Maysa’s New ‘Back 2 Love’ Album Marks 20th Anniversary as Recording Artist

There are very few singers on the contemporary scene who have a unique, instantly identifiable vocal sound; there are even fewer who have the stylistic range to encompass both Jazz and R&B in their performances. Grammy-nominated Soul/Jazz diva Maysa, who celebrates her 20th year as a solo recording artist this year, marks that achievement with her new album

Back 2 Love, a tour-de-force that validates her status as the greatest Soul-Jazz singer of her generation-the latest in a distinguished line of singers that stretches back through Anita Baker, Chaka Khan, Will Downing, Angela Bofill, Marlena Shaw and more recently, Ledisi and Chrisette Michele.

Back 2 Love, which is set for a May 26th release, may be her widest-ranging album yet, incorporating contemporary R&B, jazzy Soul balladry, straight-up dance music, inspirational pop and more. With production from the likes of J.R. Hutson (Jill Scott, Earth, Wind & Fire), Lorenzo Johnson (Ledisi), Stokley Williams (Mint Condition, Kelly Price, Wale’), and Chris “Big Dog” Davis (Kim Burrell, George Clinton), the album coheres around Maysa’s peerless vocalizing highlighted by her amazingly rich, evocative vocal tone. That’s the sound that led her mentor Stevie Wonder to proclaim “Maysa is WONDERful!” In the wake of her first Grammy nomination and Soul Train Music Award, it seems that the world-at-large is finally recognizing just how special an artist Maysa is.

“Back 2 Love represents the fact that I’m ready to get back to having a personal life with a very special man in my life. I have worked hard on my career so I could take care of us (my son and I). My son is almost 16 and I think he is old enough to have a mom who is going to be dating and possibly married. I am ready to meet Prince Charming. The music is exactly who I am. Being a Shanachie artist, I was always given the freedom to express who I am musically but this time I feel like spiritually we all went to a pure place to get this music. The music represents who I am as a woman and a human being who lives to love people. As a professional singer I should be able to sing anything and my records are just me trying to love everyone. And that’s why I am proud to be able to go from Jazz to R&B to Pop, etc.”

Back 2 Love kicks off with a classic dance-pulse on the title track. Though Maysa has recorded dance tracks before (mostly notably with Incognito), those often had a Brazilian or more overt Jazz spin but Back 2 Love shows that Maysa has what it takes to be a dance diva if she wanted to.

The opener is followed by the distinctive R&B groove of “Keep It Movin‘” produced by Mint Condition’s lead vocalist/producer/songwriter Stokley, who also contributes a guest vocal on the track. It is unlike anything Maysa has done previously and the chemistry between her and Stokley is magical. “Stokley is an amazing artist,” Maysa says. ” I love his writing, his voice and performing style. I think our styles are like smoke and fire together, like a sweet barbecue sauce! I was so happy he joined me on this record.” Stokley adds, “Working with Maysa was so familiar even though we’ve never collaborated before. We have a lot of the same influences. Maysa has such a unique gift. Think if velvet, butter & brown had a sound… weave a few high textures in there, that’s her! You feel her soul when she delivers a song. I’m very honored to have worked with Maysa.”

The song “Heavenly Voices” is a masterpiece of jazzy Soul, quintessential Maysa, a spiritually-oriented song. Likewise, such tracks as “Last Chance For Love,” “Go Away Little Boy,” and “Smilin'” all have the hallmarks of Maysa’s classic style-rich vocal sound, deeply felt, evocative phrasing, lyrics relating to affairs of the heart, and a song structure that embodies the essence of R&B but adds a Jazz sensibility. “Go Away Little Boy” is inspired by Marlena Shaw’s classic hit of the same name. “Big Dog, my producer, came to me with the title and the music and I thought it would be fun to create our own vibes,” Maysa relates. “Marlena Shaw’s version is perfection and one of the songs I listened to growing up. I would never try to cover it.” On “Last Chance For Love,” a Seventies-style R&B ballad, Maysa is joined by the incomparable Phil Perry, likewise a singer who is revered by other musicians. “Finally working with Phil was amazing,” Maysa says. “He is the falsetto king and my buddy! He is a master vocalist and I learn a lot from him whenever I hear him sing. Years ago before we were Shanachie artists, we had six-hour marathon phone conversations about the industry and here we are! He’s a fun and wonderful person.”

Maysa Leak was born and raised in Baltimore, MD and knew by the time she was six that she would be a musician. “I was six years old when my mom took me to see Purlie,” she recalls. “When Melba Moore came on stage and sang her heart out, I knew at that moment I wanted to make people feel the way she made me feel.” Maysa graduated from Morgan State University with a degree in classical performance, meeting Stevie Wonder while a student. Upon graduating she moved to North Hollywood to join Wonder’s Wonderlove group, with whom she performed for a year, appearing on the Jungle Fever soundtrack and such television shows as Oprah and The Tonight Show. In the early Nineties, Maysa auditioned over the phone to become the new lead singer of the acclaimed British Jazz/Funk/R&B band Incognito, moving to London for four-and-a-half years. 

She has appeared on over nine Incognito recordings and continues to appear as featured vocalist with them from time to time. Maysa recorded her self-titled debut album for GRP in 1995, following it up with All My Life in 1999, Out Of The Blue in 2002 and Smooth Sailing in 2004. She then made an impact with her interpretations of classic soul music on two acclaimed albums for Shanachie Entertainment, Sweet Classic Of Soul (2005) and Feel The Fire (2007), on which she showed her ability to put her own unique stamp on familiar songs from the 1970s era. Metamorphosis (2008) showed off Maysa’s prowess as a composer and A Woman InLove (2010) found Maysa returning to her roots as a jazz singer. Motions Of Love (2011) was highlighted by the ballad “Have Sweet Dreams” co-written by Stevie Wonder (who plays harmonica on the track) and inspired by First Lady Michelle Obama, as well as “Flower Girl,” a duet with Dwele. Blue Velvet Soul (2013) yields Maysa’s first Grammy nomination, for her performance of the song “Quiet Fire.” A Very Masysa Christmas (2014) delighted fans as the songbird released her first ever holiday album. Now Back 2 Love brings together all the facets of Maysa’s artistry in one album. “I hope people love this album,” Maysa says. “I want this to be the soundtrack to their summer of 2015 and I pray it helps somebody feel good and forget problems and worries and just feel love.

 ~ Shanachie

NEW RELEASES: VAN HUNT – THE FUN RISES, THE FUN SETS; JEFF RICHMAN - HOTWIRE; SLIM HARPO – BUZZIN ‘ THE BLUES: THE COMPLETE SLIM HARPO

VAN HUNT – THE FUN RISES, THE FUN SETS

The fun never sets when Van Hunt's around – especially given the fresh sound of this sweet little album! There's a crispy, gritty approach that's a bit different than Van Hunt's previous work – a way of bringing up the basslines and drums, while also dropping the singer's voice down into the mix a bit more – so that there's this kind of swirl of rhythm and lyrics together, which makes for a really unique groove! The sound is neither broken beat, nor 70s funk – but seems to draw plenty of inspiration from both – and the setting's really helped us get back into Van Hunt's music, especially as it's been a few years since we last heard from him – plenty of time for the singer to plot this great step forward from his previous album, What Were You Hoping For? Titles include "Headroom", "French For Cloud", "Teach Me A New Language", "Old Hat", "She Stays With Me", "A Woman Never Changes", and "Emotional Criminal".  ~ Dusty Groove

JEFF RICHMAN - HOTWIRE

"Hotwire" is the newest release by jazz guitarist Jeff Richman. The album features some of the best musicians in the world including drummers Vinnie Colaiuta, Gary Novak and Gergo Borlai, bassists Jimmy Haslip, Anthony Jackson and Dean Taba, Keyboardists.  Tracklisting: Hit Spot, Seven Up, Chloe, Oh, Yeah?, North Shore, One Last Kiss, Little Waves, Solar City. Golden Arrow, and Miles Per Hour. Jeff Richman is a professional guitarist with a 35 year career in performance guitar, composing, arranging and recording. In addition to his 16 solo releases, Jeff has produced six tribute CD's to Carlos Santana, Mahavishnu Orchestra, Steely Dan, Miles Davis, Jeff Beck and John Coltrane. Plus, he has appeared on countless tv/film scores and conducts the Fusion Ensemble at Musicians Institute

SLIM HARPO – BUZZIN ‘ THE BLUES: THE COMPLETE SLIM HARPO

The complete works of the mighty Slim Harpo – easily one of the coolest, grooviest blues musicians ever – but one who was also taken from our planet all too soon! Slim came into the fold a bit late – he didn't start recording until the late 50s – but that timing also meant that his work was less conventional blues than a blend with lots of R&B styles, which soon morphed into more soulful expressions as the 60s came on – at a level that's gone onto give Harpo a presence with so many different audiences over the years. His music is all wonderful – harmonica blues, but with a twist – and that twist is often an early example of funk, which keeps lots of these numbers really raw, and plenty darn interesting! The massive box brings together everything Slim recorded in his too-short career – a whopping 142 tracks on 5CDs, with both a and b-sides of every single, additional album tracks, alternative versions, and even a rare session for Imperial Records too – never issued during Harpo's life. There's also an extended version of a 1961 live show, with four never issued tracks – and the whole thing comes with a heavy, hardcover book – over 100 pages of notes, photos, and other great images. ~ Dusty Groove 

NEW RELEASES: KEITH JARRETT – CREATION; EL MICHAELS AFFAIR – SOUNDING OUT THE CITY; MONOPHONICS – SOUND OF SINNING

KEITH JARRETT – CREATION

Keith Jarrett in his best old school mode – peforming solo piano improvisations, at a level that takes us back to his groundbreaking Koln Concert album of the 70s! The material here is from a recent Jarrett tour – one of the first in many years in the improvisational mode (and maybe one of the last, given the energy needed to sustain the creative brilliance – and features material from 2014 performances in Tokyo, Rome, and Paris – all shorter selections than some of the freewheeling album-length jams Jarrett's youth, but no less captivating overall! There's an introspective quality to the music that makes a great change – a moody vibe that's similar to the Paris album from the previous decade – and the quality of the performance is superb throughout, and still represents our favorite side of Jarrett's many talents.  ~ Dusty Groove

EL MICHAELS AFFAIR – SOUNDING OUT THE CITY

Easily one of the greatest new funk records of the 21st Century – and a set that goes way beyond some of the cliches that are currently gripping others in the deep funk underground! El Michels Affair have a cool, easygoing style to their music – one that's as much 70s jazz as it is 60s funk – and which makes for tunes that have a looser structure overall, which allows much more room for instrumental interplay, and the kind of sweet surprises that make the album so great! These guys have a real penchant for an unusual rhythm and interesting instrumental flair – and they borrow as much from 70s soundtracks and Latin albums as they do from the funky 45 era that clearly gave them their start. Totally fresh all the way through, and a record that delights us a lot more than we might have expected! Titles include "Detroit Twice", "El Pueblo Unido", "Behind The Blue Curtains", "Ocho Rios", "Hung Up On My Baby", "This Song's For You", and "Slide Show". 2CD set also features the excellent Loose Change record – recorded around the sessions for their Sounding Out The City album, and appearing here for the first time ever! The set shows an even richer vibe than on that classic album – great little funky moments that really have El Michels stepping way past their contemporaries – to a point where so few other funk groups have touched, even a decade later! The set's got five great instrumentals, all awash in that hip blend of sweet soul, funky rhythms, and harder edges the group pioneered – plus a vocal track from Lee Fields too! Titles include "A Little Sloppy (full version)", "Kiddy Ditty", "Little House", "Yennicita (alt)", "This Song's For You (alt)", and "By The Time I Get To Phoenix". ~ Dusty Groove

MONOPHONICS – SOUND OF SINNING

Heavy funk, but with a definite psychedelic twist – as you might guess from the image on the cover! The Monophonics have strong qualities that tie them back to 60s soul – including the kind of tight rhythms, funky currents, and even soulful vocals you'd find on vintage singles – but they're also not afraid to layer in a fuzzy guitar, too – which really trips things out nicely, and may well make them one of the headiest combos in the funky underground today! There's currents here that echo material by Connie Price & The Keystones, or El Michels Affair – but what sets these guys apart from both is their honest, earnest approach to the music, especially the lyrics – which are often delivered with the heartfelt quality of a vintage Stax Records single. Titles include "Promises", "Falling Apart", "La La La Love Me", "Hanging On", "Strange Love", "Too Long", "Find My Way Back Home", and "Lying Eyes".  ~ Dusty Groove

THE DEBUT RELEASE FROM THE MARK GUILIANA JAZZ QUARTET - FAMILY FIRST

Painters paint, writers write, explorers explore, but jazz musicians do all three as they create sonic landscapes that delight us, that provoke thought and emotion, and that ultimately enrich our lives. Drummer/composer/bandleader Mark Guiliana brilliantly accomplished just that with the 2014 launch of his new record label, Beat Music Productions, releasing My Life Starts Now, and Beat Music: The Los Angeles Improvisations on the same day. 

Guiliana, a modern-day, boiling-over, creative tour-de-force, now offers his first statement as a leader in the acoustic jazz realm with the debut recording from the Mark Guiliana Jazz Quartet - Family First, available on Beat Music Productions on June 4, 2015 (iTunes pre-order date is May 8). The album, which presents eight new Guiliana compositions and a stunning version Bob Marley's "Johnny Was", was conceived around, and composed for, the drummer's new band, featuring long-time musical partners and dear friends, Shai Maestro (piano), Jason Rigby (saxophones) and Chris Morrissey (bass). "This music really highlights the strong bonds and sense of brotherhood and family that I share with these guys," explained Guiliana. 

The group's chemistry, commitment and cohesiveness provides for nine breathtaking, fervent episodes of acoustic jazz, beginning with the engaging and exciting rhythmic intro of "One Month", and concluding with the emotional pull and subtleness of the title track. In between, "ABED" swings like mad, "2014" shows the group's ability to play a ballad with a searing intensity, "Long Branch" stirs it up with Guiliana percolating underneath a soaring melody, and Bob Marley's "Johnny Was" receiving the most gorgeous treatment one could imagine.      

Guiliana's singular drumset and compositional artistry, once again setting the bar quite high, is on glorious display on Family First, as is the playing of his collaborators. The album encapsulates all the best that these musicians have to offer - abundant beauty, ardent propulsion and sheer love of improvisation. 

Although this is a new band, Guiliana shares a deep musical history with each musician. "These guys are some of my favorite musicians and I've been lucky to be building a musical bond with each of them over the past decade," he explains. "I've been playing with Chris in my electronic project Beat Music, with Jason in my first band Heernt, and I spent a handful of great years on the road with Shai in bassist Avishai Cohen's trio." 

The sonic landscape presented on Family First is quite different from Guiliana's 2014 releases. This purely acoustic music is presented without edits or isolation, as captured in pristine detail by engineer John Davis at the Bunker Studio in Williamsburg, Brooklyn. While not a tribute recording in any way, this recording is Guiliana's nod to the jazz drummers that have inspired and informed his completely unique approach to the instrument. Guiliana elaborates, "this album embodies the deep inspiration I have taken over the years from my earliest drumming heroes, including Tony Williams, Roy Haynes, Elvin Jones, and Art Blakey, to name a few."   

Guiliana is an acclaimed drummer, composer, educator, and founder of Beat Music Productions. He has earned international acclaim for his innovative and creative style, recognized by The New York Times as "a drummer around whom a cult of admiration has formed." Over the past decade, he has appeared on over 40 recordings and has toured extensively around the world, performing in 45 countries across 6 continents with artists such as Meshell Ndegeocello, Gretchen Parlato, bassist Avishai Cohen and many more, including his own bands Beat Music and Heernt. 

In 2014, Guiliana launched Beat Music Productions, his independent record label, as an outlet for his diverse musical vision. In that same year, he was featured on the Grammy-nominated album Mehliana: Taming the Dragon, his duo project with jazz icon Brad Mehldau on keyboards and synthesizers, as well as David Bowie's latest single, "Sue (Or In A Season Of Crime)". 

Family First, the debut recording from the Mark Guiliana Jazz Quartet, will be released on June 4, 2015 on Beat Music Productions, and there are already projects slated for 2016 releases - a solo electronic recording (an exploration of experimental beats and ambient textures); and a long overdue second album from Heernt, Guiliana's experimental-garage-jazz outfit.

www.MarkGuiliana.com

NEW RELEASES: NICOLE - RAIZES / ROOTS; LIAM NOBLE - A ROOM SOMEWHERE; FULVIO SIGURTA - THE OLDEST LIVING THING

NICOLE - RAIZES / ROOTS

Raizes / Roots from singer and songwriter Nicole is a collection of 13 songs where she reinterprets vintage and contemporary songs from the Jewish songbook, re-imagined in a variety of Brazilian styles and rhythms and with lyrics in Yiddish and Portuguese Musician include: Pablo Aslan (acoustic bass); Cyro Baptista (percussion); Rob Curto (accordion); Paul Meyers (nylon string guitar); Brandon Seabrook (mandolin & electric guitars); Lorin Sklamberg (vocals); Renato Thoms (percussion); Michael Winograd (clarinet); Jake Shulman-Ment (violin); Frank London (trumpet, piano); and Danny Blume (electric bass). Tracklist: Com Saúde (Abi Gezunt); Passarinho; Quem Que Sobra (Ver Vet Blaybn); Batatas (Bulbes); No Escuro; Ave Dourada; Chuva (Der Regn Zipt in Droysn); Dois Músicos; Tal vez;. Ontem (S Iz Nito Kein Nekhtn); Cantando Por Um Mundo Melhor (Singing For a Better World/Sholem Lid); Nova Dança (Der Nayer Sher); and Bulbes (Remix).

LIAM NOBLE - A ROOM SOMEWHERE

Liam Noble returns with his first solo recording in 20 years. Liam has worked in a vast range of contexts, including as a sideman in award winning projects with Julian Siegel, Christine Tobin and Mark Lockheart and in a transatlantic ensemble with Zhenya Strigalev (which has included Eric Harland, Ambrose Akinmusire, Greg Hutchinson and Larry Grenadier). He has also collaborated in free improvisation projects such as Sleepthief (with Tom Rainey and Ingrid Laubrock), and performed in ensembles with Peter Evans, Mary Halverson, Mat Manieri and Okkyung Lee. It now feels like the right time to strike out alone again. The album features idiosyncratic interpretations of the standard repertoire, contemporary songs, jazz compositions and some original improvisations inspired by the scenario. ~ Amazon

FULVIO SIGURTA / STEVE SWALLOW / FEDERICO CASAGRANDE - THE OLDEST LIVING THING

Back from the intriguing experience of 'SPL' (in trio with Andrea Lombardini on bass guitar and Alessandro Paternesi on drums), a modern record with surprising turns, Fulvio Sigurtà is back with a more classically jazz album. Supported by Steve Swallow s stunning bass guitar and Federico Casagrande s refined acoustic guitar, Sigurtà s trumpet and flugelhorn weave soft, enchanting melodies. You may let yourself be lulled by the first song and title track on this album, written by the band leader, and Casagrande s 'Sorrows And Joy of A Lamb'. The two regularly alternate as writers of the nine original tracks on 'The Oldest Living Thing', composed by one or the other in more or less equal measure. The only virtual guest here is Ennio Morricone, who is involved thanks to an appealing reinterpretation of the theme from 'Nuovo Cinema Paradiso'. Although the temperament and uniqueness of Steve Swallow is no surprise, one can rightly be a little amazed by the continuous growth of Sigurtà and Casagrande: the former has mastered a variety of timbres that would make many players envious (the intro to 'Sunday Snow Flakes' is a case in point), while the latter invents sounds and harmonies that perfectly combine with the band leader s ideas ('Travel Back'). Two of the talents among the new generation of Italian jazzmen who are worthy of being listened to most attentively. ~ Amazon

NEW RELEASES: THE CHI-LITES - THE BRUNSWICK COMPLETE SINGLES COLLECTION; THE CITY BOYS ALLSTARS – PERSONAL THING; MATT LAVELLE / JACK DESALVO / TOM CABRERA - SUMARI

THE CHI-LITES - THE BRUNSWICK COMPLETE SINGLES COLLECTION

The complete early Brunswick singles of one of our favorite vocal groups ever – the sublimely sophisticated Chi-Lites – a group who brought harmony soul to a whole new level with records like these! The Chi-Lites could be heartbreaking on their ballads and mellow cuts – then soar out with a new sort of righteous power at other, more upbeat moments – always holding onto not just their wonderful sense of group phrasing, but also the special sort of lyrics that were penned for the group by leader Eugene Record! And while the Chi-Lites had a huge run of full albums for Brunswick, their singles are really something special – and are collected here in a massive package of 56 tracks on 3CDs. Titles include "My Baby Loves Me", "Love Is Gone", "Price Of Love", "Being In Love", "Homely Girl", "Toby", "Here I Am", "Marriage License", "I Found Sunshine", "Stoned Out Of My Mind", "I Want To Pay You Back", "We Are Neighbors", "Trouble's A Comin", "I Like Your Lovin", "24 Hours Of Sadness", "Let Me Be The Man My Daddy Was", "Give It Away", and lots more!  ~ Dusty Groove

THE CITY BOYS ALLSTARS – PERSONAL THING

Sounding like no other band, the City Boys Allstars, are three exemplary singers and ten world-class musicians based in New York Cit.  The group showcases their crack-of-dawn fresh mixture of jazz and rock, along with touches of funk, soul. Blues, and gospel on Personal Thing, their new studio album.  The sheer force of the band’s musical personality reinforces the appeal of strong, intelligent songs written by four band members, and one updated cover song, the late great Joe Zawinul’s “Birdland.” Personal Thing is every bit as stellar as the Allstars’ previous album, Blinded By The Night, a concert recording selected by DownBeat as one of the “Best Albums of 2014” and highly praised by Blues In Britain Magazine.

MATT LAVELLE / JACK DESALVO / TOM CABRERA - SUMARI

Other world art music and improvisations through space and time, and the soundtrack of twilight.  Theses phrases have all been used to attempt to describe this trio known as Sumari.  Guitarist Jack DeSalvo, hailed in The Wire magazine as “masterful”, joined Ronald Shannon Jackson’s Decoding Society in the 1980s, and has toured the world with many artists in his own musical-spirited journey. Tom Cabrera is a percussionist of striking depth.  As in-demand jazz drummer who made a specialty of the percussion family known as frame drums, Cabrera constructed a drum set which sports riq, tar, dumbeq, bodhran and various percussives about a small bass drum and hi-hat. With a sonic oeuvre that ranges from the quaking to the sublime, Tom carries the band’s rhythmicity in the best harmolodic fashion. Matt Lavelle’s haunting trumpet sound is reminiscent of Don Cherry’s and makes extreme use of the alto’s natural range, fusing it with the cry of Dolphy’s bass clarinet sound, and then into the imaginary realm of Eastern double-reeds painted New Orleans blue.  

Saxophonist Harry Allen salutes the genius of George Gershwin, Cole Porter and Duke Ellington on For George, Cole and Duke

For today's most creative jazz musicians, the work of composers George Gershwin, Cole Porter and Duke Ellington remains an inexhaustible wellspring of inspiration. On For George, Cole and Duke Harry Allen, a mainstream master of the tenor saxophone, salutes choice songs that have become mainstays of the jazz tradition. Along with his bandmates - the pianist Ehud Asherie, the bassist and vocalist Nicki Parrott and the drummer and vibraphonist Chuck Redd, as well as special guest percussionist "Little Johnny" Rivero - Allen unearths new riches from such cherished compositions as "Love for Sale," " How Long Has This Been Going On?" and "Mood Indigo." The result is a classic showpiece of mainstream swing that honors the composers while simultaneously highlighting the interpretive and improvisational skills of the performers. For George, Cole and Duke, out April 7, 2015, is the debut release of Blue Heron Records.

Allen, long a paragon of mainstream saxophone styling, is at the top of his form here, employing his creamy tone, endless creative ideas and rhythmic assurance on swinging performances and thoughtful ballads alike. With his talent for spontaneous arrangement, Allen was able to fashion the work of Gershwin, Porter and Ellington within imaginative settings that provided him and his bandmates with plenty of room for personal expression. Ehud Asherie, a style-shifting talent who has thoroughly absorbed pre-swing, swing and bop piano idioms, exhibits his ease as a fluid soloist and astute accompanist. Chuck Redd, the celebrated drummer and vibraphonist, contributes masterly performances on both instruments, penned the hip Afro-Cuban arrangement of Porter's "Love for Sale" and added his savvy as a producer. The bassist and singer Nicki Parrott, contributes rock solid bass performances and croons sweet vocals on "In a Mellow Tone," "How Long Has This Been Going On?" and "Mood Indigo," once again proves herself a mainstream jazz marvel.

"The recording session was a delight," says Blue Heron President and CD Executive Producer Michael Francis.  "The chemistry between musicians, producers and engineer was beyond exceptional.  The artists shared leadership responsibilities and collaborated equally, each contributing arrangements and ideas. A sense of high creative energy filled the air and the group took care of business - most tracks being keepers on the first take."

Francis, a passionate aficionado of Latin jazz, called in special guest "Little Johnny" Rivero, conguero with Eddie Palmieri's orchestra, to add some exciting Latin percussion on "Love for Sale," "Mood Indigo" and the delightful, if little heard, "Purple Gazelle," originally recorded on the 1963 Ellington album, Afro-Bossa.  Though Rivero had never met any of the other band members, he fit into the mix perfectly.  Little surprise, since the combination of exceptional musicians and timeless songs, could only bring out the best in any gifted player.

For George, Cole and Duke is the debut recording from Blue Heron Records LLC, headquartered in Hondo, New Mexico. Upholding the company mantra of "Artistic Integrity First," Blue Heron plans a catalogue devoted to high quality mainstream jazz, blues and Latin music.

 

THE DAVID SMITH QUINTET - IMPETUS

Impetus is the third album from the David Smith Quintet, featuring Smith's working band for the past several years, Dan Pratt on saxophones, Nate Radley on guitar, Gary Wang on bass and Anthony Pinciotti on drums.  On Impetus Smith offers six original compositions that explore subtle tensions that drive the music forward.  

The trumpeter/composer explains, "in several tunes I was looking for a tempo that was laid back enough that it created a subtle tension to move forward, like a spring that is pulled just a bit causing it to pull back." While Smith considers his compositions the foundation of his records, he is intent on finding the point of balance whereby the tune communicates a musical idea but remains open enough to allow creative space for the band to explore. 

The first three tunes of Impetus make a continuous "suite". "Moments" is an understated, lyrical melody that sets the tone for the album. "Bond" was built upon the last two chords of "Moments" with the intention of them being continuous. Smith elaborates, "as a pair of tunes they sort of needed a foil to balance them out and segueing into "The Toaster" was working on gigs so I kept it. "The Toaster" was written in tribute to a tragically unfortunate mouse." "Seven" borrows its harmony from the Allegretto second movement of Beethoven's Seventh Symphony, resulting in something very different. "Starr St" is about a rough and tumble part of Bushwick, Brooklyn. "Intersection" was another attempt to capture the energy Smith was describing earlier, with the tempo sitting back and the "F" that exists throughout the entire tune creating a subtle but building tension until the last four measures of the recording when it is finally released. 

Impetus was recorded live in a one-room studio to two-track analog tape, and also mastered directly from the tape; the mixing was completed before the band started playing. Smith wanted to capture the organic nature of the tunes and band dynamic and felt this was the best way to accomplish that. 

At times Impetus betrays a rock influence, both musically and emotionally. Smith explains, "I feel this is acknowledging a part of where I came from musically, earlier in life. It wasn't a conscious decision, but rather what came out when I tried to write honest music." From the twenty-four minute suite that opens the recording, to the resolution in the last four measures, this is an album in the truest sense.

PIANIST DAVID COOK RELEASES SCENIC DESIGN

Pianist and composer David Cook possesses the ability to compose music that allows his massive talent to shine through unimpeded, creating a bond with the listener with every note.  On May 26, Cook follows up his debut recording, Pathway (produced by Bruce Barth and released on Brooklyn Jazz Underground Records) with the release of Scenic Design, a compelling set of original music, and a brilliant duo version of Taylor Swift's "Safe and Sound" (with trumpeter David Smith), produced by Ben Wendel, and featuring his quintet of David Smith - trumpet, Ben Wendel - sax, Matt Clohesy - bass, Kendrick Scott - drums, and special guest Shayna Steele on vocals (on "I Know You Know").  In addition to leading his own bands, Cook is a first-call artist in multiple genres, working as the long time music director/pianist for seven-time Grammy Award winner, Taylor Swift, and with such notable musicians as Lizz Wright, Donny McCaslin, the late Lew Soloff, John Ellis, Nir Felder, Sunny Jain (of Red Baraat), Alan Ferber, Michael Blanco, Greg Howe, and pop artists N-Sync (during the heyday of their career), Justin Timberlake, Natasha Bedingfield, and many more.

"I'm really fortunate to have been able to record Scenic Design with Ben, Dave, Matt and Kendrick. These are 4 of my favorite musicians, all total pros that have strong and clear voices on their respective instruments . . . really all I had to do was write the music and get out of the way. The goal was for a true collective sound, and I hope this album has achieved it," said Cook. 

About the music on Scenic Design: The idea of doing a quintet recording was both daunting and exciting for Cook. He explains, "I knew that I wanted to spread the melodies out past the piano on this record, but in which direction? Is it possible to say something unique and true to the history of this music at the same time? As a starting point, I picked three of my favorite quintets - Woody Shaw with Dexter Gordon, Fred Hersch and Kneebody - and tried to write music that might exist in the middle of a triangular plain with those three points." Producer/saxophonist Ben Wendel (Kneebody) was instrumental in making this happen, as he "had so many great arrangement and orchestrational ideas; the tunes really came together once he put his ears on them," said Cook. 

Highlights on Scenic Design include, "Flower + Hope", written for a dear friend of Cook's who is facing an uphill battle with his health. "He told me what he was up against (with his typical Viking strength and wit) while standing on a street corner in Los Angeles, and looking in both directions was Flower Street and Hope Street. The juxtaposition of fighting for life in this world but spiritually being fine with any outcome was a powerful moment," explained Cook. "80s TV theme song": "I wanted to write a Keith Jarrett tune circa, 'Somewhere Before' or 'Life Between the Exit Signs', and what came out sounded more like an 80s TV theme song, so there you go," said Cook. "I Know You Know" is for Cook's daughter Caia, written by the pianist and his wife, vocalist Shayna Steele. Cook describes the inspiration behind this beautiful composition, "every parent out there knows the feeling of stepping back, taking a look at your child and being overcome with emotion that you're responsible for someone this beautiful and precious. We wanted to put music and lyrics to that moment." "'Scenic Design' is my favorite tune on the record, mostly because it allows everyone to 'paint' however they'd like. Kendrick Scott ate this one up, although that goes for every tune on the session." 

In addition to his original compositions, Cook and Wendel also arranged Cook's favorite Taylor Swift song, "Safe & Sound," Cook has been working with Taylor for the last five years and has witnessed up close how serious she is about writing, recording and performing music, while simultaneously living her life in the public eye. Scenic Design closes with the contemplative tunes, "Midwestern" and "Still", one looking back and another dealing with the present and future. "'Midwestern' is a tribute to the beauty of the part of the country where I grew up, trying to carry some of that vibe with me wherever I go," David Cook.

BONEY JAMES BRINGS IT BACK TO THE FUTURE WITH HIS NEW CD FUTURESOUL

Four-time GRAMMY nominee and multi-platinum selling sax-man Boney James continues his artistic evolution with the dynamic futuresoul. Fusing his love for vintage soul music with his mastery of modern production, Boney has created another genre-bending work following on the heels of his 2014 GRAMMY-nominated album The Beat.

“The forms I’m working with are rooted in my early influences,” says James, dropping names like King Curtis, the Stylistics and Earth, Wind & Fire. “But recently I’ve been listening to contemporary artists like Tinashé, Sam Smith and Ellie Goulding, and I’m inspired by the sound of their recordings. The production is so cool and evocative. As I started the new record, I was in my backyard studio messing around with this “gearhead” stuff I’ve collected. Ideas started flowing and it sounded like modern soul music to me. I thought to myself, ‘What is this?’… And then it hit me: ‘futuresoul.’”

His 15th CD, futuresoul contains 10 original songs produced and written or co-written by James. Released by Concord Records May 4, 2015, futuresoul features vocalist and Mint Condition frontman Stokley on “Either Way,” a collaboration enabled by Twitter. Says James, “Like my recent duet with Raheem DeVaughn, I was able to meet Stokley on Twitter and send him the music for this track. He wrote the brilliant lyric and sent me a finished vocal all via email!”

Also featured is rising-star trumpet player Marquis Hill (2014 winner of the prestigious Thelonious Monk International Trumpet Competition) on the plaintive “Far From Home.”

Other notable collabs on the record are title-cut “futuresoul,” co-written and co-produced by neo-soul mainstay Dwele, and “Drumline” and “Watchu Gon’ Do About It?” with co-writer/co-producer Jairus Mozee (Anthony Hamilton, Robin Thicke).

futuresoul is the follow-up to The Beat (2013), nominated for the GRAMMY for Best Pop Instrumental Album, which prompted The New York Times to praise “The relaxed charisma of Mr. James’ tone…”

The ‘analog’ tone of the sax combined with the ‘digital’ sounds of modern production contribute to the sonic tension that fuels futuresoul.

Born in Lowell, Mass. and raised in New Rochelle, NY, Boney became seriously interested in music in the mid ‘70s, a very vibrant and freewheeling period for popular music. “You could hear different genres all over the radio. It was a great time to be a young musician.”

Following early pro gigs, (including sideman stints with Morris Day, the Isley Brothers, Randy Crawford and Teena Marie) James released his debut album as a leader, Trust, in 1992.

Over the following 23 years James has racked up sales of more than 3 million records, four RIAA gold albums, four GRAMMY nominations, a Soul Train Award, nominations for two NAACP Image Awards and 10 CD’s atop Billboard’s Contemporary Jazz Albums chart. In 2009 Billboard magazine named him the #3 Contemporary Jazz Artist Of The Decade (trailing just Kenny G and Norah Jones).

What’s in the future for futuresoul? Already making inroads at radio with the funky “Drumline” and the sultry “Either Way,” Boney will hit the road mid 2015 and continue touring throughout 2016.

Known for blurring the lines between genres, with futuresoul, Boney is doing the same between eras.

Let’s just call it “retro music for a modern age.”

NEW RELEASES: JOE LOCKE - LOVE IS A PENDULEM; JAY W. MCGEE- GOOD FEELING; LOTTE ANKER / FRED FIRTH – THE EDGE OF THE LIGHT

JOE LOCKE - LOVE IS A PENDULUM

Love Is A Pendulem considered by the artist as his greatest recording to date, is bold and refreshing in its musical audacity. One of a handful of brilliant jazz musicians to have mastered the vibraphone, Locke flies here from heartbreaking lyrical delicacy to full blown hard-swinging ensemble work, using his instrument as an extension of his deep compositional skill and formidable technical prowess. Sit back and let Locke and his brilliant crew take you on a heartfelt and thrilling musical joyride. Tracklisting: Variation On Wisdom, Love Is The Tide, Love Is A Planchette, Love Is A Pendulem, Love Is Perpetual Motion, For Jessie Mountain, Last Ditch Wisdon, and Embrace. ~ Motema

JAY W. MCGEE- GOOD FEELING

"Good Feeling" marks the return of Jay W. McGee, one of the most interesting voices from the disco and boogie era of the mid and late Eighties. This album is Jay W. McGee’s first new recording since his last release more than 25 years ago, covering a selection from boogie to soul and from disco to gospel. The vocals for "Good Feeling" were recorded in Jay W. McGee’s hometown of Flint/Michigan, while the music was recorded and mixed in Hamburg by up and coming production team The Unbelievable Two. Releasing on various independent labels, Jay W. McGee came up with two albums  ("Over & Over" in 1981 and "Survivor" in 1988), accompanied by a couple of cult 12inch singles which still feature on genre radio and DJ playlists around the world. "Turn Me On" was officially re-issued by Légère Recordings in 2013, while "When We Party" is still a firm favorite among connaisseur DJs. Jay W. McGee started singing gospel music when he was four years old. He toured with a number of funk & soul bands through the USA and Canada during the Seventies and made some great recordings that still have a fresh impact. With "Good Feeling" he goes for an up-to-date production with true respect of his roots, aiming on the dancefloor and the mind. All ten tracks are new and original compositions by Mr. McGee himself and the production team of Julian 'Mzuzu' Romeike and Matthias 'Mucka' Morgenroth, also known as The Unbelievable Two. The styles range from the colorful disco-soul of "Whole Lotta Talk", the lo-down sexy groove of "Make Time For Love", the crazy jazz-funk of "Look Here In My Heart" to the sweet gospel soul of "Do It Right Now".

LOTTE ANKER / FRED FIRTH – THE EDGE OF THE LIGHT

Lotte Anker plays a host of different saxophones here – used in a free flurry of tones and timings next to the wonderfully creative guitar work of Fred Frith – still amazing after all these years! The set's one of those records that reminds us how wonderful improvisation can be when it's really done well – when both players are sensitive and imaginative enough to keep finding new sounds and spaces, really working in a way that's respectful of the other, yet still very individual – that rare sense of collaboration that makes the whole way more than just the sum of the parts. Titles include "Anchor Point", "Non Precision Approach Procedure", "Hallucinating Angels", "The Same Dirt", "Run Don't Hide", and "Thief Breaks Into An Empty House".  ~ Dusty Groove

Legendary soul and funk singles from Atlanta’s Richard Marks

Seven years in the making, Never Satisfied is our collection of legendary soul and funk singles by Atlanta Guitarist/Singer/Songwriter Richard Marks. This 21 track anthology follows Marks’ stylistic development, from his earliest work for the legendary Tuska label, from 1968 until approximately 1972, through his more mature releases on the Shout label and smaller regional labels like Note, Free Spirit and RSC. It also includes two tracks never released in any form, found on reels Marks had maintained in his Atlanta home.

Marks’ story is that on an unsung soul and funk hero; a guitarist, vocalist and songwriter whose number was in Al Green’s, Barry White’s and Eddie Kendricks’ rolodexes, but whose talents have only been heard in sporadic bursts since his 45s were released and disappeared into Atlanta’s urban expanse.

This is the story of a father and husband who managed to keep his family together as he gigged the third shift six nights a week. The story of a man who wished for more and whose talent is overdue for reassessment. He and his music are unknown to the majority, but to an obsessive minority, he is a lightning rod, that singular point at which numerous Southern soul and funk musicians converged and exploded, spreading wondrous music in all directions. Marks’ impeccable run of 7″ singles, released largely on tiny, local labels, are the stuff of legend, and are hen’s-teeth-rare. 

Marks died of cancer in May of 2006, never having issued an album, either in the ’60s and ’70s, when many of his peers were able to find a way to issue an LP, or in anthology form in his later years. He never granted an interview. Given the caliber of his recordings and the near complete lack of information available about him before the issue of this anthology, Marks stands out as the most mysterious talent to originate from Atlanta, a city that birthed no shortage of genius, from acclaimed worldwide (the Mighty Hannibal), obscure yet celebrated (Lee Moses) and local, but well documented (Tommy Stewart).

The release comes as a 56 page, 8.5 x 5.5″ saddle stitched book with the CD inserted into back sleeve. The book contains extensive essays on Marks’ career and is full of never-before-seen photos and ephemera from this crucial Southern soul and funk epoch.

www.nowagainrecords.com

NEW RELEASES: BRAZILIKA 20TH YEAR ANNIVERSARY DOUBLE CD CELEBRATING THE BEST OF FAR OUT: BRAZIL & BEYOND; MATTHEW SHIPP / MAT WALERIAN DUO – THE UPPERCUT LIVE AT OKUDEN; OLIVER LAKE / WILLIAM PARKER – TO ROY

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

Previous editions in the Brazilika series have seen globally celebrated compilations from Kenny Dope, Giles Peterson, 4hero and Andy Votel, all marking milestone years in the Far Out story. Celebrating the label's twentieth year, label boss Joe Davis has lovingly brought together his own retrospective. Featuring the likes of Marcos Valle, Azymuth, Joyce Moreno, Sabrina Malheiros, and many more. CD2 is a forward thinking, twenty-seven-track mix, featuring new, exclusive and unreleased material, among timeless Far Out dance floor classics, mixed by Spiritual South, who has a number of his own unreleased remixes throughout the mix. Other gems within are Theo Parrish's remix of Marcos Valle '1985', which was released last month as part of our new Brazilika Vinyl 12" series as well as productions and remixes from the likes of Mark Pritchard, Jazzanova, Paul White, 4hero, Ashley Beedle and many many more. Tracklist: Azymuth - Brazymuth; Marcos Valle - Escape; Sabrina Malheiros - Brisa Mar (Nicola Conte Rework); Joyce & Elza Soars - Samba Da Silvia; The Ipanemas - Imperial; Clara Morena - Meu Samba Torto; Nina Miranda and Chris Franck - Agua; Democustico - Vagalume; Mauricio Maestro & Nana Vasconcelos - Jungle Bells; Nana Vasconcelos - Clemintina; Kirk Degiorgio's Offworld - Ups And Downs;

Azymuth - In My Treehouse; Arthur Verocai - Abertura; Banda Black Rio & Caetano Veloso - Aos Pes do Redentor; Jose Roberto Bertrami - Brilliante; and Spiritual South - Brazilika Bonus Mix (Continuous 27 track DJ Mix).

MATTHEW SHIPP / MAT WALERIAN DUO – THE UPPERCUT LIVE AT OKUDEN

The reed work of Mat Walerian really warms up the piano of Matthew Shipp here – as Mat provides these beautiful lines on alto, bass clarinet, flute, and soprano clarinet – which have a resonant quality that really seems to open up Shipp's music too! We've really moved back towards enjoying Shipp in recent years – and the sense of persona in records like this is a good reason why – almost a renewed soul that we haven't heard in years, unlocked in the right setting like this. Titles include "Black Rain", "It's Sick Out There", "Blues For Acid Cold", "Free Bop Statement One", and "Love & The Other Species".  ~ Dusty Groove

OLIVER LAKE / WILLIAM PARKER – TO ROY

Beautiful duets between Oliver Lake and William Parker – dedicated to the late Roy Campbell, and a wonderful tribute to his genius! This may well be one of the best performances we've heard from Lake in years – a clear, clean, unfettered way to really return to his strengths on alto sax – next to these warm, round basslines from Parker that are always a treat – but which again, seem to have even more power here than on other recent albums. Most tunes are originals, written by either of the pair – and the match of souls and spirits is tremendous throughout. Titles include "Check", "Victor Jara", "Variation On A Theme Of Marvin Gaye", "To Roy", "Light Over Still Water Paints A Portrait Of God", and "Bonu".  ~ Dusty Groove

NEW RELEASES: THOMAS CLAUSEN – BLUE RAIN; MATANA ROBERTS - COIN COIN CHAPTER THREE – RIVER RUN THEE; THE COOKERS QUINTET – VOL. 2

THOMAS CLAUSEN – BLUE RAIN

An album that's hitting strong on just about every level – not just the well-crafted piano work of Thomas Clausen, but also the full, rich bass of Jesper Lundgaard – who seems to match every moment of Clausen's inspiration, and fill things in with these tones that are completely captivating! Drummer Billy Hart makes a strong contribution too – that new sense of space and swing that we've heard on some of his own great records of late – and the group also gets wonderful tenor from Tomas Franck, who brings an edge that we don't always hear on Clausen's trio dates – a really wonderful addition to the group. Titles include "Leaves", "Blue Rain", "Punk Monk", "Prelude To A Kiss", "Prism", and "Things You Are".  ~ Dusty Groove

MATANA ROBERTS - COIN COIN CHAPTER THREE – RIVER RUN THEE

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

THE COOKERS QUINTET – VOL. 2

The Cookers Quintet definitely earn their name this time around – serving up an old school hardbop groove that would have been right at home on 60s Blue Note or Prestige – but which is maybe even more compelling here in a contemporary setting! As before, these guys have a very strong sense of rhythm – similar to some of our favorite artists on the Ricky Tick label – which means an acoustic, live approach to jazz, but one that's also really focused on a soulful groove as well – the sort that's sure to make some of these numbers perfect for the jazz dance underground. There's great vocals on a few cuts too – a number each sung by Johnny O'Neal, Leron Thomas, and Dawn Pemberton – and titles include "Hot For Preacher", "Sheriff", "The New Deal", "The Crumpler", "This Is The Thing", and "Blindside".  ~ Dusty Groove

Guitar Legend DAVID TORN To Tour US In Support Of New Album ONLY SKY

Ever-intrepid guitarist, producer, improviser, film composer and soundscape artist David Torn will embark on his first solo tour of the US since the mid-nineties (see itinerary below). The 22-city tour is in support of “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.

“only sky” is Torn’s first ECM release since 2007’s 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 sorted and mixed in Torn’s own mad-scientist lair), “only sky” is an album to get lost in, over and again.

Says David, “For the 'only' sky tour, I'll be performing as I did for the recording: playing the electric guitar, bending its effect to how I might hear it fit these early days of the 21st Century; maybe I'll even convince it to kick some ass, too! Stranger things have happened.”

Across his career, Torn has worked with jazz improvisers (Jan Garbarek, Tim Berne, Don Cherry), film composers (Ryuichi Sakamoto, Carter Burwell) and art-pop singers (David Bowie, David Sylvian). He has also composed music for several films including “Friday Night Lights”, “Lars and the Real Girl”, “Everything Must Go”.

“Torn has a knack for creating music that is at once ethereal and gestural…Torn’s integration of ephemeral realism and celestial surrealism is palpable, providing the true ebb and flow of only sky’s dramatic arc.” - Wilbur MacKenzie – The New York City Jazz Record

“To call him a hero of the electric avant-garde would be accurate but incomplete.” - Nate Chinen, The New York Times

“Go ahead and call the wily guitarist a master of chopped 'n' screwed jazz schema. Onstage the mad scientist and his new pals find a way to balance the aggression with the reflection. Wildly tantalizing textures.” - Village Voice New York

David Torn tour dates:

May 08 - New York, NY at Subculture

May 10 - Hamden, CT at The Ballroom at The Outer Space

May 11 - Marlboro, NY at The Falcon

May 12 - Dunellen, NJ at NJ Proghouse @ Roxy & Dukes

May 13 - Cambridge, MA at Regattabar

May 14 - Philadelphia, PA at Philadelphia Art Alliance

May 16 - Portland, OR at Holocene

May 17-18 - Seattle, WA at Storyville (Pike Place)

May 19 - San Francisco, CA at Slim’s

May 20 - Sacramento, CA at Gold Lion Arts

May 21 - Los Angeles, CA at Blue Whale

May 22 - Denver, CO at Walnut Room

May 26 - Minneapolis, MN at Cedar Cultural Center

May 27 - Milwaukee, WI at The Jazz Estate

May 29 - Chicago, IL at Constellation

May 30 - Cincinnati, OH at The Monastery

May 31 - Pittsburgh, PA at Club Café

June 1 - Washington DC at Union Arts

June 3 - Baltimore, MD at The Windup Space

June 4 - Carrboro, NC at Cat’s Cradle

June 6 - Asheville, NC at Streamside Concerts

June 7 - Atlanta, GA at Red Light Café

Ivo Perelman Returns to Recording with Release of Three New Albums: Callas, Counterpoint and Tenorhood

It's been almost a year since Ivo Perelman has issued a new recording. For most artists, that would represent a normal release schedule; for Perelman, who had produced 20 or so albums in the previous four years, it marks a significant gap in his creative output. Now come three new albums (Callas as a double-CD, Tenorhood and Counterpoint) at once, which for most artists would signify an attempt to catch up after the year's inactivity. For Perelman, however, it merely returns him to his regular schedule. 

Perelman's latest collection of simultaneous releases, all on Leo Records, celebrate artistic heroes new and old, and musical relationships that fall somewhere in the middle. Taken together, they capture much of this remarkable artist's range of technique, emotion, and imagination; any one of them, taken separately, stands as a significant addition to his by now overwhelming discography. They also announce to the listening public that, after a significant physical crisis, Perelman is back in full force. 

In 2014, Perelman began to experience pain and bleeding from his mouth. Thinking this signified dental problems, he arranged to visit his native Brazil for oral surgery. But before his trip, he learned that the problem actually originated in his larynx, which had suffered damage from Perelman's preternatural reliance on, and mastery of, the tenor saxophone's altissimo register - the extremely high notes above the instrument's written range. Perelman has made the use of these notes an integral part of his hyper-expressive, enormously flexible saxophone style; indeed, he has brought a previously unimagined command and control to these timbral frontiers. Perelman discovered that his methodology had stressed the larynx; moreover, the stress bore a distinct similarity to that experienced by vocalists, and specifically operatic singers. 

Temporarily putting aside the saxophone, Perelman began to contact singers who had suffered the same condition. "I started to take voice lessons, and lessons in breathing technique - and I started to heal," he explains. "If I hadn't done this, I would not be able to play the way I want, and to continue to grow. Now I breathe as if I were a singer; I think as if I am a singer." By incorporating these changes, and by reconstructing his embouchure, Perelman soon healed (and without the services of a dentist). During this time, he began listening intently to opera, and eventually to the recordings of Maria Callas, the "new hero" that inspired his double-CD Callas, featuring Perelman's longtime collaborator Matthew Shipp on piano. 

Each of the utterly spontaneous duo performances in this set bears the name of a character portrayed by Callas, the Greek-American diva whose meteoric and tumultuous career in the 1950s remains the stuff of artistic legend. Among the title protagonists brought to mind by these improvised arias are Medea, Lucia di Lammermoor, Norma, and Aida, as well as Mimi from La Bohéme and Rosina from Barber of Seville. Perelman's music has always displayed an almost operatic nature, in its grand emotions and in the epic proportions of his improvisations. But now, as he points out, the influence of Callas has given his sound "a subtle new vocal quality. 

"We saxophonists have this thing with reeds: 'You're only as good as your reed.' The free-flowing perfection of a perfect reed is like nirvana for us. And Callas is like the perfect reed, the perfect vibration, because of the perfect use of her vocal apparatus, brought about by her superhuman dedication. This has deeply affected my approach." For Ivo Perelman, Maria Callas is more than a "new hero," and her music more than a helpmate in his recovery; she has become a soulmate across centuries. "I fell in love with her," he says, "It's as if know her. I know what she felt; the feelings she had, I have felt." 

Whether because of Callas or due to his joy in the resumption of performing, Perelman's saxophone creations have perhaps never had more emotional resonance. What's more, on this album his collaboration with Shipp has achieved a new high point in what was already a stunning example of musical clairvoyance. Shipp's relationship to Perelman has previously been described as "the Lewis to his Clark" on a "shared expedition of discovery." On Callas, it goes even further, in the words of Leo Records founder Leo Feigin, who writes: "Nobody sounded like this before. These are not just free improvisations; it is a kind of new genre. It is not two people playing but one. It is more than telepathy - so organic, so natural."

Upcoming Ivo Perelman Performances:

July 17 / Michiko Rehearsal Studios / New York, NY

Ivo Perelman · Callas,Counterpoint,Tenorhood

Leo Records  ·  Release Date: May 26, 2014 

www.IvoPerelman.com