Tuesday, February 08, 2022

Shubh Saran | "Inglish" Explores Identity and the Difficult Process of Assimilating While Embracing Your Own Culture

New York-based guitarist, composer, and producer Shubh Saran has independently released his second full-length album and fourth overall release, inglish. After releasing his last EP titled Becoming in late 2019, Saran toured briefly in the United States and India, and upon returning to the U.S. was faced with what became the beginning of the Covid-19 lockdown. During this time, Saran quickly began writing and recording demos for what would ultimately transform into inglish. The new album explores new musical territory, as Saran incorporates predominant Indian and Middle Eastern instruments for the first time, while expanding the use of modular synthesizers in the momentous arrangements.

Throughout his life, having to assimilate into different cultures has been a common occurrence for Saran, and inglish is a reflection of that progression and evolution. “I wanted to find a metaphor for this idea of existing in the world where you’re trying to navigate a global culture while at the same navigating your own culture and home culture,” he says. Managing changes in culture and language has been a repeat experience for the Indian artist, who has spent time living around the world in places like New Delhi, Dhaka, Cairo, Geneva, Toronto, Boston, and New York City.

To provide some historical context, the term “inglish,'' a portmanteau from the late 1900s, describes Indian English, a variety of the English language spoken in India and by Indian diaspora. It’s a form of dialect that has shown similarity to British English, brought by British Colonization, but has become an amalgamation of Indian and Western culture. This duality has been the focus of Saran’s most recent research and explorations in music, and it’s something that he has experienced first hand. “Within the last several decades, Indian English has taken on a life of its own, with a lot of influence from regional languages and dialects, and a mixture of ‘Queen’s English’,” says Saran, reflecting on the connection between the album title and its anthropological history.

While language is a large part of the inspiration for inglish, the reflection on personal identity and the tension between trying to retain one’s own native tongue and customs while living in non-native territories is equally present. The unboxing of how traditions and cultures get passed down by generations, and the true origins of those artifacts, was also in the foreground of Saran’s mind when writing and recording inglish. “It was interesting to see that the origins for a lot of my own internal biases about being Indian, and Indian identity, seemed actually not to stem from Indian culture, but actually came from external sources,” says Saran. “What ends up happening, I believe, is that the narratives and the biases get internalized by the community, and then sort of get re-fed back into the community like a feedback loop.”

inglish is multi-layered album that explores concepts of identity far beyond the music. As people continue to think, move, and grow globally, the essence of native culture and identity are challenged, but still remain critically important. For Shubh Saran, inglish is a longform message that pays tribute to the difficult process of assimilating while embracing your own culture. 


Monday, February 07, 2022

New Music: Amandus, Michael Ross, The Graduating Class, Black Bird Hum

Amandus - Groove Infection

The website of veteran German keyboardist/composer Michael Quast – now recording as Amandus – says, “Believe in your dreams and they just might come true.” Twenty-five years after penning his first Smooth Jazz song, he manifests this perfectly, following his 2020 debut album SING A SONG with the dynamics-filled,  perfectly titled EP Groove Infection. Vibing on several tunes with the fluid, crackling guitar of Uli Brodersen, Amandus brings his inventive synth and piano wizardry to a tight, ultra-soulful set that runs the emotional and rhythmic gamut from moody atmospheres and chill vibes to wildly funky and groove-filled in the pocket adventures. ~ www.smoothhjazz.com

Michael Ross - Four Seasons to Cross

Long before he was amassing an impressive catalog of urban jazz gems, opening for Chaka Khan and Patti Labelle, recording with Najee and performing with the likes of Ramsey Lewis and Jonathan Butler, guitarist/composer Michael Ross was staff guitarist for a touring company of “The Wiz.” The yellow brick road journey is the perfect metaphor for his blessed and eclectic musical road that leads now to the release of Four Seasons TO Cross, his first album in eight years that alternates between lighthearted, spirited breeziness, whimsical exotica, seductive funk balladry and contemplative cool that reflects a multi-faceted, polyrhythmic journey through the seasons. From a snappy trip to Rio to a silky seductive tune about winter approaching, Ross invites listeners on a magnificent and inspiring adventure. ~ www.smoothjazz.com

The Graduating Class - Cooler

With an E Street-inspired saxophone lead and an arrangement straight out of Quincy Jones' playbook, "Cooler" is The Graduating Class leaning into the nostalgia of the 80s. The track features punchy drums, cascading synths, crisp rhythm guitar, and the aforementioned blazing sax line. "Cooler" also marks the Graduating Class' first foray into production, as the band recorded the song themselves in the basement of a shuttered music venue. Lyrically, "Cooler" tells an all-too-universal story about working up the courage to ask someone out; the song's setting is reminiscent of a scene from a John Hughes movie. According to songwriter/producer John Queant: "'Cooler' is about the inner monologue in a person's head as they're trying to ask someone out. I imagined a scene from a cheesy movie, where a total bombshell walks into the club, everyone's jaws hit the floor, and the record skips a beat. The song's narrator is just trying to work up the courage to ask them to dance."

Black Bird Hum - World Keeps Spinning

Sydney, Australia’s Black Bird Hum lay down a heavy two-chord jam for their second Color Red release “World Keeps Spinning.” The spellbinding rhythmic foundation puts listeners in a trance to recognize the reality that the world keeps spinning no matter how life gets—every day is both a grind and an opportunity to get up and hop on board for the ride. Stylistically, the track is equally influenced by the rousing roots rhythm expression of Steel Pulse and the creative liberties of Fat Freddy’s Drop as demonstrated by bewitching flute parts courtesy of Amy Nelson. Like their debut Color Red release “My Side,” the track is complemented by a “b-side” dub, aptly titled "World Keeps Dubbing," produced by longtime friend and mixing engineer Ryan Gambrell.


Introducing JoyRide

Buckle up for a musical JoyRide full of thrilling highs, spontaneous departures and unexpected turns! JoyRide is the collaboration of oboist Colin Maier and accordionist Charles Cozens, an incredibly versatile duo that pushes the outer limits of music with fresh sounds, original compositions and adventurous arrangements. Their music is a novel hybrid of jazz, ragtime, blues, tango, gypsy, classical and klezmer.

This CD has the flow and energy of a live concert, complete with an engaging story-telling element. Early on, Colin and Charles reminisce about a time on tour when Colin was attacked by pelicans, which leads to their performance of three songs with a nature theme: Tiger Rag, Somewhere Under the Rainbow and Plight of the Bumblebee. A story about completing a new look with a blue fedora inspires their takes of Rhapsody in Light Blue, Isolation Blues, and Air on a Blue String. A missed flight and a sleepless night at Newark airport leads to reflections about the ways that the COVID pandemic has upended the lives of musicians everywhere.

This record is light at times, and poignant at others. It pivots from serious to funny, and from simple to complex. This music has a broad appeal, with the potential to connect with a wide variety of audiences. JoyRide's first studio album is a diverse collection of moods and sounds, brought to life by the unfamiliar and enchanting combination of oboe and accordion.

Thomas Heflin | "Morning Star"

Tennesse-born jazz trumpeter Thomas Heflin delivers a remarkable new collection of songs, titled, “Morning Star”. This dynamic modern jazz, R&B, CrossOver album features eleven original compositions and one cover song by the late great James Williams.

Thomas Heflin has been hailed as "a fluent trumpeter with a bright tone and a forward-looking style" by jazz writer Scott Yanow. He has been featured or mentioned in Italy's Jazz Magazine, Pittsburgh Tribune Review and The International Trumpet Guild Journal among others. He is a co-author of the book Understanding Music: Past and Present.

A recording artist for Blue Canoe Records, Heflin has released three albums on the label. His 2007 debut album "Symmetry" was dedicated to the memory of pianist James Williams, who is featured on half of the recording. In 2009, Heflin produced and performed on "Introducing the New 5" by the cooperative group, The New 5 and In 2011, he released his third album, a collaborative CD with Ron Westray, former lead trombonist with Wynton Marsalis and the Lincoln Center Jazz Orchestra. The album also featured drummer Adonis Rose and bassists Eric Revis and Neal Caine. Heflin has also recorded five albums with the Knoxville Jazz Orchestra as well as toured Europe with the ensemble, performing in France, Spain and Switzerland.

Heflin is a graduate of the University of Tennessee, where he studied with jazz education pioneer, Jerry Coker. He received his masters degree from William Paterson University and his doctorate in Music Performance (Jazz Emphasis) from the University of Texas, Austin.

He has served as an instructor or lecturer at Roane State Community College, the University of Texas Jazz Department, the University Outreach and Continuing Education Program at the University of Tennessee, the Manhattan School of Music Summer Music Camp and The Jefferson Center Jazz Institute. Heflin also served as the Central Greenough Artist-in-Residence in Western Australia as well as the Always on Stage festival in Charlottetown, Prince Edward Island, Canada.

From 2009 to 2014, Heflin lived and performed in New York City where he performed with a variety of ensembles including the Smoke Big Band, led by trumpeter Bill Mobley. During his time there, also served as Program Manager and Jazz Faculty member at the Manhattan School of Music Precollege Division. In 2014, he moved back to the south to take the position of Assistant Professor of Jazz at Abraham Baldwin Agricultural College in Tifton, GA. Heflin currently serves as Assistant Professor of Jazz Brass at the Miles Davis Jazz Studies Program at the University of North Carolina at Greensboro.

Sunday, February 06, 2022

Roots of Creation | "Dub Free or Die Vol. 1"

Acclaimed Reggae-Rock group Roots of Creation (A.K.A. RoC) is excited to announce the release of “Dub Free or Die Vol. 1.” 

Ahead of the new album ROC has released a slew of outstanding singles including “Seven Nation Army” (White Stripes Reggae/Rock cover) ft. Hayley Jane, “Mammoth,” and “Arabia” Ft. Mihali (of Twiddle), and “Light it Up” ft. Mighty Mystic. And most recently with their Reggae/Rock rendition cover of Allman Brothers’ “Soulshine.” So far the songs have garnered critical accolades from Relix, Live for Live Music, Reggaeville, Celebstoner, Top Shelf Music and more. All of the songs will be featured on the album “Dub Free or Die Vol. 1.”

Like many artists, Roots of Creation wasn’t immune to the effects of the pandemic on the touring industry. Utilizing a platform that almost seemed built for navigating a disaster, RoC utilized the power of their tremendous fan base with Kickstarter. That support allowed them to properly record “Dub Free or Die vol #1” as a collaborative effort with the fans. The band first started recording the new album before “Grateful Dub (2018)” and deleted almost everything to only then start over. Soon after the pandemic wiped out their budget and with nothing but time at hand due to lock downs and zero in-person performances, they turned to Kickstarter and the fans saved the day! It is their first self-produced album made for the Roots of Creation DIE HARD fans who love that progressive Rock-and-Jam-meets-Reggae sound. The new album is chock-full of brand new, original Dub/Jammy instrumental compositions, with a handful of truly unique covers. 

Frontman Brett Wilson adds, “the upcoming record “Dub Free or Die vol #1” is all about focusing on our instrumental songwriting. It was created for our diehard fans who travel to multiple shows a year, listen to bootlegs, pay attention to setlists and always score the latest merch drops. We are extremely blessed to have our tribe of ‘RoC family’ members to be there to support us through these crazy uncertain times and let us experiment, create and have a blast. These compositions tend to lend themselves to progressive rock, improvisation, soundscapes, rapid genre switches, and Dub Reggae EFX.”

Andrew Riordan (Dub King Productions) RoC sax player and album producer adds, “Personally, this album is very special to me. The band was kind enough to let me produce and take the reins of a lot of the music in this project. It was also the last project I completed in my old studio before I remodeled and gave it an overhaul. There are pieces of gear that I used that are no longer in service, that I think gives the record a certain sound. That also makes this project feel special. I’m really happy and excited for all our fans to hear the record.” 

Musicians featured on the new album include RoC’s Brett Wilson: Guitar/Vocals; Tal Pearson: Keyboards/Melodica; Andrew Riordan: Sax, Harmony Vocals, Drum Programming, Production, Key, & Melodica; Chris Regan: Bass/Sticky Guitar; Alex Brander: Drums/Percussion. And includes special guests: Trumpet: Andy Geib (Slightly Stoopid); Trombone: Billy Kottage (toured in live band & recorded with The Interrupters, Reel Big Fish, Goldfinger); Guitar: Mihali (Twiddle) on Arabia; Vocals: Hayley Jane on Seven Nation Army (White Stripes); Vocals: Mighty Mystic on Light it Up; Saxophone Solo: Daniel ‘DELA’ Delacruz (Slightly Stoopid) on Soulshine; Vocals: Jesse Wagner (The Aggrolites) on Soulshine; Hammond Organ: Paul Wolstencroft (Slightly Stoopid) on Soulshine; Percussion: Nick Asta (The Elovaters) on Soulshine. The new album was mixed and mastered by longtime collaborator, friend and RoC live front of house engineer - Pete “Boardz” Peloquin (Gov’t Mule, Seether, Ani Difranco, Oasis) of Boardz House Productions based in the band’s hometown of Brookline, NH.

New Music: Kyoto Jazz Massive, Caetano Veloso, G. Fields, Levi Dover

Kyoto Jazz Massive - Message From A New Dawn

The "new dawn" here is very well put – as the duo of Shuya Okino & Yoshihiro Okino are very much back in action as Kyoto Jazz Massive – working with all the soulful styles of their long legacy in music, but also drawing on some of the best jazzy currents of their other work in recent years! The album's light years ahead of their work in the previous century – and they've also got some great jazz contributions from other hip Japanese combos on the scene – as well as work on vibes from the great Roy Ayers on one cut, and vocals from the great Vanessa Freeman on a few more! The whole thing's a great evolution of the sound of Tokyo club that we first fell in love with years back – and titles include "Primal Echo", "Astral Ascension", "Visions Of Tomorrow", "Get Up", "Revolution Evolution", "The Mask", and "Eternal Tide".  ~ Dusty Groove

Caetano Veloso - Meu Coco

A really tremendous album from Caetano Veloso – one of the few artists from the 60s who just seems to continue to get better and better with age! And by that, we don't mean that this is an "aged" record – we mean that Veloso sounds as freshly creative as ever – unveiling a completely new sound, while still keeping true to his musical vision of recent decades – a stunning achievement that few other global artists could ever hope to match! The sound is sublime right from the very first note – a strong focus on Caetano's ability to craft a line with simple poetry, set to backings that are often relatively spare, but full of these interesting little touches – done in collaboration with musical partner Lucas Nunes, and featuring a fair bit of contributions from Moreno Veloso too. The set's strongly in that best tradition of less-is-more that marks the best recent work from both Veloso family members – and titles include "Meu Coco", "Ciclamen Do Libano", "Anjos Tronchos", "Enzo Gabriel", "Voce Voce", "Sem Samba Nao Da", "Cobre", and "GilGal".  ~ Dusty Groove

G. Fields - In The Moment

Prior to his recent emergence in Smooth Jazz with his chill funk/hip-hop/R&B infused vibes,  Atlanta-based saxophonist Gregory Fields (aka G. Fields) enjoyed an eclectic career that included early recordings as a hip-hop artist, signing with Warner Bros., launching his own indie label, owning his own recording studio in Huntington, NY, and co-founding a multi-faceted music entertainment services company (AMS Music Entertainment). After years of making music and working behind the scenes with other artists, he returned to his childhood love of the sax to forge his own way as an impactful artist. He starts 2022 on a hopeful note with a lush, seductive and ultra-passionate slow jam ballad (with trippy-cool atmospheric effects) that comes with great reminder for these challenging times – to live boldly “In the Moment.” ~ www.smoothjazz.com

Levi Dover - Imaginary Structures

Imaginary Structures is the debut album from Montreal based composer and double bassist Levi Dover. This singular recording consists of eight original compositions for sextet, brought to life by an ensemble of musicians with an individualistic and contemporary approach. The album as a whole establishes a stylized vision of improvised music, fusing jazz with elements of progressive rock and 20th century classical music, brought together in a post-bop setting. The music is set against the backdrop of an impressionistic landscape which at times recalls the influence of composers such as Wayne Shorter, Miles Davis, Bobby Hutcherson, and Andrew Hill. The improvisations are tightly woven into the structure of the pieces, giving the musicians the freedom to explore the universe that the compositions reveal. Throughout the album, a dreamy atmosphere and contemplative mood is balanced against a tight rhythmic undercurrent that propels the music forward, creating a narrative that unfolds gradually over the course of these eight pieces, exposing different facets of the composer’s imagination. 

Tanika Charles | “Papillon de Nuit: The Night Butterfly”

Twice JUNO-nominated and two-time Polaris Prize listed, Toronto’s soul songstress Tanika Charles unveils her album “Papillon de Nuit: The Night Butterfly”.

“Papillon de Nuit: The Night Butterfly” is the third studio album from Canadian Soul/R&B powerhouse Tanika Charles and is slated to be released worldwide on Milan-based Record Kicks label on April 08th. Composed and recorded while in and out of lockdowns, “Papillon de Nuit” is an album anchored in growth and maturity. The thematic inspiration came from an unlikely source, a creature that soars after the sun sets, but often goes unnoticed until the light shines on it. It is the “papillon de nuit” to some, but drably referred to as a moth by others, revealing a bias in language alone.

“I always thought it was a strange insect. Once while in Paris, a friend swatted at one and I asked: ‘Was that a moth?’. I was told: ‘No, that’s a papillon de nuit.’ I thought that was the most beautiful description for this otherwise overlooked creature. When I later learned of the symbolism associated with it, I felt that really spoke to both my own situation and also what we’ve all been going through.” Production on “Papillon de Nuit” was helmed by a mixture of old and new collaborators. The Safe Spaceship Records production team, consisting of Scott McCannell (Lydia Persaud, Claire Davis), Ben MacDonald and Chino de Villa (re.verse, Jessie Reyez), produced four songs on the album. The group also assisted as session musicians for songs produced by newcomer Todd “HiFiLo” Pentney (Allison Au Quartet, JUNO Award winner). “The Gumption” contributor Kevin Henkel (“Tell Me Something”, “Look At Us Now”) returned with three compositions, and old friend Jesse Bear (Sean Kingston, Stan Walker) contributed to one song.

Following the success of “Soul Run” (2016/17) and “The Gumption” (2019), Tanika had found a comfortable pace of releasing albums then hitting the road the following year to bring her show to new markets far and wide. So when things changed for all of us, and plans of touring “The Gumption” properly fell through, there was a realization that getting to work on the next project was the healthiest choice to make.

“I was in some dark places. My energy was stagnant and the only reliable constant was this perpetual uncertainty. I had gone from feeling like I was everywhere to only being in one place. From seeing so many new faces, to only my own, in the mirror, everyday and having to face that. Getting back to work on music allowed me to explore these feelings through the format I know best. And I wanted to make sure that when things were ready to resume, I’d be ready with something new for my audience too.”

Tanika, who took part in the writing of most of the album, was also assisted by regular co-writer Robert Bolton (“Soul Run”, “Remember to Remember”) and accomplished solo performer Tafari Anthony (Priyanka, of RuPaul’s Drag Race). Featured guests include the multi-disciplinary artist Khari McClelland and rising Toronto rapper, DijahSB. Both Dakarai Morris-James (Joanna Majoko, BeBe Zahara Benet) and Sean “D/SHON” Henderson (“Love Overdue”, Serena Ryder) assisted with vocal arrangements across multiple songs.

“I think this album represents my best work to date. And yet, it also represents me coming to terms with who I am as an artist. For the first time I think I’ve actually accepted my own voice. I can hear beyond the imperfections, and I realized that when paired with the right music, it can sound pretty good. I still have my doubts and my dark places, but a little less of them.” `~ www.firstexperiencerecords.com

Saturday, February 05, 2022

José Roberto Bertami - The Azymuth keyboardist's earliest recordings to be reissued for the first time

Best known as the keyboardist and bandleader of legendary trio Azymuth, the late José Roberto Bertami also wrote for, arranged for and performed with Elis Regina, George Duke, Sarah Vaughn, Jorge Ben, Eddie Palmieri, Milton Nascimento, Flora Purim and Erasmo Carlos, among countless others. But before all of that, in 1965, at the age of just nineteen, Zé Roberto recorded his first studio album with his group Os Tatuís, and the José Roberto Trio in the following year. These largely slept-on albums of beautiful, expressive samba jazz and bossa nova stand as a testament to the prodigious genius of one of the most important musicians in Brazil’s history. 

Born in 1946 in Tatuí - a small city in the Brazilian state of São Paulo, José Roberto was the eldest of seven children, four of whom became musicians. His father Lázaro was a classical violinist and a professor at Tatuí’s public conservatory, the largest music school in Latin America - for which the city is nicknamed "Music City".  After two years of piano lessons from the age of seven, Bertrami began losing interest, spending more time playing football and what he himself referred to as “professional vagabondage”. At thirteen, as his mother was despairing that her son was going off the rails, Zé Roberto enrolled at the conservatory. “In my two years there, I did seven years’ work and then I was expelled. The conservatory was almost entirely a classical music situation, and I’d begun to break some rules—like holding a jam session at school.”

Having discovered Bill Evans and Miles Davis in his early teenage years, Betrami began to channel his passion and exceptional musical talent into jazz rather than classical music. The bossa nova sound was also gaining popularity and Bertrami became especially interested in the music of Luiz Eça and Tamba Trio. 

In his late teens, and around the same time as he was regularly sneaking off to São Paulo by train to perform in nightclubs, Zé Roberto, alongside his brother Claudio (a successful musician in his own right, who would go on to play on seminal albums by Gal Costa, Tom Zé, Edu Lobo and João Bosco) and other musicians from Tatuí’s emerging jazz and bossa nova scene, recorded the first album under the group name Os Tatuís. The self-titled LP featured Zé Roberto on piano, Claudio on double bass, a horn section and an organist. With compositions by Antonio Carlos Jobim, Roberto Menescal, Carlos Lyra, Durval Ferreira and Adilson Godoy, the album also featured Bertrami’s own composition “A Bossa do Zé Roberto”, a mesmerising piece of bossa jazz, which proved that already - even as a teenager - Bertrami’s compositions could stand alongside those by the bossa greats. 

A year later, in 1966, Bertrami went back into the studio, but this time stripping the format back to a trio set up. Again featuring Claudio Henrique Betrami on double bass, and with Jovito Coluna on drums, the José Roberto Trio recorded their one and only album, featuring compositions by Baden Powell, Manfredo Fest, and Marcos Valle. The album also featured three of Betrami’s own compositions: the wistful “Lilos Watts”, the groovy “Kebar” and the dazzling “Talhuama”. In the vein of the pioneering Tamba Trio who had so inspired Bertrami in the few years prior, the José Roberto Trio typified an emerging movement within bossa nova in the mid-sixties, with a distinctively Brazilian reimagining of the piano jazz trio sound conceived by the likes of Nat King Cole, Oscar Peterson and Ahmad Jamal, and further developed by Bill Evans. Following on from Tamba Trio, in Brazil, the mid-sixties saw a number of great Brazilian bossa jazz trios recording around this time, such as Bossa Três, Milton Banana Trio, Tenório Jr, and Bossa Jazz Trio, the latter another group helmed by Betrami.

Both Os Tatuís and José Roberto Trio will be reissued on vinyl, CD and digitally for an 18th March 2022 release via Far Out Recordings. Across both of these historic albums, Bertrami’s stunningly performed compositions are rich with harmonic complexity and rhythmic ingenuity, providing a precursor to some of Bertrami’s futuristic fusion with Azymuth later in his career.

UK Contemporary Jazz Artist Fiona Ross Spotlights Self-Worth in Brave and Beautiful “Good Enough”

“Will I ever be good enough?; Will I ever be wise enough…for anyone?” Multi-award-winning contemporary jazz artist Fiona Ross launches her heartfelt new single with these two intensely personal questions, bravely throwing the doors open to examine self-doubt with “Good Enough” from her recently released album, Red Flags and High Heels — both available now.

“We all have moments of doubt and wonder if we are good enough — whether this is as a musician, an artist, a parent or just a human being,” Ross offers. “It’s what it says on the tin, really: a song about being good enough or, more precisely, not being good enough.

“This song is just me and how I feel.”

With her bright, soulful vocals posing these pointed questions over a fluid piano line, guitar flourishes and tasteful, spare rhythms, Ross lays her innermost misgivings beautifully bare in “Good Enough,” and makes them all the more relatable in doing so.

“There’s a line in the song ‘people say the nicest things’, and this is so very true for me,” Ross notes of the line ‘People say the nicest things; I want to feel them, too, but I’ve never felt worthy of even a fraction of the things people say.’ “People are so very kind about me and my work, but I always find it very overwhelming because I just don’t see it. I have very high and unachievable expectations of myself and what I can do, and I know I can always do better and be better.”

Ross acknowledges that drive for constant growth and improvement and the questioning that fuels it occurs universally within her vocation. “I believe this is the life of an artist in many ways,” she says.

While “Good Enough” snapshots those moments of insecurity, the International Singer Songwriter Association’s 2020 International Female Songwriter of the Year believes that an artist’s natural self-doubt must be balanced with some self-confidence to achieve success.

“We all have worries and concerns and wonder if we are enough in so many ways and the sensible part of me says, ‘yes, we must believe we are enough, we have to believe we are if we want to achieve anything and to achieve change’.”

Following fast in the wake of her scathing kiss-off song, “You are Like Poison”, “Good Enough” is the second single from Ross’ fifth album Red Flags and High Heels, released last October to wide praise. Among many accolades, Jazz Journal called it “a probing album that oozes passion, punch and panache.” The album’s 10 studio tracks and 4 live recordings span the full breadth of life’s emotional spectrum and feature Ross’s stellar and highly accomplished 8-piece band.

That drive for growth and achievement that Ross says is so much a part of an artist’s life helps fuel her pursuits behind the scenes as a music journalist. She also founded the groundbreaking organization, Women in Jazz Media, which develops and supports initiatives for mentoring and promoting women in jazz music around the world.

To that end, Ross has asked women who have inspired her to write her album sleeve notes.

“My last album featured sleeve notes with the legend that is Maxine Gordon – she is a role model and a mentor to me,” Ross shares. “When I was thinking about this album, I thought it would be incredible to have strong, fierce, and inspirational women who have inspired me, write the sleeve notes for each of my albums from now onwards, with Maxine leading the way. Céline Peterson instantly came to mind, and I am absolutely thrilled that she agreed.”

Peterson, an artist representative, jazz festival producer and the daughter of the late Canadian jazz legend Oscar Peterson, writes, “Being able to connect with a singer and songwriter who can find the strength to share such deeply personal words with us in such a way that makes us feel safe, is rare. Red Flags and High Heels is a time capsule in musical creation.”

Ross is also the former Head of the British Academy of New Music where she trained chart-topping hit makers Ed Sheeran, Rita Ora, Jess Glynne and others. With “Good Enough”, Ross shows that even a mentor with high-level experience and stature is never completely free of self-doubt and that the best way to reveal those very personal feelings in song is honestly and unadorned.

“I always just write what comes in my head. Everything starts with me at my piano, so this is a pretty naked track from all angles.”

Featured Music Releases: Dennis Murphy, Allan Evans Trio, Futurenot, Johnny Schaefer & Melissa Manchester

Dennis Murphy - Our Higher Selves

The title of Grammy nominated composer, guitarist, bassist and multi-instrumentalist Dennis Murphy’s 1999 debut Hit Me Hard, perfectly captures the intensity he’s brought over the years to his multitude of endeavors as an early genre radio personality (whose show “Bass Trax” was produced by Smoothjazz.com founder, Sandy Shore), clinician and founder of a popular Monterey, California music school, and studio and touring sideman for Acoustic Alchemy, Maria Muldaur, Billy Preston among others. On this latest foray, the eclectic, ultra-melodic and tightly grooving Oour Higher Selves, Murphy darts artfully between colorful guitar playing and bass-driven Smooth Jazz, fusion, playful samba and spiritual soul while freewheeling with an all-star cast including elite saxophonists Kirk Whalum, Eric Marienthal, Gary Meek and Tower Of Power’s Tom Politzer, as well as late guitar great Jeff Golub and legendary drummer Will Kennedy! ~ www.smoothjazz.com

Alan Evans Trio - Elephant Head

Elephant Head is an epic instrumental album of cinematic funk, in the pocket grooves, and infectious melodies. As a whole the full-length evokes a classic vintage movie soundtrack. It also features virtuoso playing from all three band members (Alan Evans / Danny Mayer / Kris Yunker). The album opens with the atmospheric “Route 68”, featuring a part psychedelic vibe coupled with highly catchy melody lines. “Strangest Thing” has a tough lowdown groove, the second half of the song shifts to a hypnotic groove with killer guitar lines. “Sunset Trails” evokes a western movie classic theme tune. The main riff sticks in the head long after listening. “Birth Of Peace” is a slow burning ambient ballad. Sonically the album sounds incredible, combining a modern take on a vintage vibe, with Evans at the helm as producer bringing his trademark quality and attention to detail. There is something undeniably special when a band of three clicks. Some would say finding three good musicians playing music together isn’t a hard task. Finding seasoned artists who can make a trio sound a band twice their size, well that’s special. Alan Evans Trio, a power soul organ trio is certainly special.

Futurenot - Greatest Hits

Futurenot is vintage inspired music realized through a modern lens. It is about being in the present, creating music for the here and now while incorporating the experiences and influences of our past to move towards the future. The band blends elements of hip hop, jazz, soul and pop with vocals, backbeat and a generous dose of strong melodies that will require you to roll your windows down and turn the volume up. "Greatest Hits" is the culmination of work that Jason Cressey and Peter Daniel began in 2013. The title of the album is more than just a tongue-in-cheek joke about a first release; it is a reference to how we drew from that material to create this collection.

Johnny Schaefer - You Can't Hide The Light feat Melissa Manchester

A fast-emerging new discovery in the Smooth Jazz realm, versatile singer/songwriter Johnny Schaefer brings an incredible resume to his uplifting, delightfully infectious new single “You Can’t Hide The Light” - a heartfelt, then rousing, pop/jazz meets gospel duet with  legendary Grammy winning vocalist Melissa Manchester. In addition to singing backup over the years for Manchester, Sarah Vaughan, Pete Townshend, Billy Idol and others, Schaefer has been cantor at Hollywood’s Blessed Sacrament Church for decades. An empowering song about healing and the way our inner light can dispel life’s darkness, it begins as an intimate seduction before introducing dynamic vocal chemistry, building towards a high-energy, vocal dance between the singers – all backed with hip, edgy production textures. ~ www.smoothjazz.com


Friday, February 04, 2022

Eric Krasno | "Always"

The idea of “losing yourself” may seem negative, but to Grammy-award winning guitarist Eric Krasno, the phrase has a deeper meaning. “It’s about losing your ego when you find someone who works for you,” he explains. Featuring head-nodding handclaps, horns from Jazz Mafia, and a funkified bass line drive, Krasno’s new single “Lost Myself” is featured on his new solo album ‘Always,’ and according to the guitarist, “it’s the funkiest track on the album.” Out February 4th via Mascot Label Group, ‘Always’ is filled with songs like “Lost Myself,” which consecrate, commend, and celebrates the permanence of family.

On ‘Always’ – across ten tracks with inimitable instrumentation, eloquent songcraft, and raw honesty – the Soulive and Lettuce co-founder, singer, multi-instrumentalist, and two-time GRAMMY® Award-winning songwriter-producer defines himself as not only an artist, but also as a husband, father, and man. “Lost Myself” follows the release of recent singles like “Silence,” about the emotional havoc that a lack of communication can wreak on the human psyche, and “Alone Together,” about the beauty that can be created between two people in solitude.

“Before 2020, I was having a good time, but I wasn’t grounded at all,” he explains. “I was going from gig to gig. I was always running around without a purpose. During the last year, I found my people in terms of my wife and son. I’ve created a family who will always be there for me. That’s what the album is about.” 

Something of a musical journeyman, Krasno’s extensive catalog comprises three solo albums, four Lettuce albums, twelve Soulive albums, and production and/or songwriting for Norah Jones, Robert Randolph, Pretty Lights, Talib Kweli, 50 Cent, Aaron Neville, and Allen Stone. As a dynamic performer, he’s shared stages with Rolling Stones, Dave Matthews Band, John Mayer, and The Roots. Out of seven nominations, he picked up two GRAMMY® Awards for his role as a songwriter and guitarist on Tedeschi Trucks Band’s ‘Revelator’ and guitarist on Derek Trucks Band’s ‘Already Free.’ 

But as the Global Pandemic changed the world’s plans, he found himself thinking a lot and writing just as much. At the suggestion of old Lettuce bandmate Adam Deitch, he connected with musician and producer Otis McDonald and collaborated on a version of Bob Dylan’s “The Man In Me,” a song that had taken on a deeper significance for Krasno in recent years. “My wife and I got married, bought a house, and had a baby,” he recalls. “I had heard the song many times before, but it had never quite hit me the way it was hitting me. I recorded it with just acoustic guitar and vocals, and I loved what Otis did to it. He sent it back to me, and I thought, ‘This is exactly how I want to make my next record’.” 

Recording first virtually and then at the Bay Area’s legendary Hyde Street Studios, famous for 2Pac, Grateful Dead, and Digital Underground, Krasno and McDonald tapped into a shared spirit as co-producers, ultimately forming Eric Krasno & The Assembly with Otis on bass, Wil Blades on keys and organ, Curtis Kelly on drums, and James VIII on guitar and vocals. 

In the end, Krasno welcomes everyone to be a part of his family on ‘Always.’ “If you take away a message of love and the Always concept, that’s great,” he leaves off. “Most of all, I want to put you in a happy place. In the past, I personally just felt like I was a guitarist, songwriter, and a producer. Now, I feel like a fully formed artist.” 

Eric Krasno – Tour Dates

Feb 18 – Washington’s – Fort Collins, CO

Feb 19 – Cervantes’ Other Side – Denver, CO

Feb 20 – The Commonwealth Room – Salt Lake City, UT

Feb 22 – Nectar Lounge – Seattle, WA

Feb 23 – Aladdin Theater – Portland, OR

Feb 25 – Sweetwater Music Hall – Mill Valley, CA

Feb 26 – The Crytstal Bay Club Casino Crown Room – Crystal Bay, NV

Feb 27 – Guild Theatre – Menlo Park, CA

Mar 1 – Harlow’s – Sacramento, CA

Mar 3 – SLO Brew – San Luis Obispo, CA

Mar 4 – Teragram Ballroom – Los Angeles, CA

Mar 5 – Pappy & Harriet’s – Pioneertown, CA

Mar 11 – The Capitol Theatre – Port Chester, NY

Mar 12 – The Capitol Theatre – Port Chester, NY

Mar 18 – North Beach Bandshell – Miami Beach, FL

Mar 19 – North Beach Bandshell – Miami Beach, FL

Arkadia Records Reinvents Itself for the Digital Age

Twenty-five years after its first CD release, Arkadia Records emerges in 2022 from a long quiet spell, revitalized and recalibrated for a changing music industry. The jazz label founded and run by Bob Karcy has embraced the digital musical landscape, releasing its complete catalog on the full gamut of online streaming platforms and preparing its first releases since the 2000s—including the newly recorded debut album by Brazil’s Tetel Di Babuya, due for June 24 release. 

The burst of new activity is not a “rebirth” per se: That would imply that Arkadia had undergone some sort of death. “We never went away,” Karcy stresses. “We’ve always been here to distribute our physical products—CDs and DVDs—and licensing the music to various TV shows and films. But we’ve recently heard from the streaming services, and they all said, ‘Hey, how come the Arkadia catalog’s not out there on our platforms?’” 

That the streaming services would desire Arkadia’s archive is unsurprising. It’s a treasure trove including over 100 albums, with works by such revered artists as Benny Golson, Billy Taylor, Dave Liebman, and Joanne Brackeen as well as the entire discography of the Grammy-nominated Arkadia Jazz All-Stars. It also includes the full catalogs of Arkadia Chansons, an imprint Karcy founded to distribute his holdings of classic French popular music, and Postcards Records, an adventurous jazz label that Arkadia purchased in 1999. 

Yet Arkadia’s renaissance is not just a celebration of its backlog. The archive also holds multiple albums’ worth of never-before-released recordings, including sessions by Brackeen, saxophonist TK Blue, and the Arkadia Jazz All-Stars. Even more exciting, however, is the fact that this glut of releases begins with the label’s first new album in over a decade: Meet Tetel, the debut recording by Brazilian singer-songwriter and violinist Tetel Di Babuya. 

“She’s certainly not in the ‘classic’ way we know jazz, with scatting and bebop; she has a more contemporary, singer-songwriter feel,” Karcy says. “But she’s in the jazz pocket—you couldn’t call it any other genre but jazz. It’s accessible, original, and really exciting.” 

More developments are in the works. In the coming months, Arkadia will unveil Arkadia Concerts, a VOD (video on demand) channel for jazz concerts and documentaries from Karcy’s extensive catalog featuring artists such as Herbie Hancock, Nancy Wilson, and Joe Williams. Don’t call it a comeback: Just say that Arkadia has resumed its place at the front lines of jazz’s evolution.

Arkadia Records began in the mid-1990s when Bob Karcy (above)—a lifelong music lover, musician, producer, and entrepreneur—decided to establish a recording hub that some of his favorite jazz greats could call home. The label’s first release, 1997’s The Music Keeps Us Young by piano legend Billy Taylor’s trio, marks its 25th anniversary in 2022. 

The company features three label imprints: Arkadia Jazz, which offers music that runs from the straightahead to the avant-garde; Arkadia Chansons, which distributes historic recordings of French popular music from the likes of Edith Piaf and Charles Trenet; and Postcards Records, a collection of snapshots from jazz’s outer edges. Arkadia also holds an extensive video archive of jazz-focused programming, including concert performances as well as documentaries and other programs. 

Arkadia’s catalog features acclaimed and award-winning gems from such iconic jazz artists as Billy Taylor, Benny Golson, Dave Liebman, Reggie Workman, and Paul Bley, as well as lesser known but superlative talents such as saxophonist TK Blue, pianist Paul Tobey, and Brazilian bands Nova Bossa Nova and Pé de Boi.

In 1998, Karcy brought together several of the label’s artists to form the Arkadia Jazz All-Stars. Arkadia’s new signature band made a number of acclaimed recordings, including the Thank You series of tributes to John Coltrane, Duke Ellington, Joe Henderson, and Gerry Mulligan. The Arkadia Jazz All-Stars’ Thank You, Gerry! (Our Tribute to Gerry Mulligan), which features Lee Konitz, Bob Brookmeyer, Randy Brecker, and Ted Rosenthal, will be released worldwide in digital format on April 8, 2022. 

Arkadia has earned four Grammy Award nominations and numerous other accolades. Karcy, however, has always operated the label according to his own knowledge and eclectic taste, rather than fodder for awards and accolades. Artists who can “make strong and important artistic statements,” he says, can find a home at Arkadia Records.

JJJJJerome Ellis | "The Clearing"

With The Clearing, JJJJJerome Ellis establishes a new metaphor that frames speech dysfluency—stuttering in particular—as a space for possibility rather than a pathology; and centers speech as a starting point to not only depathologize dysfluent speech but to build new tools to critique anti-Blackness, linear time, culture, and power in our society. First introduced in his 2020 essay “The clearing: Music, dysfluency, Blackness and time” in The Journal of Interdisciplinary Voice Studies, Ellis presents “The Clearing'' as a concept that challenges us to reimagine dysfluency in speech and question how speech and articulation impact how we exist in the social realm. Recorded in various bedrooms over the course of several months and setting the text of Ellis’s essay to music, The Clearing is a haunting and expansive series of reflections on the questions of speech, articulation, and the power behind both. Ellis says of the project: “I hope this album offers the listener some of what my stutter offers me: an opportunity to imagine new ways of being in time.”

The Clearing is co-produced by NNA Tapes and the Poetry Project. The album will be released in tandem with a book published by Wendy's Subway, the eighth title in the Document Series, an interdisciplinary publishing initiative that highlights work by time-based artists in printed form.

JJJJJerome Ellis is a blk disabled animal, stutterer, and artist. Through music, literature, performance, and video, he explores blkness, disabled speech, and music as forces of refusal, possibility, reparation, and healing. His diverse body of work includes contemplative soundscapes using saxophone, flute, dulcimer, electronics, and vocals; scores for plays and podcasts; albums combining spoken word with ambient and jazz textures; theatrical explorations involving live music and storytelling; and music-video-poems that seek to transfigure historical archives. JJJJJerome’s solo and collaborative work has been presented by Lincoln Center, The Poetry Project, and ISSUE Project Room (New York); MASS MoCA (North Adams, Massachusetts); REDCAT (Los Angeles); Arraymusic (Toronto); and the Center for African American Poetry and Poetics (Pittsburgh, Pennsylvania), among others. His work has been covered by This American Life, Artforum, Black Enso, and Christian Science Monitor. 

Thursday, February 03, 2022

Featured Music Releases: Grady Nichols & Friends, Trevor Dunn & Jarvis Earnshaw, Jonny Faith, Ter-Ree

Grady Nichols & Friends - Live!

With the release of Grady Nichols & Friends - Live!, the Oklahoma-based saxophonist celebrates 25 years as one of contemporary jazz’s most versatile recording artists – an era that’s found him crossing from Smooth Jazz to R&B to Christian pop, earning multiple awards and opening for Ray Charles, Pavarotti, Wayman Tisdale and The Beach Boys. Capturing the multi-faceted, stylistically eclectic magic of his live performances, the action-packed, funky, rockin’ and sensual 110 minute set finds Nichols having a blast on a mix of originals – including two dazzling Jeff Lorber collaborations from Nichols’ 2004 album Sophistication -  and dynamic re-imaginings of classic pop tunes (David Bowie, Stevie Wonder, Hall & Oates) featuring an array of guests, including Lorber, Chris Rodriguez, Andy Chrisman, Rachael Lampa and Bill Champlin. 

Trevor Dunn & Jarvis Earnshaw - HYPNAGOGIA

Travis Duo’s debut album is a collection of improvisations done based on a set of line drawings and diagrams drawn during lucid dreams. Recorded by legendary producer Martin Bisi at his studio in Brooklyn NY, "HYPNAGOGIA" a bold and honest 1st album by the pair pushing abstractions whilst gently nestling on their pop roots. The kaleidoscopic overtones of the sitar dance elegantly with the charismatic and eloquent contrabass, provoking dreamers to kenopsia-tic drawers of the sub-consciousness; psychedelic with a mean right hook, at times eruptive like a feral animal ready to bite, to long deep bows that stretch across the glittering night sky reaching through to your deepest of nightmares lurking at the bottom of oceanic abyss. Featuring: Daniel Carter on flute and saxophones, the NYC Jazz veteran weaves through the tapestry of colours painted by Sean McCaul on xylophone, as Devin Brahja Waldman poetically releases the spirits summoned by the dynamic drumming of Niko Wood moving mountains and parting the clouds to a brighter future.

Jonny Faith - On Lock

This is Jonny's first full venture into his beloved jungle/D&B after building a catalogue of downtempo, hip hop and broken beat which earned him accolades like Gilles Peterson's Best of 2020. (Link for this release also below, along with the new Liam de Bruin single). The EP features the northern jungle soul stormer 'Open My Eyes' (think Amerie's '1 Thing' at 170bpm), the atmospheric drumfunk of 'Create' and the rework of Jonny's own hip hop tune 'Stay in Your Lane' with the slinky soulful rap and hooks of US MC Lady K. The amen G-funk banger 'Nuthin' But a Jungle Thang' is a vinyl bonus track. The reception for Jonny's new music has been really encouraging so far, coming from both D&B circles and more eclectic music messengers, including Bandcamp, René LaVice, Rupture/Rinse FM, Hospital, Bolting Bits, 3RRR, KCRW, Skankandbass, DNB Dojo, etc. There's been a nice little buzz around the vinyl version too with its bonus track and the limited die cut felt cover edition. 

Ter-Ree - Heart Attack

After making head-turning guest appearances on recently released albums from labelmates Benny Barksdale, Jr. and The Society Hill Orchestra, rising vocalist Ter-Ree headlines this ticker stopping rendition of a brand-new track written by veteran Philly Soul producer Butch Ingram - the aptly named “Heart Attack." The Society Hill A-team, The Ingram Brothers Band, returns the guest turn favor by laying down the music and Cindy Ingram, Toni Richards and Sharon Ingram provide backing vocals.


Lady Gaga Returns to Park MGM for Nine Jazz & Piano Performances

Academy Award, Golden Globe and 12-time GRAMMY Award-winning superstar Lady Gaga today announced she will return to Dolby Live at Park MGM in Las Vegas this spring. Presented in partnership by MGM Resorts International and Live Nation, Lady Gaga will perform her critically acclaimed LADY GAGA JAZZ & PIANO show over nine dates beginning Thursday, April 14. The shows celebrate her love of the Great American Songbook, in addition to her GRAMMY Award-nominated collaborative album with Tony Bennett, Love For Sale.

April – May 2022 Dates

Thursday, April 14

Saturday, April 16

Sunday, April 17

Thursday, April 21

Saturday, April 23

Sunday, April 24

Thursday, April 28

Saturday, April 30

Sunday, May 1

Members of Lady Gaga's Little Monsters fan community will receive access to an exclusive pre-sale from Tuesday, Feb. 1 at 10 a.m. PST to Thursday, Feb. 3 at 10 p.m. PST. Details and password information will be communicated to the Little Monsters fan community in advance.

Citi® / AAdvantage® is the official pre-sale credit card of Lady Gaga's Dolby Live residency. Citi / AAdvantage cardmembers will have access to purchase pre-sale tickets from Wednesday, Feb. 2 at 10 a.m. PST to Thursday, Feb. 3 at 10 p.m. PST through Citi Entertainment. 

Members of MGM Rewards, MGM Resorts International's reimagined loyalty rewards program launching tomorrow, February 1, will receive access to a pre-sale running from Thursday, Feb. 3 at 10 a.m. PST to 10 p.m. PST.

Multi-award-winning entertainer Lady Gaga is a one-of-a kind artist and performer. She has amassed an outstanding 37 million global album sales, 65 billion streams and 410 million in song consumption, making her one of the best-selling musicians of all time. Gaga is also one of the biggest living forces in social media with over 55 million likes on Facebook, over 84 million followers on Twitter and over 51 million followers on Instagram.

In 2008, Gaga released her first album The Fame swiftly followed by The Fame Monster (2009). Gaga then went on to release Born This Way (2011), ArtPop (2013), her collaborative album with Tony Bennett Cheek to Cheek (2014), Joanne (2016) and A Star is Born (2018). In May 2020, Gaga released her sixth studio album Chromatica, which features collaborations with Ariana Grande, Elton John and Blackpink and is executive produced by BloodPop® and Lady Gaga. Chromatica marked Gaga's 6th consecutive #1 album on the Billboard 200 chart, making her the first female artist to do so over a ten-year period (2011-2020). Her collaboration with Ariana Grande for "Rain On Me," marked the biggest Spotify debut of 2020, reaching #1 on the Global and US Spotify Charts upon release and peaking at #1 on the iTunes charts in 29 countries and #1 on the Apple Global Chart. It also set a record for the most single-day streams from an all-female collaboration in Spotify history. The video for "Rain On Me" has amassed over 338 million views, and was nominated for four MTV Video Music Awards, winning Best Cinematography. That same year, Gaga took home the inaugural MTV Tricon Award, for being a triple icon in music, acting, fashion, and activism. USA Today called Chromatica "her best album in a decade," earning her a Grammy for Best Pop Duo Group Performance for "Rain On Me" with Ariana Grande.

In October 2021, Lady Gaga and Tony Bennett teamed up again to release their second collaborate jazz album, Love For Sale. The album, celebrating the music of Cole Porter, debuted at #1 on Billboard's Jazz Album charts, Amazon and iTunes in its first week of release, with Apple Music confirming it was also the highest streamed jazz album globally in its first week of release. The album also debuted at #8 on the all-genre Billboard 200 chart. The album received six Grammy nominations this year including "Album of the Year," "Best Traditional Pop Vocal Album," "Best Engineered Album, Non-Classical," and single nominations for their duet "I Get a Kick Out of You," including "Record of the Year," "Best Pop Duo/Group Performance," and "Best Music Video."

In October 2018, Gaga starred alongside Bradley Cooper in the Warner Brothers remake of the classic film, "A Star is Born." Her performance led her to an Oscar Nomination for Best Actress, a Golden Globe nomination for Best Performance by an Actress in a Motion Picture, a Critics' Choice Award and National Board of Review Award for Best Actress in a Motion Picture. Gaga also co-wrote, produced and performed the song "Shallow," for the film, for which she has won an Oscar, a Golden Globe and a Critics' Choice award for Best Original Song, as well as a British Academy Film Award for Best Original Music. Other credits include, the 2017 Pepsi Zero Sugar Super Bowl LI Half Time show which amassed 117.5 million viewers, her Netflix documentary Lady Gaga: Five Foot Two (2017), and American Horror Story: Hotel (2015), for which she won a Golden Globe for Best Actress in a Limited Series. 

Most recently, Gaga stars in Ridley Scott's House of Gucci as Patrizia Reggiani, the ex-wife of Maurizio Gucci, who was tried and convicted of orchestrating his assassination. For her performance, Gaga has been nominated for a SAG Award in the Outstanding Performance by a Female Actor in a Leading Role, a Critics' Choice award in the Best Actress category, and she has been recognized by the New York Film Critics Circle as their Best Actress this season.

Lady Gaga is also an outspoken activist, philanthropist and supporter of many important issues including LGBT rights, HIV/AIDS awareness and body image issues. In 2012, she launched Born This Way Foundation, a non-profit organization dedicated to empowering youth, embracing differences, and inspiring kindness and bravery. Through the years, they've collected stories of kindness, bravery and resilience from young people all over the world, proving that kindness truly is the universal language. These stories have been collected, along with personal notes of empowerment from Lady Gaga, in her new book, "Channel Kindness: Stories of Kindness and Community," available now.


Jamie and The Numbers | "You Don’t Love Me"

Jamie Musuva is a wonderfully gifted Tongan – Kiwi, 30 year old singer based in Wellington and she can occasionally be seen singing soul tunes for Tapestry Music Promotions at many of their Music Reviews and also in her gospel choir at Church. It was at one of the Tapestry Music shows in Wellington that Jamie met Simon from Deltaphonic Records / The Numbers. After watching Jamie perform an amazing version of “Wade In The Water” they had a brief and fruitful chat and it was suggested they do some recording together with the view of a doing some cool soul classics and a bunch of originals too.

A few months later and after a couple of days recording at Lee Prebble‘s legendary Surgery Studios in the capital of New Zealand, they have a handful of quality tunes waiting to be heard by the soul loving Kiwi public. 

To quote Simon “Jamie has a voice that could fell a tree. Her clarity, power and incredible feel are evident as she storms her way through these wonderful soul classics and originals with confidence and ease, we hope you go out of your way to have a listen and enjoy these timeless classics with us…..Please support this slice of Wellington made kiwi soul and together we shall endeavour to keep on keeping on”.

Jamie & The Numbers are an incredibly tight Wellington-based band who have been around for a while now, as a band they are prolific writers of their own original material and in the context of playing northern soul tunes and other tunes in that musical genre they like to be known as The Numbers.

They are usually a 4 piece and consist of three brothers from Wainuiamata and a newly adopted Kiwi originally from Birmingham England. These guys are brimming with cool retro tunes and some barnstorming original songs played with verve and passion and their shows are always fun. In 2019 they supported “From The Jam” on their visit to New Zealand and after teaming up with Jamie have played Pasifika Festivals and open-air concerts to thousands of people.

The Numbers collectively have played/sessioned/recorded for other artists on such labels as Gut Records, D-Star, EG Records, Imaginary Records and have in excess of 40+ published songs with Universal, Complete Music, KWS Records NYC and Cherry Red, with this new direction of releasing Northern Soul songs alongside some of their more soulful originals on 7″ vinyl their goal is to go on and produce some top quality soul albums.

Wednesday, February 02, 2022

Malcolm Jiyane Tree-O | "UMDALI"

A generous sideman and bandleader, multi-instrumentalist Malcolm Jiyane stands at the vanguard of his prodigious generation of jazz musicians. Operating from the centre and the fringes of the South African jazz scene, the trombonist (and pianist) is an enigmatic yet charismatic galvaniser of his contemporaries, able to put them through their paces in his own compositions, while giving them enough room to interpret them anew.

In UMDALI, his debut album as frontman, Jiyane delivers not only a major contribution to the canon  -- one shaped around dedications to key figures in his personal and professional life -- but an honest snapshot of his personal circumstances at the time of recording. In that period several years ago, Jiyane was dealing with the death of a band member, the birth of a daughter and the passing of his beloved mentor Johnny Mekoa, founder of the Music Academy of Gauteng, which Jiyane attended from a young age. These life-altering events give shape to the music's emotional register and its thematic concerns. Positioned at the edge of this precipice, Jiyane turned to a core of talented musicians mostly based around Soweto's jamming scene, as well as to key figures in his own creative trajectory. 

The coterie of bassist Ayanda Zalekile, drummer Lungile Kunene, percussionist Gontse Makhene, pianist Nkosinathi Mathunjwa, saxophonist Nhlanhla Mahlangu and trumpeters Brandon Ruiters and Tebogo Seitei shrouded him in his time of need, providing intuitive musicianship through which to execute his ideas, and, more importantly, life-affirming comradeship. 

Jiyane is nothing if not the product of astute mentorship from elders and peers alike. Given the late Mekoa's stature in South African jazz, trombonist Jonas Gwangwa (also late) would have been among regular visitors to the academy, imprinting on the young Jiyane not only the breadth of South African music traditions but also the science of how to lead musical ensembles without stifling individual contribution. 

In Gwen Ansell's memorable Mail and Guardian obituary of Gwangwa, she quotes saxophonist Steve Dyer on the elder trombonist's approach to music making as such. "For him it was not about the notes. It's not about the theory. It is about the feeling and emotion behind the notes." This valorising of comradeship and warmth over technical wizardry is noticeable throughout UMDALI. It can be felt, in particular, in the swaggering gait of Ntate Gwangwa's Stroll, in which Jiyane channels the elder, and can be heard shouting encouragement to Nkosinathi Mathunjwa as he carefully feels his way into a keyboard solo towards the song's end. 

That Jiyane is informed by a frame of reference that extends beyond the trombone, goes without saying. Moshe courses with late pianist Moses Molelekwa's harmonic, melodic and rhythmic idiosyncrasies. "I found myself thinking about how he would approach certain songs," said Jiyane. "It's like being in someone's shoes kind of a thing, looking into what they have achieved musically.  He'd play piano the way he feels it. He gave me the motivation to pursue what I'm feeling."

In Black Music, his book of essays and critiques, Amiri Baraka makes the point that jazz musicians, be it in the construction of solos or in other aspects of composition, always draw on the works of their contemporaries or elders. How much outsiders pick up on that is really dependent on how au fait they are with the music. In this album especially, Jiyane finds comfort in this well-trodden path. Two songs make for great examples. Umkhumbi kaMa, a jazz-funk track celebrating the creative force as inhabited by women, the motif to Herbie Hancock's Ostinato (Suite for Angela) is a clear reference, connecting in one swift move, not only the musical traditions of the Black Atlantic but also the struggles and triumphs of women across space and time. On the same note, the free-form Solomon, Tsietsi & Khotso, conjured in the same jam session that yielded SPAZA's UPRIZE!, appears here in a more fleshed out form as Senzo seNkosi; a tender dedication to Malcolm Jiyane Tree-O bass player Senzo Nxumalo. 

Jiyane's own path to the realisation of UMDALI is nothing if not fraught with tests along the way. But his generosity of spirit means that the offering is more than merely one individual's breakthrough. Workshopped and recorded within two days in Johannesburg, UMDALI, not unlike Miles Davis' landmark Kind of Blue, stretches our idea of what it means to improvise within the context of jazz.

With this debut, the Malcolm Jiyane Tree-O has created a work that is not only keenly aware of what came before it, but blazing a trail to the future.


New Music: Minnie Riperton, Robert Stillman, Dan Berkson, Studio One Dub

Minnie Riperton - Come To My Garden

Mindblowing work from Minnie Riperton – her first solo album, cut at the end of the 60s, after a number of years of work with the group Rotary Connection. The album builds off the now famous sound of Rotary Connection – but takes it to the next level, with arch-baroque production by the great Charles Stepney – who couches Minnie's fantastic vocals in a suite of shimmering soulful tracks that mix strings, horns, jazzy piano, and slight touches of bouncing rhythms. The overall sound is impossible to describe – sort of a cross between Burt Bacharach on A&M, Scott Walker's 3rd album, and the sound of Marvin Gaye's What's Goin' On. The album's pure genius all the way through – one of the highlights of the Chicago scene of the 60s – and proof that Riperton, Stepney, and crew were shooting for the outer limits of soul music! Titles include "Les Fleur", "Only When I'm Dreaming", "Rainy Day In Centerville", "Memory Band", "Expecting", "Whenever Wherever", and "Oh, By The Way".  ~ Dusty Groove

Robert Stillman - Portals

A beautiful little record, and one that's a bit hard to place – it's partly jazz, but something else as well – as Robert Stillman has more of a legacy in more serious composition, but here delivers a session of improvisations on Fender Rhodes! Yet this isn't your typical Rhodes album either – not funky or soulful, but instead uses the instrument in a really different way – almost like Philip Glass discovering the farfisa organ many years back – as here Stillman is using the keyboard to generate these waves of electric sound that are completely seductive! The album features seven "Portal" tunes – and one short "Break", which has a bit more of a familiar Fender Rhodes approach. ~ Dusty Groove

Dan Berkson - Dialogues

Dan Berkson's had a hand in many different styles of music over the years, but this set is a wonderfully contemporary expression of his keyboard talents in jazz – served up here both on acoustic piano and Fender Rhodes – as Dan works in a "trio plus" mode that has some other artists joining in the sound from time to time! At the core is the combo with Andrea Di Biase on bass and Jon Scott on drums – musicians who do a good job of blocking them selves around Berkson's keyboard lines, which have this open sense of flow that creates its own structure, even when loose – maybe evolved out of the Bill Evans school, but very much Dan's own bag. The leadoff track "Unity" is a great Rhodes number, with Magnus Pickering on trumpet and Alam Nathoo on tenor – and one more track features Pickering as well, on titles that include "Live Bait", "Sketches", "The Court", and "Maggie's Last Day". ~ Dusty Groove

Studio One Dub (Various Artists)

Another round of Studio One butter from the folks at Soul Jazz! By this point you're well informed about the status of Coxsone Dodd's Studio One operation as the cornerstone of so much Jamaican music, and Soul Jazz has approached the catalog from just about every angle, covering nearly all the bases before landing here on this dub set. The sly Island grooves are stripped down to their bare essentials, then given a tasteful bit of dubby gloss at the hands of Sylvan Morris, for a massive collection that'll rule your stereo like Studio One rocked the sound systems back in the day. 17 tracks in all, wrapped in a nice package that includes interviews with Morris and Dodd, and fully annotated as to which numbers the rhythms were originally cut as the backing for. Includes "Bionic Dub", "Sky Rhythm", 'Taurus Dub 2", "Hooligan", "Dub Rock", "Hi Fashion Dub", In Cold Blood Version" and "Feel The Dub".  ~ Dusty Groove

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