Jazz Funk Soul (Everette Harp, Jeff Lorber & Paul Jackson Jr.) | "Forecast"

Omne trium perfectum- everything that comes in threes is perfect. When it comes to the trio Jazz Funk Soul (JFS), this statement rings true. Saxophonist Everette Harp, keyboardist Jeff Lorber and guitarist Paul Jackson Jr. are the perfect union of balance and harmony, the right ebb and flow of laid back cool and gritty-driving intensity and the complete package of musical wonder. The towering giants of Contemporary Jazz, who have collaborated with icons like Quincy Jones, Aretha Franklin and B.B. King, are like cosmic rays, emitting unlimited musical possibilities. Each member is a dazzling virtuoso, accomplished bandleader, composer, and producer in their own right. “We each bring our own interpretations of Contemporary and Mainstream Jazz together in a way that allows us to break the bonds of the normal approach to Smooth Jazz.  By using our years of collective vocabulary we freely express ourselves musically using everything we have at our disposal,” shares Harp. “Plus we can leap tall diminished chords in a single bound!” Taking giant steps are what Jazz Funk Soul is used to. The dynamic three-some are responsible for selling millions of albums and scoring more than 50 #1 Smooth Jazz radio hits! Jazz Funk Soul's new and fourth recording, Forecast, (Shanachie Entertainment, August 5, 2022) is a shining example of their magnetic chemistry and inspired performances. At the core of the trio’s allure is their genuine camaraderie, which is anchored by each member’s passion to create. "All of us love music, especially Jazz, not to mention Funk and Soul!" exclaims Lorber. Our unique talents compliment each other. Paul is well known as an ace session player and one of the finest rhythm guitarists in the world, and Everette is a force of nature with the saxophone. I enjoy comping behind and supporting these guys, and also tossing in some of my blues and be-bop licks when I solo." Harp says, "The respect I have for Jeff and Paul is immense. Their accomplishments would be enough for 10 musician’s lifetimes.” Jackson adds, “JFS is a threefold convergence of hard work, experience over time, and the blessing of the Lord. Jeff and Everette are arguably two of the best soloists with whom I’ve ever worked.”

The original incarnation of Jazz Funk Soul commenced in 2014. Everette Harp, Jeff Lorber and Chuck Loeb formed the band with the mission of recreating on record the spontaneity and explosive chemistry of their live shows. In 2017, the Jazz world was shook by the untimely passing of Chuck Loeb. “Chuck was an important part of the start of JFS. He was certainly the JAZZ in Jazz Funk Soul," reflects Everette. "The spirit and joy he brought into his play was infectious. Each time we played together I felt like I had to bring it! There were no coasting nights. He’d smoke you if you didn’t bring it. He was incredible and set a wonderful precedent for us to continue." Lorber adds, "I feel very lucky to have had the chance to know and collaborate with Chuck. He was a really sweet guy who was fun to hang out with. As a musician, he had prodigious talent as a jazz guitarist, improviser, composer and producer. I think everyone who got to know Chuck really misses him. Jackson shares, “I was able to tour with Chuck in a guitar trio (along with Chieli Minucci). I used to love it when it was his turn to play one of his songs. The chance to “duel” with Chuck and learn from him was an experience that I will never forget. Chuck is a world-class musician, composer and producer and he’s even nicer than he is talented. I would not have joined JFS if I did not feel I could honor his legacy. I hope I am making him proud.” In a tasteful and fitting way Jazz Funk Soul pays homage to Chuck on Forecast with the memorable "CLS (for Chuck Samuel Loeb)."

When three visionaries unite, there is bound to be forward momentum. Paul Jackson Jr. shares, “One of my longtime hobbies is lake fishing. You must cast your line out ‘forward’ into the water if you’re gonna catch anything. For me, Forecast is JFS casting our musical net into the world to “catch” music listeners everywhere. And, I think we have the right “bait” for the job!!!” Forecast started to take shape just as the pandemic hit and the world as we knew it changed. "It was a little bit weird, but being stuck at home made really focusing on this project a lot easier," recalls Lorber. "There were a lot fewer distractions, no decompressing from the treadmill of coming back from the road and changing gears to working in the studio." A lot of time, love and nurturing went into creating the music. Harp shares the vision for the album's title stating, "Forecast alludes to the continuing progress of the group in defining its sound, direction, and place in the genre as it exists today. We also want to force the musical dialogue in the direction of our musical forefathers where the history of jazz still plays an integral part of the future of contemporary jazz. As much as we are physically able to, we want to get out there and share what knowledge we have with younger musicians and pass it on."

The invigorating ten-track set on Forecast opens with the finger-poppin' and snappy Lorber original "Hustle" showcasing the keys phenom on Hammond B3, Rhodes, piano and clav. The Grammy-winning Lorber is a creature of habit sharing, "I get up at 4 AM everyday to practice, write and record. I really like that time of the morning. It’s nice and quiet and it’s easy to concentrate. Unfortunately my two cats are used to my schedule, so my first job every day is to feed those guys!"  The tight unison ensemble interplay on "Hustle," which is the album's first single, is punctuated by the addition of drummer Gary Novak, bassist MonoNeon and saxophonist David Mann. Everette Harp's enchanting R&B ballad "Keep Holding On" highlights his mesmerizing alto while the conversation between Harp, Lorber and Jackson offer a glimpse into the ensembles telepathic interplay and playful spirit. The foot-stomping and turbo-charged "Funkin' In AZ" shifts gears and puts the pedal to the medal for a searing performance of funk at its best. The moment that bass line drops you can tell there is heavy weather ahead! "The working title was DS, which stands for David Sanborn," explains Harp. "I spent so many years trying to sound like David growing up in clubs playing, then when I started developing my own sound I didn’t want people saying I sounded like him. I finally got to a point where I was recognized for my sound and interpretation on the alto saxophone. I wanted to express my gratitude to David for the gift of direction he gave so many of us. That gift allowed us to branch off of that tree, and forge our own sounds and directions. So in doing this homage I was able to get together with Marcus Miller on bass, and Ray Bardani to mix, and try to recreate a sound they were so indelibly a part of on all of those successful Sanborn records.”

All the perfect elements align for the delightful and bluesy title track. On this Jeff Lorber original the temperature is just right, there's enough atmospheric pressure to keep the track swinging, sufficient wind to create the perfect synergy within the ensemble, low humidity and no clouds - just straight smooth sailing. “’Forecast’ represents the forward thinking and exploration musically that we are striving for,” says Lorber. The nexus of what makes Jazz Funk Soul work comes down to their mutual admiration for one another. “We started out as just a group focused on playing live shows together," explains Lorber. "Four albums later, I think we’ve proved that we’re a real band, hopefully with a bright future ahead of us too. Paul and I have been good friends and studio buddies ever since I moved to L.A. in 1980, and it’s been rewarding to also get to know Everette these last few years, both live and recording-wise.” "Bouncing Back" brings a feeling of optimism and renewal. When Harp launches into his solo it's as if the storm has cleared, the skies have opened and there are nothing but blue skies. The back and forth between Lorber and Harp catapults the track to another dimension. Another highlight on Forecast is Paul Jackson Jr.’s sizzling “Fish Grease.” The soul-jazz Crusaders vibe meets Memphis underground groove shows off the guitarist's technical ferocity and nasty blues infused chops. Jackson even plays the Dobro on this number, a rarity in smooth Jazz but so fitting for this bluesy ditty. JFS creates the meanest of grooves that will leave you smiling with your head nodding. It is hard not to fall in love with the up-tempo and intoxicating "Count Me In." The inviting swing of this track is undeniable. The pensive and pulsating flow of "When The Time Comes" offers a moment of serenity on Forecast while "Hidden in Plain Sight" opens our ears to the genius that is Jazz Funk Soul as they seamlessly fuse technical virtuosity with overflowing emotion and freedom in the groove. Lorber says, "There’s certainly enough negativity in the world, so I like to think listening to our record will be a little oasis of fun and positive vibes, that you can bob your head to.” 

Pianist, composer and producer Jeff Lorber has been a guiding light on the Contemporary Jazz scene for over four decades. Along with maestros Chick Corea, Herbie Hancock, Joe Sample and Bob James, Lorber is a groundbreaking Fender Rhodes pioneer. Having produced for everyone from Dave Koz to Kenny G, Lorber's long running acclaimed ensemble, Jeff Lorber Fusion, scored a Grammy for their album Protoype in 2015 for ‘Best Contemporary Instrumental’ album. Lorber who is a fan of science fiction and thrillers released his most recent solo effort Space-Time in 2021. A consummate musician, the Berklee College of Music alum states, "It's really important to challenge yourself to be better on all musical levels. You have to review what you’re doing and see what you can do to make it better. Good is not good enough, it has to be great."

"I love golf! I love golf! Oh, then there’s golf! Did I mention I love golf?!," declares Grammy nominated saxman Everette Harp. "I also like having a nice meal and watching a good movie with my wife. Relaxing on the patio and enjoying the golden years!" Harp seems to have discovered the fountain of youth despite having been one of the premiere architects of Contemporary Jazz since the early ‘90s. His soulful and trademark blend of Jazz, R&B, Funk and Pop have made him a favorite among fans, fellow musicians and critics alike. His impressive career that has allowed him to collaborate with everyone from Aretha Franklin, Chaka Khan, Anita Baker, Luther Vandross and Patti Labelle to George Duke, Herbie Hancock, Billy Joel and Kenny Loggins. He has left an indelible imprint on the scene with his own unique, muscular and soulful approach. His work on TV has brought his saxophone into the homes of millions who have heard him playing the theme songs for such popular TV shows as Entertainment Tonight and Soul Train. He also holds the distinction of being a former member of the posse on the first Arsenio Hall Show. Harp also hosted the radio program Smooth Jazz Odyssey with Everette Harp for a stint on WLOQ in Orlando, FL, which was the #1 show in the market during its four year run. His most recent solo release is First Love (2009).  Always striving to evolve Harp confides, "I’m am almost never happy with my playing. There are times I feel I’m close, but just didn’t quite get there. I find if I’m able to free myself from what I think I’m suppose to play and let the moments happen instead of forcing it, that’s when I feel I’m closest to being the musician I want to be." 

Los Angeles native Paul Jackson, Jr. launched his solo career in the late 80s. Jackson’s distinctive musical style and technical prowess have made him a favorite among live audiences. First call for numerous musicians, the Grammy-winning guitarist has recorded with an impressive roster of musicians including Quincy Jones, Barbra Streisand, Whitney Houston, Patti LaBelle, Michael Jackson and Bob James, among many others. “Many people ask the question, how do I master my instrument. I inform them that there’s no such thing as a ‘master’. Because there is so much to learn stylistically and historically, you will never learn it all,” explains Jackson. “Plus, music is ever changing and growing. I tell them ‘the day you think you’ve mastered your instrument, you should quit. You have put a dam where God put a channel.’ Paul Jackson Jr. has lent his prolific guitar work to several film scores including Get On Up, Zootopia and The Color Purple. The guitarist is also featured on Daft Punk’s CD Random Access Memories, which scored five Grammys in 2014. A man of many talents, Jackson is a big fan of vintage cars and trains dogs, sometimes participating in protection (police dog) training. Paul Jackson Jr.’s latest solo CD is Stompin’ Willie Presents More Stories (2016), which pays homage to dear friend and music icon George Duke. Jackson has made mentorship a mission in his life. He leads a monthly Bible study group and participates in a mentorship program for boys ages eight to eighteen.

"The name Jazz Funk Soul screams diversity," declares Everette Harp. "I think the fact that we’ve each been studio musicians and have played on many styles of records, allows our music to have a freedom of expression that can go from high energy to jazzy, funky, bluesy, soulful and emotional. I hope listeners feel this and enjoy the journey." You've got your invitation. Take the journey - as the Forecast assures the coast is clear and all is looking and sounding great!

Ben Sidrin | "Swing State"

Sixty years into a wildly accomplished career that counts music as only the foremost of many aspects, Ben Sidran takes yet another new direction with the September 16 release of Swing State (Bonsai/Nardis). Long known for his lively, bluesy singing style (in the vein of his mentor Mose Allison), the 78-year-old finally gives his vocal cords a rest with an all-instrumental jazz album with Leo Sidran, his son, on drums and Billy Peterson, a co-conspirator of nearly five decades, on bass.

If a strictly instrumental album seems to have been a long time coming, Sidran can honestly say that he's been busy with many, many other things. Aside from singing and playing piano, the hats he's worn across the years include academic, rock star, session player, songwriter, record producer, film composer, author, and broadcaster. Let nobody accuse him of being afraid of trying something new.

Even so, Sidran acknowledges that he got nervous about putting out a piano record when he considered the competition. "With all the brilliant piano players around," he says, "I never wanted to enter that fray."

The finished product, however, is not a leap into some great unknown. Anyone who knows the boisterous personality, blues roots, and storyteller's polish of Sidran's singing voice will immediately recognize it in his piano voice, too. He need not open his mouth to imbue either the classic swinger "Stompin' at the Savoy" or the ballad "Laura" with his quirky perspective and wry humor. Likewise, his original "Swing State" makes as powerful a rhythmic and melodic statement as Sidran's vocals ever did--without his uttering a syllable.

Nor does the lack of vocal work throw off his accompanists, both of whom are more than acquainted with Sidran's sound and persona. "The three of us share a special musical feel," the pianist says. Indeed, Leo Sidran (another multifaceted artist of equal accomplishment to his father) has played drums with Ben practically since he was old enough to reach the kit--and almost as long with Peterson, who's worked with the elder Sidran since before the younger was born.

All told, these elements make Swing State less a bold new venture than another very natural extension of Sidran's considerable artistic range. The wait for it only increases the welcome.

Ben Sidran was born August 12, 1943, in Chicago. He grew up in Racine, Wisconsin, but learned jazz through the records that his advertising executive father brought him from work in the Second City. His first love was boogie-woogie, which he taught himself to play on piano--but when he received a Horace Silver album for his bar mitzvah, he knew that that was the direction for him.

Attending the University of Wisconsin-Madison, Sidran befriended future icons of the San Francisco scene Steve Miller and Boz Scaggs, joining them in a blues band called the Ardells. They separated when Sidran traveled to England to earn his master's and doctorate degrees but reunited in 1968 to record what would become the first album by the Steve Miller Band. Sidran would soon enjoy a brief stint as a member, and for several years remain an auxiliary contributor to the band, writing their early hit "Space Cowboy."

Meanwhile, Sidran was working on his dissertation (which became the first of his five books); working on sessions with the Rolling Stones, Eric Clapton, and Peter Frampton; and making records of his own, beginning with 1971's Feel Your Groove. He also became a renowned and highly successful producer, collaborating with artists ranging from the Steve Miller Band and Van Morrison to Diana Ross and Mose Allison in addition to producing his own albums. He even became a broadcaster, hosting two award-winning National Public Radio series (Jazz AliveI and Sidran on Record) and the VH1 television program New Visions, which won a Cable Ace Award.

Making music remained Sidran's primary passion, however, and his discography has become extensive. Swing State is his 40th release under his own name. He and his trio will celebrate its release with engagements at Crooners, Minneapolis, 8/19-20; Cafe Coda, Madison, WI, 8/23; Neranenah, Atlanta, 8/25; and the Green Mill in Chicago, 8/26-27.

New Releases: Jyoti (Georgia Anne Muldrow), Lady Blackbird, Monday Michiru, Brasil Novo

Jyoti (Georgia Anne Muldrow) - Mama You Can Bet

We love the work that Georgia Anne Muldrow's been giving us as Jyoti in recent years – a cool conflation of classic jazz inspiration with the future soul that's made her such a pioneer in the 21st Century – all delivered with a fresh sort of style that certainly warrants her change in name! Jyoti handles all the instrumentation on the set herself – save for one great guest appearance from saxophonist Lakeica Benjamin – and the music blends beats, acoustic instrumentation, and vocals that drift in and out of the mix in a really great way – on titles that include "Ra's Noise", "Zane The Scribe", "The Cowrie Waltz", "Ancestral Duckets", "Quarrys Queers", "Skippin & Trippin", and "Swing Kirikou Swing".~ Dusty Groove

Lady Blackbird - Black Acid Soul

Lady Blackbird takes on a Nina Simone tune on the very first track on this set – quite a risky move, but the Lady's got a voice that's definitely up to the challenge! The singer's the sort that comes along once in a blue moon – a richly talented artist who's able to take any sort of tune and make it her own – which she definitely does here with a surprisingly diverse array of material which comes across with a surprisingly unified vibe – in part because the instrumental approach is as compelling as the vocals – often with spare piano or keyboards, augmented by just a bit more in terms of rhythm – really leaving Lady Blackbird to dominate the record with a sense of long-burning power that never lets up. Titles include "Ruler Of My Heart", "Blackbird", "It's Not That Easy", "Black Acid Soul", "Fix It", "Five Feet Tall", "Lost & Looking", and "It'll Never Happen Again".  ~ Dusty Groove

Monday Michiru - Enso

A set with maybe the most striking cover image that Monday Michiru's given us in years – and a record that really delivers on that promise, too – filled with really captivating tunes that represent a new high level in Monday's already-high career! There's a depth and maturity to the record that we never would have guessed when we first fell in love with her music – and we thought she was already pretty darn deep way back then – as Monday delivers hers vocals alongside musical complexity that takes strong advantage of the many great guest jazz musicians in the lineup – players who include Misha Tsiganov and David Kikoski on Fender Rhodes, Gil Goldstein on piano, Lew Tabackin on flute, and Steve Wilson on soprano sax. But at the center of it all is Monday – far more a jazz singer in recent years than the soul artist of her start – but balancing the spirit of both worlds beautifully, and with command of her vocal instrument that's completely stunning! Where most singers seem to get a bit more casual about their craft over the years, Michiru's just continued to master her natural instrument with a fantastic range and wonderfully expressive quality. Titles include "Ombre Of Time", "Pivot", "Cycles", "The Sound", "Ringo Oiwake", "Hope Pretend To Sleep", "Rise Above", "Life", and "Gossamer's Touch" – plus "Untethered", which features some great guest work from Ursula Rucker! ~ Dusty Groove

Brasil Novo (Various Artists)

New sounds from Brazil – a really wonderful collection of contemporary cuts that we never would have heard otherwise – were it not for the excellent efforts of the folks who put together the set! And yet when we say "contemporary", these aren't cuts that are heavy on electronica or done in a remix mode – as virtually all of this music is heavy on the sorts of elements that we've always loved in Brazilian music – lots of raw percussion, creative rhythms, and vocals that transcend the boundaries of language – sometimes given some creative twists that shift the genres nicely – so that you're not listening to warmed-over bossa or samba remakes! The whole thing's great, and the kind of record that really has us wanting to dig deeper – with a set list that include "Laranjeira" by Renata Rosa, "Opanije Xaxara" by Alabe Ketujazz, "Vento Corredor" by Group Bongar, "Pifanada" by Xaxado Novo, "Dunas" by Toro Instrumental, "Bim Bim Bim" by Cae, "Iansa" by Ilu Oba De Min, and "O Bar" by Dona Celia Coquista.  ~ Dusty Groove

New Music - Michael Dease, Alex Sipiagin, Soil & Pimp Sessions, Doug Webb

Michael Dease - Next Best Thing

We love the work of trombonist Michael Dease, and a record like this really has him in the best possible setting to really do his thing – working with a combo of well-chosen, sympathetic players, getting to unfurl some great new compositions, and stepping forward with this rock-solid energy that easily makes him one of the greatest contemporary musicians on his instrument! Dease isn't one to take the trombone into free jazz territory – but he does evolve the instrument a few steps past the territory of predecessors like JJ Johnson, Curtis Fuller, and even Steve Turre – working with a voice that's all his own, and a tight sense of phrasing that resonates especially well here with work on trumpet from Alex Sipiagin. But, as mentioned, the whole group's great – a wonderfully warm lineup with Renee Rosnes on piano, Rudresh Mahanthappa on alto, Boris Kozlov on bass, and Rudy Royston on drums – the last two of whom are wonderfully hard-swinging, and are fast becoming one of our favorite contemporary rhythm teams. Titles include the Dease originals "Horse Trading", "Lullaby For Rita", "Charly Jaye", and "Parker's Brood" – plus the tracks "Tiktaalk", "Glory", "Rainbow People", and "With Love". ~ Dusty Groove

Alex Sipiagin - Ascent To The Blues

Trumpeter Alex Sipiagin is no newcomer to jazz, but he also seems to have really grown as both a player and a leader in recent years – deepening his sound sound with a sense of color and timing that we've never heard before, and really making the most of his comrades in a combo – especially in a setting like this! The tunes are mostly all originals by Alex, delivered with a strong focus by the quintet – a lineup that also features Diego Rivera on tenor, Art Hirihara on piano and Rhodes, Boris Kozlov on bass, and Rudy Royston on drums and percussion – a group who work with an innate sort of energy throughout, really packing a heck of a lot into a small space – while still allowing for plenty of individual moments of expression! Titles include "Dolphin's View", "Doppio", "Hindsight", "No Doubts", "Rush Hour", "Sandrigo Blues", and "Novorod Bells". ~ Dusty Groove

Soil & Pimp Sessions - Lost In Tokyo

Soil & Pimp Sessions sound better here than ever – still working with a style that nobody else can touch – but in a way that's also a nice change from some of their previous records too! If anything, these guys have really perfected their ability to step out and soar – with horn passages that are not as tightly tied to the rhythms as before, so that they can find all sorts of colors and moods on their own – really illuminating the music in a beautiful way, as the bass and drums step in at points to keep things funky and moving forward! There's nothing "lost" in their music at all – and although we've been following these guys from the start, and loving every minute – we might well be loving this record than any previous set. Titles include "Valley Of The Light", "Ring Route 7", "Meji Jingumae", "Riverflow", "Funky Pongi", and "Generation Tree". ~ Dusty Groove

Doug Webb - Message

An album that really soars with a saxophone-heavy sound right from the very first note – a unique quintet outing that not only features the tenor of leader Doug Webb, but also the alto of Greg Osby and additional tenor of Bob Reynolds – in a lineup that just also includes Hammond from Brian Charette and drums from Charles Ruggiero! The three horns really soar together over the organ lines – then break off into some well-focused solos before giving Charette some solo space too – although that might not even be needed, given that his superb handling of his instrument strongly colors the album at every single moment. As with most Posi-Tone albums, the set's brimming over with original material – a feature that we really love from the label – on titles that include "Where Did You Come From", "Doug's Dilemma", "Frustration", "Nekide", "Caught In The Webb", "New Beginning", and "Bonnie Lass".~ Dusty Groove.

New Music: Irie Reggae Hits – Featuring Joe Gibbs & The Professionals, Whatever You Want – Bob Crewe's 60s Soul Sounds, Spirit Of France – Obscure, Rare Spiritual Jazz, Deep Folk, & Psych From The French Underground The French Underground, The Dining Rooms

Irie Reggae Hits – Featuring Joe Gibbs & The Professionals (with bonus tracks)

A hugely expanded version of this classic album from Joe Gibbs – in a 2CD set that adds in 32 bonus tracks, 20 of which appear on CD here for the first time ever! The core album is one that's really telegraphed by the image on the cover – a 1979 gem that brings together a host of different vocalists working in a righteous groove produced by Joe Gibbs and Errol Thompson – tracks set to slow-stepping rhythms that really let the vocals open up with plenty of soul, and plenty of message – in a great blend of personal and political themes that really tie together the different moods of Jamaican music at the time. Core titles include "Come On Little Girl" by Dennis Brown, "Lovely Lady" by The Mighty Diamonds, "This Train Is Bound For Glory" by Culture, "I Can't Stand The Rain" by Hortense Ellis, "My Number One" by Earl Sixteen, "Every Day Is Just A Holiday" by Ruddy Thomas, "Slim Thing" by Trinity, "The Greatest Love" by Lloyd Parks, and "Danger In Your Eyes" by Marcia Aitken. PLUS, the 2CD set features 34 more bonus tracks, all Gibbs and Thompson productions – work by Junior Murvin, Black Uhuru, The Africans, Jacob Miller, Althea Forrest, Dhaima, Enos McLeod, Dennis Walks, Junior Delgado, and others.  ~ Dusty Groove

Whatever You Want – Bob Crewe's 60s Soul Sounds

A great lost legacy in soul music – a killer collection of work that was all put together by Bob Crewe in the New York studios of the mid 60s – a time when Crewe was maybe best known for his brilliant work with the Four Seasons, but still had time to work with a whole host of other acts as well! Like his famous proteges, Bob also had a really strong appreciation for soul music – and here, he turns his stunning ear for studio perfection to a whole host of different artists on tracks that were issued on a variety of different labels – the kind of special magic that made Crewe's presence known to those who were paying attention to producer credits on 45rpm singles back in the day! The selection of cuts is as wonderful as the artists who recorded them – presented with detailed notes and great sound that go way past any of the bootlegs that have explored this territory in previous years – with a whopping 24 tracks in all, titles that include "Long Time No See" by Tracey Dey, "Count On That" by Shirley Matthews & The Big Town Girls, "Time Marches On" by Lainie Hill, "Sayin Something" by Dey & Knight, "Sock It To Me Baby" by James Carr, "3 Minutes Heavy" by The Time Keepers, "Everything Under The Sun" by Walter Jackson, "Deep Dark Secret" by Dee Dee Sharp, "Whatever You Want" by Jerry Butler, "An Angel Cried" by Hal Miller & The Rays, "My Own Two Feet" by Kenny Lynch, "Hurt Yourself" by Frankie Valli, "Stranger In My Arms" by Lynne Randell, and "I'm Going Out" by Kiki Dee. ~ Dusty Groove

Spirit Of France – Obscure, Rare Spiritual Jazz, Deep Folk, & Psych From The French Underground The French Underground 

A much-needed look at the really magical world of music in France – a scene that's always seemed to exist in its own sort of space, especially during the late 70s/early 80s years when most of these tracks were recorded! The French scene had some famous free jazz at the start of the 70s, but there was also another strain of unique sounds that were beyond categorization or comparison – music that took some of the creative inspiration of jazz and turned it towards global sources, acoustic instruments, analogue electronics, and even French vocal styles – creating work that was not only years ahead of its time, but which also was often missed on the global market, because it was so hard to label and categorize! This set brings together some of the best of those moments – music that's maybe a great second step if you've already dug sounds on labels like Saravah or Futura/Marge – and the whole package is wonderful throughout – filled with titles that even we might have missed otherwise. Tracks include "Gaal" by Noco Music, "Les Crocodiles" by Catherine Derain, "Reve De Voyage" by Remy Couvez, "Sokoto" by Structures Sonores Lasry Baschet, "Loreley" by Pan Ra, "Mahabaratha Kali" by Adjenar Sidhar Khan, "Bujumbura Lyon" by Workshop De Lyon, "Arabia" by Dynamo, "Love Always" by Jef Gilson, and "Moving Waves" by Andre Fertier & Clivage. ~ Dusty Groove

The Dining Rooms - Turn To See Me

Some of the deepest work we've ever heard from the Dining Rooms – a set that still has the well-crafted grooves of their previous records, but which shows a richer understanding of sonic properties as well – delivered in ways that make the record more than just a batch of tracks – and instead have a wider palette of sounds that opens up in different ways with each new track. The record has a mix of both vocals and voice – not too many lyrics throughout, but the presence of guests who almost drift in and out of the mix at some points – and have a more straightforward presence at others. Titles include "Desire", "Turn To See Me", "Bonjour", "Lungo Il Fiume E Sull'Acqua", "Energy & Love", "What's Your Path Man", "Water & Sea", and "Empty Window/Empty Space". ~ Dusty Groove

New Music: David Versace, Laura Cream & Bill Coon, Brenda Rothwell, Risco Connection

David Versace - Okra

'Summer Party' is the first offering from David Versace’s forthcoming debut LP ‘Okra’. The sharp four minute track hooks like Kamal & The Brothers swinging back and forth between samba with the breadth of the Australian landscape organically intertwined. Perfectly illustrating the rest to come of the LP. Part Jazz, Samba and Ambient excursion and experiments.​David Versace is an Australian multi-genre keyboardist, composer and producer based in Meanjin, Queensland. Growing up in a very musical household it was always important to express and embrace all types of music and sonics. His sound ranges from Jazz and Samba to ambient works and the odd dance-floor heater. David also plays in Meanjin nu-jazz dance outfit First Beige.Since late 2019, he has self released around 20 different tracks and with the most recent signing to La Sape Records, David is excited to announce his debut solo album 'Okra' a conceptual body of work that flows through a culmination of raw organic concepts conceived in the moment, and his most elegant an articulated work yet. 

Laura Cream & Bill Coon - Stringsongs

National Jazz Award winning guitarist Bill Coon and acclaimed Canadian vocalist Laura Crema have collaborated on a book of genre-spanning  original songs. Their offering draws on jazz, Latin, country, and folk music, and evokes a wide range of moods, from carefree exuberance to haunting melancholy. The sumptuous sonic interplay between Laura, Bill, and their renowned collaborators Peggy Lee & Jon Bentley creates a lush, layered, and thoroughly mesmerizing sound. Their new album Stringsongs developed organically, the product of a longstanding musical friendship developed over the course of countless dates with a wide variety of bands. Fittingly, their first song began life as Benni, an instrumental Coon had written for a dear friend. Coon asked Crema if she was interested in writing some lyrics to help capture the essence of friendship and loss – themes which became essential leitmotifs for their entire collaboration. \

Brenda Rothwell - Destiny

Released just before the pandemic, Anglo-Canadian bassist/composer Brendan Rothwell’s 2019 smash single, “Keep on Keepin’ On” – which made him the first indie artist to hit #1 on all three SmoothJazz.com Airplay Charts – offered the musical hope and encouragement we needed to navigate the global challenge. Always evolving and full of surprises, this multi-faceted artist – who was inspired to play bass when he heard Marcus Miller’s groundbreaking work on Miles Davis’ TUTU – infuses his easy-grooving, buoyantly funky and often soulfully meditative third album Destiny the intimate and emotionally direct, heart to heart nature of Brendan’s compositions, Destiny presents twelve master-crafted tracks with titles designed to spark our musical imaginations. www.smoothjazz.com

Risco Connection - Risco Version

We're going back to 1979 at Strut HQ today as we release the first ever official compilation bringing together the reggae / disco singles of Risco Connection, formed by ex-Studio One house drummer "Drummie" Joe Isaacs. Isaacs had created history at Studio One, playing on countless pre-reggae classics before moving to Canada in 1968. “We were among of the first Jamaican musicians to go there,” he explains. “With Risco Connection, we wanted to try something new, songs with a crossover between disco and the rocksteady feeling." Musicians included Isaacs on drums and percussion, bassist Clarence Greer, guitarist Tony Campbell and keyboardist/singer Glen Ricketts. Isaacs also called on a number of great independent vocalists including Merlyn “Lorna” Brooks, (‘Caught Up’), Otis Gayle and Juliette Morgan (‘Bringing The Sun Out’ and ‘Sitting In The Park’). The dub of Risco’s dynamite cover of McFadden and Whitehead’s ‘Ain’t No Stopping Us Now’ became a firm favourite of David Mancuso at his famed Loft parties. ‘Risco Version’ brings together all of the vocal versions, dubs and additional tracks from the singles and features liner notes by journalist Angus Taylor including an interview with Joe Isaacs. Audio is restored by Sean P and cut loud and proud by The Carvery.

New Music: Gerardo Frisina, Natural Lateral, The Jazz Report All-Stars, Per Møllehøj / Richard Andersson / Jorge Rossy

Gerardo Frisina - Soul Drum

For a prolific artist as Gerardo Frisina, almost two years without a new release from him seems like an eternity: this brand new 12′′ EP entitled “Soul Drum” breaks the silence, giving us three new works composed by Gerardo, four if we consider the two versions of the title track. This EP anticipates the full album already in the works, scheduled for release at the end of 2022. Without losing his Latin trademark, Gerardo continues his research into hypnotic and pulsating rhythmic patterns in both acoustic and electronic form, which are now a fundamental stylistic element of his. As on his previous album “Moving Ahead”, the rhythmic style blends naturally with echoes of tribal voices, piano keys and wind instruments (trumpet, saxophone, flute), creating the “Joyful Sound” (title of the forthcoming album) that reverberates on the surface.

Natural Lateral - Tapestry Of Life

Social Joy Records presents Natural Lateral's new album 'Tapestry Of Life', a superb excursion in fusion jazz with a wonderful blend of electronics and subtle elements of spiritual jazz. Undeniably on the rise after the success of their first album, ‘Cogito Ergo Jam’, which received support from the British Jazz scene and was featured on Gilles Peterson’s BBC 6 music show, the North- London based collective goes a step further this time by carefully crafting a new release of a tapestry of music stemming from rich jam sessions at the Lazy Robot Studio and representing the band's phenomenal musical canvas. Echoing jazz legends like Azymuth, Roy Ayers, Alice Coltrane and Miles Davis by paying tribute to those who paved the way but always searching for new musical territories, this six-track LP is moving, thougg and engaging. It is a musical quest where each band member searches for meaning through rhythm and sound - giving a new life to jazz music and dropping the full spectrum of a vibrant tapestry of life into the listener's ears. The release moves through elements of vintage, yet also involves sophisticated sound production fusing jazz with modern dance and world music sensibilities. The first track lifted off the LP is ‘Rendez-rio’, a feel-good summer track of Bossa. The superb Rhodes keys adds a Samba cadence to the track where one feels easily transported into a musical dream landscape – offering a "rendez-vous" in Rio de Janeiro.

The Jazz Report All-Stars - Take The Train Eh

"Take the Train Eh", is an arrangement crafted around Strayhorn’s A Train, embellished with the dense, freewheeling arranging style of Don Thompson - himself on vibraphone. The band plays with the precision and electrifying energy of a high-speed commuter train jetting from one station to the next. Thompson solos brilliantly on vibraphone – followed by a classic Kirk MacDonald performance that straddles the landscape between Dexter Gordon and Wayne Shorter, and a third solo by trombonist Terry Promane, punctuated by an intervening series of Thompson interludes and extensions, leading to a final rousing eight bars of A Train. The Jazz Report debuted as a three-hour Thursday afternoon radio show on the campus of the University of Toronto in 1986 at CIUT 89.5 FM, produced and hosted by Bill King. By 1988, the show had transformed into an international jazz magazine – The Jazz Report Magazine which had an 18-year run, and in 1989 a nationally syndicated radio show heard in 26 Canadian cities—The Jazz Report Radio Network. The late ‘80s were a time of extraordinary growth in Canadian jazz, in that countless musicians broke away and began recording, producing, and pressing their own music. Most attached to a collective. In 1990, King received a request from an event planner to assemble a jazz entity for Roy Tompson Hall - a night of socialites and dignitaries fundraising for a select charity. The dollars earmarked for the music portion covered the hiring of a ten-piece ensemble, of which King called the Canadian Jazz Orchestra. The occasion was also significant in that King played on Glenn Gould’s Yamaha concert grand, notably bequeathed to the hall by Gould himself. The collective performed live on two occasions—once at the Du Maurier Downtown Jazz Festival in 1993 and the Montreal Bistro over two nights in July 2000.

Per Møllehøj / Richard Andersson / Jorge Rossy - Inviting

With roots in Denmark, the Faroe Islands and Iceland, Copenhagen-based bassist Richard Andersson brings together legendary drummer and ECM recording artist Jorge Rossy with in-demand guitarist Per Møllehøj for “Inviting”, a true homage to the giants of jazz out August 12th. Turning to music aged 14 after a firework accident left him blind, he found his way into jazz first through Keith Jarrett and, later, the live recordings of pianist Brad Mehldau. The drummer on the latter's albums, alongside bassist Larry Grenadier? None other than a young Jorge Rossy. "I loved the way Larry Grenadier and Jorge Rossy played with such a natural feeling and groove,  even when in an odd meter. I studied this a lot back then and to be able to perform with Jorge Rossy himself (and to put some of those tricky rhythmic ideas on record!) is a thrill. And, to top it off, “inviting” my long-time friend Per Møllehøj to join us on guitar is a big honor for me.” It’s perhaps unsurprising given the preferred format of his music idols that he brings together a classic trio line-up for the recording. But it’s by no means a copy of those past greats. Leading with guitar instead of piano, the trio gives a fresh improvisational twist to some oft-underused jazz standards in addition to four original compositions by Møllehøj and Andersson. Bebop tune Conception gets a mid-tempo modern treatment, with Andersson’s virtuosic bass chops doubling the melody. Like Someone In Love undulates between sparse ballad to downtempo swing, whilst a cooking version of the tune You’re My Everything highlights the jazz tradition credentials of all involved. “To have Per Møllehøj and Jorge Rossy in a trio setting playing standards and alike is probably as close to a perfect musical situation as you can get for a bass player like me.” Described as “one of the most interesting characters of the Danish jazz scene” by Gaffa Magazine, you’d have to imagine the feeling is mutual!

Walt Weiskopf European Quartet | "Diamonds and Other Jewel"

Waylaid by the COVID-19 pandemic, tenor saxophonist Walt Weiskopf and his European Quartet return with a vengeance on Diamonds and Other Jewels, set for an August 19 release on AMM Records. A collection of Weiskopf originals (and one standard), it demonstrates the powerful chemistry Weiskopf shares with pianist Carl Winther, bassist Andreas Lang, and drummer Anders Mogensen—matched by their audible relish at being back together. 

The album is the sixth release by the acclaimed quartet, assembled by Weiskopf in winter 2017 for a quick European tour but quickly becoming his regular working band (when not on the road with Steely Dan, Weiskopf’s other steady gig). The winter European tour became an annual tradition—although 2020’s was their last in-person summit for two years. (Their 2021 release, Introspection 2.0, was recorded remotely, with Weiskopf across the Atlantic from his bandmates.) When opportunity finally presented itself again in January 2022, they were more than ready to take it. 

“Playing together again was joyful, creative, productive; and what a relief to feel a semblance of wholeness at last,” writes Weiskopf in the liner notes. “After our first few concerts, I was excited and inspired to write some new material during a train trip from Belgium to Germany. I realized we now had enough music to make a recording worthwhile in earnest.”

The title Diamonds and Other Jewels is a direct reference to actual song titles, including the scintillating waltz “Black Diamond”; the pensive but emotionally charged “Blood Diamond”; and the autumnal ballad “Other Jewels.” But it could easily describe the overall quality of the album’s eight tunes. Among the sparkling treasures are tributes to two of Weiskopf’s mentors: “Thad Nation,” a brightly colored celebration of composer, arranger, and (co-)bandleader Thad Jones, and the Arthur Johnston-Sam Coslow classic “My Old Flame,” dedicated to the late great alto saxophonist Andy Fusco.

 These tunes are tight, most of them around six minutes. That’s a sterling testimony to how tight the band itself remains, both in terms of their personal bonds and their musical discipline. In those short timeframes, these musicians say a tremendous amount. (Photo above, l. to r.: Andreas Lang, Carl Winther, Walt Weiskopf, Anders Mogensen.)

Walt Weiskopf was born July 30, 1959, in Augusta, Georgia to a father whose work as a medical doctor was offset by his pursuit of classical piano. Both his sons—Walt and pianist Joel—followed in his formally trained footsteps. By the time he graduated from Eastman School of Music in 1980, however, Weiskopf was firmly in the jazz camp.

He kickstarted his career in Buddy Rich’s big band, moving on a few years later to the Toshiko Akiyoshi orchestra, then beginning to build a solo reputation. His first two albums as a leader, 1989’s Exact Science and 1990’s Mindwalking, both put him at the helm of a quartet with his brother Joel, bassist Jay Anderson, and drummer Jeff Hirshfield.

From there, Weiskopf was leader and performed with a variety of different ensembles, recording 11 albums over a 15-year span from 1992 to 2007 while maintaining a healthy freelance calendar in the commercial world of the New York studio scene, Broadway show pit orchestras, as well as the Akiyoshi band, Frank Sinatra orchestra, and his notable peers including, among others, Renee Rosnes, Conrad Herwig, Jim Snidero, John Fedchock, and Billy Drummond. He got the call to join Steely Dan in 2003 and has been with the jazz-rock ensemble ever since.

Weiskopf assembled his European Quartet in 2017, sprinting across Scandinavia and northern Germany for just a week—but gaining enough steam for the saxophonist to document them on a self-titled album. But one recording couldn’t contain the band’s creative energy: European Quartet was followed by 2019’s Worldwide, 2020’s Introspection, and 2021’s Introspection 2.0, as well as the holiday EP A Little Christmas Music before laying down Diamonds and Other Jewels in January 2022.

Walt sums it up: “This is what I’ve always wanted to do—to work with like-minded musicians, to write music, share it, and perform all over the world. This is my professional dream come true.”

Blue Note Re:imagined II

Blue Note Re:imagined returns on September 30 with a new 16-track compilation featuring fresh takes on music from the Blue Note vaults recorded by a heavyweight line-up of the UK jazz, soul, and R&B scene’s most hotly-tipped rising stars. Arriving off the back of the widespread international success of the first volume, which topped jazz charts around the globe, Blue Note Re:imagined II once again infuses the spirit of the new UK jazz generation into the legendary label’s iconic catalog, balancing the genre’s tradition with its future and reflecting the melting pot of talent and diversity within the current scene.

Today sees the release of the second track from the album — London tuba player Theon Cross’ reimagining of Thelonious Monk’s “Epistrophy,” which first appeared on Monk’s 1948 Blue Note album Genius Of Modern Music, Vol. 1. Cross is known as a core member of Sons of Kemet, and he’s collaborated with artists like Moses Boyd, Nubya Garcia,  Jon Batiste, Emeli Sandé, Kano, Lafawndah, and Makaya McCraven. The pre-order launches today for the 7” vinyl release out July 8 of Theon Cross’ “Epistrophy” paired with Ego Ella May’s reimagining of visionary drummer Chico Hamilton’s “The Morning Side Of Love,” which was the first single released off the album.

Additional tracks on the album will include funk-pop duo Franc Moody’s version of Donald Byrd’s “Cristo Redentor,” fast-emerging vocalist Cherise’s take on Norah Jones’ “Sunrise,” Maya Delilah covering Neil Young’s “Harvest Moon,” which was recorded by Cassandra Wilson on her 1995 Blue Note album New Moon Daughter, Birmingham-born pianist Reuben James’ reimagining of Wayne Shorter’s ballad “Infant Eyes,” and 9-piece afro-jazz outfit Nubiyan Twist’s fresh spin on Donald Byrd’s “Through The Noise (Chant 2).”

Blue Note Re:imagined II – Tracklisting

• Yazz Ahmed “It” – From Chick Corea Is (1969)
• Conor Albert “You Make Me Feel So Good”– From Bobbi Humphrey Fancy Dancer (1975)
• Parthenope “Don’t Know Why” – From Norah Jones Come Away With Me (2002)
• Swindle “Miss Kane” – From Donald Byrd Street Lady (1973)
• Nubiyan Twist “Through The Noise (Chant No.2)” – From Donald Byrd A New Perspective (1963)
• Ego Ella May “The Morning Side Of Love” – From Chico Hamilton Pereginations (1975)
• Oscar Jerome & Oscar #Worldpeace “(Why You So) Green With Envy” – From Grant Green Green Street (1961)
• Daniel Casimir ft. Ria Moran “Lost” – From Wayne Shorter The Soothsayer (1965)
• Theon Cross “Epistrophy” – From Thelonious Monk Genius Of Modern Music, Vol. 1 (1948)
• Maya Delilah “Harvest Moon” – From Cassandra Wilson New Moon Daughter (1995)
• Kay Young “Feel Like Making Love” – From Marlena Shaw Who Is This Bitch, Anyway? (1974)
• Venna & Marco Bernardis “Where Are We Going” – From Donald Byrd Black Byrd (1972)
• Reuben James “Infant Eyes” – From Wayne Shorter Speak No Evil (1964)
• Binker Golding “Fort Worth” – From Joe Lovano From The Soul (1991)
• Cherise “Sunrise” – From Norah Jones Feels Like Home (2004)
• Franc Moody “Cristo Redentor”– From Donald Byrd A New Perspective (1963)

Ronnie Foster | "Reboot"

Organ great Ronnie Foster returns to Blue Note Records with the July 15 release of Reboot, his first new album in 36 years which arrives 50 years after his 1972 Blue Note debut Two Headed Freap. The nine-song album was recorded at the legendary Capitol Studios and marks a fresh start for Foster, who has whipped up an omnidirectional brew of Hammond Organ Groove that pays homage to the past but more often reflects his restlessness for ushering in the new. The album’s grooving title track “Reboot” is out now featuring Foster on organ, his son Chris Foster on drums, and Michael O’Neill on guitar. Reboot is available for pre-order now on D2C exclusive red vinyl, black vinyl, CD, and digital download.

Listeners the world over have heard Foster’s soulful playing, whether from his standout performance on “Summer Soft” from Stevie Wonder’s 1976 masterwork Songs In The Key Of Life, best-selling George Benson albums including Breezin’, or A Tribe Called Quest’s classic hip-hop track “Electric Relaxation” which sampled Foster’s “Mystic Brew” from Two Headed Freap, which was reissued last week as part of Blue Note’s Classic Vinyl Reissue Series.

The Buffalo, New York born keyboardist first caught the ear of Blue Note co-founder Francis Wolff when he made his first-ever recording as a sideman on guitar legend Grant Green’s searingly funky Blue Note LP, Alive! in 1970. After Wolff passed away a few months later, Ronnie was officially signed to Blue Note by George Butler making him the next in an illustrious lineage of Hammond B3 organ artisans the label had presented which included Jimmy Smith, Larry Young, and Dr. Lonnie Smith. Two Headed Freap was the first in a run of five stellar jazz-funk albums Foster would make for Blue Note throughout the 1970s including Sweet Revival, Live: Cookin’ with Blue Note at Montreux, On the Avenue, and Cheshire Cat. Stream our playlist Ronnie Foster: The Finest featuring highlights from the organist’s Blue Note discography.

Mightily hoisting the Blue Note organ torch once again, Foster gives thanks to the musical osmosis that was poured into him by all of the greats that preceded him. In the album’s liner notes, Ronnie makes sure to pay homage to one very important person in his life who passed away in 2021: “This album is dedicated to the memory of my brother, friend, Buffalo Homie and hero Dr. Lonnie Smith, who was one of the best in the world on the Hammond B3 organ.”

Julian Lage - View With A Room, plus tour dates

Guitar virtuoso Julian Lage expands his horizons on View With A Room, a collection of 10 compelling original compositions out September 16 that marks his second release for Blue Note Records. Having established a home base with his brilliant and deeply attuned trio of bassist Jorge Roeder and drummer Dave King—most recently heard on the guitarist’s acclaimed 2021 Blue Note debut Squint—Lage casts his gaze outward to discover new orchestrational possibilities with the addition of six-string icon Bill Frisell, who adds his inimitable voice to this stunning album. 

Lage has also announced his Fall U.S. tour View With A Room In Concert, which kicks off September 13. Lage’s Summer tour schedule also includes a week at the Village Vanguard in New York City (July 26-31), as well as performances across Canada and Europe. 

“In so many ways, I’ve wanted to make this record for years,” says Lage. “It comes from a line of musical inquiry: can you have lush orchestration combined with an organic sense of improvisation and the agility of a small ensemble?”

Without bolstering the line-up with additional instrumentation and more intricate writing, thus losing the maneuverability and venturesome spontaneity that he’s honed with Roeder and King over the last several years, Lage found his solution where he so often does: in the guitar.

“The answer came from some of the historical references that matter to me about the electric guitar,” Lage explains. “There’s a certain lineage that grows out of early pioneers like Jimmy Bryant and George Barnes and Charlie Christian, where there’s this almost electric volatility to the sound. It’s both beautiful and kind of sharp; it’s subdued and warm, but also kind of gritty. In thinking about the orchestration for this album, I wanted to foster the point of that arrow.”

There’s no one better suited to understanding what Lage was seeking, who is better versed in the history of guitar and jazz and beyond, its personalities and possibilities, than Bill Frisell. The legendary guitarist has worked with Lage in several different contexts, including duo concerts and projects devised by John Zorn, and enhances Lage’s vision in atmospheric and incisive ways throughout View With A Room. The pair honed in on a shorthand vocabulary rich with references as diverse as the Beach Boys, Keith Jarrett’s American and European Quartets, and George Harrison’s All Things Must Pass. The two guitarists’ subtle weave is at the heart of “Auditorium,” where Frisell’s agile rhythm work buoys Lage’s eloquent leads atop the gracefully subtle propulsion of Roeder and King.

“There’s no one I would trust more than Bill Frisell to come into our trio ecosystem and be able to expand it while totally embracing it,” Lage says. “It became a beautiful collaboration that achieved the Technicolor experience that I’ve been searching for.”

View With A Room was produced by Margaret Glaspy, his wife and musical partner who brings her own insights as a singer-songwriter to the lyrical and storytelling aspects that make Lage’s compositions so singular. She worked closely at Brooklyn’s Bridge Studios with engineer Mark Goodell, who Lage credits with “wrangling this album into a sonic place that references what we love best about classic Blue Note records while still feeling utterly contemporary and unique to the sound of this band.” Lage’s longtime friend and collaborator Armand Hirsch added integral post-production elements that bring the emotional intent of each song into focus.

JULIAN LAGE – 2022 TOUR DATES:

June 25 – Victoria, BC – TD Victoria International Jazz Festival

June 26 – Vancouver, BC – TD Vancouver International Jazz Festival

June 27 – Edmonton, AB – TD Edmonton International Jazz Festival

June 28 – Ottawa, ON – TD Ottawa International Jazz Festival

June 29 – Toronto, ON – Axis Club

June 30 – Montreal, QC – TD Montreal International Jazz Festival

July 2 – Glynde, UK – Love Supreme Jazz Festival

July 5-6 – Jerusalem, IL – Jerusalem Jazz Festival

July 8 – Paris, FR – New Morning

July 9 – Rotterdam, NL – North Sea Jazz Festival

July 10 – Munich, DE – Jazzclub Unterfahrt

July 11 – Prague, CZ – Bohemia Jazz Festival

July 12 – La Spezia, IT – La Spezia Jazz Fest

July 14 – Genoa, IT – Piazza delle Feste

July 15 – Sète, FR – Jazz A Sete

July 26-31 – New York, NY – Village Vanguard

Aug. 22-26 – Big Indian, NY – Alternative Guitar Summit Camp

Sept. 3 – Detroit, MI – Detroit Jazz Festival

Sept. 13 – Pittsburgh, PA – Oaks Theater

Sept. 14 – Bellefontaine, OH – Holland Theater

Sept. 16 – Madison, WI – High Noon

Sept. 17 – Minneapolis, MN – Dakota

Sept. 20 – Seattle, WA – Neumos

Sept. 21 – Portland, OR – Aladdin Theater

Sept. 23 – Monterey, CA – Monterey Jazz Festival

Sept. 25 – Geyserville, CA – Trione Vineyards and Winery

Sept. 27 – Visalia, CA – Cellar Door

Sept. 28 – Solana Beach, CA – Belly Up Tavern

Sept. 29 – Phoenix, AZ – Musical Instrument Museum

Oct. 1 – Boulder, CO – Boulder Theater

Oct. 14 – Los Angeles, CA – Walt Disney Concert Hall*

Nov. 30 – Washington, DC – Sixth & I

Dec. 1 – Philadelphia, PA – World Cafe Live (Downstairs)

Dec. 3 – Boston, MA – Paradise Rock Club

Dec. 4 – Old Saybrook, CT – The Kate

Dec. 6 – Newark, OH – Thirty One West

Dec. 7 – Chicago, IL – Thalia Hall

Dec. 8 – Lexington, KY – Origins Jazz – Children’s Theater

Dec. 9 – Asheville, NC – Grey Eagle

Dec. 10 – Atlanta, GA – Center Stage

Dec. 11 – Nashville, TN – Brooklyn Bowl

Dec. 14 – Charlottesville, VA – The Jefferson

*with The Bad Plus

New Music: Thee Sacred Souls, Sioux Robbins, Booker T, Moor Mother

Thee Sacred Souls - Thee Sacred Souls

For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their self-titled debut on Daptone Records. “Every step of the way has just been so organic,” says drummer Alex Garcia. “Things just seem to happen naturally when the three of us get together.” Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already. Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), Thee Sacred Souls is a warm and textured record, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry. Hints of Chicano, Philly, Chicago, Memphis, and even Panama soul turn up here, and while it’s tempting to toss around labels like “retro” with a deliberately analog collection like this, there’s also something distinctly modern about the band that defies easy categorization, a rawness and a sincerity that transcends time and place. 

Sioux Robins - Relax Girl

Singer songwriter Sioux Robbins spent her earlier days performing in jazz clubs and cocktail lounges in Philadelphia and Atlantic City, singing jazz standards. Her dark contralto to silky soprano runs the gamut of Nina Simone, and Sade, to Roberta Flack and Anita Baker. Her music is born out of the classic writing styles of Carole King and Paul Simon while it pushes forward into the now of Solange and Janelle Monae.  Her lyric writing is poetic and thought provoking, and the music is fresh and nostalgic at the same time. Her vocals reveal a sound uniquely her own. "As I Breathe,: is a breezy Latin; "Scares Me," is a Pop/R&B ballad reminding us all that, yes, new love can be scary. The Doobie Brothers cover "It Keeps You Running" is a sexy, bump and grind, old school R&B ballad. "Relax Girl," the title track, is an uplifting pep talk that launches into a jam on the bridge. "All the Time in the World" is a chill Latin with clever lyrics and a memorable hook. "Gentleman Friend" is a pop ballad about a crush. "Ultimatum" is the icing on the cake, a blend of EDM and Latin. This debut album shows not just her strength as a singer but her possibly greater strength as a songwriter

Booker T - I Want You (with bonus tracks)

An early 80s gem from Booker T – and continuing proof that he made some mighty nice music after he split from the MGs! This set's got Book grooving in a sweet Cali mode all the way through – a vibe that's warm, yet never sleepy at all – and blended with just the right touches of funk and jazz to keep things hip, and give the album way more depth than you might expect! There's some surprising fusion touches at times, but the album always has a great focus – and if anything, reminds us of some of the best soul sides on Capitol Records of the time – particularly those influenced by earlier funk on Blue Note. Booker handles vocals, keyboards, and guitar – plus most of the arrangements too – and the album's got a sweet stepping groove that's mighty nice all the way through! Titles include "I Want You", "Treasure Chest", "Don't Stop Your Love", "Electric Lady", "You're The Best", and "I Came To Love You". ~ Dusty Groove

Moor Mother - Jazz Codes

Moor Mother's an artist who just keeps on getting more and more interesting with each new release – definitely in a genre that's completely her own – one that lives up to the spirit of west coast underground pioneers in recent decades – and, as with those artists, seemingly finds a sonic space that none of us knew existed! Under her real name, Camae Ayewa, Moor Mother has roots in musical education in the world of higher learning – and here, she's managed to draw together many strands of that experience into a voice that's not only all her own, but completely organic and laidback too – a mixture of hip hop, soul, spoken word, and some of the jazzier currents promised in the title. Nearly every single track features a collaboration – artists include Nicole Mitchell, Melanie Charles, Jason Moran, Wolf Weston, and many others – and titles include "Woody Shaw", "Ode To Mary", "Umzansi", "Golden Lady", "Blame", "Blues Away", "Dust Together", "Arms Save", "Barely Woke", "Rap Jasm", and "Joe McPhee Nation Time Intro". ~ Dusty Groove

Nate Wooley & Columbia Icefield | "Ancient Songs of Burlap Heroes"

With the self-titled 2019 debut of his remarkable quartet Columbia Icefield, trumpeter and composer Nate Wooley traced the Columbia River from his Oregon hometown to its glacial headwaters, sonically reckoning with the awe-inspiring beauty of the immense icefield. The band’s breathtaking follow-up, Ancient Songs of Burlap Heroes, essentially brings the project full circle, a thematic homecoming that contrasts the intimacy of one’s roots with the vastness of the wider world. 

Due out July 29 via Pyroclastic Records, Ancient Songs of Burlap Heroes finds Wooley reconvening with guitarist Mary Halvorson, pedal steel guitarist Susan Alcorn, and drummer Ryan Sawyer, whose distinctive voices contribute to Wooley’s sweeping vision. The album also includes contributions from violist Mat Maneri and electric bassist Trevor Dunn. The album unfolds as a captivating hour-long narrative of the monolithic intensity, hushed atmospherics, and gravitational force of a shifting glacier. 

Columbia Icefield was initially conceived, Wooley explains, as a reimagined take on a jazz group, though the end result became something much more expansive. “I had been having trouble thinking of myself as a jazz musician,” the trumpeter says. “So I decided to write some music for a new kind of jazz group. But after recording the music and playing it live, I realized that it's closer to folk music.” 

When Wooley speaks of folk music, he’s pointing to a storytelling tradition that expresses the tales and collective ethos of a people. And Ancient Songs expresses the ethos of the title’s “burlap heroes.” As Wooley writes in the recording’s dedication:       

This album is dedicated to those who recognize living as a heroic act: the occupiers of sunup barstools; the cubicle-planted; the ghosts of Greyhounds; the reasonably sketchy. A burlap hero is one who marches—consciously or not—back to the sea in hopes of making no splash, who understands and embraces the imperfection of being, and in that way, stretches the definition of sainthood to fit. 

These concepts steered Wooley back to his hometown of Clatskanie, Oregon, with all of the conflicted emotions that one inevitably brings to seeing familiar sights through changed eyes. Where the group’s first recording dealt with leaving humble roots and being confronted with the monumental scale of the natural environment, Wooley says, “Ancient Songs feels like a long story told in front of a huge mountain—or in a forest of sequoias—alternating with intimate moments that feel like the trumpet is right against your ear.” 

These same ideas are echoed in the striking photographs by aAron Munson that make up the album’s artwork. Taken from Munson’s series Isachsen, Nunavut, the haunting images evoke similar ideas of return and abandonment—familial connections and innate loneliness—as those woven through Wooley’s music. 

Though it unspools as an uninterrupted, mesmerizing hour-long experience, Ancient Songs is divided into three poetically titled large-scale compositions. “I Am the Sea That Sings of Dust” depicts the struggle between the natural world and human expression, with waves of crushing sound threatening to drown out the initially gentle and airy playing. The music gradually accrues into a tempestuous whorl, then calms into soaring beauty, pairing Wooley’s trumpet and Maneri’s viola. “A Catastrophic Legend” was penned as a love letter to Wooley’s mentor, Ron Miles, with whom he’d previously recorded the 2016 album Argonautica. The piece, which includes Dunn’s elastic bass playing, was conceived long before Miles’ passing in March and now stands as an elegy to a lost friend. The stirring “Returning To Drown Myself, Finally” is based on a Swedish dalakoral, or religious song, called “Nu är midsommar natt,” an even more explicit reference to folk tradition. These larger pieces are set off by four rapturous ambient sections named by ellipses of increasing length, which incorporate field recordings Wooley captured in the fishing village of Machiasport, Maine and add to a distinct sense of place and environment that bolsters the imaginary landscapes conjured by the music itself.

Nate Wooley has often been cited as part of an international revolution in improvised trumpet; his combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings “exquisitely hostile.” He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation, including Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson. In addition to Columbia Icefield, he also leads the ever-growing Seven Storey Mountain, an ecstatic song cycle for large ensemble; and Mutual Aid Music, a set of eight ensemble concertos in service of “anarchistic utopia.” He is the curator of the Database of Recorded American Music and editor-in-chief of their online quarterly journal Sound American, and runs the experimental music label Pleasure of the Text.