ANALOG JAZZ PROJECT - NEW ALBUM "FOLIAGE" & COVER OF MR. MISTER'S "BROKEN WINGS"

Foliage is the debut album from Analog Jazz Project. It is a one man studio band created by Florida smooth jazz guitarist Mike Mangeoglu. On Foliage you'll find a mixture of Smooth, Acid, Chill, R&B, and Electronic Jazz. The music is all instrumental, laid back and mellow, driven by guitar solo's in the jazz style. The element that makes this band unique is all the instruments are played by one musician, all parts were overdubbed in studio. Most of the hooks were improvised and all of the guitar solos were improvised. It is good for relaxing to at home or in your car after a long day. Standout tracks include "Broken Hearts", 'Sunshine", and Loose Goose". The complete tracklisting for Foliage is as follows: 1. Clean Slate; 2. Loose Goose; 3. Sand & Sea; 4. Broken Hearts; 5. Sunshine; 6. New Funk; 7. Why 8. Chill Factor; 9. Pulse; and 10. Coming To An End. 

Analog Jazz Project has also just released a version of Mr. Mister's Broken Wings. This is an instrumental version of  the great 90's tune. It is driven by guitar, melody played on guitar and all backgrounds were done with overdubs by one player. According to Mike Mangeoglu, he says, "I have always loved this song and this band, I hope I did it justice."

We loved their version of Broken Wings and think that you will too - enjoy!

Both are out now and available at cdbaby.com

NATIONAL ENDOWMENT FOR THE ARTS ANNOUNCES 2013 NEA MASTERS

Dizzy Gillespie. Count Basie. Ella Fitzgerald. Herbie Hancock. Names of the greatest purveyors of America's homegrown art form, jazz -- and all NEA Jazz Masters. The National Endowment for the Arts adds four new names to the list with the announcement of the 2013 NEA Jazz Masters. Like the 124 honorees who came before them, these four individuals are recognized for their lifetime achievements and significant contributions to the development and performance of jazz. They will each receive a one-time award of $25,000.

The 2013 NEA Jazz Masters are:
Mose Allison, pianist, vocalist, composer
Born in Tippo, Mississippi, currently lives in Long Island, New York

Lou Donaldson, saxophonist
Born in Badin, North Carolina, currently lives in New York, New York

*Lorraine Gordon, jazz club owner
Born in Newark, New Jersey, currently lives in New York, New York

Eddie Palmieri, pianist, bandleader, arranger, composer
Born in New York, New York, currently lives in Las Vegas, Nevada

* Lorraine Gordon is the recipient of the 2013 A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy, which is bestowed upon an individual who has contributed significantly to the appreciation, knowledge, and advancement of the art form of jazz.

Full profiles of the 2013 NEA Jazz Masters are available on the NEA's website.

NEA Chairman Rocco Landesman said, "Each of the 2013 NEA Jazz Masters has made an indelible mark on jazz as we know it today. Mose Allison's fusion of jazz and blues has created a new sound uniquely his own, influencing scores of musicians and songwriters after him. Lou Donaldson has been a major force not just as a musician but also as a scout for new talent for the Blue Note label. Eddie Palmieri successfully combines the sounds of his Puerto Rican heritage with the jazz music he grew up with as a first-generation American. And Lorraine Gordon continues to provide a haven for jazz musicians to present their art at the Village Vanguard. I look forward to celebrating their achievements and contributions to this important American art form."

Each member of the 2013 NEA Jazz Masters class is a distinguished artist whose significant lifetime contributions have helped to enrich jazz and further the growth of the art form:

•Mose Allison is not just a superior talent as an instrumentalist and singer, but also as a songwriter. Adept in both the blues and jazz, he defies categorization and has been a major influence on musicians, regardless of genre, for more than 50 years.

•Lou Donaldson's distinctive blues-drenched alto saxophone has been a bopping force in jazz for more than six decades. His early work with trumpeter Clifford Brown is considered one of the first forays into hard bop, and his recordings with organist and NEA Jazz Master Jimmy Smith led to the groove-filled jazz of the 1960s and '70s.

•A jazz haven for more than 55 years, the Village Vanguard is the longest-running jazz club in New York City and is still going strong under the ownership of Lorraine Gordon. Since 1957, when NEA Jazz Master Sonny Rollins recorded one of the first recording sessions at the club, the Vanguard has been the place to record a live jazz album, with its exceptional acoustics and intimate space.

•Known as one of the finest Latin jazz pianists of the past 50 years, Eddie Palmieri is also known as a bandleader of both salsa and Latin jazz orchestras. His playing skillfully fuses the rhythm of Puerto Rico with the melody and complexity of his jazz influences: Thelonious Monk and NEA Jazz Masters Herbie Hancock and McCoy Tyner.

The NEA will again partner with Jazz at Lincoln Center to produce an awards ceremony and concert in honor of the 2013 NEA Jazz Masters, that will be webcast live on Monday, January 14, 2013 on arts.gov and jalc.org/neajazzmasters. The ceremony will also be simulcast on SiriusXM Satellite Radio.

Each year since 1982, the Arts Endowment has conferred the NEA Jazz Masters Award to living legends who have made major contributions to jazz. With this new class, 128 awards have been given to great figures of jazz in America, including Count Basie, George Benson, Art Blakey, Dave Brubeck, Betty Carter, Ornette Coleman, Miles Davis, Roy Eldridge, Ella Fitzgerald, Dizzy Gillespie, Lionel Hampton, Herbie Hancock, Elvin Jones, John Levy, Abbey Lincoln, Max Roach, Sonny Rollins, Cecil Taylor, Sarah Vaughan, Nancy Wilson, and Teddy Wilson.

NEA Jazz Masters are selected from nominations submitted by the public and receive a one-time fellowship award of $25,000, are honored at an awards ceremony, and may participate in NEA-sponsored promotional, performance, and educational activities. 173 nominations were considered for the 2013 NEA Jazz Masters. Only living musicians or jazz advocates may be nominated for the NEA Jazz Masters honor.

Nominations are currently being accepted for the 2014 NEA Jazz Masters. Visit the NEA's website to submit a nomination online. Nominations must be received by October 1, 2012.

The NEA has created numerous resources as part of the NEA Jazz Masters program, including:
•Video tributes, brief video tributes to recent NEA Jazz Masters' lives and careers in jazz,

•Jazz Moments, 222 short audio pieces featuring musical excerpts and short interviews with NEA Jazz Masters,

•Podcasts with NEA Jazz Masters and other jazz figures about the history and current state of jazz,

•In-depth interviews with more than 45 NEA Jazz Masters,

•NEA Jazz in the Schools, a free, five unit, online curriculum created in partnership with Jazz at Lincoln Center that explores jazz as an indigenous American art form and a means to understand American history,

•NEA Jazz Masters Live grants to support performance and educational activities featuring NEA Jazz Masters, administered by Art Midwest.

In addition, the NEA supports the Smithsonian Jazz Oral History Program, an effort to document the lives and careers of NEA Jazz Masters. In addition to transcriptions of the hours-long interviews, the website also includes audio clips with interview excerpts of the artists' early years; their first introduction to music and jazz; as well as their unique personal experiences in world of jazz.

The National Endowment for the Arts was established by Congress in 1965 as an independent agency of the federal government. To date, the NEA has awarded more than $4 billion to support artistic excellence, creativity, and innovation for the benefit of individuals and communities. The NEA extends its work through partnerships with state arts agencies, local leaders, other federal agencies, and the philanthropic sector. To join the discussion on how art works, visit the NEA at arts.gov.

Jazz at Lincoln Center is dedicated to inspiring and growing audiences for jazz. With the world-renowned Jazz at Lincoln Center Orchestra and a comprehensive array of guest artists, Jazz at Lincoln Center advances a unique vision for the continued development of the art of jazz by producing a year-round schedule of performance, education, and broadcast events for audiences of all ages. Under the leadership of Artistic Director Wynton Marsalis and Chairman Robert J. Appel, Jazz at Lincoln Center produces thousands of events each season in its home in New York City, Frederick P. Rose Hall, and around the world.

THE BEAUTY ROOM - THE BEAUTY ROOM II

The Beauty Room return with their second album following on from their self-titled 2006 debut on Peacefrog Records. Recorded in LA and London the record updates and hybridizes folk, soul, RnB and soft rock of the late-60s and early-70s. World famous techno/electronica DJ and producer Kirk Degiorgio re-unites with vocalist Jinadu on a deeply musical record channelling the likes of the Doobie Brothers, David Crosby and Brian Wilson with a fresh sound all their own.

Beauty Room II was recorded at Sunset Sound - LA, British Grove - UK, Olympic Studios - UK and Studio Heuvellaan - Holland using the best session musicians including Chris Whitten (Johnny Cash, Paul McCartney, Dire Straits), Rob Harris (Jamiroquai), Brian Bromberg (Elvis Costello, Herbie Hancock) and engineered by Grammy-winning producer Peter Henderson (Supertramp, Frank Zappa). Perhaps the most exciting addition to the follow up is the incredible string arrangements of Paul Buckmaster (Elton John, David Bowie, Rolling Stones), which were recorded with the Metropole Symphony Orchestra in Amsterdam, Netherlands.

Singer Jinadu and producer Kirk Degiorgio first collaborated on the As One album 21st Century Soul (Ubiquity) in 2001. Both have worked mainly in the electronic genre recording for a wide range of labels from Mo Wax to Bitches Brew and Far Out. The Beauty Room came about through continued collaboration, with Degiorgio sending Jinadu sketches with increasingly unusual progressions. Jinadu enhanced with catchy melodies, hooks and layers of rich harmonies. The pair has returned to the studio to write and record the follow up to the acclaimed first album, which continues to draw on the Golden Age 60s/70s West Coast influences of their debut, whilst setting the songs in utterly modern productions.

Combining traditional craftsmanship and modern electronics, it stands uniquely alone, there’s timeless urban sophistication alongside a strong cerebral groove reminiscent of Steely Dan. What The Beauty Room achieve here is a similar blend of sharp-creased strut and spiritual meditation, all of it laced with plenty of that most essential yet indefinable alchemical element, soul.

Fans of singer/songwriters such as Joni Mitchell, Neil Young and the West-Coast scene will revel in the down tempo eloquence. Beauty Room II is lush, romantic Rotary Connection type psychedelic soul beautifully played, sung and produced. Warm, human and spaciously beautiful, The Beauty Room will take you on a journey past wonderfully familiar landmarks to a place you’ve never quite been before.

Reviews
‘This is glorious!’ – Mark Sampson (Songlines)
‘A very well produced West Coast soft rock album’ – Robbie Vincent (Jazz FM)
‘It sounds wonderful!’ – Dick Hovenga (Written In Music)
‘This project is amazing!’ – Dj Ausar (WFRG 89.3 FM Atlanta / Soulandjazz.com)
‘Quality!’ - Kevin Beadle

Tracklisting
CD Album (FARO168CD) / Release Date: 9.24.12
1. We Can’t Throw You Away
2. Shadows Falling
3. All in My Head
4. But For Now
5. Wonders in the Sky
6. Walking the Fine Line
7. One Man Show
8. So Far
9. The Last Calling
10. Heaven Is In Your Mind
11. No Rejection

~ faroutrecordings.com

THELONIOUS MONK INSTITUTE OF JAZZ ANNUAL COMPETITION AND GALA 2012

Cast features Herbie Hancock, Wayne Shorter, Jimmy Heath, George Duke, Patti Austin, Nnenna Freelon, James Carter, Ingrid Jensen, Jane Ira Bloom, James Genus, Lee Ritenour, Geri Allen, Vinnie Colaiuta, Ada Rovatti, Claire Daly and special guests Aretha Franklin and Chris Botti

The 25th annual Thelonious Monk International Jazz Competition presented by the world-renowned Thelonious Monk Institute of Jazz, will take place September 22-23, 2012. Open to musicians under age 30 from across the globe, this year’s competition will shine the spotlight on the drums. The evening will also feature a star-studded “Women, Music and Diplomacy” Gala honoring former U.S. Secretary of State Madeleine Albright, as well as an appearance by the UNESCO Director General, Irina Bokova.

Twelve semifinalists will compete at the Smithsonian Institution on Saturday afternoon, September 22nd. From this group the judges will select three finalists who will perform in the final round at the Kennedy Center on Sunday evening, September 23rd. At stake are over $100,000 in scholarships and prizes including a $25,000 first place scholarship and guaranteed recording contract with Concord Music Group; a $15,000 second place scholarship; and a $10,000 third place scholarship. Cadillac is the Presenting Sponsor for the weekend, and air transportation will be provided by United Airlines, Official Airline of the Thelonious Monk Institute of Jazz.

Secretary Albright said, “I am enormously honored to be the recipient of this year’s distinguished Maria Fisher Founder’s Award. Over the past fifteen years I have worked closely with Herbie Hancock, Thelonious Monk, Jr., Tom and Cheri Carter, along with many talented Institute students who have represented our country on diplomatic, cultural, and educational tours around the world. The Thelonious Monk Institute of Jazz has played a vital role in fostering arts education on six continents and has ensured that America’s music will continue to flourish and be appreciated by millions. On behalf of all jazz enthusiasts, I applaud their great success.”

This year’s competition judges include an all-star panel of drummers: Carl Allen, Brian Blade, Terri Lyne Carrington, Peter Erskine, Roy Haynes, and Ben Riley. The Musical Director is George Duke and the cast includes Geri Allen, Patti Austin, Jane Ira Bloom, James Carter, Vinnie Colaiuta, Claire Daly, Akua Dixon, Nnenna Freelon, James Genus, Herbie Hancock, Jimmy Heath, Ingrid Jensen, Linda Oh, Lee Ritenour, Ada Rovatti and Wayne Shorter, along with special guests Aretha Franklin and Chris Botti. Additional hosts and entertainers will be announced shortly.

Herbie Hancock, Chairman of the Thelonious Monk Institute of Jazz, said, “We are proud to honor Madeleine Albright, a brilliant, fascinating, Renaissance woman––a trailblazer whose political and social journey has inspired millions of people around the world. Her support of the Institute has been critical to our success and we are most grateful for her friendship. She is a champion of the music and has used her love of and respect for jazz as a diplomatic tool to bridge cultural differences and encourage peace, understanding, and tolerance wherever she travels.”

“We are looking forward to an inspiring and memorable night of music,” said Tom Carter, President of the Thelonious Monk Institute of Jazz. “This year’s competition highlights the drums–the heartbeat of the bandstand–and we have some exciting surprises in store for our audience. The Gala Concert promises to be a historic blending of musicians and vocalists who will pay tribute to the important role of women in jazz and diplomacy.”

The Competition Semifinals on Saturday, September 22nd will be held from noon to 6:00 pm at the Smithsonian Institution’s Baird Auditorium. The 12 semifinalists will be accompanied by Geoffrey Keezer on piano, Rodney Whitaker on bass, and Jon Gordon on saxophone. Each semifinalist will perform for 15 minutes. From this group, 3 finalists will be selected to perform during the first half of the Gala on September 23rd, which will take place at 7:30 pm at the Kennedy Center’s Eisenhower Theater. Each finalist will perform for 10 minutes along with Gordon, Whitaker and Keezer. The star-studded Gala performance honoring Madeleine Albright will take place after intermission following the Finals.

The 12 semifinalists are: Justin Brown, Richmond, California; Dor Herskovits, Tel Aviv, Israel; Noam Israeli, Haifa, Israel; Dustin Kaufman, Houston, Texas; Kristijan Krajncan, Kranj, Slovenia; Martin Krümmling, Gotha, Germany; Julian Külpmann, Hanover, Germany; Abe Lagrimas, Jr., Waipahu, Hawaii; Kyle Poole, Los Angeles, California; Jamison Ross, Jacksonville, Florida; Colin Stranahan, Denver, Colorado; and Oscar Suchanek, Waltham, Massachusetts.

The Gala Concert will honor Madeleine Albright, a friend of the Institute for more than 15 years. Selected by President Bill Clinton to serve as the first female United States Secretary of State, Albright is one of the most respected and admired women of all time. She will be presented with the 2012 Maria Fisher Founder’s Award in honor of her longtime support of jazz, music education, and the Thelonious Monk Institute of Jazz. The award honors individuals who have made valuable contributions to jazz and jazz education. Past recipients include Herbie Hancock, B.B. King, Bruce Lundvall, Stevie Wonder, George Benson, Wayne Shorter, Clark Terry, Jimmy Heath, George Wein, and Clint Eastwood.

The September 23rd Competition Finals and Gala Concert at the Kennedy Center also will feature the winner of the 2012 Thelonious Monk International Jazz Composers Competition, sponsored by BMI. This year’s recipient is Yusuke Nakamura of Tokyo, Japan, who will perform his winning composition, “Heavenly Seven.” The Composers Competition carries a prize of $10,000 and is presented to a composer who best demonstrates originality, creativity, and excellence in jazz composition.

The Thelonious Monk International Jazz Competition, often compared in stature to classical music’s International Tchaikovsky Competition and Van Cliburn International Piano Competition, is widely regarded as the most prestigious jazz competition in the world. Each year, the competition features a different musical instrument, and major scholarships and prizes are awarded to talented young musicians. Over the past 25 years, the competition has launched the careers of a number of jazz stars including saxophonist Joshua Redman; vocalists Jane Monheit, Gretchen Parlato and Tierney Sutton; pianists Joey DeFrancesco, Marcus Roberts and Jacky Terrasson; trumpeter Ambrose Akinmusire; and bassist Ben Williams. These artists and dozens of others from past competitions have forged successful careers as performing and recording artists, and music educators, helping to preserve and perpetuate America’s legacy of jazz.

Proceeds from the Thelonious Monk International Jazz Drums Competition and All-Star Gala Concert will help fund public school jazz and blues education programs throughout Washington D.C., Los Angeles, Chicago, New Orleans, and the Mississippi Delta. BET will broadcast the competition, and the semifinals will be streamed online via the Smithsonian Institution and Thelonious Monk Institute of Jazz websites.

The Thelonious Monk Institute of Jazz is a nonprofit educational organization established in 1986 in memory of Thelonious Monk, the legendary jazz pianist and composer. Monk was one of the primary architects of bebop and his impact as both performer and composer has had a profound influence on every genre of music. His more than 70 compositions are classics that continue to inspire artists in all disciplines. Monk believed the best way to learn jazz was from a master of the music. The Institute follows that same philosophy by bringing together the greatest living jazz musicians to teach and inspire young people, offering the most promising young musicians college level training by internationally renowned jazz masters through its prestigious fellowship program in Jazz Performance at UCLA, and presenting public school-based jazz education programs around the world. Helping to fill the tremendous void in arts education left by budget cuts in public school funding, the Institute’s school programs are provided free of charge and use jazz as the medium to encourage imaginative thinking, creativity, a positive self-image, and respect for one’s own and others' cultural heritage. Jazz great Herbie Hancock serves as Chairman. Visit the Institute at www.monkinstitute.org.

Thelonious Monk International Jazz Competition Since 1987, the Thelonious Monk Institute of Jazz has presented the Thelonious Monk International Jazz Competition, which is recognized as the world’s most prestigious jazz competition and for discovering the next generation of leading jazz artists. Each year, major scholarships and prizes including recording contracts are awarded to the talented young musicians participating in the Competition. The scholarships help pay tuition for college-level jazz education studies and provide funds for private, specialized instruction. Past judges have included Dave Brubeck, Quincy Jones, Diana Krall, Christian McBride, Branford Marsalis, Pat Metheny, Dianne Reeves, and many others.

LENNY WILLIAMS - STILL IN THE GAME

One thing you can say about Lenny Williams is the man has staying power. At 67 years old, the Oakland, California native has been going strong since the early 1970’s, from his first solo recordings for Fantasy Records, to his stint with Tower of Power, to reinventing himself as a jack-of-all trades soul man in the 1980’s on through to today. Williams has always been one to keep his finger of the pulse of R&B music, and as the times changed, so did he. But unlike a smattering of today’s legendary R&B artists who appear lost as they try to stay current, Lenny never forgot that he’s, well…Lenny Williams. With Lenny, while there might be some compromise in terms of production style, that isn’t the case when it comes to the overall crafting of his songs.

Lenny Williams has a formula for his music. Always did. And he injects that formula into any song he sings, regardless of who wrote and/or produced the track, to make it uniquely his own. That’s the beauty of Lenny Williams, and it’s why he remains as one of the more endearing as well as enduring figures in R&B today.

Lenny Williams’ new CD, Still in the Game, is a testament to his staying power. The 12-track album has a little something for everyone, from contemporary R&B to smooth jazz to down home blues. Actually, Still in the Game evolves from contemporary to old school, but still in a contemporary package, musically speaking. As with many independent albums released by legendary R&B artists, on Still in the Game the keyboard is used to replace horn arrangements, and all too often the drum program can take away from both the song and the artist. Those flaws aside, the album does grow on you as it progresses.

The first two tracks, “Still” and “This Is for the One That Got Away,” are bona fide contemporary R&B songs, the latter, complete with auto-tune. While both are nice enough songs, they don’t fit the life experiences of a 67-year old man, lyrically speaking. But that’s what happens when a song is written by a much younger person in today’s music world. The older artist is usually made to fit the song, and not the song fitting the artist. We see that happening with Charlie Wilson right now in the R&B mainstream. But leave it to Lenny, ever R&B music’s version of an adaptoid, to come in and breathe life into both songs. With both “Still” and “This Is for the One That Got Away,” Lenny is actually competing with today’s R&B new-jacks in their style, but on his level. It takes a man who has been through life’s experiences to turn a contemporary song into something the 40 and 50-somethings will like.

From there, however, Still in the Game, gets more adult, both lyrically and musically. “Where Did Our Love Go” could easily be a spinoff of Lenny’s biggest and most heartfelt hit, “Cause I Love You.” The song certainly flows in that direction, and Lenny even gives a few “Oh-oh-oh’s…” to bring “Where Did Our Love Go” home. On “Happy Man,” Williams provides an Al Green-sequel performance, with a bluesy-soul feel. As on a good Memphis soul song, on “Happy Man” the rhythm guitar gives the song color and feel. “Stepping And Dancing” is just that: a Chicago-styled steppers song that’s good enough to crowd the dance floor. On “Sunshine,” Lenny stays in Memphis blues mode, with a hue of Oakland soul dashed in for good measure. Lenny converts back to the contemporary world, albeit with a mellow feel, on his cover of the Heather Headley hit, “In My Mind.” The song would be A-plus in today’s music world, but it’s still a young person’s song sung by an older gentleman.

On “Grown Man,” however, Lenny Williams is just that: a grown man laying down a grown man’s down home blues song that will drive the patrons in a blues club or liquor house wild. Somewhere, Clarence Carter is applauding the song. Lenny flips the script and goes the smooth jazz route on “On This Day.” The song, featuring smooth jazz sensation Kirk Whalum, delivers to smooth jazz fans what they long for: a jazzy underpinning with experienced, excellent vocal accompaniment. Lenny then turns the corner, heading for the 90’s D’Angelo neo-soul style on “Make Love.”

With the noted exception of rock, there are few music stones left uncovered on Still in the Game. Lenny combines both Motown and Stax on “Good Girl,” which lyrically takes you back to a more innocent music time in the 1950’s and 60’s. The coupe de gras, however, is the final song on the album, “I’m Sorry I Didn’t Know It Was Your Mama,” a down home blues song that’s sure to get you out on the dance floor.

Lenny Williams is ever the chameleon, but in a very good way. And on Still in the Game, he shows the reason for his impressive staying power: he is an artist with the ability to not only adjust with the times, but, more importantly, to make the times adjust to him and his unique gift. Recommended.

By Gabriel Rich - Originally posted at Soul Tracks.com HERE

CHUBBY TAVARES - JEALOUSY

Chubby Tavares is an old school singer, and he makes no attempt to escape that fact on his latest recording, Jealousy. Most fans of 1970s era R&B, disco and funk will remember Antone “Chubby” Tavares as one of the five brothers in the vocal group Tavares. Tavares had a nice run in the 1970s and early 80s with ballads such as their chart topping cover of Hall and Oates’ “She’s Gone,” dance numbers like “It Only Takes a Minute” and mid-tempo cuts such as “Never Had a Love Like This Before.” Tavares’ is probably best known to non R&B fans for their contribution to the Saturday Night Fever soundtrack. The brothers Tavares and the brothers Gibb both contributed versions of the song “More Than a Woman” to that soundtrack.

Tavares’ inclusion on the definitive disco album probably ended up being a curse when musical tastes changed and disco fell out of favor. The pace of the hits slowed in subsequent years, Tavares’ line up waxed and waned and Chubby Tavares had to deal with family tragedy. However, neither the group Tavares nor Chubby Tavares stopped performing. Jealousy is Chubby Tavares’ debut solo record and his first significant release since Tavares released Words and Music in 1983.

On Jealousy, Chubby Tavares reaches beyond his salad days as a hit making member of his family group to record an album of covers ranging from tunes from the Great American Songbook to pop tunes of artists such as The Eagles and Barry Gibb. Jealousy’s track list makes it clear that Tavares approached this project with a non-cynical view toward making a covers album. He didn’t employ modern production techniques or odd collaborations in an attempt to reach a younger demographic. He also didn’t fill Jealousy with a bunch of done to death covers. That means this record can actually have the benefit of introducing the unfamiliar to tunes that they probably never head before. Of course, everyone from Nat King Cole to The Four Tops has recorded a cut such as “It’s All In the Game,” but that’s the exception to the rule. Besides, its inclusion gives me a chance to note that the song’s writer, Charles Dawes, was vice-president under Calvin Coolidge.

The 10 tracks that comprise Jealousy are a good match for Tavares’ vocal style and range – which for a 67-year old is still pretty good. It shouldn’t be surprising that the stronger numbers on Jealousy are rock era cuts such as “I Can’t Tell You Why,” “Words of a Fool” and “Daddy’s Home.” Tavares bluesy version on Gibbs’ “Words of a Fool” is one of the record’s highlights.

Jealousy is an honest record and a labor of love from an artist who appears to be comfortable with his status in the record industry. Tavares appeals directly to music fans longing a time when music was more idealistic. Those old-school fans will hear a lot that they like on Jealousy, and if they can manage to get the CD in rotation at family outings they can even introduce these tunes to a new generation. This is a worthwhile effort from an artist who we’re glad to hear again. Recommended.

By Howard Dukes Originally posted at Soul Tracks.com HERE

BARBRA STREISAND - RELEASE ME, COMPILATION OF UNRELEASED MATERIAL

Release Me to be Available on Vinyl (September 25) and CD (October 9)

Barbra Streisand's private music vault holds all the master tapes she's recorded for five decades. Now, she's sharing 11 previously unreleased songs, spanning a cross-section of her career from 1963 to the present. The collection, titled Release Me, will be available on vinyl (Tuesday, September 25) and on CD (Tuesday, October 9).

In an unparalleled career, Streisand has released more than 60 albums. Many of the sessions for these albums yielded extra recordings, which weren't included on the albums they were intended for. They've all been stored in her vault until now. Over the past year, Barbra has painstakingly gone through the recordings to come up with this collection, Release Me.

Highlights include: "Didn't We" written by Jimmy Webb - recorded in 1970 for an unreleased album project titled The Singer; the standard "Willow Weep For Me" - an unreleased track recorded in 1967 for Simply Streisand, arranged by Ray Ellis noted for his legendary work with Billie Holiday; A striking version of Randy Newman's "I Think It's Going Rain Today," with Barbra on vocals and Newman on piano - from the 1971 Stoney End sessions; an unreleased studio version of "With One More Look At You" from A Star Is Born; Two tracks from the unreleased sequel to the acclaimed The Broadway Album, titled Back To Broadway - "Home" (from The Wiz) and "How Are Things In Glocca Morra ? / Heather On The Hill" (from Finian's Rainbow / Brigadoon).

Reflecting on the album, Streisand noted, "The thing I'm happiest about is that I still have great affection for all these songs. They appealed to me at the time…and still do. Listening now, I actually think to myself, 'The girl wasn't half bad.'"

With the exception of two songs where the original masters couldn't be located, all the tracks on Release Me were transferred from first generation master tapes. Every attention was paid to preserving the sonic perspective of the sessions as they were originally recorded and mixed.

Speaking of the unreleased recordings that reside in Barbra's music vault, her long-time A&R man and co-producer of Release Me, Jay Landers says in his liner notes, "All of Barbra's glorious music...her ideas…the collaborative efforts of the fortunate songwriters, arrangers, mixers and producers who have come into her orbit…the experiments…the occasional missteps and the many triumphs - all driven by the unstoppable force of one woman's vision."

The complete track listing for Release Me features:
1.Being Good Isn't Good Enough (from Hallelujah, Baby!)
2.Didn't We
3.Willow Weep For Me
4.Try To Win A Friend
5.I Think It's Going To Rain Today
6.With One More Look At You (from A Star Is Born)
7.Lost In Wonderland
8.How Are Things In Glocca Morra? / Heather On The Hill (from Finian's Rainbow / Brigadoon)
9.Mother And Child
10.If It's Meant To Be
11.Home (from The Wiz)

SPIRITUAL JAZZ 3: EUROPE - VARIOUS ARTISTS

• All tracks fully licensed and digitally restored from the original master tapes

• Comprehensive liner notes with individual notes on each track with original stories direct from the artists

• 16 page colour CD booklet with in-depth liner notes, album cover scans and previously unpublished photographs

• Most tracks never before reissued – previously only available on rare LPs that change hands for hundreds of dollars

• 180g double vinyl pressing with thick, glossy double gatefold sleeve and colour inserts

- Esoteric, modal and deep jazz from the European undergound, 1963-72.

London’s ever-impressive Jazzman Records delivers the third volume in their immensely popular Spirtual Jazz series, this time with; Spiritual Jazz 3: Europe - featuring the likes of Jef Gilson, That’s Why, Albert Mangelsdorff Quintet, and Dusko Goykovich.

At the end of the ‘50s, Miles Davis’ Kind of Blue heralded the revelatory arrival of modal jazz. As the vibrations of these giant steps resonated across the world, European jazz musicians reassessed their bearings and began to steer a new course. Across the continent they sent roots down into the rich soil of the European folk and Christian liturgical traditions, extended their music along ancient routes of communication and trade to the Middle East, and reached across the crumbling ramparts of the European empires to the music of Asia Africa and Latin America.

The music collected here follows the richly tangled threads of meditative, modal and religious European jazz. Picking up where Spiritual Jazz 2: Europe left off, with volume 3 continuing the excavation of private releases, underrepresented artists and visionary one-offs that stud the European jazz landscape like standing stones. Just as it had waxed, so the cult of American jazz waned, and these recordings are the compelling documents of a musical world in imaginative transition and virtuoso transformation – a second trail of determined footprints on the pathways of European jazz.

Sublime choral jazz in an ecclesiastical setting, revolutionary sounds deep within the USSR, radical modal experiments inspired by excursions to Asia and Latin America, advances in rhythm and sound where modern jazz combines with Balkan and Scandinavian folk traditions. This is Spiritual Jazz – European style.

Tracklisting:
01. Jef Gilson - Unknown
02. Hermann Gehlen - Kyrie
03. Palle Mikkelborg & Radiojazzgruppen - Mongolia
04. Michel Roques – Le Temps
05. Babs Robert – Pro Forma I
06. That’s Why - Udoyeleg
07. Binder Quintet - Vasvirag
08. The Crescendo Quintet – Variations On The Azerbajian Mugam ‘Chargiakh’
09. Dusko Goykovic – Macedonian Fertility Dance
10. Albert Mangelsdorff Quintet – Sakura Waltz
11. Yoki Freund Sextet – Aisha
12. Jan Allan Quintet – Odins Oga
13. Dennis Wiley – Barrio Chino
14. Full Moon Ensemble – Samba Miaou
15. Louis Xavier – Suite
16. Antithesis

Jazzman Records – CD & 2xLP (JMANCD050 / JMANLP050)

Released: 3 Sep 2012

NEW RELEASES – MARLENA SHAW, COUNT BASIE, MILES BONNY

MARLENA SHAW – WHO IS THIS BITCH, ANYWAY?

A great record from the mid 70s – one that has Marlena Shaw further developing her style as a sophisticated soul diva with a sharp modern edge! Although already great in the 60s, Shaw emerges here as an all-adult, all-woman singer – dealing with issues that never would have gotten touched in the decade before, all with a directness and sensitivity that's totally great. A great example of this is the leadoff track "You Me & Ethel" – a hilarious monologue in which Marlena strings along some guy who's trying to pick her up in a bar – really holding it in until it launches into the jazz funk groover "Street Walkin' Woman"! Arrangements throughout the album shift from mellower soul to hipper jazz with ease – taking Shaw into a wide range of territory that clearly shows that no areas were off limits to an artist of her stature in the 70s! Tracks include "Feel Like Makin Love", "You", "You Been Away Too Long", and "Loving You Was Like A Party". ~ Dusty Groove

COUNT BASIE – THIS TIME BY BASIE!

Believe it or not, we totally dig Basie's work from the mid 60s! He was working with Quincy Jones at the time – and Quince laid down some very soulful arrangements that used the best jazz elements of the Basie group to turn out some great pop instrumental tracks with a very groovy sound. This album's a perfect example of that format, as it features some great Basie sidemen, grooving nicely to Quincy's hip swinging arrangements of pop material like "Walk, Don't Run", "Fly Me To The Moon", "This Could Be The Start Of Something Big", and "One Mint Julep". ~ Dusty Groove

MILES BONNY – 2011 BOOTLEGS (GREEN MARBLED VINYL)

Rare tracks from the great Miles Bonny – a sublime follow-up to his Lumberjack Soul album – and a vinyl-only, self-released package that's stuffed with rare tracks! Miles didn't give us any notes with the package – so it's a bit tough to identify the contents – but if you dig Bonny's music as much as we do, you'll hardly need any words to help draw you in – because the cosmic grooves are more than enough! Bonny's soulful vocals are mixed with great spacey beats, jazzy trumpet inflections, and a seriously righteous sensibility overall – the kind of wicked mix that's made him one of the most compelling new soul talents of the 21st Century – with a unique groove that stretches far from his KC roots! (Pressed on green marbled vinyl – and comes in a plain sleeve.) ~Dusty Groove

NEW RELEASES – CARMEN MCRAE, DIONNE WARWICK, SARAH VAUGHAN

CARMEN MCRAE – CAN’T HIDE LOVE

Sweet soul from Carmen McRae – a great 70s album for Blue Note, and one that has the classic singer moving into some very groovy material! The feel here is much more soul than jazz – at least the jazz of the torchy style from Carmen's roots – but as you'd guess from McRae, the vocals still bring plenty of great inflections to play – personalizing even familiar tunes, and really helping to push the level of an already-great record! Arrangements are by Gerald Wilson, Dave Grusin, Johnny Mandel, and Thad Jones – and the set includes Carmen's hip cover of "Can't Hide Love" – plus "I Wish You Well", "Only Women Bleed", "Lost Up In Loving You", "Would You Believe", "A Child Is Born", and "All By Myself". ~ Dusty Groove.

DIONNE WARWICK - DIONNE

One of those great 70s records that really reminds us that, way past Burt Bacharach, Dionne Warwick's a heck of a great soul singer! The album's a bit more polished than some of her other post-Scepter efforts from the decade – yet still comes off quite well, with Dionne really stretching out vocally – and bringing a lot more to the table than might be expected. There's a few uptempo cuts that are a bit off the mark, but Warwick really shines on the mellow and midtempo numbers. Titles include "Who What When Where Why", "All The Time", "In Your Eyes", "Feeling Old Feelings", "Deja Vu", "I'll Never Love This Way Again", and "After You". CD features two bonus tracks – single versions of "Deja Vu" and "After You". ~ Dusty Groove

SARAH VAUGHAN – POP ARTISTRY

A sweet little album that serves up exactly what it promises in the title – a set of 60s pop tunes, all reworked by the jazz vocal artistry of Sarah Vaughan! The set's one of the most upbeat and bouncy that Vaguhan cut during the decade – and although you might know some of the tunes from the hit versions on oldies stations, Sarah's takes on the tracks are completely unique – very personal and transformative, especially since she's stretching out a lot more vocally than the famous singers of the songs. Luchi De Jesus handled the arrangements – and titles include "Make It Easy On Yourself", "Yesterday", "Little Hands", "Waltz For Debbie", "First Thing Every Morning", "He Touched Me", and "I Know A Place". ~ Dusty Groove

NEW RELEASES – ASWAD, CULTURE, LEWLEWAL DE PODOR

ASWAD – THE BEST OF ASWAD: DON’T TURN AROUND

Some of the biggest singles by British reggae giants Aswad! Don't Turn Around his pretty heavy with material from the mid-to-late 80s period – when they were at a commercial peak – blending Lovers Rock and were crossing over in a major way. Breezy, easygoing stuff – plus some great rootsier material, too. Includes "Don't Turn Around", "Back To Africa", "How Long" feat Yazz, "Three Babylon", "Fire" with Shabba Ranks, "Set Them Free", "Rainbow Culture", "Chasing For The Breeze", "Beauty's Only Skin Deep", "Shy Guy" with Easther Bennett and more. ~ Dusty Groove

CULTURE – NATTY DREAD TAKING OVER

A career-spanning Culture anthology – starting with their 70s recordings with Joe Gibbs and continuing with highlights from the later years – 38 tracks on 2-CDs and it comes with bonus DVD! The late 70s material is hard to top – and this set features some of the best of the album tracks of the period – along with standout 80s recordings. Includes "Two Sevens Clash", "This Time", "Baldhead Bridge", "Garvey Rock", "Innocent Blood", "Work On Natty", "Stop The Fussing And Fighting", "Natty Never Get Weary", "Cumbolo", "I Tried". "Too Long In Slavery", "Lion Rock", "We A Boss", "Addis Ababa", "Election", "Poor People Hungry", "Why Am I A Rastaman?" and many more. The DVD features live footage of Culture in the UK from 2003. ~ Dusty Groove

LEWLEWAL DE PODOR – YIILO JAAM

Timeless sounds from Lewlewal – a contemporary group from Senegal, and part of a vanishing culture in the city of Podor! The tracks were recorded recently, but have a feel that goes back decades – mostly acoustic instrumentation on percussion and guitar, played with an intimate approach that draws strongly on tradition – but which also allows for some personal inflections from the group members too. The vocals – sung by Demba Doka Barry – are especially nice – with this hauntingly soulful feel that really grabs us, even over the space of a language difference. Titles include "Ziarre", "Patrimonie", "Jaanfa", "Diaraby", "Yela", and "Almamy". (Also comes with a nice insert of notes – and a postcard too!) ~ Dusty Groove

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