JAMES BOND 50TH ANNIVERSARY CELEBRATED WITH WITH 'BEST OF BOND...JAMES BOND'

2012 marks the 50th anniversary of the iconic James Bond film franchise, and in conjunction with EON Productions and Metro-Goldwyn-Mayer Studios, Capitol/EMI is proud to join the world's celebration of 007. Best Of Bond… James Bond, a new commemorative collection of the legendary films' digitally remastered music, will be released in two configurations on October 9th (October 8th outside of North America). Best Of Bond… James Bond features the memorable theme songs from all 22 official Bond films and will be available on CD and digitally, and as a deluxe, 50 Years - 50 Tracks 2CD and digital collection.

On October 5th, the 50th anniversary of the release of the first Bond film, Dr. No, James Bond Day will be celebrated around the world. Best Of Bond… James Bond will be available for pre-order on James Bond Day.

The 23-track single-disc edition and deluxe edition of Best Of Bond… James Bond both feature the themes from all 22 Bond films released since 1962, including The John Barry Orchestra's seminal "James Bond Theme" from Dr. No, with striking cover art depicting Bond's "Golden Girl" and the official 50th anniversary logo. The John Barry Orchestra's orchestral main theme and Louis Armstrong's love theme from 1969's On Her Majesty's Secret Service are both included, and the expanded edition adds several integral score pieces by The John Barry Orchestra and other original songs heard in the films by Dame Shirley Bassey, Marvin Hamlisch, The Pretenders, Moby, k.d. lang, David Arnold, and others.

For 50 years, a significant part of the excitement leading up to each new James Bond adventure in espionage has been the reveal of each film's theme song and its recording artist. Many of music's top stars have been honored to write and record new songs for 007, to see and hear their music brought to life in the films' sultry opening credits and reprised in score pieces within the film. Many Bond themes have been major hits around the world. Dame Shirley Bassey's "Goldfinger," Tom Jones' "Thunderball," Paul McCartney and Wings' "Live And Let Die," Carly Simon's "Nobody Does It Better," Sheena Easton's "For Your Eyes Only," Rita Coolidge's "All Time High," Duran Duran's "A View To A Kill," Garbage's "The World Is Not Enough," Madonna's "Die Another Day," and Jack White and Alicia Keys' "Another Way To Die" are just some of the evocative Bond themes featured on Best Of Bond… James Bond.

Best Of Bond… James Bond [CD, digital]
01.James Bond Theme – The John Barry Orchestra [from Dr. No, 1962]
02.From Russia With Love – Matt Monro [from From Russia With Love, 1963]
03.Goldfinger – Shirley Bassey [from Goldfinger, 1964]
04.Thunderball - Tom Jones [from Thunderball, 1965]
05.You Only Live Twice - Nancy Sinatra [from You Only Live Twice, 1967]
06.On Her Majesty's Secret Service – The John Barry Orchestra [from On Her Majesty's Secret Service, 1969]
07.We Have All The Time In The World - Louis Armstrong [from On Her Majesty's Secret Service, 1969]
08.Diamonds Are Forever – Shirley Bassey [from Diamonds Are Forever, 1971]
09.Live And Let Die – Paul McCartney & Wings [from Live And Let Die, 1973]10. The Man With The
10.Golden Gun – Lulu [from The Man With The Golden Gun, 1974]
11.Nobody Does It Better – Carly Simon [from The Spy Who Loved Me, 1977]
12.Moonraker - Shirley Bassey [from Moonraker, 1979]
13.For Your Eyes Only – Sheena Easton [from For Your Eyes Only, 1981]
14.All Time High – Rita Coolidge [from Octopussy, 1983]
15.A View To A Kill – Duran Duran [from A View To A Kill, 1985]
16.The Living Daylights - A-Ha [from The Living Daylights, 1987]
17.Licence To Kill - Gladys Knight [from Licence To Kill, 1989]
18.GoldenEye (Single Edit) – Tina Turner [from GoldenEye, 1995]
19.Tomorrow Never Dies – Sheryl Crow [from Tomorrow Never Dies, 1997]
20.The World Is Not Enough – Garbage [from The World Is Not Enough, 1999]
21.Die Another Day – Madonna [from Die Another Day, 2002]
22.You Know My Name – Chris Cornell [from Casino Royale, 2006]
23.Another Way To Die – Jack White & Alicia Keys [from Quantum Of Solace, 2008]

Best Of Bond… James Bond (50 Years – 50 Tracks) [2CD, digital]
DISC ONE
(same as above)

DISC TWO
01.Dr. No's Fantasy – The Monty Norman Orchestra [from Dr. No, 1962]
02.Under The Mango Tree - Diana Coupland [from Dr. No, 1962]
03.007 – The John Barry Orchestra [from From Russia With Love, 1963]
04.Opening Titles (Medley): James Bond Is Back/From Russia With Love/James Bond Theme – The John Barry Orchestra [from From Russia With Love, 1963]
05.Into Miami – The John Barry Orchestra [from Goldfinger, 1964]
06.The Laser Beam – The John Barry Orchestra [from Goldfinger, 1964]
07.Mr. Kiss Kiss Bang Bang – Shirley Bassey [submitted for Thunderball but not included in film, 1965]
08.Switching The Body – The John Barry Orchestra [from Thunderball, 1965]
09.Capsule in Space – The John Barry Orchestra [from You Only Live Twice, 1967]
10.Do You Know How Christmas Trees Are Grown – Nina [from On Her Majesty's Secret Service, 1969]
11.Bond Smells a Rat - The John Barry Orchestra [from Diamonds Are Forever, 1971]
12.Fillet Of Soul-New Orleans/Live And Let Die/Fillet Of Soul-Harlem (Medley) – The George Martin Orchestra featuring B.J. Arnau [from Live And Let Die, 1973]
13.Underground Lair – The John Barry Orchestra [from Live And Let Die, 1973]
14.Hip's Trip - The John Barry Orchestra [from The Man With The Golden Gun, 1974]
15.The Pyramids – Marvin Hamlisch [from The Spy Who Loved Me, 1977]
16.Cable Car And Snake Fight – The John Barry Orchestra [from Moonraker, 1979]
17.Make It Last All Night – Bill Conti featuring Rage [from For Your Eyes Only, 1981]
18.The Chase Bomb Theme - The John Barry Orchestra [from Octopussy, 1983]
19.Snow Job - The John Barry Orchestra [from A View To A Kill, 1985]
20.Where Has Everybody Gone - The Pretenders [from The Living Daylights, 1987]
21.If There Was a Man – The Pretenders [closing credits song from The Living Daylights, 1987]
22.The Experience Of Love – Eric Serra [from GoldenEye, 1995]
23.James Bond Theme – Moby (Moby's Re-Version) [inspired by the UA motion picture Tomorrow Never Dies, 1997]
24.Surrender - k.d. lang [closing credits song from Tomorrow Never Dies, 1997]
25.Only Myself To Blame – Scott Walker [from The World Is Not Enough, 1999]
26.Vesper - David Arnold [from Casino Royale, 2006]
27.Time To Get Out – David Arnold [from Quantum Of Solace, 2008]

SOURCE Capitol Records

DONNY McCASLIN - CASTING FOR GRAVITY

Album Features Jason Lindner, Tim Lefebvre, and Mark Guiliana, Produced by David Binney

Casting for Gravity's Critical Acclaim:

"Ambitious electro-acoustic venture -- part gritty, part gleaming..." - New York Times

"...a jagged, groovy treat at funk's frontier." - Boston Globe

"...a courageous, powerful musical statement...It may prove to be an important portal for expanding the shrinking jazz audience." - Huffington Post

"Casting For Gravity represents McCaslin's most dogged effort thus far to redefine fusion." - eMusic

"...a new, welcome kind of fusion." - JazzTimes

"McCaslin may pave the way for other musicians like himself to become popular again." - The Aquarian Weekly

Stream Tracks From Casting for Gravity

Acclaimed saxophonist Donny McCaslin takes a bold leap forward with his tenth album as a leader, Casting for Gravity. McCaslin's gargantuan tenor sound finds an ideal setting to rampage through in the ferocious grooves and electronic textures of keyboardist Jason Lindner, bassist Tim Lefebvre, and drummer Mark Guiliana. Couching his trademark gift for brawny melodies in lurching dub rhythms, swirling electronica-inspired atmospheres, and arena-rock power, McCaslin has crafted a game-changer of an album, fusing a wealth of forward-looking influences into one wholly new modern jazz sound.

Casting for Gravity follows on the heels of 2011's highly acclaimed Perpetual Motion, which found McCaslin experimenting for the first time with merging his hard-charging acoustic sound with more funk-inflected electrified elements. But where that album was a blistering electro-acoustic hybrid, Casting for Gravity soars past fusion into alchemy, forging a visionary voice from eclectic influences.

"I wanted to make a bigger record with more sonic layers," McCaslin explains. "I wanted to go a lot deeper into the electronic realm and push myself harder."

McCaslin's initial forays into plugged-in territory were a reflection of his upbringing in Santa Cruz, California, where he was weaned on the deep, deep grooves of Tower of Power and Headhunters bassist Paul Jackson. Those influences remain in the percolating rhythms of "Bend" or the enormous musculature of "Stadium Jazz," inevitable how deeply ingrained they are into McCaslin's approach. But he wasted little time casting back into the past for inspiration on this outing, looking instead to ground-breaking contemporary artists.

Chief among them is Aphex Twin, the pseudonym of highly influential British electronica musician Richard D. James. "Aphex Twin really affected the way I wrote for this album," McCaslin says. "I was attracted to the way he uses really simple melodic ideas with all the activity happening in the drum programming. He's got a palette of ambient sound, there's a textural backdrop, the melodic elements are sparse and the beat is really intense. I wanted to try to write some stuff coming from that feeling."

The album's completely through-composed title track bears out that influence strongly. McCaslin plays the tune's yearning, serpentine melody through its permutations, but the rhythm section constantly evolves and expands throughout the piece, with Lindner enveloping them in evocative sonic textures. "Love Song for an Echo" expands further on the concept, maintaining the notion of spare melodic material coupled with vigorous rhythmic activity, but embellishes that idea with rich harmonies and improvisational invention.

Another prime influence for McCaslin was the Scottish electronica duo Boards of Canada, whose song "Alpha and Omega" is here transformed into a mesmerizing excursion into lush sax echoes and ricocheting dub rhythms. "I love their ambient textures," McCaslin says of the duo. "The thing that frustrates me sometimes about electronica music is the lack of melodic and harmonic development. For me, the song has to be strong in and of itself, whether it's electronica or swing or whatever. So the challenge for me was to take that ambient vibe and rhythmic element, try to not overwrite, but to have the melodic and harmonic content provide enough meat to make it a strong tune."

The results are evident throughout Casting for Gravity, as the quartet swells into luxurious electronic environments, but navigates within that sonic sphere with lithe, incisive blowing. The cohesiveness of the band's sound is the result of an extensive touring schedule prior to recording, a rarity in the modern jazz landscape.

Both Lefebvre and Guiliana played on Perpetual Motion and continued to development that music live with McCaslin in the ensuing months. It was during those gigs that LeFebvre's strong dub influences emerged, a direction that resonated with McCaslin and that he strove to encourage through his writing for the band. "Santa Cruz, where I grew up, was a hotspot in terms of reggae," McCaslin says. "When I was a kid I got to see Jimmy Cliff, Peter Tosh, Burning Spear, Mighty Diamonds, Black Uhuru - that music was popular in the culture there. So when Tim started pulling out the dub thing it reminded me of my love for that music."

That sound emerges in tunes like "Says Who," where McCaslin left the composition open enough that the dub elements emerge organically within a piece that also bears traces of American folk, elastic Weather Report-style fusion, and a crushing finale that suggests the experimental Swedish metal band Meshuggah. It also accents the slinky, Meshell Ndegecello-esque groove of "Losing Track of Daytime," which eventually opens up into an aspirational melody reminiscent of Aaron Copland.

Lindner and Guiliana are bandmates in the electro-groove trio Now vs. Now, which led McCaslin to the keyboardist/bandleader for a gig at the European Jazz Baltica festival. "Jason is an amazing writer and orchestrator and improviser," McCaslin raves, "but sonically he's so organic. I've loved Jason's writing for a long time, so I thought this was my opportunity to play with him more."

The wide-ranging palette that Lindner offer is one key to the album's sound, from the pounding piano rock of "Stadium Jazz" (named for a Guiliana joke aptly referring to the quartet's robust noise) to the glitchy stabs of "Tension," penned in a successful attempt to represent jagged emotion through music. It's a feeling that McCaslin is all too intimate with considering he now has two young children at home, though the more idyllic nature of family life is depicted in the album's joyous closer, "Henry," written for his infant son.

Saxophonist/composer David Binney contributed the blissful "Praia Grande," named for the Portuguese beach where it was composed. A longtime friend and collaborator, Binney has produced most of McCaslin's records and was more integral than ever before in this effort. "David was deeply involved in the whole record and had a huge impact on it," McCaslin says. "He pushed me to really go for it, to make a really landmark album."

The effort paid off, with an album that truly breaks new ground not just for McCaslin but for integrating modern musical genres seamlessly into envelope-pushing jazz. The saxophonist has long been one of the music's most striking voices, leading to long-running collaborations with innovators like Dave Douglas and Maria Schneider. His own solo work has been marked by a restless exploration that is only accelerated with this latest release.

Upcoming Donny McCaslin Appearances:
All dates to feature the Donny McCaslin Group unless otherwise noted. Personnel for each date varies.
** Indicates performance(s) w/Maria Schneider Orchestra

Oct 10 / Scullers Jazz Club / Boston, MA
Oct 12 & 13 / Upstairs Jazz Club / Montreal, Quebec  / Saxophone Quartet w/Dave Liebman, David Binney & Samuel Blais
Oct 15-17 / (Venues TBA) / Quebec / Saxophone Quartet w/Dave Liebman, David Binney & Samuel Blais
Oct 18 & 19 / University of Alabama / Tuscaloosa, AL
Oct 23 / Jazz Standard / New York, NY w/Freddie Bryant Group
Oct 24 / Atlas / Washington, D.C. w/Alan Blackman Group
**Oct 30 & 31 / Dakota Bar and Grill / Minneapolis, MN
**Nov 1 & 2 / University of Wisconsin-Stevens Point / Stevens Point, WI
**Nov 3 / Lawrence University / Appleton, WI
Nov 15 / Garde Arts Center / New London, CT
Nov 16 / Firehouse 12 / New Haven, CT
**Nov 20-25 / Jazz Standard / New York, NY
Dec 1 / An die Musik / Baltimore, MD
Dec 4 & 5 / Jazz Standard / New York, NY
Dec 8 & 9 / Dazzle / Denver, CO
Feb 5, 2013 / The Blue Wisp / Cincinnati, OH
Feb 6 & 7 / Indiana University / Bloomington, IN
Feb 8 & 9 / The Green Mill / Chicago, IL
Feb 15 & 16 / Tallcorn Jazz Fest / Cedar Falls, IA
Feb 22 & 23 / Holland Performing Arts Center / Omaha, NE
Mar 1 / The Triple Door / Seattle, WA
Mar 2 / San Joaquin Valley Jazz Fest / Fresno, CA
Mar 4 / Kuumbwa Jazz Center / Santa Cruz, CA
** Apr 1-4 / University of North Florida / Jacksonville, FL

donnymccaslin.com
Source: dlmediamusic.com

SLY RE-IMAGINED - THE NEW PROJECT FROM GLOBAL NOIZE!

ANTHONY NEWLEY - THE LAST SONG

RELEASE DATE: NOVEMBER 5th, 2012

FEATURING 14 UNRELEASED TRACKS

NEWLEY'S UNRELEASED FINAL ALBUM

INCLUDES DUETS WITH PETULA CLARK, JULIA MCKENZIE and MARTI WEBB

FEATURES UNRELEASED CHRISTMAS SINGLE 'SANTA CLAUS IS ELVIS'

FEATURES 4 LIVE BONUS TRACKS

The Last Song is the long awaited final studio album from legendary performer Anthony Newley. Recorded in London between 1996 and 1997, these timeless songs represent Anthony Newley's final recordings and have remained unreleased, until now. The stunning collection features a wealth of material from the Newley songbook and includes notable collaborations with iconic theatre performers Petula Clark, Julia McKenzie and Marti Webb. The stunning collection features a wealth of material from the Newley songbook and includes notable collaborations with iconic theatre performers Petula Clark, Julia McKenzie and Marti Webb. The stunning collection features a wealth of material from the Newley songbook and includes notable collaborations with iconic theatre performers Petula Clark, Julia McKenzie and Marti Webb. Newley passed away in April 1999 after losing his battle with cancer. However, his musical legacy which encompasses musicals, stage shows, television, hit songs and recordings thankfully remain.

As a bonus, the album features two Christmas songs composed by Newley and recorded in 1997. Originally intended for release as a Holiday single, the tracks now make their debut for Christmas 2012. Also featured are a number of unreleased live tracks, including performances of the songs most synonymous with Anthony Newley; 'What Kind Of Fool Am I?' and 'Who Can I Turn To?'

The Last Song is a joint collaboration between Stage Door Records and the Anthony Newley Society, endorsed by Newley's children Sacha and Tara. Speaking about the project, Sacha Newley commented: "Once again, Paul Goodhead (The Anthony Newley Society) & Stage Door Records has shown exceptional and unflagging devotion to the cause by making available another trove of unissued Newley material. It's through the patient work of devoted followers and appreciators that a cultural and historical wrong is being righted, and Anthony Newley’s diverse achievement is once more being placed before the public in all its genuine unity."

01. MY FIRST LOVE SONG (from 'The Roar of the Greasepaint - The Smell of the Crowd')
02. ME WITHOUT YOU
03. THE PEOPLE TREE (with Petula Clark) (from 'The Good Old Bad Old Days')
04. NO SUCH THING AS LOVE
05. ARE WE HAVING FUN YET? (with Julia McKenzie) from 'Chaplin')
06. LOVE SONGS DON'T COME EASY ANYMORE
07. MUSIC OF THE UNIVERSE (with Marti Webb) (from 'Once Upon a Song')
08. LOVE HAS THE LONGEST MEMORY (from 'Quilp')
09. MY LAST SONG [LISTEN]

BONUS TRACKS
10. WHAT SHALL WE BRING?
11. SANTA CLAUS IS ELVIS
12. BEWARE THE NIGHT (LIVE) (from 'Richard III - Rules OK!')
13. WHAT KIND OF FOOL AM I? (LIVE) (from 'Stop the World, I Want to Get Off!')
14. WHO CAN I TURN TO? - DISCO (LIVE) (from 'The Roar of the Greasepaint - The Smell of the Crowd')
15. THE MAN WHO MAKES YOU LAUGH (LIVE)  

:::: SOURCE: Stage Door Records::::

DAVID RUFFIN'S UNRELEASED THIRD SOLO ALBUM

David, David Ruffin’s unreleased third solo album was finally unleashed from deep in the Motown vault in 2004 in a limited edition digi-pak design. Acclaimed for its great performances, the album quickly sold out its original run, while still available in digital stores. Now, due to overwhelming demand, David is back on CD, this time in a standard jewel case, with all of the liner notes and track annotations from the 2004 release.

David Unreleased LP & More includes the 12 tracks originally scheduled for release in 1971 as LP Motown 733, plus seven amazing bonus tracks from the album sessions and four mono single mixes. It’s the great David Ruffin and Motown’s Funk Bothers band, directed by several of the company’s best producers – including Smokey Robinson, Johnny Bristol, Henry Cosby, Clay McMurray and Ivy Jo Hunter. Among the highlights:“Each Day Is A Lifetime,” the proposed album’s first single; the dramatic “I Can’t Be Hurt Anymore”; the mournful “Let Somebody Love Me”; “Out In The Country,” co-written by a young Rick James; plus stunning covers, including an adult take on the Jackson 5’s “I Want You Back”; Brook Benton’s “Rainy Night In Georgia”; and a sanctified rendition of Stevie Wonder’s “Heaven Help Us All.”

Ruffin, former lead singer of the Temptations best known for memorable leads on timeless songs like “My Girl” and “Ain’t Too Proud To Beg,” had started his solo career with a bang, as his 1969 album and single, “My Whole World Ended,” were smash hits. At age 28, entering his prime, he cut his third album while also recording duet tracks with his brother, Jimmy. David watched as the duet album, Jimmy’s solo album and the solo debut from Eddie Kendricks, another former Temptations lead singer, were all released. His brilliant, emotional, exciting David? No.

:::: SOURCE: Hip-o-selct.com ::::

NEW RELEASES - TRIBUTE TO CAETANO VELOSO, MILTON NASCIMENTO & WAGNER TISO, TIM MAIA

TRIBUTE TO CAETANO VELOSO (VARIOUS ARTISTS)

A wonderful tribute to Caetano Veloso – put together by a really surprising range of artists! The tunes are all classic Veloso compositions – Brazilian nuggets that have been making our lives wonderful for years – and they get fresh reinterpretations by a range of artists that includes The Magic Numbers, Beck, Ceu, Chrissie Hynde, Kassin, Moreno Veloso, Tulipa Ruiz, Beck, Mariana Aydar, Seu Jorge, Toninho Horta, and others – a great mix of Brazilian and American artists who really show the far-reaching influence Caetano's had over the decades. Most numbers are pretty well done – never too commercial, and surprisingly sensitive to the lyrics, while also offering up fresh twists with their own arrangements. Titles include "The Empty Boat" by Chrissy Hynde with Moreno, Kassin, and Domenico – plus "London London" by Os Mutantes, "Michaelangelo Antonioni" by Beck, "Eclipse Oculto" by Ceu, "You Don't Know Me" by The Magic Numbers, "Araca Blue" by Marian Aydar, "Alguem Cantando" by Momo, "Quem Me Dera" by Devendra Banhart & Rodrigo Amarante, and "Peter Gast" by Seu Jorge, Toninho Horta, and Arismar Espirito Santo. ~ Dusty Groove

MILTON NASCIMENTO & WAGNER TISO - ENSAIO

A beautiful later appearance from Milton Nascimento – songs recorded for a TV performance in Brazil, and arguably better than any of his studio albums from the time! The setting is quite spare – Milton on guitar and vocals, and longtime partner Wagner Tiso playing a strongly resonant grand piano – with tones that ring out rapturously, and help elevate Nascimento to the soulful heights of his classic 70s recordings! We can honestly say that, although obscure, the record's essential stuff for any fan of Milton – especially during the early days – and the whole thing offers up a really unique way to hear his genius at work. Titles include "Novena", "Morro Veolho", "Clube Da Esquinha", "Caso De Amor", "Ponta De Areia", "Paula E Bebeto", "Cais", "Por Causa De Voce", and "Travessia". ~ Dusty Groove

TIM MAIA - TIM MAIA EP

Insanely great sounds from the legendary Tim Maia – easily the most soulful singer in 70s Brazil, and an artist with a heck of a strong ear for funk, too! The music here is an incredible hybrid of American soul and Brazilian elements – especially since some lyrics are in English – and the grooves are often mixed together in a sound that's nice and fuzzy around the edges, with some slight psychedelic elements that makes the cuts a perfect fit for this Luaka Bop series! Yet Tim Maia's hardly a guy who can easily fit into any easy slot or series – because as you'll hear on this set, he's got a vibe that's all his own – a really wonderful approach that's different even from some of his hippest contemporaries in Brazil – and which has gone onto have influence on countless other generations of singers and musicians – including his nephew Ed Motta. This limited EP is a sampler single from the fuller album – which contains all these tracks – five titles that include "Que Beleza", "Quer Queira Quer Nao Queira", "Over Again", "Ela Pertiu", and "Let's Have A Ball Tonight". ~ Dusty Groove

NEW RELEASES - WADADO LEO SMITH / LOUIS MOHOLO, JANA HERZEN WITH CHARNETT MOFFETT, WILLIAM SALTER

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". ~ Dusty Groove.

JANA HERZEN WITH CHARNETT MOFFETT – PASSION OF A LONELY HEART

Really lovely sounds from Jana Herzen – a set that features her own vocals and guitar, with just the bass of Charnett Moffett for accompaniment! The spare setting is beautiful – and Jana sparkles here in ways that few other singers could hope to match – bringing out a key musicality both on guitar and vocals, with all the right jazzy inflections to enrich the sound – as Moffett's spare but soulful basslines serve as key directive points for the process. Titles include the original tunes "Secrets Are Safe With Me", "Night Blooming Jasmine", "Bali Holiday", "Passion Of A Lonely Heart", "My Latin Love", and "Earth's Heart Beats" – plus "Spain", and "Sodade", "Tis Autumn". ~ Dusty Groove.

WILLIAM SALTER – IT IS SO BEAUTIFUL TO BE

Sophisticated soul from William Salter – a lost treasure from the Ralph MacDonald camp at the end of the 70s, and a vocalist that we only know from this one obscure album! MacDonald produced the set with William Eaton – who also did the arrangements, as he did on some of Ralph's own work – and Salter sings lead in a style that's part modern soul, part adult – working with some nice jazzy touches on the best cuts. The album's got work from jazzers like Bob James, Eddie Daniels, and Jon Faddis – plus backup vocals from Patti Austin and Valerie Simpson – and the best tracks groove along at midtempo pace with a sunny kind of finish. There's a few clunkers on here, but the good cuts more than make up for them – and titles include "You Got Style", "It Is So Beautiful To Be", "Three Days Of Flowers", "Lena", and "When You Smile" – a nice jazzy stepping tune! ~ Dusty Groove

NEW RELEASES - TOM ZE, FLYING LOTUS, CLARENCE PENN

TOM ZE – TRIPOCALIA LIXO LOGICO

Some of the wildest work we've heard from Tom Ze in years – a set that returns to some of the darker themes of his famous 70s recordings, and one that features a great balance between experimental sounds and more playful modes! The rhythms are especially compelling – fresh sounds learned from some of the younger generations that Ze's influenced over the years, and who've worked with him too – and the instrumentation is really varied from cut to cut, keeping a freshness to the record that really has us digging in more deeply as the set rolls on – held more rapt by Tom's genius than we remember in years. Titles include "Tropicalia Lixo Logico", "Jucaju", "Navegador De Cancoes", "Aviso Aos Passageiros", "Capitais E Tais", "O Motobi E Maria Clara", and "Tropicalea Jacta Est". ~ Dusty Groove

FLYING LOTUS - UNTIL THE QUIET COMES

The best yet from Flying Lotus – who we keep allowing ourselves to believe has hit an insurmountable peak with each new record – but he just keeps getting better! Where the preceding Cosmogramma upped the stranger, spacier and more abstract textures, Until The Quiet Comes is a bit more inviting – and too his credit, Flying Lotus keeps things as innovative as ever, while still giving this one just a bit more immediately appealing. There's almost always a compelling beat, whether it's abstract boom bap or bubbly and synthy, with heavy bass and thick atmosphere floating over. An incredible roster of guests contribute – including string-arranger Miguel Atwood Ferguson, vocalists Erykah Badu, Laura Darlington and Radiohead's Thom Yorke, keyboardist Dorian Concept, and others – but there's little doubt that this is purely the Flying Lotus show. Greatness! Titles include "All In", "Sultan's Request", "See Thru To U" with Erykah Badu, "DMT Song" with Thundercat, "The Nightcaller", "Only If You Wanna", "Electric Candyman" with Thom Yorke, "Hunger" with Niki Randa, "Phantasm" with Laura Darlington, "Dream To Me" and more. (Limited edition. 2 X 180 gram vinyl with rigid gatefold sleeve, wrapped in black buckram embossed paper with tipped on cover image. It's packaged as nicely as a deluxe, coffee table-style art book. Beautiful! Includes download.) ~ Dusty Groove

CLARENCE PENN – DALI IN COBBLE HILL

A really compelling album from drummer Clarence Penn – maybe his greatest record in years, and that's really saying a lot! The inspiration here is stated plainly in the title – an imagined look by Salvador Dali at contemporary Brooklyn – carried off in sounds that are definitely Brooklyn in execution, even if they're not as Dali-esque as you might expect! Penn's come up with some of his most inventive rhythms ever for the record – followed by these deft lines from Adam Rogers on guitar, who soars along with really intense energy – and topped by excellent work on tenor, soprano sax, and bass clarinet from Chris Potter – a player whose deft turns are a great match for the others. Ben Street keeps things sewn together on bass – and titles include "The B 61", "Cobble Hill", "A Walk On The BHP", "Dali", "Mr C", and "Persistence Of Memory". ~ 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! ~ Dusty Groove

YANNICK NOAH'S "HOMMAGE" TO BOB MARLEY

Yannick Noah's albums are always awaited. Less than 2 years after Frontières, his new album is a tribute to one of his idols : Bob Marley. Yannick Noah covers 11 songs, more or less known, a project that's not surprising.

Covering a famous artist is a risky bet. Being France's favourite singer & covering Bob Marley's songs is riskier. However, Yannick Noah finally recorded a cover album of songs by the late Jamaican singer, who encouraged rastafaris. We remember "Could You Be Loved?" & "Redemption Song", 2 songs with politically-charged lyrics. Also, Bob Marley's lyrics were about brotherhood, peace & tolerance. Yannick Noah told the same themes on his album Frontières (2010). Both artists' universes are not far away, even if Yannick Noah continued the message since Bob Marley's death. Not a surprise because "Saga Africa" singer is a real fan of Marley. He covered some of his songs on stage, like "Redemption Song", here re-arranged in a dynamic version, to avoid the cut/paste. "I've sung it a hundred times live but on the album, we took the uptempo & dancing option." It's true, it sounds catchy. A good first single.
Yannick Noah's admiration for Bob Marley recalls us of the childhood of France's favourite personality. In the late 70's, when he was just a teenager, he saw Bob Marley on television for the first time. Later, he became a famous tennis player. Once he got into Bob Marley's music, Yannick Noah used it as a force that has accompanied him so many times : "He guided some of my decisions. He's been an energy."

But the emotion isn't the same. Yannick not only covered Bob's songs, he also lost the emotion. The songs have changed a little but they're recognizable, like "Jammin'". The former tennisman called Siméo to produce all the songs. "With Siméo, I've been working on melodies but softly, with acoustic instruments, as if they were nursery rhymes." But Bob Marley's songs are not simple nursery rhymes & Yannick Noah sings lyrics without getting the point. He used a lesser tone, leading to a more enjoyable & lighter harmony.

We don't mind about the songs covered by Yannick Noah. There are famous songs & less popular songs : "I Shot The Sheriff" & "Jammin'" have been hits but "Burnin' And Lootin'" isn't one of Bob's standards. We mind about what Yannick Noah wants to say behind each word that he said & behind each sound that he wanted different. Finally, we understand that Hommage must be considered as entertainment, either for the singer or the listener. Not more, not less.

To know more about Yannick Noah, check yannicknoah.com or his Facebook.

chartsinfrance.net

NEW RELEASES - ANALOG PLAYERS SOCIETY, NOEL POINTER, TUCCI AND MANNUTZA

ANALOG PLAYERS SOCIETY - HURRICANE SEASON IN BROOKLYN

"Amon's most audacious stroke is reworking three cheesy dance-rock hits from the '80s into the most successful reggae-style tracks in years." – Milo Miles (Fresh Air/NPR)

The Analog Players Society (APS) is a collective and community of musicians rooted at The Hook Studio in Brooklyn, NY and led by Producer, Engineer, and Percussionist – Amon. APS features a large cast of musicians including players from such heavyweights as TV On The Radio, Tortured Soul, Escort, Beirut, Si*Se, Blitz the Ambassador and Akoya Afrobeat Ensemble. The core of the project is eclectic by nature but carries serious strains of the Dub, Funk, Afrobeat, and Soul variety within it.

Things kick off on Hurricane Season In Brooklyn with “Free”, a driving horn fueled joint that’s hungrily swallowed the 90s Acid Jazz sound and spit it back out as something so much more live & funky. Next up, the album’s title track bounces willfully to its House & West London influences, with Cecilia Stalin (Koop) vocally soaring above the clouds. Other highlights include three 80s classic covers; No-Shooz’s “I Can’t Wait”, Shannon’s “Let The Music Play”, and Wang Chung’s “Dancehall Days”– reversioned in classic APS dub style. The nostalgic downtempo vibe of “Moments Combine” rounds out the album nicely. Hurricane Season In Brooklyn is currently #1 on iTunes World music charts. ~ Giant Step

NOEL POINTER - PHANTAZIA / HOLD ON

A pair of great pair of records from electric fusion violinist Noel Pointer – Phantazia from '77 and Hold On from '78 – in a 2CD set! Like others of the 70s generation, Pointer plays the violin in a way that's clearly heavily influenced by keyboards of the time – electric in amplification, and worked in a mode that uses the instrument to create waves of sound that flow out amongst the tighter fusion rhythms of the set. Dave Grusin arranged and produced the Phantazia set – in his best lean soulful mode of the time – and other players include Earl Klugh, Ralph MacDonald, Steve Gadd, and Grusin himself. Titles include "Mirabella", "Night Song", "Living For The City", "Phantazia", and "Wafaring Stranger". Hold On was recorded in a smooth, soulful mode – and once again has Pointer working with Grusin! Noel's sweet work on electric violin is set up nicely with keyboards from Dave, guitar from Eric Gale, drums from Steve Gadd, and percussion from Ralph MacDonald. Noel sings a bit on the set, but even better are the vocals from Patti Austin, Gwen Guthrie, Yolanda McCullough, and others – who flesh out the backgrounds on some tunes. Titles include "Staying With You", "Movin In", "Superwoman", "Stardust Lady", "Hold On", and the extended "Roots Suite", based on Quincy Jones music for the show! ~ Dusty Groove, Inc.

LORENZO TUCCI / LUCXA MANNUTZA - LUNAR   Pretty great work from the team of Lorenzo Tucci and Lucxa Mannutza – two artists we normally associate with much straighter jazz material, but who really take off here together! The format is still definitely jazz, but the energy is quite free a times – just drums and effects from Tucci, and shifting piano, Fender Rhodes, and Hammond from Luca Mannutza – played in these really flowing lines that sparkle amidst Lorenzo's energy on the drums – all in ways that are inside enough to swing, but in ways that really go beyond conventional jazz! The format is a wonderful development for both players – and really helps us appreciate their rich talents even more than before – hardly a trick or gimmick, and instead a compelling collaboration that almost makes us feel like ECM has collided with Schema Records. Titles include "Jet Lag", "Jungle & Space", "Lunar", "Moon Boots", "The Voyager", "Avaria", and "Inception". ~ Dusty Groove

GET UP! FOR THE NEW ALBUM FROM BEN HARPER WITH CHARLIE MUSSELWHITE

Ben Harper has teamed with renowned harmonica master Charlie Musselwhite to create Get Up!, a piercing song-cycle of struggle and heart, slated for release by Stax Records/Concord Music Group on January 29th, 2013. Recorded in Los Angeles and produced by Harper, Get Up!, is his 12th studio album and first new recording since 2011’s Give Till It’s Gone (Virgin).

“Charlie and I have been looking to make this record for over ten years and now that we've gotten to it,” stated Harper, “I can’t wait to play it live.”

"Ben and I really locked in, personally and musically, when we recorded with John Lee Hooker,” added Musselwhite. “Ever since then we wanted to record together and being in the studio together is just a natural. You can hear it and feel it in the music on Get Up!”

A striking mix of blues, gospel, roots and R&B, Get Up! features ten vivid musical character studies, skillfully rendered in cinematic detail, all written or co-written by Harper. The politics of personal destruction is palpable on the opening track “Don’t Look Twice,”: “I'm a living nervous habit/I tremble and I twitch/Keep on pulling at me/Like I’m some kind of hanging stitch.” Likewise, a convict measures his prizefight with the truth as Harper growls in the title track: “Don't tell me I can't break the law/Cause the law has broken me.” Finally, a ghostly soldier awaits his duty but laments the mind-numbing futility of war in the haunting battle hymn “I Ride At Dawn,”: “Give a man a hundred years/He'll want a hundred more/Give him a hundred choices/And he still chooses war/From Salem poor to Genghis Kahn/Tomorrow I ride at dawn.”

Charlie Musselwhite’s searing point/counter-point harmonica accentuates Harper’s vocals throughout Get Up!, tying its songs together into a cohesive musical whole. The band, including Jason Mozersky, guitar; Jesse Ingalls, bass; Jordan Richardson, drums; along with Ben Harper on vocals, guitar and slide guitar; plays with economical grit, lending the songs true understanding and authority.

In 1994, Ben Harper released his first record Welcome to the Cruel World, marking his arrival as singer and songwriter of substance and ambition. Two decades later, an artist in full creative command, he’s delivered an inspired work of purity and depth. Get Up!, the new album from Ben Harper with Charlie Musselwhite, is sure to be one of 2013’s most essential recordings.

www.benharper.com
www.facebook.com/benharper
@benharper www.twitter.com/benharper

ALLEN VIZZUTTI - RITZVILLE

Trumpet virtuoso Allen Vizzutti has enjoyed a prolific career as performer and educator in both the jazz and classical fields since his early days with Woody Herman's big band and his notable four-year tenure with Chick Corea. The release of Vizzutti's superb new CD Ritzville, on October 16, is an especially welcome event because the in-demand trumpeter/composer has recorded all too infrequently as a leader. Ritzville brings the focus back to his primary passion of "performing music I love with my jazz group."

Contributions from Vizzutti's marquee-name friends Stanley Clarke and Chick Corea are featured on the boppish "Ticklish" and the up-tempo ballad "Amara" respectively, while the rest of the band includes old friends (the guitarist Mike Miller) and new (Portland-based pianist Darrell Grant) performing an array of standout Vizzutti originals, most of them written specifically for the Ritzville session. Pianist Laura Vizzutti, the trumpeter's wife, is showcased on her namesake "Laura's Blues," one of four selections on which an 11-piece string section was added.

Recorded in Seattle, where Vizzutti has been based since 1990, Ritzville contains so many stylistic crossings, from groove-tight fusion updates to string orchestrations to acoustic ballads, the leader became concerned during the recording of it that the music was more varied than he had intended. Whether by serendipity or design, however, the songs fit together seamlessly, adding up to an invigorating statement by a multifaceted artist who is in command in all stylistic situations.

Author of the definitive trumpet method books that bear his name, Allen Vizzutti started on the horn with lessons from his father Lido, a self-taught trumpeter. As he was growing up in Missoula, Montana, young Allen played in school bands and, at 16, won a concerto competition that sent him to Interlochen, where he was awarded first chair in the World Youth Symphony Orchestra. He went on to study at the Eastman School of Music in Rochester, NY.

After a period of gaining bandstand experience ranging from Ice Follies shows to Bach chamber orchestras, Vizzutti had to choose between two tempting offers: lead trumpeter with Woody Herman and first chair trumpet with the San Antonio Symphony. He became a member of Herman's Thundering Herd.

"The big band experience, which so many young players now never get, is so valuable in so many ways, and not just musical," said Vizzutti. "We had people like Dizzy Gillespie and Tony Bennett and Marian McPartland joining us all the time. You got to see how great musicians handled themselves, handled rehearsals, bantered with the audience. You learned about timing, about stretching out musical moments to maximize their impact."

Vizzutti met Chick Corea during rehearsals for a piece the pianist wrote for Herman. Corea later invited Vizzutti to join him for a three-month tour with his 13-piece ensemble, featuring strings and horns. The trumpeter also played with Corea sextets featuring Joe Farrell, Dave Liebman, and Steve Kujala and is featured on three Corea albums: Secret Agent (1978), Tap Step (1980), and Touchstone (1982).

In 1978, Vizzutti moved to Los Angeles. He joined Doc Severinsen and the Tonight Show Band, and played on more than 150 film and TV soundtracks as well as albums by Frank Sinatra, Barbra Streisand, and Prince. His own unique jazz-fusion band Red Metal made two recordings and performed regularly in L.A. and on tour over the next eight years. After his relocation to Seattle, he recorded several albums as a leader, including Trumpet Summit (1995) and Skyrocket (1996), both for Summit. It's to be hoped that Ritzville marks the beginning of a new period of recording activity for this charismatic and virtuosic artist.

"I'm very grateful for my musically rich life," says Vizzutti. "It's exciting and a lot of fun to continue to improve as a player and performer. Ritzville is a calling card for a fresh new musical chapter about to unfold."

www.vizzutti.com

NEW RELEASES - HAMMOCK HOUSE: LOWER EAST SIDE, BLUE NOTE TRIP 10: MAESTRO, STEVE DAVIS

HAMMOCK HOUSE - LOWER EAST SIDE (VARIOUS ARTISTS)

Hammock House – Lower East Side is the result of four DJ/producers being allowed access to the original multitrack master tapes of some highly coveted vintage Fania tracks. The products are a Latin electronica rebirth of these classics in the form of “funky rhythms, cumbia grooves, sensuous electronic textures and remixed Héctor Lavoe vocal lines.” Toy Selectah, The Whiskey Barons, DJ Isa GT, and Twin Shadow have created memorable masterpieces from the timeless work of Fania greats Ray Barretto, Justo Betancourt, Willie Colon, Hector Lavoe, Ismael Rivera. Track listing: 1. Acid (Twin Shadow Remix); 2. Power (Whiskey Barons Heavy Funk Mix); 3. Catano (Whiskey Barons Cumbia Dub Mix); 4. Right On (Whiskey Barons Got Some Afro Mix); 5. Aguanile (Toy Selectah 2013 Cosmico Remix); and 6. Las Caras Lindas (Isa GT Remix). ~ Giant Step

BLUE NOTE TRIP 10: LATE NIGHTS, EARLY MORNINGIS - A SELECTION OF LATE NIGHT PIECES BY DJ MAESTRO

Maestro takes us on a mighty hip trip here – running through a selection of rare grooves from Blue Note, and also throwing in a number of Capitol Records classics too! The vibe isn't just jazz – as the tunes include plenty of soul and funk too – and even a few of the cooler contemporary tracks from Blue Note in Europe – home to some wonderful recordings in recent years! As with others in this series, the 2-CD set is mixed – with a wonderful flow between the tracks – and the set's divided up into a "late nights" and "early mornings" session. Titles include "Goin Out Of My Head" by Nancy Wilson, "Woman Of The Ghetto (live)" by Marlena Shaw, "Kofi" by Donald Byrd, "Bambu" by Reuben Wilson, "Ces Petits Riens" by Stacey Kent, "Los Ojos Alegres" by Duke Pearson, "Apres Midi" by Fresu, "Tyra" by Booker Ervin, "Mission Impossible" by Billy May, "African Ascension part 1" by Horace Silver, "Thinking Of Baby" by Elmer Bernstein, and "Maybe It's Because I Love You Too Much" by Peggy Lee. ~ Dusty Groove

STEVE DAVIS - GETTIN' IT DONE   Steve Davis definitely gets it done with this sweet little set – just the kind of record that enforces all the love we've had for his talents over the years! Davis' sound on trombone is totally tops – tight, yet with a soulful flourish that really takes off on his solos – a sort of boldness that's more than enough to inspire the players in his group, as does his set of well-penned original compositions for the set! Davis never lets us down, and this album's the kind of soulful swinger that will have us checking him out for years to come – a set that features Josh Bruneau on trumpet, Mike DiRubbo on alto, Larry Willis on piano, Nat Reeves on bass, and Billy Williams on drums – and tunes that include "Getting It Done", "Steppin Easy", "Alike", "The Beacon", and "Wishes". ~ Dusty Groove

SIR JOE QUATERMAN & FREE SOUL

An undisputed funk classic – even back in the days before anyone ever said the phrase "funk classic"! This album must have been deleted the day it came out – because even though it's attained legendary proportions with groovers worldwide, it's always been hard to find – even back in the 70s! But unlike so many other "rare-but-not great" funk albums, this one's a killer – with a hard funky wah wah sound that we'd rank up there with James Brown's best work on Polydor from the early 70s, and which should have made Joe a millionaire, not a lost legend of soul music.

The band is sharp as a knife – with hard drums, tight bass, and some simply amazing guitar riffing. But the best part is Joe – as his vocals are hard and emotional, with just the right touches of righteousness to carry off the album's political messages, but not too much as to spoil the party that the band's having in the background!

Every single track is a winner, and if we were ever to make a list of the top five funk albums to own, this one would be on it! Titles include "The Way They Do My Life", "I Got So Much Trouble On My Mind", "The Trouble With Trouble", "Give Me Back My Freedom", "Live Like Brothers", and "Find Yourself". CD features a HUGE amount of bonus tracks too – titles that include "Thanks Dad (parts 1 & 2)", "This Girl Of Mine", "I'm Gonna Get You", "No", "Get Down Baby (parts 1 & 2)", "I'm A Young Man", "How High", "Let Me Be What I Am", "You Know It's True", and a 1969 version of "So Much Trouble In My Mind".

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

NEW RELEASES - DARROW FLETCHER, THE CONGREGATION, THE DAWN OF NORTHERN SOUL

DARROW FLETCHER – CROSSOVER RECORDS: 1975 TO 1979 L.A. SESSIONS

Sublime 70s work from Darrow Fletcher – a singer we mostly know for his early soul singles in Chicago – but one who really hits his stride on these rare sessions from LA! The music was mostly recorded for Ray Charles' Crossover label – although a few singles also appeared on Atlantic too – and the work has Fletcher's wonderful sweet soul vocal approach coming into play with these warmly flowing grooves that are mighty nice – almost a west coast take on the style that Leroy Hutson was doing in Chicago on Curtom! In the setting, Fletcher's even more appealing than before – a mature singer with a hell of a balance between class and soul, poise and swing – more than enough to rival his hippest contemporaries. Production on most tracks was done by Joel Webster – who also recorded for Crossover – and titles include "The Rising Cost Of Love", "Honey Can I", "Try Something New", "Secret Weapon", "Let's Get Together", "It's No Mistake", "Election Day", "Improve", and "Wind Up Toys".

THE CONGREGATION – RIGHT NOW EVERYTHING

A full length debut knockout for The Congregation – who have more-or-less been serving as the live soul house band on the north side of Chicago in the months leading up to Right Now Everything – and deservedly so! The group might take the most cues from classic raw soul and live show R&B – but they've clearly also soaked up plenty of garagey rhythms, uptempo blues and rave-up gospel – and most importantly, they're somehow delivering their raucous stage intensity in the studio. Vocalist Gina Bloom has the grit and the genuinely soulful spirit of singers who have been at it for decades – but this is a fairly young group – which is important, because we're hoping they'll continue to slay us for many years to come! The excellent band includes Chuck Sansone on keys and percussion, Charlie Wayne on guitar, Joe DeBord on bass, Dan Wendt on drums, Brian Crane on trumpet, Nick Nottoli on trombone and Erik Eiseman on sax. Includes the title track, "When There's Fighting", "Real Thing", "Darlin'", "High Class", "I Know You Will", "You'll Always Be Alright With Me", "I Will Forget You" and more.

THE DAWN OF NORTHERN SOUL - A RED HOT FUSION  OF RHYTHM & BLUES, POPCORN AND NORTHER SOUL

Rockin soul from the start of the 60s – a great batch of upbeat numbers that definitely show the rougher side of the Northern groove! Lots of these tracks sit perfectly in a space between early soul music and R&B – and strut along with the heavier grooves of the latter, yet soar with the bold vocals of the former – making for a mix of modes that's mighty nice! There's loads of rare singles here we might not have heard otherwise – and titles include "Somebody Else's Sweetheart" by The Wanderers, "Puddentane" by Lula Reed, "I'm Hurting" by Billy Gales, "You Crack Me Up" by Charlie Baker, "This Little Love Of Mine" by Buddy Ace, "The Snake" by Maximillian, "Boys Will Be Boys" by Joe Tex, "Wait" by Sidney Barnes, "You're A Little Too Late" by Danny Owens, "That's A Good Idea" by Grover Mitchell, and "That's Why I Cry" by Varetta Dillard.

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

TWIN CITIES FUNK AND SOUL - LOST R&B GROOVES FROM MINNEAPOLIS/ST. PAUL 1964-1979

Rare soul from Minneapolis – a surprisingly great source for grooves in the years before Prince and Morris Day! Turns out, the Twin Cities were already funky, way before the Purple One came into being – as you'll hear in this wealth of rare singles from the late 60s on up through the 70s – all of them mighty darn soulful, and most of them pretty dang funky as well! The wealth of work is really surprisingly – with strong echoes of styles going on in the Chicago and Detroit scenes at the time, but maybe even more surprising, given that Minneapolis/St Paul didn't have nearly the same amount of resources.

The package is easily one of the best ever done by the Secret Stash label – a set that really ups the level of their reissues – with a motherlode of killer cuts that include "Love Me Leave Me" by The Valdons, "Sweet Smell Of Perfume" by Maurice McKinnies & The Champions, "Work Your Flapper (part 1)" by Jackie Harris & The Champions, "She's A Whole Lot's A Woman" by Mojo & His Chi 4, "I Ain't Gonna Cheat On You No More" by Willie Walker, "Save Me" by Wanda Davis, "Saxophone Disco" by Morris Wilson, "Honey From The Bee" by Willie & The Bumblebees, "The Max" by Prophets Of Peace, "Get Up" by The Lewis Connection, and "Rusty McDusty" by Morris Wilson. (Includes album download.)

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

NEW RELEASES - HILDEGARD KNEF, JAZZ ACOUSTIC MACHINE, SHIRLEY SCOTT / CLARK TERRY

HILDEGARD KNEF - REMIXED 12 VERSIONS


German grooves galore – a host of classic tracks from vocalist Hildegard Knef – a remixed with a 21st Century flavor! Think of this one as a German answer to the Verve Remixed series – as Hildegard's older lyrics are layered amidst some heavy beats, keys, and electronics – hardly the instrumentation used in the original recordings, but at times a surprisingly great setting for her voice. Given the slightly cold quality of Knef's singing, the mix with electronics really works well – and titles include "Ich Schreib Dir En Buch", "Das Jahr 2000", "Meine Lieder Sind Anders", "So Oder So Ist Das Leben", "Heute Morgen War Termin", and "Du Bist Das Salz In Der Suppe".

JAZZ ACOUSTIC MACHINE - JAM

A sweet set of funky trio tracks from Jazz Acoustic Machine – and a record that doesn't always live up to their name, but only because it's got so many great keyboards in the mix! Rhythms are tight, and handled in an old school mix of acoustic bass and snapping drums – and the keyboards soar out over the top wonderfully – sometimes with slow-stepping funky lines that recall the glory days of CTI and Kudu Records – other times with a more freewheeling vibe that almost brings back the jazzier side of cosmic London from a few years ago! The group's a great one – exactly what's going right with the Japanese jazz scene in recent years – and titles include "New Step", "Back From The Dark Side", "Sing Without You", "Jazz Acoustic Machine", "Liquid Street", and "He Knows" – which features guest work from Terumasa Hino on trumpet.

SHIRLEY SCOTT / CLARK TERRY - SOUL DUO

A sweet 60s session from the team of Shirley Scott and Clark Terry – musicians who never played together regularly, but who really work wonders on this unique record! Shirley's got that perfect tone on Hammond she hit during her Impulse Records years – a groove that's leaner and cleaner than Prestige sessions of a few years before – and Terry's got that cool mix of muted sounds and soulful undercurrents that really shown during his work with Bob Brookmeyer – a surprisingly great mix here for Scott's organ lines, especially when mixed with the great grooves of the rhythm section! The set features Mickey Roker on drums, and either Bob Cranshaw or George Duvivier on bass – and titles include "Heat Wave", "Taj Mahal", "Clark Bars", "Up A Hair", "Soul Duo", and "Joonji".

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

THE FUSION SYNDICATE BRINGS THE MOST EXTRAORDINARY ROCK AND JAZZ MUSICIANS TOGETHER FOR AN INCREDIBLE AURAL JOURNEY

On October 16, Purple Pyramid (an imprint of Cleopatra Records) will release The Fusion Syndicate, a collection of original rock-jazz fusion explorations performed by an eclectic group of the finest musicians working today.

The Fusion Syndicate features performances by members of the biggest names in fusion including Billy Cobham, Mahavishnu Orchestra, Yellowjackets, and Spyro Gyra plus rock/prog players from Yes, Dream Theater, King Crimson, Tool, Porcupine Tree, Hawkwind and more.

The seven-track record provides nearly an hour of intricate and expansive demonstrations from all the collaborators. “Stone Cold Infusion” combines Steve Stevens’ effortless fretwork and Mel Collins’ soulful horns with Billy Cobham’s solid and propelling drums, while “Atom Smashing” highlights some fast fingerplay from Tony Kaye.

Billy Sherwood composed all the music for, assembled and produced The Fusion Syndicate. A multi-talented musician, he has played in Yes (and several of its reconfigurations), Toto, and others while as a producer, mixer and engineer, he’s contributed to recordings by Yes, Motorhead, Paul Rodgers and all-star tribute albums to artists such as Queen, AC/DC, and Stevie Ray Vaughan. Sherwood also spearheaded The Prog Collective for Purple Pyramid/Cleopatra, which assembled the best players in prog for a collection of original works.

Said Sherwood, “When I was asked to write and produce a fusion record I jumped at the chance. I've always had a deep love of Jazz and Fusion music having grown up listening to Weather Report, Return To Forever, Mahavishnu among many others in the genre. The record has become a musical dream team, including some of the world’s most renowned players in the field. The music reflects a time when virtuosity was the standard and incredible musicianship was the order of the day. Each artist sharing their talent and skill, blending it all into a bigger musical picture, creating an amazing expression of unity and purpose.”

The Fusion Syndicate Track List and Players:
1. Random Acts Of Science - Rick Wakeman (Yes) • Jerry Goodman (Mahavishnu Orchestra) • Nik Turner (Hawkwind) • Jimmy Haslip (Yellowjackets / Alan Holdsworth)

2. Stone Cold Infusion - Steve Stevens • Jordan Rudess (Dream Theater / Liquid Tension Experiment) • Mel Collins (King Crimson) • Colin Edwin (Porcupine Tree) • Billy Cobham (Mahavishnu Orchestra)

3. Molecular Breakdown - Jay Beckenstein (Spyro Gyra) • Billy Sheehan (Steve Vai) • Gavin Harrison (Porcupine Tree) • David Sancious (The E Street Band)

4. Particle Accelerations - Larry Coryell • Derek Sherinian (Dream Theater / Black Country Communion) • Eric Marienthal (Chick Corea Elektric Band) • Chester Thompson (Genesis / Brand X)

5. At The Edge Of The Middle - Steve Morse (Dixie Dregs) • Jim Beard (Mahavishnu Orchestra) • Randy Brecker (Blood, Sweat & Tears) • Percy Jones (Soft Machine / Brand X)

6. Atom Smashing - John Etheridge (Soft Machine) • Tony Kaye (Yes) • Chad Wackerman (Frank Zappa)

7. In The Spirit Of… - Steve Hillage (Gong) • Scott Kinsey (Tribal Tech) • Theo Travis (Steven Wilson Band) • Justin Chancellor (Tool) • Asaf Sirkis (The Orient House Ensemble)

STREAMING MP3: "Stone Cold Fusion"
http://soundcloud.com/brosseaupr/stone-cold-infusion-from-the/s-gvSPZ

:::: SOURCE: cleopatrarecords.com ::::

MIDIAN - A RISING STAR ON THE HORIZON...SIT BACK AND ENJOY!

Midian never believed her mother. It's just what mom's do, she thought: tell their daughter they have the voice of an angel. On occasion, as a girl growing up outside the nation's capital, Midian would escape to her room and let her voice run free; she'd imagine she was Michael Jackson one day, Aretha Franklin the next. But it was just for fun; after all, she had convinced herself she wasn't a singer. So imagine her reaction then, when as a teenager in a recording studio she upstaged a professionally-trained friend, laying down vocals so refined it left her peer speechless. "I was like 'Holy shit!' I can do this!" the now 24-year-old recalls of the epiphany upon hearing her voice piping through the studio speakers. As it turns out, Midian was in fact a singer; she'd always been one. Now, only a few years later, and thanks to the success of her breakout single, "Bitter", a breathtaking display of vocal prowess and emotional maturity, she finds herself one of the most promising new voices in the music industry.

Midian's voice is massive -- the sort that swallows you whole upon impact. In it you can hear the soulful stylings of the late Etta James as well as Amy Winehouse and the outsize "wow factor" of contemporary artists like Christina Aguilera. It's a tool that's been refined. After discovering she had vocal chops, Midian pursued formal training. Soon however, the singer discovered the mechanistic approach of coaching was diminishing her vocal individuality. "I felt like I was going to lose the character of my voice," she says. "So I stopped taking voice lessons and I started recording." Over the next few years Midian became what she lovingly refers to as a "studio rat," recording hundreds of songs, all the while refining her style and technique. Soon she moved out to LA and began writing and recording her own numbers. But few knew of her palpable progress; it's how she wanted it. "I always kept this stuff to myself," she says of the recordings from this time period. Midian’s motives were simple: she’d seen far too many singers thrown into the mainstream machine at a young age, only to be tossed aside at a moment's notice. She had other plans. "I feel like I developed into a professional -- just not in the eye of the public," she explains. "Now I'm fully confident in my abilities to deliver the best."

Even as a fresh-faced 20-year-old, Midian was self-assured. When record labels came calling, their first instinct was to mold her not into the R&B-inspired, drop-everything-and-listen vocalist she'd always envisioned. But rather into the next mainstream pop star: Midian says she remembers being told she should "go more the Katy Perry direction" and that she'd be instantly signed if she'd "go more pop" and do a "Fergie type of thing. I always thought that's not who I am," she says. But now, with the buzz behind "Bitter" following its placement in VH1's Love & Hip Hop Atlanta, and the song's success on the iTunes R&B charts -- not to mention the massive triumph of similar-minded artists like Adele – the lane has been busted open for a no-holds-barred act like Midian. "I think music has evolved over the years; anything goes now,” she explains. “People just appreciate good music."

Still, Midian was humbled by the storm of positive reaction that accompanied "Bitter". "I didn't know how people would really respond to it," she admits. "We've had no label, no promo, no push whatsoever and we garnered over a quarter-of-a-million hits on YouTube in less than a month. To me that says more than any amount of money could buy. I'm so thankful that people appreciate good music still. Because I'm not Rihanna. And I'll never be Rihanna. And I've always been OK with that."

Front-and-center now for the singer is polishing up her live show -- something she's currently working on with a new band. She's also continuing to record tracks for what will become her debut full-length album. "I want to take my time with my work," she says. "That's something that's really important to me and something that I feel like we're lacking in 2012: the artist that really focuses on the integrity of the music and makes a cohesive project that makes sense."

For Midian, one thing is certain, though: she's a singer. And one whose future is just beginning to be written. "There's no denying who I am," she says. "It's totally encouraging."

Take a listen and enjoy here!
Bitter

STACY SULLIVAN - IT'S A GOOD DAY: A TRIBUTE TO MISS PEGGY LEE

It’s a Good Day, A Tribute to Miss Peggy Lee, featuring Stacy Sullivan announces a fall performance series at New York City’s iconic Metropolitan Room. Stacy Sullivan, winner of the Backstage Bistro Award and the MAC Award for Outstanding Female New York Debut, has appeared in venues across the country, from Jazz at Lincoln Center in New York to the Ford Theatre in Hollywood. Ms. Sullivan notes, “We are thrilled to be appearing at the Metropolitan Room. Peggy Lee loved to perform late, so the Metropolitan Room’s 11:30pm showtime is perfect for us.”

The show dates are Oct. 17th 11:30 pm, Oct. 18th 11:30 pm, Nov. 10th 11:30 pm, Dec. 8th 11:30 pm, Jan. 28th 7:00 pm and Feb. 23rd, 7:00 pm.

It’s a Good Day, A Tribute to Peggy Lee is a journey of discovery…through the extraordinary musical legacy of Peggy Lee and the personal struggles of a woman whose voice captivated millions. The classic songs, intricate rhythms and exquisite arrangements that defined her career are elegantly portrayed in this loving homage. The show is accompanied by the seasoned jazz masters Jon Weber on piano and Steve Doyle on Bass.

Ms. Sullivan has recorded five albums for the LML Music label, including her latest, It’s a Good Day, featuring Jon Weber, Steve Doyle and Bucky Pizzarelli. Her new show, has been gaining critical acclaim as an interpretive exploration of the extraordinary music and personal struggles of a singer, composer, and actress whose remarkable career spanned over six decades, influencing jazz and popular-music culture worldwide.

For more information about the It’s A Good Day, A Tribute to Miss Peggy Lee, visit http://www.PeggyLeeFever.com or contact Emmett Murphy at: emmett.murphy@showHive.com or call 212-365-4154 x 5. To book tickets, visit the Metropolitan Room website.

HEATHER HEADLEY - ONLY ONE IN THE WORLD

Grammy® Award and Tony Award-Winner Heather Headley releases her latest CD, Only One In The World. The CD, which bows today, features new songs penned by Headley, R&B hits, familiar favorites and a cut from the upcoming production of The Bodyguard: A New Musical in which Headley makes her London West End debut this fall in Whitney Houston's role, Rachel Marron. Only One In The World is released by in:ciite Media, distributed by EMI-CMG/EMI Distribution.

Here's what people are saying about Headley and Only One In The World:

"I met Heather Headley at an evening with David Foster, and the minute I heard her voice I fell in love with it! A rich, powerful voice, with an extended range and full of sentiment ...From that day we started working together, singing duets in several concerts. And I discovered in Heather, behind a great singer ... a great person! I hope this album touches everyone's heart. And, from the bottom of my heart, I wish her the best of luck!" - Andrea Bocelli

"My writing partner and I are honored that Heather chose the song to sing on her own CD, and she truly made it her own!! No easy task, but she did it with flying colors." - Allan Rich, writer of "Run To You"

Produced by Paul Mills and Keith Thomas, the 12-track CD includes Whitney Houston's famed song "Run To You" from The Bodyguard, featured in The Bodyguard: A New Musical, "River Deep, Mountain High" and "Superwoman." "Home," made famous in The Wiz, is a beautiful reflection of Headley's love for the Broadway stage. "A Little While," is inspired by Headley's admiration for her mother, and Headley's brother, Iric Headley Jr., co-wrote and produced the R&B track, "Hey Mama." "Because You Need Me" is performed and written with one of the stars of The Voice, Chris Mann.

Born on the Caribbean island of Trinidad and the daughter of a pastor, Headley started singing and playing piano in church at a young age. Since, her multi-faceted career has been a blessing. Headley won a Tony Award in 2000 for best actress in a musical for her role in Aida and originated the role of Nala in Broadway's The Lion King. In 2002, her debut album, This Is Who I Am, was nominated for two Grammy® Awards, and in 2010, she won a Grammy® in the best contemporary R&B Gospel album.

SOURCE in:ciite Media