NEW RELEASES - SHIRLEY SCOTT, HERBIE MANN, TEDDY CHARLES

SHIRLEY SCOTT - SHIRLEY SCOTT AND THE SOUL SAXES

Hip soulful work from organist Shirley Scott – one of the first records that has her breaking out of the straighter soul jazz sound of her work on Prestige and Impulse – and a gem of a set that features some great funky arrangements from the great Marty Sheller! The group's all-Atlantic all the way through – with players that include King Curtis, Hank Crawford, and David Newman on "soul" saxophones – backing Shirley up on a batch of tunes are mostly takes on 60s pop and soul hits – given a larger band groove, and a sweet Atlantic swing! The album's got a great funky version of "It's Your Thing", plus "I Wish I Knew How it Would Feel To Be Free", "Get Back", and "Natural Woman". ~ Dusty Groove

HERBIE MANN - IMPRESSIONS OF THE MIDDLE EAST

Very groovy stuff – and one of Herbie Mann's best records from the 60s! In a way, this album's very similar to some of the best Verve "groovy experimental" albums from the same period – like some of Cal Tjader's Eastern/Latin work – and it features Herbie playing with a wide range of instrumentation that includes oud, zither, harp, and lots of eastern percussion – really adding some great elements to the jazzy tunes. Keeping things real, though, are some key musicians – Roy Ayers on vibes, Jimmy Owens on trumpet, and Julian Priester on trombone – plus wicked rhythm from Reggie Workman on bass, Bruno Carr on drums, and Patato Valdez on percussion. Tracks are very groovy – with a mixture of jazz and exotic instrumentation – and titles include"Odalisque",  "Turkish Coffee", "Uskudar", "Eli Eli", and "Dance Of The Semites". ~ Dusty Groove

TEDDY CHARLES - WORD FROM BIRD

A richly complex album from vibist Teddy Charles – easily one of his greatest albums ever, and certainly one with the boldest sound! The groups here are filled with hip players – all working under Charles' direction in a set of tracks that shimmers with dark sounds and moody colors – often as textural as it is jazz-based – with a level of sophistication that goes beyond even Charles key modernist work from the early 50s. Teddy's on vibes, alongside Art Farmer on trumpet, Eddie Bert on trombone, Hal Stein on alto, Don Butterfield on tuba, George Barrow on baritone, Hall Overton on piano, and Jimmy Raney on guitar – and while some tracks feature a tentet, 4 of the album's numbers feature a smaller quartet with Charles Mingus on bass! Titles include the 10 minute composition "Word From Bird" – plus "Blue Greens", "Laura", "Showtime", and "Just One Of Those Things". ~ Dusty Groove

KYLE EASTWOOD - THE VIEW FROM HERE

It has been 15 years since bassist Kyle Eastwood burst onto the jazz scene with his 1998 debut, From There To Here. At that moment in his budding career, the press seemed more preoccupied with his paternal lineage (he's the son of famed actor-director Clint Eastwood) than his music. Over the course of the four subsequent releases - 2004's Paris Blue, 2005's Now, 2009's Metropolitan and 2011's Songs from the Chateau - Eastwood built up an impressive body of work while earning respect in musician circles. With his sixth release as a leader, The View From Here on the JazzVillage label, he demonstrates a strong command of both electric and upright basses while expanding into more adventurous territory that is informed as much by jazz as it is by world music. "I've always loved music from other countries," says the Carmel, California native who has resided in Paris for the past eight years. "Living in France, you hear a lot of North African and Middle Eastern music, and you can hear some of those influences on this new recording."

Accompanied by a London-based crew of stellar young musicians worthy of wide recognition -- pianist Andrew McCormack, tenor saxophonist Graeme Blevins, trumpeter Quentin Collins and drummer Martyn Kaine -- Eastwood and company blend infectious grooves and outstanding improvisations throughout eleven diverse tracks on The View From Here. "They're all really talented players," says Eastwood, "and we've been playing together for a while now, developing a real band chemistry. We ended up writing a lot of these new tunes together either at rehearsals or out on the road during last year's tour around Europe. Sometimes I would come up with a couple of ideas or Andrew might bring something in, then everybody would just add on to it after that."

That cooperative process would culminate in several co-written compositions on The View From Here. The album kicks off with the percolating, polyrhythmic "From Rio to Havana," which shifts nimbly back and forth from clave-fueled groove to subtle samba rhythms. Blevins and Collins forge a tight frontline, each also contributing bold, swaggering solos to the proceedings, while Eastwood bubbles underneath on electric bass. McCormack's catchy son montuno piano riffing at the tag brings this bristling opener to a Latin jazz conclusion. The mellow "For M.E.," written for Eastwood's mother, Maggie Eastwood, is a loping, melodic number that features the bassist stretching out on an expressive electric and cleanly executed solo midway through. Collins, who demonstrates some of the high note bravado of a Lee Morgan or Freddie Hubbard throughout the recording, turns in another potent solo on this moody number.

The rhythmically tricky title track hinges on a catchy ostinato figure played in unison by Eastwood on electric bass and McCormack's left hand piano lines. Frontline partners Blevins and Collins float in half time on top of that urgent undercurrent, creating a dreamy effect. Pianist McCormack pushes the harmonic envelope on his brilliant solo here while Collins takes his time building to a bristling high-note crescendo on his solo. Blevins adds some of his own with a smoldering tenor sax solo. "Sirocco," named for the wind that blows across the Mediterranean from North Africa, opens with a blend of flamenco handclaps and Eastwood's mesmerizing pulse on upright bass before segueing to the lyrical theme provided by the tenor-trumpet frontline. McCormack freely explores on this tempo-shifting vehicle while Collins turns in his most lyrical solo on flugelhorn. Eastwood also shows his agility and chops on the upright in an impressive bass solo here. The mysterious "Luxor" opens with drummer Kaine playing hand percussion alongside Eastwood's bubbling electric bass lines as Blevins and Collins blow haunting long tones over the relaxed groove. Collins turns in an outstanding double time solo on this slowly evolving number that definitely harkens back to his trumpet hero Freddie Hubbard. Midway through the piece, the band drops out leaving pianist McCormack to explore in dramatic fashion. "Andrew and I wrote that together in my apartment in Paris," explains Eastwood. I guess we were going for a little of the 'Tutu' vibe on that one," he adds, referring to the title track of Miles Davis' landmark 1986 album produced by bassist-composer Marcus Miller.

The buoyant, African flavored "Une nuit au Sénégal" throbs with an upbeat dance energy and also unleashes Collins and Blevins on some exhilarating call-and-response over the infectious Afro-beat groove created by Eastwood's electric bass and Kaine's insistent backbeat. Eastwood also flashes some accomplished slap bass chops on his extended solo here. On the intricate 6/8 vehicle "The Way Home," Eastwood digs in on his woody-toned upright alongside Kaine's insistent beats, providing a deep foundation for Australian-born tenor saxophonist Blevins to build a monstrous solo that reflects some of the passionate intensity of his New York mentor, saxophonist Chris Potter.

The evocative ballad "The Promise" is based on a haunting theme played by trumpeter Collins and repeated by Blevins on soprano sax. "That's another one that Andrew and I wrote together during the same session where we wrote 'Luxor,'" says Eastwood. "We were just hanging out in my apartment, coming up with melodies. This one originally started out as a Paco de Lucia kind of thing but it eventually developed into what you hear. It's kind of screaming for a film soundtrack or something." Eastwood carries the melody of the moody "Mistral" on electric bass. As the piece develops, it gradually builds to a heightened crescendo with explosive simultaneous soloing by trumpet and tenor sax. The opening salvo of harmonics that kicks off Eastwood's "Summer Gone" immediately triggers memories of the late, great electric bass virtuoso, Jaco Pastorius. As Eastwood says, "There's always some of Jaco's playing creepin' in. He was definitely a big influence when I first started playing electric bass." Eastwood flaunts his impressive facility on an extended electric bass solo on this lone piano trio offering while McCormack also takes off on another harmonically provocative excursion on his extended piano solo.

The collection closes on a funky note with the earthy, Meters flavored "Route de la Buissonne," underscored by Eastwood's old school upright bass groove in tandem with Kaine's laid back, New Orleans flavored second line groove. Eastwood digs deep on his solo here, revealing the influence of Ray Brown, an important mentor in his early developmental years as a bassist. "I started on electric when I was in high school, just sort of teaching myself," recalls Eastwood. "Then I studied for a few years with Bunny Brunel, who was an important teacher for me. He made me learn to read music and he actually got me started on the acoustic bass as well, studying classical bass. Then I took a few lessons with Ray Brown, learning about playing time and walking and stuff. Everything I do on upright bass now that has to do with groove or walking comes from Ray."

In addition to his six solo albums, Eastwood has also contributed music to eight of his father's films: The Rookie (1990), Mystic River (2002), Million Dollar Baby (2004), Flags of Our Fathers (2006), Letters from Iwo Jima (2006), Changeling (2008), Gran Torino (2008) and Invictus (2009). And while he takes pride in those credits, his most personal, fully realized and rewarding project to date is his current quintet offering, The View From Here.

Upcoming Kyle Eastwood Performances:
March 17 / Catalina Jazz Club / Los Angeles, CA
March 18 / Kuumbwa Jazz Club / Santa Cruz, CA
March 19 & 20 / Jazz Alley / Seattle, WA
March 26-31 / Blue Note Jazz Club / New York, NY
April 4 & 5 / Jasper Art Center / Jasper , IN
April 6/ OSU Urban Arts Space / Columbus, OH
April 7 / The Blue Shop/ Burlington, IA
April 8 / Civic Center of Greater Des Moines / Des Moines, IA
April 9 / CSPS Hall / Cedar Rapids, IA
April 10-13 / Dirty Dog Cafe / Detroit, MI

The View From Here Personnel & Track Listing:
Kyle Eastwood / Bass (upright and electric)
Andrew McCormack / Piano
Graeme Blevins / Tenor Saxophone
Quentin Collins / Trumpet
Martyn Kaine / Drums

1. From Rio To Havana (Kyle Eastwood, Graeme Blevins, Quentin Collins, Graeme Flowers, Martyn Kaine, Andrew McCormack) - 6:02
2. For M.E. (Kyle Eastwood, Graeme Flowers, Andrew McCormack) - 4:43
3. The View From Here (Kyle Eastwood, Graeme Blevins, Graeme Flowers, Martyn Kaine, Andrew McCormack) - 7:16
4. Sirocco (Kyle Eastwood, Graeme Blevins, Graeme Flowers, Martyn Kaine, Andrew McCormack) - 6:41
5. Luxor (Kyle Eastwood, Andrew McCormack) - 8:29
6. Une nuit au Sénégal (Kyle Eastwood, Graeme Blevins, Graeme Flowers, Martyn Kaine, Andrew McCormack) - 6:01
7. The Way Home (Kyle Eastwood, Graeme Blevins, Quentin Collins, Martyn Kaine, Andrew McCormack) - 6:03
8. The Promise (Kyle Eastwood, Andrew McCormack) - 5:23
9. Mistral (Graeme Flowers) - 4:53
10. Summer Gone (Kyle Eastwood, Martyn Kaine, Andrew McCormack)- 4:48
11. Route de la Buissonne (Kyle Eastwood, Graeme Flowers, Andrew McCormack) - 5:20

KyleEastwood.com

NEW RELEASES - TOSCA, TOM BROWNE, PEGGY LEE

TOSCA - ODEON

Tosca have grown up a bit since we last heard them – getting a bit more subtle, and maybe even more soulful with their sound – maturing into a mellow groove that's a bit more textured than downtempo – peppered with vocals from a shifting array of singers who help further the sound. There's still plenty of the darkness you'd love from the group's previous records, and certainly none of the cheesiness you'd guess from the hat image on the cover – and titles include "Zur Gueten Ambiance", "Stuttgart", "Cavallo", "Bonjour", "In My Brain Prinn Eugen", and "Soda". (Includes bonus CD of entire album!) ~ Dusty Groove

TOM BROWNE - ROCKIN' RADIO

Tom Browne's getting a bit more of an electro funk feel on this one – making a move shared by some of his GRP contemporaries, and including lots of electric bass and drum work! These elements are handled by Maurice Starr – who gives the record a nicely unified feel that's still in line with Browne's blend of funky jazz and smoother soul – and Tom himself does a great job of keeping things interesting with the solos, augmenting the electrics with some good acoustic playing. Titles include "Rockin Radio", "Angeline", "Brighter Tomorrow", "Never My Love", "Mr Business", "Cruisin", and "Feel Like Makin Love".  ~ Dusty Groove

PEGGY LEE - LET'S LOVE

An incredibly lovely later album from Peggy Lee – her first album for Atlantic, and proof that she was still growing tremendously as an artist, well into the 70s! The record's title track was a tune written for Peggy by Paul McCartney, who also produced the number for the record – and it's got a wonderful "adult" feel – one that steps off even more from Peggy's last Capitol recordings. But in some way, the real star of the album is Dave Grusin – who co-produced the rest of the record along with Peggy, and who gives the session a warmly laidback jazz-based approach – one that's miles away from Peggy's 60s work, and handled in a maturely mellow groove that's totally great. The sound is tight, but never too slick – and Peggy's aging vocals sparkle beautifully amidst a host of modern tunes that include "He Is The One", "The Heart Is A Lonely Hunter", "You Make Me Feel Brand New", "Sweet Lov'liness", "Sweet Talk", "Always", and the funky classic "Easy Evil". ~ Dusty Groove

MARION MEADOWS - WHISPER

Featuring mostly originals, Meadows dances a delicate balance between soul and fire, intellect and emotion, and sensitivity and brawn, making Whisper, an exhilarating musical foray into one of contemporary jazz’s most brilliant minds and recognized soprano saxophonists.

A musician unafraid to boldly fuse diverse influences, Marion Meadows sculpts a borderless musical tapestry on Whisper. “I came up listening to Miles Davis, John Coltrane and Duke Ellington but at the same time musicians like Earth Wind & Fire, Chaka Khan, Chicago and Parliament Funkadelic,” confesses Meadows who early on cut his teeth playing in Avant-Garde jazz groups alongside heavyweights Rashied Ali and James Blood Ulmer.

Whisper is Marion Meadows’ first new recording in four years, features the saxophonist’s agile and ethereal soprano styling’s and some robust tenor work. It opens with the majestic, intoxicating and rhythmic driven “The Visitor,” which segues into the melodious and scintillating title track, co-written by keyboardist and long-time collaborator Michael Broening. Meadows produced Whisper along with Carlos Pennisi, Bob Baldwin, Rahni Song and Broening.

The album’s first single is the enticing, funky and hypnotic “Black Pearl.” Just like its namesake and gemstone, Meadows’ pearl is multi-layered, producing a beautiful interior within each shimmering chorus. Keyboardist Carlos Pennisi co-authored the song and helped Marion to compose five songs on the album. “Carlos helped me really try different musical ideas on Whisper. He is an amazing composer and multi-instrumentalist born in Italy with a great sense of using colors in his productions.

 As an artist I’m searching to try new ideas, and he definitely brought that to the table.” “Timeless,” is an evocative and tender impressionistic ballad, co-written with keyboardist Rahni Song, who joins Meadow on the track along with Pennisi and harmonica player Julian Davis. “Curves,” is an uplifting get-on-the-dance-floor anthem that serves up the right combination of grit and soul, while “Magic Life” and “Golden Curtin,” showcase Marion Meadows’ knack for crafting unforgettable melodies that magically have a way of transporting you. Meadows breathes new life into two jazz classics on Whisper, borrowing from the Freddie Hubbard and Dave Grusin songbooks. Freddie Hubbard’s 1970s landmark CTI classic “Sky Dive,” soars with Meadows’ own buttery soul rendition featuring his tenor and soprano alongside trumpeter Joey Sommerville. Dave Grusin’s 1980’s chestnut “Marcosinho,” gets revitalized with Meadows’ sparkling new take.

Recording Whisper for Meadows was truly a labor of love and part of that process was the joy of collaborating with friends. Longtime associate and keyboardist Bob Baldwin joins Marion on two of the album’s tracks, “Bottoms Up” and “Turn Up The Quiet.” Meadows says of his friend, “Bob always delivers!” Turn Up The Quiet” marks one of the high points on the project, as the duo score a home run. Marion’s tender soprano gracefully teases and caresses the seductive melody as Baldwin finds all the accents to drive the song home. Flautist Ragan Whiteside joins Meadows on the show-stopping number, “Bottoms Up.” Marion calls Whiteside and Althea Rene (who is featured on “Golden Curtain,”) “two of the greatest flautists I know.” Not afraid to get loose and turn up the heat Marion Meadows serves up a scorcher on “Wild Thing,” a James Brown inspired romp that escalates things to a sweat inducing fevered pitch.

The Maestro Duke Ellington once said “My attitude is never to be satisfied, never enough, never!” Like the maestro, Marion Meadows, is never content to rest on his laurels. With a four-year intermission between recordings, Marion Meadows back with Whisper and ready to share his gift with the world.

http://www.marionmeadows.com
http://twitter.com/MarionMeadows
http://www.facebook.com/pages/Marion-Meadows/246915252769

NEW RELEASES - FREDA PAYNE, GEORGE DUKE, BILLY PAUL

FREDA PAYNE - SUPERNATURAL HIGH

Detroit native Freda Payne (who began her career in her teens) was already a seasoned performer and recording artist (working with Duke Ellington and Billy Eckstine among others) by the time she became an international hitmaker thanks to her early ‘70s Invictus hits such as the classic “Band Of Gold,” “Bring The Boys Home,”“Deeper And Deeper” and “Cherish What Is Dear To You.” After a two-year stint at ABC Records, the songstress signed with Capitol Records in 1976 and released her debut album for the label Stares And Whispers (reissued as an expanded edition by SoulMusic Records in 2011, SMCR-5021). Her sophomore album for Capitol, Supernatural High was produced by (the late) Skip Scarborough renowned for his work as a songwriter (with tunes like “Can’t Hide Love” for Earth, Wind & Fire). While the focus was on dance-oriented tracks like a medley of the ‘30s tune, “Happy Days Are Here Again” coupled with Scarborough’s own “Happy Music,” “Pullin’ Back” (co-written by Freda’s then-husband Gregory Abbott) and “Living For The Beat,” standout ballads like “Just The Thought Of You And Me Together (Supernatural High)” (co-written by Philly music legend Thom Bell) and “Storybook Romance,” (written by Freda’s sister Scherrie) made the album a treasured gem among Freda’s fans globally. This expanded edition of the album (making its’ worldwide CD debut) includes notes by renowned US writer Kevin Goins with quotes from Freda herself (who cites the album as a strong personal favourite) and sister Scherrie. ~ SoulMusic.com

GEORGE DUKE - DON'T LET GO

In 1977, master musician, recording artist and performer George Duke had enjoyed his biggest sales success with “Reach For It” (from the best-selling album of the same name). With an ensemble that included percussionist Sheila E., drummer Ndugu Chancler, bassist Byron Miller, guitarist Charles ‘Icarus’ Johnson and vocalists Josie James and Napoleon Murphy Brock, the California-born Duke – whose musical resume included the likes of Frank Zappa (and his Mothers of Invention), violinist Jean-Luc Ponty, saxophonist Cannonball Adderley and big band leader Don Ellis – masterminded Don't Let Go as a soul’n’funk set that would yield the second biggest R&B charted hit of his illustrious career. The sixth reissue by SoulMusic Records from George’s albums for Epic Records, 1978’s Don't Let Go became a U.S. Top 5 R&B and Top 10 jazz album, spurred by the timeless funk cut, “Dukey Stick” which also became the centrepiece of Duke’s exciting and dynamic live performances in the late ‘70s and early ‘80s. This expanded edition – part of the classic jazz/funk series from SoulMusic Records – features three bonus tracks including the 12”extended version of “Dukey Stick.” Other key cuts on Don't Let Go include the soul ballad “The Way I Feel,” the furiously fast title track and the smooth groove winner “Morning Sun.” Extensive liner notes by renowned U.S. writer A. Scott Galloway include new quotes from Duke and the primary musicians and singers involved in the sessions for the album. ~ SoulMusic.com

BILLY PAUL - GOING EAST

One of Billy Paul's greatest albums ever – or perhaps the greatest! The record is an amazing blend of soul, jazz, and a soaring sense of spiritualism that's not only rare for Billy Paul – but which makes the record sound different than any other Philly International LP from the time! Billy's way more than a soul singer here – and working in a mode that's very high-concept, reaching towards the sky to bring a new maturity to the music that pushes way past his other pop and soul recordings in the 70s – almost with a consciousness of the spiritual jazz underground, but a bit more focused as well. You can hear this best on the classic track "East", a swirling long groover that takes an extended funky soul jazz journey – and other good cuts include "Jesus Boy (You Only Look Like A Man)", "Love Buddies", "I Wish It Were Yesterday", "Magic Carpet Ride", "This Is Your Life", and a nice cover of "Compared To What". CD features single versions of "Magic Carpet Ride", "Jesus Boy", and "This Is Your Life". ~Dusty Groove

BALLAKE SISSOKO - AT PEACE

Two years ago, Malian musician Ballake Sissoko and French cellist Vincent Segal beguiled the NPR Music staff with their magical debut collaboration. Sissoko, who plays the 21-string harp called the kora, and Segal wove their instruments together in sweet and soulful ways. We loved their album-length collaboration, titled Chamber Music; we were transported by their GlobalFEST performance; and Bob Boilen ushered them quickly to D.C. for a memorable Tiny Desk Concert.

After their initial project and ensuing tours that took them around the world together, Sissoko and Segal are still collaborators on this new album, called At Peace. But the way they work together here is of a different order: Segal produced the album, and appears on just a handful of tracks. They conjure up that old gorgeous magic once again, but after all their time spent together in and out of the studio, Sissoko and Segal bring a slightly looser-limbed and more relaxed spirit to At Peace.

While the album isn't meant to be Chamber Music 2, the key to At Peace (out Feb. 5) is a subtle and beautiful layering of instrumental textures; the music continually crosses from melody to percussion and back again. Moreover, like that previous album, it's framed around some finely stitched fabric. There's the delicate latticework of Sissoko's solo kora in the opening track, "Maimouna," and again at the album's close in "Kalanso." When the players' ranks swell, it's only at most to an intimate quintet, as when guitar, 12-string guitar and the marimba-like balafon join the kora and cello in "Kalata Diata." With the exception of a charming and lithe cover of northeastern Brazilian artist Luiz Gonzaga's lilting "Asa Branca," all the music was either written or co-written by Sissoko, and he brings a dreamy, lovely beauty to his work.

Though most of At Peace was recorded in a studio in Angouleme, France, perhaps the most transporting tune is the thoroughly charming "N'tomikorobougou." It was recorded at the courtyard of Sissoko's house in the Malian capital Bamako, with cicadas providing their own night-music accompaniment to a burning duet played by Sissoko and the guitarist Aboubcar "Badian" Diabate. It's a beautiful interlude — and it holds particular poignancy, given the turmoil in Mali that has transpired in the time since Sissoko recorded his song in January 2011. At peace? Sadly, that's still a dream in Mali, but without a doubt this powerful, beautiful album will bring listeners no small respite.

Ballake Sissoko Tour Dates
Sun 2/24/13 - Williams College Williamstown, MA

Ballake Sissoko & Vincent Segal Tour Dates
Fri 2/15/13 - Salle Jacques Brel Pantin, FR
Tue 2/26/13 - Eastman School of Music Rochester, NY
Thu 2/28/13 - Florence Gould Hall New York, NY
Fri 3/1/13 - Atlas Performing Arts Washington, DC
Sat 3/2/13 - Arden Gild Hall Arden, DE
Wed 3/6/13 - First Christian Church Bloomington, IN
Fri 3/8/13 - The Cedar Cultural Center. Minneapolis, MN
Sat 3/9/13 - Wehr Hall Milwaukee, WI
Sun 3/10/13 - Old Town School Of Folk Music, Chicago, IL
Mon 3/11/13 - Ohio State University Newark, OH
Tue 3/12/13 - Prius Hall / Emens Auditorium (Ball State University), Muncie, IN
Thu 3/14/13 - Skirball Cultural Center, Los Angeles, CA
Fri 3/15/13 - St. John's Presbyterian Church & Center Berkeley, CA
Sat 3/16/13 - First Congregational Church Santa Cruz, CA

~ Six Degrees Records

NEW RELEASES - BARBIE ANAKA, ADAM LARSON, NAIMA

BARBIE ANAKA - SPEECHLESS

Barbie Anaka's third album, "Speechless" is an original, sultry blend of smooth, contemporary jazz vocals over r&b, hip hop and latin grooves. The album features multi-intrumentalist and producer Donyea Goodman (co-producer), as well as Kenny G's guitarist John Raymond, sax man Jon Goforth, bassist Garey Shelton and keyboardist Eugene Bien. Barbie penned 7 of the 10 tunes, rounding out the album with 3 covers: Sade's "The Sweetest Taboo", John Clayton's "That Night" (Barbie's long time teacher), and the song "Star" by the late Carly Henley (one of Barbie's students). The recording illustrates the artist's growth over the past several years since her last release, as she's kept a busy performance schedule throughout the Northwest since release of her first album, "in Love With a Memory". The single, "Speechless" is enjoying airplay on smoothinseattle and on internet radio in the UK. Recently, Barbie capped off the album's release with a standing room only show featuring her 10 piece band at Seattle's Triple Door. ~ CD Universe

ADAM LARSON - SIMPLE BEAUTY

The highly-anticipated debut album, "Simple Beauty", from New York City based saxophonist Adam Larson is set to release mid-January 2013. The ten original compositions featured (eight to Larson's credit), comprise the foundation of the Adam Larson Quintet repertoire; having been developed, re-vamp and nit-picked during his time as an undergraduate student at The Manhattan School of Music. Embracing a "chemistry above all" attitude, Adam enlisted his most trusted musical sidemen for the undertaking of recording this set of music. "it's something I thought about a lot when preparing to record this album. I've been very fortunate to work with and develop relationships with several amazing musicians over the past few years. I picked the individuals who I knew were deeply invested in the music, the bands vision, and were right for the job", says Larson. Those right for this project were pianist Can Olgun, bassist Raviv Markovitz, drummers Jason Burger and Guilhem Flouzat, and Larson's most like-minded musical cohort; guitarist Nils Weinhold. Intertwining a number of musical influences, the material on this record reveals Larson's intrigue for use of compositional devices such as mixed-meter and elongated song form. "Like many artists, I want my music to connect with as many people as I can. I'm hopeful that the music on this album will have a little something for everyone-that being said, I don't feel we sacrificed anything artistically speaking, in the process of attempting to appeal to a larger number of people; music is music and I'm excited to share this music, and these fantastic musicians with the world!". ~ CD Universe

NAIMA - TRIO CONSPIRACY

The evolution of Naima is a declaration of their musical intention as are their album designs. The live robust sound of Naima's songs is remarkable throughout the record and touches a raw nerve in thelistener's brain. The album is the result of a thorough and meticulous production as we can hear from theimpeccable level of instrumentation. Another remarkable characteristic of this record is the band's ability toproduce excellent covers; in "A Tri­o Conspiracy" we find an amazing one of Eliott Smith. ~ CD Universe

YVONNICK PRENE - JOUR DE FETE

Yvonnick Prene recently made his debut as a bandleader on Steeplechase Records with the ambitious release of "Jour de Fête", an album which features 7 original compositions and 4 Jazz standards. A native of the great jazz city of Paris, Yvonnick started to play the diatonic blues harp at age 8 “it was a gift for my birthday from my father… I didn’t expect it ”. While in High School studying Art History he heard for the first time the great Charlie Parker. “ At 17 I decided to switch to the chromatic harmonica which is more suited to jazz.” Ten years later, influenced by such greats as Toots Thielemans, Kenny Garrett and Michael Brecker among many others, Yvonnick stepped out on his own to create his own voice on the harmonica. What set him apart from the other harmonica players is his vast knowledge of the jazz language and his uncanny ability to play over a variety of grooves. “My vision for this debut album is to take the harmonica into uncharted territories, expose it to challenging situations, and in the process create something pleasing for the ears” In addition to his quickly identifiable sound on the harmonica, Prené has a rare gift as a composer. The music on "Jour de Fête" resounds with melodic clarity, harmonic mystery, rhythmic intrigue and improvisational surprise to create a kind of joyfulness. He displays a strong command of the jazz tradition and a great love of the jazz songbook, but also a determination to articulate his own language and create on his own terms. As for the inspiration behind the tunes, Prené says “Each song is an echo of my experiences living in New York City for the past four years and reflects the varied influences of music that inspire me.” Yvonnick Prene is an exceptional musician who is opening up a wealth of possibilities for his underrated but beautiful instrument. “Jour de Fête” is the perfect introduction for this young master of the harmonica.

SAXOPHONIST/VOCALIST GRACE KELLY RELEASES LIVE AT SCULLERS

There are snapshots in the family photo album of Grace Kelly at Scullers Jazz Club at the age of six, falling asleep in her father's arms. When she began studying saxophone at the tender age of ten, she dreamed of one day performing on that very same stage. In those childhood visions, it was a much older Grace Kelly that she envisioned on the bandstand, but she made her Scullers debut at thirteen and held a CD release concert there the following year.

These days, the Boston club is a second home for Kelly, where she is a top draw for her regular performances. She claims to have set a record for the number of times she's sat in with headliners there, ranging from David Sanborn to Steve Tyrell to Ann Hampton Callaway. And she has her own dedicated seat at the bar, although she's still a few months away from being legally able to order a drink.

All of which made it a no-brainer to choose Scullers when the saxophone prodigy decided to record her first live album. "It was the perfect place to record a CD," Kelly says. "I knew if I was going to do a live CD I wanted to have a really great audience. Having grown up in Boston and developed a fan base there since I was twelve, it literally sounds like a yelling, hooting stadium when we come on stage at Scullers. People are just so enthusiastic, and I feel with this audience I can do whatever I want."

On Live at Scullers, Kelly offers a set mostly composed of new material which shows off her remarkable versatility. Her sax chops have been granted the imprimatur of jazz elders like Phil Woods and Lee Konitz, both of whom have recorded with her. But here, Kelly's instrumental virtuosity shares the spotlight with her winsome voice via her most song-oriented collection to date.

"I listen to a wide range of music, from Miles Davis to John Mayer," Kelly explains. "Lately I've been listening to more contemporary music and songwriters and at the same time I've been more inspired to write songs. Growing up and learning the saxophone, I always listened more to singers than instrumentalists. Whenever I play a standard I always make sure to know the lyrics behind it. I feel like words are a really big connection between myself and the audience."

Kelly boldly offers her mission statement on the opening track, "Please Don't Box Me In." The title plea is made by a gifted musician and songwriter who sees no reason why the music she makes should be more single-minded than the music that she enjoys.

"As a young person," she says, "I love the tradition but I also I listen to the radio. So I've been trying to figure out how to meld some of this contemporary stuff with jazz in a different way. I'm like a mad scientist in my laboratory experimenting."

Those experiments have resulted in a stunningly diverse set of songs. The repertoire on Live at Scullers ranges from the smoldering "Night Time Star" to the tender "Autumn Song" to the country-tinged ballad "Kiss Away Your Tears."

Live at Scullers is by no means a complete break from Kelly's jazz roots, however. "Searching for Peace" is a scintillating burner, and the set closes with two familiar standards, both of which the saxophonist has recorded in the past. "The Way You Look Tonight" is reprised from Man With the Hat, Kelly's last record, which featured the legendary saxophonist Phil Woods. And the evening draws to a funky close with her groove-oriented take on "Summertime," which she previously recorded in a completely different arrangement on her 2006 album Every Road I Walked.

The band that took the stage that February night features a blend of old and new collaborators. Trumpeter Jason Palmer has been a fixture of Kelly's line-ups for the past six years, and their easy, empathetic interplay is evident throughout - as is their playful camaraderie. On "Searching for Peace," Kelly can be heard bursting out in laughter as Palmer begins his solo by quoting the theme from Sanford and Son. "We've gotten to the point where it feels like when we play together we're reading each other's minds," Kelly says. "It's so comfortable to communicate with him on stage musically."

Guitarist Pete McCann is a new addition, replacing the usual piano spot in Kelly's band. He also doubles on ukulele for "Falling" and "Ready, Set, Stay," a love song about a lazy day under the covers penned by Kelly and Emily Dale, a friend from Berklee College of Music.

Kelly recently graduated from Berklee at the age of 19, and the school provided many of her bandmates for the gig: cellist Eric Law (whose birthday was on the same night, resulting in a brief quote of "Happy Birthday" from Kelly on "Searching for Peace"), backing vocalists Jaime Woods and Chantale Sterling, and bassist Zach Brown. Drummer and Berklee professor Mark Walker - who, like Brown, plays regularly with Cuban clarinet master Paquito D'Rivera - rounds out the ensemble.

And, of course, there's the Scullers audience, which provides a character of its own. "The thing that's different about creating a live CD for me is the fact that I'm thinking about how I can program the set for my audience," Kelly says. "It's not so much about the album or the concept, and it's not only about how we can feature ourselves. But how can we capture the energy of the audience and more importantly connect with them?"

The answer, in Kelly's case, was to make the kind of personal, engaging music she's been making for most of her life. For the audience at Scullers - not to mention listeners to this CD - that's more than enough.

Upcoming Grace Kelly Appearances:
February 6 & 7 / Dirty Dog Jazz Cafe / Grosse Pointe Farms, MI
February 8 & 9 / Eastern Illinois University / Charleston, IL
February 12 & 13 / Night Town / Cleveland, OH
February 14 / Gilly's / Dayton, OH
February 15 / Germantown Performing Arts Centre / Germantown, TN
February 16 / Walton Arts Center / Fayetteville, AR
February 17 / Murry's / Columbia, MO
February 18 / The Blue Shop / Burlington, IA
February 26 / Hagan Center at Assumption College / Worcester, MA
February 27 / Club Passim / Cambridge, MA
March 2 / The Chocolate Church Arts Center / Bath, ME
March 5 & 6 / Dizzy's Club Coca-Cola / New York, NY
March 23 / Spaghettinis Jazz Club / Seal Beach, CA
April 4 / Devereux House / Marblehead, MA
April 18-20 / ASCAP Expo / Los Angeles, CA
April 21 / Tupelo Music Hall / Londonderry, NH
April 26 / Jazz Festival / St. Ingbert, Germany
May 11 / Kirkland Performance Center / Kirkland, WA
May 12-17 / Juneau Jazz / Juneau, AK
August 24 / Boston Harbor Hotel / Boston, MA

www.gracekellymusic.com

THE IAN CAREY QUINTET + 1 - ROADS & CODES

For the last decade, Bay Area trumpeter/composer Ian Carey has been developing his singular, post-bop-inflected music with a stable quintet of formidable improvisers, documented in the CDs Sink/Swim (2005) and Contextualizin' (2010). In recent years Carey has wanted to explore more intricate writing, and move further away from head-solo-head conventions.

The result is Roads & Codes, Carey's most ambitious and fully realized recording to date, which will be released February 19 by his Kabocha Records label. Recorded in an 11-hour, nine-tune marathon in early June 2012, the music on the new CD was inspired by the compositional skills of seminal figures like Jimmy Giuffre, Bill Holman, Teddy Charles, Andrew Hill, George Russell, Herbie Hancock, and Maria Schneider (with whom he studied at New School in New York City). Delving into his lush and intricate original compositions as well as his renditions of music by Stravinsky, Charles Ives, and Neil Young, Carey artfully maintains a precarious balance between finely calibrated arrangements and unfettered improvisation.

What elevates Roads & Codes from an audacious experiment to an impressive jazz achievement is Carey's stellar band, a highly cohesive ensemble for which he's been composing since 2002. The only newcomer is the +1 alto saxophonist Kasey Knudsen, a Dolphyan player who has earned a vaunted reputation for her work with several noteworthy ensembles.

A longtime admirer of Knudsen's work, Carey recruited her to expand the textural possibilities of his long-running quintet. She provided a creative jolt with a "musical language that's amazing to me," Carey says. "She doesn't do anything in a simple or predictable way." The quintet's charter members include tenor saxophonist/flutist Evan Francis, who has since departed for New York City, pianist Adam Shulman, bassist Fred Randolph, and drummer Jon Arkin, all musicians in high demand.

Roads & Codes is further distinguished by Carey's design and illustration work for the CD package. He incorporated his love of graphic novels and Japanese manga into Roads & Codes, including the slyly self-referential cover art that explains his illustrations as part of a strategy for attracting a wider audience. Expertly mixing his two creative outlets, Carey produced beautifully rendered illustrations to represent each tune.

Carey, 38, is also an active music blogger, and generated considerable attention recently (from Twitter to CNN.com) for his essay "How Not to Become a Bitter White Jazz Musician" (written in response to the backlash toward accomplished trumpeter Nicholas Payton's campaign to rename jazz "Black American Music"). In his blog he's also pondered the benefits of jazz philanthropy, and whether an endowment that provided steady gigs in smaller venues might be of more practical use to jazz musicians, and to the future of the music, than a multi-million-dollar building and jazz center.

Born and raised in a musical family in Binghamton, New York, Ian Carey moved with his family to Folsom, California (near Sacramento) in time for high school, where he was inspired to begin studying jazz trumpet seriously. He studied classical trumpet for two years at the University of Nevada in Reno (also performing with the Reno Philharmonic), then enrolled in the New School in New York City and earned a B.A. in Jazz and Contemporary Music.

While in New York, Carey performed with the likes of Eddie Bert, Rory Stuart, and Ravi Coltrane, and at venues such as the Blue Note and Smalls. He led his own Brooklyn-based quartet for several years before moving to San Francisco in 2001.

In addition to leading his quintet, Carey has played around the Bay Area with the Contemporary Jazz Orchestra, 8 Legged Monster, the Tommy Igoe Big Band, the Realistic Orchestra, saxophonist Noel Jewkes, vocalist Betty Fu, pianist Ben Stolorow, and accordionist Rob Reich's Circus Bella All-Star Band. His main focus, however, has been on composing and performing original music with the quintet.

"The title of the album is about musical journeys and hidden meanings," Carey says, "and this band is the ideal group to take my blueprints and make those journeys and meanings come to life. I wrote every arrangement with these particular voices in mind, so I couldn't ask for a better set of musical personalities to make it happen."

The Ian Carey Quintet+1 will be performing a CD release show, Thursday 2/21, at the Sound Room, 2147 Broadway, Oakland, 8:00 pm. Tickets are $15 and available at www.soundroom.org.

www.iancareyjazz.com

NEW RELEASES - NATHAN TANOUYE, LUIS FIGUEIREDO, LEVITATE

NATHAN TANOUYE AND THE LAS VEGAS JAZZ CONNECTION - II

This new CD "11" is the third CD from Nathan Tanouye and the Las Vegas Connection. Their previous CDs "Crossings" and "Remembering Russ" were a tribute and remembrance of the "bebop" tunes of Russ Freeman. Nathan arranged Russ' music with a fresh new sound for his Big Band, the Las Vegas Jazz Connection. The band has been together for six years and includes Las Vegas' finest musicians. They work in many of the shows on the Las Vegas strip. Nathan is currently playing and arranging for Celine Dion. Their dedication and talent has made this a band to be remembered. They have done numerous concerts in Las Vegas, the Jazz Bakery in Los Angeles, and Ken Poston's "West Coast Sounds"in Los Angeles.
Keep your ears open for Nathan Tanouye and the Las Vegas Jazz Connection. There is more to come. ~ CD Universe

LUIS FIGUEIREDO - LADO B

"LADO B" is the third album by pianist Lui­s Figueiredo. After a debut trio record and a collaboration album with singer Sofia Vitoria, Figueiredo now fronts a quartet/quintet packed with talented musicians from the Portuguese jazz scene. The repertory is mostly comprised of original music by the pianist. Joi£o Moreira: trumpet and flugel; Lui­s Figueiredo: piano and rhodes; Mi¡rio Franco: double bass; Alexandre Frazi£o: drums; Ricardo Toscano: alto sax; and Sofia Vitoria: voice. A mature recording by a brilliant pianist and leader who displays a keen sense of the management of emotions" - Mi¡rio Delgado, guitarist. ~ CD Universe

LEVITATE - LIVE!

From sultry bossa nova, to world-beat/nouveau flamenco, to rock and encompassing everything in between! Levitate is led by guitarist/composer Jorge Faustmann. Jorge is a self-taught guitarist who has produced 8 albums and has composed over 80 original songs. His music is influenced by his Spanish heritage as well as his exposure in his youth to many talented musicians. Also on guitar is Fred Malouf, who is a Berklee College of Music graduate and has been playing guitar for over thirty years. He has performed in diverse musical settings with improvisation being the central component. On multiple percussion is virtuoso percussionist extraordinaire Paul (Pablito) Fisher, who has performed with numerous ethnic, jazz, pop and R&B bands over the last forty-five years and brings to the band an eclectic synthesis of multi-ethnic based world-beat hand percussion and a groundswell of enthusiasm. Rounding out the group is Marty Honda on upright bass and electric violin. Marty has played music since the age of four. Marty's bass and violin bring to the group his wide range of musical influences from numerous jazz artists as well as late 60's rock groups and classical composers. ~ CD Universe

NEW RELEASES - THE JAZZ PROFESSORS, NICK FINZER, MICHAEL NORWOOD

THE JAZZ PROFESSORS - DO THAT AGAIN

Jeff Rupert has performed and recorded with Kevin Mahogany, Mel Torme, Maynard Ferguson, Sam Rivers, and Diane Schuur. Drummer Marty Morell was a member of the Bill Evans trio for 7 years. Richard Drexler and Per Danielsson have performed with numerous jazz musicians, as well. This latest release by the Jazz Professors is jazz and mood music at it's best. Standards include "I remember you" and "Where or When". The title track "Do That Again" and numerous others are original compositions. The UCF voice and trumpet faculty join the recording on the remake, "Cristo Redentor". ~ CD Universe

NICK FINZER - EXPOSITION

With the release on January 22, 2013 of "Exposition" (Outside In Music OIM 1201), trombonist Nick Finzer delivers a debut recording that announces in no uncertain terms the addition to the international jazz community of a virtuoso instrumentalist, versatile improviser and a composer with the ability to not only pay tribute to the illustrious jazz heritage that inspires him but also expand the tradition's stylistic horizons. At the helm of a dynamic young band featuring saxophonist Lucas Pino, guitarist Alex Wintz, pianist Samora Pinderhughes, bassist David Baron and drummer Jimmy Macbride - fellow emerging artists who are also adding their distinctive voices to New York City's vibrant jazz scene - Finzer pays tribute to classic trombone- tenor quintets like those led by legendary jazz masters J.J. Johnson and Stan Getz and Curtis Fuller and Benny Golson as well as by his mentor Steve Turre. The addition of the guitar as both a melodic voice and a member of the rhythm section contributes a fresh new dimension to the music on the recording. In total Finzer premieres 10 original compositions he wrote between 2008 and 2012 on the CD, the initial release on his new label Outside In Music. ~ CD Universe

MICHAEL NORWOOD - HEARTBEATZ

Through the soulful chords and jazzy grooves played on his five or six-string bass, Michael Norwood has an uncanny ability to captivate audiences far and wide, and is taking the world by storm!  Over the years, Michael has been blessed to share his bass blends around the globe and across borders. In fact, his versatility from genre to genre has brought him to the stage with both Grammy Award and American Music Award Winners. Notable hits include works with Crystal Nicole, Herbie Hancock, Norman Brown, The Rippingtons, Charlie 'Uncle Charlie' Wilson, Marcus Miller, Karen Clark-Sheard, and Algebra Blessett. Whether it's R&B, Gospel, Contemporary Jazz, Reggae, Rock or just straight Funk, Michael Norwood's vibe says music is his first love! Whether performing at Jazz Festivals, Soul-Festival Concerts, or Live Gospel recordings, this talented musician will surely get you up out of your seat and on your feet! The world of music has been waiting for a vibrant bassist; well Michael Norwood is here and already making a powerful impact... ~ CD Universe

REGGIE CODRINGTON - EXPRESSIONS

Born in Fayetteville, North Carolina, Reggie Codrington, is the son of the nationally known musician and bandleader Ray Codrington who played with some of the greatest musicians ever known such as: Little Richard, Gladys Knight, and the late Jackie Wilson, just to name a few. Reggie fondly remembers his father's band practicing in the family's den. His entire little boy dreams were of music. "I guess one would say I was born into music," he says. By age five, Reggie learned to read music and the fundamentals of musicianship. It would be several years; however, before he would play and develop his musical talent. Not because he did not desire to, but because he was physically unable to.

Reggie was born with Ataxic Cerebral Palsy (ACP), a chronic condition that affects muscle coordination and depth perception. Affected persons often have poor coordination and walk unsteadily with a wide based gait. Wanting to give him every chance at having a normal life, his parents agreed to have him undergo a series of surgeries. By the age of 13, Reggie had endured nine surgeries where muscles were alternately cut and transferred from his elbow, wrist, and right tricep to improve his finger dexterity. Additionally, muscles were cut from his leg to offer more mobility and make it easier to walk. Reggie discovered that music could transcend him to a place of tranquility and offer a way to escape from the stress of life with a disability. Immersing himself in his music, Reggie was encouraged to join his school band where he found acceptance from his peers. And the ridicule he once encountered from his school mates was replaced with respect for his talent as a musician. His father Ray helped him develop his skills and he learned improvisation and other musical concepts. He was also encouraged to stay focused and never give up on his dream of becoming a successful musician.

A pivotal point in Reggie's life and career came on his eighteenth birthday when his parents presented him with a curved soprano saxophone. This instrument led to a major transformation as it offered a comfortable way to play that he had not yet experienced. The curved instrument allowed him to use a neck strap for a more comfortable fit for his arm and allowed for more finger dexterity and coordination. "Something magical happened, and I knew I had found my niche. I fell in love," Reggie nostalgically recalls. After graduation and armed with his new instrument, Reggie continued his study of music at Howard University where he started to develop his own personal style and truly grow as a musician. Receiving accolades from professors and friends also lit a fire in his soul to keep perfecting his special gift. Currently, Reggie stays busy as he continues to perfect his craft and compose new music in the recording studio. His ultimate goal is to go on tour and share his music and his triumphant story of overcoming the physical challenges of being disabled. His vision is to tour the world talking to young people and sharing how he overcame a debilitating disability, ridicule in his youth, and unsavory independent labels as he traveled on his road to jazz greatness. ~ CD Universe

ELIAS HASLANGER - CHURCH ON MONDAY

Cherrywood Records is proud to announce the release of Church on Monday, the latest recording from critically acclaimed jazz saxophonist, composer and arranger Elias Haslanger.

A soulful, toe-tapping, instantly accessible jazz recording, Church on Monday features long-time musical director for Ray Charles, Dr. James Polk on Hammond B3 organ as well as former Joey DeFrancesco band-mate Jake Langley on guitar. The result is a highly entertaining musical journey that features two new original compositions penned by Elias and slate of great jazz standards arranged just for this session.

Inspired by the great Blue Note recordings from the '50's and '60's, Elias and his quintet of tenor saxophone, B3 organ, guitar, bass and drums spent two days tracking in an old church in East Austin that is now a recording studio. Capturing a classic sound with swinging arrangements played by outstanding musicians is what this session is all about. For high-fidelity enthusiasts, Cherrywood Records will press a limited number of vinyl records and make the high-definition (24-bit/88.2 kHz) sound files available for download.

Elias Haslanger has played and recorded with Ellis Marsalis, Maynard Ferguson, The Temptations, Asleep at the Wheel, Alejandro Escovedo and countless others. He has released 4 critically-acclaimed recordings as a leader which have been played on radio stations around the world and reviewed favorably in DownBeat, JazzTimes, Billboard, Cadence, Texas Monthly and the Austin Chronicle. He is an active performer performing over 150 shows a year at venues across the United States.

Haslanger is now a major talent, both as a composer and instrumentalist whose future has almost unlimited potential and should be regarded in national terms." -Michael Point, DownBeat  ~ CD Universe

LEGENDARY BAND CHICAGO RELEASES NEW DVD DOCUMENTARY: CHICAGO WORLD TOUR 2011 - "BACKSTAGE PASS"

The multi-platinum, Grammy® award-winning band Chicago has released a new DVD, Chicago World Tour 2011, featuring footage of their concerts from all over the worldThe multi-platinum, Grammy® award-winning band Chicago has released a new DVD, Chicago World Tour 2011, featuring footage of their concerts from all over the world, including London, Paris, Rome, Madrid, Zurich, Oslo, Berlin, Toronto, Brazil, Australia, and dozens of U.S. cities. This unforgettable collection of music features some of the band’s greatest and most popular hits including “Just You ‘n’ Me,” “Feelin’ Stronger Every Day,” “Hard to Say I’m Sorry,” “Old Days,” “25 Or 6 To 4,” “Saturday In The Park,” “You’re The Inspiration” and many others.

Additionally, fans will also experience the band in an intimate rehearsal setting, never-before-seen behind-the-scenes footage from their U.S. tour, in-depth interviews with the iconic founding members and current band members, rare archival photos and much more. The DVD is for sale on the band’s website. Hailed as one of the "most important bands in music since the dawn of the rock and roll era" by former President Bill Clinton, Chicago is the first American band to chart Top 40 albums in five consecutive decades – a landmark achievement. Considered one of the longest running and most successful pop/rock 'n' roll groups in history, they are the highest charting American band in Billboard Magazine's list of Top 100 artists of all time, coming in at #13.

Lifetime achievements include a Grammy Award, multiple American Music Awards, elected as Founding Artists to the John F. Kennedy Center for the Performing Arts, a Star on the Hollywood Walk of Fame, a Chicago street dedicated in their honor, and Keys to and Proclamations from an impressive list of US cities.

Formed in 1967 in Chicago, the “legendary rock band with horns" released their first album “Chicago Transit Authority” in 1969. Since then, they have had record sales top the 100,000,000 mark, and include 21 Top 10 singles, 5 consecutive Number One albums, 11 Number One singles and 5 Gold singles. An incredible 25 of their 34 albums have been certified platinum, and the band has a total of 47 gold and platinum awards. From the signature sound of the Chicago horns, their iconic Vocalists, and a few dozen of ever-Classic Songs, this band’s concerts are celebrations. The band is now in their 46th consecutive year of touring, without missing a single concert date!

This DVD documentary showcases the band’s relentless enthusiasm and sheds light on their amazing musical journey – one that is far from over.

NEW RELEASES - JIMI HENDRIX, AZTECA, MARK DE CLIVE-LOWE

JIMI HENDRIX - SOMEWHERE / POWER OF SOUL

A tremendous little tune – heavy Hendrix at the height of his young powers – working here in a trio with Stephen Stills on bass and Buddy Miles on drums! The tune's never been released before – and both the vocals and guitar are pure Jimi – driven on strongly with great rhythms from Miles! The single also includes "Power Of Soul", recorded a few years later – and also a previously unissued track – not on the upcoming People Hell & Angels album! (Limited numbered edition.) ~ Dusty Groove


       

AZTECA - PYRAMID OF THE MOON
A really special record from a really special group – one of two sublime 70s gems from Azteca – a wicked blend of jazz, funk, Latin, and soul – all put together by a young Coke Escovedo! Coke's ostensibly the leader of the group, but there's also a richly collaborative feel going on – a style that brings together jazz players like Tom Harrell on trumpet, Mel Martin on saxes, George Muribus on Fender Rhodes, and Flip Nunez on organ – and Latin players like Victor Pantoja on congas, Coke Escovedo on timbales, and Pete Escovedo on added percussion. In fact, the set's a key early example of the strength of the Escovedo family – and like their best later efforts, the set really stretches out and pushes the boundaries of conventional genres. There's also some great guest work from Lenny White on drums, Mike Nock on keyboards, and Neal Schon on guitars – and vocals are by a range of singers who really keep things fresh. Titles include "Red Onions", "Mazatlan", "Whatcha Gonna Do", "Mexicana, Mexicana", and "Love Is A Stranger". (Blu Spec CD.) ~ Dusty Groove

MARK DE CLIVE-LOWE - TAKE THE SPACE TRANE
A whole new sound for Mark De Clive-Lowe – and a great one too – a completely different approach than any of his other previous records, and one that mixes his core cosmic grooves with a heavy dose of jazz! The set has Mark working with the Rotterdam Jazz Orchestra – who provide bigger band backing to his sweet keyboards and rhythms, making for a wonderful blend of acoustic and electric that almost takes us back to some of the best MPS sessions of this nature in the 70s! Most tracks feature at least one horn solo out from the larger group – and there's no vocals at all on the record, which further gives the whole thing a fresh vibe compared to some of Mark's recent releases. Titles include "Relax Unwind", "Blues For Six", "Money", "El Dia Perfecto", "Heaven", "Take The Space Trane", "Caravan", and "Filthy Fingers". ~ Dusty Groove

MICHAEL WOLFF / MIKE CLARK - WOLFF & CLARK EXPEDITION

When two of the best musicians on the planet decide to combine their estimable talents to create a band without boundaries, the result is the Wolff & Clark Expedition. Dizzy Gillespie famously said that jazz must have “one foot in the past and one in the future.” With the Wolff & Clark Expedition, the music embraces the past, ventures into the future, but remains rooted in the improvisatory present. After several high profile performances in 2012, jazz legends Michael Wolff and Mike Clark, the Wolff & Clark Expedition, are preparing to release their self-titled debut album in February 2013. Performing with creative bassist Chip Jackson, the Expedition's initial outing aims for uncharted, compelling musical territories while still entertaining a wide audience of astute listeners.

From The Beatles to Zawinul, Wolff & Clark navigate a disparate set of beguiling material. They commune with "Come Together," determine "What Is This Thing Called Love," before showing no "Mercy, Mercy, Mercy." Wolff's beautiful composition in 7/4, "ARP," precedes a burning "Flat Out," rout. By the time Horace Silver's "Song For My Father" is proffered, listeners will realize this is not their fathers' jazz trio. This is something very new, quite different...This is exciting, sublime but accessible music.

The sizzling "Is There A Jackson...?" leads to Wolff's soulful intro to Brother Nat's "Hummin'." After church, the trio tears up Gamble and Huff's "For The Love Of Money" before winding down with the gorgeous ballad "Elise," Michael's homage to his late Mom.

Expedition: A journey undertaken by a group of people with a definite objective; or the group undertaking such a journey. So it is with the fearless, tuneful negotiations of the Wolff and Clark Expedition. Although the name may recall other explorers from another era, Wolff and Clark are thoroughly modern: They blaze musical trails, fresh and fertile, with sounds not previously heard.

Says Wolff & Clark, “We have been playing together for many years – We share the same vision, energy and excitement for jazz music, for improvisation. The musical goal of The Expedition is to utilize well-known tunes in addition to intriguing originals and to deconstruct them, then reconstruct them as vehicles for self-expression. We believe it is time to bring modern sensibilities and styles of playing (and writing) to music that comes from the Blues and the roots of Jazz to create fresh rhythmic and harmonic/melodic adventures.”

“The Wolff & Clark Expedition is what happens when great musicians come together and mean business, but sound like they're having fun doing it!” - Vinnie Colaiuta

Performing together since the 1970's, both Wolff and Clark have each had stellar music careers. Michael Wolff is an internationally acclaimed pianist, composer and bandleader, and is best known for his melodically fresh and rhythmically compelling piano style. Wolff made his recording debut in 1972 with Cal Tjader, and went on to record with Cannonball Adderley, Nancy Wilson, Sonny Rollins, Tony Williams, Christian McBride and many others. As pianist and music director for jazz singer Nancy Wilson, Michael wrote orchestral arrangements and conducted more than twenty-five major symphony orchestras worldwide. From 1989 to 1994, Michael served as the bandleader for the Aresenio Hall Show, which heightened his visibility and gave him the opportunity to perform with many established artists such as Ray Charles, Phil Collins, Whitney Houston, Patti LaBelle, Wayne Shorter, Herbie Hancock and saxophonist/President Bill Clinton. Michael Wolff has released twelve critically acclaimed solo albums as a leader, 'Joe's Strut' being the most recent. He was a recipient of the BMI Music Award for television composition and was also the winner of the Gold Disk Award in Japan for piano. On Feb 23, 2012 Michael performed a solo piano concert at the University of Toledo, in Toledo, Ohio, as part of their Art Tatum solo piano concert.

Drummer Mike Clark is a true percussion legend - Mike Clark gained worldwide recognition as one of America’s foremost jazz and funk players while touring and recording with Herbie Hancock’s group in the early 1970’s. Mike became known as a major innovator through his incisive playing on Hancock’s 'Thrust' album, which garnered him an international cult following. While often referred to as the “Tony Williams of funk,” Mike, a JAZZ musician, has, in fact, become one of the most vital to ever sit behind a set. He has performed with jazz greats Herbie Hancock, Wayne Shorter, Tony Bennett, Bobby Hutcherson, Christian McBride, Joe Henderson, Woody Shaw, Wallace Roney, Donald Harrison, Nicholas Payton, Fred Wesley, Vince Guaraldi, Chet Baker, Larry Coryell, Eddie Henderson, Geri Allen, Billy Childs, Chris Potter, Bobby McFerrin, Al Jarreau, Dave Liebman, Oscar Brown Jr., Lenny White (Mike has a two-drummer band with Lenny called "New Brew"), Mose Allison, Gil Evans and his Orchestra and many more luminaries. Mike is currently finishing his forthcoming solo CD 'Indigo Blue', which features Randy Brecker, Christian McBride, Donald Harrison, Rob Dixon and Antonio Farao.

Says Wolff & Clark, “Together, we have years of combined experience playing with many of the greatest jazz artists of all time, so we share an innate understanding as to how to play at a consistently very high level, with a mutual feel for improvised music. Since we both spent time in the Bay Area, and since we've been friends and band mates for many years, The Expedition is a natural result of our shared, cumulative experiences.”

“It's a joy to hear musicians with so much experience approach the music with such great passion.” - Fred Hersch

Together they bring a combination of swing and groove to a unique deconstructive take on classic jazz, popular standards, and original compositions that creates a freedom in the sound to electrify listeners and audiences worldwide. With their collective vast experience, Wolff and Clark can play with anyone, anywhere, always defying boundaries of genre, mingling and mixing with a kaleidoscope of changing players, keeping the music interesting and dynamic. As such, they are excited to present their VIP (Very Impressive Players) List: Dependent upon the gig, they invite one or several musicians from a roster of colleagues to join them - Jeff Berlin, Larry Coryell, Steve Wilson, James Genus, Christian McBride, Donald Harrison, Randy Brecker, Wallace Roney, Tom Harrell, Alex Foster, Lenny Pickett, Seamus Blake and others constitute explorers willing to join the Expedition's adventures.

Wolff & Clark states, “We strive to take all listeners on unparalleled musical journeys, to unexplored sonic realms. W&C adheres to past musical traditions while pushing the envelope further into the future. We hope to bring great improvised music to as many intrepid listeners as possible; we know that Jazz can be highly entertaining! So hold on tight and join the Expedition...!”

On this expedition, the possibilities are limitless.

The Wolff & Clark Expedition will be released February 19, 2013 on Random Act Records, USA.

Random Act Records: www.randomactrecords.com
Michael Wolff: www.michaelwolff.com/
Mike Clark: www.mikeclarkmusic.com/
Wolff & Clark Expedition Facebook Page: www.facebook.com/pages/Wolff-Clark-Expedition/256266051109019

NEW RELEASES - HRISTO VITCHEV QUARTET, DUSKO GOYKOVICH WITH NATHAN DAVIS & MAL WALDRON, SOFT FOCUS

HRISTO VITCHEV QUARTET - FAMILIAR FIELDS

“Vitchev’s sophisticated and adventurous work is imbued with shimmering harmonies and lyrical improvisations” JazzTimes Magazine. “Vitchev’s multihued compositions are like impressionistic sound painting” JAZZIZ. Hristo Vitchev is an impressionistic modern jazz guitarist and composer from Sofia, Bulgaria. Over the years Vitchev has lead a variety of modern jazz formations, ranging from duets to quintets. On Famliar Fields (his 5th studio recording as a leader), he works alongside Weber Iago (piano); Dan Robbins (bass); and Mike Shannon (drums), to create enduring realms of impressionistic, classical, jazz, experimental, and new age. The music presented in this session clearly displays the multidimensional tonal evolutions of the band and each one of its individual members. The addition of drummer extraordinaire Mike Shannon to the quartet establishes a portal to new sonic landscapes and emotions to be explored in this collection of 9 original pieces by Vitchev. Tracks include Ballad For the Fallen, Wounded By A Poisoned Arrow, The Fifth Season, and Willing To Live. ~ hristovitchev.co

DUSKO GOYKOVICH WITH NATHAN DAVIS & MAL WALDRON - SWINGING  MACEDONIA

A legendary German session from the 60s – and a record that really showcases the unusual criss-crossing of modes that was going on in the European scene at the time! There's a very strong MPS vibe here – as trumpeter Dusko Goykovich leads a swinging sextet that includes Nathan Davis on flute, soprano, and tenor – blowing some tremendously soulful reed lines – plus incredible rhythms from Mal Waldron on piano, Peter Trunk on bass, and Cees See on drums. The record's an attempt to bring traditional Macedonian rhythms into a jazz perspective – but with players like these, it swings in a way any Macedonian album never could – damn soulful, and with a great exotic vibe. Davis is especially great, and plays in a soaring modal vein that's similar to his work on his classic MPS sides, and on the records he cut in America in the early 70s. The album's a beautiful session that often get's overlooked because it blends it with the Enja catalog – but it's really more of a record that belongs in an MPS reissue series, and is a great lost groover that's waiting to be rediscovered by the Dusty Groove crowd. Titles include "Macedonia", "Old Fisherman's Daughter", "Jumbo Uganda", "Bem Basha", "Saga Se karame", and "The Nights Of Skopje". ~ Dusty Groove

SOFT FOCUS - SOFT FOCUS

A compelling collaboration from a very unlikely duo – "minister of audiology" Lary 7, working here with Jimi Tenor and Mia Theodoratus! The sound is definitely informed by Lary's long experience with acoustic instruments – and builds beautifully out of a range of harps, flutes, percussion, bells, marimba, and lots of other amazing exotic elements that shift and change as the record moves on – almost like some old school Moondog record, but with a feel that's more laidback and evocative – and quite meditative all the way through! Tenor's production work really helps give the sound some shape, and still has all the spiritual undercurrents of some of Jimi's own recent records – and titles include "EEG", "Polysomnographic", "Brief Arousal", "Hypersomia", "Synitillating", "Quietus", "Reveil", and "Panique Onirique". ~ Dusty Groove