Shai Maestro | "Human"

In its review of pianist Shai Maestro’s leader debut, The Dream Thief, All About Jazz spoke of “a searching lyrical atmosphere, emotional eloquence and communal virtuosity that serves the music.” All of which also applies to Human, Maestro’s second album as a bandleader on the ECM imprint, which was recorded at Studios la Buissonne in February 2020 and produced by Manfred Eicher.

The pianist’s outgoing and highly communicative trio with fellow Israeli Ofri Nehemya on drums and Peruvian bassist Jorge Roeder becomes a quartet with the inspired addition of American trumpeter Philip Dizack. Maestro’s expansive pianism and differentiated touch is well-matched by Dizack’s alert, quick-thinking approach to improvising. “There was always a special understanding between us on how we see music and how we see life,” says Maestro. “It’s one of those relationships that it feels like it’s always been there.” Before adding him to the band, Maestro and Dizack played together as sidemen on gigs with numerous groups in New York. “Philip’s trumpet playing sounds to me like a human voice speaking to you,” says Maestro, “and adding him to the trio takes us to our next level.”

As ever, Maestro is taking the music forward while also respecting its sense of tradition. With a program comprised almost entirely of original pieces, they explore a broad range of temperaments and colors. “Hank and Charlie” features the bandleader and Roeder, paying tribute to two of Maestro’s musical influences. “Hank Jones and Charlie Haden are my heroes,” he says. “Their finesse, minimalism, storytelling and sounds are breathtaking. I have been obsessed for many years with their album of spirituals and hymns, Steal Away. Though I’m not a religious person, I wrote this piece thinking about a kind of worship song, a prayer. It is my way of expressing my gratitude to two giants of this music.”

The album’s lone jazz standard “In A Sentimental Mood” references the version played by its composer Duke Ellington in his 1963 collaboration with John Coltrane: “I’m obviously a huge Coltrane admirer, so this song has been with me for many years,” says Maestro. His new arrangement is also inspired by the expressive playing of friend and contemporary, vibraphonist Joel Ross. Maestro took Ross’s sense of notes into account “flying around the room,” embracing the sound and energy that comes your way, weaving this feeling into the melody and form of a song he loves.

Human marks Maestro’s third appearance on ECM. He first emerged on Theo Bleckmann’s 2016 recording Elegy, and then recruited his critically acclaimed trio—featuring Nemheya and Roeder—to release The Dream Thief with ECM in 2018. “The music definitely evolved since The Dream Thief. We are all different people now, and when music gives so much room for interpretation and improvisation the music changes with you. You grow as a human and the music grows with you. And living in New York changes you very quickly.” He continues, “The majority of the songs came out in quick bursts of creativity. Usually at night, when it feels like the world around you is asleep and you have a rare moment where the street is quiet, the phone is off, and you can really develop something.”

The album’s title Human has special resonance for Shai Maestro: “I played music for many years, trying to make it be ‘above’ life—an isolated experience where I looked for transcendence, a sort of escape from everyday life. But the more I play, the more I understand that the very act of trying to reach this state prevents it from happening. So, I started accepting music-making as a part of my everyday experience. When working on Human, after writing each song and creating its universe, I then just try to let it just be, without judgment because what I want to present is the human effort—and it’s full of opportunities, contrasts, colors, energy and life and is, finally, impossible to explain.”

Vinyl reissues for four titles from Chet Baker’s iconic Riverside catalogue

Craft Recordings has reissued four classic, remastered titles from legendary jazz artist Chet Baker. The albums comprise Baker’s entire output as a leader for the renowned jazz label Riverside—all recorded and released between 1958 and 1959: (Chet Baker Sings) It Could Happen to You, Chet Baker in New York, Chet and Chet Baker Plays the Best of Lerner and Loewe. The recordings, which feature such icons as Bill Evans, Johnny Griffin and Kenny Burrell, have all been cut from their original analog master tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI. Each title will also be availableo across digital platforms in hi-res 192/24 and 96/24 formats. 

A special bundle offer including a Riverside T-shirt is available exclusively at the Craft Recordings store. In addition, Vinyl Me, Please has released pressings of Chet Baker in New York on 180-gram transparent gold with white marble vinyl and It Could Happen to You on 180-gram devil moon vinyl now available.

In the winter of 2019, Baker’s Riverside catalog was celebrated with the deluxe vinyl box set, The Legendary Riverside Albums. The five-LP collection included each of the artist’s studio albums for the label, plus a bonus disc of choice outtakes and alternates from the era. The set, which has been in high-demand and sold-out at most retailers, garnered acclaim from the likes of the Jazz Journal, Financial Times and Record Collector News, which proclaimed that “the mastering is truly stunning and the records are spectacularly packaged.” PS Audio wrote, “I own most of this material on either CD or LP, but I don’t think I’ve ever heard it sound quite so good…This is a truly excellent set of classic, timeless jazz.” Now, these meticulously remastered recordings are available as individual albums.

Few musicians have embodied the romantic—and ultimately tragic—jazz figure as totally as Chesney “Chet” Baker (1929–88). Unschooled yet eloquent in his music, and a fast-liver who survived for nearly six decades, the Baker mystique has only reinforced one of the most haunting trumpet styles and ingenious approaches to jazz singing. The Los Angeles–based musician rose to fame in the early ’50s, playing with established artists like Charlie Parker, Gerry Mulligan and pianist Russ Freeman—partnerships which would solidify his status as a major jazz star. By the end of the decade, when he signed a four-album deal with the New York–based label Riverside, Baker had become known for his trademark West Coast “cool jazz” style. However, each of his recordings of this era—which pair the artist with some of the best East Coast players—demonstrate Baker’s versatility as a modern trumpeter who could play with even the hardest boppers.

Baker’s 1958 recording session debut for Riverside, which resulted in the album (Chet Baker Sings) It Could Happen to You, offers a modern, hipper take on standards like “Old Devil Moon,” “You’re Driving Me Crazy” and “How Long Has This Been Going On?” The album is an outlier in his Riverside output, marking the only title that was not produced by the label’s co-founder, Orrin Keepnews (who initially objected to his partner Bill Grauer’s unilateral signing of Baker).

The album is unique in that the nimble artist sets aside his trumpet on several of the tracks, using only his vocals—and even scatting some of the improvised solos in a style that sounds very much like his lyrical trumpet playing.

A month after his Chet Baker Sings sessions, the artist went back into the studio to record Chet Baker in New York with a stellar lineup of Philly Joe Jones on drums, tough-tenor Johnny Griffin, bebop veteran Al Haig on piano and bassist Paul Chambers. The song selection, which ranges from laid-back and serene to hard-driving bop, features top-notch performances and impressive solos from all musicians involved. Highlights include the Miles Davis–penned tune “Solar,” the ballad standard “Polka Dots and Moonbeams” and the effervescent “Hotel 49.”

Chet, 1959’s instrumental outing, focuses on ballads and features an all-star cast that includes pianist Bill Evans, guitarist Kenny Burrell, flutist Herbie Mann and Pepper Adams on the baritone saxophone. Baker shines in his languid and tuneful approach to tracks like “Alone Together,” “It Never Entered My Mind” and “September Song.” All About Jazz called the album “A session that allows the trumpeter to take his introspective time, encouraged by Evans’ spare accompaniment to transform these standards into vibrant, impressionistic etchings.”

Baker’s final album for Riverside, 1959’s Chet Baker Plays the Best of Lerner and Loewe, finds the trumpeter offering his renditions of tunes by lyricist Alan Jay Lerner and composer Frederick Loewe who, together, penned some of the most famous songs on Broadway. Baker, joined by an ensemble that once again included Bill Evans, Pepper Adams and Herbie Mann—along with the great Zoot Sims on tenor saxophone—covers material from My Fair Lady, Gigi, Brigadoon and Paint Your Wagon.

Though Baker’s Riverside era preceded even more troubling times for the artist, these recordings find the artist in excellent form, joined by some of New York’s finest musicians, proving his brilliance as an inspired original, and as one of the great jazz musicians of the 20th century.

Veronica Swift | "This Bitter Earth"

Veronica Swift flips the script on This Bitter Earth, the captivating follow-up to her 2019 Mack Avenue Records debut, Confessions. Whereas Confessions played out like pages from her personal diary, on the new album, the 27-year-old singer and master song interpreter looks outward while addressing social ills that plague the world today.

This Bitter Earth, available via Mack Avenue Records, takes on the song-cycle characteristics of such classic LPs as Marvin Gaye’s What’s Going On, Kate Bush’s Hounds of Love, and Mary J. Blige’s My Life. For her album, Swift tackles sexism [“How Lovely to Be a Woman”], domestic abuse [“He Hit Me (And It Felt Like a Kiss)”], racism/ xenophobia [“You’ve Got to Be Carefully Taught”] and the dangers of fake news [“The Sports Page”].

Accompanied by a team of kindred spirts that includes pianist Emmet Cohen, guitarist Armand Hirsch and flutist Aaron Johnson, bassist Yasushi Nakamura, and drummer Bryan Carter, Swift curates material that covers multiple genres, including jazz, American musicals, vintage R&B and contemporary rock.

“I’ve been waiting to do this album for years,” Swift says before explaining that she usually conceives her albums far in advance. She recorded much of the material in 2019, before the coronavirus pandemic forced the world into a near total standstill. But the time allowed her to live with songs at different parts of her life. Eventually, she recognized the connective tissue between them. The big challenge, however, was crafting a cohesive narrative. 

Swift delves into a dramatic yet sardonic makeover of “How Lovely to Be a Woman,” a Charles Strouse and Lee Adams tune from the 1960 musical, Bye Bye Birdie. “As I’m coming into the world, having more of a feeling of who I am and being more confident in that, I realize now how this song had a lot more ambiguity and cynicism involved,” Swift says. “I tried to make an arrangement that maintained the childlike feel I had while listening to it but still insert some of that sarcasm in it. The song also allows me to present more of my humorous side.”

Themes of abuse appears with Swift’s cover of the Crystals’ 1962 provocative R&B tune “He Hit Me (And It Felt Like a Kiss).” “This song just makes your stomach curdle,” Swift says. “It’s uncomfortable to sing; it’s uncomfortable to listen. But the original version by the Crystals is so the opposite; it’s so indicative of the 1960s victim woman who stays with the man who physically assaults her. I’ve never heard a version of this song that had gone the other way in terms of making it a somber piece. I wanted to give listeners another option in listening to this song. So, I stripped away all the other instruments and chord progressions and just made it me and guitar. I arranged it to sound almost singer-songwriterly.”

“You’ve Got to Be Carefully Taught” comes from a musical – 1949’s South Pacific. The envelope-pushing, Richard Rodgers and Oscar Hammerstein II-penned song illustrates how racism and xenophobia are learned behaviors, often projected onto children during their early development. “I was always perplexed at how such a deep and dark subject matter in South Pacific was sung so upbeat,” Swift recalls. “I think it was written intentionally to not sit well with the audience. I wanted to come up with an arrangement that’s very antsy and mad. So, I put a little bit of that rock beat on the chorus and sing angrily. To me, it sounds like what the song was meant to be.”

The album switches gears with Swift’s cunning version of Dave Frishberg’s socially conscious song “The Sports Page.” She uses the song’s topical lyrics to invoke the prevalence of fake news during President Trump’s administration. “It is amazing how a song written in the late 1960s is still relevant, and its brilliance is that it doesn’t target a specific demographic,” Swift says.

“I want this album to have two separate approaches,” she explains. “I wanted to start with women’s place in society now and how it’s changing. During the second half, I wanted to address other ailments in the world, whether it’s racism or fake news. But I don’t take any political stances. I’m very clear with my audience that as an artist I address certain issues as an outsider looking in.”

Now with This Bitter Earth, her second Mack Avenue Records album, Swift’s ascendance as a 21st century jazz torchbearer continues.

The Roots "Do You Want More?!!!??!" Deluxe Edition

It's been 26 years since Do You Want More?!!!??!, the groundbreaking second studio album and major label-debut by The Roots. Originally released on January 17, 1995 via DGC Records, Do You Want More?!!!??!, brought The Roots' neo-soul bohemian zest to life and established them as leading figures of hip-hop-jazz. The album which peaked at #22 on Billboard's Top R&B/Hip Hop Albums chart, features their singles "Distortion To Static," "Proceed" (considered one of their most signature recordings), and the rap ballad "Silent Treatment." Led by MC Tariq "Black Thought" Trotter and drummer Ahmir "Questlove" Thompson, the Philadelphia rap crew are going back to where it began with a 3LP, 4LP and a digital deluxe collection of Do You Want More?!!!??! to be released via Geffen/Ume. 

Going back to the vault, this deluxe edition is drawn from the original recordings and features eighteen bonus tracks curated by Questlove; some of which have never been released and others that have never previously been available digitally. The 3LP deluxe vinyl edition features five bonus tracks — "Proceed II Feat. Roy Ayers", "Proceed III", "Proceed IV (AJ Shine Mix)", "Proceed V (Beatminerz Mix)," along with five remixes of "Silent Treatment" — plus a 24-page booklet featuring images taken by Mpozi Tolbert, essays by Questlove and Black Thought as well as track-by-track commentary. While the 4LP edition features all of the above plus the additional eight bonus tracks; "In Your Dreams Kid (I'm Every MC)," "The Ultimate (Original '94 Version)," "...…(dot dot dot…on & on)," "Pffat Time," "Swept Away (Original Draft)," "It's Coming," "Lazy Afternoon (Alternate Version)," and two remix versions of "Distortion To Static."

What made them stand out from other artists who were intertwining hip hop with jazzy influences and prominently using live instrumentation was the Roots' unabashed confidence with experimentation and letting the music speak for itself. As Albumism says, "While the live instrumentation is integral to their artistic success, it is not the sole attraction. Even 25 years ago, Black Thought stood out as a commanding lyricist, as did Malik B, his more publicly reserved rhyme partner. " A quarter of a century after the release of Do You Want More?!!!??, they are still considered to be one of the greatest live acts in the industry and have been named as such by Rolling Stone. They are also the house band on The Tonight Show Starring Jimmy Fallon and served in the same role on Late Night with Jimmy Fallon from 2009 to 2014.

Do You Want More?!!!??! has been considered by critics as a classic of hip-hop-jazz. Chicago Tribune music critic Greg Kot celebrated the group's ability to "mate hip-hop wordplay, funk rhythms and jazzy textures" and called the album "an impressive display of skills, intelligently arranged and performed." In 1998, the album was selected as one of The Source's 100 Best Rap Albums. On November 2, 2015, twenty years after its release, the album was certified Gold. The album stands out from The Roots' iconic discography as it showcased a pioneering live band that put their own spin on a genre that was still coming into its own. 

Resurrection! Legendary Percussionist Airto Moreira & the Preservation Hall Jazz Band

Two powerful forces in the world of jazz come together in Resurrection! Airto Moreira and the Preservation Hall Jazz Band. Airto Moreira is a world-renowned jazz drummer and percussionist from Brazil, who exhibited great talent at a young age.

In his twenties he traveled to the U.S.A. in pursuit of Flora Purim, the woman with whom he had fallen in love, who had left Brazil to sing Bossa Nova with saxophonist Stan Getz. Over the years, Airto became a major musical figure by bringing his Brazilian percussion to American jazz, playing with Miles Davis, Chick Corea, and numerous other artists, as well as recording his own records. 

Fifty years after coming to the U.S., dealing with a number of personal challenges, Airto was depressed.

Preservation Hall was created in 1961 in the French Quarter of New Orleans as a venue where traditional New Orleans jazz musicians, who were struggling to keep their music alive, could play. Over the years, Preservation Hall became a revered part of New Orleans culture, where a group of venerable talented New Orleans musicians were able to continue to perform.

In addition, the Preservation Hall Jazz Band (PHJB), founded by tuba player, Allan Jaffe, began touring widely and attained a high level of recognition. The PHJB was awarded the National Medal of Arts, with this citation: "With enormous talent and pride, this ageless ensemble has toured the world displaying the unbreakable spirit of New Orleans and sharing the joy of New Orleans jazz with us all."

Filmmaker and jazz enthusiast, Dale Djerassi attended four nights of performances by the Preservation Hall Jazz Band at SF Jazz Center, the premiere venue for jazz in San Francisco. Each night, a different musical guest would perform with the band.

On the last night, Dale approached Ben Jaffe, creative director, and tuba and bass player in the Preservation Hall Jazz Band, to ask if they had ever considered playing with Airto Moreira as their guest. Ben was excited by the idea and invited Airto, as well as his daughter, singer Diana Purim Moreira, and her husband, Krishna Booker to come to New Orleans.

On Mardi Gras morning they met the Preservation Hall Jazz Band at Congo Square in the middle of Armstrong Park in old New Orleans and they immediately began to play music and found a great groove together. The next night, they performed three shows together in Preservation Hall before enthusiastic cheering audiences.

As a result of this encounter, Airto felt rejuvenated and regained his passion for playing music, and The Preservation Hall Jazz Band experienced the joy of combining their musical tradition with the Brazilian musical traditions of Airto.

This is music as medicine for the soul!

Peggy Lee - 'Something Wonderful: Peggy Lee Sings The Great American Songbook'

Omnivore Recordings and Peggy Lee Associates are proud to announce the April 9, 2021 release of Something Wonderful: Peggy Lee Sings The Great American Songbook. Compiled to accompany the 2020 PBS documentary Fever: The Music of Peggy Lee, this two-CD, 40-song set features dozens of previously unissued performances from Lee’s 1951-1952 radio program. Besides her renditions of American standard classics, songwriters Hoagy Carmichael, Matt Dennis, Frank Loesser and Johnny Mercer make rare duet appearances with Lee. 

“Music is my life’s breath,” proclaims the epitaph of Norma Deloris Egstrom, better known to the entertainment world by her professional name of Peggy Lee. Last year marked the centennial anniversary of the birth of this legendary artist, who made considerable contributions to the world of jazz and popular music. 

Over her seven-decade career, Peggy Lee, as both a singer and a songwriter, helped redefine what it meant to be a female singer, and her quietly captivating voice continues to resonate with audiences of all ages. Born in an era in which women struggled for equality — a conversation that continues today — and carrying the burden of a traumatic childhood, she was a true pioneer and survivor to her core. What she accomplished as a woman, and as an artist, is nothing short of extraordinary.  

Lee’s vast and varied catalog of songs flourished from remarkable longevity in the music business:  she recorded more than 1,100 masters and over 50 original albums. Her total number of radio broadcast performances exceeds 800, and her television appearances surpass the 200-mark. 

Best known for such songs as “Fever,” “It’s A Good Day,” Why Don’t You Do Right,” “I’m a Woman” and “Is That All There Is?,” she amassed over 100 chart entries beginning with "I Got It Bad" (1941) and culminating with the posthumous hit "Similau" (2017). Among the myriad music honors bestowed upon Lee are 13 Grammy® Award nominations, a 1969 Grammy win, and a 1995 Lifetime Achievement Award. 

In addition to the fantastic performances, the set features new liner notes from The Second Disc’s Joe Marchese, plus restoration and mastering from multiple Grammy®-winning engineer Michael Graves. 

Lee stayed active as a concert performer until 1995, when she gave her final performances at Carnegie Hall and the Hollywood Bowl. In one of the many obituaries that celebrated her extraordinary musicianship, renowned jazz critic Nat Hentoff wrote a fitting epitaph: “Her main quality was a marvelous sense of subtlety. She never overpowered you. You could hear her voice after it stopped.”   

And 100 years after she was born, we’re still hearing it…

Miguel Zenón – Law Years: The Music of Ornette Coleman

Alto saxophone icon Miguel Zenón commemorates Ornette Coleman’s 91st birthday (March 9) with Law Years: The Music of Ornette Coleman. Recorded in May 2019, after a residency at Bird’s Eye Jazz Club in Basel, Switzerland, the album features Zenón with an international quartet: tenor saxophonist Ariel Bringuez, bassist Demian Cabaud, and drummer Jordi Rossy. Though the musicians – all with connections to Zenón – had never played together in this particular configuration, the performances display remarkable synergy and intensity. 

As Miguel writes in the liner notes, “We were all just having fun, inspired by the energy from the crowd and the special feel of the occasion. And Ornette’s music proved to be the perfect platform for this kind of engagement: the kind of music that opens the door to endless possibilities for interaction and pushes you to hit the ground running.”

A special aspect of the quartet is that each member hails from a different part of the world. “I’m Puerto Rican, Ariel is Cuban, Demian is Argentinian, and Jordi is Catalan,” says Zenón. “The fact that we are all from different parts of the globe and all Spanish speakers raises another important point: Jazz music knows no boundaries or labels; it is as inclusive now as it has ever been.”

Coleman has long been one of Zenón’s musical heroes. The first time he heard Ornette’s music, Zenón was a teenager still living in Puerto Rico. “I just kind of stood there, mesmerized and in shock, trying to figure it out,” he says. “It was entirely different than anything I had heard before. There is freedom there, and lots of it. But there’s also a deep sense of cohesiveness and structure. And, above all, melody: beautiful and inspired melodic lines that serve as springboards for everyone involved.”

Later, Zenón was fortunate enough to meet Ornette. He remembers their interactions fondly. “He was always nice and supportive,” says Zenón. “Our interactions went pretty much the same way every time. Me: ‘Mr. Coleman, I’m not sure if you remember me – my name is Miguel, and I’m an alto saxophonist and one of your biggest fans.’ Ornette: ‘Nice to see you, Miguel. Have you ever thought about what would happen if you played A and Eb at the same time?’.”

Playing a concert of exclusively Ornette Coleman music proved to be magical, exciting, and more bittersweet than the quartet knew. “As I listen to the music,” says Zenón, “it almost feels like a different time. A time when we weren’t afraid to be close to each other. A time when we could still play in a packed room, with the audience right in front of us, and just feed off their energy. A time that will come back soon enough. And when it does, we’ll be ready to do it all over again.”

A multiple Grammy® nominee and Guggenheim and MacArthur Fellow, Zenón is one of a select group of musicians who have masterfully balanced and blended the often contradictory poles of innovation and tradition. Widely considered one of the most groundbreaking and influential saxophonists and composers of his generation, Zenón has also developed a unique voice as a conceptualist, concentrating his efforts on perfecting a fine mix between jazz and his many musical influences. Born and raised in San Juan, Puerto Rico, Zenón has recorded and toured with a wide variety of musicians including Charlie Haden, Fred Hersch, The SFJAZZ Collective, Kenny Werner and Bobby Hutcherson.  

Zenón’s 2021 releases also include El Arte Del Bolero, a duo album with pianist Luis Perdomo (digital release: January 8, Miel Music)  and the fall release of an album with his long-standing quartet.

Meroli - Notturni | New album on Space Echo | Jazz / Soundtrack / Electronic

Composer, producer, session musician - Meroli has wore many hats in the last two decades: with his bands Faze Liquide and Splatterpink and as a session musician with  labels such as Irma Records, Compost, Yoruba (with Osunlade and Atelewo), Sonar Kollektiv to name a few; as a manager, collaborator and producer for the Italian pop star Neffa.

This work reflects and is imbued with nocturnal atmospheres that are simultane ously rarified and crepuscular. This is an idea that has taken root in my thoughts, influenced by Chopin’s immortal Nocturnes, a Journey to the End of the Night (Louis Ferdinand Celine), a solitary walk in the abandoned suburbs of a metropolis (Taxi Driver), or an escape at full speed on a fireball after a thunderstorm (A Clockwork Orange). A night experienced temporally and spiritually, from dusk till dawn, in all the colors and shades it offers. A physical, sleepless, mysterious, decadent and romantic night, the night of the soul with its anguish and infinite solitude. The night of lovers and dreamers, a night that gives way to the blinding light of a new day, to a new hope for a new life, for regeneration.

This is a record enriched by my musical influences, from Duke Ellington to David Axelrod, from Bernard Herrmann to Pink Floyd. Jazz, electronica, psychedelia and oriental influences accompany us along the winding streets of the night and the un- conscious. A layered, dense and simultaneously evanescent and nebulous sound with composite rhythms that blend acoustic drums and drum machines, textural pianos and synthesizers, with melodies projected by wind sections and metallic dissonances that jostle with each other in the dark evening. A farrago of acoustic instruments and electronic effects and machines, the past and the present, the dreamt and the real, the deep shadows and the moonlight, the unbridled fantasy and the compulsive search for reality. This is floating, cinematic music full of mod- ern echoes yet anchored to tradition, a bold attempt to make the dream come true and transpose it into sound.

Vocalist Bruce Brown's "DEATH OF EXPERTISE"

Bruce Brown – a resident of Wellington, New Zealand for over 20 years – showcases his ongoing mastery of songcraft like never before on his fourth album DEATH OF EXPERTISE. Infused with Brown’s trademark wit, wisdom, incisive social commentary and poignant reflections on his life and the ever-challenging world around him, the 14 song collection features his soft-hearted, low key Chet Baker-esque vocals weaving colorful original narratives over the brisk, joyful swing and graceful moods of an ensemble of Australian and American musicians he has known and played with for years. “Great lyrics have the capacity to get inside and tweak the heart," Brown says. “In putting together the set list, I asked myself one simple question: ‘Are they seaworthy?’ They’re a combination of what I was feeling in those moments – good, bad and indifferent – about things that I went through and that people go through every day.” Also intrinsic to the songcraft on the album is the marriage between music and lyrics. The deceptively simple harmony is the perfect architecture for the songs, which allows the emotional impact of the lyric to be conveyed more effectively. The listener is surprised by the juxtaposition of the beautiful harmonies and sometimes funny, sometimes challenging, but always thought-provoking lyrics. DEATH OF EXPERTISE bears repeated listening to catch all of Brown’s artful nuances.

 

Binker Golding, John Edwards, Steve Noble - Moon Day

Award winning saxophonist and composer Binker Golding returns to Byrd Out with a new trio comprising giants of the experimental scene Steve Noble and John Edwards for an album of unparalleled instant creativity: 'Moon Day'.

The album plays with the post truth zeitgeist, using the first major moon conspiracy of 1835 as a launch pad, throwing a sly wink at Buzz Aldrin as the trio impart on their own musical odyssey.

The sheer variety of pace, tone and texture across the record is breathtaking, from Golding’s soft, almost weightless opening on ‘One Giant Step’ through to the skittish re-entry of ‘Reflection’ as the musicians ricochet off one another, the album bursts with ideas and energy, yet remains coherent and singular in its purpose.

Recorded during a gap between the various lockdowns of 2020, you can sense the release from the musicians as they combine after enforced isolation with a telepathic sense of where to push each other: Noble interjecting both chaos and order from the drums; Edwards the rocket fuel propelling the unit on; and Golding soaring and cutting through on sax.

Silky Smooth Vocalist Alyson Murray Releases Intimate 'The AM Session'

With her first complete project since 2018, soulful, Australian-born, New York-based vocalist Alyson Murray is here with a personal, honest, jazz-filled eight-track EP, The AM Session, co-produced by Gregory “Phace” Fils-Aime.

The singer-songwriter looked inward to bring the stories within her to life. "Each song on this record brings its own character. Initially, I was concerned about the soundscape and the different motions, but I think we have created cohesiveness in the themes and each track ties to the next, presenting a ‘story-like’ result, similarly–but not as extravagantly–as Janelle Monáe’s The ArchAndroidand," expresses Murray.  Of her influences, the vocalist cites Alicia Keys, Moonchild, Robert Grasper and Phil Collins as inspirations when creating the intimate project.

In 2019, Murray started a virtual YouTube and Instagram series, #AMsession, featuring a collection of songwriting ideas and improvisations. This series ultimately served as inspiration for the eight-track collection, out today. While the COVID-19 pandemic drastically altered life as we knew it, Alyson found herself resorting to online teaching and music tutoring, eventually coping with the new, unpredictable loneliness of isolation through writing music. "I wanted to timestamp the year, undoubtedly one we will never forget," explains Murray. "My aesthetic as a musician is typically one of positivity, uplifting music that you could groove too or reflect upon. This record is no different. I’m excited to have something rewarding come from a year as difficult as 2020."

The first single, "Someone Like You," was called a "jazzy vibe nugget that has downbeat acid jazz flair with a catchy array of R&B and soul," by Glide Magazine. Glide continues, "Murray proves her multi-dimensional artistry as she lays down silky smooth vocals over rhythmic retro beats reminiscent of Dua Lipa’s Future Nostalgia album."

The EP's gentle second single, "Small Steps," celebrates the process of nurturing a new love with an accompanying music video. Of the visual, GroundSounds wrote, "The ballad-inspired track features Murray’s vocals soaring above stripped-back instrumentation, with bassist Luca Soul Rosenfeld and pianist Kelly Green brilliantly accentuating the singer’s slow dive into a new love. The result is an intimate, raw performance of one of the most tender tracks from the forthcoming EP."

The full eight-track EP, The AM Session, is out now. Keep up with Alyson, her future releases and more on Instagram and Facebook, and listen on Spotify and Apple Music.

Australian-born and New York-based, singer-songwriter and producer Alyson Murray is a compelling and innovative performer who blends soul, R&B and jazz. After releasing her debut record Breathe in 2018, Murray toured the record across Melbourne, and performed abroad in NYC and Montreal, Canada. Murray began a virtual series entitled #AMsession on YouTube and Instagram in 2019, which features a collection of songwriting ideas and improvisations. The #AMSession series ultimately inspired her next project, The AM Session, an EP co-produced by Gregory ‘Phace’ Fils-Aime. The intimate eight-track collection is out now.

'Hunting Heads' is keyboardist David Garfield's tribute to Herbie Hancock

When world-renowned keyboardist/producer David Garfield was just starting out in the early ’70s, he was immediately attracted to jazz icon Herbie Hancock’s brilliant acoustic piano work, as well as his funky electric keyboard explorations with the Head Hunters. Over the years, David was able to perform with him and eventually got to know him.

“Hunting Heads,” the new single from Garfield’s upcoming all-star recording Stretchin’ Outside The Box,' was written as a musical tribute to Hancock, blending his jazz piano origins with the Fender Rhodes electric piano, funky clavinet and electronic synthesizers. Featuring guitarist Paul Jackson, Jr., “Hunting Heads” was mixed by two-time Grammy winner Erik Zobler and Garfield, who also produced and arranged the track.

Check out "Hunting Heads" here: https://soundcloud.com/creatchyrecords/hunting_heads/s-TN3KhJLRWvn

"I first discovered Herbie Hancock as a teenager, listening to Miles Davis’ classic quintet recordings. He was on many iconic Blue Note albums as well. 

"Maiden Voyage, one of his many solo records, made a real impact on me with its impressionistic feel. It seemed like Herbie played on everyone's projects and was very much in demand because of his versatile skillset. 'Watermelon Man' was a commercial hit and I liked that style of jazz as soon as I heard it. When I listened to his newly released Head Hunters record in 1973, it blew my mind. He was using electric instruments and playing funky, modern stuff - very influenced by Sly Stone. I was all in. I soon bought a Fender Rhodes electric piano and a wah-wah pedal and moved to California, where Herbie was based, to start my own band. 

"In 1976, I joined Freddie Hubbard’s group and, one week later, I was in New York watching Herbie's V.S.O.P. Quintet at City Center. My dreams were coming true. But when I went backstage, I was too shy to approach Herbie, who was surrounded by cats like Wayne Shorter, Jaco Pastorius, Tony Williams and Joe Zawinul.  

"In Berlin in 1977, we played on the same bill, but again I was tongue tied. This continued for decades until 1994 when we performed together at the House of Blues in LA. Even though Herbie was a special guest with my band, Los Lobotomys, I was still in awe of him and afraid to speak. When we started playing, I felt I needed to hold back and not ‘upstage' my hero.  

“Finally, in 2008, I was at Holland’s North Sea Jazz festival with my friend, drummer Vinnie Colaiuta, who was a member of Herbie's band. Herbie came over and I realized I had to overcome my feelings of awe. I went up to him and said, ‘We've been crossing paths now for over thirty years and it’s because of you that I've made keyboards my life’s work. Although we’ve never spoken, I feel we're like family.' He smiled, then hugged me, and from that day forward I’ve been at ease in his presence. 

"I decided to write 'Hunting Heads' to honor Herbie, his brilliant musical achievements and his many melodic and harmonic inventions, using the instruments that he championed: the Fender Rhodes, clavinet, synthesizers and grand piano. I utilized the syncopated sounds of soprano saxophonist Steve Tavaglione and world beat percussionist Munyungo Jackson that he always incorporated, as well as the brilliant and unique guitar work of Paul Jackson Jr, to give the track a funky sheen. I also tried to draw on the contemporary motifs of Prince, as Herbie did with Sly, to update the sound. Two of the most dynamic players of the younger generation, drummer ‘Lil' John' Roberts and bassist Alex Al, provide the spark. 

Exclusive Duet! The Late Jazz Guitar Legend Ronny Jordan & Billboard Chart-Topper Artist U-Nam

Rooted in friendship and mutual respect the massively funky reworking of the 1966 Buffalo Springfield hit “For What It’s Worth” is the latest product of a concept devised in 2016 by contemporary jazz superstar U-Nam and executive producer Vernon Clark.  

Titled “Cool Guitars” it took its name from that well-known guitar Accessories Company of which Clark is CEO and comprised seven instrumental tracks played by some of the best guitar players in the business.   

Two of those players, U-Nam and the legendary Ronny Jordan (who tragically passed away in 2014 aged fifty one), had been long time musical compadres and when  realised that a version of “For What It’s Worth”, although unfinished, had been one of the very last numbers Jordan ever recorded, he and Vernon set about tracking down the original tapes with a view to completing the song in true “Cool Guitars” style. 

In his minds eye U-Nam visualised the song as being a duet between him and Jordan. It would be the ultimate homage to a dear friend and an artistic coming together of two artists who throughout their careers had consistently been on the same page.  

For them it was less about the commercial imperative and more about the joy of the music and as U-Nam began his work the virtual synergy was both instant and powerful. 

Now, in the capable hands of U-Nam and Jordan, aka Cool Guitars.02, “For What It’s Worth” is a high-octane funky delight that never strays from being ultra cool. Add in the likes of Alex Al (Michael Jackson, Brian Culbertson, Dave Koz, Stevie Wonder) on bass and Bill Steinway (The Crusaders, Larry Carlton) on both Fender Rhodes and Hammond B3 and this is a tune that will leave listeners longing to hear more from what is very much a musical family affair. 

Indeed they may not have long to wait. “For What It’s Worth” is simply the first single from the second “Cool Guitars” project that is due out later in 2021.

COLECTIVA and Maria Grapsa - Under The | Debut single from the Afro-Latin/Jazz project

Exploring the boundaries between Afro-Latin music and jazz, COLECTIVA are a unique voice on the UK scene, representing the meeting of two musical worlds they believe belong together.

Their first single, ‘Under The’ came to life when jazz pianist Maria Grapsa brought an early arrangement of the tune to the collective. Working together over a series of collaborative sessions typical of their creative process, they crafted the song you hear today.

'Under The’ features Nadine Nagen (violin), Sarah Wackett (flute), Poppy Daniels (trumpet), Deanna Wilhelm (trumpet), Viva Msimang (trombone), Luisa Santiago (keys), Maria Grapsa (original composition, keys), Alley Lloyd (bass), Lilli Elina (congas, percussion), Lya Guerrero (drums).

Founded as a creative experiment by trombonist Viva Msimang, COLECTIVA makes space for female and non-binary identifying musicians to come together and collaborate in a new dynamic, an alternative to traditional hierarchical structures, free from the Male Gaze. Exploring notions of sisterhood through their shared creative practice, the collective empower themselves and their audiences alike.

Tormented melodies, jagged horn hits, and a rhythm section bristling with energy open the song, evoking sounds of struggle. Harmonies stack, as the musicians reach a triumphant yet vulnerable precipice… The arrival of a montuno transports them towards a utopia, and launching into a timba-inflected breakdown, COLECTIVA take us home, above the trees, within the earth, where we are one, the big cats chasing snakes while deer run free.

The Dave Weckl Band: Live in St. Louis

The Dave Weckl Band: Live in St. Louis at the Chesterfield Jazz Festival 2019, due out April 9 via Autumn Hill Records, reunites renowned drummer Dave Weckl with founding band members Jay Oliver on keyboards, Tom Kennedy on bass and, for the first time in more than 20 years, Buzz Feiten on guitar. They’re joined by Weckl’s longtime saxophonist of choice, Gary Meek, who joined in 2003 – making this a unique but integral incarnation of the band. The music will be released digitally through Apple Music, Spotify, YouTube and other streaming platforms, while a full HD video will be available exclusively to subscribers of the Dave Weckl Online School. 

“It's a really good feeling for me to have the band come back together and perform this music that we conceived 25 or 30 years ago,” Weckl says. “Especially now, to be able to share the live experience since many of us haven't had much of a chance to do this lately, since it feels like we’ve been living on another planet. I think people are hungrier than ever just to have a reminder like this.” 

The Dave Weckl Band came back together at the invitation of St. Louis musicians Rob and Mike Silverman, co-founders of the Chesterfield Festival. Longtime fans, the Silvermans also share the hometown pride of fellow St. Louis natives Weckl, Oliver and Kennedy – all three of whom have played together since their teenage years in the city, making the gig a homecoming as well as a reunion.

 

YUSEF LATEEF’S INNOVATIVE 1961 ALBUM, EASTERN SOUNDS

Craft Recordings is pleased to announce the second title in its one-step series, Small Batch: Yusef Lateef’s 1961 classic, Eastern Sounds. Originally released on Moodsville (an imprint of the legendary jazz label, Prestige Records), the upcoming Small Batch pressing of this groundbreaking album will be limited to 1,000 copies and released exclusively through CraftRecordings.com on April 23rd. 

The all-analog, one-step lacquer process series Small Batch, launched in February with a reissue of John Coltrane’s 1961 album, Lush Life—hailed by Analog Planet (1/26/21) as “…flawless and…as close to the original tape as you’re likely to hear,” along with Goldmine (April ’21) proclaiming “…this new reissue treats it [Lush Life] with the respect it deserves...we’re not even going to try and tell you how good it sounds. You just need to listen…”. In addition, the reissue was named “Vinyl Package of the Month” by UK’s MOJO magazine (April ’21), who described the set as “an appetizing proposition for collectors…this press of Lush Life certainly sounds fantastic.” The response from the community of audiophiles and music lovers was overwhelming, with Lush Life selling out in a matter of hours. While Eastern Sounds will also be limited in nature, due to the lengthy lead time to produce the meticulously crafted pressings, future titles in the series will be produced on a larger scale, in response to demand. 

This reissue of Eastern Sounds was mastered from the original stereo tapes by GRAMMY®-Award winning mastering engineer Bernie Grundman and pressed utilizing Neotech’s VR9000 compound on 180-gram vinyl at RTI in a one-step lacquer process—as opposed to the standard three-step process—allowing for the utmost level of musical detail, clarity, and dynamics while reducing the amount of surface noise on the record. The limited nature of the pressing guarantees that each record is a true representation of the original lacquer and is as close as the listener can get to the original recording. New liner notes from the GRAMMY® Award-winning music historian, journalist, and producer, Ashley Kahn complete the package. 

Fusing hard bop with influences of Middle Eastern and Asian music, Eastern Sounds was exploratory yet highly accessible to mainstream jazz audiences. Recorded in 1961 at Rudy Van Gelder’s legendary studios in Englewood Cliffs, NJ, the album features Lateef on tenor saxophone, oboe, flute, and a Chinese xun (an ancient globular flute). Accompanying Lateef is pianist Barry Harris, drummer Lex Humphries, and bassist Ernie Farrow, who also performs the rubab—an Afghani lute-like instrument. 

The engaging, nine-track album primarily consists of Lateef’s original compositions, in addition to the Jimmy McHugh standard “Don’t Blame Me” and two soundtrack selections: “Love Theme from Spartacus” and “Love Theme from The Robe.” Spanning a variety of moods, Eastern Sounds “effectively balances the familiar with the foreign,” explains Kahn in his liner notes. “When the album truly looks east—in sound and title—magic happens.” 

Highlights include the opening and closing tracks, “The Plum Blossom” and “The Three Faces of Balal,” respectively, as well as “Blues for the Orient.” The latter composition, Kahn notes, “is a standout track for multiple reasons, including Lateef’s oboe, with its evocative power, and the tune’s rhythmic construction.” He continues, “Check out the segue from a deep Southern blues feel to a Middle Eastern lilt…then Harris…moves the music even further east—a taste of Chinese voicings—before bringing it back home to the late-night blues: thousands of miles suggested in a matter of minutes.” 

Eastern Sounds, which marked Lateef’s 16th album, was not his first exploration of global music. In fact, by the time that Lateef began recording as a leader in 1957, he was already setting himself apart from his contemporaries—broadening his sound by learning new instruments and studying the music of other cultures. Lateef, who converted to Islam in the late ’40s, first experimented with elements of Eastern music in Prayer to the East (Savoy, 1957), and continued to expand his palate throughout his long and prolific career. In his obituary, the New York Times declared that the groundbreaking artist “played world music before world music had a name.” 

A lifelong student, Lateef (1920–2013) received his bachelor’s and master’s degrees at Manhattan School of Music, and later, earned a doctorate in education from the University of Massachusetts, Amherst. Lateef served as a professor at both of his alma maters, among other institutions. In 2010, the GRAMMY®-winning artist received the Jazz Master Fellowship Award from the National Endowment for the Arts—the highest US honor that can be bestowed upon a jazz musician. 

Each Small Batch pressing of Eastern Sounds will be individually numbered and encased in a foil-stamped, linen-wrapped slipcase featuring an acrylic inset of the original artwork. The vinyl disc—extractable through a unique, frictionless ribbon pull tab—is housed in a reproduction of the album’s original, tip-on jacket and protected by an archival-quality, anti-static, non-scratching inner sleeve. 

S.E.L – Loc’d in Consciousness

Born in North London, England, S.E.L quickly began to display a love for life and a passion for music. Noticing the beginnings of something special, she began classical Violin and Piano lessons at the age of 6 later performing in her first professional show at 11yrs old. Going on to study her chosen art at the prestigious Brunel University in London, S.E.L completed her degree in Music; developing an unrivalled knowledge of Music History, Vocal Jazz and the life and times of the legendary Billie Holiday. With the seeds sown, life for S.EL became focused on inspiring others, spreading love and making music.

Career – Due to formidable vocals and S.E.L’s specialist knowledge, she has been highly sought after to work with the greats across all genres of music. In 2005 S.E.L began working with the UK’s very own living legend, Jazzie B and the movement that is Soul II Soul and sites working alongside Jazzie B and the team as ‘An immense education’. From Jazz, Reggae and Pop to Classical, Soul, RnB and Blues, the list of artists S.E.L has worked with reads like a who’s who of world renowned international music, Alicia keys, Omar, Debbie Harry, Caron Wheeler, Jocelyn Brown, George Nooks, Sanchez, Duncan James, Mica Paris, Carleen Anderson, Charlotte Kelly, SOS Band… the list goes on.

Ethos – Determined to bring British soul music back to grass roots S.E.L signed her first deal to Universal Records affiliate, Cubit Records releasing her debut single ‘Necessary’ to international acclaim announcing S.E.L to the world. From Japan, China, South Africa, France & Canada to right here at home; S.E.L is becoming known for her sultry vocals, her truly amazing songwriting talents and her down to earth demeanour. ~ www. firstexperiencerecords.com

Rick Braun just Announced to Wrap Up Catalina Island JazzTrax Festival Opening Weekend

After playing sideman early on with his trumpet inside bands like War, Rod Stewart & Sade, Rick stepped out Solo in 1994 with ‘Night Walk’ and made his JazzTrax Live Stage Debut that Fall. Art Good remembers the moment Rick’s new Manager Steve Chapman called saying “I’ve got a great new horn player I think you’ll be interested in booking on Catalina Island this Fall.....

Any of you forever JazzTrax Festival Goers remember what happened end of that weekend in 1994 when Rick showed up at the famous old, now long gone Blue Parrot Bar after the festival’s final notes, with his trumpet, to add more in that late night local bar? Mindi Abair, then completely unknown but a friend of Art’s had been invited to appear in a rare festival All Star jam and she too showed up at The Blue Parrot. She and Rick together raged on “Mustang Sally.” That moment became part of JazzTrax Festival Lore.

And then 1995 Hit ... and Rick Braun HIT BIG with ‘Beat Street.’ It’s HUGE Radio Hit “CADILLAC SLIM” propelled him to Radio & Records .. Smooth Jazz National Artist of the  Year. When the very next year Rick came with ‘Body & Soul’ featuring his soon to become wife Cristiana with him on the cover he got propelled to Radio & Records Smooth Jazz Artist of the Year for a 2nd Consecutive Year .. RED HOT. RIck Braun has over 20 #1 Billboard Smooth Jazz Radio Hits.

Jazz On A Summer’s Evening Concert Ft. Tara Minton – Cadogan Hall 5th June 2021

Hosted by Jazz FM’s Nigel Williams, Jazz On A Summer’s Evening will take place at London’s Cadogan Hall on Saturday 5th June in front of a socially distanced audience. For those who can’t be there, this very special show will also be streamed live around the world, mixing a perfect Summer cocktail of classic jazz from an eclectic array of artists including Tara Minton, Jo Harrop, Carroll Thompson and Paul Lee.                                                                                

After what has been an incredibly difficult year for musicians in the jazz community, all profits from live streaming ticket sales will go to the Hampstead Jazz Club musicians’ support fund.

Jazz FM will broadcast the concert shortly after the event. You can listen in colour across the UK on your digital radio, smart speaker, on DTV and on the app.

Tara Minton - Having cut her teeth working with everyone from Melbourne Opera to Björk, Australian-born singer and jazz harpist, Tara Minton, is the missing link between Joni Mitchell and Dorothy Ashby. She has just released the critically acclaimed Please Do Not Ignore The Mermaid, an astonishingly adventurous impressionistic dreamscape of an album.

Jo Harrop - Having recently received a raft of rapturous reviews for her Weathering The Storm album, Jo Harrop is one of the brightest new stars in the jazz universe. Described by BBC 6 Music’s Iggy Pop as “a very fine jazz singer,” she has a velvety voice that can melt the stoniest of hearts.

Carroll Thompson - Known the world over as The Queen Of Lover’s Rock, Carroll Thompson first burst into the spotlight 40 years ago with her ground-breaking million-selling debut album, Hopelessly In Love. Having worked with everyone from Stevie Wonder to Michael Jackson, Thompson is one of the most unmistakable voices in music. She will be showcasing songs from her forthcoming Where Did Our Lovers Go, a celebration of her lifelong love of jazz.

Paul Lee - Perhaps best known for his unforgettable performance of Stand By Me at the wedding of Prince Harry and Meghan Markle, Paul Lee’s deliciously soothing gospel tones are the perfect tonic for these difficult times.

Featured Musicians - Alex Webb (MD and Piano), Phil Merriman (piano), Paul Edis (piano), Ciyo Brown (guitar), Tommaso Starace (saxophone), Freddie Gavita (trumpet), Ed Babar (double bass), David Ingamells (drums) all accompanied by the Amika String Quartet.

Alex Webb - Musical Director, Alex Webb, is one of the UK’s most in demand jazz pianists. He has written songs for everyone from China Moses to Liane Carroll. His critically acclaimed Café Society Swing show has enjoyed several theatre runs in London and New York.

Ciyo Brown - Award-winning jazz guitarist, has worked with a galaxy of stars including Paul Weller, Sly & Robbie and Annie Lennox, he’s one of the finest jazz guitarists of the modern era.

Freddie Gavita - Having worked with everyone from Gregory Porter to Dionne Warwick and appeared everywhere from Ronnie Scotts to the Royal Albert Hall, Freddie Gavita has built a reputation as one of the world’s most versatile and virtuosic jazz trumpet players.

Tommaso Starace - One of Europe’s finest saxophonists, Tommaso Starace has recorded 10 critically acclaimed solo albums and worked with a who’s who of jazz including Dave O’Higgins and Dave Liebman.

 

"The Black Stone Affair": the long lost soundtrack by Whatitdo Archive Group

For the first time ever, Record Kicks is pleased to announce the release of the long lost soundtrack by Whatitdo Archive Group to the Italian Cinematic Masterpiece "The Black Stone Affair'' on beautiful gatefold vinyl, CD and digital format on April 09 2021. The first extract from the movie soundtrack, which will be available on all digital platforms and limited edition 45 vinyl on March 05, is the "The Return of Beaumont Jenkins feat. Alessandro Alessandroni JR”. Alessandro is the son of one of one of the greatest composers of the Italian Golden age of soundtracks, Alessandro Alessandroni. Alessandroni worked with Ennio Morricone on a number of soundtracks including many Sergio Leone’s classics.

Long thought to be lost alongside the movie itself by the production studio, the soundtrack's master reels were recently recovered and its audio meticulously restored and remastered by J.J. Golden in Ventura, CA. The movie itself was understood to be unusual for its time: a globetrotting adventure/western-noir written and directed by aspiring visionary, Stefano Paradisi. Unfortunately for Paradisi, the tragic loss of his masterpiece during a fire also meant the end of his short lived career in movies. People who worked on the film have been cited as saying this film was very ambitious, set to be a turning point in Paradisi’s carrier putting him on the map alongside the likes of Sergio Leone and Antonioni.

While the movie never saw the light of day, the soundtrack by obscure band Whatitdo Archive Group has thankfully been recovered. The music itself is staggering to hear, each track evoking all the senses almost all at once. "The Black Stone Affair (Main Theme)" sets the story with its dizzying bassline underneath a Morricone-esque harpsichord melody eventually all digressing into a psych-freakout of guitars swirling over what is the overarching motif groove of this iconic soundtrack.

We then get taken into the giallo-steeped melody of "Blood Chief". What can only be the theme of the antagonist, this cut offers crunchy drum breaks, reverb-drenched bongos and a sinister baritone guitar line that seems to be indicative of its character. "Ethiopian Airlines" transports the movie into exotic lands with its afro-centric rhythms and mysterious horn melody. The search is on for the elusive Black Stone, an artifact so coveted it had been hidden for decades for its fatal power of seduction. For fans of KPM and De Wolfe Music, "Il Furto Di Africo" definitely delivers a similar 'library' flavor popular at the time. Our ears are treated to an ambiguous sense of center. What were Whatitdo Archive Group thinking? There almost seems to be two key centers at once and a slithering flute line blending between both. We can only imagine that the Black Stone was successfully stolen from the small Italian village of Africo with this track.

What movie really is complete without a lounge-y Bossa number? "Italian Love Triangle" delivers that sun-soaked Mediterranean romance. Our cunning female lead, Lola, decides the only way she can acquire the Black Stone is to pit the trio of characters against each other with an erotic love triangle she carefully crafts to exploit the vulnerability of Blood Chief and Beaumont Jenkins. "Last Train to Budapest" finds our two male leads in a gun-wielding, high-stakes train chase through the dizzying mountains of Bosnia racing to Hungary's capital city. The music brilliantly calls upon the soundtrack's multiple melodic motifs to all collide into a single stressful heart-racing track sure to put a knot in your stomach.

Probably the most unusual song appearing in this soundtrack is the French infused "L'amour au Centre de la Terre", an obvious yet tasteful homage to the composers' musical hero, Alain Goraguer. A lilting monologue is recited by who seems to be Lola, the tragic female lead in "The Black Stone Affair". Her passage speaks of the entangled romance she shares with the other two male leads and her plan to acquire the elusive Black Stone for herself. It's every man (and woman) for themselves! Paranoia and deceit has crept into the minds and motives of our conniving trio. No one can be trusted and false alliances are crumbling from within.

"The Black Stone Affair (Reprise)" evokes the characters' gut-wrenching feeling with its ever-rising key center.  "Farewell Lola" is the saddening funeral dirge and exit of the aforementioned Lola. Sworn enemies Beaumont and Blood Chief stand silently outside the church and watch as Lola's casket is lowered into her untimely grave. This is merely an armistice between the remaining opponents, only to resume after paying their respects to their former 'lover'.  A gory fight leaves Blood Chief standing. Beaumont is nowhere to be seen and only a cloud of dust slowly settles into the landscape as the mournful guitar and harmonica of "Beaumont's Lament" plays quietly in the distance. All is not lost. Triumphantly, Beaumont Jenkins stands tall, throws one last devastating blow to Blood Chief leaving him incapacitated. "The Return of Beaumont Jenkins" plays loudly in the face of Blood Chief desperately reaching for the stone only to realize it's a false! Our new hero, Beaumont Jenkins, sustained by Alessandro Alessandroni Jr.'s cinematic whistle, rides away victoriously into the night sky... the Black Stone hidden cleverly in his hat. End credits.

Steeped in obscurity, a cult following of crate-diggers and musical oddity collectors has been brewing over the mysterious releases of the Whatitdo Archive Group. Surfacing in 2009 from the high deserts of Reno, NV, USA, this recording collective focuses solely on curating, performing and preserving esoteric soundtrack, library and deep-groove collections. The personnel of the group consist of three musicians; each of them avid composers, recording engineers and obsessive record collectors. Alexander Korostinsky, Mark Sexton and Aaron Chiazza met in college and have been working together on producing music for over 10 years. (Both Korostinsky and Sexton also happen to write and perform in critically-acclaimed soul group “The Sextones”). In 2015 they quietly released a small batch of lo-fi deep-groove demos recorded exclusively to cassette in an old garage. This became their first full length offering, "Shit’s Dope", and it began to quickly spread across the internet piquing the interest of record collectors and DJs all over the world—a record Fleamarket Funk describes as “Falling in between some Headhunters and Lunar Funk 45s” and becoming a bestseller on Bandcamp of that year.

During this time, the Whatitdo Archive Group also began what is often hailed as a vital turning point in Reno music history; by hosting their famous “Whatitdo Wednesday” residency at a local venue. These packed performances drew the attention of not only live music-goers, but also the most accomplished jazz musicians in the area, often joining them on stage. Eventually, these shows stumbled into the arena of obscure performance art, where the band would facetiously distribute written and multiple choice tests during their performance for the audience to participate in.

After their residency came to a bittersweet end, the Whatitdo Archive Group refocused their attention on the wonderful world of 1970’s soul-jazz, where they wrote and recorded what would be their follow up 7” release, "Crocker Way / Steve’s Romp". This limited edition 45RPM became a hot ticket item for UK record collectors who had been previous fans of WAG’s older lo-fi work. "Crocker Way" was also a featured track on BBC Radio 6. Shortly after producing "Crocker Way / Steve’s Romp", the group again started production on their crown jewel of a record, a concept album that had been tossed around for several years beforehand but never executed. As band member Mark Sexton explains “We wanted to create an album that encompassed everything we love and admire about old Italian soundtrack scores, and bring that energy back into the spotlight”. The group spent 9 months of research, digging through their personal collections of dusty LP’s scrutinizing the work of Piccioni, Torossi, Roubaix, Alessandroni and of course Morricone, recording, mixing and working with over 24 skilled musicians. The Whatitdo Archive Group finally completed what would be their finest work to date, "The Black Stone Affair". Recorded entirely in Korostinsky’s home studio, this record is a labor of love, dedication, appreciation and respect for the golden age of Italian Soundtrack and Library music.

Kai Alece & Company, the fiercely gifted, multi-talented jazz, pop and R&B singer is quickly emerging with her new single “Raise ‘Em Up”

Sometimes, a song written by a brilliant, insightful songwriter who’s been flying – and singing - way too long under the radar, rises to meet the sociopolitical moment in unimaginably provocative ways. After hundreds of gigs throughout the Southeast, performing all styles of cover songs with her band Kai Alece & Company, the fiercely gifted, multi-talented jazz, pop and R&B singer is quickly emerging with her new single “Raise ‘Em Up,” a rousing, deeply soulful anthem for our time.

With lyrics by Kai and music by the song’s producer, Derrick Waller aka Melodiak, the track powerfully captures the divisive, tension and anxiety-filled zeitgeist of 2020, while serving as a clarion call for all of us – “Sisters and brothers standing for one another” – to “get your hands up” and tap into our common humanity as a pathway to transcend our cultural, racial and political differences. She will soon be releasing a music video for “Raise ‘Em Up,” directed by Mike Michaels.

Lifted by hypnotic piano riffs and gospel-influenced vocal textures, Kai builds towards the irrepressible hook of “Raise ‘Em Up” singing rich poetic phrases that boldly assesses where we are as a country right now and what we can do individually and collectively to address it: “Change is a choice and I want you to believe/We all have a voice and sometimes we disagree/ Racism was a thing it was buried down deep/Wasn’t politically correct to put it on Front Street.” Then she offers some shards of optimism, in the hopes we will finally listen: “In this world, we’ve got all shapes, all colors and sizes/Come together, ‘cause we can’t be divided.”

Kai then bursts into the chorus with the impactful main message of the song, enhancing her call to “get your hands up, raise ‘em up” with incisive rhymes full of images from recent headlines expressing the spirit of racial injustice: “Get down on the ground, take a knee. . .raising our voices in solidarity. . .Fist up, raise ‘em up, stop police brutality.”

Taking the extraordinary step to include a total of three verses, Kai begins Verse 2 by poignantly asking us all: “Who will take a stand and demand equality/Honestly, apologies are unsatisfactory/Level-headed people know right from wrong.” As with Verse 1, she leads into the chorus with a hopeful exhortation: “In this world, we need more love, more joy, more kindness, just a smile.” Verse 3 finds the singer rooting the call for change in the need to achieve justice for victims of racism, systemic and otherwise, and their grieving loved ones: “Families crying, saying goodbye and wondering will this ever end/It’s been a long time coming/So we have to say something.”

In the spiritually empowering bridge, Kai takes us to church musically while invoking the spirit of many classic social justice anthems and what should always be the American value of freedom of speech: “Lift every voice and sing till earth and heaven ring/Ring with the harmonies of liberty/Let our rejoicing rise, high as the listening skies.” Complementing her prayer for solidarity, she calls for collective action with the fiery repetition of “Let us march on, are you with me?”

Over the past 20 years, The Florida based Kai has amassed an impressive resume gracing the stages of countless regional venues, wedding, corporate functions, festivals, special events and parties in the U.S. and abroad – including doing shows for U.S troops stationed in South Korea. She also released one independent album (Reason, Season or Lifetime). Though she had settled into the flow of day to day life punctuated with gigs here and there, the highly publicized acts of racial injustice and the intense protests of these past months inspired her, as she says, “to say or do something.

“For me, making music and writing felt like the best, most important and cathartic step I could take to come to terms with and address everything that’s been happening,” Kai continues. “Having three unique verses in a song is unusual, but I probably could have written six to get everything that was on my mind in there. What I was trying to do was come up with a way for people to come together. There is so much division right now, and ‘Raise ‘Em Up’ is my way of saying that we can all have our separate opinions, but we don’t have to be mean and hateful to each other. I can’t believe that anyone could look at these tragic incidents with police and not see that they are not morally right and unjust. The song is my way of saying, let’s come together in solidarity and make changes as a united people, where we don’t think in terms of the black race or the white race, but the human race.”

“Raise ‘Em Up” evolved out of an earlier collaboration between Kai and Melodiak titled “All Lives Matter,” which the two wrote several years ago for an independent film about one family’s experience with racial injustice called “Black and White.” Amid the protests that erupted in the wake of the murder of George Floyd, Kai reached out to her fellow songwriter with the suggestion that they revamp the song to address the present situation, perhaps retitling it “Black Lives Matter.” As they exchanged ideas, it was clear that the moment called for a brand-new song based partly on the concept and sentiments of the original but filled with the urgency of present times.

“I knew it needed to be an anthem of sorts, something people can move to but not necessarily dance to, where they can bop their heads while singing along to the message,” Kai says. I believe this collaboration was divinely inspired because I wrote the chorus independently of hearing the music, just a melody in my head. When he sent me the music for that hook segment, my words and melody fit perfectly. I then wrote the lyrics to two other verses, and then the third when he suggested it. I hadn’t done a recording in several years, but singing the song in the studio in Orlando once we had ironed it out was like riding a bike – it all came right back and the vocal passion flowed nonstop.”

Kai is currently working on a follow-up single to “Raise ‘Em Up” - and promises a holiday track just in time for Christmas as well. “I love this song and it’s wonderful to feel that momentum again,” she says. “It’s the musical equivalent to the way people describe the wind in their hair when they’re riding a motorcycle. You just let the air, the music, blow right through you. Nothing brings me more joy than when I’m sharing a song and connecting with people. When people hear  ‘Raise ‘Em Up,” I want them to know that this divisiveness has to stop, because we’re all in this together.”

New Music Releases: Jimmy Reiter, The Tiptons Sax Quartet and Drums, Kutiman

Jimmy Reiter - Live

Whether from a small club stage or a large outdoor festival, the Jimmy Reiter Band is well-known for their spirited shows and sharing their passion for blues with their audiences, as is well documented on the band's upcoming album "Live", recorded in Osnabrück, Germany and Vienna, Austria. Filled with almost 80 minutes of material from their previous studio albums as well as long-time audience favorites, Reiter and his band are at the top of their game, doing what they love the most."Live" was partly recorded at the band’s annual concert in January of 2020 at the "Blue Note" club in Reiter’s hometown of Osnabrück, Germany. For the event, The Jimmy Reiter Band was augmented by special guests Dmitry Suslov (tenor sax) and Jürgen Wieching (baritone sax), adding a further dimension to these recordings. The remaining songs are taken from a show at the "Vienna Blues Spring“, broadcast on Austrian radio by ORF in 2019.

The Tiptons Sax Quartet and Drums - Wabi Sabi

The Japanese philosophy "Wabi Sabi" translates roughly as “find beauty and take pleasure in the imperfect”. For an ensemble like The Tiptons Sax Quartet and Drums that's been scattered across time zones for much of its existence this philosophy comes in handy. And as if to put them to the test, while recording in Seattle in Jan 2020 each band member came down with the worst case of the flu imaginable right in the midst of recording, often having to lie down in between takes (or was it the flu...?). Yet, the band persevered and somehow managed to record everything in three days. That is the spirit behind the band’s new single “Wabi Sabi” (out Feb 19, 2021). The track promises a forthcoming collection of new music from The Tipton's upcoming album Wabi Sabi (out April 2, 2021 on Sowiesound Records) to illustrate the sometimes unexpected beauty in our chaotic world. 

Kutiman - Surface Currents

“Music for doing things”. That’s the intention Kutiman had for Surface Currents, his forthcoming album of ambient atmospherics and modular experiments (April 2, 2021). But its beautiful sounds are deeply calming and refreshing, making this a perfect album to do nothing to as well. Composed and recorded at his home in the middle of the Negev Desert, where the solace and tranquility of his surroundings allow him to truly stretch his creativity, Kutiman’s quiet and solitary lifestyle imbues this project with an ethereal yet joyous aura. On the title track, built around a bed of piano arpeggios, Kutiman weaves other-worldly synth flutes, soothing siren sounds and subtle wooden percussion. The quiet addition of birdsong only cements the feeling of sunrise.  The low-end synth drones on “Offshore” resonate directly through your body, harmoniously complemented with harp-like keys and deep humming.  Finally, the beautiful “Coral Blossom” has the jazziest feel on this collection, as weightless piano motifs interplay with synthetic bass tones.

Swiss Music Ensemble KALI Trio Release Second Album LOOM

KALI Trio is a Swiss post-genre band. They function as a collective, with every member contributing equally to the writing and creative processes. Their original score for Thomas Imbach’s movie NEMESIS will arrive in 2021.

LOOM is the second album by KALI trio and shows the consequent development of the original style of the working band. The three Swiss musicians Nicolas Stocker (Drums), Urs Müller (E-Gitarre) und Raphael Loher (Piano) weave the various threads of their stylistic background together with relish and fresh skillfulness on their musical loom. The music, created together as an organism, is continuously charged in the four tracks and in the overall dramaturgy of the album and unfolds its rhythmic pull and its mysterious atmosphere in a subtle and inexorable manner.

LOOM consists of only four compositions, but clocks in at a few seconds short of the 45 minute mark! It’s a beast in scope, but airy (literally) in feel, hence easy to inhale. Each piece plays like the equivalent of a time-lapse of a looming cloud formation – a liquid progression of shifting shapes, changing density as well as shadow and light play. By the virtue of working with subtle iterations of form and using extended swaths of time as the equivalent of a large-scale canvas, the material evokes the mechanics of trance music. The creative use of sound design and general choice of spartan aesthetics, albeit executed using acoustic instruments, emphasize styles club-inclined and tasteful. The overall effect is cinematic and mesmeric; a sonic documentation of a daydream unraveling.

Although the music is emotionally gripping – defined by a dance-floor drive and a thick cinematic atmosphere – it’s hard not to notice the craftsmanship and the skill level involved in bringing these songs to life. The song “Folding Space,” for example, is based on a pattern in 19/8 that turns around on the offbeat against the quarter note. “Shipol,” on the other hand, is predicated on constantly shifting piano, snare and bass drum accents, which make the song feel as if it were performed in 7/16, and not the standard 4/4 that it is.

When asked to describe their music, the band came up with: “It falls somewhere between T.C. Boyle’s prose and Tarkovsky’s dream-like images.” It makes sense! Because the point is not to wow listeners with technique, but to create an experience via deep affect.