly subsequently studied with Sam Dinkins, who "knew how to play all the percussion instruments -- not just drums, not just the drum set, but all of the world percussion. I was exposed to all kinds of music and all kinds of styles. He was also the consummate professional. Being a drummer, even a great one, was never enough. He stressed the importance of building businesses and creating opportunities for other artists to thrive. Those lessons have stayed with me."

After high school, Quinerly went straight to New York City and enrolled at the Mannes School of Music at New School University, studying with Jimmy Cobb, Lewis Nash, and Kenny Washington. He earned his Master's in Jazz Studies at The Juilliard School. Since leaving Texas, Quinerly has worked with such notable musicians as Von Freeman, Vincent Herring, John Hicks, Joe Lovano, Branford Marsalis, Christian McBride, Wynton Marsalis, and Greg Osby. With saxophonist Marcus Strickland, he also played and lectured in New York City schools as part of Lincoln Center's Jazz in the Schools program. For the last six years, Quinerly has played drums every Sunday at Paterson, New Jersey's Calvary Baptist Church (where Enoch Smith Jr. serves as musical director).

Quinerly is looking forward to bringing Music Inspired by Freedmantown to the stage. He will perform a CD release show at Smoke in New York City on 12/5, and a very special concert is planned for 12/29 at Houston's African American Museum at The Gregory School. "I feel extremely privileged," he says, "for the opportunity to present this music at The Gregory School, a special venue that celebrates the collective achievements of all people, past, present, and future."

www.reggiequinerly.com

JESSE FISCHER & SOUL CYCLE - RETRO FUTURE

Ambitious Project Ties Together Jazz, Electronic, Soul, Classical, Psychedelia, and World Music

What did the future used to look like? The space-age exploration of the Mad Men era? The free love and flower power of the hippies? The technological utopia of the early Internet pioneers? The promise of today's era of global interconnectedness? With each new generation of dreamers, a new future is imagined, and when the future actually arrives, it ends up both stranger and more interesting than we could have imagined.

On his new album Retro Future, Brooklyn-based keyboardist, composer, and producer Jesse Fischer weaves together many different strands of futuristic sounds from the past to create a brand new sound that is ahead of its time yet incredibly cemented in the present.

"I love the music of the late 60's and early 70's, but the fact of the matter is that I was born in 1980 and have been influenced by so much music and culture of the past three decades," explains Fischer. "I wanted to make a record that goes beyond paying homage to the styles of the past, and create something new that resonates with where we are today as a society -- we're still organic beings but increasingly living in an electronic world -- and at the same time give you an intimate view of what I'm going through in my life."

Following up 2011's independent release, Homebrew (which featured turns from Gretchen Parlato, Stefon Harris, and Sean Jones), Retro Future marks Fischer's label debut with ObliqSound, and features his tight-knit working group Soul Cycle, consisting of alto saxophonist and flautist Brian Hogans, trumpeter and flugelhornist Jean Caze, trombonist Corey King, guitarist David Linaburg, bassist Solomon Dorsey, percussionist Shawn Banks, and drummer Gabriel Wallace. Emerging vocalists Rachel Eckroth and Chris Turner are also featured on one song each. The album includes seven originals along with compelling new takes on The 5th Dimension's "Aquarius", Jimi Hendrix's "Electric Ladyland", and Fleetwood Mac's "Landslide".

Retro Future is an offbeat, curious blend of jazz-funk, electro, hip-hop, psychedelic soul, various African influences, as well as classical, romantic and impressionistic music. Once again commanding a rich arsenal of textures, Fischer expands his palette to include kalimba, glockenspiel, a variety of analog synths, sweeping electronic pads, 8-bit video-game sounds, vocoder, movie samples, cavernous echoes mixed with flutes, blistering horns, kinetic world percussion, as well as piano, Rhodes, and organ.

Regarding the broader concept of Retro Future, Fischer explains his goals: "I wanted to explore themes of technology and change. How does technology change us? How can we keep up with the way the world is changing? How can we use technology to change ourselves and the world for the better?" Born only months after the Apple II came on the market, Fischer is old enough to remember life before computers and the Internet, but young enough to consider them an integral part of his life. Throughout the album, his experiences with technology and change are portrayed musically, lyrically, and texturally in various ways.

Culturally omnivorous, Fischer takes inspiration from an unlikely array of sources with Retro Future: "I've been influenced by so much new music - artists like Hudson Mohawke, YMCK, King, Evan Marien, Mister Barrington, Thundercat, and Snarky Puppy, who are finding new and exciting ways of integrating electronic and jazz sounds - as well as going back and listening to a lot of Chopin, Beethoven, Debussy, and Ravel." He also cites William Gibson's seminal cyberpunk novels, Philip K. Dick's sci-fi stories, as well as cult films like WarGames, Sneakers, and Pi as setting the philosophical, cinematic tone of Retro Future.

"With my new tunes, I was really looking for a way to combine the precision of electronic time with the exhilaration of human imperfections." Throughout the album, Fischer explores various methods of balancing the spontaneity of organic group improvisation with meticulously constructed digital pre and post-production. On some songs, the band performed live over a pre-programmed electronic track aligned to the computer grid. On other songs, software was used in post-production to digitally alter and enhance certain human elements. The result is a scintillating symbiosis of man and machine.

Religiously D.I.Y., Fischer not only composes, arranges, and plays on Retro Future, but the polymath also produced, engineered, and mixed the record. "I grew up around the punk-rock D.I.Y. ethos which is still deeply ingrained in me," Fischer says. "Best way to make something happen is to learn how to do it yourself. Not only do you save money and time while educating yourself, but the fewer people that are involved in a piece of art, the more authentic, coherent, and intimate it can be."
Three years ago, while subletting a medium-sized studio to record his own projects, Fischer found himself becoming an in-demand engineer and producer. "I found all my contacts who knew me as a musician suddenly started calling me to record their projects! It was a no-brainer. They knew that I understood music and they were finding out quickly that I knew the sound they wanted and could get it for them with no stress." Since then, Fischer produced and engineered Atlantic Records soul songstress Laura Izibor's latest EP, The Brooklyn Sessions: Vol.1, at Electrik Indigo Studios, his own recording space. Izibor is best known for her Billboard R&B Top 40 hit "From My Heart to Yours" as well as writing "What More Can They Do" for Tyler Perry's For Colored Girls.

Retro Future is as much a showcase for Fischer's producing and engineering chops as it is a vehicle for his composition, arranging, and keyboard playing. "I love engineering and producing just as much as I love composing and performing," enthuses Fischer. "They're just two different sides of the same musical coin." While previous albums saw him shying away from the front man role, Fischer steps out into the spotlight on Retro Future, featuring himself prominently on searing synth solos as well as his deft classically influenced touch on acoustic piano.

From the video game strut of "Cyberphunk" to the dubbed-out Afrobeat of "Digital Savanna" to the psychedelic soul of "Aquarius" to the summertime house-party funk of "Tanqueray & Tonic", Retro Future is definitely not for the faint of heart. Fischer admits, "There's a lot to take in - so I always made sure to have some type of hook, either a simple melodic figure or some type of repeating rhythm - to make sure you don't get lost. Then if you come back a second and third time, you discover all the intricate layers below the surface." What holds the project together is Fischer's unwavering sense of groove and timeless devotion to melody.
The child of a math teacher and a science teacher who both loved music, Fischer ended up developing strong passions for both the sciences and the arts. At Rutgers College, he was a computer science and linguistics double major with minors in math and cognitive science, while still finding time to study piano with Stanley Cowell. After school, Fischer dabbled in web design, construction, and restaurant jobs before moving to New York in 2005 and quickly establishing himself on the scene.

Since then, he has performed with Stevie Wonder, Freddie Jackson, Black Moon, Laura Izibor, Ryan Shaw, and Lakecia Benjamin, and self-produced and independently released five albums with his group Soul Cycle. His television credits include Conan O'Brien, Craig Ferguson, The Mo'Nique Show, Good Day New York, BET's Rising Icons, Jools Holland, 90210, and One Tree Hill, and his compositions have been heard on Centric's Model City as well as the independent film Hush.

With Retro Future, Fischer offers up a cinematic vision of the not-too-distant times to come that are both inspirational and cautionary.

Retro Future Personnel & Track Listing:
Jesse Fischer / piano, Moog, Rhodes, vocoder, organ
Brian Hogans / alto saxophone and flute
Jean Caze / trumpet, flugelhorn
Corey King / trombone
David Linaburg / guitar
Soloman Dorsey / bass
Shawn Banks / percussion
Gabriel Wallace / drums
Rachel Eckroth / vocals (track 3)
Chris Turner / vocals (track 6)

1. Tanqueray & Tonic (Jesse Fischer) - 5:59
2. Moon Ship (Jesse Fischer) - 5:42
3. Aquarius (Galt MacDermot, James Rado, Gerome Ragni) - 4:39
4. Digital Savanna (Jesse Fischer) - 6:15
5. Cyberphunk (Jesse Fischer) - 5:55
6. Electric Ladyland (Jimi Hendrix) - 3:55
7. Gotham Underground (Jesse Fischer) - 5:16
8. Midnight Dancer (Jesse Fischer & Josh David) - 6:07
9. Keep the Faith (Jesse Fischer, Gabriel Wallace, Brian Hogans, Jean Caze) - 6:44
10. Landslide (Stevie Nicks) - 4:30

JesseFischer.com

NEW RELEASES – SHAWN LEE, JOE MORRIS/WILLIAM PARKER/GERALD CLEAVER, DON CHERRY

SHAWN LEE – SYNTHESIZERS IN SPACE

A fresh new sound from the Shawn Lee universe – one that's every bit as funky as before, but which has some great twists and turns too! The album definitely lives up to its title – and offers up plenty of keyboards soaring off into space – but there's also some unexpectedly gritty rhythms at the bottom, making for a nice degree of acoustic funk – and not just the drum machine bits you might expect! And in fact, there's even some sweet congas and other percussion at points – bringing in a deeper, rootsy quality that's a great contrast to the moogy moments – almost as if Jean Jacques Perry was sitting in some some lost combo from the funky 45 years! Titles include "Black Hole", "Galactica", "Celestial Waltz", "AJ's Mood", "Low Riders In Space", "Jupiter's Jam", and "Tiger Style". (Includes download card.) ~ Dusty Groove

JOE MORRIS / WILLIAM PARKER / GERALD CLEAVER - ALTITUDE

A strong trio set from guitarist Joe Morris, bassist William Parker and drummer Gerald Cleaver – their first together – and it's an exciting one! Recorded live at The Stone, in NYC , it includes a pair of great 25+ minute pieces – "Exosphere" and "Thermosphere – plus the shorter, but plenty spacious Troposphere" and "Mesosphere". It's great stuff! It's all about the free trio dynamic here. Each player asserts himself throughout – in an energetic, but never too far out manner. ~ Dusty Groove .

DON CHERRY – ORGANIC MUSIC SOCIETY

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

NEW RELEASES – DELMONTIS, ASTRAKAN, CHERRY BOPPERS

DELMONTIS – STRAIGHTFORWARD FASCINATION

Funky soul, but with a touch of jazz – almost a mod soul undercurrent that really sets these guys apart from the rest! The blend is great – nice and tight, yet never too slick – almost the sort of direction Georgie Fame should have gone in the early 70s, had he stayed on the right track – with lots of lead vocals from songwriter Frank Montis, who's got this raspy sound that's perfect for his hip lyrics! Frank also plays Fender Rhodes and Hammond as well – amidst some great horns, and backing vocals from Laura Vane on a number of cuts too. Tracks include "Make It Right", "Fading", "Right From Wrong", "Façade", "Life Is Short", "We'll Meet Again", "Sunny", "Straightforward Fascination", and "Live My Life". ~ Dusty Groove

ASTRAKAN – COMETS & MONSTERS

A really cool British group – one who work here with plenty of echoes of the 70s progressive jazz years – yet in a more stripped-down way too! The set's got lots of great sharp reeds over complex grooves – of the sort you might have heard from Elton Dean, yet handled here by contemporary player Raymond Hardy – who turns in great work on tenor, soprano sax, and flute. Celia Lu sings a bit on the record – often in this cool wordless mode that's quite musical – and almost a bit like the great Norma Winstone in her early years. Rhythms are never too overdone – really preserving the right sort of space between the sounds – and titles include "Overflooded", "The Giver You Get", "Blink & Miss", "Soapstrop", "Broadbanned", and "Comets & Monsters". ~ Dusty Groove

CHERRY BOPPERS – SHAKIN’ THE HOOD

Great grooves from The Cherry Boppers – way more than you'd expect from the cover! We'll be honest in saying that these guys have a name and look that sometimes puts us off at first glance – but digging into their music, the sound is totally great – a tight blend of Hammond and horns, handled with equal parts jazz and soul – and a bad-stepping set of rhythms that lie somewhere between mod soul and 60s soul jazz! The sound is funky, but not in the usual deep funk way – more a London late 60s mode – and titles include "Flyin High", "Hey", "The Harvest", "Two Sides Of The Groove", "Deep Down Inside", and "Humo En El Ambiente". ~ Dusty Groove