LES DION - BACK 2 SMOOTH

Les Dion is emerging from the shadows of the Jazz/ R&B world fully aged and in full command of his craft, his identity, and his music. His new album Back 2 Smooth is a captivating and moving debut release "40 years in the making". It is the perfect blend of extraordinary life events, mixed with jazz overtones, and a sweet uplifting taste of oldschool R&B that only Les can deliver. "Nothing can prepare you for a lifelong journey of obscurity in this crazy, everchanging Music Business", says Les. The Back 2 Smooth Project delivers that 40 year story eloquently, at times tearfully, but always in a unique Jazzy groove that is distinctly Les Dion.

From Label deals at 12 years old with All-Platinum/ SugarHill Record's Hiphop mogul Sylvia Robinson, to world tour appearances with New Edition, and Earth Wind and Fire, Les Dion has prepared for this moment a lifetime. Through the 70'sand 80's, he persued musical success relentlessly, even forsaking multiple Pre-Med Scholarships and, a stellar six year Military Tour of Duty. "The only thing more elusive than a successful Music Career may have been Bin Laden", jokes Les, but the battle to maintain Musical focus throughout his amazing journey has been no joke at all.

Upon coming to terms with the disappointing realities of the Record Business in 1989, Les Dion settled into family life with a new wife, determined to raise a family of seven honorably. The family responsibilities somehow never overshadowed the burning drive to write and record the story of his amazing life. From the victory of a gruelling 10 year Leukemia battle faced by his courageous wife, to the crushing blow of burying his two 20 year old sons, the challenges have been both enormous and relentless. "Raising five children was a daunting task, but burying my precious sons 2 years apart was just pure hell", proclaims Les, but as the tragedies mounted, so did the songs.

After producing and recording multiple Contemporary Christian Albums on his JJireh Records Label from 1996-2003, the music industry realities continued to thwart every effort. With no major label affiliation, distributors and radio personalities were simply not interested. Depleted of energy and drive after his second son's death, Les had begun to lose hope in ever having any real success in music but, by God's grace, 2006- 2012 brought dramatic change. " I had time away from work to heal emotionally, and of course we all know how dramaticlly the Music Industry began to change with the rise of Bitorrents, Youtube, Facebook, and internet Radio. An Artist like myself who had been independent for decades suddenly had all the tools that were once only availabe to the Major Labels". Les Dion's musical vision suddenly had new hope. He developed an Elegant solo jazz show with pianist Rolando Salva called "The Classic Standard Show" performing hits from the greats like Sinatra, Bennett, Mathis, and Cole. "That Era brought forth some of the greatest vocalist and best songs of our time, so its a blast to have the opportunity to interpret them and I still perform the show, but I realized one day that my journey was really about telling my story, through my own songs. Realizing that I could now publish them worldwide with no restrictions was an enlightening moment", says Les. "The road has been long and steep but if my songs can help people improve their relationships with each other and more importantly, improve themselves, then I will have succeeded and, my tragic losses will not have been in vain".

Back 2 Smooth is the vehicle that delivers this soul felt message to a worldwide audience. The project is an ambient musical blend of smooth Jazz meeting old school R&B. Drenched in warm emotions, and syncopated rhythms, it is sure to please musical pallets of all kinds. No matter where your genre preferences lie, "Back 2 Smooth" brings a melodic delight of Jazz shades and R&B hues that will find you humming, dancing, thinking, and escaping from the worries of life. From the soothing melodies in the title track and 1st Single "Back 2 Smooth", to the Jazzy rhythms of "Love is What I Need", the insightful harmonic flow never looses its velvety touch. The scatty syncopated feel of "Getaway", is subtly complimented with the beautiful falsetto cries of "callin". " I even got a chance to record the classic "Teach Me Tonight" by the great Sammy Cahn"! The silky flow of  Back 2 Smooth makes it Les's favorite ( with the great Patrick McDonald on guitar), but the raw emotional message of "Heaven" may be the most powerful recording on the Album. "Heaven was the easiest song I've ever written lyrically because of the pain from my family lose, yet it was by far the most difficult song I've ever recorded".

Les Dion has created and is now delivering "the Album of a lifetime" precisely the way he has always wanted through his music and film companies Entrascope Music Group, and LD Films. Be sure to experience the Quintuple threat that is Les Dion; singer, songwriter, musician, producer, and music executive, with his highly anticipated new release..... Back 2 Smooth.....the culmination of where this multi-talented Artist has been, and where he is destined to go.

Back 2 Smooth is scheduled for release in January 2013.

~ lesdion.com

NEW RELEASES - BNEGAO & SELECTORES DE FREQUENCIA, CONRAD HERWIG, DAVE DOUGLAS QUINTET WITH ADOIFE O'DONOVON

BNEGAO & SELECTORES DE FREQUENCIA - SINTONIZA LA

A brilliant mix of live funk and lead MC work from Bnegao – and just the sort of unique criss-crossing of styles we'd never see up here in the US! The album's not really a hip hop record – despite the lead raps of Bnegao – and instead, it's kind of a funk record with spoken lyrics over the top – loads of tight drums, heavy horns, and riffing guitar – all topped with lyrics that are almost called/shouted over the top – a bit like Soil & Pimp Sessions from Japan, but with a distinctly Brazilian vibe overall. There's a great sort of warmth to the record, and the production really does a lot with the live instrumentation – giving it even more spark than you might expect. Titles include "Recao", "Vamoi", "Essa E Pra Tocar No Baile", "Subconsciente", "Bass Do Tambo", "Sintoniza La", "O Mundo", and "Proceder/Caminhar". ~ Dusty Groove

CONRAD HERWIG - A VOICE THROUGH THE DOOR   Conrad Herwig really has a way of making other players cook – a special sort of something that comes through in both his rich vision for the music, and his strong inspiration as a soloist too! This album's key testament to that quality in Herwig's music – as it has all players sounding really a cut above – and soaring with Conrad's trombone in a marvelous batch of original tunes with a really fresh feel! The rhythm section grooves right from the start – often with some modal energy at its core, giving the record the feel of some lost European jazz set from the 70s at points – yet definitely holding onto its own spirit amidst all of Herwig's original compositions. Piano from Orrin Evans is a key part of the album's success – but the set also features great work from Ralph Bowen on tenor, Kenny Davis on bass, Donald Edwards on drums, and Herwig himself on trombone. Titles include "Traceless Moon", "The Sun Within", "Morning Shade", "Thorn Witness", "Free Action Reaction", and "The Voice Through The Door". ~ Dusty Groove

DAVE DOUGLAS QUINTET WITH ADOIFE O'DONOVON - BE STILL   Quite a compelling project from trumpeter Dave Douglas – a record that has him working strongly with singer/guitarist Aoife O'Donovan, whose presence really helps transform the sound of the set! Aoife's got a folksy touch on her vocals, and colors things in with some great earthy tones that are a surprisingly good fit for Douglas' lines on trumpet – sometimes jazzy, sometimes sparkling with a rich sense of American history – yet delivered in a subtle, linear way. The blend works a lot better than it sounds on paper – thanks to help from other musicians who include Jon Irabagon on tenor, Matt Mitchell on piano, Linda Oh on bass, and Rudy Royston on drums. Titles include "Barbara Allen", "Living Streams", "Be Still My Soul", "High On A Mountain", "God Be With You", and "This Is My Father's World". (Includes album download.) ~ Dusty Groove

NEW RELEASES - CBS JAZZ ALL STARS, BLACK MIGHTY WAX, SOUL TOGETHERNESS 2012

CBS JAZZ ALL STARS - MONTREUX SUMMIT VOLUME 1

A really amazing little record – way more than usual for this sort of live recording – given that it features some very unique performances together by artists we've never heard on the same stage otherwise! The premise is simple, but wonderfully effective – in that the album brings together some of the leading lights of the Columbia/CBS jazz stable at the time – a massive lineup of talent from a few key generations in jazz, sounding surprisingly great hear together! All tracks are nice and long – and titles include a brilliant version of "Infant Eyes" by a quartet with Stan Getz on tenor and Bob James on piano; "Fried Bananas" with Dexter Gordon on tenor, Slide Hampton on trombone, Woody Shaw on trumpet, and George Duke on piano; "Bahama Mama" with Bob James on keyboards, Bobbi Humphrey on flute, Eric Gale and Steve Kahn on guitars, and Billy Cobham on drums – and the long jam session tracks "Montreux Summit", "Blues March", and "Andromeda" – which feature work from most of the players above, all working in one large group – plus added flute from Hubert Laws and Thijs Van Leer, percussion from Ralph Maconald, and bass from Alphonso Johnson. ~ Dusty Groove

CBS JAZZ ALL STARS - MONTREUX SUMMIT VOLUME 2

A wonderful follow-up to the first Montreux Summit album – and like that classic, a groundbreaking assemblage of some of the best jazz musicians of the 70s! The format here is slightly different – with more of a focus on smaller groupings of musicians, but still with a really fresh ear for unusual combinations – especially with players you're not always likely to hear together – all stretching out on some sweet longer tracks. Tunes include a version of "Moontrane" with Woody Shaw on trumpet, Dexter Gordon on tenor, Slide Hampton on trombone, and George Duke on Fender Rhodes; "Two Part Invention" with Bob James on piano and Hubert Laws on flute; "Kanon For Flutes", with work by Bob Militello and Thijs Van Leer on flutes, alongside Bob James on Fender Rhodes, Eric Gale on guitar, and Peter Erskine on drums; "Red Top" with Dexter Gordon and Stan Getz on tenor, and Maynard Ferguson and Woody Shaw on trumpet; "Rites Of Darkness" with George Duke on Fender Rhodes, Bob James on keyboards, and Steve Kahn on guitar; "Be Cool" with James on Fender Rhodes, Duke on keyboards, Bobbi Humphrey and Hubert Laws on flute, and Eric Gale and Steve Kahn on guitar; and a sweet take on James' "Night Crawler" – with Stan Getz on tenor, Bobbi Humphrey and Hubert Laws on flute, Eric Gale and Steve Kahn on guitars, and Bob James himself on Fender Rhodes! ~ Dusty Groove

BLACK MIGHTY MAX - WE THE FAMILY

It's been quite a few years since we last heard from Black Mighty Wax – but it's definitely been well worth the wait – as these guys are deeper and more sophisticated than ever, with a range of sounds we never would have expected on the last release! Soul styles are still very much at the front of their mix – and the record features vocals from a range of great singers who include Sarah Jane Morris, Neffa, Ricardo Phillips, Lily Latuheru, Silvia Donati, and others – set to grooves that still sparkle with the same keyboard elements that have always made Black Mighty great – but which also have more acoustic touches from time to time, and a rhythmic variation that goes way past the usual Irma groove! Titles include "Shake Your Heart", "We The Family", "Let Me Go", "Pull Down", "Follow That Fellow", "Riverside", and "Nightdriver" – and the CD features a few bonus remixes too! ~ Dusty Groove

SOUL TOGETHERNESS 2012 - 15 MODERN SOUL ROOM GEMS (VARIOUS ARTISTS)

Soul sounds that work perfectly together – on a set that's maybe the most compelling of the Soul Togetherness series so far! There's loads of great contemporary numbers here – some nuggets from the underground, a few more mainstream tracks, and even a few mixes that really transform the tunes – making their key appearance here in CD format. The vibe is deeply soulful throughout – as the set's put together by folks who also have a strong ear for classic soul and funk – and titles include "Turn It Up" by Kenny Thomas, "Don't Give Up" by Aaries, "Taking It Too Far" by Big Brooklyn Red, "Don't Wanna Wait" by Lew Kirton, "Save Our Freedom" by Bah Samba, "Running Around" by Cool Million, "1960 What (Opolopo kick & bass rerub)" by Gregory Porter, "Woo" by Anthony Hamilton, "Let It Go" by Jazzanova, "Thinking About You" by Maurissa Rose, "Share My Love" by R Kelly, and "You Did It Again" by Soulpersona & Princess Freesia. ~ Dusty Groove

PHAREZ WHITTED - FOR THE PEOPLE

Trumpeter's Label Debut Features Same Chicago Sextet as 2010's "Transient Journey": Guitarist Bobby Broom, Pianist Ron Perrillo, Saxophonist Eddie Bayard, Bassist Dennis Carroll, & Drummer Greg Artry

In 2010, after a 14-year hiatus from recording, Chicago trumpeter/composer Pharez Whitted made a deep impression on the jazz public with the release of his long-overdue third CD as a leader, Transient Journey. Fortunately, admirers will not have to wait as long for its follow-up. His sparkling new album, For the People, will be released by Origin Records on October 16. He's rejoined on the new disc by his world-class sextet of guitarist Bobby Broom, pianist Ron Perrillo, bassist Dennis Carroll, drummer Greg Artry, and the tenor and soprano saxophonist Eddie Bayard.

"It's been my pleasure to work with Pharez and to be involved with his artistry," says Broom, who co-produced the new date (and the previous one) with Whitted. "On this record, through his tunes, we've been able to create the perfect environment to display his jazz vision and unique voice on his horn."

For the People basks in tradition -- not only with its infectious hard bop, but also with its commitment to serving listeners. "Music is meant to lift people up, get them to do something positive, whether it's hugging their kids, giving up a parking space to someone, or just smiling at the sunshine," says Pharez.

Steeped in the prime time Blue Note sounds of Freddie Hubbard, the Jazz Messengers, and Horace Silver, For the People fully lives up to its title, whether capturing the joy of dancing on "Watusi Boogaloo," communicating the need for all of us to "get outside our own skins and come together" on "Freedom Song," or honoring the victims and survivors of recent disasters including the 2004 tsunami, Hurricane Katrina, and the 2010 earthquake in Chile.

"These are all very serious musicians," says Whitted of his bandmates, "who make real sacrifices in putting the group before themselves. For all of us, the collective always has more meaning than the individual."

Based since 2001 in Chicago, where he is Associate Professor of Music at Chicago State University, the 52-year-old Whitted was born in Indianapolis and grew up amidst local jazz royalty -- his own large and prodigiously talented family. His parents -- drummer Thomas Whitted Sr. and singing bassist Virtue Hampton Whitted -- were members of a jazz orchestra called the Hampton Band. It included Pharez's uncle Slide Hampton, soon to become a world-renowned trombonist and arranger, as well as his uncles Marcus and Maceo on trumpets, uncle Russell on tenor saxophone, uncle Duke on vibes and trombone, aunt Carmelita on baritone saxophone and vocals, aunt Altetra on piano, and aunt Dawn, who sang and danced. His grandparents, painter Deacon Clark Hampton and wife Laura, regularly invited Indianapolis musicians such as Freddie Hubbard and Wes Montgomery and his brothers Monk and Buddy to practice at their house. Pharez's three older brothers are musicians -- Tommy a trombonist, Leo a trumpeter, and Henry a saxophonist -- while sister Tamar is a singer, and sister Venture, the only non-musician of the bunch, is an artist. (The song "Venture" on For the People was named for her.)

Pharez earned his master's degree at Indiana University, studying with renowned jazz educator David Baker, and has been active as an educator ever since. He's been no less active as a performer, having formed a long-running jazz quintet, Decoy, following his graduation, and -- after his move to Chicago -- playing around town with saxophonists Ari Brown, Von Freeman, and Sonny Seals, and spending seven years as a member of the Chicago Jazz Ensemble. His current sextet, which he put together six years ago, is a perfect showcase for his gifts as a trumpet player and composer, as well as for the outstanding musicianship of his band members.

"Music can be very therapeutic to those who create it as well as the ones who listen to it," says Whitted. "The creation of this project has helped me to see life in a more beautiful and creative way with an inspired sense of hope about the infinite amount of possibilities in front of me. My hope is that it will help the people who have the opportunity to hear it to do something along those lines as well."

www.pharezwhitted.com

NEW RELEASES - KARYN WHITE, MASSIVE ATTACK, LOVING ON THE FLIPSIDE,

KARYN WHITE - CARPE DIEM

Karyn White continues to "Seize the Day" as she sets to release her new CD "Carpe Diem," her first new release in over 18 years, on her website www.Karynsworld.me. Coming off of a spectacular debut, 3-night 4-show return to the stage at the exquisite, sophisticated Rrazz Room in San Francisco's Hotel Nikko in beautiful Union Square, Karyn is really embracing today's technology and taking full advantage of being able to touch and communicate with her own fan base. "What I realized is I don't need to be under the banner of any major record company or distribution system to be heard or felt by my fan base. They will find me if they want to and with the advent of social media, internet radio and digital distribution, with forward-thinking management, a great publicist and a strong social media team, you can be effective, efficient and successful doing this yourself!". Karyn's World is the exclusive outlet for those who visit her to purchase her new CD (Carpe Diem) as a digital downloadable album or a physical CD, her new book of positive affirmations and thoughts, "Carpe Diem," and a 2 ft by 3 ft poster of her Carpe Diem CD cover. To find out more about Karyn, visit her website at www.Karynsworld.me. "I'm just excited by what I see going on in the entertainment industry; it's so revolutionary and explosive and I've been gone for a long time, so I just want to say thank you to all of my fans, supporters and friends for waiting around for me to come back, and I just want to say Carpe Diem baby!!! Let’s seize this day! ~ karynsworld.me

MASSIVE ATTACK - PROTECTION

There's something about classic albums that take you back to a certain time and place. I think that it was my older brother that initially introduced me to Massive Attack's Protection. We were on the beach in North Carolina for a week and the album was pretty much on repeat. Being the hip hop kid that I was though, it took me a few years to really get it. Tracey Thorn's vocals on the title track initially threw me off, the closest thing to rapping on the album being Tricky's "Karmacoma." However, the tracks featuring Horace Andy are what really drew me in. The way that Andrew "Mushroom" Vowles, Grant "Daddy G" Marshall and Robert "3D" Del Naja were able to work with the legendary reggae vocalist on "Spying Glass," incorporating classic dub techniques, was nothing short of impressive. Massive Attack were able to use the studio to great effect and the instrumental tracks, especially the piano driven "Weather Storm," stand on equal footing with the rest of the album. In fact there does not seem to be a bit of filler on the record. Depending on who you ask though the live cover of The Door's "Light My Fire," again featuring Horace Andy, is the one love it or leave it moment on the record. Protection is a classic album that helped to define the then burgeoning trip hop and down tempo sound. ~ reviewed by The Voice 09/2012 (turntablelab.com)

LOVING ON THE FLIPSIDE - SWEET FUNK AND BEAT HEAVY BALLADS 1966 - 1977 (VARIOUS ARTISTS)

An absolutely stunning anthology of beat-heavy soul jams and love ballads from Now-Again, the same folks that brought you that awesome Soul Cal comp! Loving On The Flipside contains some of the most incredible baby-making jams this here reviewer has ever heard. The songs contained here, mostly overlooked funk 45 B-sides released between the years of 1966 and 1977, are a potent combination of sweet soul and deep funk - a style of music the label lovingly refers to as "sweet funk." It is the dichotomy of heavy funk rhythms with sweet, soulful harmonies that are at the root of the sweet funk genre, a combo heard through and through on every selection featured on the release. Obviously it is no easy task to find jams of this caliber, so Now-Again actually reached out to New York's Truth & Soul to help find more sweet funk swooners and beat-heavy ballads to round out the release. Thanks to their help, Loving On The Flipside features 21 sweet funk gems from the likes of the Darling Dears, The Equatics, Black Velvet, Black Exotics, Eunice Collins, Symphonic Four, Rhythm Machine, and many others. The double LP version is presented in deluxe gatefold packaging (similar to the Soul Cal comp) with 80 page, full color, perfect-bound book featuring extensive liner notes highlighting the artists featured on the compilation. CD version includes the book as well. Highly recommended. ~ reviewed by TKB 10/2012 (turntablelab.com)

BETTY WRIGHT REISSUES - EXPLOSION!, I LOVE THE WAY YOU LOVE & DANGER HIGH VOLTAGE

BETTY WRIGHT – EXPLOSION!

Betty Wright explodes with soul on this sweet 70s classic – really stretching out past the simpler grooves of her roots, and showing the world she's got more than enough talent to be one of the standout soul divas of her generation! The record's also a great illustration of the way that Miami soul was growing up at the time, too – and sparkles with Willie Clarke production that help balance some of the new smoother modes with Betty's core down-home energy – captured perfectly here with a quality that makes the record southern enough to appeal to longtime fans, yet hip enough to get plenty of play up north too. Vocals get nice and complicated at times, almost jazzy with a Rufus/Chaka touch – and titles include "Do Right Girl", "I Think I'd Better Think About It", "Smother Me With Love", "Open The Door To Your Heart", "Life", "If I Ever Do Wrong", and "Don't Forget To Say I Love You Today". CD features four bonus tracks – "To Love & Be Loved", "Ooola La", "Slip & Do It", and "If I Was A Kid". ~ Dusty Groove

BETTY WRIGHT – I LOVE THE WAY YOU LOVE

A breakout album by Betty Wright, the record that spawned the cut "Clean Up Woman" – the choppy funky track that really pushed her over the top in a big way, and which has remained fresh for years –thanks to a strong sample history in hip hop! That cut's more than enough reason to buy the record – but the whole LP's great – and features loads of other original tracks written by Clarence Reid and Willie (Little Beaver) Hale, hitting hard in a sweet 70s Miami soul style – titles that include "I Love the Way You Love", "I'm Gettin' Tired Baby", and "Pure Love" – plus a groovy cover of "Ain't No Sunshine". One of the turning points in the emerging Miami soul scene of the 70s – soon to provide a second home to Atlantic Records! ~ Dusty Groove

BETTY WRIGHT – DANGER HIGH VOLTAGE

Massive music from Betty Wright – an album that really has her coming into her own – and showing the world how great Miami soul can be, when it's done this right! The album's overflowing with key help from TK legends like Willie Clarke, Clarence Reid, Steve Alaimo, and KC – all of whom bring in a cool shifting set of grooves to really expand Betty's style – still with all the charm of her early hits, yet also showing a classy, sophisticated side that we never would have expected before – a vibe that's even more powerful than Gwen McCrae on her albums from the time. Titles include the classic "Tonight's the Night" – made famous in a later live take, but done here in the original studio version – plus the tracks "Show Your Girl", "Where Is The Love", "Everybody Was Rockin", "Love Don't Grow On A Love Tree", "Don't Thank Me Baby Thank Yourself", and "Shoorah Shoorah". CD features lots of bonus tracks – including "Secretary", "It's Bad For Me To See You", "Value Your Love", "My Baby Ain't My Baby Anymore", and "One Thing Leads To Another". ~ Dusty Groove

NEW RELEASES - LOU JOHNSON, JUNIOR, JOHNNIE TAYLOR

LOU JOHNSON – SWEET SOUTHERN SOUL

An incredible bit of southern soul – and one of the few records ever by deep soul singer Lou Johnson! The masterpiece was recorded at the Fame Studios in Muscle Shoals, at a time when the outfit was at the height of its powers – capturing Lou with a sweet-burning style that matches (if not betters) the best by Otis Redding or James Carr from the same period. Each song is a treasure, handled by Lou as if it were his own, and transformed completely by the amazing setting of the recording. Titles include "Tears Tears Tears", "Don't Play That Song", "People In Love", "It's In The Wind", "Rock Me Baby", and "I Can't Change". ~ Dusty Groove

JUNIOR- JI

The standout classic from Junior Giscombe – one of the more unique soul artists of his generation! The set's probably best known for its huge hit single "Mama Used To Say" – a killer cut with an incredibly catchy hook, and a groove that's lasted for years on 80s groove dancefloors – but the whole album's pretty darn wonderful overall, with slight twists and turns that are quite different than other mainstream soul sets of its type. Junior did the record in collaboration with producer Bob Carter, who also plays a fair bit of keyboards on the set – bringing in an airy, open feel that matches Junior's vocals wonderfully – in a sound that's somewhat sweeter than other male soul of the early 80s, but never in a way that's too soft or sleepy. Titles include "Mama Used To Say", "Too Late", "I Can't Help It", "Let Me Know", "Down Down", "Love Dies", "I Can't Help It", and "Darling You (Don't You Know)". Loads of bonus tracks too – including "Fame", "In Words", "Too Late (7" single)", "Too Late (alt version)", "Mama Used To Say (British party mix)", "Mama Used To Say (American rmx)", and "Mama Used To Say (American inst)". ~ Dusty Groove

JOHNNIE TAYLOR – WANTED ONE SOUL SINGER

Johnnie Taylor's first album for Stax – and a tremendous little set that easily stands as one of his greatest records ever! Sure, we love Johnnie in all his incarnations – but there's a special sort of something here – a rawness and earnestness – that makes the whole thing shine right from the start – a crispy sort of Memphis vibe that has the Stax Records team really hitting their stride. The set's filled with great tunes from the team of Isaac Hayes and David Porter – including "I Got To Love Somebody's Baby", "Toe Hold", "Outside Love", "Little Bluebird", and "I Had A Dream" – and also features great versions of "Watermelon Man", "Ain't That Loving You", and "Where Can A Man Go From Here". ~ Dusty Groove

NEW RELEASES - MADELINE BELL, PERCY SLEDGE, BARBARA LYNN

MADELINE BELL – DOIN’ THINGS

Socking soul from the 60s – a record with American roots and a very groovy British sound! The set was the second full length album from Madeline Bell – an American singer transplanted to the mod UK scene of the 60s, where she really flourished in a rich career of hit singles, endless session work, and later fame with the group Blue Mink. The tunes on this set are a wonderful bridge between Madeline's two worlds – and have a sound that's a lot like the uptown soul coming out of the US at the time – sweet and smooth arrangements, topped by deeper soul vocals that make for a wonderful juxtaposition. Arrangements are by British talents Arthur Greenslade, Ian Green, and Keith Mansfield – and titles include "Step Inside Love", "Hold It", "Help Yourself", "After All Is Said & Done", "For Your Pleasure", and "It's Up To You". CD features bonus singles too – 6 more tracks that include "Thinkin", "Go Ahead On", "How Much I Do Love You", "What'm I Supposed To Do", and "We're So Much In Love". ~ Dusty Groove

 

PERCY SLEDGE – TAKE TIME TO KNOW HER

It's hard to imagine a more perfect 60s southern soul album – the legendary vocals of Percy Sledge mixed with classic Muscle Shoals production from Quin Ivy – all wrapped around a host of hip tunes that go way past the easy 60s soul hits! The formula here is similar to that cooked up by Otis Redding on Stax, but it goes perhaps a few steps more – relaxing into its own confidence, and hitting an easy, open approach to the material that's neither too "stock", nor too slick. And although Otis first started the groove, Percy really helps push it forward strongly on this record – by bringing a deepening spirit and new sophistication to the music that would help it thrive greatly into the 70s. Many tracks are written by the team of Dan Penn and Spooner Oldham, including "I Love Everything About You", "Out Of Left Field", and "Feed the Flame" – and other titles include "Sudden Stop", "Baby Help Me", "Cover Me", "Between These Arms", and "High Cost Of Leaving". ~ Dusty Groove

BARBARA LYNN – HERE IS BARBARA LYNN

A fantastic album of soul from Barbara Lynn – an oft-overlooked gem in the crown of Atlantic during their glory soul days in the 60s, and a singer with a raw soulful style that really deserved greater exploration! The album's filled with wonderful original tunes, written either by Barbara or arrangers Cliff Thomas, Ed Thomas, and Bob McRee. The set was recorded at the Grits & Gravy Studios in Clinton, Mississippi by Huey P Meux – which gives it a slightly different style than much of the Atlantic output at the time. Titles include "You're Losing Me", "Sufferin City", "You'll Lose A Good Thing", "Take Your Love & Run", "I'll Suffer", "Maybe We Can Slip Away", "Multiplying Pain", and "Mix It Up Baby". ~ Dusty Groove

NEW RELEASES - MARGIE JOSEPH, THE MAR-KEYS, LIGHT OF THE WORLD

MARGIE JOSEPH – MARGIE JOSEPH

The first Atlantic album from Margie Joseph – a great second generation southern soul singer who really helped the label find a new sound in the 70s! Margie got her start on Stax, but she sounds even better here – a bit more mature, slightly more urban, and backed with a bad-walking set of arrangements by Arif Mardin that help pull her out of the country into a wider 70s soul mainstream. There's still plenty of rootsy touches on the set, and the blend is one that's similar to that of Aretha Franklin's work of the time – one that echoes older southern styles, but brings them up to date nicely with some more sophisticated touches. Titles include "Make Me Believe You'll Stay", "Turn Around & Love You", "Let's Go Somewhere & Love", "You Better Know It", "I'll Take Care Of You", and "I'm So Glad I'm Your Woman". ~ Dusty Groove
 

THE MAR-KEYS – LAST NIGHT

The birth of the Memphis instrumental sound – a classic album from The Mar-Keys, who were one of the leading early groups on Stax! The group was a unique assemblage of musicians from both sides of the Memphis tracks – coming together in the studio with a hard-wailing mix of soul, rock, and R&B – a great bridge between Memphis Stax and the sound of Atlantic Records in the 60s. Titles are all pretty playful, and feature lots of sax and organ lines – on tunes that include "Night Before", "Morning After", "About Noon", "Hold It", "Last Night", "Sticks & Stones", and "One Degree North". ~ Dusty Groove

LIGHT OF THE WORLD – LIGHT OF THE WORLD

An obscure group, but a wonderful one – and an ensemble we really wish we could hear more from! Yet thankfully, they've given us this wonderful album from the start of the 80s – a soaring, soulful set that seems to pick up the funky torch dropped by Earth Wind & Fire – and push things forward with the same blend of jazzy undercurrents and righteous feelings! Tunes are uptempo, but never too much so – and handled with musicianship that's really top-shelf – and the production has a wicked blend of jazz and soul that almost feels like some of Wayne Henderson's best productions from the At-Home years. The record features a wonderful soul number called "Dreams", which has great compressed grooves, and some early vocals by Miki Howard – and other titles include "Swingin", "Aspects", "Mirror Of My Soul", "I'll Always Love You", and "Who Are You?". CD features both UK and US cover art – and bonus cuts that include "Emergency", "The Word Is Out", "Swingin (rmx)", "Midnight Groovin (single)", and "Midnight Groovin (12" version)". ~ Dusty Groove

NEW RELEASES - QUASIMODE, ARETHA FRANKLIN, SUN

QUASIMODE – SOUL COOKIN’


Quasimode are definitely cooking on this sweet little set – picking up a rich array of influences they've never had before – including bits of Latin rhythms, and some soul music as well! A few of the cuts feature vocals – but in ways that are more straight soul than the group's previous experiments with jazz singers – yet the backings are still tightly jazzy, and played mostly live, in a bold flurry of trumpet, tenor, trombone, piano, bass, and drums – plus some occasional Fender Rhodes as well! The Latin elements really help expand the sound, and flesh out the positive vibe of the record – a soaring, sunny vision that reminds us of the jazzy joy we first found in the music of Monday Michiru. Most of the album's still instrumental, and titles include "Febre Samba", "Summer Madness", "Another Sky", "Leaving Town", "Soul Cookin", "Let's Get Down Together", "El Paso Twist", and "Still In The Night". Also features a bonus DVD – with the video for "Summer Madness", and concert footage of the tracks "Relight My Fire", "No More Sadness", and "The Man From Nagpur" – plus bonus footage as well! (HQ – Hi Quality CD pressing. Please note that the DVD doesn't list a Region so you may need a multiregion player to view it.) ~ Dusty Groove

ARETHA FRANKLIN – LOVE ALL THE HURT AWAY

An early 80s gem from Aretha Franklin – one of the best of her years at Arista Records, thanks to solid help in the studio from the mighty Arif Mardin! Mardin's in perfect form here – the same blend of older soul and jazzier, more sophisticated styles that he was also bringing to Chaka Khan at the time – although Franklin's arguably more deserving of his talents, given her long relationship with the producer! There's a full, mature feel here – one that really gets Aretha back in gear as a singer, and shows off her talents to a new generation in new ways – yet all without trying too hard for a crossover hit. Tunes include a few originals by Franklin, and titles include "Kind Of Man", "Whole Lot Of Me", "Love All The Hurt Away", "You Can't Always Get What You Want", "It's My Turn", "There's A Star For Everyone", and "Hold On I'm Coming". CD features bonus tracks – "Hold On I'm Comin (12" ext)", "Livin In The Streets (12" ext)", and "It's My Turn (single)". ~ Dusty Groove

SUN – WANNA MAKE LOVE / SUN POWER

A pair of stormers from Sun – back to back on a single CD! Wanna Make Love is one of the greatest records ever cut by Sun – a group whose records never made the charts as strongly as their contemporaries, but not for lack of quality! This set's a great batch of heavy ensemble funk with an edge that's not always heard on other Sun records – lots of razor-sharp guitars riffing away in saw-cut modes, striking hard at the grooves of the record, and chilling out nicely for the mellower cuts. The blend is wonderful – totally tight, and totally top-shelf all the way through – yet never in a commercial way at all. Titles include "Wanna Make Love", "My Woman", "Live On Dream On", "The Show Is Over", "Love Is Never Sure", and "They're Calling For Me". Sun Power is a solid smoker from Sun – the kind of tight funk set that made the group one of the greatest soul acts on Capitol Records during the late 70s! There's a wicked Ohio vibe going on throughout – everything focused together, and right on the money – even despite the large size of the ensemble – and touched with a slightly jazzy undercurrent that carries strong echoes of Earth Wind & Fire! Rhythms are nice and tight, with keyboards, guitar, and brassy horns over the top – and on the mellower cuts the vocals have a nicely compressed quality. Titles include "Conscience", "We're So Hot", "Organ Grinder", "She Lives Alone", "Time Is Passing", and "Light Me Up”. ~ Dusty Groove

SOOTHSAYERS - HUMAN NATURE

• New full length album from London’s renowned Soothsayers

• 13-track album available on CD and in digital download formats

• Afro-dub reggae style feat. three-part vocal harmonies from Robin Hopcraft, Idris Rahman and Julia Biel

• Album produced by Manasseh and Yesking in Prince Fatty’s famous Brighton studio

• Features horns by the horn section from the Fela! musical

• Raz Olsher and Malcom Cato also provided mixes for the album

- New afro-dub/reggae album from Soothsayers with production from Manasseh and Yesking.

Soothsayers bring us a collection of standout songs built around classic three-part harmony vocals and deep afro-dub grooves on their new album, Human Nature, on Red Earth Music. Unforgettable melodies and reflective lyrics representing Soothsayers’ irrepressible spirit and honesty that has seen them build a reputation for high quality performances and recordings over recent years. Human Nature is another step forward for a band that has evolved and matured whilst maintaining a fresh and organic live quality in their recordings.

On past records, Soothsayers have worked with established vocalists from the worlds of reggae and afrobeat (Johnny Clarke, Keziah Jones, Michael Prophet, Linval Thompson and most recently Cornel Campbell), but this album is a platform for Soothsayers’ unique vocals to take centre stage, resulting in a blend that serves to make Soothsayers sound yet more iconic.

The voices of Robin Hopcraft, Idris Rahman and Julia Biel provide the focus in a subtly changing landscape of deep, dub-inspired reggae and afro grooves, with ever-present commentaries from the horn section (the full ‘Fela Horns’ line-up that provided the horns for the National Theatre’s production of the hit musical ‘Fela!’). As instrumentalists, Rahman (saxophone/clarinet) and Hopcraft (trumpet) have worked collectively on a huge array of projects including the internationally acclaimed jazz albums of Zoe Rahman (Idris’ sister), space jazz pioneer and Specials originator Jerry Dammers (Spatial AKA), international reggae artists Aswad, U-Roy, Rico Rodriguez, Indo Jazz clarinetist Arun Ghosh, as well as Afro-Jazz pioneers Osibisa, poet Anthony Joseph, horn posse Brassroots and soul legend Martha Reeves.

The high quality musicianship has been captured in Prince Fatty’s Brighton studio. The result is a sumptuous, warm, analogue sound quality. Mixing has been put in the hands of reggae producers Manasseh and Yesking, who have embraced Fatty’s quality set up and crafted a subtle and cohesive set, paying respect to the greats while finding an originality in Soothsayers’ recipe which sets the record apart. Also contributing mixes are Raz Olsher (Giles Peterson/Sam and The Womp) and Malcolm Cato (Mulato/Heliocentrics).

Tracklisting:
01. Human Nature (Intro)
02. One Day
03. Hard Times
04. Human Nature
05. We’re Not Leaving
06. Judgement Day
07. Sooner Or Later
08. One Day (Dub Reprise)
09. One More Reason
10. The Streets Of London
11. It’s Not Easy
12. We’re Not Leaving (Acoustic Mix)
13. Leaving Dub Outro (Prince Fatty Mix)

:::: SOURCE: Resonate Media ::::

MARTHA HIGH & SPEEDOMETER - SOUL OVERDUE

• New album from legendary James Brown band member and collaborator Martha High

• 11-track album available on vinyl, CD and in digital download formats

• Martha High backed by well renowned UK funk group Speedometer

• First collaboration between Martha High and Speedometer since last Speedometer album

• Latest release from London’s prolific Freestyle Records, home to Lack Of Afro and The Shaolin Afronauts

• Martha High & Speedometer live dates are in the pipeline

- Long awaited album from James Brown band member and collaborator, Martha High, with Speedometer.

'Legend' is a word so overused in the music business that it has lost much of its original impact. But Freestyle Records feel wholly justified in describing their latest signing, Martha High, as precisely that.

Martha High’s impeccable soul credentials are beyond question. She was a member of The Jewels, who in the mid 60s were part of The James Brown Revue, and also released two 45s produced by James Brown. Although The Jewels eventually disbanded, Martha continued to be a part of the live James Brown show for the next 30 years! She also recorded a solo album for Salsoul Records in 1979, also produced by Soul Brother Number 1, which added a touch of soulful disco to her enviable array of singing talents.

In 1995, Martha was invited to tour with ex-JB sax master Maceo Parker, joining another former James Brown band member "Sweet Charles" Sherrell in an incredible, feisty line up that is touring to this day. After featuring on Freestyle Records regulars Speedometers' 2011 album, The Shakedown, and touring with the band, leader Leigh Gracie and Martha formulated the idea for her to record an album on which she would re-interpret some classics, and give a new angle to some more contemporary funk and soul compositions.

Soul Overdue kicks off with a high octane rendition of No More Heartaches. Martha and Speedometer immediately proving to be a perfect match as the band’s super tight musicianship provides a formidable backdrop to her searing, soaring vocals. In comparison, the more subtle, tender moments on this album - in particular the heart wrenching version of Etta James' I'd Rather Go Blind, which is already a proven show stopper live, with The Voxettes adding backing vocals and Andy Fairclough's masterful organ playing, it must surely be one of the finest examples of contemporary bluesy soul around.

Throughout the entire album, the contributions from vocalists including Speedometer mainstay Ria Currie, and guests; Jo Knight, Saskia Blake (strings), Tristan Butler (vibraphone), all add authentic layers of genuine analogue sounds, and the results speak for themselves. Soul Overdue is an incredibly apt title for a project that has been over 40 years in the making, and it shows that Martha's voice remains undiminished. Her youthful vocal clarity and style quite simply dazzles, as she shows a host of young pretenders the way it should be done!

Tracklisting:
01. No More Heartaches
02. Trouble Man
03. Never Never Love A Married Man
04. I'd Rather Go Blind
05. No Man Worries
06. Sunny
07. You Got It
08. Save Me
09. You Got Me Started
10. Mama Feelgood
11. Dragging Me Down

:::: SOURCE: Resonate Media ::::

ABIAH - LIFE AS A BALLAD

Critically acclaimed singer-songwriter Abiah has premiered his new music video for "September" exclusively on The Revivalist. Showcasing the lead single on his new release, Life As A Ballad (available on Madoh Music, distributed via Purpose Music Group/eOne), the video was shot at Dead Horse Bay in New York and directed by Scott Gordon Bleicher. The debut comes less than two weeks before major performances for ABIAH in the Northeast supporting the project: opening for The Robert Glasper Experiment at The Birchmere in Alexandria, VA on October 11 and an album release performance at Le Poisson Rouge in New York City on October 15.


Ever since the untimely departure of Luther Vandross, the American pop scene has been absent of a Black American male balladeer possessed of chops beyond belief, staunch lyricism and emotional maturity. Abiah (pronounced Ah-bee-yah) more than adequately answers the call of that absence with an album and a presence that is sensuous, soulful, honest, grown-up and quite passionate about restoring vocal excellence to the contemporary airwaves.

Who is Abiah? These are the bare facts: he is a seasoned balladeer possessed of a five-and a half octave range; an established vocal coach and former Universal Republic recording artist; and he is of Ghanaian, Cuban, Native American descent, though raised in Rochester, NY.

While that background remains a part of his roots and identity, 2012 marks a musical, professional and personal evolution for the singer-songwriter. Previously known as "Jeremiah" in the music world (full name Jeremiah Abiah, the latter of which means 'God is my father'), Abiah sets forth his highly anticipated sophomore album, Life As A Ballad, reflective of a long journey towards his intensely personal sound and overall musical growth - consisting of nine self-penned originals.

"There was a moment when I thought I had lost my voice. "I was experiencing growing pains which were hard to decipher at first but eventually they helped me to trust my heart, sound and aesthetic again. I thought I would never record again. I even toyed with the idea but the music perpetually tugged at me. Changing my stage name was the impetus of a new beginning," reflects Abiah. "This is how Life As A Ballad was born as I dealt with the idea of finding beauty in the dark, that glimmer of light when all hope seemed lost."

A move to New York City in the early 2000s saw Abiah "hitting the pavement hard'' and eventually playing Central Park SummerStage and the world renowned Blue Note on a regular basis; though a turning point came when Abiah started gaining the attention of major labels. As is frequently the case for ambitious but not yet quite industry-savvy young artists, Abiah's fledgling recordings fell through the cracks. An entire album, brought to the verge of a major label deal, got shelved because the song the major label executives favored most was the only one not produced by a very major and deservedly much lauded producer.

"I'm not opposed to major labels. I just believe an artist needs to keep his finger on the pulse of everything. It's hard to be artist and business, but it is necessary," said Abiah. "Initially I was angry and came out pointing fingers but the healthier aspect became, what did or didn't I do? Taking that responsibility has given me power and greater perspective."

While plotting his next round of moves, creatively and professionally (following his major label departure) Abiah got practically handed an unexpected cottage industry, when he

became an in-demand vocal coach, even featured on MTV's program, MADE. Initial inquiries from singer-friends impressed by his sound and range has blossomed into a side-business that finds him coaching up-and-comers prepping for demos and showcases, solid pros hankering to rise up to that proverbial next level, and musical game show contestants hoping to impress celebrity judges with noticeably increased prowess.

This recording is the result of Abiah's steady and patient march over a decade in New York, finding the perfect songs and session mates to support his vision. Like any astute young artist in pursuit of a unique bespoke career path, Abiah wisely sought out collaborators who were of highly skilled and veteran pedigrees, and of course, simpatico. Notable among those collaborators are very well regarded young pianist Robert Glasper, who is Abiah's cousin who he met in earlier days while they cut their musical teeth in the New York's music landscape. Marvin Sewell, the album's stellar guitarist, has been a frequent flyer in Cassandra Wilson's ensemble since the late 1990s as well as Jack DeJohnette.

Ultimately, Life As A Ballad designates Abiah as a contender for that sizable niche slice of today's market known as Adult Contemporary - the same slice where equally well-honed, melodious and crafty modern male vocalists like Michael Bublé, Jason Mraz, Sting, Seal and occasionally even Robin Thicke are seen to reside.

Upcoming Abiah Performances:
*October 11 / The Birchmere / Alexandria, VA
**October 15 / Le Poisson Rouge / New York, NY
*Opening for The Robert Glasper Experiment
**Album Release Party

Abiag · Life As A Ballad
Madoh Music (distributed via Purpose Music Group/eOne) ·
Release Dates: August 28 (digital), November 13 (physical)

abiahmusic.com

Source: dlmediamusic.com

ADELE'S 'SKYFALL', OFFICIAL THEME SONG TO THE LATEST JAMES BOND 007 FEATURE SKYFALL

Adele will premiere her latest recording "Skyfall," the official theme song to the upcoming 007 adventure of the same name, globally via her official site (www.Adele.tv) on Friday October 5th at 0:07 BST/London time (7:07pm EDT on October 4th), the track will be available to purchase as a download immediately after this premiere. The track is available for pre-order at iTunes starting today (http://smarturl.it/AdeleSkyfall). October 5th marks the 50th anniversary of the release of Dr. No, and thus the James Bond film franchise, and will be celebrated as Global James Bond Day.

After reading the script for the film, Adele enlisted Paul Epworth to co-write and produce the theme song to "Skyfall™." Adele admits, "I was a little hesitant at first to be involved with the theme song for Skyfall. There's a lot of instant spotlight and pressure when it comes to a Bond song. But I fell in love with the script and Paul had some great ideas for the track and it ended up being a bit of a no brainer to do it in the end. It was also a lot of fun writing to a brief, something I've never done which made it exciting. When we recorded the strings, it was one of the proudest moments of my life. I'll be back combing my hair when I'm 60 telling people I was a Bond girl back in the day I'm sure!" Recorded at Abbey Road Studios in London, "Skyfall" features the lush accompaniment of a 77-piece orchestra.

"Skyfall" is the first recording by Adele since releasing her massively successful sophomore album 21 in early 2011. To date 21 has sold over 24 million albums worldwide and garnered Adele 6 Grammy Awards, 2 BRIT Awards and 2 Ivor Novello Awards. 21 is the biggest selling album of both 2011 and 2012.

"Skyfall," the movie, will be released on October 26, 2012 in the UK and on November 9, 2012 in the U.S.

Daniel Craig is back as Ian Fleming's James Bond 007 in SKYFALL™, the 23rd adventure in the longest-running film franchise of all time. In SKYFALL, Bond's loyalty to M is tested as her past comes back to haunt her. As MI6 comes under attack, 007 must track down and destroy the threat, no matter how personal the cost. The film is from Albert R. Broccoli's EON Productions, Metro-Goldwyn-Mayer Studios, and Sony Pictures Entertainment. Directed by Sam Mendes. Produced by Michael G. Wilson and Barbara Broccoli. Written by Neal Purvis & Robert Wade and John Logan.

SOURCE Columbia Records
http://www.Adele.tv

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 ::::