Stan Getz Celebrated With Five-Album Vinyl Box Set - The Bossa Nova Years

Though born in Philadelphia, Getz was a key architect in the development of the US West Coast "cool school" sound and was heavily influenced by the airy tone of his idol, saxophonist, Lester Young. Getz rose to fame in the late 1940s after serving his musical apprenticeship in the bands of Jack Teagarden, Benny Goodman, and Woody Herman. As a solo artist, his career took off in the 1950s, a time when he earned the nickname "The Sound," which referred to his light, feathery saxophone tone and gift for effortless melodic improvisation.

Bossa Nova Years catches up with Getz's career in the early 1960s, when he was signed to Verve and expanded both his repertoire and audience by marrying cool jazz with an exciting and sensuous new form of music from Brazil called bossa nova. 1962's Jazz Samba LP - recorded in tandem with noted classically-trained acoustic guitarist, Charlie Byrd - was Getz's first foray into bossa nova and helped to popularize the music in America. The album topped the US LP charts, aided by the commercially successful single, the Grammy-winning "Desafinado."

Getz explored Brazilian music in a large ensemble setting on his next album, Big Band Bossa Nova, also released in 1962, which placed his saxophone against a big band backdrop (expertly arranged by Gary McFarland) with spectacular results. Among the standouts are "Manha de Carnival," which is driven by pulsating samba rhythms, and the more reflective "Melancolico."

The Brazilian theme continued on 1963's Jazz Samba Encore! It featured Rio de Janeiro guitarist Luiz Bonfá, and also acclaimed bossa nova songwriter, Antonio Carlos Jobim, who appeared on guitar and piano. Significantly, Jobim was the co-writer of "The Girl From Ipanema," the big hit from Getz's next album, Getz/Gilberto, a collaboration with Brazilian guitarist and singer, Joao Gilberto. Gilberto's then wife, Astrud, supplied delicate, spellbinding vocals on "The Girl From Ipanema," which was released as a single and became a substantial international hit in 1964 (it also won a Grammy). More significantly, it helped to launch Astrud Gilberto's own career as a singer.

The final LP in the Getz package is Stan Getz With Guest Artist Laurindo Almeida, recorded in 1963 but not released by Verve until three years later. It finds Getz hooking up with renowned São Paulo guitarist, Laurindo Almeida, whose delicate but highly rhythmic fretboard work underpins some wonderfully mellifluous horn-blowing by the saxophonist. Highlights include the breezy "Menina Moca" and the gently undulating "Once Again," both spotlighting Getz's burnished lyricism.

Dinah Washington Celebrated With Five-Album Vinyl Box Set - The Divine Miss Washington

Famed for her clear diction, crisp phrasing, and declamatory delivery, Dinah Washington (1924-1963), like Billie Holiday before her, possessed an immediately recognisable singing voice. A 1993 inductee in to the Rock And Roll Hall Of Fame, Washington was born Ruth Lee Jones in Tuscaloosa, Alabama, and first recorded during the 1940s, serving up risqué blues songs. In the 1950s, Washington - who called herself the "Queen of the Blues" - recorded a clutch of classic albums for the Mercury subsidiary, Emarcy, that revealed her to be a sophisticated song stylist who could sing blues, jazz, and pop with consummate ease. The Divine Miss Dinah box set begins with After Hours With Miss D, a superb 1954 session with legendary horn players, Clark Terry and Eddie "Lockjaw" Davis, in attendance. A finger-clicking "Blue Skies" is one of many standouts. The electrifying Dinah Jams, recorded live in front of a studio audience in 1954, has a looser, improvisational flavor and features bebop trumpet legend Clifford Brown. Mellower and more overtly romantic is 1955's For Those In Love, which contains one of Washington's most popular tunes, "Blue Gardenia," and finds the singer backed by a small ensemble that includes future Miles Davis Kind Of Blue band members, pianist, Wynton Kelly, and drummer, Jimmy Cobb. In sharp contrast, 1957's The Swingin' Miss D, has Washington collaborating with the then rising arranger/conductor Quincy Jones and his orchestra. Packed with effervescent big band uptempo tunes (such as "Caravan") and stylish heart-rending ballads ("You're Crying"), it proves to be an inspired and exquisite pairing of talents that oozes pizzazz.

Two years later in 1959, Washington scored a Top 10 US pop hit and grabbed a Grammy award with her striking remake of the Dorsey Brothers' 1934 smash, "What A Diff'rence A Day Makes," which featured on her album with the same title. What A Diff'rence A Day Makes! also spotlighted future Weather Report co-founder, Joe Zawinul, on piano, and found Washington, augmented by a lush string orchestra, putting her own spin on standards like "Cry Me A River," and "Manhattan."

Jazz Legend Billie Holiday Celebrated With Five-Album Vinyl Box Set Featuring Some Of Her Classic Records

Dubbed "Lady Day" by jazz saxophonist, Lester Young, Billie Holiday (1915-1959) is one of the most influential and iconic jazz vocalists of all time. Her uniquely expressive voice, with its unmistakable tone, timbre, and horn-like phrasing, had an emotional sincerity that made everything she sang seem an honest reflection of her own personal struggles in life. Holiday was born Eleanora Fagan in Philadelphia and after experiencing a difficult childhood, found an escape through music. She began singing professionally as a teenager in the late 1920s and signed her first recording contract in 1935, before going on to work with the swing-era big bands of Count Basie and Artie Shaw. By the 1940s, she was a big solo star but behind the showbiz glamour there was a dark underside of drug and alcohol dependency, which eventually hastened her tragic demise (she died in 1959 aged 44).

Classic Lady Day catches up with Holiday at the dawn of the LP age in the 1950s when she recorded for the Clef and Verve labels founded by jazz impresario and producer, Norman Granz. The opening album in the set is 1957's Solitude: Songs By Billie Holiday, which was first issued in 1952 as a 10-inch LP called Billie Holiday Sings for Granz's Clef imprint. It's a delightful small group session where Holiday's beguiling voice is framed by sympathetic and lightly-swinging arrangements played by sidemen that include pianist Oscar Peterson and guitarist Barney Kessell. Holiday's mournful version of Duke Ellington's immortal "Solitude," with Charlie Shavers on trumpet, is particularly arresting. Holiday also puts her own inimitable stamp on the standards "You Go To My Head" and "These Foolish Things."

A Recital By Billie Holiday is a 1956 compilation that includes fine readings of "What A Little Moonlight Can Do" and "Stormy Weather," while Velvet Moods - Songs By Billie Holiday issued the same year on Clef contains "Nice Work If You Can Get It" and "I've Got A Right To Sing The Blues." Also issued in 1956 was Holiday's most famous album, Lady Sings The Blues, which she released to coincide with the publication of her same-titled autobiography. It contains the classic title song - co-written by the singer - and another original iconic tune, "God Bless The Child." Another highlight is her haunting version of American writer Lewis Allan's provocative but poignant anti-lynching poem set to music, "Strange Fruit."  Classic Lady Day concludes with the 1958 Verve LP, All Or Nothing At All, released a year before the singer's death. It contains memorable performances of "April In Paris," "Sophisticated Lady," and "Love Is Here To Stay."

 

The Mark Zaleski Band Returns After Nearly a Decade With Its Wide-Ranging, Hard-Swinging Second Album, Days, Months, Years

Bandleader and composer Zaleski pulls off the impressive feat of playing both saxophone and bass on the album, which features his long-running ensemble

Sparks can fly from an initial meeting, but true chemistry only comes with time. That's true in jazz as it is in life, as can be heard by listening to the evolution of the music's great bands as they grow and evolve over time. Nearly a decade after their debut release, the Mark Zaleski Band returns with the fruits of their own long tenure together. On Days, Months, Years, released October 6, 2017, the quintet (and sometime sextet) reveals the fruits that come from putting in the time, year after year, gig after gig.

While the Mark Zaleski Band has been together for 11 years, the relationships between the bandleader and some of his collaborators reach back even further - nearly a lifetime in the case of keyboardist Glenn Zaleski, Mark's younger brother and a gifted composer/bandleader in his own right. Tenor saxophonist Jon Bean has been Zaleski's best friend since the two met as students at Boston's New England Conservatory 12 years ago. Both guitarist Mark Cocheo and bassist Danny Weller (who is a regular part of the live band and appears on one track here) first crossed paths with Zaleski at that prestigious institution as well. In that company drummer Oscar Suchenek is the relative newcomer, joining four years ago after meeting Zaleski in the ranks of the acclaimed Either/Orchestra.

It takes the kind of telepathic communication that only comes with such longevity and chemistry to manage the album's most impressive feat. Zaleski does double duty in the band's line-up, part of both his namesake band's frontline, playing alto and soprano saxophone, as well as its rhythm section, playing bass on five of the six tracks. A lot of planning and some complicated logistics (not to mention a bit of studio acrobatics) were required, though as with the best magic the effort never shows in the final product. The music on Days, Months, Years is as lively, swinging and robust as if a sixth member - Zaleski clone or not - was playing along with them.

"Playing bass and saxophone for a jazz record is obviously kind of tricky," Zaleski admits. "I don't think I'd be able to pull it off with just any group of musicians. It requires the real life bond that everybody in this band has with each other." While saxophone has been Zaleski's primary instrument since he first picked one up at 9 years old, he's maintained a lifelong flirtation with the bass. Growing up listening to classic and modern rock, the guitar loomed larger in his imagination than the clarinet that he played in the school band, which seemed to have little to do with the music of Led Zeppelin or Metallica. Even as he shifted his focus to jazz, Zaleski would sneak away from his sax shedding to play around with a friend's upright bass while studying at the Dave Brubeck Institute or NEC.

Seven or eight years ago, that tinkering became a little more serious as Zaleski finally invested in a bass of his own and quickly found himself in demand for gigs and recording sessions as a bassist. "What I thought was going to be a fun little hobby suddenly blew up," he recalls. "I always felt this organic connection to the bass, but it's now become a real part of my life that I couldn't let go of. Though it was kind of crazy, it seemed like the most accurate representation of myself as an artist had to do with bass playing as well as saxophone playing."

Days, Months, Years kicks off with the anthemic "Mark in the Park," which has become something of a theme song for the band. Over the course of its ten minutes, the band gets to show off nearly every facet of its sound, from bracing swing to lilting groove, modern jazz angularity and a rocking, funky backbeat. The first solo belongs to Zaleski's alto, over his own thick, Ray Brown-influenced bass line. Pulling that off required a bit of in-studio juggling and after-the-fact tracking, but the seams never show. "I didn't want anything to seem overproduced," Zaleski says. "I wanted to maintain the organic quality of the improvisational sections."

"Cerina," named for the street where the band used to practice in Boston's Jamaica Plain neighborhood (not far from the park where "Mark in the Park" was written), begins with an unaccompanied duo improvisation between the two saxophonists that offers a glimpse of the deep friendship and understanding that Zaleski and Bean share. The rest of the band kicks in with a fiery, Latin-tinged rhythm, which later gives way to a more atmospheric section for Cocheo's entrancing solo.

The title track was penned by a younger Zaleski in a moment of career anxiety, its simmering intensity revealing of his frustration, though the song ultimately ends on a hopeful note, one that has since been paid off with the composer's success as both a musician and an educator. A funky arrangement of Thelonious Monk's "Epistrophy" follows, offering a glimpse of a well-known piece reimagined through Zaleski's own singular voice.

An elegiac ballad showcasing Zaleski's soprano playing, "Katie's Song" is a dedication to a close childhood friend who was killed far too young in a tragic car accident. Finally, the swaggering "Big Foot" offers a glimpse of the live Mark Zaleski Band experience, with regular bassist Danny Weller (who was busy attending to the birth of his child when the rest of the album was recorded) joining the fold. Zaleski's arrangement of the lesser-known Charlie Parker tune melds the original bebop sound with a burly blues feel.

A native of Boylston, Massachusetts, Zaleski has enjoyed a diverse career, playing with jazz greats like Christian McBride, Dave Brubeck, Antonio Sanchez and Dave Liebman, among others, while also working with singer Connie Francis and touring with rock legends Jethro Tull. At just 31, he's become one of the most in-demand educators in Boston, serving as chair of the Woodwind and Brass departments at Bard College's Longy School of Music and harmony professor at Berklee College of Music, and teaching ear training, lessons and ensembles at his alma mater, New England Conservatory. In addition to leading his own band, he's currently a member (on electric bass) of the long-running Either/Orchestra and Planet Radio, a funk/soul band that he co-founded.

The band is scheduled for a couple of South Florida CD release concerts:
Lagniappe House (Miami) on March 8
Le Chat Noir (Miami) on March 9
Arts Garage (Delray Beach) on March 10  

Van Morrison set to release Versatile on Friday December 1

Following the massive success of his 37th studio album Roll With the Punches (which charted at No 4 in the UK this September), Van Morrison prepares the release of his 38th.

Versatile is positive proof that Van Morrison is built differently to other artists. One of very few British recording artists to warrant the description 'living legend', Van is currently working at a rate to put musicians a third of his age to shame; an ethic that harks back to his early days as a recording artist who'd easily release multiple brilliant long players within the space of a year.

While Roll With The Punches saw Van revisit many of the definitive rhythm and blues records that have stayed with him all his life, Van's latest album sees him delve further back into recorded music's archives to interpret some of the 20th century's greatest vocal jazz standards.

Across Versatile's sixteen tracks, Van Morrison interprets some of the very building blocks of modern music in his own utterly unique style.  As well as songs originally made famous by the likes of Chet Baker, Sinatra, the Righteous Brothers, Tony Bennett and Nat King Cole, Versatile features six stunning new Van compositions, including Broken Record – a timeless piece of late-night swing.

A joy from start to finish, Versatile is a completely different record to Roll With the Punches yet it's incontrovertibly Van and proof, if ever it were needed, that at 72 years of age, he's not going to slow down any time soon.

Versatile features:

1. 'Broken Record' (Van Morrison)

2. 'A Foggy Day' (George Gershwin and Ira Gershwin)

3. 'Let's Get Lost' (Frank Loesser and Jimmy McHugh)

4. 'Bye Bye Blackbird' (Ray Henderson and Mort Dixon)

5. 'Skye Boat Song' (Traditional. Arranged by Van Morrison)

6. 'Take It Easy Baby' (Van Morrison)

7. 'Makin' Whoopee' (Walter Donaldson and Gus Kahn)

8. I Get a Kick Out of You (Cole Porter)

9. 'I Forgot That Love Existed' (Van Morrison)

10. 'Unchained Melody' (Alex North and Hy Zaret)

11. 'Start All Over Again' (Van Morrison)

12. 'Only A Dream' (Van Morrison)

13. 'Affirmation' featuring Sir James Galway (Van Morrison)

14. 'The Party's Over' (Betty Comden, Adolph Green and Jule Styne)

15. 'I Left My Heart in San Francisco' (George Cory and Douglass Cross)

16. 'They Can't Take That Away from Me' (George Gershwin and Ira Gershwin)

Tracks on the album were recorded at Stormont Hotel, Co. Down; .The Courtyard, Clandeboye Estate, Co.Down; The Culloden Hotel, Co.Down; Slieve Donard Hotel, Co. Down; Dunluce Castle, Co. Antrim and Holywood Studio, Co. Down.

NEW RELEASES: MICKEY DOLENZ & THE AMERICAN METROPOLE ORCHESTRA - OUT OF NOWHERE; LIONEL LOUEKE & CELINE RUDOLPH - OBESSION; CORNELL THIGPEN - HISTORY

MICKEY DOLENZ & THE AMERICAN METROPOLE ORCHESTRA - OUT OF NOWHERE

7A Records presents a brand new album from Micky Dolenz - "Out Of Nowhere". Recorded in April this year with the sublime 30 piece American Metropole Orchestra, Dolenz sings all of the Monkees' greatest hits along with some outstanding deep album cuts. The orchestral backing adds a real unique depth to the recordings and Dolenz's voice is as good as ever. To quote Dolenz in his own words: "Words cannot express what a magical night it was. You really had to be there and thanks to this recording, you can be!" Includes Last Train to Clarksville; Sometime in the Morning; D.W. Washburn;  A Little Bit Me, a Little Bit You; (I'm Not Your) Steppin' Stone; Hey Bulldog (Inst.); Porpoise Song; Randy Scouse Git; Since I Fell for You; Daydream Believer; Pleasant Valley Sunday; and I'm a Believer.

LIONEL LOUEKE & CELINE RUDOLPH - OBESSION

A singer playing the guitar. A guitarist who sings. An album on which these two exceptional musicians show that in music, too, the whole can be bigger than the sum of its parts. Their common "obsession" opens up musical horizons, sounds like Jazz and singer-songwriter-elegance, like Cotonou, Rio, Memphis and Berlin. It is music that speaks of the passion that loves, of deep moments, life, pleasure and the Blues. This duo, which most often sounds like a band, sometimes even like an orchestra, sings ten glorious, spontaneous songs, sometimes in English, sometimes French, sometimes in Celinish or Lionelish. You may think, after just one listen, that you ve known these songs all your life, but there is really only one cover among them (Caetano Velosos "O Leãozinho"), while the rest of the songs were written by either Céline Rudolph or Lionel Loueke or both of them. Make no mistake: this is a complex, diverse album, while at the same time homogeneous and subtle, aptly titled Obsession .

CORNELL THIGPEN - HISTORY

Album delivers a fresh new sound of sophisticated inspiration and poetic collaboration that illuminates pure talent! History displays a straight-ahead approach to modern jazz, but screams a blend of electrified fusion, funk, and highly progressive pop/rock influenced by the avant-garde. Energy is displayed in every song! Cornell Thigpen is a Chicago Illinois native and has traveled the world as musician and Music Director with such artist as Dave Hollister, Mary J. Bilge, Kenny Babyface Edmonds, BeBe and CeCe Winans, Daryl Coley, Stevie Nicks, Fred Hammond, Bobby Brown, Keshia Cole, Patti Labelle, Jagged Edge, the group 112, Ralph Tresvant, Kim Burrell, Chaka Khan, The Isley Brothers, Kenny Latimore, Tony Terry and Kirk Franklin to name a few. Cornell has also played many styles of music from gospel to blues to rhythm and blues to smooth jazz and to rock and is highly respected among the musical community. Thigpen boasts over one million views on YouTube with hundreds of videos attesting to his undeniable musical talent and abilities. Multi-Grammy, Stellar and Dove Award Winner Fred Hammond affirms, Cornell is not just a musician but one who connects with the listener! Cornell's extensive music career includes tours worldwide, as well as appearances on shows and events such as The Oprah Winfrey Show, Good Morning America, The View, PBS, and The Chicago Bulls Championship parade. This album should be in everyone's collection!

NEW RELEASES: DINAH WASHINGTON & QUINCY JONES: - THE COMPLETE SESSIONS; MARCUS ANDERSON – THIS IS CHRISTMAS; KYLE EASTWOOD - IN TRANSIT

DINAH WASHINGTON & QUINCY JONES: - THE COMPLETE SESSIONS

This 3-CD, 73-track set presents, for the first time ever on a single edition, all existing sessions featuring the singing of Dinah Washington with bands conducted by Quincy Jones, who was also responsible for most of the arrangements on these dates. Ranging from 1955 to 1961, the sessions include the complete contents of the classic albums For Those in Love (Emarcy MG-36011), I Wanna Be Loved (Mercury SR-60729), and The Swingin’ Miss “D” (EmArcy MG-36104), along with various other tunes issued on singles. Contained here are her unforgettable renditions of “Mad About the Boy”, “Blue Gardenia” and “I’ll Close My Eyes” (the latter two were selected by Clint Eastwood for the soundtrack to his movie The Bridges of Madison County).

MARCUS ANDERSON – THIS IS CHRISTMAS

The gift of sound is fit for every season when Marcus Anderson comes to play. The saxophonist stands out with This Is Christmas, turning the traditional holiday cheer into something listeners can play throughout the year.    Breaking boundaries of soul and jazz, the tone is set and the vibe is just what one expects from a seasonal release with the reminders of home and family latticed throughout the compilation. Renditions of yuletide favorites such as Oh Christmas Tree, This Christmas and Oh Come All Ye Faithful welcome listeners with cheer and instrumental grace, enhanced by Anderson s natural musical trope. Every facet of his talented ensemble is enlisted to heighten the experience of the songs we've all come to love and enjoy.   What is not expected is the sensuality which Anderson channels to break traditional expectations of jazz-themed Christmas music to deliver an album that can turn any day into a holiday. Play Christmas with Her and Favorite Time of the Year for a romantic evening with someone special- the melodies are perfect for cuddling, whether it be rain, sun or snow. Jingle Jam is another surprise, as Anderson embraces the more funky aspects of his musical background so that you can bring this track to the cookout!   Plug in the tree and light the candelabra because it is officially ignited with This Is Christmas! Clever and exceptionally -mastered, this album brings out the best of every occasion from winter to summer, spring and fall. Charging the senses while keeping you in the mood to celebrate, groove with Marcus Anderson and share the spice of the holiday season any time of year!

KYLE EASTWOOD - IN TRANSIT

Bassist Kyle Eastwood has an unbridled passion for jazz and the innate talent to share it. He is an artist that strives to reinvent the genre by not only respecting its masters, but also pushing the boundaries in search of a new tradition that looks ever forward. Following on the success of his first two Jazz Village releases, Eastwood's In Transit features songs by some of his favorite composers as well as original tunes by Eastwood and his band. Guest artists include saxophonist Stefano Di Battista. The mood of the album's ten tracks ranges from hard bop and rhythm 'n' blues to a decidedly contemporary sound. With its powerful rhythms and catchy melodies, Eastwood's In Transit is guaranteed to please.

NEW RELEASES: KYOTO JAZZ SEXTET – UNITY; BILL O’CONNELL / NICO CATACCHIO / ALESSANDRO NAPOLITAN – THREE OF US; SOUL POTENTIAL: A COLLECTION OF NEW SOUL CLASSICS

KYOTO JAZZ SEXTET – UNITY

The Kyoto Jazz sound just keeps on getting better and better – from the time 20 years back, when it was a visionary club movement spearheaded by Shuya Okino – to the point now where it's focused into a core jazz combo that brings beautiful new life to Okino's music! The group are a wonderfully strong combo – with trumpet, tenor, piano, bass, and drums – a quintet at heart, but with Okino's leadership as the sixth sextet member – as well as guest work from some other players in the Japanese scene. But maybe the most amazing aspect this time around is the return of vocalist Navasha Daya – who you might remember from the sublime Fertile Ground group years back – and who contributes fantastic lyrics to two tracks on the set – pushing the already righteous energy of the instrumental jazz on the record into even more positive territory! Daya sings on two of the album's nine tracks – which might be worth the price of admission alone – but the rest of the group is wonderful, too – and titles include "We Are One", "Ancient Future", "Mission", "Song For Unity", "Peaceful Wind", 

BILL O’CONNELL / NICO CATACCHIO / ALESSANDRO NAPOLITAN – THREE OF US

You might recognize pianist Bill O'Connell from some of his bigger label recordings in recent years – but this set's a very special one, recorded for the excellent Albore label, and done in Italy – with a vibe that's maybe more lyrically flowing than we're used to hearing from Bill! The group's a trio – with Nico Catacchio on bass and Alessandro Napolitano on drums – both players who revel in that loose swing that we've always loved from the European scene. Bill's hands on the piano are breathtaking – wide in their scope, and very deft – but never overstating their strengths, and instead just wonderfully working their way through this larger sonic flow. The set includes the original tunes "Lost In Taranto" and "Piccolo Porticciolo" – plus "Estate", "Solar", "Blue In Green", and "Love For Sale". ~ Dusty Groove

SOUL POTENTIAL: A COLLECTION OF NEW SOUL CLASSICS (COMPILATION)

A whole new set of mod soul smokers – contemporary cuts, but mostly recorded with a vibe that hearkens back to the sound of London in the 60s – which means plenty of influence from Motown and other Northern Soul sources, plus an occasional touch of jazzy Hammond too! These tracks are all recent, but really showcase the Acid Jazz talent for getting an older style right – not exactly pure 60s, but more the best Brit blue-eyed modes – of the sort you might have heard when Style Council could hit a groover like this, or when some of the more recent Acid Jazz acts are at their best. Titles include "Pandora" by Men Of North Country, "Girlfriend" by The Filthy Six, "Return To Space" by Twisted Tongue, "Ordinary Joe" by Jasmine Kara, "No More Heroes" by Night Trains, "From Now On" by Magnus Carlson, and "Sex Is On Fire" by Jerk Juice. ~ Dusty Groove

 

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.”