ANNE METTE IVERSEN'S DOUBLE LIFE - SO MANY ROADS

So Many Roads, the grand new album from bassist/composer Anne Mette Iversen's Double Life, to be released on Brooklyn Jazz Underground Records on April 22, is a very personal recording for Iversen. The artist explains, "Its conception and realisation has been a long journey. Along the road I had many ideas about how to present it to you: which story to tell you, which words to describe it with and which pictures to paint in your head. In the end, I rejected them all to let the music speak for itself, and, hopefully, to leave space for it to become your own personal journey." 

The music on So Many Roads has the ability to conjure up and provoke emotions, feelings and vivid images. In a word, it is picturesque. Good art transforms within the listener, viewer or reader, to become a deeply personal experience and bring them on a journey as well. "It is my hope that the art, the music, on this album is strong enough to give the listener an experience that sends them on their own personal journey; and therefore, in this context, my personal journey is irrelevant," commented Iversen. 

So Many Roads was composed specifically for Iversen's group Double Life, which consists of her long running quartet, the Anne Mette Iversen Quartet, featuring John Ellis (soprano & tenor saxophone), Danny Grissett (piano), Otis Brown III (drums & cymbals) and special guest, the outstanding Swedish trombonist Peter Dahlgren, of the Norrbotten Big Band (who also appeared on the bassist's very first recording, On the Other Side, ten years ago); plus, the string quartet, 4Corners, featuring members of the Danish Radio Symphony Orchestra, who also appeared on Iversen's 2008 recording, Best of the West. 

Iversen's band members always claim that the critically acclaimed bassist/composer has a quick turnaround time with her new recordings. This may seem to be the case due to her unblinking dedication to her craft, her professionalism and her admirable skill at seeing a highly creative project through to accouchement. However, So Many Roads has in fact been nearly five years in the making. "I remember clearly when I first sat down and wrote the first notes in our apartment in Red Hook, Brooklyn. It was the section that gave the thematic material which became the theme that connects the piece, and characterizes the entire musical journey," explained Iversen. 

So Many Roads, "started out with the idea of being a journey through a mythological world, an imaginary description of travel and related experiences, but it ended up being so closely connected to my own personal life and actually describing a very special period and special experience of my life instead," said Iversen. One could say that a journey, as a theme, has been a part of Iversen's music all along, but So Many Roads became both a premonition and a resolution to 57 months of her own life instead of some fantasy world. "During the protracted period of creating this album, the subject matter quickly changed from the imaginary to reality!," said Iversen.

The music on So Many Roads is quite unique in that it utilizes a one-movement compositional form, and boasts an exquisite balance of integration and interaction between the string group and the jazz group. Take note of the musicians' excellent blend, and exchange of ideas and emotions.

The album opens with a solo bass statement (a way of leading the listener into the composer's universe), before the presentation of the main theme, which comes fully orchestrated and lush, and sets up the framework for the piece. Out of the main theme grows new themes and songs with their own identities, orchestrated in various ways by selected combinations of the musicians from the jazz quintet and the string quartet. One example is the lovely ballad, indicated on the physical disc by Chapter Three, which is played by trombone, string quartet and drums.The music is also characterized by the many transitional sections/elements that serve to connect the piece, but also reveal their own identity. The evolution of the music throughout the album takes you through states of uncertainty, peace, fun, beauty, stress, running the emotional gamut, similar to what one experiences in life.

On So Many Roads, Iversen sought to strike a fine balance between improvisation and composition, and between the jazz quintet and the string quartet. The jazz quintet leads by their expertise with improvising, but are also given important written ensemble parts, which they perform equally well.  Conversly, the classical string players contribute to the jazz sections with a deep understanding of phrasing and rhythm. A wonderful example is the strings' interaction with Otis Brown III during his solo towards the end of the piece. The carpet they provide for him is full of playfulness and humor, and reflects a strong sense of mutual respect and enjoyment inherent in these musicians' collaboration, which is apparent on and off the stage/studio 

Iversen knows very well that these days details about an artist's life can be just as important to public perception and acceptance as the art itself, especially in pop-culture. Fortunately within the jazz genre the fan is still a genuine lover of the music, so the attachment and devotion is very much about the music and the experience. Iversen elaborates, "getting deep into something, in general, is rewarding. But although there is plenty of expertise found in our societies today, I wonder how much in-depth study is being spent on art and music. Understanding an art requires commitment and time, something not always easily found in our lives, but the reward for taking this time is high, and I strongly recommend it. Therefore, I only hope that you will give it 36:31 focused minutes of your time, to go on a journey with us, and hopefully find it an emotional enriching experience."

www.Annemetteiversen.com

www.BJURecords.com

redcatontheloose.blogspot.com

     

FREDDIE BRYANT - DREAMSCAPE

Imbued with guitarist Freddie Bryant's inimitable touch, inherent soulfulness and the element of surprise, Dreamscape: Solo-Duo-Trio (available on GJKSounds) is also marked by the guitarist's ability to seamlessly traverse the classical-jazz divide on this collection of jazz standards and compelling originals. As a follow-up to his dynamic recording with his band Kaleidoscope (2012's Live Grooves...Epic Tales), Bryant gets intimate on his latest release, Dreamscape: Solo-Duo-Trio. 

Alternating between nylon string classic guitar, archtop jazz guitar, 12-string acoustic and electric guitar, Bryant does some skillful genre hopping on this emotionally charged outing. "This album is a highly personal portrait of my influences from straight-ahead to Brazilian and classical guitar but also the key factor of my parents who were consummate concert artists," notes Bryant.

Joining Bryant for duo and trio numbers on Dreamscape are two acclaimed musicians and bandleaders in their own right -- multi-reedist Chris Potter (performing on tenor and soprano saxophones as well as bass clarinet) and bassist Scott Colley. "I played with them back in the late '80s-early '90s," Bryant recalls, "and their playing was always exceptional. They can play anything, and they play it beautifully and interactively too."

  

Easily Bryant's most personal and revealing project to date, he performs several solo guitar pieces on Dreamscape, ranging from Thelonious Monk's lyrical "Ask Me Now" to a rich chord melody treatment of Charles Mingus' "Goodbye Porkpie Hat." Bryant also includes a beautiful interpretation of Bruno Martino's melancholy ballad "Estate" along with a buoyant, bossa nova/samba take on "Secret Love." "I wanted to do a project that didn't have drums in it, principally because there's something that happens to the clarity of sound of the guitar when you have cymbals ringing and drums beating," says the guitarist. "Of course, I love drums, but there's an intimacy that you get when you have a microphone right in front of a guitar and nothing else. When I was a kid I used to sit under the piano and just listen to my father play. That's the setting I wanted to convey."

Bryant grew up in a musical household with his parents, who were both renowned performers on New York's classical and opera scene. In fact, he began turning pages for his concert pianist father at the age of six. Bryant has already dedicated an album to his father, who passed away when he was in college, but now decided it was time to honor his mother for such an important role in his musical development.

To that end, Bryant composed the piece "Songs," which is based on tunes he remembers hearing his mother sing. He closes out Dreamscape with a snippet of a 1974 recording from New York's Alice Tully Hall that has his mother, Beatrice Rippy, singing the uplifting spiritual, "I'm Going to Tell God All of My Troubles," accompanied by her husband, Carroll Hollister, on piano. Bryant also performs a new arrangement of that same powerful tune on classical guitar as a duo with Potter on bass clarinet. On the three other trio tracks on Dreamscape, Potter plays soprano sax on the bristling title track, switching to bass clarinet on the suite-like "Songs," which travels from work song form to hymn to gospel vibe, and rounding off on tenor saxophone for the aptly titled "Everyday is the End and the Beginning of Life Beautiful" which Bryant wrote on December 12, 2012, the date which marks the supposed end of the world from interpretations of the Mayan calendar.

Bassist Colley, a longtime duo partner with the late, great jazz guitar legend Jim Hall, makes an indelible connection with Bryant on two companion duo pieces -- the gentle, chamber-like "Vignette #1," which has Bryant on nylon string classical guitar, and the lively and contrapuntal "Vignette #2," which features Bryant on electric guitar. "Scott has a beautiful tone and great ears," says Bryant of the in-demand bassist. "I always thought of him as such a fluid player, and he's a very melodic improviser too. It was a joy to play with him."

Dreamscape: Solo-Duo-Trio will confound those looking to put guitarist Bryant in a stylistic box as it reaches out to those who simply enjoy good music. "I grew up with straight ahead jazz and I love swinging with great jazz musicians like Ben Riley and Tom Harrell," he says. "I love that and it's totally me. I still play straight ahead but I also play Brazilian music and classical music. And now this recording makes it a little bit harder to categorize me. For me, that's a positive thing. And that's why I'm rejoicing in being able to play all these different styles of music on these different instruments and have them recorded in such a beautiful way in this intimate setting."

FreddieBryant.com

SHANACHIE RELEASES REGGAE CLASSIC FROM AUGUSTUS PABLO - EAST OF THE RIVER NILE ON VINYL

Augustus Pablo is a legendary figure in reggae music, widely acknowledged, along with King Tubby and Lee "Scratch" Perry as one of the  prime architects of dub music, which has had a profound influence on hip-hop and electronica. Pablo was also a first-rate producer who launched the careers of such reggae legends as Jacob Miller and Hugh Mundell. He was also a highly-skilled multi-instrumentalist who played not only on his own recordings but as a session man on a number of great roots reggae recordings of other artists. He was an enigmatic figure who rarely performed in public, touring internationally only a handful of times in his nearly 30 years as a reggae artist. His greatness is demonstrated by the fact that two of his albums appear on most lists of the top reggae albums of all time--King Tubby Meets Rockers Uptown, widely considered the greatest dub album ever recorded and East Of The River Nile, one of the greatest instrumental reggae albums ever recorded.

Recorded in 1977 and initially released in Jamaica after the atmospheric, hypnotic title track created a sensation as a single release, East Of The River Nile was released internationally in the United States in 1981 by Shanachie Entertainment, following Shanachie's release of Pablo's Rockers Meet King Tubby Ina Firehouse as Pablo's first U.S. release in 1980. The release of these two critically-acclaimed albums propelled Pablo into mainstream consciousness for the first time. These releases began a nearly 20-year relationship between Pablo and Shanachie as the main North American outlet for Pablo's music up until his death in 1999. The enduring beauty of East Of The River Nile stems from its entrancing marriage of rhythm and melody, led most often by Pablo's uncanny soloing on melodica. The release by Shanachie Entertainment of East Of The River Nile on vinyl LP is the first time it has been legally available in vinyl form since 1989.



Augustus Pablo was born Horace Swaby in St. Andrew near Kingston, Jamaica in 1953 and was a teenage prodigy. At an early age Pablo was drawn to the sound system dances and in his early teens frequently cut school to hang out in downtown Kingston record shops and recording studios, absorbing everything he heard. Proficient on keyboards, by chance he tried playing a melodica belonging to a friend's girlfriend; entranced by it, he was told by the girl that he could have it. In young Swaby's hands, the melodica—essentially a child's toy—became an evocative solo instrument. One day he was standing outside Aquarius Studio with the melodica and Aquarius proprietor/producer Herman Chin-Loy, who happened to be searching for a unique sound for a recording, spotted him and asked him to play on a track. The result was successful and soon Pablo was playing on sessions regularly for Chin-Loy, who bestowed on Swaby the nom-de-plume Augustus Pablo, which Chin-Loy had invented as a vehicle for his instrumentalists. Pablo soon teamed up with school chum Clive Chin, whose parents owned Randy's Records recording studio, and scored such classic hits as "Java" and "Pablo In Dub." Early on, Pablo established his own sound system, Rockers International, and his own labels and began  producing both his own recordings and for other artists. He forged a close relationship with King Tubby, the hugely influential producer, engineer and sound system operator generally acknowledged as the inventor of dub music. Pablo's 1975 dub recording "King Tubby Meets Rockers Uptown" was a huge hit and the album of the same name because a reggae classic. 

Throughout the 70's Pablo recorded prolifically, re-cutting classic Studio One rhythms in heavier style and creating his own original rhythm tracks. His own recordings were either instrumentals, in which lead instruments played melody throughout, or dubs, which moved snatches of melody in and out of the mix. He also produced many great recordings by established artists such as Leroy (Heptones) Sibbles, Dillinger, and Johnny Osbourne, as well as new talent which he frequently discovered, including Hugh Mundell, Jacob Miller, Tetrack, Delroy Williams, Norris Reid, Jr. Reid, Junior Delgado and Earl Sixteen. The release of the single "East Of The River Nile" and album of the same name in 1977 was another landmark. The single, which was a radical re-working of a recording Pablo had originally done for Herman Chin-Loy, was unlike any other reggae recording or, indeed, any other piece of music anywhere.  Its impact was immediate. Pablo continued recording and producing both his own works and that of other artists up until his untimely death at the age of 46 in 1999 from a collapsed lung devolving from a nerve disorder - Myasthenia Gravis.  His work was always informed by a strong sense of spirituality and devotion to Rastafari. Pablo's legacy is multi-faceted, encompassing a number of certified reggae classics, a body of work of great originality and substance, and an exemplary devotion to artistic and spiritual purity.

Release is set on vinyl on April 15, 2014.

~ Shanachie Entertainment

BélO - NATIF NATAL (NATIVE BORN)

Haitian International artist BélO will release a new album titled Natif Natal (Global release date April 9, 2014) with a worldwide tour beginning in the United States. The Radio France International Discoveries winner’s 4th album, Natif Natal, is a journey of emotional social struggles, love and the need to belong.

The social crusader is first a lyricist before a music composer, and it comes to no surprise that the first track “Detripay” (Gutted) depicts the world being pulled apart from the inside out revealing prostitution, human trafficking and rape. BélO’s poetic vision and his colorful Kreyol proverbs are put on full display in Natif Natal. A constant social spirit throughout the entire album sending a message of hope (Track 4 Pa Lage), holding on to love (Track 10 Abondans), and despite critical labels of society one should be able to accomplish its mission in life (Track 9 Pa Koute Yo). Natif Natal is dedicated to mankind and the dream of a world without boarders (Track 11 Citizen of World).

Natif Natal is produced by Jean Belony Murat a.k.a BélO; arranged/final mixed by Andy Barrow. BélO refused to be shackled by the limitations of one genre and threw a wider net to capture various sounds for Natif Natal. “I am a native from Haiti, and I want to be part of the global musical movement” -BélO. Effortlessly, BélO’s sound leaps from his native traditional Haitian roots, Rock/Pop, old school Reggae, vintage Bossa Nova and R&B. The structural shift across the whole album is very apparent. BélO’s signature jazzy touch from his second album reappears while cultivating a more organic sound. BélO is known as being Haiti’s live acoustic innovator, yet he has never recorded in that style. The recording features songs in a greener format like: a call-and-response chorus, acoustic guitar and Haitian Tambour (congas) arrangements (Track 4 Pa Lage & Track 13 Tinonm).

The album showcases upcoming local Haitian vocalist like Mandela (Track 4 Pa Lage) and Queen Bee (Track 10 Abondans), Haiti’s renown rapper BIC (Track 6 Kase Tibwa) and the celebrated Haitian roots artist Eddy Francois -former lead singer of Boukman Ekperyanse Grammy nominated group (Track 9 Pa Koute Yo). From different parts of the world numerous artists have contributed to this multi-inspirational album: Fabrice Rouzier, Clement Belizaire, Wesner St-Louis, Andy Barrow, Charleson Duverné, Hans Dominique (Bwagri), Harold St-Louis, Dony Felix, Johnson St Cyr, Kali, Carlomagno Araya, Ismael Vergara, Monica Frias, Alive for God (chorus group), and Alessandro Vivianni.

Natif Natal’s tour will begin April 11 at Artisphere, in Virginia where he performed in 2012 in a sold out concert, followed by April 13th: Festival International Nuits d'Afrique de Montréal Canada, April16-23: France, April 26-27: International Festival de Louisiana, May1-15: National tour in Haiti, May 23-25: Guadeloupe, May 30: Jamaica. Additional tour dates in Boston, Miami, New York, Europe and more on http://www.belohaiti.com. Natif Natal will be available on the iTunes Store.

Natif Natal track listing:

1-Interlude: Detripay

2-Detripay                    

3-Vann Dlo                    

4-Banm Nouvel Ou                

5-Pa Lage Sa (ft. Mandela)                

6-Kase Tibwa (ft. BIC)                

7-Mizik a Duam                

8-Interlude: Pa Koute Yo            

9-Pa Koute Yo (ft. Eddy Francois)            

10-Abondans (ft. Queen Bee)        

11-Citizen Of The World                 

12-Ekoloji                        

13-Tinonm                        

14-Interlude: Groovy                 

15-Groovy                        

16-Interlude: Rara Dessinord     

     

MAGOS HERRERA & JAVIER LIMON - DAWN

Every relationship is about the commingling of two unique sensibilities into one harmonious experience. Dawn is a romance in luxurious musical form, bringing together the passion and rhythmic drive of Flamenco with the sultry sophistication and alluring wit of jazz. As the title implies, Dawn marks a bold, bright beginning for the partnership between the extraordinary Mexican-born jazz vocalist Magos Herrera and the young Spanish Flamenco innovator Javier Limón. 

The collaboration between Herrera and Limón represents the blending of two fresh, forward-thinking approaches to their respective musical traditions. Since moving to New York City in 2008, Herrera has brought the sounds of her native Mexico City into the vanguard of modern jazz, collaborating with such acclaimed and distinctive artists as pianist Aaron Goldberg, guitarist Lionel Loueke, bassist John Patitucci and saxophonist Tim Ries. As a virtuosic guitaristist and in-demand producer, Limón has helped to expand the vocabulary of Flamenco music via collaborations with renowned artists like Paco de Lucia, Bebo and Chucho Valdés, Avishai Cohen, and Wynton Marsalis, among others.

"Something that we share is that we do believe that music can be inclusive," Herrera says. "So this means that you can have a Latin jazz singer singing with a Flamenco guitar player."

Dawn finds the pair bringing these unique backgrounds to bear on a stunning set of American and Latin jazz masterpieces, including the Miles Davis classic "Blue in Green," Mongo Santamaria's "Afro Blue," and Antonio Carlos Jobim's "O que tinha de ser (What Has to Be)," alongside their own intoxicating original compositions. The duo's refreshing takes on these classic tunes stakes out a decidedly 21st century reinvention of these wide-ranging musical traditions, intertwining Herrera's emotive voice with Limón's intricate fretwork.

"It's been an incredible learning experience to see how he works as a producer," Herrera says, "and for me to share and be able to create new music together."

Limón says of his collaborator, "I really appreciate a singer like Magos that has a great voice, great rhythm, and a great sense of musicality. She has a big heart with a lot of knowledge. The album, if we have to choose just a few words, is about sound, about rhythm, about loneliness, about emptiness, about voice, heart, guitar, and silence."

Both Herrera and Limón can boast a profound familiarity with that panoply of emotion and experience. After studying at the Musicians Institute in Los Angeles and the New England Conservatory in Boston, Herrera returned to Mexico City and released five albums, garnering a large and dedicated following. She moved back to the U.S. in 2008, immediately commanding attention with a knockout performance at that year's Winter Jazz Fest and a guest appearance on Tim Ries' album Stones World: The Rolling Stones Project II.

Ries then produced her sixth album, 2009's highly successful Distancia, which featured Goldberg and Loueke. Her follow-up, México Azul, was an homage to composers from Mexico's cinematic golden age in the 1930s and '40s. Still immensely popular in her home country, Herrera has produced and starred in two music-oriented TV programs on Mexico's Channel 22, while in New York she hosts her own radio show, La Vuelta a La Manzana, in which she discusses music with some of today's leading jazz stars. The U.S. Latin magazine Siempre Mujer recognized her alongside Michelle Obama as one of 2011's ten most important women for her work as a musical ambassador for contemporary Mexican music.

A graduate of the Madrid Royal Conservatory, where he studied piano and guitar, Limón began his career as a composer for Flamenco artists, but his vision has since expanded to encompass Latin jazz and Cuban music. He has recorded everywhere from Bogota to Paris and from New York to Palestine, lending an international scope to his Flamenco concepts.

In pursuit of total creative independence, Limón created his own record label, Casa Limón, in 2003. The label's first release, Limón, featured special appearances by Paco de Lucia and Niño Josele, among others, who performed original compositions by Limón. The album was followed by Son de Limón (2008) and Mujeres de Agua (2010), a collaboration album featuring acclaimed Portuguese vocalist Mariza, long-time collaborator Buika, Spanish flamenco singer Estrella Morente, Greek folk singer Eleftheria Arvanitaki and Israeli singer-songwriter Yasmin Levy, among others. In 2004, his production work on albums by Diego El Cigala, Bebo Valdés, Paco de Lucia, Andrés Calamaro, Enrique Morente and Niño Josele, won him the Latin GRAMMY for Producer of the Year. In addition, Valdés' album Lágrimas Negras (produced by Limón) was nominated for Album of the Year and won a Latin GRAMMY for Traditional Tropical Album.

Aside from his extensive discography as an artist, producer, composer and collaborator, Limón co-hosts the shows Entre dos Aguas and Los Oficios de la Cultura for Spanish National Television and served as musical director for the network's song contest program Hijos de Babel. He currently serves as Artistic Director of the Berklee College of Music's Mediterranean Music Institute.

Together, Herrera and Limón have crafted an intimate and beautifully expressive exploration of their musical heritages and the winding crossroads that unite them.

  

Upcoming Magos & Limón Tour Dates:

May 7 / Jamboree Jazz / Barcelona, Spain

May 12 / Teatro Galileo / Madrid, Spain

May 16-17 / Duc des Lombards / Paris, France

May 19 / Norwich Playhouse / Norwich, UK

May 20 / Union Chapel / London, UK

June 5 / Joe's Pub / New York, NY

June 12 / "El Lunario" at the Auditorio Nacional / Mexico City, Mexico

July 6 / Montreux Jazz Festival / Montreux, Switzerland

Magos & Limón · Dawn  ·  Release Date: June 3, 2014 

magoslimon.com

NEW RELEASES: NOVOX – OVER THE HONEYMOON; ERIC ALEXANDER - CHICAGO FIRE; ERIC REED - THE ADVENTUROUS MONK

NOVOX – OVER THE HONEYMOON

On their 3^rd album release, French band Novox pay tribute to the American Blaxploitation movies of the 70s and their legendary groove soundtracks.  There were so many great black artists of the 70s who lended theit talents to these soundtracks, including: James Brown (Black Caesar); Curtis Mayfield (Superfly, Shor t Eyes); Isaac Hayes (Shadt, Truck Turner, Three Tough Guys); Johnny Pate (Brothers On The Run, Bucktown); Marvin Gaye (Trouble Man); Herbie Hancock (The Spook Who Sat By The Door); and Barry White (Together Brothers). Novox is made up of 7 Lyons and St. Etienne based musician performing on 14 pure funk jam grooves. On this release, Novox continues its course of uniquely blending influences of a warm double bass and the soft touch of the Fender Rhodes, combined with sharp horns, a raw electric guitar, and the distinctive scratching from DJ Mat.

ERIC ALEXANDER - CHICAGO FIRE

Recorded at the storied Rudy Van Gelder Studios in Englewood Cliffs, New Jersey, Eric Alexander's 2014 effort, Chicago Fire, finds the tenor saxophonist paying tribute to the city that helped shape his sound and career. Having studied with pianist and Chicago native Harold Mabern while at William Patterson College, Alexander established himself in the Windy City after graduating in the early '90s. He has worked with Mabern ever since and their mutual love and musical synergy is palpable here. Also backing Alexander are his longtime compatriots bassist John Webber and drummer Joe Farnsworth. Trumpeter and High Note labelmate Jeremy Pelt also joins in on several cuts. As with all of Alexander's output, Chicago Fire is a no-nonsense set of original and cover songs that showcases his passionate, swinging, straight-ahead jazz sound. ~ Matt Collar

ERIC REED - THE ADVENTUROUS MONK

The third in pianist Eric Reed's ongoing exploration of the music of pianist Thelonious Monk, 2014's The Adventurous Monk is a highly engaging, deeply swinging celebration of the bebop innovator's sound. The album follows up Reed's previous Monk-themed albums, 2011's The Dancing Monk and 2012's The Baddest Monk. Backing Reed here is his adept rhythm section of bassist Ben Williams and drummer Gregory Hutchinson. Also joining Reed is tenor saxophonist Seamus Blake, who appeared on The Baddest Monk, and vocalist Charenée Wade, who lends her urbane, soulful style to Monk's classic "Ruby, My Dear." More than just making a covers album or homage, Reed never fails to seize the opportunity to truly explore the complexities and nuances of Monk's music, endeavoring to find his own voice in the compositions. ~ Matt Collar 

NEW RELEASES: LEON RUSSELL - LIFE JOURNEY; CARLOS FRANZETTI - IN THE KEY OF TANGO; THE LINK QUARTET & MISS MODUS - HOTEL CONSTELLATION

LEON RUSSELL - LIFE JOURNEY

A resurgent Leon Russell returns – and on Blue Note for Life Journey – on which covers a lot of stylistic territory that the man himself describes a musical journey through his own life experience! If you know a thing about Leon, you know he's one of the rock and roll era's most eclectic session players, and the set list here is reflective of that – from jazz and pop standards, to Dixieland, to swing and beyond – but the great thing here is how Leon's gritty and soulful voice and laidback piano makes everything his own. Includes "Come On In My Kitchen", "Georgia On My Mind", "That Lucky Old Sun", "Fever", "Think Of Me", "The Masquerade Is Over", "I Got It Bad And That Ain't Good", "I Really Miss You", "Fool's Paradise", "Down In Dixieland" and more. ~ Dusty Groove

CARLOS FRANZETTI - IN THE KEY OF TANGO

Solo piano from Carlos Franzetti – but a record that's got a very lively feel, thanks to its focus on the roots of the tango! All the tunes here are the kind of tango numbers you'd expect to hear from a small combo – but Franzetti plays them beautifully on solo piano – leaping around with a strong sense of rhythm and emotion, as he uses the instrument to paint these beautiful little pictures of sound! The whole thing's got a very evocative feel – and titles include "Boedo", "Soledad", "Danzarin", "Tango Fatal", "Adios Nonio", "El Chocolo", "Revierando", and "Nunca Tuvo Novio". ~ Dusty Groove

THE LINK QUARTET & MISS MODUS - HOTEL CONSTELLATION

The Link Quartet gets a whole new groove here – not just through the addition of soul singer Miss Modus, but also via the album's blend of sci-fi narrative with Hammond-based funk! The approach makes the record one of the most compelling and most unified ever from this combo – a set that's still got lots of funky organ lines, wah wah guitar, and tight grooves – but which also has this fuller sensibility as well! The female vocals on a few cuts really help the group find a new direction, as does the spoken bits that link together the tunes too – and titles include "Wrecking Machine", "Stop Calling", "Second Skin", "Love Safari", "Tears Don't Fall", "Barbarella", and "Supernova". ~ Dusty Groove

SANTANA: CORAZON - LIVE FROM MEXICO TO PREMIERE ON HBO LATINO®

HBO Latino joins in celebrating the legendary career of 10-time Grammy award winner, international music icon and philanthropist Carlos Santana and his forthcoming first-ever Latin music album entitled Corazon, through a two part event: a special called Santana: De Corazon and the airing of his mega concert and documentary Santana-Corazon: Live From Mexico, Live It To Believe It.

The Santana: De Corazon special will air in Spanish with English subtitles on April 21st at 9:30 p.m. ET/8:30 p.m. CT, exclusively on HBO Latino.

The Santana-Corazon: Live from Mexico: Live It to Believe It concert and documentary will air exclusively in the U.S. on HBO Latino on May 3rd, at 8:00 p.m. ET/7:00 p.m. CT. It will also be simulcast in Latin America and the Caribbean. Cited by Rolling Stone as #15 on the magazine's list of "100 Greatest Guitarists of All Time," Santana will delight Hispanic and mainstream audiences in HBO Latino's airing of the once-in-a-lifetime tribute concert that took place at a sold out Arena VFG in Guadalajara, Mexico this past December.

Santana-Corazon: Live from Mexico: Live It to Believe It presented a star-studded concert to music lovers who enjoyed Santana's electrifying sound, along with performances by musicians and friends. Elan Atias, Chocquibtown, Cindy Blackman Santana, Lila Downs, Gloria Estefan, Juanes, Miguel, Fher Olvera of Mana, Nina Pastori, Salvador Santana, Samuel Rosa of Skank, Romeo Santos, Soledad and Diego Torres. These internationally known artists accompanied Santana during his performance, most of whose collaborations have been recorded on Santana's first ever Latin Music album entitled Corazon, set for release May 6th, on RCA/Sony Latin Iberia.

The Santana: De Corazon half-hour special spotlights the iconic Mexican-American artist through a collection of interviews by his musical peers, fellow Santana-Corazon: Live from Mexico: Live It to Believe It concert performers, mixed with touching insights from members of his most intimate circles.

Corazon, the concert and album project brings Carlos back to Guadalajara near his birthplace, and celebrates Carlos' love of his musical heritage, as well as showcases Carlos' own personal influence on Latin music and on today's generation of Latin superstars. Many genres of Latin music are represented in these collaborations including pop, rock, salsa, hip-hop, R&B, reggae, and more. 

www.santana.com

http://www.facebook.com/carlossantana

https://twitter.com/SantanaCarlos

 

NEW RELEASES: JASON PALMER - PLACES; OLEGARIO DIAZ - BASQUIAT BY NIGHT/DAY; PAOLO SAPIA - MOSTLY MUSIC

JASON PALMER - PLACES

Really beautiful work from trumpeter Jason Palmer – a fresh young talent, and a hell of a writer too! The tracks here are each based on special places for Palmer – and are each written with a very different feel – not in a way that's gimmicky at all, but which really show the expansive experience and levels of expression that Jason has in his music! The other group members are as sharp as the leader – and include Mark Turner on alto, Godwin Louis on alto, Mike Moreno on guitar, Edward Perez on bass, and Kendrick Scott on drums – all musicians who help make the record one of the most solid, well-conceived records on Steeplechase in a while. Titles include "Falling In", "Urban Renewal", "Rising Sign", "Silver", "American Deceptionalism", "Berlin", and "Bern". ~ Dusty Groove

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OLEGARIO DIAZ - BASQUIAT BY NIGHT/DAY

A really proud, bold session from pianist Olegario Diaz – almost all original tunes, written with a very vibrant feel! The group here has some massively strong work in the lead from Alex Sipiagin on trumpet and Seamus Blake, both of whom really sound great in the company of Diaz'z fluid, soulful piano – especially Blake, who's at his best forward-moving, without any of those more arch tones that sometimes hold him back. The rhythms bristle with excitement, too – thanks to work from Scott Colley on bass and Jeff Tain Watts on drums, both pulled along with strong inspiration from Diaz. Titles include "JM Baquiat", "Dance Steps", "Wayne & Joe", "Astoria Years", "By Night/Day", and "Trane Station". ~ Dusty Groove

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PAOLO SAPIA - MOSTLY MUSIC

The first album we've ever heard from alto saxophonist Paolo Sapia – a very fresh-voiced talent with a great sense of soul! Most numbers here are quartet titles that really let Sapia shape his notes with a soulful swing on the instrument that we haven't heard from a new altoist like this in years – a voice that rings out proudly alongisde piano and Fender Rhodes from Peter Zak, bass from John Webber, and drums from Jimmy Cobb – a really mighty rhythm section who give the record a rock solid feel right from the start. Trumpeter Philip Dizack joins in on four of the album's tunes, complicating the vibe nicely – and the set features original tunes "Desire", "621 Willoughby Ave", "Planet P", and "Stapled Mates" – plus a version of David Bowie's "Where Are We Now". ~ Dusty Groove

SAM RUCKER - TELL YOU SOMETHING

Hip-hop producer turned contemporary jazz saxophonist Sam Rucker has something to say. Blending jazz, hip-hop, soul and gospel, he communicates through inspirational instrumentals that meaningfully resonate with listeners. Nearly three years in the making, his sophomore album, “Tell You Something,” is slated for release from Favor Productions on June 3 and includes contributions from Norman Connors, Bobby Lyle, Tom Browne and Alyson Williams on the set mixed and mastered by Euge Groove.

Rucker produced “Tell You Something” featuring eight originals that he wrote or co-penned. The tracks harness the rhythms and intensity of hip-hop, melodic phrasing typical of R&B, rousing gospel affirmations and improvisational jazz nuances. A fan of vintage R&B, Rucker was honored to share production chores with Connors on instrumental renditions of three classics: “Before I Let Go,” “Footsteps in the Dark” and Connors’ signature hit, “You Are My Starship.” Lyle’s keyboard wizardry is on full display on each cover tune with gregarious solos while Browne’s regal trumpet adds a touch of class along with a fervent solo to “Starship.” Williams’ glorifies “Before I Let Go” and “Footsteps” with her lustrous voice. But it’s one of Rucker’s own empowering compositions, “Be True 2 Who U R,” that will be the first to receive airplay from the radio-friendly disc when it is serviced to stations in May. Rucker, who plays keyboards as well as tenor, alto and soprano sax on the record, elects to use his soprano horn over the chunky hip hop beats on the single.

“My desire as an artist is not only to entertain, but to be a communicator – to connect with the listener in such a way that they are encouraged and inspired by my music. Even as an instrumentalist, I believe my music speaks lyrically and I use it to convey uplifting messages. I wrote ‘Be True 2 Who U R,’ ‘No Other Way’ and ‘Ain’t Nothin’ Like It’ to inspire confidence in one’s individuality. My music has a unique fingerprint and the songs on the album celebrate what the Creator put in me to share with the world. ‘Tell You Something’ and ‘A Million Ways’ convey my gratitude for the gifts He’s given me. ‘Brighter Day,’ ‘Love’s Melody’ and ‘A Long Way to Go’ were written to offer compassion for the sacrifices and struggles that we face in life and touch that place in our soul where adversity rests. ‘Brighter Day’ advocates that a brighter day will come if you keep the faith. The covers I selected pay tribute to some of the great R&B artists that shaped my listening while growing up. One of whom, Norman Connors, I had the pleasure of working with on this album,” said Rucker, a Virginia Beach, Virginia native who studied music while attending nearby James Madison University.

Shortly after releasing his 2011 debut album, “Heat from the Heavens,” that introduced his formula of “hip-hop grooves + jazz melodies + a splash of inspirational lyrics,” Rucker met Connors and planning commenced straightaway for “Tell You Something.” The saxman toured as a member of Connors’ Starship Orchestra through 2012. Over the years, Rucker has performed with Peter White, Ronnie Laws, Phil Perry, Cindy Bradley, Ivan Neville, Howard Hewett and Gerald Veasley as well as Groove, Browne and Williams. His work as producer spans hip-hop, gospel and spoken word. Rucker gigs throughout Virginia and looks to expand his routing nationally with the successful release of “Tell You Something.” 

The cuts contained on “Tell You Something” are:

“Tell You Something”

“Before I Let Go”

“A Million Ways”

“You Are My Starship”

“Be True 2 Who U R”

“Ain’t Nothin’ Like It”

“Footsteps in the Dark”

“Brighter Day”

“No Other Way”

“Love’s Melody”

“A Long Way to Go”

“Tell You Something” (album version)

http://www.SamRucker.com

NEW RELEASES: PAUL MURPHY PRESENTS THE RETURN OF JAZZ CLUB; BUGGE WESSELTOFT - OK WORLD; WOIMA COLLECTIVE - FROU FROU ROKKO

PAUL MURPHY PRESENTS THE RETURN OF JAZZ CLUB: DANCEFLOOR CLASSICS FROM THE ORIGINAL JAZZ DANCE DJ

Really classic jazz grooves from the vaults of Prestige Records – the kind of cuts that first broke big on the London scene of the 80s, at a time when diggers were setting fire to the rare groove scene too! The cuts here are proof that some of the best work doesn't need to come from completely obscure groups or super-tiny labels – as the music here is exactly the kind of work that made huge waves in the US jazz scene when first released, then went underground for many years – until later collectors and diggers brought it back to the limelight! The great thing is how many of these cuts are all acoustic – no need for electricity to make things funky – as you'll hear on tracks that include "Hiyo Silver" by Bennie Green, "Grease Monkey" by Kenny Burrell with Jack McDuff, "Mau Mau" by Art Farmer, "Mambo Inn" by Billy Taylor with Candido, "Manteca" by Red Garland, "Blue Stompin" by Hal Singer, "Spider Man" by Freddie McCoy, "Filthy McNasty" by Eddie Jefferson, "Flatjacks" by Willie Rodriguez, "Blue Gator" by Willis Jackson, and "Pedro Stroller" by Johnny Lytle.~ Dusty Groove

BUGGE WESSELTOFT - OK WORLD

One of the most unusual albums we've heard in years from Bugge Wesseltoft – an artist who's been moving increasingly towards solo keyboard modes, but who works here with a whole host of globally-based musicians! The record was done in conjunction with the world music festival in Oslo, and really lives up to its name – as Bugge's beautiful work on piano is combined with flute, Spanish guitar, bits of vocals, and a range of other instrumentation from India and the mid-East – including djembe, mridangam, cangira, darabouka, and cahoun! There's some real magic in the record's mix of Wessltoft's spacious sounds and these richer global elements – with qualities that sometimes evoke the best culture-crossing projects of the older ECM generation, but which also share some of Bugge's fresher contemporary vision too. Titles include "Ntwananu", "130 Steps", "Josemi", "Moving Mountains", "Mawwal", "Sharangati", and "Always Hopeful".  ~ Dusty Groove

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WOIMA COLLECTIVE - FROU FROU ROKKO

African rhythms with a distinctively Ethiopian inspired sound from Woima Collective – with even more dexterous percussive textures than on their earlier work – nicely layered underneath some snakey, hypnotic horns and psych funk guitar grooves! The players include veterans of contemporary German funk pioneers Poets Of Rhythm, who blended genres and blazed trails for a world of modern funk players. The mix of African inspired sounds and timeless funky grit is really invigorating. Strong stuff! Includes "Anchihoy Fanfare", "Brain Clear Heart", "Malaria (LP Edit)", "Sabada Hui", "Le Petit", "Ssyk Sini (LP Edit)", "Escape Cultural", "The Castle", "Oufro Kuo" and "Lassa". ~ Dusty Groove

NEW RELEASES: MATT BAUDER & A DAY IN PICTURES - NIGHTSHADES; MATS GUSTAFSSON - TORTURING THE SAXOPHONE'; ROB MAZUREK - MOTHER ODE

MATT BAUDER & A DAY IN PICTURES - NIGHTSHADES

Maybe the best work we've ever heard from tenorist Matt Bauder – a tremendously well-conceived set, and one that's got the solid punch of some of the real giants on his instrument! The group is all young and open-minded, but they work together here with a soulful swing that's really unexpected – a wonderful sense of energy that really grabs us right away, but also lets all the individual members find plenty of space for their own voices too! Things are never too mainstream, but have a groove at surprising spots – and in addition to Bauder on tenor, the record also features Nate Wooley on trumpet, Kris Davis on piano, Jason Ajemian on bass, and Tomas Fujiwara on drums. Titles include "Octavia Minor", "Weekly Resolution", "Nightshades", "August & Counting", and "Rule Of Thirds". ~ Dusty Groove.

Mats Gustafsson tortures the saxophone – but tortures it beautifully, too – in this wonderful set of solo tracks that mix tenor and live electronics, baritone and music box, and some solo baritone moments too! The title's a reference to a hilarious letter sent to Mats by Robert Crumb – who also did the lettering on the front – reproduced inside, in which Crumb says that he just really doesn't get this kind of music, or understand why anyone would want to listen to it too! Yet there's a beauty and fragility to the record that honestly make it one of Gustafsson's most compelling albums ever – especially the leadoff mix of tenor and electronics, laid out over five famous Duke Ellington numbers – all completely transformed by the process. Ellington titles include "Come Sunday", "In A Sentimental Mood", "I Never Felt This Way Before", and "Blue Goose" – and the set also features versions of the Ayler classics "Angels/Spirits" and "Ghosts" – and a 22 minute take on Lars Gullin's "Danny's Dream". ~ Dusty Groove

ROB MAZUREK - MOTHER ODE

Rob Mazurek has always been more of a multi-instrumentalist instead of just a cornet player – but on this amazing solo set, he really pushes the boundaries even further – by taking up a huge host of different elements and different sounds! That soaring, spacious horn is still in the lead – a legacy that Rob seems to have inherited from 70s Miles Davis, but taken to even trippier territory – but the record also features flute, electronics, maracas, and bells – as well as weird objects like books, boxes, and apples! Mazurek uses a bit of distortion at times, which really helps unlike things resonate together – and the set's easily some of his most personal, evocative music to date. Titles include "Toward New Light", "Quiet The Thunder Bells", "The Breath Of Life You Gave To Me", "You Were Born With Sun In Your Eyes", and "Toward Enlightenment".  ~ Dusty Groove

THE ROBERT CRAY BAND - IN MY SOUL

Robert Cray, 5x Grammy winner (15x nominee) releases In My Soul - a rich emotion of classic soul storytelling that never strays from his incomparable guitar mastery.  A new behind the scenes EPK takes fans inside the music. Produced by Steve Jordan (Keith Richards, John Mayer) the 10 song album blends funky originals with surprising covers.  A bonus track "Pillow" is included on the limited edition CD.

The First single "You Move Me," is classic Cray with his signature slicing guitar leads woven throughout. The bulk of In My Soul is made up of original material with a few covers including Otis Redding's "Nobody's Fault But Mine," "Your Good Thing (Is About to End)" and "Deep in My Soul" by the late Bobby "Blue" Bland. "I didn't want to change it—just do it pretty straight up as a tribute to Bobby, who was one of my real heroes," says Cray. 

"When I think of Robert Cray, I think of a great singer," says Jordan. "Most people gravitate to his guitar playing because he's such a gunslinger, but I don't. He's got so much soul it's ridiculous." 

The Wall Street Journal says In My Soul is "a tasteful, laid-back album, and while there's plenty of Cray's distinctive guitar playing, there's more to the new LP than fiery licks."  UK Daily Mirror calls the album "Impressive" and gives it 4 stars.

Widely recognized as one of the greatest guitarists of our time, The New Yorker calls him "one of the most reliable pleasures of soul and blues for over three decades now " and Rolling Stone Magazine credits him with having "reinvented the blues with his distinct razor sharp guitar playing."

The youngest living member to be inducted into the Blues Hall of Fame, Robert Cray has sold over 12 million records, has his own line of Fender guitars and has established himself as a genre defining artist- a signature blend of r&b, pop, rock, soul and traditional blues. 

This year marks the 40th year since the formation of the Robert Cray Band. The band includes Cray (vocals/guitar), longtime bassist Richard Cousins, Dover Weinberg (back with the band on piano/keyboard) and Les Falconer (drums).

~ http://robertcray.com/tour/

~ Provogue Records

NEW RELEASES: ISAAC HAYES - AND ONCE AGAIN; GROVER WASHINGTON JR. - ALL MY TOMORROWS / SOULFUL STRUT / BREATH OF HEAVEN; CHICAGO UNDERGROUND DUO - LOCUS

ISAAC HAYES - AND ONCE AGAIN

And once again, Isaac Hayes wows us with the brilliance of his later work at Polydor – really subtle soul that's a wonderful extension of modes first begun at Stax! The sound is a bit smoother here, but it really fits Ike's maturing vocals wonderfully – and sets him up in these beautiful mellow grooves that stretch out and step out with a quality that few other singers can touch. A few cuts are upbeat, but the more laidback ones are actually the best this time around – showing that once again, Ike Hayes is the king of the mellow soul moment! Titles include "Ike's Rap VII", "This Time I'll Be Sweeter", "I Ain't Never", "Wherever You Are", "Love Has Been Good To Us", and "It's All In The Game". CD features bonus tracks – "I Ain't Never (12" disco)", "It's All In The Game (single)", "Love Has Been Good To Us (single)", and "I Ain't Never (single)". ~ Dusty Groove.

GROVER WASHINGTON JR. - ALL MY TOMORROWS / SOULFUL STRUT / BREATH OF HEAVEN

A trio of 90s albums from Grover Washington! All My Tomorrows is an overlooked gem from reedman Grover – recorded in his later years, but a set that's actually got more of an acoustic style overall – one that goes back to the roots farther than any of Grover's fusion records! Washington's a great straight player in this setting – filled with soul on tenor and soprano sax – and working with top-shelf small group players like Eddie Henderson on trumpet, Hank Jones on piano, Bobby Watson on alto, and Robin Eubanks on trombone. Guitarist Romero Lumbambo arranged one great Brazilian-tinged number – and other arrangements are by Grover, Larry Willis, Slide Hampton, and Freddy Cole – who sings on two tracks too. Titles include "E Preciso Perdoar", "Happenstance", "All My Tomorrows", "Nature Boy", "Flamingo", and "Estate". Soulful Strut is bouncy soul from Grover Washington – a set that returns to his earlier roots in a space between soulful fusion and R&B! The slinky Washington soprano sax gets plenty of space in this set – blown with those seductive notes that always made Grover one of the most distinctive players on the instrument – and the backings often have this gentle R&B groove that's even stronger on the few cuts here with vocals. Titles include "Soulful Strut", "Bordertown", "Village Groove", "I Can Count The Times", "Headman's Hunt", and "Can You Stop The Rain". Breath Of Heaven is a holiday record from Grover Washington – but one that's got a fair bit more to offer than just the usual Christmas tunes! The set mixes older favorites and lesser-known numbers – all done in that soulful fusion style that Washington brought to his records from other seasons of the years – set up here with the leader on alto, tenor, and soprano sax – amidst arrangements from vibist Joe Lock, and keyboardist Donald Robinson, and guitarist Hiram Bullock – all of whom play on the record. Lisa Fischer sings on one number, but most of the record is instrumental – and titles include "Breath Of Heaven", "The Magi's Song/A Child Is Born", "I Wonder As I Wonder", "Christmas Time Is Here", "The Love In His Infant Eyes", and "Christmas Day Chant". ~ Dusty Groove

CHICAGO UNDERGROUND DUO - LOCUS

Pretty electric sounds from the Chicago Underground Duo – a set that has Rob Mazurek adding in lots of electronics (even a Game Boy!) to his usual cornet lines, plus some other acoustic elements that work really well with the drums, mbira, and balaphone of Chad Taylor! The record shows an earlier spirit of the Chicago scene alive and well – that genre-crossing, generation-spanning love of so many different sounds and styles at once – a mode that first burst forth on the scene two decades back, often in the hands of John McEntire, who produced this album – and which still stands strong in the hands of its best purveyors like this. Titles include "Yaa Yaa Kole", "Blink Out", "Kabuki", "Dante", "House Of The Axe", "Borrow & Bury", and "Locus". ~ Dusty Groove

THE CLAYTON-HAMILTON JAZZ ORCHESTRA - THE L.A. TREASURES PROJECT

The unimpeachable authority, glorious sonic sheen and sheer passion of a first-class jazz big band can offer a listening experience unmatched on the American music scene. The Clayton-Hamilton Jazz Orchestra has upheld the tradition of the expansive, ever swinging jazz ensemble for some three decades now; with The L.A. Treasures Project (Capri Records, released on April 15, 2014) the band not only reaffirms its reputation, but also honors two icons of West Coast jazz: guest vocalists Ernie Andrews and Barbara Morrison. With co-leaders John Clayton (arco bass, arranger, conductor), brother Jeff Clayton (woodwinds), and Jeff Hamilton (drums) at the helm, the CHJO takes on a meaty program of timeless standards, sturdy blues and appealing originals with featured turns by Andrews and Morrison on eight of the thirteen tracks. 

Romping through such classics as "Exactly Like You," "River's Invitation," "Fever" and "I'm Getting Sentimental Over You," the CHJO displays the airtight precision and remarkable vitality that has exemplified the band since its debut in 1985. The inclusion of Andrews and Morrison - two West coast stalwarts still in vocal prime - ratchets up the excitement and intensity that much more. In its forthright demonstration of the pleasures of timeless swing, The L.A. Treasures Project is as representative an album as Capri Records - a bastion of contemporary mainstream jazz - could have hoped to release as it celebrates its thirtieth anniversary.

Recorded live at Alvas Showroom in San Pedro, California, on September 15, 2013, the album turns the spotlight on a world class ensemble and an array of its star soloists, including the saxophonists Rickey Woodard and Charles Owens, who do battle on the album's explosive finale, "Jazz Party"; the guitarist Graham Dechter who pours sweet licks over "I Ain't Got Nothin' But the Blues"; the trombonists George Bohanon, Ryan Porter, Maurice Spears and Ira Nepus who add virtuosic sass to "I Love Being Here with You"; and co-leader John Clayton who takes a stirring arco bass turn on "Goodbye Porkpie Hat." Jeff Hamilton, a percussion master and L.A. studio legend, can make a big band purr or roar with just a flick of his wrists; the fact that he takes no extended solos on the album is yet more proof of this celebrated player's commitment to genuine music making rather than flash.

The vocal features stand just as tall as the mighty big band excursions. Andrews takes it nice and easy on "I'm Getting Sentimental Over You," "The Jug and I" "Beautiful Friendship" and "Time After Time" establishing once again how underrated this mellow toned stylist remains. Morrison, whose two and a half octave vocal range is put to good here, buffs "Exactly Like You," "River's Invitation," "Fever" and her own swinging "Got to Get Back to L.A." to a lovely shine. "At a few CHJO rehearsals earlier last year, Barbara and Ernie were asked to sing with the band," John Clayton remembers. "They threw their heads back and, without microphones, sang as if there were thousands listening. No one could have anticipated the stunning effect it would have on the musicians in the room. Jeff Hamilton, my brother Jeff and I agreed we need to document these artists - these treasures!"

The L.A. Treasures Project indeed allows a thriving musical outfit to present two vocal gems in a jewel box setting: a live performance brimming with all the electricity that makes jazz great. As John Clayton sums it all up, "It was an evening that will live with us forever."

http://www.latreasuresproject.com/ 

http://www.hamiltonjazz.com/orchestra.html

http://caprirecords.com/