NEW RELEASES: ADAM ROGERS / DAVID BINNEY - R&B; RON CARTER AND THE WDR BIG BAND - MY PERSONAL SONGBOOK; JACQUI NAYLOR - SUNSHINE AND RAIN

ADAM ROGERS / DAVID BINNEY - R&B

From his many Criss Cross dates as a leader to his extraordinary sideman work with Chris Potter, the late Michael Brecker and many more, Adam Rogers continues to blaze a path as one of jazz's most compelling guitarists. His longtime associate David Binney, alto saxophone great and an influential composer and producer, has also distinguished himself with numerous innovative sessions for Criss Cross and others. On 'R&B', Rogers and Binney unite to co-lead a lean and hard-swinging quartet with bassist Reuben Rogers (no relation) and drummer Gerald Cleaver. In a departure from their usual focus on original material, Rogers and Binney aim straight for bebop, ballads and classics by Thelonious Monk, Freddie Hubbard and Wayne Shorter, among others. The feel is rock-solid, the improvisations bracing. It's a fresh, unexpected take on the jazz tradition, viewed through a modern prism. Personnel: Adam Rogers (guitar), David Binney (alto saxophone), Reuben Rogers (bass), Gerald Cleaver (drums). ~ Amazon

RON CARTER AND THE WDR BIG BAND - MY PERSONAL SONGBOOK

Ron Carter's elegant, eloquent and delicate tone, as well as his extraordinary sense of timing, has informed generations of bassists, and has had a tremendous impact on Jazz as a whole. 'My Personal Songbook' is the first recording of the grand master's original compositions, performed by a large ensemble, to be released. Given that the outcome is so successful one may wonder why he's so rarely worked in this setting - it was only in 2011, after all, that he formed a big band of his own. Includes: Eight, Receipt, Please, Ah Rio, Doom Mood, Blues For D.P., Wait For The Beep, Little Waltz, For Toddlers Only, Sheila's Song, and Cut and Paste. ~ Amazon

JACQUI NAYLOR - SUNSHINE AND RAIN

Jacqui Naylor is not an easy artist to categorize. There are times when she performs straight-ahead vocal jazz, but at other times she favors more of a folk-rock/adult alternative approach. Depending on the mood she is in at a given moment, the northern Californian can bring to mind anyone from Cassandra Wilson or British jazz vocalist Claire Martin to Sarah McLachlan or Shawn Colvin -- she is as comfortable among jazz improvisers as she is in the singer/songwriter world. During one of her live performances, Naylor has no problem singing smoky jazz one minute and folk-rock or adult alternative the next -- and there are times when she blurs the line between the two. Naylor, who is very jazz-friendly but far from a rigid jazz purist, brings a long list of influences to her introspective work -- influences ranging from Billie Holiday, June Christy, and Nina Simone to Tracy Chapman, Natalie Merchant, Carole King, and Sheryl Crow. That is an unlikely combination of influences, certainly, but it is one that works well for Naylor (who has used all of them to fashion a personal, recognizable style of her own). Naylor has a highly diverse repertoire; on-stage, she is likely to perform a Tin Pan Alley standard right after something by the Rolling Stones or Talking Heads (in addition to performing songs of her own). Naylor is not an overly aggressive or forceful type of singer; she favors subtlety, restraint, and understatement, which are things that Holiday and Christy (one of the goddesses of jazz's cool school) were both masters of. ~ Amazon

NEW RELEASES: RICKIE LEE JONES – THE OTHER SIDE OF DESIRE; PAAL NILSSEN-LOVE LARGE UNIT - ERTA ALE; OLIVIA HIME - E AMIGOS

RICKIE LEE JONES – THE OTHER SIDE OF DESIRE

Her latest, The Other Side Of Desire was written, recorded and rooted in the city of New Orleans, where Jones lives on the opposite side of the street made famous by Tennessee Williams. Produced by John Porter (of Roxy Music) and Mark Howard, this is the first new music Jones has written in over a decade. “This work is inspired by many years of sitting with all the events of my life until I had something to paint with,” says Rickie. “I came to New Orleans to write and to live a different way than what I have known on the west coast.”  Tracks include: Jimmy Choos, Valtz De Mon Pere (Lovers’ Waltz), J’ai Connais Pas, Blinded By The Hunt, Infinity, I Wasn’t Here, Christmas In New Orleans, Haunted, Feet On The Ground,. Juliette, and Finale: (A Spider In The Circus Of The Falling Star).

PAAL NILSSEN-LOVE LARGE UNIT - ERTA ALE

Drummer Paal Nilssen-Love is a musician we're used to hearing in smaller groups, and duo and solo sessions – but this time around, he provides a stunning debut of his Large Unit – an 11 piece ensemble that really brings out a whole new sound in Paal's music! Much of the record is improvised, but there's also a larger sense of structure too – that balance between ensemble direction and individual freedom that's run through groups from the London Jazz Composers Orchestra to the Peter Brotzmann Chicago Tentet! The range of expression is wonderful – much more full of color and tonal elements than usual projects we've heard from Paal – definitely a new step forward – and musicians include Thomas Johansson on cornet and flugelhorn, Mats Aleklint on trombone, Kasper Vaernes on alto and soprano, Klaus Ellerhusen Holm on alto and baritone, Borre Molstad on tuba, Ketil Gutvik on guitar, Lasse Marhaug on electronics and turntable, Jon Rune Strom and Christian Meass Svendsen on basses, and Andreas Wildhagen and Nilssen-Love on drums and percussion.  ~ Dusty Groove

OLIVIA HIME - E AMIGOS

Olivia Hime sings here with some key "amigos" – on a record that continues that wonderfully collaborative spirit we love in Brazilian music! American artists hardly ever give themselves so openly – save, perhaps, for hip hoppers looking to climb up the ladder with an appearance on another record – but Brazilian singers and musicians are always ready to help each other out – to check their egos at the door, and come together beautifully on records like these – which often stand out as some of the most special moments in their careers! Hime's great on her own – and we love her other Biscoito Fino records – but there's really something special going on here, as she works alongside Milton Nascimento, Edu Lobo, Chico Buarque, Dory Caymmi, Djavan, and Lenine – all artists whose presence only seems to make Olivia more at home in her own space. Titles include "Ultimo Retrato", "Cara Bonita", "Fortaleza", "Morena Do Mar", "Pra Voce Que Chora", "Barbara", and "Corpo Marinheiro".  ~ Dusty Groove

 

New Darlene Love Album In Decades, 'Introducing Darlene Love' Due Out This Fall / New Album Features Songs Written By Elvis Costello, Bruce Springsteen, Jim Webb, Linda Perry, Desmond Child, Joan Jett, Barry Mann & Cynthia Weil, And Others

Guitar great, artist, producer, and E Street Band icon Stevie Van Zandt has signed seminal pop legend Darlene Love to his Wicked Cool label, partnering with Columbia Records to release a new album by Love coming this fall, titled Introducing Darlene Love.  Van Zandt arranged and produced the album, enlisting a star-studded cast to contribute songs to Love's return to Marquee-pop music making, including, among others, Elvis Costello, Bruce Springsteen, Stevie Van Zandt, Jim Webb, Linda Perry, Desmond Child, Joan Jett, and legendary songwriting team Barry Mann and Cynthia Weil, who for more than five decades have reigned as one of the most influential songwriting duos in history.

The highly anticipated album will be released in early autumn, with Rock and Roll Hall of Famer Love imbuing new and classic songs with her signature dynamic vocal delivery that the New York Times has hailed as "a thunderbolt voice embedded in the history of rock n' roll…" and Rolling Stone has called "a rare instrument sturdy enough to vault over Phil Spector's 'Wall of Sound.'" 

The epic E Street Band guitarist commented on the forthcoming release: "Darlene's legendary status is well deserved but I felt the time was long overdue to show a younger generation WHY she has earned that reputation.  Partnering with Columbia Records is a dream come true because now I know the world will hear her."

Love's five-decade career spans some of the greatest signature moments in music, with the Los Angeles native nurturing her talent early as a member of the Blossoms, a local trio who began providing backup vocals at recording sessions for artists such as Sam Cooke and Bobbie Day. The Blossoms also were featured as part of the house band for the popular '60s music show Shindig, backing up many of the performers who appeared on the series. 

Love would go on to become one of the most sought-after background singers in music history, recording with Elvis Presley, Frank Sinatra, Dionne Warwick, The Righteous Brothers, and dozens of other vocal giants throughout her career. Her early work with iconic producer Phil Spector on songs such as the pioneering "He's A Rebel," "He's Sure The Boy I Love," and "Why Do Lover's Break Each Other's Hearts," would garner her legend status. She is featured in the 2013 Academy Award winning documentary '20 Feet From Stardom,' chronicling the behind-the-scenes lives of background singers. The accompanying album won a 2014 Grammy in the Best Music Film category.     

The prolific Van Zandt creates a compelling production aesthetic on Introducing Darlene Love, echoing the classic recording style of many early '60s pop standards on the forthcoming Columbia Records/Wicked Cool release, available everywhere this fall.

~Columbia Records

Newport Jazz Festival Celebrates 60 Years of Miles Davis on New "Storyville" Stage, August 1-2

When a teenage George Wein regularly left his parents' home in Newton, MA, to sneak down to the Big Apple to catch concerts on legendary 52nd Street, he had no idea that his love for jazz would lead to a life-long music career, including owning Storyville, a world-class jazz club in Boston that was home to every major jazz star, and creating the iconic Newport Jazz Festival. 

Wein also built enduring friendships with some of the world's leading musicians. Among his friends was trumpet player Miles Davis, whom he first met in 1952 when they were both beginning to make names for themselves.  Miles brought down the house at Storyville, whenever he performed there; and he received the same rave reaction on the stage at the second annual Newport Jazz Festival in scenic Newport, RI. 

On August 1-2 during the Newport Jazz Festival presented by Natixis Global Asset Management, Wein re-imagines Storyville on a new Festival stage located in the former Yachting Museum at Fort Adams State Park. Grammy Award®-winning author and music historian Ashley Kahn will curate two seminars each day on the renowned trumpet player, in celebration of the 60th anniversary of Davis' first performance at Newport on July 17, 1955. 

Highlights of the Miles Davis tribute include an interview with Wein conducted by New York Times critic Nate Chinen; a celebration of Miles and the St. Louis trumpet tradition; and a discussion of Miles' romance with electric guitars. There will also be a playback of music from the new Columbia/Legacy Recordings box set Miles Davis at Newport 1955-1975: The Bootleg Series Vol.4, with co-producer of the collection - Grammy Award®-winning producer Steve Berkowitz and consultant Nell Mulderry - Miles' nephew, drummer Vince Wilburn, Jr., and Miles' son Erin Davis.

Miles Davis at Newport 1955-1975 will be available everywhere on Friday, July 17 - 60 years to the date since Davis' breakthrough performance at Newport in 1955 - through Columbia/Legacy Recordings, a division of Sony Music Entertainment.

The full schedule features:

Saturday, August 1 - 1:00-2:00 pm

MILES & GEORGE: Wein talks about his long relationship with Miles to Nate Chinen, co-writer of Wein's autobiography, Myself Among Others: A Life In Music,and also New York Times critic.

  

Saturday, August 1 -  3:15-4:15 pm

MILES & NEWPORT: Every time Miles Davis performed under the banner of the Newport Jazz Festival - between 1955 to 1975 - his groups delivered historic performances, all of which were recorded. MILES DAVIS AT NEWPORT 1955-1975: THE BOOTLEG SERIES VOL. 4 is the title of a new four-CD set featuring a musical overview of Miles' relationship with Newport Jazz. Tasty excerpts from the collection will be played in addition to discussions with co-producer Steve Berkowitz, packager Nell Mulderry, Miles' nephew, drummer Vince Wilburn, Jr., Miles' son Erin Davis, and moderator Ashley Kahn.

Sunday, August 2 - 1:00-2:00 pm

MILES & THE ELECTRIC GUITAR: Miles' long romance with the sound of the electric guitar began in the mid-1960s when he asked George Benson to sit in on a recording session, and was shoved into high gear when the rock revolution of the late '60s hit. He began playing his trumpet through a wah-wah guitar pedal, and his lineups featured stars of jazz guitar as John McLaughlin, Pete Cosey and Reggie Lucas, as well as John Scofield, Robben Ford and Mike Stern. Guitarist and festival performer Mike Stern, Rolling Stone journalist David Fricke, and author and critic Bill Milkowski join moderator Ashley Kahn to discuss and play examples of Miles' guitar infatuation.

  

Sunday, August 2 - 3:15-4:15 pm

MILES, CLARK TERRY & ST. LOUIS TRUMPETERS: Miles' first and most enduring hero was trumpeter Clark Terry; both were residents of St. Louis and were products of that city's long-standing trumpet tradition. Terry passed away in the past year just as the documentary Keep On Keepin' On was released. Trumpeters and festival performers Jon Faddis and Randy Sandke join moderator Ashley Kahn in celebrating Terry, Miles and other St. Louis trumpet stars with music and video excerpts.

  

In addition to the celebration of Miles Davis, Storyville will feature piano performances by Helen Sung, Christian Sands and the 11-year old prodigy, Joey Alexander, on Saturday, August 1, andAaron Diehl, Frank Kimbrough and Giorgi Mikadze on Sunday, August 2.

George Wein's Storyville opened in 1950 in Boston's Copley Square Hotel.  A nearly 200-seat room  frequently filled with dynamic artists and dedicated jazz fans, the club launched with Bob Wilber and went on to present some of the world's most renowned jazz artists, including Duke Ellington, Dizzy Gillespie, Lester Young, Louis Armstrong, Billie Holiday and Miles Davis. For a decade, the club was the place to be in Boston. As George wrote in his book about the original club, the new stage, Storyville, at the Newport Jazz Festival won't have a "bad seat in the house;" and when you leave to go to another stage, the producer hopes you will share his feeling when Satchmo first played Storyville: "Life was very, very beautiful right there and then."

The 2015 edition of America's first annual jazz festival, which takes place July 31-August 2 at Fort Adams State Park and the International Tennis Hall of Fame at the Newport Casino, will feature Chris Botti, Cassandra Wilson, Jamie Cullum, Snarky Puppy, Maria Schneider, Arturo Sandoval, Dr. John, Jack DeJohnette: Made in Chicago, Kenny Garrett, Billy Childs, Arturo O'Farrill, Fred Hersch, Cecile McLorin Salvant, Jon Batiste, Kneebody, Hiromi, Michel Camilo, Jon Faddis, James Carter, Christian McBride, Bill Frisell, Mike Stern/Bill Evans Band, Ambrose Akinmusire, Tom Harrell, Pat Martino, Matana Roberts, John Hollenbeck,  Ms. Lisa Fischer and Grand Baton and many others.

For more information on the Newport Jazz Festival presented by Natixis Global Asset Management, go to www.newportjazzfest.

Panist Yelena Eckemoff Reaches New Heights Working with Norwegian Dream Team of Arild Andersen, Jon Christensen, and Tore Brunborg on Everblue

When pianist Yelena Eckemoff released Cold Sun (L & H Production, 2010) - a trio date with drumming legend Peter Erskine and Danish bass whiz Mads Vinding - the jazz world was introduced to a startlingly fresh voice destined for great things.  Over the course of the six albums that followed, Eckemoff lived up to that promise, delivering organically crafted music reflective of her classical background, fascination with the natural world, poetic soul, communicative spirit, and overall open-mindedness.  Now, Eckemoff is poised to make even more waves with the spellbinding Everblue, her third in-studio encounter with Norwegian bass icon Arild Andersen and her first musical meeting with two other Norwegians of note - drummer Jon Christensen and saxophonist Tore Brunborg. 

Those familiar with the background of Eckemoff's musical partners will likely be aware of their shared history, as Andersen and Christensen were both key players in Jan Garbarek's groundbreaking musical odysseys in the early '70s and all three men were involved in the band called Masqualero.  But none of that has to do with Eckemoff's motives for joining forces with this Norwegian dream team.  Instead, she simply notes that she chose to work with these musicians because they "would be the best match to interpret the ideas for the Everblue project."

The musical affinity that exists between Eckemoff and Andersen is already abundantly clear, having been demonstrated on two beautifully rendered trio outings-Glass Song (L & H Production, 2013), with Peter Erskine on drums, and Lions (L & H Production, 2015), with Billy Hart on drums. On Everblue, their rapport is deepened and broadened, as both players seem to resonate sympathetically throughout.  While Eckemoff has worked with a number of fine bassists in the past, including Vinding and George Mraz, her relationship with Andersen helps to take her work to another level; it's a relationship that, she notes, plays out like "an interactive conversation." 

In summing up her reasoning for choosing to bring Christensen and Brunborg into her musical orbit on Everblue, Eckemoff cites both players' elemental qualities:  she likens Christensen to "an ocean" and she views Brunborg as "the voice of nature: animals, birds, winds, and ghosts."  When merged with her own "wondering and contemplative spirit" and Andersen's deeply resonating bass work-"a bridge between all of us," according to the architect herself-the results are mesmerizing.

With Everblue, Eckemoff doesn't simply present a set of tunes: she presents an overarching musical concept that guides this voyage.  "Part of our human consciousness constantly searches and yearns for the divine, unspeakably beautiful, eternal," she notes.  "In my world, I call this place Everblue."  It's a concept and a world that's plainly laid out in her poetry and music, as everything is drawn around beaches and oceans.   And it's a concept within that concept-the search for beauty-that informs this journey of faith and discovery.

From the first reflective notes of the title track, it's clear that the value of this music is in the travel.  As that number unfolds, there's prayerful saxophone work to observe, glistening sounds to admire, and rustling percussion to behold.  Thoughts of "cool sapphire light," "azure skies," and a "cobalt ocean"-all mentioned in the "Everblue" poem-come through clearly in the music.  With "All Things, Seen And Unseen," Eckemoff establishes a firm presence, providing counterpoint and communing with the musical spirits and her band mates.  Here, Christensen manages to position his cymbal work against the beat and Andersen manages to achieve an intriguing duality that carries across the album: he comes off as a commanding force while also managing to exist as a wholly malleable musical entity. 

Eckemoff brings a touch of minimalism into the picture with her rolling triplets on "Waves  & Shells," a number that can be said to be "moving" in more ways than one.  Some call-and-response interaction bookends the piece, yet it's not central to the story.  More important are Christensen's mid-track percussive serenade and Andersen's thoughts of the moment.  From there, it's off to "Skyline," a number that ebbs and flows in organic fashion as musical voices gently lap against one another and starry-eyed piano charms and disarms, and "Sea-Breeze," a world built with broken eighth-note lines, cymbal gestures delivered in the nooks between beats, bright thoughts, and strong solo work from Eckemoff and Andersen. 

"Prism" and "Man," arriving next in the running order, both come from the musically fertile mind of Arild Andersen.  By including these pieces, Eckemoff makes a slight departure from her previous releases: she exhibits a high level of trust, as this marks the first time that she's included somebody else's work on one of her jazz albums.  That trust pays off handsomely in this case.  Both pieces, while originally written for other settings, manage to sonically embody the philosophy behind this album.  "Prism" was originally recorded on The Triangle (ECM, 2004)-a trio outing that found Andersen working with pianist Vassilis Tsabropoulos and drummer John Marshall.  Here, with Christensen and Brunborg, Andersen notes, "it felt natural to do the song looser and more free in tempo."  This change in direction gives the piece a wholly different character, as Eckemoff and company deliver a dose of abstract realism, with lightly rippled gestures, peaceful moments of clarity, and highly pronounced colors coming to the surface.  "Man," Andersen states, "was written for a short film some years back and I had never recorded it before." The bassist admits that it never struck him as being a jazz vehicle, but this band manages to shape it as such. Pockets of energy seem to magically emerge and then recede into the distance on this fascinating number. 

The remaining tracks, as with the aforementioned material, all highlight the simpatico sensibilities of these players and their individual talents.  "Abyss" brings the Eckemoff-Andersen relationship into sharp focus; "Ghost of The Dunes" penetrates, with Eckemoff's two-handed angular work and a strong sense of connectivity between Brunborg and Andersen on display; and "Blue Lamp" is a patient and elegant sendoff, complete with firm yet pliant gestures.  In most of those cases, and on nearly every track on the album, Eckemoff manages to present melodically lucid thoughts bathed in ethereal waters.

Yelena Eckemoff Quartet - Everblue EPK

Yelena Eckemoff · Everblue

L&H Production  ·  Release Date: August 21, 2015

yelenamusic.com

Kamasi Washington Announces Tour in Support of Critically Acclaimed Album, The Epic

"...this saxophonist-composer is unusually well poised to secure the attention of listeners who have previously been uninterested in jazz." - Pitchfork

"The most ambitious jazz album to arrive in ages..." - iTunes

"In a millennium largely absent of anything new or captivating in the jazz idiom,

Washington has just unleashed a musical hydra grounded in respect and intimate knowledge of the past and striking far out into a hopeful future." - Variety

  

"Jazz fusion that rockets everywhere from electric Miles groove to Sun Ra sputter, from velvety smooth to hardcore squawk - and still sounds as future-minded as any hip-hop or experimental electronic LP out." - Rolling Stone

Kamasi Washington U.S. Performances:

July 30 / Neumos / Seattle, WA

July 31 / Pickathon Festival / Happy Valley, OR

August 6 / Chop Shop / Charlotte, NC

August 7 / Motorco / Durham, NC

August 8 / Richmond Jazz Festival / Richmond, VA

August 9 / San Jose Jazz Summer Fest / San Jose, CA

August 20 / The Sinclair / Boston, MA

August 22 / Blue / Portland, ME

August 24 -­ 25 / Blue Note Jazz Club / New York, NY

August 26 / Howard Theatre / Washington, DC

August 27 / World Café Live / Philadelphia, PA

August 29 / Soundstage / Baltimore, MD

September 15 / The Smith Center / Las Vegas, NV

September 18 / Harlow's / Sacramento, CA

September 19 / Warfield Theatre / San Francisco, CA

Kamasi Washington International Performances:

November 4 / Bird / Rotterdam, Holland

November 5 / Bitterzoet / Amsterdam, Holland

November 6 / Greunspan / Hamburg, Germany

November 7 / So What's Next Festival / Eindhoven, Holland

November 8 / Enjoy Jazz Festival / Mannheim, Germany

November 9 / Locomotiv / Bologna, Italy

November 10 / Monk Club / Rome, Italy

November 11 / Tunnel / Milan, Italy

November 13 / Lantern / Bristol, UK

November 14 / EFG London Jazz Festival / London, UK

November 15 / Trabendo / Paris, France

November 16 / AB Club / Brussels, Belgium

November 17 / Club Bahnhof Ehrenfeld / Cologne, Germany

November 18 / Unterfahrt / Munich, Germany

November 21 / Le Guess Who Festival / Utrecht, Netherlands

November 22 / Neue Heimat / Berlin, Germany

November 23 / DR Concert House 2 / Copenhagen, Denmark

November 24 / Victoria / Oslo, Norway

November 25 / Fasching / Stockholm, Sweden

November 26 / Nefertiti / Gothenburg, Sweden

November 27 / Folken / Stavanger, Norway

November 28 / Verftet / Bergen, Norway

Ben Liebrand's Iconic Groove, capturing those bass lines, riffs and rhythms that move the dance floor, features James "D-Train" Williams, Barbara Tucker, Cerrone & more...

25 years after 'Styles', Ben Liebrand releases his new artist album entitled - Iconic Groove. This is an album capturing those bass lines, riffs and rhythms that move the dance floor. Think of it as an album covering every aspect of ones weekend, from getting ready to go out, the trip to the venue in the limo, trying to get there on time, the people you meet, the artists you see, the moves you make all the way till you see the sunrise after closing time.

The tracks are inspired by all that Liebrand loves, along with collaborations alonf the way with Tony Scott, James D'Train Williams, Cerrone and many more. 

Using the latest technology 'Iconic Groove' was nevertheless recorded the oldskool way starting with real bass guitars & rhythm guitars sessions, adding horns and live rhythm elements. Overlaying with Iconic synthesizer sounds from Moog, Korg, Roland, and many more capturing the early years of electronic music with captivating sequence patterns and sweeping modulating pad sounds.

Ben's inspiration is clearly audible with collaborations of icons like Cerrone and James D-Train Williams, Tonys Scott and more. With a broad selection of dance ranging from super Funky through Disco to throbbing sequencers!

Ben Liebrand - Iconic Groove 

2CD release • 124 min run-time • 17 brand new productions

WEEKEND feat. James “D-Train” Williams

WE ARE THE NIGHT feat. James “D-Train” Williams

GET ON UP feat. Caroline Dest

DON’T STOP

BOOGIE Feat. Barbara Tucker

VIP PASS (LIMO INCLUDED) feat. Joel “Spanky” Gray

SUNRISE

TO THE VENUE

INTO THE LIGHT

DANCER

MISTER DJ feat. James “D-Train” Williams

DISCOTHEQUE feat. Tony Scott

ALL THE WAY feat. Tony Scott

LOVE Feat. Caroline Dest

ON AND ON

CAN YOU HEAR ME feat. Erica Young

CLOSING TIME

Featured This Week On The Jazz Network Worldwide: American Songbook Vocalist, Ken Greves with his new CD “Night People”

Ken Greve’s third recording,“Night People” embodies the language of love in an American Songbook style of performance that personifies the journey of the high’s and low’s of finding joy on the other side of disappointment.

“Ken Greves has been a friend to The Jazz Network Worldwide for years and has shared his last two recordings with us. We are excited to jump on his bandwagon once again featuring his latest recording of “Night People”. The high caliber camaraderie of musicianship was beautifully executed on these timeless classics. Musical director Frank Ponzio on piano, Peter Donovan on bass and drummer Vito Lesczak are a cohesive force, giving Ken the perfect backdrop to sit comfortably in the artistic seat of driving the deep reflection of the aspects of love and all its sides” says Jaijai Jackson of The Jazz Network Worldwide.

“Night People is an homage to my early youthful days, when I haunted and habituated the night scenes and nightscapes searching for the unnamable thing or experience. This divine restlessness was always seeking newness, satisfaction, release, and ultimately peace.” says Greves.

For Ken, the lyrics are the jewel for which the music provides the beautiful setting. This is not to say that sheer musicality does not play a major part in this music. Ken’s approach in both the arrangements and the manner in which he blends his superb vocal artistry with his musicians is of the highest order, fully conceived within the concept of synergy that is essential to the greatest tradition of jazz. – Marty Khan, OutVisions “Night People”

“The performance of the ensemble is first rate, responsive in every way and, if anything even more remarkable is the work of the vocalist, Ken Greves, displaying an exceptional expressive range of tone and dynamic.” ~ Raul da Gama “Night People”

To compliment the release of “Night People”, Ken launches a brand new website that encompasses his musical journey as well as the different business and entertainment services he offers the marketplace. He is an avid supporter of those in the industry and has made his expertise available to those artists that are looking for defined systems and structures for their careers both financially and production-wise.

In addition, he is seeking non-exclusive worldwide agents for representation, Greves is looking to tour globally in venues that present the American Songbook style performances.

On Monday, July 2nd, 2015 Ken will be hosting a CD release party presenting “Night People” to his friends and fans at Cafe Noctambulo in New York City undoubtably to a full house!

Be sure to check out Ken’s feature on The Jazz Network Worldwide at www.thejazznetworkworldwide.com as well as his new website www.kengreves.com.

EIGHT CLASSIC ALBUMS FROM WAR REISSUED...

WAR - GALAXY

A massive jammer from War – and a record that brought the group to a whole new generation of listeners – as well as a good number of later fans who discovered some of these jams in the club! The groove here isn't disco, but this tightening up of War's sweet jamming vibe – almost given a sort of Mizell Brothers twist here, with a focus on sharper rhythms, but still plenty of space for instrumental flourishes over the top. Tracks are long and open, but in different ways than the early years – and there's some rhythmic elements on the record that really have the group trying out something new – and definitely finding a sweet spot in the process! The whole thing's great – and titles include the great extended instrumental "The Seven Tin Soldiers", plus "Hey Senorita", "Baby Face", "Galaxy", and "Sweet Fighting Lady".  ~  Dusty Groove

WAR – OUTLAW

A sweet snapping groove from War – a set that has the group picking up a bit more boogie in their bounce than before, but at a level that helps keep their funk fresh for a whole new generation! The album's a heck of a lot warmer and more live than most of their contemporaries – and while there's a bit less of the freer moments of their youth, there's still plenty of jazzy touches over the top – and that wonderful trademark blend of Latin elements, jazzy riffing, and captivating chorus vocals! Basslines take on a bit more role than before – but in a good way – and titles include "You Got The Power", "The Jungle", "Just Because", "Outlaw", "I'm About Somebody", and "Cinco De Mayo".  ~ Dusty Groove

ERIC BURDON AND WAR – THE BLACK - MAN’S BURDON

A surprisingly great pairing of talents – the post-Animals Eric Burdon on vocals, and early grooves from Cali funk legends War – coming together here in a blend that still holds up beautifully after all these years! Burdon was already getting pretty soulful on the last few Animals albums on MGM – and he really advances that style here when working with War's great grooves – some of the grittiest, nastiest, most stretched out work of their career – especially on some of the album's nicely long tracks. There's some nice Latin currents to the music at times, and the group vocalize alongside Burdon at times – and titles include a long version of "Paint It Black", plus "Bare Back Ride", "Sun/Moon", "Pretty Colors", "Gun", "Nuts Seeds & Life", "They Can't Take Away Our Music", and "Spirit".  ~ Dusty Groove

WAR – LIVE

War live, a perfect step forward – especially given that the group had already been so jamming on all their previous work in the studio! This classic double-length set may well be one of the best soul live albums of the 70s – right up there with similar 2LP packages from Curtis Mayfield and Bill Withers – and like both of those, maybe an even greater flowering of the core essence than any short studio record! The album features a killer two part reading of "Slippin Into Darkness", a side-long take on "Get Down", and long versions of "Cisco Kid", "Sun Oh Son", "All Day Music", "Lonely Feelin", and "Ballero". ~ Dusty Groove

WAR – ALL DAY MUSIC

A sweet sweet set from the mighty War – and maybe the record that really has the group coming into their own! The record's got a stronger vocal presence than earlier War efforts, which is a really great thing – kind of a blend of sweet soul, heavy funk, and Chicano modes – all served up with this ultra-hip East LA sort of vibe that's way more interested in finding the best sweet spot in the music, than it is trying to figure out any labels for its groove! This approach rings out famously in the classic "Slipping Into Darkness" – which gets a 7 minute workout here – but the whole thing is great, and other titles include the seminal "Baby Brother", plus "Nappy Head", "Get Down", and "There Must Be A Reason". ~ Dusty Groove

WAR – WAR

A wonderful first solo album from War – a set that has them breaking away from their early partnership with singer Eric Burdon – and finding an even better groove in the process! The vibe here is hipper, and even more righteous than before – some of those great jazz currents on flute, keyboards, and even harmonica – that sweet Lee Oskar mode that always made the group so great – set to very cool rhythms that blend together funk, Latin, and soul elements – all openly grooving here at a level that's free from some of the more hitbound modes of their biggest records. The whole thing's great, and still stunningly fresh after all these years – and titles include "Sun Oh Son", "Lonely Feelin", "Back Home", "War Drums", and "Vibeka".  ~ Dusty Groove

ERIC BURDON & WAR - ERIC BURDON DECLARES WAR

War became so popular on their own in later years that it's easy to forget how they first sprung onto the soul charts – here, in an album of many styles that was put together by the wayward Eric Burdon after the dissolution of The Animals! We have to admit that Burdon was a genius to hook onto the rich talents of this LA combo – even though he really didn't know what to do with them on this record. Part of the album's an homage to Roland Kirk, part is an extended reworking of "Tobacco Road", and part is an overly-long bluesy passage called "Blues For Memphis Slim". Fortunately, the record also includes the monster groover "Spill The Wine", one of the first big crossover tracks to popularize the Chicano funk sound of LA – and a great little groover that still hooks us in today.  ~ Dusty Groove

WAR – THE WORLD IS A GHETTO

A monster from start to finish – not only the greatest album from War, but maybe one of the greatest mainstream funk albums of all time! The set's got a really unique groove – one that so many others tried to copy, but which was forged here first – in a wicked LA blend of Chicano funk, heavy organ lines, and soulful singing that sews the whole thing together perfectly. Just about every cut is upbeat and funky – rolling along at that low-rider pace that was War's lasting contribution to funk music – and the album features the huge hits "World Is A Ghetto" and "Cisco Kid", two of the brightest spots on radio funk from the 70s – plus classics like "Four Cornered Room", "City Country City", "Where Was You At", and "Beetles In The Bog". ~ Dusty Groove

NEW RELEASES: GAL COSTA - ESTRATOSFERICA; DUSKO GOYOVICH – LATIN HAZE; GIUSEPPI BASSI / DOMENICO SANNA – JUST YOU, JUST ME

GAL COSTA - ESTRATOSFERICA

Gal Costa looks surpisingly youthful on the cover – and she's also sounding more youthful in her music than we've heard in many years – thanks to a key collaboration with Kassin and Moreno Veloso! Both of the younger musicians really find a fresh space for Gal to work with – a nice shift away from some of the more staid, mature modes of her other recent records – and a style that brings out all the creativity that made us fall in love with Costa so many years ago! This shift isn't a return to Tropicalia, but instead a move towards that playful, genre-stepping territory that you'll find in both Veloso and Kassin's music, especially the latter. One of Costa's best in years – and with titles that include "Amor Se Aclame", "Anuviar", "Espelho D'Agua", "Ecstasy", "Jabitaca", and "Sem Medo Nem Esperanca".  ~ Dusty Groove

DUSKO GOYOVICH – LATIN HAZE

The mighty Dusko Goykovich lives again – in a record that may well be one of the best we've heard in many years from the legendary trumpeter! Make no mistake, we love Dusko in all of his many settings – but there's a special sort of magic here that takes us back to the style and charm we loved in Goykovich's first great recordings of the 60s – especially some of his performances with the legendary Clarke Boland Big Band! As with those sides, this one features a larger ensemble – with Big Band RTS – with Goykovich providing most of the solos, and also the full set of songs and arrangements for the record too – which means that the larger ensemble plays in a manner that's very much in keeping with Dusko's legacy. There's a number of Latin currents in the rhythms – which again echo some of Dusko's MPS material – and titles include "Latin Haze", "Sambalero", "In The Sign Of Libra", "Inga", "Quo Vadis Samba", and "Danca Comigo".  ~  Dusty Groove

GIUSEPPI BASSI / DOMENICO SANNA – JUST YOU, JUST ME

Stunning duets between Giuseppi Bassi on bass and Domenico Sanna on piano – played at a level that really seems to put equal focus on both instruments throughout – as the musicians effortlessly shift between melody and rhythm, and create some amazing sounds in the process! Bassi's instrument is wonderfully upfront in the mix – giving the album this rich, bottom-heavy sound, even in the more subtle moments – which seems to create a flow that unlocks notes on Sanna's piano in this wonderful way – sometimes tippling lightly, sometimes with more complicated phrasing – always full of color and imagination throughout. Titles include "Giro Chi", "Humbolt Street #63", "Isfahan", "NYC Subway Love", and "Reginella".  ~ Dusty Groove

ROY AYERS: SEARCHING FOR SUNSHINE 1973-1980, A TRIO OF CLASSICS ALL ON ONE RELEASE

A trio of Roy Ayers classics in one sweet set – along with some excellent bonus cuts too! First up is the album You Send Me – a set with a sound like no other – with a slow mellow jazzy style that shows Roy working at the height of his powers! There's some wonderful spacey production on the record – bringing out elements like the vibes, electric piano, and soulful vocals – and turning them into a seductive blend that trails out over the course of the record, hitting a smooth mellow mode that we love every bit as much as Roy's harder and funkier work. 

The title cut is an amazing extended remake of "You Send Me", which sounds nothing like the original – and other good cuts include the stepping "And Don't You Say No", and the great cuts "Rhythm" and "Everytime I See You", which have these excellent offbeat rhythm patterns. 

Fever is a great little album by Roy Ayers – one that features none of his hits, which means lots of fresh material – and which has great examples of both sides of Roy's talents at the time! The dancefloor side of Roy kicks in with "Love Will Bring Us Back Together", an extremely catchy groover that's very much in the mode of "Running Away", with plenty of choppy funky riffs, and a good soul base at the core. Even better, though, is the mellow spacey side of Roy – which shows up wonderfully in the cuts "Is It Too Late To Try" and "If You Love Me" – two overlooked gems that float along in a perfect blend of jazz and modern soul, with great breathy vocals and vibes, very much in the spirit of stuff on the You Send Me album. Other cuts include "I Wanna Feel It", "Leo", "Take Me Out To The Ball Game", and "Simple & Sweet" – all nice too! 

No Stranger To Love is a sly, and often funky set that deserves to be mentioned with his more famous dancefloor ready work of the late 70s – and if it gets an extra point two for the incredibly cool cover photo, the slow burning grooves more than deliver on the promise! The album does a really nice job of rolling out both the sultry jazzy soul and the funkier Ayers modes, with sweet strings in spots, Roy's incomparable vibes, bass and keyboard grooving, and vocals that set the mood for both the slow jams and the funky stuff! Includes the extended mellow number "Don't Let Our Love Slip Away", one of Roy's better downtempo moments, plus great stuff like "Don't Stop The Feeling", plus "What You Won't Do For Love", "No Stranger To Love/Want You", "Shack Up, Pack Up, It's Up (When I'm Gone)", "Don't Hide Your Love". CD also features 8 more bonus cuts – including "Love From The Sun", "Running Away", "Keep On Walking", "Vibrations", "Searching", "Everybody Loves The Sunshine", "Love Fantasy", and "No Deposit No Return".  ~ Dusty Groove

Bassist Robert Sabin Releases "Humanity Part II"

For his bewitching new album Humanity Part II, bassist, composer, and film music aficionado Robert Sabin assembled a brass-heavy tentet in service of a dark, glacial, cinematic sound. The CD, Sabin's third in ten years, will be released on his Ranula Music label July 14.

"I love the way film music invokes states of mind that you carry from the film, things beyond the music itself," says Sabin, whose 2007 album, Romero, grew out of his obsession with the zombie thrillers of George A. Romero (Night of the Living Dead), and whose debut, Killdozer (2005), was about a deranged man and a heavily armored instrument of destruction. "I enjoy taking a theme from a horror movie and getting more juice out of it, really going deeper inside it." 

Sabin's exceptional tentet for Humanity Part II includes some of the finest players and fellow composers on the New York scene, including guitarist Jesse Lewis, saxophonists Aaron Irwin and Jason Rigby, trumpeters Dan Urness and Matt Holman, hornist Chris Komer, trombonist John Yao, tubaist Ben Stapp, and drummer Jeremy Noller. "Being a great composer means having great people play your music," says Sabin. "These were the players I had in mind when I wrote the album, and there isn't anyone else I would even consider playing on the recording." 

The title track fuses together two Ennio Morricone themes composed for John Carpenter's 1982 remake of The Thing, formerly arranged for synthesizers. "Through a Glass Darkly," inspired by legendary Swedish director Ingmar Bergman's early-'60s trilogy, is a three-part study in existentialism -- in loneliness and silence. 

"Tenebre," an understandably unsettled work, is named after the 1982 film by Italian horror master Dario Argento, whom Sabin admires (among his more delicate touches) for "his beautiful use of color and style, natural and unnatural." 

Humanity Part II's most haunting piece, "Scarecrow," is based not on a film theme but elements of Ravel's masterpiece Gaspard de la nuit. Signifying a hanged man dangling against the horizon, a repeating note chimes ostinato-style in the far background. 

"Chromatic brooding permeated with silence" -- that's how Sabin describes his basic approach. For all that, the music is fully alive and unexpectedly affecting in taking you places you haven't been before. 

Born on October 27, 1972 in Portland, Oregon, Robert Sabin studied saxophone in elementary school and played in the fifth-grade band. He took up electric bass in high school and was soon exploring basic elements of jazz and contemporary music, inspired by his growing affinity for the instrument and its role in an ensemble. 

His first serious exposure to improvisation came when he attended New York University as an undergraduate. After belatedly transferring into the music department, and then gaining admission to the jazz program, he worked hard with his esteemed instructor Mike Richmond and, after graduation, with another distinguished bassist, Michael Moore. Later studies would include work with Mark Helias, Michael Formanek, and Jay Anderson, eventually playing with a long list of notable veterans including Oliver Lake, Jean-Michel Pilc, Peter Bernstein, Dick Oatts, Kenny Werner, Brian Lynch, and Dave Liebman. 

Sabin acquired his graduate degree at the Manhattan School of Music before heading back to NYU for his doctorate. He did his dissertation on bassist Gary Peacock, an underrated artist in Sabin's estimation: "He is such an intuitive artist. He's not about technique or chops. When he taught me, it was more about what things you can do to avoid getting in your own way." 

Dr. Sabin serves on the faculty of Hunter College High School and has worked with the Manhattan School of Music Precollege as well as directed the Jazz Program at the New York Summer Music Festival and Institute. He was awarded second place in both the 2001 and 2003 International Society of Bassists' Jazz Competitions. 

Sabin and his tentet will present the powerful music of Humanity Part II at Greenwich House, 46 Barrow Street, New York City, on Tuesday 8/18 at 7:00 pm (212-242-4770); $10 cover.

NEW RELEASES: CHUCK RAINEY – THE CHUCK RAINEY COALITION; SEU JORGE – MUSICAS PARA CHURRASCO II; RUSSELL TAYLOR – WAR OF HEARTS

CHUCK RAINEY – THE CHUCK RAINEY COALITION

Funky instrumentals from bassist Chuck Rainey – a player who was well known for his work on countless sessions as a sideman, but who rarely got a chance to cut a record like this! The album's got a style that's smooth and soulful, yet also a bit down n dirty – almost like some of the similar work from the time on Atlantic. And no surprise, Rainey's working with a number of Atlantic-styled studio players – an elite funky group that includes Richard Tee, Billy Butler, Bernard Purdie, Montego Joe, and Cornell Dupree. The album's got a mellow funky kind of approach that's almost a precursor to the 70s grooves of the Kudu label – but with perhaps certain touches of 60s jazz still in the mix as well – and titles include "Eloise", "Lone Stranger", "Theme From Peter Gunn", "Got It Together", and "The Rain Song".  ~ Dusty Groove

SEU JORGE – MUSICAS PARA CHURRASCO II

A real killer from Seu Jorge – one of his best records in years, and maybe even better than the first volume in this series! The set's got a strongly funky vibe right from the start – a groove that's almost got the totally perfect feel of Incognito or Brand New Heavies – but which is even better, given the amazingly rich, deep style of singing that Jorge brings to the record! Jorge has a voice that grabs us even when the instrumentation is spare, or he's singing a ballad – but he's also really at his best on upbeat, soulful material like this – almost a throwback to the years of 70s samba soul, but with a slightly more contemporary vibe too. Wonderful all the way through – the kind of record that should be making Seu Jorge a huge international star – with titles that include "Papo Reto", "Ela E Bipolar", "Na Verdade Nao Ta", "Faixa De Contorno", and "Babydoll".  ~ Dusty Groove

RUSSELL TAYLOR – WAR OF HEARTS

A creative leap forward for indie soul veteran Russell Taylor – with a lot synth and other electronic production touches, but stll firmly centered around his soulful voice and solid songs. It's always a rewarding thing when artists we've been following for years continue to evolve without losing what we love about them early on, RT is a prime example. The songs here are as great as on any of his albums to date, and he's still got one of the most expressive voices in the independent soul scene. Nice! Includes "Electric", "Let Me Love You", "What She Wants", "War Of Hearts", "Foolish Hearts", "Can't Cry", "Ghetto Streets", "Can't Cry", "Proud" and "Hope".  ~ Dusty Groove

'Flow' the highly anticipated new album marks the re-formation of the original Alexi Tuomarila Quartet

FLOW is the new album from the Belgium based quartet DRIFTER, co-led by Finnish pianist Alexi Tuomarila and Belgium saxophonist Nicolas Kummert, who won huge praise and acclaim across Europe and Australia as the Alexi Tuomarila Quartet in the early 2000’s.

Tuomarila shared the stage with some of the biggest names in jazz and his international profile was rocketing when, without warning label Warner Jazz ditched all jazz and classical acts leaving the band without any clear management or career direction.

In the following decade during which the pianist and saxophonist expanded their musical horizons with constant touring, the band’s special relationship was not forgotten and, finally, the time was right for both Tuomarila and Kummert to reform the original quartet with a new sense of purpose and energy under the new collective name of DRIFTER.

This next phase in the quartet’s history sees the band fuse the youthful energy and vibrancy of ten years ago with the experience of a decade on tour playing with some of the biggest names on the Euro- pean jazz scene.

As Tuomarila explains: “The music means so much more now. Ten years ago, we were just playing tunes that we loved to play. Now the music comes from within us and somehow encapsulates the feelings of the last ten years: having our recording contract taken away, the development of our friendship as a band and the greater sense of purpose we all have in our lives. It’s so exciting for us’.Edition Records’ recording connection with Alexi go back to the release of his acclaimed trio album

Seven Hills (2013), but as a label we’ve been fans of the quartet since they first emerged onto the European scene and have watched their separate careers with great interest in the intervening decade. So it is with great pleasure that we are able to work with the group and help restore them to their rightful place at the top of the European, and world, jazz tree. This young band, in their 20s when they recorded O2, have been hugely influential on a generation of young jazz artists.