NEW RELEASES: DJAVAN – OBRA COMPLETA DE 1976 A 2000 (21-CD SET; RODRIGO LAMA - SAGA; JIMMY RILEY – LIVE IT TO KNOW IT

DJAVAN – OBRA COMPLETA DE 1976 A 2000 (21-CD SET)

An incredible run of music from Djavan – one of Brazil's best singer/songwriters of the past few decades – represented here by a massive box set of 20 different albums! The package brings together all of Djavan's wonderful records – each with original artwork – truly some of the most influential MPB of its time, and some of the few Brazilian albums to really make a big impact on the international scene – some real classics, mixed with overlooked gems that didn't get as much circulation – standing together as a really rich body of music! The box features almost 1000 minutes of music, 2 discs of rare material, a 200 page book that has rare photos and lyrics – and remastering for all the records! Albums include A Voz O Violao A Musica De Djavan, Djavan, Alumbramento, Seduzir, Luz, Lilas, Meu Lado, Nao E Azul Mas E Mar, Oceano, Coisa De Acender, Novena, Malasia, Bicho Solto O XIII, Djavan Ao Vivo, Milagreiro, Vaidade, Matizes, Aria, Raridas, and Espanhol E Ingles.  ~ Dusty Groove

RODRIGO LAMA - SAGA

A great debut from Rodrigo Lima – a double-length set that has the guitarist working in modes that range from Brazilian roots to samba jazz, with lots of stops in between! Lima plays acoustic throughout, and with a deftness that rivals some of his Brazilian predecessors – and that includes some of the best bossa and choro talents as well – and the range of settings in the album is varied, but extremely unified too – thanks to a coherent sense of production and presentation that really holds our interest throughout. Rodrigo invited a surprising range of legends to work with him on the album – including Hubert Laws on flute, Hugo Fattoroso on keyboards, Raul De Souza on trombone, Anat Cohen on tenor and clarinet, Mike Mainieri on vibes, and the great Hermeto Pascoal on piano – and songs range from shorter melodies to these lovely long introspections. Titles include "Porta Aflora", "Vida Nova", "Pilotos", "Opa", "Anima 2", "Cancao Praieira", "A Velha Sozinha", and "Nosso Borogodo Coio".  ~Dusty Groove

JIMMY RILEY – LIVE IT TO KNOW IT: SELF PRODUCTIONS, PROTEST SONGS & DUB PLATES 1975 TO 1985

Rare work from Jimmy Riley – a 70s singer who never fully got his due, but who rubbed shoulders with all the best on the Kingston scene, and made some mighty great music in the process! Jimmy's the father of Taurus Riley – the contemporary vocalist – but may well be a more expressive talent in his own right, as you'll hear in these powerful tracks from the late 70s, which include a number of great protest and political numbers, set to slow-stepping, head-nodding rhythms. A few cuts here are offered up in both original takes and versions, and most are pretty darn obscure, but pulled together with the always-great Pressure Sounds level of care and class. Titles include "Gunman Of JA", "From The Ghetto", "Westcoast", "Five Thanks & Praise", "Tell The Youths The Truth", "Majority Rule", "Bridge The Gap", "Poor Immigrant", and "Everyone Needs Money". ~ Dusty Groove

 

DEFINITIVE LITTLE RICHARD 3-CD BOX SET, SPANNING SPECIALTY AND VEE-JAY YEARS, COMING FROM SPECIALTY RECORDS

In the early ’50s, Little Richard Penniman combined the spirit of church music, the barroom-hewn raunch of blues and the swing of New Orleans jazz and turned it into something altogether new — rock ’n’ roll.  When the Macon, Ga. native signed to Art Rupe’s Specialty Records in Los Angeles, he was in turn dispatched to New Orleans to record at Cosimo’s legendary studio. Over the course of several sessions, the Little Richard sound began to develop around hits like “Tutti Frutti,” “Good Golly Miss Molly,” “Long Tall Sally” and “Lucille,” to name a few.

On June 2, 2015, Specialty Records — now a unit of Concord Music Group — will release Directly From My Heart: The Best of the Specialty & Vee-Jay Years, an all-new three-CD box set containing 64 songs that chronicle Richard’s Specialty and Vee-Jay years — 1956 to 1965. The collection contains Richard’s classics as well as B-sides and rarities. Also included is a 30-plus page illustrated booklet featuring a handful of rare photos plus new liner notes by singer/songwriter/music historian Billy Vera.

Many artists begin their career on small labels and work their way up to the majors. Conversely, Richard began his recording career at RCA Victor, brought to the label’s attention by an Atlanta DJ. There he released four singles, no hits among them. Next he signed to Don Robey’s Houston-based Duke/Peacock Records, initially as part of the Tempo Toppers band and later as a solo. The solo sides remained unreleased until Richard struck gold at his next destination, Specialty Records. 

It was at New Orleans’ legendary J&M Music Shop that Richard chanced upon Specialty’s New Orleans A&R rep, Bumps Blackwell, who brought him to the attention of Rupe in Los Angeles. On September 14, 1955, Richard, Blackwell, and New Orleans’ R&B “A team” of session players (Lee Allen and Red Tyler, saxophones; Huey Smith, piano; Justin Adams, guitar; Frank Fields, bass and Earl Palmer, drums) went into Cosimo Matassa’s studio on Rampart Street. Sadly, despite the roomful of talent, the session was, as Vera describes “an exercise in commonplace.”

An unexpected bout of magic would shortly ensue. As Vera writes, “During a lunch break at the Dew Drop Inn, Richard hopped up on the piano and began shouting out a ribald tune he always performed, usually in drag, for those college boys, ‘Tutti Frutti, Good Bootie.’  Blackwell’s eyes lit up, for the first time hearing something special in the entertainer. Spotting local songwriter Dorothy LaBostrie across the room at another table, he asked if she could clean up the naughty lyric for public consumption. She did so back at Cosimo’s and, ‘Wop bop-a-loom-bop alop bam boom,’ a hit and a career were born.”

Over the next two years, Little Richard went on to place fourteen songs in the Rhythm & Blues top ten.  These include his iconic performances of “Lucille,” “Jenny Jenny,” “Keep a Knockin’” and “Good Golly Miss Molly.”  The astonishing fact is, all these classics were recorded within a mere 18-month period.

Richard continued with Specialty until 1964, when he was brought to the attention of Chicagoans Vivian Carter and Jim Bracken — whose first initials formed the name of Vee-Jay Records. Having freshly lost both the Beatles and the Four Seasons, and having lost control of the company in a move to the West Coast, the label was on its final legs. It didn’t help that in the studio Richard used his road band, the Upsetters, who were not quite studio quality at a time the Wrecking Crew was setting the standard. On top of that, the Beatles had broken big, and a fellow flamboyant Georgia native named James Brown had broken onto the R&B scene with a brand new bag. With a young Jimi Hendrix on guitar, Richard recorded a Don Covay tune (Covay had once been employed by Richard as his chauffer and opening act), “I Don’t Know What You’ve Got But It’s Got Me,” which reached #12 on the R&B chart. The song was done in James Brown’s style and briefly brought Richard back. However, music had changed, and the R&B sounds of the day were now emanating from Stax and Motown.

Little Richard continued to make records for South Los Angeles’ Modern Records, CBS R&B subsidiary OKeh, Brunswick, and briefly, Specialty again (in 1971), before signing to Reprise, where his “Freedom Blues” cracked the Top 50 pop and Top 30 R&B. His peak recording years behind him, Richard remained on the scene into the ’80s and early ’90s as a colorful personality.

Vera elaborates: “Changing his look, wearing an outlandish wig, outrageous outfits and letting his large personality come out, he became a sought after guest on talk shows, like Johnny Carson, Dick Cavett and Mike Douglas, taking over every conversation and talking over even the hosts. Couch potato America loved it and high paying concerts followed.”

In recent years, the Rock ’n’ Roll Hall of Fame inductee and Hollywood Walk of Fame star recipient has stayed closer to the homefront. But the three-CD set Directly From My Heart: The Best of the Specialty & Vee-Jay Years is a reminder of the time, place and circumstance that helped define rock ’n’ roll.

NEW RELEASES: STEVE JOHNS - FAMILY; CAROL SABOYA / ANTONIO ADOLFO / HENDRICK MEURKENS – COPA VILLAGE; ATOMIC – LUCIDITY

STEVE JOHNS - FAMILY

After three decades as a key contributor to groups led by some of jazz's greatest luminaries, Steve Johns has at last made his first recording as a leader.  In an era when it seems that every aspiring young jazz player whether ready or not, feels the need to come out with his or her own recording, for someone of Steve's abilities and experience to wait so long is almost unheard of.  Steve John's recording debut as a leader is an auspicious one and well worth the wait.  And while he'll undoubtedly continue to enhance the work of others, we hope he'll step into the spotlight more often to showcase hos own unique talents as player and composer.  "Steve Johns is a master drummer and bandleader.  His bass playing son Daryl Johns and saxophonist wife Debbie are amazing.  Steller debut and Steve proves, drummers are musicians, and pretty good producers too.  Great musical family." ~ Lenny White.  Includes: Sleepwalk, So You Say, Shadowboxing, Bogie and Bacall, Came to Believe, Mixing, DXJ, Shjell Game, and Chunk. Dave Styker and Bob DeVos appear on the CD as well.

CAROL SABOYA / ANTONIO ADOLFO / HENDRICK MEURKENS – COPA VILLAGE

In the late 50 and early 60s, Rio de Janeiro’s famous Copacabana sector was as important a musical breeding ground as New York’s 52^nd Street during the Bebop era.  Here Brazil’s finest and most innovative musicians gathered to share ideas, explore new concepts and eventually create a sensational new genre known as Bossa Nova.  Fans of them music could travel from club to club every night to feast upon this exciting new music.  During these same years, jazz fans in New York’s Greenwich village could partake nightly in the new developments in jazz in the plentiful clubs on that scene.  The similarities between these two legendary musical meccas provide the concept behind AAM Music’s Copa Village – a brilliant collaboration by vocalist Carol Saboya, composer, arranger, and pianist Antonio Adolfo and composer, harmonica master, and vibraphonist Hendrik Muerkens. The reunion of the three artists with other great Brazilian musicians demonstrates clearly the organic and timeless blend of Jazz and Bossa Nova continuing in it sumptuous evolution with some new harmonic and rhythmic concepts.  Includes: The Girl From Ipanema, Copa Village, Show De Boia, O Boto, Come Se Fosse, Agua De Beber, Pois, Pretty World, Two Kites, Nosso Mundo, and Visao.

ATOMIC – LUCIDITY

The title's a great one, as the album may well be the clearest musical vision we've heard from Atomic so far – a wonderful record that has the group at a level that's slightly more tuneful and straightforward, but all without losing any of their previous edge! There's still some key free moments here, but they're also mixed in with some tighter, more structured songs that really show off the jazz chops of the whole group – the quintet that includes Magnus Broo on trumpet, Frederik Ljungkvist on tenor and b flat clarinet, Havard Wiik on piano, Ingebriget Haker Flaten on bass, and Hans Hulboekmo on drums. Wiik and Ljungkvist wrote all of the songs on the album, separately – and between them, they've got a balanced musical vision that really shapes the entire record. Titles include "A New Junction", "Laterna Interfruit", "Start/Stop", "Major", "December", and "A MacGuffin's Tale". ~ Dusty Groove

AARON DIEHL Returns to Connect Generations of Jazz on SPACE TIME CONTINUUM

Widely acknowledged as a modern master in the aftermath of his acclaimed 2012 Mack Avenue debut, The Bespoke Man's Narrative, 29-year-old pianist/composer Aaron Diehl ups the ante with the 2015 release: Space Time Continuum. 

Diehl first documented his inclusive, across-the-timeline conception on the self-released late ʼ00s albums Live At Caramoor, a solo date on which he navigated the stride piano canon with deep assurance, and Live At the Players, on which he applied a broad lexicon of piano trio vocabulary to a program spanning classical music, bebop and the blues. On The Bespoke Man's Narrative, Diehl presented original music drawing on antecedent bandleader/composers like John Lewis and Duke Ellington for strategies that facilitated individualistic performances from his unit of A-list peers. 

On Space Time Continuum, an eight-piece program, Diehl assembles a pan-generational ensemble of masters. Joining his core trio of bassist David Wong and drummer Quincy Davis, in different configurations, are the iconic tenor saxophonist-composer Benny Golson and the magisterial baritone saxophonist Joe Temperley, both 85 years young; the 39-year-old underground tenor saxophone giant Stephen Riley; and the rising star trumpeter Bruce Harris. 

It's important to use both contemporaries and elders as sources of inspiration," Diehl says. He is particularly pleased at "the opportunity to play and improvise with living legends" Golson and Temperley. Diehl met Golson in 2009, when Juilliard School of Music--Diehl's alma mater--commissioned the veteran to compose a work entitled "Above and Beyond" in celebration of the school's centennial. Two years later, they performed together at the Lincoln Theater in Columbus, Ohio, Diehl's hometown. 

"Mr. Golson has been inspirational beyond the legacy of music he's created," Diehl states. "Carpe diem while he and Joe Temperley are still around." 

The leader pairs off Golson and Harris on "Organic Consequence," a discursive, multi-sectional work for quintet, and "Space Time Continuum," Diehl's notes-and-tones response to a lyric by vocalist (and Mack Avenue artist) Cécile McLorin Salvant, with whom he works extensively as pianist and musical director.

"I gave Mr. Golson a solo section with a specific set of chord changes," Diehl says of the former piece. "In rehearsal, he wasn't fond of playing the progression and offered constructive criticism that led to our finding an alternative harmonic movement that suited his needs. He taught me the importance of leaning towards people's strengths, and it was beautiful to see Bruce fit in perfectly in playing directly alongside him." 

The magnificent singer Charenee Wade adds a third voice to the dialogue on the title track, challenging in its form and harmonic movement, on which Diehl "pieces together isolated sections with drum breaks." He continues: "I thought it would be fascinating to see how Charenee would interpret a tune by two artists with whom she's worked and is familiar." 

Temperley's feature, "The Steadfast Titan," is a Billy Strayhorn-esque ballad with a memorable melody that suits the baritone sax legend's tonal personality like a custom suit. "I wanted to capture his huge sound, and celebrate his longevity in music," Diehl says. "He's the kind of person I admire-doing one thing for so many years and having such belief in it. I hope to do that with the piano." 

Riley's smooth sound, subtlety and lightning-like ability to weave through harmony comes through on the brisk quartet track "Flux Capacitor," an older Diehl original (the reference is to the device that "made time travel possible" in the film Back To The Future, the sequel to which takes place in 2015), and on "Kat's Dance," a breathe-as-one Riley-Diehl duo treatment of a waltz composed by pianist Adam Birnbaum. "Adam's ideas are always melodic," Diehl says. "This piece presented nice pianistic challenges in presenting the melodic voice with certain fingers and providing harmonic support and bass movement in others." 

Indeed, for all the instrumental derring-do from Diehl's cohort on the performances on Space Time Continuum, the leader's virtuoso command of the piano is notable. (The instrument is a well-wrought Fazioli F-228 Grand.) Consider, if you will, the classical chops, impeccable touch and swinging conception that Diehl displays on the anthemic "Santa Maria," which he composed in 2012 on a commission from the Columbus Foundation to celebrate the bicentennial of his Ohio hometown. 

"This isn't necessarily a 'pianistic' album," Diehl says. "But hopefully a noticeable development from The Bespoke Man's Narrative is my investigation of more linear forms of playing (i.e., bebop and hard-bop) that can fluidly express the harmony." 

The fruits of Diehl's researches are apparent on two trio tracks. His warp-speed original "Broadway Boogie-Woogie," evocative of Bud Powell at his most demonic, is a tone parallel to Piet Mondrian's painting of that name in New York's Museum of Modern Art, where Diehl premiered the piece. And he uncorks a rollicking, deeply swinging treatment of the set-opening "Uranus," a memorable melody by Walter Davis, Jr., one of the greatest of Powell's acolytes, associated with various editions of Art Blakey and the Jazz Messengers. 

Diehl discovered the latter tune from bassist Paul Sikivie and drummer Lawrence Leathers, also colleagues of long-standing. They themselves learned "Uranus" from drummer Kenny Washington, who learned it when he played with Davis during the latter '70s, and became familiar with it on numerous gigs with pianist Johnny O'Neal, who played it during an '80s run with the Jazz Messengers. 

That opening salvo sets the tone for the trans-generational dialog that informs the entirety of Space Time Continuum. Diehl, who chooses words as carefully as notes, sums up his intentions: "I understand the jazz language as a continuum--threading together the evolution of jazz as a continual, interrelated stream of development to create a sound that's neither old or new, but simply a landscape where we could all communicate." 

Upcoming Performance Schedule for Aaron Diehl Trio

May 8 / Fisher Center at Bard College / Annandale-on-Hudson, NY

June 12 - 14 / Ginny's Supper Club / New York, NY

June 23 & 24 / Rochester Jazz Festival / Rochester, NY

July 17 / Umbria Jazz Festival / Perugia, Italy

July 25 / Schloss-Elmau (solo piano) / Krün, Germany

August 2 / Newport Jazz Festival / Newport, RI

August 10 / Jazz in Marciac / Marciac, France

August 21 / The Tabernacle / Martha's Vineyard, MA

Upcoming Performance Schedule with Cécile McLorin Salvant

April 17 / Frostburg State University / Frostburg, MD

April 18 / Jazz Club at Jefferson Center / Roanoke, VA

April 28 / City Opera House / Traverse City, MI

April 29 / Wharton Center for the Performing Arts / East Lansing, MI

May 1 / New Orleans Jazz & Heritage Festival / New Orleans, LA

May 2 / Sheldon Concert Hall / St. Louis, MO

Aaron Diehl  ·  Space Time Continuum

Mack Avenue Records  ·  Release Date: June 16, 2015

www.AaronDiehl.com

Wide range of artists encompassing jazz, blues, world music and beyond at the Festival International de Jazz de Montréal

Highlights include performances by a wide range of artists encompassing jazz, blues, world music and beyond: Wayne Shorter, Al Di Meola’s Elegant Gypsy, Bebel Gilberto, Chris Botti, Huey Lewis and the News, Kat Edmonson, R & B queen Erykah Badu, Jamie Cullum, Richard Galliano with Sylvain Luc, Nels Cline with Julian Lage, Lucinda Williams, Jesse Cook, Mika, The Steve Miller Band, Madeleine Peyroux, Steven Wilson, a trio of living blues legends – Taj Mahal/John Mayall/James Cotton – and many more.

This year’s Invitation Series artists include Abdullah Ibrahim, Kurt Rosenwinkel and Avishai Cohen.  In addition, the Festival brings special programs such as the North American premiere of Flamenco Vivo’s Esencial, Luis de la Carrasca’s musical voyage into the heart of Andalusia.  Another highlight is For the Record, a madcap, lavishly romantic take on the musical world and flamboyant vision of Australian director Baz Luhrmann.  The indoor concerts are listed in the press release.  The free outdoor shows will be announced in early June.

The Festival, which includes some 3,000 musicians from 5 continents in 15 concert halls plus hundreds of free outdoor shows, has been heralded as “Best of the Fests… Bigger! Better! Best, actually…” by Michael Bourne in DownBeat Magazine. Playboy Magazine says it's "the best urban music festival in North America." Mitch Myers writes in the Hollywood Reporter that the Festival is “a compelling summer destination…the multicultural and cosmopolitan nature of Montreal is reflected in the festival’s diverse programming, showing a great respect for music, the artists and culture in general.”

It’s also family friendly, with lots of free kids activities. "What makes this a family event?  One look at the stroller parking area or the diaper-changing tent and you will know. Thousands of children parade through the festival with their faces painted by talented make-up artists who work their magic from noon until 8 p.m. daily... The festival is strikingly well-organized and well-staffed.  It is quite a pleasure to take part in a large, lively event, in a public place, and not worry about safety." — Janet Strassman Perlmutter, Boston Globe.

The Festival International de Jazz de Montréal’s 36th Season is from June 26 – July 5, 2015.

Jazz Vocalist Ellen Johnson's Form & Formless Featuring Larry Koonse & John Stowell

"So much of life, like music, is the art of listening and responding," said west coast vocalist Ellen Johnson about her conceptual new recording, Form & formless, slated for release by Vocal Visions Records on June 9, 2015. Most singers are not comfortable with having to create a song on the spot, out of nothing, but not Johnson. She has made improvising a major part of her vocal expression studying avant-garde music, sitting in horn sections as the only vocalist in her formative jazz years, and by being hand selected by Bobby McFerrin to workshop his Voicestra group.

 "I love the challenge of free improvisation, so having the opportunity to be supported by two amazing guitarists who are at home in this element made the project an absolute delight," says Johnson. Assisted by guitar virtuosos, Larry Koonse and John Stowell, each duet shapes a tapestry of colors allowing sounds to flow freely, strings to vibrate without designated direction and common ground to be found in the interpretations of the musicians.

Half of the recording was created from free improvisations that Johnson calls the "formless" way, taken from a poem by Lao Tzu referring to the way of life. The other half, primarily duets with Koonse, are composed songs based on "form" written by jazz heavyweights like John Coltrane, Thelonoius Monk, Charles Mingus and Sonny Rollins, including a haunting impromptu trumpet solo by Nolan Shaheed on "Round Midnight" with lyrics by Babs Gonzales.

"All the free improvisations were invented in the moment with no preconceived ideas, overdubs or special effects," says Johnson, "and all, except one, were imagined with my long-time musical friend John Stowell. I used my voice along with the guitar to create a soundscape often producing vocal sounds that appeared otherworldly."

Johnson's devotion to the jazz world spans more than three decades as a professional jazz recording artist, educator, songwriter, lyricist, author and publicist. She has performed, recorded and studied with many exceptional musicians that include Charles McPherson, Louie Bellson, Sheila Jordan, Don Braden and John Clayton, and recently completed the biography Jazz Child: Portrait of Sheila Jordan published by Rowman and Littlefield. Johnson believes the basis of innovation is the ability to create something out of nothing or transform something into our own vision, and Form & formless is Johnson's musical testament.

According to jazz journalist and historian Bruce Crowther, "Many musicians touch the heart or the mind or the soul, some reach out to more than one of these, only a few appeal to all. With her new album, Ellen Johnson is clearly one of these select few."

NEW RELEASES: YACHT ROCK (VARIOUS ARTISTS); YACHT ROCK: THE ORIGINAL ALBUM SERIES; R&B SINGLES COLLECTION VOL. 4 - OUTTA SIGN RED HOT RHYTHM & BLUES

YACHT ROCK (VARIOUS ARTISTS)

A smooth set of grooves from the 70s – just the kind of cool compressed pop that used to fill the 70s AM radio airwaves when we were kids – and which sounds even better in a hip compilation like this! The package doesn't go for easy hits – and instead digs deep into the treasure trove of 70s album-oriented rock – to find cuts that really glow anew in each others' company, filled with surprises that we never would have expected! Some folks have taken to calling these sounds "yacht rock" – but to us, the sound is pure 70s at its best – a sublime batch of tracks that includes "Georgy Porgy" by Toto, "Wait A Little While" by Kenny Loggins, "Here To Stay" by Boz Scaggs, "Fazon" by Sopwith Camel, "Whatcha Gonna Do For Me" by Average White Band, "Tranquilo" by Carly Simon, "Nightmoves" by Michael Franks, "Steal Away" by Robbie Dupree, "Tin Man" by America, "She's Gone" by Hall & Oates, "Midnight Prowl" by JD Souther, and "Ride Like The Wind" by Christopher Cross.  ~ Dusty Groove

YACHT ROCK: THE ORIGINAL ALBUM SERIES - ABANDONED LUNCHEONETTE / LET THERE BE MUSIC / CHICAGO 16 / ROBBIE DUPREE / ON THE WATERS (5-CD SET)

An instant collection of AOR genius – a package that brings together five different yacht rock albums from the Warner catalog – all packaged together in tiny sleeves that replicate the original album covers! The set may well be worth it alone for Abandoned Luncheonette from Hall & Oates – a tremendous collaboration with the legendary Arif Mardin, who takes the pair's well-crafted vocals into territory that's much more slinkily soulful than some of their previous records – that sound that was always lurking in the background, never quite right, but which emerges here fully in that classic 70s Hall & Oates mode. Daryl and John seem to harmonize more here than before, and the backings are still somewhat rockish, but have a warmth that really suits their singing. We can't argue with the sublime brilliance of "She's Gone", one of those tracks that we've heard a bazillion times, but never cease to respect – and other titles include "Everytime I Look At You", "Had I Known You Better Then", "When The Morning Comes", and "Laughing Boy". But if that's not enough – the collection also features four more full albums – On The Waters by Bread, Chicago 16 by Chicago, Let There Be Music By Orleans, and the great debut album from Robbie Dupree!  ~ Dusty Groove

R&B SINGLES COLLECTION VOL. 4 - OUTTA SIGN RED HOT RHYTHM & BLUES

The fourth smoking volume in this wonderful series – filled with excellent pre-soul grooves all the way through! The Outta Sight label is one that we normally know for Northern Soul reissues, but in recent years they've also been handling a lot of R&B – but all with an ear towards the sounds that also appeal to fans of later soul too – which makes for a very fresh approach to material from the 50s and early 60s – and often discovery of tracks that haven't gotten any notice for years! The package collects material from their 7" single reissue series – the a and b-sides of 15 different 45s – with titles that include "Image (part 1)" by Hank Levine, "I Want To Know" by Gay Poppers, "Tie Me Tight" by Bob Kayli, "Catch That Teardrop" by The 5 Royales, "Strange Exotic Melody" by Ruth Christie, "Do You Think That's Right" by Judy Clay, "If You Wanna" by Baby Jean, "Have Your Way" by Lightnin Slim, "Cherry Wine" by Little Esther, "Wild Child" by Donnie Elbert, "I'm Cuttin Out" by Ivory Joe Hunter, "Wow" by David Michael, and "What A Mess" by Bobby Adams. ~ Dusty Groove

NEW RELEASES: MAVIS STAPLES – YOUR GOOD FORTUNE; GREAT REVIVERS – HAVE A DRINK WITH GREAT REVIVERS; CYRUS CHESTNUT – A MILLION COLORS IN YOUR MIND

MAVIS STAPLES – YOUR GOOD FORTUNE (EP)

Just a four-track set from soul legend Mavis Staples – but a record that's got more than enough feeling to beat most full length albums on the market! The four tracks here were all produced by Son Little – and have this unusual approach that mixes acoustic roots with some slight contemporary touches – very light drum program passages from Little, mixed with more spontaneous instrumentation on guitar, organ, and slide guitar – plus a bit of backing vocals from a small group who almost bring in an old sort of Staple Singers vibe! The whole thing's still very much in keeping with the classic vibe of other Mavis projects in recent years – and titles include "Your Good Fortune", "Fight", "See That My Grave Is Kept Clean", and "Wish I Had Answered".  ~ Dusty Groove

GREAT REVIVERS – HAVE A DRINK WITH GREAT REVIVERS

We'd love to have a drink with The Great Revivers – as it would finally give us a chance to tell them how much we really love their music! This strong full length debut from the Russian funk combo really pushes past their initial wave of singles – showing the group to not only be as rock-solid as any funk group on this side of the former east/west divide – but also one that has a very mature, thoughtful approach to their instrumentation – super-skilled, and often with these jazzy inflections that remind us of New Mastersounds at their best! The lineup is nice and lean – just guitar, organ, percussion, bass, and drums – with no horns or vocals at all, just a lot of wonderful interplay between the keyboard and electric strings. Titles include "The Return Of Green Snake", "Dandelion Wine", "Sand & Breeze", "Rhino's Walk", "Midnight Run To Liquor Store", and "At The Dipsotheque".  ~ Dusty Groove

CYRUS CHESTNUT – A MILLION COLORS IN YOUR MIND

The title's a great one, as pianist Cyrus Chestnut explodes with a flurry of colors right from the very first note – that wonderful sense of richness in tone that made Chestnut a musician to watch right from the start, but which was sometimes dimmed in his projects for larger labels at the height of his fame. Thankfully, Cyrus has gotten even more open and powerful in recent years – working in a wonderfully unfettered setting like this, with superb support from bassist David Williams and drummer Victor Lewis – both extremely creative musicians, but in a really understated way. The trio comes together in the right mix of rhythm and lyricism that you'd find in the best Cedar Walton trio dates – no surprise, given Williams' long work with Walton – and titles include "Brotherhood Of Man", "From A Tip", "Gloria's Step", "Hello", "A Time For Love", and "Yemenja".  ~ Dusty Groove

HOT UK JAZZ FROM BABELFISH - CHASING RAINBOWS

Chasing Rainbows, the second album from Babelfish, has all of the understated musical virtues which were appreciated in the group's first album in 2012. Here again, the listener will find proof that musical strength has nothing whatsoever to do with high volume. It is very well known in UK jazz circles quite what a technically accomplished vocalist Brigitte Beraha, and she proves that again here. But what has also happened is a deepening of the emotional content. 

It is not just subtle musical half-lights which are caught on the wing and are there to be enjoyed, every song here is alive with flickering emotions, impulses and questions. (Sebastian Scotney, March 2015) Brigitte Beraha writes about Chasing Rainbows: "This album is about love, the cycles and stages of relationships, just love in many different forms (including love for sushi!). When singing with words, I try to keep those simple, and yet not necessarily obvious in their meaning, and to do more with emotions, senses rather than words. 

That's how I live, really." A collaboration between two of the UK's finest jazz artists Barry Green (piano) and Brigitte Beraha (voice), the band also features legends Chris Laurence (double bass) and Paul Clarvis (percussion). Between them they have played and recorded with Kenny Wheeler, John Surman, Sarah Vaughan, Norma Winstone, Peter Gabriel, Stevie Wonder, Lee Konitz and many more. Their debut album Babelfish received rave reviews and was picked by Sebastian Scotney, founder of LondonJazz, as his top album of 2012. 

Their second album " Chasing Rainbows" is out in April, a new collection of music they love,regardless of where it comes from - Songs in English, French, Portuguese and Italian, from original songs about love to fast paced compositions about sushi; from free Jazz to their take on Contemporary classical songs, each Babelfish performance is fearless, fresh and mesmerising. "These gracious and wonderfully talented musicians delivered an exciting and unusual combination of music... 

The visible joy of this band working together on stage was transferred to the audience." LondonJazz "Babelfish are a definition of a contemporary jazz class act." John Fordham, The Guardian "Brigitte should already be up there with the stars. She has a tremendous future to explore, one which we'll be watching with great expectations". Dame Cleo Laine and Sir John Dankworth CBE "Brigitte's voice and writing have truly matured to another soaring level" Rufus Reid / Amazon

 

NEW RELEASES: RITA REYS - THE COOL VOICE OF RUTA REYS; BIG SCREEN – TAKE ONE; JERRY BERGONZI - RIGAMAROLL

RITA REYS - THE COOL VOICE OF RUTA REYS

After an early plunge into the pop music of the time, singer Rita Keys (1924-2013) came to jazz when, in 1943, she met Wessel Ilcken 1923-1957), Holland s then best drummer. She became his wife, and the influence of his teachings, allied to the impact on her of recordings by such American singers as Sarah Vaughan and Billie Holiday helped her forge a very personal style. This collection of songs sets her wonderfully cool voice and sophisticated approach against backgrounds which, though different, reflect her ability to stamp her personality on diverse circumstances to produce equally interesting performances. Regardless of context, her artistry is supremely evident throughout. Every song is approached with an instinctive musicianship and feeling for the lyrics, and an innate sense of phrasing, which fill each performance with an inescapable atmosphere. ~ Amazon

BIG SCREEN – TAKE ONE

The Big Screen trio joyfully explores the worlds of stage and screen, swinging through a selection of timeless melodies which enjoy universal appeal. A heavyweight of British jazz, pianist David Newton is joined for this project by Tom Farmer (from Empirical), who has a contemporary approach to bass playing, and Matt Skelton, whose virtuoso drum skills keeps everything moving nicely. David Newton has always thrived on playing material that brings new challenges to his improvisation and he has gone out of his way to do so for this new trio. There is an emotional and visceral joy when hearing these tunes rendered with the care, intellect, passion and excellence that Big Screen bring to the music. ~ Amazon

JERRY BERGONZI - RIGAMAROLL

'When I go into the studio with these guys, it's not like I feel pressure. It's like, 'oh boy, let's go have some fun,'' says saxophonist Jerry Bergonzi, recalling how his previous Savant recordings came together. In short, the acclaimed veteran didn't want the fun to end. So now here we have another terrific recording to complement the reedman's impressive Savant discography and another chance to delight in the exceptionally responsive company he keeps. Revelling in the company of long-time partners bassist Dave Santoro and drummer Andrea Michelutti, Jerry also brings Pasadena-born pianist Bruce Barth into the studio. Jerry doesn't often record with a pianist when one cuts their musical teeth with a pianist like Dave Brubeck the titan's shadow must loom large over the keyboard but he and Bruce have become muy simpatico over the years and their interplay here is remarkable indeed. With Jerry's imaginative compositions and his intense approach to music-making, this is jazz that cuts you no quarter. The whole session swings, communicates and challenges as only Jerry Bergonzi can. ~ Amazon

NEW RELEASES: JOE STILGOE – NEW SONGS FOR OLD SOULS; FATOUMATA DIAWARA & ROBERTO FONSECA - AT HOME: LIVE IN MARCIAC; YURI HONING ACOUSTIC QUARTET - DESIRE

JOE STILGOE – NEW SONGS FOR OLD SOULS

Firmly established as a performer and songwriter of considerable skill, Joe Stilgoe gives a masterclass in nostalgia with a contemporary twist. New Songs For Old Souls is Joes first studio album for Linn Records, following his signing to the label in 2014. The album comprises twelve songs with ten terrific originals by Joe, including three thrilling big band numbers: Nobody Cares Like Me, Pocket Song and a new version of Gold On Silver, previously heard on Songs On Film Live. Includes: Totally, Nobody Cares Like Me, Nothing’s Changed, Roll, Rainbows in My Teacup, Pocket Song, I Just Wasn’t Made For These Times, How To Fall In Love, Two-tones, You’re Funny (But I’m Not In Love), Too Late Now, and Gold On Silver. ~ Amazon

FATOUMATA DIAWARA & ROBERTO FONSECA - AT HOME: LIVE IN MARCIAC

A marriage made in heaven! Two of the most high profile, and powerful, performers on the planet yoke up and get rocking. For the past 18 months Malian guitarist superstar Fatoumata (her first album was on World Circuit) and Cuban jazz pianist Roberto have been on the road, knocking them dead at festivals around the world. The combination of West African and Cuban rhythms has been done before, but never with so much life, energy and sex appeal! This album was recorded live at the Marciac festival in France in 2014 and demonstrates why these two are such a draw. ~ Amazon

YURI HONING ACOUSTIC QUARTET - DESIRE

The leading Dutch saxophonist and composer Yuri Honing perfectly captures feelings of desire on his album of the same title. Renowned for mixing styles, Honing again explores his musical boundaries with moving melodies framed by pop, classical music and early music compositional techniques. Honing had his first major success in 1996 with his album 'Star Tracks', which comprised recordings of pop songs as an alternative to the American Songbook. The album became a hit in the Netherlands and Germany, and gained significant notice in the UK as well. The album contains songs by Abba and The Police among others. Subsequently he has performed/recorded with Paul Bley, Gary Peacock, Paul Motian, Charlie Haden, Pat Metheny and Vince Mendoza, amongst others. His quartet on 'Desire' includes the Dutch pianist Wolfert Brederode, who has recorded two albums as a leader for ECM Records, alongside Icelandic double bass player Gulli Gudmundsson and Dutch drummer Joost Lijbaart. Personnel: Yuri Honing (tenor saxophone), Wolfert Brederode (piano), Gulli Gudmundsson (bass), Joost Lijbaart (drums). ~ Amazon

Soulful Bluesy & Roots Singer ETHAN TUCKER To Release New Album MISUNDERSTOOD

Washington-born singer songwriter Ethan Tucker continues to establish himself in prestigious music circles with his soulful bluesy voice and roots music. With self-released albums, Take Me to the Mountains (2007) and Lost Between (2010) molding the young musician, and a live touring regimen that has taken him around the country on several national tours, the stage is now set for the first professional studio LP Misunderstood, available May 5 on Stoopid Records

Fresh off the road from an impressive list of tours that include legends Jimmy Cliff, Buddy Guy, and The Wailers, as well as national support slots with musical peers Slightly Stoopid, G-Love, and Michael Franti, Tucker's new release exemplifies his enthusiasm for collaboration at its best.

After impressing Michael Franti with an impromptu backstage jam in Spearhead's dressing room before ever playing a show together, Ethan was immediately summoned by Franti himself to come to Michael's studio in San Francisco, California to record. From there, a bond between the two artists was solidified.  The infectious first single "Crazy Tonight" was arranged, recorded, produced at Franti's studio, also featuring him on guest vocals. This track, coupled with the reggae-pop hybrid "Cool Kids" (also produced by Franti) opens a new album that is a cohesive coming of age for the artist.

The first single "Crazy Tonight" has begun to create a significant buzz around the release, garnering early attention at AAA radio across the US. A forthcoming music video for the song (directed by Franti) was filmed late last year.

The rest of the compositions that make up Misunderstood were masterfully produced by Mario Caldato Jr., known for his work with the Beastie Boys, Jack Johnson and G Love. With the master near completion, a "surprise" session evolved while Ethan visited downtown Los Angeles, and connected with the rhythm section of Norwood Fisher of Fishbone on bass, and Thomas Pridgeon of Mars Volta on skins. The power trio provides a surprisingly unique reggae dub rendition of Jimi Hendrix "Little Wing" recorded by Jimmy Sloan at Seahorse Studios in Downtown LA.

The results of all these sessions produced a diverse array of styles from blues and folk to pop and reggae, yielding 11 tracks in three weeks, and cementing the album's core.

The Easy Star dub remix of "Little Wing," plus "Josephine" and "Dance The Night Away" from the Mario C sessions are available as exclusive bonus tracks when pre-ordering Misunderstood on iTunes or Ethan's website: http://smarturl.it/MisunderstoodCD

Set to hit the road in the next few weeks in support of the album, Ethan makes his first two appearances at California festivals. "Summer Meltdown" on April 25 in Santa Clarita and on the hugely popular Cali Roots Music Festival in Monterey, May 23. Ethan will hit the road with Hirie, and perform at the acoustic venue Hotel Cafe in Hollywood on April 27.

Misunderstood Track List:

1.  Cool Kids

2.  Crazy Tonight (feat Michael Franti)

3.  Crazy

4.  High Time

5.  Coming Home

6.  Never Be

7.  Tease Me

8.  All I Need

9.  Misunderstood

10. This Has All Been A Dream

11. Little Wing

Bonus Tracks (available through www.ethantuckermusic.com only)

12. Josephine

13. Dance the Night Away

14. Little Wing (Dub)

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NEW RELEASES: PHILL FEST – THAT’S WHAT SHE SAYS; SNARKY PUPPY & METROPOLE ORKEST - SYLVIA; SWINGING JAPAN:THE NEO-MOOD SCENE TOKYO STYLE

PHILL FEST – THAT’S WHAT SHE SAYS

Hot on the trails blazed by ‘Projecto B.F.C,” comes  “That’s What She Says” continuing the Fest family tradition of fusing jazz harmony with Brazilian rhythms.  Guitarist Phill Fest, son of Manfredo Fest, returns with perhaps an even broader example of samba-jazz and all of it’s grace.  This time around the sound pallet is expanded with the addition of trumpet/flugel, female vocals, percussionists, and again the harmonica virtuosity of Hendrik Muerkens.  Highlights include compositions by Phill, Manfredo Fest and Antonio Adolfo’s ‘Chora Balao,” as well as a tribute to bossa creator Joao Gilberto with “De Conversa em Conversa.”

SNARKY PUPPY & METROPOLE ORKEST - SYLVIA

The Grammy Award-winning jazz collective & Holland's famous Metropole Orkest have created Sylva, a dreamlike cinema-concept-album dedicated to the forest, a place that enraptures bandleader/founder Michael League, who penned the songs. With graphic creations by Miraphora Mina ("Harry Potter"), the DVD companion is a feature- length film on the making of this stellar opus. Sylva will be performed only in Paris and Rotterdam, but the movie will be screened in key US cities. Trackslisting: Sintra, Flight, Atchafalaya, Curtain, Gretel, and Clearing. ~ Amazon

SWINGING JAPAN:THE NEO-MOOD SCENE TOKYO STYLE

Acid Jazz are proud to bring you this compilation album which features some of Japans’ finest Neo-Mod and “J-Mod” bands on one compilation. These tracks have been specially selected by Acid Jazz who ventured to find music to excite the modern listener. This venture led to the discovery of the following collection of songs and the overall discovery of Japan’s uber-hip Neo-Mods, music and fashions which aren’t constricted by the self-conscious rules and restraints upon which cliquey European modernists constantly insist. What “Swinging Japan” delivers is a 14-track compilation of raw and energetic garage tracks, plus jazzy, groovy, psychedelic tunes that have been specially selected to be part of this compilation. Think of this album as a trip to Kingslow 1969, Carnaby Street circa 1970, with a return flight to modern day Tokyo! ~ Amazon

NEW RELEASES: ELDAR - WORLD TOUR VOL. 1; BOBBY MATOS AFRO LATIN JAZZ ENSEMBLE - RITMO & BLUES; JACK WALRATH - UNSAFE AT ANY SPEED

ELDAR - WORLD TOUR VOL. 1

Piano tour-de-force Eldar released his 10th album World Tour Vol. 1 on April 17th, 2015.  A compilation of takes from his recent touring, the record covers a wide range of performances from across the globe with trio and solo tracks sure to impress.  Clips from Tokyo, Philadelphia, Windham, Montreal, Atlanta, Washington DC, Tongyeong, San Diego and Oakland are captured in front of live audiences.  The record features outstanding performances from Ludwig Afonso, Ferenc Nemeth, and Jonathan Joseph on drums and Armando Gola on bass. The unparalleled virtuosity of Eldar’s playing and thrilling compositions make this a masterpiece not to miss. Includes: Blackjack, Morning Bell, Airport, Driven Blues, Hope, I Should Care, What'll I Do, South Bixel, Embraceable You, Moanin', and Exposition. 

BOBBY MATOS AFRO LATIN JAZZ ENSEMBLE - RITMO & BLUES

A great little set from the legendary Bobby Matos – and maybe the record that comes closest to his initial Latin soul sessions of the 60s! The album features more vocals than usual – including cool harmony soul from The Mighty Echoes, and a lead from the great Joe Bataan – plus additional singing by Candi Sosa and Estaire Godinez – who really add a lot to the record! The instrumentation still has those great deep tones we've loved from Matos' material of the past decade or so – especially his killers for the Life Force Jazz label – and the group features Theo Saunders on piano, Dan Weinstein on trombone, and Pablo Calogero on flute, soprano, and tenor sax! Titles include "Hey Senorita", "Senor Blues", "You Send Me", "Tin Tin Deo", "I Want You", "Fever", "Dejarla Passar", "Stagg Street", "Unchain My Heart", and "Bruca Manigua".  ~ 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

INTRUMENTS is full of groove – without any beats: Henrik Schwarz‘s music in an acoustic arrangement for chamber orchestra

"What's left of my music if I have it played by Classical musicians and omit the most important element, the beats?" This question was the starting point for INSTRUMENTS, the new Henrik Schwarz album. Four years have passed now since the Berlin musician and producer was first invited to have a selection of his House tracks played by an orchestra. Now the Tokyo Secret Orchestra has recorded seven pieces arranged for chamber orchestra that are reminiscent of the minimalism of Steve Reich and Michael Nyman not least in their poetry and magnetic pull. In between times, a piece like "In Björndal" with its shimmering instrumental colours even takes us back to the fin de siècle and the music of Schönberg.

The last ten years have seen quite a few Classical performances of electronic club music. But many of these were in the "classic rock" tradition of the 1970's, when symphony orchestras played the big pop hits of the day. "In most cases, electronic beats were then mixed into the orchestral arrangements, but I always found that a bit half-hearted", says Schwarz. He wasn't interested in so-called Crossover; what interested him was what happens when club music is transferred to a body of Classical instruments. "I wanted to see whether this music still means anything when you take away all the synthetic sounds and the beats." This prompted Henrik Schwarz to experiment with the scores, working together with arranger Johannes Brecht and various ensembles, without any computer sounds or acoustic percussion instruments that supply a rhythm in 4/4 time.

For more than a decade now Henrik Schwarz, 42, has been one of the best-respected House producers and a sought-after remixer, e.g. for Mary J. Blige, Ane Brun and Coldplay, with his music appearing on labels like Innervisions, !K7 and Sunday Music. In recent years, he has worked on an increasing number of cross-genre projects: Schwarz wrote the music for a silent film and worked together with the Berlin State Ballet and painter Norbert Bisky; he makes music together with leading jazzmen Bugge Wesseltoft and Dan Berglund, and gives concerts with pianist Nik Bärtsch. The arrangements on INSTRUMENTS have been performed in the last few years by different orchestras in some of Europe's best-known concert venues, such as Berlin's Kammermusiksaal, the Amsterdam Concertgebouw or the Tonhalle in Zurich. And the audience was delighted in every case. "An elegant, dynamic, unprecedented combination of Classical instruments and an Afro-American groove that doesn't seem superimposed, but is actually in the molecules of this music" – thus critic Florian Sievers in "Groove Magazin".

The breakthough came for Henrik Schwarz personally with a performance given by 27 young Japanese musicians under conductor Emi Akiyama: they appeared in a Buddhist temple in 2013 under the name Tokyo Secret Orchestra. "Suddenly I heard my own music with different ears. Classical music makes completely different demands on the players from a House track. In House music it's the precision timing that creates the groove, but an orchestra is not used to playing like a machine. In Tokyo, though, I had the feeling that the musicians managed to penetrate to the music's core."

The recordings made in Japan supplied the source material for the album INSTRUMENTS. Seven pieces are rearranged here for Classical instruments, from Henrik Schwarz's club hit "Walk Music" (which he used in the new arrangement as an opener for his live sets for a long time) through "Wamims", the version of a 2006 remix, to the only piece on the record that is new and previously unreleased: "In Björndal".

All the pieces have been arranged for the obligatory body of strings (violins, violas, cellos and double bass, and the strings are joined by low woodwind (bass flute, bass clarinet and bassoon) that not only supply individual timbres. In addition, similar to the percussion instruments (the vibraphone among them), they are also a source of rhythm. In this context, the focus is on the magic and the magnetic power of minimalism, something that American composer Steve Reich used to influence the pop and techno scene with his cleverly interlocking rhythmic chains.

Right at the outset of "Walk Music", we are offered a magical combination of single, lyrical notes from the strings and mysterious vibraphone figures in the background. And the following track, "Marvin", literally sprouts from a single note that is constantly repeated. Here, the bass flute, the viola and the cello evolve a rhythmic energy whose slightly burlesque tone is initially reminiscent of the Neo-Classicism of Stravinsky – at least until the orchestra strikes up a groove in several parts.

Nor is this by any means the only reference to the great Classical masters: inconspicuous reminiscences of this kind are cunningly sprinkled in at liberty. The piece "In Björndal" radiates a curious and seductive melancholy magic that could almost be a tribute to Arnold Schönberg and his prismatic style. Another example: arranger Johannes Brecht added to the ensemble for "Leave My Head Alone Brain" a bassett horn, a member of the clarinet family that Mozart was particularly fond of. And in "I Exist Because Of You" the cello sometimes plays the so-called 'Bartók pizzicati' that go back to the Hungarian composer: the cellist twangs the string and then lets it spring back against the fingerboard.

The harmonies and sounds of the original tracks are played here by the strings and also a number of woodwind instruments, among which the bass clarinet has the starring role. Time and time again, production techniques from electronic music such as loops or low-cuts are transformed into orchestral arrangements, with frequencies being muffled over the space of several bars (e.g. in "Leave My Head Alone Brain Seven"). The result is a new kind of music played on Classical instruments. a music that doesn't deny its roots in the club world and could only be created on the computer; a music that manages to transport the energy of electronic dance music to the Classical concert hall – with the bass drum only present in the listener's head.