Arthur Verocai 10th Anniversary Reissue of Encore

In celebration of its 10th anniversary, Far Out Recordings has announced the first ever vinyl edition of Arthur Verocai’s 2007 masterpiece Encore. The album features 11 original Verocai compositions with guest musicians including Azymuth, Ivan Lins and a nine-piece string section. The new vinyl release has been remastered from the original tapes and is being pressed to heavyweight vinyl, with a touched-up sleeve design. Encore was the highly anticipated follow up to Arthur’s eponymous debut album from 1972, which saw him joining the dots over 35 years to create a modern classic of Brazilian music that, like his debut, combined Brazilian influences with his take on American soul and cinematic experimentation.

In the mid-2000’s, following on from Marcos Valle, Joyce and of course Azymuth, Arthur Verocai joined the long-line of Brazilian musicians whose music was to be introduced to a whole new legion of fans by Far Out. The story of Encore of course begins with Joe Davis, Far Out’s head honcho who stumbled upon Arthur’s debut in a dusty record store in downtown Rio in the late 80s. At the time of its release in 1972 critics panned Arthur’s debut and both the album and artist subsequently vanished into obscurity. Fast forward to winter 2004 and Joe’s at the studio of Far Out Recording artists Harmonic 313 – aka production duo Mark ‘Troubleman’ Pritchard and Dave Brinkworth – playing them some of his favourite Brazilian albums. Dave recalls the moment Joe put on Arthur’s debut, “As soon as the needle hit the record and we heard the fantastic arrangements, songs and sounds, Arthur completely blew our minds”.

Three months later and Joe and Dave were in Brazil with Arthur and the plans for what was to become Encore were being laid down. Seeking to re-create the sound of his first album, they invited in as many of the musicians who played on Verocai's debut as possible, including Robertinho Silva, Paulinho, Bigorna, and this time, the added bonus of all three Azymuth members, as well as horn and string players from the Brazilian Symphony Orchestra. Produced by Brinkworth, Encore sees Arthur on incredible form, the 35 plus years between the recording of his debut and this the follow-up just melted away as he picked up the (conductor’s) baton once again to create 11 epic tracks of stirring samba-soul and experimental cinematic movements for a record to rival his debut.

Born in Rio de Janeiro on 17 June 1945, Arthur Verocai began his professional music career in 1969 and over the next few years he was responsible for the orchestration of albums by Ivan Lins, Jorge Benjor, Elizeth Cardoso, Gal Costa, Quarteto em Cy, MPB 4 and Marcos Valle, among others. In the 1970s he was hired by Brazil’s biggest TV station, TV Globo, as musical director and wrote the arrangements for many of the stations biggest shows. In 1972, following the success Arthur had with the production of Ivan Lins 1971 album "Agora", Arthur recorded his self-titled debut album on Continental Records. ‘Arthur Verocai’ challenged the musical conventions of the day, combining Brazilian influences with folksy soul and lo-fi electronic experimentations of American artists like Shuggie Otis or the orchestration of producer Charles Stepney.

The brand new album from the mighty Brazilian ten-piece Nomade Orquestra - EntreMundos

Nomade Orquestra return from the stratosphere via Brazil with their second offering: EntreMundos (Between Worlds). Gazing outward through a kaleidoscope from the heart of Sao Paulo’s jazz scene, the collective consciousness of the ten-man orquestra has dreamt up an adventurous amalgam of earth’s most far reaching musical cultures. Recorded at Red Bull Studios, Sao Paulo, EntreMundos is like a cosmic musical playground where Ethio-jazz, Indian classical and Oriental sounds dance around Afro-Brazilian roots rhythms and Northern hemisphere jazz, funk, soul, library music and hip-hop influences. The sheer vastness of the album is astounding, Nomade Orquestra have quite literally conquered the world in sound.

Nomade Orquestra are some the most accomplished musicians in their city. They’re also avid record collectors, citing the coming-together of their expansive musical knowledges as key to their unique sound. Album opener ‘Jardim de Zaira’ - a tribute to the neighbourhood on the outskirts of the famous ABC region, where the band meet and rehearse - hosts a playful unison of vibraphone, guitar, horns and keyboards reminiscent of Stereolab’s funkiest late ‘90s output. ‘Felag Mengu’ lies somewhere between the groovy, brooding ethio-jazz of Mulatu Astatke and Tinariwen’s hazy desert Rock, and ‘Olho do Tempo’ is another enchanting incarnation of the band’s impossible to define brand of global roots music. The album’s wildest moment comes from the roaring off-road, big-band joy-ride ‘Rinoceronte Blues’ with hill-billy harmonica, soulful organ stabs and soaring horn arrangements further highlighting the depths of Nomade Orquestra’s endless span of influences.

With Gilles Peterson singing their praise and rave reviews from the likes of Wax Poetics, Record Collector and Songlines, last year, Nomade Orquestra’s self-titled debut album launched them from humble beginnings to international recognition.

The Brett Gold New York Jazz Orchestra Debuts with "Dreaming Big"

The June 16th release of Dreaming Big (GoldFox Records), which marks the recording debut of the Brett Gold New York Jazz Orchestra and features the compositions of Brett Gold, illuminates a most intriguing jazz odyssey.

A star trombonist in high school in his native Baltimore, Gold was steered away from a music career by his parents as well as his trombone teacher, of all people. Gold became an attorney and went on to achieve formidable success in the field of international and corporate tax law. But 25 years into his legal career, Gold changed course and reestablished contact with his musical muse.

Dreaming Big is remarkable not only for its very existence but also for the striking sounds it offers. A tour de force, the music ranges from 12-tone melodies to playful Monkisms to a stirring political statement. While the album introduces one of jazz's most challenging new instrumental voices, at the same time its warmth, humor, and accessibility convey an easy sophistication one would associate with an artist of far greater experience.

Gold enlisted first-call players from New York's jazz, studio, and Broadway scenes to produce the recording, including saxophonists Charles Pillow and Tim Ries, trumpeter Scott Wendholt, trombonist John Allred, bassist Phil Palombi, and drummer Scott Neumann.

Many jazz composers and arrangers, including Gold, cite Gil Evans and Bill Holman as influences. But Gold's affinity for the odd time-signature music of the late Don Ellis is reflected in a number of pieces on the CD. Among the compositions on Dreaming Big, the Middle Eastern-themed "Al-Andalus" (featuring a virtuosic turn by trumpeter Jon Owens) is partly in 11/4 and partly in 5/4. "That Latin Tinge" is a 7/4 mambo, not the usual time signature for a salsa piece. Even the fairly straightforward "Stella's Waltz" can trip someone up with its occasional judiciously placed bar of 5/4. And then there's "Nakba," the powerful 11-minute finale, which was composed partly with Gold's Moroccan sister-in-law in mind. The song is named after the Arabic word for "catastrophe," used by the Palestinians to describe the Arab-Israeli War of 1948. Featuring Ries on soprano saxophone, it traces the tragic history of the Israeli-Palestinian conflict.

Brett Gold "I found out that you can stop playing music, but it's still there circulating in your head," Gold says of the years when he was not involved in music full-time. After finishing high school a year early, he attended the University of Rochester as a double major in history and film studies (Magna Cum Laude and Phi Beta Kappa) and continued his music studies at the Eastman School of Music where he played with one of its nationally recognized jazz ensembles. But he soon placed his jazz activities on the back burner, earning a J.D. from Columbia University Law School (1980) and an LL.M in tax law from New York University Law School (1983).

When Gold returned to jazz, he had no problem coming up with ideas for compositions -- his brain was full of them -- but his sabbatical from music left him unprepared to execute those ideas both on paper and on his horn, which he hadn't touched in 10 years. He first sketched his pieces out and hired professional musicians to record demo-like CDs of them. Then, studying privately with distinguished teachers like Pete McGuinness, Neal Kirkwood, and David Berger, he learned how to write complex compositions for big band.

Eventually, in 2007, Gold was accepted into the esteemed BMI Jazz Composers Workshop, under the direction of Mike Abene, Jim McNeely, and Mike Holober. During his tenure there, he developed a book of more than two dozen arrangements, of which 11 of the best appear on Dreaming Big.

Brett Gold "As a member of BMI, I was pushed to write longer, more abstract orchestral pieces, something I resisted," he says. "Instead, I looked to the way Duke Ellington wrote for his band -- his best pieces were seldom more than three to five minutes long. I also admired his idea of writing for individual members of the band."

Over the years, Gold has absorbed and strongly personalized any number of influences, some more than just musical. A study in diminished chords featuring clarinets and flutes, "Theme from an Unfinished Film" reveals his debt to what he calls the "internalized lyricism" of movie composers such as Bernard Herrmann, David Raksin, and Ennio Morricone. The genesis of "Exit, Pursued by a Bear (Slow Drag Blues)" was Shakespeare's most famous stage direction. And "Al-Andalus" was originally inspired by the hopes raised by the Arab Spring.

Gold does not play in the trombone section on Dreaming Big. "I actually function a lot better in a dark room writing music," he says. The roles he plays on the new album are those of composer, arranger, producer -- and big dreamer. 

JACKIEM JOYNER is in a funky mood on new album MAIN STREET BEAT

Delivering on his promise to “Evolve,” the title of Jackiem Joyner’s last soul-jazz album, the saxophonist became a father since his 2014 release, an elation-inducing experience that informs the music he wrote and produced for his new Artistry Music set, “Main Street Beat,” due June 30. The first single from the funky, dance inspiring, Motown-influenced session that will be shipped to radio this month is the exultant “Trinity,” named for Joyner’s first child whose presence on the track is voiced by Steve Oliver’s incandescent acoustic guitar.

Joyner approached crafting “Main Street Beat” with a three-pronged purpose. “I wanted to create something upbeat, fun to listen to and something to dance to. ‘Main Street Beat’ originally started off as a straight funk record that eventually became some of that, but a whole lot more as I allowed the creative process to have its way with me,” said Joyner, a Billboard chart-topper who plays tenor, alto, soprano and baritone saxophone on the date, often enriching the tracks by laying layer upon layer of horns to form a powerhouse sax section.    

The exuberant album opener, “Main Street,” exemplifies the mighty wall-of-horns approach with Joyner playing lead harmonies on alto reinforced by his sax section. Instead of tracking individually, Joyner brought the band – drummer Raymond Johnson, bassist Darryl Williams, electric guitarist Kyle Bolden and piano player Carnell Harrell - into the studio to record six tracks old-school style, including “Back To Motown.” Nick Colionne guests on “When You Smile” to flash his cool electric jazz guitar on the infectious mid-tempo R&B cut. Taking his alto sax chops out for a strut, Joyner cranks up the band for a fiery funk romp down “Southside Boulevard,” one of three tunes that adds Nikolai Egorov’s trombone muscle to the horn section. On a pair of urban joints – “That Good Thing” and “Don’t Make Her Wait” – Joyner plays soprano sax. He takes full command on the stormy “Addicted,” playing every instrument heard on the moody number. “Think James Brown on tenor sax” is how Joyner describes the super funky “Get Down Street.” A pair of high-energy pop-R&B covers – Justin Timberlake’s “Can’t Stop The Feeling” and Bruno Mars’ “Treasure” – complete the outing, songs Joyner elected to record based upon their buoyant, positive nature, which he says mirrors his young  offspring’s personality.   

“My little girl played a huge role in inspiring this album. Having Trinity around during the writing process sparked an enormous font of creativity and really kicked my writing into high gear. The first single, named after her, really captures the excitement and joy of being a dad as well as the exciting little girl that she is. Trinity was right there in the studio during a lot of the writing process. Her jumpy and bouncy upbeat little self is really reflected on this album,” said Joyner, who will launch the record with June concerts in Cincinnati (June 9 at A Celebration of Black Music), Birmingham (June 11 at Jazz in the Park), San Diego (June 25 at Mediterranean’s Jazz and Supper Club) and Philadelphia (June 29 at South). 

The release of “Main Street Beat,” Joyner’s sixth album, coincides with his tenth anniversary as a recording artist. His 2007 debut “Babysoul” earned Debut Artist of the Year honors from Smooth Jazz News. Two years later, his sophomore set, “Lil Man Soul,” spawned two No. 1 singles on the Billboard chart and won the Song of the Year trophy for “I’m Waiting For You” from the American Smooth Jazz Awards. His self-titled 2010 album solidified his position as a consistent hit-maker. Revisiting his non-secular roots, Joyner issued the gospel-jazz “Church Boy” in 2012. “Evolve” placed his infectious melodies amidst futuristic electronic sonicscapes. Joyner’s music isn’t his only creative effort that ventured into extraterrestrial territory. Last year, the Norfolk, Virginia native who resides near Los Angeles authored his first book, the science fiction novel “Zarya: Cydnus Final Hope (Book 1). For more information, please visit www.JackiemJoyner.com.

“Main Street Beat” contains the following songs:

“Main Street”

“Back To Motown”

“Can’t Stop The Feeling”

“Trinity”

“When You Smile”

“Southside Boulevard”

“That Good Thing”

“Treasure”

“Addicted”

“Don’t Make Her Wait”

“Get Down Street”

Marley Family Celebrates 40th Anniversary Of Bob Marley & The Wailers' Classic "Exodus" With Four Separate Releases Out This June

Bob Marley & the Wailers' classic Exodus album, the ninth studio album of the band, was released on June 3, 1977, featuring a new backing band including brothers Carlton and Aston "Family Man" Barrett on drums and bass, Tyrone Downie on keyboards, Alvin "Seeco" Patterson on percussion, and the I Threes, Judy Mowatt, Marcia Griffiths and Rita Marley on backing vocals, and newest member Julian "Junior Marvin" on guitar. The album was released on June 3, 1977, just six months after an assassination attempt was made on Bob Marley's life in Jamaica in December, forcing him to flee to London, where Exodus was recorded.

This June, The Marley Family, Island Records and UMe will mark the 40th anniversary of Exodus – named the "Best Album of the 20th Century" by Time magazine in 1999 – with a series of four separate reissues, three of which will feature Exodus 40 - The Movement Continues, son Ziggy Marley's newly curated "restatement" of the original album. 

  

As part of the celebration, Ziggy Marley has intimately revisited the original session recordings, uncovering unused and never-before-heard vocals, lyric phrasing and instrumentation, incorporating and transforming these various elements into brand-new session takes.

On June 2, UMe will release a version of Exodus 40 - The Movement Continues in a two-CD package that includes the original album and the Ziggy Marley "restatement"; a three-CD set (and digital equivalent) that includes the original Exodus, Exodus 40 - The Movement Continues and Exodus Live. A limited edition gold vinyl version of the original 1977 album will also be available.

A Super Deluxe, four-LP, two-7" single vinyl version includes the original LP, Ziggy Marley's restatement Exodus 40 – The Movement Continues, an Exodus Live set recorded at London's Rainbow Theatre the week of the album's release, Punky Reggae Party LP which includes a previously unreleased extended mix of "Keep On Moving", and a pair of vinyl 7" singles, including "Waiting in Vain" b/w "Roots" and "Smile Jamaica (Part One)" b/w "Smile Jamaica (Part Two)." 

Ziggy approached the "restatement" project with the utmost respect for his father's music and the message. Exodus 40  - The Movement Continues is his vision of how his father might have accessed these songs today. Ziggy's respectful, but experimental approach places them in a brand-new context, like listening to this classic album again, for the first time.

Ziggy uncovered 10 lead vocal outtakes for "One Love," proceeding to piece together a dazzling, new lead vocal from the outtakes, which includes vocal booth lyric ad libs near the end of the song.  He also assembled a noteworthy roster of musicians to record a new music bed for "Turn Your Lights Down Low" - which leads the song into deeper elements of R&B. Bob's original vocals sit atop this fresh music bed, creating a new soulful experience with this iconic song.  Ziggy and his hand-chosen musicians provide subtle instrumental textures throughout this knowledgeable reimagining from the multiple Grammy® winning heir to his father's legacy.

Ziggy Marley will be embarking on a summer tour beginning June 12 in San Diego, CA.  In addition to his own lauded catalog, Ziggy will also be incorporating music from Exodus into his set. 

Bob Marley, a Rock and Roll Hall of Fame inductee, is notable not only as the man who put reggae on the global map, but, as a statesman in his native Jamaica, he famously brought together the country's warring factions. Today, Bob Marley remains one of the 20th century's most important and influential entertainment icons. Marley's lifestyle and music continue to inspire new generations as his legacy lives on through his music. In the digital era, he has the second-highest social media following of any posthumous celebrity, with the official Bob Marley Facebook page drawing more than 74 million fans, ranking it among the Top 20 of all Facebook pages and Top 10 among celebrity pages. Marley's music catalog has sold millions of albums worldwide. His iconic collection LEGEND holds the distinction of being the longest-charting album in the history of Billboard magazine's Catalog Albums chart and remains the world's best-selling reggae album. Marley's accolades include inductions into the Rock and Roll Hall of Fame (1994) and ASCAP Songwriters Hall of Fame (2010), a GRAMMY® Lifetime Achievement Award (2001), multiple entries in the GRAMMY® Hall Of Fame, and a star on the Hollywood Walk of Fame (2001). 

 

Legendary 1980 Diana Ross Album, 'diana -- the original CHIC mix', Gets Its First-Ever Vinyl Release, On Two-45rpm Discs

Sought after by collectors and considered the rarest of Motown's rare grooves, Diana Ross' diana – the original CHIC mix, made its long-awaited debut on vinyl on April 21, on Motown/UMe/UMGI, with a twist: it will be a double-LP set on pink vinyl at 45rpm for maximum fidelity. This edition of diana includes alternate-mix versions of such classics as "Upside Down" and "I'm Coming Out," as envisioned by Chic's Rock and Roll Hall Of Fame member Nile Rodgers and the late Bernard Edwards.

Following 1979's collaboration with Ashford & Simpson, which produced her hit "The Boss," Diana Ross sought a new sound and hired the hot Chic team of Rodgers and Edwards to compose, play on and produce her next release. But she and Motown were dissatisfied with the too-Chic-like results, a feeling supported by influential disc jockey Frankie Crocker, who warned Ross the record might fall prey to the disco backlash at the time. Ross turned to Motown's house engineer, Russ Terrana, the man behind her Supremes and solo hits and much more, and he proceeded to remix the entire album, using alternate vocals or placing her vocals more upfront, creating overall a smoother, "commercial" mix. "Our concept was to make it more avant-garde," Nile Rodgers later told writer Brian Chin, "and their concept was to make it a little bit more accessible." The revised diana, her tenth studio album, was released – with a striking, now iconic cover image – on May 22, 1980. 

  

Rodgers and Edwards were not informed and, protesting publicly, wished to take their names off the record. But they cooled off and saw "Upside Down" – Ross' own description to Rodgers and Edwards as to what she wanted to do to her career – emerge a #1 smash hit.

Subsequent singles included "I'm Coming Out," which went to #5 in the U.S. and became a LGBTQ anthem, while "My Old Piano," was a Top 5 hit in the U.K. The album peaked at #2 on the Billboard 200, selling nine million albums worldwide. Soon after Ross moved on to RCA Records in a then-record $20 million deal before returning to Motown in 1989.

Fans now get to hear for the first time on vinyl those original Chic mixes of diana, one of four albums the duo of Rodgers and Edwards produced that year, including Sister Sledge's Love Somebody Today, Sheila and B. Devotion's King of the World and their own studio album, Real People. Available on two pink vinyl 45rpm discs, diana – the original CHIC mix, incorporates tracks first heard on diana: deluxe edition, originally issued July 29, 2003.

diana – the original CHIC mix vinyl track listing

Side One 

1. "Upside Down" 

2. "Tenderness"

Side Two 

1. "Friend to Friend" 

2. "I'm Coming Out"

Side Three 

1. "Have Fun (Again)" 

2. "My Old Piano"

Side Four 

1. "Now That You're Gone" 

2. "Give Up"

International Jazz Day 2017 Worldwide Celebration Concludes With Extraordinary All-Star Global Concert, Hosted By Actor Will Smith, In Havana, Cuba

Following thousands of events taking place in over 190 countries, International Jazz Day 2017 culminated in a phenomenal concert streamed worldwide from Havana's historic Gran Teatro de La Habana Alicia Alonso. As the International Jazz Day 2017 Global Host City, the musically vibrant city of Havana also presented a wide range of concerts and education programs in partnership with Cuba's Ministry of Culture, the Cuban Institute of Music, and the Cuban National Commission for UNESCO. 

Established by the United Nations Educational, Scientific and Cultural Organization (UNESCO) in coordination with the Thelonious Monk Institute of Jazz, International Jazz Day is recognized on the official calendars of UNESCO and the United Nations. Each year on April 30, International Jazz Day highlights the role of jazz in promoting freedom, creativity and intercultural dialogue, and uniting people from all corners of the globe. Toyota served as Lead Partner of International Jazz Day 2017.

The Global Concert began with an all-star group of musicians from Cuba and around the world performing "Cuba Bop" and "Manteca" in tribute to the groundbreaking 1940s collaboration between Dizzy Gillespie and Chano Pozo that blended Afro-Cuban music and jazz. Acclaimed vocalist Cassandra Wilson performed her sultry composition "You Move Me" and Cuban trumpet virtuoso Julio Padrón played Freddie Hubbard's inventive "Byrdlike." Beloved Cuban vocalist Bobby Carcassés joined forces with master bassist and vocalist Richard Bona of Cameroon for a fiery rendition of the Latin jazz tune "Bilongo."

"Bésame Mucho" showcased the global influence of jazz, with pianists Youn Sun Nah (Republic of Korea) and Tarek Yamani (Lebanon); bassist Esperanza Spalding and violinist Regina Carter (United States); and drummer Antonio Sánchez (Mexico). To mark the centennial of jazz icon Thelonious Monk, legendary Cuban pianists Gonzalo Rubalcaba and Chucho Valdés gave a stunning performance of the classic "Blue Monk." The concert came to a exhilarating end with artists including pianist Herbie Hancock, bassist Marcus Miller, vocalists Kurt Elling and Ivan Lins, French guitarist Marc Antoine, and Cuban percussionists Yaroldi Abreu, Adel González, Ramsés Rodriguez and Oscar Valdés performing the John Lennon anthem "Imagine."

Vibist Terry Gibbs Comes Out of Retirement with New Album, 92 Years Young: Jammin' at the Gibbs House

Terry Gibbs is one of the LAST living legends from the Bebop Era. Part of the scene in 1940s, Terry played with everyone from the creators of Bebop, Charlie Parker, Dizzy Gillespie, Bud Powell and Max Roach. He then moved on to tour with legendaries Benny Goodman & Woody Herman. From there Gibbs went on to conduct TV Shows for pioneer talk show host Steve Allen and Regis Philbin. His 2004 autobiography GOOD VIBES: A Life in Jazz won the prestigious ASCAP Foundation Deems Taylor award. This is only a small summary of 92-year-old Terry Gibbs. Mr. Gibbs has come out of retirement only to make ONE MORE recording on Whaling City Sound and doing it in a jam session, the way he did back in the 1950s with Parker & Gillespie and all the great musicians of that era.

Throughout almost 80 years of playing and presenting music, exuberant vibraphonist and jazz icon Terry Gibbs, now 92, has always been known for the sheer joy that imbues his performances and CDs. On live recordings, he can be heard cheering the band on, punctuating arrangements and solos with non-verbal interjections. Even in the studio, the overall feeling of his band and his music is that life is a gas, a spirit very evident on 92 Years Young: Jammin' at the Gibbs House.

  

These songs were recorded live at a jam session in Terry's living room over 4 days in May 2016. Most tracks were done in a single take. Arrangements were discussed briefly just before playing, or not at all. There was no rehearsal. This kind of session knowhow is characteristic of Terry and not all that many others: name a song, play through it once into the mics, and move on. The entire band carries the seamlessness and continuity, which support the leader both comfortably and ably. Terry's son Gerry, a veteran drummer and leader with several #1 CDs of his own, has recorded with his 'Pops' a number of times, as has pianist John Campbell. Handling the bass in this company as if born to it is Mike Gurrola.

The vibes is a very physical instrument, and Terry makes it sparkle and groove. In the liner notes for the CD, vibraphonist Warren Wolf writes, "[Terry's] tone…is always recognizable, his speed and accuracy are rock solid and most important, the history of the music is heard throughout Jammin'.

Terry is one of the few musicians alive to have played in the formative years of bebop (Charlie Parker, Dizzy Gillespie) as well as with the King of Swing, Benny Goodman. For many years, Terry's quartet included a woman on piano (and vibes), something rare in those days.

 

NEW RELEASES: PATTI LABELLE – BEL HOMMAGE; JAMIE BRANCH – FLY OR DIE; EMANUELA CAMPANA - FORTISSIMO

PATTI LABELLE – BEL HOMMAGE

A great little jazz album from Patti Labelle – and that's right, we did say "jazz" and not soul – as the whole thing's got a wonderful old school style that really suits the singer's voice perfectly! There's a classic presentation to the record, but also one that's never trapped in cliched gimmicks – as the live jazz backing seems to unlock more spontaneity in Patti's vocals than we remember hearing in recent decades – as she takes each song and gives it a wonderful personal performance. The lady also mixes in some deeper bluesy currents to her phrasing, in a way you'd never expect from her 70s albums – and titles include "Jazz In You", "Moanin", "Moody's Mood", "Softly As I Leave You", "Peel Me A Grape", "I Can Cook", "Folks Who Live On The Hill", "Song For Old Lovers", and "Go To Hell".  ~ Dusty Groove

JAMIE BRANCH – FLY OR DIE

An incredible debut from trumpeter Jaimie Branch – an artist who seems ready to be one of the boldest new voices in jazz on the Chicago scene! Branch works here at a level that both lives up to an AACM legacy of experimentation, and the rich exploration in new jazz forms that we love from the International Anthem label – a short-lived imprint, but who who've really opened up a wider audiences for the best creative efforts from our home town! Branch's group here is great – with Tomeka Reid on cello, Jason Ajemian on bass, and Chad Taylor on drums – the last of whom brings his wonderfully loose, open, yet still-swinging style to play – and creates this magical flow that only seems to inspire Jaimie's bold trumpet work even more. The record is constantly creative, but deeply spiritual too – and also includes guest performances from Josh Berman on cornet and Matt Schneider on guitar. Titles include "Jump Off", "The Storm", "Waltzer", "Fly Or Die", "Leaves Of Glass", and "Meanwhile".  ~ Dusty Groove

EMANUELA CAMPANA - FORTISSIMO

A sweetly sultry singer – and one whose style will grab you nicely, even if you don't understand Italian! The style here is laidback and jazzy – with a warm glow that comes from some very well-crafted arrangements – sometimes with a bit of bossa in the rhythms, sometimes kind of a soulful 70s vibe – often very mellow, but in a way that lets the voice of Emanuela Campana really open up and glow! The set features a great remake of Morricone's classic "Metti Una Sera A Cena" – plus "D'Improvviso", "Cu'Mme", "Brividi", "El La Chiamano Estate (Papik disco rmx)", "All Around The World", and "La Voglia La Pazzia".  ~ Dusty Groove

GIANT STEPS MUSIC ANNOUNCES THEIR FIRST COMPILATION MUSIC ACTION ENSEMBLE – FOUNDATION

A love of jazz, learning and a determined passion to make a difference in other people’s lives can manifest itself in many different ways. For Drew Foxman, the choice was clear: he knew he wanted to create awareness via the world’s greatest method of connecting human beings—music. “Historically, slavery, oppression, forced migration, all played a prominent role in music’s evolution and in fact led to many of the western world’s music genres, especially jazz and reggae. Music has also been a huge catalyst in all the human rights movements—whether it’s the civil rights movement in the US, apartheid, the fall of the Eastern Bloc, or the Arab Spring.”

Foxman was reared on jazz, with his father one of the world’s foremost collectors of pre-bebop jazz, the musical background to Drew’s childhood. He played jazz piano, which took a backseat in his teen years, but was re-embraced after a friend gave him a copy of John Coltrane’s Giant Steps, which was a moment that “defined my personal and career trajectory ever since.” After living abroad playing music in Europe and teaching in Tibet, running the San Francisco Jazz Festival’s educational program at age 24, obtaining his Master’s degree from Columbia University, Drew has been working in the international social impact space. His work included running a cultural diplomacy project with the State Department for youth in India and Pakistan to create social responsibility and take action in their communities through music, dance, and theatre. These skills and experiences gave Drew the tools to Giant Steps, an establishment where music and social impact collide, putting together the best of both worlds.

The seed for Giant Steps was planted during one of Foxman’s final projects at San Francisco Jazz. Award-winning literary organization Youth Speaks commissioned SFJAZZ to write socially conscious music, so Foxman created an alumni program bringing together the most talented graduates from the SFJAZZ’s youth ensemble program to work with masters in composition and study social issues. The youth then worked together to compose music based on what they’d learned. The premiere performance sold out and was broadcasted live on KPFA.

Giant Steps became the natural progression to synthesize all of the work Foxman wanted to do. Giant Steps aims to build a field for “social impact music” where music can take its rightful place in society as a springboard for transformative change, “since music has been a huge catalyst in all the human rights movements.” As such, Giant Steps has launched Music Action Lab, a social impact incubator for musicians.  Comprised of a global network of musical innovators who work together to design solutions and create new music in service of a better world, their first project by the Music Action Ensemble will be released on May 12 in the form of a compilation called Foundation. Says Foxman, “Musicians around the world were invited to participate in the first Lab through an open call for submissions. Nine musicians were selected from a pool of 98 applicants across 22 countries through a highly competitive application process—based on their unique combination of artistic excellence, demonstration of community leadership, and social entrepreneurship potential. Each Lab culminates in one album of original material that will have a specially designed educational curriculum to teach and spread the message of the music. Through the Music Action Lab, Giant Steps Music is creating a catalogue of social action recordings through a new global musical language exclusively dedicated to social good.”

Once the Lab started, the musicians were immediately encouraged to be collaborative. They met every day for a half-day of social change leadership training through a unique curriculum where they learned from leading experts from the social impact sector. The second half of the day was spent in the band room to compose and rehearse, informed and inspired by the morning sessions through a leaderless, collaborative, creative process.

In just three weeks of composing, the result is ten boundary-breaking tracks, infusing hip-hop, Afropop, Pakistani folk, and Brazilian rhythms with jazz, contemporary, Arabic music and more.  Every song a collaboration, every song focusing on a position of change, be it how we see beauty, find love or explore the idea of self.  “Foundation is the result of this process of artistic and social innovation. We chose this title because the music explores and examines the shared human values that underlie and support social justice work,” says Foxman. “The album is about laying down the necessary foundation before launching full-throttle into social justice work and social movements.”

Music Action Ensemble - Players

Drew Foxman, Founder & Chief Creative Officer

Farhan Bogra, rubab, Pakistan

Teta, vocals, Rwanda

Aisha Fukushima, vocals, rap, USA/Japan

Amen Viana, guitar, vocals, Togo

Icaro Sá, percussion, Brazil

Derek Beckvold, saxophone, tabla, USA

Will Magid, trumpet, USA

Owen Clapp, bass, USA

Tyler Nam Berg, drums, USA

Foundation Track Listing

Sheen-Ghar

Beautiful

Dance Joint

Share

Run

Life

Build

L.o.v.e

King Cardamom

Release

NEW RELEASES: WES MONTGOMERY / WYNTON KELLY TRIO – SMOKIN’ IN SEATTLE: LIVE AT THE PENTHOUSE (1966); MAURICE BROWN – MOOD; NICOLE MITCHELL – MADORLA AWAKENING 2: EMERGING WORLDS

WES MONTGOMERY / WYNTON KELLY TRIO – SMOKIN’ IN SEATTLE: LIVE AT THE PENTHOUSE (1966) 

Previously unreleased live sets featuring jazz guitar icon Wes Montgomery with the swinging Wynton Kelly Trio featuring bassist Ron McClure & drummer Jimmy Cobb Recorded at Seattle's prestigious jazz club the Penthouse on April 14 and 21, 1966. Includes 40-page booklet featuring rare photos, essays by modern guitar icon Pat Metheny, Seattle Times writer Paul de Barros, Resonance producer Zev Feldman, original recording engineer Jim Wilke, plus interviews with NEA Jazz Master Kenny Barron, Jimmy Cobb & more! Tracks listing: 1. There Is No Greater Love (7:56); 2. Not a Tear (6:29); 3. Jingles (4:31); 4. What's New (4:51); 5. Blues in F (2:44); 6. Sir John (8:10); 7. If You Could See Me Now (5:54); 8. West Coast Blues (3:56); 9. O Morro Não Tem Vez (6:15); and 10. Oleo (2:08). Personnel:  Wes Mongtgomery – Guitar; Wynton Kelly – piano; Ron McClure – bass; and Jimmy Cobb – drums.

MAURICE BROWN – MOOD

Fantastic sounds from trumpeter Maurice Brown – a straight jazz player by training, but one who opens up here in a warmly soulful groove! The record bristles with loads of great keyboards from Kris Bowers – whose sound is as important to the album as Brown's trumpet – and the rhythms are played live, but have a nicely chunky quality that fits in well with the occasional vocal from Maurice – as well as guest vocal contributions from Talib Kweli, Chris Turner, and J Ivy! Most tracks also feature tenor from Chelsea Baratz – and the whole thing's got a nice groove that's maybe in the same electric territory as some of the more soul-drenched titles in recent years from Blue Note. Titles include "The Mood", "On My Way Home", "Stand Up","Moroccan Dancehall", "Shenanigans", "Capricorn Rising", and "Journey Exotique".  ~ Dusty Groove

NICOLE MITCHELL – MADORLA AWAKENING 2: EMERGING WORLDS

One of the deepest records we've ever heard from Nicole Mitchell – and that's saying a lot, given all her other fantastic albums! This richly-textured piece was first commissioned in honor of the 50th Anniversary of the AACM – that legendary jazz organization of which Mitchell is a part – and as a whole, it really demonstrates both the strong legacy of the group, and the farther territory it's reached over its decades-long span – music that has pushed past the initial moment of improvisation, through the AACM's standard of "great black music" as a replacement for classical – to the sorts of spiritual, cosmic sounds that Mitchell does so well. In addition to Nicole on flute and electronics, the group also features Avery R Young on vocals, Kojiro Umezaki on shakuhachi, Renee Baker on violin, Tatsu Aoki on bass and shamisen, Jovia Armstrong on percussion, Tomeka Reid on cello and banjo, and Alex Wing on electric guitar, oud, and theremin – a mix of instruments that is global in scope, electric and acoustic, and really used to effortlessly express the spiritual vision of Mitchell. The notes go into great detail about the thoughts and inspiration behind the music – and titles include "Egoes War", "The Chalice", "Dance Of Many Hands", "Listening Embrace", "Forestwall Timewalk", "Staircase Struggle", "Shiny Divider", "Timewrap", and "Mandorla Island".  ~ Dusty Groove

THE RHYTHM OF RIO, THE SWAGGER OF SINATRA: CELEBRATED GUITARIST AND SINGER JOHN PIZZARELLI REVISITS A BOSSA NOVA CLASSIC AT 50

Two of John Pizzarelli’s greatest influences, Frank Sinatra and the bossa nova composer Antonio Carlos Jobim, joined forces in 1967 to present a softer, sultrier side of Sinatra on the heels of “That’s Life” and “Strangers in the Night.” Half a century later, John Pizzarelli is celebrating that unique gathering with his July 28, 2017 Concord Jazz release Sinatra & Jobim @ 50.

Sinatraphiles consider the 1967 album Francis Albert Sinatra & Antonio Carlos Jobim one of Frank’s greatest, a meeting that found Frank in an out-of-character setting. Yet he delivered a commanding and understated performance over Jobim’s gentle rhythms and Claus Ogerman’s strings. With Sinatra & Jobim @ 50, Pizzarelli pays tribute to those original recordings, enhancing that collection with two originals, Michael Frank’s ode to Jobim and songs that Sinatra and Jobim recorded at a 1969 session.

“Jobim was such a big influence on me in the 1980s—what I was hearing, then translating and what I was taking away from it,” John says. “A lot of what we did on this record, the medleys and the arrangements for the new songs, come out of what they did on their album and the influence they have had on my music.”

Jobim’s grandson, Daniel Jobim, is John’s duet partner on the Jobim classics Sinatra and Jobim recorded together: “Agua de Beber,” “Bonita,” “This Happy Madness (Estrada Branca)” and “Dindi,” plus a medley of “Meditation” and “Quiet Night of Quiet Stars.” They also cover the standards from the 1967 LP, “Baubles, Bangles & Beads” and a medley of “Change Partners” with Jobim’s “If You Never Come to Me” plus Cole Porter’s “I Concentrate on You,” which is paired with Jobim’s “Wave.”

Pizzarelli & company also perform Jobim’s “Two Kites,” Michael Frank’s song about Daniel’s grandfather, “Antonio’s Song” and two Pizzarelli-Jessica Molaskey originals, “She’s So Sensitive” and “Canto Casual.”

Each is interpreted with a tip of the cap to the 1967 album and bossa nova in general: The intro to “She’s So Sensitive” is taken from Jobim’s “How Insensitive”; John added a João Gilberto guitar lick to his “Canto Casual”; and the end of “Antonio’s Song” is the vocal line to “The Girl From Ipanema.”

“They’re just little riffs I wanted to have in there,” John says.

The idea for Sinatra & Jobim @ 50 sprang up after Pizzarelli and his quartet had a successful string of shows in Brazil in June 2016. One of those shows fell on the birthday of guitarist João Gilberto, whose legendary recording of “The Girl From Ipanema” with Stan Getz made bossa nova a global sensation in 1964. John says his 2004 record Bossa Nova was in many ways a tribute to Gilberto.

“My manager said you should think about making another Brazilian record and I looked around at what would make sense in terms of an anniversary,” says Pizzarelli, who spent much of 2015 and ’16 honoring Sinatra’s centennial with a Frank-centric touring show. “I looked around and noticed Sinatra-Jobim was going to be 50. I thought I’ll call Daniel and ask, ‘you want to do this?’ It could be fun.”

The two had already worked together during John’s annual spring runs at New York’s Café Carlyle. (Drummer Duduka Da Fonseca and piano player Helio Alves, who appear on the album, also performed with them at the Carlyle). The set list came together easily and Jobim sent Pizzarelli outtakes from the sessions from 50 years earlier for research purposes. And like that album, the new one was recorded in three days.

“We did the tracks in two days and Daniel had all his parts in,” John says. “The hardest one was ‘Two Kites.’  My father’s on that record by Jobim”—1980’s Terra Brasilis—“so I thought we had to do that.”

“The idea behind the extra songs was ‘what if their relationship had continued?’ Our relationship, Daniel and mine, made me feel we could add these other songs in there and put our little stamp on it.”

Sinatra and Jobim recorded 10 songs in early 1967 and in April it peaked at No. 19 during a 28-week run on the Billboard chart, eventually receiving a GRAMMY nomination for Album of the Year. Two years and four Sinatra albums later, they reunited, replacing Ogerman with Eumir Deodato and recorded another 10 tracks. Sinatra didn’t care for the way he sounded at those sessions and had Sinatra-Jobim killed at the 11th hour; seven of its tracks were on Sinatra & Company in 1971 and the final three first appeared on Concord’s 2010 release The Complete Reprise Recordings.

“It’s a great record, recorded well. Claus Ogerman gives it a unique sound,” John says. “It’s a beautiful singular idea.”

Stylistically, Sinatra & Jobim @ 50 was not as much a stretch for Pizzarelli as it was for Sinatra. Adding to his confidence in the studio was a secret weapon in the band.

“I said to our bassist Mike Karne, ‘if Duduka is frowning, you’re in a bad place. When something’s going good, Duduka will let you know.’ You always want the Brazilians to let you know you’re doing it right. He seemed to always know which takes got the feeling right.”

CONCORD MUSIC GROUP AND RHINO ENTERTAINMENT ANNOUNCE CAMPAIGN TO CELEBRATE STAX RECORDS’ 60TH ANNIVERSARY

Concord Music Group and Rhino Entertainment, Warner Music Group’s catalog division, are proud to announce a joint campaign celebrating the 60th anniversary of iconic soul label, Stax Records. This unique partnership marks the first marketing collaboration of the Stax recordings which have been divided since Atlantic Records split with Stax Records in 1967.  

Honoring historic Soulsville, USA in Memphis, TN, curated collections of some of the greatest Stax music will be released on new hits compilations, vinyl LPs, digital hi-resolution remasters and deluxe boxed sets. These releases will showcase timeless Stax hits, plus rare tracks from many of the label’s legendary artists including Otis Redding, Booker T & the MGs, Isaac Hayes, The Staple Singers, Carla Thomas, Rufus Thomas, Johnnie Taylor, Eddie Floyd, William Bell, Sam & Dave, Albert King, Mable John, The Mad Lads and many more.

The collaboration between Rhino and Concord will kick off with the May 19th launch of the Stax Classics series -- announced exclusively on Rolling Stone (4/26) -- which consists of ten wallet-friendly collections, each highlighting one of the label’s biggest stars with 12 choice tracks and insightful new liner notes. Available on CD and at all digital retailers and streaming services, these albums will celebrate the prolific Stax careers of Otis Redding, William Bell, Johnnie Taylor, Carla Thomas, Booker T & The MGs, The Dramatics, Albert King, Sam & Dave, Isaac Hayes and The Staple Singers.

Throughout the year, both Concord and Rhino will reissue a variety of iconic Stax albums on vinyl, including a 50th anniversary pressing of Otis Redding and Carla Thomas’ King & Queen (Rhino), Melvin Van Peebles’ soundtrack to the groundbreaking Sweet Sweetback’s Baadasssss Song (Concord), rarity John Gary Williams from The Mad Lads front man (Concord) and Otis Redding’s 1965 classic The Great Otis Redding Sings Soul Ballads (Rhino). Also, the forthcoming 4-CD anthology Isaac Hayes: The Spirit of Memphis (1962-1976) will be released in August, 2017 to coincide with the multitalented artist’s 75th birth anniversary. In addition, both labels will collaborate on a three-CD Stax 60th set, plus a new installment in the critically acclaimed Complete Stax Singles boxed set series. Volume Four will focus on the diverse nature of the label’s catalog, featuring singles released not only on Stax and Volt, but also Enterprise, Hip, Chalice, Gospel Truth and more. Both Rhino and Concord will also continue an overhaul of digital releases, re-delivering a handful of popular titles in high-resolution and Mastered for iTunes formats, as well as making many albums available to streaming and digital services for the first time.

This soulful partnership marks a special moment in history for the label, and both Rhino and Concord are proud to have the opportunity to collaborate after nearly 50 years. “The Stax catalog features some of the greatest and most culturally significant albums and singles of all time and continues to resonate with music fans 60 years later,” says Mark Pinkus, President of Rhino Entertainment. “We are thrilled to be partnering with Concord’s team on a wide array of new releases fitting of such an important moment in the Stax legacy.”

Sig Sigworth, Chief Catalog Officer of Concord Bicycle Music, Concord Music Group’s mother company, also notes that “Stax has a great history of bringing people together—songwriters, musicians, singers and fans from around the world.  It’s in this same tradition that we are very pleased to work with Mark and his team to bring together both sides of this incredible catalog while celebrating 60 years of Soulsville, USA.”

Founded in 1957 by Memphis banker and fiddle player Jim Stewart, the Memphis label was a labor of love for Stewart, who oversaw operations initially with his sister Estelle Axton and then associate Al Bell. “On the anniversary of Stax Records’ 60th, this Concord/Rhino collaboration signals the beginning of the end of a bitter-sweet relationship between Stax and Atlantic,” says Stewart. “It’s long-overdue and a good omen for the unending popularity of the very best of Memphis Soul music.” “Stax Records,” Mr. Stewart continues, “was my baby.  Stax music was and always will be inspirational. I am so pleased that the music we created and recorded at Stax is still being discovered, and it continues to reside in the hearts of devotees everywhere that know the joy and power of ‘real’ music.”

Stewart and Axton, who changed the name of the label from Satellite Records to Stax in 1960, soon had a self-contained soul music powerhouse, complete with its own recording studio, a growing staff of A&R personnel, songwriters, producers, an inimitable house band, as well as Stax Publicist, Deanie Parker, who continues to fortify the legacy of Stax in Soulsville, USA. “Through the Stax Museum of American Soul Music, the label’s rich musical and cultural history can be studied, felt and enjoyed,” Parker offers. “Stax’s iconic hits and artists come to life through students at the Stax Music Academy and live on thanks to The Soulsville Charter School. And now, partners Concord and Rhino are unleashing some of the first R&B songs from the womb of Stax Records—music that we’ve grown up loving for more than half a century. It’s free at last,” Parker adds.

During its 15-year run, Stax released more than 800 singles and nearly 300 LPs, winning eight GRAMMY® Awards, plus an Academy Award along the way. The label placed more than 167 hit songs in the Top 100 pop charts, and a staggering 243 hits in the Top 100 R&B charts. Today, the original site of Stax Records is home to The Soulsville Foundation, which operates the multi-million dollar campus that houses the Stax Museum of American Soul Music, as well as the Stax Music Academy and The Soulsville Charter School, both of which serve primarily at-risk, inner-city youth. The Soulsville Foundation aims to impart the spirit and soul upon which Stax Records was founded: using the power of music and opportunity to shape a young person’s life, rebuild a community and keep valuable history alive forever.

 

NEW RELEASES: QUINCY JONES - THE CINEMA OF QUINCY JONES; ERIC ROBERSON – EARTH; CHRISTIAN SANDS - REACH

QUINCY JONES - THE CINEMA OF QUINCY JONES

A much-needed look at an overlooked side of the genius of Quincy Jones – not his jazz work, not his productions for famous soul artists, but instead his huge legacy of soundtrack material – a part of Q's career that really took off in the 60s! By the time he started working in films, Jones had already had a decade under his belt as one of the hippest arrangers, leaders, and composers in jazz – and the film business really respected those talents, and allowed Quincy to bring some really fresh styles into play – modes that really opened up the vibe of American cinema, and also paved the way for the funky styles of the 70s! As that decade approached, Jones left behind the cinema to take on some more higher-profile records of his own – but all the charms of those great albums can be found here at their roots – in this stunning collection of soundtrack material, some of which has never been on CD. The package is way more than just a sampler – and includes an album's worth of material from the films The Pawnbroker, Slender Thread, Mirage, The Deadly Affair, In The Heat Of The Night, In Cold Blood, Walk Don't Run, The Italian Job, Lost Man, and John & Mary – plus two versions of the love theme from The Getaway, and a bonus CD with 18 tracks – titled Q's highlights, and featuring tracks from his Mercury records – plus more by Billy Preston, Arthur Prysock, Bill Cosby, Shirley Horn, Letta Mbulu, Toots Thielemans, and others. Even features the "Sanford & Son" and "Ironside" themes! ~ Dusty Groove

ERIC ROBERSON – EARTH

Fantastic sounds from Eric Roberson – one of the best contemporary soul singers of the past decade or two – and an artist who never fails to blow us away with his music! This time around, Roberson is even more positive and upbeat than ever – both in his lyrics, which have always had such strength, and in the construction of his songs – which have this completely captivating quality right from the start, and make us wonder, once again, why Eric isn't one of the bigger soul stars around the globe! The album's only an EP – with a total of 6 songs, one with Glenn Lewis – but it delivers a level of satisfaction that blows away most of his mainstream contemporaries. Titles include "Looking For", "Million Dollars", "Dreams Don't Have Deadlines", "The Hospital Song", and "Superman". ~ Dusty Groove

CHRISTIAN SANDS - REACH

Christian Sands is a mighty warm piano player – a musician who's clearly got a great reach and range on the keyboard, but always comes across with a very personal, spontaneous sort of vibe! Sands could clearly overstate his case if he wanted – but he's also one of those pianists who know just how to hang back in the right way – letting the space around the notes do just as much work as the notes themselves – in a beautifully-linked core trio that includes Yasushi Nakamura on bass and Marcus Baylor on drums. Other elements come into the music at times – tenor and bass clarinet from Marcus Strickland, guitar from Gilad Hekselman, and percussion from Cristian Rivera – but it's the core cohesion of the trio that really makes the record sparkle – a fantastic setting for Sands' well-timed, well-chosen notes. Titles include "Song Of The Rainbow People", "Armando's Song", "Gangstalude", "Use Me", "Reaching For The Sun", "Freefall", and "Oyeme". ~  Dusty Groove

NEW RELEASES: VANESSA FARLEY – ONE LAST MEMORY; PEOPLE’S CHOICE – JAMMIN’ PHILLY STYLE; BOBBY WATSON – MADE IN AMERICA

VANESSA FARLEY – ONE LAST MEMORY

Vanessa Farley may be a relatively obscure soul singer from New Jersey – but she sings here with a sophisticated style that's like the best female artists on the 70s Philly scene! Vanessa is the cousin of Phyllis Hyman, and definitely has an influence from that side of the spectrum – but we also hear echoes of some of the Philly International work of Jean Carn, and maybe even The Jones Girls in the way the tunes are put together. The production and instrumentation is great – very classic overall, as is the structure of the songs – and titles include "Shake It Up Tonight", "I'm Not Waiting", "I'm In Love Again", "Someday We'll All Be Free", "No One Can Love You More Than I", "I'm Hurtin Deep Down Inside", and "When You Coming Home". ~ Dusty Groove

PEOPLE’S CHOICE – JAMMIN’ PHILLY STYLE

The long-overdue return of People's Choice – a great Philly group who gave us some killer funky 45s in the late 60s, then moved towards more of a clubby groove in the following decade! The sound here is much more in that later vibe by the group – produced and arranged by Butch Ingram, who works the right sort of studio magic to make these guys sound surprisingly youthful overall and really strip down to the funky core of their sound! The group handles most of the instrumentation on the rhythms, and also does a great job of trading vocal lines back and forth – which really opens up the more party-hearty side of their sound – on cuts that include "Let's Groove", "Jammin Philly Style", "Party Is A Groovy Thing", "Do It Any Way You Wanna", "Nursery Rhymes", "TSOP", "I Wanna Know Your Name", and "Jam Jam Jam". ~ Dusty Groove

BOBBY WATSON – MADE IN AMERICA

A fantastic set from one of our all-time favorite saxophonists – a musician who gave us a flurry of wonderful albums in the 80s and 90s, but hasn't graced the record racks as much in recent years! Fortunately, Bobby Watson's lost none of his charms at all – and really sounds beautiful here in some very familiar company – the trio of bassist Curtis Lundy, one of Watson's first important musical partners – which also features Stephen Scott on piano and Lewis Nash on drums! The group's got every bit of the soulful swing that you might expect – and Watson soars out with those sublime note on alto sax that we first fell in love with when he was part of the Jazz Messengers in the 70s. The material is very fresh too – as the set includes loads of originals by Bobby – reminding us again what a hell of a writer he can be – on titles that include "The Aviator", "The Cyclist", "The Goat", "The Luckey", "The Real Lone Ranger", "The Butterfly", and "The Guitarist". ~ Dusty Groove

BLUE NOTE JAZZ FESTIVAL ANNOUNCES 2017 LINEUP

Pat Metheny, Dr. John, Robert Glasper Experiment, The Isley Brothers, Laura Mvula, Kool & The Gang, Jerry Lee Lewis, Jacob Collier, Hiromi, Eddie Palmieri, Cassandra Wilson, Dirty Dozen Brass Band, McCoy Tyner, Incognito, Jean-Luc Ponty, Henry Butler, Terence Blanchard, The Hot Sardines, Dayme Arocena & More: June 1-30 throughout New York City

New York, NY - April 25, 2017 - With over 100 events in 10 venues throughout New York City, the 2017 Blue Note Jazz Festival returns June 1 through 30.

The seventh annual festival will feature a diverse lineup of high-profile artists including music legends Pat Metheny, Dr. John, and Jerry Lee Lewis; iconic groups such as The Isley Brothers, Kool & The Gang, Dirty Dozen Brass Band, and Incognito; jazz staples Hiromi, Eddie Palmieri (currently in residency at Subrosa NYC through August), Cassandra Wilson, and McCoy Tyner; breakout artists Jacob Collier, The Hot Sardines (month-long residency at Blue Note Jazz Club), and Dayme Arocena; as well as two special Central Park SummerStage shows featuring Laura Mvula (with Taylor McFerrin & Marcus Gilmore and Introducing Blue Lab Beats - Presented by Jill Newman Productions) and the Robert Glasper Experiment (with Phony Ppl plus Tank and the Bangas); and many more.

Established in 2011, the Blue Note Jazz Festival was initially formed to celebrate the 30th anniversary of Greenwich Village's iconic Blue Note Jazz Club. Presented by Blue Note Entertainment Group, which owns and operates the venue lineup of Blue Note Jazz Club, B.B. King Blues Club & Grill, Highline Ballroom, Subrosa NYC (located in the Meatpacking District), and Lucille's Grill, the festival has quickly grown into an annual 30-day event, emerging as the city's largest jazz festival, with each venue offering its own unique cultural contribution to the New York City musical landscape. Additional festival venues and co-presenters this year include Beacon Theatre, Kings Theatre, The Town Hall, Central Park SummerStage, and Jill Newman Productions.

Additional headliners at Blue Note Jazz Club, B.B. King Blues Club, Highline Ballroom, and Subrosa include Michel Camilo, Danilo Pérez/John Patitucci/Brian Blade Trio, Candy Dulfer, Robert Cray, Valerie Simpson, Gary U.S. Bonds, Pedrito Martinez, Bria Skonberg, and The Williamsburg Salsa Orchestra, among others to be announced.