Thursday, April 08, 2021
The Best Of Mindi Abair
Amanda Whiting - The Feist | From her upcoming Jazzman Records LP 'After Dark'
Summoning the nocturnal mood suggested by the album’s title, Whiting’s harp flows and cascades, dances and alights, broods and haunts, informed by a deep understanding of both classical and jazz music, ultimately revealing a top-drawer composer with rare melodic gifts at the top of her game. From the melancholy opening track ‘Time Stands Still’ to the more rhythmically unorthodox ‘Who Knows’ to the achingly beautiful title track, the album is underpinned by a supportive band, John Reynolds on drums and Aidan Thorne on bass, who are perfectly suited to engage in an effortless, intimate musical dialogue.
Already an inveterate international jazz festival performer with Matthew Halsall’s Gondwana Orchestra, Whiting has supported and performed with a diverse range of Djs and jazz and pop artists including Jamie Cullum, DJ Yoda, Rebecca Vasmant, True Jazzchild, Danii Minogue, Jazzanova, and Chip Wickham (who features on three tracks on After Dark, adding a touch of the graceful warmth for which he has been so justly acclaimed). And as Jazz harp teacher at the Royal Welsh College of Music and Drama, the Royal Birmingham Conservatoire, and RNCM, Amanda is as warmly received in the lecture hall as the concert hall. Be sure to to expect more from Amanda in the not too distant future.
Drummer Reggie Quinerly Releases "New York Nowhere"
A city of such contradiction and complexity as New York could only evoke an emotional response of contradiction and complexity. Hence the title: New York Nowhere is meant to encapsulate the multiple and often opposing personalities at play in America’s largest city.
“You’re surrounded by eight million people,” Quinerly says, describing the vibe of New York life. “But everybody has their own story and everybody’s living their own life with a very singular focus. So even in the midst of all these people, you’re kind of completely alone. It’s everywhere and nowhere at the same time.”
As he so often does, Quinerly refashions these and other nuanced perspectives on living and working on the New York scene into rousing, infectious music. Be it the sweetened bounce of “Reflections on the Hudson,” the delicate Brazilian flavor of “Celso,” or the brief but fraught theme of “New York Nights” (which is still so fully realized that Quinerly and the band can make two distinct versions of it), the drummer-composer channels all his considerable panache and creative energy into the album’s every aspect.
That includes the formation of New York Nowhere’s quintet, whose tight chemistry is itself another example of Quinerly’s acuity and resourcefulness. He knew he wanted Antoine Drye on trumpet, which made John Ellis the natural choice to share the frontline: “Those two go back thirty years, and I wanted to not only tap into the relationship that I have with them individually, but I wanted to highlight the connection that they have.” Similarly, filling the piano chair with John Chin automatically suggested Sean Conly for the bass. “They’ve been getting together for at least twenty years, building and playing each other’s music and stuff. I wanted that level of familiarity with each other’s playing, and I wanted them to reflect that intimacy through my compositions.”
In the end, of course, it is the players’ connection to Quinerly, and his to them, that puts the magic into New York Nowhere.
Reggie Quinerly was born November 16, 1980 in Houston, Texas, one of the garden spots of 21st- century jazz. Fittingly, he took an early turn in that direction. Lester Grant, who played drums in the Pilgrim United Church of Christ (where Reggie grew up), was a jazz master who became the young musician’s first mentor. Grant not only taught him to play but sent him on an odyssey of discovering the great musicians of jazz past and present.
The odyssey took Quinerly first to Houston’s famous High School of the Performing and Visual Arts, then to the New School for Jazz and Contemporary Music in New York, and finally to the Juilliard School for his Master’s in Jazz Studies. There, his circle of mentors widened to include Jimmy Cobb, Lewis Nash, and Kenny Washington.
Shortly after completing his degree at Juilliard, Quinerly recorded and released his first album, 2012’s Music Inspired by Freedmantown. It started him down a fruitful artistic pathway that has also brought forth 2015’s Invictus and 2018’s Words to Love, critically acclaimed albums that helped raise Quinerly’s profile in the jazz world. New York Nowhere is the newest link in the chain. However, as he starts a new phase of his creative life in Los Angeles, it will assuredly not be the last.
The Afro Soul Prophecy - Heat In The City
The Afro Soul Prophecy formed thanks to the initiative of Luciano Cantone, co-founder of Schema Records, also the producer of the album.
‘Heat in the City’ is an almost completely instrumental album that finds its strength in its simplicity and balance between parts. The songs’ composer is Alex Puddu, well-known especially for his ‘Golden Age of Danish Pornography’ disco-funk triptych, flanked by a large group of international artists who helped him bring to life this project: Abdissa “Mamba” Assefa (Ethiopia, drums and percussion), Antti Lötjönen (Finland, double bass), Georgios Kontrafouris (Greece, Wurlitzer and Hammond), Timo Lassy (Finland, saxophone), Gendrickson “Pucci” Mena (Cuba, trumpet), Massimo Martellotta (Italy, guitar) and Morten Grønvad (Denmark, vibraphone).
The Afro Soul Prophecy’s sound and groove are rooted in Black music, and so rich of nuances it requires an in-depth listening to be fully assimilated.
‘Heat in the City’ is a record that draws inspiration from The Meters, War and Roy Ayers’ downbeat funk, but also indulges in Afrobeat (The Devil Made Me Do It), Latin (Let Me Be Your Lover, The Game of Love, Daddy’s Groove) and disco excursions (Everybody’s Going Uptown, Fire in Acapulco, Mean Street), while ‘Summer of ’75’ and ‘The Crowd Pleaser’ evoke pure Blaxploitation scenarios.
‘Heat in the City’ owes most of its qualities to the fundamental contribution of Abdissa Assefa on percussion and Antti Lötjönen on double bass - a particular and atypical instrument in such musical context, as well as to Pietro Ciancaglini’s arrangements.
The final result is a rich, multi-faceted and deeply immersive musical experience that will reveal new details through many pleasurable listening sessions.
Dusty Springfield The Complete Atlantic Singles CD
The folks at Real Gone Music have closely examined this crucial period in Dusty's career over the years, with three previous releases. But there remains one facet of her Atlantic period which has remained largely untouched: her singles. The Complete Atlantic Singles1968-1971 presents the A and B-sides of all dozen singles she recorded for the label in their original mono single mixes, only eight of which have previously appeared on CD. That's right only eight (the ones that were on Dusty in Memphis) of these 24 tracks have been on CD, and these singular sides highlight how the move to a more R&B sound at Atlantic (also aided by producers Gamble & Huff and Jeff Barry with such players as The Memphis Boys and The Sweet Inspirations) brilliantly capitalized on the smoky tones of Dusty's mezzo-soprano to create some of the most potent blue-eyed soul ever recorded. Mastered by Mike Milchner from original tape sources, annotated by Joe Marchese, and featuring copious photos, The Complete Atlantic Singles 1968-1971 is an absolute must for any Dusty devotee or any soul fan to boot.
Timo Lassy & Teppo Mäkynen - Calling James (Live) | New single
The We Jazz Records release ‘Live Recordings 2019-2020’ follows the duo's 2019 LP which was shortlisted for Jazz Album Of the Year at Gilles Peterson's Worldwide Awards.
While the studio album versions were studies in improvisational brevity, the live album lets the long-time collaborators really let loose and build memorable sonic narratives around the compositions. The album is produced and edited by Teppo Mäkynen, also known and highly sought-after for his visionary and diverse production work.
From the subtle minimalism of ‘Fallow' via the ambient of ‘Aero' to the riff-heavy groove of ‘Calling James’, Timo Lassy & Teppo Mäkynen breathe music as one unit - an effortless flow built on everlasting trust.
Their duo shows have quickly become celebrated examples of what a long history of playing together can enable on stage when paired with a shared musical goal.
This live album aims to document what's happening in the present and expand on what was captured in the studio earlier.
As a duo, Timo Lassy & Teppo Mäkynen have quickly established themselves as live favourites capable of opening up their music in ways which are constantly inventive and also remarkably accessible.
Some of the duo's most memorable concerts include Berlin’s Berghain, Helsinki's Flow Festival, and the gigs captured on tape here: We Jazz Festival, Porvoo Jazz Festival plus G Livelab Helsinki.
Greg Murphy's Cool Water is a genuine jazz revelation
“The inspiration for the concept of the album and title track, ‘Enkare Nairobi,’ (which means ‘cool water’ in Maasai and refers to the Nairobi River which flows through the Kenyan capital) came from a dream,” Murphy recalls, “and was a direct connection to my trip to Kenya in March of 2019.” Murphy woke up after dreaming a melody and sang it into his phone’s recorder and wrote it out that day. Months later, when he was putting the song together, he watched the video he recorded of the Maasai women singing their greeting song when he visited their village.
“When I saw the video,” he says, “I realized there was a melodic and rhythmic connection from that music that came to me in my dream.” Murphy lowered the key of the song a half-step, added some harmonies and the whole thing came together beautifully.
Murphy spoke with Neal Weiss of Whaling City Sound about the project to get it off the ground. “I told Neal I wanted an African theme as a central aspect of the record,” says Murphy. “And Neal suggested that I incorporate the actual Maasai audio into the song.”
Loosely translated as, “Thank you, God, for allowing our visitors to arrive safely,” the greeting song and the subsequent title track for his beautiful recording was possible because Murphy had been invited to Nairobi originally by Jon Alpert and Slava Fetisov in coordination with the United Nations Environment Programme to play hockey with the Kenyan Ice Lions in an ongoing effort to promote climate change awareness. “Another coincidence occurred when my wife Nancy and I touched down on the plane in Africa only to find out that our previous release, Bright Idea (WCS 111) returned to #1 on the JazzWeek charts!”
Cool Water is fascinating beyond its title track and chief inspiration. While “Enkare Nairobi” is the literal and figurative heart of the recording, the rest of the session also soars. The recording opens with the ebullient “Chim Chim Cher-ee,” segues into a chancy take on Steely Dan’s “Green Earrings,” careening through a battery of brisk melodies and beautiful playing, including the astonishing “Cuttin’ Trane’s Corners,” a dark, surprising cover of Wayne Shorter’s “Lost,” and the funk-filled closing celebration, “You Decide.” Murphy’s fingers find delicate and exciting ways of expressing themselves across the keys. It is the sound of a blissful talent with a renewed belief in both his life and music. Murphy’s bandmates Jeff “Tain” Watts on drums, Eric Wheeler on bass, and a bevy of guests also elevate the experience. “I’m so proud of the topflight contributions from all of my friends who made this album possible,” says Murphy. “Their ideas, energy, patience, professionalism, experience, humility, and camaraderie were invaluable.”
Appearances by special guests Kaïssa Doumbe Moulongo and Dave Kikoski also added superb flourishes. “I invited Kaïssa to sing on the session and lend her voice to the title track,” Murphy recalls. “I asked her to translate the greeting song into her native language of Duala, (Cameroon) and sing along with ‘Tain’s’ drum solo towards the end. She added a West African vibe to the song, which connected to the original melody from East Africa.”
Kikoski’s work ethic also inspired Murphy. “When Dave recorded the solos for ‘Green Earrings’ and ‘Friendship,’ if he didn’t nail something on the first take, he'd do multiple takes until he was satisfied, going back and forth to the piano, rewriting the chords so they made more sense to him, etc. … he’s a great friend and a true professional.”
In the end, Cool Water is just as its title says: long and fresh, a ride with the top down with a bunch of good friends, rife with optimism and full of freedom and discovery. Greg Murphy is motivated, inspired, ambitious, and energized. About his career and musical journey, he says, “Where I’m headed? No limitations, not even the sky.”
Richard Elliot's 1st New CD in 5 Yrs - Authentic Life
Elliot, who has also successfully moonlighted as a software engineer, also flies planes and is currently engrossed in the colossal project of building his own airplane. “There are absolute parallels between jazz and flying,” explains the San Diego resident. “When you are performing and flying you are 100 percent consumed and focused on that experience from a technical perspective, emotional and aesthetic perspective, taking in everything around you.” The chart-topping saxophonist and pioneering Contemporary Jazz musician’s instantly recognizable trademark tenor has afforded him the opportunity to work with everyone from Smokey Robinson, Bonnie Raitt and The Temptations to Dave Koz, Tower of Power and Gerald Albright, to name a few.
Danny Weiss, Shanachie VP of Jazz A&R states, “Richard Elliot has an uncanny ability to combine precision and technical mastery with passion and excitement. As a result, whether you're a casual listener or a jazz fanatic (like me), Richard Elliot's music is richly rewarding - and a real home run for Shanachie!”
The ever-evolving and continually inspired Richard Elliot concludes, “I definitely don’t feel the same sense of urgency that I did in my younger years. I always felt that I had something to prove whereas now, I only need to prove to myself that I am growing as human being and artist. It’s really about living an Authentic Life, doing what feels right and accepting life in all of its facets.”
Wednesday, April 07, 2021
Brazilian-born, Paris-based artist, Dom La Nena, releases "Tempo"
Tying into the album’s theme of time (or tempo in Portuguese), the song’s title “Todo Tiene Su Fin” translates to everything has its end. A concept punctuated by the music video as Dom La Nena comments, “In the video we see this little girl, still a baby, is just starting her life, observing the world in all its beauty and mysteries. In the city, she witnesses people glued to their screens, and on the beach there is a dying bird spending its last moments staring out at the ocean. This song is about the cycle of births and deaths, endings and new beginnings, the desire to do or to be different the next time... so it was striking to find the 1985 interview of French novelist Marguerite Duras describing the world as we actually live it today, absorbed by technology, destructive in many ways, where people are increasingly isolated… somewhat unsettling in ways... so we added Marguerite's words to the film echoing the silent experiences of the little girl.”
The video director Jeramiah, known for his work with REM, Tinariwen, Jane Birkin, Piers Faccini, Dom La Nena to name a few, adds, “This film was shot between Paris and Lisbon on Super8, like family home movies in the old days used to record some moments of their lives - often vacations or birthdays, on a few rolls of 3 minutes each not to forget later how life used to be. A few precious images would attest to a whole lifetime. The celluloid film that the Super8 uses, is expensive and difficult to handle, so the gesture of filming ends up being very different from shooting digital. It’s not that we film only the most important moments, but we transform these moments we film into the most important and precious ones.” He explains, “I wanted this film to draw upon daily life and to treat these moments as the most precious things, the seconds like every second of our lives is, which we tend to forget as Marguerite Duras in the film implicitly suggests. She speaks of an era she could only guess about, but which became reality very quickly.” He continues, “We now can only guess what the next step will be and how it will change us again, certainly even faster. What we do know now is that time flies when we are scrolling through, and that we might wake up one day, close to the end with the knowledge we have spent most our days in front of a screen.”
The new song comes out on the heels of the multi-lingual lead single ‘Oiseau Sauvage,’ out now. The album, Tempo is La Nena’s third full-length release, after 2013’s critically acclaimed Ela, and her internationally-flavored indie-folk collection called Soyo in 2015. With its blend of pop, world, and chamber music, you may hear Tempo as a response to, or a respite from, difficult times. And you wouldn’t be wrong, although La Nena says that wasn’t intentional. “Composing and writing are is a mysterious and very unconscious process for me. Everything in my life is a source of inspiration and has had an influence on my music and lyrics. Since I’ve become a mother, it has raised a lot of questions about the value of time and life. Consequently some of these questions are very present on the album: birth, anticipation, aging, death” comments Dom La Nena.
With the new album, the Brazilian-born, Paris-based artist, Dom La Nena, has created a series of small, crystalline moments – sometimes sunny, often dreamy, and occasionally laced with that beautiful nostalgia the Brazilians call saudade. Tempo marks the return of a distinctive and exceptional musician. It’s about time.
KIAZI MALONGA CAPTURES THE UNIQUE SOUNDS OF THE CONGO WITH DEBUT ALBUM
Kiazi Malonga is a second generation Congolese American. Kiazi was born into a family of artists one of which being his father Malonga Casquelourd. Kiazi’s father was a world renowned artist who taught Congolese dance, drum and folkloric performance art. Casquelourd established the Fua Dia Congo Performance Dance Company, the first African Dance and Drum Camp in the US, and played a major role in building the African Diaspora Community in the Bay Area (East Palo Alto, Oakland and San Francisco) and the United States. With Tembo Kia Ngoma, Kiazi honors his father's legacy. Kiazi states, “This is my first studio project honoring the work he did, showcasing my culture and recording compositions and songs from his generation that were never captured.”
Tembo Kia Ngoma translates from Kikongo to English to mean “the wind of the drum.” Kiazi, who also grew up in the inner city said, “Tembo (being wind) can also refer to the vibration of the sound waves that hit you often when a car with an amazing stereo system pulls up alongside you.” The Ngoma, a traditional drum from sub-Saharan Africa, is the primary instrument showcased throughout the album.
Tembo Kia Ngoma was recorded over a 2 year period at Redtone Records in East Palo Alto, CA. Kiazi recorded the album with recording engineer Justin Phipps. Kiazi said, “Justin’s musicianship, raw skills playing multiple instruments and approach to engineering play a crucial role in making this project that we are excited about!” The 10-track instrumental album follows the format of how Malonga Casquelourd used to set the order of the annual Fua Dia Congo performances. Each track is distinguishable by its Congolese rhythm.
The first single, “Lomami,” blends together rhythmic elements of Mutwashi & Tchiluba. The song is dedicated to the untimely passing of Kiazi’s late older cousin Diaka Fungula. Named in honor of the region it came from in the Luba Kingdom, “Lomami” is filled with a melodic string section and an intricately-composed Ngoma breakdown. The track “Mbongui” features the voice of Malonga Casquelourd and Fua Dia Congo (40 plus strong) in a performance in the late 90’s. The song is highly-revered and has not been performed since Casquelourd’s passing.
With Tembo Kia Ngoma, Kiazi Malonga aims to elevate the platform with which Congolese traditional music is listened to and appreciated. Kiazi concludes, “It’s a first step in my contribution to sharing the beautiful culture that I am a part of…Congolese Culture.”
Shai Maestro | "Human"
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
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"
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
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
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'
“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
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
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"
Binker Golding, John Edwards, Steve Noble - 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'
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
“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.
Tuesday, April 06, 2021
Exclusive Duet! The Late Jazz Guitar Legend Ronny Jordan & Billboard Chart-Topper Artist U-Nam
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
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
“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
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.
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