LORRAINE KLAASEN ANNOUNCES U.S. CD RELEASE DATE OF NEW ALBUM – NOUVELLE JOURNEE

After winning a JUNO award for World Music Album of the Year in 2013 with Tribute to Miriam Makeba, Lorraine and her co-producer Mongezi Ntaka (former lead guitarist with Lucky Dube) wanted to take their time in choosing material for her next project. For Lorraine Klaasen, it was important to make sure the songs on her new album, Nouvelle Journée, communicated the importance of family, social responsibility, and, as the album title says, the joys of a new day. Known as a melting pot of cultural diversity (not to mention one of Nelson Mandela’s favorite singers) she has done just that.

Born in South Africa, Klaasen has never been shy about paying homage to her many influences, among them her mother, Thandie Klaasen, a highly respected jazz singer. Fortunately for anyone who has ever heard her sing, Lorraine was able to launch her career at a young age due to all the traveling she did with her mother. Accompanying her to performances all over South Africa, Lorraine learned the ropes early. After touring Europe, she eventually made her way to Canada, settling in Montreal. A foray in to musical theatre, a JUNO and three albums later, Lorraine was ready to revisit the infectious, upbeat style of Township music on Nouvelle Journée. Lorraine sings in Tsonga, Sotho, isiZulu and Xhosa languages of South Africa, English and French, with a joy that comes across on first listen.

“This new release is a reflection of where my life is at this point in time. I got inspired to record this CD when I decided to make some changes in my life, which included spending more time with my ailing mother in South Africa. It’s almost like a new beginning for me, as I chose to make sacrifices to get to where I wanted to be. It was important for me to discover more about my beautiful country and reconnect with family, friends and my culture.”

Heading in to the Studio with co-producer Ntaka, recording began at Studio 451 in Montreal in November 2015, with mixing and mastering taking place in the beginning of 2016. Lorraine wanted a calm and relaxed environment for pre-production so she could create the right ‘Township music feel’ that was so important to her. By the time she stepped in to the Studio, she was more than ready. “The recording sessions for this new CD were very calm, but efficient. I always made sure that laughter stayed contagious while we were recording.” The musicians on this project were also a very integral part of the process, even though not all of them were South African. Says Lorraine, “Noel Mpiaza, the drummer, is from the Congo in Central Africa, but he understands the Township music feel very well. Cédric Dind-Lavoie, the upright bass player, laid down some of the most exciting grooves even though this was his first encounter with Township music. Medad Ernest, the keyboard player, was a perfect fit for my recording because he has a good background of Haitian music, which is rooted in African music. And Assane Seck, the second guitarist, who contributed his West and Southern African cross cultural guitar riffs.”

All ten tracks on Nouvelle Journée have special meaning to Lorraine, who wanted to make sure the songs represented her current journey. Title track “Nouvelle Journée” is about being able to start fresh without any regrets or bitterness from past failures, while the gorgeous, piano driven “Polokwane” talks about home, and how your place of birth holds a special place in your heart.  The funky, 70s sounding “Make It Right” speaks to being part of a solution to problems that affects others rather than turning away, and the buoyant “Ke Tsepile Bafatsi” is a song about having faith in one’s own abilities by staying positive, drawing inspiration from people who have come before you.

Of course, Lorraine, a born performer, is planning to take the songs from Nouvelle Journée on the road, with a month long US tour starting in mid-October. She can’t wait to share these new tracks with her audience. “Nouvelle Journée is where I’ve always belonged: music from my culture, words that represent my thoughts and a sound that’s all my own. This release fits in perfectly with my previous albums as it is true Township. Come see my show – I’ll make you laugh, I’ll make you cry and I will definitely make you dance!”

JC4: Can You Believe It? featuring JC Sanford - trombone, Mike Baggetta - guitar, Dave Ambrosio - bass, and Russ Meissner - drums

Let's start by acknowledging the elephant in the room. JC Sanford - the go-to music conductor for the forward-looking bands of John Hollenbeck, Joel Harrison, Alan Ferber and others, including the legendary Alice Coltrane - has been overlooked as a trombonist.

This is partly JC's own doing. For the past decade and more, when not conducting someone else's band, JC has spent much of his energies writing and arranging for his own equally forward-looking large ensembles: first in conjunction with David Schumacher (Edge of the Mind, 2009), then on his own (Views from the Inside, 2014). He wrote and performed and conducted a luminous score to accompany all 143 minutes of the original 1927 silent classic Ben-Hur for the Syracuse International Film Festival. (Forest Hills, heard on Can You Believe It?), became Ben-Hur's theme for that score.) JC also was busy curating "Size Matters," the weekly, much-heralded, cleverly-titled large ensemble series at the Tea Lounge in his Brooklyn neighborhood of Park Slope.

And yes: intuitively as well as trivially, size does matter. But it's not everything that matters. We can agree that sound matters, too, and we can then hone in on JC's trombone tone. It's one I find I crave even as I'm listening to it, like relishing a friend's voice you haven't heard in years. It's not the effortless sound of a JJ Johnson; not the frictionless tone of JC's mentor, the great valve trombonist Bob Brookmeyer; but also not the extroverted, rough-edged sonority of a Ray Anderson or Craig Harris. JC's tone suggests the human voice in all its expressive texture, occupying about the same conversational range as the voice of this thoughtful, vegan, animal-loving adult male. There's breath in it, not breathlessness.  It's a sound reflective of the understated Upper Midwest ethos of his youth, seasoned with the aesthetic smarts of a Boston-trained city-dweller repelled by all sorts of showboating BS. When JC solos - as you may have heard on Andrew Green's Narrow Margin (2008) or on Views from the Inside - you hear a sound that is (weirdly) distinctive yet familiar, exploratory yet grounded like home.

Aristotle, that ancient student of jazz interaction, notes that the best friendships (like the best bands) are rare because they take time, and men can't know each other "till they have 'eaten salt together'." You can hear that these four musicians have eaten salt together. (Also dim sum; ask David for the best spots in Queens.) Russ Meissner was drumming back in '03 for JC and John McNeil's retro-radical My Band Foot Foot, a group that pays quirky homage to The Shaggs. He and bassist David Ambrosio have recorded as co-leaders for the SteepleChase LookOut series; as JC puts it, their "hookup is so nice." David goes back even further with JC. He plays with a striking authority and solos with a gymnast's controlled intensity, often revealing - as in Ja-chan on Patrol - elastic strands hidden in the melody. Guitarist extraordinaire Mike Baggetta and JC met up in "a series of these weird fancy men's barbershop gigs near Wall Street." They graduated (for less pay) to this distinctly non-barbershop quartet, where Mike "helped give the group a certain dirty personality that I liked." What he does on DumPac? The dirt shines through.

  

All the tunes, save one, are JC's: Can You Believe It? captures the scrappy fortitude of JC's beloved 2004 Boston Red Sox team and their astonishing come-from-behind World Series victory. That's BoSox announcer Joe Castiglione opening the proceedings, after which Mike's distorted guitar enters as if on steroids. (Here's looking at you, Manny Ramirez and David Ortiz?) The shifting meter will throw you off like a good slider.

The lovely line of Forest Hills dates from JC's New England Conservatory days. It recalls his peaceful walks in that Boston cemetery with his dog Pepper, who liked to pause and sniff the redolent air.

DumPac is all about that 7/4 drum groove that Russ sets down. Sometimes it's accentuated by its melodic surroundings, but elsewhere - as in the opening of JC's brilliant solo - it seems to hover stealthily in the background.

Ja-chan on Patrol is a stop-and-start, melodramatic tale whose hero is Jazu, JC's mouse-stalking cat. The slide-guitar textures at the end of Mike Baggetta's solo make me think some poor creature's lost her footing, scrabbling across the linoleum.

"Yamete" is one of the first Japanese words JC learned from his wife (the composer/arranger/pianist Asuka Kakitani) since she used it so often while they were dating. David spells out the title with a 3-beat riff after his exploratory solo. Then it's as if JC's trombone noodles around for a translation (or maybe feigns cluelessness) until the insistent 2-beat drum riff teaches him the English equivalent. ("Stop It!")

Easy for You, John Scofield's backcountry line from his 90s album What We Do, gets a stunning rubato treatment from all involved. Try to close your mouth as Mike's guitar weaves echoes of Jim Hall and Chet Atkins together without skipping a thread.

Chico's First Date is JC's tribute to the late Chico O'Farrill. The band approaches this tuneful, Latin-dance feel, AABA structure without a whiff of irony, but you still know that the mystery implied by those minor-key outer sections won't last long. JC's soaring trombone on the major-key bridge - especially on his solo and in the outro - is all jollification and merry-making.  All in all, sounds like a good first date.

Sanford studied at the University of Northern Iowa and the New England Conservatory where he earned a D.M.A. in Jazz Studies. After relocating to New York in 2000, he became involved with the BMI Jazz Composers Workshop under the direction of Manny Albam and Jim McNeely and remained trombonist/contractor of the BMI/New York Jazz Orchestra until 2016. He has also appeared as a trombonist on recordings with such diverse bands as Andrew Green's Narrow Margin, the Andrew Rathbun Large Ensemble, Nathan Parker Smith's jazz/prog rock big band, and Joseph C. Phillips, Jr.'s new music/jazz hybrid orchestra Numinous. His orchestra's album Views from the Inside received worldwide acclaim as well as a coveted recording grant from the Aaron Copland Foundation. In addition to JC4, he's leads the improvisational trio Triocracy featuring saxophonists Chris Bacas and Andy Laster whose new album That's All There Is is due to be released in 2017.

NEW RELEASES: PAUL TAYLOR – COUNTDOWN; MIKE LEDONNE & THE GROOVER QUARTET – THAT FEELIN’; DEANA MARTIN – SWING STREET

PAUL TAYLOR – COUNTDOWN

In the 19 years since Paul Taylor first got On The Horn with his hit debut album, he s enjoyed an extraordinary journey in the contemporary urban jazz world. From the start of his recording career, Taylor has created his ever cool deeply soulful and rhythmic trip-hop influenced sound by working with some of urban jazz and R&B s top producers, including Rex Rideout, Barry J. Eastmond and The Heavyweights. But one of the most important architects of the saxman s core flow has been Dino Esposito, who helped Taylor establish his vibe with On The Horn and Pleasure Seeker, and has played a powerful role in the saxophonist s evolution by helming tracks on his subsequent recordings Undercover , Hypnotic, Nightlife, Prime Time and Tenacity. Countdown marks the return of Dino Esposito who for the second album in a row is the sole producer. I m always trying to grow as an artist, so there were ideas going all the time as we developed these tracks, he adds. I definitely have an established sound, so the key was having an open mind and being honest when we hit on a certain vibe, groove or lick I had done before and taking the tune in another direction , says Taylor. Countdown also finds Paul working with guest artist Peter White. Taylor s mix of funk and sensuality were a natural fit for the emerging urban jazz genre, and he soon became one of its core artists.

MIKE LEDONNE & THE GROOVER QUARTET – THAT FEELIN’

There's a real sense of collaborative joy in the image on the cover here – and that vibe really comes through in the energy of the Groover Quartet of organist Mike LeDonne – a fantastic combo that brings together the tenor of Eric Alexander, guitar of Peter Bernstein, and drums of Joe Farnsworth – plus some guest work on alto from Vincent Herring on a few tracks too! Alexander cut his teeth in the group of Charles Earland on Chicago, and he's really on fire here next to Mike's soaring work on the B-3 – in a flurry of soulful sounds that are further embellished by the great sense of tone that Bernstein brings to his guitar – driven forward by LeDonne's basswork on the Hammond, and the always rock-solid drums of Farnsworth. Titles include "Sweet Papa Lou", "That Feeling", "La La Means I Love You", "I'd Never Change A Thing About You", "At Last", and "This Will Be An Everlasting Love". ~ Dusty Groove

DEANA MARTIN – SWING STREET

"Swing Street” is one of the finest in Deana’s canon of work. Each album sees this artist grow … take more risks … and spread her wings. There are 15 swingin’ songs on "Swing Street” packed with all the diversity and elegance you would expect from a woman who is passionate about her music. Deana challenges herself with each project and "Swing Street” certainly proves that. In this collection, she once again gathers her A-list of session players, arrangers, composers, conductors, and engineers ... the ones who live and breathe this music, and she hands them 15 gems to wrap themselves around. ”Swing Street” is a sophisticated collection of superb performances. And, while it might not be her motivation, it sure feels like her proud Pop is giving her his inimitable smile and saying, "Ya did good, Kid. Let ‘em have it.” Includes: 52nd & Broadway; I've Been Around; Spooky; Hearing Ella Sing; That's Life; Bye Bye Blackbird; New York State of Mind; Good Things Grow; I Know What You Are; Quando, Quando, Quando; Strangers in the Night; Bellissima; Georgia on My Mind; Tennessee Whiskey; and Who's Got the Action.

NEW RELEASES: KHARI CABRAL & JIVA – HEAVEN & EARTH; ORRIN EVANS - #knowingishalfthebattle; MIGUEL ATWOOD-FERGUSON & OTHERS - MIGUEL ATWOOD-FERGUSON’S CONTRIBUTION WORKS

KHARI CABRAL & JIVA – HEAVEN & EARTH

Fantastic work from everyone involved – and a great reminder of why we first fell in love with the sound of the Atlanta scene years ago! At a time when so much underground soul only goes digital, or stays underground too deep, it's great to get a record like this from such wonderful artists – fully-formed, masterfully mature, and still very much at the forefront of the sorts of sounds they helped introduce many years back! There's a collaborative warmth here that comes through from the very first moment – not just in the way that Khari Cabral can set up a groove, then step aside to let everyone flow through it – but also in the beautiful vocal interplay from a range of different singers – including Brenda Nicole Moorer, Chanda Leigh, Paige Lackey Martin, and the great Julie Dexter. Righteous, positive, uplifting, and inspirational soul – on titles that include "Heaven & Earth", "Arc Of Horizon", "Mantra 3", "Listen To The People", "Gemineyes", "More To Do", "78 & Sunset", "Next To You Next To Me", and "Samara Smiles". ~ Dusty Groove

ORRIN EVANS - #knowingishalfthebattle

The first track here almost made us think we had the wrong record in the sound system – as it's a creative electronic piece that introduces the straighter jazz numbers – but that sonic surprise is just another great reminder of the ever-growing range of expression we've come to experience from pianist Orrin Evans! Evans has always been great, but in recent years he really seems to have expanded his musical idiom – and here, he's working with an unusual group that features two guitarists – Kurt Rosenwinkel and Kevin Eubanks – who don't play on every track, or together at once, but who create these chromatic elements that are beautiful alongside Orrin's more angular piano lines! The core trio has Evans on both acoustic and Fender Rhodes, with Luques Curtis on bass and Mark Whitfield on drums – and as the tracks move on, they draw contributions from both guitarists, plus saxophonist Caleb Curtis, and singer M'Balia – whose performances include a fantastic version of the David Bowie tune "Kooks", and "That's All". Other tracks include "Calls", "When Jen Came In", "Chiara", "You Don't Need A License To Drive", "Half The Battle", and "Doc's Holiday". ~ Dusty Groove

MIGUEL ATWOOD-FERGUSON & OTHERS - MIGUEL ATWOOD-FERGUSON’S CONTRIBUTION WORKS

A wonderful collection of work that features from Miguel Atwood-Ferguson – an artist you might know from his music on a variety of projects from spiritual jazz maestro Carlos Nino – and one who continues that collaborative spirit here with a surprising range of different artists! Miguel has a great talent for bringing in subtle touches that can add a good degree of sophistication to a tune – especially use of string instruments, used in ways that often seem to echo the way that strings were used on the spiritual jazz scene of the early 70s, particularly on Impulse Records – but in modes that are much more contemporary overall. We've always loved Atwood-Ferguson's music, but were also surprised to discover a few tracks here we didn't know already – and titles include "Weather Any Storm" by Mocky, "Twelve O'Clock Shadow" by Flako, "All Yours" by Artyom Maknukyan, "Sun (edit)" by Nabowa, "Rose Heiress" by Miguel Atwood-Ferguson, "Mowa" by Dexter Story, "African Sun" by Nick Rosen, "Sounds Like Love (Carlos Nino & Miguel Atwood-Ferguson's in space rmx)" by Illa J, and "Sketch For Miguel" by Mark De Clive-Lowe.~ Dusty Groove

NEW RELEASES: GEORGE CABLES – GEORGE CABLES SONGBOOK; PLUNKY & ONENESS – JUJU JAZZ FUNK; BOBBY HEBB – SUNNY

GEORGE CABLES – GEORGE CABLES SONGBOOK

George Cables looks incredibly young on the cover of this album – and his music sounds quite young, too – as if we've just discovered the pianist as a new player, with a sense of surprise that wins us all over again! The core trio on the record is great enough – with Essiet Essiet on bass and Victor Lewis on drums – a combo that help Cables hit this wonderful flow on part of the set – but then things really open up once other artists join in – including Craig Handy, who blows tenor or flute on four tracks – and the fantastic singer Sarah Elizabeth Charles, whose performances on six of the album's tracks almost remind us of the magic that Carmen Lundy brought to music with her brother Curtis! Charles is a fantastic singer, and her work on George's tunes here just brings in a whole new dimension to his music – the kind of collaborative association that makes jazz such a wonderful art form in the first place. Titles include "The Dark The Light", "Traveling Lady", "Baby Steps", "Think On Me", "Face The Consequences", "The Mystery Of Monifa Brown", and "For Honey Lulu". ~ Dusty Groove

PLUNKY & ONENESS – JUJU JAZZ FUNK

One of the best records we've heard from reedman Plunky in years – a set that really takes us back to the late 70s groove of his Oneness Of Juju ensemble! As with that period for the group, the style here is a hybrid of jazz, funk, and soul – with occasional touches of some of the deeper percussion they brought to their earliest spiritual jazz material, but with a much more soul-based delivery overall! Plunky sings and plays saxophone – and the group's also got some strong vocals from two female singers, too – who really open up the more righteous currents in the lyrics. The sound is definitely contemporary, but the approach is strongly rooted in the long legacy of Plunky's music – and titles include "Nu Juju Drum Song", "One Love One Us", "Seize The Time", "Move Forward", "Wisdom Peace & Love", "Afro Future Dialogues", and a great remake of "Plastic Is Easy To See Through". ~ Dusty Groove

BOBBY HEBB – SUNNY

Sublime pop soul genius from Bobby Hebb – a standout record that really made his career, and a dusty nugget we never tire of hearing! Bobby was really unique at the time – singing a mixture of soul and pop that kept things real while still crossing over big – earning him an equal audience on both sides of the charts. Part of the credit for the album goes to producer Jerry Ross and arranger Joe Renzetti – who work here in a careful, almost gentle approach to pop – one that's never overblown, and which really lets Bobby's vocals step out front on the title hit "Sunny", plus other tunes that include "Crazy Baby", "I Am Your Man", "Where Are You", "Yes Or No Or Maybe Not", and "Love Love Love". (Heavy vinyl 50th anniversary pressing – with bonus booklet too!) ~ Dusty Groove

The Girshevich Trio releases debut recording Algorithmic Society; featuring 12-year-old drummer Aleks Girshevich with legendary bassist Eddie Gomez and veteran pianist Vlad Girshevich

"Pianist/composer Vlad Girshevich is a thrilling and adventurous talent." - Bass Players United

"Folks on the Colorado music scene have been talking for years about the tremendously talented drummer Aleks Girshevich, who was born in 2001." - All About Jazz

Algorithmic Society, the debut recording from the Gershevich Trio, brings together three generations of musicians: 12-year-old drum prodigy Aleks Girshevich, his father veteran pianist Vlad Girshevich and legendary bassist Eddie Gomez.  Their mutual respect shines through on this album of originals written by the father and son team with Aleks creating the grooves and Vlad penning the melodies.

Aleks was greatly inspired by the Grammy winning Cuban percussionist Horacio "el Negro" Hernandez. The tunes incorporate influences of great composers from the history of music while also integrating more modern ideas.

The music is augmented by a string section on several tracks and on Healing the Chaos, Rony Barrak plays Darbouka, Rig and Dal adding a Middle Eastern flair.

A classically trained pianist from Uzbekistan, Vlad Girshevich began his training at the age of 4 years old. He became interested in jazz as a teenager and never looked back. He moved to Colorado in the early 90's and has performed with a wide range of jazz greats: Bob Berg, Stanley Jordan, Ernie Watts and, while at the Thelonious Monk Institute at Jazz Aspen/Snowmass, he performed with Jerry Gonzales, Arturo Sandoval, and the legendary drummer Horacio "el Negro" Hernandez.  He has performed at numerous jazz festivals including the Rostov Jazz Festival, Santa Fe Jazz Festival, Vail Jazz Festival, and the Windham Chamber Festival among others. His son Aleks joined his trio when he was only 10 years old.

Aleks Girshevich released his first trio CD at age 11 entitled Tomorrow which received "a first rate 5 star release" from Critical Jazz and 4 stars from All About Jazz. He was named one of the Best Student Musicians of 2015 in DownBeat Student Music Awards in the category of "Jazz Soloist - Drums."

http://vladgirshevich.com/

International jazz guitarist Marc Antoine returns to health and California with a diverse outing at “Laguna Beach” with friends

The four-year gap between albums for global guitarist Marc Antoine was spent fighting for his life and career as well as moving his family from their longtime home in Spain to the Southern California coast. Having conquered two major health challenges – one life-threatening and one career-threatening – and resettled into the placid enclave of Laguna Beach, the Paris-born, classically-trained hit-maker resumes his recording career Friday with the release of his Woodward Avenue Records debut, “Laguna Beach.” The title cut, which preceded the celebratory set of Antoine’s signature classical acoustic and nylon-string guitar melodies, quixotic gypsy jazz forays, brassy funk grooves and sultry Latin, Brazilian and Cuban rhythms, is already No. 5 on the Billboard songs chart, offering a last gasp of summer.

His thirteenth album, Antoine produced “Laguna Beach,” wrote eight of the nine songs and called upon some of his accomplished friends to collaborate with him, something he couldn’t do easily when he lived abroad for twelve years.  

           

“When you live near LA, you can call anyone to come and work with you. Once I built my new studio over here, fired it up and began working on new material, I knew I just had to make a few phone calls to get the right guys to play on it,” said Antoine, who reached out to soloists Philippe Saisse (keyboards), Rick Braun (trumpet), Greg Vail (saxes), Armand Sabal-Lecco (bass), Tim Welvaars (harmonica) and two-time Grammy winner Paul Brown (electric guitar), who mixed the album. Anchoring the tracks were drummer Gorden Campbell, upright bassist Roberto Vally, keyboardist Marco Basci, and percussionists Gumbi Ortiz and Richie Gajate Garcia.

Incorporating an interesting variety of sounds, tapestries, moods and styles remains the guitar alchemist’s forte. Antoine’s compositions on “Laguna Beach” are enriched with his spirited sense of joy and gratitude after enduring major heart surgery in 2012 to repair an incapacitating atrial fibrillation problem only to be followed by hand surgery two years later to relieve the crippling pain and permanent nerve damage he endured while playing the guitar that locked the fingers on his left hand in odd positions.

After “pretty much hitting rock bottom” in 2014, Antoine and his wife, Rebeca, decided to make the move back to California where they resided prior to Spain. It turns out playing the guitar is ideal physical therapy, enabling Antoine to work through the scar tissue in his hand.

“I remember vividly what a hand therapist from LA told me, that the only way to fix this is to change my ways,” Antoine recalled. “I have a deep relationship with my guitar. It's a little bit like a marriage: if you don't put effort into it, there is no life in it. So playing, and most importantly, playing with joy, love and respect is the key. I am so grateful for what is going on in my life right now and I am back enjoying my instrument, which fixes all problems. It is for real: life through guitar therapy.”

Rejuvenated, re-inspired and restored to full health, Antoine anticipates a busy concert itinerary of festival, theater and club dates to support the album release across the U.S. where he has been a popular entertainer ever since he toured globally with Basia in 1988. He’s also shared the stage with superstars Sting, Queen Latifah and Selena prior to launching his solo career with the album “Classical Soul,” which spawned the first of a library of radio hits that have made Antoine one of the mainstays at contemporary/smooth jazz radio since 1994. He’s played in pop, rock, jazz, world music, hip-hop and acid jazz settings, each of which have informed his multicultural sonicscapes and furthered his international appeal.  For more information, please visit www.MarcAntoine.com.

Antoine’s “Laguna Beach” album contains the following songs:

“Why Not”

“This and That”

“Laguna Beach”

“Deixa”

“Minority”

“Romantico”

“High Five”

“New Morning”

“Twice Upon a Time”

"Richie Cole Plays Ballads & Love Songs," The Alto Saxophonist's First Ballad Album in His 45-Year Career

Richie Cole Plays Ballads & Love Songs Setting down roots in Pittsburgh two years ago has borne fruit for alto saxophonist Richie Cole in the form of his beautiful new album, Richie Cole Plays Ballads & Love Songs. The CD, his first all-ballads album, will be released on his Richie Cole Presents imprint on October 21.

"I don't play the saxophone, I sing the saxophone," Cole says. "It's all about telling a story. If you don't know the melody or the words -- which is true of a lot of musicians -- you can't tell the story."

Though Cole has probably been better known for his footloose "Alto Madness" bebop style, dating to his early-'70s association with vocalese master Eddie Jefferson, he's hardly been a stranger to ballads. Yet the new album came about entirely by chance.

CD producer (and bassist) Mark Perna booked studio time last September for Cole's Pittsburgh Alto Madness Orchestra. When the horn section picked up a big-money road gig at the last minute, Perna decided to use the time instead for a "fun blowing session for our archives."

At the end of the evening, Perna realized that 8 of the 11 songs cut that night were ballads, and all were first takes. It occurred to him that Cole had never released a proper ballads album before. "We decided to finish the album at our next session," he says. "Three more songs were recorded, the album was mixed and sequenced, and that was it."

Richie Cole Plays Ballads & Love Songs includes popular standards such as "Emily" (the name of his mother, who always asked him to perform it in his sets), "Bewitched, Bothered and Bewildered," and "Alfie," but also offbeat choices like "The Internationale," the Soviet national anthem; "That Sunday, That Summer," a minor early-'60s hit for Nat King Cole; and "Chances Are," a major hit in 1957 for crooner Johnny Mathis.

Deepening and intensifying his always distinctive vibrato, Cole takes ownership of the Mathis song, which was featured on Shorty Rogers's 1959 album, Chances Are It Swings, but few if any other major jazz releases.

Richie Cole "It tells a story and has a beautiful melody, one you can improvise on without going crazy," says Cole. "In the end, there's no real difference between playing and singing. Chet Baker sang exactly like he played. He could break your heart with those melodies. Jack Sheldon is another example of what I'm talking about. Satchmo, too."

Another quality that sets Richie Cole Plays Ballads & Love Songs apart is its intimate setting. Cole is accompanied by a cool and companionable Pittsburgh-based quartet comprised of the lyrical, light-fingered guitarist Eric Susoeff, who's worked with artists ranging from Dizzy Gillespie to Ivan Lins, and whose primary focus is his Latin jazz quintet Salsamba, founded in 1984; versatile drummer Vince Taglieri, whose extensive experience includes work with big bands, theater productions, r&b vocalists, and jazz artists such as Bobby Shew and Sean Jones; and bassist/producer Mark Perna, a veteran musician who's recorded six albums under his own leadership, plays trombone and bass in the improvisational klezmer band Klezlectic, and has worked with Don Aliquo, Emily Remler, and Ron Affif, among many others.

A native of Trenton, New Jersey, 68-year-old Richie Cole has lived at various times in San Francisco, Los Angeles, and Las Vegas and also spent time in Chicago and San Antonio. In 2014, following a divorce, he moved to Pittsburgh at the behest of his daughter Annie, who lives there with her husband and children.

"I always liked this town," he says of the city that claims Billy Strayhorn, Art Blakey, Stanley Turrentine, Ahmad Jamal -- and Eddie Jefferson -- among its native sons. Mark Perna was instrumental in getting him on various local gigs, and in getting area musicians to participate in the rehearsal bands Cole put together between tours and recording dates. As Cole's original composition, "I Have a Home in Pittsburgh," suggests, things have worked out exceptionally well for him in the home of the Steelers, the Pirates -- and a strong jazz scene in which he's now a full participant.

CD release shows by Richie Cole Quartet & Richie Cole's Pittsburgh Alto Madness Orchestra:

10/15 Quartet on the Saturday Light Brigade, http://slbradio.org, 11am-12 noon ET

10/30 Orchestra at Village Tavern & Trattoria, Pittsburgh, PA

11/4 Quartet at Press Bistro, Johnstown, PA

11/17 Orchestra at Westmoreland Jazz Society, Greensburg, PA

12/2 Orchestra at James St. Gastropub, Pittsburgh, PA

Jazz Guitar Icon Larry Coryell To Release New Studio Album “Barefoot Man: Sanpaku”

Much to the excitement of music aficionados worldwide, Jazz guitar icon Larry Coryell, one of the most respected and celebrated guitarists of his generation, offers a brand new album of seven original compositions titled “Barefoot Man: Sanpaku”!

Says Larry, “I was inspired by John Lappen's suggestion that I do a recording similar to one that I did in the 70's that had a lot of energy. Using that as a template I carved out several compositions that I felt would be appropriate. The result was better than I expected; I had a great rhythm section in John Lee and Lee Pierson, and the soloists from Florida, Lynne Arriale and Dan Jordan, played on a world class level. Michael Franklin's production was hands off except for a few relevant suggestions that really helped round out the project.”

In addition to Coryell's signature guitar playing, this album features the talents of award-winning pianist Lynne Arriale, longtime Coryell collaborator John Lee on bass, Dan Jordan on saxophone and flute, and drummer Lee Pierson!  Release date October 14, 2016 – Purple Pyramid Records

Track List:

1. Sanpaku

2. Back To Russia

3. If Miles Were Here

4. Improv On 97

5. Penultimate

6. Manteca

7. Blue Your Mind

Catch Larry Coryell LIVE

Delray Beach, FL - Oct 14

Middletown, NY - Oct 22

Birdland Jazz Club (Germany) - Oct 28

Cork Jazz Festival (Ireland) - Oct 30

Deidesheim (Germany) - Oct 31

Ra Ra Room (London) - Nov 1

JJ Smyth’s (Ireland) - Nov 3

Jazz Showcase (Chicago) - Nov 17-20

The Birdcage (Australia) - Dec 13

Urban Jazz Flutist Kim Scott Brings The Fire On Debut For Innervision Records Titled "Southern Heat"

Perfectly in line with the title of her explosive and eclectic third full length release Southern Heat debuting on Innervision Records, Kim Scott's latest hit, the edgy, brass and funk fired "Sizzle" – featuring the dynamic trumpet of co-writer Lin Rountree – has become a self-fulfilling prophecy, as the lead single from Southern Heat was also a Top 20 hit on the National Smooth Jazz Airplay Chart.

Well known for her unique, hauntingly beautiful tone, Kim amps things up considerably on the new collection, which – like her last CD Rite of Passage – was produced by Kelvin Wooten, whose credits include contemporary R&B greats Anthony Hamilton, Jill Scott, Mary J. Blige and Chrisette Michele.

Southern Heat includes wild, infectious re-imaginings of R&B classics like MJ's "Billie Jean" and Lakeside's otherworldly "Fantastic Voyage," and a fiery Latin jam of Martha Munizzi's gospel hit "Glorious." It also features a batch of soulful, inspiring originals (all co-penned by Kim) that showcase her virtuosity as a flutist and increasing presence as a lead vocalist. Among these are the elegant, spiritual minded ballad "Forgiveness," the exotic, deep bass slow-jam "Two Become One" and the trippy and edgy trance-soul tune "What You STANK About This?" The set closes with a "Stank Remix" of that last song called "Groove With Me" that comes alive with Stephen Strickland's rap and instruction on some new hip-hop dance steps created by Kim.

"My previous albums were chock full of me playing melodies, which was cool – but here my goal was to do a hot album with a mix of uplifting originals and cover tunes people would dance to," says Kim, who released her debut album Crossing Over in 2011 and Rite of Passage in 2013. "As an artist, I love to make a deep connection with people whether they're seeing me live in performance or listening to my recordings. I want listeners to be inspired by what they hear and I want to move them to tears, to laughter, into joy and give them something to remember. For me, making and performing music is a very heart-felt action and it truly comes from my soul. This album reflects all of these things and shows the more spirited side of my personality, the one that likes to dance and sing! I titled it 'Southern Heat' because I am a bit of a southern belle, but I've got a fire lit that forces me to showcase the flute and all of its capabilities in the jazz world! This album brings that fire and charm to life through music."

Kim designed the new project to be different from her first two, starting with the feeling of her playing with no inhibitions whatsoever. "Listeners will find that I'm singing more and delving into more of a fusion of jazz, soul, pop and Rhythm & Blues. It's truly a feel good album with a lot of up-tempo numbers and I believe the growth and evolution of my 'voice' is evident as Kelvin challenged me to just be me and do it without apologies. With my first two projects, I was getting my feet wet and tried to see just where I fit as a classically trained flutist now playing smooth jazz. It dawned on me that I don't have to 'fit' a particular music model/style. I just have to be me and make music that I love because in turn that will speak my truth and pierce the ears and hearts of my listeners."

Website:http://www.kimscottmusic.com/

Facebook: http://www.facebook.com/KimScottMusic

                   

NEW RELEASES: SYREETA – THE RITA WRIGHT YEARS: RARE MOTOWN 1967 TO 1970; JIMI HENDRIX – MACHINE GUN: THE FILLMORE EAST 12/31/1969 FIRST SHOW; BEBO BEST & THE SUPER LOUNGE ORCHESTRA – JAZZ MAMBA

SYREETA – THE RITA WRIGHT YEARS: RARE MOTOWN 1967 TO 1970

Rare early material from one of the hippest singers on 70s Motown – the heavenly Syreeta, best known for her seminal work with Stevie Wonder – heard here in the years before, on a rare single and a huge amount of never-issued tracks! Syreeta first worked for Motown under the name of Rita Wright – but apart from a 1967 single on Gordy, and a handful of compilation tracks in recent years, almost all her work for the label at the time appears here for the first time ever – a massive 18 of the collection's total 24 tracks – offering up a huge look at the early days of this wonderful talent! Even at the start, Syreeta's got a style that's hipper than most – righteous currents that point the way towards the 70s, and set her apart from some of the other female singers on the label – with a vibe that's completely sublime. We're really not sure why these cuts have been hidden for so long – because on any other label, they'd be hit material – especially given that production his handled by giants like Hal Davis, Stevie Wonder, Ashford & Simpson, and the Holland-Dozier-Holland team. One of the coolest sets of female soul you'll buy in a long, long time – with titles that include "Bad Boy", "Ain't I Gonna Win Your Love", "Beware Of A Stranger", "Love Child", "Since You Came Back", "Mind Body & Soul", "May His Love Shine Forever", "Something On My Mind", "That's What He Told Me", "It Don't Mean Nothin To Me", "Give Back The Good Things", "Can You Feel It Babe", "Save The Country", "Hurtin Me", "Love My Lovin Man", and "Where There's A Will There's A Way". ~ Dusty Groove

JIMI HENDRIX – MACHINE GUN: THE FILLMORE EAST 12/31/1969 FIRST SHOW

One of the great examples of why the revised presentation of the Jimi Hendrix legacy is such a great thing – as this legendary New Year's show from 1969 is finally restored to its full order, with a resulting 9 never-released songs thrown into the mix as well! There's a clarity to the music that's wonderful – a bold statement from Jimi's Band Of Gypsies trio – with Billy Cox on bass and Buddy Miles on drums – a group that's arguably more funky than the Experience, and which seems to have Hendrix riffing at an even sharper level too. There's a bit less freewheeling fuzz than on previous live Jimi dates – and titles include "Changes", "Hear My Train A Comin", "Lover Man", "Power Of Soul", "Machine Gun", "Bleeding Heart", "Ezy Rider", and "Earth Blues". ~ Dusty Groove

BEBO BEST & THE SUPER LOUNGE ORCHESTRA – JAZZ MAMBA

With Bebo Best & the Super Lounge Orchestra‘s new album “JazzMamba“ the music is as sophisticated as it is great fun. Bossa nu-funk meets jazz and soul, enriched this time by a dance house touch. The sound of the band’s successful 2nd album “D’Jazzonga” is back! Bebo Best & S.L.O. know how to work tight riffs and melodies that are groovy, warm and deep. The album is full of references to latin-swing music, like in title track “JazzMamba”, a retro ’60′ feel, as in the “Heroes” cover. They do not lack elements of jazz, as in “Blues Vibe“, dedicated to Brenda Boykin, whom Bebo produced in previous album “All the time in the world” featuring James Taylor on Hammond organ. ”Ocean 14“, well that could come straight from a Soderbergh film, and slow “The Cuban Jazz Song” has the influence of Cuban, African and Nu-Jazz music. “JazzMamba” is a latin jazz funk workout that is proudly retro and vibrantly soul-house alive, thanks to the new collaboration with the Top Charts producer P. Visnadi (who was on the UK, US, AUSTRALIA top ten with projects like Livin’ Joy, Alex Party), and with DJ Robert Passera, who has had huge success with “I Was A Yeye Girl“, by Doing Time.Rather than faking it with pseudo-funky or just half-sampled computerized beats, Bebo Best & S.L.O. play drums, bass, Hammond, sax, trumpet and electric guitar serves up rich, authentic rhythms and solos, and challenging anyone to hold the foot on the floor!

Azymuth Fênix European Tour

Azymuth are back! With Fênix, their first album in five years, the Brazilian mavericks have recreated the energy of those spellbinding seventies’ sessions which would launch them into international recognition and confirm their status as one of Brazil’s most successful bands. It's a ten-track journey through the full spectrum of Azymuth’s brilliantly coloured expressionist fusion, with all the cosmic energy and masterful musicianship you’d expect from the world's greatest three-man orchestra.

Since the passing of keyboard maestro Jose Roberto Bertrami in 2012, remaining members Ivan Conti (right) and Alex Malheiros (left) have worked tirelessly to keep the spirit of Azymuth alive, and to continue the legacy of Bertrami’s genius. But Fênix also marks a new era as the Azymuth trio is complete once again, by special guest keyboardist Kiko Continentino. A hugely talented pianist, composer and arranger, Kiko has worked with the likes of Milton Nascimento, Gilberto Gil and Djavan, and the fresh energy and inspiration he has brought to the group is undeniable. The album also features Brazilian percussion legend Robertinho Silva.

Fênix European Tour Dates 2016

Oct 28 - Sigurdsgarde, Copenhagen 

Oct 29 - Nefertiti, Gothenburg 

Nov 02 - Bix, Stuttgart 

Nov 03 - Domicil, Dortmund 

Nov 04 - Badehaus, Berlin 

Nov 05 - Kalif Storch, Erfurt 

Nov 06 - Stadtgarten, Cologne

Nov 09 - Jazzpodium, Dordrecht 

Nov 10 - Bird, Rotterdam

Nov 11 - North Sea Jazz, Amsterdam 

Nov 12 - Le Sucre, Lyon 

Nov 14 - Teatro del Gatto, Ascona 

Nov 15 - Bravo Caffè, Bologna 

Nov 18 - Hideaway, London 

Nov 19 - Hideaway, London 

Nov 21 - Bayerischer Hof, Munich 

Guitarist and Grammy-winning hit-maker Paul Brown follows his heart “Back” to his roots

Paul Brown has had the Midas touch since the early ‘90s when he began producing some of the biggest contemporary jazz hits and definitive chart-topping albums by the brightest urban-jazz stars in the galaxy, amassing more than 60 Billboard No. 1 singles. In the past twelve years, the guitarist stepped forward as an artist in his own right, consistently cranking out hits of his own. Although his formative recordings established the sound of the smoother side of contemporary jazz for more than two decades, Brown yearned to reconnect with his first musical passion: the blues. On Friday, Woodward Avenue Records issued his eighth solo collection, “One Way Back,” a self-produced ten-track outing on which he followed his heart back to his blues roots.  

“There was only one way back to my roots and that was to go down every road and embrace each one of them in order to find my way back to where I began,” said Brown, a two-time Grammy winner who wrote nine new tunes for the disc that was preceded by a reimagined take on Joe Sample’s party starter “Put It Where You Want It,” currently bulleted at No. 8 on the Billboard singles chart.

Bubbling under Brown’s clean and cool electric jazz guitar expressions throughout “One Way Back” are blues-powered keyboard and Hammond B3 organ blasts courtesy of the similarly-named Brother Paul Brown (no relation) and stacks of muscular horn section workouts from saxophonist Greg Vail and trumpeter-horn arranger Lee Thornberg. Having enjoyed a tremendous amount of success producing signature hits for saxophonists Boney James, Kirk Whalum, Euge Groove and Jessy J, Brown invited label mate saxman Darren Rahn to guest on “Sexy Thang.” Guitar fans will rejoice that four cuts – “Piccadilly Circus,” “River Walk,” “Take Flight” and “Rear View Mirror”- spotlight Brown trading stringed barbs with contemporary jazz guitar sensations Chris Standring, Marc Antoine, Peter White and Chuck Loeb respectively. Standring, Antoine and White stand apart using the voice of nylon guitars while Fourplay’s Loeb emotes deftly on jazz guitar. The session boasts a roof-raising gospel-jazz vocal from Don Bryant on the celebratory juke joint original “Well Alright.” Brown himself takes to the mic to croon the intimate “Heaven,” a poignant, heart-on-the-sleeve country-blues album closer spotlighting the artist’s character-rich voice.               

“’One Way Back’ is a journey thru my musical and life experiences. This album is a pure sense of expression and everything I’ve got to give,” said Brown before adding, “I’m a much better guitarist, producer and writer now than ever before.”

Born and raised in Los Angeles, Calif., initially Brown was a drummer before picking up the guitar. After learning his way around the recording studio, he became the engineer for R&B legends Diana Ross, Luther Vandross and Aretha Franklin. Moving over into the producer’s seat, Brown almost single-handedly architected the sound of smooth/contemporary jazz since the 1990s before delivering his solo debut in 2004, “Up Front.” From subsequent albums, three of which went Top 10, two singles -2005’s “Winelight” and 2007’s “The Rhythm Method” – were the most-played radio songs of their respective years. Concert performances around the world enabled him to refine and develop his guitar chops as well as cultivate his fan base far beyond the limiting confines of a recording studio. For more information, please visit www.PaulBrownJazz.com.

Brown’s “One Way Back” album contains the following songs:

“Put It Where You Want It”

“Sexy Thang” (featuring Darren Rahn)

“Hush”

“Piccadilly Circus” (featuring Chris Standring)

“River Walk” (featuring Marc Antoine)

“Well Alright” (featuring Don Bryant)

“Take Flight” (featuring Peter White)

“One Way Back”

“Rear View Mirror” (featuring Chuck Loeb)

“Heaven”  

Herb Alpert Returns With Electronic And Dance-Infused 'Human Nature' - Brand New Collection Of Original Works + Classics Reimagined By The Iconic Musician

Herb Alpert's new album 'Human Nature' finds the iconic musician delving into dance grooves and elements of electronic music in a way he has never done before. The new album, his fourth new release in just three years, is out September 30 and features five original compositions and Herb's signature reimagining of classics like Michael Jackson's "Human Nature," Burt Bacharach's "Alfie" and "Don't Go Breaking My Heart," and Bacharach and Elvis Costello's "Look Up Again." Herb's legendary career includes five decades of unprecedented breakthroughs as an artist, record executive and philanthropist. In the past three years alone, he won his ninth GRAMMY for 2013's Steppin' Out and received the National Medal of Arts from President Obama.

Lead single and original track "Doodles" is propelled by a deep pocket groove and Herb's iconic phrasing, an earworm melody in his breathless style. "Human Nature," a Michael Jackson smash hit, gets a Latin tinge, the song stripped to its essentials to let the rhythm and melody shine. The album artwork, of a figure playing the trumpet, is an original sculpture that Herb crafted.

In September, Herb also re-released 24 classic albums from his illustrious career on CD with 4 titles to be released on LP. Each title has been remastered from the original analog tape mixes by GRAMMY-winning engineer Bernie Grundman, who was the original mastering engineer for many of these recordings. Several have been out of print for a number of years.

A 2006 Rock and Roll Hall of Fame inductee, Alpert's albums have sold over 72 million copies, and 29 of his records have reached the Billboard 200. Herb has also dedicated his life to philanthropy, funding music education programs across the country. Through his personal foundation, Herb has helped establish music programs at UCLA and the California Institute of Arts. Both schools have named their programs the Herb Alpert School of Music in his honor. Alpert has also established the Herb Alpert Scholarships for Emerging Young Artists, which help provide tuition to twenty young musicians each year.

TRACKLIST:

1. Human Nature

2. Shake It

3. Alfie

4. Thalia

5. Look Up Again

6. Incognito

7. Don't Go Breaking My Heart

8. Mystery Man

9. Doodles

TOUR:

Sept 4 - Santa Monica, CA - Moss Theater

Oct 14 - Madison, WI - Stoughton Opera House

Oct 15 - Glen Ellyn, IL - Mcaninch Center

Oct 16 - Milwaukee, WI - Pabst Theater

Nov 5 - Palm Desert, CA - McCallum Theater for the Performing Arts

http://herbalpert.com/

Seun Kuti - Son Of Afrobeat Legend Fela Kuti Releases New EP - Struggle Sounds Out Now Features Politically Charged Single "Gimme My Vote Back"

Seun Kuti (SHAY-OON KOO-TEE) releases his new 3-song EP Struggle Sounds on Sony Music Masterworks. Co-produced by Robert Glasper, the EP features the single "Gimme My Vote Back (C.P.C.D.)" where C.P.C.D. stands for Corporate Public Control Department.

The son of the late Nigerian Afrobeat legend, Fela Kuti, Seun recorded the EP with Egypt 80, his father's original band. Written by Seun, the three songs on the album "Struggle Sounds," "Gimme My Vote Back (C.P.C.D.)," and "African Dreams" have strong social and political messages – a theme that Seun weaves into all of this music.

"More than ever we are convinced of our mission and the purpose of our music," says Seun.  "The Struggle Sounds EP is a true reflection of my social and political beliefs. I give honor to my parents and every revolutionary who made this possible even before I was born."

This November, Seun Kuti & Egypt 80 will open on tour for Lauryn Hill. He will headline his own tour – details forthcoming.

Seun Kuti is the youngest son of legendary Afrobeat pioneer Fela Kuti. At the age of nine, Seun expressed the wish to sing to his father. A short while later Seun started performing with his father and the band, until his father's untimely death in 1997. Seun, then only 14-years-old, assumed the role as lead singer of Egypt 80.  Ever since, Seun has followed the political and social ethos of his father. Along the way, he began to add his own twist to the music, digging deep into various African traditions to reflect the continent's struggles and cultures.  About three-quarters of the current Egypt 80 line-up consists of musicians that not only played with Fela Kuti, but often were arrested and harassed alongside the founder of the Afrobeat movement. Seun Kuti has toured the world and previously released three albums. 

TOUR DATES

Nov 01 / Copley Symphony Hall / San Diego, CA 

Nov 03 / Bill Graham Civic Auditorium / San Francisco, CA

Nov 04 / Greek Theatre / Berkeley, CA

Nov 06 / McCaw Hall / Seattle, WA 

Nov 08 / Queen Elizabeth Theatre / Vancouver, Canada

Nov 10 / Keller Auditorium / Portland, OR 

Nov 12 / Foundry Hall / Las Vegas, NV 

Nov 13 / Comerica Theatre / Phoenix, AZ

Nov 27 / Moody Theatre / Austin, TX

Nov 29 / Aztec Theater / San Antonio, TX

Dec 01 / Saenger Theatre / New Orleans, LA

Dec 06 / Mahaffey Theater / St Petersburg, FL

Dec 08 / House of Blues / Orlando, FL

Dec 11 / The Ritz / Raleigh, NC

Dec 13 / Old National Centre - Murat Theatre / Indianapolis, IN

Dec 15 / Louisville Palace Theatre / Louisville, KY

Dec 18 / The Fillmore Silver Spring / Silver Spring, MD