MATT HERSKOWITZ - UPSTAIRS

As a followup to 2010's acclaimed Jerusalem Trilogy on Justin Times Records, pianist-composer Matt Herskowitz showcases the art of solo piano on Upstairs, recorded before a live audience in the intimate setting of Montreal's Upstairs Jazz Bar & Grill. Drawing on his classical training and his deep love of jazz, Herskowitz presents an artful blend of musical styles with direct nods to Michel Petrucciani, Dave Brubeck, George Gershwin, J.S. Bach and Robert Schumann along the way. "I wanted the choice of pieces to reflect a broad range of what I do, including my own compositions, arrangements of classical pieces, and my favourite jazz covers," writes Herskowitz in the liner notes to Upstairs.

Performing on a Yamaha C-6 piano in the quiet ambiance of the Upstairs Jazz Bar & Grill, Montreal's answer to Manhattan's Village Vanguard, Herskowitz delighted the Tuesday night audience with his eclectic program, which opens with Brubeck's rhapsodic homage to Chopin, "Dzienkuye (Thank You)," a piece he wrote in 1958 while on tour with his quartet in Poland and which first appeared later that year on Brubeck's Jazz Impressions of Eurasia. "I've known him for a long time because I wrote a piece back in 1998 called 'Chorale and Variations on a Theme of Dave Brubeck,' which is based on one of his tunes, 'In Your Own Sweet Way,'" recalls Herskowitz. "The Canadian premier performance in Montreal was recorded by Radio-Canada, and it sounded great. So I gave it to a mutual friend of mine and Dave's son, Chris, and Chris ultimately gave it to Dave, who called me six months later to tell me that he was blown away by it! We kept in touch until his passing earlier this month. It's difficult to express the profound influence and effect that his music, his generosity, support and encouragement have provided me over the years I've had the privilege of knowing him. I feel truly blessed for that."

"In addition to being a supportive and influential voice in my own music, as well as in music in general, he was absolutely the most generous, selfless and encouraging person I've ever known, and I'm very glad to feature one of my favourite tunes of his on my album, now as a tribute to Dave. I sent a copy of my performance of 'Dziekuye' to Dave back in August, and he loved it, which was very heartening to know." Of Herskowitz' last album Jerusalem Trilogy, Dave wrote the following in a personal letter: "I listened to Jerusalem Trilogy carefully. Congratulations! You have transformed the concept of 'world' music as I conceived of it half a century ago. You have carried it further than I could imagine back then. The playing is wonderful throughout."

The brooding "Waltz in Moscow" was written by Herskowitz in 1994 when he participated in the Tchaikovsky International Piano Competition in Moscow. "I was inspired by being in a place from my own roots and by the warm, open, talented and creative people I met there, particularly the students from the Gnessin Conservatory, who took it upon themselves to drag me out of my hotel room and show me around the town, as I could not have seen it on my own," he writes in the liner notes.

Petrucciani's uplifting "Cantabile" is a gospel-tinged number that traverses a wide dynamic range. "It has a thoroughly infectious groove, simple and beautiful chord changes, and permeates a feeling of cool optimism. You can take it anywhere you feel like going, from a big, crazy jam to a lonely, reflective inner moment, and it always shines through," says Herskowitz. On his interpretation of Schumann's "Traumerei," Herskowitz imbues a few passages with real-deal blues statements.

Herskowitz's melancholy "Bella's Lament" is a song he wrote with singer Theresa Tova for the original musical theatre production "Bella, The Colour of Love," which tells the story of the great Russian-French painter Marc Chagall and his beloved wife and muse Bella, as told through Bella's voice. "I wanted to specifically include 'Bella's Lament' on the album because I thought it would fit well. Even without the lyrics,the music is still conveying the emotion of their story. And I liked the effect that it has just playing it as a solo instrumental in a bar."

The jaunty waltz-time "Bach à la Jazz" is a jazz arrangement of Bach's "Prelude in C Minor" from the WTC book 1, which Herskowitz previously recorded for part of a film soundtrack. "An old friend of mine, Ben Charet, asked me to play the 'C minor Prelude' in the style of Glenn Gould for a film he was scoring called The Triplets of Belleville. After I'd recorded it, I started playing around with it as a jazz waltz, just killin' time and having some fun. He ended up using that in the film, calling it 'Bach à la Jazz.' That original performance I did in the film has been released on EMI's soundtrack of The Triplets of Belleville, which was nominated for a Grammy Award. I've since made a concert version of it which I play with my trio. I adapted the solo arrangement from more or less what I did with the trio and included it here. It's kind of well known at this point, especially among fans of the movie."

Herskowitz closes his live outing with two popular Gershwin numbers - a spacious extrapolation on the ballad "But Not for Me" and a rousing, reharmonized take on the age-old jamming vehicle "I've Got Rhythm," the latter serving as a dazzling chops showcase for the accomplished pianist. "You have to do something a little bit original with that tune at this point," he says of "Rhythm," which has him running surging bass lines with the left hand while comping and soloing furiously with the right. "Everybody knows it so everybody's going to recognize it even if you do something extreme to it. If you put it in 9/4 and add an unrecognizable intro, everyone's still going to know what that is. So you've got a lot of room to run with on that one."

Regarding the intimate ambiance of the Upstairs Jazz Bar & Grill, where you can literally hear the clinking of glasses in the room by the patrons, Herskowitz says he appreciated the pin-drop silence during his solo performances. "I didn't even tell people that we were recording that night. Maybe I should've, but it turns out I didn't have to because they were just so respectful of the performance. They were there to chill and listen to the music."
A graduate of the Juilliard School in New York and the Curtis Institute of Music in Philadelphia, the Albany native has made Montreal his adopted home since 1999. He distinguished himself as a talent deserving of wider recognition with his 2007 solo piano release, Matt Herskowitz Plays Gershwin (Disques Tout Crin), which featured solo arrangements of "Rhapsody in Blue," "Concerto in F" and "Cuban Overture." In 2008, he premiered his piano concerto "Undertow" with New York-based multi-genre chamber orchestra Absolute Ensemble at the Bremen International Musikfest in Bremen, Germany, and in 2010 recorded the ambitious Jerusalem Trilogy, which seamlessly fused contemporary jazz and classical styles with a unique blend of Arab and Jewish styles and grooves. Now with the release of Upstairs, the outstanding pianist-composer stands ready to make the next incremental leap in his burgeoning career.

Upstairs - Track Listing/Personnel
1. Dziekuye (Brubeck)- 13:36
2. Waltz in Moscow - 7:05
3. Cantabile (Petrucciani)- 9:03
4. Träumerei (Schumann)- 5:27
5. Bella's Lament - 12:22
6. Bach à la Jazz (Bach, Arrangement by Herskowitz)- 3:25
7. But Not For Me (Gershwin/Gershwin)- 10:55
8. I've Got Rhythm (Gershwin/Gershwin)- 8:16

All tracks composed by Matt Herskowitz (unless otherwise noted)
Matt Herskowitz / piano

For more information on Matt Herskowitz, please visit: mattherskowitz.com
For more information on Justin Time Records please visit: justin-time.com

NEW RELEASES - KENNY WHEELER / NORMA WINSTONE / LONDON VOCAL PROJECT, MARIUS NESET, ANDREW MCCORMACK TRIO

KENNY WHEELER / NORMA WINSTONE / LONDON VOCAL PROJECT - MIRRORS

Kenny Wheeler and Norma Winstone have been at the forefront of the European Jazz scene collectively for the last 5 decades gaining admiration and reverence from all generations of musicians and fans. With the release of ‘Mirrors’, a suite of music composed by Kenny Wheeler set to poems by Stevie Smith, Lewis Carroll and W.B. Yeats, they are joined by the London Vocal Project, a 24 piece choir directed by the inimitable Pete Churchill. Featuring some of the most renowned and celebrated musicians in British Jazz including pianist Nikki Iles, saxophonist Mark Lockheart, bassist Steve Watts and drummer James Maddren, 'Mirrors' is vast in conception and world class in its execution. Available March 28, 2013 via Edition Records.

MARIUS NESET - BIRDS

Described by Norway’s national paper, Dagbladet, as ‘the most talented Norwegian saxophonist since Jan Garbarek in the 1960s’, Norwegian-born/Denmark-based saxophonist & composer Marius Neset, over the last 18 months, has become one of the most talked about musicians of his generation. As well as demonstrating exemplary technique and brilliant invention on both tenor and soprano saxes, he is a composer of intricate, compelling music, bustling with energy and virtuosity. With the release of ‘Golden Xplosion’, he has been praised throughout the international jazz press, receiving 4 and 5 star reviews for the album and his live shows. In spring 2013 Marius will release his new album ‘Birds’, a record showcasing the breadth of his musical vision and featuring the stellar line-up of pianist Ivo Neame, vibest Jim Hart, bassist Jasper Høiby and drummer Anton Eger . Not only does it demonstrate his further development as a performer and bandleader, it also reveals further evidence of his brilliance as an inspirational and inspired composer. Available February 18, 2013 via Edition Records.

ANDREW MCCORMACK TRIO - LIVE IN LONDON

Pianist Andrew McCormack and his newly formed trio, who have recently released a live digital album and videos from The 606 Club in London, will embark some dates in February next year. Described as a ‘breakthrough modern sounding album’, this trio is definitely one to watch over the coming months.

"The group build expectations with patience and precision, from quiet, dripping-water motifs propelled by soft mallet sounds that swell and recede, to folksy Mehldau-like themes that release flows of Jarrett-like inventiveness, or hip Cuban groovers". Guardian ~ Edition Records

SHELLY MANNE / BILL EVANS WITH MONTY BUDWIG - EMPATHY

A pair of great Bill Evans albums for Verve – both a very good fit together! The cover of Empathy co-credits Bill Evans and Shelly Manne as the leader of the set – and that distinction's an important one – as the record has a slightly different feel than some of Bill's other 60s work for Verve! The sound is often a bit stronger, somewhat bolder – and although Manne's not a monster on the drums, he does have a way of directing the tunes that's a bit different than some of Evans' other piano-led albums. Bass is by Monty Budwig, who's nicely sensitive to the talents of both players – and there's almost an equally-weighted melodic feel to all three elements of the trio – which really rounds out the record nicely.

Titles include "The Washington Twist", "Danny Boy", "Let's Go Back To The Waltz", "With A Song In My Heart", "Goodbye", and "I Believe In You". Simple Matter Of Conviction is a move into a more sophisticated vein than his earlier recordings! The album has him working with bassist Eddie Gomez, a hugely talented bassist that would be one of Bill's best partners during this period, and a player who added a nice dose of soul to the proceedings. The drummer is Shelly Manne, who's pretty nice, too – and really shows off some of his more sophisticated shadings here in the presence of Evans and Gomez – similar to his work on the great Empathy album. Tracks are shortish, but filled with imagination – and titles include "Unless It's You", "These Things Called Changes", "Stella By Starlight", and "A Simple Matter Of Conviction". ~ Dusty Groove

DAVE BASS RELEASES TIMELESS CHRISTMAS CLASSIC - THE CHRISTMAS SONG

Dave Bass is a vocalist, saxophonist, songwriter and multi-instrumentalist – a true Renaissance man of jazz with a range spanning from straight ahead to modern jazz as well as contemporary pop. Having performed professionally since the age of 15 and a seasoned performer, Dave Bass is releasing his first recording -- just in time for Christmas. Bass’s rendition of Mel Torme’s “Christmas Song” captures the essence of early versions recorded by Nat King Cole, Mel Torme & Frank Sinatra and adds a fresh spin for a new generation joining the ranks of Michael Buble and Harry Connick Jr.

“Dave Bass is a singer inspired by Frank Sinatra and Ray Charles, a tenor-saxophonist whose tone recalls Dexter Gordon. His vocal on “The Christmas Song” is soulful, heart-warming and lightly swinging. Listeners will enjoy the happy Yuletide spirit.” Scott Yanow, jazz historian and author

Dave Bass has worked under the radar for too long, despite rave reviews for his live performances, arrangements, vocals and virtuosity in New York, Atlanta, Los Angeles, and various appearances around the country. Michele Rhea Caplinger, the Executive Director of the Recording Academy in Atlanta has called Dave “the quintessential artist”; Connie Zerden, the Vice President of Showtime Networks states that Dave is “jazz music’s most extraordinary secret. A virtuoso on multiple instruments.”

The release of “The Christmas Song” is just an opening salvo for an upcoming pop album that Bass has been writing and arranging, blending jazz and soul into the contemporary pop idiom. This single evokes his timeless style and sense of swing, showcasing his vocal warmth and instrumental prowess.

"Dave Bass does a beautiful job breathing new life into the Christmas classic — personalizing the song with an intimacy that suggests he's singing only to the listener. And he is playing all the instruments!” Elliot Zwiebach, Cabaret Scenes

This single is a wonderful gift from Dave Bass to you; a timeless Yuletide carol you can share with a loved one, or your entire family. It will uplift your spirits and warm your home -- with or without an open fir
Visit THE JAZZ NETWORK WORLDWIDE "A GREAT PLACE TO HANG" at: http://www.thejazznetworkworldwide.com/?xg_source=msg_mes_network

NEW RELEASES - WALT DICKERSON, RONNIE MATHEWS, FRANK FOSTER

WALT DICKERSON - THIS IS WALT DICKERSON!

An amazing batch of tracks that will convince you that Walt Dickerson is one of the greatest jazz musicians ever to touch a set of vibes! The record was Dickerson's first for Prestige, and (like most of his albums on the label) it features a quartet lineup that includes the enigmatic Austin Crowe on piano, a very young Andrew Cyrille on drums, and little-known bassist Bob Lewis – whose pulsating work here really makes the album move! There's a strong sense of modernism to the music – those sharper tones that set Dickerson apart from most of his contemporaries on the vibes – but there's also a great sense of soul and warmth as well, more so than on some of Walt's other albums. Titles include the classic "Death & Taxes" – a massive modal groover – plus the beautiful "Evelyn", the haunting "Time", and other titles that include "Infinite You" and "Elizabeth". ~ Dusty Groove

RONNIE MATHEWS - DOIN' THE THANG!

One of the only early albums as a leader from pianist Ronnie Mathews – a player who recorded more often in later years, but who really sounds incredible in this rare session for Prestige! Although a lyrical player at heart, Mathews also has a very hard edge here – more of a soul jazz groove than you'd hear on his later records, and a great example of the sound he was picking up from some of his key 60s work as a sideman. The group is great overall – with Freddie Hubbard on trumpet and Charles Davis on baritone sax – both players who bring a Blue Note-like sense of imagination to their solos here. The rest of the group features Eddie Kahn on bass and Albert Heath on drums – and titles include the killers "The Thang", "Ichi Ban", and "The Orient" – plus "Let's Get Down", "1239A", and "Prelude To A Kiss". ~ Dusty Groove

FRANK FOSTER - FEARLESS FRANK FOSTER

An incredible album from tenor giant Frank Foster – one of his best records ever, with an impeccable soul jazz groove that's light years beyond his earlier work! The record has a bit of the feel of Frank's album with Richard Davis for Impulse, but takes off in a slightly different direction – tightly grooving, with a bit of a searching feel that points towards Foster's Coltrane-inspired later years. Frank's on tenor, and the rest of the group includes Virgil Jones on trumpet, Al Dailey on piano, Bob Cunningham on bass, and Alan Dawson on drums. The rhythmic component of the session is tremendous, and titles include "Disapproachment", "Baby Ann", "Janie Huk", and a great version of his "Raunchy Rita".  ~ Dusty Groove

THE ROJAC STORY: THE BEST OF ROJAC & TAY-STER

Funky sounds from the Harlem scene – an incredibly rich collection of work from the Rojac and Tayster labels – a set so massive, it's like finding a box of rare funky 45s and deep soul singles in the back of some old record store! The package offers up way more work than we might have expected from our knowledge of a few key funk classics from the labels – a treasure trove of under-discovered gems from the grittiest years of the New York scene – most of them cut in the pre-disco years, with raw edges that almost feel more like southern soul and funk than other work from the Big Apple!

This overstuffed set also comes with a sweet booklet of notes – really telling the tale of the labels and related enterprises – plus 44 tracks that include "Where Were You" by Kim Tolliver, "Meet Me Halfway" by Lillie Bryant, "Old Love Never Dies" by Big Maybelle, "Something Special About My Baby" by Clarence Reid, "I Love My Baby" by International GTOs, "No Better For Ya" by Jo Armstead, Love Love Love" by Chuck Flamingo, "Christmas In Vietnam" by Private Charles Bowens & The Gentlemen From Tigerland, "Everybody's Going Wild" by Curtis Lee & The KCPs, "Lovin Lies" by Third Guitar, "This & That" by Jo Armstead, "Don't Lose Your Groove" by Lavell Hardy, "Nwanne Nwanne Nwanne" by Aleke Kanonu & Tolbert The Miracle Man, "Lucky Man" by Damn Sam The Miracle Man, "Baby Don't Cry" by Third Guitar, and "Whip Ya" by Chuck A Luck & The Lovemen Ltd.  ~ Dusty Groove, Inc.

CHAIRMEN OF THE BOARD REISSUES - IN SESSION, SKIN I'M IN, BITTERSWEET

CHAIRMEN OF THE BOARD - IN SESSION

A killer album by the Chairmen of the Board! The record's their second – and although the "In Session" title, photos on the front, and liner notes all make it appear to be a live album, it's actually a studio session, with the same great Holland-Dozier-Holland production as the first! The album includes an amazing track called "All We Need Is Understanding", a jaunty groover with this funky organ at the beginning, and some killer vocals by General Johnson. It's one of the group's best tracks ever – and the record has plenty of other nice ones – like "Pay To The Piper", "Hanging On To A Memory", "When Will She Tell Me She Needs Me", and "Chairmen Of The Board". Plus, the record includes their great version of "Patches", which they wrote for Clarence Carter – already on their first album, but featured here again for some strange reason! Who cares, though – because we love the track! CD also features the bonus cut "Try My Love On For Size". ~ Dusty Groove

CHAIRMEN OF THE BOARD - SKIN I'M IN

Probably the rarest of all albums by The Chairmen Of The Board – and also the last! The album was cut after the band re-formed briefly, and it's got a fuzzed-out heavy soul sound that's quite different from some of the group's earlier work. There's heavy guitar on many tracks – riffing away in a psychedelic mode that dominates most tracks, but which almost buries the group's vocals. The album's a great one if you dig the funk side of the Chairmen – and at times, it almost reminds us of The Politicians, who were kind of labelmates of the group. Includes the excellent two-part funk track "Life & Death" – plus "Love At First Sight", "Everybody Party All Night", "Let's Have Some Fun", "Finder's Keepers", "Skin I'm In", and "White Rose (Freedom Flower)". Lots of bonus tracks too – including "Finders Keepers (inst)", "Someone Just Like You", "Come On In & Dance", and "You've Got Extra Added Power In Your Love". ~ Dusty Groove

CHAIRMEN OF THE BOARD - BITTERSWEET

An excellent album from this sublime soul trio! The record's got a nice heavy style – similar to the funky soul that was creeping into the sound of other artists on the Invictus label – and it rumbles along with a nice fuzzy edge that adds a whole new dimension to the incredible vocals of the group. Holland-Dozier-Holland produced, but the real skill here is that of General Johnson and Greg Perry – who wrote all the songs on the album save one – and whose vocal genius really makes the whole thing soar. The album yielded no hits for the group, but still has plenty of great numbers – and with General Johnson's vocals, just about anything would sound great! Cuts include "Bittersweet", "Weary Traveler", "So Glad You're Mine", "Elmo James", "Working On A Building Of Love", and "Men Are Getting Scarce". CD featyures two bonus tracks – "Let Me Down Easy" and "Everybody's Got A Song To Sing". ~ Dusty Groove

NEW RELEASES - BLACK RIO, RON TRENT, BOBBI HUMPHREY

BLACK RIO - BRAZIL SOUL POWER 1971-1980 (VARIOUS ARTISTS)

A limited new pressing of this sought-after Strut LP from 2002, compiled by Batmacumba's DJ Cliffy and celebrating the 'Black Rio' movement of the 1970s. Tailing out from the Tropicalia movement, Black Rio initially took shape as sound systems began to champion the empowering soul of James Brown during the country's long-running military dictatorship. While homegrown artists like Gershon King and Uniao Black stayed faithful to the US funk formula, others created strident Afro-Brazilian fusions of many shapes - Banda Black Rio's effortless samba jazz funk classic 'Gafieira Universal', Trio Mocoto's chanted 'Nago' and Jorge Ben's 'Comanche' from his classic Afro-Brazilian LP 'Negro e Lindo' are all featured here. This fresh reissue is fully remastered as a 2LP gatefold featuring original sleeve notes, rare photos and original flyer artwork. The first 100 copies will be made available on 180g heavyweight vinyl. All copies will feature the remastered CD version of the album within the package. ~ Strut Records

RON TRENT - RAW FOOTAGE

Strong and rawly percussion sounds from Chicago legend Ron Trent! Ron has way of carrying the torch for classic club soul soundscapes – the kinds that he helped pioneer – and all the while continues to evolve and innovate. It's a pretty tricky balancing act, yet he gets across each time out! Raw Footage has some pretty insistent, African percussion-inspired beatscraft paired with spacey keys and some hypnotic bits of vocal. Includes "Message To The World", "Sundance", "Electric Blue", "Pressure Zone", "Exotic Drums", "Her", "Atmoshere", "Sweetness", "Space Dance", "Blood And Fire" and more. ~ Dusty Groove

BOBBI HUMPHREY - DIG THIS!

A stone killer from funky flute player Bobbi Humphrey – one of her early albums for Blue Note Records, and a set that's a perfect summation of the best sides of her talents! The album's got a slightly different feel than Bobbi's work with Larry Mizell – yet still sports a similar approach that blends her amazingly spiritual flute lines with rich larger backings – in this case arranged by Horace Ott, Alphonse Mouzon, and Wade Marcus, in a sublime blend of electric jazz and soaring strings – all with a feel that's almost like some lost blacksploitation soundtrack! Given the lady's strength on her instrument, and her sharp sound on her solos, the record's got a focus and righteousness that takes it way past most contemporary efforts of this nature – a bold testament to the qualities that have made Bobbi one of our favorite players on flute for many many years. The set also features some wonderful Fender Rhodes – played both by Harry Whitaker and Paul Griffin – plus bass from Wilbur Bascomb, and heavy drums from Alphonse Mouzon. Titles include "Love Theme From Fuzz", "Nubian Lady", "Lonely Town Lonely Street", "Smiling Faces Sometimes", Is This All", "I Love Every Little Thing About You", "El Mundo De Maravilas", and a great version of Mouzon's "Virtue". (On the Dusty Groove label.) ~ Dusty Groove

“JUMPINJAZZ KIDS – A SWINGING JUNGLE TALE” RECEIVES GRAMMY NOMINATION FOR BEST CHILDREN’S ALBUM IN THE 55TH ANNUAL AWARDS; SPECIAL CONCERT TO BE HELD AT THE GRAMMY MUSEUM IN LOS ANGELES FEBRUARY 8TH IN CONJUNCTION WITH GRAMMY WEEK

“A stand-out mix of storytelling and songs . . . an imagination-stirring musical adventure!” – Parents’ Choice Foundation “The music stands on its own superbly . . . Isn’t this how YOU want young people to get hooked on swing?” – Jazz Weekly

“JumpinJazz Kids – A Swinging Jungle Tale,” the new CD celebrating the rich history of Jazz and Popular music by paying tribute to its legendary pioneers through story, song and a variety of musical styles, is the proud recipient of a Grammy Award Nomination for Best Children’s Album in the 55th Annual Awards to take place in Los Angeles February 10th, 2013. In celebration of the CD release as well as the Nomination, a special performance will take place at The GRAMMY Museum in Los Angeles on February 8th at 11am as part of Grammy Week and the Museum’s Educational Outreach Series. The nomination follows “JumpinJazz Kids” recent win of a Parents’ Choice Gold Award, the highly coveted award for children’s entertainment that is the nation’s oldest nonprofit guide to quality children’s media and toys.

“JumpinJazz Kids – A Swinging Jungle Tale” (the CD) is a unique blend of classic storytelling and fun, original jazz/pop songs performed by world-renowned jazz artists Dee Dee Bridgewater, Al Jarreau and Hubert Laws and backed by an energetic jazz quartet, symphony orchestra and narration and voice characterizations by James Murray.

“JumpinJazz Kids – A Swinging Jungle Tale” introduces children to the imaginative worlds of jazz, the spoken word and the Symphony in a fun yet educational, engaging and unique way. Produced and created by music industry veterans Steve Barta and Mark Oblinger and co-author Linda Lawson, “JumpinJazz Kids – A Swinging Jungle Tale” was released September 25th.

The GRAMMY Museum seeks to educate and to inspire all museum visitors and members as to the enduring qualities and cultural significance of popular and classical music. By implementing a variety of innovative educational strategies; by incorporating the advice and needs of scholastic teachers, locally, regionally, and nationally; and by presenting the expertise of nearly 14,000 Recording Academy members, the GRAMMY Museum offers the most dynamic and exciting educational programs available from music museums today. The education mission of the Museum is to use music as a gateway to learning; inspiring and cultivating creativity, critical-thinking and self-expression.

Barta, Oblinger and Lawson stated, “We are thrilled to be the recipients of a Grammy Nomination for Best Children’s Album in the 55th Grammy Awards. Our main goal is to provide quality children’s entertainment that fully engages the listener’s imagination. “A Swinging Jungle Tale” supports this idea through our “Imagination Is Me!” concept that encourages the listeners to actively visualize the story and imitate the animal dance movements in each song to become a “real” part of the tale. We believe that with the quality of the music, the magnetic performances of the artists involved and the imaginative nature of the story, “JumpinJazz Kids” has something to offer all ages.

All three guest artists – Bridgewater, Jarreau and Laws – were equally enthralled with the project and offered their support immediately when approached to participate and their performances from the downbeat let you know that this is no ordinary children’s CD. Bridgewater’s unparalleled chops are featured on “ This Elephant’s Gerald,” while Jarreau’s playful vocals highlight “Do The Monkey Swing” and “Hubert Hummingbird.” Laws adds flute to both a song named in his honor, “Hubert Hummingbird” and “Her Name Is Little Growl.”

“JumpinJazz Kids” is a unique line of children’s music that combines classic narrative storytelling with fun, pop-influenced jazz songs backed by a Symphony Orchestra. The stories follow the imaginative adventures of a seven year-old girl named Claire and her stuffed animal friends. The first title in the series, “A Swinging Jungle Tale,” finds Claire in her Grandpa’s backyard jungle looking for a “lost story.” Powered by her imagination alone, Claire’s stuffed animal friends begin to magically come to life and she learns all about their world … and a little bit about herself along the way. In addition, the music for “JumpinJazz Kids” has been fully-scored for live performances with a symphony orchestra.

With the story for “A Swinging Jungle Tale” already translated and recorded in French, Japanese and Spanish, it is the vision of “JumpinJazz Kids” to develop a series of interactive CDs, books, apps, concerts and educational events nationally and worldwide with the premise being to teach jazz and symphonic history, provide music education, promote children’s physical activity through dance and movement, enlighten their understanding of the animal world and most importantly, to allow their imaginations to flow. Concerts have already taken place with full orchestra/jazz quartet in Colorado and Milwaukee and were met with widespread critical acclaim. JumpinJazz Kids - “A Swinging Jungle Tale" - a celebration of story, song and swing . . . where Imagination is King!

BRUNO MARS - UNORTHODOX JUKEBOX

Atlantic recording artist Bruno Mars has released his hugely anticipated sophomore album, "UNORTHODOX JUKEBOX," which is already receiving rave reviews from critics, noted by Rolling Stone as "a record that makes the competition sound sad and idea-starved by comparison," and naming Mars a "master song-crafter." Entertainment Weekly lists the album at No. 1 on this week's Must List claiming Mars "aims his croon at a range of targets -- reggae, soul, Prince-inspired pop -- and hits the mark every time," while Billboard says the "boldly ambitious and gloriously irreverent Unorthodox Jukebox is made for -- and gets better with -- as many repeat plays as you can manage."


"Locked Out Of Heaven" is proving to be yet another sensation for Mars, currently sitting at No. 2 on the Billboard "Hot 100" and having already reached No.1 on the iTunes Singles Chart. "Heaven" also marks the Grammy-winning superstar's 10th single he has written, produced or performed to hit the top 5 on the overall "Hot 100." The new single also marks Bruno's ninth consecutive career-opening top 10 hit on the Billboard "Hot 100 Airplay" chart; Mars is already the record-holding male artist with the longest streak of top 10 hits as a performer since his debut. Mars is also lighting up YouTube, with the official "Heaven" companion video drawing more than 35 million streams thus far at Bruno's official channel, www.youtube.com/brunomars.

Mars has lined up a series of high profile appearances fueling the release of "UNORTHODOX JUKEBOX," including a special performance on this morning's edition of the TODAY show (http://on.today.com/125PeJv). Tonight, iHeartRadio will host a private show featuring a live performance by Bruno for an intimate group of fans in New York City. The performance will begin streaming live at 7:30pm ET at http://bit.ly/Ut7btZ. Tonight at 7:55pm ET, Mars will perform "Locked Out of Heaven" on MTV First: Bruno Mars. The next day, Bruno will take the mic again as part of The Big & Best of 2012: A Year End Celebration Presented by T-Mobile, a blow-out celebration across MTV.com, VH1.com, CMT.com and ComedyCentral.com on December 12th. Later this week Mars will perform on Fox's The X-Factor on December 13th and will then perform on the nationally syndicated The Ellen DeGeneres Show on December 18th. Additionally, Mars' critically acclaimed turn as host and musical guest on NBC's Saturday Night Live -- the episode which marked this season's highest ratings -- will be rebroadcast on Saturday, December 22nd. These appearances all follow stunning performances of "Young Girls" and "Locked Out Of Heaven" on CBS' annual The Victoria's Secret Fashion Show, and a profile on last Sunday's edition of CBS Sunday Morning.

Furthermore, last Monday, December 3rd, Mars released "When I Was Your Man," an additional track from "UNORTHODOX JUKEBOX," which hit the top ten of the iTunes Singles Chart within 48 hours of its release. Purchase of individual tracks that have already been released will be credited towards purchase of the full album by using iTunes' "Complete My Album" feature.

"UNORTHODOX JUKEBOX" is, of course, the extraordinary follow-up to Mars' RIAA platinum certified, worldwide breakthrough debut, "DOO-WOPS & HOOLIGANS." As its title suggests, the album once again sees Mars melding a multitude of musical approaches to create his own distinctive sound. Executive produced by The Smeezingtons, the hit-making production team comprised of Mars, Philip Lawrence, and Ari Levine, the collection also features contributions from such top producers as Jeff Bhasker (fun., Kanye West, Jay-Z), Mark Ronson (Amy Winehouse, Lil Wayne, Black Lips) and Diplo (M.I.A., Usher).

Bruno Mars is a 14-time Grammy Award nominee who has sold over 50 million singles worldwide and has over 1 billion views on YouTube. Bruno's debut album Doo-Wops & Hooligans was released in October 2010 and has been certified 40x Platinum worldwide. The album, which was named "the year's finest pop debut: 10 near-perfect songs," by Rolling Stone, included the 12x platinum blockbuster single "Just the Way You Are," which hit number 1 in multiple countries across the globe and won the critically-acclaimed artist a Grammy Award for "Best Male Pop Vocal Performance." Doo-Wops & Hooligans claimed two additional hit singles, the 10x platinum "Grenade" and 6x platinum "The Lazy Song." Mars has received an abundance of accolades to date, including ASCAP Song of the Year, a Billboard Music Award for Top Radio Song for "Just the Way You Are," a BRIT Award for International Male Solo Artist, an American Music Award for Favorite Male Artist in Pop/Rock, two MTV European Music Awards including Best New Artist, and the People's Choice Award for Favorite Male Artist. In 2011, Mars was named one of Time Magazine's 100 most influential people in the world.

For up-to-the-minute news and information, please visit: www.brunomars.com, www.facebook.com/thatbrunomars, www.youtube.com/brunomars, and twitter.com/BRUNOMARS.

THIRD WORLD TO CELEBRATE 40TH ANNIVERSARY AT THE JAMAICA JAZZ & BLUES FESTIVAL

The Jamaica Jazz and Blues Festival will celebrate with Third World Band, their 40th anniversary in what is anticipated to be a musical journey of the bands successful catalogue spanning four decades. Mary J Blige, John Legend and Michael Bolton are also set to perform at the 17th staging of the Jamaica Jazz and Blues Festival January 24 – 26, 2013. The Jamaica Jazz and Blues Festival will celebrate with Third World Band, their 40th anniversary in what is anticipated to be a musical journey of the bands successful catalogue spanning four decades. Mary J Blige, John Legend and Michael Bolton are set to perform at the 17th staging of the Jamaica Jazz and Blues Festival January 24 – 26, 2013.

Third World Band will join other bands on Thursday night which will feature classic Reggae bands and classic singers. Roots Underground, whose career was launched on the talent stage of the Festival several years ago, returns to the main stage to demonstrate their prowess which makes them one of Jamaica’s most popular bands worldwide.

Walter Elmore, producer of the Festival, promises a heightened wholesome entertainment experience on and off the stage for patrons. “We have a tradition of great entertainment experiences at the Jamaica Jazz and Blues Festival and this year we will return aspects of the experience favoured by our patrons and add some new elements. 2013 will be even more interactive and engaging for persons at the event with the introduction of our digital lounge, and an integration of our social media spaces.”

On stage Mary J Blige, loved by Jamaicans for her dynamic and passionate music and delivery, will be a powerhouse with favourites such as No More Drama, All I Need, Mr. Wrong. Michael Bolton returns to the Festival and promises a love affair with Jamaicans with hits such as How Am I Supposed To Live Without You, Said I Loved You But I lied and his ardent rendition of When A Man Loves A Woman. John Legend who considers himself a friend of the Festival will bring an intimate performance to his adorers with hits such as Ordinary People, Everybody Knows, The Best You’ve Ever Had and the mega hit Stay With Me covered by Reggae Star Tarrus Riley.

Jamaica Jazz and Blues Festival will be held on January 24 – 26, 2013. Further updates will be provided on http://www.jamaicajazzandblues.com and https://www.facebook.com/jamaicajazzandblues in the coming days.

GLENN GOULD, CHARLIE HADEN, LIGHTNIN' HOPKINS, CAROLE KING, PATTI PAGE, RAVI SHANKAR AND THE TEMPTATIONS HONORED WITH THE RECORDING ACADEMY® LIFETIME ACHIEVEMENT AWARD

The Recording Academy® (www.grammy.com) announced its Special Merit Awards recipients and this year's honorees are: Glenn Gould, Charlie Haden, Lightnin' Hopkins, Carole King, Patti Page, Ravi Shankar and the Temptations as Lifetime Achievement Award recipients; Marilyn & Alan Bergman, Leonard & Phil Chess and Alan Livingston as Trustees Award honorees; and Ikutaro Kakehashi & Dave Smith and Royer Labs as Technical GRAMMY® Award recipients. A special invitation-only ceremony will be held during GRAMMY Week on Saturday, Feb. 9, 2013, and a formal acknowledgment will be made during the 55th Annual GRAMMY Awards® telecast, which will be held at STAPLES Center in Los Angeles on Sunday, Feb. 10, 2013, and broadcast live at 8 p.m. ET/PT on the CBS Television Network. For breaking news and exclusive content, join the organization's social networks as a Twitter follower at www.twitter.com/thegrammys, a Facebook fan at www.facebook.com/thegrammys, and a YouTube channel subscriber at www.youtube.com/thegrammys.

"Each year, The Academy has the distinct privilege of honoring those who have greatly contributed to our industry and cultural heritage, and this year we have a gifted and brilliant group of honorees," said Neil Portnow, President/CEO of The Recording Academy. "Their exceptional accomplishments, contributions and artistry will continue to influence and inspire generations to come."

The Lifetime Achievement Award honors performers who have made contributions of outstanding artistic significance to the field of recording while the Trustees Award recognizes such contributions in areas other than performance. Both awards are determined by vote of The Recording Academy's National Board of Trustees. Technical GRAMMY Award recipients are determined by vote of The Academy's Producers & Engineers Wing® Advisory Council and Chapter Committees, as well as The Academy's Trustees. The award is presented to individuals and companies who have made contributions of outstanding technical significance to the recording field.

About The Lifetime Achievement Award Honorees:
A prodigy and four-time GRAMMY winner, Glenn Gould* became one of the best known and most celebrated classical pianists of his time with a style of playing that was deeply expressive and rhythmically precise. In 1956 he earned international recognition with his first Columbia release, Bach's Goldberg Variations, but his repertoire went on to include such works by Beethoven, Mozart, Haydn, Schoenberg, and Strauss. Gould, who was also a composer, conductor, broadcaster and writer, often offered original, deeply personal and shocking musical interpretations filled with extreme tempos, odd dynamics and finicky phrasing that made him a unique talent.

A three-time GRAMMY winner Charlie Haden is an all-American jazz musician best known for his signature lyrical bass lines and his ability to liberate the bassist from an accompanying role. In addition to his groundbreaking work as an original member of the Ornette Coleman Quartet, he has collaborated with such jazz artists as Chet Baker, Ed Blackwell, John Coltrane, Dexter Gordon, Billy Higgins, Art Pepper, and Archie Shepp. Throughout his five decade career, Haden has revolutionized the harmonic concept of bass playing and has covered such genres as free jazz, Portuguese fado and vintage country.

Lightnin' Hopkins* was a Texas country/blues singer, songwriter, guitarist and pianist whose career spanned more than six decades. He recorded approximately 1,000 songs, including such hits as "T-Model Blues," "Tim Moore's Farm" and "Mojo Hand." Hopkins gained recognition with his intense mournful style and his distinctive fingerstyle playing, earning him a spot on Rolling Stone's list of 100 greatest guitarists of all time.

Carole King is one of the most significant and talented singer/songwriters in the modern era. King, along with songwriting partner Gerry Goffin, was honored with a Recording Academy Trustees Award in 2004 for having written such prolific hits as "Will You Love Me Tomorrow," "The Loco-Motion," "Chains," and "I'm Into Something Good." In 1971 King released Tapestry, which included the songs "I Feel The Earth Move," "It's Too Late," and "You've Got A Friend." The album garnered four GRAMMY Awards including Album Of The Year, Song Of The Year and Record Of The Year, and was inducted into the GRAMMY Hall Of Fame® in 1998. In 2010, King joined friend and fellow singer/songwriter James Taylor during the successful "Troubadour Reunion" tour. In 2012, she released her New York Times best-selling autobiography A Natural Woman.

Throughout her seven-decade career, Patti Page has recorded a number of hits, including "(How Much Is That) Doggie In The Window" and "I Went To Your Wedding." Her unique and smooth vocal style seamlessly blended country and pop music. Page's version of "Tennessee Waltz" was a best-selling single, and landed her concurrently on the top of the pop, country, and R&B charts. Her Live At Carnegie Hall — The 50th Anniversary Concert album garnered her a GRAMMY in 1998 for Best Traditional Pop Vocal Performance. In 2009, Page published This Is My Song: A Memoir.

As one of the world's most renowned sitar players, three-time GRAMMY winner Ravi Shankar* is a true ambassador for international music. As a performer, composer, teacher and writer, he is considered a pioneer in bringing Indian music to the West. With a performance career spanning more than 80 years, he has influenced a variety of musicians, including the Beatles, John Coltrane, Philip Glass and his daughters, Norah Jones and Anoushka Shankar. A humanitarian and philanthropist, in 1971 Shankar, along with George Harrison, organized the Concert for Bangladesh, which paved the way for many other fundraising charity concerts.

Recognized for their slick choreography, distinct harmonies and flashy attire, the Temptations are one of the most influential R&B acts in music. A Motown staple, the Temptations pioneered their sound by focusing on songs that reflected social change, politics, love and a strong connection to their audience. In 1968, the group earned a GRAMMY Award for their performance of the hit "Cloud Nine." Additionally; their hits "My Girl" and "Papa Was A Rollin' Stone" have been inducted into the GRAMMY Hall Of Fame, with the latter recording garnering two GRAMMYs in 1972.

About the Trustees Award Honorees:
Songwriters Marilyn & Alan Bergman are two of the world's most distinguished lyricists. Among their songs are such pop culture signatures as "Nice 'N' Easy," "You Don't Bring Me Flowers," "The Windmills Of Your Mind," GRAMMY Song Of The Year winner "The Way We Were," and the themes for TV shows such as "Maude" and "Good Times," among others. They have collaborated with many renowned composers, Michel Legrand, Marvin Hamlisch, Cy Coleman, Henry Mancini, Johnny Mandel, John Williams, and Quincy Jones. The pair has won three Academy Awards® and two GRAMMY Awards and were inducted into the Songwriters Hall of Fame in 1980, among other honors. The Bergmans have also been active within the music industry and supported charitable organizations. Marilyn served as president and chair of ASCAP for 15 years and in 2002, she was appointed the first chair of the Library of Congress' National Sound Recording Preservation Board. Alan serves as a board member for the Johnny Mercer Foundation and the Artists' Rights Foundation.

Through their Chess Records label, Chess Records founders Leonard* & Phil Chess played a pivotal role in bringing wider attention to Chicago blues and legendary artists such as Muddy Waters and Howlin' Wolf. But equally important, they were instrumental in the birth of rock and roll. Signing and recording rock legend Chuck Berry alone ranks the Chess brothers with Sun Records founder Sam Phillips as the industry's most visionary rock and roll leaders, but they also recorded what many critics argue was the first rock and roll record: "Rocket '88'" by Jackie Brenston & His Delta Cats. Ultimately, Chess and its affiliates would sign other influential giants, including Bo Diddley, Willie Dixon, Little Walter, and Etta James, among others. Nine Chess recordings have been inducted into the GRAMMY Hall Of Fame to date.

There's only one industry leader who can be credited with bringing Bozo the Clown, Frank Sinatra, the Beatles and the Beach Boys under one roof: former Capitol Records executive Alan Livingston*. Charged with forming a children's division for Capitol in the '40s, Livingston created the Bozo character, which remained popular into the '60s. After rising to an executive position at the label in the '50s, he helped revive Sinatra's career, and in the '60s he was instrumental in bringing the Beatles to the United States, as well as leading Capitol into the rock era with such signings as the Band and Steve Miller. Later, after joining 20th Century Fox Records, he co-produced The Story Of Star Wars with George Lucas.

About the Technical GRAMMY Award Recipients:
In 1983, Ikutaro Kakehashi, founder of Roland Corporation, and Dave Smith, president of Sequential Circuits, unveiled MIDI (Musical Instrument Digital Interface). Next year marks the 30th anniversary of the launch of MIDI, a standard that motivated the cooperation of an entire industry and helped move music technology into a new era. In a nearly unprecedented collaboration between competing manufacturers, what would soon prove an inescapable new technology was born when two competing manufacturers' electronic keyboards were connected, enabling them to "talk" to one another using a new communication standard. The announcement ultimately revolutionized the music world. Today, MIDI is ubiquitous in the musical equipment industry, and is the de facto standard feature on virtually every electronic music product made by every manufacturer.

Royer Labs' line of ribbon microphones has made a profound difference in the way engineers record music. The company's ribbon technology is extremely natural sounding and brings a more realistic, analog sound and feel to digital recordings and live sound reproduction. In the '90s, Royer Labs single-handedly brought ribbon microphones into mainstream recording. Older ribbon microphone designs had fallen out of use in the '60s due to low output and because they were heavy and fragile. Royer designed a radically different line of ribbon microphones — small, lightweight, durable, and achieving incredible sound — which were revolutionary and moved the art of recording forward. Royer's innovations continue to win the praise of artists, producers and engineers today.

*Denotes posthumous.

Established in 1957, The Recording Academy is an organization of musicians, songwriters, producers, engineers and recording professionals that is dedicated to improving the cultural condition and quality of life for music and its makers. Internationally known for the GRAMMY Awards — the preeminent peer-recognized award for musical excellence and the most credible brand in music — The Recording Academy is responsible for groundbreaking professional development, cultural enrichment, advocacy, education and human services programs. The Academy continues to focus on its mission of recognizing musical excellence, advocating for the well-being of music makers and ensuring music remains an indelible part of our culture. For more information about The Academy, please visit www.grammy.com. For breaking news and exclusive content, follow @TheGRAMMYs on Twitter, like "The GRAMMYs" on Facebook, and join The GRAMMYs' social communities on Foursquare, GetGlue, Instagram, Pinterest, Tumblr, and YouTube.

NEW RELEASES - JEREMY STEIG, WILLIAM HOOKER QUINTET, DANIEL HUMAIR

JEREMY STEIG - WAYFARING STRANGER

A mindblower from flute man Jeremy Steig – his only album ever for Blue Note – and quite possibly his best! There's a stripped-down feel here that beats even the rich soul of Steig's sets for Solid State – a brilliant pairing of Jeremy's choppy lines on flute with the soulful bass of Eddie Gomez – amazing interplay that really sets the record on edge right from the start – and gives things this raw funky feel that's even different than other Blue Note dates of the time! If you dig Steig's funky flute on other records, you'll totally love it here – and in addition to Eddie's great round, deep, soulful lines on bass – the set also features heavy drums from Don Alias, and some shadings on guitar from Sam Brown – a pair who are perfectly picked to round out the quartet. Tracks are all nice and long, and have a feel that's freewheeling, yet still funkily focused too – almost an electric vibe, although both Jeremy and Eddie's instruments aren't electrified at all – just their souls and spirits! A gem through and through – with great cuts that include "All Is One", "In The Beginning", "Waves", "Space", "Mint Tea", and "Wayfaring Stranger". (On the Dusty Groove label.) ~ Dusty groove

WILLIAM HOOKER QUINTET - CHANNELS OF CONSCIOUSNESS

A brilliant showcase for the drums of William Hooker – ringing out loudly and proudly here in the company of younger players who really help support his energy! Hooker's got this sharp punch that comes through right away – that mixture of freewheeling rhythms and more expressive musical vision that's made so much of his recent work so great – given a slightly different spin here in the company of Dave Ross on guitar, Chris Di Meglio on trumpet, Adam Lane on bass, and Sanga on percussion. The passages that have interplay between Sanga and Hooker are especially great – and titles include "Character", "The Unfolding", "Thought & Intention", "Compelling Influences", "Three Hexagons", and "Connected". ~ Dusty Groove

DANIEL HUMAIR - SWEET & SOUR

The title's a great way to sum up the unique mood of this session from drummer Daniel Humair – a really wonderful blend of his own percussion with saxes, accordion, and bass – a mix of sounds that's definitely got plenty of French jazz touches! The sweet moments are those warm passages where the accordion and sax swell together beautifully – in sounds that are seductive, but still pretty sharp-edged – even more so on the sour elements, which really have the group pushing themselves – letting loose in a frenzy that's usually driven by Humair's drums. Yet on many passages, he also reminds us what a sensitive percussionist he can be – really well-skilled at softer sounds that open up the lower sonic ranges of the set. Titles include "7A3", "Care 4", "Ground Zero", "Unicorn In Captivity", "Oppression", "Debsh", and "Ground One".  ~ Dusty Groove

BRIAN CULBERTSON'S NAPA VALLEY JAZZ GETAWAY RETURNS

When multitalented musician Brian Culbertson announced the first Napa Valley Jazz Getaway last New Year’s day, he didn’t imagine that the 5-day celebration of music and wine in the Golden State’s idyllic wine country would sell out in just one week, but that is exactly what happened. The chart-topper and high-energy performer will again top the marquee of the 2013 edition slated for June 5-9 that adds numerous events to the schedule and luster to the list of performers in the form of Grammy winners Take 6, Ray Parker Jr., Norman Brown and Kirk Whalum united with Rick Braun as BWB, seminal funk outfit Larry Graham & Graham Central Station, saxophonists Eric Darius and Michael Lington, guitarist Nick Colionne, party band DW3 and special guest comedian Sinbad. Ticket packages are currently on sale and are being made available in four phases with priority given to returning guests.

In June, over 1,200 attendees will again converge upon Napa Valley from all over the nation to experience this extraordinary opportunity for jazz and wine enthusiasts to share their common passions with their favorite musicians. Festival goers will enjoy headline concerts at the Napa Valley Opera House and Lincoln Theater while more intimate shows will be held at several wineries including Silver Oak and Chimney Rock. VIPs will be treated to a solo piano performance by Culbertson staged in the wine cave at Miner Family Winery, which was one of the most buzzed about shows this year. Throughout the festival, the backstage divide is removed allowing fans to interact freely with the musicians while dining, during wine receptions and tastings at one of the many winery partners, at autograph sessions, a golf tournament at Silverado Resort & Spa, and casual evening hangs at the Westin Verasa Napa for the late night crowd. A silent auction will be held in support of music education to benefit The GRAMMY Foundation with the hopes of far surpassing this year’s impressive haul of over $31,000.

“Wine and jazz have always been a perfect fit so to be able to share those two passions of mine with people who share similar tastes is truly a gift. Our amazing lineup for 2013 is very exciting and we’ve partnered with some of the finest wineries and restaurants in Napa to ensure that the music, food and wine will be first class all the way! I had a feeling we were onto something when we created this one of a kind getaway and the enthusiastic response from the fans far exceeded even our own expectations. I can’t wait to welcome everyone to Napa, share the stage with some of my good friends, and kick back with a glass of wine while taking in the beauty of the magical Napa Valley,” said Culbertson, the Napa Valley Jazz Getaway’s founder and artistic director.

Through 13 solo albums and worldwide concerts tours, Culbertson has established himself as a consistent hitmaker and a consummate entertainer, which has made him one of the most popular artists on the contemporary jazz scene. The award-winning multi-instrumentalist, songwriter and producer distills a smooth, soul-splashed vintage of shimmering jazz, R&B funk grooves and mellifluous adult pop. His latest collection, “Dreams,” was released last summer and was supported by solo and co-headline concert tours with sax legend David Sanborn.

Tickets for Brian Culbertson’s Napa Valley Jazz Getaway are available as VIP (5-day pass for $1,999 per person), Gold (4-day pass for $449 per person) and Silver (2-day pass for $199 per person) packages. For more information, including an itemized breakdown of the ticket packages, the complete schedule of events, or to watch video highlights from the 2012 Napa Valley Jazz Getaway, please visit www.NapaValleyJazzGetaway2013.com.

NEW RELEASES FROM FETEN: RARE JAZZ RECORDINGS FROM SPAIN, SADAO WATANABE, WILTON FELDER

FETEN - RARE JAZZ RECORDING FROM SPAIN 1961 - 1974 (VARIOUS ARTISTS)

Tremendous work from the Spanish scene of the 60s and early 70s – way more than just a batch of obscure jazz cuts, and instead a true testament to this very vibrant musical community! The package brings together some really special tracks from Spanish labels like Edigsa, Ensayo, Hispavox, and others – and really shows that in Spain at the time, there was musical growth that was every bit as strong as in better-known scenes in Germany, France, and Italy – a really rich step forward from American inspiration of the postwar years – into a world of freshly inventive rhythms, really imaginative solos, and some key local touches that really made the music sparkle! Not all players here are of Spanish origin, as the set also shows the key crossroads the scene was offering at the time – a wealth of wonderful hardbop, soul jazz, and modal numbers that include "El Cant Dels Ocells" by Catalonia Jazz Quartet, "Movimiento" by Lou Bennett, "Psique" by Juan Carlos Calderon, "Tema Per Alicia" by Jazz Group, "Asteriscs" by Nits De Jazz Al Jamboree, "Bosnia Calling" by Dusko Goykovich, "Israel" by Modern Jazz Sextet, "Rememberance To Madrid" by Elia Fleta, "Marcha De Los Dioses" by Tino Contreras, and "Laberinto (2nd part)" by Vlady Bas.  ~ Dusty Groove

SADAO WATANABE - SADAO WATANABE

One of the sharpest altos of the east – heard here in a great early album! Sadao Watanabe sounds wonderful on the set – blowing in a quintet setting, with a groove that's a bit like Lou Donaldson on Blue Note at the same time – slightly modern at moments, but also laidback and soulful on the ballads, and always with a clear, crisp sound on the alto sax. Other players on the date include Akira Nakano on trumpet and Kazuo Yashiro on piano – but Watanabe's firmly in the lead on most numbers, getting plenty of space to carve out the tunes with his sharp-edged, youthful sound. Titles include "Greasy", "M&M", "Amen", "My Elegy", "Del Sasser", and "Romande". ~ Dusty Groove

WILTON FELDER - WE ALL HAVE A STAR /  INHERIT THE WIND

A pair of albums from saxophonist Wilton Felder – back to back on a single CD! We All Have A Star offers up solo sounds from Crusaders reedman Wilton Felder – a really great set that's very much in the best vibe of his larger group at the time – yet one that also offers up a stronger focus on Wilton's sublime solo work on tenor! The album's got plenty of Crusaders help on board – given that Stix Hooper and Joe Sample produced the set along with Wilton – and the vibe's a wonderful blend of electric backings, with especially great keyboard lines, and Felder's well-phrased saxophone lines over the top! A few cuts feature vocals – sung by Angela Bryant or Debbie Demoia Ross – and titles include "We All Have A Star", "I Know Who I Am", "The Cycles Of Time", "Why Believe", "Ride On", and "You & Me & Ecstasy". Inherit The Wind is one of the best Crusaders-related solo projects – a soulful bit of fusion from saxophonist Wilton Felder, co-produced with his fellow Crusaders! The album's got the best sunny finish of the group's late 70s albums – traces of Latin, funk, and soul bubbling through a warm jazzy mix – staying soulful all the way through, and coming up with a sound that's smooth, but never sleepy. The blueprint for a million other records – none of which ever sounded this good! Titles include "Insight", "LA Light", "Until The Morning Comes", "Someday We'll All Be Free", and "Inherit The Wind". ~ Dusty Groove

NEW RELEASES - WAR, NEW BIRTH, GENERAL JOHNSON

WAR - THE WORLD IS A GHETTO 40TH ANNIVERSARY EDITION

A monster from start to finish – not only the greatest album from War, but maybe one of the greatest mainstream funk albums of all time! The set's got a really unique groove – one that so many others tried to copy, but which was forged here first – in a wicked LA blend of Chicano funk, heavy organ lines, and soulful singing that sews the whole thing together perfectly. Just about every cut is upbeat and funky – rolling along at that low-rider pace that was War's lasting contribution to funk music – and the album features the huge hits "World Is A Ghetto" and "Cisco Kid", two of the brightest spots on radio funk from the 70s – plus classics like "Four Cornered Room", "City Country City", "Where Was You At", and "Beetles In The Bog". Features great bonus tracks too – previously unreleased "Ghetto Jam" numbers that are even more open and freewheeling than cuts on the album – titles that include "Freight Train Jam", "58 Blues", "War Is Coming (blues version)", and a sweet rehearsal take of "The World Is A Ghetto". ~ Dusty Groove

NEW BIRTH - NEW BIRTH

Way more than just another soul group – as The New Birth are almost big enough to be their own sort of soul music village – complete with different neighborhoods along the way! Vocals are handled by the combined groups of The Mint Juleps and Now Sound – gals and guys that soar together wonderfully with backings from The Nite-Liters – who help give the record a righteous undercurrent at most points, which makes the whole thing sound way hipper than any other projects of this nature! Vernon Bulllock acts as the music director for the whole group – really pulling things together with a tightness that's outta sight – and leadership of the project comes from Harvey Fuqua – who arranged and produced as well. There's some massively heavy talent on board for this initial outing, and you can definitely hear it all come into play beautifully – a wonderful harmony of rich talents, without any egos or issues to get in the way. Vocals chance nicely throughout – sometimes a female lead, sometimes male – as do the grooves, which are funky one minute, and mellow the next! Tracks include "All The Way", "Pretty Words Don't Mean A Thing", "One Way Bus", "It's You Or No One", "Do The Funky Chicken", "The Unh Song", and "What'll I Do". Great reissue – with excellent sound, and very detailed notes! ~ Dusty Groove

GENERAL JOHNSON - GENERALLY SPEAKING

A great solo album by this member of Chairmen of the Board – done with some wicked Holland Dozier Holland production, at a level that almost makes Johnson sound heavier here than in his work with his more famous group! The vocals have that same sort of crazy pinched sound that he had with The Chairmen, and there's loads of great original tunes here – plus a few Chairmen numbers, thrown into the mix, in the way that things sometimes got repeated on the Invictus label – but that's OK with us, because the tunes are so great. The grooves are nice and bouncy – and cuts include "God's Gift To Man", "Every Couple's Not A Pair", "I'll Never Get Tired Of You", "Mary Lou Thomas", and "My Credit Didn't Go Through". CD also features four bonus tracks – "Only Time Will Tell" in vocal and instrumental versions, plus "Savannah Lady", and "I'm In Love Darling". ~ Dusty Groove

NEW RELEASES - MARY WELLS, FONTELLA BASS, BOBBY PATTERSON

MARY WELLS - ONE WHO REALLY LOVES YOU / TWO LOVERS

A pair of incredible early Motown albums from Mary Wells – one of the label's first truly great singers – in a great single set from Kent UK! Mary Wells never sounded better than in her Motown years – and 1962's The One Who Really Loves You is key proof of her talents, as it's overflowing with laidback and mellow soul tunes – done in Mary's great blend of bluesy and classy styles! Titles include classics like "Drifting Love", "Strange Love", "The Day Will Come", "I've Got A Notion", "The One Who Really Loves You", "You Beat Me To The Punch", "Two Wrongs Don't Make A Right", "I'll Still Be Around" and more. The follow-up Two Lovers features the subtitle And Other Greatest Hits, but it's actually a great batch of songs that were most newly-recorded by Mary at the time – and not at all a simple round-up of singles! The approach here has just a little more rawness than some of the girl groups Berry Gordy was scoring hits with at the time, but also a sense of urban classiness. As is their wonderful way, Kent goes above and beyond here – with a great booklet of notes and photos – which shines a necessary light on the making of these great records. Wonderful stuff! Titles include "Two Lovers", "Guess Who", "My 2 Arms - You = Tears", "Goody, Goody", "Stop Right Here", "Laughing Boy", "Looking Back", "(I Guess There's) No Love", "Was It Worth It" and "Operator". ~ Dusty Groove

FONTELLA BASS - FREE

Very righteous work from Fontella Bass – an album done after her time at Chess Records, and after her work in Paris with the Art Ensemble Of Chicago – in a heartfelt, southern soul mode that's totally great! Fontella's back working with producer Oliver Sain, who first brought her fame back in the 60s – but the sound is a bit more sophisticated than before, drenched with roots from gospel and country soul, but also inflected with some of the more righteous modes of the early 70s, too. Fontella's vocals are incredible – with a range that should have made her one of the leading ladies of soul in the 70s – and titles include "To Be Free", "I Need Love", "Wiping Tears", "Hold On this Time", "Talking About Freedom", and "My God My Freedom My Home". 4 bonus tracks on this CD edition: "It Sure Is Good", "I'm Leaving The Choice To You", "Home Wrecker" and "It's Hard To Get Back In". ~ Dusty Groove

BOBBY PATTERSON - IT'S JUST A MATTER OF TIME

One of the best soul records to come out on the Paula label in the early 70s – one with a number of beautifully soulful moments – and a few surprisingly funky ones, too! Although Bobby did a lot of work for other singers, this is one of the few albums he actually cut under his own name – and it's a lasting testament to his talents as both a singer and writer. It's got a nice mix of southern soul ballads and more uptempo tracks, and loads of original compositions by Bobby! Includes "This Whole Funky World is a Ghetto", "If You Took A Survey", How Do You Spell Love", "Make Sure You Can Handle It", "I Just Loved You Because I Wanted To", "Right On Jody", "Quiet! Do Not Disturb", and "I Get My Groove From You". 7 bonus tracks on the CD edition: "She Don't Have To See You (To See Through You)", "It Takes Two To Do Wrong", "Take Time To Know The Truth", "I Get My Groove From You", "I'm In The Wrong" and more. ~ Dusty Groove

PATRICIA BARBER - SMASH

PIANIST, VOCALIST AND COMPOSER PATRICIA BARBER SET TO RELEASE HER CONCORD DEBUT, SMASH, JANUARY 22, 2013

On Smash, her January 22, 2013 debut on Concord Jazz, Patricia Barber reiterates her unique position in modern music as a jazz triple-threat – imaginative pianist, startling vocalist, and innovative composer (international release dates may vary). With a new band and a dozen new compositions, she also continues her two-decade crusade to retrieve the ground that jazz musicians long ago ceded to pop and rock: the realm of the intelligent and committed singer-songwriter, tackling even familiar subjects (like love and loss) with a nuance and depth beyond the limits of the Great American Songbook.
Once again – in the crisp chill of her vocals, as well as the fiery feminine intellect that informs her music and lyrics – Barber makes most of her contemporaries sound like little girls.

A prime example is the title track, where Barber paints the end of a love affair with subtly stated allusions to destruction: the erosion of edifices; a bloody road accident. The lines are more akin to poetry than conventional song lyrics, as she depicts “the crumbling of tall castles built / on kisses and blood / and dreams so like sand.” The song’s reprise compares “the sound of a heart breaking” to “the sound of / the red on the road” – a devastatingly effective mélange of synesthetic imagery. Aided by a raw, forceful guitar solo, the performance illuminates a counter-intuitive realization about loss:

"It just struck me, as it does everyone who experiences great loss, that on the outside, no one can tell,” Barber explains. “You go to the grocery store, and everything’s the same, which is shocking. It struck me that this is the sound of a heart breaking: silence. You’re alone. And I felt that this was an interesting juxtaposition, since the sound of a heart breaking should be the loudest, screamiest, shriekiest combination of sounds there could be.”

Barber has another song on the subject of “loud, shrieky” emotion: “Scream,” paradoxically set to a gentle, quiet melody that belies its message, and which has proved extremely popular with those audiences hearing it prior to this recording. “Scream / when Sunday / finally comes / and God / isn’t there . . . . the soldier / has his gun / and the war / isn’t where / we thought it would be.” As Barber points out in conversation, with only the slightest sarcasm, “It’s an angry song – and everyone wants that.”

Her anger finds a more whimsical (but no less impactful) outlet in the catchy “Devil’s Food,” written specifically from Barber’s perspective as a gay woman: “boy meets boy / girl meets girl / given any chance / to fall in love / they do . . . / like loves like / like devil’s food / like chocolate twice / I’m in the mood / for you . . . .” She wrote the song in reaction to last year’s highly publicized efforts to quash gay-marriage initiatives around the country:

“It made me mad, and it made me want to make a declaration – but to make it fun. I find one of the best ways to bring people to your perspective is of course to charm them, and music can always do that. That’s how I get a lot of people thinking about a lot of things. I mean, the lyrics are fairly graphic – ‘sweet on sweet, meat on meat’ – but the music is so beguiling, I think I make the case. And when it becomes clear that it’s turning into a gay disco song, it’s really fun watching people’s reaction, which is surprise and mostly delight.”

It’s not the usual territory trod by jazz singers and songwriters; we’re a long way from “The Man I Love.” (“Smart songs about the way we think and live, not just about the way we love,” wrote Margo Jefferson in The New York Times.)

Much of Barber’s magic lies in setting these words to music as fully evocative as it is coolly provocative. Many of her arrangements attain a thrilling friction between style and substance. (For a defining example, turn to “Redshift,” in which Barber weds the science-geek lyric – itself a miraculous marriage of physics and love – to the gentle lull of a bossa-nova beat.) Throughout the album, her Chicago-based quartet – comprising the superlative rhythm team of bassist Larry Kohut and drummer Jon Deitemyer, with the edgy and arresting John Kregor on guitars – functions as a translucent extension of Barber’s own musicality, while her piano work enjoys a prominence that some of her newer fans may not previously have experienced.

One song, “Missing” – perhaps the album’s most indelible portrait of heartache – came about in an unusual way: “This was a commission, I guess you could call it. A woman sent me a letter and her story, and a very small check, and asked if I could turn it into a song. It was sort of an outrageous request, but it really hit me, so I wrote it; it was my idea to take the story through the four seasons. In some ways, it’s the sleeper of the record. When I play this in concert, a lot of people cry at this one.”

The other songs on Smash represent the fruit of Barber’s decision to write what she calls a “syllabic song series”; these pieces resulted from a disciplined framework, based on the number of beats in each poetic line. (For instance, “The Swim” consists entirely of two-syllable lines; “Spring Song” has three such phonemes per line; “The Wind Song,” six.) “I studied the songwriters, but now I just study the poets,” she explains. “I’m trying to make the poetry of a finer order. But I still need to rhyme, because rhyme is rhythm, and rhythm is music.”

Audiophiles will be especially glad to know that Smash reunites Barber with her long-time recording engineer Jim Anderson (with whom she first worked in 1994, on her Premonition Records debut Café Blue.) Anderson – who is Professor of Recorded Music at New York University’s Tisch School for of the Arts – has again captured Barber’s music with the clarity and presence that led Stereophile Magazine to label Café Blue a “Record To Die For.” HDTracks and Mastered for iTunes versions of Smash are also available.

After her long association with Premonition and then Blue Note Records, Barber self-released her two most recent albums – recorded at Chicago’s legendary Green Mill, her weekly showcase for more than two decades – and had no plans to sign with anyone else at this point in her career. “I didn’t have a contract, or even a recording in mind,” she states. “I assumed that when I had a group of ten or so new songs I would probably put it out myself.” Halfway through this process, Barber received an offer from Concord, which she promptly turned down: “I was really enjoying the freedom of not having a label, especially in this environment, and just doing what I always do – trying to advance myself musically, practicing a lot, and locking in on what I consider a really good band.”

But the persistence of Concord producer Nick Phillips won out. “He came to see me, and he reminded me so much of Bruce Lundvall,” Barber recalls, referring to the former Blue Note president with whom she worked closely. “I had been grieving the loss of that professional relationship. And then Nick mentioned that he has great respect and admiration for Bruce. So we hit it off personally, and that’s what it takes for me.”

That, and the chance to take her time – to read poetry, practice piano, and do some gardening on a tract of farmland she owns in Michigan, a welcome getaway from city life in Chicago. That’s how Barber’s ideas take root and bloom. She remains an electrifying performer, but performance is not the most important aspect of her art. “My favorite part is the internal part – the research,” she points out. “All the interesting stuff happens inside your head and at the piano.”

Fortunately, those of us not in Patricia Barber’s head or at her piano still get to enjoy the fruits of that labor.