WorldService Project Delivers Punk-Jazz Manifesto On New CD For King & Country

Following in the tradition of such renegade composers as Frank Zappa, Charles Mingus, Igor Stravinsky and Harrison Bertwhistle, Dave Morecroft seeks a spot in the musical firmament that is decidedly left of center. And as keyboardist and principal composer for the edgy London-based avant-funk-jazz quintet WorldService Project, he is striking a blow upside the head of musical complacency. 

On For King & Country, the group's RareNoise debut and third release overall, the powerhouse aggregation cuts across stylistic boundaries with impunity and a decided 'punk-jazz' attitude. As Morecroft explains, "Punk-jazz for me is more a reflection of rebellion. Maybe it's jazz but it's played with an 'f-you' to the establishment/systems that dictate what jazz is supposed to mean or be." The album will be released on April 29th and will be available on CD, vinyl and digital download. He further describes the do-or-die presence that the band adopts onstage. "WorldService Project is a very intense, high-energy live show. We throw ourselves into it and hope to come out alive at the other end. And if you're not bleeding by the end of it, you haven't tried hard enough."

That killer instinct is conveyed from track to track on For King & Country (the title itself is a kind of ironic nod to the band's British ancestry). From the prog-rockish tumult of the opener "Flick the Beanstalk" to the moody closer "Requiem for a Worm," WorldService Project carries a pronounced crunch while injecting daring improvisations and myriad punk-jazz expressions into the mix. Joining Morecroft on this follow-up to 2012's Fire In A Pet Shop are tenor sax burner Tim Ower, trombonist Raphael Clarkson, bassist Arthur O'Hara and drummer Harry Pope. Says Morecroft of this audacious WSP outing, "I wanted For King & Country to be an epic listen, that from moment to moment it could rage intensely, pull at heartstrings, flip in double somersaults around the room or sardonically sneer at the establishment. It is an incredibly personal record for me (much more than any other) with true heartbreak, anger, loss, disillusionment, ecstasy and piss-taking a-plenty! But at its heart (I hope), purity of gesture, intensity and sincerity."

The slamming odd-metered piece "Fuming Duck," for instance, is indeed an epic listen. Underscored by O'Hara's fuzz bass lines melding with Clarkson's electric trombone for an uncommonly heavy bottom end, it hits as hard as King Crimson's "Red" while suggesting something far jazzier. Pope's monstrous drum solo over the band ostinato at the end of this raging piece is an adrenalized highlight. Likewise, "Murano Faro" slowly builds from something dreamy and distant to a throbbing crescendo with Clarkson's trombone wailing over the top in half-time. "Son of Haugesund" is a blast of intensity to match anything on Led Zeppelin III while the frantic, tempo-shifting "Go Down Ho'Ses" carries the zany energy of a ska band conducted by Frank Zappa. Ower's passionate sax solos on this unhinged number and on the dramatic "Chamonix" are both exceptional. And on "Mr. Giggles," at once humorous and scary, Morecroft unveils the cartoonish vocals of the title character (a sinister clown alter ego that he introduced on Fire In A Pet Shop) against a clamorous undercurrent. The closer, "Requiem For A Worm," opens on a restful, introspective note with Ower blowing breathy tones against a gentle backdrop. Midway through, the mood shifts as the piece gradually builds to a slamming, fuzz-laden crescendo of epic proportions.

TRACKS: 1. Flick The Beanstalk; 2. Fuming Duck; 3. Murano Faro; 4. Son Of Haugesund; 5. Go Down Ho'Ses; 6. Chamonix; 7. Mr Giggles; 8. Requiem For A Worm.

 

The Branford Marsalis Quartet With Special Guest Kurt Elling Team Up for "Upward Spiral"

It is no secret that the Branford Marsalis Quartet can be as freewheeling off the bandstand as in performance. Saxophonist Marsalis, and his Quartet made up of pianist Joey Calderazzo, bassist Eric Revis and drummer Justin Faulkner are each bold personalities with strong opinions, equally intense in both musical and verbal exchanges. "The band talks about all kinds of things, many of which are unprintable," Marsalis admits. "But we have serious musical debates as well."  One of these exchanges led to Upward Spiral, the new album from the Branford Marsalis Quartet with special guest Kurt Elling. The album will be released via Marsalis Music via OKeh Records on June 10, 2016.

"One topic we got into was picking the best singer to work with our band," Marsalis recalls. "My candidate was Kurt Elling, because he has the most flexible voice around, is always in tune and is a true jazz musician. When I met Kurt two years ago at a Thelonious Monk Institute competition, we had a conversation at the bar about doing a record together."

"I had bumped into Branford on the road a handful of times, and we always had significant conversations," Elling adds. "So when he mentioned making a record, I said 'any time!'"

What has emerged, after an intense week of performance and recording in New Orleans, is a collection that blends Songbook staples, jazz standards, and standards-to-be from a diverse array of composers.

The goal from the outset was to create a true partnership. "I usually reject the word `collaboration,'" Marsalis explains, "because it implies a third thing from that which each collaborator does well. I don't need a collaborator to do what I normally do, and Kurt doesn't, either.  But this time, none of us were going to do what we normally do. The goal here, even though he sings lyrics, was to highlight Kurt's voice as an instrument."

Elling was more than prepared for the challenge. "I love singing with a hard-hitting band," he confirms. "I didn't want Branford's band to feel that it had to hold back because a singer was there. To be welcomed into the Quartet's circle, which is all about new challenges and hard blowing, was very important to me. When I asked Branford what to bring about a week before the date, he said `Don't worry, you've got the thing.' So I brought `the thing.'" 

Choosing songs became a process in which all five musicians had input. "Everyone in the band is always listening to all kinds of music," Marsalis emphasizes, "so it's not as if we had to go out and do research on vocal records.

"For example, I had been listening to the Oscar Brown song `Long as You're Living' for two years before the date. The first time I heard Sting's `Practical Arrangement,' I called him and asked for a lead sheet, because I wanted to play that song with the quartet even before the idea of recording with Kurt came up. I also chose `Só Tinha de Ser Com Você,' a Jobim song that has not been done to death. I told everyone to study Elis Regina's version, because I wanted us to sound authentic rather than generic. Doing `Blue Gardenia' was my idea, while Eric originally suggested Chris Whitley's `From One Island' when we were talking about more recent songs.

Elling also brought ideas and songs to the partnership. He suggested "Doxy," the Sonny Rollins classic with lyrics that Mark Murphy introduced; "West Virginia Rose," with music and lyrics by pianist Fred Hersch; and "Momma Said," with the quartet responding spontaneously in the studio to the Calvin Forbes poem.

Two classic ballad performances complete the collection. "Kurt had wanted to do `Blue Velvet,' using Bobby Vinton's hit version as a starting point," Marsalis recalls. "I said that I'd write it out, but Kurt said, `No, I want us to sound like ghosts, with just enough technique to get the message across.'  He also wanted to do a voice/tenor duet, which I was originally against, but we tried `I'm a Fool to Want You' and he was right.  When you have a singer who can inhabit the emotional space, it works."

Every track on Upward Spiral confirms the beyond-category strengths of both the Quartet and Elling. "No one in the band had to make adjustments, because good musicians can play many styles of music," Marsalis notes. "We're fully engaged with one another when we're playing, so it was easy to engage with Kurt. The only adjustment was not to play long solos, but if making the music sound good means playing less, you play less."

Elling adds that "My thing is always about tailoring what I do to the vision and personality of the band, and Branford's quartet is a real working band, which is both an incredible luxury and incredibly important for the music. They provided everything on a silver platter."

For Marsalis, Upward Spiral is consistent with all of his previous music. "My philosophy of jazz is that it should be about strong melodies and a great beat, and every song here has a melody that you can hold in your mind, that you can sing. This is not jazz as a personal think tank, where people are only concerned with impressing everyone already inside of the tank with deconstruction and reharmonization. This is the kind of music that should expand our base to include people who would like jazz if it were friendlier. From the minute Kurt started performing with us, it was all good."

Branford Marsalis Quartet with Special Guest Kurt Elling · Upward Spiral / Marsalis Music via OKeh Records  ·  Release Date: June 10, 2016

São Paulo based 10-piece Nomade Orquestra's debut album recalls the mystical jazz musings of Herbie Hancock & Pharoah Sanders

São Paulo based 10-piece Nomade Orquestra's debut album drops 22nd April. Recalling the mystical jazz musings of Herbie Hancock and Pharoah Sanders while sounding like the Brazilian take on Taoism, Nomade Orquestra lead the way. Effortlessly weaving through the disparate sounds of Brazil’s diverse musical diaspora, the group describe themselves and their shared project as ‘the point where different musical expressions and strands meet and interact in a unique way.’ From funk and soul to Afrobeat, Ethio-grooves, dub and hip hop, their sound remains firmly anchored in the world of jazz while taking off to the cosmic stratosphere and incorporating electronic elements, alongside traditional Brazilian styles along the way. 

Nomade Orquestra came together in Sao Paolo in the year 2012, though they could just as easily have emerged fully formed into our world from a mystical land where spaced out jazz soundtracks daily life and the passing of time is rhythm and groove… such is their elusive, ethereal yet highly accomplished and deeply funky otherness. Nomade Orquestra’s self-titled debut album will be released on heavyweight vinyl LP alongside an extended thirteen track digital release on the 22nd April 2016.

The time is ripe for ten of the most talented and daring musicians working in Brazil today to deliver their fully formed debut. Effortlessly weaving through the disparate sounds of Brazil’s diverse musical diaspora, the group describe themselves and their shared project as ‘the point where different musical expressions and strands meet and interact in a unique way.’ From funk and soul to Afrobeat, Ethio-grooves, dub and hip hop, their sound remains firmly anchored in the world of jazz while taking off to the cosmic stratosphere and incorporating electronic elements, alongside traditional Brazilian styles along the way.

In line with the bands’ musical and spiritual influences, adopted from age old lineages of the global east, the album’s opening track ‘Samurai’ kicks off the psychedelic party with the strike of a gong. Dreamlike synths, Marcos Mauricio’s arresting piano and André Calixto’s beautifully expressive Tenor saxophone shed the first light on this enchanting incarnation of global roots music. ‘Sonhos de Tokyo’s hypnotic grooving bassline is complimented with psychedelic guitar riffs and ominous synth washes, building a sound both tranquil and unsettling. Bobby Mcferrin makes an appearance in spirit on ‘Bedum’, possibly the album’s most directly expressive track. ‘Morning Birds’, features the talents of Otis Trio’s Beto Montag, who brings his deft Marimba playing to the party for an Afrobeat-tinged beauty that further highlights the varied and deep roots of Nomade’s musical influences.

Album closer ‘Garuda’ finds Nomade Orchestra in a more contemplative, mood. Bringing together soaring Chinese flutes, Hawaiian style fuzz guitar, snake charming saxophone and some world class Oud playing from guest musician Luciano Sallun, the track is a spiritual wonder. It is a fitting conclusion to a highly sensory journey that recalls the mystical jazz musings of Herbie Hancock and Pharoah Sanders while sounding like the Brazilian take on Taoism. Making music like none other in Brazil, or indeed the world, Nomade Orquestra lead the way.

NEW MUSIC: ROY NATHANSON – NEARNESS AND YOU; WILLIAM PARKER / LOSA SOKOLOV / COOPER-MOORE – STAN’S HAT FLAPPING IN THE WIND; HARRIS EISENSTADT – OLD GROWN FOREST

ROY NATHANSON – NEARNESS AND YOU

The famous standard used for the title here might give some indication of the feel of the record – as it does feature some mellower, more laidback moments – but in true Roy Nathanson fashion, the initial performance of that song is followed by tracks titled "The Nearness Of Ewes", "The Nearness Of Youse", and "The Nearness Of Jews" – all improvised variations as playful as their names! In between, Roy also contributes some of his own song structures – which are extrapolated in duets between Nathanson and his musical partners on the record – a lineup that includes Arturo O'Farrill on piano, Marc Ribot on guitar, Curtis Fowlkes on trombone, Anthony Coleman on piano, Myra Melford on piano, and Lucy Hollier on trombone. Roy himself plays alto, soprano, baritone, and piano – and other titles include "Ludmilla's Lament", "What Shoes", "The Low Daze", and "A Surprisingly Pastoral Moment".  ~ Dusty Groove

WILLIAM PARKER / LOSA SOKOLOV / COOPER-MOORE – STAN’S HAT FLAPPING IN THE WIND

Really beautiful work from bassist William Parker – a set of tracks that are every bit as righteous as some of his other albums, but in a completely different way! The music here is from a musical production that Parker's been creating over the past two-decades – beautiful vocal tunes that are some of the most poetic he's ever penned – sung here by Lisa Sokolov, alongside piano from Cooper Moore – a stripped-down approach that really gets to the heart of the lyrics, but never with any sort of sleepy presentation, given the vibrancy of Sokolov's approach. One tune features an additional cello, but overall the album is just voice and piano – Parker just acts as composer and producer – and titles include "The Death Of Death", "Footnote To A Dream", "For Jeanne Lee", "Poem For June Jordan", "Invocation (for David S Ware)", "Angel's Tear", and "Soul In Heaven". ~ Dusty Groove

HARRIS EISENSTADT – OLD GROWN FOREST

Drummer Harris Eisenstadt's been giving us some wonderful records in recent years – and this well-conceived quartet session certainly continues that tradition! The group's perfectly matched here – a very friendly lineup that includes Tony Malaby on tenor, Jason Roebke on bass, and Jeb Bishop on trombone – players who both have a sense of structure and freedom at once – able to come together, spring apart, yet never lose sight of the others – nor make you feel like they're spending too much of their attention either – an almost organic energy that makes for incredible sounds throughout – and music that's as boldy modern and individual as anything that Harris has given us in the past. The music also has this toneful quality and sense of inner poetry that lives up to the evocative title – on tracks that include "Larch", "Pine", "Hemlock", "Big Basin", "Cedar", and "Fir". ~ Dusty Groove

NEW MUSIC: MAYER HAWTHORNE – MAN ABOUT YOU; ALEXANDER HAWKINS / EVAN PARKER – LEAPS IN LEICESTER; WALT WEISKOPF – THE WAY YOU SAY IT

MAYER HAWTHORNE – MAN ABOUT YOU

Mayer Hawthorne just keeps on rising and rising with each new record – to a level where he's not just sounding like those 70s influences that have always been a force in his music, but actually manages to fit right in alongside them with a seamless sound and completely confident vibe! The album's a near-perfect reworking of an older AOR vibe – as catchy as Hall & Oates at their best, as cooly compressed as Chris Rainbow working on his own, and a beautiful a mix jazzy grooving and soulful vocals as anything to come from the best LA studios in the 70s! Mayer's tunes are great – extremely catchy without being too commercial – and he's got this blue-eyed way of putting over his vocals without ever sounding too self-conscious – quite a rare quality in this era of so many retro-styled soul singers. Titles include "Book Of Broken Hearts", "Breakfast In Bed", "Fancy Clothes", "Love Like That", "Get You Back", and "The Valley". ~ Dusty Groove

ALEXANDER HAWKINS / EVAN PARKER – LEAPS IN LEICESTER

Some of the most beautiful work we've heard from Evan Parker in a long time – sublime duets on tenor with pianist Alexander Hawkins – on long, improvised tracks that build up with a really sort of special energy between the players! Parker's got a way of being every bit as sharp and experimental as ever, yet blows with a current of soul at times – quite a surprise, and a quality that seems to be unlocked by Hawkins' thoughtful work on piano – in a style that lays out blocks of tones from the keys, which provide a perfect foil for Evan to explore with a raspy reed style. We've loved Parker for year – but it's a really special record like this that makes us sit up and take notice all over again! Titles include "Jump Start", "Capriole", "The Shimmy", and "Gambade".  ~ Dusty Groove

WALT WEISKOPF – THE WAY YOU SAY IT

Tenor, vibes, and organ – a great combination here in the hands of leader Walt Weiskopf, who also wrote most of the tracks on the record! Walt's records have been some of our favorites on the Posi-Tone label in recent years – and here, he works with label heavyweights Behn Gillece on vibes and Brian Charette on Hammond – with drums from Steve Fidyk in a beautifully balanced quartet! Charette's got these long-flowing lines on the Hammond that are both melodically matched and periodically punctuated by Gillece on vibes – with sounds that can brew slowly together, or really take off – as Walt blows these nicely-edged solos throughout! Titles include "Dreamlining", "Separation", "Coffee & Scones", "Envisioned", "Invisible Sun", "Manny Boy", and "The Way You Say It".  ~ Dusty Groove

Spin Cycle, Co-Led by Drummer Scott Neumann & Saxophonist Tom Christensen, Releases Self-Titled Debut CD

Spin Cycle With its strong melodies, tight rhythms, intriguing textures, and sophisticated interplay, Spin Cycle has got everything covered. What makes the band special is how everything fits together -- or, by intention, doesn't. For listeners and band members alike, every tune is an adventure.

Spin Cycle is the new quartet co-led by drummer Scott Neumann and tenor saxophonist Tom Christensen -- and also featuring fellow veterans of the New York jazz scene Pete McCann on guitar and bassist Phil Palombi -- whose self-titled debut CD will be released by the leaders' Sound Footing Records on May 6.

Spin Cycle boasts six compositions by Christensen, a consummate multi-instrumentalist who mostly plays tenor saxophone here, and four by Neumann. Having performed in all kinds of settings including the Vanguard Jazz Orchestra, the Jazz Mandolin Project, the Gil Evans Project, Madeleine Peyroux's touring group, Broadway pit bands -- and Cheap Trick -- the co-leaders know how to dig deep, swing hard, and put a shine on a ballad.

After finishing a CD of his own in 2013 with Michael Blake and Mark Helias [the Neu3 Trio's Blessed], Neumann "got the thought of collaborating on an ongoing basis with musicians I liked and respected -- with friends who would get along sharing business responsibilities as well as creative ones.

"I naturally thought of Tom. In addition to playing together, and playing with many of the same musicians, we've spent a lot of time backpacking and hiking together. He had tunes, I had tunes. They went well together because we share a lot of the same musical influences."

Once they decided on the format of the band, getting McCann on board was the next step. Neumann has played with the Wisconsin native for more than 30 years, going back to their days at North Texas State (now the University of North Texas). And Christensen had played with the guitarist in Maria Schneider's big band. Palombi, a gifted bassist with whom Neumann had played in trumpeter Bill Mobley's big band during their four-year run at Smoke, was the final inspired piece to fall into place.

Spin Cycle is bookended by lighthearted tunes inspired by the composers' daughters. Neumann's "Rainbow Shoelaces" features a simple melody and funky B section. Christensen's "Hamsters, Hamsters" is a straight-ahead, uptempo minor blues.

The title track, written for this session by Christensen, shows off a deeper and more complex side of the band via its intricate and varied cycle of chord changes. Neumann's "Crystalline," which features McCann on nylon-string guitar, is distinguished by its lingering over-the-top melody. And then there's the punk rock-like composition, "Smart Aleck," with its bellicose guitar opening and other aggressive effects. "This lineup gives us a lot of room to try out different things," says the drummer.

Scott Neumann Born in 1962 in Bartlesville, Oklahoma, Scott Neumann started on the drums as a youngster and was exposed to what we now call classic rock by his older brother. Scott eventually found his way to the jazz-rock fusion of bands including Weather Report and Return to Forever.

Neumann went on to blossom in the esteemed music program at North Texas State and moved to New York in 1988. He's been a busy player on the New York scene ever since, playing with such luminaries as Kenny Barron and Ben Allison and accruing impressive credits as a vocal accompanist (for Ann Hampton Callaway, among others), Broadway musician (he made Swing! swing), and instructor (he directs the drum studies program at Lehigh University).

Tom ChristensenTom Christensen was born in 1961 in Ventura, California. Like Neumann, he was drawn to rock early on; he became interested in jazz-rock fusion and straight-ahead jazz while attending high school in the Napa Valley. Frequenting clubs in nearby San Francisco, he heard such legends as Sonny Stitt, Dexter Gordon, and Art Blakey and had the opportunity to take private lessons from tenor saxophone great Joe Henderson.

Christensen attended the Eastman School of Music in Rochester, New York, studying classical music as well as jazz on both undergraduate and graduate levels. Since moving to the New York City area in 1989, he has established himself as a go-to player in jazz and commercial settings. For eight years, he was a member of the Toshiko Akiyoshi Jazz Orchestra, appearing on five of their albums. He also has played on recordings by Joe Lovano, Don Sebesky, and the David Liebman Big Band. Christensen, who is on the faculty of the Fieldston School in New York, first recorded as a leader in 2000 (Gualala).

Spin Cycle will be performing a CD release show at Smalls in New York on Friday 5/6, as well as a mini-tour taking them to the Jazz Room in Waterloo, Ontario, 6/25; the Rex in Toronto. 6/26; and the Rochester (NY) Jazz Festival, 6/27.

"After playing with Scott for many years around New York," says Christensen, "I'm really excited about our new band Spin Cycle. We are both committed to the band and its musical vision. This is the first in what will be a long line of great recordings."

NEW MUSIC: DONALD EDWARDS – PRELUDE TO REAL LIFE; JACK ASHFORD – JUST PRODUCTIONS; KEEFE JACKSON / JASON ADASIEWICZ – ROWS AND ROWS

DONALD EDWARDS – PRELUDE TO REAL LIFE

A really different album from drummer Donald Edwards – one that adds in some Fender Rhodes from Nicholas Payton and a bit of vocals from Vivian Sessoms – all in this cosmic blend of jazz and soul that's not too different at times from some of Robert Glasper's recent work! Some tracks are still straight jazz – and are still pretty darn great – with strong lead tenor from Walter Smith III, and bold tones on guitar from David Gilmore – in a group that also includes bass from Luques Curtis. But the vocals are an especially nice surprise – sung in an angular, edgey way, with lyrics penned by Edwards on the tunes "Hop Scotch", "Way To Her", and "Thought For A Day". Trumpeter Antoine Drye joins the group on the track "Prelude To Real Life" – furthering the collaborative spirit of the record – and other titles include "Incantation", "Apple Street", "Beautiful Intuition", and "Queen & The Princess".  ~ Dusty Groove

JACK ASHFORD – JUST PRODUCTIONS

A huge legacy of Detroit soul – all from the masterful hands of onetime Motown maestro Jack Ashford and his Just Productions team! Ashford's had his hands in countless great records over the years – early work with Motown, key Detroit Pied Piper Productions material, and all these excellent cuts from later years – done by Jack in a mix of Northern Soul styles, and some even funkier modes for the 70s! Almost all these tracks only got released on tiny little labels, mostly as singles – and the set also includes a few never-heard tunes from the Ashford vaults – although overall, most of this music is still pretty darn obscure. Yet that never stops it from being great – as, similar to Detroit contemporary Dave Hamilton, Ashford was always working at a top level – and always found a way to bring his A-game to the table, even if he wasn't going for a hit. CD features 24 tracks in all – and titles include "Let's Do It Again" by Billy Sha-Rae, "Where Are You" by The Four Sonics, "Love You Baby" by Eddie Parker, "Sweet Baby" by Al Gardner, "Don't Take Your Love" by The Magnificents, "Deserted Garden" by Sandra Richardson, "Don't Worry" by The Smith Brothers, "Did She Do It To You" by Ray Gant, "Do The Choo Choo" by Jack Ashford & The Sound Of New Detroit, "After You Give Your All" by Softouch, and "I Need Your Love" by Lee Rogers.  ~ Dusty Groove

KEEFE JACKSON / JASON ADASIEWICZ – ROWS AND ROWS

Mindblowing sounds from two of the most creative musicians on the contemporary Chicago scene – coming together in a setting that really brings out the best of both of them! Keefe Jackson's a reedman who can blow with a strong sense of freedom, but never lose his way – and, like session partner Jason Adasiewicz, he often operates in a post-free mode that knows all the farther reaches of the sonic territory, but often sticks closest to the most meaningful, tonally expressive areas! That approach – heard here on tenor and bass clarinet – makes a wonderful combination with Jason's vibes, which we've raved about countless times – and which have never sounded better, here. Adasiewicz is easily one of the most important musicians on his instrument in decades – and a record like this just continues that reign in an amazing way. Titles include "Rows & Rows", "Cannon From The Nothing Suite", "Thunder Cooker", "Caballo Ballo", "Where's Mine", and "A Rose Heading".  ~ Dusty Groove

NEW MUSIC: NOUVELLE VAGUE – POP, MAMBO, CHA CHA, JAZZ & BOSSA NOVA WITH A FRENCH TOUCH; KAREN ANN – YOU’RE GONNA LOVE; DEEP STREET SOUL – COME ALIVE!

NOUVELLE VAGUE – POP, MAMBO, CHA CHA, JAZZ & BOSSA NOVA WITH A FRENCH TOUCH

A cool portrait of Paris in the late 50s/early 60s years of the new wave – served up here in a collection of music from soundtracks, jazz albums, and lots of French vocal treasures from the time! The grooves definitely run the gamut of styles promised in the title – with an especially strong focus on the way that Latin rhythms really came into the Parisian modes of music, and helped create fresh instrumental interplay that opened the doors to a new variety of vocal expression too! The set list is great – and mixes favorites from the films of Truffaut, Goddard, and others with even more obscure French records of the time – on titles that include "J'Aime Pas Le Rock", "L'Amour Et Le Jeu" by Michel Legrand, "Rendez Vous Au Lavandou" by Henri Salvador, "Nouvell Vague" by Ciarhd Anthony, "I Want To Be Kissed" by Charles Aznavour, "Viens A Juan Les Pins" by Bob Azzam, "Le Cinema" by Claude Nougaro, "Le Tourbillon" by Jeanne Moreau, "Chanson D'Angela" by Anna Karina, "Il Fait Gris Dans Mon Coeur" by Jacqueline Boyer, "Mon Truc En Plumes" by Zizi Jeanmarie, "Coucouch Panier" by Gillian Hills, and "Scrapple From The Apple" by Les Double Six. ~ Dusty Groove

KAREN ANN – YOU’RE GONNA LOVE

Wonderful work from Keren Ann – a French singer we first fell in love with on her albums done with producer Benjamin Biolay – working here with a different talent at the helm, but a sound that's equally sublime! Keren's also making a big step towards a global market here, too – continuing her trend of singing in English, which is the case throughout the album – which really helps get her captivating tunes and amazing sound to a larger market on this side of the Atlantic – all without losing the breathy charm of her previous French language vocals. The tunes have this moody vibe, almost in a hip early 70s singer/songwriter mode – and backing instrumentation that really follows suit. Titles include "Again & Again", "you Knew Me Then", "Bring Back", "The Separated Twin", "You Have It All To Lose", and "The River That Swallows All The Rivers".  ~ Dusty Groove

DEEP STREET SOUL – COME ALIVE!

Deep Street Soul are deeper than ever here – coming across with full-on, nonstop funky action – right from the very first drum breaks that start out the record! The set's got the group moving with incredible tightness – a razor-sharp instrumental core to beat the rest of the deep funk competition – topped on most cuts by vocals from May Johnson, who's easily one of the most unbridled singers we've heard working with a group like this! Some cuts have nicely noisy electric piano (Wurlitzer?) – which gives these guys a different core than some of the more Hammond-heavy groups – and the record also features guest vocals from Kylie Auldist and Joshua Taveres – but honestly, we like May's vocals the best! Titles include "Out Of The Gates", "Little Ray", "Done Me Wrong", "Big C", "Deux Freres", "The Hardest Part Is Knowing", "Love On Tap", and "Sweet Sugar Man". ~ Dusty Groove

Chris Botti, Andra Day, Herbie Hancock, Quincy Jones, and Diana Krall Join Keep Memory Alive's 20th Annual Power Of Love™ Gala Celebrating Tony Bennett's 90th Birthday, May 21

Keep Memory Alive's 20th annual Power of Love™ gala continues to grow as musical icons from all genres join the celebration of legendary performer and 18-time GRAMMY winner Tony Bennett's 90th birthday on Saturday, May 21, at the MGM Grand Garden Arena in Las Vegas.

In honor of Bennett's milestone birthday celebration, musical stars from an eclectic mix of genres will take the stage to perform some of the timeless hits Bennett has recorded in his 70-year career. Joining the line up are: contemporary jazz trumpeter and GRAMMY winner Chris Botti; actor, writer, producer and host of THE LATE LATE SHOW on CBS James Corden; American soul and R&B singer/songwriter and GRAMMY nominee Andra Day; 14-time GRAMMY winner and American musical icon Herbie Hancock; music legend and celebrated producer Quincy Jones; multi-platinum jazz star and 5-time GRAMMY winner Diana Krall; piano prodigy and budding pop sensation Dan Orlando; chart-topping country music artist Darius Rucker; and global superstar Steven Tyler.

"I came from a musical family, I grew up on songs like 'I left My Heart in San Francisco' and 'Shadow of your Smile.' To now be singing for him on his 90th birthday is something that is truly an honor," said Tyler. "Tony's voice is timeless and one that I hold very near and dear to my heart."

"I feel honored and privileged every time I get to step out on stage and perform with Tony Bennett, whose voice is as iconic and timeless as ever," Botti said.

"Tony Bennett is an iconic jazz legend," said Day. "It's an honor to perform for him on such a special birthday."

"A timeless talent that is ever-young, vibrant and gracious. Tony's life-force is strong and respectful of others. His actions musically and in his daily life are a testament to the value of inclusion. He's a great encouragement to the younger generation and continually lifts everyones spirits," said Hancock. "As a musician and a human being, Tony is a shining light. He's the best of the best."

One of the most celebrated entertainers in the world, Bennett has thrilled sold-out audiences worldwide for decades, selling ten million records in the last ten years alone. Known for timeless hits including "The Way You Look Tonight," and "It Don't Mean a Thing If You Ain't Got That Swing," the 20th annual Power of Love gala will bring together musical artists to pay tribute to his musical genius in a celebration of song and philanthropy.

The Power of Love gala, began in 1996 as an evening dedicated to fighting the ravages of Alzheimer's disease with the founding of Keep Memory Alive by Larry Ruvo in honor of his father, Lou.  Since that night it's blossomed into a celebration known for partnering with some of the most celebrated chefs and entertainers in the industry for an evening of philanthropy, while raising awareness and funds for Keep Memory Alive in support of the Cleveland Clinic Lou Ruvo Center for Brain Health. 

Previous Power of Love galas have celebrated the 70th birthday of boxing legend Muhammad Ali in 2012 and the 80th birthday celebration for Quincy Jones and Sir Michael Caine in 2013. Last year's gala hosted some of the biggest names in the entertainment industry including Celine Dion, Martina McBride, Robin Thicke and more as they honored Italian tenor Andrea Bocelli and his wife Veronica. Generating the bulk of Keep Memory Alive's revenue, the annual gala is imperative to the success of Keep Memory Alive and the Lou Ruvo Center for Brain Health in the mission to enhance treatments and research of brain diseases.

Saxophonist Chico Freeman Delivers New Album, Spoken Into Existence

After living and working in Europe for the last decade, innovative saxophonist Chico Freeman makes his long-awaited return to the United States in May. Marking this auspicious homecoming, the creative and trailblazing artist will celebrate with the domestic release of his tour-de-force album Spoken Into Existence (Jive Music, May 13, 2016). Freeman's stateside return offers more cause for celebration, as he introduces audiences to his new ensemble: The Chico Freeman Plus+tet featuring pianist Orrin Evans, bassist Kenny Davis, drummer Nasheet Waits and percussionist Reto Weber with performances at Dizzy's Club Coca Cola on May 19.

In the early 2000s, with dozens of recordings as a leader, Freeman moved from New York to Europe to start a new chapter of exploration by focusing on his own self-improvement and self-reflection. His thirst to immerse himself in his music, his curiosity to explore working with different musicians and living in different cultures while challenging himself to be better than he was, has all prepared Freeman for this new stateside chapter of his life.

With the U.S. release of his stunning album Spoken Into Existence, he is joined on the 13-piece program by his international quartet he's worked with regularly since 2013 (Italian pianist Antonio Faraò, Swiss bassist Heiri Känzig, and American drummer Michael Baker). Freeman serves notice that he is still a force to be reckoned with by addressing a cohort of rich melodies framed within a diverse array of styles (hip hop, funk, bebop, post-bop, the blues, melodies conjured from African and Asian scales) and renders them on tenor and soprano saxophones with keen intention, authoritative execution, and tonal control that transforms his metal instruments into analogue for the human voice.

For all of the technical authority on display throughout this recording, Freeman maintains that he operates by a deeply held conviction that "to express the truth of who you are at the moment you're playing" is of paramount value. "I was in Cuba with Dizzy Gillespie when he answered a journalist's question, 'What is Jazz?' with 'the search for truth.'" Freeman elaborates, "First comes expression, and when you find yourself in need of being able to express more, you develop the technique in order to accomplish that objective." For Freeman, Spoken Into Existence manifests in notes and tones the meaning of Michael Jordan's dictum, "You have to see it to be it" (or, as Freeman puts it, that "you can manifest what you want to achieve or materialize it if you can see it clearly") and the aphorism, "words are things."

While the album focuses primarily on Freeman's original works, two other composers' works receive fascinating treatments. The single standard on Spoken Into Existence is a rhythmically deconstructed "Seven Steps To Heaven," a line by pianist-vibraphonist Victor Feldman that Miles Davis immortalized. Freeman also addresses a less-traveled Stanley Turrentine number, "Soft Pedal Blues," from the 1962 Blue Note recording, That's Where It's At, which he heard when preparing for the date. "Although I played lots of slow blues in Chicago, I'd never recorded one," Freeman says. "Stanley's tone touched me, so I was inspired to record it."

"I've played standards, but contrary to my father, that's not the meat on my improvisational plate," Freeman states. "Standards were my dad's self-expression; they emerged from his life and environment. The standards I choose to play are ones that touch me, and they're usually written by jazz musicians with some exceptions. Most of my work is about presenting original material."

In addition, the original works featured show a wide array of Freeman's talents and amply highlight the breadth of his vision. Five of the compositions: "Dance of Light for Luani," "Nia's Quest," "N'tiana's Dream," "Lara's Lullaby," and "Erika's Reverie," are dedicated and written for each of his daughters; and the different rhythms and colors reflect their personalities.

Freeman has always encouraged the members of his various ensembles to compose with the continuum of creating new standards.  With that in mind, two of the compositions on Spoken Into Existence are written by pianist Antonio Faraò - the songs "Free Man," which he wrote for Freeman and "Black Inside." One of the standouts of the album is the beautiful "Niskayuna" penned by bassist Heiri Känzig, named for a little town in upstate New York. Freeman comments: "Wherever I go, people start dancing to this song, and that makes me very happy. As history shows, I can certainly play open and in the avant-garde tradition, but it is also very gratifying when people leave my shows humming and even dancing to my music."

The last composition of the recording, "Ballad for Hakima," is written for Freddie Waits' wife. It's a lovely last statement and dedication to this wonderful woman and her husband and his children Nasheet and his brother. When Nasheet started working with Freeman he had no idea that this was for his mom.

The penultimate piece, the anthemic, affirmative "The Crossing," signifies Freeman's impending return to New York, Freeman adds that the listener may wish to absorb the message of "The Crossing"--and perhaps the totality of Spoken Into Existence--in a broader sense. "It came to me as a feeling of crossing a body of water, crossing into other parts of your life, changing concepts," he says. "The bridge you cross to get from one place to another. The journey is a crossing, that is Spoken Into Existence."

Freeman has a history of collaborating with such diverse talents as--to name a short list--Wynton Marsalis, Bobby Hutcherson, John Hicks, Muhal Richard Abrams, Arthur Blythe, Kenny Barron, George Cables, Cecil McBee, Branford Marsalis, Billy Hart and Hilton Ruiz. Freeman's discography of more than 30 albums as a leader, also includes seven sessions with the Freeman-organized all-star collectives the Leaders and Roots, six co-led dates with his father Von Freeman and featured sideman appearances in bands led by iconic figures like McCoy Tyner, Jack DeJohnette, Sam Rivers, Don Pullen, and Elvin Jones.

Freeman internalized the ethos of presenting original materials as an active member of Chicago's Association For The Advancement of Creative Musicians, which he joined soon after deciding to switch his major at Northwestern University from mathematics to music. Between 1969 and 1975, he played frequently with AACM members Muhal Richard Abrams, Henry Threadgill, Steve McCall, Fred Anderson and Phil Cohran, and in various local blues, funk, fusion and R&B bands, including the horn section of Earth, Wind and Fire. While he was dubbed a "young lion" three decades ago for his participation on the 1982 recording with other stars-to-be Wynton Marsalis, Kevin Eubanks, Paquito D'Rivera, Bobby McFerrin and Anthony Davis, Freeman now merits being called a "master on his instrument."

  

Upcoming Chico Freeman Performances:

May 14 / South Jersey Jazz Festival / Sandi Point, NJ

May 19 / Dizzy's Club Coca Cola / New York, NY

May 20 - 21 / Green Mill / Chicago, IL

August 12 / Jimmy Mak's / Portland, OR

August 13 / San Jose Jazz Festival / San Jose, CA

Keyon Harrold: The Vital Sound Behind Don Cheadle in Miles Davis Biopic, Miles Ahead

To genuinely emulate and articulate the writing and performance style of Miles Davis--a musical icon, one of the most prolific and recognized musicians of the last century--is a daunting task, one that becomes vital to the entire sonic aesthetic of a film responsible for depicting this true innovator's message. Cue modern luminary Keyon Harrold: the GRAMMY® Award-winning platinum trumpeter, /writer and roducer who proved a natural fit for critically acclaimed actor Don Cheadle who wrote, directed, and starred in the legendary trumpeter's biopic, in collaboration with Robert Glasper who scored the film's soundtrack. A powerful turning point for the Ferguson-native, Harrold has surpassed his already stellar career highlights--collaborating with dozens of the world's greatest musical pioneers and revolutionaries by channeling one of his greatest musical heroes, Miles Davis: a welcomed landmark to preface the imminent release of Harrold's next project as a leader.

For the new Miles Ahead film, Cheadle appears to be performing so in sync with these provocative compositions that it's hard to believe he didn't play them himself. Harrold is actually the sound behind all of those passionate on-screen performances, except, of course, for the vintage Davis recordings used in the biopic.

Having an actor learn to play a composition well enough to portray it on screen is the industry standard, however in this instance, Cheadle--who had been taking trumpet lessons for four years before shooting--improvised his own fingerings on film, to which Harrold then composed in post-production and sometimes simultaneously on set. But composing music in sync with an actor's fingering isn't the only obstacle Harrold faced; the music had to authentically convey the signature Miles Davis sound.

"It's impossible what he did. Often what we do as actors is, after we film the movie, we go into a recording studio and overdub anything that needs to be made clear," explains Cheadle, speaking on a panel with Harrold and Glasper at SXSW. "This is tricky enough when using your own voice. But what Keyon had to do was watch what we are doing and what I was playing as a trumpeter and sync over that. They had to play over action scenes where they would improvise over our improv, which isn't really possible; but he did it."

It takes a special talent to not only write to what you see someone performing, but it's a rare skill--and a true testament to Harrold's exceptional talent--to write not only to match what's on screen, but to parallel the unmistakable sound of Miles Davis. "I had been planning for this opportunity all of my life in many ways. Coming from St. Louis, my mother first bought me Miles's records when I was very young just so I could learn the horn. He was, in many ways, one of my first teachers," says Harrold. "I first learned his sound so that I could then discover my own. But my life also prepared me in ways I didn't expect. Some of the defining moments that shaped Miles's career as captured in the plot of the movie have also happened to me and, just as I hear how his sound is influenced by those experiences, I too find myself pouring the emotions of those trying moments into my own music."

Lesser known is how Harrold's own life and his contribution to music exemplify many parallels to Davis himself, not the least of which is their shared passion to create "social music" rather than be pigeon-holed by the jazz improvisational virtuosity for which they are both famed. Miles Davis is one of the greatest of all time; and Harrold is often noted by contemporaries and critics as one of the greatest trumpeters of his generation today. Harrold's vision enriches the trumpet, songwriting, and contemporary music with a fresh voice for these complicated times. His music resists conformity, re-imagines genres without boxes or boundaries, and represents the spirit of the social movements that also inspire his sound-just as Davis did in his own career. With this latest film release, he is now connected forever to the legacy of one of the leading music innovators of the modern era.

Harrold's own voice was added to the film as well as an integral part of the movie's plot: Davis has to take notice of the fierce talent of a young successor: Junior. "For Junior's portrayal, Don asked for something that was like Freddie Hubbard, pyrotechnic, and fast and just in your face," explains Glasper. "So I told Keyon to play like himself." While Junior was of Davis' time, Harrold's music skillfully showcases the lineage of current artists who are inspired and informed by Davis and serves as a tribute to what has evolved from Harrold's own body of music.

  

For Keyon Harrold the goal is, as it was for Miles Davis, simply to innovate the continuum of music, fusing various genres to tell the stories of our time. No stranger (nor prisoner) to the worlds of hip-hop, R&B, jazz, gospel, pop, soul, all music in fact. Harrold, like Davis, is never bound by the distinctions of genre categories, but rather inspired by how they inform each other.

While Harrold has been noted by publications such as JazzTimes as one of the best new artists of 2015, he has served as a coveted secret weapon crucial to the sounds of artists ranging from Gregory Porter, Will Calhoun, and Dr. Lonnie Smith, to Jay Z, Kanye West, Beyoncé, Common, Lauryn Hill, Mary J Blige, Erykah Badu, LL Cool J, 50 Cent, and Mobb Deep, including touring stints with artists like D'Angelo, Eminem, and Rihanna. The trumpeter also served as an integral part of R&B star Maxwell's two-time GRAMMY® Award-winning album Black Summer's Night. Harrold released his debut album, Introducing Keyon Harrold, in 2009; the highly anticipated follow up release is coming later in 2016 and will capture his journey through these many styles of music to where he has now arrived as one of the most distinct musical voices to emerge on the scene.

Harrold appears on four tracks of MILES AHEAD - Original Motion Picture Soundtrack, available now via Columbia/Legacy. For inquiries regarding the soundtrack, please contact

Maria Malta or Gabby Gibb at Sony Music.

Upcoming Keyon Harrold Performances:

April 6 / Brooklyn Bowl (w/ Dr. Lonnie Smith) / Brooklyn, NY

April 8 / Paramount Theatre - Asbury Park Film & Music Festival / Asbury Park, NJ

April 9 / Annenberg Center (w/ Dr. Lonnie Smith) / Philadelphia, PA

April 15 / National Sawdust (w/ Terrace Martin) / Brooklyn, NY

April 19 / Le Poisson Rouge (as part of Revive Music's 10th Anniversary) / New York, NY

April 26 / Refugee International Gala / Washington, DC

May 13 - 16 / Dizzy's Club Coca-Cola / New York, NY

June 3 / Party for a Purpose at Trinity Church / Chicago, IL

June 4 / Four Star Scholarship Music Festival / Chicago, IL

KeyonHarrold.com

Saxophonist WILL VINSON Releases PERFECTLY OUT OF PLACE

Alto saxophonist and composer Will Vinson possesses many gifts; incredible power, dramatic sensitivity, prodigious technique, and perhaps most importantly, a captivating sound that you want to hear again and again. John Fordham of The Guardian described a "superb solo of rugged leathery sounds turning into mellifluous high notes", with "secure control and storming energy". While JazzWise Magazine has said that Vinson has a knack for "combining a thoughtful originality of conception with energy and fluidity of execution in very satisfying proportions". It is this abundance of qualities that has made Vinson a serious part of the conversation when talk turns towards modern jazz musicians who are playing and composing with a high level of originality and artistry. In addition to being an acclaimed bandleader with five recordings under his own name, Vinson is a member of several leading ensembles: Gonzalo Rubalcaba's Quintet (appearing on the Grammy nominated albums Suite Caminos, and Charlie), Ari Hoenig's Punk Bop and Nonet, Miguel Zenon's Identities Orchestra (Grammy nominated for Identities are Changeable), and the much lauded OWL Trio (with Lage Lund and Orlando le Fleming). Vinson has also toured/recorded with Rufus Wainwright, Sufjan Stevens, Sean Lennon, Martha Wainwright, Beth Orton and Harper Simon.

Will Vinson is proud to announce the release of his debut recording for 5Passion and his sixth overall, Perfectly Out of Place, featuring an all-star group comprised of Mike Moreno on guitar, Gonzalo Rubalcaba on piano, Matt Penman on bass and Jeff Ballard on drums.  Perfectly Out of Place follows a string of inspired albums from Vinson: It's For You (Sirocco Jazz, 2004, "an auspicious debut, an album that is as mature in its conception as it is in its execution" - The NYC Jazz Record, formerly AAJ New York), Promises (NineteenEight Records, described as "impressive" and "coolly restrained" by Nate Chinen of The New York Times), The World (Through My Shoes) (a live recording called "marvelous" by DownBeat Magazine and "exhilarating, cascading ... outstanding" by JazzTimes), Stockholm Syndrome (2010, Criss Cross Records), and Live at Smalls (2013), one of the most successful albums on the Smalls Live label.

  

With Perfectly Out of Place Vinson felt ambitious. This album contains more-than-usual through-composed music from the saxophonist's pen, and also marks his first use of overdubs, synthesizers, vocals and strings. His aim was to enhance and augment his Quintet's sound (featured on Vinson's previous five albums) that many fans and critics have come to know and love. Vinson elaborated in the album's liner notes, "It was an exciting prospect for me, but one that was made challenging by the stubborn insistence of everyone in the band on making everything sound immediately perfect and unimprovable . . . you get what you pay for, I suppose. I've tried to add without inadvertently taking away, and I hope you feel it's been a success." He added, "The entirety of this project, from the music's conception in the mountains of Banff, Alberta; through the joyous session at Avatar (to my knowledge the world's greatest recording studio), has been a thrill. One that I'd be happy to go through again, if it weren't for the fact that this record is now complete and in the hands of the most important person in the process, the listener."

Vinson's collaborators on Perfectly Out of Place include four of the world's most extraordinary improvising musicians, Mike Moreno, Gonzalo Rubalcaba, Matt Penman and Jeff Ballard. "Their importance to this project cannot be overstated, each one of them being irreplaceable. It's fair to say that my personal aesthetic identity would not be quite what it is without the influence of these masters over the past (gulp) two decades," said Vinson. The saxophonist also felt exceptionally fortunate to be able to enlist Jamey Haddad (heard on "Skyrider"), Jo Lawry (heard on "Desolation Tango" & "Skyrider"), and the Mivos Quartet (heard on "Desolation Tango", "Skyrider", "Intro to Limp of Faith") to contribute to this project. "Jamey's vibe and generosity of spirit are legendary, and his playing joyous and infectious. It's hard to think of anyone other than Jo who would have the chops, not to mention relished the challenge, to achieve what was asked of her in this recording. I first heard Mivos right at the time I was beginning to consider using strings on this project. They performed Steve Reich's Different Trains and completely blew me away", said Vinson.

On Perfectly Out of Place, the listener gets unadulterated "Will Vinson music"; which not only means playing and composing that combines a great knowledge and respect for the century-long jazz tradition, with explorations into the rhythmic, harmonic and melodic realms of contemporary forms, but this artist's brilliant vision brought to life with great skill and unmitigated passion.   

Tracks: 1. Desolation Tango, 2. Upside, 3. Willoughby General, 4. Skyrider, 5. Intro To Limp of Faith, 6. Limp of Faith, 7. Stiltskin (Some Drunk Funk), 8. Chalk It Up, 9. The Clock Killer, 10. Perfectly Out of Place.

NEW MUSIC: CURTIS BROOKS - RELAX; ANTHONY HAMILTON – WHAT I’M FEELIN’; PAT METHENY - THE UNITY SESSIONS

CURTIS BROOKS - RELAX

Saxophonist, composer, and producer, Curtis Brooks plays by his own rules. Blessed with an astounding voice and natural knack for a hook via his saxophone, he’s redefining what’s possible within smooth jazz. Curtis Brooks; born Curtis Mark McCowen, Jr., had his first encounter with a saxophone at age 8 while in the 4th grade. The band teacher visited his class and said “If you join the band you can get out of class.” Out of class sounded like a great idea to young Curtis so he joined the school band, not knowing that this would soon become his passion. Now twelve years later he’s being called the new generation of smooth jazz; a child prodigy!

ANTHONY HAMILTON – WHAT I’M FEELIN’

Heavy sounds from Anthony Hamilton – a record that's still got all the warm flourish we love from his other work, but which also seems to have a bit more of a bass on the bottom! The production is by Mark Batson on most tracks – and the team of Salaam Remi and James Poyser on a few more – and there's a great use of rock-solid, slow-moving rhythms to the record – grounding the whole thing firmly (and maybe blowing out the cones in your speakers, too!), while Hamilton opens up with those well-crafted vocal modes, full of deep soul flourishes that have made him a hip favorite for years. Titles include "Save Me", "Take You Home", "Love Is An Angry Thing", "Never Letting Go", "Grateful", "Ain't No Shame", "What I'm Feelin", and "Walk In My Shoes".  ~ Dusty Groove, Inc.

PAT METHENY - THE UNITY SESSIONS

Nonesuch Records releases a pair of new albums from guitarist, composer, and bandleader Pat Metheny on May 6, 2016. Metheny is well-known as a musical collaborator, and both records feature friends and colleagues with whom he has worked for years. The Unity Sessions is taken from a filmed performance with Pat Metheny Unity Group that was recently released on DVD; the set comprises 13 songs by Metheny, one he co-wrote with Ornette Coleman, and one well known standard by Ray Noble. And Cuong Vu Trio Meets Pat Metheny joins the guitarist with a trio led by longtime Pat Metheny Group trumpeter Cuong Vu. It comprises five tunes written by Vu plus one by Metheny and one by Andrew D'Angelo. 

NEW MUSIC: SNOWBOY & THE LATIN SECTION – NEW YORK AFTERNOON; JAMES TAYLOR QUARTET – BUMPIN’ ON FRITH STREET: LIVE AT RONNIE SCOTT’S; PEO – SWEDE SOUL MUSIC

SNOWBOY & THE LATIN SECTION – NEW YORK AFTERNOON

The strongest album in years from the mighty Snowboy – a set that firmly returns him to his Latin roots, but with a sound that's even better than before! The approach is perfect – loads of strong congans and percussion from the leader, and a wickedly jazzy lineup that do way more than just rehash classic lines – and instead allow Snowboy to dig deep into all the funk, soul, and jazz influences he's explored over the years – borrowing their best bets to fold right back into a core Latin groove! The record features superb bass from Nico Gomez, great Hammond and Fender Rhodes from Neil Angilley, and searing work from Pete Wareham on tenor and baritone sax. House legend Marc Evans does an incredible job on vocals for the title cut "New York Afternoon" – a wicked reworking of the Richie Cole classic – and Jen Kearney sings on the tracks "Better" and "Oxen Free". Other titles include "The Triple Bluff", "Tres Tambores", "Ole Mambo", and "Cala Escarpada". ~ Dusty Groove

JAMES TAYLOR QUARTET – BUMPIN’ ON FRITH STREET: LIVE AT RONNIE SCOTT’S

Hammond legend James Taylor takes the stage at the legendary Ronnie Scott's Club in London – a place he could have hardly imagined gracing back in his early 80s years on the mod scene! Yet Ronnie's come a hell of a long way since those days – and has emerged as one of the best organists working today – able to soar along the keyboard at a level that even only a few folks from the classic years could ever hope to match! The pyrotechnics here are wonderful, and Taylor never loses his groove at all – working in a sharp quartet with guitar, bass, and drums – on titles that include "Duffin Round", "Song For My Dad", "Parallelo", "Jungle Strut", "Sweet Revival", and a nice version of Jimmy Smith's "Rootdown". (Includes bonus download!) ~ Dusty Groove

PEO – SWEDE SOUL MUSIC

Stunning soul from Peo Dahl – a Swedish musician by birth, as you might guess from the title – but one who comes across with a groove that matches the best hip Anglo soul of the past decade or two! There's a vibe here that reminds us especially of some of our favorite British acts – the jazzy rhythms of Brand New Heavies, and maybe the vocal warmth of Swing Out Sister – with a bit of Incognito thrown in for good measure! Yet the group's definitely got their own sort of special vibe – upbeat, positive sounds served up by Peo and his core instrumental crew – and delivered by a host of singers (mostly gals, one guy) who give the whole album a beautiful glow. The songs are great, production is perfect, and titles include "Another Weekend", "Good Love", "What Goes Up", "Everything", "Get Ready", "Wish I Could", "All Your Love", "Be Mine", and "Must Be Love". ~ Dusty Groove