ALBARE iTD - LONG WAY

"And Albare? He sounds like a positive blend of the late Wes Montgomery and an early George Benson. Airy and light melodic improvisations and the themes reflect and inner harmony of boundless grace."
- Jazzpodium (Germany)

Stream Tracks from Long Way

In 2011 Albert Dadon (Albare) came to the attention of Matthias Winckelmann, founder of prestigious German jazz label enja Records. Their mutual esteem led to the recording of a new project, Long Way. Produced by Winckelmann at his favorite Brooklyn studio, Studio Two, the album is a collaboration by some of the world's finest musicians including triple GRAMMY® Award winning drummer Antonio Sanchez (Pat Metheny Group), saxophonist George Garzone (the Joe Lovano Nonet), pianist Leo Genovese (Esperanza Spalding), prolific harmonica player Hendrick Meurkens and Albare's long time musical collaborator, bassist and composer, Evri (Evripedes Evripidou).

Albare calls this super group iTD, or the International Travel Diary, to reflect both their cosmopolitan backgrounds and their global aspirations. The music they create is sophisticated, masterfully played, with a sunny disposition that belies the depth and complexity of the compositions. Winckelmann describes it as, "a surprising, truly rewarding album" and the producer of albums by Chet Baker, Abdullah Ibrahim and many others should know.

When Albare first met Winckelmann, the two agreed upon Sanchez and Meurkens for the recording. The guitarist brought Sanchez to Melbourne in 2007 to play with Chick Corea at the festival he was directing, and was confident he was the right player for the album. As for Meurkens, Albare had yet to meet the musician, but had watched video footage of him playing and recalls, "he was exactly the kind of player I had in mind for this project."

The guitarist met Garzone in Australia at Monash University School of Music. Albare says, "One day George came to have lunch at my home and when I told him that I was doing a project for Enja he said, 'man, I want to do this with you.' Of course I was delighted to accept his involvement, I love his sound. He asked me who I would have on piano and I said, 'no piano thanks.' George knew instantly where I was coming from, as we both suffered the tortures of piano players. George said, 'man do I have the guy for you!' He then went on describing this Argentinian player and I have to say that I am so happy I listened to Garzone's advice. Leo is a pleasure to be with on and off the stage."

The band never met, never rehearsed, until the day they met at Studio Two in Brooklyn. "After a few hours of setting up the sound, we took our instruments and started with 'Cut to the Chase,'" says Albare. "After a few minutes we did a first take and it sounded good. We tried a second one and it was magic. This is the take you can hear as the first track in the album. The rest of the sessions followed the same pattern. I can honestly say that when I walked in that morning, I didn't know what to expect. I knew I was dealing with great musicians and I was confident about the material Evri and I had composed but the magic doesn't always happen, so I went in with no expectations. I feel humble and grateful."

Born in Morocco, Albare's influences are varied and global in the true meaning of the word. He grew up in Israel and France and thanks to these international origins, is fluent in French, English, Hebrew and Spanish. At the age of 27, he migrated to Australia where he first became known musically, at the forefront of the then burgeoning Acid Jazz scene, recording a string of albums for the Festival label.

He has performed internationally with his band using the nom de guerre Albare (the phonetic spelling of his given name) and produced A History of Standard Time, for Australian pianist Joe Chindamo featuring legendary bassist Ray Brown.

Always immersed in the arts, from 2003 to 2005 Albare was Chairman of the Melbourne Jazz Festival. In 2005 he brought the Umbria Jazz Festival to Melbourne. Umbria Jazz Melbourne '05 attracted 135,000 visitors under the artistic direction of Carlo Pagnotta. In 2006 the organization appointed Albare to become the new Director of the Festival and take the artistic lead. When he took the helm it was renamed the Festival of Melbourne Jazz and the 2007 edition enjoyed the presence of more than 200 artists from around the world, performing across 10 venues, in 112 concerts during its 10 days, including Herbie Hancock, Chick Corea, Gary Burton and McCoy Tyner.

In 2003 the guitarist also founded the Australian Jazz "Bell" Awards (named after Australian legend and patron of the event pianist Graeme Bell, AO, MBE) and chairs the board of The Australian Jazz Awards (a not-for-profit arts organization). The Bells are the only jazz awards in Australia and recognize the achievements of up-and-coming and established Australian jazz performers and composers. In 2008 Dadon received an Order of Australia (AM) for service to the arts, particularly for his work with the Melbourne Jazz Festival.

Long Way Personnel/Track Listing:
Albare - guitars
Antonio Sanchez - drums
Evripidis Evripidou - electric bass, acoustic guitar
George Garzone - tenor saxophone
Hendrik Meurkens - harmonica
Leo Genovese - piano

1. Cut to the Chase - 6:40
2. Eagle's Way - 8:16
3. Long Way - 10:02
4. Funky Girl - 6:27
5. Now and Then - 6:23
6. You Make Me Smile - 6:17
7. Love Again - 6:45
8. Moving On - 7:08

Upcoming Performances:
November 18 / Nighttown / Cleveland, OH
November 19 / An Die Musik / Baltimore, MD
November 20 / Blues Alley / Washington, DC
November 26 / Ginny's Supper Club / New York, NY
November 27 / Scullers / Boston, MA
November 29 - 30 / Van Dyke Cafe / Miami Beach, FL

Albare - guitars
Hendrik Meurkens - harmonica
Phil Turcio - piano
Phil Rex - bass
Pablo Bencid - drums

albare.info
enjarecords.com

:::: SOURCE: DL Media ::::

JAN GARBAREK – DANSERE: SART / WITCHI TAI TO / DANSERE

Three groundbreaking albums from reedman Jan Garbarek – packaged in a single set! First up is Sart – a great example of the way that ECM helped to bring the voice of the Scandinavian jazz underground to the world at large – as the album's a key showcase for the talents of budding young modernists Jan Garbarek, Bobo Stenson, Terje Rypdal, and Arild Andersen! The record's got a really unusual quality that's quite different from the more jamming fusion or freer jazz of the mid European scene – a sense that plays with space between the notes as much as it does the sounds of the individual instruments, and which seems perfectly cast for the newer style of jazz recording pioneered by ECM. Garbarek plays tenor, bass, and flute on the record; Stenson is on electric and acoustic piano; Rypdal on guitar, Andersen on acoustic (but amplified?) bass, and Jon Christensen is on drums. Titles include "IRR", "Song Of Space", "Close Enough For Jazz", "Sart", and "Fountain Of Tears".

Witchi Tai To is warm and wonderful sounds from Garbarek – and a record that brings together so many strands at once! There's of course the obvious atmospherics you might expect from a 70s set on ECM – but there's also some sharply modern moments too – that harder sound that the label was endorsing while helping to shape the world of European jazz on both sides of the fence. And there's even some surprisingly soulful moments, too – not just from Jan's work on tenor and soprano sax, but also from the piano of Bobo Stenson – which rings out wonderfully amidst subtle bass from Palle Danielsson and drums from Jon Christensen. Titles include a great version of Jim Pepper's "Witchi Tai To", plus "Hasta Siempre", "AIR", and "Desireless".

Dansere is one of the highlights of saxophonist Jan Garbarek at ECM – and a set that has him working with the well-matched lineup of Bobo Stenson on piano, Palle Danielsson on bass, and Jon Christensen on drums! The shape of the songs is a bit looser than before, but Garbarek and Stenson turn out to be perfect in the setting – opening up, stretching out, and breaking down convention – yet also never losing themselves in self-indulgence either. Titles include "Dansere", "Lokk", "Fris", "Til Vennene", and "Skrik & Hyl".

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

JOHNNIE TAYLOR – RATED EXTRAORDINAIRE / EVER READY

A massive double header – two great albums back to back! Rated Extraordinaire is our favorite album ever from Johnnie Taylor – an incredible set from the late 70s that really has Taylor reinventing his sound – and coming across as a great talent for a mellow groove! The album has a wonderful smooth soul vibe all the way through – and starts with the classic "Your Love Is Rated X", a sweet little stepper with a hook that's totally great, and a groove that goes on and on and on – one of those cuts we can hear for years, and it still never gets old! Don Davis produced the whole thing – in a way that balances the raspy roots of Taylor's vocals with the tighter changes going on in late 70s soul – a balance that he was always good at, but possibly never served up this well again. In addition to "Your Love Is Rated X", other titles include "And I Panicked", "Did He Make Love To You", "Love Is Better In The AM", "It Ain't What You Do", "Here I Go", and "Stop Giving People Hard Luck Stories".

Ever Ready is a sweet set from Johnnie Taylor's late 70s run on Columbia Records – and a set with a definite groove for the dancefloors! The album' was recorded in Detroit, and features some sparkling production from Don Davis – very much in that Detroit-into-disco mode that Davis was pushing strongly at the time – in a way that was smooth overall, but still let the singers keep all the edge and personality in their vocals! Arrangements are by Rudy Robinson, in collaboration with a number of others – and titles include "Hey Mister Melody Maker", "Ever Ready", "Keep On Dancing", "Give Me My Baby", "Soul Fillet", "I Love To Make Love When It's Raining", and "Bittersweet Love".

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

CHARLIE BYRD – BRAZILIAN BYRD / HOLLYWOOD BYRD

Two sides of Charlie Byrd in the mid 60s – one focused on Brazil and the other a sweet set of jazzy soundtrack adaptations – on one CD! First up is the classic Brazilian Byrd – a wonderful album of tunes by Antonio Carlos Jobim, all recorded with full backing arrangements, and sound quality that's a lot better than some of Byrd's previous albums! The setting has Charlie's acoustic guitar right up front in the mix – mic'ed so close you can really hear his work on the strings – while light brass, woodwind, and string backings dance nicely, and more quietly, behind him. There's a very Verve-like approach to the whole record – obviously a market that Columbia were trying to reach with this one – and the album's easily one of Charlie's strongest for the label from the 60s. Arrangements are both by Byrd and Tom Newsom – and titles include "Dindi", "Jazz N Samba", "The Girl From Ipanema", "Corcovado", "Amor E Paz", "Samba Do Aviao" and "Amor E Paz".

Next up is the Hollywood Byrd set – with some dreamy, jazzy covers of popular movie tunes. It includes some of our own favorites – such as "Alfie", "The Wishing Doll", "Moment To Moment", "Wish Me A Rainbow" and more. A number of tunes have lovely choral vocals, and all of them have a really groovy 60s sound. We'll also make an admission – we give it a few extra points for having one of the sexiest covers ever – but the music can sell it just as well!

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

MICHAEL GARRICK – BLACK MARIGOLDS / THE HEART IS A LOTUS

Beautiful work from the legendary late 60s run of British pianist Michael Garrick – and two of his best records of the mid 60s to early 70s! A few of the numbers on Black Marigolds are in a septet mode – with Garrick leading a group that includes Ian Carr on trumpet, Joe Harriott on alto, Don Rendell on soprano sax, and Tony Coe on tenor – all shading in some beautiful tones on the straight numbers "Good Times" and "Webster's Mood" – and really going to town on the modal number "Ursula", a rolling groover that's simply fantastic! 2 other tracks – "Jazz For Five" and "A Jazz Nativity" – have the group joined by poet John Smith, who's recitation beautifully matches the horn work of Coe and Harriott. Remaining tracks are even more unusual – and feature Garrick in trio formation on either celeste or harpsichord – really hitting beautiful notes that have a slightly exotic feel, on titles that include "What Are Little Girls", "Spiders", "Black Marigolds", and "Carolling".

The Heart Is A Lotus is one of the key recordings by the team of Garrick and Norma Winstone! Winstone's vocals here rank right up there with those of Karin Krog or Monica Zetterlund – creating a whole new style for the voice in jazz, as they dance along with the freely searching work of Garrick's sextet on the record. There's a sense of lyrical poetry to the album that's really beautiful – but rhythm is also a key aspect of the session – and most tunes dance along in a flurry of bass and drum interplay, hitting that warm modal groove! Titles include "The Heart Is A Lotus", "Torrent", "Temple Dancer", "Blues On Blues", "Voices", and "Beautiful Thing".

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

ORNETTE COLEMAN – THE MUSIC OF ORNETTE COLEMAN / SKIES OF AMERICA

A great couple of harder-to-find Ornette Coleman records – nicely paired up in a 2CD set! First up is The Music Of Ornette Coleman, from 1967 – which is beautiful record that serves as both a showcase for Ornette's "serious" writing efforts – and his ability to play with a larger ensemble! It kicks off with Ornette playing trumpet solos with The Philadelphia Woodwind Quintet as they perform his "Forms & Sounds" live. That's followed by recordings of Ornette's "Space Flight" and "Saints & Soldiers" performed by The Chamber Symphony of Philadelphia Quartet, a string ensemble that brings a new light to Ornette's compositions!

Skies Of America is an ambitious record with full orchestra, in a haunting sound that's light years from any of his smaller group recordings of the 60s and 70s! There's an incredible feel to the strings used here – played by the London Symphony Orchestra, conducted by David Measham – all tied up and dark, with swirling sounds that run up beautifully from the bottom, then take off to the skies promised in the title – opening the door for Ornette to come in and solo freely over the top – in a magical mix that easily makes the record a standout in his long and mighty career! Harmolodic theory is definitely a part of Coleman's conception here – but in very different ways than his quartet or quintet recordings. Lots of tracks on this one, including "Skies Of America", "The Men Who Live In The White House", "Sunday In America", "Dreams", "Native Americans", "Silver Screen", "The Artist In America" and more.

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

NEW RELEASES - REGINA BELLE, PETER BROTZMANN, IKE & TINA TURNER

REGINA BELLE – ALL BY MYSELF

A sweet debut from soul singer Regina Belle – a nice dose of class and sophistication in the world of mid 80s R&B! Regina's got a well-developed style right from the start – the kind of poise that you might hear from someone like Phyllis Hyman, especially on the mellower cuts – with nice undercurrents of jazz that really help send the whole thing home – and really keep the album away from cloying commercial styles too! The set features some mighty nice instrumental elements alongside the vocals – including keyboards from Dexter Wansel and alto from Don Myrick – and titles include "Show Me The Way", "Intimate Relations", "Gotta Give It Up", "So Many Tears", "Please Be Mine", and "You Got The Love". CD features lots of bonus tracks – "Without You", "Show Me The Way (ext)", "You Got The Love (rmx)", "How Could You Do It To Me (rmx)", "So Many Tears (cool mix)", and "Show Me The Way (inst)".

PETER BROTZMANN – CHINA LIVE IN BEJING 2011


Just when we've thought we've heard everything Peter Brotzmann has to offer – out comes a record like this, and blows us away all over again! As you'd guess from the title, Brotzmann's working here in a Chinese setting – mixing with younger players we'd never heard before – including Li Tiequiao on alto and Scandinavian spring flute, and Xu Fengxia on zither, sanxian, and voice – a strange style of singing that really makes for an amazing moment on one track! The quartet also features Kristian Mondrup Nielsen on drums – and Brotzmann plays searing tenor, alto, and clarinet – but often changes his phrasing to meet the moods of the younger players – especially at moments when Fengxia is in the forefront. Amazing stuff – and the CD features titles that include "Deciduous Carnival", "Walking In Wu Men", "Beijing Legend", "798 Art District", "Moat", and "Feel As If We Were Visiting Our Country Of Birth". DVD features all these tracks, plus two more! (NTSC Format, All Region DVD. Limited edition.)

IKE & TINA TURNER – WHAT YOU HEAR IS WHAT YOU GET: LIVE AT CARNEGIE HALL

The Ike & Tina Turner Revue shakes the foundation at Carnegie Hall on April Fools Day, 1971! There's a good reason for there being so many live albums by Ike & Tina – it's because they're damn great on stage – and this NYC set is a strong showcase for The Ikettes and The Kings Of Rhythm, too! The group was riding a peak wave of popularity around this time, and they cover a wide variety of songs in a set that's masterfully-paced – starting out slow and building up intensity as it goes! Titles include the Ikettes-led "Piece Of My Heart" and "Everyday People", the thunderous Tina intro "Doin' The Tina Turner", "Sweet Soul Music", "Proud Mary", "I Smell Trouble", "Ike's Tune", "I Want To Take You Higher", "I've Been Loving You Too Long", "Respect" and more.

:::: SOURCE: Dusty Groove.com ::::

KATHERINE JENKINS - THIS IS CHRISTMAS

Katherine Jenkins Unwraps First Christmas Album, "This is Christmas" 

Multi-Million Selling Classical Crossover Artist Mixes Traditional and Contemporary Holiday Songs for Ninth Studio Album; Available on October 30 From Warner Bros. Records

Best known for her unique interpretations of popular songs, operatic arias and hymns, singer Katherine Jenkins will embrace a new genre this fall when the multi-million selling mezzo-soprano releases her first Christmas album, This is Christmas, which will be available on October 30 on Warner Bros. Records.

This will be the ninth studio album from Jenkins, who is the world's most prolific classical crossover artist. In addition to winning various BRIT awards, the 32-year-old Welsh singer has sold more than seven million albums worldwide.

For this upcoming collection, Jenkins' unique vocals can be heard singing traditional holiday tunes from around the world as well as a number of contemporary favorites including "Away In A Manger," "Hark The Herald Angels Sing," "Deck The Halls," and the timeless classic, "The Christmas Song."

"These holiday songs bring back such wonderful memories for me of times spent with family and loved ones," says Jenkins. "I have always hoped that one day I'd have the opportunity to record a Christmas album and I can't wait to share my interpretations of these songs with everyone."

Jenkins' stratospheric rise began in 2004 at the age of 23 and she has gone on to become the fastest-selling soprano ever, surpassing such operatic giants as Kiri te Kanawa and Angela Gheorghiu. She has performed with Placido Domingo and worked with internationally renowned producers David Foster and John Shanks.

In addition to her recordings, Jenkins' ardent support for the British Forces Foundation has earned her the position of trustee, as well as the nickname, the Forces Sweetheart. This year, the singer was a contestant on Season 14 of "Dancing With The Stars," where she opened the season with the highest-ever debut and was runner up in the final.

Track List:
1. O Come O Come Emmanuel
2. Ding Dong Merrily On High
3. Away In A Manger
4. In Dulci Jubilo
5. The Christmas Song (Chestnuts Roasting On An Open Fire)
6. Santa Baby
7. The Little Road To Bethlehem
8. Deck The Halls
9. Angels From The Realms Of Glory
10. Sleep Quietly My Jesus
11. I Wish You Christmas
12. Hark The Herald Angels Sing
13. Come What May (with Placido Domingo)

Find out more about Katherine Jenkins at:
katherinejenkins.warnerreprise.com
www.facebook.com/KJOfficial
twitter.com/KathJenkins

:::: SOURCE: Warner Bros. Records ::::

INTRODUCING GABRIEL JOHNSON

Modern jazz trumpeter, Gabriel Johnson, a graduate of the prestigious New England Conservatory of Music, and an active studio musician who has played and recorded with the likes of Jill Scott, Diddy, Andrea Bocelli, David Foster and B.o.B among others, will release the self-produced Introducing Gabriel Johnson on September 25 on his Sunset Horn imprint. Johnson, whose varied influences range from Miles Davis, to the Stones Throw Records label aesthetic of J-Dilla and Madlib, has created a vibrant wall-of-sound in which he blends the classic with the contemporary, for a sexy, raw, hip hop infused work. Johnson's modern jazz and hip hop blend provides the perfect backdrop for his trumpet playing to completely shine and take center stage.

The young trumpeter, who is managed by Erin Davis (son of Miles Davis), will perform at his record release party on September 20 at Catalina's Bar & Grill. He will also make his Tonight Show debut on October 10 as a featured soloist with Placido Domingo. Johnson will tour and perform throughout the fall, with additional dates to be announced.

Comments Johnson: "When I first started conceiving the sounds of Introducing Gabriel Johnson, I had been listening to a lot of music that was very simple and melodic, but had tremendous fire and depth once you really dug in and peeled off the layers…The Miles Davis and Gil Evans collaborations from the late 50s with their beautiful, intricate and simultaneously accessible harmonies, as well as those instant classic Madlib and J-Dilla records on Stones Throw, which had a huge influence on me. I also listened to D'Angelo's Voodoo, with it's utterly, raw sexiness which can never be overlooked in music."

Some might find this an odd connection, but to Johnson, it had everything he was looking for: It was melodic, accessible and highly enjoyable, with tremendous depth and complexity. Introducing Gabriel Johnson is comprised of 10 original compositions and three covers, with the lead single "Wait A Minute" being the catalyst for the rest of the album, with its simple melody and sparseness of the beat and harmony. Among the highlights include Johnson's brooding version of Radiohead's "Codex" off the 2011album The King Of Limbs, which provides a different take than the original version, while still retaining its powerful beauty and melancholy. Johnson says "I've always been a huge fan of Radiohead and was immediately taken aback when I first heard the song…I knew I had to do my own version."

Additional highlights include the raw hip hop infused "The Chief", a fresh take on the Gershwin classic "Summertime", the quirky "Jazz Cats," and the aptly titled "Old School." Throughout the record Johnson's trumpet soars front-and-center, showcasing his melodic creativity, infectious compositions and beautiful trumpet sound.

Gabriel Johnson is from Northern California. Earlier on, his greatest musical influence was his grandmother who preached the importance of the arts, and most importantly jazz. She encouraged him to check out Dizzy Gillespie at the Monterey Jazz Festival in 1989, where he also caught Freddie Hubbard. He was hooked. A career turning point came in 2007 when Clint Eastwood called upon him to be a featured soloist with the orchestra on his Golden Globes nominated score to Changeling, starring Angelina Jolie. Following the success of the Changeling soundtrack, Eastwood once again called upon Johnson to be the soloist in his Nelson Mandela biopic Invictus, which came out in December 2009.

Trumpeter Chris Botti, whom Johnson has also performed with, and counts as a major supporter, says “he has a beautiful and mature sound and I view him as the new standard for modern young trumpet players.”

For more information, including updated tour dates, please visit gabrieljohnsonmusic.com and facebook.com/gabrieljohnsonmusic. Following, please see Introducing Gabriel Johnson track listing with media preview link and tour dates.

TRACK LISTING
Wait A Minute
Jazz Cats
The Chief
Interlude 1
Quasimoto
Feel Like Makin' Love
Interlude 2
Summertime
Dexter
Old School
Interlude 3
Codex
Outro

*To listen, please see preview link: http://www.Gabrieljohnsonmusic.com/mediapreview

TOUR DATES & PERFORMANCES
9/20 CATALINA'S BAR & GRILL Hollywood, CA emcee KJAZZ's Bubba Jackson
9/23 SOHO RESTAURANT & MUSIC CLUB Santa Barbara, CA
9/28 MILES DAVIS HOUSE Los Angeles, CA (Tentative)
10/4 THE BLUE WHALE Los Angeles, CA
10/7 KJAZZ CHAMPAGNE BRUNCH @LOEWS HOLLYWOOD HOTEL Hollywood, CA
10/10 THE TONIGHT SHOW Los Angeles, CA
10/12 ALVAS SHOWROOM San Pedro, CA
10/19 THE BLUE NOTE New York, NY10/24
10/24 VIBRATO Bel Air, CA
11/9 SPAGHETTINI Seal Beach, CA

:::: SOURCE: PR Web ::::

 

BIG BAD VOODOO DADDY'S RATTLE THEM BONES # 1 NEW JAZZ RELEASE THIS WEEK!

New Video released for single "Diga Diga Do"

Band gears up for 20th Anniversary Celebration!

 Big Bad Voodoo Daddy, the award winning purveyors of American big band, jumpin' jazz and blues are back with an all new recording for Savoy Jazz, Rattle Them Bones—their ninth studio album. Released on September 4th, the album has made an impressive debut reaching #1 on the Jazz Album Chart on both iTunes and Amazon and was the highest debut on the Billboard Jazz Chart entering at # 2. Founding members Scotty Morris and Kurt Sodergren, plus the five other original members continue to keep their sound fresh coming off the 2009 release of their tribute to Cab Calloway. Described by NPR as an ensemble with "big-band ideas with a contemporary, high-energy flavor," All Music calls Rattle Them Bones, "Neo-crooner jazz…solidly crafted."
Produced by Morris and Joshua Levy with Big Bad Voodoo Daddy, the band has honed their musicality to a fine point, effortlessly striking a balance between respect for traditional jazz/blues/Dixie/swing and the original ideas they incorporate into the mix. Rattle Them Bones is in celebration of twenty years of bringing an irrepressible groove to adoring fans worldwide- a sound that spans many eras—think the prohibition era of "Boardwalk Empire" to the lounging swing of 60's "Mad Men." The band features Morris (vocals, guitar, banjo), Joshua Levy (piano, arranger), Kurt Sodergren (drums), Dirk Shumaker (acoustic bass, vocals), Glen "The Kid" Marhevka (trumpet), Karl Hunter (soprano, alto, tenor saxophones and clarinet) and Andy Rowley (baritone saxophone, vocals).

The album's first single is "Diga Diga Do" with a corresponding video featuring the band in full performance http://www.youtube.com/watch?v=MNC4QImD1N8.

With Rattle Them Bones, Big Bad Voodoo Daddy has put together a twelve track album of originals and hand-picked covers that would evoke a certain mood—a mood influenced by some surprisingly diverse sources ranging from Mark Twain to Randy Newman, Django Reinhardt to George Gershwin.

Since their arrival on the music scene in 1993 in a legendary residency at Los Angeles' Brown Derby nightclub, Big Bad Voodoo Daddy, named famously after an autograph by blues legend Albert Collins, have sold millions of records while their music has appeared in hundreds of movies and television shows. They have sold out shows from the Hollywood Bowl and Walt Disney Hall to Lincoln Center and Constitution Hall, while their videos have been regularly featured on MTV and VH1.

::: SOURCE: Savoy Jazz ::::

BEN HARPER - BY MY SIDE

GRAMMY®-winning musician and songwriter Ben Harper has selected his favorite ballads for a career-spanning retrospective titled By My Side, to be released October 16 by Virgin/EMI. The collection, available in CD and digital formats, features 12 of Harper's most unforgettable songs, including "Forever," "Diamonds On The Inside," and "Waiting On An Angel," and also introduces a new ballad, "Crazy Amazing," which is exclusive to this release. By My Side also includes a rare studio version of "Not Fire Not Ice," previously unreleased in the U.S., which until now was available only on the international single for "Ground On Down."

Harper will headline his first-ever solo acoustic tour this fall, beginning September 26 in Ann Arbor, MI and continuing to several other major cities across North America before heading to New Zealand and Australia. Billed as "An Acoustic Evening with Ben Harper," the tour will include Harper's first headline performance at New York City's Carnegie Hall on October 10. Ever since his acclaimed acoustic performance at the inaugural Bonnaroo Music Festival in 2002, Harper has been besieged by fan requests for this kind of intimate outing. He will perform songs from throughout his career – from his 1994 debut, Welcome to the Cruel World, to his latest album, 2011's critically acclaimed Give Till It's Gone.

A musician, songwriter, producer, and activist, Ben Harper has released 10 acclaimed studio albums and three live records since 1994. These albums, combined with an unceasing commitment to international touring, have helped him grow a fan base that now spans several continents. Whether the soul of southern Gospel, '70s funk, blues, reggae, or straightforward rock and roll, Harper and his trademark Weissenborn guitar continue to stun audiences with incendiary live performances and timeless songwriting. A collaborator by nature, Harper has recorded and performed with a long list of artists including Ringo Starr, Pearl Jam, Jackson Browne, Charlie Musselwhite, Tom Morello, Rickie Lee Jones, Taj Mahal, Jack Johnson and Vanessa De Matta. His album with the Blind Boys of Alabama, There Will Be A Light, earned two GRAMMY® Awards for Best Pop Instrumental Performance and Best Traditional Soul Gospel Album.

www.BenHarper.com

Ben Harper: By My Side [CD, digital]
1. Forever - Welcome To The Cruel World
2. By My Side - Fight For Your Mind
3. Gold To Me -Fight For Your Mind
4. Diamonds On The Inside -Diamonds On The Inside
5. In The Colors - Lifeline (with Innocent Criminals)
6. Beloved One - Burn To Shine
7. Not Fire Not Ice - ** Studio version, previously unreleased in the U.S. **
8. Morning Yearning - Both Sides Of The Gun
9. Feel Love - Give Till It's Gone
10. Happy Everafter In Your Eyes - Both Sides Of The Gun
11. Waiting On An Angel - Welcome To The Cruel World
12. Crazy Amazing - ** New song **

Ben Harper: "An Acoustic Evening with Ben Harper" Tour
9/26 - Ann Arbor, MI - Michigan Theater
9/27 - Chicago, IL - Cadillac Palace Theatre
9/29 - Toronto, ON - Massey Hall
10/1 - Montreal, QC - Maison Symphonique de Montreal
10/2 - Burlington, VT - Flynn Center for the Performing Arts
10/3 - Philadelphia, PA - Merriam Theater
10/5 - Boston, MA - Boston Opera House
10/6 - Portland, ME - State Theatre
10/7 - Northampton, MA - Calvin Theatre
10/10 - New York, NY - Carnegie Hall
11/2 - Wellington, NZ - Michael Fowler Centre
11/3 - Wellington, NZ - Michael Fowler Centre
11/5 - Auckland, NZ - ASB Theatre
11/6 - Auckland, NZ - ASB Theatre
11/8 - Canberra, AU - Canberra Theatre
11/9 - Brisbane, AU - Brisbane Convention Centre
11/10 - Melbourne, AU - The Plenary
11/12 - Sydney, AU - Sydney Opera House
11/13 - Sydney, AU - Sydney Opera House
11/14 - Sydney, AU - Sydney Opera House
11/15 - Sydney, AU - Sydney Opera House

:::: SOURCE: Virgin/EMI :::

QFM 94.3 FM SMOOTH JAZZ FROM TENERIFE SPAIN

Tenerife » Spain Jazz qmusica.com

The largest of the seven Canary Islands is the Spanish island Tenerife. Located in the Atlantic Ocean off of the coast of Africa, it is a beautiful location and the most populous of the Canaries as well. While it may seem like an exotic locale with not much in common with us in our hustling and bustling way of life out here in the Western world, there is actually a lot of commonalities with Tenerife and our lifestyles. For one, QFM 94.3 radio plays a great mix of jazz, soul, and blues that many North American listeners would find comforting and unique. When QFM hit the airwaves, a lot about Tenerife wasn’t known to the world. As a radio station, it focused on a local population and played a mix of music that most of us wouldn’t recognize.

But as time passed, Tenerife’s QFM 94.3 changed along with it. Today, you’ll find a great mix of funk, jazz, soul, blues, and world music on Tenerife’s radio station of choice. Grooves from over 100 countries now make up the playlists of QFM, giving a whole new sense of energy to the station and granting an international audience something to tap their feet to. Music from the Bahama Soul Club, hiGhFidElity, Fourplay ft Esperanza Spalding, Freddie Hubbard, Claus Zundel, Queen of the Gipsy, and more fill the airwaves with great musical selection the likes of which most of us here in the West have never heard. At the same time, the music on QFM sounds entirely familiar as the grooves from the instruments and the sounds of the voices create a universal sense of class and excitement that few among us can deny.

To connect with an international audience is a huge responsibility, but by using music from over 100 countries and expanding its horizons beyond smooth jazz, QFM 94.3 is breaking the boundaries that many American radio stations still hide behind. Done with demographics and forcing through on a new path, QFM rocks the house in Tenerife and is sexy and sassy enough to please any tourist or music fan from anywhere in the world. Check it out the next time you’re in the Canary Islands or listen online at qmusica.com.

Courtesy of Online Radio Live
http://www.onlineradiostations.com/radio-stations/spain/tenerife/qfm-94.3-smooth-jazz-music/details.html

WILLIE, ELVIS, LUTHER, JOHN DENVER, MORE COLLECT HOLIDAY BEST ON "CLASSIC CHRISTMAS ALBUM" RELEASES

Sleigh bells ring – are you listening?

Legacy Recordings certainly hopes you are, as a bounty of new holiday-themed collections is coming your way. The first Classic Christmas Album arrived last year, a compilation of Christmas favorites from Tony Bennett (including a previously-unreleased version of “What Child is This?”). More titles are on the horizon to make spirits bright this year, and we have details on five of them to share right now, with more news to come! On October 2, Legacy will release newly-compiled sets from Elvis Presley, John Denver, Kenny G, Willie Nelson and Luther Vandross. Each new collection offers 14 or more freshly-remastered tracks spanning the career of each artist, all of whom recorded multiple holiday albums, as well as contributing the odd holiday song elsewhere.

Perhaps the most-anthologized of these artists is Presley. With faith always paramount to the singer, he recorded a holiday album early in his career, via 1957’s Elvis’ Christmas Album. Elvis’ fourth album, it consisted of eight Christmas songs and four gospel traditionals which had previously been released on the Peace in the Valley EP. Seven of those eight tunes (all save “I’ll Be Home for Christmas”) reappear on his Classic Christmas Album. Seven more tracks come from his second holiday long-player, 1971’s The Wonderful World of Christmas, which was itself expanded last year by Follow That Dream. It’s rounded out by two tracks from 2008’s posthumous Christmas Duets and a 1966 single, “If Every Day Was Like Christmas.” Presley’s Christmas repertoire has been collected in every conceivable repackaging, perhaps most notably RCA’s 1994 If Every Day Was Like Christmas, but this new compilation is a reasonable place to start one’s immersion in the King’s Christmas magic.

Elvis recorded enough songs in the genre to be classified as a country-and-western legend himself, and he’s joined by two more country heroes. Willie Nelson staked his claim to holiday fame in 1979 with his Christmas classic Pretty Paper. The album, his last of the 1970s, was titled after the song he wrote in his early songwriting days, subsequently recorded by Roy Orbison in 1963. The entirety of Pretty Paper is included on Willie’s Classic Christmas Album, and it’s joined by four other tracks including the non-holiday (but certainly generous of spirit) “What a Wonderful World” and, “A Dreamer’s Holiday,” co-written by Kim Gannon (“I’ll Be Home for Christmas”) and Mabel Wayne. John Denver famously proclaimed in song, “Thank God I’m a country boy!” but he could frequently be found on the pop charts, too. His Classic Christmas Album entry samples eight tracks from his seminal 1975 Rocky Mountain Christmas plus one tune from its expanded CD edition. In addition, two tracks have been included from Denver’s A Christmas Together, his 1979 holiday foray with Jim Henson’s Muppets, and four from his 1990 Christmas Like a Lullaby. Denver didn’t restrict celebrating to Christmas albums, however; “Jingle Bells” was taken from 1970’s covers album Whose Garden Was This.

Legacy flashes forward to the 1990s and beyond with the final two entries in this batch, from two very different ends of the spectrum: Luther Vandross and Kenny G. Late soul man Vandross’ entire 1995 album This is Christmas has been included on his Classic Christmas Album, along with both songs from his Every Year, Every Christmas EP plus “The Christmas Song” and a live version of “Have Yourself a Merry Little Christmas.” Smooth jazz saxophonist Kenny G has released numerous holiday albums since 1994’s Miracles: The Holiday Album, and it’s no wonder why. In 1997, Miracles was named by Billboard as the best-selling Christmas album of the entire Nielsen/SoundScan era which began in 1991. By last Christmas, 2011, the multi-platinum best-seller had sold more than 7 million copies in the U.S. alone. In addition to five tracks from Miracles, seven tracks from its follow-up Faith have been included, two more from 2002’s Wishes and another two from 2005’s The Greatest Holiday Classics. Kenny G’s holiday oeuvre has already been collected on 2006’s The Holiday Collection, but his Classic Christmas Album bests that compilation by six tracks.

John Denver, The Classic Christmas Album (RCA/Legacy 88725 43775 2 8, 2012)
1. A Baby Just Like You
2.  The Christmas Song (Chestnuts Roasting on an Open Fire)
3.  White Christmas
4.  Christmas For Cowboys
5.  Please, Daddy (Don’t Get Drunk This Christmas)
6.  Blue Christmas
7.  Noel: Christmas Eve 1913
8.  Medley: Alfie, The Christmas Tree/Carol For A Christmas Tree/It’s In Everyone Of Us
9.  Coventry Carol
10.What Child Is This?
11.Christmas Like A Lullaby
12.The Marvelous Toy
13.O Holy Night
14.Aspenglow
15.Jingle Bells
16.Have Yourself A Merry Little Christmas

Tracks 1-2, 4-5, 9-10, 13-14 from Rocky Mountain Christmas, RCA, 1975
Track 3 from Rocky Mountain Christmas (Expanded Edition), RCA CD, 2005
Tracks 6, 11-12 & 16 from Christmas Like a Lullaby, Windstar CD, 199
Tracks 7-8 from John Denver and the Muppets: A Christmas Together, RCA, 1979
Track 15 from Whose Garden Was This, RCA, 1970

Kenny G. The Classic Christmas Album (Arista/Legacy 88725 41311 2 0, 2012)
1.  Winter Wonderland
2.  White Christmas
3.  Have Yourself A Merry Little Christmas
4.  Silent Night
5.  Silver Bells
6.  Let It Snow! Let It Snow! Let It Snow!
7.  The First Noel
8.  I’ll Be Home For Christmas
9. Sleigh Ride
10.The Christmas Song
11.Santa Claus Is Coming To Town
12.Joy To The World
13.Do You Hear What I Hear?
14.My Favorite Things
15.Jingle Bells
16.Auld Lang Syne

Tracks 1-5 from Miracles: The Holiday Album, Arista, 1994
Tracks 6-11, 16 from Faith: A Holiday Album, Arista, 1999
Tracks 12-13 from Wishes: A Holiday Album, Arista, 2002
Tracks 14-15 from The Greatest Holiday Classics, Arista, 2005

Willie Nelson, The Classic Christmas Album (Columbia/Legacy 88725 44531 2 3, 2012)
A Dreamer’s Holiday
White Christmas
Here Comes Santa Claus
Jingle Bells
Rudolph The Red-Nosed Reindeer
Winter Wonderland
Frosty The Snowman
Santa Claus Is Coming To Town
Pretty Paper
Blue Christmas
Christmas Blues
O Little Town Of Bethlehem
Away In A Manger
Joy To The World
What A Wonderful World
Silent Night, Holy Night

Track 1 from Without a Song, Columbia, 1983
Tracks 2-12, 16 from Pretty Paper, Columbia, 1979
Tracks 13-14 possibly from Christmas with Willie Nelson, Unison CD, 1994
Track 15 from What a Wonderful World, Columbia, 1988

Elvis Presley, The Classic Christmas Album (RCA/Legacy 88725 45538 2 3, 2012)
1.  I’ll Be Home For Christmas (with Carrie Underwood)
2.  Blue Christmas (with Martina McBride)
3.  Winter Wonderland
4.  The First Noel
5.  The Wonderful World Of Christmas
6.  Holly Leaves and Christmas Trees
7.  O Come, All Ye Faithful
8.  Merry Christmas Baby
9.  I’ll Be Home On Christmas Day
10.If Every Day Was Like Christmas
11.White Christmas
12.Silent Night
13.Here Comes Santa Claus (Right Down Santa Claus Lane)
14.O Little Town Of Bethlehem
15.Santa Claus Is Back In Town
16.Santa Bring My Baby Back (To Me)
17.Blue Christmas

Tracks 1-2 from Christmas Duets, RCA, 2008
Tracks 3-9 from Elvis Sings the Wonderful World of Christmas, RCA, 1971
Track 10 from RCA single 47-8950, 1966
Tracks 11-17 from Elvis’ Christmas Album, RCA, 1957

Luther Vandross, The Classic Christmas Album (Epic/Legacy 88691 96832 2 6, 2012)
The Christmas Song
My Favorite Things
Have Yourself A Merry Little Christmas
The Mistletoe Jam (Everybody Kiss Somebody)
With A Christmas Heart
I Listen To The Bells (Duet with Darlene Love)
A Kiss For Christmas
Every Year, Every Christmas
This Is Christmas
Please Come Home For Christmas
O Come All Ye Faithful
Have Yourself A Merry Little Christmas (Live)
May Christmas Bring You Happiness
At Christmas Time

Track 1 from A Very Special Christmas 2, A&M CD 31454 0003 2, 1992
Tracks 2-11 from This is Christmas, Epic CD 481312 2, 1995
Track 12 TBD
Tracks 13-14 from Every Year, Every Christmas, Epic CD ESK 7395, 1995

All discographical information to the best of our knowledge only.

:::: SOURCE: The Second Disc ::::

AMANOVA – ON A SMOOTHY WAY

Earlier this year we posted a story about French singer Amanova who at the time was in the midst of producing her debut EP. Her just-released CD has finally been released and is entitled On A Smoothy Way.

On A Smoothy Way consists of  six original songs written by Amanova that sport laid back jazz sounds as well as refreshing sounding musical arrangements. On all of this, Amanova and her collaborators (including David Fourney and Philippe Gatto) strike a great balance as Amanova proves herself to be a fine interpreter and song stylist.

It’s really hard to pinpoint which of the six tracks is a standout as each one is pleasant to listen to, however, if I had to pick on, it would have to be the lead track “What A Way To Be” which I confess to listening to over a dozen times already. Another favorite is “When I’m Dreaming Of New Orleans” which is reminiscient of a Louis Armstrong New Orleans’ inspired arrangement, with plenty of satisfying horn arrangements mixed within. The horn on this track by the way is beautifully played by Patrice Lerech.

There is no denying that this collection of jazzy tunes, each wrapped in an understated jazz arrangement, represents an amazing piece of work from Amanova. On A Smoothy Way as a whole has a stripped-down style that emphasizes her voice’s natural beauty which is ideally suited to the material.

On A Smoothy Way tracklist:
1. What A Way To Be (3:36)
2. Red (3:57)
3. Call Me (3:18)
4. When I’m Dreaming Of New Orleans (3:31)
5. Then Will Come The Chance (3:51)
6. Unstoppable (4:08)

Musicians:
Amanova – lead vocals, background vocals
Philippe Gato – keyboards, arrangements, programming
Dominique Gatto – saxophone, flute
David Dore – guitar
Eric Goubert – clarinet
Patrice Lerech - horn

www.amanova.net

NEW RELEASES - THE BROTHERS JOHNSON, ORNETTE COLEMAN, JOHN BARRY

THE BROTHERS JOHNSON - BLAM

Blam is right – an all-out batch of funky tracks from The Brothers Johnson – captured here right in the middle of their classic period with Quincy Jones! The Q's at the helm on production for the set, and the record's a great extension of their earlier efforts with the man – but a bit more Johnson-tuned (if we can say that in mixed company) – with the bass upfront on some of the best numbers, and a surprisingly strong male ballad approach on some of the gentler tunes. There's a slightly jazzy undercurrent at times, and tracks include "Rocket Countdown/Blastoff", "Ride-O-Rocket", "Streetwave", "Blam", "So You Won't Stay", "Ain't We Funkin Now", and "Mista Cool". CD also features the bonus single mix of "Ride-O-Rocket".

ORNETTE COLEMAN – CHAPPAQUA SUITE

One of Ornette Coleman's most groundbreaking albums – a set that takes his best free jazz energy of the 60s, and expands it out into the space of a longer suite – all originally designed as a film soundtrack, then never used in the movie at all! Yet even without the film placement, the album's one of Coleman's greatest – a unique blend of his best small combo 60s energy with some larger orchestrations that really go way out – mixing tones and modes from the soloists against a larger backdrop of woodwinds and strings. The result is mindblowing – very open-ended and freewheeling, yet filled with soul too – thanks to great alto and trumpet from Ornette, and raw tenor from Pharoah Sanders – working in the core quartet with David Izenzon on bass and Charles Moffett on drums. The set features one long double-length piece – four sides' worth of amazing music!

JOHN BARRY – BODY HEAT

A really wonderful later score from John Barry – and key proof of the maturity he really hit in his music during the 80s! There's a style here that goes way beyond most of his soundtracks of the 60s – and even of the 70s – a depth of feeling and jazzy approach that's almost like some of the best vintage work by Johnny Mandel! The orchestrations are sublime – handled by Al Woodbury with a really careful balance of strings and solo instrumentation – the greatest of which is the alto sax of Ronny Lang, which blows out wonderfully on most of the score's best numbers. Titles include "Main Title", "I'm Weak", "Chapeau Grits", "Busted", "Surprise", and "Oscar". This beautiful 2CD package is filled with a huge amount of tracks – not just the 13 numbers of the original album, but an additional 47 numbers – including tracks from the film, demos, and other great bits.

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

MARCHIO BOSSA - RADIO BOSSA CHANNEL

Marchio Bossa’s swansong melds Bossanova style of the 1960s and '70s with modern soul and funk, together with classy horn arrangements, all sung in English, Italian, and Portuguese. Have faith, friends, there are still intelligent and elegant songwriters in the world, with songs that feature more than three chords, lyrics that endlessly intone 'baby, baby, baby', and monotonous bass lines designed merely to blow out our car speakers. Thanks to the efforts of Bari (Italy)-based brothers Piero and Pippo Lombardo, one can enjoy this musical intelligence on the latest – and last – album from Marchio Bossa, Radio Bossa Channel.

The twelve-member southern Italian ensemble, produced and recorded at Azzurra Music (Venice) by veteran Mr. Marco Rossi, paints a veritable landscape of aural delights on the final album expected from the troupe. After a decade together, the Lombardo Brothers are focusing future efforts on a new project with Cámera Soul (also known in English as “Soul Chamber”) and leaving the suave sounds of the 1960s and 1970s behind. One can hear lead writer Piero Lombardo’s attempt to cross over to a more “soulful” sound, even in his work with Marchio Bossa.

In earlier efforts, Marchio Bossa’s signature sound remained within the straight-ahead, cool Brazilian-bossa realm that appealed to dedicated fans of the genre. However, beginning with Italian Bossa Bar (2010), the Lombardos began to write more complex harmonies in keeping with legendary soul songwriters, such as Maurice White (Earth, Wind & Fire), Lionel Richie, and Stevie Wonder. These modern harmonies, found on a few tracks on Italian Bossa Bar (i.e. “Ama” and “Your Smile”), translated well into Camera Soul’s debut album in 2012, Words Don’t Speak, and the Lombardo Brothers’ transition from writing strictly for a straight-ahead jazz ensemble to a modern soul and dance combo was made.

With the exception of “Maravilha”, however, Radio Bossa Channel generally tends to stay true to Marchio Bossa’s traditional Latin jazz roots. The compositions are deceptively complex and elegant behind the scenes, but clean and simple in delivery, led effortlessly by Francesca Leone’s soft, relaxing, pitch-perfect, and round vocal style.

As in earlier Marchio Bossa efforts, the members of the Lombardo Brothers’ group offer clean, flawless, and gorgeous playing within each chart’s deep harmonic structures, not only in the guitar chords, light bass lines, and phrasing, but also in piano solos and iconic horn lines (featuring trumpet and saxes on this effort.) Pippo Lombardo delivers well on charts such as the self-titled track, with a beautifully-constructed (and all too short!) piano solo. As the solos never tend to stray beyond one chorus, no horn solos are featured, and all twelve tracks remain under five minutes, it is evident that Marchio Bossa intends this album to be for commercial release and radio airplay.

On the other hand, due to the complex horn lines, one could argue that the group is also attempting to continue to appeal to devoted Latin jazz lovers. It is a delicate balance, but due to Marco Rossi’s talented production and the Lombardo Brothers’ writing, Radio Bossa Channel achieves it. I am just sorry to hear that this is the group’s swansong album, but am also heartened that the Lombardo Brothers will continue to write great music under the guise of Camera Soul.

WALDEMAR BASTOS - CLASSICS OF MY SOUL

Album Featuring London Symphony Orchestra Already Garnering Success in Native Angola and Europe

"His voice, the overwhelming fervor with which he sings these songs is simply amazing!" - MSN Germany

"Waldemar Bastos is one of the greatest voices to come out of Angola, maybe even Africa!" - Mondomix France

Stream Tracks From Classics of My Soul

Renowned world musician Waldemar Bastos' sixth studio album, Classics of My Soul, was released in the United States on September 11th, 2012. The record, which was produced by Derek Nakamato and features players such as percussionist Luis Conte, guitarist Mitchell Long and pianist Keiko Matsui among others in support of Bastos' acoustic guitar and singing, was released in his native Angola in 2010. Recorded in Los Angeles and London, Classics of My Soul now returns to the shores where it was crafted.

"The new album has a different sound," says Bastos. "I believe that we are in a moment of Peace in Angola, the first steps of democracy, and this of course fulfills your spirit with joy. It also reflects itself in the music and the music is the reflection of my state of mind. All these ingredients made the album more profound and cheerful."

Nakamato, who Bastos met while working on the U2 Tribute album, In the Name of Love - Africa Celebrates U2, said, "After many conversations with Waldemar, we decided the foundation of this record would be his voice and unique acoustic guitar playing. After we recorded all of the basic tracks and lead vocals, my role as producer was simply to listen to what the music needed. It was important to Waldemar that this project would take place without a record company or any person that would have influence on the music or its direction. My commitment to him was that this was to be 'his record.' With his distinguished career and numerous recordings, I clearly sensed that there was something more he wished to achieve with this project.

Waldemar remarked to me that these songs presented on Classics of My Soul are very special and close to his heart, even more important treasures to the people of Angola. This album was to celebrate their spirit and not his ego. I remember an instance where he sang a vocal that astounded us in the room and upon listening to it on playback, Waldemar looked at me and said, 'No, the performance is too much about me and the song IS NOT about me. Let me do it again.' With a very subtle shift the emotion of the song reflected the lyric and not the dramatic performances of 'singer.' His intent always was very clear."

Among the host of musicians chosen to take part in the album, Bastos and Nakamato also went to London where, with the help of conductor Nick Ingman, they recorded the London Symphony Orchestra for four of the album's tracks. Bastos says, "my music is defined by my own life experiences, praise for Angolan identity, and a call for universal brotherhood. It is gratifying for me to hear critics say, as it recently happened in the USA, that my music is universal. That it is not a regional music, but instead for people everywhere."

Waldemar Bastos was born near the border with Zaire in N'Banza Congo, a little town which was the first capital city of the ancient kingdom of Angola. He started singing at a very early age. Bastos describes his musical childhood as such,"When I was a child, my mother soon realized I had a very special musical gift. I used to spend my days singing and whistling, and my mother noticed that as something out of the ordinary...and she gave me all her support. One day, my father arrived home and found me playing his concertina. I felt bad for having been caught touching, without permission, an instrument which was almost sacred for him. But he was pleasantly surprised, I think he was even satisfied, to hear me playing popular radio songs. In the following Christmas he gave an accordion as a gift." From there, Bastos would dedicate himself wholeheartedly to music, traveling around Angola and playing everything from pop and rock to waltzes and tangos.

In the meantime, Angola won its independence and followed the long socialist road. Feeling burdened by the repressing role of the government in the arts, Bastos defected to Portugal in 1982 and later to Berlin and from thereto Brazil, where he became acquainted with some well known musicians, such as Chico Buarque, João do Vale, Elba Ramalho, Djavan and Clara Nunes who had been in Angola in the late seventies. Bastos' career bloomed during his time away from his homeland. His debut, Estamos Juntos, was released by EMI-Odeon while the musician lived and worked in Brazil, with the acclaimed sophomore release, Angola Minha Namorada, following in 1990 when Bastos had returned to Portugal.

All the while the musician continued to be in the Angolan spotlight. In 1990 he gave a memorable concert to an audience of 200,000 in Luanda's Kinaxixe Square and returned two years later on the heels of his third album, Pitanga Madura. Bastos says, "given the fact that an effervescent historical moment was taking place, if, on the one hand, these circumstances brought me joy, on the other hand, I felt great apprehension because of the way I was being claimed by both sides. The situation became, again, dangerous for me, and I understood it was not the right moment to stay in Angola."

While travelling through Lisbon, David Byrne, the mastermind of Luaka Bop record label, and ex-leader of the Talking Heads, bought, by chance, a record of the Angolan singer in a downtown Lisbon shop. Soon after that Bastos would be featured on the album Afropea - Telling Stories to the Sea, an anthology of Lusophone artists issued by Luaka Bop. Afterwards there was Pretaluz/Blacklight, recorded in NYC, produced by Arto Lindsay, and issued by Luaka Bop. The New York Times described it as "one of the best World music records of the decade" and was included in Tom Moon's book 1000 Recordings to Hear Before You Die. In the aftermath of Pretaluz/Blacklight, Bastos won the "Award for the Emerging Artist of the Year (1999)".

In 1998, Bastos was discovered by the European audience and media after his successful tours in Europe as the opening act at the UNESCO Festival "Don't forget Africa" in June 2000 in the Canary Islands. Later in the year he was invited by Mr. Ruichi Sakamoto to take part in the Zero Landmine project in cooperation with international artists like Arto Lindsay, Brian Eno, David Sylvian, Jacques Morelenbaum. Other accomplishments include three of his compositions being featured in the Hollywood movie, The Sweepers. He has also received several invitations by Monacan royalty Prince Ernst August von Hanover and Princess Caroline von Hanover in the course of which he also gave a private concert for Rainier III. In 2003 the Angolan war ended after 30 years and Bastos was invited to celebrate this very special day in a remarkable performance in the national stadium in Luanda.

"The message of the new album is the congregation of beauty, love, fraternity and to unite the people through music," says Bastos. "For me the music has the function of breaking barriers and helping to create a better world, that is what I believe."

Waldemar Bastos EPK
Classics of My Soul - Track Listing:
1. M'biri! M'biri! - 5:36 *
2. Humbi Humbi Yangue - 5:33
3. Teresa Ana - 5:16
4. Tata Ku Matadi - 6:04
5. Pôr do Sol - 6:07
6. Aurora - 5:08 *
7. Muxima - 5:18
8. Calção Roto no Rabo - 6:19
9. Perto e Longe - 5:53 *
10. N'Duva - 4:14 **
11. Velha Xica - 5:35 *

*featuring the London Symphony Orchestra
** featuring Keiko Matsui

waldemarbastos.com
enjarecords.com

:::: SOURCE: DL Media ::::

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