Billy Porter's New Album - Billy Porter Presents The Soul Of Richard Rodgers features India.Aire, Ledisi, Leslie Odom

Tony and Grammy Award-Winner Billy Porter's new studio album, Billy Porter Presents The Soul of Richard Rodgers, will be released April 14, 2017 and is available for pre-order now, it was announced today by Bee & El and Sony Masterworks Broadway.  The album, which features new, soulful takes on classic Richard Rodgers songs, includes solos and duets from the following artists  (in addition to Porter himself):  Tony and Grammy Award winners Cynthia Erivo (The Color Purple), Renée Elise Goldsberry (Hamilton) and Leslie Odom Jr. (Hamilton), Tony Award-winner Patina Miller (Pippin), Grammy Award winners Pentatonix and India.Arie, Tony Award nominees Brandon Victor Dixon (Shuffle Along), Joshua Henry (Violet), and Christopher Jackson (Hamilton), alongside YouTube sensation and Kinky Boots star Todrick Hall and multiple Grammy Award nominees Deborah Cox and Ledisi.

The complete track listing for Billy Porter Presents The Soul of Richard Rodgers is as follows:

Oh, What a Beautiful Morning (Pentatonix & Billy Porter)

My Romance (Leslie Odom Jr.)

If I Loved You (Renée Elise Goldsberry & Christopher Jackson)  

With a Song in My Heart (Brandon Victor Dixon & Joshua Henry)  

I Have Dreamed (Patina Miller)  

My Funny Valentine (Cynthia Erivo)  

I'm Gonna Wash That Man Right Outta My Hair (Todrick Hall & Billy Porter)  

This Nearly was Mine (Deborah Cox) 

Bewitched (Ledisi featuring Zaire Park) 

Carefully Taught (India.Arie & Billy Porter) 

Lady is a Tramp (Billy Porter featuring Zaire Park) 

Edelweiss (Billy Porter) 

"I like to think of this as the Richard Rodgers version of the Hamilton Mixtapes," Porter said.  "These are classic songs that everybody knows and loves, and I'm so excited for people to hear them in a brand new way."

Billy Porter Presents The Soul of Richard Rodgers marks Porter's fourth studio album, and his first as producer and content curator, with collaborators James Sampliner and Michael "Lofey" Sandlofer.

In March, Porter launches a national tour that kicks off in Bayside, NY on March 19. Full tour schedule below.

March 19 – Queensborough PAC – Bayside, NY

March 29 – Embassy Theater – Fort Wayne, Indiana

March 31 – Ocean Reef Cultural Center – Key Largo, FL

April 2 – Aventura Arts – Aventura, FL

April 3 & 4 – Crest Theater – Delray Beach, FL

April 6 – Nugent-Custer Performance Hall – Columbus, IN

April 7 & 8 – The Columbia Club – Indianapolis, IN

April 21 – Adelphi – Garden City, NY

April 22 – Kean University – Union, NJ 

May 5 – Emelin Theater – Westchester, NY

May 14 – Venetian Room – San Francisco, CA

May 20 – Goodman Theatre Gala, Fairmont Hotel – Chicago, IL

June 17 – Playhouse Square Gala – Cleveland, Ohio

July 15 – Willow Valley Communities Cultural Center Theater – Lancaster, PA

August 14 – Bay Street Playhouse – Sag Harbor, NY

August 19 & 20 – Paramount Theater – Provincetown, MA

BILLY PORTER is a Tony® and Grammy® Award-winning singer, composer, actor, playwright and director from Pittsburgh, PA. As a recording artist, Porter's solo albums include his first CD, Untitled, on A&M records, At the Corner of Broadway + Soul – LIVE on Sh-K-Boom Records, and Billy's Back on Broadway, on Concord Records. He originated the role of 'Lola' in the Broadway hit Kinky Boots, which won him 2013 Tony, Grammy, Drama Desk and Outer Critics Circle Awards. Other theatre: Shuffle Along, Miss Saigon, Five Guys..., Grease, Smokey Joe's..., Dreamgirls, Angels in America, The Merchant of Venice, Radiant Baby, Birdie Blue, Songs for a New World, Ghetto Superstar (one-man show), Topdog/Underdog, King Lear. His play, While I Yet Live, premiered in 2015 at Primary Stages. As a director, his credits include Topdog/Underdog and The Colored Museum (both for Huntington Theatre Company); Film/TV: "Law & Order: SVU," "So You Think You Can Dance" (as a guest judge), "The Broken Hearts Club," "Shake Rattle & Roll," "The Big C," The Humbling, starring Al Pacino, Baz Luhrmann's The Get Down. Porter's concerts credits include opening act for Rosie O'Donnell and Aretha Franklin, Carnegie Hall, John McDaniel and the St. Louis Symphony Orchestra, as well as The Buffalo Philharmonic, Peter Nero and The Philly Pops, soloist for President Bill Clinton and various benefits throughout the United States.

BILLY PORTER

Website: https://billyporter.com/

Facebook: https://www.facebook.com/BillyPorterofficial/

Twitter: https://twitter.com/theebillyporter

Instagram: http://instagram.com/theebillyporter

NEW RELEASES: JUNIE - THE WESTBOUND YEARS; AKI TAKASE / DAVID MURRAY – CHERRY SAKURA; IZO FITZROY - SKYLINE

JUNIE - THE WESTBOUND YEARS

Walter "Junie" Morrison had the great honor of being a member of both of Westbound's biggest collectives (although not necessarily at the same time) – the hard funky Ohio Players, and the cosmic brotherhood of Funkadelic/Parliament. During the mid-70s, though, Junie embarked upon a solo career, and cut a few wild LPs for the label which mixed funk, soul, and even some strange rock-oriented leanings. The resulting recordings were some of the more messed-up that Westbound ever issued, with moments that are delightfully funky, and others that are downright silly. This sweet 20 track compilation brings together most of the best moments of Junie's Westbound Years, and includes cuts like "Johnny Carson Samba", "Walt's Third Trip", "Tight Rope", "Cookies Will Get You", "Super J", "Super Groupie", and the great "Granny's Funky Rolls Royce", featuring the Funky Granny from "Funky Worm"!  ~ Dusty Groove.

AKI TAKASE / DAVID MURRAY – CHERRY SAKURA

As much as we love reedman David Murray in a group, we almost love him even more in a spare setting – especially a duet album like this, where he can both stretch out on his horn, but also soulfully interact with another player! Pianist Aki Takase provides lines that are sometimes sharp and angular, sometimes long and flowing – and Murray balances the sound out with beautiful work on both tenor and bass clarinet – sometimes with an approach that's almost traditional tenor ballad, sometimes a bit more freewheeling. The sound is great, and takes us back to David Murray projects like this from years back – on titles that include "Cherry Sakura", "A Very Long Letter", "Stressology", "A Long March To Freedom", "Blues For David", and "To AP Kern".  ~ Dusty Groove

IZO FITZROY - SKYLINE

Izo Fitzroy may look like a languid country singer on the cover (we're not sure why – maybe it's the old American car) – but she comes across with a deeply soulful sound on the album, and a strong raspy edge in her vocals that comes as a mighty nice surprise! The set's definitely going for a late 60s/early 70s funky soul vibe – but Izo's approach is maybe a bit different than some of the younger "funk girls with band" albums out there – nicely lean, with sharp instrumentation that never tries to hard to push any sort of agenda – which leaves the strength of Fitzroy's singing to really bring most of the power to the tunes. Given her voice, we're sure that the lady could sparkle in whatever style she chooses – and titles include "Break The Levee", "Shadowlands", "Reckoning", "Here I Come", "Hope You Can Wait", "Day By Day", "Say Something", "Heads Held High", and "I Keep You Guessing".  ~ Dusty Groove

 

NEW RELEASES: FREDDIE HUBBARD - BACKLASH; PHIL FRANCE – THE SWIMMER; CHICO MANN / CAPTAIN PLANET – NIGHT VISIONS

FREDDIE HUBBARD - BACKLASH

One of Freddie Hubbard's greatest records – a soaring bit of soulful modernism that's almost a precursor to 70s sounds on record labels like Black Jazz or Strata East! Freddie's at his early best here – stepping aside from some of the more serious Blue Note modes, and definitely feeling himself more strongly – reaching out with this righteous vibe that's quite different than later electric work in the 60s – and which, quite honestly, almost comes through best on this record than anywhere else! The group are wonderful too – and James Spaulding turns in some killer flute and alto work for the date – perfect for Freddie's lines on trumpet. Titles include "Backlash", "The Return Of The Prodigal Son", "Little Sunflower", and "On The Que Tee". (SHM-CD pressing!)  ~ Dusty Groove

PHIL FRANCE – THE SWIMMER

Beautiful keyboard lines from Phil France – served up here in a mode that's partly jazz, maybe partly more laidback – and often in the kind of slow-building style we love on other records on the Gondwana label! There's almost a meditative vibe to the music – somewhere in the Carlos Nino/Miguel Atwood-Ferguson mode, but maybe more compact – as Phil's keyboards are mixed with light use of violin and cello, plus some additional sound elements as well – all in a way that makes us almost think that France would be great at scoring soundtracks, although these instrumental tunes have a nicely changed-up sense of complexity overall. Much deeper than just the usual "soundscape" album you might mistake this one for – with tracks that include "December", "Animator", "London Park Hotel", "Kubrick", "Joy Of Brass", and "The Swimmer".  ~ Dusty Groove

CHICO MANN / CAPTAIN PLANET – NIGHT VISIONS

One of the most tuneful albums we've ever heard from Chico Mann – and a set that moves into much more song-based territory than some of his earlier work! The style here is a unique hybrid of beats, breaks, and Latin – almost in a mode that could crack a larger global market, if the right forces were in place – with very catchy Spanish-language songs that are perfect for the dancefloor! There's echoes of more mainstream modes in the approach, but the overall presentation is as hip as you'd expect from Chico and Captain Planet – on titles that include "Can't Let Go", "Somos Candela", "Oye Bien", "Como Me Miras", "La Oscuridad", "Cuentos De Anoche", and a remake of Manu Dibango's "New Bell". ~ Dusty Groove

NEW RELEASES: JOSH LAWRENCE – COLOR THEORY; SJOB MOVEMENT – FRIENDSHIP TRAIN; ANTHONY NICHOLSON – GRAVITY

JOSH LAWRENCE – COLOR THEORY

Maybe the first album we've ever seen from trumpeter Josh Lawrence – and a set that will definitely have us looking out for more! Lawrence composed almost every tune on the set, and works with a sense of color that really lives up to the title – on lines that are sometimes nicely compressed and subtle, and blown on flugelhorn – sometimes bold and vibrant, soaring out in the company of an excellent group that includes Caleb Curtis on some especially nice alto and flute! The keyboards shift throughout – as Orrin Evans plays acoustic piano on five titles, and Adam Faulk handles Fender Rhodes on seven more – creating a nice shift in color that furthers the spirit of the tunes, driven by rhythm work from Madison Rast on bass and Anwar Marshall on drums. Titles include "Black", "An Uptown Romance", "Yellow", "Presence", "The Conceptualizer", and "Green".  ~ Dusty Groove

SJOB MOVEMENT – FRIENDSHIP TRAIN

Fantastic funk from SJOB Movement – a 70s group who only cut a handful of records – all of them every bit as righteous and heavy as this one! The group have a perfect fusion of funk, psych, and other cool elements – all served up in a blend that's more straightforwardly soulful than some of their contemporaries, but not averse to trippier sidetracks too – especially when a bit of moogy keyboards come into the mix, and space things out nicely alongside the riffing guitars and tight horns in the groove! The sound is perfect – neither in a too-familiar Fela mode, nor in the too-dark style of some of the group's contemporaries – full of life, but never losing its focus – on cuts that include "Friendship Train", "Love Affair", "Odiaria", "let's Do It", "What Could It Be", and "Halleluyah". Also includes a bonus track – "Love Affair (Sol Power All-Stars rework)".  ~ Dusty Groove

ANTHONY NICHOLSON – GRAVITY

A great full length set from Anthony Nicholson – an artist who's done so many great singles and mixes over the years, but never gives us as many albums as we'd want! The album's steeped in the soulful currents and righteous modes that Nicholson's always had in his music – the kind of sophisticated groove that's always gotten him great respect on the global scene, even if he never full gets his due back home (although we're hoping this album might change that!) The set's fantastic – full of great keyboard work from Nicholson and William Kurk, who also sings a bit too – and whether the tunes are vocal or instrumental, they're brimming over with soul – almost kind of a 21st Century extrapolation of the Chicago spirit of Donny Hathaway, but through a legacy that also includes Windy City house. Titles include "Discojazzfunkdelite", "Over & Over", "Under Your Spell", "Gravitation", "Miquifaye El Tema", "Imagine", "We'll Survive", and "Too Late".  ~ Dusty Groove

BASSIST MITCHELL COLEMAN, JR. BRINGS ON THE JAZZ-FUNK FUSION ON HIS LATEST RELEASE PERCEPTION

Fans of slammin’ yet radio-ready, Jazz-Funk Fusion, will rejoice upon the discovery of bassist and composer Mitchell Coleman Jr.! Coleman, a disciple of the Stanley Clarke, Larry Graham, Louis Johnson and Marcus Miller schools of The Throwdown, is still in awe of the success of the 2015 release of his debut CD, Soul Searching. Soul Searching is described as a musical journey of self-exploration – which fulfilled Mitchell’s lifelong dream of expressing the music that’s been in his heart since he began thumpin’ basses at the tender age of 10.

Coleman is excited to announce the release of his new single “Journey”, a fan favorite off his latest album Perception. “Journey” features saxophonist Michael Bolivar, guitarist Josh Sklair, pianist Michael B. Sutton and backing vocals by Dionyza Sutton. “We produced it with the thought in mind of hoping people would feel the movement from one segment of the song to the other as it changes instruments from sax, to guitar, to piano solo (yours truly) to vocals” said Sutton. Get ready for the radio release date, slated for March 2017. Journey is available now via iTunes.

Perception, was independently released in April 2016 on Mitchell’s own Soul Revelations Records label. Once again partnering with veteran Motown producer Michael B. Sutton, Perception displays Mitchell’s musical growth and artistic development. His experimental sound genre-hops from Jazz to Hip Hop to R&B proving his versatility as an artist.

The album’s first single “Funkatized” premiered nationally on various Billboard Smooth Jazz radio stations, as one of the Top 5 most added tracks. In Mitchell’s own words “Funkatized” stimulates the soul inside of you, giving you an instantly danceable, funky, feel-good track.”

The new album brings the listener closer into the psyche of Mitchell Coleman Jr. as displayed in the infectious track “ Interfuse” and the ethereal “ Journey”. Mitchell also does a tribute to the “ Snarky Puppy” aficionado’s with the slammin’ “Redemption”. Perhaps two of the hidden gems on the CD are “Enchanted Summer” and a classic Crusaders/Randy Crawford remake of   “Street Life” sung by Dionyza Sutton (High School Musical, Cheetah Girls) who’s amazing voice embodies the legendary Randy Crawford. To top things off Mitchell brings hip-hop rapper Shorty Mac (Ray Jay, Moesha) on the track “Brand New Day”.

The album also features top industry legends including: Michael Bolivar (former saxophonist for The Ojay’s, Aretha Franklin), legendary guitar player David T. Walker, James Gadson (former drummer for Herbie Hancock, BB King, Quincy Jones), Josh Sklair (former guitarist for Etta James) and many more!

Mitchell Coleman Jr. was born the day after Christmas of `67 in Meridian, Mississippi. He spent his early years in Cuba, Alabama. When his father returned home from Vietnam, he moved the family first to Hartford then Bloomfield, Connecticut. There, Mitchell fell in love hard with electric bass. “In Bloomfield, nobody was into basketball or anything like that - everybody played bass. My friend Greg Carrington was THE baddest bass player in town – a beast to bow down to. I begged him to teach me. He and Kevin Weaverbey laid it all out for me. The first song I ever learned was “Just the Two of Us” by Grover Washington, Jr. & Bill Withers with Marcus Miller on bass - then came the calluses and blisters.”

Mitchell received full support from his family, especially his mother Mary Ruth Coleman who bought him his first bass (a short-neck Sears special for kids that Mitchell wound up detuning to get the sounds he wanted – ironically helping him develop the sounds he gets now) and his Aunt Orcie Delaine who used her credit card to buy his first real bass. When his parents divorced, Mitchell moved back to Alabama but all his cousins and friends had moved away. “Bass became my babysitter,” Mitchell states. And once again Marcus Miller proved inspirational when Mitchell discovered what became the Funk-Jazz blend of his wildest dreams in David Sanborn’s LP, Straight From The Heart. It was really on now.

During a stint in the United States Air Force (45th Group - telecommunications), the outfit forced Mitchell into a talent show where he won First Place performing his original song, “That’s Life.” He began to gig around the Rome and Syracuse, New York blues clubs surrounding Griffith Air Force Base with a group led by Rick Montalbano (future MD for Lou Rawls). He also took two semesters of music theory classes to further improve his craft. And closely watching the sidemen of artists ranging from Be-Bop king Dizzy Gillespie to Quiet Storm queen Anita Baker further illuminated the art of the bass’ supportive role within the music.

Straight out of the service, Mitchell moved to Hollywood intending to study at B.I.T. (Bass Institute of Technology) but had to pay the bills with electrical engineering jobs. However, the universe found another way to provide Mitchell a final profound education upon his introduction to the music of master fretless electric bassist Jaco Pastorius, thanks to a music store clerk that sent him home with the artist’s self-titled debut LP. “At first, discovering Jaco depressed me by revealing how much I didn’t know,” Mitchell admits. “Then he inspired me by showing me how much further I could go. His song ‘Portrait of Tracy’ really messed me up. Learning how to play it took me to another plateau.” Soon after a chance meeting with Otis Williams, founding member of Motown’s The Temptations (to whom his military buddy Terry Weeks became a member),

Mitchell found himself in the mix of music’s unsung behind the scenes side. He began studio work with a group called Ninth Chakra led by Cario Johnson. And it was at one of those sessions that Mitchell met keyboardist Herman “Hollywood” Dawkins – a soul mate in the mission of Jazz-Funk Fusion. “The first time we hit, we were like Reese’s Peanut Butter Cups: ‘Man, you got jazz on my funk…and it’s soundin’ really good!’ Hollywood is the mastermind of making what’s in my head tangible. Our motto is: With Funk as our vehicle let Jazz be our journey.”

Together, Mitchell and Hollywood cooked up what became the initial tracks for his debut CD, Soul Searching, fortified by the presence of top shelf talents such as keyboardist Deron Johnson, guitarists Kayta Matsuno and Sean Fabian, saxophonists Tim Anderson and Sal Avila, veteran vocalists Jim Gilstrap, Pamela & Joyce Vincent, and newcomer singers Sean Thomas and Nodesha. After Mitchell pressed and sold copies of that first version of the CD on-line, a mutual friend steered veteran producer Michael B. Sutton his way who provided cherry on top polish to the proceedings. “Michael is a great guy – he spoke my language and I fell in love with him right away,” Mitchell says. “As a producer and consultant, he is a gatekeeper with great ideas which I needed and appreciate.” 

Essentially, Michael amplified the heart of Mitchell within three songs, including the funky single “Flow.” Deeper still were two others. First is the cinematically percussive “Ethiopia Love,” inspired by Mitchell’s wife Tsegereda. “I met her in Cali but I did not want to marry her without her father’s approval. So I made the 20-hour flight to Africa. When I arrived, it was like Eddie Murphy ‘Coming to America’ only in reverse - beautiful people, physically and spiritually. I dedicate ‘Ethiopia Love’ to the people of Ethiopia.” The other standout is “When Your Life Was Low,” another radio favorite featuring the voice of Michael’s daughter, Dionyza Sutton (pronounced dee-ahn-jah) with its profoundly moving lyrics. “In life, I’ve always been a giver…but givers always have to watch out for the takers,” Mitchell muses. “That song touched me in that respect.”

Now Mitchell Coleman Jr. is shakin’ things up again and giving fans a taste of Hip Hop, Jazz, Funk and R&B, further challenging himself as an artist. This time around Mitchell isn’t holding back- taking his swiftly expanding audience on a musical journey that has only just begun.

Geoff Alpert's "Open Your Heart' Hits All the Right Notes

Trombonist Geoff Alpert has loved music all his life, studying the craft, learning several brass/valve instruments, playing in bands and composing songs. Inspired by the likes of jazz legend J.J. Johnson, rock band Chicago’s James Pankow, and fusion greats such as Wayne Henderson and Raul de Souza, Geoff studied music as a major at San Diego State University while supplementing his income gigging near and far. Yet he walked away from music for 30 years in the early `80s to be an ideal provider as a husband and father. Following the painful passing of his wife from cancer in 2002, Geoff did some profound soul searching which led him to pick up his trombone again, gradually easing back into the scene where he met bassist Darryl Williams and musical director/keyboardist Gail Jhonson. Both pushed and assisted him in creating a musical statement that spoke to his emotional life story, his undying passion for the art form and the spiritual Eastern martial arts disciplines that guided him along his journey. That album is Open Your Heart.

Geoff Alpert’s Open Your Heart (co–produced with Gail Jhonson) is a 10–tune tapestry which lovingly places the trombone in a front and center position it rarely enjoys in the present musical landscape. Floating between Jazz, Pop, R&B and Latin sound signatures, it’s a bold yet highly accessible listen. Highlights include the Brazilian flight of the title track, a cover of The Jacksons’ “Heartbreak Hotel” (composed by the immortal Michael Jackson and specially arranged for Geoff by Gail), the transfixing and deeply touching trombone and keyboard duet “Thinking About You” (in memory of his departed mother and wife), “The Crusade” (a tribute to The Jazz Crusaders/The Crusaders emulating some of the progressive sounds of the band’s evolution over five groundbreaking decades), the groovin’ “Zen Funk” (featuring bassist Darryl Williams and dedicated to the Ken-Ka-Kung Fu Club, the martial arts school which Geoff has been both student and teacher for four decades), and an especially emotive cover of sister trio The Emotions’ 1977 hit “Don’t Ask My Neighbors” on which Geoff tips his hat to trombonist Raul de Souza, first instrumentalist to cover the song in 1978 (produced by the late George Duke) while placing his own heart piercing stamp on the Quiet Storm classic.

“This album - like my teaching of Ken–Ka–Kung Fu -is all about love, sharing and the willingness to open your heart,” Geoff explains. “Wherever you go in life, the center of your journey is always found within.Challenge yourself, maintaining your balance and focus as you navigate life’s obstacles on your way to becoming your truest, most humble best self…with honesty, integrity, discipline & respect.”

Born in North Hollywood, California on July 10, 1955, Geoff Alpert was raised in San Diego where his family moved when he was 2. His mother, Annette, was very musical having played clarinet and accordion. There was a piano in the house, and all of his 3 sisters and 2 brothers played musical instruments (none professionally). Geoff’s first instrument was trumpet which he took up at 7. After visiting his grandfather who had a huge collection of instruments, he gravitated to the E Flat euphonium then, by 7th grade, the baritone horn. By the time Geoff got to high school, Chicago’s explosive “25 or 6 to 4” and “Beginnings” were all over AM and FM radio dials featuring glissandos and solos by trombonist James Pankow. Along with the jazz greats he’d been admiring, this is what inspired Geoff to make the ultimate switch to trombone as his primary instrument, self taught to boot.

While attending Hoover High School, Geoff used money he’d saved from a paper route to buy an intermediate Conn large bore tenor trombone with an ‘F’ attachment. He desired the richest resonant tones of the horn, inspired by the great J.J. Johnson. Shunning sports, Geoff dovetailed into total absorption mode, immersed in studying, listening and intense practicing. He was regularly selected for and made a featured soloist in city wide honors jazz bands and began to hone his pop performing chops in groups of peers that played proms/after proms as well as with older cats playing covers of Blood Sweat & Tears, Tower of Power, Earth Wind & Fire, Average White Band, Stevie Wonder and Motown jams at San Diego hot spots such as Bacchanal, Halcyon, Spanky’s and Wallbangers. Among the musicians he crossed paths and performed with was bassist Nathan East.

Graduating high school in 1973, Geoff attended San Diego State as a Music major excelling in performance, theory and ear training. Even the aptitude tests that his successful CPA father gingerly asked Geoff to take all pointed to music as the way for him to go! And go he did, on the road with a number of self–contained groups that snuck in as many Seawind, Brecker Brothers and Dreams tunes as they could between the Top 40 hits club management demanded. In high demand, Geoff also gigged with name artists on jazz festivals in and out of town. Returning from a nasty gig in Alaska, Geoff faced the rude awakening that the music scene no longer supported large horn bands. He now faced a critical decision: move to L.A. and try to crack its lucrative studio scene or enter a more conservative career. Geoff put his bone down and began a 35-year career promoting up to District Manager for the City of San Diego while also developing a private landscaping business. He also married his wife Gladys in 1984 and was father to two daughters. Concurrently, he devoted serious time and energy into Ken-Ka-Kung Fu, receiving teaching credentials and permission to start a school that he still leads to this day.

Such sweet bliss was shattered in 2000 when Gladys was diagnosed with cancer. Geoff stayed faithfully by his wife’s side until she succumbed in 2002. Unsure of what he would do next, Geoff’s thoughts returned to music, the artful expression that had once so filled his life over three decades before. He found that even when he was deeply set in concentration with his martial arts, melodies and solos would be floating through his head. Geoff went deep into the woodshed in 2004, working diligently to return his skill to ‘A’ level. Anticipating retirement in 2012, Geoff vowed to involve himself solely in things he loved: martial arts, music, family and his longstanding love affair with Hawaii. In Oahu, he began playing 5/6 nights a week - sometimes at 3 venues a day - refusing pay, simply relishing opportunities to play with high caliber musicians such as Michael Paulo and Gregg Karukas.

A turning point for Geoff arrived upon meeting bassist Darryl Williams at an open mic night called “The Q” which Darryl hosted in Oceanside, as well as at Felix’s in San Diego where he became reacquainted with keyboardist Gail Jhonson: “First Lady of Smooth Jazz.” With both struck by how accomplished Geoff was on an axe played by so few as a leader/soloist, they both urged Geoff, “Dude, you ought to record!” Geoff wowed many players but biorhythmically speaking (and totally platonically) he really hit it off with Gail who became his co–producer. Since returning to music, Geoff has performed with notable artists such as producer Kenneth Crouch, violinist Karen Briggs and saxophonist Jessy J.

Work on Geoff ’s debut, Open Your Heart, began in March 2016 at Darryl’s house. This led to Geoff and Gail spending quality time collaborating to compose and arrange all 10 songs. The trio worked with “L.A. Collective” players Adam Hawley on guitar, Greg Manning on keys and Tony Moore on drums. Geoff reunited his old horn section mates Mitch Manker and Steve Nieves (plus Michael Parlett). Five selections feature vocalists Tamina Khyrah Joi, Aankha Nealand Maya Thomas. And special guests include saxophonist Michael Paulo (“Aloha Nights”) and flautist Althea Rene (“Open Your Heart”). 

“First and foremost in my mind doing this record was – as a bone player – can I interject something fresh against the set boundaries and push the envelope with a full, more than eight–layered sound,” Geoff concludes? I wanted a live flavor and the best of the best musicians–wise. Everybody nailed their parts from the rhythm session, the horns session, vocals, the guests, my overdubs, and all the mixing and mastering. It was an irreplaceable rush of groove, camaraderie and love.”

NEW RELEASES: AL DI MEOLA - MOROCCO FANTASIA; NORMAN BROWN - LET IT GO; SLY & ROBBIE PRESENT TAXI GANG DISCOMIX STYLE 1978-1987

AL DI MEOLA - MOROCCO FANTASIA

Al Di Meola's fantastic appearance in 2009 also represented a summit of different cultures and religions - Al Di Meola (guitar), Peo Alfonsi (2nd guitar), Fausto Beccalossi (accordion), Gumbi Ortiz (percussion), Victor Miranda (bass), Peter Kaszas (drums), and with special guests from Morocco, Said Chraibi (oud), Abdellah Meri (violin) and Tarik Ben Ali (percussion). On his third trip to Morocco, the public gave this exceptional guitarist a rousing reception and showed ist openness towards Western music - and Al Di Meola wowed the audience with a special repertoire. Includes live performances of Misterio; Siberiana; Double Concerto; Michelangelo's 7th Child; Gumbiero; Turquoise; Egyptian Danza (feat. Abdellah Meri, Tari Ben Ali); and Encore (feat. Said Chraibi, Abdellah Meri, Tari Ben Ali).

NORMAN BROWN - LET IT GO

Let It Go, Norman's inspired debut album for Shanachie Records, has something for everyone, whether an R&B fan or a jazz aficionado. From "Holding You," his sensuous collaboration with R&B great Chanté Moore and Norman's re-imagining of the Five Stairsteps classic "Ooh Child"  to the smoothly grooving "Remember Who You Are" and the serenely inspired "Let It Go," Let It Go is Norman Brown at his best. Tracks include: Lessons of the Spirit; It Keeps Coming Back; Let It Go; Ooh Child; Conversations; Living Out Your Destiny; Holding You; The North Star; Very Woman; Liberated; Remember Who You Are; and Man in the Mirror.

SLY & ROBBIE PRESENT TAXI GANG DISCOMIX STYLE 1978-1987

The selections on this compilation demonstrate exactly how much Lowell 'Sly' Dunbar & Robert 'Robbie' Shakespeare have learned from the roots of reggae, American rhythm & blues and soul, and these versions of contemporary and vintage soul songs show Sly and Robbie at their very best on covers of Little Willie John's Fever, Al Wilson's Show & Tell, Tony Joe White's Rainy Night In Georgia (as covered in soul by Brook Benton), The Delfonics' Don't Break Your Promise, The Impressions' You Must Believe Me, The Spinners' Could It Be I'm Falling In Love and a brace of Marvin Gaye covers in Sexual Healing and Inner City Blues. All are sung with panache and feeling by the various vocalists and backed up with superior rhythms, showcased here with full-length versions, from Sly and Robbie. For over forty years they have contributed so much to the body of reggae music that they can truly be seen as its backbone. Without Sly Dunbar & Robbie Shakespeare it is no exaggeration to say that reggae would not have figured anywhere near as prominently as it has done in popular music; long may they continue... Usually known as simply Sly & Robbie these two master musicians have a variety of names including The Dynamic Duo, The Rhythm Twins and even, on occasion, Drumbar and Basspeare. The role of backing musicians was exactly that... to stay in the background... but Sly & Robbie are the only reggae musicians whose names are internationally known and respected. These architects and builders of Jamaican music have constantly tested the boundaries of what could, and couldn't, be used in reggae but despite working extensively with stars of the international firmament including Joan Armatrading, Joe Cocker, Ian Dury, Bob Dylan, Serge Gainsborough, Gwen Guthrie, Herbie Hancock, Mick Jagger and Grace Jones their roots are firmly planted in Kingston's teeming reggae scene.

 

NEW RELEASES: KIRK WHALUM - #LOVECOVERS; CHRIS THILE & BRAD MEHLDAU; EERO KOIVISTOINEN & UMO JAZZ ORCHESTRA - ARTIC BLUES

KIRK WHALUM - #LOVECOVERS

In the spirit of Grammy Award winner Kirk Whalum's most popular cover album, For You (1998), he returns with a gospel inspired jazz album called #LOVECOVERS, featuring covers of gospel music's most inspirational hits, along with some newly reimagined popular songs. Inside are time-honored gospel selections from The Clark Sisters' You Brought The Sunshine to Donnie McClurkin s "Speak To My Heart," seamlessly paired with the likes of Stevie Wonder s Have A Talk With God," Beyoncé s Love on Top, and Marvin Gaye s God Is Love. #LOVECOVERS also includes Whalum s first ever studio recording of Dolly Parton's I Will Always Love You since his appearance on Whitney Houston s 1992 recording from the film, The Bodyguard.

CHRIS THILE & BRAD MEHLDAU - CHRIS THILE & BRAD MEHLDAU

Nonesuch Records labelmates mandolinist and singer Chris Thile and pianist Brad Mehldau, longtime admirers of each other’s work, first toured as a duo in 2013. At the end of 2015, they played a two-night stand at New York City’s Bowery Ballroom before going into the studio to record Chris Thile & Brad Mehldau, a mix of covers and original songs that Nonesuch released on January 27, 2017, on two CDs / LPs.  A US tour will be announced at a later date. The two musicians first performed together in September 2011 as part of Mehldau’s residency at London’s Wigmore Hall. The Guardian said of that performance, “Mehldau struck up his signature rocking chord vamp over which lightly struck motifs swell to sensuous extended melodies. Thile kept cajoling him with percussive snaps, flying runs, and chords strummed fast enough to sound as seamless as a purring strings section, inducing Mehldau … to bat back the playful provocation with stinging rejoinders.”

EERO KOIVISTOINEN & UMO JAZZ ORCHESTRA - ARTIC BLUES

Beautiful work from Finnish saxophone genius Eero Koivistoinen – a player who blew our minds with his experimental records at the start of the 70s, and continued to amaze us as the years go on! This set has Eero at the head of the larger UMO jazz orchestra – directing the group, but also taking off on plenty of solos as well – really richly-blown tenor lines that carve out a majestic space next to the deep colors of the group – a perfect blend, and one that's much better than some of the usual European albums of this nature. There's a few other great reed players in the lineup, and quartets of trumpet and trombones, too – and some other musicians get a chance to solo as well. The whole thing's got a sense of icy soul that almost feels like a tenor-based version of the Gil Evans experiments with Miles Davis – and most of the set was recorded in 2016, but the package also features a few bonus tracks from 2005. Titles include "Arctic Blues", "Meat Meat Blues", "Oshumare", "Nodiskt Samarbete", "2000 Fi", "Halling", "Northern Dimension", "Pictures In 3 Colors", and "Hallanvaara".  ~ Dusty Groove

Tetraptych come to life as the musicians relate and venture into uncharted territory

Grounded in the lineage of the modern jazz saxophone quartet, Tetraptych brings a breathing conversant quality to the music, where movement, playfulness, sensitivity, and deep groove are ever-present in an openhearted chemistry. These core musical values come to life as the musicians relate and venture into uncharted territory.

In 2015, shortly after their second engagement, these four musicians established a monthly residency that includes two recurring gigs. For the past 20 months, they have been getting together for a few intensive consecutive days of music making, rehearsal, discussion, neighborhood walks, and meals, nurturing both their friendships and a musical vision that has been transformative. They perform monthly at The Lilypad, which has been an essential venue for the creative music scene in Boston, and at Spice, in Ipswich, MA, in a bi-weekly jazz series that Bert Seager started six years ago.

The name of the band is Tetraptych (pronounced "Te-trup-tick"). The word refers to a four-paneled painting where each panel can stand on its own. Seen together, the panorama of panels gives greater meaning to the interaction of the parts. The music is democratic. Ones attention moves from instrument to instrument, panel to panel, as the collective improvisation unfolds.

  

The band prominently features New York City-based Hery Paz on tenor saxophone. Each one of his solos is imbued with a depth of purpose, a sense of patience and a willingness to venture into the unknown. This commitment reflects the essential inner resources that were required of him during his family's harrowing emigration from Cuba and subsequent struggle here in the United States.

Listen particularly to his solo on Star Wise: by the third chorus Paz has already left the prescribed harmonies far behind. You can still follow his melodic line and grasp the song form, but also sense that he has moved to distantly related keys, creating a tension and energy that makes something entirely new of these chord changes (based on the jazz standard "Star Eyes"). Max Ridley, bassist, immediately joins him in the new keys when Seager drops out. Ridley's musical intuition is a towering force on this CD - perhaps a reflection of his 6 foot 4 inch frame! He is exquisitely attuned to the shifts in harmony that Paz and Seager supply, all while appearing to get there before they do.

Israeli-born drummer Dor Herskovits is constantly breaking open and reassembling the time feels he is playing, moving the music to new territory, and helping the band create a coherent dramatic story. Notice how his accompaniment evolves and helps shape Paz's solo on the first tune, Welcoming the Water.

Bert Seager wrote all of the songs on this recording except for the free improvisation named Equanimous Botch. It was the first thing they played in the studio for their sound check. They wanted to make sure they could hear each other in the big beautiful room at Futura, and playing free seemed the perfect vehicle for that.

The last tune on this CD, Blues You Can Use, was the closer in their two-day recording session. There is a deceptive simplicity in the way the groove disguises the 3/4 time signature. One senses the joy they feel as a band exploring new places and energies in a familiar form.

Bert Seager writes, "The evolution of this music, our sound, and approach to the repertoire is nurtured by our collaboration. We deconstruct our tunes, paring down the elements, inventing new structures, making new combinations, leaving some parts aside to work more deeply with others. The resulting music has a feeling and movement that goes far beyond the musical scores that I write for the band. Our performances reflect an even greater willingness to open - and even surrender - to the higher intentions of our musical purpose, often leaving the planned behind."

Upcoming Performances:

First Wednesday of each month @ The Lilypad, Inman Square, Cambridge, MA 

www.lilypadinman.com

First Thursday of each month @ Spice, Depot Square, Ipswich MA

www.thaispicekitchen/ipswich

CD release concert - Mandorla Music, Somerville, MA on April 15, 2017

  

More about the musicians in Tetraptych:

Pianist and composer Bert Seager has been a leading player on the jazz scene in Boston since 1981. His sixteen compact discs as a leader have won him unanimous critical acclaim from the New York Times, Keyboard Magazine, The Boston Globe, and many other publications.  He has performed and recorded with Joe Lovano, Tim Hagans, George Garzone, Bob Moses, Joe Hunt, Jorge Roeder, and Richie Barshay.

Cuban-born tenor saxophonist Hery Paz is currently working in the creative music scene in New York City, playing gigs with Francisco Mela, Gerald Canon, Joe Morris, Kris Davis, and Frank Carlberg. He has performed at Smalls and Cornelia Street Cafe, and at the Umbria Jazz Festival in Italy.

Drummer Dor Herskovits was born and raised in Israel. Since his arrival to the US in 2010, he has established himself as a sought-after performer, both as a sideman and leader. Dor has performed with George Garzone, Dave Liebman, Daniel Rotem and Jason Palmer. In 2016 several of his own compositions were featured on the CD "Earprint," named for the modern jazz collective of which he is a founding member.

Bassist Max Ridley is a Boston-based musician who has performed with Kenny Werner, Ingrid Jensen, George Garzone, Terri Lyne Carrington, and Ra-Kalam Bob Moses.  He is part of  The Factory Quartet, The Organically Grown Big Band, and leads his own Basement Show Philharmonic.

GERALD ALBRIGHT FIRES UP THE GROOVE ON HIS LATEST RELEASE "G"

Gerald Albright has a generous invitation for fans of his hit 2014 album: If you thought that mix of deep funk and simmering sensuality was a Slam Dunk, wait’ll you get a load of G. It’s that album’s high octane sequel, which draws even deeper connections to that in-your-face horn-section-magic, of classic bands like Earth, Wind & Fire and Tower of Power.

Early in his career, the versatile saxophonist was often told by his labels to “be funky, but not too funky” – but after 30 years at the top of his game as one of contemporary urban jazz’s core artists and sonic innovators, the eight-time Grammy nominee is letting loose like never before. What we get from G is nothing less than Genuine Gerald, with powerful support from his co-producer Chris “Big Dog” Davis and legendary special guests Michael McDonald and Doug E. Fresh.

When Albright titled his 2006 album New Beginnings, he was referring to the move he and his family made to Colorado after a lifetime in Southern California. Ten years later, he’s in a similar mode, blazing into the next phase of his storied career with the release of his first album ever as an indie artist, after decades on major and major affiliated labels. Like a lot of his peers in the genre, he realized that the business models of those big companies don’t fit into the current economic structures of urban jazz. Inspired by a loyal fan base of thousands throughout the world, he knew it was time to leverage his hard won success, step out in faith, and create a company that could not only release his music but also serve as a legacy for his family. Choosing the name Bright Music Records, just as in calling the album G, was not only a play on his name but also reflective of his great optimism in embarking on an endeavor that uniquely defines who he is.

G gets right down to business, celebrating his fresh start by titling the thick and feisty, brass fired and groove intensive opening jam “Taking Control.” He creates all the horn sections himself, texturing alto, tenor and baritone around the lead melody, while handling the thick bottom via bass guitar. With Davis (one of urban jazz’s top hit makers, who has worked with everyone from Najee to Maysa, Phil Perry, and Kim Waters) creating an array of keyboard sounds, Albright infuses many of the other tracks with a mix of horns and other instruments. His passionate, high flying soul-jazz fusion spin through Bill Withers’ classic “Lovely Day” features McDonald on lead vocals and G himself mixing alto, C flutes and bass flutes while holding down the spirited rhythms on bass. Likewise, the exotic, briskly paced old school horn-fired jam “We Came To Play (La Calle)” features G on alto, tenor, bass, a bass solo and C flutes. On the tight, edgy “G and Doug E.,” a whimsical self-portrait with Fresh fashioning a tribute to Albright in rhyme, G also plays the organ. The soaring, emotional power ballad “I Miss You” features the saxophonist on alto, tenor and bari, in addition to C flutes, alto flutes and bass flute and bass guitar. It also features his daughter Selina – a solo artist in her own right – on background vocals.

Other highlights on G include “Frankie B,” a simmering, horn-drenched light funk ode to his dear friend Frankie Beverly and one of Albright’s favorite bands, Maze; the mystical soul ballad “Boom Boom” and buoyant, free-wheeling horn explosion “Funkism,” both of which showcase G’s every deepening skills as a jazz improviser; a sly, seductive cover of Avant’s 2003 R&B vocal hit “Read Your Mind”; and the sensual, ambient “Closure”, a simply arranged ballad that wraps the set in a romantic mood.

Albright says that the big, multi-faceted sound of the album, particularly his use of multiple flutes, is a throwback to the way he came up in music. “I’ve been implementing them over the past few projects, using flute seasonings strategically with certain songs, and it was exciting to take those sounds to the next level,” he adds. “I come from that orchestral big band sound that defined my high school years playing in the 70s, and had great teachers who believed that musicians should never take shortcuts. In those jazz band days, I doubled on other instruments besides sax, and coming from that world, it’s always been hard to neglect those instincts. I like having a lot of sonic options.  I use everything as a facility to bring my music to another level. When I think of those EWF and TOP horns, they were so ‘in your face, present and clear’. That’s what I was striving for on G.”

Born and raised in Los Angeles, Albright was already an accomplished saxophonist by the time he enrolled at the University of Redlands, but he switched to bass after he saw Louis Johnson in concert. A few months after graduating from college, he joined jazz pianist/R&B singer Patrice Rushen, who was in the process of forming her own band. Later, when the bass player left in the middle of a tour, Albright replaced him and finished the tour on bass guitar. Playing both sax and bass, he became the consummate session and touring musician in the 80s, working with everyone from Anita Baker, Ray Parker, Jr., Atlantic Starr, The Temptations and Maurice White to Les McCann, Teena Marie, the Winans and Whitney Houston.

He launched his solo career in the infancy of what became the smooth jazz format, with Just Between Us in 1987 and has been a core part of the genre with chart-topping albums, countless radio hits and as a member of many all star tours, including Guitars & Saxes and Groovin’ For Grover. In the late 90s, he fronted a big band for and toured with pop star Phil Collins and did a dual recording with vocal great Will Downing called Pleasures of the Night. Between his last two Grammy-nominated solo albums Pushing The Envelope (2010) and Slam Dunk (2014), he enjoyed hit collaborations with two huge hits – 24/7 with guitarist Norman Brown and Summer Horns by Dave Koz and Friends (including Mindi Abair and Richard Elliot), which were also Grammy-nominated for Best Pop Instrumental Albums. He toured with Brown and Summer Horns, and most recently has been on the road with South Africa gospel/jazz singer and guitarist Jonathan Butler. Albright’s other albums whose titles perfectly reflect their flow include Smooth (1994), Groovology (2002), Kickin’ It Up (2004) and Sax for Stax (2008).

Because Albright’s musical muse has taken him to so many fascinating locales along the contemporary R&B/urban jazz spectrum, he’s joyfully defied easy categorizations. Roland S. Martin, Host/Managing Editor, NewsOneNow, TV One, at last has found a way to explain all the things that make G who he is. “For two decades,” he says, “jazz artists like Gerald have been placed in the suffocating box known as ‘smooth jazz.’ But in my years as an Albright fan, I much prefer to call him a funky, ice cold jazz impresario who can make your head bob while cruising down the freeway with the sunroof open or make you do the scrunchy stank face of a George Clinton/Parliament Funkadelic.”

“Top to bottom,” Albright says, “I wanted my new album G to take the listener on a musical journey with different textures, rhythms, chord progressions and moods. I want people to know where I’ve been and where I’m going, and to let them hear that I’m in a really good place in my life.”

NEW RELEASES: IT'S A GROOVY THING!: THE AMAZING JAZZ FUNK ORGAN SOUND VOL. 1; GAZZARA - PORTRAIT IN ACID JAZZ; IT'S A GROOVY THING!: THE AMAZING JAZZ FUNK GUITAR SOUND VOL. 2

IT'S A GROOVY THING!: THE AMAZING JAZZ FUNK ORGAN SOUND VOL. 1 (VARIOUS ARTISTS)

Fantastic sounds from the Italian scene – work from the ultra-rich catalog of Irma Records, pulled from a time when the label was one of the hippest things going in the world of funky jazz! Back in the mid 90s, Irma switched from a house-focused imprint to step back into the world of the 60s and 70s – and was the first imprint to really show us how much untapped talent there was on the Italian scene of the time – the kind of music that would later gain global fame in the hands of Nicola Conte and Schema Records, but which here is much more stripped-down, and at a funky jazz core. As you can guess by the title, the set is heavy on Hammond – plus other sweet keys too – and titles include "Focus On Sight" and "Electric Boogaloo" by Modulo 5, "Bullit" and "Lo Bianco Theme" by Sam Paglia, "Summertime and "Need Your Funk" by Soul Jazz Unit, "Ass Enchilada" and "Move On Up" by Hammond Express, "The Amplifier" by Low Fidelity Jet Set Orchestra, "Lady" by Gazzara, "The Howel" by Capiozzo & Mecco, and "Another B" by Montefiori Cocktail. ~ Dusty Groove.

GAZZARA - PORTRAIT IN ACID JAZZ

Great sounds from Francesco Gazzara – a keyboardist who's given us plenty of wonderful music over the years, and who here is very much back in the classic groove that first got him started! Yet despite the title, this isn't a set of warmed-over 90s acid jazz modes – and instead shows a matured Gazzara really working his best on a host of different keyboard modes – Hammond B3, Fender Rhodes, and even a bit of grand piano – set up in a core trio with bass and drums, and augmented by a bit of guitars and other instrumentation from the man himself! Three tracks feature female singers, and Gazzara himself speaks and vocalizes a bit – in this really great way that brings an additional layer of life to the music. Titles include "Jazzid Wonderland", "Heaven", "We Had A Ball", "Sanita", "Into The Night", "Portuguese Soul", "Galactic Cowboys", and "Sunday At Six"  ~ Dusty Groove.

IT'S A GROOVY THING!: THE AMAZING JAZZ FUNK GUITAR SOUND VOL. 2 (VARIOUS ARTISTS)

A collection with a classic-looking cover, and some classic-styled instrumentals as well – even though most of this music is only about a decade old! The set brings together a sweet batch of guitar-driven numbers from the Irma Records catalog – an imprint that we can always trust to serve up the kind of lean, soulful sounds that hearken back to the best soul jazz modes of the 60s and 70s – and most of these tracks are small combo grooves that follow from the spirit of Prestige Records in the 60s, or maybe early CTI in the 70s – occasionally with some vocals, most mostly instrumental on just about every track. There's a few more contemporary elements in the rhythms from time to time, but the guitar solos are always nice and live – and titles include "Nel Nome Del Suono" by Jestofunk, "Sad Like A Pierrot" by Mr Wolf, "Scotty Groove" by Piero Masciarelli, "Red Baron" by Soul Jazz Unit, "Cool Affair" by Black & Brown, "Be Bop Dance" by Piero Masciarelli, "FT" by Capiozzo Mecco & Santimone, "Funka Fuzz" by Mysterious Traveller, and "N577548" by Adriano Maria. ~ Dusty Groove

NEW RELEASES: NORMAN CONNORS - VALENTINE LOVE: THE BUDDAH/ARISTA ANTHOLOGY; CHET IVEY - A DOSE OF SOUL: THE SYLVIA FUNK RECORDINGS 1972-75; LO GRECO BROS. QUARTET - SHORT STORIES

NORMAN CONNORS - VALENTINE LOVE: THE BUDDAH/ARISTA ANTHOLOGY

A fantastic collection of work from Norman Connors – a musician who first started out playing drums in spiritual jazz groups at the start of the 70s, then moved on to take over the worlds of funk and soul! Connors' material of this time was essential at bringing a new sort of depth to soul music – taking some of the lessons learned in the farther reaches of the underground, and working them into a new tapestry of sophisticated expression – sounds that were able to fold together lots of styles and spirit, and help elevate their audience at the same time. This package might be the best we've ever seen to bring together Norman's work of the period – as it also includes some of the Aquarian Dream and Starship Orchestra recordings, as well as Connors tracks with singers who include Michael Henderson, Jean Carn, Gloria Jones, Prince Philip Mitchell, Phyliss Hyman, Eleanor Mills, James Robinson, Al Johnson, and Beau Williams. 34 tracks in all – and titles include "So Much Love", "Dindi", "Saturday Night Special", "We Both Need Each Other", "Captain Connors (12" version)", "Say You Love Me", "This Is Your Life", "Stella", "Handle Me Gently", "Your Love", "Invitation", "Be There In The Morning", "Take It To The Limit", "Mr C", "She's Gone", "You've Been On My Mind", "Melancholy Fire", "Romantic Journey", "Slewfoot", "Give The Drummer Some", "Valentine Love", "Once I've Been There", "Phoenix", "Once Again", "You Are My Starship", "Betcha By Golly Wow", "Kwasi", "Maiden Voyage", and "Disco Land.” ` Dusty Groove

CHET IVEY - A DOSE OF SOUL: THE SYLVIA FUNK RECORDING 1972-75

The first-ever collection to focus on the work of this lost soulful genius – an artist whose name never made the history books, but who we can always trust when we see it on the label of a funky 45! This set brings together most of those great singles from the early 70s – a wicked run of sharp-edged, always-biting numbers that Chet Ivey recorded for the Sylvia label – run by old school tenor wailer Al Sears! Both Chet and Al had years of experience in music before these singles – but refocus their energy in a badass version of 70s funk – clearly inspired by the James Brown and blacksploitation styles of the time, but given a very special spin, thanks to Chet's personality and way of putting over a tune. The instrumentation is every bit as important here as Ivey's vocals – and titles include "Funky Chit Chat (parts 1 & 2)", "Recipe To Get Down (parts 1 & 2)", "Bad On Bad", "So Fine", "Movin", "When Love Comes Home", "Dose Of Soul", "Party People (parts 1 & 2)", "Get Down With The Geater (part 1)", "Been So Long", "He Say She Say", and "Don't Ever Change". ~ Dusty Groove

LO GRECO BROS. QUARTET - SHORT STORIES

A great new spin on the sound of the Lo Greco brothers – a duo you may know from albums a decade back on Schema Records – stepping out here with an approach that's even more mature and soulful than before! Even before, the Lo Greco quintet and quartet albums were some of the straighter jazz sides on Schema – but here, the brothers have turned into a fantastic jazz duo – and work with really wonderful tenor sax from Germano Zenga – a player we don't know at all, but who really give the album a spiritual depth that we never would have expected years before! Gianni Lo Greco is great on drums, and Enzo Lo Greco serves up some beautiful basslines to get the music moving – and pianist Antonio Zambrini rounds out the sound with a mix of modal and lyrical styles. Titles include "First Light", "Stolen", "Visions", "Sunrise", "Bye Bye My Friend", "Bamboo",a nd "The Dancer". ~ Dusty Groove