ALEX PANGMAN - HAVE A LITTLE FUN

Are you having any fun? When Alex Pangman is singing, a resounding 'yes' is the only possible answer to that query posed by the Sammy Fain/Jack Yellen classic. With legendary guitarist Bucky Pizzarelli on board for Pangman's latest, the merriment comes all the easier.

Have a Little Fun (Justin Time) finds the young Toronto chanteuse doing just that on a baker's dozen of swing era standards and originals penned in the same vintage style. Along with Pizzarelli, a seven-decade veteran who's played with Les Paul, Benny Goodman, and Stephane Grappelli, Pangman is joined by her long-running band, The Alleycats.

Since her teens, Pangman has earned a devoted following in her native Canada, garnering three National Jazz Award nominations, twice as "Jazz Vocalist of the Year" and once for "Best Original Song," and she has performed three showcases at the renowned Festival International de Jazz de Montréal.

The carefree attitude expressed in that title has been earned in part through Pangman's lifelong struggle with lung disease, which culminated in a successful double lung transplant in 2008. "I was born with lung disease so I've always had that perspective," she says, "but it's been freshly reinvigorated. Life is precious, and if you sit around with your gut in a twist, it's really not worth it."

Have a Little Fun came together quickly, when Pangman learned that Pizzarelli would be performing in her hometown of Toronto. Despite a half-century's difference in their ages, the two quickly bonded over their shared love of 1930s song. "He's in his eighties and I'm in my thirties," Pangman says, "but we quickly became friends because we both love these melodies and these songs. That lineage is what binds us together. I was a little intimidated at first, but he's laid-back and always has a twinkle in his eye. He tells stories about his grandchildren, but then he can tell stories about Frank Sinatra."

That comfort and easy camaraderie resulted in seven songs recorded during a breezy three-hour studio session, a behind-the-scenes snapshot of which closes the album. The pair is joined by violinist Drew Jurecka, and devised arrangements on the fly. They chose standards like "I'm Confessin", "Out of Nowhere", and "Stardust", while Pizzarelli was also attracted to some of Pangman's original tunes. He plays on her noirish "Melancholy Lullaby," originally written for Torso, a film about infamous Canadian murderer Evelyn Dick, who achieved legendary status akin to Lizzy Borden in the States. The song earned her a "Best Original Song" nomination from the National Jazz Awards in 2001.

The remainder of the album features Pangman's band The Alleycats, which she's performed with in one form or another for more than a dozen years. The band, highlighted by Ross Wooldridge's tenor and clarinet, Laurie Bower's trombone, and Brigham Phillips' trumpet, captures the frantic essence of Fats Wallers' "The Panic Is On," the sultry exotic allure of "Shanghai Lil," and the lively swing of "Undecided."

The Alleycats also prove an ideal foil for Pangman's considerable compositional skills, with Bower's melancholy moaning on the mournful "Fog Song," and the raucous interplay of "Topsy Turvy," a novelty number about the dizzying effects of romance. They also made the unfaithful lover's lament "It Felt So Good To Be So Bad" so convincing that Pangman's husband wondered if he had cause for worry. ("Just One More Chance" follows as a tender apology.)

Born in 1976, Pangman is several generations removed from the musical era of Bing Crosby, and Louis Armstrong, but she never felt drawn to the sounds of her own time. "The music my friends were listening to when I was in high school was the antithesis of this music that I love so much now," she says. "You've got three minutes on one side of a 78 with no overdubbing, no auto-tune, just really good music and beautiful lyrics. I wasn't hearing that in the music I grew up with. I didn't want to hear Paula Abdul, so I started flipping around the dial."

She first discovered country music, which shares a penchant for melody and storytelling with the swing era songs she soon discovered. An avid equestrian, Pangman met her first mentor at the stables where she rode as a teenager. "As it turns out, he was a guitar player in a traditional jazz band and was very generous with lending me records and exposing me to this music that not a lot of other sixteen-year-olds were listening to. It was through his kindness that I was exposed to a landslide of wonderful, vibrant, alive music."

Pangman quickly became a passionate record collector herself, garnering an impressive collection of wax from the 1920s and '30s. Her gorgeous voice and deft song styling soon caught the ear of the late guitar great Jeff Healey, who produced Pangman's first two albums. It wasn't long before she was christened "Canada's Sweetheart of Swing," a title threatened when her cystic fibrosis began to compromise her ability to sing. A donor was fortuitously located, and she came back from her double lung transplant with her 2011 disc 33.

"In the months before the surgery, it was like I'd been singing through a straw," she recalls. "Then all of a sudden it was as if somebody handed me a bullhorn, like going from a tricycle to a Ferrari. Replace those lungs, and I could sing the lines and emote the way I was hearing it in my head and in my heart."

She has since become a tireless advocate for organ and tissue donation in Canada, recently writing the song "Breathe In" and donating the proceeds from its sale to the Ontario Lung Association.

Since the surgery, Pangman says, Have a Little Fun has taken hold as "my mantra in life. You can have a million smackers and a fancy car, but if you're not having any fun, what's the point? You're not here forever, so try to enjoy yourself."

Have a Little Fun Track Listing:
1. Some of These Days (Shelton Brooks / Paul Rardin)
2. Are You Having Any Fun (Sammy Fain / Jack Yellen)
3. The Fog Song (Alex Pangman)
4. The Panic Is On (Thomas Waller / Bert Clarke / George Clark / Winston Collins Tharp)
5. I'm Confessin' (Doc Daugherty / Al J. Neiburg / Ellis Reynolds)
6. It Felt So Good To Be So Bad (Alex Pangman)
7. Just One More Chance (Sam Coslow / Arthur Johnston)
8. Shanghai Lil (Al Dubin / Harry Warren)
9. Out of Nowhere (John W. Green / Edward Heyman)
10. Stardust (Hoagy Charmichael / Mitchell Parish)
11. Melancholy Lullaby (Alex Pangman)
12. Topsy Turvy (Alex Pangman)
13. Undecided (Sydney Robin / Charles Shavers)
14. Intro: Some of These days (Shelton Brooks / Paul Rardin)

Have a Little Fun will be released on June 11, 2013.
www.AlexPangman.com

NEW RELEASES - TRIO FATAL, GEOF BRADFIELD, SPINNERTY

TRIO FATAL - SPACEWAY MESSENGER

Nothing fatal about these guys – given the really life-affirming quality of the music on the set! The group features a compelling blend of reeds, trombone, and drums – often used in these really evocative ways that mix the rhythmic with the lyrical! The trombone does a great job of bridging the space between rhythm and melody – played here by Francois Lemonnier, who's got a really compelling touch on his instrument – sometimes swinging, sometimes a bit more sonic overall. Biggi Vinkeloe handles the flute and alto sax on the record, and drums are by Peeter Uuskyla – on titles that include "Singing Softly", "Nordic Waves", "Escargoiseau Blues", "The Wind Is Dancing Over The Hills", and "Space Way Messenger". ~ Dusty Groove

GEOF BRADFIELD - MELBA!

A beautiful tribute to the genius of trombonist/arranger Melba Liston – and a set that doesn't just copy her music, but really opens up a whole new spirit from its inspiration! Reedman Geof Bradfield composed all the tracks in the set, and puts things together with a spirit that's not unlike some of Melba's best arrangements for middle-sized groups – that way she had of making things tight, and rhythmically soulful – yet still allowing plenty of room for improvisation and individuality amidst the fuller picture of the tunes. Bradfield gets in plenty of great moments on tenor, soprano sax, and bass clarinet – and the rest of the group features Victor Garcia on trumpet and flugelhorn, Joel Adams on trombone, Jeff Parker on guitar, Ryan Cohan on piano, Clark Sommers on bass, and George Fludas on drums. Titles include "Central Avenue", "Dizzy Gillespie", "Detroit/Kingston", "Randy Weston", and "Homecoming" – and the set ends with vocals by Maggie Burrell on the tune "Let Me Not Lose My Dream". ~ Dusty Groove

SPINNERTY - GESTURES

Some of the sweetest work we've heard so far from Spinnerty – an EP that really just features three versions each of two tracks, but served up in ways that work together like a mini-suite of sound! "53 Pickup" has some great live drums – which really crackle alongside the beats and keyboards, and give the whole thing a great sort of energy – skittish in the main mix, spacier in a "lil Dave rmx", and then breaking like some old school funk record on the "drumapella"! "Noel's Dream" follows in a similar spirit – with great drum breaks next to the Fender Rhodes, giving things a funky feel as the keys spin out in space. There's also another funky "drumapella" version of that tune – and a more upbeat remix from J Boogie! ~ Dusty Groove

NEW RELEASES - FRANK ROSALY, ROB MAZURAK, STEPHANE BELMONDO

FRANK ROSALY - CICADA MUSIC

The Delmark debut as a leader from drummer Frank Rosaly – and a very unique little record! Rosaly's a player we've really dug on other folks' records, and his vision here at the helm is pretty darn great – a real change from some of the modes used by his avant Chicago contemporaries – almost more poetic at points, although filled with sharp edges throughout! The record was composed for use in a documentary about Chicago scrap recyclers working the alley of the city – and Rosaly brings a really human, personal sort of feel to his music – even though the overall approach is still based on improvisation between group members too. The lineup features James Falzone on clarinet, Jason Stein on bass clarinet, Jason Roebke on bass and cracklebox, Keefe Jackson on tenor and bass clarinet, and Jason Adasiewicz on vibes – which adds some particularly great tones to the metallic narrative. Rosaly also plays a bit of percussion, piano, and electronics – and titles include "Adrian", "Bedbugs", "Driven", "Yards", "Wet Feet Splashing", "The Dark", and "Tragically Positive". ~ Dusty Groove

ROB MAZURAK EXPLODING STAR ELECTRO ACOUSTIC ENSEMBLE - THE SPACE BETWEEN

One of the most electric albums we've heard from Rob Mazurek in years – no surprise, given that the set's billed to an Electro Acoustic version of his Exploding Star group! The music here was done in collaboration with videomaker Marianne Kim – whose video is included with the package as a separate DVD, and also features some work from visual work from Mazurek as well. But our main focus here is the music, which is great – all the earthy, exploratory tones that Rob's been unleashing in recent years – clearly inspired by some of the best Miles or Don Cherry moments of the 70s, but very different too – as handled by this range of key contemporary players from Chicago. Rob speaks a bit on a few tracks, and the set also features work from Damon Locks on voice and electronics, Nicole Mitchell on flute, Matt Bauder on electronics, Guilherme Granado on sampler, Carrie Biolo on percussion, Jeff Kowalkowski on keyboards, and John Herndon on drums. Titles include "We Are All One With The Moon & Planets", "Only", "The Shifting Sequence", "Indra's Net", and "Seven Blues". (DVD is NTSC coded, Region Free.) ~ Dusty Groove

STEPHANE BELMONDO - EVER AFTER

One of the coolest albums we've ever heard from trumpeter Stephane Belmondo – a mighty tribute to the great Donny Hathaway – based around a mix of Hathaway's famous tunes and Belmondo's original tracks – and featuring a bit of guest work on vocals from Gregory Porter and Sandra Nkake! The instrumentation is the main focus here, though – and in addition to some great solos and leads from Belmondo, the set also features Fender Rhodes from Jacky Terrasson, and acoustic piano from Kirk Lightsey – plus some strings that help flesh out the sound with that special majesty that Donny brought to his music! Titles include great remakes of "Flying Easy" and "Someday We'll All Be Free" – plus "Turn Around Go Deep", "For All We Know", "You Were Meant For Me", "Ever After", and "Thought Of Spirit". ©~ Dusty Groove

QUINCY JONES AND SIR MICHAEL CAINE CELEBRATE 80TH BIRTHDAY AT "POWER OF LOVE" GALA IN LAS VEGAS

Some of the biggest names in the entertainment industry celebrated the 80th birthday of Quincy Jones and Sir Michael Caine Saturday, April 13 at the 17th annual Keep Memory Alive Power of Love Gala at MGM Grand Garden Arena in Las Vegas. The star-studded event raised funds for Cleveland Clinic Lou Ruvo Center for Brain Health and its fight against neurodegenerative brain diseases such as Alzheimer’s, Huntington’s and Parkinson’s diseases, multiple sclerosis, ALS and memory disorders of all kinds.

Highlights from the night included heartfelt musical tributes from Chaka Khan and Stevie Wonder, hysterical stand-up comedy from Chris Tucker and nostalgic remarks about the guests of honor from Whoopi Goldberg. At the end of the evening, Wonder led a “Happy Birthday” serenade to Jones and Caine, followed by an awe-inspiring performance of “We are the World” by the entire celebrity lineup.

Performers and celebrity supporters who attended the event included music and film luminaries Amy Poehler, Arsenio Hall, Bebe Winans, Bono, Carlos Santana, Chaka Khan, Chris Tucker, Greg Phillinganes, Herbie Hancock, James Ingram, Jennifer Hudson, Jordin Sparks, Larry King, Marcus Miller, Nikki Yanofsky, Patti Austin, Paulinho Da Costa, Rashida Jones, Siedah Garrett, Snoop Dogg (aka Snoop Lion), Stevie Wonder, Tom Scott, Vinnie Colaiuta, Whoopi Goldberg, will.i.am and Will Smith.

Continuing with its 17-year history, the Power of Love Gala showcased a celebrity-chef-packed dinner prepared by award-winning chef Gordon Ramsay. Guests were treated to a Dom Pérignon reception and bid on one-of-a-kind live and silent auction items including an 11-day Mediterranean cruise and a football helmet signed by the 2013 NFL champions, the Baltimore Ravens.

In addition, donors from across the country were able to contribute to Keep Memory Alive’s cause for the first time through a text-to-donate campaign. Now through the end of the year, donors can text “MEMORY” to 80888 to give $10 to support brain health research at Cleveland Clinic.

The Power of Love Gala was produced by headlining sponsor Bill Edwards Presents Inc. in partnership with Las Vegas, official sponsors HARMAN and Playground Sessions, and Keep Memory Alive, the fundraising arm of the Cleveland Clinic Lou Ruvo Center for Brain Health. The birthday celebration for Jones and Caine honored a lifetime of achievement for the entertainment marvels and raised funds for clinical programs, caregiver support and testing of new treatment for neurodegenerative diseases like Alzheimer’s, Huntington’s, ALS, Multiple Sclerosis and Parkinson’s. For more information about Cleveland Clinic’s fight against brain disease, visit www.clevelandclinic.org/brainhealth.

JEFF BERLIN - LOW STANDARDS

Jeff Berlin has been called the greatest electric bass soloist in the world. While the terms “great” and “genius” are bantered about much too frequently, the accolades for Jeff Berlin are not hyperbolical – Jeff is indisputably one of the best bass players to ever play his chosen instrument. Geddy Lee (bass player for RUSH) calls Jeff “The greatest bass player on the planet,” while the late Jaco Pastorius considered Berlin a better soloist than he was. Known worldwide for his innovative style, Jeff has graced bandstands and recordings with legendary players like Bill Bruford, Dennis Chambers, Neil Peart, Billy Cobham, and Allan Holdsworth, and has led bands and recorded his own CDs for nearly 30 years. He has recorded for vocalists Patti Austin and KD Lang; he has traversed the progressive rock realm with former YES members Anderson, Bruford, Wakeman, Howe; Jeff famously turned down an offer to join rockers Van Halen. Jeff is also hailed outside the usual musician ranks: Actor Gary Sinise (also a bassist) is one of his biggest fans, and renowned boxing trainer and ESPN commentator Teddy Atlas refers to Jeff as “the best in the business.” From straight ahead Jazz to Fusion to Prog-Rock: Jeff plays it all, always at the very highest level of proficiency and musicality.

On his debut release on, Jeff and his incredible cohorts, Acoustic Bassist//Pianist Richard Drexler and Drummer Mike Clark, offer a sizzling set of Jazz standards. Drexler, one of the most versatile of jazz players, nimbly switches from upright bass to acoustic piano, or vice versa, on most tracks. Having performed for years with Berlin, his walking lines and supportive grooves perfectly blend with the leader’s electric voice. Clark’s percussion discussions are legendary: Initially making a mark on the international scene with Herbie Hancock’s funkified Headhunters, Mike is a jazz warrior at heart. Together, the trio present unique versions of strong material culled from the Jazz songbook.

Jeff comments about the inspiration behind Low Standards: “I wanted to play on a four stringed electric bass as a guitarist or pianist might play in the same situation. The concept of this CD was to leave me completely exposed as a player. On this recording, there was no way to hide from my present abilities as a bassist. Great players are always exposed in their abilities to play. For this reason, I always had Gary Burton or Keith Jarrett somewhere in my mind while I was recording the CD, wondering if they might play like I did if they played my instrument.”

Wayne Shorter, perhaps the most heralded of modern jazz composers, is well represented: Berlin and company burn on three of Shorter’s beguiling concoctions. “E.S.P.” kicks off the set, with Berlin stating the melody and Drexler’s bass lines walking in rhythm with Clark’s swinging ride cymbal. After Jeff amply illustrates his penchant for unmatched melodic improvisation, his electric instrument skips in tandem with Clark as Drexler moves to the ivories. On six of eight cuts, the trio represents as a quartet, thanks to Drexler’s multi-instrumental skills. Next up is “El Gaucho,” first heard on Shorter’s Adam's Apple album. To complete the Shorter trilogy, the trio speaks no evil as they soar through “Fee Fi Fo Fum.” Berlin is the giant here, ingeniously stating the melody before launching into an astute improvisation. Drexler sticks to the upright, soloing with thoughtful elegance. One of only two piano-less tracks of the set, this outing touches all the basses, exposing new facets of Wayne’s compositional gem.

Fellow electric bassist Steve Swallow’s “Falling Grace” is awash in harmonic beauty; as on every track, Jeff reinforces the accolades accorded him by legions of fellow musicians. His distinctive voice on the electric is organic – It belies those who disdain a bass that requires an outlet. Swallow’s longtime partner Carla Bley penned “Vashkar,” a tune probably more associated with drummer Tony Williams and his groundbreaking group Lifetime. Drexler opens, and stays, at the piano; Berlin strives for new lows; Clark’s hi-hat and snare interplay nods to Tony.

Pianist Bill Evans’ lilting “Very Early” awakes with a more extroverted treatment compared to the composer’s retrospective approach. Benny Golson’s “Whisper Not” swings with Jeff speaking first, Richard eschewing the piano while soloing with his own low tones while Mike tips lightly. The stellar session closes with Pat Metheny’s modern classic “James,” the guitarist’s homage to one Mr. Taylor. Richard Drexler’s stately pianistic introduction leads to Jeff Berlin effortlessly executing the gorgeous melody, as Mike Clark ably supports the proceedings. The album appropriately concludes with Jeff’s unique, sustained ringing tone.

Jeff explains his song selections for his new release: “Because I am such a huge fan of Keith Jarrett's 'Standards' CDs, I wanted to follow my last project, High Standards, with another standards recording, but this time playing on lesser-known tunes, lesser known to the general public... However, Jazz fans should know every tune that I chose to play. I chose compositions with lots of harmony so that I was forced to seek out non-typical bass lines. The harmony in these tunes demanded that I find something different to play on my bass. I also heard in my head how each composer played their own songs, often while we were recording. That was a strange experience.”

Low Standards is obviously an ironic title for an album that achieves such a pinnacle of musicality. Seldom, if ever, has the combination of two bass clef compadres created such a harmonious marriage of tone, verve and vigor. With this latest effort, Jeff Berlin proves, once again, that his is the highest standard of virtuosity in the low-end spectrum.

www.jeffberlinmusic.com

BILL WITHERS - ORIGINAL ALBUM CLASSICS: STILL BILL / MENAGERIE / WATCHING YOU WATCHING ME)

A sweet little package – with three classic albums from Bill Withers, each in a tiny LP-styled cover! Still Bill is Bill Withers' second album – even more wonderful than the first! The record's a perfect summation of all that made Bill so great – warm raspy vocals, sweet soulful production, mature songwriting, and just the right use of acoustic guitar to accent all the best elements in the music! Withers was already great before this record, but Still Bill really pushed him over the top – and made sure that generations to come would never tire of his genius. The arrangements are wonderful – with just the right sort of punch to hammer things home – yet still very far from commercial, and able to let all the acoustic elements of Bill's roots shine through. The record includes the massive "Lean On Me" – but we love it even more for the funky "Use Me", the slinky "Kissing My Love", the righteous "Who Is He (And What Is He To You)", and the always-great "Lonely Town Lonely Street".

Menagerie is one of Bill Withers' greatest albums of the 70s – a set that has hip stepping off the acoustic sound of his Sussex records, into a warm and jazzy style that we like every bit as much as his earlier work! The album's got a wonderfully sophisticated jazzy vibe, and includes the excellent cut "Lovely Day" – a perfect midtempo track with some great electric keyboards behind Bill's raspy soulful voice, and a great hook on the chorus! Paul Riser handled a lot of the arrangements – and other titles include "Wintertime", "It Ain't Because Of Me Baby", "I Want To Spend The Night", and "Then You Smile At Me".

Watching You is a sweet little 80s session from Bill Withers – a lot less acoustic than his soul of the 70s, but in a way that works surprisingly well! As always with Bill, the vocals are the main thing, and the passage of time has done nothing to take off his edge – that warmly raspy quality that's instantly recognizable, and which comes through with all of its original charm – even amidst the smoother, more electric approach of the album's backings. There's a number of tracks on here that hit a mellow, midtempo groove that works quite well – and Bill did most of the production himself, with help from collaborators who include Ralph MacDonald, Michel Colombier, and Denny Diante. Titles include "Watching You Watching Me", "Oh Yeah", "Something That Turns You On", "You Try To Find A Love", "We Could Be Sweet Lovers", and "Heart In Your Life". (CDs come in mini LP-style sleeves.) ~ Dusty Groove

NEW RELEASES - SUN RA, CHICO MANN, BOBBY HUTCHERSON

SUN RA & OTHERS - BLACK UTOPIA: REHEARSAL TAPES & LECTURES SELECTION FROM THE ALTON ABRAHAM / SUN RA AUDIO ARCHIVES (COLLECTORS EDITION)

A totally amazing treasure – a deep dig through the Sun Ra archives, featuring music from Ra, spoken bits, and more – all packaged with amazing presentation of the vinyl, and a huge booklet as well! The records feature way more than just the usual music on Ra projects like these – as they artistically mix together rehearsal moments with some spoken passages, and also some sound effects and other found bits too – almost an art collage in tribute to Sun Ra, but based around music by Ra himself! Highlights include some key rehearsal moments – including a John Gilmore solo, Ra on moog, and "The Second Stop Is Jupiter" performed with Art Jenkins and June Tyson. But the package also features Ra lecturing the Arkestra, talking on music – plus other spoken bits from Dick Gregory, Avery Young, and Krista Franklin. The vinyl is super-heavy, with different colors – and the jackets are heavy pressboard cardstock, hand-printed. The book is LP-sized, 32 pages, with interview materials, notes on the music, details on the project, and some images too. Tremendous stuff – and a must for any Sun Ra collector! (Special fan edition comes in a hand-printed portfolio, with a bonus DVD of Data! Numbered and limited to 40 copies!) ~ Dusty Groove

CHICO MANN -MAGICAL THINKING

Some of the tightest tracks we've ever heard from Chico Mann – and some of his most soulful too – a great set of work that really has him stepping past some of the rougher structures of earlier years, and showing a new love of 80s keys and beats as well! The album's got a skittish funky quality that's mighty nice – still with the messed-up edges we've always loved in Mann's funk, but with some tight guitar riffs and bumping basslines that push things forward more strongly than ever before! There's lots of nice vocals, too – some from female singers (including Kendra Morris), some from Chico himself – on cuts that include "Edge Of It", "Long Time Gone", "Magic Touch", "Esta Bueno", "Comes & Goes", "One Day Late", "Vengo A Ti", and "Oye Mira". ~ Dusty Groove

BOBBY HUTCHERSON - OBLIQUE

One of Bobby Hutcherson's greatest records ever – and a session that never got released at the time! The album's an excellent quartet session, one that's very much in the best spirit of Bobby's great Happenings album on Blue Note – and it features a similar group that includes Hutcherson on vibes, Herbie Hancock on piano, Albert Stinson on bass, and Joe Chambers, one of Hutcherson's best accompanists from the 60s, on drums. The format's a bit more modal than Happenings – and the set features 6 wonderful little tracks that mix together the "new thing" sound of earlier Hutcherson Blue Notes, with some of the nascent soulfulness that started creeping into his work at the end of the 60s. The album was recorded in 1967, but only first issued in Japan in at the end of the 70s – and then later in the US, and even then only briefly – but we'd still rank the set as one of Bobby's best for Blue Note! Titles include "Til Then", "Mr Joy", "Subtle Neptune", and "Theme From Blow Up". ~ Dusty Groove

PAUL ANKA - DUETS

The Second Disc Review: Paul Anka, “Duets”

Whether you prefer your “My Way” by Sinatra or Sid (Vicious, that is), you have Paul Anka to thank. It was Anka who took the melody to the chanson “Comme d’habitude” and crafted the ultimate anthem of survival and tenacity with his English-language lyrics. When Sinatra recorded the song, a gift to him from Anka, he was just 53 years of age yet could still ring true when singing of that “final curtain.” Today, Paul Anka is 71, and his new memoir is entitled, what else, My Way. Thankfully, the end seems far from near for the entertainer, who has kept busy not only with the book, but with an album from Legacy Recordings. Duets (88765 48489 2) is a blend of new and old tracks with one thing in common: the unmistakable voice of Paul Anka. (He also wrote or co-wrote all but two of its songs.)

The Ottawa-born pop star scored his first hit at the ripe old age of 15 with 1957’s “Diana.” It earned him a No. 1 in the U.S. Best Sellers in Stores and R&B charts, as well as No. 1 in the U.K., Canada and Australia. But overnight sensation Anka was a teen idol with a difference: he was a true singer/songwriter, writing both music and lyrics for his own songs. By the age of 20, Anka was reportedly raking in $1.5 million a year and selling some 20 million records, but he knew that he had to take himself to the next level. The singer poised himself for a reinvention for the adult market with more mature material aimed at the supper club crowd. Throughout his chart career, Anka has successfully balanced contemporary pop with timeless showbiz tradition.

To its credit, Duets isn’t a rehash of the formula enjoyed by so many superstars, from Frank Sinatra to Tony Bennett, of remaking “greatest hits” with familiar partners. There’s no “Puppy Love,” no “Times of Your Life” or “One Woman Man/One Man Woman.” Nor is Duets a career retrospective, per se, as the only vintage tracks are drawn from 1998’s A Body of Work. In many ways, Duets is an update of that Epic release. A Body of Work included seven duets among its eleven tracks, and four of those have been reprised on Duets. (That album also included a posthumous duet with Sinatra on “My Way.” Frank and the song are here, too, but in a newly-created recording.) None of Anka’s hit seventies duets with Odia Coates like “One Woman Man” or “You’re Having My Baby” are heard here. Though Jay-Z reportedly denied Anka’s invitation to participate, a number of top talents did show up to celebrate Anka’s 55 years in entertainment, including Dolly Parton, Leon Russell, Willie Nelson and Michael Bublé.

Anka is in strong voice throughout. Of the many styles in which he has made his mark over the years, from rock-and-roll to big band swing, Duets is squarely in a sleek, adult-contemporary vein, with prominent use of drum machine rhythms. A little Auto-Tune goes a long way, though, as proven by the catchy “Find My Way Back to Your Heart.” Written by Anka with producer-arranger Michael Thompson, it’s the only solo song here. (Background vocals are provided by Tita Hutchison.) Similarly slick is “Walk a Fine Line,” the Duets opener with George Benson and Michael McDonald. It’s one of two songs here from the 1983 album of the same name (unfortunately out-of-print as of this writing). McDonald co-wrote the song and sang on the original track, and repeats his duties for this new version.

The instantly recognizable McDonald is just one of the many talents here who are well-versed in the art of the duet. Dolly Parton joins the pretty “Do I Love You (Yes, In Every Way)” with hushed, whispered vocals that soon make way for a power ballad-style guitar and chorus. Arranger Johnny Mandel’s trademark strings swathe “Crazy,” with its writer Willie Nelson as relaxed and subtle as ever as he and Paul pine after the object of their affection. Another enjoyable match is made with Anka’s Canadian compère Michael Bublé. The great Patrick Williams’ brassy arrangement of “Pennies from Heaven” is a swinging highlight of Duets although it sonically clashes with the rest of the album’s more “modern” slant. (The young crooner’s solo “Pennies” was an iTunes-exclusive bonus track for his 2009 album Crazy Love.) Joining “Pennies” in lending Duets a classic air is “Les Filles de Paris,” first recorded by Anka in 1971. It gets a smoky, lush treatment thanks to Chris Botti’s horn and Mandel’s arrangement. Trumpeter Botti takes an expressive solo while a concertina-esque sound lends a Gallic atmosphere; Anka even sings a bit in French. “Think I’m in Love Again,” of 1981 vintage, is sung with Gloria Estefan. The song, co-written with country-and-western songwriter Bob McDill, is pleasantly delivered by and older and wiser singer this time around (“I think I’m in love again, wearing that silly grin/Look what a fool I’ve been, think I’m in love again”).

Much more surprising is “I Really Miss You,” sung with Leon Russell. The Master of Time and Space’s rough-hewn, growled vocals are the least expected match for Anka’s on the album, but he brings grit to the reflective, low-key track. But Russell’s isn’t the oddest duet here. That honor goes to “This is It,” the second posthumously released version of the song co-written by Anka and the late Michael Jackson. When “This is It” debuted in 2009 to coincide with a documentary about the recently-departed King of Pop, many seemed to overlook that the song boasted a rather felicitous melody. On Duets, Anka gives Jackson’s demo yet another makeover. The production by Anka and Michael Thompson is much busier than the Jackson solo version, which threatens to obscure just how pretty the tune actually is. Other than one particularly jarring key change that introduces Anka’s vocal, though, it’s a respectable treatment of the song. Anka’s full-throated vocal and the big, gospel-tinged production contrast with Jackson’s much gentler tone (in his familiar “soft” voice) but “This is It” remains an enjoyable slice of pure pop.

“Hold Me ‘Til the Morning Comes,” with an uncredited Peter Cetera, joins Celine Dion’s “It’s Hard to Say Goodbye,” Tom Jones’ “She’s a Lady” and Patti LaBelle’s “You Are My Destiny” as the four tracks carried over from A Body of Work. “You Are My Destiny” is the only song here from Anka’s pop idol years. It’s given a Latin flavor from producers David Foster and Humberto Gatica , who dominate the latter portion of Duets. It was a more successful update than “She’s a Lady.” Tom Jones’ brash 1971 single of Anka’s song has aged far better than the 1998 version. Anka’s final Top 40 hit, 1983’s “Hold Me ‘Til the Morning Comes,” also first appeared on the Walk a Fine Line album. It fares well in the 1998 treatment, though the original version (also sung with Cetera) would have made a fine addition to the Duets line-up. The 1998 version is nearly identical, but among the alterations made is the replacement of the “big eighties” power guitar with a nylon-style guitar part. (That classical/Spanish guitar sound is quite prevalent on Duets.) In any event, though, “Hold Me” as produced by Foster still sounds like a great lost Chicago song circa 1983!

“My Way,” naturally, closes Duets, as it did A Body of Work. For that album, it was arranged by Johnny Mandel as a tribute to Sinatra: “He did it his way,” and so on. In David Foster and Bebu Silvetti’s arrangement here, Anka, not Sinatra, opens the song, and Anka takes it in the first person. Surely, at 71, he’s earned it. Yet, duetting with a young(er) Sinatra, it’s far from the most organic track here. The Chairman’s vocals lack a natural sound on the duet, and Mandel’s stately, elegiac arrangement is superior to the more “MOR” version for 2013. Still, it’s an effective valedictory for Anka’s own, well-deserved celebratory album.

My Way, the book, promises to be a juicily entertaining memoir from a performer who’s never been afraid to speak his mind. If you’re looking for an ideal soundtrack for your reading, you might want to start with Duets and remember those times of your life as scored by Paul Anka.

Originally posted at the Second Disc here

OMAR - THE MAN

"When I grow up, I wanna be like Omar" - Stevie Wonder

There are precious few, if any contemporary UK artists whose creative credentials and influence extend as far and so consistently wide as Freestyle Records' most recent signing Omar. Since first breaking through to worldwide renown all the way back in 1991 with his first releases on Gilles Peterson's seminal Talking Loud label, and going on to work with all manner of musical legends including a certain Stevie Wonder, Erykah Badu, Angie Stone, Syreeta Wright, Common, and Carleen Anderson.

Fast forward to 2013, and Omar's reputation for being a thoroughly original artist following his own individual path remains undiminished. After recently picking up an M.B.E. for his outstanding contribution to the UK music scene, even the British Establishment has now acknowledged what many already appreciated and understood for many years.

There cannot have been many times a bass clarinet b-line was destined to become one of the most memorable and catchiest moments in contemporary soul, but on the new single, The Man, that's precisely what happens. Add to that a stunning vocal performance, the slinkiest of beautiful key changes, and an uplifting vibe that simply emanates class and style, and you will understand why those who were privileged to hear The Man early on, all without exception, flipped, slipped and fell totally in love with its soul, its groove and irrepressible spirit.

This release sees three reworkings of the title track; US mainstay of conscious hip hop and electronica, Shafiq Husayn, literally leapt at the chance to remix The Man and gives it a minor mood feel, with spacey synthesiser lines added to emphasise this most memorable of melodies, Maddslinky (aka Zed Bias), came with a remix from a pumping, contemporary club direction including a driving beat coupled with spacy breakdowns and his trademark production skills, and Scratch Professer puts his unique stamp on his retwist of The Man like no one else could!

Completing the circle that began all the way back in the early 1990s, Omar has completely re-recorded his classic love song There's Nothing Like This, which this time features bass player to the Gods Pino Palladino. The touching sentiment remains undiminished, but with the addition of soaring strings, soulful, jazzy horns, an all round live and acoustic feel, plus an extended and new arrangement, Omar has done the impossible; improved upon the un-improvable, that is likely to become the definitive version of an already much adored classic.

SUPER'JAZZ'GROUP BWB FEATURING RICK BRAUN, KIRK WHALUM, NORMAN BROWN REUNITES, CELEBRATES MICHAEL JACKSON ON NEW ALBUM

Individually, they are three titans of contemporary music: Rick Braun, the gifted trumpeter/flugelhornist with the golden voice; GRAMMY® Award-winning tenor saxophonist Kirk Whalum, the Memphis-born wunderkind who mixes Beale Street, gospel, the blues and bop; and Norman Brown, the GRAMMY®-winning guitarist who brings a Louisiana lilt to his Wes Montgomery/George Benson influenced six-string soulful strut. They came together eleven years ago as the supergroup known as BWB and their historic album Groovin’, made them one of the most sought-after groups at that time.

This terrific triad reassembles with the June 18, 2013 release of Human Nature on Heads Up International, a division of Concord Music Group (international release dates may vary). This long-awaited sequel to their debut project spotlights BWB’s stupendous reimaging of eleven selections made famous by the King of Pop, Michael Jackson.

“We made the first BWB record in 2002 when we were all on Warner Bros. Jazz,” Braun says. “We did a world tour behind the record. And then we’ve all been off doing our own thing – so this is really a reunion. We have an incredible amount of respect for each other: We phrase together. We complete each other’s sentences, musically. We’re really just a good bunch of guys making music, and grateful to be doing that.”


Norman Brown / Kirk Whalum / Rick Braun


“This is a fun collaboration,” Brown says. “First of all, we really love each other. We’ve been good friends for the longest time. Rick is a very serious trumpet player; so is Kirk on his horn. And then we feed off each other and bring stuff to life that way. So it was Rick’s idea to make these songs, to do the Michael Jackson songbook. So we just started picking our favorite ones. It was hard to narrow it down, but we narrowed it down to eleven tunes and we hope that we did him proud.” BWB is augmented by keyboardist John Stoddart, bassist Braylon Lacey, drummer Khari Parker, percussionist Lenny Castro and organist Ralph Lofton.

Though Braun, Whalum and Brown are often labeled in the limiting category of “smooth jazz,” the selections on this project prove beyond doubt that this recording was produced in the time-honored tradition of modern jazz musicians interpreting and elevating popular music, like Ahmad Jamal did with “Poinciana” and John Coltrane did with “My Favorite Things.”

“You take a Miles Davis,” Whalum says, “for him to record a Michael Jackson song [like ‘Human Nature’] says something. It’s a validation. We’re not the first musicians to take a serious approach to Michael’s music. But for us it’s an honor because the feeling of the music communicates so beautifully. That’s ultimately what music is supposed to be about.”

The eleven tracks on Human Nature offer an exciting potpourri of Michael Jackson’s artistry – from his days with The Jackson Five to his historic albums as a solo artist, including Off The Wall, Thriller, and Bad. And BWB brilliantly recasts Jackson’s hits in new and imaginative ways. The CD’s title track – arguably Jackson’s most original and haunting song – was rendered with a spare arrangement at a slower tempo than the original, but with the same Quiet Storm, Debussyian melodic imagery of the original track, laced with vocalist Sheléa’s airy, angelic vocal. “We broke it down. We kept it at a quiet overtone,” Brown says. “The melody speaks for itself, with Sheléa delivering that beautiful melody. We played around that. I played a lot of arpeggiated chords. It turned out to be a beautiful piece.”

BWB’s jazz extensions of Jackson’s music are also evident of their energetic and evocative take on the megahit “Billie Jean,” played with a riff familiar to all post-bop aficionados. “Michael had an ear for that [harmony] and had a real jazz sensibility,” Braun says. “Let’s take ‘Billie Jean.’ When you look at the chord comping pattern, and the bassline, you can actually play Miles Davis’ ‘Milestones’ on it. The harmonies in the song ‘I Can’t Help it,’ which was written by Stevie Wonder, are so complex, that playing solos on top of that was challenging for all of us. So it’s not a fluke that Michael Jackson became the king of pop. The way he phrased melodies, it’s surprisingly complicated. It’s lyrical, but interesting and a lot deeper than would expect from a pop artist.”

Another Jackson hit, “Who’s Lovin’ You,” from his days with the Jackson Five, is given a below-the-Mason Dixon Line, Juke Joint makeover, courtesy of Whalum’s down-home arrangement. “It was the perfect example of Michael’s music and how profound it is,” Whalum says. “Arguably the blues is the most profound expression of what’s inside of your soul. Michael sang that song when he was eleven years old, and he sang it like he had his heart broken, in the classical form of the blues. Harmonically, it’s a blues song.”

“I’m playing a lot of blues guitar on that one,” Brown remarked, “because Kirk’s arrangement was a Memphis blues. And I heard Albert and B.B. King. So I picked up a smaller, hollow-body guitar.”

BWB’s take on “Shake Your Body Down to the Ground,” dances with a Miami Sound Machine Latin vibe, “The idea is to connect with the audience on a different level,” Whalum says. “[Our version of the song says] you paid your money, you might as well shake your butt!” Braun’s ingenious reggae-ska version of “Beat It” rocks with the kind of pop-Caribbean cadences one would hear from Sting and the Police. Whalum and Stoddart rework Jackson’s Stevie Wonder composed track, “I Can’t Help It” with some sly aural alchemy. “We started by taking the song out of even meter signature, and we put it in 3/4 - 6/8,” Whalum says. “So right away that changed the complexion of the the song. And we had to morph the melody into something different. I thought it was so sexy!”

The scintillating music on this provocative project is the culmination of three master musicians who came together from diverse backgrounds. Hailing from Allentown, PA, Rick Braun, a graduate of the prestigious Eastman School of Music, gigged with a fusion group, Auracle, wrote “Here With Me,” a hit with the rock group REO Speedwagon, and released over fifteen recordings as a leader, including Intimate Secrets, Body & Soul, Shake it Up (with Boney James) and Rick Braun “Sings with Strings.”

Growing up in Memphis, TN, saxophonist/flutist Kirk Whalum came of age in one of America’s most musically rich cities, where one was required to master gospel, R&B, jazz, and the blues. Graduating from Texas Southern University in Houston, Whalum cut his jazz chops during the city’s vibrant night club scene of the ’80s. Though he’s recorded with a variety of artists, from Yolanda Adams and Barbra Streisand to Quincy Jones and most notably Whitney Houston, Whalum, an ordained minister, has a passion to educate young musicians and serves as Chief Creative Officer of the STAX Music Academy and the STAX Museum of American Soul Music in his hometown. A 2011 GRAMMY® winner for Best Gospel Song, he has recorded twenty-plus solo CDs including The Promise, Romance Language and The Gospel According to Jazz series.

Hailing from Shreveport, LA, Norman Brown was raised in Kansas City, KS, and absorbed a complex confluence best of southern and Midwestern musical styles. Inspired equally by Jimi Hendrix and Wes Montgomery, Brown moved to Los Angeles after graduating high school, attended and taught at the Musicians Institute in that city. Brown’s eight CDs released as a leader include his 1992 MoJazz label debut, Just Between Us, his 1994 gold- certified album After The Storm and Better Days Ahead, released in 1996. In 1993, his Just Chillin’ CD earned him a GRAMMY® in the Best Pop Instrumental category. In addition to his career as a musician, Brown also works as a broadcaster on the Smooth Jazz Radio Network.

It all comes together on Human Nature – three great musicians celebrating one immortal artist in a celebratory reunion that’s music to everyone’s ears. “We went our separate ways eleven years ago,” Norman Brown says. “But I find it really fascinating that after all of that time, we could come back together and gel right away, and keep that same old feeling. What ultimately comes out is a cohesive BWB sound.”

BWB On Tour:
6/1/2013 2013 Jazz Festival @ Hyatt Newport Beach CA
6/6/2013 Napa Valley Opera House Napa CA
6/14/2013 A Celebration of Black Music Cincinnati OH
6/15/2013 One World Theatre Austin TX
6/21/2013 DuPont Clifford Brown Jazz Festival Wilmington DE
6/22/2013 Uptown Charlotte Jazz Fest Charlotte NC
6/26/2013 Spirit Cruise Ship New York NY
7/19/2013 The Norfolk Jazz Festival Norfolk VA
7/20/2013 Bonelli Park - JazzFest West San Dimas CA
7/21/2013 Bonelli Park - JazzFest West San Dimas CA
8/3/2013 Rodney Strong Winery Healdsburg CA
8/10/2013 Festival of the Vine - Fraze Pavilion Kettering OH
8/11/2013 Richmond Jazz Festival Richmond VA
9/13/2013 Back Bay Amphitheatre @ Hyatt Newport Beach CA
9/14/2013 Thornton Winery Temecula CA
10/5/2013 Akron Civic Theatre Akron OH

NEW RELEASES - SARAH VAUGHAN, NANCY WILSON, DAVE DOUGLAS QUINTET

SARAH VAUGHAN - DIVINE - THE JAZZ ALBUMS 1954 - 1958: IMAGES / LAND OF HI FI / SARAH VAUGHAN / MISTER KELLY'S / AFTER HOURS LONDON / NO COUNT

Some of the most important recordings in the career of Sarah Vaughan – rich package of albums that really helped her refine her style strongly, and unlock an approach to jazz that nobody else could touch! Vaughan had always been a great singer, no matter what the setting – but here, she takes things a strong step forward – by mixing instrumental inspiration with careful lyrical delivery, all at a level that's quite different than Billie Holiday, Ella Fitzgerald, or any other contemporaries! Vaughan's got this mature approach that's never overdone, and never tries to call too much attention to itself – even though Sarah's singing in ways that are technically mindblowing, and set to the kinds of backings that never would have been so subtle a few years before. The beautiful package is a 7" square book – with heavy hardcovers, and lots of color images on the many pages inside – plus four CDs nestled alongside the words – containing the full albums Images, In The Land Of Hi Fi, Sarah Vaughan, At Mister Kelly's, After Hours At The London House, and No Count Sarah – plus 11 bonus tracks added to the Mister Kelly's album, and 5 more bonus tracks from the Swingin Easy record as well. 72 tracks in all – in a really lovely package! (Limited edition.) ~ Dusty Groove

NANCY WILSON - MUSIC ON MY MIND / LIFE, LOVE & HARMONY

A pair of stunners from Nancy Wilson – back to back in a single set! Music On My Mind is an overlooked gem from Wilson's excellent 70s run on Capitol Records – a set that goes way beyond the spirit of some of her earlier records, and features a very unified vibe overall! The set was done in heavy collaboration with producer/composer Clarence McDonald – and features all original album penned for the date, most of which has a sublime blend of strings and soul that really pushes Wilson into even more sophisticated territory than before! Nancy's really on a par here with Marlena Shaw at her 70s best – even though Wilson had hit some of the territory years before – and the set's overflowing with great little numbers – including the funky classic "I'm In Love", plus "Let It Flow", "I'm Gonna Let Ya", "Music On My Mind", "He Makes Me Feel Good About Myself", and "Light". Life Love & Harmony is a killer from Nancy – very different than most of her earlier work, and proof that she was still growing as an artist on Capitol! The record's arranged and produced by Larry Farrow – who gives the session a jazz funk feel that brings Nancy into a whole mode, a smooth modern one that's kind a perfect fit for the rich character of her vocals – a much-needed update of the classy sound of her late 60s work, in territory that still shows that Wilson can hit this sort of groove better than anyone else! The standout cut is the massive "Sunshine" –a sparkling jazzy groover with a monster hook and some wonderful stepping arrangements – and other tracks include "You're The One Wrapped Up In The Comfort Of Your Love", "Heaven", "Here's To Us", and "Life, Love, & Harmony". CD also features bonus single mixes of "Sunshine" and "Life Love & Harmony". ~ Dusty Groove

DAVE DOUGLAS QUINTET - TIME TRAVEL

One of the best albums we've heard in years from trumpeter Dave Douglas – a really in the pocket session that's filled with rhythmic intensity, and some of the boldest music we've heard from Dave in years! There's plenty of edges to the set – especially the trumpet of Douglas and tenor of Jon Irabgon – but there's also a groove to many numbers too – a kind of forward-rolling energy that really takes the whole thing to great points throughout the set, and which makes a great progression from the somber tone of Dave's last album – almost a musical rebirth of sorts! Crack rhythms flow from the trio of Matt Mitchell on piano, Linda Oh on bass, and Rudy Royston on drums – and titles include "Time Travel", "Beware Of Doug", "Little Feet", "Garden State", and "Bridge To Nowhere". ~ Dusty Groove

CHUCK OWEN & JAZZ SURGE - RIVER RUNS

The sun dappling the surface of the water, the roar of a waterfall, the heart-quickening rush of a stretch of rapids - riding a river can be both relaxing and exhilarating, an escape from stress and a thrill ride. Composer/bandleader Chuck Owen captures the beauty and excitement of a day on the river with his latest album, River Runs, which combines his long-running big band the Jazz Surge with a full orchestra for a gorgeous symphonic hybrid.

The Distinguished University Professor of Jazz Studies at the University of South Florida, Owen founded the 17-piece Jazz Surge in 1995. Since then it has been a vehicle for his own compositions and his arrangements of work by the likes of Michael Brecker, who was the subject of Owen's acclaimed 2009 album, A Comet's Tail, which featured guest appearances by Randy Brecker, Mike Stern, Joe Lovano and Dave Liebman. JazzTimes wrote that "while the individual solos are quite impressive, it is the ensemble playing and spirit of the full ensemble that really stands out."

That spirit is vividly amplified with the addition of an orchestra comprising some of South Florida's finest classical musicians on River Runs. The project was facilitated by a 2009 Guggenheim Fellowship; while Owen has undertaken commissions for the Netherlands Metropole Orchestra and began his career writing for the Cincinnatti Symphony Orchestra under the baton of famed conductor Erich Kunzel, the Guggenheim afforded him the freedom to follow his own muse into the orchestral realm for the first time. Longtime Surge members tenor saxophonist Jack Wilkins, guitarist LaRue Nickelson, and violinist Rob Thomas are the featured voices on River Runs, bringing the ensemble's unique voice to the orchestral setting.

The project started out as a double concerto for orchestra and a few guest soloists, but soon expanded in Owen's mind to encompass the whole of the Jazz Surge. "My focus was on trying to write a piece for orchestra that seamlessly attempted to blend jazz elements - improvisation, strong rhythmic grooves - with a symphony orchestra," he says. "I very quickly realized I was going to need to involve at least bass and drums to be able to provide the atmosphere I wanted, to avoid the sort of rigid division between orchestra and jazz musicians that I really dislike. I wanted to create something that felt very natural and organic and I thought the members of the Surge would add to that."

A respected and esteemed educator for more than 30 years, Owen also founded and serves as artistic director for the USF Center for Jazz Composition. In 2012, he chaired the Pulitzer Prize in Music committee and has also served as President of the International Association for Jazz Education and as governor for the Florida Chapter of the National Academy of Recording Arts and Sciences. In addition to the Guggenheim Fellowship he has received the prestigious 2000 IAJE/ASCAP commission in honor of Louis Armstrong and three Florida DCA Individual Artist Fellowships.

With his latest project, Owen combines that wealth of professional experience with inspiration from some of his most personally fulfilling moments. River Runs uses the jazz big band and the symphony orchestra as the colors in a bold landscape that is his finest and most ambitious work to date.

THE LE BOEUF BROTHERS REMIXED

A remix is an alternate version of a recording made by rebalancing, recombining or altering individual tracks. The art of remixing is most common in technology-oriented genres such as electronic music, but can certainly be applied to any recorded music, although it seems quite rare in jazz/improvised music. However, there is actually a fertile, underground scene comprised of jazz musicians who are closet DJs. Amongst them are identical twins, the Le Boeuf Brothers, saxophonist/composer Remy and pianist/composer Pascal, whose latest project fuses their New York jazz background with a fresh blend of electronica, trip-hop and drum 'n' bass to create the remix collaboration project, Le Boeuf Brothers Remixed (available April 30 on Nineteen-Eight Records); an intelligent, entertaining, voguish new work, based on their recent album, In Praise of Shadows (Nineteen-Eight Records).

"Remy and I have always been interested in electronic production based music. Something about growing up in the 90s has given us a special connection to Bjork, Radiohead, Aphex Twin or anything with programmed drums and scratched vinyl. Though we moved to NY in 2004 to play jazz, you might think otherwise if you looked through our iPods," explained Pascal.

The brothers feel that electronic music is a natural progression and a logical next step in their creative lives. "I noticed that the electronic music community seemed to grow out of the digital recording era through 'remix' collaborations. Although electronic production is generally a solitary process, electronic artists have managed to develop a community by revamping and building upon each others' ideas via remixing, mash-ups (mashing two songs together), re-works (re-composition using the same process as remixing), etc. I see this as similar to the way in which jazz musicians recorded jazz versions of show tunes - so electronic producers are developing remixed versions of today's standards. Many within the jazz community share this passion for electronic music and are 'closet DJ's'. Le Boeuf Brothers Remixed is about bringing to light the growing underground community of electronic musicians associated with the jazz community and the huge potential for remix collaborations," said Pascal.

Le Boeuf Brothers Remixed opens with "Red Velvet". "On our 2011 release, In Praise of Shadows, the production for this tune was largely inspired by Q-tip's approach to Kurt Rosenwinkel's 2003 album Heartcore. This version was then remixed by L.A.-based IDM/electronica artist, 'Yellow Then Blue' (a.k.a. Justin Deming)." - Pascal. "I first became acquainted with Justin through Myspace in 2007 and have been deeply into his music ever since. We kept in touch over several years until the opportunity came to collaborate in 2011 with our Remix project." - Remy.

"For Every Kiss"- Kissy Girls Remix. The electronic duo, Kissy Girls is the brainchild of Pascal and singer/songwriter Emily Greene. "We met at summer camp when we were 15 while eating ice cream with forks and reconnected in 2007 to write songs based on a mutual respect for each other. When Remy and I started our remix project, Emily and I were in the process of finishing the first Kissy Girls EP and we decided to remix "For Every Kiss" as a throwback to the new wave synth ballads of the 80s." - Pascal.

"Around/Fire Dancing - Pascal Mashup". Remy explains, "I remember when I first heard Louis Cole's music; I was hanging out with several friends after playing a jam session in Harlem and we were sitting on the couch playing songs for each other off our iPods. Louis' music came up and we listened to almost the entire album. I realized later that Pascal and I were good friends with his Canadian cousin, Spencer Cole, who is also a drummer." Louis later joined them for a Le Boeuf Brothers performance in Los Angeles in 2010 where they learned about his project with Genevieve Artadi. When Cole and Artadi released their 2nd album, Think Thoughts, in 2011, the Le Boeuf Brothers approached them with the idea of making a mash-up of the song "Around" from Think Thoughts and "Fire Dancing" from In Praise of Shadows. Pascal explains, "Making this track was a lot of fun because of the sounds used to create it. I added the 'clink' of a small plastic test tube that fell over while I was recording (enters at 1:13). This tiny plastic tube was perfectly pitched to a 'C' and became a huge part of the track. Also, using Louis' sampled drum sounds to play Henry Cole's original beat from 'Fire Dancing' was fun to show to Henry afterwards." - Pascal.

"Everything You Love Intro"- Armand Hirsch Remix. "I first met Armand when he was still in High School through the National Foundation for Advancement in the Arts' youngARTS program. I learned that in addition to his amazing guitar chops, he is also a great recording engineer. We've since had the pleasure of collaborating on various projects and it was only natural to develop a collaborative track for this remix album." - Pascal.

"Everything You Love" - Lucky Luke Remix (AKA: Luke Moellman), "is largely responsible for my becoming an electronic producer. In 2007, a mutual friend showed me Luke's electronic music on Myspace and I consequentially abandoned NYC for 2 weeks to study with him in Miami. I continued to visit Luke for years until he moved to Brooklyn in 2011. We have since collaborated on other remixes. When Remy and I started our remix project, Luke was already in the process of developing a remix for my solo project and he decided to remix 'Everything You Love' for this one." - Pascal.

"In the Shadow of Your Silence"- Remy Remix. "Although silence, like shadow, is an absence in its essence, it can be substantively felt--at times very powerfully-as a restive pause, an awkward moment, or a gaping distance. On a purely musical level this song does nothing with silence, as for the emotions and intention behind it, I'll leave you in the shadow of my silence . . ." - Remy.

"Everything You Love"- Wolff Parkinson White Remix. "When Remy and I joined Nineteen-Eight Records, we were floored by the work of our label mate, "Wolff Parkinson White" (AKA: Jochen Rueckert). I had been a fan of Jochen's work as a jazz drummer ever since I first heard him on Henry Hey's Watershed but had no idea he created glitchy electronic music. After enjoying his first album for a few weeks Remy and I approached him to remix a track for our album. We're glad to have him on board!" - Pascal.

"Calgary Clouds"- Tim Lefebvre Remix feat. Louis Cole. Like "Wolff Parkinson White", the brothers got in touch with Tim after joining Nineteen-Eight Records. They had seen him perform as a bassist with various bands around New York but didn't know he produced electronic music until Henry Hey suggested they contact him. Tim also works with Louis Cole & Genevieve Artadi as a guest on "Think Thoughts" and included some of Louis' driving drum beats in his track.

"Fading Apart" - David Binney Remix, Feat Nickel Killsmics and Nina Geiger. "Remy and I have always enjoyed David Binney's compositions and approach to music.

When we were just getting into electronic music, he introduced us to a number of bands (such as Telefon Telaviv, Prefuse 73 and Tycho) that broadened our perspective and drastically changed our approach to making music. When Dave began remixing 'D2D' he included a hook recorded by the wonderful Nina Geiger. He also asked if we knew any good rappers, and after a year of performing regularly at Smoke Jazz Club, I got to know Nickel Killsmics (AKA: Mike Winnick), a phenomenal rapper with a talent for improvisation and crossover with jazz musicians." - Pascal.

"Green Velvet"- Pascal Remix. This simple song is the first of a number of "Velvet" compositions named after the brothers' velvet furniture from their childhood home. It was recorded at the same time as In Praise of Shadows, but didn't make the album simply because they didn't have time to add electronic production elements. Here it is fleshed out. All individual instruments are as they were originally performed.

The Le Boeuf Brothers are best known for their innovative compositional projects, which span as broadly stylistically as they do collaboratively. Over the course of their careers, they have collaborated with artists as diverse as Ambrose Akinmusire, Linda Oh, Nir Felder and the Myth String Quartet in genres ranging from jazz to contemporary classical to electronica.

In addition to being the youngest person ever to receive the ASCAP/IAJE Commission in honor of Quincy Jones in 2004, Pascal has garnered several Independent Music Awards for Best Jazz Album & Best Jazz Song in 2006 and Best Dance/Electronica Song in 2012. In 2011, Remy received a New Jazz Works grant from Chamber Music America to write a piece for the Le Boeuf Brothers and the Myth String Quartet based on a the short story "A Dream" by Franz Kafka. Additionally, the brothers received an Astral Grant from the National Foundation for Advancement in the Arts in 2008, and were awarded 1st place in the International Songwriting Competition in 2010.

The Le Boeuf Brothers have also toured internationally and performed at the Monterey Jazz Festival, Umbria Jazz Festival, Montreal Jazz Festival, the Kennedy Center, Carnegie Hall, and Jazz @ Lincoln Center.

On their prior album In Praise of Shadows the Le Boeuf Brothers expand upon the jazz tradition by continuing to sculpt their compositions after the initial recording process, using modern production techniques, sampling, and layered arranging/recording methods. The album also takes the "enhanced CD" concept to the next level, allowing listeners to manipulate the tracks on their computers and make their own remixes. This new direction lays the foundation for the next decade of jazz innovation, and for the Le Boeuf Brothers new album, Le Boeuf Brothers Remixed.

Also available on Nineteen-Eight Records on May 28, 2013, Pascal Le Boeuf's Pascal's Triangle, featuring Linda Oh and Justin Brown.

www.leboeufbrothers.com
www.nineteeneight.com

TREVOR ANDERIES - SHADES OF TRUTH

Shades of Truth (available on May 21, 2013), the debut album from L.A. based drummer/composer Trevor Anderies is a reflection of this artist's musical and spiritual journeys. In bringing together his closest colleagues, a deep sense of trust and comfort is created while they weave through each of these nine unique compositions. This album purposefully and naturally blurs lines of genre, taking influence from avant-garde, hard-bop, classical, soul, and the blues, seeking to create an exciting sound all its own. Producing a deep sense of spirituality, the music gives listeners an honest look into an artist whose main intention is to use music as a healing force, and to encourage listeners to reach deeper into their own lives to find the hidden gems within themselves. Shades of Truth promises to introduce drummer/composer Trevor Anderies as an exceptional drummer and composer who will be on our radar for years to come.

On Shades of Truth Anderies surrounds himself with musicians who are collaborators, bandmates (in the band Slumgum), players that are near and dear to his musical heart, and artists that have admirable resumes: vocalist Dwight Trible (Pharaoh Sanders, Billy Higgins, Horace Tapscott's Pan African Peoples' Arkestra, Charles Lloyd, Billy Childs, Kenny Burrell, Kenny Garrett, Steve Turre, Harold Land, Harry Belafonte, Patrice Rushen, Babatunde Lea, Ernie Watts, Kahlil El Zabar, as well as contemporary soul artists like LA Reid and DJ Rogers); tenor saxophonist Jonathan Armstrong (Slumgum, Vinny Golia, Bennie Maupin, Butch Morris, Hugh Ragin); alto saxophonist and flutist Gavin Templeton (Vinny Golia, Charlie Haden, Joshua White, Nels Cline, Joe La Barbera, Larry Koonse, Darek Oles, Butch Morris, Peter Epstein, daKAH Hip Hop Orchestra, The Temptations, Wayne Newton); bass clarinetist Brian Walsh (Peter Maxwell Davies, Bobby Bradford, Nels Cline, Larry Koonse, Muhal Richard Abrams, the Henry Mancini Orchestra, the Riverside Philharmonic); pianist Rory Cowal (Slumgum, Hugh Ragin, Bennie Maupin, Butch Morris, Premasoul); trumpeter Daniel Rosenboom (Vinny Golia, Los Angeles Philharmonic New Music Group, Southwest Chamber Music, Long Beach Opera, Wadada Leo Smith, Miroslav Tadic, Markus Stockhausen); and bassist David Tranchina (Slumgum, Hugh Ragin, Bennie Maupin, Nate Wood, Bobby Watson, Mike Barone, Butch Morris, Vinny Golia, Larry Koonse, Joe La Barbera).

Attainment - while composing this piece Anderies was contemplating accomplishment and the beauty of life's circular motion: "when we achieve one thing, doors are opened that lead to new struggle. After struggling we attain something, each time becoming a little wiser," he explained.

Shades of Truth - "I wrote this song specifically for my collaboration with Dwight Trible on the album. The vibe and lyrics of the piece take on the spirit and mission I sense when I listen to Dwight. The lyrics speak to my belief in both a seeking spirit as well as self empowerment as a means of being true to oneself", said Anderies.

Thunder - This piece dates back to a time when Anderies' writing was influenced by the music of John and Alice Coltrane, as well as Pharaoh Sanders. Recently, when the drummer reconnected with this music, his decision to write lyrics for the piece revealed a new meaning. He explains, "as long as I can remember, I have been obsessed with the sound and energy of thunder. I remember one storm in particular on a day when I was back home in Denver visiting my old drum teacher. We sat outside watching the lightning and feeling the roar of the thunder as it vibrated through our beings, and I was fascinated by its power, strength, confidence, and grace. Many cultures recognize this energy in their folklore; the Greeks worship Thor while the Yoruba praise Shango. Though we cannot become thunder, we can access the energy and spirit it represents in our own lives."

Vermillion - Inspired byAnderies' love of Beethoven's string quartets. While all of the tracks on the album include members of the collaborative group Slumgum, this is the only piece that features the band itself.

Three-Four vs. Six-Eight Four-Four Ways - This piece was written by pianist Hasaan Ibn Ali and recorded in 1964 with Art Davis and Max Roach. The album, made up entirely of unique compositions by Hasaan, is the only recorded documentation of a brilliant artist who fell into obscurity. "Needless to say this record has been very influential on my development and I was just dying to play some music from it!"

Aren't You So Lovely - "This composition has personal meaning for me. Written no more than two weeks before the recording date, it coincided with a lack of faith and confidence in myself, followed by the realization that I was bigger than the problems I was facing. At the time, I had put my energy into getting to know someone who eventually pushed me away. When I wrote this song I was toying with the way my emotions took turns between "Aren't you so Lovely" (with the perspective of an admirer) and "Aren't you so Lovely?" (having a hint of sarcasm). The music took on a much deeper meaning when on my first performance of the piece I accidentally called it "Aren't You So Lonely." Fortunately for me, a very special person (my current girlfriend) must have caught on to that. I couldn't be happier that she did. The tune has now returned to "Aren't You So Lovely", from the perspective of a happy admirer."

Clear Eyes of the Moon - This title, and some of the lyrics, were taken from a poem by the Buddhist philosopher, Daisaku Ikeda, which reflects on the symbiosis of the vastness of the universe with the vastness of our lives.

Lenny - Originally written for a collaboration that Slumgum did with a chamber ensemble. The lyrics apply to the idea of loss, expressing the idea of life and death, and the mystery, confusion, and expansiveness that they represent.

Wild Ox Moan - "This resonates with me in a different way each time I hear it. It was written by Vera Hall and recorded for the Library of Congress in the 1930s. Hall was the wife of a coal miner in Alabama, and eventually gained national exposure with the help of Alan Lomax. To me, the song speaks to the humanity in all of us. We all need each other to live in this world; the relationships and the bonds of trust we cultivate in our daily lives ultimately lay the foundations for the types of lives we choose to live."

More on Trevor Anderies: Resolve, innovation and passion define Anderies' musical direction. Based in Los Angeles, he performs locally and on the national scene with many groups including Slumgum, the Walsh Set Trio and the Nigerian Talking Drum ensemble. He received his Bachelor's degree in Jazz Studies at the California Institute of the Arts where he studied drum set with Joe La Barbera and Ewe music from Ghanaian master drummer Alfred Ladzekpo. Among Anderies' other mentors are Paul Romaine, Bennie Maupin, Darek Oles, Alfonso Johnson, and Vinny Golia. He has had the opportunity to perform with a wide array of artists, most notably: Dwight Trible, Bennie Maupin, Ron Miles, Larry Coryell, Slumgum, Darek Oles, Ron Miles, Greg Gisbert, Nestor Torres, Eric Gunnison, Hugh Ragin, Charlie Haden's Liberation Music Orchestra, Vinny Golia, Francis Awe, Alfred Ladzekpo, and others.

Trevor was selected to participate in the 17th annual IASJ conference in Siena, Italy where students and teachers from twenty-six countries performed original material. Along with his band Slumgum he was accepted into the JAS (Jazz Aspen Snowmass) Academy summer program led by bassist Christian McBride. He was also chosen to play Ewe drums in Sandeep Bhagwati's interdisciplinary work, "Vineland Stelae," a performance that gathered together some of the greatest musicians from around the world.

Trevor was on the JAS academy faculty for two years. He shares his love of music through private lessons, teaching in public schools and offering clinics both individually and with his group Slumgum at many elementary, middle and high schools as well as universities throughout the country.

www.TrevorAnderies.com

HARRY CONNICK JR. TO RELEASE EVERY MAN SHOULD KNOW

Harry Connick, Jr. has built a reputation for musical and emotional honesty. Never one to rest on his ever-growing list of laurels, Connick exposes his feelings as never before on Every Man Should Know. The new CD to be released on Columbia Records on June 11, contains twelve original songs for which Connick wrote music, lyrics and arrangements.


"No rules, no limits," is how the multi-talented artist describes the songs in his liner notes for the new collection. "I don't recall ever reaching quite as deeply – or confidently – into my inhibition pool."

When asked about the transformation, Connick explains that "I used to be more comfortable writing in a fantasy-style concept, using ideas that intrigued me but didn't necessarily come from personal experience. It's one thing to assume the role of a storyteller – it's quite another when the story is your own. I felt ready to explore some of my personal experiences in some of the songs this time around."

The title track is indicative of how anecdote and imagination yield inspired results. "I was building a workbench with a carpenter friend," Connick explains, "and my lack of any knowledge about carpentry left me feeling so inadequate. It led me to think about other things that every man should know, like how to change a tire. Then I began thinking about what everybody should know how to do, and that's to love."

"'Come See About Me' is a song about a guy who's heartbroken that was inspired by a line Kim Burrell sang on 'All These People' [a song about the abandoned Katrina victims from Connick's 2007 CD Oh, My NOLA]. It was tough for me to sing, because the thought of watching the one you love move on is so painful. Just the idea of it hurts, and it took me a few tries just to figure out how to sing it."

More immediately personal feelings underscore "The Greatest Love Story," a song for Connick's wife Jill that includes both "inside" allusions ("Jill's from Texas, which is why the pedal steel guitar is in there") and a direct reference to Connick's late mother Anita. "Before, I would never talk about my mother, much less write about her," he admits. "It took years and years, and this might be my first specific lyric reference to her in a song. Her life and her death were so significant to me, and over time they've gained layers. I actually cried the first time I sang the lyrics in the studio."

Connick is quick to credit his collaborators, including guest soloists Branford Marsalis (whose soprano sax enriches "Let Me Stay") and Wynton Marsalis (extending the reflective mood of "Being Alone" with his trumpet) and longtime Band regulars Jerry Weldon on tenor sax and old friend Jonathan DuBose, Jr. on guitar on "I Love Her." He gives special credit to guitarist Brian Sutton and the Nashville musicians assembled for several tracks. "Those Nashville guys are deep," Connick marvels. "Before they play a note, they ask, `What are we playing about?' And they like to play with you when you sing rather than laying down tracks before you sing, because they want to understand the sentiment of each song. They really helped me capture 'Love My Life Away,' a song about a guy dying from a disease who is facing the plodding nature of his life."

A common feature of every track, from the jazz feel of "One Fine Thing" to the country feel of "Time to Go," is the perfect fit of each Connick arrangement. "You have to know what's right for each tune," he explains, "I've learned to trust my instincts. I usually start with the lyrics, which suggest a melody, which suggests a groove – at which point the arrangement becomes fairly clear."

The cornucopia of music contained on Every Man Should Know reflects only some of the songs that Connick has created in the past two years. More of his recent output can be heard on Smokey Mary , a limited-release album that appeared in February to mark the 20th anniversary of the Krewe of Orpheus, a Mardi Gras parade that Connick helped co-found. "It was my idea to have a Mardi Gras Krewe that represented all races and genders, and every corner of New Orleans," he says. "Our captain, my high school drama teacher, Sonny Borey , suggested that I write a song called ` Smokey Mary Choo-Choo Train ,' in honor of a coal-engine train that ran from the Faubourg Marigny to the levee a century ago. All of the songs on that recording have the same spirit, and soon I had an entire party record."

One track, the jubilant "S'pposed to Be," is included on both discs. "That's the one real New Orleans track on the new album," he acknowledges, "but what [guest vocalist] Kim Burrell and [trumpeter] Leroy Jones did with it just has to be heard. I gave them a very simple melody with simple chord changes, and what Kim sings and Leroy plays are just works of art."

In addition to the wealth of original music on his new discs, Connick will release " Love Wins ." The song is dedicated to Ana Grace Marquez-Greene , one of the children killed in the Newtown, Connecticut tragedy and the daughter of former Connick Big Band tenor saxophonist Jimmy Greene . Connick sang at Ana Grace's funeral, and was inspired by a speaker at the service who emphasized that love trumps even the greatest tragedy. All proceeds from sale of " Love Wins " will go to the Ana Grace Fund www.anagracefund.com.

The range of these songs is vast, touching upon love and loss, celebration and sorrow, tragedy and hope. With Every Man Should Know, Harry Connick, Jr. triumphs once again, with a depth of feeling that signals another milestone for one of the music world's most multi-faceted artists.

Source: Columbia Records

FINDERS KEEPERS: MOTOWN GIRLS 1961 - 1967 FEATURING THE MARVELETTES, BRENDA HOLLOWAY, THE SUPREMES & OTHERS...

Female Motown, way past the hits – a wonderful selection of rare cuts from the 60s, including a dozen previously unissued tracks! The collection is a real discovery, even for Motown fans – and the set is filled with gems that go way past the obvious – some real Detroit soul treasures that make the whole thing a delight! Lots of the work is from that key early Motown stretch, when the label was really coming into its own, but still trying out a lot of new ideas too – and as such, were really willing to move past some obvious hit modes of the time. And make no mistake – these cuts aren't leftovers, or half-baked – as all of them have top-shelf production and arrangements – further proof that the Motown approach never dimmed at all. Titles include "Do You Know What I'm Talkin About" by LaBrenda Ben, "Don't Turn Your Back On Me" by Brenda Holloway, "Build Him Up" by Martha & The Vandellas, "Like A Nightmare" by The Andantes, "Dance Yeah Dance" by Thelma Brown, "When Somebody Loves You" by Gladys Knight & The Pips, "My Black Belt" by Hattie Littles, "It's Too Soon To Know" by Kim Weston, "I Gotta Right To Sing The Blues" by Liz Lands, "If Wishes Came True" by Anita Knorl, and "So Let Them Laugh At Me" by Linda Griner. ~ Dusty Groove