Tuesday, January 15, 2013

NEW RELEASES - ANGELA CLEMMONS, JUMA SULTAN'S ABORIGINAL MUSIC SOCIETY, CRIOLO

ANGELA CLEMMONS - THIS IS LOVE

A bouncy little set from Angela Clemmons – a record that's got a bit more beats at the bottom than some of her previous outings – but in a way that seems to only make things sound even groovier overall! There's a number of catchy groovers that help the set take off right from the start – tunes that are playful, and maybe a bit aimed at the charts – yet which still let Angie soar on those magnificent vocals of hers. Titles include "One Night Baby", "Miracles", "Love Life", "BYOB", "Nothing Can Stop My Love", "I Could Love You Better", and "Rock & A Hard Place". CD features two bonus tracks – "BYOB (12" mix)" and "This Is Love (inst)". ~ Dusty Groove


JUMA SULTAN'S ABORIGINAL MUSIC SOCIETY - WHISPERS FROM THE ARCHIVE


Tremendous work from bassist/percussionist Juma Sultan – a wealth of wonderful tracks from the loft jazz years of the 70s! Sultan's a player who doesn't always get his due on record – especially during this formative generation – so the release is a much-needed look at his mighty talents back in the day – and a picture of a very underground level of American jazz that goes deeper than even some of the more-recorded avant players of the time! Most of the tunes are quite spiritual, and feature a shifting lineup that really keeps things fresh – players who include Sultan on bass, percussion, and flute – plus Ali Abuwi on drums, flute, and oboe; Kasa Allah and Earl Cross on piano, Art Bennett on tenor, Talib Kibwe on flute and oboe, Paul Williams on guitar, and Ora Borman and Charlotte Richardson on vocals. Titles include "Darn My Socks", "She Made Me Feel Like Glory (parts 1 & 2)", "Sundance & Hand Clapping (parts 1 & 2)", "AMS", and "Shake Your Money Maker". ~ Dusty Groove

CRIOLO - NO NA ORELHA

really compelling blend of sounds – and a set that's billed as a hip hop album, but which is way way more than that – more a wonderful hybrid of global styles, all wrapped up with the crispness of the contemporary Brazilian underground! The set begins with a number that's straight out Afro Funk, the rolls into tracks that really run the gamut – a hip hop number or two, other African styles, and most especially, some of those cool genre-defying moments that we've really come to love from Brazil in recent years. Criolo's vocals are wonderful, especially when he's singing – with a warmth that takes us back to singers of the samba soul generation – and titles include "Bogota", "Mario", "Subirusdoistiozin", "Linha De Frente", "Lion Man", "Sucrilhos", and "Samba Sambei". ~ Dusty Groove.

NEW RELEASES - DAVID MURRAY, PETE JOLLY, ODELL BROWN

DAVID MURRAY - MING

Beautifully arranged work from David Murray – an important early large group recording, one that really helped point the way to some of his later genius! The session features Murray leading an all-star octet that includes Henry Threadgill on alto, Olu Dara on trumpet, Butch Morris on cornet, George Lewis on trombone, Anthony Davis on piano, Wilbur Morris on bass, and Steve McCall on percussion. Tracks are a very hip set of original compositions that display an incredible range of soulful feeling and expression – and which open a door to a whole new chapter of Murray's career. Titles include "Ming", "Dewey's Circle", "Jasvan", "The Fast Life", and "The Hill". (Very heavy vinyl – with bonus CD too!)  ~ Dusty Groove

PETE JOLLY - SWEET SEPTEMBER

Great work from one of the grooviest pianists of the 60s – a player who could always keep things lively and swinging, even in a small combo session! The album's one of Pete Jolly's gems for the Ava label – a follow-up to his semi-hit Little Bird, and like that one, a record done with some slight additional help from Howard Roberts on a few tracks. But this time around, Roberts' work is only on a few of the titles – leaving Pete's core trio to take over most of the grooves themselves, building strongly from warmly rolling rhythms by Chuck Berghofer on bass and Larry Bunker on drums, topped by Jolly's surprisingly soulful lines on piano – all in a blend that reminds us of the great balance between lyricism and groove we always find in the best work of Vince Guaraldi. Titles include "Sweet September", "Can't We Be Friends", "Any Number Can Win", "Soft Winds", "Oleo", "Yours Is My Heart Alone", "I'm Beginning To See The Light", and "Kiss Me Baby". ~ Dusty Groove

ODELL BROWN - ODELL BROWN

A wonderful album by Odell Brown – recorded years after he broke up with his Organizers group, with a sweet electric groove that's very different than his Chess LPs – and also quite a bit different from other records on Paula in the mid 70s! Odell's playing electric piano on the set – grooving in a mellow funky way that reminds us of some of the early 70s Young-Holt albums, no surprise, since Odell and the Young-Holt team came out of the same scene. The tracks are nice and long, and nearly all originals. It kicks off a killer cover, though: an 11 minute jazzy soul take on Stevie Wonder's "I Love Every Little Thing About You" – and it also includes "South of 63rd", "Simizzoke", "Song Theme" and "Tasha". ~ Dusty Groove

NEW RELEASES - FREDA PAYNE, DANNY WOODS, MANDRILL

FREDA PAYNE - REACHING OUT

It's a few years after Freda's big hit "Band of Gold", and she's recording here in a very different mode! The record is produced by Holland-Dozier-Holland, with arrangements by a number of different talents, like McKinley Jackson, Tony Camillo, and Michael Smith – and the overall sound is much more sophisticated than on some of Freda's earlier work. The vocals are especially sharp – quite mature, and almost in a mode that points towards later work by singers like Jean Carn or Marlena Shaw during the late 70s. Includes the nice midtempo groover "We've Gotta Find A Way Back To Love", worth the price of the album alone – plus "Mood For Love", "Reaching Out", "Two Wrongs Don't Make A Right", "Mother Misery's Favorite Child", and "Right Back Where I Started From". ~ Dusty Groove

DANNY WOODS - ARIES

A rare solo effort from Danny Woods – a record cut away from Chairmen Of The Board during a stretch when the group had temporarily disbanded – and an excellent showcase for Danny's strength on his own! Woods is really wonderful here – with a proud, righteous quality that really soars out away from General Johnson and Harrison Kennedy – perfect for the righteous backings arranged by HB Barnum and McKinley Jackson – whose spirits really fit some of the more progressive modes of the music. There's plenty of upbeat, positive moments throughout – and titles include "Two Can Be As Lonely As One", "Let Me Ride", "It Didn't Take Long", "Everybody's Got A Song To Sing", "Working On A Building Of Love", and "Roller Coaster". CD also features the bonus track "Everybody's Tippin".  ~ Dusy Groove

MANDRILL -WE ARE ONE

Wonderfully tight work from Mandrill – a real standout from the years at Arista – and a set that seems to take all the key instrumental energy of the Polydor years, and focus it on a soulful groove that's even more soaring than before! The energy is wonderful – very much like the best Earth Wind & Fire ensemble sound at the time, with perhaps a Fatback-ish funky element at the bottom – and there's some surprising elements from track to track that really create a great sense of variety and depth – way more than you'd find from some of the group's contemporaries. A few moments get nice and spacey, too – and titles include "Gilly Hines", "Holiday", "Closer To You", "Funky Monkey", "Happy Beat", "Love One Another", and "Can You Get It". CD features two bonus tracks too – 7" single versions of "Funky Monkey" and "Can You Get It". ~ Dusty Groove

NEW RELEASES - TEENA MARIE, LUXURY SOUL 2013, LARRY RIDLEY

TEENA MARIE - BEAUTIFUL

Wonderful sounds from Teena Marie – the last album she ever recorded before she left us way too soon – and a beautiful set that has us missing her more than ever! The vibe is even tighter than the Congo Square album, but there's also a classic sensibility and depth that takes us back to the earliest Lady T years at Motown – that special quality that always made Teena very different than almost all her contemporaries – a really unique artist with a great ear for balancing the best aspects of her sound! Teena produced and arranged, and the sound is wonderful – warmly seductive, but also funky too – a punch that comes up from the bottom on most numbers, and carries through with really positive energy. There's nothing half baked about the record at all – and the set also features a few contributions from Teena's daughter, Alia Rose. Titles include "Rare Breed", "Definition Of Down", "Maria Bonita", "Beautiful", "The Long Play", "Give Me Your Love", "Wild Horses", "Luv Letter", and "Sweet Tooth". ~ Dusty Groove

LUXURY SOUL 2013 (VARIOUS ARTISTS)

Soulful luxury at a mighty nice price – 3CDs and 35 tracks of music from both the contemporary underground, and back in the day! The package is one of the best so far in this annual series – and like the others, it has a great way of turning up unusual numbers we might have missed otherwise – some subtle gems and overlooked sleepers, which makes the package as much of a place for new discovery as it is a musical bargain. Titles include "So Inspired" by Big Brooklyn Red, "Suddenly" by Adriana Evans, "On The Rebound" by Dave Appell & Friends, "When I Think Of You" by Holloway & John Whitehead, "Rise" by Beggar & Co, "Someday We'll All Be Free (Yam Who rmx)" by Diplomats Of Soul, "Just Like Me" by Junk Funk, "Major Bossa" by Khari Simmons, "Loving You" by Soul Talk, "Believe" by Lady Alma, "Blown Away" by Kevin Leo, "Time For The Party" by Sheree Brown, "Taste of Your Love" by Valentine Brothers, and "Dime" by Kloud 9. ~ Dusty Groove

LARRY RIDLEY - SUM OF THE PARTS

A legendary set as a leader from bassman Larry Ridley – an artist who contributed great work to other hip records, but who really shines here with a rich vision of his own! The set's one of the real standouts in the 70s Strata East lineup – and in addition to work on both acoustic and electric bass from Ridley, the session also features soaring work on reeds from Sonny Fortune, who plays soprano sax, alto, and flute – plus wicked keyboards from Onaje Allan Gumbs, whose Fender Rhodes lines are some of the real highlights of the record – and guitar from Cornell Dupree, drums from Grady Tate, and a bit of percussion from Erroll Crusher Bennett. The record's got exactly the kind of spiritual vibe you'd expect – and does a great job of stepping between acoustic and electric focus. Titles include a great funky version of "Well You Needn't" – plus "It Was A Very Good Year", "Feelin Blue", "Changa Chikuyo", "Indiana Avenue", and "Never Can Say Goodbye".  ~ Dusty Groove

NEW RELEASES - HONEY CONE, JON LUNDBOM & BIG FIVE CHORD, SUENG-HEE

HONEY CONE - TAKE ME WITH YOU

A brilliant early set from Honey Cone – and a perfect illustration of the way the trio really moved past simple girl group modes of the 60s! There's a bold, proud, righteous tone to the record right from the start – thanks to these soaringly soulful vocals from the girls, and these fuzzy arrangements from Tony Camillo – who seems to borrow a bit from the more righteous modes of Norman Whitfield at Motown, then give things a bit more of a girl soul twist! The combination is amazing, and the album's rock-solid all the way through – filled with great original tunes that really keep a unified feel throughout – and titles include "Are You Man Enough", "Take Me With You", "Girls It Ain't Easy", "While You're Out Looking For Sugar", "The Feeling's Gone", "Sunday Morning People", and "Take My Love". CD features a bonus 7" mix of "While You're Out". ~ Dusty Groove


JON LUNDBOM & BIG FIVE CHORD - NO NEW TUNES

We're not sure what to make of the title – but to our ears, everything here sounds plenty new and plenty fresh – the kind of creative guitar-driven work we've come to expect from Jon Lundbom and his cool contemporaries from the Mostly Other People Do The Killing side of the universe! The group here also features Jon Irabagon on alto and soprano sax, Bryan Murray on tenor and balto sax, Moppa Elliott on bass, and Dan Monaghan on drums – and there's an intensity to the music right from the start – a blistering sort of energy that almost takes us back to some of the most creative downtown jazz experiments of the New York scene in the early 80s. Titles include "The Other Third One", "Of Being Done To", "The Bad Thing", and "Talent For Surrender". (Includes mp3 download.) ~ Dusty Groove

SEUNG-HEE - SKETCHES ON THE SKY

Beautiful work from Seung-Hee – a vocalist who splits her time between Korea and North America, and who has a scope of sound that really lives up to her global stance! Seung-Hee has a really classic approach – not 50s torch, but that really inventive period of the 70s, when female jazz vocalists were really breaking free – finding new ways to inflect their notes, and often adding their own words too – in ways that made the music even more expressive than before! Seung-Hee's got a great way with a tune, and turns in some excellent compositions here – including a few set to music by Bill Evans and Charlie Haden – often with that freewheeling mix of breezy and soulful styles that we love in our favorite European jazz vocalists from years back. This album's a great step forward for the singer – and may well put her in a lineage that includes the best work by singers like Sheila Jordan, Monica Linges, and Karin Krog. Titles include "Sketc Part 2", "I'll Be Here", "Winter & Then", "Valparaiso", "An Elliptical Note", "By The Sea", "Visions", and a version of Edo Lobo's "Pra Dizer Adeus". ~ Dusty Groove

NEW RELEASES - JEREMY STEIG, MCCOY TYNER, DAVE PIKE

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

MCCOY TYNER - INNER VOICES

A beautifully full session from McCoy Tyner – one recorded with added horns and voices, and very much in the mode of some of Horce Silver's best 70s experiments for Blue Note! The sound is as bold, dynamic, and soulful as other Tyner albums from the time – and the added elements really help create a unique feeling – horn parts that underscore the power of Tyner's piano, and wordless vocals that rise to the skies, with a feel similar to Donald Byrd or Max Roach sessions like this – but with a bit more 70s vibe overall. Other players include Earl Klugh on guitar, Ron Carter on bass, and Jack DeJohnette on drums – and solos are by Jon Faddis on trumpet, Alex Foster on tenor, and Charles Stephens on trombone. Titles include "For Tomorrow", "Opus", "Festival In Bahia", "Rotunda", and "Uptown". ~ Dusty Groove



DAVE PIKE - BOSSA NOVA CARNIVAL

A pair of killers from Dave Pike – early work in a tremendous career in music! First up is Bossa Nova Carnival – a sublime set of bossa nova numbers, all written by the bossa pianist Joao Donato! Joao doesn't actually play on the record, but his compositions here are enough – as they help Pike find a new sense of space and pulse in his music – rhythms that really unlock his vibes towards their grooviest ends for the first time ever on record. Most numbers are heavily modal – a great mix with the bossa setting – and the album also features key work from Clark Terry on flugelhorn, Kenny Burrell on guitar, and Chris White on bass – whose loping lines really help shape the overall sound of the record. Also features lots of nice percussion – and titles include "Ginha", "Samba Lero", "Sono", "Carnival Samba", "Sausalito", and "Melvalita". Limbo Carnival isn't some early 60s gimmick session, designed to cash in on a dance craze – and instead, it's a wonderful early Latin set from the great vibist Dave Pike! In fact, given the strength of the grooves here, it would be plenty darn hard to do any limbo action to this one – because the rhythms are bouncy, modal, and very very groovy – served up by Pike on vibes, in a lineup that includes Ray Barretto on conga, Ahmed Abdul-Malik on bass, and Leo Wright on flute and alto – plus a few other straight jazz players like Jimmy Raney on guitar and Tommy Flanagan on piano. Tracks include "Mambo Bounce", "Matilda", "Cattin Latin", "St. Thomas", and a strange groovy version of "La Bamba". ~ Dusty Groove

Monday, January 14, 2013

ELAN TROTMAN SCORES BIG WITH TROPICALITY, STAR-STUDDED RELEASE SET FOR FEBRUARY 19

Tropicality is Barbados native Elan Trotman’s sixth solo album produced by both Trotman and guitarist Peter White, and it features 12 tracks recorded in Los Angeles, Boston, and Barbados. Trotman’s goal on this set was to bring the influence of the Caribbean to the masses - and he sure does succeed here. Trotman wrote or co-wrote seven of the collection’s nine original and selected a few covers, including the first single hitting radio – Stevie Wonder’s “Master Blaster”. With a refreshing and smooth sound, Tropicality  boasts not only smooth jazz, but also some reggae (“Master Blaster (Jammin’), Bob Marley’s “Wait in Vain”), as well as Caribbean zouk (Danca Ku Mi (Dance With Me).   After my first listen, I added all of the tracks to my Ipod and Itunes playlists.

Recording in three widely diverse cities afforded Trotman the opportunity to draw upon an international superstar talent pool that includes fellow compatriot and Barbados-born bassist and producer Nicholas Branker, British guitarist Peter White, French guitarist U-Nam, Brazilian guitarist Fabiano Da Silva, Arubian guitarist Serghio Hansen, Cuban percussionist Luis Conte, as well as an accomplished American contingent consisting of keyboarding and producer Jeff Lorber, guitarist and producer Paul Brown, guitarist Nick Colionne, drummers Terri Lynn Carrington, Ricky Lawson, and Tony Moore, trumpeter Lin Roundtree, bassist Alex Al and percussionist Lenny Castro.

Tropicality follows on the success of his 2011 release, Love And Sax, a Billboard Top 20 contemporary jazz album that spawned the single “Heaven In Your Eyes,” a duet that features keyboardist Brian Simpson, which reached #11 on Billboard’s jazz songs chart. Trotman is the three-time winner of the New England Urban Music Award as Best Jazz Male, the 2011 Barbados Music Award Instrumentalist of the Year, and was twice nominated for a Boston Music Award.

Trotman is no stranger to the industry, having lent his soulful horn flair to recordings and shared the concert stage with an extraordinary assortment of musicians including Roberta Flack, Patti Austin, Will Downing, Phil Perry, Earl Klugh, Rick Braun, Jonathan Butler, Raul Midon, Brian McKnight, Jamie Foxx, Johnny Gill, Nathan East, Gerald Veasley, Don Grusin, Keiki Matsui, Raul Midon, plus Dave Koz, Kirk Whalum, Gerald Albright, and Najee.

Here’s the full tracklisting for Elan Trotman’s Tropicality: 1. Master Blaster (Jammin”); 2. Tradewinds; 3. Bridgetown To Beantown; 4. Always With You; 5. Wait In Vain; 6. A Time And Place; 7. Sunset In Paradise; 8. Danca Ki Mi (Dance With Me); 9. Funkalypso; 10. Tropicality; 11. Island Groove; 12. Wave

THE 3 COHENS - FAMILY

"Rarely in the history of jazz family bands have siblings so successfully created a unified group sound with as distinctive an identity as the Israel-born Cohens." - DownBeat Magazine

"some of the hottest properties on the New York jazz scene today"  The Boston Globe

"There's such a thing as a family sound, and the musicians calling themselves the 3 Cohens have it . . . Anat has emerged as one of the best clarinet players in jazz, with a warm and singing tone; Avishai can play bebop and ballad lines and outer-limits trumpet sounds with tireless fluency; Yuval has a full and relaxed sound on the soprano." - Ben Ratliff, The New York Times

"a brilliant wave of Israeli jazz musicians has emerged on the New York scene. At the center of this surge are three siblings: soprano saxophonist Yuval, trumpeter Avishai and reed player Anat Cohen . . . Like many of their Israeli peers, the Cohen siblings are steeped in jazz history and intensely engaged with a global array of sounds." - Andy Gilbert, The San Jose Mercury News

The 3 Cohens' latest recording is a powerful acknowledgement of the importance of Family. Although Yuval, Anat and Avishai are perennially busy with numerous projects that make up their individual careers, the remarkable story of the 3 Cohens continues with the release of their new recording, Family (the follow up to the much-lauded Braid), available on Anzic Records (released Oct 11, 2011). Joining Yuval, Anat and Avishai on Family is a trio of unparalleled musicians, Aaron Goldberg on piano, Matt Penman on bass and Gregory Hutchinson on drums. Plus, very special guest, Jon Hendricks, delivering his singular style to "On The Sunny Side of Street", and "Roll 'Em Pete".

In continued celebration of Family The 3 Cohens Sextet (featuring the same band from the recording) reconvenes for three nights, with dates scheduled for The Miniaci PAC in Ft. Lauderdale, FL on February 9, Carnegie Hall (Zankel Hall) in NYC on February 15, and Scullers in Boston on February 16.

When the 3 Cohens converged in the studio for the recording of Family, they did so with a fervent dedication to making music together, and a strong desire to celebrate life and family through their music. They explain, "every time we play again it is so special. For us, sharing a stage is not just three siblings who play together; it is also a constant reminder of the gift of life. That's why we have decided to have this band." The results are two brilliant recordings, One, and Braid, and now their newest, and perhaps their greatest work together, the celebratory, Family (on Anzic Records).

The 3 Cohens Sextet is: AVISHAI COHEN (trumpet), ANAT COHEN (tenor saxophone & clarinet), YUVAL COHEN (soprano saxophone), with Aaron Goldberg on piano, Omer Avital on bass & Johnathan Blake on drums.

www.3cohens.com www.anzicrecords.com

RICHARD KINCAID / DAVE KOZ - I WISH THAT WAS ME

Chicago-based emerging artist Richard Kincaid  heats things up in 2013 with his new single "I Wish That Was Me" featuring the soothing saxophone sounds by Grammy-nominated icon Dave Koz. The track is set to hit FMQB's Adult Contemporary Chart January 14 and be added to Mediabase January 28. Kincaid says, "If you've ever loved someone that didn't love you back, this song is for you!" The powerful track is written by multi-talented songwriter/producer David Taylor II, who collaborated with Kincaid on his recently released full-length independent debut album Mosaic."From literally the first moment I heard Richard Kincaid sing, I knew he had a real gift," praises Taylor. "In 2012, I've had incalculable amounts of fun stretching my songwriting muscles in providing material for him; in 2013, we want the world to take note of one of the most intriguing vocal artists to come along in quite some time."

Kincaid lit up the charts this past holiday season with his single "This Christmas (*Mistletoe)" -- an R&B-driven remake of Donny Hathaway's Christmas classic. The holiday track, which features vocals by Cuba Gooding, Sr. of the famed soul group The Main Ingredient, also held in the Top 20 on the main Mediabase AC Chart and Mediabase AC Christmas Chart for several weeks putting Kincaid as the only independent artist in company with superstars on the chart such as Rod Stewart, Lady Antebellum, Michael Bublé, Cee Lo Green and Train.

Both songs appear on Mosaic, which includes eight powerfully produced cover songs (from a rousing gospel-tinged version of Elton John's "Don't Let The Sun Go Down On Me" to "Tracks of My Tears"), plus four original tracks by Taylor. The album was released on Taylor's House of DT Records label.

Apart from pursuing his music career, the singing sensation also embraces his philanthropic side as creator of the BeCause Foundation (www.becausefoundation.org), a non-profit organization that combines documentary films and outreach campaigns and tackles such hot button issues as homelessness and healthcare, human rights in East Burma, sexual abuse of children and bullying.

www.richardkincaidmusic.com

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 rouĂ© 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

Friday, January 11, 2013

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); MĂ¼nchen (04/14/2011); Saalfelden (04/14/2011); Amberg (04/2011); Jazzclub Unterfahrt, Munich (04/2011); MĂ¼nchen (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.

Thursday, January 10, 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".

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