Cuban-based singer, songwriter, percussionist and bandleader Brenda Navarete releases solo debut "Mi Mundo"

Mi Mundo introduces a shining new star on the world music firmament. This is the solo debut of Brenda Navarrete, a Cuban-based singer, songwriter, percussionist and bandleader of rare skill and musical originality.

She has previously made an impact singing in the internationally-acclaimed Cuban group Interactivo, performing at clubs and festivals in the U.S. and Canada, but she now takes a giant creative leap forward with Mi Mundo. Set for worldwide release on ALMA Records 2-16-18, the album was recorded in Havana with producer Peter Cardinali (ALMA’s founder), award-winning engineer John “Beetle” Bailey, and an all-star cast of Cuban instrumentalists.

“Being able to record Mi Mundo in Havana is a dream come true,” Brenda explains. “Havana is where I was born. Cuba is my country, my homeland, and having the opportunity to record here with musicians who know me and who understand my musical style is amazing. The energy of Cuba and Havana is very important to me, and I think that we have captured that force on this album”.

The stylistically eclectic album features a variety of group settings, with the primary instruments consisting of drums, piano, electric bass and percussion, including batá and congas played by Navarrete. Renowned special guests include Horacio ‘El Negro’ Hernandez, Rodney Barreto and Jose Carlos on drums, Roberto Carcasses, Rolando Luna and Leonardo Ledesman on piano, Alain Perez on bass (he also arranged several of the songs and wrote “Taita Bilongo”), Adonis Panter on quinto and Eduardo Sandoval on trombone.

Brenda’s initial musical reputation centered on her ability as a percussionist, on batá, but it is her warm and fluent voice and songwriting ability that take centre stage on Mi Mundo. Four of her original compositions appear on Mi Mundo, including “A Ochun.” “That song is very special to me,” says Brenda. “It was my first composition and one of my first recordings. Ochun is the goddess of love and it’s a song that I wrote while sitting on the bank of a river, where Ochun is said to live. Most of the song came out that first day and I finished the arrangement at home and dedicated it to her when it was recorded.

A genuine highlight on an album devoid of lowlights, “A Ochun” is a dynamic and delightful treat that begins with percussion and call and response vocals, which then fade away in favour of gentle piano and flute stylings.

Navarrete describes Mi Mundo as “a World Music record, with an Afro-Cuban flavour. I chose that title because this is a reflection of my musical world. I have a tremendous range of influences, having grown up in a very musical environment.

“When I was a little girl, my sister and I loved to listen to jazz greats like Sarah Vaughan, Ella Fitzgerald and Billie Holiday. I also gravitated to artists like Nat King Cole, John Coltrane, Bobby McFerrin, Miles Davis, Yellow Jackets and Cassandra Wilson, but also BoyzII Men and Take 6. My home environment also featured music from great Cuban artists like Cecilia Cruz, Benny More and Celeste Mendoza.

“All those artists and musical styles have contributed to my musical growth since I was a child. All of that energy and the different rhythms, colours and styles of Afro-Cuban, Latin Jazz and World Music have inspired me as a composer. I adore Cuban music, and mixing all of those styles together with traditional Cuban music is powerful and exhilarating.”

An example of this original and compelling fusion is “Caravana,” Brenda’s distinctive take on the Duke Ellington classic “Caravan.” “Rumbero Como Yo” is full and powerful, featuring six musicians imparting an intoxicating rumba feel, while “Taita Bilongo” is an infectiously rhythmic number boosted by trumpet and a guest male vocal appearance by the song’s composer, Alain Perez. Another sparkling gem on Mi Mundo is “Anana Oye.” Featuring bubbling bass, rollicking piano, breezy flute, and strong backing vocals and percussion, its seductive melody will transport you to a warm and carefree place.

Navarrete’s formal musical education included studying percussion at the Amadeo Roldán Music Conservatory in Havana. “I was trained in symphonic and Cuban percussion on a variety of instruments, as well as piano,” she recalls. “I also studied the history of universal music, Cuban music and music theory, but learning batá was more of a street classroom experience along the way. As for singing, it was very spontaneous, without any formal training. I just sang what I felt, without ever really wondering whether it was good or bad. It was just what I felt.”

Her skill as a percussionist was confirmed in 2010 when Brenda won the Bata drum competition at the Fiesta del Tambor in Havana, and she was subsequently endorsed by Canadian cymbal-maker, Sabian, as well as the Gon Bops percussion company. She has played on the recordings of many notable Cuban artists, and Brenda recently guested on batá and vocals on Contumbao, the upcoming album from Cuban-Canadian pianist/composer Hilario Duran.

Brenda Navarrete’s focus is now firmly set on Mi Mundo. This beautiful expression of her musical universe is now going out into the world, and it deserves your close attention.

introduces a shining new star on the world music firmament. This is the solo debut of Brenda Navarrete, a Cuban-based singer, songwriter, percussionist and bandleader of rare skill and musical originality.

She has previously made an impact singing in the internationally-acclaimed Cuban group Interactivo, performing at clubs and festivals in the U.S. and Canada, but she now takes a giant creative leap forward with Mi Mundo. Set for worldwide release on ALMA Records in January/18, the album was recorded in Havana with producer Peter Cardinali (ALMA’s founder), award-winning engineer John “Beetle” Bailey, and an all-star cast of Cuban instrumentalists.

“Being able to record Mi Mundo in Havana is a dream come true,” Brenda explains. “Havana is where I was born. Cuba is my country, my homeland, and having the opportunity to record here with musicians who know me and who understand my musical style is amazing. The energy of Cuba and Havana is very important to me, and I think that we have captured that force on this album”.

The stylistically eclectic album features a variety of group settings, with the primary instruments consisting of drums, piano, electric bass and percussion, including batá and congas played by Navarrete. Renowned special guests include Horacio ‘El Negro’ Hernandez, Rodney Barreto and Jose Carlos on drums, Roberto Carcasses, Rolando Luna and Leonardo Ledesman on piano, Alain Perez on bass (he also arranged several of the songs and wrote “Taita Bilongo”), Adonis Panter on quinto and Eduardo Sandoval on trombone.

Brenda’s initial musical reputation centered on her ability as a percussionist, on batá, but it is her warm and fluent voice and songwriting ability that take centre stage on Mi Mundo. Four of her original compositions appear on Mi Mundo, including “A Ochun.” “That song is very special to me,” says Brenda. “It was my first composition and one of my first recordings. Ochun is the goddess of love and it’s a song that I wrote while sitting on the bank of a river, where Ochun is said to live. Most of the song came out that first day and I finished the arrangement at home and dedicated it to her when it was recorded.

A genuine highlight on an album devoid of lowlights, “A Ochun” is a dynamic and delightful treat that begins with percussion and call and response vocals, which then fade away in favour of gentle piano and flute stylings.

Navarrete describes Mi Mundo as “a World Music record, with an Afro-Cuban flavour. I chose that title because this is a reflection of my musical world. I have a tremendous range of influences, having grown up in a very musical environment.

“When I was a little girl, my sister and I loved to listen to jazz greats like Sarah Vaughan, Ella Fitzgerald and Billie Holiday. I also gravitated to artists like Nat King Cole, John Coltrane, Bobby McFerrin, Miles Davis, Yellow Jackets and Cassandra Wilson, but also BoyzII Men and Take 6. My home environment also featured music from great Cuban artists like Cecilia Cruz, Benny More and Celeste Mendoza.

“All those artists and musical styles have contributed to my musical growth since I was a child. All of that energy and the different rhythms, colours and styles of Afro-Cuban, Latin Jazz and World Music have inspired me as a composer. I adore Cuban music, and mixing all of those styles together with traditional Cuban music is powerful and exhilarating.”

An example of this original and compelling fusion is “Caravana,” Brenda’s distinctive take on the Duke Ellington classic “Caravan.” “Rumbero Como Yo” is full and powerful, featuring six musicians imparting an intoxicating rumba feel, while “Taita Bilongo” is an infectiously rhythmic number boosted by trumpet and a guest male vocal appearance by the song’s composer, Alain Perez. Another sparkling gem on Mi Mundo is “Anana Oye.” Featuring bubbling bass, rollicking piano, breezy flute, and strong backing vocals and percussion, its seductive melody will transport you to a warm and carefree place.

Navarrete’s formal musical education included studying percussion at the Amadeo Roldán Music Conservatory in Havana. “I was trained in symphonic and Cuban percussion on a variety of instruments, as well as piano,” she recalls. “I also studied the history of universal music, Cuban music and music theory, but learning batá was more of a street classroom experience along the way. As for singing, it was very spontaneous, without any formal training. I just sang what I felt, without ever really wondering whether it was good or bad. It was just what I felt.”

Her skill as a percussionist was confirmed in 2010 when Brenda won the Bata drum competition at the Fiesta del Tambor in Havana, and she was subsequently endorsed by Canadian cymbal-maker, Sabian, as well as the Gon Bops percussion company. She has played on the recordings of many notable Cuban artists, and Brenda recently guested on batá and vocals on Contumbao, the upcoming album from Cuban-Canadian pianist/composer Hilario Duran.

Brenda Navarrete’s focus is now firmly set on Mi Mundo. This beautiful expression of her musical universe is now going out into the world, and it deserves your close attention.

UB40 Featuring Ali, Astro & Mickey 'A Real Labour Of Love' The New Album Released March 2nd On UMe

'A Real Labour Of Love' is the new album from UB40 Featuring Ali, Astro & Mickey, to be released March 2nd on UMe. As founding members of Britain's biggest reggae band UB40, singer Ali Campbell, second vocalist Astro and keyboardist Mickey Virtue topped the UK singles chart on three occasions and sold 70 million records as they took their smooth yet rootsy musical blend to all corners of the globe. Now with 'A Real Labour Of Love' the trio give us a fresh take on the legendary series of albums, putting the focus primarily on reggae tracks from the 1980s.

  

"The first three albums featured the songs we grew up listening to," says Ali. "This one is built around the records we were listening to once UB40 were on the road."

Between 1983 and 1998 UB40 produced three 'Labour Of Love' albums, bringing hits such as Eric Donaldson's 'Cherry Oh Baby', Lord Creator's 'Kingston Town' and Johnny Osbourne's 'Come Back Darling' to a new, global audience. They also topped the charts on both sides of the Atlantic with their reggae cover of Neil Diamond's 'Red Red Wine'.

And now 20 years later Ali, Astro and Mickey are revitalizing the concept by exploring the tunes of a later golden age, 'A Real Labour Of Love' sees the group explore the songs that defined reggae in the Eighties. The concept isn't a rigid one: Stevie Wonder's 'A Place In The Sun' is a Motown classic from 1966, and there are numbers from the late Seventies in Dennis Brown's sublime 'How Could I Leave' and Culture's 'International Herb'. But most of the tracks on 'A Real Labour Of Love' are from the Eighties, a decade that saw dancehall reggae enter the mainstream.

"We were spending more time in Jamaica and some of these numbers are the ones we'd hear on the radio and out in the streets," says Astro. "The singers of these songs were our heroes. They are quintessential reggae artists."

The new album builds confidently on the momentum gathered in the five years since Astro rejoined singer Ali and keyboardist Mickey in 2013. They have released two acclaimed albums, 'Silhouette' (2014) and 'Unplugged' (2016), their first acoustic album and their first release with UMG.

Recorded and mixed at Dean Street and RAK Studios, 'A Real Labour Of Love' was produced by Ali, whose instantly recognizable voice is augmented by the 'sing-jay' vocal style of Astro. The latter takes the lead on six of the album's 16 tracks, placing the two singers at the helm of an 11-piece band. Sadly, 'A Real Labour Of Love' also marks the passing of long-serving trombonist John Johnson. A former member of Simply Red who joined forces with Ali seven years ago, John played on the album but passed away the night before the rest of the group were due to play a benefit concert to raise money for his cancer treatment. The album is dedicated to him.

The unique artwork for 'A Real Labour Of Love' by celebrated American contemporary artist Mark T Smith was specially commissioned for the release. A first edition print, signed by the artist and the band, is being auctioned with proceeds going to the Teenage Cancer Trust, details to follow soon.

The group are now looking forward to taking their new album on the road, with UK festival appearances lined up for the summer and a UK arena tour in the pipeline for 2019. Given the massive success of the trio's last 'Labour Of Love' outing, a 2016 tour that featured sold-out shows at the O2 Arena in London and the Barclaycard Arena in Birmingham, there is bound to be a huge appetite for 'A Real Labour Of Love'.

"The reaction to that tour was fantastic, and every show was a sell-out," says Ali. "Now we're ready to do it all again. We knew most of these songs back to front before we began recording A Real Labour Of Love, so the challenge was to make them our own rather than copying the originals."

'A Real Labour Of Love' Track Listing:

1.Making Love

2.She Loves Me Now    

3.Strive      

4.Here I Come     

5.Telephone Love/Rumours    

6.How Could I Leave     

7.Ebony Eyes     

8.Hush Darling

9.Hard Times       

10.Moving Away  

11.International Herb     

12.A Place In The Sun

13.Tune In  

14.Once Ago       

15.In The Rain     

16.Under Me Sleng Teng

Official website: http://ub40.org

NEW RELEASES: THE COMMOTIONS – VOLUME II; ALEX PUDDU – FROM THE BEGINNING; JOHN SURMAN – INVISIBLE THREADS

THE COMMOTIONS – VOLUME II

It’s no questions why The Commotions have been dubbed “ones to watch”: the Canadian jazz / soul / funk collective savvily command every room they play, drawing in audiences with their sizzling brass section, thumping backbeat, and sensitive ballads. This performance prowess means that, as one of Canada’s resident big bands, they have sidestepped the lightweight pop craze and taken the back roads straight into the hearts of their loyal fans, earning unwavering support from the true lovers of genuine, unsullied soul music. Known as the 12-piece collective of sharply dressed, incredibly talented musical artists they are, The Commotions revel in their original throwback to the days of Motown. Their Fall 2017 full-length album release Volume II continued this musical quest by providing epic, sparkling, catchy and uncommonly skilled songs that, as Musical Director Brian Asselin explains, are about reclaiming the spirit of soul. “Soul is the music of the people,” Asselin says. “If you look at all the iconic soul performers like Marvin Gaye or even the Temptations or the Supremes, they were documenting what was happening in the world. “Soul music spoke to that. We are trying to do that today.” Already featuring the likes of Rebecca Noelle (Soulstice, Quebec’s version of “The Voice” — “La Voix”) and Jeff Rogers (The Cooper Brothers) — plus musical director, producer, songwriter, and tenor sax ace Brian Asselin — Volume II’s impressive and lengthy roster of guest features includes, among others, Philosopher King’s Jarvis Church, MonkeyJunk’s Steve Marriner, and Juno-nominated Petr Cancura. The Commotions originally united to prived a Canadian contingent to Funk Brother’s (Motown Records) lead vocalist Delbert Nelson as “Delbert & The Commotions”. The band’s Musical Director Brian Asselin honed his skills performing with acts such as The Funk Brothers, and his original music has been featured on HBO’s “Looking” and ABC’s “The Fosters” in the U.S.

ALEX PUDDU – FROM THE BEGINNING

Alex Puddu's going right back to the beginning here – serving up some tight, sharp sounds that are very much in the 70s funk mode that first gave him inspiration! And this time around, he's got Lonnie Jordan from War on board – singing on three of the album's great tracks – which helps bring a bit of classic Chicano funk to the mix! Other tunes feature vocals from singers Adrian Wilding and Duane Hobson, and the album also features some great instrumentals too – all with a groove that comes from Puddu's own work on drums, bass, and guitars – in a combo that also includes vibes, congas, tenor, and some sweet electric piano and organ. Titles include "Here For A Change", "Step On Your Ego", "Runaway Boys", "Ocean Drive", "Here For A Change", "Wild Saxophone", "Don't Stop Moving", "Cobra", and "Stormy Weather".  ~ Dusty Groove

JOHN SURMAN – INVISIBLE THREADS

Invisible threads of sound from reedman John Surman – heard here in a group that's got an especially great sound – as it features piano from Nelson Ayres and a mixture of vibes and marimba from Rob Waring! Surman's always great, but he's sometimes got an icier edge on ECM – which is definitely not the case here, as he blows between the ringing tones of the vibes and piano – a really unusual mix for a trio date like this, and one that fills the music with these warm chords that are wonderful. Surman blows soprano, baritone, and bass clarinet – and there seems to be a beautifully equal balance between the players in the creative process – on titles that include "On Still Waters", "Within The Clouds", "Autumn Nocturne", "At First Sight", "The Admiral", "Pitanga Pitomba", "Summer Song", and "Stoke Damerel". ~ Dusty Groove

Common, Robert Glasper & Karriem Riggins Announce New Group August Greene

Golden Globe, GRAMMY, Academy Award winning activist, actor and artist Common, four-time GRAMMY Award winning pianist/producer Robert Glasper, and drummer/producer extraordinaire Karriem Riggins announce the formation of their new group August Greene. The band’s debut self-titled, Amazon Original album will be released on March 9th.

Today, the first single “Optimistic” featuring Brandy premiered at NPR Music, who said “[Brandy's] voice has aged like the finest of wines, layering harmonies all over Glasper's signature keys and Riggin's rapid drums... Common's bars serve as the proverbial cherry on top while a choir lends a hand to close the jam out.”

Stream “Optimistic (feat. Brandy)” via Soundcloud:

https://soundcloud.com/amazon-music/optimistic-ft-brandy-august-greene/

In 2017, the three collectively won the Emmy for Outstanding Original Music and Lyrics on the strength of their song “Letter to the Free,” which was recorded for Ava DuVernay’s documentary 13th. The longtime friends and musical collaborators felt the time was right to release music from August Greene, which has themes of optimism and black excellence. They have found a sound that does not solely fit into one genre, but is truly an invigorating hybrid of R&B, hip-hop, and jazz.

“August Greene actually formed before we chose a name, before we even knew it was a band,” says Common. "Karriem, Rob and I go back many years. It was something natural. When I started working with them it was like, ‘man, this feels like home,’ and it felt new and fresh. We love working together. The music takes us all to new places and it just feels like, everything I want to be as a musician is within the group of August Greene.”

August Greene will make their live debut at New York City’s Highline Ballroom on January 26th for Robert Glasper’s sixth annual GRAMMY Joint.

 

New from Jazz guitarist Chris Standring “Sunlight” featuring appearances by Bob James and Mica Paris

Much like a prism refracts light into a colorful spectrum, guitarist Chris Standring’s “Sunlight” reflects rays of multihued jazz into a vibrant sonic palette of joy and positivity. The Los Angeles-based, native Brit will drop his twelfth album on March 23 on the Ultimate Vibe Recordings label, marking the twentieth anniversary since the release of his debut disc (“Velvet”). Paving the way for the new collection penned and produced by Standring is the jaunty “Love Street,” set to cast an alluring spell as the first radio single.   

Diverse strains of jazz reign on “Sunlight” with Standring’s clean electric jazz guitar shining brightly throughout the ten tracker plus a reprise that closes the session. The prevailing sounds and engaging textures create warm, organic backdrops for his nimble fretwork forays that traverse lush rhythms and grooves. Wave after wave of Fender Rhodes keyboards and Hammond B3 organ wash over the taut beats serving as the rhythmic spine. Vintage elements offer a compelling contrast to the imaginative electronic nuances, deftly making the recordings feel retro, futuristic, experimental and visionary all at the same time while Standring’s cool-toned guitar slices through to the fore cranking out nifty licks, precision fills and impassioned melodic sojourns.       

Helping flush out his vision for “Sunlight,” Standring shares the spotlight with contemporary jazz forefather Bob James (piano) on the stratospheric exploration “The Revisit” and UK soul-pop chanteuse Mica Paris on the lusty R&B, jazz and electronic hybrid “No Explanation,” the latter a tune he wrote with seven-time Grammy nominee Lauren Christy. Also lending their artistry to the platter are noted saxmen Pete Christlieb and Brandon Fields, keyboardists John Novello, Mitchel Forman and longtime collaborator Rodney Lee; bassists Jimmy Haslip, Andre Berry and Roberto Vally; and drummers Chris Coleman and Dave Karasony.

“For the first time, I feel a huge degree of comfort stylistically. ‘Sunlight’ seems to be a much more refined version of who I am. Musically, I can't shake off who I am. It just is. It's a fusion of my traditional be-bop background with infectious soul and funk grooves, and a sense of arranging and orchestration that comes very easily now. My influences are not from my contemporaries. They come from orchestral music, traditional jazz and European chill, lounge and progressive club music plus a good dose of R&B. It's a weird mix, but I guess that's what results in everything sounding like me when it all comes together,” said Standring who purposely infused the set with uplifting notes of hope and glee.

Perhaps a commentary on our times or just a thoughtful embrace of a longtime personal favorite, Standring reimagines Brian Wilson’s “God Only Knows” as a serene guitar meditation. 

“The album is upbeat and joyful for the most part. Perhaps it is somewhat reactionary to these challenging times we are presently living through, but I am inherently a positive soul who tends to see the bright side of things, albeit with a touch of British cynicism. Sunlight represents positivity and joy to me, hence the title.”

Standring celebrated three No. 1 singles in 2017: his solo hit “Like This, Like That,” and duet collaborations with trumpeter Cindy Bradley (“Category A”) and two-time Grammy-winning producer-guitarist Paul Brown (“Piccadilly Circus”). The classically-trained guitarist’s ambitious catalogue of instrumental R&B, soul jazz and electronica includes his hit debut single, “Cool Shades”; the No. 1 Billboard Contemporary Jazz Track of the Year in 2010, “Bossa Blue”; and a 2014 Billboard No. 1 single, “Sneakin’ Out the Front Door.” Coming to the U.S. after a lengthy and prosperous run at the BBC and on London’s West End in theatrical orchestras, Standring was a session ace who recorded with Jody Watley and Bebe & Cece Winans among many others. He partnered with Lee to form the acid jazz outfit SolarSystem before touring extensively backing trumpeter Rick Braun. Standring issued “Velvet” soon after, launching his solo mission that continues to climb in trajectory and scope.         

     

“Sunlight” contains the following songs:

“Static In The Attic”

“Aphrodisiac”

“Love Street”

“The Revisit” featuring Bob James

“No Explanation” featuring Mica Paris

“God Only Knows” featuring John Novello

“Like Paradise”

“Moon Child”

“Do Not Adjust Your Set”

“The Principle Of Pleasure”

“Static In The Attic (Reprise)”

http://www.chrisstandring.com

Jazz in the (Miami) Gardens Music Festival Announces 2018 Line Up

The City of Miami Gardens announces the highly anticipated 2018 artist lineup for its 13th annual Jazz in the Gardens (JITG) music festival, the signature event for this vibrant community. On March 17-18, 2018, fans will again experience the ultimate festival event featuring the world's top artists from the R&B, soul, jazz, hip-hop, and funk genres.

Hosted by nationally syndicated radio personality, Rickey Smiley, JITG will present this world class line up to an anticipated 70,000 attendees at the Hard Rock Stadium located at 347 Don Shula Drive, Miami Gardens, FL 33056.

Gracing the stage is the incomparable Chaka Khan and the soulful voices of Grammy award winning songstresses Anita Baker and Fantasia. Iconic soul legend Smokey Robinson makes his first ever Jazz in the Gardens appearance, along with gospel sensation Tasha Cobbs Leonard. Back by popular demand are The Jazz in the Gardens All Stars with this year's lineup including Pieces of a Dream, Walter Beasley and Avery Sunshine. Other artists include Trombone Shorty & Orleans Avenue and Joe

Rounding out JITG, guests will enjoy an array of American and Caribbean cuisine, and indulge in a unique shopping experience with a marketplace of artwork, handbags, clothing and memorabilia.

Website: www.jazzinthegardens.com 

Facebook: http://facebook.com/jazzinthegardens 

Twitter: http://twitter.com/jazzgardens 

Instagram: http://instagram.com/jazzgardens

GRAMMY-NOMINATED JAMISON ROSS DELIVERS ALL FOR ONE ON JANUARY 26, 2018

Whereas Jamison Ross’ GRAMMY®-nominated, vocal-heavy 2015 debut disc, Jamison shocked some listeners who knew him primarily as a drummer, especially after he won the 2012 Thelonious Monk Institute of Jazz International Drum Competition, his sophomore disc, All For One, scheduled for release on January 26, 2018 via Concord Jazz, will surely solidify his reputation as one his generation’s brightest vocalists and drummers. WBGO.org has the track premiere for “Don’t Go to Strangers” here.

All For One boasts a cast of musicians of whom Ross has developed a strong rapport from touring – pianist Chris Pattishall, guitarist Rick Lollar (both of whom played on the 2015 debut), bassist Barry Stephenson, and Cory Irvin on Hammond organ and Fender Rhodes. Ross is particularly enthusiastic with the addition of Irvin on the organ because he likens that instrument to an orchestra that would accompany jazz singers like Frank Sinatra or Billie Holiday. “When I first added the organ in my band, I was inspired by Marvin Gaye’s 1964 LP, When I’m Alone I Cry,” Ross explains. “[On that album] he sings jazz standards with a full orchestra. The organ is like my orchestra. The way I use the organ is a very calculated form. It produces the atmosphere throughout the record. And that parallels with how I grew up in church. The organist pulls the emotion out of every tune.”

The disc perfects the intoxicating chemistry of the 29-year-old’s debut, which intermingled blues, jazz, R&B and soul effortlessly. “All For One is literally the second chapter,” Ross explains after comparing the success of his debut and the world tour in support of that album as a “whirlwind of smiles and gratitude.” “There’s no deep way to view All For One other than it being the second chapter of me revealing myself as a man who loves as a father, husband, friend, and brother and as an artist who brings that love to other people while receiving love from my audience.”

For sure, love is a recurring theme on All For One as the material touches on both the romantic kind and the socio-political aspect of love that calls for unity among a diverse and, at times, a divisive community. The album also finds the Jacksonville, Florida born and now New Orleans-based Ross plowing into the rarefied areas of blues and R&B that seldom gets investigated by his peers.

Ross begins the disc with mighty shout out to the Crescent City’s R&B legacy with the vivacious make of “A Mellow Time,” a 1966 tune written by Allen Toussaint and made famous by Lee Dorsey. “I’m the biggest Lee Dorsey fan and I’m a huge Allen Toussaint fan,” Ross enthuses. “A lot of tunes like this taught me how to write. I want to write songs that have stories inspired by love.

The title track – “All For One” – is another Big Easy-based song; it’s a rare groover written and recorded in 1993 by Wilson Turbinton, better known as Willie Tee. The lyrics’ plead for love takes on both amorous and socio-political overtones that spills over to other songs on the album, such as Ross’ splendid rendition of Mose Allison’s 1968 classic, “Everybody’s Cryin’ Mercy.” “It’s a rough time in America. It’s that simple,” Ross explains. “I know a lot of Mose Allison’s music. I like the way that he could talk the blues. He didn’t sing the blues; he talked the blues. That song has such a pivotal message for where we are right now as a nation.”

Fats Waller’s 1936’s “Let’s Sing Again,” which closes All For One is another old-school gem. On Ross’ makeover, his sanguine singing soars atop of Irvin’s churchy organ accompaniment – a strategic move that tips its hat pays to Waller’s church roots in New York as well as Ross’ background in Jacksonville, Florida, where he grew up singing in his grandfather’s church.

Ross also delves into jazz standards on All For One with his haunting reading of “Don’t Go to Strangers,” a ballad written by Arthur Kent and Dave Mann and made famous in 1960 by Etta Jones, and his alluring version of Ira Gershwin and Kurt Weill’s 1941 classic, “My Ship,” which gains a subtle country vibe thanks for Lollar’s guitar yawns. “I don’t do a lot of jazz standards. The covers that I do come more from the obscure blues realm,” Ross says. “But I honestly love singing ‘Don’t Go to Strangers.’ I sang it at NPR’s Jazz Night in America tribute to Rudy Van Gelder Concert. That song taught me a lot about phrasing, which I used on ‘My Ship.’”

All For One contains some exquisite originals too. The gentle, blues-tinted ballad “Unspoken” is a song Ross penned for his wife, Adrienne, to express his enduring love for her while he’s on the road. The jaunty “Call Me” is another original written with Ross’ wife in mind. The backstory of “Call Me” involves his wife phoning him while he was in the middle of crafting an infectious boogaloo drum groove. Instead of getting frustrated by the interruption, Ross allows the phone call from his wife to become an inspirational force. Ross dedicates the melancholy “Away” to his daughter, Jazz Aubrielle as he conveys missing her while he’s constantly on the road and reminding her that his love for her is unending.

The soothing bossa nova, “Safe in Arms of Love,” co-written with Lollar and Joshua Starkman, and the somber, wordless vocalese ballad “Tears and Questions” find Ross turning his attention back to more socio-political issues. Both songs were written while he was touring Australia with Nicholas Payton then receiving news of the 2016 police killing of Alton Sterling in Baton Rouge.  Ross’ soul-infused “Keep On” offers encouraging balm in the face of tragic upheaval.

Besides the wordless “Tears and Questions,” All For One contains no instrumentals like its predecessor; nor does it explicitly showcases Ross’ virtuosity as a drummer. “I started touring and playing on a constant basis with my band. That didn’t happen before I made my first record,” Ross explains. “So playing instrumentals was part of my development then. I feel now, I don’t have to prove that I can play instrumentals anymore nor do I have to prove my drumming skills. Recording instrumentals is not indicative to what my artistic concept has grown into.  This album is a result of a personal revelation that we all have the capacity to love with empathy in a deeper way.  The love you need comes from me and the love I need comes from you.  All for one, one for all.”

NEW RELEASES: ALICE SOYER – SKY ON EARTH; RUBY RUSHTON – TRUDI’S SONGBOOK VOLUME 1; SHARON MUSGRAVE - SHA’S ARCHIVES

ALICE SOYER – SKY ON EARTH

The remarkable French singer, composer and pianist Alice Soyer may be new to Smooth Jazz audiences, but two legends of the genre – Bob James and David Sanborn – help her make a seamless, sensual and soulful arrival on her English language debut SKY ON EARTH. A few years ago, James loved her French song “Geste Humain” and chose to record an instrumental version with Sanborn on their dual album Quartette Humaine. The famed musicians put their familiar stamps on a few songs, but the focus is on Soyer’s exquisitely expressive vocals on a mix of vibrant up-tempo originals and lush ballads influenced by her background as a classical pianist and love for jazz and pop. Listening to Sky On EarthKY ON EARTH will make your heart soar! ~ smoothjazz.com

RUBY RUSHTON – TRUDI’S SONGBOOK VOLUME 1

Ruby Rushton is the name of the group, not an individual member – and it's also a name that's sure to be at the top of your list once you hear this incredible debut! The album's got this fantastic blend of funky and spiritual grooves – all played with a quality that's soulful, but effortless – almost vintage, but never trying to sound forced or copycat at all – just this easy-flowing groove that's incredible, and which kind of gives the record an instant classic sound from the very first note! Edward Cawthorne is the ersatz leader – as he wrote and arranged the whole set – but his work on flute and saxes is just one part of the album's wonderful groove, which also includes trumpet from Nick Walters, keyboards from Aidan Shepherd, bass from Fergus Ireland, drums from Eddie Hick, and percussion from Joseph Deenmamode – a lineup who seem to be tied together in soul and spirit right from the start. The London-based group are rock-solid throughout – hitting territory that's maybe more soulful than some of the spiritual currents of the Gondwana Records scene a few years before, but with an equal sort of depth. Titles include "Trudi's Mood", "Moonlight Woman", "Prayer For Yusef", "Where Are You Now", "Elephant & Castle", and "The Camel's Back". ~ Dusty Groove

SHARON MUSGRAVE - SHA’S ARCHIVES

Sharon Musgrave waited a number of years between records, but that time really seems to be well-spent – as the singer comes across here with a mature, focused sound that's even deeper than the last time around! The groove is mostly mellow – never too forced, and with just the right acoustic currents in the music to match the warmth of Sharon's vocals – in a way that makes the songs slide along very well together, and makes the album a nicely cohesive whole. Drummer Peter Grimmer co-wrote and produced the album with Musgrave – and titles include "Drag Me", "Pull It Up A Notch", "Triumph Of Brian", "Favourite", "Blue Nile", "Sha's Archive", and "New Horizon". ~ Dusty Groove

Trombonist James Hall Weaves Together Diverse Styles and Inspirations To Form the Intricate and Stirring Lattice

Intricately weaving together voices, melodies, ideas and genres, Lattice is the alluring and inventive sophomore release from trombonist/composer James Hall. Due out February 9, 2018 from Outside In Music, the album is built around the harmonious combination of Hall's dexterous trombone and the virtuosic flute playing of Jamie Baum, a study in contrasts that proves remarkably pliable and expressive through Hall's inspired vision.

Lattice follows Hall's acclaimed debut, Soon We Will Not Be Here, in which he and his Thousand Rooms Quartet set the work of contemporary New York City-based poets to Third Stream-inspired music that struck a delicate balance between modern jazz and contemporary classical music. Lattice eschews the vocals of its predecessor and veers in a more recognizably jazz direction, though Hall's richly detailed writing maintains the sophisticated architecture of chamber music without forsaking the passion and propulsion of the best modern jazz.

To achieve those ends, Hall enlisted a skilled band with an elusive chemistry to breathe life into his compositions. In addition to Baum, he's joined by keyboardist Deanna Witkowski (Donny McCaslin), bassist Tom DiCarlo (Claudio Roditi, Sean Jones), and drummer Allan Mednard (Kurt Rosenwinkel, Aaron Parks). On two tracks the band is supplemented by in-demand saxophonist Sharel Cassity (Herbie Hancock, Wynton Marsalis), whose fiery alto adds a new flavor to the often more contemplative styles of Hall and Baum.

A lattice necessarily begins with two pieces crossing, and for Hall that second piece was his now-wife, Kristen, to whom Lattice is dedicated. Their romance, engagement and marriage provided the spark that inspired him to begin writing this music. "I wanted to compose a project for two voices," Hall explains. "The idea of two voices in close counterpoint seemed like a nice parallel to the love story that was happening in my life at the time. It all came together with the interweaving of melody lines reflecting the interweaving of two lives."

More direct musical inspiration came from a few sources that Hall had long admired. One was legendary trombonist/composer/arranger Bob Brookmeyer's writing for two voices, exemplified by his work with Stan Getz and Jim Hall. Another was the interplay of bass trombone and flute on Herbie Hancock's classic album Speak Like a Child. Baum shared Hall's love for that album, and their bonding over it was key to her signing on for the project.

Two strands are not enough to make a latticework, however, and as a number of pieces intersect to form a pattern, so Hall's project expanded to encompass other voices and inspirations. He crossed paths with Mednard while both were touring with the retro-pop ensemble Postmodern Jukebox, while DiCarlo was suggested by Baum. Witkowski was introduced to Hall at the release concert for Soon We Will Not Be Here, and her interest in his music was matched by her gifts for interpreting it on both piano and Rhodes.

The scale of Hall's concerns expanded and intersected as well. While a new love - not to mention wedding planning - can be all consuming, eventually the outside world intrudes. Never has that been more true than in recent years, as a project conceived on an intimate personal scale inevitably took on a broader scope as harsh realities came to light. The injustices brought to light by the Black Lives Matter movement and the divisive aftermath of the 2016 presidential election forced Hall to widen his perspective. Again, Herbie Hancock proved inspirational; Speak Like a Child was released in the politically tumultuous year of 1968, its hopeful call for a more childlike and loving perspective a conscious refutation of the day's clashing ideologies.

"It's a pretty album produced at an ugly time," Hall says. "So as the world was sliding into an abyss and I was working on what for me was 'pretty' music, I was thinking of Herbie as a precedent."

The lilting melody of "Shoy" opens the album, tipping its hat to another form of interweaving - the hybridization of grapes to create new wine varietals. While living in Germany more than a decade ago, Hall worked on a vineyard that specialized in the Sheurebe grape - the title is a transliterated shortening of the name - which is a cross between Riesling and Silvaner. Cassity's supple alto kicks off Joe Henderson's familiar "Black Narcissus," which floats on Witkowski's airy Rhodes while being driven by Mednard's subtly roiling rhythm.

The title track is patient about bringing its divergent voices together, finally melding into a hopefully melodious theme at the song's halfway point. The simmering swing of "Brittle Stitch" muses on the fragility of any relationship and the care and attention they require, while "Gaillardia" does some of that work by hinting at Hall's wife's maiden name in the form of a flower. The elegiac "Traveler" is dedicated to the composer's great-uncle, whose passion for roaming the world and unconventional pairing with Hall's great-aunt both offered models to emulate. "Kind Folk" is one of a few gorgeous Kenny Wheeler tunes that entered Hall's songbook after the late trumpet great served as artist-in-residence during Hall's time at Lawrence University, while the bluesy "Terrace," featuring the full-throated moan of Hall's muted trombone, closes the album with a portrait of his adopted neighborhood in Brooklyn.

"A lattice is made up of many intersecting parts," Hall concludes. "As this project matured, even if I composed a piece thinking about myself and my wife, the lattice grew to incorporate everyone I met, everyone I engaged with. It touches on the question of where I sit in the lattice that is New York City, or on a larger scale, that is America in the 21st century. I take heart in the fact that there can be as many strands and intersections in a lattice as there are people or relationships in my life. Maybe it starts with me and my life or my family, but it doesn't have to end there."

A trombonist and composer from Nebraska based in New York City, James Hall is a versatile musician and composer whose projects have spanned jazz, classical, Latin, and popular music. As a composer and bandleader, James was named a finalist in the ASCAP Morton Gould Young Composer Competition, won three ASCAPlus Awards for composition, and was a featured performer/composer at the 2012 Chelsea Music Festival. He has appeared on several recordings with Postmodern Jukebox, with whom he has toured Europe and the United States. His first CD as a composer/bandleader, Soon We Will Not Be Here, was released in October 2013 and featured his Thousand Rooms Quartet. James holds degrees from the Lawrence Conservatory of Music in Wisconsin and Aaron Copland School of Music in New York. His teachers have included Luis Bonilla, Hal Crook, Michael Dease, Nick Keelan, Ed Neumeister, and Fred Sturm.

jameshallmusic.com

NEW RELEASES: GÉBERT-ULBERT PROJECT – HEALING HANDS; NEW FACES – STRAIGHT FORWARD; HUW – MUSIC FROM THE MULTIUNIVERSE

GÉBERT-ULBERT PROJECT – HEALING HANDS

Growing up in Hungary, classically trained pianist Attila Gebert and guitarist Ferenc Ulbert were inspired by everyone from Eric Clapton to Joe Pass. In leading their four-piece ensemble the Gebert-Ulbert Project, they draw upon those influences and other adventurous retro-vibes like prog-rock and classic jazz fusion. HEALING HANDS, a live performance follow-up to their studio debut Happy Pills, is a high energy, freewheeling romp all over the stylistic map – sometimes within the same song! They bring elements of pop, rock, blues, and trippy synthesized music. Ulbert’s guitar dynamic ranges from dreamy jazz to Americana-oriented rock/blues, while vocalists Andras Ferency and Agnes Szasz add beautiful, subtle touches of soul. HEALING HANDS… an uplifting remedy to enriching your playlist. ~ smoothjazz.com

NEW FACES – STRAIGHT FORWARD

The faces here aren't totally new – as some of them are already great leaders on their own, with strong recordings for the Posi-Tone label – but the group has the talents coming together in a wonderfully sharp setting – almost to their scene what the All For One combo was to a generation before! The lineup here is great – and includes Behn Gillece on vibes, Josh Lawrence on trumpet, Roxy Coss on tenor, Theo Hill on piano, Peter Brendler on bass, and Vinnie Sperrazza on drums – moving with that sort of sharp sense of arrangement we've really come to expect from their scene, but always with plenty of room for the solo voices to ring out loud and clear! As you'll know from these pages, we really love the vibes of Gillece, which sound excellent here next to Hill's piano – on titles that include "Happy Juice", "West Village", "Hush Puppy", "Vortex", "King Cobra", "Follow Suit", "Preachin'", and "I'm OK". ~ Dusty Groove

HUW – MUSIC FROM THE MULTIUNIVERSE

The cover's got a couple of monkeys playing the music – but the sound here actually comes from bothers Mike and Aaron Dolton – the first of whom plays the drums, the latter who seems to handle just about everything else! Their music is a blend of jazz and soul – sometimes with the kind of future elements you'd guess from the image, sometimes more understated – in a good fit with the more sensitive lyrics of the album's range of different singers – who include Jube (Julie Clarkson), Bennett Holland, Sid M, and Jamie Paul. A few tracks are instrumental – with more of a focus on the sax and drums – and titles include "Baskerville", "Last Minute", "Already Home", "Midnight", "Foot Down", "Flow State", and "Thank You". ~ Dusty Groove

Contemporary Jazz Keyboard Recording Artist and Host of "NewUrbanJazz" Celebrates 10 Years as Radio Host, 30 years as Recording Artist

In 2010, the AAPRC Network was delighted to offer "NewUrbanJazz", hosted by Baldwin to public radio stations nationwide. After initially focusing exclusively on News/Talk shows, "NewUrbanJazz" became the very first music program distributed by the AAPRC. Prior to that however, he launched the program on WVSU, WJAB, WFSK, WVAS and WNAA on October 1, 2008, and with that, this will mark his 10th year on the air.

On January 8, 1988, he released his first disc, "I've Got a Long Way To Go" on the now defunct Malaco Jazz label, and 22 additional cd's later, he still goes on strong.

The native New Yorker made clear his enthusiasm about joining a network providing African-American content to public media. The success of his show opened the door for the many music shows we now distribute.

"NewUrbanJazz" is a fusion of Contemporary Jazz mixed with Brazilian and Urban flavors. Baldwin uses his knowledge of music and his experience as a touring jazz artist to share his back-office personal anecdotes about his fellow musicians in the U.S. and abroad, his celebration of jazz trailblazers, and his excitement about the new music being produced today.

As a radio host, Bob Baldwin is quite a unique blend of someone who has worked in both the music business and the media for decades.  He learned about jazz music when in kindergarten from his father, Robert Baldwin, so it's been in his blood since his childhood.  "Learning about legends like Oscar Peterson and Herbie Hancock at age 5 almost blew my "kiddie" mind, but I think it actually strengthened my mathematical development." But he was bitten by the radio bug as a young adult, and it's been an important part of his life ever since.

After cutting his radio teeth at his college radio station, Bob became an intern at Inner City Broadcasting (New York City) in 1981, where he was mentored by the legendary Frankie Crocker (WBLS) in music program hosting, and Pat Prescott (WLIB) in producing the news. Following that, he worked for three years at New York's news station, WINS.

  

But music was calling him, and he set out to launch his recording career in earnest.  His first CD, "I've Got a Long Way to Go" was recorded in 1988, and released on Malaco Records in 1989.  The CD won first place in the Sony Innovators Award competition that year, handpicked by Roberta Flack.  His music career was off and running.  But radio was not done with him.

Between 1999 and 2007 Bob worked at AAPRC member station WCLK-FM in Atlanta, and commercial  stations WJSJ in Jacksonville, FL, and Radio One's WJZZ, also in Atlanta.  During this period he witnessed first hand the demise of smooth jazz stations in commercial radio, not only as a broadcaster but as one of the many jazz artists impacted.  Like many aficionados of the genre, Bob cites the "dummying down" of smooth jazz playlists by broadcasting conglomerates for its commercial demise.     

Hence in 2008, Bob took constructive action; He created his own Contemporary Jazz music show, "NewUrbanJazz", described by Baldwin as  "... our own diverse brand of jazz, as diverse as the crowds we play for all over the world." He continues, "While super-radio conglomerates are falling by the wayside... the universe is looking for something substantial from creative people, something we are all capable of delivering, that is, if we just push the envelope just a little harder, deeper and further into other media arenas, in some of which we are clearly overlooked."

Prior to joining the AAPRC Network, "NewUrbanJazz" originally launched on five public radio stations: WJAB (Huntsville, AL), WFSK (Nashville, TN), WNAA (Greensboro, NC), WVAS (Montgomery, AL) and WVSU (Birmingham, AL).  Since becoming a show in the AAPRC line-up in 2010, carriage has increased to over 30 stations nationwide.

This week, Bob celebrated 30 years as a recording artist (January 8th). He'll continue

 celebrating thislandmark throughout his 2018 touring season. He also plans to release

several re-mixed/re-mastered recordings, starting with "Never Can Say Goodbye", A Tribute to Michael Jackson, which debuted in Billboard's top-20 jazz releases in 2017.  Still, he finds time to listen to new music, and produce new show episodes week after week.

Through his partnership with the AAPRC, Baldwin hopes to continue to share with audiences,"... the multi-faceted sides of jazz that so many commercial stations have either neglected or failed to acknowledge". For listeners, that means a sophisticated palette of contemporary music that reflects the diverse culture we live in today.

Jamie Saft's First Solo Album in 25 Years as a Recording Artist: SOLO A GENOVA

One of the most prolific artists on the RareNoise roster, pianist Jamie Saft has appeared on recordings by such groups as Metallic Taste of Blood, Slobber Pup, Plymouth, Red Hill, The Spanish Donkey and Berserk! as well as on collaborations with Steve Swallow and Bobby Previte (New Standard / Loneliness Road), which also featured Iggy Pop, Bill Brovold (Serenity Knolls), Roswell Rudd (Strength & Power) and his own New Zion album (Sunshine Seas). His sprawling discography, which includes prodigious sideman work with John Zorn, numbers over 160 albums. And yet, over all those sessions he has never recorded a solo piano album. "I've incorporated some solo piano pieces into other records of mine before, but this is something unique for me," says the ubiquitous keyboardist. "This is my first proper full length solo piano album in 25 years of making records."

Solo a Genova is Saft's highly emotive take on jazz standards and other uniquely American compositions. "I first conceived of this recital of music back in 2007," he explains. "I was asked by my good friend Giuseppe Vigna to give a solo piano recital in Florence, Italy. At that moment in time, the United States was in a rough patch politically, so I wanted to present American music as an example of positive, forward thinking art - art that made a difference in the world, art that resisted hatred and negativity, art that promoted a positive path forward for mankind. I chose songs from artists that were dear to me: Bob Dylan, Stevie Wonder, Miles Davis, John Coltrane, Joni Mitchell, Curtis Mayfield, Charles Ives. Who better to represent the transformative powers of music than these brilliant writers?

Recorded at the beautiful Teatro Carlo Felice in Genova, Italy in an acoustically marvellous space, Solo a Genova showcases Saft on a 9-foot Steinway Model D piano in the service of these beguiling tunes. "My primary influences for solo piano are actually the very same influences for playing the piano in any situation: Bill Evans, Thelonious Monk and Garth Hudson of The Band. Each has a uniquely personal approach to solo piano stylings. Each of these masters incorporates the entire history of modern music within their piano worlds. Their music IS American classical music."

The album opens with a pure expression of happiness on Curtis Mayfield's "The Makings Of You" and is followed by an interpretation of Jimmy Jam-Terry Lewis' "Human" which melds beautifully to Saft's own "Gates." Says Saft, "Those are both brilliant examples of the complexities of human beings. Each of these tunes is trance-like and transformative and swiftly transports the listener. The harmonic approaches of each of these songs is deeply fundamental and helps propel the message of the song perfectly. 

  

Saft takes Coltrane's meditative ballad "Naima" to some new places in an expressive solo interpretation. As he explains, "'Naima' is of primary importance in my musical development. I've been working on that tune for more than 30 years. There's an entire universe of harmonic possibilities proposed within this piece. Coltrane spent years pushing the boundaries of modern music within this one piece of music, so certainly my interpretation is deeply personal. His highly impressionistic take on ZZ Top's "Sharp Dressed Man" is imbued with daring improvisations and dramatic twists. "That was improvised entirely in the moment," he explains. "I always try to take a radically different approach to covering something like a piece by ZZ Top each time I perform it. Some pieces of music require a simple, straight-forward rendering. This piece begged for something deeper. ZZ Top's music for me has always been about resonances. Power chords on the guitar sustain in truly unique ways. I've tried to look for these same resonances inside this giant concert Steinway Model D piano: literally inside the piano! This arrangement just happened this way. This was the beginning of the second half of the concert portion of the evening, so I really tried to transform this piece into something with a more classical approach. He next turns in a faithful rendition of Stevie Wonder's "Overjoyed." Says Saft, "With this Stevie Wonder's song there is such a strong and deep architecture already in place, so I felt no need to transform this piece at all. I wanted to retain all the positivity and hopefulness of the original so there was really nothing to change. It's just a respectful and humble performance of a great masterpiece of modern popular music."

"Po' Boy," a later period Bob Dylan tune, speaks of another time and place both lyrically and musically. "This is a perfect vehicle for me to try and relax into some nice stride styles with a big nod to Thelonious Monk in my approach. A simple song can often have complex structures hidden within it. 'Po' Boy' is a great example of this. Little twists and odd numbers of beats can be found within this piece. It creates a sonic world that is both relaxed, familiar, and yet not really at rest at all. It's also the rare piece of music written in C Major that resonates with me."

Two Saft originals, "The New Standard" and "Pinkus," are both very soulful expressions that were previously recorded by the keyboardist - "The New Standard" is the title track from a recent RareNoise album he made with Steve Swallow and Bobby Previte while "Pinkus" appears on his New Zion Trio album Chaliwa as well as on Loneliness Road. Saft's rendition of Joni Mitchell's "Blue Room Motel" is even more melancholy than the original. "That tune, for me, has always been the essential expression of the traveling musician's path," he says. "It's the ultimate elucidation of the melancholic path. In fact, the word 'Hejira,' the album from which it originates, is said by Joni to mean 'leaving the dream no blame.'

Shifting gears, Saft next tackles Charles Ives' "The Housatonic at Stockbridge." Says the pianist, "I've worked on that piece for decades and still have barely scratched the surface. As a student of the great composer and clarinetist Joe Maneri in the late 1980's in Boston, I was tasked with learning to sing and accompany myself on classical 'lieder' - things like Schumann and Schubert. I attempted to learn to sing and accompany myself on these composers but their music didn't really speak to me in the same way as Ives' did. So I began trying to accomplish this play and sing idea with Ives' music instead. Ives' harmonic explorations were revolutionary. He incorporated 12-tone serialist concepts in his music years before Schoenberg. Ives explored microtones, harmonic dissonances, rhythmic confusion and multiple musical threads coexisting together on the same plane. Ives' nod towards aleatory music pre-dated John Cage by decades. He stands as one of the greatest composers of all time, in my opinion. His music is steeped in European classical forms but with a deep understanding of a uniquely American perspective on sound manipulation. Presented here in my solo piano version, I tried to draw out the essential harmonic and melodic paths of this piece while improvising within Ives' harmonic world".  

Saft delivers a precious version of "Blue In Green," the gentle Bill Evans composition which appeared on the 1959 Miles Davis classic, Kind of Blue. "'Blue In Green', like 'Naima,' was one of the first pieces of music I learned from the jazz universe," The final piece on Solo a Genova is an interpretation of an early Bob Dylan tune, "Restless Farewell." Says Saft, a noted Dylanphile, "This tune absolutely looks to higher states of consciousness. It speaks of a man looking back and taking stock of his life. Bob Dylan lovingly sang this song to Frank Sinatra on Sinatra's 80th birthday.

The rare, emotional outpouring and transformative power of Saft's piano is in evidence throughout Solo a Genova, his brilliant solo piano debut.

TRACKS

1. The Makings Of You

2. Human Gates

3. Naima

4. Sharp Dressed

5. Overjoyed

6. Po' Boy

7. The New Standard

8. Blue Motel Room

9. The Housatonic At Stockbridge

10. Blue In Green

11. Restless Farewell

 

DECADE, the new album by the Dr.Dre and JayZ-sampled CrimeFunk Cult combo Calibro 35

Preceded by the first single “SuperStudio”, out next 26Jan and already featured on international radios such as KCRW and BBC6, Record Kicks is proud to present “DECADE”, the new album by the Italian CrimeFunk band CALIBRO 35, which will hit the streets worldwide on February the 9th 2018.

“DECADE” marks 10 years of Calibro 35’s releases and it’s the very first album recorded by the band with an orchestral-inspired enlarged line-up that features horns, strings and percussions. Mixed and recorded by CALIBRO’s usual suspect and Grammy Award winner for Muse's "Drone" album Tommaso Colliva, “DECADE” is CALIBRO 35’s “time capsule” and it is as rare and complex as a timeless work.

Musically CALIBRO 35’s inner influences like Ennio Morricone, listen for instance to the epic journey of the album’s end credits “Travelers”, Luis Bacalov and David Axelrod are still there but are now mixed with elements from afrobeat or cosmic jazz. “Psycheground” sounds like Tony Allen involved in writing a score for a vintage Hollywood production while Sun Ra lurks on “Modo”. Everything is mixed up with new influences from modern musical languages. References to Jaga Jazzist, Budos Band or Alternative Jazz and Alternative Hip Hop new acts such as Makaya McCraven, Yussef Kamaal, Oddisee can all be found on the album. In tracks such as “Modulor“ you realize that DECADE is certainly not a point of arrival and expresses the ambition of the band to look further and evolve. All classic Calibro’s vintage instruments such as clavinet, eco, analog synths, fuzz guitars are now supported by new ones such as Dan Bau, Balafon and Waterphone ("Polymeri") in the band’s new wall of sound. Thanks to the enlarged line-up and the orchestrated parts involved, which pushed the band to experiment new methods of composition, Calibro 35 on “DECADE” sound strong, full and tight as never before.

Active since 2008 CALIBRO 35 enjoys a worldwide reputation as one of the coolest independent band around. During their ten years career, they have been sampled by Dr. Dre on his Compton album and Jay-Z, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat, Headhunters and as unique musicians they've collaborated with, amongst others PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (Jet).

Described by Rolling Stone magazine's as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide which includes VIP’s fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin’ Criminals).