Guitarist-Composer Ken Ramm signs with Bob Frank Entertainment for catalog reissues and a new album

While Euphoria’s eclectic records may be somewhat underground and better known in the art-rock-pop world, there’s a good chance that you’re familiar with Emmy nominated guitarist-composer Ken Ramm’s music, thanks to Euphoria’s tracks being licensed for use in high-profile television and film projects in addition to serving as the soundtrack for Apple campaigns and keynote speeches by Steve Jobs. Mainstream music fans have the chance to discover and delve into the Euphoria catalog now that four of Ramm’s albums have been reissued by Bob Frank Entertainment leading to the release of a new album, “5 Times A Charm,” this Fall.

The Euphoria projects recently reissued are “Dragon” (1981) and “Ramm” (1984). Albums “e4 Instrumental” and “e4 Vocal” (both 2013) will be reissued later this year followed by the new recording.

Throughout his lengthy and diverse career path, Ramm has been crafting imaginative sonicscapes drawn from broad palates of electronic, trip hop, jazz, fusion, Americana, progressive rock and pop. Releasing a catalog of adventurous albums as Euphoria, the audacious alchemist found inventive ways to set his predominantly twelve-string acoustic guitar among lavish aural tapestries, use gauzy electric slide guitar to texturize experimental audio files, and dispense improvised melodies amidst danceable grooves.

“We are thrilled to be working with Ken Ramm (Euphoria) on his new music as well as his catalog. For the first time ever, it will be marketed together, and we hope to bring his beautiful compositions to a wider audience,” said Bob Frank, CEO and founder of Bob Frank Entertainment.

“It is a great privilege to be working with an experienced music man such as Bob Frank and his Bob Frank Distribution team,” said Ramm, a global artist based in Toronto and New York who often records in London. “Their alliance with SONY and The Orchard makes for a powerful combination. To have a historical perspective of my music, aligned with the upcoming new material from my music project, ‘5 Times A Charm,’ gives the music buying and listening public a chance to experience my growth as an artist both past and present.”

Ramm’s first offering “Dragon” was mixed by GRAMMY winner Daniel Lanois (U2, Bob Dylan, Peter Gabriel). He has collaborated with Rush’s Geddy Lee and Neil Peart, and vocalists Tracy Bonham and Tina Dico (Zero 7) are featured singing on Euphoria albums.

Filmmakers and television music supervisors have been enamored with Euphoria’s striking and visually compelling material, which run the gamut from high-energy club bangers to moody atmospherics. Euphoria tracks have been heard on “CSI: Crime Scene Investigation,” “Malcolm in the Middle,” “The Expendables 3,” “Roswell” and “Oprah.” Academy Award-winning director Michael Mann used Euphoria cuts “Devil May Care” and “Blue” for the HBO series “Luck,” which starred Dustin Hoffman. Apple and Nissan are among the companies who have featured Euphoria’s music in commercials while Steve Jobs used the single “Sweet Rain” as the soundtrack for the 2002 MacWorld launch in addition to selecting the song “Delirium” as the backdrop for a keynotes address.

Ramm performed live at dublab’s 20th anniversary in 2019 and frequently serves as a guest host on the Los Angeles-based radio outlet’s shows, including “In His Own Words,” “Patrick Gleeson” and “Songs For Film And Television,” which can be found archived on the dublab website.

For more information about Ramm and Euphoria, please visit https://euphoria.to.

Trineice Robinson with Don Braden, Cyrus Chestnut, Kenny Davis, Vince Ector on "All or Nothing"

With the August 6, 2021 release of All Or Nothing, vocalist Trineice Robinson crosses off a major item on her bucket list, finally releasing her debut album at the age of 40. Belated though her emergence into the spotlight may be, Robinson does so with the confidence and dazzling range of a performer who’s invested a lifetime in her craft.

It also must be one of the last unfulfilled dreams on that bucket list: she’s already enjoyed a career as a renowned educator and researcher, developing her pioneering Soul Ingredients® teaching methodology to remedy the lack of Black music traditions represented in the field of voice pedagogy; and she’s raised two children, both of whom sing along with her on All Or Nothing.

“My focus on academia ended up superseding my ability to really nourish myself as an artist,” Robinson says. “With Soul Ingredients®, I teach concepts like ‘sing your soul’ and ‘music your story.’ Now it’s my turn to do that.”

Robinson finds herself in stellar company for her debut. She’s joined throughout the album by an all-star group featuring saxophonist Don Braden, who also contributed many of the arrangements; pianist Cyrus Chestnut, bassist Kenny Davis and drummer Vince Ector, along with guest appearances by pianist Phil Orr, guitarist Joe “Stretch” Vinson, percussionist Kahlil Kwame Bell and the horn section of Ian Kaufman, John Meko and Nils Mossblad.

Robinson’s path has crossed these musicians at a variety of junctures throughout her career as an educator and performer. Some of them are colleagues from Princeton University, where she is a member of the Jazz faculty; others have been connections made through her travels as a scholar and researcher; others are longtime collaborators on the local music scene where Robinson has plied her trade while focused on her teaching. And of course there are her children, Laura-Simone Martin and Lindsay Martin Jr., who lend a sweetness and charm to Robinson’s gospel-inspired original, “Let It Shine.”

“I tried to engage people that are a part of my journey,” she explains. “Whether it's my family or my colleagues, these are all people that I felt understood my vision and could help me be better at me being me. I got people that helped me shine.”

The music on All Or Nothing, a blend of standards, jazz classics, R&B/soul favorites and original songs, reflects Robinson’s diverse tastes and interests. In fact, it was her restless desire to explore beyond the narrow confines of a single defined genre that led her down the circuitous path to All Or Nothing.  

“One of the subconscious reasons that I didn't push forward in my own artistry was the recognition that I fit in so many categories,” she says. “The industry makes you choose: if you're going to be a jazz singer you have to sound a certain way; if you're going to be a gospel singer or an R&B singer or a classical singer, you have to sound a certain way. What happens if I'm all of those? My mission was to find answers for myself as I tried to understand who I was as a performer.”

Her entire career in academia was a result of not being able to find those answers when vocal pedagogy was decidedly focused on the European classical tradition. She eventually remedied that with Soul Ingredients®, which encourages vocalists to find their own personal blend of influences and autobiography in their approach to singing. “The ingredients I talk about are the components that people use for self-expression,” Robinson explains. “When you understand how ingredients are used in a dish, you can create whatever dish you want.”

Robinson’s own passion for music began in Oakland, California, where she came from generations of clergy. Though she began singing in church, she resisted following in those footsteps, instead starting college as an engineering major. The urge to sing wasn’t quelled for long, however, and she eventually earned her master’s in jazz studies at Indiana University-Bloomington, where she studied with Dr. David Baker, and her doctorate in music education at Teachers College Columbia University.

The wholeheartedness with which she attacks every aspect of her career is reflected in the title of All Or Nothing, taken from the standard that opens the album. Braden’s forceful, abbreviated arrangement underlines the fervency of Robinson’s attitude as she takes on this next challenge. The singer’s take on Wayne Shorter’s “Footprints,” with lyrics by former student Nandita Rao, focuses on the crucial idea of legacy. “I'm always talking about legacy,” Robinsons says. “What are you leaving behind? Do you realize you have the power and the responsibility to make a difference?”

Robinson’s love of classic soul shines through on her silken rendition of Marvin Gaye’s “What’s Going On?” The subtle addition of “hoodies” to the lyric updates the song’s lament to the current day. “We're still singing the same songs and telling the same stories,” Robinson says tersely regarding the racial struggles that remain relevant a half century after the original song’s release. Some respite from that pain is provided by Duke Ellington’s revered “Come Sunday,” an intimate duet by Robinson and Chestnut that, she says, “definitely brings out my church influences… The concept behind it is that no matter what's going on, on Sunday things are going to make sense, even for a couple of hours.”

Robinson’s “mini-song,” “If This Is Love,” leads into “The Very Thought of You,” on which she and Braden alternate burnishing the melody. Both that and especially “Save Your Love For Me” were chosen in homage to Robinson’s favorite singer, the great Nancy Wilson, who passed away as she was working on the album. Another hero, Carmen McRae, is echoed on the Thelonious Monk tune “You Know Who (I Mean You).” She showcases her transfixing way with a ballad on the McCoy Tyner/Sammy Cahn collaboration “You Taught My Heart To Sing,” and a tropical soul feel on Natalie Cole’s sunny “La Costa.” The album ends with the brassy gospel of “Let It Shine,” save for a brief, heartwarming coda from 10-year old Lindsay Martin Jr.

Jazz, gospel, R&B, classical – Robinson combines ingredients from all of this music into the rich, expressive stew that makes All Or Nothing a bountiful feast for the listener. Combine all of that with her vivid emotional delivery and the unapologetic way she makes every lyric so deeply personal makes this a stunning debut well worth waiting for.

Trineice Robinson

Dr. Trineice Robinson-Martin has dedicated her career to performing and developing resources for teaching jazz, gospel/Christian, R&B, rock, country, and pop singing styles in an applied/private voice lesson setting. In addition to releasing her debut album, All Or Nothing, she maintains a busy schedule as a singer in a variety of styles while holding a faculty position at Princeton University as the jazz voice instructor, lecturer, and director of the Jazz Vocal Collective Ensemble. She serves on the National Faculty in the academic division of Gospel Music Workshop of America, serves as the Executive Director of the African American Jazz Caucus, Inc., serves as a Board of Director for the Jazz Education Network, serves on the Editorial Board of the Journal of Singing, and is a member of the distinguished American Academy of Teachers of Singing. Dr. Trineice created Soul Ingredients®, a teaching methodology for developing a singer’s musical style/interpretation in African American folk based music styles (i.e. jazz, gospel, R&B, blues, etc.). This methodology shows students how to take their personal experiences, musical influences and models, and execute the different components in a manner that is personal to the singer/performer’s own personal expression.

 

Kat Eaton | "Talk To Me"

Kat Eaton is a Welsh-born, Sheffield-raised, London-dwelling soul/r&b artist, who over the last few years has been steadily making a name for herself both in the UK and overseas. Known for her powerhouse vocals, Kat is also adept at songwriting, tackling delicate and topical issue such as mental health, modern love or drunk dialing an ex.

Originally discovered through the radio show “BBC Introducing”, Kat‘s first singles “Giving It Up” and “The Joker” earned her strong support from BBC Radio 2, Robert Elms and Gaby Roslin on BBC Radio London, as well as BBC Introducing in Sheffield. “The Joker” was also play-listed at renowned Dutch station NPO 2.

Having already toured the UK/EU supporting various artists (Jools Holland, Marc Broussard, The Teskey Brothers, Mama’s Gun), selling out multiple headlines shows in London, co-writing with the likes of Ruby Turner, Caro Emerald and Andy Platts (Mama’s Gun / Young Gun Silver Fox) and breaking through to new territories via the national radio airwaves of Holland and Belgium, Kat has established herself as one of the hardest working and talented performers in her field.

Kat met long time collaborator & now partner Nick Atkinson at just 15 in Sheffield, a city that had a profound impact on Kat & Nick’s musical identity, with its rich lineage of working class musicians influencing the pair massively. Although Kat is very much the face of the project, behind the scenes Nick contributes with co-writing & production credits, making the music very much a collaborative effort between them both.

The result of their labor will be on full display on July 2nd, when Kat releases her debut album Talk To Me. While some debut albums show artists still finding their feet and sonic direction, Kat is unashamedly bold & confident in her abilities as a vocalist and songwriter, effortlessly merging soul and classic r&b throughout a mature and well-rounded 10 tracks that will no doubt solidify Kat’s place as an artist already at the top of their game and now ready to share the fruits of years of hard work to the world.

Steven Bernstein Releases "Planet B" - From 'Tinctures In Time (Community Music, Vol. 1)

Steven Bernstein's Millennial Territory Orchestra has released "Planet B," the latest single and opening track from the band's forthcoming album 'Tinctures In Time (Community Music, Vol. 1)' due September 3 on Royal Potato Family. The song is accompanied by a video created by Kit Fitzgerald. 

"'Planet B' is one of the first original compositions I wrote for MTO after almost 20 years of arranging the American songbook for the band. The piece uses elements that I've been exploring for years: Ellington, Machito, Sun Ra and Gil Evans, a simple 'folk' melody, all over a true MTO-style groove," explains Bernstein. "When it came time to make my first music video, I reached out to Kit Fitzgerald, a pioneer in the video world who has collaborated with artists from many disciplines including drummer Max Roach, choreographer Donald Byrd and poet Anne Waldman. I asked her to make something beautiful, something she would make for herself. I wanted her to create her own narrative, different from anything I could imagine. And she did."

'Tinctures In Time (Community Music, Vol. 1)' is the first edition in Steven Bernstein's four volume 'Community Music' series. Every four months, beginning this September and stretching through September 2022, a new album will be released. Each showcases a different facet of the acclaimed arranger and trumpeter who over a 40 year career has worked alongside everyone from Levon Helm to Lou Reed, Aretha Franklin to Sam Rivers, Robert Altman to Radiohead. In addition to 'Tinctures In Time,' which marks the first occasion Bernstein has written original music for his long-standing nonet, the Millennial Territory Orchestra, the series includes 'Good Time Music (Community Music, Vol. 2)' with singer Catherine Russell that celebrates a handful of high-stepping, feel-good songs from the history of modern recorded music, out January 7, 2022; 'Manifesto of Henry-isms (Community Music, Vol. 3)' comprised by re-imaginings of Bernstein's inspired arrangements for the brilliant New Orleans pianist Henry Butler & The Hot 9 with guests John Medeski and Arturo O'Farrill, follows May 6, 2022; and 'Popular Culture (Community Music, Vol. 4),' a set of Bernstein-ian takes on The Grateful Dead, Charles Mingus, The Beatles and others, concludes the series on September 2, 2022.

Aptly titled 'Community Music,' Steven Bernstein's community is the essence of these recordings, made over four days in 2020 and featuring an ensemble of musicians who have been both integral to the New York City creative music scene and co-collaborators with Bernstein for the last 30 years. The acclaimed arranger and trumpeter has known pianist Arturo O'Farrill for well over 30 years and drummer Ben Perowsky for nearly 40; he's been playing music with saxophonist Peter Apfelbaum since they were twelve years old. And he's known everyone else in the Millennial Territory Orchestra for at least 25 years, starting when Bernstein moved from Berkeley to New York City in 1979 and soon found himself in the thick of the golden age of the downtown jazz scene, becoming a member of John Lurie & The Lounge Lizards. The initial spark for 'Community Music' concept can be traced back to his co-leader in The Hot 9, legendary New Orleans pianist Henry Butler, passing in 2018 and then Bernstein's mother the following year. Understandably, Bernstein began to consider his own mortality—and his musical legacy. Soon thereafter he won a Shifting Foundation grant (previous recipients include Bill Frisell, Craig Taborn and John Zorn) to document as many of his unrecorded and sometimes even unperformed arrangements as possible.

"I thought, 'While I'm still on the planet, I need to start documenting my arrangements,'" says Bernstein. "Levon Helm's not here, and Henry Butler's not here, and Hal Willner's not here, and Roswell Rudd's not here, and Lou Reed's not here. So I'm carrying forward all the stuff I learned from them, but through the way I look at it. Hal used to say, as our favorite musicians were passing, 'It's up to us now, we need to make the music with the same intent as our heroes. We have to be our own heroes now.'"

Marc Johnson | "Overpass"

With Overpass, recorded in Brazil in 2018, Marc Johnson makes a decisive and intriguing contribution to ECM’s solo bass recordings. It is an album that takes note of that tradition - Johnson has said that Dave Holland’s Emerald Tears was among the solo recordings that fired his imagination almost half a century ago - and builds upon it in a personal and imaginative way. 

The Nebraska-born bassist first came to broader attention in the late 1970s as a member of Bill Evans’s last trio where the tune “Nardis” became effectively a workshop for nightly discoveries about the bass’s potential as a lead voice. The Miles Davis tune, long associated with Evans, is revisited here. As Johnson points out, “‘Nardis’ is where solo bass explorations all started for me and this performance distills much of the conception and vocabulary I am using throughout this album.” Alex North’s “Love Theme from Spartacus”, another tune that Evans liked to play, is featured, too, in an interpretation and arrangement that honours the form of the composition. 

Johnson also tackles Eddie Harris’s “Freedom Jazz Dance”, whose dancing pulses have long inspired improvisers, and presents five of his own pieces. Among them is “Samurai Fly”, a recasting of “Samurai Hee-Haw”, the Eastern-tinged Western tune that Marc previously recorded for ECM with his Bass Desires band – the highly influential quartet featuring the twinned guitars of Bill Frisell and John Scofield and Peter Erskine’s drums- and with the John Abercrombie Trio. This version – one of the two tracks that deploys discreet overdubbing - is heavier than its predecessors, perhaps more Sumo than Samurai, Johnson wryly suggests, but still nimble and effective, and with a strong hint of bluegrass bass fiddle in its undercurrents. 

Marc Johnson’s music has long been open to influence from multiple sources, and “Whorled Whirled World”, for instance, with its tessellated patterning and spinning, dancing energy alludes both to a kind of earthy, global music blueprint and the mesmeric qualities of minimalistic repetition. Pulsation and drive have strong roles throughout. 

Of “And Strike Each Tuneful String” Johnson says,” In the early 80s I made a conscious choice to try to bring something primal to my sound and conception of playing. I discovered a field recording made in the late 60s of musicians from Burundi. One or two tracks in particular from that recording caught my attention. The music was played on an instrument called an Inanga which is a hollowed out log strung with ox tendons for strings. The strings were plucked in various patterns and the earthy sound and repetitiveness was quite hypnotic. With a nod towards that reference, this piece is an improvisation and short reprise of ‘Prayer Beads’ which appeared on the second Bass Desires album.” 

If Overpass addresses musical and personal history, it is also an improviser’s in-the-moment response to events. Marc Johnson’s journeys around the globe have sometimes led to meetings with remarkable instruments: in São Paulo he came across a prizewinning bass made by luthier Paulo Gomes that subsequently became his instrument of choice each time he was in the region. The sound of the bass itself with its full-bodied resonance has also been a determining factor for the nature of the music played. On “Yin and Yang” the improvisation takes off from harmonics produced by strumming all four strings of this bass. “The continuity was created by allowing the strings to decay until the next attack. I first recorded a long series of attacks and decays, and then improvised a melody and some bowed effects. This piece is the result.” 

Overpass, recorded in January and February 2018 at Nacena Studios, in São Paulo, was produced by Marc Johnson and Eliane Elias. 

Albums by Ella Fitzgerald, Freddie Hubbard, George Duke, Oscar Peterson Trio, Baden Powell, Bill Evans and Joe Henderson

The treasure trove of MPS Records album reissues that began last month from Germany’s first jazz label continued last Friday with vinyl and CD releases of albums by such luminaries as Ella Fitzgerald, Freddie Hubbard, George Duke, Oscar Peterson Trio and Baden Powell while albums by Bill Evans and Joe Henderson dropped as limited-edition colored vinyl LPs. The records arrived via Edel Germany in partnership with Bob Frank Entertainment. 

Reissued in June as limited-edition color vinyl LPs exclusively through Vinyl Me, Please, Fitzgerald’s “Sunshine Of Your Love” and Hubbard’s “The Hub of Hubbard” are now available on traditional black vinyl and CD.      

Known as the Queen of Jazz, Fitzgerald challenged herself by electing to sing an album of rock and pop classics by such artists as Eric Clapton, the Beatles, and Burt Bacharach along with a few standards. Half of “Sunshine Of Your Love” (1969) was recorded live using a big band while the other half features Fitzgerald’s longtime accompanists, the Tommy Flanagan Trio.

While on a European tour in 1969 with his world-class quintet, Hubbard trekked to the German Black Forest to record “The Hub of Hubbard” for MPS. The trumpeter had already forged a unique sound that mixed hard bop, soul and fusion. Hubbard and the band, which features saxophonist Eddie Daniels, pianist Roland Hanna and a taut rhythm section formed by

bassist Richard Davis and drummer Louis Hayes, stretch out on the four-song set that includes a 13-minute exploration of the standard “Without A Song.”

A pair of jazz-fusion albums by Duke, “Feel” and “I Love the Blues, She Heard My Cry,” were reissued on vinyl and CD. When “Feel” was released in 1975, it came at a transitional time when Duke was establishing himself as a solo artist after being a noted sideman. Mixing fusion and rock, the keyboardist exhibits experimental use of synthesizers to create orchestral textures on the disc that includes appearances from frequent collaborator Frank Zappa and a Brazilian jazz expedition

alongside iconic vocalist Flora Purim and percussionist Airto Moreira.

 On “I Love the Blues, She Heard My Cry” (1976), Duke diversifies his blend of fusion further while singing frequently throughout the record. He packs a punch on metal/hard rock tracks mashed up with funk, soul and blues. With the rhythm section anchored by longtime collaborator Ndugu Chancler on drums, among the guitarists who shred on the record are Lee Ritenour and George Johnson (Brothers Johnson). Purim and Moreira reappear to provide Brazilian nuances.   

Canadian jazz pianist Oscar Peterson leads an astute trio completed by bassist Georg Mraz and drummer Ray Price on a set list that includes some of Peterson’s original compositions along with pages from the Great American Songbook on 1970’s “Walking The Line.” The vinyl and CD reissues capture the threesome reimagining timeless tunes by Cole Porter, Michel Legrand, Sammy Cahn, Richard Rodgers and Johnny Mercer.     

Powell began his nine-year association with MPS with 1966’s “Tristeza on Guitar,” and despite the title, it is far from a sad-themed outing. Deploying sambas and Afro-Brazilian rhythms, the Brazilian guitar master runs the gamut of emotion - from

intimacy and mystery to celebration and exuberance - on the reissued vinyl LP and CD.

Released as a limited-edition orange vinyl LP, Evan’s “Symbiosis” is an adventurous outing by the legendary jazz pianist who typically performed in trio settings. This 1974 album is a rare treat, pairing Evans with a philharmonic conducted by prolific composer-arranger Claus Ogerman. Whether on acoustic or electric piano, Evans’ lyrical play guides listeners through sprawling expanses ranging from big band grandiosity to minimalism, from exotic samba to jazz, and from lavish string arrangements to dramatic film music.         

Henderson’s “Mirror Mirror” garnered reissue as a limited green vinyl LP. The GRAMMY-winning tenor saxophone titan surrounds himself with greatness on this all-star 1980 recording that could have been attributed to a quartet since the musicians – pianist Chick Corea, bassist Ron Carter and drummer Billy Higgins - share the spotlight equitably.

Butcher Brown | "Encore"

Butcher Brown, celebrated for their explosive live performances opening for such acts as Kamasi Washington, Galactic, Turkuaz and Lettuce, announce the release of their aptly titled new EP, ENCORE, on Concord Jazz. 

The five tracks featured on ENCORE were recorded during the same time as their critically-acclaimed major label debut, #KingButch. The band says, "ENCORE is full of musical gems from the #KingButch sessions. With these songs, we go further into some of the directions that we tapped for the album."

 The release of the Richmond, Virginia-based quintet’s latest single comes hot on the heels of a stunning NPR Tiny Desk (Home) Concert. 

Butcher Brown is five groove merchants delivering a heady home-brew of jams and jazz, rhymes and beats—a funky, musical mix that makes one question why great music needs to be labeled as this category or that. The hybrid moniker “jazz/hip-hop” only begins to cover it. Their balance of raw energy and smooth sophistication, edgy improvisation with a generous dose of Southern roots reveals how equal opportunity they are in employing a wide range of musical styles, and how authentically they’ve absorbed it all. 

Individually, they are: producer/keyboardist DJ Harrison; drummer Corey Fonville; bassist Andrew Randazzo; trumpeter/saxophonist/MC Marcus “Tennishu” Tenney; and guitarist Morgan Burrs.

Starting in 2013, Butcher Brown began to release a series of recordings on their own imprint, and other independent labels as well, helping to spread the word of the group’s groove-driven consistency. On September 18, 2020, Butcher Brown released their full album #KingButch, a major label debut on Concord Records, on the Concord Jazz imprint. Their eighth album was the culmination of twelve years of dedicated focus, and commitment.

 

Alyson Murray | "The AM Session"

The soulful, smooth and tender tune "Someone Like You" is from Alyson Murray's  EP, The AM Session. The Australian-born, New York-based quixotic vocalist is carving her own vulnerable space between R&B, soul, and jazz––brilliantly painting portraits of love and loss with honest lyricism and delicate, passionate vocals.

The single encapsulates the love that fuels Murray's creativity, especially in a time of physical separation. “Writing about love in a time of isolation felt healing," says Murray. "'Someone Like You' embodies the energy and warmth I wanted to express throughout the EP, which is why I decided to release it as the first single from ‘The AM Session.’ When I write music, I want to create a sense of timelessness, in its context and composition. 'Someone Like You' feels like an homage to a classic love song, from the trumpet lines to the harmonies. I write to feel good, and I hope that transpires."

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 which was co-produced by Gregory ‘Phace’ Fils-Aime.

The singer-songwriter's debut record, Breathe, was released in 2018 to much acclaim receiving international airplay in Australia, London, Canada, and the U.S. Murray was then invited to perform in celebration of the release at the prestigious Melbourne Recital Centre for International Women's Day in 2019. Whilst celebrating Breathe, Murray also curated an intimate and exciting performance: Sassy: a Tribute to Sarah Vaughan. The sold-out show, during the Melbourne Jazz Festival, took place at renowned venue, Paris Cat Jazz Club, and featured acclaimed saxophonist Marcus Strickland. Murray then took the performance abroad, performing Sassy at Minton's Playhouse in Harlem, NY and at Diese Onze in Montreal. 

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. 

Deniece Williams Free – The Columbia/Arc Recordings 1976 to 1988

An insanely big collection of work from the great Deniece Williams – eleven full albums, plus bonus tracks more – all to sum up a decade in which she was one of the strongest forces going in mainstream soul! Williams got her start as Deniece Chandler on the Chicago scene – where she had a vocal range that rivaled that of Minnie Riperton, which had her initially stepping out here in a mode that's a bit similar on the first album or two in the set – working with sophisticated soul production that really brings out the best in her sound! As things move on, she also showcases the way she can wrap that fantastic voice around a catchy groove and a playful hook – a quality that made Williams one of the surprising crossover soul stars as the 80s moved in, with a big run of hits that are all included here on albums that still represent a well-balanced blend of chart tracks and some deeper full length material. The set features the full albums Niecy, Songbird, When Love Comes Calling, My Melody, a second Niecy album, I'm So Proud, Let's Hear It For The Boy, Hot On The Trail, Water Under The Bridge, and Good As It Gets – plus an album of duets with Johnny Mathis, titled That's What Friends Are For. The final CD is filled with bonus tracks – single mixes, remixes, and more!  ~ Dusty Groove

Durand Jones & The Indications - Private Space

Fantastic work from Durand Jones & The Indications – a group who've really come a long way in the past few years – in ways that push Durand's vocals to places we wouldn't have guessed on previous records! This set's way more than just a funk band with a soul singer upfront – as the whole thing's a fully-formed soul record through and through – with these larger arrangements that really add a lot, and open up all these righteous 70s currents mixed with a few contemporary flourishes that really give the album a very distinct sound! The songwriting is even better than before, too – and the group seems to have found a voice for themselves that's unlike any of their contemporaries. The record features guest work from Brandee Younger on harp and Joel Ross on vibes – and titles include "Love Will Work It Out", "Witchoo", "Reach Out", "Sexy Thang", "More Than Ever", "Private Space", "Sea Of Love", "I Can See", and "Ride Or Die".  ~ Dusty Groove

New Music Releases: Les Jeux Sont Funk, Chazzy Green, Gil

Les Jeux Sont Funk- A Tribute To The J.B.'s

Les Jeux Sont Funk throws in everything but the kitchen sink in paying homage to some of their favorite funk artists in “A Tribute to the J.B.s.” During a writing retreat in Trento, Italy, the newly expanded group decided to fan the flames of their budding musical chemistry and jam in the styles of The Meters, Shuggie Otis, Roy Ayers, P-Funk, and more. One of the grooves formulated on bass and guitar was augmented by tight hitting drums and touches of Latin jazz horns and it seemed to fall amongst the same lineage as The J.B.s. As the band reflected, they compared the J.B.s to figurative sherpas that helped James Brown climb to the top. Les Jeux Sont Funk penned the crafty title “A Tribute to the J.B.s,” as they were quite literally a funk band rehearsing in the mountains looking to elevate their collective sound to new levels.

Chazzy Green - Let's Go Home

On his first album in five years, “The Funky Sax Man” Charles “Chazzy” Green reconnects with his longtime pal and collaborator Ray Parker Jr., among other top line urban jazz sidemen, to create the richly emotional, alternately punchy/funky and blissfully sensual collection Let's Go Home – whose title is a wink towards the reality of remote recording this past year while in lockdown. While renowned for wide-ranging skills on alto and tenor, the Detroit bred, Howard University educated musician – who has played and toured throughout his career with the likes of Howard Hewett, Montell Jordan, Macy Gray and Bobby Womack - showcases on a few infectious tracks his equally sparkling flute skills – a callback to Green’s early classical training which also included clarinet. ~ www.smoothjazz.com

Gil - Sometimes A Man

In an inspirational video clip Gil Johnson (known professionally as Gil) posted while he was making his down deep soulful, heartfelt and uber-romantic debut album Sometimes A Man, the Detroit based vocalist - reflecting on his recent retirement from the car business after 30 years to pursue his musical dreams – offered a sage piece of advice: “Don’t let age be the reason you didn’t give that one thing you’re passionate about at least an effort.” Gil blazes these personal trails with a set of sweet soaring ballads and easy grooving mid-tempo gems – plus a super funky piano driven, guitar soaring instrumental – produced by David Lee Spradley, renowned for his work with everyone from George Clinton and Stevie Wonder to Roy Ayers and Earl Klugh. ~ www.smoothjazz.com  

Focusyear Band 21 | "Bosque"

The Focusyear Band 21 is an international group of students with an exciting new project. These musicians include: Vocalist Tatjana Nova (from Dresden by way of Moscow); saxophonists Joshua Schofield (England) and Gianni Gagliardi (Spain); trumpeters, flugelhornists, and valve trombonists Yakiv Tsvietinskyi (Ukraine) and Sebastián Greschuk (Argentina); pianist Lorenzo Vitolo (Italy); bassist Ethan Cohn (New York, by way of Montreal); and drummer Áron Tálas (Hungary). Ensemble members were selected from a large number of applications. 

As heard in the music, the Focusyear Band 21 found its own sound, with an emphasis on improvisational risk-taking. After many intensive weeks with prominent instructors, the eight young musicians crafted a selection of original compositions created throughout the year. They are interactive, sonically aware and original, devoted to discovering – and advancing – the language of jazz.

Bassist Almog Sharvit's 'Get Up Or Cry'

Innovative composer and bassist Almog Sharvit releases his debut album as a leader, Get Up Or Cry, today via Unit Records. Together with his band members Adam O’Farrill (trumpet), Brandon Seabrook (guitar & banjo), Micha Gilad (piano, keys, synths) and Lukas König (drums), Sharvit creates a startingly imaginative record. Get Up Or Cry signals the arrival of a fresh, significant New York artist. It’s an album that appeals to both jazz purists and neophytes, a crossover record that stuns any casual listener.

Sharvit, a 28-year-old conservatory-trained musician, born and raised in Israel and based in Brooklyn, creates surreal, maximalist compositions that combine both acoustic and electronic textures. In New York, he has established himself as a creative force; his jazz trio Kadawa has received accolades from the New York Times, Indie Current and Vancouver Sun, among others. Sharvit has also toured internationally with various acts across 12 countries, and performed at storied venues including Jazz at Lincoln Center, the Detroit Jazz Festival, the Blue Note, Jerusalem Jazz Festival, and many more.

Get Up Or Cry reflects genre-pushing creativity, textural innovation, and a striking balance between form and freedom. The album blurs electronic music, psychedelic rock, bluegrass, 20th-century classical music, and of course, jazz, into dizzyingly beautiful, wholly unique songs. Sharvit composed, arranged, and produced every single track – the only additional writing credit belongs to one Vladimir Nabokov, whose poetry serves as the lyrics to the eponymous track “Get Up Or Cry.“

“I intended to create an album that you can turn to when you feel joy and sorrow at the same time,” says Sharvit. “I wanted to make an album that is beautiful in an odd way, a space where humor interacts with moving, complex, and crazy songs. They express how we all feel sometimes – overwhelmed with information, short on focus, caffeinated as hell, but at the same time having moments of joy, intimacy, sadness, and freedom.”

Get Up Or Cry was recorded in a single day at Wonderpark Studios in Brooklyn. In post-production, Sharvit applied experimental techniques usually found in pop and electronic music to the songs – the record features filter sweeps, heavy distortion and compression, and creative automation and panning that he gladly says “will knock the dust off your stereo.”

Curt Ramm Releases "Rogue Island"

Curt Ramm is excited to announce his newest album, Rogue Island, due out this July on Rocktorium Records. Born in the throes of 2020’s COVID-19 shutdowns, the new album is a beacon of positivity and uplifting vibes. This instrumental soundscape is set to be the perfect Summer soundtrack, and is available now everywhere you stream music. 

Curt Ramm is one of the preeminent horn players in rock and roll. As well as being an in-demand studio session player, Curt’s playing has kept him very busy over the years with electrifying live performances throughout the US, Europe and Japan. Some of his recording and performance credits include Bruce Springsteen and the E Street Band, Bruce Springsteen Sessions Band, Nile Rodgers and CHIC, They Might Be Giants, Radiohead, The Levon Helm Band, Glen Hansard and Little Steven. 

Curt is certainly no stranger to jazz either. From his roots in Kansas City, playing lead trumpet with the Charlie Parker Memorial Foundation Jazz Orchestra, through the release of his album “Foundations” with fellow jazz luminaries Bill Cunliffe and Dan Moretti, jazz music is never far from Curt's heart or playing. 

Touring has for many years been a mainstay of Curt's musical career, but road work came to a screeching halt in the Spring of 2020. Curt recalls “the Damn-Panic was in full swing, so I had to face the fact that, for the foreseeable future, I wouldn’t be playing live shows, and definitely not touring.” 

Around that time, he was working with his long time friend and Rhode Island Music Hall of Famer, producer, musician, Ray Gennari ( Akae Beka (Midnite), Turbulence, Protoje, Roomful Of Blues, The Temptations, Lustre Kings Productions) to orchestrate and play instrumental versions of songs by Clatta Bumboo (aka Sheldon Townsend), a Jamaican born, and now RI based, reggae artist. “This collaboration was a joy and a success,” says Curt, “and with the pandemic at its peak, as a way to keep playing and have some fun, Ray and I started to create new songs, similar in style to what I had worked on with Sheldon's Project.” 

Unable to gather and perform with other musicians due to pandemic restrictions, Curt Ramm and Ray Gennari took a different and unusual approach to the recording process of Rogue Island. Tapping into Ray's recording experience with notable reggae artists they reimagined drum tracks from Aston Barrett, Jr. (The Wailers) and Brady Robinson (Pentateuch Movement) from earlier Rocktorium Records projects, and the heart of Rogue Island was born. 

Curt recalls “Ray would play bass, guitar, and some keyboard parts to set up the arrangement and vibe, and send the track to me to write horn melodies and background brass parts. We bounced the ideas back and forth, sometimes three or four times - changing the form, adding a bridge, and deciding on endings. Being unable to work together in the studio in person, we talked constantly on the phone until the song was feeling complete.” 

To round out the album, Curt and Ray decided to incorporate remotely recorded performances from friends on the record, and eventually, when Covid restrictions eased, to invite local musicians and friends to record in person to finish up Rogue Island. 

Reflecting back on the process, Curt comments, “Ray and I were both thankful to have a fun and creative escape from the pressures of the pandemic, and the few people we had shared our creations with really loved the positive and uplifting vibe of the songs.” 

From those sessions emerged Rogue Island, an eleven track LP, packed full of collaborations and standouts. Included on the new album are performances from Bill Holloman (Nile Rodgers, Danny Gatton) on saxophone, and Charlie Giordano (E Street Band) on piano and accordion. Noted reggae producer Andrew “Moon” Bain (Lustre Kings, Zion I Kings) contributed guitar to a song, and Andrew “Drew Keys” Stoch (Shaggy, Common Kings) played piano and organ on another. Curt's son, Gerard, even plays the sax solo on the album's opening song. Rogue Island was mixed by Ray Gennari and mastered by Robert Vosgien at Robert Vosgien Mastering.

Leading up to the album's release, Ramm unveiled four singles, all of which have received much praise. "Pontchartrain" mixes Curt’s swinging horns with classic reggae riffs to create an ode to the Big Easy and the resilience of the city. Topshelf Music hailed "Smugglers Cove" as a song to put wind in anyone’s sails, and the upbeat ska vibe of "Surfers End" makes it the feel good summer song we need right now!  Most recently Ramm released the music video for "Smuggler' Cove" which premiered on Reggaeville. 

The new record leans deep into its reggae influences but also showcases the diversity and versatility that has defined Curt's musical career, and his gift for melodies and horn arranging brings the album to a unique musical place. An album that takes the listener through a range of emotions and vibes ranging from the bouncing energy of “Smuggler's Cove” to the lazy New Orleans stroll of “Pontchartrain” to the slow burn of “Blue Wave.” The album closes with “From The Baseline” the track that started it all- Curt's instrumental version of Clatta Bumboo's vocal track “Baseline.” 

“We are so proud and excited to be releasing Curt Ramm's Rogue Island. To work with such an incredible musician was an honor and a joy, especially on such an amazing record,” comments Ray Gennari, album producer and owner of Rocktorium Records. Rogue Island is available now on all streaming platforms. Signed CDs and digital downloads are available now at Curtramm.com. 

Michael Mantler | "Coda"

Michael Mantler, who was born in Vienna in 1943, explains that reworking his earlier compositions has been an essential part of his modus operandi over the decades. “Re-using material from my own musical universe has, as a matter of fact, been my compositional procedure for a long time. Musicologists could have an interesting time divining what in my music has come from where and how it might have been re-shaped and recycled… Almost always, when I start a new composition, I begin with materials from previous work. More often than not, that procedure would spark or beget a new line of musical thought from which to continue.”

With the Jazz Composer’s Orchestra Update, issued in 2014, Mantler made his work method the subject of a new release. Reassessing, re-contextualizing and reshaping material written for his iconic album The Jazz Composers Orchestra in the 1960s, he was able to illuminate the music in new ways. DownBeat hailed the outcome as “pretty fantastic.” “Update is really what it says. Not a reproduction or look back, but a new take on this music… This unique counterpart album is quite simply required listening for anyone with a scintilla of interest in large-scale modern jazz,” London Jazz News emphasized.

Now Coda takes its concept further, as Mantler newly arranges and refashions music from several phases of his career – a personal “best-of “– into musical suites conducted by Christoph Cech. Where the large ensemble on the Jazz Composers Orchestra Update was an augmented jazz big band, here the orchestra is comprised primarily of classical players, although the presence of jazz soloists, including pianist David Helbock, guitarist Bjarne Roupé, and Mantler himself on trumpet “anchors the music in an environment clearly coming from jazz.” The focus is on Mantler compositions premiered between 1975 and 2010, and previously recorded – in very different form – on the WATT albums 13 & 3/4 and Alien, and the ECM albums Cerco un Paese Innocente, Hide and Seek, and For Two. The Coda transformations, complete in themselves, will send the attentive listener also back to the originals: old and new versions each have their own integrity, and Mantler’s compositional signature is unmistakable, then and now.

“I have always considered myself an orchestral composer,” says Michael Mantler, “even when circumstances dictated smaller ensembles. This time I did not retain the original instrumentation but settled on what seems to be my current favourite – a chamber orchestra consisting of flute, oboe, clarinet, bass clarinet, trumpet, french horn, trombone, tuba, guitar, piano, marimba/vibraphone, plus a string section…” explains Mantler.

The chamber orchestra fleshes out ideas sketched on the skeletal original version of “Alien” performed just by Mantler and keyboardist Don Preston back in 1985. Now the composer’s distinctive trumpet moves against evocative, otherworldly strings on the “Alien Suite”, with Bjarne Roupé’s tense guitar also contributing to the uneasy atmosphere. The Swedish-born guitarist has been an important contributor to Mantler’s music of the last 25 years, featured on a number of albums including the 2011 release For Two. The present album opens with the “Two Thirteen Suite” incorporating material from 1975’s 13, which featured two orchestras plus Carla Bley on piano. Expanding and contracting his instrumental forces, merging elements from pieces written in different phases of his life, and featuring Roupé and David Helbock as soloist-interpreters, Mantler signals at once that these Orchestra Suites are indeed new music. 

The “Folly Suite” similarly brings fresh orchestral colours into play, building upon the template of 1992’s Folly Seeing All This. The “Cerco Suite” and the “HideSeek Suite” present music originally created to envelop the words of, respectively, Giuseppe Ungaretti and Paul Auster, with vocal lines assigned now to the instrumentalists. 

The Orchestra Suites were premiered in September 2019 at Vienna’s Porgy & Bess, where 

Coda was recorded, with additional recording and mixing taking place at Studios La Buissonne in the South of France in November 2019 and June 2020. 

Joey DeFrancesco | "More Music"

After a year of pandemic lockdown – with stages dark and nightclubs shuttered, friends and families kept at a social distance, and political and social tensions raging – the one thing we could all use right now is More Music. And who better to supply that demand than Joey DeFrancesco? 

More Music, due out September 24 via Mack Avenue Records, is “more” in every conceivable way. It offers up ten new DeFrancesco originals, brought to life by a scintillating new trio. And the master organist, who has long supplemented his keyboard virtuoso with his skilled trumpet playing, here brings out his full arsenal: organ, keyboard, piano, trumpet, and, for the first time on record, tenor saxophone. He also steps to the microphone to croon Mario Romano’s yearning “And If You Please.” 

Joey D isn’t the only one wearing several hats on the album. A fellow torchbearer of the Philadelphia organ jazz tradition, Lucas Brown takes on the unenviable task of sharing organ duties with his generation’s most influential practitioner. Not only does he fulfill those duties admirably, freeing DeFrancesco to juggle his other talents, but he also showcases his six-string wizardry on several traditional organ-guitar trio tracks. Michael Ode sticks to the drums throughout, anchoring the trio’s multiple configurations with muscular swing and electrifying grooves. 

“It’s time for more music,” DeFrancesco declares. “This situation has been difficult for so many people. It's definitely time to get back at it.” 

While this period of re-emergence from our collective quarantine turned out to be the perfect time for it, DeFrancesco had envisioned a project to showcase his multi-instrumentalism well before COVID was on anyone’s mind. The trumpet has been a feature of his repertoire for most of the organist’s career, inspired by his tenure with Miles Davis while still a teenager. 

He first decided to try his hand at the tenor 25 years ago. His grandfather and namesake, Joseph DeFrancesco, had played tenor and clarinet and his horns were still in the family home in Philly. “One day I just decided to get his tenor out of the case and see if I could play it. So for about two weeks I practiced and it actually came pretty quick. I got so comfortable that I went down to Ortlieb's for a jam session. I got on the stage and [Philadelphia saxophonist] Victor North was standing next to me. I didn't know who he was, but he looked like Buddy Holly so I figured I'd be fine. Well, Victor North kicked my ass, and the horn went back into the case for another 25 years.” 

His interest was renewed in recent years by a confluence of factors – primarily the opportunity to record with legendary tenor titan Pharoah Sanders, with whom DeFrancesco collaborated on his 2019 Mack Avenue Records release, In the Key of the Universe. The subsequent tour found the organist paying particular attention to the sound of his regular tenor player, Troy Roberts, and at the same time delving deeper into the music of sax icon Charles Lloyd. In November 2018, DeFrancesco approached his father and once again borrowed his grandfather’s tenor. 

“My dad said, ‘If you're going to play, you can have it. But you gotta play it.’ That's how it started, and now I have about 15 saxophones.”

The preciousness of the family heirloom means that DeFrancesco largely keeps it safely at home, but Joseph DeFrancesco’s 1925 tenor makes one appearance on More Music, for the warm, burnished solo on “And If You Please.” 

DeFrancesco shredded on the tenor with renewed vigor, and though the influence of countless greats from Sonny Rollins to Sanders to John Coltrane to Lloyd all echoed in his mind, it wasn’t difficult to find the voice for what he wanted to express on the instrument. “What separated me from a lot of other organists was the huge influence I took from tenor saxophone players,” he explains. “So I have a certain sound that I love, and that was already in my mind. No matter what instrument I'm playing, there's a certain concept that always comes through.” 

The next challenge was to find a player with the virtuosity and confidence to take over the organ bench while DeFrancesco focused on his other outlets. He naturally turned to Philly and found the perfect candidate in Lucas Brown, whose skills were honed over years spent with the late tenor great Bootsie Barnes. His original instrument was guitar and he remains a gifted player, making him versatile enough to fulfill multiple roles in this ever-shifting trio.

 While Brown, a decade DeFrancesco’s junior, inevitably reveals elements of the bandleader’s pervasive influence, DeFrancesco is quick to point out, “He plays differently than I do. We don't sound alike at all, and that's important. What's the point of having somebody that's going to be playing my stuff note for note? You need somebody to bring a nice contrast and Lucas is confident about who he is, plays at a very high level and sounds like himself on the instrument. It's nice to be able to introduce another organist to the world that's got his own approach.” 

DeFrancesco met Michael Ode (also a Philly native, though he grew up in Durham, NC) while the drummer was still a student at Oberlin Conservatory. Ode’s first major gig with the organist was a high-pressure one: the studio date for You’re Driving Me Crazy, DeFrancesco’s collaboration with legendary Irish singer Van Morrison. “He’s just cutting his teeth in the business and I really threw him into the fire,” DeFrancesco recalls. “And he nailed it. He hears every note, but Michael also brings an element of what's going on rhythmically as drummers have evolved and changed. So he keeps me current.” 

More Music also applies to the range of stylistic choices in DeFrancesco’s original tunes for the album. “Free” opens the proceedings on a brisk, uptempo note with DeFrancesco testifying on trumpet. He makes his tenor bow with an enticing, breathy tone on the sultry ballad “Lady G,” a dedication to his wife, Gloria. Ode’s ricocheting drum intro ushers in “Just Beyond the Horizon,” which finds DeFrancesco back at the organ. He slides over to the piano to lead into the wistful “In Times of Reflection,” which features Brown playing silken acoustic guitar and a pensive DeFrancesco trumpet solo. 

Charles Lloyd’s searching influence can be strongly heard on the spiritual jazz of “Angel Calling,” while “Where to Go” proves a highlight with the album’s sole organ duel between DeFrancesco and Brown. “Roll With It,” with Joey DeFrancesco on organ and Brown on guitar, takes off from a fleet unison melody in classic organ trio style, while the title track makes its case with a taut, mellow groove. DeFrancesco takes over the organ with Brown on keyboard for the last two tracks, the contemporary vibe of “This Time Around” and the celebratory, gospel-inflected send-off “Soul Dancing.” 

“More music is what's needed to create positivity and wellness for everybody, regardless of what's happening in the world,” DeFrancesco concludes. “Music just solves a lot of problems. So more live music, more original music – just more music. Without that, we're in big trouble.”

Upcoming Joey DeFrancesco Performances:

July 29 | Rockport Jazz Festival | Rockport, MA

August 28 | Oshkosh Jazz Festival | Oshkosh, WI

September 30 | Jimmy's on Congress | Portsmouth, NH

October 1 - 2 | Blue Llama | Ann Arbor, MI

October 7 - 10 | Dizzy's (Jazz at Lincoln Center) | New York, NY

October 15 - 16 | Crooners Lounge and Supper Club | Minneapolis, MN

October 21 - 24 | Jazz Showcase | Chicago, IL

October 28 | Florida State University | Gainesville, FL

October 29 - 31 | Keystone Korner | Baltimore, MD

November 5 - 6 | Jazz Kitchen | Indianapolis, IN

November 18 | Bop Stop | Cleveland, OH

November 19 | BLU Jazz+ | Akron, OH

November 26 - 27 | SOUTH Jazz Parlor | Philadelphia, PA

December 10 - 11 | Jazz Forum | Tarrytown, NY

Wendell Harrison Tribe - Get Up Off Your Knees

Fantastic new music from Detroit reedman Wendell Harrison – working here with a renewed version of the Tribe Records scene, at a level that makes the album one of his best in many years! Wendell blows tenor and bass clarinet, and his group here is mostly younger, lesser-known players – but who soar with Harrison in a mix of spiritual jazz modes and a few more rhythmic currents – all with the kind of powerful, progressive vibe that made the Tribe Records material of Harrison and his contemporaries so important in the 70s! Other musicians include Vincent Chandler on trombone, Steve Woods on flute, Luis Resto on piano, Walter White on trumpet, and Jacob Schwantz on guitar – although players shift often from track to track – and frequent Harrison partner Pamela Wise also provides a bit of keyboards, and the set features both sung vocals on two tracks from Pathe Jassi, and a recitation from Mbiyu Chui on another. Titles include "Revoltuion", "Siera", "Wandering Thoughts", "Samoulen Khale Yi", "What's Up", and "Saga Of A Carrot". ~ Dusty Groove

Tony Allen - There Is No End

A very different album than some of the more recent efforts from the legendary drummer Tony Allen – and a set that shows that, as the title proclaims, there is no end to the creative talents of the mighty musician – even after he departed our planet! This set has Allen working with a variety of singers and MCs – serving up tunes that mix Afro Funk elements with a heavy dose of hip hop – thanks to contributions from a shifting lineup of guests that includes Sampa The Great, Tsunami, Nah Eeto, Zelooperz, Koreatown Oddity, Danny Brown, Marlowe, and others! Co-production and other instrumentation are from Vincent Taeger and Vincent Taurelle – working here strongly alongside core contributions from Allen, and clearly helping shape the creative sound of the record – on titles that include "Mau Mau", "Coonta Kinte", "Rich Black", "Gang On Holiday", "Stumbling Down", "Tres Magnifique", "Cosmosis", and "My Own".  ~ Dusty Groove

Phyllis Hyman: Old Friend – The Deluxe Collection 1976 to 1998

An insane tribute to one of the greatest female soul singers to emerge in the 70s – the magnificent Phyllis Hyman, a vocalist who first began in jazz, then moved to soul music to help chart a whole new sound for the future – a new sort of sophistication that was key to a shift in the way that female soul singers came across – with plenty of pride, maturity, and subtle power that really comes through in these recordings! Right from the start, Hyman was very much her own artist – as you'll hear in this set, which begins with some of her earliest, jazziest work, and includes a few contributions with Norman Connors – then moves through a rich legacy of full length albums before Phyllis was taken from our planet all too soon! The set features nine full albums, most with some bonus tracks – and albums include Phyllis Hyman, Somewhere In My Lifetime, You Know How To Love Me, Can't We Fall In Love Again, Goddess Of Love, Living All Alone, Prime Of My Life, I Refuse To Be Lonely, and Forever With You. 119 tracks in all!  ~ Dusty Groove

Too Slow To Disco Presents Yacht Soul – The Cover Versions

An incredibly cool collection – one that offers up all sorts of weird and wonderful soul music covers of mainstream mellow 70s hits – new versions of the famous tunes that pull them strongly over to the world of R&B, often with results that are better than the original versions! The set is both a great demonstration of how much soul there was lurking in the original AOR productions of the mid 70s, and how strongly those currents could be unlocked even more in the right hands – as you'll hear in these sublime takes on tunes by Hall & Oates, Toto, Seals & Crofts, The Doobie Brothers, and other 70s pop giants. Titles include "Dirty Work" by Pointer Sisters, "Minute By Minute" by Peabo Bryson, "Georgie Porgy" by Side Effect, "He's Gone" by Dee Dee Bridgewater, "Summer Breeze" by Main Ingredient, "Lazy Nina" by Greg Phillinganes, "In The Way" by Brothers Johnson, "This Is It" by Millie Jackson, "Takin It To The Streets" by Quincy Jones, "I Hope You'll Be Very Unhappy Without Me" by Tavares, "God Only Knows" by Betty Lavette, "Let Em In" by Billy Paul, and "A Love Of Your Own" by The Ebonys. ~ Dusty Groove

Adam Nolan Trio | "Prim Aand Primal"

A fresh new concept album based on contrasting personalities and approaches to free jazz. One is clean, tidy, polite and humble while the other is aggressive, bold, raw, risky and wild. Each track is based on reflecting scenes called out by Adam Nolan before the take.

"Some of my influences leading up to this recording session included Ornette Coleman, Kaoru Abe, Anthony Braxton, Kenny Garrett, Bobby Watson and Sam Rivers.

1: This first track I really wanted to bring elements of Elvin Jones's swing feel with Ron Carters urban sound whilst breaking out of a set tempo and creating a new version of that 60's sound. I feel we took it beyond the original idea and stretched the music out to new levels of expression.

2: Inspired by modern trios and that room sound recording free jazz. I remember I was watching some cool bands online including Michaël Attias New York Trio 'Renku' and it did inspire me. I also was watching the German double bassist Peter Kowald Chicago free jazz documentary which featured some of my favourites including the great saxophonist Fred Albert who inspired my previous album 'The Great Conjunction'

3: Coming up to the recording session Stan Getz kept coming to my mind, however I didn't listen to him as I was listening to other styles at the time. When it was time to record this track I decided to bring elements of latin jazz into this piece but with a complete new contemporary edge. I explained this to the guys and Derek Whyte expressed haunting contemporary harmony while Dominic played in a bossa inspired style. One of my favourites!

4: I have always been fascinated by the Mayans and the tropical jungles of the ancient world. Didn't I notice in the recording session that there was a mayan art rug used to dampen the drums sounds. This was something I had to incorporate into this track. I really like to use what's in an environment to create/express scenes. One of my favourite movies is also Mel Gibson 'Apocalypto' which really gave me great visual images of hunt scenes in the jungle as was in my teenage years.

5: Visualising the three of us in a desert. Thirsty and dying for a drink of cold water we spot a magic carpet flying past in the air realising if we can somehow catch and tame it we can save ourselves and find an oasis sanctuary.

6: Looking for something to really define the whole album concept this scene came to my mind just before we decided to record the final track.

The Kung Fu Master Vs The Ape in a smoking area and they are the same strength! Just so it's an even fight! This scene really expresses the wild raw power of an ape along with a Kung fu masters precision, awareness and discipline complimented by the rustle and tumbles of a smoking area along with a bewildered crowd experiencing this bizarre scenario."

Brandee Younger | "Somewhere Different"

Today Harpist and Composer Brandee Younger announces her major label debut album, Somewhere Different, set for release August 13 on Impulse! Records.  The genre-busting set is a seamless fusion of classical music, R&B, hip-hop, jazz and funk with the new bounce-infused single "Reclamation" out now.

Recorded at the legendary Van Gelder Studios and in New York City from November 2020 to February 2021 Somewhere Different expertly showcases Brandee's ethos of weaving genres that pay homage to her predecessors while forging new sonic ground. The eight-track collection, Produced by Dezron Douglas, features Allan Mednard on Drums, Rashaan Carter on Bass, Trumpeter Maurice Brown, Tenor Saxophonist Chelsea Baratz, Flutist Anne Drummond, and Drummer & Drum Programming by Marcus Gilmore. The set also features a Special Appearance by legendary Bassist Ron Carter on "Olivia Benson" and "Beautiful is Black", and Guest Vocals from Tarriona "Tank" Ball from Tank and the Bangas on "Pretend." 

Overall, the album touches on a vast number of themes without losing focus.  The lush soundscapes of the musical tracks encapsulate the contemporary musical hybrid that represents Brandee's newfound artistic liberty.  As told to music journalist and author Marcus J. Moore, who wrote the liner notes for the record, Younger states, "I hope it is enjoyable to listen to, not hard to listen to, nothing to be analyzed or over-analyzed, but that people will just enjoy it. Everything has a groove, and that's me." 

Widely recognized as a musician who is willing to push boundaries, Brandee has shared the stage with jazz leaders and popular hip-hop and R&B luminaries including Ravi Coltrane, Maxwell, John Legend, Pharoah Sanders, Common, and Lauryn Hill. Her original composition "Hortense" was also featured in the Beyoncé documentary Homecoming.  Recently, she was featured on Apple's 2021 unprecedented Juneteenth Album, collaborating with Grammy Award Winning Artist Terrace Martin.  

Impulse!: For nearly sixty years, Impulse Records has stood as a label of musical integrity and lasting cultural significance. Known as the "house that Trane built" in honor of its best-selling artist John Coltrane, the label produced music exciting in its experimental charge, and spiritual in its priority. Sonny Rollins, Quincy Jones, Max Roach, Ray Charles, Alice Coltrane, Keith Jarrett, Charles Mingus, Sun Ra, and Pharoah Sanders were but a few of the legendary musicians who helped define the label's sound and message. To this day, Impulse continues to proudly wear its distinctive orange-and-black color scheme, and is home to the new vanguard of creative musicians including Brandee Younger, Shabaka Hutchings and his groups Sons of Kemet, Shabaka & the Ancestors, and the psychedelic jazz trio The Comet Is Coming. 

Jonathan Bauer | "Sings & Plays"

Multitalented trumpeter, singer and composer Jonathan Bauer - most notably from the Grammy award-winning New Orleans Jazz Orchestra - returns with his highly anticipated sophomore release, Sings & Plays.

A distinctive new musician on the rise, Bauer has been widely celebrated for his dark and buttery trumpet sound, often mistaken for that of the mellower flugelhorn. As a singer, his voice is filled with an earnest joy, instantly connecting with all audiences. Along with an A-list cast of some of New Orleans’ most swinging musicians, Sings & Plays is dripping with energy from the city they call home. Early listeners have described the new album’s aesthetic as "New Orleans meets Chet Baker."

Part of this album was recorded in January of 2020, just before to the onset of the COVID pandemic. In spite of all of the uncertainty they faced, Bauer and his band were determined to keep Sings & Plays from being shelved. Ultimately, the losses and obstacles of the last year bred new depths of appreciation for the music and each other, making this project all the more special.

Sings & Plays will be released worldwide on Friday, August 13th 2021 on Slammin Media.

Carmela Rappazzo | "Love And Other Difficulties"

While experiencing covid lock down in New Orleans Carmela wrote and recorded her seventh project "Love and Other Difficulties" an exploration of the many aspects of love. 

The thirteen tracks are comprised of six original songs of Carmela's and three collaborations with pianist and composer Oscar Rossignoli. There are also three standard covers and a cover of New Orleans singer songwriter Paul Sanchez.

The standards chosen were Cole Porter's "So In Love" with it's tango-esque arrangement and it's sense of longing, Billy Strayhorn's "A Flower is a Lovesome Thing" his love song to flowers, and Hoagy Carmichael's "Skylark" another beautiful song of longing.

New Orleans's own Paul Sanchez's "Empty Chair" about a lost love rounds out the cover songs with it's own form of heartache.

Carmela's original compositions also represent many types of love and some are a departure from her usual jazz influences. "Cicada's" childhood memories of summer was inspired by one of Duke Ellington's "Queen Suites", "Lightning Bugs and Frogs". "Dancer ", inspired by Eric Satie's Gnossienne No.1 is a tale of a love that may disappear as quickly as a ballerina's pirouette. "Love Tune" is the musing of how one would cope without love, and has some additional voicing contributed by Oscar Rossignoli, yet "Love Tune 4 Real" is about true love. "Ursula (redux)" is a new arrangement of a song of her's about the reluctant bride and the groom who loves her."Keep Your Distance", a free form piece, about obsessive love, and "Sweet Sleep" a lullaby about an ideal fantasy love round out the original compositions.

When Carmela heard Oscar Rossignoli's compositions the dark and richly textured "Heartbeat" and "Endless Fall" with its overtones of melancholy she wrote lyrics for both.

The musicians chosen for this project all bring a unique perspective and sensibility to their playing and their contributions were invaluable. None are ‘strictly jazz' players, which was an important criteria for the material.

Carmela has been playing and recording with Honduran pianist and composer Oscar Rossignoli since she arrived in New Orleans and he was a natural fit for this record having both an extensive back round in jazz, Latin and classical music. He also served as Musical Director on this project. 

Martin Masakowski, bass, is from a New Orleans musical family and his style and training span across jazz, classical, experimental, Eastern European and Indian cultures. He brings a unique musicality to this project.

Doug Belote is a South Louisiana native who grew up in Cajun country immersed in the sounds of jazz, funk, R&B, Cajun, Latin, and second line drumming and that versatility brought a perfect amount of spice to this project.

Recorded at Esplanade Studios in New Orleans, mixed by Pete Snell in Los Angeles and mastered by Robby Hunter at The Attic Studios in southern New York, this collection represents Carmela Rappazzo's newest endeavor. It's title "Love and Other Difficulties" was inspired by a collection of poems by Rilke. 

The record was produced by Carmela Rappazzo and co-produced by Tony Award winning producer Barbara Manocherian.