THE MARVIN GAYE COLLECTION: 1961-1965

USM are pleased to announce the release of Marvin Gaye: 1961-1965, a collection of his first seven studio albums on 180g vinyl in one fantastic box. This includes the stereo mixes of The Soulful Moods Of Marvin Gaye, That Stubborn Kind Of Fellow and When I’m Alone I Cry released as LPs for the first time ever.

Marvin Gaye was originally a member of The Marquees, later known as The New Moonglows under co-founder Harvey Fuqua’s direction. The group recorded several sides for Chess in 1959, including the song "Mama Loocie", which was Marvin's first lead vocal recording. The group found work as session singers for established acts such as Chuck Berry, singing on the hits "Back in the U.S.A." and "Almost Grown". In 1960 the group disbanded and Marvin relocated to Detroit with Fuqua where he signed with Tri-Phi Records as a session musician. Impressed by the singer, Motown president Berry Gordy fought Fuqua on his contract with Marvin and shortly afterwards, Marvin signed with Motown subsidiary Tamla.

In 1962, he found success as co-writer of the Marvelettes hit, "Beechwood 4-5789". His first solo hit, "Stubborn Kind of Fellow", was later released that September, reaching number 8 on the R&B chart and number 46 on the Billboard Hot 100. He reached the top 50 with the dance song, "Hitch Hike", speaking at number 30 on the Hot 100. "Pride and Joy" became his first top ten single after its release in 1963.

In 1964, he recorded a successful duet album with singer Mary Wells titled Together, which reached 42 on the pop album chart. The album's two-sided single, including "Once Upon a Time" and "What's the Matter With You Baby", each reached the top 20. Marvin’s next solo hit, "How Sweet It Is (To Be Loved By You)", written for him by Holland-Dozier-Holland, reached number 6 on the Hot 100 and reached the top 50 in the UK.

Commonly referred to as the ‘Prince of Soul’, Marvin Gaye helped to shape the sound of Motown Records during this period and was one of the greatest voices to emerge from the label. Here we celebrate his early years, the first of three vinyl boxed sets spanning his catalogue.

Tracklisting

THE SOULFUL MOODS OF MARVIN GAYE

SIDE A

1. MASQUERADE

2. FUNNY VALENTINE

3. WITCHCRAFT

4. EASY LIVING

5. HOW DEEP THE OCEAN

SIDE B

1. LOVE FOR SALE

2. ALWAYS

3. HOW HIGH THE MOON

4. LET YOUR CONSCIENCE BE YOUR GUIDE

5. NEVER LET YOU GO

6. YOU DON’T KNOW WHAT LOVE IS

THAT STUBBORN KIND OF FELLOW

SIDE A

1. STUBBORN KIND OF FELLOW

2. PRIDE & JOY

3. HITCH HIKE

4. GET MY HANDS ON SOME LOVIN’

5. WHEREVER I LAY MY HAT

SIDE B

1. SOLDIER’S PLEA

2. IT HURT ME TOO

3. TAKING MY TIME

4. HELLO THERE ANGEL

5. I’M YOURS, YOU’RE MINE

WHEN I’M ALONE I CRY

SIDE A

1. YOU’VE CHANGED

2. I WAS TELLING HER ABOUT YOU

3. I WONDER

4. I’LL BE AROUND

5. BECAUSE OF YOU

SIDE B

1. I DON’T KNOW WHY

2. I’VE GROWN ACCUSTOMED TO HER FACE

3. WHEN YOUR LOVER HAS GONE

4. WHEN I’M ALONE I CRY

5. IF MY HEART COULD SING

HELLO BROADWAY....THIS IS MARVIN!

SIDE A

1. HELLO BROADWAY

2. PEOPLE

3. THE PARTY’S OVER

4. ON THE STREET WHERE YOU LIVE

5. WHAT KIND OF FOOL I AM

6. MY KIND OF TOWN

SIDE B

1. THE DAYS OF WINE AND ROSES

2. THIS IS THE LIFE

3. MY WAY

4. HELLO DOLLY

5. WALK ON THE WILD SIDE

TOGETHER with Mary Wells

SIDE A

1. ONCE UPON A TIME

2. DEED I DO

3. UNTIL I MET YOU

4. TOGETHER

5. (I love you) FOR SENTIMENTAL REASONS

SIDE B

1. THE LATE LATE SHOW

2. AFTER THE LIGHTS GO DOWN LOW

3. SQUEEZE ME

4. WHAT’S THE MATTER WITH YOU BABY

5. YOU CAME A LONG WAY FROM ST.LOUIS

HOW SWEAT IT IS TO BE LOVED BY YOU

SIDE A

1. YOU’RE A WONDERFUL ONE

2. HOW SWEET IT IS (TO BE LOVED BY YOU)

3. TRY IT BABY

4. BABY DON’T YOU DO IT

5. NEED YOUR LOVIN’ (WANT YOU BACK)

6. ONE OF THESE DAYS

SIDE B

1. NO GOOD WITHOUT YOU

2. STEPPING CLOSER TO YOUR HEART

3. NEED SOMEBODY

4. ME AND MY LONELY ROOM

5. NOW THAT YOU’VE WON ME

6. FOREVER

A TRIBUTE TO NAT KING COLE

SIDE A

1. NATURE BOY

2. RAMBLIN’ ROSE

3. TOO YOUNG

4. PRETEND

5. STRAIGHTEN UP AND FLY RIGHT

6. MONA LISA

SIDE B

1. UNFORGETTABLE

2. TO THE ENDS OF THE EARTH

3. SWEET LORRAINE

4. IT’S ONLY A PAPER MOON

5. SEND FOR ME

6. CALYPSO BLUES

MAXWELL, ERYKAH BADU, R. KELLY, TONI BRAXTON, RUN-D.M.C., SHEILA E., JEFFREY OSBORNE, PEABO BRYSON, FREDDY JACKSON, BRIAN CULBERTSON & THE JAZZ IN THE GARDENS ALLSTARS HEADLINE THE CITY OF MIAMI GARDENS' 10TH ANNUAL JAZZ IN THE GARDENS MUSIC FESTIVAL

The City of Miami Gardens is proud to present the 10th Annual Jazz in the Gardens (JITG) music festival at Sun Life Stadium in Miami Gardens, Fla. The two-day music festival from March 21-22, 2015, will feature: Maxwell, Toni Braxton, R. Kelly, Erykah Badu, Run-D.M.C., Sheila E., Brian Culbertson, Men of Soul's Jeffrey Osborne, Peabo Bryson, and Freddie Jackson, and Jazz in the Gardens All Stars Ronnie Laws, Roy Ayers, Lonnie Liston Smith, and Tom Browne. Comedians and nationally-syndicated radio personalities D.L. Hughley and Rickey Smiley will co-host the festival.

Jazz in the Gardens will also feature local artists Valerie Tyson and Karina Iglesias of "The Voice" along with more than 40 exotic food vendors, an action-packed Vendor Marketplace, and the most anticipated lineup for the City's milestone 10th year of its signature event. On Saturday and Sunday, doors to the festival will open at 3 p.m. and the show will start at 4 p.m. Tickets are on sale now through Ticketmaster or http://www.jazzinthegardens.com.

The Women's Impact Conference and Luncheon (WICL) will kick off the Jazz in the Gardens Weekend on Friday, March 20, at the Miramar Cultural Center with the theme "THERE'S NO 'S' ON MY CHEST BUT A HERO LIVES WITHIN." The event will feature keynote speaker reality show personality Omarosa Manigault and R&B vocalist Howard Hewett. Friday night Rickey Smiley and a few special guests from his morning show will host the Official Jazz in the Gardens Pre-Party featuring The D.M.C. Band, a comedy show, live entertainment and dancing.

"Without a doubt, this is our most exciting lineup yet," said City of Miami Gardens Mayor Oliver Gilbert. "And by the reports on ticket sales, there's no denying it. There is no sunnier, breezier, or better place to enjoy your favorite exotic food, good friends and amazing live performances than in the Gardens in springtime. We welcome our guests who travel from all over the world to celebrate our milestone 10th year of the fastest growing jazz and R&B festival in America."

Predicted early on to break last year's record of 68,000 tickets sold, tracking a 15% increase in ticket sales, JITG '10 is well on its way to breaking its record for an anticipated 71,000 tickets sold.

Saxophonist Kamasi Washington Revolutionizes Modern Perception of Jazz with Highly Anticipated 3-Volume Set, The Epic

The story begins with a man on high. He is an old man, a warrior, and the guardian to the gates of a city. Two miles below his mountainous perch, he observes a dojo, where a group of young men train night and day. Eventually, the old man expects a challenger to emerge. He hopes for the day of his destruction, for this is the cycle of life. 

Finally the doors fly open and three young men burst forth to challenge the old master. The first man is quick, but not strong enough. The second is quick, and strong, but not wise enough. The third stands tall, and overtakes the master. The changing of the guard has at long last been achieved. 

But then the old man wakes up. He looks down at the dojo and realizes he's been daydreaming. The dojo below exists, but everyone in training is yet a child. By the time they grow old enough to challenge the old man, he has disappeared.

This is, in essence, a true story and a carefully constructed musical daydream, one that will further unfold on May 5, 2015 in a brazen release from young Los Angeles jazz giant, composer, bandleader, and saxophonist Kamasi Washington. The Epic is unlike anything jazz has seen, and not just because it emanates from the boundary-defying Brainfeeder, which isn't so much a label in the traditional sense as it is an unfurling experiment conducted by the underground producer Flying Lotus, who features Washington on his recent releases Cosmogramma and You're Dead!. ·

"He just plays the craziest shit, man. I mean, everything - the past, present, the future," Flying Lotus says, whose family lineage includes one of Washington's direct musical forebears, John Coltrane. "It's hard to find unique voices in this music. Especially in jazz, more so lately, everybody is trying to do the same shit. I don't want to hear 'My Favorite Things' anymore. What I am hearing is a leader among artists." 

The Epic is a 172-minute, three-record set that includes a 32-piece orchestra, a 20-person choir, and 17 songs overlaid with a compositional score written by Washington. Pulsing underneath is an otherworldly ten-piece band, each member of which is individually regarded as among the best young musicians on the planet - including bassist Thundercat and his brother, drummer Ronald Bruner Jr., bassist (yes, there are two) Miles Mosley, drummer Tony Austin (of course there are two), keyboard player Brandon Coleman, pianist Cameron Graves, and trombonist Ryan Porter. Patrice Quinn's ethereal vocals round out the ensemble.

The band are all from Los Angeles, mostly South Central, and its members -- who call themselves variously "The Next Step" and the "The West Coast Get Down" -- have been congregating since they were barely teenagers in a backyard shack in Inglewood. Washington, 32, has known Bruner since he was two. The rest met, at various stages, by the time they were in high school. The hours they have put into the music, playing together and practicing alone, total cumulatively in the tens of thousands. 

"Nothing compares to these guys," says Barbara Sealy, the former West Coast director of the Thelonious Monk Institute of Jazz, who has championed Washington and his compatriots since they were barely teenagers. "Nobody. I challenge any group to go out on stage with them and see if they can keep up with it...Kamasi is at the top of his game, and only getting better."

And the story The Epic tells, without words but rather through some combination of magic, mastery, and sheer force of imagination, is the story of Kamasi Washington, the Next Step, and their collective mission: to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again. They seek to both honor and alter tradition: as The Epic's opening track announces, they are the "Changing of the Guard." The sound can be felt like flames, sometimes waving in the coziness of a fireplace, in other moments sweeping everything around like a backdraft. But Washington is always in control of the burning. 

Kamasi Washington · The Epic 

Brainfeeder Records  ·  Release Date: May 5, 2015

www.KamasiWashington.com

NEW RELEASES: BONEY JAMES – FUTURESOUL; RINGO STARR – POSTCARDS FROM PARADISE; SLIM HARPO - BUZZIN' THE BLUES

BONEY JAMES – FUTURESOUL

4-time GRAMMY nominee and best-selling saxman Boney James continues his artistic evolution with the dynamic Futuresoul. Fusing his love for vintage soul music with his mastery of modern production, Boney has created another genre-bending work following on the heels of his 2014 GRAMMY nominated album The Beat. 10 original songs written or co-written by Boney, with special guests Stokley of Mint Condition on vocals and Thelonious Monk Competition winner Marquis Hill on trumpet. Futuresoul is retro music for the modern age. Includes: Drumline, Vinyl, A Little Attitude, Watchu Gon' Do About It?,. Either Way featuring Stokley, Hand in Hand, Fortuneteller, The Moment, futuresoul, and Far From Home featuring Marquis Hill. ~ Amazon

RINGO STARR – POSTCARDS FROM PARADISE

Ringo Starr's 18th studio release, Postcards From Paradise, includes 11 original tracks and is the first to include a song written and recorded by Ringo Starr and his current All Starr Band - Steve Lukather, Todd Rundgren, Gregg Rolie, Richard Page, Wally Palmer and Gregg Bissonette. Postcards From Paradise was produced by Ringo and recorded at his home studio in Los Angeles and, as always, features friends and family. As Ringo often says, 'If I am recording and you're in town and drop by, you're going to be on the record!' The album's guest artists include: Joe Walsh, Benmont Tench, Dave Stewart, Ann Marie Simpson, Richard Marx, Amy Keys, Peter Frampton, Nathan East, and Glen Ballard. ~ Amazon

SLIM HARPO - BUZZIN' THE BLUES

Slim Harpo made his impressive entrance into the world of blues recordings in 1957. Here was a man with an unforgettable name, a strong song - I'm A King Bee - and a finely-crafted minimalist style, at once familiar and novel. In 1961 Slim Harpo made a crossover entry into the American Rhythm 'n' Blues and Popular Music charts when Rainin' In My Heart became one of those barely-categorisable hits that just couldn't be ignored. Then came Baby, Scratch My Back, a soulful rhythmic number that led to tours with the rock elite. The story of Slim Harpo and his music is among the most fascinating in all blues and Rhythm 'n' Blues. Harpo's music had timeless and mellow qualities that made his sound both authentic and accessible. By many benchmarks he was a success, and for periods in his life he was in the spotlight, yet little, really, is known of him beyond his fading circle of musicians, friends, and family in Baton. Includes  5-CD boxed set (LP-size) with 104 page hardcover book, 142 tracks. Total playing time approx. 410 minutes. ~ Amazon

NEW RELEASES: VAN MORRISON - DUETS: RE-WORKING THE CATALOGUE; BAMALOVESOUL.COM PRESENTS ON DECK 3; KARIN KROG / STEVE KUHN – BREAK OF DAY

VAN MORRISON - DUETS: RE-WORKING THE CATALOGUE

On Duets: Re-Working The Catalogue, Van Morrison and the guests selected and recorded some of his songs from the catalog of 360 songs across his career. Deliberately steering away from his more well-known classics, Van enlisted some of the artists he most respects to perform these songs with him to re-craft and re-imagine them. The album was recorded in his home town of Belfast and London in the United Kingdom over the last year, using a variety of musicians and fresh arrangements. Produced by Van Morrison along with Don Was and Bob Rock, the album features duet performances with Bobby Womack, Steve Winwood, Mark Knopfler, Taj Mahal, Mavis Staples, Michael Bublé, Natalie Cole, George Benson, Gregory Porter, Clare Teal, P.J. Proby, Joss Stone, Georgie Fame, Mick Hucknall, Chris Farlowe, and Van's daughter Shana Morrison. Van Morrison is considered one of the most prolific recording artists and extraordinary live performers of our time. He has received a multitude of awards and accolades including 6 Grammy Awards, a Brit Award, an OBE, an Ivor Novello, and has been inducted in the Rock and Roll Hall of Fame. His visionary songwriting and mastery of many genres continues to shine on albums celebrating and re-exploring his blues, jazz, skiffle and country roots. With one of the most revered catalogues in music history, his talents as a composer, singer and performer are unmatched. ~ Amazon

BAMALOVESOUL PRESENTS ON DECK 3

On its way to becoming another much-loved series in the tradition of Stop and Listen, the Spectrum compilations, or perhaps more aptly Kon & Amir’s Off Track sets all from BBE, On Deck has been a music-format manifestation of the Birmingham, Alabama-based website BamaLoveSoul for the past couple of years.  For the third in the On Deck series, Rahdu introduces another scintillating taster for the more mature musical palette, featuring contemporary up-up-and-coming artists generally not too well-known on the international scene yet, with a bias towards artists sharing his own southern roots. Enjoy, Enjoy, Enjoy.  Due for release March 23, 2015.

KARIN KROG / STEVE KUHN – BREAK OF DAY

The already-great team of singer Karin Krog and pianist Steve Kuhn gets some extra special help here – thanks to the appearance of Eric Alexander on tenor and Lew Soloff on trumpet – each of whom guest on three different tracks apiece! The core of the record has Krog's dark, moody vocals alongside Kuhn's still-inventive piano lines – a match that has decades of work together, and which already makes the whole record exciting enough on its own – but the use of added horn soloists brings in this effective other voice to the proceedings, all without disturbing the gentle balance at the core. Alexander is especially great, but we like Soloff a lot too – and neither seeks to overwhelm, just bring a special voice to the tunes in which they appear. As always with Krog, the choice of tunes is perfect – and titles include "Scandia Skies", "Break Of Day In Molde", "How Do You Keep The Music Playing", "Love Came On Stealthy Fingers", "Time's Getting Tougher Than Tough", "Little Butterfly", and "Trane".  ~ Dusty Groove

LINES OF COLOR: Live at Jazz Standard, the sophomore album from composer/producer Ryan Truesdell's award-winning Gil Evans Project

LINES OF COLOR: Live at Jazz Standard, the sophomore album from composer/producer Ryan Truesdell's award-winning Gil Evans Project, will be released on March 17, 2015 on the newly-formed Blue Note/ArtistShare label (www.GilEvansProject.com). This highly anticipated release follows Truesdell's debut CD CENTENNIAL: Newly Discovered Works of Gil Evans, which won a posthumous Grammy Award for Gil Evans and the New York Times called "an extraordinary album."  LINES OF COLOR - the next step in Truesdell's endeavor to reveal hidden layers of Gil Evans' musical legacy - features some of New York's finest musicians including Lewis Nash, Donny McCaslin, Steve Wilson, Ryan Keberle, Marshall Gilkes, and Scott Robinson. The CD was recorded by Grammy award-winning engineer James Farber with the live engineering team of Tyler McDiarmid and Geoff Countryman.

LINES OF COLOR was recorded during the Gil Evans Project's annual week-long engagement at Jazz Standard in New York City from May 13-18, 2014. It consists of six newly discovered, never before recorded works (including "Avalon Town," "Can't We Talk It Over," and "Just One Of Those Things"), two arrangements with previously unheard sections ("Davenport Blues" and "Sunday Drivin'"), and three of Evans' well-known charts from his classic albums ("Time of the Barracudas," "Concorde," and "Greensleeves"). Throughout the engagement, the Gil Evans Project presented nearly fifty of Evans' works, most of which were performed live for the first time. Truesdell decided to record live for the Gil Evans Project's second album to honor the essence of Evans' music that craves live performance. "It allows Gil's colors and the overtones of the music to sound and blend in the room in a way that you can't get from a close-mic studio recording," says Truesdell. "Live recording captures this intangible energy that's created when music is performed for an audience. It gives listeners a sense of the magic that happens when the notes are lifted off the page by these amazing musicians."

The eleven selections that make up LINES OF COLOR represent everything you hope for in a live recording: a beautiful sound, a lively, involved audience, and precise and inspired performances of remarkable music. Of this collection, six of the charts were originally written during Evans' tenure with the Claude Thornhill orchestra, including never-before-heard arrangements of "How High the Moon," "Avalon Town," and a rare Evans original composition, "Gypsy Jump," written in 1942. A fun tune with an unusual 36-bar form, "Gypsy Jump" seems to show a slight influence from the "Arabian Dance" from Tchaikovsky's Nutcracker, also arranged by Evans for Thornhill during this time. "Can't We Talk It Over," a gorgeous ballad from the Thornhill Orchestra's late 1940s repertoire, illustrates Evans' strong bebop influences as evidenced by a direct musical quote from a Charlie

Parker solo. It is a wonderful feature for the Gil Evans Project's resident vocalist, Wendy Gilles. Bruce Lundvall, Chairman Emeritus of Blue Note Records said, "Wendy has an amazing voice which is a perfect fit for this music."

Two charts on the record represent the middle of Evans' career; one of which he and his band never recorded, and only performed once. In the spring of 1959, Evans and his orchestra played the famous Apollo Theater in Harlem, sharing the billing with Dinah Washington and Thelonious Monk. For this concert, Evans chose to revisit a few charts from his past, including Cole Porter's "Just One of Those Things," which was based on the arrangement Evans did for his first album as a leader in 1957, Gil Evans + 10. Ever the reviser, Evans took the opportunity to do a bit of rearranging as well as re-orchestrating the chart to fit the instrumentation for the concert. The Gil Evans Project's first-time recording of this great Evans arrangement features incredible solos from Steve Wilson on soprano, trombonist Ryan Keberle, and pianist Frank Kimbrough. The other tune from this era is Evans' great adaptation of Bix Beiderbecke's "Davenport Blues," originally recorded on the 1959 album, Great Jazz Standards. "I was ecstatic when I discovered Gil's score to "Davenport," says Truesdell. "There were four pages in the middle of the score that were omitted from the original version. I'm thrilled we were able to record the entire chart as Gil first conceived it." Rather than imitating trumpet soloist Johnny Coles' definitive performance on Evans' Great Jazz Standards album, Truesdell decided to take a slightly different approach. The slower tempo and Lewis Nash's heavy, slightly dirty swing feel emphasizes the bluesy elements and perfectly articulates Gil's hard-swinging rhythms. "I was blown away by Mat Jodrell's performance; he poured every bit of his soul and personality into the solo and really made it his own," says Truesdell.

Rounding out LINES OF COLOR is a collection of tunes from Evans' output in the mid-1960s, including the Gil Evans Project's dynamic renderings of "Time of the Barracudas," and "Concorde," which both first appeared on the Individualism of Gil Evans recording. "Greensleeves," originally arranged for guitarist Kenny Burrell, receives a fresh take from trombonist Marshall Gilkes, whose unparalleled tone and inventive melodicism uplift this familiar tune and Gil's singular writing.

With LINES OF COLOR, Truesdell has solidified his reputation as one of the foremost Gil Evans scholars, while leading a band of industry giants in an historic and invaluable undertaking. Picking up where the Gil Evans Project's 2013 Grammy award-nominated album CENTENNIAL: Newly Discovered Works of Gil Evans left off, LINES OF COLOR is an exciting glimpse into how Truesdell and his critically acclaimed band are fulfilling the most crucial aspect of his vision: to bring Evans' music to new ears, and to extend his legacy into the 21st century.

  

UPCOMING GIL EVANS PROJECT PERFORMANCES:

Saturday, March 28, 2015

ROYAL CONSERVATORY-KOERNER HALL, Toronto, Ontario, Canada

Sunday, March 29, 2015

DRAKE UNIVERSITY-HARMON FINE ARTS CENTER, Des Moines, Iowa

Ryan Truesdell and the Gil Evans Project perform selections from LINES OF COLOR and CENTENNIAL, as well as other classic Gil Evans' arrangements.

Thursday, May 14 through Sunday, May 17, 2015

LINES OF COLOR CD RELEASE, Jazz Standard, New York City

Fourth-annual residency at Jazz Standard, debuting selections from the new CD, as well as other rarely performed works from Gil's catalog - including music from the albums New Bottle Old Wine, Great Jazz Standards, Individualism of Gil Evans, and more.

www.GilEvansProject.com

www.RyanTruesdell.com

NEW RELEASES: FREDDIE REDD – MUSIC FOR YOU; CHARLES MCPHERSON – THE JOURNEY; JACK WALRATH – UNSAFE AT ANY SPEED

FREDDIE REDD – MUSIC FOR YOU

A great set from this under-recorded piano legend – a relaxed, easygoing session that has Freddie Redd set up in trio formation with Jay Anderson on bass and Billy Drummond on drums! All tracks are nice and long, and played with this open, flowing touch by Freddie – really stretching out on familiar tunes, at a level that's more lyrical and warm than some of his earliest bop material – and which really has a personal, expressive quality – even in some of the more subtle moments. Anderson and Drummond are a good team for the set – tight and swinging, but respectful too – and titles include "I'll Remember April", "Perdido", "Lover Man", "There Will Never Be Another You", "All The Things You Are", and the original "Blues For You".  ~ Dusty Groove

CHARLES MCPHERSON – THE JOURNEY

More of a collaborative effort than a solo journey by altoist Charles McPherson – as the saxophone legend works here with Denver pianist Chip Stephens, on a recording that may well be one of Charles' freshest in years! McPherson's always been a player to keep our ears on – great at the start, then evolving over the decades into a constantly changing, constantly growing artist – especially in the right setting. And the group here is definitely that setting – a quintet that also includes Keith Oxman on tenor, whose instrument seems to unlock some of McPherson's most tenor-like phrasing – that deeper than usual style that Charles brings to his instrument at the best moments, with a wonderfully expressive, soulful feel. Tunes include a lot of originals by members of the group – and titles include "The Decathexis From Youth", "Elena", "Manhattan Nocturne", "The Journey", "Tami's Tune", and "Bud Like".  ~ Dusty Groove

JACK WALRATH – UNSAFE AT ANY SPEED

Jack Walrath just keeps on growing and growing as a musician – a hell of a trumpeter for the past few decades, but also a great writer too – with a fresh approach to a tune that really keeps things interesting! This set may well be one of Walrath's best in years – a soulful quintet outing that has some especially nice tenor from Abraham Burton, who brings some darker tones to the record – and has this way of sharpening Walrath's horn too – as the pair step out in the lead over some of Jack's inventive compositions, then stretch out individually in well-phrased solos. The rhythm trio keeps just the right for each individual track – sometimes sprightly, but never too playful – sometimes more laidback, and nicely mellow. George Burton plays piano, Boris Kozlov plays bass, and Donald Edwards is on drums – and titles include "End The Beguine", "Why Not", "Bobby Timmons", "Unsafe At Any Speed", and "Happiness Really Is A Warm Puppy". ~ Dusty Groove

NEW RELEASES: ARCHIE SHEPP & THE NEW YORK CONTEMPORARY FIVE; LENNIE DALE WITH BOSSA TRES – UM SHOW DE BOSSA; WANDA SA – WANDA SA AO VIVO

ARCHIE SHEPP & THE NEW YORK CONTEMPORARY FIVE

Incredible work from one of the greatest groups of the New York avant scene of the 60s – the legendary New York Contemporary Five, a combo that features Archie Shepp on tenor, John Tchicai on alto, Don Cherry on cornet, Don Moore on bass, and JC Moses on drums! This 1963 recording, originally done in Copenhagen, is one of the group's most lasting statements – a bold, bracing bit of jazz that seems to pick up energy from Ornette Coleman's dimming flame, prefacing Albert Ayler inferno to come, wrapped up with some of the sensitivity of Eric Dolphy in his final years – a record that rivals the best that any of those three players had to offer. Shepp's got an intensity that almost blows away his Impulse sides, and Tchicai has hardly ever sounded better – and even Cherry seems to be unlocking a whole new side of his spirit in the process of the recording! This set features titles that include "Mick", "The Funeral", "When Will The Blues Leave", "Crepescule With Nellie", "OC", and "Consequences", "Wo Wo", "Trio", and "Emotions". ~ Dusty Groove

LENNIE DALE WITH BOSSA TRES – UM SHOW DE BOSSA

A live bit of bossa vocals from Lennie Dale – recording here with some cooking accompaniment from the Bossa Tres trio! The format is very spontaneous and relaxed – similar to an American live jazz vocal date of the time, but with a bossa groove instead – one that's a perfectly showcase for Dale's lively vocals and strong sense of showmanship – singing here in both English and Portuguese! Luis Carlos Vinhas' piano playing sparkles throughout, and although recorded in a club, the set has all the crystal clarity you'd expect from the Elenco studio sides of the time. Many tunes are done in pot-pourri fashion – shifting easily between themes of a few different tunes – and titles include "No Dollar Bills", "Day In Day Out", "Old Devil Moon", "O Samba Da Minha Terra", "Improvisacao Bossa Tres", "Bim Bom", and "Samba Do Aviao".  ~ Dusty Groove

WANDA SA – WANDA SA AO VIVO

Some of the coolest, most compelling work we've heard in years from Wanda Sa – a very spare, stripped-down session that really gets back to the roots of her music from the 60s! Wanda Sa has been reviving her bossa sound for the past decade or more, but most of those recordings often have a decidedly modern feel in some of the instrumental and production choices – while this album really goes for a classic vibe all the way through, as Wanda sings beautifully without any extra trappings, and plays guitar with this sublime sense of tone and color to really illuminate the lyrics! The music has some extra backings, too – but really in a light, small combo bossa mode – save for some points when Sa is joined by Marcos Valle, Joao Donato, and Carlos Lyra – all of whom approach the project in a similar way. Titles include "O Que E Amar", "Novo Acorde", "Vagamente", "Ciume", "Pra Sempre", "Minha Saudade/Bim Bom", and "E Nada Mais". Also features bonus tracks with appearances from Jane Monheit and Dori Caymmi!  ~ Dusty Groove

Trombonist JOE FIEDLER Announces The Release of His New Trio Recording, I'M IN Featuring Rob Jost (bass) & Michael Sarin (drums)

From the opening notes of I'm In, trombonist, composer, bandleader Joe Fiedler, bassist Rob Jost and drummer Michael Sarin make it clear that this is going to be an adventurous, imaginative, funky and fun listen. Fiedler's new recording, the fourth from his trio, and the second album on his label, Multiphonics Music, presents a departure from his previous trio sessions, as Fiedler set out to play tunes with more traditional jazz forms, and that possessed more blues elements. With I'm In Fiedler has once again used his curious mind and explorer's heart to great advantage, finding brilliant new approaches on his horn, and new heights of mastery with his composer's pen.    

I'm In follows Fiedler's highly acclaimed trio recordings, Plays The Music of Albert Mangelsdorff, The Crab and Sacred Chrome Orb, so it is an album that has a lot to live up to; and it delivers brilliantly on many levels. The repertoire is as perfectly balanced as a culinary masterpiece, with just the right amount of Latin tunes ("Erstwhile", "In Walked Cleo" - written for his daughter), funky explorations ("Completely 'Peccable"), swing ("I'm In"), and more than a dash of free improvisation for good measure ("Moving In Silence"). 

I'm In also provided an opportunity for Fiedler to utilize, to great effect, several extended trombone techniques that he has mastered. He elaborated, "I wanted to return to my use of the plunger mute, which I really love, and to explore all of its textural properties with this trio, which is showcased on the first tune, 'Grip'. Another example is the melody to 'Erstwhile'; as I got deeper into it I thought it would be great to have the entire melody ride over a long drone. But instead of having the bass play the drone I chose to play it myself using circular breathing and having the bass play arco, doubling the sung/multiphonic melody, down an octave." Although an expert at using multiphonics, Fiedler still found ways to challenge himself on this recording. He commented, "for this album I wanted to return to some free improvisation that had been missing on some previous recordings of mine. On 'Moving In Silence' I incorporate some multiphonics to build the drama of the composition, and as it turned out what I wrote was the most challenging use of multiphonics that I have ever attempted." 

Other highlights on I'm In include "The New Denizens", a Fiedler composition that incorporates two of his loves in music, free playing and Latin. Fiedler said, " I wanted to try and capture the tongue-in-cheek, yet still serious vibe that predominated many groups in the early 90's downtown scene, like the Jazz Passengers. I've always dug that. But the structure was influenced by my love of the music of Carla Bley"; "The Box", which challenged Fiedler, and sent him to the shed for a spell. He commented, "The box is the name that I gave to my little writing/practicing studio at my house. I was thinking very pianistically when writing this tune. The trouble was that once it was done I had to figure out where to breathe when playing it on the trombone. In the studio Rob and Michael commented that the melody was like overlapping horn sections from a Latin band, but with all of the parts played by me! Needless to say, this one took some time in the shed to bring to life"; and "Tensegrity", a blues with a bridge, set up amazingly with a drum intro by drummer Michael Sarin, that wraps up I'm In in a thrilling way. 

More on Joe Fiedler: Few musicians possess the incredibly diverse and vast resume that trombonist/composer Joe Fiedler boasts. The perennially in-demand artist has worked with "everyone", from Wycleff Jean, Jennifer Lopez, to Celia Cruz, Ralph Irizarry, Eddie Palmieri, and from Andrew Hill, Lee Konitz, Maria Schneider, to Borah Bergman, Anthony Braxton and Cecil Taylor. He is also an active member of some of the most revered ensembles working today, including Fast 'n Bulbous - The Captain Beefheart Project, the Satoko Fujii Big Band, David Weiss and Endangered Species, the Jason Lindner Ensemble, The Mingus Band, the Ed Palermo Big Band, the Charles Tolliver Big Band and many others. Suffice it to say, it would be a challenge to meet a musician today that hasn't crossed paths on stage or in studio with Mr. Fiedler.

In addition to this bustle of activity that comes with being one of the first call trombonists in the world (his eclectic discography easily exceeds 100 recordings), Fiedler has been making his mark with a string of compelling recordings under his own name, including, Sackbut Stomp (on his own Multiphonics Music), Big Sackbut & Sacred Chrome Orb (both on the Yellow Sound Label), and Joe Fiedler Plays the Music of Albert Mangelsdorff and The Crab (both on Clean-Feed). Fiedler is also in the planning stages for a solo trombone project, and is a regular contributor to The Mingus Big Band. Fiedler's "day job" is Music Director: Arrangements (serving as arranger, orchestrator and trombonist) for Sesame Street. Over four seasons he has written more than 400 arrangements and crafted more than 4000 underscoring cues. 

www.JoeFiedler.com

NEW RELEASES: SAMMY DAVIS, JR. SWINGS & SAMMY AWARDS; LULU - MAKING LIFE RHYME; SANDRA WRIGHT - WOUNDED WOMAN

SAMMY DAVIS, JR. - SAMMY DAVIS, JR. SWINGS & SAMMY AWARDS

The world really discovered the exciting personality and talent of Sammy Davis, Jr. in the 1950s when his albums made the Top Ten and when the two albums on this CD twofer - 'Sammy Swings' and 'Sammy Awards' were released to critical acclaim. Born to show business parents, Sammy Davis, Jr. had been performing ever since he was a child but it was not till the 1950s when the world discovered his exciting personality and talent, when he achieved stardom on Broadway in 'Mr. Wonderful', and his albums made the Top Ten, and when the albums 'Sammy Swings' and 'Sammy Awards' were released. Both albums have been re-mastered and released in their entirety. Includes: Temptation, The Lady's in Love With You, Comes Love, Don't Get Around Much Anymore, That Old Black Magic, Oo-Shoo-Be-Doo-Be, Begin The Beguine, By Myself, The Gypsy in My Soul, Will You Still Be Mine, Don'cha Go 'Way Mad, Perdido, Blues in the Night, It's Magic, I've Heard That Song Before, Love Letters, Change Partners, For Every Man There's a Woman, The Man That Got Away, Lovely To Look At, Too Late Now, I Fall in Love Too Easily, Pennies From Heaven, and You'd Be So Nice to Come Home To. ~ Amazon

  

LULU - MAKING LIFE RHYME

“Making Life Rhyme” is Lulu’s first ever complete collection of self-penned songs and her first new album in over a decade. Recorded in London, the album is highly personal and confessional, featuring the tracks Faith in You, The Answer is Love, Hypnotised, Cry, Every Single Day, Poison Kiss, Angel, Messed Up World, Make Life Rhyme, Heaven Help, and Wayfaring Stranger. Luli is internationally identified, especially by North American audiences, with the song "To Sir With Love" from the film of the same name. 

SANDRA WRIGHT - WOUNDED WOMAN

Sandra Wright was an incredibly powerful Soul singer who was born in Memphis and later based in Nashville. She had joined a white R&B band Canned Souls in 1967 and recorded a few 45s before being signed. Wounded Woman is one of the greatest Deep Southern Soul albums of all time. It was recorded at Broadway Studios Muscle Shoals in 1974 produced by David Johnson. The album was licensed to Stax records Truth subsidiary label but only a couple of 45 were issued before Staxs demise. It was eventually released by Demon records in the UK in 1989 to critical acclaim. That issue is now extremely sought after by Soul fans and collectors, copies change hands for up to 200. The album contains 9 classic Soul cuts, including the bouncy title track, deep soul ballads of great intensity and three tracks that have been filling Modern Soul dancefloors for years Midnight Affair, I Come Running Back and A Man Cant Be A Man. Every track on this album is superb hence its popularity and demand. This album should have been as big as Shirley Browns Woman to Woman which was released on the Truth label in the same year, its that good. We are delighted to release this fantastic album on a limited edition vinyl LP for Record Store day 2015 ahead of its more general CD release, and enable a wider audience to own and enjoy it.

ada", "Monument", "Summer Nights", "My Favorite Band", "Serpent's Tooth", "Vales Ex Cathedra", and "Program". (One thing – note that the title track "Semiramida" has some technical issues – the recording quality ebbs and flows a bit, although the music is great.)  ~ Dusty Groove

 

NEW RELEASES: BLUEY - LIFE BETWEEN THE NOTES; THE NOTATIONS – STILL HERE 1967-1973; JERZY MILIAN – SEMIRAMIDA: TRIO IN CONCERT FROM 1966 TO 1969

BLUEY - LIFE BETWEEN THE NOTES

Having waited more than 30 years to record his debut solo album – 2013’s “Leap of Faith” – INCOGNITO’s driving force Jean-Paul ‘BLUEY’ Maunick enjoyed the experience so much that he returns with an impressive second solo set “Life Between The Notes” Bluey displays an assured vocal performance on a wide range of songs from the disco flavour of “Hold On” and the dancefloor-friendly title track (Says Bluey: “I quote my record collection…the songs that have fanned the flame of this long musical journey”) to the funky falsetto of “I’ve Got A Weakness For Your Love” and the jazzy “Saints and Sinners” and “Columbus Avenue”. The album shows a real development for Bluey, especially as he ventures into more jazz-leaning vocal material. He feels the album has “a jazz undertow that sweeps the whole thing along”. Of the album’s closing track “Sunships On The Shores Of Mars”, he calls it “the deepest adventure I’ve allowed myself to take into the world of jazz. It allows me to croon like I’ve never crooned before.” ~ Amazon

THE NOTATIONS – STILL HERE 1967-1973

From the dawn of doo-wop to the death of disco, the Notations saw-and sang-it all. Persisting through changing trends and technologies, on major labels and minor ones, produced by both Syl Johnson and Curtis Mayfield, nothing could stop the Notations from representing Chicago’s Southside for decades. The first overview of their indie label golden age, Still Here 1967-1973 finds the Notations at a musical crossroads, turning from simmering R&B ballads to socially-conscious soul. Offering up a platter of golden-dipped harmonies, inventive arrangements, and super-powered soul, the Notations survived as unheralded legends in their own time. Includes: A New Day; I’m Still Here; Trying My Best To Find Her; Just You And Me; This Time I’m For Real; What More Can I Say; I Can’t Stop; That Girl; At The Crossroads; Leading Lady; Now I Know How It Feels; Gonna Get Ready; I’ve Been Trying; and I Don’t Want To Be Late.

JERZY MILIAN – SEMIRAMIDA: TRIO IN CONCERT FROM 1966 TO 1969

Seminal sounds from one of the hippest vibists of the 60s – the great Jerzy Milian, who was easily Europe's answer to Bobby Hutcherson at the time! The material here comes from a few key performances by the Milian trio at the Jazz Jamboree festival in Poland – sort of the Eastern European version of Newport or Montreux – and the sound is very open and freewheeling, with this equal balance between the vibes, bass, and drums that show a lot of "new thing" tendencies in Jerzy's music at the time! Milian made plenty of great studio records over the years, but these live sides may well be some of his most revolutionary – a rare glimpse at a musician who should have had a much bigger impact globally at the time, had it not been for the politics of the Cold War. Titles include "Semiramida", "Ballada", "Monument", "Summer Nights", "My Favorite Band", "Serpent's Tooth", "Vales Ex Cathedra", and "Program". (One thing – note that the title track "Semiramida" has some technical issues – the recording quality ebbs and flows a bit, although the music is great.) ~ Dusty Groove

NEW RELEASES: TIM WARFIELD – SPHERICAL; LA BATTERIA; RAN BLAKE – COCKTAILS AT DUSK: A NOIR TRIBUTE TO CHRIS CONNOR

TIM WARFIELD – SPHERICAL

A tribute to the music of Thelonious Monk, but one that's got plenty of Tim Warfield's own spirit as well! Orrin Evans handles the piano here, and while he's certainly equipped to bring out the angularity of Monk's music, he's got his own way of approaching the tunes that are nicely fresh – that blocky, chunky style we love in Evans' playing – which seems to grab melody and rhythm together in a single handful, and cast out these bold sounds that really inspire the rest of the group. Warfield's right at home in the setting – stretching out especially well on tenor, but also playing soprano sax as well too – and the rest of the group includes excellent trumpet from Eddie Henderson, plus bass from Ben Wolfe and drums from Clarence Penn. Titles include "Blue Hawk", "Off Minor", "Ugly Beauty", "Oska T", "Coming On The Hudson", "Gallop's Gallop", and "That Old Man". ~ Dusty Groove

LA BATTERIA – LA BATTERIA

A contemporary combo, but one who hit the style of classic sound library funk right on the money – with a killer approach that makes the album bristle like a vintage set all the way through! And trust us on this – these guys aren't "retro" or going for some sort of easy 60s modes – and instead, they really find the best way to turn out the sort of small combo funk that you'd hear from one of the small Italian sound library labels of the 70s – from the sharp instrumentation, right down to the production – and especially the best sense of economy and focus when turning out a groove. The music is heavy on keyboards – Hammond, Fender Rhodes, clavinet, and more – but also isn't just one of these copycat keyboard affairs, like the flurry of 80s styled work on the market. We're darn hard to please, and naturally suspicious of material like this – to take our word that when we say it's great, it's plenty darn great! Titles include "Espresso", "Dilemma", "Manifesto", "Vice Versa", "Chimera", "Scenario", "Formula", and "Vigilante". ~ Dusty Groove

RAN BLAKE – COCKTAILS AT DUSK: A NOIR TRIBUTE TO CHRIS CONNOR

A really unique little album from pianist Ran Blake – and that's saying a lot, given that all of his music is pretty darn unique! The album features Blake at his warmest – serving up a tribute to the vocalist Chris Connor, but at a level that's mostly instrumental – as a good number of the tracks just feature Ran on solo piano – creating dark, moody shapes from the bare bones of songs that were a big part of Connor's famous 50s recordings for Bethlehem Records – really blue, melancholy numbers that sound completely different in Blake's hands, but which have the same sort of haunting feel as Chris' vocal versions. Laika Fatien sings on 3 of the album's 13 tracks – with a very mellow, almost icy style that we've never heard from her before – and 2 more tracks feature Ricky Ford on tenor, playing with an approach that's surprisingly well-suited to Ran's piano. Titles include "All About Ronnie", "Why Can't I", "Where Are You", "Moon Ride", "Driftwood", "Speak Low", and "Go Way From My Window". ~ Dusty Groove

NEW RELEASES: LES FRERES SMITH – FREE TO GO; JACK DEJOHNETTE – MADE IN CHICAGO; BAAST – DIMENSIONS

LES FRERES SMITH – FREE TO GO

This killer combo starts a fire right from the very first note on the set – then continues to burn strongly all the way through – with a vibe that's even sharper and tighter than their first set of Afro Funk a few years back! Les Freres Smith travel in familiar territory, but have a way of making their sound come out at a very personal, unique sort of level – one that's often rawer on the percussion tip than most other contemporary groups, and which layers the keyboards in with the horns, so that there's a sense of counterpoint that pushes both instruments away from their usual comfort zone! There's some slight psych touches on the production – but never in a way that gets away from the core funk of the combo – and the balance of the music is really hard to peg in words, but comes through right away with the very first listen. One of the freshest Afro Funk sets we've heard in years – with tracks that include "Supermandingue", "Liar", "Better Thing", "Djilan", "Koni", "Nia Mangolo", "AK 54", and "Crisis". ~ Dusty Groove

JACK DEJOHNETTE – MADE IN CHICAGO

A brilliant reunion of some key members of the AACM in Chicago – recorded at the Chicago Jazz Festival in a stunning performance that features drummer Jack DeJohnette in the lead, plus Muhal Richard Abrams on piano, Henry Threadgill on alto and flute, and Roscoe Mitchell on a variety of reeds! Bassist Larry Gray completes the group, and also plays a bit of cello – and the music has this wonderfully freewheeling, organic quality that really takes us back to the early years of the avant scene in Chicago – that very special sense of improvisation that the players forged back in the day – with an especially sonic-sensitive ear tuned towards the musicianship. The album is neither the usual ECM mode, nor even what we'd expect from DeJohnette – and instead takes us back to the earliest utterings from Chicago on labels like Delmark or Nessa. Titles include "Chant", "Jack 5", "Leave Don't Go Away", "Ten Minutes", and "Museum Of Time".  ~ Dusty Groove

BAAST – DIMENSIONS

A surprising new project from the same Cali underground assemblage that gave us some of the Heru Avenger records from years back – done in a style that's even more jazz-based and spiritual than before! All tracks are long and spiraling – with heavy bass at the bottom from Heru Avenger, plus trumpet, saxes, keyboards, and lots of percussion – and a bit of voice on two tracks. Titles include the side-long "Dimension Beyond" – plus "Ascend Rising", "Terra Earthen", and "Suspension Aloft".  ~ Dusty Groove

Guitarist MICHAEL VALENAU Blends Timeless Organ Trios with Compelling Blend of Love Songs, Groove Anthems and Short Acoustic Poems on HARD TO COOK

From Paul Bocuse to Julia Child, France has been known to spawn many of the world's culinary greats over the years. However, Parisian guitarist Michael Valeanu gives new meaning to the word gourmet with Hard To Cook, his sophomore effort as composer and bandleader. A wordplay on French expression Dur á Cuire, meaning tough cookie, Hard To Cook is meant to please the most demanding musical tastemakers. The ingredients of the feast come from everywhere: a pinch of folk, a sprinkle of impressionism, a generous spoonful of groove, and a minute knowledge of jazz guitar tradition. 

Following in the footsteps of Wes Montgomery and Jimmy Smith, John Scofield and Larry Goldings, and fed by the eclecticism of the New York scene, Valeanu chose the Hammond organ, guitar and drums trio to present the music on this record. Purists will admire the matchless mastery of this trio featuring Jake Sherman on organ and Jake Goldbas on drums, while curious music lovers will savor a compelling blend of love songs, groove anthems and short acoustic poems. 

Hard To Cook is a dream come true for Valeanu who learned jazz listening to Wes Montgomery records. "I fell in love with the Hammond, it has the sonic breath of a whole orchestra, and complements the guitar most beautifully." To realize his idea, Valeanu led a triumphant Kickstarter campaign that allowed him to have complete artistic independence.

Much like Valeanu himself, both members of his trio are also jacks-of-all-trades, masters of many, with groove as the common denominator. On the organ, Sherman's playing can resemble Ellington's sax section on the gripping "Blood Count,"  or the fiercest of bass players on "Norwegian Omelette." Goldbas is another force to be heard: with hard driving swing on "Firm Roots," irresistible groove on "Hard to Cook," and subtle percussion work on "Floating Island." 

The icing on the proverbial the cake is none other than France's freshest diva, vocalist Cyrille Aimée, for whom Valeanu plays guitar and collaborates. She is a featured vocalist and lyricist on the savory "20 Years," which manages to appear as a simple bucolic folk song despite its rhythmic complexity, and continues to dazzle with a virtuosic scat lesson on the odd metered "How Deep Is the Ocean." We also owe Aimée the blossoming of Valeanu as a producer, which gives Hard To Cook its unique flavor in contemporary jazz. 

The originals that Valeanu brings to the table are true to his eclecticism: a thoughtful introduction calling classical composer Leo Brouwer to mind, an exuberant groove of the title track, and the country scene conjured by Aimée's lyrics on the purely melodic "20 Years." Like the best of chefs, Valeanu aims to please, and with Hard To Cook, leaves listeners craving for more. 

Born in Paris, France in 1985, Valeanu began playing guitar when he was 14-years-old. While in Paris, he studied at the Nadia & Lili Boulanger Conservatory as well as at the Edim/National School of Music of Bourg-La-Reine.  During this time, Valeanu was affirming his spot in the local Parisian music scene as both a sideman and a studio musician. 

He moved to New York City in 2008 to attend the New School for Jazz and Contemporary Music in order to branch out into the jazz scene even further. Since moving to New York, Valeanu has played a myriad of clubs such as Smalls, Birdland, Jazz Standard, and Smoke, as well as various festivals throughout the United States. Since becoming a mainstay in the New York jazz scene, he released his debut album Tea Time in 2012. 

Michael Valeanu · Hard To Cook

Release Date: April 28, 2015

www.MichaelValeanu.com