NEW RELEASES - DANIEL DOMENGE, SQUEEZE-BOT, THE WONDERTONES

DANIEL DOMENGE - LOST IN MY THOUGHTS

Smooth Jazz is a universal language around the world. Take guitarist Daniel Domenge as an example, who resides in Languedoc-Roussillon! the large vineyard region is one of the 26 regions that make up France. The world-class guitarist has played professionally for some 20 years! his passion for Smooth Jazz finally drove him to record his second album . This flawless recording features a tantalizing return to retro influences, yet the beats and rhythms are cutting edge contemporary. Daniel's guitar work is buoyed by Fender Rhodes and Hammond B3 accents as he funkifies the audio environment . Three years after his first album " Patchwork" ," Lost In My Thoughts" features exceptional performances from all contributing musicians and polished off by engineer Reynald Evrard. All of the songs are stunning!This album is smooth jazz at its best ! This French guitarist speaks fluent Smooth Jazz! ~ CD Universe

SQUEEZE-BOT - SWEET DREAMS ARE MADE OF SQUEEZE

Before the electric guitar ruined rock and roll, accordions, banjos and tubas had their rightful place in music. Driven underground by their oppressors, the great accordion/banjo/tuba bands have kept largely quiet, playing late night, speakeasy style concerts in underground clubs deep in the country, far from the ever vigilant ears of oppressive electric guitarist. But now one such underground band would run no more, and have emerged from the underground with bold new stylings, not afraid to show how music should have been played all along. ~ CD Universe


THE WONDERTONES - OLD SCHOOL

The Wondertones core group is comprised of a four piece rhythm section and a single solo guitar, rather than the usual sax, trumpet or vocalist. Accessible jazz with be-bop underpinnings, the Smooth Jazz of it's time. Great when you are driveing ,relaxing with friends or alone in contemplation. Really music that's great any time. 47 minute of the music that IS the Coolest Daddy-O. ~ CD Universe

NEW RELEASES - ASTRUD GILBERTO / STANLEY TURRENTINE, RONDI CHARLESTON, VESTA

ASTRUD GILBERTO / STANLEY TURRENTINE - ASTRUD GILBERTO WITH TURRENTINE

An expanded version of this classic – with 5 more bonus tracks, 4 of which were arranged by Ennio Morricone! The core album is incredible 70s work from the lovely Astrud Gilberto – a rare effort for the CTI label that has her teaming up with arranger Eumir Deodato and saxophonist Stanley Turrentine – all in a groove that's totally different than most of her earlier work! Astrud's breathy vocals are still wonderfully intact – but they're given a more spacious approach in the arrangements – strings mixes with rolling basslines, soaring keyboards, and stone cold tenor from Stanley – in a groove that's simply wonderful, and which takes off in a whole new direction than before! Other players include Airto, Sivuca, Hubert Laws, and Dom Um Romao – and tracks include classic versions of "Ponteio", "Vera Cruz", and "Zazueira" that are all some of the most grooving takes on the tunes ever – plus "Historia De Amor", "Where There's A Heartache", "Brazilian Tapestry", and "Wanting Things". Bonus tracks include "If Not For You", "Acercendome A Ti", "Argomenti", "En Tu Piel", and "Un Donna Che Ti Ama". ~ Dusty Groove

RONDI CHARLESTON - SIGNS OF LIFE

Emmy® and Peabody Award® winning singer/songwriter Rondi Charleston presents original story-songs and delightful jazz cover arrangements that emerge straight from the heartfelt headlines of her life. NPR specialists Missing Piece have generated significant interest in features for this release. Noted jazz guitarist Dave Stryker, who serves as music director and co-writer on several tunes, brings a polished jazz aesthetic to this engaging and unusual program. Will be co-promoted with the film No Place On Earth, which features the song The Cave Knows co-written with Fred Hersch. The song appears as a bonus on this CD.  ~ Amazon

VESTA - SEVEN

Extending a tradition that stretches from Aretha Franklin to Sarah Vaughn, singer, songwriter, Vesta Williams contributed to the soulful mix of musical era and genres during her career. Simply put, Vesta Williams is a musical legend. Before her death in September 22, 2011, Vesta released 6 studio albums that has produced “Congratulations” “Sweet Sweet Love” “4U” and “Special”. Her upcoming studio release “Seven” is completed and contains the wonderful vocals and arrangement that we have expected from her over the last 25 years. Vesta has sold over 2 million albums in her career that this effort will please all her fans. Vesta’s new single “Better Days” is available on Itunes. From Executive Producers Edwin Nicholas, Devon V. Collins and Kahlil I. Pedizisai, Vesta’s Album “Seven” will be available in Stores on March 12, 2013 from Stimuli Music. ~ urbanbridgez.com

NEW RELEASES - BALLISTER, ROB MAZUREK OCTET, ROVO SAXOPHONE QUARTET

BALLISTER - MI CASA ES EN FUEGO

Blistering sounds from Ballister – quite possibly the fiercest album so far from this key Chicago group – and that's saying a lot, given the intensity of their previous work! The trio really seem to know each other intimately by this point – so that they can really let loose, and explore a great range of sounds from the saxes of Dave Rempis, drums of Paal Nilssen-Love, and the cello, guitar, and electronics of Fred Lonberg-Holm! The album's an especially great illustration of the way that Fred's really opened up his energy level in recent years – and become a much more organic player, with a confidence in his sounds we never would have expected a decade ago. Rempis is masterful on alto, tenor, and baritone – blowing with a boldness that puts him firmly in line with a range of Chicago improvisers – and Paal's visiting drum work really pushes the whole thing forward strongly. Titles include "Cockloft", "Smolder", and "Phantom Box System". ~ Dusty Groove

ROB MAZUREK OCTET - SKULL SESSIONS

One of the most outside sets we've heard from Rob Mazurek in years – a combination of his own cornet and work on ring modulator – creating a blend of jazz and electronics that's really mindblowing! Mazurek's not alone in his creative expressions – as he's joined here by a group group of players that mixes musicians from Rob's Chicago and Brazilian scenes – including Nicole Mitchell on flute and piccolo, Jason Adasiewicz on vibes, Mauricio Takara on cavaquinho, Guilherme Granado on keyboards and electronics, Thomas Rohrer on rabeca and C melody sax, Carlos Issa on guitar, and John Herndon on drums – a really unique lineup that lives up to all their promise with the rich sounds on the set. Most tracks are quite long – and titles include "Galactic Ice Skeleton", "Skull Caves Of Alderon", "Keeping The Light Up", "Passing Light Screams", and "Voodoo & The Petrified Forest". ~ Dusty Groove

ROVA SAXOPHONE QUARTET - A SHORT HISTORY

Incredible reed interplay from the Rova Sax Quartet – still an amazing ensemble after all these years, with a mixture of complex creativity and surprising soul that few other groups of this nature can touch! On a record like this, Rova remind us that there's still plenty of freshness in the sax quartet format, when handled this well – rhythm, melody, and many other sounds coming together beautifully from the horns of Bruce Ackley on tenor and soprano sax, Steve Adams on alto and sopranino sax, Larry Ochs on tenor and sopranino, and Jon Raskin on baritone and alto. The set features a beautiful extended piece titled "Certain Space" – an amazing journey in sound – plus "The Blocks", and "To The Right Of The Blue Wall". ~ Dusty Groove

SWEET HONEY IN THE ROCK BIDS FAREWELL TO LONGTIME MEMBER

Sweet Honey In The Rock, the venerable and Grammy Award-nominated a cappella ensemble that is currently celebrating its 39th performance season will bid farewell to one of its’ most tenured and revered member’s Dr. Ysaye M. Barnwell, when she officially exits the group the at end of May this year to pursue several of her own career endeavors.

Barnwell’s inimitable and distinctive bass tones were added to the DC based a cappella quartet in 1979 after being scouted and invited by the ensemble’s founder/ creator Dr. Bernice Reagon. Reagon (who retired in 2004) formed the group in 1973 along with Louise Robinson, Carol Maillard and Mie, while teaching a vocal workshop at the legendary D.C. Black Repertory Theatre Company. Both Maillard and Robinson took a sabbatical from the group in 1976, returning in1992 and 2004, respectively. The current line-up comprises Maillard, Barnwell, Robinson, Aisha Kahlil (who joined in 1981), Nitanju Bolade Casel (who joined in 1985) and Shirley Childress Saxton, an American Sign Language interpreter who has been performing ASL with the group since 1981.

Sweet Honey In The Rock's sterling legacy as songwriters, activists, inspirational performers, and musical innovators has endured and weathered twenty-three personnel changes since its’ inception. In the light of the various configurations, their patented and unique five-part harmonized fusion of African chants, blues, jazz, soul, gospel, and rhythm & blues has built a worldwide following and generated 23 original and revered recordings.

"We are very sad to see Ysaye go," says Carol Maillard, "but we know she's embarking on a wonderful world of projects and accomplishments that she'll undoubtedly achieve. She will always be a part of us and who knows when we might see her on the Sweet Honey stage again!"

Dr. Ysaye M. Barnwell

“I have loved and deeply appreciated being a part of and contributing to the ensemble and legacy of Sweet Honey over the past 34 years,” stated Barnwell. “The women of Sweet Honey will be my sisters forever, but I’ve felt a sense of calling to devote more of my personal and professional time to other projects that I’m very passionate about and have been nurturing for some time.”

Sweet Honey In The Rock has revealed plans to eventually add a new member, and will be holding auditions over the next several months in preparation for their, SWEET HONEY IN THE ROCK 40th ANNIVERSARY CELEBRATION: FORTY AND FIERCE, which will be launched and presented from late October 2013 – October 2014. The group is currently developing an entirely new theatrical production and show to commemorate their four decades of history- making music.

Barnwell will continue to be an integral part of all the ensemble’s live performances thru mid-May, 2013, including a series of international performances in Gent, Belgium, London, England, Muscat, Oman, and several cities in Australia in late March and early April.

Barnwell’s last recording with Sweet Honey In the Rock will be released by Appleseed Recordings on February 26, 2012. The album entitled, SWEET HONEY IN THE ROCK: A TRIBUTE, LIVE! JAZZ AT LINCOLN CENTER pays homage to the songs of several legendary jazz icons including Abbey Lincoln, Miriam Makeba, Odetta and Nina Simone. The double-CD is a live recording of their sold out performances at JALC’s Rose Theatre in April 2011 which also featured a contemporary jazz trio. They will perform several of songs from their new CD in all their forthcoming dates, and will reprise the full live Tribute show at the Kimmel Theater in Philadelphia, February 28; the McCarter Theatre in Princeton, March 1; NJPAC in Newark, March 2; BB Kings in New York. March 5; and the Howard Theater in Washington, DC, March 7.



Upon her departure from Sweet Honey, Dr. Barnwell plans to devote more of her time to her other career interests which include presenting vocal community workshops, conducting, composing, and further developing several major projects. Among them, THE FORTUNE’S BONES project that was commissioned and presented by the University of Maryland at the Clarice Smith Center in February 2012.



Dr. Ysaye Barnwell will be available for interviews during the month of February. Please contact Casey Brosten at casey@mileshighproductions.com to schedule an interview.



For more information on Sweet Honey In The Rock, please visit their official website:

www.sweethoneyintherock.org

JAZZ ON THE ISLAND FEATURING PAUL TAYLOR AND PAUL 'SHILTS' WEIMAR

Saxophonist Paul Taylor & Funky New York favorite Paul “Shilts” Weimar formerly of Down to the Bone

are appearing at the Landmark Theatre in Port Washington, NY on Saturday, February 16th.

Paul Taylor grew up in Denver, where he took up the saxophone at the age of seven. He played in school bands, and in high school joined a Top 40 band called Mixed Company. Jazz keyboardist Keiko Matsui and her husband, producer Kazu Matsui, discovered him playing at the Catalina Island Jazz Festival and hired him to play in their band. He spent two years with them, and then Kazu Matsui produced his 1995 debut album, On the Horn, which reached the jazz charts and spawned a radio hit in "Til We Meet Again." Pleasure Seeker, his second album, followed in 1997 and was equally successful. Taylor released his third album, Undercover, on Peak/N-Coded Music in February 2000. Also in 2000, he toured as a special guest artist with the Rippingtons. Subsequent albums Hypnotic (2001), Steppin' Out (2003), Nightlife (2005), and Ladies' Choice (2007), all issued by Peak Records, figured high in the contemporary jazz charts, with Ladies' Choice going all the way to number one. Peak released Taylor's eighth album, Burnin', in 2009. Two years later, Taylor returned with the album Prime Time.

Paul “Shilts” Weimar hails from London, England and has been playing saxophone since his early teens. His 30 year career has spanned all forms of jazz, funk, soul and pop music, and he has toured all over the world and recorded with a host of international artists. Most recently you would have seen Shilts as Bandleader and front-man of British urban jazz funk export, “Down To The Bone” which enjoyed massive success in the United States. DTTB released 7 albums of which Paul was heavily featured, both as a player and as a writer.

Visit THE JAZZ NETWORK WORLDWIDE "A GREAT PLACE TO HANG" at: http://www.thejazznetworkworldwide.com/?xg_source=msg_mes_network

TIM GORDON - UP & UP

Tim Gordon’s musicianship has been duly-noted in all genres of music, from rock, jazz, funk, top-forty as well as the likes of the Count Basie Orchestra. Having worked live with Pink Floyd, Ray Charles, Henry Mancini, Natalie Cole, as well as orchestral dates with; Harry Connick Jr., Manhattan Transfer and Josh Groban. Gordon’s musical journey continues with an impressive array of top recording artists in literally every genre of music listing him as ‘a first call musician”.

Tim traveled for many years with The Temptations and the Four Tops performing at major venues worldwide which included PBS Specials with The Four Tops such as “Live form the Jackie Gleason Theatre”, a CD recording; “Christmas Here With You”, and the DVD; “The Four Tops Live at the MGM Grand”.

Diversity has been Tim’s calling card, with literally thousands of recording sessions to his credit; national and regional artists releases, movie and television themes and numerous commercial dates. For twenty years Tim worked for Sound Source recording studio transcribing and recording all genres of saxophone and woodwind music for the popular “Sound Choice Accompaniment Tracks”.

As an educator, Tim encourages his students with the knowledge that there is life after music school. “It is my goal as an educator that as my students find their place in life, they might continue to perform.”

The Jazz Network Worldwide is excited to promote multi-instrumentalist Tim Gordon to its worldwide platform with his new CD Up & Up. As a veteran performing and recording artist Tim Gordon penned and arranged all the songs on his new project and hand-picked some of the best musicians on the scene. “When you hear ‘Up & Up’ it makes you immediately take notice of the funky grooves and the cohesiveness of such a stellar chemistry of musical excellence. Tim Gordon truly knows how to bring a musical conversation to pass, leaving you with wanting more” says Jaijai Jackson, creator of The Jazz Network Worldwide Social Network.

“It’s always fun to record music with great players, music is what we do, its who we are” states Gordon. Notables such as Keith Carlock, Jim Brock, Tim Smith, Roddy Smith, Steve Willets, Robby Robinson, Felton Offard, Roy Agee and John Thornton made this project come to life and expertly produced by Tim Smith and Tim Gordon.

“Soulful, hip, smart and technically brilliant. What else could you ask of a saxophone player? Encyclopedic range, comfort with any kind of music, and besides all that? He’s a real nice guy. You’re in for a treat here. Tim Gordon has finally made a record of his own!” says Ricky Schultz of http://www.jazzconsultant.com.

This project has been brewing for a while and has been long overdue, the nucleus of this project was to have ‘fun’ says Gordon wanting his listening audience to experience as much fun as they had recording it.

www.timgordonsax.com.

Visit THE JAZZ NETWORK WORLDWIDE "A GREAT PLACE TO HANG" at: http://www.thejazznetworkworldwide.com/?xg_source=msg_mes_network

TONY BENNETT ON SIRIUS XM RADIO

Sirius XM Radio has announced that legendary recording artist Tony Bennett will sit down for an intimate Q&A session with an audience of SiriusXM listeners, moderated by Alec Baldwin, at the SiriusXM studios in New York City as part of its “Town Hall” series. “SiriusXM’s Town Hall with Tony Bennett,” which will take place on Wednesday, February 13, will air on Valentine’s Day, Thursday, February 14, on Siriusly Sinatra, channel 71, at 9:00 am ET and 4:00 pm ET; and SiriusXM Stars, channel 107, at 11:00 am ET. For rebroadcast times, please visit www.siriusxm.com/townhall.

Moderated by Baldwin, the “Town Hall” special will include the 17-time Grammy® winner Tony Bennett answering a variety of questions from the studio audience about his legendary career. SiriusXM listeners will have the chance to attend “SiriusXM’s Town Hall with Tony Bennett”. Listen to Siriusly Sinatra or visit www.siriusxm.com/townhall for Official Rules and details. SiriusXM listeners are also invited to submit a question for Tony Bennett on Twitter by 5:00 pm ET on Tuesday, February 12 by Tweeting @SiriusXM and using the hashtag #SXMTownHall or posting a question on SiriusXM’s Facebook page.

Bennett is currently on tour and has upcoming concerts scheduled for Boston, Ft. Lauderldale, Ft. Myers, Ft. Pierce, West Palm Beach, and San Francisco.

DONALD BYRD 1923 - 2013

The influential jazz trumpeter Donald Byrd died on Monday at the age of 80, his nephew has said. Alex Bugnon, a jazz pianist, reported his uncle's death on Thursday, though it has yet to be confirmed. Bugnon wrote on his own Facebook page: "Donald passed away Monday in Delaware, where he lived. His funeral will be held in Detroit sometime next week. I have no more patience for this unnecessary shroud of secrecy placed over his death by certain members of his immediate family. "

Byrd was born Donaldson Toussaint L'Ouverture Byrd II in Detroit in 1932 and began his career with Art Blakey's Jazz Messengers in the 1950serforming alongside the likes of John Coltrane, Sonny Rollins, Thelonious Monk and Herbie Hancock.While his roots were in bebop he later became equally renowned for soul and funk, and particularly jazz fusion. He went on to become one of jazz label Blue Note's most significant artists, for whom he recorded most of his releases, including the 1973 album Black Byrd, which became the label's biggest ever seller.

Long after his commercial peak, Byrd's influence continued to be felt in popular music, sampled by hip-hop artists including Public Enemy, Nas, the Pharcyde and Del Tha Funkee Homosapien and house producer Armand Van Helden. Byrd's legacy is summed up by his nephew's Facebook tribute: "Let's remember Donald as a one of a kind pioneer of the trumpet, of the many styles of music he took on, of music education. In sum, Donald was an avid, eternal student of music, until his death. That's what I try to be, everyday!! Rest in peace, uncle!"

Source: http://www.guardian.co.uk/music/2013/feb/08/donald-byrd-jazz-dies

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