Joe Bonamassa evolves as blues-rock musician with highly-anticipated new album Blues of Desperation

GRAMMY-nominated blues-rock guitar icon Joe Bonamassa announces his brand-new studio solo album, Blues of Desperation (J&R Adventures), which will be released March 25, 2016. Like his previous solo disc, 2014's Top 10 Billboard hit Different Shades of Blue, this record features all-original material, and it sees the maverick superstar guitarist, singer and songwriter tossing away the rule book as he continues to reinvent and redefine the blues-rock genre like no other artist working today.

                  

"I want people to hear my evolution as a blues-rock musician," says Bonamassa, "somebody who isn't resting on accomplishments and who is always pushing forward and thinking about how music can evolve and stay relevant."

                  

The writing sessions for Blues of Desperation took Bonamassa back to Nashville, where he'd composed Different Shades of Blue, to work with some of Music City's top tunesmiths, people like James House, Tom Hambridge, Jeffrey Steele, Jerry Flowers and Gary Nicholson.

                  

"These are some of the best guys in the business," Bonamassa raves. "Lyrically, you'll hear the proverbial trains, mountains, valleys and other blues references about heartbreak and loneliness but there are also some poignant moments about getting away from the stressful, crazy demands of life and losing yourself with your special someone. I think anybody will be able to relate."

                  

Bonamassa and his longtime producer Kevin Shirley (Led Zeppelin, Iron Maiden, Journey) convened at Nashville's Grand Victor Sound Studios (formerly known as RCA Studio A), and during an intense, five-day period they recorded 11 galvanizing songs with a crack group of musicians including drummers Anton Fig and Greg Morrow, bassist Michael Rhodes, keyboardist Reese Wynans, horn players Lee Thornburg, Paulie Cerra and Mark Douthit, and background singers Mahalia Barnes, Jade McRae and Juanita Tippins.

                  

Of his decade-long collaboration with Shirley, Bonamassa says, "I can explain our relationship with one word – 'trust.' I completely trust in Kevin and his musical promptings. He pushes my musical ability by challenging me to not just rest on my laurels or settle for 'good.' He expects more out of the other musicians as well and will not hold back when he sees us falling back into our usual routine."

                  

"Which sometimes calls for unorthodox measures," says Shirley, who admits that his idea of augmenting Bonamassa's usual recording band with second drummer Morrow was engineered to "ruffle Joe's feathers."

                  

"I wanted him to work a little harder, like in his early years," he says, "so I brought in an additional drummer, just to throw the cat amongst the pigeons." Of the results, Shirley raves, "Recording 'Blues of Desperation' is one of the most exciting recording projects I've done. What a joyful noise we made!"

                  

Blues of Desperation is Bonamassa's most powerfully diverse and boldly realized album yet, with the material ranging from the gutsy, gritty blues call to arms of "This Train" (Joe's guitar is set to "rude" throughout) to the elegant yet emotionally shattering ballad "What I've Known for a Very Long Time" to the soul-nourishing, acoustic-based Americana of "The Valley Runs Low," on which Bonamassa's voice rises up majestically to meet Barnes, McRae and Tippins in gospel-like rapture. And then there's the bleary, tequila-soaked "Drive," dripping with the kind of raw, wicked and unsettling sensuality that could make David Lynch green with envy.

                  

Throughout the record, Bonamassa's epic guitar playing conjures up stirring benedictions and explosive exorcisms of sound. "No Good Place For the Lonely" features some of the guitarist's most cauterizing licks yet, and the walloping title track is a white-knuckled, six-string thrill ride guaranteed to jolt the senses. Guitar fans everywhere (like those who recently voted Bonamassa "Best Blues Guitarist" in Guitar World magazine by an overwhelming margin) will consider Blues of Desperation a treasure trove of axe riches.

                  

"There are some long solos on this record and even some mini-jams in the middle of a track where the band would just jive and crank it out," he says. "[During those jams], we do a tip of the hat to Beck and Clapton from the '70s. I think guitar nerds and music fans like myself will love it."

                  

Packed with unparalleled musicianship and teeming with the most enthralling collection of songs in Bonamassa's career, Blues of Desperation is guaranteed to knock out critics and fans alike. By exceeding his own vertiginously high artistic goals, Bonamassa is bound to shatter all other expectations with this record and reach new audiences – no mean feat when you continue his  astonishing track record of hits now includes 15 #1 Billboard Blues Albums (more than any other artist in history). 2014's Different Shades of Blue debuted at #8 on Billboard's Top 200 Chart, making it his highest charting album, his first top 10 and accounting for his biggest sales week ever. In 2014, the guitarist received his first-ever Grammy nomination (for Best Blues Album) for the album Seesaw, his second collaboration with blues singing star Beth Hart, and was named 2014's Billboard Blues Artist of the Year.

                  

Bonamassa's stature in the music industry has built steadily over the years. Along with his longtime manager, Roy Weisman, the iconoclastic guitarist built his own successful record label, management and concert promotion company called J&R Adventures. In addition, his connection to fans on social media has grown to over 2.4 million Facebook friends, over 131K Twitter followers and 130K Instragram followers.

                  

Prior to the release of Blues of Desperation, Bonamassa – a touring monster who averages about 100 shows a year – will be kicking off the year with a January DVD recording of his intimate acoustic show at New York's Carnegie Hall before embarking on his second annual Keeping The Blues Alive at Sea blues cruise in February and a full-on electric band trek through the U.S. in April.

                  

Tracklisting:

1.This Train

2.Mountain Climbing

3.Drive

4.No Good Place For The Lonely

5.Blues Of Desperation

6.The Valley Runs Low

7.You Left Me Nothin' But The Bill And The Blues

8.Distant Lonesome Train

9.How Deep This River Runs

10.Livin' Easy

11.What I've Known For A Very Long Time

NEW RELEASES: HARRY ALLEN FEATURING JOYCE– SOMETHING ABOUT JOBIM; ROBERT STILLMAN – RAINBOW; MATT CAB – SHUNKASHITO

HARRY ALLEN FEATURING JOYCE– SOMETHING ABOUT JOBIM

A lovely little Brazilian-styled set from tenorist Harry Allen – and one that features vocals and guitar from the wonderful Joyce! Almost all titles are originals by Antonio Carlos Jobim – as you'd guess from the title – but Allen's deep-voiced approach moves them into very different territory than the usual bossa remakes – and reminds us just how great Jobim's compositions can be as vehicles for jazz improvisation. In addition to guitar from Joyce, the rest of the quintet features Helio Alves on piano, Rodolfo Stroeter on bass, and Tutty Moreno on drums – who further underscore the Brazilian elements – and Joyce sings on three of the album's eleven tracks, always adding a lot when she does! Titles include "Captain Bacardi", "Chovendo Na Roseira", "Theme For Jobim", "Angela", "Voce Vai Ver", "Tema Jazz", "Mojave", and "Antigua".  ~ Dusty Groove

ROBERT STILLMAN – RAINBOW

Robert Stillman sits amidst a host of different instruments on the photo with the album – Fender Rhodes, Tenor, soprano sax, and drums – all of which, and more, he plays with a wonderful sense of expression on this overdubbed set – almost with the personal feel of some obscure indie album from the 70s! The music is partly jazz, and partly instrumental excursions with a beautiful sense of sound – as Stillman works out these lovely textures and tones on one instrument, then overdubs another, and creates some very beautiful, very individual moments in the process. There's almost a spiritual feel to the record at points, but the performance is more fragile and meditative at other points – all with a poetic vibe that fits the image on the cover. Titles include "Ruthie In May", "As He Walked Into The Field", "Warren Is A Great Car", "Rainbow", and "Field With Pops". ~ Dusty Groove

MATT CAB – SHUNKASHITO

Cool, catchy soul from Matt Cab – a soul singer with American roots, but one who's been making much bigger waves recording albums like this for the Japanese scene – where he seems to be creating quite an audience for his music! Matt's got a style that could be huge if he were given bigger chart placement over here – instantly appealing, with a quality that's heartfelt, but never overdone – and a mode that's never trying too hard to be anything other than a kind of hummable, memorable soul with nice crossover potential – especially on the album's midtempo tracks, which might be the most appealing. The album features guest work from Sway, Maco, and Che'Nelle – and titles include "Take My Hand", "Sweet Simplicity", "Castle In The Sky", "Used To Know", "Come Back", "To You", "Call Your Name", and "That Touch".  ~ Dusty Groove

Nicola Conte Presents Stefania Dipierro - Natura l/ A Gira

Stefania and Nicola first came together as members of the seminal 90s musical collective Fez, with Nicola leading the group. This period, one full of inspiration and discovery, laid the seeds for Natural. Though Stefania lent her enviable vocal talents to many bands over the years and Nicola went on to an illustrious production career, outside of a handful of tracks from Nicola’s album Jet Sounds, it was not until now that the stars aligned enough to merge their musical sensibilities once again to access the deep spirituality that is the core of their approach to sound. Stefania’s ongoing musical journey, with and without Nicola, has ensured that her connection to, and understanding of jazz runs deep, as she resoundingly demonstrates on Natural. With Nicola’s expert knowledge of Brazilian jazz, samba and bossa from the swinging 60’s (as is evident on the five ‘Viagem’ compilations he released with Far Out Recordings) he once again leads the way from the production seat, resulting in album rooted deeply in the musical history while providing the defining showcase for Stefania’s inimitable vocal talents.

The album’s title track serves as it’s lead single alongside a cover of Trio Ternura’s A Gira. Natural, penned by Nicola, Stefania and guitarist Fabrizio Savino draws together a smorgasborg of global influences boiled down to the essentials: a propulsive Afro-rhythm bolstered by a searing funk guitar, whilst soothing Rhodes chords provide a distinctly Brazilian warmth. Dipierro’s vocals are the cherry on top: a heartfelt and enriching melody with which she fires on all cylinders to unleash the many timbres of her voice.

A Gira, Trio Tenura’s classic Brazilian rare groove is re-arranged and re-recorded with Nicola Conte’s arrangement conjuring the same lazy swinging groove as the original, but with a richer modern resonance. Heftier Hammond organ and punchier percussion is again topped off with Dipierro’s sublime dulcet tones. The single has all the ingredients for top quality Brazilian boogie and these two tracks will no doubt whet the appetite for the album’s release in March. ~ Far Out Recordings

NEW RELEASES: ART SHERROD JR. - INTERVENTION; LIQUID MONK - YAGA; 3RD FORCE - GLOBAL FORCE

ART SHERROD JR. - INTERVENTION

When you take a smooth jazz approach to some of gospel music’s greatest songs you get saxman Art Sherrod Jr.’s newest CD project Intervention, which also features the soulful sound of Incognito’s lead vocalist Maysa Leak on a very funky arrangement of “Oh Happy Day.” This project has 13 spiritually enriched tracks that highlight Art’s roots in gospel, jazz, R&B and funk. Intervention will keep you immersed from the first to the last song. With one listen, it is clear to see that Art Sherrod Jr’s passion is to connect to the heart of diverse audiences with an intervention of love. Includes: Nobody Greater; Going Up Yonder; Going Up Yonder (Reprise); How Great Is Our God; Stand; I Give Myself Away; My Soul Has Been Anchored; How Excellent; I Wanna Thank You; It Is Well; Oh Happy Day; A Change Is Gonna Come; and He Looked Beyond My Fault.~ newreleasesnow.com

LIQUID MONK - YAGA

Since forming in early 2013, Liquid Monk's infectious fusion of funk, soil, electronic and jazz has been spreading throughout the southeast Michigan.   High energy live performances led by a wide array of instrumentation including synthesizers, electronic soundscapes, Rhodes piano, hand percussion, vocoder and Hammond organ, has captivated audiences and kept them on their toes. With over fifteen years of performing alongside each other in various projects, Liquid Monk’s members have deep musical and social bonds that shine each time they come on stage. With roots in jazz and funk, each member is highly technical on their respective instrument, however, songwriting and connection with the listener is always at the forefront of the band’s compositions and live performances. Their debut single, Man On Fire, which Sound and Silence described as “Chic meets Umphrey’s meets early Daft Punk on steroids”, was released in early 2015. It set the tone for the band’s unique blend of fiery jazz fusion, lush synthesizer soundscapes, pounding live electronica and heavy grooving funk. The single was followed up by their genre bending debut EP, Yaga, in the fall of 2015.

3RD FORCE - GLOBAL FORCE

The new 3rd Force album, Global Force, is the long awaited follow up to their previous four hit albums whose titles all incorporated the “force” concept. Multi-instrumentalists & sonic architects William Aura and Craig Dobbin are the duo and foundation of the 3rd Force sound with special guests Lawson Rollins (flamenco guitar), Brian Hughes (electric guitar), Multi-instrumentalist Alain Eskinasi, accordionist Brian Mann, harpist Peter Sterling, saxman Derrick Edmonson and the hugely popular Nepali trio Kutumba. They all come together to create a dynamic, explosive fusion of genre-transcending songs and global consciousness. Tracks: Big Shot; Breakout; Carry On; Compassion Passion; Day Into Night; Follow Me Home; Out Of The Storm; Shadow Of Love; You Are The One; and We’ll Be Together. ~ newreleasesnow.com

HERBIE MANN: Live at the Whisky 1969—The Unreleased Masters (2-CD Set)

While jazz flautist Herbie Mann is often remembered as a pop-jazz player, he was actually a pioneer in popularizing world music and even prog-rock with recordings released on his own Embryo imprint (as part of Atlantic Records). And in the late ‘60s, he was fronting one of the most progressive and electrifying bands in the world: guitarist Sonny Sharrock, Miroslav Vitous on electric & upright bass, saxophonist Steve Marcus, drummer Bruno Carr, and vibraphonist Roy Ayers. Together, the sextet cut the dynamic Live at the Whisky A Go Go album in 1969, drawn from a four night run at the legendary nightclub on Los Angeles’ Sunset Strip. Though the band’s repertoire was quite varied on these dates, just two side-long tracks, “Ooh Baby” and “Philly Dog,” surfaced on the Atlantic Records release.

Now, reissue producer Pat Thomas has unearthed the multi-track tapes for these shows (never before mixed), and has programmed a double-CD set that shows this high-energy jazz-rock outfit stretching out – sometimes, on Sharrock’s solos, way out – with, as an added bonus, the appearance of Linda Sharrock on songs that appeared (in studio versions) on the seminal Sonny Sharrock album Black Woman released around the time of these live shows.

All performances are previously unreleased, including a 23-minute jam of Donovan’s “Tangier” blending into Tim Hardin’s “If I Were A Carpenter” and a newly discovered take of “Ooh Baby” that clocks in at 21 minutes! Sonny Sharrock’s searing lead guitar work is featured on songs first recorded by Aretha Franklin, Miles Davis, and Simon & Garfunkel – plus “Black Woman” and Portrait of Linda in Three Colors” with Linda on vocals.  Live at the Whisky 1969—The Unreleased Masters presents two CDs filled to the brim with explosive, yet ethereal innovative jazz-rock at its best. Fans of Bitches Brew, The Inner Mounting Flame, early Weather Report and similar-era titles will quickly realize that Herbie Mann was not just a pop-jazzbo – but a force to be taken more seriously than history has accorded him. File this CD between Soft Machine 3rd and the jazz-funk of The Crusaders.

Packaging includes several previously unpublished live photos of this band in action, with notes by Thomas. A huge jazz find!

SONGS:

Disc One

1. Untitled Jam

2. Tangier/If I Were a Carpenter

3. Memphis Underground

4. Ooh Baby

5. Scarborough Fair

Disc Two

1. Black Woman

2. All Blues

3. If I Were a Carpenter

4. Philly Dog

5. Portrait of Linda

6. Come Home Baby/Battle Hymn of the Republic/Come Home Baby

7. Chain of Fools

BOBBY DARIN: ANOTHER SONG ON MY MIND—THE MOTOWN YEARS (FINALLY RELEASED AS A 2-CD SET)

Bobby Darin was so much more than just Mack the Knife. In just 37 years, the singer, songwriter, multi-instrumentalist, producer and entrepreneur raced against the clock to conquer records, film, and television as he successfully transitioned from rock-and-roll teen idol to tuxedoed swinger and then to denim-clad folk troubadour. At the dawn of the 1970s, and still battling the chronic heart problems that had plagued him since youth, the superstar artist signed with Berry Gordy's renowned Motown Records. 

At Motown, the versatile artist reinvented himself yet again, recording some of the most vibrant and vital music of his remarkable career. He tackled Hitsville, USA-style R&B and soul alongside original songs and personal re-interpretations of favorites by the day s top pop and rock songwriters including Randy Newman, Cat Stevens, Paul Williams, and Bob Dylan. 

Darin released just one studio album and a number of singles at Motown before his untimely death in December 1973; the following year, producer Bob Crewe assembled a posthumous LP to celebrate his friend s life and music. Yet, as the decades passed, Darin's artistically wide-ranging Motown recordings were all but forgotten. Now, just two months before what would have been the singer's 80th birthday on May 14, 2016, Real Gone Music and Second Disc Records proudly present the first-ever retrospective of the final chapter of the legendary Bobby Darin s musical life. 

The 2-CD, Another Song on My Mind: The Motown Years brings together the self-titled 1972 Bobby Darin album never released on CD anywhere in the world with Crewe's original, never-on-CD mix of the posthumous Darin 1936-1973. If that s not enough, this definitive, freshly-remastered anthology also adds every one of Bobby's Motown singles as well as the remixed tracks from the short-lived CD reissue of Darin 1936-1973! 

The Second Disc's Joe Marchese supplies the new liner notes for this landmark release, with remastering by Mike Milchner at SonicVision. Another Song on My Mind: The Motown Years is certain to prove one of 2016 s most significant archival collections for fans of Motown, R&B, pop, soul, and classic vocals, and celebrates the singer s 80th birthday in style. Look out, old Bobby is back

Disc: 1

  1. Sail Away

  2. I ve Already Stayed Too Long

  3. Something in Her Love

  4. Who Turned the World Around

  5. Shipmates in Cheyenne

  6. Let It Be Me

  7. Hard-Headed Woman

  8. Average People

  9. I Used to Think It Was Easy

  10. My First Night Alone Without You

  11. Melodie (Original Single Version)

  12. Someday We ll Be Together (Original Single Version)

  13. Simple Song of Freedom (Original Single Version)

  14. I ll Be Your Baby Tonight (Original Single Version)

  15. Sail Away (Original Single Version)

  16. Hard-Headed Woman (Original Single Version)

  17. Average People (Original Single Version)

  18. Something in Her Love (Original Single Version)

Disc: 2

  1. I Won t Last a Day Without You

  2. Wonderin Where It s Gonna End

  3. Sail Away

  4. Another Song on My Mind

  5. Happy (Love Theme from Lady Sings the Blues)

  6. Blue Monday

  7. Don t Think Twice, It s All Right

  8. The Letter

  9. If I Were a Carpenter

  10. Moritat (Mack the Knife)

  11. Happy (Love Theme from Lady Sings the Blues) (Original Single Version)

  12. Simple Song of Freedom (Alternate Mix Single Version)

  13. I ll Be Your Baby Tonight (Alternate Mix Single Version)

  14. I Won t Last a Day Without You (Alternate CD Version)

  15. Wonderin Where It s Gonna End (Alternate CD Version)

  16. Happy (Love Theme from Lady Sings the Blues) (Alternate CD Version)

  17. Blue Monday (Alternate CD Version)

  18. Don t Think Twice, It s All Right (Alternate CD Version)

  19. Melodie (Stereo Single Version)

  20. Someday We ll Be Together (Stereo Single Version)

Dale Head Brings His Style and Music to APAP Performing three showcases at the Midtown Hilton NYC

Dale Head, a jazz and blues powerhouse vocalist and trumpet player, today announced that he will be performing his blues and jazz tunes at the Association of Performing Arts Presenters Conference (APAP) accompanied by a ten-piece orchestra. “APAP is the world’s largest forum for performing arts professionals with attendees coming from all around the world,” said Dale Head. “I am passionate about my music and can’t think of a better setting to bring back the amazing songs of some of our music legends.”

At APAP, Dale will be performing an assortment of jazz and swing hits, playing the trumpet, singing, and scatting. In the showcase, from “Voices of Jazz,” he will perform songs in the style of artists like Chet Baker, Al Jarreau, Kenny Rankin, Michael Franks, and Louis Armstrong. Dale will also feature Take Five based on All Jarreau’s live version and Sammy Davis Jr.’s version of I’m Gonna Live Till I Die. He will include two original songs from Joel Evans and two classic songs that have been arranged in a high octane version, which will be used to open and close the show. Dale will also join the horn players for a shout section, as well as doing a couple of trumpet solos.

“Over the years I have acquired some great arrangements of jazz, blues and swing tunes that I love performing,” said Head. “APAP is a great venue and I am thrilled to be performing alongside many terrific musicians.”

Dale Head is a world class vocalist who sings jazz, blues, and the Great American Songbook, with high energy and a sophisticated jazz vocal style. His work features a troupe of top notch musicians in a big band format. With a natural command of the swing and big band genre, Dale sings, plays trumpet and leads his talented group of players through a dynamic ride. With one foot firmly grounded in the foundation of the greatest music of the 20th Century, Dale is pushing the big band genre forward into the 21st Century with exciting and innovative arrangements of classic big band and American rock standards, as well as new music.

Dale’s show features hits from Joe Williams to Sammy Davis Jr., as well as Frank Sinatra and Harry James, along with some classic sounding originals and a new take on some old standards. Dale Head provides a high-powered, dynamic show that is certain to leave everyone entertained.

In addition to being an accomplished musician, Dale has spent much of his life dedicated to fighting wildfires. He has flown nearly 1,000 hours over wildfires throughout the United States. Dale also led the campaign to restore the P-3 Orion aerial firefighting fleet of airplanes and to return them to firefighting service. dalehead.net.

Dale Head will be performing three showcases at the Midtown Hilton NYC - January 16th at 3 pm and midnight, and January 17th at 11:30 pm.

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.