BLIND BOYS OF ALABAMA ANNOUNCE NEW RELEASE - I'LL FIND A WAY - DUE IN OCTOBER 2013

Sony Masterworks has announced the release of the Blind Boys of Alabama's new album, I'll Find a Way, produced by Justin Vernon (of Bon Iver) and available on October 1^st, 2013.  A unique collaboration between one of popular music's longest-running acts and one of its fastest-rising stars, it is a powerful collection of gospel and spiritual songs new and old, featuring some of the Blind Boys' most fervent vocals as well as contributions by a new generation of Blind Boys fans - Sam Amidon, Shara Worden of My Brightest Diamond, Merrill Garbus of tUnE-yArDs, Casey Dienel of White Hinterland, Patty Griffin, and Justin Vernon himself.

 

I'll Find a Way represents a strong new chapter for the Blind Boys of Alabama, whose career stretches back more than seventy years. Formed in the late 1930s at the Alabama Institute for the Negro Blind in Talladega, the group has harmonized throughout the turbulent twentieth century and well into the twenty-first: from Jim Crow through Civil Rights and into the Obama era. They have, however, enjoyed some of their biggest and most rousing successes in the last ten years, during which they've won five Grammys, four Gospel Music Awards, and multiple invitations to sing at the White House.

 

For I'll Find a Way, their ninth studio album of the twenty-first century, the Blind Boys of Alabama - which includes Jimmy Carter, Eric 'Ricky' McKinnie, Joey Williams, Tracy Pierce, Ben Moore, and newest addition Paul Beasley - decamped to the wintry wild of rural Wisconsin to record at Vernon's April Base studio. Known primarily for his work in the indie and folk realms, the Bon Iver frontman proved a perfect fit to work with the Blind Boys, exhibiting a deep knowledge and appreciation of gospel music.

 

Vernon and old friend and band mate Phil Cook (Megafaun, The Shouting Matches) corralled a lively backing band for the album and hand-picked a range of songs for the Blind Boys to sing. Some numbers, such as "Take Your Burden to the Lord And Leave It There," have been sung for nearly a century now, while others, like "I Am Not Waiting Anymore," were penned only a year or two ago. The result of this unique collaboration is a collection of rousing tunes that address life's most desperate hours but also savor the triumphs and reassurances of faith.

 

One of the band's own stories of trial and triumph involves Clarence Fountain, a founding member of the Blind Boys and the group's leader for many decades. Serious health problems requiring weekly kidney dialysis have prevented him from touring with the other members of the group. When he couldn't travel to the Wisconsin sessions, the Blind Boys found a way to include him on the album, recording his robust bass vocals in Birmingham and adding them to the mix.

 

"That's an important part, that bass under everything," explains Carter, the group's current leader and standout tenor. "He gave those songs a true Blind Boys bottom. We wouldn't want to do a Blind Boys project without including Clarence. He will always be a Blind Boy even if he's not out on the road with us."

 

A strikingly and confidently diverse album, I'll Find a Way features an array of guest vocalists representing a whole new generation of artists who find contemporary musical inspiration in America's gospel past. The daughter of two musicians who played in a Pentecostal church, Shara Worden of Detroit-based My Brightest Diamond lends her soaring voice to the title track (originally written and recorded by the Motown session musician Ted Lucas). Casey Dienel of White Hinterland sings lead on the Blind Boys' glorious cover of the Chi-Lites' "There Will Never Be Any Peace (Until God Is Seated at the Conference Table)," whose luxuriant string arrangement has been replaced with a stoical beat, quietly ascending keyboard theme, and stirring saxophone solo courtesy of Minneapolis musician Mike Lewis.

 

In addition, I'll Find a Way features cameos by Merrill Garbus of tUnE-yArDs ("I've Been Searching," whose lilting reggae rhythms make it the album's most adventurous track), Patty Griffin (the barn-burning closer,"Jubilee"), and Sam Amidon (a spiritual version of the band Field Report's song, "I Am Not Waiting Anymore"). Another highlight is the cover of Bob Dylan's "Every Grain of Sand," which is recast as a soul-searching duet between Carter and Vernon. "Jimmy and I are coming from such different places," says Vernon, "and yet we're singing about the same thing. There are two perspectives in that song, and they're colliding."

 

Whether backing up a guest artist or tearing through an old gospel standard, the Blind Boys show their inimitable range throughout I'll Find a Way, starting with the very first track, a cover of "God Put a Rainbow in the Cloud." The song is a country music chestnut, best known as a hit for Kitty Wells, yet Carter, an avowed fan of country music, knows the song through legendary bluegrass picker Ralph Stanley. "I Shall Not Be Moved," an anthem during the Civil Rights movement and, in Cook's view, "the trunk of the gospel tree," stomps nimbly, thanks to the Blind Boys' spry vocals and the studio band's crackling country-gospel accompaniment. "Take Your Burden to the Lord And Leave It There," a tune penned by the African American minister and composer Charles A. Tindley, jogs by on a light shuffle, as though newly relieved of all woes and worries. It recounts not the arduous journey to salvation, but the ecstatic relief of finding it.

 

The centerpiece of I'll Find a Way, however, may just be "Take Me to the Water," featuring newest Blind Boy Paul Beasley. Based on a performance by Nina Simone (one of Vernon's favorite artists), this version features a steady pace and a rich bed of harmonies, as Beasley pleads and testifies gloriously in his stately falsetto. Just days before this recording, he had made his live debut with the Blind Boys, but initially had some trouble with this tune. After some encouraging words from Carter, Beasley not only nailed a heart-stopping performance, but reduced everyone in the control room to tears. What you can't hear on the final version is his small audience erupting into shouts and applause on the other side of the glass.

 

Just as "Take Me to the Water" moved the musicians to tears, so too will this album move the listener. This is the exuberant power of gospel music, which requires its performers to give themselves wholly to the songs. The Blind Boys have been doing that for nearly three-quarters of a century now, and even into their seventies and eighties - despite all obstacles - they don't plan to stop any time soon.

 

"It's not just singing," explains the 82-year-old Carter. "We're bringing the message to the people, and that message is the good news of God. We sing from the heart, and what comes from the heart reaches the heart. If you have any feeling in you, you will feel the Blind Boys."

 

Tracklisting:

1. God Put A Rainbow In The Cloud
2. I'll Find A Way (To Carry It All) feat. Shara Worden of My Brightest Diamond
3. I Am Not Waiting Anymore feat. Sam Amidon
4. I Shall Not Be Moved
5. Take Me To The Water
6. I've Been Searching feat. Merrill Garbus of tUnE-yArDs
7. There Will Never Be Any Peace (Until God Is Seated At The Conference Table) feat. Casey Dienel of White Hinterland
8. Take your Burden To The Lord And Leave It There
9. Every Grain Of Sand feat. Justin Vernon of Bon Iver
10. My God Is Real
11. Jubilee feat. Patty Griffin

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NEW RELEASES - DJ NORI SALSOUL MIX, PHILLY REGROOVED 3, BAKER HARRIS YOUNG

DJ NORI SALSOUL MIX - BACK TO MY ROOTS (VARIOUS ARTISTS)

DJ Nori's got some mighty hip roots – a rich array of funky inspiration provided by the legendary Salsoul label – served up here by Nori in a collection that includes a good number of rare mixes from the vaults! Nori leaves most tracks intact – never cuts them up too much, and allows some of these brilliant club mixes to really run their course before sliding into another tune – a good thing, too – given that some of these versions are ones you'd be hard-pressed to find elsewhere! The set features 13 cuts in all – including "Step Out Of My Dream (Shep Pettibone 12" dream version)" by The Strangers, "You've Got That Something (Greg Carmichael & John Morales 12" version)" by Logg, "Here's To You (12" version)" by Skyy, "By The Way You Dance (unreleased Larry Levan 12" mix)" by Bunny Sigler, "Sweet Dynamite (Tom Moulton version)" by Claudja Barry, ""We're Getting Stronger (Walter Gibbons 12" rmx)" by Loleatta Holloway, "Love Is Still Blue (orig 12" version)" by Paul Mauriat, "212 North 12th" by Salsoul Orchestra, "How High (orig 12") by Salsoul Orchestra, and "Boogie's Gonna Get Ya (Francois K 12" inst)" by Rafael Cameron. ~ Dusty Groove

PHILLY REGROOVED 3 TOM MOULTON REMIXES: MORE FROM THE MASTER (VARIOUS ARTISTS)

Sublime sounds from the Philly master – a fantastic set of new mixes by the legendary Tom Moulton – all done with older tunes from the 70s, in a way that take the grooves even farther than before! Moulton was on hand when most of these tracks were released, so he's already got a mighty keen knowledge of their changes and charms – and here, he goes back to the tapes and completely recuts things in a way that almost offers up an alternate version of the 70s – not schlocky contemporary mixes, or attempts to modernize the music – but instead a style that makes you feel like you've unearthed a whole box of unissued tapes from the Sigma Sound Studios. The massive 2CD set features 18 gems that include new mixes of "Got To Get You Back" by Sons Of Robin Stone, "I'm Doin Fine Now" by New York City, "Making Love Ain't No Fun" by The Ebonys, "Could It Be I'm Falling In Love" by The Spinners, "I Just Can't Say Goodbye" by Philly Devotions, "When The Game Is Played On You" by Bettye Swann, "I Can't Fight Your Love" by The Modulations, "Look Me Up" by Blue Magic, "Babe" by Loose Change, and "Jack In The Box" by David Morris Jr. ~ Dusty Groove

RON BAKER / NORMAN HARRIS / EARL YOUNG - BHY

Ron Baker, Norman Harris, and Earl Young – one of the greatest rhythm sections in Philly soul of the 70s – stepping out here on an amazing album of their own! The record's got a great pedigree right out of the gate – given that Norman Harris had already arranged some of the best Philly grooves for other singers – and that the trio had played on countless sessions at Sigma Sound – and the group really live up to the strength of their legend by serving up some of the funkiest club of the Salsoul generation – tracks that really bristle strongly with all the right instrumental touches. There's a bit of vocals on the records, but mostly in a chorus mode – and the main focus is on the way the rhythms and instrumentation step and soar strongly. Titles include "Come As You Are", "Handle Me With Love & Care", "Touch Me While I'm Touching You", and "Opus BHY". CD features a bonus track – "Come As You Are (12" disco mix)".  ~ Dusty Groove

NEW RELEASES - TRES CHIC! MORE FRENCH GIRL SINGERS FROM THE 1960S

TRES CHIC! MORE FRENCH GIRL SINGERS FROM THE 1960S (VARIOUS ARTISTS)

Groovy gals from 60s France – a power-packed array of Parisian pop nuggets that goes way beyond most other compilations of this nature! Some of the big names are here, but there's way more obscure numbers too – the cool kind of French femmes that made a bit splash during the "yeh yeh" generation, with a mix of the rough and the sweet that few other girl singers could ever hope to touch! There's a really special mod sort of energy here – vocals that push out strongly, yet never succumb to emotional cliches of American and British singers – and backings that are always tight and groovy, but in a jaunty, jerky way that's quite different than straight ahead rock. The mix of modes is completely sublime – just the sort of music that still really sends us after all these years – and titles include "J'Ai Des Problemes Decidement" by Violaine, "Hymne Au Soleil" by Pussy Cat, "Attends Ou Va-T'En" by France Gall, "La Fermeture Éclair" by Delphine, "Comme Tu Es Jeune" by Liz Brady, "Sous Le Soleil Exactement" by Anna Karina, and "Ecoutez" by Elsa.  ~ Dusty Groove

TRES CHIC! MORE FRENCH GIRL SINGERS FROM THE 1960S (VARIOUS ARTISTS)

Groovy gals from 60s France – a power-packed array of Parisian pop nuggets that goes way beyond most other compilations of this nature! Some of the big names are here, but there's way more obscure numbers too – the cool kind of French femmes that made a bit splash during the "yeh yeh" generation, with a mix of the rough and the sweet that few other girl singers could ever hope to touch! There's a really special mod sort of energy here – vocals that push out strongly, yet never succumb to emotional cliches of American and British singers – and backings that are always tight and groovy, but in a jaunty, jerky way that's quite different than straight ahead rock. The mix of modes is completely sublime – just the sort of music that still really sends us after all these years – and titles include "J'Ai Des Problemes Decidement" by Violaine, "Hymne Au Soleil" by Pussy Cat, "Attends Ou Va-T'En" by France Gall, "Tomorrow Is Another Day" by Gillian Hills, "Bravo" by Jacqueline Taieb, "Pas De Taxi" by Annie Philippe, "La Fermeture Éclair" by Delphine, "Les Paillons Noirs" by Michele Arnaud, "Comme Tu Es Jeune" by Liz Brady, "Sous Le Soleil Exactement" by Anna Karina, and "Ecoutez" by Elsa.  ~ Dusty Groove 

NEW RELEASES - MARK MASTERS ENSEMBLE, SOIL & PIMP SESSIONS, DIONNE WARWICK

MARK MASTERS ENSEMBLE - EVERYTHING YOU DID: THE MUSIC OF WALTER BECKER & DONALD FAGEN

A tremendous take on the music of Steely Dan – one that doesn't just serve up instrumental versions of these classics, but instead creates whole new themes and sounds based on the originals! All tracks here are penned by the legendary team of Donald Fagan and Walter Becker – but Mark Masters' arrangements really take them to rich new places – almost working like mini-soundtracks for each number – using these complex horn passages and bold tones to transform the songs, almost with a narrative-like power! Of course, it also helps that the group features some excellent players – including Billy Harper on tenor, Tim Hagans on trumpet, Oliver Lake on alto, and Sonny Simmons on English horn – all of whom help shape things strongly. Anna Mjoll sings a bit on the record, but the overall feel is really instrumental – and titles include "Boshisattva", "Show Biz Kids", "Charlie Freak", "Black Cow", "Aja", "Fire In The Hole", "Josie", and "Chain Lightning".  ~ Dusty Groove

SOIL & PIMP SESSIONS WITH RINGO SHEENA - KOROSHIYA KIKI IPPATSU/SPY HIGH

A very cool EP from the mighty Soil & Pimp Sessions – and a set that has the group stepping into a whole new realm of music! The fierce horns and sharp jazzy energy of the combo is still at the core here – but the music takes on a bit more of a classic mode, too – almost a crime jazz sort of vibe, with elements that echo an older Henry Mancini mode – but in ways that still have all the joyous bursting of sound we love from Soil & Pimp! Vocalist Ringo Sheena joins the group on the title track – adding in a soulful sort of swing – and the second track is an instrumental with a Japanese title, followed by a third sweet instrumental – "Spy High". (Special package comes with a surprisingly large fold-out poster too!)  ~ Dusty Groove

 

DIONNE WARWICK - PROMISES, PROMISES

 

Sublime sounds from Dionne Warwick – a classic Scepter Records set produced by Burt Bacharach, who also wrote a good number of the tunes too! Arrangements are by a few different top-shelf studio talents – Don Sebesky, Peter Matz, and Bacharach himself – all in that breathy gentle style that works so well with Dionne's vocals. Titles include "Promises Promises", "This Girl's In Love With You", "Where Is Love", "Who Is Gonna Love Me", "Where Am I Going", "Whoever You Are I Love You", and "Wanting Things". Bonus tracks include "Dream Sweet Dreamer", "Promises Promises (mono single)", "Odds & Ends", "This Girl's In Love With You (mono single)", and "Who Is Gonna Love Me (mono single)".  ~ Dusty Groove

NEW RELEASES - ANTHONY JOSEPH & THE SPASM BAND, HERBIE MANN & TAMIKO JONES, ERIC ALEXANDER

ANTHONY JOSEPH & THE SPASM BAND - LIVE IN BREMEN

Excellent live work from Anthony Joseph & The Spasm Band – and a set that's easily their greatest effort to date! There's a sense of power here that doesn't always come through in the group's studio albums – a mixture both of deep funk in the rhythms and sharp jazz styles in the tenor and flute played by Colin Webster – a "voice" on the record that's almost as strong as Joseph's soulful lead in the lyrics! The rhythms are super-tight – and everything's way more focused than before – but at a level that also lets Joseph and Webster stretch out on their own with more freedom too. Tracks are all long – and titles include "Tanty Lynn", "Heavy", "Griot", "Bullet In The Rocks", "Buddha", "The Engine Room", and "Bird Head Son".   ~ Dusty Groove

HERBIE MANN & TAMIKO JONES - A MANN & A WOMAN

A really unique collaboration between fluteman Herbie Mann and soul singer Tamiko Jones – a vocalist who's always a really special talent, and who has an equally great ear for jazz as well! That style works perfectly here – as the vibe is somewhere between Herbie's Latin and Brazilian-styled sets for Atlantic, and some of the groovier jazz of the 60s – particularly the styles influenced by hip soundtracks of the time. Arrangements are very fresh, and even make familiar tunes pop nicely – thanks to work on the charts from Joe Zawinul, Melba Liston, and Jimmy Wisner. But the really special talent here is Tamiko – who sometimes sings lyrics, sometimes works wordlessly in a really cool mode – on titles that include "A Man & A Woman", "O Barquinho", "It's Time That You Settled Down", "Sidewinder", "Day Tripper", "Sunny", and "How Insensitive".  ~ Dusty Groove

ERIC ALEXANDER - BLUES AT MIDNIGHT

Massive work from tenorist Eric Alexander – a player who never lets us down, and who always manages to sound extra great on expensive Japanese-only sessions like this! The album's got a clear, simple focus that really sums up the classic tone and timing that Alexander brings to his tenor – a style that has him handling the horn at a level that's certainly timeless, but instantly fresh too – that crisp sense of creativity you get when hearing a rare top-shelf jazzman at his best! Of course, the rhythm section does plenty to help Eric find the right space – the perfect trio of Harold Mabern on piano, Nat Reeves on bass, and Joe Farnsworth on drums – all recorded in a way so that the tones of the tunes are incredibly deep and richly soulful. Titles include "Is It You", "Sayonara Blues", "Hittin The Jug", "Dis Here", "Edward Lee", and "Dance With Me".    ~ Dusty Groove 

NEW RELEASES - MUZART, HERB JEFFRIES, PAULA CASTLE

MUZART - MUZART

A tremendous little record from Muzart – upbeat, positive, and wonderfully grooving right from the start – served up in a beautiful blend of club rhythms and righteous soul, all with a sense of precision that we haven't heard this well in years! The vibe here is a bit contemporary, but there's a classic care to the record right from the start – an approach that instantly has the group at the level of major groovers like Incognito or The Rurals – but with a fresh, youthful feel that really befits their look on the cover and their origin! Everything's got a sense of energy and surprise that goes way beyond the usual – a commitment to really make things interesting from the ground up – and not just phone in some soulful message over half-baked grooves. Acoustic elements dance along nicely with electric ones – and titles include "Jukebox", "Oh Yeah", "Long Long Time", "The Great I Am", "Moemedi", "Not In Tha Mood", and "The Party After".  ~ Dusty Groove

HERB JEFFRIES - SAY IT ISN'T SO

One of the best-ever recordings by Herb Jeffries – a smooth-toned jazz singer from the 50s, with a style that's very much in the mode of contemporaries like Al Hibbler or Billy Eckstine, with a nice cheesecake cover too! The backings are what make this set great – as Russ Garcia has crafted some incredibly edgey orchestrations to accompany Herb, much better than the backings that he gets on some of his other 50s sides. The album's a great batch of sad late night love tracks – and titles include "Say It Isn't So", "Glad To Be Unhappy", "The End Of A Love Affair", "I Only Have Eyes For You", "Dinner For One, Please James", and "When Your Lover Has Gone". ~ Dusty Groove

PAULA CASTLE - LOST LOVE

One of the few albums ever cut by 50s singer Paula Castle – a really great vocalist with a sound that matches the best Bethlehem records work of her labelmate, Chris Connor! Castle's got a nicely-composed approach to singing – never too flowery or overdone, yet also never too cool, either – a perfect balance that comes through beautifully with the set's stripped-down backings – just a quartet with Ronnie Selbey on piano, and flute by Sam Most. Most's flute really shades in the tunes nicely – underscoring things with some subtle blue tones that are really great – and titles include "I'm Shooting High", "Yesterday's Gardenias", "Here I Am In Love Again", and "Lost Love". ~ Dusty Groove

NEW RELEASES - MATT ULERY, C ROBERT WALKER, DAORA

MATT ULERY - WAKE AN ECHO

Really great stuff from bassist Matt Ulery – a player with an imagination as rich as his sound, and an artist who's really becoming a force on the scene here in Chicago! Matt works here in that mix of arrangements and freedom used by some of his contemporaries on the left side of the scene – but he's also got a wider vision, too – one that has the longer pieces stretching out with a compositional vision that goes way beyond just small combo jazz – a really wonderful sense of tones, timings, and layers – served up by a quintet that includes Geoff Bradfield on bass clarinet, Marquis Hill on trumpet, Rob Clearfield on piano and accordion, and Jon Dellemyer on drums. The mix of bass clarinet and trumpet is wonderful – all fluttery and shimmery over the blocky rhythms of the group – and the record has a bold sense of energy that never lets up. Titles include "In Every Lonely Chamber", "Coriander", "Over Under Other", "My Favorite Stranger", "Carefree", and "All The Riven". ~ Dusty Groove

C ROBERT WALKER - SOMETHING'S GOING ON

Sweet jazzy soul from C Robert Walker – a really old school sort of vocalist, of the sort we haven't heard emerge this strongly in years! Walker's done work with other groups, and has appeared on some remixes too – but this full album is really a great step forward, and has the vocalist coming across with a classy, sophisticated vibe right from the start – really the kind of depth you might have expected from a major label debut many years back – at a time when the big labels were still dedicated to discovering soul music this great! In addition to mellower moments, Walker's also got a great way with a groover – and really stretches out with a strong sort of charm on the album's upbeat tracks – not really club numbers, but paced at a level that definitely keeps the record fresh. Titles include "Something's Going On", "How Can I", "One Night Stand", "Touch Me", "How Was It For You", "Mind Travelling", "I Can't Get Enough", and "Shame". ~ Dusty Groove

DAORA - UNDERGROUND SOUNDS OF URBAN BRAZIL, HIP=HOP, BEATS, AFRO & DUB

A really excellent little compilation – one filled with great sounds from the Brazilian underground, and a really rich blend of music that goes way beyond the straighter booty-shaking beats you'll find on other collections of this nature! The music here is often much deeper than some of the straight bass and hip hop coming out of the Brazilian charts – and although lots of these cuts do draw on American production influences, the overall presentation is much rootsier – with echoes of the samba soul generation and other great stretches of Brazilian grooves – even when things are somewhat electric overall. The whole thing's a very much-needed push deeper into the contemporary underground in Rio and Sao Paulo – and titles include "Obrigahh" by Doncesao, "Talarico" by Ogi & Stereodubs, "Cada Um Cada Um" by Espiao, "Balboa Da Silva" by Bixiga 70, "Mulato" by Iconili, "Sou De Salvador" by Rodrigo Campos, "Etiopia" by Sambanzo, and "Cala Boca Menino" by Afroelectrico. 2CDs, and 32 cuts in all!  ~ Dusty Groove

KAISER & SEMIH - COMPOSER DUO MUSIC

The Duo started at the end of 2006, when first arranging the original compositions for Sax and Guitar trying experimental visions. Beside being invited to Jazz festivals in Istanbul (2007), Frankfurt a.M. (2008) and Regensburg (2007, 2009) the program was also performed with international guest musicians during small club tours in Germany, Turkey (2007-2010) and Spain (2008).

Matthias Kaiser stayed after finishing music- and music therapy- diploma studies in Munich (1988) and Würzburg (1994) for two years in Boston, USA, where he continued his jazzstudies. For this, he was decorated before with one of the highest scholarships for german applicants at the "European Scholarship Tour 1994" of the Berklee College, Boston, USA.  Numberless performances since 1986, diverse compositions, arranging- and teaching activities, as well as personal lections from sax giants such as f.e. Rick Keller and George Garzone enable him to create from a variety of musical funds.

Semih Yanyali works with many different groups and projects where he realizes influences of his oriental and western musical background in an astonishing new manner. Both the respected turkish jazz critic Sevin Okyay and also the famous bass player Benny Rietvelt (Miles Davis, Carlos Santana, John Lee Hooker) mentioned him as one of the outrageous guitarists of the young turkish music scene. Semih Yanyali also performs with CazYapJazz, Tobias Regner and Projektil.

KENNY GARRETT - PUSHING THE WORLD AWAY

For his third Mack Avenue Records release, Pushing the World Away, alto/soprano saxophonist/composer/bandleader Kenny Garrett literally had to "push away" a steady flow of distractions to get to the inner core of the album, shifting priorities in his schedule, and diving deep into the essence of the music.

 

"I'm always writing, so coming up with the music wasn't a problem," says Garrett, who is arguably the most imitated alto saxophone player in jazz. "But I had been traveling a lot with my band, and I don't rehearse new material on tour. Yet to record an album requires a lot of preparation and to conceptualize the music I had to push away to receive the blessings and gifts from these songs."

 

On Pushing the World Away, Garrett continues to mature as a composer. As the late Mulgrew Miller, his close friend for many years, noted in a DownBeat feature on the saxophonist last year: "Kenny has always had a great sound from the beginning. He had his own unique sound, but [thanks to his compositions] that sound has transformed into a more captivating and lyrical voice."

 

Garrett, in turn, nods to the pianist who he had known for more than 30 years on the jaunty, upbeat and at times explosive opening track of the album, "A Side Order of Hijiki," which is decidedly not about the hijiki culinary seaweed. "No seaweed," says Garrett who takes an expansive alto flight on this track. "It's actually the word that Mulgrew used to describe my playing style. He would say, "I hear you playing that hijiki."

 

While not directly paying homage to Miller, Garrett does pay tribute to a number of other friends and heroes - Chick Corea, Chucho Valdés, Sonny Rollins, Donald Brown - on Pushing the World Away, which connects the album to Garrett's 2012 critically acclaimed gem, Seeds From The Underground. "I wasn't thinking of continuing the tribute idea like I had on Seeds and before that [in 1997] on Songbook," Garrett says. "I was just writing. For example, during one of my trips to Guadeloupe, I was composing an upbeat, happy piece about the Caribbean islands, and that made me think of Sonny. I call it 'J'ouvert,' which is the Creole name for Carnival. It's my 'St. Thomas.' I hope Sonny likes it."

 

"Hey, Chick" is an elegant, graceful dance with Garrett's expressive alto solo. "It captures that Spain, Eastern Spanish, Moroccan vibe," says Garrett, "and it's something I imagined Chick playing, something interesting, something he could really blow on."

 

The spirited, dance-oriented "Chucho's Mambo," with spicy percussion by Rudy Bird and party trumpeting by Ravi Best, is Garrett's Cuban salsa interpretation of what a collaboration with Valdés could have been like. "We were trying to get together, but I couldn't get a visa to get to Cuba," Garrett says. "We had been writing for each other." He proudly adds, "Chucho and I have the same birthday."

 

"Brother Brown," a slow, emotive beauty that Garrett delivers on piano with a three-person string section, is a salute to Donald Brown, Garrett's musical confidant and album co-producer. "I wanted this piece to be soulful and represent Donald's personality," Garrett says. "I also wanted to raise the bar for myself compositionally. Donald told me, you wrote it, and you know how it should sound. So you should play the piano. The other two pianists I used in these sessions - Vernell Brown and Benito Gonzalez - were there and giving me the thumbs up."

 

Vernell and Benito are two of Garrett's go-to band members, who are both graduates of the informal Kenny Garrett School of Music. "When I think about Art Blakey being a mentor for so many years, and how Miles mentored me as well, I like to give back in my own way," he says. Kenny points out that his band was the first marquee stop for such drummers as Brian Blade, Chris Dave, Ronald Bruner, and Jamire Williams. On Pushing the World Away the drummers include McClenty Hunter, Marcus Baylor and Mark Whitfield Jr.. "They come through, and then there are people always waiting to get them for their own bands," he says. "I'm just happy that I'm able to help them find their voices."

 

Presently, Garrett's core working/touring band is comprised of pianist Brown, bassist Corcoran Holt and Hunter on drums. Gonzalez subs on piano when he's free. And Garrett has expanded his basic quartet to quintet with percussionist Bird. "Rudy adds a lot to the band," Garrett says. "He too used to play with Miles and he adds so much to the music."

 

The band members figure prominently on the new album, ranging from Brown's charged run through the cool and refined tune "Lincoln Center" and his harmonic exhilaration on "Alpha Man" (a tune Garrett wrote for him, thinking about how he plays) to Gonzalez setting down the graceful melody on the ballad "Homma San" (which the band convinced Garrett had to be on the album) and being showcased on the romantic "That's It," which also includes Hunter delivering wordless vocals as part of the rhythm section.

Just like he did with Seeds, Garrett renders a variety of music on Pushing the World Away, stretching out on two pieces in particular: the expansive, journey - like title tune that clocks in at over nine minutes with song - like chanting and a gong and the swinging end song, "Rotation," which features both Brown and Gonzalez on pianos and his three drummers: Hunter, Baylor and Whitfield. Of the latter tune, Garrett says that he likes hearing the pianistic contrasts (he almost joined in at the prodding of his band, but decided to romp on his alto) and invited all the drummers to let them play off each other - all moving in playful rotation.

On the sublime "Pushing the World Away," Garrett explores the theme of the album, undergirding the tune on charging and whinnying soprano. He says he wanted to write a simple piece like "Take Five" or "My Favorite Things." "But I couldn't force it, so I let the song be," he says. "I wanted this tune to be powerful. I had the image of Atlas pushing the world and at the end there was light. I thought, 'I'm going to need a little help with this,' so I asked Vernell to chant. He chants as a Buddhist and I chant as a Christian - both voices accomplishing the same goal of pushing the world away to get to the light."

 

In all, Pushing the World Away features twelve tunes, all of which were composed by Garrett except for one cover, a superb, lyrical, odd-metered take on the Burt Bacharach/Hal David song "I Say a Little Prayer" (put on the musical map in 1967 as a huge AM-radio pop hit for Dionne Warwick). "We played it at sound check while touring in Europe," Garrett says. "And the people who were working in the venues always applauded. So we knew we had to include this on the album. It feels right."

 

In last year's DownBeat article, Garrett said, "You want to see growth in each album you record." That's certainly the case with Pushing the World Away, his 17th album as a leader, which captures the 52-year-old artist at the peak of his creative abilities, both as a saxophonist and as a composer who is committed to clearing the path so that he can delve deeply into his indelible art.

NEW RELEASES - ALBOROSIE, THE IMPRESSIONS, BOHANNOON

ALBOROSIE - SOUND THE SYSTEM

After the eclecticism of third vocal solo album ’2 Times Revolution’, Sicilian reggae star Alborosie has been signposting a return to roots and culture. This summer his European followers can find out if new long-playing release ‘Sound The System’ is it. Bearing a striking cover photograph of Albo in a striped jacket shouting to a crowd through a megaphone, ‘Sound The System’ will be distributed by Greensleeves.
The guest list extends to the Abyssinians, Ky-Mani Marley and Italian singer Nina Zilli.. Tracks include: Play Fool (To Catch Wise); Rock The Dancehall; Zion Train feat. Ky-Mani Marley; To Whom It May Concern; Who Run The Dance; Goodbye feat. Nina Zilli; U Got To Be Mine; Love Is The Way;There Is A Place feat. Kemar; Positiveness; Don’t Pressure It; Warrior feat. Nature; Give Thanks feat. The Abyssinians. ~ grooveattack.com

THE IMPRESSIONS - RHYTHM! / STAR BRIGHT

Amazing stuff  – a revived version of The Impressions, working here with original trio members Fred Cash and Sam Gooden – alongside arrangements from the legendary Johnny Pate! Pate handled the group's great work in the old days – and producer Binky Griptite really knows how to recreate the magic that made The Impressions so great during their years at ABC – that heartbreaking approach to swinging soul that managed to sound deeply personal while still hitting a groove! Both cuts are great – the sort that will really appeal to any fan of the group's great work in the 60s – so much so, you won't even notice that Curtis Mayfield is missing. ~ Dusty Groove

BOHANNON - KEEP ON DANCIN'

Massive grooves from the mighty Hamilton Bohannon – the kind of skittish, nervous rhythms that made his funk unlike any other artist of the 70s! There's a sense of rhythmic progression here that's super-tight, but often quite subtle in its inflections – a mode that went onto have a huge influence on many generations after the disco era – especially house from Chicago and Detroit! Yet heard here in its original form, the approach is almost even more mindblowing – played live, with a hypnotic feel that's completely compelling – as the grooves shift slowly with subtle phases that often move independently of the vocals – which themselves are often just added to the mix as an afterthought. Bohannon wrote, arranged, and produced – and the record's a sublime blend of guitar, bass, and drums used in mighty fresh ways! Tracks include "Have A Good Day", "Dance With Your Parno", "South African Man", "The Fat Man", "Red Bone", "Truck Stop", and "Rap On Mr. DJ".  ~ Dusty Groove

RICHIE STEPHENS - REAL REGGAE MUSIC

Refreshingly authentic is the phrase that comes to mind when listening to “Real Reggae Music” the latest offering from Richie Stephens. When Richie Stephens set out to make this album he knew exactly what it would take to make this as authentic as possible. It would mean collaborating with some of reggae music’s most renowned musicians, artistes and producers and this he did!

This fourteen-track album comprises songs produced by veteran producers Donovan Germain, Steelie and Clevie, Danny Brownie and collaborations with Bunny “Striker” Lee. Tracks like “I Found Heaven”, “Murdah”, “Set It Off”, “Jah Will Be Done” were taken from original authentic multitrack tapes of tracks produced by Bunny Lee during the late sixties into the early and late seventies. Producer Danny Brownie was able to transfer these tracks to a digital format and enhance the sound quality.

Some of the other tracks, which were recreations of some traditional reggae rhythms, are so authentically reproduced that it is almost impossible to tell that they have been redone. Additionally there is a cover of Bob Marley’s “No Woman No Cry” produced by German newcomers Radiation Squad. The collaboration between Danny Brownie and Richie Stephens in writing most of the songs on the album has brought new life to the tracks. “Real Reggae Music” also features collaborations between Richie Stephens and internationally renowned reggae icons such as Daddy U Roy, Gentleman, Alborosie and Richie Campbell. This is a must have CD for all reggae enthusiast. Certainly “Real Reggae Music” at its best!

www.kingstone.de

Tracklisting:
01. Real Reggae Music feat. Daddy U Roy
02. Murdah
03. Tougher Than Before
04. Knock Knock Knock
05. Set It Off
06. World Gone Mad feat. Gentleman and Alborosie
07. No Woman Nuh Cry
08. He’s Blocking Me
09. Loving You Means Everything
10. Where Are You
11. Rescue Me
12. True Believer in Love feat. Richie Campbell
13. I Found Heaven
14. Let Jah Will Be Done

~ grooveattack.com

MYRON & E WITH THE SOUL INVESTIGATORS - BROADWAY

The vocal duo is something of a rarity. There have been countless solo stars, trios, quartets and quintets, but the pairing of equally talented singers isn’t nearly as common. Sam and Dave, Ashford and Simpson, the Righteous Brothers and the Everly Brothers comprise a short list of standouts. Enter Myron & E.

Myron (Myron Glasper) was born and raised in South Central Los Angeles. He sang in choirs and played piano growing up, and was a star athlete in football and track, but found his calling as a dancer. Working with Rosie Perez landed him on the early ’90s sketch comedy show In Living Color. During those years, however, the streets of South Central were no place to foster creativity, so Myron moved to the Bay and began touring as a backup singer, which is where he met E (Eric “E da Boss” Cooke).

E, a native of Newark, New Jersey, got his first taste of music by playing records during family card games and fish frys. As a teen, he began collecting records of his own and DJing, hanging at the Music Factory and Rock and Soul in New York City. After relocating to southwest Virginia, he graduated high school and began DJing parties, which allowed him to invest in an Ensoniq ASR-10 keyboard, two Technics turntables and an eight-track recorder.

The two began working together while on the road with the Bay Area’s Blackalicious, and shortly after, E released an independent record as E da Boss. While touring in Finland behind his solo project, E found himself in an impromptu jam session with members of The Soul Investigators, whose work with singer Nicole Willis helped define them as one of Europe’s foremost retro-soul bands.

Investigators producer Didier Selin was impressed enough to leave E with several unfinished tracks. Back in the U.S., E recruited Myron as a singing and songwriting partner, and Myron & E was born.
Myron & E and the Soul Investigators released a string of excellent funk 45s on the Timmion label-starting with 2008′s “Cold Game”/”I Can’t Let You Get Away”-before signing with Stones Throw last year. Since then, Myron & E have been focused on building their live performance, which includes sold-out shows before even having a full-length release and a stellar showing at SXSW. “We showed up to show out and that’s what we did,” E says of their SXSW appearance.

Myron & E are proud to be releasing their debut album, Broadway, this summer. For the album, the Soul Investigators provided demos from overseas with the duo stationed on the west coast writing the lyrics and singing all the vocals. E, in particular, has a practice of sending YouTube links of classic soul and R&B songs to the band to provide inspiration for recreating that vibe. One such link was to Edwin Starr’s “Running Back and Forth.” The Soul Investigators responded with “Everyday Love.”
“I don’t really think there’s anybody else that can do it as good as they can,” E says about the band. “They do it like none other.”

- Ronnie Reese, Spring 2013
www.stonesthrow.com

Tracklisting:
01. Turn Back
02. Broadway
03. If I Gave You My Love
04. Everyday Love
05. I Can’t Let You Get Away
06. Cold Game
07. Do It Do It Disco
08. Back N’ Forth
09. Going In Circles
10. They Don’t Know

~ grooveattack,com

NEW RELEASES - CORNELL CAMPBELL MEETS SOOTHSAYERS, THE BEST OF BRUNSWICK, ESTHER PHILLIPS

CORNELL CAMPBELL MEETS SOOTHSAYERS - NOTHING CAN STOP US

A brilliant meeting of two top talents – reggae legend Cornell Campbell and underground funk combo The Soothsayers – working here together on a set that feels like it could have been pulled from the vaults of Studio One! The Soothsayers have already demonstrated their global leanings on albums of their own – and here, they display a remarkable ear for classic sounds from Kingston – working together with the tightness of some legendary reggae backing group, and really giving Campbell some of the best sonic settings he's had in years! Cornell's vocals are wonderful throughout – crackling and soulful, at a level that really lives up to his legendary status – and the production is just the right sort of laidback to make the whole thing work perfectly. Titles include "Jah Jah Me No Born Yah", "Nothing Can Stop Us", "Conqueror", "I'll Never Leave", "Ode To Joy", "With You My Heart Belongs", and "Never Give Up".  ~ Dusty Groove

THE BEST OF BRUNSWICK - GROOVE& SOUL

Soaring grooves from the mighty Brunswick Records – cuts pulled together from a time when the label was easily one of the greatest sources around for Windy City soul! The package features some of the bigger names from Brunswick, plus a few non-Chicago artists from later years too – all wrapped up in a collection that really gets at the charm and undeniably positive energy that Brunswick had when they were working at their best! Titles include "Higher & Higher" and "Let's Love Again" by Jackie Wilson, "Something You've Got" by Tyrone Davis, "There Was A Time" by Gene Chandler, "Funky Chicken" by Willie Henderson, "The Lovomaniacs" by Boobie Knight, "Keep On Dancin" and "Bohannon's Beat" by Bohannon, "I Like What You're Doing To Me" by Young & Co, "Are You My Woman" and "Too Good To Be Forgotten" by The Chi-Lites. ~ Dusty Groove

ESTHER PHILLIPS - FROM A WHISPER TO A SCREAM

One of our favorite-ever albums from Esther Phillips – an album that really helped her transform her sound for the 70s! The approach here is a lot more jazzy than before – served up with a good dose of funk, thanks to arrangements from Pee Wee Ellis – fresh from his work with James Brown, but even more electrically-oriented here! The groove is great – and the album's one of the best Kudu sides from the early 70s – a perfect blend of soul, jazz, and funk – all wrapped up with a new level of sophistication that benefits all parties involved. Other players include Richard Tee on keyboards, Eric Gale on guitar, Bernard Purdie on drums, Airto on percussion, and Hank Crawford on alto sax. Titles include an incredible cover of Gil Scott Heron's "Home Is Where The Hatred Is", plus "From A Whisper To A Scream", "Till My Back Ain't Got No Bone", "Your Love Is So Doggone Good", Scarred Knees", and "Baby, I'm For Real".  ~ Dusty Groove

GENE CHANDLER - CHI-SOUND SESSIONS 1978-1982

Gene Chandler's one of those artists who never fails to surprise us – and this wonderful package is a great illustration of one of the best chapters in his career! Gene's first known for his big early hits for Vee Jay – including "Duke Of Earl" – and stayed strong over many many years, shifting labels from time to time, continuing to grow as a singer and move through a range of different styles all handled quite well. This set offers an oft-lost side of Gene's career – his later recordings for Carl Davis' Chi-Sound label, home to a number of older Chicago soul artists who worked with Davis earlier at other labels. As with other singers on the label – such as Walter Jackson – Gene here moves into a smooth modern soul vein, mixing uptempo and midtempo tunes with ease, showing a sophisticated vocal style that you'd hardly ever expect from his earlier work! There's some real gems on this set – which features not only all three albums that Chandler recorded for the label, but also 9 more bonus tracks from singles as well – a massive 31 track package that's the first full look at this side of Gene's career. Titles include "Does She Have A Friend", "That Funky Disco Rhythm", "I'm Attracted To You", "For The Sake Of The Memories", "God Send", "Almost Daylight", "I Keep Coming Back", "I'll Make The Living If You'll Make The Living Worth While", "Skate", "Time Is A Thief", "Where Have You Been", "Get Down (demo)", "Let Me Make Love To You (long version)", "All About The Paper", "Rainbow 80", "You've Been So Sweet To Me", and "When You're #1".   ~ Dusty Groove

LES MCCANN - THE GOSPEL TRUTH / SOUL HITS / MCCANNA

A trio of early 60s gems from pianist Les McCann – all wrapped up here in a single set! First up is The Gospel Truth – a solid 60s smoker in which Les McCann really gets back to the roots of soul jazz – serving up the gospel-tinged truth promised in the title – and really linking his piano back to the pulpit in the process! Les has a wonderfully firm touch on the left end of the keyboard – which makes for a rollicking groove on just about every track, augmented by super-tight drum work from the great Paul Humphrey, who almost gets a tambourine vibe out of his snare and cymbal! Stanley Gilbert plays bass, and Charles Kynard plays guest Hammond on a few tracks – and titles include "Get That Soul", "The Preacher", "The Gospel Truth", "Oh The Joy", and "Didn't It Rain".

Soul Hits is a really hard-hitting groover from the great 60s trio of Les McCann – a set that adds in some extra guitar from Joe Pass, who definitely sounds his most soulful on the set! Joe grooves perfectly with Les' piano – and has almost a Kenny Burrell-like depth in tone throughout – one that we're not as likely to hear on other Pass sessions of this vintage, possibly because of the excellent rhythms from Paul Chambers on bass and Paul Humphrey on drums! Tunes are definitely the soul hits promised in the title – mostly numbers that were brimming up big in the soul jazz generation of the time, but given a particular Les McCann twist. Titles include "Sister Sadie", "Bag's Groove", "Back At The Chicken Shack", "Work Song", "Sonnymoon For Two", "Groove Yard", and "Sack O Woe".

McCanna is filled with a great Latin groove from the mighty Les McCann – a smoking set that adds in extra percussion from Willie Correa – who gives the record a sound that's quite a change from the usual McCann groove! The percussion is wonderful throughout – and given that the great Paul Humphrey is already playing drums in the trio, the whole thing's got a rhythmic zest that never lets up – way different than just the usual "with conga" style you'd hear on a Prestige Records piano trio record – and instead a groove that's definitely dedicated to the boldest Latin piano modes of the time! The track list includes a lot of originals, such as "McCanna", "Zulu", "Bastuto Baby", "Shaam-Pu II", and "Narobi Nights" – plus versions of "Que Rico" and "It Had Better Be Tonight".  ~  Dusty Groove

NEW RELEASES - JOHN ELLISON, REVA DEVITO / ROANE NAMUH, CHARLES WRIGHT & THE 103RD STREET RHYTHM BAND

JOHN ELLISON - UP FROM FUNK

 

A deep deep retrospective on soul singer John Ellison – best known for his work in the group Soul Brother Six – but a heck of a great talent on his own! The set's an unusual one – in that it features a fair bit of old recordings from the vaults of Jamie Records, mixed with new recordings and remixes of older classics – including some of John's best with his famous group! Modern instrumental styles dominate most of the record, but Ellison's vocals are definitely old school – and have this crackling quality that shows his continued commitment to soul. The one thing missing from the package is a full set of dates, which might help us understand the recording history a bit more – but in their place are some surprisingly great notes from Ellison, which certainly makes up for that loss. Titles include "Leave Me Alone", "Sex Is Sex", "Magic Touch", "Wild & Free", "She's Hot She's Some Kind Of Wonderful", "A Kiss In The Wind", "Let Your Hair Hang Down", and "Spend The Rest Of My Life Making Love To You" – plus remakes of "I Need You Yes I Do", "I Don't Want To Cry", and "You Better Check Yourself" – and remixes of "See You Later Baby", "Play With Fire", and "Keep On Making Love To Me".  ~ Dusty Groove

 

REVA DEVITO / ROANE NAMUH - CLOUDSHINE

 

Beautiful grooves from the team of Reva DeVito and Roane Namuh – singer and beatmaker, respectively – working here with a lean sound that's mighty nice, and which really brings up a chunky vibe around the edges! The tunes bristle with a low-down groove that really grabs us from the get-go – no commercial posturing, and instead a street-influenced style that's topped with these vocals from Reva that rock back and forth over the rhythms – working together as a great partnership throughout. Titles include "Frozen", "Candy", "Cloudshine", "Go There", "Lavender", "Should Have Known", "Should Have Known (Tall Black Guy rmx)", and "Cloudshine (Tony Ozier rmx)". ~ Dusty Groove

 

CHARLES WRIGHT & THE WATTS 103RD STREET RHYTHM BAND - PUCKEY PUCKY JAMES & OUTAKES 1970-1971

 

Rare funk doesn't get any better than this – massive music, all of it unreleased – recorded by Charles Wright & The Watts 103rd Street Rhythm Band at the tail end of their classic years for Warner Brothers! This is the kind of stuff you read about in history books, but hardly ever get to hear on record – the full, unedited studio work of a hard-jamming funk group in all its glory – no edits, no overdubs, just live funky energy! Some of the key cuts here run for over 20 minutes in length – showing the Rhythm Band to be every bit as creative in long form format as the JBs were at the time – and the shorter tracks have a nicely gritty edge that takes us back to the best early 45 years of the group. The vocals are secondary here to the instrumentation, but that's ok with us, given the grooves! Titles include "Puckey Puckey", "Jam #3", "Watts Towers", "Brothers & Sisters", "Hard To Handle", "Sagittarius", "I Love You Girl", "Wine (early version)", "Gemini", "Jam #2", "Express Yourself (alt version)", "Till You Get Enough/Do Your Thing (alt)", and "Jam #1". (Individually numbered limited edition of 5000 Copies.)  ~ Dusty Groove

 

If you've been paying any attention to the world of funky breakbeats then you've no doubt heard of Basement Freaks - the brainchild of George Fotiadis, a major force in the scene for well over ten years. Not only do his DJ sets elevate sold out crowds, he produces more music than almost any other DJ in the scene and is the label boss for the infamous label Bombastic Jam.

After more than 10 successful vinyl releases, 2 full albums, over 15 remixes and countless digital EPs, George has been called "The hardest working man in Funk". His music has been praised by MixMag, I-DJ Mag and even the Godfather of Nu-Skool Breaks - Rennie Pilgrem. In fact, every respectable funk DJ on the planet includes a Basement Freaks tune in their set.

George exploded into the world of breaks with his remix of Beggarman by Smoove and Turrell. Jalapeno records got wind of this and sought out George to produce a follow-up album - "Something Freaky" - which has been played on BBC's Radio1 and written about in Knowledge Magazine. In 2011 Georges Perin a long time collaborator and vocalist of “Something Freaky LP” becomes an active member of Basement Freaks project and perfroms with the soundsystem. His previous album - "Debut" - was part of his side project,Smokey Bandits, and showcases George's multitalented skills as he plays guitar, bass and drums. Since then,George has released music for Goodgroove,Wack,Breakbeat Paradise, ESL, Air Recordings, Bombstrikes and, of course, Bombastic Jam.

Basement Freaks has toured extensively throughout Europe - dropping funk at the renowned Glastonbury Festival,the Fabric & Cable Nightclubs in London and the Exit & Reworks Festivals. In the summer of 2011, Basement Freaks headlined the world's largest and best breakbeat festival - Shambhala - in Canada.Late 2012 the freaks hit Brazil with 2 massive performances on D.Edge Club & NaveGroove#9 Festival.

CONCORD MUSIC GROUP RELEASES FIVE NEW TITLES IN ORIGINAL JAZZ CLASSICS REMASTERS SERIES FEATURING THELONIUS MONK & GERRY MULLIGAN, THE BILL EVANS TRIO, WES MONTGOMERY, CANNONBALL ADDERLY & MILT JACKSON, AND CHET BAKER

Concord Music Group will release five new titles in its Original Jazz Classics Remasters series on July 23, 2013. Enhanced by 24-bit remastering by Joe Tarantino, several bonus tracks on nearly each disc (some previously unreleased) and new liner notes providing historical context to the original material, the series celebrates the 60th anniversary of Riverside Records, the prolific New York-based label that showcased some of the most influential jazz artists and recordings of the 1950s and ’60s.

The five titles are:
•Thelonious Monk & Gerry Mulligan: Mulligan Meets Monk
•Bill Evans Trio: How My Heart Sings!
•Wes Montgomery: So Much Guitar!
•Cannonball Adderley & Milt Jackson: Things Are Getting Better
•Chet Baker Plays the Best of Lerner and Loewe

Riverside was launched in 1953 in New York on a shoestring budget by traditional-jazz enthusiasts Bill Grauer and Orrin Keepnews as a platform to reissue jazz and blues recordings from the 1920s by King Oliver, Jelly Roll Morton, Ma Rainey, Blind Lemon Jefferson, and others. Over the next decade, the label evolved into one of the premier purveyors of modern jazz. With Keepnews producing the sessions (and often writing the liner notes), Riverside brought jazz giants like Thelonious Monk, Bill Evans, Cannonball Adderley, and Wes Montgomery to the forefront of American music. Despite successes with these and other jazz and blues artists — including Sonny Rollins, Abbey Lincoln, Art Blakey, Mongo Santamaria, John Lee Hooker, Jimmy Heath, Charlie Byrd, and the Staple Singers — Riverside folded in 1964, a year after Grauer’s death. The catalog was acquired by Fantasy in 1972, and Fantasy was in turn acquired by Concord Music Group in late 2004.

All five Riverside titles in the current round of reissues were originally produced by Keepnews and include his original liner notes. All reflect the ambitious depth and scope of influential jazz captured in the Riverside catalog over the relatively short span of 11 years.

THELONIOUS MONK & GERRY MULLIGAN - MULLIGAN MEETS MONK

Recorded in mid August 1957, Mulligan Meets Monk is a summit of two artists from two very different and distinct worlds — Monk representing what was then known as East Coast jazz, and Mulligan deeply rooted in a West Coast sound. Rounding out the quartet are bassist Wilbur Ware and drummer Shadow Wilson. Even with the two frontmen’s disparate styles, the unlikely pairing resulted in an engaging and enduring recording, according to Neil Tesser’s new liner notes.

“Despite their radically different personalities, and their almost antipodal approach to improvising, Monk and Mulligan found common ground in composition,” says Tesser. “Not in the songs themselves — no one would ever mistake one of Monk’s for one of Mulligan’s — but in their devotion to the craft, and their admiration for the balanced, well-turned tune. That devotion manifested itself quite differently in their individual musics, but it provided the foundation for their unimagined friendship . . . and allowed them to join in this unexpectedly successful venture.”

Bonus tracks on the Mulligan Meets Monk reissue are alternate takes of the Mulligan composition “Decidedly” and Monk’s “Straight, No Chaser,” along with two alternate takes of the Monk/Coleman Hawkins piece “I Mean You.”

BILL EVANS TRIO - HOW MY HEART SINGS!

Recorded in New York on three separate days in May and June 1962, How My Heart Sings! features Bill Evans accompanied by bassist Chuck Israels (replacing Scott Lofaro, who had died in an automobile accident less than a year earlier) and drummer Paul Motian. The album is actually the second of two to emerge from the 1962 sessions; the first was Moonbeams, a collection of ballads. How My Heart Sings! is, by design, a bit more lively and energetic.

“The selections represented here are primarily of a more ‘moving’ kind,” says Doug Ramsey in his new liner notes to the reissue, “though there is in the trio’s approach to all material a desire to present a singing sound. Hence, the title of the album, despite its intended program of faster swinging vehicles.”

How My Heart Sings! includes three bonus tracks: an alternate take of “In Your Own Sweet Way,” and previously unreleased renditions of “34 Skidoo” and “Ev’rything I Love.”

WES MONTGOMERY - SO MUCH GUITAR!

So Much Guitar! was recorded in August 1961, with Wes Montgomery fronting a stellar lineup that includes Hank Jones on piano, Ron Carter on bass, Lex Humphries on drums and Ray Baretto on congas. The album was a turning point, not only for Wes but for bassist Ron Carter as well, says Marc Myers, author of the reissue’s new liner notes.

“While Montgomery’s previous release on Riverside in 1960, The Incredible Jazz Guitar of Wes Montgomery, put the guitarist in play with critics, So Much Guitar! caught the ear of poll-voting jazz fans and established him as a soulful force,” says Myers. “The album also marked Carter’s first opportunity to show his stuff on the fly — transforming the formally trained 24-year-old into a first-call session player. Today he is one of the most prolific recording artists in jazz history.”

The bonus tracks here essentially make up an entire second album, capturing eight songs recorded earlier in 1961 at the Cellar, a club in Vancouver, British Columbia. This Canadian set — originally issued on Fantasy as The Montgomery Brothers in Canada, includes Buddy Montgomery on vibes, Monk Montgomery on bass, and Paul Humphrey on drums

CANNONBALL ADDERLY & MILT JACKSON - THINGS ARE GETTING BETTER

Recorded in a single day in October 1958, Things Are Getting Better showcases the brilliant impromptu interplay of Cannonball Adderley and Milt Jackson, with assistance from Wynton Kelly on piano, Percy Heath on bass, and Art Blakey on drums.

While Keepnews’s original liner notes referred to the recording as “fundamentally a blowing date in the best sense of that much abused term,” the set is clearly much more than that, according to Willard Jenkins’s new notes. “The album’s groove stems primarily from the successful partnership formed by the blues firm of Adderley and Jackson,” says Jenkins, “each of whom were hall of fame representatives of the essence of the groove factor during their time as the respective histories of each have borne out.”

The reissue of Things Are Getting Better includes two bonus tracks not found on the original LP: alternate takes of Buddy Johnson’s “Serves Me Right” and Lawlor and Blake’s “Sidewalks of New York” (the latter arranged by Adderley).

CHET BAKER PLAYS THE BEST OF LERNER AND LOEWE

Chet Baker Plays the Best of Lerner and Loewe is exactly what the title suggests — a set of eight innovative renditions of compositions by one of the most prolific and recognizable theatrical teams of the mid-20th century. Baker’s supporting cast on this July 1959 date includes Herbie Mann on flute, piccolo, alto flute, and tenor sax; Zoot Sims on alto and tenor saxophones; Pepper Adams on bari sax; Bill Evans and Bob Corwin trading off piano duties on various tracks; Earl May on bass; and Clifford Jarvis on drums.

The album “is easily heard as a sequel to the popular Chet (also on Riverside) album of standards released earlier that same great-jazz year of 1959,” says James Rozzi in his liner notes to the reissue. “The mix of personnel throughout the set provides the recording “with a similar timbre while adding uptempo fare to the previously released, slow and relaxed ballad set of Chet.”