NEW RELEASES: ENNIO MORRICONE – THE HATEFUL EIGHT; THE FOREIGH EXCHANGE - TALES FROM THE LAND OF MILK AND HONEY; YOU NEED THIS: A JOURNEY INTO DEEP JAZZ (VARIOUS ARTISTS)

ENNIO MORRICONE – THE HATEFUL EIGHT

Director Quentin Tarantino has drawn plenty of inspiration from the music of Ennio Morricone over the years – either using short passages of older Morricone music in his films, or evoking the substance and style of the maestro in the way he uses sounds from other sources too! So it's only fitting that this time around, the pair are finally brought together fully – as Morricone turns out one of his best soundtracks in years for Tarantino's Hateful Eight – a brooding, suspenseful tale that owes plenty to the western generation that first sprung Morricone to global fame! Yet as with most of Ennio's best work, the style here is something that goes far beyond expectation – orchestrations that take on a style completely their own – with instrumental elements that have stronger focus amidst the larger charts, and a sense of mood and color here that's completely sublime. The record is mostly music from Morricone – written for the film – and features a few passages of dialogue from the movie, plus just a few additional tracks by The White Stripes, Roy Orbison, and David Hess. Yet it's more than fair to think of this as a complete score by Morricone – very different than the usual compilation-style soundtracks we've had before from Tarantino. ~ Dusty Groove

THE FOREIGH EXCHANGE - TALES FROM THE LAND OF MILK AND HONEY

The deepest work yet from Foreign Exchange – and as hard as it is for us to believe, a record that unofficially kicks off the second decade of the one-time transatlantic partnership of Nicolay and Phonte – which has evolved into a bonafide indie soul supergroup with Zo!, Tamisha Waden and Carmen Rodgers! Tales From The Land Of Milk And Honey is as full of life as anything we've heard from them, and honestly, a record we'll be able to keep coming back to for years. On the production front, Nicolay has found a way to pay homage to the past half century of breezy soul and R&B, club grooves, bossa and more, and distill it all into a fairly tight sound that belongs to FE+. Phonte is as vocally charismatic on his cuts as ever, whether he's playing it straight, or just having a little bit of fun – like when he's affecting a British accent on "Asking For A Friend" – and the women's voices are never less than beautiful, on both the lead vocal turns and the hooks. Includes "Milk And Honey", "Work It To The Top", "Truce", "Disappear", "Sevenths And Ninths", "Asking ForA Friend", "Body", "As Fast As You Can", "Face In The Reflection" and "Until The Dawn (Milk And Honey Pt II)". ~ Dusty Groove

YOU NEED THIS: A JOURNEY INTO DEEP JAZZ (VARIOUS ARTISTS)

A brilliant collection of soulful jazz – one that has way more to offer than you might guess from its unassuming title and cover! The whole thing looks a bit oblique, but inside the music is full of deep color and life – a treasure trove of more spiritual sounds from the jazz scenes of the 60s, 70s, and early 80s – and put together in a way that draws lines between artists and records you might not normally expect in each other's company! All tracks are nice and long, and there's a mix of soaring styles, acoustic combos, and a few electric elements at play – plus a bit of vocals here and there, although the main focus of the set is instrumental. Titles include "He's Gone" by Charles Greenlee, "Pavanne" by James Clay, "Greasy Sunday" by Triton, "Anastasie Oh Ma Cherie" by Yves Laferriere, "Circles" by M'Boom, "Saudi" by Lenny McBrowne & The Four Souls, "Going Home" by James Stubblefield, "Bornless One" by Terry Plumeri, and "Bleecker Street" by Stanton Davis. (Pressed on nice heavy vinyl – and not on CD!) ~ Dusty Groove

Saxophonist Russ Nolan's First Live Recording, "Sanctuary from the Ordinary: Live at Firehouse 12," due out Feb. 12

Russ Nolan Sanctuary from the Ordinary Saxophonist Russ Nolan  has been documenting his explorations of Latin rhythms and modern jazz harmony on record since the release of his 2004 debut, Two Colors. He has worked with special guests like percussionist Victor Rendon and pianists Kenny Werner and Manuel Valera while deepening ties with players who eventually coalesced into his working group.

For his sixth CD, Nolan set himself up for a new challenge by recording the session live in performance. The inspired results may be heard on Sanctuary from the Ordinary: Live at Firehouse 12, which will be released on the saxophonist's Rhinoceruss Music label on February 12.

In the company of pianist Mike Eckroth ("one of the best in combining jazz and Latin and salsa"), bassist Daniel Foose (a fellow University of North Texas alum), and longtime drummer Brian Fishler ("he sounds good on everything"), Nolan presented his music to the appreciative audience at the popular New Haven, Connecticut jazz venue/state-of-the-art recording studio. "It was both an exciting and scary endeavor," he says. "We had one night and one take per tune, but there is no substitute for playing in front of people that gave back as much as we gave them. I believe it's our best effort to date."

The program opens with a striking reworking of Thelonious Monk's "Green Chimneys," keyed to bata drum and New Orleans second line accents. On the title song, mambo and straight-ahead funk commingle. On the amusingly titled original "Stravinsky's Mambo," a 12-tone row is combined with a mambo beat -- and a Bitches Brew-type groove.

Nolan gained proficiency in Latin rhythms in an unusual way -- by not only learning salsa dancing, but also becoming a stylish expert at it. "The Latin dancing made me stronger rhythmically," he says. "Playing good time is usually the last thing horn players develop, and dancing has helped me get the rhythm in my body much in the same way a drummer develops four-way coordination."

Sanctuary from the Ordinary offers a wide variety of Latin-influenced sounds -- including tango on the lovely "Take 2," written for his wife while they were honeymooning in Buenos Aires -- as well as some non-Latin surprises. "Memorial Day" is based on the haunting recurring theme of the Netflix series, House of Cards. "It's slow and incredibly simple, as written," he says. "I was inspired by the changes in harmony."

The Illinois native (b. 1968) started out on clarinet at age 10 while attending school in Gurnee, but sports took precedence and Nolan envisioned becoming a professional athlete. Albums by Weather Report, Herbie Hancock, and the Brecker Brothers turned his head around, however, and he eventually entered the esteemed jazz program at North Texas State (now the University of North Texas).

Nolan moved to Chicago after graduation and studied with local saxophonist Rich Corpolongo and with visiting New Yorkers Dave Liebman, Chris Potter, and Kenny Werner. Nolan also studied with Dave Bloom, founder of the Bloom School of Jazz, whose words of wisdom have reverberated through the years for him. "I learned a lot about appealing to non-musicians from Dave, to the people who were paying to see you," he says. "One of his messages to musicians was to stop babbling, stop playing all those notes. People were drawn to melody and rhythm, not to how fast or complicated you could play."

Since relocating to New York City in 2000 (encouraged by the visiting pros he'd taken lessons from in Chicago), Nolan has put the pieces of his career as a saxophonist, writer, arranger, and clinician together. He's emerged as a prolific recording artist. And he's connected with the city's burgeoning pan-American scene, for the last three years leading a salsa band that performs for dancers.

Nolan also tours regularly, with the following dates in support of Sanctuary from the Ordinary presently in place: 4/1 Duke's Southern Table, Newark, NJ; 4/9 BLU Jazz, Akron, OH; 4/13 Jazz Showcase, Chicago; 4/17 Redstone Room @ River Music Experience, Davenport, IA; 4/21 Black Hawk College, Moline, IL.  

NEW RELEASES: ELEANORA CLAPS - STARS; NAKED TRUTH - AVIAN THUG; SWEET HONEY IN THE ROCK - #LOVEINEVOLUTION

ELEANORA CLAPS - STARS

Born in Milan, Italy, Eleonora's interest in music began in her early teenage years, when she started studying drums and percussions. Joining various rock, pop and jazz bands behind the drum kit, she had the opportunity of touring Italy and Europe, as well as taking part in recording sessions. While drumming, she developed an interest in singing, as she supported her bands on backing vocals. Having moved to the UK in search for new inspiration, she started studying jazz singing, while performing at London's open mic sessions and writing her own material. Her first album, Stars, is out now and is arranged by London-based Latin master pianist John Crawford. The album features a mix of originals, pop songs rearranged and bossa classics - all presented in quartet and with a Latin vibe. Oher musicians on the album are John Crawford on piano and backing vocals, Andy Hamill on bass and harmonica and Andres Ticino on percussion. Upcoming UK appearances: Jan.14 @ The Paris House, Brighton with John Crawford (piano); Jan 22 @ Salt Cafe', Bristol with Martin Sean McConnell (guitar); Jan. 28 @ Jackdaw, Hackney (London) with John Crawford (piano); and Mar. 3 @ Bedford Street, Leamington Spa (Warwickshire) with John Crawford (piano).

NAKED TRUTH - AVIAN THUG

Recorded in the south of England at the end of their 2013 European Tour, Avian Thug is the third studio album by jazz-rock ensemble Naked Truth, after Shizaru in 2011 and Ouroboros in 2012. Founded by Italian bassist, producer composer and Lorenzo Feliciati, Naked Truth sees Graham Haynes resuming his role as trumpet/cornet player, Roy Powell man the Hammond organ, analog synths and prepared piano and finally Pat Mastelotto deliver his usual energy on acoustic and electric drums and percussion. Avian Thug develops its themes across seven compositions, stretching from intensely furious electric jazz cavalcades, whose ancestry can be traced back both to Miles' electric work but also more recent European progressive jazz and progressive rock, to extended soundscapes, whose colors are reminiscent of the work of Jon Hassell or Nils Petter Molvaer. Over the last four years, Naked Truth's writing style has become progressively more incisive and focused, aided by the very tight co-production work of Lorenzo Feliciati and Bill Laswell, who also is responsible for the final mix of Avian Thug. Graham Haynes' trumpet tone has acquired clarity and expressiveness, Feliciati's bass work is now more essential as are Powell's prestidigitation on analog keyboards and prepared piano, supported by Mastelotto's polyrhythmic ever inventive and powerful electronic and acoustic drum and percussion work.

SWEET HONEY IN THE ROCK - #LOVE IN EVOLUTION

GRAMMY®-nominated, Sweet Honey in the Rock gears up for their upcoming album #Love In Evolution due January 22nd. The album’s stark second single “Second Line Blues” with its cryptic snare drum cadence, roll calls the names of innocent people that have fallen victim to murder at the hands of anyone from deranged civilians to police abusing their license to kill. Carol Maillard (who along with Louise Robinson is an original member of the group) states, “Since we started performing this piece, we’ve needed to keep adding names…and sadly, we’ll be adding more before things change.” Since 1973, this remarkable all women, African- American group has been creating historical and stimulating topics expressed through song, dance and sign language. The ensemble has produced over 20 albums and has interchanged with many vocalists. However, embarking on a new chapter in their musical journey, Sweet Honey In The Rock now includes four core vocalists—Louise Robinson, Carol Maillard (both founding members) Nitanju Bolade Casel, and Aisha Kahlil—plus Shirley Childress (an American Sign Language Interpreter who has been performing live with the group since 1981). One of the early highlights of their 2016 performance season will be Sweet Honey in the Rock’s 34th appearance at Carnegie Hall which will include special guest appearances by highly-regarded violinist Regina Carter and trumpeter Terence Blanchard. Their soon-to-be-released 24th studio album, #Love In Evolution, highlights Sweet Honey In The Rock’s signature blend of jazz, blues, soul, gospel, and African chants, containing 14 touching songs produced by Nitanju Bolade Casel. The album features an eclectic mix of new original songs and covers of a few popular classics.

ESPERANZA SPALDING EMERGES WITH EMILY’S D+EVOLUTION OUT MARCH 4 ON CONCORD RECORDS

Esperanza Spalding’s new project Emily’s D+Evolution, set for release March 4 on Concord Records, is a fresh artistic vision for the 4-time GRAMMY winner, a daring tapestry of music, vibrant imagery, performance art and stage design. Co-produced by Esperanza and Tony Visconti (David Bowie), the album is an electrifying take on the power trio adorned with backing singers and touches of synthesizer, “as if to fly the pirate flag of the Black Rock Coalition” according to The New York Times.

Esperanza assembled a new band for Emily’s D+Evolution including guitarist Matthew Stevens (Christian Scott) and drummer Karriem Riggins (Madlib, Erykah Badu). She recorded some of the album’s eleven tracks in front of a small audience in a Los Angeles studio. The result is otherworldly cosmic soul, kinetic songs that burst with energy and life. Album opener “Good Lava” offers a grand salvo: sinewy riffs doubled on electric bass and distorted guitar with melodies that stick and float across registers. NPR Music has the video premiere for “Good Lava” and an interview with Esperanza about the new album here.

Emily’s D+Evolution was first revealed last year via a series of high profile shows including a performance in front of a capacity crowd at the Prospect Park Bandshell for Celebrate Brooklyn! and the Essence Festival in New Orleans. Esperanza debuted the new album track “One” in October with a special performance on Jimmy Kimmel Live from BAM in Brooklyn.

Esperanza Spalding, who has performed everywhere from the Oscars to the White House, will tour extensively in support of Emily’s D+Evolution including a headlining hometown show at NYC’s historic Apollo Theater on April 14.

TRACK LIST:

1. Good Lava

2. Unconditional Love

3. Judas

4. Earth To Heaven

5. One

6. Rest In Pleasure

7. Ebony and Ivy

8. Noble Nobles

9. Farewell Dolly

10. Elevate or Operate

11. Funk The Fear

12. I Want It Now

TOUR DATES:

4/9 - Northampton, MA - Calvin Theatre

4/10 - Greenvale, NY - Tilles Center for the Performing Arts

4/12 - Boston, MA - Shubert Theater

4/14 - New York, NY - Apollo Theater

4/16 - Red Bank, NJ - Count Basie Theatre

4/17 - New Haven, CT - College Street Music Hall

4/19 - Washington, DC - 9:30 Club

4/20 - Durham, NC - Carolina Theatre

4/22 - Atlanta, GA - Center Stage

4/23 - Clearwater, FL - Capitol Theatre

4/24 - Miami, FL - Knight Center

Renowned Jazz Bassist/Composer/ Educator/Community Activist Jeff Denson Spearheads Ridgeway Arts, Inc. / New Non-Profit Serving Bay-Area Jazz Scene

“The arts are fundamental to our humanity. They ennoble and inspire us — fostering creativity, goodness, and beauty. The arts help us express our values, build bridges between cultures, and bring us together regardless of ethnicity, religion, or age.” 

– Jeff Denson – founder and artistic director of Ridgeway Arts, Inc.

Renowned bassist/composer/educator/community activist Jeff Denson and a small group of colleagues have formed Ridgeway Arts, Inc. – a multi-faceted San Francisco Bay Area-based 501(c)(3) not-for-profit corporation. Two years in the planning, Ridgeway Arts is built upon a series of initiatives designed to enhance and fortify the Bay Area scene, and to make a strong contribution to the national landscape of jazz and the arts in general.

While Jeff Denson’s vision provides an extremely significant force, the spirit of partnership and collective effort are also major components of the organization’s direction. Ridgeway’s imperative is built upon a four-pronged plan of expression, education, presenting and documentation, all with a clear focus upon revenue production leading to self-sustenance. They include:

Jeff Denson performance and composing activities

Education/community outreach

Ridgeway Presents

Ridgeway Records

DownBeat Magazine praises Jeff Denson for his “considerable gifts as an improviser, interpreter and sonic trailblazer..." The activities of his own ensembles as well as those of his two cooperative groups, all take place under the Ridgeway umbrella. They include The Jeff Denson Trio plus, a fixed trio of Jeff on bass, pianist Dan Zemelman and drummer Alan Hall, augmented by a special guest artist. For the past year, this guest has been the legendary alto saxophonist Lee Konitz, with whom Jeff has had a decade-long relationship.  In Summer 2015, the group released their debut Ridgeway Records release Jeff Denson Trio plus Lee Konitz.  The band is just back from a highly successful October 2015 European tour to support the record, one of many US and international tours.

Denson’s two cooperative ensembles are also part of the Ridgeway family. Electreo is an adventurous electric group, featuring Jeff on electric bass and vocals, with Grammy-winning virtuoso bassoonist Paul Hanson, and Hall on drums. The group has been performing regularly in the Bay Area and has been developing a strong and loyal audience for its unique and genre-defying approach to modern music. The San Francisco String Trio is a collaboration with another pair of internationally renowned musicians – Grammy-winning violinist Mads Tolling and guitarist Mimi Fox. Together they have developed The Sgt. Pepper Project to celebrate the 50th anniversary of the release of the groundbreaking Beatles album.

All of these ensembles will be represented at the 2016 Association of Performing Arts Presenters (APAP) Conference in January as part of the UNITY Arts Alliance, of which Ridgeway and Jeff are founding members.

Denson’s composing is multi-leveled. In addition to composing for his own small ensembles and Electreo, Jeff also composes large-scale works, and has been working on a three-act chamber opera entitled WEBS.

The Educational/ Community Outreach component has been developed in conjunction with the California Jazz Conservatory (CJC) under Dr. Jeff Denson’s position at the prestigious college as Director of Outreach and full-time professor. The program has a triple purpose of 1) exposing primary and secondary students to the profound legacy of jazz; 2) providing opportunities for young musicians to learn from and perform with top professionals of both local and national renown; and 3) fortifying the Bay Area scene to make it attractive to graduating students to remain in the area to make their professional contributions to the jazz legacy.

Ridgeway Presents is the organization’s curating program that will be launched in 2016 in five separate cities in the Bay Area. Presentations will feature national artists, local musicians of varying statures, and emerging student ensembles from the CJC and high school jazz programs. Part of the program is focused upon allowing young talent to share the stage with professionals to restore “learning on the bandstand” that has been such an important, but recently too often neglected element in the development of outstanding talent throughout the history of jazz. Final arrangements are being made in the development of the partnerships with venues and institutions that will be involved with the program. Ridgeway Presents will also be working nationally on exchange programs with the curating activities of other members of the UNITY Arts Alliance.

Ridgeway Records has been conceived with an innovative plan in a partnership mode where the artists share revenue, team resources, marketing and distribution – all integrated within the overall plans of Ridgeway Arts.

The first album – the aforementioned Jeff Denson Trio plus Lee Konitz – was released in the summer of 2015. There are currently four new projects in motion. Alan Hall’s six-member Ratatet, featuring Denson and Hanson, along with trombonist John Gove, vibraphonist  Dillon Vado and Greg Sankovich on keyboards – and described by Hall as “a modern-oddball-jazz sextet” – will be releasing its debut album Arctic in March 2016. Denson takes another angle on his Trio plus concept with a new permanent quartet that adds Paul Hanson to the mix, and their recording will be issued later that year. The Sgt. Pepper Project, with its fresh and innovative take on the revered album’s compositions is slated for early 2017 to celebrate the 50th anniversary of the original release. Other upcoming albums will include the first album by Electreo, as well as Paul Hanson’s Homecoming, a sweeping exploration of Jewish music for a sextet of bassoon, violin, guitar, cello, bass and drums

Denson, who has developed a productive ongoing relationship with the famed Fantasy Studios, serves as producer and/or executive producer on all of the label’s projects.

Management and development assistance for all of Ridgeway’s activities is provided by an experienced and accomplished team of associates working directly within Ridgeway Arts, and are also supported on a national basis by the other members of the UNITY Arts Alliance.

As extensive as the current programs may be, groundwork is being laid for additional projects including Ridgeway Publishing (educational books by Denson and other extraordinary educators); and a series of podcasts about the Bay Area scene with 27 episodes already recorded and new episodes being prepared for a national focus. With all of these initiatives, Ridgeway’s impact upon the Bay Area and national scenes will undoubtedly be a profound one.

As Denson says: "Ridgeway Arts is here to lend a voice to the remarkable creativity in our communities and to work to bring it to the people who are hungry for it.” 

For more information, visit:

www.ridgewayarts.org  http://www.jeffdenson.com/  http://convergencearts.org/unity/

JENNY MAYBEE & NICK PHILLIPS PRESENT HAIKU AS THEY RETURN WITH ANOTHER CHAPTER OF INSPIRATIONAL JAZZ RECORDINGS

Haiku - the premiere recording collaboration between multifaceted pianist, vocalist/songwriter, and arranger, Jenny Maybee, and veteran jazz record producer, trumpet player, songwriter, and arranger, Nick Phillips - is a mesmerizing mix of vocal and instrumental jazz recordings in which refreshingly original compositions and imaginative arrangements of standards are brought to life with inspired, risk-taking, live-in-the-studio performances.

The Maybee/Phillips musical partnership began with a chance meeting at the 2014 West Coast Songwriter's conference. They discovered a shared love for music arising from a place of stillness conveying frequencies of appreciation and awe. Focusing their shared musical exploration on creating anenvironment for relaxed improvisation, the duo organically developed original compositions and reimagined favorite standards, for the pure joy of making music together. 

Opportunity knocked when Cookie Marenco - an esteemed, audiophile engineer/producer with several GRAMMY® nominated recordings to her credit-approached Phillips about recording his next project at her legendary OTR Studios.  Marenco's proprietary Extended Sound Environment (E.S.E.) recording technique and state-of-the-art, ultra-high-resolution audio technology-Quad-rate DSD, aka DSD256, which records at a sampling frequency that's 256 times that of a CD-captures Maybee and Phillips' stirring and nuanced performances in a breath-taking sonic landscape that is at once warm and intimate, yet detailed and spacious.

While the recording technology is leading edge, the approach was decidedly "old school": Three musicians-Jenny Maybee (piano, vocals), Nick Phillips (trumpet), and Paul Eastburn (acoustic bass)- together in the studio for an afternoon. No headphones, no isolation between musicians, no overdubs, no Auto-Tune. Just real, responsive, in-the-moment jazz in complete, unedited takes.

Although record producer Phillips is no stranger to working with jazz vocalists - having been at the helm of acclaimed jazz vocal projects, including GRAMMY®-nominated albums by Karrin Allyson and Nnenna Freelon - Haiku marks his first album collaboration with a vocalist as a co-leader and recording artist. And while pianist Maybee has long been a fixture in envelope-pushing improvisation ensembles in the San Francisco Bay Area, Haiku marks the multi-talented artist's long-overdue recording debut as a jazz vocalist.

Dropping on January 29, 2016, the Haiku album release is being launched with a celebration concert at Yoshi's Oakland on February 1, 2016.  http://maybeephillips.com

 

TRACKS 

1. HAIKU (Nick Phillips-Clifford Goldmacher) 6:58

2. YOU (Nick Phillips-Clifford Goldmacher) 6:35

3. INTERSTELLAR (Jenny Maybee) 5:18

4. THE MEANING OF THE BLUES (Bobby Troup-Leah Worth) 5:33

5. BLUE MONK (Thelonious Monk) 4:55

6. THE SETTING SUN (Jenny Maybee) 4:03

7. AUTUMN MOON (Paul Eastburn-Jenny Maybee-Nick Phillips) 2:16

8. WINTER BUTTERFLIES (Jenny Maybee) 5:55

9. HEAVEN (Jenny Maybee) 5:13

10. IDYLL SURREAL (Nick Phillips) 6:14

11. NOW AND THEN (Nick Phillips-Jenny Maybee) 7:01

Jenny Maybee is a classically-trained jazz pianist and vocalist whoapproaches music as the art of expressing the human body through song-structures and improvisation. Her compositions are inspired by her studies of the martial and healing arts and the vast sonic landscape of jazz and world music. Her playing reflects her range of exploration, dancing from stunning open space and intricate use of silence to powerful rhythmic intensity. Drawn to the San Francisco Bay Area to complete her law degree at U.C. Berkeley, she has recorded and played in jazz groups including her own trio, the Empty Chamber Ensemble, the Heftpistole Chamber Ensemble, and Noertker's Moxie. www.jennymaybeemusic.com

Perhaps best-known as a jazz record producer-with credits on countless internationally-distributed releases including more than a dozen GRAMMY-nominated projects-Nick Phillips' warm-toned, lyrical jazz trumpet playing was put in the spotlight in 2014 with release of his own debut album, Moment to Moment, co-led with jazz pianist Cava Menzies. Cracking the top 20 of the Billboard Jazz chart, reaching the top 30 and spending nine consecutive weeks on the JazzWeek chart, and garnering both a 4-star review and a coveted spot on DownBeat magazine's "Best Jazz Albums of 2014" list, the album drew laudatory comparisons to the work of jazz trumpet legends Miles Davis ("The Ballads Album Miles Davis Never Recorded" -East Bay Express) and Chet Baker ("... pristine, and moving, trumpet sound...Phillips nods to his predecessor's [Baker's] fragility but also imparts a feeling of strength that comes through a sense of restraint." -DownBeat). www.NickPhillipsMusic.com

NEW RELEASES: DAVID BOWIE – BLACKSTAR; GLORIA ANN TAYLOR – LOVE IS A HURTIN’ THING; KARL HECTOR & THE MALCOUNS - KA RICA-TAR

DAVID BOWIE – BLACKSTAR

David Bowie's late career comeback reaches another lofty peak! If you're like us, and appreciated the preceding effort The Next Day for its reminder of Bowie at his fuzz guitar-graced 70s best while still standing firm in the here-and-now, yet still sort of wished for more creatively daring work, Blackstar might be the comeback you were hoping for. Once again, Bowie co-produces with Tony Visconti, but it's clear from the start that they're going for something deeper and more complex. Chilling bits of strings, keyboards and sputtering beats begin the epic title track, before Bowie's voice comes in like a spirtual guide – augmented by sax and other cool touches. It's an amazing start to an unpredictable set of songs, each as hypnotic as the one before. The stranger vibe of the opener comes in and out as the album plays on, but there's some fuzzier and heavier bits, too – on songs that are enigmatic and anthemic, arty and accessible. Nearly 50 years since his first album, Bowie's back in incredible form! '"Tis A Pity", "She Was A Whore", "Lazarus", "Sue (Or In A Season Of Crime)", "Girl Loves Me", "Dollar Days" and "I Can't Give Everything Away". ~ Dusty Groove

GLORIA ANN TAYLOR – LOVE IS A HURTIN’ THING

A stunning set of soul – and an album that will win you over right from the very first offbeat note! Some mad guitars introduce Gloria Ann Taylor's title cover version of "Love Is A Hurtin Thing" – and the whole album follows suit with these really unusual funky elements – echoey piano that feels like it was lifted from Charles Stepney, a righteous fuzzy funk part that has a Tribe Records vibe, and even certain elements that remind us of old Italian soundtracks – but mixed with much deeper soul! And the best thing of all is that all these cuts are classics, not some retro remakes – instead these overlooked nuggets that remind us that just when we think we've heard all the great soul there is to hear, a record like this comes around to open our minds all over again. Gloria never had a full length album back in the day, but this set brings together most of her rare singles – a massive batch of tracks that includes "What I Want", "How Can You Say It", "Love Is A Hurtin Thing", "Deep Inside Of You", "World That's Not Real", "Music", "Brother Is Less Than A Man", "Had It All The Time", "Burning Eyes", and "What's Your World".  ~ Dusty Groove

KARL HECTOR & THE MALCOUNS - KA RICA-TAR

Mad sounds from this wonderful group – a combo you might know under the names of Whitefield Brothers or Poets Of Rhythm, working here in a much more global-styled mode! The music isn't exactly African funk, but it isn't far off either – as the Malcouns mix funky drums with a range of retro elements that seem to include balafon, oddly-tuned keyboards, rootsy percussion, spacey flutes, and lots of other sounds that feel like they're lifted off volumes of the Ethiopiques series, or vintage recordings from Lagos! Titles include "Transition G", "The Funk", "Kingdom Of D'Mt", "Leealeah", "Shangold", "Ka Rica Tar", "Transition F", and "Orange". (Limited to 1000 copies – in a silk screened cover!) ~ Dusty Groove

Tenor Saxophonist Matt Parker Debuts His Trio With Bassist Alan Hampton & Drummer Reggie Quinerly On "Present Time"

Matt Parker Trio Present Time Tenor and soprano saxophone virtuoso and visionary composer Matt Parker  made a vivid impression with his 2013 debut recording, Worlds Put Together. "Restlessly inventive" (Down Beat), Parker is "a fully formed artist with his own unique voice [who] sounds comfortable promenading down multiple paths" (All About Jazz).

For his new recording Present Time, Parker pared down the sextet of Worlds to a powerhouse trio comprised of bassist Alan Hampton and drummer Reggie Quinerly, colleagues of his since all three were classmates at the New School nearly 20 years ago. Scheduled for release on February 12 by Parker's BYNK label ("Because You Never Know"), the CD consists of seven Parker originals, one old standard, and a previously unrecorded tune by the late, great Charles Mingus. Vocalist Emily Braden is added on three tracks, and Jerome Jennings plays tambourine on another.

Few saxophonists have internalized so much of the instrument's history in jazz as has Parker. In his playing, one hears echoes of Ben Webster's gentle and brutish sides, Lester Young's lyricism, Sonny Rollins's unfettered imagination, Rahsaan Roland Kirk's adventurousness, and the types of extended techniques associated with John Coltrane and Albert Ayler.

The CD opens with "Noah's Arc," a swinging groove blues featuring Parker on tenor that he has reworked from an earlier composition to partially exemplify his philosophy of "present time."

"There are many meanings behind 'present time,'" he explains. "I've often thought about what it would be like to visit the past knowing what I know now. One change I made was to manipulate the blues form. You have an elongated blues that modulates to a traditional 12-bar blues."

The trio, with Parker on tenor, is joined by Braden for the lovely "Winter's Gone." "I love working with vocalists," the leader says. "Once Emily starts, she never stops. It lends itself to time and the fact that the seasons wait for no one."

The oft-recorded "I'm Confessin' (That I Love You)" was first popularized by Louis Armstrong in 1930. The present lightly swinging version features Braden's warm alto pipes and Parker's big-toned tenor. "I love Louis Armstrong and Lester Young, and this gave me an opportunity to play one of my favorite songs by them," he says.

Prior to being recorded by Parker on tenor, Charles Mingus's lullaby-like "Song to Keki" had no title and had been heard only in 46- and 20-second versions played by the composer on piano for his then-5-year-old daughter Carolyn (nicknamed "Keki") in the documentary film Mingus: Charlie Mingus 1968. Parker, who has been playing with the Mingus Big Band periodically for the past year, was given permission by Sue Mingus to record it and she named it after her late husband's child.

At times during Parker's arrangement of the song, he, Hampton, and Quinerly all seem to be flying off in different directions while the underlying pulse remains steady. "One of the things that I am very fond of that appears in Charles Mingus's music is elasticity -- the idea of stretching the time," the saxophonist explains.

Matt Parker Born (in 1979) and raised in Fort Lauderdale, Florida, Matt Parker started out on alto saxophone and switched to tenor, which he played on a life-changing summer gig in New Orleans as a teenager. That experience inspired his first composition, "Sixteen," which is revisited on Present Time.

Parker moved to New York City in 1999 and enrolled at the New School, where his classmates included Hampton and Quinerly, with whom he has played frequently ever since. Among his New York mentors were Junior Mance, Jane Ira Bloom, Reggie Workman, and Charli Persip. Parker was a member of Maynard Ferguson's Big Bop Nouveau Band from 2004 to 2006 and made his debut recording as a soloist on the album M.F. Horn VI: Live at Ronnie Scott's.

Besides performing with his trio at Cornelia Street Cafe and Nublu, both in New York City, and subbing in the saxophone section of the Mingus Big Band at the Jazz Standard, Parker has toured internationally for the past five years with HessIsMore, a band led by Danish drummer and composer Mikkel Hess that plays, in Parker's words, "disco punk jazz." The saxophonist has also appeared around the Big Apple with Beastie Boys rapper and guitarist Ad-Rock and drag-king comedian Murray Hill and was seen playing saxophone in the television series The Real Housewives of New York and the motion picture John Wick.

Parker will bring his Present Time trio to a CD release concert 2/11 at National Sawdust, 80 N. 6th Street in Brooklyn, 7:00 pm; tickets are $25.

mattparkermusic.com

NEW RELEASES: THE DRAMATICS – SHAKE IT WELL; DON COVAY - SUPER DUDE I; MOTHER'S FINEST COLLECTION

THE DRAMATICS – SHAKE IT WELL

Caroline International (in association with SoulMusic Records) is proud to present the 2015 reissue of Shake It Well, the 1977 ABC Records album by legendary soul music group, The Dramatics, an expanded edition including the single edit of the title track, a U.S. R&B top 10 hit and the slow jam classics "My Ship Won't Sail Without You" and "Ocean Of Thoughts And Dreams" (also a U.S. R&B top 20 charted single). Shake It Well was the fourth album The Dramatics recorded for ABC Records, following five years at Volt Records. Formed in Detroit in 1966, The Dramatics enjoyed some local success with recordings for Wingate and Sport labels before producer/songwriter brought the group to Stax Records in 1969 where he had been working with Carla Thomas and Johnnie Taylor. While their initial single for the Stax imprint, Volt Records made little impact, a return to the label in 1971 yielded success with the now-classics "Whatcha See Is Whatcha Get" and "In The Rain," both written and produced by one of Davis' associates, Tony Hester. In 1975, The Dramatics - original members Ron Banks and Willie Ford along with L.J. Reynolds, Larry "Squirrel" Demps and Lenny Mayes - signed with ABC Records: their first three albums for the label spawned R&B hits such as "Be My Girl" and a cover of Billy Paul's "Me & Mrs. Jones"; for Shake It Well, the group continued working with producer Don Davis, reuniting with Tony Hester for two tracks, "Spaced Out Over You" and "Music Is Forever." For the Shake It Well sessions, producer Davis hired top session musicians including, Dennis Coffey, Ray Parker Jr., James Jamerson Sr. and Reginald Burke and the LP reached #10 on the R&B charts and #60 on the Top 200 Albums chart. This reissue of Shake It Well marks its CD debut worldwide and was produced by David Nathan of SoulMusic.com, mastered by James Bragg of Chase The Ace, with artwork by Roger Williams and informative liner notes by renowned writer Matt Bauer featuring 2015 interviews with group members L.J. Reynolds and Willie Ford. ~ Amazon

DON COVAY - SUPER DUDE I

Super Dude I...Plus 7 Bonus Tracks. Essential Southern Soul from one of the genre's greatest-ever singer/song writers. Don Covay's 1973's Super Dude was recorded at Muscle Shoals with THE classic soul rhythm section: Eddie Hinton and Jimmy Johnson on guitars, Barry Beckett on keys, David Hood on bass and Roger Hawkins on drums and the album spawned one of AM radio's all-time cheatin' classics I Was Checkin' Out, She Was Checkin' In . This CD edition provides a definitive overview of this fantastic, funky period in Covay's career. Tracks: Overtime Man, I Stayed Away Too Long, I Was Checkin' Out, She Was Checkin' In, Hold You To Your Promise, Memphis, The Pinch Hitters, Somebody's Been Enjoying My Home, Bad Mouthing, Leave Him Pt. 1, Leave Him Pt. 2, Money (That s What I Want), Don t Step On A Man When He s Down. BONUS TRACKS: It's Better To Have (And Don t Need), Hot Blood, We Can't Make It No More, Rumble In The Jungle, A Mind Is A Terrible Thing To Waste, Dungeon #3, There Was Something On Your Mind. ~ Amazon

MOTHER'S FINEST - MOTHER'S FINEST / ANOTHER MOTHER FURTHER / MOTHER FACTOR / LIVE

Four full albums by the legendary Mother's Finest – collected here in one 2CD set! First up is the self-titled Mother's Finest – the Epic debut from one of the hardest, heaviest soul groups of the 70s – so much so that their music often has a fair bit of rockish touches too – especially in the guitars, which are nice and fuzzy! Lead singer Joyce Kennedy is a killer throughout – almost rivaling Nona Hendryx for unbridled energy and raw power – and the rest of the group provide lots of vocal support too – as well as some plenty heavy drums, bass, and guitar! Things really cook on titles that include "Rain", "Fire", "Fly With Me", "Dontcha Wanna Love Me", and ironically-titled "Niggizz Can't Sang Rock & Roll". Mother's Finest Live is a stunner of a live record from Mother's Finest – one that almost comes across with all the majesty and power of the more famous arena rock albums of the time, but which also has plenty of the group's funky touches intact as well! As before, the music here is a wicked take on fuzzy guitar-based rock – one that's often more funk and soul overall, but easily able to cross into both camps and leave plenty of fans behind! If the audience enthusiasm is to be believed, these guys are tremendous on stage – and titles include "Mickey's Monkey", "Fire", "Somebody To Love", "Magic Carpet Ride", "Watch My Stylin", and "Love Changes". Another Mother Further is filled with heavy guitars, funky bottoms, and lots of super-tight musicianship – a killer set from Mother's Finest, and one that has the group effortlessly blending rock impulses with lots of funk and soul! The group make their soul inclinations known with a heavy cover of the Miracles "Mickey's Monkey" right at the start – and blend together lots of similar currents with a solid sound that's unapologetically into searing guitar solos as much as it is some funkier bottoms. Titles include "Mickey's Monkey", "Baby Love", "Truth'll Set You Free", "Hard Rock Lover", and "Dis Go Dis Way Dis Go Dat Way". Mother Factor is one of the funkiest sets ever from Mother's Finest, and maybe our favorite album from the group's late 70s run on Epic Records! Production is by Skip Scarborough, who brings up some of the group's more soulful currents, but without losing their rocking impulses from before – and singer Joyce Kennedy's never sounded better in the setting! Basslines seem to take more prominence than before – and there's less of the rockish guitar solos – and a few tracks even have those cool, compressed midtempo grooves that Skip could do so well. Titles include "Mr Goodbar", "Tell Me", "Love Changes", "Watch My Stylin", "Can't Fight The Feeling", and "Give It Up".  ~ Dusty Groove

NEW RELEASES: JAZZ FUNK SOUL - MORE SERIOUS BUSINESS; ALLEN TOUSSAINT - EVERTHING I DO GONH BE FUNKY; JAIMEO BROWN TRANSCENDENCE - WORK SONGS

JAZZ FUNK SOUL (CHUCK LOEB / EVERETTE HARP / JEFF LORBER) - MORE SERIOUS BUSINESS

More Serious Business is the highly anticipated followup to this Smooth Jazz supergroup's chart topping debut. Featuring 3 of the most important hit makers on the scene today: Jeff Lorber, Everett Harp and Chuck Loeb - artists and producers responsible for selling millions of albums and scoring close to 50 #1 Smooth Jazz radio hits! Jeff Lorber is famous for launching the career of Kenny G and his productions and collaborations with such greats as Dave Koz, Janet Jackson, Lalah Hathaway and Miles Davis. He is one of the most sought after producers and performers in Jazz! Chuck Loeb is widely regarded as one to the finest guitarists ever. Both as a solo artist and producer and lead guitarist of the iconic group Fourplay, Loeb has amassed an astonishing record of Smooth Jazz hits! Everette Harp has recorded and shared the stage with such musical giants as Aretha Franklin, Luther Vandross, Billy Joel and Patti LaBelle. A hit maker in his own right, Jazziz magazine hails his "amazing virtuosity" and Jazz Time calls him "a rare talent." This brilliant new album was created to satisfy the demand from their growing audience. More Serious Business is overflowing with soaring saxophone solos, brilliant guitar riffs, super funky piano riffs and incredibly compelling melodies. Highlights include the soon to be hit single, "Triple Play," the sensuous Loeb original "Feeling You," the high spirited romp "And One!" and much more!! ~ Amazon

ALLEN TOUSSAINT - EVERTHING I DO GONH BE FUNKY

50 tracks in a 2CD jewel case set featuring the New Orleans legend's solo recordings plus his greatest production hits for Lee Dorsey, The Meters, Ernie K. Doe and more Many of today's music fans might only know the name of Allen Toussaint from his work with Elvis Costello in 2006 on the album "River In Reverse" but of course his career stretches back over 50 years and includes a multitude of hit records as a composer, arranger, producer and performer. This collection covers 20 years of his remarkable career, beginning with his first appearances on record as a session pianist, his first solo recordings in 1958 under the name Al Tousan and ends in the '70s with his timeless songs and productions for artists like Lee Dorsey and The Meters. In between we'll hear his original versions of tunes recorded by Al Hirt and Herb Alpert and the original versions of songs that he wrote and/or produced that later became famous in versions by The Rolling Stones, The Yardbirds, Herman's Hermits, The Dave Clark Five, Otis Redding and Wilson Pickett. ~ Amazon

JAIMEO BROWN TRANSCENDENCE - WORK SONGS

Echoes of the past meet visions of the future on Work Songs, the follow up to Jaimeo Brown Transcendence’s arresting 2013 self-titled debut. From recordings of prisoners in Mississippi to stonemasons in Japan, the album brings renewed life to historical work songs through a mixture of powerfully evocative samples and new recordings. Comprised of drummer/producer Jaimeo Brown and guitarist/producer Chris Sholar, Jaimeo Brown Transcendence deftly weaves together the acoustic and the digital, compellingly connecting jazz and blues with contemporary rock, hip-hop and electronic music. ~ Motema

NEW RELEASES: DARREN RAHN - SONIC BOOM; LYMAN WOODARD ORGANIZATION – DON’T STOP THE GROOVE; KEN FOWSER STANDING TALL

DARREN RAHN - SONIC BOOM

Saxophonist Darren Rahn has announced the release of his album, "Sonic Boom," available March 1, 2016 on Woodward Avenue Records!! My new radio single, "D-Luxe," will hit the airwaves in just a few weeks on February 1st. Says Rahn, “This album is the most heartfelt representIon of my musical personality to date and I can't wait to share it with you! It was painstakingly crafted with the greatest care to be a complete musical experience. "Sonic Boom" features world class musicians playing real instruments on songs that come straight from my heart. These are full length songs with actual endings - no fades! The album is designed to play down much like a live set. You will hear a wide variety of my musical influences from jazz to funk, R&B to pop and fusion to gospel. I spent an incredible amount of time creating what I hope will be the most musical and sonically pleasing album to come from my studio thus far. "Sonic Boom" was created from the depths of my heart and forged with the best tools I could get my hands on. The audio was crafted using the finest analog equipment combined with the best digital technology available. Great effort was made to create a collection of music that takes the listener on a journey that is musically, emotionally and sonically compelling. It is my hope that you hear it that way.”

LYMAN WOODARD ORGANIZATION – DON’T STOP THE GROOVE

A killer little set from funky organist Lyman Woodard – an old bandmate of Dennis Coffey, and one of the standout stalwarts of the 70s Detroit jazz funk scene! The set features Lyman working in a live setting – grooving out over some mighty long tracks that blend jazz and soul together, in a style that's a bit like some of the best work on the Groove Merchant label from the mid 70s. Lyman himself plays organ on the set, and the group's a largeish one with some ensemble vocals on a few cuts, but a mostly instrumental sound overall. And if you're worried about the later date of the set, don't be – as Lyman cuts a nice lean groove into the whole set – coming up with a soulful sound that's expanded more than a smaller combo record, yet which also isn't too slick or overproduced! Marcus Belgrave plays trumpet on one track, and titles include "Don't Stop The Groove", "Theme In Search Of A Sports Spectacular", "Down Lowe", and "Djarum". CD features the previously unissued bonus tracks "Ron's Song" and "Kimba".  ~ Dusty Groove

KEN FOWSER STANDING TALL

We last heard tenorist Ken Fowser in the company of vibist Behn Gillece – on a pair of excellent recent albums for the Posi-Tone label – but here he works as the sole leader, and maybe knocks it out of the park even more! All the tunes here are originals by Ken – who continues to be a hell of a writer, and comes up with songs that are bright and bold, yet also filled with deeper lines of feeling too – almost like some of Wayne Shorter's excellent early compositions in the first half of the 60s. Like Shorter in those days, Fowser has a way of working in a deeply soulful mode, but with strong lyrical currents too – echoed nicely here by the trumpet lines of Josh Bruneau, in a quintet that also include Rick Germanson on piano, Paul Gill on bass, and Jason Tiemann on drums. The album's the kind of subtle gem that we've really come to love from Posi-Tone – and titles include "Off The Path", "Mode For Red", "Brick's Tune", "Hanging On", "Head Start", "Filling In The Blanks", and "Timeless".  ~ Dusty Groove

Vocalist and Guitarist CAMILA MEZA Releases New Album, TRACES

Featuring Camila Meza (guitar & vocals), Sachal Vasandani (vocals on "Away"),

Shai Maestro (piano, Rhodes, wurlitzer, mellotron, pump organ, ampli-celeste),

Matt Penman (bass), Kendrick Scott (drums), Bashiri Johnson (percussion),

Jody Redhage (cello), Matt Pierson (producer).

Vocalist, guitarist and composer CAMILA MEZA is a rarity, a glorious triptych of an artist. She possesses a gift for composing brilliant musical landscapes, a captivating, soulfully pure vocal instrument, and a consummate prowess on guitar, ablaze with irresistible melodies and improvisations. Camila Meza, originally from Santiago, Chile, has garnered rapt attention from her colleagues, the press, and audiences in South America, New York City, and internationally, for her distinctive ability in blending jazz with her broad musical world (that includes Latin American, Brazilian, folk and pop), and for the emotional depth of her music. This rising star on the global jazz scene has been described by The New York Times as, "a bright young singer and guitarist with an ear for music of both folkloric and pop intention," and called, "a natural multi-talent, an improvising singer-guitarist who is one of the finest in the world in both creative realms," by pianist Aaron Goldberg.  He added that, "she unites North and South America in a multilingual mega-continent, a pangaea of swing and harmony." Being called to join your peers on stage and in the studio remains one of the true tests that any NYC jazz musician will face, and Camila has passed, summa cum laude, staying very busy as an in-demand side musician, working with the likes of Ryan Keberle, Fabian Almazan, Aaron Goldberg, Sachal Vasandani, and many others. On February 26, 2016 Sunnyside Records proudly releases Camila Meza's debut recording for the label (and her fourth overall), Traces, produced by Matt Pierson and featuring Shai Maestro, Matt Penman and Kendrick Scott, with special guests Bashiri Johnson, Sachal Vasandani and Jody Redhage. 

At the inception of creating and crafting the music on Traces, Meza had a vivid dream of a seashore full of colorful, precious stones, each of them with their own size and particular design. She wandered through this beauty, wanting to carry every stone back home with her. But then she looked closer, and decided to take only the ones that she really loved, those that made her feel something special. "This dream was the beginning of my journey to the core of myself, getting closer to what moves me, accepting my own truth and embracing my intuition. This album represents the path traced, the moments, hopes and melodies that have marked my journey," said Meza. Traces is comprised of eight new original compositions, plus "Green Finch and Linnet Bird" (Sondheim), "Amazon Farewell" (Djavan), "Luchin" (Victor Jara) and "Little Person" (Jon Brion).

A songbird takes flight . . .  Traces opens with the Meza composition, "Para Volar," on which she sings these words in Spanish (she also sings beautifully in English): "let the wind take you, fly free until you find truths with no fear or time, freedom in its essence, let the wind take you, fly and dream again." Camila writes about a failed attempt to rescue an injured bird, but these sentiments also speak of new beginnings, and of embracing your dreams. Traces was born from her joyous journey from a young, accomplished musician in Chile (inspired by Wes Montgomery, George Benson, Pat Metheny, Led Zeppelin, Ella Fitzgerald, Jimi Hendrix, Bjork, Elis Regina and Chet Baker), to becoming part of a new generation of adventurous jazz musicians in New York who are fearlessly imposing their disparate influences and experiences on jazz, with glorious results.  

Up next is Camila's wonderful duet with vocalist Sachal Vasandani, "Away," also featuring Jody Redhage on cello. Camila and Sachal sound as if they were born to sing together, and the sparks fly on this song about how romantic love can come and go, but true love doesn't fade away, but transforms into something else in our lives.

The title track, "Traces," expresses themes of finding space and beauty, especially as a respite from city life. Also, how small, conscious acts can change your life and make the world a better place. Or, as Camila sings, "It's a blessing to do little things and feel that they can change the world around." This song, and "Away," also features some of Camila's most compelling guitar solos on the album.

Camila was moved to sing Djavan's "Amazon Farewell" from Betty Carter's powerful version of the song performed at The Nice Jazz Festival. Camila and her band offer up their own robust version on which you can feel how much the lyrics resonate with Camila. She elaborates, "I remember I couldn't stop watching this video of Betty after I discovered it, she absolutely inspired me to no end, and it was exactly what I needed at that moment. I think it's important to address in my music the things I care about. In this case the injustices, the destruction of nature, and the unconsciousness towards native people."

"Mar Elastico" is dedicated to Camila's loved ones. "This song conjures up imagery and memories of afternoon games with my sisters, an orange light following their steps. There's this idea of brief meetings, telling each other where we're going, but then their steps become larger and we're apart again. But after all, a realization of the elasticity of our relationships; that distance just makes us come back stronger when we meet again," said Camila.

Other highlights on Traces include the lullaby-like "Luchin," a beautiful, powerful Chilean song written by singer/songwriter Victor Jara, an emblematic figure in the history of Chile. This song represents the higher hopes of justice through the story of a little boy named Luchin living in harsh conditions; Sondheim's "Greenfinch and Linnet Bird" (from "Sweeney Todd"). "It felt very interesting to use a more contemporary Broadway song and do my own 'jazzier' treatment on it, with no reference of another version. The lyrics totally grabbed me, and it fit into the recurring theme of flying on this album, with the lyric, 'if I cannot fly, let me sing'", explained Camila; and "Little Person," the closing theme from the movie "Synecdoche New York" (starring the late Philip Seymour Hoffman), which Camila fell in love with for its beautiful heaviness.  

On the breathtaking "Emerald," Meza sings, "I've decided to stay, stay in this open place, here's where my heart sings, here's where there's no mistake." Camila explains, "this was one of the last songs written for the album, and it became like a hymn about actually having found the place I was looking for; the openness, the reassurance, the freedom, the passion and love for what I am and what I do."

Throughout Traces Camila offers the listener a remarkable gift; her true self and her abundant talents, as expressed through these songs, with no less than luminosity, passion, honesty and love.