NEW RELEASES: PHYLLIS HYMAN - DELIVER THE LOVE: THE ANTHOLOGY; AARON ABERNATHY - DIALOGUE; MARIO ABNET / PAULO JOBIM – JOBIM ORCHESTRA & GUESTS

PHYLLIS HYMAN - DELIVER THE LOVE: THE ANTHOLOGY

A beautiful collection of work from the legendary Phyllis Hyman – a set that not only includes her groundbreaking records as a solo act, but also a big range of her famous collaborations with jazz artists who include Norman Connors, Pharoah Sanders, McCoy Tyner, and Grover Washington! Hyman is a singer unlike anyone else – an artist who was raised equally in jazz and soul, then found a way to mix the best of both with a new sort of sophistication that made her one of the most important female soul talents to show the way forward during the 80s – an artist who was always equal parts class and care, soul and style – and one who departed our planet all too soon. Fortunately, even after a short time of recording, Phyllis already left us an amazing legacy of music – as you'll hear in this set of overstuffed gems – a 33 track package that includes "Sacred Kind Of Love", "Baby", "You Know How To Love Me", "Under Your Spell", "Sleep On It", "Loving You Losing You (12" mix)", "Deliver The Love", "Can't We Fall In Love Again", "Let Somebody Love You", "Gonna Make Changes", "Black & Blue", "Somewhere In My Lifetime", "I'll Be Around", "Betcha By Golly Wow", "No One Can Love You More (7" version)", "Just Imagine", "Love Surrounds Us Everywhere", "In A Sentimental Mood", "In Search Of My Heart", "I Don't Want To Lose You", "Why Did You Turn Me On", "Riding The Tiger (single)", and "Tonight You & Me (disco version)".  ~ Dusty Groove

AARON ABERNATHY - DIALOGUE

Aaron Abernathy really grabbed us with his debut – and on this second set, he's maybe even tighter and more his own self than before – moving past the guests who helped draw attention to the previous record, and really standing strongly in the spotlight on his own! Aaron composed, produced, and arranged the whole set – but what's most important is his voice – this kind of crackling sound that demands attention, and which really has the kind of urgency to fit the lyrics of his songs – which again, maybe feel even more his own than before! Instrumentation is nice and lean – often strong on drums from the man himself, plus a bit of keyboards – augmented by some extra bass and percussion, but kept with this sharp focus that really matches the needs of the tunes. Abernathy's the kind of soul singer who should be huge – if there was any justice in the world – and we're hoping this second set is really the start of a path to greatness. Titles include "Children Of The City", "Human Action Matters", "Generation", "Restrictions", "Now A Days", "The Villain In Me", and "Daily Prayer". ~ Dusty Groove

MARIO ABNET / PAULO JOBIM – JOBIM ORCHESTRA & GUESTS

Years back, guitarist Mario Adnet gave us a great album of symphonic takes on the tunes of Antonio Carlos Jobim – and here, he strongly expands on that idea by working through some jazz orchestra arrangements – done in collaboration with the younger Paulo Jobim! The music is beautiful right from the start – arranged with the complexity that Jobim brought to his sounds in the bossa nova years, but also given some of the sharper edges he picked up in the 70s – which only seemed to underscore the melancholy elements in his songs! Arrangements are either borrowed from classic charts – including a few by Claus Ogerman – or handled by Mario – and most tracks have vocals, sung by Adnet, Paulo Jobim, Alice Caymmi, Dora Morelenbaum, and others. Instrumentation includes a fair bit of acoustic guitar alongside the larger ensemble – but we love the reed elements the most, especially the flute – and titles include "Aguas De Marco", "Chovendo Na Roseira", "Boto", "Mantiqueira Range", "Olha Maria", "Falando De Amor", "Eu Te Amo", "Um Certo Capitao Rodrigo", and "O Saci". Also comes with a bonus DVD, with performances of most of the songs!  ~ Dusty Groove

NEW RELEASES: FUNKADELIC REWORKED BY DETROITERS; ORCHESTRE LE MANGELEPA – LAST BAND STANDING; WILLS SESSIONS FEATURING AMP FIDDLER – KINDRED LIVE

FUNKADELIC – FUNKADELIC REWORKED BY DETROITERS

The classic sound of Funkadelic, reworked by a key selection of contemporary talents from the Detroit scene – but never in a way that wrecks the originals at all! Unlike other remix projects, which might break up the music to a point that you can hardly recognize the original grooves – this set does a wonderful job of maintaining all the integrity of the famous funky recordings by the group, while also letting some artists from the group's hometown also include a few of their own contributions too – all in ways that really expand the original vision of the music, while keeping things in a funky soul vein all the way through! Given all the greateness of Detroit grooves in recent years – from that city's very fertile underground of producers and musicians – the sound here is still even more amazing than we expected, and the album's a very fitting one to be issued on the Westbound label. The set's double-length, and for good reason too – and titles include "Music 4 My Mother (Underground Resistance mix)", "Sexy Ways (Recloose disco flip)", "Get Your Ass Off & Jam (Marcellus Pittman rmx)", "You Can't Miss What You Can't Measure (Alton Miller mix)", "Super Stupid (Dirtbombs version)", "Music For My Mother (Andres Wo Ahh Ay voc mix)", "Cosmic Slop (Moodymann mix)", "Be My Beach (Mophono & Tom Thump)", "Let's Make It Last (Kenny Dixon Jr edit)", "Let's Take It To The Stage (Amp Fiddler @Ya mix)", "Undisco Kidd (Gay Marvine edit)", "Looking Back At You (Ectomorph stripped & dubbed)", and "Standing On The Verge (Anthony Shake Shakir & T Dancer rmx)". ~ Dusty Groove

ORCHESTRE LE MANGELEPA – LAST BAND STANDING

A legendary East African band – finally given their due on the international scene! The set's got all the sharp edges and rich charms of older work by Orchestre Les Mangelepa – but there's also a focused clarity, and maybe even a maturity of presentation that's really nice too – never too polished or commercial, but perhaps a new sense of energy from the group as they spread their music out to a global audience. The lineup mixes original members with some younger musicians – and there's an especially strong sense of vocal interplay on some of the songs – lyrics traded back and forth over the tight percussion, horns, and guitar lines. Titles include "Maindusa", "Nyako Konya", "Ma Lilly", "Mimba", "Suzanna", "Mbungu", and "Malawi Zikomo". ~ Dusty Groove

WILLS SESSIONS FEATURING AMP FIDDLER – KINDRED LIVE

A fantastic step forward for Detroit's hip Will Sessions combo – a set that's every bit as funky as their previous work, but also has a soaring fusion vibe as well! Amp Fiddler's with the group on keyboards – and with his help, they hit sort of a Bitches Brew vibe here – a style that's especially augmented by the great trumpet lines of Sam Beaubein, who's often right out on front, blowing over the heavy drums – and getting plenty of sharp help on guitar, tenor, bass, and percussion! Bryan Arnold mans the might drum kit – and the songs are long, open, and very groovy – one original, plus remakes of tunes by Miles Davis, Jaco Pastorius, and Herbie Hancock – titles that include "Dance Girl/Chameleon", "Bitches Brew", "Sivad", "Black Satin/What I Say", "Kindred", and "River People". ~ Dusty Groove

NEW RELEASES: LALAH HATHAWAY – HONESTLY; VINCENT HERRING – HARD TIMES; JONAH LEVINE COLLECTIVE – ATTENTION DEFICIT

LALAH HATHAWAY – HONESTLY

That's an 8-bit version of Lalah Hathaway on the cover, and there's a bit of that vibe in the music – these spare electronic bits and bobs, which sound surprisingly great next to the fullness of her vocals! The approach is really unique, and yet another wonderful chapter in Lalah's career – a strong legacy of soul music that keeps on moving forward, and has showed folks for many years that she's way more than just a singer in the shadow of her father! Instead, Hathaway is completely contemporary here – not hanging onto any old school modes, and instead finding a way to make her music resonate with some of her younger soul contemporaries – but never in a way thats feels copycat at all. A massive feather in Lalah's cap – with titles that include "Honestly", "Change Ya Life", "Storm", "Y O Y", "I Can't Wait", "Call On Me", "What U Need", and "Don't Give Up". ~ Dusty Groove

VINCENT HERRING – HARD TIMES

Vincent Herring really pulls it all out on this one – as the set's not just a showcase for his always-sparkling work on alto sax, but also features Herring blowing a bit of soprano sax – and working with some surprising guest stars too! The core group features Cyrus Chestnut on piano and Fender Rhodes, Yasushi Nakamura on bass, and Carl Allen on drums – but there's lots of nice additions to the lineup throughout, in a shifting array of guests that includes vocals from Nicolas Bearde on a few tracks – as well as trombone from Steve Turre, guitar from Russell Malone, trumpet from Brad Mason, and tenor from Sam Dillon. Each of the guests brings a different flavor to the record, and creates more of a sense of variety than usual for a Herring album – and titles include "Use Me", "Hard Work", "Eastern Joy Dance", "The Sun Will Rise Again", "Piccadilly Square", "Amsterdam After Dark", "Hard Times", and "Good Morning Heartache". ~ Dusty Groove

JONAH LEVINE COLLECTIVE – ATTENTION DEFICIT

Jonah Levine is a trombonist, but he's also turning out to be a heck of a great composer, too – as you'll hear in this album that's filled with fresh, original material! The tunes all have a strong sense of color – directed by Levine's trombone, which solos often – in a lineup that includes Emile Martinez on trumpet, Josh Johnson on alto, Owen Clapp on bass, Kiefer Shackelford on piano, and Jonathan Pinson on drums. The album also features a few very soulful moments – the crackling, bass-heavy vibe of "French Song Reprise", which has vocals from Iman Omari; the spacey vibe of "Zootcase", which features Mndsgn; and the heavenly vocals of Aditya Prakash on "Rakia Nightmares". Other titles include "Qu'Est Ce Que C'Est", "False Alarm", "Time Will Tell", "Blue Whale Syndrome", and "Microverse Battery". (Includes download!) ~ Dusty Groove

 

Jazz vocalist Lisa Lindsley Ignites the City of Lights with her second album “Long After Midnight"

Jazz vocalist Lisa Lindsley says that moving to Paris for a year was an idea proposed by her daughter, an aspiring high school contortionist who wanted to hone her French while studying at the Fratellini Circus School. Much to her daughter’s surprise, Lindsley put the plan in motion, and turned the adventure into the next step in her remarkable musical evolution. While her daughter decided return to the states after six months to tour with a circus in Vermont, Lindsley settled into the 19th arrondissement and quickly developed a network of regular gigs with skilled accompanists. She documents these relationships on her second album, Love After Midnight, a gorgeous collection of sultry songs on her Take One Music label..

“When we set out for Paris I had no gigs in mind,” says Lindsley, a longtime resident of the San Francisco Bay Area. “I just went to all the open mics and I’d ask to sit in. The musicians were always really impressed I was an American singing the American Songbook. Afterwards I’d talk to the owner and that’s how I started getting gigs. Before long I found musicians I really enjoyed working with.”

Lindsley is no slouch at making a powerful first impression. A late blooming artist who came to jazz singing in mid-life, she earned national attention with her stellar 2010 debut release Everytime We Say Goodbye, an intimate session featuring bassist Fred Randolph and superlative accompanist George Mesterhazy (pianist for Shirley Horn and Paula West). She’s been working steadily around the Bay Area over the past decade, but when she and her daughter relocated to Paris in the fall of 2013 Lindsley put everything on hold, including her prolific career as a voice-over artist of considerable celebrity. As the voice of Princess Leia in LeapFrog’s Star Wars game and the characters Soraka and Kayle in Riot Games’ hugely popular online game League of Legends “I get fan mail and fans cry when they meet me,” Lindsley says.

Far more than a souvenir of her year-long adventure, Long After Midnight is a fully realized statement from an artist with a discerning ear for overlooked material and a sure sense of songs ideally suited for her pleasingly smoky soprano. Working with a stellar coterie of Parisian players, she delivers an irresistible program featuring pianist Laurent Marode, drummer Mourad Benhammou, Esaie Cid on flute, clarinet and tenor saxophone, and Bay Area bass master Jeff Chambers (the Paris session’s only ringer).

“Jeff used to play in Paris a lot. As soon as he walked into the studio Mourad Benhammou said ‘I saw you play with Bobby Hutcherson 20 years ago.’ We went in and laid down 15 songs in the first day. It was the Mesterhazy thing all over again,” says Lindsley, referring to the copacetic studio chemistry that pervaded her debut album.

Opening with the title track, Lindsley doesn’t waste any time sharing the music she gathered on her sojourn. With its echoes of Thelonious Monk’s iconic ballad “Round Midnight,” James Wilson and Tricia Lee Sampson’s lovely “Long After Midnight” offers an alluring invitation to a seductive nighttime world that pulses with the heartbeat of Chambers’ imposing bass. She introduces another gem by Wilson, a California-raised jazz guitarist who teaches music at the American School of Paris, with “Skylark Song,” a delightfully fluttery melody on which her poignant vocals swoop and glide with Cid’s lustrous flute.

With her relaxed phrasing and unfussy approach to arrangements, Lindsley fully claims several oft-recorded songs as her own. Her concise, amused version of “Star Eyes” finds more light than heat in the Gene de Paul/Don Raye standard. She mines the deep vein of Irving Berlin’s treasure trove with an appropriately Caribbean-inflected “Heat Wave” and a tear-jerk torchsong take on “Love, You Didn’t Do Right By Me,” a rarely heard gem associated with Rosemary Clooney from the 1954 film White Christmas.

The album’s emotional centerpiece is another undersung chestnut, “The House Is Haunted (By the Echo of Your Last Goodbye),” an ache-filled lament she delivers with just the right blend of resignation and regret. A pinch of funk dials up the sass of “Diamonds Are a Girls Best Friend,” while Lindsley’s insouciant spirit is on full display on her slinky on-the-spot version of the 1966 Donovan hit “Mellow Yellow.” The album closes with sleek and sensuous trot through “Surrey With the Fringe on Top,” a song tackled more often by instrumentalists than singers. As a winning bonus track, she delivers a brief impromptu medley of “When Your Smiling” and “Pennies From Heaven” featuring Benhammou’s dexterous brush work. As the dawn approaches and the evening’s revelry comes to an end, Lindsley hasn’t started to wear out her welcome.

Womanly and girlish, romantic and carnal, spirited and introverted, Lindsley comfortably inhabits a full range of roles and sensibilities. She’s a jazz singer who knows that the music is at its best when it flows from lived experience. While she’s a relative latecomer to the bandstand, she’s been around the music her entire life. She grew up listening to jazz greats like Bill Evans, Dave Brubeck, Ella Fitzgerald and Sarah Vaughan because her father kept jazz and classical music playing on the stereo. Her mother, a film actress who had to leave Hollywood in the 1950s because of the McCarthy-era blacklist, imbued in her a love of theater.

While as a young teen Lindsley gravitated to the rock and pop music of the day, she discovered musical theater in high school, a passion that carried through to college. After graduating from the prestigious California Institute for the Arts (CalArts) theater program, she spent a decade touring and performing with The Imagination Company. Raising two daughters put her performing ambitions on hold for years, but she developed a successful career as a voice over artist, cast in national ad campaigns, radio shows and video games.

Just like her daughter led her to Paris, Lindsley found her way back to music when her daughters got involved in musical theater. Her work as Vicky in a production of “The Full Monty” caught the attention of the bartender at a jazzspot in the East Bay artist colony of Pt. Richmond, and he invited her to sit in at a jam session. The experience was an epiphany, and realizing the jazz was an ideal creative outlet Lindsley delved into the Bay Area’s rich pool of jazz education. She honed her skills with Roger Letson at Contra Costa College, and studied with Maye Cavallero, Laurie Antonioli and Pamela Rose at the California Jazz Conservatory in Berkeley. Veteran Bay Area pianist/drummer Kelly Park provided essential on the job training.

“He taught me a whole bunch about music, basic theory and rhythm, and what musicians think of singers who don’t know their stuff,” Lindsley says.

In turning herself into the consummate professional, Lindsley has also turned into a powerfully expressive artist whose debut album announced the emergence of a formidable creative force. With Long After Midnight, Lindsley makes a major leap as a vocalist fully in charge of her sound and repertoire. It’s an album for blissful late-night listening that leaves you wondering what the next day has to offer.

Engelbert Humperdinck Set to Release ‘The Man I Want to Be’ on November 24th via OK!Good Records

A love letter to his wife of 53 years, 'The Man I Want To Be' includes songs by Ed Sheeran, Bruno Mars, Willie Nelson, Jon Allen, Richard Marx, and more!

  

Iconic careers don’t come any bigger than Engelbert Humperdinck’s. One would be hard-pressed to find anyone who isn’t familiar with his multi-platinum selling hits such as “Release Me”, “The Last Waltz” or “After the Lovin'”. These and many more of his hits have contributed greatly to 150 million worldwide album sales by the “King of Romance”, as Engelbert is lovingly nicknamed by his legion of fans. Just having entered a new decade of his life, the youthful Engelbert is also celebrating his 50th year in showbiz with the release of a brand new album 'The Man I Want to Be' on November 24, 2017 via OK! Good Records. Not content with being a legacy artist, Engelbert demonstrates effortlessly with this album (his first album of original material in over a decade), that he is very much a relevant artist for today’s audiences as he has been over the last five decades of his career.

Doubling as a love letter to his wife Patricia of 53 years who is suffering from Alzheimer’s Disease, 'The Man I Want To Be' presents the singer in a much more contemporary style and introspective mood, covering topics such as self realization (“The Man I Want To Be”, “I Followed My Heart”, “Absolute Beginner”), remorse (“How Can You Live”, “Prodigal Son”), and melancholic nostalgia (“Photograph”, “I’m Glad I Danced With You”). A collection of love songs crafted by stellar array of songwriters like Willie Nelson (“Crazy”), Jon Allen (“The Man I Want To Be”), Richard Scott (“Just Like The First Time”), Steve Mac (“Absolute Beginner”), Richard Marx and Fee Waybill (“How Can You Live”), it also includes two unexpected covers – Ed Sheeran’s “Photograph” and Bruno Mars’ “Just The Way You Are”, which are definite highlights of the album. Much more than simple cover versions, Engelbert gives the songs a much deeper reading- lyrically and musically. Another unexpected surprise is a duet with his talented nine year old granddaughter Olivia, “I’m Glad I Danced With You,” a bittersweet ode dedicated to his wife Patricia.

Engelbert will be taking the new songs on the road, making them an integral part of his ongoing 50th Anniversary Live tour to destinations both domestic and all around the world. Still doing up to a 100 shows every year is positive proof that there is no stopping the man. A special live show focused mostly on the new album is being arranged for the beginning of 2018 in Los Angeles. In a departure from his usual big room shows, this one will be in a much more intimate setting.

To celebrate his 50th anniversary in show business, his original label Decca Records released a comprehensive 'Greatest Hits' package in May of 2017, which promptly became a Top 5 Chart record in his home country of England. Decca honored his celebrated career with an additional 11 CD box set which includes Engelbert’s first 11 albums recorded for the label.

OK!Good Records previously released a double-CD of duets, 'Engelbert Calling', in September of 2014, which featured collaborations by Engelbert with fellow artists such as Elton John, Willie Nelson, Gene Simmons, Johnny Mathis, Charles Asznavour and many others, making a number of promotional appearances on radio and television.

'The Man I Want To Be' was produced by Jurgen Korduletsch and will be released on November 24, 2017 via OK! Good Records.

Tracklisting:

1. “Absolute Beginner” (Written by Steve Mac, Tia Sillers)

2. “The Man I Want to Be” (Written by Jon Allen, Jake Field)

3. “Just the Way You Are” (Written by Bruno Mars, Phillip Lawrence, Ari Levine, Khalil Walton, Khari Cain)

4. “How Can You Live” (Written by Richard Marx, Fee Waybill)

5. “Just Like the First Time” (Written by Richard Scott, Kelvin Andrews, Scott Ralph)

6. “Photograph” (Edward Sheeran, John McDaid, Martin Harrington, Thomas Leonard)

7. “I’m Glad I Danced With You (with Olivia)” (Louise Dorsey, Tony Toliver, Jim Martin)

8. “Prodigal Son” (Written by Tony Toliver, Jim Martin)

9. “I Followed My Heart” (Written by Jon Allen)

10. “Songs of Love” (Written by Joerg Evers, Louise Dorsey, Engelbert Humperdinck)

11. “Crazy” (Written by Willie Nelson)

12. “On Broadway” (Written by Jerry Leiber, Mike Stoller, Barry Mann, Cynthia Weil)

13. “Welcome to My World” (Written by Ray Winkler, Johnny Hathcock)

14. “Our England” (Music by Les Reed OBE, Lyrics by Geoff Stephens)

The Tormé Holiday Tradition Continues In the Big Apple, Performed By The Son Of Jazz Legend Mel Tormé

FEINSTEIN'S/54 BELOW PRESENTS, James Tormé in "COLOR ME JAZZ" A brilliant reinvention of the smoky vocal jazz of the early sixties, tipping his hat not only to Chet Baker, Ella Fitzgerald, Marlena Shaw and Jack Jones, but also to his own father, Mel Tormé, and several legendary arrangers. "An unforgettable story, told by jazz royalty, sung by one of the very best in the business”. ~ Chris Phillips Jazz FM

FEINSTEIN’S/54 BELOW, Broadway’s Supper Club, presents James Tormé in “Color Me Jazz” on November 25, 2017. From the high-energy Shorty Rogers versions of “Hi-Fly”, “Moanin” and “Puttin’ On The Ritz”, and a Claus Ogerman style “Comin’ Home Baby” (featured in the current Nespresso commercials with George Clooney), to Johnny Mandel’s ultra-dreamy, almost Ellingtonian iteration of Leroy Carr’s “In The Evening When The Sun Goes Down” (recently heard on FX’s Feud), and Chet Baker's timeless “Let’s Get Lost”, “Color Me Jazz”, is a pure delight. Jazz FM’s Chris Phillips describes the show as, “An unforgettable story, told by jazz royalty, sung by one of the very best in the business”. Being hailed by Sony Classics president Chuck Mitchell as “the greatest male jazz vocalist to come along in 20 years”, the young singer feels it’s his responsibility to exceed expectations on a nightly basis. James explains, “Being a Tormé isn’t enough. I know I need to actually be great”. And he is. This one is not to be missed.

Internationally acclaimed singer James Tormé comes to Feinstein’s/54 Below for a special one-night engagement of his Color Me Jazz show, featuring jazz legend, John Colianni, Jay Leonhart, and Vito Lesczak. A brilliant reinvention of the smoky vocal jazz of the early sixties. The second-generation entertainer (yes, he’s the son of the great Mel Tormé), brings his buttery tone and high-level improvisational gifts to bare, tipping his hat not only to Chet Baker, Ella Fitzgerald, Marlena Shaw, and Jack Jones, but also, to his own father, Mel Tormé, and several legendary arrangers.

James Tormé in “Color Me Jazz” plays Feinstein’s/54 Below (254 West 54th Street) on November 25, 2017. There is a $35-$45 cover charge and $25 food and beverage minimum. Tickets and information are available at http://www.54Below.com. Tickets on the day of performance after 4:00 are only available by calling (646) 476-3551.

According to Jazz FMTM, "If you get a chance to see James Tormé, you should beg, borrow, even steal a ticket". With just a single visit to one of James' shows, it's easy to see why the multi-award-winning singer is quickly becoming one of the most talked about artists on the planet.

James Tormé (who is the son of 3-time Grammy Award Winning jazz legend Mel Tormé) is taking the legacy he was born with into even further - and causing a serious buzz in the process. Often appearing with outfits like, the BBC Concert Orchestra, Ronnie Scott's Orchestra and Les Paul Trio, the charismatic young star's debut album has topped both the iTunes and Amazon Jazz Charts*.

Tormé is "the best male jazz singer to come along in 20 years" according to longtime Verve Records president, Chuck Mitchell, the man who first discovered him. Having grown up spending time with a myriad of jazz legends (Bing Crosby, Peggy Lee, Duke Ellington, George Shearing, Buddy Rich & more), one begins to understand why. Tormé himself attributes as much of his ability as a performer to the "process of osmosis” as he does to his own show-business background. Explains Tormé, “There's no question, I absorbed a lot from my dad and his peers.” This is clear as soon as one hears his singing style, which draws from the “old school”, but with modern styling that makes it very current in today's market.

James Tormé is being praised from all corners of the globe by everyone from Billboard TM and CBS News, to BBC Radio 2 and Jamie Cullum. Possessing the look (and swagger) of a Hollywood star, he seems to know just how to handle all the press attention he's getting. It's no mystery that Tormé is now consistently appearing to standing-room only crowds at the world's top venues, as well as, being featured as the centerpiece of prestigious jazz festivals across the globe. Says Tormé, "Every show, every appearance is important to me, whether it's the Greek Theater or a small jazz club. I remember every audience. If they're going to pay money to see me, I want to give them a night they'll never forget."

Feinstein’s/54 Below, Broadway’s Supper Club & Private Event Destination, is a performance venue in the grand tradition of New York City nightlife. A few blocks from the heart of Times Square and just below the legendary Studio 54, Feinstein’s/54 Below is a classically designed state-of-the art nightclub in the theatre district that hosts audiences with warmth and style. Feinstein’s/54 Below presents iconic and rising stars from the worlds of Broadway and popular music and has set a new standard for culinary excellence worthy of the world-class entertainment on the stage.

In their description of the venue, The New York Times writes, “Feinstein’s/54 Below has the intimacy of a large living room with unimpeded views and impeccable sound; there is not a bad seat in the house. Its sultry after-hours ambiance is enhanced by brocade-patterned wall panels planted with orange-shaded lanterns. And the atmosphere is warmer and sexier than in Manhattan’s other major supper clubs.”

THE COMPLETE PRESTIGE 10-INCH LP COLLECTION OF THELONIOUS MONK CELEBRATES THE INFLUENTIAL JAZZ MUSICIAN’S EARLY RECORDINGS

DELUXE VINYL BOX SET OFFERS FAITHFULLY REPRODUCED JACKETS AND LABELS

Craft Recordings, the Catalog Division of Concord Music is proud to announce the release of Thelonious Monk’s The Complete Prestige 10-Inch LP Collection. Due out December 15th, the limited-edition box set includes all five of the 10” vinyl LPs which the pianist recorded for the jazz label, spanning 1952 to 1954. Each album has been faithfully reproduced – from the jacket design to the LP labels – while the audio has been carefully restored and remastered by Joe Tarantino from the original analog tapes, with lacquer cutting by George Horn and Anne-Marie Seunram at Fantasy Studios. Rounding out the collection is a booklet with new liner notes by Robin D. G. Kelley, author of Thelonious Monk: The Life and Times of an American Original. The Complete Prestige 10-Inch LP Collection will also be released in high-res and standard audio formats across all streaming and digital platforms. 

Thelonious Sphere Monk (1917-1982), who would have turned 100 this year, remains one of the most highly regarded jazz artists in history, known for his unique style on and off the piano. Monk was a rule-breaker, pushing the limits of his genre, with his dissonant chords, unconventional melodies and progressive rhythms. Initially dismissed an eccentric by the musical elite, Monk stood his ground, and came to be celebrated for his complexities; considered by many to be a genius. 

However, in the early ’50s, the artist was still struggling to find critical and commercial acceptance. In his liner notes, Robin D. G. Kelley refers to this era as the “golden years in terms of [Monk’s] creative output” but, he adds, “these were also dark times.” Following an unjust run-in with the law, the jazz musician’s cabaret card was revoked, preventing him from performing at New York clubs, and restricting his income. The artist’s fortune began to change, though, in 1952, when Prestige Records’ founder Bob Weinstock offered Monk a recording contract. Weeks later, the Thelonious Monk Trio  ̶  consisting of Art Blakey (as well as Max Roach on select tracks) on drums and Gary Mapp on bass, went to work in the studio, with a young Ira Gitler as producer. The resulting 10-inch LP release was Thelonious. By the fall of 1953, Monk returned to the studio, this time with a quintet, for Thelonious Monk Quintet Blows For LP, featuring Sonny Rollins on tenor saxophone. Thelonious Monk Quintet and Thelonious Plays followed in 1954. In the final 10-inch LP in this collection, recorded in October of 1954, Monk was actually a last-minute replacement for Elmo Hope at a Sonny Rollins session. But he ultimately received co-billing on the resultant 10” LP release, Sonny Rollins and Thelonious Monk. Also produced by Gitler, the LP includes an 11-minute jam of Vincent Youmans’ “More Than You Know” which, as Kelley puts it, became “the session’s masterpiece, a sublime dialogue between two great masters of modern music.” 

These early albums in The Complete Prestige 10-Inch LP Collection offer an intriguing look into this distinctive and resolute artist before he found full acclaim and acceptance, and feature an impressive collective personnel that includes some of jazz’s finest. “Listening to these tracks more than sixty years after they were recorded, it’s stunning how compelling, modern and original Monk’s music still sounds, even through the filter of 21st-century ears,” observes the collection’s producer, Nick Phillips. “That’s the mark of a true musical genius, indeed.” 

 

THE CHICK COREA + STEVE GADD BAND RELEASE CHINESE BUTTERFLY, CULMINATING A 50-YEAR MUSICAL RELATIONSHIP

Chinese Butterfly finds the two longtime collaborators co-leading a band for the first time, joined by Lionel Loueke, Steve Wilson, Carlitos Del Puerto, Luisito Quintero and special guest Philip Bailey

Fifty-year musical partnerships are rare. But the bond between keyboard virtuoso Chick Corea and master drummer Steve Gadd is legendary: five decades after they first met, Corea and Gadd are making some of the most vital, adventurous music they’ve ever created. Barnstorming funk-based workouts, dazzling and intimate lyrical excursions and Spanish-hearted improvisations set a new standard for no-boundaries jazz. And thankfully, they caught it on tape.

Chinese Butterfly, Corea & Gadd’s debut two-disc studio album, featuring five epic new Corea compositions, is scheduled for release January 19, 2018 via Concord Jazz. The album’s title hints at the rare and transfixing beauty of its music. Chick and Steve use their shared history of fearless innovation as a launching pad, pushing into new territory with an inspired band of collaborators: Benin-born guitarist and vocalist Lionel Loueke, saxophonist and flutist Steve Wilson, Cuban bassist Carlitos Del Puerto, and Venezuelan percussionist Luisito Quintero.

The album is the realization of a long-held desire that Chick and Steve shared, to work together more intensively. “Whenever Chick and I bump into each other, we’re always talking about playing music together,” Gadd says. “After many years of saying that, we finally put some time aside.”

Corea and Gadd first crossed paths in 1965, when Corea briefly joined up with Gadd’s regular gig in Chuck Mangione’s band. Over the next 10 years, Chick became one of the most influential keyboardists and composers of his generation, in jazz or any other genre. Steve, likewise, became a drum legend, laying down ageless, iconic rhythms with Paul Simon, Steely Dan and countless others.

In 1972, Corea reimagined his pioneering Brazilian outfit Return to Forever as an electric band, and Gadd became its first drummer. His commitments as the most in-demand session drummer on the scene could not accommodate RTF’s extensive touring schedule, but Corea & Gadd would reunite in 1976 for Corea’s Grammy-winning The Leprechaun and the acclaimed My Spanish Heart, whose mix of electric jazz and Latin rhythms echoes through Chinese Butterfly. Their camaraderie was the backbone of 1981’s Three Quartets, a watershed album for Chick’s writing and a master class in next-level straight-ahead jazz.

By the time they cleared their schedules to get together at Corea’s Florida studio in early 2017, their unique chemistry provided Chick with a burst of compositional inspiration, beginning with “Like I Was Sayin’” and the playfully titled “Gadd-zooks”.

“I’ve always enjoyed composing music for a band, and hearing what Steve would do with my compositions,” Corea says. “When we started playing those two tunes together, it felt so good that we started to talk about putting a band together.”

While Corea is credited as the composer on the majority of the set’s eight tunes (with John McLaughlin’s tribute “Chick’s Chums” and “Wake-Up Call,” co-written with Loueke, the only exceptions), he insists that the end result is a group effort, indelibly marked with Gadd’s distinctive rhythmic sensibility. “It’s a co-creation,” he explains. “I write the compositions, and Steve puts together the form of the rhythm, which is the backbone of the band. In my music, rhythm is everything – if the music doesn't have the right emotion and rhythm, it can’t live.”

Right from the opening seconds – a whip-crack pulse-quickening intro to the infectious “Chick’s Chums,” – Gadd’s signature is all over this album. He and Corea drive a band with bottomless reserves of firepower: the opener’s deep-pocket funk and elegant lyricism give way to “Serenity,” a showcase for Loueke’s stirring vocals and Wilson’s lilting flute. The band’s high-wire dynamic comes to the fore through the taut, roiling grooves of “Like I Was Sayin’,” which strips the ensemble down to a trio with Del Puerto for the session’s most full-throttle excursion.

Corea’s keyboard mastery is breathtaking throughout, melding beautifully with Quintero’s percussive pulse for the intricate Latin sound of “A Spanish Song.” The tune strikes a unique balance between passionate emotion and effortless complexity. Disc one closes with the title track, inspired by a verse written by Corea’s friend, poet Malin Gelfan. “Your heart will tremble,” the brief poem concludes, “like a Chinese Butterfly.” The brimming, expressive interplay between Corea and Wilson alone is enough to deliver those palpitations.

The three expansive tracks on disc two find the group stretching out even further. “Return to Forever” offers a glimpse of a parallel universe where Gadd stayed in the band, revisiting that iconic group’s eponymous theme song, with lovely, keening vocals courtesy of R&B great and Earth, Wind & Fire original member Philip Bailey. The track alternates between sparse, idyllic impressionism and joyous, celebratory bursts of soulful colors.

The captivating drones of “Wake-Up Call,” with atmospheric tones that suggest a lush jungle enlivened by birdsong and chants, adds gentle African rhythms to the mix while maintaining a sharp focus throughout its epic 18 minutes – this is a tune that’s about digging deep, not losing control. Finally, “Gadd-zooks” offers a comic book-inspired reaction to Gadd’s drumset prowess, a 16-minute tasting menu of the drum master’s rhythmic eclecticism, paired with a stunning palette of shimmering tones and inventive approaches from Corea’s synths.

Artist Marc Bessant’s cover design shows the form of a butterfly constructed by the instruments of the band – pianos for wings, drums for the head and thorax, etc. It’s an image that perfectly encapsulates The Corea/Gadd Band’s unique beauty – organic, one-of-a-kind, and inspiring in its ability to take breath-taking flight.

 

  

Anita Baker Will Perform On The 19th Annual Tom Joyner Foundation Fantastic Voyage Cruise Sailing April 29 - May 6, 2018

"Anita's coming out of retirement as I go into retirement…and she will come out of retirement for the cruise…Thank you, Lord!"

Tom Joyner announced that guests aboard the 2018 Tom Joyner Foundation Fantastic Voyage will be treated to an exclusive Evening With Anita Baker. The eight-time Grammy Award winner will honor radio pioneer Tom Joyner by performing live aboard his annual benefit cruise sailing April 29 – May 6, 2018. Anita Baker's performance will be a highlight on the cruise as we also celebration Joyner's 25 years in syndication. As the most groundbreaking entertainment cruise, the charitable endeavor is known for featuring over 60 entertainers and comedy acts along with daily empowering seminars, theme nights, morning inspiration, concerts, shopping, beach parties, fitness, late night after-parties, parades and a cavalcade of celebrities celebrating Tom Joyner's efforts to assist students attending Historically Black Colleges and Universities.

Tom Joyner announced:

"Man do I have a treat! Oooooo…I can't keep a secret. I'll explode! She's coming on the boat…She's coming out of retirement…Anita Baker is coming on the cruise! Anita's coming out of retirement as I go into retirement…and she is coming out of retirement for the cruise…Thank you, Lord!"

AUDIO: https://tinyurl.com/ydz5yn9a

Baker's decades-long career has included four platinum and two gold albums with signature R&B hits including "Caught Up in the Rapture", "Sweet Love" and "Giving You the Best That I Got". Her unique voice has the sultry vibe of a jazz singer and has been the cornerstone of a sound that has helped to shape R&B since her solo career began in the early 80s.  Although the Detroit-bred contralto established a musical style that has noticeably influenced an entire generation of talents, Baker herself has remained unmoved by the ebb and flow of trends in the industry. It is that timelessness that has left fans clamoring for her presence on the music scene ever since the wife and mother took a hiatus from the spotlight to focus on family.

The Tom Joyner Foundation Fantastic Voyage® Cruise features nonstop empowering activities, theme nights, and entertainment featuring Anita Baker, in addition to Chris Brown, Tamar Braxton, Kenny "Babyface" Edmonds, The Isley Brothers, The O'Jays and a wide range of hit-makers performing on the cruise. The current line-up for the 2018 cruise includes Divas, Soul, Throwback Hip Hop, Funk and Comedy: SWV, En Vogue, Jones Girls, Heatwave, GQ, Taste of Honey, The Sylvers, Brothers Johnson, Ying Yang Twins, Eastside Boyz, Trillville, Young Bloodz, Bonecrusher, Raheem Devaughn, Dwele, Eric Roberson, 112, the Manhattans featuring Gerald Alston, Force MD's, Das EFX, Grandmaster Melle Mel & Scorpio (Furious Five), DJ Kool, EPMD, Fat Boys. Now in its 19th year, the original Party with a Purpose® will sail from Galveston, TX April 29 - May 6, 2018 and make stops in Montego Bay and Cozumel on the Carnival Breeze raising money to help keep students in school at Historically Black Colleges and Universities.

NEW RELEASES: RUBY TURNER – LIVIN’ A LIFE OF LOVE: THE JIVE ANTHOLOGY 1986-1991; SOWECO – KEEP ON; LA BAND DEL BRASILIANO VOL. 2

RUBY TURNER – LIVIN’ A LIFE OF LOVE: THE JIVE ANTHOLOGY 1986-1991

Classic work from Ruby Turner – a UK soul singer, but one who was part of a new generation that hardly had to answer at all to her contemporaries on the other side of the Atlantic! The tracks here have a modern, midtempo groove that's right up there with the best US mainstream soul of the period – and Turner's voice, honed by years of work with others, really soars out right from the start – with a richness that really keeps these songs fresh, even past some of the production styles of the time! Ruby sings here as if she's working for Atlantic Records at the end of the 60s, and not Jive Records in the 80s – and she brings a proud, full sound to her vocals that holds up wonderfully over the years. The set's a really well-chosen batch of tracks – 32 numbers that show Turner at her best, including duets woth Jimmy Ruffin and Jonathan Butler – with titles that include "I'm Livin A Life Of Love", "Hurting Inside", "If You're Ready Come With Me", "I'm In Love", "I'd Rather Go Blind", "It's My Life (ext version)", "Step In My Shoes", "Still Waters Run Deep", "What Becomes Of The Brokenhearted", "Just My Imagination", "It's Gonna Be Alright", "Paradise (radio edit)", "Everytime I Breathe", "It's Gonna Be Alright (Brixton bass mix)", "It's You My Heart Beats For", "Merry Go Round", and "Provoking".  ~ Dusty Groove

SOWECO – KEEP ON

Soweco is just a trio, but one that comes across with the fullness of a classic combo from years back – particularly the sorts of blue-eyed soul groups from the end of the 70s! Singer Fredric Frosche Renmark has a great range, and this warmly gliding style to his vocals – which are set up over jazzy keyboards by Mattias Roos and drums from Peter Gustafsson – augmented by other touches in the studio, but also as lean as the lineup might imply! This isn't a contemporary beats and keys project – and instead, the whole thing's got a charm that goes back to the old school. The album's issued on the same label as work by guitarist U-Nam – who guests here on two tracks – and there's definitely the same blend of jazz, soul, and funk going on in the music. Titles include "Keep On", "Forget For A Moment", "Lucky Charm", "Way Up High", "Let The Rain Fall Down", "Your Love", and "By The Sea". ~ Dusty Groove

LA BAND DEL BRASILIANO VOL. 2

A contemporary record, but one that's got a very vintage vibe – served up by a young Italian combo whose style hearkens back to the grooviest styles of the 60s! Most of the tunes are romping, jerking, and jumping – that mod 60s blend of soul, rock, and jazz elements that flourished strongly on the Euro scene – and which built a very hip bridge between American styles and the newly emerging hipster scene overseas! Vocals are by both female and male singers – sometimes alone, sometimes together – and the instrumentation is heavy on Hammond, guitar, and saxes – on titles that include "92 Minuto", "La Verita", "Impossibile", "Hey Ragazzo", "Un'Ora In Piu", "Eclisse Twist", and "Preparati Bambina". ~ Dusty Groove

Drummer Jerry Granelli Reunites with Guitar Greats Bill Frisell & Robben Ford After 25 Years for Blues-Soaked Repertoire on Dance Hall

Back in 1992, veteran drummer-composer Jerry Granelli went to studios in Seattle and San Francisco with an all-star cast, including trombonist Julian Priester, alto sax great Kenny Garrett, bassist Anthony Cox and guitarists Bill Frisell and Robben Ford, to record a set of blues-based tunes that resonated with his youth. The resulting album, A Song I Thought I Heard Buddy Sing, inspired by Michael Ondaatje's haunting novel "Coming Through Slaughter" about the life of the legendary New Orleans cornetist Buddy Bolden, includes blues-tinged nuggets as Johnny Hodges' "Wanderlust," Charlie Parker's "Billie's Bounce," Ornette Coleman's "Blues Connotation" and Screamin' Jay Hawkins' "I Put a Spell on You."

Twenty-five years later, Granelli returned to the studio with the same producer from that landmark session, Lee Townsend, along with the same guitar tandem of Frisell and Ford for another blues-soaked outing. Inspired by his upbringing as an aspiring musician in San Francisco, Dance Hall, is at once a joyful reunion and a fond salute to his own youth. "This is the bookend," said the revered, 76-year-old drummer from his home base in Halifax, Nova Scotia. "When I told Bill and Robben I wanted to make another blues record, they both said, 'I'm in.' It took about a year to get everybody in the same place, but it was a great session. This record really meant a lot to me. There's magic on these tracks."

Granelli's 20th album as a leader has him tackling hit singles from yesteryear, including The Platters' "The Great Pretender," Dinah Washington's mournful "This Bitter Earth," Fats Domino's "Ain't That a Shame" and Louis Jordan's "Caldonia." He also tips his cap to Max Roach on a dramatic reading of "Driva Man" (from 1964's pivotal protest record We Insist! Freedom Now Suite featuring singer Abbey Lincoln) and to Charles Mingus on a straight shuffle version of "Boogie Stop Shuffle." An earthy reading of "Meet Me in the Morning" represents one of the artists Granelli knew from the early days of the Fillmore West in San Francisco, Bob Dylan. The drummer explains that his laid back, behind-the-beat groove on this Dylan tune was more inspired by a funkier version by Texas bluesman Freddie King from his 1975 album Larger Than Life. Aretha Franklin is also represented here with a newer tune, the gospel-tinged "Never Gonna Break My Faith" (from the 2006 movie Bobby about the death of Bobby Kennedy). "I heard that song on a plane and I just felt, 'That's the time we're in, that's what we gotta do now," Granelli maintains. "We gotta stand and not let these motherfuckers break our faith.'"

  

When Granelli and producer Townsend began talking about the project, Granelli stated he wanted the album to be "personal." Townsend replied, "That's it, find it from there." This is how Granelli was able to develop personal connections to each of the songs. "'Ain't That a Shame' has a story behind it. I was in high school and had just met the woman who would become my first wife. I just fell in love, walked around the corner to a record store and I remember that song was playing. I was not yet 20 when I first heard Dinah Washington single, 'This Bitter Earth.' After that I would sit in this bar every day, drinking gin and tonics, trying to feel melancholy and capture the sadness of that profound song. It's so gorgeous. Louis Jordan is someone I grew up listening to and his 'Caldonia' in particular is how I learned to play quarter note triplets on the drums. So I had all of those songs memorized as a kid, and every one of them meant something real to me. And as far as 'The Great Pretender,' I toured with The Platters when that song was popular, so I must've played it hundreds of times."

The core quartet - Granelli  on drums, Frisell and Ford on guitars and Granelli's son J. Anthony Granelli on bass - puts its stamp on "Boogie Stop Shuffle," "Driva Man," "This Bitter Earth" and "Never Gonna Break My Faith." A punchy three-piece horn section, arranged by Steve Bernstein of Millenial Territory Orchestra and Hot 9 fame, are augmented on four other tunes - "Meet Me in the Morning," "The Great Pretender," "Ain't That a Shame" and "Caldonia." Granelli, who has cultivated a two-guitar sound in his previous bands V-16 and UFB, says he fell in love 20 years ago with that combination from the Frisell-Ford hookup he heard on A Song I Heard Buddy Sing. "I just always loved that sound, where it's like two guitars meshing into one big guitar to the point where you can't tell who's playing what."

For the drummer and educator, who is approaching 77 in December, Dance Hall represents a return to the fundamental desire to play the blues. "I've gone through a lot of phases in my career, starting out playing straight ahead in piano trios led by Vince Guaraldi and Denny Zeitlin, then playing that right-in-the-pocket Mississippi-Louisiana thing with Mose Allison in the '70s. I've gone through the 'out' stuff with free jazz and all that. But the beauty of playing this instrument, the drums, is playing time for people who can just do it and use it. And these guys really know how to use it.

"Everybody did this session as a labor of love all the way down the line," he added. "There was a lot of laughing, a lot of joy at the sessions. It was a real love fest. And to me, personally, it just feels like artistic freedom has finally been reached with this recording, where you can actually do what it is that you love. For me, it feels like a pretty outrageous record to make at this point in my life. Just to play the drums that way...that's what I grew up in. I can't wait to get on the road and play this music and see what happens. That's the next step."

NEW RELEASES: BOOTSY COLLINS – WORLD WIDE FUNK; WILLIE JONES III – MY POINT IS; JAMES BLOOD ULMER "THE THING" - BABY TALK

BOOTSY COLLINS – WORLD WIDE FUNK

Bootsy Collins has always been a very collaborative artist – from his early work in the James Brown Band, to his famous recordings with George Clinton, to his own albums – which often included most of the leading lights of the P-Funk universe! That collaborative spirit is alive and well here – as Bootsy opens the door to invite a huge host of guests from the worlds of funk, soul, and hip hop – all to augment his groove, and help his classic music find a way to live anew in the contemporary generation! Nearly every track here has at least one guest – most have many more – and the album features contributions from Musique Soulchild, Doug E Fresh, Big Daddy Kane, Stanley Clarke, Victor Wooten, Dru Down, Mc Eiht, Bernie Worrell, Chuck D, Buckheat, and many others – all of whom participate in the general party vibe of the set. Titles include "Pusherman", "Thera-P", "World Wide Funk", "Candy Coated Lover", "A Salute To Bernie", "Hi On Heels", "Snow Bunny", "Worth My Wile", and "Come Back Bootsy".  ~ Dusty Groove

WILLIE JONES III – MY POINT IS...

Over the years, the name of Willie Jones III has really become one that makes us want to stop and check out a record – and this time around, not only does the set feature Jones' name on the front – but the quintet also includes great performances from Ralph Moore on tenor, Eddie Henderson on trumpet, Eric Reed on piano, and Buster Williams on bass! With a lineup like that, Reed just can't miss – and the record takes us back to the kind of instant classics we were hearing from Henderson, Moore, and Reed twenty years back – but given that sort of special vision that makes Willie both a great drummer and leader, one who's evolving into a one-man powerhouse of jazz – given that he also produces and releases his records himself. And yet there's nothing smalltime about this set – especially with Henderson and Moore in the lead, the latter of whom is always a treat to our ears. Titles include "Manhattan Melodies", "My Point Is", "The Wind Of An Immortal Soul", "The Maze", "Blues For Dat Taz", and "Early Morning".  ~ Dusty Groove

JAMES BLOOD ULMER "THE THING" - BABY TALK: LIVE AT MOLDE INTERNATIONAL JAZZ FESTIVAL 2015

Over the years, the mighty Thing trio has turned out to be a wonderfully collaborative group – and here they join forces with legendary guitarist James Blood Ulmer, who may well be serving up one of his best performances in years! The unbridled energy of the core group is well-known – drums from Paal Nilssen-Love, bass from Ingebrigt Haker Flaten, and baritone and tenor from Mats Gustafsson – who's pictured perfectly on the cover, caught in the moment of one of his joyous expressions! Ulmer's of an earlier generation than the musicians, but fits in well – and they, in turn, know when to back off a bit and allow his complicated flurries of tones to get just the right sort of space in the spotlight. Titles include "Baby Talk", "High Yellow", "Proof", and "Interview".  ~ Dusty Groove

 

JAZZ VOCALIST CARMEN LUNDY ANNOUNCES ADDITIONAL TOUR DATES TO ACCOMPANY HER CRITICALLY-LAUDED ALBUM, "CODE NOIR"

Cities Include New York, Boston, Philadelphia, Miami And Chicago

Lundy’s ruggedly conversational lyrics and welcome social commentary inhabit territory Abbey Lincoln and Marvin Gaye both might recognize. Her voice swoops down and provides a focal point. It’s sensuality. It’s wisdom, it’s curiosity – they all roll into a fetching package.” – Downbeat

"Musicians as diversely gifted as Carmen Lundy, who has excelled as a vocalist, composer, lyricist, arranger, guitarist and keyboardist for more than three decades, remain far and few between." - Jazz Times

Los Angeles, California. On the heels of her celebrated CD "CODE NOIR"released earlier this year, Jazz vocalist Carmen Lundy has announced additional tour dates to take place this Fall and Winter. With stops in New York City November 11th (a live PBS special taping, The Historymakers Honor Franklin Thomas), a four night run at The Jazz Showcase in Chicago November 30th-December 3rd, December 9th at Scullers in Boston and South Jazz in Philadelphia on December 16th and 17th, Lundy will close out 2017 on a high note following rave reviews of the album and her accompanying live performances. Also slated for February is a date at the Fairchild Tropical Botanic Garden on Valentine's Day 2018 and a featured spot at the Mid-Atlantic Jazz Festival in Baltimore on February 18th.

Never one to limit her creative journeys, Lundy explores the realms of Jazz, Blues, Brazilian Samba and Pop on CODE NOIR with a multitude of messages that reflect not only the complexities of her own mindset, but the disparity of the world at large. Poignant, heartfelt, angry, joyous, shocked, and saddened are just a few of the emotions conveyed by this wonderfully evocative singer on CODE NOIR via this highly personal musical voyage.

"These songs encompass the musical and artistic influences from the African diaspora and its influence on jazz and other musical genres – the bossa nova, the blues, swing, funk, the exploration into the avant-garde," says Carmen. "Yet they also encompass the many emotions that are currently prevalent in this country. We are going through tough times with a country that is sorely divided and many of these tracks reflect the feelings that we as human beings are going through on an individual level. CODE NOIR actually refers to the first law ever written by a person in power of a sovereign nation/empire - the King of France Louis XIV - the first law to disallow and make illegal the integration of the African race into white European society.

Lundy either wrote or co-wrote all twelve tracks on the record which features Patrice Rushen on piano, Ben Williams on bass, Jeff Parker on electric guitar, Kendrick Scott on drums and percussion and Elisabeth Oei on background vocals. In addition to vocals, Lundy also plays keyboards and guitar.

www.CarmenLundy.com

Dionne Warwick: Odds & Ends--Scepter Records Rarities

With a total of 40 Pop chart hits, Dionne Warwick’s recordings for the Scepter label rank as arguably the most successful run of any artist—and certainly of any female artist—for an independent label during the 1960s. But all that success had a downside for her considerable legacy: Scepter became a hot property for acquisition, and as a result the label’s holdings were bought and sold several times before Dionne herself arranged to buy her own masters back. By that time, though, the Scepter tapes had been scattered in disarray, thus leaving a lot of material in limbo and causing compilers to throw up their hands. 

Well, where other reissue labels fear to tread Real Gone Music goes full speed ahead! Odds & Ends—Scepter Records Rarities offers 26 hard-to-find tracks (plus some bonus promo spots) from the Scepter vaults, including rare alternate versions (of hits like “Don’t Make Me Over,” “I Say a Little Prayer,” and “Do You Know the Way to San Jose”), stereo singles (“He’s Moving On;” “Amanda”), foreign language singles (“A House Is Not a Home” in Italian and French; “Walk On By” in German and Italian), stereo mixes (of “Get Rid of Him” and “Silent Voices”), and just plain lost tracks (like “Our Ages or Our Hearts” and “Monday, Monday”). 

Many of the selections are previously unissued and most are making their CD debut. What’s more, this one’s released with the full cooperation of the legendary lady, Dionne herself, who sat down for an interview with liner note writer Joe Marchese, and includes rare photos. Remastered by Ted Carfrae, Odds & Ends—Scepter Records Rarities is a stone solid must for any Dionne fan, and of course any Bacharach-David fan as well…this is some of the greatest—and rarest—vocal pop music of the ‘60s!

Track Listings

Disc: 1

  1. I Say a Little Prayer (Alternate Version)

  2. Monday, Monday

  3. A House Is Not a Home (Italian Version)

  4. He's Moving On (Stereo Single Non-Soundtrack Version)

  5. Amanda (Stereo Single Non-Soundtrack Version)

  6. Walk On By (German Version)

  7. Get Rid of Him (Stereo Mix)

  8. Don't Make Me Over (Alternate Version)

  9. Reach Out for Me (French Version)

  10. The Good Life (Studio Mix)

  11. Loneliness Remembers What Happiness Forgets (Alternate Version)

  12. Walk Little Dolly (Italian Version)

  13. If You Let Me Make Love to You, Then Why Can't I Touch You

  14. La Vie En Rose (English Version)

  15. You'll Never Get to Heaven (German Version)

  16. As Long as There's an Apple Tree (Extended Version)

  17. Our Ages or Our Hearts

  18. How Many Days of Sadness (French Version)

  19. I Love Paris (Studio Mix)

  20. Silent Voices (Stereo Mix)

  21. The Windows of the World (Italian Version)

  22. C'est Si Bon (Studio Mix)

  23. Odds & Ends (Alternate Version)

  24. A House Is Not a Home (French Version)

  25. Walk On By (Italian Version)

  26. Do You Know the Way to San Jose (Alternate Version)

  27. Dionne Radio Promo Spots & Public Service Announcements

Grammy® nominations “Possible” for R&B-jazz singer-songwriter Selina Albright’s “Conversations”

Being considered in four preliminary Grammy categories for her debut album, “Conversations,” in her first year as a NARAS voter provided smooth soul singer-songwriter Selina Albright an entirely new perspective about what her father, contemporary jazz saxophone giant and eight-time Grammy nominee Gerald Albright, experienced while she was growing up.  

“When I was little and my dad would tell me that he was up for a Grammy, I didn’t realize how life-changing the process of getting on that final ballot must have been for him - the hundreds of tracks he must’ve been introduced to, the wonderful people he must’ve met, how big and multi-faceted the world of music must’ve seemed by the time he’d finished voting, and how much it must have meant to him to be nominated out of the multitudes. Now, I’m beginning to understand the magnitude of the honor and responsibility of being a voting member, which I take seriously,” reflected Albright about her father who makes a guest appearance playing flute on “Conversations.”

Albright is a Best New Artist candidate in the midst of a breakthrough year that began with the release of the album’s attention-grabbing first single, “Eat Something,” a joyous affirmation of self-love and acceptance while in a romantic relationship with lyrics that make it okay to pack on some extra weight. Like the nine originals she penned for the collection, the Best R&B Song contender is inspired by intimate conversations she’s had with family, friends and loved ones. The track is receiving airplay and has charted at two different radio formats: urban adult contemporary and smooth/contemporary jazz. 

  

A few months after releasing “Conversations,” the Best R&B Album aspirant issued “Possible” to radio, an empowering single on which Albright unleashes the full power and magnitude of her impassioned four-octave voice, delivering a worthy Best R&B Performance entrant. “Conversations” is a deeply personal and revealing set that Albright describes as a “therapeutic diary.” Chris “Big Dog” Davis, James “JRob” Roberson and Albright produced the session that features performances by Gerald Albright, Peter White, Kay-Ta Matsuno, Randy Ellis and David P. Stevens.          

Throughout the year, Albright has supported “Conversations” with concert dates across the country, selling out clubs and playing packed theaters and festivals on shared bills, including shows with her father. She was invited on a 24-city Christmas concert tour with smooth/contemporary jazz royalty - Dave Koz, David Benoit, Rick Braun and White - that launches the day after Thanksgiving. Albright hopes to receive an early Christmas gift when the Grammy nominations are announced on November 28.     

“The honor of having my own music on the preliminary ballot is so beautiful to me. I can’t even put into words the honor I’d feel to actually get a Grammy nomination. I can’t wait to see where this journey takes me!”

www.SelinaAlbright.com.