Horace Andy | "Midnight Scorchers"

Horace Andy has remained a much-loved figure in a musical career stretching over 50 years, but in recent times has perhaps been more lauded for his work as a guest vocalist for Massive Attack, and touring a live set built on his rich catalogue of 1970s Jamaican hits. The Midnight Rocker album, carefully assembled by producer Adrian Sherwood with Horace over the course of several years, and released earlier in 2022, put the great singer back front and centre as a contemporary artist. Released to rave reviews across the board, including the Guardian putting it top of their albums of the year so far, and lauding it as a “late career masterpiece”, the album is now into it’s fifth pressing and continues to disappear from the racks at record shops across the globe.  

The Midnight Scorchers album takes the story one step further, with dubplate style re-rubs (including microphone contributions from Lone Ranger and Daddy Freddy); songs that didn’t quite fit into the ‘Rockers’ sequence but are allowed a chance to shine on this new set; and fresh mixes that allow the striking arrangements to take rhythmic flight. In the same way as the music has been re-imagined, so has the artwork, with award-winning animator Ruff Mercy (Goriilaz, Earl Sweatshirt, Thom Yorke) putting a streetstyle graffiti spin on things, also in evidence in his psychedelic and colourful video for first single “Feverish”, a massive new version of one of Horace Andy’s Studio One era classics.  

An essential second half of the ‘Rockers and Scorchers’ story, the album is a must listen for hardcore reggae fans and open-minded music lovers alike.  

Horace Andy Live dates: 

• 17/07/2022 - Horace Andy Live at ‘Lambeth Country Show’, Brockwell Park, Brixton
• 30/07/2022 - Horace Andy live at Manchester Reggae Festival
• 31/07/2022 - Horace Andy Live at Milton Keynes Reggae Festival
• 13/08/2022 - Horace Andy, Jonny Clarke, and Burning Spear Live, Birmingham Forum
• 14/08/2022 - Horace Andy, Jonny Clarke, and Burning Spear Live, Brixton Academy, London
• 20/08/2022 - Horace Andy at Rototom Sunsplash festival, Spain 

Adrian Sherwood Live dates: 

• 06/08/2022 - Reggae Geel festival, Geel, Belgium
• 22/08/2022 - Contrapop Festival, Ramsgate, UK
• 03/09/2022 - Headline Show, Con Con Club, Lewes, UK
• 22/10/2022 - LEDX, Bologna, Italy

Horace Andy was born as Horace Hinds on February 19, 1951 in Kingston, Jamaica. Andy, also known as "Sleepy," has become an enduring voice on the Jamaican music scene. His signature early 1970s hit, "Skylarking," defined his ability to deliver songs of black determination and social commentary, but he could equally deliver songs of love.  

Andy worked with producer George "Phil" Pratt on his first single, "This Is a Black Man's Country," in 1967. His cousin, Justin Hinds, was starting to enjoy some success at that time, but Andy would not gain notice until working with noted Jamaican producer Clement "Coxsone" Dodd in 1970. "Got To Be Sure” became his first release for Studio One, Dodd's studio. Dodd gave him the stage name of Horace Andy - a reference to popular singer Bob Andy. With Dodd, Andy went on to record "See A Man's Face," the well-received "Mr. Bassie" and the breakthrough hit "Skylarking," among other songs. "Skylarking," which encouraged wayward youth to clean up their act, was released as a single and topped the Jamaican record charts, becoming a signature tune for Andy. 

Although American R&B singers were Andy's early influences, he also comments: “I wanted to be like Jimi Hendrix, to play the guitar like him! I didn't see myself as having a great voice. I didn't know I'd be a great singer." 

Andy has consistently recorded and performed around the world, and has remained relevant in reggae subgenres such as roots reggae, rock steady, lover's rock and dancehall, recording with some of the all time great reggae producers including Bunny “Striker” Lee, Niney Holness, Tapper Zukie, Lloyd Barnes and Steely & Clevie. 

In 1990, he was discovered by the Bristol based trip-hop band Massive Attack, who cited Andy's work as a major influence. He recorded the song "One Love" for their 1991 debut album ‘Blue Lines’, and the band's popularity exposed Andy to a younger generation of fans, many of whom continue to seek out his earlier work. After Massive Attack launched their own label, Melankolic, they released Skylarking, a compilation of Andy's career hits. Andy is the only singer of Massive Attack's rotating group of guest artists to appear on each one of the band's albums. He also appeared on the British group Dub Pistols' 2001 album ‘Six Million Ways to Live’, and on the Easy Star All-Stars' 2006 Radiohead tribute ‘Radiodread’. 

“Someone once described me as just a fan who’d got his hands on a mixing desk, They were probably trying to be nasty, but I took it as a compliment – that’s exactly what I am!” 

For over 40 years now, forward-thinking sound scientist and mixologist Adrian Sherwood has been dubbing it up, keeping the faith when others have fallen away and blowing minds and speakers alike. 

Producer, remixer, and proprietor of the British dub collective/record label On-U Sound,  Adrian Sherwood has long been regarded as one of the most innovative and influential artists in contemporary dance and modern reggae music. His talent for creating musical space, suspense, sensations and textures have enabled him to pioneer a distinctive fusion of dub, rock, reggae and dance that challenges tradition not only in roots circles, but also in the pop world at large. 

“I’d rather try and create a niche amongst like-minded people, and create our own little market place be that 5, 50 or 500,000 sales and also be true to our principles of making things, and to your own spirit that you put into the work.” 

Born in 1958, Sherwood first surfaced during the mid ’70s and formed On-U Sound in 1981. While the On-U Sound crew’s original focus was on live performances, the emphasis soon switched to making records and Sherwood began mixing and matching lineups, resulting in new acts including New Age Steppers, African Head Charge, Mark Stewart & Maffia, and Doctor Pablo & the Dub Syndicate. 

All of these early records, according to Rock: The Rough Guide were “phenomenal, generally bass-heavy with outlandish dubbing from Sherwood, who worked the mixing desk as an instrument in itself.” 

Long influential and innovative on the UK reggae scene, Sherwood’s distinctive production style soon began attracting interest from acts outside of the dub community and by the early-’80s Sherwood was among the most visible producers and remixers around, working on tracks for artists as varied as Depeche Mode, Primal Scream, Einsturzende Neubaten, Simply Red, the Woodentops, and Ministry. He became increasingly involved in industrial music as the decade wore on, producing tracks for Cabaret Voltaire, Skinny Puppy, KMFDM, and Nine Inch Nails, and although On-U Sound continued to reflect its leader’s eclectic tastes, the label remained a top reggae outlet. 

In 2003 he launched his solo artist career with Never Trust a Hippy, which was followed in 2006 by Becoming a Cliché. Both were released by On-U in conjunction with the Real World label. 

Still one of the most sought-after producers in the contemporary music industry, Adrian Sherwood and his progressive style and interest in developing new ideas continue to propel On-U Sound’s ongoing success. In 2012 he issued his third solo album Survival & Resistance, and began an ongoing collaboration with Bristol-based dubstep don Pinch. This brought two different generations of bass together and in 2015 the pair released their debut album Late Night Endless. Behind the mixing desk he has been working with the likes of Spoon, Roots Manuva and Nisennenmondai; and delivered remixes of Halsey, Congo Natty and Django Django. His production and remix works has also begun to be anthologised by On-U Sound with the critically acclaimed Sherwood At The Controls series. 

“Music is lovely because it stimulates people, superficial music doesn’t. If you make something that you put your heart and soul into and really try to push it so it leaps out the speakers at you, and if there’s a good feel to it, then you’ve achieved something.”

 

Carol Welsman | "Pick Yourself Up"

A song that can be deemed a timeless classic is a member of an elite and limited club for very good reason. They’re the songs that can transcend all the trends, and connect with and captivate listeners across generations. Internationally acclaimed jazz artist Carol Welsman has picked up a very timeless classic, dusted it off, polished it up, and is starting it all over again for a new audience. “Pick Yourself Up” is available now!

Ahead of the September 9th release of her 14th album, appropriately titled 14, Welsman is giving us the gift of her warm, infectious interpretation of “Pick Yourself Up”, a song that may have been written nearly 100 years ago — but the relevance of its message and affinity for its melody never dims. Fred Astaire and Ginger Rogers first introduced the song in 1936 in one of their timeless musicals, “Swing Time”. Since then, it has been recorded over the years by a cavalcade of greats including Ella Fitzgerald, Anita O’Day, Frank Sinatra, Mel Tormé, and Gregory Porter. However, it was Nat King Cole who first really popularized the song and Welsman targeted Cole’s 1962 recording of “Pick Yourself Up” with George Shearing as her definitive template.

“It’s a beautiful arrangement by George Shearing, which he recorded with Nat King Cole years ago,” notes Welsman. “It was so inspiring, I lifted it note for note and we re-produced it as a trio featuring Pierre Côté on guitar, Rémi-Jean LeBlanc on bass, and yours truly on piano and vocals.”

From the first familiar and self-assured notes, Welsman’s lovingly faithful take on “Pick Yourself Up” displays her keen ability to put a personal frame around a jazz standard masterpiece. 

Following the six-time JUNO nominee’s May release of “Come Fly With Me”, “Pick Yourself Up” is the second of three pre-release singles before 14 is unveiled on September 9th via Justin Time Records. Co-produced by internationally renowned producer, composer, and arranger Romano Musumurra, 14 features Welsman’s exquisite and intimate piano/vocal work alongside the simple, straightforward accompaniment of guitar, bass, and occasional drums.

“It is truly a jazz album,” states Welsman.

Welsman is returning to those straight-ahead jazz roots as she follows up her 13th album, 2020’s Dance With Me, a Latin Jazz record featuring a duet with Dominican superstar Juan Luis Guerra that was added to Spotify’s 900,000 listener-strong Latin playlist. It’s another wonderful achievement layered on top of scoring two #1 selling albums of the year in Japan, 2016’s For You and 2019’s Volume 2, This is Carol - Jazz Beauties. In 2010, Welsman’s album I Like Men - Reflections of Miss Peggy Lee was voted Top 5 Album of the Year for all genres in USA Today. 

Music is definitely in the Toronto-born, L.A.-based artist’s blood. She is the granddaughter of Frank Welsman, founder and first conductor of the Toronto Symphony Orchestra, and she’s a “distinguished alumnus” of the Berklee College of Music. Welsman speaks French, Italian, and Spanish fluently — and has recorded in all three languages. She’s also an accomplished and prolific songwriter with songs recorded by the likes of Celine Dion, Ray Charles, and Chrissie Hynde. On stage, Welsman has performed internationally in trio, big band, and pops orchestra formats and has played for/with such luminaries as Stevie Wonder, Gordon Lightfoot, Herbie Hancock, and former U.S. President Bill Clinton.

Perhaps legendary American Film Critic and Welsman fan Rex Reed sum up her allure the best. “Blessed with so many musical gifts—taste, time, projection, and a rhythmic sense of when to change chords—Carol’s piano is beyond reproach, warm yet rhythmically sharp, giving her voice a perfect hammock of support to swing in.” 

There’s much more of that on the way as Carol Welsman releases 14 on Sept. 9th.

Catia Dignard | "Safekeeping"

If music is what feelings sound like, then songwriters have a special all-access pass to emotional catharsis; Canadian Jazz-Folk singer-songwriter Catia Dignard has taken beautiful advantage of that to let go of long-held grief with her moving new single, “Safekeeping” — available now. 

All at once ethereal, haunting, and intimately personal, “Safekeeping” explores and resolves the residual sorrow that Dignard has held close since the untimely loss of her father in the late ‘80s. Dignard was just 17 when she received the shocking and traumatic news that her father had suddenly died.

“‘Safekeeping’ is about saying goodbye when you were not able to at the time,” explains the Montréal-born, Toronto-based artist. “This time around, with the song, I didn’t want to miss my chance.”

Two years of isolation caused by our global pandemic provided the circumstances and time for Dignard to focus inward to bring some deep, precious pain to the surface in musical form. 

“‘Safekeeping’ was brewing inside during the latter part of the pandemic,” she recalls, “a time that was conducive to introspection and during which I felt that I had a lot of ‘unfinished business’ with myself, still carrying the sorrow and guilt from this fateful day towards the end of the ‘80s when I received the news of the sudden passing of my father.”

With a contemplative piano progression supporting a lush, rich horn section and Dignard’s wistful vocals delivered with a touch of melancholy, “Safekeeping” travels a definitive path along the emotional spectrum right between solemn despair and unbridled hope.

“During the whole process I didn’t want to compromise on the mood that this music would convey,” explains Dignard, “which meant striking a balance between darkness and light.”

It turns out that Dignard’s quest to be true to this artistic vision would be an international one. She says the stars aligned last March when she started working with Franklin, Tennessee-based saxophonist, singer-songwriter, composer, and multi-instrumentalist Dick Aven. She had met Aven a year prior through both participating with the artistic community of Isaac Banks, an Australian radio DJ, and owner of Banks Radio Australia. Rising up to the challenge of long-distance collaboration, Dignard and Aven hit it off creatively very quickly during their first video writing session.

“After just a few minutes, Dick turned around and struck some chords on the piano while I started singing ‘my thang’ to him from Toronto,” remembers Dignard. 

The musical chemistry was palpable. 

“Dick became my arranger and producer for ‘Safekeeping’, playing almost all instruments, except for fretless bass played by Nashville-based Roy Vogt.”

Networking and finding like-minded and talented international musicians to create with is a hallmark of Dignard’s artistic journey. Prior to “Safekeeping”, Dignard released “Rather” in June 2021, a collaboration with a stellar group of Havana, Cuba-based musicians including guitarist-producer Miguel Ángel Wong, recorded at Manane Records Studios in Playa, Havana.

Traveling and soaking up global influences to shape and inform her music is an extension of Dignard’s early life. With Acadian heritage and having lived in Latin America and North Africa during her childhood, Dignard draws continued inspiration from the sea and her travels. 

Musical and academic education has also gone hand in hand for Dignard. While studying vocal jazz under the tutelage of Catherine Bastarache and Marie Vallée and attending multiple workshops and musical camps in Québec and Europe in the early 2000s, Dignard was also pursuing a second university degree. During this time, she also gained performing experience as lead vocalist for jazz guitar virtuoso Mike Gauthier’s combos at Bishop’s University and participated in Kim Richardson’s jazz jams at Montréal’s Dièse Onze club.

These formative years encouraged Dignard to start writing and recording her own compositions with her partner, double bassist Jean-François Martel. That led to collaborations with trumpet player Maxime St-Pierre, guitarist Louis Trudel, Cuban pianist, and JUNO nominee Rafael Zaldivar and the recording of Dignard’s debut album, Strange Coziness, released in 2018. 

Since then, Dignard’s music has found its way to Canadian radio with airplay on CFLX in Sherbrooke, Québec, and CIUT in Toronto, as well as international airplay in the U.S., U.K., and Australia.

Now settled in the very internationally influenced city of Toronto, Dignard also recently collaborated and performed with Toronto-based funk-rock and soul band Bad Breed at the Canadian Music Week and Bloom online music festivals. This while pursuing a Ph.D. in Hispanic Studies at the University of Toronto and currently working on more new music for release in the fall of 2022.

Even with these very busy, tandem creative and educational paths to follow, Dignard knew the time was right for a musical pit stop to wrap up the very significant ‘unfinished business’ of coming to terms with loss and finding peace with the feelings she had been holding close, in ‘safekeeping’.

“We all have these tales of missed opportunities, of regrets, of these things left unsaid,” notes Dignard. “I also feel that there was a lot of love and dedication put into this piece, as all those involved were aware of what it represented for me.”

Keisha Martin | "I Can't Forget You"

A bold and spirited take in Reggae music, Keisha Martin’s newest track is a striking blend of song writing and rhythms. Titled “I Can’t Forget You”, the heartening new single was written and produced by two-time Grammy Award-nominated Grammy winner recording artists amd multi instrumentalist Maurice Gregory and is slated for release on July 29th, 2022.

An intense, exciting, and inviting new track, “I Can’t Forget You” represents a flavorful twist in the artist discography. A hip multi instumentalist, Keisha Martin is not known to shy away from unbridled self-expression, using her musical talents to create a soulful and passionate composition for her audiences.

Establishing her own spirited, passionate and thoroughly heartfelt presence, the dedicated singer-songwriter’s music allows listeners to live free and vicariously. “I Can’t Forget You” emanates a unique energy, soul, and sound- characteristic of the rising, phenomenal reggae artist.

The eclectic artist has graced the Reggae and Soul genre with several hip songs such as: “Rocksteady”, “Who Could It Be”, “Real Life Superwoman” “So Good” and her latest track titled “I Can’t Forget You”  which she only recently unveiled.

Passionate about earnestly creating mediums of entertainment, Keisha Martin continues to surprise audiences with her adaptive skills and experimental techniques, while also excelling in whichever spotlight she desires. Like several contemporary talented artists, Keisha began her singing career at a young age in the church choir. With time, the artist embellished her craft as both a singer and songwriter and took the bold step of venturing out in unexplored endeavors.

Keisha’s many accolades include featuring on the theme song of the TLC network reality TV show “Starter Wives Confidential”. She has also graced the stage with artists such as Black Uhuru, Mykal Rose, Melisa Morgan, Gerald Alston, Marcia Griffiths, Ken Booth Dean Frazier, Shaggy, Gyptian, Taurus Riley, Kymani Marley, and several others.

Don’t forget to feel the vibes and check out her latest track “So Good” on her official music platforms! The talented artist can be reached out through her social media platforms as well.

Based in New York City, Keisha Martin hails from the beautiful and idyllic island sanctuary of Jamaica. Keisha is a successful singer and songwriter, who has also showcased her incredible talents as an actress, dancerm and philanthropist. She has worked alongside Jamaican actor Cleve “chu chu” Warren and has also had the honor of working with world-renowned producers on various artistic projects, including Todd Terry, Robert Livingston (Big Yard) Dee Nucka and Self Maurice Gregory .

However, more than simply entertainment, the dynamic artist remains devoted to her goals of giving back to society and never forgetting where she comes from. As the founder of “Artist Alliance for Education”, Keisha hosts an annual event in New York City called “Tools 4 School”, donating school supplies for underprivileged children in Jamaica and feeds the homeless.

Ricky Alan Draughn | "When You Love A Woman"

Advocating systemic change when civil unrest erupted in the midst of a pandemic and economic uncertainty two years ago, R&B-jazz balladeer Ricky Alan Draughn teamed with two-time Grammy nominated produced Chris “Big Dog” Davis (Norman Brown, Will Downing, Najee) and urban-jazz saxophonist Kim Waters to record a timely version of Sam Cooke’s poignant “A Change Is Gonna Come.” On the heels of the recent Supreme Court decision that impedes women’s rights, Draughn dropped another aptly timed musical statement, this one celebrating women in the form of the new single “When You Love A Woman,” produced by Billboard hitmaker Adam Hawley.

The 1988 power pop ballad written and recorded by Journey serves as Draughn’s source material. Anchored by the crooner’s emotive tenor vocals, Draughn belts out an impassioned salute amidst a throwback adult contemporary track featuring a grandiose gospel choir (Kevin Monroe & Devotion), sweeping strings and Hawley’s piercing electric guitar solo. The cinematic single illumined by cascading melodies and Draughn’s emotional fervor was one of the most added new singles last week on the Billboard BDS chart.        

“I wanted the song to celebrate women and to be played as a backdrop to honor that special female. I wanted to bring back a memory of simpler days with a refreshing reboot of a classic tune. I’ve always loved that 1980’s soft rock era, when a song had a lyrical composition that was just as impactful as the melody. ‘When You Love a Woman’ was such a song. We arranged the background vocals specifically to allow for general interpretation and not just for a romantic relationship. My hope is that the single becomes an anthem in the wake of women’s rights currently being threatened,” said Draughn, who released an accompanying video for the single directed by Edwin Escobar (https://bit.ly/3uR5lyU).

While the single is brand new, Draughn has been performing the song in concert with his twelve-piece band for years. He usually closes his sets with it, bringing down the house with his captivating performance, making it one of his most requested songs.

Tapping Hawley to bring his vision for “When You Love A Woman” to life proved to be a perfect match for Draughn. 

“Adam and I got together, and he was almost completing my thoughts. It was like we’ve known each other forever. He is an incredible musician and a pleasure to work with. As a result, the song came together very quickly. He understood the assignment, maintained the song's integrity and left the song intact, ready for my signature vocal arrangements. Adam brought in Carnell Harrell on synths and Dan Needham on drums, and it was magical - that timeless 80's sound was successfully captured,” said Draughn about the first single from his forthcoming debut album, “Genesis 8:5,” which he aims to release first quarter next year.  

Hawley is producing the majority of “Genesis 8:5,” including what Draughn expects will be his next single, “Relentless,” an upbeat original written by the singer that he describes as having “sort of a neo soul vibe, very danceable.” The album will be eclectic in terms of variety, reflecting Draughn’s stylistic range and sphere of influence. He’s composing most of the music although he anticipates there will also be several collaborations.

Mixing jazz, R&B, pop and gospel, Draughn emerged from singing with prominent gospel groups such as Mighty Clouds of Joy and Mississippi Mass Choir. He’s performed at marquee venues, from the Blue Note to the Apollo Theater, and has shared the stage with R&B, funk and jazz stars, including George Clinton, Chaka Khan, Shirley Murdock, Jodeci, The Whispers, Macy Gray, War, Nancy Wilson, Lou Rawls, Wilson Pickett, Marion Meadows and Alex Bugnon, among others.

 

New Music: Khari Cabral & Jiva, Lost In Sound – Rare Soul & Funk Essentials, Linda Sikhakhane, Natural Yogurt Band

Khari Cabral & Jiva - Five (with bonus track)

A long-overdue return for Khari and Jiva – the kind of pairing that first won us over to neo soul many years back – and sounding equally wonderful here! The album begins with a reworking of the James Mason classic "Good Thing" – and it only gets better and better from there – moving through the postive, sophisticated sort of music that Jiva gave us right from the start – that farther side of the contemporary soul spectrum where people are still making thoughtful, well-crafted sounds! The set includes vocals from Brenda Nicole Moorer, Cleveland Jones, Linsdey Webster, and Lizz Wright – and titles include James Mason tunes "Good Thing" and "Sweet Power Your Embrace" – plus "Show Me The Way", "Heaven's Design", "North Node", "Hard Times", "Capricorn City", and "Warm Heart". Japanese pressing also features the bonus track "More To Do". ~ Dusty Groove

Lost In Sound – Rare Soul & Funk Essentials

A really well-done collection – filled with enough funky gems to grab the ears of any sample-conscious listener, but also packing plenty of unusual numbers too – including a few Latin tracks that fit in perfectly with the spirit of the sound! A number of these cuts have definitely been sampled over the years – but as is always the case, the fuller tracks are often a lot more interesting than the riff or drum part that was taken from them – and together, the titles here show that there's always plenty to dig when you know how to dig deep – as you'll hear on titles that include "Home" by Gloria Barnes, "I'm Moving On" by Chyvonne Scott, "Natural Beauty" by LJ Waiters, "Afro Funky" by Manteca, "Something Bad" by The Chosen Few, "What Happened To Yesterday" by Al Scott, "Los Feligreses" by Luis Santi, "Every Boy & Girl" by Lee Moses, "Man Of Value" by Tyrone Barkley, "I'm Sorry I Hurt You" by Nat Phillips, and "Cookie Crumbs" by Ray & His Court.  ~ Dusty Groove

Linda Sikhakhane - Isambulo

Maybe not the first record from South African saxophonist Linda Sikhakhane, but a set that will definitely put him on the map – and make him one of the rising young stars of his nation's tremendous jazz legacy! Linda blows both tenor and soprano sax here, and has a sense of majesty that's incredible, given his young age – stepping out with a bold vision on a set of all original material that's woven together in a masterful tapestry of soul and sound! Some numbers echo older South African jazz rhythms, while others are more spiritual in presentation – and the blend of modes is wonderful throughout, as Sikhakhane works with players who include Lucca Fries on piano, Fabien Iannone on bass, and Jonas Ruther on drums. Titles include "Isambulo", "Umbhedesho", "Hymn For The Majors", "Gog'uldah", and "Inner Freedom Revisited". ~ Dusty Groove

Natural Yogurt Band - Dance The Devil Away

Maybe the trippiest album we've ever heard from the Natural Yogurt Band – and that's quite a statement, given how trippy most of their work has always been! But it's also been plenty darn funky too, and that's definitely the case here – as the tracks are held solid by the drums of Tom Dempsey – a monster on the kit, and a player whose straightforward funky lines allow all the other elements to take off and really get weird and wonderful – keyboards, fuzzy guitars, electronics, flute, vibes, and plenty other great touches too – served up in a monstrous style on titles that include "Follow The Leader", "Sticky Fingers", "Playing With Fire", "Beyond The Blue", "Green Frog", "Sacred Blood", and "Between Or Beyond". ~ Dusty Groove

Dr. John | "Things Happen That Way"

Growing up in New Orleans, Malcolm John “Mac” Rebennack, Jr. – known to countless music fans around the world as Dr. John – developed a deep and abiding love for traditional Gospel music that stayed with him throughout his lifetime. During his remarkable six-decade run as one of the most original, distinctive, and influential voices in popular music, Rebennack put his inimitable stamp on many spirituals and Gospel-influenced songs. 

During the sessions for Things Happen That Way, Rebennack invited a few old friends to lend their voices to the project. Among those who happily obliged was Willie Nelson, one of Mac’s close friends and most treasured musical collaborators. Today, their soul-stirring, exuberant rendition of the beloved Gospel standard “Gimme That Old Time Religion” is released. 

As Nelson observed, “Dr. John had the most unique musical style and language that would take me to another place whenever I heard him play and sing,”

Rebennack was planning future projects when his life was suddenly cut short in 2019. Now, three years after his untimely passing, in a world complicated by COVID-19, Things Happen That Way will see the light of day. The album, which features three brand new original compositions, a mesmerizing reworking of Dr. John’s 1968 classic “I Walk on Guilded Splinters, and new interpretations of songs by Willie Nelson, Cowboy Jack Clement, Hank Williams, and the Traveling Wilburys will be released on September 23. 

Things Happen That Way marks the fulfillment of a longtime goal of the six-time GRAMMY-winning singer/songwriter/pianist and Rock & Roll Hall of Famer, who first began plotting a country-inspired album decades ago. In bringing his album’s songs to life, Dr. John drew on a lineup of musicians befitting of a universally beloved luminary. Along with an elite cadre of New Orleans session players, the album’s personnel include icons Nelson and Aaron Neville, and rising stars Lukas Nelson & Promise of the Real.  

Things Happen That Way Track Listing:

• Funny How Time Slips Awa
• Ramblin’ Man
• Gimme That Old Time Religion (feat. Willie Nelson) 
• I Walk On Guilded Splinters (feat. Lukas Nelson & Promise of The Real)
• I’m So Lonesome I Could Cry
• End Of The Line (feat. Aaron Neville)
• Holy Water
• Sleeping Dogs Best Left Alone
• Give Myself A Good Talkin’ To
• Guess Things Happen That Way

 

 

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!