AVANT-GARDE JAZZ DRUMMER PAUL TILLMAN SMITH RELEASES "A BEAUTIFUL HEART"

Having basically started my music career as a starving avant-garde jazz drummer, 19 and almost penniless on the streets of New York’s Lower East Side in 1967. Jazz drummer Norman Connors and I were best friends and roommates for a while, the difference being he could run home to his momma in Philly to eat and my momma was way in California. Rent was like 40 dollars a month, and I was lucky if I had that. Kenny Dorham and Cecil McBee whenever I would see them on the streets always bought me food. Playing the angry experimental jazz of that era mainly with saxophonist Sonny Simmons, Pharaoh Sanders and Albert Ayler was definitely economically dangerous.

I left Oakland with bassist/percussionist Juma Sultan and first lived in the basement of singer Richie Havens house and there were cockroaches as big as my kneecap running around. Juma and I played with many of New York’s cutting edge Jazz kats including saxophonist Jackie McClean who asked me to join his band but I was beat down and ready to go home by then. I saw too many musicians doing bad and too many drugs around. Soon after I left Juma became Jimi Hendrix’s musical Guru helping Jimi to change the direction of his music. I was back home by then licking my wounds at my momma’s house. At Juma’s insistence Jimi bought me a plane ticket to come to Woodstock to play with his new band but I never caught the plane because I was afraid of Jimi’s music, a right decision at the time but a big mistake historically.

I soon recognized that I needed to figure out a better way to make more money if I was going to stay a musician, so I began writing music with lyrics, something I had started when I was 15 and stopped when I got out of high school. After high school I began playing drums in a hippy band called the “Second Coming”. Rock legend Steve Miller was also in the band and it was soon after that I switched to jazz. Thank goodness I learned a little piano when I was young. People still can’t figure out how a jazz drummer writes pop and funk tunes. The jazz community won’t own me and the funk community won’t own me. I’m caught in the middle somewhere. My jazz chops are up, however.

A couple of these songs represent some of my late ‘80s to middle ‘90s musical productions, updated where I had a chance to work with the late pianist-vocalist Bonnie Boyer and vocalist-pianist Rosie Gaines who both toured with Prince. I also recorded Sheila E when she was 15 and you can find that record in Japan somewhere.

Vocalist Skyler Jett, who also showed up at my house ambitious at age 15 continues to have an illustrious career and also took Lionel Richie’s place for a few gigs with the Commodores. Skyler is featured with Bonnie on a duet called “The Newsroom”, and that’s me doing the news broadcast on the tune. I had to get in where I could fit in. KCSM disc jockey and TV personality Sonny Buxton was paid to do the original news broadcast, my friend who never invited me to be in his Bay Area jazz picture that hangs at San Francisco’s main library. Everybody I ever played with was in it. I did enjoy playing at his Milestone’s Jazz club many times in a band with John Handy and pianist Bill Bell. God knows how many thousands of hours I spent playing in San Francisco jazz clubs many with Bobby Hutcherson, Merl Saunders, Woody Shaw, Alice Coltrane, Harold Land and Eddie Henderson, the list goes on. My voice over on “Newsroom” turned out pretty good. Anyway, Skyler Jett currently has a new single out entitled “Eternally” featuring him and soprano sax icon Kenny G that is real cool. —

Also, third-year “American Idol” finalist LaToya London — who everyone from the Bay thought should have won the damn thang — sings two cuts and is also featured on the title track along with Donnie, Bonnie and Rosie, called “A Beautiful Heart”. The song also features another Prince bandmate, Levi Seacer Jr., on guitar, Nelson Braxton of the Braxton Brother’s who currently is in Michael Bolton’s band is on bass, and Michael Jackson’s last guitarist, Tommy Oregon, is the groove master on the track. The late Donald Tavie who was “lakesides” pianist is playing the keys, plus Lori Taylor, who is now sadly in a permanent coma suffered during childbirth, sings on the hook. Former Qwest recording artist and Wynton Marsalis bandmate Robert Stewart takes a mean sax solo.

I am also showcasing what I believe to be Rosie’s first professional recording from 1981, a song titled “Summer Sky.” The song sounds like it could have been a hit back when I cut it. I should have put it on the market way back then. (No wonder I’m broke!) Rosie’s song is the bonus track at the end of the record and features Ray Obiedo on guitar.

Of course, the greatest unsung vocal hero of the Bay area, third-year “American Idol” finalist Donnie Williams, is the main featured vocalist on seven of the 14 tracks. This is my fourth musical collaboration with him.

“Precious Song” is the only Gospel song on my record. It is sung and arranged by church pianist Robert Collier, with added vocals by Donnie Williams. Sax man Vincent Lars, who plays unbelievably on the song, should have been famous a long time ago. The song was inspired and is dedicated to Reverend Jay Matthews who is currently the presiding Rector at the “Cathedral of Christ the Light” Oakland Ca.

Lastly would like to thank my Godson Derick Hughes a member of my seventies Bang CBS recording group “Bridge” for his great vocal arrangement of “ Sweet and Wonderful” a song he co-wrote with Bridge keyboardist Michael (Spiderman) Robinson while both were members of the Bridge band. Derick is currently the lead male vocalist with Roberta Flack and also spent time recording with Motown & Prince in the 80’s. Spiderman is now one of the most sought after keyboardist in the bay area.

I love these songs. Some are freshly cut and others are old tracks that were updated and newly arranged by two Bay Area musical geniuses Bassist Nelson Braxton and Guitarist Levi Seacer Jr. I am so proud to be able to put my name on such a lovely work o art. My daddy would be proud of me.

NEW RELEASES: MUDDY WATERS – ELECTRIC MUD; NICOLA CONTE & GIANLUCA PETRELLA – AFRICAN SPIRITS / NEW WORLD SHUFFLE; COJ & SECOND TIME - SOUND OF AFRICA

MUDDY WATERS – ELECTRIC MUD

The funk-tinged, pyschedelic soul album from Muddy Waters – one that irritated many a blues purist in its day – but it's finally reaching its earned status as a leftfield gem! You know, in the immediate years after this one (and similar funky blues albums on Chess/Cadet) was released, it was downplayed as a cheap attempt to sell out Muddy's classic blues sound. These days, it's treasured by many of us as a unique funky session that merged the best of Chicago's funk, soul, and blues worlds – taking Muddy's sound way past earlier records and into uncharted waters. It's similar to some of the work on Chess at the time by Bo Diddley and Etta James – and it includes lots of nice updated groovers like "I'm A Man", "I Just Want To Make Love to You", "Hoochie Coochie Man", "Same Thing", "She's All Right", and "Tom Cat". Arrangements are by Charles Stepney, too! (In a gatefold sleeve with poster!)  ~Dusty Groove

NICOLA CONTE & GIANLUCA PETRELLA – AFRICAN SPIRITS / NEW WORLD SHUFFLE

A record that's way more than just the 12" single you might guess from the format – as it's a wonderfully deep collaboration between Nicola Conte and trombonist Gianluca Petrella – done at a level that's maybe more like a spiritual jazz record overall! "African Spirits" definitely has a groove – the sort you'll know from other Conte records – but it's less bossa and more tribal, with lots of percussion layered in the mix, as well as rising voices that feel borrowed from other records – all blended with a righteous energy that's more in Osunlade territory than usual for Schema! The tune's got a very powerful set of solos – strong tenor, and even bolder trombone from Petrella – and "New World Shuffle" is even rawer at the core, but features strongly soulful vocals from Bridgette Amofah, and some great keyboards too! Both tracks are nice and long, too.  ~ Dusty Groove

COJ & SECOND TIME - SOUND OF AFRICA

An Italian group, but one who play here with a style that draws strongly from the long tradition of South African jazz – on an album recorded as part of a protest against that nation's recent massacre in Marikana! The vibe here is great – and the whole thing almost feels like a lost 70s classic from the Johannesburg scene, or some of the overlooked soulful sets recorded later on the Sheer label – with a lineup that includes Claudio Cojaniz on piano, Alessandro Turchet on bass, Luca Colussi on drums, and Luca Grizzo on percussion and just a bit of vocals. The music is often quite rhythmic – flowing out in those long-spun cycles that Dollar Brand brought to jazz many years ago – but there's also some more lyrical, sensitive moments too – on titles that include "Lion's Trip", "Dadaab", "Ugarit", "Four Little Boys In Capetown/Nkosi Sikeleli Afrika", "Marikana", and "Blue Dance".  ~ Dusty Groove

NEW RELEASES: HYPNOTIC BRASS ENSEMBLE - BOOK OF SOUND; S-TONE INC – ONDA; SYLVIA BENNETT – BABY, IT’S COLD OUTSIDE FEATURING PAUL BROWN

HYPNOTIC BRASS ENSEMBLE - BOOK OF SOUND

Beautiful sounds from Hypnotic Brass Ensemble – a group who've matured tremendously in the time that they've been giving us music – and who almost seem ready here to take on the legacy of their musical father – the late Kelan Phil Cohran! There's a complexity to the horn work here that's even deeper than before – amazing tones and textures from trumpets, trombones, euphonium, and sousaphone – all balanced with these sonic currents on guitar, bass, and electronics – instruments used in subtle ways, but to strongly shape the brass elements with maybe more spiritual overtones than in previous years – almost as if the group is growing, and getting even more serious about their message – with echoes that stretch back to the work of Cohran, and maybe Sun Ra's Arkestra, the world of Strata East, and even the tonal colors of Oliver Nelson at his best. Titles include "Heaven & Earth", "Midnight", "Now", "Morning Prayer", "Purple Afternoon", "Lead The Way", "Synapsis", "Royalty", "Solstice", and "Sri Neroti".  ~ Dusty Groove

S-TONE INC – ONDA

A beautifully collaborative project from S-Tone – aka Stefano Tirone – done in a way that makes his already warm grooves sound even better than usual! The album's got a blend of modern production and older Brazilian music references – not the more mainstream bossa remix style, but instead a very careful consideration and re-fusion of just the right sort of rhythms and instrumentation – which are then warmed up by vocals from a shifting range of singers who really help bring a great sense of spirit to the album. All tracks are original – and the modes run from samba soul to funky Brazilian jazz, to maybe even a bit of more straightforward MPB – yet almost always mixed with a nicely soulful spirit too. Labelmate Toco is on a number of tracks here – and titles include "Superbacana", "Zona Norte", "Zuzu", "Estrada Real", "Luz Da Joaca", "Vale Do Misterio", "I Can't Keep Up With Your Love", and "Vontade De Viver".  ~ Dusty Groove.

  

SYLVIA BENNETT – BABY, IT’S COLD OUTSIDE FEATURING PAUL BROWN

It may be getting colder outside, but it's definitely getting warmer on the radio as we enter the season to be jolly! Our favorite jazz singer teams with double Grammy winner Paul Brown and critically-acclaimed Miami producer Hal S. Batt for a tour de force, musical holiday surprise, a sophisticated, charismatic cover of "Baby, It’s Cold Outside," featuring PB on vocals, guitar and drums… A sweet blending of soulful and rugged with Sylvia's flawless, velvety delivery! With a smile, smirk and classic sex appeal Bennett thwarts Brown's characterization of the tune's relentless and compelling argument for staying snuggly indoors! A fun, festive arrangement featuring bouncy horns a plenty, and the duos irresistible, albeit confounding chemistry, makes it impossible to listen once... the video is even more addictive! Don’t hold out, check out this year’s favorite holiday hit! ~ smoothjazz.com

A Special, Swinging Night in Michigan Is Captured in Trombonist/Composer Delfeayo Marsalis' First-Ever Live Album

While the recording studio offers an ideal, controlled environment for audio fidelity and perfectionist tinkering, the bandstand is where any musician's mettle is tested - live, in the moment, under the scrutinizing gaze of a rapt audience. On Kalamazoo, trombonist/composer Delfeayo Marsalis (pronounced Del-fee-oh) places his gift for entertaining a crowd under the spotlight, vividly capturing not only the buoyant, lively chemistry that he shares with a stellar quartet, but also his engaging rapport with an audience, and his playful sense of humor.

Kalamazoo, out now via Marsalis' own Troubadour Jass Records, documents a single performance, recorded in the midst of a seven-day tour supporting Marsalis' The Last Southern Gentlemen CD. As on that album, the trombonist is joined by his legendary father, pianist Ellis Marsalis, along with a newly assembled rhythm section consisting of bassist Reginald Veal and the mighty Ralph Peterson on drums. The recording is in one sense a snapshot of a single, once-in-a- lifetime evening, the first night this particular quartet had ever shared the stage and full of spontaneous, unrehearsed moments that will never be repeated. At the same time it's a representative portrait of a typical Delfeayo Marsalis performance, each one unique but ensuring the same timeless, swinging thrills.

"Live recordings are important because they truly capture the essence of who you are as a person and how you play as a musician," Marsalis says. "Different artists create their definitive live recordings at different points in their career. For example, my brother Branford was 31 when he recorded Bloomington. Wynton was 42 when he was finally captured on Live at the House of Tribes. This is my equivalent to those recordings; it gives the listener a true understanding of who I am, how my shows are structured."

While a single night with a single band can't hope to represent the full range of Marsalis' musical vision - his last release was the big-band protest date Make America Great Again! and his more modern compositional side is showcased on albums like Pontius Pilate's Decision - Kalamazoo instead reveals the many sides of the trombonist's personality over the course of the evening. From elegant balladry to down and dirty blues, the celebratory gusto of his native New Orleans to the sophisticated swing of an Ellington classic, fiery passion to educational torch-passing, Marsalis' exhaustive knowledge of the jazz tradition and commitment to its future are evident throughout.

"In the jazz world these days, there's a lot of attention being paid to more introverted ways of playing," Marsalis explains. "We need more leaders like Count Basie or Louis Armstrong. Not that we have to imitate those older styles, but we have to provide the foundations of entertainment and swing in jazz performance. That, to me, is the importance of this album: it's inside, it's in the pocket, it's soulful, and you can feel the audience engagement. Yes, I think we have an obligation to represent the entire history of American music whenever possible because, one, we've studied it and two, it allows the younger musicians the opportunity to play more avant-garde. Someone has to hold down the fort!"

That's especially true on the concert's most surprising number, the theme from Sesame Street, which Marsalis reveals to be a blues before a ripple of astonished recognition spreads audibly through the crowd. He also skillfully draws them in with one of his specialties, a composition created on the spot - this time with the added wrinkle of a pair of Western Michigan University students brave enough to join the band. Singer Christian O'Neill Diaz and drummer Madison George acquit themselves admirably through the trial by fire that became "Blue Kalamazoo."

"Part of maturing is being able to not only assist, but to also challenge the younger generation," Marsalis says. "If we had performed a song that Christian sings all the time, he would have probably sung in auto- pilot mode. Creating a song together spontaneously forces you to reach deep inside and stay committed to the moment. It's an African tradition. After an hour of music, the audience had developed a rapport with the quartet, so when the students joined in everyone was basically thinking, 'All right, let's see what y'all got.' Because they were definitely underdogs in the situation, everyone was cheering for them to succeed. It was a beautiful moment in time and a great representation of the democratic process."

Democracy is also in action on the bandstand, as when the trombonist pauses to ask the senior Marsalis whether he wants to play the standard "If I Were a Bell" or "Emily" for a trio outing; the choice of "Bell" takes the program in a more upbeat direction. Playing with his formidable father, Delfeayo says, offers both an inspiring pressure and an ideal foil. "We make the perfect duo. My dad is pretty stoic and I tend to approach the music more from the standpoint of entertainment. I guess you could say we both keep each other honest! That's the great part of playing with older and younger musicians: the exchange of ideas and energy based on varying levels of experience."

The bulk of the evening consists of well-known standards called off the cuff, including such favorites as "My Funny Valentine," "Autumn Leaves," and "It Don't Mean a Thing." Marsalis' sultry, swaying "The Secret Love Affair" is reprised from The Last Southern Gentlemen, while the show closes, appropriately enough, with "Do You Know What It Means to Miss New Orleans," an ode to the city with which the Marsalis clan is synonymous. In the end, the chosen material is perfectly suited, as it sets the stage for such a high-caliber band to stretch out and invent together.

"Sharing the bandstand with musicians at the top level allows you to express your musical ideas freely," Marsalis concludes. "You've got to be at the top of your game 100% of the time. All of our life experiences prepare us for today and now, and a great occasion was well-documented in Kalamazoo."

Internationally acclaimed trombonist, producer and educator Delfeayo Marsalis was named an NEA Jazz Master in 2011. In his native New Orleans, he founded the Uptown Music Theatre to provide professional dramatic arts training and encourage community unity in young people. Marsalis has produced over 120 jazz CDs and released seven albums as a leader - including the politically charged Make America Great Again! with his 15-piece Uptown Jazz Orchestra. He has composed 18 children's musicals and is the author of the award-winning children's book No Cell Phone Day.

www.dmarsalis.com

LATIN GRAMMY AWARD-WINNER VICTOR RICE’S FIRST ALBUM IN NEARLY 15 YEARS: SMOKE, A FINE BLEND OF SAMBA AND ROCKSTEADY

Latin GRAMMY Award-winning engineer, producer, and musician Victor Rice is gearing up to release his first solo album in almost 15 years. The subtly-complex elegance of Smoke provides a rich smoothness made available through tastemaker label Easy Star Records on November 3rd. Smoke takes Rice’s knowledge from experience across a realm of genres and cultures and rolls it all into a consistent line of thought, resulting in a fusion Rice identifies as “samba rocksteady,” or SRS. Victor stated his goal for the album “was about finding a way to fuse two different styles of music and dance from the 1960’s, Brazilian samba-rock and Jamaican rocksteady.”

Smoke is filled with a classic warmth which presents a serene mood, contrasted by an edginess veiled in the details throughout. Inspired by relaxed and quiet surroundings and a team of great musicians, Rice began conceptualizing his goal of fusing the two distinct styles, creating something that felt new while drawing previously unclear lines of commonalities. Being honored as a guest in Belgium at the home studio of collaborator Nico Leonard opened up time and allowed Rice’s muse to visit.

A well-respected contributor to legendary bands such as The Slackers, Easy Star All-Stars, Bixiga70, and The Skatalites, Rice has also received top recognition for his mixing and engineering capabilities during his immersive stay in Brazil, which helped him bring home two Latin GRAMMYs (2015, 2016) and become further knowledgeable in the depths of underappreciated Brazilian music. The results of this blend of styles are at first glance very easy to listen to with a sense of stability, but upon further evaluation, intricate details emerge around the solid core, as Rice adroitly explains that “music systems all over the world are founded on the physical laws of earthly acoustics, without option. This line of thinking led me to create a series of simple ‘tonal motion’ studies - creating a harmonic environment within the laws of western counterpoint around a fixed movement by one voice.” Or, as he figuratively puts it “…a musical study of molecular behavior.”

A taste of Victor’s signature blend is most evident in songs like “Fumaça,” “Lou,” “Turn,” and “Motion II.” In Europe with plenty of time on his hands, Rice took a deep dive into applying music theory in unique ways, as showcased by the auditory illusion of modulation in “The Dream” and studies in interval motions in “Motion Study I” and “Motion Study II.” Varying time signatures prove no obstacle for the musical agility of Rice with tracks like “Turn” and “Bermuda Triangle,” while more personal stories are embedded into tracks like “Mr. Brooks,” an homage to an esteemed colleague, the late, great Cedric IM Brooks.

Smoke is a remarkable effort from a man whose contributions have made ripples around the globe. A pleasant ambience mixed with a virtuosic soul make Smoke an album worthy of appreciation. 

Tracklist:

Lou

Tema

Turn

Bermuda Triangle

Motion Study I

Mr. Brooks

Fumaça

Party Line

The Dream

Motion Study II

 

NEW RELEASES: EBAN BROWN – SUMMERTIME IN TOKYO; ED TAYLOR – IT’S COMPLICATED; URBAN JAZZ COALITION - XXII

EBAN BROWN – SUMMERTIME IN TOKYO

In his stints with classic R&B groups, The Manhattans, The Sylistics, The Delfonics, as well as others, Eban Brown’s sparkling electric guitar work often took a backseat to his great vocal talent. As on his previous solo recordings, Brown’s silky, light funk driven new album Summertime In Tokyo showcases his crisp, buoyant electric melodies while featuring fresh and engaging vocal textures. He compliments the collection’s well-rendered cover tunes with a batch of dynamic originals, including a thoughtful George Duke tribute on which Brown approximates Duke’s high register vocals. Summertime In Tokyo will warm up the entire year! ~ smoothjazz.com

ED TAYLOR – IT’S COMPLICATED

Ed Taylor may call his dynamic new album It’s Complicated, but the Smooth Jazz and R&B influenced guitarist and vocalist’s mission as a composer and artist is fairly simple and straightforward, “I want to play and write creative music that can uplift the lives of everyday people.” A onetime Motown session player, Taylor has been a popular draw in his longtime home of Tacoma, Washington as the leader of the band Usual Suspect. Stepping out as a solo artist, he incorporates reggae and tropical flavors amidst the crisply played in the pocket, contemporary jazz gems. If you’re looking for an easy out, here's your musical escape, nothing complicated about it! ~ smoothjazz.com

URBAN JAZZ COALITION - XXII

The title of Urban Jazz Coalition’s new album, XXII, represents an extraordinary achievement for the Columbus, Ohio based six piece powerhouse ensemble founded by the visionary bassist Phil Raney. The group celebrates 22 years of performing regionally and at some of America’s hottest jazz festivals, as well as backing Smooth Jazz greats like Peter White, Jeff Lorber and Nick Colionne. XXII, their 11th album, is the most accessible Smooth Jazz Project they’ve ever done and we expect big things from it. It’s a tight, soulful, in the pocket masterwork showcasing the edgy solo virtuosity of - and blazing interaction between - saxophonist Richard Randolph, guitarist Duane Tribune and keyboardist Brandon Howard, and the driving rhythm section of Raney and drummer Rich "Rico" Adams and percussionist Hector Maldonado. You’ll want to hang around for UJC’s next XXII years! ~ smoothjazz.com

NEW RELEASES: BOB MARLEY & THE WAILERS – THE LEGEND LIVE IN SANTA BARBARA; MAVIS STAPLES – IF ALL I WAS WAS BLACK; PHIILIP BRANDON - THE STORY BEGINS

BOB MARLEY & THE WAILERS – THE LEGEND LIVE IN SANTA BARBARA

One of the last Bob Marley live performances committed to film before his untimely death in May 1981, ‘The Legend Live’ features the Tuff Gong in his full pomp, performing 21 of his most popular works at the Santa Barbara County Bowl on the 25th of November 1979. Now widely considered an equal of the now legendary ‘Live at the Rainbow’ show from 1977, the concert includes superb versions of such major hits as ‘I Shot The Sheriff’, ‘One Drop’, ‘Exodus’, ‘Jamming’, ‘Is This Love’, ‘Stir It Up’ and the anthemic ‘Get Up Stand Up’. The concert footage on the DVD runs for approximately 90 minutes, with the disc also featuring the 51 minute documentary ‘Prophecies and Messages’, which includes half an hour of interview footage with Bob Marley and the Wailers’ keyboard player, Tyrone Downie. The audio disc comprises the very best of the band’s performances from the night, most of which have never previously been released on CD.

MAVIS STAPLES – IF ALL I WAS WAS BLACK

Mavis Staples is an American music legend. She was at the forefront of the civil rights movement in the 1960s, as singer for the legendary gospel group, the Staple Singers. Mavis, along with her father, Pops, and siblings marched and worked alongside Dr. Martin Luther King, Jr on the fight for equality in this country. Mavis Staples and Jeff Tweedy got together and wrote Mavis’ new album, If All I Was Was Black, which Jeff also produced. The new album is a perfect message for our time and is by far Mavis’ best work to date

PHIILIP BRANDON - THE STORY BEGINS

On his stylistically expansive, trailblazing debut The Story Begins, vocalist and songwriter Phillip Brandon mines a wide range of soul inspiration - from Gregory Porter and Stevie Wonder to Luther Vandross and James Brown - to create an old-school meets contemporary, soul-jazz extravaganza for the ages. A global musical theatre veteran, Brandon tells his richly textured musical stories with an artful balance of dramatic emotional power and graceful restraint. The set includes a dreamy duet with his mom Brenda, a former Raelettes backup singer for the legendary Ray Charles. Make The Story Begins part of your life story! ~ smoothjazz.com

Barbra Streisand To Release Concert Album : The Music…The Mem'ries…The Magic!

Columbia Records has announced the upcoming release of Barbra Streisand's The Music…The Mem'ries…the Magic! album to debut on December 8th. Fans can pre-order the new album today HERE. On November 22, Netflix will premiere Barbra: The Music…The Mem'ries…the Magic!  The special was filmed on the last stop of the iconic superstar's 13-city 2016 tour, showcasing a career-crowning array of legendary songs also featured on the eagerly anticipated album. 

  

The album is available in two versions (track listings below): A single disc, 19-song album of memorable concert highlights, and a Deluxe 2 disc set featuring the entire concert performance. Streisand takes us behind-the- scenes while recording her recent #1 album: ENCORE Movie Partners Sing Broadway.  (Barbra is the only recording artist in history to achieve a # 1 Album in six consecutive decades.) The internationally renowned lineup of artists on ENCORE, released prior to the last leg of the 2016 tour includes Alec Baldwin, Chris Pine, Jamie Foxx, Melissa McCarthy, Anne Hathaway, Hugh Jackman, and others.

The 13 city tour received rave reviews and played to record-breaking sold-out audiences. The Netflix concert TV special, Barbra: The Music…The Mem'ries…the Magic! was directed by Jim Gable and Barbra Streisand and written by Barbra with Jay Landers and Richard Jay-Alexander.  The special begins streaming on Netflix at 12:01 AM on November 22. 

Barbra Streisand has recorded 52 gold, 31 platinum and 13 multi-platinum albums in her career. She is the only woman to make the All-Time Top 10 Best Selling Artists list. Streisand has had 34 albums make the Top 10 on the US charts, the only female artist to have achieved this milestone, tying her with Frank Sinatra. She is also the female artist with the most number one albums in Billboard's history. Widely recognized as an icon in multiple entertainment fields, she has attained unprecedented achievements as a recording artist, actor, concert performer, producer, director, author and songwriter; awarded two Oscars, five Emmys, ten Golden Globes and eight Grammys plus two special Grammys, among other numerous awards, Barbra Streisand belongs to a select multi-hyphenated "EGOT" club for artists who have received the Emmy, Grammy, Oscar and Tony Awards.

TRACK LISTING

STANDARD CD PACKAGE

1.People Overture (Entrance)

2.The Way We Were

3.Everything

4.Being At War With Each Other

5.No More Tears (Enough Is Enough)

6.Evergreen 

7.You Don't Bring Me Flowers

8.Being Alive

9.Papa, Can You Hear Me?

10.Pure Imagination

11.Who Can I Turn To (When Nobody Needs Me) with Anthony Newley

12.Losing My Mind

13.Isn't This Better

14.How Lucky Can You Get

15.Don't Rain On My Parade

16.People

17.Climb Ev'ry Mountain with Jamie Foxx

18.Happy Days Are Here Again

19.I Didn't Know What Time It Was

TRACK LISTING

DELUXE CD PACKAGE

DISC 1:

ACT I

1.People Overture (Entrance)

2.The Way We Were

3.Introductory Remarks 

4.Everything

5.Being At War With Each Other

6.No More Tears (Enough Is Enough)

7.Evergreen 

8.You Don't Bring Me Flowers

9.Being Alive

10.Directing Movies 

11.Papa, Can You Hear Me?

DISC 2:

ACT II

1.Pure Imagination

2.Making Encore (with Seth MacFarlane, Alec Baldwin, Chris Pine, Jamie Foxx,    Antonio Banderas, Anne Hathaway, Hugh Jackman, Patrick Wilson, Melissa McCarthy, Daisy Ridley)

3.Who Can I Turn To (When Nobody Needs Me) with Anthony Newley

4.Losing My Mind

5.Isn't This Better

6.How Lucky Can You Get

7.Don't Rain On My Parade

8.People

9.Climb Ev'ry Mountain with Jamie Foxx

10.Happy Days Are Here Again

11.Jingle Bells?

12.With One More Look At You

13.I Didn't Know What Time It Was

BONUS TRACKS

   14.   By The Way

   15.   Children Will Listen

   16.   Everything Must Change

Capitol Records Continues Celebration Of 75th Anniversary With Second Installment Of Holiday And Seasonal Classics, "A Capitol Christmas Volume 2"

Capitol Records’ celebration of its 75th anniversary continues with the release of "A Capitol Christmas Volume 2," a collection of 24 timeless holiday and seasonal classics sung by the label’s unmatched list of legends. Available now digitally and on 2CD, and December 1 as a double LP in gatefold cover, the album brings together some of pop music’s most iconic holiday songs with extremely rare recordings originally issued in very limited release.

Tonight, the historic Capitol Records Tree atop the iconic Capitol Records building will be lit at sundown for the 59th time, ushering in the holiday season in Hollywood. Designed by Ollsen Lighting and featuring more than 4,373 bulbs, the tree has been a part of the Los Angeles skyline each December since 1958.

A fitting companion to last year's timeless collection, A Capitol Christmas Volume 2 continues to mine Capitol's deep reservoir of holiday and seasonal standards sung by millions of celebrants each winter. The album features Wayne Newton's jubilant takes on the rockabilly Christmas classic "Jingle Bell Rock" and perennial favorite "Rudolph, the Red-Nosed Reindeer," both originally released in 1966 on his first holiday album, Songs For A Merry Christmas, three years after his debut record on Capitol. Glen Campbell was one of Capitol's most iconic stars of the '60s and '70s, recording a remarkable 40 albums for the label. In 1968, on the heels of a string of hit albums – the Grammy Award-winning By The Time I Get To Phoenix and Gentle On My Mind and the #1 record Wichita Lineman – Campbell teamed back up with Capitol's in-house producer and arranger Al De Lory for That Christmas Feeling. The album is showcased here with Campbell's exquisite rendition of the Elvis Presley-immortalized "Blue Christmas" and the lesser known "Old Toy Trains," which was written by his good friend Roger Miller and shows off a different side of the singer. Second only to the Beatles, The Beach Boys were Capitol's most popular recording act from the '60s until the end of the decade. For their fifth Capitol release, Brian Wilson turned his attention to the holidays, asking Four Freshmen's arranger, Dick Reynolds, to write the charts for a 40-piece orchestra. The result was 1964's The Beach Boys' Christmas Album which featured their sunny take on "Frosty the Snowman" and Wilson's original "Christmas Day," which marked rhythm guitarist Al Jardine's debut as a lead singer, both included here. 

The album spotlights some of the best of Capitol's Christmas recordings from the 1940s, '50 and '60s and transports listeners to a simpler time. Take thirteen-year-old Molly Bee's "I Saw Mommy Kissing Santa Claus," which caused a stir in 1952 when the song's lyrics were condemned by the Catholic Church of Boston, but has survived to become a modern holiday classic, as easily recognizable as more traditional fare like "White Christmas." Irving Berlin's iconic song is represented here with a tranquil guitar and vocal-driven version by six-string legend Les Paul and his foil Mary Ford. Other chestnuts include crooner Al Martino's lush, orchestral "Silver Bells" and Guy Lombardo and His Royal Canadians instrumental "Auld Lang Syne," a song so ubiquitous it's the soundtrack to New Year's Eve around the world.

In addition to the beloved seasonal standards, the holiday compilation also features rare and interesting takes throughout like Nancy Wilson's perfect interpretation of Frank Sinatra's "The Christmas Waltz," a true rarity that only appeared on a December 1968 limited-press promotional LP, The Capitol Disc Jockey Album. The incomparable Dinah Shore's delivers a lightly swinging rendition of "Jingle Bells" originally issued on an unknown number of complimentary vinyl discs that were distributed as Christmas cards in Chevrolet dealerships around the country. Accomplished recording artist and movie star Lena Horne is spotlighted with the joyous "Have Yourself a Merry Little Christmas" and the beautiful, pensive "What Are You Doing New Year's Eve?" That song was a rare non-musical theater entry by Frank Loesser, composer of "Guys & Dolls" and "How to Succeed in Business Without Really Trying." In Horne's hands, the song becomes an alluring jazz ballad. And "Away in a Manger" in the hands of Charlie and Ira Louvin is nothing short of miraculous, full of raw emotion and the unrelenting shadow of sin the Louvins were so great at conveying.

In the true spirit of the holidays, A Capitol Christmas Volume 2 collects two dozen magical recordings that have helped to make the season bright for generations, bringing joy to the hearts and ears.

A CAPITOL CHRISTMAS CD/DIGITAL TRACK LISTING

1.Jingle Bell Rock – Wayne Newton

2.Blue Christmas – Glen Campbell

3.The Christmas Waltz – Nancy Wilson

4.Frosty The Snowman – The Beach Boys

5.Christmas All Alone – The Lettermen

6.Jingle Bells – Dinah Shore

7.I Saw Mommy Kissing Santa Claus – Molly Bee

8.A Marshmallow World – Ray Anthony and his Orchestra

9.Winter Wonderland – Johnny Mercer and The Pied Pipers

10.I've Got My Love to Keep Me Warm – The Starlighters

11.Have Yourself a Merry Little Christmas – Lena Horne

12.Rudolph, The Red Nosed Reindeer – Wayne Newton

13.Christmas Day – The Beach Boys

14.Old Toy Trains – Glen Campbell

15.Away in a Manger – The Louvin Brothers

16.Silver Bells – Al Martino

17.I Heard the Bells on Christmas Day – Fred Waring and the Pennsylvanians

18.What Are You Doing New Year's Eve? – Lena Horne

19.Do You Hear What I Hear? – Sonny James

20.Song of the Sleigh Bells – June Hutton & Axel Stordahl

21.Love Turns Winter to Spring – The Four Freshmen

22.White Christmas – Les Paul & Mary Ford

23.Count Your Blessings (Instead of Sheep) – Gordon MacRae

24.Auld Lang Syne – Guy Lombardo and His Royal Canadians

A CAPITOL CHRISTMAS VOL. 2 LP TRACK LISTING

SIDE A

1.Jingle Bell Rock – Wayne Newton

2.Blue Christmas – Glen Campbell

3.The Christmas Waltz – Nancy Wilson

4.Frosty The Snowman – The Beach Boys

5.Christmas All Alone – The Lettermen

6.Jingle Bells – Dinah Shore

SIDE B

1.I Saw Mommy Kissing Santa Claus – Molly Bee

2.A Marshmallow World – Ray Anthony and his Orchestra

3.Winter Wonderland – Johnny Mercer and The Pied Pipers

4.I've Got My Love to Keep Me Warm – The Starlighters

5.Have Yourself a Merry Little Christmas – Lena Horne

6.Rudolph, The Red Nosed Reindeer – Wayne Newton

SIDE C

1.Christmas Day – The Beach Boys

2.Old Toy Trains – Glen Campbell

3.Away in a Manger – The Louvin Brothers

4.Silver Bells – Al Martino

5.I Heard the Bells on Christmas Day – Fred Waring and the Pennsylvanians

6.What Are You Doing New Year's Eve? – Lena Horne

SIDE D

1.Do You Hear What I Hear? – Sonny James

2.Song of the Sleigh Bells – June Hutton & Axel Stordahl

3.Love Turns Winter to Spring – The Four Freshmen

4.White Christmas – Les Paul & Mary Ford

5.Count Your Blessings (Instead of Sheep) – Gordon MacRae

6.Auld Lang Syne – Guy Lombardo and His Royal Canadians

 

Pianist MICHEL CAMILO Shines on New Album, LIVE IN LONDON

GRAMMY®, EMMY® and three-time Latin GRAMMY® Award winner Michel Camilo will release LIVE IN LONDON, a special "live" solo piano album, set for November 16, 2017 through his own record label imprint, Redondo Music.

Produced by Camilo and recorded live at The Queen Elizabeth Hall, Southbank Centre in June 2015 (at a concert presented by Completely Concerts), LIVE IN LONDON is a seven-track offering that spotlights Camilo's original compositions such as an extended exploration of his signature song "From Within," a gorgeous rendition of "Sandra's Serenade," and the fiery montuno-based "Island Beat," as well as several jazz classics including "The Frim Fram Sauce," "Manteca," and a medley of quintessential standards "I Got Rhythm," "Caravan," and "Sing Sing Sing."

"It is a dream come true to share my first Live solo piano album," reflects Camilo. "This recording captures a truly special evening that I will always cherish. I felt my inner child vibrating at a high level and in complete harmony with the fresh flow of new ideas and emotions, as I deeply enjoyed the process of discovering and exploring the many dynamic colors and nuances of a perfect acoustic setting and sharing them with a truly fantastic listening audience!"

LIVE IN LONDON is an artistic statement that presents Camilo's powerhouse performance and versatile pianism, equally showcasing extraordinary jazz sensibilities, exciting Latin rhythms and proficient classical technique. The London concert in 2015 received a wide range of critical acclaim from press and luminaries:

"Bravura gigs don't ordinarily warrant five stars in my book, but concerts by Michel Camilo - the Latin-jazz piano star from the Dominican Republic - are so astonishing that you abandon all aesthetic doubts and come out with your hands up."

John Fordham - The Guardian

"The spontaneous standing ovation that greets his final bow is not only a result of listeners dumbstruck with admiration. It is the sign of people whose spirits have been lifted." Kevin Le Gendre - Jazzwise Magazine

"Camilo is as complete a pianist as you could hope to find, able to cope with the demands of quite different musical contexts and having the knowledge and techniques necessary to play them with panache." Dave Jones - Jazz Journal

Born to a family of musicians and composers in the Dominican Republic, Michel Camilo is one of the most brilliant performers in jazz today - as captured in his blazing appearances in the award-winning films Calle 54, Two Much and Playing Lecuona. He has also developed a reputation as one who enjoys breaking barriers, as evidenced by his extensive discography featuring albums in Duo, Trio, Sextet, Big Band and as guest soloist with Symphony Orchestras. As a prolific composer, many artists ranging from Dizzy Gillespie to The Manhattan Transfer, Paquito D'Rivera to Flamenco guitarist Tomatito, and Katia & Marielle Labèque to the BBC Symphony Orchestra have performed and recorded his works.

Michel Camilo - "Live In London" Track Listing

1. From Within

2. The Frim Fram Sauce

3. A Place In Time

4. Island Beat

5. Sandra's Serenade

6. Manteca

7. I Got Rhythm/Caravan/Sing Sing Sing

www.michelcamilo.com

NEW RELEASES: SHARON JONES & THE DAPKINGS – SOUL OF A WOMAN; ALEXIS FFRENCH – HAVE YOURSELF A MERRY LITTLE CHRISTMAS; GERARDO FRISINA – MODERN LATIN JAZZ

SHARON JONES & THE DAPKINGS – SOUL OF A WOMAN

The fantastic final album from Sharon Jones – a wonderfully deep talent who was taken from us all too soon! The set's maybe the ultimate setting for Sharon's incredible voice – as it features both her longtime core combo, the Dap-Kings – as well as additional backings from the Bushwick Philharmonic – a small ensemble of strings who really help elevate the music to classic status! If you're worried that the strings might soften the sound, the very first note of the record will put your mind at rest – as will the heavy drums that mark just about every track, and keep things hard and funky throughout. If anyone ever doubted that the Daptone label was our modern equivalent of Stax Records or Atlantic, this will certainly be the set to change their mind – and will also stand forever as a bittersweet reminder of all the greatness that Sharon Jones gave us over the years. Titles include "Searching For A New Day", "Rumors", "Matter Of Time", "Sail On", "Just Give Me Your Time", "Come & Be A Winner", "Call On God", and "These Tears". ~ Dusty Groove

ALEXIS FFRENCH – HAVE YOURSELF A MERRY LITTLE CHRISTMAS

Alexis Ffrench has high ambition. This exceptional pianist and composer who trained at the Purcell School, the Guildhall School of Music and Drama and the Royal Academy, wants to bring joy to a world of troubled times. He also wants to change the way people perceive classical music and to help make it more inclusive and democratic, more relevant to the society in which we live. “I was watching the Last Night of the Proms recently and was struck by the lack of diversity in the audience” he says in the thoughtful manner in which he considers everything. “The next day, a commentator said: ‘Who says classical music is dead?’ and I was taken aback. There are no new audiences coming to classical music and I want to change that. It’s incredibly important to me. We all have a duty, no matter what colour we are, to speak out and encourage positive change.” With aspirations as bold as those, it’s fortunate that Ffrench has the personality, dedication and talent to bring about such a change. His success has made Ffrench a Spotify-era oddity: a classical musician who has had over 50 million streams of his independently released music. Now this sharp-dressed man with a laser-focus resolve that belies the fairy-dust in his fingers is ready to step things up. Earlier this year he signed with Modest! Management, home to a brace of all-conquering pop acts, including Little Mix, Olly Murs and Niall Horan. Alexis Ffrench has released his own piano improvisation on a classic Christmas track “Have Yourself A Merry Little Christmas”.

GERARDO FRISINA – MODERN LATIN JAZZ

The title's a great one here – as Gerardo Frisina has been one of the few contemporary artists trying to find a fresh voice for Latin Jazz – which he does beautifully by blending classic albums and a more current sense of club! The 2CD package brings together unreleased material with tracks from many of Frisina's vinyl-only releases – making for the CD debut of most tracks here, and the first appearance of a few others! All the numbers share that wonderful sensibility that Gerardo's had in his music for years – a way of taking acoustic elements and reworking them through modern rhythm programs – then topping them anew with fresh acoustic elements that often include a fair bit of jazz-based instrumentation! Almost all the work here is instrumental – with some fantastic percussion at the core, lots of warm Fender Rhodes – and other contributions on tenor, trumpet, flute, guitar, and vibes. Unreleased tracks include "Oyela", "Get On Up", "Uma Danca", and "Delirium" – and other titles include "Superstrut", "Passion Dance", "Voice Of The Jungle", "Samba Skindim", "Donke De", "African Nite Life", "Mulata", "Blue Latin", "Incanto", "The Obsession", "Tin Tin Deo", "Moderno Primitivo", "Space In Time (new version)", "African Seeds (rework)", and "Baracoa".  ~ Dusty Groove

World-renowned Jazz trumpet player ITAMAR BOROCHOV releases his critically acclaimed album BOOMERANG in America

ITAMAR BOROCHOV, has received serious critical acclaim for both his first album Outset and his recent one Boomerang in Europe. Released on the prestigious Laborie Jazz Label, Boomerang features original compositions by Itamar Borochov and unorthodox arrangements of traditional folk-melodies. It’s no wonder why Borochov has been lighting up the stages of the most important Jazz festivals and venues around the world.

This much-anticipated release in the US market goes with the new wave of blending Jazz with other cultures and fashion. Itamar Borochov is no stranger to this tradition as he melts his Jazz compositions with Middle Eastern musical traditions, and recently starred in the new Stella Artois commercial (https://youtu.be/NRKnc4Bz7pg).

Itamar Borochov brings a unique sound with him wherever he goes. Deeply immersed in the jazz tradition, Borochovʼs search for his personal roots resulted in an ever-expanding love for Arab and Pan African musical sensibilities – a natural palette for a trumpeter-composer raised in Jaffa, an integrated Muslim-Jewish-Christian city.

After working with such legendary artists as Curtis Fuller and Candido Camero, and having served as arranger and co-producer for acclaimed world music sensation Yemen Blues, Borochov set out on his own path. His critically acclaimed recording Outset was included in the New York City Jazz Record’s Best of 2014 List, and his latest album Boomerang, has already received serious critical acclaim, and peaked at #5 on iTunes’ Jazz Download chart, and #6 on Amazon’s Jazz Download Chart, and was chosen as “revelation" on Jazz Magazine. Audiences worldwide are falling for his enchanting sound and virtuosic expression.

Borochov has performed internationally at such prestigious venues and festivals as Lincoln Center (NY), The Kennedy Center, (Washington DC), Montreal Jazz Festival, and the Moscow Jazz Festival, to name just a few.

Boomerang, was completed in Paris in December 2015, mixed in New York by award-winning engineer Brian Montgomery (Paul McCartney, Esperanza Spaulding, Donald Fagen, Herbie Hancock), and is his label debut for acclaimed French label Laborie Jazz. Boomerang features his extraordinarily quartet of pianist Michael King, bassist Avri Borochov, and drummer Jay Sawyer. The four have toured widely and frequently, resulting in a telepathic cohesiveness and devotion, and many inspired performances the world over. Guesting on the record, on jumbush and vocals, is Itamar’s father, and acclaimed Israeli composer, Yisrael Borochov.

Itamar Borochov, quickly gaining international recognition as a jazz innovator, continues his musical quest, offering on Boomerang a music that reflects a rich global landscape seen firsthand, through the jazz tradition.

“Borochov is extending the jazz tradition out of the resources of the tradition itself. Around the turn of the 20th century, Jelly Roll Morton was talking about the "Latin tinge," and in the late 40's Dizzy Gillespie joined forces with Chano Pozo to make the Afro-Cuban classic, "Manteca." In the 1960's Horace Silver got in touch with his Cape Verdean roots in "Song for My Father," and so on. As Borochov notes, "Bebop was the highest of musical art forms, the first 'world music' ─ integrated, tribal, sophisticated, and down home soulful. What I'm doing now, bringing my sound to the jazz idiom isn't so different from what Dizzy did. I'm progressing by reconnecting to the roots and taking it to the now and to the future.” – Boomerang by Dr. Aryeh Tepper.

Listen to the BOMMERANG album:

https://www.youtube.com/playlist?list=PLd63mJppkb8ZfL2zerfx0k1m3_f-SO84o

Listen to Itamar Borochov's first album OUTSET:

https://www.youtube.com/playlist?list=PLd63mJppkb8bHHUV2K0HKbFncZsIDJVaG

Who is ITAMAR BOROCHOV?

Israeli-born, Brooklyn-based trumpeter & composer Itamar Borochov connects lower Manhattan to North Africa, modern Israel and ancient Bukhara, celebrating traces of the divine that he finds in elegant sophistication, Middle Eastern tradition and downhome blues. Borochov brings a unique sound with him wherever he goes. Deeply immersed in the jazz tradition, Borochovʼs search for his personal roots resulted in an ever-expanding love for Arab and Pan-African musical sensibilities – a natural palette for a trumpeter-composer raised in Jaffa, an integrated Muslim-Jewish-Christian city.

After working with such legendary artists as Curtis Fuller and Candido Camero, and having served as arranger and co-producer for acclaimed world music sensation Yemen Blues, Borochov set out on his own path. His critically acclaimed recording Outset was included in the New York City Jazz Record’s Best of 2014 List, and his latest album Boomerang, has already received serious critical acclaim, and peaked at #5 on iTunes’ Jazz Download chart, and #6 on Amazon’s Jazz Download Chart, and was chosen as “revelation" on Jazz Magazine. Audiences worldwide are falling for his enchanting sound and virtuosic expression.

RED PIANO RECORDS TO RELEASE THE GAIA WILMER OCTET: MIGRATIONS

MIGRATIONS, introduces the music of Brazilian composer and saxophonist Gaia Wilmer, an emerging voice in the contemporary jazz community. Drawing inspiration from Brazilian music, its harmonies, rhythms and melodies, and from contemporary jazz, Gaia creates a unique and colorful world of music that is both cerebral and emotional. Her music draws inspiration from composers such as Hermeto Pascoal, Guillermo Klein, Kenny Wheeler, Vijay Iyer and Maria Schneider, and the pieces generate their shapes and feelings from the idea of home; the strong relationship with Brazilian and Latin American cultures and with contemporary jazz and the relationship between people.

The opener, AFTER THEM, was the first piece written for this octet. It was written between Gaia attending concerts and master classes by Vijay Iyer, Maria Schneider and Geri Allen, and draws its inspiration from those experiences. It begins alternating between one main bass line and a rhythmic idea in the piano inspired by Iyer's music. The shapes and textures of the lines, both in the bass and in the top melodies come from impressions of Schneider's melodies and orchestrations. The melody evolves into a flute solo by Yulia Musayelyan that leads back to the opening bass line, and the return of the main melody.

CRIANÇADA started as an exercise playing with constant structures and developed in to an energetic tune with a joyful melody that plays with the relationships between 3/4, 6/8 and 6/4 and the different ways of feeling those meters. The title of the tune means, "a bunch of kids". The solo section follows the same idea with Leandro Pellegrino on guitar and Gustavo D'Amico on tenor saxophone interacting with each other.

The title piece, MIGRATIONS, was written after a Guillermo Klein concert in Boston and features Raphael Lehnen on bombo legüero and Song Yi Jeon on voice. Written specifically for these artists and inspired by Klein's music, this piece was the first one written after the group was settled, and serves as a tribute to the great animal migrations around the globe. Centered around the interval of a third, the piece starts with an acappella introduction, developing this intervallic motif. The composition was also inspired by the Kenny Wheeler album, "Music for Large and Small Ensembles".

HELEN came from the idea of exploring modes found in scales other than the common major. The ostinato, the chords and the melody are based on the mixolydian b6 mode from the melodic minor scale. It is the only composition on the album (with the exception of Hermeto Pascoal's "Acuri") that was written for a smaller ensemble and not specifically for the octet. It is dedicated to Helen de la Rosa, the drummer who first played the tune.

CHÁ is a ballad written for love and friendship, and explores free improvisation between the wind players. It starts with a free duet with Gustavo D'Amico on soprano saxophone and Gaia on alto that leads to the main theme. It also features solos by Mayo Pamplona on bass and Vitor Gonçalves on accordion.

The harmonic ideas ofthe energetic NO TALKING came from the constant structure and geometric atmosphere of "Giant Steps". In the first section, the main motif is transposed and developed in myriad harmonic ways, while separated by a minor third. The second section presents a contrasting idea that is also transposed and developed but this time by major thirds. Soloists include Gaia and Song Yi Jeon on voice.

NOSTALGIAS is a melancholic, through-composed ballad based on the intervals of a second and a sixth. It has a four-part structure where the C section is a variation of the A section and the D section is a variation on the B section. The whole form repeats twice with Leandro Pellegrino soloing on guitar over the second A and B and Gaia Wilmer embellishing the C.

Hermeto Pascoal's ACURI was recorded by his group in 1989 on his first "Mundo Verde Esperança", an album that was never released. The piece was recorded by Pascoal's new group on his most recent album and pays homage to Chick Corea with a new title, "Um Abraço Chick Corea". This version, recorded by Gaia's octet, gets a creative treatment with a exciting and virtuosic flute/piccolo line, played by Yulia Musayelyan, as well as some harmonized lines with the saxophones and new counter melodies played by Leandro Pellegrino on guitar and Gustavo D'Amico on tenor saxophone. The second exposition, a samba in 7/4, with Song Yi Jeon playing the melody along with Pellegrino while the winds float in and around, followed by D'Amico's solo in a faster samba in 7/8. Gustavo's solo is followed by Gonçalves' solo in 3/4 that leads back to the introduction and the head out.