RONI BEN-HUR AND AMY LONDON'S ADVENTURES IN JAZZ

For the past 12 years guitarist/composer Roni Ben-Hur has been creating and directing jazz camps around the world. Beginning in 2002 with a week-long gathering on an organic farm in upstate New York, Cascade Farms, jazz campers not only participated in workshops, jams and concerts, they also enjoyed quality time with old and new friends. Every evening, students gathered to cook a communal dinner, which inevitably turned into a loft party, with great food, drinks and jazz.

In 2008, in partnership with his longtime friend and colleague, bassist, Santi Debriano, Ben-Hur launched a camp for jazz and Latin jazz in the small village of Saint Cezaire in Cote d'Azur, France, that also included Ben-Hur's wife, jazz vocalist and educator Amy London and drummer Steve Williams. True to the philosophy that music builds bridges, this weeklong event brought students from the U.S. and Europe together with the local community, which contributed to the events and hosted students in their homes. At the end of each day of classes, students and residents of the village gathered for a communal dinner, followed by a jam session. The week culminated in a concert on Saturday night at the village square that attracted hundreds of music lovers from the Cote d' Azur area. The concert featured the students as well as the faculty. Nice Matin, the main daily publication of Nice, covered this event regularly with articles previewing and reviewing the concerts and workshops. This joyous celebration of jazz ran for five successful years, from 2008-2012.

From 2009-2012 Roni helped create, develop and direct 'Samba Meets Jazz' in Bar Harbour, Maine. Co-directed by bassist Nilson Matta, the camp focused on jazz and Brazilian music, and took place in Bar Harbor, Maine during the summer, and in Paraty, Brazil in the winter. It continued the tradition of high quality teaching, combined with the building of a local jazz community.

In July 2012, Amy London and Roni Ben-Hur created a new camp in Istanbul for vocalists, teaching the Great American Songbook and bossa nova to aspiring singers, mostly from Istanbul. Joined by Brazilian vocalist, Maucha Adnet , the camp culminated in student performances, as well as a gig at Istanbul's popular jazz club Nardis for Ben-Hur, London, and Adnet.

Some of the other renowned jazz musicians performing and teaching at these camps have included Arturo O'Farrill, Leny Andrade, Steve Wilson , Gilad and Café. Jazz camps can become very important events in many students' lives. Students are enriched by their involvement in this great music, as they build long-lasting relationships with other musicians, and with members of the local communities. Not only are jazz camps an opportunity for students to exchange cultures with people around the world, the camps also bring commerce to the local economies. Jazz camps serve as a window to the world for many of the participants.

Now Roni Ben-Hur is happy to announce the creation of his new company, with the partnership of Amy London, called "Adventures in Jazz", www.adventuresinjazz.com, dedicated to furthering the celebration of the Great American Songbook, straight ahead jazz, Latin jazz and Brazilian Jazz at international workshops, bringing players and fans of this wonderful music together, in beautiful locations around the world. Additionally "Adventures in Jazz" incorporates music typical to the locales of each camp, with the intent of exposing the participants to the specific and unique culture of each location.
From March 24-30, 2013 "Adventures in Jazz: Cabo Rojo" will take place in Cabo Rojo, Puerto Rico. This week will focus on straight ahead jazz, Afro-Cuban jazz, including Boleros, Cha Cha and Mambo, as well as Samba jazz. Co-directed by Roni Ben-Hur and Santi Debriano, the faculty will also include Amy London and percussionist /vocalist Willie Martinez. The week will end with a concert in the town center, and will hopefully become an annual jazz festival.

From August 20-31, 2013 "Adventures in Jazz: Adirondacks" will take place in two segments at Seagle Colony in Schroon Lake, NY, in the beautiful Adirondacks Mountains. August 20 to 25 will be the second year of the Amy London Vocal Jazz Camp at Seagle Colony (Summer 2012 faculty included Mark Murphy, Darmon Meader and others) and August 26 to 31 will focus on instrumental music covering straight ahead jazz, Afro-Latin and Samba Jazz. The event will culminate with the 2nd annual Schroon Lake Jazz Festival, created by Ms. London, including performances by both students and faculty.

Adventures in Jazz: Istanbul" will continue in the summer of 2013, dates TBA. In addition, there are plans for 'Adventures in Jazz: Mostoles' in Mostoles, Spain, a suburb of Madrid, in July of 2013.

NEW RELEASES - OSUNLADE, FIRE ORCHESTRA, MICKI BAROCCA

OSUNLADE - MAN WITH NO PAST ORIGINATING THE FUTURE

An even deeper set than usual from Osunlade – and a record that really helps push his musical journey even farther into the cosmos than before! The set's got some key jazzy elements that really shine amidst the fuller backdrops laid out by Osunlade – a range of keyboards that includes lots of Fender Rhodes, mini moog, Arp, and other cool sounds – mixed with earthy percussion that really helps set a more organic vibe for the record – but in ways that feel different than some of the artist's other recent efforts. Tunes are open and flowing – not often that concerned with the dancefloor as they are with a wider musical soundscape – and the set features work from key guests who include Miles Bonny on trumpet, Dwayne Carter on guitar, The Yoruba Soul Orchestra on cello, and Emanuele Coluccia on tenor, flute, and trumpet! Vocals are from the man himself, and very righteous – and titles include "Eclipse", "Luna Moth", "Camera Shy", "Vessel", "Goddess", "Conversations With Myself", "Quiet Departures", and "The Realm Of Difference". (Super-heavy pressing – feels even heavier than the 180 gram promised on the cover. ~ Dusty Groove

FIRE ORCHESTRA - EXIT

A really great album from Fire – a set that has the trio expanded way more than usual, into jazz orchestra form – and working here in a style that's wonderfully soulful and spiritual overall! The set isn't just a spiritual jazz outing – as it's got these really unique flavors and colors that still echo the intensity of the previous Fire trio outings, but which spread the energy out over the larger ensemble, then give it a lot more focus too – less improvisation, and instead some really visionary arrangements that make the whole thing shine brilliantly from start to finish. There's a bit of vocals, which are tremendous too – almost echoing some of the Fontella Bass work with the Art Ensemble Of Chicago, but darker too. Mats Gustafsson conducts the group – and really blows us away with his efforts – and the set features one long two part composition – with performances by Sten Sandell on piano and electronics, Mariam Wallentin and Sofia Jernberg on voice, Magnus Broo and Emil Strandberg on trumpet, Jonas Kullhammar on bass sax, Fredrik Ljungkvist on baritone and clarinet, and Mats himself on tenor and live electronics! (First edition pression of 500 copies with bonus CD of the album.) ~ Dusty Groove

MICKI BAROCCA - SONICALLY SPEAKING

Emerging on the scenes in 2003, Micki Barocca gave a new face to music with her incredibly sultry vocals and soul stirring blend of funk, jazz, soul fusion. This Philly songstress, given the New Artist Spotlight on RNBPhilly in 2010, was also featured in Levitate and DY magazines in 2009. Music also featured on the soundtrack of film "Finding Me: Truth".  ~ CD Universe

JUSTIN BINEK QUARTET - SONGBOOK

The debut release from the Justin Binek Quartet is a "documentation" of sorts. For this recording, the ensemble chose to record everything "real-time," with all four players in the same room in the studio. The result is a studio album with the urgency and energy of a live performance. From the blues-infused, hard-swinging solos featured on "There Is No Greater Love" to the quiet intensity of "You Don't Know This Man," "Songbook" features a wildly creative jazz quartet functioning in what is, essentially, a performance setting.

Formed in the summer of 2010, the Justin Binek Quartet pairs American jazz singer (and internationally renowned jazz educator) Justin Binek with three of the finest players in the surprising jazz hotbed of Belgium: pianist Ewout Pierreux, bassist Jos Machtel, and drummer Toni Vitacolonna. This quartet defies convention: rather than adhering to the "European jazz stereotype," the trio of Pierreux, Machtel, and Vitacolonna swings like mad and plays with bluesy abandon. Paired with the instrumentally-inspired Binek, the result is a combo that mixes 1950s and 1960s Hard Bop sensibilities with surprising contemporary influences.

"Songbook" is full of surprises. The jazz standards "There Is No Greater Love, " "I'll Remember April," "In The Wee Small Hours of the Morning," and "Beloved (Daahoud)" all feature new arrangements, courtesy of vocalist Binek. The Pierreux original "Big Do" showcases the quartet in a contemporary bebop setting, while the Binek original "Simply Enamored" features a melody, lyric, and performance in more of a classic Great American Songbook approach. The biggest surprises,though, occur in the three "non-jazz" selections. Gabriel Faure's gorgeous art song "Au bord de l'eau" is given a contemporary jazz waltz treatment, with some Afro-Cuban influence added in for good measure. Van Morrison's "Moondance" features a new vocalese lyric (written by Binek) on Bobby McFerrin's famous scat solo from his 1982 recording of the same tune. And Jason Robert Brown's beautiful "You Don't Know This Man" (from the musical "Parade") is reinterpreted as a stunning jazz ballad.

Ultimately, "Songbook" features an an exciting and innovative quartet performing jazz in a way that few others do - but with the ensemble's roots firmly planted in the jazz tradition. ~ CD Universe

SERGE GAINSBOURG / MICHEL COLOMBIER - LE PACHA / VIDOCQ / COMMENT TROUVEZ-VOUS MA SOUER?

Stunning sounds from the team of Serge Gainsbourg and Michel Colombier – and maybe the most perfect example of why Gainsbourg soundtracks can be so great! First up is the duo's fab music for the film Le Pacha – a wonderful blend of trippy touches and more subtle jazzy moments, plus bits of electric sitar and bassy funk – shifting effortlessly from track to track to create a mad melange of musical grooves! Cuts include the classic "Requiem Pour Un Con", which is a funky gem – plus "Psychastenie", "Joss A La Calvados", "Un Noel 67", "Cadavres En Serie", "Batucada Meurtriere", and Brigitte Bardot singing "Harley Davidson"! Next is Vidoq – a handful of songs originally penned for a TV series in the 60s, and very unusual work from Serge! The tunes include two very offbeat vocal numbers, sung in this deep-voiced style – plus a few more serious instrumentals, but with a weird twist. Titles include "Le Mariage De Vidocq", "A Vous De Jouer", "L'Evasion", and "Chanson Du Forcat". Comment Trouvez-Vous Ma Soeur – or "how do you find my sister?" – seems like a perfect title for a film to feature music from Serge – and the music definitely follows suit! The movie's from 1964, so captures that pivotal time when Gainsbourg was shifting from classier French styles to groovy ones – both modes featured here in the instrumentals directed by Colombier, and on Serge's vocal reading of the title tune. Tracks include "Erotico Tico", "No Love For Daddy", "La Course Au Mariage", "Rendez Vous A L'Eglise", "Surboum Chez Ma Soeur", and "Quart D'Heure Americain". ~ Dusty Groove

JAIMEO BROWN - TRANSCENDENCE

Transcendence marks the Motéma Music debut from Jaimeo Brown, a brilliant 34-year-old drummer, composer and conceptualist. With an intriguing amalgam of modern jazz, Southern black spiritual music, East Indian Carnatic music, blues, and hip-hop/electronica production tactics, Transcendence introduces Brown as a fearless renegade - an artist who seeks new pathways for personal musical expression through honoring a deep and broad lineage of musical and cultural traditions.

Brown and his cohorts - acclaimed tenor saxophonist J.D. Allen and GRAMMY®-nominated guitarist and soundscape producer, Chris Sholar - form the nucleus ensemble on this album. The extended lineup includes a rotating cast of notables: pianist Geri Allen; harmonium player Andrew Shantz; East Indian vocalist Falu; avant-jazz keyboardist Kelvin Sholar; Brown's parents, bassist Dartanyan Brown and pianist/flutist, Marcia Miget; Brown's sister, vocalist Marisha Brown; and Brown's 2-year-old daughter, Selah Brown, who makes a charming vocal debut on the song "I Said."

Brown's philosophy of transforming pain and deliverance into art, and the resulting Transcendence, first took root in 2010 while living in the same New Jersey apartment building as J.D. Allen. They forged a spiritual bond through experimentation with various music styles, and shared readings of the Bible. "We were praying and actually supporting each other through the hardships of being a young artist," Brown recalls. During that time, Brown was listening intently to some music that was superimposed over an Eastern Indian tanpura. That music resonated so heavily with Brown that it sparked a creative fire.

"I started getting ideas about different ways in which superimposed music could be experimented with in an improvisational jazz context," Brown explains. As his concept deepened he recruited Sholar, with whom he had worked in hip-hop contexts, to bring a raw, blues-drenched guitar presence to the material, and to create layered cinematic soundscapes in both the live and recorded setting.

Perhaps the most transfixing element on this recording are the featured samples of the celebrated Gee's Bend Quilters, spiritual singers that hail from rural Alabama. Their haunting songs, sung while quilting, were documented in 1941 and 2002 (via Tinwood Media). Their quilts have been featured in museums around the country and their music has inspired compositions by a handful of musicians, most notably pianist Jason Moran's "Blue Blocks" (a commission by the Philadelphia Museum of Art).

"The primary purpose of black spiritual music is to build community and provide a medium for healing and worship. This is what I aim to do with my music as well," says Brown. While subconsciously searching for healing of his own as a young artist, he first encountered the Gee's Bend Quilters during his studies at Rutgers University. "I was investigating material for my thesis on 'How the Black Church Affected Jazz,'" he explains. "In the process of researching the history of the Black Church, which is not documented well, I was thirsty for any information and music that I could find. Through the process, the Gee's Bend Quilters captivated my imagination."

However, Transcendence is hardly a simple product of scholarly erudition. Brown is the first to include actual samples of their voices within a live context. He debuted this concept on Geri Allen's celebrated holiday album A Child is Born, and returns to the concept now in collaboration with co-producer, Sholar (Kanye West, Jay-Z, Q-Tip, Mariah Carey), and multi-GRAMMY®-Award winners Russ Titelman (producer of Eric Clapton, James Taylor, George Benson, Randy Newman) and Todd Whitlock (engineer of Wynton Marsalis, Chick Corea, Béla Fleck, Sting, Wayne Shorter). Transcendence unfolds as a multi-layered sonic odyssey where the Gee's Bend singers voices weave in and out, affording Brown's music a sensation that's as fresh and emotionally penetrating as it is intellectually and spiritually provocative.

Transcendence creates a musical montage of the highest and most synchronous order. By juxtaposing primordial elements of western blues, jazz, rock and electronica against a spiritually potent background of ancient East Indian and African American devotional sounds, this band stumbles into a musical universe of its very own. Though Transcendence is unmistakably on pulse with what is current in jazz exploration, it's freedom and depth of soul finds more connection with spirit pioneers like Max Roach, John Coltrane or Randy Weston, than it does to the market driven mix, sample and match trends of many of Brown's contemporaries.

The 12 songs on Transcendence bring new life to vocal samplings from the Gee's Bend singers. "Mean World" channels the inner-spirits of Coltrane's Eastern imports, while "Baby Miesh" relays the more purely Eastern-Indian influence, also heard on "Somebody's Knocking" and "I Know I've Been Changed." The album's vibe shifts on "Patience," a rock-based song, and moves forward to push deeper into more Western-influenced tunes like the sample heavy "Power of God," as well as "This World Ain't My Home," a track that concludes the album with a heavy hip-hop influence.

Because of his parents' musical careers, Brown rebelled against becoming a musician for many years. He didn't begin playing drums until he was 16-years-old, a move that he credits with saving his life as it diverted him from a growing involvement with gang culture in California. "I was a C student. I didn't really have much interest in anything and I was heading down a bad path. It was my father who put the drumsticks in my hands and led me to study with Sly Randolph, a Bernard Purdie protégé." Brown soon found himself playing with other illustrious Bay Area scenesters including trombonist Wayne Wallace, pianist Ed Kelly, percussionist Pete Escovedo, vibraphonist Bobby Hutcherson, and even guitarist Carlos Santana.

Brown studied at William Patterson University from 1998 to 2001, then Rutgers University from 2006-2008, where he earned his Masters degree. His East Coast mentors included esteemed drummers Victor Lewis, Horacee Arnold, bassist Rufus Reid, and pianist James Williams. After graduating, he held the drummer's chair in the Charles Mingus Band before leaving that post to explore his own horizons. Legendary figures Wynton Marsalis, Pharoah Sanders, Kenny Garrett, Steve Turre, Geri Allen and Joe Locke are among the many greats that have tapped Brown's jazz talents in the ensuing years. He also ventured into a variety of other genres including electronica/deep house (Carl Craig), hip-hop (Q-Tip), and R&B (Stevie Wonder).

The drummer's holistic approach to music greatly informs the multifaceted nature and execution of Transcendence. "What I tried to do was follow the simplicity and the common denominator of each [musical] essence," Brown says. "Being a product of the hip-hop generation and having parents who are jazz musicians, and seeing all music as kind of equal but as different forms of expressions, had a lot to do with me understanding the common denominators of gospel, blues, jazz, and Eastern Indian music and helped me create a continuity within all of the diverse ideas."

Ultimately, Brown offers the world a kind of 'jazz' that simultaneously recalls the history of man while also challenging us to consider our own place and responsibility in the current cosmos. "I feel more like a steward of this project than a bandleader," says Brown, whose conviction brought his own musical understanding, personal experience, and considerable historical and sociological expertise, not to mention patience, to the table to realize this quilted masterwork of sound.

Upcoming Jaimeo Brown - Transcendence Appearances
April 26 / jazzahead! Showcase - Kulturzentrum Schlachthof / Bremen, Germany

www.jaimeobrown.com

NEW RELEASES - ETANA, DAVID VIRELLES, DAVID STARFIRE

ETANA - BETTER TOMORROW

Etana, the Jamaican-born, Miami-raised songstress, returns with her third studio album “Better Tomorrow”. The entire set is produced by Shane Brown with Stanley “Rellee” Hayden co-creating the title track! The CD is available with a digipak & additional 8-page booklet. Etana broke onto the reggae scene in 2007 with “Wrong Address”, creating a new designation of soulful, singer songwriter among a new generation of Jamaican reggae singers including Tarrus Riley, Duane Stephenson, and I Wayne, with an international appeal. Her debut album “The Strong One” scored six Jamaican radio hits and kicked off one of the most promising new artist stories from Jamaica in years. Her second outing “Free Expressions” from 2011 was also critically acclaimed. Etana returns in 2013 with a scorching new reggae set of 14 new songs about life, love and reggae. “Better Tomorrow” is fully rooted in the one drop reggae styles that made Etana’s name. The album is produced by Shane Brown of Jukeboxx Productions (Busy Signal) and showcases the talents of some of Jamaica’s top studio musicians and legendary engineer Errol Brown. “Better Tomorrow” is an inspired statement from one of today’s most inspiring vocalists. “Reggae’s Jill Scott … Jamaican soul singer with a voice that’s rich, robust and saturated in the right kind of buoyancy – sage but never preachy.” – NPR.org. ~ grooveattack.com

DAVID VIRELLES - CONTINUUM

In just a few short years, David Virelles has become a first-call pianist in jazz, playing in the bands of saxophonists Ravi Coltrane, Chris Potter, trumpeter Tomasz Stanko and will be collaborating on new projects with sought-after drummer Marcus Gilmore and producer Alex Overington. Virelles sophomore album, Continuum is an exploration of Cuban culture through its social, artistic and ritual expressions. Continuum is a collaborative effort with legendary drummer Andrew Cyrille, bassist Ben Street, and Cuban folkloric percussionist/poet Román Díaz. ~ giantstep.net

DAVID STARFIRE - ASCEND

David Starfire’s new album, Ascend, is his most “live” project to date. Starfire’s previous efforts for Six Degrees – the five-track EP Bombay Beatz and debut full-length Bollyhood Bass – were predominantly his own doing. Ascend is more of a collaborative effort, bringing in more live musicians instead of relying on loops and samples. Ascend takes Starfire’s trademark fusion of Electronica mixed with Indian and Arabic influences to new levels of excitement. This time however, David is working with a dizzying cast of musical characters, including hip hop pioneer, Afrika Bambaataa, label-mates Cheb i Sabbah & Natacha Atlas, Desert Dwellers and vocalists iCatching and Sheila Govindarajan. Starfire’s live aesthetic, merging with beat-driven dance textures is perfectly at home at the varied venues he’s performed at, including Coachella, Lightning in a Bottle and Burning Man. David Starfire's Ascend is out on February 19th. ~ Six Degrees Records

EDDIE MOORE AND THE OUTER CIRCLE - THE FREEDOM OF EXPRESSION

The Outer Circle investigates modern influences with those of tradition. Saturated with color, the melodies are lyrics that share our life experiences with the listener. We enjoy using mixed meter in composition to introduce twist and turns to the canvas creating a different mood with every piece that allows the soloist the upmost freedom with line and idea. With original compositions like "Houston Visions" and "Anger Management" this group blends that of the American Idiom with the Freedom of Expression.

For Jazz pianist Eddie Moore, the gift of music was imparted on him at an early age. At the urging of his mother, an accomplished singer, Moore started playing piano at the age of four. While immersing himself in the classical genre he was introduced to Jazz legends such as Miles Davis and John Coltrane by his father and heavily influenced by the hip-hop, punk, and neo-soul music of his generation. These influences have informed the eclectic expression of his musicianship. His creative spirit bleeds through genres while his style of improvisation follows in the lineage of the jazz masters.

Moore’s musical journey has led him to study under legendary saxophonists Bobby Watson and Horace A. Young. He also showed his promise as a keyboardist in the Houston-based alternative soul group Neon Collars. During his time in the group, they shared the stage with the Robert Glasper Experiment, Ledisi, Erykah Badu, Bilal, Mos Def and “K” of the hip-hip group The Foundation.

As a Jazz pianist he has performed with Logan Richardson, Maurice Brown, Andre Hayward and Book of Gaia( which includes Angela Hagenbach, Nedra Dixon and Pamela Watson). Moore also showed his versatility as Music Director for the musical ‘Olu’s Dream’ inspired by the children’s book of the same name by author Shane Evans.

Currently Moore resides in Kansas City where he has completed a M.A. in Jazz Studies from the University of Missouri-Kansas City. He is also the leader his own group The Outer Circle, who's debut album The Freedom of Expression is available at eddiemooreandtheoutercircle.bandcamp.com. ~ reverbnation.com

BAJAFONDO - PRESENTE

Besides being virtually two albums in one, Presidente is the band’s most ambitious to date and the one that more closely resembles what the band is all about in a live setting. But, unlike previous recordings where dance floor-friendly bombs were dropped from the very beginning, it starts on a low-key, strings-fueled note, before “Código de barra” comes at you like a full-frontal sonic assault. From there on, everything goes: lyrical double-entendres, killer beats, an organic mix of modern electronica and old tango bandoneón and violins, milonga piano, and other elements found in previous Bajofondo albums.

“Patras” pays tribute to Bajofondo’s love affair with rebetika, the dark, urban type of Greek folk music the band finds so connected to tango. In between several tracks (and, sometimes, in the middle of them, as in “A repechaje”), the ambient sounds you hear are all sound bites collected by the band while on tour, adding to the album’s personal feel – Presente is the band’s “road movie,” its most visual album. By the way, if you’ve never seen Bajofondo live and Verónica Loza’s bombardment of images on the screen (a key part of the show), Presente will take you there: the music itself is full of images that turn into songs and vice versa.

As usual, instrumental numbers and vocal songs simultaneously take you back in time and into the future, but Presente is the most personal Bajofondo album. For the first time, all songs in Presente were written by Bajofondo as a team and there are no vocal guests on the album. It is a monumental effort featuring a monster ensemble of eleven violins, four violas, three cellos (all directed by Alejandro Terán), plus three stand-up basses, woodwinds, percussion, and even a theremin. The rich string arrangements are the heaviest and most sophisticated in Bajofondo’s history, but far from the only highlight: guitarist, programmer, and co-producer Juan Campodónico shines as a singer in “Lluvia,” and Adrián Sosa (the drummer who gives Bajofondo’s rhythm its human traction) debuts as a lead vocalist in “Cuesta arriba.” Gustavo Santaolalla himself takes a star turn in the vocal department (something he knows a little about, as those aware of the early history of the vibrant Argentine rock scene well know). His heartfelt rendition of “Pena en mi corazón” and his multi-layered a capella feast in “Oigo voces” (where the Beatles meet The Beach Boys by way of Astor Piazzolla and Buenos Aires 8, a legendary a capella tango group of the ’70s) are two classic moments that rank among the best tracks ever recorded by Bajofondo.

“Olvidate” (“Forget it”) illustrates Bajofondo’s unique ability to blend sophistication with more mundane, popular cultural manifestations. It starts with a pulsating beat where disco meets bandoneón and then, when least expected, Bajofondo transforms into a chorus that might have come straight out of an Argentine football stadium. The tongue-in-cheek bragging has Bajofondo boldly declaring that “even the dead” dance with them, with a bragadoccio that owes as much to hip-hop as it does to tango itself.

As Santaolalla said, “Presente is a trip that takes you from the most magical to the most epic urban moments.” It is a rare amalgamation of the sounds and identities of Argentina and Uruguay, two of the most similar peoples you’ll find anywhere, and the alchemy works because each side’s unique individuality (and global spirit) can be felt in the music. It is both a regional and universal sound, and this album finds the band on top of its game.

The others in the band hold their own: Javier Casalla’s violin is still adept at having fun with a traditional milonga or fooling around with a solo from outer space; Gabriel Casacuberta’s precise bass is the other side of the band’s rhythmic pulse; Luciano Supervielle’s subtle but lethal classic/contemporary approach is a reminder that the piano, after all, is a percussion instrument; and Martín Ferres’ soulful bandoneón the best symbol of a rioplatense youth enamored with both tango and rocanrol.

Presente means that, ten years after its debut, Bajofondo is still here with its relevance intact. But Presente (which also means “gift” in Spanish) is an unclassifiable bag of goodies meant to be heard from beginning to end; there are several stops in the way, but you always keep moving. Ultimately, Bajofondo makes Bajofondo music. The album was made in the studio but, if you still haven’t had the chance to see what they’re like live, Presente is a good start. Even if you’re dead.

~ gaintstep.net

NEW RELEASES - THE BILL DIXON ORCHESTRA. FELA KUTI, BRZZVLL

THE BILL DIXON ORCHESTRA - INTENTS AND PURPOSES

Amazing! One of the few rare records cut by Bill Dixon during the 60s, and a perfect example of "new thing" jazz in action. Trumpeter Dixon plays in 3 different ensembles – a nonet, a quintet, and a duet – with players like Byard Lancaster, Reggie Workman, Robert Pozar, and Jimmy Garrison. The tracks are long, with an approach that begins with compositional structures, but which also showcases the avant solo talents of the players – in a manner that's similar to some of the Blue Note work by Anthony Williams or Grachan Moncur III. A darn tough record to find – and with the tracks "Voices", "Nightfall Pieces I & II", and "Metamorphosis". (Comes in a great gatefold sleeve, too!) ~ Dusty Groove

FELA KUTI - THE BEST OF THE BLACK PRESIDENT 2

Hard to go wrong with a set like this – because in our opinion, just about every track recorded by Fela is a "best" – which makes the collection a massive batch of goodness all the way through! Every track here is presented in its original extended version – a dozen massive slices of Afro Funk, which packaged together equal the equivalent of at least 5 or 6 separate albums by Fela – another factor that makes the collection a great one! The 2-CD set is filled with gems that helped redefine the sound of funk, soul, and world music back in the 70s – titles that include "Monkey Banana", "Everything Scatter", "Expensive Sh*t", "Trouble Sleep Yanga Wake Am", "Underground System (part 2)", "Sorry Tears & Blood", "Colonial Mentality", "Yellow Fever", "He Miss Road", "Black Man's Cry", "Mr Follow Follow", and "Na Poi". ~ Dusty Groove

BRZZVLL - POLEMICALS

"Polemicals” is taking the psychedelic jazz groove that the six piece band from Antwerp, Belgium is known for to the next level. It is still impossible to find the right box for BRZZVLL though. Jazz is the teacher but band leader Vincent Brijs and crew couldn’t care less about rules and regulations. From the epic, arabic flavoured opener “Jericho” to the sweet and deep ballad “Reino Dos Céus” BRZZVLL simply do what they want. Most times you can dance too to it and all the time you can trip with it. Compared to their 2010 album “Happy Live Creator” (produced by Ben Ladmin aka Nostalgia 77) the new BRZVVLL album has more of a live feel. Which is owed to the fact that “Polemicals” has been recorded at the Kip Kass studio, owned by the band’s keyboarder Jan Willems in Mortsel and produced by the band itself. In that aspect, “Polemicals” captures the sensational live performances better than any BRZVLL record before. ~ grooveattack.com

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