Philadelphia's MINAS Combines Big Band Jazz and Brazilian Bossa Nova on SYMPHONY IN BOSSA

Philadelphia-based husband and wife duo Minas, comprised of guitarist, vocalist, and composer Orlando Haddad and pianist, vocalist, and composer Patricia King, have performed together over the past three decades in a variety of formats ranging from duo to ensemble to orchestra and big band. Haddad and King have combined their Brazilian and American roots to create a sound that merges north and south with big band jazz and Brazilian bossa nova - the result is an album 10 years in the making: Symphony in Bossa (available April 14 via Blueazul). This ambitious album serves as a monumental achievement for the Brazilian culture that they have dedicated their lives to preserving and spreading. The music includes fresh takes on old classics such as "The Girl from Ipanema," "Quiet Nights," "Triste," "Waters of March," and introduces three Minas originals, "Sinal Verde," "Amazonia," and "Only the Moon and the Stars."

Symphony in Bossa features more than 50 musicians, including The Jazz Orchestra of Philadelphia, conducted by trumpeter Terell Stafford. The album is augmented by a string section and many guest artists, including Brazilians Leonardo Lucini (bass), Adriano Santos (drums), Zé Maurício (percussion), and Philadelphia's own Larry McKenna (saxophone), John Swana (trumpet) and Tony Salicandro (flute). Orchestral arrangements were written by the late Philadelphia arranger and University of the Arts professor Bill Zaccagni (Bobby Ridell, Patti LaBelle), specifically for Minas.

In 2004, Haddad & King began a collaboration with Zaccagni to create a large-scale work written specially for Minas, incorporating original compositions with traditional Brazilian repertoire and enhanced by big band and strings. "It is our hope that Symphony in Bossa expands the unique marriage of American big band jazz and Brazilian bossa nova into new musical realms," states Haddad and King. The album is dedicated in memory of Zaccagni, who passed away in 2007, leaving Minas with the extraordinary gift of this music. "It represents some of his best writing," comments Haddad and King. "It is a reflection of his passion for Brazilian music and big band jazz, resulting in sophisticated, imaginative and lush musical pieces."

One of the tracks included on Symphony in Bossa is the timeless composition "The Girl From Ipanema." The Minas reissue commemorates the 50th anniversary of the song, as well as the album from which it stems - the quintessential Getz/Gilberto. The album and single won several Grammy® Awards including "Record of the Year" in 1965. Minas' version of "The Girl From Ipanema," while opening and closing with dreamy and ethereal instrumentals, maintains the essential elements of authentic bossa novas: Portuguese/English, male/female vocals, jazz/samba mix, nylon-string guitar/tenor saxophone vibe, cross stick/wood block beat. Nonetheless it is presented in a new arrangement in which exciting big band and lush strings interact with vocal melody lines and dialogue with the tenor saxophone solo, played by McKenna.

Based in Philadelphia for the last 30 years, Minas has had a consistent impact on the area's cultural life, not only performing and exposing audiences to the music and culture of Brazil, but making a difference in the area of education. Haddad and King formed Minas in 1978 at the

University of North Carolina School of the Arts. They proceeded to play all over the eastern United States before moving to Brazil, where they lived, entertained and traveled, absorbing the essence of Brazilian culture. In 1984 Orlando and Patricia returned to the United States and raised a family while performing and recording extensively.

Haddad has taught Brazilian Percussion and Jazz at the University of the Arts for over 10 years and has organized and taught Samba Percussion to Ph.D. students (Ethnomusicology) for several semesters at University of Pennsylvania. Minas' program Brazilian Adventure, on the roster of Musicopia, has been presented to over half a million students in public and independent schools. Minas has also presented master classes at many colleges in the U.S. including Brown University, University of Pennsylvania and Ohio State University to name a few.

Minas · Symphony In Bossa
Blueazul Records · Release Date: April 14, 2015
www.MinasMusic.com

Bassist & Vocalist & Mimi Jones Sets US & European Tours for 2015 / Plans to Record Follow-Up to Her 2014 Hot Tone Music CD "Balance"

For bassist/composer Mimi Jones, the release one year ago of her second CD Balance accomplished several goals. It tested her mettle as a businesswoman, as the CD was released on the Hot Tone Music label she'd founded in 2009. It highlighted her propensity for collaboration and support of other indie jazz musicians, particularly women, as Hot Tone Music simultaneously released Jones's album with new discs by saxophonist Camille Thurman and drummer Shirazette Tinnin. And it established Jones as a leader to watch, a protean instrumentalist, vocalist, and composer/arranger. 

"Satisfying on every level," Marc Myers wrote of Balance on JazzWax.com. "The bassist plays with enormous strength and enthusiasm but she also has a cohesive vision for how the music should sound. Each track is an important statement expressed with sensuality and chops. . . . She is Grammy-worthy." 

Since that time, native New Yorker Jones, who celebrates her 43rd birthday today, has been expanding her professional horizons -- all of them -- with her customary dynamism. She's been appearing in a series of sidewoman dates with the Tia Fuller Quartet, Toshi Reagon, and Luis Perdomo & Controlling Ear Unit (whose new CD, Twenty Two, will be released by Hot Tone Music 5/19).

Jones's work as a composer is being featured as part of the D.O.M.E. Experience, co-led by Jones and ArcoIris Sandoval and performed by artists including Steve Wilson, Jamie Baum, Bob Stewart, Tia Fuller, and many others.

She shared her DIY label experience with attendees at the JazzConnect conference earlier this year and will deliver a lecture on "The Business of Music" at the International Society of Bassists convention in Fort Collins, CO on 6/4. 

As a leader, she's been running a weekly residency and jam session, the Lab Session, at Bar Thalia/Symphony Space (Broadway and 95th Street) most Friday nights which includes Mimi's band as well as a rotating cast of first-rate vocalists, horn players, drummers, pianists, guitarists, tap dancers, rappers, and comics. Some regulars seen at the Jazz Party are Mark Shim, Miki Hayama, Marion Cowings, Rodney Green, Jonathan Barber, and Victor Gould, among others. And now she plans to take her Mimi Jones Band on the road to points east (New England, Europe) and west (Chicago, Michigan).

L. to. r.: Mimi Jones, Jonathan Barber, Miki Hayama, Mark Shim. 

"It's been a terribly long winter," says Jones, "but spring is here and I'm looking forward to all the wonderful things manifesting. It will be my first time performing as a leader around the country, whether it be at the annual iRock Jazz Festival in Michigan or the London Jazz Festival later this year. I am thrilled to be physically bringing this music to the people."

  

Jones is currently in the process of choosing music for her next Hot Tone Music CD, due for early 2016 release. 

Born in New York City and raised in the Bronx, Mimi Jones attended Fiorello LaGuardia High School and earned a B.A. in music at the Manhattan School of Music Conservatory. She missed her graduation, however, because she'd been hired to tour Japan with saxophonist Masa Wada and drummer Denis Charles. It was the first of numerous overseas tours that would take her to Africa, Europe, Asia, and the Americas, some under the auspices of the U.S. State Department. In addition to leading her own groups, Jones has worked with jazz artists including Kenny Barron, Joanne Brackeen, Terri Lyne Carrington (who chose Jones to play on her Grammy-winning The Mosaic Project), Ravi Coltrane, Lizz Wright, Lionel Hampton, Roy Hargrove, and many more. She has recorded two albums as leader: A New Day (2009) and Balance (2014). 

The Mimi Jones Band (trio/quartet):

Fridays at Bar Thalia/Symphony Space (2537 Broadway), NYC, The Lab Session, 8-11pm

5/7 Smoke, NYC / (Mark Shim, sax, wci; Miki Hayama, p; Clarence Penn, d)

5/29 Loews Hotel Jazz Series, Chicago /(Ryan Cohen, p; Marcus Evans, d)

5/30 iRock Jazz Festival, New Buffalo, MI / (Pharez Whitted, tpt; Ryan Cohen, p; Marcus Evans, d)

6/4 International Society of Bassists, Fort Collins, CO (solo lecture: The Business of Music)

6/11 Burlington (VT) Discover Jazz Festival

6/12 Riverwalk Cafe and Music Bar, Nashua, NH

6/13 The Side Door, Old Lyme, CT

6/16 Jazz Journalists Awards, Blue Note, NYC / (Mark Shim, sax, wci; Miki Hayama, p; Jonathan Barber, d; + Marvin Sewell, g, 6/16 only)

8/10 Bushnell Park, Hartford (CT) Monday Night Jazz / (Band TBD)

11/11-22 European Tour

The Brian Auger Freestyle Records Sampler EP - 4 track sampler pulls together rare and new material from his illustrious career

Brian Auger has always displayed a fiercely independent and single minded approach to his music - and after over 50 years of doing just that, has firmly secured his reputation as an award winning and much loved musical innovator, a jazz piano prodigy, a Swinging 60's London scenester, early jazz fusion protagonist, a 2014 Hammond Organ Hall of Fame Inductee, and recipient of a US Congressional Award For Services to Jazz!

This 4 track sampler pulls together rare and new material from Brian Auger's illustrious career included in the two forthcoming albums; Back To The Beginning - The Brian Auger Anthology and Live In Los Angeles - Brian Auger's Oblivion Express.

Git Up was originally on the 1977 Encore album which reunited Brian and his cohort Julie Driscoll from The Trinity days of the 1960's. A very funky Fender Rhodes piano riff backs Julie's amazing vocal, and then Brian brings in his trademark Hammond sound to stunning effect. This probably should have been released as a single back then, but wasnt - something Freestyle Records is happy to correct in 2015.

Freddie's Flight is an unusual track as Brian is joined by a full horn section - this is dance floor material, as the uptempo groove is infectious - taken from the 2005 self released album 'Looking In The Eye Of The World'.

The final 2 tracks are brand new, live versions of Oblivion Express classics - but taken from the forthcoming Live In Los Angeles' album which features the original Oblivion Express vocalist Alex Ligertwood. Happiness Is Just Around The Bend is a joyful, uplifting soulful funk track - and Inner City Blues, one of Brian's most loved cover versions - the Marvin Gaye composition simply sparkles here. Brian & Alex are a dream team - many years have passed since their first collaborations - but both their respective talents remain utterly undiminished.

The Debut Recording From Pianists & Composers FRANK CARLBERG & LEO GENOVESE: SHADOWS and REFLECTIONS

Brooklyn-based Red Piano Records has announced the release of Shadows and Reflections from pianists/composers Frank Carlberg and Leo Genovese. The recording sessions for this album came about in an atmosphere of friendship, common musical interests, and in anticipation of great fun. Carlberg (also a partner in Red Piano Records) commented, "I've known Leo for many years and have always admired his playing and attitude. Playing with him is very easy and always fun!" Genovese added, "Frank Carlberg is one of my favorite players and composers. I learned so much music when I had the chance many years ago to study with him at Berklee, and every time I hear him play I learn lots of music." 

Genovese and Carlberg are two artists who possess very open personalities that embrace everything around them. "The session was so fun and deep as we got a chance to play music from our hearts and to be able to reach higher spiritual ground through the act of listening and playing together," said Genovese. Carlberg added that, "Leo radiates positivity and helps make others reach further. This for me was very inspiring; and when the inspiration threatened to run out we had some claret libations from Mendoza and Patagonia to help steer us right back in to the playing. It is simply so much fun to play with Leo!" 

The duo entered into the studio with the notion to accept whatever was happening in the moment, and not impose an agenda or specific direction for the music. "We had not really even decided what instruments we were going to play but made impulsive decisions about that as the session unfolded," said Carlberg. The repertoire was dominated by their mutual interest and love of Monk. "Playing Monk together was like speaking about an old friend while still learning new things about him. A truly exhilarating experience! Both Leo and I seem to have maybe a somewhat cinematic bent to our music so I had also sketched out a few things for us to elaborate on that I suspected would take us on little journeys. Finally, there was the music of the Argentine songwriter Cuchi Leguizamón. Leo knows many of Cuchi's songs while I know only a couple so we decided to play Zamba Para La Viuda, a song that I learned through my association with the great Argentine singer Roxana Amed. Leo helped me see facets of this song that I could only have dreamed of before," said Carlberg. 

"Recording Shadows and Reflections was a truly delightful experience and I am grateful to Leo for sharing this music with me." - Frank Carlberg 

"I feel so happy and honored to be able to explore sound and textures with Frank in this setting of piano, electric piano and organs. The recording was a very magical night. With a little malbec friend, we became music and sound." - Leo Genovese 

Originally a native of Helsinki, Finland, Frank Carlberg has carved himself quite a niche in the New York City jazz community. As a leader, he has released almost twenty albums, and his groups include the Frank Carlberg Quintet (performing settings of a wide variety of texts including poetry), the Tivoli Trio (a classic jazz piano trio playing an eclectic mix of Carlberg's compositions drawn from cinematic and circus inspirations), and the Frank Carlberg Big Band (performing original compositions as well as arrangements and re-compositions of standards and folk materials), Monk Dreams, Hallucinations and Nightmares (a large ensemble project with the music of Monk as its central source both in terms of reinterpretations of Monk's music and inspiration for new original compositions), as well as recent collaborations with Argentine vocalist Roxana Amed, and the Dutch Clazz Ensemble. 

In addition to his own bands, the Brooklyn-based pianist has been involved in many crossover projects throughout the years, and some of his most notable collaborations have included performances and recordings with the likes of saxophonist Steve Lacy, trombonist Bob Brookmeyer and trumpeter Kenny Wheeler.  Carlberg has been commissioned to compose music for big bands, small ensembles, symphony orchestras as well as modern dance companies. In addition to his playing and composing activities the pianist also serves on the faculty at the New England Conservatory. He is also a member of the Douglass Street Music Collective and a partner in Red Piano Records, an artist run cooperative label in Brooklyn, NY.

Early on Carlberg came under the influence of jazz masters such as Paul Bley, Ran Blake, Geri Allen and Jimmy Giuffre.  The music and thinking of these musicians had a profound impact on Carlberg and set him on a path in search of a personal expression.

Leo Genovese was born in Argentina in the farmlands of Venado Tuerto, Argentina. His first encounters with music and freedom where in the Genovese family band, where the spectrum of sonic possibilities is as wide you want to imagine and without limits, if you wish. Leo was, and is, a student of music in history, ecology, politics and economics around the clock and around the world. Genovese went on to study at the Berklee College of Music where he learned from masters such as Hal Crook, Frank Carlberg and Danilo Perez. He has also had the opportunity to make some noise and go crazy with some amazing people on the scene today, such as Esperanza Spalding, Wayne Shorter, Jack DeJohnette, Milton Nascimento, Herbie Hancock and many others.

www.frankcarlberg.com

Pianist RAN BLAKE & Vocalist CHRISTINE CORREA release The Road Keeps Winding, the second volume in their ongoing tribute to Abbey Lincoln

Brooklyn-based Red Piano Records has announced the release of The Road Keeps Winding from pianist/composer Ran Blake and vocalist Christine Correa. This album represents the second volume in the duo's ongoing, respectful and creative tribute to the late, great Abbey Lincoln. In addition to paying tribute to Lincoln, The Road Keeps Winding is the latest yield from Blake and Correa's remarkable friendship and superlative musical collaboration that has thrived for more than three decades. 

Blake and Correa are a united force in paying tribute to Abbey Lincoln. Correa is able to capture the unique timbre of Abbey's voice, yet still retain her own uniqueness. Together, they capture the raw emotion ("Love Lament") and abundant confidence of Abbey's delivery, and the drama of her demonstrative vocalizations (most notable on "The River" and "In The Red"). Blake's pianism on "Throw It Away" (perhaps made even more poignant as Blake plays it solo, sans vocals), which has possibly become Abbey's best-known composition, is sublime, passionate and fierce, much like Abbey Lincoln herself. 

Abbey Lincoln holds a special place in the hearts and souls of these artists; a place where her music, her sound and her aesthetic, resonates resoundingly. Blake said, "The fact is that Abbey always spoke the truth, nothing but the truth, openly, unabashedly, honestly, unreservedly, and most importantly, with dignity and conviction. Abbey had raw anger ("Driva Man"/"Triptych"), immortal vision ("Down Here Below" - title track from Blake and Correa's first tribute to Lincoln, Down Here Below, also on Red Piano Records), passionate displays of the great American tragedy ("Retribution" and "In The Red"), and also addressed issues of memories lost and gained ("Throw It Away"). I listened to a lot of Abbey's music when I was a student at Bard College. I particularly liked the album Abbey is Blue, but was astounded when she and Max Roach brought out the Freedom Now Suite. Around late October 1960, Roach and his group were hired at The Jazz Gallery.  The group which included Julian Priester, Booker Little, and a man who eventually became my teacher, Mal Waldron, performed at the club for five or six weeks. The entire Freedom Suite was performed, as was the entire material from the Straight Ahead album.  Although Abbey didn't scat or improvise dramatically, there were nights when her lyrics were more pungent, others when they were more tragic.  Often I would leave the club at 3:30 or 4:00 AM to catch the IRT Broadway line back home, trying to recreate in my head much of the material I had heard earlier that evening. The last time Abbey and I met was in February 2006 at Scullers.  She came over to the table for a cognac, mentioning she had adopted a dog called Sako and had moved to Riverside Drive and then she publicly thanked me . . ."

Correa elaborated, "my first exposure to Abbey Lincoln was in 1979 through Ran Blake, almost as soon as I arrived in the U.S.  I had never before listened to anything as intense as the Freedom Now Suite and Straight Ahead recordings.  Abbey's delivery was passionate and expressive and she had a power all her own! Beginning with her association with Max Roach, her style and repertoire changed from a nightclub act ("The Heel"), featuring selections from the Great American Songbook to performing songs with a social context ("Freedom Now Suite", "Mendacity", "Straight Ahead"). Her later meditations on life and humanity showed yet another facet to this remarkable artist. Abbey's powerful voice had a lasting effect on me, and her music has continued to be a source of inspiration. It seems only fitting to record a second tribute album, as she was a presence, a great singer, musician, actress, poet and human being.  For me this project with Ran is a dream come true."

In a career that now spans five decades, pianist Ran Blake has created a unique niche in improvised music as an artist and educator. With a characteristic mix of spontaneous solos, modern classical tonalities, the great American blues and gospel traditions and themes from classic Film Noir, Blake's singular sound has earned him a dedicated following across the world. In the tradition of two of his idols, Ellington and Monk, Blake has incorporated and synthesized several otherwise divergent styles and influences into a single innovative and cohesive style of his own, ranking him among the geniuses of the genre. Ran Blake is a recipient of the MacArthur "Genius" grant. He was the founder and long-time chairperson of the Third Stream Department (currently called Contemporary Improvisation Department) at New England Conservatory in Boston, MA. 

Christine Correa has been involved in a variety of improvisational contexts and is currently teaching in The Louis Armstrong Jazz Performance Program at Columbia University. She has been widely recognized as a leading interpreter of the works of a range of modern American and European poets as set to music by some of today's most innovative jazz composers, such as Frank Carlberg, Nicholas Urie, Sam Sadigursky, and Steve Grover among others. Correa has also recorded and/or performed with artists such as Steve Lacy and John LaPorta and appeared at numerous festivals, concert halls and clubs in the US, Europe, the Middle East, Africa, South America and India. She is currently at the faculty in the jazz department at Columbia University in New York City.

www.christinecorrea.com

www.ranblake.com

10TH ANNUAL JAZZ IN THE GARDENS MUSIC FESTIVAL - SATURDAY, MARCH 21, 2015 CONCERT REVIEW

Jazz Chill attended the 10th Annual Jazz In The Gardens Music Festival on Saturday, March 21, in Miami Gardens, Florida.  A sold out crowd attended the festival on this beautiful sunny day at Sun Life Stadium. Day one of this two day event was headlined by Sheila E., Men of Soul featuring Jeffrey Osborne, Freddie Jackson, and Peabo Bryson, Toni Braxton, and R. Kelly. Two local acts, Karina Iglesias and John Erinosho opened the show. The master of ceremonies throughout the evening was comedian, D. L. Hughley.

Jazz Chill had the pleasure of interviewing Voice-alumni, Karina Iglesias. Miami-born of Honduran parents, Karina was selected to be a contestant on NBCs The Voice in 2013. Her epic performance of "It's a Man's World" turned into a YouTube sensation overnight and she eventually made it to the Top 16 on the Live Shows. Karina is currently appearing at local venues with her jazz quartet playing a mix of neo-soul and jazz music. Karina is no stranger to the music scene as her first album was released back in 2006. Her set included a jazzy version of Michael Jackson's "Off The Wall" as well as her latest single, "Only Love Can Save Us."

Next up was another local musician, Nigerian-born saxophonist, John Erinosho who is currently in the studio working on new music for release in late 2015.  John is a featured artist at the American Express Jazz lounge and is well respected in South Florida for his soulful style. John displayed his talent on three seductive tracks and left the stage leaving the audience begging for more of his musicianship. The last track that her performed is a current radio favorite by another artist (I wish I es song because it was really good). On it, he added a Nigerian beat which had the crowd up on their feet and grooving to his sax playing. 

Sheila E. is a world-class percussionist whose credits read like a who's who in a music history book: Marvin Gaye, Prince, Herbie Hancock, Diana Ross, Lionel Richie, George Duke, and many others. She is a Grammy-Award nominated singer and songwriter responsible for the seminal hits "The Glamorous Life" and "A Love Bizarre." Aside from constantly touring, Sheila E. this past year released her first new album in 13 years, the aptly titled "Icon."  She also added  the title of author to her list of accomplishments with the publication of her autobiography, "The Beat of My Own Drum" this past September. Her performance consisted of a couple of songs of the "Krush Groove" album, her hits, and many songs from "Icon," including one of my favorites off this album, "The Leader of the Band."

Jeffrey Osborne, Freddie Jackson, and Peabo Bryson have been touring the country as the Men of Soul. Balladeer Jeffrey Osborne's career has spanned several decades as he swayed the audience with such favorites as "On the Wings of Love," "Don't You Get So Mad," "Only Human," and the crowd favorite "The Woo Woo Song." Jeffrey told the crowd that the late George Duke had produced every one of his solo albums since leaving the group LTD, and that he vowed to pay tribute to George at every single show where he performs. Jeffrey also performed a George Duke song, entitled "Jam," which got the crowd standing and dancing.  He also performed some LTD classics such as "Holding On," "Back in Love Again", and of course the timeless "Love Ballad."

Freddy Jackson is considered to be one of the most popular R&B artists of the '80s and early '90s, effortlessly dominating the R&B charts with hit after hit.  Freddie has a total 11 number one hits to his credit, many of which he performed, including "Rock With Me," "Jam Tonight," "You are My Lady," and "I Don't Want to Lose Your Love."  Freddie was looking svelte after announcing that he had just recently lost 107 lbs.  

Oscar and Grammy award winner Peabo Bryson swooned the crowd with such favorites as the Quiet Storm stalwarts "Feel the Fire," "Reaching for the Sky," 'I'm So into You," and "Can't Stop the Rain,"  Peabo paid homage to his duet partner Roberta Flack with whom he performed the massive hit "Tonight I Celebrate My Love," which he performed with one of his back up singers.  

Although he is an official member of the Men of Soul, Howard Hewett was not on the bill this evening, however he was backstage and contributed to background vocals throughout the night. As a matter of fact, during D.L. Hughley's portion of the show, Hughley called on Howard to come join him on stage, and when he in fact did join him, Howard joked that this was the longest time he spent on a stage without getting paid. 

One of the most popular and highly recognized stand-up comedians,D.L. Hughley,kept the action moving along in between the performances. D.L. was most recently heard on the New York radio airwaves as host of the morning show on WRKS-FM.  Nowadays her serves as a weekly contributor to the nationally syndicated show, "The Tom Joyner Morning Show." D.L.'s 10-minute bit in after the Peabo Bryson performance was extended to about 40 before Toni Braxton took the stage.  At one point, Jay Anthony Brown (The Tom Joyner Morning Show) came onstage to entertain the crowd with is non-stop comedy bit.

The beautiful and talented Toni Braxton hit the stage with her distinctive sultry vocal blend of R&B, Pop, Jazz and Gospel.  With more than 40 million albums sold worldwide and six Grammy Awards to her credit, Braxton delighted the audience with an endless selection of classics. The audience totally enjoyed her performance as evidenced by how many people were actually singing along to the songs with her.Toni shared the story of when she was diagnosed with lupus which led her to lose her desire to continue her singing, and that it was the encouragement of her peers (Madonna, Lady Gaga, etc), who gave the drive to get back into the business. She also acknowledged Babyface who discovered her and produced many of her greatest hits.

Unfortunately Jazz Chill did not get a chance to see the R.Kelly performance.  In any event, it was a great show.  Kudos to all the performers and to the Jazz in the Gardens organizers. 

 

NEW RELEASES: MARLENA SHAW - MARLENA; BRAZILIKA: BRAZIL & BEYOND; MARCOS VALLE - '1985 / PREFIXO' (THEO PARRISH AND DAZ I KUE REMIXES)

MARLENA SHAW - MARLENA

A great lost treasure, and one of Marlena Shaw's most obscure albums – a really compelling batch of sophisticated vocal tracks with arrangements by Wade Marcus! The instrumentation is wonderful – with lots of soulful guitar and organ licks amidst the larger orchestrations, giving the set a down-home feeling in the right places, usually underneath some of Marlena's more intimate vocals – and the style is a great bridge from her Cadet sound of the 60s into the more sophisticated years of the 70s. Marlena sings a lot of soundtrack and easy material – including "Somewhere", "What Are You Doing For The Rest Of Your Life", "You Must Believe In Spring", and "So Far Away" – but she mixes these cuts with good doses of soul material – like "Save the Children", "Wipe Away the Evil", and "Runnin Out of Fools" – into a killer batch of tracks that stands with the best of some of Marlena's Cadet work! ~ Dusty Groove

BRAZILIKA: BRAZIL & BEYOND - 20TH YEAR ANNIVERSARY DOUBLE CD CELEBRATING THE BEST OF FAR OUT

Celebrating 20 years of Far Out Recordings, the Brazilika double CD featuring both Theo and Daz’s remixes amongst a host of other Far Out classics, exclusive remixes and unreleased rarities, will be available from May 2015. Far Out’s iconic Brazilika series encapsulates the absolute paramount of Brazilian music. Celebrating landmark years of Far Out Recordings, previous editions in the series have seen exceptional, globally celebrated compilations from Kenny Dope, Giles Peterson, 4hero and Andy Votel. To mark the label’s twentieth year, label boss Joe Davis has lovingly brought together his own retrospective of Far Out’s most stunningly immersive music, illuminating the virtuosity of this host of Brazilian brilliance. CD2 is a forward thinking, twenty-seven-track mix, featuring new, exclusive and unreleased material among timeless Far Out dance floor destroyers. The mix was compiled by Joe Davis and expertly mixed by DJ, producer and Brazilian music aficionado Spiritual South, a long-time Far Out friend.

MARCOS VALLE - '1985 / PREFIXO' (THEO PARRISH AND DAZ I KUE REMIXES)

A 12” single featuring two tracks by Marcos Valle - one of Brazil's most accomplished artists and composers - remixed by underground dance music pioneers and long-time label friends, Theo Parrish and Bloodfire (aka Daz I Kue). Both tracks are taken from the forthcoming Brazilka compilation: a 20th Year anniversary CD on Far Out Recordings.

NEW RELEASES: ANTONIO SANCHEZ & OTHERS - BIRDMAN (THE UNEXPECTED VIRTUE OF IGNORANCE); JOE LOVANO & DAVE DOUGLAS - SOUNDPRINTS: LIVE AT THE MONTEREY JAZZ FESTIVAL: ; DAVID TORN - ONLY SKY

ANTONIO SANCHEZ & OTHERS - BIRDMAN (THE UNEXPECTED VIRTUE OF IGNORANCE)

"Birdman" is the 2014 film by visionary Mexican filmmaker Alejandro Gonzalez Inarritu (Amores Perros, Babel, Biutiful....), and winner of the Academy Awards for Best Picture, Best Director, Best Original Screenplay and Best Cinematography. Part comedy, part tragedy, "Birdman" tells the story of a washed-up actor (Michael Keaton) who once played an iconic superhero. He must now overcome his ego and family trouble as he mounts a Broadway play in a bid to reclaim his past glory. This unique film features a drum score composed by acclaimed drummer Antonio Sanchez (player on the Pat Methany Unity Group). The soundtrack features a selection of classical music. Tracks include: Get Ready;  Dirty Walk;  Just Chatting; Waiting For What; Semi Comfortable In 3; Strut, Pt. 1; Doors and Distance; Night Chatter;  Almost Humanl; and Schizo (all by Antonio Sanchez); plus additional  tracks. ~ Amazon

JOE LOVANO & DAVE DOUGLAS - SOUNDPRINTS: LIVE AT THE MONTEREY JAZZ FESTIVAL

Saxophonist Joe Lovano and trumpeter Dave Douglas will release Live at Monterey Jazz Festival on April 7, the debut recording from their co-led quintet Sound Prints featuring pianist Lawrence Fields, bassist Linda Oh and drummer Joey Baron. The album was recorded live at the Monterey Jazz Festival on September 21, 2013. Sound Prints takes their primary inspiration from the music of their primary inspiration Wayne Shorter the band's name is a nod to his classic "Footprints" however the quintet s focus is on new original compositions by Lovano and Douglas, as well as two new Shorter compositions in direct collaboration with the composer himself. ~ Amazon

DAVID TORN - ONLY SKY

David Torn ever-intrepid guitarist, producer, improviser, film composer and soundscape artist returns with only sky, an album that explores the far sonic edges of what one man and a guitar can create, a solo recording of almost orchestral atmosphere. It is Torns first ECM release since 2007s acclaimed prezens, a full-band project, with Tim Berne, Craig Taborn and Tom Rainey, that Jazzwise described as a vibrating collage full of shimmering sonic shapes, a dark, urban electronic soundscape a potent mix of jazz, free-form rock and technology that is both demanding and rewarding. Many of those same descriptors apply to only sky, with its hovering ambient shadows and vaulting flashes of light, its channeling of deep country/blues memories and Burroughsian dreams of North Africa. Recorded in the acoustically apt hall of the Experimental Media and Performing Arts Center in upstate New York (and then added to and manipulated in Torns own mad-scientist lair), only sky is an album to get lost in, over and again. ~ Amazon

DONNA LEWIS DELIVERS AN INTOXICATING SET OF JAZZ-INFLECTED COVERS & ORIGINALS ON "BRAND NEW DAY"

The Welsh-born singer Donna Lewis is one of those rare artists whose immense success on the pop radio charts disguises an exceptional and serious musicianship and breadth of repertoire. Lewis' new album,Brand New Day, reveals the range of her artistry, and may surprise listeners who know her only for her pop hits 'I Love You Always Forever,' 'At The Beginning,' 'I Could Be The One' and 'Love Him.' Produced and arranged by Lewis longtime friend David Torn, the genre-busting composer and producer, Brand New Day is an intoxicating set of jazz-inflected covers and Lewis originals in which she is joined by the eminent progressive jazz musicians Ethan Iverson (piano), Reid Anderson (bass) and Dave King(drums). Palmetto releases the album March 10, 2015.

With her distinctive, breathy voice and unique phrasing, Lewis brings a fresh immediacy to the covers on Brand New Day, including David Bowie's infrequently heard 'Bring Me the Disco King,' Neil Young's 'Helpless,' Damien Rice's 'Amie,' and Chocolate Genius' 'My Mom,' among others.The album also features two new Lewis originals, 'Sleep'and 'Brand New Day,'as well as a powerful remake of 'I Love You Always Forever.'

For an artist used to the do-and-do-again perfectionism of pop music recording sessions, returning to the improvisational nature of jazz was an exciting prospect. It took nerve for Lewis to take on songs so deeply etched in the pop consciousness in such a stripped-down setting, but she recorded most of them in a single take. As a result, the record has live,organic, nearly ambient feel.

'I Love You Always Forever' was such a hit for Lewis that, for many listeners, it will always be the thing for which she is remembered. Atlantic Records Chairman Doug Morris had been so enamored withthe demo for that song that he flew Lewis to New York to meet him and perform her material, and offered her a deal on the spot. It became the first song ever to get a million spins on American radio and the third best-selling song in the history of Atlantic Records. The record also was an international sensation, topping charts all over the world. Lewis' second album for the label, Blue Planet (1998), spawned two hits: 'Love Him,' which topped the Billboard Dance charts, and 'I Could Be the One.'

She soon began to reveal other dimensions of her creativity. While on hiatus to start a family, she left her mark on such projects as The Art of Noise's The Seduction of Claude Debussy.She began her longtime collaboration with David Torn, a guitarist and studio wizard known for his film scores including Friday Night Lights, The Order and Lars and the Real Girl, as well as for his work with rock legends such as David Bowie and Jeff Beck. In 2001, five electronically textured songs Torn and Lewis wrote and recorded for the Chute project were among the most requested on Los Angeles' KCRW for three weeks running. She released the acoustic Be Still in 2002 and the high-energy In the Pink in 2008.

Still, the aptly titled Brand New Day is both a striking departure from anything she has done before, and the fullest realization of qualities that have always set her apart. As Time Out NY said before a recent NYC performance, 'If you really listened past the ear worm chorus and bubbly beat of Lewis's debut hits, you quickly sensed that she was no flash in the pan. The classically trained...Lewis had a breathy coo that could recall Kate Bush, and used it with a flexibility that few pop princesses could muster.'

~ Amazon

NEW RELEASES: BUENA VISTA SOCIAL CLUB - LOST AND FOUND; JEFF GOLUB - THE VAULT; JAMES LLOYD - HERE WE GO

BUENA VISTA SOCIAL CLUB - LOST AND FOUND

World Circuit Records is set to release Buena Vista Social Club’s Lost and Found on March 24, distributed in North America by Nonesuch Records. Coming almost two decades after the release of the original Grammy-winning, self-titled LP, the new album is a collection of previously unreleased tracks––some of which were recorded during the original album’s sessions in Havana and others from the years that followed.  The studio tracks on Lost and Found were recorded at the 1996 Egrem studio sessions in Havana and during a period of rich and prolific creativity stretching into the early 2000s following the recording of the original album. Lost and Found also features live recordings from the world tours of Buena Vista’s legendary veterans. “Over the years we were often asked what unreleased material was left in the vaults,” says World Circuit’s Nick Gold. “We knew of some gems, favorites amongst the musicians, but we were always too busy working on the next project to go back and see what else we had. When we eventually found the time, we were astonished at how much wonderful music there was.” ~ Amazon

JEFF GOLUB - THE VAULT

On New Year s Day 2015, the music world mourned the death of Jeff Golub. After suffering the loss of his eyesight 3 years earlier, Jeff was diagnosed with PSP, a rare brain disease which rapidly debilitated his entire body and ultimately robbed him of the ability to play guitar. Knowing that Jeff s playing days were over, three of his closest friends and musical collaborators, Steven Miller, Rick Braun and Bud Harner dug deep into the Golub vault and uncovered some rare gems - radically different versions of some of Jeff s early tunes along with 2 songs that were never released. From there, Jeff handpicked a number of musical friends to add to the recordings and give each song a modern twist and unique flavor. The Vault was completed just days before Jeff s death and provides a passionate and soulful overview of one of the music community s most beloved figures. The Vault has become an All Star Tribute to the genius that was Jeff Golub.  The guests represent the very top echelon of the Smooth Jazz music community. Included in the collection of unreleased music are such stars as: Dave Koz, Mindi Abair, Kirk Whalum, Rick Braun, Philippe Saisse, Boney James, Brian Culbertson, Jeff Lorber, Bill Evans, Gerald Albright, Peter White, Richard Elliot and Steve Ferrone. ~Amazon

JAMES LLOYD - HERE WE GO

Hitmaker James Lloyd of Pieces of a Dream has written, produced and played on more than 30 top 10 smooth jazz radio hits. As a founding member of the legendary Pieces of a Dream, James has been the heart and soul of that smooth urban jazz super group for more than 20 years. Renowned for his brilliant keyboard stylings and soulful compositions, James has produced #1 hits for the likes of Walter Beasley, Najee, Eric Darius, Gerald Albright, and of course, Pieces of a Dream. And now he is about to perform the same magic under his own name. The first single, the spirited Play It Forward, is already climbing up the smooth jazz charts, soon to be followed by a funky No Holds Barred, featuring the Grammy nominated saxophonist Gerald Albright. Other highlights include smooth jazz superstar and Grammy winner Najee on the soulful Movin Right Along, the sensuous ballad Granted Wish and much more. ~ Amazon

NEW ALBUM FROM EXTRAORDINARY PIANIST JOEY ALEXANDER

An extraordinary and uniquely gifted pianist from Bali, Joey Alexander marks his recording debut with the release of MY FAVORITE THINGS (April 14, 2015). Joey brings a delicate, profound and soulful touch to his own interpretation of such classics as “My Favorite Things”, “Giant Steps” and “Over the Rainbow” and showcases his talents as an arranger, composer and bandleader.

A native of Bali, Joey Alexander taught himself to play piano by listening to classic jazz albums his father shared with him. An amateur musician, Alexander’s father soon recognized his son’s gift for jazz, as his technique and ability to grasp complicated musical concepts was beyond someone of his years. Due to the lack of jazz education where he lived, Alexander began attending jam sessions with senior musicians. From there, his musical intuition flourished, as did his love of playing jazz. In recognition of his talent, UNESCO invited Alexander to play solo piano in honor of his jazz idol Herbie Hancock, who provided early enthusiastic support to Alexander’s budding career. Other significant influences are Thelonious Monk, Bill Evans and John Coltrane. Alexander has a special affinity for trumpet players including Clifford Brown, Lee Morgan, Miles Davis and Wynton Marsalis.

The world has taken notice of this phenomenal and exciting pianist with the astonishing technique and soulful sound. Alexander has been featured at festivals worldwide including Jakarta’s International Java Jazz Festival and the Copenhagen Jazz Festival. His brilliance as an improviser won him the Grand Prix in the 1st International Festival Contest of Jazz Improvisation in Odessa, Ukraine, in 2013, which included over 43 talented jazz professionals from 17 countries. He has performed for President Clinton and other luminaries at galas including the Arthur Ashe Gala, Jazz at Lincoln Center’s annual gala and A Great Night in Harlem at The Apollo, where he played in honor of Hancock and received a standing ovation. A performance at the University of the District of Columbia immediately blew up Facebook, attracting half a million views.

Global media have shared his story, most recently NBC News New York, which featured his concert with Juilliard students to raise money to allow him to stay in New York City. Fortunately the concert was successful and Alexander was granted the O-1 visa, the visa granted to people with “extraordinary ability.” He plans to stay in New York City to continue honing his jazz chops in the jazz capital of the world.

Alexander’s exclusive worldwide recording deal with the maverick, multi-Grammy-nominated Motéma Music label in New York City includes him in a notable stable of jazz piano stars such as Geri Allen, Monty Alexander and Marc Cary. Alexander’s label debut My Favorite Things features his working band of Sammy Miller, Russell Hall and Alphonso Horne and special guests Larry Grenadier and Ulysses Owens, Jr.  The recording is slated for release in spring of 2015 and is produced by Jason Olaine, a multi-Grammy Award winner.

~ Motema

MELODY GARDOT Returns With A Brand New Album, CURRENCY OF MAN

International best-selling singer, songwriter and musician, Melody Gardot, is back with her 4th studio album, Currency of Man.

The highly-anticipated Currency of Man is an intensely creative milestone, transcending musical distinctions of jazz, blues and R&B, to offer a stirring social and musical statement. On the new album, Melody joins forces again with Grammy Award-winning producer Larry Klein. This striking musical partnership saw their last collaboration, 2009's My One and Only Thrill, sell over 1.5 million copies, and produce songs that have become modern classics.

Currency of Man marks a substantial leap forward indeed, as we see Gardot take her gift for songwriting in a completely different direction to her last record, the critically acclaimed release The Absence.

As Melody explains: "Every album is a journey and this disc in some ways is a leap into the unknown. After spending time in LA, the songs all became about the people I'd meet: people who were experiencing life on the fringe…"

But her extraordinary voice, and underlying attitude, which exudes both strength and grace, is unmistakably Melody Gardot. The music world will be reminded instantly of the rare combination of natural talent and musical sophistication with which Melody effortlessly captures and holds her audience in the palm of her hand.

The singer adds, "We have a slamming horn section and these cinematic and somewhat existential arrangements. It's a body of work where Larry and I discover an electric side of the songs, something I've never done before.. It's all an exploration, but it feels good to have something new, and even a bit strange."

David Sanborn To Release New Album, Time and the River, Produced by Marcus Miller, Featuring Randy Crawford and Larry Braggs

After saxophonist David Sanborn recorded the well-received Quartette Humaine acoustic jazz album with pianist Bob James as a one-off for OKeh Records in 2013, the label continued the conversation with the renowned alto sax star who one reviewer labeled the "soul of the project." That exchange led to Sanborn - deemed the most influential crossover artist of his generation and the most commercially successful saxman since his 1975 Taking Off debut - to link up with his old collaborative friend, electric bassist Marcus Miller, to serve as producer in creating the superb jazz-meets-R&B recording Time and the River, the 25th album as a leader in his illustrious genre-crossing career. "I felt like I was in good hands," says Sanborn. "Marcus can cover all the bases--as arranger, composer, instrumentalist, producer-and since we have a lot of history together, working together was like shorthand."

The top-tier core band of the recording comprises Miller on bass; Roy Assaf on keyboards; Ricky Peterson on Hammond organ; Yotam Silberstein and Nicky Moroch on guitars; Peter Hess on horns and flute; Marcus Baylor on drums; and Javier Diaz on percussion. Other players include trombonist Tim Vaughn and trumpeter Justin Mullens, and Sanborn enlists two vocalists: Randy Crawford, who does a gorgeous read of the classic "Windmills on Your Mind," and former Tower of Power lead singer Larry Braggs, who delivers a soul-train take on the Temptations' 1969 No. 1 hit, "Can't Get Next to You."

  

With two Sanborn originals, two tunes by French singer/songwriter Alice Soyer (including "Oublie Moi," featuring Sanborn's graceful alto circles and swoops), one by Miller (the R&B cooker "Seven Days Seven Nights" that was originally slated for the Bob James project but reworked for this album), the cover of the hot funk D'Angelo number "Spanish Joint" (from 2000's Voodoo) and David Amram's "Overture" from the film The Manchurian Candidate, Time and the River stretches out with a variety of styles and soundscapes. "The biggest thing was that both Marcus and I were trying to push out of the comfort zone," Sanborn says. "I don't want to settle into complacency, to just sit back and enjoy the view. I want to keep pushing. I want to keep going down a new path to see where it leads." 

Indeed on Time and the River, Sanborn - a six-time Grammy® Award-winner with eight gold albums and one platinum - takes his expressive lyricism and singular ecstatic alto blowing to a new plateau, creating colors and textures through mesmerizing dreamscapes, R&B grooves, balladic beauty, deep funky soul and jazz-steeped improvisations. Undergirding most of the songs on the nine-tune collection is a percussive spice thanks to Diaz's laid-back polyrhythmic contribution. It's the first time the leader has used a percussionist since the death of his go-to percussionist Don Alias in 2006. "I decided to retire his chair," Sanborn says. "He was a hard act to follow. But Javier has that organic quality. Like Don, he pulls the sound out of the drums instead of hitting them." 

Another important factor that's noteworthy on Time and the River is how Sanborn plays throughout the tunes as an integral voice in the band when he's not in a solo spotlight. "Normally I don't like to wear out my welcome," he says. "I'm usually the first to sit out. But the way this record is structured we're not playing a lot of solos after a head. My role is feeling like a part of the band, part of the rhythm section. I'm playing a lot of notes, but I'm laying back, weaving myself through the fabric of the tunes and interacting with the song."

Case in point: the joy-and-elevation leadoff tune, Soyer's "A La Verticale," which, Sanborn says, with its melodic legato serves as a "mission statement" for the album. "There's a contrapuntal reality with the piano and percussion setting the music up, then little guitar fills, little bass fills and me with my little fills," he says. "Everyone was interacting with one another all the time. I encouraged everybody to do that. It was like when I was growing up and listening to music, and whether it was pop or jazz, there was a lot going on at the same time - layers of rhythms and instrumentation. It was like Earth Wind & Fire, which made you stand up. That's what I was going for here." 

The vocal tunes have their reference points. The cool and sweet-grooved "Windmills of Your Mind" may have been featured in the 1968 and the 1999 remake of the film The Thomas Crown Affair, but for this session, the rendition came from the Dusty Springfield songbook. Likewise, for "Can't Get Next to You," this new version owes more to the Al Green interpretation than to the Temptations. An additional voice comes from Sanborn himself, who says, "I think of myself as a singer on the alto, especially on this record. With all the textures going on, I'm able to rise up and play over the top like a vocalist." 

Sanborn's originals include the Rhodes and Hammond B3-shaded "Ordinary People," a popish tune that arrived intact while playing the piano, and "Drift," inspired by D'Angelo. "I'm a huge fan of his music," Sanborn says. "I was trying to recreate a vibe for him. I wanted a sleepy, thick cushiony atmospheric sound. We did the thematic and chord changes on the sax and piano, then overlaid synth pads and Marcus overdubbed. It was demoed and recorded in my home studio."

Time and the River closes in a reflective and even mystical space with a duet between Sanborn and Assaf on piano on the moody "Overture," which is built on a melancholic 14-note theme. "I've always been haunted by that tune," Sanborn says. "It goes to so many interesting places. Part of it feels modal-like, part of it feels like church. I loved The Manchurian Candidate and I loved David Amram's writing. I've tried to record this for years, so I decided to just do it with the alto and piano. This is one of those moments that's a gift."

As for the title of Sanborn's remarkable new album, Time and the River holds special significance. "The river is really for a mundane reason," he says with a laugh. "For many years, my wife and I lived in a Manhattan brownstone on 69th Street between Columbus and Broadway, with my studio upstairs and guys like Pat Metheny around the corner and Jazz at Lincoln Center so close by. But we sold it and moved upstate to Tarrytown, which is still close enough to get into New York for the juice of the city. But our house overlooks the Hudson River, which is one of the U.S.'s great rivers. So I see it flowing everyday. The river is moving and so is time."

Incidentally, the symbol for river in Japanese is three vertical lines, as represented on the album cover, and is pronounced "sanbon." "When I play in Japan, I always hold three fingers up when I come onstage," Sanborn says. "And everyone knows what I mean."

As for what's beyond Time and the River, Sanborn beams. "As artists we keep pushing because this is what we do," he says. "I want to learn something new everyday, whether it's listening to the outtakes from Charlie Parker With Strings to Michael Brecker to D'Angelo. What a great thing music is. It's the key to spirituality. It humbles you. It's so vast, so great. You can never master it and never get to the end. You just keep working to find those transcendent moments - all the stages along the way of the journey. As a kid, I knew I had to be around music."

David Sanborn · Time and the River

OKeh  ·  Release Date: April 7, 2015

www.DavidSanborn.com

DANIELLE NICOLE makes her Concord Records solo debut with New Orleans-flavored blues-soul based EP

Singer, bassist and songwriter Danielle Nicole oozes groove. There’s so much funky, bluesy soul coming out of her, you wonder if her heart beats in syncopated time. The Kansas City-raised daughter of musicians already had a solid blues foundation with Trampled Under Foot, but she found that groove — or new variations of it — in New Orleans, where she worked with GRAMMY®-winning producer-guitarist Anders Osborne and Stanton Moore of Galactic. 

It wasn’t until she was 12 that Danielle took to the stage for the first time singing, Koko Taylor’s “Never Trust a Man” at a Blues for Schools program that her parents were playing at Englewood Elementary. From then on, she knew music would be her passion for the rest of her life.

Danielle began singing in coffeehouses and at open mic events at age 14, jamming with her parents whenever she could at clubs that would allow minors. At 16, she began singing lead in her father’s band, Little Eva and the Works – until he became too sick to play. In March of 1999, she started her own band, Fresh Brew, with Kansas City music veterans Steve Gronemeyer, Steve Hicks, Chuck Payne and Terry Roney. They performed for four years and even represented Kansas City in the International Blues Challenge.

It was during this time that Danielle and her brothers Nick and Kris began talking about a family band that would eventually become Trampled Under Foot. Not only did she and Kris have to move to Philadelphia (where Nick was living), but she would have to learn the bass guitar to keep it a family band. It took a few years of lessons and saving money before that could become reality.

After several acclaimed self-released albums, Trampled Under Foot released Badlands on July 9, 2013 on Telarc, a division of Concord Music Group. Toughened by years of nonstop roadwork, Badlands revealed a musical sophistication well beyond the band’s years.

On Badlands, the band worked with veteran producer Tony Braunagel at his Ultratone Studios in California. The drummer in the Phantom Blues Band, Braunagel played some percussion on the album and recruited veteran keyboardist Mike Finnigan (Jimi Hendrix, Bonnie Raitt, Etta James) to play keys. Johnny Lee Schell, who also recorded the album, added acoustic guitar to one track and John Porter mixed the final results at Independent Street Studios in New Orleans.

Badlands debuted at #1 on Billboard’s Blues Chart and Trampled Under Foot performed live throughout the United States and Europe in support of the album.

As Trampled Under Foot wound down after 13 years, Danielle formed her own band and now makes her Concord Records solo debut with the March 10, 2015 release of a New Orleans-flavored, blues-soul based EP, featuring GRAMMY®-winning producer-guitarist Anders Osborne, Galactic’s co-founding drummer Stanton Moore and her regular keyboardist Mike “Shinetop, Jr.” Sedovic.

The self-titled EP is an introduction to Danielle as a formidable solo artist. A full length album is currently scheduled for release in late summer 2015, featuring more music created in New Orleans with Osborne, Moore and Sedovic.