FEATURED RELEASES - BASIC SOUL UNIT, MARLENA SHAW, DIONNE WARWICK, ISAO SUZUKI / TSUYOSHI YAMAMOTO

BASIC SOUL UNIT - MOTIONAL RESPONSE

Beautifully percolated grooves from Basic Soul Unit – spare and electronic, yet still surprisingly soulful too – almost like some of the gentler sounds that came around in the second generation of Chicago house, but informed by a 21st Century soul vibe as well! Most numbers have keyboards moving around beats in a really great way – and there's some acid electric touches that are subtle, but which bring a nice sort of retro energy to the set – some moogy brilliance that only gets better and better as the record moves on – almost with a Larry Heard feel in some of the best moments! Titles include "Let Go", "Backseat Lover", "Mind Forest", "Intersection", "All Over Me", "This", "Across The Room", and "Clouds". ~ Dusty Groove

MARLENA SHAW - FEEL LIKE MAKIN' LOVE / / DIONNE WARWICK - LOVE TO LOVE YOU BABY

Here's a pair of unreleased tracks, available only for hundreds on the ultra hard to find library promo LP ”Gut Gestimmt”, exclusive and limited Sonorama 45 vinyl only, remastered in 2007! Both recordings got rave reviews among the Jazz & Funk DJs when being discovered on the promotional only sound library LP entitled “Gut Gestimmmt” featuring various artists from the fields of Jazz and Chanson, that was only sent out to the friends of tv station employees in scarce amounts as a thanksgiving for their musical interest.  And didn`t we hear the beginning of “Love To Love You Baby” already as a sample on some recently pressed white labels? Here come the previously unreleased originals for the soulful dancefloor. Thanks to Ute Kuhn, Paul Kuhn and Dieter Finnern! ~ sonorama.de

ISAO SUZUKI / TSUYOSHI YAMAMOTO - SAMBA CLUB

A wicked wicked set of tracks from Japan – one that blends together jazzy riffing and Brazilian rhythms, all played with a surprisingly soulful bent! Suzuki's on bass and piccolo bass, and Yamamoto plays not only electric piano but also a bit of electric harpsichord – which adds a cool feel to the album, and one that's almost like some lost European soundtrack. Rhythms are mostly in a breezy sort of style that mixes samba with bossa jazz – and Donald Bailey is in the group on drums, providing some very nice bottom to the set. The whole thing's great, with a really unique style – one that's so great it even transforms older numbers like "Night & Day", "Sweet Georgia Brown", "Greensleeves", and "La Vie En Rose". Also features an especially great take on Michel Colombier's "Overture"! ~ Dusty Groove

INTERCITY SOUND ASSOCIATION - PHILLY SOUND

Since the early 1970s the whole disco world has been feeling excited about the "Sound of Philadelphia" ("Phillysound"). From the aesthetics of Motown and the "wall of sound" by Phil Spector, a new funk and soul sound developed in the United States, that was softer but still extremely danceable. The most important musicians and producers of the new style hailed from Philadelphia. Unique characteristics of the music were the opulent string and brass arrangements, the use of modern electronic production facilities and the trademark of an open and closed hi-hat playing. Electronic instruments like synthesizer and clavinet were also gradually incorporated into the sound.

Soul Music was suddenly no longer "rough" and "hand made", but "sexy" and the result of modern studio technology. The title "TSOP" ("The Sound of Philadelphia") of the MFSB Orchestra, recorded in 1974 by the best studio musicians of star producers Gamble and Huff, became the anthem of the new disco sound. The city of Philadelphia was celebrated as its birthplace. Soon the sound became popular in German clubs too and German or Germany-based artists immediately started to work on their own recordings.

Composers for publishing houses and jazz musicians suddenly began excursions into the world of "Phillysound," because the blooming German scene hungered for good productions. Publishing rights or studio jobs served as a promise to earn good money. In the wake of internationally successful productions for Donna Summer and Amanda Lear, from Munich Machine and Giorgio Moroder, a completely independent and widely ramified German disco scene established itself during the late 1970s with hundreds of releases: "The most perfect disco sound made ​​in Germany ". "I Feel Love" is still considered a world-known example of the unique "Phillysound from Germany".

The "Phillysound" album of the project "Intercity Sound Association" was the brainchild of producer and guitarist Klaus R. Nagel, a founding member of the internationally famous Krautrock and funk band "Joy Unlimited" from Mannheim. As early as 1972, Nagel left his band to pursue other productions, work on an own label and start his music publishing activities. Produced in 1975, this sole LP of the group was especially made for intensive advertising towards the state owned German service broadcasters ARD and ZDF, with the goal of getting airplay in various televison and radio programmes.

The promotion of the "Phillysound" LP was well received and some of the titles have been included into various programmes. Back in those days, it was easier and cheaper for German TV and radio stations to include perfect local productions into their broadcasts rather than the "real" Phillysounds from some well known U.S. stars. The first track on the album ("City Train") might still be recognized by many Germans from the youth sports program "Pfiff", in which it was played as the title theme for many years. All other pieces are also original compositions of the participating musicians, who, for contractual reasons, appear on the album sleeve under American pseudonyms such as "Denis Faylon" or "Pete Panthrow".

Nagel produced the entirely instrumental recordings in different studios and with different musicians. The string section of the SDR (South German Broadcasting) was arranged by jazz legend Fritz Muenzer, who also played saxophone at the recording sessions and successfully integrated the "Sound of Philadelphia" in other works for music publishers and the advertising industry. Around that time, some excellent but widely unknown Phillysound LPs were also produced by Dieter Reith ("Tender Aggression" or "Mellow Disco") and Peter Herbolzheimer ("Galactic Sound Orchestra") but these rare recordings were played almost exclusively by a few broadcasters.

With the "Phillysound" LP, Nagel, Muenzer & Co. created a true phantom of a record, produced at the highest level and therefore hunted throughout the world today. Its unique and powerful style with a touch of jazz-funk, extensive lines of solo saxophone, trumpet, flute, and "cosmic" sounding synthesizers, framed by the brilliant string section of the SDR, makes this album a sought after collector's item. Original copies are impossible to find, with only one album traded on ebay during the last eight years.

Original copies of the vinyl record rarely showed up even in the stores of the 1970s. Only a few of the LPs originally released on the Intercord label - which only provided the tracklisting with no further details on the album sleeve - found their way into the regular shops. With this release on Sonorama Records, the rare album is presented to a wider audience for the first time on LP and CD. Many thanks to Klaus R. Nagel for providing the original recordings, that have been remastered in Berlin during June 2012. ~  Ekkehart Fleischhammer, Sonorama 2012

www.sonorama.de

RONNIE LAWS - TWO ORIGINAL CLASSIC ALBUMS RELEASED - MR. NICE GUY / CLASSIC MASTERS

A pair of classics from Ronnie Laws – back to back on a single CD! On Mr Nice Guy, Laws really makes a big move into the soul field – quite a big record for him back in the day, and a set that helped him reach an even wider audience at the time! Ronnie sings as much as playing sax on the set – and he also handles a fair bit of keyboards too – often laid down alongside the beats with a snapping 80s groove sort of feel – a sound that's just right for the jazzy flourishes you'd expect from Laws, but much more soul-styled than before! Laws' vocals have a lightness that really works well with the instrumentation – a catchy charm we wouldn't have expected a few years before. Tracks include "In The Groove", "Mr Nice Guy", "Big Stars", "Can't Save Tomorrow", "What Does It Take", "Off & On Again", and "Rolling". Classic Masters features the best of Ronnie Laws' 70s material, plus a few new tracks as well – an album that definitely lives up to its title! The music is awash in both jazz and soul modes – jazz, thanks to Ronnie's well-played solos, which soar out in an amazing blend of new ideas and on-the-money groove – and soul, with production that really helped Laws cross over to big audiences at the time – a blend that's like the best Blue Note jazz funk of the mid 70s! The new cuts include "City Girl" and "(You Are) Paradise" – and some of the classics include Wayne Henderson-produced gems, like "Friends and Strangers", "Saturday Evening", and the big big hit "Always There". ~ Dusty Groove

BERNARD PURDIE - SOUL DRUMS (PRETTY PURDIE) EXPANDED EDITION WITH BONUS MATERIAL

Massive work from one of the funkiest drummers of all time – the legendary Bernard Pretty Purdie, stepping out here in a batch of instrumentals that may well be his greatest album ever! Bernard's drums are right up front in the mix – leading off all tunes with a full, funky, echoey sort of approach that's unlike anything else we can think of – and certainly different from any other late 60s albums of this type! The production is totally great – and has a way of pulling out some of the weirdest aspects of the music – which itself features guitar from Billy Butler and Eric Gale, bass from Bob Bushnell, tenor and flute from Seldon Powell, and organ and piano from Richard Tee – who also handled all the arrangements on the set! The centerpiece is the hit single "Funky Donkey", but just about every track's a groover in its own way – and titles include "Soul Drums", "Bill's Groove", "Jimmy's Back", "Testifyin", "Modern Jive", "Blow Your Lid", "Bee N Tee", and "Soul Bossa Nova". This new edition includes 8 bonus tracks, with a couple rare 45 tracks and more that have never been released – all soulful & funk – well paired with the Soul Drums album! Bonus tracks are in stereo, and include "Alexander's Rag Time Band", "Genuine John", "Soul Clappin", "If You Never Cried", "Stop" and "Time Is Tight". Also comes with a nice booklet with new liner notes, and choice quotes from Purdie's peers and those he influenced, from Galt MacDermot to Large Professor.  ~ Dusty Groove

THREE TIMMY THOMAS '70s ALBUMS REISSUED

TIMMY THOMAS - TOUCH TO TOUCH

A massive groover from Timmy Thomas – really hitting here on all burners, and moving with a groove that's much fuller than the drum machine fills of his early years! The sound is Miami club at its best – wickedly uptempo rhythms that are played with razor-sharp intensity – still mostly funk at the core, with lots of live instrumentation that moves at a precision that's hard to beat! Timmy still adds in some great sweet moments from time to time – reminding us of his skill with a ballad – but the groovers also push him into Bohannon territory – which is quite a compliment from us! King Sporty handled the arrangements and production – and definitely deserves credit for the grooves – and Betty Wright adds in a bit of sweet guest vocals too. Titles include "Touch To Touch", "When A House Got Music", "Game Of Life", "Africano", "Torrid Zone", "Love For The People", and "Sweet Music". ~ Dusty Groove

TIMMY THOMAS - TIMMY THOMAS LIVE

Timmy Thomas live, in front of a massive crowd in Johannesburg – really grooving with enthusiasm that's captured beautifully in the recording! The set's a great reminder that Timmy had lots of power away from the studio – that he wasn't just drum machine bits and disco riffs, and could more than hold his own like some of the bigger soul singers of his day. Thomas has a great presence on the stage, introducing the tunes – and his vocals are quite possibly even more powerful here than on any of his studio work too! Titles include a great version of "Why Can't We Live Together" – plus "Touch To Touch", "Rainbow Power", "Drown In My Own Tears", "Sweet Brown Sugar", and "Sipho Mazibuko (La La La)". ~ Dusty Groove

TIMMY THOMAS - YOU'RE THE SONG I ALWAYS WANTED TO SING

A Miami soul masterpiece from start to finish – and a lesser-known record from drum machine hit maestro Timmy Thomas! The album's got the feel of Timmy's classic Why Can't We Live Together album – but the overall sound is a bit fuller and richer, with a soulfulness that grabs us right away – and holds on through the entire set! Most of the tracks have that warm percolating early drum machine undercurrent that Timmy virtually pioneered at the time – followed by some great guitar work from Willie "Little Beaver" Hale, and some vocals from Timmy that sometimes have a nice deep soul feel. The album's worth it alone for the title track "You're The Song I've Always Wanted To Sing" – but the whole thing's great, and tracks include "Deep In You", "Let Me Be Your Eyes", "I've Got To See You Tonight", "One Brief Moment", "Ebony Affair", and "Deep In You". ~ Dusty Groove

SOUL SPECTRUM RECORDS VOL 1. (VARIOUS ARTISTS)

• Soul Spectrum Records is a sub-label of Jazzman Records focussing on soulful dancefloor re-issues
• 21-track compilation curated by DJ Euan Fryer
• Deluxe double vinyl pressing with thick, glossy sleeve
• Dancefloor soul, rare boogie and soulful disco
• Loud-cut heavyweight vinyl pressing
• LP includes bonus 7-inch re-issue track: $8000 rated hyper-rarity; Fluorescent Smogg!
• Exclusive edits from Ashley Beedle and Tom Noble

Soul Spectrum Records is a sub-label of Jazzman Records and is curated by Euan Fryer.  They specialize in releasing hard to find soulful dancefloor re-issues on 7-inch vinyl, and now they are releasing their first compilation - Soul Spectrum Records Volume One.  This compilation includes some rarities, including the ultra rar $8000 7" from Fluorescent Smogg, as well as a couple of fresh edits of old tunes, and a new cut from Kings Go Forth to complete the package.

DJ Fryer has been researching this album of dancefloor soul from the late '70s and early '80s for the last four years, and is now finally able to present a double LP's worth of rare, obscure and GOOD dancefloor soul, rare boogie and soulful disco. To top it off, Ashley Beedle and Tom Noble offered up their remixing skills on a couple of tracks that just needed the extra tweak that linear editing prevented back in the day.

"The endless quest to discover lost interesting music from the past is something of a calling to many. Record collectors and DJs will go without food and spend all their wages to own a single piece of vinyl. Many will travel around the world to towns and cities you would never choose to visit. Happy spending nights in cheap hotels and days in musty old shops looking for that one lucky find, and it does happen, eventually, to all that make the effort. I make no claim to the discovery of any of these records contained here, but I nod my hat to those that did and will again in the future.

I have let good as well as rare music be the narrative on this LP. There are some records here that are relatively affordable and I encourage you to go out and find them on original 45s, and play them. Records should be heard, not archived - keep the wonderful culture of playing 45s and 12s alive." - DJ Fryer, December 2012

Tracklisting:

01. Heem the Music Monsters – Wake Up
02. Barbara St.Claire – Teacherman
03. Billy Byrd – Lost in the Crowd
04. Willie Wright – Right On for the Darkness
05. Tobert – I've Got It
06. Barbara King – What I Did in the Street
07. Ellipsis – People
08. George Smallwood – Rollercoaster
09. Freak – Life Goes On
10. Gold – What About the Child (Mix for Sami)
11. Barbara Lynn – Mellow Feeling
12. Big Apple Band – Party & Get On Down
13. Phillip Wright – Keep Her Happy (Ashley Beedle Heavy Disco Edit)
14. Nate Calhoun – Funktown
15. Little Beaver – Listen to My Heartbeat
16. Target – Give Me One More Chance
17. LaRom Baker – You're the Best (Tom Noble Disco Edit)
18. Raw Soul Express – The Way We Live
19. Zebra – Simple Song
20. Fluorescent Smogg – All My Life
21. Kings Go Forth – You're the One

WORLDWIDE RELEASE OF "LOVING THE SILENT TEARS: THE MUSICAL" ALBUM FEATURING BRAZILIAN SINGER FABIANA PASSONI, BLACK UHURU, JON SECADA, JODY WATLEY & INTERNATIONAL STARS

Loving the Silent Tears: The Musical album recreates the magic of the new musical that explores humanity’s universal search for inner peace.

Vocalists representing 16 of the world’s glorious cultures include:

• Grammy-winners: Jon Secada (Just Another Day), Jody Watley (Real Love), Jamaican reggae group Black Uhuru (Anthem)

• Broadway stars: Patti Cohenour (Phantom of the Opera), Liz Callaway (Miss Saigon), Kiril Kulish (Billy Elliot the Musical), Debbie Gravitte (Jerome Robbins' Broadway)

• International stars: Kay Tse (Hong Kong), Brian Joo (Korea), Siavash Shams (Iran), Hồ Quỳnh Hương (Vietnam)

Loving the Silent Tears: The Musical was a unique celebration combining a talented team who collectively hold over two dozen Academy, Grammy, Tony and Emmy Awards. Oscar-winning composer Al Kasha (The Poseidon Adventure) was inspired to create and write music for the musical after reading the poetry anthology Silent Tears written by Supreme Master Ching Hai during her own spiritual quest. Mr. Kasha stated “Silent Tears…has touched my heart so greatly, that I saw the potential it had to affect people’s lives by being turned into a musical.”

As MTV noted, the composers are “titans in their musical fields” who include Jorge Calandrelli (Crouching Tiger Hidden Dragon), Doug Katsaros (Footloose), Henry Krieger (Dreamgirls), Don Pippin (La Cage aux Folles), Nan Schwartz (Harry Potter and the Deathly Hallows) and David Shire (Saturday Night Fever).

Directed by Tony nominee Vincent Paterson (Michael Jackson’s and Madonna’s world tours) and choreographed by Emmy-winner Bonnie Story (High School Musical 1, 2, 3), Loving the Silent Tears transformed Supreme Master Ching Hai’s profound and engaging poems into a musical sensation that takes listeners across six continents. The one-time only benefit show was held on October 27, 2012 at the 6,300-seat Shrine Auditorium in Los Angeles, California.

In keeping with the international theme of the show, the music features a wide range of styles and genres, such as “Your Eyes, Your Ears, Your Heart,” performed by Fabiana Passoni in English and Portuguese and accompanied by samba dancing, Jody Watley’s song, the African-inspired “A Real Fool” with its rich, rhythmic melodies and distinct percussion, and the tender ballad “Singing Praise,” sung by Korean pop star Brian Joo and Korean-American singer Heather Park, incorporated elements of traditional Korean music. Singers representing other cultures include Camellia Abou-Odah (Arab), Mark Janicello (Italian), Liel Kolet (Israeli), and Katie McMahon (Irish).

The song representing Brazil was written by the esteemed Jorge Calandrelli, who said of the poetry he set to music, “Beautiful! Very inspiring! That's why when I wrote the music, mainly I responded to what the lyrics were. And lyrics are all about enlightenment, love, all positive things and that kind of message is so beautiful. Nowadays, it's what we all need. We all need spiritual, profound, deep thoughts and emotions. So that's what I really tried to portray in the music.”

Fabiana also expressed, “It changed my life in so many ways. I think everybody [in the cast] somehow, someway was touched in our hearts with the message. Everybody was very good, very professional and everybody put their love and soul into it. And I think that’s why it was a great success.”

The legendary Jon Secada also set Supreme Master Ching Hai’s poem “All Love, All Forgive,” to music in a salsa piece inspired by his native Cuba. He said, “I love the fact that it’s a simple message but with a lot of depth: love, forgiveness, understanding, and caring. Those messages we need today more than ever.”

After viewing the musical, singer/songwriter Sunny Hilden, who has written songs for Ray Charles, Sting, Patti LaBelle, Herbie Hancock, expressed, “If we keep reminding each other we’re supposed to be kind and loving to each other, then we get back to that place where I think that’s our natural state. And I think this musical really spoke to that beautifully.”

The CD includes a special bonus of Supreme Master Ching Hai singing “Talking to a Stone Buddha,” which was composed by the poet herself.

Distributed by Ocean of Love Entertainment, this original cast album comes in a 2-disc CD set and includes a full color booklet with the English lyrics, along with artist and composer biographies and color photos. The album is also available in MP3 format for download, with PDF e-booklet included. Both are available for purchase along with other souvenir items at www.SilentTearsMusical.com/store

NORMAN JOHNSON - GET IT WHILE YOU CAN

Get It While You Can is a fantastic collection of three great songs from the 70's, and original compositions penned by Norman Johnson, Grayson Hugh, and Don Wallace. This collection of songs gives guitarist Norman Johnson the perfect background for his warm and melodic style of playing. Classics like "That's The Way Of The World", "Got To Get You Into My Life", and "Until You Come Back To Me", take on a new life with Johnson's contemporary jazz treatment, all the time keeping true to the essence of the songs. You'll recognize them, but they will feel fresh. The title cut "Get It While You Can" is a perfect example of groove and fun. With a popping horn section, it is the statement feel for the cd. Danza Dance is a latin infused gem enhanced by Ali Ryerson on flute. Grayson Hugh's mysterious "Saudade" is a soundscape that wraps his superb vocals with Johnson's guitar. Killer Jane is a humorous takeoff on Benny Golson's Killer Joe. It features a swinging funky feel and Steve Davis on trombone. Johnson uses electric, nylon and steel string acoustic guitars, to create a wide variety of sound on this recording.

The list of musicians include, Grayson Hugh - piano and vocals, Ali Ryerson - flute, Steve Davis - trombone, Arti Dixson and Anthony Cusano - drums, Ken Fischer, Alex Nakhimovsky and Matt DeChamplain - piano, Don Wallace and Dave Stoltz - bass, Kwaku Kwaakye Obeng, Eric Galm, and Ed Fast - percussion, Chris Herbert - sax and flute, Ricky Alfonso - trumpet. This is instrumental music that will make you sing. Smooth, warm sounds, infectious beats, and great compositions. The title, Get It While You Can, says it all. Release date is February 19.

"JAZZ IN CAMERA" - A RECORDING SESSION WITH DONALD BYRD & BARNEY WILEN

Unreleased soundtrack album of an aborted film project, produced 1958 by Sandro Bocola and Dennis Bailey in Paris. Excellent hard bop and modern jazz session featuring Donald Byrd (trumpet), Barney Wilen (tenor saxophone), Jimmy Gourley (guitar), Walter Davis (piano), Doug Watkins (bass) and Al Levitt (drums). “Jazz in Camera – Bande 1-6″, transferred and mastered from unique transcription discs (acetates), recently discovered in the estate of Barney Wilen as only remaining source. Lost “nouvelle vague” soundtrack with a combination of true jazz legends, finally released after more than 50 years, including original session photos by the producers.

Sandro Bocola: about the soundtrack Jazz in Camera:

Paris in the late fifties had become the Mecca of modern jazz. Among other international stars such as Lester Young, Bud Powell, Kenny Clarke, Zoot Sims, Stan Getz, Chet Baker, Oscar Pettiford, Art Blakey and the Jazz Messengers played in jazz clubs such as the Chat qui pèche, the Club Saint Germain and the Blue Note. Miles Davis recorded the soundtracks for several films in Paris with musicians like Barney Wilen, and Duke Ellington performed in the city with his “Famous Orchestra”.

Shortly after the start of a multi-year sojourn in Paris, I designed the project of an avantgarde jazz film in 1958 together with my friend Dennis Bailey, as a modern version of the legendary short film Jamming the Blues with Lester Young, with a group of musicians in a recording studio who produced a record. We had planned to first record the soundtrack. Then the musicians should be filmed in a studio with multiple cameras, as they repeat their original sound recording in a kind of playback. The resulting footage was then alienated in colour, as rhythmic montage cut to the original soundtrack.

After I had found a sponsor in one of my clients, who would finance the project, I put a little band together with the help of my friend Barney Wilen, which ultimately included the musicians Donald Byrd (tp), Walter Davis (p) Jimmy Gourley (g ), Al Levitt (dr), Doug Watkins (b) and Barney Wilen (ts). Boris Vian, who held a senior position at the record company Phillips, provided the recording studio where we met the musicians in July 1958 for the recording of the soundtrack. It should start with a quick piece, followed by a slow blues, and eventually followed by another quick piece, A Night in Tunisia.

After several test runs, during which we made a series of preparatory photographs, the soundtrack of the planned film was recorded. Now we could start with the first shooting for which we had won the famous cameraman Raoul Coutard. Unfortunately, the unexpected bankruptcy of the sponsor François Peyron finished our project. The laboratory, whose bills we could not afford to pay, refused to deliver us the previously developed film material and the musicians turned back to their own affairs. The only thing we had were the shellac records of the soundtrack, of which Dennis and I kept one copy to listen to them from time to time for our pleasure.

As Patrick Wilen worked up the musical legacy of his late father this year, he came across the soundtrack of the aborted project Jazz in camera at my place, which he, after more than fifty years, now makes accessible to the public for the first time on this CD and LP in collaboration with the Berlin based label Sonorama Records.

Sandro Bocola (Zurich, October 2011)
~ grooveattack.com

NEW RELEASES - RONNIE FOSTER, GENE HARRIS, MAXI ANDERSON

RONNIE FOSTER - ON THE AVENUE

Massive keyboard work from Ronnie Foster – one of his sweet funky 70s sets for Blue Note – and a killer all the way through! Ronnie plays a host of cool keys – Hammond, clavinet, and moog – and he's working here with tight production from George Benson, who really helps find a new soulful edge for Foster's music – plus great horns from Alfred Ellis, who helps bring a bit of his James Brown influence into the mix! Some of the best cuts feel like blacksploitation funk – with Foster taking long solos over some great instrumental grooves – often with the same offbeat twists and turns, and cool colors he brought to his Two Headed Freap album. Titles include "On The Avenue", "To See A Smile", "First Light", "Serenade To A Rock", and a nice version of Stevie Wonder's "Golden Lady". ~ Dusty Groove

GENE HARRIS - TONE TANTRUM

Sweet sweet keyboards from the amazing Gene Harris – one of his seminal electric sides for Blue Note in the 70s – recorded between his earliest fame in the Three Sounds, and his later return to acoustic styles in the 80s! The sound here is equal parts jazz and soul – as Gene's working with vocalist/arranger Jerry Peters, who brings in a good deal of his own groove to the tracks – giving them a strong focus that's sometimes missing from other solo Harris sets. Both Peters and Harris play Fender Rhodes and other keyboards on the album – alongside a variety of players that include Donald Byrd on trumpet, Harvey Mason on drums, and Chuck Rainey on bass. Tracks include the Peters tunes "If You Can't Find Love" and "A Minor", a two-part remake of Duke Pearson's "Christo Redentor", the sweet stepper "Peace Of Mind", and a strong vocal take on Stevie Wonder's "As".  ~ Dusty Groove

MAXI ANDERSON - MAXI

One of the only albums ever cut by Maxi Anderson – a hell of a soul singer who's lent her talents to a number of sessions over the years, but who sounds especially great here in the lead! Anderson's got a vibe that's almost like Minnie Riperton at the time – a warmly glowing approach to soul that's sophisticated, yet sweet and personal too – set up nicely here with some great Cali arrangements from Gene Page, who slides in an undercurrent of funky soul at the bottom – especially on some of the album's great Skip Scarborough cuts. Titles include "Dancin To Keep From Cryin", "Glory Glory", "Delta Road", "Lover To Lover", "Let Him In", "By Your Side", "Walk Softly", "The Perfect Day", and "Music On My Mind". ~ Dusty Groove 

THE UNITY SEXTET IS ABOUT RECOGNIZING THE PAST BUT STILL WALKING A STEP AHEAD...

The Unity Sextet is a special kind of band. Buddy Franco, Fats Young Jr., Cassius Farqhuar, Junior Oliver, Chuck Waldron and ‘Fat Thumbs’ Ronnie met in spring of 2011 whilst playing at different jazz festivals in different bands with different genres ranging from traditional to experimental jazz. Co-incidentally they noticed that they shared the same vision of an open-minded, eclectic jazz style, being upfront and modern whilst still keeping the respect for the past masters. They only later found out that they all hailed from the same region in south-west England. It was like it was meant to be …

Buddy Franco had an idea: being friends with renowned producer and Freestyle Records recording artist Lack of Afro, he asked him whether he would be up for an impromptu, spontaneous session and act as producer, arranger and engineer. Said and done: The Unity Sextet was formed a couple of weeks later, setting up shop in the former warehouse (now recording studio) known as The Playhouse. They lived and worked there through to the end of the summer before moving to Lack of Afro’s studio in a former factory just down the road near Exeter.

The result of the session is simply called “The Unity Sextet” and features thirteen original tracks. Think of Gilles Peterson’s legendary “That’s How It Is” nights at Bar Rumba, Pharoah Sanders’ spiritual, outerwordly excursions, the cool grooves of A Tribe Called Quest or the relaxed sounds of the Horace Silver band and you are getting there. Check out “Do Me A Fredo” or “Dance Of The Pharoahs” and you could imagine yourself in Paris Saint Germain sometime during the mid Sixties. Then nod along to “Black Pearl” or “Right Now” and it’s Soho, London circa late Eighties or early Nineties.

“The Unity Sextet” is about recognizing the past but stil walking a step ahead, and being on the spot without being in a rush. Theirs is a completely instrumental album but still has a lot to say.

www.lounge-records.de
~ grooveattack.com

NEW RELEASES - BOBBY HUTCHERSON, ALPHONSE MOUZON, CARMEN MCRAE

BOBBY HUTCHERSON - CIRRUS

Righteous Bobby Hutcherson from the 70s – one of his last albums recorded in the company of reedman Harold Land – and one of his greatest too! There's a wonderful mix of modes going on here – modal jazz meets California sun, blending a sense of spiritualism with some of the warmth that Hutcherson was increasingly discovering in his music – especially on the album's use of marimbas, which are surprisingly great next to Bobby's vibes! In addition to work from Land on tenor and flute, the set also has the great Woody Shaw on trumpet – plus Bill Henderson on Fender Rhodes, Emanuel Boyd on tenor, Ray Drummond on bass, Larry Hancock on drums, and Kenneth Nash on percussion – a rhythm player who really helps give the record some hip Strata East-like touches. Titles include a sublime reading of Shaw's "Rosewood" – plus "Zuri Dance", "Wrong Or Right", "Even Later", and "Cirrus". ~ Dusty Groove

ALPHONSE MOUZON - MIND TRANSPLANT

Drummer Alphonse Mouzon cut some of the hardest, heaviest fusion albums ever to hit the Blue Note label in the 70s – including this legendary powerhouse of a record! The set features Mouzon with one of his longtime partners – guitarist Tommy Bolin – hitting a hard-rocking, heavy fusion sound that really blows off the roof – more than enough influence from the younger generation to showcase the new energy hitting electric jazz – and a bit like some of the work that Alphonse would do with other artists in later years! Mouzon's drums explode like a case of dynamite hitting a nitroglycerine factory – and Bolin wails away on guitar like a buzzsaw out of control. There's some nice little licks on the set – making the record a good one for the sample crowd – and a really high octane album with loads of nice changes! Titles include "Nitroglycerin", "Mind Transplant", "Snow Bound", "Ascorbic Acid", and "Carbon Dioxide". ~ Dusty Groove

CARMEN MCRAE - I AM MUSIC

Carmen McRae really opens up on this sweet 70s set for Blue Note – expanding past the traditional jazz of her roots, and even some of the groovier work of her Atlantic years – into a sweeping, contemporary sound that's all adult, all the way! The vibe is great – in the same sophisticated, soulful territory as Marlena Shaw's recordings for Blue Note during the same stretch – yet also couched in those unmistakable McRae vocals – always with a crisp edge, even in the mellowest moments – a unique sound that no other singer can touch. The set was produced by Roger Kellaway – who also arranges, along with Dave Grusin and Byron Olson – all of whom give Carmen a set of sweeping larger backings that make for a fairly majestic album – on titles that include "I Am Music", "I Never Lied To You", "Like A Lover", "Who Gave You Permission", "A Letter For Anna Lee", "You Know Who You Are", and "I Ain't Here". ~ Dusty Groove

NEW SET OF LOST TRACKS BY LEGENDARY JAZZ SINGER GREETJE KAUFFELD

New set of lost tracks by one of the outstanding European jazz singers, recorded between 1969 and 1986. Compilation with eleven deeply emotional songs: Greetje Kauffeld performs sensitive ballads, with bands and orchestras arranged and conducted by such masters as Rob Pronk, Jerry Van Rooyen or Rogier Van Otterloo – including five previously unreleased recordings with the Metropole Orchestra. “What has always touched me is her emotional devotion to the song or the story it tells. She sings as she is: a warm and tender person” (Toots Thielemans). Mastered at 24bit/ 96 khz, comes as 6-page-digipak CD and limited vinyl LP with unknown photos and new liner notes.

As one of the outstanding and constantly active, European jazz ladies, Greetje Kauffeld looks back on an incredible, almost 60 year long, career. Long ago in 1960, she recorded her first jazz EP with English lyrics for the Dutch Decca label. Its last song “Who knows why”, performed in a uniquely emotional “Torch Song” style, was finally decisive for the discovery and unprecedented development of the artist Greetje Kauffeld. The Great American Songbook is the repertoire she knows best, and most of all she loves the ballads.

The Dutch girl wanted to be a singer since she was six years old. Aged nine she was listening to the songs of Louis Armstrong, Peggy Lee, Nat King Cole or Frank Sinatra. Doris Day became her initial idol, as Greetje loved her way of singing, directly into the ear of the listener with the very personal warmth and shades of her voice. Then she won her first serious audition in 1956 and became the new singer of the well known Skymasters Big Band. From now on, the 17-year old was heard regularly on Dutch radio. Three years later she left the big band as a freelance singer to appear in a tv show entitled “Greetje Kauffeld sings”, accompanied by the band of sax player Tony Vos. At the same time she sang in the legendary jazz club “Sheherazade” in Amsterdam , together with the resident band “The Diamond Five” of pianist Cees Slinger. They performed the jazz repertoire made famous by singers like Ella Fitzgerald or Sarah Vaughan.

Then Greetje should mainly succeed as a pop singer in Germany and Holland during the 1960s and appeared in numerous tv shows, magazines and radio programmes. She recorded over 20 singles for the Geman Polydor and Columbia labels and landed hit after hit with colleagues such as Paul Kuhn. “You have to hear this voice,” the German Polydor label campaigned in 1961 for her single “Nur eine schlechte Kopie” (“Just a bad copy”). Then came the new beat and rock bands and paved the way for a fundamental change in the music industry and the fashions of time. Around 1968 the “Flying Dutch Girl” had to realize that her career as an entertainer reached some sort of dead end.

Greetje moved to the US with the goal to gain fresh experiences and new artistic ideas. Overseas she performed with Johnny Mann and Herb Ellis in the Joey Bishop Show. Moreover she recorded a (sadly lost) bossa nova album with the band of Brazilian guitarist Oscar Castro-Neves in Los Angeles. In New York she stepped in the audience of a Harlem jazz club by coincidence, together with her future husband, producer and mentor Joop De Roo. The evening developped into their first encounter with the world elite of jazz. On the programme: The Miles Davis Group with Herbie Hancock and Wayne Shorter – in front of an audience of six people only. A truely moving, almost spiritual experience, as Greetje recalls today.

Back in the Netherlands she married Joop in 1969 and had two children, Nathalie and Mark. Moving away more and more from the German entertainment industry and the corresponding pop image, she tested her abilities with the greats of jazz and developped her skills. From now on the artist Greetje kauffeld devoted her entire talents to jazz. Free from the laws of music industry, with the production of Joop including the best arrangers and musicians available, she recorded some highly sought after jazz albums during the 1970s: “And Let The Music Play” (1974), “He Was A King Uncrowned – a tribute to Clifford Brown” (1976) and “Some Other Spring” (1980).

Already in 1969, Greetje recorded the lost version of a song by Jimmy Woode Jr., “Dear Death”. She sang together with the orchestra of Bert Paige, produced by Tony Vos as the earliest recording on this compilation. Four years later the singer lent her wordless vocals to a special but lesser known ballad song by Antonio Carlos Jobim, called “Andorinha”. It features the trumpet of Rick Kiefer and the voices of Greetje and Rob Pronk organized into choirs by overdubbing. The recording was solely released on Rick Kiefer`s lost album “Lush Life”. His band also included the highly respected musicians Ack van Rooyen, Palle Mikkelborg, Rob Franken and Sabu Martinez.

In 1975 Greetje won the radio award at the Nordring Festival in Oslo as best soloist. Moreover she worked with American artists like Mark Murphy or Stan Getz and also appeared on the sought after Diamond Five album “Back Together” The first and last song of this compilation was recorded in 1976 for the small German library label “Colorit” of producer Werner Tautz. Her version of “The Way We Were”, made famous by Barbara Streisand and Doris Day. is often described as sheer bliss by fans and collectors, but is hard to find and has never been reissued. On this title track from the film of the same name, Greetje is accompanied by the musicians of Addy Flor, including Charly Antolini, Karl Drewo, Armin Rusch and the Munich String Section.

Besides Joop de Roo, the highly respected arrangers Rob Pronk and Jerry van Rooyen became Greetje’s biggest supporters. They knew each other for a lifetime and worked together since 1949. Both played trumpet aswell as piano and developped into some of the best arrangers Holland ever produced. Rob and Jerry toured Indonesia, the USA and Europe before settling in Germany. Their works could be heard regularly on Dutch radio and tv, played by the world reknowned Metropole Orchestra conducted by Dolf van der Linden.

In 1975 Joop De Roo organized various sessions for this big ensemble in Hilversum under the working title “the composers portraits”. Greetje and the orchestra, with soloists like Piet Noordijk, Ack van Rooyen and Ferdinand Povel, presented special versions of songs from the Great American Songbook. All five unreleased tracks on this compilation hail from these performances. Eleven years later Greetje performed two songs on a rare album entitled “my Romance”, this time with the Metropole string orchestra conducted by Dolf van der Linden. “You Must Believe In Spring” and “Vincent” belong to the own personal favourites out of her repertoire. For the production of this album, Joop received the “Edison”, the Dutch Grammy.

To this day, she has recorded many more CDs and has been heard live in many countries. Her catalogue has grown with more jazz album highlights like “The Real Thing” (1994), “Dreaming” (2000) or “My Shining Hour” (2005). With a jubilee concert in 2007, the venerated artist was honored for her fiftieth year on the stage. That evening Greetje performed with the Metropole Orchestra again, now conducted by Jörg-Achim Keller, featuring soloists Ack van Rooyen, Piet Noordijk and Ferdinand Povel. This is definitely not enough space to list all her great performances, awards or accomplishments for the jazz in Holland and Europe. Finally after all these years, besides the fabulous artistic level, her modesty and great human warmth must be emphasized. Keep going Greetje!

www.sonorama.de
~ grooveattack.com

STEVE LUKATHER - TRANSITION

Mascot Label Group will release the highly anticipated seventh solo album “Transition” by guitarist, vocalist, composer, producer, and arranger, Steve Lukather, on Monday 21st January 2013. The new single “Right The Wrong” is released on the same day. “Transition” will be released in three formats including limited deluxe edition CD, jewel case CD, and vinyl.Over the previous decade a series of trials including divorce, the death of his mother and business hassles had dampened his joy in music making — a passion that drove Lukather to excel since seeing the Beatles on the Ed Sullivan as a seven-year-old growing up in San Fernando Valley. Today the guitar guru is happy, healthy and strongly reconnected to his muse, and the lushly expressive Transition, his second Mascot album, finds him at a creative peak.

Transition strikes a perfect balance of style, power and imagination as Lukather takes risks and faces challenges in ways most other players can’t fathom. “Transition is a turning point for the album and a turning point for me,” Lukather explains. “As we were writing the songs, I was thinking about everything I’ve seen — all the people I’ve lost in my life, the great and the difficult experiences I’ve had, and how ultimately it was time to get it together and embrace things for what they are.” One of the original founding members of the multi-million selling rock band TOTO, Lukather will showcase his innate feel for rock and jazz guitar music, along with his impeccable song writing talents. Transition showcases extraordinary guitar playing performed across some of the most heartfelt songs of Steve’s career.

In addition to his work with TOTO, Lukather is a 5-time Grammy winner who has played on 2000+ albums with some of the biggest stars and legends in music including Elton John, Paul McCartney, Roger Waters, Miles Davis, Alice Cooper, George Benson and Rod Stewart. He also played guitar on Michael Jackson’s multi-million selling milestone album ‘Thriller’, and is a member of Ringo Starr’s All-Starr Band (2012-2013), and has also toured with Joe Satriani, Steve Vai and John Petrucci in G3 2012. Following the release of the new album, Lukather will embark on an extensive European tour that will take in two UK concerts at London’s Islington o2 Academy (March 29) and Bilston’s Robin 2 (March 30).

  ~ hardrocknights.com

NEW RELEASES - ANDREA BALDUCCI, TIMO LASSY, GAETANO PARTIPILO

ANDREA BALDUCCI - BLOOM

One of the most soulful albums we've heard from Schema in many years – a brilliant batch of jazzy tracks from singer Andrea Balducci – served up with backing by a great lineup of players from both the Ricky Tick and Schema worlds! The core approach is jazz, but many of the songs are done with a very soulful approach – a style that's a bit like Mario Biondi, especially given Balducci's use of English throughout, and his raspy vocals – yet more 60s soul in the end, with a unified aesthetic that really holds strong over the course of the album. Players include Jukka Eskola on trumpet, Timo Lassy on tenor, Gaetano Partipilo on alto, and Luca Mannuzta on Fender Rhodes and piano – and titles include "Hurt So Bad", "Spooky", "Within Myself", "Big City", "I Just Dropped In", "Time Will Come", and "The Meaning Of Love". CD features a bonus track – "Hurt So Bad (swing version)". ~ Dusty Groove

TIMO LASSY- IN WITH LASSY

The sound of Ricky Tick hits Schema Records – with a whole new groove in the process! Tenorist Timo Lassy has won our ears strongly with his previous records for Finnish label Ricky Tick – hardbop groovers that are filled with soul and life, and lots of spontaneous live jazz playing. This smoking Schema records set has all that same sort of energy – but shifts the groove slightly from hardbop to more of a mod sort of style – thanks to use of Wurlitzer electric piano in the combo, which helps bring along a jaunty approach to the rhythms! The vibe's a bit like an Atlantic Records soul jazz set from the late 60s – like work by David Newman or Hank Crawford – and Timo's tenor is in great company alongside the electric keys, acoustic bass, drums, and percussion. Titles include "Touch Red", "Teddy The Sweeper", "Creole Stew", "It Could Be Better", "Uncle Harry Came To Town", and "Shootin Dice". ~ Dusty Groove

GAETANO PARTIPILO - BESIDES: SONGS FROM THE SIXTIES

Just a few of the songs here are from the 60s, and many of the rest are written by Gaetano Partipilo himself – and mixed with a few Brazilian numbers as well – all to round out a wonderfully rich sounding album that really lives up to the best Schema tradition! Instrumentation is mostly live jazz – played by Gaetano on alto sax, as well as Nicola Conte on guitar, Pietro Lusso on Fender Rhodes, Pasquale Bardaro on vibes, and Fabrizio Bosso on trumpet – but maybe best of all are the vocals, which shift a bit over the course of the record, and include raspy soul lines from MR Natural, and warmer female vocals from Alice Ricciardi, Heidi Vogel, and Rosalia De Souza. Half the tracks are instrumentals, and the mix of modes really makes the album great – never settled too far into one comfortable corner, and really taking the listener on a great journey overall! Titles include "Essa Mulher", "Se Voce Pensa", "Beyond The Days", "Jive Samba", "Right Now", "13 Death March", "Wall & Water", "Atras Da Porta", "The Sticks", "Moon Flower", and "Ocean Dance". ~ Dusty Groove

NEW RELEASES - ZIGGY MARLEY, STUDIO ONE IRONSIDES, SHAPES 12:01 COMPILED BY ROBERT LUIS

ZIGGY MARLEY-  LIVE IN CONCERT

Recorded live on Ziggy’s 2012 World Tour, Ziggy Marley In Concert captures the excitement of his shows and the connection to his audiences that has made Ziggy Marley one of the most beloved artists in the world. Filled with passionate performances, exceptional musicianship, and fan favorites like “Tomorrow People” and “Wild And Free,” Ziggy Marley In Concert is the next best thing to being there. His band includes legendary drummer Santa Davis (Peter Tosh, Jimmy Cliff, Carlos Santana), lead guitarist Takeshi Akimoto, guitarist and backing vocalist Beezy Coleman, bassist Pablo Stennet, keyboard players Michael Hyde and George Hughes, percussionist Angel Roche, and backing vocalist Tracy Hazzard. Recorded by the legendary Errol Brown and by Fabian Cooke – Errol Brown was also in charge for the final mix-down at Barefoot Studios! ~ grooveattack.com

STUDIO ONE IRONSIDES - ORIGINAL CLASSIC RECORDING 1963-1979 (VARIOUS ARTISTS)

A cool collection of cookers from the legendary Studio One Records – pulled together here in a collection that bears the Ironsides name of one of its sub-labels, as a great indication of some of the obscure tracks included within! The collection features loads of gems from the earliest years of Studio One – a mix of rocksteady and early reggae cuts that have that wonderfully rootsy feel that was the label's calling card – a way of laying down instrumentation and vocals with a bottom-heavy sound that filters everything together beautifully – and comes out with a wickedly seductive groove. The set's overflowing with cuts we'd never heard before – and titles include "Three Mile Skank" by Lone Ranger, "Rasta Don't Stop No One" by The Stingers, "Nanny's Corner" by Don Drummond, "Danger In Your Eyes" by The Paragons, "Mother & Child" by Fabian Cooke, "Mark My Word" by Marcia Griffiths, "Another Night" by The Soul Sister, "I'm still Waiting" by Cornel Campbell, and "Jamrec Dub" by Pablove Black.  ~ Dusty Groove

SHAPES 12:01 - COMPILED BY ROBERT LUIS (VARIOUS ARTISTS)  

 A shapely set of grooves from the Tru Thoughts label – and one that also features a fair bit of rare mixes and hard to find tracks! The package is a great way to dip into the richness of the label – one of the few leftfield imprints that are still going strong these days, and continuing to push boundaries with its fresh approach to a 21st Century groove. Creative production and soulful vocals abound – and titles include "Heroine" by Freddie Cruger & Anthony Mills Are Wildcookie, "Sleepwalker (Ambassadeurs rmx)" by Nostalgia 77, "Darkrum" by Anchorsong, "The Why" by Mark De Clive-Lowe, "Swing Samba" by Drumagick, "Big Fat Liar" by Kinny, "Fairplay (Zed Bias old skool mix)" by Zed Bias, "Sleepwalker (Lanu rmx)" by Nostalgia 77, and "Crash & Burn (Hint club mix)" by Hint. 2LP set features 12 tracks – and also includes a CD of the full album, with 29 tracks in all! (The 2LP version also includes the full 29 track album on 2CDs.)  ~ Dusty Groove

MENAGERIE - THEY SHALL INHERIT

The time is now for Lance Ferguson to use his experience and judgement to pass the information and extend the knowledge. And this time, we shall inherit. But not just us, for here comes the family. Lance’s reflections on fatherhood have shaped this album and his children’s names figure in the track titles. Songs from their father.

So who is this menagerie that Lance has assembled here, these angels and demons at play? Well first, this was not conceived of as a ‘Bamboos side-project’. Musically and sonically, philosophically, and in personnel, this is the articulation of other sounds. Jazz, yes, but it is also not ‘The Lance Ferguson Octet’ or some other vehicle for soloists to show off their individual chops. Where these pathways meet, the whole is indeed more than the sum of the parts. Lance sets the example of selflessness, soloing just once and sitting out completely on all but two tunes. Other than Fallon Williams’ performance on The Quietening, most of the vocals are part of the ensemble rather than out front.

However special mention must be made of Phillip Noy and Mark Fitzgibbon, two of the musicians featured heavily on “They Shall Inherit”. Phil is one of Melbourne’s top saxophone technicians and for this album reconfigured his horns to match Coltrane’s settings. Just don’t expect to be able to play anything like Phil if he repairs your sax. Mark Fitzgibbon’s background includes time soaking up London’s jazz dance scene in the late 80s, playing keys at the legendary Dingwalls sessions hosted by Gilles Peterson and Patrick Forge.

This View Street jazz experience was recorded with the assistance of Lance’s long-time engineer, John Castle. In recording and mixing the album, they have inherited the sound of some of the classic music of Harry Whitaker, Gary Bartz, McCoy Tyner, Weldon Irvine and the labels Tribe, Strata East and Black Jazz. Not forgetting special guest Roy Ayers, who should be credited for his vibes and vibrations. But this project is not simply a 1975 time capsule, with songs like The Chosen sounding like a live jazz take on some of the club music experiments of the 21st century producers inspired by Ayers, Mizell and the like. Back to the future.

It’s time to open the door to the cosmos and let Menagerie’s sweet songs take you sky high.

www.tru-thoughts.co.uk
~ grooveattack.com

BARNEY WILEN - MOSHI TOO

Another world premiere from the estate of French jazzman Barney Wilen. A deep journey into the world of his unknown tapes from psychedelic Africa. 80 minutes of previously unreleased recordings from 1969-70, not to be found on the tenor player’s regular “Moshi” album. Dark and trance-like amalgam of Afro blues, acid rock jams, polyphonic rhythms and spiritual jazz influences from the likes of Coltrane or Sanders, mixed with playbacks, noises, ambient sounds, ethnic music and documentary snippets from Algeria, Niger, Burkina Faso and Senegal. Comes as a 6-Page Digipak CD with booklet and limited 2LP vinyl set in gatefold cover, including new sleeve notes and unseen photos from the collection of Caroline De Bendern, icon of May ’68 and Barney’s wife.

MOSHI: trance utterance by the Fullani Bororogi (Niger). “MOSHI is the Bororogi’s way to get rid of the blues, a trance-like state which involves possession by a special demon called MOSHI” (CdB).

In 1969 and 1970, French jazz saxophonist Barney Wilen (1937-1996) travels through Morocco, Algeria, Niger, Mali, Upper Volta (now Burkina Faso) and Senegal to Dakar with a group of musicians and filmmakers. Once a celebrated bebopper in the Fifties, now, at the end of the Sixites, Barney decides to “drop out”. Aboard a brightly coloured Land Rover is his girlfriend and future wife, Caroline De Bendern, model and icon of the May ’68 Paris riots. Moreover, they packed instruments, amplifiers, tape recorders and camera equipment. The goal is to shoot a 35 mm road movie, financed by funds from the new production company “Zanzibar Productions”. After two years, Barney and Caroline return to Europe without a finished movie. However, there are over 50 tapes in their luggage, capturing music and sounds from different stations of their journey recorded on a Nagra tape recorder with people they met along the way.

Almost all of these “original African recordings” are unreleased until today and now see the light of day under the title MOSHI TOO. Infected by Pharaoh Sanders and John Coltrane, enthusiastic about jazz-rock and the spontaneous free jazz scene, Barney plays psychedelic desert blues and spiritual Afro Jazz – hypnotic sessions with deep tenor saxophone, funk guitar, bass and drums in a trance-like flow. Occasionally, he works with backing tracks and noise or ambient sounds. In addition, there are documentary recordings of African music and singing groups, of various single traditional instruments such as the balafon, oud or flute and the rhythms and chants of nomadic tribes to the sounds of nature, Muslim prayers or voodoo voices.

Producer Pierre Barouh later uses some brief excerpts from the tapes in a Parisian studio. Collage-like, they serve as the background of the recording sessions for “Barney Wilen – MOSHI”, a recognized landmark on the way to “World Jazz”, released in 1972 on the label Saravah. Short extracts are also included in Caroline and Barney’s film “A L’intention de Mademoiselle Issoufou à Bilma” (1971). “Spare parts of indeterminate origins,” as Jason Ankeney calls these obscure snippets correctly in the All Music Guide. After cancellation of the African project, the tapes have been largely forgotten but kept secure by Barney for future activities. Patrick Wilen finds them at last as he reviews the estate of his late father and, with a clear view on the coils, also remembers his words: “Do something with it!”.

In the course of 2012, over several months, the recordings are digitized in Berlin with Nagra and Telefunken tape recorders and compiled unchanged (technically restored and corrected only) for MOSHI TOO. In Order to really understand MOSHI, you can finally experience the music as intense as it was made. Barney’s African dream lives on. (Ekkehart Fleischhammer 2012)

www.sonorama.de
~ grooveattack.com

NEW RELEASES - QUANTIC & ALICE RUSELL, PATTI AUSTIN, JESSE JAMES

QUANTIC & ALICE RUSSELL - MAGDALENA

Soulful funk with Colombian touches – a real triple-header of talents that features Alice Russell on vocals, and Quantic leading his cool Combo Barbaro! "Magdalena" has a sound that's really wonderful – vocals from Russell that really surprise us – with a mix of soaring soul and warmth that's almost Stevie Wonder, somehow sounding perfect here with the cut's slight Latin jazz touches! "Look Around The Corner" is another great cut from the project – but given two more contemporary spins here in a gospel mix by Simbad and another by Behling & Simpson. ~ Dusty Groove

PATTI AUSTIN - END OF A RAINBOW: THE CTI MASTERS

CTI Masters, and then some – a collection that features one full album from Patti Austin, plus lots of bonus tracks too! The first 10 tracks on the album comprise the classic End Of The Rainbow debut for CTI – wonderfully warm soul from the great Patti Austin – a key artist in the late 70s, and one who really helped push the music forward with a new sense of sophistication! Patti's got a strongly jazzy vibe here – and works with David Matthews arrangements that are really well put-together – less funky than some of Dave's other work of the period, and filled with these mellow moments that really let Austin's energy flow! The overall feel is a bit like some of Jean Carn's work on Philly International – hip, sophisticated, and filled with plenty of jazz touches – although with an even stronger approach to ballads – and titles include the classic "This Side Of Heaven", plus "More Today Than Yesterday", "Say You Love Me", "In My Life", "Give It Time", and "What's At The End Of A Rainbow". CD then goes onto include 8 more tracks from other CTI albums from Patti – equally great numbers that include "Havana Candy", "I Just Want To Know", "We're In Love", "I Need Somebody", "Lost In The Stars", "Body Language", "Another Nail For My Heart", and "I Want You Tonight". ~ Dusty Groove
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JESSE JAMES - DO NOT DISTURB  

The great Jesse James – still going strong! We've loved Jesse for decades – from his great 60s album on 20th Century, through his important 70s underground singles, and even into his later bluesy years – a great place for James' talents in the later generation! This album's definitely got that feel – kind of a Malaco Records sort of sound, but arguably produced with a sweeter feel than Malaco's had on any of their sessions for many many years – southern soul that's contemporary, yet pretty darn timeless too – especially with vocals as great as James'. Millie Jackson adds in a few great guest appearances – and titles include "Let's Get A Room Somewhere", "Are You Gonna Leave Me", "I Can Do Bad By Myself", "Where Do Lonely Lovers Go", "A Change Is Gonna Come", "If He Can't Hold His Pants Up How Can He Hold You Up", and "It Just Don't Feel The Same". Also features a XXX live version of "Let's Get A Room" – and an interview with Jesse! ~ Dusty Groove

AARON NEVILLE'S BLUE NOTE RECORDS DEBUT "MY TRUE STORY" SET FOR RELEASE ON JANUARY 22, 2013

Iconic soul/R&B vocalist and multiple Grammy Award-winning artist Aaron Neville will celebrate the release of his latest album and Blue Note Records debut My True Story with a host of high-profile appearances. They include performances on The Today Show on January 23rd and The Tonight Show With Jay Leno on January 29th, a featured interview on NPR’s Morning Edition that will be broadcast on the album’s release date of January 22nd, a sit-down interview on PBS’ Tavis Smiley that will air in February (check local listings), a performance for the Yahoo! Music series “The Sessions” that will be posted on January 21st, and a performance for NPR’s “Free At Noon” concert series that will broadcast live from Philadelphia’s World Café on January 18th.

NPR All Things Considered has named My True Story one of the most anticipated releases of 2013, saying, “there is an enormous amount of passion put into it, he clearly loves and wants to embody this material…It’s quite lovely.” Listen to the story here. NPR will also host an exclusive “First Listen” of My True Story from January 14th through the album’s January 22nd.

In addition, PBS will air the special Aaron Neville: Doo Wop: My True Story — a concert filmed in November at New York’s Brooklyn Bowl — in March 2013. For the show, Neville was joined by incredible array of musicians and guests, including guitarist Greg Leisz, drummer George G. Receli, and bassist Tony Scherr (all of whom played on My True Story), Neville Brothers’ saxophonist Charles Neville, keyboardist Michael Goods, and backing vocalists Joel Katz, David Johnson, and Earl Smith, Jr. Neville was also joined by special guests Paul Simon, Joan Osborne, Eugene Pitt of the Jive Five (who co-wrote the album’s title song), and Dickie Harmon from the Del-Vikings. Watch a private preview here.

My True Story finds Neville revitalizing some of his favorite songs from the doo-wop era and beyond, including “Tears on My Pillow” and “Under the Boardwalk,” and performing them in his inimitable vocal style. The album was produced by Blue Note Records President Don Was and Keith Richards, who also contributes his signature guitar playing throughout the album. To Neville these songs weren’t just the soundtrack to his youth; they became the underpinning for all of the remarkable music he has created across five decades.

Last month Neville wrapped up his annual Christmas Celebration tour, during which he performed holiday songs, fan-favorite hits, and songs from My True Story to sold-out audiences across the country. The album is available for pre-order on iTunes here and Amazon here. Watch a video about the making of My True Story here. Neville will return to the road in support of his new album in the spring. Please see below for dates.

Aaron Neville Quintet – Spring 2013 Tour Dates:
April 13 Birmingham, AL Alys Robinson Stephens PAC
April 14 Nashville, TN War Memorial Auditorium
April 16 Skokie, IL North Shore PAC
April 18 Milwaukee, WI Northern Lights Theatre
April 19 Cleveland, OH Tri-C Jazz Fest – State Theatre
April 27 Shreveport, LA Sam’s Town Hotel & Casino
April 28 Houston, TX Houston International Festival
May 04 Biloxi, MS IP Casino
June 02 Augusta, NJ 24th Annual Crawfish Fest

NEW RELEASES - TRAVIS BRIDGES, MIKE MYERS, THE BOWTIES

TRAVIS BRIDGES - HORN OF PLENTY (HARVEST HARMONY)

In the words of Travis Bridges, this new CD, is designed to inspire listeners. Each title of every song, original and cover, has a special meaning that lends itself to Travis' recent life experiences. It particularly targets those who need inspiration in their "love life" or "life with loved ones". From one who is happily married, single and looking, hurting from a past relationship, missing someone who's crossed over or to those who may need to feel closer to God Himself. Of the total 14 songs- 7 originals & 7 covers, there is a song that nurtures each experience with an uplifting, happy vibe. Titles include; The title cut-Horn of Plenty, Share my life, Draw me close to you, When somebody loves you back, Fix Everything and Love on top to name a few. Although we all may need something different and not everyone is inspired the same, this project is sure to fulfill the deepest desire for inspiration and motivation so thanks to you in advance for considering this project in your "special" section as many will be moved, blessed and inspired by it. ~ CD Baby

MIKE MYERS - THE BIG PICTURE

Mike Myers is proud to present his newest solo album, The Big Picture, a diverse collection of creative instrumental music from the Denton, Texas based composer-drummer-keyboardist. This inventive, beautifully packaged set features nine performances of Myers' original instrumental jazz/rock compositions which rely heavily on classic analog synthesizer sounds which were first made popular in the 1970s. The Big Picture is an incredibly absorbing listen. Boasting confident musicianship and a dazzling variety of contrasting styles, The Big Picture is a highly accessible and very listenable creation. As on his two other solo albums, Sonic Frontiers, and Myriad, Mike Myers handles the duties of playing all instruments, recording, mixing and producing his original music. The Big Picture contains a mixture of diverse styles such as jazz fusion, reggae, symphonic rock, minimalism, classic rock, electronic and ambient music. It's a challenging collection that accords the listener a modicum of imagination and intelligence. ~ CD Universe  

THE BOWTIES - BLACK TIE OPTIONAL

The Bowties have been entertaining audiences in and around Rochester, NY since 1997 with their unique blend of jazz and pop a capella music, with a few oddities thrown in for good measure (e.g., medleys of movie theme songs, the slightly bizarre 'Easter Island Island Head', Frank Zappa's 'Planet of the Baritone Women'). Members of the Greater Rochester Choral Consortium, the Bowties regularly sing at bistros, community festivals, private parties, and special events at locations around Rochester from Syracuse to Niagara on the Lake in Canada. In addition, they donate a portion of their time each year to sing for various charities and civic events. ~ CD Universe

BONEY JAMES RE-SIGNS WITH CONCORD RECORDS AND PRESENTS NEW PROJECT "THE BEAT" DUE FOR RELEASE APRIL 2, 2013

Three-time GRAMMY nominee Boney James has returned to former label Concord Records with a dynamic, genre-busting album The Beat. One of the most successful instrumental artists of our time with sales totaling over 3 million records, James’ new project fuses his R&B/Jazz roots with Latin rhythm and percussion.

“This record was born of my love for both Latin and R&B music and became a mash-up of the two genres. The initial inspiration for the record was Sergio Mendes’ “Batucada (The Beat),” which I re-imagined as a funk tune.” “Batucada (The Beat)” reunites Boney with trumpet great Rick Braun. “Rick and I have a wonderful history. There is a certain edge and energy that comes out when we play together that creates a really cool vibe.”

Other special guests on the project include eclectic R&B soul singer Raheem DeVaughn and spoken word phenom The Floacist. The first Urban AC single, going for adds in mid-February, is “Maker of Love,” a sexy, soulful song featuring DeVaughn. “Raheem is an artist I’ve wanted to work with for a long time and we actually met by following each other on Twitter! I sent him the track and he came back with an incredible lyric and finished vocal,” says James.

UK poet and musician The Floacist (former partner of Marsha Ambrosius) brings a seductive flow to “The Midas (This is Why)” which adds to the World Music flavor of the album. James says, “This track is a real serious mash-up with the R&B groove, the shekere and conga percussion, coupled with the ‘Euro’ vibe from The Floacist!”

Other treasures on the album include James’ fresh take on Stevie Wonder’s R&B/Latin classic “Don’t You Worry ‘Bout a Thing,” along with originals by James that run the gamut from subtle and sophisticated with tracks like “Acalento (Lullaby)” and “Mari’s Song,” to high energy with “Sunset Boulevard,” and “Powerhouse.”

James produced the record and wrote (or co-wrote) eight songs. The album marks his return to Concord Records. Mark Wexler, General Manager/SVP, Concord-Telarc Label Group says, “Boney is one of those unique artists that truly understands his outstanding talent and knows how to blend his originality with what his fans love to hear. We couldn’t be more thrilled to have him back as part of our Concord family.” James is equally enthusiastic about re-joining the label, “Concord and I have had great successes, previously, and I couldn’t be more excited to be working with them on one of the best records I’ve ever done.”

In addition to his GRAMMY nominations, James is a Soul Train Award winner (Best Jazz Album) and has been honored with an NAACP Image Award nomination for Best Jazz Album. He has accumulated four RIAA Certified Gold Records. To date, nine of James' albums have reached No. 1 on the Billboard Contemporary Jazz Chart and two have reached the top 10 on the R&B Albums Chart, a rare feat for an instrumental artist.

Complete Track Listing:
1. Don’t You Worry ‘Bout A Thing (4:56)
2. Sunset Boulevard (4:07)
3. Missing You (3:37)
4. Batucada (The Beat) featuring Rick Braun (4:03)
5. Maker of Love featuring Raheem DeVaughn (3:48)
6. Mari’s Song (4:28)
7. Powerhouse (4:00)
8. The Midas (This Is Why) featuring The Floacist (4:03)
9. Acalento (Lullaby) (4:04)
10. You Can Count On Me (4:57)

Boney is also renowned for his compelling live performances. According to The Boston Globe: “Let’s make something perfectly clear: James is not a smooth jazz player. Yeah, he is often grouped with people like Kenny G and Najee, but his music is muscular and gritty….James swaggers across the stage like a blacktop hero draining trays on an overmatched opponent. He even weaves his way through the crowd, all but daring them not to have a good time.”

Boney will be on tour for all of 2013 following the release of The Beat.

Initial tour dates are:
3/30 Detroit MI – Fox Theater
4/6 Las Vegas NV- Boulder Station
4/18 Panama City Beach FL- Seabreeze Jazz Fest
4/20 Durham NC- Carolina Theatre
4/23 Bergen NJ- Bergen PAC
4/24 Glenside PA- Keswick Theatre
4/25 Cleveland OH- Ohio Theatre
4/26 Pittsburgh PA- Byham Theatre
4/27 Buffalo NY- Buffalo State PAC
4/28 Alexandria VA- The Birchmere
7/21 San Dimas CA- Jazz Fest West
10/12 San Diego- Smooth Jazz Cruise
10/25 Troy NY- Troy Savings Bank Music Hall
10/26 New Haven CT- Lyman Center
10/27 Boston MA- Wilbur Theater