Jeff Cosgrove takes a new direction to celebrate the music of William Parker on "History Gets Ahead of the Story"

Drummer and composer Jeff Cosgrove uses his sixth album as a leader to celebrate the music of former collaborator, bassist/composer William Parker. On History Gets Ahead of the Story, via Grizzley Music, the drummer offers a unique take on the bassist’s long-standing quartet repertoire by rearranging it for the classic organ trio.  Saxophonist/composer Jeff Lederer (Matt Wilson Quartet and Bobby Sanabria’s Multiverse Orchestra) and organist John Medeski (Medeski, Martin & Wood and Hudson) push the boundaries to put their signatures on some of Parker’s most recognizable compositions. This is the first album to feature William Parker’s music without Parker providing the undercurrent with his singular bass sound.

This is a different kind of record for Cosgrove. Although the majority of the drummer/ bandleader’s recording catalog has focused on spontaneous composition, he is no stranger to celebrating innovative composers in their lifetime. Motian Sickness – The Music of Paul Motian, Cosgrove’s critically acclaimed 2011 debut as a leader, was released shortly before Motian’s passing. Much like the Motian Sickness project, where Paul Motian was instrumental to Cosgrove in helping with charts and giving him unlimited freedom in working with his music, Parker was involved in providing charts and guidance to the drummer. “I remember talking with William about his quartet music as we were walking to dinner one night and what an influence that band and music were on me,” says Cosgrove.  “He chuckled and simply replied: ‘those guys were pretty good at reading my mind.’”  Over the course of a couple of years, Parker provided musical scores to the drummer knowing little of how the project would take shape.     

Cosgrove released two critically acclaimed recordings featuring William Parker and long-standing collaborator, pianist Matthew Shipp – Alternating Current (2014) and Near Disaster (2019). With the encouragement of Parker and Shipp, the drummer began to really push the boundaries with these performances and recordings, understanding how to bring form to the formless. It was in this time working with Shipp and Parker that the idea for this album came to Cosgrove and started to germinate. 

“There is no denying William’s place at the vanguard of creative music,” says Cosgrove of his former rhythm section mate.  “But, he is also an inspiring composer which I feel often gets overlooked.  He writes beautiful and very tuneful pieces that leave a lot of room for improvisational excitement.”  Parker’s long-standing quartet with Lewis Barns, Rob Brown, and Hamid Drake had a huge impact on Cosgrove’s development. “When I first took notice of that band in college in the late 1990s, I was instantly hooked. The way that Hamid and William connected was the first thing to draw me in. As I got deeper into the music, the seamless communication between the quartet inspired a lot of my musical development.”  Cosgrove felt that this project was almost like a calling. “I wanted to do something with this music because it meant so much to me personally, but I couldn’t see the point of merely recreating it. There is so much flexibility in the way William writes that I felt like the music could take a different approach. I’ve always loved that classic organ trio sound but had never played in one.”

Jeff Lederer is one of the most recognizable saxophonists on the jazz scene today.  He continues to show up at the top of critics and readers polls. The drummer and saxophonist have played together for several years in various configurations and Cosgrove knew Lederer was the key to this project. “I began to be inspired by Lederer’s sound when I first checked out the Matt Wilson Quartet,” says Cosgrove. “He makes the music feel so comfortable with his huge sound and musical knowledge.” The saxophonist lent his ears to the early ideas of the project, as well as  the mixing process. Lederer is also the musical director for the Visionary Youth Orchestra, part of Arts for Art, a non-profit co-founded by William Parker.   

Organist John Medeski showcases his musical versatility and stunning sound on this album, confirming his musicianship is beyond classification. He embraces the classic organ trio while pushing convention. Lederer and Medeski have a history through drummer Matt Wilson. “Medeski, Martin & Wood were another band that appeared on my radar in college and really shook up my idea of what was musically possible,” says Cosgrove. “I knew I wanted John for this project from the beginning but had no idea what a huge impact his playing would have on the music.” The drummer and organist had never met in person prior to arriving at Applehead Studios in upstate New York. Medeski was unstoppable from the very first note.

The international jazz community continues to pick up on Jeff Cosgrove’s inviting sound and unexpected musical combinations.  He carves a unique path in jazz and creative music by choosing rural surroundings – primarily in West Virginia and now in Middletown, Maryland. The open space lends itself to a not-so-subtle connection to the drummer’s distinctive sound, one that is uncluttered, leaving melodic lines the freedom to develop under Cosgrove’s loose direction on the music.

Cosgrove creates opportunities to play with innovative musicians while never having been a part of a major city jazz scene and leads a variety of ensembles to push his levels of creativity.  Cosgrove’s working groups include an improvisational based trio featuring pianist Matthew Shipp and alto saxophonist Rob Brown, a trio focused on his compositional efforts with saxophonist Noah Preminger and bassist Kim Cass, and his longstanding projects featuring multi-instrumentalist Scott Robinson and bassist Ken Filiano, and saxophonist Jeff Lederer and bassist Mark Lysher. Cosgrove does not show any signs of slowing down. History Gets Ahead of the Story marks another chapter in his musical development, showcasing bold ideas and the drummer’s unique sound.    

Soulful Jazz Duo ARIELLA Open Hearts and Minds with “Terrified”

With a fervor for blues, jazz and vintage soul, enigmatic duo, ARIELLA, passionately transcend boundaries, transporting listeners to the heart of what makes music timeless. It’s a fluid daydream, seeping.

With elegant vocals by the charismatic Ariella McManus, a singer with emotional depth and a songwriter rich with breadth, she eloquently combines stunning melodies with infectious grooves to create a catchy, immersive sound. Teamed with guitar maestro, Nicolaas Kraster, a talented wunderkind from Fredonia, NY that’s been compared to Ottmar Liebert, Paco de Lucía and Pat Metheny, the pair effortlessly craft an engaging path to the spiritual promised land.  

Flush with poetic imagery and musical intimacy, ARIELLA’s recent releases, (“Joy” & “Terrified”), are a great example of their sonic vision, one with increasing definition of the human condition. As she matter-of-factly emotes on “Joy,” "I don’t need you to make me complete. If I don’t make life better, it’s time for me to leave,” Ariella captures pain and hope with each passing note. With apt comparisons to the transcendent fragility of Etta James, Patsy Cline and Amy Winehouse, tenured jazz critic, Jonathan Widran, dubbed their repertoire, “Raw and soulful…beautifully combining a sense of defiant assertiveness and wounded vulnerability” while Skope Magazine lauds McManus, "By going for her own unique style, she is without peer. References to her performance recall the best of Adele and Alicia Keys. Everything about her delivery reflects a sense of true care and compassion."

With growing acclaim making waves, the group caught the ear of Internationally renown bassist/educator Victor Wooten (Béla Fleck and the Flecktones), who recognized their intangible chemistry, “ARIELLA is one of my all-time favorite bands. I love their music and their live performances. There’s no way to not enjoy them.”

It’s a palpable reciprocity. On their exhilarating 2019 EP, Live at the Hideaway Café, recorded during a St. Pete heatwave, the blistering set finds the pair excavating the essence of the classics, while delivering a cascading storm of substance and sustenance, bringing to mind a late night soiree with Antônio Carlos Jobim and Astrud Gilberto trading stories with the Buena Vista Social Club.

As the twosome continue to refine their sound, they enlisted award-winning engineer, Fabrice Dupont (“Fabulous Fab”), known for his work with Queen Latifah, Jennifer Lopez, Andre 3000, Shakira, Les Nubians, Bebel Gilberto, and Ladysmith Black Mambazo, to add his deft touch to the new material. Meeting at the annual NAMM confab in Anaheim, Dupont effused, “ARIELLA has the very rare ability to deliver pure emotion every time she sings. She’s a classic voice for our modern times.”

Both as a duo, and with their larger Latin-infused ensemble, Ari and the Alibis, Nic and Ariella play to packed rooms in Tampa, Sarasota, and throughout Central Florida, while also touring in Canada, the UK and across the U.S., including a recent debut at NYC’s infamous Blue Note night club.

New Music Releases: Clifton Davis, Milie Jackson, Mistura Pura

Clifton Davis | 'Never Can Say Goodbye"

It’s not easy to choose which of Clifton Davis’ many accomplishments is most noteworthy, although writing “Never Can Say Goodbye,” made famous by The Jackson 5 and recorded by dozens of other artists, may be the one most people are familiar with. Now, after a long and enviable career, the singer, songwriter, actor, and minister can chalk up another success, because he is finally releasing his debut jazz album entitled Never Can Say Goodbye. Davis teamed up with Beegie Adiar and her trio for this project. Adair is among the biggest sellers in the jazz genre. With 2 million albums sold and sold out performances internationally, the Beegie Adair Trio is one of the most successful working groups in the world. Also joining Davis are the renowned vocal group Take 6, who backs up Davis on the title tune, and vocalist Monica Ramey, who sings a duet with Davis on “Two for the Road.” Mark Kibble, from Take 6, also adds backup vocals on several tunes. Never Can Say Goodbye comprises three songs penned by Davis, a tune by Adair, and several standards. The album is lush and romantic, burnished by Davis’ smooth, warm voice and Adair’s laid back, virtuosic piano playing. String arrangements add to the music’s dreamy sonority.

Millie Jackson | "21 Of The Best – 1971 to 1983"

Fantastic work from Millie Jackson – a singer so great, it's hard to say that even 21 tracks could make up her "best"! Jackson first emerged at the start of the 70s as a really fresh voice in southern soul – one that was partly tied to the heartbreaking style of the decade before, but who also soon found her voice as a bolder, more self-possessed woman – bridging a gap between weepy soul and unabashed desire that makes her work on this collection so powerful! Producer Brad Shapiro was one of Millie's guiding forces in the studio – and together, they really helped reset the female voice in soul music with these recordings for Spring Records in the 70s – a great lineup of cuts that includes "Kiss You All Over", "Do You Wanna Make Love", "Loving Arms", "Bad Risk", "It Hurts So Good", "My Man A Sweet Man", "Ask Me What You Want", "Keep The Home Fire Burning", "I Feel Like Walking In The Rain", "It's Gonna Take Some Time This Time", "Never Change Lovers In The Middle Of The Night", "All The Way Lover", and "If You're Not Back In Love By Monday".  ~ Dusty Groove

Mistura Pura | "Blue Bus"

Mistura Pura, aka Federica Grappasonni, is as much of a vinyl collector as a producer and musician – and that depth of musical interest really comes through in this double length set! The tracks have lots of elements that draw on styles from the 60s and 70s – but the beats are often quicker, and the overall sound a bit clubbier – yet still has a vibe that's very original overall, and which hardly sounds like easy remix remakes of tracks from back in the day! There's lots of live instrumentation throughout – Fender Rhodes, Hammond, acoustic bass, flute, tenor, and plenty of percussion – all reworked by Federica, who adds in more percussion and keyboards too. Titles include "Midnight For Tommy", "Artistry In Rhythm (Mistura Pura rework)", "Stop Into The Bossa", "Summer Breeze", "Puerto Rican Blues (Mistura Pura rework)", "Street Beat", "African Circles", and "A Prayer For Odara". ~ Dusty Groove

Swedish Keyboardist Mattias Roos and American-Danish Smooth Jazz Star Michael Lington are teaming up on "Bring It Up”

A Scandinavian smorgasbord of the tastiest kind, Swedish keyboard player Mattias Roos has teamed up with Danish American sax-man Michael Lington for a fresh new take on the wonderful “Bring It On” that first appeared on Roos’ 2019 recording “It Goes On and On”.

This vibrant, groove laden and totally memorable number is not only everything that mid tempo smooth jazz should be but also one of four bonus tracks that can be found on a deluxe edition of “It Goes On and On” which was released in October on the Skytown Records label.

As well as “Bring It On” (that is included both as the album version and the radio edit) this deluxe offering also features a stunning high-octane remix of the Mattias Roos composition “Masterpiece” and the brand new never previously recorded “River of Love” that underscores the skill Roos has for fusing smooth jazz grooves with an authentic old school vibe.

Although a solo artist and ‘go-to’ keyboard player for several top-flight Swedish performers, many will know Mattias Roos as a founding member of the band Soweco that he formed in 2011 with drummer Peter Gustavsson. Roos has carried some of that distinctive Soweco sound into what is now a burgeoning solo career but with critically acclaimed projects such as “My Story”, “Movin’ Up” and most recently ”It Goes On and On” he has fashioned an identity that is very much his own.

As for Michael Lington, since relocating to Los Angeles from Denmark in 1990 he has built a reputation for being one of the most soulful sax players in smooth jazz. He is also a tremendous live player and early opportunities in this respect came when he joined Bobby Caldwell’s renowned touring band. He has also performed as part of a sold out, coast to coast Barry Manilow tour and as Manilow himself put it "Michael Lington is one hell of a sax player. He absolutely brought down the house every night.”

As a recording artist Lington’s 1997 eponymous debut set the standard for what was to come and now, ten albums later, he is still essential listening for all those who like their smooth jazz spiced with a modicum of soul

Matt Berninger's Solo Album "Serpentine Prison"

Serpentine Prison, the debut solo record from Matt Berninger—frontman of critically acclaimed group The National—is due October 2. The album, produced by famed Memphis multi-instrumentalist Booker T. Jones will be released via Book Records, a new imprint formed by Berninger and Jones in conjunction with Concord Records. In celebration of the upcoming release—the first on the new imprint—Berninger is premiering the video for the album’s title track today. Directed, shot and edited by Tom Berninger and Chris Sgroi, the video was filmed at Earthstar Creation Center, Venice, CA.

The album features contributions from a wide array of notable artists, including Matt Barrick (The Walkmen, Jonathan Fire*Eater), Andrew Bird, Mike Brewer, Hayden Desser, Scott Devendorf (The National), Gail Ann Dorsey (David Bowie, Lenny Kravitz), Booker T. Jones, Teddy Jones, Brent Knopf (EL VY, Menomena), Ben Lanz (The National, Beirut), Walter Martin (The Walkmen, Jonathan Fire*Eater), Sean O'Brien, Mickey Raphael (Willie Nelson, Bob Dylan), Kyle Resnick (The National, Beirut), Matt Sheehy (EL VY, Lost Lander) and Harrison Whitford (Phoebe Bridgers). Additional production on the album was provided by Sean O’Brien.

Berninger, known for his distinctive voice and expansive live performances, has won praise from NPR Music for his “whiskey-soaked baritone” while Uproxx hails Berninger as “a master class in how to front a band.” According to The New Yorker, “fans of The National have had plenty of time to acclimate to Berninger’s voice, a heady, lumbering baritone, yet it’s worth reiterating its singularity. Listening to it, I often think of a deep-sea diver, weights slung low on his hips, being tugged toward the ocean floor. Berninger uses his instrument in artful and elegant ways.”

“The song ‘Serpentine Prison’ was written in December 2018 about a week after recording The National’s I Am Easy to Find,” Berninger explains about the new track. “For a long time I had been writing songs for movies and musicals and other projects where I needed to get inside someone else’s head and convey another person’s feelings. I liked doing that but I was ready to dig back into my own garbage and this was the first thing that came out.”

Berninger continues, “The title is from a twisting sewer pipe that drains into the ocean near LAX. There’s a cage on the pipe to keep people from climbing out to sea. I worked on the song with Sean O’Brien and Harrison Whitford and recorded it about six months later with Booker T. Jones producing. It feels like an epilogue so I named the record after it and put it last.”

In addition to his duties as frontman of acclaimed rock group The National, with whom he won the Grammy Award for Best Alternative Music Album for 2017’s Sleep Well Beast, Berninger also collaborated with Brent Knopf (Ramona Falls, Menomena) under the moniker El Vy for the 2015 release Return to the Moon. In 2019 Berninger appeared in Between Two Ferns: The Movie and teamed up with Phoebe Bridgers to contribute the song “Walking on a String” to the film’s soundtrack.

The Tibbs | “Another Shot Fired”

Record Kicks proudly present the The Tibbs new album “Another Shot Fired” coming out on CD – LP – Digital November 20th. Recorded at Electric Monkeys in Amsterdam, produced by Paul Willemsen (Lefties Soul Connection, Michelle David & The Gospel Sessions) and mastered in Nashville by Soul veterans Bob Holsen, who used to cut vinyl for Motown back in the day.

“Another Shot Fired” is the second studio album from the Dutch soul combo and introduces a new singer to the project, the young super-talented Roxanne Hartog who penned the lyrics of most of the songs on the album.

On the new album the formula remains the same employed by classic soul record labels like Stax and Motown: a super tight house band, first class production, some wicked arrangments and a signature vocalist. Think- The Marvellets, Booker T and the MGs, James Brown, The Supremes.

From the smashing opener “The Main Course” to the last dark instrumental groover “Circeo” the 12 tracks of the new album prooves that The Tibbs can do no wrong. The sound is vintage, gritty and raw with some extra doses of RNR on the bluesy number “Mama Says” and even throws in some sun soaked reggae vibes in their title track “Another Shot Fired”. Roxanne is perfectly at ease and brings the heat as she sweats her way through each number while the rest of the band deliver their unique super tight blend of garage soul.

Based around Amsterdam, The Tibbs took off in 2012 – fronted by Elsa Bekman – covering a lesser-trodden path, combining special soul classics with rare beat instrumentals. Their increasing popularity quickly led to a natural desire to expand their repertoire, beyond the confines of others’ thinking outside the traditional box and creating their own unique soulful creations.

Working right from the start with producer Paul Willemsen (Beans & Fatback, Lefties Soul Connection, Michelle David & The Gospel Sessions), the first EP “Cleaned Out” debuted in 2014. Later that year, the German funk label Tramp Records released their debut single – “Footprints In The Sand/Cleaned Out”. Two years later, The Tibbs’ first LP, “Takin’ Over” marked their debut with Milan based imprint Record Kicks. The singles “Next Time” and “The Story Goes” received critical acclaim on radio stations throughout Europe and North America and the 45s flew out the door in record time.

The release of “Takin’ Over” delivered the band far richer rewards. Playing sold-out venues in both Milan and Frankfurt. The Tibbs’ profile rose further still with wonderful festival performances in Germany and Hungary, followed by a successful sold-out tour of Spain. In late 2018, Elsa decided to follow her heart and focus on a solo career. The Tibbs duly began their search for a truly worthy successor, bringing astonishing vocalist Roxanne Hartog and the band together for the first time.

With new recordings in the bag and a great new album about to be released, The Tibbs are once more ready for lift off.

DW3 | “DW3”

To borrow from a classic quote about the late great James Brown: DW3 is today’s hardest working band in soul business, working fans into a dance and romance frenzy with their R&B, old school funk, jazz and Latin-fired magic via a whirlwind of nearly 250 live performances a year throughout the U.S. and beyond.

Since 2003, brothers Eric and Billy Mondragon and close family friend Damon Reel have set the high energy mood on cruises (Smooth Jazz Cruise, Dave Koz Cruise, Soul Train Cruise & 80’s), at jazz festivals, showrooms and clubs, including hundreds of performances at their longtime home base of Spaghettini in Seal Beach, CA. They also played a key role on Dave Koz and Friends’ Grammy nominated Summer Horns project.

With four Billboard charting hits – including “I Got You” (featuring Gerald Albright) and “Let the Music,” “I Can’t Tell You Why” and “California Dreamin’” from their hit 2013 & 2015 albums On the Floor & Vintage Truth – DW3 have also established themselves as a popular national recording group. The three chose to self-title their latest Woodward Avenue Records recording to reflect the culmination of their steady and inspiring evolution from ultimate, first call party band to multi-faceted artists, songwriters and producers fulfilling their own singular musical vision.

While their previous albums were produced by greats like Paul Brown (On the Floor, 2013) and the late Ricky Lawson (Vintage Truth), DW3 marks a major breakthrough as the first time Eric (vocals, keyboards), Billy (vocals, percussion) and Damon (vocals, engineering, editor) have helmed an entire project themselves. Since the release of Vintage Truth, the group has spent their rare down time from the stage building their own state of the art recording studio (complete with rehearsal space and a listening room) in El Monte, CA with the help of the Rico Caudillo, owner of ESS Labs, a prominent headphone and speaker company DW3 endorses.

To help them flesh out their vision, they invited high-octane urban jazz power to the mix with guest saxmen Boney James, Richard Elliot and Eric Darius and some of the world’s biggest studio guns. These include Bryant Siono (bass, guitar), Steve Carias (bass, keys, drum programming), Charles Streeter (drums), Carnell Harrell (keyboards), Rick Marcel (guitar), Brandon Brown (bass), Bobby Avila (harmonica, guitar, bass) and the three piece C-town Horns. Siono, Carias, Streeter and Harrell also served as co-writers and/or co-producers. The project also features a guest lead vocal by R&B Soulstress Rebecca Jade. Along with Rocky Padilla, co- producer of “Straight from the Heart” and Eric’s son Eric Mondragon, Jr. co-engineering.

“We’re really excited about this album,” Damon says. “It took a lot of hard work and perseverance to get this amazing studio up and running and dive into the process. We’re grateful for everyone who worked with us to get us to this point. After years of being known just as a “Party Band” On the Floor was our intro to the Smooth Jazz world and earned us a lot of respect from that community. Ricky’s production on Vintage Truth took us to the next level, and now we’re able to take our artistry even further as writers, producers and arrangers.”

“Sonically, our concept was to capture the same types of vibes we convey onstage,” Billy adds. “We’re a high energy live ensemble that also love lush, sensual ballads, and we kept that in mind when we were recording these new songs. We’ve had a lot of success with covers, and when we do our cover tunes, we’re all about the 70’s, 80’s and early 90’s, and our original material captures those eras with a fresh flavor. The album’s got a lot of grooving dance beats with some cool, smooth stuff in there to create the perfect balance. Our challenge was to integrate our old style with a fresh new sound and contemporary melodies. We still love doing classic songs, but the whole point of composing is to draw from those influences to move forward creating our own unique flow.”

The set list for DW3 offers a perfectly artful balance between smooth, seductive ballads and up- tempo dance/funk jams. If you’re in the late night, slow swaying candlelight zone, the band’s got your number with the silky and sensual, blues tinged ballad “Like There’s No Tomorrow” (featuring Rebecca Jade) the hypnotic, slow simmering “Your Body” (featuring a silky solo by Boney James), the sexy and sultry “Groove With You” (also spotlighting Jade), and two compelling versions of DW3’s re-imagined Con Funk Shun classic “Straight from the Heart” – the second a stripped down, nearly a capella version featuring DW3’s sparkling vocal harmonies and the passionate sax intensity of Eric Darius. When you’re ready to groove, hit the 80’s spiced, synth-funk driven “Now That I’ve Found You,” the spirited, high octane party anthem “Let’s Have Fun Tonight” (featuring Richard Elliot on sax and EWI), and “Never Gonna Stop,” which Billy calls the band’s “El DeBarge meets Michael Jackson with a new hip, fun flavor to it.”

Hailing from East L.A, California and growing up in the Los Angeles areas of El Sereno and Lincoln Heights, Eric and Billy began their musical careers in high school by playing club dates with their parents; their father is a bass player, and he and their mom are singers. DW3, an outgrowth of that original family band, which took the Mondragon’s sound and professionalism to the next level, has been an evolving collective of musicians since then. Damon, born in South Central L.A, also had musical influences by his parents. His mother and father have been playing and singing in the church for over 40 years. The core (Down With 3) members since 2003 are Eric, Billy and Damon. They became an integral part of the contemporary Urban Jazz scene in 2004 when they played on the first Warren Hill Smooth Jazz Cruise and were subsequently booked as resident performers at Spaghettini. Their first independent album release was Live at Spaghettini (2006), which they followed in 2008 with Life, Love and Music.

While performing everywhere from the Newport Hyatt Jazz Festival, Mallorca Jazz Festival Brian Culbertson’s Napa Valley Jazz Getaway to Bagdad, Iraq for the US troops. DW3 has expanded their harmonic horizons performing with and singing background for numerous jazz and R&B legends and popular contemporary artists including, Marcus Miller, Brenda Russell, Patti Austin, Bobby Caldwell, Sheila E, Jonathan Butler, Jody Watley, Brian McKnight, David Pack, Evelyn “Champagne” King and the late great George Duke.

“We are so blessed to have worked with so many incredible artists and musicians over the years,” Damon says, “and that continues on our new album with Boney, Richard, Eric, J. Lo’s drummer and bass player and guitarist who have played with The Jacksons, Kool & The Gang and many others. The three of us are particularly proud of this new album because it was a homegrown effort, with all songs joining together to form a cohesive vision while also having its own thing.”

Billy adds, “I love all the different styles we’ve got. Sometimes when you listen to full albums, you’re hearing the same thing over and over, but here, we’re still interested from one song to the next. It’s definitely not the same old thing. Echoing his band mates, Eric says, “That’s why we wanted so much variety and chose only the best of all the songs we had. We wanted to keep everyone as excited listening to it as we were recording it. So many artists these days only release individual tracks or EPs with streaming in mind, but we’re fortunate to have the opportunity to provide full length CDs to our fans and totally embrace the old school charm of a full-on album project.”

New Music Releases: Takuya Kuroda, Bootsy Collins, Jeff Ellwood

Takuya Kuroda | "Fly Moon Die Soon"

A fantastic chapter in the continuing evolution of trumpeter Takuya Kuroda – a great musician who's got equal parts jazz and soul in his makeup, and who serves up sounds with a nicely cosmic vibe! The set's funky at times, soaringly soulful at others – almost as if Takuya's trying to compete with the CTI 70s spirit of Freddie Hubbard, but with a vision that's all his own – a style that makes Kuroda one of the best of the new generation of genre-breaking soul jazz players who've sprung up in the wake of the Robert Glasper generation – always brimming over with new ideas and fresh styles! The set features vocals on a few tracks by Corey King – a great singer who's a great match for the sonic qualities of Kuroda – and other musicians include Craig Hill on tenor, Takeshi Ohbayashi on keyboards, and Takahiro Izunmikawa on Fender Rhodes – on titles that include "Moody", "Fade", "TKBK", "Fly Moon Die Soon", "Do No Why", and nice remakes of "Tell Me A Bedtime Story" and "Sweet Sticky Thing". Japanese CD features a bonus remix track!  ~ Dusty Groove

Bootsy Collins | "The Power Of One"

The Power Of The One is Bootsy Collins’ new album. Produced, written and arranged by Collins, it began before the pandemic at Sweetwater Studios and was completed during lockdown at his own Bootzilla Studios in Cincinnati. “In these tragedies and in these storms is when the most beautiful messages can come out,” says Bootsy. “You also realize you can’t do everything on your own. We need each other. One Nation under the groove.” Includes: Funk Formula 1; The Power Of The One; Slide Eazy; Creepin'; Jam On; Lips Turn Blue; FUNKSHIP Area-51; Bewise; Soul Not 4 Sale; Club Funkateers; WANTME2STAY; FUNKTROPOLIS; Wishing Well; Bootsy Off Broadway; STARGATE; and Stolen Dreams.

Jeff Ellwood | "The Sounds Around The House"

Known as a consummate improviser with a compelling approach to the tenor saxophone, Jeff Ellwood has earned the respect and admiration of the heavyweights in the Southern California jazz community. Pianist Alan Pasqua has said that Ellwood “is one of my favorite tenor saxophonists on the planet," while Grammy-winning pianist Bill Cunliffe says that Ellwood “is his own man who always brings a fresh perspective to any project." Although Ellwood appears on at least a dozen CDs and has performed on stage with Tony Bennett, James Moody, Joe Zawinal, Randy Brecker, Christian McBride, and Stevie  Wonder, to name just a few, he had never released an album as a leader despite the urging from fellow musicians and fans. It took a promise to a dying friend for Ellwood to release The Sounds Around The House, his debut CD. The compositions are all of recent provenance by contemporary composers except for the title track, “The Sounds Around the House,” by Alec Wilder. Ellwood gathered some of the top West Coast jazz players for this album, and the level of musicianship on The Sounds Around The House is first class. Each of the players is a world-renowned leader in his own right. It is a level of musical excellence that befits a debut CD for a jazz artist as creative and inventive as Ellwood.

New Music Releases: Robert Glasper, Brandi Disterheft Trio with George Coleman, Ada Bird Wolfe

Robert Glasper | “Dillalude Suite” (2020 Japan Record Day Release)

A really special record from Robert Glasper – as you might guess from the reference to J Dilla in the title! The record is just an EP, but it brings together some of Glasper's hippest moments of the past few years – as the set features the three part "J Dillalude", with Robert on piano, Vincente Archer on bass, and Damion Reid on drums – acoustic instrumentation, but given a very strong inspiration from hip hop – with lots of crackling beats, and spare piano that gets nicely spaced out in the production! There's also a great blend of two cuts from Herbie Hancock and Radiohead – "Maiden Voyage/Everything In Its Right Place" – again with the trio, but done with energy that's very much in the world past jazz that Glasper was reaching right from the start! ~ Dusty Groove

Brandi Disterheft Trio with George Coleman | "Surfboard"

"The cover's got a great look on the front – and the album's got a great sound within – surprisingly bold basswork from Brandi Disterheft on the album's leadoff version of the bossa groover "Surfboard" – then a mix of modes on a nice variety of tracks – some of which feature Brandi on vocals, and a few with some excellent guest tenor from the great George Coleman! The rest of the group features Klaus Mueller on piano and Portinho on drums – the latter of whom creates all these criss-crossing rhythms with the bass that are really wonderful – complex, but organic, and really keeping the upbeat tunes crackling nicely. Titles include "Portrait Of Petro", "Surfboard", "Coupe De Foudre", "Manhattan Moon", "Nana", "Pendulum At Falcon's Lair", and "Del Sasser".  ~ Dusty Groove

Ada Bird Wolfe | "He & Me"

He & Me, the newest project by singer and lyricist Ada Bird Wolfe, is a duo album featuring the esteemed pianist and arranger Jamieson Trotter performing jazz standards and original tunes. He & Me follows Wolfe’s 2018 release, Birdie, named one of the top 10 albums of 2018 by C. Michael Bailey in All About Jazz.  Dick Metcalf of Contemporary Fusion Reviews called Birdie "a superb jazz vocal adventure." And Dodie Miller-Gould of Lemonwire said: "Birdie is a joyous compilation of songs that shows off the singer’s vocal range and scope of moods." Wolfe has a rich, alto voice with a warm, intimate timbre. She eschews melisma and vocal gymnastics to tell her stories through inventive phrasing and subtle variations on melody. Trotter is a first-call accompanist for vocalists who are serious about their craft.  He possesses an expansive musical vocabulary and the ability to listen closely and react with his own imaginative turns of phrase. He and Me provides a glimpse into the creative process of two musicians whose tastes and aesthetics are completely in synch. They build tunes organically by listening closely to one another and weaving tapestries of sound that create new and unexpected aural images.

New Music Releases: Dave Koz, Peter Leitch New Life Orchestra, Max Haymer

Dave Koz | ”A New Day”

With every producer and participating musician contributing while quarantined, Dave Koz’s multi-faceted album A New Day – his first set of original songs in ten years, marking 30 years since his self-titled debut – is extraordinary on every level, musically, technically and logistically. Flush with creativity in the months before COVID-19, he adapted to the new norm, joining forces with a cadre of greats – including first time collaborators David Sanborn, EWF percussionist Ralph Johnson, Meshell Ndegeocello, David Mann and Vulfpeck’s Antwaun Stanley – to build bridges from gentle wistfulness to bursts of optimism. The result is most purposeful, empowering and exhilarating musical statement of his career. ~ smoothjazz.com

Peter Leitch New Life Orchestra | “New Life”

Diagnosed with stage 4 lung cancer in 2012, Peter Leitch was forced to give up a decades long career as a a guitarist and band leader because of his treatment. Although he is unable to play his instrument, he is still driven to create music. Leitch has re-invented himself as a composer, arranger, and director of a 15-piece orchestra. Celebrating this transformation, he has released New Life, the debut, 2-disc recording by the eponymous Peter Leitch New Life Orchestra. It took Leitch two years to compose, arrange, and orchestrate the 17 pieces that comprise this project. In search of a personal voice in writing for a medium-sized ensemble, he was looking for something that sounded like a bigger band but had the freedom and looseness of a small group. The 2-disc set corresponds to 2 sets of music in a club or concert. Although Leitch misses the in-the-moment aspect of being an improvising musician, he has found a new outlet for his endless creativity. His original melodies range from hauntingly beautiful to classically inventive to playful. His orchestrations also have a wide range of colors and textures, from dense and dissonant to light, airy and contrapuntal. His music is fun and challenging for the musician, but more fun for the listener to absorb it all.

Max Haymer | “Whirlwind: Live At Sam First”

Pianist and composer Max Haymer’s newest release as a leader, Whirlwind: Live At Sam First,  is a testament to his muscular, inventive playing style and his gift for creating sophisticated, dramatic compositions. Whirlwind follows his 2008 release, Pickpocket Witness, a production of all original tunes. It has taken 12 years for Haymer to release this new project because he’s been so busy touring as a longtime member of Arturo Sandoval’s band as well as leading his own popular trio and acting as West Coast accompanist for singer Jane Monheit. Haymer is an athlete and attended UC Irvine on a soccer scholarship, where he spent four years playing Division 1 soccer. His approach to the piano reflects his athleticism. While Haymer’s  approach to playing the piano embodies his innate physicality, his aesthetics have been largely influenced by his years with Arturo Sandoval. Whirlwind was recorded live, before the pandemic shut down live shows, at Sam First, an L.A. club known for world class modern and straight-ahead jazz. Haymer and his trio have performed there many times over the years, and he thought it was the perfect place to capture the energy of a live performance. WHIRLWIND is a high energy album that befits its title. The album comprises six original tunes by Haymer and three standards. For Haymer, music is a dramatic art, where conflict and passion are expressed in a narrative framework. Whirlwind is a series of stories brought to life by three A-list musicians.

New Music Releases: Adrian Younge & Ali Shaheed Muhammad with Azymuth, James Saxsmo Gates, Jules Hay

Adrian Younge & Ali Shaheed Muhammad with Azymuth | “Azymuth: Jazz Is Dead 4”

A fantastic combination of funky grooves – the studio talents of Adrian Younge & Ali Shaheed Muhammad, and the Brazilian-tinged fusion of the legendary Azymuth! The jazzy trio are in great form here – tunes that are lean, and which really offer up all the best aspects that the group brought to their music back in the late 70s and early 80s – spun with a slightly different format by the lineup of Alex Malheiros on bass, Ivan Mamao Conti on drums, and Linklon Kiko Contentino on Fender Rhodes and keyboards – but handled perfectly by Adrian and Ali in the studio – with just the right sort of sound to avoid some of the slicker production that the group had on some of their other American recordings from years back. All tunes are new originals – and titles include "Pulando Corda", "Friendship Samba", "Apocolyptico", "Cat Jump", "Fall Afternoon", "Ao Redor Do Samba", and "Sumare". ~ Dusty Groove

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

Jules Hay | “From London To Little London”

British jazz fusion guitarist Jules Hay follows his passion for Brazilian music from his home in London, UK, to the Brazilian city of Londrina – aka ‘Little London. Immersing himself in the local music scene, his collaboration with the musicians there was captured across several days at 3 em 1 studios and was released on the 17th July.The set of 10 original compositions bring together infectious Brazilian rhythms and grooves with a modern jazz fusion sensibility. In Thiago Ueda (keys), Diogo Burka (Bass), Roger Aleixo, Elthon Dias (drums) and Duda de Souza (percussion), Jules has brought together 5 in-demand musicians from the Londrina scene who add their own joyful playing and improvisations to the proceedings. Originally slated for March 2020 as an 8-track release, Jules took the opportunity of being locked down in the city to compose and record 2 bonus tracks for the album. From London to Little London is an uplifting journey for fans of fusion and Brazilian music alike.

New Music Releases: Spiritual Jazz 13, Dee Lucas, Zbonics & Nigel Hall

Spiritual Jazz 13: NOW! - Modern Sounds for the 21st Century

The first 12 volumes of the hugely popular Spiritual Jazz series have unearthed a wealth of historic recordings in the genre, collating a variety of works from the ‘50s to the ‘80s by artists from all around the world. And so, with Volume 13, the attention is turned to what’s happening NOW. Over the course of 24 tracks and spanning 2 x 2LPs, the Spiritual Jazz series we presented an overview of the contemporary exponents of Spiritual Jazz; musicians who are intent on bringing something personal to the table, as much as they recognize the importance of those who have paved the way for them. It featured music recorded within the past 20 years and from 15 different countries, including modern

classics from veterans Steve Reid and Idris Ackamoor, providing a vital link between the past masters and the enlightened new generation. It’s pioneers such as John Coltrane, Sun Ra, Pharoah Sanders et al, with their innovations in reaching another plane of consciousness that was and remains uppermost in the minds of exponents of Spiritual Jazz. Fittingly, several of the artists featured on this compilation, such as Cat Toren and David Boykin, are practitioners of the art of music therapy and sound healing, and have absolute conviction in the role of song as solace. The pioneers may no longer be with us, but their saintly selves loom large, shining a light in the darkness, inspiring many a brave new disciple today, as this album will testify: the new wave of jazz is gathering pace and still sounds fresh, vibrant and as relevant as ever.

Dee Lucas | "The Time Is Now"

The bio page of Dee Lucas’ website boldly declares “The Rebirth of Smooth Jazz” – and anyone who’s been following the sonically inventive, continuously grooving saxophonist since his emergence in 2004 knows his vibe is always on the cutting edge. That trailblazing streak continues on his latest EP, The Time Is Now, which balances balmy, easy flowing vibes and fiery, high impact pairings with bassist Darryl Williams, pianist George Freeman and guitarists Blake Aaron and David P. Stevens. Helping bring Lucas’ fresh licks and infectious melodies are two of Smooth Jazz’s top producers, Adam Hawley and Lew Laing, Jr. We predict that the time is Now for Dee Lucas… and once the festivals return, he’ll be in demand! ~ smoothjazz.com

Zbonics & Nigel Hall | "Eternal Blues"

Zbonics create a sonic staycation on the soul side of town in “Eternal Blues.” Enlisting Nigel Hall as their co-pilot, Zak Najor tapped into the archive of songs he and Karl Denson penned in 2004 and found the sentiments to still resonate in present times. The journey takes listeners into the realms of the dreaded “friend zone” and speak to coping with the fear and pending rejection lingering around the corner. Production-wise, the song will teleport the audience back to the 80s with rotund, but tight production; AC/DC-esque drums; and the polished, natural swagger of Prince. This is the third single off of the group’s upcoming record ‘Keep On Walking’ to be released on Color Red in early 2021. Najor's studio project finds himself corralling old friends and musical comrades for tunes rich in collaboration stacked with heavy-hitting rosters of musicians. In addition to Hall, "Eternal Blues" features: Karl Denson (saxophone), Cochemea Gastelum (saxophone), Robert Walter (electric organ & synthesizers), Brian Teel (talkbox, bass), Brian Jordan (guitar), Chris Stillwell (baritone guitar), and more. Zbonics will release their second full-length record 'Keep on Walkin' on Color Red in February 2021. 

Billy Childs | "Acceptance"

There have been two hallmarks—standards, if you will—that have been a part of every Billy Childs album. The first is the journey he’s traveled as a composer. He has always written music and to great acclaim: he has received five GRAMMY® Awards and 16 nominations, many for composition and arrangement. Presently in continual demand for symphonic and chamber commissions, he has also innovated a collection of compositions for jazz instrumentation and strings that is unique in the American music lexicon: a genre he refers to as jazz/chamber music.

But for the second hallmark, Childs has always been a player, too—having cultivated his jazz voice in the working bands of trombonist J.J. Johnson and trumpeter Freddie Hubbard. “On my first Mack Avenue recording, Rebirth (Childs’ 2017 album on Mack Avenue Records which won a GRAMMY® Award for Best Jazz Instrumental Album), I wanted to return to a focus on my jazz piano playing,” Childs states. “Acceptance is an extension of that, and the musicians make it very comfortable for me.” Childs thrives on group improvisation and has recruited fellow master musicians—saxophonist Steve Wilson, bassist Hans Glawischnig and drummer Eric Harland—as the core ensemble for this collection: Acceptance. Elena Pinderhughes on flute; vocalists Alicia Olatuja, Aubrey Johnson and Sara Gazarek; and percussionists Rogerio Boccato and Munyungo Jackson complete the stellar lineup on this recording.

Growing up in a household replete with eclectic musical recordings—in fact, during a time (the 60s and 70s) in Los Angeles’ culture which was rife with musical diversity—Childs’ musical influences are wide ranging. One of the genres that connected with Childs early on was Brazilian music; his parents had records by Antônio Carlos Jobim and Stan Getz, João Gilberto, and Sérgio Mendes and Brasil ’66. It is on these recordings that Childs first heard the songs of Brazilian composer Dori Caymmi, with whom he later became close friends. “Dori’s a big influence on my writing,” he stresses, “so I wanted to dedicate this song to him.” “Dori” is a samba, utilizing Baião and Partido Alto rhythms.

The title piece on this album is a contemplative, poignant track, which slowly builds in affirmation before a quiet piano resolution. By this point in his life, Childs has seen his way through some major life transitions, including the loss of his parents. Considering his musical contemporaries, he wistfully notes, “A few of us have passed away, or are about to pass away. But I’ve learned that healing only comes when you accept what has happened.” That kind of self-awareness and wisdom only comes with age and experience. As Childs has noted elsewhere, acceptance does not mean resignation.

Leimert Park was a fountain of musical inspiration in the 1990s. “You could go down there any Saturday night and hear poets, rappers and jazz—at 5th St. Dicks and the World Stage. That place was alive!” Childs acknowledges the experience in “Leimert Park,” which he composed with bassist Paul Jackson and drummer Mike Clark, the innovative and groundbreaking rhythm section on Herbie Hancock’s “Thrust” in the early 70s. “Paul played a really funky 4/4 bassline,” he notes, “and Mike put down that broken Oakland rhythm against it.” That ultra-funky feel was recaptured beautifully by Eric Harland and Hans Glawischnig, on this track, which also features Munyungo Jackson adding a great conga pattern that gives the tune an African and urban sound.

“Do You Know My Name?”—a meditation on human trafficking—is a Childs song. “I tend to think of it as lieder,” he points out, “or as an excerpt from a larger work, like an opera or an oratorio. Alicia Olatuja was incredible in her interpretation of the piece. Her deep connection with the words, combined with virtuosic training on her instrument, made her able to perfectly communicate the silent anguish and pathos of the character in this human trafficking story.”

Childs first heard the Gershwin standard “It Never Entered My Mind” from his close friend, Mulgrew Miller, who was playing it, at the time, in a small Glendale club called Clancy’s Crab Shack. “What Mulgrew played on the tune was so beautiful, I knew I had to learn it,” he relates. “So, I to asked him to show me the tune after the show, which he graciously did; we were like brothers. Now every time I play this song, I think of Mulgrew.”

A Langston Hughes poem inspired “Quiet Girl,” which Childs recorded on his first album, Take For Example This…. “If you want to understand my career,” he reveals, “how I developed and arrived at my jazz chamber music concept, my first four Windham Hill Jazz albums are an excellent document of that journey. It’s a shame that these recordings are out of print and not easily accessible because that means that a large gap of my recording history is essentially deleted. So, it’s great to get an opportunity to recast songs like ‘Quiet Girl’ and ‘Twilight is Upon Us’ in a new light.”

“Twilight is Upon Us” is a piece which has many influences, from Egberto Gismonti to the Mahavishnu Orchestra, but the most profound influence was the Pat Metheny Group, specifically Lyle Mays. Childs heard the Pat Metheny Group in 1989 and was stunned at the well-conceived pieces and the tremendous improvisation. “It changed my whole concept,” Childs states. “I decided I wanted to achieve, in my music, that deep connection with the audience which Metheny and Lyle Mays did that night. So, I started writing pieces which explored longer forms, with more layered counterpoint and sonic environments. One of the first was ‘Twilight is Upon Us.’ Years later, I was playing at the Jazz Standard in New York, and Aubrey Johnson, who is the featured vocalist on this track, introduced herself as a singer who appreciates my music. Turns out, she’s also Lyle’s niece, so the history of ’Twilight is Upon Us’ comes full circle.”

“Oceana,” the improvised piece that concludes the album, is a study in simultaneous group composition. “A narrative kind of evolved, as we were recording the improvisation, which had to do with the ocean. Steve started us off with the whale sounds, and we just followed that cue and ended up painting a picture about the sea.”

Shanachie Entertainment Announces Signing Of Multi-Instrumental Wiz Kid Justin Lee Schultz

13 Year Old Prodigy To Be Joined On November 2020 Recording Debut By Bob James, Harvey Mason, Najee, Jonathan Butler, Gerald Albright, Pieces Of A Dream & More

Born in Johannesburg, South Africa and based in Durham, NC, musical wonder-kid Justin Lee Schultz is the good news you did not even know you needed. He is joy personified. The multi-instrumental wizard who has dazzled audiences on TV shows Harry, Little Big Shots and American’s Most Musical Family, is a prodigy in the fashion of his idols Stevie Wonder and Herbie Hancock. His talent is exceptional not merely because he is young but also due to his melodic, harmonic and technical maturation. While his peers are learning the latest Tik Tok dances and amassing kills on Fortnite, Justin prefers studio time and woodshedding for hours. While social distancing has most people jamming at home with their families, Justin has literally been jamming with his musician father and bassist Julius and 16-year-old sister and drummer Jamie-Leigh. “Music brings me joy because I can express myself when I play. I can also get creative when I’m improvising,” shares the amiable, cherub faced and charismatic 13-year old who has aspirations to one day share the stage with Wonder and Herbie Hancock, as well as Bruno Mars, Charlie Puth, Jacob Collier, Cory Henry and Robert Glasper. Justin, who plays piano, guitar, bass guitar and talkbox, devotes five to seven hours each day to his musical craft. His anticipated Shanachie Entertainment debut will be released November 2020.

Shanachie VP of Jazz A&R Danny Weiss, who was instrumental in producing another young prodigy, the pioneering jazz-fusion guitarist Larry Coryell states, “The words prodigy and genius do not do him justice. The warmth, the maturity, the feel, the brilliance... these are qualities that only a handful of artists can hope to attain, regardless of their age.” Justin Lee Schultz’s anticipated label debut will unite him with some of the biggest names in contemporary jazz including Bob James, Harvey Mason, Najee, Gerald Albright, Jonathan Butler and Pieces of A Dream, among others. Justin also welcomes his friend and fellow prodigy, youthful Brazilian bassist Michael Pipoquinha on a track, and his sister, drummer Jamie is featured on four tracks. While Justin and his father share the producer hat for much of the recording, they did enlist help from such heavyweights as Jeff Lorber, Paul Brown and Kim Waters, who lend their Midas touch and perfectly showcase Justin’s dazzling talents.

Within 30 seconds of experiencing Justin in his musical element, it is apparent that he was born with a gift. His father Julius shares, “When Justin was five, I called him and Jamie up on stage together to play at one of my concerts. It was then that I knew I had something special. It wasn’t my intention for my kids to play music, but when they showed interest and started playing and showing incredible potential, I knew I had something special on my hands. Every time I hear them play, I’m super proud.” Justin cites his dad as his main inspiration. “God blessed me with my musical gift but my dad guided me and nurtured it!” he says.

With a new CD on the way, Justin Lee Schultz has high hopes. “The ultimate dream is to win or even get nominated for a Grammy!" exclaims Justin. “I also hope that I can give people feel joy and happiness when they listen to my music!”

R&B-jazz singer-songwriter Selina Albright makes a powerful statement against social injustice

Like so many Black people, R&B-jazz singer-songwriter Selina Albright is tired and her fatigue has nothing to do with becoming a mother for the first time earlier this year, which was the subject of her latest single to hit the charts, “Discovering.” No, Albright’s exhaustion and discouragement stems from “seeing videos of my brothers and sisters dying in cold blood, their deaths rooted in misplaced fear, their murderers allowed to live freely.” She cowrote and coproduced her forthcoming single, “Holding On,” to call out social injustice and the urgent need for reform. The single dropped October 16 and will be promoted at urban adult contemporary and smooth jazz radio formats.

Musically, “Holding On” is an anthemic, multi-genre aural quilt sewn from soulful R&B heart, modern jazz progressions and tones, dramatic rock changes punctuated by drummer James “JRob” Roberson, and ethereal pop vocal harmonies. But it’s the song’s subject matter and lyrical content that is radically new and different for Albright, who has etched her place on the urban-jazz scene with intimate love songs and autobiographical confessions such as those contained on her 2017 debut album, “Conversations.” Her most piercing and provocative cry in “Holding On” is when she passionately repeats “Burn it all to the ground.”

“I frankly find it exhausting and infuriating to see ongoing evidence of oppression without much change. And because writing music is a therapeutic outlet for me, I couldn’t help putting pen to paper about my struggle to maintain hope for the freedom of my people - real freedom to pursue happiness, be our beautiful selves, and to live fully as is our inalienable right. Instead, our rights are seen as privileges by those who work to prevent the impending moment when Black people truly know our strength,” said Albright who wrote the song with her coproducer Chris “Big Dog Davis, David P. Stevens and Kayta Matsuno.

Although “Holding On” is a song that captures present life for Black Americans, its origins date back to a November 2017 recording session between Albright and guitarist Stevens. Stevens awoke with the chord progression in his head and played it for Albright when she arrived in the studio.

“The lyrics were originally written to bring hope and consolation to people with emotional health disorders because at the time, suicides were hitting close to home. Something in my spirit told me not to release the song yet. Since then, the United States has been exposed around the world for its social injustice, the roots and workings of which are so well hidden and indulged by a small fraction of our nation, but whose disadvantages are felt by multitudes,” said Albright, who plans to release an accompanying video for “Holding On.”

As usual, Albright found a way to incorporate her own experiences into the lyrics. After having a series of discussions with friends about their similar experiences of being Black in America, she revisited the song’s lyrics in order to make them more specific to Black people and the fight for social justice.

“I remember the first time my parents told me that because I’m Black, I'd have to work twice as hard as my non-Black peers to accomplish the same result. They also taught me how to dress and behave when certain people were present so that the police wouldn’t be called, and I wouldn’t die. Wouldn’t die! They said my smile and ‘proper’ dialect would be my protection. I’m glad I was warned because the same has been true even in my adulthood. There’s really nowhere to run from it,” said Albright, the daughter of multi-time GRAMMY nominated saxophonist Gerald Albright.

Ultimately, Albright would like to see her message in “Holding On” become obsolete, a dark and distant memory of the past before “we started over using our spirit of power, love and sound minds” to prevail over systematic racism.

“Black people are being herded around the country like cattle, our culture and excellence exploited, rather than kept sacred. We are being poisoned by processed scraps of food, and then given the lowest quality of healthcare. I see many of us losing steam. We can’t afford to do that. We must continue to find the strength to keep holding on until the whole world knows that at the very least, we matter.”

https://selinaalbright.com

Pete Josef's sophomore album "I Rise With The Birds"

Five long years have passed since Pete Josef’s debut album “Colour” caused a sensation worldwide amongst music lovers and critics alike. Since then, it’s hardly surprising that his steadily increasing fan base has been awaiting its follow up impatiently. “I Rise With The Birds” will be released in October on Sonar Kollektiv and one can say without doubt that the wait was well worth it. From the very first note of melody and right up until the last fades away, the album’s ten tracks pave a golden hour with food for thought about life’s ups and downs.

The blue-eyed soul singer from Bristol has come to be a well-respected multi-instrumentalist and producer over the years by elegantly merging jazz, soul, pop, and electronic music and collaborating with Manu Delago, Rag’n’Bone Man and Roni Size among others.

Taking all of the production reins himself, he brings in long-time Bristol collaborators John Pratt and Ben Plocki (saxes), Nick Malcolm and Gary Alesbrook (trumpets), Rory Francis and Justin Fellows (drums, percussion), Roshan ‘Tosh’ Wijetunge (double bass), Luke ‘Typesun’ Harney (drums) and of course, the voice of honey that so complimented Josef’s vocal on ‘Colour’ and beyond, Marie Lister.

Most featured perhaps are Barney Sage (drum kit); the rhythmic backbone behind six of the ten tracks, and the virtuosic Austrian string players that provide so many highlights throughout; Bernie Mallinger (Violin, Viola) and Clemens Sainitzer (Cello). Notable contributions also come from new-found musical inspirations, Blythe Peppino (vocals), Bill Banwell (bass) and Miguel Andrews (drums). The result is a work of utterly beautiful, layered compositions with lush orchestral arrangements, subtle electronic textures and heartfelt performances.

Throughout “I Rise With The Birds”, placid and jaunty moments balance each other perfectly. There is a broad and grand sense of scale to these songs but they never lose the intimacy or devotion we’ve come to expect from Pete Josef. Launching with “Night Eyes”, the opening provides a wake-up call after a seemingly never ending night. On tracks such as the beautifully melodic “This Sun”, Pete's soft vocals flow effortlessly over a soulful river of sound to provide a perfect ambience for hazy summer escapades. Dancefloor-ready tracks like “Giants” or “Mainframe” (the latter co-written by Alex Barck from Jazzanova and Sebastian Damerius) shift the dynamics and put this incredible album's versatility on full display. While songs like “Friend On The Line”, “Lavender” or the bittersweet “Snatching Time” confirm that this is his most accomplished piece of work to date, Pete Josef's pedigree as a singer-songwriter comes into full bloom.

GRAMMY Winning Guitarist Lee Ritenour Announces 'Dreamcatcher,' His First Studio Album in Five Years

On December 4th, GRAMMY winning guitarist Lee Ritenour will release ‘Dreamcatcher,’ his first studio album in five years. Weaving tapestries of instrumental guitar and conjuring eclectic moods, the 12 tracks of 'Dreamcatcher' rank amongst the most melodic and tinglingly beautiful in Ritenour’s catalogue. But there’s a power and purpose here, too, hinting at the darker circumstances that sparked this new record. “Our house and my studio in Malibu, California burnt down in 2018,” Ritenour recalls. “About 100 of my guitars went up in the fire, plus 40 amps, lots of music, the history of my whole career, pretty much. A week after the fire, I went to the hospital, which I’d never had to do before, for surgery to replace an aortic valve. So those incidents and the support from my family and friends absolutely went into this music. Making this record was a life-saver for me.”

For Lee Ritenour, there aren’t many ‘firsts’ left to achieve. During his dazzling five-decade career, the fabled LA guitarist has taken his music to the outer limits, alighting on every genre and occupying every position in the rock ‘n’ roll firmament. He’s been an enfant terrible of ’70s fusion, a crossover star of the ’80s pop chart, an honorary exponent of Brazilian jazz, and the fingers behind ’90s supergroup, Fourplay. Ritenour’s accolades include: 45 albums,16 Grammy nominations, Alumnus of the year at USC, Los Angeles’ Jazz Society Honoree (2019), plus thousands of sessions with legends such as Frank Sinatra, Pink Floyd, B.B. King, Tony Bennett, among others.

And yet, when he checks the rear-view mirror, the 68-year-old acknowledges he’s never made a record like 'Dreamcatcher.' “People have been telling me for years: ‘Rit, you gotta make a solo guitar record.’ In the past, I’ve always been the band guy, the ensemble guy, the collaborative-guitar-player guy. So this was the one project I hadn’t done. And this year, I knew it was time.”

'Dreamcatcher' might have been born from personal challenges, but the record took shape against the global tragedy of COVID-19. Ritenour had already written several key tracks before shutdown. But as he settled into the makeshift studio at his new home in Marina Del Rey, equipped with little more than seven guitars, a computer interface and good intentions, the guitarist let the context flood into the music he was tracking. “It was an important album for me,” he notes. “Especially now, with everything going on in the world.”

Even without lyrics, every track tells a story. Take the molten blues licks of “Abbot Kinney”, named for the fabled boulevard in Venice, California. “One day when everything was shut down,” says Ritenour, “I drove my bike there and was just devastated to find it completely empty. But then I heard this rock guitar start up. I don’t know if it was a kid, but somebody nearby had just turned it up to 10 and said, ‘Fuck it, I’m gonna have some fun.’ It brought a huge smile to my face and inspired me to write that song on my Les Paul.”

Likewise, anyone living through the age of COVID-19 will feel a deep affinity with “2020”: a three-part symphony in which Ritenour takes the pulse of the times. “The three parts were a reflection of what was going on this year,” he nods, “when all of a sudden everybody’s life shut down. I was thinking about the young musicians that were out of work – and people in every walk of life.”

Elsewhere 'Dreamcatcher' delves beyond the pandemic. While Ritenour strived to switch up musical styles – from the title track’s dovetailing classical guitars to the Taylor baritone that drives “Starlight’s” tumbling folk, and the mad scientist multi-tracking of “Couldn’t Help Myself” – he also ran the gamut of mood. “Because even I get tired,” he reasons, “of solo guitar albums when it pretty much all sounds the same.”

As such, “For DG” salutes the harmonic sensibilities of the great producer, pianist, and long-time comrade, Dave Grusin. But it couldn’t be further from “Charleston”, whose mellow slink is laced with bittersweet thoughts on the ebb and flow of US race relations. “A few years ago, I played in Charleston, South Carolina,” recalls Ritenour, “and it was charming and the people were warm, and it was a very mixed, soulful audience. Charleston has a history of the beginnings of slavery, but this was modern day Charleston, y’know? But then, a few years later, I’m writing this tune while watching the continuation of the struggle. As musicians who travel all over the world, we go, ‘What? This shit is still going on in the US?’ So it was appropriate to dedicate that song to Black Lives Matter.”

'Dreamcatcher' not only confronts the here-and-now: it also slips back into Ritenour’s rich history. Long-standing fans will recognize “Morning Glory Jam” as a rework of the guitarist’s classic 1977 tune. “On 2015’s A Twist Of Rit, I had revisited a lot of older material, so I wanted to keep this record fresh. But one day, I remembered when I did sessions for Barry White and how there had been four or five guitar players all playing these incredible rhythm parts. That’s the kind of groove I had in my head for this new version of Morning Glory.”

Collaboration might be a constant, but in a career full of left-turns, 'Dreamcatcher' is another thrilling detour for Lee Ritenour. Both by necessity and design, this latest album represents music in its purest form: one man, channelling his headspace and the history unfolding around him, using the instrument that has sustained him all these years. There is a first time for everything and there has never been a better time for 'Dreamcatcher.' “I’ve never done anything like this before and it’s an important missing piece in my guitar history. It was inspiring and it was meant to happen this year, in these times – after a lifetime of playing the guitar,” he considers, “this project reaffirmed just how much I love the guitar.”

Quinsin Nachoff | “Pivotal Arc”

Saxophonist and composer Quinsin Nachoff’s career to date has delivered a boundary-crossing body of work that’s consistently unpredictable, fearlessly innovative, breathtakingly accomplished, and full of creative passion, constantly increasing its scope to encompass ever greater horizons. His new album Pivotal Arc presents his most ambitious project yet: bringing together virtuoso violin soloist Nathalie Bonin with a jazz-inflected unit comprising two established giants of the NY scene, bassist Mark Helias and drummer Satoshi Takeishi, and the stunning young vibraphone player Michael Davidson, and adding a wind and string ensemble conducted by JC Sanford for a concerto that boldly mixes written and improvised sections. A contemporary string quartet performed by the renowned Molinari String Quartet and the extended title piece round out the album. The result is three diverse long-form works that flow naturally together, demonstrating Nachoff’s equally heartfelt facility with the free-flowing language of jazz improvisation, the depth and rigor of classical composition and the direct melodicism of folk forms.

The three-part violin concerto is built around Nachoff’s long-standing creative partnership with Nathalie Bonin and showcases her extraordinary range and versatility. “Nathalie’s drive is very intense, her musical interests are really diverse, and she dives into whatever challenge and works at it until she masters it!”

The first movement is an imaginary deconstructed and reconstructed Tango that sets the tone, intensity and sound palette for the entire work. After the improvised violin solo, the orchestra ferociously returns with nearly a concerto for orchestra section that gradually winds down to a dream-like cadenza, setting up the second movement. “I love Astor Piazolla and I’d heard Nathalie improvise brilliantly in that setting - Stravinsky also looms large and Weill and Ligeti were very inspiring as well, but the tango was the main focus, twisted and deconstructed in different ways.”

The second movement is a haunting ballad that sweeps through several tonal landscapes “Where Berg meets Ellington!” A gorgeous improvised violin solo leads into both a written and improvised cadenza that connects to the final movement. It is Balkan-infused and showcases the violinist's virtuosic range and rhythmic strength.

The String Quartet represents some of Nachoff’s most intricate writing to date, allowing him to explore his deep attachment to the tradition and his engagement with contemporary iterations. “I like to keep up with what’s happening now in quartet writing and this gave me the opportunity to explore some of those ideas – pitch axis, using quarter tones, etc., but still keeping a jazz influence because that’s a large part of my background.”

Each of the four movements is a miniature concerto for each member of the quartet. The first movement features Violin II, the probing second movement showcases the Viola, the vacillating third movement is for the Cello and the intense final movement is for Violin I. “It felt like it was improvised, it had this really alive, vibrant feeling to it that is a testament to the Molinari’s exceptional work as an ensemble.”

The final, titular piece, ‘Pivotal Arc’ is Nachoff’s extended reflection on the critical position we currently find ourselves in regarding climate change. It features opening and closing solos from bassist Mark Helias, inspired contributions throughout from Michael Davidson, a call and response solo section between the orchestra and drummer Satoshi Takeishi and an improvisation section moving through a variety of moods for Nachoff’s tenor saxophone. “Mark is so accomplished and so individual, always able to add an element of surprise in any setting! Satoshi is similarly unique: he adds so much energy and always sees the big picture. Michael was phenomenal on both the improvisations and the written sections and JC Sanford was essential to realize the project and get the blend right."

With a sonic palette that ranges across the spectrum from Strayhorn and Mancini to Bartok and Berg, this is a stunningly original set of pieces that will cement Nachoff's reputation as a major cross-genre musical force.