Dee Dee Bridgewater Announced as Detroit Jazz Festival's 2020 Artist-in-Residence

The Detroit Jazz Festival Foundation proudly presents the GRAMMY® and Tony Award-winning jazz vocalist Dee Dee Bridgewater as its Artist-in-Residence for the 2020 Detroit Jazz Festival.

As the 2020 Artist-in-Residence, Bridgewater will support Detroit Jazz Festival Foundation educational clinics for students and community engagements across the region throughout the year in addition to leading multiple diverse performances during Labor Day Weekend.

“Dee Dee Bridgewater’s timeless voice, legendary career accomplishments and indomitable spirit are what makes her such a special selection for our Artist-in-Residence this year,” said Chris Collins, president and artistic director of the Detroit Jazz Festival Foundation. “We’re excited to have Dee Dee, a true and treasured jazz vocalist, headline what will be another exceptional showing of Detroit’s jazz gift to the world.”

Over the course of a multifaceted career spanning four decades, iconic jazz giant Dee Dee Bridgewater has ascended to the upper echelon of vocalists, putting her unique spin on standards, as well as taking intrepid leaps of faith in re-envisioning jazz classics. Ever the fearless voyager, explorer, pioneer and keeper of tradition, the three-time GRAMMY® winner most recently won the GRAMMY® for Best Jazz Vocal Album for Eleanora Fagan (1915-1959): To Billie With Love From Dee Dee.

Bridgewater’s career has always bridged musical genres. She earned her first professional experience as a member of the legendary Thad Jones/Mel Louis Big Band, and throughout the '70s she performed with such jazz notables as Max Roach, Sonny Rollins, Dexter Gordon and Dizzy Gillespie.

Bridgewater also pursued a parallel career in musical theater, winning a Tony Award® for her role as “Glinda” in the The Wiz in 1975. She recently completed a run as the lead role of Billie Holiday in the off-Broadway production of Lady Day, for which Bridgewater received the British Laurence Olivier nomination for best actress in a musical. Her other theatrical credits include Sophisticated Ladies, Black Ballad and Carmen.

As a Goodwill Ambassador to the United Nations’ Food and Agriculture Organization (FAO), Bridgewater continues to appeal for international solidarity to finance global grassroots projects in the fight against world hunger.

The Detroit Jazz Festival will be held in downtown Detroit on September 4 – 7.

Damien Sneed Releases ‘Classically Harlem’

Composer and pianist Damien Sneed has released his full-length classical debut CD, Classically Harlem, on Friday, February 7, 2020, to commemorate the centennial of the Harlem Renaissance (1920-2020). Classically Harlem features two special guest artists from The Metropolitan Opera’s roster: Brandie Sutton and Justin Austin. Also, violinist Randall Goosby from the Juilliard School of Music is featured on four songs. Classically Harlem is a collection of meaningful classical works by Bach, Mozart, Chopin, Strauss and several contemporary African American composers including Samuel Coleridge-Taylor, Mark Fax, and Hale Smith, with an original composition by Sneed. For a complete track listing, click HERE. Classically Harlem is available on digital retail and streaming platforms everywhere, including iTunes, Amazon, Google Play, Spotify, and Tidal.

“After World War II, Harlem [NYC] became the nexus of brilliant creativity for African Americans,” says Sneed. “Therefore, in honor of the great creative giants who birthed the Harlem Renaissance back in the 1920s, I chose to dedicate my first classical offering to commemorate its 100th anniversary. From solo piano repertoire to chamber music featuring the violin, to art songs to lieder and the operatic aria, this project celebrates well-known composers from the Western Music tradition as well as other prolific composers who emerged on the scene during the last century.”

Throughout years, the multi-genre artist has been paired with his longtime friends and collaborators Brandie Sutton, J’Nai Bridges, and Justin Austin on numerous projects. On February 4, Sutton (soprano) made her Metropolitan Opera debut as Clara, singing “Summertime” in the revival of George Gershwin’s Porgy and Bess. In May 2019, Sutton joined Sneed as a special guest artist at the 2019 Pulitzer Prize ceremony in a 20-minute set to celebrate and honor Aretha Franklin, who was awarded a Special Citation, marking the first time the Pulitzer board incorporated a musical performance into their annual ceremony. To view the performance, click HERE.

Austin (baritone), an award-winning artist will star in two-time Pulitzer Prize-winning playwright Lynn Nottage’s Intimate Apparel, which has been made into an opera with music by Ricky Ian Gordon. This is the first of Nottage’s award-winning plays to be turned into an opera. Intimate Apparel will premiere off-Broadway at Lincoln Center’s Mitzi Newhouse Theater, a Metropolitan Opera/Lincoln Center Theater New Works production, February 27 through March 23, 2020. Sneed accompanied Austin on his Carnegie Hall debut at Carnegie Hall’s Weill Recital Hall in October 2017. This year, Sneed will produce Austin’s debut album.

Bridges (mezzo-soprano) recently made her Metropolitan Opera debut as Queen Nefertiti in Phillip Glass’ opera AKHNATEN. Bridges also performed with Sneed, who was the musical director for Jessye Norman’s funeral and accompanied her on his arrangement of “Heaven/Oh What A Beautiful City,” for both the October 2019 funeral and Norman’s Celebration of Life concert at the Metropolitan Opera in November 2019. For Black History Month, Sneed and Bridges performed on the CUNY TV show “Black America” with Carol Jenkins. For a preview of their performance, click HERE.

Sneed has a series of classical projects scheduled for the Spring and Summer 2020 season, including his new chamber opera Marian’s Song, commissioned by the Houston Grand Opera, with the libretto by Deborah D.E.E.P. Mouton. Focused on the life of Marian Anderson, it will have its world premiere on March 5-6, 2020, at the Cullen Theater at the Wortham Center in Houston, TX. Sneed was recently commissioned to compose a symphony in honor of the Tuskegee Airmen that is also slated for the 2020-2021 season.

This summer, Sneed will join the community-based organization the Harlem Chamber Players, to conduct Nathaniel Dett’s The Ordering of Moses as part of the 100th Anniversary of the Harlem Renaissance at The Cathedral of Saint John the Divine on June 4th in New York City. The concert will feature Brandie Sutton and Justin Austin, along with Raehann Bryce-Davis (mezzo-soprano), Issachah Savage (tenor), Sneed’s 100-piece choir Chorale Le Chateau, and an orchestra comprising members of the Harlem Chamber Players and other New York City-based musicians. Sneed will also present the world premiere of his arrangement of “Lift Ev’ry Voice and Sing” for chorus and orchestra on that evening.

This past year, Sneed was invited to participate in several high-profile concerts and performances, including Wynton Marsalis’ critically-acclaimed Abyssinian Mass with the famed Jazz at Lincoln Center Orchestra and Chorale Le Chateau for a three-night engagement during the 10th Anniversary of Lincoln Center’s White Light Festival in November at Jazz at Lincoln Center’s Rose Theater.

In October 2019, the Sphinx Media of Excellence recipient premiered his new opera, “We Shall Overcome – Our Journey: 400 Years from Africa to Jamestown” at Carnegie Hall’s Isaac Stern Auditorium/Perelman Stage for the Sphinx Organization Performance and Gala. He also wrote the libretto for the piece, which showcases musical styles from the African American diaspora, including African rhythms, spirituals, gospel and jazz, all interwoven with the classical genre. He was joined by fellow Sphinx Medal of Excellence recipients J’Nai Bridges and Will Liverman of the Metropolitan Opera, along with Chorale Le Chateau and the Sphinx Virtuosi Orchestra, who brought his ground-breaking opera to life during the evening’s finale performance.

Within the past year, Sneed has appeared on Jessye Norman’s final recording, Bound For The Promised Land. He also recorded and released three projects on his label, LeChateau Earl Records, including Damien Sneed: We Shall Overcome Deluxe Edition (January 2020), Jazz in Manhattan (September 2019), and Damien Sneed: We Shall Overcome (January 2019). Other recordings include The Three Sides of Damien Sneed: Classical, Jazz and Sanctified Soul (July 2018), Broken to Minister: The Deluxe Edition (March 2015), Spiritual Sketches (June 2013), and Introspections LIVE (January 2010).

Currently, Sneed is on his 40-city North American tour, “We Shall Overcome: A Celebration of Dr. Martin Luther King, Jr.,” which is making stops at concert halls and universities in the U.S. and Canada. 

Saxophonist Wayne Escoffery Releases "The Humble Warrior"

Saxophonist Wayne Escoffery is renowned for his fiery, muscular and virtuosic tenor playing, but his explosive sound is paired with a soft-spoken and thoughtful demeanor off the bandstand. In many cases both of those aspects of his personality can be credited to the same inspirations, giants of the music who paired estimable talents and imagination with rock-solid integrity.

On his latest album, The Humble Warrior, Escoffery pays homage to those figures with his most ambitious and wide-ranging set to date. While Escoffery himself strives to represents the tenets of a Humble Warrior, it would be easy for him to act otherwise given his stand-out career and ample accolades. A Grammy Award and DownBeat Critics Poll winner, he has performed with a who’s who of jazz including Herbie Hancock, Ron Carter, Abdullah Ibrahim, Al Foster, Billy Hart, Eddie Henderson, Wallace Roney and others. He has been a member of the Mingus Dynasty, Big Band and Orchestra since 2000 and toured and recorded with Tom Harrell for over a decade. In addition to his Quartet, Escoffery co-leads the Black Art Jazz Collective along with other leading voices of his generation and the next.

Due out April 10, The Humble Warrior marks Escoffery’s leader debut for Smoke Sessions Records, where he’s previously recorded with the trombonist Steve Davis. The album features the return of Escoffery’s stellar quartet featuring pianist David Kikoski, bassist Ugonna Okegwo and drummer Ralph Peterson. Trumpet great Randy Brecker and guitarist David Gilmore supplement the band for Escoffery’s breathtaking arrangement of Benjamin Britten’s Missa Brevis in D.

That piece of unexpected repertoire is a way of bringing Escoffery’s own story full circle. As influential as the “Humble Warriors” to whom the album is dedicated have been on the saxophonist’s musical life, he looks back at his early experience as a member of the Trinity Boys Choir in New Haven, Connecticut as foundational to that existence. A native of London, England, Escoffery and his mother had moved often immigrating to the United States before finally settling in New Haven where she took a job at Yale University.

Since 2016, Escoffery accepted a position at the prestigious institution as Lecturer of Jazz Improvisation and ensemble coach, teaching in the same room where he took his first saxophone lesson. But his love of music was born from singing with the city’s renowned choir and contributed to the lyrical and singing quality that always accompany his sterling virtuosity. It also introduced him to an aural tradition of musical education that carried through into his studies with the legendary Jackie McLean. The Britten piece was one of his favorites, and now represents a time when he was discovering himself as a person and as a musician.

“The Missa Brevis was one of the most beautiful pieces that we performed,” he recalls. “Those beautiful but intricate melodies always stuck with me.”

To parallel the three-part harmony of the original, Escoffery enlisted Brecker and Gilmore to add their voices to the mix, while his 11-year old son Vaughn provides angelic vocals for the “Benedictus” – significantly, Escoffery was the same age when he joined the Trinity Boys Choir.

The Humble Warrior opens with one of two Escoffery originals on the album, which was inspired by his return to Yale. Born from his interactions with his students, “Chain Gang” is the saxophonist’s imagining of a modern-day work song. To trace the roots of jazz and the blues back to their origins, he plays students samples of work songs and field hollers sung by enslaved people and incarcerated field workers. “Chain Gang” was inspired by musicologist Alan Lomax’s recording of the work song “I Be So Glad When the Sun Goes Down,” sung by Ed Lewis and a group of prisoners at the infamous Parchman Farm.

It’s telling that on an album that stretches out in so many bold directions, Escoffery chooses to dedicate the date to those who have gone before. As inspiration, he cites such personal mentors as Mulgrew Miller, James Williams and Jackie McLean, but also those peers and forebears who have passed on – many far too soon – in recent years.

“We lost a lot of really great musicians in 2018 and 2019,” he says. “People like Roy Hargrove, Harold Mabern, Larry Willis, Richard Wyands, Lawrence Leathers, and, most recently, Jimmy Heath. I would describe all of those musicians as Humble Warriors. I have a lot of admiration and respect for them; they were all great warriors of the music but always allowed the music to keep them humble. They all exemplified the utmost humility and integrity despite their superior abilities. I hope to maintain those same traits in my musical endeavors.”

The title track, Escoffery’s other composition for the album, amply illustrates that concept, simmering with a latent strength but shot through with a steely nobility. It also showcases, as does The Humble Warrior as a whole, the profound cohesiveness and depth of feeling shared by Escoffery with his bandmates. While he shares relationships stretching back at least two decades with each of them, the quartet came together in 2016, when Escoffery decided that his 40th birthday would be the occasion to form his ideal band, one that he could evolve with in the years to come.

“We’re a strong unit,” he says. “We know each other’s playing backwards and forwards because we’ve played together in so many different contexts. It’s a real band, and one that pushes me to different places. I like strong personalities with a lot of power, but I also like maturity.”

The quartet certainly embodies those factors, as Escoffery purposely chose collaborators who all have more years of experience than his own. He and Okegwo toured the world with the brilliant trumpeter Tom Harrell for a decade, and both have performed in bands led by Peterson. Kikoski and Escoffery have shared the stage countless times under the auspices of the Mingus Big Band.

The band is at its most elegant on the little-known ballad “Quarter Moon,” a composition by pianist Gildo Mahones originally recorded by saxophonist Charlie Rouse. Familiar from his indelible association with Thelonious Monk, Rouse remains an under-sung pioneer but one that Escoffery cites as a primary influence. Another hero, George Cables, is responsible for the laid-back “AKA Reggie,” which Escoffery and Okegwo performed with the pianist as a trio. Okegwo composed the airy, sinuous “Undefined,” which features some of the band’s most dazzling playing, while Kikoski offers the blistering finale, “Back to Square One.”

The Humble Warrior finds Wayne Escoffery coming full circle, returning to where his musical life began, and fulfilling the promise of the talented young boy who got his start in New Haven and at Yale. He’s the teacher now, instead of the student, guiding a new generation of musicians to become stronger improvisers with a deeper appreciation of the art, while setting a new artistic standard for himself with the powerful set of music contained herein.

"The Humble Warrior" was produced by Paul Stache and Damon Smith and

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

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

Available in audiophile HD format.

The Devonns dust off the golden era of 70's Chicago soul

Straight from the streets of Chicago, Illinois, The Devonns (pronounced "De vaughns") are the brand new soul outfit and the latest addition of the Record Kicks’ family, whose self-titled debut album that drops April 3rd, is an assortment of influences taking us back to the heyday of soul.

Drawing influences from bands such as The Dramatics, The Isley Brothers and Leroy Hutson, yet bringing in their own unique modern twist, influenced by artists such as Jamie Lidell and Raphael Saadiq; singer Mat Ajjarapu explains how unintentionally, the rich heritage of Chicago’s history with soul music influenced him.

 “The city was at the epicentre of a lot of good music back in the 50’s all the way to the 80’s, a lot of the labels specialising in soul were based in the Chicago and we even had our own sound known as 'Chicago soul'. Through several years of crate digging it surprised me how many songs I loved were recorded in this city, for example one of my favourites is this great little song by The Natural Four, produced by Leroy Hutson ‘Can This Be Real’, and released via Curtom Records”.

The band started in 2016 after multi-instrumentalist and songwriter Mathew Ajjarapu dropped out of med school and found himself unemployed and drifting. Listening to music constantly at the time, he found inspired to put a band together and create his own music. Pairing up with some of the best musicians Chicago has to offer, he founded The Devonns: the rhythm duty is entrusted to Khalyle Hagood (bass), Ari Lindo (guitar) and Khori Wilson (drums).

The release took almost two years to complete as Mat explains: “I am a perfectionist, I had a very specific vision in my head about how it should sound and I wasn’t going to rest until I achieved it”.

 “This is a definitely a throwback soul record, as well as being drawn to the lush and intricate arrangements of Motown, I was also inspired by the more lo-fi works of smaller labels such as Chess and Capsoul, and I wanted to capture the magic they had in those recordings in our record, as everything feels too precise nowadays”, clarifies Mat.

It was thanks to his engineer Mike Hagler, who introduced him to Paul Von Mertons (Mavis Staples, Paul McCartney, Elton John) who arranges and conducts for Brian Wilson’s live touring show and after a 45 minute phone conversation about what Mat wasn’t keen on, on the album, he realised Paul totally understood where he was coming from.

After a few months wait for Paul to get back from touring they entered the studio with “Paul’s players” and as soon as they hit record, Mat explains: “I was getting chills up my neck, it was one of the happiest days of my life, and finally we had nailed it!”.

The introduction of percussionist, organist and guitarist extraordinaire Ken Stringfellow best known for his work with REM since 1997 who features throughout the album really was the icing on the cake for Mat. “Ken is a family friend and had previously collaborated on my older brother Phil Ajjarapu's solo album. It was incredible to be in the studio with these two giants".

Tracks such as "Come Back"; which Mat wrote in ten minutes on a $300 Daneelectro Singlecut guitar initially, came to life, with Paul’s rich string arrangements.

It still took a few months to get the recording process finished but finally after a torturous nineteen months the album was finally finished. The result is an album filled with lavish string arrangements and catchy melodies which take us on a nostalgic musical journey inspired by chic 70s soul, yet the band don’t hesitate to add their own unique and elegant contemporary stamp to the record.

Saxophonist Jimmy Greene Releases While Looking Up

The deluge of political divisiveness, horrific violence and hateful rhetoric that seem to have polluted our lives on a daily basis over the last few years have left many people across the country and around the world feeling angry, frustrated and hopeless. It would be more than understandable if that feeling was even more intense for Jimmy Greene, for whom the flood of outrageous headlines and social media missives play out against the backdrop of personal tragedy.

Greene refuses to succumb to the negativity, however. On his heartfelt new album, While Looking Up, the saxophonist was guided by the inspirational words of his pastor: “If I’m not able to find strength or peace by looking inward,” he said, “or if I’m not able to do it by looking outward to my immediate surroundings, I have to look upward.”

On While Looking Up, due out April 3 via Mack Avenue Records, Greene finds solace, support and inspiration from each of these directions, but in particular from casting his gaze heavenward. Looking inward, he’s comforted by his faith and by the gift for moving, expressive composition that has marked his work for the last two decades. Looking outward, he has his family and his brilliant collaborators, culled for this project from a list of longtime favorites who haven’t entered the studio together in at least a decade. And while looking up, he recalls the joyful spirit of his daughter, Ana Márquez-Greene, who tragically lost her life in 2012, along with 25 other students and educators at Sandy Hook Elementary School in Newtown, Connecticut.

“The whole idea of While Looking Up is indicative of the times we’re in now,” Greene said. “I can think about my personal journey through our family’s tragedy, and I can also look outside of myself and see the state we’re in, constantly bombarded with the chaos that’s become normalized in our society and our country. In both instances, it’s easy to walk away feeling disillusioned and, in many ways, hopeless. But I’m always reminded to look upward.”

Having released two acclaimed volumes celebrating Ana’s life and spirit – the GRAMMY®-nominated Beautiful Life (Mack Avenue Records, 2014) and Flowers: Beautiful Life, Volume 2 (Mack Avenue Records, 2017) – Greene sought a change of pace, recalling his landmark 2009 release, Mission Statement. “That album was a turning point for me,” he recalled. “It was the first time that I really felt like all of the material was exactly what I wanted it to be. I wanted to have a group that could deliver something similar and was also reminded of a lot of musicians who I’ve played with over the years but haven’t recorded with in some time.”

Photo Credit: Anna Webber

From Mission Statement, Greene reunited with guitarist Lage Lund, bassist Reuben Rogers and vibraphonist Stefon Harris. For the remainder of the ensemble he reached back even further: drummer Kendrick Scott last joined the saxophonist on 2008’s The Overcomer’s Suite, while pianist Aaron Goldberg returns after appearing on Greene’s debut album more than 20 years ago.

“Obviously a lot has happened over the last ten years in my life and in our world,” Greene said. “We’ve all grown and matured musically, and in all cases developed as bandleaders, too. So, I wanted to get everybody together and see what happened.”

The result is a snapshot of personal and musical growth for each of the musicians, individually, and of the group as a whole. Greene’s music reaches new heights of personal expression and depth of feeling, while the ensemble finds a stunning chemistry and profound collective empathy.

The fact that three of the pieces on While Looking Up are adapted from an original orchestral suite is indicative of the expanded palette with which Greene imbues his compositional voice these days. He employs the members of the group in a variety of combinations throughout the album, from a spare, pared-down chord-less trio to a vibrant sextet.

The core group for the bulk of the tracks is a quintet sans Harris. That’s the unit that opens the album on the Cole Porter classic “So In Love,” which features Greene’s sinuous soprano wringing exquisite feeling from one of his favorite melodies, propelled by a groove inspired in part by one of the saxophonist’s earliest employers, legendary pianist Horace Silver. Greene switches to tenor, and Goldberg to Rhodes, for the ethereal blues “No Words,” which walks a haunting tightrope between the stark and the soulful.

Later in the set, “Overreaction” unleashes the quintet with simmering, muscular momentum. Goldberg defines the gentle ostinato at the heart of “Steadfast,” which fuels lyrical turns from Greene’s soprano and Lund’s intricate string work. The melancholy yet hopeful title tune captures the theme of struggle and optimism underlying the album in its purest form.

The final quintet piece is the most unexpected: a cover of the smash Whitney Houston hit “I Wanna Dance With Somebody (Who Loves Me),” reimagined from an upbeat pop number to a bittersweet ballad. The transformation was inspired by reflecting on the less-than-cheerful lyrics through the lens of Houston’s own tragic life and sad fate.

Harris adds dazzling color to two tracks. His chiming marimba dances around Greene’s soaring tenor on “Always There,” while his vibes add to the tapestry of woodwinds conjured by Greene on “April 4th,” a tune that strives to illuminate the buoyant personality and love of dance that characterized Ana, whose birthday lends the piece its title. “I think of beautiful melodies when I think of her,” Greene said. “I wanted this to capture that.”

Greene’s tenor is accompanied by only Rogers and Scott for “Good Morning Heartache,” a moaning, heart-wrenching rendition that embodies the pain of grief and loss. “The last lyric in the song is, ‘Good morning heartache, sit down,’” Greene explained. “You’re going to be here anyway, so might as well make yourself comfortable. The song is about a love, but I know that heartache from dealing with the loss of my daughter. I have a lot of joy and brightness in my life, but that pain of loss never really goes away.”

The set ends with the uplifting quartet piece “Simple Prayer,” a tune that echoes with the influence of the African American church, ultimately expressing the spiritual hope offered by this music.

“Music is a reflection of life,” Greene concluded. “At its best, music transforms us and transports us to another place. We lose ourselves in it. I’m convinced that there’s much more to be hopeful for than what we experience on a daily basis. So, I wanted this music to serve as a refuge from the harsh realities of this world, a place where you can temporarily lose yourself in something that’s beautiful and impactful, something that’s positive.”

Jimmy Greene · While Looking Up

Mack Avenue Records · Release Date: April 3, 2020

www.JimmyGreene.com

LOUIE SHELTON - "Higher Ground" - A Tribute to Stevie Wonder

Originally from Little Rock, Arkansas, the legendary guitarist Louie Shelton has released a musically invigorating album titled Higher Ground. Shelton is a prominent musician whose ‘signature guitar riffs and solos are featured on more hit records than any other session guitarist in history,’ as mentioned on his website.

Higher Ground is a spirited album of smooth jazz that consists of nine tracks. It’s a very festive offering by Louie Shelton, which possesses some deep moods and sonic landscapes. The album covers some of Stevie Wonder’s greatest songs in a new and exhilarating way.

Higher Ground – The album begins with an epic undertaking of Stevie Wonder’s classic hit Higher Ground. Shelton’s inventive guitar riffs over a nocturnal groove. Shelton display’s a charismatic approach to the track that is refreshing, as he is able to creatively make this composition his own.

Too High – This animated upbeat performance by Shelton is heavenly. The track is woven into rhythmic layers that create a free-flowing composition that is memorable and rewarding.

Golden Lady – A well-versed dialogue of guitar play. The track has a lively instrumental conversation filled a moving bassline and stunning drumming in the background, all of which plays a supportive role in measure for Shelton’s brilliant electric guitar lead

You Ain’t Done Nothin’ Yet – A masterful cover of this legendary tune, Shelton’s enchanting riffs are complemented with a backing brass section that is totally electrifying.

That Girl – Shelton creates a musical oasis of sound that listeners can’t wait to experience. The track features a brilliant dialogue between the bass and Shelton’s guitar, which effectively paints a melodic narrative.

Master Blaster – A favorite composition for many, Shelton is able to craft a nostalgic gem from a lively arrangement of organ and trumpet flaring in the background.

Boogie On Reggae Woman – The track begins with an intriguing drum pattern that keeps you enthralled and in anticipation of how the melody will unfold. Shelton has composed a loosely-knit and crafty rendition of this classic, which features a soulful keyboard measure and other delights.

Overjoyed – Another popular tune, Shelton switches up the mood with performance on acoustic guitar.

I Wish – Shelton concludes this remarkable journey with another classic performance that turns out to be a rich culmination of organic sounds and live instrumentation that is gripping and equally entertaining.

Higher Ground by Louie Shelton is a not only a great tribute to Stevie Wonder’s work as a songwriter but also heralds the legendary work and involvement in music and the many valuable contributions he has provided throughout the years.

New Music Releases: Rosario Giuliani, Seven Wonders, Collocutor

Rosario Giuliani- Love In Translation

A beautiful set of ballads from saxophonist Rosario Giuliani – made even better by the vibes of Joe Locke! The tunes are all based around the theme of love – mostly standards, but a few originals too – and even when mellow, they're given a nice sort of swing by the bass of Dario Deidda and drums of Roberto Gatto – both players who keep things simple, but move them along nicely – while Locke sparkles on the vibes, and Giuliani shifts between alto and some especially nice soprano sax. Titles include "Love Letters", "The Hidden Force Of Love", "Duke Ellington's Sound Of Love", "Love In Translation", "Tamburo", "Raise Heven", and "Love Is A Planchette". ~ Dusty Groove

Seven Wonders – New Movements In Australian Jazz & Soul

A great little compilation – and one that really makes us want to hear a lot lot more from all the artists in the lineup! Think of this one as a bit like some of the excellent Brownswood compilations that have hipped us to changes on the London scene during the past few years – as this package showcases an amazing array of music that's been coming out of the Melbourne scene – artists who are heavy on influences from spiritual jazz, cosmic soul, and other mind-expanding modes – really moving past some of the simpler soul and funk we might have heard from the city in the previous decade! The scope of music here is really great, and there's not a dead cut in the bunch – just the kind of tip-of-the-iceberg sounds that makes us hope that Plug Seven will be giving us a lot more of these artists in years to come. Titles include "For Yu Sakamoto" by James Macaulay Quartet, "Waiting" by Jazz Party, "Improvisation #2" by Greg Vinod Perrin, "Dempsey Roll" by Superfeather, "Women's Choir" by Godtet, "Everything I Need" by Daniel Merriwesther, "Sooki The Love Dog" by Laneous, "Sweet Water" by Barney McAll, "True Realm Of The Coin" by The Rookies, and "Work" by Moses McRae with Crooked Letter. ~ Dusty Groove

Collocutor - Continuation

‘Continuation’ is a remarkable work in which the interplay of emotional experience and life motion experienced by band leader Tamar Osborn (also known as Tamar Collocutor) is channelled and explored by Collocutor. The band’s third LP assuredly strides forward following the critical acclaim awarded to ‘The Search’ from 2016 (a work that gained the enthusiastic praise of Mulatu Astake and Gilles Peterson among others). Whereas ‘The Search’ invoked a journey ending in hope and new beginnings, ‘Continuation’ looks at the aftermath of the unexpected. This is an album about coping with grief, loss and bereavement: The music charts the many (and sometimes surprising) emotional states encountered, moving from acknowledgement, trying to keep ‘normal’ life going, the need to sometimes put a pause button on and let the waves of feelings crash and roll, sudden anger and confusion, finally to moving (perhaps with uncertainty) forward. Tamar Osborn has led Collocutor through a line-up shift from septet to quintet for ‘Continuation’. The modified line-up creates space for the musicians to express themselves through the shades of ‘Continuation’'s movement. The quintet brings in more group improvisation, based on just a few motifs and so giving the musicians more space to converse.

New Music Releases: Jamaica All Stars Vols 1 & 2, Brunswick / Dakar Soul Stream Vol 1, Tim Berne's Snakeoil

Jamaica All Stars Vols 1 & 2

A heavy package of treasures from the vaults of Studio One – tracks from the early days of the label that really illustrate the special touch that Studio One had right from the start! The work here is some of the most soulful from the early years of reggae – Jamaican music that's clearly drawn strong inspiration from American work, but which is already really finding its own sort of special groove – mellow burning rocksteady, early reggae, and more – still sounding every bit as righteous and powerful as it did back in the day! This double-length set brings together both volumes of the original compilations – and titles include "Peeping Tom" by Brentford All Stars, "Honey Come Back" by Jerry James, "Get You Off My Mind" by Larry Marshall, "I'll Be Waiting" by Alton Ellis, "Got To Be Sure" by Horace Andy, "My Eyes" by John Holt, "He Don't Love You" by Larry Williams, "Psychedelic Rock" by Ernest Ranglin, "Life" by Hortense Ellis, "Always Something There To Remind Me" by Winston Francis, "Old Time Saying" by Burning Spear, "Riddle I This" by Dennis Alcapone, "Feel Good All Over" by King Sporty, "Zion Higher" by Burning Spear, and "Home Home Version" by Dennis Alcapone & Ken Boothe. ~ Dusty Groove

Brunswick / Dakar Soul Stream Vol 1 – The Sweetest Thing

An incredibly rich collection of work from the legendary Brunswick and Dakar Records labels – and one of the first to really get at the labels' rich legacy of 7" singles that were never issued on any sort of full length albums! The Brunswick sound was a powerhouse in the late 60s and early 70s – a force that saw big records from The Chi-Lites, Jackie Wilson, Artistics, and others – yet the company also recorded a heck of a lot more music too – all of which was every bit as great as the hits, from the grooves at the bottom, to the tight arrangements in the middle, and the fantastic range of vocals on the top! This series finally gets at digging into all the many artists who never issued full albums on Brunswick or Dakar Records – and this first volume features 24 tracks that include "One Two Three Hamilton Street" by The Equations, "The Sweetest Thing" by Channel 3, "Stay With Me Baby" by BW & The Next Edition, "Where Our Love Has Gone" by Ronnie LaShannon, "Soul Strut" by Floyd Smith, "Let's TCB" by Richard Parker, "Contract On Your Love" by Chuck Bernard, "Funky Fatso" by The Aqua Sonics, "Dynamite" by John Freeman, "Forever & A Day" by Wales Wallace, "Turn Me Loose" by Donnie Vann, "You're My Sweet" by The Realistics, and "Falling In Love" by The Complaments. ~ Dusty Groove

Tim Berne's Snakeoil - Fantastic Mrs 10

That's no snake oil in the bottle, it's fantastic music from this razor-sharp quintet – maybe one of the most fantastic projects that saxophonist Tim Berne has given us in many years, and a group that just seem to get better and better with each new record! There's a combination of reed and percussive elements here that's really wonderful – alto from the leader, bass clarinet from Oscar Noriega, piano and tack piano from Matt Mitchell, and drums, vibes, gongs, tanbou, and glockenspiel from Ches Smith – all then strung together by guitar work from Marc Ducret, whose range of sounds really matches those of the other players! Mitchell also adds in a bit of modular synth – and titles include "Surface Noise", "Rolo", "Dear Friend", "The Amazing Mr 7", "Third Option", "Rose Colored Assive", and "The Fantastic Mrs 10". ~ Dusty Groove

New Music Releases: Blaine Sharpe, Ephemerals, Horace Tapscott Quintet

Blaine Sharpe – Wanderlust

With the last name ‘Sharp’ it might seem like destiny that Blaine would end up making music but this wasn’t always so. There were many “zigs” and a lot of “zags” along the way. Moving to LA in 2017 was definitely a game changer though, it was time to face that namesake destiny head on! Born and raised in Canada Blaine also spent important time in England, the United States and France and considers all of these places to have a special place in his heart as well as in his music. His love of theater and film is also a big influence. For Blaine it’s all about a real connection to the story and to an emotion and sharing this honestly with his audience. Blaine’s début release Wanderlust is an exploration of many of these artistic influences. With jazz inflections throughout it wanders romantically through musical genres, allowing this new recording artist a little space to wander creatively too. It is a fitting introduction for his listeners, one that hints at musical directions to come. In the meantime, Blaine is based in LA and Toronto and continues to work as an actor, singer and songwriter. He has several new projects on the go.

Ephemerals - The Third Eye

The fourth album from ephemerals, "the third eye" sees them continue their ever-evolving musical journey. Fusing styles including spiritual jazz, psychedelia, and spoken word, to convey an identity that is unmistakably their own. The core of the work is built from the honest and incisive compositions of Hillman Mondegreen combined with the unmistakably emotive vocal delivery of singer Wolfgang Valbrun. Experimenting with recording and mixing techniques to illustrate the artistic concepts behind the songs has been key in the overall character of the record. Hard panning is used to group together specific sounds and instruments to the left and right to convey masculine and feminine sides within the track as within the individual. The album is a deeply personal and conceptual body of work using ambiguous harmony to discuss gender identity, polychords to demonstrate the power of being between the gender binaries, and modal changes to remove the homeliness that you find speaking to the alienation of being transgender. Although drawn from Hillman’s personal experiences the writing is always universal, and singer Wolfgang Valbrun relates the pieces to his own experiences of a young black man leaving the USA. The band has evolved exponentially over the course of these four albums, and they continuously push beyond the boundaries of traditional genre ideas and traverse unexplored musical territories.

Horace Tapscott Quintet  - The Giant Is Awakened LP

The title of Horace Tapscott’s debut release is apt, if not self-referential, for indeed a giant of West Coast jazz had awakened with this, the pianist/composer/bandleader’s 1969 album for the Flying Dutchman label. Tapscott went on to form two groups crucial to the flowering of modern jazz in the Los Angeles area, the Pan Afrikan Peoples Arkestra (or P.A.P.A.; the name is an homage to Tapscott’s predecessor and peer, Sun Ra), which eventually became part of a larger umbrella organization, Union of God’s Musicians and Artists Ascension (UGMAA). Out of UGMAA came a host of LA-bred musicians, singers, and poets, including Arthur Blythe (who goes by Black Arthur Blythe on this recording), Stanley Crouch (who wrote the original liner notes), David Murray, Butch Morris, Wilber Morris, Jimmy Woods, Nate Morgan, and Sinclair Greenwell, Jr. (a.k.a. Guido Sinclair). And anchoring it all was Tapscott himself; as Kamasi Washington, whose vision of a large, Los Angeles community-based ensemble echoes that of P.A.P.A. and UGMAA, said in 2015: “Horace is one of the most important figures in the foundation of music in L.A., from both a purely musically and socially conscious perspective.” Now, Real Gone Music is proud to present the first-ever LP reissue of The Giant Is Awakened (original copies go for hundreds of dollars) taken from high-resolution audio sources.

U-Nam Goes Big Band On New Album

There are only a few established artists who are capable of reinventing themselves and jazz guitarist and Billboard chart-topper U-Nam is certainly one of them.  As if to prove it he will release the genre busting “U-Nam Goes Big Band”, 03/27/2020, on the Skytown Records label.

Coming off the back of a scintillating 2019 that saw him enjoy huge chart success with his 2 sensational albums “Future Love Parts 1 and 2” (that reached #20 on the Top25 Billboard Jazz Best Selling Album Chart and #8 in the Contemporary Jazz category) this is an exciting new direction for U-Nam to take but, with nine Top30 Billboard radio hits already to his name and an approach recognised as always innovative and often daring, his reputation for shaking the musical world to its core is already firmly in place.

“U-Nam Goes Big Band”, a sumptuous eleven track rendering of sophisticated mood jazz, is made even more enticing by the amazing back-story that first put it on U-Nam’s radar. A phone call to his Los Angeles studio from Estonian producer Mikk Targo is all it took. Targo, CEO and Founder of the Estonian Author Society EAU had, for the past several years, been working with a panel of music industry experts to select from what was generally regarded as the best one hundred songs Estonia has ever produced. As they did so a body of work emerged that was not only a glimpse into the nation’s musical heritage but also an outstanding showcase for the renowned Lutz Krajenski Big Band.

The resultant album was released in 2016 accompanied by a “behind the scenes” television documentary yet Targo knew that if the project was really going to be a global smash a different approach would be required. Having heard his music played extensively on radio Targo was already a huge fan of U-Nam’s work. When he explained his desire to transform what he already had into something altogether more jazzy, the prospect of creating Sinatra like, bossa nova tinged, big band driven music that crossed seamlessly over to instrumental jazz was, for U-Nam, just too good to miss. In addition it offered him an avenue to get back to why he had got into music in the first place.

To understand why this recording could not happen sooner, or what prevented songs of such potential from finding their way to the world’s best artists; one has to understand the political landscape of the time where the all-pervasive Soviet regime excluded any such possibilities.

All that changed in 1991 when the country was finally recognized by the USSR as an independent state. Artistic freedom was restored and as part of that the first tentative steps were taken to bring some of Estonia’s best songs to the notice of a worldwide listening public.

The musical magnificence of U-Nam is epitomized by the opening number, the luxurious “Something Right” where his interplay on guitar with the immaculate seventeen-piece big band lays down a marker that is replicated throughout. This is particularly so with “Beautiful, Beautiful” that finds U-Nam at his finest and again with the ultra smoky “Dance” that glides along on a delicious mid tempo beat.

The sultry “Each Day’s a Gift” is delivered first as an exciting instrumental then later with vocals from the inaugural winner of the X-Factor UK TV Show Steve Brookstein. It is one of two vocal tracks with the other being “The Dance Must Go On” where Susanna Aleksandra evokes the aura of a New York supper club circa 1946.  In every respect it is a musical extravaganza and much the same can be said of the warmly inviting “When You Fall In Love” that begins with musical sparring between Lutz Krajenski on piano and U-Nam on guitar. 

It ensures a romantic opening to an otherwise upbeat track while elsewhere the dramatic first bars of “The One” lays a path to a Latin groove that U-Nam generates with his trademark playing style. 

When the rhythm eases and the mood becomes relaxed the consequence is the wonderful “Saaremaa” and although the whimsical “In the Blink of an Eye” really swings it is the easy grooving “The World to Me”, fuelled as it is by a picture perfect and understated brass section, that impeccably encapsulates what “U-Nam Goes Big Band” is all about.

Since moving to the USA from Paris, France in 2007, U-Nam’s stature has skyrocketed. Now, as the founder and owner of the niche label Skytown Records, he is reshaping the many complexions of jazz in a way that makes him stand out from the crowd. His sophomore album “Back from the 80’s” included the #1 hit “Street Life” which stayed in the top three on the US Billboard chart for three months and in the top ten chart for an entire year.  

By 2014, when the critically acclaimed “C’est Le Funk” hit the streets, his standing as a purveyor of high-octane guitar driven smooth jazz was well and truly established. A real landmark moment in U-Nam’s illustrious career came when he undertook the ambitious venture of creating the first ever tribute to the great George Benson.

Featuring jazz and r&b legends such as George Duke, Marcus Miller, Ronnie Foster, Patrice Rushen, Wah Wah Watson, Phil Perry, Stokley Williams and Paul Jackson Jr to name but a few, the album was endorsed by Benson and included liner notes written by him. “Weekend in LA – A Tribute to George Benson” reached #1 on iTunes Japan for Jazz, #1 on Amazon US for Neo-Soul, #1 on Amazon US for Smooth Jazz and also received Grammy consideration with 10 entries over 6 categories in 2012.

All this seems a far cry from when the then 16 year old U-Nam attended the C.I.M, 1st European Jazz School in Paris, where for three years he got to hang out and play with a whole raft of future jazz superstars including Angelique Kidjo, Andre Manga and Armand and Felix Sabal-Lecco as well as established jazz legends such as André Ceccarelli, Pierre Cullaz and Tal Farlow. Yet it was these experiences and influences that, in part, have perfectly equipped him for the challenges of “U-Nam Goes Big Band”.  
As Mikk Targo describes it, “U-Nam is not only a phenomenal guitarist with his roots deep into jazz, he is also the consummate professional and a great musical story teller too.

Start with Benson-esque guitar skills, add just a hint of Sinatra’s smile, a touch of Buble’s sophisticated swagger and a real big band playing real jazz with a real swing and what you have is magic, what you have is ”U-Nam Goes Big Band”.

The first radio single “Dance” and the album, “U-Nam Goes Big Band” will go for adds on 03/30/2020.

New Music Releases: Ennio Morricone, Alabaster DePlume, Maria Bethania

Ennio Morricone - Musiques Des Films – 1964 to 2015 (18CD set)

An amazing collection of music from one of the greatest soundtrack composers of all time – presented in a hefty book-styled package, and done with a very unique presentation of his work! The package is huge – a hardcover volume with 18 CDs and a 48 page book, all presenting a total of 400 tracks that really span the scope of the music of Ennio Morricone over the decade – presented on CDs that each have a different theme, to showcase a different side of the maestro's many creations! The first five CDs focus on Morricone's music for director Sergio Leone, and other CDs present work for directors Henri Verneuil, Roland Joffe, Quentin Tarantino, and Giuseppe Tornatore – plus a full set of music used in films that starred Jean-Paul Belmondo. There's also thematic CDs, too – "Genre Cinema", "Committed Cinema", "Mafia Thrillers", "History Of Italy", and "Faces Of Italian Cinema" – and the final CD features songs penned by Morricone, interpreted by a host of others – including Charles Aznavour, Chico Buarque, Traffic Quintet, Gerard Depardieu, Sting, and many more. A beautiful tribute to Morricone's 50 years of film music – with some unreleased music, rarities, photos, and more! ~ Dusty Groove 

Alabaster DePlume - To Cy & Lee – Instrumentals Vol 1

Beautifully meditative music from Alabaster DePlume – a set that brings together work from a variety of recorded projects from the past decade or so – finally getting full exposure in this Transatlantic collaboration between Chicago's International Anthem label and London's Total Refreshment Centre! The sound is a great illustration of the genre-crossing modes that have been going on in both scenes – as Alabaster's music is definitely beyond easy description or definition, and comes across in a way that's as personal as it is collaborative – since DePlume works with a whole host of different musicians on the recordings, mixing flute, percussion, strings, keyboards, and other elements together in a way that follows a spiritual legacy from the more spacey side of Alice Coltrane, to the west coast experiments of Carlos Nino and Miguel Atwood-Ferguson, to the changes taking place on the planet at present. Alabaster plays tenor and guitar, and vocalizes slightly – but never really sings – and titles include "Why Buzzardman Why", "Not My Ask", "Whisky Story Time", "If You're Sure You Want To", "What's Missing", and "Song Of The Foundling". ~ Dusty Groove

Maria Bethania - Mangueira: A Menina Dos Meus Olhos

Brilliant work from the legendary Maria Bethania – a singer who might be looking a few years older on the cover, but who still has all the tremendous power of her youth! Maria's vocals are tremendous, and set up in these beautiful arrangements that blend samba-styled percussion and guitar with some occasional fuller orchestrations – but always in a way that's very understated, so that the lady herself is right up front in the lead – almost never needing the other instrumentation at all, since her presence is more than enough to hold us rapt. Arrangements are by Letieres Leite, and the set features guest appearances from Caetano and Moreno Veloso – on titles that include "A Mangueira E La No ceu", "A Flor E O Espinho/Sombras Da Agua", "Luz Negra", "Sei La Mangueira", "Maria Bethania A Menina Dos Olhos De Oya", and "Historias Pra Ninar Gente Grande". ~ Dusty Groove

Trumpeter Marquis Hill Releases Love Tapes: With Voices

Over the course of eight releases, Chicago trumpeter/composer Marquis Hill has established a distinct sound, thoroughly his own, fusing elements of jazz, hip hop, funk, soul, and R&B. The latest culmination of this musical erudition was the 2019 release Love Tape: a groove-centered studio album culling excerpts from black women’s interviews (including Eartha Kitt, Phylicia Rashad, and Abbey Lincoln, among others) with pianist/keyboardist Michael King, bassist Junius Paul, and drummer Marcus Gilmore laying the foundation.

This Friday, February 14, Hill will release the follow up – Love Tape: With Voices. With the theme of self-love amongst ambient layered sounds and a soul jazz vibe, Hill recruits renowned vocalists to call attention to the ever-present need for everyone’s journey to self-love. Chris Turner, Phoelix, Alex Isley, Christie Dashiell, Kate K-S, and Kaycee Shakur all pour their hearts into this ten-track release.

"The concept behind Love Tape: With Voices is very similar to an EP I released called Meditation Tape,” explains Hill. “I produce the original version of both projects completely instrumental and follow that up with an extended version that incorporates vocals, spoken word and emcees. The music and melodies I have been writing and producing lately works well in an instrumental setting but I’m also at a stage in my career where I'm naturally hearing lyrics and vocals on top of the melodies I play. My ultimate goal as an instrumentalist is to mimic the human voice”

Marquis Hill funnels love and positive energy into this meditative blend of infectious groove and subdued tone. Love Tape: With Voices focuses on one key aspect of the many conditions that fall under the umbrella of love.

"Self-love is one of the main topics discussed throughout the project. Knowing and loving oneself is the only way to truly love another being. We live in a climate where most of the music we hear on the radio emphasis's romantic relationships and over-sexualized themes,” he says. “I wanted to use this project to create something that deals with something real, the power of self-love."



MarquisHill.com

New Music Releases: Marcos Valle, Beat Bronco Organ, Linkwood & Greg Foat

Marcos Valle - Cinzento

One of our favorite Brazilian artists of all time – stepping out here with a record that really lives up to all the faith we've had in his music over the decades! Back at the start of the 90s, Valle had all but disappeared from the recording world – but since that time, he's continued to mature and grow as an artist – really stretching himself, expanding his sound, and moving forward his groundbreaking styles of the 60s and 70s, which continue to influence new generations as time goes by! Here, there's some of the warmth of the soul records that Marcos cut in the 80s, including his collaborations with Leon Ware – but with touches of more unusual, more personal elements too – so that you'll have a sweet electric sound on one number, and a more pronounced acoustic element on the next – all made even more interesting by some of the collaborative help on the album's compositions, which include contributions from Moreno Veloso, Domincio, Kassin, and Emicida. Titles include "Se Proteja", "Pelo Sim Pelo Nao", "Rastros Traros", "Nada Existe", "Posto 9", "So Penso Em Jazz", "Lugares Distantes", and "Cinzento". ~ Dusty Groove

Beat Bronco Organ Trio - Road Trip 

The Beat Bronco Organ Trio are more than great enough at the core, but they also offer up some great surprises over the course of this fantastic full length album – including slight use of clavinet and mini-moog by Gabri Casanova, who mostly handles the Hammond in the lead – and guest work at a few spots from Chip Wickham on flute and electric piano! There's a few other players who drop in along the way – but the core groove here is from the trio, who not only replicate a 60s soul jazz vibe, but also move things through a deep funk legacy – maybe more in the mode of the Sugarman Three than a Don Patterson or Jack McDuff combo on Prestige – as there are rhythms and elements that pick up bits of 70s funk. Drums are by Antonio Pax Alvarez and guitar is by Lucas De Mulder – and titles include "Hard Play", "Crispy Time", "Easy Baby", "Hey Hey", "Squirtly", "Under Pressure", "Road Trip", and "Electro Pi".  ~ Dusty Groove

Linkwood & Greg Foat - Linkwood & Foat

A set that's more electronic than some of the other recent albums from Greg Foat, but a record that still fits nicely inside his style – that understated approach to keyboard-driven jazz – heavy on influences from the past, yet never delivered in a way that's too straightforward at all – in a lineage that just has things getting more and more complex as Foat keeps on making records! This time around, Greg's teamed up with Linkwood – and the set has elements that move between 70s and 80s electronic styles, including occasional rhythm patterns – sometimes a bit more upbeat than we're used to hearing from Foat, but still with all the spacey touches that we love in his music. Titles include "Es Vedra", "Pressure", "Bentley 101", "Neutrino", "Push It", and "Mysterious Richie". ~ Dusty Groove