GEORGE DUKE - DREAMWEAVER

Out of devastating pain comes DreamWeaver, the new disc, which GRAMMY® Award-winning keyboardist ,composer, arranger, and producer George Duke considers his “most honest album in several years.” The making of DreamWeaver occurred after his wife, Corine, passed away. Struck with grief, he found it difficult to work during that period. “I didn’t feel like creating any music, which was odd, because normally that’s the easiest thing for me to do,” he says, “Sometimes, I would walk into the studio and say, ‘Nah. It’s not going to happen.’”

Duke’s mojo returned while on a Capital Cruise. During the first couple of days, he didn’t play any music, but did check out some of the other bands. “By the third day, something happened,” he remembers. After returning to his cabin around 4 a.m. from listening to music, inspiration ignited. “I went back on the deck and watched the sun come up. A couple of songs started coming to me; I got out my pen and paper, and started writing.”

With the assistance of an illustrious cast of musicians that includes bassists Christian McBride and Stanley Clarke; singers Teena Marie, Lalah Hathaway, Rachelle Ferrell, and Jeffrey Osborne; guitarist Paul Jackson, Jr. and the late Jef Lee Johnson; among others, DreamWeaver, set for release July 16, 2013 on Heads Up International, a division of Concord Music Group, finds Duke emphasizing more instrumentals than in the past as well as concentrating more on his mastery on various synthesizers.

Like the bulk of Duke’s discography, DreamWeaver accentuates eclecticism with 15 tracks that range from swinging jazz and sweat funk to gospel-inflected pop and sensual R&B ballads. As the title implies, Duke likens mixing all of the idioms to weaving a sonic fabric. He also compares that stylistic dynamism to life. “Everything is in transition – from hot to cold, from life to death,” he philosophizes, “I wanted to incorporate that kind of thing and include a lot of things that are a part of my life.”

The disc begins and ends with allusions of nothingness, starting with the title track, a sparse etude, and finishes with “Happy Trails,” a misty ballad that was at first just dedicated to Duke’s wife, but later gained more emotional poignancy because of the sudden passing of Johnson, whose distinctive guitar work fades out the conclusion. In between, the disc unfolds with the evocative, mid-tempo modern jazz composition, “Stones of Orion,” showcasing Duke’s crystalline piano improvisations along with longtime collaborator Clarke on upright bass; the feisty 15-minute workout, “Burnt Sausage Jam,” a track that Duke refurbished from his 2002 Facing the Music sessions with Johnson, McBride, and drummer Lil’ John Roberts; the frisky gangster-leaning groover, “Round the Way Girl;” the feet-friendly burner, “Jazzmatazz;” and the heartfelt ballad, “Missing You,” another direct tribute to Duke’s wife.

The whimsical “Trippin’” is Duke at his most autobiographical as the lyrics go down memory lane and touch upon his formative years in California’s Bay Area, where as a kid, he heard legendary musicians such as Les McCann and Ray Charles, and eventually becoming a jazz musician, particularly due to his work with the iconic Julian “Cannonball” Adderley. In fact, the song’s recurring “Ahoom!” is a discreet shout out to Cannonball, because it was a phrase that the alto saxophonist would often use.

The simmering ballad, “Ball and Chain,” features some of the last recorded vocal works from R&B songstress, Teena Marie, who died in 2010. Duke worked with Marie on her 2009 Stax Records disc, Congo Square. Afterward, she wanted Duke to produce a full-length jazz album. “Ball and Chain” is one of the tunes that came from those sessions before Marie’s untimely passing. Duke offered the song to Beautiful, Marie’s 2013 posthumous disc, but the producers declined. With the blessings of Marie’s daughter, Alia Rose and Marie’s estate, Duke added horns and releases it here.

Another standout is “Change the World,” an all-star vocal tour de force featuring Hathaway, Osborne, Freddie Jackson, BeBe Winans, and Howard Hewett. In the tradition of Michael Jackson’s “Man in the Mirror,” and U.S.A. for Africa’s “We Are the World,” it’s a gospel-inflected message song, pleading for global unity. “Musicians need to talk about the issues of the day, realizing that the probability of making any kind of change in the world is more than likely a pipe dream anyway. But that doesn’t mean you can’t say it or act on it. Music should tell the truth,” Duke says.

With almost a half a century career, Duke is one today’s most prolific living jazz legends. From leading a jazz trio with a young Al Jarreau during his formative years to working with Jean-Luc Ponty, which afforded Duke’s first recording contract with MPS Records and his first exposure to Europe, to his incredible work with Adderley, drummer Billy Cobham, and Frank Zappa, to his cherished stream of jazz-funk records in the ’70s, Duke found his mark not only in his eclecticism, but also his signature approach to the synthesizer, which often prized less pyrotechnics in favor of blues elements.

“I didn’t hear anybody playing the blues on the synthesizer,” Duke recalls, “When I was with Billy Cobham, I said, ‘We need to bring some R&B into fusion,’ because at that time, it just seemed like people were just playing a lot of notes really fast, especially on the synthesizer. I thought it would work if we put an R&B vibe into the fusion element to reach the people.”

He keeps that quality intact as evidenced on DreamWeaver. “For me, I need the blues in there; that Ancient Source that really emanated from Africa,” he says when asked about his approach to jazz, “Jazz formed from the merging of European and African elements in a spontaneous context, so if you take away either element from the music, it ceases to be living, growing and ever changing real jazz, for me.” 

THE BRAND NEW HEAVIES RETURN WITH FORWARD, FIRST NEW RELEASE IN SIX YEARS

Pioneers of the London Acid Jazz scene, The Brand New Heavies, are a British music institution whose unique mix of jazz, funk and soul has lit up the UK music scene for well over two decades. In the wake of the 25th anniversary of Acid Jazz (the label that signed ‘The Heavies’ in 1990), 2013 sees the release of their first full studio album in nearly seven years: ‘Forward’, featuring original vocal collaborator N’ Dea Davenport and introducing new vocalist Dawn Joseph. Over the years The Brand New Heavies have been responsible for some of the UK’s biggest R & B/ soul tracks, scoring 16 top 40 singles including ‘Dream On Dreamer’ and ‘You’ve Got A Friend’, as well as over two million album sales.

Ever present founder members Jan Kincaid, Simon Bartholomew and Andrew Levy (on drums/keyboards, guitar and bass respectively) conceived the band in the London suburb of Ealing in 1985, and they became influential in creating what became known as the acid jazz scene of the early 90’s. Acid Jazz was the slower-paced, more soulful counterpart of acid house that also spawned the likes of Jamiroquai and Galliano. The band’s name was homage to soul godfather James Brown, who was once billed as the ‘Minister of New Super Heavy Funk’. ‘We supported him at Wembley once,’ guitarist Bartholomew later revealed. ‘We were soundchecking and James Brown arrives…dressed in this amazing olive green suit with a sort of Kentucky Fried Chicken tie. And we jammed in front of him. He was like “you guys sound great”. It was mind-blowing for us because he basically invented funk.’

The Heavies first made their reputation on the late 80’s London club circuit. A debut single, ‘Got To Give’, came out on Cooltempo before the band signed to Acid Jazz Records and released ‘Brand New Heavies’ in 1990, with the emphasis on instrumental rather than vocal material. In America, where they were signed to the Delicious Vinyl label, they started getting press attention. Jan Kincaid recalls ‘a live show in New York which also got great press. Word got back to the UK and suddenly there was this massive buzz … From then on, the public and press perception really took off for us.’

This Stateside connection had grown even stronger when they linked with American singer N’Dea Davenport. Having made her name in Los Angeles, where she’d headed with $300 in her pocket after leaving her native Atlanta, she continued her travels to London after Eurythmic Dave Stewart offered her a solo record deal. She didn’t take this up, instead linking with the Heavies, and the band’s first golden period was about to begin.

Their eponymous debut album, re-issued with Davenport’s vocals, took off around the world in 1992, fuelled by the hits ‘Never Stop’ (a new track), ‘Stay This Way’ and ‘Dream Come True’. Just when you would have thought they’d capitalise on this first success, the Heavies then took a stylistic left turn and came up with ‘Heavy Rhyme Experience: Vol. 1’, joining forces with a number of popular rappers including Main Source, Gang Starr, Grand Puba and the Pharcyde. The inspiration had been a show with MC Serch (of 3rd Bass) and Q-Tip of A Tribe Called Quest in New York which had inspired them to incorporate elements of hip-hop in their music.

Two years later came the album many fans still consider their peak. ‘Brother Sister’ included the hits ‘Dream On Dreamer’, ‘Back To Love’ and ‘Spend Some Time’ and soared all the way to Number 4 in the UK chart, turning platinum in the process. It also contained their biggest chart single to date, the Number 13 smash ‘Midnight At The Oasis’. This cover of the 1974 Maria Muldaur hit became a UK radio staple but was never released Stateside.

Davenport’s departure in 1994 to complete a long-delayed solo album didn’t derail the Heavies. Their next vocal collaborator was Siedah Garrett, a long-time associate of Quincy Jones, who had recently recorded and toured with Michael Jackson, duetting with him for ‘I Just Can’t Stop Loving You’ and co-writing ‘Man In The Mirror’.

As part of the band, Garrett co-wrote their Top 20 hit ‘Sometimes’, which peaked at Number 11 in the UK and helped propel the next album, ‘Shelter’, to No. 5. But, as with ‘Midnight At The Oasis’, it was when the Heavies lent their trademark sound to a well-chosen standard, in this case Carole King’s ‘You’ve Got A Friend’, that the biggest commercial rewards were obtained. Originally a US chart-topper for James Taylor and performed by its writer a quarter of a century earlier on her ‘Tapestry’ album, it made UK No. 9 in the Heavies’ hands and was all over the radio airwaves.

Good friend Carleen Anderson of Young Disciples fame, picked up where Garrett left off soon afterwards, happily contributing to ‘Trunk Funk – The Best of The Brand New Heavies’. Her revamped version of ‘Apparently Nothing’ (a hit for her previous group in 1991) joined ‘Saturday Nite’ as Top 40 singles that helped boost the collection to an impressive Number 13 peak.

After a short hiatus the group re-emerged in 2006 with a new album called ‘Get Used To It’, prompting esteemed US trade paper Billboard to proclaim Davenport ‘one of the seven wonders of the world… she doesn’t just sing lyrics…she inhabits them.’

A few side projects later and 2013 sees The Heavies re- emerge in triumphant and refreshed form with original collaborator N’Dea kicking things off in spectacular style on the single ‘Sunlight’, out April 15th 2013. Davenport features on several tracks on the “Forward” album with new British vocalist, Dawn Joseph taking up the baton on several tracks also, alongside Kincaid on vocals and some of their signature funk- filled instrumentals. The Brand New Heavies have been ploughing their own furrow the British music scene for over a quarter of a century and are respected the world over. With their new album and tour dates, both in the UK and abroad in the off-ing, they look set to continue that tradition for many years to come.

~ thebrandnewheavies.net

CHARLES BRADLEY & HIS EXTRAORDINAIRES AND TERENCE BLANCHARD ADDED TO LOVE SUPREME JAZZ FESTIVAL LINEUP

The Love Supreme Festival organizers have announced that "The Screaming Eagle of Soul", Charles Bradley, will be performing at Love Supreme this summer along with his Extraordinaires. The Daptone soul man rose to fame after 48 years of struggling and released his debut album 'No Time for Dreaming' aged 62. Bradley was also the subject of the documentary, 'Soul of America', which premiered at SXSW 2012 and played at 39 festivals around the world including IDFA, Silverdocs and Hot Docs and won Best Documentary at the 2013 Annapolis Film Festival. It told the story of his journey from a James Brown impersonator to one of the key figures in modern soul music and we are very happy to be welcoming him to Glynde this summer. He is joined by the multi award-winning Terence Blanchard one of jazz's greatest living trumpet players. Blanchard has worked with countless artists including Love Supreme artist, Brandford Marsalis on the Spike Lee classic 'Mo Better Blues'. A true jazz icon, he will be playing the Big Top on Sunday.

Also taking to the stage is acoustic blues singer/song writer, Eric Bibb, who will bring his unique sound to Love Supreme on Saturday alongside Ryan Quigley, who over the last ten years has become one of the most well-known and in demand trumpet players on the UK music scene. He will be bringing the Ryan Quigley Big Band to Love Supreme to play classic Beatles songs with a big band twist to the Sunday Main Stage. One of the UK's finest young talents, Troyka will also be appearing, performing their eclectic mix of jazz, rock and dance music.

Clarinettist, Arun Ghosh will be specially presenting some of his new material from his forth-coming album for festival goers and to get you moving Electro-swing act, Kitten and The Hip will be bringing their upbeat live show to Glynde this summer. Jazz FM Album of the Week artist Oli Rockberger will also be appearing playing tracks from his Piano driven albums and you can also catch Brass Jaw, the brass four-piece will not only be performing the best funky jazz on stage but also around and about the festival arena.

All these artists will be joining Bryan Ferry & The Bryan Ferry Orchestra, Jools Holland & His Rhythm and Blues Orchestra, Chic feat. Nile Rodgers, Michael Kiwanuka, Esperanza Spalding, Melody Gardot, Brand New Heavies and many more.

BILL FRISELL - BIG SUR

OKeh will release guitarist-composer Bill Frisell's new album, Big Sur, on June 18, 2013. The project marks his label debut as well as the first album featuring the Big Sur Quintet (which combines his 858 Quartet and Beautiful Dreamers trio).

The region known as Big Sur occupies 90 miles of spectacular central California coastline, midway between Santa Cruz and Santa Barbara, and extends inland to the abruptly rising Santa Lucia Mountains. Over the past century, Big Sur's rugged coastline and terrain, breathtaking vistas, and potential for communion with nature have attracted and inspired a multitude of creative types, such as Robinson Jeffers, Henry Miller, Jack Kerouac, Ansel Adams, Charles Lloyd, John Adams, Hunter S. Thompson, The Beach Boys, Death Cab For Cutie, and others.

Born of a Monterey Jazz Festival commission in 2012, Bill Frisell's Big Sur features an hour of original music, 19 compositions that explicitly reference the coastal-mountain environment. Titles such as "A Good Spot," "Going to California," "A Beautiful View," "Big Sur," and "On the Lookout" evoke the remote and pastoral setting with musical blends of chamber jazz, country, classical, folk, and rock. Joined by violinist Jenny Scheinman, violist Eyvind Kang, cellist Hank Roberts, and drummer Rudy Royston, the group premiered the music at the festival in September 2012. Six months later, the quintet recorded Big Sur at Fantasy Studios in Berkeley, California, with longtime Frisell collaborators Lee Townsend and Adam Muñoz producing and engineering, respectively.

The commission included a residency at Glen Deven Ranch, an 860-acre property bequeathed to the Big Sur Land Trust. Glen Deven's beauty and quietude provided Frisell with both inspiration and something even more rare: time to be alone with his muse (for the first ten day stay in April 2012).

"I've been so lucky playing and working so much," reflects Frisell, "but it's become rare in the past 20 years to actually have time to reflect on things and to let them percolate or simmer. In Big Sur, I never knew what time it was, my phone didn't work, I slept whenever I wanted, and I woke up whenever I wanted. The idea was to just write music.

"It was extraordinary. You're surrounded by forest, and there's a trail that you can walk to the end of the bluff, where the land just drops off and you see the whole panorama of the Big Sur coast and the Pacific Ocean," says Frisell. "That's what I woke up to every morning. It was incredible." When he wasn't writing in his cabin, Frisell found himself meandering out the trail toward the lookout, settling onto one of the benches with his pad of music paper, and writing down whatever melodies popped into his head. "I filled up pages and pages," he says. "The music just kept coming."

Shortly before the Monterey Jazz Festival, Frisell returned to Glen Deven, joined by his band mates. "When Jenny and Eyvind and Hank and Rudy came to rehearse, they got a feel for where I'd been when I was writing. That's really when we became the Big Sur Quintet - and when the music came to life."

Essentially combining the 858 Quartet with Beautiful Dreamers (given Royston's participation), the new Quintet imparts exciting breadth and grandeur to Frisell's compositions. "I think of 858 as having a very wide dynamic range, from intimate and quiet to big and orchestral," Frisell says. "But the drums bring out the power even more. Rudy does unexpected things that inspire me, which is what everybody in this band is doing all the time."

You can hear Frisell propelled by his collaborators throughout Big Sur, notably the way his guitar grows increasingly edgy against the group's orchestral sweep and rhythmic punch on "Gather Good Things," or how it lifts and soars out of swirling ensemble updrafts on "Hawks." This is a band that can conjure a striking variety of moods and images, from nocturnal mystery ("Animals") and idyllic reverie ("We All Love Neil Young") to snaking curves of asphalt ("Highway 1") and crashing waves (the surf-rock-tinged "The Big One").

"I always feel guilty when I say I write the music," Frisell notes. "I do write these melodies on paper-and I know that's important-but there's this huge step that comes from the other musicians. For much of this album, they are playing the actual notes that I wrote down, but the way they bring their own sound to it, there's no way it can just be on the paper.

"This Quintet feels like family," says Frisell, who titled one new piece "Sing Together Like Family." It's evident in the way the musicians interact intuitively to shape the music while playing. "You hear that sort of thing when the Carter family sings together," he explains. "For them, it's in the blood. With us, it comes from putting in all those hours on trains and planes, and going through all this together. When it turns into music, it's about how we're connected. Whether the notes are written or improvised, all kinds of decisions are being made on the spur of the moment, which I just love. It keeps the music fresh. Hopefully, every time we play Big Sur, something new will happen."

Since launching his recording career as leader in 1983 on the ECM label, guitarist Bill Frisell has spent much of the past 30 years in studios and on tour. His stunning résumé includes solo work, such as the recent Silent Comedy (Tzadik); duos with Greg Leisz, Vinicius Cantuária, Jim Hall, and Petra Haden; various trios (Ron Carter and Paul Motian; Dave Holland and Elvin Jones; Tony Scherr and Kenny Wollesen; and Beautiful Dreamers with Eyvind Kang and Rudy Royston) and quartets; and such genre-blurring projects as the Intercontinentals, The Willies, Buddy Miller's Majestic Silver Strings, Floratone (with drummer Matt Chamberlain and producers Townsend and Tucker Martine), The Sweetest Punch: The New Songs of Elvis Costello & Burt Bacharach, All We Are Saying (a tribute to the music of John Lennon), and Richter 858 (with Kang, Scheinman, and Roberts). A recipient of the inaugural Doris Duke Artist Award in 2012, his distinctive guitar tones, colors, and harmonic sensibilities make Frisell one of the most sought-after collaborators in contemporary music. Additionally, Frisell lends his artistic vision to two major arts intuitions in 2013: as a Resident Artistic Director for SFJAZZ and curator of Jazz at Lincoln Center's new "Roots of Americana" series (the latter during the 2013-2014 season).

FRIEDMAN & LIEBEZEIT - SECRET RHYTHMS 5

Over the past 12 years Secret Rhythms has become the leading Nonplace trademark. In April 2013 Jaki Liebezeit and Burnt Friedman will add a fifth album to a series that also includes three 12″ singles and one remix single. Central to the secret rhythms concept is Liebezeit’s radical drum code in unison with Friedman’s range of archaic metal percussion and synth instruments. The two musicians’ live and studio collaboration has led to eight striking new tracks which, at durations between 3 and 5 minutes, conform to standard expectations in length at least.

Jaki Liebezeit numbers among the world’s foremost drummers. Between 1968 and 1978, playing as a founding member of the legendary Can, he produced rhythms to be heard nowhere else, anticipating by many years the loops of modern club music. His delicate and peerlessly precise drum sound is audible in countless studio productions by a range of artists from Conny Plank to Jah Wobble. But by the early 1990s Liebezeit felt he had exhausted the possibilities of conventional drums. He made a radical break, and began to re-define, or re-invent, what drumming was about: “That explains why I’ve meanwhile abandoned conventional drums, the standard American kit. I looked around for something different, and now I just play drums. People keep saying my drumming is so reduced, but there’s nothing minimalist about the way I play, I just leave out the superfluous stuff.”

Simplicity became a core principle for Liebezeit and collaborators like the Cologne formation Drums Off Chaos, or the electronic musician Burnt Friedman, who is noted for his richly detailed, groove-heavy productions. Less is known about his activities in the period from 1978 up to the mid-1990s, when he began to make his own instruments and took up the drums, initially with no thought of electronic music. He was searching for a method that would allow him to play although he lacked any knowledge of music or what it was supposed to be. From the first note on he recorded all his ad hoc compositions, since these attempts were useful for the purposes of learning.

Friedman explains his reasons for seeking to meet up with Liebezeit in 2000 apart from the happy coincidence that both artists were living in Cologne: “I knew his work with Can and loved his drum sound and the post-Can developments. Above all I was interested in complex rhythmic grooves and assumed Jaki would be the ideal partner for live sets. This passion for odd time signatures and the uncommon is a driving force behind the Secret Rhythms project.”

Jaki Liebezeit: “The first music I heard was probably dance music or the like, then at ten or eleven I discovered jazz and would have been a jazz fan for all eternity if I hadn’t happened to hear different music, I started listening to ethno-sounds pretty early on, to Indian music, Arabian music, listened to a lot of Flamenco in Spain, where I was most impressed to notice the rhythm was at least as good as jazz, perhaps even hotter. And then I got to know a lot of different things, and I drew the logical conclusions and said goodbye to jazz because I realized it wasn’t my music, it was something I’d acquired.”

Allegedly the sound of one-armed bandits inspired Paul Desmond to compose “Take Five”: “It was the rhythm of the machine which influenced me, and I really only wrote the track to get the money back I lost that night.”

Although jazz offers examples of odd time signatures stretching back all the way to Lennie Tristano in 1955, for example, or Dave Brubeck and Paul Desmond in 1959, fundamental differences persist in the way these rhythms are perceived. Terms like downbeat and offbeat, polymeter or syncopation point to theoretical inconsistencies. They demonstrate that the notion of a uniform, dynamic functional principle is alien to western thinking.

Watching Liebezeit play his drums, or following the developmental path of the Secret Rhythms titles, it becomes possible to understand that the rhythmic formula is comprehended as being circular – in much the same way as in traditional or neo-traditional music in non-western spheres – as opposed to linear and progressive. The formula is derived from a recurrent, necessarily balanced body movement from which every impulse originates as something sensed as opposed to noted down. Once these basal motional patterns have been transposed to the memory of the body, they can be effortlessly transferred to any desired resonance box, string, drum, xylophone or piano. They are in tune to begin with.

“If you find the way the energy wants to flow naturally, you don´t have to force it.” Marko Rodin (scientist, vortex-based mathematics)

This formulaic principle, which can be represented with just two signs, or translated into simple digits, can also be grasped as an energy structure according to which the individual (or an infinite number of individuals) is synchronized. Analogously, all the instruments played on Secret Rhythms 5 are synchronized to the principal motional formula.

Burnt Friedman: “If a dancer was to think about his sequence of movements when dancing, he would presumably fall over. I don’t believe the so-called brain controls the complex sequence, I think control lies with the structure that has entered the body. In musical terms this structure comprises the repetition of proportions and intervals. But the question of whether this functions, whether the orchestra or the band start to vibrate in unison, depends on whether the musicians listen to each other and are used to working this way. That would be expecting too much from a deaf machine, so the frequent comparisons between Jaki and a machine are rather implausible. As I see it, Can deliberately moved towards a rather simple, straight, repetitive groove in the late ’60s. Basically, they didn’t jam or improvise, but executed what was preordained by a fundamental musical structure, and would keep repeating cycles they wanted to play really well. What we hear when we listen to early Can is, with a few exceptions, the record of a group process that was never completed or even entertained the concept of a finished piece. There would always be room to play something differently.”

“Two musicians juggle with old and new particles, take their own time and in doing so give time back to those who surrender themselves up to this tranquil monotony, which is trance-like and removed, but urgent too: precisely this archaism makes it up to the minute. The force comes from tranquillity because the music distils something of its own from the surplus of means. It is this defence of individuality that keeps things going” – Thüringer Landeszeitung, October 2011

~ grooveattack.com

MEDLINE - PEOPLE MAKE THE WORLD GO ROUND

Medline is a musician, producer and DJ from Rennes, France with roots in Chile. Born Orlando Diaz Corvalan, Medline calls his music brown music – a mix of afro, latin, funk and jazz with a hip-hop state of mind.

With his debut album “People Make The World Go Round” the French producer is taking us on a trip down memory lane by paying tribute to the jazz funk masters who’s music shaped the musical DNA of hip-hop. From Roy Ayers and Lonnie Liston Smith to Freddie Hubbard and the Heath Brothers. Songs like “Everybody Loves The Sunshine”, “Red Clay” or “Smilin’ Billy Suite” have been a staple amongst hip-hop and jazz fans alike for a long time. But the album is more than a sample song-book of 90ties rap. Medline reinterpretates the songs in his very own way. A beatmaker by trade, Medline acts as a one man orchestra playing every instrument himself. with a strong focus on the flute. Think Herbie Mann joins Yesterdays New Quintett with a headnod towards broken beat. On three songs he is joined by Roni Alkekengi who’s sultry vocals (and French accent) are a perfect match.

The album sleeve has been designed by Turkish artist Gizem Wintah. A limited vinyl edition of the album comes with three prints of Roy Ayers, Donald Byrd and The Stylistics. 500 numbered copies only.

Last summer, Medline introduced his album with the 7″ single “Everybody Loves The Sunshine”. The title track “People Makes The World Go Round” has been available on a limited vinyl only split single with Suff Daddy, released in conjunction with HHV. On New York label Names You Can Trust, Medline has just released a cumbia 7″ under his Alliacara 2743 moniker.

“This Medline album is amazing” – Anthony Valadez (KCRW, Los Angeles)

“Medline have come up with a fresh take on all time classics that are well respected throughout the Hip Hop Scene. Breathing new life into these productions gives them a strong look.” – Majestic Mood (SuperflyFM, Vienna)

“Great fresh versions of some classic tunes. Medline is getting better and better!” – James Barrie (Audio Texture Radio Show, Barcelona)

“Beautiful arrangements on a couple of great covers. Lots of dance floor material and listening pleasure.” – Phil Hornemann (Wicked Jazz Sounds/Radio 6, Amsterdam)

www.mpmsite.com

Tracklisting:
01. A New Day
02. People Make The World Go Round
03. Black Narcissus
04. Wind Parade (feat. Roni Alkekengi)
05. Eboness
06. Smiling Suite
07. Everybody Loves The Sunshine (feat. Roni Alkekengi)
08. People Make The World Go Round (Instrumental)
09. Red Clay
10. Expansions (feat. Roni Alkekengi)

~ grooveattack.com

KALABRESE - INDEPENDENT DANCER

Kalabrese is a curious tastemaker and bold musical force that dares to tread the murky waters between indie and electronica, playfully emphasising vocals on song based productions and presenting an album that pushes the limits and portrays dance music in a peculiar and natural way. Inspired by blues, funk, and all those beautiful dancers and tragic heroes of the night, ‘Independent Dancer’ is laced with curiosity and fever inducing productions.

Six years on from his 2007 debut album ‘Rumpelzirkus’, a critically acclaimed project that was pursued by performances at infamous festivals like Sonar, Mutek in Montreal and Transmediale in Berlin as well as playing nearly every club basement in Europe with his live-project “Rumpelorchester”, Sascha Winkler AKA Kalabrese returns with a masterpiece.

Sounding like a soundtrack from James Murphy (in fact Kalabrese played back to back with the LCD Soundsystem lead man in 2012) and Nicolas Jaar, who featured his epic blues solo ‘Desperate Man’ on his own Resident-Advisor podcast, ‘Independent Dancer’ commences with an almost euphoric and certainly unpretentious spirit. ‘Purple Rose’ steps out downbeat with Sarah Palin, the newest Rumpel discovery, singing an astonishing duet with Kala, an almost country-like creation with ringing bells from the Alps and a hypnotic house beat crashing behind. Kalabrese recruits friend and mentor, A.C.

Kupper (who also designed the cover) to sing ‘Let The Good Times Roll’ taking his falsetto voice and overlaying chunky beats and a captivating synth-line, inspiring the urge to dance in only the most sincere way. ‘Independent Dancer’ varies in tempo and rhythm throughout, from the wonderful airy ballad of ‘Stone On Your Back’ with its cello parts played by Dominik Löhrer and light bossanova rhythm, juxtaposed with ‘Wanzka’, an active, swinging Afro-groove gem with mind-blowing, lyrical brass parts courtesy of Michael Flury and Benjamin Danech.

Guest singer Khan from Berlin, can be heard on the hypnotic Arabic inspired bonus track ‘Feeling Me’ and also on ‘Desperate Man’, which Rumpel-member Marton di Katz rocks a crazy groove bassline sensations. Towards the conclusion everything twists into cosiness once again as Kalabrese extols the Sihl Valley with ‘Sihltal’, a punchy disco tune spiked with melancholy and expressing a soft wish of togetherness.

At all times ‘Independent Dancer’ orbits the moment, encapsulating where the dancer unites with the music and forgets the rest of the world. Thus the whole album is a homage to clublife, a world which Kalabrese has been part of for more than 15 years, while alsoexpressing the rejection of constant output by the media and superficial virtual worlds and welcomes the experience of the physical force of nature.

His authentic way to accomplish things, his deep musical knowledge and potential to bridge gaps keeps enriching nightlife culture and the whole electronic music landscape.

‘Independent Dancer’ is the first release on Kalabrese’s own label, Rumpelmusig, a new sublabel of Compost Records that acts as a research station for unconventional dance music in the future. Retro Mugli and Valentino Tomasi mixed the album with earnest commitment in the legendary Powerplay Studio on an analog mixer to finalise the songs.

Independent Dance’ is the natural conclusion of Kalabrese’s path so far, avoiding pretence, it contains its own cosmos, where the rumbling between blues and bass becomes innate and every song brings home a message of the soft power of the dance.

www.kalabrese.com

Tracklisting:
01. Purple Rose
02. Let The Good Times Roll feat. A.C. Kupper
03. Independent Dancer
04. Fresh And Foolish feat. Sarah Palin
05. Makossa
06. Desperate Man feat. Khan
07. Brooklyn55
08. Stone On Your Back
09. Wanzka
10. Sihltal
11. Marzikala
12. Das Haus am Fluss
13. Find A Place
  ~ grooveattack.com

THE HELIOCENTRICS - 13 DEGREES OF REALITY

The Heliocentrics’ debut album, Out There (2007) was a confounding piece of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry’s turned-on musique concrète, and Can’s beat-heavy Krautrock, Out There pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. Drummer Malcolm Catto and bassist Jake Ferguson are the Heliocentrics’ masterminds and producers, and guitarist Ade Owusu, percussionist Jack Yglesisas and keyboardist Ollie Parfitt hold constant presence within this ever-evolving ensemble.

They have been playing together for over a decade and their collective drive is to find an individual voice. The Heliocentrics search for it in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde and “ethnic” music all revolve around “The One.” Back at Now-Again with 13 Degrees of Reality, the Heliocentrics have returned to develop this epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences – Latin, African, and more. Thus, the electro-Latin fusion of “Descarga Electronica” sits next to weeping strings piled atop “Collateral Damage’s” chunky rhythms, which nearly misses the undulating swing of “Wrecking Ball,” a dirge as irresistibly funky as it is devastating.

No surprise, then, that the Heliocentrics have earned lifetime fans in the likes of questing spirits like Madlib (with whom Catto has collaborated on numerous Yesterdays New Quintet projects), DJ Shadow (both as a touring ensemble and in the studio), Quantic and Ethiopian jazz giant Mulatu Astatke, with whom the Heliocentrics recorded and released Inspiration Information 3, the fourth classic Mulatu album – released nearly forty years after his other three. Out There may have been one hell of an opening volley, but having spent some years in the wild running among mavericks like Astatke and Oriental Jazz pioneer Lloyd Miller, the Heliocentrics have realized that their strongest statements are made somewhere between the persistent fuzz of Owusu’s distorted guitar, Catto’s impossible syncopation and Ferguson’s looping bass lines. 13 Degrees of Reality is one of the most distinctive musical statements you’ll hear all year.

www.nowagainrecords.com

Tracklisting:
01. Feedback (Intro)
02. Ethnicity
03. Public Safety
04. Mysterious Ways
05. Dreams
06. Collateral Damage
07. Outtake (Interlude)
08. Freeness Part 2
09. Wrecking Ball (Prelude)
10. Wrecking Ball
11. Mind Readers
12. Descarga Electronica
13. A Musical Conspiracy (Interlude)
14. Eastern Begena
15. Hall Of Mirrors (Interlude)
16. Mr. Owusu, I Presume?
17. The Abstract & The Absolute (Interlude)
18. Black Sky
19. Prepare For Lift-Off (Interlude)
20. Path Of The Black Sun
21. Calabash
22. Vibrations Of Fallen Angels (Outro)

~ grooveattack.com

META & THE CORNERSTONES - ANCIENT POWER

Proclaimed the next ‘African Reggae Voice’, Meta’s unforgettable vocals are complemented by the incomparable sounds of his band The Cornerstones. Meta and The Cornerstones’ music is warm and embodying, immensely addictive, and destined to forever change the dynamics of reggae music. Through pure musical genius and humble spirits, the band successfully fuses reggae, Afro-pop, hip-hop, rock, and soul music with passionate lyrics in English, French, Wolof and Fulani.


Born in Senegal, West Africa, lead singer of Meta and The Cornerstones, Meta Dia, discovered his love for music and desire to be a musician at a very young age. Listening to reggae greats Bob Marley and Gregory Isaacs helped nurture his admiration and true appreciation for all types of music. As a self-taught musician, by age 14 he was performing on the street and stages of his hometown Dakar, Senegal. In 2000, Meta formed his first band Yalla Suuren (God Bless), which was nominated for Best Hip-Hop/Reggae Group by the French Cultural Center the same year. Within two years, Meta had become one of the premier pioneering voices of the hip-hop culture in West Africa. After relocating to the United States, Meta immediately began collaborating with artists such as Sean Blackman, and hip-hop Ambassador Toni Blackman. Shortly after settling in New York City, he formed his visionary band, Meta and The Cornerstones.

Meta channels the roots of reggae while simultaneously breathing new life into the genre, thus creating what critics have called a “soul-pounding spiritual experience” during their live performances. Inspired by Alpha Blondy and Lucky Dube, they have shared the stage with reggae stars Luciano, Steel Pulse, Clinton Fearon, Israel Vibration, and Tanya Stephens amongst others. In 2007, the band was personally invited by Senegalese-born international superstar, Youssou N’Dour to perform at his annual African Ball concert at the Nokia Theater in New York. The following year Meta and The Cornerstones proudly released its first album entitled “Forward Music”. Of this work Clive Chin, Jamaican producer for The Wailers, Dennis Brown, and Lee ‘Scratch’ Perry, notes, “Meta and The Cornerstones have taken us back to the foundation of reggae music”.

As he continues to establish new grounds, Meta is now the first African artist to be signed to the iconic record label VP Records, the #1 source for Reggae Music. Through VP, Meta and The Cornerstones is set to release their second album “Ancient Power” in the spring of 2013. Recorded at the infamous Tuff Gong Studio in Kingston Jamaica, “Ancient Power” links Africa to Jamaica by paying tribute to the ageless sounds of reggae preserved by the history of its legends. The 15-track work features Reggae legend U-Roy, as well as today’s leading artists Capleton and Damian Marley.

~ grooveattack.comwww.grooveattack.com

NEW RELEASES - GO WEST, MAN!, DANDY TERU, BASSEKOU KOUYATE & NGONI BA

GO WEST, MAN! (VARIOUS ARTISTS)

A cool collection of gems from the 70s years at Blue Note Records – a stretch that's often overlooked by folks digging for older hardbop from the 50s and 60s, but a tremendous time for the label, when it really burst forward with new sounds! BNLA was the initial part of the catalog number during this generation – hence the title – and the collection brings together a wealth of funk, soul, and fusion tracks from this crucial Blue Note stretch. The package features 20 tracks on 2CDs – including "People Make The World Go Round" by Bobby Hutcherson, "Mango Sunrise" by John Lee & Gerry Brown, "Chunky" by Ronnie Foster, "Abdullah & Abraham" by Chico Hamilton, "Galaxy" by Eddie Henderson, "His Blessings" by McCoy Tyner, "You Are The Sunshine Of My Life" by Marlena Shaw, "Betcha By Golly Wow" by Grant Green, "City Country City" by Lou Donaldson, "Lansana's Priestess" by Donald Byrd, "Harlem River Drive" by Bobbi Humphrey, "La Malanga" by Bobby Hutcherson, and "Tuesday Heartbreak" by Ronnie Foster. ~ Dusty Groove

DANDY TERU - ADVENTURES

A great full-length set from Dandy Teru – a producer who's been making a fair bit of waves in the underground in recent years – finally stepping into the limelight here himself! Teru's got a great ear for a crispy beat and cosmic keyboard line – often fusing the two together in a trans-spatial way that creates a nice undercurrent of older soul and funk, yet which still retains a really contemporary vibe! This approach works really well for the range of talents helping Dandy out on the set – including Ty, Moka Only, Rita J, Quiet Dawn, Count Bass D, Tchad Unpoe, and Sarah Gessler – all different voices that help shape the sound of the record, and really unleash the variety in Teru's approach. Titles include "Fragile Things", "Below", "Wake Up Now", "Burned", "Waters", "Clouds Catcher", and "Rwvnll" – plus a few remix tracks too. ~ Dusty Groove

BASSEKOU KOUYATE & NGONI BA - JAMA KO

A record that bristles with joy and life right from the very first note – a glorious celebration of sound, served up in a rich mix of percussion and melodic elements! The set was recorded in Bamako during the same stretch as key fighting in the capital of Mali during 2012 – but the quality of the music shows nothing of the trouble outside – and instead reflects the timeless quality of Bassekou Kouyate's music – a really rich blend of amplified acoustic instruments, spare percussion, and voices – served up with the same sunny intimacy of the cover image. Titles include "Madou", "Wagadou", "Jama Ko", "Dankou", "Sinaly", "Moustafa", "Poye 2", "Segu Jajiri", and "Mali Koori". ~ Dusty Groove

NEW RELEASES - MOVEMENTS VOLUME 5, THE ROUGH GUIDE TO LATIN PSYCHEDELIA, THE SOUL OF MELBOURNE

MOVEMENTS VOLUME 5 COMPILED BY TOBIAS KIRMAYER (VARIOUS ARTISTS)

Rare gems from the funky 45 underground of the late 60s and early 70s – and maybe the most smoking volume in this all-great series so far! The sound is hard and heavy right from the start – very much in the best mode of the funky 45 reissues we've been hearing from Tramp in recent years – right up there with the deepest funk you'd get from labels like Ace/Kent or Jazzman on their best compilations! And although other volumes have all been great, there's a special sort of magic this time around – an edge that really shows the evolution of Tramp's ear for picking a groove – and deep notes that also show their growing knowledge of the most obscure cuts from back in the day. We can guarantee there's plenty here you don't already have in your record collection – and titles include "Funky Screw" by Lee Fields, "Soul Chicken" by Bobby Allen & The Exceptions, "Ease It On In" by Sunrize, "Deepest Sympathy" by Theodis Ealey, "Tend To Your Business (parts 1 & 2)" by Wildfire, "Pat's Rubber Band" by Alley Pat, "Puttin It On Your Mind" by Jimmy Ellis, "Nobody Loves Me Like My Baby" by Jimmy Gilford, "99/44 100 Pure Love" by Al Reed, and "Monkey In A Sack" by Lil Buck & The Top Cats. ~ Dusty Groove

THE ROUGH GUIDE TO LATIN PSYCHEDLIA (VARIOUS ARTISTS)

Tripped-out sounds from the 60s and 70s, plus a few key contemporary cuts too – all a great way of serving up the sound of Latin music at its trippiest! New York Latin acts borrowed plenty from psychedelia early on – and the groove kept growing and changing as it made its way down the South American scene – then back up to the US in recent years, where crate diggers and record collectors have come up with a whole new variant on the sound! This smoking selection of tracks is put together by Pablo Yglesias – who's given us some great sets in recent years – and titles include "Pastel En Descarga" by Juan Pablo Torres, "Piratas En El Titicaca" by Conjunto El Opio, "Drink Or Two" by Wild Wind, "Olivdalo" by Brownout, "Cloud Nine" by Johnny Rivera, "Tomalo O Dejalo" by Los Pakines, and "Psychedelic Baby" by Joe Cuba. Also features a bonus CD – rare work from Peruvian combo Los Destellos from the late 60s and early 70s – 13 more tracks that include "El Electrico", "El Campesino", "Noche De Garua", "Tu Jugaste", "La Cumbia Del Sol", and "Volando Alto". ~ Dusty Groove

CHRIS GILL & LANCE FERGUSON PRESENT THE SOUL OF MELBOURNE (VARIOUS ARTISTS)

Heavy sounds from Melbourne, Australia – a really unlikely source for soul music a few decades back, but quite a hotbed of activity in recent years! The set's put together by Lance Ferguson of The Bamboos – whose funky work you'll know from a variety of different projects – and the artists here not only represent a few of his other projects, but also some of his best contemporaries on the funk scene down under – including a few that we'd never heard before! The collection's like finding a pile of deep funk 45s all stacked tight together – and this CD version also features four titles exclusive to this set – tracks that include "Waz That" by The Putbacks, "Baby Your Lovin" by The Electric Empire, "Love & Feeling" by Chet Faker, "Debris" by Axolotl, "Nakamurra" by Hiatus Kaiyote, "Is It Because I'm Black" by Syl Johnson with The Bamboos, "Skeletor" by Cookin On 3 Burners, "Stepping Stones" by Gypsy Brown, "Love Letter" by Clairy Brown & The Bangin Rackettes, and "Hippy Skippy Moonstrut" by The Mighty Show Stoppers. ~ Dusty Groove

NEW RELEASES - MARTINHO DA VILA, JARDS MACALE, J'S BEE

MARTINHO DA VILA - NEM TODO CRIOULO E DOIDO

Early samba work from the mighty Martino Da Vila – music recorded with help from some key contemporaries in the underground scene, in the years before his big albums of the 70s! The sound here is nice and raw – and very spontaneous, too – as the artists come together in a very festive style that's often quite intimate, even when the sound is frenetic – a wonderful blend of voices, percussion, and other instrumentation – all recorded with a nice undercurrent of darkness amidst the joy. Guests include Antonio, Zuzuca, Cabana, Brasil Ritmo 67, and Mario – and titles include "Berco Do Samba", "Ritmo", "Sou De Opiniao", "Se Eu Errei", "Pra Que Dinheiro", "So Deus", and "Deixa Serenar". ~ Dusty Groove

JARDS MACALE - SO MORTO - BURNING NIGHT
A crucial set of work from the overlooked Jards Macale – one of the hippest cats in Brazilian music during the 70s, heard here on one of his best early albums! The music here is really at the crossroads – a combination of the folksy edge of the 60s work of Geraldo Vandre, mixed with some of the trippier elements of the generation that would be best represented by Lula Cortes, all set free by some of the rich waves of energy that sprung from Brazil in the wake of the Tropicalia movement! Macale's got a way of really personalizing the tunes with both his vocals and guitar work – and the overall presentation moves from intimate to expansive with effortless ease. Titles include "Sem Essa", "So Morto", "O Crime", and "Solucos". CD also features a huge amount of bonus tracks – 10 more numbers that include "Gotham City", "Let's Play That", "Poema Da Rosa", "Revendo Amigos", "Orora Analfabeta", and "Rua Real Grandeza". ~ Dusty Groove

J'S BEE - ISOTOPE

The first record we've heard from this Japanese collective in many years – and a set that definitely marks a real maturation in their music! The album was inspired by the tragic events of the 2011 nuclear catastrophe in Japan – and shows a decidedly deeper side of J's Bee's music – one that has a lot more jazz than before, and a strong ear for earthy soundscapes – almost an ECM-like quality that's mixed with a few of their more conventional groove! These guys aren't aiming for the dancefloor this time around – and instead, the whole album is woven together as a rich tapestry – with strong thought for the way the sounds and songs emerge, letting all the messages resonate strongly. The set features some especially great sax solos and Fender Rhodes – plus soulful vocals from Yuko Kawasaki – on titles that include "Lights", "Strange Supper", "Blind In The Rye", "Chuck It All", "Laika Blanca Music", "Angel Puke", and "Under The Sun". ~ Dusty Groove

DAVE KOZ AND FRIENDS SUMMER HORNS FEATURES DAVE KOZ / GERALD ALBRIGHT / MINDI ABAIR / RICHARD ELLIOT PLUS AN ALL-STAR LINEUP

Eight-time GRAMMY® nominee Dave Koz remembers a time when the summers lasted forever, and the most popular rock, R&B, soul and funk bands of the day were propelled by high-octane, richly arranged horn sections. Indeed, from the late 1960s through the ‘70s, bands like Sly & the Family Stone, Tower of Power, Earth Wind & Fire, Chicago, Blood Sweat & Tears and other brassy juggernauts of the era ruled the airwaves and opened his young ears to the saxophone’s limitless possibilities as a solo instrument as well as a collaborative voice with the trumpet and trombone.

Four decades later, Koz has assembled three of his most talented and trusted colleagues – Gerald Albright, Richard Elliot and Mindi Abair – to revisit this golden age with new arrangements of classic songs from this period in the history of popular music. Dave Koz and Friends Summer Horns, produced by Paul Brown (Al Jarreau, George Benson, June Tabor, Boney James), is a collaborative effort that throws the spotlight on four high-profile saxophonists, and augments the team with several other equally talented musicians and vocalists. Summer Horns, set for release on June 11, 2013, on Concord Records, turns up the heat just in time for the summer tour season.

“The first album I ever bought was Back To Oakland, the 1974 recording by Tower of Power,” says Koz. “I’ve always been fascinated with that sound. There are few things in music that are as exciting as the energy that comes from a really tight horn section. Over the years, that sound has graced some of the greatest records of all time by bands like Sly & the Family Stone, Earth Wind & Fire, and so many others. That’s what Gerald, Richard, Mindi and I are recreating on this recording.”

In addition to the four-member front line of saxophones, Summer Horns also includes guest appearances by trumpeter/flugelhornist Rick Braun, trombonist Brian Culbertson, and three seasoned vocalists: Michael McDonald, Jeffrey Osborne and Jonathan Butler.

But Summer Horns is just as much about the arrangers as it is about the musicians, says Koz. “We were very lucky to have horn arrangers on this project who wrote charts for a lot of those landmark records that I remember,” he says. “That includes Greg Adams, who was the chief horn arranger for Tower of Power during its heyday, and Tom Scott, who is not only a fantastic saxophonist in his own right, but also wrote charts for Michael Jackson, Steely Dan, Joni Mitchell, Paul McCartney, Paul Simon, and so many others. We also had Gordon Goodwin, who is more of a modern-day horn arranger with his own Big Phat Band.”

With all of these talented collaborators at Koz’s disposal, a dream project like Summer Horns was inevitable. “In the back of my mind somewhere, I always knew that this record was waiting to come out,” he says. “It was just a matter of time until the right opportunity came along, and this was it – a chance to honor the great horn bands of the quintessential era of music that gave us so many great songs.”

The passion and enthusiasm that Koz demonstrates on all fronts of his diverse career are evident in every note of Summer Horns. The set opens with the upbeat and breezy “Always There,” a Ronnie Laws composition that introduces all four saxophone players and gives each plenty of room to establish his or her opening statement. “We chose to do it with a full sax section,” says Koz. “It was a way to broaden the song into something more expansive than the original.”

The follow up track is a rendition of Lennon and McCartney’s “Got To Get You Into My Life” that closely mirrors the arrangement laid down in the hit 1978 cover of the song by Earth Wind & Fire. The sharp ear will catch the four saxophonists swapping licks with each other as well as guitarist Paul Brown and keyboardist Tracy Carter.

Further in, Michael McDonald delivers the vocals on Tower of Power’s “So Very Hard To Go” with the soulful signature that has been his trademark for the better part of four decades. This first song to emerge from the sessions was perhaps the most important moment of all in the process of making the record, says Koz. “We were all there in a line – me, and then Mindi, Richard and Gerald,” he recalls. “We pressed record, and all of a sudden there was this sound. And if you listen closely, you can really hear the individual sound of each one of us. But as a unit playing together for the every first time, it had a unique sound. And that formed the basis – the elemental component – of what Summer Horns is.”

Trombonist Brian Culbertson makes a guest appearance on a lively cover of “Hot Fun in the Summertime,” the 1969 hit for Sly & the Family Stone. “I think the trombone is an incredible instrument, and the guy whom I love most whose playing it right now is Brian. Some people know him as a keyboard player, but he absolutely nails this song with an extended trombone solo. He just slays it, and it was so much fun to hear him do it.”

The cover of “Take Five,” the Paul Desmond jazz composition that eventually became the signature song of piano jazz icon Dave Brubeck, is perhaps the most intriguing track on the entire CD. In a sparse but carefully nuanced arrangement by Gordon Goodwin, the track includes four saxophones operating in seamless tandem, accompanied by nothing more than a single acoustic bass, courtesy of Roberto Vally.

“Gordon Goodwin did an absolutely brilliant job of taking the guts of such a seminal song and bringing it to a new and inspired place,” says Koz. “Each of the saxophonists gets to play the melody at one time, but we also had to write the accompaniment for the melody on saxophone. That was a very challenging day in the studio, but the results were worth it.”

The cover of “25 Or 6 To 4,” one of Chicago’s earliest hits, is one of Koz’s favorites. “It’s such an unusual, yet cool track. As with ‘Take Five,’ the challenge for us was to take an iconic song and not just copy it but do an inspired reworking that made sense with the instrumentation at hand. We wanted to push the boundaries a little bit and do things with these songs that would take them to a new place.”

Jonathan Butler steps up to the microphone for a funky rendition of Stevie Wonder’s “You Haven’t Done Nothin’.” Although he scats his way through the song without delivering any actual lyrics, the track maintains an infectious vibe, especially when augmented by confident trumpet and flugelhorn solos from Rick Braun. “I like having Jonathan Butler around anytime,” says Koz. “His spirit is so big, and his musicality is so vast. Just having him in the room has an enormous impact. It’s hard to be in a bad mood when you’re around that guy. He just makes you feel good, and I knew I wanted that energy somewhere on this album.”

Jeffrey Osborne’s vocal contribution comes at the close of the set, with a soulful rendition of “God Bless the Child,” arranged in the spirit of the Blood Sweat & Tears version originally recorded in 1968. “Tom Scott wrote the horns on this song,” says Koz, “and we primarily did it as an organ-based quartet – organ, guitar, bass and drums, and the horns and Jeffrey. He sang it from start to finish in one take, and that first and only take is what you hear. It’s unbelievable. He’s just the consummate singer. He’d never sung it before, but to hear that voice with that music just sounded incredible.”

While Koz’s name may be featured most prominently on the cover of Summer Horns, his friends have found the project equally gratifying. “Musical collaborations have become quite common these days, but never before have I been involved in a project as unique as Summer Horns,” says Elliot. “For me, what made this project so special was the blending of four distinct saxophones styles into one unique sound while still maintaining the individuality of each artist. Working with Dave, Mindi and Gerald was truly a pleasure. The combination of focus, commitment, fun and camaraderie made this an experience I will cherish forever.”

Albright is already anxious to take the music on the road. “The idea of involving four different styles of playing into one blended unit was very intriguing to me, and the end result was wonderful!” he says. “The care, consideration and creativity employed in this effort was second to none. I’m looking forward to sharing the stage with Dave, Mindi and Richard this summer!”

For Abair, it’s all about the pride that comes with collaborating with talented peers. “Imagine standing at a microphone shoulder-to-shoulder with three of your favorite saxophonist every day in the studio,” she says. “It was such an inspiring way to make a record, playing off each other and pushing each other to take chances musically. It was amazing to see a record emerge that maintained all of our individuality as players, yet really blended into this cohesive section. I couldn’t be prouder of this collaboration with Dave, Gerald and Richard.”

In the end, blend and balance are what the project is all about. Whether you’re looking for sophisticated musical statements or just some fun grooves for those months when the mercury rises, you’ll find it all in the heat of Summer Horns. You’ll also find a new original composition – the bonus track “Summer Horns” closes out the collection.

“There are a lot of levels to this album,” says Koz. “There’s tremendous musicianship, and there’s a lot of thought that went into the arrangements. But by the same token, it’s primarily meant to make the listener feel good. These are songs of a certain era, and if you are of a certain age, you’re going to listen to them and immediately recognize them. It’s meant to remind you of a time when that sound was everywhere. This was our chance to honor that era of great horn sections with a big tip of our hat and say ‘thank you’ to those who were responsible for it. I hope people feel the reverence that we all have for this music and the great bands that made it.”

Dave Koz And Friends - Summer Horns – Track Listing
1. Always There
2. Got To Get You Into My Life
3. Rise
4. So Very Hard To Go featuring Michael McDonald
5. Hot Fun In The Summertime featuring Brian Culbertson
6. Take Five
7. 25 Or 6 To 4
8. Reasons
9. I Got You (I Feel Good)
10. You Haven’t Done Nothin’ featuring Rick Braun and Jonathan Butler
11. God Bless The Child featuring Jeffrey Osborne

BONUS TRACK
12. Summer Horns

Dave Koz And Friends Summer Horns Tour 2013
All dates are with Special Guests Mindi Abair, Gerald Albright and Richard Elliot
6/7 Clearwater, FL Ruth Eckerd Hall
6/8 Columbia, MO 21st Annual Capital Jazz Fest
6/15 N. Las Vegas, NV Aliante Hotel and Casino
6/22 Temecula, CA Thornton Winery-Champagne Jazz Series
6/23 Temecula, CA Thornton Winery-Champagne Jazz Series
7/12 Moon Township, PA Robert Morris University-Sewall Center Arena
7/13 Easton, PA State Theatre Center for the Arts
7/19 Saratoga, CA Montalvo Arts Center
7/20 Sparks, NV John Ascuaga’s Nugget Hotel & Casino-Celebrity Showroom
7/21 Winter Park, CO Winter Park Jazz
7/26 Apple Valley, MN Minnesota Zoo Amphitheater
8/16 San Diego, CA Humphrey’s Concerts by the Bay
8/17 Healdsburg, CA Rodney Strong Winery
8/18 Los Angeles, CA Hollywood Bowl
8/24 Austin, TX One World Theatre
8/29 Ridgefield, CT Ridgefield Playhouse
8/30 North Charleston, SC North Charleston Performing Arts Center
8/31 High Point, NC John Coltrane International Jazz Blues Festival

NEW RELEASES - JESSE FUTERMAN, SAMUEL JOHN SAMUELSSON, JOHNNY COPPOLA,

JESSE FUTERMAN - EXQUISITE BASEMENT

Just Like Music Records is presenting the third and final part of Jesse Futerman's free EP trilogy on the label in the form of; Exquisite Basement. Following on from Super Basement and Fuse The Witches, the new EP, Exquisite Basement exudes a grown sound from Jesse Futerman. Commencing with the house-like 'Trouble Man' - a glimpse into his more uptempo material - the EP showcases that typical Futerman dusty, jazz breaks soulful sound, but with more body and soul than ever before. In his own words; "Exquisite Basement marks the final chapter in my free EP trilogy on Jus Like Music Records. Everything you hear, with the exception of Jon Foster's drums on the last song, is 100% samples - whether it be film, music or even some clips from old sci fi radio shows. Exquisite Basement marks not only the end of my free EPs, but also the end of my '100% downtempo' output. Look out for 'The Love I Lost' EP on Jus Like Music Records late 2013 on vinyl as it will showcase my new more 'uptempo' productions, as well continuing a similar downtempo style which is present on this ep. I hope you enjoy it."

SAMUEL JON SAMUELSSON BIG BAND - 4 HILDAR

The coolest music we've heard so far from this fantastic funky talent – served up here in an ultra-cool package that also offers up four different cover images over two separate pieces of music! Sammi's got a name that's a bit unwieldy, but he serves up the groove with a sound so tight, we almost feel like we're back in the glory days of a good Quincy Jones funky soundtrack – thanks to a tight punch that Samuelsson brings to his large lead ensemble, which often moves here with the sharper sound of a much smaller funky combo! The arrangements are amazing – and the grooves run between styles that include touches of 70s Afro Funk, European-styled MPS jazz funk, and the promised blacksploitation modes mentioned above. Instrumentation is wonderful throughout – and honestly, there's nobody out there making music like this at the moment – and certainly nobody who gets the sound so right, tight, and on the money as Sammi! Titles include "Afromars", "1st Man From Iceland", "Ethiopian", "Afrobit", "Fola", "Peace", "Dubnotic", and "Ekki Stela Afrika Folkinu". ~ Dusty Groove

JOHNNY COPPOLA - A SHOT TO THE KISSER

Great work from Johnny Coppola – a member of America's famous first family of film, and a hell of a crooner in his own right! Johnny lives in a world where the Rat Pack never ended – and he sings here with a style we haven't heard this well since the days of Frank Sinatra at Reprise – a tremendous old school approach to masculine jazz singing – served up with a hell of a lot more personality than just about any other Sinatra copycat in recent years! Johnny's definitely his own man on the set – partly because the tunes are almost all originals, with very cool lyrics by Coppola – and music penned by Bill Cunliffe, who handled all the instrumentation for the record – at a level that really keeps things top-shelf. Make no mistake, Johnny's vocals don't have the purity of Sinatra – but he does really evoke this world of second-string male singers of the 60s – guys like Bobby Cole, Frankie Randall, David Allen, and others – all equally swinging, and able to put a sense of male personality into a tune that other singers of the type could never touch. Titles include "Night Of Our Dreams", "A Long Love Affair", "Sandra", "Time To Run Son", "I'm Through With All Of These Dreams", "I'll Sleep Alone", and "Somebody's Got To Be That Guy". ~ Dusty Groove

LONDON IS THE PLACE FOR ME - AFRO-CUBISM, CALYPSO, HIGHLIFE, MENTO, JAZZ: THE MUSIC OF YOUNG BLACK LONDON, 5 & 6

London's always been one of the hippest cities in the world – but back during the postwar years, there was an especially wonderful outpouring of music on the scene – a rich array of new sounds and styles pulled from around the globe – as so many residents from crumbling British empire came to live in the UK! Musicians and listeners arrived in London with plenty of cultural baggage on hand – influences from the Caribbean, West Africa, and India too – plus other smaller scenes that once fell under the British banner, all now the fuel for the cultural fire that was happening in England! The title here tells plenty about the music being made in this newly-formed scene – bits of African highlife, Jamaican calypso, American jazz, Cuban Latin, and more – all filtered into the modernism of the 50s, and given a new twist that was decidedly urban as well. The package may well be the most impressive so far in this legendary series – and is certainly the one that moves the farthest past any sort of easy expectations or cultural conventions. Titles include "Women Police In England" by Mighty Terror, "My Sorrow" by West African Swing Stars, "Cricket Umpires" by Lord Kitchener, "Jordhu" by Caribbean Swing Band, "Trumpet Highlife" by Shake Keane, "Calypso Mambo" by George Browne, "Cuban Nightingale" by Buddy Pipp's Highlifers, "Kitch" by The Quavers, "Tabu" by Mona Baptiste, "King Jimmy Foo Foo" by Tejan Sie with The West African Rhythm Brothers, "The Escape" by Dizzy Reece, "Mambo Contempo" by Ginger Johnson, "Life In Britain" by Mighty Terror, "Sway" by Buddy Pipp's Highlifers, "Song Of Joy" by Rupert Nurse's Calypso Band, "Joe Louis Calypso" by Lord Beginner, "Uncle Joe" by Fitzroy Coleman Quintet, "Me Donkey Want Water" by Tony Johnson, "Belly Lick" by Eric Hayden, "Nigeria Odowoyin" by West African Rhythm Brothers, and "Football Calypso" by King Timothy. ~ Dusty Groove

ROGER DAVIDSON - JOURNEY TO RIO

For Roger Davidson, music is a world without boundaries. Both as a composer and pianist, he has a fearless reach. Though often termed a classical artist, Davidson has explored tango, klezmer, Latin music, and jazz in recent years, however he has always held the multifaceted sounds of Brazil especially close to his heart. His long-standing passion for Brazilian music has resulted in several albums, including Bom Dia (2007) and Brazilian Love Song (2009). His latest, Journey to Rio (available June 11 on Soundbrush Records, cofounded by Davidson in 1998), is a double-disc release showcasing 28 original Brazilian compositions. Recorded in Rio de Janeiro, the project features a wide range of top-flight Brazilian musicians as well as Pablo Aslan, the gifted Argentine bassist and producer/labelmate.

Having traveled the world to learn about all styles of music, international synergy is in Davidson's blood. Born in Paris to a French mother and American father, his family relocated to New York shortly after. Davidson began playing piano at the age of four, ultimately discovering the bossa nova recordings of Stan Getz at age 10 through his babysitter playing Getz' Big Band Bossa Nova. "That was the start of my lifelong love affair with Brazilian music. I thought it was beguiling, uplifting, sexy, relaxing, and very melodic. It made me want to go to Brazil to find out where the music came from." Nearly fifty years later, he found out.

In October 2011, accompanied by Aslan, Davidson took his first trip to Brazil with the intention recording this project. "I've been living with the music for forty years," he says, "so it was almost like a homecoming." Most of his eight days there, which he spent in Rio de Janeiro, were occupied by six recording sessions.

Journey to Rio features deeply emotional Brazilian love songs alongside Davidson's French inspired compositions. These compositions enforce a sense of rooted emotion that melds Davidson's vast life experiences of international culture with the modern expressions of Brazilian jazz. With Davidson melody always comes first. "Any music has to start with a strong melodic line," he asserts. Like Debussy with his Preludes, Davidson gives his compositions titles that evoke scenes suggested by the music. They focus largely on love and nature, the prevailing themes of the bossa nova. Meanwhile, he pays more than passing respect to the moody, pulsing sound he heard on those Getz bossa records.

The sessions include two respected bassists: bossa nova veteran and acoustic player Sérgio Barrozo and electric bassist Ney Conceição, who was a longtime collaborator of João Bosco. The resulting line-up of trombonist Gilmar Ferreira, soprano and tenor saxophonist Marcelo Martins, percussionist Marco Lobo, guitarist Leonardo Amuedo, and alternating drummers Paulo Braga and Rafael Barata showcases some of Rio's finest musician.

The tightness of the ensemble work and comfortable grooves belie the fact that the sessions began with no written arrangements and minimal rehearsal. "The music was worked out in the studio day by day," Davidson notes. "I didn't even know exactly what tunes I was going to record. I'm not obsessed with writing out every note. I'm an improviser. Playing with other good improvisers, you reach greater heights of inspiration and spontaneity. I want to leave open space for other musicians to find their own voice within my tunes."

You'll hear it in "Love Across Time", one of the album's most heartfelt compositions. Davidson wrote it as he and his wife were separating. The song, he says, expresses "a love that transcends unhappiness." "Onde Está o Amor?" explores the stated theme with the same sort of melodic improvising that make the Getz albums so appealing. Braga's playing is gentle as a whisper, yet carries the song forward with a sure touch. "O Unico Amor"is a richly melodic piece. "I was thinking about how it feels to have one love above all. It was a pretty deep feeling that inspired the tune," explains Davidson. This deep emotion translates to the dark, aching bossa nova "Memories of Deborah", written as a gift to a close friend of Davidson who lost his wife to cancer.

Amuedo is the star of "Sonho do Amor", a throbbing bossa with a touch of saudade, the Portuguese word for a sometimes-indefinable yearning. "I was definitely thinking intently of Brazil in this tune," says Davidson. The most intimate tracks are the duets: "Olhos de Ouro" teams Davidson with Amuedo for a spacious dialogue in which silence is the third partner, while "Amantes para Sempre" is a showcase for the expansive, lyrical trombone playing of Ferreira, who states the theme then takes it apart with some of his prettiest improvising.

Bossa may be Brazil's most famous musical export, but it's not the only one that Davidson presents. "Sonho de Amanha" takes the album into the realm of modern Brazilian jazz, while "Bridge to Bahia" evokes the brighter side of a state in the northeast of Brazil, where African and Brazilian culture meet in the most soulfully percussive music to be found anywhere in the country. The title track, "Journey to Rio", keeps the party going. Ferreira and Martins (on soprano) state the rollicking tune in perfectly synchronized unison then Davidson and Martins solo at racing speed. Davidson wrote "To Brazil with Love" an hour before his show at Sala Baden Powell. This ruminative piano solo stands as his valentine to a place that instantly felt like home to him. "I felt that my internal rhythm slowed down in Rio," says Davidson.

With his work on the international front, it comes to no surprise that France, was also on his mind throughout these sessions. He brought the countries together musically on "Je m'en Souviens", which intertwine piano and soprano sax with utter simplicity. "Soir Brésilien" is a piano solo with a quiet grandeur and a French flavor. "It also has a Brazilian character in the harmony and melodic ideas," notes Davidson. "Embrasse-moi" showcases the French influence while featuring the delicate interplay of Davidson and Amuedo, whose playing breathes together.

Davidson's deep passion for all genres of music drove him to establish the Society for Universal Sacred Music, devoted to works that "have a message of unity and aspiration that included all humanity." The Society is now a worldwide organization, dedicated to commissioning new works and presenting performances all over the world.

Ultimately, Davidson's entire career and love of international jazz has led up to the release of Journey to Rio. "It's been a great blessing that I've been able to do so many things well, and that they feel natural, as part of the global musical vocabulary I've developed," he says. "I feel a lot of empathy for all kinds of good music - music that really comes from the heart and that seeks to communicate passion and positive feelings."

Roger Davidson· Journey To Rio / Soundbrush Records / Release Date: June 11, 2013

GAUDI - IN BETWEEN TIMES

GAUDI, as his tour schedule will attest to, is a man in demand. The last few years have seen him increasingly prove his credentials as a respected producer and live artist who can ensure a maximum capacity crowd. In the last year alone he has performed at over 60 venues and festivals across 10 different countries and to surprisingly diverse audiences- from roots reggae aficionados at "One Love", the UK's no.1 reggae festival to a once in a lifetime performance at the Pyramids in Egypt.


His previous releases have laid a strong, worldwide foundation for him. The internationally acclaimed album 'Dub Qawwali' (Six Degrees Records, 2007) earned him a nomination for a prestigious BBC World Music Award and his last album 'No Prisoners' (Six Degrees Records, 2010), firmly established his more up-tempo credentials amongst international audiences and on dance floors around the world.

His newest work, 'In between times' is a great listen from start to finish. It is a strong collection of 12 engaging tracks with a satisfying balance between vocal tracks and instrumentals that are brought artfully together to form a sonic journey greater than the sum of its parts.

The new album features a noteworthy collection of artists, many of them pioneers in their respective musical genres and all of them highly respected in their own right. Opening track "Put your guns down" features vocals by Black Uhuru frontman Michael Rose. "Life", features rising reggae star Jahmai and the atmospheric and ethereal electro-dub adventures of "Tamino and the temple of dub", feature one of the godfathers of psychedelic trance music Raja Ram (from electronic duo Shpongle) on flute. One of the album's stand-out tracks, "I start to pray" is a truly distinguished collaboration between legendary dub producer and vocalist Lee 'Scratch' Perry and UK electronic pioneers The Orb, with the inimitable Dennis 'Dubmaster' Bovell adding his characteristically uncompromising bass to the mix - it's a high risk strategy to put so many virtuoso artists in one song but one that pays off handsomely in the realization of this deep, elegant and very dubby track!

Other collaborators on the new record include, Hedflux (one of the UK's hottest breaks producers), dub maestro Twilight Circus, Moroccan artist Tahar (from the band Momo) & GAUDI's on-stage partner in rhyme, vocalist and prodigiously talented beatboxer, Danny Ladwa.

'In between times' more than justifies GAUDI's reputation as a musical frontiersman and "fearless music producer" (Billboard magazine) in its complete disregard for musical boundaries and stylistic separation... It is GAUDI style - the fusion of many genres into one distinct and characteristic sound.

~ Six Degrees Records