PAPO VAZQUEZ - OASIS

Papo Vazquez is a most unusual trombonist and musician. He is a “deep” player. His music seems to originate somewhere deep in his head.

It is almost as if his soul lives there and because ideas seem to start in the brain, Vazquez sculpts them there so that when they emerge it is as if Vazquez has created something so deep and thoughtful it could only have come from a brain and soul combined. He proves this once again on his magnificent album, Oasis. The melodies are so beautifully crafted and even when they appear to be simple, they are actually so three dimensional that notes, lines and phrases appear to have a spherical feel as they roll and tumble out of his horn and out of the instruments of the other musicians who play here as Mighty Pirates.

But it is Papo Vazquez who leads the charge. He is, to use a fairly overused term, a complete musician. His ability to write wonderful melodies is enviable. However, Vazquez gives these beautiful melodies a body and form that is exquisitely defined, sensuous and colourful. Listening to his work with eyes closed, it is possible to “see” his notes as women cavorting hypnotically in a parallel universe. That Vazquez brings music to life is easy to discern and appreciate. He sculpts sound and colours it with extraordinary harmonies all by himself. Then, suggesting much more in his musical direction he extracts an altogether new world of colour from those accompanying him. Vazquez is also a sublime rhythmic player. He seems to embody the tunes he writes so that when he plays his entire body seems to dance into the tunes.

Oasis is a classic example of this Vazquez’s music shuffles and swings as he melds Afro-Caribbean rhythms with the freer swing of jazz idioms. But here too he is unique, creating spectacular rhythmic imagery with his horn and the instruments of the other musicians, such as tenor saxophonist, Willie Williams, pianist, Rick Germanson and of course his majestic rhythm colourists: bassist Dezron Douglas, the sublime drummer, Alvester Garnett and of course his two percussionists, Carlos Maldonado and Anthony Carillo. Although it is senseless to try and single out any particular tune “Sol Tropical” and “Psalm 59”might be good examples of the majesty of the music on this record. Just listening to the growl of Douglas’ bass together with the dazzling arpeggios on Germanson’s piano and the thundering broadcast from Vazquez’s bone is breathtaking.

There is another side to Papo Vazquez as well and that is his immensely soft, emotional dimension. On music such as “City of Brotherly Love” Vazquez is incomparable as he plays his heart out on the melody as well in the interminable dance that he creates with saxophonist Williams. This and the sensitivity he has for the wind from deep in his lungs is achingly beautiful. This is felt throughout the album, from the introduction to “Manga Larga” right through the meandering shadowy course of ”Oasis” with its carnal strings and horns, until the extended finale on “Plena Drumline” a remarkable creation that glorifies the African colours that reside the Puerto Rican musical spirit. In Oasis Papo Vazquez has created a major work; something that will endure for many years to come.

Tracks: Manga Larga: Oriza, Bomba Rule, Jazz; Sol Tropical: Plena, Jazz; Danzaon Don Vazquez: Danza; Que Sabes Tu: Bomba Hoyo de Mula Jazz; Psalm 59: Jazz Waltz; City Of Brotherly Love: Jazz Ballad; Oasis: World Music Jazz; Redemption: Plena Lamento Jazz; San Juan De La Maguana: Merengue Jazz; Igor’s Mail; Verdura De Apio/The Real mcCoy: Bomba Yuba’ Jazz; Plena Drumline: Carnival.

Personnel: Papo Vazquez: trombone, shells; Willie Williams: tenor saxophone; Rick Germanson: piano; Dezron Douglas: bass; Alvester Garnett: drums; Anthony Carrillo: barriles de bomba (1,4,11), pandero de plena (2,8,12), darbuka/djembe (7), maraca/cua/coro (4,11), bells/snare drum (12); Carlos Maldonado: congas/cajón peruano (1), tympani/chinese gong (7), surdo; Candido Reyes: guicharo (2,3,12); Akua Dixon’s Quartette Indigo (7,8): Ina Paris: violin, Patrisa Tomassini: violin, Chala Yancy: viola, Akua Dixon: cello. Regina Carter: violin (7).

Papo Vazquez – Official Website: www.papovazquez.com
Label: Picaro Records
Release date: August 2012
Reviewed by: Raul da Gama

:::: SOURCE: Latinjazz.net ::::

LAURA ANDREA LEGUIA - SAXOFON CRIOLLA

It is entirely within the realm of possibility that, eyes shut; the soprano saxophone of Laura Andrea Leguía is engaged in an interminable dance with the guitar of Yuri Juarez as the Afro-Peruvian music of the warm Pacific Coast beckons with exquisite seduction.

From the dreamy heat of the Vals Criollo to the aching beauty of the Landó and the brisk beauty of the Festejo and the swagger of the Polca Criollo the two instruments seem breathtakingly entwined as the gorgeous music of Saxophon Criollo unfolds. Leguía’s extraordinary technique and style shimmers with singular splendour. Her sliding cadences evoke the poetic vocalastics of the legendary Chabuca Grande. This is especially true as Leguía explores the middle and lower registers of the soprano saxophone. Leguía has a genius for soft timbres and a spectacular range of colours and shades. This is most deeply felt in the hypnotic instrumental version of her Leguía’s composition “Eva” towards the end of the record. Adding to the warmth and colour is guitarist Yuri Juarez who with deft flourishes of fingers and ingenious harmonics contributes much to the music’s artistry, while bassist Pablo Menares also adds subtle shades with wonderful melodic inventions and ingenious double stops.

But there is much more to this magnificent album than just “Eva”. The lilting “Mariposas” opens proceedings with a deeply felt, beautiful ache of in the very best tradition of a Vals Criollo. Interestingly the mood changes dramatically throughout the album; from the pungent playfulness of “Puerto Pimentel” to the languid glow of “Tarde o Temprano”. Throughout the album melodies are painted onto a never-ending sonic canvas with exquisite grace and beauty. Afro-Peruvian motifs are explored with astute sharpness and great maturity. Notes bend and melt into a vortex, filled, in return with masterful harmonies that shiver and swing with a rhythmic swagger that contains the whisper of pride of the music`s African roots, entwined with the heat and dust raised at a Spanish fiesta.

Laura Andrea Leguía has chosen her musicians with sublime taste and great passionate conviction. Yuri Juarez is a master of all things Afro-Peruvian and his extraordinary dynamic and expression is felt long after the notes of his guitar fade away. Cellist, Marco Lucioni brings forlorn beauty to “Tarde o Temprano”. And there is a certain majesty to the tortured sighs of “Puente de los Suspiros”. Just as Juarez shapes the harmonies with outstanding rapport with Leguía so does the bassist, Menares. His gentle attack is majestic as it is ingeniously melodic. Menares never goes to the same place twice. As a result he brings great surprise to the music with murmuring gentility.

This is a superb album, whose beauty will not diminish, but rather grow upon repeated listening that leads to new and wondrous musical discovery.

Tracks: Mariposas; Puerto Pimentel; Puente de los Suspiros; Eva; Tarde o Temprano; Estrellita Del Sur; Mal Paso; Lejos; Eva (Instrumental Version); Al Otro Lado.

Personnel: Laura Andrea Leguía: soprano saxophone, voice; Yuri Juarez: guitar; Luis Antonio Vilchez: cajón; Pablo Menares: contrabass (1, 2, 4, 5, 8, 9, 10); Ronald Díaz: segunda guitar (1, 3, 6, 7); José Villalobos Cavero: cajón (4); Waltinho Casanova: cajón (4); Aldo Borjas: castañuellas (1); Marco Lucioni: cello (5).

Laura Andrea Leguía – Website: www.myspace.com/laurandrealeguia
Label: Saponegro Records
Release date: 2012
Reviewed by: Raul da Gama

:::: SOURCE: Latinjazznet.com ::::

NEW RELEASES - MEDESKI MARTIN & WOOD, THE MODERN JAZZ QUARTET / SONNY ROLLINS, GROOVE STU

  

MEDESKI MARTIN & WOOD - FREE MAGIC

For their latest effort, MMW dip into their archives to present a collection of recordings documenting their first-ever acoustic tour in 2007. The set, stretching out over five expansive tracks, captures the three intrepid improvisers keyboardist John Medeski, bassist Chris Wood and drummer Billy Martin exploring the telepathic hookup and deep groove sensibility that has defined MMW since its inception in 1991. Free Magic will be released on September 25, but you can pre-order now on CD, vinyl, or digital download at the MMW store. Tracklisting: Doppler; Blues For Another Day; Free Magic/Ballade In C Minor,Vergessene Seelen'; Where's Sly; Nostalgia In Times Square/Angel Race.

THE MODERN JAZZ QUARTET AT MUSIC INN GUEST ARTIST: SONNY ROLLINS


The Modern Jazz Quartet with a very noteworthy addition – the great Sonny Rollins, whose work on this record really makes it a cut above the usual MJQ outing for Atlantic! As on the quartet's previous Music Inn album with Jimmy Giuffre, the addition of a reed player really inflects their trademark sound with a new range of sounds and feelings – and Rollins himself cuts back on the hardbop influences, and shows some great restraint in matching some of the group's more modern modes. Sonny only plays on 2 of the album's 6 tracks – but that's enough to open it up nicely – and on other numbers, the MJQ begin in their usual mellower mode, but then seem to step things up with more boppish inflections, almost anticipating Rollins' arrival on the last 2 numbers. Sonny plays on the tunes "Bag's Groove" and "Night In Tunisia" – and other titles include "Midsommer", "Festival Sketch", "Yardbird Suite", and an opening medley. ~ Dusty Groove

GROOVE STU - ARTOFFICIAL SUBSTANCE

Man, it's been forever since we heard from Groove Stu – and during that time, they've really grown a lot! This excellent set is full of soul and charm right from the very first night – a very unique nu school harmony record – yet done without any chart cliches or some of the overdone styles you'd find in other male groups – thanks partly to the obvious maturity of these guys! The harmonies are great, and the vocal interplay is really fresh – upbeat, positive, and set to these slightly jazzy tunes that take off with a great deal of warmth. Titles include "Thing Called Love", "Back In The Day", "Ebony Superstar", "Places", "Get Right", "Come & Go With Me", and "Perfect Time". ~ Dusty Groove

NEW RELEASES - DUKE PEARSON, LARS GULLIN, FATHER'S CHILDREN

DUKE PEARSON – PRAIRIE DOG

Dark genius from Duke Pearson – quite possibly one of his hippest records ever, and an album that's filled with surprising twists and turns! At one level, the set seems to be a simple batch of soul jazz tunes – in the mode of Pearson's mid-60s classics on Blue Note – but at another, it opens up into unusual phrasings, timings, shades, and tones – all of which are years ahead of their time, and serve to keep the album full of complexity throughout! Many tracks groove here – but in a very subtle way that often moves a bit towards modal jazz. And the players on the set shade things in unconventionally – sometimes using understatement and space as their strongest tools – clearly directed by Pearson's budding talents as an arranger. Players include James Spaulding on flute and alto sax, Harold Vick on soprano sax, Johnny Coles on trumpet, George Coleman on tenor, and Gene Bertoncini on guitar – and Pearson himself plays a bit of celeste in addition to his regular piano. Titles include a great version of Joe Henderson's "Soulin", plus Ron Carter's "Little Waltz", and Pearson's own "The Fakir", one of the best tracks he ever wrote! Other titles include "Hush A Bye", "Prairie Dog", and "Angel Eyes". ~ Dusty Groove

LARS GULLIN – BARITONE SAX

An amazing American release from this legendary baritone saxophonist – one of a few Swedish sessions that Lars issued here in the US at the time! The album's a perfect introduction to Gullin's groundbreaking work – that blend of soul, swing, and modernism that easily made him one of the best talents on his instrument in the postwar years – an overseas player to rival gians like Pepper Adams or Serge Chaloff here in the US! The work is some of Lars' best from the decade – and the tracks feature his modernist baritone in different groupings with top Swedish jazzmen of the time – including Rune Ofwerman on piano, Arne Domnerus on alto, Rolf Blomquist on tenor, Ake Persson on trombone, and George Riedel on bass. The tracks are all longish (most are over 5 minutes), with a strong swing, and introspective solos by Gulling that are some of his strongest of the time – and titles include "Perntz", "Fedja", "All Of Me", and "So What". ~ Dusty Groove

FATHER’S CHILDREN – FATHER’S CHILDREN

A lost classic from Father's Children – the group's only album ever, but an impeccably produced set – thanks to the efforts of Wayne Henderson's At Home Productions team! The groove here is similar to that forged by Henderson over at Fantasy – soul, but inflected with plenty of jazzy fusion touches – instrumentation that steps out riffing with a really great edge, and fleshes out the sound with a lot more creativity and imagination than mainstream soul at the time. The best grooves here have a midtempo boogie flavor – with plenty of righteous jazzy touches alongside the richer harmonies that flow out warmly on the lyrics! Titles include their landmark track "Hollywood Dreaming", plus other nice ones like "Got To Get Away", "Gone Bad", "You Can Get It", "Music For Your Mind", "Wild Woman" and "Shine On". 2 bonus tracks on this CD version: 7-inch edits of "Hollywood Dreaming" and "Shine On". ~ Dusty Groove

NEW RELEASES - HALIE LOREN, ELVIN JONES, LEO WRIGHT

HALIE LOREN - MANY TIMES, MANY WAYS: A HOLIDAY COLLECTION

Justin Time Records vocalist Halie Loren's holiday album Many Times, Many Ways: A Holiday Collection is being re-launched this holiday season four years after its initial release in 2008. Loren's sultry vocals on Many Times, Many Ways are matched by the warm and balanced stylings ofMatt Treder on piano. In duo, Loren and Treder create an intimate portrait of the season with nine old and new classics such as "The Christmas Song" and "Have Yourself A Merry Little Christmas," interwoven with sassy arrangements of "Santa Baby" and "Winter Wonderland." Many Times, Many Ways also features two original instrumental compositions by Treder, "From the Mouths of Babes," and "Sugar Cookies." "Music is such a huge part of my holiday experience--it is one of the most nostalgic elements of that time of year," says Loren. "Continuing that tradition is a joy for me to be a part of. Recording the album arrangements with the simplicity of piano and voice in duet was reminiscent of sitting around the living room piano on Christmas Eve, singing songs we've known and loved our whole lives." Evocative and joyous, Many Times, Many Ways achieves, as one reviewer noted, "a jazz-infused cycle of popular and rare holiday numbers that are rendered with a torchy romanticism that just begs for hot toddies and cedar logs roaring in the fireplace."

ELVIN JONES – AND THEN AGAIN

A sweet early date as a leader from Elvin Jones – one that has him working strongly away from a John Coltrane setting, with some hip arrangements by Melba Liston! Elvin brings in some excellent accompaniment from two other Joneses as well – Thad on cornet and Hank on piano – both of whom show their modernist tendencies more strongly here than in other work from the time – and the group also features great work from Charles Davis on baritone, Hunt Peters on trombone, and Frank Wess on flute and tenor sax! Most of the tracks on the album – such as "Azan", "Elvin Elpus", and "All Deliberate Speed" – are tightly snapping Melba Liston arrangements with a good mix of bop and modernist ideas, but one track – "And Then Again" – is a very nice improvised piece by the group. ~ Dusty Groove

LEO WRIGHT – SUDDENLY THE BLUES

A record of incredible beauty from the great Leo Wright – and one that we'd never part with at all! Wright's one of those excellent players from the 60s who never really gets his due – largely because he was always hiding behind larger groups, and because he left the US in the decade for an extended stint in Europe. Still he cut some fantastic early work with both Dizzy Gillespie and Lalo Schifrin – and this album captures him right during the peak of that early period! The record features light lively backing from a quartet that includes Kenny Burrell on guitar, Ron Carter on bass, and Rudy Collins on drums – and some tracks have a beautifully groovy sound that's slightly bossa, slightly soul jazz. One of the best of these is Wright's great cover of "A Felicidade", but the record contains many other great moments, like "The Wiggler", "Tali", "Sassy Lady", and "Dionysis". ~ Dusty Groove

ERIC DIVITO - BREAKING THE ICE

In the midst of a busy career as working musician and educator, New York guitarist/composer Eric DiVito has finally carved out the time to make his recording debut as a leader. Breaking the Ice, a quartet date co-produced by DiVito with Portland pianist/arranger Ezra Weiss and veteran jazz producer/promoter Todd Barkan, will be released on the Canadian Pioneer Jazz Collective (PJC) label on October 2.

"One of the most totally unexpected and pleasant surprises of my last 30 years of jazz production has been the constant smile to be regularly experienced in Eric's consistently uplifting compositions, arranging, and guitar playing," says Barkan.

The 31-year-old Long Island native chose to feature his original compositions with trio or quartet comprised of tenor and soprano saxophonist Jake Saslow, a friend and colleague since high school days; acoustic bassist Corcoran Holt alternating with Motohito Fukushima on electric; and Israeli-born drummer Nadav Snir-Zelniker. DiVito's solo performance of "Time Remembered," the Bill Evans classic and the album's only nonoriginal, is played classical-style on a nylon-string guitar.

Throughout, DiVito draws on his command of both jazz and classical guitar styles, as well as on his interests in jazz and pop composition, to create a wonderfully varied program-from the "dizzy, hectic feel" of the opener "Like Minded," to the ballads "For Maria" (written for his wife of five years) and "Her and Hymn" (partially inspired by Joni Mitchell), to the gently swinging "Pass' Time" (for Joe Pass, one of his heroes) and high-energy "Shoot the Messenger" (for Art Blakey).

The mysterious "Tango" is a quartet number, with Saslow on tenor. "Being a classical guitarist," DiVito says, "there's a lot of tangos and Latin music in my repertoire. I thought it would be a nice contrast to some of the more straight-ahead or pop kinda tunes."

Growing up in Northport, NY, Eric DiVito played percussion instruments in his elementary school orchestra and concert band and "learned to read music first as a percussionist," he recalls. He took up guitar in middle school. Although he had an early interest in Jimi Hendrix and Guns N' Roses, jazz guitarists were his primary inspiration, particularly Jim Hall, Pat Metheny, and Joe Pass. He also cites Jack Wilkins and Paul Bollenback, both of whom he studied with, as later influences, and he counts Julian Bream among his classical guitar favorites.

"I gravitated towards jazz on the guitar because it allowed for what I felt was more creativity and improvisation," DiVito says. Joni Mitchell, Wayne Shorter, and Maria Schneider stand out among his favorite composers. "They take you on a journey," he explains. "Those composers in particular almost transcend genres. That's a quality I like to strive for in my compositions." The guitarist began playing professionally while still in high school at restaurants, bars, weddings, and other private affairs, sometimes solo, other times in combos with classmate Jake Saslow. DiVito still does solo jazz and classical gigs, often mixing the works of J.S. Bach and other Baroque composers, Spanish and Brazilian guitar music, jazz, and "stuff in between."

DiVito majored in classical guitar and music education and minored in jazz at the Crane School of Music in Potsdam, NY, from which he received a B.M. in guitar performance and music education. At the Aaron Copland School of Music at Queens College, where he earned an M.A. in jazz performance, his instructors included Bollenback, saxophonist Antonio Hart, and trumpeter Michael Philip Mossman.

The guitarist has been living in Queens since completing his education there. For the past six years, he's been the music teacher at Castle Middle School on the Lower East Side of Manhattan, where he created a curriculum that includes general music, music appreciation, theory, band, concert band, chamber ensemble, and guitar. And, when he has the time, he teaches guitar privately in the evenings and on weekends. Besides solo guitar engagements, he has performed with his own combos at such leading New York jazz establishments as the Iridium, Smalls, Miles' Café, the Garage, Puppet's Jazz Bar, and Tutuma Social Club. And every month or so, he leads a Red Hot Chili Peppers tribute band called PepperSpray.

"It's a balancing act," DiVito says of his career. "Sometimes things get too busy, and I don't gig as much as I want to or I can't have as many private students as I want. I'm always trying to juggle."

With Breaking the Ice, Eric DiVito is finally breaking out beyond the New York City club circuit and stepping onto the world stage. "I've been blessed since moving to New York City to be able to regularly work with some of the greatest musicians," says DiVito. "It is their talent and skill that help push me forward both creatively and technically and that make me want to be a better musician. It is both humbling and extremely rewarding."

www.ericdivito.com

JUSTIN TIME RELEASES NEW COMPILATION 'HAVE YOURSELF A MERRY LITTLE CHRISTMAS' FEATURING DIANA KRALL & OTHERS

Known for their eclectic yet well-balanced mix of classic and new tracks recorded between 1993 and 2011, Justin Time Records delivers a Christmas compilation that shows the breadth of talent and cohesion of various artists on the label, both legacy and rising. Have Yourself a Merry Little Christmas unites the label's artists together through a collection of key tracks recorded and compiled into one Christmas album bound to stand out in any collection. Highlights from Have Yourself a Merry Little Christmas include standards like GRAMMY® and Juno award-winning vocalist and pianist Diana Krall's sensual arrangement of "The Christmas Song," juxtaposed with jazz piano legend Hank Jones' warm instrumental interpretation of the same tune leaves one with the best of both worlds. Ranee Lee and Oliver Jones create a perfect harmonic symbiosis on their soulful vocal and piano arrangement of "A Christmas Day."

Whether settling in to a winter evening with vocalist Hilary Kole's previously unreleased "Let It Snow," or beating the winter blues to the Montreal Jubilation Gospel Choir's rhythmic "Christmas Calypso Medley," the harmony created between the artists on this compilation will have listeners singing and swinging right along.

Christmas standards such as Krall's "Jingle Bells" and Jones' "It Came Upon a Midnight Clear," recorded by Justin Time Records legacy artists, are complemented by up-and-coming unprecedented artists such as vocalist Coral Egan's "You're A Mean One Mr. Grinch," pianist Taurey Butler's debut instrumental arrangement of "Little Drummer Boy," and Rob McConnell Tentet's "The Christmas Medley." Quartango's classic instrumental medley "Minuit Chrétien/O Holy Night" and vocalist Johanne Blouin's "Mon Beau Sapin," a French interpretation of "O Christmas Tree," will take listeners on an international musical journey before settling into the comfort of Kole's title track, "Have Yourself A Merry Little Christmas."

THAT'S WHY - THE BEST OF THAT'S WHY

Jazzman Records present the greatly anticipated ‘best of’ album from Norwegian xian, acid psych, folk jazz group That’s Why. The Best Of That’s Why is set for release on 1 October on vinyl, CD and digital download.

In the '60s and '70s churches throughout Europe had serious competition for the attention of its younger members. The ecclesiastical establishment was shocked to hear teenagers expressing 'Sympathy for the Devil' rather than sympathy for Christ and his teachings. In Norway at this time the same situation was prevalent as was happening across Europe; teenagers were turning their back on the church and embracing the temptations and pleasures of the flourishing new pop culture. Priest Olaf Hillestad was all too aware of what was going on, and instead of relying on the floundering traditional methods of rounding up his flock, he embraced the musical aspirations of his younger followers. In so doing he founded the Forum Experimentale in Oslo, an organisation that promised in its statutes to "boldly work for a renewal in service life, church music and church art".

It was at Forum Experimentale in the late '60s where That's Why founder members Jan Simonsen and Per Arne Løvold became responsible for the jazz masses at Forum Experimentale's chapel. Together with some top-notch musicians from other Christian music centres around the Oslo district, they recorded two albums in 1970 and 1971 under the moniker That's Why. That's Why blended deep acoustic and electric jazz with elements of Norwegian folklore and Christianity. They also included interpretations of young and old transcendental Norwegian poets such as Sidsel Mørck Krogdahl, Alfred Hauge and Aslaug Vaa, as well as introducing English and Swedish songwriters such as Åke Rosenstrøm and Charles Wesley, and even William Blake's ‘Children Of The Future Age’ into the mix. This highly original fusion of secular rhythmic music, jazz improvisation and a distinguished selection of transcendental lyrics is one of the standout qualities of That's Why, separating them from more programme-orientated Christian music. The unique mix leads the listener to think they are hearing among the record grooves the tightness of grey, sober Protestantism along with the ecstasy of a lay preacher.

Tracklisting:
01. Children Of The Future Age
02. Vem Kan Sagla
03. Tiden
04. Mattheus 25
05. Den Oppstadne
06. Dyp Av Nade
07. Udoyeleg
08. Gud Skylden Er Var Alene
09. Noe Annet
10. Kristus Du Gjor Allting Nytt

WELDON IRVINE – THE RCA YEARS: COSMIC VORTEX / SINBAD / SPIRIT MAN

Massive music from the legendary Weldon Irvine – three albums in a single set! Cosmic Vortex is a genius bit of work from the legendary Irvine – a mightily righteous effort that more than lives up to its heady title and cover! Keyboards are very much at the forefront of his sound – played with that heavily vamping left hand that makes his work so funky – but there's also a focus on lyrics here too – sung by Weldon with support form singers Ojuleba & Nalo, in a way that creates a righteous "many voiced" mode on the lyrical tracks! Titles include excellent track "Walk That Walk, Talk that Talk", plus other great ones like "Love Your Brother", "Let Yourself Be Free", "Quiet", "I'll Name It Tomorrow", and "Love Jones".

Sinbad features the debut of the legendary Don Blackman! Irvine's still very much in charge of the session, but Blackman's emerging here with the strength that would show up on his later soul sessions – singing lead vocals on some of the best cuts on the record, and also playing acoustic piano next to Weldon's bank of electric keys. Tunes are nicely varied throughout – returning to the exploratory nature of some of Irvine's earlier records – and there's even some great mellower numbers that are some of our favorite tracks on the set – including the sublime stepper "I Love You", the gently spacey "Music Is The Key", and a sweet instrumental cover of "What's Going On". Other tracks include "Sinbad", "Don't You Worry Bout A Thing", "Do Something For Yourself", and "Here's Where I Came In".

Spirit Man is massively funky work from the mighty Weldon Irvine – sublimely cosmic and filled with soul throughout! The vibe here is a bit more focused than on some of Weldon's earlier albums – a moody blend of electric keys, heavy percussion, and some slight bits of jazzy solo work by trumpeters Charles Sullivan and Everett Blood Hollins, and saxophonist Sonny Fortune – both players who really help the album find some soulful structure! The album's all-instrumental, and has Weldon really taking off on the keyboards – not just using them for main solos, but also dropping in cool noisy bits and analogue effects that really sound great – almost out-Herbieing Herbie Hcock for the record, and turning in some of his biggest classics on wax! Titles include the massive sample cut "We Gettin' Down", plus "Jungle Juice", "Blast Off", "Softly", "Power & The Glory", "Yasmin", and "Pogo Stick".

:::: SOURCE: Dusty Groove ::::

NEW RELEASES HAROLD MABERN, BARNEY KESSEL, THE CHICO HAMILTON QUINTET

HAROLD MABEM – MR. LUCKY: A TRIBUTE TO SAMMY DAVIS, JR.

A tribute the great Sammy Davis Jr – but a record that stands equally well as a tribute to the rich musical partnership between pianist Harold Mabern and tenorist Eric Alexander! The pair together have this bright, sparkling sound that never fails to please us – and it's one that's just perfect for this set of tunes from the Sammy D songbook – the kind of upbeat, positive numbers that really set him apart from other singers of his generation – handled here by Mabern and Alexander with a definite soulful swing! Of course, the remaining group members also help things move nicely – bassist John Webber and drummer Joe Farnsworth – both of whom are frequent partners of Mabern and Eric. Titles include "The People Tree", "Hey There", "As Long As She Needs Me", "I've Gotta Be Me", "Mr Lucky", and "Night Song". ~ Dusty Groove

BARNEY KESSEL – BOSSA NOVA

Barney Kessel in a really great style – a mode you won't normally hear on other albums of the time – but which really turns out to be a treat! As you'd guess from the title, the album's got a definite bossa nova influence – one that mixes Barney's sweet guitar lines with bigger backings from Bob Florence and Chuck Sagle – both of whom use lots of percussion and lively rhythms to "bossa-fy" a set of familiar numbers from the American past! The approach is great – as groovy as it is charming –a nd titles include "A String Of Pearls", "They Can't Take That Away From Me", "Summertime", "Muscrat Ramble", "It Ain't Necessarily So", "Jada", and "Bye Bye Blues". ~ Dusty Groove

THE CHICO HAMILTON QUINTET – DIFFERENT JOURNEY

Different is right – as this obscure early 60s side shows Chico Hamilton really opening up, moving past the modern chamber style of the late 50s, into the freer modal rhythms that characterized his incredible work of the 60s! The group's the beginning of that sound too – with Charles Lloyd on tenor and flute, Gabor Szabo on guitar, and Albert Stinson on bass – joined by George Bohannon on trombone, who slides around the grooves to expand the bottom of the album's sound nicely! The album's perhaps not as "eastern" as some of Hamilton's mid 60s work – but the roots of that sound are definitely there, with stretched out tracks that really show some great writing and playing working together! Titles include "Voice In The Night", "A Different Journey", "The Vulture", "One Sheridan Square", and "Sun Yen Sen". ~ Dusty Groove

NEW RELEASES - STEVE MARCUS, BROTHER JACK McDUFF, KENNY CLARKE & FRANCY BOLAND

STEVE MARCUS – COUNT’S ROCK BAND


Sweet saxy grooves from reedman Steve Marcus – working here in a psychedelic approach to funky jazz! The album's easily one of Steve's greatest moments – and has Marcus playing both acoustic and electric saxes, in a lineup that also includes funky guitar from Larry Coryell, piano and harpsichord from Mike Nock, bass from Chris Hills, drums from Bob Moses, and even a bit of accordion from Dominic Cortese! The sound is definitely jazz, but there's plenty of influence from the rock side of the spectrum – yet never in a too-jamming rock fusion mode – always with the same sort of soulful, funky feel you'd get on records from the time by Tom Scott. Titles include "C'Est Ca", "Theresa's Blues", "Scarborough Fair", "Ooh Baby", and "Back Street Girl". ~ Dusty Groove

BROTHER JACK McDUFF – CHANGE IS GONNA COME

A sweet Atlantic soul groover from Brother Jack McDuff – and a set that has him tightening up his Hammond sound from his earlier years at Prestige Records! The tunes here are short and punched-up – almost instrumental soul numbers in their construction, but still filled with plenty of jazz – thanks to Jack's mad solos on organ, and some killer drums from Joe Dukes and Bernard Purdie! Other players include George Coleman on tenor, Cornell Dupree on guitar, and Buddy Lucas on baritone sax – and arrangements are by JJ Jackson and Jack himself. Titles include "Hotcha", "Down In the Valley", "Same Old Same Old", "No Tears", "What'd I Say", "Gonna Hang Me Up A Sign", and "Minha Saudade". ~ Dusty Groove

KENNY CLARKE & FRANCY BOLAND – JAZZ IS UNIVERSAL

Great early genius from the Clarke Boland Big Band – proof that Kenny and Francy were onto something great, right from the start! The album really has the group hitting the heights of their MPS years – stretching out way past earlier big band modes, into the hip mix of rhythms and soulful solos that made the ensemble unlike any other group in the 60s – a really groundbreaking approach to their music, delivered by a range of top-shelf players! Arrangements are by Boland, who also plays piano – and other group members include Benny Bailey and Jimmy Deuchar on trumpets, Derek Humble on alto sax, Carl Drewo and Zoot Sims on tenor, Sahib Shihab on baritone sax and flute, and Ake Persson on trombone – plus rhythm from the rock-solid duo of Jimmy Woode on bass and Kenny Clarke on drums. Titles include the Latin-tinged "Los Bravos", and more great originals by Boland – including "Volutes", "The Styx", "Charon's Ferry", and "Box 703 Washington DC" – plus versions of "Gloria" and "Last Train From Overbrook". ~ Dusty Groove

NEW RELEASES - LES McCANN, MODERN JAZZ QUARTET, HERBIE HANCOCK

LES McCANN – MUCH LES

A groovy set of late 60s soul jazz piano tunes – played by Les McCann in a swinging style that pre-dates his 70s funk work – and which also features him playing in a strictly instrumental setting! The core of the material is by Les' trio with Leroy Vinnegar on bass – but most tracks feature an expanded sound, either by adding Willie Bobo and Victor Pantoja on Latin percussion, or by backing the group with off-beat arrangements by the great William Fischer, whose talents had graced some of the best Atlantic jazz albums at the time! Titles include "Burnin Coal", "Doin That Thing", "Roberta", and a groovy version of "Love For Sale". ~ Dusty Groove

MODERN JAZZ QUARTET – LONELY WOMAN

Truly one of the Modern Jazz Quartet's greatest albums – and a set that has an edge and a darkness that's missing from some of their other Atlantic records! Part of the reason for this may be the group's fantastic reading of Ornette Coleman's "Lonely Woman" – a killer moody track that sounds great in the group's vibes/piano style – and which leads off the album with a chilling tone that's really unbelievable! The rest of the album's pretty great too – and there's a brooding intensity we don't normally hear in the piano of John Lewis and vibes of Milt Jackson. Other tracks include Gary McFarland's "Why Are You Blue" – plus John Lewi's "Belkis", "Animal Dance", "New York 19", and "Trieste". ~ Dusty Groove

HERBIE HANCOCK – FAT ALBERT ROTUNDA

The start of funky funky Herbie Hancock! This album's the first to feature Herbie really breaking away from his straight jazz work – moving into a groove that's nice and funky, using electric piano along with acoustic, to forge the sound that he'd develop famously over the 70s. The album's got a harder, heavier sound than some of his straight electric ones – and it features a larger group with soloists that include Johnny Coles on trumpet and Joe Henderson on tenor – plus some sweet basslines from Buster Williams – all led by Herbie into a tight soul jazz flurry of excellent tracks! Includes the cuts "Fat Mama" and "Wiggle Waggle", both sample favorites, plus "Tell Me A Bedtime Story" and "Lil Brother". Classic stuff, and one of his best records ever! ~ Dusty Groove

BLUE NOTE RECORDS LAUNCHES INNOVATIVE NEW SPOTIFY APP

EMI Music’s legendary Blue Note Records has announced the launch today of an innovative new app within the popular online music streaming service Spotify. The Blue Note app provides a rich user experience by creating a space to explore and discover music spanning the entire history of the label from 1939 to present. Download the app here: http://open.spotify.com/app/bluenote

The Blue Note app traces the label’s evolution from the early jazz of Sidney Bechet to the trailblazing bebop of Thelonious Monk, from Art Blakey’s quintessential hardbop thru Ornette Coleman’s avant-garde flights, from Jimmy Smith’s grinding organ soul jazz leading to Donald Byrd’s funky R&B fusion and on into today’s modern explorations such as Robert Glasper’s unique blend of jazz with hip hop, and beyond. The app’s design and functionality allow the listener to discover by performer, album, style, instrument or year, providing several easy entry points into the music for jazz novices, as well as the ability for jazz aficionados to dive deep into Blue Note’s unrivaled catalog. The app also incorporates Spotify’s trademark social features such as building playlists and sharing favorite tracks with friends.

“In the great tradition of Blue Note Records, our new Spotify app pushes the boundaries of the digital listening experience,” said Don Was, President of Blue Note Records. “Catering to both the educated aficionado and new fans alike, this innovative interface provides music fans with a clean, user-friendly doorway to hours of discovery and musical gratification.”

"Blue Note is virtually synonymous with jazz music and their new app is a great example of music experts taking advantage of the Spotify platform to foster deep music discovery and appreciation," said Steve Savoca, Head of Content, Spotify. "Our passionate users now have a curated experience to guide them through the vast amount of jazz music on Spotify."

KEY FEATURES:

TIMELINE – Explore the Blue Note catalog chronologically from the label’s very first recording session with boogie woogie pianists Albert Ammons and Meade Lux Lewis in 1939 to the most recent album, Heritage by African jazz guitarist Lionel Loueke, which was released last month. The app features every Blue Note title available in Spotify. Diversions abound with each album page connecting to the artist pages of the leader and sidemen on the session allowing the user to find their own way down an endless path of discovery with full-album streaming available at every turn.

FILTER – Explore the catalog by musical style, era or even by instrument. The Artists and Blue Note 101 sections offer a filter to help guide the user through the label’s different styles of music: Tradition (Thelonious Monk, Jason Moran), Groove (Lou Donaldson, Robert Glasper) and Voices (Dianne Reeves, Norah Jones).

BLUE BREAK BEATS – Blue Note partnered with the website Who Sampled to take the user on a tour of music that contains samples from the Blue Note catalog, placing the original versions alongside the sampled versions by artists such as Beastie Boys, Chemical Brothers, Common, Madonna, The Roots, A Tribe Called Quest, Usher, and Wu-Tang Clan.

SHOP – Peruse Blue Note merchandise that riffs off of the label’s influential visual style, including t-shirts, sweatshirts, hats, bags, and more.

ABOUT SPOTIFY:
Spotify is an award-winning digital music service that gives you on-demand access to over 18 million songs, wherever you are. Spotify makes it easier than ever to discover, manage and share music with your friends, while making sure that artists get paid. Since its launch in Sweden in 2008, Spotify has become the largest and most successful music service of its kind, with over 15 million active users and over 4 million paying subscribers. Spotify is now available in fifteen countries around the world: USA, UK, Sweden, Finland, Norway, Denmark, Germany, France, Spain, Austria, Belgium, Switzerland, The Netherlands, Australia and New Zealand. For more information on Spotify, visitwww.spotify.com.

:::: SOURCE: Blue Note Records ::::

BOMBAY DUB ORCHESTRA - THE NEW YORK REMIXES

Since the release of their self-titled debut, the name Bombay Dub Orchestra (consisting of composer/producers Garry Hughes and Andrew T. Mackay) has built quite a reputation. From main-stage performances at the UK's Big Chill Festival and Djing across the globe, scoring feature films to remixing such world-renowned artists as Bob Marley, Nusrat Fateh Ali Khan, and Bebel Gilberto, fans and critics have been praising their unique fusion of modern electronica, the lush sounds of a full Indian orchestra and performances from some of South Asia's most renowned instrumental soloists.

The New York Remix Project didn't begin in New York or London or even Bombay. It actually began in Kingston, Jamaica, where Garry & Andrew met New York based musician, artist and producer Tony Grund during a BMI event. Tony suggested a remix project solely by New York producers taking tracks from the first two Bombay Dub Orchestra albums to give them a 'New York State of Mind'.Tony has overseen the project as well as contributed on several remixes.

Andrew T. Mackay states, "New York is close to our hearts. Garry has worked in most of the great studios there over the years and we have both stayed, worked and performed in the vibrant city on many occasions. The great thing about remix projects is that our music is taken to a different place - one where we would never ordinarily go on our albums. It's always exciting to see the diversity that the remixes bring. The New York Remixes album shows some of that diversity, and the rich culture that the city has to share." ~ Giant Step

ALLO'S SOPHOMORE ALBUM "SUPERCONDUCTOR" TO BE RELEASED NATIONALLY ON SEPTEMBER 20 ON PRINCE'S NPG RECORDS

Andy Allo, funk/soul artist extraordinaire, has been announced to perform live at Prince's after-jam at Chicago's House of Blues on September 24, following a special performance by Prince himself, at his "Welcome 2 Chicago" engagement. The "Welcome 2" event will be held at the United Center earlier that evening, in support of the Rebuild the Dream foundation, founded by Van Jones, whose mission is to mobilize thousands of everyday people who come together to build strong vibrant communities, and to fix the U.S. economy from the ground up.

Allo, who opens for Prince on-tour and is a guitarist/vocalist in his band, The New Power Generation, will be releasing her sophomore CD on Prince's NPG Records on September 20 titled Superconductor. The album is Executive Produced by Prince, and features six self-penned tracks by Allo, with three songs co-written by Prince - "Superconductor," "The Calm" and "Gone." The album also includes featured artists Maceo Parker, Prince and Trombone Shorty.

As soon as we felt Andy Allo's energetic presence on tour with r band," says Prince, "we knew she'd b leading her own revolution soon!" Adds Allo, "Touring with Prince & The NPG has been a challenging and rewarding experience and Superconductor is a work of art that encapsulates the journey thus far." A poet, songwriter, singer and dancer, Allo has been a member of The New Power Generation since 2011. Allo will continue to tour with Prince in conjunction with the release of Superconductor.

www.alloevolution.com
Twitter: @andyallo
www.facebook.com/andyallo

NEW RELEASES - GEORGE CABLES, DENISE DONATELLI. ROY PORTER

GEORGE CABLES – MY MUSE

Stellar sounds from pianist George Cables – the kind of fluid, soulful set he's been serving up for years – but one with a bittersweet undercurrent too! The "muse" in the title is Cables' late partner – for whom he wrote a few key tracks on the set, showing us that his skills as a composer are richer than ever – and really on a par with his majestic playing on the date as well. There's a lyricism that we haven't heard this strongly from George in a number of years – and the trio's beautifully balanced, with bass from Essiet Essiet and drums from Victor Lewis – both partners sensitive to the needs of the songs. Cables brackets the record with two solo performances – and titles include "My Muse", "Helen's Song", "But He Knows", "You're My Everything", "He It's Me You're Talking To", and "My Old Flame". ~ Dusty Groove

DENISE DONATELLI – SOUL SHADOWS

Denise Donatelli gets some great backings here from Geoff Keezer – mostly in a straight jazz mode, but sometimes in a fuller style that really opens her up! Donatelli's got a sound that's rooted in jazz, but more expressive than most – and Keezer really sets her up nicely for the record – shifting the instrumentation a bit from track to track, and showcasing her strength both on ballads and more upbeat numbers. Titles include "Soul Shadows", "Another Day", "Ange", "Too Late Now", "Postcards & Messages", and "No Better". ~ Dusty Groove

ROY PORTER – STORY OF THE ROY PORTER SOUND MACHINE 1971-1975

One of the coolest, grooviest cats who ever cut a record – an an artist with a really unique conception at the time of these recordings! Roy Porter got his start as a drummer during the bebop years, and worked hard on the LA scene of the R&B and soul scenes of the 50s and 60s – but to us, his crowning achievement is these amazing funk sides of the early 70s – amazingly complex, but right on the money too – and a whole new kind of music that's impossible to describe in words! Roy mixes funky drums with lots of cool jazzy changes – keyboard lines, horn parts, and bass bits that have the frenzy you might find in fusion, yet come across with the down-to-earth vibe of a funky 45 – a killer blend that goes way past jazz, and even most straight funk too – as you'll hear in this sweet little set. The package brings together all the best tracks from these key Porter years – and titles include "Jessica" and "Panama" in both vocal and instrumental versions, plus "Wow", "Funny Feelin", "Funky Twitch", "Love You", "Hense Forth", "Out On The Town Tonight", "Givin Me The Blues", "Waver-ing", "Party Time", and "Hip City". ~ Dusty Groove

NEW RELEASES - JOHNNY ALF, HAROLD MCNAIR. JUNGLE BY NIGHT

JOHNNY ALF - JOHNNY ALF

A 60s bossa classic from Johnny Alf – a set that really showcases the bluer side of bossa at the time! The set's got a rich, sophisticated sort of sound – right up there with the best Elenco or Forma vocal sessions of the 60s, thanks to orchestrations by Jose Briamonte, which move along with this really dark undercurrent. Alf's vocals and piano contrast nicely, with these oddly-turning notes that are really unique – a distinct approach that made Johnny one of the most standout talents of this new generation. This album's easily one of his greatest efforts – and titles include "Gismi", "Kao Xango", "Cancao Pra Disfacar", "Ceu Alegre", "Eu So Sei", and "Bossa So". ~ Dusty Groove

HAROLD MCNAIR – FLUTE / NUT

Two amazing sets from Harold McNair – a fantastic London 60s flute player with a really sharp edge! The self-titled Harold McNair has the leader working in a tight combo with some nice offbeat sounds – including a lot of breathy, soul-toned notes that remind us a fair bit of Roland Kirk – but which also showcase some of Harold's West Indian roots! (McNair was part of the same great West Indian influx of jazz musicians that also gave England Joe Harriott and Dizzy Reece.) The group features Harold mostly on flute, plus a bit of tenor – alongside Bill LeSage on piano, Spike Heatley on bass, and Tony Carr on drums – and titles include the seminal groover "The Hipster" – worth the price of the record alone – plus "Mento", "Indecision", "The Cottage", and "Mini Blues". Flute & Nut features the flute of Harold McNair alongside some sweet arrangements from John Cameron – with whom Harold worked famously on Donovan sessions in the 60s! Many tunes are McNair originals, and Harold's flute is definitely in the lead – but we also love the grooves that Cameron brings on board – a sweet blend of soulful jazz and sound library styles – all of which gives the album a similar feel to Roland Kirk's work with the Benny Golson group on Mercury. Titles include "Burnt Amber", "Herb Green", "Nomadic Joe", "Barnes Bridge", and "The Umbrella Man". ~ Dusty Groove

JUNGLE BY NIGHT - HIDDEN

An even cooler record than before from Jungle By Night – a set that still has lots of Afro Funk elements at its core, but which brings them together in some really unique ways! Some of the rhythms are nicely offbeat – not straight, and sometimes moving in weird patterns that really start the tunes off well – getting past easy expectations as the group's instrumental flurry comes into play – tight horns, heavy percussion, and these keyboards that have ways of making sounds that are sometimes a bit unusual. All instrumental – and titles include "Rangda", "Cyclin", "Dawn", "Gallow Street 34", "Night Fight", "Ethiopino", and "The Past Is History". ~ Dusty Groove

STEFON HARRIS, DAVID SÁNCHEZ AND CHRISTIAN SCOTT - NINETY MILES LIVE AT CUBADISCO

Perhaps better than any politician or diplomat, musicians – especially jazz musicians, whose craft is in many ways an improvised form of communication – understand inherently that when we look at each other as individuals and focus on the similarities, the divide between us is actually very short – less than a hundred miles.

Vibraphonist Stefon Harris, saxophonist David Sánchez and trumpeter Christian Scott first crossed that divide on their acclaimed two-disc CD/DVD package, Ninety Miles, released June 21, 2011. Recorded during the same trip, their first and only live performance, Ninety Miles Live At Cubadisco, is set for digital release September 25, 2012 on Concord Picante exclusively on iTunes.

Ninety Miles Live At Cubadisco was recorded May 18, 2010 at Cubadisco, one of the biggest music festivals in Cuba, at Teatro Amadeo Roldán in Havana, with the help of some highly talented Cuban musicians – pianists Harold López-Nussa and Rember Duharte, each leading their own quartets. This seven-song live set further explores the chemistry of Ninety Miles and takes their virtuosity to another level as musicians from different cultures converse in a common language that transcends words.

“The entire experience was about the power of music to communicate and break down some of the barriers that result from language and politics and culture,” says John Burk, Chief Creative Officer of Concord Music Group and producer of Ninety Miles and Ninety Miles Live At Cubadisco, along with Chris Dunn, Senior Director of A&R. “I was particularly impressed with Harold and Rember,” Burk says. “I found it really interesting that these musicians had studied and embraced the jazz genre (an American art form) and taken it to such a high level.” While Ninety Miles was a snapshot of the rehearsals just prior to the 2010 live performance, Ninety Miles Live At Cubadisco is a high powered musical look back at the week’s events, culminating in the first and only time they would all perform together live.

Harris, a four-time GRAMMY®-nominated vibist-percussionist, is no stranger to adventurous collaborative projects. A native of Albany, New York, his earliest work included session gigs with Joe Henderson and Buster Williams in the 1990s before he recorded his solo debut in 1998 on Blue Note (A Cloud of Red Dust). He’s cut seven albums since then, including his GRAMMY®-nominated Concord Jazz debut Urbanus. Harris contributes two tracks to Ninety Miles Live At Cubadisco: “This Too Shall Pass” and “Brown Belle Blues,” written especially for this project.

David Sánchez, a GRAMMY®-winning saxophonist, brings plenty of his own cross-cultural sensibilities to the project. A native of Puerto Rico, he moved to New York City at 18 and studied at Rutgers University under Kenny Barron. He has performed with numerous Latin jazz masters over the years, including his mentor, Dizzy Gillespie, Paquito D’Rivera and the great Eddie Palmieri. In a body of recorded work that stretches back to the mid-1990s, Sánchez has crafted a signature sound that seamlessly merges elements of Afro-Cuban rhythm with bebop. Sánchez’s “City Sunrise” was inspired by music from Cameroon, and his second contribution, “The Forgotten Ones,” written for the people of post-Katrina New Orleans was originally recorded on his Concord Picante debut Cultural Survival.

Born and raised in New Orleans, GRAMMY®-nominated trumpeter Christian Scott has been blending elements of alternative rock, jazz, hip hop, and classical since his 2006 debut recording, Rewind That. On Ninety Miles Live At Cubadisco, he taps into the Cuban roots that are not only a part of his home but his family history as well. Scott contributes the track “Paradise Found,” a tune written by his uncle Donald Harrison, the Big Chief of the Congo Nation Afro-New Orleans Cultural Group. Scott’s latest recording, Christian aTunde Adjuah, was released July 31, 2012 on Concord Jazz.

Each of the two Cuban pianists offers a track of his own to the live set, which further heightens the performance. “Harold and Rember are from the same generation, and yet they have two completely different approaches,” says Sánchez. “Rember is more rooted in the African sound, and he’s a little more raw in some ways. But Harold is completely different. You hear the Cuban influences in his music, and perhaps more of the western European classical piano.”

The undeniable energy and excitement of Ninety Miles Live At Cubadisco is a clear statement about the power of music to unite in ways that politics and diplomacy can’t. “The arts can lead the way because they are the universal language,” says Burk. “And music is certainly one of the most powerful forces within the arts. You can change someone’s life in five minutes with the right piece of music. I don’t know of any other art form that can do that. These records do illustrate a way – or at least the ability – for people to work together despite differences.”

TOOTS THIELEMANS EUROPEAN QUARTET 90 YRS.

"The harmonica has long been regarded as the humblest of musical instruments, and yet, as Mr. Thielemans and Mr. Maret show, when played at its best, it is more than capable of expressing the deepest feelings in the human experience." - Wall Street Journal

"Wherever his ideas take him he follows them, and the rest of his superb European Quartet miraculously keep up with him." - The Guardian

This past April, Toots Thielemans, arguably the most famous harmonica player worldwide, turned 90-years old. To celebrate this milestone, Thielemans is releasing a live CD/DVD package with the support of his European quartet - pianist Karel Boehlee, drummer Hans van Oosterhout and double-bass player Hein Van de Geyn. The album is comprised of eleven tracks recorded over the past five years during Thielemans' latest globetrotting tours while the accompanying DVD focuses on his group's latest concert in Japan.

90 Yrs. encompasses the impressive array of Thielemans' career. The album opens with the track "Waltz for Sonny," a bow to Sonny Rollins and a musical brother of Thielemans' "Bluesette." The next track, "The Dragon," was written by Thielemans for the Japanese movie Yasha (1985), a nice, open and mysterious tune; he also wrote the original soundtrack for the film together with Mitsuhiko Saito.

"Sno' Peas" is originally written by Phil Markowitz and made famous by legendary pianist Bill Evans, with whom Thielemans had played and recorded with Evans while living in the USA. "Sno' Peas" has been on Thielemans' list of favorites for a long time. "One Note Samba" and "Wave," composed by Antonio Carlos Jobim, are great examples of very intelligent, yet accessible writing. Obvious and singable to the superficial ear, and full of hidden details for the specialist such as Thielemans - they leave so much space for creativity and personal interpretation, yet remain always very clear in their own identity at the same time.

"Dat Mistige Rooie Beest (That Misty Red Animal)" was composed by the famous conductor Rogier van Otterloo for the Dutch movie Turks Fruit (Turkish Fruit) and featured Thielemans' recognizable harmonica sound on the original soundtrack.

During his time with Dave Brubeck, "In Your Own Sweet Way" often kicked off their concerts, providing a wonderful vehicle for improvisation with the 8-bar interlude, opening doors to new interpretations. Thielemans is also a great admirer of Louis Armstrong, "the greatest jazz musician ever," and as a boy was bitten by the jazz bug upon hearing the icon's voice. Thielemans includes "What a Wonderful World" as a dedication to Armstrong.

"The Dolphin," written by Luiz Eça, is another very challenging harmonic, yet such lovely melodic song. Thielemans has also worked with pop musicians in addition to big jazz artists. In the seventies Thielemans was invited to join Paul Simon on a long tour and was featured on the song, "I Do It For Your Love." Thielemans has kept it on his repertoire since then.

The last song on the record, "Old Friend," is a very special one. Thielemans wrote it when he was young as a harmonic exercise, yet it is so full of feeling. With adding strings by the Shinozaki Strings from Tokio, this is a heartfelt rendition of this special composition that Toots Thielemans dedicated to his father.

Jean "Toots" Thielemans was born in Brussels, Belgium in 1922, and three years later he could already play the accordion and had began harmonica as a hobby. Thielemans became hooked on jazz during the German occupation and found his first major influence in celebrated Belgian guitar virtuoso Django Reinhardt. His extensive and successful career actually began on guitar, participating in a 1949 Paris jam session alongside the likes of Charlie Parker, Sidney Bechet, Miles Davis, and Max Roach before joining Benny Goodman on European tours the following year. Throughout his career, Thielemans has played and recorded with Ella Fitzgerald, Jaco Pastorius, Peggy Lee, The George Shearing Quintet, Quincy Jones, Oscar Peterson, Bill Evans, Paul Simon, Billy Joel, The Happenings, Astrud Gilberto, Shirley Horn, and Elis Regina.

Thielemans also composed the jazz standard "Bluesette," where he played guitar and whistled in unison, which was first recorded 50-years ago and became a worldwide hit with lyrics by Norman Gimbel. He has also had his playing featured in film scores such as Midnight Cowboy, Jean de Florette, Sugarland Express, The Yakuza, Turkish Delight, The Getaway, French Kiss, Dunderklumpen, and various TV programs, including Sesame Street, and in Old Spice radio and TV commercials. In 2001, he was ennobled a baron by King Albert II of Belgium and four years later was nominated as "The Greatest Belgian." Thielemans was also honored with the 2009 National Endowment for the Arts Jazz Masters Fellowship and in January 2009, he joined Philip Catherine on stage at the Liberchies church in Belgium in memory of the 100th anniversary of Django Reinhardt's birth.

90 Yrs. Personnel & Track Listing:
Toots Thielemans / harmonica
Karel Boehlee / piano, synthesizer
Hein Van de Geyn / double bass
Hans van Oosterhout / drums

1. Waltz for Sonny (Toots Thielemans) - 5:28
2. The Dragon (Toots Thielemans) - 4:32
3. Sno' Peas (Phil Markowitz) - 6:13
4. Wave (Antonio Carlos Jobim) - 4:35
5. Dat Mistige Rooie Beest (Rogier van Otterloo) - 5:08
6. In Your Own Sweet Way (Dave Brubeck) - 6:08
7. What A Wonderful World (Louis Armstrong) - 3:41
8. One Note Samba (Antonio Carlos Jobim) - 4:04
9. The Dolphin (Luiz Eça) - 4:09
10. I Do It For Your Love (Paul Simon) - 6:22
11. Old Friend (Toots Thielemans) - 5:18

Upcoming Performances:
Toots Thielemans: Celebrating 90 Years

September 28 & 29 / Jazz at Lincoln Center, Rose Theater / New York, NY
Featuring special guests Herbie Hancock, Kenny Werner, Oscar Castro-Neves, Eliane Elias, Dori Caymmi, and more. Plus: Free pre-concert discussion nightly with Kenny Werner and JALC educator Seton Hawkins.

www.TootsThielemans.com
www.Challenge.nl

DAVE KOZ AND FRIENDS ANNOUNCES ITS 15TH ANNIVERSARY CHRISTMAS TOUR

Dave Koz and Friends Christmas Tour, a high-energy holiday tradition celebrating its 15th anniversary, will kick off its 2012 edition on November 23rd in Sarasota, FL with a return engagement at Van Wezel Performing Arts Hall. The tour is one of the longest-running Christmas tours.

Led by seven-time GRAMMY® nominee and saxophonist extraordinaire Dave Koz, this year's run is featuring special guests GRAMMY-nominatedpianist/composer David Benoit, who appeared in the original 1997 line-up and was instrumental in the tour's creation; Javier Colon, who sang on Koz's Saxophonic album and was the winner of the inaugural season of NBC's hit television show, "The Voice," and the inimitable drummer/percussionist/vocalist Sheila E. (Prince, Cyndi Lauper. Ringo Starr), who makes her debut in the Christmas lineup after appearances on previous Dave Koz & Friends summer tours, and introducing singer/songwriter Margo Rey.

Together the quintet will perform hits from their respective catalogues and jam on fresh, fun arrangements of seasonal favorites. As always, there will be surprises, but Koz hints that the production will take things to a new level and will include a special medley of "Peanuts" holiday music inspired by Benoit, who has paid tribute to Vince Guaraldi's timeless music with several "Peanuts" themed albums.

Dave's summer tour, featuring inspirational/R&B/gospel icon BeBe Winans as special guest, elicited stellar reviews.The New York Times observed: "He's a musician of unflappable rhythmic aplomb, which he happily squares against the airtight funk of his band. And he's a frolicsome performer, given to hip swivels and bowlegged squats, along with a constant rotation of tenor, alto and soprano saxophones."

"Koz, of course, has become a concert staple in this town," said the El Paso Times, noting that he has sold out nine shows in the area in recent years. "One reason Koz keeps drawing crowds here is that he never does the same show twice." Dave Koz and Friends Christmas Tour comes to El Paso's Plaza Theatre Performing Arts Center on December 13th.

Hello Tomorrow (Concord Records), Koz's latest album,was nominated for a GRAMMY award for Best Pop Instrumental Album and was named the "Best Smooth JazzAlbum of 2010" by iTunes and "Best Contemporary Jazz Album" at the 2011 Soul Train Awards. Produced by Marcus Miller and John Burk, Hello Tomorrow debuted at No. 1 on both Billboard's TopContemporary Jazz Albums chart and iTunes' Jazz Album chart. Dave has released 12 albums in the past 20 years, including four Christmas collections.

"I think the Christmas season gives us all a chance to go back in time, it's so nostalgic--and music plays such a big role in bringing out that feeling," says Koz. "It never ceases to blow me away, how much people love holiday songs--as evidenced by our 15th anniversary of this tour! This year especially, we'll try to fit in as many favorites as possible and add our own unique touches along the way."

CHRISTMAS TOUR SCHEDULE

Friday 11.23.12 Van Wezel Performing Arts Hall
Sarasota, FL

Saturday 11.24.12 Ruth Eckerd Hall
Clearwater, FL

Sunday 11.25.12 Kravis Center for the Performing Arts
West Palm Beach, FL

Tuesday 11.27.12 King Center for the Performing Arts
Melbourne, FL

Wednesday 11.28.12 Philharmonic Center for the Arts
Naples, FL

Friday 11.30.12 Cobb Energy Performing Arts Centre
Atlanta, GA

Saturday 12.01.12 The Carolina Theatre
Durham, NC

Monday 12.03.12 The Music Center at Strathmore
N. Bethesda, MD

Tuesday 12.04.12 Ferguson Center for the Arts
Newport News, VA

Wednesday 12.05.12 Mayo Performing Arts Center
Morristown, NJ

Thursday 12.06.12 Playhouse Square - Palace Theatre
Cleveland, OH

Friday 12.07.12 Palace Theatre
Columbus, OH

Saturday 12.08.12 Chicago Theatre
Chicago, IL

Monday 12.10.12 Paramount Theatre
Denver, CO

Tuesday 12.11.12 Pikes Peak Center
Colorado Springs, CO

Wednesday 12.12.12 Bass Performance Hall
Ft. Worth, TX
*without Sheila E.

Thursday 12.13.12 The Plaza Theatre
El Paso, TX
*without Sheila E.

Friday 12.14.12 Wells Fargo Center for the Arts
Santa Rosa, CA

Saturday 12.15.12 Agua Caliente Casino Resort and Spa
Rancho Mirage, CA

Sunday 12.16.12 Nokia Theatre L.A. Live
Los Angeles, CA

Tuesday 12.18.12 The Smith Center
Las Vegas, NV

Wednesday 12.19.12 Mesa Arts Center - Ikeda
Mesa, AZ

Thursday 12.20.12 Granada Theatre
Santa Barbara, CA

Friday 12.21.12 Cerritos Center for the Performing Arts
Cerritos, CA

Saturday 12.22.12 Cerritos Center for the Performing Arts
Cerritos, CA

Sunday 12.23.12 The Warfield Theatre
San Francisco, CA

FREDDY COLE – ONE MORE LOVE SONG / RIGHT FROM THE HEART

Two rare European records from Freddy Cole – best known to most of us in the US as a jazz singer! One More Love Song is surprisingly soulful set from Freddy – quite different than some of the straighter jazz vocals he's cut over the years! This rare gem was recorded in The Netherlands in the mid 70s – and features backings from Jerry Van Rooyen and Tony Noite, both of whom mix jazzy inflections with fuller orchestrations – helping to bring Cole's rich background into a whole new light! Freddy's voice still has that wonderful trademark rasp – familiar to, yet quite different than brother Nat – and the use of some smoother soul modes makes for a really great contrast. Titles include "One More Love Song", "I Loved You", "I Need You So", "Still Wanna Be With You", "Isn't She Lovely", and "Here Is Where Your Love Belongs".

Right From The Heart has Freddy Cole taking on a mix of adult ballads and some groovier numbers – set to arrangements by John Gally, Hennie Bekker, and Steve Gray – and recorded in London with a nicely mature feel. There's a bit of polish to the production, especially on the more upbeat cuts – but the mellower numbers still have Cole singing in a great old school mode. Titles include "The Girl From The Piano Bar", "To Be With You", "Teach Me Tonight", "Summer Love", "Somewhere Down The Line", and "Right From The Start". ~ Dusty Groove

MOVE WITH THE GROOVE: HARDCORE CHICAGO SOUL 1962-1970 (VARIOUS ARTISTS)

Seminal soul from one of Chicago's greatest labels in the 60s – the One-Der-Ful/Mar-V-Lus imprints, plus tracks from related Toddlin Town too – home to some of the best indie work at the time! The quality here is right up there with the best you'd hear from Chess, Okeh, or Brunswick in the 60s – no surprise, since the pair of labels shared lots of similar talents with the bigger companies – as well as session men, songwriters, and producers too! The full scope of Chicago soul is really covered here – upbeat groovers for the dancefloor, heartfelt ballads with great harmonies, and some of the harder-edged bluesy numbers that really helped put One-Der-Ful on the map! There's also some key early examples of funk – proof that in the 60s, Chicago was one of the hippest scenes in the world – and the set comes with 2 CDs, nestled in a hardback booklet of notes and photos – with a whopping 50 tracks in all. Titles include "Tired Of Being Lonely" by The Sharpees, "Without You" by The Ulti-Mations, "That's How It Is" by Otis Clay, "Keep On Dancin" by Alvin Cash, "The Funky Judge" by Bull & The Matadors, "I Get A Groove" by Thomas East & The Fabulous Playboys, "Damper Down" by Bobby Davis, "The Town I Live In" by McKinley Mitchell, "Come Back Home" by Beny Turner, "Master Key" by Harold Burrage, "If I Could Live My Life All Over" by Dorothy Prince, "You Told A Lie" by Johnny Sayles, "New Girl" by The Accents, and "Don't You Worry" by Joe & Mack. ~ Dusty Groove