DAVE BENNETT - DON'T BE THAT WAY

Dave Bennett doesn't fit the mold.

For starters, you don't find many jazz clarinet players who name Alice Cooper, Stevie Ray Vaughan, and Chris Isaak among their influences. You won't find many musicians under 30 who are equally conversant with the music of Benny Goodman (the "King of Swing") and Roy Orbison ("The Soul of Rock and Roll"). In fact, you may not find even one other clarinet virtuoso who occasionally breaks from his Swing Era repertoire to sing rock-a-billy hits while accompanying himself at the piano - where he plays a mean barrelhouse boogie-woogie.

In the early days of jazz, the clarinet joined with trumpet and trombone to create the music's signature sound, and it ruled the roost in the Swing Era, when jazz was America's popular music and dance-party soundtrack. If anyone can return the clarinet to its heyday, it's Dave Bennett, who fuses serious jazz improvisation with a host of modern pop influences.

On his Mack Avenue Records debut Don't Be That Way, he shows that his skills and interests make him perfectly suited for the job. He stays within the mainstream repertoire, and even covers several of the most famous hit records of the 1930s (by Goodman and such contemporaneous clarinetists as Woody Herman and Artie Shaw). But Bennett updates these songs with up-to-date twists and surprising new arrangements. The result is an album that blazes his own path while still acknowledging his predecessors, and spotlights the jazz clarinet for a new generation. Bennett hastens to share credit for the reconceptualization of this music with the album's arranger, Shelly Berger, whom he met through Tad Weed, the pianist in his group.

Even though he was growing up in a time far removed from the Swing Era and the technology (AM radio, 78 RPM records) that produced it, Bennett already had an appreciation for the era's music from the soundtracks of the old Abbott & Costello movies he watched at home. "And then about a month later, Grandpa bought me a cassette tape of Benny Goodman - and that's what did it. I completely flipped out: it hit me square between the eyes, and I knew at that moment that this is what I wanted to do with my life." He set out to model his clarinet playing after that of Goodman, as well as that of Pete Fountain, the New Orleans clarinetist who kept the trad-jazz sound vital throughout the 1960s and '70s.

Addressing this juncture of his life and career, Bennett says now, "I was trying to 'break free' [from the restraints of past styles] and couldn't quite get there. But Shelly [Berger] was able to make it very coherent, and in the studio he kept everything moving along." So in one sense, Don't Be That Way is more than the title for a collection of freshly imagined Swing Era classics. It could just as well be Bennett's admonition to himself on his Mack Avenue debut - to step out as a fully independent artist, steeped in but not beholden to the way things were done in the past.

Upcoming Dave Bennett Performances:

October 16 / Oakland Community College / Farmington Hills, MI

October 19 / Peabody's / Birmingham, MI

October 25 & 26 / Spencers Route 46 / Saginaw, MI

November 1 / Carnegie Hall (w/ New York Pops) / New York, NY

November 9 / Peabody's / Birmingham, MI

November 16 / Shield's Pizza / Southfield, MI

November 17 / Glendora House / Chicago Ridge, IL

November 27 - 30 / San Diego Jazz Festival / San Diego, CA

December 6/ NSU Center for the Performing Arts

(Benny Goodman Christmas Tribute) / Tahlequah, OK

December 10 / The Campanile Center for the Arts

(Benny Goodman Tribute) / St. Minocqua, WI

December 13 / Hart Public Schools / Hart, MI

CLIFFORD JORDAN - THE COMPLETE CLIFFORD JORDAN STRATA EAST SESSIONS

The eminent saxophonist Clifford Jordan is best remembered as a tenorman with a powerful sound who bridged the world of Hard Bop and the adventurous newer forms of jazz expression. His work as a sideman with legends like Charles Mingus, Max Roach, Eric Dolphy, Horace Silver and Randy Weston sometimes eclipsed his own brilliance as a leader. But what is far lesser known is his remarkable talent as a discoverer of emerging artistry and his skills as a producer that allowed them to best express their vision as leaders. Mosaic's new release The Complete Clifford Jordan Strata-East Sessions is a sterling showcase for those lesser-known aspects of this giant's career.

Like those illustrious leaders with whom he played, Jordan shared a vision of musician self-empowerment. His initial forays into self-production were shaped under an intended business collaboration with literary publisher named Harvey Brown. Brown's pioneering Frontier Press was focusing on similar territory for literature and in early 1968 they came up with the idea for a label called Frontier Records. With Jordan as the in-the-trenches A&R director and producer, they embarked upon the groundbreaking plan with a stunning cross-section of musicians who bridged the innovative mainstream and the structured avant-garde. The initial dates were under the leadership of Jordan, drummer Ed Blackwell, bassist Wilbur Ware and trumpeter Don Cherry. Although the label never came to be, Jordan continued to produce albums with that same innovative slant, with additional sessions led by saxophonists Pharoah Sanders, Cecil Payne and Charles Brackeen.

When trumpeter Charles Tolliver and pianist Stanley Cowell launched the innovative Strata-East Records in 1971, with the goal of creating a label for artist-owned product, Jordan found the new home for his projects. Releasing them under a special title of The Dolphy Series, Jordan's productions were an ideal tribute to Dolphy's ability to embrace the classic jazz tradition while pushing the envelope into uncharted territory. This set brings together that amazingly diverse, yet fully congruent collection of music together in one 6-CD set. Comprised of seven distinct albums - including a previously unissued set by Ed Blackwell - these 43 tracks display the incredibly rich context of adventurous, yet totally accessible music that was being produced during this highly fertile period. The sidemen on all of these sessions are a veritable who's who of contemporary jazz. And it is all further enhanced by Jordan's brilliant brewing of musicians who blended together in ways that few would have thought possible. This set proves that his approach was not only viable, but truly visionary.

The two Jordan albums included here are widely considered to be among his finest. 1969's In the World features Julian Priester, Wynton Kelly and Wilbur Ware, with Don Cherry and Albert 'Tootie' Heath alternating with Kenny Dorham, Ed Blackwell and Roy Haynes on two tracks each. Glass Bead Games (1973) features the fiery tenorman with two separate rhythm sections: Stanley Cowell, Bill Lee and Billy Higgins; and Cedar Walton, Sam Jones and Higgins.

Zodiac: The Music of Cecil Payne was recorded in 1968, with the burly baritone saxophonist accompanied by Dorham, Kelly, Ware and Heath. This album also offers an unusual glimpse into Cecil's alto sax mastery on one of the five Payne originals that comprise the set.

Charles Brackeen's Rhythm X (1968) features the adventurous tenor saxophonist in the company of one of Ornette Coleman's classic rhythm sections, with Cherry, Charlie Haden and Blackwell on four Brackeen originals. Cherry and Blackwell are also on hand for Wilbur Ware's Super Bass, featuring Jordan on tenor. Unissued until 2012 - and only in a limited release by the Wilbur Ware Institute - this music is an unexpected bonus and a most important part of this set, and the under-recognized bassist's legacy.

Shades of Edward Blackwell is another gem that is being made available here for the very first time. Recorded in 1968, this was Blackwell's first recording as a leader and contains two highly contrasting sessions. The first features Cherry, Ware and the under-recorded tenorman Luqman Lateef on two Blackwell originals. The second is a dynamic percussion ensemble that somewhat bridges the span between Art Blakey's explosive 1950s forays into the spirit of the drum and Max Roach's spectacular M'Boom. Joining Ed here are two more Ornette graduates, Billy Higgins and Dennis Charles, along with Roger Blank, Huss Charles and Jordan (on log drum).

Pharoah Sanders' powerful Izipho Zam rounds out the set. Centered on the sprawling title cut of nearly 30 minutes, this 1969 album contains a lineup of high-powered and exceptional musicians, including vocalist Leon Thomas, who collaborated with the iconoclastic tenorman on some of his most popular recordings. Also on hand are Sonny Fortune, Howard Johnson, Lonnie Liston Smith, Sonny Sharrock, Cecil McBee, Sirone, and a bombastic drum ensemble of Billy Hart, Majeed Shabazz, Chief Bey, Nat Bettis and Tony Wylie.

An interesting element is that of the 43 tracks, there is not a single standard. Every piece is an original composition of either the session's leaders or one of the sidemen - another sign of the exemplary internal creativity that fueled all of these sessions. Mosaic founder and the set's producer Michael Cuscuna says of these recordings "I was always intrigued by Jordan's choice of who to record on the 1968-69 sessions. Musically, Jordan's always cast a wide net, but doing a number of sessions in the Ornette Coleman orbit and recording Pharoah surprised and intrigued me." One thing is absolutely clear. Those choices have resulted in a collection of enormous impact, historical importance and sheer musical transcendence.

As always, the highest production values that are the Mosaic tradition have gone into this set. The booklet contains rare photos taken at the sessions by fine photographer Martin Bough and highly informative liner notes by reputable journalist Willard Jenkins. Once again, Mosaic Records has made another special contribution to the great legacy of jazz with a must-have collection.

NEW RELEASES - COUTURE CHIC, THE PEDRITO MARTINEZ GROUP, THE REVELATIONS

COUTURE CHIC – VELVET BOSSA

Not entirely the bossa set you might guess from the title – but a mighty sweet session by a group with a very jazzy vibe – one who deliver some very unusual takes on tunes from the 70s and 80s! Couture Chic features a female lead singer, and a core keyboard of guitar, bass, and drums – but often augmented by jazzy keyboards, sax, or flute – some really nice touches that help keep things interesting as the group serve up some very fresh versions of songs by Depeche Mode, Everything But The Girl, Deep Purple, Village People, Survivor, and others. The approach might be a bit gimmicky, but these guys really seem to embrace the songs and make them their own – finding their own personal way to interpret tunes like "Eye Of The Tiger", "Smoke On The Water", "Personal Jesus", "Jump", "YMCA", "Hey Soul Sister", and "Missing". ~ Dusty Groove

PEDRITO MARTINEZ – THE PEDRITO MARTINEZ GROUP

Pedrito Martinez has a mighty cooking combo on this set – only a quartet, but a group that's more than strong enough to serve up some plenty powerful Latin jazz rhythms – which are then augmented by help from a host of famous guest stars! Pedrito's percussion is at the core of every track – supported with more percussion, piano, and electric bass – a tight unit that also has Martinez handling a fair bit of the vocals too! Yet each new track seems to introduce a new guest – including Wynton Marsalis on trumpet, John Scofield on guitar, and Steve Gadd on drums – who also co-produced the record with Martinez too. Titles include "Conciencia", "Lengua De Obbara", "Despues De Todo", "Musica", "Memorias", and "La Luna". ~ Dusty Groove

REVELATIONS – THE REVELATIONS

A sweet sound library set from the early 70s Italian scene – the only album ever issued by The Revelations – a one-off studio combo with a very funky approach to electric jazz! The album's dripping with plenty of soul – and in a way, feels more like a sweet European take on late 60s soul instrumental modes – complete with fuzzy guitar and lots of Hammond, played at a level that's somewhere past beat group grooving, but before some of the more stretched out jazz funk styles of the 70s! The whole thing's instrumental – and both the organ and guitar are awash in some really wonderful colors – full of feeling, in lots of different flavors – with a depth that goes way beyond the obscure origins of the set. Titles include "Blue 1971", "Lively", "Good Morning Mr Gleen", "Dedicated To J Hendrix", "Old Wa Wa", "Spanish Theme", and "Drops". ~ Dusty Groove

NEW RELEASES - HARTLEY AND WOLFE, IPA, KINGS & QUEENS

HARTLEY AND WOLFE - BESPOKE FUTURE

Coming in a long line of esteemed ground breaking British soul artists from Loose Ends, Soul2Soul, Spacek, Omar, to Amy Winehouse, Hartley & Wolfe grab the baton in creating something quite unique, different and new. Not quite R’n’B or neo soul, not quite American ‘urban’ or electronica .... perhaps more working man’s soul in sound but yet ticks a lot of musical boxes at the same time. Think Isley Brothers meets Rick James in terms of vocal delivery. Raspy deep felt, weathered classic soul with a big voice meets intergalactic pimped out grooves with bass-lines that would make Lee Scratch Perry’s Upsetters proud! This is music that definitely gives a nod to the old school but this is not a retro throwback workout nor is it the work of soul novices. Just like a fine wine fermenting its flavors over time Greg & Vadim have been hard at work with Nightmares On Wax, Utah Saints, Featurecast, Horace Andy, Prince, Stevie Wonder, Fat Freddys Drop, amongst others in preparation of this moment. In an era where so many vocalists seem to be dumbing down their sound and content, Hartley&Wolfe is quite the opposite. “Bespoke Future” is an album about life rejection, love failure, political misendeavors and also most importantly it’s fun, catchy and quite possibly may brew up a storm on a dance floor near you soon. Quite simply an accomplished, musical Scud Missile of pure enjoyment. ~ bbemusic.com

IPA - BUBBLE

A brilliant bubble of sounds from IPA – much more searing than you'd guess from the album's title – served up here in a sharp brace of trumpet, tenor, and vibes! The group's overflowing with that modernist Moserobie label energy we love so much – tight in construction, but still able to really stretch out freely with individual voices throughout – really wonderful sounds from Magnus Broo on trumpet, Mattias Stahl on vibes, Atle Nymo on tenor, Ingebrigt Haker Flaten on bass, and Hakon Mjaset Johansen on drums! The vibes are especially great – stark in sound, but surprisingly soulful too – and ringing out with a power that's hard to deny – on titles that include "Dolphy", "If A Waltz", "Bubble", "Boomerang", "Ting", and "Kanshibari". ~ Dusty Groove

KINGS & QUEENS

A very hip, very cool project from the Nostalgia 77 side of the universe – an offshoot project by various members of that group, done in a style that's a lot more funky than usual! The tracks have either male or female vocals – both very soulful singers – and the instrumentation has this cool laidback approach to funk that's somewhere in the El Michels' camp, but which is sometimes a bit more upbeat too! The whole thing's nicely stripped-down – not one of those funk efforts that's always trying way too hard – and titles include "Firefly", "I'm Looking", "Chicken", "If", "Pig", "When I Get Home", and "Wishin". (Very limited vinyl pressing – with bonus download too!)  ~ Dusty Groove

AMERICANA ROCK YOUR SOUL 2: MORE BLUE-EYED SOUL AND A.O.R. SOUNDS FROM THE LAND OF THE FREE

Taking its lead from the ‘Americana Music Association’, Wikipedia describes ‘Americana’ as "contemporary music that incorporates elements of various American roots music styles, including country, roots-rock, folk, bluegrass, R&B and blues, resulting in a distinctive roots-oriented sound that lives in a world apart from the pure forms of the genres upon which it may draw. While acoustic instruments are often present and vital, Americana also often uses a full electric band."

Like its well-received predecessor, the music on this second volume of Americana, showcases a slightly different take on this phenomenon. ‘Contemporary’? Well, most of these recordings, sourced from the golden musical decades of the ‘70s and ‘80s, nonetheless fit very snugly with an interest in all things folk-funk that, while a marked tendency amongst the kind of people who are usually more interested in black music styles since at least the ‘90s rediscovery of Terry Callier, is very much of the ‘now’ as we get deeper into the twenty-first century. ‘Roots’ music? Well, most of this stuff has a commercial, professional sheen, redolent less of the back porch and wide open plains than the urban pub and the college campus. The musical syncretism found here represents an ‘easy’ strain of American popular music that was less ‘lock-up-your-daughters’ than ‘wow, I think Mom and Pop will like this too.’

As such, it represents a progressive, adult rapprochement with the civil rights movement, a moment in American cultural life before Reaganomics had fully achieved the backwards march that was a catalyst for the rise of hip-hop and the racial and class-based fracturing of the progressive post-war consensus. Life feels good, if a touch complacent, in these grooves.

It’s often the reception and not the production that crystallizes a musical style, and the relatively disparate sounds to be found on this album find their home together thanks to the particular aesthetic of renowned crate-digger/archivists Zaf Chowdhry and Mark Taylor. Both steeped in black music, these guys found they shared a penchant for its ‘blue-eyed’ variant. Blue-eyed soul has of course always been a part of Britain’s black music scenes, and the discourse has hopefully moved on from the days when earnest record collectors would debate whether only blacks could sing the blues. The quest for ‘authenticity’ that characterized those discussions really comes unstuck with these kinds of recordings: it’s precisely their inauthenticity as R&B that makes them authentic. The kind of melismatic, churchy, enraptured vocals characteristic of classic R&B are absent here, in their stead is something cooler and more definitively secular.

If they speak to us now, it’s because we’re nostalgic for the kind of fit between music and identity that has become so lost with the advent of new recording technologies and brutal commercial realities. Bland, but expressive of new identities, new communities and the searching, reflective self that characterized the singer-songwriter role in the second-half of the twentieth-century, this album deepens our understanding of the influence of black music on American culture, and indeed of American culture more generally on the UK’s black music scenes, whilst spreading the love a little wider than the small circles of cognoscenti who have previously cherished these records.

This survey of a sound touches bases of all of those aforementioned UK and world-wide black-music scenes too. If the two-step scene has yet to pick up on the likes of Jaye P. Morgan, it’s been sleeping. Elsewhere, lightly jazzy instrumental funk (Luc Cousineau) jostles the deeper, heavier sounds of Lucy Stone. Artists such as Madcliff could work comfortably on the stompiest of Northern dancefloors, southern soul stalwarts Rhodes, Chalmers and Rhodes go disco, TR’s Hot Ice fit with the punk-funk/disco-not-disco template, and Hal Bradbury and Steve Eaton can pass muster with the more discerning of collectors as ‘proper’ soul records. All in all, it’s another in-depth look at a neglected area of American musical history with a direct line to the eclectic sensibilities of twenty-first century black music collectors. 

~ bbemusic.com

FREDDIE HUBBARD'S BACK TO BIRDLAND, SONNY CLARK'S COOL STRUTTIN', BOBBY HUTCHERSON'S HAPPENINGS REISSUED

FREDDIE HUBBARD - BACK TO BIRDLAND

Freddie Hubbard comes storming home to his bebop roots on this 1981, West Wind release. When Hubbard, Richie Cole on alto saxophone, Ashley Alexander on double trombone, George Cables on piano, Andy Simpkins on bass, and John Dentz on bass dive head first into the seminal Gillespie/Parker tune "Shaw Nuff," it's almost as though the '60s and '70s never happened. They swim straight back to the source-lightning fast and with unbridled energy. On "Lover Man" (Ramirez/Davis/Sherman), Cole's subtle, heartfelt soloing meshes seamlessly with Hubbard's velvet flugelhorn. It is great to hear these tunes and this kind of playing updated in an era of such superior recording techniques. On the final track, Hubbard's own "Byrdlike," the sparks fly off trombone, sax, and trumpet in ever growing spirals. This is real; blistering be-bop for those of us that can't get enough. Recorded in 1981. Personnel: Freddie Hubbard (trumpet). Recording information: 08/1982. Personnel includes: Freddie Hubbard (trumpet); Richie Cole (alto saxophone); George Cables (piano); Ashley Alexander, Andy Simpkins, John Dentz, Med Flory. Personnel includes: Freddie Hubbard (trumpet); Richie Cole (alto saxophone); Ashley Alexander (trombone); George Cables (piano); Andy Simkins (bass); John Dentz (drums). ~ cduniverse

SONNY CLARK - COOL STUTTIN' 

The Rudy Van Gelder Edition of Cool Struttin' includes an essay by Bob Blumenthal. Digitally remastered using 24-bit technology by Rudy Van Gelder (1998, Van Gelder Studio, Englewood Cliffs, New Jersey). This is part of the Blue Note Rudy Van Gelder Editions series. 2013 Japanese pressing 24 bit remaster SHM-CD scheduled to include bonus material. Blue Note Recorded at the Van Gelder Studio, Hackensack, New Jerey on January 5, 1958. Originally released on Blue Note (81588). Includes liner notes by Nat Hentoff and Bob Blumenthal. Personnel: Sonny Clark (piano); Jackie McLean (alto saxophone); Art Farmer (trumpet); Paul Chambers (acoustic bass); Philly Joe Jones (drums). Producer: Alfred Lion. Reissue producer: Michael Cuscuna.

BOBBY HUTCHERSON -HAPPENINGS 

Happenings was vibraphonist Bobby Hutcherson's fourth Blue Note release as a leader. Where its predecessors Diaolgue and Components were packed with challenging avant-bop, Happenings instead brings things down a notch. With pianist Herbie Hancock, drummer Joe Chambers, and bassist Bob Cranshaw on board, Hutcherson keeps the tone fairly light, performing his original compositions (the exception is Hancock's "Maiden Voyage") with a mellow, swinging style that emphasizes modal exploration. The performances are all top-notch, and the album still weighs in as one of the best in Hutcherson's fine catalogue. 2013 Japanese pressing SHM-CD scheduled to include bonus material. 24 bit remaster. Universal Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on February 8, 1966. Personnel: Bobby Hutcherson (vibraphone, marimba); Herbie Hancock (piano); Bob Cranshaw (bass); Joe Chambers (drums). ~ cduniverse

NEW RELEASES - TEMPO DREAMS VOLUME 2, STRANGE JAZZ UNIVERSE FEATURING RON BRUNER SR, RONNIE BURRAGE

TEMPO DREAMS VOLUME 2 (VARIOUS ARTSTS

Following the critically-acclaimed 2012 release of their beat-centric compilation Tempo Dreams Vol. 1 (assembled by Detroit/UK producer-at-large Tall Black Guy), Brooklyn wax purveyors Bastrd Jazz Recordings have returned with Volume 2 of the enlightening, genre-bending series. This time around, the label has enlisted Bay Area mainstay DJ/producers Teeko & B. Bravo, driving forces behind the transformative “modern funk” sound emerging out of the West Coast. Sticking with the series' theme of showcasing new styles and emerging artists, curated by their own musical peers, Teeko and Bravo have conjured up an LP of mind-blowing tracks that push the limits of soulful electronic funk, outernational boogie, and cosmic hip-hop. Tempo Dreams Volume 2 picks up where the first edition left off, bridging the gaps between various geographic locations and local scenes, while also reaching for new heights with soaring vocal features and dance-floor primed beats. Featured artists include Rojai, E.Live, K-Maxx, Bayonics, Mugpush, Black Spade, Teeko & B. Bravo's own Starship Connection, Belgium’s Pomrad, Atjazz, Amalia, and Insomniax. ~ giantstep.net

STRANGE JAZZ UNIVERSE FEATURING RON BRUNER SR - NEW SPACE AGE MATERIALS

“I'm a veteran of the Los Angeles music scene. I'm not comfortable were I am, because I see what's ahead.  It's a big universe.  There's room.  Better music does not make a better world.  From Jesus' day til now there has always been the music of the day.  It relieved the stress, celebrated life and death. Commemorated the occasions, offered a platform for philosophy and it forever evolves.  New instruments, new concepts, new techniques, new technology (from log drums with goat skin heads to layered maple, birch and bubinga veneered drum shells with chrome hardware).  There are literal music libraries we can access now from almost any point in world history and get a good understanding of how the earth and it's civilizations were at any given time.  And we're talking about beautiful music (in the eye of the beholder).  I love music and yet with this archival history of art, exponentially, this world and it's civilization are worse.  Music is not the saviour......... So let's play” says drummer, Ron Bruner, Sr. Players on the CD "New Space Age Materials" are: Edmund Velasco Sax, Kamasi Washington Sax, Thundercat Bass, Stanley Clarke Bass, Del Atkins Acoustic Bass, Fidel Winzey Bass, Jinshi Ozaki Guitar, John Z. Guitar, Phil Charles Guitar, Rick Z. Guitar, Ron Bruner Sr. drums, Ariana Charlene Vocals, Bryan Evans Keyboards, Brandon Coleman Keyboards, Jameel Bruner Keybds, Cameron Graves Piano

RONNIE BURRAGE - JUST NATURAL
 

It is a pity that this music was recorded for such a tiny label, for the performances are full of high energy, creativity, and fresh ideas. Eric Person (on alto and soprano), organist Terence Conley, and drummer Ronnie Burrage may seem at first glance to form a typical soul-jazz organ trio, and there is a bit of that in the music. However, Person's solos are often quite adventurous and a bit innovative (hinting at both M-Base music and the avant-garde at times), Conley's organ sometimes is closer to fusion than to Jimmy Smith, and Burrage's passionate yet tasteful playing is a major asset. Burrage also sings/talks blues lyrics on the Rolling Stones' "No Expectation," which does not feature chord changes for much of the time. In addition to four group originals, the trio plays very fresh versions of such modern jazz numbers as "Moontrane," "Shade of Jade," "Black Narcissus," and Thelonious Monk's "Pannonica." Well-worth searching for. ~ Scott Yanow Recorded at The Molding Room, Brooklyn, New York on January 16, 2000. Includes liner notes by Russ Musto. Personnel: Ronnie Burrage (vocals, drums); Eric Person (reeds); Terrence Conley (Hammond organ).

NEW RELEASES - GEORGE DUKE'S BRAZILIAN GROOVE, KIRK LIGHTSEY, JACOB SZEKELY TRIO

GEORGE DUKE - BRAZILIAN FUSION

A dream of a set – at least to our Brazilian-loving ears – a special package that brings together all the best Brazilian-flavored cuts from George Duke's late 70s run on Epic Records! The package is filled with wonderfully sunny grooves throughout – tunes that sparkle and soar with mighty nice rhythms – topped with loads of keyboards from George, and vocals that often have a scatting, breezy style that's plenty sweet – American soul influenced by Brazilian grooves, in a sound that's a bit like the feel of Earth Wind & Fire's "Brazilian Rhyme". It's wonderful to have these cuts all together, and the set feels like a dream album we would have compiled ourselves – with titles that include "Omi", "The Future", "The Way I Feel", "Sunrise", "Festival", "A Melody", "Ipanema Lady", "Corine", "Positive Energy", "Let Your Love Shine", "Thinking Of You", "Your Life", and "Yeah We Going". ~ Dusty Groove

KIRK LIGHTSEY - SOLO PIANO, EN ARGENTINA

Kirk Lightsey's a pianist who really knows how to open up in just the right setting – which he definitely does here in this sublime solo performance from Bueno Aires! Lightsey's got a wonderfully lyrical touch – that balance of soul and sensitivity that's always made him one of the most expressive pianists of his generation – and even more so once the company on a session gets slim. Tracks are all quite long, but handled at a level that's always personal, but very powerful too – quite exploratory, but without ever being too far out – that special sort of blend that Lightsey does so well. Titles include "Habiba", "Pee Wee/Heaven Dance", "More Than You Know", "Goodbye Mr Evans", and "Infant Eyes". ~ Dusty Groove

JACOB SZEKELY TRIO

Describing distinguished cellist Jacob Szekely’s newest recording with words like “cerebral” and “soulful,” critics have praised the indie musician’s innovation and creativity. According to Szekely, largely credited for transforming the cello into a credible lead jazz instrument, the “soulfulness” on the recording wouldn’t have been possible without his cello made by Eric Benning, a Los Angeles-area luthier who also crafts violas and violins. “It was perfect timing for both of us,” stated Benning. “I had just made a Stradivarius model cello with some absolutely gorgeous wood I had been saving. Just as I was completing it, Jacob was looking to purchase something high-end. His career was starting to take off.” The CD, titled “The Jacob Szekely Trio,” which includes the talents of pianist Josh Nelson and drummer Christopher Allis, has received decidedly rave reviews from acclaimed music critics such as Brian Arsenault of the International Review of Music, who effusively stated: "The cello in Szekely’s special hands is transformative, literally. At times a guitar, a bass guitar, a violin, a harp. But always, always a cello. Is there anyone else in the world who plays the instrument like this?" Szekely states that the recording and reception would not have been possible without Benning’s cello in his hands. “It just wouldn’t have been possible without Eric’s instrument. My Benning cello is an inspiration to me. Whether I'm recording or performing, this soulful instrument empowers me to play from my heart and express what I always hope to express.”

 

JEFF LORBER CLASSIC ALBUMS REISSUED - WATER SIGN, WIZARD ISLAND, IN THE HEAT OF THE NIGHT, IT'S A FACT AND GALAXIAN

THE JEFF LORBER FUSION – WATER SIGN

A landmark set of fusion from Jeff Lorber – the major label debut of his group, and the virtual blueprint for a sound that many would try to copy over the years, but never quite match! The style's almost a summation of the CTI/Kudu approaches of the mid 70s – with Lorber setting down a sweet groove in a variety of keyboards, working with bassist Danny Wilson and drummer Dennis Bradford to create some serenely spacious grooves that have a lot of polish, but also still a nice degree of soul. Guest players really open up things nicely – especially Dennis Springer, who plays a variety of saxes on the set – as well as Joe Farrell, Freddie Hubbard, and Doug Lewis. Titles include "Toad's Place", "Country", "Tune 88", "Lights Out", "Rain Dance", and "Water Sign".  

THE JEFF LORBER FUSION – WIZARD ISLAND

A real classic from Jeff Lorber – the kind of record that crossed-over immediately, and had a huge influence on so many different scenes! The style is smooth sweet fusion – of a sort that Lorber virtually helped invent, and so many others helped to ruin in later years – but here, things are clean and lean, very focused on the groove – and coming off with a really soulful sound! There's a great mix of acoustic and electric keys that really makes the album cook – giving it a two-dimensional feel that really comes off nicely on every tune – and the core lineup includes Lorber on keys, plus electric bass, drums, and saxes. Titles include "Wizard Island", "Lava Lands", "Shadows", "City", "Rooftops", and "Can't Get Enough". 

JEFF LORBER – IN THE HEAT OF THE NIGHT

Sweet fusion grooving from Jeff Lorber – going strong here in a tight early 80s mode that combines jazz and R&B with effortless ease! The leadoff title track is a catchy groover, done with lead vocals by Jeff and Maurice Starr – but most of the other tracks on the set are instrumental, in that tight mode that Lorber virtually invented at the end of the 70s – and coming off with a lot of soul, thanks to guest work from Lee Ritenour on guitar and Ronnie Laws on saxophone. The set also features vocals from Philip Ingram and Alex Ligertwood – each on a track apiece – and titles include "Sushi Monster", "In The Heat Of The Night", "Rock II", "Waterfall", "Blast Off", and "Don't Say Yes".  

JEFF LORBER – IT’S A FACT

Jeff Lorber shows his equal talents for jazz and soul on this one – working in a tight blend of keyboard and guitar electric funk – one that's perfect for the occasional vocal part! The core sound is fusion, but done in a way that works nicely off of the R&B-tinged experiments of the 70s – taking lessons learned from Donald Byrd, Herbie Hancock, and The Crusaders – in order to come up with a jazzy groove that's also pretty appealing to fans of modern soul! Vocals are from a hip trio of talents – Sylvia St James, Greg Walker, and Arnold McCuller – and titles include "Full Moon", "Tierra Verde", "Your Love Has Got Me", "Always There", "Delevans", and "The Magicians".  

JEFF LORBER FUSION – GALAXIAN

The Jeff Lorber group makes a move into R&B with a few tracks on this set – adding in vocals to their core sweet fusion approach, but in a style that totally makes sense! Lorber's always had a great way with a soulful tune – working with both electric and acoustic keys in a style that's similar to Rodney Franklin – and like Franklin, the occasional vocal in his work only seems to bring out the more soul-based aspects of his work. Donnie Gerrard sings on 2 tracks – "Monster Man" and "Think Back & Remember" – and other tunes include "Bright Sky", "Galaxian", "Magic Lady", and "Night Love". 

~ Dusty Groove

LISA FISCHER - SO INTENSE (DELUXE EDITION)

Anybody who has seen the documentary 20 Feet from Stardom knows that the title of this album is an apt one when it comes to Lisa Fischer. Fischer, who is one of the featured backup singers in the film, comes across as a pretty mellow person when not practicing her art, but get her in front of the mic either in the studio or on stage, and what pours out is just pure, deep magic. You can see the respect the other musicians and singers in the film have for her; there’s a reason she has sung with the Rolling Stones on every tour they’ve taken since the ‘80s, and sung backup for everybody from Sting to Tina Turner to Luther Vandross (who produces about half of So Intense).  An outsized talent like hers would seem destined for stardom; but after she recorded this album for Elektra in 1991, she retreated from the spotlight, never to cut an album under her own name again, even though the record spawned three hits including “How Can I Ease the Pain,” which went to #1 on the charts and won a Grammy. Our Real Gone Music reissue features liner notes by Pat Thomas and four bonus tracks. You need to hear this woman sing. The deluxe editions includes Three Hits Featuring the #1 Song "How Can I Ease the Pain," which won a Grammy for Best Female R&B Vocal Performance in 1992, and production by Luther Vandross and Narada Michael Walden.

Deluxe Edition Includes Four Bonus Tracks: 1.   Save Me // 2.   Get Back to Love // 3.   How Can I Ease the Pain // 4.   So Intense // 5.   Wildflower // 6.   Some Girls // 7.   So Tender // 8.   Send the Message of Love // 9.   Chain of Broken Hearts // 10. Last Goodbye // Bonus Tracks: 11. Save Me (DM2 Mix) // 12. Save Me (Red Zone Dub) // 13. Save Me (Extended Mix) // 14. Save Me (Radio Mix).

GEORGE COTSIRILOS TRIO - VARIATIONS

For a jazz guitarist, a trio setting -- uniting the featured instrumentalist with the support of just a bassist and a drummer -- is risky. Dispensing with, say, a piano to provide harmonic underpinning or a horn with which to share solo space, a guitarist becomes exposed. It takes a confident leader and an airtight rhythm team to pull off such a project. On his new recording, Variations, the San Francisco-based guitarist George Cotsirilos confirms that his now well-established trio is up to the task and then some. Variations also asserts that the promise of the trio's previous recordings has come to eminently satisfying fruition.

Uniting with bassist Robb Fischer and drummer Ron Marabuto, as he did on the earlier albums, Past Present and On The Rebop, Cotsirilos proves through his effortless mastery that there's still plenty of life in the mainstream guitar tradition. A fluent bop-oriented stylist who mates a sparkling tone with fleet fingered lines, harmonic ingenuity, melodic acuity and a gift for letting space have its own say, Cotsirilos also takes keen advantage of a gift that sets him apart: his ease on both the electric and acoustic guitars.

Where Cotsirilos's command of the electric instrument is given free range on such robust original tunes as the boppish "A Walk for Ethel," the earthy "I Know You Know" and "Blues For The J Man," the lyrical "Chimera," and the sprightly strutting "Madrugadora," his delicate yet bracing acoustic guitar work on Ivan Lins's "Doce Presenca," Fisher's "Sambrosia" and a solo rendition of the standard, "But Beautiful" is equally immediate and affecting.

"I aimed for three things when making Variations," says Cotsirilos. "First, I wanted to capture the deeper communication that's been progressively building between the members of the trio. We are now truly the sum of three equal parts."

"Second, I wanted to express more diversity in terms of instrumental color. It was important to feature both the electric and acoustic guitars and to set off the group performances with a solo setting. Dynamics and tempo were also kept in mind: soft versus loud, slow versus fast -- the trio is comfortable with these variables and I wanted to have them as part of our core sound."

"Lastly, I wanted to take advantage of the space that a trio provides. Not to have to fill it up all the time, as can be the natural approach, but to let the open space speak for itself - let it provide opportunities. You have to be very comfortable with each other in a small group setting to feel that each member can contribute as much or as little as they want to in a given performance, and we have reached that point."

In bassist Robb Fisher (whom Cotsirilos worked with in the popular San Francisco Nighthawks band, which also included the famed Bay-area drummer Eddie Marshall and pianist Paul Nagel) and drummer Ron Marabuto, Cotsirilos has bonded with sympathetic players whose near telepathic union has only sharpened in their seven year tenure as a unit.

A native of Chicago - hence his strong affinity for the blues - George Cotsirilos has become a leading musical fixture of the Sam Francisco music scene. Included among the varied artists he's worked with are Pharaoh Sanders, Etta James, Chuck Israels, Jane Olivor, Mel Martin, and the R&B band, The Whispers. He is a graduate of the University of California at Berkeley, and has studied classical guitar at the San Francisco Conservatory of Music.

http://terjoejazz2.webs.com/

http://originarts.com/oa2/artists/artist.php?Artist_ID=12

DA LATA DRAWS ON AFRO-BRAZILIAN INFLUENCES TO DELIVER 'FABIOLA'

‘Fabiola’ began taking shape in 2010, when Chris Franck and Patrick Forge, finding themselves again single and with Forge having returned from living in Japan, took their first tentative steps towards writing new material. Drawing together a worldwide family of collaborators both old and new, they embarked upon a “new era” of Da Lata. ‘Fabiola’ their first album in ten years, features a host of talent including singer and guitarist Luiz Gabriel Lopes from tropicalia band Graveola (Brazil), Mayra Andrade (Cape Verde), Miguel Atwood Ferguson (USA), spoken word and rap from Philly’s finest – Rich Medina (USA) Marcelo Janeci (Brazil) Luisa Maita (Brazil), Fabricio FBC (Brazil), Sacha Gabriel (Canada), Jason Yarde (UK), Finn Peters (UK) and Diabel Cissokho (Mali) who have all helped craft a record with a raw and live approach fusing Afro-Brazilian influences with a dance-floor sensibility.

The big question is, can their album be categorised as solely ‘World Music?’ Or has the world become too small a place for such divisions? Ultimately, it’s the melting pot of London that really lies at the heart of ‘Fabiola’, a city where cultures and taste continually collide. ‘Fabiola’ is not bound by any set of rules, for all its authenticity in the musicianship and grooves, the tunes themselves seek out new territory beyond glib categorisation. The new album is characterised by Da Lata’s new “organic edge”, dispensing with programming and electronic production, ‘Fabiola’s’ emphasis is definitely on the “real” in every sense. Written exclusively by Chris Franck and the various collaborators; Franck, Forge and super engineer Toni Econimides are the team that have crafted ‘Fabiola’ into Da Lata’s most mature and accomplished album yet.

In essence it’s been 20 years since Franck and Forge first came together and began experimenting and redefining Brazilian music. The duo have had major international success both in bands (Smoke City, Zeep and Da Lata) and for Patrick as a respected DJ who was a pioneer for Brazilian music with UK station Kiss FM in the early 90s.

Famed for melding elements of Brazilian and African styles with everything from folk, rock and psychedelia to spoken word, soul and dub, they’ve made a permanent mark in their respective scenes, bringing down the divide between ‘world’ and ‘electronic’ music – both can be charged with popularizing Brazilian music on an international stage.

Over the course of their 20 year careers they have worked alongside and collaborated with Palm Pictures label mates Femi Kuti, Sly and Robbie, Ernest Ranglin, Baaba Maal, and Bebel Gilberto. They’ve played some of the biggest stages around the world including Roskillde, Coachella, Glastonbury, North Sea Jazz, Womad and Summer Stage New York. Additionally during the 2012 Olympics, while the album was still in progress, Da Lata came together with a new line-up to perform at Gilles Peterson’s and Patrick’s Another Sunday Afternoon At Dingwalls and the Casa Brasil sessions at Somerset House to high praise.

With a mighty cast of remixers set to re-interpret ‘Fabiola’ and their first single ‘Um Amor A Mais’, a rugged organic afro-electro number set for a late summer release, Da Lata are about to start a new chapter in their memorable story. 20 years of Afro-Brazilian adventure and its definitely not over yet…

TERRI LYNE CARRINGTON'S MONEY JUNGLE: PROVOCATIVE IN BLUE

The "Very Special" video is from GRAMMY® Award-winning drummer, composer and bandleader Terri Lyne Carrington's March shows at Dizzy's Club Coca-Cola/JALC. Appearing in the video with Carrington are Gerald Clayton and James Genus. The March shows feature the music of Carrington's Money Jungle: Provocative in Blue - the 50th anniversary homage to Duke Ellington's iconic 1963 Money Jungle recording. Carrington's album, which reached #1 on the Jazz Week Charts, is released on Concord Jazz in the U.S., Europe and other global markets; and, the album is on Universal Music's Somethin' Else label in Japan.

The September 1962 original recording sessions led by Duke Ellington featured bassist Charlie Mingus and drummer Max Roach.

Today, it is considered one of the pivotal jazz recordings of the 1960s; and the 1963 album release that emerged from the session, was - among other things - a commentary on the perennial tug-of-war between art and commerce. In some ways, that album's 11 tracks were intended as a sort of counterbalance to the capitalist bent of the Mad Men generation. Now, 50 years later, this precarious balance in the world of jazz - or in any art form, for that matter - hasn't changed much. Terri Lyne Carrington, with the aid of two high-profile collaborators - keyboardist Clayton and bassist Christian McBride - paid tribute to Duke, his trio and his creative vision with a cover of that historic recording.

In speaking about Money Jungle: Provocative in Blue Carrington reflects, "Duke's original recording is something that has haunted me since I first heard it about a decade ago. I had bought it on CD, from the discount bin in a music store," she recalls. "I put it on in my car, and I immediately just felt something mysterious about it. There was just an energy that moved through the tracks. Duke and Charles and Max had a chemistry about them. There was this tension that you could hear, and yet they fit together like a hand in a glove."

In preparation for the project, Carrington read up on Duke's biography. "I felt like a method actor," she says. "I just dug as deep as I could in the time that I had to get a glimpse of his perspective on things. When you start rearranging music by someone like Duke Ellington, you better feel really good about what you're doing. In the end, I felt confident that I didn't do him a disservice, because he was a very open-minded artist, and he was very much about moving forward."

Carrington considers her Money Jungle - like its predecessor - primarily a trio album, but she's not averse to some enhancement and additional textures along the way. Helping out with the rearrangements and reinterpretations is an impressive list of guest artists: trumpeter Clark Terry, trombonist Robin Eubanks, reed players Tia Fuller and Antonio Hart, guitarist Nir Felder, percussionist Arturo Stabile and vocalists Shea Rose and Lizz Wright. In a special appearance, Herbie Hancock appears in a spoken word segment as the voice of Duke Ellington.

"The music of Duke's Money Jungle may have first emerged a half-century ago, but there's nothing old about great music and great musicians," says Carrington, who sees her own Money Jungle: Provocative in Blue as addressing some of the same issues as its 1963 predecessor. "There's always something that's new, if you know how to listen to it. You have to be able to appreciate the past if you want to have a future. I think that's a big part of our job as artists and entertainers and educators - to keep reminding the younger musicians how important our predecessors were - especially the people who made the music what it is today. So it was my goal to bring some fresh light and fresh energy to some of Duke's music in general and this recording in particular."

In speaking about his and Carrington's partnership with Concord Music, Robert Hebert, CEO of Hebert-Carrington Media, shares "Terri Lyne and I are very excited about our relationship with Concord Music ... John (Burk) and Glen (Barros) ... and their team: Mark Wexler, Jason Linder, Larry Bole, Mike Wilpizeski, Kajo Paukert, Rick Nuhn, Zak Weil, Evelyn Mowbray and the rest of the Concord team all have done a great job supporting the Money Jungle: Provocative in Blue project. And, of course their work on the 2012 GRAMMY® Award-winning Mosaic Project yielded unforgettable dividends for us all. We are proud to be counted as a part of the Concord family. They believe in us, and we in them."

Hebert continues: "As far as the new relationship with Universal Music in Japan ... Bruce Lundvall and Hitoshi Namekata assisted our company over several years in putting this together. We look forward to doing much more with Universal Music Japan, and especially to the opportunity to continue our collaboration with Ken Arai, Yoshimitsu Harashima, Rutsuko Hanamura and their teams in Tokyo."

Carrington has been quite busy of late. In addition to her solo work, she is on a global tour with her ACS Trio configuration with Geri Allen and Esperanza Spalding.

Upcoming ACS Performances:

October 5 / Quick Center for the Arts / Fairfield, CT

October 11 / The Terrace Theater, The Kennedy Center / Washington, DC

October 15 / McCain Auditorium, Kansas City University / Manhattan, KS

October 16 / Juanita K. Hammons Hall / Springfield, MO

October 17 / Paramount Theatre / Austin, TX

October 19 / Cullen Theater, Wortham Theater Center / Houston, TX

October 20 / Lensic Performing Arts Center / Santa Fe, NM

October 22 / Ikeda Theatre, Mesa Arts Center / Mesa, AZ

October 24 / SFJAZZ Center / San Francisco, CA

October 25 - 26 / Samueli Theater / Costa Mesa, CA

October 27 / The Broad Stage / Santa Monica, CA

November 7 / Helsinki Music Centre / Helsinki, Finland

November 8 / Stockholm Konserthuset / Stockholm, Sweden

November 9 / National Jazzscene / Oslo, Norway

November 12 / Heidelberg Stadthalle / Heidelberg, Germany

November 13 / Stadtcasino / Basel, Switzerland

November 14 / Palau de la Musica / Barcelona, Spain

November 15 / Sala Multiusos / Zaragoza, Spain

November 17 / Barbican Centre / London, England

November 22 / Corp of Massey Hall and Roy Thomson Hall / Ontario, Canada

November 24 / Symphony Hall / Boston, MA

Other Upcoming Terri Lyne Carrington  Performances:

October 23 / Smith Center for the Performing Arts / Las Vegas, NV

January 24, 2014 / Carlsen Center / Overland Park, KS

February 8, 2014 / Kirkham Auditorium, BYU / Rexburg, ID

March 21, 2014 / Puerto Rico Heineken Jazz Festival / San Juan, Puerto Rico

March 29, 2014 / Brubeck Institute Jazz Quintet / Stockton, CA

May 2, 2014 / Chicago Symphony Hall / Chicago, IL

Looking ahead to 2014, Hebert-Carrington Media is turning its attention to three major recordings that have been long-planned: Carrington's next recording project is the Mosaic Project II follow up, the company's first Brazilian-themed multimedia project: Alma Brasileira - which it plans to release at the time of the 2014 FIFA World Cup in Brazil, and the Password collaborative with Carrington, Chris Walker, Frank McComb and Dwight Sill.

TerriLyneCarrington.com

ConcordMusicGroup.com 

THELONIOUS MONK WITH HIS QUARTET AT THE SALLE PLEYEL CONCERT HALL - PARIS 1969

Blue Note Records has announced a November 26 release date for Thelonious Monk Paris 1969, a fascinating and important late-career document of the legendary jazz pianist and composer in performance with his Quartet at the Salle Pleyel concert hall in Paris, France on December 15, 1969. Beautifully captured on B&W film, the concert also featured a surprise guest appearance from renowned drummer Philly Joe Jones. Also included is a rare on-camera interview with Monk that was conducted by the French bassist Jacques Hess after the concert. Paris 1969 will be available in several formats including physical releases on CD/DVD, CD and vinyl, as well as a digital album and digital long-form video. 

“The 1969 Paris concert captures the power and the undiminished beauty of Monk’s music, reminding us that even as his body aged his musical imagination knew no limits,” writes Monk scholar Robin Kelley in his liner notes essay. However, Kelley also illuminates what a peculiar and challenging moment 1969 was for the 52-year-old pianist. Monk hadn’t achieved true success until the late-50s with his legendary run at the Five Spot Café in New York City with John Coltrane (a band that was brilliantly captured on the lost recording Thelonious Monk Quartet with John Coltrane at Carnegie Hall from 1957 which was discovered and released on Blue Note in 2005). By the early-60s Monk’s success had peaked when he signed with Columbia Records and was eventually featured on the cover of TIME Magazine in 1964.

However, by 1969, in addition to health issues, Monk’s success was beginning to wane with the emergence of rock and the resulting jazz fusion movement. His recording contract with Columbia had just come to end after an ill-advised attempt at marketing him to a younger rock audience. That disappointment was followed by the departure of drummer Ben Riley and bassist Larry Gales from his band which left Monk with two chairs to fill on short notice before his European tour.

Monk eventually found two young musicians – bassist Nate Hygelund and drummer Paris Wright – to fill out the Quartet with his longtime tenor saxophonist Charlie Rouse. Luckily the inexperienced rhythm section had some time to gel before hitting the stage in Paris with a lengthy engagement in London followed by stops in Germany and Italy. By the time they reached the Pleyel the band was in fine form, which made for a triumphant return for Monk to the very stage he had made his Parisian debut on in 1954 in front of a hostile audience who felt that Monk was too avant-garde. 15 years later the situation could not have been more different with an enthusiastic audience and the concert being broadcast on television.

In addition to rollicking Quartet versions of Monk classics such as “I Mean You,” “Straight No Chaser,” and “Blue Monk,” the set also includes three stunning solo piano performances on “Don’t Blame Me,” “I Love You Sweetheart Of All My Dreams,” and “Crepuscule With Nellie.” However, an undeniable highlight of the concert was when the veteran drummer Philly Joe Jones who was an expat living in Paris at the time comes from backstage to borrow the sticks from the 17-year-old Wright, providing a palpable spark on Monk’s “Nutty.”

~ Blue Note Records