New concerts added to the program of the 36th edition of the Montreal Jazz Festival

More names are being added to the incredible program of the 36th edition of the Festival International de Jazz de Montréal, presented by TD in collaboration with Rio Tinto Alcan, from June 26 to July 5, 2015. 

A Filetta with Paolo Fresu and Daniele Di Bonaventura, Mistico Mediterraneo. Opening act: Paolo Fresu – Gianluca Petrella duo — June 26, 7 p.m., Maison symphonique — This fabulous Mediterranean-accented evening brings together trumpeter Paolo Fresu, bandoneonist Daniele di Bonaventura and the magical voices of the A Filetta ensemble, standard-bearers for the Corsican polyphonic vocal tradition. On the program: the album Mistico Mediterraneo, released on ECM, hailed for its fascinating melding of wind instruments and vocals, between jazz and ancient music. Opening the evening, Paolo Fresu starts with a musical dialogue with another major horn player on the Italian scene, trombonist Gianluca Petrella.

An Evening with Chris Botti — June 27, 7 p.m., Maison symphonique — A trumpet superstar on the American music scene, Chris Botti has built his reputation for his subtle, sumptuous and elegant playing, making his mark alongside such pop luminaries as Sting, Michael Bublé and Paul Simon, and hitting the top of the jazz charts. Now here he is at the head of a phenomenal evening based on his latest album, Impressions, named best pop instrumental album of 2013, wherein he soars through his romantic melodies… An evening for lovers…

Steve Miller Band. Opening act: Garland Jeffreys — June 26, 7:30 p.m., Salle Wilfrid-Pelletier, PdA — Almost fifty years into a career with over 40 million albums sold, the legendary ’70s American band flies back like an eagle into the Festival program! Five years after their only appearance here, we’re delighted to welcome back a legendary blues-rock group boasting 15 albums and such memorable hits as The Joker and Fly Like an Eagle. Opening the evening: Brooklyn soul-rocker Garland Jeffreys, back with his latest album, Truth Serum.

Rodrigo y Gabriela — June 30, 7:30 p.m., Salle Wilfrid-Pelletier, PdA — Heavy metal meets flamenco? Why not! That’s the unlikely and brilliant 15-year musical fusion served up by Rodrigo and Gabriela. Originally from Mexico, the duo is unparalleled when it comes to fiery acoustic guitar skills and cutting-edge flamenco rhythms. They return 8 years after their last Festival appearance with 9 Dead Alive.

Al Di Meola, Elegant Gypsy & More Electric Tour 2015 — June 26, 8 p.m., Théâtre Maisonneuve, PdA — He’s a legendary guitarist hailed to the moon and back for his flamboyant style and impeccable technique: Al Di Meola is equally famed for his jazz fusion and acoustic playing. Launched into the musical firmament in Return to Forever with Chick Corea and Stanley Clarke, a former member of the greatest-ever guitar trio with John McLaughlin and Paco de Lucía, Di Meola stops by the Festival as part of his electric tour, Elegant Gypsy & More, in the latest live incarnation of his incredible talent.

Huey Lewis and the News — July 1, 7:30 p.m., Salle Wilfrid-Pelletier, PdA — They fueled the soundtrack of the ’80s with an irresistible array of hits including The Power of Love, Back in Time (in Back to the Future), Heart of Rock & Roll, Stuck With You, and I Want A New Drug. After almost 40 years of rock’n’roll, Huey Lewis finally brings the News in for its first ever visit to the Festival, ready to get the party going. Going back to the future never sounded so good.

Bobby Bazini with his special guest Booker T. Jones — July 2, 7:30 p.m., Salle Wilfrid-Pelletier, PdA — When two soul generations meet, the music makes its own moment: that’s what happens when master keyboardist Booker T. Jones, the man behind the immortal Green Onions, a member of the Rock and Roll Hall of Fame and winner of a Grammy Lifetime Achievement Award, opens for our own Bobby Bazini, with his dangerously soulful voice. Expect R&B, expect soul, blues and funk… expect everything!

Madeleine Peyroux — July 2, 8 p.m., Théâtre Maisonneuve, PdA — Madeleine Peyroux and the Festival audience have enjoyed a 20-year love story that only gets better with every visit. The Franco-American singer, who has made her mark at the crossroads of blues, country, jazz and pop, returns to Théâtre Maisonneuve with her rich and eclectic musical palette, recently immortalized in the album Keep Me In Your Heart For A While.

Abdullah Ibrahim solo — July 2, 6 p.m., Gesù — This most renowned of South African pianists offers us the musical delights of three concerts in the intimate confines of the Gesù. To open the prestigious Invitation series, the musical pioneer unveils a solo showcase of the immense range of his talent, unfurling his signature fusion of modern jazz, African tribal music and blues. It’s an essential rendezvous with the dense, subtle and immensely expressive music of the artist formerly known as Dollar Brand.

Abdullah Ibrahim Mukashi trio — July 3, 6 p.m., Gesù — For his second Festival performance in as many evenings, the legendary Abdullah Ibrahim enfolds his audience in the spellbinding sounds of his latest album, Mukashi. The title of the album, meaning “Once Upon A Time” in Japanese, sets the tone: a window on another world, a musical adventure at the crossroads of South Africa and Japan, all of it orchestrated in a magisterial dialogue between piano, flute and cello bonded by serene sensuality and floating melodies.

Abdullah Ibrahim and Ekaya — July 4, 6 p.m., Gesù — For this final show of the series, Abdullah Ibrahim reconnects with his longstanding project, Ekaya, first launched in 1983: a septet dominated by a magnificent dialogue of wind instruments and elegant melodies circulating like a breeze, all of it linked by the expert playing of an octogenarian artist at the height of his powers. It’s an encounter between both instruments and cultures, between the oral musical tradition of South Africa and the vibrant legacies of Duke Ellington and Thelonius Monk.

Beth Hart — June 26, 8:30 p.m., Métropolis — One of the most captivating contemporary American blues-rock voices, Beth Hart continues to conquer the North American audience—and how! She’s won the respect of ace guitarists Joe Bonamassa and Jeff Beck, two of her most illustrious collaborators, and after her blistering show during last year’s Festival, she returns with the songs from Better Than Home, dominated by her powerful voice and flair for composing genuinely moving songs.

Pokey Lafarge — July 4, 6 p.m., Club Soda — He’s an American country singer from another era: Pokey LaFarge shakes up a timeless blend of dusty-road U.S. music. The singer-guitarist from St. Louis, Missouri, unfurls a creative blend of early jazz, ragtime, country blues and swing, which he lays down on the road during 200 concerts every year on 5 continents… and on his 7 albums, including this year’s Something in the Water. Get ready to discover something special.

An additional Steven Wilson show

  

Steven Wilson — June 28, 8:30 p.m., Métropolis — Tickets for this guitar virtuoso’s show went so fast that we had no choice but to book him for a second evening! Twenty years into his career, the versatile and prolific Steven Wilson ranks among the most fascinating artists on the British rock scene. While multitasking as leader of a series of equally cutting-edge groups—Porcupine Tree, No-Man, Blackfield and Bass Communion—the many-headed musician makes his Festival entrance with his new album, Hand. Cannot. Erase., a gem of progressive rock delivering mind-blowing rhythms and soaring melodies in the Pink Floyd tradition.

www.montrealjazzfest.com

JOHN BROWN’S BODY RETURNS WITH KINGS AND QUEENS IN DUB // DUB RELEASE FEATURES COLLABORATIONS WITH TICKLAH, DUBMATIX, AND MORE

Almost two years to the day after releasing the beloved Kings And Queens - which topped the Billboard Reggae Chart and reconfirmed John Brown’s Body’s status as one of the most influential American reggae bands - JBB returns with KINGS AND QUEENS IN DUB. Taking inspiration from landmark dub albums by Burning Spear, Aswad, and others, the new release features the entire sequence from Kings And Queens mixed by a who’s who of dub champions including Ticklah, Dubmatix, Dubfader (of 10 Ft. Ganja Plant), UK legend Dennis Bovell, Yesking, Michael G (of Easy Star All-Stars), Lord Echo (of The Black Seeds), and more.

While the band has been working on new material for an upcoming release loosely scheduled for this fall, saxophonist Drew Sayers worked closely with Easy Star Records founders Eric Smith and Lem Oppenheimer to put together this album. John Brown’s Body had previously released the 2012 EP JBB IN DUB and had a number of great instrumental dub tracks in their catalog, but this release marks the first time the band has attempted to do a complete dub version of one of their full existing albums.

The dub collaborators give a good sense of the currently growing global dub scene, hailing from areas of the world including the UK, Canada, New Zealand, and the USA. Ticklah, Dubmatix, Michael G and Dubfader are good representatives of the current vanguard from North America, each with past collaborations with JBB in their history. Dennis Bovell and Yesking both represent the UK, Bovell of course as one of the most influential dub artists ever, having started his career with Matumbi, and eventually producing much of Linton Kwesi Johnson’s output, along with helping to define the sound of UK lovers rock in the late ‘70s and early ‘80s.

A first track from the record, “Pulsing Dub,” which was mixed by Yesking, is being premiered by Boomshots on February 25th, and the track will be made available to fans via John Brown’s Body’s SoundCloud page, which has over 2 million followers. The album itself will be available via pre-order at iTunes, including two tracks instantly available to anyone who pre-orders.

John Brown’s Body has a handful of major tour dates coming up, including an appearance at California Roots Festival in Monterey, CA, which has become one of the biggest events in the US reggae calendar each year, as well as a record release show at Brooklyn Bowl in Brooklyn, NY, which will also include a DJ set from Ticklah.

TOUR DATES

4/20 Brooklyn, NY – Brooklyn Bowl (with Ticklah)

5/23 Monterey, CA – California Roots Music and Art Festival

7/17 Trumansburg, NY – Finger Lakes Grass Roots Festival of Music and Dance

NEW RELEASES: MAR-V-LUS RECORDS: THE ONE-DERFUL! COLLECTION; JOHN CARPENTER – LOST THEMES; JOHN ZORN / JAY CAMPBELL – HEN TO PAN

MAR-V-LUS RECORDS: THE ONE-DERFUL! COLLECTION (VARIOUS ARTISTS)

One of the coolest labels on the Chicago soul scene of the 60s – part of the larger One-Der-Ful family of imprints, and equally important as the flagship company! Mar-V-Lus cut some of the hippest work in the Windy City at the time – deeply soulful singles that were really at the cusp of the scene, and which also had a fair bit of funk in the mix as well – the grittier side of Chicago soul that really represented the true sound of the underground! And although some of the Mar-V-Lus label material has been reissued over the years, this package uncovers 10 never-issued tracks, and mixes them with 15 more gems that only ever came out as rare indie singles – making for over two dozen Chicago soul treasures, packaged here with a very detailed set of notes. The package is another great step in this six-volume series – and completely essential listening, even to long-trained Chicago soul ears like ours! Unreleased tracks include "For You My Love" by Josephine Taylor, "Sad Souvenirs" by The Ulti-mations, "I Feel Good All Over" by Baby Miracles, "I Want A Man" by Josephine Taylor, "If You Need Me" by The Du-Ettes, "Sweatin" by Alvin Cash, "Stop Call The Cop" by The Du-Ettes, and "Your Love Picks Me Up" by Josephine Taylor – and other titles include "Love Is A Good Thing Goin" by The Blenders, "Don't Turn Your Back On Me" by Johnny Sayles, "I Still Can't Get You" by Joseph Moore, "Joey" by The Young Folk, "Philly Freeze" by Alvin Cash, "You're Gonna Be Sorry" by Cicero Blake, "Would I Do It Over" by The Ulti-mations, "Lonely Girl" by Miss Madeline, and "Whole Lot Of Lovin" by Johnny Sayles. (Includes download!)  ~ Dusty Groove

JOHN CARPENTER – LOST THEMES

The first-ever non-soundtrack album from director/composer John Carpenter – but a record that also draws strongly from all his many years in movies! All the classic Carpenter elements are firmly in place – cool keyboards, compressed guitar parts, and this spacious style of building up the tunes that really creates a create edge – that moody mode that John would use in vintage horror soundtracks, used here in service of a number of great instrumental tracks that are slightly more developed as fuller songs. The whole thing's great – an album we'd easily stand right next to Carpenter's work for Halloween and other films – and titles include "Vortex", "Obsidian", "Wraith", "Purgatory", "Night", and "Abyss".  ~ Dusty Groove

JOHN ZORN / JAY CAMPBELL – HEN TO PAN

A set that draws inspiration and compositions from John Zorn, but which is really the brainchild of cellist Jay Campbell – who works here with a mindblowing approach to the music! The cello has never sounded so bold and powerful before – arguably as free and frenetic as Zorn's alto during it's glory days – and Campbell also works with an additional cello and violin, plus drums from Tyshawn Sorey, and a bit of piano from Stephen Gosling. The CD features three different readings of Zorn's "Ouroboros", plus the canonic "Occam's Razor" – and the additional "Aristos", which is billed as "ten metaphysical ambiguities for violin, cello, and piano".  ~ Dusty Groove

NEW RELEASE: CARMEN RODGERS – STARGAZER; THE MIGHTY MOCAMBOS - SHOWDOWN; MATANA ROBERTS - COIN COIN CHAPTER THREE RIVER RUN THEE

CARMEN RODGERS – STARGAZER

It's been way way too long since we last heard from Carmen Rodgers (her debut was over a decade ago) – but it's really great to have her back, and sounding better than ever! Carmen's really grown up a lot over the past few years – and she's got this tight, sophisticated groove that holds onto all the best elements of her roots, but also gives the music a jazzy flourish that's right on the money – this cool, calculated vibe that's often augmented by just the right sort of keyboard touches – not throwaway riffs, but warm lines that flow beautifully alongside her sublime vocals! Anthony David makes a guest appearance on the set, but Carmen's the clear star all the way through – brilliantly back in the spotlight with tracks that include "Make A Way", "Camille Leon", "Beyond The Stage", "Stargazing", "Heartless", "Stay", and "Not Sure".  ~ Dusty Groove

THE MIGHTY MOCAMBOS - SHOWDOWN

The Mighty Mocambos' new album "Showdown" sets another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories.  While highly enjoying themselves as the tight unit they are, The Mighty Mocambos invited an exciting list of guests to contribute to their musical "Showdown": German film composer icon Peter Thomas, hip hop godfather Afrika Bambaataa, rap legends Charlie Funk aka Afrika Islam (member of Rocksteady Crew) and Donald D (of Ice-T's Rhyme Syndicate), plus Nichola Richards, Shawn Lee, DeRobert from peer label GED Soul in Nashville, Zulu Nation MCs Deejay Snoop & DJ Hektek and organ genius Guillaume Metenier. With two highly successful albums under their belt as The Mighty Mocambos and a plethora of singles and music releases under different monikers such as the Bacao Rhythm & Steel Band, this new full-length is by no means the final battle, indeed the show has just begun. The album shows a group who is prepared to stand up to anyone in the game. Their guns are heavy beats, epic horns, dual guitars and outstanding compositions – and they are locked and loaded!

MATANA ROBERTS - COIN COIN CHAPTER THREE RIVER RUN THEE

Maybe the most dense, most complex work we've heard from Matana Roberts to date – a unusual effort that blends together her own instrumental passages with sound samples recorded during a wintertime ramble through the states of Mississippi, Tennessee, and Louisiana! Roberts moves away from her previous group efforts, to hit even more experimental sounds here – which include her own alto saxophone lines, plus work on a Korg Monotron, an early 1900s upright piano, and even a bit of vocalizations too – all taken at a level that's way beyond jazz, and which has elements of found sound mixing with processed instrumental passages, and even some odd snippets of classic American songs. The effort comes off sounding as if an avant jazz album were recorded with an older 4AD aesthetic – with all the dense sonic structures that might imply – and the whole thing's definitely one more reason to keep your eyes focused on Roberts' genius in years to come! ~ Dusty Groove

New Recording from Drummer E.J. STRICKLAND - THE UNDYING SPIRIT

The Undying Spirit lives up to its name as the sophomore release from drummer & composer E.J. Strickland.  On this album we are witness to the evolving sound of his quintet - with more spirit, more groove, and more spotlight on its leader.  The Undying Spirit features a familiar quintet - E.J. Strickland on drums, Jaleel Shaw on alto sax, Marcus Strickland on tenor & soprano saxes, Luis Perdomo on piano, and new addition to the group, Linda Oh on bass. 

The very first note of this musical journey is the captivating start of E.J.'s explorative solo on the tune "Ride". With his gripping opening statement, the drummer sets the tone for the first track and ultimately for the entire album.  "Ride" continues with a playful theme beautifully executed by Marcus Strickland & Jaleel Shaw, with a joyful and articulate piano solo by Luis Perdomo, containing many rhythmic gems. Also on "Ride", bassist Linda Oh effortlessly maintains the shape of the ostinato while demonstrating great interplay with E.J., as if she has been a member of the quintet for years. Tunes like "Ride" and the album's closer "Impromptivity" display the group's innate ability to build a story on top of a groove; bouncing off one another's phrases while maintaining the overall sway throughout.  

A strong characteristic of Strickland's compositions is the re-introduction of themes and melodies thatlead to multiple atmospheres for improvisation throughout any particular tune.  For example, on "For My Home Folks", the group demonstrates their ability to capture the sentiment of a song, as heard through the soulful cries of Marcus & Shaw's horns followed by E.J.'s emotional drum solo.  This ability is also showcased on "Ballad For All Mankind" which features a beautifully lyricized bass solo by Oh which flows into a contemplative exchange between Marcus & Shaw. Also on this track, Marcus' award-winning playing sings alluringly over its theme. Although ballads are a rare platform for a drum solo, E.J. masterfully constructs a moving piece over the softness of the rhythm section.  "Transcendence" shows off the band's sophistication as they weave in and out of the tune's 3-bar 5/4 structure with great ease and expression.  In addition to E.J.'s compelling original compositions, the quintet takes on the great Cedar Walton's "Hindsight", which also serves as a feature for the leader.  

Throughout the various time feels on this album the band displays true versatility. With their lively swing feel on "Hindsight", they offer a refreshing contrast.  On "Bomba For Leel & Max" a weaving horn line flies over a complex basso continuo in the rhythm section with a brisk-paced Latin groove.  Both of the horn players, whose nicknames are mentioned in the song's title, get a very intense sax exchange feature over a vamp following Perdomo's energetic solo.  The most quiet and subtle moments of the album can be found on "Midnight's Clearing" which starts out almost free of time but, never without pulse as Oh plays it's eerie bass line that starts off dark and drifts into a more upbeat tone.  The saxophonists blend and compliment each other gorgeously as they explore their counter-melodies, as they also do on "A Dance For Mojo's Return", which is set-up beautifully by Perdomo's opening cadenza.  On this composition the group makes a meal of the different time feels - a driving force on all four beats, and a half-time backbeat lilt.  This all gives way to an astonishing drum shout section on which E.J. improvises.  "Tune For S.C." is a simple and pretty melody overlaying a magical upbeat bass line and features very endearing solos by Marcus and Perdomo. 

With this recording, one of E.J.'s goals was to provide an album that would prove to be uplifting to the listener, as it's title, The Undying Spirit, suggests.  The drummer/composer also wanted to capture the quintet's growth, the refinement in his composing, and his ever-evolving ability to standout as a leader; mission accomplished! 

E.J. Strickland Quintet - Upcoming CD RELEASE CELEBRATIONS:

February 27th @ The Side Door, Old Lyme, CT

E.J. Strickland - drums, Jaleel Shaw - alto sax, Marcus Strickland - tenor & soprano saxes, Victor Gould - piano, Linda Oh - bass

February 28th @ An Die Musik, Baltimore, MD

E.J. Strickland - drums, Jaleel Shaw - alto sax, Marcus Strickland - tenor & soprano saxes, Victor Gould - piano, Linda Oh - bass

March 29th @ Falcon Theatre, Marlboro, NY

E.J. Strickland - drums, Jaleel Shaw - alto sax, Marcus Strickland - tenor & soprano saxes, Victor Gould - piano, Linda Oh - bass

March 31st @ The Jazz Standard, New York, NY

E.J. Strickland - drums, Jaleel Shaw - alto sax, Marcus Strickland - tenor & soprano saxes, Luis Perdomo - piano, Linda Oh - bass

www.EJStrickland.com

Drum Legend Billy Cobham To Release Two Live Albums From 1992 Tokyo Concert

Much to the excitement of drummers and jazz aficionados worldwide, drum legend Billy Cobham will be releasing two live albums on Cleopatra Records. The first is 'Mirror's Image' on February 17 (CD & VINYL), follwed by 'Reflected Journey' on April 28 (CD). The albums are 2 parts of the same show recorded in Tokyo on February 15, 1992

What an amazing career Billy Cobham has had. From his auspicious start in the late '60s touring and recording with the great Miles Davis to his groundbreaking work with John McLaughlin and the Mahavishnu Orchestra in the early '70s, Cobham built a reputation for complex and soulful drumming. But it wasn't until 1973 and the release of his first solo album 'Spectrum' that he took the title of jazz fusion's preeminent drummer with a style and technique all his own, one that has been a major influence on drummers worldwide ever since.

A stream of further albums would follow, both under his own name and in partnership with a host of allies. And each one pushed towards fresh frontiers as Cobham marched on through the 1970s and 1980s. He played with Jack Bruce, Mark-Almond, a revived Mahavishnu, Bob Weir and the Grateful Dead, and was even behind a Dead tribute band, Jazz is Dead, realigning the sound of the Dead for a whole new audience. Cobham's own band, Glass Menagerie, cut two truly luminous albums, and as a new decade, the 1990s, dawned, the drummer was as busy as he had ever been.

In 1992, working under the auspices of UNICEF, Cobham set out for Brazil, where he would be working with autistic outpatients and street children in Santos, a suburb of Sao Paulo. “The street children fell into my realm of operations almost by chance, as it was not part of my original mandate,” he explained. “But due to the unavoidable specter and shadow cast by so many little personalities with big hearts and so much time to ponder life without parental direction, it was inevitable that I would find myself working with them… some of the brightest minds harboring raw talent that I have ever witnessed to date. The shame of it all was that many would never have the opportunity to use their gift.”

A new project came into being, a band in which the voices and talents of the street children would be harnessed alongside the talents of Cobham's latest combo, the visionary trio that he put together with the then all-but unknown Ira Coleman on double bass; and Australian Joe Chindamo on piano. This was the grouping captured together on 1993's so-acclaimed 'Traveler' album. But another song informed by the Brazilian sojourn, “Street Urchin,” found its way onto 1992's 'By Design', and it was with that album fresh on the shelves that the trio set out on tour.

February 1992 saw Cobham, Coleman and Chindamo arrive in Japan, and it was there, in Tokyo on February 15, that they performed the breathtaking show from which these two albums have been drawn. Japanese audiences, says Cobham, are among his favorite in the world, and the feeling was clearly mutual. The audience's enthusiasm never lapses, and he rewarded them with a selection of songs that traveled back across his entire career - “Crescent Sun,” reaching all the way back to 1974's sophomore effort, 'Total Eclipse'; “Shabazz,” from the 1975 album of the same name.

The evening also looked towards the future - “Reflected Journey,” a magnificent piece that would later title one of Chindamo’s own solo albums; “Prime Time,” “Key Jane”…. And all of them reworked and rearranged for the demands of the night, and the skills of the three piece. On record, Cobham habitually introduced fresh players, fresh instrumentation, and allowed their interpretations to flavor the individual compositions. In concert, whole new rearrangements were called for, and it was a mark of the talents with which he surrounded himself that every fresh revision felt somehow definitive; every one opened new doors through which the improvisations could stroll. Tonight in Tokyo, those doors were open as wide as they have ever been.

Cobham remembers the night, hot and tight before one of his favorite audiences in the world. His latest album, 'By Design', was still fresh on the shelves and of course it would dominate the show, the epic “Mirror's Image,” the raucous “Street Urchin” and the playful “Kinky Dee” taking off from the CD for fresh destinations unknown. On record, Ernie Watts' sax was an integral part of the show; on stage, the trio moved in fresh directions and the music soared accordingly.

MIRROR'S IMAGE

1. Mirror's Image

2. Street Urchin

3. Kinky Dee

4. Leeward Winds

5. Mirror Crack'd [CD ONLY]

6. Layed Back Lifestyle [CD ONLY]

REFLECTED JOURNEY

1. Prime Time

2. Key Jane

3. Reflected Journey

4. Crescent Sun

5. Shabazz

6. Improvisation

Billy Cobham's official website: http://www.billycobham.com

BILLIE HOLIDAY - THE CENTENNIAL COLLECTION

Billie Holiday's distinctive and groundbreaking vocal approach changed the face of jazz, soul and pop music in the 20th century. Now, on the eve of her 100th birthday (April 7, 1915), Billie Holiday: The Centennial Collection will offer the definitive single-disc chronicle of her career. In her brief but pivotal career, Holiday changed the landscape of jazz vocals by breaking free of the standard "reading" of the songs she would perform on stage and in studio. "I don't think I'm singing," she once said of her delivery. "I feel like I'm playing a horn...What comes out is what I feel." Her unique, emotive voice and idiosyncratic delivery which often altered the familiar rhythm and meter of the standards she sang early in her career planted the seeds for virtually every major female popular singer of the 20th century and beyond. 

A fixture of the New York nightclub scene throughout the 1930s, Holiday would collaborate with such luminaries of jazz as Benny Goodman, Count Basie and Lester Young (who would bestow upon Holiday her famous nickname, "Lady Day"). Her irascible, unpredictable style and fiery offstage rapport with musicians and bandleaders meant she rarely stayed in one place twice, cutting singles for Columbia, Brunswick and Vocalion including "What A Little Moonlight Can Do," "Billie's Blues," "The Very Thought Of You" and her own composition "God Bless The Child." Her signature song, however, may have been her most controversial: "Strange Fruit," a gripping tale of racial injustice deemed too controversial for Columbia at the time but a generous seller for Commodore Records in the late 1930s. Billie Holiday: The Centennial Collection, featuring 20 tracks recorded over her entire career, is the perfect tribute to this legendary performer. ~ Amazon

NEW RELEASES: COLEMINE SINGLES: 20/45 RPM; 80s SOUL CLASSICS VOLUME #6; BRUNSWICK SINGLES COLLECTION: SOUL GROUPS

COLEMINE SINGLES: 20/45 RPM (VARIOUS ARTISTS)

An excellent compilation of the funky sounds of Colemine Records – a contemporary indie label/labor of love with roots in Oxford, Ohio – who've been putting out some of the best singles in the post-millennium funk underground for years! The label has been delivering solid funk 45s for years, and it's about time they collected 'em on tight compilation. We've only ever seen most of the tunes on the original 45s, and it's great to have so many top shelf funk tunes together at last – numbers by Jungle Fire, Orgone, Tee See Connection, Los Sospechos, Dojo Cuts, Jive Turkeys, Ikebe Shakedown, Geno Washington & The Ironsides and more. 20 tracks in all! Includes "Comencemos (Let's Start)" by Jungle Fire, "Don't Get Caught" by Droptones, "Black Mamba" by Tee See Connection, "Authoritay" by Alan Evans Trio, "Don't Stop" by Orgone, "City Heights" by Sure Fire Soul Ensemble, "Don't Throw Your Love Away" by Gene Washington & The Ironsides, "Like Yesterday" by Monophonics and more.  ~ Dusty Groove

80s SOUL CLASSICS VOLUME #6 (VARIOUS ARTISTS)

A diverse batch of 80s soul groovers – with great tunes by superstars and lesser-remembered soul heroes and heroines alike! It's jam-packed 2CD set of tunes, many of which were no doubt popular in their heyday, but they're anything but ubiquitous these days. It's got a nice mix of styles, too, with some 70s soul jazz influenced numbers – some of them by genuine 70s soul jazz figures – plus some leaner synth funk flavored tunes, bouncing clubby tunes, breezy duets and more. 24 tracks on 2CDs: "Whatcha' Gonna Do" by Average White Band, "Lies" by Shock, "Emotions' by Starpoint, "Feelin' Free" by Jermaine Jackson, "Starstruck" by Patti Austin, "Chillin' Out"by Curtis Hairston, "Love In Your Eyes" by Vaneese Thomas, "I'm In Love With You" by Koko-Pop, "I'm Freaky" by O'Bryan, "Palm Of Your Hand" by Peabo Bryson & D'Atra Hicks and more.  ~ Dusty Groove

BRUNSWICK SINGLES COLLECTION: SOUL GROUPS (VARIOUS ARTISTS)

Great group soul from the wonderful Brunswick Records – and a sweet selection that goes way beyond the hits and the bigger groups who recorded for the label! Sure, Brunswick is known for its big groups from Chicago – who were some of the best of their time – but the label also recorded a lot of up-and-comers who were totally great too – but who never got to put together a full album for the label! Lots of those groups are collected here – in a wonderful collection that's filled with soaring harmonies, deep soul leads, and some totally groovy arrangements that are in the best Brunswick ultra-hip style of the early 70s. Titles include "Chickens" by Complaments, "Purple Haze" by Johnny Jones & King Casuals, "Lonely Street" by The Admirations, "I'll Take You Just As You Come" by The Nialations, "Until You came Along" by The Visitors, "I Think I'll Cry Out Loud" by The Realistics, "The Sweetest Thing" by Channel 3, "Sing A Ling" by The Cooperettes, "Don't Fail Me Now" by The Symphonics, "A Strange Way" by The Loreleis, "Don't Take It Out On This World" by Adam's Apples, "Cowboys To Girls" by Jalynne Sound, "He's Got Your Number" by The Demures, and "Stay With Me Baby" by BW & The Next Edition.  ~ Dusty Groove

New York City Based Serbian-Japanese Instrumental Duo Yagull Greatly Expands Their Post Rock Chamber Soundtrack Concept On Second Album 'Kai', Featuring Extraordinary Multicultural Line-up Of Guests

Yagull's official debut for MoonJune Records, 'Kai', finds the band expanding its post-rock chamber soundtrack concept to great effect. The result is a simmering sonic bouillabaisse, chocked full of choice ingredients which delectably merge to blur the lines drawn by traditional genres - delightfully teasing the palette, while appealing to an expansive range of music aficionados! The group delivers twelve songs on this joyous outing: eight brand new compositions; two tunes from Films, reworked and revisited; plus, two tastefully-revised classic rock covers. The tracks showcase Yagull's considerably potent stylistic capacity, making for a savory, finely-polished sophomore release. This new effort finds Yagull now launching itself from a duo framework - with Sasha Markovic being joined by the extraordinary pianist, Kana Kamitsubo - this most special of occasions is perfectly accentuated by a host of guest contributors; featuring fellow MoonJune international recording maestros, Beledo (guitar, lute), Dewa Budjana (guitar) and Marko Djordjevic (drums), and many other great musicians. With 'Kai', Sasha, Kana & company have embarked on a majestic journey that will appeal to a broad range of listeners... and carry them along for the ride!

'Kai,' represents big musical and personal changes for group founder, composer, producer, and guitarist, Sasha Markovic. Yagull has officially became a duo with the addition of Sasha's most challenging collaborator up until this time, pianist extraordinaire Kana Kamitsubo. Sasha and Kana's partnership went further as they became husband and wife. Album 'Kai' and the title track are named after their son born in 2014.

Picking up where the first Yagull CD, 'Films' left off in 2012, 'Kai' expands the post rock chamber soundtrack concept exploring new structures written around acoustic guitar, bass, percussion and acoustic piano. Yagull as a duo has an increased crossover potential for attracting listeners that may not be dialed into any of the specific genres baked into this release.

Yagull delivers eight brand new compositions, two tunes from 'Films' revisited ( Dark, Sound Of M ) plus two covers for this sophomore release. The tracks range from “North” which exploits Kana's mastery of creating evocative mood and space for Sasha to play, folksy “Z-Parrow” while “Omniprism” drifts into progressive rock ambiance. Methenyesque tune “Blossom”, leaves space for special guest Dewa Budjana to shine with another beautiful, lyrical solo. The title track for their son emotes a melody that can easily go alongside “Waltz for Debby” by Bill Evans in any play list. Sasha once again wears his affection for classic rock as a badge reworking the Free song, “Wishing Well”, which was also passionately performed by the late Gary Moore, as well as Deep Purple's “Burn”. Beledo's majestic lute introduction pays a homage to Deep Purple's live version from the 'Made In Europe' record.

Regarding the cover material, Sasha recently explained to DME, “My first serious music love was Deep Purple, since I heard the 'Deepest Purple' compilation along with ‘Rainbow Rising' at age of 11. I’ve been playing 'Burn' in the similar arrangement for fun for many years now. It started as a joke when I was a teenager, and played it along with a friend of mine in a two-guitar arrangement with Zappa-like kind of vocal approach. When I presented this idea to Kana [Kamitsubo] last year, she gave the song completely new dimension with her playful piano solos. We are having a lot of fun playing it live these days. As for 'Wishing Well', I am a huge fan of Free and Bad Company and had to do the tribute to them on this album. I still consider Free the best teenage band that ever lived - since they were all between 16-18 when they started. 'Wishing Well' is one of those songs I grew up on and always liked singing for fun with my acoustic guitar. I just experimented with replacing the vocal parts with classical guitar, and at the end Wen Chang added her violin playing the main riff, so the basic album arrangement was born. Always loved Gary Moore's and Blackfoot's take on it, too. I had a chance meeting with Simon Kirke this summer, and got to play him the song, and he loved it.”

Yagull are also joined by several guest musicians, the extraordinary and diverse line up hailing from eight different countries, including fellow Moonjune international recording artists Beledo (guitar), Dewa Budjana (guitar) and Marko Djordjevic (drums), as well as the long time collaborator flutist Lori Reddy, Anthony Mullin from The Blackfires (guitar), Jackson Kincheloe from Sister Sparrow & The Dirty Birds ( harmonica ), Gabriel Nat (clarinet), Wen Chang (violin) and Yoshiki Yamada (upright bass). 'Kai' has set Yagull on a journey that will appeal to wide range of listeners. This is essential MoonJune music.

TRACK LISTING

1. North 05:33 (Kamitsubo/Markovic)

2. Dark 06:58 (Markovic/Kamitsubo/Thomas)

3. Heiwa 03:18 (Markovic/Kamitsubo)

4. Blossom 05:06 (Kamitsubo/Markovic)

5. Mio 05:20 (Markovic/Kamitsubo)

6. Wishing Well 04:39 (Free)

7. Burn 03:55 (Deep Purple)

8. Sound Of M 04:31 (Markovic/Kamitsubo)

9. Z-Parrow 01:50 (Markovic)

10. Kai 04:05 (Kamitsubo/Markovic)

11. Omniprism 05:50 (Markovic/Kamitsubo/Beledo)

12. Oyasumi 01:54 (Markovic/Kamitsubo)

Produced by Sasha Markovic

Executive production by Leonardo Pavkovic

For more info:

www.yagull.com

www.moonjune.com

Guitarist MATTHEW STEVENS Combines Immersive Feeling of Live Concert with Respect for Natural Sound on Debut Album Woodwork

New York City-based guitarist and composer Matthew Stevens is considered one of the most promising artists in jazz today through his associations with NEXT Collective, Christian Scott, Esperanza Spalding, Terri Lyne Carrington, Walter Smith III, and Harvey Mason. 

Now Stevens comes fully into his own with his debut recording as a leader, Woodwork. (Exclusive "Mastered for iTunes" release February 24; physical release available May 26.) The album showcases the diverse influences on Stevens, his warm, robust sound, and his fluid, emotive playing at the helm of a stellar quintet. He's joined by pianist and fellow NEXT Collective member Gerald Clayton, bassist Vicente Archer, drummer Eric Doob, and percussionist Paulo Stagnaro. 

The album's title, Stevens says, reflects the almost tactile way in which he creates music. "It's a metaphor for how I see myself interacting with sound. Woodwork is an act of creation in collaboration with the natural world; it evokes a sense of being handmade or one of a kind. These raw materials exist regardless of whether or not you do something with them, so I try to respect that and let the music unfold naturally." 

In Woodwork, Stevens places the sound of the guitar front and center, achieving a full-bodied resonance that captures the immersive feeling of a live concert experience. "When you listen to a saxophone or a trumpet on a record, you often feel like you're right there in the room," Stevens explains. "I miss that on the guitar. As a guitarist, your touch and articulation contribute hugely to your identity as an instrumentalist, so if you have none of that air in the sound, you lose a lot of nuance. I put a microphone in front of my guitar as well as the amp so it doesn't just feel in your face, but like the music is alive and moving around the room." 

A self-described guitar fanatic who fell in love with his father's Jimi Hendrix records as a child, Stevens purposely assembled his band to allow the guitar to express his melodies alone. His strings shimmer over percussive interplay on opener "Ashes (One)," then weave a hypnotic groove on "Star L.A." They sing the folk-inspired melody of the title track "Woodwork" and roar on the album's driving composition "Uptown Dance Party."

The elusive "Sunday" continues the genre-bridging mission of the NEXT Collective with a haunting David Bowie cover, while "Blasted" pays homage to Wayne Shorter with its churning, circular melody. Stevens was recently invited by musical director Terri Lyne Carrington to perform at a fundraiser for the upcoming documentary Wayne Shorter: Zero Gravity alongside an all-star lineup including Shorter, Hancock, Spalding, Marcus Miller, Lalah Hathaway, Corrine Bailey Rae, Lizz Wright and Dee Dee Bridgewater.  

Stevens possesses a rare ability to marry singable melodies with cerebral complexity, as on the tense, shifting "Sequel" or the knotty "Grown Ups." A through-composed duo for guitar and piano, "Gently" mesmerizingly interlaces the expressive lines of Stevens and Clayton.

"Brothers," performed as a trio with Archer and Doob, embraces the sound of the acoustic guitar, from the blossoming resonance to the scrape of fingers on strings. Much of the album was recorded at the Clubhouse Studio in Rhinebeck, New York, which just happens to own an early-70s Lowden formerly favored by late folk legend Pete Seeger, and played reverently by Stevens on this song.

A Toronto native, Stevens began taking piano lessons as a child and switched to guitar after a few years. In middle school he joined a local rock band that played original songs as well as popular hits by bands like Nirvana and Soundgarden. He spent several summers at the University of Toronto's jazz camp, studying with Lorne Lofsky and ultimately moved to the United States on a scholarship to Berklee College of Music. 

Immediately after college, Stevens joined Christian Scott's band, ultimately recording five albums with the heralded trumpeter. He's since toured extensively in the U.S., Canada, Europe, Asia, South Africa, and South America, performing at leading national and international jazz festivals, including Montreux, North Sea, Newport, Montreal, Monterey, Fujitsu, New Orleans Jazz and Heritage, and at renowned venues such as the Hollywood Bowl, the Kennedy Center, the Blue Note clubs in New York, Tokyo and Milan, and the Moscow International Music House. He's also a member of the adjunct faculty at the New School and has taught workshops at the Maryland Summer Jazz Workshop, USC, and Berklee. 

Over the past year, Stevens has been featured on recordings by drum legend Harvey Mason, saxophonist Walter Smith III, and pianist Justin Kauflin, whose CD was produced by Quincy Jones in conjunction with Keep On Keepin' On, the new documentary about the relationship between Kauflin and his mentor, Clark Terry. He's also toured regularly with drummer Terri Lyne Carrington and bassist Esperanza Spalding, and will appear on Spalding's next recording, produced by David Bowie's longtime producer Tony Visconti.

In 2015, Stevens has plans to tour with Carrington, Spalding, bassist Ben Williams, and his own band, which Woodwork establishes as a group to watch closely. "Collectively we were able to tap into what we all think is important musically," Stevens says. "In my own experience there's nothing that feels more exciting than that." 

92Y Jazz In July Festival Announces 2015 Program

92nd Street Y announces the 31st Annual 92Y Jazz in July Festival, curated by Bill Charlap, who begins his second decade as artistic director of the time-honored annual Festival. Jazz in July runs from Tuesday, July 21 through Thursday, July 30, bringing together some of the world's finest jazz players for specially designed performances. Programming for this year's festival features a highly anticipated return visit from vocalist Ernie Andrews in a program entitled Duke Ellington: Drop Me Off In Harlem. The Broadway themed program Jazz & Sondheim, Side By Side, will showcase vocalist Ann Hampton Callaway and saxophonist Steve Wilson in performance with Grammy® Award-nominated drummer/composer, Matt Wilson.

One of the world's premier jazz pianists, Bill Charlap has performed and recorded with many of the leading jazz artists of our time. With his longtime trio of bassist Peter Washington and drummer Kenny Washington, he has released seven highly-acclaimed albums for the Blue Note label, including the GRAMMY® Award-nominated albums The Bill Charlap Trio - Live at the Village Vanguard and Somewhere: The Songs of Leonard Bernstein. In 2010, Charlap released Double Portrait, a collaboration with his wife, the celebrated jazz pianist Renee Rosnes, recorded at 92nd Street Y. He has also released two CDs with his mother, the renowned Sandy Stewart: Love Is Here to Stay and Something to Remember.

Charlap curates 92Y Jazz in July in collaboration with Hanna Arie-Gaifman, Director of 92Y Tisch Center for the Arts, which produces 92Y's concert series, including Jazz in July.

92Y Jazz In July 2015 Schedule:

Tue, Jul 21, 8 pm

BILL & DICK's ALL STAR JAZZ PARTY

Two generations of jazz - piano titan Dick Hyman and heir to the throne Bill Charlap, plus clarinet superstar Anat Cohen - blaze through American Songbook classics and swing standards.

Bill Charlap's New York Trio: Bill Charlap, piano / Jay Leonhart, bass / Bill Stewart, drums

Dick Hyman Trio: Dick Hyman, piano / Howard Alden, guitar / Jay Leonhart, bass / with special guest Anat Cohen, clarinet

Wed, Jul 22, 8 pm

DUKE ELLINGTON: DROP ME OFF IN HARLEM

"It Don't Mean a Thing," "Prelude to a Kiss," and "Sophisticated Lady" - Edward Kennedy Ellington was American music royalty. Now another member of the jazz aristocracy, legendary vocalist Ernie Andrews, makes a rare New York appearance to put his stamp on these timeless tunes. The soulful sounds of Houston Person's tenor sax, plus vibes virtuoso Steve Nelson make it jazz heaven.

Ernie Andrews, vocals / Bill Charlap, piano / Renee Rosnes, piano / Houston Person, tenor saxophone / Jeremy Pelt, trumpet / Steve Nelson, vibes / Peter Washington, bass / Kenny Washington, drums

Thu, Jul 23, 8 pm

THE PIANO MEN: FROM JELLY ROLL TO OSCAR

Jelly Roll Morton claimed he "invented" jazz. True? Well, he and other keyboard giants-from ragtime pioneer Scott Joplin to swinging virtuoso Oscar Peterson-enriched the form like nobody else. Hear their syncopated stylings come alive in the lightning hands of modern-day piano greats Bill Charlap, Marcus Roberts and Jeb Patton.

Bill Charlap, piano / Marcus Roberts, piano / Jeb Patton, piano / Todd Coolman, bass / Willie Jones III, drums

Tue, Jul 28, 8 pm

SWING A SONG OF SINATRA

No one sang like Sinatra, and no one sings Sinatra like Kurt Elling. Celebrate Ol' Blue Eyes' centenary with this superstar Grammy® Award-winning vocalist - and a band that boasts Benny Goodman veteran Warren Vaché on cornet.

Kurt Elling, vocals / Bill Charlap, piano / Harry Allen, tenor saxophone / Warren Vaché, cornet /

Peter Washington, bass / Kenny Washington, drums

Wed, Jul 29, 8 pm

JAZZ & SONDHEIM, SIDE BY SIDE

Piano duo Bill Charlap and Renee Rosnes' offer up stunning jazz treatments of Sondheim's masterpieces from groundbreaking shows like Company, Follies and Sweeney Todd. This is a night for both theater and jazz fans, with the dynamic voice of Ann Hampton Callaway and a soaring string ensemble to bring out the beauty of Broadway's best.

Bill Charlap, piano / Ann Hampton Callaway, vocals / Steve Wilson, alto & soprano saxophone / Renee Rosnes, piano / Sean Smith, bass / Matt Wilson, drums / String Ensemble TBA

Thu, Jul 30, 8 pm

BENNY, BASIE & BUCKY!

Guitar icon Bucky Pizzarelli, clarinet marvel Ken Peplowski and ace drummer Dennis Mackrel are the living personification of the swinging legacies of Count Basie and Benny Goodman. The stars come out to finish the festival with a big bang.

Bill Charlap, piano / Sandy Stewart, vocals / Ken Peplowski, clarinet / Randy Sandke, trumpet / Joe Locke, vibes Bucky Pizzarelli, guitar / Jay Leonhart, bass / Dennis Mackrel, drums

ABOUT JAZZ IN JULY

This annual summer jazz festival, directed by pianist Bill Charlap, brings together some of the world's best jazz musicians for once-in-a-lifetime performances at 92nd Street Y. Recent Festival shows have explored be-bop and Latin jazz; celebrated jazz legend Jimmy Heath and former artistic director Dick Hyman; and sampled the work of great composers, from Cole Porter to Thelonious Monk. Recent line-ups have featured jazz greats Ray Bryant, Barry Harris, Wynton Marsalis, Eddie Palmieri, Trio Da Paz, and Frank Wess.

NEW RELEASES: CANNONBALL ADDERLEY – BIG MAN; HARRY ALLEN / JAN LUNDGREN QUARTET - QUIETLY THERE; APHEX TWIN - COMPUTER CONTROLLED ACOUSTIC INSTRUMENTS PT 2

CANNONBALL ADDERLEY – BIG MAN: THE LEGEND OF JOHN HENRY

In what would turn out to be the final years of his short life, jazz great Julian “Cannonball” Adderley embarked on a number of ambitious, genre-stretching projects. The last of these was 1975's Big Man, the score for a musical play based on the John Henry (“the steel driving man”) American folk legend. The album was released as a two-LP set with libretto, and featured music from Adderley and his then-current musical associates including brother Nat Adderley, George Duke (using the alias “Dawilli Gonga”), Roy McCurdy, Airto Moreira, Carol Kaye and others. The sessions also made full use of a large string section and chorus, while the primary vocalists in Big Man sang and read their lines in character; the vocal cast included lead vocalist Joe Williams, Randy Crawford (making her professional debut on record here at age 21), and Robert Guillaume (later to win two Emmy Awards for his work on TV series Soap and Benson, and a Grammy Award for his work connected to The Lion King). Long out of print and never before issued on CD, Real Gone Music's reissue of Big Man boasts liner notes by Bill Kopp (Kopp also penned the liners for RGM's first Adderley reissue, The Black Messiah) with quotes from Robert Guillaume, and the full libretto, with remastering by Joe Tarantino. The final artistic statement from a jazz giant! ~ Real Gone Music

HARRY ALLEN / JAN LUNDGREN QUARTET - QUIETLY THERE

A great laidback set from tenorist Harry Allen – nothing fancy, but a great demonstration of Allen's wonderfully old school approach! The group's got an easygoing groove – led by pianist Jan Lundgren – and Allen blows these soulful, spacious solos over the top – with a bit of a Gene Ammons vibe on both the groovers and mellow cuts. Even better, all tracks are compositions by the great Johnny Mandel – whose music works perfectly for this format – and titles include "Emily", "The Shining Sea", "Sure As You're Born", "Cinnamon & Clove", "Suicide Is Painless", and "The Shadow Of Your Smile".  ~ Dusty Groove

APHEX TWIN - COMPUTER CONTROLLED ACOUSTIC INSTRUMENTS PT 2

The no longer hibernating Aphex Twin follows up 2014's excellent Syro LP with the appropriately-titled Computer Controlled Acoustic Instruments Part 2 EP – a coolly experimental project that's a lot different that his other recent work, but it's a worthy left turn! It's indeed played with a lot of live instruments – drums, cymbals and all around prominent percussion, piano, strings and more – which feels fresh and alive, even if it is played through computer control. Hypnotic sounds from a modern master.  ~ Dusty Groove

LOST TRACKS FROM DUSTY SPRINGFIELD REISSUED ON "FAITHFUL"

In 1971, Atlantic Records released a pair of Dusty Springfield singles produced by the legendary songwriter/producer Jeff Barry (one-time songwriting and romantic partner of Ellie Greenwich, and author of too many hits to name):  "Haunted"/"Nothing Is Forever" and "I Believe In You"/"Someone Who Cares." A restless Dusty, freshly relocating to America from her native England, then departed the label and left an additional 9 songs recorded with Barry in the can, where they stayed until Rhino issued one track, "Faithful" (in mono), as a bonus track on the 1990s CD release of Dusty's 1970 Atlantic album A Brand New Me. 

The other tracks didn’t surface until a subsequent deluxe reissue of Dusty’s landmark 1969 album Dusty in Memphis included them as bonus cuts. Now, reissue producer Jim Pierson—who tracked down the missing masters after being lost for over two decades —has assembled all of Dusty’s Barry-produced masters and put them together in a single package for the first time to create the third Dusty Springfield Atlantic Records album as planned in 1971. Real Gone Music’s release of Faithful presents these historic Barry-Springfield collaborations exactly as they were originally intended to be heard, with the 12 tracks intended for the album release and one intended for single-only release. All tracks are in stereo, while the liner notes, penned by The Second Disc's Joe Marchese, feature a number of rarely-seen photos of the legendary singer. These stunning pop, soul and gospel flavored selections showcase the iconic singer at the height of her vocal magic.  A missing/jumbled part of Dusty’s august recorded legacy, finally set right!

"Faithfiull" Tracklisting"

1.  I'll Be Faithful

2.  Live Here With You

3.  Haunted

4.  Someone Who Cares

5.  Make It With You

6.  Love Shine Down

7.  I Believe In You

8.  Have A Good Life Baby

9.  Natchez Trace

10. All The King's Horses

11. You've Got A Friend

12. I Found My Way Through The Darkness

13. Nothing Is Forever

~ Real Gone Music

NEW RELEASES: POPS STAPLES - DON'T LOSE THIS; ABDULLAH IBRAHIM - THE SONG IS MY STORY; RAHEEM DEVAUGHN - LOVE SEX PASSION

POPS STAPLES - DON'T LOSE THIS

The last material ever recorded by the legendary Pops Staples – raw, rootsy tracks that are surprisingly great overall – even when augmented by Jeff Tweedy and Mavis Staples! Pops recorded these tracks in the late 90s, and Mavis held the tapes for years – thinking that they were great, but needed a little something extra to be fully realized. So, with just a bit of effort, Tweedy added in a bit of guitar and bass, plus some other light rhythms – and called in Mavis and other members of the Staple Singers to just provide some slight added backing vocals – in a way that never dampens Pops' lead at all. We were honestly quite suspicious of the project, but find we really like it a lot – maybe even more than some of Mavis' revival recordings in recent years. Titles include "Better Home", "The Lady's Letter", "Gotta Serve Somebody", "Sweet Home", "Somebody Was Watching", and "Love On My Side".  ~ Dusty Groove

ABDULLAH IBRAHIM - THE SONG IS MY STORY

Sublime solo piano from Abdullah Ibrahim – and a set that also features a bit of solo saxophone as well! The performance was recorded in an Italian concert hall with a wonderfully resonant sound – and the material is half compositions by Ibrahim, and half improvisations that have a very poetic feel! There's a quality here that's more introspective than some of Abdullah's other material – dark and moody at times, and set free from some of his more rhythmic conceptions overall – although never entirely free jazz, and certainly never avant at all. The package features a DVD of the performance as well as a CD – and titles include "Marinska", "The Song Is My Story", "Threshold", "Celestial Bird Dance", "For Coltrane", "Kalahari Pleiades", and "Just Arrived". (DVD is NTSC, Region 0.)  ~ Dusty Groove

RAHEEM DEVAUGHN - LOVE SEX PASSION

Always-great work from Raheem DeVaughn – an artist who seems to spin out records with effortless ease, but always makes music that sounds totally wonderful! There's a flurry of song snippets and sound at the start of this one – almost as if Raheem's shuffling through his emotive memory bank, before launching into the rock-solid tracks that build the album together – all with a warm, seductive style that never promises to be anything it's not – and which is stated by DeVaughn proudly in the album's title! Heck, you've gotta love a record that's marketed with a warning – "Opening this CD will cause the population to spike" – and when it comes from Raheem, we might well believe it. Titles include "Black Ice Cream", "Father Rock Lovin", "Countdown To Love", "When You Love Somebody", "Miss Your Sex", "Strip", and "Never Never Land".  ~ Dusty Groove

Benny Sharoni's Latest CD Slant Signature Showcases the Masterful Tenor Saxophonist's Brilliance

Benny Sharoni, a take-charge tenor saxophonist with a powerful tone reminiscent of Sonny Rollins, unites a deep respect for the jazz masters of the past with a keen imagination all his own. Slant Signature, Sharoni's second CD, is a purposeful statement from a constantly searching artist, an inspired outing that takes the reedman's soulful, sophisticated brand of jazz to new heights.

Sharoni honed his sound like the greats of old: on the bandstand and on his own terms. The consistent hallmark of Sharoni's playing is the deep warmth and beauty of his tone and his lyrical phrasing. " A close friend said that I always go for the pretty notes," he says. "Of course, everyone has a different idea about what a pretty note is."

Sharoni's playing isn't the only focus of Slant Signature.  He's accompanied by his longtime quartet featuring pianist Joe Barbato, bassist Todd Baker, and drummer Steve Langone, plus special guests trumpeter Jim Rotondi and guitarist Mike Mele. The band reinforces the music's immediacy and beauty, drawing in listeners with a profound joie de vivre while tackling Sharoni's five tangy originals.  They also put their distinctive stamp on the Lee Morgan classic "Ceora," Freddie Hubbard's "Down Under" and Ray Bryant's "Tonk."  "They have musical instincts that reflect my own sensibilities" Sharoni says. "That's huge."

It's been several years since Sharoni's debut CD, Eternal Elixir (2010, Papaya), garnered rave reviews. Yet these have not been idle years for the Boston-area composer-saxophonist. "A jazz musician never feels like he's mastered anything," Sharoni says, "but I felt like over the last five years of hard work, exploration and composing that the time was right to embark on this project. This album is a great milestone for me. I feel like I'm at my next level of freedom and creativity."

It's always been an unlikely route for Sharoni, the Israeli-born son of Chilean and Yemeni immigrants, but he's forged his own path successfully. He enrolled at Berklee College but left after one semester, too free-spirited to thrive while there. He continued his jazz education, studying privately with Jerry Bergonzi and George Garzone, playing gigs with the likes of Joshua Redman, Danilo Perez, Kenny Garrett and Larry Coryell, imbibing influences and carving out his own sound.

His playing can be gruff and virile, as it is on "Subterranean Samba."  He can also play a melody with a gentle caress, as he does on Lee Morgan's "Ceora." The sensual appeal of his sound is matched by a searching intelligence, so that his music is always smart and emotionally honest without being pretentious. Listen to "Bitter Drops" to hear how Sharoni's burly sound anchors his probing lines in a bedrock of blues. On "Slant Signature," he sounds relaxed and in control as his elegant phrases flow smoothly over the galloping tempo. And there's a compelling logic to his solos on "Minor City" and "The Bodega" that grabs listeners and takes them along for the ride.

The band, too, fits Sharoni's vision with a deep intuitive level of communication and solos at once relaxed, yet urgent and focused. "Subterranean Samba" and "The Bodega" are good places to hear how tight the band is, how readily they lock into a groove, and how well they support each other. Pianist Joe Barbato mines the New Orleans piano tradition for a rhythmic, bluesy solo on "Bitter Drops" and gets down to some serious gospel soul jazz testifying on Ray Bryant's "Tonk." Bassist Todd Baker lays down a rock solid foundation for the band, no matter whether the music is unfolding with blistering energy in "Minor City" or at the leisurely tempo of "Ceora." Drummer Steve Langone is a model of versatility, handling Brazilian, New Orleans, Latin, and swinging jazz rhythms with equal finesse.

Even trumpeter Jim Rotondi, who is playing with Sharoni for the first time, sounds like a regular band member on "Tonk," "Down Under," and "The Bodega," on which his tasteful melodicism and swing find a welcoming home. The album's other special guest, guitarist Mike Mele, who also appeared on Sharoni's acclaimed first album, provides a title track highlight in a solo that nicely balances long, flowing bop lines and blues inflections.

Born and raised in Israel on a kibbutz near the Gaza Strip, Benny Sharoni grew up in a home full of music. His multiethnic ancestry meant Sharoni heard music from his parents' respective homelands of Chile and Yemen as a child. As a teenager, he studied classical flute, but fell in love with jazz when he heard Sonny Rollins. In 1986, after a traumatic stint in the Israeli army, Sharoni moved to Boston to attend Berklee College of Music. He soon began leading his own bands and has appeared with Joshua Redman, Danilo Perez, Kenny Garrett, and Larry Coryell. He now performs and tours regularly with his band throughout the East Coast, Canada, Europe and Asia. Eternal Elixir, Sharoni's first CD as leader, "mixes the vitality of a spiritual journey with the intelligence of an academic lesson, to come up with an intoxicating cocktail of brains and brawn," according to Jordan Richardson in All About Jazz.

For Sharoni, the bottom line is that the music moves and inspires people. "This record is 99 percent heart," he says. "The band is so full of heart and joy and intensity and everybody's mission was make the most beautiful music they could."

http://bennysharoni.com/