NEW RELEASES: AARON NEVILLE – APACHE; MAYNARD FERGUSON – COMPLETE HIGH VOLTAGE; PETER BRENDLER - MESSAGE IN MOTION

AARON NEVILLE – APACHE

Apache is the new album from multiple Grammy award-winner, Aaron Neville, member of the world renowned Neville Brothers and one of the most recognizable voices in American music history. Apache celebrates Neville’s 75th birthday, and marks the 50th anniversary of his first #1 single “Tell It Like It Is.” The album was recorded at Studio G in Brooklyn, produced by multi Grammy-winning artist and producer Eric Krasno (Soulive, Lettuce, Tedeschi Trucks Band). In addition, it includes elite musicians David Guy and Cochemea Gastelum (Sharon Jones & The Dap Kings), Ryan Zoidis (Lettuce) and Eric Bloom (Lettuce, Blue Oyster Cult.  Includes: All Of The Above, Orchid In The Storm, Stompin' Ground, Heaven, Hard To Believe, Ain’t Gonna Judge You, I Wanna Love You, Sarah Ann, Make Your Momma Cry, and Fragile World.

MAYNARD FERGUSON – COMPLETE HIGH VOLTAGE

Omnivore Recordings, in conjunction with the Maynard Ferguson trust, is once again happy to delve deep into the catalog of this truly legendary jazz great. For the first time in nearly thirty years, all of the recordings that made up High Voltage and High Voltage 2 are compiled together with two previously unissued bonus tracks. With liner notes by Ferguson’s co-producer Jim Exon, Complete High Voltage is now a fully realized collection… a complete document of the small-group sound that Ferguson created during this time.

PETER BRENDLER - MESSAGE IN MOTION

A great message in music from bassist Peter Brendler – working here on a set of mostly original compositions that really showcase his vision as a leader! The music here spins out in a great mix of lyrical flourishes and more deeply soulful currents – tunes that have a creative conception, but never fail to swing – all while creating some very compelling interplay between relatively familiar instrumentation. The group features Brendler's bass very firmly in the lead – with Rich Perry on tenor, Peter Evans on trumpet, Vinnie Sperazza on drums, and Ben Monder on guitar – an instrument that provides a nicely fresh sort of color, especially in the absence of a piano. Titles include "Splayed", "Angelic", "Very Light & Very Sweet", "Gimme The Numbers", "Lucky In Astoria", "Stop Gap", and a nice take on Alice Coltrane's "Ptah The El Daoud". ~ Dusty Groove

DAVE HOLLISTER’S NEW ALBUM "THE MANUSCRIPT" DELIVERS R&B HIT-MAKER’S STATE OF THE NATION TAKE ON MEN, WOMEN AND RELATIONSHIPS

After breaking into the music business as part of Teddy Riley’s hit-making group BlackStreet, Dave Hollister brought his gritty tenor, down home and soul-drenched 'keeping it real' approach to a string of hits. Creating numerous anthems about love, life, respect and lessons learned, the Gold-selling singer managed to merge inspirational material with edgy songs fusing the best of R&B and Hip Hop. Through it all, Hollister’s approach has been able to ‘keep it 100’ while dealing with the ups and downs of life from different perspectives, all held together by the honest and soulful expressiveness of his voice. Yet many feel that he has been under-recognized, possibly because of the multi-faceted nature of his personal and artistic journey. Shanachie Entertainment is proud to announce that, in partnership with Conjunction Entertainment, TopNotch Music, and Hollister Music Group, Shanachie will release The MANuscript, Dave Hollister’s new album, a state-of-the-nation exploration of the nature of men, women and relationships on the contemporary landscape. The album will be released September 9, 2016. “Definition Of A Woman,” the album's first single is produced by Walter W. Millsap III (Beyoncé, Alicia Keys, Jennifer Lopez) of Conjunction Entertainment and features a guest appearance from Angie Stone.

“We are really pleased to be releasing Dave Hollister’s new album, which I think will be received as a major artistic statement by him,” says Shanachie General Manager Randall Grass. “While it is widely recognized that he has a great voice, we don’t feel that the depth of his talent has gotten its due yet. We think this album will change that.”

Walter W. Millsap III of Conjunction Entertainment was drawn sign and work with Hollister based on his unique appeal. “Dave Hollister’s soul-stirring vocals have graced chart-topping pop, hip-hop, and R&B songs alike. Female fans are drawn to his signature style of singing, which is powerful and velvety. He has a significant male following as well, being that he speaks freely of his own transgressions and of his shortcomings and his struggle to live and love the right way.”

"When Walter shared Dave Hollister's new music with me, I grew very excited about the potential of the project," states Marv Mack, President of TopNotch Music. "Dave has one of the most powerful, creative and distinctive voices which makes him a driving force in R&B!  Walter's production presentation and studio chemistry with Dave really makes the new album more then competitive in the urban market place. The new single "Definition Of A Woman" will touch the heart and souls of women on a universal level." The video  for “Definition of a Woman” features fellow Chicagoan, actress LisaRaye, and can be viewed here.

NEW RELEASES: JERRY BERGONZI – SPOTLIGHT ON STANDARDS; MICHAEL KIWANUKA – LOVE & HATE; EARTH, WIND & FIRE - EARTH, WIND & FIRE

JERRY BERGONZI – SPOTLIGHT ON STANDARDS

The tunes may be standards, by tenorist Jerry Bergonzi makes them into something else entirely with his performance here – taking these really open-ended runs on the familiar numbers, in these beautiful waves of soul and sound with Hammond organist Renato Chicco! The two work together at a sublime level – as Bergonzi's horn has those raspy tones that we love so much, and almost a Joe Henderson-like balance between modernist impulses and a soulful core. Chicco's amazing – almost Don Patterson-like in his fluidity – handling both the keys and the basslines, and getting some spacious rhythms from drummer Andrea Michelutti. The whole thing's great – maybe one of Jerry's most compelling records in years – and titles include "Bi Solar", "Witchcraft", "First Lady", "Dancing In The Dark", "Out Of Nowhere", "Stella By Starlight", and "Blue Cube". ~ Dusty Groove

MICHAEL KIWANUKA – LOVE & HATE

A set that arguably has even more majesty than the debut album from Michael Kiwanuka – and that's saying a lot, given the strength of that now-classic record! Production here is by Dangermouse, Inflo, and Paul Butler – and there's an airiness to some songs that really has Kiwanuka's vocals floating in space – maybe more iconic than before, and held nicely in a balance between open sonic elements and more crispily-focused instrumental touches. Michael uses folksy currents in his vocals that almost recall Nina Simone during her Philips Records years – and titles include "Black Man In A White World", "One More Night", "Love & Hate", "Rule The World", "Father's Child", "The Final Frame", and "Cold Little Heart". ~ Dusty Groove

EARTH, WIND & FIRE - EARTH, WIND & FIRE

Earth, Wind & Fire's first album from 1971– recorded at a time when the group recently had ties to the Chicago soul and jazz scenes, and a range of experience that ran the gamut from work with Sun Ra, the Artistic Heritage Ensemble, The Pharoahs, Ramsey Lewis, and countless other influential groups. Headed up by Maurice White on drums and percussion, the group forged an amazing blend of all these influences, creating a future soul sound that pushed black music to the next level – taking a wealth of previously underground modes of expression, and fusing them into a soaring sound that would soon put them at the top of the charts. This album's a lot looser and freer than their Columbia albums – with plenty of raw funk and some nice off-beat jazz soling. Includes the classic break track "C'Mon Children", plus "Fan The Fire", "Bad Tune", and "Moment Of Truth". ~ Dusty Groove

Saxophonist Ben Wendel Releases "What We Bring" Featuring Gerald Clayton, Joe Sanders & Henry Cole

Saxophonist, composer, bandleader, educator, and catalyst Ben Wendel's What We Bring, available September 9, 2016 on Motema Music (his 15th album as a leader or co-leader and his debut for Motema), is panegyrical, acknowledging the great legacy and lexicon that he has played and composed his way into. While composing the music for this album, it occurred to Wendel that the evolution of a musical genre, or artist, is a continuum that looks backwards and forwards at the same time. Wendel elaborated, "What We Bring refers to the experience, inspiration and shared wisdom that musicians collect and absorb throughout their lives, and how that is expressed through their art. All of the pieces on this album are dedicated to masters from the past, peers from the present and musicians of the future. In my opinion, nothing springs from a vacuum - all that we make is connected, influenced, and most importantly, indebted to what has been created before us and around us in the present day. This album expresses my continued acknowledgement and appreciation to all of those who have helped me along the path, both directly and indirectly." Wendel added, "I get the most joy when I find ways to express my love for the bravery of the people who came before me, for the people who are doing this music now, and for the people who will do this music in the future" (from the feature on Wendel by Ted Panken, DownBeat Magazine, June 2016).  

What impresses most about Wendel is that he has gleaned from past masters, and his peers, far more than technique and chops to become an artist who embodies the importance of finding your own voice, and the pluck to follow your inner compass. This is fully revealed and represented on What We Bring, which opens majestically and powerfully with "Amian", a subconscious, compositional reaction to listening to Coltrane's "Naima" hundreds of times in his formative years. Like "Naima", "Amian" possesses a melody that floats over a constant bass note, with shifting chord qualities, offering myriad moods and colors.   

"Fall" and "Spring" are two pieces repurposed from Wendel's acclaimed Seasons project of 2015, featured on NPR's All Things Considered, and in The New York Times (www.npr.org/2015/07/28/427178381/saxophonist-ben-wendel-reimagines-tchaikovskys-the-seasons,www.nytimes.com/2016/01/22/arts/music/with-the-seasons-ben-wendel-redefines-the-musical-encounter.html). "They were originally written as duo pieces for the exceptional pianists Taylor Eigsti and Aaron Parks. I felt they would be great vehicles for the quartet and decided to arrange them for this album", commented Wendel.

"Doubt" is one of two covers on the album (the other being the standard "Solar", given a highly-entertaining, brainy, odd-meter face lift by Wendel & co.), by the indie-rock band Wye Oak. "I fell in love with their music years ago and this track is hauntingly beautiful in its mood and simplicity. What We Bring also refers to what we listen to, and at this point, most jazz musicians listen to a wide spectrum of music outside of our field. I wanted to showcase something that had moved me along the way", said Wendel.

"Song Song" is dedicated to the great Ahmad Jamal, and was inspired by his famous composition, "Poinciana". "I was on tour with nothing to do one evening and watching countless performances of 'Poinciana' on YouTube. There's something incredibly meditative about the piece that I've always loved - the rhythm section's commitment to playing one beautiful groove throughout the song - not doing anything more, and most importantly, not needing to. I recall waking up the following morning with the bass line for 'Song Song' looping in my head", explained Wendel.

"Soli" rocks and swings and, like the rest of the album, displays the band's ability to conduct complex maneuvers in complete harmony with one another (the term "big ears" comes to mind). A track like this will surely send fledgling musicians scurrying to the shed, and prompt listeners to quickly hit "repeat." "Soli" is a pre-written passage played in unison by multiple instruments. You can hear this technique used in everything from classical music to big band music and Wendel has always loved the sound of it. "In fact, I've always had at least one piece on each album that highlights this approach. Though I don't know how long this streak will continue, I can say this was perhaps the most challenging one I've written to date", said Wendel.

One of the most emotive and gorgeous songs on What We Bring is "Austin", "dedicated to the incredibly talented pianist Austin Peralta, who left this world much too soon. I played with Austin on 'Endless Planets', his final album. I was deeply saddened by Austin's passing and also incredibly moved at his funeral by the outpouring of love from friends, family and musical peers. Many of his personal letters and writing were read at the ceremony. I was struck by the depth of his inner life - something he didn't show the outer world very much. I didn't get to see this side of him until it was too late. This was something I was thinking about as I wrote the piece," stated Wendel.

On What We Bring, Wendel's camaraderie with his fellow musicians, Gerald Clayton (piano), Joe Sanders (bass) and Henry Cole (drums) greatly informed his artistic choices and inspired him. He has stated (in a recent feature by Bob Weinberg, Jazziz Magazine, Spring 2016) that, "it's hard to know where the music starts and the friendship ends", and that, "all of these layers of understanding and all the coded information that's embedded in how you play together, it's so intermingled."   

More on Ben Wendel: GRAMMY-nominated saxophonist Ben Wendel was born in Vancouver, Canada and raised in Los Angeles. Currently living in Brooklyn, NY, he has enjoyed a varied career as a performer, composer and producer. Highlights include multiple domestic and international tours with artists such as Ignacio Berroa, Tigran Hamasyan, Antonio Sanchez, Gerald Clayton, Eric Harland, Taylor Eigsti, Snoop Dogg and the artist formerly known as Prince. Ben is a founding member of the GRAMMY-nominated group Kneebody, currently signed with Concord Records and Brainfeeder Music.

As a composer, he has received an ASCAP Jazz Composer Award, the 2008 and 2011 Chamber Music America "New Works Grant" and most recently was awarded the Victor Lynch-Staunton award by the Canada Council For The Arts. He also co-wrote the score for John Krasinski's adaptation of David Foster Wallace's "Brief Interviews With Hideous Men." 

Ben's recent work includes producing and playing in jazz and many other genres, including the GRAMMY-nominated album "Life Forum" for pianist Gerald Clayton on Concord Records, the new Kneedelus album (Kneebody + Daedelus), released on Brainfeeder and given a rave 8.0 review from Pitchfork, appearing on Julia Holter's new film score, and collaborating with her on a new non-jazz album he is co-creating with Daedelus (the album will feature artists such as Terrace Martin, Knower and Mark Guiliana), producing an album for Folk/Americana artist Darryl Holter (a BMI Woody Guthrie Fellowship Recipient), playing on Jimmy Chamberlin's (drummer from Smashing Pumpkins) new instrumental album, and producing live concerts at the Broad Stage in Santa Monica, CA from 2008-2015, with the help of Quincy Jones and his production team. He also recently worked with conductor Kent Nagano in producing a series of concerts for the Festspiel Plus in Munich, Germany.

Ben is a former Adjunct Professor of Jazz Studies at USC and a current Adjunct at the New School in NYC.  Educational outreach has been a constant in his career with over 250 masterclasses at various colleges, universities, high schools, and previous work with the LA Philharmonic Artist Program.

Ben has recorded for Sunnyside Records, Concord Records and Brainfeeder, with two solo albums under his belt, Simple Song (2009) and Frame (2012), a duo project with French-American pianist Dan Tepfer entitled Small Constructions (2013) and multiple Kneebody albums. His music video project, The Seasons, inspired by Tchaikovsky's works of the same name, was released throughout 2015 and included guests such as Joshua Redman, Jeff Ballard, Mark Turner, Julian Lage and more. Ben's third solo album What We Bring is planned for release in the Fall of 2016 on Motema Music. 

What We Bring - CD Release Tour:

Sept 14 -Dizzy's Club Coca-Cola, NYC - 7:30 & 9:30 PM

Sept 15 - The Regattabar, Cambridge, MA - 7:30 PM

Sept 16 - Firehouse 12, New Haven, CT

Sept 17 - Chris' Jazz Cafe, Philadelphia. PA

Sept 19 & 20 - University of Michigan, Ann Arbor, MI

Sept 21 - Constellation, Chicago IL, 7:30 & 9:30 PM

Sept 22 - Dazzle, Denver, CO, 7 & 9 PM

Sept 23-25 - SF Jazz Center - Joe Henderson Lab, San Francisco, CA,

7 & 8:30 PM (Fri/Sat), 5:30 & 7 PM (Sun)

Sept 26 - Western Oregon University, Monmouth, OR

Sept 27 - Cornish Playhouse-Seattle Center, Seattle, WA

Sept 28 - The Old Church, Portland, OR, 7:30 PM

Sept 29 - Kuumbwa Jazz Center, Santa Cruz, CA, 7 PM

Sept 30-Oct 1 - Blue Whale, Los Angeles, CA, 8 PM

Oct 2 - Musical Instrument Museum, Phoenix, AZ

Oct 12-13 - Duc des Lombards, Paris, France

Oct 14 - Bimhuis, Amsterdam, NL

Oct 15 - Lantaren Venster, Rotterdam, NL

www.benwendel.com

ENTERCOM SAN DIEGO AND SUNNY 98.1 ANNOUNCE LAUNCH OF “SMOOTH JAZZ KIFM, 98.1 HD2”

Entercom San Diego and Sunny 98.1 have announced the launch of “Smooth Jazz KIFM, 98.1 HD2,” marking the return of Smooth Jazz to the airwaves of San Diego after a 6-year hiatus. The letters KIFM have been synonymous with jazz in San Diego for over 30 years and Sunny 98.1 is excited to welcome the format back to the airwaves. KIFM will be the new home for today’s top jazz tracks as well as the classics. In addition, KIFM will also feature the legendary Dave Koz Radio Show and San Diego native Art Good’s Jazz Trax. For more than 30 years, the frequency was home to one of the nation’s leading Smooth Jazz radio stations, Smooth Jazz 98.1.

“Jazz was a long-standing format in San Diego and KIFM was the heritage station,” says Sunny 98.1 Program Director Brooks O’Brian. “Even as we went through format changes, no longer played jazz and finally changed our call letters completely, there was always that group of loyal jazz fans asking to bring it back to San Diego. So we listened and now Smooth Jazz FM is back!”

Listeners can tune in to Smooth Jazz KIFM at KIFM.com, with the Sunny 98.1 app or over the airwaves at 98.1 HD2.  Soon to be available on Tunein and iTunes.

UMe Celebrates 40th Anniversary Of Diana Ross' "Love Hangover" With Vinyl Reissue Of Her 1976 Self-Titled Motown Album

Diana Ross was six years into her wildly successful solo career from the Supremes when she outdid herself, releasing a self-titled project, her seventh studio album, that included two No. 1 pop smashes, "Theme from Mahogany (Do You Know Where You're Going To)" and the dance-floor classic, "Love Hangover." Ms. Ross also took two more tracks from the album up the charts, "I Thought It Took A Little Time (But Today I Fell In Love)," which hit the top five of Billboard magazine's Easy Listening (now known as Adult Contemporary) chart, and "One Love In My Lifetime," no. 5 on the Soul charts. Diana Ross, the album, peaked at no. 5 on the Billboard 200, no. 4 on the Soul album chart and no. 5 in the U.K.

Marking 40 years from its original Motown release in February 1976, UMe is reissuing Diana Ross in vinyl for the first time since then on July 15, following a 2012 two-CD expanded set on the Hip-o-Select/Motown label.

"Theme from Mahogany (Do You Know Where You're Going To)" was taken from the soundtrack to the Mahogany film, a Ross vehicle that followed her Oscar-nominated role in Lady Sings The Blues. A cover of a Thelma Houston recording from 1973, the song anchored a romantic drama, produced by Motown and directed by Berry Gordy, in which Ross, as Tracy Chambers, a poor woman from the Chicago projects who works her way up from salesgirl to supermodel, becomes a famous fashion designer. Written by Michael Masser and Gerald Goffin, "Theme from Mahogany" hit No. 1 on the Billboard Hot 100 and the Easy Listening (AC) charts, and received an Oscar nomination for Best Song. It had already been weeks past its No. 1 status when included on the Diana Ross album and, on March 29, 1976, when Ms. Ross performed it live via satellite from the Netherlands on that year's 48th Academy Awards telecast.

Ross was on top of the world, as "Love Hangover" from Diana Ross was the U.S. No. 1 pop song the same week as the Oscars. "Love Hangover" was an accidental hit, rush-released while the album's first single, "I Thought It Took A Little Time (But Today I Fell in Love)," was on its way up the charts, to circumvent a competing version by The 5th Dimension. Written by Pamela Sawyer and Marilyn McLeod as either a ballad or up-tempo track, the song was famously recorded as both and cut together, creating an unforgettable backing track for Ms. Ross' unforgettably sexy vocals. Producer Hal Davis created a comfortable atmosphere for Ms. Ross, installing a strobe light in the studio, which elicited from her a playful, sensual performance. When "Love Hangover" reached No. 1 on the Billboard Hot 100 for two weeks – it also hit No. 1 on the Soul and Dance/Disco charts – it was Ross' fourth chart-topping solo single, breaking the then-record for most number one hits by a female vocalist, a record eventually broken by Whitney Houston in 1988 and Madonna in 1990. The song was eventually nominated for a GRAMMY® for Best R&B Female Vocal Performance. And it reappeared at the top of the charts as the sampled foundation of "The First Night," a No. 1 hit for Monica in 1998.

The fourth hit from Diana Ross, "One Love in My Lifetime," written by Lawrence Brown, Terri McFadden and Leonard Perry, hit the Top 10 on the U.S. Soul chart and peaked at 25 on the Pop chart. The song was covered by Joss Stone for her 2012 album, The Soul Sessions Vol. 2. Among the other album highlights are Ross' swooning, romantic take on the Charlie Chaplin classic, "Smile," which closes the record.

Ross performed many of the songs from the album on her subsequent tour, which resulted in the 1977 live album, An Evening with Diana Ross, a Broadway run that won a special Tony® Award, and an Emmy®-nominated TV special.

Diana Ross in its 40th anniversary remains a music staple, made all the more iconic by its extraordinary close-up cover shot by famed fashion photographer Victor Skrebneski – an image that differentiates the album from Ms. Ross' other self-titled album, her solo debut in 1970, which featured a full-body shot by another renowned photographer, Harry Langdon.

Diana Ross track listing:

Side One

1."Theme from Mahogany (Do You Know Where You're Going To)"

2. "I Thought It Took A Little Time (But Today I Fell in Love)"

3. "Love Hangover"

4. "Kiss Me Now"

Side Two

1. "You're Good My Child"

2. "One Love In My Lifetime"

3. "Ain't Nothin' But A Maybe"

4. "After You"

5. "Smile" 

Legendary Singer/Songwriter/Producer Barry Gibb Signs To Columbia Records; New Album 'In The Now' Due Out This Fall

Legendary Grammy award winning singer, songwriter, and producer Barry Gibb has signed with Columbia Records and will release his first album with the label titled, In The Now, in the fall of 2016. The surviving member of one of music's most successful and revered bands, the Bee Gees, (formed with his brothers Robin and Maurice), has kept In The Now a family affair, writing all the songs with his sons Stephen and Ashley.

Produced by Barry and co-producer John Merchant, the album is only the second solo effort of Gibb's career and his first album of all new material since the Bee Gees final studio album in 2001. In The Now is an impassioned solo effort that signals a welcome return of one of the most identifiable and versatile voices in the history of rock, pop, and R&B. The 12-track album was recorded in Miami with the same gathering of accomplished musicians Barry assembled for his acclaimed 2014 solo tour.

  

As a record producer/songwriter, Barry has been instrumental in creating milestones for other artists, ranging from Barbra Streisand's 'Guilty' album to Dolly Parton and Kenny Rogers' country record 'Islands In The Stream' also, Diana Ross's 'Eaten Alive featuring 'Chain Reaction' as well as Dionne Warwick's 'Heartbreaker' album.

"This is a dream come true for me. It's a new chapter in my life. I always hoped one day that The Bee Gees would be with Columbia or indeed Sony so, it's a great joy for me to start again this way with such great people."

Between Robin, Maurice, and Andy, the Gibb brothers achieved 19 number one records on the Billboard charts including, a phenomenal 6 in a row equaling The Beatles record.

"I will never forget my brothers, they will always be a part of everything I do. Our dream came true."

Barry returned to live performing in 2013-2014 with the Mythology Tour, celebrating the Bee Gees anthology release of the same name as a tribute to his three brothers. The acclaimed tour included shows in Australia, New Zealand, England, Ireland, and The U.S., garnering an outpouring of affection and critical praise from around the world.

Public Dedication and Unveiling of the Tony Bennett Commemorative Statue to take place Friday, August 19 at Noon atop Nob Hill on the lawn of Fairmont Hotel San Francisco

In recognition of internationally renowned singer, painter and civic leader Tony Bennett's contributions to San Francisco, the City will honor him with several tributes celebrating his 90th birthday. The festivities will begin with a free, public dedication and unveiling of the 8-foot-tall bronze statue of Mr. Bennett atop Nob Hill on the lawn of Fairmont San Francisco on Friday, August 19 at noon; festivities start at 11:30 a.m. Friday evening, the World Champion San Francisco Giants will pay tribute to the legend with "Tony Bennett Night" as they take on the New York Mets. The weekend's events culminate on Saturday, August 20 with a benefit dinner and concert in Fairmont San Francisco's famous Venetian Room where he first performed I Left My Heart in San Francisco in public. Proceeds from the evening will support The Tony Bennett Fund for Emergency Pediatric Care at Zuckerberg San Francisco General Hospital and the San Francisco Special Events Committee. For more information about the free, public dedication and unveiling visit the official Facebook event page at www.facebook.com/events/681318672018196/. For tickets and details about the benefit dinner and concert call (415) 554-5257.

"Tony Bennett and San Francisco are inseparable.  A statue of a great American performing artist usually happens in the birthplace of the artist. Throughout the world, people associate San Francisco as being Tony Bennett's home for one reason and one reason only - his signature song I Left My Heart in San Francisco. This 8-foot-tall statue on the greens of Fairmont San Francisco says to the world: Tony Bennett is home," proclaimed former Mayor Willie L. Brown, Jr.

The brief program and festivities proceeding the public dedication and unveiling will feature Tony Bennett, Mayor Edwin M. Lee, former Mayor Willie L. Brown, Jr., San Francisco Giants' CEO Larry Baer, Regional Vice President & General Manager of Fairmont San Francisco, Paul Tormey, Chief of Protocol, City and County of San Francisco and State of California, Charlotte Mailliard Shultz, San Francisco Boys Chorus, San Francisco Girls Chorus and SFJAZZ High School All Stars Combo.

"On behalf of Mayor Ed Lee and the San Francisco Special Events Committee, I am proud to be a part of the incredible events honoring the City and my friend, the incomparable Tony Bennett!" said California and San Francisco Chief of Protocol Charlotte Shultz.  Adding, "We look forward to seeing many of Tony's fans from all over the Bay Area at the dedication." 

Bay Area sculptor Bruce Wolfe began work on the 8-foot-tall bronze statue at the beginning of the year and is currently putting the finishing touches on the sculpture in his studio in Piedmont, California. Mr. Wolfe has also created statues of Willie L. Brown, Jr., George P. Shultz, Steve Silver and Harvey Milk. The statue was funded by private contributions to the San Francisco Special Events Committee.

"Tony Bennett has created a beautiful harmony with the Bay Area and our landmark hotel over the years. Fairmont San Francisco is honored to serve as the "home" for this spectacular statue that celebrates his amazing relationship with this city and our iconic property," said Paul Tormey, Regional Vice President & General Manager of Fairmont San Francisco.

The Tony Bennett Day celebration on Friday, August 19th will continue that evening at AT&T Park when the San Francisco Giants take on the New York Mets.  The Giants will honor Tony in a pre-game ceremony and throughout the game. Tony is also to perform "I Left My Heart in San Francisco" for the fans.

In December 1961, Mr. Bennett first sang I Left My Heart in San Francisco in the Venetian Room at the Fairmont Room. The song has gone on to become one of the City by the Bay's official anthems. The benefit on Saturday, August 20 begins with a cocktail reception at 6:30 p.m., followed by a lavish dinner at 7:30 p.m. by Fairmont San Francisco's renowned culinary team. The evening culminates with a concert featuring Mr. Bennett and his orchestra and benefits The Tony Bennett Fund for Emergency Pediatric Care at Zuckerberg San Francisco General [ZSFG] and the San Francisco Special Events Committee.

Proceeds from the evening will establish The Tony Bennett Fund for Emergency Pediatric Care at ZSFG and will help make every child's emergency care experience uniquely caring, calm and safe. 42,000 children receive care at ZSFG clinics every year and 12,000 come through the Emergency Department. The fund will provide resources for medical professionals to best comfort and care for children when they need it most. A plaque in honor of the fund will be prominently displayed in the Pediatric Playroom on the 2nd floor of the recently opened Zuckerberg San Francisco General. This room is an important component of the 2nd floor pediatrics unit and is designed to reduce the stress a child can feel in a hospital environment. Children who are well enough can engage in therapeutic play activity with toys and games as well as interact with siblings or other patients.  

Bluesman Bobby Rush Releases "Porcupine Meat"

Naming your album after a song entitled “Porcupine Meat” may seem a little unusual unless you’re Bobby Rush, who earned his first gold record in 1971 with a hit entitled “Chicken Heads.” He elaborates on his recent composition:  “If a lady won’t treat me right, but she doesn’t want anyone else to have me, that is hard to digest.” Hence the lyric, “too fat to eat, too lean to throw away.” Porcupine Meat is Rush’s debut release for Rounder Records, and one of the best recordings of his astonishing 60-plus year career.  Rush estimates that he has cut over 300 songs since he first began making music. He has been honored with three Grammy nominations, as well as 41 nominations and 10 awards from the Blues Foundation.

But make no mistake: Rush is not your typical octogenarian. At age 82, he exudes the energy of a 20 year old, and is on the road for over 200 dates a year. His hectic tour schedule has earned him the affectionate title “King of the Chitlin’ Circuit.” Rush has traveled the globe, and has performed in such faraway places as Japan and Beirut. In 2007, he earned the distinction of being the first blues artist to play at the Great Wall of China. His renowned stage act features his famed shake dancers, who personify his funky blues and the ribald humor that he has cultivated during the course of his storied career.

Born Emmet Ellis, Jr. in Homer, Louisiana, he adopted the stage name Bobby Rush out of respect for his father, a pastor. According to Rush, his parents never talked about the blues being the devil’s music. “My daddy never told me to sing the blues, but he also didn’t tell me to not sing the blues. I took that as a green light.”

Rush built his first guitar when he was a youngster. “I didn’t know where to buy one, even if I had the money. I was a country boy,” he says. After seeing a picture of a guitar in a magazine, he decided to make one by attaching the top wire of a broom to a wall and fretting it with a bottle. He also got some harmonica lessons from his father He eventually acquired a real guitar, and started playing in juke joints as a teenager, when his family briefly relocated to Little Rock, Arkansas. The fake moustache Rush wore made club owners believe he was old enough to gain entry into their establishments. While he was living in Little Rock, Rush’s band, which featured Elmore James, had a residency at a nightspot called Jackrabbit.

During the mid-1950s, Rush relocated to Chicago to pursue his musical career and make a better life for himself. It was there that he started to work with Earl Hooker, Luther Allison, and Freddie King. sat in with many of his musical heroes, such as Howlin’ Wolf, Muddy Waters, Jimmy Reed, Willie Dixon,and Little Walter. Rush eventually began leading his own band in the 1960s. He also started to craft his own distinct style of funky blues, and recorded a succession of singles for a various small labels. It wasn’t until the early 1970’s that Rush finally scored a hit with “Chicken Heads.” More recordings followed, including an album for Kenny Gamble and Leon Huff’s Philadelphia International Label.

Rush relocated one final time to Jackson, Mississippi in the early 1980s. He was tired of the cold up north, and he realized that setting up his base of operations directly in the center of the South would make it easier to perform in nearby cities on weekends. More indie label recordings followed. Songs like “Sue, A Man Can Give (But He Sure Can’t Take It),” “What’s Good For The Goose Is Good For The Gander Too,” and” I Ain’t Studdin’ You” became regional jukebox favorites in juke joints throughout the region, and many of those songs are still fan favorites that are an integral part of his live repertoire.

Since 2003, Rush has self-released the majority of his work (including the critically acclaimed Folk Funk album) on his Deep Rush label, but recently, he came to the realization that having a bigger record company behind him would be beneficial. “I outgrew myself,” said Rush. “I need someone to help in doing the things I can’t do. When you are wearing all the hats, you can’t be everywhere at once.”

Enter esteemed producer and two-time Grammy winner Scott Billington, Rounder Records’ longtime VP of A&R. Billington first met Rush at a Recording Academy meeting 25 years ago, and they became fast friends. He has wanted to work with Rush ever since.  “He is the most vital bluesman of his generation,” said Billington. He continues, “There are many people who still don’t know Bobby Rush, even though he is a hero in the parallel universe of the Chitlin’ Circuit—fans stop him on the street in Memphis and Helena and Little Rock.”

Porcupine Meat will not only please Rush’s older fans, but is likely to win over many new ones. Billington reflects, “We wanted to come up with something fresh, while staying 100% true to Bobby.”

The album was recorded in New Orleans, and Rush was pleased and proud to be given the opportunity to make an album in his home state for the very first time. His impassioned vocals and in-the-pocket harmonica playing are among the best performances of his career. Unlike most of his recent releases, these sessions only feature real instruments and no synthesizers. All of the rhythm tracks were cut live in the studio, often edited down from jams that on several occasions ran close to ten minutes.

For the project, Billington assembled some of the best Louisiana musicians, including Shane Theriot, David Torkanowsky, Jeffery “Jellybean” Alexander, Kirk Joseph, Cornell Williams, and others. Rush brought along his old friend and longtime collaborator, guitarist Vasti Jackson, who worked with Bobby and Scott on getting the songs ready for the studio. Guitar greats Dave Alvin, Keb’ Mo’, and Joe Bonamassa all make guest appearances on the album.

Rush has always been a prolific and clever songwriter. The songs he penned for Porcupine Meat such as “Dress Too Short,” “I Don’t Want Nobody Hanging Around,” “Me, Myself And I,” “Nighttime Gardener,” “It’s Your Move,” and the title selection, all equal or rival his best material. “Funk o’ de Funk” delivers exactly what the title suggests and what Rush has always done the best, which is putting the funk into the blues. While “Got Me Accused” is inspired by events from Rush’s own life, the lyrics tell an all-too-familiar tale about the rampant racial injustice that afflicts our society. Producer Billington and his wife Johnette Downing (the well known New Orleans songwriter and children’s musician) co-wrote a couple of fine selections, “Catfish Stew” and “Snake In The Grass.”

Bobby Rush is the greatest bluesman currently performing. Porcupine Meat is a testament to his brilliance, which presents him at his very best, and doesn’t try to be anything that he is not. “I just try to record good music and stories,” he humbly states.  With this recording, he has more than accomplished his goal, and has produced one of the finest contemporary blues albums in recent times.

NEW RELEASES: MODERN JAZZ QUARTET – LIVE IN PARIS 1960-1961; THE CRUSADERS – STANDING TALL; SOUL ON THE REAL SIDE #5 (VARIOUS ARTISTS)

MODERN JAZZ QUARTET – LIVE IN PARIS 1960-1961

Unreleased material by the legendary Modern Jazz Quartet – recorded live in Paris in 1960 and 1961, at a time when the city was virtually becoming a second home for the group! The recording quality is great – these performances appear to be done for radio – and there's an open-ended sense of performance that's both different than the group's studio recordings of the period, and even some of their other live material too – a way of hearing their perfection in action, but with maybe more of a sense of spontaneity too. John Lewis speaks a bit, announcing some songs – and titles include "Pyramid", "La Ronde", "Django", "Bluesology", "Why Are You Blue", "Lonely Woman", "Animal Dance", "Piazza Navona", "Colombine", "Belkis", "How High The Moon", "Concorde", "Fugato", "Trieste", "Bag's Groove", "Night In Tunisia", "Golden Striker", "If I Were Eve", and "Yesterdays". ~ Dusty Groove

THE CRUSADERS – STANDING TALL

The Crusaders standing tall at the start of the 80s – getting great grooves from the lean trio of Wilton Felder on saxes and bass, Joe Sample on keyboards, and Stix Hooper on drums! The mighty Barry Finnerty handles most of the guitar solos here – although David T Walker also plays a bit too – and other high-end guests round out the sound with a very professional feel, including Billy Preston on organ, Marcus Miller on bass, and Larry Carlton on more guitar. As with other Crusaders albums of this vintage, vocals play a part in the sound – sung here by Joe Cocker on two tracks, sounding almost better here than on his own material. Titles include "Standing Tall", "This Old World's Too Funky For Me", "Luckenbach Texas", "The Longest Night", and "Sunshine In Your Eyes". (SHM-CD pressing!) ~ Dusty Groove

SOUL ON THE REAL SIDE #5 (VARIOUS ARTISTS)

Maybe the best volume so far in this excellent series – a compilation collection that never lets us down, but which really brings something special to the mix this time around! There's a wealth of obscure modern soul tracks here – nicely grooving numbers from the 70s and early 80s, mixed with a few choice cuts from later years, too – but all with a warm glow that's plenty classic all the way through – that special blend of soul that made the 70s mellow groove so great! Many tracks are quite obscure, and haven't been reissued elsewhere – and the set features 20 titles in all, with cuts that include "Give Him Up" by First Generation, "Sha-La Bandit" by Delores Hall, "Love Is A Game" by Harry Ray, "Whisper In Your Ear" by Reggie Griffin, "I've Quit Running The Streets" by Garland Green, "Baby Don't Wake Me" by Del Davis, "No One Can Love You Like I Do" by Flakes, "Just The Way You Like It" by Leon Bryant, "I Wanna Spend My Whole Life With You" by Street People, "Be Real" by Tomorrow's Edition, "Let's Do It Now" by JALN Band, "Rain In My Life" by Prophecy, "Aah Dance" by Fine Quality feat Cuz, and Lisa Stansfield's great version of "A Case Of Too Much Love Making". ~ Dusty Groove

Judy Garland Greatest Hits Live Limited Edition Colored Viny; Including Duets With Barbra Streisand, Tony Bennett & More

Savoy Jazz is excited has announced the release of "Judy Garland Greatest Hits Live" on limited edition audiophile quality colored vinyl as part of Amazon's "Prime Day" sale today. This special reissue includes recordings taken from the legendary CBS Television series "The Judy Garland Show"--which ran for 26 episodes beginning in 1963. The project is a celebratory sampling of her most popular hits and features rare beloved duets including the all-time classic "Get Happy/Happy Days Are Here Again" with Barbra Streisand. Other guests include Tony Bennett, Ray Bolger and Ethel Merman.

"The Judy Garland Show" was a much-deserved star vehicle for an artist now considered to be one of the greatest entertainers--if not the greatest--to hit the stage and screen. The series is much revered for its fascinating showcasing of Garland's talent and the many, many stars that appeared and indeed, paid homage to the legendary performer. This collection provides an even greater look at Judy's joy in music and the heightened level of enthusiasm she achieved in her teamings with both friends and with some of the timeless vocalists of the Twentieth Century.

Track Listing:

Side A

1) I Feel A Song Coming On

2) Judy's Olio (Medley: You Made Me Love You / For Me and My Gal / The Trolley Song

3) Medley: Get Happy / Happy Days are Here Again w/ Barbra Streisand

4) The Boy Next Door

5) The Man That Got Away

6) Smile

Side B

1) There's No Business Like Show Business w/ Barbra Streisand & Ethel Merman

2) Swanee

3) I Left My Heart in San Francisco w/ Tony Bennett

4) What'll I Do?

5) They Can't Take That Away From Me

6) Just in Time

7) If I Only Had a Brain w/ Ray Bolger

8) Over the Rainbow

Bassist Jeff Denson Redefines his Ever-Expanding Creative Universe with Concentric Circles

A protean musical force who reveals new sonic realms with each project, Jeff Denson decided to see what it sounds like when his worlds collide. The bassist, composer, professor and bandleader has produced an array of astonishing music since settling in the San Francisco Bay Area. He's explored intricate harmonic soundscapes in Electreo with drummer Alan Hall and bassoon and electronics virtuoso Paul Hanson, and reached his widest audience collaborating with the octogenarian alto legend on 2015's The Jeff Denson Trio + Lee Konitz. His new album Concentric Circles, just released on his Ridgeway label on June 24, combines the talent-laden personnel of Electreo and the Jeff Denson Trio in a startlingly original quartet.

Featuring Electreo's Hanson and Hall and the Jeff Denson Trio's pianist Dan Zemelman, Concentric Circles is a breathtaking acoustic project that focuses on the bassist's finely wrought compositions. While only two tracks feature his vocals, Denson's writing is deeply informed by his connection to the voice, a lyrical sensibility that manifests itself in his breathtaking bow work and gracefully flowing pizzicato lines. While he draws personnel from two ongoing ensembles, Denson sees Concentric Circles as encompassing yet another distinct creative domain by building on the intricately constructed chamber jazz of Secret World, his 2012 album featuring trumpeter Ralph Alessi, drummer Dan Weiss and pianist Florian Weber (his partner in the acclaimed collective trio Minsarah).

"I started with the concept of bringing these two groups together, so that's one set of circles," Denson says. "And I'm writing music dealing with interlocking melodies, wheels within wheels, themes exploring constant change and the world we live in. It's really a follow up to Secret World, a setting in which I'm really free to write and compose. The pieces aren't lead sheet style compositions. The forms are pretty complicated, with a lot of through-composed parts, written out second lines and improvised sections that touch on my circles of influence-jazz, free improv, chamber music, and the centrality of the voice."

Marked by rapid movement and vivid incident, the album opens with "City Life," a tune built on an unusual subdivision of seven inspired by the relentless momentum of New York subways. Like a Mondrian grid, the piece turns an abstract representation into the pulsing embodiment of urban experience. Driven by Zemelman's hurtling left hand, "Anticipation" exemplifies Denson's gift for crafting extended melodic lines. Navigating the long form and the unexpected harmonic progression with seeming ease, these consummate musicians make his highly challenging piece sound like an oft-played jazz standard.

One of the many pleasures provided by Concentric Circles is the way in which Denson and Hanson blend their sumptuous sounds. On "A Thought That Lingers" it's often impossible to distinguish between the double reed and the arco bass as the episodic, multi-meter tune moves from the lush opening harmonies to the jagged, almost atonal middle section and the concluding return to comforting tonality. Like Electreo, Denson sees the ensemble as a forum for exploring Hanson's unprecedented mastery. "Almost immediately after meeting him I put Electreo together and we started doing gigs in different settings," he says. "In addition to being a hyper virtuoso, Paul is arguably the top improvising bassoonist in the world."

Denson's formative source of inspiration, the voice, moves to the foreground on "Wishing Well," a gently imploring chamber jazz setting that serves as an open letter to a close friend. He puts his voice to very different use on "Once the Door Opens," a ravishing piece in which Denson's lithe bass moves in a different meter than his wordless vocal line. A spiritually charged journey, the song builds to an exquisite intertwined harmonic dance between bass, vocals, and bassoon. While conceived with lyrics, "Time Waits for No One" turned into an instrumental number with Denson bowing the melancholy, almost brooding melody.

The album closes with Duke Ellington's classic lament "I've Got It Bad." It's a brief solo bass tour de force, rendered entirely with ringing harmonics, an exercise that flows from Denson's continual quest to bring the bass into new territory. "I wanted to see what I could do to make it sound like a chordal instrument," he says. "You can make the bass sound like a flute or angels singing, so you wouldn't even know it's this gigantic wooden box."

Make no mistake, Denson writes difficult music. The marvelous coherence and captivating interplay on Concentric Circles is a testament to these musicians' capacious skills. Zemelman is "a very creative and very musical player who's really interested in straight ahead jazz," Denson says. "But he's also very open, and a great reader. He's a great melodic improviser, who can bridge these different sounds I'm interested in with his classical background. And Alan is awesome, a super creative person. He's a fantastic visual artist who does mixed-media work with photography and found objects. And of course he's a virtuoso drummer, with amazing rhythmic control, and an incredible amount of power and energy he can bring to a group."

Born on Dec. 20, 1976 in Arlington, Virginia, Denson grew up in the orbit of Washington, DC. After playing alto sax from third grade through junior high he gave up the horn, but was drawn back to music when friends in high school recruited him as a singer for rock bands. When one of those groups also needed a bass player, he took over the spot and before long found himself drawn to the jazz and funk electric bass pantheon, "Players like Jaco, Bootsy Collins, and Stanley Clarke served as the gateway," Denson recalls. "When I heard the virtuosic electric playing in fusion, that opened the door to jazz." Listening to Miles Davis led him to the double bass, but it was Mingus who inspired him to give up his Fender. "I heard 'Haitian Fight Song' where he plays that amazing intro, and that was the defining moment," Denson says. "I knew I'd never be able to make sounds like that on an electric bass."

Although he was offered a visual arts scholarship to DC's vaunted Corcoran School of the Arts, Denson decided to study at Virginia Commonwealth University, where his passion for music gradually eclipsed his interest in painting and photography. He also studied jazz, theory and sight reading at Northern Virginia Community College while supporting himself freelancing around DC, playing jazz, orchestral music, rock covers, and leading his own funk combo as a bassist and vocalist. Earning a scholarship to Berklee College of Music, he quickly fell in with German pianist Florian Weber and Israeli drummer Ziv Ravitz, fellow students with whom he formed Minsarah. The collective trio released its debut album on Hubermusic, and followed up in 2006 with a critically hailed eponymous album on Enja Records. While touring internationally with the group Denson managed to maintain a rigorous academic career.

Recruited by Florida State University, he earned an MM in Jazz Studies and discovered an affinity for teaching. Preparing to move to New York City upon graduating Magna Cum Laude in 2005 he ran into bass giant Mark Dresser, who had just been hired as a professor at UC San Diego. With Dresser's encouragement and a full scholarship, Denson relocated to Southern California and earned his doctorate in contemporary music performance with an emphasis on composition. Throughout his San Diego sojourn, Denson continued to tour widely with Minsarah, and it was during a spate of 2006 concerts in Germany that Lee Konitz first heard the band, "the start of a great adventure," Denson says. "The stuff we do is very different than any music in his canon. Lee is a true improviser. He doesn't play licks. He really responds."

With Minsarah serving as his band, the critically hailed Lee Konitz New Quartet debuted on 2007's Deep Lee and followed up with 2009's Live at the Village Vanguard, which earned the 2010 Album of the Year Award from France's Jazzman Magazine, and 2014's Standards Live: At the Village Vanguard (all on Enja). Denson went on to demonstrate his vast versatility with simultaneous duo releases, interpreting American hymns and spirituals with powerhouse San Diego pianist Joshua White on I'll Fly Away and recording an album of free improvisation with Swiss clarinet virtuoso Claudio Puntin on Two. Since relocating to the East Bay in 2011 to take on a full professorship at the California Jazz Conservatory, Denson has forged ties with some of the Bay Area's top players, including clarinetist Ben Goldberg and guitarist Mimi Fox. A prolific composer and arranger, he's written music for an array of jazz settings, from big band to trio, as well as for string ensembles, solo bass, and a chamber opera.

He's brought his many pursuits under one umbrella with the recent unveiling of Ridgeway Arts, a non-profit designed to enhance and fortify the Bay Area scene, and to make a strong contribution to the national landscape of jazz and the arts in general, through a four-pronged plan of expression, education, presenting and documentation.  He introduced the initiative with The Jeff Denson Trio + Lee Konitz, and followed up with Arctic by Alan Hall's critically hailed electric ensemble Ratatet. With Concentric Circles, Denson continues to expand Ridgeway's possibilities, building bridges between artists, students, and audiences "to get the music to people," he says. "It's a vehicle for music that gets lost amidst the dross of mass culture."

www.jeffdenson.com

NEW MUSIC: THE SENIOR SERVICE – THE GIRL IN THE GLASS CASE; DOUG WEBB – BRIGHT SIDE; MAX IONATA – REWIND

THE SENIOR SERVICE – THE GIRL IN THE GLASS CASE

Mod sounds from Senior Service – a sweet set of 60s-styled instrumentals that definitely live up to the retro look of the cover – in a space between spy soundtracks, London beat styles, and the production work of Joe Meek! The combo features stunning Hammond from Jonathan P Barker, who plays with a quality that takes us back to Alan Hawkshaw on his famous sound library funk of the late 60s and early 70s – hardly beholden at all to a US soul jazz style, and instead opened up with some different tones that have much more of a mod London vibe! The rest of the group features guitar, bass, and drums – all romping in just the right sort of rhythms – and the album also features some guest trumpet, vibes, and theramin too – on titles that include "Caballo Sin Nombre", "Hit The Lip", "Psyclone", "The Intruder", "Five Beans In The Wheel", "Abandoned", and "Sons Of The Desert". ~ Dusty Groove

DOUG WEBB – BRIGHT SIDE

Doug Webb's a tenorist we're really growing to love and love more with each new record – a player who can come on with a bold, soulful punch at some moments – then carve these fluid lines at others, which he does wonderfully here alongside the organ of Brian Charette and guitar of Ed Cherry! The mix of both instruments is used in a way that's post-soul jazz – creating an open palette of colors, rhythms, and opportunities for new sorts of action – that sense of new discovery that we love so much on the later recordings of Hank Mobley, where familiar elements are reshuffled in a beautiful way – all to further the genius of the leader on tenor! Webb's playing here really lives up to that promise, and gets great help in the frontline from Joe Magnarelli on trumpet. Steve Fidyk plays drums, Charette handles the basslines on the organ – and titles include "Doctor Miles", "The Drive", "Society Al", "Silver Lining", "Lunar", "One For Hank", and "Melody For Margie". ~ Dusty Groove

MAX IONATA – REWIND

A wonderful setting for reedman Max Ionata – an album that has him working alongside some Hammond organ from Alberto Gurrisi, who really brings a soulful vibe to the album! Max is always great on other albums – and often plays with this rich tenor sound that takes us back to our favorite players of the 60s – but here, alongside the Hammond, he's especially great – and finds a way to flow like never before! The album also features Frits Landesbergen on drums and a bit of vibes – and titles include "Bob's Mood", "Drum", "The Black Hole", "Sunflower", "Chovendo Na Roseira", and "Mr GT". ~ Dusty Groove

NEW MUSIC: DJ SPINNA PRESENTS THE WONDER OF STEVIE; TANBOU TOUJOU LOU – MERINGUE, KOMPA KREYOL, VODOU JAZZ & ELECTRIC FOLKLORE FROM HAITI 1960-1981; BADBADNOTGOOD - IV

DJ SPINNA PRESENTS THE WONDER OF STEVIE (VARIOUS ARTISTS)

An incredible collection of Stevie Wonder cover versions – different versions of familiar tunes, but ones that really manage to sparkle with all the righteous soul of the Stevie himself! It's been over a decade since DJ Spinna brought us the last version of his Wonder Of Stevie series – and during that time, he's managed to come up with a huge amount of great tracks that make the whole thing go way way deeper than before – not just cuts that copy the Wonder mode, but which seem to draw strong inspiration from its genius, and really soar to the skies! Much of the music here resonates with a charm that's located around the years of albums like Music Of My Mind and Innervisions, with all the jazzy currents that might imply – and some cuts are 70s vintage, others are more contemporary. Titles include "Bird Of Beauty" by US Atlantic First Navy Show Band, "It's My Pleasure" by Billy Preston, "Love's In Need Of Love Today" by John Minnis Big Bone Band, "As" by Tony Sherman, "Buttercup" by Jackson 5, "Have A Talk With God" by East St Louis Gospelettes, "Betcha Wouldn't Hurt Me" by Quincy Jones, "Golden Lady" by Reel People with Tony Momrelle, "If You Don't Love Me" by GC Cameron, "If She Breaks Your Heart Again" by Foreign Exchange, "Don't You Worry Bout A Thing" by Black Sugar, "Go Home" by Jrod Indigo, and "Make My Water Boil" by David Ruffin. 2CDs – one of the cuts unmixed, one with the tracks in a continuous mix by Spinna!  ~ Dusty Groove

TANBOU TOUJOU LOU – MERINGUE, KOMPA KREYOL, VODOU JAZZ & ELECTRIC FOLKLORE FROM HAITI 1960-1981 (VARIOUS ARTISTS)

 Fantastic sounds from Haiti – served up in all the styles promised by the title, and pulled from a mixture of private collections and radio recordings that also document the Haitian diaspora during the nation's years of dictatorship! Yet given the restriction of the government, the cultural palette here is surprisingly wide and wonderful – with a mixture of jazz, Latin, and African currents flowing through the music in a really lively way – representing Haiti's unique crossroads in the Caribbean! Some of these cuts almost feel as if they could have been taken from Havana – save for the French language lyrics – while others echo a bit of the jazzy styles of Guadaloupe, and others maybe have the starker sound of vintage Colombia music – which makes for a tremendously vivid collection all the way through. Package comes with a huge amount of great notes – and titles include "Lagen" by Zotobre, "Bebe Showman" by Les Loups Noirs, "Lola" by Chanel 10, "Lonin" by Super Jazz De Jeunes, "Epoque Chaleur" by Shupa Shupa, "Soulfrance" by Ibo Combo, "Madeleine" by Super Choucoune 70, and "Prend Courage" by Ensemble Webert Sicot.  ~ Dusty Groove

BADBADNOTGOOD - IV

Badbadnotgood have always been pretty damn great, actually – and never better than on album IV – a remarkable step forward for the group! As ever, they take inspiration from some of the best prog, jazz, funk (and proggy jazz funk...they blend) of the 70s and beyond, but weave it into fairly distinctive and genuinely fun modern sound. It's built to last, too –we're sure be able to come back to their work in a couple decades and it'll still work! IV finds them with the confidence to trade in some fairly subtle, smoothed out moments between to more boisterous ones, and they're more dexterous in the instrumentation – especially in the horns, keys and percussion – but some great vibes, strings, flute and more when the mood calls. Includes the great vocal track "Time Moves Slow" with Sam Herring of Future Islands, "And That, Too", "Lavender", "IV", "Chompy's Paradise", "Structure No. 3", "Cashmere", "Hyssops Of Love" and more. ~ Dusty Groove