NEW RELEASES: MAD MATS PRESENTS DIGGING BEYOND THE CRATES; FTG PRESENTS THE VAULTS VOL. 2; ONE WAY GLASS – DANCEFLOOR PROG, BRIT JAZZ & FUNKY FOLK 1968-1975

MAD MATS PRESENTS DIGGING BEYOND THE CRATES

Mad Mats is not only digging beyond the crates here, he's also digging beyond any conventional expectations you might have – as the set's got a unique vibe that may well make it one of the most compelling BBE compilations in years! The music is from the late 60s through the present – but it all comes together in a very future-sounding way – with rhythms that are often offbeat, electric elements that seem to crackle with independent energy, and vocals that can fall down in the mix one minute and burst forth the next! This isn't a dance music compilation, and it's also not a set of rare funk tracks either – and instead, Mats creates his own very personal journey in sound – heedless of time periods, genres, and often national boundaries. Titles include "Take A Stand" by Psalms, "Big Big Boss" by Johnny Moore, "Badly" by Cuthead, "Sherriff (Murlo rmx)" by Gappy Ranks, "Keep The Music Alive" by Yvonne Gray, "Evil Woman" by Bobby Hebb, "Jazz In Outer Space" by BSTC, "The Traveller" by Deft, "Space Based" by Mode M, "Don't Hold Back The Feeling (key trip dub)" by U N I, "Animations" by Intimate Disco, and "Jah I See You" by Ensemble Entendu.  ~  Dusty Groove

FTG PRESENTS THE VAULTS VOL. 2 (3-CD SET)

A huge amount of great work from the FTG label – one of the most trustworthy soul reissues on the CD market! FTG has reissued lots of 70s and 80s classics over the past decade or so, often with lots of bonus tracks – a fair bit of which are included here, as many selections are remixes or singles, and lots more are reissued from the new versions on their CDs! The 3CD set features 48 tracks in all – a hell of a deal – and titles include "Sugar Free (DEO radio rmx)" by Juicy, "Your Personal Touch (dance version)" by Evelyn King, "Closer Than Friends (12" version)" by Surface, "Automatic (12" rmx)" by The Pointer Sisters, "Use It Up Wear It Out (edit)" by Odyssey, "I'm So Excited (ext version)" by The Pointer Sisters, "Let's Groove (special rmx holiday version)" by Earth Wind & Fire, "Give It Up (12" version)" by KC & The Sunshine Band, "Rockit (12" version)" by Herbie Hancock, "Slip N Slide (7" version)" by Roy Ayers, "Betcha By Golly Wow (7" version)" by Norman Connors, "I Do Love You (7" version)" by GQ, "Begin The Beguine (disco version)" by Johnny Mathis, "Gangsters Of The Groove (UK 12")" by Heatwave, "This Is It (12" version)" by Melba Moore, "Rock The Boat" by Hues Corporation, "Insatiable Woman (12" version)" by Isley Jasper Isley, "You Are My Everything (ext version)" by Surface, "No One In The World (alt version)" by Dionne Warick, "Help Yourself To My Love (12" version)" by Kashif, and "Hi How Ya Doin (gravity mix)" by Kenny G. ~ Dusty Groove

ONE WAY GLASS – DANCEFLOOR PROG, BRIT JAZZ & FUNKY FOLK 1968-1975 (3-CD SET)

One of the coolest collections of grooves you might ever hope to own – a batch of tracks that come from the unlikely prog underground in the UK – but which are full of heavy basslines, riffing guitars, and funky drums! A few years earlier, the UK scene was in love with American soul and blues – which came through in famous straighter recordings of those modes overseas – but by the time of these tracks, the scene had really found its own vibe – stretching out in ways that were famously filled-out, yet still influenced strongly by more soulful modes in all the right ways! The result is a wonderful blend of soaring instrumentation, sometimes trippy production, and very groovy rhythms – sort of the hybrid that you were getting in America by groups like Chicago or Santana, but served up here by some much more obscure underground acts. The 3CD set is a fantastic overview of this wonderful moment – and features 58 tracks, along with a big booklet of notes. Titles include "The Bitch" by Gasoline Band, "Somethin You Got" by Second Hand, "Home Is Where I Belong" by Quicksand, "He's Gonna Step On You Again" by John Kongos, "Bad Times" by Paladin, "Travelling Like A Gypsy" by Hanson, "I'm A Thief" by Juicy Lucy, "So Many People" by Skin Alley, "3D Mona Lisa" by Paul Brett Sage, "One Way Glass" by Trifle, "Wake Up My Children" by Siren, "The Devil Made Me Do It" by Curtis Knight Zeus, "Drinking My Wine" by Hardin & York, "Little Message" by Jody Grind, "Eyeballs" by Blue Mink, "Celebration" by Chillum, "Weren't Born A Man" by Dana Gillespie, "I Saw An Angel" by Pentangle, "Libel" by Hard Stuff, "Pigs Foot" by Pesky Gee, "I'm A Man" by The Web, and "Indian Rope Man" by Noir.  ~ Dusty Groove

NEW MUSIC: SHEILA E. – ICONIC: MESSAGE 4 AMERICA; HIDE & SEEK VOLUME 1 – COMPILED BY FOREIGN EXCHANGE; GEORGE FREEMAN-MIKE ALLEMANA ORGAN QUARTET WITH BERNARD PURDIE = LIVE AT THE GREEN MILL

SHEILA E. – ICONIC: MESSAGE 4 AMERICA

2017 release. Iconic Message 4 America features collaborations with Ringo Starr, Freddy Stone, George Clinton and many others. One of life's constants for Sheila E. comes down to a simple phrase: follow the beat. And her impeccable inner rhythm is the pulse behind a trailblazing career that still knows no bounds. World-class drummer and percussionist whose credits read like chapters in a music history book: Ringo Starr. Marvin Gaye, Prince, Beyoncé, Herbie Hancock, Diana Ross, Lionel Richie, Gloria Estefan and George Duke. Grammy Award-nominated singer/songwriter behind the seminal hits "The Glamorous Life" and "A Love Bizarre." Sheila is a fearless multi-instrumentalist, as well as an actress, mentor, and philanthropist. Includes: America; Blackbird; Come Together; Everyday People; National Anthem; Jesus Children of America; Inner City Blues / Trouble Man; One Nation / Mothership;  Connection; Pusherman; James Brown Medley; What the World Needs Now; and Yes We Can, Can.

HIDE & SEEK VOLUME 1 – COMPILED BY FOREIGN EXCHANGE

The duo of Phonte and Nicolay have been giving us great music for many years – and here, they serve up a special selection of their favorite tracks from recent years – all with the warm glow and soulful currents we've always loved from the Reel People label! The set features two Foreign Exchange tracks, mixed with a equally-wonderful assortment of gems from the contemporary soul underground – work that shows that there's always plenty to discover if you know where to look and listen. There's a fair bit of tracks here we'd never heard before – further proof of the magical ears of Foreign Exchange – and titles include "Close To You" by Art Nap, "Future" by Echelon The Seeker, "Without A Doubt" by Gwen Bunn, "Somebody In My World" by Muhsinah, "Just Whatcha Like (David Harness voc mix)" by Zo with Joie, "Good For Me" by Tamisha Waden, "Tonight We Ride" by DJ Spinna with Phonte, "Role Play" by Leron Thomas with Bilal, and the tracks "Shelter" and "Asking For A Friend (Stro Elliot's roller rink rework)" by Foreign Exchange. ~ Dusty Groove

GEORGE FREEMAN-MIKE ALLEMANA ORGAN QUARTET WITH BERNARD PURDIE = LIVE AT THE GREEN MILL

A fantastic live album from the legendary jazz Chicago guitarist George Freeman – working here in co-leadership with younger guitar talent Mike Allemana, who was in the combo of George's late brother, saxophonist Von Freeman! The twin-guitar set has a searing old school vibe – like some lost Hammond date from the 60s east coast club scene – with Pete Benson on the organ, and the mighty Bernard Purdie on drums! George's tone is wonderful after all these years – that raw style first inherited from T Bone Walker, but turned towards jazz in 60s work with Groove Holmes and other leaders – nicely contrasted with some of the more chromatic hues of Allemana's music. Most tracks are nice and long – all by George, too – and titles include "The Big Finish", "Happy Fingers", "Perfume", "Home Grown Tomatoes", and "Let The Drummer Speak". (Includes download.) ~ Dusty Groove

THE ANDY TOLMAN CARTEL - CYPHER

For decades, if you wanted to listen to great music all you needed to do was stare at a screen! TV and film soundtracks were often the work of US legends such as Lalo Schiffrin, Oliver Nelson & Quincy Jones, and their Uk counterparts Ronnie Hazelhurst and Alan Hawkshaw, provided the soundtrack to the 60's & 70's at a time when film and TV music was unashamedly funky and featured the ensemble of choice for the jazz arranger.. the big band!

A 21st century musician wit comparable skills is Andy Tolman - an astounding bass player, but also highly adept at writing & arranging for a big band and who is heavily influenced by those greatest practitioners of the art. Andy met to Nick van Gelder (the original Jamiroquai drummer) and keyboard guru Carl Hudson whilst doing a run of gigs backing artists like Leon Ware and Jean Carne. Andy played Nick You What! and he asked if he could lay a drum track down and at around the same time Carl offered his services on the record also. Nick went on to drum on the entire album and produce the recordings too.

At the tail end of 2011, when Freestyle Records A&R man Greg Boramans' compilation 'Sounds From The Soul Underground' was released the glorious noise of The Andy Tolman Cartel first came to public attention. The amazing track You What! had one foot in jazz-funk & the other in film & TV themes of the 60's and 70's, found champions in Jazz FM's Peter Young and BBC 6 Musics Craig Charles who both featured it on their radio shows heavily.

Andy himself takes up the story; After You What! found it's way onto Gregs' compilation he asked me how many more tracks I had, I kind of lied (sorry Greg!) and said a whole albums worth. Having shot my mouth off I thought I had better set about delivering… a daunting prospect, and a promise I probably wouldn't have made had I been sober at the time. So I called upon the services of some of the amazing musicians I have worked with over the past few years. Move Over was the first song I heard Jo Harman sing and Stevie Watts award winning Hammond organ playing seemed like a natural fit too.

'Cypher' is indeed the perfect example of a natural fit of like minded musicians and their natural talents and the delightfully natural sound of a big band cutting loose that has not been heard for a long time making a welcome and long overdue return.

LYAMBIKO - LOVE LETTERS

A box of love letters, rediscovered by accident, has inspired Germany’s most successful female Jazz singer Lyambiko to write some new songs and to take a fresh look at such jazz standards as Close Your Eyes and Stardust.

 “Yes, last night I dreamt of you again. I no longer know what it was, unfortunately, but I awoke filled with joy. Indeed, even during the day, whenever my thoughts can flee my work they are with you. Past things and future things hover around me – blissful thoughts of love.”

No, these aren’t the lyrics of a song. They come from a love letter written in 1934 by the grandfather-in-law of Lyambiko, a German jazz singer living in Switzerland. Her two most recent albums, Lyambiko Sings Gershwin (2012) and Muse (2015), amply demonstrate that this winner of the Echo Prize loves to weave a common theme through the songs on her albums. The inspiration for Love Letters came from a box of love letters rediscovered by accident in the attic of her husband’s parental home. Separated from 1933 to 1944 by distant jobs, and ultimately by the Second World War, it was often only by letter that his grandparents could maintain contact, reassure each other of their love and exchange information on their everyday lives.

“I devoured these letters in the space of a few days”, Lyambiko recalls. “It was like reading a novel.” While reading them she lit on the idea of Love Letters: “I began to compare those bygone days with the present. This brought together the levels of old and new, and it made me want to record some old songs which I imagined she might have sung to herself when she thought of him. Plus, I wanted to write some new songs better suited to myself.”

The result is a mixture of original songs and such classics as Close Your Eyes, Stardust and Someday My Prince Will Come, songs which tell entirely new stories when heard in the context of the letters. With great empathy she weaves the oldies and the new songs into a coherent whole that describes this most old-fashioned yet up-to-date of emotions on two different temporal levels, but without applying a patina of nostalgia.

Together with Martin Auer (trumpet), Marque Lowenthal (piano), Robin Draganic (bass) and Tilman Person (drums), Lyambiko successfully brings off the rare feat of making the mysterious sparks of a vanished world audible to today’s listeners. She delves into each song with full commitment while keeping herself as far as possible in the background.

Love Letters is a timeless riposte to the evanescence of Twitter and Facebook, a feeling transformed into sound, and a highly personal journey through time – with a return ticket.

COURTNEY PINES - BLACK NOTES FROM THE DEEP

No musician embodies more the dramatic transformation in the British jazz scene over the past thirty years than Courtney Pine. His debut album, Journey To The Urge Within in 1987, was the first serious jazz album ever to make the British Top 40, notching up sales to qualify for a silver disc.

Aside from being the preeminent figure in the resurgence of British jazz, Courtney became a renowned presenter and broadcaster, best known for his long running radio show for BBC Radio 2, 'Jazz Crusade'. He was also awarded an O.B.E in the 2000 New Year's Honours, and was also made a C.B.E in 2009 for services to Music.

As an artist always looking to work outside of, and across established musical genres, it is easier to list the musicians and artists he hasn't worked with, and styles he hasn't fused with jazz, but now in 2017 Courtney releases a brand new album - the nineteenth of his career, one of his most varied and eclectic to date, ranging as it does from funk tinged foot tappers, to beautiful and tender ballads.

Black Notes From The Deep includes four tracks featuring another British music icon of equal repute, Courtneys' Freestyle Records label mate and an artist also honoured for his own creative endeavours; Omar Lyefook M.B.E. This is a musical pairing so wonderful it is hard to believe it didn't happen years ago, but the end results speak for themselves.

For this brand new album, Courtney assembled a line up of like minded instrumentalists, perfectly suited to his fresh and unique approach . With this absolutely rock solid group behind him, including Alec Dankworth on bass duties, the enviably talented Robert Mitchell on piano, with Rod Youngs providing his masterful drumming, this is a dream ticket line up to back Courtney. There is a welcome appearance by veteran jazz organist Ed Bently on In Another Time, and the gifted guitarist Chris Cobbson adds some beautiful textures on the The Morning After The Night Before.

The highlights within this album are many - but the exciting and fresh interpretation of Herbie Hancocks' Butterfly seems destined to be one of the most remarkable, featuring as it does Omars' fantastic vocal performance which rides sweetly on top of the dreamy backing vocals of Charleen Hamilton - and of course Courtneys' flowing, imaginative and creative solo perfects this modern version of a much loved classic.

Courtney has been lauded as the most original, ceaselessly creative and inventive British jazz musician since the start of his career over 30 years ago - and Black Notes From The Deep proves that he still is.

Saxophonist Vincent Herring Soothes Modern Day Turbulence on Hard Times - Available November 3 on Smoke Sessions Records

There's no avoiding the hard times. Every human being that's walked this Earth has had his or her share of the blues, from the personal to the political, the local to the global. But with another ominous headline coming every day, with news alerts constantly erupting from our various devices, with social media facilitating vitriolic shouting matches between friends and strangers alike, it's not too much of a stretch to say that our present era offers more than its fair share of challenges and burdens.

Vincent Herring doesn't have the answers to those issues any more than the rest of us. What he can offer is a tonic to help calm the turbulence of modern life, at least for an hour. With Hard Times, his third release for Smoke Sessions Records, the master saxophonist supplies the perfect musical response to our troubled existence--part escape, part defiance; part lament, part laughter. Over the course of these 11 songs, Herring and his stellar band both sing the blues and shake them off in ways both healing and infectious.

Due out November 3, Hard Times arrives just in time to serve as a fiercely swinging distraction for the first anniversary of last year's dark election day. Herring has convened his own boisterous and soulful cabinet for the occasion, featuring a core quartet with pianist Cyrus Chestnut, bassist Yasushi Nakamura, and drummer Carl Allen. Herring's conception of the project evolved along with the tumultuous year as he was joined by Nakamura and Allen for two sets every Monday at Smoke for six months.

The band is bolstered on roughly half the tracks by the horn section of trumpeter Brad Mason, saxophonist Sam Dillon, and trombone virtuoso (and Smoke Sessions labelmate) Steve Turre. Guitar great Russell Malone casts his spell over three tracks, while the rich baritone of renowned vocalist Nicolas Bearde also graces three tunes.

Though Herring was going through a rough patch in his personal life at the time of the recording, he had a much more wide-ranging vision in mind for Hard Times. "It's the theme of the times that we're going through," he explained, pointing out that, at the time of this writing, the possibility of nuclear war suddenly seemed very possible thanks to the bluster of saber-rattling world leaders - including America's own. (Substitute any one of what will surely be another dozen provocations current when you read this.)

"The obvious red elephant in the room would be politics," Herring continued. "So it's hard times not necessarily just from my vantage point, but from looking at world events. At the same time, I do realize how blessed and fortunate I am to be living the life I'm living. I have a lot of real fans that support me and a lot of great people in my life; I have wonderful kids. This album will hit people in different ways, but I offer it as an uplifting piece for the hard times in the universe."

Indeed, it's difficult to worry too much about the fate of the world when Nakamura and Allen lock into the deep-rooted groove of "Hard Work," the John Handy classic that opens the album. The song was a hit for Handy in 1976, just as Herring was learning to play the sax, so it provided a jolt of nostalgia along with its work song vibe. "I really wanted something simple like that," Herring says, "a song that meant something to me from my childhood." Released a few years later but no less influential, George Coleman's "Amsterdam After Dark" prompts intense solo turns from Herring and Turre, who spar vividly in its closing moments.

Photo Credit: Jimmy Katz

Learning to embrace your troubles is the theme of Bill Withers' "Use Me," on which Bearde captures the allure of a relationship that may not appear exactly healthy from the outside. Bearde also illuminates the sultry atmosphere of "Summertime," the familiar standard transformed via an arrangement by Takahiro Izumikawa, who collaborated with Herring throughout the album. Izumikawa also gives another favorite, "Embraceable You," a contemporary twist.

The album takes its title from David "Fathead" Newman's "Hard Times," which perfectly embodies Herring's theme of finding things to celebrate in the face of daunting obstacles. Herring shared the stage with Newman for the legendary Ray Charles sideman's final performance at Lincoln Center prior to his passing in 2009.

Herring calls the late pianist Mulgrew Miller "everything from a friend to a mentor to my boss at William Paterson University," so the inclusion of "Eastern Joy Dance" is as much a moving tribute as it is a reprisal of a powerful composition. "Good Morning Heartache" also harkens back to one of Herring's mentors, the great Nat Adderley, while Donald Brown's "Phineas" closes the album on a soothing, lyrical note.

In addition to these classics, two tunes originate within the ranks of the band. The leader himself penned "The Sun Will Rise Again," its instantly memorable melody evoking gorgeous playing from Malone. Herring and Allen originally recorded the drummer's lively "Piccadilly Square" together in 1989, with trumpet icon Freddie Hubbard sitting in. "We'd been recording before Freddie got there and patting ourselves on the back," Herring recalls. "I'll never forget, Freddie took his horn out just to warm up and scared us to death. He was so amazing. I've always wanted to revisit that song, so this was the perfect opportunity to do so."

The selection of repertoire for Hard Times came down to a single principle: these are quite simply songs that Herring has loved over the years and have seen him through his own hard times--and he hopes his renditions will do the same for listeners. "All through my life, whenever I've had ups and downs, music has been the one thing that's always kept it positive for me," he says. "It's always been something that I could come back to and dig into to lift my spirits. This record is meant to be fun, it's meant to be uplifting, it's meant to be something that people will want to listen to over and over again."

"Hard Times" was produced by Paul Stache and Damon Smith and recorded

live in New York at Sear Sound's Studio C on a Sear-Avalon custom console

at 96KHz/24bit and mixed to ½" analog tape using a Studer mastering deck.

Available in audiophile HD format.

  

Vincent Herring Album Release Performances:

November 3-5 | Smoke Jazz Club | New York, NY

Vincent Herring · Hard Times

Smoke Sessions Records · Release Date: November 3, 2017

DAVE LIEBMAN / JOE LOVANO Compassion: The Music of John Coltrane

Featuring an all-star band of long-time collaborators led by jazz legends Dave Liebman and Joe Lovano with pianist Phil Markowitz, bassist Ron McClure and drummer Billy Hart

Includes 24-page booklet of photos, essays by Grammy Award-winning author Ashley Kahn and Resonance producer Zev Feldman, plus interviews and statements by all the musicians

Recorded on June 22, 2007 at the legendary Clinton Recording Studios in NYC for BBC Radio 3's program Jazz on 3, a Somethin' Else Production Commemorating the 50th Anniversary of Coltrane’s Passing on July 17, 1967

Resonance Records has released Dave Liebman / Joe Lovano - Compassion: The Music of John Coltrane featuring pianist Phil Markowitz, bassist Ron McClure and drummer Billy Hart. Recorded a decade ago at the legendary Clinton Recording Studios in NYC for the BBC Radio 3 show Jazz on 3, produced by Somethin' Else, the newly revealed session commemorates the semicentennial of Coltrane's passing on July 17, 1967 with a seven-tune repertoire that covers each significant creative stage of Coltrane's recorded legacy. Compassion is Resonance's follow-up release to the acclaimed John Coltrane recording Offering: Live at Temple University from 2014, which featured Grammy Award- winning liner notes by Ashley Kahn.

It was in late June 2007 that NEA Jazz Master DaveLiebman received a call from Robert Abel, the producer of BBC's popular radio program "Something Else." Noting that July 17, 2007 marked the 40th anniversary of John Coltrane's passing, Robert asked if he could bring in Saxophone Summit, Liebman's outfit co-led with Grammy Award-winner Joe Lovano and Ravi Coltrane, to record an all-Coltrane program for the show. With the recording date just a few weeks away, Liebman managed to assemble regular members Lovano, Phil Markowitz, andBilly Hart along with Ron McClure as a substitute for the unavailable Cecil McBee. Recorded on June 22, 2007, almost forty years to the day after John Coltrane's death, the quintet laid down 50+ fascinating minutes of music that showcases the breadth of John Coltrane relatively short but momentous musical legacy. Now a decade later, Resonance is proud to bring the recording to light.

To commemorate Coltrane's semicentennial on Resonance, there are arguably no other musicians better equipped for the job. The influence of John Coltrane on each member of the quintet can not be overstated; as Billy Hart says in the liner notes, "we're just all unbelievable Coltrane fans." He estimates that between the five of them, the study of Coltrane's music has amounted to over 200 years

To celebrate the Coltrane anniversary, Liebman and Lovano decided that for this particular session they would broaden their scope to include music from all of Coltrane's musical periods, thus producing a wide-ranging exploration that showcases six distinctive phases of his legacy. "Each period represents such a different outlook and concept that it's incredible to imagine that one man accomplished all of this in such a short period," says Liebman in the Compassion liner notes.

Compassion opens with "Locomotion," one of Coltrane's many compositional twists on the blues that first made an appearance on Blue Train (Coltrane's only Blue Note recording) in 1958. "Locomotion" not only sets the stage for Compassion, but also served as an integral jumping off point in Coltrane's musical development. As Lovano states in the liner notes, many of the intervals heard on "Locomotion" can be found in later Coltrane works - the main theme of A Love Supreme being just one example.

Compassion moves forward with a ballad medley that includes the harmonically rich "Central Park West," featuring Lovano and " Dear Lord," which Liebman has referred to as "one of the most amazing compositions in the world."

The inclusion of "Olé" signifies Coltrane's well-documented interest in world music. A modal excursion with a Spanish tinged melody (borrowed heavily from the Spanish folk song "El Vito"), " Olé" served as a precursor to Trane's later explorations of other cultures (tunes such as "India," "Dakur" and "Brasilia" come to mind).

Named for Reverend Martin Luther King Jr., "Reverend King" is a completely diatonic study in free time that features a rare appearance of Liebman on flute, followed by "Equinox," which, like the opening track, is another version of the blues. The album then comes to a close with "Compassion," from which the recording gets its namesake, brings us into Trane's late period (1965-1967) with the second movement of his Meditations suite. "Subsequent song titles point toward Trane's intense spiritual journey of this period - "Amen," "To Be" and many more - all emphasizing the constant group interaction with little steady pulse or direct harmonic progressions," says Liebman.

Available on June 16, 2017 as a Deluxe CD and digital format, the CD package includes an exquisite digipak and 24-page liner note booklet that includes photos by Chuck Stewart, Richard Conde, John Abbott, Andrew Lepley, Vincent Soyez and more; exclusive interviews and statements by Liebman, Lovano, Markowitz, McClure, and Hart, and essays by Resonance producer Zev Feldman and Ashley Kahn. "For an archival production, this might be the most recent recording Resonance has released to date, but we didn't want to treat it any differently than our previous efforts," says Executive Producer Zev Feldman. "I can think of no closer and devoted adherents to the music and legacy of Coltrane than Dave Liebman, Joe Lovano and this band." Feldman adds that within the booklet one can find a wealth of knowledge from each musician as they shed light on the influence Trane had on them and how his music still holds such influence fifty years since his passing.

Says Billy Hart in closing: "I just think the world is a better place when you hear Coltrane's music."

Track Listing:

1. Locomotion (6:11)

2. Central Park West/Dear Lord (8:07)

3. Olé (8:44)

4. Reverend King (5:20)

5. Equinox (6:39)

6. Compassion (17:18)

THE URBAN RENEWAL PROJECT 21ST CENTURY GHOST 15-Piece Original Soul, Jazz & Hip Hop Band from Los Angeles

Featuring Special Guests Camp Lo, Gavin Turek, Hugh Augustine & others!

"Deep funk beats and powerful brass" - HiphopDX

"Cool as the other side of the pillow" - BuzzbandsLA

Resonance Records  has announced the launch of its new label imprint Fastrac Records, which will focus on new releases from emerging and contemporary artists. Fastrac will debut with the release of The Urban Renewal Project - 21st Century Ghost, a genre-bending meditation on isolation in the era of hyperconnectivity. Featuring nine guest vocalists that run the gamut from legendary Bronx rap duo Camp Lo to California indie pop princess Gavin Turek, 21st Century Ghost is due out September 15, 2017 and a summer/fall tour will support the release.

The Urban Renewal Project is a dynamic young big band out of Los Angeles, playing an original mix of jazz, soul and hip-hop. Since 2010, the 15-piece ensemble has teamed up with singers and rappers to blend the hip-shaking grooves and deep pocket of today's music with face-melting horn lines and fiery improvisation from big band jazz. In the past few years, their signature sound has blown away audiences from New York's Rockwood Music Hall to the San Jose Jazz Summerfest and beyond.

Born from a high school talent show act assembled by saxophonist and bandleader R.W. Enoch, The Urban Renewal Project began in earnest when Enoch met rapper Elmer Demond in Los Angeles several years later. After experimenting with different musical approaches and configurations which can be heard on earlier releasesLocal Legend (2014) and Go Big or Go Home (2012), the two settled on their current set-up: a big band performing a mix of soul, hip hop, jazz and pop music with guest vocalists from each genre - every song incorporating the polish and drive of contemporary pop records with the vibrant energy of live ensemble performance.

The group's pre-release singles have already garnered national press and radio attention, including spins on KCRW-Santa Monica, KPFK-Los Angeles and KPFT-Houston. HiphopDX described "Don't Ask Y ft. Camp Lo" as "deep funk beats and powerful brass," and BuzzbandsLA said "Hide ft. Elmer Demond" was "cool as the other side of the pillow." In support of the release, they have lined up a string of summer West Coast performances, with stops in Los Angeles, Seattle, Portland, San Francisco, San Jose, Carson City and more to come.

This record marks the first time the band worked with producer Neil Wogensen, a member of indie folk-rock band Valley Queen, who was featured on an NPR Tiny Desk concert last July. Bandleader R.W. Enoch said of the experience "it was amazing to see how Neil transformed a good-sounding band into something really special on these recordings."

In addition to Demond, guest vocalists on the album are Hugh Augustine, who is coming off two high-profile features in 2016 on Isaiah Rashad's The Sun's Tirade (2016/Top Dawg Entertainment) and the single "Nights On Replay" with Syd from The Internet; Amber Navran, who is also in the band Moonchild on the UK label Tru Thoughts; and Alex Nester, a cancer survivor who has performed with Santana and runs a cancer charity called #BurnItDown.

In 2016, the band was featured in a documentary film called Mighty Ground, which follows the life of a homeless songwriter, Ronald Collins, as he tries to kick a crack addiction and turn his life around to pursue his passion for music. The film was an official selection of the 2017 LA Film Festival and Collins occasionally performs as a special guest with the band at live shows.

Co-executive producer Zev Feldman (and EVP/GM of Resonance and Fastrac) says "I'm thrilled to be launching this new record label, Fastrac Records, with The Urban Renewal Project. I've been following this band for the past 8 years and could see that their passion and dedication to this music was genuine and was translating into more and more shows, and a bigger following. It was the perfect fit and the timing couldn't be better. We're really honored to be working together."

Track Listing:

1. Overture (1:47)

2. Newsflash Ft. Elmer Demond (3:02)

3. Hide Ft. Elmer Demond (5:54)

4. Don't Ask Y Ft. Camp Lo (2:50)

5. Armor Love Ft. Gavin Turek (4:32)

6. Road to Victory Ft. Hugh Augustine & Alex Nester (3:53)

7. Wait for Me Ft. T.J. Wilkins (3:47)

8. Another Day Ft. Alex Nester & Elmer Demond (4:45)

9. Here at Night Ft. Amber Navran & Elmer Demond (5:17)

10. Roll Credits Ft. Elmer Demond (2:52)

Tour Dates:

9/23 & 9/24 - Midpoint Music Festival (Cincinnati, OH)

10/14 - Kushstock (San Bernardino, CA)

10/15 - Topanga Canyon Community Concert (Los Angeles, CA)

 

Home: Where Everyone Is Welcome - Songs by Deepak Chopra, Kabir Sehgal & Paul Avgerinos Inspired by American Immigrants Provide Hope & Acceptance to the International Community

12-Song Collection Serves as Accompanying Musical Pieces to Book of Poetry Inspired by Diverse Group of Immigrants Who Have Made Significant Contributions to the United States of America

  

The United States is composed of and built by immigrants, and it has been a beacon to those in search of a new life for hundreds of years.

Home is a collection of thirty-four poems and twelve songs inspired by a diverse group of immigrants who have made significant contributions to the United States. From Yo-Yo Ma to Martina Navratilova, Celia Cruz to Madeleine Albright, Carlos Santana to Albert Einstein, these poems symbolize the many roads that lead to America, and which we expect will continue to converge to build the highways to our future.

Offering a welcoming feeling intended to inform our cultural conversation and enhance our national dialogue, Home also has twelve accompanying musical pieces that serve as personal meditations on the essence of home, in which you can reflect upon where you feel most welcome, whether a place or state of mind.

Not only are Deepak Chopra, Kabir Sehgal, Paul Avgerinos immigrants or the sons of immigrants, they are also artists. They came together to create Home: Where Everyone Is Welcome to inform and elevate the cultural conversation around immigrants. Combining poems and songs, Home reminds us of the contributions of immigrants and why it's important to make our fellow neighbors, friends, and citizens feel welcome.

Resilience Music Alliance has proudly partnered with Grand Central Publishing to bring the music of Home to the world. Released on August 25, the collection of 12 songs are the perfect representation of the human condition and the importance of multiculturalism in the American Dream. "Many have bravely emigrated before me and will continue to come to America with the dreams of making a new life and a new home," stated Chopra. "As an immigrant and US citizen, I have experienced my share of social resistance, suspicion, fear and prejudice that many other immigrants in this country have also faced. And I have also experienced warm receptivity and appreciation of my contributions and efforts. But until the recent sharp shift in this country's attitude toward immigrants, I have never been so dismayed or disheartened. For the first time in this land of immigrants, the leader of the country is encouraging fellow Americans to fear and reject immigrants. People are regarded as threats just because they look different or come from somewhere else. So, to address this concern, we bring you Home, a timely reminder that the intellectual and cultural vitality of immigration is the heart of America. Immigrants find that sense of belonging, or "home" in America through diversity and connection, not division and fear. Only by working together, living together, and respecting each other can we make America's future stronger and brighter."

  

Deepak Chopra is an immigrant who was born in New Delhi, India, moved to the United States in 1970, and became a citizen in 1984. He is an American author, lecturer and music composer who has contributed to seven albums and written over eight-five books translated into over 43 languages, including numerous New York Times bestsellers. One of his songs "Do You Love Me" featuring Demi Moore hit #10 on Billboard and remained on the chart for thirteen weeks. He recited Nehru's "Spoken at Midnight" speech on Ted Nash's Presidential Suite, which won the Grammy® Award for Best Large Jazz Ensemble Album in 2017. TIME Magazine has described Dr. Chopra as "one of the top 100 heroes and icons of the century." As the founder of The Chopra Foundation and co-founder of Jiyo and the Chopra Center for Wellbeing, he is a world-renowned pioneer in integrative medicine and personal transformation, and is Board Certified in Internal Medicine, Endocrinology and Metabolism. He is a Fellow of the American College of Physicians, Clinical Professor of Medicine, University of California, San Diego, Researcher, Neurology and Psychiatry at Massachusetts General Hospital (MGH), and a member of the American Association of Clinical Endocrinologists. The World Post and The Huffington Post global internet survey ranked Chopra #17 influential thinker in the world and #1 in Medicine.

Kabir Sehgal is a first generation American, and his parents are both from India. He is a New York Times and Wall Street Journal bestselling author of eight books such as Coined and Jazzocracy. Among his works are children's books that he has written with his mother, The Wheels on the Tuk Tuk and A Bucket of Blessings. He is also a contributor to Fortune and Harvard Business Review. A multi-GRAMMY® and Latin GRAMMY® Award-winning producer, he has collaborated with jazz artists such as Chucho Valdés, Arturo O'Farrill, and Ted Nash. Kabir is also a composer and musician. A US Navy veteran, he works in corporate strategy at First Data Corporation in New York City.

Paul Avgerinos is a first generation American, whose father Costas emigrated from Greece to the US in 1938. Avgerinos is a GRAMMY® Award-winning artist, composer, producer, and engineer with 23 critically acclaimed New Age albums to his credit. He is active in creating scores for a variety of television shows and has also collaborated with Jewel, Run DMC, and Willie Nelson. Avgerinos' multi-step, intuitive creative process includes archetype and style guide development, meditation, mantra and prayer. He is a graduate of the Peabody Conservatory of Johns Hopkins University. He runs Studio Unicorn and lives with his family in Redding, CT.

www.Home-Everyone-Welcome.com

Sherman Irby Recalls Legends of the Alto Saxophone While Forging Unique Voice on Cerulean Canvas - Available October 20 on Black Warrior Records

Integrity is a word that often tends to be thrown around too loosely these days. But in the case of the extraordinary alto saxophonist Sherman Irby it not only fully applies, but demands a capital "I" for the proper emphasis. His latest album Cerulean Canvas on Black Warrior Records with his ensemble Sherman Irby & Momentum confirms that fact over and over again throughout its 10 outstanding tracks.

The entire history of jazz as expressed through the alto is always fully contained in every note that Irby plays--the rich lyricism of Hodges, the commanding facility of Parker, the whimsy of Ornette, the exuberant swing of Cannonball, the exploratory confrontation of Gary Bartz and Sonny Fortune--and in those appropriate moments, the down home bluesy funkiness of Hank Crawford and Maceo Parker. Irby is a protector of the profound legacy, not in the museum curator sense, but in the classic tradition of the living vitality of calling upon the past in forging his own unique voice to define the present and foretell the future.

In the old-school tradition that he's fully embraced, Irby uses his virtuosity to tell compelling stories, not just to show it off. Considering the title of the album, it's even more appropriate to say that he's a painter of images, deftly splashing his palette of colors upon the canvases provided by the delightful compositions - and in the company of like-minded artists who join him enthusiastically in the joy of creation.

For Cerulean Canvas, his eighth album as a leader and fifth for Black Warrior, Momentum is comprised of a stellar cast of collaborators, including trombonist Vincent Gardner, pianist Eric Reed, Gerald Cannon on bass, and Willie Jones III on drums. Two special guests are also on hand. Trombonist Elliot Mason spells Gardner on three tracks; and Wynton Marsalis steps out of the limelight of the Jazz at Lincoln Center Orchestra to grace the JLCO lead altoist's album with his eminent presence, offering his unique talents to the appropriate enhancement in the manifestation of Irby's music. This exemplary array of musicians fully and impeccably immerse themselves in Irby's music, bringing all of their collective heart and soul to the proceedings as if they owned it, but always keeping focused on the leader's intent and ownership of the art their synergy is creating.

The repertoire is captivating and expressive, providing brilliant canvases for the musical portraits: deeply grooved blues, poignant ballads, a blistering romp, a refreshing take on an old standard, a Stevie Wonder tune and an intricately crafted exploratory soundscape. Irby composed five of the pieces and shares the solo spotlight generously, but his alto is the primary color that unifies the tracks individually and the overall context that binds them together. Emotive and evocative on Mulgrew Miller's lovely "From Day to Day," and with filigreed warmth and wisdom on Wayne Shorter's gorgeous "Contemplation,"Irby's ballad artistry is steeped in traditional lyricism and is yet as urgent as this moment.

The Cannonball influence is front and center on Irby's edgy and deeply grooved "Racine;" and his urgent adventurousness highlights Gardner's episodic Mingus-tinted dedication to a remarkable African-American painter, "Blue Twirl: Portrait of Sam Gilliam" as Irby nimbly dances through the intricacy. Straightforward blues expression is on tap on two more Irby originals with an old-school statement that defers to Eric Reed's featured wizardry on the call-and-response "Blues for Poppa Reed;" and bestowed in undiluted form on "John Bishop Blues,"an organically flowing homage to a barbecue master (and all that might succulently represent) in Irby's hometown of Tuscaloosa, Alabama. Marsalis and the band add their own weight to Irby's brilliant raw blues essence in what usually happens only in the late night atmosphere, just for the musicians themselves and anyone else so spectacularly lucky to be there at the time.

Marsalis also joins in for "SYBAD," Irby's tribute to JLCO charter member Joe Temperley who passed away in 2016. Not a tearful remembrance, but more appropriately an easy swinging bluesy celebration of the man, with Marsalis and Irby fully immersed in the fond memory. Two contrasting angles of Irby's alto majesty round out this wonderful album.  Playful whimsy is the key in the effervescent take on the old standard "Sweet Georgia Brown"with Irby and Gardner doing a deft dance around Jones' sticks-on-rims percussive mastery; and all out scorching vibrancy alongside Mason's equally explosive trombone provide the one-two punch on Irby's blistering "Willie's Beat, aka The Sweet Science."

Since his arrival on the New York scene in 1994 where he was a regular on the vital Smalls scene for three years, Irby has steadily developed his career as a mainstay alto saxophonist through his recording and touring. Two albums for Blue Note led to his longstanding commitment to self-empowerment and artistic freedom and he has continued that since with his own Black Warrior Records. His artistic imperative forged by his participation in the unparalleled Betty Carter's Jazz Ahead Program, Irby has been a featured member of groups led by Marcus Roberts, Roy Hargrove, Elvin Jones, Papo Vazquez, and currently tours with the immortal McCoy Tyner. A member of the JLCO from 1995-97, Sherman rejoined the orchestra in 2005 and serves as both first alto saxophonist and a key arranger. In addition to all of his performing activities, Sherman has developed an excellent reputation as a composer, receiving commissions for works that include Twilight Sounds,and his Dante-inspired ballet, Inferno. Also heavily focused upon youth education Sherman was the regional director for eight years for JazzMasters Workshop, a mentoring program for young children. He has also served as Artist-in-Residence for Jazz Camp West, and as an instructor for the Monterey Jazz Festival Band Camp.

As incredibly busy as he is, this brilliant new album will hopefully inspire Sherman Irby to focus even more upon his own music as a leader.

  

Sherman Irby · Cerulean Canvas

Black Warrior Records · Release Date: October 20, 2017

EDDIE DANIELS & ROGER KELLAWAY JUST FRIENDS: LIVE AT THE VILLAGE VANGUARD featuring BUSTER WILLIAMS & AL FOSTER

Previously unheard recording from clarinetist Eddie Daniels & pianist Roger Kellaway joined by Buster Williams on bass and Al Foster on drums

Recorded live at the historic Village Vanguard on November 26, 1988

Vital addition to the Daniels/Kellaway discography includes 20-page booklet with vintage photos, essays by Resonance producers George Klabin and Zev Feldman, jazz writer John Murph, plus interviews and reflections from Daniels, Kellaway and Buster Williams

Resonance Records is proud to announce the release of Just Friends: Live at the Village Vanguard, a spirited never-before-heard live recording by clarinetistEddie Daniels and pianist Roger Kellaway featuring bassist Buster Williams and drummer Al Foster. Recorded by Resonance Records founder George Klabin in the front row at the storied Village Vanguard in Greenwich Village, New York City in late 1988, Just Friends is a revelatory meeting of two jazz masters, with one of the best imaginable rhythm sections, deep in dialogue on a set including the venerable standard "Just Friends" and two original pieces each by Daniels and Kellaway.

Klabin received permission from the band to record on this Saturday night of their weeklong run at the Vanguard, and came prepared with a high-quality cassette recorder and a single Sony stereo microphone. "I just placed the mic on the table facing the band, hit 'record' and let it run. It was as simple as that," Klabin recalls in his liner note essay. "The tape sat in my personal collection ever since I recorded it. Nearly three decades later, in 2016, I pulled it out and listened to it. Immediately I was transfixed again. I decided to send digital copies to Roger and Eddie for their enjoyment." Discussions ensued. Klabin got the go-ahead from all four quartet members and began laying plans for this remarkable DIY recording to finally come to light. The album cover photo is by the legendary jazz photographer William Claxton, with interior images by Tom Copi and Richard Laird, all beautifully assembled into the CD package by longtime Resonance designer Burton Yount.

And yet, as John Murph observes in his liner notes, Just Friends is "Not only a fascinating musical snapshot of Eddie Daniels and Roger Kellaway Daniels' early years playing with Kellaway, it introduces the larger jazz world to rare compositions penned by the two." Kellaway's fiercely uptempo but strikingly multifaceted "The Spice Man" is something the pianist hasn't revisited and doesn't intend to ("I just don't want to play that fast"). His "Some O' This and Some O' That" reveals a Thelonious Monk influence, perhaps Art Blakey as well, in its driving shuffle feel and dazzling solos. Daniels' contributions, the gorgeous ballad "Reverie for a Rainy Day" and the Mozart-inspired "Wolfie's Samba," are also rarities, never again performed by the clarinetist.

Just Friends also offers a window into a particular period in jazz history, when Daniels was a "roving studio rat" on multiple reeds who had logged many hours on the Vanguard bandstand with the Thad Jones-Mel Lewis Orchestra. Williams, as noted in his booklet interview, had just begun working with Kenny Barron in the supergroup Sphere, as well as the Timeless All-Stars featuring Cedar Walton and others. Al Foster, still in the midst of his long Miles Davis association, was also playing with the likes of Joe Henderson, John Scofield and more. Kellaway, with sideman credits including Wes Montgomery, Oliver Nelson, Clark Terry, Sonny Rollins and Herbie Mann, was recording sporadically but always superbly as a leader, bolstering the case for himself as one of the most compelling if overlooked pianists in jazz. Just Friends adds to our understanding of this elusive but important figure.

Adding to the auspiciousness of Just Friends is the fact that Bill Evans' Some Other Time: The Lost Concert from the Black Forest, a landmark Resonance release from 2016, won top honors for Historical Album of the Year in the annual DownBeat, JazzTimes and Jazz Journalists Association (JJA) critics polls. As Nate Chinen of WBGO.org remarked in a story this April about Resonance's efforts tying in to the annual Record Store Day, the label has built a one-of-a-kind profile with its deluxe historical releases, including recent items by Wynton Kelly, Wes Montgomery, John Coltrane and Jaco Pastorius. "Each release is a gem," wrote Chinen, and Just Friends certainly upholds that lofty standard.

Track Listing:

Some O' This and Some O' That (9:32)

Reverie for a Rainy Day (5:37)

Wolfie's Samba (9:09)

Just Friends (17:47)

The Spice Man (15:57)

Personnel:

Eddie Daniels, clarinet

Roger Kellaway, piano

Buster Williams, bass

Al Foster, drums

Lauren Kinhan Pays Tribute to Legendary Vocalist Nancy Wilson on "A Sleepin' Bee"

Whether on her own highly-acclaimed albums, as a 25-year member of the beloved vocal group New York Voices, or as co-founder of two diverse and inventive supergroups, Moss and JaLaLa, singer/songwriter Lauren Kinhan has always forged her own path as a performer, composer and improviser. With her latest, A Sleepin' Bee (due out October 6 on her own Dotted i Records), Kinhan once again steers herself in unexpected directions with a new release that is at once the first all-standards collection of her career, a loving tribute to legendary vocalist Nancy Wilson, and unmistakably a Lauren Kinhan album - with all the unique perspective and idiosyncratic personality that has come to imply.

If the sudden appearance of an album's worth of standards in a catalogue dominated by original songs comes as a surprise, the process of its creation is just as atypical. While Kinhan spent much of 2016 conceiving, rehearsing and workshopping the project, the circumstances of the recording arose suddenly through the auspices of her alma mater, Berklee College of Music. The session suddenly became an educational opportunity as well as a record date, providing a small group of Berklee students the invaluable privilege of observing and engaging in a recording session at the highest level.

First and foremost, though, A Sleepin' Bee is a celebration of Nancy Wilson on the occasion of the genre-hopping singer's 80th birthday. While Kinhan shares Wilson's penchant for blurring stylistic boundaries, her choice of material focuses on Wilson's early jazz albums, particularly her collaborations with Cannonball Adderley and George Shearing. Those recordings proved to be a jumping-off point for Kinhan, who utterly transforms these classic and obscure numbers with the help of pianist/creative partner Andy Ezrin and veteran producer Elliot Scheiner as well as a stellar band featuring bassist Matt Penman, drummer Jared Schonig and special guest trumpeter Ingrid Jensen.

With three brilliant albums of her own songs under her belt, not to mention her game-changing work with three distinctive vocal groups and wide-ranging collaborations with singular artists from Ornette Coleman to Bobby McFerrin, Kinhan decided it was finally time to create an album more in line with the jazz tradition of interpreting a book of standards. Of course, Kinhan has never been one to follow an obvious route, so the results quickly became something wholly her own. "I approached this project similarly to the way I write songs, except that in this case that creativity was expressed in the arranging and approach to the lyrics," she explains. "I wanted to make an album that was inspired by Nancy Wilson but still conveys my point of view in the way that I think about, interpret and reimagine music."

The starting point for the project quickly became Nancy Wilson/Cannonball Adderley, the 1961 album on which the 24-year-old singer was backed by Adderley's incredible quintet with his brother Nat, pianist Joe Zawinul, bassist Sam Jones and drummer Louis Hayes. Kinhan had fallen in love with the album as a young girl searching through her parents' record collection, enamored with both Wilson's soulful voice and her elegant image. "I remember being 7 or 8, staring at the cover of this beautiful woman in a yellow dress and connecting with the songs, the arrangements and the bite of her tone. I know those songs like I know the songs of Carole King and Joni Mitchell. So revisiting them, they feel like a favorite cashmere sweater."

The 12 tracks on Nancy Wilson/Cannonball Adderley were evenly split between vocal and instrumental pieces, and Kinhan interprets all but one of the vocal tunes on A Sleepin' Bee. To fill out the repertoire, she began delving into Wilson's catalogue - only reaching 1964 before she had more than enough to work with. The remaining repertoire is carefully cultivated from Wilson's early-60s releases, the bulk of it coming from The Swingin's Mutual!, Wilson's 1960 collaboration with pianist George Shearing.

"In a way," Kinhan says, "A Sleepin' Bee is also a tribute to Cannonball and George Shearing and the fine musicians that played on the original recordings. The pairing of the voice and great players is what it's all about. It's never just about singing for me; it's the whole creative spectrum of arranging notes and form, and connecting with the musicians."

Those elements are combined and rearranged in disparate and intriguing ways throughout A Sleepin' Bee, from the laid-back swing of "Let's Live Again" to the haunted melancholy of "You Don't Know What Love Is," whether stretching the melody like taffy on "Never Will I Marry" (parried by Berklee classmate Jensen's darting trumpet) or finding a playfully bold character at the heart of the title tune. She effectively melds Nat Adderley's "The Old Country" with Billy Strayhorn's "Passion Flower," and fully imbues "Born To Be Blue" with the remorseful mood inherent in its title. Kinhan's vulnerable, stripped-down version of "Save Your Love For Me" completely reimagines Wilson's iconic take - which Kinhan previously performed both with and for Wilson herself, first on a recording with the New York Voices and later with the Voices as part of Wilson's 2004 induction as a National Endowment for the Arts Jazz Master.

Perhaps the most surprising inclusion is Wilson's debut single, "Guess Who I Saw Today," whose lyrics haven't exactly aged well. Kinhan puts a new twist on the tune not only with her sly vocal performance - which acidly comments on a song that frames its tale of infidelity with some decidedly Eisenhower-era social mores - but with an updated arrangement that makes the song her own, apart from Wilson's quintessential version.

"You better have a perspective on this song, especially as a woman who's been an outspoken feminist my whole life," Kinhan says. "It's not that cheating is old-fashioned; it's the way that the story is pitched from the beginning, drawing an outmoded picture of marriage where the woman stays home, does the shopping and dotes on her husband, who spends his day at work. To chew on those words was so strange - but it was also fun to hold that mirror up to society and look at its absurdity."

"(You Don't Know) How Glad I Am" was a fresh discovery for Kinhan in her research for the project. Despite Wilson's recording having won a Grammy in 1964, it was not that version but a less ornate live rendition that grabbed Kinhan's ear, and she takes a similar approach, powerfully singing with gospel-inflected soul accompanied only by Ezrin's lyrical piano and Penman's subtle bass. The at times inane lyrics of "Happy Talk" are sent up in a slapstick carnival atmosphere to close the album on a particularly offbeat note.

Recording the album with multiple Grammy-winner Elliot Scheiner at Berklee's state-of-the-art Shames Family Scoring Stage meant turning the studio into a classroom, a prospect that at first seemed daunting but that Kinhan quickly embraced. "The students brought a performance atmosphere to the session that was beautiful," she says. "Normally recording sessions can make you incredibly self-conscious, often putting yourself under the microscope, but knowing there was an audience was really liberating. The students witnessed great players laying it down right in front of their eyes, and that made for an inspired environment. The added bonus of sharing Nancy Wilson's legacy with them was a Sleepin' Bee we hope to have reawakened for generations to come."

www.laurenkinhan.com

Bassist OR BAREKET Connects With His Roots On His Debut Recording - OB1

Born in Jerusalem and raised in Buenos-Aires and Tel-Aviv, bassist, composer and bandleader, and first-call sideman for the likes of Ari Hoenig, Jean-Michel Pilc, Leon Parker, Aaron Goldberg, Sam Yahel, Yotam Silberstein, Camila Meza, Dida Pelled, Nitai Hershkovits, Cyrille Aimee and many others, Or Bareket has established himself as one of the most versatile and sought-after bassists on the NYC scene. Winner of the 1st prize at the International Society of Bassists' jazz competition in 2011, Bareket's multiculturalism informs his unmistakable sound.

Bareket's approach to improvisation and composition, magnificently displayed on his debut album, OB1, is informed by Mediterranean, South American and North African folklores, all interpreted through his deep knowledge and appreciation of the American Jazz tradition. However these traditions took time to connect and conspire. Bareket found a missing part of his musical DNA in 2014, when he embarked on his first trip back to Buenos Aires as an adult, to perform at The Buenos Aires Jazz Festival. Bareket explains, "for me, that experience of being in Buenos Aires affirmed and brought to light the source of a lot of my musical choices - rhythmically, melodically and texturally - aesthetics that I felt attracted to but didn't know their origin, so I just chalked them up as being idiosyncratic. Being in Buenos Aires caused me to realized where they had come from and it was a very strong affirmation of my musical instincts and intuition. This opened up a process through which I could just write - for the first time in my life I could just let the music come out and just let it be what it is. Amazingly, after I had a body of work ready to go, the band pretty much presented itself." The result is the compelling music on his debut recording, OB1.

The process of writing OB1 started with the realization for Bareket that as an artist you can create your own folklore, tell your own story, with whatever life puts at your disposal. After years of playing as a sideman with many of his musical heroes and mentors, he felt that it was time to start developing his own musical world, where he feels perfectly at home, and all of his intuitiveness as a bassist are in alignment with the way the music is written. 

Bareket elaborates, "throughout 2014-2015 I started collecting musical ideas from different parts of my life- daydreams, emotions too subtle or ambiguous for words, folkloric rhythms and forms from my grandparents' homelands of Morocco, Iraq, Israel and Argentina. I let those ideas grow into songs and gradually started playing them with my friends and peers. I finally decided to record this music when I found the right band for it - Shahar Elnatan-guitar, Gadi Lehavi-piano and Ziv Ravitz-drums/mixing & mastering, had the perfect sensibility for my compositions-they are all deeply intuitive and soulful musicians. Beyond their ability to resonate with the way I hear rhythm and harmony and bring my ideas to life, they also added new colors and dimensions to the music-ones I couldn't have imagined when I wrote it. The same goes for the special guests on the recording, Keita Ogawa-percussion and Victor Gonçalves-accordion."

Music has always been a physical, primal experience for Bareket, more than an intellectual or even an emotional one. Growing up between different places, and with a mixed cultural heritage, the bassist/composer has become comfortable moving, adapting to new situations and flowing with the changes life brings. "I have never really felt completely at home anywhere, never had a distinct sense of what my own roots are. The only place where I always felt a complete sense of belonging was while being immersed in music, or more specifically, in rhythm. First as a child listening and later as a musician performing. That moment of being fully present, connected, vibrant and still at the same time, is where I feel most at home. The music on this album, OB1, comes from this place, and was written with the intention of sharing it with the performers and listeners," Or Bareket.

Bareket started playing the electric bass at age 16 after hearing Jaco Pastorius. At 18 he took up the double bass and began studying with Teddy Kling (principal bass at the Israeli philharmonic), and later with Professor Michael Klinghoffer (former assistant to maestro Gary Karr). Simultaneously Bareket began working extensively on the Israel jazz scene and studying with bassist Avishai Cohen, among others. Bareket was the winner of the 1st prize at the International Society of Bassists' jazz competition in 2011

Since moving to New York, Bareket has performed, recorded, and toured with a wide array of artists all over the world. Notable names include Ari Hoenig, Jean-Michel Pilc, Leon Parker, Aaron Goldberg, Sam Yahel, Yotam Silberstein, Camila Meza, Dida Pelled, Nitai Hershkovits and Cyrille Aimee. He has also worked with Gilad Hekselman, Peter Bernstein, Hamilton De Holanda, Banda Magda, Eli Degibri, Chris Potter, Mike Moreno, Billy Hart, Victor Lewis, Don Friedman, Elliot Zigmund and others.

Or is a multiple-time recipient of the America-Israel Cultural Foundation scholarship for outstanding performers and the Eubie Blake Fellowship. He has participated in Betty Carter's "Jazz Ahead" at the Kennedy center, The Steans Institute Ravinia Workshop, and the Banff Workshop for Jazz and Creative Music.

This album is dedicated to my father, Ofer Bareket (1954-2016) - thank you for raising me to be the man and the musician I am, and for teaching me that only a broken heart can be an open heart - Or Bareket, New York City, 2017.

www.orbareket.com