TEDESCHI TRUCKS BAND - MADE UP MIND

How can a band that's merely three years old sound so timeless? That's a question you will undoubtedly ask yourself when listening to the Tedeschi Trucks Band's Made Up Mind, due from Sony Masterworks August 20th. Their third full-length release, Made Up Mind is the highly anticipated follow-up to 2011's Grammy-winning debut Revelator and last year's scorching live collection, Everybody's Talkin'.


But the answer to the above question is simple: When the dynamic vocalist and guitarist Susan Tedeschi and her guitar virtuoso husband Derek Trucks merged their talents and constructed a new, 11-piece juggernaut, they were pooling many years of experience and collective musical knowledge. Derek—who has also been a mainstay of the legendary Allman Brothers Band for more than a decade, and leader of The Derek Trucks Band—first slung a guitar over his shoulders at age 9 and is currently ranked number 16 on Rolling Stone's 100 Greatest Guitarists of All Time list. Susan is a roots music powerhouse who was nominated for five Grammys on her own, including Best New Artist in 2000, before the formation of TTB (as their fans have come to know them). Made Up Mind is where all of the instrumental, vocal and songwriting prowess of music's greatest power couple—and that of their superb bandmates—truly meshes in a big way.

"We knew we wanted to be a little bit bolder with this record, not be afraid to do whatever we felt was really great," says Tedeschi, who first met Derek in New Orleans in 1999 when her previous band was opening for an Allman Brothers Band tour. "We're all friends and family. Now we're finally making the music we want to make. It's really an exciting time."

Adds Trucks, "What I noticed most while making this record was there was more confidence. On Revelator everyone was still feeling each other out. Then, after a few years on the road, with a live record along the way, everyone unleashed and played a little freer. We didn't want to force the sound and tell it what it was going to be. We wanted to see where it took us. Once we hit the studio for Made Up Mind, we didn't even have to think about it."

Made Up Mind is nothing less than a quantum leap forward for TTB. If Revelator and Everybody's Talkin' were all about finding their way, the new effort is where they emerge as a fully formed band for the ages. Throughout the course of the album it becomes increasingly apparent that Susan Tedeschi has evolved into one of the most dauntingly commanding vocalists in contemporary music, her serious lung power exploding on standout tracks such as the uber-funky "Misunderstood" and just as convincingly digging into the core of poignant, tender acoustic ballads like "Calling Out to You" and "Idle Wind". Derek Trucks has indisputably matured into one of the monster guitarists of our time, tearing up barnburners like the title track "Made Up Mind" with his masterful slide and lead licks while showcasing his easier, more subtle touch on the bluesy "Do I Look Worried".

Co-produced by Jim Scott ( Johnny Cash , Red Hot Chili Peppers, Wilco) and Trucks—Made Up Mind was recorded in the band's home base of Jacksonville at Derek and Susan's Swamp Raga Studios. Working closely with Scott, who also engineered and mixed the album—and with whom Derek co-produced Revelator—Trucks' ever-expanding expertise as a studio production whiz is displayed continually and definitively in the choices he made throughout the sessions. For Trucks, the studio has become another instrument to master, and Made Up Mind leaves no doubt that his skills as a producer now rank right alongside his expertise as a player and songwriter.

Although Tedeschi Trucks Band bears the names of its co-leaders, each of its components— Kofi Burbridge (keyboards, flute), Tyler Greenwell (drums, percussion), J.J. Johnson (drums, percussion), Kebbi Williams (saxophone), Maurice Brown (trumpet), Saunders Sermons (trombone & vocals), Mike Mattison (harmony vocals) and Mark Rivers (harmony vocals)—is operating at full throttle on Made Up Mind. There are no weak links—everyone here is contributing equally. Those keeping count will notice that that adds up to 10 musicians—the new release marks the first time that TTB has recorded since the departure of its original bassist, Oteil Burbridge. Rather than replace him immediately, the group has utilized the services of several bass players on the album ( Pino Palladino , Bakithi Kumalo, George Reiff and Dave Monsey ), and has been rotating bassists at their gigs as well.

Most of the tracks on Made Up Mind were penned by Tedeschi and Trucks with various co-writers—including Doyle Bramhall II , Eric Krasno , Gary Louris and John Leventhal , all of whom also contributed to TTB's debut Revelator. The maiden single from the album, "Part of Me," a vocal duet between Susan and trombonist Sermons, stands out as a particular highlight, reminiscent of the classic R&B emanating from the Memphis and Muscle Shoals soul scenes of the '60s and '70s. The title track "Made Up Mind", authored by Tedeschi, Trucks and Oliver Wood , is a balls-out soul-rocker in the tradition of early Bonnie Raitt and Delaney & Bonnie. This one, says Susan, "is an empowerment song: I know you want to see me, you want to do this, but I'm on my own and I've branched out now. It could be anything from a child growing up and getting out to a woman moving on, or the kind of thing where this person has made a change. It's sort of a rebirth."

Or, as Derek adds, it could be about the current state of TTB: "It makes a statement that this band knows what it wants to do and is here to stay. Take it or leave it, this is what it is," he says.

With their increasingly articulate and affecting songcraft, unparalleled musicianship and an honest, gutsy sound that incorporates multiple stylistic influences and can only result from hard work and openness to ideas, it's a given that many more will make up their minds to take Made Up Mind than to leave it.

Tracklisting: 1 Made Up Mind / 2 Do I Look Worried / 3 Idle Wind / 4 Misunderstood / 5 Part of Me /
6 Whiskey Legs / 7 It's So Heavy / 8 All That I Need / 9 Sweet And Low / 10 The Storm / 11 Calling Out To You

Source: Sony Masterworks

NEW RELEASES - BENJAMIN TAUBKIN / ADRIANO ADEWALE, ROUGH GUIDE TO PSYCHEDELIC BRAZIL, HAMILTON DE HOLANDA / ANDRE MEHMARI

BENJAMIN TAUBKIN / ADRIANO ADEWALE - THE VORTEX SESSIONS

A set that's maybe a bit more subtle than you'd expect from the "vortex" in the title – but one that definitely has a compelling quality that really draws us in! The set features piano from Benjamin Taubkin and gentle percussion from Adriano Adewale – spun out over these long tracks that build slowly, almost with a sense of improvisation – save for the fact that Taubkin remains extremely melodic throughout, and really paints these lovely little pictures in sound – of the sort we've really come to appreciate in his playing over the years. Adewale's nicely restrained, too – and even drops out on one number – shading things in with deft touches that are almost more melodic than rhythmic too. Titles include "Blue In Green In Yellow", "Samba", "Berimbau", and "Landscapes Impressions of Ireland". ~ Dusty Groove.

ROUGH GUIDE TO PSYCHEDELIC BRAZIL (VARIOUS ARTISTS)
A killer collection of work that digs deep into the trippiest sounds of Brazilian music – that great wave of experimentation started in the Tropicalia years, carried on strongly well into the 70s – and even into more recent years as well! Brazilian music is a surprising wellspring of psych modes – and often, their take on the genre is quite different than American and Anglo modes – often a bit more subtle, less self-indulgent, and without any sort of rockish posturing – which really makes work like this a great revelation! Titles include "Cantando Ciranda Na Beira Do Mar" by Siba, "Nordeste Oriental" by Lula Cortes, "O Jarro" by Baby Do Brasil, "Renata" by Liverpool, "Mini Box Lunar" by Amarelasse, "Piri" by Reza Brava, "Ca Pra Nos" by Lucas Santtana, "Anthropologica II" by Marconi Notaro, "Lindo Toque" by Graveola, "Obnoxious" by Jose Mauro, "and "Alergico De Flores" by Laranjua Freak. Also features a full bonus album, too – the modern psych sounds of Jupter Maca – a full reissue of the album A Setima Enfervesencia from 1996. ~ Dusty Groove

HAMILTON DE HOLANDA / ANDRE MEHMARI - GISMONTI PASCOAL - THE MUSIC OF EGBERTO AND HERMETO

A beautiful tribute to the music of Egberto Gismonti and Hermeto Pascoal – but presented in a fresh style that's very different than the originals! Gismonti and Pascoal were two of Brazil's most inventive composer/musicians of the 70s – both very open to new sounds, new rhythms, and new ways of putting instrumentation together – often with complex larger arrangements that really moved past any sort of simple styles or genre conventions! Here, pianist Andre Mehmari and mandolinist Hamilton De Holanda take things back to basics – and offer up these beautifully intimate readings of tunes by both composers – but with really lively instrumentation that still recalls all the deftness you would have heard from either of the original musicians. Holanda's work on the strings has never been more complex – or more magical – and Mehmari's got a rhythmic pulse and way of serving up colors at the same time – a beautiful style that really comes through on tracks that include "Frevo", "Sao Jorge", "Sete Aneis", "Palhaco", "Fala Da Paixao", "Bebe", and "Loro" – plus a few original tribute numbers by the duo too! And as a special bonus, both Gismonti and Pascoal each guest on one number in the set! ~ Dusty Groove

NEW RELEASES - ALTHEA RENE, ABONICS, TONY ALLEN & ABAYOMY AFROBEAT ORQUESTRA FEATURING BNEGAO

ALTHEA RENE - IN THE FLOW

One of the most dynamic albums we've ever heard from flutist Althea Rene – a set that's still got all her sweet soulful solo work firmly in place, but one that also adds in a bit more groove at the bottom too! The album's done in close collaboration with Michael Broening – who plays keyboards and handles the rhythm tracks throughout – providing a fresh setting for Rene's well-crafted lines on both conventional and alto flute – both instruments she blows with a slinky, soulful depth that takes us back to Bobbi Humphrey in the 70s! Titles include "La Solstice", "Flutations", "Free", "In The Flow", "FM 1960", "Song For Wilhelmina", and "Used To Love You" ~ Dusty Groove

ZBONICS - TIME TO DO YOUR THING   The name's a bit unfamiliar, but the group's a great one – and an ensemble that features some major talents of recent years – including Gregory Porter on vocals, Robert Walter on keyboards, Karl Denson on saxes, and Melvin Sparks on guitar! The style's got all the classic modes you'd guess from such a lineup – a righteous blend of jazz, soul, and funk – with an instrumental groove that's already pretty darn great, but which really takes off once Gregory Porter's vocals come into the mix! Porter's one of our favorite jazz singers in recent years, and it's great to hear him in such a setting – and our hat's off to drummer Zak Najor for leading the group, and bringing Porter aboard for a few tracks. Titles include "She Danced Across The Floor", "Catchin Sparks", "Soul Good", "Wash Cloth", "He Said", "Issues Of Life", "Zak Attack", "Just IN Time", "Mystery", and "Scone Break". ~ Dusty Groove  

TONY ALLEN & ABAYOMY AFROBEAT ORQUESTRA FEATURING BNEGAO   A sweet little single – not just for the cool 10" format, but for the great grooves within! "Meus Filhos" is a classic funky track written by Jorge Ben – and delivered here in a tight Afro Funk mode that's way different than the original – lots of tight drums from Tony Allen at the core, great horns from the Abayomy Afrobeat Orquesta, and even a bit of vocals from BNegao! The flipside features a remix by Robin Leduc, but the sound is still very much in the best acoustic mode of the main cut – with mostly just a bit of change in the structure and a few sonic elements! ~ Dusty Groove

JOHN MCNEIL / JEREMY UDDEN - HUSH POINT

It takes time to develop a deep rapport within a jazz ensemble. Often in today's jazz community, this is not seen as cost effective, and as a result, jazz has become a scene of one-off gigs with minimal preparation and everyone reading the music.

Fortunately, you can still find bands that invest the time to evolve as a unit. Trumpeter John McNeil and saxophonist Jeremy Udden established Hush Point as a group that does just that. Also including bassist Aryeh Kobrinsky and drummer Vinnie Sperrazza, Hush Point is a working and rehearsing ensemble, and on their new self-titled album, Hush Point, the group shows a cohesiveness of concept that is only achieved through hours of practice, performance and experimentation. The wide stylistic range of their repertoire is immediately striking to the listener.

McNeil has had a long and varied career since his move to New York in the 1970s. He began subbing in the Thad Jones/Mel Lewis Orchestra and was a member of the Horace Silver Quintet and Gerry Mulligan's Concert Jazz Band. Eventually he began leading his own groups, recording at least eighteen albums under his own name or in collaboration with other artists. In addition to performing, he works as a composer/arranger and producer.

Udden has developed a unique approach in both his playing and composing. The alto saxophonist has been involved in wide ranging projects - like the Either/Orchestra and Mulatu Astatke's ensemble - and has played and recorded with legendary musicians like Bob Brookmeyer and Steve Lacy. His ensembles have shown his vastly eclectic breadth, from Ethiopian music to folk-rock.

Though McNeil and Udden had long been familiar with each other on the New York jazz scene, their work together didn't begin until 2011 when they began to meet for informal practice sessions. McNeil hadn't been aware of the depth and maturity of Udden's writing, and the two found themselves sharing compositional ideas and improvising spontaneous complementary lines. Simpatico in many ways, their styles fit together naturally. For some time they talked of putting a band together and it became a priority after Udden subbed one night in McNeil's band, where they heard their work shine in a live setting.

They knew that if they put a group together, the drummer and bassist would need to be open to new concepts and willing to rehearse, discuss, and internalize the music.

The drummer would have to embrace the idea of using brushes only, which allows the two horn players to use a wider expressive dynamic range and still be easily heard. The drummer still needed to bring a lot of intensity, however, and Vinnie Sperrazza was up to the challenge. Vinnie enjoys a very busy freelance jazz career which has allowed him to play an astounding variety of music, so the idea of doing something new is just business as usual.

In Aryeh Kobrinsky, they found a bassist who is a strong, expressive player, ready for anything, and another good writer as well. Aryeh is more harmonically perceptive than most, and always thinks compositionally. Whatever direction a piece of music takes, he will naturally give it form and help the overall arc of the performance.

Though McNeil and Udden put the group together, it is now a truly cooperative venture. As a democracy, the ensemble enthusiastically focused on developing their concept. The overall ethic would be a high level of interplay and counterpoint, without traditionally defined roles for each instrument. Energy would be sustained without resorting to sheer volume, unlike the tendency of many contemporary ensembles.

The members of Hush Point disagree with the predominant feeling among jazz musicians that to discuss any aspect of creativity is to somehow make it less genuine. The workshop approach led to discussions that could become heated, but it also led them to develop a common direction and to respond instantly to any new idea.

The recording Hush Point provides a wonderful glimpse into their musical world.

The album begins with clarinetist/conceptualist Jimmy Giuffre's "Iranic," a programmatic work, which breaks down the roles of the band members with a series of duets. McNeil's "Peachful" is a joyous tune full of major chords and reggae rhythm. A tribute to mentor Bob Brookmeyer, Udden's "B. Remembered" is a subtle, swinging sax-led tune over the chord changes from "I Remember You." "Bar Talk" is an Udden composition inspired by Béla Bartók's Mikrocosmos while "Fathers and Sons" presents an older theme of Udden's that he felt fit McNeil's sound perfectly. The group improvises over an abstract version of the changes from "Long Ago and Far Away." McNeil's "Finely Done" is next, a minor blues with a bridge and a Gerry Mulligan / Chet Baker vibe.

Originally written for his band Plainville, Udden's "New Bolero" fits the sonic range of McNeil and this ensemble perfectly. "The Train and the River" is another piece by Giuffre, a standard bearer for the ensemble. The arrangement is by McNeil and remains tonal but with more dissonant harmony than the original. McNeil's "Get Out," roughly based on "Get Happy," is a stripped down composition in the mold of the Sonny Rollins and Don Cherry Quartet. The album concludes with Kobrinsky's "Cat Magnet," a sauntering country tune as expressive as anything in the genre.

Hush Point bucks many of the current trends in jazz in its concentration on developing innovative dynamics between band members, instant communication and an overall band sound in addition to repertoire. Their new CD is no doubt the first of many.

WADADO LEO SMITH & TUMO - OCCUPY THE WORLD

Occupy The World is an instant classic of creative orchestral music. Over five extended compositions, a total of almost two hours of music, composer and trumpeter Wadada Leo Smith leads a new large ensemble, TUMO, to a unique sound world where composed elements meet with strong soloists and group improvisation.

Occupy The World features the legendary composer and trumpeter Wadada Leo Smith with TUMO in its first appearance. The 21-member TUMO, a new improvising orchestra that was assembled specifically for each project, performs five extended compositions by Smith, including "Occupy The World For Life, Liberty and Justice," perhaps his most ambitious recorded composition to date. The four other compositions were also recorded for the first time for this double-CD and include "Queen Hatshepsut," that was inspired by this ancient ruler of Egypt, the first female leader of a major civilization in history; "The Bell - 2," which took Smith's first recorded composition, "The Bell" (included on Anthony Braxton's 3 compositions of new jazz in 1968), as its starting point; "Mount Kilimanjaro," a concerto for double bass and a large ensemble that Smith dedicated to its soloist John Lindberg; and "Crossing On A Southern Road," Smith's moving dedication to the late saxophonist Marion Brown. In addition to the principal soloists, Wadada Leo Smith on four compositions and John Lindberg on one, Occupy The World features trumpeter Verneri Pohjola, trombonist Jari Hongisto, saxophonists Mikko Innanen and Fredrik Ljungkvist, flutist Juhani Aaltonen, pianist Seppo Kantonen, harpist Iro Haarla, accordionist Veli Kujala, guitarists Kalle Kalima and Mikko Iivanainen and drummers Mika Kallio, Stefan Pasborg and Janne Tuomi, among others.

Wadada Leo Smith (b. 1941), whose roots are in the Delta blues and who was part of the first generation of musicians to come out of Chicago's AACM, has established himself as one of the leading composers and performers of creative contemporary music. Already in the late 1960s, Smith formed the Creative Construction Company together with saxophonist Anthony Braxton and violinist Leroy Jenkins and, since the early 1970s, he has mostly performed and recorded with his own groups. He currently leads four principal ensembles: the Golden Quartet, Mbira, Organic and the Silver Orchestra. In May 2012, Smith released his most extensive recording to date: Ten Freedom Summers, a four-CD collection of 19 compositions inspired by the civil rights movement in the United States, which was recently a Finalist for the Pulitzer Prize in Music and has garnered wide praise and accolades.

TUMO, or Todella Uuden Musiikin Orkesteri (in English, the Really New Music Orchestra), is a new large ensemble that performed for the first time at TUMfest12 in Helsinki, Finland, in February 2012 under the leadership of Wadada Leo Smith. TUMO is not intended to become an institutionalized orchestra. Instead, it is a loose aggregation of musicians with a shared interest in creative improvised music, many of them among the leading improvisers in the Nordic region. The musicians performing in this first incarnation of TUMO come from different generations, different backgrounds and even different countries, but are all brought together by their interest in creative improvised music, with most coming from a background in jazz and improvised music and others from a background in classical music. Altogether, in this first appearance, TUMO is a unique, one-time-only meeting of a diverse group of high-caliber musicians.

The CD will be released on June 18, 2013.

NEW RELEASES - OLIVER LAKE, CHERRYSTONES, JUSTIN VELOR

OLIVER LAKE - WHEELS

A great large group project from reedman Oliver Lake – and a great reminder of his mighty strengths as a writer and arranger too! Right from the start, Lake's had a great ability to move between smaller, intimate settings and more ensemble-based music – and here, he's at the helm of a great batch of well-chosen reed players – all of whom move together as one to realize Lake's complicated charts for the record! The set explodes with bold hues and rich tones right from the start – a shifting palette that only gets stronger as the album moves through Oliver's original compositions – material played by Mike Lee and James Stewart on tenor, Darius Jones and Bruce Williams on alto, Jason Marshall on baritone, Stafford Hunter and Aaron Johnson on trombones, and Walton Ricks, EJ Allen, Nabate Isles, and Freddie Hendrix on trumpets. Titles include "Drum Thing", "Is It Real", "Philly Blues", "Maasai Moves", "Studder", and "Wheels Suite". ~ Dusty Groove

CHERRYSTONES - RED NAILS
Some of the noisiest music we've heard so far from Cherrystones – a sweet set that's heavy on fuzz and electronics, but which still holds onto the strong sense of beat from before! There's a pretty dark vibe to most of the record – a bite that goes way beyond downtempo, and which reminds us of the way that Cherrystones first shook things up years ago – opening ears to corners of sounds that weren't always treated in the same way as funk – a journey that's taken us miles to get to the place of this striking little set! Titles include "Bruised Meats", "Dirty Washing", "Molecular Battler", "Moonstone", "Red Nails", and "Robots Kin". ~ Dusty Groove

JUSTIN VELOR - 2013

Brooding sounds from Justin Velor, aka Dom Thomas – and a set that's definitely worthy of placement on the Brutal Music label! The set's a mix of different post-punk energies with a UK twist – sometimes abstract noise, sometimes more groove-conscious rhythms – but often with colder electro elements that really give the set a nice sort of vintage vibe, despite the contemporary date! Yet Justin also makes great use of modern modes to fit the whole thing together nicely – a great mix of sounds that also features guest work from Gerry Love, Jez Williams, Marie Chantecaille, and Leee John. Titles include "Relance", "Flameout", "Energiser", "Listen", "The Rain", "Oscillations", "Escape To Oblivion", and "Missing You". ~ Dusty Groove

"THE LADIES AT JOE GIBBS" CONTAINS CLASSICS FROM THE FEMALE ARTISTS GIBBS RECORDED BETWEEN 1972-1984

The Ladies At Joe Gibbs” brings together 19 classic hits from the female artists Gibbs recorded between 1972 and 1984 & includes six extended versions or extended Deejay cuts! The CD comes with a 12-page booklet with liner notes from Daddy Lion Chandell.

The legendary productions of Joe Gibbs have generated many of the reggae genre’s biggest hits. The producer/label operated predominately between 1972 and 1984. Judy Mowatt, here as Julie Ann (member of Bob Marley’s I-Threes) and June ‘JC’ Lodge went on to have major careers in Reggae music while other names have faded.

The songs and riddims are most familiar and underscore why Joe Gibbs productions were at the top of the genre during these prime years. Some of the re-mastered tracks include previously unreleased extended mixes. Featured tracks include Marcia Aitken “My Man” and “I’m Still In Love With You” (which scored # 1 Pop in England), June ‘JC’ Lodge “Someone Loves You Honey” and a special extended version of Althea & Donna’s classic rocker “Uptown Top Ranking”.

More favourites include Jem & Dean with “Holiday Style” (Riddim: ‘Everday Is Just A Holiday’), Beverly Bailey’s “I Was In Love”, Althea’s “Downtown Thing”, and “I Can’t Stand The Rain” by Hortense Ellis in the extended version!

Tracklisting:  01. Ina Jah Children – Dhaima / 02. My Man – Marcia Aitken feat. Trinity / 03. Gonna Get Along Without You Now – Christine Oliver / 04. Holiday Style – Jem & Dean / 05. Let Me Go Boy – Marcia Aitken feat. Ranking Joe / 06. I Was In Love – Beverly Bailey / 07. Downtown Thing – Althea /
08. Does My Ring Hurt Your Finger – June Lodge / 09. Danger In Your Eyes – Marcia Aitken / 10. Someone Loves You Honey – June Lodge / 11. I’m Still In Love With You – Marcia Aitken / 12. Uptown Top Ranking (Extended Version) – Althea & Donna / 13. Something Precious – Shirley McLain / 14. Emotion – Marcia Aitken feat. Ruddy Thomas / 15. I Can’t Stand The Rain (Extended Version) – Hortense Ellis / 16. The Gardener – Julie Ann (Judy Mowatt) / 17. Baby I’m Yours – June Lodge / 18. United We Stand – Cynthia Richards & Irving Brown / 19. Sweet Sensation – Carol Gonzales

~ grooveattack.com

SIZZLA - THE MESSIAH

One of reggae’s most prolific artists Sizzla returns with his 70th album The Messiah. Since his emergence in 1995, the enigmatic vocalist has undeniably put his stamp on the genre regardless of the current style or trend. His latest effort showcases his musical depth, passion and precision in partnership with Bread Back productions.

Mostly written and executive produced by Sizzla himself, Kalonji’s full scope of talents are displayed on The Messiah. With a fresh perspective in 2013, the man on a musical mission inspires positive change worldwide on this 15-track collection. His social commentary on songs like “Chant Dem Down,” “No Wicked Man” and “Psalms 121″ reveal his daring bravado and righteous lyrics, while his melodic anthem “Good Love” unveils his softer side.

The buzz around this release has already been circulating his native island. Sizzla recently told the Jamaica Gleaner this “spiritual conscious album” compares to his early classic Black Woman & Child, released in 1997 on VP Records. He also told the Jamaica Observer why he makes music like this compelling collection. Sizzla proclaims “I do music to free the people, unite the world, heal the children.”

Tracklisting: 01. Psalms 121 / 02. Look How Many Years / 03. Center Of Attraction / 04. No Wicked Man / 05. The Messiah / 06. Chant Dem Down / 07. Dem Nuh Business / 08. Suffer So Much / 09. Good Love / 10. One Life / 11. Children Bless / 12. May Di Powerz / 13. Need You Right Now / 14. What A Joy / 15. Better Come

~ grooveattack.com

MARYLAND SUMMER JAZZ HEADLINERS ANNOUNCED

The Maryland Summer Jazz Festival returns on July 13 for its ninth season. The inspiring workshops and jams for musicians and public concerts for jazz lovers take place through July 26. Drawing adult learners and listeners from both coasts, the top-rated event hosts brilliant jazz artists on stages and in classrooms, where they encourage amateur and semi-pro students to get "out of the basement and onto the bandstand." Some students will begin or resume professional music careers; others will keep music as an avocation.

Headlining this year's festival are jazz artists from Brazil, the United States and Canada, recognized as both artists and educators. Among them are guitarist Steve Rochinski , trumpeter John D'earth and bassist Leonardo Lucini .

Boston-based guitarist Steve Rochinski is a prolific author and busy composer, arranger and educator. The Washington, D.C. native has toured widely working with the likes of Tal Farlow , Tim Hagans and Joe Lovano . In 1984 he left the road to teach at Berklee College of Music and has since written numerous books for jazz study. His books and recordings (on Germany's Jardis Records) are sold internationally, and students come from all over the world to study with him.

Protean trumpeter John D'earth is widely known as a performer, composer/arranger, and recording artist. He has played with jazz greats Miles Davis , Lionel Hampton and Pat Metheny , pop artists Dave Matthews and Bruce Hornsby , and chamber groups Kronos String Quartet and The Kandinsky Trio. He directs jazz performance at the University of Virginia.

Virtuoso Brazilian born bassist Leonardo Lucini is a prominent musician and teacher in Washington, DC. He has toured internationally with Nestor Torres , Arturo O'Farrill, Alex Acuna , Federico Pena and Gregoire Maret . In Brazil, he performed with leading groups and artists No Em Pingo D'Agua, saxophonist Paulo Moura and the Orquestra de Musica Brasileira. In the States, he performs with the band Origem and is an artist in residence at Montgomery College.

Artistic Director Jeff Antoniuk is an acclaimed saxophonist and composer from Western Canada. He began cross-continental touring even before earning a master's degree in jazz performance and West African ethnomusicology from the University of North Texas. A recipient of grants from the Canada Council and National Endowment for the Arts, he is an influential figure in the Washington, DC jazz scene.

The heart of Maryland Summer Jazz is a three-day jazz camp July 24-26. Uniquely created for adults, it helps gifted amateurs and semi-pros get their chops up. Each day includes intensive instruction for students from 16 to retirement age. Instructors represent seven different university jazz programs. Attendees hear them in concert, then play with them in small combos grouped by ability level.

Jazz camp provides a continuing education opportunity for music teachers and gives high school and college students a place to sharpen their skills during summer vacation. Scholarships and internships encourage young talent. Older players get the chance to bring their skill and technique to the level of working musicians. Networking opportunities have led to the creation of many popular jazz bands.

Attendees have an option to take a pre-camp clinic on "The Music of Maryland Summer Jazz " on Saturday, July 13. Participants will get a head start on the camp repertoire of beginner through advanced tunes.

Concert Highlights -The kick-off concert for Maryland Summer Jazz will be held at the new Bethesda Blues & Jazz Supper on Tuesday, July 23 at 7:30 p.m. Guitar star Steve Rochinski will join Jeff Antoniuk & the acclaimed Jazz Update band. Another major concert occurs on July 26 at the conclusion of jazz camp, held on the campus, at Saint Mark Presbyterian Church in Rockville, Maryland. A student concert is held at 7:00 p.m. An All Star Concert begins at 8:30 p.m. Ticket holders may attend one or both concerts on the final evening.

Stellar Guest Artists - Eight jazz stars will teach and perform this season. In addition to those mentioned, they include bassist Amy Shook , pianist Wade Beach , trombonist Jim McFalls and drummer Harold F. Summey, Jr.

Jazz camp registration continues through June 30. Military and family discounts are available. For camp information and concert tickets see www.marylandsummerjazz.com

NEW RELEASES - BLOOD, SWEAT & TEARS, IN THE POCKET: 70S JAZZ FUNK, MILT JACKSON

BLOOD, SWEAT & TEARS - RARE, RARER & RAREST

A sweet sweet selection of work from Blood Sweat & Tears – and one we love especially because it features their incredible instrumental work for the film The Owl & The Pussycat! The CD offers up a whopping 15 tracks from the film, all instrumentals that have this totally great sound that's unlike anything the group ever did vocally – much more laidback, jazzy, and with lots of sweet Hammond in the mix – often bubbling next to some funky backings, and topped with some great solos on trumpet or tenor too! These cuts are really wonderful – often hidden in the scenes in the film, and later buried next to dialogue bits on the soundtrack album – but presented here for the first time in all their instrumental glory – and showing a real blacksploitation funk side of the group. CD also features some rare mono singles – "Blues Part 2", "More & More", "And When I Die", and "Spinning Wheel" – plus the unreleased track "M", and the very cool "Krakbergravningen". ~ Dusty Groove

IN THE POCKET: 70S JAZZ FUNK (VARIOUS ARTISTS)

In the pocket, and plenty darn funky – a killer collection of 70s jazz funk that's heavy on electricity, yet still keeps things mighty sharp throughout! The groove is tight – tighter than the raw soul of the 60s jazz years – yet never uptight, as all these cuts are plenty fresh and freewheeling, and definitely preserve the most spontaneous vibe of the players. Some cuts have a bit of vocals, some have some larger backings, but all still have some great solos in the middle – with an especially strong emphasis on sweet keyboards! Titles include "Zauis" by Eddie Russ, "Barbara Ann" by Webster Lewis, "Coming To You Live" by Charles Earland, "Brazilica" by Ramsey Lewis, "Sinbad" by Weldon Irvine, "Put It In The Pocket" by Freddie Hubbard, "Palos" by Willie Bobo, "Chicago Theme" by Hubert Laws, "Hop Scotch" by Harvey Mason, and "In The Park" by Lonnie Liston Smith. ~ Dusty Groove

MILT JACKSON - MILT JACKSON SINGS WITH THE ENRICO INTRA GROUP

A rare Italian session from vibes genius Milt Jackson – and a set that features Milt on vocals instead of his usual instrument! The format here is really wonderful – and quite a change from what you might expect – as Milt's got this warm, raspy style of singing that's completely charming – and not unlike the really personal inflections he brings to his vibes. The core set features instrumentation by a small group that features Enrico Intra on piano, Giancarlo Barigozzi on alto and flute, Pallino Salonia on bass, and Gil Cuppini on drums – and two more tracks – "Hear Strings" and "Storia Di Un Amore" – feature a larger group. Two final numbers are instrumentals penned by Intra – "Intramood" and "Tribute To Milt" – both great! (Limited to 300 copies! Very cool package – with heavy sleeve and a bonus photo sheet too!) ~ Dusty Groove

NEW RELEASES - JAMES TAYLOR QUARTET, THE JIG, JC BROOKS & THE UPTOWN SOUND

JAMES TAYLOR QUARTET - CLOSER TO THE MOON

Continuing genius from keyboardist James Taylor – exactly the kind of set that supports all the faith we've had in his music over the years! James steps out here in a vibe that's very different than before, yet every bit as great – still keyboard-heavy, with plenty of Hammond – yet also skewed towards a soundtrack sort of vibe – and not the usual funk or soul we've come to expect from Taylor! There's a sweeping sound to the music that's really sublime – like some lost late 60s blend of jazz instrumentation, voices, and strings – often served up with a majesty we've never heard in Taylor's music before, yet still coming across with a heck of a lot of depth and soul! James plays celeste, Fender Rhodes, vibes, and even some tubular bells – and titles include "Closer To You", "Tick Tock", "Fuzzburn", "Nightwalk", "Closer To The Moon", "Pathetique", and "Dark August". ~ Dusty Groove

THE JIG - AARGH!

Razor-sharp funk from The Jig – a group who come across with a really classic feel throughout – and a vibe that's a lot like The JBs at their early 70s best! Like that legendary group, these guys have a great way of fusing their horn parts with their rhythms – compressing trumpet, tenor, and baritone sax down with some mighty sweet Hammond, guitar, bass, and drums – and often with a mostly-instrumental focus that means that the instruments offer up most of the "voice" of the set! Joseph Bowie guests on a few tracks, and Benjamin Herman plays on another – but it's the core group that really gets the album going, and hardly ever lets up at all. Titles include "Move To The Groove", "Super", "Bike Ride", "Smith & Western", "The Gravy Pit", and "Up Or Out". ~ Dusty Groove

JC BROOKS & THE UPTOWN SOUND - HOWL

The greatest so far from this soulful Chicago group – a combo who are making big waves way beyond the Windy City, thanks to the tremendous vocals of JC Brooks! The album bursts out with a power the group have never had before – a tightness and focus that shows that these guys are definitely the real deal – and have definitely found their own unique voice in a world of copycat soul and funk – a groove that's completely contemporary, yet firmly rooted in the best bits of the past too – as fresh a change to funk and soul as some of the rootsier styles normally associated with Bloodshot Records! Brooks is a hell of a frontman in a live setting, but doesn't always come across this well on record – and the album may well be the first to really show the singer at his best. Titles include "Howl", "Married For A Week", "Rouse Yourself", "Security", "Ordinary", "Control", "Cold", and "River". ~ Dusty Groove

WOODY SHAW: THE COMPLETE MUSE SESSIONS

Mosaic Records is set to release Woody Shaw: The Complete Muse Sessions on June 4, 2013. Through a wide variety of styles, personnel, repertoire, and forms of instrumentation, this 7-CD limited edition box set presents a complete narrative of iconic trumpeter Woody Shaw's musical and artistic growth over a 13-year period with Muse Records, from 1974 to 1987, after having moved from San Francisco to New York.

Shaw's arrival at Muse marks a significant turning point in his career, showing early growth from a composer and trumpeter into a bandleader and artistic director. This era also serves as an awakening in his sense of leadership both within the broader scope of jazz and concerning the presentation of his original music.

"This was the era when Woody stepped up and became a leader," states Michael Cuscuna, Mosaic Records founder and producer. "The core of these sessions is the Woody Shaw Concert Ensemble, an expanded group with four horns and one or two percussionists. I loved this setting because it brought out Woody's incredible talents as a composer and arranger with a distinctive harmonic sense."

The box set, which includes nine albums over seven discs, is divided into three parts, each relaying an important segment during this era of Shaw's career. The first set (The Moontrane, 1974; Love Dance, 1975; The Woody Shaw Concert Ensemble Live at the Berliner Jazztage, 1976) groups Shaw's concert ensemble, which features multiple horns and, in some cases, percussion. The second group of recordings (Cassandranite, 1965; Little Red's Fantasy, 1976; Iron Men, 1977) feature the trumpeter's chosen collaborators as a quintet. The third group (Setting Standards, 1985; Solid, 1986; Imagination, 1987) includes recordings done for Muse Records following his tenure with Columbia. This final group in particular exhibits great maturity and refinement from Shaw, exhibiting his innovative approach to the standard repertoire and to more traditional elements of the music.

CHRISTIAN MCBRIDE TRIO - OUT HERE

With Out Here, premier bassist Christian McBride's fifth recording on Mack Avenue Records, McBride introduces his latest working group: a trio, fully embracing (at the soon-to-be age of 41) his role as standard-bearer and mentor. Pianist Christian Sands and drummer Ulysses Owens, Jr. - both younger, emerging artists - have been performing with McBride's smallest group for about three years, honing their trio conception to a fine point of expressive depth and nuance with select performances around the world.

"It's a pretty diversified trio," says McBride descriptively. "The real core foundation is hardcore swingin,' blues and the American Songbook. Part of that is because Christian [Sands] is so well-rounded and willing to go to so many places, that I can't help but want to swing hard with him and Ulysses." McBride, however, thought he'd never helm a jazz trio.

When he hit the jazz scene like a comet at age 17, McBride's huge, woodsy sound and precocious agility invited comparisons to the legendary bassist Ray Brown. The late jazz bassist was not only renowned for performing on classic jazz dates with modern greats from the 1940s onward, but also for his central role in trios led by Oscar Peterson as well as his own stellar trio ensembles afterward. Once McBride recorded with Brown as a member of the early '90s group Superbass, the association was bound to stick. He loved Brown as a mentor and father figure, but avoided leading a trio because of the inevitable comparisons.

Helming a trio was the furthest thing from McBride's mind - until an Inside Straight appearance in 2009 became a trio date due of the absence of saxophonist Steve Wilson and vibraphonist Warren Wolf. But instead of calling for replacements for two members of Inside Straight, he opted for expedience and played the gig with pianist Peter Martin and drummer Ulysses Owens, Jr..

Out Here is McBride's 11th recording as a leader. Since the early 1990s he has recorded on over 300 dates as a sideman. Aside from relatively recent travels with Pat Metheny; Chick Corea, Roy Haynes, John McLaughlin and Kenny Garrett; the Monterey Jazz Festival on Tour - 55th Anniversary; and residencies and artistic leadership roles with organizations ranging from New York's 92nd St. Y and Jazz House Kids to NJPAC, McBride has toured consistently for several years with his own quintet, Inside Straight. He also fronts the Christian McBride Big Band, whose Mack Avenue recording, The Good Feeling, won the GRAMMY® Award for Best Large Jazz Ensemble Album in 2012 - his third GRAMMY® win overall.

Owens has been a mainstay in McBride's groups of late. He has regularly subbed for Carl Allen in Inside Straight and is the drummer for the Big Band. "Ulysses and I have a closely formed musical relationship, where we know one another's time and feel very well," McBride says. "I think he's picking up the tradition after Lewis Nash. I love his combination of technique and artistry."

McBride had his eye out for Sands ever since hearing him on Marian McPartland's National Public Radio "Piano Jazz" program. "I knew he was a student of Dr. Billy Taylor's. But when I heard him he floored me. It was amazing hearing an 18-year-old really dealing with the tradition. He had his technique together, and all his tempos - ballads, medium, bebop. Plus he played the blues and could get esoteric too. I thought: finally, a young player who has all of the language. It was such a relief."

Considering the tendency of many young players to focus on complex rhythms, baroque technique, and being different for the sake of difference, hearing these three gentlemen explore jazz fundamentals with such wonder, drive and sensitivity serves as a welcome antidote. "My trio seems to be an anomaly these days," says McBride. "I find myself, when listening to young guys on the scene, it's very musically clever, but I'm not feeling that kind of soul satisfaction that I felt at one time. There was a time when the young guys took pride in paying tribute to the masters but still keeping their own identity and remaining within their own generation."

With Sands and Owens, McBride exhales with relief since they play the full spectrum of the music at will. Out Here opens with "Ham Hocks and Cabbage," a flowing, feel-good, down-home blues with intro by Sands and melody by McBride. Oscar Peterson's "Hallelujah Time" is a praise song to the divine taken up-tempo, with rejoicing solo turns by McBride on bow; and Sands, who trades eights with Owens before the trio closes with panache. An even faster tempo emboldens their reenactment of the Ahmad Jamal trio arrangement of "Cherokee," alternating a waltz tempo with jet-speed precision rarely attempted since the glory days of bebop. Owens especially shines here, demonstrating a range of brush and stick work worthy of envy.

Wistful memories inspirit "I Guess I'll Have To Forget," originally recorded on McBride's Sci-Fi date in 2000. On that recording, McBride says the song had "all these detours and side roads to it. I brought it back this time for some variety, to break up the mood and atmosphere. The way the song is played now is actually the way I originally wrote it: very simple, something that a vocalist could write lyrics to."

Dr. Billy Taylor's "Easy Walker" is taken at what McBride calls a "grown-folks tempo," what with a deep-in-the-pocket, no-rush flair and the luxuriant insouciance of swing. "My Favorite Things" is performed in 5/4, and is the most experimental number. "We let our imaginations run wild," he says. "It's a song that everybody knows so we wanted to do something different so folks won't tune out."

Tuning out is no option on other standards present. "Most of the standards that inspire me come from Frank Sinatra," admits McBride, regarding "East of the Sun, (and West of the Moon)." He adds Ella Fitzgerald, Nat King Cole and Carmen McCrae to the array of vocal lights he turned to when he "really started listening to singers. They understood the beauty of simplicity; they sing the story the way the writer intended. They don't put their own artistic expression before the story."

Sinatra's version of "I Have Dreamed" from The Rat Pack: Live at the Sands recording in 1963 was the longing spark for his heartfelt, bowed interpretation of a memorable song from The King and I. The closing number, "Who's Making Love," features McBride's tributes to Johnnie Taylor and, humorously, to Robert Wilson of The Gap Band. It's also the trio's nod to McBride's roots in soul and R&B. "My bone marrow is soul music. I never had to learn how to play soul music or R&B as I did for jazz and classical music."

McBride's talent and mark on the music scene transcend genre, so he's no longer under Ray Brown's shadow. And on this recording, his trio hits a jazz sweet spot. For listeners of Out Here, the result is music for the soul.

Upcoming Christian McBride Appearances:

Christian McBride + Inside Straight:
June 20 / The Int'l Festival of Arts & Ideas - Elm Street Stage / New Haven, CT
June 21 / Xerox Rochester Int'l Jazz Festival / Rochester, NY
Dec 27 / Teatro Duse via Cartolleria, 42 / Bologna, Italy
Dec 28, 2013 - Jan 1, 2014 / Umbria Jazz Winter  Teatro Mancinelli Corso Cavour, 122 / Orvieto, Italy

Christian McBride Big Band:
Aug 31 / Curacao North Sea Jazz Festival- Celia WTC / Netherlands Antilles
Nov 9 / 2nd Annual James Moody Democracy for Jazz Festival / Newark, NJ
Jan 7-12, 2014 / Village Vanguard / New York, NY
Janu 21 / University of Texas - Austin Bass Concert Hall / Austin, TX

Christian McBride Trio:
May 23 & 24 / 92nd Street Y - Kauffmann Concert Hall / New York, NY
May 30 / Venue 505 / Sydney, Australia
June 1 - 3 / Melbourne International Jazz Festival / Melbourne, Australia
Oct 22 - 27 / Dizzy's Club Coca-Cola / New York, NY
Oct 30 / Festival Miami at Frost School of Music / Coral Gables, FL
Jan 14-19, 2014 / Village Vanguard / New York, NY
Feb 19 - 22 / Jazz at the Bistro / St. Louis, MO
Feb 23 / Murray's / Columbia, MO
Mar 5 & 6 / Fort Lewis College - Community Concert Hall / Durango, CO
Mar 7 & 8 / Dazzle Restaurant & Lounge / Denver, CO

Special Appearances:
* Sept 6 / University of Maryland - Clarice Smith Performing Arts Center - Dekelboum Concert Hall / College Park, MD
Monterey Jazz Festival On Tour: 55th Anniversary - Various Dates / Various Venues / Various Cities
^ Chick Corea And The Vigil - Various Dates / Various Venues / Various Cities
*= Christian McBride's The Movement Revisited with Big Band and Choir.
^ = Indicates Christian McBride on select dates only.

Christian McBride Trio· Out Here will be release on Mack Avenue Records on August 6, 2013. McBriddes other recent release Christian McBride + Inside Straight: People Music, is out now.

ANTHONY GOMES ...BEFORE THE BEGINNING

With his latest album, "...Before The Beginning", Anthony Gomes offers a powerful collection of unplugged compositions, promising to be the artist's most compelling work to date. "On this CD I wanted to show that there is more to our music than loud, ripping guitars. By stripping everything down, we could feature the voice and songs. I wanted to capture the spirit of the old field hollers and get back to where the music came from," says Gomes, "We only used acoustic instruments - drums, piano, acoustic guitars and acoustic bass. The most powerful of all the acoustic instruments is the human voice. When you put the harmonies in there, it's just soul shaking."

Born in Toronto, Canada to a Portuguese father and a French-Canadian mother, Gomes began playing guitar in his early teens and was drawn to the blues sounds of B.B. King, Buddy Guy, Eric Clapton and Jimi Hendrix. While he honed his skills in the blues bars at night, Gomes earned a master's degree from the University of Toronto focusing on the racial evolution of blues music. He relocated to Chicago in the late '90s to learn from the blues masters. During his brief stint as a sideman for Magic Slim and the Teardrops, Gomes put together his own group and won the first annual Buddy Guy's Legends "Best Unsigned Blues Band" competition in 1998. Later that year, Gomes released his debut CD, "Blues in Technicolor", which introduced him as a guitar-slinger loaded with impressive firepower.

On 2002's "Unity", he accomplished the album's title with a heavy mix of styles leading Bandit Blues Radio to name it one of the Top 30 Essential Blues CDs of all time. Gomes was elevated to the top of the blues field just one year later when BluesWax Magazine named him “Artist of the Year,” an award he would claim for several years in a row due to his endless commitment and touring. "Music Is the Medicine" (2006) peaked at number four on the Billboard Top Blues Albums chart, only to be outdone by 2008's "LIVE" debuting at number one. Last year, Gomes received critical acclaim for his release of "Up 2 Zero". The album claimed “Best Blues CD of 2012” (A1 Blues.com) and “Best Blues Rock CD of 2012” (Blues Underground Network). Art Tipaldi, Editor of Blues Revue, declared Gomes “at the forefront of modern blues.” Anthony recently climbed to the number one position on Reverbnation’s Global Blues Chart.

Instead of following up with more of the same, Gomes boldly steps back to deliver an acoustic recording showcasing his vocals, songwriting, and acoustic guitar work. “I feel like this is my most soulful release to date. The album has a lot of weight to it. The theme is the cycle and circle of life.” The disc opens with the title track, “…Before The Beginning,” a stirring field holler equally rooted in the gospel tradition as it is the blues. Gomes follows with the upbeat “Blues Is Good” and the powerful first single “Lady Soul”. “The song was written about Aretha Franklin and how her music helped me get through some tough times. She really has been a light when the world can sometimes get dark,” says Gomes. The album includes the haunting slow blues of “Rescue Me,” the inspiring “Love Is Everything,” and the ominous “Sinner’s Song.”

The CD features another first for the singer-songwriter – his first recorded duet. “I wrote this song called "Let’s Fall in Love" and I thought it would work best as a duet. My favorite singer is Minnie Murphy from Nashville, and I thought she’d be perfect for the song. I am delighted she agreed to sing on the CD.” With the exception of three co-writes, Gomes penned the album in its entirety; a gesture he feels gives his listeners a direct line to himself as an artist. The most personal tracks on the CD are “Golden Wings” and “Beautiful Goodbye.” The former was inspired by Gomes’ survival of a massive vehicle fire while on tour this past fall, and the latter chronicles the last conversation between the bluesman and his grandmother. “My grandmother took sick when we were on the road in the middle of Montana. There was no way I could get to an airport quick enough to fly and see her. We talked on the phone and when we said good-bye we both knew it would be last time we’d speak. The world stood still for a moment.”

Releasing an acoustic album is a gutsy move for Gomes who is seen in the music community as a high energy blues rocker. The artist, however, believes that the source of the blues comes from the same place, regardless of presentation. “Musically, most people try to look ahead for inspiration, seeking out the latest cutting edge soundscape. I seem to go in the opposite direction. In awakening the sounds of Muddy Waters or Robert Johnson, I hear the future of the blues tradition. This time, we went way back. This album is so yesterday, that it’s today.”

http://www.airplaydirect.com/music/bands/41786/index.php

TREVOR ANDERIES - SHADES OF TRUTH

Shades of Truth is 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.

BOB JAMES / DAVID SANBORN - QUARTETTE HUMAINE, TOUR DATES ANNOUNCED

Bob James and alto saxophonist David Sanborn's new album, Quartette Humaine is the first collaboration between the two musicians since their 1986 Platinum-selling, GRAMMY® Award-winning album, Double Vision. Despite Double Vision's commercial success, James/Sanborn never toured. With Quartette Humaine, the pair will tour for the first time, embarking on a 23-city North American run (tour dates listed below). The tour kicks off at Town Hall in New York on June 6.

It's a poignant coincidence that the recording sessions occurred a week after the death of the iconic pianist composer Dave Brubeck, who the protagonists were thinking of as they gestated Quartette Humaine. On their second go-round, the old masters eschew the pop and R&B production values that mark large chunks of their respective discographies, and offer instead an all-acoustic, straight-ahead jazz quartet recital consisting of four new compositions by James (one directly inspired by Brubeck's famed "Blue Rondo à la Turk"), three pieces by Sanborn, and two James-arranged covers. Propelled by legendary drummer Steve Gadd and 21st century bass giant James Genus, the proceedings are reflective, swinging, chock-a-block with unfailingly melodic improvising and beautiful tonalities

Bob James & David Sanborn - Quartette Humaine North American Tour:
June 6 / Town Hall / New York, NY
June 8 / Fraze Pavillon / Kettering, OH
June 9 / Capital Jazz Fest / Columbia, MD
June 14 / Rotary Amphitheatre / Fresno, CA
June 15 / Thornton Winery / Temecula, CA
June 16 / Playboy Jazz Festival / Los Angeles, CA
June 17 / SFJAZZ Center / San Francisco, CA
June 19 / Schermerhorn Symphony Center / Nashville, TN
June 20 / Jazziz Night Life / Boca Raton, FL
June 21 / Plaza Live / Orlando, FL
June 22 / Palladium Theater / St. Petersburg, FL
June 24 / Ottawa Jazz Fest / Ottawa, ON
June 25 / Toronto Jazz Fest / Toronto, CA
June 26 / Chene Park / Detroit, MI
June 27 / Rochester Jazz Fest / Rochester, NY
June 28 / Keswick Theatre / Glenside, PA
June 29 / Freihofer's Saratoga Jazz Fest / Saratoga, NY
June 30 / Hampton Jazz Fest / Hampton, VA
August 24 / Mountain View Plaza / Snoqualmie, WA
August 25 / Esther Short Park / Vancouver, WA
October 24 / St. Cecilia Music Center / Grand Rapids, MI
October 25 / Manchester's Craftsman's Guild / Pittsburgh, PA
October 27 / The State Theater / New Brunswick, NJ

STEVE LINDEMAN WITH BYU SYNTHESIS - THE DAY AFTER YESTERDAY

Steve Lindeman's distinctive approach to modern big band composing is on ample display on his impressive debut CD, The Day After Yesterday, to be released by Jazz Hang Records on June 11. The Brigham Young University professor's originals are performed by BYU's Synthesis under the direction of Ray Smith, who also produced the album.

Nearly all of the compositions on the stylistically far-reaching disc had their genesis in Lindeman's participation, from 2008 through 2011, in the BMI Jazz Composers Workshop. Commuting to New York from his Salt Lake City home twice a month during that three-year span, Lindeman impressed Workshop Director Jim McNeely with his steely commitment -- and the depth of his talent. "It's been a pleasure to know Steve and see him develop into a jazz composer with a unique voice," says McNeely.
Offbeat sonorities and unusual instrumental combinations, episodic shifts, extended silences, and overdubbed vocal choruses are all part of Lindeman's approach, which loses nothing in the way of swinging urgency or harmonic sweetness in embracing what Oliver Nelson called "the abstract truth."

"I'm not a fan of traditional big band music -- it doesn't speak to me," said Lindeman, a late bloomer at 58 whose music reflects an early love for rock artists such as the Beatles, the Doors, and Stevie Wonder, as well as jazz-rock pioneer Chick Corea, whose use of the Fender Rhodes electric piano "opened a door" for him as a keyboardist and composer.

In McNeely, distinguished pianist and composer-in-residence with the Vanguard Orchestra, Lindeman found a kindred spirit. "He was always encouraging experimentation, thinking outside the box, challenging the status quo, while respecting and tipping our hat to the lineage of Gil Evans, Manny Albam, and Bob Brookmeyer," Lindeman said. The rich diversity of sounds at the BMI Workshop "pushed me in a new direction."

Synthesis, recipients of DownBeat magazine's "Top University Jazz Big Band in the Country" award in 2013, have performed extensively on festival and concert hall stages around the world and since 2006 have recorded several albums under their own name, most recently Flyin' High (2011).

CD producer Dr. Ray Smith has been Professor of Saxophone in the Brigham Young University School of Music for over 30 years; he is also the school's Director of Jazz Studies. A member of the BYU faculty jazz quintet Q'd Up (as is Lindeman) and the Utah Saxophone Quartet, Smith is a multi-reed virtuoso who appears as a guest soloist on The Day After Yesterday.

Steve Lindeman grew up in Columbus, Indiana (50 minutes south of Indianapolis) and earned his undergraduate degree at Indiana University, where his teachers included David Baker. He acquired a master's in music theory from Queens College and a Ph.D. in theory and history from Rutgers. Before joining the music faculty at BYU in 1996, Lindeman lived on the East Coast for 20 years, "surviving" musically as a freelance pianist while studying with such distinguished artists as Ronnie Mathews, Kenny Barron, Barry Harris, and Israeli Tamir Hendelman. He started out composing for small ensembles, and thanks to BYU, which funded his trips to the BMI Workshop as well as the recording of The Day After Yesterday, he has attained his dream of becoming a full-fledged jazz large ensemble artist.

Lindeman's musical outlook has been strongly shaped by the Salt Lake City lifestyle and the natural beauty that surrounds him there. "The pace of life is much slower here than in New York," he said. "Looking across the salt flats, which I've done a lot with all my commuting, you can't help but absorb the pastoral quality of life out here. That is certainly reflected in my compositions -- in the sustained chords, for example, and the long silences and rests."

Steve Lindeman and Synthesis will be performing a CD release concert on Saturday 6/15, 7:30 pm, at the Varsity Theatre, Wilkinson Center, Brigham Young University in Provo. Lindeman will be appearing with Synthesis on Hammond B-3 organ, and conducting part of the concert.

www.stevelindemanmusic.com

KATHY YOLANDA RICE / PHILIP MICHAEL THOMAS - FLESH OF MY FLESH

Kathy Yolanda Rice's newest single, "Flesh Of My Flesh", drops May 21st, and features an R&B/gospel duet with the internationally renowned television, film, and Broadway star Philip Michael Thomas. While Thomas is most widely recognized for his roles as Ricardo Tubbs in Miami Vice and Stix in the movie Sparkle (Irene Cara), he is also a talented composer, multi-instrumentalist, and vocalist. Kathy Yolanda Rice and Philip Michael Thomas tell a wonderful love story in this powerful duet. Their voices create a magical blend that beckons the listener to make an emotional connection to each romantic note in this beautiful love song. Accompanied by Kelvin Wooten’s Cool Jazz/Gospel/R&B track, their unique sound excites the soul and spirit! This anointed love song will cause you to fall in love over and over again, renew your vows, and keep your commitment to your significant other!

Rice's single, "Love Is Like a Sunny Day", released February 22nd on the Paintbrush Records label, is still climbing the charts. The song garnered spots on five CD Baby Charts after its release, and is still one of the top rated singles in the Jazz/Cool Jazz category. It is also finding success overseas, moving up from the 9th position to the 7th on the May 12th UK Soul Chart. "Love Is Like a Sunny Day" was co-written with Gary Swann and produced by the musical heavyweight and Grammy nominated Kelvin Wooten, who has generated hits for Anthony Hamilton, Jill Scott, Erykah Badu, and Kelly Price.

Rice is far from a novice in the music industry, having composed and produced her 10 track debut album, "After All These Years" in 2004. Born and raised in the cosmopolitan city of Huntsville, Alabama, her talent was recognized early. She began studying piano at age 6, and followed up with formal voice training at age 12. Rice received her B.S. in Music Education from Alabama A&M University. After establishing her own label in 2004, she continued to compose and record. Rice embarked on several high profile projects and collaborations in 2012. In February, she joined a lineup of prestigious women musicians on the Bobby Pin Diaries movie soundtrack, featuring her up tempo tune, "I've Gotta Find a Love". In August, Rice was the lyric soprano for the recording of the Walter Hawkins remake of "Jesus Christ Is the Way", by Nuove Mystique, which was later released by Warner Music Group. She was also a featured artist on the Women in Jazz: South Florida Volume III compilation CD, which was released in December 2012.

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BOB MOVER - MY HEART TELLS ME

Bob Mover has attracted generations of listeners with his versatility, emotional depth and technical command on alto, tenor and soprano saxophones. Through his sideman stints with such legends as Chet Baker, Charles Mingus and Jaki Byard, and his work as a leader since the mid-'70s, Mover has attained the highest level of individuality and authority on his instruments - not just mastering the saxophone lineage but also claiming a place of honor within it.

Born in Boston, Mover relocated to Florida at age 12 and took up the horn the following year. At the age of 13, Mover came under the influence of Ira Sullivan, who he remains close friends with to this day. After leaving high school at the age of 17 to pursue his career, Mover bypassed a more traditional route of attending a music conservatory or arts-focused school. Instead, he studied with highly regarded jazz veterans such as Phil Woods, Al Cohn, and Richie Kamuca. While still a teenager, Mover had already sat in at the old Half Note in New York with the likes of Roy Eldridge, James Moody, and Zoot Sims, and others. In recent years Mover has also cultivated a sound and style as a vocalist, as heard on his 2008 release It Amazes Me... Following up that strong effort on his new two-disc release My Heart Tells Me, Mover divides his time between two different but closely related aesthetics.

Disc one showcases Mover singing a set of deeply soulful yet unaffected standards (the one instrumental is Cole Porter's "Get Out of Town"). Disc two is wholly instrumental (save for the Kenny Dorham ballad "Fair Weather"), with trumpet and occasional second tenor added, and the tunes are mainly Mover's own. This vocal/instrumental set follows in the spirit of Mover's one-time cohort, Chet Baker.

"I consider myself a musician who sings, as opposed to a singer," says Mover. "On my previous record I sang about six out of 11 tunes, but in a performance I'll sing only two or three tunes in a set. I find that singing opens my heart chakra - I'm even more connected to the music by actually conveying the lyrics."

Mover's singing, with its unique mix of passion and restraint, brings out the beauty in this songbook material from Porter, Ray Noble, Harry Warren, Michel Legrand, Dietz & Schwartz and more. "I don't feel the need to embellish a lot vocally," says Mover. "I can do that on the horn, but one thing I can't make it do is pronounce words."

A highlight of disc one is the title track, "My Heart Tells Me," from the 1943 film Sweet Rosie O'Grady starring Betty Grable. "I was made aware of this song by my friend [pianist] Tony Castellano - we'd play with Ira Sullivan as a trio and we'd go through 50-60 songs in maybe five or six hours. Tony found this and he showed it to me."

Two pieces, "Gone With the Wind" and "You've Changed," feature Mover in a compelling duo setting with the great Kenny Barron. "Everything's always there with Kenny," Mover says. "You can always rely on him to play great and help everyone else play great. The first time I heard him live was in 1964. My mom took us out to the Village Gate and we heard him with Dizzy Gillespie. I was impressed because he was only 19 or 20, and I was 12 or 13. He was still kind of in my same generation."

"Penthouse Serenade (When We're Alone)," by Will Jason & Val Burton, is a contemplative song about love in New York City. Mover originally called his dear friend Sonny Rollins suggesting that he play it, and recalls singing it on the phone together, and Rollins saying, "Nice song, and nice sentiment. Why don't you play it." Mover took up the challenge, opening with a vibrant cadenza, somewhat reminiscent of Rollins, before the ballad tempo kicks in. "It's a humble song," he remarks. "I like the idea of thanking something bigger than you for being as happy as you are."

The one vocal number on disc two is "Fair Weather" by hard bop trumpet legend Kenny Dorham. "There are love songs, but occasionally there are 'life' songs. This one captures KD's approach to life, that the human race could achieve a certain idealistic state of being," explains Mover. Mover spent much of the summer of '69 learning from Dorham, as well as pianist Wynton Kelly, saxophonist Charles Davis, and vocalist Evelyn Blakey. "KD and Wynton used to show me turnarounds and 'passing' changes, how there were chords that weren't on the sheet music and how they could be put in. I learned in 40 minutes what would have taken three years at a university. KD didn't live long enough for me to really thank him. Putting this song in the world now is my way of trying to do that."

The presence of trumpeter Josh Evans on disc two signals a different, more band-oriented direction. "I heard Josh in Washington Square Park when I was pushing my daughter on the swing," Mover says. "I heard a trumpet from the other end of the park and I wanted to see who this guy was. I could hear Art Farmer and Don Cherry and everything in between, but Josh told me his biggest influence was Jackie McLean, having grown up in Hartford and having known Jackie since he was in his early teens."

Three tracks on disc two, "Fair Weather," "Survival of the Sickest" and "Sweet Basil," feature Mover and Evans with second tenor saxophonist Steve Hall, creating a more expansive horn-section sound. "Steve's a unique player and a very creative and dedicated guy, so I wanted to give him some space and hopefully let the world know him a little better."

"Sweet Basil," based on "Cherokee" and first recorded for the 1979 Vanguard LP Bob Mover (also featuring Barron on piano), is named for the long-defunct Greenwich Village jazz club where Mover played regularly in the '70s. "Survival of the Sickest" is inspired by harmonic nuances learned at the feet of the great Jaki Byard. "Chet's Chum," as Mover explains, "is a line that I wrote based on 'Sweet & Lovely,' there's an airiness about the tune that brings memories of Chet to me." And "Dee's Dilemma," though written by the late Mal Waldron, "is a tune that I learned with Chet," Mover continues. "Both of these tunes have a counterpoint element in the blowing, which is something that Chet liked to do and still hasn't been overused in jazz."

Tying all the music together on bass is Bob Cranshaw. "Bob is the complete bassist. He has the right space between the notes, he hears all the changes, he can feel your lines heading in a certain way and knows where the musical gravity is going to land," explains Mover. "Drummers Steve Williams and Victor Lewis are both players of deep swing and rare sensitivity. Williams and Cranshaw, having worked with so many singers, both know a lot of the lyrics. So when you're singing, you really feel that they're breathing with you."

From beginning to end on My Heart Tells Me, Mover invites us to breathe with him as well. In the words of Chuck Berg, writing in DownBeat magazine, "Mover's music rings with a profundity that speaks to both heart and mind."

Release date: June 11, 2013