PHILADELPHIA TO HOST OUTBEAT: AMERICA'S FIRST QUEER JAZZ FESTIVAL FEAT. ANDY BEY, BILL STEWART, FRED HERSH, PATRICIA BARBER & OTHERS

The William Way LGBT Community Center, with generous support from The Pew Center for Arts & Heritage, is proud to announce OutBeat: America's First Queer Jazz Festival, set to take place on the final days of summer - Thursday, September 18 to Sunday, September 21. Sure to be a groundbreaking event in the City of Brotherly Love and Sisterly Affection, Philadelphia will play host to a number of critically acclaimed jazz artists across a broad musical spectrum including: Andy Bey, Grammy® Award-winning pianist Fred Hersch, Patricia Barber Quartet and drummer Bill Stewart. Additional headliners and further details will be announced throughout the spring.

OutBeat, the first LGBT jazz festival ever produced in the United States, will include events ranging from public discussions hosted by JazzTimes to intimate performances, special receptions with the artists, and historic concerts in a variety of spaces. Festival sites will include lead venue partner, the William Way LGBT Community Center, The Painted Bride Art Center, and Chris' Jazz Café as well as participation in the Philadelphia Museum of Art's popular "Art After 5" series.

"Philadelphia has enjoyed a legacy of being a great music city. We're also a city that affirms the lives of LGBT people," says Philadelphia Mayor Michael Nutter. "Hosting the first LGBT jazz festival in North America provides an opportunity to showcase the rich and vibrant culture of our city. We'll be celebrating all of this for 4 days in September with OutBeat. I hope to see you there!"

Additionally, Union Transfer - which Rolling Stone cited as one of the "Top 20 Venues in America" - will be the culminating site for the celebratory daylong closing event featuring numerous headliners. The popular Northern Liberties venue will be transformed into a festival setting with Spring Garden Street blocked off to host Philly's finest food carts, crafters, local musicians, and other merchants. Vendors, surprises and special guests performing in multiple spaces will make this closing day especially memorable.

The festival will serve as the finale for the William Way LGBT Community Center's annual music series and highlight the intersection between sexual orientation and gender identity within the jazz community. OutBeat will feature a vibrant and eclectic mix of world-renowned jazz musicians brought together for a series of once-in-a-lifetime performances and panel discussions.

States William Way LGBT Community Center Executive Director, Chris Bartlett, "We are thankful that the Pew Center for Arts & Heritage embraced this visionary initiative that we can now share with the world. It is an honor to serve as host for this historic occasion in Philadelphia."

The William Way LGBT Community Center provides life-saving and life-affirming services to more than 50,000 LGBTQ individuals and allies every year. With a diverse array of over seventy monthly programs and activities that serve Greater Philadelphia's vibrant and unique LGBTQ population, the Center is proud to be called the region's hub of LGBTQ community and culture. Programs offered by the Center include free peer counseling, senior programs, an art gallery, one of the largest LGBT archives in the western hemisphere, a public cyber center, hiking and tour groups, and other recreational, health, educational, arts, and cultural opportunities.

"Philadelphia was founded more than 300 years ago by Englishman William Penn on principles of equality and freedom of expression. Today, the City of Brotherly Love and Sisterly Affection is a welcoming place for people from around the world, and a great destination for gay and lesbian travelers," states Tami Sortman, Vice President of the Philadelphia Gay Tourism Caucus. "While many other cities--New York, Chicago, New Orleans--may consider themselves 'jazz capitols', it's an incredible coup for the city of Philadelphia to be the home base of this landmark event."

Philadelphia has been at the forefront of supporting the LGBT community as the site of some of the nation's first gay rights pickets, and in 1982 it was one of the first cities in the country to pass anti-gay discrimination laws. With the launch of the groundbreaking Philadelphia - Get Your History Straight and Your Nightlife Gay® campaign in 2003, Philadelphia has since been ranked in the top 10 among destinations visited by LGBT travelers for the first time in 2010 as well as a top 10 leisure market for LGBT travelers aged 18-35.

OutBeatJazzFest.com

GINO VANNELLI LIVE IN LA (CD/DVD)

"Gino Vannelli Live in LA" is an exciting CD/DVD package being released by Sono Recording Group on May 13, 2014. This incredible performance features Gino Vannelli performing his memorable hit songs "I Just Wanna Stop," "Living Inside Myself," "Black Cars," "People Gotta Move," along with other great songs such as "Appaloosa," "Nightwalker," "Brother to Brother," and "Wild Horses." 

This concert also features a special guest appearance by New York Yankee All-Star and Latin Grammy-nominated guitarist Bernie Williams. Behind the scene footage includes two beautiful bonus-videos of Gino performing “None So Beautiful As The Brave” and a re-make of “Canto." Recorded live onstage at the historic Saban Theater in Los Angeles, California on November 8, 2013, this package is available for online purchase from Sono Recording Group.

The DVD includes interesting and honest perspectives from insiders that will take you through rehearsals in the Vannelli's “famous garage” to the recording sessions at Davlin Recording Studios in Burbank, California that ultimately brought A&M’s last release “Brother to Brother” to great success. You will be privy to exclusive eye-opening interviews with Geoff Emerik, who engineered most of the Beatles albums as well as Vannelli's “Gist Of The Gemini," Herb Alpert, co-founder of A&M Records and the driving force that signed Gino Vannelli to his first U.S. recording contract in 1972, engineer Norm Kinney, bassist Jimmy Haslip, and guitarist Carlos Rios. Joe Vannelli, co-producer and keyboard player on multiple Gino Vannelli albums, discusses the journey that finally brought them through the gates of A&M Records for the audition that started their musical career. Finally, Harold Chiles, head of A&M Promotions, reveals the "most unconventional" methods A&M used to bring Vannelli to the music forefront.

Gino Vannelli is the recipient of multiple Juno awards and Grammy nominations, and he has sold more than 10 Million records world-wide. More info at ginov.com.

"Gino Vannelli Live in LA" shows Vannelli and his band performing at their very best--every note faithfully captured and richly recorded. Altogether, this album package offers a "fascinating, entertaining, intriguing, funny, and captivating" glimpse at a man whose voice and songs are loved by fans all over the world.

LOUIS ARMSTRONG - THE COMPLETE COLUMBIA AND RCA VICTOR LIVE RECORDINGS OF LOUIS ARMSTRONG AND THE ALL STARS

There has never been a more globally beloved figure from the world of jazz than Louis "Pops/Satchmo" Armstrong. His influence on the development of both jazz and American popular music is indisputably unparalleled. A lesser-known and disturbing fact is that for the last 30 years of his life he was under attack by many critics and musicians as irrelevant, under-achieving and too heavily focused on commercial success. Now, Mosaic Records offers clear testimony to the inaccuracy and injustice of those characterizations with its spectacular Columbia and RCA Victor Live Recordings of Louis Armstrong and The All Stars. A nine-disc set covering the years 1947-1958, these wonderful recordings provide crystal-clear evidence of Louis' profound artistry and majestic audience appeal from the most meaningful platform of musical scrutiny - the bandstand.

"This LP sets focuses on the complete performances by Louis Armstrong and his All Stars at the third and fifth Newport Jazz Festivals, which are two of the linchpins from our larger CD edition," says Mosaic Records co-founder, Michael Cuscuna. "Although tracks have been parceled out over the years, this 2014 set will finally present these excellent performances in the entirety and in performance order, giving us a healthy portion of previously unissued music by Louis with Trummty Young, Edmond Hall, Peanuts Hucko, Jack Teagarden, Bobby Hackett and Billy Kyle."

Mosaic is not only known for assembling collections of vitally important music by many of jazz' most immortal and influential figures, but also of establishing historical accuracy and edification of the true import of America's only indigenous art form. This set - a 12-year slice of his creative output on the worldwide stage - shows the peerless Pops to be fully in the forefront of jazz at its jubilant, transcendent and irresistible best on nearly 163 tracks of both his most popular songs along with many that are far less familiar.

Performing over 300 shows a year throughout these years (and most of his life), it's very fortunate that the performances offered here were recorded for posterity. Most of this can be attributed to the legendary producer George Avakian - to whom this set has been dedicated - who is responsible for nearly 70% of the material contained here. As his exclusive producer at Columbia from when Louis joined the label in 1955, George implemented the latest technological advances, which enhanced the material for both artist and label. But that sometimes demanded editing and altering the music for best commercial appeal. Mosaic has restored all of the concert recordings to their purest essence, demonstrating all of the fire and raw creativity of the music exactly as the screaming and stomping audiences heard it over 50 years ago. And as a gigantic bonus, there are 75 tracks being released for the very first time.

The set begins with the scintillating 1947 concert at New York's Town Hall, which dramatically altered Louis' live performance format to the one that would remain intact for the rest of his life. Eschewing his 16-piece big band for a smaller, more au courant ensemble, The All Stars were born. In this incarnation it was the remarkable assemblage of Jack Teagarden on trombone, clarinetist Peanuts Hucko, pianist Dick Cary, bassist Bob Haggart and two alternating drummers - George Wettling and "Big" Sid Catlett - on 20 tracks of pure joy.

A newfound gem is the 1947 Carnegie Hall concert, which sat improperly labeled in RCA's vaults for over half a century, is issued here for the very first time. Some 90 minutes of material was preserved - 18 brilliant tracks, also featuring Teagarden, Cary and Catlett, but this time with the eminent Barney Bigard on clarinet, the big bass sound of Arvell Shaw and the addition of vocalist Velma Middleton.

The Avakian sessions comprise the rest of the set. Adding a new nickname to Louis' already impressive array of monikers, Ambassador Satch was bestowed - a fitting name for the man who had become the world's foremost representative of American jazz and music in the 1950s. Performances from Amsterdam and Milan featured the new All Stars of Trummy Young on trombone, Edmond Hall on clarinet, pianist Billy Kyle and drummer Barrett Deems, along with Shaw and Middleton. The Milan performance was recorded in a theater in front of a small invited audience. The original release included fake applause, which has been removed so that only the wild response of the actual audience is heard, genuinely enhancing the immediacy of the live concert.

Three U.S. concerts are also included. The Great Chicago Concert from 1956 has been out of print for a long time, but is available again here - with additional material, fully restored and unedited (Dale Jones replaces Arvell Shaw). Two Newport Jazz Festival performances from 1956 and 1958 are here, uncut and including 28 tracks that have never been released. The 1958 concert reunited Louis with Teagarden, Hucko and cornetist Bobby Hackett, plus a most interesting item of Louis fronting The International Youth Band.

A Los Angeles studio date is included here because it was originally released as a live concert. It's a fascinating set of unedited versions of popular songs that provides an unusual and intimate glimpse of how Louis and The All Stars developed and refined their material.

There are other very special and inclusions - two never-before released tracks recorded in Ghana, one with local musicians, singers and dancers; an unreleased track from a London concert; a great version of Mack the Knife from Carnegie Hall; an interview of Louis by Edward R. Murrow that aired on the television show See It Now; another interview by Avakian, and a most remarkable item featuring Leonard Bernstein in rehearsal and performance at a 1956 Lewisohn Stadium concert with Bernstein and the New York Philharmonic - including three passes at St. Louis Blues, Bernstein chatting up the audience and Pops playing encore after encore to keep the fans happy - a real treasure that adds special luster to this wonderful collection.

But above all else, Louis' consummate artistry on his horn, the brilliance of his most singular sound, the unique infectiousness and impeccable phrasing of his luminous vocal style and the utterly irresistible appeal of one of the most delightful human beings to ever walk the earth is brought to the listener with the clarity and depth that is the hallmark of Mosaic Records. There is nothing like undiluted live performance to truly convey the heart and soul of the jazz artist, succinctly stated by Louis himself: "So, whatever they're going to say about Louis Armstrong, all they say is, 'He blows like hell every time he hits that stand.'"

As always, the striking Mosaic black and white packaging further enhances the total experience. Ricky Riccardi, the archivist for the Louis Armstrong House Museum and one of the world's foremost Armstrong experts has written an extremely enlightening and comprehensive essay. A precisely researched new discography finally clears up the confusion and inaccuracy about these dates. And in the classic Mosaic tradition, there are many outstanding vintage photographs from Louis' exalted career.

Of course, Mosaic's commitment to provide the finest audio quality is front and center on every track, under the guidance of co-producer Scott Wenzel, who summarizes this set most aptly: "The Armstrong magnetism hardly ever wavered through the years and these live performances that had him back in the driver's seat with a small group bear out the verve and genius of this great man."

TRIO VALORE - #LIARS AND CHEATERS

Steve White (The Style Council) and Damon Minchella (Ocean Colour Scene / Paul Weller) Mod funk Supergroup Trio Valore is back!

Featuring two of the best musicians that the UK has to offer Steve White on drums (The Style Council, Paul Weller, Ian Dury , Jon Lord , The Who at Live Aid) Steve was also recently voted no 2 of the UKs greatest drummers by the influential Rhyhm magazine and original Ocean Colour Scene founder Damon Minchella on bass (Paul Weller, The Who at Live Aid, Richard Ashcroft) TRIO VALORE are back with the new heavily awaited EP #LiarsAndCheaters. With two brand new songs and two very special covers and special guests such as Jan Van Duikeren and Jacko Peake (Paul Weller band and Push), Guido Nijs and Paolo Fuschi #LiarsAndCheaters features classic mod jazz and funk grooves and some fantastic playing.

Trio Valore released the widely acclaimed album "Return of the Iron Monkey" in 2008. Now after a musical sabbatical, the guys are back having gained a new member, Manchester based Keyboard ace Justin Shearn (Sam Gray). The band reformed after they've been asked to play at Record Kicks 10th Anniversary at 100 club in London last November and since then the Trio went from strength to strength playing shows throughout 2013 and beginning of 2014. After such a great response it was only a matter of time before some new music was recorded. #LiarsAndCheaters is the result.

The EP kicks off with Crazy - the Trio's take on a Modern Club Classic, very much in the Style of a Booker T cover, an of the day pop smash, soaring organ and tasteful brass make this destined for clubs globally . Then the title tracks #LiarsandCheaters, a full on funk blaster, break beats galore and thunderous bass underpin some truly fantastic soloing, an instant club floor filler , written by the Trio and produced by the band and Gaz Vaughn Hadfield in Manchester . Spanish Blues is dedicated to the great Jon Lord who the Trio played with at a tribute to Ginger Baker in London. This was favorite of the keyboard legends and the Trio dedicate it to his memory , it was originally written by the great Graham Bond. And last but not least Back to the Reel - pushing the boat out with some studio experimentation the Trio are Joined by Louk Boudesteijn and Benjamin Herman to produce a quirky groover with shades of late era Miles Davis. Welcome back Trio Valore! ~ Record Kicks

DON ELLIS: THE NEW DON ELLIS BAND GOES UNDERGROUND / DON ELLIS AT FILLMORE

Pivotal electric work from Don Ellis – a pair of albums back to back! The New Don Ellis Band Goes Underground is a monumental jazz rock crossover album from Ellis – soaring along on a fuzzed-out big band groove! The set's got most of the elements of Ellis' other electric sets for Columbia – but also features a tighter, shorter approach to the tunes – plus some vocals by Patti Allen, which adds a nice soul component to the set. There's a lot of nice production touches on the set, making the instrumentation take on whole new sounds in an electro-acoustic way – and the best tracks get nice and funky! 

Titles include "Higher", "Bulgarian Bulge", "Eli's Comin", "Acoustical Lass", "House In The Country", "Gooood Feelin", "Send My Baby Back", and "Black Baby". Don Ellis At Fillmore features funky madness at the legendary Fillmore Auditorium – and a searing set of tracks that rivals the best studio work from trumpeter Don Ellis! The feel here is really open, spontaneous, and inventive – and tunes are a lot more extended than on most of Don's studio sides from the time – with not only more room for solos, but also a seemingly greater focus on rhythms, which are often upbeat, firey, and very grooving on most numbers. There's a really great mix of trumpet and electronics on the record – including ring modulator and Fender Rhodes – and possibly inspired by the Fillmore setting, Don really opens up on all burners, spacing out with a really hip little groove. Titles include "Pussy Wiggle Stomp", "Salvatore Sam", "Rock Odyssey", "Final Analysis", "Excursion II", and "Antea".  ~ Dusty Groove

NEW RELEASES: MEREDITH MONK / URSULA OPPENS / BRUCE BRUBAKER - PIANO SONGS; ANUSHKA - DISTORTED AIR EP; CURTIS HARDING - SOUL POWER

MEREDITH MONK / URSULA OPPENS / BRUCE BRUBAKER - PIANO SONGS

Meredith Monk is best known as a composer for voice – and a performer as well – but this wonderful set focuses on her music for piano – an instrumental setting that's every bit as haunting as her singing! The songs are often built around two piano lines – played by Ursula Oppens and Bruce Brubaker – often with one line building a rhythmically melodic progression, similar to the minimalist instrumentation in Monk's vocal works – while the other piano takes off in a more expressive flight that recalls the sublime sound of Meredith when she vocalizes. The music is every bit as haunting as Monk's first few ECM records back in the 80s – albums we still treasure today – and titles include "Ellis Island", "Folkdance", "Urban March", "Window In 7s", "Totentaz", "Phantom Waltz", and "Obsolete Objects". ~ Dusty Groove

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ANUSHKA - DISTORTED AIR EP

A nice little spacey club soul EP on Brownswood – actually the duo of singer/songwriter Victoria Port and producer Max Wheeler – and it's very promising stuff! Brownswood has a been a vital source for burgeoning progressive dancefloor talent for years now, and the depth continues to impress! Speaking of depth, Anushka stands out here thanks to deeper song-based level. The bubbling electro soul vibe is easy enough to get lost on a club or headphones level, but there's just defter, song-based vibe here. It get over even better thanks to Victoria's beautiful voice. Titles include "Broken Circuit", "Atom Bombs", "World In This Room" and "Blessing". (Includes download card.) ~ Dusty Groove

CURTIS HARDING - SOUL POWER

A great debut from Curtis Harding – a singer who's definitely got the soul power promised in the title, but one with a much wider reach as well! The core approach is funky soul, but the music is often inflected with other touches too – putting Curtis in that unique space between styles and genres reserved for a rare few back in the 70s – those singers who could cross easily between rock and soul, and often had followers on both sides of the fence. Some tracks bring up the guitars at a level that's more rock-based, but still mixed with soulful crooning from Harding – and the overall production is a nice change from overdone indie funk styles, further supporting Curtis' unique sound as well. Titles include "Next Time", "Castaway", "Drive My Car", "I Need A Friend", "Cruel World", "Surf", and "I Don't Wanna Go Home". ~ Dusty Groove

NEW RELEASES: IBIBIO SOUND MACHINE; BADBADNOTGOOD - III; PAUL BLEY - PLAY BLUE: OSLO CONCERT

IBIBIO SOUND MACHINE

A really fresh group with a very unique sound – a combo that's partly rooted in older Afro Funk modes, but who also deliver their groove with kind of a leaner, New York street soul vibe as well! The album's cover image really gets the groove right – as the vintage is more 70s through 80s – with some playful crisscrossing of modes that never hurt the core soul of the music, but which provide some really fresh touches throughout! Some rhythms are programmed, but in a spare old school mode – and then mixed with acoustic drums and percussion, warmed up with keyboards and horns – and carried off with some great vocals from Eno Williams Uffort in the lead! Imagine Fela recording for 99 Records – or ESG getting some time in Lagos – but that's only part of the album's appeal, which only broadens with repeat listens. Titles include "Voice Of The Bird", "Ibibo Spiritual", "Got To Move Got To Get Out", "Let's Dance", "The Tortoise", "Uwa The Peacock", and "The Talking Fish". ~ Dusty Groove.

BADBADNOTGOOD - III

The best work so far from this ultra-hip trio – an amazing combination of keyboards, bass, and drums – served up in styles that are rooted in funk and jazz, but go to so many other places as well! The drums crackle with a quality schooled in 70s breaks and beats, stripped down to their core – and the mix of keyboards echo a range of innovators from CTI to Money Mark, with a spacious flow that leaves plenty of room for the basslines to drive the tunes! Other instrumentation includes bits of guitar and percussion from the group, plus some guest tenor and strings as well. Titles include "Hedron", "Differently Still", "Confessions", "Triangle", "Can't Leave The Night", "CS60", and "Since You Asked So Kindly". ~ Dusty Groove

PAUL BLEY - PLAY BLUE: OSLO CONCERT

Some of the best material in years from pianist Paul Bley – a sublime solo set recorded live, and done with the warmth and personal expression of Bley's best albums from the 70s! The tunes have this balance between modern ideas and slightly more sentimental touches – the latter of which never overwhelm the freshness of Bley's piano, but definitely serve to humanize it a bit – such that the range of soul here is greater than we can remember in many years! It's great to hear Paul still find this sort of space – and it's even more captivating when he's out there on his own, which seems an even greater reminder of all the contributions he's made to jazz piano over the decades. Titles include "Far North", "Way Down South Suite", "Flame", "Longer", and "Pent-Up House". ~ Dusty Groove

ELENO RECORDS BOX SET: VINICIUS & ODETTE LARA / NARA / CAYMMI VISITA TOM / BOSSA NOVA YORK / VINICIUS & CAYMMI NO ZUM ZUM (5 ALBUM SET)

Amazing bossa nova from 60s Brazil – a limited box set that features five classic albums from the Elenco Records label, pressed up on very high quality vinyl! 

Album #1 – the Vinicius & Odette Lara album from 1963 – a dream of a bossa session! The lovely Odette Lara sings vocals – and the music was written by Baden Powell and Vinicius De Morais, with arrangements by the great Moacir Santos. The sound is perfect Elenco bossa – with lightly lilting orchestrations that still have a lot of soul, and perfectly produced vocals drifting over the top. Titles include "Astronauta", "Berimbau", "Seja Feliz", "Samba Preludio", and "Alem Do Amor". 

Album #2 – Nara Leao 1964 – Incredible early bossa material from one of Brazil's greatest singers! The record is lively, yet sophisticated – with strong arrangements by Gaya and Moacir Santos, and a vocal approach by Nana that really moves past the sweeter sound of other bossa singers – into a mode that's rich with feeling, without sounding too overwrought or overemotional – in sharp contrast to the style of Brazilian divas from a few years before. Includes a wonderful version of Santos' "Nana", plus the tracks "Cancao Da Terra", "Consolacao", "Maria Moita", and "Berimbau". 

Album #3 – Caymmi Visita Tom – A landmark meeting of two Brazilian generations! The older singer/songwriter Dorival Caymmi meets up with Tom Jobim in this moody session of stripped-down tracks recorded in the famous Elenco style – and the result is a classic album that spans two generations of Brazilian music. Dorival brought along children Nana, Danilo, and Dori Caymmi to the session, and the backing includes percussion by Edison Machando – an guitar by Dori, and flute by Danilo. Tracks include "Sem Voce", "Berimbau", "Tristeza De Nos Dois", "Vae De Vez", and "Das Rosas". 

Album #4 – Bossa Nova York – A rare early session from Sergio Mendes – one that was recorded in New York, during a pre-66 visit by his core trio – and augmented with guest horn work from Art Farmer, Phil Woods, and Hubert Laws! Antonio Carlos Jobim plays a bit of guitar on the album, and the set's a straighter set of jazz than you might expect – with Sergio grooving hard on piano, and throwing in some light bossa touches to tracks that include "Maria Moita", "Sambinha Bossa Nova", "The Dreamer", "Primavera", "Favela", and "Pau Brazil". 

Album #5 – Vinicius & Caymmi No Zum Zum – An amazingly beautiful album, recorded by Vinicius De Moraes, Dorival Caymmi, Oscar Castro-Neves, and The Quarteto Em Cy for some sort of a special show. Castro-Neves provides some excellent bossa backing, the Quarteto girls sing chorus and over the top, Vinicius does some recitations, and Caymmi sings lead vocals. If the whole thing sound's a bit heavy-handed, it's not – and instead is an amazing batch of heavenly bossa-tinged tracks, with all the intelligence and imagination of the best titles on the Elenco label. The whole thing's extremely lively, and has an other-worldly sound that matches Vinicius' classic Afro Sambas LP with Baden Powell. Tracks include "Bom Dia Amigo", "Berimbau", "Historia De Pescadores", "Formosa", "Broto Maroto", and "Aruanda". ~ Dusty Groove

NEW RELEASES: GIL SCOTTT-HERON - NOTHING NEW; SARAH MCLACHLAN - SHINE ON; JACO PASTORIUS - MODERN AMERICAN MUSIC...PERIOD!: THE CRITERIA SESSIONS

GIL SCOTTT-HERON - NOTHING NEW

Plenty new here – a wealth of unheard tracks by Gil Scott-Heron – and some of the best music he recorded late in his life! The sides are all remakes of tracks from older 70s albums by Gil – but they're done in these stripped-down styles that usually just feature voice and guitar – recorded as kind of a side project to the two late-life albums Scott-Heron did for XL, but with a real tie back to his roots as well! The tunes might be familiar, but the presentations here are very different – and really graced by Gil's rich life experience as well. Titles include "Pieces Of A Man", "Your Daddy Loves You", "Did You Hear What They Said", "Betty Days Ahead", "The Other Side", "Blue Collar", and "95 South". (Silkscreen cover.)  ~ Dusty Groove

SARAH MCLACHLAN - SHINE ON

Three Time Grammy Winner and legendary singer songwriter makes her Verve debut with her eighth studio album, Shine On. Sarah has sold over 40 million albums in her career and is one of the most respected female artists in music today. The new album was recorded in Vancouver with longtime collaborator/producer Pierre Marchand,along with contributions from producer/songwriter Bob Rock and keyboardist Vincent Jones. In a press release, McLachlan revealed that the album was inspired by her father's passing and her own appreciation of life: This album is about moving through the second half of my life in a more mindful and meaningful way, recognizing that every day, every moment is precious and though we all have our issues and problems, our damages, we all have the ability to continue to learn, grow from our experiences, thrive and shine on. Many of the songs are inspired at least partially or wholly by my father's passing three years ago and the profound effect losing him had on me. I had to find my footing again without the anchor of his unconditional love. ~ Amazon.com

JACO PASTORIUS - MODERN AMERICAN MUSIC...PERIOD!: THE CRITERIA SESSIONS

Some of the earliest work ever from Jaco Pastorius – rare demo recordings, issued in this format for the first time ever – filled to the brim with the kind of groundbreaking basswork that Jaco helped pioneer! Many tracks are relatively spare, and really give you a great chance to hear the special skills that Pastorius brought to his instrument – that level of soloing that was even more deft than most work on horns, and which pushed the instrument into really amazing territory. Other instrumentation includes Fender Rhodes, drums, steel drums, and some percussion from Don Alias – and titles include "Balloon Song", "Pans #1", "Kuru", "Havona / Continuum", "Time Lapse", and "Opus Pocus". (Includes download!) ~ Dusty Groove

ELIO VILLAFRANCA AND THE JAZZ SYNCOPATORS - CARIBBEAN TINGE

Pianist Elio Villafranca is much-in-demand these days with a new CD release (Caribbean Tinge-Motema Music) some special dates at Jazz at Lincoln Center and a performance at the annual Jazz Journalists Awards ceremony. With his all-star band, the Jass Syncopators, Villafranca is a breath of fresh air, or as Wynton Marsalis says "Pianist and composer Elio Villafranca is an inspired and visionary musician. With his band, The Jass Syncopators, Elio expands what Jelly Roll Morton called The Spanish Tinge to what Elio calls The Caribbean Tinge."

Percussion, brass and ivory keys set the stage for folkloric dance, Caribbean rhythms and 21st century jazz. Together, the music and dance integrate a new body of movement and syncopation within the performance of the eight original Villafranca compositions.

The Caribbean Tinge CD celebration release is at Dizzy's Club Coca-Cola on June 13-15. 

Elio Villafranca will be honored with the first-ever Jazz at Lincoln Center Millennium Swing! Award on June 23. Joining Villafranca at the 1st Annual Jazz at Lincoln Center Swing! Awards are recipients Jonathan Batiste and Cecile McLorin Salvant.

Tour Dates:

May 16-17 - Nuevo Jazz Latino - JALC - The Appel Room

June 11 - Jazz Journalists Assoc. Jazz Awards - The Blue Note

June 13-15 - CD Release Celebration - Dizzy's Club Coca-Cola

June 23 - JALC Millennium Swing! Award

June 24 - CD Release - Caribbean Tinge (Motema Music)

August 10 - San Jose Jazz Festival (CA)

August 31 - Elio Villafranca Quartet feat. Eric Alexander - Detroit Jazz Festival

September 15 - Premiere of Mary Lou William's Zodiac Suite - Santa Cruz Jazz Festival, Bolivia

"The band swings hard and brings a traditional yet innovative style to the roots of jazz and Afro Caribbean music. I am profoundly moved by Elio's vision and musicianship. He is a treasured member of the family here at Jazz at Lincoln Center."

- Wynton Marsalis

"Elio's music is passionate. A brand new application of ancient ways."

- Chick Corea

There are good reasons why Wynton Marsalis and Chick Corea have taken a personal interest in Elio Villafranca. Hailing from Havana, Cuba, Elio is rooted in the tradition and rhythms of the Caribbean, yet fully embraces the elements of modern jazz. Caribbean Tinge is his 7th album as a leader, and was recorded during two live performances at Dizzy's Club Coca-Cola at Jazz at Lincoln Center in New York City.

Since the beginning of jazz and Latin music, syncopation has been an important element in the rhythmic foundation and development of these musical genres. For Grammy nominee pianist and composer Elio Villafranca, the concept of syncopation is intrinsic to his music. Elio was deeply inspired by Duke Ellington's approach to music of the 1940's and is also proudly aware of his Cuban-Latin heritage. The Jass Syncopators is a performance ensemble that challenges the boundaries of jazz by fusing it with the syncopated nature of Afro-Caribbean music, rhythms and dance, thus creating authentic cultural experiences. With this exotic combination, Elio Villafranca and The Jass Syncopators strive to create a multi-layered musical dialogue where intellectual understanding of the music is secondary to its full experience.

www.motema.com / / www.eliovillafranca.net/

LEGENDARY DRUMMER GINGER BAKER’S FIRST NEW ALBUM IN 16 YEARS, WHY?, TO BE RELEASED JUNE 24

Ginger Baker was once considered the musician least likely to survive the ‘60s. And yet, in 2014, he finds himself on the ascent. The award-winning 2012 documentary Beware of Mr. Baker brought renewed attention to his singular music, fiery and self-destructive personality, and dramatic life story. Ironically, his extreme adventurousness and impulsivity—evidenced, for example, by his leaving England and moving to Nigeria in 1970 to play and record music—are the same qualities that helped make him such a versatile and continually evolving musician. Baker has long ranked among the world’s greatest drummers, and critics have deemed his recent live shows with his quartet, Jazz Confusion, some of the best work of his career. On June 24, Motéma Music releases Why?, his first new recording in 16 years, coinciding with a thirteen-date North American tour with Jazz Confusion June 14-30.

For his time with the Rock and Roll Hall of Fame-inducted band Cream, Baker is often credited with revolutionizing rock drumming and influencing countless other rock drummers. But he has always been, first and foremost, a jazz musician. What distinguished his playing in Cream, Blind Faith and other bands, aside from his stunning virtuosity and dramatic flair, was the fact that he was essentially the first “jazz-rock fusion” drummer. He brought to rock the jazz technique he learned from his deep study of music by the likes of Baby Dodds,Max Roach, Elvin Jones and Art Blakey. Baker’s setup (two bass drums instead of one) and style (improvised drum breaks and solos) made him unique amongst his peers.

Baker’s love of jazz also cannot be decoupled from his deep appreciation for African music, introduced to him in the early ‘60s by his idol and friend Phil Seamen, which Ginger manifested in own his playing through the heavy use of toms, introducing an oft-imitated tribal sound to rock. This influence has been an essential part of Baker’s style throughout his career. It is no surprise then that African rhythm is a key ingredient on Why?

The inclusion of Abass Dodoo in Jazz Confusion accentuates the African feel of the album and hearkens back to Baker’s friendship with another Ghanaian percussionist, the master drummer Guy Warren. While visiting Warren in 1970, Baker became fascinated with the music he heard on a Nigerian radio station, contacted his friend Fela Kuti, went to Lagos, and decided to build a recording studio, Batakota (ARC). During construction, Baker and Kuti recorded Fela Ransome-Kuti and Africa 70 with Ginger Baker: Live at Abbey Road and London. Baker still considers that album one of the high points of his career. (Once ARC opened, in 1973, Paul McCartney and Wings recorded part of Band on the Run there.)

Baker continued to reveal his jazz chops in the Ginger Baker Trio (with Charlie Haden and Bill Frisell) and DJQ20 (with Ron Miles, Artie Moore and others), with whom he recorded his last album, Coward of the County in 1998. Why? is the next step in Baker’s return to his jazz roots, a culmination of his storied career and an amalgamation of his jazz and African music influences.

Why? features material Baker has explored while performing live over the last two years with Jazz Confusion. The music ranges from Wayne Shorter’s “Footprints” and Sonny Rollins’ “St. Thomas,” to “Aiko,” which adapts a Nigerian folk tune. The album’s title track echoes Baker’s early music with the Graham Bond Organisation, and represents Baker reflecting on his life: on the personal loss he’s experienced, the dreams he’s had fulfilled and destroyed, asking the question “why?” The tune starts with a prison work song about a man who killed his wife, and also includes “Wade in the Water” as a remembrance of Graham Bond, who died tragically in 1974.

Reviewing Baker and Jazz Confusion at Iridium last fall—Baker’s first New York City club gig since 1997—Ben Ratliff wrote in The New York Times that the band “comes to jazz sideways or through very old roots…Mr. Baker’s sound is so imposing and broad, slow and confident. It’s not loud with ambition, but with spirit and intent.”

Ginger Baker’s recognition as a drummer began during his time in the Graham Bond Organisation, a band that toured with The Who, The Troggs, The Moody Blues and Chuck Berry in the early 1960s, attracting press interest for their outrageous behavior and riotous fun. By 1964, Melody Maker journalist Chris Welch had deemed Baker “one of Britain’s great drummers.”

Baker met Eric Clapton in 1966. The two were mutually impressed with each other’s playing after jamming together,  leading to Baker inviting Clapton to join his band. They soon added bass player Jack Bruce to form Cream. In Baker’s own words, they created “instant magic” and as a touring act broke box office records previously held by The Beatles.

After Cream came Blind Faith, in which Steve Winwood and Rick Grech joined Baker and Clapton. The band made just one album. When Clapton and Winwood left to pursue their own projects, the remaining members went on to form the jazz-rock fusion group Ginger Baker’s Airforce, which added sax, flute, organ and extra percussion.

During a trip to Africa Baker found himself inspired by Nigerian radio. Although there was a war going on, he was adamant about visiting Nigeria, and pushed to set up Batakota Studios in Lagos. Music aside, Africa afforded Baker a wonderful climate and a healthier lifestyle than that of rock n’ roll and touring. He discovered his love for polo and rally driving there, too.

Baker’s work with Airforce and his friendship with Fela Kuti paved the way for Baker’s next musical project: to work with African musicians. With his friend Fela Kuti, at Abbey Road, he recorded the landmark Fela Ransome-Kuti and Africa 70 with Ginger Baker.

Baker then went on to form the British band The Baker Gurvitz Army. Baker provided “extra sounds” on the debut album, such as wheel spins from his Jensen FF on the song “Mad Jack.” He also rode a wheeled swivel chair backwards down a flight of stairs for the LP’s second track.

After setting up a second recording studio, in North London, Baker formed Energy. Since then he has performed at various live events, such as Verona’s Percussion Summit and his own 70th birthday party, with special guest Steve Winwood, at Camden’s Jazz Café.

Ginger Baker’s Jazz Confusion made a sold-out four-night debut in 2012 at Ronnie Scott’s Club in London.

~ Motema

NEW RELEASES: DUMPSTAPHUNK - DIRTY WORD; QUASIMODE - MY FAVORITE SONGS; BOSSA NOVA HAPPINESS

DUMPSTAPHUNK - DIRTY WORD

A decade into the formation of Dumpstaphunk, the New Orleans all-star collective Ivan Neville (vocals, B3 and Clav), the double bass attack and soulful voices of Tony Hall and Nick Daniels III, Ian Neville on guitar, and the monster addition of Nikki Glaspie (formerly with Beyonce s all-female band) on drums and vocals releases their third studio album, Dirty Word. Initially started as an impromptu line-up of some of New Orleans tightest players, hand-picked by Ivan Neville to accompany his 2003 New Orleans Jazz & Heritage Festival performance, Dumpstaphunk has become a stalwart touring act, richly deserving the title 'Heavyweight Champions of Funk.' Press accolades for the band have ranged from the New York Times hailing, in 2007, 'Dumpstaphunk is the best funk band from New Orleans right now,' to Bass Player Magazine saying, 'The colossal low end and filthy grooves they threw down from the Gentilly Stage must have set a Jazz Fest record for baddest bass jams ever.' Dirty Word offers a fresh and varied take on funk, blues, gospel, second-line, R&B and rock n roll. The album features special guest appearances by Art Neville, Trombone Shorty, Rebirth Brass Band, Skerik, Ani DiFranco and Flea (Red Hot Chili Peppers). ~ Amazon.com

QUASIMODE - MY FAVORITE SONGS

A great new groove from Quasimode – and a set that has the combo really coming across with a sound that's more sensitive than before! The quartet still have their great ear for a strong bottom on their jazz tunes, but most numbers here move in a midtempo speed, instead of their previous pounding jazz dance approach – and this change really allows for some greater warmth in the music, particularly on the round, soulful basslines – and the especially strong piano! A few cuts add in a bit of tenor and trumpet, but the main focus is on these wonderfuly flowing piano lines over nicely groovy rhythms – and as the title indicates, the set features favorite tunes, remade by Quasimode in their own style. Titles include "Love Theme From Sunflower", "Open Your Eyes", "High & Dry", "Overjoyed", "Cleopatra's Dream", "Day Dreaming", and "Can't Take My Eyes Off You".   Dusty Groove

BOSSA NOVA HAPPINESS - VARIOUS ARTISTS

Plenty to be happy about here – a sweet set of classic bossa tracks from the 60s, and one of the first to equally mix gems from the vaults of both Universal and EMI Records! The recent merger of the musical giants means that Blue Note tracks sit next to Verve numbers from the US, and older Brazilian recordings on labels like Odeon or Elenco – more than enough music to make a mighty great selection of music! The set also features a few numbers of more recent vintage – and titles include "The Dolphin" by Bill Evans, "Latona" by Big John Patton, "Sambou Sambou" by Doris Monteiro, "Monsieur Binot" by Joyce, "Soul Bossa Nova" by Quincy Jones, "Chup Chup I Got Away" by Marcos Valle, "We & The Sea" by Tamba 4, "Dindi" by Sylvia Telles, "Summer Samba" by Walter Wanderley, "Upa Nequinho" by Duke Pearson, "Wave" by Ron Carter, and "Inutil Paisagem" by Milton Banana Trio. ~ Dusty Groove

THE NELS CLINE SINGERS - MACROSCOPE

"Nels Cline is one of a rare breed of guitarists who can move fluidly between jazz, improvised music and rock." - DownBeat

Taking in the full breadth of guitarist Nels Cline’s sonic sphere of influence has always required a particularly wide lens. Zoom out from his fret board-blistering mash-ups of abrasive rock and bleeding-edge jazz to encompass his decade-long role with inventive rock superstars Wilco, then pull back further to find space for his ventures into Brazilian rhythms, electronic drones, and all manner of madcap musical fusion. Macroscope, the fifth album and Mack Avenue debut by his adventurous trio The Nels Cline Singers, provides a measure of the long-running group’s staggering range.

Captivating and continually surprising, the album finds the instrumental trio with the slyly deceptive name veering in one off-kilter direction only to suddenly be overwhelmed by another drastic stylistic shift, often within the space of a single tune. Serrated psychedelia becomes consumed by soulful Brasiliana, blissed-out electronica overwhelmed by garage-rock skronk. Then there’s the wholly unexpected “Red Before Orange,” where a howling Hendrix-inspired solo suddenly erupts in the middle of a slick lounge-jazz number, Cline unleashing the inner George Benson that few of us expected he even had.

“The title Macroscope speaks to the idea of the mutt within,” Cline says, “the fact that I’m not in any one genre, and never have been. I was a rock and roll kid, but after hearing Coltrane and Miles and Weather Report, then Indian music and Nigerian pop and that sort of thing, there was no turning back. From that point on, the idea of purism just was not possible.”

Throughout the album, Cline says, the intention is to “arrive at a place that could be surprising or unexpected or maybe inevitable, but that is so compelling or all-consuming that we’re absorbed and can forget about all kinds of minutiae. I would like us to arrive at a point that has no boundaries, that’s totally amorphous. It’s like sunshine or mist, it’s everywhere and nowhere.”

One of the most inventive and original guitarists across a wide range of genres, Nels Cline has worked with members of Sonic Youth and Deerhoof as well as artists including Tim Berne, Charlie Haden, Julius Hemphill, Carla Bozulich, Mike Watt and The Geraldine Fibbers, and is the lead guitarist of Wilco.

nelscline.com

~  Mack Avenue Records

NEW RELEASES: SALAMM REMI: ONE: IN THE CHAMBER; CINDY BRADLEY - BLISS; FELIX SCHLARMANN - COUNTERLIFE

SALAMM REMI: ONE: IN THE CHAMBER

The new album from the Grammy® nominated producer featuring new songs with Akon, Ne-Yo, Corinne Bailey Rae, Jordin Sparks and Stephen Marley.  Musical mastermind Salaam Remi has cultivated the sounds of countless Grammy®-winning artists including Amy Winehouse, Fugees, Nas, Alicia Keys and Miguel. Now he takes the role of artist himself on his new album, One: in the Chamber. The album features new songs with guest vocalists Akon, Ne-Yo, Corinne Bailey Rae, Jordin Sparks, Estelle, Stephen Marley, Lamar and CJ Hilton in addition to orchestral songs composed by Remi. One: in the Chamber demonstrates Remi's strong musical chops taking the listener from a cool bossa nova backbeat to a soulful Curtis Mayfield style-flow to elliptical reggae, accompanied by a host of talented vocalists. Listening to the album, one thing is for sure - Remi knows how to transform a moment in the studio into an indelible, classic song. "I'm a musician, composer and arranger that loves great music," says Remi. "This is my first expression as a body of work with all those things involved." Every song that Remi selected for the One: in the Chamber is personal and profound. The title track, "One in the Chamber" is the result of a conversation Remi had with Akon in the studio about someone who had received news of an unplanned pregnancy. On "Chocolate Brown Eyes" Remi captures the joyful spirit of vocalist Jordin Sparks. With Ne-Yo, a longtime collaborator, the intuitive process resulted in the infectious track "Everything I Need." The songs were recorded in studios all around the world supported by a live Prague-based orchestra that Remi assembled. ~ Amazon.com

CINDY BRADLEY - BLISS

It's always difficult when you have set the bar so high as Cindy did with her groundbreaking and highly heralded second recording 'Unscripted', voted 'Critic's Choice 2011' by Jazziz Magazine, and one that spawned back to back #1 Billboard singles, to not only follow but to continue to stretch higher. With the release of BLISS, Bradley's third she again finds Grammy award winning producer Michael Broening at the rudder steering the ship and together again they not only grab hold of the bar they set, but leap over it, carried forward by the current of her wave of popularity.Bliss is the apropos title for this set of musical sketches that continues to expose the many facets of this extraordinary artist who laid bare her emotions and challenges in 'Unscripted' and now finds a place in her life where she is finding great peace and joy through her perseverance and increase in capacity. These musical portraits painted with a variety of different brushes and strokes cover the gamut of moods and emotions, open, honest and revealing. From her trademark swing and sass to the beauty and sensitivity through which she caresses the muted Harman, it's all here. Her jazz chops are in full display on 'Squeeze Me' a wistful rendering chock full of artistic expression and interplay. Gospel, Funk, House and blues all find appearance in this new exploration of what is Cindy Bradley and the results are robust and satisfying. Radio is licking its collective chops and Bradley's legions of fans will line up and welcome with full embrace this long awaited expose. The sails are set and this ship is prepared to leave port for destinations unknown. Welcome aboard. ~ Amazon.com

FELIX SCHLARMANN - COUNTERLIFE

Over the past years, Felix focused on being a bandleader and composer, in addition to playing with numerous projects. This versatile drummer’s music consists of fragile melodies and energetic explosions; an emotional sound filled with contradiction. Schlarmann earned his reputation in the Dutch jazz scene as the drummer of the power jazz group BRUUT!, with which he has performed all over the globe, as well as with the famous Dutch saxophone player Jasper Blom, with whom he brings the music of Franz Schubert to the big stages with the group Mechanical Duck. The musicians in Schlarmann s group belong to the rising stars of the young Dutch scene: piano player Franz von Chossy created a name for himself all over Europe and beyond; saxophone player Lars Dietrich earned his stripes working with many great musicians such as John Escreet and David Binney; Floris van der Vlugt has worked with countless artists in the Netherlands and just started his own all-star septet Windkracht 7; and young British bass player Pat Cleaver has managed to become one the most-wanted players in the country, in just a few years! ~ Amazon.com

NEW RELEASES: SONNY KNIGHT AND THE LAKERS - I'M STILL HERE; SUN RA & HIS ARKESTRA - LIVE AT MONTREUX; PAUL HARDCASTLE WITH JAZZMASTERS - VII

SONNY KNIGHT AND THE LAKERS - I'M STILL HERE

One of the best soul music comebacks we've ever heard – and one of the few contemporary records like this to have a really cohesive feel overall! This isn't just a new group working with an older singer – but a tremendous blending of the skilled soul vocals of Sonny Knight with just the kind of funky combo to make him come across just right – and probably even better than he ever sounded back in the day! The whole thing is perfect – from performance to production – and the record sparkles with an energy that we never heard before from Sonny Knight – with backing by the Fabulous Lakers that's right up there with best older combos from back in the day. This one may well nudge recent work from Lee Fields off the top spot on our list – and it's a real stunner from this overlooked singer! Titles include "Cave Man", "I'm Still Here (parts 1 & 2)", "Hey Girl", "When You're Gone", "Baby Baby Baby", "Get Up & Dance", and a great cover of Rodriguez's "Sugar Man". ~ Dusty Groove

SUN RA & HIS ARKESTRA - LIVE AT MONTREUX

One of Sun Ra's best non-Saturn live sets of the 70s – a nice little record that shows the group mixing it up with equal parts avant garde and straight ahead jazz, all handled in that ever-growing large group style that made them a real force to be reckoned with in a concert setting! The album was recorded during the 1976 Montreux Jazz Festival, and has a bit more focus and polish than some of the other Arkestra live material from the time – a mature, coherent sound that almost points the way towards some of their work to come in the 80s – when Ra and the group were finally reaching the wider audience they deserved. The set's a double-length one, and features players who include John Gilmore on tenor, Marshall Allen and Danny Davis on alto and flute, Pat Patrick on baritone, Ahmed Abdullah on trumpet, Craig Harris on trombone, and James Jackson on Ancient Egyptian Infinity drum – which is always a treat. Ra plays solar organ and moog, as well as piano – and titles include "Of The Other Tomorrow", "On Sound Infinity Spheres", "El Is The Sound Of Joy", "Gods Of The Thunder Realm", "The House Of Eternal Being", and "Lights On a Satellite". ~ Dusty Groove, Inc.

PAUL HARDCASTLE WITH JAZZMASTERS - VII

Well into his third decade crafting signature songs of our time churning out chart topping mega-hits with ease, Paul Hardcastle adds another branch to his musical tree, one that is again bearing delicious fruit. VII, while it carries all of the hallmarks that have come to define his unique style and sound, takes a decidedly different approach, with the focus on serving up compelling sonic instrumental soundscapes and less about vocals. This is Hardcastle's wheelhouse and nobody does it better. For those who use music as an escape from the day to day, these sides are the perfect transporting device, rich soulful atmospherics that lift you through space and time and carry you away to destinations of your choosing.  Urban substructures layered with sexy yet subtle grooves, punctuated with perfectly placed notes and vibrations create the perfect flow of ambience as you depart on this soothing musical journey, a one way ticket to pure pleasure. This is pure ear candy that will provide that rush of sweetness yet is high in nutritional content, satisfying and full flavored. The lead radio single 'Unlimited Love' a tip of the hat to one of Paul's biggest influences Barry White adds another first and features label mate and one of the genres brightest rising stars trumpeter Cindy Bradley. Daughter Maxine and son Paul Hardcastle Jr again make appearances on the record providing just the right accents in all the right places. Pull up under the Hardcastle tree, pick a side and savor the fruits of this fabulous labor. ~ Amazon.com

NEW STUDIO ALBUM BY INDONESIAN GUITAR MASTER TOHPATI - TRIBAL DANCE FEATURING JIMMY HASLIP AND CHAD WACKERMAN

With Tohpati’s 3rd release (2nd as a trio) on MoonJune, recorded in Los Angeles in September 2013, we see the Beckian progressive metal riffing of 2012’s Tohpati Bertiga 'Riot' supplanted by a pairing of compositional dexterity along with the unique guitar voice that is the essence of Tohpati, one of Indonesia's most famous guitar players.

Though there is no shortage of acrobatic axe-wielding on 'Tribal Dance', Tohpati’s democratic interplay with the formidable world class rhythm section of Jimmy Haslip and Chad Wackerman is the real star here – creating a powerful synergy that gives voice to the whole of the music over its parts and delivering a richly rewarding listening experience. 

Power chords, distorted spare note leads, chugging rhythmic grooves and nuanced jazz phrasings are all summoned up by Tohpati, as he locks in with Haslip’s dubmaster basslines and the rubber-limbed kitwork of Wackerman, creating tracks of infectious syncopation and of sufficient complexity to warrant a player recount. Aside from a few ambient vocal samples, 'Tribal Dance' is an instrumental album, though many of Tohpati’s melodic guitar lead lines feel “sung” in both song context and in the expressive way in which they are played. This diversity of guitar voicings and textures, along with the enthusiasm and chemistry between the players, will keep this disc in heavy rotation. Fans of Jeff Beck, Wayne Krantz, Allan Holdsworth, Scott Henderson, Oz Noy, and, of course, the Indonesian guitar icon Dewa Budjana, will surely want to pick this up.

moonjunerecords.bandcamp.com

Video clip of the opening track 'Rahwana': youtu.be/gKNCEQCp8EE