Wednesday, November 17, 2021
Joni Mitchell | "Archives Vol 2 – The Reprise Years 1968 to 1971"
Fran Nava | "Umkhonto"
The musical concept of the album is tied to intense variations, with high energy levels and strong interaction between the musicians, up tempos and different rhythmic modulations. To carry out this idea, Fran Nava forms this sax trio with renowned jazz musicians from the city of Buenos Aires, such as Patricio Bottcher on tenor and soprano saxophone, and Venezuelan Omar Menéndez on drums.
The five compositions joined in Umkhonto come from ideas and concepts worked in the ensembles together with the masters Sergio Verdinelli, Mariano Otero and Ernesto Jodos.
In the participation in the ensembles dictated by Verdinelli and Otero, called Ensamble de Groove Acústico, ideas and concepts related to rhythmic and tempo changes and modulations emerged, inserted in the language of jazz and within the composition; while in the ensemble of the Art of the Trio by Ernesto Jodos, the concepts of a strong musical interaction and a prolonged intensity in the composition were taken, as well as the concepts of Bill Charlap of giving continuity to an existing composition or of inserting himself with his own ideas in a composition already made.
Joshua Crumbly | "ForEver"
Joshua is genre-blurring artist and sought after bassist who’s recorded and toured with artists like Kamasi Washington, Leon Bridges, Terence Blanchard, and Bob Dylan, performing in Dylan’s 2021 concert film Shadow Kingdom. Crumbly’s 2020 debut album Rise was met with praise from Hypebeast, Indieshuffle, Jazziz, WBGO, Earmilk, No Treble, Exclaim!, Glide, Ones to Watch, and The FADER, who said Rise featured “explosions of synths mixed with a driving drum pattern that has the dusty texture of a jazz lounge.” Though centred around the bass guitar, ForEver uses additional instrumentation with subtlety and grace.
Joshua made his musical debut aged 10, playing alongside his saxophonist father. A gifted performer, even as a pre-teen, he enjoyed mentorships with renowned bass players Reggie Hamilton (Whitney Houston, Seal) and Al McKibbon (Charlie Parker, Coleman Hawkins) before moving from LA to New York to attend the prestigious Juilliard music school. After years of honing his musicality alongside seminal players, Joshua finally embarked on recording his own solo pieces, beginning with 2020’s Rise. The starting place of ForEver quickly followed, beginning with encouraging words from friend and collaborator Shahzad Ismaily.
“ForEver began with an out of the blue call from Shahzad,” Joshua explains “He told me that I needed to record a solo bass album. It started out as such, then I added some other instruments. It branched out even further when I reached out to a few friends, whose voice I was strongly hearing on particular songs. I’m grateful they were down to be a part of the record.”
figureight records is a creative project led by Shahzad Ismaily. The label has to date released records by múm founding member Gyda Valtysdottir, NYC super-producer Randall Dunn, Jon Hopkins and Brian Eno collaborator Leo Abrahams, Spotify chart-topping indie artist Toth, and more.
Kahil El’Zabar Quartet | "A Time For Healing"
Kahil El’Zabar's new album answers the urgent questions posed by his sold-out ‘America The Beautiful’, addressing the state of affairs today whilst calling for a better tomorrow
Joined by Isaiah Collier (saxophone), Corey Wilkes (trumpet) and Justin Dillard (keys), Kahil El’Zabar explores the gamut of Great Black Music in America, tracing its lineage through all the movements that’s flourished in Chicago, from the blues to R&B, soul, gospel, house music, spiritual jazz, and then back to all of its common African roots
GNP is a jazz trio featuring Tyler Giroux, Matt Niedbalski, and Dylan Perrillo
In 2020, a shared passion for original music led to the decision to record their debut album as a group, “Codes.” “Codes” is a reference to the band’s musical communication, the unique vocabulary, and cues the group developed over years of playing and growing together. The album consists of 9 original pieces composed by Tyler, Matt, and Dylan, as well as one standard, Gershwin’s “But Not For Me.”
MPS Records reissues six albums on vinyl and CD from its historic catalogue
Founded in 1968 by Hans Georg Brunner-Schwer, MPS was the recording home for legendary artists including Ella Fitzgerald, Dizzy Gillespie, Oscar Peterson, Dexter Gordon, Freddie Hubbard, The Count Basie Orchestra and George Duke. Last summer, MPS reissued 31 albums on vinyl and CD, the success of which created the interest and
Mangelsdorff was a revolutionary experimentalist who developed the art of jazz polyphonics, an avant-garde technique in which he simultaneously blew and sang into his trombone. The German keeps fine company on “Albert Mangelsdorff and His Friends,” a stellar duets collection recorded over an 18-month span on which he is paired up with Don Cherry, Elvin Jones, Lee Konitz, Attila Zoller, Karl Berger and Wolfgang Dauner.
Van Damme was another innovator who changed the image of the accordion, proving that the instrument synonymous with polka could be cool when placed in a jazz setting alongside guitar and vibes. The trio of
Terry changed the perception of the flugelhorn, legitimizing it as a leading voice in jazz. Honored with a GRAMMY lifetime achievement award, Terry’s precise and prodigious horn interprets classic ballads on “Clark After Dark: The Ballad Artistry of Clark Terry,” along with the title track, an original penned by the trumpeter and Peter Herbolzheimer, who conducted the 50-piece orchestra that backed Terry on the album. The session illumined by 28 sweeping strings has a romantic, late-night vibe, an idyllic setting to
Regarded as one of the greatest guitarists of the twentieth century, Pass serves up a mix of standards and originals on “Intercontinental.” The trio, anchored by German acoustic bassist Eberhard Weber and British drummer Kenny Clare, recorded in MPS’s studio in 1970, swings through a set list spanning selections by Antonio Carlos Jobim, Cole Porter, Michel Legrand, and Benny Goodman and his orchestra.
Considered one of the most important voices from the European jazz scene, pianist John Taylor emerged from playing in the house band at famed London nightspot Ronnie Scott’s Jazz Club to concert performances and recording dates accompanying iconic jazz
A freeform amalgam of jazz, rock and blues, the Michael Naura Quartet’s “Call” consists of eight originals written by Naura. The pianist was studying philosophy, sociology and graphic arts in Berlin when he formed his first band with vibraphonist Wolfgang Schlüter in the 1950s, a combo that mixed blues, bebop and European avant-garde. On this 1970 release, Schlüter is by Naura’s side along with frequent collaborator drummer Joe Nay. Weber played electric bass on this recording, Naura’s first after an eight-year gap, an album that reveals the bandleader in a new and different light.
Kristen Mather de Andrade | "Evergreen"
“Evergreen” arrives months after the summer release of Mather de Andrade’s critically hailed debut album, “Clarão,” an authentic multicultural outing fusing exotic Latin jazz rhythms and instrumentation, classical overtones and big band arrangements inspired by the artist’s ardor for Brazilian music. Mather de Andrade does a complete about-face stylistically on the warm and intimate seasonal EP, playing and singing holiday music in the company of pianist Yalin Chi and cellist Jules Biber.
“I have always loved holiday music - even more so now that I have lived away from my family for some time. This year seemed like the right time to get into the studio and record some of the carols that I love but are a little more off the beaten path,” said Mather de Andrade, a native of Youngstown, Ohio now based near New York City.
The roots of “Evergreen” are a pair of selections arranged by Noah Taylor, a composer-arranger with whom Mather de Andrade worked a few years ago. He plied his skillful touch to “Riu Riu Chiu” and “Bring A Torch,” and Mather de Andrade built the rest of the set list around the opening tracks.
“I loved the arrangements so much that I thought they would be perfect to anchor this EP. Because I have always had my ear out for holiday arrangements that I found interesting, I knew that the versions of ‘The Holly and The Ivy’ and ‘Pat-A-Pan’ that we recorded would be nice additions to Noah's beautiful music,” said Mather de Andrade.
“Union Square” is an original tune written by Annie Pasqua who lends her voice to the exquisite song on “Evergreen.” It’s not exactly a holiday classic (yet), but to Mather de Andrade, it fits the EP’s nuanced theme aurally.
“‘Union Square’ is obviously an outlier in the mix, but the imagery that it conjured up for me and the style of the song seemed to me that it would fit well on the EP. I met Annie a few years ago and performed her song live after she submitted it to a call for scores for our chamber music group, Vent Nouveau (Mather de Andrade co-founded and serves as the group’s artistic director). We had the opportunity to showcase music by living composers that identify as female and Annie's song was selected for the performance. I have kept it in my mind since then, looking for the right opportunity to record it and work with her again,” said Mather de Andrade.
Mather de Andrade has been collaborating with Chi for almost fifteen years; both musicians are principal members and soloists in West Point’s Army Special Band.
“She's an amazingly expressive pianist, and I have been wanting to record something properly with her for years. Let's hope this is the first of many projects,” said Mather de Andrade, who in addition to her recording and performing career is an educator who has taught master classes and professional clinics at universities and conservatories, and presently serves on staff at Manhattanville College.
Mather de Andrade has already begun recording music for her second full-length album even as she continues to promote “Clarão.” She will perform music from the disc at the Jazz Forum in Tarrytown, NY on January 23. Also in the Latin jazz world, Mather de Andrade will be playing "Latin American Chronicles," a jazz clarinet concerto by Daniel Freiberg, in mid-February. Early next year, she will release a music video for a piece that she commissioned for clarinet and percussion by composer David Reeves titled “As Bright As The Skies Are Blue.” But first, Mather de Andrade hopes her holiday offering will be celebrated this year as well as for many Christmases to come. In fact, that desire inspired the EP title.
“I wanted to name it something that would match the music that I featured; something that would sound timeless.”
Gregory Goodloe | "In Paradise"
Living though this historic period, Goodloe found the fears brought on by the pandemic, civil unrest and a divided nation to be rife with life lessons, inspiring the recalibration of priorities along with a renewed sense of appreciation.
“People and life itself became more important to me than ever. I learned that life is so fragile and delicate, and how much people matter to each other. I wanted to write a song that reflects on the beauty of life and the joy of experiencing it through music. The focus during the making of ‘In Paradise’ was my concept of living life free of fear and sadness,” said Goodloe who was accompanied on the Hip Jazz Records release by Canady on drums, keyboardist Demetrius Nabors, bassist Robert Skinner and rhythm guitarist Anthony Booker.
As a devout man of faith and a US Army veteran, Goodloe focused his fantasies on the beauty surrounding us, imagining a safe haven in an exotic locale where fears are assuaged by the majesty of nature’s splendor.
“I would imagine playing music on a sandy beach in front of a beautiful ocean surrounded with tropical trees, exotic plants and animals. The imagery allowed me to forget all worries and simply focus on creating beautiful music,” said Goodloe who has returned to playing shows in the Denver area where he resides.
“In Paradise” is Goodloe’s third single issued this year, following “Step’N Out” and “Somewhere Out There,” each of which will be included on his next full-length album. He takes regular breaks from recording the collection to host his own radio show, “Mile High Smooth Jazz,” which airs on Thursday and Saturday nights on World Wide Jazz Radio. Goodloe plans to perform at the internet radio outlet’s first anniversary bash in Las Vegas on January 25.
A crossover artist who derives stylistic influence from George Benson and Wes Montgomery, Goodloe notched his first Billboard No. 1 single two years ago with “Stylin’,” one of many tunes on which he has collaborated with GRAMMY-nominated songwriter-producer-saxophonist Darren Rahn with this single receiving over three million streams on Spotify. Among Goodloe’s other frequent collaborators are Billboard chart-topping guitarist Adam Hawley, seminal urban-jazz keyboardist Bob Baldwin and hit-making saxophonist Elan Trotman. Having served as musical director for R&B-pop group Surface and soul-jazz singer Aysha, Goodloe is at home in R&B, jazz and gospel circles. He has performed with or opened for Howard Hewett, Tank, Ben Tankard, Norman Brown, Dave Koz, Brian Culbertson, Michael McDonald, James Ingram, Roy Ayers, Shirley Caesar, Angela Spivey, John P. Key, The Rance Allen Group and fellow Denver native Larry Dunn of Earth, Wind & Fire fame.
Tuesday, November 16, 2021
The Jazz All Stars Vol. 2 | Le Coq Records
To kick off what promises to be an equally remarkable year two, the label will release a second volume of its trademark “honest jazz” featuring its ever-growing family of brilliant musicians. Le Coq Records presents The Jazz All Stars Vol. 2, due out January 21, 2022, showcases not only the virtuoso musicianship of many of contemporary jazz’s most in-demand players, but this time out shines a brighter spotlight on the compositional gifts of Le Coq contributors like Cunliffe and keyboardist/arranger John Beasley, alongside aptly-chosen standards and jazz classics.
“The Jazz All Stars Vol. 2 shows a little of everything Le Coq is about, from its compositional temperament to the high sonic quality,” says label founder Piero Pata. “, “There’s quite a mix of sounds and styles, and I feel that the album really shows off the talents of our wonderful artists. John Patitucci holds everything together magnificently so that Andy James’ gorgeous vocals and the dazzling solos of Chris Potter, Rick Margitza and Terell Stafford – just to name a few – can shine.”
Much of the roster on the new release has returned from Volume 1, including Cunliffe and Beasley; bassists Patitucci and Chris Colangelo; drummers Vinnie Colaiuta and Marvin “Smitty” Smith; percussionist Alex Acuña; trumpeter Terell Stafford; saxophonist Margitza; guitarist Jake Langley and vocalist James, among others.
Volume 2 bolsters the line-up with such heavy hitters as saxophonists Chris Potter and Bob Sheppard; bassist Ben Williams; drummers Marcus Gilmore and Terreon Gully; trombonist Michael Dease; keyboardist Jon Cowherd; guitarists Russell Malone and Paul Jackson Jr.; and trumpeter Rashawn Ross.
This staggering stable of in-demand artists harkens back to the music’s golden age, a time when (jazz) giants walked the earth and crossed paths in myriad combinations under the auspices of their shared labels. Pata conceived of that model when he dreamed of gathering the greatest modern musicians to record for Le Coq.
“We wanted to get back to the old adage of having a pool of artists that could achieve anything the label required for its next goal,” Pata explains. “There are obviously many wonderful players we at Le Coq would love to record with. That will come, I hope!”
Like its predecessor, The Jazz All Stars Vol. 2 features the label’s unique take on some classic favorites, both arranged by the Grammy-winning Bill Cunliffe and featuring the entrancing vocals of Andy James. The Jerome Kern/Otto Harbach standard “Yesterdays” is given a bold treatment perfect for James’ unsentimental nostalgia, highlighted by an eloquent Chris Potter solo. Horace Silver’s “Doodlin’” is propelled by the robust swing of bassist Chris Colangelo and drummer Marvin “Smitty” Smith, wonderfully matched by James’ sassy playfulness.
In addition to his striking arrangements, Cunliffe contributed most of the original compositions for the album and has been a key contributor to Le Coq since its early days. “Bill Cunliffe has been the backbone of the label’s writing talent since its inception,” Pata says. “He has been essential to the label’s vision of ‘honest jazz.’ His value has been enormous, especially on the big arrangements. He is wonderful at this style of writing. Maybe he has a foot in the past – but with a modern twist.”
Marcus Gilmore’s rollicking drums kick off the album on Cunliffe’s original piece “Whatever You Say,” soon joined by the sparring of Chris Potter’s tenor and Terell Stafford’s on trumpet. The composer’s arrangement summons the vigor and brio of a big band from the ensemble, setting the stage for the dancing agility of Cunliffe’s piano solo. Margitza’s breathy tenor conjures the mysterious atmosphere of “Witches,” a mood picked up and carried forward by Colangelo’s probing bassline. Cunliffe comps delightfully for Margitza’s sinuous solo.
The pianist makes direct reference to the pre-pandemic era on his wistful “The Before Times,” with its aching melody expressed beautifully by Terell Stafford. Grammy winner John Beasley contributes the funky, sauntering “Beasley’s Blues,” featuring incisive solos by guitarists Russell Malone and Paul Jackson Jr., a blistering turn by Dave Matthews Band trumpeter Rashawn Ross, and a bass solo by Ben Williams that digs deep.
Jake Langley’s shimmering guitar, Alex Acuña’s multi-hued percussion and Vinnie Colaiuta’s rock solid drumming lay the foundation for “Balinda,” with Margitza weaving the mesmerizing melody before spinning inventive variations in his solo. Patitucci and Marcus Gilmore take Cunliffe’s “Around the Corner” for a laid-back but robust stroll, with interlaced horn lines over top. The album closes with the lovely, swaying “Danse,” evoking lyrical solos from Colangelo, Cunliffe and Langley.
With a core of amazing talent now joined by a host of incredible new voices, Le Coq Records presents The Jazz All Stars Vol. 2 offers a vibrant calling card for a label quickly taking its place at the vanguard of modern jazz. Best of all, there’s plenty more to come in 2022.
Nick Fraser Quartet | "If There Were No Opposites"
The quartet's music is deeply rooted in the jazz tradition, and comprises a series of Fraser's compositional sketches, points of departure for the inspired group improvisation at which these players excel. Tony Malaby's sinewy, impassioned tenor and soprano saxophone improvisations are practically without peer in contemporary jazz, and display a rhythmic imepetus that is complemented beautifully by Fraser's deft drumming. Clutton and Downing provide, by turns, a thick, shifting field of harmonic support and melodic invention. The work of this group is a high water mark in Canadian jazz and creative music.
Nick Fraser is a member The Lina Allemano Four, Eucalyptus and Peripheral Vision (among many others) and has collaborated with many luminaries, including Anthony Braxton, William Parker, Marilyn Crispell, Roscoe Mitchell, David Binney, and Donny McCaslin. For ten years he led Drumheller, a quintet who released four critically acclaimed CDs.
Composition. Improvisation. In recent times, the relationship between the two has been deliberated, often in binary terms, to the point of exhaustion. But if we shut up and discuss them no further, we might as well give up talking about jazz, since the point where the two methods connect is to the music what flint and steel are to campfires. Without that starter, you have no blaze.
Based in Toronto since 1995, Nick Fraser has learned jazz from both inside and out. He’s drummed with free-leaning musicians such as Lina Allemano and Marilyn Crispell; as a long- time participant in the Ottawa Jazz Festival’s jam sessions, he’s kept the groove for Joe Lovano, Wynton Marsalis, and countless other establishment jazz figures. His heart lies with the unscripted moment. “I've always loved the act of improvising,” avows Nick Fraser, “and the more improvised parts of jazz music are usually my favorite parts.”
But that doesn’t mean that he neglects the rest. Fraser has composed for every band he’s led or co-led. He has also adapted his material to the rigorous requirements of the Decidedly Jazz Danceworks, a Calgary-based dance company directed by Kimberly Cooper. A couple of the pieces on If There Were No Opposites, the quartet’s fourth album, were adapted from compositions for DJD productions. But while the original versions of “Shoe Dance” and “The Fashion Show” had to adhere to rigid timing requirements in order to coordinate with the rest of the stage production, the quartet lets the music flow in more free-wheeling fashion.
The quartet first recorded in 2012, and its personnel has never changed. New Jersey-based saxophonist Tony Malaby was originally billed as a special guest, but now he is simply one of the band. This is not a demotion, but an acknowledgement of how essential he is to the group’s sound. By turns agile and burly, his playing reliably turns up the heat on whatever the rest of the ensemble is cooking. Says Fraser, “There's a sense I get when I play with Tony of him taking the entire band on his back and saying, ‘Here we go!’”
Cellist Andrew Downing and bassist Rob Clutton are fellow Canadians, and Fraser has long histories with both of them. Clutton, who was in Drumheller, has been an associate for over twenty years. “I've never made an album as a leader with a bass player other than Rob.” Downing, who also plays with Fraser in the Lina Allemano Four, could have been the second. “He plays bass, he plays cello, he composes, he plays classical music, jazz, various folk musics and more, but never in a merely ‘professional’ way. He is always deeply musically and emotionally invested in the music he makes.” Enamored with the sound of Bill Dixon’s Vade Mecum records and Ornette Coleman’s final quartet, Fraser originally invited him to play the bull fiddle, but Downing said that he’d rather play cello, and the way he toggles between melodic and rhythmic roles while occupying his own pitch zone constantly validates that decision. Fraser has also drummed on recent recordings led by both Clutton and Downing, and their collective rapport facilitates the quartet’s countercurrents of flow and undertow.
Close listening and empathy enable the quartet to find a gravitational center during the album’s opening moments. “Improvisation (Part 1)” represents new ground for the quartet. “This band doesn't normally play entirely improvised music, but at the end of the session, we decided to.” A thicket of pizzicato strings and sparse stickwork rustles around Malaby’ coarse, probing tenor, ultimately cohering into a turbulent stream. Soprano and cello take the melody of “Sketch #50” at a breakneck pace; as the band slaloms through its switchbacks, different instruments re-introduce it, as if to renew a shared sense of direction. Here and elsewhere, Fraser’s drumming expands the sound field, forming a constantly changing perimeter that reflects the band’s energy back into the music. “I usually have the least prescribed material of any of us,” he confesses; instead, he completes the music as it happens.
Fraser originally wrote “Shoe Dance” for the DJD production, Juliet & Romeo. “The choreography featured 4 or 5 dancers with shoes on their hands, like puppets. It's a boogaloo, inspired by two of my favorite drummers — Billy Mintz and Paul Motian.” “Table 49, The Rex Hotel, Toronto” is the 49th in Fraser’s series of compositional sketches, but the name also applies to the table where musicians congregate at the longest-running jazz club in Toronto.
The title of “The Bulldog and the Capricorn” derives from nicknames for Malaby and Kris Davis. But the tune’s call and response dynamic, with quizzical cello-soprano unisons greeting Clutton’s solemn bass statements, can be taken as a structural reflection of another meaning embedded in the title. Explains Fraser, “A "Mexican Bulldog" is a margarita with an open beer bottle upside down in it, so it fills up with beer as you drink it. It's a challenge to drink, although you can always go with a straw if you're having trouble.” “The Fashion Show” has been in the quartet’s book for a while. In this performance, a couple minutes of free improvisation that takes cues from Clutton’s rough-timbred bowing resolve into a tense negotiation of the winding theme. The album ends where it began; "Improvisation (Part 2)" is actually the second half of the performance that opened the album.
~Bill Meyer, Berwyn, January 2021
Shannon Gunn | "On A Mountain"
Shannon grew up in Vancouver where she studied classical piano. As her musical direction shifted to jazz she developed a successful singing career in Western Canada. She subsequently moved to Toronto where she drew the attention of many of that city’s top musicians. Shannon’s work as an educator had always paralleled her performing career. She was as gifted a teacher as she was a singer and made a huge impact on the many students who crossed her path in both cities.
Shannon’s singing demonstrated incredible facility and expressiveness, as well as a deep awareness of the musical interplay in a band. She honed a highly personal style that hearkened to the great jazz singers yet was unquestionably her own. Renee Rosnes, who served as pianist and producer for this recording, comments, “Shannon had a vulnerability that came through in her singing which translated to an emotional, truthful rendering of the lyric.”
The choice of material and musicians are a reflection of Shannon’s impeccable taste and high standards. Rosnes brought a wealth of experience and a long association with the singer: “My friendship with Shannon goes back to my late teens when we both lived in Vancouver. We shared many memories together on and off the stage. She was smart, talented, beautiful, humble, empathetic and genuine: a person who communicated from her heart with no pretense.”
Along with Rosnes, this this group contains many of the world’s top jazz musicians, all of whom were ideally suited to communicating Shannon’s vision. Swainson says, “Those qualities of empathy, honesty and courage were all there in her music. She was a fantastic musician.” Adds Turner, "I always loved playing gigs with Shannon because she would always have new material, beautiful, sometimes complex arrangements.”
Gurrumul's | "The Gurrumul Story"
A member of the Gumatj clan and a speaker of the indigenous Yolngu language, Gurrumul’s songs describe identity and spirit, connection with the land, the elements, and the ancestral beings to whom he is related. His fragile but uniquely emotive high-tenor voice and aura-like persona elicit feelings of peace and longing in listeners.
Gurrumul first came to the world’s attention when his self-titled debut album Gurrumul was released to international acclaim in 2008. His angelic voice connected with fans the world over, including such notable figures as Elton John, will.i.am, Sting, Gary Barlow, Quincy Jones and Stevie Wonder.
To date, over half a million Gurrumul albums have been sold worldwide. He has won nine ARIA awards, and was posthumously named Australian Artist of the Year in 2018. Following a long battle with illness, Gurrumul passed away in 2017 at the age of 46.
THE GURRUMUL STORY is the first ever collection of Gurrumul’s most enduring and popular songs. To be released by Decca Australia/Universal Music Canada, the collection will be available on digital platforms, CD, Deluxe CD+DVD and on vinyl in September 2021.
The anthology contains alternate versions of two of Gurrumul’s most popular songs. ‘Wiyathul (Longing For Place)’ is a brand new, orchestrally-augmented version of ‘Wiyathul’ – the song that thrust Gurrumul into the limelight back in 2008. This new version will be accompanied by a new music video (the song’s first official music video) that was filmed in May 2021 on Gurrumul’s home of Elcho Island and features local dancers interpreting the song’s lyrics through the movement of their totemic dance.
Also included on the album is a rare duet version of the song ‘Bayini’, from Gurrumul’s sophomore album Rrakala, featuring a touching contribution by Australian singer/songwriter Sarah Blasko.
The Deluxe CD+DVD Edition of THE GURRUMUL STORY contains a 25-minute documentary that chronicles Gurrumul’s rise to fame and four studio albums, as well as a selection of music videos.
The Honeyshotz | "Lovin' You"
The band features Mark Claydon of The Getup / The King Rooster on drums and percussion and Lee Blackmore of The Getup on guitar. The man on the keys is Toby Kinder from The Gene Drayton Unit (Freestyle Records) and the vocals are taken care of by Sabina Challenger (formerly of The Getup and The Soul Grenades).
Additional musicians that appear on the album are Mark Norton, known for his work in The Fantastics (BBE) and The Gene Drayton Unit, on sax and flute, Freddy De Lord on sax, Tristan Gaudion and Achilleas Anastasopoulos on trumpet.
The songs are very much in the vein of The Brand New Heavies and have that summertime Acid Jazz / Soul Funk Vibe.
“This Honeyshotz project is a body of work that excited me the first time I heard it, a few years ago. Therefore, once I knew the Superfly label was launching, these tracks were something at the forefront of my thoughts. Having caught up with Ian Stevens and Mark Claydon, it didn’t take too long for us to agree on how to move this forward. This project is very different from the label’s popular first release from The Organauts but we know is one that will excite all of you every bit as much, if not more.” – Pete Brady (Superfly Funk & Soul Club).
War | "Greatest Hits 2.0"
André Carvalho | "Lost In Translation"
The revered philosopher Ludwig Wittgenstein said that, "the limits of my language mean the limits of my world". A sentiment wholly endorsed by Carvalho. He elaborates, “if it is a fact that there is, and probably always will be, a gap between meaning and interpretation, emotion and intention, it is also true that by expanding our lexicon, we automatically increase our expressive capacity. If there is no such word in our language, it does not mean that there isn’t in another. These words have the potential to open up our minds for new perspectives, and to cultivate our imaginations! The world is bigger and deeper than what we really know and the mental projection we create of it, that is, our reality. That is why, I believe that as we learn new words, our conscience becomes more sensitive to others, we become more empathetic, and ultimately our world becomes richer. These so-called untranslatable words entered my world and inspired me to write a new cycle of compositions.”
Musically, the song cycle that comprises Lost In Translation was also born from the influences that Carvalho has absorbed in recent years, including being part of the New York City jazz scene, which continues to leave a huge impression on the bassist, and also regular travel for performances to many countries. As a composer, Carvalho’s relentless search for new sounds has led him to discover and explore musical avenues such as improvised music, experimental and contemporary classical music. Lost in Translation embraces the unknown, by having a very strong improvisational and spontaneous component, making each performance completely unique to this ensemble, and this recording.
“It’s unquestionable that music is a language, and curiously a universal one. From the most remote tribes of Papua New Guinea to the cosmopolitan and avant-garde movements of large cities, music serves as a vehicle for communication and interaction. It’s this link between language and music, unique words and unique musical moments that Lost in Translation explores. If learning a new word is, by itself, already a rewarding and exciting thing, if we add music to this learning process, the experience will surely be enhanced. These particular words inspired me to research and learn more about different cultures and, just as I had an epiphany when learning them, I would like this new cycle of compositions to generate the same kind of sensation in the listener,” said Carvalho.
André Carvalho’s credits are in abundance, his pedigree unassailable, having worked with Chris Cheek, Will Vinson, Ian Froman, Colin Stranahan, André Matos, Tommy Crane, Vinnie Sperrazza, Mário Laginha, Billy Mintz, Maria João, Gilberto Gil, European Movement Jazz Orchestra, among many others. The Fulbright grantee (with a Master of Music in jazz performance at the Manhattan School of Music) has also worked extensively outside the jazz world with the Ibero-American Orchestra (under Gustavo Dudamel), Anton Webern Orchestra (under Franz Welser-Most and Heinrich Schiff), Lisbon Metropolitan Orchestra (under Michael Zilm), among others, as well as contemporary ensembles such as Octothorpe. His interest in Fado, Portugal’s traditional music, led him to perform with important names of this genre, such as Carlos do Carmo and Cristina Branco.
His first two albums, Hajime and Memória de Amiba showed Carvalho's highly personal perspective in music featuring an original blend of contemporary jazz with elements from Portuguese music. Both projects received rave reviews from Portuguese and International critics. Carvalho was awarded the "Carlos Paredes" prize in 2012, a prestigious honor that recognizes Portuguese music projects, as well as a "Best Group" recognition in the Bucharest International Jazz Competition. With his previous recording, The Garden Of Earthly Delights, Carvalho presented an inspired aural universe, inspired by the enigmatic work of the artist Hieronymus Bosch, particularly one of his most famous paintings – “The Garden of Earthly Delights” (1490-1510, housed in the Museo del Prado in Madrid). AllAboutJazz asserted that Carvalho’s compositions are, “impressively well-structured”, and that, “his writing offers scope for different textures and layers of sound that often give the sensation of a much larger ensemble, but he’s not afraid to give space to just one or two players at a time, creating some memorable performances as a result,” and JazzTrail stated that Carvalho’s “attractive compositional voice [is] well founded in the modern trends of jazz.”
In recent years, Carvalho has also been performing intensely around Europe, performing as a bandleader and sideman in Portugal, Spain, Austria, Germany, Finland, Switzerland, England, Croatia, Italy, Slovenia, Serbia, Romania, as well as in the U.S. and Egypt.
Bob James Trio | "Feel Like Making LIVE!"
James serves up tasty morsels from different phases in his career. They range from the much-loved gentle ballad, 'Angela,' which the pianist wrote for the long-running US sitcom, Taxi, starring Danny DeVito, to the iconic '70s jazz-funk groove, 'Westchester Lady.' He also revisits the '70s with the eerie 'Nautilus,' originally a relatively obscure cut on James' first CTI album, One, but which gained fame after being sampled myriad times by a plethora of hip-hop artists. James is still amazed at the song's longevity. "It's been such a crazy thing that's taken place with a song that no one was paying attention to when I first recorded it in 1974. So it came as a shock to me, 20 years later, to discover that the rappers and the hip-hop community had found it and given the groove a life of its own." Another gem lifted from James's back pages is his mellow instrumental reading of Roberta Flack's hit, 'Feel Like Making Love,' which appeared on his first CTI album and helped to launch the pianist's solo career in 1974. James's trio also throws in some musical surprises on Feel Like Making LIVE!, reconfiguring Elton John's 'Rocket Man' into an old school-style blues number and giving UK chanteuse Petula Clark's 1964 chart-topper, 'Downtown', a jazz-meets-classical music makeover.
This new jazz trio live-studio recording audio products will be released by evosound on January 28, 2022 and will be available in five different physical formats: 180gram Limited Numbered orange double vinyl LP, SACD, MQA-CD, MQA-CD + blu-ray, and Ultra HD Blu-ray. The hybrid SACD includes the DSD stereo and 5.1 surround sound for the ultimate sound quality experience. MQA is an award-winning technology that delivers the sound of the studio. MQA-CD plays on all CD players. The live in-the-studio recording was stylishly filmed in 4K and recorded in high resolution audio and is available in Ultra HD blu-ray, which includes immersive sound with Dolby Atmos in Dolby TrueHD and Auro 3D. The album will also be available in Hi-Res digital audio 96kHz / 24bit stereo formats. Bonus tracks and in-depth interviews are also included.
Friday, November 12, 2021
Web Web releases Web Max
In the winter of 2014, German rapper/producer Max Herre and Italian-German pianist Roberto Di Gioia played a tremendous show together. The two had been guest musicians at a few gigs for Gregory Porter, who in turn kindly accepted their invitation to perform at Herre's "MTV Unplugged" session (produced by Herre alongside Di Gioia and Samon Kawamura as production team KAHEDI). Porter's approach to the jazz quartet inspired Max to reflect how a rap artist could work in a more freely-flowing musical environment. Di Gioia's inspiration was a bit more straightforward: in the 80s, Di Gioia had played with jazz legends like Woody Shaw, Johnny Griffin, and James Moody, but he’d largely left the jazz stages of his early years behind — just one random jam session with Porter's musicians during soundcheck relit his passion immensely. A short time later, Herre called Di Gioia saying “Let's get a spiritual jazz session going.”
Now, six years later, the album WEB MAX is the amazing result from the spur of that moment. It is a wonderful homage to the cosmic open-mindedness of early 70s jazz, to the transcendent sublimity of spiritual sound. WEB MAX is the fourth album in four years by the highly acclaimed Web Web quartet, consisting of keyboardist/pianist Roberto Di Gioia, saxophonist Tony Lakatos, bassist Christian von Kaphengst, and drummer Peter Gall, all of them longtime performers of the highest virtuosity, signed to Michael Reinboth's Compost Records.
The only words on the album belong to Yusef Lateef, the great saxophonist and flutist who passed away in 2013. On “Akinuba / The Heart,” in the form of a poem Lateef talks about "The Heart” along a repetitive bass line. "I was particularly impressed by his musical lyrics. And how close his music melts with the topics he is talking about," says Herre. The poem ends with the words "the heart is born pure.”
Herre's voice, on the other hand, can only be heard as an occasional whispering falsetto in cosmic spheres. His electronic "rustle“ (as he calls it) and the groovy, minimalist thrusts of his Wurlitzer may seem modest at first amid the other virtuoso instrumentalists.
However, it is precisely this simplicity that proves to be an integral piece. "Simplicity is sometimes the most sophisticated effort," explains Di Gioia. “And he has something special there that I don't have. Max plays like an indie guitarist who just hits that one note that makes people freak out.“ And Herre replies with a laugh: “I am a rhythm pianist. I actually just play a few repeating chords at a time, almost like a hip-hop sample.“
Herre's love for jazz goes back to his teenage years in Stuttgart, way back before his hip-hop career. And that too began around 1990, when jazz became a go-to for hip-hop groups like A Tribe Called Quest or Gang Starr. This influence carries from Herre‘s former group
Freundeskreis, to his solo albums produced with Di Gioia, and finally all the way to WEB MAX.
Craft Recordings announces silver foil edition of Vince Guaraldi Trio’s ‘A Charlie Brown Christmas’
It all began in 1964 when producer Lee Mendelson set out to make a TV documentary about cartoonist Charles M. Schulz, the creator of the immensely popular PEANUTS comic strip. For the film’s score, he hired Bay Area jazz artist Vince Guaraldi, a fast-rising star who had recently earned a GRAMMY® for his instrumental crossover hit, “Cast Your Fate to the Wind.” Although A Boy Named Charlie Brown never made it to the airwaves, Mendelson was struck by Guaraldi’s sophisticated cues and the soundtrack for the unaired documentary was released on Fantasy Records.
The pair had the chance to collaborate again just one year later when A Charlie Brown Christmas was greenlit for holiday programming. Working primarily with bassist Fred Marshall and drummer Jerry Granelli, Guaraldi brought the animated characters to life with his music, pairing inspired interpretations of traditional yuletide fare (“O Tannenbaum,” “Hark, the Herald Angels Sing,” “What Child Is This”) with original compositions, including the iconic “Linus and Lucy” theme, “Skating,” and “Christmas Time Is Here.” The latter song, available as both an instrumental and vocal track, featured young choral singers from St. Paul’s Episcopal Church in San Rafael, CA.
While TV executives were wary of the unconventional special, which featured the voices of child actors, a jazz score, and no laugh track (among other concerns), their worries proved to be unfounded—and then some. Airing December 9, 1965, A Charlie Brown Christmas captured nearly half of the nation’s TV audience and garnered broad critical acclaim. 50 years later, the Emmy®- and Peabody®-winning special, which now streams on Apple TV+, continues to be a holiday tradition and has spawned more than two dozen subsequent PEANUTS specials.
Guaraldi’s soundtrack, meanwhile, has since become one of the best-selling jazz albums in history, second only to Miles Davis’ Kind of Blue, and regularly ranks among America’s top-selling holiday albums every December. In 2016, A Charlie Brown Christmas was certified 4x platinum by the RIAA, while last year, A Charlie Brown Christmas entered the Billboard 200’s Top Ten for the very first time—55 years after its initial release. The album has also been inducted into the GRAMMY Hall of Fame and added to the Library of Congress’s National Recording Registry.
Guaraldi, who continued to score PEANUTS specials until his death in 1976, had an immeasurable impact on the generations of young people who watched or listened to A Charlie Brown Christmas. “Guaraldi showed how a piano, bass, and drums can capture a feeling and character in living color, particularly if those feelings are complex, conflicted, or even simply too beautiful for words,” wrote Los Angeles Times in 2012. “It’s the kind of realization that, even unconsciously, opens the door for later discoveries in Bill Evans, Thelonious Monk, Robert Glasper, and everything beyond.” Ranking the album at No.4 in their 2019 round-up of the Greatest Christmas Albums of All Time, Rolling Stone added that the album has “become some of the most visually evocative American music.”
Dwayne Dopsie | 'Set Me Free"
Set Me Free is a soulful take on classic Zydeco, given extra bite with an infusion of swampy Blues. All the music and lyrics were composed by Dopsie, aka Dwayne Rubin, save for one, and performed by his band the Zydeco Hellraisers: Dwayne on accordion and vocals; Paul Lafleur on washboard; guitarist Brandon David; Tim McFatter on saxophone; bassist Dion Pierre; Kevin Minor on drums. His brothers Tiger, Anthony and Rockin’ Dopsie, Jr. appear as special guests on several tracks including a cover of the Guitar Slim classic “The Things I Used To Do“ performed in tribute to their father.
Dwayne Dopsie hails from one of the most influential Zydeco families in the world; he’s the youngest son of the Zydeco icon Alton Jay Rubin, Sr. better known as Rockin’ Dopsie. Building from that tradition, Dwayne developed his own high energy style of 21st Century Zydeco. He grew up in Lafayette, Louisiana, teaching himself accordion by watching videos of his father and Clifton Chenier, then recording hours of himself on video to study, critique and perfect his craft.
He has rocked audiences across the globe since debuting his band, Dwayne Dopsie and the Zydeco Hellraisers, at the age of 19 some 20 years ago. Playing not only Zydeco, but also rhythm and blues, funk, rock and roll, reggae and pop, Dwayne Dopsie and the Zydeco Hellraisers have built a thriving touring career — with Dwayne particularly known for his charismatic crowd work and getting an audience out of their seats. The band members have a combined century of experience in Zydeco they’ve displayed in exuberant performances around the world.
Dopsie is as beloved at home as internationally, winning the Offbeat Magazine Awards over a dozen times, and being named in a Louisiana Travel’s “Top 100 Reasons People Come Back to Louisiana” feature.
Dwayne has been featured on CBS This Morning, The Travel Channel, Discovery Channel, Good Morning America and in media outlets from Brazil to South Africa, not to mention the New York Times and Rolling Stone Magazine; the latter called him “the Jimi Hendrix of the accordion.”
Sheila Jordan | "Comes Love: Lost Session 1960"
The never-before-released Comes Love: Lost Session 1960 thus adds a crucial new chapter to Jordan’s remarkable story. Recorded on June 10, 1960 at New York’s Olmsted Sound Studios for the little-known Chatam Records, the recently discovered studio date presents the singer in nascent but instantly recognizable form on a set of standards. Due for release by Colorado-based Capri Records on September 17, 2021, the album is otherwise shrouded in mystery: Jordan has no recollection of the date or the names of her accompanists, a nonetheless deftly attuned trio.
The music that comprises Comes Love was unearthed by record dealers Jeremy Sloan and Hadley Kenslow of Albuquerque’s SloLow Records, who purchased it among a large collection of acetates several years ago. Knowing of Capri Records owner Tom Burns’ acquaintance with Jordan, they forwarded the surprise discovery to the Capri founder.
The 1960 recording predates Portrait of Sheila by more than two years, making it the earliest representation we have of the singer at the dawn of her storied career. At the time Jordan was working regularly at the Page Three Club in Greenwich Village, often with pianists John Knapp or Herbie Nichols, bassists Steve Swallow or Gene Perlman, and drummer Ziggy Willman. It’s possible that some of these musicians can be heard on Comes Love, though there’s no way of knowing for certain at this point.
“Whoever is playing on it is really good,” attests Burns. “The group seems to have an empathic relationship with her; I don't think it was just some pick-up band. But while it’s troublesome that I can't distinguish the musicians, I really thought this was a recording that should be out there because there's so much good music on it.”
Even without the identifying label on the acetate (and the haunting headshot of the singer that accompanied it, also included in the album packaging), the voice inside is unmistakably that of Sheila Jordan. Her mature style is not yet fully formed, but the jaunty scat that opens Duke Ellington’s classic “It Don’t Mean a Thing (If It Ain’t Got That Swing),” the playful, sassy flexibility of her time feel on the Gershwins’ “They Can’t Take That Away From Me,” or the wry world-weariness that imbues Rodgers and Hart’s “Glad To Be Unhappy” reflect qualities that would remain and deepen over the next sixty years.
“My first reaction was, ‘Wow, does she sound young!’” recalls Burns of his initial impression of the music – a reaction that he reports was shared by Jordan upon hearing the session. “Even though it's only a couple of years before Portrait of Sheila, she’d obviously developed more as a singer by then. But the way she dealt with a session of standards [at that stage in her career] impressed me. Most of the tunes aren’t your typical songs – there are a couple of well-known tunes, but most of them are kind of obscure even for that time.”
The album opens with James Shelton’s wistful “I’m the Girl,” which Sarah Vaughan had recorded four years earlier on Sassy, though Jordan’s rendition emphasizes a naïve melodrama shared by “When the World Was Young,” perhaps the clearest indication that this is such an early effort. The winsome opening verse of “Sleeping Bee” takes on a sprightly tone also present on a brisk “I’ll Take Romance.” A stark “Ballad of the Sad Young Men” is followed by a brassy take on the title tune and a sultry version of Billie Holiday’s “Don’t Explain” that reflects the iconic singer’s influence.
“She’s bending notes and singing the way a horn would play,” Burns points out. “[Jordan is] really trying different things out on this session. It’s an interesting look into her evolution as a performer.”
One of the most distinctive and creative of all jazz singers, NEA Jazz Master and self-described “Jazz Child” Sheila Jordan is one of those rare vocalists whose voice can be regarded among the great instruments of the music. Raised in poverty in Pennsylvania's coal-mining country, Jordan began singing as a child and by the time she was in her early teens was working semi-professionally in Detroit clubs. Most of her influences have been instrumentalists rather than singers, the greatest being Charlie Parker. After moving to New York in the early 50s, she married Parker's pianist, Duke Jordan, and studied with Lennie Tristano. She didn’t begin recording until the early 60s, then faded from view for two decades as she stepped back from her career to raise her daughter. Since her return to recording in the late 1970s she has remained one of the most acclaimed and beloved vocalists in jazz, pioneering a duo approach with solo bass and enjoying longstanding collaborations with the likes of Cameron Brown, Harvie S and Steve Kuhn and recording with the likes of Carla Bley, Roswell Rudd, Mark Murphy, Arild Andersen and George Russell.
Lauren Dukes Releases Self-Titled EP
“Closure” is a song with many applications, however, at its core the piece is about wanting what we may not be able to have again & having to accept whatever that answer is in the end. Dukes says, “It's something we all want. But it's rare to get it...closure.”
On her upcoming 5-song EP, Dukes keeps a common thread of story-telling. The project encompasses a blend of blues, soul, jazz and R&B with Faith as the foundation that brings it all together. Dukes explains her writing process, “Much of what I write starts off by asking (God, the universe, then myself) "What is the message You want me to deliver? Then, I ask, "What do I want to express?"”
The production behind the project is propelled by Lauren Dukes’ band, a talented cast of musicians including Nic Byrd (Guitar), Andy Sutton (drums & producer), Ola Timothy (Bass), Kris Lohn (Bass), Moses Hall (Keys), Latavius Mulvac (on Keys), Aiden Dehn (Sax), Shawn Maxwell (Sax), Shaun Martin of Snarky Puppy (Keys), Marques Carroll (Trumpet), Kirk Garrison (Trumpet), & Nicole Garza (background vocals).
Earlier this year, Lauren Dukes released the EP’s lead single “Hectic Love Week.” The single and EP demonstrate Dukes’ commitment to her craft. She concludes, “Everything I do is with my whole heart. It is my passion. My ministry. I want everyone to walk away from listening feeling better than the way they came. Music has the power to do that, and I’m honored to get this opportunity to hopefully contribute.”
Check out the first video Closure here: https://youtu.be/CLwlPA15R_k. The lead single “Hectic Love Week” is available now on all streaming platforms as well and received critical praise from the Chicago Sun Times, Medium, and The Deli.
Carn Davidson Nine | "The History of Us"
The Carn Davidson 9’s unique sound is made stronger by an all-star lineup of prominent Canadian artists, all of whom are exceptional ensemble players in addition to being outstanding soloists. CD9 has produced two previous recordings: their debut album “Nine” was released in 2012, and was followed by “Murphy” in 2017. Both recordings garnered JUNO nominations for Jazz Album of the Year.
The History of Us is the Carn Davidson 9’s third studio recording, and is their most personal project to date. Comprised of two three-movement suites, The History of Us is a powerful, moving meditation on the universal themes of family, migration, and loss.
The History of Us will be released worldwide on Friday, November 26th 2021 on Three Pines Records.
Céu | "Um Gosto De Sol"
Céu was living in New York in 1998 when she wrote her first song. She divided her time between a music course - the reason why she had left Brazil - and as a cleaner, coat-check attendant, waitress, and other jobs that helped pay for her rent. Until then, her relationship with music was associated with doing cover songs. Singing someone else's repertoire was her first lesson - it guided her to find her own musicality - and, in the end, it was what gave her the fundamental tools to discover her place as a composer. Singing was everything to her, and the desire to make an album with covers remained in her plans all along - but original productions have naturally occurred since her self-titled debut album, Céu, in 2005. The idea of putting a pause on her own compositions, in order to dedicate herself to other people’s songs, had been postponed - until now. After five original albums, Um Gosto de Sol is the first album in which Céu is only a performer, giving voice to a dozen songs written by other authors. The album is a result of the pandemic’s impact on the artist’s life.
Made with the help of Pupillo, her husband and producer, and Edgard Poças, her father, it's a particularly personal project. And the seed that motivated its conception was in fact the lack of reasons to compose an original album. The retreat. The inevitable introspection. At the beginning of the pandemic, when the feeling of uncertainty only increased with each new day - and no day was really “new,” Céu acted like much of the rest of us and sought shelter in the only possible safety point at that time: memory. She reminisced on her beginnings with music, which go back to the records she listened to as a child at her parents' house, to the rock and pop music she discovered in her teens, to the shows she saw and performed before becoming a songwriter. Her personal journey made the repertoire of Um Gosto de Sol. It reflects the artist in every corner of her musical foundation, in such a broad spectrum that it can surprise even her most loyal followers.
Samba is represented in the album in five very distinct periods – In time and aesthetically. Within this genre, the selection of songs kicks off with the pioneering trio of composers: Ismael Silva, Lamartine Babo and Francisco Alves, partners in “Ao Romper da Aurora,” samba recorded by Ismael in 1957. We then visit João Gilberto's original work in “Bim Bom,” a small jewel released by the brilliant singer as the B side of his 1958 single, that had the track “Chega de Saudade” as the A side, and inaugurated Bossa Nova. We then travel to the most revolutionary phase of the duo Antonio Carlos & Jocafi in 1973's “Teimosa.” Which, in its new version, gained backing vocals by Russo Passapusso, from BaianaSystem. It is followed by Alcione’s “Pode Esperar,” from 1979, a composition by Roberto Corrêa and Sylvio Son, which already imprinted feminism into the diva from Maranhão’s lyrics. It then flows into a pagode from 2000 with “Deixa Acontecer,” a song by Carlos Caetano and Alex Freitas, made by grupo Revelação by Xande de Pilares - which Céu takes on in a sensational duet with Emicida.
Brazilian pop is represented on the album by its biggest star. The first single to hit music platforms from “Um Gosto de Sol” - “Chega Mais” is a collaboration between Rita Lee and Roberto de Carvalho from 1979, it’s from the same LP that inaugurated not only Rita's solo career - and the stage of her greatest popular success, alongside her husband Roberto - but also the stepping stone of what would become Brazilian pop.
The track that the album is named after, “Um Gosto de Sol” is a collaboration between Milton Nascimento and Ronaldo Bastos, taken from the classic 1972 album Clube da Esquina. The harmonic and melodic sophistication of the song is exemplary of the innovative Minas Gerais school that was led by Milton at that time and which continues to have the capacity of impacting the most meticulous musicians and listeners in Brazil and abroad. On the other hand, it is in the simplistic construction of “Feelings” that its most powerful characteristics lie, with the strength to unify and blur the lines between Brazilian and international music. Composed in English by Brazilian Morris Albert in 1974, the song conquered the world in an overwhelming way and was recorded by jazz and pop stars worldwide, from Nina Simone to Caetano Veloso, from Offspring to Joe Pass.
International pop and its various decades are also interpreted by Céu throughout the album. Um Gosto de Sol includes a bossa nova version of the psychedelic song “May This Be Love,” a track that opens the B side of Jimi Hendrix’s classic album, Are You Experienced (1967). The album travels through the 1980s in “Paradise,” a composition from Sade’s worldwide hit Stronger Than Pride (1988). Then it arrives in the 1990s with two fundamental names: Fiona Apple, with “Criminal,” (1997); and the Beastie Boys, of “I Don't Know” from the following year (1998). Two instrumental vignettes were also created for the album: “Sons de Carrilhões,” by João Pernambuco, and “Salobra,” by Andreas Kisser, Pupillo, DJ Nyack and Céu - just to go against those who say that there is nothing original in the tracklist.
Although Céu has always valued electronic features in her original albums, the first images imprinted in her emotional memory are related to the universe of the Brazilian guitar. Since memory and emotion are the two fundamental ingredients in Um Gosto de Sol, the concept of using the acoustic instrument as a key part of the entire album was born. But it was necessary to marry the two concepts: on the one hand, to praise the greatness of the classical schools of Dilermando Reis, Garoto and Baden Powell, among other brilliant guitarists that Céu listened to throughout the first part of her life on her father's record player. She also wanted to honor the entire musical universe that she came to know later, on her own, in a life dedicated to the freedom of listening, regardless of the origin. Andreas Kisser, well known for his metal band Sepultura ended up joining the project, as a result of the pandemic and being “locked up and bored like the rest of us.” Kisser agreed as soon as he got the call. Moreover, he learned to play the seven-string guitar especially for this album. The result is a diverse band made up of: Pupillo (drums, percussion and production of the album), Andreas Kisser (seven-string guitar) and Lucas Martins (bass). But it also has additional guest appearances by Hervé Salters and Rodrigo Tavares (keyboards), veteran conductor Jota Moraes (vibraphones) and DJ Nyack (beats and programming).
Céu likes to say that this is indeed an album about hope. Not in an attempt to create new songs that simulated a beautiful future ahead - which at that point, in the shadow of the pandemic, would seem so unbelievable to us. But in a movement to strengthen what has - and has always been - most solid and most powerful: our history and our emotion. Even through the tough and unpredictable moments in quarantine, Um Gosto de Sol, brings a taste of sunshine and a lot of heat.
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