Monday, November 26, 2012

VISIONARY SONGWRITER OTIS TAYLOR RETURNS WITH 'MY WORLD IS GONE ' HIS POWERFUL AND UNIQUE BLEND OF ROOTS MUSIC AND NARRATIVE POETRY

Roots music visionary Otis Taylor’s 13th album, My World Is Gone, set for release February 12, 2013 (international release dates may vary) on Telarc, a division of Concord Music Group, is a lightning bolt of musical creativity and social commentary. Its songs crackle with poetic intelligence and a unique, adventurous sound that balances the modern world with echoes of ancient Africa, Appalachia and more.

To call Taylor a cutting edge artist is an understatement. Although his music is based in the blues and folk realm, his meticulously crafted recordings crash the barriers of jazz, rock, funk, Americana and myriad other genres to create a hybrid that Taylor labels “trance blues.” And that signature style serves as a backbone for his frank tales of struggle, freedom, desire, conflict and, of course, love.

The central theme of My World Is Gone was fueled by Taylor’s friend Mato Nanji, the singer-guitarist and cornerstone of the band Indigenous. “Mato inspired the entire direction of this album,” Taylor relates. “We were talking about history backstage at a Jimi Hendrix tribute concert that Mato had just played, and, in reference to his people, the Native American Nakota Nation, he said ‘My world is gone.’ The simplicity and honesty of those four words was so heavy, I knew what I had to write about.”

Taylor had already begun composing new tunes with other themes for his follow-up to 2012’s critically heralded Contraband. Three of those — “Green Apples,” “Gangster and Iztatoz Chauffeur” and “Coming With Crosses” — appear on My World Is Gone.

But inspired by Nanji — who plays electric and acoustic guitars on six tracks and joins Taylor on vocals for several songs — and by his own understanding of Native American culture developed in part through dealing in Indian art as a young man, Taylor embarked on a soul-searching journey into the past and present, and into the psyche, of America’s indigenous people.

“I’ve written songs about slavery, but here in America that’s considered part of the past,” Taylor explains. “What’s happened and what’s happening to Native Americans is still going on. A lot of people forget that. This is a reminder.”

With his customary brevity, power and grace, Taylor conveys his stories in intimate detail and uses his rich baritone voice to give his characters breath and humanity. The album starts on point with “My World Is Gone,” portraying how the gilded seductions of the white man’s culture undermined the Native American way of life. The melancholy in Taylor’s and Nanji’s vocal performance, as they sing from the perspective of an Indian tormented by temptation and loss, is buoyed by the gentle melodies of Anne Harris’ fiddle and Nanji’s electric and acoustic guitars — the acoustic six-string an Otis Taylor signature model, with only 14 frets, built by the premier instrument makers at Santa Cruz Guitars.

Taylor revisits his song “Lost My Horse,” which originally appeared on 2001’s White African, with a new arrangement that features him and Nanji trading guitar and mandolin lines.

“In the days of the frontier, having a horse could be a matter of life or death, or comfort or poverty, and the horse has been an important part of Native American culture in the west, so the song fit perfectly,” he explains.

“Sand Creek Massacre Mourning,” which recounts the murder of 200 Cheyenne and Arapaho victims by Col. John Chivington’s cavalry in 1864, rests on the backbone of Taylor’s banjo, his primary instrument. He’s played mostly electric banjos on previous albums, save for 2008’s roots-focused Recapturing the Banjo, but on My World Is Gone Taylor employs four-, five- and six-string acoustic models. “I wanted to get back to that organic sound, because the banjo’s spoken to me since I was a kid,” he says. “Its voice instantly brings you back in time, and so much of My World Is Gone is about history and tradition that its sound is perfect for these songs.”

Nanji again shares vocals with Taylor on “Blue Rain in Africa,” in which a Native American reflects on the survival of his culture, despite the odds, after seeing the birth of a white buffalo — a rare and highly sacred event — on TV. The song’s threads of hope are a striking contrast to “Never Been to the Reservation,” with its lyrics about “babies sleeping on the ground,” although both numbers benefit from Nanji’s burnished blues licks.

While Taylor’s vision can be dark and ominous — the title “Coming With Crosses” is self-explanatory — his songs often celebrate hope and beauty in poignant ways. “Jae Jae Waltz” uses its spare construction of banjo, drums, bass and guest Ron Miles’ cornet to tell a story of a widow’s search for new love, and “Sit Across Your Table” celebrates the comfort and joy a workingman takes in his marriage. The song is also a surprising foray into untempered rock ’n’ roll, with a wailing guitar solo by Shawn Starski.

Starski and Taylor are versatile musicians who make their six-strings sound like an African kora on both “Green Apples” and the quirky Elmore Leonard-like tale “Gangster and Iztatoz Chauffeur.” Starski is the latest addition to Taylor’s touring band, which also includes Anne Harris on fiddle, Larry Thompson on drums and bassist Todd Edmunds, who has replaced Taylor’s daughter Cassie, a fixture of his earlier albums and groups. She now leads her own band, Cassie Taylor & the Soul Cavalry.

Otis Taylor’s own parents were an important part of his musical foundation. His father was a passionate jazz fan who encouraged his son to become a musician. His mother has become the subject of several of Taylor’s songs. Although he was born in Chicago in 1948, his parents relocated their family to Denver when Taylor was a small child in part to protect their son from the harsh realities of urban living. In addition to listening to jazz in his father’s record collection, he fell deeply under the spell of the Mississippi Delta legend John Lee Hooker, whose spare, almost mystical sound still resonates in Taylor’s own work.

“I get a lot of my sense of space and my vocal phrasing from John Lee Hooker, whose music, especially his solo recordings, is so heavy and has so much space that it sounds like it’s alive,” Taylor explains. His other vocal totem is James Brown, whose shouts and howls inspire the thunderous vocal declamations that punctuate many of Taylor’s own recordings.

As a young man, Taylor mastered the banjo and moved on to the harmonica and guitar. He performed with electric guitar virtuoso Tommy Bolin as T&O Short Line, and by 1974-76, he was playing bass as part of the Boulder-based rock group Zephyr. Taylor even jammed with Jimi Hendrix once and pursued his muse to Europe, but frustrations with the music business led him to retire from performing in 1977. He became a dealer in art and antiques, and pursued another of his passions, bicycle racing, as a coach.

In the ’90s, the door to Taylor’s musical past was pried open by friends in the Boulder area, and in 1996, he independently released his debut album, Blue Eyed Monster. With the release of his next two discs, When Negroes Walked the Earth and White African, he began to shake up the blues world with his marvelously original music and his unflinching tales about racism, struggle and heritage. Over the years, Taylor has garnered more than a dozen Blues Music Awards nominations, and White African won Best Debut Album. He is also regularly nominated as an instrumentalist, and won a Blues Music Award for his imaginative banjo playing in 2009. Also, his albums Double V, Definition of a Circle and Recapturing the Banjo took Downbeat’s Best Blues CD awards in 2005, 2007 and 2008, respectively. In all, Taylor has won five DownBeat awards. He has also been nominated twice for the prestigious Académie Charles Cros award in France.

His 2009 recording, Pentatonic Wars and Love Songs, was released in the same week that two of Taylor’s songs were heard by millions in Michael Mann’s blockbuster movie Public Enemies starring Johnny Depp and Christian Bale.

In 2010, Taylor started his own annual Trance Blues Festival in Boulder, Colorado, which brings a broad cast of professional and amateur musicians together for three days of performances, jams and workshops.

“The thing about music is that it’s not just a spectator sport,” Taylor says. “In a world where there’s a lot of misunderstanding, music can help people communicate and break down barriers, and start to really see each other for who they are.

“I write songs about people remembering, bearing witness,” Taylor continues. “I’ve learned that if you write about things that are important, people will listen. That’s one of the reasons why I wrote the songs that I did for My World Is Gone.

“I push myself to be prolific and to make every new album better than the last one for personal reasons, too,” he relates. “A few years ago I had a cyst removed that was attached to my liver and spine. It was a life-threatening situation — really painful. I didn’t know if I was going to survive the surgery. I came to grips with the idea that the albums I’m making are going to be my legacy. And I want the people who love me — my family, my friends — to be proud.”

JUKEBOX MAMBO - RUMBA & AFRO-LATIN ACCENTED RHYTHM & BLUES 1949 - 1960 (VARIOUS ARTISTS)

An amazing document of a short-lived, but really incredible genre – the 50s mix of R&B and Latin-inspired rhythms – particularly the heavy piano of a mambo-styled groove! The sound seems an unlikely mix, but it's one that you've no doubt heard on a few famous Atlantic Records singles from the time – taken up here by a host of much more obscure artists, who really know how to make the rhythms leap along with the grooves!

The approach has definite echoes of New Orleans R&B, particularly in its use of the piano in heavy comping lines – but there's also a much wider sound going on too, especially in the way the percussion often drives the tunes in really unusual ways.

The album's overflowing with amazing tracks – and titles include "Salty Dog" by Marvin Phillips, "Big Joe Mambo" by Fay Simmons, "Mambo Mexicana" by Gerald Wilson, "Snake Charmer" by Mad Man Jones, "Boppin With The Mambo" by The Sultans, "Honeydripper Mambo" by Alfredito, "A Dream" by Billy Red Love, "Pu Chun Ga" by Elene Madera, "Cozy & Bossa" by Cozy Cole, "Shrinking Up Fast" by Camille Howard, "Take A Chance On Me" by Annisteen Allen, "Eee Ooo Voodoo" by Red Callender, and "Down To The Bottom" by Larry Dale. AMAZING PACKAGE – One of the coolest sets we've ever seen – put together with six 10" LPs, in a folder that looks and feels like a vintage 78rpm package – complete with a booklet on the music – and also 4 tracks not on the other versious! ~ Dusty Groove

NEW RELEASES - BUDDY GUY, DEXTER GORDON, THE BRECKER BROTHERS BAND

BUDDY GUY - LIVE AT LEGENDS

Live music and blues lovers alike, will appreciate another chapter of Buddy Guy’s musical magic with Live at Legends, a new live record to be released on December 18th! Live at Legends features Guy’s last live recordings from his original Legends blues club in Chicago, captured during his 2010 residency. The album includes two amazing medleys: John Lee Hooker’s "Boom Boom" into Cream’s "Strange Brew;" and Jimi Hendrix’s "Voodoo Child" into Cream's "Sunshine of Your Love." It also features three previously unreleased studio recordings from Guy’s critically acclaimed Living Proof album sessions: "Polka Dot Love," "Coming For You," and "Country Boy."  ~ buddyguy.net

DEXTER GORDON - BOTH SIDES OF MIDNIGHT

One of the first great European statements from tenorist Dexter Gordon – a 1967 live recording that really lets Dexter stretch out, and show an even deeper side of his talents than on his 60s albums for Blue Note! The rhythm section here is rock solid – Kenny Drew on piano, Neils Henning Orsted Pedersen on bass, and Albert Tootie Heath on drums – a unit that still retains the sharpness of the Blue Note dates, but also has the energy to "go long" as Gordon pushes a few of the numbers on the set well past the ten minute mark. Gordon's solos are wonderfully imaginative and expressive – and titles include "Devilette", "For All We Know", "Doxy", and "Sonnymoon For Two". Material previously issued on LP under the title Montmartre Collection Vol 1. ~ Dusty Groove

THE BRECKER BROTHERS BAND - BACK TO BACK

Soulful fusion from The Brecker Brothers – a set that's one of their standout efforts from the 70s – and a record that went onto influence a whole generation of jazz musicians too! The album features the twin horns of Randy & Michael Brecker, along with alto by David Sanborn, keyboards by Don Grolnick, and guitar by Steve Khan – but one of the things that really makes the album great is the vocal arrangements, which were handled by Luther Vandross, who also sings on the album along with Patti Austin! The set's got a great soulful feel – with some wonderful mellow groovers that have a sweet 70s sound – titles that include "Lovely Lady", "Night Flight", "Slick Stuff", "What A Miracle Can Do", "I Love Wastin Time With You", "Keep It Steady", "Grease Piece", and "Dig A Little Deeper". CD features 2 bonus tracks – "If You Wanna Boogie (single version)", and "Slick Stuff (single version)". ~  Dusty Groove

NEW RELEASES - MAYER HAWTORNE, RONNIE FOSTER, ALEXANDER HAWKINS / LOUIS MOHOLO-MOHOLO


MAYER HAWTHORNE - KCRW'S MORNING BECOMES ECLECTIC

A limited edition slice of goodness from Mayer Hawthorne – a live performance recorded for the Morning Becomes Eclectic program on KCRW in LA! The material's a nice addition to the studio Hawthorne we already love – and shows a new sort of warmth that comes through not just in the performance, but in some of the interview bits too. The band is a small combo, and titles include "No Strings", "Love In Motion", "Dreaming", "The Walk", "Shiny & New", and "I Wish It Would Rain". (Limited edition indie store exclusive for Black Friday 2012. Includes mp3 download.) ~ Dusty Groove

RONNIE FOSTER - LIVE AT MONTREUX

A really amazing album from keyboardist Ronnie Foster – one of his hippest of the 70s, and even quite different from his other work for Blue Note! The album features Foster on organ, in a really open, fluid live setting – working on these stretched-out tracks with a small combo – all in ways that are as completely sublime as his Two-Headed Freap album – yet with a very different groove! The sounds from Foster's fingers are amazing – spacey and soulful, yet with this cosmic sort of beauty – soaring to the skies with Larry Young-ish energy at points, but kicking back with a gentle groove at others. The trio features work by Greg Miller on guitar and Marvin Chappell on drums – and titles include an incredible take on Seals & Crofts' "East Of Ginger Trees" – plus the cuts "Chunky", "Boogie Juice", and "Sameness". ~ Dusty Groove

ALEXANDER HAWKINS / LOUIS MOHOLO-MOHOLO - KEEP YOUR HEART STRAIGHT

A smashing set of work from drummer Louis Moholo – a set that shows that after all these years, he's still a richly creative talent on his instrument! The album has Louis duetting with pianist Alexander Hawkins – a younger player who'd caught his ear a few years before, and who turns out to be a perfect partner for the record – graced with just the right kind of free-thinking, yet spiritual elements as Moholo's own music – able to stretch out strongly with a lot of freedom, yet never lose sight of the overarching goal! The tracks are all long and open – and almost recall some of the interplay between Moholo and Chris McGregor in years back – especially some of the freer work on the 70s London scene. The album's a beautiful extension of the Ogun Records tradition – and titles include "Lakutshon Ilanga", "Hear Our Hearts", "Heavy Manners", "Amaxesha Osizi", "If I Should Lose You", "Pure Vision", and "Catch You On The Rebound". ~ Dusty Groove

Tuesday, November 20, 2012

MILES DAVIS QUINTET - LIVE IN EUROPE 1969: THE BOOTLEG SERIES VOL. 2

"THIRD GREAT QUINTET,’ aka ‘THE LOST BAND’ OF 1969-’70, WITH MILES DAVIS, WAYNE SHORTER, CHICK COREA, DAVE HOLLAND, AND JACK DeJOHNETTE AT THEIR PEAK – NEVER RECORDED IN STUDIO

DELUXE 3-CD + DVD PACKAGE PRESENTS PREVIOUSLY ONLY BOOTLEGGED 1969 LIVE RECORDINGS FROM ANTIBES JAZZ FESTIVAL (FRANCE), STOCKHOLM, AND COLOR VIDEO RECORDING IN BERLIN ON DVD

Follows critically-acclaimed, award-winning box set of 2011, Live In Europe 1967: The Bootleg Series Vol. 1, starring ‘second great quintet’ of Miles Davis, Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams

Columbia/Legacy again pays tribute to musical legend Miles Davis with the release of Miles Davis Quintet - Live In Europe 1969: The Bootleg Series Vol. 2, the second edition in the label’s widely-heralded Miles Davis Bootleg Series. The sequel to 2011’s critical and commercial blockbuster, Miles Davis Quintet - Live In Europe 1967: The Bootleg Series Vol. 1, this new set moves ahead two years and presents the ‘third great quintet’ of Miles, Wayne Shorter, Chick Corea, Dave Holland, and Jack DeJohnette, a lineup of the world’s most highly-regarded jazz musicians, then and now. This 3-CD + DVD box set will be available everywhere January 29, 2013, through Columbia/Legacy.

Live In Europe 1967 (released September 2011), the debut entry in the Miles Davis Bootleg Series, was by far the most acclaimed historic jazz box set of 2011. It received a “5-star” review from Down Beat magazine, and was voted Historical Album of the Year in the Down Beat Readers and Critics Poll.

Live In Europe 1967 was ranked the #1 reissue in both the Critics and Readers polls of JazzTimes magazine, and the Jazz Journalists Association voted it Best Historical or Boxed Set. The package received an “A” from Entertainment Weekly, and Pitchfork.com said “At its heart, jazz thrives on bold, sensitive interaction in the moment, and Live In Europe 1967 represents the pinnacle of that practice.” Rave reviews appeared in a wide array of publications including The New York Times, Los Angeles Times, The Nation, Slate, and many others.

In his Sunday “Arts & Leisure” rave review of Live In Europe 1967, New York Times critic Nate Chinen concluded: “It’s humbling to think that a release like Live in Europe 1967 might help illuminate jazz’s present as well as its past, but that’s what great archival work can do. So congratulations, Columbia/Legacy. Now, what’s next?” The answer to his question is: Live In Europe 1969.

“After we finished In a Silent Way,” Miles told his biographer Quincy Troupe (in the definitive Miles The Autobiography, Simon & Schuster, 1990), “I took the band out on the road; Wayne, Dave, Chick, and Jack DeJohnette were now my working band. Man, I wish this band had been recorded live because it was really a bad motherfucker. I think Chick Corea and a few other people recorded some of our performances live, but Columbia missed out on the whole fucking thing.”

Live In Europe 1969 lives up to the Miles Davis Bootleg Series mission of presenting live performances that are previously unreleased, have previously only been bootlegged, or are very rare. The new box represents the first major collection to be devoted exclusively to the short-lived ‘third great quintet,’ sometimes referred to as Miles’ ‘lost band’ of 1969-70: Shorter on soprano and tenor saxophones, Corea on electric piano (and occasionally acoustic piano), Holland on acoustic bass, and DeJohnette on drums.

The Miles-Shorter-Corea-Holland-DeJohnette lineup (in tandem with other players) began to solidify during the 1968-‘69 recording dates that became the Filles De Kilimanjaro and In a Silent Way albums. And they were at the core of the dozen or so musicians joined together by Miles in August 1969, for the principal sessions that became the landmark turning point of his Grammy Award®-winning Bitches Brew.

But the ‘third great quintet’ by itself was never documented in the recording studio. Their European tours of 1969, represented on this new package, are some of the only existing recordings of the group, and the first legitimately released audio recordings by this stellar lineup. Underscoring their official debut here, over 43 years later, is a superbly shot multi-camera color DVD of the band at its hottest in Berlin in November, 1969. Miles is seen in the best of health in 1969, eating a macrobiotic diet (along with the other band members), and avoiding drugs. As a result, his playing was never stronger than on these 1969 concerts, with his chops at an absolute peak.

Live In Europe 1969 captures the short-lived quintet in three separate concert settings, starting with two full-length (one hour-plus) sets at the Antibes Jazz Festival in France on CD One (July 25th) and CD Two (July 26th). The locale moves to Stockholm on November 5 for the program heard on CD Three. In Stockholm, the quintet performed as part of “The Newport Jazz Festival In Europe” and they are introduced (on the CD) by the festival’s producer and founder, George Wein.

The DVD is the complete 46-minute color performance of the quintet at the Berlin Philharmonie on November 7, 1969. As with Live In Europe 1967, the paradox of Live In Europe 1969 is the fact that the concerts were recorded by state-owned radio and television outlets – a case of European bureaucracies (thankfully) preserving our American jazz heritage. This has also enabled Legacy to have access to the best-sounding original masters in each case.

The audio and video sources of Live In Europe 1969 have been remastered from the best available masters, which Legacy has secured from the European broadcast centers who originally documented the material. As with all of Legacy’s Miles Davis historic projects over the past two decades, the remastering has been done by multi-Grammy Award®-winning Sony engineer Mark Wilder. The audio and video is far superior to any previous circulating [bootleg] versions of this material.

In the tradition of Legacy’s historic releases, Live In Europe 1969 will include a booklet with comprehensive liner notes. The box also includes full discographical data, as well as rare or uncirculated photography and memorabilia.

For this package, an expansive 3,000-word essay (“Field Recordings from a Future-Leaning Past”) has been written by noted journalist Josef Woodard, winner of the ASCAP Deems Taylor Award for jazz writing in 1998, best known for his jazz writing in the Los Angeles Times. The essay features quotes from an interview with Miles in 1989, and interviews at various times (up through 2012) with all of the surviving members of the band. Shorter, Corea, Holland, and DeJohnette, whose contributions to Miles’ bands are legendary, are among the most prominent and acclaimed living jazz artists, still recording classic music and touring all over the world.

Live In Europe was produced for release by multiple Grammy Award® winners Richard Seidel and Michael Cuscuna, and was co-produced by multiple Grammy Award® winner Steve Berkowitz, the same team responsible for Live In Europe 1967.

The tracklisting for Live In Europe 1969 reveals that the Quintet was playing an inspired, wide-ranging repertoire. Material ran the gamut from 1969’s In a Silent Way (“It’s About That Time”) and Bitches Brew sessions (“Miles Runs the Voodoo Down,” “Sanctuary,” “Spanish Key,” “Bitches Brew”) all the way back in time to standards like “I Fall in Love Too Easily” (from 1963’s Seven Steps To Heaven) and Thelonious Monk’s “’Round Midnight.”

At no other time did Miles perform compositions from his be-bop era (“’Round Midnight”), modal era (the 1958 “Milestones”), ballads and blues of the early ’60s era (“I Fall In Love Too Easily,” “No Blues”), material from the ‘Second Great Quintet’ mid-to-late ’60s era (“Footprints,” “Nefertiti”) and late ’60s-early ’70s electric era (“It’s About That Time,” “Spanish Key”), all in the same set program, as he did at Antibes.

It is crucial to note that the versions of “Miles Runs The Voodoo Down” and “Spanish Key” at Antibes were performed live in July, well before the historic August 1969 Bitches Brew sessions, where they were first recorded in the studio. Likewise, the versions of “Bitches Brew” from Stockholm and Berlin are heard here several months before the album was released on Columbia Records in April 1970. As with Live In Europe 1967, the interpretations of the compositions are not only strikingly different than the original studio versions by other configurations of Miles’ groups, but differ wildly even from night to night on these four shows, again demonstrating the extraordinarily high level of creativity among these musicians.

The box set also contains multiple examples of Wayne Shorter’s unparalleled composing skills, from “Footprints” (dating back to 1967’s Miles Smiles) to multiple performances of his gems, “Nefertiti” and “Masqualero.” On the extremely rare and mostly acoustic set from Stockholm, there is a bonus track version of “This,” a Chick Corea composition that was never officially recorded by Miles Davis. Miles Davis Quintet - Live In Europe 1969: The Bootleg Series Vol. 2 is an indispensable link between the work of our most important and influential jazz musician at the end of the ’60s, and the road ahead to what the ’70s would bring.

As Jack DeJohnette told Woodard a few months ago, “Miles just keeps growing and growing and growing,” a surprising thing to say about any musician more than 20 years after his passing. But with Miles Davis Quintet - Live In Europe 1969: The Bootleg Series Vol. 2, Legacy once again digs deep to reveal a little known period in the work of a giant, seen and heard performing with an amazing band, music that was unlike anything he recorded before or after.

“And so,” Woodard concludes, “these important ‘field recordings,’ from a mysterious past and unfolding future, take us to a place and a time between the cracks of the Miles Davis story as it is commonly understood. For that alone, never mind the rattling, exploratory poetry of this band’s sound, this is a significant cultural document for the ears and the ages, not just the archives.”

Miles Davis Quintet - Live In Europe 1969: The Bootleg Series Vol. 2
CD One – Selections:
1. Introduction by André Francis
2. Directions
3. Miles Runs The Voodoo Down
4. Milestones
5. Footprints
6. ’Round Midnight
7. It’s About That Time
8. Sanctuary
9. The Theme
(Recorded 7/25/69 at Festival Mondial du Jazz d’Antibes, La Pinède, Juan-les-Pins, France.)

CD Two – Selections:
1. Introduction by André Francis
2. Directions
3. Spanish Key
4. I Fall In Love Too Easily
5. Masqualero
6. Miles Runs The Voodoo Down
7. No Blues
8. Nefertiti
9. Sanctuary
10. The Theme
(Recorded 7/26/69 at Festival Mondial du Jazz d’Antibes, La Pinède, Juan-les-Pins, France.)

CD Three – Selections:
1. Introduction by George Wein
2. Bitches Brew
3. Paraphernalia
4. Nefertiti
5. Masqualero (incomplete)
6. This
(Recorded 11/5/69 at “The Newport Jazz Festival In Europe,” Folkets Hus, Stockholm.)

DVD – Selections:
1. Introduction by John O’Brien-Docker
2. Directions
3. Bitches Brew
4. It’s About That Time
5. I Fall In Love Too Easily
6. Sanctuary
7. The Theme
(Recorded 11/7/69 at Berliner Jazztage in the Berlin Philharmonie.)

ERIC CLAPTON'S 2013 U.S. TOUR CULMINATING IN CROSSROADS GUITAR FESTIVAL

Widely considered one of the world’s all time greatest guitarists and known amongst his peers as a great collaborator, Eric Clapton has announced a major U.S. tour culminating in his fourth Crossroads Guitar Festival presented by Chase. The Festival, which has become legendary in its own right for hosting performances and impromptu collaborations from the world’s most legendary guitar players, will take place April 12-13 for the first time at New York City’s famed Madison Square Garden. See full listing below of artists performing.

Clapton and his band will visit more than a dozen cities across the U.S. beginning March 14, 2013 (see itinerary below). The tour will end with the two-night Festival where Clapton will gather the past, present and future of guitar music onto one stage for an unparalleled musical event. All profits from the Festival will benefit The Crossroads Centre in Antigua, a treatment and education facility founded by Clapton for chemically dependent persons. The Festival is presented by Chase.

Since its inception, Clapton’s vision for the Crossroads Guitar Festival has been to create an event where his friends and contemporaries can have fun and perform together for the benefit of a good cause. This year’s Festival will feature two-nights of musical performances with once-in-a-lifetime guitar collaborations. Known as pioneers in their field, the roster of artists spans old and new. The audience can expect unrivaled entertainment, brilliant guitar work, surprise guests and impromptu jams that are the hallmark of these performers.

The first Crossroads Guitar Festival, in June 2004 at the Cotton Bowl in Dallas, was an unprecedented collection of guitar icons from blues, rock and contemporary music. The sold-out show was chronicled in a 2-disc DVD that has since gone on to become one of the world’s top-selling music DVD’s. The Crossroads Guitar Festival 2007 and 2010 were the second and third such concerts by Clapton and were staged at Toyota Park in Chicago. Both Festival were filmed for DVDs and met similar acclaim and achieved multi-platinum status. This will be the Festival’s first-ever visit to New York and Madison Square Garden.

“The Crossroads Festival is the realization of a dream for me, to gather a group of amazingly talented musicians to perform on one stage,” said Clapton. “The Crossroads performers are all musicians I admire and respect.”

In addition to the concerts, the “Guitar Center Road to Crossroads Exhibition” will be featured on the Terrace level @ Madison Square Garden and will excite fans with an incredible guitar-centric celebration of past Crossroads Guitar Festivals. This exhibition will feature the “Legends Guitar Walk”, with some of the most valuable guitars in the history of Rock and Blues, including historic guitars from Guitar Center’s Legends Collection featuring Eric Clapton’s two most famous Fender Stratocasters®, BLACKIE® and ‘Brownie,’ Gibson ES-335 as well as Stevie Ray Vaughan’s ‘Lenny’ Fender Stratocaster®, plus selections from Guitar Center, The Rock & Roll Hall of Fame and Experience Music Project. Additionally, Fender, Gibson, Ernie Ball and Martin will host interactive exhibits where guitar lovers can plug in and play new products and classic favorites, while all visitors will be able to peruse memorabilia and watch archival footage of once-in-a-lifetime performances from prior Crossroads festivals on video walls throughout the exhibition. The “Road to Crossroads Exhibition” will open at 6:30 p.m. on Friday and 6:00 p.m. Saturday, and is free to all ticket holders.

Tickets for the Crossroads Guitar Festival Presented By Chase will be offered as an advance sale to Chase customers beginning Monday, November 26 at 12pm EST via www.ticketmaster.com through Thursday, November 29 at 10pm. General Public On-Sale will begin Friday, November 30 at 12pm EST. Tickets for the Clapton 2013 U.S. Tour will go on-sale beginning November 30, 2012. Please check local venue listings for more detailed information.

For more information go to www.crossroadsguitarfestival.com

CURRENT CROSSROADS FESTIVAL ARTIST LISTING
(Note: Two Different Nights of Music. Not All Artists Will Perform Both Nights)
Albert Lee
Allan Holdsworth
Allman Brothers Band
Andy Fairweather Low
BB King
Blake Mills
Booker T
Brad Paisley
Buddy Guy
Citizen Cope
Dave Biller
Doyle Bramhall II
Earl Klugh
Eric Clapton
Gary Clark Jr.
Jeff Beck
Jimmie Vaughan
John Mayer
John Scofield
Jonny Lang
Keb Mo
Keith Urban
Kurt Rosenwinkle
Los Lobos
Quinn Sullivan
Robbie Robertson
Robert Cray
Robert Randolph
Sonny Landreth
Taj Mahal
Vince Gill

ERIC CLAPTON 2013 TOUR and ITINERARY
Clapton has assembled an impressive band for the 2013 U.S. dates which will consist of long-time touring partners: Doyle Bramhall II (guitar), Steve Jordan (drums), Chris Stainton (piano and keyboards), and Willie Weeks (bass), along with newcomers Paul Carrack (organ and keyboards) and Greg Leisz (pedal steel guitar). Michelle John and Sharon White will join the touring band again as backing vocalists. The tour will also feature special guests, The Wallflowers. Please check local listings for ticketing information.

Thursday, March 14 - Phoenix, AZ - U.S. Airways Center
Saturday, March 16 - Houston, TX - Toyota Center
Sunday, March 17 - Austin, TX - Frank Erwin Center
Tuesday, March 19 - Dallas, TX - American Airlines Center
Wednesday, March 20 - Oklahoma City, OK - Chesapeake Energy Arena
Friday, March 22 - Nashville, TN - Bridgestone Arena
Saturday, March 23 - New Orleans, LA - New Orleans Arena
Tuesday, March 26 - Jacksonville, FL - Jacksonville Veterans Memorial Arena
Wednesday, March 27 - Atlanta, GA - Gwinnett Arena
Friday, March 29 - Hollywood, FL - Seminole Hard Rock Live
Saturday, March 30 - Hollywood, FL - Seminole Hard Rock Live
Tuesday, April 2 - Charlotte, NC - Time Warner Cable Arena
Wednesday, April 3 - Raleigh, NC - PNC Arena
Friday, April 5 - Uncasville, CT - Mohegan Sun Arena
Saturday, April 6 - Pittsburgh, PA - Consol Energy Center
Friday, April 12 - New York, NY - Madison Square Garden
Saturday, April 13 - New York, NY - Madison Square GardenusAll

BOBBY BELFRY & THE DAVID BUDWAY TRIO - ONE LUCKY DAY

Bobby Belfry is an award winning singer/songwriter whose latest album, entitled One Lucky Day, is a collection of pop classics set to the thrilling jazz virtuosity of The David Budway Trio.

Born and raised in the suburbs of New York City, Belfry’s work on “Day” has been greatly influenced by The Big Apple’s immeasurable wealth of culture, which can be felt and heard on all 13 tracks.

Bobby can also be heard (and seen) on his first two albums, LIVE:In The Heart of The Universe (a CD/DVD) and Imperfect Rhymes which have both received great critical notice: "Bobby Belfry is one to savor, embrace and lend the hand of fame to...smooth jazz outlets will have a ball with this shrewd offering" said Chuck Taylor of Billboard Magazine. Two cuts from Rhymes have been included on a popular jazz compilation, "In Love With Jazz", released in Europe and Asia. He also appears on Broadway:Unplugged 2 and Chip Deffaa’s “The Johnny Mercer Jamboree”.

A mainstay at Feinstein’s, The Metropolitan Club, and Brandy's, Bobby has also performed at Lincoln Center, Town Hall, The Russian Tea Room, The Rainbow Room, Bitter End, China Club, CBGB’s, Smoke, The Fairmont Hotel in Dallas, The New Jersey Performing Arts Center, The Kennedy Center, and The Cinegrill in Hollywood.

Bobby has also appeared on national television on "The Morning Blend", a news/talk show on MSNBC (interviewed by Soledad O’Brian), and was a frequent guest on WOR Radio's The Joey Reynolds Show, whose theme song, penned by Bobby, was played for an audience of 5 million listeners, nightly.

Bobby has been the recipient of the Back Stage Bistro Award for Outstanding Vocalist. Imperfect Rhymes and "So What", a cut off the album, were 2nd and 3rd place finalists for the Just Plain Folks Independent Music Awards, in a field of 10,000 submissions. He has also received the MAC Award for outstanding Pop/R&B Vocalist and several Critics Choice Vocalist Awards.

Filmmaker, Victor Mignatti (R Kelly's "Trapped in the Closet", The Real World) has included Bobby in his documentary "This Time", which follows the careers of diverse artists in the music industry (including the legendary Sweet Inspirations & Cissy Houston) by weaving their music-filled stories, exploring the relationship between faith and persistence to longevity and the process of making music against all odds. The film is currently available on DVD and iTunes.

~ bobbybelfry.com

Monday, November 19, 2012

WENSO ASHBY - SIGNATURE

Wenso Ashby is not a new-be on the music scene. Early on in his career his best work was found behind the scenes, composing and producing for others while spawning the nudge to turn the spotlight on himself. Audiences from coast to coast enjoy the lip-biting groove- based rhythms and timeless melodies that Wenso so effortlessly exudes. Signature signifies another level in his career, stepping out to endless possibilities. His current focus is to lend his talent to touring with his own band as well contributing to other artists for selected performances, songwriting and production collaborations.

Ashby brandishes quality artistry of the first order from network television appearances to worldwide radio play to prove it. Wenso’s band has opened for national recording artists like Saxophonist Kim Waters, Bassist Gerald Veasley, Songwriter/Singer Kenny Lattimore, Jason "Malletman" Taylor, Idol winner Ruben Studdard, and Paris Bennett. With six strong CD projects under his belt, Midnite Walkin (2002), Wenso Live (2004), Love Is So Amazing (2008), After Dark (Love Is So Amazing packaged & released under Butterfly label 2009), The Moment of Truth (2011) and his current release Signature (2012) its apparent that his gateway to flourished recognition is at hand. His purposed steps are destined to be a soulful backdrop to live stages big and small all over the world.

“Who am I?" says Ashby. "First and foremost I am a child of GOD who created me to be who I am. As a creative being I am an Artist, producer, songwriter and composer. My background and first love is songwriting and producing which led me to becoming an ‘Artist’. My primary focus is to share my musical gifts and talents with the world using the piano and keyboard as my main instrument to express the music inside of me. Signature represents the musical direction as a keyboardist that I want to go. I will continue to produce and write while expressing my thoughts, vision and inner self through the touch of my fingertips, being able to share my gifts is a true blessing”, says Ashby.

“It feels good to my heart to feel the excitement Wenso had when he was offered the featured spot on The Jazz Network Worldwide. He sincerely was reverent to the amazing networking potential this platform could provide for his artistry worldwide” says Jaijai Jackson, creator of The Jazz Network Worldwide social network. “His perseverance and tenacity will take him far on any highway he chooses to journey on, for he is at a maximum speed of artistic growth” continues Jackson.
Visit THE JAZZ NETWORK WORLDWIDE "A GREAT PLACE TO HANG" at: http://www.thejazznetworkworldwide.com/?xg_source=msg_mes_network

CLARENCE CARTER REISSUES - TESTIFYIN', PATCHES, THIS IS CLARENCE CARTER

CLARENCE CARTER - TESTIFYIN'

Excellent early work from Clarence Carter – recording here with production and arrangements by Rick Hall – in that sweet Muscle Shoals style that never sounded better than it did with Clarence! Carter had a way of working with Hall that was really beyond some of the cliches that crept into the scene at the time – a blend of bluesier roots and leaner soul that was totally great – and which was always touched by Clarence's keen sense of wit and personality! The record's got a slightly funky sound in parts – especially on the great cut "Snatching It Back" – and the rest of the titles are all killer southern soul material, with classics that include "Making Love (At The Dark End Of The Street)", "Soul Deep", "Doin' Our Thing", "I Smell a Rat", and "I Can't Do Without You". ~ Dusty Groove

CLARENCE CARTER - PATCHES

The album that very firmly put Clarence Carter on the mainstream soul map – thanks to his brilliant version of the title tune! By the time of this set, Carter was already one hell of a soul singer – and really brought amazing sounds to play with classic production from Rick Hall and the Fame Studios gang. But when he pointed those talents towards the country soul story "Patches", he really found his groove – mixing southern roots from both sides of the fence into one really unique groove – and following it up with a host of other well-chosen tunes that really helped establish Carter's unique place in music. George Jackson co-wrote a number of the best tunes – a few with Clarence – and titles include "Patches", "I'm Just A Prisoner", "Till I Can't Take It Anymore", "Changes", "Say Man", "Willie & Laura Mae Jones", "CC Blues", and "Getting the Bills (But No Merchandise)". ~ Dusty Groove
 
CLARENCE CARTER - THIS IS CLARENCE CARTER

A seminal debut from the great Clarence Carter – proof that there was still a lot of genius to be heard in southern soul at the time! The 60s were just about over when Clarence appeared on the recording scene – and it seemed that most of the big names in soul had already grabbed most of the thrones in the kingdom. Clarence was a real comer, though – and his sweet style of southern soul was immediately popular, filling a void promptly after the death of Otis Redding, and setting a bit more fire than some of the other Atlantic male singers, who were waning a bit at the time. Of course, it certainly helps that that lil' ol' genius Rick Hall was behind Clarence's move – arranging and producing this album with some of the strongest, least cliched Muscle Shoals backings of the time. Titles include "Slip Away", "Funk Fever", "Thread The Needle", "Do What You Gotta Do", "Looking For A Fox", and "Slippin' Around". ~ Dusty Groove

NEW RELEASES - ELOISE LAWS, MICHAEL PAULO, WILLIE MITCHELL

ELOISE LAWS - AIN'T IT A GOOD FEELING

A classic deep soul set from Eloise Laws – an early album recorded for Invictus Records, and done with stellar production from Brian Holland! The title cut's a monster, one of the best tracks on the label from the 70s – with some wonderfully spacey keyboards, funky drums and bass grooving! But there's loads of other strong cuts too – all with that great Invictus blend of masterfully produced, tight dancefloor soul – yet also served up with more than enough grit in the grooves to make the album a great one for funk fans too! Tracks include "Ain't It Good Feeling Good", "Where Did We Go Wrong", "I Believe In You Baby", "Love Goes Deeper Than That", "Put A Little Love Into It", "Camouflage", and "Make It Last Forever". CD features lots of bonus tracks – including "Love Factory", "You Made Me An Offer I Can't Refuse", "Tighten Him Up", "Touch Me", "Stay With Me", "Love Goes Deeper Than That (12" version)", and "Put A Little Love Into It (12" version)". ~ Dusty Groove


MICHAEL PAULO - TATS IN THE RAINBOW

A wicked fusion set from saxophonist Michael Paulo – noteworthy not just for the efforts of the leader, but for the album's sweet keyboards from Herbie Hancock too! The style's relatively stripped-down – electric, but never too polished, nor too jamming – often with the kind of gentle groove we love in the best late 70s Japanese fusion sessions. Paulo plays alto, tenor, soprano sax, and flute – and Herbie Hancock plays piano and prophet, alongside additional keyboards from Kimo Cornwell, guitar from Ray Obiedo and Ron Yuen, and drums from Alvin Fejarang. Titles include "Mr Spock's Revenge", "My Favorite Cousins", "Merry Go Round", "Eclipse Of The Full Moon", and "Rainbow Island". (HQ – Hi Quality CD pressing.) ~ Dusty Groove

WILLIE MITCHELL - IT'S WHAT'S HAPPENIN'

A mod little record from trumpeter Willie Mitchell – a set that's as groovy as it is soulful, with a vibe that's somewhere between 60s instrumental outings on Verve and Atlantic Records! Tunes are a mix of soul and pop numbers, handled by Mitchell's combo with some mighty tight drums and good use of organ on most numbers – which creates a fluid feel that really takes off with the album's fresh and inventive arrangements! Even familiar tunes are transformed nicely by Mitchell's great touch in the studio – as you'll hear on cuts that include "634-5789", "Taste Of Honey", "Secret Agent Man", "Bad Eye", "Wooly Bully", "Java", "Shadow Of Your Smile", and "Hot Cha". ~ Dusty Groove

NEW RELEASES - SILVETTI, ALI GREEN, BARBARA LEWIS

SILVETI - SPRING RAIN

This is the kind of Italian disco we can get our ears around! Bebu Silvetti is on keyboards, and at the helm of the orchestra – working here like an Italian Barry White, on a groove that's very similar to the best work of the Love Unlimited Orchestra. The tracks have a harder focus on the drums and beats than you'd expect – which punches things up nicely, and is a perfect complement to the breathy vocals and smooth Euro grooving over the top of the mix. Great stuff – a real treasure, and with a lot more soul than you'd expect! Titles include "Primitive Man", "Spring Rain", "Two Cups Of Coffee", "Voyage Of No Return", "Coconut Rain", and "Contigo". CD also features a bonus track – a Joe Cain edit of "Spring Rain". ~ Dusty Groove

AL GREEN - TOKYO... LIVE!

A tasty double-live set from Al Green – one that has him working through longer versions of tunes than you'd hear on his studio albums, and really doing great in front of an appreciative Japanese crowd! The overall approach here is a bit more modern than on some of his older Hi albums – as the band uses the extra space to make things a bit more uptempo and really push the groove – but Al's vocals still hold the whole set together nicely, especially on the numbers where he lets loose a bit more. Linda Jones is one of the backup singers on the set – and titles include "Belle", "Let's Get Married", "Love & Happiness", "I Feel Good", "Dream", "God Blessed Our Love", "You Ought To Be With Me", and "Tired Of Being Alone". ~ Dusty Groove

BARBARA LEWIS - WORKIN' ON A GROOVY THING

A record that was issued quite a few years after Barbara Lewis' debut for Atlantic, but a set that's equally great – thanks to some impeccable production from the great Ollie McLaughlin! The set's got a sound that's a bit more upbeat and soaring than some of Lewis' earlier work – a groove that's clearly picked up the Detroit styles of the late 60s, but which still retains all the careful classic that Barbara brought to her music. Titles include "Workin On A Groovy Thing", "I Remember The Feeling", "I'll Make Him Love Me", "Thankful", "Make Me Belong To You", "Sho-Nuff", "I'll Keep Believin'", and "Make Me Your Baby". Very sweet, very soulful, and an essential piece of 60's soul. ~ Dusty Groove

NEW RELEASES - NOSTALGIA AND THE MONTERS. FABRIZIO BOSSO & JAVIER GIROTTO LATIN MOOD, GREG FOAT GROUP

NOSTALGIA AND THE MONTERS - THE TAXIDERMIST

The most spiritual album from Nostalgia 77 in years – a real return to some of the modes he was exploring with his octet a few years ago – especially some of the more jazz-based styles that really made those records sparkle! The album's all instrumental – quite a change from the previous highly vocal record from Nostalgia 77 – and instrumentation is a very righteous blend of the leader's bass, plus reeds, trumpet, percussion, and lots of Hammond and Fender Rhodes – used in these mellow-flowing styles that really further the exploratory style of the music. As before, Riaan Vosloo's got a really expressive style to his writing – rich colors that are completely sublime in the hands of the group – on titles that include "Algernon", "Zippy Slipper", "Angels & Demons At Play", "Sunrise In Mexico", and "The Taxidermist". ~ Dusty Groove

 FABRIZIO BOSSA & JAVIER GROTTO LATIN MOOD - VAMOS

A sparkling set of Latin jazz, done the Schema way – which means that the team of Favrizio Bosso and Javier Girotto are even tighter than on their previous release for Blue Note! The best tracks here bristle with an upbeat sense of rhythm that's undeniable – grooves that roll out beautifully from the sextet, spurred on with unified energy that's way more than the usual Latin style – very unique, and wonderfully groovy! Bosso's trumpet is as top-shelf as always, a great solo vehicle for the group – and Girotto plays both soprano and baritone sax with a deft touch – alongside drums from Lorenzo Tucci, plus keyboards, bass, and percussion too – all live instrumentation that puts this one more firmly on the jazz side of the Schema spectrum. Titles include "Sophia", "Vamos", "Waltz Del Clavel", "Algo Contigo", "El Mastropiero", "Mathias", "Africa Es", and a surprisingly great version of "In A Sentimental Mood". ~ Dusty Groove

GREG FOAT GROUP - GIRL AND ROBOT WITH FLOWERS

Amazing sounds from this very hip group – a contemporary combo, but one who play with a depth of sound to warrant their inclusion on the Jazzman label! The style is almost spiritual jazz, but a bit more laidback too – sounds that are cosmic, yet never soaring to the skies – and almost more content to contemplate their own existence in these cool little rhythmic progressions – a very hip approach that draws a lot of power from its minimalism! Instrumentation is a bit trippy at points – but mostly in the way the players fold things together – so that tinkling piano tipples over brooding basslines, or organ lines hum softly to encourage string sounds to start too – a beautifully poetic style that only gets better as the album moves along! This limited EP features four songs that won't be on the vinyl pressing of the full album – "Girl & Robot With Flowers" parts 1, 2, and 3 – and "Have Spacesuit Will Travel (part 1)". (Limited pressing of 1000 hand numbered copies!) ~ Dusty Groove

Friday, November 16, 2012

NEW RELEASES - THE IPANEMAS, DOMENICO, NAT REEVES

THE IPANEMAS - QUE BELEZA

Brazil’s greatest Afro-bossa band conjure up wickedly rich and charm laden vintage sambas on this fifth recording for Far Out. Three generations of Rio de Janeiro musicians combine to evoke a nostalgic and raw tribute to their diverse musical city. Wilson Das Neves’ crooning, melancholic notes combine with special guest diva Aurea Martins’ hypnotic vocal while glorious trombone and afro percussion add to the deep pleasures. Five decades after Brazilian music was transformed with cult debut ‘Os Ipanemas’ Das Neves and the Ipanemas return to honour the memory of genius guitarist Neco in the only way they know – playing samba from the heart. ~ Far Out Records


DOMENICO - CINE PRIVE

A groovy little record from Domenico – one that's got the same best elements of his music with Moreno Veloso and Kassin, but which almost has a more intimate feel overall! Most tunes here have a relatively tight song structure – almost always with lyrics by Domenico, although Moreno joins in and sings a bit too – and backed with small combo instrumentation that's mostly played live, but occasionally inflected with the kinds of subtle production twists we've always loved in the music of Domenico! It's always hard to describe the exact charm of Domenico's music – but if you've heard him before – or frequent partners Kassin and Moreno Veloso – then you'll know exactly why we like this one so much. Titles include "Cine Prive", "Receita", "Su Di Te", "Sua Beleza", "Zona Portuaria", "Pedra A Areia", "Hugo Carvana" and more. 13 in all. ~ Dusty Groove


NAT REEVES - STATE OF EMERGENCY

A tremendous set from bassist Nat Reeves – a player who doesn't always record as a leader, but one whose talents have graced countless great groups over the years! The album's got a tight, elegant sort of sound – rooted strongly in Nat's soulful basslines, which step out front all the time – a bit like Ray Brown in his best small combo work – yet still leave plenty of space for sparkling trumpet lines from Joshua Bruneau, warm-rolling piano lines from Rich Germanson, and drums from Jonathan Barber. The strength of the bass gives the album a soulful depth right from the start – which the other instruments only improve on – and titles include "Fungii Mama", "Moon River", "So Tired", "Little Waltaz", "Brick's Blues", and "Laverne Walk".  ~ Dusty Groove

NEW RELEASES - RUBENS BASSINI Y LOS LATINOS, TATHAM, MENSAH, LORD & RANKS, RAY STEPHEN OCHE AND HIS MATUMBO

RUBENS BASSINI Y LOS LATINOS - LATINO FANTASTICO

Far Out begin their classic re-issue series with a much sought after Brazilian rarity. Rubens Bassini was one of Brazil’s finest and most respected percussionists and a vital component of the original Os Ipanemas and Sergio Mendes’ Brazil 66, plus later 77 and 88 incarnations. This 1963 solo outing, originally released as a limited vinyl LP, is full of deep traditional African, Brazilian, Cuban and South American rhythms and moments of unexpected blissful folk and hypnotic psychedelia. Wind and strings provide unusual arrangements for Bassini’s pulsating bongos and endless exotic percussion to explode through. Featuring an all-star team of ‘60s Rio players this vivid percussion dream can finally be heard in all its mythical glory. ~ Far Out Records

TATHAM, MENSAH, LORD & RANKS - TATHAM, MENSAH, LORD & RANKS

Bristling sounds from a killer lineup – a 4Hero-related project done by the quartet of Kaidi Tatham, Akwasi Mensah, Matt Lord, and Dego Ranks – music that definitely explores the next level of expression for the 2000 Black generation! All the best London touches are firmly in place here, but the groove's also fresher than before, too – wonderfully cosmic, yet nicely abstract in a few places too – showing the kind of complication that Tatham's brought to his rhythms in recent years – yet still maintaining all the soulful, righteous focus we could have hoped for! The album features guest work by Eric Lau, Sarina Leah, Bembe Segue, and Nadine Charles. ~ Dusty Groove

RAY STEPHEN OCHE AND HIS MATUMBO - NO DISCRIMINATION

Pan-African rhythms from Ray Stephen Oche – topped with some great jazzy elements as well! The set's one of Ray's classics from the Paris scene – a set that draws heavily from his Nigerian roots, yet also takes full advantage of the wider cultural vibe going on in France at the time – echoes of free jazz in the instrumentation, righteous soulful elements in the vocals, and a complicated rhythmic approach that brings in plenty of funk from the other side of the Atlantic as well! The album's a killer all the way through – and tracks include "Kano City Sky", "Ayipe Assa", "At The Jazz Fountain", "Ada Ode", "Trumpet Calls The People Of Nigeria", "Peace Upon Kenemaland", and "Down Beat Special". ~ Dusty Groove

DENNIS ANGEL'S LATEST RELEASE 'TIMELESS GROOVES' - A MIX OF MODERN AND RETRO JAZZ PRODUCED BY JASON MILES

After having released a half dozen singles over the past few years that landed on the contemporary jazz radio charts, Dennis Angel released his debut album, Timeless Grooves, on Tuesday (November 13). Angel wrote or co-wrote 8 new songs for the set produced by Jason Miles (Marcus Miller, Miles Davis, Whitney Houston, Luther Vandross) that fondly recalls the 1960s and 70s when the evolution of jazz-funk spawned a dynamic genre that swirled jazzy instrumental riffs, R&B beats and catchy pop hooks into commercial success. “Forever Funk,” the deep-pocketed album opener featuring Angel trading tasty licks with saxophonist Gottfried Stoger on the track brushed with vintage gloss dispensed from Miles’ keyboards and organ, is garnering airplay around the globe.

Angel entered the studio to record Timeless Grooves with the goal of contributing something fresh to contemporary jazz by keeping the memorable melodies simple, selflessly maintaining the focus on the songs, and utilizing a live soundscape constructed by some of New York City’s finest musicians. Collaborating with Miles helped take the music to the next level and added a new dimension: Miles urged Angel to play flugelhorn in addition to trumpet on the 10-track disc, which the horn man did for the first time.

Along with worldwide airplay, the early reviews have been encouraging. Critical Jazz wrote “From the opening funkalicious grooves of ‘Forever Funk’ to a more retro theatrical throwback to ‘I Did All This’ we find trumpet and flugelhorn virtuoso as the real deal. A legit jazz triple threat as instrumentalist, lyricist and composer with the chameleon like ability to change sonic colors, dynamics and harmonics at will. Dennis Angel goes all in with this release and the potential that is shown here alone is worth 5 stars. An artist I want to hear more from. Incredibly entertaining and one of those rare heartfelt releases that makes the sonic transfer with ease.” The Smooth Jazz Ride concurred declaring “Angel’s smooth handling of the trumpet and flugelhorn coupled with long-time collaborator Gottfried Stoger on saxes on this project, not to mention Angel’s 16-year-old daughter Rebecca on vocals on a track she co-wrote with her dad, are all bound to propel this project to a comfortable place on the charts for a while…Rebecca Angel’s vocals on the very, very jazzy ‘A Song in Harmony,’ are most riveting…Overall, one smooth, cool debut with an attractive retro slant and one that should set the stage for Angel’s return again and again.”

www.dennisangelband.com.

RUDRESH MAHANTHAPPA - GAMAK

"[one] of the finest saxophonists going . . . jaw-dropping" - Pitchfork

"...a tornado of a saxophonist and a jazz composer who has never limited himself by that descriptor." - NPR "A Blog Supreme"

"a leading figure in innovative jazz circles . . . jazz improvisation of a global kind, as universal in its appeal as it was international in its inspiration"  - Chicago Tribune


The idea of hybridity has been central to the music of alto saxophonist/composer Rudresh Mahanthappa throughout his career. Most prominent, of course, has been his highly original fusion of east and west, jazz mixed with the sounds of his Indian heritage. But that's too easy and linear a depiction of this open-eared and inventive composer, who has absorbed an enormous variety of music into his thinking and amalgamated it into a singular vision.

On his new ACT release, Gamak, Mahanthappa continues that multi-directional evolution with a bold, striking set of music that melds leading-edge jazz with innovative reinterpretations of traditional Indian and Middle Eastern approaches, shot through with an electric jolt of prog-rock complexity. Mahanthappa's distinctly personal sound hybridizes progressive jazz and South Indian classical music in a fluid and forward-looking form that reflects the composer's own experience growing up a second-generation Indian-American. Just as his personal experience is never wholly lived on one side of the hyphenate or the other, his music speaks in a voice dedicated to forging a new path forward.

Gamak, Mahanthappa's thirteenth album as leader or co-leader, marks the debut of a new band that is both a reprise and a reinvention. The album reunites the saxophonist with bassist François Moutin and drummer Dan Weiss, the rhythm section from his long-running quartet, which was last recorded for the 2006 album, Codebook. But the group takes on a radically different sound with the addition of David "Fuze" Fiuczynski, a master of microtonal guitar whose eclectic virtuosity offered Mahanthappa a vast new territory to explore.

"Dave has checked out so much music," Mahanthappa says of Fiuczynski. "A lot of eastern music, whether it's Chinese or Indian or Arabic, and a lot of 20th and 21st century classical music. Not to mention that he has this rock/punk aesthetic that's evident in his band the Screaming Headless Torsos. And Dan and Francois come from a really wide perspective as well. Dan is just as much into Rush as he is Max Roach or Zakir Hussain. So I knew those guys were going to really bring this stuff to life."
The name Gamak is derived from the word for ornamentation in Indian classical music, an element that is far more central to that culture than the English word implies. "In South Indian music particularly," Mahanthappa explains, "melodic ornamentation isn't random. It's very specific and stylized and studied." As for the word's relevance to his current ensemble he says, "In recontextualizing these things, Gamak can refer to any sort of melodic ornamentation. It's as applicable to Indian classical music as it is to R&B singers riffing or anything in between."

While his quartet had always been completed by a pianist, most notably longtime compatriot Vijay Iyer, most of Mahanthappa's recent projects have utilized guitar, from the Dakshina Ensemble that recorded his groundbreaking 2008 album, Kinsmen, to the collective Indo-Pak Coalition to his most recent ensemble, the electro-acoustic ensemble Samdhi. The instrument's fluidity is key to his current compositional approach. "I was looking to get back to that quartet setting with Dan and Francois again," Mahanthappa explains. "But doing something with piano was out of the question, because of the way that I've been thinking about melody and ornamentation and the fact that I wanted to delve into the use of alternate tunings."

Fiuczynski offered an idiosyncratic versatility different from any other guitarist, formed over years of studying wildly disparate forms of music and bringing them together in his own blend of shrieking rock, burning jazz, multi-cultural fusion and head-scratching complexity. He and Mahanthappa had been discussing a potential collaboration for years when they were both hired for legendary drummer Jack DeJohnette's most recent band, a gig that not only afforded them the opportunity to play with one of jazz's giants, but to forge their own partnership on stage night after night. "Dave and I got a chance to play a lot together and develop something within Jack's group that gave me a better insight into how I wanted to write for this group," Mahanthappa says.

The album kicks off with the wiry prog-rock tension of "Waiting Is Forbidden" and ends with the hurtling punk screamer "Majesty of the Blues." Fiuczynski is at his slipperiest on "Aboghi," based on a raga that Mahanthappa describes as "one of the rare ragas that's treated in very similar ways in both North and South India." In the quartet's interpretation, it's transformed into a rubbery, feel-good boogaloo. Gamak as recorded ten years after Mahanthappa's breakthrough sophomore release, Black Water, which he revisits directly and indirectly on two tracks. "Are There Clouds In India" was originally recorded on that album, and recently arranged for big band by Jim McNeely, which revived Mahanthappa's own interest in the piece. "We'll Make More" is a new piece built upon the same raga and beat cycle as "Balancing Act," the opening track from Black Water.

Most of the titles stem from Mahanthappa's love of language, a theme that has arisen repeatedly in his work - most memorably on his 2004 album Mother Tongue, which was inspired by the many languages of India. Here, many of the titles were simply evocative combinations of words that the composer saw or heard: "Waiting Is Forbidden" came from a piece in the Brooklyn Museum, while "Wrathful Wisdom" is a concept from Buddhist philosophy. The piece to which it's attached is one of Mahanthappa's most challenging inventions, requiring awkward, counterintuitive alternate fingerings.

Perhaps the most profound title on the album came from an accident of roadside disrepair - a sign on the New Jersey Turnpike where "Stay In Lane" had been truncated to the koan-like "Stay I." Mahanthappa was struck by the phrase, interpreting it to mean, "Make sure you always try to be yourself and remember your individuality. Which is very difficult to do. I think it's been difficult across history, but maybe even more so now because we have so much information at our fingertips."

Despite the depth and breadth of his influences and his restless imagination, one thing which Mahanthappa has managed to do throughout his career is remember to "Stay I." It's a lesson that has continually resulted in strikingly individual statements, and Gamak is certainly no exception.

Gamak - Track Listing/Personnel
Rudresh Mahanthappa / alto saxophone
David Fiuczynski / electric guitar
François Moutin / acoustic bass
Dan Weiss / drums

1. Waiting Is Forbidden (8:56)
2. Abhogi (7:11)
3. Stay I (2:22)
4. We'll Make More (6:06)
5. Are There Clouds In India? (5:56)
6. Lots Of Interest (7:38)
7. F (2:22)
8. Copernicus - 19 (1:25)
9. Wrathful Wisdom (8:24)
10. Ballad For Troubled Times 5:52
11. Majesty Of The Blues (1:43)

All tracks composed by Rudresh K. Mahanthappa
Produced by Rudresh K. Mahanthappa

Upcoming Rudresh Mahanthappa Appearances:
All dates to feature "Gamak" unless otherwise noted.
Personnel for each date varies.

January 12 / Winter JazzFest - (Le) Poisson Rouge / New York, NY
January 27 / Albright Knox / Buffalo, NY
January 31 / WDR 3 Jazzfest / Köln, Germany
February 1 / Bim-Huis / Amsterdam, Netherlands
February 2 / Birdland / Neuburg, Germany
February 7 / Wexner Performing Arts / Columbus, OH
February 9 / Fontana Chamber Arts / Kalamazoo, MI
February 22 / Yale University - Sprague Hall / New Haven, CT
February 26 & 27 / Dazzle / Denver, CO
February 28 & March 1 / Outpost Performance Space / Albuquerque, NM
* March 2 / Royce Hall / Los Angeles, CA
March 3 / Athenaeum Music and Arts Library / La Jolla, CA
March 12 / Hnita Club / Heist-op-den-Berg, Belgium
March 13 / CC Maasmechelen / Maasmechelen, Belgium
March 14 / Unterfahrt / München, Germany
March 15 / Spielboden / Dornbirn, Austria
March 16 / Treibhaus / Innsbruck, Austria
March 17 / Porgy & Bess / Wien, Austria
March 19 / Château Palmier / Cenon, France
March 20 / Paradox / Tilburg, Netherlands
March 21 / Café Shuitershof / Middelburg, Netherlands
March 22 / JazzIt / Salzburg, Austria
March 23 / Alte Kaserne / Winterthur, Switzerland
March 24 / Cheval Blanc / Schiltigheim, France
April 4 & 5 / Blues Alley / Washington, D.C.
April 6 / Montgomery County Community College / Blue Bell, PA

*Gamak + Indo-Pak Coalition

rudreshm.com
actmusic.com

Thursday, November 15, 2012

JOE LOVANO TO RELEASE 23RD BLUE NOTE ALBUM CROSS CULTURE JAN. 8


On January 8, 2013, living legend saxophonist and composer Joe Lovano will release Cross Culture, his 23rd Blue Note recording and the third consecutive release by his critically acclaimed quintet, Us Five. The album is an 11-track tour de force that presents 10 of Lovano’s original compositions along with a stunning interpretation of the Billy Strayhorn ballad “Star Crossed Lovers.”

Augmenting his core group (pianist James Weidman, bassists Esperanza Spalding or Peter Slavov, and drummers Otis Brown III and Francisco Mela) with the daring West African guitarist—and fellow Blue Note artist—Lionel Loueke, Lovano delivers his most fully realized representation of a career-long quest to explore the notion of universal musical language.

“Since I started to tour in the late ‘70s, I’ve collected instruments from Asia, Africa, the Middle East, Eastern and Western Europe, and North and South America,” says Lovano, who, in addition to his instantly recognizable tenor saxophone, improvises on G-mezzo soprano, tarogato, and aulochrome, and plays an array of percussion—bells and shakers, an Israeli paddle drum, and a Nigerian slit drum called an oborom. “I’ve spent a lifetime feeling the passion of experiencing the spirits in the sounds of the collective ancestors in these instruments, creating music but feeling like the earth. It’s coming through in my compositions and in the way we play together.”

Loueke, who himself combines exhaustive knowledge of harmony and folk forms, contributes seamlessly and egolessly to six pieces. “Lionel doesn’t just play the guitar,” Lovano says. “He freely integrates himself with the rhythm section and with me in the front line, and shares the space in a personal way.”

The album ends with an expansive performance of Lovano’s original “PM,” inspired by master drummer-composer Paul Motian, his frequent collaborator from 1981 until his death two months before the recording. Like everything that has preceded it, the performance, in Lovano’s words, “combines the harmonic and rhythmic structures of modern jazz in a free-flowing way, with a tribal energy, tying together things about the world of music, beyond just categories of jazz.”

The track listing for Cross Culture is as follows:
1. Blessings In May
2. Myths And Legends
3. Cross Culture
4. In A Spin
5. Star Crossed Lovers
6. Journey Within
7. Drum Chant
8. Golden Horn
9. Royal Roost
10. Modern Man
11. PM

www.bluenote.com

WAYNE SHORTER RETURNS TO BLUE NOTE RECORDS

Legendary Saxophonist & Composer Wayne Shorter Returns To Blue Note Records After 43 Years With Feb. 5 Release Of His New Quartet Album Without A Net

The legendary jazz saxophonist and composer Wayne Shorter has re-signed to Blue Note Records, and will release his first album as a leader for the iconic label in 43 years with the February 5, 2013 release of Without A Net, his searing new album with his long-running quartet featuring pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade.

Shorter—who will be entering his 80th year in 2013—first recorded for Blue Note in 1959 as the precocious 26-year-old tenor saxophonist (and prolific composer) in Art Blakey’s Jazz Messengers, which brought him to the attention of label founder Alfred Lion who eventually signed him to his own recording deal. Shorter went on to make a spectacular run of classic albums for Blue Note between 1964-1970 including Night Dreamer, Juju, Speak No Evil, Adam’s Apple, Schizophrenia, and Super Nova during a period of time that also paralleled Shorter’s years with Miles Davis, first as a member of the trumpeter’s trailblazing quintet, and later as a part of Davis’ early fusion masterpieces.

“Wayne Shorter is one of the greatest musicians and composers of our time,” said Don Was, President of Blue Note Records. “At age 80, we witness him at the height of his powers and performing with one of the most incredible bands he's ever assembled. Although welcoming him back to Blue Note Records after 43 years is a romantic notion, Wayne's enduring appeal is rooted in his steadfast refusal to trade in such nostalgia. In fact, it is Mr. Shorter's determination to constantly move forward that makes his new album, Without A Net, such an essential listening experience.”

Reflecting upon his perpetual path of musical discovery, Shorter expounded that "The challenge we as artists face today is to create a ‘singularity’ or an ‘event horizon’ so that as human beings we will break the cycle of ego dominated actions which through repetition keep us bound to stagnation which denies us entrance to the Portal of Life's Ultimate Adventure!"

Without A Net is a 9-track musical thrill ride that consists of live recordings from the Wayne Shorter Quartet’s European tour in late 2011, the one exception being the 23-minute tone poem “Pegasus” which features the quartet with The Imani Winds recorded at Walt Disney Concert Hall in Los Angeles. The album features six new Shorter compositions, as well as new versions of his tunes “Orbits” (from Miles Davis’ Miles Smiles album) and “Plaza Real” (from the Weather Report album Procession). The quartet also reinvents the title song from the 1933 musical film Flying Down To Rio, which film buffs (such as Shorter) know as the first on-screen pairing of Fred Astaire and Ginger Rogers.

The track listing for Without A Net is as follows:
1. Orbits (4:49)
2. Starry Night (8:48)
3. S. S. Golden Mean (5:17)
4. Plaza Real (6:56)
5. Myrrh (3:03)
6. Pegasus (23:06)
7. Flying Down to Rio (12:44)
8. Zero Gravity (8:13)
9. UFO (4:12)

www.bluenote.com

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