JOY ROAD: THE COMPLETE WORKS OF PEPPER ADAMS

"Jazz buffs say the late baritone saxophonist is under-appreciated; the Joy Road digital box set gives him his due." - Jerry Shriver, USA Today


"Nice hop to the music, a classic jazz vocals album sound. Tasteful accompaniment, and easy to like. Very happy with the inclusion of Alexander and LaBarbera... this is music they can sink their teeth into." - J. Edward Keyes, eMusic

"The Joy Road project is obviously a labor of the love for Pepper Adams by Gary Carner. It deserves consideration for a Grammy award for the best jazz box set." - Audiophile Audition

How do you bring attention to the compositional genius of a jazz artist, who, though internationally beloved by colleagues as one of the greatest baritone saxophonists to ever live, has been marginalized by history books and ignored as a composer? That, in sum, presents the quixotic challenge taken on by Gary Carner with his digital box set, JOY ROAD: The Complete Works of Pepper Adams (Volumes 1-5), coming September 11 from Motéma Music, and his exhaustively researched book, Pepper Adams' Joy Road: An Annotated Discography, out simultaneously from Scarecrow Press.

In connection with these two grand undertakings, Motéma will also release two physical CDs: a stand-alone version of Volume 5, I Carry Your Heart: Alexis Cole Sings Pepper Adams, singled out because it documents the first-ever versions of Adams' music to be paired with lyrics; and the JOY ROAD SAMPLER, a CD of highlights from the digital box set that shall be made available for sale in stores and online.

Via Carner's new literary and musical JOY ROAD offerings, the world will get a fresh and unbridled take on this musical giant. Pepper Adams (1930-1986) "was loved by everyone in the industry," says Carner, a noted jazz historian, as well as the owner of the gourmet wine brokerage, Sommelier Direct, LLC. "The fact that he allowed me into his confidence back in the 1980's," says Carner, "opened my entire life, my entire world into the jazz community." After meeting in 1984, the two became close friends, with Carner doing extensive interviews to help Adams write his autobiography. Sadly, in 1986, Adams was cut down in his prime by cancer. In the wake of his loss, Carner's literary intentions were forced to take a turn, resulting in the annotated discography eventually released by Scarecrow this August, as well as a full-length biography that is still in the works.

"Days before Adams died," Carner explains, "pianist Tommy Flanagan, Pepper's closest friend, was by his bedside. He later told me that Pepper weakly motioned toward my unfinished manuscript on the nightstand, as if to say 'please make sure my legacy gets out there.' When I heard that story," Carner continues, "I knew I had to finish this work. The guy was an absolute genius as a musician, as a stylist, and as a composer... incredible! I needed to let the world know about those three things, especially the compositions."

Now, 28 years after meeting Adams, Carner's labor of love is complete. But what about the amazing Pepper compositions that Carner discovered along the way, mostly on out-of-print discs? The only way to introduce the world to all 43 tunes as a collection would be to produce contemporary recordings of the Adams songbook -- a passionate undertaking, to say the least.

Carner chose to highlight the versatility of Adams' compositions by placing the music in different settings. He engaged Chicago pianist Jeremy Kahn to record Volume 1 in a trio format. Next, Carner tapped the fine Atlanta-based pianist Kevin Bales to assemble a quartet for Volume 2 with guitarist Barry Greene featured. New York based baritone sax man, Frank Basile, presides over a sextet for Volume 3; and for Volume 4, Carner brought Kahn back with his trio and special guest, Gary Smulyan, who is Adams' chief acolyte and was just voted Baritone Saxophonist of the Year for 2012 by the Jazz Journalists Association.

With Volumes 1-4, the 43-composition oeuvre was complete, but Carner had one more mission to fulfill. He had heard of Pepper's unfulfilled wish to have lyrics set to his seven ballads. So, for the vital fifth volume, Carner engaged poet Barry Wallenstein (one of his literary mentors) to pen original lyrics. Award-winning vocalist and one of five finalists in this year's Sarah Vaughan International Vocal Competition, Alexis Cole (also a Motéma artist), performs on this session, arranged and led by Jeremy Kahn, with both Eric Alexander and Pat LaBarbera featured on tenor saxes.

The fifth volume completes Carner's massive tribute on a highly original note. Resetting Adams' seven ballads in different tempos and styles, and pairing them with Wallenstein's richly literary lyrics, serves as an especially fitting tribute to the creative, witty, well-read jazz legend who had named many of his compositions after famous literary works, such as "Lovers of Their Time". The songs also add seven luscious new additions to the vocal jazz canon.

Carner's historically detailed liner notes provide important career facts about the bari giant, who played with virtually every major jazz legend. There are also amusing anecdotes about the genesis of each song in the collection. The JOY ROAD SAMPLER includes an abridged version of the notes from the Complete Works set.

To launch his new book and music offerings, Carner has collaborated with Motéma to co-opt his regularly scheduled Sommelier Direct fall wine sales route, and turn it into a 30-city JOY ROAD release tour, in which he will preside over book and CD signings; emcee live music performances of Pepper's music; do radio publicity stops; and give college lectures... with wine tastings all along the way!

Live music highlights on the tour include: Jeremy Kahn performing Pepper Adams at The Chicago Jazz Festival (Sept. 2); the star-studded PEPPER ADAMS JOY ROAD CELEBRATION NYC (September 24 -30); an Adams' birthday celebration led by Pat LaBarbera in Toronto (10/6), and a Pepper Adams week in Los Angeles featuring Gary Smulyan, Dale Fielder, and Eric Reed.

The New York City week is the most lavish. It kicks off with special big-band charts which will honor Pepper Adams, performed by the Grammy® winning Vanguard Jazz Orchestra (in which Adams once held the baritone chair); there is an Alexis Cole CD release at Smoke (9/26); a spectacular performance dubbed "The Three Baris" at Ginny's Supper Club in Harlem (Sept 29) - The Three Baris are: Frank Basile, Ronnie Cuber, and Gary Smulyan. They will be backed by famed Pepper Adams' collaborators, George Mraz (bass), Don Friedman (piano) and Kenny Washington (drums). And, to top off the Pepper feast, Birdland Jazz Club will present new Bevan Manson string quartet arrangements of Adams' ballads; a tribute to Pepper by world renowned composer David Amram; and on that double-billed evening, a special feature with Arturo O'Farrill and Lew Tabackin.

As for the jazz musicians participating around the country, Carner is thrilled at their enthusiasm: "They have all been flipping out for the chance to participate; there's so much love for Adams. That's really what it's about; it all gets back to the heart. People are coming out of the woodwork."

One more key aspect to the JOY ROAD tour is that the JOY ROAD SAMPLER has been selected as the inaugural release from Motéma's new Jazz For Wine Lovers series. Two of Carner's Sommelier Direct boutique vineyard clients, Standing Stone Vineyards, Stangeland Vineyards, and Hannah Nicole Vineyards have come on board as co-sponsors for the JOY ROAD release. A free song download of the title track, "JOY ROAD", will be given to each person who joins the email list at JazzForWineLovers.com this fall.

"It's about passion," Carner adds. "Motéma's passion for the art form, the passion of the winemakers (who are all jazz fans), and my love for Pepper. Love and passion move the world."

Pepper Adams JOY ROAD Celebration in New York City, September 24-30
* A Pepper Passport is available that provides for entrance to all NYC shows at one reduced price + complimentary wine. There is also a lower priced Wine Passport available that grants free gourmet wine at five of the venues. For sale exclusively at JazzForWineLovers.com.

Monday, September 24 @ Village Vanguard
178 Seventh Avenue South, New York, NY
The Vanguard Jazz Orchestra Honors Pepper Adams: Special Charts and Special Guests and Special Tributes to the late Baritone Saxophonist / Two Sets: 9PM and 11PM

Tuesday, September 25th @ Smoke Jazz and Supper Club
2751 Broadway, New York, NY
Mike Ledonne's "The Hammond B3 Meets Pepper Adams" featuring Mike LeDonne (Hammond B3), Gary Smulyan (baritone sax), Peter Bernstein (guitar), and Joe Farnsworth (drums) / Three Sets: 7PM, 9PM, and 10:30PM

Wednesday, September 26th @ Smoke Jazz and Supper Club
2751 Broadway, New York, NY
Alexis Cole CD Release Event - I Carry Your Heart: Alexis Cole Sings Pepper Adams featuring Alexis Cole (vocals), Adam Birnbaum (piano), Bob Mover (tenor sax), Jim Cammack (bass), Clarence Penn (drums) / Three Sets: 7PM, 9PM, and 10:30pm

Friday, September 28th @ Smalls Jazz Club
183 West 10th Street, New York, NY
The Frank Basile Sextet Plays Pepper Adams featuring Frank Basile (baritone sax), John Mosca (trombone), Joe Magnarelli (trumpet), Adam Birnbaum (piano), David Wong (bass), and Tim Horner (drums) / Two Sets: 7:30PM and 8:45PM

Friday, September 28 @ The Blue Note
131 W. 3rd St., New York, NY
Rising Funk/Jazz Saxophonist Lakecia Benjamin & Soul Squad include a funked out Pepper Adams tune in her late night groove set featuring special guest Akie Bermiss / One Set: 12:30AM

Saturday, September 29th @ Ginny's Supper Club at The Red Rooster in Harlem
310 Lenox Avenue, New York, NY
The Three Baris Play Pepper: featuring Frank Basile, Ronnie Cuber, and Gary Smulyan with Don Friedman (piano), George Mraz (bass), and Kenny Washington (drums). There is a wine tasting 30 minutes before each set. Two Sets: 9:00PM and 10:30PM

Sunday, September 30th @ Birdland Jazz Club
315 West 44th Street, New York, NY
Double Bill: Urban Dreams and String Quartets: The Arturo O'Farrill Trio plus special guest, Lew Tabackin (sax and flute), Perform Works of Pepper Adams plus The World Premiere of new arrangements of Pepper Adams compositions for String Quartet by Bevan Manson, and a new String Quartet composition by David Amram, dedicated to Pepper Adams, featuring: Gary Smulyan (bari sax) and George Mraz (bass). Two shows: 9PM and 11PM.

Pepper Adams · JOY ROAD Projects
Motéma Music · Release Date: September 11, 2012

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

ANIMATION - TRANSPARENT HEART

"This was a prime example of jazz musicians stretching beyond the usual acoustic limitations of their instruments to create a disturbing yet compelling new sound world." - Mike Flynn, JazzWise

"Transparent Heart is one of the most captivating recordings I have heard in years. The ability to transform human emotions on such highly charged topics through the primary use of instrumentation alone is a monumental feat." - Brent Black, Critical Jazz

Stream Tracks From Transparent Heart

Following on the heels of Animation's 2010 RareNoiseRecords debut, Asiento, and 2011's Agemo, saxophonist-composer-bandleader Bob Belden tells his own story on Transparent Heart. With his new Animation lineup consisting of young musicians hired from his alma mater, the University of North Texas (23-year-old keyboardist Roberto Verastegui, 24-year-old bassist Jacob Smith, 29-year-old trumpeter Pete Clagett and 20-year-old drummer Matt Young), Belden unveils a dark narrative as heard through the musical diary he has composed over 29 years of living in Manhattan.

 imposing electronic noir masterwork, Transparent Heart travels from Belden's initial awestruck impressions of New York City ("Terra Incognito") to his feelings of foreboding ("Urbanoia") and hope ("Cry in the Wind") as a city dweller on Manhattan's Upper West Side, to the pervasive angst of post-9/11 Manhattan ("Seven Towers," "Provocatism"). He also addresses the mass exodus of artists from the city ("Vanishment") and concludes his musical memoir with the clash of the social classes manifested in the Occupy Wall Street movement ("Occupy!"). Belden has concocted a powerful, provocative suite of music that is charged by the intensely driving, highly intuitive playing of his young energetic Animation band mates.

"This record is not a jazz record, it's about my life in Manhattan," says the Grammy® Award-winning composer-arranger-producer. "In essence, the music on Transparent Heart is a reflection of the lingering tension since 9/11. It's an honest look at Manhattan through music."

The concept for Transparent Heart has been in the making for more than 30 years. "I first visited Manhattan in 1979 when I was with Woody Herman's band. I'll never forget seeing the dark shadows, steam rising from the streets, crowds of strange people lingering in Times Square well past midnight, all the tall buildings and how they created a post-gothic canyon effect. That's 'Terra Incognito,' a term used by local residents to describe Central Park above 96th street. Darwinistic Urban Gentrification. The uncertain outcome of riding the subway late at night. Alphabet City. Bonfire of the Vanities. AIDS. Subway Gunman. Guardian Angels. Central Park jogger. Preppie murder. Sparks Steakhouse. That's 'Urbanoia.'"

"Cry in the Wind," with Clagett's muted trumpet carrying the melancholy theme reflects another Manhattan experience, "One night from inside my ground-floor studio apartment I heard the voice of a woman crying for help faintly mixed with the sound of the wind and rustling tree leaves. Bringing my phone outside, I saw this woman who had just been stabbed, and called 911. She reached up, grabbed my hand, and didn't let go until the ambulance got there. I helped this woman live because I cared. This tune is about hearing the cries in the wind of extreme loneliness and helplessness that are heard all the time throughout the city."

The darkly propulsive title track echoes the hard-hitting production that Bill Laswell brought to Herbie Hancock's 1983 hit single "Rock It." To listen to Transparent Heart is to think about Manhattan's self-reflective nature exemplified by extreme conflicts between physical/corporatist and social/humanist structures and the perpetual sense of energy that is created and dissipated illogically in light and shadow.
"Seven Towers" is Belden's reaction to the terrorist attacks on the World Trade Center. As Belden reflects, "9/11 is a reaction to the power and influence that capital, centered in Manhattan and symbolically the World Trade Center, has on parts of the world, in the form of abject terrorism. I watched it happen from Chambers street in Lower Manhattan. This tune recreates my own autobiographical timeline of 9/11. It starts with the NORAD radio broadcast finding out a plane hit the North Tower; followed by the NYPD and NYFD responding. It's very haunting. I believe that this moment has defined the course of history for Manhattan as well as the world at large. This album is offered in deep respect to those who lost their lives that morning of September 11, 2001 and to the families that have to live with this loss forever."

"Provocatism" reflects the immediate aftermath of 9/11. "People fled the city as companies anticipated an economic downturn, laying off thousands upon thousands of workers. For years there were constant alerts, color-coded like a crayon book. Many small business, dependent on the World Trade Center complex, died after 9/11-replaced by the ubiquitous chain store, coffee shop, and branch-bank. The intense build up of the New York Police Department to the point of having one of the largest standing armies in the world, placing citizens under surveillance on the streets and in the subways-'stop and frisk' developed from this Quasi-military policing initiative."

""Vanishment" refers to the exodus of artists and musicians who couldn't afford to live in Manhattan anymore to a point where the localized creative culture is now gone. Musicians work here in the clubs, but don't live here. And you have this influx of college student musicians who have no real attachment to the city-it becomes a line on a resume. Thus, Manhattan post-9/11 is very different from the Manhattan that existed when I moved here in 1983."

The final track, "Occupy!" is the most intense and harrowing of Belden's musical memoir. His turbulent ode to the Occupy Wall Street movement is imbued with the sounds of screams and violence in the streets during clashes between protesters and police. "The Occupy movement is based on a psychological philosophy rather than political or industrial. These people are angry and frustrated with nowhere else to address their grievances, so they take to the streets-essentially declaring a philosophical war on Manhattan."

The musicians on Transparent Heart are the most talented of their generation, performing complex operatic improvisations, sounds, and textures. They are serious musicians deep into the subtle and not-so-subtle nature of this music. That they are virtually unknown to the jazz public is a blessing, as you will hear them tabula rasa, with no conditions on what to expect. From this point on you will expect greatness from each one of them.

For Belden, Transparent Heart is a musical tool to get people to think about social issues. "Music must be returned to its place as a social engineer; provoking thought amongst society. This record is not about tunes, solos, and arrangements, it's a way of telling a story that has something to do with my life, OUR lives, and for anyone who has ever landed with excitement, wonder, fear, and hope on this tiny island off of the coast of the United States. It's not being a musician, but rather a citizen."

Transparent Heart Track/Personnel Listing:
Produced by Bob Belden
All compositions by Bob Belden
1. Terra Incognito - 3:18
2. Urbanoia - 14:29
3. Cry In The Wind - 2:43
4. Transparent Heart - 7:27
5. Seven Towers - 16:32
6. Provocatism - 12:45
7. Vanishment - 3:52
8. Occupy! - 15:48

Bob Belden: soprano saxophone and alto flute
Pete Clagett: trumpet and effects
Jacob Smith: bass
Roberto Verastegui: keyboards and samplers
Matt Young: drums

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

EUGE GROOVE - HOUSE OF GROOVE

For centuries music has been utilized throughout the globe for its therapeutic and cathartic properties. Chart-topping multi-instrumentalist, Euge Groove, one of the most sought after instrumentalists on the scene, taps into the power of music’s innate abilities on his third Shanachie Entertainment recording, House Of Groove. Euge Groove shares, “In all that is going on in everyone's lives, my own included, I hope people can remove themselves and connect with the emotions of where I was coming from when writing this album. It's far too easy to get caught up on the dark side of things going on all around us. I hope that the music’s positive vibe reaches people.” A quadruple threat, the saxophonist, composer, producer and DJ, Euge Groove, has built an impressive career as a free spirit who remains true to his own artistic vision. It is no wonder the charismatic saxophonist has been able to record a string of #1 hits and garner a devoted following. His wide ranging musical tastes, impeccable musicianship and keen showmanship have planted him on world tours with such icons as Rock `N' Roll Hall of Famer Tina Turner, Joe Cocker. Eros Ramazotti, Richard Marx, Tower of Power, and Huey Lewis and the News

House Of Groove, Euge Groove’s eighth recording as a leader, is a revealing glimpse into the creative forces that influence the dynamic musician and the physical space where his creative ideas flourish - The Groove House, where he lives and records in Southern California. “It was a friend that pointed out that he thought the album was written in my happy place,” shares Euge. “I am very happy right now. That's not to say I don't have stress and anxiety. But at almost 50 years young, I think I've better learned how to separate worrying about things I can change and not worrying about those I can't. I'm not apathetic but I just try to keep it in perspective.” The down to earth musician’s Zen perspective is humorously reflected in his email signature that reads, “I will no longer be accepting bad news on Fridays. If you must deliver bad news, please do so on the following Monday. Your attention to this matter is greatly appreciated.”

House Of Groove showcases ten sublime originals that underscore why Euge Groove is a master of conjuring rich emotion and melody. The self-professed techie loves to stay abreast of the emerging studio gear and believes that you have to wholly commit yourself to the recording process to allow its musical direction to evolve organically. “With each album I can more comfortably lock myself in my studio and put everything I have into the process,” confides Euge. “I love getting new recording tools as they come out. I think being one with the DAW (Digital Audio Workstation) is essential these days. The creativity is instant. It's not filtered through someone else. You don't have to compromise anything. It's liberating.” Euge Groove’s approach to the recording process is one of patience and intuition. “I’ve learned over the years you can't force anything. When the music starts to take on its own direction, you have to be willing to just ride with,” shares the consummate artist who moonlights as a DJ on www.smoothjazz247.com He can be heard weekly on Thursdays from 4PM to 6PM PST online and on the Iphone app sky.fm.

Euge Groove programs all the tracks on House Of Groove and is featured on the tenor and soprano saxophones, flute and Hammond B3. He is united by a solid cast of musicians including pianist and keyboardist Tracy Carter, bassist Cornelius Mims, guitarists Paul Brown and John “Jubu” Smith, drummers Trevor Lawrence and Dan Needham, percussionist Lenny Castro and trumpeter Lee Thornberg.

House Of Groove was recorded over an eighth month period. “While I was making this recording, I spent most of the time by myself immersed in the music. This album will be a success to me if the intimacy I felt making this album translates to my fans who listen to and experience this music.” shares Euge.

The saxophonist’s new album opens with the jubilant and lyrical “Knock! Knock! Who’s There?,” which sets the tone for a thrilling musical foray. The inspiration for the opener might not be so obvious as it draws upon the influence of a famous English poet and playwright. “I have a habit of naming my opening songs after something from Shakespeare. It goes back to my very first album in Y2K. I had written the first track on that album a few years earlier while I was on tour in Italy,” explains Euge Groove. “I had a few days off in Verona, which was the home of Romeo and Juliet. I visited the balcony and rubbed the bronze breast of Juliet for good luck. The whole experience left an impression on me. So when I got back to my hotel room, I wrote the song Romeo and Juliet. This latest one is ‘Knock Knock who's there?’ Which is from ‘Macbeth.’ Which is what started all the knock knock jokes oddly enough!” The album’s title track and new single is a soulful number highlighting Euge’s big burly tenor caressing a funky swing groove. The song pays homage to Euge’s home base and recording studio that fuels his creative energy. “I really feel the songs on this album capture the spirit and energy that friends and family bring to the Groove House.” The feel good vibe permeates House Of Groove with songs like “Fellowship Hall” featuring Euge’s ethereal soprano and “Lampin’ It,” which opens with the buttery Fender Rhodes of Tracy Carter and then unfolds into Euge’s sensuous serenading tenor. Also included is “old.edu (Old School)” which beautifully summons an old school 70s ‘get on the dance floor’ kind of feel. “I've never done a song with that old school four on the floor beat, so that's what I went for on this. I slapped a huge Euge layered sax section on it and it just felt great!” exclaims the reedman.

A special highlight on House Of Groove is an unforgettable duet with celebrated R&B crooner Jeffrey Osborne called “Never Met a Woman Like You,” which Osborne co-wrote. The dynamic duo delivers a riveting performance. Euge shares, “I wanted to give Jeffrey a track reminiscent of his LTD days. He just nails the vibe on this one. It's a fun song. It's always important for me that when there is a vocal song on an instrumental album, that the sax isn't an afterthought. I think writing it from the ground up with that in mind makes for a better collaboration.” Euge invites two additional singers to collaborate on House Of Groove, young New York based singer/songwriter Chioma who co-wrote the ballad “It’s Only Rain” and Kate Miner Moebel, who is featured on the moving gospel tinged and country inflected ballad “God Bless You.” When Euge wrote the lyrics to “God Bless You,” Kate’s voice immediately came to mind. “I got in touch with Kate who used to lead the worship music at a church I went to years ago. I always remembered her voice. She sounds like an angel on it.” A master at creating timeless ballads, Euge’s dreamy “Indian Summer” is another standout. House Of Groove also features the heart-warming and tender gospel number “Faithful Central.” “After I finished cutting this song, the guys were doing this dance and I asked them what they were doing, and they said they were doing the choir dance from Faithful Central,” recalls Euge. “Faithful is a big church out here where pianist Tracy Carter is one of the music directors. He just put his church vibe into the song, and I had to honor where it came from. It just feels very honest.”

Born Steven Eugene Grove in Hagerstown, Maryland, Euge Groove grew up in a musical home. His mother played piano and taught the Cherub choir at Christ Lutheran Church and he began his own musical pursuits at the age of seven, piano and adding the saxophone at nine. But for Euge it was in elementary school where he discovered that music was his calling. “In fifth grade I thought I'd be in school band the rest of my life.” He later discovered two saxophonists who had a profound affect on his approach to playing.

“One was French classical player Marcel Mule, who really defined what the sax was supposed to sound like for me and the the other was David Sanborn. He took that sound and brought it into the mainstream world,” reminisces the worldly saxophonist. Through the years, Euge’s love of jazz, R&B, gospel and blues have all come together to inform his personalized sound.

He explains “I've listened to everyone from Grover (Washington Jr.) and (David) Sanborn to (Charlie) Parker and (John) Coltrane as well as (Michael) Brecker, (Stan) Getz, King Curtis, Junior Walker, Richard Elliott and Kirk Whalum. The thing is, the more mature we become the more those influences fuse into something new. I always listened to a lot of R&B growing up, fused that with pop music, then with the gospel music. Hopefully all of these influences come through in my music and I am able to create my own unique expression.”

A graduate of the University of Miami's School of Music, Euge launched his professional career in Miami in the mid 80s, playing in salsa bands, top 40 club bands and doing the occasional high profile session date like Expose's “Seasons Change,” a #1 Billboard AC hit. Not long after he moved to L.A. in 1987, he wrote a track for Richard Elliot's The Power Of Suggestion album, and Elliot recommended Euge to take over his spot in Tower of Power. Euge toured with TOP for four years, including a year backing Huey Lewis & The News. His resume grew from there to include recording, touring or performing stints with Joe Cocker, The Eurythmics, The Gap Band, Elton John, Bonnie Raitt, Aaron Neville and Richard Marx. Marx included Euge's horn on “Keep Coming Back,” a #1 AC hit duet he recorded with Luther Vandross.

In 1999, coming off the road after two years of touring with popular Italian singer Eros Ramazotti and Joe Cocker, the saxophonist paved the way for his eventual solo stardom by recording some tracks of his own. Without a record label to distribute the music, Euge put his songs on the now-defunct MP3.com website, dubbing himself “Euge Groove” and downloading started almost immediately, and Euge was soon topping theMP3.com jazz chart. He signed soon thereafter with Warner Bros. “Vinyl,” his first single from his self-titled Warner Bros. debut, set a record by spending 27 weeks on the R&R charts, eventually ranking at #24 for the year. Play Date kept the trend going with two more #1 radio hits, “Slam Dunk” and “Rewind.” In 2004, Euge Groove's Narada debut, Livin' Large, spent 68 weeks on the Billboard charts, debuted at #4 and came in at #25 overall for 2004. "Livin' Large," the single, was the #5 most played song for 2004 on the R&R singles chart. "XXL" spent 36 weeks on the radio chart. Just Feels Right followed in 2005 and it's first single "Get Em Goin'," was #1 for two months. Born To Groove followed in 2007 and featured several chart-topping singles. Euge Groove's Shanachie debut was in 2009 and included the #1 smash hit title track and the top five single “All For You.” 2011 saw the release of S7ven Large whose title track scored yet a #1 hit.

Euge Groove concludes, “I've had a crazy blessed life and career. In a way, I feel like the hardest thing is just trying to keep it all going. There is a lot of intensity in this business with things coming at you from all directions. I just like to take it all one step at a time and enjoy the moment. To paraphrase Bill Withers, while your on your way to greatness, tale a minute to look around and enjoy where you are. Because that spot might be pretty OK.”

:::: SOURCE: eugegroove.com ::::

NEW RELEASES - STANLEY COWELL, CHARLES CHA CHA SHAW, MULLGREW MILLER & KLUVER'S BIG BAND

STANLEY COWELL - IT'S TIME

Sublime trio work from pianist Stanley Cowell – a player who's held us rapt with attention for decades – and continues to earn our faith with great records like this! The album features Cowell on piano, and a bit of kalimba – which is mighty nice – working with bassist Tom DiCarlo and drummer Chris Brown – both younger players who really seem to get Cowell's groove, especially in the more complicated moments – of which there are a few. The set begins with two great originals by Stanley – "Cosmology" and "El Space O" – then moves into the great "Asian Art Suite", which is really one of the most unusual, exotic things we've heard from Cowell in years! That music is then offset by the long "Civil Rights Suite" – which has bolder overtones to match its social message – and the set then concludes with two more standalone compositions by Cowell – "Long Vamp" and the classic "Abstrutions". ~ Dusty Groove

CHARLES CHA CHA SHAW - INTO MORNING

A rough-edged batch of spiritual jazz tracks from trumpeter Charles "Cha Cha" Shaw (not to be confused with Charles "Bo Bo" Shaw) – recorded in an open-ended loft jazz mode with a really open, echoey feel! The album's a rare 70s jazz date on the Folkways label, and it's almost got the freer, open sound of an ESP session from a decade before – experimental jazz that's very much at the fringes, but also played with some of the spirituality of the post-Coltrane generation. Shaw's trumpet has a really earthy sort of feel – blown with a great sense of personality, and a sound that's almost heart-wrenching at times – especially on some of the more modal numbers. Other players include Brian Ross on tenor, Billy Lyes on piano and guitar, and Ronnie Boykins on bass. Boykins is really the only player we know here from other records – and titles include the nicely grooving "KZ", plus "Juggety", "Super Slik", and "Eternal". (Super-heavy vinyl and cover – feels like a vintage record on Folkways! Includes download card.) ~ Dusty Groove

MULLGREW MILLER & KLUVER'S BIG BAND - GREW'S TUNE

Mulgrew Miller in a really fresh setting – working here as a key soloist in a European big band – one that seems especially tuned to the lyrical beauty of Miller's music! All tunes are originals by Mulgrew, re-arranged by various group members – turned into these full-on flights that really take off from the start – giving us an even broader imagining of the soulful visions that Miller's always had in his work. Mulgrew gets to solo plenty – and other key players include Michael Bladt and Claus Waitlow on tenor, Soren Bo Addemos on guitar, Rasmus Bogelund on trumpet, and Niels Lyhne Lokkegaard on alto – all of whom solo in the set. Titles include "Thinking Out Loud", "Return Trip", "Samba D'Blue", "Hand In Hand", "Grew's Tune", and "When You Get There". ~ Dusty Groove

MASSIMO DE MATTIA - BLACK NOVEL

There is something unique about Massimo De Mattia in the world of Italian jazz and improvisational music. After spending the 1980s learning and playing with talented peers and the saxophonist Tom Kirk, his hard bop language turned down the path of free improvisation, a predominant but not exclusive characteristic of his music.

All of his recordings, beginning with his first, Poesie Pour Pasolini (1993) reflect this journey. With absolute relentless determination, he experimented with different scenarios: the solo, small groups, orchestras and multidisciplinary performance (theater, figurative arts, and cinema). What makes De Mattia stand out is the thoroughness and consistency with which he explored these different contexts.

For the past decade, De Mattia has focused on working continuously with one small band. The idea was to try to find musicians and a way of working together that was not like the dictates of mainstream jazz. What he sought was something organic or even a living “organism” where the musicians’ roles were not fixed. As the band’s members and instruments changed, the only constant was the piano that was there from the start.

Each change added resonance and personality to the “organism”, taking it towards a powerful, flexible and tight kind of music, which we see stronger than ever in this album. In these snapshot compositions, the lyrical aspect prevails, Full Blue dedicated to a friend’s passing, or tension taken to breaking point in Tortured Flowers. The rhythmic layering constantly changes with urgent pulsing and cyclical repetitions. Passages are deconstructed and reconstructed with all musicians playing continuously.

We see this in Black Novel, where the double bass is the axis on which the entire piece spins and which all other instruments follow, while at the same time the bass emerges as a true story-telling soloist.

This is a work which casts musical improvisation toward uncharted territories, but has its roots in history. It has an air of late 1970s free jazz about it, Loft Jazz, as well as contemporary overtones, but there’s no repetition of the past here. This is a breath of fresh air heralding the rediscovery of freedom.

:::: SOURCE: Rudi Records ::::

PONCHO SANCHEZ AND HIS LATIN JAZZ BAND LIVE IN HOLLYWOOD

Given all the ups and downs the music industry has experienced in the past three decades, it’s remarkable to find anyone who still retains a sense of allegiance or loyalty. Master Conguero, Band Leader and Latin Jazz Legend Poncho Sanchez is the exception. Thirty years ago, his close friend, multi-instrumentalist jazz icon Cal Tjader recommended he sign with Carl Jefferson’s Concord Records. Tjader told him that Jefferson was looking for new talent and he highly recommended Sanchez. Jefferson gave Poncho a one record deal with his Concord Picante imprint, and the rest is Latin Jazz history. Thirty years and 26 albums later, Sanchez, whose Live in Hollywood recording is set for digital release September 25, 2012 on Concord Picante, is still with the label; even though he had plenty of opportunity to leave in the late ’90s. (There will be a physical release October 30, 2012, international release dates may vary.)

“When Carl died, Concord was in a big mess,” says Sanchez. “They were going to lose the whole thing. People in the office were calling me and telling me they were trying to raise money. I knew they were in big trouble. I started getting phone calls from other labels interested in signing me. I was strong enough to say, ‘I’m going to hang on and see what happens.’ Concord hung on, and they have always let me do what I want to do. C’mon, man. Where do you get that privilege? They don’t do that with everybody. It’s like a family to me. I love them and here we are 30 years later.”

Recorded over the summer at the Hollywood & Highland KKJZ Summer Concert Series, Live in Hollywood features Sanchez and his Latin Jazz Band at their best. The album opens as the live show did – with the swinging tune “Promenade.” Sanchez follows the tune up with the first-ever “Poncho Sanchez Medley.” He says it’s a concept that he and his music director Francisco Torres have discussed for years.

“Francisco told me ten years ago that I should do a medley of my tunes,” says Sanchez. “I said, ‘Ah, my songs aren’t that great; they’re just alright.’ I wanted to move on to new stuff and I didn’t pay too much attention. Then he told me again that we should do a medley for the live album and I agreed. I thought it would be cool to start with ‘Mi Negra’ and ‘Baila Baila’ and with the last one we step it up a notch and go a little faster.”

Now, Sanchez says he’s working on another medley he’ll include on his next album. “I say, ‘What the hell. You ain’t gonna stop me now!’”

In addition, Sanchez pays tribute to two of his biggest influences – keyboardist, composer and arranger Clare Fischer and Latin Jazz percussionist Mongo Santamaria. Fischer helped Sanchez get his first record deal with Discovery, the label for which he recorded before joining Concord in 1982.

“Clare was a harmonic genius,” says Sanchez. “He wrote beautiful tunes and I knew these tunes when I was in junior high school. When I met him, I told him how much I loved ‘Morning’ and ‘Pensativa’ and ‘I Remember Spring.’ Then when we did our first record, at the last minute, we recorded ‘Baile Mi Gente,’ the first song I ever wrote, with Clare Fischer. We needed one more seven-minute song. I was done. I didn’t have any more songs. Then, Clare said, ‘Why don’t we do “Morning?”’ [Saxophonist/Flutist] Gary Foster said, ‘Let’s do “Morning” as a cha-cha.’ He got the Flute out and I told him to try it on the Alto. That was the hit on the album and that’s why I did it on Live in Hollywood. That’s how that all came together.”

Sanchez also delivers a high-energy rendition of “Afro Blue” that serves as a tribute to the late Santamaria, whom he considers a good friend and important influence. When Sanchez performed at the Hollywood & Highland concert, he introduced the song by talking about what an inspiration Santamaria was to him. While Sanchez’s brief commentary didn’t make it onto the album, the song still stands a worthy tribute.

“He was my hero in life,” Sanchez says of Santamaria. “I opened that song up with a little thing by myself, which is a Rhumba I sing. It’s an old Cuban street song. I did that off the top of my head. And then, boom, I set the time into ‘Afro Blue.’ He is my all time favorite Conga drummer. I even named my son Mambo.”

The album closes with the vigorous “Son Son Charari,” which Sanchez introduces by exclaiming, “Alright, it’s time for a little salsa!”

“I wanted to end the night with a hot salsa number and there are a few more I could have done,” says Sanchez. “I always liked ‘Son Son Charari’ and that song did very, very well in Puerto Rico. They used to play it on the radio all the time.”

For Sanchez, who turned 60 this year and will receive A Lifetime Achievement Award from the Latin Recording Academy at a November 14, 2012 ceremony in Las Vegas. Being able to make a living playing music is a dream come true. As a teen, Sanchez first learned to play guitar from “the guy across the street” because he couldn’t afford to buy an instrument and his friend would let him borrow his guitar. He then gravitated to percussion after his siblings introduced him to the music that was then called cha-cha music.

I’ve been involved with this from the beginning but just as a listener when I was a young boy,” he says. “I never dreamed it would happen that I would become a professional musician. You go with the flow and you go with your heart and what feels right, and now I know it feels right because this is how I made living for my whole life. I’m not braggin’ but I did pretty well for a guy from the neighborhood.”

:::: SOURCE: Concord Music Group ::::

JAMES BROWN REISSUES - IT'S A MAN'S MAN'S MAN'S WORLD, I GOT YOU (I FEEL GOOD), PAPA'S GOT A BRAND NEW BAG

JAMES BROWN - IT'S A MAN'S MAN'S MAN'S WORLD

James Brown, proud and loud – a smoking 60s album that provides a great link between his earlier styles and his freer roots – with a brilliant blend of funk, soul, and a touch of raw R&B! Given the power of The Godfather at this point, there's no denying that even the older cuts have a punch that few others could match – making for a record that feels mighty darn unified, despite the stretch of time between a few of the recordings. Titles include the funky gems "Ain't That a Groove (pts 1 & 2)", "The Scratch", "Is It Yes or Is It No", and James' great version of "The Bells" that's always been one of our favorites – plus Just You & Me", "I Love You Yes I Do", "Come Over Here", and "I Don't Mind". The cover also comes with an "autographed" photo of James on the back with the text "James Brown Fans – Frame This 8 x 10 Picture" – and an image that says "Soul Brother #1 Is Peeking At You Thru The Key Hole"! (SHMCD pressing.)

JAMES BROWN - I GOT YOU (I FEEL GOOD)

Quite possibly THE James Brown album of the mid 60s – a solid set of hard-grooving tracks, based around the monster title hit "I Got You (I Feel Good)"! The tune's one of those numbers that has been used a gajillion times over the years in commercials and promos – but which never sounds better than here, on James' original version – one of those cuts that never gets old! The hit's also nicely offset by a number of other more obscure numbers that make the album really worth tracking down – titles that include "I Can't Help It (I Just Do Do Do)", "Good Good Lovin", "I've Got Money", "Three Hearts In A Tangle", "You've Got The Power", and "Love Don't Love Nobody" – all on the rougher side of the JB spectrum. (SHMCD pressing.)

JAMES BROWN - PAPA'S GOT A BRAND NEW BAG

Here's where things really started getting interesting for James Brown! The album was issued right around the same time as James' single "Out Of Sight" on Smash – and like that track, "Papa's Got A Brand New Bag" was one of the first to use that "instruments on the beat" style of funk that would dominate all of James' work in years to come – that amazing groove that completely turned soul music on its ear – and paved the way for generations to come! The result is a startling sound that forever changed the face of groove – and you'll hear it nicely placed on this album, along with great cuts like "Cross Firing", "Mashed Potatoes USA", "Doin The Limbo", and "Love Don't Love Nobody". (SHMCD pressing.)

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

NEW RELEASES - DR. LONNIE SMITH, WADADA LEO SMITH / LOUIS MOHOLO, ELLIOT SHARP'S TERRAPLANE

DR. LONNIE SMITH - THE HEALER

Lonnie Smith's a musician who's really taken off in recent years – hardly content to rest on his well-earned laurels in jazz, and definitely not a player who's willing to reduce himself to familiar cliches designed to please a crowd looking for an old school sound! Instead, he's continued to grow strongly – reaching for new sounds, new modes of expression, and new ways of opening up on the Hammond – light years from his early work of the 60s and 70s! A record like this is a great document of that growth – amazing trio tracks that have some of the most righteous sounds that Smith's ever recorded – really far-reaching and free, yet still plenty soulful too – a balance we never would have expected from Lonnie back in the day. Each tune is a treasure – and the energy in the group is great, thanks to work on guitar from Jonathan Kreisberg and drums by Jamire Williams. All tracks are nice and long – and titles include "Beehive", "Dapper Dan", "Pilgrimage", "Backtrack", and "Mellow Mood".

WADADA LEO SMITH / LOUIS MOHOLO - ANCESTORS

Tremendous duets between these two seasoned players – a set that really lives up to the best energy of both musicians! Smith's trumpet is especially nice – stretched-out, soulful, and flowing – with a quality that really takes us back to his more dynamic recordings of the 70s – and Moholo, as always, is a monster on the drum kit – working the whole thing with effortless ease, and shifting his strength and timing to meet the musical modes from Leo. The set features the extended "Ancestors" suite – plus "Jackson Pollock Action", "Siholaro", "Moholo Moholo/Golden Spirit", and "No Name In The Street James Baldwin".
Sky Road Songs

ELLIOT SHARP'S TERRAPLANE - SKY ROAD SONGS

An interesting project from Elliott Sharp – a set that mixes his older downtown sounds with some surprising rootsy elements – all in a blend that really helps his music stretch out strongly! Sharp's guitar work is still incredible – whether arch and arty, or acoustic and bluesy – and the album features a mix of instrumental workouts and vocal numbers – with lyrics sung by Tracie Morris, Eric Mingus, and Joe Mardin. Hubert Sumlin plays some guest guitar, and Curtis Fowlkes adds a bit of trombone – and titles include "Fade To Noir", "This House Is For Sale", "Endless Path", "Banking Blues", "I Blame You", and "Off The Hook".

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

VINCE GUARALDI TRIO - A CHARLIE BROWN CHRISTMAS [2012 REMASTERED & EXPANDED EDITION]

The new deluxe CD reissue features 24-bit remastering from original stereo masters and three holiday bonus tracks. A green vinyl LP edition will also be issued.

Vince Guaraldi Trio’s A Charlie Brown Christmas [2012 Remastered & Expanded Edition] will be released by the Fantasy label in time for the holidays. One of the most popular and beloved holiday albums of all time, the multi-platinum-selling original soundtrack recording was a Library of Congress National Recording Registry inductee on May 23, 2012 and a Grammy Hall of Fame inductee in 2007.

The 2012 Remastered & Expanded Edition CD will feature the original 1965 recording newly remastered with 24-bit technology from the original analog stereo master tapes. It also contains three holiday bonus tracks that did not appear on the original LP: “Greensleeves,” “Thanksgiving Theme,” and “Great Pumpkin Waltz.” The digi package includes a 20-page booklet featuring memorable Peanuts character images from the beloved A Charlie Brown Christmas television special and engaging new liner notes by Peanuts and Vince Guaraldi historian Derrick Bang, author of Vince Guaraldi at the Piano (McFarland Press). Concurrently, Fantasy will issue a 2012 LP pressing of the classic album on green vinyl.

When Guaraldi’s Charlie Brown Christmas album was inducted into the Library of Congress, the Library’s media release noted, “A Charlie Brown Christmas introduced jazz to millions of listeners.” According to annotator and Guaraldi biographer Bang, “The importance of [that] sentence can not be overstated.” Children all over the world who had resisted jazz as the music of their parents were given an introduction. Berkeley-based Fantasy Records wisely released a soundtrack LP of the San Franciscan pianist’s work on the show. (Completing the Northern California scenario, Peanuts creator Charles M. Schulz built his final studio in Santa Rosa, and it’s there where the Charles M. Schulz Museum was established as a permanent home to Snoopy and the gang. So too the sweet voices heard on “Hark the Herald Angels Sing” are from San Rafael’s St. Paul’s Church Children’s Choir.)

Just as Frank Capra’s It’s a Wonderful Life became part of the American Christmas experience, CBS Television achieved the same result with A Charlie Brown Christmas. At the same time, any jazz-resisting viewers found themselves thoroughly absorbed.

For this new edition of the soundtrack for A Charlie Brown Christmas, reissue producer Nick Phillips and remastering impresario Joe Tarantino resurrected the original stereo analog master tapes along with the original stereo mixes. Longtime fans may have purchased the album before, but the sonic differences between the new edition and the album’s debut CD released in 1988 are vastly different, since analog-to-digital conversion has improved over the past quarter century as a side-by-side listening comparison will reveal.

The album’s centerpiece track, today as it was in 1965, is “Christmas Time Is Here,” particularly the long, soulful instrumental version that clocks in at just over six minutes.

As the humble Guaraldi told critic Ralph J. Gleason in 1958, “I don’t think I’m a great piano player, but I would like to be able to have people like me, to play pretty tunes and reach the audience.” That wish was granted in a way that far exceeded anything he could have imagined. Derrick Bang summarizes it perfectly: “I’d say Guaraldi got his heart’s desire.”

:::: SOURCE: Concord Records ::::

CHRIS RIZIK: FOR URBAN ADULT RADIO TO KEEP ITS AUDIENCES, IT MUST STOP UNDERESTIMATING THEM

It began as a sanctuary, turned into a melting pot and now may be heading toward irrelevance. So goes the quarter century history of urban adult contemporary (UAC) radio, once the fastest growing format on radio. Even as the share of music bought by adults is increasing, the radio format originally formed for adults may soon be gasping for air, mostly from self-inflicted wounds.

It shouldn’t be this way. As urban radio was slowly becoming synonymous with “hip hop radio,” UAC (called “the Mix” in several markets) developed as the alternative, a place that may have begun with Luther, Anita and a bunch of oldies but developed into a tremendously fertile ground for both established artists and independents who wanted to reach an adult audience. A decade ago, it was a place where listeners could catch everything from soul to gospel to smooth jazz in a single spot. It wasn’t unusual to hear new music from artists like Smokie Norful, Sade, Charlie Wilson, Regina Belle and Mary J. Blige, back to back.

While some broadcast stations labeled as UAC are still fighting to keep those broad playlists (a good example is Howard University’s WHUR), for the most part the wide palette that was UAC has changed significantly over the past decade. A virtually unregulated consolidation of stations has removed the local touch from UAC and has altered the corporate view of its purpose, resulting in changes that have turned the once promising format into a predictable narrowcast. The "new" UAC strategy, using oldies to appeal to age 35+ listeners and new songs to appeal to younger adult listeners (age 25-35) who’ve graduated from urban hits radio, has hatched a schizophrenic mess. It is an odd combination of overplayed 70s and 80s hits (with such repetition they’ve forever ruined songs like “Sweet Love” and “A House Is Not A Home” for me) and down tempo hip-hop influenced new songs.

The format as it now exists relies on two fallacies, both of which underestimate the listeners: One is that older listeners only want to hear artists from the ‘70s and ‘80s. And not just that, they only want to listen to the 3 or 4 biggest hits of those artists. The other fallacy is that, in order to be palatable to younger adult listeners, any new music should be just a smoothed out version of urban hits radio. As one commentator put it, “Urban radio is where you hear Usher’s new hit. UAC is where you hear Usher’s new ballad.”

The rather insulting assumption that older audiences only want to hear the familiar has led to odd consequences for established artists: Longtime UAC favorites now find themselves unable to get airplay on their new music, even as their past hits are in heavy rotation. “That’s The Way of the World” may be played daily on your favorite UAC station, but you’re much less likely to hear Earth Wind & Fire’s new song “Guiding Lights.” Even Anita Baker, long the standard bearer of UAC, recognized the problem and introduced her new album with a cover of Tyrese’s “Lately,” essentially creating an instant “oldie” that fit the prejudices of UAC programming.

Things are even worse for younger artists whose natural sound may emanate from jazz, folk or soul. They are virtually forced to add hip hop elements (often teaming with hip hop artists) if they want a chance of airplay, and they'd better not feature electric guitar (a foundation of R&B bands for three decades), as that has become a prohibited instrument on new UAC songs. I would argue that the founding Holy Trinity of UAC, Anita Baker, Luther Vandross and Sade, wouldn’t get airplay if they were new artists today. So talented young singers like Vivian Green are issuing hip hop flavored singles that are, at best, awkward fits for their talents, but are obviously designed to meet the required UAC formula. The almost laughable consequence of these contortions is that Lil’ Wayne, through his guest appearances on several releases of other singers, has become one of the biggest artists on urban adult contemporary radio. Yes, Lil’ Wayne.

At its peak in the ‘90s and early ‘00s, UAC was a format that spoke to a broad spectrum of music fans weary from the race to the bottom of urban hits radio, and it appealed through a fairly open funnel of new sounds. But, with some notable exceptions, it has lost its way. The market for adult music has never been stronger, yet ratings for UAC broadcast stations in many cities like my hometown of Detroit are dipping, victims of narrow thinking at the highest level. And, unless they recalibrate soon, these stations may lose adult audiences for good. Those listeners are showing they will go to new sources to find music, and their numbers continue to grow on Pandora, Spotify, satellite and internet radio, even as UAC – a format created for them – becomes less relevant to their lives.

So where does the format go from here? There is still an opportunity for UAC to win back its audiences, but first it must stop underestimating them. It begins with overhauling the playlists, digging deeper into the catalogs of classic artists (trust me, Earth Wind & Fire really did release songs after “Reasons”) and taking the less traveled approach of searching for fresh, varied new adult-oriented music (including those with soul, rock, jazz, gospel or world influences) rather than taking the “safe” route of securing more of the same watered down hip hop sounds that dominate UAC today. There are many talented, passionate people working in UAC radio who are hamstrung from doing what they know is right. For the life of the format, they need to be set free to put away the marketing consultant reports and become music people again. There is a treasure trove of new music that continues to come out from major label and independent adult-oriented artists like Martin Luther, Anthony David, Sy Smith, Gregory Porter, Kindred, Mama’s Gun, Avery*Sunshine, Bilal, Nadir, Eric Roberson and Angela Johnson – music that covers a much wider spectrum of styles than is currently in vogue on UAC radio. Ultimately, the answer is deceptively simple: what UAC needs to deliver is what radio, at its best, has always brought to listeners: a sense of place, connection and, most of all, discovery.

By Chris Rizik
:::: SOURCE: Soul Tracks.com::::

NEW RELEASES - THE BALEARIC SOUND OF SADE, JOSE JAMES, BRIAN OWENS

THE BALEARIC SOUND OF SADE

Sunkissed Records continues to turnout the choice Balearic cuts with the third installment of their The Balearic Sound Of series. This time around the focus is on Sade who we all know has a deep catalog of smooth slow burners. As usual Sunkissed comes through with ace picks. I gotta give the label credit for doing their diligence and unearthing some hard to find mixes and b-sides. These are the smooth and deadly tracks that will keep the summer vibes going long after the leaves have all turned brown. Tracks: Hang On To Your Love (U.S. Remix); Super Bient Total (Extended Mix); Turn My Back On You (Extended 12 Inch Mix); and Siempre Hay Esperanza. - Reviewed by Joey Coco 09/2012 / Turntable Lab

JOSE JAMES - IT'S ALL OVER YOUR BODY- iTUNES EXCLUSIVE EP


Singer-songwriter José James has signed to EMI's Blue Note Records and is set to release his full-length label debut No Beginning No End on January 22. However, fans need not wait until then to get a taste of James' intoxicating blend of jazz, hip-hop, and R&B.  The vocalist has released the four-track "It's All Over Your Body EP" today exclusively through iTunes. "It's All Over Your Body" is also available now as a single through all other digital retailers and streaming services. iTunes is also currently featuring James' song "Trouble" as their free Single of the Week. Track listing: 1. It's All Over Your Body (album version); 2. Trouble (album version); 3. It's All Over Your Body (Spinna remix); 4. It's All Over Your Body (Spinna remix instrumental) and 5. Come To My Door (acoustic) ~ Blue Note Records

BRIAN OWENS - MOODS & MESSAGES

The first we've heard from St, Louis singer Brian Owens – and it's one of the better neo-classic soul records we've stocked in a little while! Brian has and old school reverent approach, but does his thing with fresh, unique perspective. He's a solid singer and songwriter – with a style that'll appeal to anyone with a love for classic soul. Brian's also a veteran, having served in Afghanastan and elsewhere in the Middle East – managing to sing of those experiences in a way that transcends politics and ideology – and doing so in universally soulful way. Impressive stuff! Includes "Soul Anthem (Bring It Back)", "Keep Movin On", "I Just Want To Feel Alright", "Open (Lovely Day)", "Beautiful Love", "Let's Get Out", "Oh I", "Troubled Man", "The Answer (PS: If You Wanna Feel Alright)" and more. ~ Dusty Groove

NEW RELEASES- GIRLS FROM BAHIA, DOS CAFUNDOS, CARLOS LYRA

GIRLS FROM BAHIA (QUARTETO EM CY) - PARDON MY ENGLISH

A very groovy record with a very fitting title – especially once you hear the lyrics of the tunes! The Girls From Bahia are actually the Quarteto Em Cy – one of the best harmony groups of the bossa era, and famous for classic recordings on the Elenco label – but working here in a rare American context that has them singing in English with heavily accented voices! The overall setting's quite similar to their Brazilian classics – gentle bossa backings arranged by Oscar Castro Neves, who brings an airy feel to the set – and it's great to hear the girls singing here in English, in ways that link back to the older harmony groups that clearly inspired them. The whole thing's incredibly charming, and titles include "Surfing In Rio", "Tup A Tup", "The Face I Love", "Canto De Ossanha", "Image", "Useless Landscape", "Tears", "Voce", and "Pardon My English". CD also features the bonus tracks "Berimbau", "I Live To Love", and "Amaralina Beach". ~ Dusty Groove

DOS CAFUNDOS - CAPITAO CORACAO

One of the more far out-sounding records we've heard on Far Out Records – a wild one from Rio's Dos Cafundos! It's a sometimes funky, sometimes noisy, but always dexterously musical batch of brilliant movements – with strains of noise rock and jazz, a la Zorn and Zappa – plus raw Tropical funk. It's never predictable, even if they wear myriad influences pretty proudly on their sleeves! The guitar playing is excellent – with lots of both acoustic and electric – plus heavy drums and percussion, flutes, violin and other elements. It almost sounds more like something we'd hear on Ipecac Records than Far Out – but the Brazilian roots are still very strong! Includes "Coriza", "Disse Me Disse". "Tupraca", "Carnica (O Barao Da Birosca)", "Carranca", "Un -Berum" and the 5-part epic title track. ~ Dusty Groove

CARLOS LYRA - CARLOS LYRA  

An overlooked 70s treasure from the great Carlos Lyra – and quite a different set than his more famous work of the bossa nova generation! The album's got some really wonderful electric piano – used in ways that help soften and deepen the feel of Lyra's aging vocals – similar to the early 70s music of Joao Donato, yet pitched with a different vibe overall. Some tunes are deeply personal, while others are upbeat and groovy – and titles include "Tem Do De Mim", "Feio Nao E Bonito", "So Mesmo Por Amo", "Quando Chegares", "Amar E Vivre", "Barquinho De Papel" and "Cante Uma Cancao". ~ Dusty Groove

NEW RELEASES - CLAUDIO SCOLARI PROJECT WITH DANIELE CAVALCA / SIMONE SCOLARI, MAX MERSENY, HELIOCENTRIC COUNTERBLAST

CLAUDIO SCOLARI PROJECT WITH DANIELE CAVALCA / SIMONE SCOLARI - SYNTHESIS

Synthesis is the second album from this young music project by Claudio Scolari, Daniele Cavalca and Simone Scolari. After the great success of their previous album Colors of Red Island, this new album expands on the musical ideas created in the first album: It continues the soundscape of melodies and harmonies coming from different musical styles and furthers the expression of this new and original wave of modern jazz. Musicians on the album are: Claudio Scolari – Drums, percussion, Synth Computer, Flute; Daniele Cavalca – Drum, Vibraphone, Piano, Melodica, Bass; and Simone Scolari – Trumpet. Official web site: http://www.claudioscolari.com / Daniele Cavalca Claudio Scolari on Facebook  .The new video of "Expression of Image" from the album 2012 "Synthesis" Video by Daniele Cavalca. http://youtu.be/cu-64qiZIm0

MAX MERSENY - THANK Y'ALL

We've never heard Max Mersney before – but the set's definitely one that makes us want to say "thanks" – given the deeply soulful approach to the groove! The set's definitely a jazz one – but it's also balance between funky and smooth sides of the spectrum – in a style that really echoes some 70s electric modes, yet which comes across with a freshly contemporary vibe in the end! Keyboards are as heavy as Max's lines on alto sax and flute – lots of great Fender Rhodes and organ that really help give the record a really soulful feel. Titles include "The 4th", "Back To New York", "Choo Choo", "Agi", "Soul Serenade", and "Maxxx". ~ Dusty Groove

HELIOCENTRIC COUNTERBLAST - TRIBUTE TO SUN RA

A great contemporary tribute to Sun Ra – put together in ways that are a lot more sensitive than other projects of this nature! These young players really seem to get the sense of Ra's Arkestra as an ensemble – and work in ways here that really recall the best energy of the early Saturn recordings – even on a few original numbers by members of the group! We're not familiar with most of the players, but together they work wonderfully – in a lineup that includes Nikolaus Neuser on trumpet, Kathrin Lemke on alto, Dirk Steglich on tenor and flute, Gerhard Gschlossl on trombone,a nd Rui Gincel on piano and "spacekeys". Titles include "Future", "Images", "Ancient Aiethopia", "A Call For Demons", "Do To Voodoo", and "Watusa". ~ Dusty Groove

ERIC VAN ARO RELEASES 'I'M NOT ALONE' (A TRIBUTE TO SAMMY DAVIS JR.)

With his interpretation of the hit song "I'm Not Anyone," internationally acclaimed singer Eric van Aro  adds new emotional layers to an old favorite and pays a touching tribute to the legendary entertainer Sammy Davis Jr. Starting September 14, van Aro's record label and production company, Eraki Entertainment, is making the new single available to music lovers as a digital track on iTunes.

"I'm Not Anyone" was written by Paul Anka for Sammy Davis Jr. as an anthem to self-determination. In a 2007 Billboard article, Anka listed the song among his personal favorites of the works that he had created, in part because Davis was such a great friend and inspiration.

In the new interpretation, van Aro honors the song's message of independence by not being content to imitate the original. With the famed Italian pianist Fabio Gianni, he breaks the song down to its piano-and-singer foundations in order to create innovative personal touches and new depths of meaning. The new version has received high praise from many individuals in the music and radio industry with disc jockeys in the United States, United Kingdom and Italy uniformly calling it "excellent."

As a member of a family of musicians and artists that stretches back eight generations, van Aro has always felt a deep connection to musical tradition, and growing up in show business gave him the opportunity to closely observe and know many major artists. Both Anka and Davis were good acquaintances of his mother, the Italian singer Caterina Valente, who took the photograph of Sammy Davis Jr. that is featured on the record sleeve.

Davis cast a special spell on the young van Aro. "If there is one thing Sammy Davis Jr. has taught us, it is to be yourself and do your own thing," van Aro said. "This is a song about empowerment, about believing – above all else – in yourself."

The intimate style of his version of "I'm Not Anyone," so different from the song's typical grandiosity, proves that van Aro has learned that lesson. The tune starts with a classic jazz piano opening, courtesy of Gianni, and van Aro begins singing softly, giving the impression that he is conducting a personal "conversation" with each listener. The song's intensity slowly swells until van Aro's vocals are a full, rich outpouring of sound, and Gianni's playing matches the heightened volume and emotional intensity. The two dial down the intensity only to have the music build once more. The vocals end with van Aro softly singing "I am free," and the track fades with an even softer melody from the piano.

After working in theater and with live concerts for several years, van Aro founded Eraki Entertainment in 1998. He has released several albums, including 2001's "From the Heart"; "Friends" from 2005, which established van Aro as one of the most accomplished singers on the jazz scene; and the 2008 release "Desert Motel." In 2010, he released the songs "Jazz", "UR" and "Evil Games" in collaboration with the Beats4life label.

"I'm Not Anyone" is available for $0.99 on CD Baby and iTunes. Interested parties can review the entire song before buying at Eraki Entertainment's YouTube channel at www.youtube.com/ErakiEntertainment.

:::: SOURCE: ERAKI Entertainment ::::

MERYL SAUNDERS / JERRY GARCIA - KEYSTONE COMPANIONS: THE COMPLETE 1973 FANTASY RECORDINGS

KEYSTONE COMPANIONS/ THE COMPLETE 1973 FANTASY RECORDINGS SPOTLIGHTS THE LEGENDARY MERL SAUNDERS/JERRY GARCIA COLLABORATION INCLUDING
SEVEN PREVIOUSLY UNRELEASED TRACKS

Deluxe four-CD box set, due September 25th (U.S./International release dates may vary), contains vintage photos, extensive liner notes and memorabilia

Double vinyl LP reissue of the very first Saunders/Garcia album

Live at Keystone due to be released concurrently

Keystone Companions/The Complete 1973 Fantasy Recordings, recorded live on July 10 and 11, 1973 at the Keystone club in Berkeley, California, beautifully captures the magical musical friendship of keyboardist Merl Saunders and guitarist Jerry Garcia. The Fantasy Records lavish four-disc set, scheduled for September 25, 2012 release on the heels of the 70th anniversary of Garcia’s birth, includes seven previously unreleased tracks, a special booklet featuring vintage photos; liner notes by Grateful Dead expert David Gans; and a poster, coaster, button, and “scratchbook” (replicating the design of the original album’s promotional matchbooks).

The sterling band featured Saunders on keyboards; Garcia, guitar and vocals; John Kahn, bass; and Bill Vitt, drums. Virtuoso David Grisman added mandolin to Bob Dylan’s “Positively 4th Street.” The mix of songs ranged from Saunders originals to covers of songs by Jimmy Cliff, Junior Parker, Holland-Dozier-Holland, Rodgers & Hart, Blind Lemon Jefferson, Arthur “Big Boy” Crudup, Lightnin’ Hopkins, Don Nix and Dan Penn and Dylan.

San Francisco-born keyboardist Merl Saunders had been writing and performing in New York before returning to the West Coast. Producer Nick Gravenites offered him studio work that included playing with guitarist Jerry Garcia, already at the helm of one of the world’s most popular rock bands, the Grateful Dead. “Garcia reminded me of [jazz guitarist] Eric Gale,” Saunders recollected, “Anything he played was very musical. He knew how to do a rhythm on any kind of tune — gospel, blues, jazz. I was amazed.”

Saunders also helped Garcia expand his harmonic knowledge and even showed him some Art Tatum runs. “He taught me music,” Garcia said of his friend.

By December 1970, a weekly jam session featuring Saunders, Garcia, Kahn, and Vitt had become a weekly gig at San Francisco’s Matrix. Of course Garcia was already a major figure in the musical counterculture as lead guitarist for the Dead, so he kept this new band low-key — so much that it never really had a name (although it was referred to as The Group at times.) As Garcia said, “I couldn’t take the pressure of being a double celebrity. It’s a drag just being it once.” (That didn’t stop the itinerant Garcia from having a third band as well, Old and In the Way, with David Grisman, Peter Rowan, and Vassar Clements.)

Live at Keystone, originally released as a double LP, was recorded by Grateful Dead associates Betty Cantor and Rex Jackson; all four artists are credited as producers. Additional material was released as Live at Keystone, Volumes 1 & 2 in 1988. Keystone Companions/The Complete 1973 Fantasy Recordings assembles the original recordings and presents them, remastered, in the order in which the songs were performed at those two shows. The repertoire spans blues, rockabilly, jazz, funk, Broadway, Motown, two Bob Dylan songs, and Jimmy Cliff’s immortal “The Harder They Come.” Some songs appear twice, providing the opportunity to hear how the band kept it loose and fresh.

As Gans notes, “This music is as exciting and satisfying 40 years later as it was on the day it was made.”

On the collection’s September 25 U.S. street date, Fantasy Records will also reissue, on multi-color double vinyl LP, the first Saunders/Garcia album Live at Keystone.

:::: SOURCE: Concord Records ::::

PETE ESCOVEDO LIVE FROM STERN GROVE

“What’s up, San Francisco? Are you ready to have a good time?” asks timbales player and band leader Pete Escovedo at the beginning of Live from Stern Grove, his terrific new album that captures a live show he played earlier this year at the legendary 75-year-old San Francisco venue. Escovedo and his band then swing into a breezy rendition of the Tito Puente classic “Picadillo Jam,” and from that moment it’s readily apparent the band can deliver on Escovedo’s promise. Live From Stern Grove is set for digital release September 25, 2012 on Concord Picante/Stiletto Flats Inc. (There will be a physical release in 2013, international release dates may vary.)

The ensemble brings that same energy to the following track, Wayne Wallace’s “Take Some Time,” a song that allows guitarist Michael Angel Alvarado to exchange spirited riffs with the talented players in the large horn section.

It makes sense Escovedo would recruit a phenomenal player like the Bay Area’s Alvarado to play in his band. Early in his career, Escovedo toured with guitarist Carlos Santana for three years before starting the Latin band Azteca, a group that successfully established Escovedo as a major Latin jazz artist. Throughout the ’70s, Escovedo collaborated with many of jazz’s best players, including Herbie Hancock, Bobby McFerrin, Cal Tjader, Stephen Stills, Anita Baker, George Duke, Dionne Warwick, Barry White and Chick Corea. Given Escovedo’s 50-year history of playing jazz, it’s fitting that several of jazz’s best players contribute to Live from Stern Grove.

Ray Obiedo dials in some terrific guitar work on Escovedo’s rendition of his “Brasiliero,” a contemporary jazz number that benefits from Obeido’s spirited soloing. Guitarist Michael Angel’s intense playing on the first half of “True or False” practically pays homage to Santana before giving way to a fantastic saxophone solo that comes courtesy of special guest Dave Koz.

“Dance” is an original salsa number that Escovedo penned with the help of sons Juan and Peter Michael, as well as daughter Sheila E. The song’s lyrics about losing control and feeling the rhythm “deep in your soul” refer to the tune’s almost-frantic tempo. Guest Sheila E. plays congas on the song, adding to the complex percussion rhythms designed to keep the dance floor moving. The final lyric, “it’s going to make you dance,” is one heck of an understatement.

Sheila E. returns to play congas on “Solo Tu”; you can hear Escovedo introduce her to the audience at the beginning of the percussion-driven song. Escovedo then takes over lead vocals in “Fly Me to the Moon,” a fan favorite he spices up with some Latin flair. Trumpet player Arturo Sandoval shows up on the album’s closing number “Suenos De Los Torreros,” and you can actually hear the audience enthusiastically applaud at the end of his solo and again as Escovedo politely says “thank you all; good night” at the end of this incredible performance.

:::: SOURCE: Concord Records ::::