Christian Sands – Be Water
Christian Sands’ third recording for Mack Avenue Music Group captures and establishes him as a forceful leader in composition and conceptual vision. With Be Water, the music is akin to the element which has no form of its own, taking on the structure of whatever musical composition and performance in which it finds itself and is a universal necessity. For this recording, Sands has reunited with bassist Yasushi Nakamura and saxophonist Marcus Strickland, and is joined by trumpeter Sean Jones, trombonist Steve Davis, guitarist Marvin Sewell, and drummer Clarence Penn.
Nicole Mitchell & Lisa E Harris - Earthseed
Very powerful work from the great Nicole Mitchell – the third of her albums to be based on the work of Octavia Butler, and the first to be done in collaboration with vocalist Lisa E Harris! The music was commissioned by the Art Institute of Chicago, and recorded in a large open space in that august institution – which gives the spare moments this wonderfully echoey sound, and the fuller passages a real sense of spontaneous urgency! As with most of Mitchell's music, there's a powerful message within – one that's showcased even more by the vocal contributions by Harris – and in addition to flute, Mitchell also adds in some electronics – as does Harris, plus theremin as well. Other musicians include Zara Zaharieva on violin, Ben Lamar Gay on trumpet and electronics, Tomeka Reid on cello, and Avreeayl Ra on percussion. Titles include "Ownness", "Moving Mirror", "Whole Black Collision", "Elemental Crux", "Fluids Of Time", "Purify Me With The Power To Self Transform", and "Biotic Seeds". ~ dustygroove.com
Brian Auger – Introspection
Tremendous work from the legendary Brian Auger – a huge collection of work, a good deal of which is previously unreleased – and a package that makes a fantastic addition to his legendary catalog of organ and keyboard grooves! There's not much here in the way of notes – we would have loved some dates and details – but we can definitely say that our Auger-loving ears found plenty to enjoy here, as the music is from Brian's archives, put together by the man himself – and mixes some bigger hits with a lot of lesser-known material – a collection of 35 tracks that moves through all the jazzy, funky, and soulful modes that always made Brian Auger such a standout of his generation. Titles include "Isola Natale", "The Lady's In Love", "Ella", "Pavane", "Sundown", "Second Wind", "Planet Earth Calling", "Sea Of Tranquility", "Butterfly", "Whenever You're Ready", "Somebody Help Me", "I've Gotta Go Now", "Dawn Of Another Day", and "Voices Of Other Times". ~ dustygroove.com
Marcos Valle’s career started with the end of bossa nova. A lifelong surfer, he expertly rode out the final wave of the waning international fad, landing in the U.S. for a short stay before returning to Brazil to continue his career. A proud Carioca (Rio de Janeiro resident), Valle couldn’t stay away from his beloved hometown. This seminal artist is no stranger to Los Angeles, though. Back in the mid-to-late sixties he recorded a solo album (Samba ‘68) and was a featured member of an early, short-lived line-up with Sergio Mendes right before he landed the Brasil ‘66 deal with A&M records. He would try his luck in the U.S. again a decade later, spending a half-dozen years here, mostly in L.A. where he befriended members of Chicago and developed a prolific songwriting partnership with R&B icon Leon Ware. Valle never recorded his own music during those years, though. This historic collaboration with Jazz Is Dead’s Ali Shaheed Muhammad and Adrian Younge marks the first time he has recorded music in the U.S. in nearly 50 years.
Younge and Shaheed Muhammad started by mining Valle’s back catalog for direction and inspiration. Unlike most artists of his stature, Valle is still actively recording and releasing music, but Marcos Valle JID003 is different from all of his others. If spontaneity and improvisation are trademarks of jazz music, then this album stands out in the maestro’s lengthy discography as the closest thing to a jazz album. Valle impressed Shaheed Muhammad with his professionalism and confidence in this new environment with limited time to capture the music: “Marcos is so focused on getting it right. A couple of songs he sat down in the moment and wrote some lyrics about what was actually happening, and that’s how free and open he is.”
Valle’s mellifluous vocals adorn seven of the eight tracks with his wife, Patricia Alvi, adding textures to a few tracks and dueting with Valle on “Viajando Po Aí” (“Travelling Around”), a lush bossa nova layered with synths and guitar, sounding like Stereolab en português. Loren Oden joins Valle in a vocalese duet on the silky-smooth Quiet Storm groove “Gotta Love Again.” “Não Saia da Praça” (“Don’t Leave the Square”) is bossa with an edge, sounding like an outtake from Valle’s early-‘70s masterpiece Garra. The final two songs wear their references to Valle’s famous collaboration with another Jazz Is Dead featured artist, Azymuth, from their 1973 collaboration, Previsão do Tempo. Swirling synthesizers dominate the dancing instrumental, “Our Train,” and “A Gente Volta Amanhã” (“The People Return Tomorrow”) closes out the album with a moody psychedelic waltz.
Throughout the album Valle sings in his trademark percussive and melodic style (“wa-di-do-bem, ba di da we da bem”), a distinctly Brazilian take on vocalese. Like the sweet and foreign sounds coming out of his mouth, Marcos Valle is able to create an entirely different sound and feel using the exact same palette. “It was really interesting how we can play the same instruments, listen to the same music and Marcos can still have his distinctly Brazilian flavor that we admire so much…and to just hear our influences mix with his and to make something brand new is a dream come true.”
Earnest Walker Jr. - Ifatoba
If you enjoy your Smooth Jazz with exciting touches of African exotica, Earnest Walker, Jr’s Ifatoba (meaning “the king has arrived” in an ancient West African language) is your gateway to multi-cultural adventure. The versatile saxophonist blends fast paced funk, deep, soulful slo-jams and intoxicating ethnic vibes with cool musical and spoken word interludes to paint a narrative celebrating glorious family bonds and the foundational culture and rhythms of his African heritage. The lighthearted joy he brings to the mix is the perfect way to convey his belief that the best of this universe is expressed through dance and music. ~ smoothjazz.com
Ridiculous Trio - Ridiculous Trio Plays The Stooges
The cover looks a lot like the front of the legendary Funhouse album by The Stooges – and that comparison is there for a reason – as this crazy instrumental trio serve up some really wild versions of their music! The instrumentation is spare – just heavy drums, trombone, and tuba – instruments used in a way that's surprisingly different than any sort of brass band modes – leaner, and even more on the rhythm – with some odd sort of fuzz in there somewhere that we can't place at all, but which definitely helps bring about a classic Stooges mode – as does some of the vocal phrasing through one of the horns – not singing, mind you, but this weird sort of replacement! Titles include "I Wanna Be Your Dog", "TV Eye", "No Fun", "Down On The Street", "Scene Of The Crime/Death Trip", "Not Right", and "We Will Fall". ~ dsutygroove.com
Solex - Smooth Ride
Launching his musical career with his family’s gospel ministry and serving as a Minister of Music for over 25 years, Solex has been blending gospel, classic R&B, neo-soul, jazz fusion, urban jazz and funk influences as a solo artist since 2010. The versatile keyboardist/composer celebrates all those glorious elements once again on Smooth Ride, a 16-track, hour long journey designed to lift the soul and speak to the dreams of his listeners. Creating a fresh sonic universe, Solex fills the ride with moments of meditation and deep grooving, bright and trippy sonic invention. It’s a world where a George Duke inspired mix of lush solo piano and trippy synth invention rolls freely with slick and infectious contemporary urban jazz textures. ~ smoothjazz.com
Theo Hill - Reality Check
We really love the music of Theo Hill more and more with each new record – and here, the pianist is working in a quartet with Joel Ross on vibe – a player who makes a perfect partner for his music! Both Hill and Ross have this open sense of sound and timing – often using the spaces between the notes as much as the notes themselves – even when things are moving at a more full-on level, which they do often – thanks to contributions from Rashaan Carter on bass and Mark Whitfield on drums! Yet it's the sonic interplay between the vibes and keys that really blow us away – maybe especially at the few points when Theo picks up Fender Rhodes, and balances out the record with even more warmth next to his acoustic tracks. Titles include a version of the Stevie Wonder classic "Superwoman" – plus originals "Guardians Of Light", "Afrofuturism", "Scene Changes", "Mantra", "Swell", and "Song Of The Wind". ~ dustygroove.com
Ken Fowser - Morning Light
A brilliant record from tenorist Ken Fowser – a player who seems to grab our attention more and more with each new record – both as a soloist and as a rock-solid leader who always brings something special to a session! Ken dedicates this record to the inspiration of pianist Harold Mabern – and you can really feel a lot of Mabern's warmth and soul flowing through the record – as the tunes bristle with the kind of soulful imagination that we always loved in Mabern's music from years back – even though they're all originals by Ken, with piano handled beautifully by Tadatka Unno! This might be the first time we've ever heard Unno on record, but we're already in love – and the rest of the group features Josh Bruneau on trumpet and flugelhorn, Vince Dupont on bass, and Joe Strasser on drums. Titles include "This That & The Other Thing", "Moving Forward", "Three For Leathers", "Morning Light", "Firefly", "The Instigator", and "Without Saying". ~ dustygroove.com
Don Bryant - You Make Me Feel
The mighty Don Bryant never got the chance to record much back in the day – save for one fantastic album and a set of singles on Hi Records – but he's really returned to form lately, and gets the chance to show the world his Memphis soul pedigree in all of its glory! Scott Bomar produced the set, plays bass, and gives the record some of those funky soul styles that made his work with the Bo-Keys so great – in a group that's heavy on organ lines and riffing guitars, and which also features backup singers behind Don on a number of the tracks. Yet the whole thing is clearly Don's showcase – with great vocals on titles that include "Your Love Is Too Late", "99 Pounds", "Is It Over", "Your Love Is To Blame", "I'll Go Crazy", "Cracked Up Over You", and "Walk All Over God's Heaven". ~ dustygroove.com
Art Hirahara - Balance Point
A really lovely album from pianist Art Hirahara, and a set that maybe draws its title from the careful balance on the record between Art's lyrical approach to the piano, and the overall energy of the group when they really move together! Hirahara continues to develop fantastically as a pianist with each new record – with a touch that's very personal, but always soulfully swinging – and here, the quartet emphasizes those latter modes when they really pick up – thanks to bass from Joe Martin and drums from Rudy Royston – on a record that also features some well-placed tenor contributions from Melissa Aldana, whose sound adds in just the right amount of color. Titles include "Like Water", "Ascent", "Lament For The Fallen", "Mother's Song", "Blessed Son Mr Weston", and "Fulcrum". ~ dustygroove.com
Farnell Newton - Rippin' & Runnin'
A tremendous trumpeter, set up here in his best format to date – a really heavy duty quartet that features tenor from Brandon Wright, drums from Rudy Royston, and Hammond from Brian Charette – who blows us away even more than usual with his skills on both the keys and the pedals at the bottom! Royston's drums are always great – and here, he's got this snapping, crackling energy that seems to light a fuse right from the very first note – which Charette fans into full flames of sound, topped by these bold lines and soaring solos from Newton and Wright – two horns that have a really rich power together, before breaking off into really wonderful solos. The whole thing's great – a cut above for even the always-great Posi-Tone label – and titles include "Holding Still", "The Roots", "Another Day Another Jones", "Gas Station Hot Dog", and "The Five AM Strut". ~ dustygroove.com
Susan Tobocman – Touch & Go
Touch & Go,the newest release by Susan Tobocman, is a showcase for the admired vocalist’s considerable talents as a composer, lyricist, and arranger. The album is a collection of Tobocman’s original compositions, well-known standards, and tunes off-the-beaten jazz track. This is Tobocman’s fourth CD as a leader. With her warm and flexible voice and unique interpretation of songs, Tobocman has been making a name for herself for the last twenty years with audiences and musicians alike on both the New York City and Detroit jazz scenes, performing and collaborating with some of the top jazz musicians around. Touch & Go is not the typical release from a jazz singer. Five of the album’s 12 tunes were written by Tobocman. Highlighting her flair for composing, she includes two instrumental numbers, including “Leaves of Absence,” which has a straight-8th Latin feel, and the uptempo title track, “Touch & Go.” A multi-faceted artist, Tobocman is also superb arranger who turns well-known songs into personal statements. Touch & Go is the manifestation of Susan Tobocman’s endlessly creative mind and talents.
James Carney Sextet - Pure Heart
Pianist James Carney has some might heavy help here on horns – a really bold lineup that features Stephanie Richards on trumpet and flugelhorn, Oscar Noriega on bass clarinet and alto, and Ravi Coltrane on tenor, soprano, and sopranino saxes – all musicians who do a wonderful job of matching the bold energy and rich sounds of Carney on the piano! Most tracks are nice and long, and have a brashness that's got us dipping back into Carney's catalog all over again – given superb rhythm encouragement from Dezron Douglas on bass and Tom Rainey on drums – the last two parts of the puzzle for this crackling sextet. Titles include "Inharmonicity", "Throwing Shade", "Gerrymandered", "Forty Year Friend", and "Mayor Of Marcellus". ~ dustygroove.com
Gary Meggs - Life's Little Changes
A onetime member of the orchestras of Glenn Miller and Harry James, saxophonist Gary Meggs calls the release of his latest album Life’s Little Changes a “lifelong dream, a chance to help place my own footprint in the Smooth Jazz scene,” inspired by the West Coast Jazz of the 80’s and 90’s. Collaborating with rock/fusion guitarist Bryan Jeffries, who produced the collection, Meggs’ brings a bold and brash horn energy to an exciting, stylistically eclectic collection that includes spirited Latin influences, innovative arrangements of pop standards and re-imagined versions (complete with new titles) of a gospel and seasonal classics. ~ smoothjazz.com
Tony Davis - Golden Year
Tony Davis is a jazz guitarist with a difference – an artist who's not out to revolutionize his instrument in jazz, but who still finds a way to play with a very distinct approach! Tony's quality isn't easy to put in words – he's not working the fret in a weird way, or using any sort of effects or gimmicks – but he does get a very specific sound out of the instrument, one that's full of shimmering colors and light – often quite chromatic, but usually with a dexterity that might match more sharper-toned musicians! Davis' sound springs into life from the very first note on the set – given nice direction from David Bryant on piano, Dezron Douglas on bass, and Eric McPherson on drums – and the record also features work from Steve Wilson on flute and alto on two tracks, and Steve Davis on trombone on two as well. Alina Engibaryan sings on two of the album's tracks – "Lake Sebago" and "Orange Feathers", both originals by Davis – and other tunes include "Night Ride", "Braeburn", "El Gran Birane", "Hypnagogia", and a nice version of "Con Alma". ~ dustygroove.com
Jazz clarinetist Eddie Daniels’s (http://eddiedanielsclarinet.net) last album earned him his sixth GRAMMY nomination and launched a trilogy paying homage to legendary Brazilian composers. Looking for a way to top 2018’s “Heart of Brazil: A Tribute to Egberto Gismonti,” Daniels came up with an historic first for “Night Kisses: A Tribute to Ivan Lins,” which was released on August 7. He got GRAMMY and Emmy winner Bob James and GRAMMY and Academy Awards winner Dave Grusin to record together for the first time. Also special is that the clarinetist-saxophonist plays flute for the first time on a record in 30 years.
Producer George Klabin conceived the series and when he sent Daniels the music, initially Daniels was overwhelmed trying to figure out how he could use his horns to capture the heart, beauty and soul of Ivan Lins’ impassioned singing and songbook. He decided to tackle the material by allocating his lead instrumental voice equitably thus there are four songs each fronted by clarinet, tenor saxophone and flute. In addition to utilizing the same core trio that appears on “Heart of Brazil” to anchor the acoustic jazz tracks, “Night Kisses” features lush strings by The Harlem Quartet. James and Grusin each scripted an arrangement for the collection and James authored the album’s only song not penned by Lins, a piece titled “Ivante” that he was inspired to write for his longtime friend, Lins. Grusin, whose association with Lins dates back to having the Brazilian icon perform on his 1985 album “Harlequin,” plays acoustic piano on “Ivante” while James plays electric piano.
Daniels has begun learning the music of Milton Nascimento for the final chapter of the trilogy. The New York City transplant who has lived in Santa Fe, NM for over 30 years hopes that people will listen to “Night Kisses” as a “uniquely whole work.” He feels that the entire album works to provide calming along with a connection to our hearts, both of which are much needed during these challenging times.
ARTEMIS—the jazz supergroup comprised of pianist and musical director Renee Rosnes, clarinetist Anat Cohen, tenor saxophonist Melissa Aldana, trumpeter Ingrid Jensen, bassist Noriko Ueda, drummer Allison Miller, and featured vocalist Cécile McLorin Salvant—has announced their debut album ARTEMIS, which will be released September 11 on Blue Note Records.
The group is distinctive not only for bringing together seven singular artists, each renowned for their own remarkable solo career; but for its multi-generational and globe-spanning line-up with members hailing from the US, Canada, France, Chile, Israel, and Japan. ARTEMIS conjures a powerful collective voice from seven of the most acclaimed musicians in modern jazz. “Each member of ARTEMIS is a unique character which is what a band needs – versatility,” says Cohen. “That’s what makes life interesting and that’s what makes music fascinating – the personalities.”
ARTEMIS is a superb nine-song set that features material composed and/or arranged by each of the band’s six instrumentalists. ARTEMIS unfurls with a dynamic flow, stunningly eclectic yet entirely cohesive. “The group identity emerged organically,” Rosnes says, and ARTEMIS discovered a thrilling collective vision early in its lifespan. “We are seven leaders, each with our own vision and personal point of view, but we play with a unified conception.”
“‘Goddess Of The Hunt’ is a sonic exploration of the powerful traits that define women,” says Miller. “We are resilient, tenacious, determined, life-giving, versatile, nurturing, elegant, mysterious, cunning, persistent, and patient. I love how each soloist clearly expresses their unique power.”
“The Greek goddess Artemis is an explorer, a torch bringer, a protector of young children, and a goddess of the hunt,” explains Jensen, who conceived of the band’s name. “I feel that her character is indicative of the energies and wide array of musical tapestries that ARTEMIS the band brings to the stage as we take our music to the moon, the stars, and beyond.”
Despite its relatively brief existence, ARTEMIS has already been featured in Vanity Fair and on NPR’s Jazz Night in America, and has performed on some of the country’s most iconic stages from Carnegie Hall to the Newport Jazz Festival.
“On a sunny August afternoon in 2018, I was among the thousands of fans attending the Newport Jazz Festival who had their minds blown by ARTEMIS,” says Blue Note President Don Was. “Although each individual member of this supergroup is a bona fide jazz titan, these incredible musicians dwell in the rarefied air of bands whose whole is greater than the sum of its already sublime parts. Their musical conversation is sophisticated, soulful and powerful, and their groove runs deep.”
Joshua Redman, Brad Mehldau, Christian McBride, & Brian Blade - RoundAgain
One of those rare cases where an all-star group is really worth the weight of its talent – as this quartet really sounds wonderful together, and make you know that you're in for a treat right from the very first note in the set! The best energy of the record might come from the rhythmic conception of drummer Brian Blade, and maybe a bit of the spirit of bassist Christian McBride – because pianist Brad Mehldau and tenorist Joshua Redman come off with all these really inventive, creative elements – very much structured around a sense of rhythm, although one that's nicely complex at most moments – a less-familiar sort of swing, and we mean that in the best way possible. Titles include "Father", "Floppy Diss", "Your Part To Play", ":Moe HOnk", "Right Back Round Again", and "Undertow". ~ dustygroove.com
Dominic Camardella - Soothe
A longtime expert on the evolving integration of music and technology, Grammy-winning pianist, composer and arranger Dominic Camardella brings a fascinating background to the sensual, easy-grooving melodic flow of his debut Smooth Jazz collection, SOOTHE. The owner and primary audio engineer of Santa Barbara Sound Design, Dominic has been a TV/Film sound designer and mixer who has worked with, among others, Ottmar Liebert, Carlos Santana, Anita Baker and Michael McDonald. Elements of soul, and electro-chill complement his soothing musical atmospheric, laid-back vibe as well as lush interactions with acoustic guitar and dreamy trumpet. ~ smoothjazz.com
Denny Zeitlin - Live At Mezzrow
There's few folks who approach the piano like Denny Zeitlin – and this beautiful live set is a perfect illustration of his deep talents and very unique sound on his instrument! Zeitlin is a master of balancing darkness and light – technical brilliance and down to earth energy – working here with his longtime trio with Buster Williams on bass and Matt Wilson on drums – two players who are instantly, innately responsive to the many-textured sounds that Zeitlin brings forth from the piano! And throughout it all, no matter what the mood, the whole thing manages to swing – even in subtle ways – on great takes of tunes that include "Intimacy Of The Blues", "Echo Of A Kiss", "I Mean You", "Dancing In The Dark", "10 Bar Tune", "Isfahan", "Paraphernalia", and "Star Crossed Lovers". ~ dustygroove.com
Shaun Escoffery - Strong Enough
We've loved the music of Shaun Escoffery for many years now – right from that time when he emerged from the UK scene as key talent in the Omar generation – the kind of strong songwriting voice and confident singer that really helped mark a difference from the world of soul in the US! Escoffery has evolved wonderfully over the course of his superb recordings – and here, he continues to grow even more – coming on strong, and maybe with more of a 60s soul inspiration than ever before – kind of a romping, vibrant approach to the music that echoes the Motown generation, while still also sounding immediately contemporary, and graced with a production style that maybe makes Shaun's vocals sound even more powerful than ever! We've been waiting decades for Escoffery to get the international fame he deserves – and maybe this record is the one that will put him over the top, given the strength of the songs and the overall set as a whole. Titles include "River", "Imagine", "Lucky", "Soldier", "Heat", "With These Eyes", "Need To Believe", "Candle", "You Remind Me", and "Surrender". ~ dsutygroove.com
Camera Soul - Existence
A great little group – and one with a wonderful talent for bringing together soulful styles in a really catchy way – using bits of funk, ala the Brand New Heavies – but also not afraid to go for a tighter hook, too – in a way that reminds of some of our favorite Japanese-only recordings by Swing Out Sister or Workshy! As with both of those groups, there's a great female singer in the lead – the lovely Maria Enrica Lotesoriere, who also wrote all the lyrics – and arrangements are handled by keyboardist Pippo Lombardo, whose sweet keys really hold together the whole thing nicely. Titles include "Colorado Sky", "Another Smile", "One More Chance", "In The City", "What I Deserve", and "Existence". ~ dsutygroove.com
Angela Munoz - Adrian Younge Presents Angela Munoz – Introspection
Adrian Younge's plastered his name on the front cover of this debut from Angela Munoz (why does he always do that?) – but the set is definitely a strong calling card for the lady herself – who steps out here with a strength that might well make her a key underground soul talent in years to come! Munoz has a voice that's clearly wonderful at the core – soulful, but very personal – with a range that might belie the individualism she brings to her music at first, but which really draws you into the captivating lyrics of the tunes. And yes, production by Younge is great, as is the musical help from Ali Shaheed Muhammad – but dang it, let the lady stand forth on the cover on her own – as she's a great singer, with plenty to offer. Titles include "I'm In Love", "Feeling The Same", "So Young", "In My Mind", "Stardust", "Can I Get Your Name", "Top Down", and "Don't Show It". ~ dustygroove.com
Diana Ross - Supertonic Mixes
A whole host of Diana Ross classics – all given a contemporary club treatment by producer/mixer Eric Kupper! Diana really helped set the scene for powerful, progressive dancefloor tracks in the pre-house years – and Kupper easily refits her classic vocals and rhythms with a mode that really kicks up the rhythms to more 21st Century styles – never too slick or commercial, but right at home next to modern upbeat house and club! Titles include Kupper remixes of "Love Hangover", "The Boss", "Touch Me In The Morning", "Remember Me", "I'm Coming Out/Upside Down", "Surrender", "Ain't No Mountain High Enough", "No One Gets The Prize", and "It's My House". ~ dustygroove.com +
James Saxsmo Gates - Stepping Out
Closing in on 30 years as a recording artist, Richmond, VA based saxophonist James Saxsmo Gates offers timely words of wisdom to accompany his sonically bold, sweetly sensual and intensely funked-out new album Stepping Out. The Founder of the Dr. Billy Taylor Jazz Studies Program at Virginia State University writes, “Together we can make it if… we Keep Jazz Alive!” Six years in the making, the faith-driven project pairs Gates’ steamy, igniting horn fire with a batch of multi-talented collaborators (including guitarists Alan Parker and Freddie Fox) to create the perfect party mix of anthem-like originals and soulful pop covers. ~ smoothjazz.com
Jon Hassell - Seeing Through Sound – Pentimento Vol 2
The genius of Jon Hassell is alive and well – and after decades of groundbreaking music and undeniable influence, Hassell continues to show the world why his own blend of electric and acoustic elements still sounds better than most! Jon's working with his classic blend of trumpet and electronics here – assisted at some points by younger musicians who owe a great debt to his initial recordings – and while the territory is familiar, it's also never facile – as Hassell's clearly out to continue pushing boundaries, always with an answer to those who might call his music simply atmospheric – because there's a huge amount here going on, sometimes at very subtle levels. Other instrumentation includes guitar, bass, violin, and percussion – often with processing in the mix – and titles include "Moons Of Titan", "Fearless", "Reykjavik", "Cool Down Coda", "Lunar", "Delicado", and "Timeless". ~ dustygroove.com
Skii Harvey - So Cruel
Sometimes we just need to allow a song to break our hearts and make us cry. When you listen to Skii Harvey sing “So Cruel” – the lead single from her upcoming album Broken - the award-winning Australian artist’s sultry and seductive, yet world-weary and grit-filled voice may remind you of everyone from Cher and Melissa Etheridge to Tina Turner and Ella Fitzgerald. But a deeper dive into her emotion reveals a true original inviting us into the dark places of the soul - where regret and longing to change reality linger long after a love’s gone wrong. On the forthcoming album, the songsmith takes on the resilience of the human heart, no matter the challenge, we always endure. ~ smoothjazz.com
Dave Baker & Rich Kurtz - Forever New
Twenty-five years after making his initial mark on Smooth Jazz stations across the globe, guitarist Dave Baker brings back his fluid melodic magic and love for contemporary and traditional jazz, pop, classical and Latin on his perfectly titled album FOREVER NEW. Teaming with Rich Kurtz (bass, cello, vocals) and Walter Runge (keys), he draws on decades as a private party and corporate gig musician to create lush, inventively arranged yet breezily accessible twists on classics by the likes of Carole King, Al Stewart, Sting, The Beach Boys and The Beatles. His lone original, the lilting title track, is equally divine. ~ smoothjazz.com
Nat Birchall - Mysticism Of Sound
One of the most unusual albums we've ever heard from saxophonist Nat Birchall – and that's saying a lot, given the very unusual qualities of most of his work! Yet this set is very special in that it's a solo effort – music by just Nat himself, but never on one instrument at a time – as he works in his own studio to create these tunes that have a strongly spiritual vibe, especially for music from one individual – with a tenor or soprano sax solo often in the lead, amidst other instrumentation that includes bass, drums, percussion, bells, and bass clarinet – plus a bit of work on a Korg minilogue! If you're worried about the album sounding gimmicky, or lacking the depth of some of Birchall's other recordings – don't – because the whole thing is as rich and soulful as all the other kinds of records that have made us love Nat so much over the years. Titles include "Dance Of The Sun God", "Omniscient Beings", "Outer Realm", "Space Time Vortex", "Celestial Spheres", "Cosmic Visitant", and "Inner Pathway". ~ dustygroove.com
Motown Moe - The New Normal
With an incredible output of 16 albums over the past 12 years, Detroit based keyboardist/producer, Motown Moe, is not only one of the most prolific indie artists in Smooth Jazz, but also one of the most diverse and innovative when it comes to developing fascinating conceptual themes and fresh sonic landscapes. With a title that perfectly reflects our unique collective moment, his latest album The New Normal could be used in regular times as a soundtrack to a romantic evening – but in this era serves as the perfect soul caressing chillout set. Drawing on his mastery of melody, gentle grooves, sensual atmospheres, synth, horns and percussion, Moe creates a free-flowing, chill and laid-back fusion of moody, impressionistic urban jazz featuring critically-acclaimed guitarist Blake Aaron! ~ smoothjazz.com
Nick Dukas - Feelin' Good Feelin' Fine
Prepare to have an unforgettable and magical night that will have you snapping your fingers, tapping your toes and dancing the night away with Nick Dukas’ single “Mr. Moon (Take It Away)” from his latest EP, Feelin Good” Feelin’ Fine. Nick shares the spotlight on vocals with Jennifer Day Morrison on this fun and jazzy melody which was co-written by Dukas as a duet with well-known lyricists Anthony Little and Morrison. Dukas, an eleven-time silver global music award winning singer/ songwriter, recently warmed up the holiday season with his feel good lyrics and artistic charm on his tune WRAP YOU UP FOR CHRISTMAS which reached #25 on the SmoothJazz.com’s Top 100 Holiday Chart. Nick’s “Mr. Moon (Take It Away)” is sure to warm you up all over again as as you tell the stars in the sky that this is your special night! ~ smoothjazz.com
Keith Mason - I Surrender All
A versatile bass player for an astonishing 45 years, Keith Mason’s life has been dedicated to and defined by his passion for two things that make his latest album I SURRENDER ALL an emotionally impactful and spiritually edifying delight – music and the Lord. With a Christian Smooth Jazz sound incorporating his love for jazz, R&B, funk and gospel, he showcases his poppin’ basslines in the service of a cool yet rhythmically punchy flow that reflects a rich anointing and some truly amazing grace. The collection was inspired by Mark 8:36 (“For what shall it profit a man, if he shall gain the whole world, and lose his own soul?”) and his titles are all expressions of his faith… the thoughtful, inviting and exuberant vibes have been Crafted to lift you up spiritually and engage you intellectually. ~ smoothjazz.com
Damien Escobar - Songs From A Breakthrough
As the global epidemic continues to wreak havoc on the lives of people around the globe, there are some who have found inspiration and creativity in the midst of the chaos. With the launch of his critically acclaimed live concert album, Breakthrough, Damien Escobar has elevated the music scene and provided a musical outlet for his many fans who have been searching for their own "breakthrough" during these trying times. The debut single, "Rain" is a contemporary rendition of the SWV hit "Rain On Me" and captures the essence and deep emotional surge of the current climate that we live in. ~ smoothjazz.com
Marshall Charloff - Unperfect
Those who listen intently to the sensual yet funky, soulfully provocative, and spiritually-uplifting journey Marshall Charloff leads us through on his new album Unperfect may find his humble title ironic – since, vocally and instrumentally, it’s truly Smooth Jazz perfection in every way. Drawing on a fascinating background that includes fronting symphony orchestras and touring globally paying tribute to Prince, and work with Atlanta Rhythm Section and The Commodores, the singer, songwriter, and multi-instrumentalist seamlessly showcases many of the elements that have defined his multifaceted career. Balancing the romantic acoustic dreaminess and sweet, easy flowing neo-soul, he grooves deeply with affirmative emotional/spiritual messages and two versions of a jam that pays homage to Prince and the sound of Minneapolis that Charloff has been sharing for years. ~ smoothjazz.com
Al DeGregoris - Time Sensitive
Time Sensitive, Al DeGregoris’ first album in four years, is the amped up, groove-intensive culmination of his longtime collaborative relationship with fellow keyboardist Jeff Lorber. Though DeGregoris is the independent artist and Lorber the legendary producer, the two work as creative equals in perfect intertwining tandem. Drawing on the funky, improvisation rich dynamics of their innate chemistry and an array of retro keyboards (but always leaving room for acoustic piano), they share a set of irrepressible tracks with buoyant melodies, free flowing harmonies and explosive energy throughout. With special guests including critically acclaimed guitarist Paul Jackson, Jr. on board along with David Mann fashioning mood enhancing horn arrangements, Lorber and DeGregoris create the musical equivalent of a thoughtful, illuminating conversation between two masters chatting deep into the night. ~ smoothjazz.com
Blue Note Re:imagined 2020 (Various Artists)
Representing a bridge between Blue Note’s past and future, Blue Note Re:imagined will feature contributions from a rollcall of internationally acclaimed jazz, soul and R&B artists – Shabaka Hutchings, Nubya Garcia, Mr Jukes, Steam Down, Skinny Pelembe, Emma-Jean Thackray, Poppy Ajudha, Jordan Rakei, Fieh, Ishmael Ensemble, Blue Lab Beats, Melt Yourself Down, Yazmin Lacey, Alfa Mist, Ezra Collective, and Jorja Smith. In addition to Wayne Shorter and St Germain, the collection will include interpretations of tracks by the likes of Herbie Hancock, Bobby Hutcherson, Joe Henderson, Donald Byrd, Eddie Henderson, McCoy Tyner, and Andrew Hill. Blue Note Re:imagined will be released September 25 on Blue Note/Decca, and is available for pre-order now on vinyl, CD, and digital formats. 7” vinyl singles of “Watermelon Man (Under The Sun)” / “Illusion (Silly Apparition)” and “Rose Rouge” / “Footprints” are available for pre-order on the Blue Note Store.
Airto - Seeds on the Ground
Airto’s second album, and second and last release for the Buddah label, brought back largely the same crew that appeared on his debut record Natural Feelings (also reissued by Real Gone): vocalist (and wife) Flora Purim, composer and multi-instrumentalist Hermeto Pascoal, and bassist Ron Carter, with contributions from Dom Um Ramão (who later replaced Airto in Weather Report) and Severino De Oliveira a.k.a. Sivuca. Given Airto’s connections to Miles Davis, Weather Report, and Return to Forever, Seeds on the Ground could easily get lumped into the jazz fusion category. But that would be a mistake. This totally unclassifiable (and, by the way, exceedingly rare) album was no mere blend of rock and jazz influences. Instead, Seeds on the Ground was truly a fusion, an ecstatic melding of bossa nova, psychedelic rock, Brazilian folk, Latin jazz, free jazz, and what we call nowadays “world music.” If that sounds a bit calculated or intimidating, it’s not; what makes this album so compelling is how organic and intimate it all sounds. Airto played with probably the three most legendary fusion groups in jazz history, and later released a bunch of albums, many for the CTI label. But it would be hard not to label this beautiful record as his crowning achievement. Our proud Real Gone reissue features the original gatefold cover art, and comes in an ocean blue vinyl pressing limited to 1000 copies.
Bobby Watson - Keepin' It Real
Bobby Watson's always keeping it real in our book – as the alto saxophonist maybe hasn't made a bad record ever, and has continued to turn out the sort of fantastic music we loved right when he was an up-and-comer in an 80s version of Art Blakey's Jazz Messengers! Here, Bobby's working with some key talents from his solo years – a re-formed New Horizon group that features excellent work on bass from Curtis Lundy, drums from Victor Jones, and piano from Victor Gould – plus trumpet work on some tracks by Josh Evans and on others by Giveton Gellin! The use of trumpet is somewhat striking, as it's an instrument that's not always in place on some of Bobby's small combo sessions – and both Evans and Gellin are clearly inspired by the warmth of the leader – as both soar out with a wonderfully full, rich sound that only adds to the classic soulful touch of Watson on the alto. Titles include Watson and Lundy originals "Keepin It Real", "One For John", "My Song", "The Mystery of Ebop", and "Elementary My Dear Watson 2020" – plus a nice take on the Donny Hathaway tune "Someday We'll All Be Free". ~ dustygroove.com
Following Kahil El’Zabar's amazing success with the Ethnic Heritage Ensemble’s latest album ‘Be Known: Ancient/Future/Music’, the legendary Chicago percussionist & composer is pleased to announce the release of ‘Kahil El’Zabar’s Spirit Groove ft. David Murray’, released via Spiritmuse Records.
Kahil El’Zabar’s ‘Spirit Groove’ on Spiritmuse Records is the latest musical inspiration from the spiritual jazz master, ft. the legendary tenor sax colossus, David Murray. El’Zabar and Murray first recorded together in ’89 and their collaborative efforts span over 4 decades of exceptional explorations in the varied realms of spiritual jazz, with ’Spirit Groove’ being the defining moment upon their incredible journey to meaningful, spiritual art.
'Spirit Groove' is an easy snapping combination of live and studio recordings in June 2019 in Chicago. Whether on tenor or bass clarinet, David Murray immerses the listener in the history of this music - hearing him playing with Kahil immediately reveals the fluidity of their communication. They’re joined here by two extraordinary US musicians, Emma Dayhuff (Herbie Hancock) on acoustic bass and Justin Dillard (Junius Paul Qt) on synth, organ & piano.
In El'Zabar's own words " ‘Spirit Groove’ intends to move you nakedly with a deep sense of dance on a Mind/Body/Spirit level. From the mouths of Bebop music masters, who were my mentors and that I also had the distinct honor to play with – such as Dizzy Gillespie, Cannonball Adderley, Eddie Harris, Malachi Favors, Jodie Christine, Sonny Stitt, Gene Ammons, and Rahsaan Roland Kirk, they all expressed to me that in the beginning of Bebop, people everywhere danced with Spirit to the music of Charlie Parker! This is the moment to rekindle the motion of social relevance within the legacy of jazz as an improvised people’s movement for social change!”
‘In My House’, the first track taken from the album is a true message of hope in these challenging times. In this unique collaboration with the tenor sax colossus David Murray, they explore the varied realms of jazz & groove, with ’Spirit Groove’ being the defining moment upon their incredible journey to meaningful, spiritual art. They’re joined by two extraordinary talents, Emma Dayhuff on acoustic bass and Justin Dillard on synth, organ & piano., ‘In My House’ is of-this-moment relevant, fun and uplifting - an ode to the beauty and resilience of the human spirit. In Kahil El’Zabar’s house you can pray, reach to the soul, sing and dance… day or night! And everyone’s invited!
Vocalist Robin McKelle delves into the catalogue of some of the most celebrated women of song, interpreting these masterworks through the lens of the jazz idiom. On Alterations, McKelle follows in a long tradition of female song interpreters, lending her sultry vocal stylings to classics by a diverse list of female innovators including Dolly Parton, Sade, Amy Winehouse, Adele, Janis Joplin, Carol King, Billie Holiday, Joni Mitchell, and Lana Del Ray.
McKelle is joined on this release by a group of consummate musicians including co-producer, pianist and arranger Shedrick Mitchell, acoustic and electric bassist Richie Goods, drummer Charles Haynes, guitarist Nir Felder. In addition, esteemed saxophonist Keith Loftis is featured on McKelle's sole original composition on this release, "Head High"; and renowned trumpeter Marquis Hill is featured on Lana Del Rey's "Born to Die".
The first single from Alterations, McKelle's rendition of Sade's "No Ordinary Love", will be released in late January. Alterations will be released on Doxie Records and distributed and marketed by the Orchard.
In the making of the album, most of McKelle's vocal tracks used on this final recording were takes she sang live with the band. On the recording process, McKelle notes "The energy and connection with the musicians was so powerful. They lifted me up and made it feel effortless. I've never felt so confident in the studio." The energy and connection of the album overall is palpable; stunning interplay is displayed throughout each track. Shedrick Mitchell was responsible for translating McKelle's visions for each of these tracks into arrangements for this prodigious grouping of musicians to perform.
McKelle notes "Mitchell really understood my vision and did a fabulous job helping to make the arrangements come alive. We fused jazz, soul, r&b, blues and rock all while keeping a continuity in the music."
The album begins with McKelle's re-imagining of Winehouse's "Back to Black". A gentle latin rhythm drives this track forward; Mckelle's voice soars over Mitchell's masterful accompaniment. The album continues with McKelle's soulful take on Adele's "Rolling in the Deep", the band uses this song as a vehicle to explore the reflective lyrics with a wonderful, moody reharmonization. Guitarist Nir Felder takes a stellar solo over these changes. The album proceeds with McKelle's original composition "Head High", the artist's tribute to the female singers and writers who came before her. "It's about the power that the female singer has. To move people with her lyric and song. To be fearless. To touch people's emotions. To make change" notes McKelle. Consummate saxophonist Keith Loftis is featured on this track.
McKelle's delivers a spirited, bluesy rendition of Dolly Parton's classic "Jolene", a celebration of the lyrics in a decidedly different context than the original 1974 release by Parton which earned her a GRAMMY® for Best Female Country Vocal Performance. "No Ordinary Love" is McKelle's rendition of Sade's classic R&B composition. McKelle's fiery latin-tinged arrangement of this song emphasizes the ensemble's fantastic sense of dynamics and interplay. McKelle's voice ignites the track and is met with an impassioned solo from Felder. The album ends with a duo performance of Carole King's classic "You've Got a Friend". McKelle and Mitchell converse over King's lyrics, delivering the song's tenderness with her signature warmth and strength.
The songs on Alterations are diverse in tone and mood. The desperation of Del Ray's "Born to Die"; The exuberance of Parton's "Jolene". McKelle transitions seamlessly between the emotions of every song. And makes each one her own. To McKelle, alteration is all. As the artist notes "when you create change, you create space for something to shift in the world and in yourself. As an artist. And as a human. And that is a change for the good."
After three ECM albums with Louis Sclavis’s groups – Sources (recorded 2011), Salt and Silk Melodies (2014) and Characters on a Wall (2018) – each of them drawing upon his improvisational resourcefulness, French pianist Benjamin Moussay was invited to make a solo recording. A fresh addition to ECM’s line of distinguished solo piano albums, Promontoire is also effectively a self-portrait of its maker, touching upon many aspects of Moussay’s life and interests across the arts.
Promontoire finds its shape through careful preparation and spontaneous risk-taking. Moussay calls it “a solitary dance with the flow of inner rhythm,” one that deploys and abandons the compositional process along the way: “Written pretexts are infinitely altered according to the moment. Playing solo piano, I know the starting point and the destination. Mystery lies in the surprises of the journey.”
Although it was the solo piano recordings of Thelonious Monk that first fired Benjamin Moussay’s imagination, instilling a love of jazz subsequently nurtured in parallel with classical studies, it is only in recent years that he has embraced the solo format himself. “I was working a lot with my trio, playing as a sideman with many bands, but the idea of solo music kept calling to me. It seemed to me like quite a step to take, because there is so much history around solo piano. But, finally, I decided to do it. My first solo concerts were almost like classical recitals with very much written material, but the more I played solo the more I wanted to let go and improvise. The compositions became more and more reduced, often to just the essential elements of a melody and a few chords.” Going further, a number of the pieces on Promontoire are total improvisations, although Moussay’s structural instincts blur distinctions between the written and the discovered-in-the-moment; the album feels like a story unfolding in twelve chapters, twelve reflections.
It opens with “127,” inspired by Danny Boyle’s biographical survival film about climber Aron Ralston, 127 Hours. “I saw the film, was very impressed by it, and the melody came to me,” recalls Moussay, who is himself a committed climber and Alpinist. Rugged landscapes and mountains are evoked or alluded to also in title track “Promontoire,” “Monte Perdido,” and “Don’t Look Down.”
“Promontoire” is named for “a place in the Vosges mountains that is very important to me, a small rocky peak above a lake. The composition has changed a lot since I wrote it. It was originally in four parts, with an introduction and two other themes. Now it’s much sparser.” “Monte Perdido,” completely improvised, references the “lost mountain” of the Spanish side of the Pyrennees. “Remote and difficult to reach,” Moussay summarizes.
The pianist likens “Don’t Look Down” to scaling a steep rock face: “It’s a little scary technically.” The idea for the piece, with its very fast activity in the right hand, emerged during a Louis Sclavis soundcheck. “In concert, this piece gets expanded a lot, but I like the concentrated version we have on the album.”
Moussay has on several occasions been commissioned to write new music to accompany old silent films and three of the pieces on Promontoire have their origins in such work. Though each has gone through several transformations, “Theme for Nana,” “Horses” and “The Fallen” were all written to accompany scenes from Jean Renoir’s classic 1926 film Nana, based upon Émile Zola’s novel of the same name. “‘Theme for Nana’ describes the central figure, of course. I think of the piece as a bit ‘Sclavisian’ in a way, every curve of the melody suggesting a different atmosphere, color or emotion.”
“Horses” interprets the famous racecourse sequence in Renoir’s film, with rhythmic figures suggestive of the elegant motion of hooves. And “The Fallen” initially a character sketch of Count Muffat in the film and novel, dragged down by his love for Nana, has come to acquire a broader significance: “It’s for all those guys who try to go up only to go down – whether in the mountains or in life. It’s kind of a blues!”
“Villefranque” is named for the commune in the Hautes-Pyrénées where the piece was born. “Improvisation is often the starting point for my pieces which I subsequently develop by selecting elements and working on them. But in this case – I was recording myself on the piano at a friend’s house – the music arrived complete. I transcribed the improvisation and that became the piece.”
“Sotto voce,” in contrast, reveals Moussay’s “Chopin romantic side. I like it to be played really softly and simply. It’s like a small picture of something.”
The sprightly “Chasseur de plumes” is dedicated to the memory of a young cat who loved to chase birds, while “L’oiseau d’or” refers to the Golden Bird of the Grimm fairy tales. Finally, there is “Théa," a musical portrait of Moussay's young daughter. “This is also a total improvisation and was actually the first solo piece I recorded in La Buissonne. I like to think it conveys some of Théa’s dancing energy.” The album was recorded and produced by Manfred Eicher at Studios La Buissonne in January 2019.
Benjamin Moussay studied classical piano at the Strasbourg Conservatory, before turning to jazz composition and arrangement at the Paris Conservatory, where his teachers included François Jeanneau and Jean-François Jenny-Clark. In 1998 he won the Martial Solal International Jazz Piano Competition and has gone on to become a key figure in the French and international jazz scene, working with Louis Sclavis, Glenn Ferris, Marc Ducret, Archie Shepp, Tony Malaby, Vincent Courtois, Daniel Humair and many others, and leading his own groups, including his long-running trio with drummer Eric Echampard and bassist Arnault Cuisinier. Promontoire is his first solo piano album.
