JAN SHAPIRO - PIANO BAR AFTER HOURS

Jazz vocalist and longtime Berklee College vocal professor Jan Shapiro chose to focus on the challenging -- and revealing -- duo format for Piano Bar After Hours, her fourth CD and her first since 2007's Back to Basics. Shapiro tapped six of her favorite pianists, with whom she'd worked in various settings through the years, to accompany her on the new disc, which will be released by her Singing Empress label on April 9.

Before arriving at Berklee 28 years ago, Shapiro spent more than a decade on the road singing with bands five nights a week on the hotel circuit, from St. Louis and Chicago to such points east as Atlanta, New York City, and Washington, DC. By the early Eighties, however, changes in the economy had forced many of the venues at which she worked to employ her with a full band only on weekends. On weeknights, it was just Shapiro and a pianist.

That familiar setting is revisited on Piano Bar After Hours, with Shapiro applying her glowing, pitch-perfect three-octave soprano to a thoughtfully chosen program of jazz and American Songbook standards ("If I Were a Bell," "They Say It's Wonderful," Horace Silver's "Doodlin'," "Times Lie") and pop songs of more recent vintage ("Lost Up in Loving You," Rickie Lee Jones's "Company"). Ten of the 11 tracks are voice-and-piano collaborations, as pianists Daniela Schachter, Bob Winter, Tim Ray, Russell Hoffman, John Harrison III, and Adriana Balic take turns supporting Shapiro. For the 1984 Al Jarreau song "Tell Me," she and Balic were joined by Joey Blake on vocal bass and Bob Stoloff on vocal percussion. Both men have taught at Berklee and have worked with vocal innovator Bobby McFerrin.

Born in St. Louis and raised in tiny nearby Festus, Jan Shapiro attended the St. Louis Institute of Music and later enrolled at Howard University, earning a music degree cum laude. She completed her studies there while performing five nights a week at a Hyatt Hotel in Washington, DC.

"I was trained in traditional classical technique," Shapiro says of the influence of her classical music training at Howard. "It was invaluable, but since I'd always had classical training, I sometimes wondered if too much classical training would be difficult to transfer to pop and jazz styles. As it turned out, it was! If you have a Julie Andrews-type voice, as I do, how do you sing pop or jazz? It's a different aspect of your instrument, and the timbre and delivery of singing jazz is completely different."

"I don't know what category to put me in," she says of her unique style. "I'm not like the expected jazz singer, who would have a lower timbre and hold everything straight. I don't sound just like anyone."

After moving to Boston, Shapiro earned a master's in education at Cambridge College, and received an NEA grant, which she used to research early jazz singers and the Boswell Sisters. She became acting vocal chair at Berklee College of Music in the summer of 1996, and by January 1997 she was appointed head of the department -- the first female chairperson in Berklee's Performance Division. Shapiro served as chair until 2010 and remains a full professor at Berklee, currently teaching a class in vocal history; she also has 25 private students.

"As a teacher, my philosophy has been 'not everyone will be a star,'" says Jan, "'but there are practical things you can learn about your instrument.' I want to make sure that singers become empowered by good musicianship as well as excellent vocal craft."

On Piano Bar After Hours, Shapiro practices what she preaches through her breathtaking combination of flawless technique and depth of feeling.

www.janshapiro.com

YELLOWJACKETS - A RISE IN THE ROAD

A Rise In The Road, the Yellowjackets' second Mack Avenue Records offering, is indeed an appropriate title for a time-honored jazz ensemble that has never been fearful of facing newer musical horizons, not to mention the myriad challenges of life itself. Throughout their storied 32-year history, the Yellowjackets have undergone numerous lineup changes, never failing to rise to the inevitable challenges of adjustment. Keyboardist Russell Ferrante and bassist Jimmy Haslip, the dual cornerstones of the group's 21 previous recordings, were responsible for a sizable chunk of the Yellowjackets' catalogue. Yet despite those shifts, Ferrante and Haslip, along with saxophonist Bob Mintzer (23-year member) and drummer William Kennedy (14-year member, spread out between two different time periods), soldiered on with a professionalism that has resulted in 17 GRAMMY® nominations-with two wins-countless sold-out tours, and worldwide critical acclaim.


Last year Jimmy Haslip announced he was taking a hiatus to focus on other projects and spend more time with his family. Alas, all good things must come to an end, as he has decided to make his hiatus permanent. Although his leaving is seismic within the scope of the Yellowjackets' history-"A Rise In The Road," if you please-change is no stranger to this consistently innovative and adaptable collective. A Rise In The Road introduces a new member-bassist Felix Pastorius-to replace Haslip. Pastorius, whose last name is widely familiar to jazz aficionados, steps in to contribute his talents to the group's continuing sonic ventures (more on Felix Pastorius in a moment).

In 2010, the Yellowjackets signed to Mack Avenue Records and in 2011 released Timeline, which reached #5 on Billboard's jazz chart; the title cut received substantial national jazz radio airplay, making the song a staple on Billboard's "Smooth Jazz Songs" chart. Now the Yellowjackets unveil A Rise In The Road, a 10-track study that burnishes the group's sterling reputation for high quality tonal explorations and ensemble execution.

Produced by Ferrante, Mintzer and Kennedy, A Rise In The Road stands shoulder-to-shoulder with their 21 previous efforts. "It's about the challenges that people face in their lives and whatever path they are on: It's not always smooth sailing, it's not always a level road," explains Ferrante, with regards to the project's meaning. "Certainly, over the 32 years that we've been a band, we've had things come up, challenges such as musicians that have left the band, business people, relationships that you have built over the years. Things come to an end, and you have to meet the challenge and keep going forward."

Felix Pastorius is the newest Yellowjackets member. He is the son of legendary jazz bassist Jaco Pastorius, most known for his affiliation with jazz-fusion contemporaries, Weather Report. Prior to his death in 1986, Jaco had enlisted Mintzer to play saxophone in several of his post-Weather Report big band incarnations. Mintzer was familiar with Felix Pastorius as a top-flight musician, having sat in as a guest performer in the Jeff Coffin Mu' Tet where Felix was the bassist. "The music industry is a small place. We held auditions with a few bass players, and Felix's name came up," reflects Mintzer. "He was the one that rose to the top, really played well, and seemed like he had the personality that fit well. I believe we made the right choice." In a statement released upon officially joining the Yellowjackets in early 2012, Pastorius commented: "I am humbled by the opportunity to step in for Jimmy Haslip." A Rise In The Road also marks the first time in nearly 30-years that Jaco's bass was played on a new recording. The instrument can be heard on several tracks. Robert Trujillo (bassist for Metallica), who owns Jaco's bass, is a Pastorius family friend and generously loaned Felix the bass for the session.

As one half of the Yellowjackets rhythm engine, Will Kennedy stood to feel the impact of Jimmy Haslip's departure and Pastorius' addition directly. "When we got word that Jimmy was moving on, it was a shock to all of us because he had such a big footprint in our band. We weren't quite sure what the possibilities were or what it would be like." The three eased Pastorius into the fold by gigging with him for eight months during 2012, a move that allayed fears as the band gradually became comfortable playing together. "That shined some light on the situation," Kennedy continues. "As opposed to a detriment, it was more of an opportunity for us to grow and expand with a different combination of voices within our group. It turned out to be a pleasant experience, and it continued on into the recording process."

Prior to the recording process, each member arrived armed with the knowledge that whatever composition one brings to the table will receive proper respect. "It's very democratic," Mintzer says, describing the song selection process. "Once a song is brought to the table, it's free rein, basically. It's a given that the composer relinquishes his initial take when a song is given to the committee. Everyone is welcome to make adjustments and suggestions."

Ferrante penned "An Informed Decision," "An Amber Shade of Blue," "You'll Know When It's Time" and "Longing;" Kennedy contributed the sensual "Madrugada;" while Mintzer penned "When the Lady Dances," "Civil War," "Thank You" and "I Knew His Father." Mintzer titled "I Knew His Father" as both a tribute to Jaco Pastorius and a warm welcome into the Yellowjackets for Felix.

Additionally, Ferrante composed "Can't We Elope," a play off Herbie Hancock's famed "Cantaloupe Island." Ferrante explains, "'Can't We Elope' is kind of a bad pun. I borrowed the bass line and the feeling of the song from the Herbie's tune; the title plays off that." "Can't We Elope" features rising star trumpeter Ambrose Akinmusire, who also contributes creative flows on "An Informed Decision" and "An Amber Shade of Blue." Akinmusire is a past winner of both the prestigious Thelonious Monk International Jazz Competition and the Carmen Caruso International Trumpet Solo Competition. "He's a young trumpeter who's been making a lot of noise," Ferrante reveals. "It was a real honor to have him record with us; he's a super-talented musician." From a historical perspective, while the band has rarely incorporated the trumpet on their previous albums, Akinmusire's appearance marks the second consecutive Yellowjackets album to feature the instrument.

"The actual recording process went smoothly," Ferrante relates. "Felix did a lot of homework; he had charts and demos of the new music." Mintzer adds, "On several of our records there were extensive overdubs. But on A Rise In The Road, it was mainly just the four of us playing live. There were a couple of little overdubs, but not nearly as much as previous albums. We accomplished a big, big sound. It sounds pretty wide for just four guys!" Ferrante agrees: "The music changes to accommodate new people. We're really pleased with the way A Rise In The Road came out."

"We do miss Jim, without a doubt," concludes Mintzer. "Whenever you change personnel in a partnership band like this one, things change dramatically. But somehow, this core of what the Yellowjackets is about remains; it transforms in one direction or another. But there is this strong sense of collaboration and strength in numbers that I seldom find in groups where there typically is a leader. A Rise In The Road is the next chapter of the Yellowjackets. We welcome Felix Pastorius to the fray and are grateful to have the opportunity to express ourselves in a way that reflects where we are all at in this very moment."

Upcoming Yellowjackets Appearances
April 9 - 13 / Marian's Jazz Room / Bern, Switzerland
April 23 - 27 / Birdland / New York, NY
May 22 - 23 / Jazziz Nightlife / Boca Raton, FL
May 25 / Jacksonville Jazz Festival / Jacksonville, FL
June 25 / Rochester Jazz Festival / Rochester, NY
July 5 / Syracuse Jazz Festival / Syracuse, NY
July 6 / Windsor Jazz Jam / Windsor, CT
July 7 / Blue Mountain Jazz / Blue Mountain, Canada
July 19 / Highland Theater / Albuquerque, NM
July 20 / One World Theater / Austin, TX
July 21 / Dosey Doe / Woodlands, TX
August 4 / Hartwood Acres Amphitheater / Pittsburgh, PA
August 16 - 17 / Sculler's Jazz Club / Boston, MA
August 18 / Hollywood Bowl / Los Angeles, CA
August 31 / Tuscumbia Country Club Festival / Green Lake, WI
September 25 - 28 / Jazz at the Bistro / St. Louis, MO
October 3 / Kuumbwa / Santa Cruz, CA
October 4 / Gallo Center PAC / Modesto, CA
October 19 / Tversted Jazzy Days / Tversted, Denmark
October 27 / TBA / Katowice, Poland
November 9 / Lawrence University Jazz Series / Appleton, WI

A Rise In The Road - Track Listing & Personnel
1. What The Lady Dances (Bob Mintzer)
2. Civil War (Bob Mintzer)
3. Can't We Elope (Russell Ferrante)
4. An Informed Decision (Russell Ferrante)
5. Longing (Russell Ferrante)
6. Thank You (Bob Mintzer)
7. Madrugada (William Kennedy)
8. An Amber Shade (Russell Ferrante)
9. (You'll Know) When It's Time (Russell Ferrante)
10. I Knew His Father (Bob Mintzer)

Russell Ferrante - Piano, Keyboards
Bob Mintzer - Sax
William Kennedy - Drums, Keyboards
Felix Pastorius - Bass
Special Guest: Ambrose Akinmusire - Trumpet on 3,4,8

MIKE MACARTHUR - FEELS LIKE HOME

“When are you going to let me make a record with you?” For years, Grammy-nominated bassist Brian Bromberg posed this question to saxophonist Mike MacArthur. Finally the saxman acquiesced. He grabbed his tenor horn, hopped a jet and camped out in Bromberg’s Los Angeles-area home studio until the record was complete. The two musicians invited a handful of their high-profile friends over to play on the album, “Feels Like Home,” which will be released June 4th by Paradise Point Music. Bromberg produced and plays acoustic bass on the 10-song multihued mix of contemporary and straight-ahead jazz and blues that features contributions from trumpeter Rick Braun, keyboardist Jeff Lorber and guitarist Jeff Golub. The tabernacle temblor “Sanctified,” the disc’s gospel-inspired first single, is already gracing radio playlists and ascending the charts.

“’Sanctified’ is kind of the mack daddy track on the album because everyone is on it. It was the most labor-intensive tune to record,” said MacArthur, who will open for Grammy-winner Queen Latifah on Tuesday (March 26) at Ruth Eckerd Hall in Clearwater, FL. “The whole album, which began with Brian (Bromberg), is simply friends making music because they want to. These guys are friends and family who I’ve worked with over the years and it felt like home hanging out playing what we wanted to play. Working with players like this just makes you a better player. It was a fun and enjoyable hang.”

The circle of friends was completed by noted percussionist Alex Acuna, Ron Reinhardt (piano/B3 organ), Gannin Arnold (guitar), Frank “Third” Richardson (drums), and vocalists Janelle Sadler and Alva Copeland.

With MacArthur’s impassioned and skilled sax anchoring the album along with plenty of walking bass deftly deployed by Bromberg, each guest is given ample room to dazzle on extended improvisational solos and generous track lengths. Bromberg’s productions sound live and as one would expect from this list of friends, the level of musicianship is scholarly.

Typical of when jazz musicians gather to jam, most of the songs on “Feels Like Home” are standards culled from legends and masters such as Miles Davis (“Jean Pierre”), Duke Ellington (“In A Sentimental Mood”), Sonny Rollins (“Blue Seven”), Joe Zawinul (“Birdland”) and Horace Silver (“Filthy McNasty”). MacArthur authored a trio of new compositions for the set, including the warm and cozy title track, “Around The Corner,” a shuffling blues cut penned with Golub’s gritty blues guitar chops in mind, and the swinging “Sydney Style.”

Raised in Rochester, NY and currently residing in Tampa, FL, MacArthur toured the U.S., Asia and Europe backing Maynard Ferguson followed by a road stint with Grammy-winner Diane Schuur. Over the years, he’s worked with Braun, Bromberg, Golub, Roger Waters, Franki Valli, Peter White, Craig Chaquico, Rick Derringer, Chieli Minucci and Jeff Kashiwa. MacArthur released his solo debut, “Paradise Point,” in 2000, which was followed by “Deal Me In” (2002), “That’s What I’m Talkin’ ‘Bout” (2006) and “Live ‘N Kickin’” (2009). “Feels Like Home” is his first collection backed by the muscle of radio promotions, marketing and publicity campaigns. For more information, please visit www.mikemacarthur.com.

The songs contained on MacArthur’s “Feels Like Home” album are:
“Filthy McNasty”
“Birdland”
“Sanctified”
"Feels Like Home”
“Around The Corner”
“Jean Pierre”
“Sydney Style”
“Blue Seven”
"In A Sentimental Mood”
“Mo Better Blues”

BOB JAMES & DAVID SANBORN - QUARTETTE HUMAINE

OKeh Records will release keyboardist-composer-arranger Bob James and alto saxophonist David Sanborn's new album, Quartette Humaine, on May 21, 2013. The project is the first collaboration between the two musicians since their 1986 Platinum-selling, GRAMMY® Award-winning album, Double Vision. An all-acoustic quartet offering, Quartette Humaine pays tribute to the late iconic pianist-composer Dave Brubeck, putting a prime spotlight on his work that featured alto saxophonist Paul Desmond.


"David and I realized long ago that Double Vision had become more successful than we originally imagined it could be," James says. "Ironically, although we've met in the studio, doing other people's projects, we've never toured, or performed together live as a band. The exception was a midnight jam session at the Tokyo Jazz Festival a few years ago. We played just a couple of tunes, but it engendered the feeling that a reunion was way overdue."

On their second go-round, the old masters eschew the pop and R&B production values that mark large chunks of their respective discographies, and offer instead an all-acoustic quartet recital consisting of four new compositions by James, three pieces by Sanborn, and two James-arranged covers ("My Old Flame," "Geste Humain"). Propelled by legendary drummer Steve Gadd and 21st century bass giant James Genus, the proceedings are reflective, swinging, chock-a-block with unfailingly melodic improvising and beautiful tonalities.

"At this stage of my life, I wanted more than anything to play music that's challenging and fun, outside the style we've been associated with," Sanborn says. "For various reasons, a lot of my records only reflected one side of the many kinds of music I was doing." Over the past decade, Sanborn adds, his records "reflect a side of my sensibility that I hadn't been expressing as much, paying respects to guys like Hank Crawford and David 'Fathead' Newman, who inspired me to start when I was a teenager in St. Louis."

"We felt it's far more exciting and adventurous to move forward," James says. "Times have changed. The music business has changed. We have changed."

It's a poignant coincidence that the recording sessions occurred in December 2012, a week after the death of Dave Brubeck, who the protagonists were thinking of as they gestated Quartette Humaine. "We talked about the interplay of Brubeck's quartet with Paul Desmond," Sanborn says. Coming from that, I assumed we'd make a quartet date. I like being able to really hear all the individual instruments. We had this beautiful 9-foot grand piano, and you can hear its sound ring out. You get more sonic purity without all those other elements."

Indeed, both the tunes and treatments channel Brubeck's gift for creating communicative music from highbrow raw materials. "Dave has a similar capability to Paul Desmond-though in a different way-in that the lyric quality of the way they play takes it into an emotional-romantic concept rather than an intellectual one," James says of Sanborn. "I felt-and I still do when I listen to the Brubeck quartet-that they were taking us on an adventure, and some of the adventure was challenging. Just when you thought you knew where you were going, they'd go somewhere different."

It's this adventurous, "in-the-moment" spirit that fuels Sanborn and James on Quartette Humaine. "It's so much fun to do it this way," Sanborn reflects. "I used to separate live playing from being in the studio, and got into a mindset of having to labor over a record and make it right. I want the studio to reflect that live experience-the fun of discovery, not knowing what's going to happen until it happens."

Upcoming Bob James & Bob James Appearances:
June 6 / Town Hall / New York, NY
June 8 / Fraze Pavillon/ Kettering, OH
June 9 / Capital Jazz Fest / Columbia, MD
June 14 / Rotary Amphitheatre / Fresno, CA
June 15 / Thornton Winery / Temecula, CA
June 16 / Playboy Jazz Festival/ Los Angeles, CA
June 17 / SFJAZZ Center / San Francisco, CA
June 19 / Schermerhorn Symphony Center / Nashville, TN
June 20 / Jazziz Night Life / Boca Raton, FL
June 21/ Plaza Live / Orlando, FL
June 22 / Palladium Theater / St. Petersburg, FL
June 24 / Ottawa Jazz Fest /Ottawa, ON
June 25 / Toronto Jazz Fest / Toronto, CA
June 26 / Chene Park / Detroit, MI
June 27 / Rochester Jazz Fest / Rochester, NY
June 28 / Keswick Theatre/ Glenside, PA
June 29 / Freihofer's Saratoga Jazz Fest / Saratoga, NY
June 30 / Hampton Jazz Fest / Hampton, VA
July 9 / Istanbul Jazz Festival / Istanbul, Turkey
July 12 / North Sea Jazz Festival / Rotterdam, Netherlands
July 16 / Montreux Jazz Fest / Montreux, Switzerland
July 20 / TBA / St. Moritz, Switzerland
July 21 / Montreux Jazz Fest / Montreux, Switzerland
August 7 / TBA / Haugesund, Norway
August 23 / Back Bay Amphitheater / Newport Beach, CA
August 24 / Mountain View Plaza / Snoqualmie, WA
August 25 / Esther Short Park / Vancouver, WA
September 4 - 5 / Blue Note / Tokyo, Japan
September 9 / Tokyo Jazz Festival / Tokyo, Japan
October 24 / St. Cecilia Music Center / Grand Rapids, MI
October 25 / Manchester's Craftsman's Guild / Pittsburgh, PA
October 27 / The State Theater / New Brunswick, NJ
October 31 / TBA / Zurich, Switzerland
November 3 / TBA / Salzburg, Austria
November 5 / TBA / Lugano, Switzerland
November 8 / TBA / Vienna, Austria
November 9 / TBA / Horsens, Denmark
November 14 / Leverkusan Jazz Fest / Leverkusan, NJ

Quartette Humaine - Tracklisting:
1. You Better Not Go to College (Bob James)
2. Geste Humain (Alice Soyer)
3. Sofia (David Sanborn)
4. Follow Me (Bob James)
5. My Old Flame (Arthur Johnston, Sam Coslow)
6. Another Time, Another Place (David Sanborn)
7. Montezuma (Bob James)
8. Genevieve (David Sanborn)
9. Deep in the Weeds (Bob James)

GEOF BRADFIELD - MELBA!

Saxophonist/composer Geof Bradfield's new CD Melba!, which Origin Records will release on April 16, has been a long time coming. Bradfield's suite for jazz septet, a tribute to the great yet underheralded arranger/trombonist Melba Liston (1926-1999), received its premiere performances last summer in Chicago and other Midwest cities. It was supported by a commission from Chamber Music America's 2011 New Jazz Works program (with funding by the Doris Duke Charitable Foundation), allowing Bradfield to research the rich Liston trove at Columbia College Chicago's Center for Black Music Research.

And before that, there was a deep and long-standing personal connection with Melba's music. Bradfield had discovered her through such landmark Randy Weston recordings as Uhuru Afrika (1960) and The Spirits of Our Ancestors (1991). "When I came up in the 1980s and was learning to play, everything seemed to be about extreme instrumental virtuosity," he says. "The music of Randy and Melba was more complex. It had color and depth and a range of emotional expression. It had a real human element."

For the concert performances and recording of Melba!, Bradfield called on trumpeter Victor Garcia, trombonist Joel Adams, pianist Ryan Cohan, guitarist Jeff Parker, bassist Clark Sommers, and drummer George Fludas. This is the same group (minus Adams) that appeared on the saxophonist's acclaimed 2010 Origin Records release, African Flowers, which itself was influenced by the Weston/Liston recordings.

"I loved the way their music tied a lot of things together: African music and Duke Ellington and bebop harmony and the extreme use of dissonance, which in Liston's hands could suggest Stravinsky," says Bradfield. "Their music transcended craft. They created a path from one form of music, and one aspect of culture, to the other. They showed you how everything fit together."

The movements trace the musical arc of Liston's life, from "Kansas City Child" and "Central Avenue" to "Dizzy Gillespie," "Randy Weston," "Detroit/Kingston," and "Homecoming." Closing out the CD, vocalist Maggie Burrell delivers a majestic version of "Let me not lose this dream," with text by Harlem Renaissance poet Georgia Douglas Johnson and piano-bass accompaniment.

Perhaps in part because she was so private, Liston is not as familiar to average listeners as other great jazz arrangers of her era such as Gil Evans and Oliver Nelson. Bradfield hopes to help change that with Melba!, which illuminates what a remarkable individual she was in achieving such success as a woman in a man's world and as a bold innovator with her own style and methodology.

"Through the course of six carefully composed movements," wrote Howard Reich in his Chicago Tribune review of the septet's September 2012 Green Mill performance, "Melba! evoked the spirit of Liston's times but still carried the hallmarks of Bradfield's musical language. The long lines, complex themes and meticulous structuring of this score pointed to the high craft of Bradfield's writing."

The premiere of Melba! capped a banner year for Bradfield. One of a handful of saxophonists who brings the same intensity and edgy power to soprano as he does to tenor, he contributed memorable performances on both horns to standout albums by three of the Windy City's finest: bassist Marlene Rosenberg, trumpeter Tito Carrillo, and guitarist John Moulder. He also produced singer Rebecca Sullivan's well-received debut, This Way, This Time.

The 42-year-old Houston native, who last year was named an assistant professor of saxophone and jazz studies at Northern Illinois University, continues the pace in 2013 with several projects. A new recording by Ba(SH), Bradfield's collective trio with Clark Sommers and drummer Dana Hall, will be released by Origin this summer. He plays bass clarinet on the third album by bassist and rising star Matt Ulery's Loom, out on Dave Douglas's Greenleaf label in June. Bradfield also contributes to forthcoming releases by Ryan Cohan (Motéma) and Dana Hall (Origin).

With the CD release imminent, Melba! continues to occupy much of Bradfield's attention. He and his septet will perform the suite at the Green Mill 6/1 as well as later this summer at the Chicago Jazz Festival, which will present him at the Pritzker Pavilion in Millennium Park 8/30 as part of a triple bill (with Wadada Leo Smith and Charles Lloyd).

"I feel very fortunate to write for and perform with all of the musicians on this recording, each of whom brings a very personal voice to the group," Bradfield wrote in his CD notes. "Their creative input along the way transformed the dots and lines on the sterile page, "bringing Melba! to life" -- and Liston's soulful legacy to the fore.

www.geofbradfield.com

BOBBY MCFERRIN - SPIRITYOUALL

For decades, Bobby McFerrin has broken all the rules. The 10-time Grammy winner waged a quiet revolution, blurring the distinction between pop music and high art, goofing around barefoot in the world's finest concert halls, exploring uncharted vocal territory, inspiring a whole new generation of a cappella singers and the beatbox movement. Now he surprises us by bringing it all back home with his new album, spirityouall, available on May 14, 2013 from Sony Masterworks.

On spirityouall Bobby McFerrin invites us to sit on the stoop awhile and listen as he throws some unexpected new ingredients into the melting pot and reinvents Americana. He embraces it all - bluegrass and the baroque, heartfelt lyrics and wordless melodies, joy and sorrow - across genres, across boundaries, across generations. He invites us back to the great folk tradition of lifting our voices to sing together through life's trials and triumphs.

spirityouall features seven classic spirituals, an unexpected cover (Bob Dylan's "I Shall Be Released"), and five original tunes ranging from a celebratory hoedown ("Rest") to a polemic anthem ("Woe"), to a down and dirty blues setting of Psalm 25:15. The stellar band includes Esperanza Spalding , who sings with Bobby on three tracks, Larry Grenadier on bass, multi-instrumentalist Larry Campbell , drummers Ali Jackson and Charley Drayton , and accordionist/keyboard wizard/arranger/musical director Gil Goldstein . spirityouall was recorded at Avatar Recording and Shelter Island Sound, both in New York City.

The bluesy, feel-good recording is an unexpected move from the music-industry rebel who singlehandedly redefined the role of the human voice with his a cappella hit "Don't Worry, Be Happy," his collaborations with Yo-Yo Ma , Chick Corea and the Vienna Philharmonic, his improvising choir Voicestra, and his legendary solo vocal performances. spirityouall continues Bobby's lifelong quest to integrate all the influences of the musical universe. But as in so many great American tales, sometimes it turns out that everything one is searching for is in one's own backyard.

spirityouall honors the legacy of Bobby's father, the opera singer Robert McFerrin, Sr. , the first African-American to sign a contract with the Metropolitan Opera Company and a renowned interpreter of the American Negro spiritual. It was the elder McFerrin's 1957 recording, "Deep River" and Other Classic Negro Spirituals, that inspired Bobby to record his own set of devotional songs. He sat on the idea for some 20 years before deciding that the time was right. "I had the idea of taking some of my father's pieces and reinterpreting them. In the meantime, I had also been writing some pieces that had a spiritual bent, and so the album is a combination of originals, traditional spirituals and things I heard my father sing." Bobby grew up absorbing and singing these songs.

Three of the traditional numbers featured on spirityouall - the opening track "Every Time I Feel the Spirit," "Swing Low Sweet Chariot" and "Fix Me Jesus" - also appeared on Bobby's father's album, but any similarities end there. Bobby McFerrin 's wholly improvisational approach to vocalizing is markedly different than his dad's more formal operatic style, and the usage of rhythm instruments on spirityouall - the title a clever play on the word spiritual - as well as acoustic and pedal steel guitars, accordions, violin, mandolin and electronic keyboards, places Gil Goldstein 's elegant, rousing arrangements and McFerrin's uplifting vocals more in line with contemporary Americana than conventional gospel. What attracted McFerrin to delivering his own interpretations of these songs, and to write several new ones, was simply his lifelong belief in what they say. The spirituals are about liberation and courage, the human condition, the pioneering spirit, the search for strength in the face of adversity, and the journey toward a better place.

spirityouall is a deeply personal statement for Bobby McFerrin . "I couldn't do anything without faith," he says. "I couldn't open up my eyes, I couldn't walk, I couldn't speak, I couldn't sing. What I want everyone to experience at the end of my concerts is…this sense of rejoicing. I don't want the audience to be blown away by what I do, I want them to have this sense of real joy, from the depths of their being. Then you open up a place where grace can come in."

Bobby McFerrin 's spirityouall album will be available for pre-order beginning this month, March 2013. He is currently on tour with a new band in support of the release.

U.S. Tour Dates
March 25, 2013 - Ogden, Utah, Peery's Egyptian Theatre
March 26, 2013 - Logan, Utah, Ellen Eccles Theatre
March 27, 2013 - Logan, Utah, Ellen Eccles Theatre
March 28, 2013 - Idaho Falls, ID, Civic Auditorium
March 30, 2013 - San Francisco, CA, Davies Symphony Hall
April 2, 2013 - Santa Barbara, CA, The Granada Theatre
April 3, 2013 - Los Angeles, CA, Disney Hall
April 5, 2013 - Davis, CA, Mondavi Center
April 6, 2013 - Reno, NV, Grand Theater at the Grand Sierra Resort
April 7, 2013 - Las Vegas, NV, The Smith Center
April 9, 2013 - Greenville, NC, East Carolina University/Wright Auditorium
April 11, 2013 - Greenville, SC, Peace Center Hall
April 12, 2013 - Roanoke, VA, Shaftman Performance Hall
April 14, 2013 - Boston, MA, Symphony Hall
April 16, 2013 - Garden City, NY, Adelphi U Long Island
April 18, 2013 - Ann Arbor, MI, Hill Auditorium
April 19, 2013 - Grand Rapids, MI, Forest Hills Fine Arts Center
April 20, 2013 - Chicago, IL, Symphony Center
April 23, 2013 - Akron, OH, The University of Akron E. J. Thomas Hall
April 25, 2013 - St. Louis, MO, Sheldon Concert Hall
April 26, 2013 -  Kansas City, MO, Helzberg Hall
April 27, 2013 - Minneapolis, MN, Orchestra Hall
May 13, 2013 - Washington, D.C., Kennedy Center

SMOKEY ROBINSON SIGNS WITH VERVE RECORDS; SET TO RELEASE DUETS ALBUM

Legendary Motown icon and Grammy® award-winning songwriter, Smokey Robinson , has signed a record deal with Verve Music Group. Robinson was signed to the label by its Chairman, David Foster , to release his 29th career LP, a special duets album, due out this coming fall. The album will also be guided by highly regarded A&R executive, Jay Landers . In addition, Robinson made a surprise appearance on last night's American Idol where he served as a mentor to the show's contestants. During the broadcast, Idol host Ryan Seacrest brought attention to Robinson's forthcoming album and spotlighted the artist's new project.


"I'm really excited about signing with Verve Music Group to release this upcoming album," said Smokey Robinson . "Not only do I have a musical history with the guys involved, but a longstanding friendship as well. I'm looking forward to bringing our talents to the table as we collaborate on this project."

"From the early 60's to this very day, you can turn on a radio anywhere in the world and hear his music," said David Foster , Verve Music Group Chairman. " Smokey Robinson 's contributions to the world of music as a performer, producer and songwriter are nothing short of a 'miracle'. I'm so pleased to welcome Smokey to the Verve Music Group family. We're looking forward to a great collaboration worthy of the legacy of this great label."

The album, which is due out in the fourth quarter of 2013, features Robinson performing his greatest hits alongside a celebrated roster of contemporary and classic artists whose influence will span the depth of Robinson's stellar 50 plus year career. Unlike any other duet-themed project produced to date, this unique album will include hits all written by Robinson, such as all-time favorites: "My Girl," "Cruisin," and "The Tears of a Clown," to name a few.

Once pronounced by Bob Dylan as America's "greatest living poet," acclaimed singer-songwriter Smokey Robinson 's career spans over four decades of hits. He has received numerous awards including two Grammy's, the Grammy Living Legend Award, NARAS Lifetime Achievement Award, Honorary Doctorate (Howard University), Kennedy Center Honors and the National Medal of Arts Award from the President of the United States. He has also been inducted into the Rock 'n' Roll Hall of Fame and the Songwriters' Hall of Fame.

Born and raised in Detroit, Michigan, Robinson founded The Miracles while still in high school. The group was Berry Gordy 's first vocal group, and it was at Robinson's suggestion that Gordy started the Motown Records dynasty. Their single of Robinson's "Shop Around" became Motown's first #1 hit on the R&B singles chart. In the years following, Robinson continued to pen hits for the group, including "You've Really Got a Hold on Me," "Ooh Baby Baby," "The Tracks of My Tears," "Going to a Go-Go," "More Love," "The Tears of a Clown" (co-written with Stevie Wonder ), and "I Second That Emotion."

The Miracles dominated the R&B scene throughout the 1960's and early 70's and Robinson became Vice President of Motown Records serving as in-house producer, talent scout and songwriter.

In addition to writing hits for The Miracles, Robinson wrote and produced hits for other Motown greats including The Temptations, Mary Wells , Brenda Holloway , Marvin Gaye and others. "The Way You Do the Things You Do," "My Girl," "Get Ready," "You Beat Me to the Punch," "Don't Mess with Bill," "Ain't That Peculiar," and " My Guy " are just a few of his songwriting triumphs during those years.

John Lennon of The Beatles made countless remarks regarding Robinson's influence on his music. The Beatles had recorded Robinson and The Miracles' "You've Really Got A Hold On Me" in 1963 and in 1982 another popular British group, The Rolling Stones, covered the Robinson and the Miracles' hit, "Going To A Go-Go."

He later turned to a solo career where he continued his tradition of hit making with "Just to See Her ," "Quiet Storm," "Cruisin'," and "Being with You," among others.

He remained Vice President of Motown records until the sale of the company, shaping the label's success with friend and mentor Berry Gordy . Following his tenure at Motown, Robinson has released several successful solo albums and continues his impressive touring career to date.

During the course of his 50 plus year career in music, Robinson has accumulated more than 4,000 songs to his credit and continues to thrill sold-out audiences around the world with his high tenor voice, impeccable timing, and profound sense of lyric. Never resting on his laurels, Smokey Robinson remains a beloved icon in our musical heritage.

www.smokeyrobinson.com

THE GREG HOPKINS QUINTET + ONE - REALITY CHECK

Reality Check on Un-Gyve Records features ten original tracks by superlative composer, arranger, and trumpeter Greg Hopkins plus a new take on the Rodgers and Hart "Spring is Here". Hear the humility and generosity of these master musicians performing these brilliant compositions, a musical dialogue born of a long-working band that has paid its dues, Reality Check is the real deal. Six of our premiere jazz players offer up a Reality Check with the unparalleled compositions and arrangements of the great Greg Hopkins "the sound and spirit of a real working band."

An ensemble of the highest order — musicians' musicians — led by trumpeter Greg Hopkins , featuring tenor man Billy Pierce , veteran of Art Blakey and the Jazz Messengers and the Tony Williams Quintet; guitar guru Mick Goodrick , acclaimed for his harmonically intricate accompaniments; drum icon Gary Chaffee whose influence on the contemporary drum scene is told with an excerpt of his student roster, from Vinnie Colaiuta to Joey Kramer ; Lyle Lovett 's long-time pianist Tim Ray ; and the powerful bassist Dave Zinno .

Greg Hopkins started in Detroit, making his way around the globe, arranging and performing for our most celebrated musicians from Gillespie and Sinatra to the Supremes; Motown to Symphony Hall. On composing and performing Hopkins says, "After years of doing this, I know what works and what doesn't, but I still experiment. Every piece is a nail biter."

He was writer and arranger for Buddy Rich and Herb Pomeroy , and more recently for Grammy® winner Esperanza Spalding , and her "Radio Music Society" tour.

NEW RELEASES - RONNIE FOSTER, BOSSA NOVA BABY, BLUEY

RONNIE FOSTER - SWEET REVIVAL

 

A funky keyboard treasure – a smoking organ and Fender Rhodes session that is one of the greatest Blue Note albums by Ronnie Foster! Foster plays organ on the set, next to electric piano by Ernie Hayes – and the pair stir up the sound wonderfully as they glide over grooves, soaring on twin keyboard lines that really make for a magical sound! A few tracks get hard and funky, and others have that superdope laidback feel that made all of Foster's early work so great – especially for the Quest-era sample crowd. The album's got some really great 70s soul covers, mixed with a few tasty originals – and titles include "Backstabbers", "Lisa's Love", "Superwoman", "Alone Again (Naturally)", "Sweet Revival", "Some Neck", "Inot", and "It's Just Gotta Be That Way". ~ Dusty Groove

 

BOSSA NOVA BABY - A SULTRY GROOVE (VARIOUS ARTISTS)

 

A sweet little collection that goes way beyond basic bossa nova – as it offers up tunes from a host of different vintages, in different styles of the genre – including some surprising gems from recent years too! Vintage material is blended nicely with cuts from Far Out and a few other current labels – and together, the tracks show the strong evolution of bossa nova into the 21st Century – way past the basic sounds at the start. There's a number of tracks on here we've never heard before – and titles include "The Girl From Ipanema" by Paula Santoro, "O Nosso Amor" by Vanja Orico, "Agua De Beber" by Xavier Osmir, "Meu Samba Torto" by Clara Moreno, "How Insensitive" by Simao Morto, "Rio Bahia" by Joyce, "Wave" by Victor Assis Brasil, "Mas Que Nada" by Rio Combo, "Dindi" by Paula Santoro with Hugh Burns, "So Danco Samba" by Gustavo Marques, and "Salve Dom" by Armando Marcal. 32 tracks on 2CDs – quite a deal! ~ Dusty Groove

 

BLUEY - LEAP OF FAITH

 

No need for a leap of faith where Bluey's concerned – as we've been loving his music with Incognito for many many years, and we're more than happy to hear the man on his own! The vibe here is every bit as soulful and righteous as the best Incognito work – but there's also a more personal sound, too – especially since Bluey's on lead vocals on every track – quite a change from before, as he often lets other singers take the lead! Turns out, Bluey's a hell of a lead singer on his own – with this warm and slightly raspy style that really fits in wonderfully with the grooves – which are heavy on Bluey's own guitar, plus keyboards and other instrumentation from Ski Oakenfull and Richard Bull. If you like Incognito as much as us, there's plenty to love here – and titles include "Stronger", "Leap Of Faith", "Sky", "Keep Myself Together", "Ain't Nobody's Business", "Got To Let My Feelings Show", and "Live Like A Millionaire".  ~ Dusty Groove

YOUN SUN NAH - LENTO

Female singers who manage to stir a whole genre are seldom found. Diana Krall and Norah Jones are such outstanding talents who gave vocal jazz a whole new colour, and Korean singer Youn Sun Nah has been equally phenomenal. In the last few years she has conquered the music world with her albums Voyage (2009) and Same Girl (2010) released on ACT Music."

A miracle," "a great piece of art," "enchanting," "a world-class singer" - just some of the overwhelmingly positive responses from the press to these albums. Within two years Nah had received her fourth "Korean Music Award," the BMW World Jazz Award and the ECHO Jazz Award for best international female singer whilst in France, her second home, Same Girl was the best-selling jazz album of the year in 2011, Nah received the "Prix Mimi Perrin du Jazz Vocal" as female vocalist of the year, the leading magazine "Jazzman" awarded her with "Choc de l'annee 2012" as artist of the year and she was granted the title of nobility "Chevalier de l'Ordre des Arts et des Lettres" by the culture secretary, putting her in the prominent company of such stars as David Bowie, Dee Dee Bridgewater and Dustin Hoffman.

 

What is the secret of her remarkable success? Her new album Lento gives an explanation by combining Nah's unique qualities. One of them is the blending of different cultural and musical sources, in a respectful yet unconventional manner. Besides jazz and related styles, she draws on chanson, pop and folk music, and in addition to compositions by herself and her band members, there is the extremely light version of the Korean folk song "Arirang" as well as "Hurt" by the alternative rock band Nine Inch Nails, and Stan Jones' "Ghost Riders In The Sky," a classic country song made famous by Johnny Cash.

 

For the first time Nah also calls upon European classical music: Alexander Scriabin's "Prelude op. 16 No. 4 in E minor" with its tempo indication "Lento" was a source of inspiration for the album's title, and it also sets up an intimate, atmospheric and harmonious musical world. Nah unfolds her expressive power especially in the peaceful and slow-paced moments - on the fragile chanson "Full Circle," with heartbreaking grievance on "Lament" or artistic unison singing on "Momento Magico."

 

On Lento it becomes more apparent that Nah's voice ties the songs together. It is the precision of her intonation and phrasing, great timing and crystal voice that enable her to turn minimalistic forms into powerful emotions, pure elegance and magic. All this requires extremely subtle and considerate co-musicians, therefore the successful lineup from Same Girl was the first choice for Lento as well: Nah's longstanding duet partner Ulf Wakenius on guitar, Lars Danielsson on bass and Xavier Desandre-Navarre on percussion. The fourth member of the band is new - the French accordion magician Vincent Peirani. Two pieces on "Lento" were written by him and, similarly to Youn Sun Nah, his variations and ideas seem to emerge from an inner voice, which is one of the reasons why there is perfect interaction between the two musicians.

With her universal yet individual style Youn Sun Nah gives traditional vocal jazz a new flavor, while unconventionally and effortlessly exploring new exciting spaces. She is one of the most outstanding representatives of vocal jazz that includes the whole spectrum of contemporary music.

BILLY STEWART - UNBELIEVABLE / CROSS MY HEART

Billy Stewart's second album, 1966's Unbelievable, and the posthumous, 1974 odds-and-ends collection Cross My Heart are combined onto one CD for this 79-minute compilation. It's not apt to satisfy non-completists as it's not a best-of, missing the majority of his chart hits and including just one big smash, "Summertime." For those looking for supplements to his most popular songs, however, it's not a bad deal, and includes quite a few tracks not likely to be found on other compilations.

The centerpiece is the Unbelievable album which, in keeping with his unexpectedly successful, exuberantly stuttering update of "Summertime," is comprised entirely of pop standards given a soul treatment. "Summertime" is still far and away the standout of that LP's dozen tracks, in part because some of the others have more middle of the road, pop-jazz-oriented arrangements. Nonetheless, if you want to hear him tackle like-minded material like "Moon River," "My Funny Valentine," "Over the Rainbow," "That Old Black Magic," "Misty," and a couple more by "Summertime" composers George & Ira Gershwin, this is your chance. The most liberal interpretations that make the most of his freewheeling trademark scat-stutter style, like "Moon River," "That Old Black Magic," and "Canadian Sunset," are more enjoyable by far than his more straightforward ballad readings.

The 12 tracks from Cross My Heart were taken from various 1964-1969 singles, with the exception of one of the better cuts, "Fat Boy's Boogaloo," a 1967 James Brown-flavored Stewart original that made its first appearance on that 1974 LP. Generally, these aren't as striking as his best hits, with some exceptions like 1964's "Tell It Like It Is," which puts his fully developed, odd vocalizations to infectious, upbeat, mid-'60s soul without a hint of influence from the pop standards. The rest is good to acceptable '60s Chess soul fare, though, Stewart proving himself capable of writing a good straightforward soul-pop ballad on "How Nice It Is" and "Why Am I Lonely." Some of the late-'60s tracks get slicker and more faceless from both the production and songwriting viewpoints, though the cover of "By the Time I Get to Phoenix" works better than you might expect. The Shout label does a good job with the packaging of this rather awkward match of vintage albums, adding historical liner notes and sequencing the Cross My Heart tracks so they're heard in chronological order rather than the scattershot sequencing used on the original LP. ~ Richie Unterberger

Digitally remastered two-fer containing a pair of albums from the R&B vocalist on one disc. Billy Stewart is best known for his distinctive and iconic version of 'Summertime', George Gershwin's standard from Porgy & Bess. 'Summertime', a U.S. Top 10 Pop and R&B hit in the summer of 1966 was the lead track on Billy's Unbelievable' album on Chess, and it is fascinating to hear 'Summertime' in context. ... Full Description Stewart developed his own idiosyncratic 'word-doubling' vocal delivery, and was supported by brassy arrangements combining the best elements of Soul and Big Band Jazz. Also included as bonus tracks are a collection of Billy's Chess recordings from across the 1960s; once released by Chess in 1974 as a compilation called Cross My Heart, which features many Northern Soul favorites. Shout.2011. Audio Remasterer: Simon Murphy. Liner Note Author: Clive Robertson. ~ CD Universe

LOUIS VEGA ELEMENTS OF LIFE - ECLIPSE

The Robert Glasper Experiment significantly altered the way in which R&B fans heard jazz and vice versa with 2012's Black Radio. In 2013, Louie Vega and Elements of Life's Eclipse may be the record that enlightens views about dance music's ability to bridge (not water down) many musical genres with its sophisticated meld of live music and DJ culture's aesthetics. Vega's EOL is the first signing of a new artist by the legendary Fania Records in decades. While Latin rhythms and Nuyorican soul sounds are among those heard here, they are only elements in EOL's attack, which includes African and Brazilian rhythms, jazz, soul, R&B, gospel, and pop.

Eclipse is exceptionally consistent over 17 tracks and 78 minutes. It's there in poet Ursula Rucker's reading of her "Balance in All Things" and the Afro-Cuban grooves in the killer "Canto Para Ochosi," where an Afro-Cuban chant sung by Nina Rodríguez is backed by a cooking percussion, brass, and string orchestra, which spirals it out into progressive big-band soul. Soulful house vocalist, keyboardist, and songwriter Josh Milan is important in these proceedings; he and Vega co-wrote about half the album together, and his vocals grace numerous tracks including the the bluesy Latin soul-rocker "Children of the World," with smoking guitar by Sherrod Barnes. Anané (globally renowned DJ, singer -- and Vega's spouse) and vocalist Lisa Fischer lead the stellar "Most Beautiful," where jazz, soul, merengue, and funky house grooves mingle. Raul Midón's George Benson-esque guitar playing and scatting push the track from the dancefloor into the heart. "I'm a Woman, I'm a Queen" offers a gospel intro that shifts into high disco gear with Cindy Mizelle and Fischer singing. They also deliver the soulful house burner "I Believe in Miracles" with an urban gospel backing chorus.

There are a number of excellent covers on the set, too. These include a globalized reading of Webster Lewis and Barbara Ingram's "Barbara Ann," sung by Fischer and Mizelle. It seamlessly weds salsa, disco, jazz, and funk. Fela Kuti's "Overtake Don Overtake Overtake" features vocals by Sheyi Olagunju. Anané offers a moving reading of Cape Verdean legend Armando Zeferino Soares' iconic "Sodade." Milan leads a spirited reading of the Baden Powell and Vinícius de Moraes samba standard "Berimbau," as well as a salsa-meets-jazz-funk version of Larry Mizell's "Harlem River Drive" (with beautiful flute work by Monday Michiru). The closer finds Anané taking the lead on Roy Ayers' "You Came into My Life." Simply put, there isn't another album like Eclipse. On it, Vega and EOL reach far beyond their earlier efforts in combining excellent songcraft and interpretive skills, with stellar musicianship, canny production, and a philosophical attitude that affirms dignity and humanity as logical extensions of music. [Eclipse also contains a bonus disc that features a 33-minute Vega mix of legendary Fania jams and originals, bonus cuts, and alternate mixes.] ~ Thom Jurek Audio Mixer: Yas Inoue. Recording information: Daddy's Workshop, NJ. Photographer: Karl Giant. Arranger: Louie Vega. ~ CD Universe

MICHEL CAMILO - WHAT'S UP?

OKeh will release GRAMMY®, Emmy®, and Latin GRAMMY® Award winning pianist and composer Michel Camilo's new album, What's Up?, on May 14, 2013. The project is the Dominican Republic-born musician's debut for the label and is OKeh's second overall release as part of the new re-launch initiative via Sony Classical, which focuses on documenting "Global Expressions in Jazz."

Produced by Camilo and recorded by GRAMMY® Award winning engineer Phil Magnotti at The Carriage House Studios in Stamford, Connecticut on February 14-15, 2013, the 11 tracks on What's Up? provide a stunning demonstration of the pianist's originality, spotlighting seven original compositions and four uniquely re-arranged jazz and Latin standards. Compositions include an intimate rendition of the quintessential "Alone Together", an exploration of Cole Porter's "Love For Sale" and a deep soulful re-discovery of Compay Segundo's "Chan Chan"; as well as in Camilo's own words, "my take on the perpetual polyrhythmic intricacies of 'Take Five' - as a personal nod of admiration and awe to the legacy of legendary master Dave Brubeck."

"I had lots of fun making this new album but it also has been quite an endeavor to take, since one of the biggest challenges for any jazz pianist is to be able to contribute to the rich tradition of solo piano styles," reflects Camilo, whose last solo piano project was released in 2005. "This recording expresses my desire to explore the contrasts of color, harmonic texture, rhythm and nuances in jazz piano playing. Here is my love for the many musical influences I have been exposed to over the years."

While What's Up? is Camilo's first OKeh release, it does signify his return to the Sony Music Entertainment family, having recorded for Portrait, Epic and Columbia at various points throughout his career that has spanned over three decades (including his 1988 self-titled project on Portrait, which peaked at #1 on the Billboard Jazz Chart).

"I am delighted to come back to the Sony Music family where I feel we have done so many wonderful projects together," says Camilo. "And now with this solo piano album we are adding a new chapter from my 'open book of possibilities' to our long time creative collaboration."

A pianist with a brilliant technique and a composer that flavors his tunes with Afro-Caribbean rhythms, Michel Camilo's musical language is an expressive combination of his Dominican Republic musical heritage and a rich, intelligent use of jazz harmonies and textures. His compositions have been performed by some of the top jazz and Latin jazz artists ranging from Dizzy Gillespie to The Manhattan Transfer, from Paquito D'Rivera and flamenco guitarist Tomatito to Classical pianists Katia and Marielle Labèque, having performed with many of these artists as well. He was featured in the award winning Latin jazz documentary film Calle 54 and has recorded for various film soundtracks. Additionally, he has developed a reputation as one who enjoys breaking barriers, as evidenced by his extensive discography featuring albums in Duo, Trio, Sextet, Big Band, and as guest soloist with some of the world's leading symphony orchestras.

Upcoming Michel Camilo Appearances
* Michel Camilo Trio + = Michel Camilo Solo
^ Michel Camilo & Tomatito **= Michel Camilo Sextet
*April 12 - April 13 / The Regattabar / Cambridge, MA
*April 30 - May 5 / The Blue Note / New York, NY
*May 10 - May 11 / Ronnie Scott's / London, UK
*May 12 - May 13 / Copenhagen Jazz House / Copenhagen, Denmark
^ May 16 / Is Sanat Hall / Istanbul, Turkey
+ May 18 / Ahmed Adnan Saygun Cultural Center / Izmir, Turkey
+ May 25 / International Bern Jazz Festival / Bern, Switzerland
*June 20 / National Philharmonic Hall / Vilnius, Lithuania
+ June 22 / Klavier Festival Ruhr / Hattingen, Germany
^ July 11 / Umbria Jazz Festival / Perugia, Italy
^ July 13 / North Sea Jazz Festival / Rotterdam, The Netherlands
* July 20 / Malta Jazz Festival / Valetta, Malta
**August 3 / Newport Jazz Festival / Newport, RI

What's Up? Tracklisting:
1. What's Up? (Michel Camilo)
2. A Place In Time (Michel Camilo)
3. Take Five (Paul Desmond)
4. Sandra's Serenade (Michel Camilo)
5. Island Beat (Michel Camilo)
6. Alone Together (Howard Dietz & Arthur Schwartz)
7. Paprika (Michel Camilo)
8. Love For Sale (Cole Porter)
9. Chan Chan (Compay Segundo)
10. On Fire (Michel Camilo)
11. At Dawn (Michel Camilo)

PIANIST/VOCALIST ELIANE ELIAS CELEBRATES JAZZ ICON CHET BAKER ON I THOUGHT ABOUT YOU: A TRIBUTE TO CHET BAKER

There’s no question about it: pianist/vocalist Eliane Elias is amazingly versatile. On May 28, 2013, Concord Jazz presents Elias’ I Thought About You (A Tribute To Chet Baker), an album that offers her personalized spin on the work of a key American jazz artist while spotlighting her connection to the singer-instrumentalist tradition (international release dates may vary). It fully demonstrates the range of interests that Elias’ art now boasts, and arrives with a statement of purpose: jazz repertoire can sound totally fresh when delivered with ingenuity and passion.

Long known for her native feel of Brazilian music, this new disc truly demonstrates Elias' expertise in yet another realm: an interpreter of American standards. An expressive, swinging singer and insightful instrumentalist and arranger, on I Thought About You she thoughtfully switches the size and approach of her impressive ensemble from track to track, yielding to each tune’s inner logic.

Her choice of musicians underscores her decision to have her music move in various ways. Along with guitarist Oscar Castro-Neves, drummer Rafael Barata and percussionist Marivaldo dos Santos unite with Elias and husband, esteemed bassist Marc Johnson, for a few of the Brazil-slanted tracks. The other core band members are the always impressive guitarist Steve Cardenas and the exquisite drummer Victor Lewis. If you hear a deep chemistry between the bass and drums, remind yourself that Johnson and Lewis were once part of Stan Getz’s most limber rhythm section. At various points, Elias’ former husband Randy Brecker drops in to add some of his incisive brass magic to the mix.

By and large, Elias has turned to pieces from the Great American Songbook that have been associated with Baker. Some are swaggering and bluesy, some are poignant and graceful, some are intimate and bittersweet – each is addressed like the jewel that it is.

“When selecting the repertoire, I chose songs that portrayed a wide spectrum of Chet’s work,” she says, “not only the ballads for which he was best known, but also the mid tempo and up tempo pieces he performed with such fluidity and inventiveness throughout his career.”

Jazz fans know that Chesney Henry Baker, Jr, the esteemed West Coast trumpeter who made his initial mark with the Gerry Mulligan Quartet, had plenty of the ingenuity and passion mentioned above in his own work. A celebrated improviser who played with everyone from Charlie Parker to Stan Getz, Baker helped establish the lithe swing associated with the mid-’50s sound of West Coast cool. His charisma was unmistakable – he brought an unmistakable charm to any tune he addressed. With a lilt in his voice and a casual sense of rhythm, his influence made a mark on many musicians, including important Brazilian artists.

“Chet and the cool jazz movement were influential to the bossa nova artists in the 1950s,” explains Elias. “Joao Gilberto, Toquinho, Vinicius de Moraes, and Antonio Carlos Jobim are just a few who have spoken to this influence. Chet sang and played with a purity of sound, and had a way of phrasing without much affectation, floating over the bar line, an approach which is immediately recognizable in the delivery of some of the great bossa nova artists, like Joao Gilberto.”

Elias makes sure the influence of cool jazz on the bossa nova is represented on several of the 14 tracks. “There Will Never Be Another You” features an ingenious arrangement, interposing Brazilian rhythms and straight-ahead jazz feel. “Embraceable You” is intoxicating, with a bluesy bossa personality rendered eloquently by her beautiful voice and piano supported by her brilliant Brazilian rhythm section. The stylistic blend continues on “Let’s Get Lost,” where Elias’ seductive coo is just as enticing as the instrumentalists’ work. “These three songs were very natural to me to place in a Brazilian groove,” she says, “and I easily relate to romantic lyrics.”

As a singer, Elias’s emotional candor and deep sense of time are part of I Thought About You’s main attractions. The title track has a vocal style that's just as reminiscent of prime Frank Sinatra as it is Baker. Elias’ charm, swing and charisma are right up front, and united with her incisive piano playing, they make a peerless package.

The trio rendition of “You Don’t Know What Love Is” arrives with a shadowy mood that borders on cinematic. The hush of her piano mixed with Johnson’s glowing bottom and Lewis’ whispering brushes provides an eerie backdrop for lines like “You don’t know how lips hurt/until you’ve kissed and had to pay the cost.” Elias embodies the ache like a master. Intimacy is a crucial element in several of these tunes, and she uses quiet as yet another instrument.

Her agility as a singer is set in full relief on the opening of “Blue Room,” as well. In a duet, she and Johnson sway around each other, equal parts playful and imposing. “In 2008, Marc and I were at a live interview at a radio station in Paris,” says Elias. “Our host surprised us with a recording of Chet singing ‘Blue Room’ a cappella, which has the lyric ‘and every day’s a holiday because you’re married to me.” At that point in time not many people knew we were married, and it was very touching to us. Since then, this song was always on the ‘to do’ list for this project.”

Like six other tracks on the album, “Blue Room” is presented without a drummer – another way to create an intimate feel. “There’s something about the space that not having drums provides,” explains Elias. “It can bring the listener closer into the music. Through much of his career, Chet performed in sparse, drummerless settings. There’s an interesting quote from him that speaks to this: ‘It takes a hell of drummer to be better than no drummer at all.’

Lack of percussion doesn’t slow down the action on quicker pieces. The tempo of “Just In Time” is blistering, and the virtuosity of Elias’ piano is an adrenaline rush. “Marc drives that beat,” she continues, “and what about the Brazilian singer chewing all those words in English? Ha! This was a lot of fun.”

A nod to the superb brass player would be lacking without a horn in the mix, and the brilliant trumpeter Randy Brecker brings his horn prowess front and center on several songs. Want to talk refined lyricism? His solo on “That Old Feeling” darts around the melody with an authoritative élan. And the flugelhorn work on “Just Friends” finds a way to goose the action while still feeling quite dapper. “Randy killed,” reports Elias. “He always plays beautifully but he outdid himself this time. During the years we were together, we often heard Chet’s recordings in the house.”

This isn’t Elias’ first dive into a master’s songbook. She’s essayed the work of Antonio Carlos Jobim and Bill Evans previously. But this nod to Baker has been on her mind for a while. In 2010 when she was signed by Concord, this project was to be her first for the esteemed label. Because of the sequence of her output to that point, she opted to first record a Brazilian themed album, which became the critically and publicly acclaimed Light My Fire.

I Thought About You was well worth the wait, of course. It’s one of Elias’ most thoughtfully constructed albums, and a date that shows just how adroitly she moves around the bossa-jazz-blues nexus. She truly is an artist beyond category.

Elias closes the album with its most tender moment, “I Get Along Without You Very Well.” On the original, Baker starts the track with only a celeste behind him. Elias stuck to her piano to get the job done on her update of this heartbreaking farewell, and it’s a chilling interpretation. Her voice is mix of pride and vulnerability, and her touch on the keys make the chord changes drop into place like dusk descending.

From buoyant swing to luminous bossa nova to jaunty blues, I Thought About You achieves Elias’ initial goal: creating a well-rounded portrait of a master. “I chose each of these songs to speak about various feelings and aspects of love,” she concludes, “but I wouldn’t feel that I’d done a true tribute to Chet if I hadn’t addressed some other dimensions of his work as a singer/instrumentalist.”

MARC CAREY - FOR THE LOVE OF ABBEY

Marc Cary has gained a reputation as one of the most creative pianists of our time, a bandleader with musical interests that encompass jazz, go-go, hip-hop, electronic music, Indian classical music and more. But Cary is also an incisive and sought-after accompanist, a fact famously borne out by his 12-year tenure (beginning in 1994) with the great vocalist, songwriter and jazz icon Abbey Lincoln.

For the Love of Abbey, Cary's first solo piano recording, is the most personal and heartfelt of tributes, shedding light on Lincoln's remarkable body of work and honoring her extraordinary gift for melody and songcraft.

"Abbey's compositions are worthy of an instrumental approach because they're so rich and lend themselves to be interpreted as instrumentals," Cary told journalist Willard Jenkins, who wrote the liner notes to For the Love of Abbey. "Abbey has been a beacon for me," Cary continued, "and because of my love for her I wanted to share my expression of her music."

Lincoln came to know Cary while he was a member of Taylor's Wailers, led by legendary drummer Arthur Taylor - who happened to be Lincoln's next-door neighbor in Harlem. "When we got finished rehearsing with A.T., Abbey would come over," Cary recalls. "I became a part of the family. She got to check me out for a long time. She knew my character. I think she always knew that I would fit."

Cary's tenure with Lincoln was longer than that of any other pianist. And Cary was following in the footsteps of the very best: Mal Waldron, Hank Jones, Wynton Kelly and Kenny Barron, among others. "I try not to freak myself out by saying, 'Wow, now I'm the one,'" Cary reflects. "It made me feel good but it didn't influence me in any way, because Abbey wanted something new, something in the moment."

Lincoln left us in August 2010. There are moments during Cary's poetic recital when one can almost hear her voice, sculpting each melodic phrase and flourish. "The Music is the Magic," one of her signature numbers, is represented here, as is the majestic "Another World," leading off the set in an inspired out-of-tempo treatment.

Cary also chose to revisit "My Love Is You" and "Throw It Away," both of which he's recorded as a leader in markedly different contexts (on Listen, Trillium and Focus Trio Live 2009). Duke Ellington's "Melancholia," which appeared on Cary's 1998 release The Antidote, is also included, for reasons Cary explains: "Abbey loved to hear me play this piece. It accentuates the feelings I have about her passing into the next realm."

In the dark minor tonalities of "Down Here Below" and "Should've Been," the hovering uncertainty of "Who Used to Dance," and the poignant balladry of "When I'm Called Home," Cary evokes memories and life lessons that transcend music. "I've carried Abbey Lincoln into a hospital in my arms, when she twisted her ankle," Cary recalls. "I picked her up in my arms. It was more than just playing with somebody. I drove to her house and learned the songs from her playing the piano. She'd voice it so simply. I learned a lot of simplicity with her - how to make that a beautiful thing. I learned how to create high energy in one chord: when you play it, how you play it, which one you choose, at what time."

Born in New York in January 1967, Cary was raised in Washington, DC and became an important figure in the city's burgeoning go-go scene. He attended the Duke Ellington School of the Arts, and upon relocating to New York in 1988, began his rise as an eclectic jazz piano modernist. In addition to Abbey Lincoln, he has worked with such masters as Betty Carter, Arthur Taylor, Dizzy Gillespie, Max Roach and Shirley Horn. He has earned Grammy nominations for his work with Lincoln, Carter, Roy Hargrove and Stefon Harris's Blackout. His talent has elevated the music of everyone from Russell Gunn and Marcus Printup to Q-Tip (Cary's production work for Q-Tip's 2009 album, The Renaissance, helped earn the disc a GRAMMY® nomination) Meshell Ndegeocello and Ani DiFranco.

Cary debuted as a leader in 1995 with Cary On. His electronica odyssey Rhodes Ahead Vol. 1 won him the first annual Billboard/BET Best New Jazz Artist Award in 2000. With 2006's Focus, Cary debuted on the Motéma label, and the "Focus Trio" has endured as one of his main working units: Focus Trio Live 2009 and the digital release Live 2008 further revealed the trio's exploratory approach.

Later this year Motéma will offer Focus Trio 2013, featuring longtime Focus drummer Sameer Gupta as well as bassists Burniss Travis and Rashaan Carter. The trio's objective, as Cary stated in his first Focus liner note, is "to bring indigenous rhythms together with American jazz to create new palettes of sound."

Another vehicle in this quest is Cary's band Indigenous People, which mines the rich history of African diasporic music - from African folk melodies, Brazilian and Caribbean grooves to jazz, funk and go-go rhythms. The band documented its sound on the albums Captured Live in Brazil (1999), Unite (2001) and N.G.G.R. Please (2003). Cary has now rebilled the group as "Cosmic Indigenous" and has a forthcoming release in the works. Meanwhile, he continues to work as a producer and collaborator on countless projects.

Even when paring down to solo piano on For the Love of Abbey, Cary makes music of great orchestrational variety and depth. Still, he heeds the wisdom of Lincoln herself, who would often admonish him with the words: "It's a simple song." As Cary says, "With Abbey I had to play differently than I did. It changed my whole perspective. I learned how to deconstruct myself."

Asked for the single most valuable lesson he got from Abbey Lincoln, Cary responds: "Learning how to shed things you don't need, and claim what is yours."

Upcoming Marc Cary Appearances:
April 23 / Philadelphia Science Festival (with Will Calhoun) / Philadelphia, PA
May 9 / Harlem Stage - Abbey Lincoln Tribute Trio / New York, NY
** May 10 / Harlem Stage - Abbey Lincoln Tribute / New York, NY
May 16 / Jazz at Lincoln Center - w/ Burnt Sugar & Indigenous People / New York, NY
May 17-19 / Blue Note - Will Calhoun Record Release / New York, NY
May 20 / Kennedy Center - w/ Burnt Sugar & Indigenous People / Washington, DC
June 5 / DC Jazz Festival - Abbey Lincoln Tribute / Washington, DC
June 7 / DC Jazz Festival - w/ Blackout Group / Washington, DC

** w/ Keith Ailer, Maggie Brown, Pyeng Threadgill and Imani Uzuri

For the Love of Abbey - Track Listing
1. Music is the Magic
2. Down Here Below
3. Melancholia
4. For Moseka
5. Who Used to Dance
6. Should've Been
7. My Love is You
8. Love Evolves
9. Throw It Away
10. Another World
11. When I'm Called Home
12. Conversation with a Baby
13. Transmutate
14. Down Here Below the Horizon

Marc Cary · For the Love of Abbey // Motéma Music · Release Date: June 11, 2013
www.marccary.com

CERAMIC DOG - YOUR TURN - CD RELEASE PARTY AT LE POISSON ROUGE

Five years after their critically acclaimed debut release, Ceramic Dog, the power trio featuring Marc Ribot (guitar), Shahzad Ismaily (bass/electronics) and Ches Smith (drums), is back with the hard-hitting tour de force Your Turn (Northern Spy, April 30, 2013). Time Out New York called Ceramic Dog Ribot’s “rawest band in ages” while the New York Times wrote, “The musicianship is intense regardless of the subtext, with all three players hurling themselves into their effort.” Singer/actress Eszter Balint guest appears on the album, as does experimental music guru Arto Lindsay.

Your Turn features 13 tracks, several written solely by Ribot (Cubanos Postizos, John Zorn, Tom Waits) and one by Smith. Others are group efforts by Ribot, Ismaily (Lou Reed, Laurie Anderson, Jolie Holland, Yoko Ono) and Smith (Xiu Xiu, Good for Cows, Secret Chiefs 3), two of the best young players on the New York/California underground improv/experimental rock scene. One track, “Bread and Roses,” is based on a 1911 poem by James Oppenheim. Perhaps the oddest but most fascinating track is the trio’s enlightening re-imagination of the Paul Desmond-written Dave Brubeck jazz classic “Take Five.”

Ribot, who describes Ceramic Dog as a “free/punk/funk/experimental/psychedelic/post electronica collective,” says that Your Turn was two years in the making. “Second records are notoriously hard to nail down,” he explains. “We tried to make it a few times. Finally we got it right — meaning, we got it to sound wrong, exactly like us.”

In Ismaily and Smith, Ribot has found ideally simpatico compadres. All Music Guide, in its review of the trio’s 2008 debut Party Intellectuals, said, “Shazhad Ismaily and Ches Smith are able to give Ribot just what the songs need whether it’s hazy atmospherics or ferocious rocking and have no problem heading down whichever musical path Ribot chooses.”

Where some bands flounder on their sophomore release, Ceramic Dog coalesces into an even tighter unit on Your Turn. In the years since they first played together, Ribot, Shahzad and Smith have each been down many divergent roads artistically, and when they met up again to record this new set they found they had a renewed purpose and a fine-tuned focus.

“If you listen closely, you can hear the rage, hope, disappointment, ritual excess, love and anarchy that were in our personal and collective airspace during those years,” says Ribot. “There were (and, we hope, will continue to be) several kinds of riots going on (‘Lies My Body Told Me,’ ‘Bread and Roses’). And yes, the CD is ‘political’ (‘Avanti Popolo,’ ‘Ain’t Gonna Let Them Turn Us ‘Round’). But what fun is raging against the machine if you can’t also rage against the bar line and the tonal system (‘Take Five,’ ‘Ritual Slaughter,’ the title track)?”

Adds Shahzad, “I love the songs on this record. Pain is an inevitable part of life. It follows us grimly and attaches. I’m fighting its ability to consume, and making this record was one way of doing that. Listening to it is the other.”

From the opening track, “Lies My Body Told Me,” through the closer, Smith’s “Special Snowflake,” all three perform with a rare intensity and telepathy — with plenty of fuel to power them. In “Masters of the Internet,” Ceramic Dog rails against those who feel entitled to free music, perfectly willing to screw the artists they claim to love: “The masters must be entertained/they hunger for digital content/we must labor night and day for the glory of the masses and the masters of the internet.” And in “The Kid is Back,” love was never quite as brutal as this: “I love you like old Nixon loved his Pat/love you like ol’ Hitler loved his pretty little Eva/I love you like a beater loves his bat/love you like the beast in the jungle loves his fever/c’mon baby let’s just pop the cork.”

One of the indisputable highlights is “Bread and Roses,” which was released last fall to commemorate the first anniversary of the Occupy Wall Street movement. “‘Bread and Roses’ is an old labor song,” comments Ribot, “associated with the IWW Lawrence Massachusetts textile worker’s strike of 1912. The lyrics are based on a poem written by James Oppenheimer. We changed the music, and a few of the lyrics (we figured anarcho/syndicalists wouldn’t mind), but the sentiments are the same.”

Recorded at three different New York-area studios, Your Turn was produced and mixed by Greg Saunier, the drummer of buzzy indie band Deerhoof; Smith suggested that he should produce the record. “I’ve known him and his music since our time in the same Bay Area scene in the late ’90s/early ’00s,” says the drummer. “I was always impressed with his unique approach to composition and recording — how he combines the two — and with his crazy-ass drumming. He’s also a longtime fan of Marc, so he has a valuable vantage point in terms of understanding where Marc’s music had been and where it could go. As far as mixing, I fully agree with Greg’s aesthetic. He has mixed several albums I have played on and written for, and I have always been a fan of his band Deerhoof. This album sounds and feels real to me.”

As it undoubtedly will to anyone fortunate enough to bathe in its glorious racket. “Those searching for rigorously applied formal constraints may have to wait,” says Ribot, and then he channels a bit of Cyndi Lauper: “Ceramic Dogs just wanna have fun.”

Ceramic Dog will appear at le poisson rouge @ 158 Bleecker Street, NYC, 212.505.FISH on May 5th for a CD release party. 

MICHAEL BUBLE AND TARGET DELIVER EXCLUSIVE EDITION OF - TO BE LOVED - WITH THREE BONUS TRACKS

Target® and three-time GRAMMY® award-winning singer and songwriter Michael Bublé are pairing up again for an exclusive deluxe edition of Bublé’s highly anticipated sixth studio album, “To Be Loved.” Available only from Target beginning April 23, the exclusive version of the album includes three bonus tracks and is available now for pre-order at Target.com.

“Teaming up with Target again on a deluxe edition of the album gives me the opportunity to offer my devoted fans a little extra – three bonus tracks that I enjoyed recording while making the album.”

.Bonus songs on Target’s exclusive edition of the album include “Melancholy Baby,” a new, original track from Bublé, a swing-style mix of the album’s hit first single “It’s a Beautiful Day,” and a cover of the classic “Be My Baby.”

“This is the third time Target has partnered with Michael Bublé to bring exclusive music to his widespread fan following,” said Anne Stanchfield, divisional merchandise manager of entertainment, Target. “’To Be Loved’ is bound to be a must-have album and fans can once again look to Target for more of their favorite music from such a talented musician.”

“A lot of the material on ‘To Be Loved’ was inspired by my personal life, and it includes some tracks that are edgier for me,” said Michael Bublé. “Teaming up with Target again on a deluxe edition of the album gives me the opportunity to offer my devoted fans a little extra – three bonus tracks that I enjoyed recording while making the album.”

“To Be Loved” features a mix of original songs, co-written by Bublé, and standards from artists including the Bee Gees, Dean Martin and Elvis Presley. Produced by Bublé’s longtime collaborator Bob Rock, the album is a follow up to the 2011 release “Christmas,” which sold seven million copies internationally and was the number two selling album of 2011. Later this year, Bublé is scheduled to perform 10 sellout shows at London’s 02 Arena beginning June 30.

ROSE ROYCE, FONDA RAE, CROWN HEIGHTS AFFAIR HEADLINE UK SUMMER BALL CONCERT

The ‘Summer Ball’ will be the most spectacular event of 2013 and considering there are 4 artists performing, including two full live band performances, the price is unbelievable value for money! Already confirmed are Full live band performances by Rose Royce and Crown Heights Affiar two of the most successful & legendary groups ever, plus Sugarhill Gang and Fonda Rae. The Street Sounds 30th Anniversary extravaganza was a resounding success, even beyond their wildest dreams!

The Street Sounds Summer Ball will feature the very best music of the 80’s. The main room will have the headline artists & DJs performances and be hosted by Andy Smith, Peter P & Morgan Khan. Everyone who made it to the 30th Anniversary and listeners of the Street Sounds Radio Show on Solar Radio knows and loves the energy, atmosphere and hilarious banter between the hosts; the Summer Ball promises to take this to another level with not only the best music but also fun and surprises all night long.

The other three rooms will have some of the best DJs playing some incredible sets across all the genres of music from the Street Sounds years including Soul, Funk, Old Skool Hip Hop, Electro, Jazz-Funk, Rare Grooves, Boogie, Disco and House. Wow, 4 rooms of heaven!

ROSE ROYCE - ‘One of the greatest Soul, Funk and Disco bands EVER!’ with 80+ Minutes Full Live Band Concert - (first European performance since 2007) -  “Magic Touch”, “Car Wash”, “Is It Love That Your After”, “Wishing On A Star”, “Do Your Dance”, “I Wanna Get Next To You”, “Love Don’t Live Here Anymore”, “Still In Love” …

CROWN HEIGHTS AFFAIR - ‘At the forefront of 70’s & 80’s Disco/Funk!’ This will be the band’s ‘Legacy Concert’ with 60+ Minutes Full Live Band Concert - (first European performance since 1998) -
“Galaxy Of Love”, “Dreaming A Dream”, “Say A Prayer For Two”, “You Gave Me Love”, “I’m Gonna Love You Forever”, “Far Out”, “Dancin’”, “Every Beat Of My Heart” …

Also performances by 2 iconic artists!
SUGARHILL GANG - ‘The pioneers of Hip Hop!’ - “Rappers Delight”, “8th Wonder”, “Apache”, “Jump On It” …

FONDA RAE - ‘80's Diva!’ - As well as having her own hit records, Fonda has worked with worked with Don Armando and Kid Creole and the Coconuts. Fonda also collaborated with more mainstream artists such as Taka Boom, The Fat Boys and Debbie Harry - “Touch Me”, “Over Like A Fat Rat”…