Chastity Brown | "Sing To The Walls"

As the daughter of a blues musician, Chastity Brown was born with an innate ability to channel complex circumstances into beautiful, uplifting songs. But after surviving the isolation of the early pandemic and witnessing the global racial reckoning that manifested itself in the riots mere blocks from her South Minneapolis home, even she is surprised to hear the way her new album Sing To The Walls turned out. 

“It’s a love album, in a way I didn’t plan on,” Chastity says.  

Like so many artists who endured the uncertainty of the 2020 lockdown, Chastity’s instinct was to turn inward, at first out of self-preservation, and then because the new songs kept coming and coming. Since finishing her last album, 2017’s Silhouette Of Sirens, she estimates she’s written nearly 100 new songs, 10 of which found their way onto Sing To The Walls.

These songs unfold with Chastity’s expressive voice and expansive melodies, leading the listener through intertwining tendrils of atmospheric sounds. Even the titles hint at the album’s sense of optimistic yearning, from the dreamy opening track “Wonderment,” to her ode to healing a broken heart post-breakup “Curiosity,” to the pulsing promise of “Hope.”

 With the exception of “Golden,” a searing indictment of white complacency and a cathartic release of post-uprising rage that comes halfway through the album (and was released in an earlier form in mid-2020), Sing To The Walls is ultimately an album about hope, connection, and love; an ode to the sweetness of life, even amidst a pandemic, even in a city that’s experienced so much pain. 

“I think it’s an audacious response,” says Chastity. “Like how funk music came after Malcolm, Martin, and everybody got murdered in the ‘60s. Then the ‘70s popped off, and there was funk! This isn’t funk, but it’s rooted in that same kind of response. I just want to feel good. Straight up.”  

The album was started in Stockholm, Sweden with revered session drummer and producer Brady Blade and completed at Chastity’s own home studio with her longtime drummer Greg Schutte. Additional production and mixing was done by Chris Bell in Austin, Texas.

For the first time, Chastity also served as the lead producer on some of the tracks, and co-producer on all of them. “I just was like, ‘why can't I do it?’ It maybe meant that some things took longer, but it was like, ‘Where am I going now anyway?’ The way I've worked since the pandemic began, as far as songwriting and arranging and composing, I've never been so productive. Whatever touring life becomes going forward, I want to always carve out writing time. I'm addicted to it. And it's such a cool high,” she says.

Sing To The Walls is a sonically expansive album; it mines the roots of Americana, folk, and soul music, but Chastity’s stories are delivered in a style that feels remarkably timely, modern, and forward-thinking. "I celebrate the emotional richness in the tradition, but in my music I’ve committed myself to moving forward and reflecting the experiences of those overlooked by tradition." 

In the same way, her lyrics seek to reach across a great divide. “I will sing to those walls, hope it gets through / And I will sing to your scars, they need healing too,” Chastity sings on the album’s title track, a pandemic love song about breaking through the physical, emotional, and social barriers that have been constructed around all of us in recent years. By the next track, “Like the Sun,” she breaks through into a melody that rises like a wide-open prairie sunrise—a heart-rending moment that demonstrates her talent for expressing big, beautiful ideas in her music, and to create songs that radiate bliss.

Even amid the chaos, while delivering the release-valve verses of “Golden,” she remains steadfast. “I’ve got joy even when I’m a target, if you think that’s political don’t get me started,” Chastity sings, demanding to know: “Why have I got to be angry?” 

Between writing sessions she’s been vibing to chilled out, forward thinking artists like Leon Bridges, H.E.R., SZA, and Daniel Caesar, taking their cue to expand beyond genre and her folk/roots history to encompass her appreciation of all Black American musical art forms. “I also want to poke at what the blues is,” Chastity reflects. “It has a lot of stereotypes, like it’s mostly only played by blue-eyed white guys now. But what about Bessie Smith and Ma Rainey? I feel so closely connected, in a pure, undeviating lineage, to the heritage of being a Black, queer blues woman. I want to share this music with them, to say that I’ve listened, and I’ve done something new.”

“This album does not serve sorrow,” Chastity says bluntly. “And in that way, it’s my trying to emulate Zora Neale Hurston’s Their Eyes Were Watching God—seeking personal spiritual fulfillment while rejecting expectations. What matters to me is my survival—and for my survival, it’s been necessary to try to embrace some joy.”

Contemporary Jazz Flute Phenomenon Ragan Whiteside Premieres New Video ‘Thrill Ride"

Flute-playing soul-jazz phenomenon Ragan Whiteside premieres her brand-new video, “Thrill Ride,” the title track from her forthcoming album, on her label, Randis Music. Written and produced by Dennis Johnson, Bob Baldwin, and Whiteside, the single is available on all digital download and streaming platforms including Spotify, Apple Music, Tidal, Deezer, and more. To view the video, click https://www.youtube.com/watch?v=Oqm0aK5GzmY.

“Thrill Ride” takes you on an energetic, musical adventure with melodic twists and turns skillfully navigated by Ragan on flute. The music video has a light-hearted, comical storyline, following Ragan on her impromptu stroll before her show. After getting dolled up by her glam squad, Ragan takes advantage of some downtime and ends up engaging in various thrill rides, skydiving, and a scooter sojourns around neighborhood. Ragan returns to the show venue a little worse for wear – much to the chagrin of her glam squad.

“I am a complete goofball at heart, and I wanted that silliness to be a part of the video,” says the native New Yorker, who now resides in Atlanta, Georgia. “If I can perform music that makes you nod your head and make you laugh, then mission accomplished.”

Composer, producer, and music partner Dennis Johnson adds, “I felt my heart racing while composing the framework of the song. I pictured rollercoasters and race cars; hence ‘Thrill Ride’ was born. The video has the perfect blend of music and comedy that complements our quirky personalities and thrill-seeker tendencies.”

This summer and fall, the classically trained flutist has a series of upcoming concert dates including Marcus Anderson’s Jazz and Coffee Escape in Asheville, NC (Saturday, August 6); Ferrario Elmira Jazz Festival in Elmira, NY (Saturday, August 13); Jazz in the Park in Huntsville, AL (September 4) with additional dates to be announced in the coming weeks.

Meanwhile, as the host of her four-hour Saturday morning radio show on Atlanta’s NPR affiliate radio station Jazz 91.9 WCLK, Ragan Whiteside’s show is growing exponentially with an increase of listeners and supporters internationally.

With a streak of seven career records on Billboard’s Top 10, which includes “JJ’s Strut,” “Reminiscing,” “Jam It,” “Early Arrival,” “See You At The Get Down,” and “Off The Cuff” and the Billboard No. 1 song, “Corey’s Bop.” Whiteside was also a featured artist on two Billboard No. 1 hits, “I’m Every Woman,” and Willie Bradley’s “It's On Now.” Whiteside has released five albums to her repertoire including the 2020 five-track EP Five Up Top, 2017’s Treblemaker, 2014’s Quantum Drive, 2012’s Evolve, and 2007’s Class Axe. The instrumentalist, composer, and vocalist was also a finalist for the Smooth Jazz Network’s Artist of the Year, and for two consecutive years, she remained in the Top 5 in Billboard’s Top Smooth Jazz Songs Year-End chart issue – the only woman to rise into the year-end Top 5 in the male-dominated world of jazz.

Originally from Mt. Vernon, New York, Whiteside was mentored during high school by members of the National Association of Negro Musicians, participated, and ultimately won Silver at the NAACP’s ACT-SO (Academic, Cultural, Technological and Scientific Olympics) competitions for young people. She continued her education at the Cleveland Institute of Music before transferring to the highly competitive HARID Conservatory in Florida. After graduation, she attended a show at a local jazz club and met keyboardist and producer Bob Baldwin, who encouraged her to pursue a career as a contemporary instrumentalist.

Robert Minott | “I Want To Know What Love Is”

This classic remake by Foreigner still propels one to think about the journey that love will take us on, how we are still all figuring out that all though it is a simple four-letter word, it is still yet a big mystery that is worth finding out all about, the beautiful complexities of love. One of Roberts favorite verses of the song is “ I can’t stop now, I’ve traveled so far’.

Robert Minott is a Jamaican recording artist/songwriter/producer. His songs “Yuk Mek Me Feel good”, “Can’t Hold Back featuring Mr. lexx” and “You Are” were successful Euro Indie and the World Indie Charts.  “You Are”, was number one for two weeks on both the Euro and Indie Charts, Top Ten US, and various charts In the US. “I Want To Know What Love Is” is off his fourth coming album  BIG Things”.

As an artist Robert has performed alongside the likes of Maxie Priest, Ziggy Marley Damian, Jr Marley, Jefferey Osbourne, Peabo Bryson, Regina Bell, Howard Hewitt, Yellow man, Chaka Khan, Toots and the Maytals, Steven Marley, Dorian Paul and Ziggy Marly.

An imaginative singer, he is always in pursuit of excellence in his music. Among his releases are “ We don’t want no troubles”, “Makes ends meet”, an exceptional recording that brings nostalgic flashes …….

Nephew of the late Sugar Minott born and raised in St. Andrew, Jamaica, Robert migrated to the US in 1974 and released his first album titled “Love Struck” in 1991. As a recording artist, he has performed alongside the likes of some of reggae’s biggest names including Burning Spear, Shaggy, Maxi Priest, and Ziggy Marley, to name a few. An imaginative singer, he is always in pursuit of excellence in his music. Among his releases are “We Don’t Want No Troubles”, “Make Ends Meet”, an exceptional recording that brings nostalgic flashes of Dennis Brown of whom Robert is often compared to especially whenever he performs.

He released his debut album in 1991 which featured the single, “Irie”, featuring legendary artiste, Bunny Rugs from Third World, and Marlon “Ultimate” Greenwood (Jamaican born professional NFL football player – formerly Miami Dolphins; now playing for the Texans), received substantial radio play in Canada and Jamaica.

In 2007 he collaborated with dancehall artiste Elephant Man on the track Roll It. It was accompanied by a video which was directed by Nordia Rose. A former concert promoter, Robert topped the charts in Jamaica in 2011 with the reggae single “Right Man Fi Yuh”. The single also made strides on the New York and South Florida Reggae charts. He later followed up with a cover of “Silver Words” which featured rapper Kirkie KBZ. “Silver Words” hit the charts in Jamaica and opened up new doors for the singer.

Seth MacFarlane | "Blue Skies"

Multi-Grammy nominated singer, Seth MacFarlane, announces his 7th studio album, Blue Skies (Verve/Republic) set for release on May 20th. The 14-track collection of swinging tunes showcases acclaimed arranger and conductor Andrew Cottee’s deft take on an uptempo album full of modern big band jazz orchestrations. The first track off the upbeat set is the classic jazz standard, “No Moon At All.” 

Recorded at the celebrated Abbey Road studios, Blue Skies features an all-star group of musicians enlisted by MacFarlane including Chuck Berghofer (Bass), Peter Erskine (Drums), Larry Koonse (Guitar), Dan Higgins (Alto Sax), and Tom Ranier (piano). Together, with longtime friend, collaborator, and producer, Joel McNeely, and superb engineer, Rich Breen, the album covers compositions by musical writing luminaries that include Irving Berlin, Sammy Cahn, Edward Heyman and Frank Loesser.

Track listing: 1. It's You or No One / 2. No Moon At All / 3. You'll Get Yours /4. A Hundred Years From Today / 5. If I Were A Bell / 6. Out of Nowhere / 7. On Green Dolphin Street /8. That Old Feeling / 9. Blue Skies / 10. It Could Happen to You / 11. I Didn't Know About You / 12. You Turned The Tables On Me / 13. Never In A Million Years / 14. Unless I Do It All With You

MacFarlane has released six studio albums: Music Is Better Than Words, Holiday For Swing, No One Ever Tells You, In Full Swing, Once In A While and Great Songs From Stage & Screen. Critically lauded, these albums garnered MacFarlane several No. 1 debuts on the iTunes Jazz Charts and a total of six Grammy nominations. MacFarlane has also performed with the legendary composer John Williams at the Hollywood Bowl, duetted with Barbra Streisand and joined numerous celebrated symphonies including Boston, San Francisco, Atlanta, Chicago, Baltimore, and the National Symphony Orchestra.

Liza Minnelli's Landmark "Live in New York 1979" Released as an Ultimate 3-CD Edition, 2-LP Set

Start spreading the news: Liza Minnelli's long-lost live album recorded in the very heart of New York, New York is getting the deluxe vinyl and even more deluxe CD treatment from Real Gone Music and Second Disc Records! When the Oscar, Emmy, and Tony-winning superstar (and future Grammy Legend) took the stage at the legendary Carnegie Hall on September 4, 1979, the concert was already a hotly-anticipated event. It would be the first of eleven consecutive shows through September 14 - the longest run in the Hall's history. Not only that, but every show in the five-level, 2,804-seat venue was sold out. Liza had the foresight to record three nights of concerts; two years later, in 1981, she began selling the limited release on vinyl at her live dates. 

The Live at Carnegie Hall double album preserved Liza's electrifying, roof-raising evening from start to finish, including definitive versions of familiar showstoppers such as John Kander and Fred Ebb’s "Cabaret," "But the World Goes 'Round," and "Theme From 'New York, New York'" But, deprived of proper retail distribution, the album never reached a wide audience...until now! It even gets better, though: Liza kept those pristine multitrack tapes of the three nights recorded at Carnegie Hall. The tapes revealed a treasure trove of performances not included on the original double album including James Taylor's "Everybody Has the Blues," Kander and Ebb's "Arthur in the Afternoon" and "Mr. Cellophane" (the latter sung by future Dreamgirls star Obba Babatunde), a Minnelli/Babatunde duet of Cole Porter's "You Do Something to Me," the funky disco jam "Dance Across the Floor," and even a beautiful nod from Liza to her mother, Judy Garland, with a verse of "On the Atchison, Topeka, and the Santa Fe." These tapes have been painstakingly restored and beautifully mixed by acclaimed engineer Ted Carfrae (Doris Day, Cilla Black) for this first-ever COMPLETE presentation of Liza's Carnegie Hall show from curtain up to curtain down. 

Live in New York 1979: The Ultimate Edition is available on 3 CDs, all of which overflow with showbiz sizzle: one disc with Mike Milchner's remastered version of the original vinyl release, which premieres on CD, and two discs with the never-before-released complete show. This deluxe edition also features an expanded booklet with new introductions by both Ms. Minnelli and Great American Songbook champion Michael Feinstein, both of whom served as executive producers for this release, plus photos of the artist and liner notes from reissue producers Joe Marchese and Charles L. Granata, and exclusive tributes from Liza's friends and collaborators inside a gorgeous, 8-panel digipak boasting the Warhol portrait. Again, NONE of this material has ever been available at music retail...this is indeed the ultimate Liza package!

CD 1: The Original Album / 1. How Long Has This Been Going On/It's a Miracle / 2. My Ship/The Man I Love / 3. Some People / 4. Come In from the Rain / 5. London Town / 6. New York Medley / 7. Someone to Watch Over Me / 8. Twelve Fellas / 9. The Marriage: You and I/The Honeymoon Is Over/Happy Anniversary / 10. City Lights / 11. Cabaret / 12. Shine On Harvest Moon / 13. But the World Goes Round / 14. Bows

CD 2: The Complete Concert - Act One / 1. On the Atchison, Topeka, and the Santa Fe (A  Cappella Introduction) /2. How Long Has This Been Going On/It's a Miracle / 3. Everybody Gets the Blues / 4. My Ship/The Man I Love / 5. Some People / 6. London Town / 7. Come In from the Rain / 8. Arthur in the Afternoon / 9. Mr. Cellophane - Obba Babatunde / 10. You Do Something to Me - with Obba Babatunde / 11. New York Medley

CD 3: The Complete Concert - Act Two / 1. Jam/Dance Across the Floor / 2. Someone to Watch Over Me / 3. Twelve Fellas / 4. The Marriage: You and I/The Honeymoon Is Over/Happy Anniversary / 5. City Lights / 6. Cabaret / 7. Shine On Harvest Moon/Bows / 8. But the World Goes Round / 9. Bows

New Releases: William Bell, Ruben Blades & Boca Livre, Phil Dawson Quintet, Dusty Springfield

William Bell - Never Like This Before: The Complete 'Blue' Stax Singles 1961 to 1968

William Bell was one of the first great soul singers to record for the legendary Stax Records in Memphis – an artist who really helped set the tone for deep soul singles to come from the likes of Otis Redding and Johnnie Taylor – and one whose early work is still some of the best he ever gave us! This well-done package brings together all of Bell's first 14 singles for the label, both a-sides and b-sides – standing together as a testament to all the greatness the singer brought to the fray right from the start – as Stax not only found a way to record him so much differently than he would have been handled in other spots, but also matured along with Bell to keep on creating fresh magic as the 60s moved on! As always with Ace/Kent, the presentation is wonderful – a detailed set of notes that matches the wonderful set list – which includes "Formula Of Love", "Just As I Thought", "Whatcha Gonna Do", "I Told You So", "Don't Stop Now", "Crying All By Myself", "I'll Show You", "Monkeying Around", "Ain't Got No Girl", "Every Man Oughta Have A Woman", "Never Like This Before", "Marching Off To War", "Soldier's Goodbye", "One Plus One", "Eloise", "You're Such A Sweet Thing", "Don't Make Something Out Of Nothing", and his great farewell to Otis Redding, "Tribute To A King". ~ Dusty Groove

Ruben Blades & Boca Livre - Parceiros

Ruben Blades is way more than just a superstar in Latin music – over the decades, he's become a key global figure, and one with much diversity in his work – as you'll hear on this great collaboration with the Brazilian quartet Boca Livre! Boca Livre have a warm harmony vocal style that goes back to bossa groups of the 60s, but which is served up with a more contemporary vibe – and the mix of their sound and Ruben's strong lead is really wonderful here – on a set of tracks that even includes a number of Portuguese tunes next to the Spanish language numbers you'd expect! Titles include "Sin Tu Carino", "Juana Mayo", "Pedro Navaja", "Vida", "Caminando", "Buscando Guayaba", and "Dime" – some of which are titles on the related Pasieros album, but done in a different language here! ~ Dusty Groove

Phil Dawson Quintet - It's Time

London guitarist Phil Dawson has a strong legacy of work with global heavyweights – artists who include Hugh Masekela, Tony Allen, and Mulatu – but the vibe here is much more jazz-based overall – as Dawson plays both guitar and Fender Rhodes in a group that has a great sense of flow! A great part of the record's sound is the work of flute player Rowland Sutherland – whose sweet lines are as much of a delight as Phil's guitar – and the rest of the group is heavy on percussion, but used in a lean way that moves along nicely, and never gets caught in any sort of bombast – maybe more Brazilian in inspiration, if that makes sense. Khadijatou Doyneh of The Heliocentrics makes an appearance at once point – and the tracks are reworks of a few different themes, but coming across in nicely different versions. Titles include "It's Time (fully spoken)", "Gnostic Hilife Nag Hammadi re-edit)", "It's Time (instrumental)", "Gnostic Hilife (flute edit)", and "Gnostic Hilife (original edit)". ~ Dusty Groove

Dusty Springfield - Dusty Sings Soul

A long-overdue look at the soul-based side of the work of Dusty Springfield – maybe the most important side of her music, really – given how many times we find her Atlantic Records material in collections next to Otis Redding and Aretha Franklin! Yet although Dusty soon recorded for Atlantic – in Memphis and other American cities – the singer had a strong ear for soul music right from the start – spurred on, no doubt, by raging interest in the sounds on her own British scene – and carried forth by Springfield in a range of debut solo recordings that were completely different than the folk-based material she was cutting in a group just a few years before! Dusty's got a voice that still knocks it out of the park, listen after listen – a quality that you'll know from big hits, and will discover even more fully here in a great package that comes with detailed notes on all the music – alongside two dozen tracks that include "Bring Him Back", "Can I Get A Witness", "Long After Tonight Is All Over", "Welcome Home", "All Cried Out", "Ain't No Sun Since You've Been Gone", "Every Day I Have To Cry", "Love Power", "Oh No Not My Baby", "Nothing", "Every Ounce Of Strength", "Ain't No Sun Since You've Gone", "I Just Don't Know What To Do With Myself", "Am I The Same Girl", "What's It Gonna Be", and "Don't Let Me Lose This Dream". ~ Dusty Groove

Full Circle Release Their Newest Album Which Ignites Fires In The Soul

Full Circle is a collection of talented musicians all of whom have individually been playing music for the last 20 years. These diversely experienced extremely enigmatic musicians have come together to produce music that speaks to each of them and the world at large. It is the sheer genius of these minds that helps produce music that speaks to all audiences with relatability and empathy.

The soothing, relentless symphony of the jazz tunes that are played helps transport listeners to their happy places, making their worries melt away for the moment, the music taking over and relinquishing the burdens of everyday life. The melodies serve to relax the audience just as a vacation, a trip to the beach, or a hang out with friends would. The album is the perfect pit-stop for an out.

The multiple different experiences of the listeners help amalgamate several different cultural influences and musical genres that give the music produced an undeniable universal character. Firm believers in God, the band members want their art to serve as a guiding light to those that feel inexplicably stuck in a cruel and unyielding world.

Some of the inspiring musicians in the band include Herman Outar the bassist and songwriter, Danne Sheet Jr. the Drummer, Edwin Marrero the guitarist, Pedro Marrero the percussionist, and David Autman IV. The saxophonist. Collectively the aspiring musicians wish to simply create some sort of a positive influence in the lives of individuals and to spread love and community with the art that they produce.

Full Circle’s wish to write compelling music shows their characterization of their craft as something that transcends beyond them and serves as a connector with the masses. The band hopes to attain as many musical gigs as possible for performances and is currently working on songs for their next EP.

Stream the inspiring artist’s music on YouTube as well as on Spotify at the following link https://www.youtube.com/playlist?list=OLAK5uy_n_6QrvBBwAusfIg7T2d_0zfoyCIXuVEgc. Follow the artist’s official social media page on Instagram for updates on newer music.

Jason Tamba Releases Debut Solo Album "Don't Give Up"

International singer, songwriter, and guitarist Jason Tamba is proud to announce his debut solo album “Don’t Give Up” out today on Playing For Change Records. The Congolese born artist has toured globally and appeared in numerous videos with the Playing For Change Band, Afro Fiesta and world-renowned musicians such as Peter Gabriel, Angélique Kidjo, John Paul Jones, Bono, Sara Bareilles and more. Now, with his infectious smile, compelling story-telling and powerful vocals, Jason embarks on his solo musical journey with a level of passion and soul that transcends boundaries.

Gethsemane is the second single from Jason Tamba's debut album “Don't Give Up.” This reflective song, sung in Tamba's native language of Kikongo, "speaks of the last words of Jesus at Mount Gethsemane where he warns of being aware of those who you surround yourself with." Tamba goes on to explain about the song: "The message is: choose your friends wisely!!" The new song comes out on the heels of the first album single released in December, Maasai, which is a beautiful, introspective song with a soul-stirring energy that evokes a time of innocence. 

“Don’t Give Up” is a culmination of Jason Tamba’s musical experiences around the world, and a fusion of sound, bridging the Congo with the West. Recorded in May 2021 with engineer Harlan Steinberg at Hen House Studios, the album features a combination of traditional instruments from Africa along with instruments more generally associated with contemporary and rock music. Tamba says, “The room in Hen is set up for live recording and the acoustics of the room are great for capturing the feel and sound I was going for. I am very happy with the sound we achieved.” 

Tamba is joined by an all-star cast of skilled musicians on “Don’t Give Up,” including Whynot Jansveld (active touring member for The Wallflowers) on bass and mastering, Greg Leisz (recording credits with John Mayer, Aaron Neville, Eric Clapton and more) on pedal steel guitar, award-winning guitarist/producer Louis Mhlanga, Matt DeMerritt on saxophone, Roberto Luti on slide guitar, Grammy award-winning producer Mark Johnson on production, and Yasu Takeuchi. Tamba is also joined by PFC Band members Mermans Mosengo (vocal/ percussion/harmonica) and Robin Moxey (guitar). 

For Tamba, the new album conveys the sentiment that one should always listen to their inner voice, for in doing so you are able to live and manifest your destiny. The title "Don't Give Up" stems from the lyrics in the song Loti, which appears on the album. This concept is the essence of the message of the whole album, Tamba explains, “My fundamental hope is that others can listen to these songs and gain inspiration to never allow challenges to dissuade you from your heart's desire and vision for, indeed, those are gifts placed inside you by God as a unique expression to the world.” 

Born in Kinshasa, the capital of the Democratic Republic of Congo, Jason Tamba, a self-taught musician, has been playing guitar since age seven, when he made his own instrument out of wood and four strings. He later pursued his musical aspirations, culminating in earning a degree in classical guitar and traveling to South Africa to explore more opportunities. It was there that he became a singer, songwriter and guitarist for the Afro/Latin/reggae group, Afro Fiesta, who are widely regarded as innovators in the entertainment industry, fusing elements of Afro-jazz, Kwasa-Kwasa, Makossa and hints of Latin music. Since 2008, Jason has been a lead singer, guitarist and touring performer in the Playing For Change Band most notably performing with musical legends in some of PFC’s most popular Songs Around The World videos that have been viewed by over 300 million people internationally. 

As a touring singer/musician, Tamba has traveled to over 25 countries, globally spreading a musical message of hope and unity, sharing concert stages with artists such as Robert Plant, Taj Mahal, Keb’ Mo’, Ziggy Marley, Toots Hibbert and many more. He is excited to perform the songs on “Don’t Give Up” live with audiences in 2022, most notably his upcoming performance at NOLA Jazz Fest in May. 

Jason Tamba has warmed the hearts of millions and continues to make an impact on world music with his charismatic presence and limitless talent. Tamba’s highly-anticipated debut solo album “Don’t Give Up” is out now on Playing For Change Records. 

Carnegie Hall Announces Schedule for NYO Jazz's First US Tour

Carnegie Hall has announced the schedule for the first-ever US tour by its acclaimed NYO Jazz set to take place on the heels of the June 24, 2022 release of the ensemble’s first full-length studio album, We’re Still Here. The album features NYO Jazz Artistic Director and Bandleader/trumpeter Sean Jones and special guest Melissa Aldana on tenor saxophone, plus an appearance by trombonist Wycliffe Gordon. Available for pre-order, the album will be released by Platoon and will be available for digital download and on all streaming platforms in standard and Dolby Atmos Spatial Audio formats. 

Following NYO Jazz’s US tour kick-off concert at Carnegie Hall on Thursday, July 28, the ensemble—joined by this summer’s special guest vocalist Jazzmeia Horn—will tour seven US cities under the direction of Sean Jones. The tour stops include: Cleveland, OH on July 30 (Tri-C Metro Auditorium); Chautauqua, NY on August 1 (Chautauqua Amphitheater); Pittsburgh, PA on August 2 (The August Wilson African American Cultural Center); Chicago, IL on August 4 (Navy Pier, Lake Stage in Polk Bros Park); Detroit, MI on August 5 (The Max M. and Marjorie S. Fisher Music Center); Madison, WI on August 7 (Wisconsin Union Theater); and Washington, D.C. on August 9 (The John F. Kennedy Center for the Performing Arts). 

"I’m very excited to perform with the amazing young musicians of Carnegie Hall's NYO Jazz this summer," said Jazzmeia Horn. "What a wonderful opportunity as this tour marks my first time playing an entire tour with a big band and I'm especially thrilled to sing selections from my new big band album, Dear Love. I’m curious to see how NYO Jazz will interpret my latest expression of love musically as we connect with audiences in cities around the US. This will be a fun journey to share with them!" 

One of Carnegie Hall’s three acclaimed national youth ensembles, NYO Jazz—comprising outstanding young musicians ages 16–19 from across the United States—showcases the legacy and bright future of American jazz. Created in 2018 by the Hall's Weill Music Institute, NYO Jazz annually brings together some of the nation’s finest teen jazz musicians to train, perform, and tour with world-class jazz masters while also serving as music ambassadors for their country. NYO Jazz’s successful international tours have included a 2018 inaugural European tour with Dianne Reeves as special guest, and the ensemble’s debut tour to Asia in 2019 with Kurt Elling as special guest. Although NYO Jazz was unable to travel during the past two years, the musicians convened virtually during the summer of 2020 and at Purchase College, State University of New York (SUNY) just north of New York City, in summer 2021, rehearsing and recording a wide range of repertoire, including its debut album.  

We’re Still Here features four new works written for the band since its inception, a range of classic and contemporary charts that are hallmarks of its live concerts, and works exploring themes that include social justice, resilience, and the power of music to spark joy. The four Carnegie Hall-commissioned works on the album are: “Run with Jones” by Miguel Zenón, featuring Melissa Aldana as soloist; “Mr. Jones and Co.” by Ayn Inserto, featuring Sean Jones as soloist; “Fête dans la tête” by John Beasley; and “RPM’s” by Igmar Thomas. In addition to these commissions, among the album highlights include: “We’re Still Here” by—and featuring—trombonist and NYO Jazz faculty member Wycliffe Gordon, which has become the band’s rousing encore theme song; hence, the album’s title; “The Art of War” by Ralph Peterson; “Oyelo” by Miguel Zenón, featuring Melissa Aldana as soloist; “A Taste of Honey” by Duke Pearson; “Mr. Gentle and Mr. Cool” by Duke Ellington, arranged by NYO Jazz ensemble coach Reginald Thomas; and “Transitions” by Sean Jones. 

“You close your eyes and think they’re all 20 years older than they are,” said Sean Jones, who pays it forward through his passionate leadership of NYO Jazz, carrying on the tradition of mentorship in jazz. 

The album—recorded during the ensemble’s summer 2021 training residency at Purchase College, SUNY, amidst the COVID-19 pandemic—is a declaration of resilience and longevity. A summer that began with the disappointment of a year without touring evolved into the opportunity to create this 97-minute showcase of the incredible artistry and enormous versatility of this remarkable ensemble, a recording poised to reach audiences around the world just as the ensemble resumes touring in summer 2022. 

“We’re thrilled for NYO Jazz to release its debut album this spring—the first recording by any of our national youth ensembles,” said Sarah Johnson, Chief Education Officer and Director of Carnegie Hall’s Weill Music Institute. “It’s a tremendous opportunity for these gifted young players to train, perform, and now record alongside some of today’s leading jazz artists including special guest Melissa Aldana. It was especially meaningful for the musicians to gather for an extended residency last summer as it marked the first time many of them had the opportunity to come together to play in a full ensemble since the start of the pandemic. With We’re Still Here, we are proud to showcase the incredible depth of talent and high level of musicianship of these standout jazz musicians from across the country who will help ensure one of America’s quintessential art forms is preserved for generations to come.” 

“The big band has always been America’s orchestral format and one of the most wide-ranging ensembles ever devised,” said Sean Jones, NYO Jazz’s Artistic Director and Bandleader. “It can convey nearly any style of music in a sonically stimulating and interactive way. This recording exhibits that diversity by placing classics by Duke Ellington and Neil Hefti alongside pieces that utilize the big band as a vehicle for contemporary American music and represent a wide variety of genres.” 

“Making this album was an absolute labor of love for the musicians, our incredible faculty and guest artists, and everyone involved,” said Joanna Massey, Director of Learning & Engagement Programs for Carnegie Hall’s Weill Music Institute, who has worked with the NYO Jazz program since its inception. “From their individual preparation prior to coming together as an ensemble, through long days of rehearsals and then recording sessions, the musicians were unwavering and inspiring in their dedication to producing something meaningful for the world to hear. It’s particularly special that by recording all of the original music written especially for NYO Jazz, the album also pays tribute to the outstanding musicians from previous NYO Jazz ensembles—who, like the players heard here, embody the future of jazz.”

US Tour Dates Include:

July 28 | Carnegie Hall | New York, NY

July 30 | Tri-C Metro Auditorium | Cleveland, OH

August 1 | Chautauqua Amphitheater | Chautauqua, NY

August 2 | The August Wilson African American Cultural Center | Pittsburgh, PA

August 4 | Navy Pier, Lake Stage in Polk Bros Park | Chicago, IL

August 5 | The Max M. and Marjorie S. Fisher Music Center | Detroit, MI

August 7 | Wisconsin Union Theater | Madison, WI

August 9 | John F. Kennedy Center for the Performing Arts | Washington, D.C.

Each summer, NYO Jazz, led by artistic director Sean Jones, shines a spotlight on the depth of talent found among teen jazz players across the United States. The program offers talented young musicians, ages 16-19, the opportunity to perform as cultural ambassadors for their country, sharing a uniquely American musical genre with people around the world through an international tour. The members of NYO Jazz have been recognized by Carnegie Hall as being among the finest jazz musicians in the country, following a rigorous and highly competitive audition process. After its Carnegie Hall debut in 2018, the ensemble embarked on its first-ever international tour for performances with vocalist Dianne Reeves at prestigious concert halls and music festivals in London, Amsterdam, Edinburgh, Kassel, and Berlin. In summer 2019, NYO Jazz made its debut tour to Asia, joined by vocalist Kurt Elling, including performances in Taichung, Beijing, Shanghai, Zhuhai, and Hong Kong. As part of their travel schedule, NYO Jazz musicians also have opportunities to meet and collaborate with young local musicians and experience the richness of different cultures and music. 

NYO Jazz builds on the success of the acclaimed National Youth Orchestra of the United States of America (NYO-USA) and its sister ensemble for younger musicians NYO2—programs created by Carnegie Hall in 2013 and 2016, respectively—to bring together the finest young classical musicians from across the country each summer for training, performances and international touring. Each of these prestigious national programs—free to all participants—is dedicated to the proposition that talented young musicians thrive when they have the opportunity to expand their musical, social, and cultural horizons and share their artistry with audiences around the globe. Since 2013, Carnegie Hall’s national youth ensembles have performed in 15 countries on four continents, including tours to China, South Korea, Mexico, Ecuador, Colombia, Russia, and across Europe.

Multi-platinum "Melody Man" Vassal Benford steps into the spotlight

With more than 57 platinum records to his credit working with a galaxy of stars in various music genres, over $150 million in movie box office receipts, and management duties for boxing champion Manny Pacquiao and the estate of fabled blues icon B.B. King, megaproducer Vassal Benford is returning to his roots determined to conquer jazz just like everything else he’s conquered throughout his unparalleled multimedia career. The songwriter-keyboardist is determined to breathe fresh energy and creativity into contemporary jazz, beginning with his first single, “Melody Man,” which goes for playlist adds on Monday (May 23) issued on The Benford Jazz Label.  

Benford was sixteen when legendary jazz pianist Ramsey Lewis recorded the song the teenager wrote about his first crush, “Michelle,” which went number one. Two years later, jazz bassist Stanley Clarke produced the second song Benford wrote, a tune that was a cowrite with Grammy winner Jeremy Lubbock, which became another number one hit for Lewis and his duet partner, the illustrious jazz singer Nancy Wilson.

As the years rolled by, the hits kept coming as Benford’s projects topped the charts in multiple genres for superstars DJ Diplo, Toni Braxton, NAS, Flo Rida, Queen Latifah, Mariah Carey, Rick Ross, Deborah Cox, Sheryl Crow, U2, Jade, Bobby Brown, New Edition, Lil’ Kim, Patti LaBelle,
Faith Evans, Chanté Moore, Oleta Adams, Lisa Stansfield, Tramaine Hawkins, and The Fine Young Cannibals among others.

In recent years, Benford was drawn back “home,” jazz and instrumental R&B, which sparked collaborations with Grammy-winning guitarist Norman Brown and eight-time Grammy nominated saxophonist Gerald Albright. Both artists are among the luminaries who will appear on Benford’s debut album, “My Favorite Moments,” which is slated to drop next February. But first, Benford wants to introduce listeners to the imaginative collection with a single or two, the first of which is “Melody Man.”

“Melody Man” is an apropos title as Benford pours layers of cascading piano melodies amidst lavish guitar and keyboard harmonies, and intricately textured percussion and multicultural rhythms. One of the unique allures of the single is that the innovative track sounds unlike anything in the music space yet its invitingly familiar and infectious.

“I wanted to create a song that everybody could remember that also made you feel as if you were watching me in concert. It was intentional the way I wrote this song. The inspiration around it was making a feel-good song for everybody to dance to or to listen to several times in order to ‘hear’ all of the elements in the track. I felt as if the world needed this kind of global music at this time,” said Benford, who changed the structure of the complex drum track multiple times during the mixing process with Billboard chart-topper Greg Manning.

“The reason we changed the drum track is because there's so many different elements to ‘Melody Man.’ It has a Latin feel, an African feel, a pop feel as well an R&B feel. There are so many distinct phases of music that are entailed in the song itself. The final product turned out exactly the way we wanted by changing the drums four separate times while in the mix.”

Decades ago, music industry titan Clive Davis gave Benford his own joint venture record label and today, Benford is partnered with blockbuster film producer Mark Canton. Together, they achieved box office success with 2019’s “After” and “After We Collided” released the following year. Composing music scores for movies such as "The Running Man" (Arnold Schwarzenegger), "New Jack City," "Class Act" (Kid ‘n Play), "The Associate" (Whoopi Goldberg), “The Smell of Success” (Billy Bob Thornton) and “Stay Cool” (Winona Ryder) is what fueled Benford’s interest in the motion picture business. He broke color barriers by becoming the first African American to score an animated feature, 2012’s “The Swan Princess.” On the small screen, Benford has crafted music for shows including "Melrose Place," "Beverly Hills, 90210" and "Fame L.A."

Benford produced a 2016 tribute concert to Michael Jackson that headlined The Jacksons, Aerosmith, Ne-Yo, Rick Ross and Christina Milian that was hosted by Magic Johnson at which the multihyphenate showbiz magnate who was born and raised in Detroit, and now splits his time between Las Vegas and Newport Beach, Calif., conducted a 30-piece orchestra. With his sights presently set on jazz, expect Benford to change things up in ways only this remarkable visionary can.  

"Lazy Breeze" from Lexsoul Dancemachine's upcoming EP (balearic funk)

Based in Tallinn, Estonia, Lexsoul Dancemachine is a 6-headed, smoking-hot funk beast known for tearing venues apart with its energetic performances on stage. Active since 2013, the aim of this machine is to hypnotize feel-good music lovers with thumping bass lines, syncopated rhythms, irresistible grooves and soulful vocals. It’s the kind of music you can breakdance to, although in between those hard-hitting sounds you’ll find some more tender moments.

Thanks to a successful Kickstarter campaign the band entirely self-produced its debut album “Deus Lex Machina”, which was released on CD, LP and digital download in December of 2015. It went on to gain praise and support from DJs and listeners alike, with single “Beef Grinder” getting picked up by the mighty Craig Charles for his “Funk & Soul Show” on BBC 6 & BBC 2 and even being included in his compilation “Craig Charles Funk & Soul Club vol.4” out on Freestyle Records. The following year was busy with live gigs in the Baltic-Nordic region, including Tallinn Music Week, Positivus, Funky Elephant and Pori Jazz Festival in Finland.

Lexsoul Dancemachine‘s next single was “Coconuts”, an irresistibly catchy tropical funk delight that was released digitally in July 2016. After stunning the region’s crowds with its unique sound and exotic feel it took off abroad, receiving air time worldwide, support from the funk-soul-disco communities throughout Europe and topping local radio charts. The enthusiastic reaction to the track encouraged Lexsoul Dancemachine to pursue this direction further and record their next album with a decidedly more latin funk and tropical disco influence. Sophomore full-length “Sunny Holiday In Lexico“ came out on Funk Embassy Records in 2018 and further cemented the band’s standing as as sweat-inducing groove machine.

As the band prepare for the release of their third studio album, there’s no doubt the raw funk beast shines first and foremost in a sweaty live setting. They’ve yet to leave a crowd unfazed as evident from the first UK tour in February 2017 when the Dancemachine made people stomp their feet in London, Bristol, Manchester and Leeds. Among the dates was a sold-out evening at the iconic Band on the Wall venue during the Craig Charles Funk and Soul Club evening.

Whether it be live or recorded, one thing is for sure, Lexsoul Dancemachine is here to wake you up, make you stomp your feet and jive with their raw street funk on one side and sweet soul on the other!

Jeremy Cunningham / Dustin Laurenzi / Paul Bryan | "A Better Ghost"

Cunningham and Laurenzi have been near-inseparable collaborators for years, working in countless groups together across Chicago’s vibrant jazz community. Their new album A Better Ghost finds them in collaboration with Los Angeles-based bassist/producer Paul Bryan, and is the product of phone-recorded improvisations and experiments dating back to 2017.  With Laurenzi creating sequences and samples on the OP-1 synthesizer while on the road with Bon Iver, and Cunningham developing drum parts and melodic fragments, the two began finding a distinct direction to take the work, sharpening and editing these snippets into cohesive compositions. 

While Cunningham and Laurenzi have collaborated this way for years, they decided to add Los Angeles based musician Paul Bryan, the Grammy-winning producer, engineer, and bassist (Jeff Parker, Aimee Mann, Lucinda Williams) who co-produced Cunningham’s Northern Spy debut 2019 LP The Weather Up There to finish these pieces. Adding bass parts and a producer’s ear to these songs, Bryan’s vital contributions were the missing link. “Paul really understood the vision of our music and added so much to what we’d already recorded. At a certain point it was a no-brainer to expand the duo to a trio” says Laurenzi. On A Better Ghost, there’s a euphoric melding of Chicago and LA’s jazz worlds present with features from prolific saxophonist Josh Johnson, legendary drummer Jay Bellerose, and Cunningham’s Resavoir bandmate and leader, trumpeter Will Miller. The resulting tracks are the product of years-long collaborators expanding their deep chemistry. 

On “New Dust,” Laurenzi provides a smooth, natural improvisation, dynamically ebbing over a deep dub groove kept steady with distinct rhythmic assurance from Cunningham, Bellerose, and Bryan. “With What We Have” wakes slowly, focusing on gradual layering of horns that culminates in near-chaos. . The title track highlights the trio’s seamless blending of acoustic and synthesized palettes, featuring a woozy clarinet sample and propellant percussion alongside sci-fi synths and a Pharoah Sanders-inspired saxophone solo. Singer Katie Ernst guests on  “The Way We Remember,” crafting a melody from a poem Cunningham wrote about the passing of his father in 2020. The synths ebb and flow along with Cunningham’s painterly approach at the drums, spreading colors and lines across a languid backdrop of saxophone chords and synth bass.

A Better Ghost is a reflection of how Cunningham, Laurenzi, and Bryan have found a natural musical connection that is unbound by genre and deeply personal. “Playing with Dustin and Paul has strengthened my musical instincts and allowed me to become more patient developing a sound and playing a song. Sometimes you have to just let the thing happen.  Try not to get in the way too much, and let the music breathe.” -Jeremy Cunningham

New Music: Ornette Coleman, Lee Morgan, Daniel Villareal, Neue Grafik

Ornette Coleman - Round Trip

Iconoclastic saxophonist and composer Ornette Coleman shook the jazz world when he arrived at the Five Spot Café in New York City in 1959 and began his run of seminal albums on Atlantic that laid the foundation for the free jazz movement to come. After a period of disillusionment during which he withdrew from public music making, Coleman re-emerged on Blue Note in 1966 and began writing an intriguing new chapter of his legendary career. The boxset Round Trip: Ornette Coleman On Blue Note presents all-analog 180g Tone Poet Vinyl Editions of all six albums featuring Coleman that were recorded for Blue Note Records, including his five albums as a leader—the two-volume At The ‘Golden Circle’ Stockholm (1965), The Empty Foxhole (1966), New York Is Now! (1968), and Love Call (1968)— as well as his lone sideman appearance on New And Old Gospel (1967) by fellow saxophonist Jackie McLean. The boxset includes a booklet featuring rare photos and an enlightening essay by critic Thomas Conrad.

Lee Morgan - The Complete Live at the Lighthouse

The Complete Live at the Lighthouse is an expansive collection that presents for the very first time all 12 sets of music the legendary trumpeter Lee Morgan’s quintet with saxophonist Bennie Maupin, pianist Harold Mabern, bassist Jymie Merritt, and drummer Mickey Roker recorded during their historic engagement at The Lighthouse in Hermosa Beach, California from July 10-12, 1970. This definitive edition produced by Zev Feldman and David Weiss comes in an 8-CD set and a limited-edition 12-LP all-analog 180g vinyl set that encompasses 33 performances including more than 4 hours of previously unreleased music that lets the listener relive the experience of being in the club for every exhilarating moment. Both sets include a beautiful booklet featuring interviews, essays, and rare photos.

Daniel Villarreal - Panama 77

A stunning solo project from drummer Daniel Villarreal – a musician you might know in the group Dos Santos, yet one who's in very unique territory here on his own! The album was recorded in both Chicago and Los Angeles – and it's got a vibe that really reflects that process – some of the older Latin currents of Villarreal's other group, taken down to their core, and rebuilt in a much looser, airier style – sometimes very laidback, even when rhythmic – as Daniel's drums and percussion move amidst some fantastic instrumental contributions that shift throughout the set – great guitar from Jeff Parker, plus organ and farfisa from Cole DeGenova, baritone from Elliot Bergman, Fender Rhodes from Kyle Davis, and violin from Marta Sofia Honer. The sound of the album's impossible to describe in words – but it's completely lovely throughout, and has this spacey, summery vibe that's completely wonderful – on titles that include "Ofelia", "Uncanny", "I Didn't Expect That", "Sombras", "Activo", "Cali Colors", "18th & Morgan", and "Messenger". ~ Dusty Groove

Neue Grafik - Foulden Road Part 2

A set that's even more powerful than the first album we heard from Neue Grafik – and a great demonstration of the collaborative power the multi-instrumental musician has had on the London jazz scene of late! As with the previous set on the label, this one grew out of experiments and performances at the important Jazz Refreshment Centre in London – where Neue Grafic was able to mix together elements of hip hop, Nigerian music, and contemporary London styles with more straightforward jazz instrumentation – all at a very genre-stepping level that's impossible to describe in words, but which really lives up to some of the best London experiments in recent years. Titles include "Black Bodies", "Step To It", "For Adama", "Breathe", "Queen Assa", "Running On A Flame", and "Officer Let Me Go To School". ~ Dusty Groove

Nick Stefanacci | "Dance Until Dawn"

After having released seven solo albums constructed of sophisticated pop, funk and jazz fusion featuring guest vocalists, saxophonist Nick Stefanacci decided to throw a changeup by crafting a buoyant smooth/contemporary jazz instrumental, “Dance Until Dawn,” which drops May 24 on the Sweet Lion Music Group label. Stefanacci wrote the single with Billboard hitmaker Adam Hawley, who produced the vibrant, melody-rich sax-led tune. As a saxophonist, Stefanacci is driven by timbre and rhythm. "Dance Until Dawn" illumines his soulful alto horn harmonies and deep connection to groove. Multi-instrumentalist Hawley adds guitar, keyboards, strings and programming while Carnell Harrell makes the track more robust by adding synths to the rhythms created by drummer Eric Valentine and bassist Mel Brown. 

“As a young saxophonist, I was enamored with David Sanborn so releasing a contemporary jazz single has been a long time coming. I wanted to give my fans something different than what they are accustomed to hearing from me. My albums are kind of a Steely Dan meets Maceo Parker mashup, a more funk fusion groove with vocals, horns and jazz harmony,” said Stefanacci, who is also a philanthropist that founded and curated The Promise Music Festival to benefit local children’s hospitals.

Stefanacci met Hawley while the saxman was touring with trumpeter/flugelhornist Cindy Bradley. He’s been performing with the Billboard chart-topper for a few years. As a sideman, his wide-ranging resume also lists hip hop superstars Ja Rule and DMC (of Run-DMC), blues rocker Derek Trucks, seminal R&B, funk and soul drummer Bernard “Pretty” Purdie; and hardcore punk/rap pioneers Dog Eat Dog. Stefanacci stepped into the solo spotlight in 2010 with the release of his debut album, “26 Years.” His latest collection is the self-titled set that dropped two years ago as the pandemic raged. The album highlights Stefanacci’s imaginative arrangements of songs originally recorded by some of the eclectic artists whom he cites as having influenced his craft: Stevie Wonder, Nirvana, Michael Jackson, Metallica, Nina Simone and Bill Withers, among others.

“Dance Until Dawn” previews Stefanacci’s eighth album, "Nú FNK," which will be a return to his funk roots along with instrumental grooves and pop-fusion vocal tunes. The disc is slated for release later this year.

Nancy Sinatra & Lee Hazlewood | "Nancy & Lee"

Light in the Attic has released the first official reissue of Nancy & Lee: the highly-influential 1968 duet album from Nancy Sinatra and Lee Hazlewood. This definitive edition of Nancy & Lee features newly-remastered audio by the GRAMMY®-nominated engineer John Baldwin and includes an array of exclusive content, including a new interview with Nancy, never-before-seen photos, and two bonus tracks from the album sessions: an ethereal cover of The Kinks’ “Tired of Waiting for You” and an uptempo version of “Love Is Strange” (first made famous by Mickey & Sylvia in 1956). This release marks the official debut on vinyl for both tracks.

Nancy & Lee can be found in a variety of formats, including vinyl, cassette tape, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (RTI), is presented in an expanded gatefold jacket and features the iconic, original cover photo by Ron Joy. Inside, a 20-page booklet offers an array of photos from the legendary singer, actress, and activist’s personal collection, as well as an in-depth Q&A with Sinatra, conducted by the reissue’s GRAMMY®-nominated co-producer, Hunter Lea (also available in the CD package). In addition to the classic black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

In celebration of the release, Nancy Sinatra and fellow musician and longtime friend Don Randi (The Wrecking Crew) visited Record Technology, Inc. (RTI) in Camarillo, CA to take a tour of the plant and get a sneak peek at the Bootique-exclusive pressing of Nancy and Lee. A short video piece documenting the day, including new interviews with Sinatra, Randi, and RTI plant manager, Rick Hashimoto is available here.

When Nancy – the eldest daughter of Frank Sinatra – first met Lee Hazlewood in 1965, she was a demure, 25-year-old divorcée, who was struggling to find her place as an artist amid the changing musical landscape. At the urging of her label, she was introduced to the Oklahoma-born songwriter, Lee Hazlewood, who had found success working with guitarist Duane Eddy. While Sinatra and Hazlewood hailed from vastly different worlds, they were about to embark on a partnership that would change the course of their lives. Just months after meeting, Sinatra scored her first No.1 hit with “These Boots Are Made For Walkin’.” Written and produced by Hazlewood, the song became Sinatra’s signature tune – transforming her into a confident and commanding feminist icon.

Initially, Hazlewood maintained a behind-the-scenes role with Sinatra, enlisting arranger and composer Billy Strange, as well as other members of The Wrecking Crew (the famed Los Angeles session musicians) for the singer’s best-selling 1966 debut LP, Boots. But when they returned to the studio later that year for Sinatra’s sophomore effort, How Does That Grab You?, Hazlewood joined the singer for a duet of his song, “Sand.” Over the next year, as Sinatra’s star rose, the artists continued to collaborate in the vocal booth, finding success with “Summer Wine,” “Lady Bird,” and the cinematic “Some Velvet Morning” (all penned by Hazlewood). In 1967, just months after Johnny Cash and June Carter Cash scored a country hit with “Jackson,” Sinatra and Hazlewood released a pop version of the offbeat song, landing in the Top Ten across Europe and peaking at No.14 in the US.

Recalling her duets with Hazlewood, Sinatra laughs, “we used to call it beauty and the beast!” Voices with no blend.” Indeed, no one could have predicted that these two contrasting voices (and personalities) would work together quite so well. Praising the duo’s “sonic alchemy,” Hunter Lea writes, “rarely in music has there been such an unlikely collaboration: Nancy, the sassy and sweet songstress contrasted by Lee, the gruff, psychedelic cowboy. A harmonic partnership that defies conventional logic yet yields so much beauty.”

Before long, it seemed only natural for the artists to release an entire album together. In addition to compiling their recent duets (many of which appeared on Sinatra’s solo LPs), the duo recorded several new covers and Hazlewood originals. Billy Strange and The Wrecking Crew provided lush orchestral arrangements, as the two artists performed a range of material, including folk, pop, and country songs, with a twist of psychedelia.

Throughout the album, a palpable chemistry can be heard between Sinatra and Hazlewood – from the frisky banter on “Greenwich Village Folk Song Salesman” to the tongue-in-cheek delivery of “I’ve Been Down So Long (It Looks Up To Me).” But the artists also reveal their softer sides – particularly in the romantic balladry of “Sand.” Their languid rendition of “You’ve Lost That Lovin’ Feeling,” meanwhile, is downright erotic, despite the lyrics. But, as Sinatra asserts, her decades-long relationship with Hazlewood was always platonic. “We had sort of a love/hate relationship,” she explains. “Maybe it was a sexual tension because we never had any kind of affair. I don’t know exactly what it was, but it worked.”

That je ne sais quoi certainly did work. Upon its release in the spring of 1968, Nancy & Lee became a critical and commercial hit on both sides of the Atlantic, peaking at No.13 on the Billboard 200 and No.17 in the UK. By 1970, the album was certified Gold by the RIAA. Over the decades, however, the appeal of Nancy & Lee has only grown, while the album has amassed an enduring cult status that few titles achieve. Multiple generations of artists, including Sonic Youth, Lana Del Rey, and the Jesus & Mary Chain, have cited Nancy & Lee as an influence.

In recent years, Nancy & Lee has also inspired a groundswell of recognition from such outlets as Rolling Stone, which ranked the pair at No.9 on their 20 Greatest Duos of All Time list. Pitchfork included Nancy & Lee in their “Best Albums of the 1960s” roundup, hailing the record as “a document of a flawless collaboration.” The UK’s Far Out Magazine declared Nancy & Lee to be “a masterpiece that still ripples in the sonic waves today.” NPR, meanwhile, noted that “Sinatra and Hazlewood masterfully marry sunshiny orchestral elements with lyrics that dig at something darker about the human condition.” They went on to praise Sinatra’s work on Nancy & Lee as “some of the best that she’s ever recorded…it proved that she would hardly allow herself to be pigeonholed into one-hit wonder territory. Here, she made it clear that she was capable of so much more.”

Today, Sinatra reflects fondly on her time with Hazlewood. “The most fun was when there were two mics in the studio, and Lee was on one and I was on one,” she recalls. When asked about the lasting appeal of Nancy & Lee, the artist credits much of its success to her partner. “Lee has a following that continues to this day. He’s beloved; people love him all over the world.”

Sinatra’s legacy, meanwhile, continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the GRAMMY® Hall of Fame. That same year, Sinatra partnered with Light in the Attic Records for Nancy Sinatra: Start Walkin’ 1965-1976, a definitive survey of her most prolific period. At the end of 2021, LITA reissued Sinatra’s classic debut, Boots, while the label will continue to celebrate Sinatra with a variety of special releases, exclusive merch, and more.

Marvin Gaye 'What's Going On' 50th Anniversary Celebration

For the grand finale of the year-long celebration for Marvin Gaye's landmark What's Going On album, Motown and UMe turned to his fans to help create a unique video of Grammy®-nominated producer SaLaAM ReMi's remix of the album track "Save The Children."

In April, Universal Music Enterprises and Fiverr, an online marketplace for professional freelance services, held the Fiverr x Marvin Gaye: "Save the Children" Design Challenge, which asked Fiverr artists to listen to SaLaAM ReMi's "Save the Children" remix and then illustrate a 2D child character inspired by their interpretation of the song. The submissions revealed a remarkable range of animated creativity that included traditional cartoons, graffiti, anime, doodles, abstract sketches, and more.   

The winning entries have been imaginatively integrated into the vibrant "Save The Children" video, with all the contributing artists being mentioned on a credits screen. The video, now live on the Marvin Gaye YouTube Channel, follows on the heels of the recent 2022 Webby Awards victory of the "What's Going On" animated video in the Diversity & Inclusion Video Category.

SaLaAM ReMi's "Save the Children" remix is part of his Save The World: Remix Suite. This 2021 digital EP also contains his new auditory imaginings on "Sad Tomorrows" (the B-side to "Save The Children"), "No Need" (a previously unreleased Gaye instrumental from the "Sad Tomorrows" sessions), and the holiday single, "I Want to Come Home for Christmas." Motown and UMe also teamed with Paralyzed Veterans of America (PVA) on a new animated video for the latter track to honor America's veterans and servicemen and servicewomen last year on Veterans Day.

The new "Save The Children" video also caps an amazing 50th anniversary year for What's Going On, which Rolling Stone placed at #1 on its most recent list of the 500 Greatest Albums of All Time. Kicking it off in January 2021 were a trio of digital titles: the 21-track What's Going On: Deluxe Edition/50th Anniversary, a recent winner of Outstanding Anthology at the Detroit Music Awards, which includes rare mixes, mono single versions and outtakes; a standalone version of What's Going On: The Detroit Mix (previously available only on What's Going On's 2001 Deluxe Edition); and Funky Nation: The Detroit Instrumentals, a collection of sublime jam tracks Gaye recorded in 1971 in the aftermath of the album's success that have never been issued on their own.

The anniversary year brought a CNN special, What's Going On: Marvin Gaye's Anthem for the Ages special, featuring interviews by artists like Stevie Wonder, Smokey Robinson, Maxwell, Sheila E., and Spike Lee, who were all influenced by Gaye's masterpiece. ESPN also created a mini doc on the album's connection to the NFL, as Gaye dreamed of playing for the Detroit Lions and invited two of their players to sing on "What's Going On." UMe also launched the launch of the official Marvin Gaye TikTok channel, which already has attracted more than 80,000 followers.

The international influence of What's Going On was exemplified by a magnificent 16-foot mural, created by the London-based visual artist Dreph, that not only honored the album but also the 40th anniversary of the 1981 Brixton Uprising, a historic event for race relations in the United Kingdom. Painted on a wall near a Brixton police station, the massive, inspiring artwork was unveiled on May 21, 2021, to coincide with What's Going On's original release date.

Motown and UMe closed out the anniversary year with the exquisite What's Going On: 50th Anniversary Edition. This premium 180g 2LP vinyl release boasts a direct-to-analog mastering by acclaimed engineer Kevin Gray from the original primary album tape reels, one of the first times this has been done since 1971. The bonus LP features four rare cuts making their vinyl debut, including a previously unreleased "stripped" version of the title song, along with mono mixes of the singles on vinyl for the first time since they came out on 45s. Enhancing the original gatefold packaging are printed sleeves with detailed track histories, a brief essay about the arranger David Van De Pitte by Dr. Andrew Flory, and a main essay by author/poet Hanif Abdurraqib, a 2021 recipient of the MacArthur Foundation "Genius Grant.

Although a half-century has passed since the arrival of R&B's first seamless concept album, Marvin Gaye's powerful music, insightful lyrics, and profound vision still delivers a poignant plea that we might organize to address often-overlooked issues of inequality and ecological distress. With What's Going On, Marvin Gaye opened the door musically, culturally, and politically for countless musicians to address the injustices of our world. The groundbreaking album has proven its evergreen relevance, and its legacy will continue to influence and shape the music of future generations.

Josh Sinton, Jed Wilson, and Tony Falco | "Adumbrations"

Adumbrations, an album of free, lyrical and inspired music available June 3, 2022 via FiP Recordings, is an utterly unique, first-time documentation of a twenty-year-long friendship. Josh Sinton (baritone saxophone, bass clarinet, alto flute), Jed Wilson (piano) and Tony Falco (drums) have known each other since their student days at New England Conservatory in the early aughts. And even though they have stayed in touch over the years, it wasn't until August of 2021 that they finally came together and spontaneously created their debut recording. Adumbrations celebrates the importance of friendship and the solace and comfort it provides. 

"I hope the listener can hear the depth of our affinities for one another,” says Falco. “These two musicians are dear friends of mine, and there is no greater blessing, as a musician, than to play with those you love." Wilson's statement that, "enduring relationships are ironically the best place in which to (re)discover the other's otherness," perhaps best captures the frisson that characterizes all of the pieces on Adumbrations. Whether it's the opening epic statement "Adumbrations 1" or the storming urgency of "Adumbrations 4," the album unfolds organically and urgently. The momentum is sustained by the musician’s friendship as much as it is by the rhythmic, melodic and harmonic content. 

"The art of improvisation," says Wilson, "is the playful unraveling of plans, expectations, even aesthetic principles or positions." Anyone familiar with Sinton's, Wilson's or Falco's previous work can hear this "playful unraveling" of plans and expectations throughout Adumbrations, where each of the players shows a new side of their playing. Sinton is perhaps best known for the abstract and avant-garde music of his bands Ideal Bread and Predicate Trio or his recent solo album b. Here he tempers this, bringing to the fore the lyrical influence of singers like Nina Simone or Joni Mitchell. This can be heard to great effect in "Adumbrations 2," the first flute recording he's made. Wilson, best known for his luminous work with singers Dominique Eade and Heather Masse, brings a sharper, biting edge to the ruminating pointillism of "Adumbrations 6." And Falco, a dynamic and responsive partner in the bands of spiritual music giant Tisziji Munoz as well his own projects with partners as diverse as bassist Aryeh Kobrinsky or guitarist Mike Gamble, strikes a uniquely poised balance between openness and focus on "Adumbrations 3" where his drum solo quickly morphs into a charged 6/8-groove when Sinton enters on bass clarinet. 

"When folks talked about ‘freedom’ in music, I always thought that was about freedom to choose, not freedom from choice," says Sinton. And the responsibility that choice implies is audible throughout Falco, Sinton and Wilson's playing. Solos become trios become duos become trios become solos again. And while some of these pieces have a lushly romantic aspect, others present themselves as resolutely outside the scope of "traditional" tonal parameters. At all times, these three musicians listen for each other and manifest the deep friendship they feel for each other throughout Adumbrations. 

Falco has said of Sinton and Wilson that he, "considers both of them to be close friends, whose lives I care deeply about, and whose thoughts and opinions on all manner of things, I value. I want to make music with these people. Period. It doesn't matter so much to me what the result will be. I know it will be great." And while this music may only outline these feelings, that is adumbrate them, they are at the core of what animates this dynamic recording. 

Called "varied and exciting," as well as "one of the most striking baritone saxophonists," Josh Sinton has been heard with some of the leading voices of Brooklyn's creative music scene since arriving in 2004. Whether with the bands of Anthony Braxton, Nate Wooley or Darcy James Argue or his own groups Ideal Bread or Predicate Trio, Sinton's unique soundings on baritone saxophone and bass clarinets have lent an air of urgency and immediacy to every musical situation he has participated in. He is proud to count Ingrid Laubrock, Jonathan Finlayson, Tom Rainey, Andrew D'Angelo and Guillermo Gregorio among his colleagues and looks forward to making music with many other musicians. In 2020 he was named “Rising Star” in the baritone saxophone category of Down Beat’s Critics’ Poll. 

Jed Wilson is a New England based pianist involved primarily with jazz and free improvisation. Current collaborations include a set of improvisation-based recordings with drummer Tony Falco, a world music project co-led with Dave Kobrenski, and a longstanding duo with singer-songwriter Heather Masse.

Tony Falco is a drummer, improviser, recording and mixing engineer based in Greenfield, MA. He works with avant-garde guitar legend Tisziji Muñoz, and has performed and recorded with John Medeski, Paul Shaffer, Marilyn Crispell, Dave Liebman, Bob Moses, and many others. In recent years, he has collaborated on duo projects with pianist Jed Wilson, and saxophonist Nathan Blehar. Falco and Blehar have released more than 20 recordings to date.