New Music Releases: SunDub, The Comet is Coming ft. Joshua Idehen, Hendrik Meurkens

SunDub - Ain't Nobody

On the heels of their summertime dub EP release, Brooklyn-based band SunDub now brings you “Ain’t Nobody,” the celebrated funk/soul classic, first released in 1983 by Rufus and Chaka Khan. SunDub, fronted by lead singer Joanna Teters, redresses this classic, giving it a perfectly fitting reggae makeover you didn’t know it needed. Teters pays homage to the original with her own powerhouse vocals, while the band serves up a heavy rocking, reverb-drenched groove, highlighting the song's iconic essence. The track, which features Sidney Mills (Steel Pulse) on organ, as well production and mixing credits, represents an evolution in the SunDub sound and provides an exciting glimpse into the future. “Ain’t Nobody” was recorded at The Creamery Studio in Greenpoint, Brooklyn before the sweeping COVID shutdowns that paralyzed New York City last year. 

The Comet is Coming ft. Joshua Idehen - Imminent

This is the follow-up to the band’s globally successful 2019 projects Trust in the Lifeforce of the Deep Mystery and The Afterlife with two new pulsating singles and a music video. “Imminent,” featuring Joshua Idehen was previously released only in physical format as an exclusive RSD Black Friday 12” vinyl, with a DJ Noss remix of the standout track “Super Zodiac” on Side B. Last week, Impulse! Records digitally released the pair of roaring singles and can be streamed here. Released today is the fast-paced, gritty lyric video for “Imminent” directed by the trio’s frequent collaborator Jordan Copeland (Tentacle Films Production). Copeland set out to produce and direct the “Imminent” video as a cosmic collage of performances with Joshua Idehen’s profound lyrics layered in. Unable to travel due to Covid restrictions, Jordan Copeland was remarkably able to remotely direct Joshua Idehen’s incendiary performance in Sweden from his studio in East London. The result is a vibrant, gritty, lyric video that perfectly matches the blistering intensity of the track.

Hendrik Meurkens - Manhattan Samba

Manhattan Samba is a samba jazz journey that introduces some new compositions of mine, revisits a few trusted older ones and features songs by the Brazilian masters Ivan Lins, Toninho Horta and of course Mestre Tom Jobim. The band consists of the fantastic Helio Alves on piano; two great bass players, Gustavo Amarante and Fernando Huergo; and on drums the legendary Portinho, who is one of the founding fathers of samba jazz drumming in the US. Portinho came over here many moons ago and generations of young drummers learned from him, his relentless groove drives the album. Add Helio’s burning solos and the solid swing of Gustavo and Fernando and you have a killer samba jazz rhythm section. Can’t fail with these masters. ~ Hendrik Meurkens

Ryan Dugré Releases "Foxglove" Single, Announces Three Rivers LP

Written in January of 2019 during a song-a-day exercise, the instrumental pieces on Three Rivers produce a captivating calmness with shadowy undertones, melodically tending towards introspection. Guitar is at the forefront supported by piano and synth, strings, and sparse percussion. Elements of film music, pastoral jazz, and Americana create a meditative mood which is enhanced by the underlying pulse of each song. This is music that rewards patient, active listening.

As part of the songwriting exercise that produced Three Rivers, Dugré churned out a new piece of music each day. The purpose was to build a routine of writing and creativity. The only rule was to submit something daily — an improvisation, loose sketch, or fully orchestrated piece. Everything counts.

The benefit of this deliberately fast pace is that it leaves little time for second-guessing. By forcing you to commit to an idea quickly, this method eliminates overthinking and presents a more honest depiction of the original thought. This is also the challenge — at the end of the day, you must live with your output, and allow yourself to be vulnerable as your colleagues listen to your work.

Using a barely functioning laptop and one microphone, Dugré embraced the limitations of this process. “My usual approach to writing is to methodically work out a solo guitar arrangement; melody, harmony, and bass all intertwined and performed simultaneously,” he says. “It takes a week or so to get it right.” This time, he started with a rhythm part on guitar or piano, and then added melody after. For many of the pieces he imagined someone singing the melody, and tried to get close to creating that with slide guitar, piano, or synth.

Dugré came away with a batch of new song ideas and spent the following months finishing the arrangements at his home studio. These songs were then re-recorded in October 2019 in Brooklyn at Trout Recording with engineer Adam Sachs. Three Rivers features string arrangements from Ian Mcllelan Davis (Relatives), and contributions from Brett Lanier (The Barr Brothers), Sean Mullins (Wilder Maker), Adam Dotson (Slavic Soul Party), and Will Graefe (Okkervil River, Star Rover), who co-wrote Shining. The album was mixed by Leo Abrahams (Brian Eno, Sam Amidon).

Ryan Dugré is a New York based multi-instrumentalist and composer from Holyoke, MA. Since graduating from New England Conservatory in 2007 he has been an active freelancer, having performed and/or recorded with Rubblebucket, Joan Wasser, Eleanor Friedberger, Cass Mccombs, Landlady, Jesse Harris, Ran Blake, and many others. Ryan has performed internationally at festivals including Le Festival d’été de Québec, Bonnaroo, Haldern Pop Fest, as well as NPR's Tiny Desk Concert series and BBC 6 Radio with Marc Riley. He has been a featured guest artist at the Afghanistan National Institute of Music in Kabul, Afghanistan, and Eliot Fisk's Boston GuitarFest at New England Conservatory of Music. Three Rivers, out on 11A records, marks his third solo release. His second record The Humors, mixed by Sam Owens (Sam Evian), was named best album of the month in March 2019 by Paste Magazine.

The JCA Orchestra Live at the BPC

The JCA Orchestra Live at the BPC is a dazzling and diverse album showcasing four master jazz composers working at the top of their game. Since 1985, the Boston-based Jazz Composers Alliance has presented creative, cutting-edge work by member composers both in concert and on recordings. The group’s eleventh album, recorded live at the Berklee Performance Center, presents an eclectic mix of six works by David Harris, Darrell Katz, Bob Pilkington and Mimi Rabson. The rich and varied program draws on a wide range of sources and inspirations from poetry to Thai folk music to James Bond movie theme music. “That balance of pieces is just how it naturally comes out,” says JCA cofounder Katz, “Everyone comes from such different places musically that there’s always a good mix.”   

Composer-violinist Mimi Rabson’s “Romanople” unfolds against a sprawling historical backdrop, but it’s a disciplined, tightly constructed and emotionally rich work. The piece alludes to a time when the Roman Empire had two capitals—Rome and Constantinople—that had little in common culturally. A modest but tuneful, odd-metered folk song from the Turkish metropolis makes its initial appearance then travels to Rome where it’s transformed by a brass band and then subjected to the horrors of war. But the melody endures and dances off, a sign of hope for the future. Helen Sherrah-Davies’ folk-tinged violin, a celebratory Phil Scarff on clarinet, and Junko Fujiwara’s mournful cello solo highlight a composition in which a melody, set off and transformed by the orchestration, provides strong continuity in the midst of change. 

Composer-trombonist Bob Pilkington’s “The Sixth Snake” began life in a dramatically different form as an assignment from one of his teachers, composer-trombonist Bob Brookmeyer. It was a rather dissonant piece based on a number sequence. Several years later Pilkington wondered if he could take the number sequence in the opposite direction and come up with a completely new, consonant piece. “I like to play around with ideas and build a piece,” Pilkington says. “I’m a noodler by nature.” Of course, he takes his “noodled” ideas and shapes them into a compelling, finished composition. This piece, commemorating his 60th birthday, is shot through with changing tone colors and textures, moody melodies, and highlighted by a celebratory trombone solo from the composer. It’s varied and complex, but each new development sounds logical and organic. 

David Harris’ infectiously grooving cultural mash up, “The Latest,” proposes a melding of the McCoy Tyner big band that recorded Fly with the Wind with traditional Thai music. “There’s no traditional melody in the composition, which is built using a pentatonic scale,” Harris explains. “But I liked the way Thai music develops by taking a repeated melody and adding new phrases and textures to it. That’s how I developed my piece.” Baritone saxophonist Melanie Howell Brooks and guitarist Norm Zocher keep the excitement and momentum going in their solos. 

Harris’ other contribution to the album, “Yellow, Orange, Blue,” is quite different. Using a combination of notation and unwritten gestures and cues, Harris and the orchestra shape a performance of the three-part composition that’s unique to the moment. There are multiple textures, dissonance and consonance, groove, and directed group improvisations, much of it organized and created spontaneously by Harris and the band. “It’s real improvisation on a group scale,” Harris says, “and I just think it’s thrilling, even better than taking a solo as an individual.” 

Katz reworks his setting of poet Paula Tatarunis’ “A Wallflower in the Amazon,” the title track of his 2010 JCAO album, to accommodate additional strings in the concert orchestra. The poem, evoking a bookish, but intrepid, narrator’s trip to a rainforest, is wry, modest, and full of wonder, and Katz’s prowess at composing for voice brings out all the nuances of the language. “I am always trying to make the melody and words be unified,” Katz says. “I am very much trying to put the poetry across, always looking for what seems like a good fit. I really want the listener to pay attention to the words, and I want the music to help them.” The composition also opens up to provide a setting for several of the band’s stellar soloists, including Jerry Sabatini’s sparkling trumpet and strong statements from saxophonists Lihi Haruvi, Phil Scarff and Rick Stone. Singer Rebecca Shrimpton not only interprets Katz’s score and Tatarunis’ words vividly, but also improvises her own melody to the words in a free improvisation section near the end of the piece.  

The album concludes on an up note with “Super Eyes-Private Heroes,” Rabson’s tribute to the sound tracks of espionage and super-hero movies. Think James Bond films or The Incredibles, she says, singling out a couple of her genre favorites. Soloists Melanie Howell Brooks, Helen Sherrah-Davies, and David Harris are the heroes who swoop in to save the day. It’s a fun, bright composition in keeping with its pop culture inspirations, but Rabson’s use of contrast, texture, and a unifying melodic thread indicate her artistic control of the material.  

“Recording live is really different than recording in the studio,” Katz says. “There’s a more focused energy and a sense of urgency, and a real feeling of a community working together, and on that night, from the audience. There’s no chance to go back and correct mistakes, everything is in the moment, but it’s really about the excitement of being on stage.”

John Finbury's "Quatro" features John Pattitucci, Antonio Sanchez and more

John Finbury's new album "QUATRO" premieres new music with broad Latin American and Spanish influences, mixed and matched in an unorthodox fashion.

Alternating vocal and instrumental tracks, the album was produced by Latin Grammy winner Emilio D. Miler, and features Magos Herrera on vocals, Chano Domínguez on piano, John Patitucci on bass, and Antonio Sánchez on drums.

Recorded over two sessions in New York in 2019, "Quatro" is both a celebration of cultural diversity and immigration, and a condemnation of those who seek restriction based upon prejudice.

The album opener, "Llegará El Día" ("The Day Will Come"), is a "Freedom Song" and a fierce assertion of the album's concept, with influences of Peruvian Festejo and Mexican Huapango. The lyrics, penned by producer D. Miler, knit a poetic landscape with references to Mexican iconography and to someone, unnamed, who will soon disappear.

The pianist offers a solo cadenza to present the first instrumental, "Independence Day", Finbury's take on Spanish Flamenco, specifically Bulería. With John Patitucci on electric bass, the trio flies high, with Chano taking more solo spots throughout the song.

"La Madre De Todos Los Errores" ("The Mother Of All Mistakes") features an intricate melody delivered with passion by Magos, which develops over a driving bass ostinato. The lyrics, written by Roxana Amed, are directed at someone whose assumptions and narcissism overlook the beauty that lies in the details which shape identity.

"All The Way To The End", featuring lyrics by Patty Brayden, is a sultry Son-Bolero dance around the pledge of eternal love, sung in English with Spanish Flamenco ornaments. Chano Dominguez's solo enters, piercing and playful, becoming the other ‘tease' in this conversation. When the song appears to be over, a final section emerges featuring a melancholic vocalise in exquisite interplay with the band.

A solo acoustic bass cadenza resolves into an a capella vocal, and so "Comenzar" ("To Begin (again)" ) is born. With lyrics penned by Magos Herrera herself, the song is a homage to our capacity to reinvent ourselves and find new beginnings within the same story. The music displays influences of Argentine Zamba, and other folkloric music from the Andes that share similar rhythms.

Reminiscent of old school dance halls "Salón Jardín" ("Garden Ballroom"), is the trios's take on a slow Bolero, fertile territory for an outstanding acoustic bass solo by John Patitucci. Chano Domínguez's reprise of the melody is so personal that it feels like a solo in its own right.

Antonio Sánchez's solo cadenza at the beginning of "Romp" feels like a disruption of the smooth tone set by the previous track… and it isn't the last one!

A clave-based, New Orleans Second Line groove takes shape, a musical reminder that the South of the United States was once part of the same melting pot as the Spanish Antilles. "Romp" is the jam after the party, when musicians and a few lucky guests blend together in a celebration of togetherness.

John Finbury redefines his being American, not just as a native of the United States, but as a citizen of the Americas. His music on QUATRO often defies strict stylistic classifications, and finds unity in organic, intense renditions by a world-class band.

Make no mistake: "Quatro" is a political statement; a musical and poetic expression of freedom and the power of collaboration to contradict the fiction that those who are different should remain apart.

Though written and recorded before the world was stunned by a pandemic that has hindered our ability to gather and celebrate, "Quatro" presents a musical meeting place that strives to bridge that distance, and convey the certainty that we are better together.

New Recording from David Bixler's Trio Incognito Featuring Gregg August & Fabio Rojas - Inside The Grief

By David Bixler:

Living through the trifecta of 2020: COVID-19, systemic racism, and the presidential election. Inside the Grief is a product of these strange times in which we are living. The pandemic has changed all aspects of our lives; family, education, and work; society has been upended by an invisible virus.

The murder of George Floyd was both violent and polarizing. His murder functioned as the tipping point where American society was forced to deal with the systemic racism entrenched in this country. From my perspective, it seemed that certain attitudes that had been ignored or buried in various societal groups exploded into the forefront of our national consciousness. For the positive, this convinced a large portion of our society of the necessity for change. However, there remains a large portion of our society who clings to lies and hate. This reality affects all of us whatever each personal view may be. The election of 2020 has been the most contested election I have experienced in my lifetime where the very core of democracy in our country has been called into question. The distress and distrust resulting from the behavior of government leaders has created an even deeper chasm between opposing sides in society, a chasm that is confusing and frightening. I find myself asking how we as a group of people will ever recover. 

Back in May, after two months of not creating music in my community, I ventured to the backyard of a friend for a session, then to Riverside Park as well as other parks throughout the city. At first, it felt slightly uncomfortable, but it soon became the norm. In August, I reached out to the Soapbox Gallery, an art gallery in Brooklyn, where a release gig for a previous project, Blended Lineage, had been canceled due to the pandemic. I heard that they had started to present live streams, and I discussed with the proprietor, Jimmy Greenfield, the possibility of bringing in a trio-a group whose size he was comfortable hosting in his space. Initially, it felt strange doing a live stream performance. Four people in the audience (though I have had more than one gig with an audience of that size!), sparce audience feedback, and yet it was thrilling to be creating music with friends. After we had secured a date for the next month for which I wrote new material, we recorded this music shortly after the gig. 

The first track is a fusion of two pieces bridged by a percussion solo. The first of the two is a blues and its name comes from a phrase my son used to say during his recovery from major brain surgery when his language center was being relocated to a healthy part of his brain. As he struggled to find words to communicate, the phrase What Does it Care? was used to convey what does it matter? I Spy is a melody with a suggestion of a tonal center. It is from a series of tunes I have written based on the Beatitudes. Like Shosti has a tango vibe and was written about 15 years ago. It is a nod to the Coltrane tune Like Sonny, which is based on something that Trane had heard Sonny Rollins play. However, in this case the melodic motif comes from one of Shostakovich’s string quartets. 389 is a medium tempo swinger whose title signifies the only number my afore mentioned son could remember immediately after his surgery. The title track, Inside the Grief, consists of two contrasting themes. The opening figure is in your face and punctuated with uncertain silences which contrasts with a second theme that floats freely over the bass and drums. Balm, with its swing and blues vibe, comes from the set of music based on the Beatitudes, and is a song composed for the hope of promised comfort and healing. The set closes with Vote! which was named by my father. He heard the tune on the live stream while it was untitled, and after the gig told me that he heard someone saying “vote, vote, vote, vote” while we played the tune’s opening. The election was on everyone’s mind in September and the title stuck. 

The emphasis on my earlier recordings has been equally divided between the writing and the improvisation. But on this recording the focus is tilted toward the playing. This year has illustrated how vulnerable we are and how fragile life is; I hope that this vulnerability is conveyed in the music.

Laura Benanti Makes Major Label Debut with New Self-Titled Album

Sony Music Masterworks, the 11-track album features the versatile artist performing a mix of covers both classic and contemporary, breathing new spirit into everything from modern pop songs to jazz-influenced ballads.

"I hope the album becomes a part of someone's own canon," says Laura Benanti of her major label debut album. "You could put it on at a dinner party or listen to it in the bath. It could speak to so many different possible moments. Across the board, the record really fulfills my desire for musical outreach. I tried to showcase some really great playing-and hopefully singing."

With her self-titled full-length debut, Laura Benanti constructs a diverse and dynamic solo statement, working alongside award-winning producer Matt Pierson (Brad Mehldau, Joshua Redman, Pat Metheny, Jane Monheit), arranger Gil Goldstein and a bevy of seasoned musicians on the album. Through and through, the process highlighted every side of Laura's voice. 

"We definitely talked about the songs as characters," she explains. "As an actor, I'm used to becoming and embodying other people. So, it was important for me to play the role each song required. I drew on different shades of my voice and personality to tell different stories.

The first story comes to life on the album's lead single, a cover of the Jonas Brothers' "Sucker" released earlier this year.  Above swinging piano, electric guitar, and finger-snaps, she transports Jonas Brothers' comeback smash to a smoky thirties jazz haunt with sultry and sizzling soul.  Laura paired the release of the track with an accompanying music video featuring workers on the frontlines of the COVID-19 crisis as part of a moving tribute celebrating family and essential workers – watch here.  Proceeds from the track benefit FoodCorps-an organization which ensures kids who rely on school food get fed during the pandemic. 

Meanwhile, Laura transforms Selena Gomez's "Lose You To Love Me" into a bold ballad backed by resounding strings and a powerhouse vocal performance.  "When I heard Gil's arrangement, I was so moved by it," she recalls. "I was able to personalize the story for myself. I can hear the evocative nature of that memory in my voice, and I hope other people feel the same way."  She drew inspiration from Rosemary Clooney's version of "Don't Worry ‘Bout Me" to track her own tender take and carefully chose "The Party's Over" from the 1956 musical Bells Are Ringing as a gorgeous denouement to the album.  Elsewhere, accordion pipes through her reimagining of Rufus Wainwright's "Cigarettes & Chocolate Milk," which she relates to as devilishly conjuring "my twenties when I got in some trouble." She also delivers a "fun interpretation of the anti-love song" by flipping Paul Simon's "50 Ways To Leave Your Lover" on its head.

Maintaining a lifelong commitment to the arts, the singer also recently created an empowering campaign titled #SunshineSongs, which invited students whose school musical productions were canceled this year due to the pandemic to share videos of the performances they were not able to give, on social platforms. As chronicled by Good Morning America, she generated 4 million impressions and received over 10,000 submissions, attracting celebrities like Lin-Manuel Miranda and Jennifer Garner to join the campaign. Additionally, she invited students to contribute songs to her free "Sunshine Concerts" for senior living communities and children's hospitals. The campaign's success further grabbed the attention of HBO Max who recently partnered with Benanti to release a musical documentary special featuring students from across the country entitled Homeschool Musical: Class Of 2020, set to release this fall.

In the midst of an illustrious career spanning Broadway, film, and television, Tony® Award-winning actress, singer, author, and activist Laura Benanti now brings a longstanding dream to life as she gears up to release new solo music with Sony Music Masterworks.  With Broadway credits ranging from the My Fair Lady revival and Steve Martin's Meteor Shower to She Loves Me, Laura garnered a Tony® Award in the category of "Best Featured Actress in a Musical" for the 2008 production of Gypsy-among five career nominations to date. Meanwhile, her performance in Women on the Verge of a Nervous Breakdown would be honored with the Drama Desk Award and Outer Critics Circle Award for "Best Featured Actress in a Musical." Simultaneously, she enchanted audiences on the small screen, appearing on Younger, Supergirl, Nashville, The Good Wife, Nurse Jackie, and more in addition to films including WORTH and the upcoming Here Today.  Laura recently released a book for moms entitled "M is for MAMA (and also Merlot): A Modern Mom's ABCs" available now on Amazon.

Nina Ernst - "A Diva's Mind"

Berlin singer Nina Ernst has released a new album: "A Diva's Mind" (Label: Fina Flor, Rio de Janeiro). Originally it was supposed to be a CD to a self-written music comedy show about a failed diva. The result was a complex international music and video project.

Nina Ernst, who released the highly acclaimed Bossa Nova CD "Nina Ernst canta Jobim" at the label Fina Flor in Rio de Janeiro nearly 10 years ago, met the star photographer Gal Oppido (for Vogue, among others) in São Paulo on one of her numerous tours in Brazil.

Since the musical production of "A Diva's Mind" took place in Berlin at the same time and Gal Oppido liked the music very much, it turned out that he produced artistic videos of the recordings and included São Paulo's avant-garde artists in the production.

Inspired by international divas such as Sophia Loren, Carmen Miranda, Rosemary Clooney, Peggy Lee and Marlene Dietrich, Nina chose 14 classical songs in six different languages, which are associated worldwide with the aforementioned performers.

Always respecting the original melody and inspired by modern influences; sometimes hypnotic, atmospheric and moving freely between jazz, rock, ambient and folk.

Sensual, swinging and sometimes powerful; these classical songs deliver an emotional, yearning soundscape.

The album was produced, arranged and mixed by American bassist Max Hughes and percussionist Andreas Weiser and also the rest of the band is made up of top jazz musicians from the Berlin scene.

Cellist Anja Lechner & Pianist Francois Couturier Explore New Sounds on Lontano

On Moderato Cantabile, their 2013 duo recording, Anja Lechner and François Couturier illuminated some musical and spiritual affinities linking Komitas Vardapet, George I. Gurdjieff and Federico Mompou, composers at the crossroads of East and West. With Lontano, the German cellist and the French pianist widen the scope of their music.

Out of their shared work – which has included concerts and recordings with the Tarkovsky Quartet and the Il Pergolese project as well as duo activities – a shared language has evolved. Whether playing their own pieces, compositions by Henri Dutilleux or Giya Kancheli or Anouar Brahem, drawing upon a Bach cantata or an Argentinean folk lament, Lechner and Couturier have established a distinctive musical identity. Finding atmospheric and expressive connections among far-flung sources, they also create new music that reflects and refracts its inspirations.

“Alfonsina y el mar”, Ariel Ramírez’s zamba which pays tribute to modernist poet Alfonsina Storni is a piece Anja Lechner first heard in Mercedes Sosa’s version. In the Couturier- Lechner interpretation the cello takes on the singer’s role. It’s a role that Lechner has maintained in many different contexts including recent re-settings of Schubert songs with Pablo Márquez (refer to the album Die Nacht). The cello, she suggests, may be the singing instrument par excellence, by virtue of its range able to encompass the full span of male and female voice.

Since he arrived, mid-90s, at ECM with Poros, a delicate tracery of textures with violinist Dominique Pifarély, the hallmarks of Francois Couturier’s playing, improvising, and

composing have consistently been restraint, subtlety, patience and a meticulous fine-tuning of ideas. Alongside his own works François has been an important creative partner for the Tunisian oud player Anouar Brahem, whose “Vague - E la nave va” is heard here.

It has been part of the Lechner-Couturier songbook for several years already. Giya Kancheli’s “Miniature 27” is a theme written for the film Tears Were Falling by Georgian director Georgiy Daneliya, which Anja first came to admire in the version by Jansug Kakhidze. The duo’s version takes off from the solo piano score. François suggested

bringing in Henri Dutilleux’s “Prélude en berceuse”. This spirited early work from the 1946 cycle Au gré des ondes has found approval among jazz pianists. Lechner and Couturier take a freer approach in their own arrangement: “At first we played the whole piece, then began gradually abandoning sections of it as we opened it up more and more.”

The tune recalled in “Memory of a Melody” is J.S. Bach’s aria “Wie zittern und wanken der Sünden Gedanken”, from the cantata Herr, gehe nicht ins Gericht mit deinem Knecht. The duo have played the aria in its entirety in concert, but here it emerges obliquely out of improvisation – encircled, hinted at, buried again like treasure.

“Flow” and “Tryptic” are strikingly different compositions by Couturier, the first sailing forth serene and stately, the second shifting its perspectives in motoric flurries of activity.

Meanwhile, the improvisations broaden the reach of the programme. Anja Lechner’s solo “Shadow” began from “a spontaneous idea of playing a kind of Carl Friedrich Abel arpeggiated piece. Then François picked up on the idea, and continued with the piece now called ‘Arpeggio’”.

In the improvised selections unplanned references to Mompou (on “Lontano”) or to Gurdjieff (on “Hymne”) arise fleetingly - “maybe because we inhaled that music so comprehensively” - while the beginning of the improvisation called “Postludium” sounded in Anja and François’ view so much like something Valentin Silvestrov might have written that they wanted to dedicate the piece to him. The Ukrainian composer’s concept of music as metaphorical conversation with artists of the past and present is also not so far away from the current endeavour, where the musical language draws, consciously and intuitively, on a wealth of wide-ranging experience.

The Gabriel Alegría Afro-Peruvian Sextet Releases "Social Distancing"

Afro-Peruvian Jazz Music is the life’s work of trumpeter and composer Gabriel Alegría. For the past 15 years, he has led a cross-cultural ensemble called the Afro-Peruvian Sextet that has slowly (but surely) placed Afro-Peruvian Jazz Music on the international musical map. Alongside his principal collaborators Freddy “Huevito” Lobatón (percussion), Laura Andrea Leguía (saxophones), and Hugo Alcázar (drums), the Afro-Peruvian Sextet has to date produced seven CDs, one vinyl, and one documentary film. 

On the band’s latest effort, Social Distancing, Alegría digs deep into his longstanding relationship with the band’s fan base. Most recently, during the 2020 pandemic, the band opened a member’s area on their web site to include footage and closer access to their work. Featured on the new CD’s cover are hand drawings of more than 120 fans who sent in their pictures as part of the design process. (The band’s unique business model has included fan-accompanied tours to Peru.) The faces of the pandemic are thus vividly captured in an album that according to Alegría “will always serve as a memoir of what we went through in 2020.”

Alegria points out that the band dealt with the pandemic very directly in that one member battled Covid in the ICU—and won. “The album is a statement and a reflection not only of the pandemic,” he adds, “but also the issues of social justice that have surfaced as a result.”  

Alegría became a U.S. citizen very recently, and Social Distancing is his way to connect to that new part of his identity. “I’ve never felt it was my place to say much about the negative side of the U.S. But now, as a dual citizen, I believe it is my duty,” he affirms.   

One of the album’s highlights is “George & Breonna,” which, according to Alegría (pictured at right), reminds us of “the other pandemic: systematized social injustice in the United States.” The musical exchanges between Alegría and saxophonist Laura Andrea Leguia on this track are a testament to the deep level of communication between the members of this band. “The musical phrases Laura Andrea and I exchange are really from the gut,” says Alegría. 

This recording goes far beyond the music. “An immigrant knows all too well what it is like not to have rights,” says Alegria, “and our writing on the album reflects that experience and intention.” 

“Covid-19” is a powerful festejo written using a classical composing technique called serialism. “The melody is comprised of a 12-tone row where all 12 notes of the chromatic scale must be used before any notes repeat,” explains Alegria. “The result is a very angular and aggressive sound. Hence the title Covid-19.”

The haunting and relentless piece called “The Mask” includes spoken word by master percussionist Freddy “Huevito” Lobatón that echoes the idea with which Alegria frames the entire album: a poem-gone-viral by Kitty O’Meara called “And the People Stayed Home,” which is both the opening and conclusion of the album. The first iteration includes the poem read by the author in English, and the last track in Spanish. 

The darkness is brought to light by driving and uplifting tracks such as Alegría’s “Octavio y Natalia,” which the composer describes as the counterpart of “George and Breonna.” "That's my daughter and Yuri's son playing and being children, being innocent, just like George and Breonna probably played when they were kids. The point of connecting these two tunes in red type on the CD cover is that Yuri and I—and every parent on earth—should never see the death of their kids. And they certainly should not be afraid of that possibility existing. Hence our web site right now says #blacklivesmatter at the header.” The spirit of the song is expressed over a festejo rhythm, with the saxophone and trumpet pursuing circular phrases throughout. 

Social Distancing is very much a concept album, a testament-in-sound that documents the story of the 2020 pandemic. Its infectious rhythm makes the listener feel that concept as well as think it—on a par with the great concept albums of the 20th century (think Sgt. Pepper’s Lonely Hearts Club Band). 

New Music Releases: Sun Ra Arkestra, Ter-Ree, TJ Bridgewater

Sun Ra Arkestra - Swirling

It’s been a long time coming. Finally Sun Ra Arkestra, under the direction of the maestro Marshall Allen, release their first studio album in over twenty years, ‘Swirling’. It’s in the Strut store and on Bandcamp as well as a good record shop near you. Recorded at Rittenhouse Soundworks in Philadelphia, the new recording represents the continuation of a heartfelt rebirth of the Arkestra under Allen’s guidance since Sun Ra left the planet in 1993, gaining new generations of followers from their regular touring across the globe. With a big band line-up featuring long-standing Arkestra members including Danny Ray Thompson (RIP), Michael Ray, Vincent Chancey, Knoel Scott, Cecil Brooks, Atakatune (RIP), Elson Nascimento and Tyler Mitchell, the album is a full-blooded celebration of Sun Ra’s legacy. Tracks include brand new arrangements of Arkestra staples ‘Angels And Demons At Play’, ‘Satellites Are Spinning’, ‘Door Of The Cosmos’ and ‘Rocket No. 9’ alongside lesser-known gems; the rousing blues ‘Darkness’ is recorded here for the first time, resurrected from the Ra archives by Marshall Allen. Other highlights include an epic version of ‘Seductive Fantasy’ (first recorded on Ra’s ‘On Jupiter’ LP in 1979), the freeform sonic blast of ‘Infinity / I’ll Wait For You’ and a first-ever recording of the Marshall Allen swing composition, ‘Swirling’.

Ter-Ree - I Hope You Dance

After making head-turning guest appearances on recently released Christmas albums from labelmates Benny Barksdale Jr. and The Society Hill Orchestra, rising vocalist Ter-Ree headlines this soulful rendition of the award-winning “I Hope You Dance” – a song originally taken to the top of the charts by Lee Ann Womack. The Society Hill Orchestra returns the guest turn favor by laying down the music and Nikita Harmon, Toni Richards and Sharon Ingram provide backing vocals.

TJ Bridgewater - We Need You

A fabulous new singer generating a buzz around the clubs of South Beach and downtown Miami is a young man by the name of TJ Bridgewater. Originally hailing from the backwoods of central Louisiana, he became something of a local legend at a young age.TJ gained enough confidence to head to Miami to test his vocal skills on a wider audience. Record executives soon realized that this young man had the chops and stamina needed to rise to the top of the charts. The gospel-tinged "We Need You" - inspired by the current state of the world - with its soulful message and hip arrangement, is the second stand-alone single since the release of his debut album "Life Of A Champion," that has garnered rave reviews from those in the know. As an added bonus, this new single features exclusive instrumental and acappella mixes.

John Stein "Watershed"

You could say that John Stein has been working towards this moment for most of his career. Both as an educator, and as an acclaimed jazz guitarist, Stein has been building his audience, building his understanding of the idiom, and creating a style for himself, a unique form of expression that will, without a doubt, establish him as a premier purveyor of jazz on guitar. 

Watershed, the guitarist’s 15th overall recording and his 11th for Whaling City Sound, is definitely that moment. The recording presents Stein and his band digging into a remarkable set of deep grooves with incredible clarity and creativity. With a wonderfully diverse repertoire, one that traverses a spectrum of styles and tempos, the band approaches Stein’s song selections with genuine flair and a shared energy. Watershed was recorded last May while on a concert tour in Brazil with Brazilian jazz stars: Frank Herzberg (bass), Zé Eduardo Nazario (drums), Daniel Grajew (keyboards), and Teco Cardoso (flute and saxes). The musicians peel back the layers of these compositions to reveal the magic hiding in these grooves and rhythms. Each contributor is an equal accomplice, especially on tunes like the delicate opener and Stein original "Rio Escuro,” the friskier, more playful “Kobe,” the hushed but sassy funk of Pat Martino’s “Cisco,” and the breezily melodic “Wally.” Stein has always been inspired by the jazz genius Jim Hall, and here he takes a brilliant turn on Hall’s own composition, “Waltz New.” Stein’s soloing here is transcendent, proving that he deserves the Hall comparisons and then some. 

Throughout the recording, each musician’s individual brilliance and cooperative spirit work together to elevate the style, the variety, the grooves, and Watershed’s authentic emotion. “Every time I listen to this recording,” Stein says, “I hear how deep and committed the grooves are on each tune. Every musician is coordinated and expressing the essence of the music with a unified voice.” 

Stein, now newly retired from his acclaimed teaching career at Berklee College (also his alma mater), demonstrates he is ready for his curtain call, his opportunity to shine in the spotlight of jazz performance. He also seems to be determined to allow his band to lift his performance and take it to new and greater heights. Watershed is a magical achievement, the result of Stein’s experience and insight, of his band’s inspiration and collaboration, and of the excitement generated by both together. Like the best bandleaders, Stein puts his love and respect for his band-mates before his own musical gratification, and Watershed is the tremendous gift that emerges from that selflessness.

Caravela - A Macieira | Afro-Brazilian ensemble return with new single

Caravela’s debut full length LP ‘ Orla’ is an intoxicating mix of Afro-Brazillian rhythms and contemporary London jazz drenched in modern psychedelic and progressive textures. 

The band’s deep and infectious grooves form the basis from which they can showcase their beautiful and mature songwriting craft. Lyrics touching on social and environmental issues in both Brazil and Cape Verde, as well as reflections on modern life, weave between the songs in Loubet’s native Portuguese. Initially inspired by a recent period of living in Bahia, Brazil, interacting and working with local musicians there, Caravela took that experience and melded it alongside their wide range of influences to deliver a stunning set of contemporary songs. 

Hypnotic and groove-laden percussion ties together all the different elements Caravela are bringing to the table, from Afro-Brazilian influences like Candomblè music or the tropicalia of Gilberto Gil and Caetano Veloso with some darker, electronic elements reminiscent of Radiohead, electric era Miles Davis and Herbie Hancock. There’s also a grittiness from the band’s music evolving from within London’s contemporary jazz scene that makes Caravela’s music uniquely their own. The African and Brazillian rhythms and jazz approach remain at the core of the groups sound, but the development and growth of their own songwriting, diverse range of textures and influences and their soaring vocals and spiritual lyrics make their sound so distinct. 

‘Orla’ showcases Caravela’s growth from their debut EP in 2017, building on their digging into Brazilian and Cape Verdian music to develop their songwriting and sound. ‘Orla’ represents the growing sense of identity of Loubet and Sousa’s songwriting partnership, organically developing the songs through spontaneously singing lyrics and melodies over Sousa’s ideas on guitar, the music came together very naturally. 

Lead single ‘ A Maciera ’ builds on a clipped and funky guitar line, strong percussion and tight, syncopated drums as Loubet’s incredible vocals soar above the band, reflecting on the folk themes of maturity and innocence, as with the eyes of an old woman, strong and steady, like the old apple tree. 

‘Orla’ will be released February 2021 on None More Records

Fred Ramirez - Hold On I'm A Comin'

For its latest release, Matasuna Records goes back to Latin-influenced realms and presents two songs by US musician Fred Ramirez, which are available for the first time as official reissue on 7inch vinyl. These are instrumental cover versions of wellknown soul and jazz hits, which take a completely new direction under Fred Ramirez' killer Latin jazz-funk influence. The songs were transferred from the master tapes and got a new mastering to sound as good as never before.

'Hold On I'm A Comin' on side A is a cover version of the 1966 soul hit by the duo Sam & Dave, written by Isaac Hayes and David Porter. A killer drum break and a deep bass line is the basis for Ramirez' virtuoso piano playing, which is complemented by brass and drums. Ramirez thus creates an independent, extraordinary Latin jazz version that is in no way inferior to the original and is brilliant due to its musical expansion and independence.

Side B contains another exceptional cover version of the instrumental jazz song 'Comin' Home Baby' written in 1961 by Ben Tucker and Robert Dorough, which became a jazz hit in 1962 with the vocal version of Mel Tormé. Ramirez' cover radiates a very special vibe through his sheer piano playing, which is especially evident in the twist in the middle of the song, where it increases in intensity and creates a lot of pressure and dynamics. Outstanding!

Born in Los Angeles, Fred Ramirez began his classical piano training at the age of six. At the age of 16 he bought a Musser Vibraphone and taught himself how to play by listening to the likes of Cal Tjader, Tito Puente and Milt Jackson. He started playing in nightclubs and his talent as a young pianist & vibraphonist quickly spread throughout the L.A. jazz scene. In the 60s and 70s he played in various bands and was on many tours across the states. In his extensive career he has worked with many greats of jazz and Latin America. With his own Latin jazz ensemble he was a welcome guest at numerous festivals and jazz clubs until the beginning of the new century.

In 1967 Fred released two singles with cover versions of well-known soul & jazz songs on Warner Bros. records, on which his unmistakable and extraordinary piano style and talent is evident. He was also a member of the nine-piece band Macondo, which was signed directly in the recording studio by Ahmet Ertegün, one of the founders of Atlantic Records. In the same year 1972 the LP was released on Atlantic. In 1995, he released an album on CD with a multi-piece orchestra entitled 'A Tribute to Legends of Latin Jazz' as a homage to to musicians who had an influence on him. A live CD followed in 2002, which was recorded at the Steamers Jazz Club (California).

Keith Jarrett - Budapest Concert

Budapest Concert is the second complete show to be issued from Keith Jarrett's 2016 European tour, recorded two weeks earlier than the widely-acclaimed concert released as Munich 2016. The new double album documents the pianist's solo performance at the Béla Bartók National Concert Hall in Budapest. Jarrett, whose family roots reach back to Hungary, viewed the concert as akin to a homecoming – also with regard to his lifelong affection for Bartók, as he explained to the audience - and the context inspired much creative improvisation. 

Where Jarrett's early solo concerts shaped a large arc of music over the course of an evening, his later performances, particularly since the Radiance album, have generated suite-like structures, comprised of independent "movements", each of them a marvel of spontaneous resourcefulness. Reviewing Munich 2016 in London's Financial Times, Mike Hobart suggested that "the early recitals mixed classical musings, populist references and jazz spontaneity into extended streams of invention, but later recitals separated the strands." If the process of improvisation was once the subject of the concerts, it could be said that Jarrett's 21st century solo concerts are less about seeking than finding. There is nothing tentative about the music making on display here: its sense of assurance is among its striking characteristics - whether a ballad, a polyrhythmic study, a tone poem or an essay on the blues is being shaped in the moment.

"His magnetism for the audience must come from his polygenre attitude," wrote Gábor Bóta on Hungary's Népsava news site. "Jarrett consumes all genres, from light to serious, and makes them his own. Since the entire performance is improvised, we witness the music being birthed right in front of us…One feels that he just sniffs the air, catches a moment's feeling, clicks his fingers, squints his eyes and there we have it: the right notes, the right melodies, a completely unique performance."

Creative energy is also applied to more familiar songs given as encores, and "It's A Lonesome Old Town" and a particularly rhapsodic "Answer Me" are transformed in Budapest.Lately, Keith Jarrett has been saying that he views Budapest Concert as his current "gold standard", the reference work against which other solo recordings might be measured. Whether heard as a late high point in an unprecedented musical journey or enjoyed entirely on its own terms, it is a remarkable achievement.

Roots of Creation and Mighty Mystic Release The Anthem We All Need Right Now With “Light it Up”

The Billboard chart topping band, Roots of Creations have created their second and most exciting collaboration yet with Jamaican reggae sensation Mighty Mystic on the new single “Light It Up.”

In current times of political upheaval, global distress, and shifting astrological tides, “Light It Up” reminds us that sometimes an anthem is all we need to reconnect to the here-and-now. Although RoC is known for diverse dynamics and sounds ranging from dub to hard rock, here the band settles into a propulsive rhythm that doesn't break for the track's 4:20 run time. Leave it to Brett Wilson's chorus “Damn, it feels good to be alive” to ring like medicine for a 2020 blight. And with Mighty Mystic providing slinky verses like “Yeah it’s a party yo/ spliff and Bacardi yo/ kick like karate yo/ sweat like a cardio” we have something fun, triumphant, and true to Reggae roots. So far new song has received critical accolades with their debuted on SiriusXM’s The Joint, and heavy rotation on Cali Roots radio.

 “Light it Up” showcases the band’s collaborative spirit and diverse sound that keeps Roots Of Creation at the top of the Reggae charts, bridging both Reggae and mainstream festivals. The song features Mighty Mystic, best known as one of the leaders in the modern reggae revival. As a Billboard chart topping musician, Mighty Mystic has worked with some of the industry’s biggest and most respected artists like Lutan Fyah and reggae icon Shaggy, and today with Roots of Creation.

According to Roots Of Creation, “when going into the studio for this record our vision was to combine a roots reggae sound with electronic elements and analog dub techniques. The vibe is spacey, yet still has a driving Riddim behind it. We wanted warmth with a bite and I think that’s exactly what we ended up with.” The new song features Andy “AG” Geib from Slightly Stoopid on trumpet, Billy Kottage (formerly of Reel Big Fish) on trombone, and Alex Brander of Big D & The Kids Table on percussion. It was produced by Andrew Riordan (Dub King Productions) and Brett Wilson (Bombshelter Records), and mixed and mastered by Pete “Boardz” Peloquin (Boardz House Productions).

Roots of Creation has earned two #1 Billboard Reggae chart debuts, two #1 Relix/Jambands.com chart debuts, as well as chart debuts at NACC and FMQB. The new single “Light It Up” kicks off a series of releases coming soon, plus an EP and new album. Each release will be accompanied with limited edition merch. Check out the “Light it Up” 

CQ the Drummer New EP: Beach Café Vol. 1 Featuring Jazz Trumpeter Ryan Montaño

The multi-talented Albuquerque based percussionist, drummer, producer, CQ the Drummer, AKA Camilo Quiñones, is proud to announce his debut EP: Beach Café Vol. 1 featuring Billboard chart topping jazz trumpeter Ryan Montaño! 

Born in Albuquerque and following a family linage of Quiñones percussionists, Camilo joins his father Tony Quiñones, uncle Rafael Quiñones, and brother Marc Quiñones. The accomplished drummer and percussionist has performed as a featured guest with notable acts including Tito Puente, The Allman Brothers, Carlos Santana, The Spanish Harlem Orquestra, and Ozomatli. And most recently Camilo joined the legacy act Los Lobos as the drummer. Additionally he has started producing and collaborating under the name CQ the Drummer with GRAMMY nominated and award winning Producers like El Dusty and Fk1st. 

Today under his production moniker CQ the Drummer, Camilo is releasing his debut EP comprised of three instrumental songs. Joining Camilo on the new EP is the nationally recognized trumpeter, songwriter and recording artist Ryan Montaño. His beautiful tone, memorable compositions, and precise technique have garnered him national radio airplay and festival performances across the country.

Camilo reflects, “The Project was born from an open creative jam called "The Sessions.” These sessions would produce new Ideas in a live setting and musicians would come and add ideas and play along live. Ryan was one of the main supporters of this weekly event and we talked about producing a project for Ryan, but when I started working on the music it organically morphed into these Latin Lo-fi, electronic, instrumental ideas. That became Beach Café Vol. 1.” 

Beach Café Vol. 1  started with a couple of mobile production field trips to Zendo, a local cafe around the corner from Camilo’s recording studio in the historic neighborhood of Barelas, Albuquerque, NM. Camilo comments, “I would bring a headphone splitter and a couple of headphones for coffee shop patrons to listen in on the music creation process,” he continues, “During the fall of 2019, I created the music beds and later recorded Ryan’s trumpet parts in my home studio. The recording sessions were very casual, in that we hadn’t set out to make the project. It was still an idea, but the trumpet lead became the feature and focal point of the music.”

It wasn’t until COVID-19 and the preceding lock down that Camilo had some time to fully realize the production of the new recordings. He says, “Silver linings for the Corona Era is that opportunities have come available that, under normal circumstances people would be too busy for. I’ve taken this time to double down on my development as a Producer/Engineer… this will be my 3rd release with Americano Label this year under the production name CQ the Drummer. (“20/20” & “Cruisin’ Song”) So in a way 2020 has been my best year yet!” The new EP was recorded at Camilo’s studio and mastered By GRAMMY award winning engineer Mariano Herrera.

 The three track EP, Beach Café Vol. 1, is a blissful sonic vacation that we all need right now. It kicks off with the lead single, “Beach Cafe,” Camilo explains “I wanted to capture the feeling of going to a Cafe for a mid morning coffee or brunch while on vacation. Something you can listen to and instantly you feel transported to a beautiful view of a warm beach or vacation vibe, with a latte or mimosa in hand.” The new EP also includes the upbeat fresh air song “Saturday Morning” with Andrew March on Clarinet, and the smooth contemporary song “Here” with vocals by Nicole Victory. Although only three songs deep the new EP sonically transports the listener to a mini beach café destination unknown.

Recognized at a young age for his talent, Camilo Quiñones was named Timbalero of the Year in 2002, 2003, 2005, Drummer of the Year in 2006, and Auxiliary Percussionist of the Year in 2008 by the New Mexico Musicians Fund. Camilo has held endorsements with the top brands in the industry, Pearl Drums and Percussion, Zildjian Cymbals, and Remo Drumheads for over 10 years. In addition to performing CQ the Drummer has produced music for, theater, live dance ensemble, TV commercials, internet promotional campaigns, and independent artist. The latest release "Cruisin' Song" by Raul Pacheco (Ozomatli) out now on Americano Label which is signed to EMPIRE.

 

The True Loves Chase Down the Golden Hour in "Sunday Afternoon"

The True Loves have released “Sunday Afternoon,” the lead single off of the album eponymously titled after the single out in March 2021. In addition, the track kicks off their partnership with Color Red, the music discovery platform founded by Eddie Roberts of The New Mastersounds that will be releasing the record on their platform.

“Sunday Afternoon” is a sweet, horn-laden tune that summons the golden hour. As one of the premiere funk and soul outfits of The Pacific Northwest, the band’s well-honed brand of instrumental soul shines as they craft a soundtrack for winding down on the weekend and getting back to the hustle and grind of the week ahead. The massive horn section features Jason Cressey on trombone, Greg Kramer on trombone, Gordon Brown on tenor sax, and Skerik on baritone sax. The hard-hitting rhythm section is comprised of Jimmy James, Bryant Moore on bass, David McGraw on drums, and Iván Galvaz on percussion. Members of The True Loves have performed with artists such as Macklemore, Odesza, the Paper Boys, Allen Stone, Mike Clark, Garage a Trois, The Dip, Theoretics, Durand Jones & the Indications, Kelly Finnigan, Polyrhythmics, Monophonics, Delvon Lamarr Organ Trio and more, accolades that highlight their individual prestige in addition to the powerhouse ensemble they form when their forces are combined. 

 As depicted through the imagery of a multi-colored triple scoop ice cream cone, “Sunday Afternoon” is just as decadent in harmonies and brilliant in a melodic color palette to go hand-in-hand with the audio-visual experience the Color Red platform creates. Color Red has established relationships with other living legends on the Seattle funk and soul circuit including Polyrhythmics, The Pulsations, West Seattle Soul, and more and welcome the addition of the tight-knit soulful entourage of The True Loves into their musical family.

The band formed out of a jam session in 2014 between three of the city’s most sought after rhythm section players of James, Moore, and DeGraw that later blossomed into a global force with the expansion of the star-studded horn section. Even before their first release, they appeared at Sasquatch and Doe Bay festivals with their prior vocalist Grace Love, who has become a standout voice coming out of the Seattle Music scene. The group released their debut instrumental LP Famous Last Words in 2017. In 2018, the group released the  “Dapper Derp/Kabuki” 45 on WeCoast Records and followed it up by the “Famous Last Words/Mary Pop Poppins” 45 on Colemine Records in 2019. Sunday Afternoon will be the band’s second full-length LP effort that will fit seamlessly into the Color Red catalog alongside other acts on the Eddie Roberts imprint that include The New Mastersounds, WRD (Robert Walter, Eddie Roberts, Adam Deitch), Polyrhythmics, and more. 

Prior to the pandemic, the group was slated to perform High Sierra Music Festival, North Sea Jazz Festival, and Doe Bay Fest. Those plays have been rescheduled for 2021 and the group will be announcing rescheduled performances in the coming months. 

The group’s live performances have garnered them much local acclaim and millions of streams on YouTube, especially adapting to present times. 

New Music Releases: Jesse Ryan, WRD, Kahil El'Zabar

Jesse Ryan - Bridges 

Bridges, the long anticipated debut recording from saxophonist and composer Jesse Ryan, is an eclectic and honest offering that straddles both jazz and Afro-Caribbean traditions: a true celebration of the cultural, rhythmic and expressive connections between North America and the islands of the Caribbean. The recording is released under Ryan’s own Fwé Culture label, and features six original compositions and one arrangement of a sacred Zambian folk melody. Each song on the album is either an idiomatic bridge between musical traditions or was written to present an idea in the form of an anecdotal narrative that encourages the listener to evolve by bridging the gap between their former and future selves.Three of the tracks on the album feature Tambrin drumming, performed by members of the Mt. Cullane Tambrin Band - a drumming tradition from Jesse’s homeland that is unique to the island of Tobago and has remained largely unchanged from when it began in colonial times.In keeping with the theme of bridging cultures, this recording brings together some of the finest young musicians from Toronto, Canada and Trinidad and  Tobago and was co-produced by the Grammy Award winning drummer Larnell Lewis.

WRD - Sleep Depraved

WRD the trio of some of the mightiest titans of the modern funk and jazz scene, Robert Walter, Eddie Roberts, and Adam Deitch, have released "Sleep Depraved." The track is off their forthcoming full-length album that slated to be released on April 30, 2021, in celebration of the respective birthdays of all three members in the trio. “Sleep Depraved” emulates the rush of adrenaline that comes from a marathon week of gigs during New Orleans’ Jazz Fest. Organist Robert Walter reflects on how music tends to get dirtier and more immediate in the extreme conditions from two weeks of late-night gigs where the joy of music overrides exhaustion. The track is heavily influenced by mid-70s jazz-funk artists like Roy Ayers and Donald Byrd and Grant Green’s album ‘Live at the Lighthouse,’ carrying the same fervor as the ironic album, but with organ trio instrumentation. The track was recorded during a 1-day session at Color Red Studios in Denver, CO where the band worked swiftly to talk down arrangements and roll the tape. 

Kahil El'Zabar - America The Beautiful 

An incredible new album by the legendary multi-percussionist addressing the state of America today while calling for a better tomorrow, the album is his musical testament to the state of affairs, expressed with love, urgency, hope & spirit.Following his latest release ‘Spirit Groove’ ft. David Murray, El’Zabar went into his musical vault to uncover for Spiritmuse Records works that he had scored for Daryl Roberts’ award-winning documentary, America the Beautiful. Kahil decided that the timing was right to release this music, in light of the tragic outbreak of COVID-19 and the global heartfelt tragedy of George Floyd’s brutal death. El’Zabar then went back into the studio recently to compose and score the rest of the music that would accompany the vision of what America the Beautiful has become. The album speaks to the times that we are living in today, with El’Zabar exploring issues related to the current affairs of America and the globe regarding race, ecology, economic disparity together with hopes, love and aspirations for a better world yet to come. 'America The Beautiful' is the last recording of legendary World Saxophone Quartet co-founder, Hamiet Bluiett – this album is dedicated to him.

Legendary Music Label Philadelphia International Records Celebrates 50th Anniversary In 2021

Legacy Recordings, the catalog division of Sony Music Entertainment, and Warner Chappell Music, the global publishing arm of Warner Music Group, are thrilled to announce today the launch of the yearlong campaign in 2021 to celebrate the 50th anniversary of one of music's most historic record labels, Philadelphia International Records.  The anniversary campaign will highlight the extraordinary musical output of this storied label and spotlight milestone musical moments, artists and songs from the remarkable Philadelphia International Records family that have defined the landmark label and its incredible impact over the past 50 years.  Throughout the year, Legacy Recordings, Warner Chappell Music and Philadelphia International Records will collaborate on an exciting series of exclusive partnerships, product and content releases, artist initiatives and much more. 

The groundbreaking label, founded in 1971 by innovative and prolific songwriters/producers Kenneth Gamble and Leon Huff, became the birthplace, incubator and launching pad for the sophisticated Philly Soul sound also known as "The Sound of Philadelphia."  The duo amassed an extraordinary array of producers, songwriters, musicians and engineers including Thom Bell, Dexter Wansel, Bobby Martin, MFSB, Joe Tarsia and more to help craft some of the most memorable lyrics and melodies of the past five decades.  The legendary roster of music stars who helped bring these chart-topping disco, R&B, soul and funk sounds to life included The O'Jays, Patti LaBelle, Harold Melvin & the Blue Notes, Billy Paul, Teddy Pendergrass, Lou Rawls, McFadden & Whitehead, The Three Degrees, Phyllis Hyman, The Intruders, the ultimate "house band" MFSB, and many others.  You can watch a highlights reel spanning 50 years of Philadelphia International Records: https://PIR.lnk.to/PIR101Ep1PR

"It's a blessing to celebrate all of the writers, musicians, engineers, disc jockeys, and all the people that were on our team," said Philadelphia International Records co-founder Kenny Gamble.  "When I listen to this music now, I can close my eyes and the music brings us all back together again.  Hearing this music reminds me of all the hard work and dedication our team went through to make such a long lasting catalog, that has been embraced by the world and I'm thankful."  Philadelphia International Records co-founder Leon Huff shares the sentiment saying, "Long live the music of Gamble and Huff!"

To get the anniversary party started, Legacy Recordings teamed up with renowned producer/DJ/musician Eric Kupper and executive producer Brad LeBeau to release inspiring new remixes of one of the label's most iconic hits which has been adopted as an anthem for a new generation, the McFadden & Whitehead staple "Ain't No Stoppin' Us Now." 

Additional partners who are coming on board the Philadelphia International Records "Love Train" in 2021 to help celebrate the label's rich musical history include:

In celebration of the 50th anniversary, leading sound experience company Sonos will premiere a new station on Sonos Radio HD, the ad-free, CD-quality audio tier of Sonos Radio, the popular streaming service available to all Sonos customers globally.  The new station, titled the Sound of Philadelphia, will be hosted and hand-curated by Kenny Gamble himself.  In partnership with Warner Chappell Music, The Sound of Philadelphia will explore the label's greatest hits from artists including The Jacksons, Patti LaBelle, the O'Jays, and more. The Sound of Philadelphia will take listeners behind-the-scenes with Gamble, who will share stories from his time writing, producing and working on 120 internationally-beloved albums and over 40 gold and platinum records. The station will feature special guests, as well unique programming for Black History Month, Women's History Month and more. The Sound of Philadelphia will be available February 24 on Sonos Radio HD.

VMP (Vinyl Me, Please) in conjunction with Legacy Recordings will partner on VMP Anthology: The Story of Philadelphia International, an exclusive vinyl box set celebrating the renowned Philly Soul label coming in 2021. The Story of Philadelphia International reinvents the box set experience to take listeners on a sequential journey told across eight albums remastered from their original tapes and paired with liner notes and an exclusive podcast interview series in celebration of the label's 50th anniversary.

Snapper Music-United Souls in conjunction with Legacy Recordings will release a volume series of limited edition 8-CD sets throughout the year celebrating the 50th Anniversary of PIR.  Each set will contain a unique giant poster, exclusive 12" single, endorsed numbered certificate, a lavish 48-page hardcover book with a comprehensive archive of rare photographs compiled and curated in association with artists, engineers, and producers relevant to the label's story. All discs will be mastered from original tapes bringing together the entire PIR studio album collection for the very first time.

In 2014, Sony Music Entertainment announced their historic deal with Philadelphia International Records, securing global ownership of all recordings made for PIR. The landmark deal added all post-1975 PIR recordings to the PIR titles already owned by Sony Music Entertainment, reuniting the entirety of the Philadelphia International Recordings catalog under a single global licensing and reissue entity.

For nearly 30 years, Warner Chappell Music has had the privilege of representing Gamble and Huff and their legendary music catalog, spanning approximately 3,000 songs. 

Maze Featuring Frankie Beverly's 'Live In New Orleans' 40th Anniversary 2LP Reissue

MAZE Featuring Frankie Beverly, one of America's best-loved R&B bands, will celebrate the 40th anniversary of their acclaimed 1981 double album Live in New Orleans with a 2LP vinyl reissue and two special digital releases on February 19, 2021 via Capitol/UMe. The album will be released in two physical forms: standard weight black double-LP and special white vinyl, an homage to Beverly's all-white stage outfits and an acknowledgment to the audience members who in their own tribute faithfully wore all-white to Maze shows. 

Live in New Orleans reached #3 on Billboard's R&B Albums chart and #34 on the Billboard 200 chart. With three sides recorded at New Orleans's Saenger Theatre, it features extended live versions of their top 10 R&B chart hits "Feel That You're Feelin'" and "Southern Girl;" the definitive live versions of album cuts "Look At California" and "Joy and Pain," probably their biggest song that was never a hit single – and it shows, as the band performance transforms into a thrilling audience sing-along. The studio side of Live in New Orleans includes the top 10 R&B hit "Running Away," and the Maze anthem, "Before I Let Go," the latter of which was covered by Beyonce for her 2019 Homecoming: The Live Album and was the topic of a dance challenge from the musician on social media. 

To coincide with the 40th anniversary release of Live in New Orleans during Black History Month 2021 and the week of Mardi Gras, also releasing the same day are two digital remix EPs: Maze: The M+M Mixes and Joy and Pain: The Lifelines Remixes.

The M+M Mixes EP features all of the remixes created by M+M's John Morales including Maze's first R&B chart #1, "Back in Stride," in a version longer than the original 12", and "Too Many Games" (#5 US, top 40 UK), originally released only in the U.K. in 1985, and Morales's 2017 remixes of "Before I Let Go" and "Joy and Pain," that had only a limited release in Europe. Each remix also has a corresponding instrumental version, two of which are previously unreleased (see track list). All tracks are making their digital debut as well as their commercial US debut.

The Joy and Pain EP features the rare "Lifelines" remixes of the classic song by Hank Shocklee, Eric Sadler and Paul Shabazz, a.k.a. members of the production team The Bomb Squad, best known for their era-defining, multi-layered work with Public Enemy. These remixes, with Kurtis Blow doing a guest rap, were originally only issued on a promo 12" in 1989 to promote the album The Greatest Hits: Lifelines that included some remixes – and now, except for the long version on that album, these tracks are making their commercial debut as well as their digital debut. The EP also includes a highly sought-after instrumental version of the original LP version of "Joy and Pain."

The American soul band MAZE was founded by Frankie Beverly in Philadelphia in 1970 under the moniker Raw Soul. Upon moving to San Francisco in the mid '70s and being introduced to Marvin Gaye, who took them out on the road as an opening act, they changed their name to Maze in part due to Gaye's suggestion. Along with having roots in both Philadelphia and the San Francisco Bay area, Maze have always considered New Orleans their home base. Beverly has credited the city for the Gold status of their 1977 debut album, Maze featuring Frankie Beverly, saying that the majority of copies were sold in Louisiana and the greater New Orleans area. With that in mind, Maze decided to record their first live album and fifth overall album, Live in New Orleans, at the Saenger on November 14–15, 1980. The studio tracks that make up Side 4 were recorded at the Automatt Recording Studio in San Francisco. The album was produced and arranged by Frankie Beverly for Amazement Music. 

Live in New Orleans secured Maze and Frankie Beverly's deep-rooted bond with New Orleans, and transformed it into an indelible, tangible delivery for the entire world to experience. They've since closed the annual Essence Fest in the city for more than 20 years. 

Tracklists / Live In New Orleans (2LP Set)

Side 1

1.    You

2.    Changing Times

3.    Joy and Pain

Side 2

1.    Happy Feelin's

2.    Southern Girl

3.    Look at California

Side 3

1.    Feel That You're Feelin'

2.    The Look In Your Eyes

Side 4 - Studio Side

1.    Running Away

2.    Before I Let Go

3.    We Need Love To Live

4.    Reason

The Remix EPs

Maze: The M+M Mixes

1.    Before I Let Go / M+M Mix  8:50

2.    Joy and Pain / John Morales M+M Mix 11:11

3.    Back In Stride / Extended M+M Mix  9:34* [original 12" version was 8:00]

4.    Too Many Games / Extended Remix  7:30

5.    Before I Let Go / John Morales M+M Mix Instrumental  6:56*

6.    Joy and Pain / John Morales M+M Mix Instrumental  11:14*

7.    Back In Stride / John Morales M+M Mix Instrumental  8:15

8.    Too Many Games / John Morales M+M Mix Instrumental  5:47

*Previously Unreleased

Joy and Pain: The Lifelines Remixes

1.    Joy and Pain / Lifelines Remix 7" feat. Kurtis Blow  4:17

2.    Joy and Pain / Lifelines Remix Radio Version feat. Kurtis Blow  6:56

3.    Joy and Pain / Lifelines Remix feat. Kurtis Blow  8:47

4.    Joy and Pain / Lifelines Remix Instrumental  8:32

5.    Joy and Pain / Original LP Instrumental  7:21