DJANGO UNCHAINED ORIGINAL MOTION PICTURE SOUNDTRACK

If Quentin Tarantino's complete immersion in the schlock of the '60s and '70s no longer seems as surprising as it did in the '90s, there is no denying that his accomplishment at repurposing has only grown over the years. Take the soundtrack for Django Unchained, his "Southern" about a slave out to rescue his wife from an evil plantation owner. Tarantino relies on selections from spaghetti Westerns, including the theme from 1966's exploitation classic Django (quite explicitly the inspiration for QT's titular character), '70s funk and pop, '60s exotica, heaps of quoted film scores, and a hefty dose of new songs that deftly tweak these very sounds. Most previous Tarantino soundtracks relied heavily on the past but here there is a strong dose of the present arriving in the form of hip-hop and R&B, a tacit acknowledgment that he's dealing with tricky racial issues in this film and it's best to cushion the blow with some modern music. Of course, it helps that most of these new additions either directly reference the film's plot -- Rick Ross' "100 Black Coffins" -- or blend the past and the present in a fashion not dissimilar to Tarantino's filmmaking (John Legend's "Who Did That to You?," Anthony Hamilton's "Freedom"). But the true pleasure of Django Unchained is hearing how it swings from this retro-soul to Jerry Goldsmith and Ennio Morricone scores to Jim Croce's "I Got a Name," stopping along the way for choice excerpts from the film's dialogue. It spans decades and styles but it's held together by Tarantino's vision, not unlike the film itself. ~ Stephen Thomas Erlewine

MIKE BLOOMFIELD / AL KOOPER / STEVE STILLS - SUPER SESSION

A surprise best-seller when it was first released, this mostly improvised pairing of singer, keyboardist, and producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time -- nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune").

All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has some interesting tricks up his sleeve, as in the over-the-top phasing he lavishes on "You Don't Love Me." The only real disappointment here is that Stills, a far better singer than Kooper, never opens his mouth.

Those familiar with the Live Adventures album these two recorded at the Fillmore West know how brilliant they could be on stage, and here's another gem, recorded at the Fillmore East this time and featuring 'One Way Out,' 'It's My Own Fault' (with Bloomfield trading licks with Johnny Winter... Johnny was signed to Columbia after this gig!). Newly remastered & now with 4 bonus tracks, 'Albert's Shuffle' (2002 Remix w/o Horns), 'Season of the Witch. ' (2002 Remix w/o Horns), 'Blues For Nothing' (Studio Outtake) & 'Fat Grey Cloud' Previously Unreleased Live Track).

Features 12-page booklet with unpublished photos from the recording session, new liner notes by Al Kooper & the Rolling Stone Hall Of Fame review by David Fricke.60 scintillating minutes! 13 tracks. Colunbia/Legacy.2003. Includes liner notes by Al Kooper, Michael Thomas. Includes liner notes by Michael Thomas. Full performer name: Mike Bloomfield/Al Kooper/Steve Stills. Personnel: Mike Bloomfield (electric guitar); Al Kooper (vocals, 12-string & electric guitars, piano, organ, ondioline); Steve Stills (electric guitar); Barry Goldberg (electric piano); Harvey Brooks (bass); Eddie Hoh (drums). Personnel: Mike Bloomfield (electric guitar); Al Kooper (piano, organ, ondioline, vocals, 12-string & electric guitars); Steve Stills (electric guitar); Barry Goldberg (electric piano); Harvey Brooks (bass); Eddie Hoh (drums). Reissue producer: Bob Irwin. Rolling Stone (10/12/68, p. 28) - "... The Bloomfield side is particularly excellent.... There is a firmness, a real steady handedness, a determinedly sure feeling to what he puts out here..." Uncut (6/03, p. 133) - 3 stars out of 5 - "... These Dylan sidekicks cut the mustard... ". ~ CD Universe

B.J. THOMAS RE-IMAGINES HIS GREATEST HITS ON THE LIVING ROOM SESSIONS

B.J. Thomas Re-Imagines His Greatest Hits With Special Guests Vince Gill, Lyle Lovett, Keb' Mo', Isaac Slade Of The Fray, Richard Marx, Steve Tyrell And More For The Release Of "The Living Room Sessions" This Spring

B.J. Thomas, a true American institution whose iconic pop, country and gospel hits defined their respective generations and now transcend them, has found a unique way to celebrate an incredible half a century in music and some 47 years since his first gold selling hit on Scepter Records: an album of stripped down, intimate acoustic re-imaginings of 12 of his most renowned songs. With special guest artists Vince Gill , Lyle Lovett , Keb' Mo', Isaac Slade of The Fray, Richard Marx , Steve Tyrell , and more, joining him on his most memorable songs, Thomas releases The Living Room Sessions this spring (release date TBA) on Wrinkled Records.

The singer, a five-time Grammy and two-time Dove Award winner who has sold more than 70 million records and is ranked in Billboard's Top 50 most played artists over the past 50 years, invites longtime fans and newcomers alike into his "living room" for never-heard-before arrangements of his legendary classics. The Living Room Sessions also includes four solo performances by Thomas: "Don't Worry Baby," "Eyes of a New York Woman," "Whatever Happened To Old Fashioned Love" and "Everybody's Out of Town."

Working with famed veteran country music producer Kyle Lehning ( Randy Travis and Willie Nelson) at Sound Stage Studio in Nashville, and backed by some of Music City's finest sessions musicians, Thomas recorded many of these as duets from his "wish list" of guest artists from different genres including Richard Marx ("(Hey Won't You Play) Another Somebody Done Somebody Wrong Song"), Vince Gill ("I Just Can't Help Believing"), Keb' Mo' ("Most of All"), Lyle Lovett ("Raindrops Keep Fallin' On My Head"), Isaac Slade , lead singer of The Fray ("I'm So Lonesome I Could Cry") and Steve Tyrell ("Rock and Roll Lullaby").

Thomas' Oscar winning "Raindrops" in "Spider-Man 2" in 2004, underscored the singer's continued place as an identifiable cultural touchstone. He continues to perform 60-80 shows annually throughout the U.S. and internationally--everywhere from Australia and Hong Kong to Paris (this coming March 2013), with plans to tour with the release of The Living Room Sessions.

http://bjthomas.com/ or www.wrinkledrecords.com.

ADAM GREEN / BINKI SHAPIRO

Adam Green and Binki Shapiro are two gifted artists with a bi-coastal friendship and a brand new project. What began as an acquaintance, with a mutual appreciation for each other’s music, soon turned serious when an idea was sparked to collaborate on an album of original duets. As old-fashioned romantics, the pair put their impressive songwriting talents to work in both New York City and Los Angeles, making frequent trips to compose together. The breaks between visits allowed time for their personal lives to throw some emotional curveballs, generously providing inspiration for the next writing sessions.

The result, Adam Green & Binki Shapiro (Rounder/Concord Records – January 29th, 2013), is deceptively pretty, filled with the echo of late-sixties folk-pop and an easygoing rapport between two captivating singers. These songs have twists and turns that reveal more with repeat listens, as their protagonists unfurl relationship tales with bittersweet recall. Visit www.adamandbinki.com to hear the track “Here I Am” from their upcoming album.

Just one listen to Adam Green & Binki Shapiro is enough to become enchanted. With deceptively pretty arrangements that echo filigreed late-sixties folk-pop and an easygoing rapport between singers, this duets collaboration may seem like the perfect accompaniment to a sunny summer’s day, Southern-California style. But it works even better as a comforting soundtrack at the end of a dark, lonely night in the big city. The atmosphere the pair conjures up with strummed guitars and discreet layers of synths indeed suggests romantic possibility, but the lyrics are more sweetly melancholic, gently but candidly addressing betrayal, incipient heartbreak, and conjugal discord. It’s an approach that makes for compelling repeated listening, as the intimate dramas reveal themselves, and it’s one that surprised even Green and Shapiro as their debut album together began to take shape.

On their own, Green and Shapiro have long been notable figures among indie-pop fans, cherished for their off-kilter sensibility (him) and elegantly quirky style (her). As part of New York City’s “anti-folk” scene at the end of the nineties, Adam Green first came to prominence as one-half of Moldy Peaches, his duo with Kimya Dawson that enjoyed belated mainstream success via the Grammy-winning soundtrack of the 2007 indie film Juno. By the time the world had discovered Moldy Peaches, however, Green had already embarked on a solo career as a singer-songwriter, visual artist and filmmaker, enjoying chart success in Europe with idiosyncratic tunes like “Jessica” (a straight-faced lament for Ms. Simpson) and “Emily.”

Shapiro was one-third of Little Joy, a, breezy Brazilian-accented Los Angeles trio formed with Fabrizio Moretti of the Strokes and Rodrigo Amarante of Brazilian combo Los Hermanos that enchanted both critics and listeners with its eponymous 2008 debut LP. Shapiro was already known among the cognoscenti through her video collaborations with Beck for his 2006 album The Information and on the lovely covers of Leonard Cohen songs Beck uploaded to his Record Club blog. Shapiro has also been spotlighted by fashion magazines for her charming retro-modern look as well as her vocal talent, and the Los Angeles Times recently named her one of “30 Under 30” artists to watch.

Green, who sang backup on Little Joy’s album, became better acquainted with Shapiro when he opened for the trio on a Brazilian tour. He knew then that he wanted to work with her, even though he had no concept of what form a collaboration might take: “I really, really liked Binki’s voice – it’s just amazing -- and she was the number-one person I wanted to collaborate with.”

Spotlighted on “Casanova,” Shapiro is alternately dreamy and torchy. She renders an acid-tinged love letter to a roué over a slow-dance tempo that will surely entice couples to sway extra-close together. In “Pity Love,” she and Green vocalize as affably as Nancy and Frank Sinatra on “Something Stupid,” while trading lyrics that are cheerily neurotic.

Though she is once again a Los Angeleno, Shapiro was living in New York when she and the Manhattan-based Green began to explore what they might create together. Their affinity was immediate. At Shapiro’s apartment, they would scribble lyric ideas on index cards and spread them out on the floor. As Green recalls, “We found we were able to agree on what was good and what was bad and we were good critics of each other’s sensibilities and taste. We were able to agree on how the songs should go.”

Shapiro concurs: “It was a very vulnerable thing, sitting there and showing someone your lyrics, your words and ideas and opening yourself up to being critiqued. But it turned out to be very natural and easy. We pulled out certain things from each other that wouldn’t have happened on our own.”

The experience proved to be even more cathartic than they’d imagined. They were each going through their individual romantic travails at the time and their songwriting became a channel for their real-life emotions. They didn’t so much decide simply to speak their minds but to read each other’s thoughts, intuitively finding words for what the other might be feeling. That brought freedom as well as empathy to their enterprise, allowing the material to be surprisingly heartfelt and honest, even when one was mouthing the other’s words.

“We were both going through transitional stuff, “Green admits, “romantic dysfunction type situations. There was something existential about it; two people who are singing together but who are very isolated. There is something kind of funny about me writing Binki’s breakup record and she writing mine. I would write something down and think,’this is the perfect thing for Binki to say’. And I felt like she would have the same thoughts about me.”

"It’s interesting when you write and think about somebody else singing the words,” Shapiro says. “You take all the vanity out of it. You say what you want to say. It created a freer space to write whatever we wanted.” Continues Green, “We’re both really romantic and we wanted to make this really romantic record, but it ends up being more reflective. I didn’t picture this before we made it and I can’t think of a reference point, another record that has this feeling.”

A duets album has perhaps never sounded quite so harmonious yet so bittersweet. Green and Shapiro come across as confidantes, kindred spirits, translating difficult personal circumstances into beautifully crafted tunes, from the layered angelic voices at the top of opening track “Here I Am” to the psychedelic-pop sound of “I Never Found Out” and the surf-guitar interlude of “What’s the Reward” to the elegant mournful closing waltz of “ The Nighttime Stopped Bleeding.” This intimacy can be explained by the writing process; the pair sequestered themselves whenever they got together, frequently flying between New York City and L.A to work on the songs. Once happy with their creations, Green and Shapiro cut tracks at a studio in Encino, California, along with musician-producer Noah Georgeson (Devendra Banhart, Joanna Newson, Little Joy), multi-instrumentalist Josiah Steinbrick, drummer Jason Boesel and Todd Dahlhoff.

-- Michael Hill (September 2012)

NEW RELEASES - BOBBY HUTCHERSON, DAWDA JOBARETH, MARCOS VALLE

BOBBY HUTCHERSON - SOMEWHERE IN THE NIGHT

A real charmer from Bobby Hutcherson – and a set that features his vibes in a quartet with great Hammond from Joey DeFrancesco! We haven't heard Hutcherson with organ in many years – and the pairing is a wonderful treat, and really takes us back to some of his Blue Note moments of the mid 60s – a period that Joey seems to reference strongly with some soaring Larry Young-like lines on the Hammond! The tracks are nice and long, and have a solidly modal approach to rhythm – and the group also features Peter Bernstein on guitar and Byron Landham on drums. Titles include a great take on Hutcherson's classic "Little B's Poem" – plus "Wise One", "SKJ", "Teddy", "Somewhere In The Night", and "Take The Coltrane". ~ Dusty Groove

DAWDA JOBARTEH - NORTHERN LIGHT GAMBIAN NIGHT

Lovely sounds on the kora from Dawda Jobarteh – a player with a touch that's light, and pretty rhythmic too – a wonderful complement to his work on percussion and vocals as well! The set's got a really crisp feel, yet still retains all the best rootsy elements of the music – kind of an update of a timeless quality, yet in ways that never make things sound commercial at all – just a testament to the undying power of the music of the mandingo! Titles include "Namo", "Tama Silo", "Bamba Bojang", "Yankouba", "Mbassi", "Tabara", "Nkankele", and "Sama Kebbalu". ~ Dusty Groove

MARCOS VALLE - MARCOS VALLE

Some of the most brilliantly baroque work ever recorded by Marcos Valle – an obscure 1970 album that collects together tunes from a few of his odd soundtrack experiments of the late 60s, plus a few others that are in a very similar vein! Marcos is really going over the top here – breaking way way out from his bossa roots, into a mode that has him pushing the envelope of Brazilian music to unheard of heights, with equal parts groove and sophistication, hardly ever matched by any other artist since! Things are funky one minute, groovy the next, and subtly sophisticated at other points – a completely captivating blend that's one of the best illustrations of Valle's genius we can think of. Titles include "Quarentao Simpatico", "Ele E Ela", "Dez Leis", "Freio Aerodinamico", "Os Grilos", "Suite Imaginaria", and "Esperando O Messias". (Heavy gatefold pressing – with notes, lyrics, and a great cover that's even better than the original!) ~ Dusty Groove

JAMES SAXSMO GATES - GATES WIDE OPEN

The passionate search for perfection describes James Saxsmo Gates and his career as a top Jazz Musician. From his experiences performing with Art Blakey, Larry Carlton, Jeff Lorber, Alex Bugnon, Cyrus Chestnut, Chris Botti, Billy Kilson, Terrance Blanchard and many others, comes a smooth, yet blazing style and presentation. Gates Wide Open is the third commercial release for Saxsmo as a solo artist and is the beginning of a new era for Saxsmo. The journey to Gates Wide Open has been heartfelt and emotional. Saxsmo lost both of his parents between his first and second CD's, they were his inspiration to strive for perfection and to continue making excellent music. A positive major event in his life was receiving his Masters of Jazz Studies at North Carolina Central University (Magna Cum Laude), where he worked closely with Branford Marsalis and Dr. Ira Wiggins. With that behind him he is determined to show the world that James Saxsmo Gates is Wide Open and moving on up, making intensely emotive music that will gratify, entertain, inspire and move his fans, and the general listening public.

To make this happen Saxsmo has called on the great trombonist Fred Wesley, sax man and Berklee Professor, Walter Beasley, smooth jazz guitarist and Berklee classmate, Freddie Fox and the 804 Jazz Allstars to help him take this CD to another level. The CD Gates Wide Open contains (14) fourteen exemplary selections, which are diverse in style, tempo, and timbre. One track, in particular, that deserves special mention is his outstanding and award winning arrangement of Chick Corea's "SPAIN", this was initially a graduate school project, similar to a thesis. However, it became much more when Saxsmo assembled an elite group of faculty members from NCCU and Virginia State University, professional musicians from Richmond, Virginia known as the 804 Jazz Allstars, the top graduate students from NCCU, and the great Fred Wesley to make this a phenomenal recording.

You should immediately realize after listening to this blazing track that he received an A+ for this arrangement and recording, which is destined to turn heads and win awards. Another song that stands out is the cover of Michael Jackson's "Unbreakable". produced and arranged by his former student and current Berklee College of Music standout, Brandon Lane. This track has as much magic as the original and is a sonic orgy of modern beats, outstanding guitar work by Freddie Fox and some serious Trombone performances by Brandon and his producer father Hannon D. Lane.

One of the smoothest songs on the CD is "This Day Belongs To Me", a Grover Washington styled smooth jazz classic, with a classic groove and impeccable phrasing along with pristine improvisation. Given the right opportunity this track is destined for a high position on the smooth jazz charts. The track "Detailed" features Berklee Professor and former classmate, Walter Beasley. This song delivers a stellar performance by two of the most talented Alto Sax men in the country. Playing hip riffs together and trading fours, this is a song that has smooth jazz radio buzzing. Last but not least, the only vocal selection on the CD "Have I Told You Lately That I Love You" features Carlton Blount (former Lead Singer for the Main Ingredient), his presence and soulful flow, along with the distinctive interpretation by Saxsmo makes this a soul jazz classic. The entire collection of songs on the CD Gates Wide Open should be considered a fine work of art. Diverse, complex, simple, intense and smooth, it's all there for the listener to enjoy from beginning to end. This CD - Gates Wide Open is just that, a vehicle to open the doors of world wide exposure and appreciation for one of the most talented sax players on the music scene. ~ CD Universe

NEW RELEASES - TRISH CLOWES, CHRISTOPH STIEFEL INNER LANGUAGE TRIO, DNA GROUP

TRISH CLOWES - AND IN THE NIGHT-TIME SHE IS THERE

Following the success of her 2010 debut 'Tangent', Trish Clowes further extends her depth and range with this majestic second album, its title derived from an Oscar Wilde poem. The subtle, mysterious music is performed by two different ensembles, including a nonet featuring a string quartet that features 'staggeringly virtuosic' violinist Thomas Gould. Clowes explores a fascinating hinterland between jazz and contemporary classical music, combining fluent improvisation with evocative melodic lines and shifting textures. Guests include pianist Gwilym Simcock and singer Kathleen Willison. Recording information: Curtis Schwartz Studio (12/14/2011-12/16/2011). Photographer: Curtis Schwartz . Arranger: Trish Clowes. Personnel: Trish Clowes (tenor saxophone); Chris Montague (electric guitar); Calum Gourlay (double bass); James Maddren (drums). Audio Mixer: Curtis Schwartz . ~ CD Universe

CHRISTOPH STIEFEL INNER LANGUAGE TRIO - LIVE!

Live! is the first UK album from top Swiss pianist Christoph Stiefel's Inner Language Trio. It is the first time Basho has released music from an all-European ensemble. Many of Stiefel's pieces use the compositional device of Isorhythms, a concept dating from the middle ages but which leads to a very contemporary sound. 'Live!' captures the trio liberated from the restrictions of the studio in Saalfelden, Amburg and Munchen. The album summarises and builds on eight years of work and finds the musicians reaching remarkable levels of empathy and interaction. Liner Note Author: Dan Paton. Recording information: Amberg (04/14/2011); Jazzclub Unterfahrt, Munich (04/14/2011); München (04/14/2011); Saalfelden (04/14/2011); Amberg (04/2011); Jazzclub Unterfahrt, Munich (04/2011); München (04/2011); Saalfelden (04/2011). Personnel: Christoph Stiefel (piano); Lionel Friedli (drums). Audio Mixer: Curtis Schwartz . ~ CD Universe

DNA GROUP - DNA GROUP PERFORMS  RED HOT CHILI PEPPERS

DNA Group are a band of German jazz musicians who are specialized on covering famous artists. On their debut album they've picked the best songs of the Red Hot Chilli Peppers and interpreted them in their totally unique jazz-fusion style. This album will be a big surprise for all fans of modern jazz and for open minded Red Hot Chili Peppers-Fans as well. Contains some of the biggest hits like "Under The Bridge", "Can't Stop" and "Hump De Dump". Tributee: Red Hot Chili Peppers. Personnel: Johannes Uhlmann (guitar); David Milzow (flute, saxophone); Robert Jöcks (drums). Audio Mixer: Danya Vodovoz. Recording information: Musikzentrum Hannover (06/14/2012-06/16/2012). ~ CD Universe

FREDDIE KING - THE COMPLETE KING/FEDERAL SINGLES

Rolling Stone ranked him the #15 greatest guitarist of all time. His sharp treble tone, hooky melodic licks and innovative fingerpicking style—using metal banjo picks on electric guitar—were a profound influence on such British guitar gods as Eric Clapton, Jeff Beck, Peter Green and Mick Taylor. And his live performances were so incendiary, so unstoppable—and his build so imposing—that he was nicknamed “The Texas Cannonball.” Yet to date, no collection has focused on the original single sides Freddy King cut for the King and Federal labels in the ‘60s, the blistering tracks that made his reputation and continue to be the centerpiece of his recorded legacy. Now, Real Gone Music has rounded up all 54 of those original single sides and carefully packed them on to two CDs for about 155 minutes of pure blues guitar heat, featuring such hits as “Hideaway,” “Lonesome Whistle Blues,” “San-Ho-Zay!” and “I’m Tore Down.” Notes by Freddie King expert Bill Dahl, photos and pristine mastering by Jurgen Crasser complete as concentrated a dose of blues guitar greatness as you will ever find. Release date: February 26, 2013.

Freddie King - The Complete King/Federal Singles Tracks:
CD One
1. You’ve Got to Love Her with a Feeling
2. Have You Ever Loved a Woman
3. Hideaway
4. I Love the Woman
5. Lonesome Whistle Blues
6. It’s Too Bad Things Are Going So Tough
7. San-Ho-Zay!
8. See See Baby
9. I’m Tore Down
10. Sen-Sa-Shun
11. Christmas Tears
12. I Hear Jingle Bells
13. If You Believe (in What You Do)
14. Heads Up
15. Takin’ Care of Business
16. The Stumble
17. Side Tracked
18. Sittin’ on the Boat Dock
19. Do the President Twist
20. What About Love
21. Texas Oil
22. Come On
23. Just Pickin’
24. (Let Your Love) Watch over Me
25. You Can’t Hide
26. In the Open
27. I’m on My Way to Atlanta

CD Two
1. It’s Easy, Child
2. The Bossa Nova Watusi Twist
3. Look, Ma, I’m Cryin’
4. (I’d Love to) Make Love to You
5. One Hundred Years
6. (The Welfare) Turns Its Back on You
7. You’re Barkin’ Up the Wrong Tree
8. Surf Monkey
9. Monkey Donkey
10. Meet Me at the Station
11. King-A-Ling
12. Driving Sideways
13. Someday, After Awhile (You’ll Be Sorry)
14. She Put the Whammy on Me
15. High Rise
16. Now I’ve Got a Woman
17. Onion Rings
18. Some Other Day, Some Other Time
19. Manhole
20. If You Have It
21. I Love You More Everyday
22. Full Time Love
23. She’s The One
24. Use What You’ve Got
25. Double Eyed Whammy
26. You’ve Got Me Licked
27. Girl from Kookamunga

NEW RELEASES - SAM DEES, GABE EVANS, LELAND SCOTT DAVIS

SAM DEES - THE SHOW MUST GO ON

Real Gone Music has slated a January 29 release for Sam Dees - The Show Must Gon On. If you're a soul fan, then you'll love this one. Sam Dees penned hits for Whitney Houston, Aretha Franklin, George Benson and Gladys Knight among many others, but on his own he recorded what a consensus of soul collectors regard as one of the best LPs of the '70s, The Show Must Go On, to which Real Gone Music have appended no less than six bonus single sides! This has never been out as a stand-alone CD; highly, highly recommended!


GABE EVANS - THE COSMIC RIGHTEOUSNESS OF ROARING TIGERS

The Cosmic Righteousness of Roaring Tigers is an album of original funk music performed by a jazz sextet. The tunes are melodic, grooving and sometimes humorous, and feature creative arrangements that allow plenty of space to showcase the soloists Gabe Evens (composer) on piano, Greg Lyons on tenor sax, Patrick Terbrack on alto sax, Marques Young on trombone. The joy shared while recording this music is paralleled by the crazy groove laid down by the incredible Christy Smith on bass and Erik Hargrove on drums. This music is guaranteed to get your body moving, and if you listen carefully you may hear the roar of a tiger! ~ CD Universe

LELAND SCOTT DAVIS - DRUMMER'S HOUSE

Lelando Scott aka Leland Scott Davis has performed with a diverse array of artist including NYC guitarist Elliot Sharp, Joe Lovano, LaDonna Smith, Joe Maneri, and recorded with tenor saxophonist Ernie Krivda on the Cadence Jazz Records Label and mentioned in JazzTimes magazine. Lelando Scott Ddavis was resident avant/free jazz composer, drummer, bandleader at Speak In Tongues in Cleveland, Ohio throughout the 1990's sharing the stage with many jazz greats such as William Parker, Hamid Drake and Gerry Hemingway to name a few. Lelando has also produced a unique solo percussion CD titled Rhythm Paintings, playing all of the percussive layers creating soulful music you can dance to. Lelando collaborated with Chris Strollo in the expressive free jazz duo Siamese Twins throughout the 1990's. ~ CD Universe

DREW DAVIDSON - TRUE DREW

A slick, cosmopolitan showcase of a dozen contemporary jazz instrumentals, cool-toned guitarist Drew Davidsen elevates his technical prowess and creative muse while contemplatively chronicling his journey through life on True Drew, his fifth album that will be released March 5th on Oznot Records. In addition to his impassioned, fanciful fretwork on electric, acoustic and nylon-stringed guitars, Davidsen wrote or co-wrote seven original tunes for the disc that he produced with Eric Copeland, Preston Glass and Norman Connors. Setting the stage at radio is “Hi5,” which adeptly bridges the sensibilities of a hip L.A. rooftop hang and sultry songo rhythms.

The material that makes up True Drew mirrors the mission of the man. Beginning with the infectious “My Guitar” that is ignited by a spirit-raising guitar and celestial vocal hook, Davidsen ventures onto “95 South” in search of an energetic exploration, brazenly allowing the music – jazz, R&B, blues and adult pop - to be his guide. Riffing adventurously throughout, he gives a “Hi5” to his traveling companions on the album, an accomplished lot that boasts Bobby Lyle, Eric Marienthal, Bob Baldwin, Gerald Veasley, and the Temptations’ Ron Tyson. When life forces him to take risks (“Double or Nothin’”), he pauses for reflection (“All Night and Forever” and a brooding, New Age-y take on the classic hymnal “All Creatures”) before arriving at the “Sweet Spot” where he encounters love (“I’m Into You,” “I Can’t Help It” and “Give Me Your Heart”). A man of faith who devotes his time and a portion of the proceeds from all music sales to charitable endeavors such as Ghanaian Mother’s Hope (www.GMHope.org), Davidsen ultimately remains true to the path to “Do Right” and “Change The World.” In fact, he’s currently encouraging people to make healthier choices in the New Year via The 30-Day Wellness Challenge.

"When one of my New York City fans dubbed me ‘Six String King,' it had a serious impact. I looked around and realized I really do see my life through my guitar. This album reflects that journey. Stringing together my passion for the guitar, excellence and innovation while combining ingredients and flavors from New York City, Los Angeles and Nashville, I was blessed to work with marvelously talented musicians, producers and engineers that helped bring True Drew to life,” said Davidsen, who was named one of the 10 Hottest New Guitarists by Guitar Player magazine.

Davidsen’s radio-friendly recordings have consistently generated abundant airplay and enjoyed lengthy stays in the Top 10 on the Billboard and SiriusXM charts, the latter on which he went #1 in 2011 for the “Spin Cycle” album. Born, raised and still residing in Towson, MD, he was a classically trained cellist who studied at Baltimore’s Peabody Institute. Davidsen served in Iraq in Operation Desert Storm with the U.S. Navy and returned to share his fervor for music education at a hometown preschool while he spent his evenings performing in a local contemporary jazz quartet for a dozen years. Since releasing his debut album, “The Journey,” in 2008, he has been warmly embraced by fans of his records and live shows. Davidsen won the Momentum Award in 2008 as Jazz Artist of the Year and has been nominated as Best New Artist by both the American Smooth Jazz Awards and the Oasis Smooth Jazz Awards. True Drew depicts a driven artist equipped with the skills, sound and songs to propel him closer to the guitar greats that influence him the most: Pat Metheny, George Benson, Earl Klugh, Larry Carlton and Robben Ford. More information is available at www.drewdavidsen.com and www.drewdavidsen.com/epk.

Davidsen’s True Drew contains the following songs:
“My Guitar”
“95 South”
“Hi5”
“Double or Nothin’”
“All Night and Forever”
“Sweet Spot”
“I’m Into You”
“Do Right”
“I Can’t Help It”
“Change the World”
“All Creatures”
“Give Me Your Heart”

Release date: March 5, 2013.

OLIVER MTUKUDZI TO APPEAR AT CULTURE PROJECT

Zimbabwean Oliver Mtukudzi is a truly great guitarist, vocalist, performer and composer. He must be one of the few people to have a beat named after him:’tuku’!
Zimbabwe’s pride, most successful artist and national treasure, Oliver Mtukudzi is gifted with a deep and gusty voice plus a talent for writing songs that reflect on the daily life and struggles of his people. ‘Tuku’ as he is known, began performing in 1977 and has earned a devoted following across Africa and beyond, all the while incorporating elements of different musical traditions. A member of Zimbabwe’s Kore Kore tribe, he sings in the nation’s dominant Shona language as well as Ndebele and English.

Tuku’s music is heavily influenced by a humanist chimurenga ethos, which, in turn, is inspired by the hypnotic rhythms of the mbira (thumb piano). His music also incorporates South Africa mbaqanga, the energetic Zimbabwean pop style jit, and the traditional kateke drumming of his clan. One of Tuku’s biggest fans is Bonnie Raitt, who has not only called Tuku “a treasure,” and recorded a cover of “Hear me Lord” but also credits Tuku as the inspiration for the song “One Belief Away” on her album Fundamental.

Tuku (along with Angelique Kidjo, Hugh Masekela and Ladysmith Black Mambazo) is one of the most successful African recordings artists in North America, having sold hundreds of thousand of records on Putumayo, Heads Up/Telarc and Sheer Sound. Tuku is an alumni of Acoustic Africa II (2011 edition) and a UNICEF Goodwill Ambassador for Eastern and Southern Africa, focusing on Young People’s Development and HIV and AIDS Prevention.

Culture Project
45 Bleecker St
New York, NY, 10012
Monday, January 14
Doors 10:00PM / Show 10:30PM

MOYA AND TWISTED SOULZ TO DEBUT AT LE POISSON ROUGE

Moya and Twisted Soulz, the debut of a new and eclectic band, will take place Monday, January 28th with doors opening at 6:30pm. Opening performance by Daniel Watts at 7:00pm and main event at 7:30pm. Debut Performance to take place at Le Poisson Rouge, 158 Bleecker Street Street. Tickets are general admission: $18 (plus fees) in advance $20 at the door. A 2 item minimum is required for table seating. Please visit lepoissonrouge.com to purchase tickets.

After gracing the Broadway stage, Moya Angela is stepping out to premiere her band "Moya and Twisted Soulz". Their eclectic sound is a mix of country, pop, rock with a touch of soul. Musically, Moya is influenced by the power and intensity of Celine Dion, the soul and connection of Adele, and the energy and dynamics of Kelly Clarkson. The group features musical director Steven Jamail and his team of talented musicians Colin Dean (Bass), Micah Burgess (Guitar) and Tenika Prawl (Drums), as well background vocalists Nicole Weiss, Jessica Luster, and Corey Johnson. By blending classic R&B, Pop and soul, you'll never want to stop listening to this explosive and addicting new group.

“N+N Productions is thrilled to team up with such a talented and diverse team to bring the sounds of Moya Angela and Twisted Soulz to the world. As a producing team we are passionately determined and inspired to support and develop new talent to make their own art off the Broadway stage.” said Nikole Vallins and Natalie Malotke, Producers. Music Director, Steven Jamail claims “While she's melting your face and breaking your heart you may find yourself asking if this isn't the impossible lovechild of Jessye Norman and Kelly Clarkson.”

Moya recently made her Broadway debut in The Lion King and just finished playing Clara in Ghost the Musical on Broadway. National tours: Dreamgirls (Effie White) and The Lion King Gazelle and Cheetah companies (u/s Rafiki, Shenzi). TV: “30 Rock” (Portia). She is also an NAACP Theater award winner. Moya Angela is an amazing vocalist whose voice resonates power, love, and true understanding of the artistry of music.

GINGER BAKER - NO MATERIAL

Issued under Ginger Baker's name, the working title for this band was No Material, appropriate given the thrown-together nature of the group and the fact that their performances, all three of them, were totally improvised. They lasted less than a week, so this album is likely all that will ever be heard from this particular combination of players, but listeners can be glad to have it. Guitarist Nicky Skopelitis was the creative force and musical center of the band, forming the hub between the essentially rock-oriented leanings of Baker and bassist Jan Kazda and the explosively free tendencies of the Last Exit front line of Brotzmann and Sharrock. The rhythm team keeps the four lengthy pieces in a grooving zone, not dissimilar to Baker's own '80s recordings like Horses and Trees, albeit with high-energy soloing. The Skopelitis/Sharrock pairing is especially juicy, the former's melodicism contrasting wonderfully with the latter's "shards of glass" approach. Baker's heavy drum sound, largely unchanged since his days with Cream, fits in very well here; whereas it could occasionally seem plodding in a rock context, it serves as a deeply pitched anchor in a mostly free improv one. Compositional credit is given for each piece, though it appears that no more than a brief introductory line was sketched out; then the band was on there own. All of the pieces have a kind of bluesy jam feeling, with Skopelitis' "Oil of Tongue" coming closest to a rock sound and, not surprisingly, Brotzmann's closing number pushing the boundaries the furthest. The saxophone colossus from Wuppertal, Germany, is in stellar form throughout, negotiating the unusually (for him) rock-ish territory with aplomb and ferocity, with respect but absolutely no compromise; his fans would expect no less. A perfect album for listeners a bit overwhelmed by Last Exit, as well as those who found Baker's or Skopelitis' records well intentioned but a little on the timid side. Recommended. ~ Brian Olewnick /Sonny Sharrock/Peter Brontzmann. Recorded live in Switzerland on March 28, 1987. Personnel includes: Ginger Baker (drums); Peter Brontzmann (bass saxophone); Sonny Sharrock; Nicky Skopelitis (guitars). ~ CD Universe

GOLD SPARKLE BAND - DOWNSIZING

Heavily influenced by free jazz explorers like Ornette Coleman, Albert Ayler, and Archie Shepp (among others), Gold Sparkle Band (GSB for short) is an acoustic avant-garde jazz quartet that has been active since 1994. In fact, GSB has often favored the same piano-less alto sax/trumpet/bass/drums format as Coleman's trailblazing quartet of the late '50s and early '60s (the group that boasted Don Cherry on trumpet, Charlie Haden on acoustic bass, and Billy Higgins or Ed Blackwell on drums). GSB was formed in Atlanta, GA, in 1994, when trumpeter Roger Ruzow joined forces with alto saxman/clarinetist Charles Waters and drummer Andrew Barker (who has been greatly influenced by Blackwell's playing).

Over the years, GSB has had different people on acoustic bass; in 1997, Chris Riggenbach was on bass, and in the early 2000s, GSB's bassist was Adam Roberts. When GSB's original lineup first got together in 1994, Waters and Ruzow were hardly strangers; they had been roommates, and in their pre-Atlanta days, they had known each other from the music department at Appalachian State University in North Carolina. In the '90s, most of GSB's albums came out on the band's own label, Nu Records, including GSB's debut albums, Downsizing and 23 (which came out in 1998). In 1997, GSB's members recorded an album titled Hallelujah! for the Third Eye label. However, that album was not credited to GSB; it was released under the name Nuzion Big Band and spotlights an expanded GSB lineup. In 1999, GSB started recording for Squealer Music, a small label based in Virginia. Squealer released GSB's 1999 session Nu*Soul Zodiac in 2000, and in 2002, Squealer put out Fugues and Flowers (a collection of live performances from GSB's 2000 tour).

KAY OLAJIDE - AFRICAN FOOTPRINTS

Kay Olajide aka Kay, is a composer/ arranger/ producer and multi-instrumentalist who from the on-set established a unique and fresh fusion of authentic Afro-centric rhythms with western forms, majorly contemporary jazz. The result is a powerful, lyrical sound showcasing African poly-rhythms, groove and beautiful, catchy melodies.

This new eleven-track CD African Footprints is a well planned, well executed album and is obviously steps above his previous projects, featuring Kay on saxophones, flute, percussions, drums and vocals. African Footprints is a must have album showcasing solid grooves and upfront memorable melodies. The title track "African Footprints" is a classic, groove infused, personalized interpretation of Wayne Shorter's "footprints" delivered with a smooth jazz flavor exemplifying his creativity. The album also features a solid groove Afro-beat track "Half A Word" with beautiful horn reefs arrangement. A couple of smooth jazz tracks like "Higher Ground", "Other Side Of Maria", "Athena Drive Memo" and "Showers Of Love" are also featured.

This album was produced and arranged by Kay and the smoothness of the project reflects a new phase in his musical perceptions tilting more than before on the side of contemporary beats and vocal choruses in addition to his unique saxophone style. The album also feature him on trap drums.

Apart from his afro-centric music roots Kay had been influenced by the likes of Sonny Rollins, John Coltrane, Hubert Laws, Grover Washington jnr, Yusef Lateef and Charlie Parker. His strongest impulse for composition would however come from the tonal characteristics and rhythms of hand drums/percussions, eastern melodic progressions and the celestial-like sound of an acoustic piano.

In the past, he played with leading bands in Nigeria (West Africa) from 1985 to 1992 and toured Europe until he founded The Weavers band in 1993. The band was well known for its originality, focus, and quality.

In 1998, his debut album Once Upon A Time was released on Jazzhole record label to a welcoming audience. The album was widely reviewed and critically acclaimed by Nigerian and African press. BBC Network Africa Service accorded the album lots of airplay and personal interviews in recognition of creative accomplishments.

IBA his second album further establish his creativity. The music draws largely from his Afro-centric background seamlessly blended with western jazz forms. Kay's music pioneered and set the pace for what can be called 'Nigerian Jazz' being the most prominent act in its genre. "IBA is a classic album reinvigorating jazz with its African perspective, virtuoso playing, and some great compositions"...(Straight No Chaser , UK 2001). Kay performed with his band within and outside Africa including festivals in Normandy, France and Amman Jordan.

Kay's music would seem to have provided a matching West African flavor to jazz as he believes "The beauty of a people is rooted in their striving to fully utilize cultural elements within their sub-region as basis for expression, especially in art forms".

NEW RELEASES - LUCA MANNUTZA SOUND SIX, STEVE GRISMORE TRIO, MANHATTAN VIBES

LUCA MANNUTZA SOUND SIX - MY MUSIC

Maybe the greatest album so far from this ultra-hip group – a sweet Italian combo with a strong ear for the best side of jazz in the 60s! The album's a cracker right from the start – full of life and soul, and delivered with the sort of depth we'd usually just expect from a vintage album – yet all in ways that are hardly a copycat of older Blue Note or Prestige – and really still a very fresh statement from this crack ensemble of Italian players! Pianist Luca Mannutza heads up the group – but it's definitely an equally-weighted outfit – with incredible horn work from Max Ionata on tenor, Paolo Recchia on alto, and Francesco Lento on trumpet and flugelhorn. Titles are almost all originals by Mannutza – who's a hell of a writer – and tunes include "Evan's Even", "Libero", "Nel Mare", "Shades Of Gira", "Cosi Com Sei", and "Two Friends". ~ Dusty Groove

STEVE GRISMORE TRIO - BESAME MUCHO!

Steve Grismore writes: "For the last couple of years I have been commuting from my home in Iowa City to a little jazz club called the "Continental" in Des Moines. While playing these trio gigs I have the honor of sharing the stage with an extraordinary jazz organist by the name of Sam Salamone. It is by far one of my favorite gigs, and I was compelled to document this music before the idea of gigging with a Hammond B3 and Leslie in the back of a van goes away. i strongly feel the tradition of the jazz organ trio should remain as part of the jazz mainstream. "We are influenced by all the great musicians of the organ trio tradition--organists like Jimmy Smith, Mel Rhyne, Don Patterson, and Larry Young; guitarists like Wes Montgomery, Grant Green, Kenny Burrell, and George Benson; and drummers like Elvin Jones, Grady Tate, Don Bailey, and Idris Muhammed. For this session we did a combination of tunes from some of these artists as well as our own interpretations of a couple of jazz standards. Over the years I have played with several different drummers on this gig, but for this particular recording it was my pleasure to include a fabulous young drummer who currently lives in Des Moines and teaches at Drake and Grinnell College, John Kizilarmut. Sam, of course, is a legend throughout the Midwest and is a true torchbearer of the jazz organ tradition. Playing with Sam and John is a real treat. I hope you enjoy the music." ~ CD Universe

MANHATTAN VIBES - BLUE NOVEMBER

Musicians will often describe themselves as being on a journey -starting from their days as young and eager students and continuingwhile they mature into professionals. My particular journey iseloquently portrayed in the cover of this recording which conjures theechoing walls of a warehouse in Kozani, Greece. From there, thevibraphone was the vehicle that brought me to Manhattan, a place whereI could learn and be inspired by some if the world's finest musicians. That inspiration would ultimately give birth to the Manhattan Vibes concept: a jazz quartet led by the vibraphone. As this concept evolved, Sergio, Mike, and Vince were simultaneously on their ownunique journeys, the paths of which converged with mine in the summerof 2008. Our diverse backgrounds allowed us to interpret the materialon this recording in a way that I believe transcends traditionalmusical boundaries creating a sound of its own. At the same time, ourgoal is to preserve our collective heritage in contemporary Americangrooves, odd-meter rhythmic progressions, and world music. The truth is that there is no final destination on the musician's journey and Iam very pleased to offer this account of four kindred spirits who havechosen to travel together. Thanks for listening! ~ Christos Rafalides

SONY CLASSICAL ANNOUNCES RE-LAUNCH OF OKeh LABEL AS PRIMARY JAZZ IMPRINT

Label to Put Focus on New and Established Artists  Embodying "Global Expressions in Jazz"

Upcoming Releases by Bill Frisell, David Sanborn & Bob James, John Medeski, and Dhafer Youssef, Among Others

Sony Classical has announce d the re-launch of the historic OKeh label. With the objective of documenting "Global Expressions in Jazz," OKeh will focus on releasing jazz by new and established artists that have a wide range of global backgrounds. Initial releases during the first half of 2013 include projects by Bill Frisell, David Sanborn & Bob James, and John Medeski, as well as an additional five to seven projects slated for release later in the year. In the United States, OKeh will be part of Sony Masterworks, Sony Classical's U.S. branch.

"What I want to achieve with OKeh is to build a home for jazz and jazz related music of the highest quality, no matter what its origins are," states Wulf Müller, the 29-year industry veteran who recently joined Sony Classical as an exclusive jazz A&R and Marketing consultant. Mr. Müller conceived the label's re-launch. "'Global Expressions in Jazz' will mean improvised music from all over the world, being used as a global language to communicate between lovers of music. We hope to create a label that will define the present and future of the music we call Jazz."

The announcement comes just months after the appointment of Chuck Mitchell as the Senior Vice President for Sony Masterworks. Mitchell previously served as Worldwide President of the legendary Verve label and more recently as a Vice President at eOne Music. "The re-activation of OKeh comes at a particularly auspicious moment in the international evolution of creative music," says Mr. Mitchell. "Wulf's knowledge of and commitment to jazz in all its facets and forms makes him the ideal individual to lead the next chapter in the development of this historically important imprint."

"With Wulf Müller and Chuck Mitchell as the ideal partners, I'm thrilled that we are breathing new life into one of the coolest brands in recorded music history," states Bogdan Roscic, President of Sony Classical. "We feel there is currently an incredible wealth of exciting music out there that will find a new home and thrive on OKeh. And Sony Classical is the ideal platform for it - with specialized teams around the world whose attention and expertise will benefit all OKeh artists and their releases."

Founded in 1918, OKeh initially became well known for recording artists in the classic jazz and blues traditions, including Louis Armstrong, Duke Ellington, King Oliver, and Sidney Bechet.

Müller reflects, "OKeh's tradition as a label for great improvised music of its time, its connection to some of the most influential artists in the genres of jazz and blues, made it the perfect label for us to use, as its history already stands for what we are aiming for: quality in all aspects of the recordings and giving todays artists a platform to express themselves, while at the same time opening doors to the future."

Upcoming OKeh Album Releases:
April 9: John Medeski - A Different Time
May (TBA): David Sanborn & Bob James - Title TBA
TBA: Bill Frisell Big Sur Quintet - Title TBA

Sony Masterworks comprises the Masterworks, Masterworks Broadway, OKeh, Portrait, RCA Red Seal and Sony Classical imprints. For email updates and information,

www.SonyMasterworks.com.

ROBERT RANDOLPH PRESENTS THE DEBUT ALBUM FROM THE SLIDE BROTHERS

The Slide Brothers, standard bearers of the sacred steel tradition, will release their first studio album on February 19, 2013 on Concord Records (international release dates may vary). The album, simply titled Robert Randolph Presents: The Slide Brothers, was catalyzed by Robert Randolph, who has revitalized the sacred steel tradition in the modern era, carrying the style born in The House of God Church more than 80 years ago to mainstream secular success before concert and festival audiences around the world.

The Slide Brothers’ album includes 11 tracks and features some of the most dynamic electric slide guitar playing ever recorded. Inspired by Randolph to finally emerge beyond their respected positions within the sacred steel community, the Slide Brothers tackle rock, funk and even the deepest blues with a ferocity that will startle fans of Duane Allman, Derek Trucks and even Muddy Waters.

The Slide Brothers are Calvin Cooke, Chuck Campbell, Darick Campbell and Aubrey Ghent, each of whom was raised worshiping and performing in The Church of the Living God. They were an ad hoc family, traveling and learning from the other dominions in their communities in cities from Nashville to Chicago to Newark. Calvin Cooke was born into a musical family in Cleveland, Ohio in 1944 and would go on to become known among the ranks of Nashville’s premier country steel guitarists as “the B.B. King of gospel steel guitar.” Cooke is hailed today as the most influential living pedal steel guitar master within the Sacred Steel tradition.

The album opens with a searing interpretation of the Allman Bros classic “Don’t Keep Me Wonderin’”. The twin guitar attack by Chuck and Darick Campbell immediately serves notice to the remarkable musicianship honed by years of playing in church and at sacred steel conventions. “Growing up in church, traditional blues music always came off to us as a little bit sloppy,” explains Chuck Campbell. “It was not as precise as Sacred Steel where it is always about mimicking the voices heard in the church. We wanted to play these songs with the same conviction we have in church—playing the steel so that you can almost hear the words as if they were sung by a voice.”

Two songs from the album celebrate the music of Elmore James, the Chicago blues legend who made his mark as a master of the slide guitar technique that would later influence greats like Jimi Hendrix, Eric Clapton and, of course Robert Randolph. Randolph also counts The Slide Brothers as a major influence and an inspiration. “I was born with these guys,” explains Randolph. “I look to them the same way I look to blues greats like Muddy Waters and Robert Johnson. Aubrey Ghent and Henry Nelson, Aubrey’s dad, and The Campbell Brothers; they all shaped this Sacred Steel tradition inside the churches but they weren’t allowed to leave the church until now.”

Likewise, Aubrey Ghent has also become a celebrated steel guitarist, preserving the sacred steel tradition and bringing it to a wider audience. Ghent’s unique skills became apparent at a very early age and local churches began inviting him to perform at services starting when he was only nine years old. At twenty he answered God’s call and became known as the “Preaching Deacon,” evangelizing through both word and music. Unlike Robert Randolph and the Family Band who have crossed over by doing more secular music, Ghent has stayed closer to the gospel roots of the tradition.

Chuck Campbell began playing the lap steel guitar at the age of twelve and is renowned for his innovative approach to the instrument, both technically and musically. His brother Darick Campbell first made his mark in music as a drummer, and he was the premier drummer of the General Assembly, the National Convocation of the House Of God Church in Nashville, Tennessee. His choice of the Lap Steel is a direct reflection of the influences that he has blended in becoming the most emotional player of The Campbell Brothers musical tour de force.

Robert Randolph set the music world on fire in 2000 when he began playing his first club dates in New York City before audiences who had, for the most part, never before had any intersection with the sacred steel phenomenon. Randolph started playing the instrument as a church-going teenager in Orange, New Jersey. He was raised in the House of God Church, an African-American Pentecostal denomination that had been implementing steel guitars in services since the ’30s. Randolph’s own group, the Family Band, includes cousins Danyel Morgan, Marcus Randolph and John Ginty. Robert Randolph and the Family Band’s Live at the Wetlands, released in the fall of 2001, vividly captured the band’s live performance and set the stage for Unclassified, the studio debut that followed in 2003, introducing Randolph to an even wider audience.

One new fan was veteran guitarist Eric Clapton, who brought the band out on tour and appeared on Robert Randolph’s third release, Colorblind, in 2006. In 2010, Randolph teamed-up with producer T-Bone Burnett and released the album We Walk This Road, which featured guest appearances from Ben Harper, Leon Russell and Doyle Bramhall II. More recently, he unveiled Robert Randolph and the Family Band’s Live in Concert, a long-awaited follow-up for the fans of his acclaimed Live in the Wetlands recording. Today, Robert Randolph finds himself back in the studio and returning to his roots. “By co-producing and presenting the new album from The Slide Brothers, I’m hoping that the story can finally be told,” he explains. “For eighty years this music has been hidden inside the churches and these older guys were not allowed to play anything else. Now we’re all hanging out with The Allman Brothers, Buddy Guy and B.B. King and can use gospel and mainstream music to tell our story.”

The Slide Brothers shift easily between genres, incorporating both traditional gospel repertoire as well as and secular material. To underscore the album’s diversity, a stirring instrumental version of the spiritual classic “Wade in the Water,” is followed by a vibrant and bluesy cover of Fatboy Slim’s 1999 trip hop hit “Praise You” (featuring vocals by blues queen Shemekia Copeland and backing by Robert Randolph & the Family Band). Jimmy Carter of the famed Blind Boys Of Alabama joins Aubrey Ghent to provide lead vocals for “My Sweet Lord.” “It has long been a vision of all of ours to be able to this,” says Chuck Campbell. “Robert was able to pull together the top steel players from different generations. It is truly an honor to be a part of album that brings together so many wonderful people such as [Jimi Hendrix bassist] Billy Cox, Shemekia Copeland, and the Blind Boys Of Alabama. Instead of us meeting at a church convention we were able to get everyone together in a recording studios to play secular songs and religious songs with the same conviction. We feel blessed that we have finally been able to do this.”

The story of The Slide Brothers will finally be told on February 19, when their debut album, 80-years in the making, will be released.

Track Listing for Robert Randolph Presents: The Slide Brothers:
1. Don’t Keep Me Wondering
2. My Sweet Lord
3. Sunday School Blues
4. Wade In The Water
5. Praise You (feat. Shemekia Copeland)
6. It Hurts Me Too
7. Catch That Train
8. Motherless Children
9. Help Me Make It Through
10. The Sky Is Crying
11. No Cheap Seats In Heaven

LESTER CHAMBERS OF THE CHAMBER BROTHERS GOES FROM HOMELESS TO HERO AGAIN...

...Thanks to Reddit, Kickstarter & Some Sweet Relief

With the Help of Sweet Relief, 60's music icon Lester Chambers of The Chambers Brothers has overcome cancer, homelessness and is recording new music that is garnering national interest. Features spots of Mr. Chambers on CNN, NBC, YouTube and internet media news site, Reddit spurs huge support.

Lester Chambers is now 72 years old. He has been performing professionally for 60 years. The highlight of his career was from 1965 to the early 70's when he was a member of The Chambers Brothers. The band charted hit records, performed on The Ed Sullivan Show and played stages around the world in front of thousands of fans.

In 2010, after surviving cancer on three separate occasions, Lester Chambers found himself homeless. Dwindling royalties and illness had caught up with the career musician. To make matters worse, he was losing his sight due to cataracts.

The first rays of hope came in the form of concerned family, a national musician's charity and a benevolent artist and friend. Rob Max, Executive Director of Sweet Relief Musicians Fund was contacted by a member of the Chambers family and passed along a number where Mr. Chambers could be contacted.

"Our first goal when speaking to Lester was to determine his medical urgency" said Max. "Besides his deteriorating vision, Lester was dealing with numerous medical issues that medicare was not covering adequately. In addition, he was sleeping on an air mattress in a house under construction with no roof."

Lester Chambers also shared with Sweet Relief a list of music friends he had acquired over the years. That list contained one particular name that became a life saving angel, Yoko Ono Lennon. "I had a wonderful friendship with John & Yoko many years ago, they were such sweet and wonderful people" said Chambers. "I hoped that some of the names I shared with Mr. Max might let music fans know about my situation. I never dreamed so much generosity would come from one person." Donations from Yoko Ono to Sweet Relief Musicians Fund exceeded $20,000 and were used to pay for medical treatment, prescriptions and housing for Mr. Chambers.

Fast forward to summer 2012. A second angel enter the life of Lester Chambers. Alexis Ohanian, Co-Founder of Reddit, had seen recent news of Lester Chambers' struggles and ongoing challenges to identify and receive recording royalties dating back decades. Ohanian and his charitable endeavor, BreadPig devised a project on Kickstarter that would allow Lester to record new music and raise the funds to do so. The Lester Chambers Kickstarter project, Time Has Come, was budgeted at $39,000. To date over $60,000 has been pledged.

Lester Chambers name is now, once again, part of the music and social media consciousness, thanks to television and internet coverage by major media powerhouses like CNN and NBC. Offers for live music events, speaking engagements, and music cameos with some current major artists have inundated Mr. Chambers in the past 30 days. "This is a dream come true again" said Chambers. "If I can make my music, pay my way and help some others who may find themselves where I was just two years ago, then life is just perfect"

Today marks the last day that individuals may participate in Lester's Kickstarter project. Interested music fans can access the project here

JAZZ LEGENDS HERBIE HANCOCK AND WAYNE SHORTER NAMED DISTINGUISHED PROFESSORS BY THE THELONIOUS MONK INSTITUTE OF JAZZ

Herbie Hancock

The Thelonious Monk Institute of Jazz has appointed multiple GRAMMY Award winners and NEA Jazz Masters Herbie Hancock and Wayne Shorter as distinguished professors at the Thelonious Monk Institute of Jazz Performance at the UCLA Herb Alpert School of Music. This marks the first time these two artists have made such a major commitment to an educational institution, and the current class of students is the first to learn from them on a regular basis.

The Thelonious Monk Institute of Jazz Performance is a two-year, graduate level college program that accepts one ensemble of musicians for each class. All of the students, known as Thelonious Monk Fellows, receive full scholarships as well as stipends to cover their monthly living expenses. The students study individually and as a small group, receiving personal mentoring, ensemble coaching, and lectures on the jazz tradition. They are also encouraged to experiment in expanding jazz in new directions through their compositions and performances. The current class is part of a new partnership between the Monk Institute and UCLA and these students will be the first to graduate with a Masters in Jazz Performance from the
UCLA Herb Alpert School of Music.

"When we established the UCLA Herb Alpert School of Music in 2007, one of our goals was to build on the stellar faculty and students in place and strengthen Jazz as an essential, core component of the School's program. The addition of the preeminent Thelonious Monk Institute of Jazz Performance program brings a great richness of resources and talents to the mix, giving students even more opportunities to work with the world's great jazz artists," said Herb Alpert, Chair and Founder of the Herb Alpert Foundation and principal donor to the UCLA Herb Alpert School of Music.

Wayne Shorter

Hancock and Shorter will teach the Monk Fellows each month throughout the academic year. They will share their musical philosophies and knowledge learned from their years of playing with the architects of jazz including Miles Davis and Art Blakey. Both will focus on composition, improvisation and artistic expression, working with the Monk Fellows individually and as a group. Additionally, they will lead master classes open to all UCLA students. Since the program began in September, Shorter has already taught for eight days and participated in a public performance with the Monk Fellows, and Hancock has taught for three days. On December 6, Hancock and Shorter joined forces to conduct a historic master class at UCLA. This coming April, the Monk Fellows will accompany Hancock and Shorter to Istanbul to participate in a global, televised performance marking International Jazz Day on April 30, 2013.

In addition to these two legendary artists joining the Institute's faculty, the Monk program at UCLA has been expanded to include Billy Childs, a world-class composer who has received the coveted Guggenheim Fellowship. Also instructing the Monk Fellows are internationally renowned improvisation educators Hal Crook, Jerry Bergonzi, and Dick Oatts, all of whom are adding a new dimension to the program by sharing their comprehensive knowledge of jazz, addressing all elements of the students' playing, and helping the students navigate the many styles and musical environments of jazz.

"Wayne and I look forward to working with and guiding the new class of Monk Fellows over the next two years. These exceptionally gifted young artists are destined to become some of the most influential jazz musicians of their generation and we are both looking forward to helping them forge successful careers in jazz performance. The mentoring experience will be profound for us, as well. The gift of inspiration in the classroom that develops from the master-apprentice relationship enhances our personal creativity on the bandstand and in the recording studio," said Herbie Hancock, Chairman of the Institute.

Since the program's inception in 1995, the Monk Fellows have studied with world-renowned jazz artists Terence Blanchard, Ron Carter, Dee Dee Bridgewater, Jack DeJohnette, Barry Harris, Roy Haynes, Jimmy Heath, Dave Holland, Wynton Marsalis, Jason Moran, Danilo Pérez, Dianne Reeves, Horace Silver and Clark Terry, among many others. These jazz legends serve as Artists-in-Residence at the college program one week each month.

"We are truly delighted to welcome Herbie and Wayne to the faculty of the Herb Alpert School of Music," said Christopher Waterman, dean of the UCLA School of the Arts and Architecture. "The arrival of these legends marks an important step in the growth of UCLA's distinguished jazz program, which provides students with the opportunity to study with the renowned guitarist and NEA Jazz Master Kenny Burrell, the award-winning flutist and composer James Newton, and leading Los Angeles-based jazz musicians such as Dr. Bobby Rodriguez, Charley Harrison, Barbara Morrison, Michelle Weir, George Bohanon, Tamir Hendelman and Justo Almario."

The Institute of Jazz Performance students and instructors present a number of major concerts and community outreach programs throughout the United States and overseas. International highlights include performances at the celebration commemorating the 40th anniversary of the coronation of the King of Thailand, the Summit of the Americas in Chile before 34 heads of state, the United Nations "Day of Philosophy" event in Paris sponsored by UNESCO, and the Tokyo Jazz Festival. The students have also participated in tours of China, Egypt, Argentina, Peru, India, and Vietnam with Herbie Hancock.

"The Thelonious Monk Institute of Jazz is honored to have Wayne Shorter and Herbie Hancock joining the faculty of our college program at UCLA, where they will share their vast musical experiences and expansive vision for jazz past, present and future," said Tom Carter, Thelonious Monk Institute President.

DARRYL YOKLEY'S SOUND REFORMATION - THE VOID

From playing jazz gigs as a leader/sideman or in a big band to performing classical solo recitals and concerts with chamber groups, Darryl Yokley has enjoyed working with some of the greatest musicians in a variety of genres.

Yokley has performed with such artists as the Captain Black Big Band led by pianist Orrin Evans, JD Allen's sextet, Valery Ponomarev's Big Band "Our Father Who Art Blakey,” as well as the Frank Lacy Quintet and Big Band.

In addition to performing, Yokley has also written big band arrangements that have been performed by The Captain Black Big Band and the Frank Lacy Big Band. He has since performed at a number of other venues in New York, including the Jazz Galley, Smalls, the Zinc Bar, Dizzy’s Club Coca-Cola, and the Garage. He also performed for Quincy Jones at a musical tribute in New York.

As a leader, Yokley has formed a quintet with Duane Eubanks on trumpet, George Burton on Piano, Luques Curtis on Bass, and Wayne Smith Jr. on drums. The band, “Sound Reformation,” made its debut back in November 2010 and has been performing regularly since then.

Yokley wrote all of the music on The Void album, drawing from a number of different influences, breaking the barriers of musical categories. 
Currently, in his classical career, Yokley and Hemingway are in the midst of promoting their duo ensemble, Odd Men Out, which commissioned a piece from Pittsburgh composer Suzanne Polak. Yokley also currently teaches the saxophone to students of all ages at Westminster Conservatory in Princeton, NJ.

ANTONIO SANCHEZ - NEW LIFE

"Antonio Sanchez, the drummer and composer, compresses many of the strategies from the last 40 years of small-group jazz into each performance, while letting some of today's best soloists tear it up. [His drumming is] a tumbling overspill, deceptive in its suggestion of abandon." - The New York Times

Drummer Antonio Sanchez has played alongside some of the greatest composers in modern jazz - including Chick Corea, Danilo Pérez, Gary Burton, and Pat Metheny, who has called on Sanchez to anchor virtually every project he's undertaken for more than a decade. With his third album as a leader, New Life, Sanchez launches himself into those estimable ranks with a set of bold, compelling new compositions.

As the title suggests, Sanchez sees the album as marking a new chapter in his musical life. "I wanted this record to be a milestone for me as a composer," he says. "When you're a drummer, there's this stigma that you're the musician's best friend but you're not really in the same category as the other guys. I wanted to prove that it doesn't have to be that way."

The fact that Sanchez possesses the ability to craft such a wide-ranging, multi-hued collection should come as no surprise to anyone familiar with his drumming. A three-time GRAMMY® Award winner who studied at the National Conservatory in his native Mexico and at Berklee and the New England Conservatory, Sanchez is a master of dynamics, able to summon rhythmic complexity or melodic nuance as the occasion demands. New Life similarly balances intricacy and emotion, intellect and soul.

The album also features inspired playing from an incredible line-up of Sanchez's peers. The ensemble includes saxophonists Donny McCaslin and David Binney, bassist Matt Brewer, and up-and-coming pianist John Escreet. "It's sheer joy to hear your music played by these amazing musicians," Sanchez says.

On his prior releases - his 2007 debut Migration and Live in New York from 2010 - Sanchez featured a stripped-down line-up with two saxophones, bass and drums (aside from guest appearances on Migration by Metheny and Corea). This time out, he wanted to expand his harmonic palette with the addition of a pianist.

"The horns, bass and drums configuration is great because there's so much freedom and so much space," Sanchez says. "But it's also incredibly hard; with no harmonic instrument it feels like you're walking on eggshells all the time. With piano, you can create a completely different atmosphere or color behind every solo."

Sanchez labored over each of the tunes that comprise New Life, further developing them during a five-week tour prior to entering the studio. Where his earlier compositions tended to be relatively simple vehicles for improvisation - which nonetheless yielded rich fruit in the hands of players like Chris Potter, David Sánchez, Miguel Zenón and Scott Colley - he wanted each of these pieces to tell a story. His years working with Metheny in a variety of settings was an inspiration, Sanchez says, not just musically but in regards to work ethic, collaboration and showmanship.

In his liner notes, Metheny refers to Sanchez as "my main collaborator over the past 13 years," enthusing that "the variety and range represented in this collection is a real testament to Antonio's curiosity and openness as a musician. He gathers from across a wide stylistic spectrum to put together a recording that adds up to a real journey in modern music making."

That journey begins with "Uprisings and Revolutions," which began life as a more placid ballad but took on a new urgency with the inspiration of the Arab Spring. The tension of the rubato opening bursts into the piece's deep groove, mimicking the rush of freedom into the region. "I was inspired by how the Arab people were able to defeat these forces that seemed to be completely undefeatable," Sanchez explains.

Both "Minotaur" and "Medusa" drew from Sanchez's interest in mythology. The former's slow build suggests the minotaur lurking behind one of the twists in his labyrinth through the throbbing bassline and Escreet's simmering Rhodes. For the latter, Sanchez specifically recalled the image of Medusa from the original version of Clash of the Titans, a childhood favorite. The snarling, interweaving melody lines recall the creature's serpentine hair.

"Nighttime Story" is as gentle and soothing as a lullaby, while "Air" is a crystalline gem featuring a caressing soprano melody inspired by Wayne Shorter. "I love the unpredictable, beautiful sonority of his tunes," Sanchez says. "You never know where his tunes are going, but they always go somewhere amazing. I thought this tune had a little bit of that, and it's also full of longing, like a lot of what Wayne does."

The buoyant "The Real McDaddy" was penned with McCaslin in mind, and jokingly references his and Sanchez's habit of referring to each other as "Papi." Sanchez defines the title as defining someone like McCaslin who is "able to be cool in any situation. That tune has a lot of quirky, unpredictable breaks, but to me if you're a McDaddy you can master any situation."

"Family Ties" ends the album on a celebratory note dedicated to Sanchez's own family. "It's such a happy tune," he says. "It represents what my family can be: full of drama but full of happiness at the same time."

A lush, sweeping ascension lasting nearly fifteen minutes, "New Life" is undoubtedly the centerpiece of its namesake album. "It signifies a new life as a composer and a bandleader," Sanchez says. "It's the track that I worked on the most, and the one that was most satisfying to record and listen back to."

The recording also documents a new life for Sanchez in another form - the soaring female vocals are the contribution of singer Thana Alexa, who recently became Sanchez's fiancée.

"I've absorbed so much great music from so many amazing bandleaders that I've been able to work with throughout the years," Sanchez says. With New Life, he reveals the results of that process, showcasing his own profoundly expressive, intensely personal voice.

New Life - Personnel/Track Listing
Antonio Sanchez / drums
Donny McCaslin / tenor saxophone
David Binney / alto saxophone
John Escreet / piano
Matt Brewer / bass
Special Guest: Thana Alexa / vocals

1. Uprising and Revolutions (8:52)
2. Minotauro (8:53)
3. New Life (14:24)
4. Nighttime Story (6:39)
5. Medusa (8:24)
6. The Real McDaddy (8:52)
7. Air (7:39)
8. Family Ties (8:46)

All tracks composed by Antonio Sanchez
Produced by Antonio Sanchez

Upcoming Antonio Sanchez Appearances:
All dates to feature "Migration."

*February 22 / Scullers / Boston, MA
March 7 - 10 / Jazz Standard / New York, NY
March 14 / Puente Xoco / Guadalajara, Mexico
March 17 / BMW Jazz Awards / Munich, Germany
March 23 / Kodaly Center / Pecs, Hungary
March 24 / Ueffilo Music Club / Gioia Del Colle, Italy
March 25 / Moody Jazz Cafe / Foggia, Italy
March 29 / Teatro Petrolini / Ronciglione, Italy
April 3 / Panic Jazz Club / Marostica, Italy
April 5 / Jazz Club Ferrara / Ferrara, Italy

*WGBH Webcast

http://www.antoniosanchez.net
www.camjazz.com