RUSS NOLAN - TELL ME

In the ten years since his move to New York City from Chicago, tenor, saxophonist, composer, and arranger Russ Nolan has made great strides in advancing his musical career. He immersed himself in the scene, playing and collaborating with a wide range of musicians. He made his first recordings as a leader-the quartet date Two Colors (2004) and the much-praised With You in Mind (2008), on which he was backed by the Kenny Werner Trio. And, less typically, he hit the dance floor, becoming an active and accomplished salsa dancer.

It was Nolan's experiences as a dancer over the last five years that led to the conception and execution of his forthcoming CD Tell Me, which his Rhinoceruss Music label will release on September 28. "On the dance floor, you key off of a rhythm," he says. "Getting it into my body helped my sense of time. I became a lot freer with rhythm."

Latin rhythms assert themselves in unexpected places and in unexpected ways on the new album, produced by and featuring violin sensation Zach Brock. "Russ and I began our musical relationship over ten years ago in Chicago," says Brock. "I feel privileged to have worked on both the production and performance aspects of this recording. The band is top-notch, the music is both challenging and accessible, and the bandleader is a truly inspiring soloist, writer, and arranger."

Nolan is a powerful tenor player who strikes a soulful balance between a classic, hard-edged sound and the airier tones and textures popularized by Michael Brecker. As an arranger he applies his distinctive touch to an array of material including Joe Zawinul's "A Remark You Made," John Lennon's "Nowhere Man," and, most strikingly, Oliver Nelson's "Stolen Moments." "The singer I wrote it for didn't like 6/8, so I kept it for myself," Nolan says of the dynamic chart.

For the new disc, Nolan put together a strong quartet comprised of Art Hirahara, the San Francisco native whose second album, Noble Path, was released last year on Posi-Tone; bassist Michael O'Brien, who plays with Brazilian guitarist Sandro Albert; and drummer Brian Fishler. (Producer/violinist Zach Brock appears on three tracks.) "We're a band," Nolan says. "We've spent a lot of time together. These guys may not be well known yet, but they can really play."

Russ Nolan, 44, was born and raised in Gurnee, Illinois (halfway between Chicago and Milwaukee), where he was a star basketball and baseball player and also played in the school marching and jazz bands. After a few semesters at Northern Illinois University, Nolan ended up in the vaunted jazz program at North Texas State (now known as the University of North Texas). He became friends there with fellow saxophonist Jeff Coffin, with whom he played in a three-tenor band also featuring Larry Panella.

Back in Chicago, however, he played very little music from 1994 until the end of the decade. Then he was contracted to play in the orchestra that backed singer Kurt Elling at Mayor Richard M. Daley's big millennium bash. That was where he first met Brock, with whom he subsequently played in a quintet of musicians associated with the Bloom School of Jazz.

Yet the Windy City was never the right fit for Nolan. The more he studied and played with visiting New Yorkers including Chris Potter, Kenny Werner, and Dave Liebman -- and the more they encouraged him to move to the Big Apple -- the more he knew he had to go East if he was going to make anything of his career. He made the move six months after 9/11, settling in Sunnyside, Queens. It wasn't easy getting gigs, but being in the jazz capital of the world rejuvenated him. (He also met his wife, Luz, while pursuing his salsa dance muse.)

"Playing here is everything I could have hoped for," he says. "There's such a strong sense of community that phrases like 'Hey, let's try this' and 'I think this would work better here' help create the dynamic and progressive music this city is known for."

www.russnolan.com

ROBERT GLASPER ANNOUNCES OCT. 9 RELEASE OF BLACK RADIO RECOVERED: THE REMIX EP

FEATURING REMIXED & UNRELEASED TRACKS FROM BLACK RADIO

ROBERT GLASPER EXPERIMENT ANNOUNCES FALL NORTH AMERICAN TOUR DATES

Robert Glasper’s breakout year heads into a busy autumn with the keyboardist announcing the October 9 release of Black Radio Recovered: The Remix EP. The 6-track EP, which was produced by Glasper, features remixed and previously unreleased tracks from his acclaimed album Black Radio. The remixers include Glasper himself, as well as ?uestlove, 9th Wonder, Georgia Anne Muldrow, and Pete Rock, with additional contributions from rappers Black Milk and Phonte, The Roots band, and vocalist Solange Knowles. The remixes reinvent tracks that originally featured Bilal (“Letter to Hermoine”), Erykah Badu (“Afro Blue”), Meshell Ndegeocello (“The Consequences of Jealousy”), and yasiin bey (“Black Radio”), as well as Robert Glasper Experiment’s cover of the Little Dragon song “Twice.” Also included is “Dillatude #2,” the Experiment’s tribute to the late, great hip hop producer J Dilla which is a previously unreleased track from the Black Radio sessions.

Robert Glasper Experiment has also been added to the line-up of the iTunes Festival 2012, taking place at the Roundhouse, Camden Town in London, on September 23. By downloading the free iTunes Festival App, fans from across the globe can watch the show live or view it afterwards for a limited time on their computer with iTunes, on their iPhone, iPad, iPod touch or on the big screen using Apple TV.

Glasper has also announced an extensive fall North American tour that will include a CMJ showcase at S.O.B.’s in New York City, 2 nights at UCLA’s Royce Hall in Los Angeles that spotlight Glasper with both his Experiment band and Trio, as well as appearances in Washington DC, Philadelphia, San Diego, San Francisco, Seattle, and a hometown show in Houston. See below for a full list of tour dates.

The track listing for Black Radio Recovered: The Remix EP is as follows:
1.Afro Blue feat. Erykah Badu / 9th Wonder’s Blue Light Basement Remix feat. Phonte
2.Black Radio feat. yasiin bey / Pete Rock Remix
3.The Consequences of Jealousy feat. Meshell Ndegeocello / Georgia Anne Muldrow’s Sassy Geemix
4.Twice / ?uestlove’s Twice Baked Remix feat. Solange Knowles & The Roots
5.Letter to Hermione (feat. Bilal) / Robert Glasper and Jewels Remix feat. Black Milk
6.Dillatude #2

ROBERT GLASPER EXPERIMENT – FALL 2012 TOUR DATES:
September 15 – Indianapolis Jazz Festival – Indianapolis, IN
September 23 – iTunes Festival @ The Roundhouse – London, England
September 26 – Milwaukee Performing Arts Center – Milwaukee, WI
October 4 – Showcase Live – Foxboro, MA
October 5 – Iron Horse – Northampton, MA
October 6 – Traif – Buffalo, NY
October 7 – The Egg – Albany, NY
October 9 – Royalton – Fairfield, CT
October 11 – Birchmere – Alexandria, VA
October 12 – Ram’s Head – Baltimore, MD
October 13 – World Café Live – Philadelphia, PA
October 16 – SOB’s – New York, NY
October 19 – The Hoxton – Toronto, Ontario
October 20 – The Shelter – Detroit, MI
October 21 – Lincoln Theatre – Columbus, OH
October 25 – Royce Hall – Los Angeles, CA
October 26 – Discovery Green – Houston, TX
October 27 – Royce Hall – Los Angeles, CA (Trio)
October 28 – Anthology – San Diego, CA
November 1 – Palace of Fine Arts Theatre – San Francisco, CA
November 4 – Triple Door – Seattle, WA

~ Blue Note Records

NEW RELEASES - DWELE, KENDRA MORRIS, BIG BROTHER & THE HOLDING COMPANY

DWELE - GREATER THAN ONE

The best in years from Dwele – who honestly has yet really make any kind of creative mistep – and Greater Than One is one of his greatest records to date! Detroit singer and producer Dwele has long balanced a love for classic soul of the Donny Hathaway school with contemporary, though wisely trend-skirting production – and he does that once again here. There's a more focused feel, and really strong, insistent songs this time out, too. Of course Dwele's voice is the greatest selling point, and it's layered beautifully throughout! Includes "Greater Than One Less Than Three", "Going Leaving", "Takes22Tango", "What You Gotta Do" with Raheem DeVaughn, "What Profit", "Obey", "Must Be" feat J Tait, L'Renee & Black Milk, "Swank" and "Patrick Ronald" feat Monica Blaire, "Frankly My Dear (I'm Bennett I Ain't Innit)" and more. ~ Dusty Groove

KENDRA MORRIS - BANSHEE

Modern blue-eyed soul from Kendra Morris on Wax Poetics Records – and it delivers in full on the promising couple of Wax Po singles leading up this solid full length! If the title Banshee brings to mind a shrill spooky cry, fear not – because Kendra is a natural and truly soulful singer! There's a nice live band feel to the record, too – with core backing of guitar, drums bass and spacey keys – plus occasional violin and other additional instrumentation. A win! Titles include "Waiting", "The Plunge", "Old Photos", "Right Now", "Today", "How You Want It", "If You Didn't Go", "Concrete Waves", "Here", "Banshee" and more. ~Dusty Groove

BIG BROTHER & THE HOLDING COMPANY FEATURING JANIS JOPLIN

The first full album featuring the incredible voice of Janis Joplin, as the singer of Big Brother & The Holding Company! Even at this early point, it's clear that there's some really incredible things happening with this band. Originally released on Mainstream, the production is a bit thin compared to the bigger sounding records to come, which actually works incredibly well – as Janis's voice just tears right through in a really exciting way. The rawer Big Brother backdrop is great, too! Titles include "Easy Rider", "Bye, Bye Baby", "Intruder", "Women Is Losers", Moondog's "All Is Lonliness", and "Down On Me". (180 gram vinyl remaster – with the restored original artwork!) ~ Dusty Groove

NEW RELEASES - GRANT GREEN, BOBBY HUTCHERSON, IKE QUEBEC

GRANT GREEN - NIGERIA

Damn great work from guitarist Grant Green – one of his killer sessions with pianist Sonny Clark – recorded in the early 60s, but unissued until nearly 20 years later! The groove here is a bit different than some of Green's early dates with organ – a bit more soulful hardbop at times, with some great work on rhythm from Sam Jones on bass and Art Blakey on drums – two great players who complete the group beautifully. The setting is calm and spare, but very fluid, and all players play with a brilliant edge – Blakey is excellent, and hearing him on this one makes you want more of his work as a sideman (which was to diminish greatly after this recording). Tracks include takes on "Airegin", "I Concentrate on You", ""The Song Is You", "The Things We Did Last Summer" and a stellar version of "It Ain't Necessarily So". CD also features "Nancy" and an alternate of "Airegin". ~ Dusty Groove

BOBBY HUTCHERSON - PATTERNS

A really heady set of tracks from vibist Bobby Hutcherson – a record that has him stepping away from the harder sounds of his early modern years – and moving into the sublime mix of soulful and modal styles that would really grow strongly by the end of the 60s! The album's a treasure through and through – warm, subtle interpretations of the music by a group that features Hutcherson on vibes, James Spaulding on alto and flute, Stanley Cowell on piano, Reggie Workman on bass, and Joe Chambers on drums – all working together in modes that are quite like Hutcherson's music with Harold Land – but slightly looser and freer at points too. The album includes a fantastic version of Cowell's "Effi", which was later recorded by Charles Tolliver a few times, plus other beautiful compositions by Joe Chambers – including "Patterns", "Ankana", "Irina", and "Nocturnal". Also features a bonus alternate of the title track! ~ Dusty Groove

IKE QUEBEC – WITY A SONG IN MY HEART

A killer album that stands as a wonderful complement to Ike Quebec's classic LP sessions for Blue Note – and a set that's even more noteworthy for a rare early appearance of keyboardist Earl Van Dyke! Earl's best known for later famous work at Motown – but here, he plays some great mellow Hammond – really laying back nicely, alongside Quebec's soulful tenor – in a group that also features Willie Jones on guitar, Sam Jones on bass, and Wilbert Hogan on drums. The tunes here were all originally recorded as potential singles for Quebec, but most weren't issued by Blue Note at the time – and they're pulled together here as a really well-crafted album that's essential listening if you're a fan of the tremendous tenorist! Titles include "Intermezzo", "With A Song In My Heart", "How Long Has This Been Going On", "What Is There To Say", "All The Way", and "But Not For Me". ~ Dusty Groove

NEW RELEASES - AZTECA, KENNY BURRELL, MILT JACKSON / RAY CHARLES

AZTECA - AZTECA

Excellent bit of west coast Latin fusion – featuring an all star band that includes such massive talents as Pete Escovedo, George Muribus, Paul Jackson, Lenny White, Coke Escovedo, and Victor Pantoja. The groove is nice and smooth, with a Bay Area early 70s sound on the production tip – and in a way, the record reminds us of some of the excellent work on Fantasy Records from the time, with touches of other 70s CA Latin soul groups, like Malo or El Chicano. Cuts include "Peace Everybody", "Empty Prophet", "Can't Take The Funk Out Of Me", "Azteca", "Ah! Ah!", and "Mamita Linda". ~ Dusty Groove

AZTECA – PYRAMID OF THE MOON

Excellent album of west coast Latin grooves by this electric fusion outfit that included Pete and Coke Escoved, Flip Nunez, Paul Jackson, Victor Pantoja, and Tom Harrell – plus guest players Lenny White, Mike Nock, and Neal Schon. The tracks have a bit of a Chicano Rock feel to them, with lots of nice electric moments. Titles include "Red Onions", "Mazatlan", "Whatcha Gonna Do", "Mexicana, Mexicana", and "Love Is A Stranger". ~ Dusty Groove



KENNY BURRELL – TENDER GENDER

Despite the "tender" in the title, this is actually a pretty soulful set – a great little small combo side that includes Richard Wyands on piano, Martin Rivera on bass, and Oliver Jackson on drums. Kenny's at the top of his form – really leading the group in a way that he doesn't always manage on other albums – and even the laidback tunes have plenty going on to keep our ears happy! Titles include "La Petite Mambo", "Suzy", "The Tender Gender", "Girl Talk", "Isabella", and "Hot Bossa". ~ Dusty Groove

 

MILT JACKSON / RAY CHARLES – SOUL BROTHERS

While they didn't do it too often, once in a while the folks at Atlantic would pull Ray Charles in on a jazz session, often with some great results. Both he and Milt get a chance to stretch out a bit here, fooling around on a couple of different instruments than you might typically hear them on, like Milt on piano and guitar and Ray on alto, and they aquit themselves admirably in those roles. Other players include Billy Mitchell, Connie Kay and Oscar Pettiford,a nd the sets filled with nice rolling soulful jazz, mostly penned by Milt & Ray: "Blue Funk", "Cosmic Ray", "Soul Brothers", and "How Long Blues". ~ Dusty Groove.

SHARON MARIE CLINE - THIS IS WHERE I WANNA BE

Sharon Marie Cline is one who stays focused on her dreams, furiously working all facets of her career, her latest goal penning her new single “This Is Where I Wanna Be”.

 Sharon Marie Cline is taking all the necessary steps to a global music community all her own! Focused on giving her fans what they want, Sharon Marie opened her channels of heart to penning her new single “This Is Where I Wanna Be” with pianist and Music Director Rich Eames. Perfect caption for a driven musical powerhouse who has found her nitch and wants to take it global. Not only does Cline have her own social network that garners visitors from all over the world, she maintains a healthy marketing strategy to have her fans jump on her bandwagon with each offering she provides from live performance to her upcoming CD “This Is Where I Wanna Be”. With great musicians supporting her musical essence, Rich Eameson piano, John Belzaguy on bass (formerly with Natalie Cole and Nancy Wilson) Jon Stuart on drums and Rob Hardt on flute (currently with Pancho Sanchez and formerly with Strunz and Farah ) she can’t go wrong.

“This album is my affirmation. My affirmation of Love and Dreams. It's an optimistic offering to the world. I guess I feel, what better gift to offer the world right now but my particular expression of Love, Romance, Joy...” says Cline.

Always on the jazz club scene, from Los Angeles to Miami, Sharon Marie’s upcoming gigs include Llew Matthews (Nancy Wilson's music director) and Jon Laskin on bass at Jazzy’s Restaurant, August 31st in Temecula, CA, then off to a mini-tour to Miami in September. Looking to perform on jazz festival stages, tour with her own ‘Bad Boyz Of Jazz” as well as seeking non-exclusive booking agents for worldwide performances from studio sessions to concert halls, Sharon Marie has her heart set on a worldwide musical community enjoying her music. Her brilliant interpretations and her smooth mellifluous sound leave a lasting impression on her listeners that is truly unforgettable!

“Sharon Marie Cline is the perfect example of taking your career and working it from every side. With the backdrop of her slogan “My Heartsong” as the wellspring of her creating her own social network, to taking her hand to songwriting, to continually connecting with her fans at her events it takes consistency to maintain your fan-base and that is the golden ring Sharon strives for as she breathes life into her dreams”. The musical conversation on this tune, is warm, melodic, rhythmically cohesive and lyrically appealing, Sharon Marie is forever growing into her golden shoes” says Jaijai Jackson of The Jazz Network Worldwide Social Network.

Be sure to come by and listen in on “This Is Where I Wanna Be” at The Jazz Network Worldwide www.thejazznetworkworldwide.com and consider joining and adding your voice to Sharon Marie Cline’s heartsong at www.sharonmariecline.com.

Visit THE JAZZ NETWORK WORLDWIDE "A GREAT PLACE TO HANG" at: http://www.thejazznetworkworldwide.com/?xg_source=msg_mes_network

JONATHAN BUTLER - GRACE AND MERCY

A life well lived is often the best foundation for compelling art and there’s no denying Jonathan Butler has been blessed with a fascinating life. A South African native whose expansive musical gift has earned accolades in the R&B, contemporary jazz and gospel fields, Butler’s new release Grace And Mercy is filled with the soulful sounds and insightful lyrics fans have come to expect from the veteran performer.

A key word in Butler’s life is balance and after years of touring the globe, he’s learned just how important time away from the spotlight can be. “These days I try to do a little bit of living in between. I balance my life,” he shares. “I’ve got to spend time living, and through living you come up with stories to talk about and songs to write. These songs are personal experiences. People always assume that because you’re a recording artist and you travel the world that you don’t have problems and you don’t have disappointments in your life, which is not true. We all do. This album truthfully and honestly lets people know that the songs that I’m writing are the things that I’m going through in this season. I’m hoping those songs will effect people in a positive and wonderful way.”

On Grace And Mercy Butler delivers a collection of songs that serve as a soothing musical balm in today’s troubled times. “This album really speaks about optimism, faith, belief and hope, especially in the light of what everybody has been experiencing in the last two or three years,” he says. “There’s been a lot of people losing their homes, their jobs, enduring the challenges that life brings. I’m hoping this album will bring hope to people. Songs like ‘Give it Up To God,’ ‘I Stand On Your Word,’ and ‘Who is Like the Lord’ were written from experiences that I’ve had to go through myself.”

The lead single, “I Stand On Your Word,” is a soaring ballad that reminds us of the power of God’s promises. “I love that song,” Butler says. “I hope that it hits home to a lot of people.”

God’s word became real to Butler when he was just a teenager. At 19-years-old, Butler’s life forever changed when he became a Christian. “It was love that drew me to Christ,” he smiles, “the love of someone who cared enough to talk to me about Jesus and take me in when I was basically a broken young man in South Africa. It was my late brother-in-law, my wife’s brother, who led me to Christ. He was that person in my life that actually took the time to talk to me about Jesus, and it didn’t take me long to give my heart to Christ because of that.”

In the past few years, his faith has sustained Butler during some difficult times. He lost his beloved mother and a very close friend in addition to helping his wife battle cancer. It’s been tumultuous time that saw the gifted musician leaning ever closer to God and pouring his experiences into his music. Grace and Mercy showcases Butler’s gift for taking potent lyrical messages and enveloping them in memorable melodies. “Give it up to God” is a soul-stirring slow jam that spotlights Butler’s warm, distinctive voice. “Simplicity always wins for me,” Butler says of the song. “There is such power in a simplistic lyric. You really reach people when you say simply, ‘Give it up to God.’ We all go through those every day trials. We read the Proverbs and Psalms and most of the time we forget that the Bible says, ‘Trust in the Lord with your heart and lean not on your own understanding.’ Every day we have to give it up to God, EVERY day.”

Among Butler’s favorite tracks are “I Know He Cares.” “I love, love, love, love ‘He Cares!’ I wrote ‘He Cares’ and it spoke to me,” Butler says. “I started with the music and then started writing these lyrics down. We all need to know that God really cares for us. The Bible says, “We are the sheep of his pasture” and he absolutely does care for us. That song really speaks to me a lot.”

“Moments of Worship” is another highlight on Butler’s new project. “I actually recorded ‘Moments Of Worship’ in Spain years ago,” he says. “I was at a friend’s house and he had a studio and an engineer. I sat in front of a piano and started singing my favorite worship songs and I just decided to do that on this album. At the end of all the music, it comes back to worship, which I think is beautiful.”

Lyrically Grace And Mercy delivers the kind of Biblically grounded, emotionally uplifting songs Butler has become known for, yet musically he says fans might be caught slightly off guard. “It’s going to surprise people a little bit coming from me because I think it’s much more of an edgier gospel record,” he says of the project, which was recorded at his home studio. “It’s more urban. Overall I feel it’s much more of a raw type of record. I didn’t grow up in church, but I’m a born again Christian. For the last 30 years I’ve been saved so I write from that place. I draw a lot from different elements and experiences and also my culture from South Africa, so I think it’s a little bit different.”

Born in Cape Town, Butler was the youngest of 12 children. He discovered a gift for music early in life and began singing and playing guitar at age seven. As a child, he traveled all over South Africa performing with a troupe of 100 children, getting a first hand look at the country’s disturbing dichotomy---devastating poverty and extreme affluence that existed under Apartheid.

Butler signed his first record deal as a teen and became the first black artist played on white South African stations. “That was 1974 and it was a song titled ‘Please Stay,’” Butler recalls of the historic tune, which won a Sarie Award, the South African equivalent of a Grammy. “Back then I was with an independent label called CCP Productions.”

Though Butler lived in England for 17 years and currently makes his home in Encino, CA, his youth in South Africa continually colors his artistry. “All those memories and all those experiences are what makes a woman or a man a stronger person,” he says. “It influences how they live their lives and their appreciation for life and freedom. That’s what shapes you and gives you that sensitivity of heart. Anyone who grew up in South Africa, or even in the 60’s in America, has a deeper appreciation for life and for freedom. It shapes their lives completely. I feel like all of the stuff that we grew up with in South Africa has made me a better person.”

Butler has toured the world with such acclaimed artists as Kirk Whalum, Dave Koz and Ruby Turner. He’s earned Grammy nominations and rave reviews in the jazz and R&B fields, but his gospel albums hold a special place in his heart. “It was always a desire that I had,” he says of recording gospel music, “but I never really wanted to do it just for the sake of it. I needed to know that God would release me to do it because it’s a ministry. It changes people’s lives and I wanted to be sure that the Lord would release me to it. I prayed about it for a long time. I waited and then when I got the confirmation, God began giving me these songs. I wrote ‘Falling In Love With Jesus’ and that opened the door for me to walk seamlessly into my ministry.”

Music, ministry, faith and family are all woven joyfully together for Jonathan Butler. His daughter, Jodie, tours with him, sings background vocals on Grace And Mercy, and is an integral part of his ministry. “She is actually working on her own project right now,” the proud father says. “I’m going to be making time to help develop her record. She’s a great writer and she’s working on new songs.”

Butler has a lot to smile about these days. His wife of 30 years survived her battle with cancer, and they enjoy spending time doting on their little granddaughter. “With this record I’m really addressing where the Butler family has been and what we have gone through in 2010 and 2011,” he says. “My inspiration is definitely my family. They support me. They love me and they encourage me. I’m very, very excited about this record. I can’t wait for people to and connect with it because I believe that God has a lot in store for me and I’m heeding the call and obeying God.”

A life well lived is often the best foundation for compelling art and there’s no denying Jonathan Butler has been blessed with a fascinating life. A South African native whose expansive musical gift has earned accolades in the R&B, contemporary jazz and gospel fields, Jonathan’s new release Grace And Mercy is filled with the soulful sounds and insightful lyrics fans have come to expect from the veteran performer.

Grace And Mercy is scheduled for release on September 25, 2012.

LUCIANA SOUZA - DUOS III

After a three-year hiatus from recording, consummate artist and jazz singer Luciana Souza returns to Sunnyside Records with Duos III, produced by Grammy-winner Larry Klein. The release of the CD will be accompanied by tour dates throughout the fall and spring, including an evening in Los Angeles’ Broad Theatre on September 1 and Joe’s Pub in New York City on September 12 .

Duos III celebrates the ten-year anniversary of the release of Luciana’s Grammy-nominated and much celebrated CD, Brazilian Duos. Her Duos II record also went on to receive a Grammy nomination for Best Jazz Vocal Record. The last volume of this trilogy brings back her long time collaborators – guitar phenomenon Romero Lubambo, and master guitarist Marco Pereira – and introduces Toninho Horta, one of Brazil’s most unique guitarists and composers. The repertoire is again as varied and beautiful as the Brazilian landscape – including works by Antonio Carlos Jobim, Cartola, Gilberto Gil and Toninho Horta.

“In the last 10 years I have had a lot of opportunity to perform in this format (duo),” added Souza, “travelling the world, and each time understanding more about the dialogue between voice and guitar, and the inevitable clarity and intimacy.”

Luciana Souza has been releasing acclaimed recordings since 2002 – including her four Grammy-nominated records, Brazilian Duos, North And South, Duos II, and Tide. Souza has performed and recorded with greats including Herbie Hancock, Paul Simon, James Taylor, Bobby McFerrin, Maria Schneider, Danilo Perez and many others. Her longtime duo work with Brazilian guitarist Romero Lubambo has earned her accolades across the globe, and her complete discography contains more than 50 records as a side singer.

LISTEN TO EXCLUSIVE PREVIEW OF MICK HUCKNALL'S SOLO ALBUM 'AMERICAN SOUL'

Here's an exclusive preview of the brand new Mick Hucknall solo album American Soul on Youtube, ahead of the album release which is set for October 29th.

Mick is renowned for his great interpretations of others’ songs, having already had global hits with Money’s Too Tight To Mention, If You Don’t Know Me By Now and You Make Me Feel Brand New. The start of Hucknall’s solo career gives him free rein to record, together on one album, his favourites from his own personal journey through the American soul genre, giving an insight into the music that has inspired him throughout his life.

Of how the album came about, Mick says 'It was working with Ronnie Wood and the Faces, then occasional stints with Charlie Watts and Bill Wyman’s bands that helped me realize how much I love singing old school R&B. They certainly played a part in inspiring the making of this album.”

Tracklisting
1. That's How Strong My Love Is
2. Turn back The Hands Of Time
3. I'd Rather Go Blind
4. Lonely Avenue
5. I Only Have Eyes For You
6. Tell It Like It Is
7. Baby What You Want Me To Do
8. The Girl That Radiates That Charm
9. Let Me Down Easy
10. Don't Let Me Be Misunderstood
11. It's Impossible
12. Hope There's Someone

Listen to the clips and watch some ‘behind the scenes’ footage from the album photos shoot exclusively HERE

Upcoming Mick Hucknall Concerts
September 2012
18th LONDON, Royal Albert Hall (SOLD OUT)
19th LONDON, Royal Albert Hall

April 2013
9th DUBLIN, Olympia
12th YORK, Barbican
13th MANCHESTER, Apollo
15th BRIGHTON, Dome
16th PORTSMOUTH, Guildhall
18th BIRMINGHAM, Symphony Hall
19th IPSWICH, Regent
21st CARDIFF, St David’s Hall
22nd BRISTOL, Colston Hall
23rd NOTTINGHAM, Royal Concert Hall
25th GLASGOW, Royal Concert Hall
26th NEWCASTLE, City Hall

NEW RELEASES - DUDUKA DA FONSECA QUINTET, ANAT COHEN, THIRD WORLD LOVE

DUDUKA DA FONSECA QUINTET -SAMBA JAZZ - JAZZ SAMBA

Samba Jazz. Jazz Samba. These two exciting musical forms come together as one in the music of the Duduka Da Fonseca Quintet - uniting North and South (Americas) in a manner which politicians can only dream of. Since his early days as a drummer in his native Rio de Janeiro, Duduka has been seeking the perfect balance between Jazz and Samba, working to develop the swinging sound that is called Samba Jazz. One of the foremost proponents of the genre, he has performed with the best of both worlds, from Antonio Carlos Jobim and Astrud Gilberto to Joe Henderson and Kenny Barron. His quintet featuring saxophonist/clarinetist Anat Cohen, guitarist Guilherme Monteiro, pianist Helio Alves and bassist Leonardo Cioglia is the perfect vehicle for the continuation of his quest.

ANAT COHEN - CLAROSCURO

Anat Cohen – celebrated the world over for her expressive virtuosity on clarinet and saxophone, not to mention the sheer joie de vivre in her charismatic stage presence – presents the latest record of her evolution with Claroscuro, her sixth album as a bandleader. Claroscuro takes its title from the Spanish word describing the play of light and shade (chiaroscuro in Italian). The album ranges from deliciously buoyant dances to darkly lyrical ballads, with live-in-the-studio spontaneity a priority; moreover, Claroscuro showcases Cohen’s fluency in a global set of styles, from the creolized chanson of New Orleans and the evergreen swing of an Artie Shaw tune to African grooves and Brazilian choro, samba and more. Cohen was joined in the studio by her ace working band – pianist Jason Lindner, double-¬‐bassist Joe Martin and drummer Daniel Freedman – as well as special guests: trombonist/vocalist Wycliffe Gordon, percussionist Gilmar Gomes and star clarinetist Paquito D’Rivera.

THIRD WORLD LOVE - SONGS AND PORTRAITS

Another bold release from International Jazz supergroup Third World Love. The band has been drawing dancing-in-the- isles-crowds to its high energy performances in Europe and the Middle-East with its special blend of Jazz, African, and Middle Eastern music. The four co-leaders Avishai Cohen, Omer Avital, Daniel Freedman and Yonatan Avishai - each with a varied and prolific solo career - join forces again to create thought provoking, gyration-inducing music.

~ Anzic Records

FOURPLAY - ESPRIT DE FOUR

Esprit De Four explores the place where four unique perspectives become a single creative force - featuring “Put Our Hearts Together,” Bob James’ tribute to the victims of the devastating tsunami that struck Japan in March 2011

When it comes to making music, four is often the magic number. From the Beatles to MJQ, many legendary quartets have made their mark in the classical, pop and jazz traditions. Maybe it’s the idea of four talented individuals, each approaching the other three from a unique perspective – like inspired travelers hailing from equidistant coordinates on a map – and bringing all of their talents to bear at a single point. Maybe it’s just the sheer mathematical symmetry and balance of the number itself.

Whatever the case, Fourplay has accessed that collective magic. Keyboardist Bob James, bassist/vocalist Nathan East, guitarist Chuck Loeb and drummer/percussionist Harvey Mason have tapped into the creative force that emerges when four brilliant players commit themselves to a singular goal. That symmetry and creativity are at the heart of Esprit De Four, their new CD set for release on September 18, 2012 (international release dates may vary) on Heads Up International, a division of Concord Music Group.

“In the songwriting and recording process, we were building on the spirit we felt during the making of our previous record, Let’s Touch the Sky,” says James, recalling their first recording with Loeb in the guitar position. “We had made the adjustment to Chuck’s sound, and had really enjoyed performing the new music on the road. So we were eager to follow up on this new direction the band had taken.”

Loeb concurs, noting that Esprit De Four is a satisfying balance of the known with the unknown – not just for himself but for his bandmates as well. “We were all in the mood to make an adventurous CD with challenging music, but still maintain that unmistakable Fourplay sound,” he says. “We always try to have fun and keep our spirits united in the effort toward excellence in sound, production and musical content. I personally always want to bring the best songs and performances to my work with these three legendary artists whom I have the great fortune to be working with.”

Esprit De Four includes contributions from all four members of the band, beginning with the melodic “December Dream,” a song by Loeb that’s deceptively quiet and understated on one hand, yet fueled by its own unmistakable energy on the other. Loeb says the song may have started out in his own head, “but once we got into the studio, each guy just brought so much more to the table. Check out the counterpoint that Bob contributes to the middle section, Harvey’s 21st century orchestral snare drums, and the amazing vocals and walking bass line that Nathan does in the finale, and I think you’ll see what I mean.”

Loeb’s additional contributions to the set include the upbeat and percussive “Sonnymoon” (a composition dedicated to Fourplay manager Sonny Abelardo) and the gently atmospheric “Logic of Love.”

The highly elastic and intriguing “Firefly,” written by East and frequent collaborator Tom Keane, is inspired by a young jazz trio from Stockholm called Dirty Loops. “They’re great musicians and good friends of mine,” says East. “I was hoping to capture some of the same fun and energy and unique chord progressions that the trio band is known for, and Fourplay really delivered it.”

East and Keane also came up with the slow and smoldering “All I Wanna Do,” a nod to Fourplay’s more romantic side, written in the tradition of the Neal Hefti classic “Li’l Darlin,” which the band covered on their 1993 album, Between the Sheets. East’s sensual vocals deliver the song’s unmistakable invitation to a passionate interlude.

Mason’s “Venus,” built on an engaging piano/guitar interplay, is both cosmic and melodic at the same time. “It evokes the image of the thought-provoking planet of love,” says Mason. “The song is mentally seductive, with a warm, simple melody supported by transparent dissonant chords that together create a probing, ethereal mood. When I write ballads or love songs for this group, I can’t miss, because these guys are so extremely sensitive and romantic.”

The poignant but hopeful “Put Our Hearts Together,” was written by James – with lyrics by his daughter, Hilary James – as a tribute to the victims of the devastating tsunami that struck Japan in March 2011. The melody line delivered by the superstar Japanese pop singer Seiko Matsuda makes the song all the more personal and genuine.

“The people of Japan have been very supportive of my music for more than 30 years, and I’ve made wonderful friendships there,” says James. “When the tragedy struck, I was immediately motivated to do something.” He first performed the song at the Iwate Jazz Festival in Japan in September 2011, just six months after the disaster. “I attempted to compose something that would have a universal spirit. I could never have known how this song would grow and take on a life of its own as a result of its premiere performance last September.”

James’ other contribution is “Sugoi,” which is also influenced by Japanese music and culture, which James has gravitated to over the past few years. “Despite many attempts to learn the language,” he says, “I admit to knowing only the most basic conversational phrases. The title means ‘Nice…I like it.’ I hope people will say that after they hear the song.”

The title track, Mason’s second contribution to the album, closes the set with its anthemic vibe and unmistakable gospel undercurrent. “The guys clearly loved the direction the song was taking in the studio, so I went with it,” says Mason. “As the album came together, this tune – which remained nameless for the duration of the project – took on a feeling of unity, and I was honored when the guys named it ‘Esprit De Four.’ It’s truly amazing how things develop and take shape in this band. We always seem to be able to follow the path that unfolds when one is able to trust his instincts.”

It’s all part of the inexplicable thing that happens with four, especially when the four are as uniquely gifted as the individual members of Fourplay. Catch the spirit and the magic of Esprit De Four.

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)