NEW RELEASES: RICARDO SILVEIRA / JOHN LEFTWICH - COSMOS; WHIT DICKEY / KIRK KNUFFKE – FIERCE SILENCE; LARRY JOSEPH WITH LUCI MARTIN & DEE SCOTT – YOUNG GIANTS OF PLATINUM FUNK VOL. 1

RICARDO SILVEIRA / JOHN LEFTWICH - COSMOS

A set that not only offers up some great work from co-leaders Ricardo Silveira on guitar and John Leftwich on bass – but one that also includes some of the best small group work we've heard from Hubert Laws in years! The legendary flautist really opens up on the record – with these soulfully-blown lines that really take us back to his genius of the 70s – that breathy approach to his instrument that really set Hubert apart, and which created such a great flow on his classic albums. That flow is a great match for the warmly chromatic lines of Silveira on guitar – whose approach is gentle, but a bit more punctuated – as is the bass work of Leftwich, which has this subtle rumble that brings the bottom up in careful ways. Drummer Kiko Freitas completes the group – and titles include "Outro Rio", "Reflections", "Cosmos", "Valsa Nova", "9 to 1", and "Northeast & West". ~ Dusty Groove

WHIT DICKEY / KIRK KNUFFKE – FIERCE SILENCE

A brilliant pairing of drums and cornet – and a record that's every bit as bold as the musicians who created it! Drummer Whit Dickey punctuates the sound here in great ways – sometimes snapping the kit with an infectious pulse, sometimes moving into gentler sonic realms – but always with an inventive style that hangs somewhere between the role of timekeeping and much freer modes – while Kirk Knuffke's cornet lines step out with a spacious sound of their own – often hitting a different time structure than Whit, or concentrating on a key sonic quality – before blowing off into new shapes and tones. The pairing almost feels as if Max Roach and Leo Smith cut a set of duets – and titles include "The Calling", "Fierce Silence", "Stalker", "Lodestar", "Legba's Dance", "Ashes", and "Leave It To The Wind".  ~ Dusty Groove

LARRY JOSEPH WITH LUCI MARTIN & DEE SCOTT – YOUNG GIANTS OF PLATINUM FUNK VOL. 1: YOU’RE THE BEST (VOCAL, EXTENDED MIX)/IRRESISTIBLE

A sweet 80s-styled groove from bassist Larry Joseph – one that's peppered with some tightly riffing guitar and great piano fills – and topped with soaring lead vocals from Luci Martin of Chic! The whole thing sounds like it might have been done right during the mid 80s run of Chic (there's no date on the record) – and the extended mix has some nice bassy bits too! Dee Scott sings on "Irresistible" – with a style that's a bit more in the higher range of the soul vocal spectrum, which suits the catchy hook of the track wonderfully!  ~ Dusty Groove

NEW RELEASES: SHARON JONES & THE DAP KINGS – MISS SHARON JONES (SOUNDTRACK); PHONTE & ERIC ROBERSON – TIGALLERRO; WILLIAM S. BURROUGHS / BILL LASWELL – THE ROAD TO WESTERN LANDS

SHARON JONES & THE DAP KINGS – MISS SHARON JONES (SOUNDTRACK)

Partly a soundtrack to the film on the life and music of the mighty Sharon Jones – partly a collection of some of her best tracks, with a bonus cut that's previously unreleased! The music here documents the amazing run of modern funk we've heard from Ms Jones & The Dap-Kings – a partnership that's given the 21st Century some incredible soul records – of the sort to rival 60s classics from labels like Stax or Atlantic Records! Yet the music here is also something else all its own – the story of struggle, survival, and rebirth – as Jones began her career with a hell of a strong sound, and has emerged with an even more powerful voice than ever – as you'll hear on cuts that include the never-issued "I'm Still Here" – plus "Slow Down Love", "I Learned The Hard Way", "Mama Don't Like My Man", "Let Them Knock", "Longer & Stronger", "If You Call", "People Don't Get What They Deserve", "Tell Me", "Retreat", "Humble Me", and "I'll Still Be True". ~ Dusty Groove

PHONTE & ERIC ROBERSON – TIGALLERRO

A fantastic collaboration between Phonte and Eric Roberson – one that's way more than just the sum of its parts, as the duo really find a special place to come together and soar! Phonte's been giving us much more soulful sounds in recent years, and Roberson's always had a strong ear for a hip hop element in his music – but together, the two hit territory that's even more unexpected – bold, rich, and very expressive – almost announcing a new generation of sounds from the contemporary soul underground! The album features collaborative help from Zo, Nicolay, DJ Harrison, Carmen Rodgers, and others – all of whom leave their mark on the set – but the standout presence of Phonte and Roberson is undeniable, on cuts that include "Hold Tight", "Grow This Love", "Something", "3:45", "Waiting 4 Ya", "Lie To Me", "Never The Same Smile", and "It's So Easy". ~ Dusty Groove

WILLIAM S. BURROUGHS / BILL LASWELL – THE ROAD TO WESTERN LANDS

William S. Burroughs - reading from his classic novel - The Western Lands, the final volume of the trilogy that began with Cities Of The Red Night, published in 1981, and The Place Of Dead Roads in 1984. Burroughs at his most spiritual, informative and shamanistic, with heavy references to the Egyptian Book Of The Dead and Norman Mailer's epic work - Ancient Evenings. Set to the musical soundtrack of Bill Laswell's Material, featuring Indian violin master - L. Shankar, Jamaican drum legend - Sly Dunbar, Senegalese percussionist - Aiyb Dieg and others. A miracle project to be sure. Miracles are made from the most unlikely ingredients. And miracles are the deadliest of all weapons, when all else fails, the final, the last result is a miracle. Tracks: The Western Lands; Seven Souls; Soul Killer; Words of Advice for Young People; and The End of Words.

JOSH CHARLES’ NEW SOUL-DRENCHED FUNK AND ROCK ALBUM ‘1974’ HAS JOHN OATES (HALL & OATES) PROCLAIMING: “IT TAKES ME BACK TO THE GOLDEN ERA OF RECORDING IN THE EARLY 70’S – THE SOUND AND FEEL ARE JUST RIGHT”

Musical time travelers, listen up! On his latest album, Josh Charles is ready to stamp your one way ticket back to the magical year of 1974.

Drawing from a deep and dynamic well of influences that includes his mentor, New Orleans legend Dr. John, as well as Allen Toussaint, The Meters, Steely Dan and those classic early Elton John albums, the veteran singer/songwriter and producer puts his own bluesy funk and roll twist on the simmering soulful vibes we were diggin’ in the mid-70s on the perfectly titled collection.

On Friday, August 19, SiriusXM’s Radio Margaritaville (Ch. 24) will premiere the 

opening track, the powerhouse brassy funk jam “Best Thing Thatcha Told Me Was Goodbye.” The song, co-penned like all the others by Charles and legendary multi-Grammy nominated songwriter Milton L. Brown, is reprised in an extended nine and a half minute jam that is a highlight at the end of the album. Charles says, “We just let the tape go on that one and the magic came out.” 

1974 is set for release on AWAL/Kobalt Friday, August 26. Those ordering in advance on iTunes now will receive an automatic download of “Best Thing Thatcha Told Me Was Goodbye.” 

An emotionally resonant, tight and grooving set of originals that takes the warm, enduring sounds of that era and makes them jump as fresh, contemporary blasts of creativity, the album was co-produced at Parlor Studios in New Orleans by Charles and Tracey Freeman,  two time Grammy Award winner for his work with Harry Connick, Jr. and Rebirth Brass Band. 

One of Charles’ heroes and frequent collaborators, John Oates of the legendary pop/soul duo Hall & Oates, sums up 1974 perfectly: “Josh’s new album takes me back to the golden era of recording in the early 70s  - the sound and the feel are just right…he’s got it nailed. Love it!”

The tracks were recorded live using period specific gear and mics with Charles’ pick of the best musicians on the planet,  starting with George Porter, Jr., renowned bassist for The Meters and including longtime Hall & Oates musical director and guitarist Shane Theriot, drummer Doug Belote and percussionist Michael Skinkus, with horns arranged by Mark Mullins, trombonist for New Orleans brass funk rock band Bonerama. 

“Once I had the right guys,” Charles says, “the other key was finding the perfect studio to get that 70s sound right. The right sonic elements of the room were essential. All the great albums from that time were recorded in what they called ‘dead rooms,’ small boxy recording spaces that are very different from most of today’s facilities.  I spent months diggin’ up liner notes and talking to engineers and producers of the time researching how those bands got that classic sound. Finding David Farrell and bringing him to Parlor to record the live sessions there was essential to recreating the vibe of that era to help bring these songs to life.”  

Other tracks on 1974 include the Allen Toussaint-inspired simmering, funky “Outa The Blue,” the deeply emotional lament “Edge of the Blues,” a song about “wanting to do right” and “looking for the light” that showcases Charles’ most raw, emotional vocals; the New Orleans R&B, uplifting, gospel/rock/blues driven “Winning Streak”; and a moody and sensual laid back look at a comfortable “Lazy Love.”  

Josh Charles brings an eclectic background as a recording artist to the sessions of 1974, including recordings for Columbia Records/Sony Music Entertainment, Island Records, Elektra Records/Warner Music Group. He has produced/co-produced and written/co-written seven albums, including his most recent “NOtown” release Love, Work & Money.  In-depth television profiles of Charles and his music — including his philanthropic efforts to help rebuild New Orleans after Hurricane Katrina — have appeared on “Good Morning America,” “The Tavis Smiley Show,” “CNN” and other outlets.  

He has also been featured in national print and digital media, including “USA Today,” “LA Weekly,” “The Huffington Post,” “Keyboard Magazine,” “Voice of America,” “Electronic Musician,” and others.  Josh was the first musical artist for Casio, serving as the national spokesperson for Casio’s Privia brand of digital pianos and appearing in the nationwide marketing campaign.  He is also endorsed by Gibson Guitars, UVI software and ASTON Mics.

Charles moved to Nashville in 2013 to further develop his career. There he began collaborating with hit songwriters including John Oates, Milton L. Brown, Sonia Leigh, Jeff Cohen, Bridgette Tatum and others in both the country and pop/rock formats. In 2014, Josh also began producing and co-writing with traditional big band singer Steven Davis. Their prolific partnership has led to five albums of original songs and the recently released album of standards, The Way You Look Tonight. In addition to working with Dr. Dre’s Aftermath production team, Charles works with many up and coming artists.

The concept for 1974 was sparked by Charles’ rediscovery of the joys of classic vinyl. “My favorite records were ones by some of the New Orleans legends I’ve worked with, including The Meters, Allen Toussaint and Dr. John,” he says. “Getting a new turntable and stereo inspired me to listen with fresh ears to my collection of great old albums that really got me in the spirit of the mid-70s – particularly Dr. John’s In The Right Place, The Meters’ Rejuvenation, Steely Dan’s Aja and Robert Palmer’s Sneakin’ Sally Through the Alley. It hit me that you just don’t hear anything recorded these days that comes close sonically or with that vibe and mastery of harmony and melody. How did anyone get this kind of sound? That question quickly evolved into a challenge – Could I somehow pull it off? 

“There have been revivals of the 60s in recent years, and in pop there’s a current trend to bring back the 80s – but nobody in this generation is tapping into the kind of music that was blowing everyone’s mind in the 70s,” he adds. “1974 is my contribution to hopefully starting a new movement back to this great era.”

Multifaceted singer / songwriter / arranger / producer LYNNE FIDDMONT releases POWER OF LOVE

Vessels of love come no bolder, brighter or more beautiful than multifaceted singer, songwriter, arranger, and producer Lynne Fiddmont. All that pours forth from her essence is compassion and creativity of purest purposed beauty. Over a career that has seen her glide gracefully from sharing her vocal gifts at the service of world class artists such as Stevie Wonder, Natalie Cole, Bill Withers, Phil Collins, Barbara Streisand and Joe Zawinul to recording her own lovingly crafted projects Flow and Lady: A Tribute to Billie Holiday, Lynne generously ladles on the love, the laughter and the longitude in an artistic situation. Her fourth album, Power of Love, speaks to the many hues and dimensions of matters of the heart be it the brotherhood/sisterhood of global human existence or the slippery sensual space between lovers that shuts the world out like the most delicious of kisses.

Power of Love is an exquisitely balanced collection of hand-picked classic R&B covers that reveal some of Lynne’s influences and mentors, along with her freshly penned original soul songs that amplify and reflect precisely how those inspirations have helped to shape who she is today – as an artist and as a woman. 

“I’m always thinking, ‘How did I get here,’” Lynne confesses. “There are so many great artists. How come I am here right now? Part of this project is about me going back to the songs that started me loving music. Too many younger people have been missing out on them so I try to bridge that gap. The other part of this project is about how I feel as I look around and wonder, ‘What in the world is happening in the world?’ I want to send a message of love to counter all the hate.” 

The first single is Lynne’s take on “Groovy People,” the Philly Soul finger-popper from `76 penned by legendary team Kenny Gamble & Leon Huff for the late, great Lou Rawls. Making the song more her own, Lynne takes the groove in a decidedly more Motown direction, even using Diana Ross’ background singers Valerie Pinkston, Lamont Van Hook and Fred White. She also puts a deeper spin on that pesky term “groovy.” “The way you live and the way you accept others’ way of living - with love in your heart – that’s what I’m calling ‘groovy’,” she states. “Not overly concerned about how people make a living, who they love, what they look like or which religion they practice. Inclusion is the key. I also decided to record this song because singing with Lou Rawls was one of my first professional gigs.” 

Among Lynne’s original songs on Power of Love is “Walking on Rainbows” which she composed with longtime writing partner/co-producer Andrew Ford. “My Power of Love Movement deals with the inside and the outside. I recently went through the breakup of a 10-year relationship,” she says softly. “’Walking On Rainbows’ is a personal message about loving yourself. That visual came from out of nowhere. Listening to Andrew’s music had me imagining hopping from one rainbow to the next – feelin’ good! I thought the song would be perfect for Mary Mary or Vivian Green. When that didn’t work out, I said, ‘I’ll do it!’”

Lynne was also recently in a nasty freeway accident – her car was totaled, landing upside down – yet she was blessed to walk away from it with only a broken nose. The scare reconfirmed the fragility and fleetingness of life, pushing her forward to start on this fourth album she’d been putting off. That urgency was heightened upon the passing of Natalie Cole who Lynne was singing backup for right up until her death on New Year’s Eve. Therefore, alongside sensual covers of classics by Minnie Riperton (“Lovin’ You” and “Memory Lane”) and Norman Connors (“Invitation”), Power of Love also includes profound selections by John Lennon (“Imagine”) and Stevie Wonder (“Ngiculela - Es Una Historia - I Am Singing”).

“Power of Love is a record but it’s also my inner life from which I am making a clear Love Movement, include things that have nothing to do with music,” Lynne shares: “random acts of kindness, adopting a ‘grand’ (i.e. elderly mentor or grandparent), using social media to spread love (#ilovegroovypeople). It may also turn into a one-woman show with songs or it may be a book. My passion is to work within my purpose to make situations better…more loving.” 

St. Louis, Missouri-native Lynne Fiddmont graduated from Boston’s prestigious Berklee College of Music then moved to Los Angeles, landing her first gig with the Jazz Crusaders. She became an in-demand studio and touring singer working with the likes of Nancy Wilson, B.B. King, Whitney Houston, Elton John, Dave Brubeck, Babyface and Stanley Clarke (among many) - from “American Idol” to “The Grammys,” and at the White House for President Barack Obama. In 2006, Lynne Fiddmont released Flow on her own label, MidLife Records, followed in 2010 by her loving salute to Billie Holiday, Lady, and Spirit of Christmas (2012).

Quinsin Nachoff's new recording Flux combines jazz invention and classical intricacy

Saxophonist and composer Quinsin Nachoff brilliantly captures the sound of evolution on his latest release, Flux, due out September 16 from Mythology Records. Exploring the elusive terrain between modern jazz and contemporary classical, between the cerebral and the organic, Nachoff reveals a fervently original sound that evokes bold, incisive playing from a singularly innovative quartet. Nachoff's vision asserts that the state of flux can represent shape-shifting invention rather than uncertainty - though he's certainly not afraid to venture into the untested unknown.

The bass-less quartet of Flux is entirely composed of leaders in their own right, each known for their groundbreaking adventurousness. Alto saxophonist David Binney, whose Mythology label is releasing the album, is a prolific and forward-thinking player and composer as well as being an influential producer whose collaborators have included Donny McCaslin, Uri Caine and Chris Potter. Pianist/keyboardist Matt Mitchell has seized a place at the leading edge of the music through his jaw-dropping work with the likes of Dave Douglas, Tim Berne and Rudresh Mahanthappa. And drummer Kenny Wollesen is a founding member of the New Klezmer Trio and Sex Mob whose diverse resumé includes work with Bill Frisell, Norah Jones, Tom Waits and John Zorn.

These four come together to breathe vivid life into Nachoff's wide-ranging compositions, which continue to develop his longtime interest in fusing together eclectic influences from jazz and classical music. Don't mistake this for a "Third Stream" or "chamber-jazz" project, however; this is radically creative music that forges its own path.

"The kind of music that I'm interested in making isn't straightahead in either genre," says Nachoff, who has composed for string and brass ensembles as well as jazz big bands. "I like mixing and matching things. I try to find commonalities between them to put people into different landscapes to improvise in."

Flux was born out of a time when Nachoff's life was in a state of flux itself. The Toronto native was in the process of moving to New York City and finding a new niche for himself in the jazz mecca's ultra-competitive scene. "It's quite a transition going from working a lot and teaching at well-respected schools to starting again from scratch," he says.

Nachoff discovered kinships with the members of the Flux quartet in different ways: Binney on shared gigs with bassist Michael Herring, Mitchell during an Australian tour under Nachoff's leadership, Wollesen simply through hearing the drummer play with bassist Eivind Opsvik's Overseas ensemble. "I was blown away by his incredible feel," Nachoff says of his first experience hearing Wollesen live. "I was infatuated with his hi-hat the whole night - which was only playing quarter notes!"

At the core of the sound of Flux is two pairings - the twin saxophone frontline, and the alchemical, opposites-attract meeting of Mitchell and Wollesen. "The concept was to put more heady material that Matt can deal with on top of this really organic feel that Kenny does and have it work as a band sound."

The compositions that Nachoff brings to the quartet fully explore that tension between the band's virtuosity and passion, which fuel each other in thrilling ways. With the two saxophones, Mitchell playing a variety of keyboards including Fender Rhodes, organ, Wurlitzer, and Moog, and Wollesen incorporating a variety of handmade percussion instruments, the palette that Nachoff had to work with, in his often surprising orchestrations, was vast.

Several of the pieces on Flux began life as commissions for classical ensembles, reinvented for and by the quartet. Aptly-named opener "Tightrope" is Nachoff's response to the Toca Loca ensemble's request for a "pop" influenced piece - allowing for as abstract an interpretation of that proviso as desired. The piece follows a loose verse-chorus structure with an underlying rock feel to the rhythm - and Mitchell interpreting two keyboard parts into one intricate whole.

"Complementary Opposites" is derived from a suite penned for trumpeter Peter Knight's 5+2 Brass Ensemble and is built on surprising juxtapositions of style and rhythm - as when a reggae groove suddenly takes over the piece somewhere in the middle. The two-part "Mind's Ear" comes from a suite written for the Greg Runions Jazz Orchestra that featured Nachoff and trumpeter Tim Hagans (who gave the piece its name) as guest soloists. The pieces are marked by unconventional harmonic motion and jarring tonal shifts.

The evocative title of "Astral Echo Poem" is an anagram for the name of its primary influence - Brazliian composer Hermeto Pascoal. Finally, "Tilted," which erupts with nervous energy, is an apt bookend with "Tightrope," drawing once again on hard rock inspirations for its driving beat, complicated by the fleet, snarling melodies.

A graduate of the University of Toronto, Nachoff has been colliding genres since his 2006 debut, Magic Numbers, which melded a jazz trio with a string quartet. He's since composed music for a variety of ensembles in both worlds, including the Penderecki String Quartet, the Toronto Jazz Orchestra, and the Cecilia String Quartet, as well as his own Horizons Ensemble, Quiescence Quartet, and FoMo quartet. He also leads the Pyramid Project, which brings together saxophone, brass quintet and drums and features Ralph Alessi, Jonathan Finlayson, John Clark, Ryan Keberle, Marcus Rojas and Jim Black.  As a sideman he's performed and/or recorded with Kenny Werner, Howard Johnson, Tim Hagans, Kenny Wheeler and Don Thompson among others. He has coached at the Banff Centre for the Arts and taught at the University of Toronto and Humber College, as well as serving as artist-in-residence at the Queensland Conservatorium in Brisbane, Australia.

www.quinsin.com

Bassist & Composer MICHAEL BLANCO Releases SPIRIT FORWARD

The story of bassist/composer Michael Blanco's third album as a leader, Spirit Forward, available on Brooklyn Jazz Underground Records on October 7, 2016, is primarily the story of how Blanco assembled this particular group of musicians, and how they in turn inspired the composer to write compelling music for this very special and unique combination of musical personalities; the Michael Blanco Quartet, featuring John Ellis (tenor saxophone), Kevin Hays (piano) and Clarence Penn (drums). The album title Spirit Forward is a bartending term for a type of cocktail made with strong spirits (like the Manhattan or Martini) that seeks to highlight and enhance the flavor of the base spirit, not to mask its flavor. These cocktails are harmonious and balanced, yet bold. "When choosing Spirit Forward for the album title, I had this definition in mind and how it relates to my music. It's a good metaphor for how strong musical personalities can come together and create a dynamic unit, while still maintaining their individuality. I also had a few other meanings in mind: I like the idea that the act of releasing an album of original music is akin to putting your 'spirit forward' out into the world, as well as the way the word spirit can be used to mean motion (like 'spirit away'), so Spirit Forward also means forward motion and continuing progress," explained Blanco. 

John Ellis is a longtime friend and musical comrade whose soulful and melodic style is the perfect "voice" for Blanco's melodies. Ellis has a deeply personal and well-developed sound, and is always tasteful and musical above all else. Blanco elaborated, "there's no pretense in his playing and everything he plays sounds like a melody to me. I first met John at a jam session at Aaron Goldberg's Brooklyn apartment sometime around 2002. We hit it off musically and personally and have worked together a lot over the ensuing years. He played on my previous 2013 CD release, No Time Like the Present, and I still close most of my gigs with 'Ellis Island,' a tune I wrote for him that has become a frequently requested 'hit' among the people who come to hear my group."

It was during gigs supporting No Time Like the Present that Blanco connected with the other members of the Spirit Forward quartet. "I had admired Clarence Penn's playing for years, but it wasn't until a 2013 gig I led that we first played together. Clarence showed up to the gig and blew me away. He approached the music in a way that both challenged and supported the band, while adding a level of rhythmic and dynamic complexity that really brought the music to another level. Our musical chemistry and bassist/drummer hookup was apparent from the first tune of the night, and by the time the gig was over I knew that I had found my new favorite drummer. Clarence has been on every gig that my group has performed since that night, and even though finding dates that work with his busy schedule can be difficult, I plan to try to keep it that way!" said Blanco.

                                                                             

Blanco met Kevin Hays as sidemen on a 2014 gig (at SubCulture) with vibraphonist Anthony Smith's band. "After being a fan of Kevin's for many years, it was a thrill to finally play with him, and I could hear exciting possibilities for my music in his playing. His incredible harmonic and rhythmic flexibility, his lyricism, and sense of adventure all appealed to me - and I had a feeling that Kevin, Clarence, and John would be a really potent combination," said Blanco. And he was right of course, evidenced in the music on Spirit Forward.

After assembling his "dream team" the band played several gigs together over the course of 2015, leading up to the August 2015 recording session for this release. "I was able to experiment with my compositions during the gigs and rehearsals, and make small tweaks between gigs to make the music work better for the band. We even had a really fun 'pre-recording celebration' gig at The Cornelia Street Cafe the night before heading into the studio, which fine-tuned the music even more. I hope the listener enjoys it and digs it as much as we do," said Blanco.

More on the music on Spirit Forward from Michael Blanco:  The Mystic Chord is a six-note chord used by Russian composer Alexander Scriabin, and believed by Scriabin to have mystical properties. While practicing at home one day, I discovered that I could create a bass line with an interesting 6/4 groove by spelling out this chord one note at a time. The melody has a kind of funky, lopsided quality, and the rest of the song explores the possibilities of the "Mystic Chord" sonority, with a melodically contrasting "B" section that is in 5/4 time - juxtaposing nicely with the 6/4 groove.

Notes From Underground was originally written for a gig at The Cornelia Street Cafe. The Cafe has been a wonderful home base for my group while I was developing the music for this album and continues to be the main spot where I lead my group in town. With this tune, I tried to capture the feeling I have when I'm performing there - and also the feeling that I have when I'm in the audience of any of my favorite jazz clubs. When coming up with a title, I thought of the low register piano/bass counter-melody that offsets the tenor lead at various points of the tune, as well as the fact that so many of my favorite jazz clubs are in basement rooms - hence the double entendre.

Song Without Words is a tuneful composition that I could easily imagine being sung. I wanted to write something overtly lyrical and pretty - something that can seem like a bold move in today's jazz climate. After recording one take with all of us sticking very closely to the melody in our improvisations, we took a lunch break and then recorded the take that is heard on the album. We loosened up and stretched out a little more, but still captured the heart-on-your-sleeve lyricism that I was going for.

Spirit Forward has a swinging, open feel, and an optimistic vibe. The form has a few mixed meters, and some harmonic twists and turns that make it both challenging and fun to play. Kevin, John, and I all stretch out with solos on this one.

Acrobat gets its name from the wide, acrobatic leaps in the bass line of the "B" section of the tune. It has a driving straight-eight groove, a hummable melody, and features great solos by both Ellis and Hays.

Last Stable Orbit is a somewhat quirky blues, that doesn't ever quite resolve in the way that you expect it to. The title is an astronomy term for the last orbit possible before an object (planet, spaceship, etc) gets sucked into a black hole!

Reasons To Be Pretty is named after a play by Neil LaBute that I went to see on Broadway in 2009. The performance really moved me, so I bought the script and read it again at home. This song actually differs in mood quite a bit from LaBute's play - but I thought the title was a good fit for this piece. Hays (once again) plays a gorgeous solo.

The Boulevardier is the name of one of my favorite spirit-forward cocktails, as well as old-school French slang for a stylish "man about town." The unison tenor sax/bass melody was inspired by a lick I heard guitarist Jonathan Kreisberg play on a gig we did together. The form and harmony are loosely inspired by Thelonious Monk's Green Chimneys, and it's a straight ahead, swinging piece.

Michael Blanco is a two-time recipient of the ASCAP Foundation Young Jazz Composer Award (2005, 2006), moved to NYC in 2000, and has since worked with many artists at the forefront of the contemporary jazz scene, including saxophonists John Ellis, Rich Perry, Donny McCaslin, Jon Irabagon, and Will Vinson; guitarists Lage Lund, Jonathan Kreisberg, Gilad Hekselman, and Mary Halvorson; pianists Kevin Hays, Aaron Goldberg, Adam Birnbaum, and David Cook; and drummers Clarence Penn, Donald Edwards, Ari Hoenig, Mark Ferber, and Tomas Fujiwara. He has been a member of bands led by Alan Ferber, Bob Reynolds, Shayna Steele, Russ Nolan, Doug Wamble, Patrick Cornelius, John Chin, Richard Doron Johnson, and Frank Basile, among others. Blanco's debut album In The Morning was released in 2006. JazzTimes Magazine called the album, "a remarkable introduction that leaves one eager to hear more," and described Blanco's compositions as having a, "dusky, imploring quality, with catchy, insistent hooks and compelling harmonies," while Bass World declared that "His approach to composition is fresh and the arrangements are lush and compelling." Blanco's second album, No Time Like The Present, was released in 2013. The album made Ralph A. Miriello's "Best of Jazz 2013" list in the Huffington Post, while Marc Meyers at JazzWax described it as, "a beautiful album with compositional depth and technical maturity," and proclaimed, "Blanco understands the meaning of originality - tastefully rolling out your creative vision while keeping the customer satisfied." Blanco has been selected twice by the U.S. Department of State to be an artistic representative for the U.S. abroad. Blanco is also in high demand outside of the world of jazz: he has performed in the orchestras of over thirty Broadway shows and is currently the bassist for the 2015 Broadway revival of Fiddler on the Roof. Recent highlights from his busy freelance career include a recording with the legendary violinist, Itzhak Perlman, performing on the soundtrack to the Cohen brothers' major motion picture, Hail Caesar!, and a television appearance on USA's Royal Pains, alongside violinist Joshua Bell. Blanco has performed at major NYC venues including Carnegie Hall, Radio City Music Hall, Town Hall, Birdland, Iridium, Smoke, and Blue Note, as well as smaller important laboratories for jazz like The Cornelia Street Cafe, Smalls, ShapeShifter Lab, Barbes, Korzo, IBeam, and The Bar Next Door at La Lanterna. Although he spends most of his time in NYC, Blanco has also had the pleasure of performing around the world.

www.blancobass.com

Bassist and Composer DANIEL FOOSE releases WATER AND GHOSTS

In 2015 bassist/composer Daniel Foose returned to his ancestral home of the Mississippi Delta to write an album of music at the crossroads of history, race, and the natural world. Joining Foose on this genre-defying, adventurous and beautiful album, of Water and Ghosts, is Sebastian Noelle on guitar, Keita Ogawa on percussion, Tomoko Omura and Maria Im on violin, Allyson Clare on viola and Jennifer DeVore on cello. "This ensemble, also called 'of Water and Ghosts', is a new outlet for my compositions. It consists of a traditional string quartet with percussion, guitar, and acoustic bass. The name refers to the historic forces that shaped the Mississippi Delta where this music was conceived and composed. It is an area where floods are regular, and fortunes are made and lost based on how much rain one may get in a particular season. Water has always been carving its way through the humanity of that place since it was first inhabited by people over 5000 years ago. In addition to these natural forces, the forces of war, race, slavery, and history imbue this area with ghosts of the past that affect people in conscious and unconscious ways to this day. It is a land rich with stories and I hope to reflect that sense of story telling through this ensemble," said Foose. of Water and Ghosts will be available on Brooklyn Jazz Underground Records on October 7, 2016. 

On of Water and Ghosts themes of racial injustice, conflict, and economic terrorism are juxtaposed against the backdrop of a serene and truly majestic natural setting. Foose explains, "I have attempted to reflect this duality musically through textures not typically heard together, notably employing grooves based on West African patterns, New Orleans street beats and Delta-style blues against the backdrop of sometimes sweet, sometimes dissonant string textures reflective of late romantic music."

  

Like the sculptures of Henry Moore or Richard Serra, or the architecture of Renzo Piano, Daniel Foose's compositional practice is one that, at it's best, is site specific. For his suite, "Sonora" from of Water and Ghosts (tracks 1-4), Foose composed music on the site of the former Sonora Plantation (in the Mississippi Delta) where his maternal ancestors have farmed for over a century. The piece narrates the story of the acquisition of Sonora and the injustices of slavery that were carried out in that place. The artist took his upright bass into the very fields, cemeteries and forests of the area, embracing and ingesting that environment, to compose the themes of the "Sonora" suite. It is his hope that these themes will be imbued with a sense of place that enrich the stories he's attempting to tell musically. He additionally did this for the collection of pieces entitled "Pluto" (tracks 5-9), about a plantation where his paternal family lives and farms. Staying on that land for a month, he composed music about the people of the area and their stories.

"Two lands separated by a few miles along the fertile crescent of the Yazoo River, have borne witness to the rise and fall of tribes from millennia ago, war, enslavement, terrorism, resilience, survival, faith, creation . . . the light in us struggling to overcome our own shadow. On the surface this land seems so quiet and flat, but dig just beneath the surface and the quietness gives way to a cacophony of voices and the flatness becomes textured as a tapestry of bones and memories. I spent a month listening to these voices and exploring this land, composing the themes for each piece in the very places that inspired them. As I improvised with my upright bass in the muddy fields and cemeteries of the area, these melodies very much felt like they came from outside of myself, gifted to me from the land." (excerpted from the liner notes for of Water and Ghosts). 

Daniel Foose has performed all over the world with many different ensembles and is currently a member of Lady Gaga's Band. In 2013 Daniel was awarded 3rd place in the International Society for Bassists Jazz Competition performing his piece 'Circuits (2012)'.

www.DanielFoose.com

David Bowie Blackstar Collaborator DONNY McCASLIN Releases Beyond Now

Saxophonist Donny McCaslin and his band, featured on David Bowie's Blackstar, will make their Motéma Music debut with the October 14 release of Beyond Now, a highly anticipated album dedicated to Bowie. Recorded nearly three months after Bowie's passing, the project is deeply influenced by their extraordinary experience collaborating with one of the greatest artists of all-time on his final album.

"It was like a dream except it was something I never could have dreamed of," reflects McCaslin on working hand-in-hand with Bowie on Blackstar. "David Bowie was a visionary artist whose generosity, creative spirit, and fearlessness will stay with me the rest of my days. Beyond Now is dedicated to him and to all who loved him."

Comprised of core Blackstar personnel, bassist Tim Lefebvre (Tedeschi Trucks Band, Saturday Night Live), drummer Mark Guiliana (Meshell Ndegeocello, Brad Mehldau), and Jason Lindner (Now Vs Now) along with guitarist Nate Wood and producer David Binney, Beyond Now's repertoire is expansive, comprised of two Bowie songs, covers of Deadmau5, MUTEMATH, and the Chainsmokers, as well as compelling McCaslin originals including the title composition, inspired by a track inspired by a song McCaslin recorded for Blackstar that didn't make the album.

Today, Entertainment Weekly premiered Beyond Now's first single, "A Small Plot of Land," a cover from Bowie's 1995 release Outside (featuring vocalist Jeff Taylor). The album pre-order has launched today as well on iTunes; fans will receive "A Small Plot of Land" instantly when pre-ordering a download of the album. McCaslin has also announced extensive touring in the US and Europe through the remainder of the year. See below for a list of U.S. tour dates, including upcoming appearances at the Newport Jazz Festival, BRIC Celebrate Brooklyn! and The Charlie Parker Jazz Festival.

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With three GRAMMY® nominations and 11 albums to his name, McCaslin's path to Bowie and Beyond Now can be traced back to 2011 with the release of his album Perpetual Motion, taking on an electric direction for the first time in contrast to his previous acoustic projects. Two subsequent albums Casting for Gravity (2012) and Fast Future (2015) released with his working band were directly influenced by electronica artists (covering groups such as Aphex Twin, Boards of Canada, and Baths), which netted McCaslin a 2013 GRAMMY® nomination for "Best Improvised Jazz Solo."

The once in a lifetime opportunity to work with David Bowie came after composer Maria Schneider, a longtime collaborator, recommended McCaslin and his group to Bowie. Schneider and Bowie were collaborating on the track "Sue (Or in a Season of Crime)," which featured McCaslin as a soloist. In June 2014, Bowie heeded Schneider's advice and made a visit to hear McCaslin and company at the 55 Bar in Greenwich Village. Soon after, Bowie began corresponding with McCaslin over email and sending music, forming a new collaboration and friendship that transpired through the recording of Blackstar until Bowie's passing. The result is Beyond Now, which documents "David Bowie's Last Band" as they were processing both their grief and Bowie's distinctive impact.

"This new album is an expression of that journey for all of us," says McCaslin. "David allowed Blackstar to be what it was going to be regardless of how people might have categorized it. More than anything, it was his fearlessness in crossing musical boundaries and genres in his music and life that inspired the approach I'm taking in Beyond Now. I am indebted to Bowie for showing me the risks and rewards of going for your uncompromising musical vision."

BEYOND NOW TRACK LISTING:

1. Shake Loose (McCaslin)

2. A Small Plot of Land (David Bowie/Brian Eno/Sterling Campbell/Reeves C. Gabrels/Michael David Garson/Erdal H. Kizilcay)

3. Beyond Now (McCaslin)

4. Coelacanth 1 (Deadmau5)

5. Bright Abyss (McCaslin)

6. FACEPLANT (McCaslin)

7. Warszawa (David Bowie & Brian Eno)

8. Glory (McCaslin)

9. Remain (Mutemath)

DONNY McCASLIN U.S. TOUR DATES:

July 29 - Newport Jazz Festival - Newport, RI

August 10 - BRIC Celebrate Brooklyn! - Brooklyn, NY

August 23 - Cape Cod Jazz Festival - Harwich, MA

August 24 - Museum of Fine Arts - Boston, MA

August 25 - Blue - Portland, ME

August 28 - Charlie Parker Jazz Festival - New York, NY

September 16-17 - Blue Whale - Los Angeles, CA

September 18 - Monterey Jazz Festival - Monterey, CA

September 19 - Yoshi's Oakland - Oakland, CA

September 20-21 - Dazzle Jazz Restaurant & Lounge - Denver, CO

October 12 - The Jazz Kitchen - Indianapolis, IN

October 13 - South Milwaukee Performing Arts Center - South Milwaukee, WI

October 14-15 - The Green Mill - Chicago, IL

October 16 - Des Mounes Social Club - Des Moines, IA

October 17 - The Washington - Burlington, IA

October 18 - The Mill - Iowa City, IA

October 19-22 - Jazz St. Louis - St. Louis, MO

October 23 - We Always Swing Jazz Series - Columbia, MO

October 24 - Jefferson College Fine Arts Theatre - Hillsboro, MO

November 29-December 4 - The Village Vanguard - New York, NY

Sonzeira - Tam Tam Tam Reimagined

Tam Tam Tam Reimagined is the second album to come from Gilles Peterson’s Sonzeira project. Overseen by GP, with Will LV and Rob Gallagher as vital co-pilots, this second album picks up where the first one left off. Where Brasil Bam Bam Bam brought together the all-stars of Brazilian music, this album focuses on a key moment in the country’s history; a record made at a crucial moment serves as the jumping off point for an open-ended project of musical reimagining.

Of all those records released in Brazil, however, the search for one in particular has taken on a real significance for GP over the past couple of years: José Prates’ Tam Tam Tam. An accompaniment to a stage production financed by the Brazil Culture Ministry, it was created to promote the country’s culture to the world. Hearing the album – including its prototype of ‘Mas Que Nada’ that became a Sergio Mendes mega anthem – through Ed Motta during the making of the last Sonzeira album, it sparked a long hunt to get his hands on a copy (including a plea live on Channel 4 news).

With a mint copy successfully procured – not long after Jonny Trunk’s re-issue championed by Record Collector mag – it was taken as a starting point for creating something new. Working with production associates Will Horrocks from UK bass-meddling duo LV and Rob Gallagher from 2 Banks of 4 – along with appearances from drumming prodigy Moses Boyd and Kassin from Rio’s Orquestra Imperial – they picked out phrases and snippets to build songs and tracks around.

Released in 1958, Tam Tam Tam celebrates a distinctly Afro-Brazilian culture that was later suppressed following a coup in the early 1960s that led to a military dictatorship. From sparkling recreations of the atmospheric original to reverb-laden dub, the album takes a magpie-like approach to re-interpreting the most exciting aspects of Prates’ postcard of Brazil to the world. Tam Tam Tam Reimagined forms another part of the Sonzeira project’s aim to take apart and reassemble the pieces of what makes Brazil’s music so unique.

NEW RELEASES: JOHN BARRY – PLAYS 007 & OTHER 60s THEMES FOR FILM AND TELEVISION; SHIRLEY DAVIS & THE SILVERBACKS – BLACK ROSE; SPENCER DAVIS GROUP – TAKING OUT TIME: THE COMPLETE RECORDINGS 1967-1969

JOHN BARRY – PLAYS 007 & OTHER 60s THEMES FOR FILM AND TELEVISION

An excellent collection of work from the great John Barry – one that focuses on his famous contributions for the James Bond films – but also includes other soundtrack and instrumental material as well! The set begins with the John Barry Plays 007 record – a brilliant album that not only features some instrumental soundtrack themes, but also includes some great mod Barry instrumentals from the 60s – kind of a nice link to his sophisticated film music, and some of his smaller combo work! Titles include "Kinky", "Fancy Dance", "007", "From Russia With Love", "Big Shield", "Aliki", "Monkey Feathers", and "The London Theme". Next are two tracks from Elizabeth Taylor In London – "Lovers & Browning", with a recitation by Taylor – plus the jazzy instrumental "The London Waltz". Next are two tracks from Zulu – a colonial period film that starred Michael Caine – followed by 15 more groovy instrumentals that include "Tit Willow Twist", "Hit & Miss", "Easy Beat", "Beat Girl", "The Lolly Theme", "Spinnerree", "Roman Spring Of Mrs Stone", "The Sun's Hooray", and "Saturday's Child".  ~ Dusty Groove

SHIRLEY DAVIS & THE SILVERBACKS – BLACK ROSE

There must be something funky going down in the water in Spain – because in recent years, the nation's scene has given us some mighty hard-hitting funky artists – the best of whom may well be featured on this set! Shirley Davis isn't one of those easy retro soul singers – and instead steps out strongly as a voice that we're sure that we're going to hear plenty from in years to come – thanks to a righteous way of putting over a tune, and a classic sound that really lives up to the spirit of the album's cover! Davis is backed by Madrid's Silverbacks combo – a tight funk group who really hit all the right currents to really let her soar out in the lead – with a power that's much stronger than on her previous single with Deep Street Soul, which is the first time we heard her sing. Most tunes here are originals by the group – and titles include "Black Rose", "Two Worlds", "Pay For Your Love", "My Universe", "Burial Of A Dead Star", and "Make My Day". ~ Dusty Groove 

SPENCER DAVIS GROUP – TAKING OUT TIME: THE COMPLETE RECORDINGS 1967-1969

Great work from the second chapter of The Spencer Davis Group – the time immediately after Steve Winwood left to form Traffic, and the combo stepped forward into some even headier music of their own! This period of the SDG isn't nearly as well known as their early hits – and the box set is a really surprising revelation overall – music that has some of the R&B currents of the earlier group, but which is also infused with a headier, trippier style too – not just in the instrumentation, but in the way the records are put together – with cool elements that space things out slightly, but never get too indulgent! The mix is a bit like that on the earliest work of The Move – or that shift that Small Faces were taking after moving to the Immediate label – and as with previous work from the Spencer Davis Group, there's as much great Hammond on the tunes as there is guitar, thanks to the talents of new member Eddie Hardin. Some of the best cuts almost hit a freakbeat mode – with a very cool mix of mod and psych – and the 3CD set features the full albums Funky and With Their New Face On – plus material from the Round The Mulberry Bush soundtrack, lots more singles, some BBC sessions, and even some alternate and unreleased tracks too. 68 tracks in all – titles that include "Letters From Edith", "Time Seller", "Taking Out Time", "After Tea", "Sanity Inspector", "What A Way To Die", "Firefly", "Magpie", "Groove Extra", "The Girls Song", "Don't Want You No More", "Der Wassermann", and "Picture Of Heaven".  ~ Dusty Groove

Multi-Grammy® nominee David Arkenstone shares his latest take on classic lounge music - Songs from the Aqua Lounge

On August 23rd, fans of composer, musician and performer David Arkenstone’s brand of ‘chill’ music will be delighted with his latest lounge offering, Songs From The Aqua Lounge (a QDV Recordings release).

“It’s a sexy album,” says Arkenstone from his home overlooking the Pacific. “It was inspired, in part, by the lounge records of the fifties and sixties, like Martin Denny and Antônio Carlos Jobim and their unique sounds. “This is equally groovy!” says Arkenstone, holding up the limited edition 3D lenticular CD cover, complete with Lava® lamps.”

Recently awarded Best Vocal Album 2015 by One World Music for Inamorata, Arkenstone says, “I don’t often have vocals, so Songs From The Aqua Lounge is unusual in that there are five songs that feature vocals.” What also distinguishes this album from Arkenstone’s previous ‘chill’ recordings (World Café, Celtic Chill, Native Chill, Christmas Lounge, Chillout Lounge) is that some tracks border on smooth jazz, particularly “5 a.m.” featuring award-winning flugelhorn player Jeff Oster.

“I was thrilled that Jeff was available to bring his artistry to “5 a.m.,” says Arkenstone. “I wrote “5 a.m.” with flugelhorn in mind. And I finished writing it at 5 a.m. This is the first time I’ve written songs that so prominently feature flugelhorn and sax. “Midnight Cruise” features David Crozier on sax. I’ve been working with David for years, but this is the first opportunity I’ve had to feature him. Stylistically it was a good fit. I’m really pleased with Jeff and David’s creative and expressive solos. Also featured is guest artist Luanne Homzy on violin. It was fun collaborating with so many artists.”

Award-winning vocalist Charlee Brooks lends her stunning stylings to the album. Songs From The Aqua Lounge is her fourth collaboration with Arkenstone.

“A lounge is a place where people are comfortable and congregate,” says Arkenstone. “Songs From The Aqua Lounge is music to relax to, to put you in a good mood, to play in the background, and to accompany all sorts of activities!”

Music and Media Focus reviewer Michael Diamond states, “Ever the sonic adventurer, veteran recording artist David Arkenstone embarks on another journey into the ultra contemporary world of Chill music on his latest release Songs From The Aqua Lounge. Drawing on elements of ambient, electronica, and smooth jazz, the album serves up a groove-based blend of sounds that range from dreamy to driving. A perfect example is a track called “Take My Soul,” that features atmospheric synthesizers, electronic beats, and the misty, sensuous female vocals of Nahara that evokes a vision of Tangerine Dream and Enya performing together. If this album illustrates anything, it is that with David Arkenstone one thing to expect is the unexpected.”

About the featured track “Take My Soul” Arkenstone says, “I wanted to write a sexy song, and now we’ve made a sexy video to accompany it. Nahara made it come alive with her distinctive delivery.”

The “Take My Soul” music video will premiere live at an exclusive VIP event at Mixology 101 in Los Angeles on August 16th (see details below).

DAVID ARKENSTONE’S AQUA LOUNGE RELEASE EVENT – AUGUST 16th

Live from Mixology 101 in Los Angeles, CA, chart-topping, multi-Grammy® nominated musical visionary David Arkenstone is throwing a major Hollywood shindig to celebrate the release of his latest disc, Songs From The Aqua Lounge. David and special guest artists will perform a few key tracks from this new album AND debut the super-sexy music video for the song “Take My Soul” featuring Instagram sensation Carlotta Champagne and actor/model Aaron Mann.

Guest artists include award-winning Jeff Oster on flugelhorn, David Crozier on sax, percussionist Stevie Ray Hernandez, Best Vocal Album winner (with Arkenstone) Charlee Brooks, and vocalist Nahara.

There are 2 ways that you can attend this event from anywhere in the world!

In person:

A special limited edition half-price VIP package tickets to the exclusive event are being offered by Goldstar Tickets. Attendees will enjoy the mini-concert and music video debut, receive a limited edition CD of Songs From The Aqua Lounge with 3D cover, a signature ‘Take My Soul’ drink, light hors d’oeuvres, meet & greet with David and guests, and a chance to win a Lava® lamp!

Attend ‘virtually’ on Concert Window:

Tune in free to Concert Window and enjoy the mini-concert and music video debut live. Concert Window participants who tip $10 or more will receive a download of the entire "Songs From The Aqua Lounge" AND have a chance to win a Lava® lamp! For $35, participants will receive an autographed limited edition CD with 3D lenticular cover, as well as a chance to win a Lava® lamp!

Track list for Songs From The Aqua Lounge:

1. Temporary High (featuring Nahara) 4:38

2. Midnight Cruise (featuring David Crozier) 4:30

3. La Grande Corniche 4:00

4. Take My Soul (featuring Nahara) 4:13

5. 5 a.m. (featuring Jeff Oster) 4:09

6. Boarding Pass 4:14

7. Charade (featuring Charlee Brooks) 5:01

8. I Don’t Mind The Rain (featuring David Crozier) 4:20

9. Reflections on the Highway 4:30

10. Be My Muse (featuring Nahara) 4:12

11. Water On Mars 4:08

12. Don’t Say Goodnight (featuring Charlee Brooks) 4:43

13. Sakura Ascending (featuring Luanne Homzy) 4:31

The Musical Mojo of Dr. John: A Celebration of Mac & His Music

On Saturday, May 3, 2014, a group of world-renowned musicians and friends joined together for “The Musical Mojo of Dr. John: A Celebration of Mac & His Music,” a special concert event honoring this musical icon in his hometown of New Orleans. Taking place at the historic Saenger Theatre in the French Quarter, this momentous evening was captured in stunning HD and has been produced into a full length concert film with accompanying audio recordings.

The one hour and forty-five-minute film and available audio recordings feature over 20 once-in-a-lifetime performances from a lineup of prestigious and award-winning artists including Dr. John himself, Bruce Springsteen, Jason Isbell, Cyril Neville, Anders Osborne, Bill Kreutzmann, Aaron Neville, Charles Neville, George Porter Jr., Zigaboo Modeliste, Irma Thomas, Tab Benoit, Shannon McNally, Dave Malone, Big Chief Monk Boudreaux, Widespread Panic, Warren Haynes, Ryan Bingham, John Boutté, Mavis Staples, John Fogerty, Terence Blanchard, Sarah Morrow, Chuck Leavell, and Allen Toussaint.

Dr. John, a six-time GRAMMY Award-winning musician and Rock & Roll Hall of Fame inductee, is known throughout the world as the embodiment of New Orleans’ musical legacy and is a true American icon. His colorful musical career began in the 1950s when he wrote and played guitar on some of the greatest records to come out of the Crescent City. Some of his many career highlights include the masterful album Sun, Moon and Herbs (1971) which included cameos from Eric Clapton and Mick Jagger and 1973’s In The Right Place, which contained the chart hits “Right Place Wrong Time” and “Such A Night.” In 2013, Dr. John won his latest GRAMMY Award for Locked Down, a collaboration with Dan Auerbach of the Black Keys. As further evidence of his musical diversity, Dr. John is currently completing an album in tribute to Louis Armstrong, which will be released in June of this year. After a half century of creating music for himself and others, Dr. John continues to write, arrange, produce and interpret with a passion that has yet to wane.