Jimmy Greene | “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, available tomorrow 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.”

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.”

World music fingerstyle guitar master Pierre Bensusan releases “Azwan”

World music fingerstyle guitar master Pierre Bensusan releases “Azwan” about our oneness and interconnectivity in the midst of a unifying global crisis. 

Best laid plans, right? After spending the last few years off the concert trail in order to meticulously craft a new album, “Azwan,” preceded by an accompanying book, “Pierre Bensusan Guitar Collection,” and the unveiling of a handmade Lowden Guitars signature model, all of which were to be supported by an extensive 110-date US and Canadian concert tour running from March 7 into July, world music fingerstyle guitar virtuoso Pierre Bensusan suddenly finds himself back home on French soil after having to pull the plug one week into the concert trek due to the Coronavirus outbreak. While the entire tour is being rebooked for 2021, until then, listeners will have to discover the magic and masterful musicianship showcased on the 12-track digital and CD release composed and coproduced by Bensusan for his 3DADGAD Vision label, which is distributed by MVD Entertainment Group. 

The COVID-19 global pandemic that has ensnared humanity underscores the oneness of our world and our interlocked connectivity. That’s Bensusan’s message and the meaning behind “Azwan,” the award-winning artist’s 15th album that dropped March 13. The French-Algerian guitarist-vocalist said, “Along my life’s journey, I have experienced unity off and on, being more or less aware of the impact and influence of every action upon the entire universe. As time goes on, the more I feel connected to all people, animals and universally to the whole of nature. Being that we are all connected, my intention is that every action and behavior contributes, supports and adds value to our interconnectivity, especially through my music. It feels like a nurturing or even a healing process for me and those with whom I share the music.” 

Voted by Guitar Player magazine readers as Best World Music Guitarist, Bensusan’s music is contemplative, wistful, sublime and prodigiously performed with inspiration rooted in nature. “The concept of ‘Azwan’ came from observing bees, those solar insects working in the darkness together as one, and by observing flocks of birds flying and dancing together as one. It has been an inspiring symbolic representation of the continuum of music. When seeing ‘Azwan’ written, it can evoke a place, a city or a mood, but when hearing it said out loud, it sounds like ‘as one.’ I’ve been contemplating all the music from ‘Azwan’ for years before actually recording it, taking time to allow all the notes to come together as one.” 

Bensusan is a storyteller, using expressive and lyrical acoustic guitar parlance and ethereal vocalization to allure, transfix and transport. “‘Azwan’ is primarily a solo instrumental album on which the guitar is conceived as an orchestra, delivering melody, bass, chords and counterpoint in the same space. To it, we add some vocal elements and several collaborations with guest musicians,” said Bensusan who has lived in Paris since age four.

“Azwan” opens with “Fils de la Rose,” a fragrant guitar and violin bouquet that welcomes the musical journey prepared to blossom. “Optimystical” is a seamless swoon of exquisite guitar, atmospheric vocalization and even sweet whistled melodies. On the title track, Bensusan’s simple, meditative and evocative fretwork dispenses poise, hope and grace. “Abeilles” (“Bees” in English) enchants with a touch of celestial vocal harmonization and string accoutrements. Bensusan deploys an endless array of dexterous fretwork on “Balkangeles,” which includes a special appearance by French guitarist Jean-Marie Ecay, who coproduced “Azwan.” Bensusan indulges his wanderlust on “Return to Ireland” and seductively romances with a Latin flair on “Without You.” On “Wee Dander,” Bensusan seems to delight by deftly constructing melodic licks over complex guitar rhythms at constantly vacillating cadences. Adding Christophe Cravero on alto and violin and Stephane Kericky on upright bass lend dramatic sensibilities to “Dia Libre.” Bensusan’s music is genre-defying and genre-uniting, which “Portnoo” exemplifies in its unique alchemy. The artist sings in French on the fun and playful romp “Corps Vaudou” and closes the set poignantly with the sensitive “Manitowoc,” an Indian title meaning “land of the great spirits.” 

Teaching himself to play guitar at age eleven after four years of piano training, Bensusan inked his first record deal when he was 17, winning the Rose d’Or at the Montreux Festival for his 1975 debut album, “Près de Paris.” More recently, he won an Independent Music Award in 2014 for “Encore: Live,” a triple live record. He’s regarded as one of the greatest acoustic guitar players of the 21st century, known for his immense sound vocabulary utilizing hues of world music, new age, jazz, classical, traditional, folk and pop with French, Arabic, Latin and Celtic cultural references.    

“Azwan” contains the following songs:
“Fils de la Rose”
“Optimystical”
“Azwan”
“Abeilles”
“Balkangeles”
“Return to Ireland”
“Without You”
“Wee Dander”
“Dia Libre”
“Portnoo”
“Corps Vaudou”
“Manitowoc”

www.pierrebensusan.com

New Music Releases: Mike Phillips, Stone Crush, Spiritual Jazz 11

Mike Phillips - Pulling Off The Covers

“I had an epiphany last night. I was offstage, listening to Michael Phillips take his solo. Here’s one man breathing into an instrument, and the whole room feels alive. It made me want to rise up to that level when I came back onstage.” – Prince Pulling Off The Covers, is a unique collection of songs that have inspired him throughout his career. The album will feature collaborations with many of Mike’s friends including Stevie Wonder, Brian McKnight, Angie Fisher, Raheem DeVaughn, Avery*Sunshine, PJ Morton, Naturally 7, Greg Phillinganes and Trombone Shorty.

Stone Crush – Memphis Modern Soul 1977 to 1987


A look at Memphis soul music that goes way beyond any Stax, Goldwax, or Atlantic Records collections you might own – partly because all of the tracks here are from a time in the city when all those other labels had stopped recording! Memphis is usually remembered for a 60s/early 70s stretch when the city was brimming over with record labels, studios, and top soul talent – but that latter aspect of the scene didn't stop when the record companies went bust – and instead, it just went underground, as lesser-known artists kept on developing great new sounds and styles! As you'd guess from the title, most of the work here is in a modern soul mode – often with rhythms that have a bit of boogie or club in the mix, but also with some of that developing southern soul approach that was maybe more strongly associated with the Malaco label down in Jackson. The scope of music is great, and the set's got very detailed notes on this under-documented time in the history of Memphis soul music – to support a great tracklist that includes "Can We Melt The Ice" by Morris, "You Mean Everything To Me" by Sweet Pearl, "The Doctor" by LA, "Stone Crush On You" by OT Skyes, "What Does It Take To Know A Woman Like You" by Greg Mason, "Always" by Silk Satin & Lace, "Right Thing" by Kick, "Convict Me" by Libra, "Slice Of Heaven" by Cato, "I'm Choosing You" by Magic Morris, "No Seat Dancin" by Frankie Alexander, and "Keep It To Yourself" by Captain Fantastic & Starr Fleet. ~ Dusty Groove

Spiritual Jazz 11 – Esoteric, Modal, & Progressive Jazz From The SteepleChase Label 1974 to 1984

A massive collection of music from the Steeplechase label – spiritual sounds from back in the day, and a side of the label's legacy that's only gotten the right sort of appreciation in more recent years! Steeplechase was a European company, and their biggest claim to fame was recordings of American musicians overseas – especially Dexter Gordon – but the label also had a fantastic ear for more soulful currents on the American underground, and not only managed to capture some less-recorded artists, but also give some bigger names a freer space to express the more spiritual side of their styles! The set is a sublime set of work from the post-Coltrane years – tunes that are modal, soulful, and occasionally slightly funky – served up in a set of completely uplifting music, all supported by the usual excellent Jazzman attention to detail and thorough liner notes. Titles include "The Time Of This World Is At Hand" by Billy Gault, "Tipe Tizwe" by Jim McNeely, "Aida" by Rene McLean, "Dark Warrior" by Khan Jamal, "Naima" by Michael Carvin, "Magwaza" by Johnny Dyani with John Tchicai & Dudu Pukwana, "Ode To St Cecile" by Mary Lou Williams, "Jean Marie" by Sam Jones, "Miss Priss" by Ken McIntyre, and "De I Comahlee Ah" by Jackie McLean & Michael Carvin. ~ Dusty Groove

New Music Releases: Jocelyn Gould, Gerald Cleaver, Charles Rumback /Jim Baker/John Tate

Jocelyn Gould - Elegant Traveler

Maybe the first album we've ever seen from guitarist Jocelyn Gould – a hell of a player, and one who fits right in with the strong quality of work we've come to expect from the Posi-Tone label! Jocelyn's got this round, firm tone throughout – balanced with the boldness of pianist Addison Frei – whose work here is equally great, and kind of fills things up around the sides while Gould comes straight down the middle – driven on nicely by the bass of George DeLancey and drums of Quincy Davis – all in modes that really feel a lot different than most other guitar quartet albums, even though these guys aren't trying to do any thing too fancy or gimmicky. The group also features guest horn work along the way – the tenor of Brandon Wright on two tracks, and the trombone of Michael Dease and trumpet of Anthony Stanco on three others – on titles that include the Gould originals "A Fleeting Moment", "Change Of Plans", "Center Of The Universe", "Kindling", "The Game Changer", and "Argyle". ~ Dusty Groove

Gerald Cleaver - Signs 

An all-electronic set from Gerald Cleaver, but one that's got the same sort of rhythmic pulse as his better-known work on the drums – a record that, in fact, almost feels as if Cleaver is triggering various electronic elements with live work on the drums – or, more likely, using live electronics to recreate some of his energy on the acoustic instrument! The tunes have a very dark vibe – sheets of noise and sound pounding out together in waves of sonic intensity. Titles include "Tomasz", "Blown", "Amidst Curses", "Jackie's Smiles", and the three-part "Signs". ~ Dusty Groove

Charles Rumback /Jim Baker/John Tate - June Holiday 

A sublime trio set from drummer Charles Rumback – a record that has us really appreciating the special touch the leader can bring to a date, as this album may also be one of the best that we've heard from pianist Jim Baker in years! Baker has this great way of sounding soulful and lyrical, yet also moving towards the freer side of his spectrum too – working with the subtle drums of Rumback and the careful bass of John Tate, all with energy that almost takes us back to the groundbreaking Three Waves album by Steve Kuhn – one of our favorite piano dates of all time, which is a hell of a compliment to Baker! The album has an open feel, but one that's also very careful too – not the spaciousness of an ECM record, and instead more intense, but in a very understated way. Brilliant throughout – with titles that include "Here & Now", "Hard Goodbye", "Foglights", "Burning Daylight", "Huh", and "Portrait Of Lorena".  ~ Dusty Groove

New Music Releases: Tower Of Power, Jay Nemor And Electrified, Speedometer

Tower Of Power – Step Up

“We knew when we went into the studio, we were going to make the best record that we could make – the best album of our career. And we did. We took it to another level.” – Emilio Castillo With a landmark 50th anniversary album, 2018’s Soul Side of Town, still visible in their rearview mirror, one would think Tower of Power (or TOP, as it is more often referred to by its global legion of fans), the much-lauded creators of their own horn-based, hybrid brand of East Bay soul/funk/R&B/rock, would take a well-deserved breather. But that is not in the band’s DNA, nor that of its founder and ringmaster, tenor saxophonist and bandleader Emilio Castillo. Beginning with East Bay Grease, their 1970 album debut on legendary impresario Bill Graham’s San Francisco Records, the tireless unit has released 26 albums, been responsible for such classic hit tracks as “What Is Hip?,” “You’re Still a Young Man,” “So Very Hard To Go” and “Down To The Nightclub,” among so many others. TOP’s horn section, the heart of the band, have long been sought after sidemen, appearing on recordings by top artists ranging from Elton John, Aerosmith and Bonnie Raitt to Otis Redding, Santana and Heart. TOP paved the way for other high-powered brass rock/R&B hit artists of the 70s like Chicago, Earth, Wind & Fire and Blood, Sweat & Tears.

Jay Nemor And Electrified – Sitting On Top Of The World 

The second single from the forthcoming album “Break Free” finally sees the light of the day on Tesla Groove International Recordings through a beautiful video by Max Cavalli Cocchi who has put on images the real meaning of the song. As Jason says: “In our society addiction is something most of us, if not all of us, have to deal with. Directly or indirectly. Some times this addiction is to the detriment of ourselves, at times others, and at times both. Amongst the many addiction there’s the worse of them all: MONEY! How much is enough? When is it too much? No one person should be expected to save the world but, If you have more money than a man could ever spend in a lifetime, then the people on your team should not struggle to afford the necessities of life while working full time”. Of course we all know that this is called “system” but many of you will agree with me we could add the word “failing” to it. With this song we celebrate Davide Salzano entering the team with his Fender Precision and VideoMax at the graphic controls. Huge thanks to anyone contributing to the making of this release, let’s celebrate the failure all together “Sitting On Top Of The World”!

Speedometer – Our Kind of Movement 

Speedometer, the UK’s premier funk band, started out in 1999 playing classic funk tunes by artists such as The Meters and The JB’s in small clubs across the Southeast of England. In 2000 they released their first single, “Soul Safari” on Soul Fire, the seminal New York label. This was soon followed with a slew of fine limited pressing releases on Timmion and Kennel Klub. Their opening release for Freestyle was a 7″ featuring a blistering funk cover of Beyonce’s ”Work it Out”, with Ria Currie on vocals. Over the years, Speedometer have worked with a host of US funk legends including Joe Quarterman, Eddie Bo, Marva Whitney, Martha High, Sharon Jones, James Bell (Highlighters), Lee Fields, Billy Wooten and Robert Moore. All were blown away by Speedometer’s authenticity and dedication to faithfully creating that original soul-funk sound. Our Kind of Movement is Speedometer’s 5th album release for Freestyle (excluding two compilations of archive releases) and sees Vanessa Jamie and Najwa Ezzaher join James Junior on vocal duties. On this album, the band re-explore their own diverse influences combining the heritage of Latin Funk in ‘Funky Amigo’, Afro-Beat on ‘Abuja Sunrise’, Indian Psychedelic on ‘Kashmir’, and Northern Soul on ‘We Gave Up Too Soon”. There is, of course, a hefty dose of new heavy weight funk and soul tunes, as you would expect.

New Music Releases: Art Blakely & The Jazz Messengers, Frequent Flyers, Jonah Parzen-Johnson

Art Blakely & The Jazz Messengers – Just Coolin’

Coming on April 24 is Just Coolin’, a never-before-released studio album by Art Blakey & The Jazz Messengers that was recorded on March 8, 1959 in Rudy Van Gelder's living room studio in Hackensack, NJ. The session featured a short-lived line-up of The Jazz Messengers with drummer Art Blakey, trumpeter Lee Morgan, tenor saxophonist Hank Mobley, pianist Bobby Timmons & bassist Jymie Merritt. The album features two previously unissued compositions including Timmons’ tune “Quick Trick,” which is available now to stream or download. Just Coolin’ can be pre-ordered on CD, download & an all-analog 180g vinyl pressing mastered by Kevin Gray. 

Frequent Flyers – Infinity

Frequent Flyers is an ensemble founded by drummer and composer John Stewart. Originally from Wales, John is now based in London and spends his time recording, performing and producing. The music of Frequent Flyers is heavily influenced by artists like Snarky Puppy, Transatlantic, Frank Zappa, Yes, Tigran Hamasyan, and Michel Camilo. The idea for the group began in late 2014 when John started composing instrumental music that mixed his varying influences which include Jazz, Rock, Latin, Metal, Prog, and many others. With a set-up of Keyboards, Drums, Bass and a String Quartet, the resulting sound is diversified, as the instrumentation takes on any style and molds it into their own unique sound

Jonah Parzen-Johnson – Imagine Giving Up

Brooklyn based baritone saxophonist Jonah Parzen-Johnson presents his new work ‘Imagine Giving Up’ on Helsinki’s We Jazz Records. The album sees Parzen-Johnson move into new domains of sound as he uncovers newfound energy and pulse in his music. In addition to the sonically rich analog synth elements that accompany his earlier solo saxophone work, Jonah has layered heavily sound designed samples of his own saxophone to create truly one of a kind percussive snaps, reverberant basses, and warbling leads. At its core, the music remains deeply devoted to almost vocal sounding melodic lines and patiently developed compositional ideas.A compact set of 6 originals, “Imagine Giving Up” is Jonah Parzen-Johnson’s most ambitious album yet. While taking a step away from the previous world of “ambient jazz”, his new music stems from the use of drone-like sounds for baritone saxophone, a style which is uniquely his own. Electronics are blended in for good measure, creating a coherent vision of abstract jazz with depth.

New Music Releases: Thievery Corporation, Posi-Tone Swingtet, Matthew Tavares & Leland Whitty

Thievery Corporation - Symphonik

The title here certainly gets it right – as the album marks a huge new step for Thievery Corporation – the first full record in which the group works with orchestral accompaniment – a move that's maybe long overdue, given how much these guys were initially influenced by older soundtracks and instrumental records! The use of orchestrations is wonderful, and really helps breathe new life into the duo's music – giving them a richness that we never would have expected, and maturing them far past some of their earlier modes – which were appealing, but never this complex or satisfying. As usual in recent years, there's a huge host of guests on the record – artists who include Puma, Frank Orrall, Natalia Clavier, Elin Melgarejo, Mr Lif, Shana Halligan, and Lou Lou Ghelichakhani – on songs that are reworkings of older Thievery tracks, taken into new territory with the orchestrations. Titles include "Ghetto Matrix", "Until The Morning", "Love Has No Heart", "Marching The Hate Machines", "Weapons Of Distraction", "The Forgotten People", and "Sweet Tides". ~ Dusty Groove

Posi-Tone Swingtet - One For 25

One of the few large group sessions ever recorded by the Posi-Tone label, but a set that definitely keeps the soulful vibe of the well-respected imprint – as you might guess from the "Swinget" in the group's name! The lineup is a nonet, but moves with the energy of the smaller combos on the label – no surprise, as players include Farnell Newton on trumpet, Michael Dease on trombone, Diego Rivera on tenor, Patrick Cornelius on alto, Lauren Sevian on baritone, Art Hirahara on piano, Theo Hill on piano and Fender Rhodes, Boris Kozlov on bass, and Rudy Royston on drums! The rhythm players are more than enough to keep things moving – and the group soars strongly through a set of original material that allows plenty of room for the very strong individual voices in the lineup – titles that include "Simon", "Major Waltz", "Dry Clean Only", "You Dig", "Avalanche Suspended", "Projection", and "Where With All".  ~ Dusty Groove

Matthew Tavares & Leland Whitty - Visions

A really amazing step forward for Matthew Tavares and Leland Whitty – two musicians best known as founders of BADBADNOTGOOD – but emerging here in an even more mature blend of jazz and larger instrumental ideas! The record mixes core solo voices with some larger touches here and there – shifting effortlessly between focus and scape, with the subtle majesty of similar Brazilian efforts from the 70s – lofty, but never too full of itself – sophisticated, but very down to earth! Tavares plays guitar and piano, Whitty handles saxes and flute – alongside bass, drums, and some nice larger strings, used very lightly, and in all the right ways. Titles include "Blue", "Symbols Of Transformation", "Visions Of You", "Heat Of The Moon", "Black Magic", "Living Water Assembly", and "Eyes". ~ Dusty Groove

Miles Davis: Birth Of The Cool, Now Available in Blue-Ray with Bonus Montreux Concert Footage

Following a successful theatrical run, grossing over $1 million at the box office, Miles Davis: Birth Of The Cool – produced by Firelight Films for Eagle Rock Entertainment and American Masters Pictures in association with BBC Music - is now available as a Blu-ray+DVD and 2DVD with bonus Montreux concert footage and a 16-page hardcover book, as well as digital formats.

A historic pillar of music history, Miles Davis is wholly revered for his immeasurable contributions as a trumpet player, bandleader, and composer. This consummate innovator and trendsetter not only broke evolutionary ground in jazz and fusion, but influenced generations of musicians in funk, hip-hop, rock, and everything in-between.

Directed by three-time Emmy Award winner Stanley Nelson, with full access to the Miles Davis Estate, Birth Of The Cool unearths never-before-seen live performances and outtakes from Davis’ studio sessions, as well as rare photos. This feature-length documentary film, which was nominated for “Best Music Film” at the 62nd GRAMMY Awards and the prestigious NAACP Image Award for “Outstanding Documentary (Film)”, features brand new interviews with notable legends who shared professional and personal relationships with Miles, including Quincy Jones, Carlos Santana, Clive Davis, Wayne Shorter, and Ron Carter.

Birth Of The Cool pulls back the curtain of the man behind the music. The film takes an intimate look at what drove his intense, methodical approach and ravenous hunger to study all genres of music, from Baroque to classical Indian, as well as his demons, and how those elements fueled his genius and unique self-expression.

Premiered originally at Sundance Film Festival in January 2019, Miles Davis: Birth Of The Cool has reverberated with rave reviews. Rolling Stone deemed it “essential”; the San Francisco Chronicle noted it as “an essential portrait of iconic jazz genius.”

In addition to the full documentary, there is a special version of the set which will include live footage of Miles on the DVD portion, performing at the legendary Montreux Jazz Festival, featuring highlights cherry-picked from 1973, 1984, and 1985.

"Director Stanley Nelson lays Miles Davis bare—his good, bad, and beautiful—to a new generation while crystalizing the jazz musician’s legend to longtime fans with Miles Davis: Birth of The Cool. Nelson’s latest demonstrates Davis' complexity and all that he endured." 
-Vibe Magazine

BONUS DVD – ALL LIVE FROM MONTREUX Tracklisting 
1.) Ife (1973) 
2.) Star People (1984 Afternoon) 
3.) It Gets Better (1984 Afternoon) 
4.) Hopscotch; Star On Cicely (1984 Afternoon) 
5.) Lake Geneva (1984 Afternoon) 
6.) Star People (1985 Evening) 
7.) Hopscotch (1985 Evening)

New Music Releases: Norah Jones, William Susman & Octet Ensemble, Superposition

Norah Jones – Pick Me Up Off The Floor

On May 8, singer, songwriter & pianist Norah Jones will release Pick Me Up Off The Floor, her 7th studio album which unexpectedly grew out of her acclaimed singles series of the past 2 years, and features collaborators including Brian Blade, Chris Thomas & John Patitucci. The lead single “I’m Alive” featuring Wilco’s Jeff Tweedy is out now.The backbone of this album was formed early in an especially fruitful session with her go-to drummer Brian Blade who appears on six of the album’s 11 tracks. Other musicians who contribute throughout include bassists Christopher Thomas, John Patitucci, Jesse Murphy, and Josh Lattanzi, drummers Nate Smith, Dan Rieser, and Josh Adams, keyboardist Pete Remm, pedal steel guitarist Dan Aid, violinist Mazz Swift, violinist Ayane Kozasa, cellist Paul Wiancko, percussionist Mauro Refosco, background vocalists Ruby Amanfu and Sam Ashworth, and the horn section of trumpeter Dave Guy and tenor saxophonist Leon Michels.

William Susman & Octet Ensemble - Scatter My Ashes

Naxos releases Octet ensemble's album debut Scatter My Ashes on belarca records featuring soprano Mellissa Hughes and pianist Elaine Kwon. Octet’s inaugural album has been recorded over the past few years with renowned engineer John Kilgore and was released by Naxos on the label Belarca. The album features the music of William Susman including two song cycles (with poems by his sister Sue Susman) Scatter My Ashes and Moving into an Empty Space performed by soprano Mellissa Hughes, as well as his Piano Concerto and the ensemble work Camille. Octet takes the instrumentation of the American big band and scales it down to a brass section of saxophone, trumpet, and trombone and a rhythm section of piano, electric piano, double bass and drums plus vocals.

Superposition - Superposition

Superposition is a new explosive group from Helsinki. Led by drummer Olavi Louhivuori, the quartet features Linda Fredriksson (Mopo) and Adele Sauros on saxes and Mikael Saastamoinen (OK:KO) on bass. Louhivuori is known from his solo projects, his band Oddarrang, and his inspired work with the likes of Tomasz Stanko, Ilmiliekki Quartet and Alexi Tuomarila. On their self-titled debut album including 8 original compositions (6 by Louhivuori and one each by Fredriksson and Saastamoinen), Superposition present a powerful statement rich in musical ideas and solid in their execution. Beginning with the fire music of the album opener and first single "Antiplace", the group move into pastoral soundscapes, such as the ending track “March”. There’s a deep and darkly-toned shade in their sound, yet the music bursts with the intensity of this newly formed ensemble. An inspired collection of diverse moods, this first offering from Superposition demands repeated listening, unveiling new surprising details each time.

Billboard #1 Artist Lindsey Webster Releases A WOMAN LIKE ME

“I am an artist…period,” declares Lindsey Webster. “I have influences from many musical genres and have been influenced by them from a young age. I believe in the power of music to empower and reach people on multiple levels.” The stunning, charismatic and amiable Lindsey Webster’s roots span the worlds of R&B, Pop, Rock, Jazz and beyond. Her flawless range has been compared to Mariah Carey, Whitney Houston and Minnie Ripperton, while her breezy and poetic songwriting is reminiscent of Sade. Soultracks says, "If Carole King and Sade had a kid, she would be Lindsey Webster” while Popmatters touts Webster’s work as “Classy, consistent, and exceptional.” Webster’s refreshing approach has garnered two Billboard #1’s and seven Top 10’s on the Billboard Contemporary Jazz Chart, making her the first vocalist in the format to garner a #1 since the iconic Sade. Her anticipated new recording, A Woman Like Me, is a dazzling 11-track excursion that further solidifies her allure as both a songwriter and singer. Her goal all along has been simple. “I want to continue to bring realness to the music world. I don’t want to sing about things I don’t feel,” declares the Woodstock native.

Webster’s own experiences and those close to her inspire much of the material on A Woman Like Me. Each composition is like a portrait carefully painted to reveal a myriad of emotions that are easily relatable.  It also shines a light on the chemistry and musical fortitude she has built through the years with best friend, pianist and producer Keith Slattery. Although recently divorced, the two continue to flourish. “I could not have done this album with anyone else,” confides Lindsey, who was crowned Billboard’s contemporary ‘Jazz Artist Of The Year’ for two consecutive years. “Keith is an amazing example of understanding and compassion. First and foremost, Keith and I were friends before anything. Then we became musical partners. Then we became romantically involved. We spent all those years creating something amazing together. I can say that with Keith’s guidance and wisdom, I have become a better person.”

A Woman Like Me has all the makings of a career-defining album for Lindsey Webster. It is certainly a declaration of her evolution as both an artist and woman. “I’ve been through a lot of changes in my personal life. I joke and say that I had to finally become an adult when I turned 30,” she shares. A Woman Like Me explores numerous themes including rebirth and renewal explored in the song “Rain,” the experience of a love gone awry featured in the composition “Running Around” and the experience of journeying through uncharted territory as heard in the tune “The Unknown.” For Webster it is all about connecting with people’s emotions, “If a song doesn’t make me smile, think, or cry, I don’t really care to hear it,” states the singer. “I am not interested in hearing about the other night in the club. I want to continue to keep people in touch with the music, emotionally.”

A Woman Like Me opens with Sophisti-pop and Bacharach-tinged “Feels Like Forever,” the album’s first single. Webster instantly draws us in with her sultry vocals and the tracks cool swing. The bluesy “Close To You” and the dreamy “Only You” demonstrate Webster’s flawless and dreamy vocals, while the inspirational “One Step Forward” offers the encouragement needed to forge ahead in dark times. Webster sings, “One step forward and two steps back. Steady climbing, going find my way because there is no denyin’. Gotta seize the day.” Lindsey has always been a storyteller. “It stems from my active imagination,” confesses the singer. “As a kid I would play alone a lot and there was always a story going on in the background. If I was playing outside, (I grew up in Woodstock, NY amidst the trees and mountains), there was always a narrative and I was some sort of character. If I was playing with my siblings/friends, we were all characters in my grand story.” The song “Perspective” reminds us of the importance of balance. It also speaks to Lindsey’s current frame of mind. She shares, “It is easy to get down in the dumps, but it takes being an active part in your own life to realize that the way we interpret things is the only reality we have. I have known this my whole life, but going through sad and dark times makes you realize how important it is. It’s the difference between being a bitter person and a joyful person. I always want to be a light and positive energy for people…and for myself.”

If you have ever experienced Lindsey Webster live, then you know first hand about her dynamic ability to captivate a room. Let her sing a ballad and you can hear a pin drop. On A Woman Like Me, there are several killer ballads including an album highlight, the R&B/Soul number “Always Love Me.” If there were ever a doubt about Webster’s chops this ought to answer your questions. Her flawless intonation, sensitive timing, and phrasing along with the gorgeous orchestration, is sure to stop you in your tracks. Check out the modulation at the end of the song and her runs! Also featured is the stunning title track where Webster sings about the complexities of a woman like her and questions if a man can handle her fragility, strength and freedom. Nathan East plays a surprising and gorgeous solo doubling on voice and bass. Another highlight is the song “Perspective” where Webster sings about attaining inner peace through the process of letting go and changing one’s perspective. There is one lone cover on the album, which happens to be one of her most requested songs at live performances, the Arlen/Harburg classic written for the 1939 film The Wizard of Oz, “Somewhere Over The Rainbow. Her poised and soulful rendition always brings down the house and this recording is no exception.

A Woman Like Me is the first time Lindsey and Keith have invited multiple special guests to join them on record. Joining the duo is drummer Vinnie Colaiuta (Frank Zappa, Sting, Joni Mitchell), bassist Nathan East (Fourplay, Quincy Jones, Stevie Wonder, Eric Clapton) and percussionist Luis Conte (James Taylor, Pat Metheny, Carlos Santana). “It was incredible to be able to work with Nathan, Vinnie, and Luis,” states Lindsey. “So many of my favorite recordings feature these guys, and my mind would get blown frequently while recording, as I would remember that I was working with my idols! Also, working with different people gives a different vibe and feel. I love what everyone brought to the music.” The album also features many longtime collaborators: guitarists Mike Demicco, Chris Harris, Tommy DePaolo, bassist Fred Doumbe, drummer Isaac Civitello and saxophonist Ken Gioffre. 

Growing up in an artist community of Woodstock, NY, the daughter of loving hippie parents, the allure of music was never far from Lindsey Webster. The singer grew up listening to her parent's Jimi Hendrix, Beatles and Elvis Costello LPs and later the Supremes. Influenced by everyone from Mariah Carey and Christina Aguilera to Steely Dan and Earth Wind and Fire, Webster once pursued medical school before finally settling on music. Webster made history in 2016 with her original, "Fool Me Once,” which was the first vocal driven #1 song to top the Billboard Contemporary Jazz chart since Sade's “Soldier of Love” in 2010 and she beat Sade’s three-week run at #1 with a four-week stay at the top of the charts. November 2016, Webster made her Shanachie debut with Back To Your Heart, which spawned three songs that reached Top 3 on the Billboard Contemporary Jazz Charts - “Back To Your Heart,” “Next To Me” and “Where Do You Want To Go,” which hit #1. 2018 saw the release of Love Inside, which featured the Top 5 hit “Love Inside” and the Top ten single “It’s Not You, It’s Me” featuring Rick Braun.

New Music Releases: Tony Allen & Hugh Masekela, Only Way Is Up – Move On Up To Modern Soul, Andy Williams

Tony Allen & Hugh Masekela - Rejoice

A really fantastic collaboration between two pioneers of African music – and a set that nicely opens both into the jazziest side of their talents! Hugh Masekela blows flugelhorn, and Tony Allen handles drums and plenty of percussion – and although both artists sing a bit, the main focus here is really on the instrumentation – as half the album's tracks are instrumentals, and there's plenty of room for solos over the really great rhythms in the mix! The lineup of players is great, too – tight, but with some nice surprises – including tenor from Steve Williamson, vibes from Lewis Wright, and keyboards from Joe Armon Jones – on titles that include "Robbers Thugs & Muggers", "Agbada Bougou", "Obama Shuffle Street Blues", "We've Landed", "Slow Bones", and "Never". ~ Dusty Groove

Only Way Is Up – Move On Up To Modern Soul

Upbeat, positive grooves from the glory days of soul music – tunes from a time when things were changing up a bit – moving from the straighter styles of the Northern Soul years to the more sophisticated modes that would come to be known as "modern" by British fans in the 70s – but which, to us, just mean the kind of soul music that we've always found inspirational! Most of the music here is from the tail end of the 60s and start of the 70s – but there's a very forward-thinking vibe, and a great sense of energy that takes the righteous spirit of the times, and focuses it in some very personal directions. Titles include "Stop Steppin On My Dreams" by Jerry Butler, "It Hurts So Good" by Katie Love & The Four Shades Of Black, "Lucky Felly" by The Independents, "The Only Way Is Up" by Otis Clay, "We're Not Too Young To Fall In Love" by The Jacky Beavers Show, "Too Much Love Makin" by Gloria Scott, "Don't You Care" by Alice Clark, "Come Back (part 1)" by The Fantastic Puzzles, and "Now That You're Gone" by Sonny Turner & Sound Limited, and "You Girl" by Wendell Watts. ~ Dusty Groove

Andy Williams - Emperor Of Easy – Lost Columbia Masters 1962 to 1972

The title definitely gets it right – as Andy Williams was maybe the king of the easy listening vocal scene at the end of the 60s – a singer with a smooth style that was equally popular on record as it was on the TV screen! Yet Andy was also something very special, and very much unto himself – a crooner with links to the past, but with a warmth and personal approach that was much more down to earth – which made Williams such a great community-crossing artist at the time. This package is a great addition to his Columbia catalog – as it features 20 tracks on CD for the first time ever, 16 of which are previously unreleased – with lots of gems that are every bit as great, and maybe often more interesting than, some of Andy's biggest hits for the label. There's some great tunes here that get that wonderful Williams treatment – and titles include "Two For The Road", "On The Southside Of Chicago", "This Guy's In Love With You", "Bonita", "No One To Cry To", "A Question Of Love", "The Sinner", "Our Night To Howl", "Proud Mary", "What's The Matter Girl", "Too Young", "I Don't Know How To Love Her", "Through The Years", "Ruby Don't Take Your Love To Town", and "San Francisco". ~ Dusty Groove

New Music Releases: Marvin Gaye, Siaosi, Kathleen Grace & Larry Goldings

Marvin Gaye - More Trouble

A hell of a bonus for any fan of the fantastic Trouble Man soundtrack – as this sweet little set adds in a full album's worth of extra material from the original sessions – and thus doubles a record that's already one of Marvin Gaye's greatest efforts of the 70s! The set was done after the huge step forward that Marvin took with What's Going On – and uses the more sophisticated sense of arrangement and instrumental adornment that made that soul record so great – served up here in a cinematic mode that's right up there with Isaac Hayes' music for Shaft, or Curtis Mayfield's famous Superfly soundtrack! The titles of the tracks here give a good idea of what they've got to offer – brought together here on vinyl for the first time ever – with tracks that include "Main Theme From Trouble Man (alternate take with strings)", "Trouble Man (vocal version from score)", "T Stands For Trouble (unedited vocal version)", "Main Theme From Trouble Man (vocal version)", "Trouble Man (extended version)", "T Plays It Cool (unedited)", "Poor Abbey Walsh (part 2 take 1)", and "T Stands For Trouble (alt version)". ~ Dusty Groove

Siaosi - 5:55

Born in Oahu, Hawaii, Siaosi grew up influenced both by R&B musicians, such as Babyface, Jodeci, and New Edition, as well as heavy reggae influences with the likes of Gregory Isaac, Beres Hammond, and none other than the “King of Lover’s Rock” Maxi Priest. Incorporating those sounds into his music, Siaosi started his musical journey as the original lead singer of the Hawaii based reggae rock band, Inoa’ole. He eventually spun off as a solo artist whose sound evolved into a sensual and soulful blend of lover’s rock reggae with Polynesian inspired harmonies, sweetened with poetic and uplifting lyrics and sentiments. The aptly titled new release, 5:55 represents Siaosi’s angel numbers - numbers that occur randomly in our everyday lives and that have strong significance to the observer. Often interpreted as communication from an angel and for Siaosi the number sequence from his angel was the powerful 555; representing important changes in the works -- positive life changing changes. He reflects, “Each song on 5:55 is a chapter of my story that represents a transitional point in my life. Every chapter is a collection of emotions felt and experienced during my journey.” The EP kicks off with chapter 1: “It’s Not Easy” a story of heartache, betrayal and divorce. Chapter 2, “I Wanna Love You,” is a tribute to Siaosi’s parents and new found love. Chapter 3, “Happy,” is about finding joy and happiness after trying times. Chapter 4, “Midnight Snack” is a look into the playful moments between lovers. And chapter 5, “Perfect Melody” is the ultimate feeling of being in love and noticing that everything has finally fallen in place.

Kathleen Grace / Larry Goldings – Tie Me To You

Vocalist and songwriter Kathleen Grace delivers her most intimate recording yet with the release of her debutt album, Tie Me To You, with renowned jazz pianist Larry Goldings. The album was born from a place of new awakening and self-discovery, the kind that can trigger massive change and devastating loss, but ultimately, also hope. Grace is firmly rooted in the jazz tradition, while embracing her own eclecticism within the blues, folk and pop realms; her sound moves between the traditional and an approachable modernity. Tie Me To You features original music by both Grace and Goldings as well as covers of pieces by French icon Francois Hardy, blues great Son House and The Beatles, and standards by Irving Berlin, Cole Porter and Rodgers & Hart. As Grace describes it, she didn’t make the album exactly—it arrived fully formed just as her life both fell apart and came together. Her personal awakening cost her the marriage that had consumed her adult life. She wanted a recording that would be spontaneous enough to capture all that she was feeling, without big arrangements or post-production fixes. She envisioned simple songs broken down into their most basic parts. What emerged was a portrait of a mourning woman as she must let go—the end of a relationship, the transition into the love of another and the struggle in realizing one’s own personal identity. At once viscerally relatable and powerful in its intimacy, the album beautifully weaves Grace’s evolving perspective on the human condition with an open vulnerability that invites listeners to be just as sensitive with themselves. 

New Music Releases: Thundercat, Sun Ra, Chicago Underground Quartet

Thundercat - It Is What It Is

A tremendous album from Thundercat – an artist who just seems to get better and better with every new record, and who's maybe here defining a genre that's completely unto himself! The record is soulful, and has a lot of contemporary cosmic currents – but it's also more far-reaching and fluid than anything that Thundercat's ever given us before – still done with key help from Flying Lotus, but with a majestic, confident quality that seems to have the duo ready to take over the universe! The airy soulful vocals are great, but the rhythms and instrumentation are maybe even more compelling – as there's a number of tunes here that are almost impossible to describe in words, even though they're instantly appealing and wonderfully soulful – a balance that's the sort of special genius from an artist who's ready to write himself into the pop music history books with a key release like this. There's a whole host of guests – including Ty Dolla Sign, Childish Gambino, Louis Cole, Kamasi Washington, Badbadnotgood, Miguel Atwood Ferguson, and many others – but it's clear that the Thundercat/Flying Lotus axis holds all the power – on titles that include "Fair Chance", "Funny Thing", "How Sway", "Miguel's Happy Dance", "Lost In Space/Great Scott/22-26", "Interstellar Love", "Overseas", "Dragonball Durag", "King Of The Hill", and "Existential Dread". ~ Dusty Groove

Sun Ra - Celestial Love (with bonus track)


An obscure session from Sun Ra and the Arkestra, and a great one too – a set that's maybe a bit different than some of their other material from the time! The album's from the early 80s, but maybe feels a bit more like the group in the late 50s – when they were in Chicago, and first stepping from straighter modes to more adventurous music – which means that the tracks here have maybe a stronger relationship to familiar jazz styles than the more avant Arkestra work, yet are still filled with plenty of originality and the kind of elements that always made the group so wonderful! Ra plays a fair bit of organ, using the instrument in soul jazz ways at a few points, which is really great, alongside work on piano and electronics – and the group also features John Gilmore on tenor, Marshal Allen on alto and flute, Danny Ray Thompson on baritone, Walter Miller on trumpet, and Tyrone Hill on trombone. June Tyson joins the group for a small bit of vocals – and overall, the session almost feels like a rough take on territory that the Arkestra would explore in the second half of the 80s, particularly on their European tours. Titles include "Celestial Love", "Blue Intensity", "Interstellarism", "Nameless One 2", "Sophisticated Lady", "Smile", and "Sometimes I'm Happy" – plus the track "Drop Me Off In Harlem", which was not on the original Saturn album. ~ Dusty Groove

Chicago Underground Quartet - Good Days

A fantastic step in the continuing evolution of the "Chicago Underground" project of trumpeter Rob Mazurek and drummer Chad Taylor – soaring out here in a set that's full of spiritual energy and a level of imagination that even surpasses their classic recordings from years ago! Mazurek blows piccolo trumpet, but also adds in some electronics – and Taylor is mindblowing on drums, playing with a style that's open, but always gently swinging – and matched with some synth bass from Josh Johnson, who also plays organ and piano on the set. The mighty guitarist Jeff Parker is the last member of the group – and like Mazurek, he's really come a long way in the past decade, and the quartet work together here at a level that has us falling in love with the Chicago Underground all over again. Moody at times, but never too loose – and titles include "Orgasm", "Good Days", "Batida", "All The Bells", "Unique Spiral", "Lome", "Westview", and "Strange Wing". ~ Dusty Groove

New Music Releases: Donald Byrd & The Blackbyrds, Max Freytag, Daniel Carter / Matthew Shipp / William Parker / Gerald Cleaver

Donald Byrd & The Blackbyrds - Jazz Funk Collection (3CD set)

An amazing tribute to some of the greatest jazz funk of the 70s – the groundbreaking work of trumpeter Donald Byrd, both as a solo act on his own, and as the inspiration for the mighty Blackbyrds group – both of whom are featured on this set! Byrd first broke into new territory in the early 70s with a string of amazing records on Blue Note – all done with help from genius producer Larry Mizell, who helped Byrd's trumpet find a way to groove in an electric space, but at a level that was very different (and a lot more soulful) than any sort of Miles Davis electric modes! This work quickly inspired a young group at Howard University, who chose the name Blackbyrds as a nod to Donald – who quickly became their mentor and producer, and helped them forge a great blend of jazz and funk before they took off on their own. This set features 39 tracks from both artists, illustrating a fantastic partnership and shared musical inspiration – with work from Byrd's Blue Note and Wea albums, and all the great Blackbyrds records for Fantasy in the 70s. Titles include Donald Byrd tracks "Dominoes", "Black Byrd", "Lansana's Priestess", "Wind Parade", "Flying High", "Thank You For Funking Up My Life", "Onward Til Morning", "Dance Band", "Science Funktion", "Dominoes", "Flight Time", "Witch Hunt", "Stepping Into Tomorrow", "Sexy Dancer (12" mix)", "Star Trippin (12" mix)", "Pretty Baby", "Giving It Up", and "Dancing In The Street". Blackbyrds cuts include "Blackbyrd's Theme", "Do It Fluid", "Flying High", "Cornbread", "Time Is Movin", "Happy Music", "Rock Creek Park", "Walkin In Rhythm", "Lookin Ahead", "Street Games", "Gut Level", "Party Land", and "Supernatural Feeling". ~ Dusty Groove

Max Freytag - Picasso Fish Island

If you enjoy 'easy listening' music, the music of Max Freytag is especially recommended. The culture blog says: "Music you shouldn't miss". Accompanied by drums (Max Heinemann) and double bass (Artur Schulz), the new pieces breathe the spirit of classical cool jazz, are light-footedly swinging without neglecting the special depth of Freytag's playing. If you are afraid of jazz, you don't have to shy away from it. The humorously titled pieces on "Picasso Fish Island" are playful here and there, but always find their way back to the melody. The dignified aged Steinway grand piano, which can be heard here, fits perfectly to this timeless music with its warm and brilliant sound.

Daniel Carter / Matthew Shipp / William Parker / Gerald Cleaver - Welcome Adventure! Vol. 1 

Daniel Carter, Matthew Ship, William Parker, and Gerald Cleaver are releasing the quartet's first ever album released together despite playing together in different iterations over the last several decades. Are you ready for magic? The master musicians Daniel Carter, Matthew Shipp, William Parker and Gerald Cleaver will provide access with this album, the first they have released after playing together for decades. Daniel Carter has been collaborating with William Parker since the early 70s and with Matthew Shipp starting in the mid 80s. This trio has played together on many recordings but by adding legendary drummer Gerald Cleaver to the mix they have created a masterpiece combination; a supergroup of sorts. This all-star project is presented in two parts/LPs. This is the first volume - with volume two scheduled to be published in the near future. Listen to Welcome Adventure! and experience the mystical journey of these masterful artists as they guide you through the realm of magic.

Kay-Gees - Keep On Bumpin & Masterplan / Find A Friend / Kilowatt (bonus tracks)

Three full funky albums – and bonus tracks too! First up is Keep On Bumpin & Masterplan – the Kay-Gees' funkiest record ever – a set that's harder and sharper than anything else they'd ever record in years to come! Grabbing this one up is like finding a lost Kool & The Gang album from the early years – which is no surprise, since Ronald Bell of the group produced, and wrote a lot of the songs with the group – maybe acting as their mentor, and definitely giving the young group a great showcase for their boundless energy, and tight skills in the groove department! 

The band are incredibly tight – with lots of hard drums, choppy guitar, and the rolling party feel that made Kool & The Gang so great during their best years – captured here with a similarly raw production style. There's some great horns that blast in and out, sounding very off-beat at the best moments – like the classic "Who's the Man With the Master Plan", sampled by YZ many years ago – or other funky cuts like "Ain't No Time", "Get Down", and "You've Got to Keep on Bumpin". 

On Find A Friend, the Kay-Gee's are getting a little disco, but they also manage to lay down some nice funky tracks – in the best Kool & The Gang tradition of their early work! Ronald Bell of Kool & Gang is still working with the group – and he wrote a lot of material and also performs on the LP – which might be part of the album's strength – although the group have clearly got a very strong legacy on their own! The record shows signs of the direction that Kool & The Gang were taking at the time, with a move towards electric keyboards instead of raw funky guitars – but like Kool's work from the period, the use of these keyboards is nicely restrained, and adds some good jazzy elements to the sound, to create a more sophisticated style of funk. Cuts include "Waiting At The Bus Stop", "Mr. Nothin", "STP", "Be Real", "Keep On Saying", "Acknowledgement", and a number of versions of "Find A Friend". 

On Kilowatt, The Kay-Gees are burning bright – in that razor-sharp approach to funk that made the group one of the best of their generation – able to strongly step on the dancefloor, but without losing any of the rawness of their funky 45 years! The balance is a bit like Fatback at their best – and that group is maybe one of the few we'd match next to the Kay-Gees at this point – and although the basslines are up a bit more than before, they never hit any sort of too-cliched or overdone modes, as in some of the other big funk groups of the period. Guitars riff mightily, lyrics are plenty catchy, and the rest of the instrumentation is right on the money – on cuts that include their "Kay-Gee's Theme Song", plus "Fat Daddy", "Celestial Vibrations", "Space Disco", and "Kilowatt/Invasion". CD features bonus tracks – "Hustle Wit Every Muscle", "Cheek To Cheek (12" mix)", "Kilowatt (12" mix)", and "Kilowatt (12" ext)". ~ Dusty Groove