Jazz Singer Stacey Kent Releases New Album, Tenderly

"Life is the art of the encounter, though there are many failed encounters in life." Seldom has the Brazilian poet Vinicius de Moraes's philosophy been more fully realized than in this meeting of Roberto Menescal and Stacey Kent.

                  

There are so many reasons why Stacey Kent and Roberto Menescal should never have met, let alone formed a friendship based on mutual admiration and shared artistic vision, that the very existence of this album, Tenderly (OKeh) available January 15, is close to miraculous.

                  

Stacey Kent – for whom jazz and the "Great American Songbook" formed the musical wallpaper of her East Coast adolescence – viewed Brazilian music with much the same fascination as that with which Menescal had viewed American jazz a generation earlier. Each went on to become an important figure in their own musical sphere. Roberto Menescal began his musical journey in the 1950s as a student in Rio de Janeiro. As an admirer of the exotic sounds of American jazz and popular song, one of his early idols was the jazz guitarist Barney Kessel.

                  

Born in South Orange, New Jersey, in 1968, Stacey Kent began her musical career as an interpreter of American standards, bringing her own unmistakable, intimate and emotionally intelligent style to a vast repertoire. A natural minimalist, she gained a legion of fans for her "less is more" approach. While her music has become increasingly involved with French and Brazilian influences, the same quiet intensity that characterized her interpretation of the "Great American Songbook" has continued to inform her singing.

                  

Born in Espirito Santo in 1937, Roberto Menescal became one of Brazil's most important 20th-century musical figures. A composer, guitarist, founding father of Bossa Nova, record producer and winner of a Lifetime Achievement Award at the 2013 Latin Grammy Awards, Menescal's importance to the history of Brazilian music from the late 1950s to the present day can hardly be overstated. That he remains as busy as ever – performing, composing and producing – is testament to his true passion for music.

                  

The first step on the journey that led to the encounter between these two great artists was taken when the Brazilian DJ Bob Tostes, an aficionado of American jazz singers and a friend of Menescal, made a compilation of favorite singers for Menescal and his wife Yara. One track stood out for them: a recording of Gershwin's seldom played "Isn't It a Pity?" by Stacey Kent. In this recording Menescal recognized a quality that resonated for him: an emotional depth expressed with a quiet, un-dramatic intensity. This was a quality shared by some of the great Brazilian singers such as Nara Leao, with whom Menescal had enjoyed his closest working relationship. Yet here was an American singer displaying just such qualities.

                  

Menescal made it his business to search out more of Stacey Kent's recordings, and quickly became such a fan of her work that, whenever he was producing a new, young singer, he would give them a selection of Kent's recordings with the instruction, "Listen to this and then we'll talk." However, despite his admiration, Stacey Kent remained merely a name on the sleeves of his treasured albums. Similarly for Stacey Kent, a fan of Brazilian music since her youth, the name Roberto Menescal was just a name on an album sleeve. The idea that they knew of each other had never occurred to either of them.

                  

Fast-forward now to 2011 and the final step on that journey: an invitation to Stacey to sing at the Show de Paz, held in Rio de Janeiro to celebrate the 80th anniversary of the Cristo Redentor, the famous statue of Christ the Redeemer atop Corcovado. Stacey had been invited by Brazilian singer-songwriter Marcos Valle to sing his classic "Samba de Verao." This was itself a meeting that would result in a close and enduring musical and personal friendship that has to date yielded a live album, many concerts and a DVD-in-the-making. But it was as Stacey was leaving the stage after her performance with Marcos that the encounter which led to this recording took place.

                  

Menescal was to perform with the band Bossacucanova and was preparing to go on stage. In the bustle of the crowded backstage area, neither Kent nor Menescal had seen the running order or the artist list. And so it was that, on leaving the stage, Stacey spotted Roberto, guitar in hand. Already on cloud nine from her performance with Marcos, here was another idol! On the verge of stage-struck, she could say nothing other than "Roberto!" Menescal, similarly surprised but recognizing the singer from the covers of his cherished CDs, replied, "Stacey!"

                  

Until that encounter, neither had any idea that each was aware of the other. A hurried exchange of email addresses in the wings sealed the friendship. Several subsequent meetings in Brazil and a regular exchange of emails and telephone calls allowed the new friends to make up for the lost years. For two artists of such remarkable empathy, a recording project was the next natural step.

                  

Their first recorded collaboration was for Stacey's 2013 album The Changing Lights, which included Menescal's timeless classic "O Barquinho" and the Jim Tomlinson/Antonio Ladeira original "A Tarde," both with Roberto on guitar. Such was their musical empathy that further recordings were bound to follow.

                  

Having devoured the recordings of Julie London and Barney Kessel in his youth, Menescal had always harbored a wish to record an album of standards along those lines. For Menescal, meeting Stacey was the chance to realize that life's ambition – and, beyond this, to record that album with his favorite standards singer. For Kent, it was the chance to work with a musical idol and one of the founding fathers of a genre that had completely informed her musical aesthetic.

                  

With Stacey's husband Jim Tomlinson on saxophone and flute, and Jeremy Brown on bass, this intimate collection of songs is something of a homecoming for both Stacey and Roberto: for her, it is a return to the "Great American Songbook"; for him, it is a return to the jazz roots that inspired him as a young guitarist in the heyday of the Bossa Nova.

                  

Despite their being separated by generations, continents, cultures and languages, that chance encounter in 2011 has resulted in some of the most distinctively focused and beautiful work in each of their careers. This album represents so much more than just the art of meeting. It is also truly the meeting of art.

Pianist Romain Collin Performs at JazzEssenz-Festival 2016

Internationally acclaimed pianist and composer Romain Collin is a featured performer in the JazzEssenz-Festival 2016 presented by KiFF (Culture in the feed factory) on Saturday, February 20.  Joining him are Felipe Cabrera on bass and Diego Pinera on drums.  

Collin, a native of Antibes, France who came to the US to study at Berklee College of Music and later earned a place at the Monk Institute, has performed or recorded alongside artists such as Mike Stern, John McLaughlin, Christian McBride, Gregoire Maret, Lauryn Hill, Tim Green and Joe Sanders. While at the Monk Institute he also toured with Wayne Shorter and Herbie Hancock and shared the stage with artists such as Marcus Miller, Jimmy Heath, and Terence Blanchard.  Jon Weber from NPR called him “a visionary composer, an extraordinary jazz pianist and a very bright young rising star in the jazz world.”

Collin recently composed a symphonic score to the “Words on Fire” video for The Malala Foundation.  The film kicked off the launch of the #standwithmalala campaign, and clocked nearly 2 million views on Facebook in 48 hours.  He has also written numerous film scores for projects including Ombline de la Grandiere’s five-part 2014 documentary Le Bresil par la Cote, Vlada Subotic’s About Me (2010), Gleb Osatinski’s award-winning Pisces of an Unconscious Mind (2011), The House at the Edge of The Galaxy (2013) and The Quantified Self (2015), Yaara Sumeruk’s Ringo (2012) and Parliamo Italiano (2013), and Lauren Fritz's Gallina (2015).

Press Enter, which was released in the US October 2 on the ACT Music label (and released earlier in Europe), has already earned wide critical acclaim. The album title comes from two life-changing words shared with Collin by legendary saxophonist Wayne Shorter. Musing on people who spend their whole lives talking about plans, ideas, or dreams without ever seeming to take action, Shorter fell briefly silent before bursting out with an urgent commandment: “Press enter!”

“I started laughing, but I thought the wording was genius,” recalls Collin, who had the unique opportunity to spend time gleaning advice and direction from both Shorter and Herbie Hancock while touring India and Vietnam with a band from the Thelonious Monk Institute of Jazz. “He encapsulated such a clear concept practically, intellectually and emotionally. It felt so compelling in just two words, that idea of doing something and not just conceptualizing it.”

Collin took that advice to heart to such an extent that it provides the title for his third release as a leader, Press Enter. The phrase offers not just a title, but a guiding mantra, as the French-born pianist vigorously seizes on his widely-varied inspirations to create an inventive and lyrical take on the piano trio tradition. For Collin, the freedom to follow his muse is so deeply rooted that even the potential of its being taken away provides a spark of inspiration: the profoundly moving “Event Horizon” incorporates the actual voices of wrongly incarcerated prisoners freed through the efforts of The Innocence Project.

Press Enter is Collin’s second album recorded by his incredibly gifted trio with bassist Luques Curtis and drummer Kendrick Scott, following their acclaimed 2013 release The Calling. Both were fellow students of Collin’s at the Berklee College of Music during the early ‘00s. “Kendrick is like a painter on the drums,” Collin says. “You never hear a drummer when he plays; you just hear music. He’s incredibly sensitive and has such width and depth in his knowledge of what he can express on that instrument. Luques is a great friend and he plays the bass like a bass should be played. Everything he plays feels really, really good and just the way it should to support the trio and the music.”

In 2009, Collin released his first effort as a leader, The Rise and Fall of Pipokuhn (Fresh Sound), a work described by All About Jazz as "an astonishingly mature and ambitious debut that secures Collin a placeholder in the continuing evolution of the grand tradition of the piano trio" (Phil DiPietro). His second record, The Calling (Palmetto, 2012) was described by the Washington Post as "distinctly personal and creative" (Mike Joyce) and hailed by The Revivalist as an album that "presents listeners with a work of art that is worthy of being held onto for generations to come" (Eric Sandler). 

www.romaincollin.com

A TRIO OF ALBUMS FROM THE JIMMY CASTOR BUNCH – BUTT OF COURSE / SUPERSOUND /E-MAN GROOVIN’

A trio of albums from Jimmy Castor – complete with bonus tracks too! First up is Butt Of Course – a funky funky classic from Jimmy Castor – a set that kicked off a tight run of records for Atlantic – and which firmly established his rep as a master of 70s funk! The sound of the set follows nicely from Jimmy's work on RCA – some of the fuzzy "Troglodyte" guitar work of those years, lots of earthy rhythms on the bottom, and Castor's trademark sense of wit – which was firmly in place even during his Latin Soul years! There's a few smoother, sweeter moments too – but these all come off nicely – and as always, Castor's a one-man soul music machine – able to handle plenty of sounds and styles with effortless ease! Titles include "Bertha Butt Boogie", "E Man Boogie", "Hallucinations", "Let's Party Now", "Potential", and "One Precious World". 

On Supersound, Jimmy Castor bursts forward with a groove that's different than his fuzzier work for RCA Records, but still equally funky throughout! Castor's still quite the multi-instrumentalist on the record – as in addition to singing lead, he plays plenty of soprano sax and timbales – the latter of which have this great skittish energy that really pushes the grooves forward strongly! And although the timbales are quite different than in Jimmy's earlier Latin work from the late 60s, there's a definite Latin-izing element in the way they're used – kind of an "it's not heavy enough – let's add more percussion" approach to the core 70s funk styles of the combo! Tunes are nicely quirky, and have a sense of humor in keeping with the cover – and titles include "Magic In The Music", "Supersound", "Bom Bom", "King Kong", and "A Groove Will Make You Move". 

E Man Groovin is a great extension of the funky style that Castor first started forging at RCA – touches with plenty of Jimmy's multi-instrumental touches on tenor, alto, and timbales – and given that great monster-inspired approach to lyrics – which ensures that the whole thing stays plenty vivid throughout! Vocals are nice and rough, and the instrumentation is heavy on basslines and clavinet – on titles that include the two part "Dracula", plus "Super Love", "I Love A Mellow Groove", "E Man Groovin", "I Don't Want To Lose You", and "Space Age". 2CD set features bonus tracks – "Space Age (12" disco version)", "King Kong (part 1)", "Supersound (7" version)", "The Christmas Song", "Merry Christmas", and "Bertha Butt Boogie (7" version)".  ~ Dusty Groove

NEW RELEASES: ALAN PRICE – SAVALOY DIP; LUXURY SOUL 2016 (VARIOUS ARTISTS); HIROSHIMA - HIROSHIMA / ODORI

ALAN PRICE – SAVALOY DIP

A fantastic album from the great Alan Price – known to some as one of the founding members of The Animals, but also a hell of an artist on his own – working here in a sweet blend of jazz, soul, and R&B elements – with a vibe that's very similar to his excellent collaborations with Georgie Fame! In fact, there's a groove here that's quite like Fame's brilliant late 60s/early 70s material – a sound that's quite different than you might expect from the 1974 recording date of the set – a truly timeless vibe that may make the set Alan's best-ever album! Yet oddly, the record was barely issued at the time – recorded, released, and pulled from the racks immediately – which means that even most Price fans have never heard the set – which finally gets its due with this well-done CD release. The quality of the songs is wonderful – some of Alan's best writing – and instrumentation is mostly lean, jazz-styled small combo backing – with far less production than most big label sets were getting at the time. Titles include "Savaloy Dip", "Pure Jimmy", "Smells Like Lemon Tastes Like Wine", "Willie The Queen", "Passin Us By", and "Country Life".  ~ Dusty Groove

LUXURY SOUL 2016 (VARIOUS ARTISTS)

A killer collection of contemporary soul – all pulled together with the kind of cool, classy sound we've come to expect from the Expansion label over the years! Expansion always has a great ear for digging out the best of the underground – and honestly, these guys were committed to Neo Soul before the movement had even formed – through their own recordings of American artists in the early 90s. That tradition continues strongly with a set like this – where the label offers up 35 gems on a well-priced 3CD package – brimming over with contemporary soul cuts that have way more going on than mainstream work on the charts. The set's a great way to discover a huge amount of Neo Soul cuts at a great price – and titles include "Promise" by Diane Marsh, "Love Crazy" by Chazz Mac, "Love In My Eyes" by Gene O, "Treat You Right" by Ian Martin with Jill Zadeh, "The Other Side" by Matthew Winchester, "Listening To Your Heart" by Tyrone Lee, "Even A Fool" by Dunn Street, "Help Yourself To My Love (live)" by Kashif, "Will You Be My Lady" by Damon Cooper, "The Road" by Paul Johnson, "Amazing" by Victor Haynes, "Funky Maharaja (heavy funk mix)" by Sham De Re with Xantone Black, "It's All Divine" by James Day & Darren Polite with Tina Broussard and U-Nam, "Call On Me" by The R&R Orchestra, and "Heartbreaking (classic mix)" by The Sound Principle with Richard Anthony Davis.  ~ Dusty Groove

HIROSHIMA - HIROSHIMA / ODORI

Two sweet sets from Hiroshima – back to back on a single CD! First up is the self-titled first album from Hiroshima – a group who took the 70s experiments in Japanese fusion right into the American mainstream – with a wonderful blend of jazz and soul, and a production style that was never too polished or commercial! The group's led by reedman Dan Kuramota – who plays both sax and flutes, including a bit of Japanese wooden flute – which gives the record a few slight "Eastern" touches a times, although the overall vibe is strongly in the best soulful fusion of the period! In keeping with that approach, there's a bit of vocals on the record – sung in English with a soulful vibe – on titles that include "Lion Dance", "Da Da", "Taiko Song", "Holidays", "Never Ever", and "Kokoro". Odori is a wicked blend of jazz and soul from Hiroshima – a group who've got the smooth blend of styles we love in some of the import-only fusion dates that were coming from Japan in the late 70s! The group's got a few light touches that emphasize their Pacific roots – including light flute lines and touches of koto and shamisen, but often used in more subtle ways than on earlier Japanese albums that mixed these rootsy elements with jazz – and the overall vibe here is one that's got plenty of appeal to fans of crossover fusion from the time, especially the kind with a strong current of soul! There's a bit of vocals on the record, too – and titles include "Winds Of Change", "Odori", "Echoes", "Cruisin J-Town", "Fortune Teller", and "Shinto".  ~ Dusty Groove

 

NEW RELEASES: CHARLES LLOYD & THE MARVELS – I LONG TO SEE YOU; JEREMY PELT - #JIVECULTURE; BILL O’CONNELL & THE LATIN JAZZ ALL STARS – HEART BEAT

CHARLES LLOYD & THE MARVELS – I LONG TO SEE YOU

A Blue Note debut from legendary reedman Charles Lloyd – who definitely wants to bring something new to his work on the label! The set features his Marvels combo – a quintet that features very prominent work from guitarist Bill Frisell, whose edgey tones here make for a very different sound than the use of guitar on some of Lloyd's recent records – especially as the group also features steel guitar from Greg Leisz, who shades things in with some washes of sound that really echo Frisell's tones too! The rest of the lineup features Reuben Rodgers on bass and Eric Harland on drums – and Lloyd plays both tenor and alto flute, with a warmth that really offsets some of the starker sounds of Frisell. The record features guest vocal work from Norah Jones and Willie Nelson – who sing on a song apiece – but the core appeal here is the interplay between Lloyd and guitar, but in a way that's very different than his 60s work with Gabor Szabo. Titles include "Of Course Of Course", "La Llorna", "Abide With Me", "Barche Lamsel", "All My Trials", and "Sombrero Sam".  ~ Dusty Groove

JEREMY PELT - #JIVECULTURE

Don't let the hashtag in the title put you off – because the set's not some snappy throwaway tweet – and instead stands quite strongly along with all the other excellent albums we love from trumpeter Jeremy Pelt! In fact, this set's almost got more of a back to basics feel than some of Jeremy's other recent records – a rock-solid sound that comes from a core quartet that also includes Ron Carter on bass, Billy Drummond on drums, and Danny Grissett on piano – all players with depths that go way beyond the social media generation, and who work with Pelt in this wonderful flurry of soulful colors and tones. The trumpet lines are wonderful – sometimes mellow but full of feeling – sometimes with a bite that really grabs us – and Jeremy wrote many original tunes for the set, including "Akua", "Desire", "The Haunting", "Rhapsody", and "Baswald's Place".  ~ Dusty Groove

BILL O’CONNELL & THE LATIN JAZZ ALL STARS – HEART BEAT

You can hear the heart beat from the very first note of this set from pianist Bill O'Connell – a warm pulse that stakes out the action, and calls the rhythms into play – which in this case include the strong array of percussionists you'd expect from the Latin All-Stars tag! Bill arranged the set, and composed most numbers – and there's a mixture of Latin roots and jazz-based complexities that takes us back to some of Eddie Palmieri's best experiments of the 70s, and the wealth of west coast Latin jazz work to follow in that mode during more recent years! The group features some well-crafted work from Conrad Herwig on trombone – no stranger to projects like this – as well as alto, soprano, and flute from Steve Slagle, who sounds more soulful here than we remember. There's a bit of vocals on the record – sung by Melvis Santa on three tracks, and Roman Diaz on one more – but the whole thing's much more instrumentally focused overall, with some excellent solo work over the rhythms! Titles include the originals "Wake Up", "Peace On Earth", "Heart Beat", "Tabasco", and "Vertigo" – plus nice takes on Jobim's "Waters Of March" and Wayne Shorter's "ESP".  ~ Dusty Groove

Cunard Announces Grammy® Award Artist Gregory Porter to Headline Blue Note "Jazz at Sea" Transatlantic Crossing October 25, 2016

On the heels of Queen Mary 2's first-ever "Jazz at Sea" Transatlantic Crossing with Blue Note Records, Cunard is delighted to announce that Grammy® Award-winning singer and songwriter, Gregory Porter, will be headlining the third Blue Note jazz-themed Transatlantic Crossing on October 25, 2016. Porter delighted fans with his powerhouse performances in the Royal Court Theatre during the first, October 29 Jazz at Sea Crossing. During the voyage, Porter spoke about Queen Mary 2's intimate venues and about how the rhythm of water inspires his music.

                       

Described by The New York Times as "a jazz singer of thrilling presence, a booming baritone with a gift for earthy refinement and soaring uplift," Porter signed to Blue Note Records in 2013 and recently took home his second Jazz FM award for "International Jazz Artist of the Year." Porter is widely known for his third studio album, Liquid Spirit, which won the 2014 Grammy for Best Jazz Vocal Album and reached top 10 on the UK album chart.

                       

"Having sailed across the Atlantic with Cunard for the first time, I realize what a unique and exciting travel experience the transatlantic crossing was and I'm thrilled to headline one of the Jazz at Sea voyages next year," said Gregory Porter. "It was inspiring to be on board Queen Mary 2 with some of the greatest minds and musicians in jazz and to meet music fans from around the world."

                       

Cunard and Blue Note Records' first "Jazz at Sea" Transatlantic Crossing included intimate performances by a star-studded roster of fellow Blue Note musicians, featuring: Grammy® Award-winning jazz pianist and record producer Robert Glasper, acclaimed trumpet player Keyon Harrold, tenor saxophonist Marcus Strickland, guitarist Lionel Loueke, bassist Derrick Hodge and drummer Kendrick Scott.

                       

"The Jazz at Sea experience was one of the greatest experiences of my life," said Don Was, president, Blue Note Records. "Matching up Blue Note Records and Cunard was a stroke of genius. Market research shows that both brands are continually recognized for excellence and integrity, and the Blue Note brand offers a 'cool' vibe as well."

                       

During the first-ever Blue Note "Jazz at Sea" Transatlantic Crossing, lounges and public spaces were transformed to jazz destinations in the evenings where Blue Note artists were met to packed houses in the Chart Room, G32 and Illuminations. Q&A sessions provided a more intimate and informal setting for guests to learn more about the artists, their influences and backgrounds, and where Porter demonstrated the words that moved him in impromptu a capella performances.

                       

"We are delighted that Gregory Porter will join us again in 2016," said Richard Meadows, president, Cunard, North America. "Cunard and Blue Note Records share a deep connection with over 200 combined years of experience in our respective industries, and we are excited to continue to deliver stimulating, celebrated and significant entertainment for our guests."

                       

This special Transatlantic Crossing will also feature other noteworthy jazz musicians that will soon be announced.

Jazz Connect Conference Includes Over 20 Panels and Workshops, Plus Special Events

Christian McBride / Maria Schneider / Robert Glasper

The Jazz Connect Conference will take place Thursday, January 14 and Friday, January 15, 2016 at Saint Peter's Church in New York City.  The program includes over 20 panels and workshops addressing a wide array of timely topics and issues, such as social media, presenting, radio airplay, media coverage, booking opportunities, audience development, music streaming services, music licensing and many other practical areas.  Panelists include both artists and industry professionals.  See the final schedule here.  Registration is still open here.

The inimitable singer/radio host/actress/bandleader Dee Dee Bridgewater will give the keynote address at the conference.  Over the course of a career spanning a few decades, Ms. Bridgewater has evolved into a true ambassador of jazz, with the United Nations as well as the Thelonious Monk Institute.  The keynote session will also include "Solo Spots" or short presentations by Dave Douglas, Jimmy Greene and Joel Harrison (American Pianists Association), as well as the presentation of the Bruce Lundvall Visionary Award to Brice Rosenbloom.

In addition, there will be numerous special events, such as an opening mixer reception sponsored by NPR Music and "Jazz Night in America," the nationally-syndicated radio program that also features state of the art video.  On Friday afternoon, The New York Chapter of The Recording Academy is sponsoring a screening of the film documentary "Jaco" presenting the world of bassist extraordinaire Jaco Pastorius, considered by many to be jazz's last great innovator on an instrument.  Featured film interviews include commentary from Sting, Herbie Hancock, Wayne Shorter and Joni Mitchell. A panel discussion (moderated by Christian McBride and featuring filmmaker Paul Marchand, as well as Randy Brecker, Mike Stern and Bill Milkowski) examining his life and music will follow the screening.  The Norwegian Consulate General is presenting a panel on jazz in Norway and will also host a performance by guitarist Lage Lund and a "wrap-party" to close out the conference on Friday.

The much-discussed biopic on Miles Davis by Don Cheadle, "Miles Ahead," is the subject of a session hosted by Ashley Kahn. The panel will show some clips from the movie and talk about how the music was created for the film; speaker include artists Robert Glasper and Keyon Harrold, music supervisor Ed Gerrard and representing the Miles Davis Estate, Vince Wilburn.

The conference also includes the popular "Ask the Experts" session in which members of the jazz community get the opportunity to meet face-to-face for 10 minutes (speed-dating style) with influential and experienced industry leaders representing these issue areas: Labels/Recording/Product Management; DIY Management/Fundraising; Marketing/Social Media; Publicity/Promotion; and Presenting/Booking/Touring.  Interested parties can sign up on-site.

The conference is organized by JazzTimes and the Jazz Forward Coalition. The host hotel is the DoubleTree Metropolitan at 51st & Lexington.  For more information on the Conference or to register for the event, go to JazzConnect.com.  The Conference hotline is 617-315-9158.

 

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