Mariea Antoinette’s “All My Strings’ pays tribute to the evolution and magic that strings contribute to music.
Mariea Antoinette is upping the ante. Her previous albums have been designed to place the classical harp in surprising, unimagined contexts: R&B, jazz and hip hop. The motif expands on her third outing, “All My Strings,” which drops April 24 from Infinity/Maasai Productions. Teaming with producer Allan Phillips, who wrote four songs for the album, Antoinette’s focus is vibrational, celebrating the progress and unique contributions made by stringed instruments in music.
“The idea was to create an organic sound where most of the instrumentation of the album is
propelled by vibrating strings - harp, violins, violas, cellos, guitars and bass guitar. ‘All My Strings’ is a tribute to the evolution and the magic that strings bring to music,” said Antoinette, a San Diego native. “I wanted the album to unfold as a beautiful, unexpected story.”
Antoinette began telling the story a couple years ago when she released the album opener, “Overture,” as a single, which went Top 5 on the Billboard chart and was named Best Jazz Single by the Black Women in Jazz & the Arts Association. With sweeping strings that build to a dramatic crescendo over funky beats, the track provided an exciting preview of what was to come on “All My Strings.” Last fall, Antoinette provided a second glimpse with the release of “That Thing (Doo Woop),” a reinvention of the Lauryn Hill hit. A third sampling came when “Loving You” began collecting airplay and playlist adds last week. The single earned Most Added status at Billboard. Antoinette tells the story behind why she elected to record the Minnie Riperton signature tune.
“For years, Allan (Phillips) had the idea of recording a tribute to my first producer, the late Carl Evans, a founding member of the contemporary jazz group Fattburger. Carl had inspired countless musicians in Southern California and first introduced me and Allan. After years of searching, Allan suggested ‘Loving You.’ The original has a sublime effect that naturally seemed to work great with the harp. Then Allan gathered the surviving original members of Fattburger to record the song. We used a hallmark arrangement typical of Fattburger’s chart-topping style along with the string ensemble that appears throughout ‘All My Strings.’ The result is a fresh and exciting new version of a classic so dear to everyone’s heart. It also honors Carl who taught us to always spread love through our music - no matter what.”
Another compelling selection from the set is “Garden of Peace,” a soothing original spoken word number delivered by Antoinette over music by Lonnie Liston Smith.
“I believe in the healing power of music and spoken word where it drives all the tension from a room.
With spoken word, you can take people on an unforgettable journey through the power of words, something I do on all my projects. That was my intention with ‘Garden of Peace.’ Coupled with a pure harp solo, it creates a journey that is inspirational, creative and metaphysical. I love music that comes from an unknown place allowing you to simply close your eyes and listen.”
Antoinette wrote the album closer, “Gaia,” and spoke about its spontaneous origins.
“I was taking a break in the studio after we recorded ‘Sekmet: Lioness Goddess.’ I began playing the harp, channeling what was in my heart. Allan walked into the room and asked what I was playing. He said we had to record it. It wasn’t planned at all. Totally impromptu. Suddenly, 'Gaia’ was born.”
After earning a master’s degree in harp performance, Antoinette debuted as a solo artist in 2003 on the Evan’s-produced “Sexy Paradise.” She began serving as principal harpist with the Los Angeles Southeast Symphony Orchestra in 2007 and later played a private event for President Barack Obama and First Lady Michelle Obama. Antoinette also accompanied Ne-Yo during a BET Awards performance. Her 2015 “Straight From The Harp: Special Edition” album, produced by Phillips, went Top 5 on the Billboard chart. Antoinette’s honors include winning a 2018 Black Music Award and the Instrumentalist of the Year title from the San Diego Prestige Awards the same year. In addition to playing club, theater and festival dates with her own ensemble, Antoinette has toured with the female-powered supergroup Jazz in Pink.
“All My Strings” contains the following songs:
“Overture”
“Yearning For Your Love”
“All My Strings”
“Loving You”
“Ain’t Playin’”
“That Thing”
“Sekmet: Lioness Goddess”
“Garden Of Peace”
“Gaia”
https://www.marieaantoinette.com
Here Be Dragons is the ECM debut of New York based, Tel Aviv born tenor saxophonist Oded Tzur, one of the most strikingly original musicians to have emerged from Israeli's creative jazz scene in recent years, and the leader of an outstanding group.
Oded Tzur has found a new and personal sound for the tenor saxophone. Inspired by his extensive studies from 2007 onward with bansuri master Hariprasad Chaurasia, he has mastered the graceful slides of Indian classical music and brought raga's sense of pitch fluidity and microtonal shading into a jazz context. His pieces elegantly explore and unfold their melodic and atmospheric implications in a context of subtle group interaction. Structurally, each of Tzur's compositions on Here Be Dragons sets out to develop a "miniature raga" over a moving bass, juxtaposing two musical concepts. Oded: "The dialogue between these dimensions takes us wherever it takes us." The ragas deployed in the pieces "Here Be Dragons", "20 Years" and "The Dream" are of Oded's creation, while "To Hold Your Hand" uses an Indian scale called Charukesi and operates on similar principles. He stresses, however, that "raga is, for me, a universal concept. I hear its connection to synagogue prayers, or to the blues – a marvellous creation – and to music all around the world." Ancient and modern traditions are referenced in Oded's work, including traditions of storytelling. "If music has the ability to tell stories," suggested All About Jazz, "saxophonist Oded Tzur proves himself one of the jazz world's premier storytellers." Tzur's concept is also broad enough to embrace some unexpected song choices, and the album concludes with a tender interpretation of "Can't Help Falling In Love", made famous by Elvis Presley.
Musical interaction inside the group is profound, and the quartet has already received the highest press accolades. "The interplay transcends empathy," said DownBeat, while Japan's CD Journal spoke of "a Coltrane Quartet for the 21st century." Oded's international group features fellow Israeli Nitai Hershkovits on piano, Greek bassist Petros Klampanis and US drummer Johnathan Blake. Hershkovits, who took over the piano role in Tzur's group from Shai Maestro, first came to wider attention as a member of bassist Avishai Cohen's groups. Bassist Petros Klampanis has been a mainstay of Oded's band since the saxophonist relocated to New York in 2011; albums under his name include work with pianist Kristjan Randalu. Johnathan Blake, newest member of the ensemble, is from a distinguished musical family. His father, John Blake, played violin with McCoy Tyner, among many others. Johnathan has worked a broad range of contexts, playing regularly with musicians from Kenny Barron to Pharoah Sanders, and recently premiered his own trio project with Chris Potter and Linda Oh.
Here Be Dragons was recorded at the studio Auditorio Stelio Molo in Lugano, in June 2019, and produced by Manfred Eicher. It is issued as Oded Tzur embarks on an international tour with dates in the Netherlands, France, Germany, Belgium, Switzerland, Hungary and Israel.
The haunting strains of a distant melody, the resplendent majesty of an angelic choir; the echoing cries of circling birds, the thundering clomp of charging hoofbeats; the menace of an ominous growl, the soul-stirring chime of a tolling bell, the urgency of a percussive rhythm: Sophie Tassignon conjures all of these with only that most beautiful, boundless and mysterious of instruments, the human voice. On her first solo album, Mysteries Unfold, the Belgian-born, Berlin-based vocalist transcends time and language to explore and evoke a stunning panoply of human emotion.
Mysteries Unfold weaves a dazzling sonic tapestry from the varicolored threads of Tassignon's versatile and daring voice. Able to grip the listener's heart with just her emotional expression of a lyric, Tassignon crafts a staggering variety of effects by layering her voice into polyphonic architectures or lush choruses, powerful ensembles or enigmatic atmospheres. Drawing influence from the ancient to the boundary-stretching, she unearths a unifying strain of spiritual longing that underlies the human experience.
Fluent in five languages (and studying a sixth, Arabic) and inspired by a wide range of musical experimentalists, Tassignon brings the whole of her estimable experience to bear on Mysteries Unfold. Over the past 20 years her voice has been heard in a variety of contexts, from avant-garde jazz and free improvisation to theatrical performance and electroacoustic music. She's released eight albums with projects including Charlotte & Mr. Stone (with Simon Vincent), Azolia (co-led by Susanne Folk) and her group Zoshia, as well as collaborations with her husband, saxophonist Peter Van Huffel. She also leads the ensemble Khyal, which blends jazz and Arabic poetry, and has enjoyed a decade-long collaboration with theater director Elzbieta Bednarska.
Mysteries Unfold presents something entirely new, stark in its elements but limitless in its imaginative possibilities. "I've never worked alone before," Tassignon explains. "It was very challenging, musically and emotionally, but it offers so many possibilities. I hope that people will feel like this album takes them to another place, somewhere outside of this reality, where time doesn't exist."
That defiance of time shines through Tassignon's often surprising choice of material for the project. Along with four striking original compositions, the vocalist performs pieces by Baroque composer Antonio Vivaldi, country songwriter Dolly Parton, Russian bard Yuliy Chersanovich Kim, and folk-rock band Cowboy Junkies. Harmonies that harken back to Gregorian chants coexist with bold, modern electroacoustic experimentation, primal vocalizations with luxurious melodies, yet all sound of a piece through the vessel of Tassignon's virtuoso vocals.
Tassignon also found unifying echoes in the songs' thematic material. Mysteries Unfold is in many ways a celebration of women's stories and the fact that so many of them have been suppressed and silenced throughout the centuries. As Tassignon explains, "I think I was drawn to the title Mysteries Unfold because the Woman has been forced to hide so many feelings throughout her existence, yet they are so rich and compelling, and they become uncovered through these songs."
The title track itself, which closes the album, is a Tassignon original whose tale of "cross[ing] the line too many times" could describe the end of a romance or bemoan the defiance necessary time and again in the struggle for parity. The strength and ferocity necessary to keep fighting those battles is vividly expressed in the opening piece, Kim's "Guby Okayannie," a love song that ends by evoking a female warrior's ride over the Russian steppes, replete with saber-rattling battle cry. Tassignon discovered the song in its far more intimate version from the 1978 Nikita Mikhalkov film Five Evenings.
Bird calls and the hushed roar of water set the scene for "Jolene," Dolly Parton's classic plea from a woman scorned to her auburn-haired rival. Beginning with the heart-wrenching vulnerability of a lone voice against this isolated landscape, the piece gradually builds into a vibrant chorus suggesting the liberation of inner thoughts given open expression. "I wanted it to be as heavenly as possible," Tassignon says. "It's painful and it's beautiful at the same time to be able to say that I'm jealous, that I have pain. I like the contrast of that."
The pulsing, percussive momentum of the singer's "Don't Be So Shy With Me" captures the impulsive urge of a forbidden passion, while the haunting reverberations and whispered secrets of "Descending Tide" embody the essential unknown of another person's most hidden self. The Cowboy Junkies' "Witches," from the Canadian band's 1990 album The Caution Horses, is a call to sisterhood, that ever-threatening bond that the male of the species typically translates into dark sorcery.
Tassignon's "La Nuit," with its skittering provocations and piledriving throbs, pictures the empowerment of self-discovery, a poignant ode to psychoanalysis. Vivaldi's "Cum Dederit," setting the text of an Old Testament Psalm, is a vivid evocation of the simultaneous interior and exterior quest of prayer, searching for the holy in the vast heavens by way of the profound mysteries of the deeply personal.
In a sense that duality and sense of longing is the core emotion of Mysteries Unfold, the timeless theme that weaves together past and present, translates foreign tongues, and connects strangers one to another. Whether the longing for God or a lover, resolution of a universal question or the secrets of one's self, this yearning resonates throughout these songs and is breathed into gorgeous, provocative and moving life through Tassignon's exploratory and dauntless voice.
"I feel that artists exist to feel the emotions of the world," Tassignon concludes, "and to allow those emotions to pass through them in order to express them in a different form. "My goal is simply to touch other human beings and transport them to a moment out of time, just as in a moment of infatuation where nothing else exists besides the present moment and beauty."
Bassist and composer Omer Avital, one of the most celebrated and revered musicians on the global jazz scene, offers his latest creative tour-de-force, New York Paradox, to be released on Avital’s label, Zamzama Records (in partnership with jazz&people), on March 27 (digitally) and May 8 (physically). New York Paradox is the second album from Avital’s dream Quintet, Qantar (following up their self-titled debut), featuring Eden Ladin (piano & keyboards), Ofri Nehemya (drums), Alexander Levin (tenor sax), Asaf Yuria (soprano & tenor sax).
Qantar is more than just another group, it is for all intents and purposes a family and a community with its own customs, growing traditions, and even language (both musical and verbal). These five artists have formed a special friendship that projects a singular energy on the bandstand and on their recordings. Indeed, all are Israeli expatriates, all living in Bed-Stuy, Brooklyn, all regularly hanging out at their leader’s home, sharing dinner, Turkish coffee, stories, ideas, joys and sorrows. This shared history, even though years apart, imbibes this quintet with the key to Avital’s music: the ability to bring the various rhythmic and harmonic vocabularies underpinning 20th and 21st century hardcore jazz expression to flow with a polyphonic attitude and musical multilingualism.
If Qantar sometimes sounds like a Mediterranean version of Art Blakey’s Jazz Messengers, this is because it is connected to the cohesive spirit that characterized the key versions of the drummer’s legendary group. The same love of swing and blues permeates Omer Avital’s music, effortlessly integrated into everything that has evolved harmonically and rhythmically in jazz over the past thirty years, as well as the influences that Omer Avital owes to his own Yemenite and Sephardic roots, adding colors to his fertile and enthusiastic imagination as a composer. The twofold saxophone attack of Alexander Levin and Asaf Yuria deploys its spectacular polyphonies, giving the melodies a full-bodied lyrical depth, and the bluesy melodic lines a soulful and unaffected weight. In their solos the two saxophonists reveal different personalities, giving us the impression that between them they can cover the tenor saxophone’s entire spectrum—in the shadow of Coleman Hawkins, Eddie Lockjaw Davis, Hank Mobley, Joe Henderson, John Coltrane, Billy Harper… Their playing is a reminder of how much the beauty of jazz, so full of history, is an ageless music that is constantly reinvented by those who play it. Omer Avital can be proud of having transmitted this conviction to the musicians who play with him…
The recording of New York Paradox came together after three-four years of the guys playing together regularly. It was recorded in Avital’s NEW studio/club/lounge - Wilson Live! in Bushwick, Brooklyn, on April 21 & 22, 2019, in a very comfortable, homey environment, captured by the band’s good friend, engineer Roy Boukris. Avital added, “we know the room as we have been playing here a lot in the past year and a half, and we recorded in the same room with no separation, no edits, no fixes; we just played the room as if we were on a gig.”
“Qantar has been working together for the past several years, traveling the world, rehearsing, and just as importantly, hanging hard. For this band, we don’t use charts but rather learn the music by heart and create the arrangements on the spot, organically. For me as composer/arranger this is the best way to work since you get the best results when the musicians can tailor their parts to the music . . . also, the music becomes highly personal as everybody feels invested. Plus, learning music this way, you never forget it, which means less rehearsing and a much more natural feeling on the bandstand.”
Shabazi – Rabbi Shalom Shabazi was a great and beloved Jewish Yemenite poet who lived in Yemen during the 17th century. I grew up on his poems and songs. It is also a name of a nice street/area in the south part of Tel-Aviv.
Zohar Smiles – One of my favorites - and a big favorite at gigs - written for my son when he was still little, around 2010/11. It is, of course, a very special melody that reminds me of the feelings I had during his early years, and his amazing smile. To me this is the best proof of godliness and true spirituality in life.
NY Paradox – I composed this one when we moved back to NYC in the later summer of 2005 after 4 years in Israel. The complexity of the city was very evident to me at the time . . . the beauty and energy I missed but also the harshness and the reality of the financial situation of living here. NYC presents an imperfect balance, a certain energy that can be exhilarating and taxing, that I have learned to deal with, and sometimes even beat, to an certain extent. I still have strong feelings towards this place that I love so much and have called home for almost 27 years, on and off!
C’est Clair – I started composing this in summer of 2017 first in Marciac before our concert and completed that summer in Israel. First titled “Waltz in F Minor,” then another title, “Au Clair Du Lune,” emerged. When I first recorded the composition with The Yes! Trio in Paris, Ali Jackson suggested changing the name to C’est Clair (named after a great couscous restaurant in Paris that the band loves.)
Today’s Blues – Written sometime around 2010 this is a blues with a bridge. It moves between the Spanish modes and some pretty basic harmonies that are more African in nature, but still essentially a swinging blues.
Just Like the River Flows – When I first moved back to NYC I first played this tune with my band at Smalls. It is a Suite of sorts as it has different sections towards the end. It has a Middle eastern vibe and for me represents the way traditions keep flowing.
It’s All Good – A composition from the late ‘90s, which was a complex period for me as my first band of four saxes, drums and bass was ending, a major record deal had been canceled on me, and things in general were changing. Musically, there was a lot of hip hop and groove orientated music going on, and less straight-ahead, so opportunities were dwindling. I often like to write tunes that represent a moment in life, what we were feeling, etc., this is definitely late 90’s!
Bushwick After Dark – A minor blues that became the theme song and the unofficial title for our late night sessions at my club, Wilson Live. It’s also a play on “Bohemia After Dark”g. It was on February 12 2016...... I have a voice memo from February 12, 2016, the day I heard that my mother, who was very sick at that time, was not doing well, and basically dying. We bought tickets to fly to Israel the next day and as I was packing and going down to the basement I started humming this blues riff . . . it’s so strange how music comes about and goes in circles.
New York Paradox was recorded on April 21 & 22, 2019, at Wilson Live , Brooklyn, NY by Roy Boukris / Assistant Engineer: Ron Warburg / Mixed and mastered by Roy Boukris / The band was recorded live in one room, no headphones, no separation, no edits!
From the time we can talk we’re asked what we want to be when we grow up, and as we grow there’s huge pressure to find and follow a single passion. At age 46, Byron-based artist Claire Atkins has just released her debut EP Eternal Return, a body of work born of heartbreak and curiosity.
With her training in fine arts, for the last 20 years Atkins has worked solidly as a studio artist, magazine editor, actor and creative producer, but it in the wake of significant loss, she says she hit a creative brick wall, and to her surprise discovered music.
‘I was dealing with a whole bunch of grief. My dad and two close friends died suddenly and in quick succession, and it paralysed me creatively speaking… Music kept suggesting itself to me, which was strange, because at the time I couldn’t play an instrument. I was quietly terrified by that, and so I started small with the uke,’ she said.
Within 12 months Atkins was writing and performing her own songs. Curious about the recording process, and with her teacher’s encouragement she sent her songs to producer and sound engineer Paul Pilsneniks (Angus & Julia Stone, Powderfinger, Silverchair) at Rockinghorse Studios in Byron Bay.
Pilsneniks says, ‘Hearing Claire’s demos I felt that these beautiful tunes would really shine with some additional instrumentation and production, and so we brought some amazing local artists to guest on the songs. We’ve ended up with a stunning debut EP, and I encourage any music-listening aficionado to keep an ear out for this body of work in early 2020,’
Atkins’s hometown region has taken up Pilsneniks's good advice with the album receiving significant media attention and high rotation on Byron’s BayFM.
The album’s title track is inspired by Friedrich Nietzsche’s philosophy of eternal return that proposes the universe and everything within it has been recurring and will continue to recur in the same pattern infinitely. While Atkins says reliving heartbreak is not an attractive prospect she’s also confident of music’s power to transform hardship into something unexpected, beautiful and healing.
’In a strange way, I’m grateful for life’s challenging times, and if it wasn’t for them I may never have strummed a chord or written a lyric. That difficult period drove me to music and it saved me,’ she said.
Atkins’s unique vocal style has been likened to Natalie Merchant and Julia Stone, and her story-driven songs are supported by a stunning line-up of guest artists including legendary horn players John Hoffman and Martha Baartz, and guitarists Angie Hudson and Al Brooker.
Latin GRAMMY award winning artist Céu dropped her new single “Coreto” on March 13, from her upcoming fifth studio album APKÁ! The full length album is out April 24 in North America & Europe on Six Degrees Records.
Céu states about the single, “Coreto is a song that reflects some of my love for soul music and Ballroom music. It's something I've always enjoyed, playing a little bit with the idea of having my music on the radio. I think I have always been an artist that lives in between the indie and the mainstream worlds, so it's also a reflection on that, about contrasts and an invitation to dance, to enjoy.”
“Coreto” is hot on the heels of Céu’s single “Corpocontinente,” which received critical praise from Billboard to Brooklyn Vegan and hit 250,000 views and rising in its first two weeks.
APKÁ! (with capital letters and an exclamation point), the fifth album from São Paulo’s Céu, consolidates the journey of the singer and composer’s career up to this point. A hot, minimalist record, which brings together sonic, thematic, musical and conceptual extremes, the new album reveals an artist passing through the musical trips made on previous records while eventually leaving her chrysalis, transformed into a new composer and interpreter, ready to start a new phase of her career.
The album’s title comes from Céu’s youngest child Antonino, a word shouted by the one year old to express complete satisfaction. Smiling & happy, Céu’s son with producer and drummer Pupillo, shouts the strange, made-up word to show that he is happy with everything from a meal to a game. It’s a mixture of excitement and gratitude. In its own way, APKÁ! does just that – in the form of music.
APKÁ! features the same team that worked on Céu’s celebrated previous studio album Tropix. French musician Hervé Salters, from the band General Elektriks, repeats his role as co-producer and keyboardist, as well as long-time bassist and faithful accomplice Lucas Martins and Pupillo on drums, programming and co-production. Guitarist Pedro Sá, completes the quartet that accompanies Céu on almost all of the new album’s tracks.
Online:
https://www.ceumusic.com
https://www.facebook.com/ceumusic
https://www.instagram.com/ceu
https://twitter.com/ceumusic
Solid, the upcoming release from four-time GRAMMY nominated saxophonist Boney James will now be available on Concord Records on June 12, 2020 due to the “shelter at home” initiatives that have taken place in the last few weeks. In addition, all of Boney’s upcoming April and May tour dates have been rescheduled with the new dates being posted to his website weekly.
Solid is the follow up to Boney’s smash 2017 release Honestly, which became his eleventh #1 Billboard Contemporary Jazz Album. Boney has released three singles from “Solid” including
“Be Here” (featuring Kenny Lattimore,) “Solid” and the newest “Full Effect” that was released on Friday, March 27th. He has also been performing a new song every Friday on Facebook.
Boney has posted a note on his socials for fans letting them know about the new June release that we wanted to share with you!
Hey everyone!
I hope you are enjoying the songs we’ve released so far from my upcoming album, Solid. I want you to know how much your continuing support means to me and my wife Lily as we sequester here at home. We are healthy and doing well, and hope you are too.
The “shelter at home” initiatives across the country have made it impossible to get CDs made, shipped to warehouses and eventually to you. Because Amazon is concentrating on sending all of us the essential items we need, they’re not bringing in non-essential goods, like new records, to their warehouses. And unfortunately, for now, the warehouse for my online store in Illinois is also closed.
I’m so sorry to tell you this news: I am being advised that we must push back the release of Solid to June 12th.
The good news is I will continue to share music with you during my Facebook Live events. Hope you’ll be there when I will be releasing two more tracks over the next handful of weeks.
I can’t wait to see you all out on the road when we get to the other side of this.
Boney James
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” 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
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
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
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.
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.
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
