NEW RELEASES: SHUN ISHIKAWA – CLEANUP; FOX CAPTURE PLAN – BUTTERFLY; MIKI YAMAOAKA / BENNY GOLSON – ONE DAY, FOREVER

SHUN ISHIKAWA – CLEANUP

A great little record with an angular, soulful flow – and a sense of direction that's way more confident than you'd guess from the mixed-up look on Shun Ishikawa's face on the cover! Shun's a drummer, and he leads a group here that's full of dynamic energy – excellent work on tenor and soprano from Ahikiro Yoshimoto, alto sax from Akiha Nakashima, and guitar from May Inoue – three players who can tangle around each other and create a sound that's greater than the sum of its parts – then take off and soar when the piano and Rhodes of Aaron Choulai and Yusei Takahasi give them the right sort of inspiration. Ishiwaka's drums are often quite subtle – with a nice skipping sort of vibe at some of our favorite moments – and titles include "A View From Dan Dan", "The Way To Nikolaschka", "Siren", "Big Saaac", "Into The Sea Urchin", and "Ano Ba". ~ Dusty Groove

FOX CAPTURE PLAN – BUTTERFLY

One of the most beautiful albums so far from Fox Capture Plan – a set that adds in a bit of strings at times – which makes for an even more colorful variation on their freewheeling piano sound! We've loved these guys right from the start for the way they fold piano, bass, and drums around each other – creating this cascading groove that seems to explode color and light at each new turn – all with a style that's upbeat and moving, but also surprisingly lyrical too. Yet this time around, the strings – which are light, really just a few additional players – open up the first few tracks on the record, before the trio move out on their own, and seem to continue the music with a whole new sense of inspiration. Titles include "The Beginning Of", "With Wind", "Inchoate", "Plug In Baby", "Supersonic", "In The Darkness", "Christmas Comes To Our Place", and "Butterfly Effect". ~ Dusty Groove

MIKI YAMAOAKA / BENNY GOLSON – ONE DAY, FOREVER

A really unique pairing of talents – Japanese singer Miki Yamaoka, and American tenor legend Benny Golson – who also produced and arranged the set! Miki's got a voice that's surprisingly deep and dusky at points, which makes here a great match for Golson's tenor solos on the record – blown in this easygoing, soulful style that matches the pace of the rhythms nicely – served up by the trio of Soichi Moriki on piano, Buster Williams on bass, and Carl Allen on drums! Yamaoka's definitely got a different vibe than some of the other female Japanese jazz singers on the market – and titles include "One Day Forever", "Feeling Good", "I Remember Clifford", "Whisper Not", "Autumn In New York", "I Love You", and "Fly Me To The Moon" – which just features Miki's vocals and Buster's bass! ~ Dusty Groove

NEW RELEASES: RM JAZZ LEGACY; KENNY RICE - HOUSE PARTY; BENNY LACKER TRIO - SISKIYOU

RM JAZZ LEGACY

A totally wonderful jazz ensemble from Japan – one who definitely work in some of the older modes you'd guess from the "legacy" in their name, especially the hippest funky big band styles of the 70s – yet a group who also have a very fresh, individual vibe of their own! These are all musicians who've been through the past decade and more of Japanese club jazz – more rhythmic uses of the form, crossed over to the funk and soul crowd – yet they're also taking things back towards a more complicated, tonally rich version of a larger group like this – with sublime sounds that emerge from the reeds and brass players, over rhythms that can still be a bit funky when they want! There's a slight bit of electricity in the lineup – a bit of organ and electric piano, plus some guitar – next to the warmer sounds on horns – and in addition to versions of Weldon Irvine's "Turkish Bath" and Al Green's "Let's Stay Together", the group also contribute their own original material on the titles "African Water", "Reborn", "The Spirit", "Night Flight", and "Come With Me". ~ Dusty Groove

KENNY RICE – HOUSE PARTY

In case you're wondering, they DO still make 'em like they used to – at least when it comes to classic-styled soul records, like this St Louis effort from Kenny Rice! Kenny comes from a world that might be more blues than soul, but there's definitely a lot of southern soul styles at play on this set – from Kenny's great vocal leads, right down to the sweet combo backing, which even includes some organ and saxes from St Louis legend Oliver Sain! About half the album's got more of a blues vibe than a soul one – but even those sounds are recorded at a level that's more like you'd hear from a 70s indie than a contemporary label – and Rice's own drums help kick lots of the tunes into headier soul territory, and create this wider-ranging vibe that certainly lives up to the house party spirit promised on the cover. Titles include "I Wanna Satisfy You Baby", "Big Blue", "Back Street", "Pink Champagne", "Honky Tonk", "I'm Tore Up", "Oh Yes It's You", and "Hard Working Man" – plus a very cool take on Horace Silver's "Liberated Brother". ~ Dusty Groove

BENNY LACKER TRIO - SISKIYOU

Pianist Benny Lackner hits a groove here that's really unique – funky, but not jazz funk at all – and instead kind of a spacious, flowing sound on his keyboard that carves out its own special feel through careful timing and well-defined sense of attack! The drums and bass in the group certainly help lay out the sound – especially the bass, which is played with equally spacious tones by Jerome Regard – but Lackner's keyboard work is what really drives the record – these beautifully blocky passages, even when single notes are in play, not chords – which makes for a wonderfully soulful sound throughout, even when Benny moves over to a bit of Wurlitzer or Musser Ampli-Celesta. Titles include great remakes of Bowie's "Cygnet Committee" and Rodriguez' "Sugar Man" – plus "The 4th Member", "Song For Lucia", "The Garden", and "Name Dropper". ~ Dusty Groove

NEW RELEASES: MICHAEL ROSEN – SWEET 17; BEGINNING OF THE END; HERBIE HANCOCK - LIVE IN CHICAGO 1977 FEATURING JACK PASTORIUS

MICHAEL ROSEN – SWEET 17

Guitarist Lage Lund is consistently one of our favorite contemporary musicians on his instrument – and even though he's not the leader on this set from tenorist Michael Rosen, his performance really helps shape the overall sound of the album! Lund's got this way of arching into the groove with these really wonderful colors – bold sometimes, and as strongly melodic as the tenor in the lead – sometimes more subtle, but always powerful – in a way that allows him to fluidly move between frontline space alongside Rosen's tenor and the trumpet of Ralph Alessi – and more rhythmic progressions in line with Dominico Sanna on piano, Matt Pennman on bass, and Bill Stewart on drums. Of course, Rosen's to be credited with the charm of the record, too – as many of the tracks are his own, and seem perfectly penned to open up this special musical blend – on titles that include "Sweet 17", "Architextures", "Fair Weather Ahead", "Hopefully", "39 Belgrave Square", and "Jacoby's Ladder". ~ Dusty Groove

BEGINNING OF THE END

One of the rarest funky records of all time – the hard-to-find second album by Beginning Of The End! This West Indian combo hit it big with their first album on Alston, but this second set, for some strange reason, never really got distributed – which is a damn shame, because it's every bit as funky as their first! The uniquely choppy rhythms of the group's first album are every bit as great here as on the first set – and if anything, the band's instrumentation is even better, especially on the guitar, which is wickedly tight, and played with a super-dope flanged-out approach on the solos. Vocals are great too, maybe even more soulful than before, especially on the album's few midtempo cuts – and the album's a must-have for any fan of the group's funky sound! Titles include "That's What I Get", "Super Woman", "Bluestrain", "Jump In The Water", "Falling Apart At The Seams", and "Trip To Nowhere".  © 1996-2016, Dusty Groove, Inc.

HERBIE HANCOCK - LIVE IN CHICAGO 1977 FEATURING JACK PASTORIUS

Undiscovered funky genius from Herbie Hancock – a live show recorded in Chicago in 1977 – with a unique performance by a quartet that features Bennie Maupin on reeds, James Levin on drums, and Jaco Pastorius on bass! The groove is very much in the best Headhunters mode, but with a more stripped-down sound overall, given the lineup – and Herbie plays a bank of keyboards, plus acoustic piano too – as the group make their way through Hancock classics "Chameleon", "Hang Up Your Hang Us", and "Maiden Voyage" – plus Maupin's "It Remains To Be Seen". ~ Dusty Groove.

 

NEW ORLEANS FAVORITES, CHA WA, FUSES MARDI GRAS INDIAN STYLE WITH MODERN FUNK ON DEBUT RELEASE FUNK 'N' EATHERS

Mardi Gras Indian funk band Cha Wa will release their debut album, Funk 'n' Feathers, on April 1, 2016, after years of explosive, thunderous live performances all over the Crescent City. The new recording is a red-hot combination of two of New Orleans’ quintessential trademarks, Mardi Gras Indians and street level funk music. Funk 'n' Feathers combines deep funk, percussive polyrhythms, and a mix of singing and Mardi Gras Indian chanting that fuse into an intoxicating, hypnotic blend of culture that could only come out of the Crescent City. Cha Wa will celebrate the album with a hometown show on release day and performances at the New Orleans Jazz and Heritage Festival in April. “Cha Wa” is a slang phrase used by every Mardi Gras Indian tribe, meaning “We’re comin’ for ya” - and this band is definitely comin’ for ya!

Funk 'n' Feathers is a direct descendant of the seminal Mardi Gras Indian-related funk recordings of the 1970s by the Wild Magnolias (backed by The Meters), the Wild Tchoupitoulas, The Neville Brothers, and Dr. John. But this time there is a contemporary twist - the production of Ben Ellman (who has also produced his own band, Galactic, as well as Trombone Shorty and others) and the mixing and mastering of San Francisco’s super-hip engineer Count (DJ Shadow, Radiohead, Lyrics Born, etc.). As a result, Cha Wa's version of Dr. John's “All On A Mardi Gras Day” is a wild recreation of the original. The song takes you straight to the street corners of Uptown New Orleans, instilling the energy of seeing the Indians dancing in their traditional feathered suits, but it also embraces a production style, which is cutting-edge. Another classic, “Jock-A-Mo” (the original version of the song which later became a hit, and has been covered by many artists, as ‘Iko Iko’) is also made over by infusing it with the band’s upbeat brand of funk and the fresh production approach. Davell Crawford, the grandson of the song’s writer, and Irving Banister Sr., the man who played guitar on the original version in 1953 - and the father of Cha Wa’s lead Indian Irving “Honey” Banister, provide deep New Orleans roots to the recording.

The two leaders of Cha Wa, singer/percussionist Honey Banister and drummer Joe Gelini, have been involved with the Mardi Gras Indians for years. Honey Banister, Big Chief of the Creole Wild West tribe, combines both the Mardi Gras Indian tradition and the history of New Orleans rhythm and blues. He was also a featured performer in the HBO series Treme. Gelini moved to New Orleans after graduating from the prestigious Berklee College of Music in Boston. Joe saw the Mardi Gras Indians emerging on Mardi Gras day to march down Dryades Street and, he says, “I was hooked.  It's a spiritual thing.  It's more than the music.” Spy Boy J'Wan Boudreaux combines the lyrics and style of his grandfather, Big Chief Monk Boudreaux of the Golden Eagles, one of the most respected Mardi Gras Indians and one of the greatest Indian singers ever, with a 21st century take on this music.  Other contributors to the album include John Fohl on guitar (Dr. John), Stephen Malinowski on organ (Ana Popovich), Yoshitaka “Z2” Tsuji on piano (Kermit Ruffins), and Haruka Kikuchi on trombone. Another well-known Mardi Gras Indian, Norwood “Geechie” Johnson of the Wild Magnolias, added bass drum and backing vocals. Special guests include producer Ben Ellman on alto saxophone and Colin Lake on lap steel guitar.

Cha Wa brilliantly finds the right balance between Mardi Gras Indian tradition and an edgier dose of  the street funk which also originated in New Orleans. The band has gained critical praise not only from their hometown publications Offbeat, The Times-Picayune, Advocate, Where Y’At, and Gambit Weekly, but also through national tastemakers including Rolling Stone, NPR Music, and Dan Rather Reports.  The music is spontaneous and spiritual at the same, and no two shows are ever the same. “I think we've reached that point where we can feel the direction of the music intuitively and we just go with it,” says Gelini. “It’s like having that heavy Indian sound with modern recording and modern production and using it all together. It's classic and contemporary at the same time.”  On Funk 'n' Feathers, Cha Wa has made a modern album featuring great energy and enthusiasm, but one which also draws from the deep well of New Orleans culture. The result? Cha Wa is coming for ya!

UPCOMING SHOWS:

02/04- Blue Note Tokyo - Tokyo, Japan

02/05- Blue Note Tokyo - Tokyo, Japan

02/08- Riverwalk - New Orleans, LA [Lundi Gras Celebration]

02/08- Tipitina's Mardi Gras Stands - New Orleans, LA

02/09- 30x90 - New Orleans, LA

02/27- Universal Studios Orlando - Orlando, FL

03/05- Howlin' Wolf - New Orleans, LA

03/31- Lafayette's - Memphis, TN

04/01- Blue Nile [Album Release Show] - New Orleans, LA

04/07- French Quarter Fest - New Orleans, LA

04/10- d.b.a - New Orleans, LA

04/21- Ogden Museum of Southern Art - New Orleans, LA

04/23- New Orleans Jazz & Heritage Festival - New Orleans, LA

04/30- French Broad River Festival - Asheville, NC

06/04- Michael Arnone’s Crawfish Festival - Augusta, NJ

NEW RELEASES: ROXY CROSS - RESTLESS IDEALISM; PER ODDVAR JOHANSEN – LET’S DANCE; AKI RISSANEN - AMORANDOM

ROXY CROSS - RESTLESS IDEALISM

'Easily the next hot modern jazz star for Generation Now. ' - Cashbox Magazine. Best known for her work with trumpeter Jeremy Pelt's group, New York saxophonist / composer Roxy Coss developed the compositions and group concept for her second recording during a three-year residency of her Quintet at New York's famed Smoke Jazz Club. With Pelt on trumpet, long-time band members guitarist Alex Wintz and pianist Chris Pattishall, and the dynamic duo of bassist Dezron Douglas and drummer Willie Jones III, Roxy's created a thoughtful, highly emotive and undeniably fearless recording. Inspired by the Jazz Messengers, Wayne Shorter, and Kurt Rosenwinkel's group with Mark Turner, Coss further defines her own unique voice through these ten original compositions.

PER ODDVAR JOHANSEN – LET’S DANCE

Per Oddvar Johansen has played a huge part in Norwegian music over many years and has worked extensively with such groundbreaking figures as Helge Lien, Christian Wallumrød and Petter Wettre. He brings his own imaginative drive to everything he does and his solo debut album ‘Let’s Dance’ on Edition Records shines a spotlight on a musician who has deserved the attention for a long time. Meditative, beautiful, stately and austere, the songs on Let’s Dance are the product of a finely tuned musicianship, developing along an organic and entirely natural and unique path, each intensely satisfying and fulfilling. Per Oddvar’s propulsive rhythms underlie each tune but never attempt to dominate. If there is a dance to be danced it’s a tranquil, dignified and sedate dance – a folk dance celebrating a grave and solemn moment. Features Per Oddvar Johannsen (drums, violins, vibraphone, guitars, wood percussion & electronics); Helge Lien (piano); and Torben Snekkestad (saxophones, reed trumpet).

AKI RISSANEN - AMORANDOM

Over the last few years Aki has quietly been building a name in the international jazz world both as a leader and as a sideman. With Amorandom, he delivers his most authoritative work to date. There's a fluidity in his playing and a boldness in his composing that deserves widespread praise and real recognition for one of the finest young European pianists. Described by Downbeat as a ‘rising star around Europe', Amorandom is the work that will introduce Aki Rissanen’s startling new talent to a global audience. Features Aki Rissanen (piano); Antti Lotjonen (bass); and Teppo Maykynen (drums).

New Vintage Jazz Singer Laura Ainsworth Signed by GRAMMY-Winning Producer for National Label Debut

Dallas-based retro jazz singer Laura Ainsworth is back in the studio, cutting a sultry 1940s torch song for her third album, New Vintage. Like her first two releases on her indie label Eclectus Records, Keep It To Yourself and Necessary Evil (available at www.lauraainsworth.com), it reteams her with renowned pianist/producer Brian Piper and an array of top Texas jazz players. But album #3 marks a turning point for the redheaded chanteuse, whose sequined gowns and long silk gloves are as much a trademark as her silky, three-octave voice that's earned comparisons to such mid-century songbirds as Rosemary Clooney and Dinah Shore.

  

After the Dallas sessions are complete, Ainsworth and Piper will fly to New York, where Grammy-winning producer Jack Kreisberg will add finishing touches for New Vintage to become Laura Ainsworth's national debut on his American Showplace Music label. Jazz icon Kreisberg managed the famed Blue Note Jazz Club, producing a series of acclaimed live albums, and launched the Half Note jazz label. He pegged Ms Ainsworth as a talent worth signing after New York Blues Hall of Fame guitarist Michael Packer raved to him about Necessary Evil. Prior to releasing New Vintage this summer, Kreisberg will also rerelease Necessary Evil nationally.

Ms Ainsworth has been building a worldwide following by reimaging standards and reviving long-forgotten obscurities in a style she calls "new vintage," a term that's since become its own genre with her as a leading figure. She mixes her own modern touches with classic big band, Vegas lounge and cocktail jazz of the 1930s-'50s, styles she grew up loving as the daughter of the late sax and clarinet master, Billy Ainsworth. She says, "As a little girl, I would sit spellbound, watching him back Tony Bennett or Ella Fitzgerald, and think, 'I want to do that!'"

  

She released her indie debut, Keep It To Yourself, in 2011 with little fanfare, but word slowly spread among DJs and critics. AllAboutJazz.com declared it "among the year's most consistently engaging jazz releases, performed with class and heartfelt passion," while Jazz Inside magazine raved, "You can keep those pop divas; the only one for me is Laura Ainsworth." 

  

The film noir-inspired follow-up, Necessary Evil, attracted even better reviews and influential music industry fans. Ms Ainsworth started 2015 touring India and Dubai as part of the WOA International Music Festival and ended in Charlotte, nominated for Best Female Vocalist and Best Mainstream Artist at the nationally-televised Artist Music Guild Awards, sharing the stage with Melba Moore, Martha Reeves and other stars. In between, she hit New York to perform on TV, sing at Birdland and tour Kreisberg's studio, home to both jazz artists and rock legends such as Eric Clapton and Keith Richards.

  

Now, 2016 is shaping up as a breakout year. While finishing New Vintage, she's preparing for a Grammy week trip to L.A. to perform alongside several of this year's nominees at The Soiree, a major industry event February 13th at the Whiskey A-Go-Go. She released a video of "Necessary Evil" shot in India, and Grammy-winning producer Ricky Kej is creating a techno-dance remix of the big band tune. She will also appear on the hot cult CD series, This Is Vintage Now.       

Ms Ainsworth says, "I'm grateful so many people seem to like that I'm trying to reinvent these classic styles of music for the 21st century. I always thought of my albums as messages-in-a-bottle. When I sent them out into the world, I hoped someone would eventually find them. I'm amazed by how far they've traveled and how many people they've touched."

NEW RELEASES: BILL FRISELL - WHEN YOU WISH UPON A STAR; CHICAGO – LOVE SONGS; SOUL SOK SEGA: SEGA SOUNDS FROM MAURITIUS 1973-1079

BILL FRISELL - WHEN YOU WISH UPON A STAR 

When You Wish Upon A Star, the latest project from legendary Grammy-winning guitarist and composer Bill Frisell via OKeh Records. Comprised of music from iconic film and television scores, the LP is conceived not only as homage, but as a celebration of music-making with long time collaborators and their collective commitment to refined interpretation of material. The cornerstones of the album are four “suites” of music that reside deep within the collective psyche: To Kill A Mockingbird, Psycho, Once Upon A Time In The West and The Godfather. These are joined by new versions of well-known songs that describe the mysterious power of dreams: “You Only Live Twice,” “The Shadow Of Your Smile,” “Moon River” and “When You Wish Upon A Star.” Finally, the set is rounded out with music from TV series “Bonanza” and “Happy Trails,” the film noir classic The Bad and The Beautiful and Frisell’s own work from the TV show “Tales From The Far Side.” Taken together, the selections touch upon a wide swath of mid-twentieth century values, major events and cultural touchstones. “I've been watching TV and movies my whole life,” Frisell notes. “What I’ve seen and heard there is a huge part of, and is embedded so deeply into the fabric of what fires up my musical imagination.” The LP brings together an all-star “dream team” of Frisell’s frequent partners in crime: violist Eyvind Kang, drummer Rudy Royston, bass player Thomas Morgan and vocalist Petra Haden.

CHICAGO – LOVE SONGS

Love Songs features 18 classic Chicago love songs, including the #1 singles “You’re The Inspiration,” “Hard To Say I’m Sorry,” and “Look Away,” along with "Colour My World," "Will You Still Love Me?," "No Tell Lover," "What Kind Of Man Would I Be?," and "Wishing You Were Here." Love Songs now includes the track, “Love Lives On” from Chicago’s most recent album, NOW. The track features long-time vocalist Jason Scheff and the band’s trademark horn section. The album also includes Chicago with Earth, Wind and Fire’s Philip Bailey on their smash, “If You Leave Me Now.”

SOUL SOK SEGA: SEGA SOUNDS FROM MAURITIUS 1973-1979

Amazing music you've probably never heard before – all from the tiny island of Mauritius in the 70s, and served up in a stunning mix of funk, blues, and soul! The grooves here are very offbeat – with rhythms that belie the island's location in the Indian Ocean near Madagascar, mixed with more contemporary touches on electric guitar, bass, and keyboards – set to lyrics that are often sung in French, usually with these haunting changes and oddly melancholy modes – all of which makes for music that's every bit as emotively powerful as it is downright groovy! Strut Records have always turned us on to new and unusual sounds – but this time around, they've really done something special – and the collection is one of our favorite releases ever from the long-running label. Titles include "Afro Mauricien" by Georges Jean Louis, "Mo Mari Fini Alle" by Catherine Velienne, "Elida" by Michel Legris, "Mone Lasser Dire Toi" by Harold Berty, "Bhai Aboo" by Claudio, "Mo Parrain" by Christophe, "Manuel Bitor" by John Kenneth Nelson, "Eliza" by Georgie Joi, and "Soul Sock Sega" by Ti L'Afrique. ~ Dusty Groove

NEW RELEASES: LEON BRIDGES – LOUISIANA SUN; JAMES HUNTER SIX - HOLD ON; HAROLD MELVIN & THE BLUE NOTES – TO BE TRUE

LEON BRIDGES – LOUISIANA SUN (FROM THE COMING HOME SESSIONS)

A really great special set from soul singer Leon Bridges – tracks recorded for his Coming Home album, but which didn't get released at the time – but which, to us, are every bit as great as the work on that instant classic set! The vibe here is one that you'll recognize instantly if you dig Leon as much as we do – a lean, tight take on classic southern soul sounds of the 60s – recorded down in Texas with small combo backing, and a trio of female singers who give Bridges this warm vibe and a feel that's almost like Hi Records during their glory days. Titles include "Mississippi Kisses", "There She Goes", "Daisy Mae", "Here In My Arms", and "Outta Line". (Indie store exclusive!)  ~ Dusty Groove

JAMES HUNTER SIX - HOLD ON

The great James Hunter – sounding even better than before – thanks to sock-solid soul production from Daptone Records! James already recorded at Daptone Studios before – for his previous record – but this set's completely in the hands of the label, from top to bottom – and features wicked Bosco Mann production, and the best sort of vintage soul instrumentation that Hunter's ever had! The groove here is mid 60s soul, with a slight mod undercurrent – the sort of Detroit-informed work that always played big with UK soul fans, but given a slight R&B twist at times too – especially in the great use of organ on most of the cuts. Hunter's always been a great singer, but he's never hit these heights before – and the blend of talents here is perfect. Titles include "Stranded", "Satchel Foot", "In The Dark", "If That Don't Tell You", "This Is Where We Came In", "A Truer Heart", and "Hold On". ~ Dusty Groove

HAROLD MELVIN & THE BLUE NOTES – TO BE TRUE (INCLUDES BONUS TRACKS)

One of the legendary classics from the Philly International years of Harold Melvin & The Blue Notes – a time when the group was featuring the tremendous lead vocals of the great Teddy Pendergrass! The set's a stunner all the way through – one of the best Philly mixes of smooth, professional backings and deeply personal lyrics – as Teddy soars to the top of the mix with his excellent leads, and gets excellent support from the rest of the Blue Notes on harmonies – but also steps aside to make a bit of space to introduce singer Sharon Paige on one cut, who'd have a greater role in the group in years to come. The songwriting, production, and other Sigma Studios touches are sublime – and titles include "Hope That We Can Get Together Soon", "Where Are All My Friends", "Bad Luck", "To Be True", "Nobody Could Take Your Place", and "All Because Of A Woman". Features two bonus tracks – "Hope That We Can Be Together Soon (single version)", and "Bad Luck (Tom Moulton mix)". ~ Dusty Groove

WORLD MUSIC ICONS, AND AMBASSADORS OF PEACE AND POSITIVITY, VUSI MAHLASELA AND HABIB KOITÉ ANNOUNCE U.S TOUR FOR LATEST INSTALLMENT OF INTERNATIONALLY ACCLAIMED ACOUSTIC AFRICA TOUR

Two of Africa’s most beloved artists, Vusi Mahlasela and Habib Koité, will tour the U.S. from March 19th thru  April 17th in the first installment in three years of the critically acclaimed tour series: Acoustic Africa. The tour—four editions strong—is a journey that focuses on the richness of the African traditions of voice and song. It offers fans a rare chance to experience their favorite African artists in intimate settings.

Vusi Mahlasela, is simply known as ‘The Voice’ in his home-country, celebrated for his distinct, powerful voice and his poetic, optimistic lyrics. His songs of hope connect Apartheid-scarred South Africa with its promise for a better future. Raised in the Mamelodi Township, where he still resides, Vusi became a singer-songwriter and poet-activist at an early age teaching himself how to play guitar and later joining the Congress of South African Writers. After his popular debut on BMG Africa, When You Come Back, Vusi was asked to perform at Nelson Mandela’s inauguration in 1994. Vusi has shared the stage with Dave Matthews Band, Sting, Paul Simon, and Taj Mahal, among many others. Perhaps his biggest gig was in 2010 when he helped ring in the World Cup in South Africa, at Orlando Stadium in Soweto. Vusi has released seven studio albums to-date; his latest release is Sing to the People (ATO Records), a celebratory live recording looking back on twenty years since his first album.

A modern troubadour with extraordinary appeal, Habib Koité’s musicianship, wit and wisdom translate across cultures. He’s a solo singer, songwriter and guitarist based in Mali, and he has been hailed by Rolling Stone as the biggest pop star of the region. In 2001, Habib Koité and the supergroup he works with, Bamada, became one of the first African artists to appear on Late Night with David Letterman. Habib’s artistry and powerful personality has earned him fans such as Jackson Browne and Bonnie Raitt, both of whom ended up visiting Habib in Mali. To date he’s sold over 250,000 albums, and he continues to build his profile through a very active calendar of tour dates. Over the past decade, his artistry and magnetic personality have made him an international pop star on par with leading figures in contemporary world music.

Don’t miss this opportunity to catch two living legends live in this collaborative and intimate setting. CNN gushes: “The legendary singer [Vusi Mahlasela] has been celebrated globally for his powerful vocals and universal message of freedom and human kindness.” Of Habib Koite, The New York Times says “his reputation as a guitar player has become almost mythical.”

Tour Dates:

Saturday, March 19 @ Herbst Theater - San Francisco, CA

Sunday, March 20 @ The Green Music Center - Rohnert Park, CA

Tuesday, March 22 @ Cargo Concert Hall - Reno, NV

Thursday, March 24 @ Fox Tuscon Theater - Tucson, AZ

Friday, March 25 @ MIM Music Theater - Phoenix, AZ

Saturday, March 26 @ Luckman Fine Arts Complex - Los Angeles, CA

Monday, March 28 @ Kuumbwa Jazz Center - Santa Cruz, CA

Tuesday, March 29 @ John Van Duzer Theatre - Arcata, CA

Thursday, March 31 @ Aladdin Theater - Portland, OR

Friday, April 01 @ The Triple Door - Seattle, WA

Saturday, April 02 @ The Triple Door - Seattle, WA

Tuesday, April 05 @ Cedar Cultural Center - Minneapolis, MN

Wednesday April 06 @ Old Town School Of Folk Music - Chicago, IL

Friday, April 08 @ McCain Auditorium - Manhattan, KS

Sunday, April 10 @ Academy of Music - Northampton, MA

Wednesday, April 13 @ The Grace Rainey Rogers Auditorium - New York, NY

Thursday, April 14 @ Lisner Audtiorium (GW University) - Washington, DC

Friday, April 15 @ Weis Center (Bucknell) - Lewisburg, PA

Saturday April 16 @ Stewart Theater (NC State) - Raleigh, NC

Sunday, April 17 @ Somerville Theater - Somerville, MA

Artist Sites:

www.vusimahlasela.com

www.habibkoite.com

NEA Jazz Master George Coleman Releases First Recording as a Leader in Nearly Two Decades: A Master Speaks

In 2015 the National Endowment for the Arts confirmed what countless listeners have known for the last six decades by naming tenor saxophonist George Coleman an NEA Jazz Master. A man of few words, Coleman nonetheless conveys his thoughts with unparalleled eloquence when he speaks through his instrument, as profoundly evidenced by the nine tracks on A Master Speaks, his long-overdue return to the studio.

Scheduled for release April 8 via Smoke Sessions Records, A Master Speaks is Coleman's first release as a leader in nearly 20 years and first recording since the 2002 all-star live tribute album Four Generations of Miles. The rarity of the session is remarkable in itself; even more special is that fact that it grew out of a desire shared by Coleman and his son, drummer George Coleman Jr., to finally record together.

They're joined by a stellar band featuring pianist Mike LeDonne and bassist Bob Cranshaw, with guitarist Peter Bernstein making a special guest appearance. This date was produced by Paul Stache and saxophonist Eric Alexander--a disciple of Coleman's heartfelt, muscular style--who were able to realize a shared dream in documenting this master and his art they have loved for decades.

"I don't really enjoy recording all that much these days," Coleman admits, "but I was really happy to do this one with Smoke. I'm at the end game, you know, the twilight of my career, so maybe it was time."

At 80-years-old, Coleman sounds, as ever, both vital and timeless, suggesting that any "end game" he finds himself in may well stretch into overtime. He's obviously invigorated by the deep sense of swing and classic hard-bop feel of the quartet he's assembled. With his father's tone and feel in his ears and in his blood from birth, George Jr. can't help but provide the perfect rhythm for Coleman's husky melodicism.

Two years Coleman's elder, Cranshaw is no stranger to anchoring the imaginative musings of a tenor giant, having spent nearly fifty years accompanying the great Sonny Rollins. LeDonne, meanwhile, has forged a relationship with Coleman through the saxophonist's frequent guest appearances with LeDonne's Groover Quartet, which also features Alexander, Bernstein, and drummer Joe Farnsworth. Coleman has become a regular at the quartet's long running Tuesday night residency at Smoke (as has Cranshaw), and LeDonne and Cranshaw also served as the tenorman's backing band at the club for a special appearance last fall.

"The spontaneity of it all is what make jazz so special," Coleman posits. "You don't know how it's going to turn out... What I've always tried to do is what that old cliché says: play a reasonable facsimile of what you really want to do. If you can get through it without embarrassing yourself then you say, 'I'll take it.' That's the way I look at it."

It's hard to imagine the music on A Master Speaks as falling short in anyone's mind except for Coleman's. The album begins with a warm and sinuous take on the Bronislau Kaper standard "Invitation," a prime example of the saxophonist's gift for melodic interpretation. It's followed by another classic, "The Shadow of Your Smile," played with a raw tenderness and an elegant, lilting LeDonne solo.

"Blues For B.B." pays homage to one of Coleman's earliest mentors and employers, blues legend B.B. King. The leader bridges the decades to his Memphis blues roots, while Bernstein steps in with a solo that subtly evokes King's unmistakable sound. "Blondie's Waltz" is brighter, a joyous spin around the dance floor culminating with a spotlight turn for George Jr., while "You'll Never Know What You Mean To Me" maintains the upbeat mood with a sprightly stroll highlighted by Coleman's burly blowing and a fleet-fingered LeDonne sprint.

The pianist provides an aching intro to the classic ballad "Darn That Dream" and duets with Coleman on a stunning rendition of "These Foolish Things," one of several numbers the pair played together at a reception at Smoke following his NEA induction. A simmering groove drives "Sonny's Playground," providing father and son a chance to trade and cedes the stage to Cranshaw for a masterly walking solo. "Time To Get Down" brings things to a close with a lively, vintage last-call jam session spirit.

Like the pronouncements of a sage, A Master Speaks communicates both wisdom and wonder that bespeaks Coleman's half century in music. From his roots in music-rich Memphis through his work with legends ranging from B.B. King who took Coleman to buy his first tenor to Max Roach to Slide Hampton and his renowned tenure with the Miles Davis Quintet, Coleman established himself as one of jazz's most soulful and expressive voices. It's there on the unforgettable melodies of Herbie Hancock's landmark Maiden Voyage as it is 30 years later on the soundtrack of the Denzel Washington/Whitney Houston film The Preacher's Wife.

Last year he joined the anointed ranks of NEA Jazz Masters in a class that also included fellow Memphian Charles Lloyd as well as pianist/composer/arranger Carla Bley and Chicago club owner Joe Segal. It was a well-deserved honor for a jazz legend who continues to let his music do the talking.

George Coleman · A Master Speaks

Smoke Sessions Records · Release Date: April 8, 2016

www.GeorgeColeman.com

NEW RELEASES: GATO BARBIERI – THE LAST TANGO IN PARIS; YUSUKE HIRADO - SPEAK; BOOKER T. & PRISCILLA

GATO BARBIERI – THE LAST TANGO IN PARIS (2-CD EXPANDED EDITION)

One of the greatest moments ever from saxophonist Gato Barbieri – and that's saying a lot, given that by the time of this recording, he'd already had a great 60s run as an avant jazz musician, and started the 70s with a string of albums that criss-crossed jazz and South American musical styles! Yet Last Tango In Paris may well be Barbieri's crowning achievement – a sublime record that draws on all the richer, more emotive themes of his Latin America projects, but gives them new focus in the arrangements of Oliver Nelson – who ensures that the music is never too cheesy or overdone – quite a feat, given the sexy setting of the film! Gato draws a lot from Argentine tango, but often uses his own sax solos in place of a more familiar bandoneon – in a way that pushes the "new tango" mode of the time even farther – especially when set amidst Nelson's wonderful orchestrations. Titles include many versions of the "Last Tango" theme, plus the tracks "Girl In Black", "Jeanne", "Why Did She Choose You?", "It's Over", and "Fake Ophelia". Fantastic 2CD version – with the full film score recording, plus the original album as well. ~ Dusty Groove

YUSUKE HIRADO - SPEAK

A really beautiful album from Yusuke Hirado – a musician you might know as the pianist in the combo Quasimode, but who steps out here in a whole new range of styles! Hirado plays mostly acoustic piano throughout – and some of the tracks have a straighter jazz vibe that shows off a warmer, more lyrical side of his music than might emerge in the more groove-centric Quasimode – but other tracks also add in some funky elements, too – but in ways that really expand past the core club jazz sound of the other group! Hirado plays a bit of Fender Rhodes on the record, but his piano is maybe the real revelation – especially in the modally-grooving trio numbers, which are especially nice – and the set also features a bit of guest work – including vocals from both Bird and Miyuki Hatekeyama, alto from Motoharu of Soil & Pimp, and backings from the Cradle Orchestra on one track. Titles include an excellent remake of Roy Ayers' "Love Will Bring Us Back Together", plus "Taxi Driver Theme", "I'm In Love", "Against The Invisible Wall", "Love Is A Losing Game", "Down To The South", and "A House Is Not A Home". ~ Dusty Groove

BOOKER T. & PRISCILLA

Memphis goes to California – with surprising results! The album's one of a few that Booker T cut after splitting with the MGs – of legendary Stax Records fame – and it's completely different than his earlier sides, and not in a bad way! Book recorded the set in California with wife Priscilla Jones, and it's done in a mixture of soul, rock, and folk styles – one that's as much in keeping with the Laurel Canyon or San Francisco scenes than Book's earlier work was with the Memphis ones. Booker and Priscilla both sing – sometimes together, sometimes apart – and the double-length set is pretty warm, fuzzy, and a bit trippy. Titles include "Delta Song" and "Wedding Song", both of which are standout tracks – and other titles include "She", "Funny Honey", "Medley From The Jones Ranch", and "The Sun Don't Shine". (SHM-CD pressing!) ~ Dusty Groove

Multi-Instrumentalist Brian Bromberg Returns to His Roots of Acoustic Jazz With Sentimental Tribute To His Father on Full Circle

​World-renowned acoustic and electric bassist Brian Bromberg hasn’t released an album in the U.S. since 2012, a fact that might not have been cause for concern if you know that at one point he released three albums in one year. Every man deserves a break. However, once you realize that this chameleon with over 20 projects in his catalog recently had reason to believe that he might never play music again, you understand the gravity of his latest acoustic jazz project, Full Circle - one he says may well be “the most important record of my career.”

Like all of his work, Bromberg’s latest features a stellar cast that includes trumpeter Arturo Sandoval, saxophonists Bob Sheppard, Kirk Whalum and Doug Webb, pianists Randy Waldman, Mitch Forman and Otmaro Ruiz, and percussionist Alex Acuña. The project also finds ‘the man that refuses to sit still’ mixing styles from New Orleans funk and a legit jazz cover of Michael Jackson’s “Don’t Stop `Til You Get Enough” to Cubop - with a sizzling relentless swing throughout. But the aspects that make this project resonate deeper than anything Bromberg’s done prior boils down to a series of life changing events, career firsts and the magic of today’s technology meeting mediums of old.

A freak accident that Bromberg had at his home a couple years ago resulted in him breaking his back in two places with severe trauma. The fall nearly debilitated him requiring extensive rehabilitation to stand and walk, let alone cradle an upright bass properly or strap an electric bass on his back. Through sheer intestinal fortitude, exhaustive work, and the love and support of the woman in his life, Bromberg made an amazing recovery. When he did, a familial spirit guided him to make an album that returned him to his roots in acoustic jazz. That spirit is that of his father, Howard Bromberg, a once-busy drummer in Tucson, Arizona (where Bromberg was born) who inspired both his sons to play drums as well.

Full Circle opens and closes with the tunes “Jazz Me Blues” and “Washington & Lee Swing” that were originally recorded by the senior Bromberg with a band of friends onto a one off acetate. Spiritually moved by a desire to play with his late father – something he never got to do when he was alive due to a stroke he suffered just when Bromberg became proficient on bass – he copied the platter with a USB turntable, had the file cleaned up at Oasis Mastering then overdubbed himself in his home studio playing bass in his dad’s old quintet.

“A few really amazing things happened to me when I was recording those tracks with my father; those tracks originally were recorded before I was born, so it was such a trip playing with my Dad before I was even on this planet! When I was playing with him I realized at that moment where I got my time feel and swing from, it was effortless to play with him, mind blowing actually. I guess the experience that inspired the whole concept of this album was feeling his time feel and swing inspired me to start playing drums again, because it felt so good.”

That sentimental journey inspired Full Circle. Bromberg seamlessly laid down rhythm tracks for bass, drums and “guitar” (the latter facilitated by playing melodies and solos on the higher pitched piccolo bass) on every song. As a bassist, Bromberg playing the piccolo bass with his fingers affords him a unique sound (much like guitarist Stanley Jordan ) from the majority of guitarists that play using picks.

“That’s where the ‘Full Circle’ concept came around. I didn’t know if I was ready to do it but, spiritually, I felt that my father wanted me to do it and to do it now.”

Breaking down his methodology, Bromberg shares, “When I wrote the tunes, I made demos with swinging drum samples that I programmed just to hold down time, and then I played reference piccolo bass parts and regular bass parts to make a musical foundation. Then I had the piano players come over and I’d play drums live with them for interaction. The point is, by the time I played drums to it, I had good swinging bass parts to lock my drum parts to or vice versa. I added all my piccolo bass (and the horn players’ solos) last. I’m proud that I don’t sound like ‘a good drummer for a bass player.’ It doesn’t sound overdubbed and the feel of the pocket is righteous. Because I don’t have the facility of a drummer that’s played for 45 years, there’s more space than a normal drummer would leave which gives it a unique sound.”

Bromberg is among the proud few to have a solid foundation in traditional jazz yet enjoy success in smooth jazz. This explains the accessibility of the songs that comprise Full Circle. “The smooth jazz world helped me understand the power of reaching people and what that means beyond the myopic world of being a virtuoso. It’s helped me become a more melodic and storytelling improviser.”

Qualifying himself as one through whom songs are mostly channeled than labored over, Bromberg walks us through a few of the numbers’ origins.

“I wrote the title track 'Full Circle' on a session playing for trumpeter Till Bronner at East West Studios. Messing around on a break, the tune just showed up.

“People will assume 'Saturday Night in the Village' is about Greenwich Village but that tune popped up on a Saturday night in my living room in Valley Village.

“‘Nawlins’ felt like Zydeco, so instantly I was hearing accordion and violin. The amazing Kirk Whalum’s playing on this is so soulful; no one could have done better.

“I wrote ‘Boomerang’ for Riva, a company that makes phenomenal Blue Tooth power amps. They fell in love with ‘Speak Low’ from my Wood album and wanted to use it for their demos but Warner Chapel that controls the copyright wanted a huge sum of money to use it. So they asked, ‘Can you write something else like it?'

“For ‘Havana Nights (Havananagila),’ I wanted something with trumpet on it. I used to play in Arturo Sandoval’s band. He’s Cuban and he’s amazing. I joked about titling it ‘Havananagila’ and my engineer Tom McCauley insisted, ‘How many Jewish guys are going to write a Cuban tune? You can’t not do this’ - thus, my subtitle.

“I wrote ‘Susumu’s Blues’ inspired by Susumu Morikawa, a record executive for King Records in Japan and a very good friend. I first recorded it for him on a solo acoustic bass album called Hands (never released in the U.S.). I originally only hired Craig Fundyga to play a line on ‘Havana Nights.’ He sounded so good, I pulled out ‘Susumu’s Blues,’ built a section for him so he could blow a solo and it came out great. I’d never recorded vibes as a lead instrument. If you like ‘MJQ’ (The Modern Jazz Quartet), you’ll dig this vibe – pun intended.”

Summing up the crafting of this album, Bromberg states, “Full Circle has been incredibly important to me - more as a human being than as an artist; a cathartic experience. It became something life changing and much bigger than me. I don’t know what the ‘statement’ is - and it’s not like I’m trying to make one - it’s just honest and real. There’s a lot of expediency and determination in my notes - very simple music that’s not intense yet has intensity. There’s so much passion even the mellow tunes are played with emotional power.

“This album is just a swinging, in your face traditional jazz album with simple tunes that are easy to sing along with and remember, but have a foundation in hardcore “real” jazz.” Bromberg concludes. “I hope people enjoy this album for what it is and what it means to me vs. judging it for what it’s not.”

PIANIST JULIAN SHORE'S SECOND ALBUM WHICH WAY NOW FEATURES A CAST OF YOUNG LIONS PLUS SPECIAL GUESTS

Following Filaments-named Top Jazz Debut in 2012 by Peter Hum of Ottawa Citizen and described as "an assured, organic debut from a pianist/composer who beyond the obvious elegance of his playing has a clear sense of the bigger artistic picture"-Julian Shore asks Which Way Now? Far from a statement of uncertainty, he poses the question to focus his record on the process of artistic exploration and the joy of musical discovery. Says Shore, "while I used to concern myself with writing a song that captures the minutia of a single person or memory, now I seek to show the world from which a person or feeling comes."

With his second album (February 12, Tone Rogue Records), Shore builds on the sonic foundation of his first, recognized for its "full use of a wide open musical palette" (All About Jazz) and "sense of space usually reserved for more veteran players" (DownBeat). The band features a group of young but acclaimed musicians reflecting many eras of Shore's playing and familiar to anyone closely following contemporary jazz. A combination of Dayna Stephens, Noah Preminger, and Godwin Louis helm his horn arrangements, riffing off of each other in dazzling interplay. Aidan Carroll on bass and Colin Stranahan on drums accompany him in the rhythm section, along with the burgeoning star guitarist Gilad Hekselman.

Shore highlights the diversity of his musical connections and sources of inspiration with a number of guests featured for a single track. On "Pine Needles", he brings a touch of roots music with long time friend and Nashville mainstay Kurt Ozan on dobro and acoustic guitar. His arrangement of Dizzy Gillespie's "Con Alma" makes fresh a familiar tune, showing how comfortably a classic of the tradition sits within an album of more contemporary compositions. He taps Jorge Roeder on bass and Samuel Torres on percussion as musicians up to the task of conveying the song's hybrid roots from throughout the Americas. Edward Perez, writer and arranger for Yo-Yo Ma's Silk Road Ensemble, lends his deft pen on the string arrangement of the record's opener "Our Story Begins on a Mountain." Shore carries forward his affinity for writing compelling vocal pieces, with Alexa Barcini returning as a singer and lyricist for "Alpine." Michael Mayo, currently studying at the Thelonious Monk Institute for Jazz, voices the main part beautifully, with the two harmonizing to drive home the song's message. Finally, the layering of Michael Thomas's sure-handed woodwind work into the western swing of "Back Home" perfectly complements the shades of chamber music interwoven throughout the album.

Which Way Now? offers a snapshot of a particularly rich point in the evolution of a maturing composer/ musician and a burgeoning community of players around him. Shore is a critical part of a rising generation of New York jazz musicians, who, as each successive wave must, are crafting their approach to making the tradition fresh for listeners. The styles and sounds on the record open out in many directions, showcasing his wide ears and range of sources from which he draws. He has had the opportunity to play with many of the musicians whose work have inspired him like Gretchen Parlato, Ferenc Nemeth, Chris Cheek, Matt Wilson and, on his last record Kurt Rosenwinkel, but here he draws on his own community of collaborators. "Most of the songs on Which Way Now? I wrote with the members of my band in mind," Shore explains. "There came a point in the process of the record where I entrusted the music to them, knowing it would flourish in their hands." Each musician shaped the arrangements and compositions they played, with Shore integrating elements of their performance into the final scores.

Speaking on the immediate influences during the time period of the record, Shore says he was still listening heavily to his life long hero Wayne Shorter's last record Without A Net and performances he saw of Shorter with chamber ensembles. "I kept thinking about the way Shorter transformed his music working with woodwinds and strings, bringing it into a whole new context." Shore says this emboldened him to incorporate the classical inflections into several of his songs. At the same time Shore worked on Which Way Now?, Gilad Hekselman was recording his recently released Homes and the two frequently discussed their approaches to making an album, benefitting from each other's ears and input. Shore credits Hekselman for years of support and camaraderie in developing as a leader and composer.

While the songs have grown and been nurtured from years of shows and sessions, the recording process itself germinated over the course of a year. "I work to create an environment, making sure all the elements work together within each track and across the album" says Shore about the recording process. He recorded with Michael Perez Cisneros, a brilliant engineer responsible for many classic records including Rosenwinkel's Heartcore and The Remedy and the works of John Ellis, Matt Penman among others. "For example, I could tell him I was looking for a choir, but made entirely of pianos and he knew exactly how to translate that into the recording." The collaboration between them shines throughout, drawing the listener into the world of the record from the hauntingly cinematic opening piece, straight through until the echoing refrain of "Lullaby" that brings the record tenderly to a close.

Returning to the album's central theme, Shore reflects "I didn't realize, until I finished writing the last song included on the record, that all the music explored that same moment of discovery. It reminds me of being a kid loving the work of Leonardo Da Vinci; not for the figures in the foreground, but for the way he created these layered rippling backgrounds composed of fantastical landscapes. I'm interested in how, when you look past the subjects you can see the backdrops laid behind them that lend them their power."

Born and raised in Narragansett, Rhode Island Julian Shore grew up listening to his father playing Bach on his home piano and would often sing along as a toddler. After starting piano lessons at a young age he began studies with famed educator Hal Crook as a teenager. In 2005 Shore was awarded a full scholarship to Berklee College of Music. During his time there, under the mentorship of Danilo Perez, he performed in a young musicians ensemble in the Panama Jazz Festival, learning from Wayne Shorter, Brian Blade and many others. After graduating in 2009 he moved to New York, where he was soon hired to perform with singer Gretchen Parlato's band.  He has since continued to appear as both leader and sideman in NYC and across the globe. He has performed or recorded with musicians such as Ferenc Nemeth, Kurt Rosenwinkel, Gilad Hekselman, Chris Cheek, Kendrick Scott, Mark Giuliana among many others.

    

Shore's 2012 debut recording "Filaments" which features Kurt Rosenwinkel, Tommy Crane, Phil Donkin, Jeff Miles, Alexa Barchini, Shelly Tzarafi and guests Noah Preminger, Kurt Ozan and others,  earned wide critical acclaim.

http://www.julianshore.com/